I , Associate

Conductor 2002-2003J~ Giancarlo MINNESOTA ORCHESTRA Guerrero (J~100 with the Minnesota Orchestra, ABOUT THIS ISSUE Hilde Performance Center in As September neared, our thoughts Plymouth, turned to two dramatically divergent dedicated in July, 2002, topics: the opening of the lOOth page 18 anniversary season of the Minnesota Orchestra, and the first anniversary of the date that has become one ominous word, Nine-eleven. In order to keep these anniversaries dearly separated, the Sentember 2002 Orchestra devised two opening concerts for this season: September 11 and 6 Minnesota Orchestral 14 Music Director Designate September 13. Association 16 Celebrating 100 However, these apparently divergent 8 Information topics took on unexpected consonance 11 Minnesota Orchestra 18 Orchestra Education News when we recently came across a review Musicians Roster 19 Orchestra News of this Orchestra that appeared 45 years 12 Minnesota Orchestra ago in the newspaper of Radio Zagreb. 21 WAMSONews Staff Roster The occasion? The Orchestra's 1957 13 From the Chairman 48 Donors concert tour of the Middle East-then, as now, a breeding ground for violent passions. concerts "They are very interesting, these 22 Guarantors Concerts large American orchestras;' wrote the Septembers, B reviewer. "Here are artists of all Henry Charles Smith/John Miller, Jr.l nationalities and races, sitting peacefully R. Douglas Wright one besides [sic] the other and still playing with such a perfect 24 Subscription Concert harmoniousness. One unconsciously Remembrance and Reflection with starts to wonder: What is possible in Renee Fleming music, why should it be impossible Sep:tembern anywhere else?" Yakov Kreizberg/Renee Fleming It has become commonplace to say 29 Centennial Opening Night Concert that music heals, that music brings September 1] people together, statements that are Yakov Kreizberg/Yo- Yo Ma none the less true for having become common conversational currency. The 33 Subscription Concerts fact is, both programs-for September Garden of Light 11 as well as for September 13-will September 18,20 have the effect of lifting us up and Yakov KreizbergiHeidi Grant Murphy/Beth Clayton/ Soprano Renee Fleming in a carrying us, together, to a realm far Richard Clement/Sanford Sylvan/Nathaniel Irvin/ memorial concert, page 24 Minnesota Chorale/Dale Warland Singers/ beyond what we could reach without Metropolitan Boys Choir/Metropolitan Choralaires the gift of music. As we begin this important season, 41 Subscription Concert the Orchestra's lOOth,Showcase proudly Kreizberg Conducts Mozart celebrates the musicians and the September 21 community that created this long-term Yakov Kreizberg relationship. We are grateful for the harmoniousness that this Orchestra has 44 Subscription/Coffee Concerts brought to our lives,as we look for ways Chopin Piano Concerto to make that harmony possible September 26, 2] Roberto Abbado/Stephen Hough throughout the world. Emeritus Director Kenneth N. Dayton congratulated Music Director Designate Osmo Viinskii after his Tanglewood About the September 2002 cover: ~~~ Festival concert with the Boston The cover of the first program book, the Minneapolis Symphony in August. Minnesota Symphony Orchestra's 1903 inaugural season, becomes Sandra Hyslop Orchestra season-opening concert the first Showcase cover of the 100th season. Editor dedicated to Dayton, page 29

Sources for illustrations and quotes are available from Showcase, which gratefully acknowledges permissions to reprint. SEPTEMBER 2002 • 5 MINNESOTA ORCHESTRAL ASSOCIATION

OI'FICERS Douglas W. Leatherdale N. Bud Grossman E. Benton Gill Chairman of the Board Vice President Vice President and Thomas M. Crosby, Jr. M. Joann Jundt Chief Operating Officer Immediate Past Chairman Vice President Mary Ellen Kuhi Eugene C. Sit Douglas A. Kelley Vice President and Vice Chairman Vice President Director of Development David J. Hyslop Ronald E. Lund Robert R. Neu President Vice President Vice President and General Andrew Czajkowski Douglas A. Scovanner Manager Vice President Vice President Nancy E. Lindahl Stephen R. Demeritt Stephen M. Baker Treasurer Vice Presiden t Vice President of Marketing Deborah L. Hopp Secretary BOARD OF DIRECTORS

N. Bud Grossman" + Betty Myers John S. Pillsbury, Jr. M.' Joseph Lapensky Rosalynd Pflaum

• Honorary Directors Randy Kelly Paul Ostrow R. T. Rybak Jesse Ventura

• Directors Ronald L. Abrams Carole Erickson- Douglas W. Leatherdale" + Susan Platou * Peter Armenio Richard M. Fink Judith A. Lebedoff" Rebecca C. Pohlad" Douglas M. Baker, Jr. Luella G. Goldberg Stephen Lieberman Anne Pierce Rogers Karen Baker * Lynda Burke Grady Nancy E. Lindahl" + JoElIen Saylor+ Karl J. Breyer Paul D. Grangaard* Ronald E. Lund" + Mary H. Schrock" Jeffrey S. Brown Jane P. Gregerson Warren E. Mack Iudi Schuman Wayne H. Brunetti N. Bud Grossman Harvey B. Mackay Douglas A. Scovanner" + Barbara Burwell *+ Beth Ann Halvorson Roberta Mann- Benson Robert L. Senkler" William J. Cadogan Van Zandt Hawn* Jan McDaniel Peter W. Sipkins Jon R. Campbell Shadra J. Hogan Mary Grotting Mithun Eugene C. Sit"+ Mari Carlson Deborah L. Hopp" + Joan A. Mondale Douglas M. Steenland Nicky B. Carpenter Hella Mears Hueg Susan M. Morrison Ronald L. Turner Carolyn W. Cleveland David J. Hyslop" + Alice D. Mortenson Scott B. Ullem David D. Cousins Frank J. Indihar Betty Myers James S. Wafler* Thomas M. Crosby, Jr.*+ David L. Jahnke Lynn A. Nagorske Maxine Houghton Kathy Cunningham" Barbara M. Johnson Marilyn C. Nelson Wallin Andrew Czajkowski *+ M. Joann [undt"} Bruce J. Nicholson Hiroshi Yamashita Stephen R. Demeritt*+ D. William Kaufman Dale R. Olseth Howard M. Zack David Docter- DouglasA. Kelley*+ Chris Oshikata Jonathan F.Eisele Jolie Klapmeier+ Rosalynd Pflaum '* Member of Executive Joel A. Elftmann M. Joseph Lapensky John S. Pillsbury, Jr. Committee Rolf Engh" + Ex-Officio Director Emeritus Director Kenneth N. Dayton

IlADMINISTRATIVE STAFF David J. Hyslop E. Benton Gill Robert R. Neu President Vice President and Vice President and Stephen M. Baker Chief Operating Officer General Manager Vice President of Marketing Mary Ellen Kuhi Gwen Pappas Holly Duevel Vice President and Director of Public Affairs Director of Finance Director of Development .-WA M -S 0 =J'v1itlfres~ta o;;:"j;-;;t;;; 'Tol~;;;teer·A3socintion Barbara Burwell Mary Ella Pratte Natalie Gottesman President Director of Development Director of Membership JoEllen Saylor Erika Zetty Addie Ingebrand President-elect Director of Development Director of Membership Events Dorothy Halverson Kathy Kraulik Jan Michaletz Secretary Director of Education Director of Volunteer Resources Elaine Lagerstrom Shirley Taradash Karen Walkowski Treasurer Director of Education Executive Director Lisa Holmberg Ann Pifer Janet Ryan Director of Communications Director of Marketing Office Coordinator Diane Erdman Director of Membership • y p SeA Young People's Symphotlj' Concert A.s.,{){:iati~;;------·--·-· David Docter Katie Berg NatalieGuyn President Vice President, Concerts Vice President, Publicity Dave Colwell Judy Ranheim & Cynthia Tambornino President-elect Bonnie Gainsley Member-at-large Bonnie McLellan Vice Presidents, Competition Marilyn Miller Secretary Linda Smith Chair, Membership Liz Nordling Vice President, Sharon Hayenga Treasurer School Programs Chair, Hospitality Jim Bartsch 6 SHOWCASE Ex officio 2002-2003J~ MINNESOTA ORCHESTRA (J~100

OSMO VANSKA, MUSIC DIR[CTOR DESIGNATE

CLASSICAL CONCERTS

YAKOV KREIZBERG, conductor HEIDI GRANT MURPHY, soprano BETH CLAYTON, mezzo RICHARD CLEMENT, tenor SANFORD SYLVAN, NATHANIEL IRVIN, boy soprano MINNESOTA CHORALE Kathy Saltzman Romey, artistic director DALE WARLAND SINGERS Dale Warland, music director METROPOLITAN BOYS CHOIR & METROPOLITAN CHORALAIRES Beatrice Hasselmann, music director

Wednesday, September 18, 2002, 7:30 p.m.lOrchestra Hall Friday, September 20, 2002, 8 p.m.lOrchestra Hall

WOLFGANG AMADE MOZART Symphony No. 41 in C major, K.551,Jupiter Allegro vivace Andante cantabile Allegretto Malta allegro

INTERMISSION

AARON JAY KERNIS Garden of Light [Subscription premiere] Morning of the World: Allegro The Garden of Tapestry of Home: Moderately Slow and Sustained Light text appears ill all insert.

Minnesota Orchestra concerts can be heard Friday evenings live on Minnesota Public Radio, including 99.5 FM in the Twin Cities. Minnesota Orchestra broadcasts are produced by Minnesota Public Radio and heard nationwide through Public Radio International. The Minnesota Orchestral Association, the H.B. Fuller Company, and the Foley Companies underwrite the broadcasts.

33 profile: Yakoy Kreizberg, conductor role of Deborah Dratell'sLilith in itsworld premiere. Please see page 25 Other recent opera engagements have included performances with the Canadian profile: Heidi Grant Murphy, soprano Opera Company in Toronto, American Heidi Grant Murphy begins the 2002-2003 Pittsburgh Opera, and Houston season after a summer at the Verbier, Tanglewood, Grand Opera, where Clayton had and La Jolla festivals. Later this been a member of the HGO Stu- year she returns to the Metropol- dio. A former apprentice artist itan Opera as Constance in for Santa Fe Opera, Clayton ap- Poulenc's Dialogues of the peared this past summer as Olga Carmelites and sings Sophie in in a new Jonathan Miller produc- Der Rosenkavalierwith the Bavar- tion for Santa Fe of Eugene One- ian State Opera. In February she gin. Her debut with Dallas Opera makes her Great as Fox in The Cunning Little Vixen earned a nomina- Performers recitaldebut. tion for the Maria Callas Debut Award.International In April Murphy will sing the opera appearances have included appearances with North American premiere of Sir Welsh National Opera, Spoleto Festival, and Saito John Tavener'sIero Oniero at Lincoln Center and the Kinen Festivalin Japan. following month gives the world premiere of Clayton has been a regular guest of the Min- Roberto Sierra's Beyond the Silence of Sorrows with nesota Orchestra, appearing with conductors Jeffrey the Seattle Symphony. Additional orchestral engage- Tate, David Zinman, and Eiji Oue. She sings Bern- ments this season will include the New YorkPhilhar- stein's Five Songs on the Orchestra's Reference monic, Los Angeles Philharmonic, San Francisco RecordingsCD calledBernstein. Symphony, and the Orchestra. Murphy has appeared numerous times with the profile: Richard Clement, tenor Minnesota Orchestra, most recently last season in Tenor Richard Clement made his debut with the performances of Mozart's Exsultate, jubilate. She has Minnesota Orchestra in March 1998singing Britten's also sung in recent seasons with the principal orches- War Requiem under the baton of tras of Boston, Chicago, Cleveland, New York, Robert Shaw. He studied at Philadelphia, and Vienna. Murphy has recorded for Georgia State University and the Deutsche Grammophon, Telarc, and Koch Interna- Cincinnati Conservatory, were tional and now records exclusively for Arabesque he received his master of music Recordings.She is represented by Kirshbaum Demler degree. He has been a Tangle- & Associates,Inc., New York.Spring 2003 will see the wood Music Festival Fellow, releaseof two new CDs, Latin love songs and musical member of the Houston Grand theater music. Opera Studio, and winner of a Richard Tucker Music Founda- profile: Beth Clayton, mezzo tion Jacobson Study Grant. A graduate of Southern Methodist University and Last season Clement sang the role of To-No- Manhattan School of Music, Arkansas native Beth Chujo in Minoru Moo's Tale of the Genji, an Opera Clayton made her LyricOpera of Chicago debut last Theatre of Saint Louis production in its home the- season in Die Zauberjiote and Parsifal,both conducted ater and on tour in Japan. He has also sung with Van- by Sir Andrew Davis. The same season, she also sang couver Opera, New York City Opera, Boston Lyric for the first time at New York City Opera-the title Opera, and GlirnmerglassOpera.

ONE-MINUTE NOTES

WOLFGANG AMADE MOZART AARON JAY KERN IS Symphony No. 41 in C major, K. 551,]upiter Gardenof Light Jupiter: the giant of the planets and the supreme god in the Roman Aaron Jay Kernis, who serves as the Minnesota Orchestra's new pantheon. But why Mozart's Symphony No. 41 should have music advisor, receiveda commission from the Disney Company to acquired the subtitle "Jupiter;' no one knows for sure. Composed in compose this work in the late 1990s. Disney CEO Michael Eisner, 1788, when he was 32, the Symphony No. 41 was Mozart's final inspired by hearing Gustav Mahler's Symphony of a Thousand, composition in the form. It is also the grandest and longest of his wanted something similarly celebratory for the impending millen- symphonies, with a famous, brilliantly executed contrapuntal finale. nium. Kernis responded with this grand, hopeful oratorio based on , poetry by David Simpatico and Menna Elfyn (see texts printed 0 ) the program insert). Music Director Kurt Masur conducted the New YorkPhilharmonic in the premiere of Garden of Light in Octo- ber 1999.Kernis has revisedthe work for the present performances. -Sandra Hyslop

34 • SHOWCASE Clement's past concert performances include a profile: Dale Warland Singers Mozart Requiem with the Saint Louis Symphony, Based in the Twin Cities and now celebrating its 30th Beethoven Missa Solemnis with Detroit, and anniversary season of concerts, tours, radio broadcasts, (i( Mendelssohn Symphony No.2 (Lobgesang) with the and critically acclaimed recordings, the Dale Warland Atlanta Symphony. He has also sung with the Holly- Singers is recognized as one of the world's foremost wood Bowl, Tanglewood, and Grant Park music festi- a cappella choral ensembles. The group has earned a vals and has sung with major orchestras throughout reputation for its commitment to commissioning and the U. S. Clement started the current season with performing new choral music and has collaborated Beethoven's Ninth Symphony under Itzhak Perlman with such contemporary composers as Dominick Ar- with Detroit and in March 2003 will sing 's gento, Stephen Paulus, Libby Larsen, Carol Barnett, Symphony No.5 with the Indianapolis Symphony. and Aaron Jay Kernis, to name a few. The Dale War- land Singers' Choral Ventures" Program solicits profile: Sanford Sylvan, baritone works from emerging composers, and through this American baritone Sanford Sylvan has achieved ac- program, more than $150,000 in commissions has claim for his singing of orchestral, operatic, and recital been awarded to 48 talented musicians. repertoire in the concert halls and In 1992, the Dale Warland Singers became the first- opera houses of the United States ever recipient of the Margaret Hillis Achievement and Europe. He has collaborated Award for Choral Excellence. The organization shares with leading conductors and this honor only with Chanticleer and the Vancouver opera directors throughout the Chamber Choir among professional choirs. The world. Deeply committed to the group's extraordinary efforts on behalf of composer art of the vocal recital, Sylvan and and new music also resulted in ASCAP Awards for his long-time collaborator, pianist Adventures Programming throughout the 1990s. David Breitman, have performed In addition to a subscription season in the Twin extensively throughout the world; Cities, the Dale Warland Singers tours throughout their recitals and recordings have the U.S. and abroad. In 1990, the ensemble traveled earned three Grammy Award nominations for Best to Stockholm and Helsinki to represent North Amer- Classical Vocal Performance. ica at the Second World Symposium on Choral Sylvan's portrayals of the Mozart roles of Figaro Music. It has appeared on Minnesota Public Radio in Le nozze di Figaro and Don Alfonso in Cosi fan on Garrison Keillor's A Prairie Home Companion and tutte have been seen internationally as part of PBS's is featured regularly on Public Radio International's Great Performances. He has performed several im- Saint Paul Sunday. Annual Echoes of Christmas and portant works by : the role of Chou En- Cathedral Classics broadcasts reach listeners nation- Lai in (for which he received an wide. In July 2002 the ensemble made its debut at the Emmy Award), the title role of The Death of Kling- Ravinia Festival and performed in Orchestra Hall at hoffer, and the song cycle The Wound Dresser. the Sixth World Symposium on Choral Music. Sylvan has appeared at such festivals as Edinburgh, The Dale Warland Singers performs in collabora- Tanglewood, Vienna, Holland, Schleswig-Holstein, tion with other Twin Cities arts organizations such as and Ojai, and he recently performed in Lou Harrison's James Sewell Ballet, The Saint Paul Chamber Orches- opera Rapunzel at the Cabrillo Music Festival. He may tra, and the Greater Twin Cities Youth Symphonies. be heard on recordings for Nonesuch, Decca, Harmo- The group records primarily on the American nia Mundi, Virgin Classics, and New World labels. Choral Catalog label, and a new Christmas recording is due out shortly. profile: Nathaniel Irvin, boy soprano Ten-year-old Nathaniel Irvin is a fifth-grader in SOPRANO TENOR Maple Grove's Cedar Island Elementary School Sara Dick Joel C. Fischer" Gifted and Talented program. He KariDouma Justin Karch recently appeared in Park Center Jodi Hermanson Brian Kremer High School's production of The Lynette Johnson David Meissner Melissa Morey David Nordli Will Rogers Follies and The Vicki Savage Steve Sandburg Guthrie Lab's Merrily We Roll Sarah Schlomer Hal Snyder Along. Irvin has been a soloist Dawn Schuffenhauer Gregory Tambomino with Basilica of Saint Mary Cho- Monica Stratton" risters, Cantabile Chorus of the Teresa Tierney BASS John Bischoff Minnesota Boychoir, and Osseo ALTO Jeffrey Bipes District 279 Select Chorus. He Carrie Benson Matthew Culleton" created and starred in neighbor- Abbie Betinis Greg Douma hood productions of The Wizard of Oz; which raised Galina Erickson Dave Jacobson Joanne Halvorsen * Patrick McDonough funds for a local food shelf; Charlie and the Chocolate Linda Kachelmeier Michael Meyer Factory, for the benefit of Guillaine-Barre Syndrome; Mary C. Maiden Muller Kevin Norberg and Oliver, which raised money for music scholar- Krista Palmquist Tim O'Brien ships. Irvin will appear as Amahl in the Minnesota Kelly Sorkin Terry Sheetz Orchestra's December performances of Amahl and Rosita Tendall Brian 1. Steele the Night Visitors. He enjoys baseball, basketball, * Section leaders movies, swimming, bowling, and reading.

SEPTEMBER 2002 • 35 profile: Minnesota Chorale Margolis and multimedia enhancements by Tony Now in its 31st season, the Minnesota Chorale is the Brown, Black Dot was hailed by critics as "a magical preeminent symphonic chorus in Minnesota and score" of "refreshing originality" In addition to per- ranks among the nation's best. Distinguished by its forming matinees for student audiences and evening capacity to perform in ensembles ranging from 20 to shows for families, the Chorale will record the work 200 voices or more, the Chorale is a mainstay of the in the spring. regions arts scene. Other highlights of the Chorale's 2002-03 appear- Led by Kathy Saltzman Romey since 1995, the ances with Minnesota Orchestra will include perfor- Minnesota Chorale is widely known for its work mances of Prokofiev's Alexander Nevsky, with the Minnesota Orchestra and The Saint Paul Mendelssohn's Elijah, and Mahler's Symphony No.8; Chamber Orchestra. It is equally dedicated to build- the world premiere and recording of Sir John ing community through independent presenta- Tavener's Ikon of Eros; and the ever-popular .holiday tions-the Full Voice education program and the concerts with Doc Severinsen. award-winning Bridges' outreach series. The latter initiative, which builds individual and social connec- profile: Metropolitan Boys Choir and tions through music, was begun in 1994 and has won Metropolitan Choralaires acclaim as a national model. Bridges 2002, a collabo- Under the leadership of its founding director, ration this past spring with the Twin Cities' Latino Beatrice Hasselmann, the Metropolitan Boys Choir is community, reunited the Chorale with Venezuelan celebrating its 32nd season. Ranging in age frorn five colleagues from the 2000 America Cantat festival in to eighteen, the MBC membership totals nearly 300 Caracas for a week-long celebration of Latin Ameri- voices singing in eight choirs. can art and culture. The Metropolitan Boys Choir has had the honor This season's Bridges program features an ex- and privilege to perform regularly with the Min- panded version of Ianika Vandervelde's Adventures of nesota Orchestra since its first performance of the Black Dot: The Island of Music, a "choral story- Carmina Burana at Orchestra Hallin 1976 under the book" commissioned and premiered by the Chorale direction of Henry Charles Smith. Since 1976 the in 2001. Based on a fanciful children's story by Min- world-renowned conductors with whom the choir neapolis writer Judy McGuire, with staging by Kari has worked and sung include Klaus Tennstedt, Edo

SOPRANO ALTO TENOR BASS Angela F.Bargmann Norah E. Bringer Fred Berndt John Bassett Susan Benjamin Elizabeth Buckingham Kevin Boren Peder Bolstad Erin Berg Deanne Lynne Dohrman Ryan Cogswell" Mitchell Buckley Ivy Bernhardson Susan Druck" Ben Cooper Scott Chamberlain Deborah Braun Judy Dworkin Chris Crosby-Schmidt Steve Cramer" Deborah Carbaugh" Jennifer Fisk Gary Cunningham Allen F.Effenberger Gail Jessop Diez Kristen Frost -Tibben Herminio Diaz Jason Etten Laurel E. Drevlow Michelle Hackett Dana Dostert Christopher Fuller Jennifer Fiedor Dee Hein Tony Grudt Gary E. Gardner Debra Halstenson* Jerry J. Hinks* Tim Kellar Stefan Gingerich Melissa K. Holder Michelle Marie Hoffman Thomas Knabel Harold Gossard Marcia L. Honold Beth Kellar-Long Victor Lund Steven Hodulik" Suzanne L. Hotzel" Suzanne Kennedy" Rich Maier Erik M. Hoham Linda Bricker Kellar Kristen Kinnear-Ohlmann Jeremy N. Manternach" Matthew Hughes Diane Koschak Marcia Laningham" Ritchy McFadden Matthew R. Iohnson" Barbara Lundervold Bekka MacKenzie* K. Christian McGuire Allan D. Kellar Ienell Matthews Louise M. Miner Scott D. McKenzie Bill Kempe Michelle Michelson Erica Perl Spike Maiden Muller" Rollin Kjrk Amanda S. Milos Beth Peter Jeffrey Nielsen John Krebsbach Mary K. Nordell Barbara Prince" Mark Pladson Jon C. Lahann" Elizabeth Nordling Mindy Ratner Paul Riedesel Wm. C. Mortensen [eana Ogren Deborah E. Richman Stanley E. Romanstein" Douglas Muller" Melissa L. Patterson Teresa Rowe Scott Sandberg SamirMurty Lynn Pauly Mary Beth Sage Robert Wilcox Andrew Naseth Sara Pfannenstein Sue Tuthill Schiess RobertWills* Paul R. Ogren Lori Ramig Diane Schroeder Christopher J. Ohland Linda S. Rawitsch Christel Schulz Robin Partch Laura Roller Kristen Schweiloch Hal C. Ransom" Krista L. Sandstrom Patricia A. Shifferd Herbert M. Tatley Sara Schwebach Karen Ann Steger Roger C. Towler Mary Beth Seidlitz Elizabeth Sullivan" Stephan W. Tradewell Althea M. Sell Carolyn Susor Evan Tsai Shari M. Speer" Peggy Tuthill Marshall Urban" Tanya M. Spillum Jill van Koolwijk Rick Utke Kimberly Sueoka" Connie Versluys John F.Walsh, Jr. Lola Watson* Linda Wiley Curt Werdal* JanWenndt Carole Whitney * Section leaders Elizabeth Woolner*

36 • SHOWCASE de Waart, Eiji Oue, Christopher Seaman, Charles Dutoit, David Zinman, and choral legends Helmuth WOLFGANG AMADI MOZART Rilling and Robert Shaw.They have also performed with other premier ensembles and performers such Born January 27.1756. Salzburg; died December 5. 1791.Vienna as The Saint Paul Chamber Orchestra, Royal Win- nipeg Ballet, Ioffrey Ballet, Plymouth Music Series, Symphony No. 41 In C major, K. 551,Juplter Minnesota Opera, Minnesota Dance Theatre, Mau- reen McGovern, Doc Severinsen,Mitch Miller,Rose- Instrumentation: pairs of oboes, bassoons, horns. and trumpets, as well as timpani and strings mary Clooney, Debbie Boone, Dorothy Benham, and Tom Tipton. THE VERY PERFECTION OF MOZART'S LAST Local appearances have included the Super Bowl three symphonies, No. 39 in E-flat, the great XXVIPre-Game Show, 1991 SpecialOlympics, 1990 G-minor, and the Jupiter, is miraculous, and the Gorbachev Twin Citiesvisit, the 1995All-Star Game, more so given how quickly they were composed. No and the 1998World Figure Skating Championships. less impressive are their diversity, and the clarity In the Choir's annual travels throughout the U. S.,it with which, in three quite different directions, they has performed for the CBS/DisneylandFourth of July define the possibilities of Mozart's art. Eric Blom Specialand on Rev.Robert Schuller'sHour of Power. puts it thus: "it is as though the same man had writ- The late Hubert H. Humphrey gavethe Choir the apt ten Shakespeare's Twelfth Night, Racine'sPhedre, and title "Minnesota's YoungAmbassadors of Song:' The Goethe's Iphigenie within whatever period may be Choir has toured throughout the U. S.and Canada, to equivalent for the rapid execution of three plays as fourteen European countries, and to Guatemala. compared to three symphonies ... " The Metropolitan Choralaires is an organization It seems reasonable to connect Mozart's last of girls from the twelve-county Metropolitan area. three symphonies with Casino concerts [that This sister choir of the Metropolitan BoysChoir is in Mozart had planned for summer 1788 in order to its second season, having completed a very success- help himself out of catastrophic financial straits]. ful first year. The girls range in age from five to fif- Little is known about their early history. Orchestra teen and sing a variety of music ranging from the parts for them were printed by Johann Andre in choral classics to musical theater. The Choralaires Offenbach, Hesse, two years after Mozart's death, organization is based on the same premise and style but various libraries have also yielded manuscript as the Metropolitan Boys Choir, whose mission is to copies, some of which certainly date to the com- provide a unique program of musical excellenceand poser's lifetime. The G-minor Symphony was personal growth for Twin Cities area youth of varied played in its revised version with added clarinets in social, cultural and economic backgrounds; to de- April 1791, but whether Mozart ever heard the velop responsibility and leadership; and to empower Jupiter or the E-flat we do not know. these young people to become positive influences in Mozart completed the Jupiter Symphony, about their communities. whose early performance history nothing certain is Mozart

Andy Arvidson Nicholas Balay Christian Bartholomew Joshua Borgerding Jack Broadrick Lukas Byerly Sadie Arvidson Lester Cherryhomes Christine Beatty DeMico Davis Katie Cheng Trevor Dobbs Lexie Goertzen Mitchell Elliott Devon Hays Glenn Elvendahl Erin Jagodzinski Matthew Flynn Hanna Kahrmann-Zadak Jackson Graves Rosanne Lewis Caleb Gustafson Karrah O'Daniel Eric Harms Clarissa Odin Jeremy Kuhn Isabella Odin Michael Lange Kristina Olson Alex Mueller Elizabeth Paulson Eric Mueller KimPentel Kevin Noonan Rebekah Petzoldt Brian Pricco Leanne Renner Branden Rudie Sarah Weiss Chris Schabert Sarah Winecke Jonathan Socha April Xiong Tony Spiel Kate Zappia Jimmy Stewart Ryan Strand Silas Taft-Ferguson Willie Taylor Daniel Trust Benjamin Westphal* Jerry Xiong Brenden Ying * Understudy to Nathaniel Irvin

SEPTEMB ER 2002 • 37 known, on August 10, 1788.A word, first, about the one rhythmic surprise after another. The destiny of symphony's name. It is not Mozart's, but it is old and the thirty-second-note serpents that the violins ap- perhaps the brainchild of Johann Peter Salomon, the pend to the first theme when the basses initially take German-born violinist and impresario most famous it over is especiallywondrous. The coda, which adds for having twice enticed Haydn to London. At any miracles at a point when we can hardly believemore rate, in 1829,38 years after Mozart's death and four- miracles are possible, was an afterthought appended teen after Salomon's, the English composer, organist, by Mozart on an extra leaf.Haydn, wishing to set an and publisher Vincent Novello and his wife, Mary, unobtrusive memorial for his beloved friend, alluded visited the Continent and spent a few summer days to this deeply touching movement in the Adagio of in Salzburg with Mozart's widow and son. The Nov- his own Symphony No. 98 in B-flat. ellos kept separate journals, and in Vincent's, The Minuet, aside from having the proper meter Mozart at the keyboard on August 7, 1829, we may read the following: and speed, is not particularly minuet-like. It is fasci- "Mozart's son nating what a wide-ranging category "minuet" was said he consid- for Mozart. In these last three symphonies alone we ered the Finale have the bandstand high spirits of the one in No. 30, to his father's the fiercelyserious sense of purpose and drive in the Sinfonia in G-minor, and here the perfect embodiment of ele- C-which gance. The Jupiter Minuet is wonderful in a quiet Salomon way: Here is music that constantly blossoms into christened the richesses Mozart carefully leads us not to expect. Jupiter-to be The trio is, for the most part, an enchanting dia- the highest logue of every so slightly coquettish strings and triumph of winds so soberly reticent that they seem able to do Instrumental no more than make little cadences. There is one Composition, forte outburst lasting just a few seconds: Here the and I agree orchestra sounds a new and brief phrase of striking with him:' profile. It demands attention, and, although just In terms of then it seems to pass without consequence, we shall Eric Blom's lit- soon discover why. erary compari- That happens the moment the finale begins. son, the Jupiter Here Mozart picks up the four-note idea that had is Iphigenie: made such a startlingly forceful appearance in the noble, at once trio. When first we heard it, it was on an odd har- subtle and monic slant; now it is set firmly in C major. This grand, "classi- idea is in fact part of the common stock of the eigh- cal."The fences teenth-century vocabulary; Mozart himself had so recklessly used it before on several occasions-in Masses, in torn down in the Symphony No. 33 in B-flat, in the great E-flat the G-minor Sonata for Piano and Violin, K. 481-and as he is Phedre are re- quick to remind us, it lends itself to contrapuntal Mozart at work stored. The opening gestures,with their orderly con- elaboration. trasts and symmetries, are more formal, indeed more The music moves at a tempo swifter than any we formulaic, than anything else in the last three sym- have yet heard in this symphony. All the themes in phonies. But whatever Mozart touches becomes per- this finale are short: They are material to work with sonal utterance. After an impressive drawing up to a more than objects presented for the sake of their in- halt (that "rattling of dishes at a feast"of which Wag- trinsic charm, and Mozart whirls them by us with a ner was wont to complain in eighteenth-century fierceenergy that is rooted in his dazzling polyphony. pieces), the opening music reappears; but what was Especiallywhen the development gets going, the ex- assertive before is now quiet and enriched by softly pressive intensity generated by that energy is exhila- radiant commentary from the flute and the oboe. rating, shocking, uplifting all at once. Another cadence of extreme formality, and a new Six years earlier, Mozart had come to know the theme appears. This, too, being full of gentle, unob- music of J. S. Bach. Having begun by transcribing trusive complexities such as the imitation in the bass and imitating, Mozart has now achieved a complete of the violin melody or the deft addition to the tex- and easy integration of Baroque polyphony with the ture of bassoon and flute, is not so innocent as at first galant language that was his most direct inheritance, it seems. One tune in this movement is catchier than which he had learned at the knee of Sebastian Bach's the rest, more singable, and for good reason: Mozart youngest son, Johann Christian. In his exuberantly is quoting one of his own arias, "Un bacio di mano energetic coda, Mozart unfurls a dazzling glory of (A kiss of the hand)," K. 541, written a couple of polyphony to cap, in one of music's truly sublim months earlier for Francesco Albertarelli,his first Vi- pages, a movement that is one of the most splendi ennese , to insert into Anfossi's opera manifestations of that rich gathering-in we call the Le gelosiefortunate. classicalstyle. When he comes to his Andante-the strings are Program note by Michael Steinberg excerpted from his book muted now-Mozart becomes more overtly per- The Symphony: A Listener's Guide, published in 1995 by sonal, writing music saturated in pathos and offering Oxford University Press, by permission of the author.

38 • SHOWCASE only a few words of text, which are repeated again AARON JAY KERN IS and again. Garden of Light, by contrast, moves for- ward with essentially no text repetitions. Thus, Ker- Born January 15,1960, Philadelphia, Pennsylvania; nis has created a narrative that he sets into motion in now living in New York City one smooth line from beginning to end, drawing the CiDrden of Ught listener into a compelling story that hurtles through the ages from the creation of the world to an imag- Instrumentation: The orchestra comprises 4 flutes ined future. (2 doubling piccolo), 4 oboes (1 doubling.English horn), In Garden of Light, the composer has created a 4 clarinets (2 doubling bass clarinet, 1doubling E-f1at clarinet), 3 bassoons, 1contrabassoon, 6 horns, 4 trumpets, sound tapestry of words and music that unite to pro- 4 trombones, tuba, timpani, percussion (listed below'), duce several principal metaphors. Kernis has said harp, piano, celesta, synthesizer, small instrumental that he meant for the garden imagery not only to ensemble (soprano, alto, tenor, and baritone saxophone, evoke the Garden of Eden-a reference that becomes as well as electric guitar and electric bass), and strings, apparent in listening to the work-s-but also to pre- with chorus, children's chorus, and five vocal soloists (soprano, mezzo, tenor, baritone, and boy soprano). sent a sonic tapestry whose wholeness is strength- ened by its myriad parts. Just as a garden is a mosaic "The percussion section Includes 6 musicians performing of small things that come together to form a unit, so on 6 almglocken (Alpine cowbells), high anvil, 6 small the Garden of Light comprises many small images Asian bells,2 hotel bells, small bells, medium and large bass drums, 2 high bell plates, 2 high and 1medium and sound fragments that contribute to the luster of bongos, chimes, 2 wooden clappers, crotales, small and the whole. large cymbals, high and medium size cymbals, splash Garden of Light depends heavily upon the libretto cymbal, suspended cymbals (2 high, 2 medium, and 1low), for its images. The Big Bang of creation in Part I, glockenspiel, 3 chimes, gongs, low and medium lion's roar, marimba, ratchet, 2 metal shakers, wooden shaker, snare "Morning of the World," and the vignettes (or drum, tambourine, tamtams (1 each: small, medium, and tableaux, as Kernis has called them) in Part II, "Ta- large), high and medium timbales, medium and low pestry of Home;' suffuse the work with light. Kernis tomtoms,3 high and 2 medium triangles, vibraphone, invokes the discovery of fire, the spiritual enlighten- whip, piccolo wood block, and xylophone. ment of Buddha, the light of Michelangelo's creativ- ity, sparks of love between Romeo and Juliet, the IN 1998 DISNEY ENTERPRISES APPROACHED discovery of electricity and invention of electric light, composers Aaron Jay Kernis and Michael Torke with and the mysterious reflections of Earth and Moon as an idea for celebrating the new millennium in music. witnessed by the first astronauts. Disney's CEO Michael Eisner, inspired by Mahler's Energy and light have their opposites, which also Eighth Symphony (the Symphony of a Thousand), take their places in this Garden. Through centuries of commissioned the two composers to write contem- violent acts such as the Inquisition's intolerant bon- porary works similarly grand, and expressive of the fire and the awful energy of the Holocaust and the 21st century. Eisner assigned the project to Disney's Atom Bomb, humanity has strayed far from the light director of artistic events, [ean-Luc Choplin, for im- of creativity, wreaking havoc upon the idea of home plementation. The resulting compositions-Kernis's and harmony. The prominent Garden of Light and Torke's Four Seasons-received metaphor of Home should be under- their first performances by the New York Philhar- stood not only as a domestic haven, monic under Music Director Kurt Masur on October but also as the haven of all humanity: 8,9, and 12, 1999. the Earth. Disturbances that humans Kernis imagined a celebration of the new millen- have introduced through the ages have nium that began with a review of the world up to the contributed to the breaking up of end of the twentieth century and continued with a Home at all levels, from the personal to hopeful possibility for the future. Garden of Light the global. evokes the creation of the world and the beginning of Kernis has knit together the quickly consciousness and moves forward in time through flowing text with several remarkable vignettes that embody humankind's relationship musical elements that contribute to the with light-and darkness-through the ages. In spite strength of the entire fabric. Those of the disturbances caused by mankind's attraction unifying elements include a "creation to darkness, Garden of Light ultimately reflects the chord;' a unique harmonic world, re- light of hope, as children and parents embrace in the peating rhythmic figures, use of varia- strengthening power of familial love. Everything tion and canon, and imaginative leads to Home, the ultimate goaL orchestral scoring. Kernis cast this musical journey as a two-move- There's no lingering on primordial ment oratorio, a large work for orchestra, choruses, darkness in Kernis's version of the and five vocal soloists, including a boy soprano. world's birth. Garden of Light begins with a unison Aaron Jay Kernis Since the work's 1999 premiere, he has made slight attack on the note E, as trumpets and triangle impel revisions to Garden of Light, and the new version re- a great rush of ascending sixteenths to what Kernis ceives its first performances in the present concerts. calls the ur-chord, the moment of creation, which In many oratorios-Messiah, perhaps, being the occurs in a dazzling fortissimo moment shared by most familiar-sparse textual materials are extended the entire orchestra, bottom to top. This chord will through repetition, with the result that an entire sung return even more magnificently, augmented by section may comprise lengthy musical materials and voices, at the end of Part I. In the meantime, the

SEPTEMBER 2002 • 39 chord's rich overtone structure yieldssonic materials Place?"was originally written as an independent solo that unite the movement. The creation story unfolds song. Its text and music lent themselves to the con- with inanimate beings, then animate, and, finally, cept that Kernis developed for his oratorio: a medi- human creatures awakening to a fully conscious tation that would eventually lead from centuries of Composer Aaron Jay Kernis world, dazzled, bathed in the light of a brilliant A- fractured light and threatening darkness to the har- has served as the Minnesota major chord. mony and fulfillment oflove and home. Orchestra's new music advisor Throughout the oratorio Kernis makes spectac- At the conclusion ofthe baritone's solo, the choir since 1998. The position suits ular use of the orchestra's sonic resources in order begins an extended a capella passage that embodies Kernis perfectly, since it to evoke the visual phenomenon of light. He pep- in both text and harmonic materials the hopefulness requires not only extraordinary pers the score with metallic instruments such as and peace that ultimately crown the entire work. musical gifts, but also afinely flute, trumpet, triangle, bells, piccolo, and horns, From this point to the end, the journey is complete, developed social sensibility. A which not only create bright sounds, but also re- as the Garden is suffused with the light of musical recipient of many prestigious flect light from their surfaces. Kernis also assigns consonance, steady harmonies, and full use of or- awards, including a prominent roles to metal and wood percussion in- chestral brilliance. The vicissitudes depicted earlier Guggenheim Fellowship, a struments, which add their rapid clicking and rat- in Part II find resolution in the warm embrace of Grawemeyer Award, and a tling rhythmic punctuation to the sonic mixture, parent and child. At this ultimate arrival, Kernis for Pulitzer Prize, Kernis has thus intensifying the impression of light and con- the first time uses textualrepetitions to dwell on im- repeatedly demonstrated his stant activity. ages of love, freedom, hope, and home. "With our musical prowess in Kernis has used a variation technique in the mu- children's/parents' loving embrace we are home." compositions that have great sicalsetting of the nine tableaux of Part II. At the in- With this thought, the Garden of Light concludes in appeal both to audiences and vention of fire ("I left my home to discover the the warmth and consonance of a glowing D-major to performers. CDs of his world ... ;' sings the boy soprano), the flute has an chord. The Garden of Light, it turns out, is truly a music (including his Argo important solo that serves as model for subsequent Garden of Life. recording with the Minnesota orchestral material-solo instruments and sec- -Program note by Sandra Hyslop Orchestra) have received tions-in the march toward the twentieth century. Grammy Award nominations, The repeating sextuplet patterns, as well as a recur- Aaron Jay Kernis extends thanks to the project as well as other important ring motif based on the interval of a fifth, form a set coordinator, lean-Luc Choplin, and the librettists, recording prizes. Behind the of variations that maintain up to the moment of the Menna Elfyn and David Simpatico. In addition, he scenes, Kernis demonstrates baritone solo "Is There a Place?" expresses his gratitude toJohanna Keller, Claudia Roth gifts that the audience rarely This is the turning point of the Garden of Light. Pierpont, and Wendy Walters, who provided

experiences first-hand. A The only pre-existing music in the work, "Is There a meaningful help through their editorial suggestions. \ generous and supportive / colleague of other composers, Kernis works tirelessly with Minnesota Orchestra artistic, education, and public affairs staff members to create and implement new programs, visit schools, review and recommend new scores,and speak with audiences and the media. All of this Kernis undertakes in addition to his own work as a composer. Frequendy sought outfor commissions, he has created a wide range of works for small instrumental ensembles, large orchestralforces, and soloists of many instrument and voice types. His Valentines,a song cyclefor soprano and orchestra, was a Minnesota Orchestra Centennial Commission premiered by Renee Fleming in April 2000. -Sandra Hyslop

From left: Aaron Jay Kernis, composer; Michael D. Eisner, chairman and CEO of The Walt Disney Company; Deborah Borda, [former 1 executive director; Muchael Torke, composer; Tho mas Schumacher, president of Walt Disney Feature Animation and Walt Disney Theatrical Producsions; Kurt Masur, New York Philharmonic's [former 1 music director; and Jean- Luc Choplin, vice president of creative projecis; Walt Disney Attractions, gathered for the announcement of Disney's commissions of Kernis and Torke to compose millenniunn works, 1999 in New York City.

Photo: Chris Lee, courtesy the New York Philharmonic

40 • SHOWCASE