February 14 – March 31, 2012 An die Musik

The Schubert Club • Saint Paul, Minnesota • schubert.org Photo: Uwe Arens schubert.org 1

An die Musik

February 14 – March 31, 2012

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

Table of Contents

9 A Brief History of The Schubert Club

10 Announcing the 2012-2013 Season

11 Calendar of Events

12 Julia Fischer and Milana Chernyavska

18 Ysaÿe Quartet

22 The Schubert Club Museum: Letter from Ysaÿe

24 Accordo

26 Menahem Pressler

28 Christian Tetzlaff

31 Courtroom Concerts

38 The Schubert Club Officers, Board of Directors and Staff Hardanger fi ddle, owned by Norwegian violinist Ole Bull, from The Schubert Club Museum Photo by Natasha D’ Schommer, from the book To Music. 39 The Schubert Club Annual Contributors: For more information visit schubert.org/tomusic Thank you for your generosity and support

Turning back unneeded tickets:

If you know you will be unable to attend a performance, please notify our box office as soon as possible by calling 651.292.3268 or schubert.org/turnback. Donating your unneeded tickets entitles you to a tax-deductible contribution for the face value of the tickets. Turnbacks must be received one hour prior to the performance. Thank you for your contribution! The Schubert Club Box Offi ce: 651.292.3268

schubert.org 5 Dear Friends of The Schubert Club,

Welcome to the new edition of An die Musik which includes An die Musik information about our concert programs during February and Du holde Kunst, in wieviel grauen Stunden, March, and the eagerly awaited Wo mich des Lebens wilder Kreis umstrickt, announcement of our 130th Hast du mein Herz zu warmer Lieb entzunden, anniversary season. I am certain you will want to fl ick to page 10 Hast mich in eine beßre Welt entrückt! immediately (if you haven’t already) to see the stellar line up of guest soloists and ensembles we have engaged for next season. Oft hat ein Seufzer, deiner Harf ’ entfl ossen, I’d like to pay homage to my predecessor Kathleen van Bergen Ein süßer, heiliger Akkord von dir (and of course Julie Himmelstrup, Artistic Director of Music in Den Himmel beßrer Zeiten mir erschlossen, the Park Series) for putting this amazing program together. Du holde Kunst, ich danke dir dafür! –Franz von Schober March is our Student Scholarship Competition month, named for another great Schubert Club predecessor, Bruce Carlson. We have To Music 200 young instrumentalists and singers from all over the Midwest You noble art, in how many dreary hours, competing for scholarships totaling approximately $50,000. When life’s mad whirl has snared me, Have you kindled my heart to a warmer love, The Schubert Club Board and Staff have begun a process of Have you released me into a better world! strategic planning with the intention of mapping out the next 5-10 years of programming. If we have contact details for you, Often has a sigh, fl owing from your harp, there’s a good chance that we may soon send you a short survey to A sweet, divine chord from you, ask for some thoughts about us. We think it is vital to get as much Revealed better times, as if heaven-sent. feedback as we can from our audiences, from our Museum visitors You noble art, I thank you! and from participants in the various educational programs we run, as we make important decisions about how we focus our efforts and resources going forward. I do hope you will help by giving the survey 15 minutes of your time, should we approach you.

Whatever decisions we make about our future, I can assure you that music of the highest quality will always be central to The Schubert Club and I hope you enjoy whichever performances you choose to attend.

With warmest wishes,

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

6 THE SCHUBERT CLUB An die Musik get noticed.

Advertising in The Schubert Club program magazines will get you noticed.

[email protected] www.artsandcustom.com 952.843.4603 March 31 8:00 pm Ashu Award winning concert saxophonist Ashu with pianist Kuang-Hao Huang. Classically trained, Ashu has pizzazz to burn!

April 28 8:00 pm Bruce Henry and Friends In a Tribute to Marvin Gaye Relive the music of the “Prince of Motown,” Marvin Gaye as interpreted by vocalist Bruce Henry, his band and guest artists.

May 12 8:00 pm Lee Engele presents Trad Jazz All Stars with Evan Christopher Local vocalist Lee Engele is joined by nationally- recognized clarinetist Evan Christopher and a group of vocal and instrumental all-stars.

Tickets: 952-979-1111 HOPKINS CENTER FOR THE ARTS 1111 Mainstreet, Hopkins www.hopkinsartscenter.com

8 THE SCHUBERT CLUB An die Musik A Brief History of The Schubert Club

The Schubert Club was launched on an autumn afternoon in the year 1882. Marion Ramsey Furness, daughter of Governor Ramsey, along with some music-loving friends, formed a club they called “The Ladies Musicale.” The first meetings were social gatherings with club members providing musical 130th Anniversary counterpoint. Concerts, lectures and study groups were soon organized, and before long the name was changed to honor composer . In 1893, by adding the International Artist Series to its programs, the women began presenting some of the finest artists of the day—including the recital debuts in Saint Paul of in 1928, Dietrich Fischer-Dieskau in 1955, Leontyne Price in 1961, Mstislav Rostropovich in 1963, and Cecilia Bartoli in 1996, among many others. Following decades of musical collaboration, the venerable Music in the Park Series became part of The Schubert Club in 2010. Schubert Club audiences now total more than 30,000 people a year.

Promoting music in education has long been an important part of The Schubert Club’s activities. The annual student scholarship competition, begun in 1922, awards more than $50,000 each year to young musicians. Project CHEER offers free piano and guitar lessons to families for whom music instruction would not otherwise be a priority. Additional special grants for music education are awarded annually to deserving young musicians. Ford Music Hall, at the corner of Saint Peter and Sixth The Schubert Club Museum, inaugurated in 1980 and Streets in downtown Saint Paul, was the location of remodeled and expanded in 2009 and has been visited by more The Schubert Club’s public concerts from 1893 to 1912. than 20,000 since then. It features both exotic and familiar The luxurious third-fl oor auditorium was known through musical instruments, historic keyboards, and letters from such the years variously as Conover Hall, Raudenbusch Hall famous composers as Beethoven, Mozart and Haydn. and The Odeon. The building was razed in the 1970s; the site is now a small park called Landmark Plaza. Today, nearly 130 years from its founding, The Schubert Club— no longer a club—has secured a prominent place among musical organizations. Its tradition of promoting the fi nest in musical arts continues into the twenty-fi rst century in its concerts, education programs, and museum. The Schubert Club is thriving.

schubert.org 9 Elias Quartet Photo: Colin Bell Photo: Colin

Baiba and

Stephen Hough, piano Lauma Skride, violin and piano Borggreve Photo: Marco

2012-2013 Season International Artist Series Karita Mattila, soprano Wednesday, October 3, 2012

Stephen Hough, piano Tuesday, November 20, 2012

Alisa Weilerstein, cello Inon Barnatan, piano Tuesday, January 8, 2013

James Valenti, tenor Saturday, February 9, 2013 Philharmonia Karita Mattila, soprano Quartett Berlin Anne-Sophie Mutter, violin Lambert Orkis, piano James Valenti, tenor Anne-Sophie Mutter, violin Monday, March 11, 2013

Music in the Park Series Philharmonia Quartett Berlin Sunday, October 7, 2012

Baiba Skride, violin Lauma Skride, piano Sunday, October 28, 2012

Aulos Ensemble, with Dominique Labelle, soprano Sunday, November 25, 2012

David Finckel, cello Wu Han, piano Sunday, January 27, 2013

Elias Quartet Sunday, March 24, 2013

Shanghai Quartet Sunday, April 28, 2013 Photo: Tina Tahir / DG Tahir Photo: Tina Photo: Arturo Norbre Announcing the 2012-2013 Season • schubert.org 130th Anniversary Calendar of Events More information at schubert.org Box office 651.292.3268

February – April 2012 Thursdays, Febuary 16 – April 26 • 12:00 PM Courtroom Concert Landmark Center 317

February 2012

Wednesday, February 15 • 8:00 PM Ordway Center Grand Le Photo: Antoine Julia Fischer, violin & Milana Chernyavska, piano

Friday, February 24 • 6:15 & 7:30 PM St. Matthew’s Episcopal Sandrine Piau Family Concert: Ross Sutter & Laura MacKenzie

Sunday, February 26 • 4:00 PM St. Anthony Park UCC April 2012 Ysaÿe Quartet April 13, 14, 20, 21 • 8:00 PM The Cowles Center April 15, 22 • 2:00 PM March 2012 James Sewell Ballet & Parker Quartet Monday, March 12 • 7:30 PM Christ Church Lutheran Accordo Sunday, April 15 • 4:00 PM St. Anthony Park UCC Kalichstein-Laredo-Robinson Trio Tuesday, March 13 • 8:00 PM SPCO Center Menahem Pressler, piano: “A Life of Music” Mondays, April 16 & 23 • 7:30 PM James J. Hill House Hill House Chamber Players Monday, March 19 • 8:00 PM Ted Mann Concert Hall Christian Tetzlaff, violin Friday, April 20 • 7:00 PM Sundin Hall Student Scholarship Competition Winners Recital Friday, March 30 • 6:15 & 7:30 PM St. Matthew’s Episcopal Family Concert: Ancia Saxophone Quartet Wednesday, April 25 • 8:00 PM Ordway Center Matthias Goerne, baritone & Leif Ove Andsnes, piano

Parker Quartet Friday, April 27 • 6:15 & 7:30 PM St. Matthew’s Episcopal Family Concert: Escher & Jason Vieaux, guitar

Sunday, April 29 • 4:00 PM St. Anthony Park UCC & Jason Vieaux, guitar

May 2012 Tuesday, May 1 • 7:30 PM Landmark Center Sandrine Piau, soprano & Susan Manoff, piano

Monday, May 14 • 7:30 PM Christ Church Lutheran

Photo: Janette Beckman Accordo

schubert.org 11 The Schubert Club

presents

Julia Fischer, violin Milana Chernyavska, piano Program

Sonata in B-fl at major, K. 454 Wolfgang Amadeus Mozart Largo—Allegro Andante Allegretto

Rondo brillant in B minor, Opus 70, D. 895 Franz Schubert

Intermission

Sonata in G minor (1917) Claude Debussy Allegro vivo Intermède: Fantasque et léger Finale: Très animé

Sonata No. 1 in D minor, Opus 75 Camille Saint-Saëns Allegro agitato—Adagio Allegro moderato—Allegro molto

This evening’s concert is dedicated to the memory of Reine H. Myers by the John Myers Family, Paul Myers Jr. Family and John Parish Family

Please turn off all electronic devices.

12 THE SCHUBERT CLUB An die Musik Maud Moon Weyerhaeuser Sanborn International Artist Series

Wednesday, February 15, 2012 • 8:00 PM Ordway Center for the Performing Arts

In April 2011, Decca released Ms. Fischer’s latest recording ‘Poème’ featuring Chausson’s Poème, Respighi’s Poema Autunnale, Suk’s Fantasy in G minor and Vaughan Williams’s The Lark Ascending to great critical acclaim. This highly poignant album is also the last recording of the late Yakov Kreizberg – a close collaborator of Ms. Fischer for years – conducting the Orchestre Philharmonique de Monte Carlo. The recording was featured on the quarterly “Bestenliste” of the prestigious Preis der Deutschen Schallplattenkritik.

This recording was preceded by the fall 2010 release of Paganini’s 24 Caprices and her 2009 best-selling debut recording for Decca of Bach violin concertos with the Academy of St. Martin in the Fields. Upon its U.S. release the recording became the fastest-selling classical music debut in iTunes history. Previous recordings were released on the PentaTone label. Her debut CD, a recording of Photo: Decca/Uwe Arens Julia Fischer, violin Russian Violin Concertos by Khatchaturian, Prokofi ev and Glazunov with the Russian National Orchestra under Yakov Kreizberg, won Germany’s coveted ECHO Award in German violinist Julia Fischer is recognized worldwide 2005. Ms. Fischer recorded Bach’s Sonatas and Partitas for for possessing a talent of uncommon ability and as an Solo Violin in 2005 and this recording earned worldwide exceptionally gifted artist, refl ected in the numerous critical praise including the rare distinction of winning three awards and effusive reviews she has received for both of France’s most prestigious awards: the Diapason d’Or from her live performances and recordings, including being Diapason; the CHOC from Le Monde de la Musique; and the named “Artist of the Year” at The Gramophone Awards highest rating from Classica-Repertoire. The Bach recording in 2007 and “Instrumentalist of the Year” at the 2009 also saw her awarded the BBC Music Magazine Award as MIDEM Classical Awards. “Best Newcomer” in 2006. In 2007, her Tchaikovsky Violin Julia Fischer started the 2011-12 season at the Concerto recording saw her awarded the ECHO award for Lucerne Festival with the London Philharmonic Orchestra “Instrumentalist of the Year”. and Vladimir Jurowski and a subsequent tour to London, Born in in 1983, Ms. Fischer began learning the Luxembourg and Frankfurt performing the world piano with her mother at age three and soon thereafter premiere of Matthias Pintscher’s violin concerto “Mar’eh” started taking violin lessons. She became a pupil of Ana – a piece dedicated to Ms. Fischer. Other highlights of season Chumachenco at the Munich Academy of Music and at just include European tours with the Academy of St. Martin in 11-years-old, she won the Yehudi Menuhin International the Fields as well as with the St. Petersburg Philharmonic Violin Competition, an event that catapulted her towards Orchestra. Guest appearances will see Ms. Fischer with a career as a soloist. Throughout her career, Ms. Fischer the Orchestre Philharmonique du Luxembourg and has always maintained her piano studies. On January 1st, Emmanuel Krivine, the Orchestre Philharmonique de 2008 she made her professional piano debut at the Alte Monte Carlo, the Staatskapelle Dresden and the Oper Frankfurt performing the Grieg Piano Concerto with Munich Philharmonic Orchestra as well as with the the Junge Deutsche Philharmonie and conductor Matthias Tonhalle Orchestra Zurich under the baton of David Zinman. Pintscher. On the same program, she performed the Saint- Recital tours with pianist Milana Chernyavska will take her to Saëns Violin Concerto No. 3. A DVD of this concert, recorded Italy and Spain as well as to six cities in the U.S. The season is by Unitel Classica, was released by Decca in September 2010. rounded off with recital and chamber music performances at the Menuhin Festival in Gstaad and Copenhagen’s Tivoli Personal Management to Ms. Fischer: J.F. Mastroianni and Kristin Schuster, Concert Hall in summer 2012. IMG Artists, . Ms. Fischer is exclusive to Decca Records.

schubert.org 13 Milana Chernyavska, piano

Milana Chernyavska was born in Kiev in the . also produced solo and chamber music recordings for At the age of five she took her first piano lessons EMI, Naxos, Claves, Avie and Ars Musici. With EMI she before entering the School for Gifted Children at the produced a CD which was selected as one of the best Tchaikovsky Conservatoire two years later. At seven, she CDs of 2001 by the BBC Music Magazine. She has led performed her first concert in the Great Philharmonic performances around the world, including Wigmore Hall Hall in Kiev and then went on to win the first in London, Concertgebouw in , Herkulessaal international chamber music competition Concertino in Munich, Châtelet in , the Conservatoire in Praga at only twelve years of age.In 1990 Milana Moscow, the St. Petersburg Philharmonic Hall and the graduated with distinction from the Tchaikovsky Suntory Hall in Tokyo. Concert tours included most Conservatoire, where she studied with Professor European countries, Canada, the USA and and she Sagaidachny. She then undertook masterclasses has been invited to numerous international festivals. with Professors Baschkirov, Bloch and others, and Milana is also much in demand as a chamber musician, continued her studies at the Academy for Music and working together with Lisa Batiashvili, Julia Fischer, Theatre in Munich with Professors Hoehenrieder and Adrian Brendel, Daniel Müller-Schott, Vogler-Quartett, Oppitz. Her artistic abilities have won her many prizes David Garrett, David Frühwirt, Susanna Henkel and at both national and international levels, including others. In addition to her performances she has also a Gold Medal at the Vladimir and Regina Horowitz taught at the Academy for Music and Theatre in Munich Competition in 1994. Since 1994 Milana has also held and is a Professor at Art University in Graz. the title “Outstanding Artist in the Ukraine.”

Since 1998 Milana has appeared as soloist with a number of orchestras, including the Munich Chamber and Ukrainian National Symphonic Orchestras. Additionally, she was recorded at performances with the Bavarian, Hessian, Middle German (MDR) and North German (NDR) Radio; as well as for the BBC, the VRS, Radio France and the National Ukrainian Radio. She has

14 THE SCHUBERT CLUB An die Musik Program Notes

Sonata in B-fl at major, K. 454 Wolfgang Amadeus Mozart (b. Salzburg, 1756; d. , 1791) We owe the existence of this, Mozart’s grandest violin sonata, to the Mantuan virtuosa Regina Strinasacchi, who had the wit to commission a piece from Vienna’s most ragingly successful composer for her fi rst series of concerts in the Austrian capital. Praised by Mozart as a player of taste and sensibility, she gave a concert in Vienna on March 29, 1784 and another on April 29, and it was at the latter that this sonata was introduced, and under circumstances to make any composer’s or performer’s Josef Slavík, portrait by Jan Vilímek blood run cold—today, at any rate. That Strinasacchi received her part barely in time for the concert, that the twenty-eight-year-old composer-pianist had time to write Rondo brillant in B minor, D. 895 his own part out only in a few stenographic notations, Franz Schubert that the two had never met for a rehearsal, seems not (b. Vienna, 1797; d. Vienna, 1828) to have fazed either of the two musicians. (Strinasacchi, The Rondo in B minor was composed in October 1826 for who lived until 1839, was a resilient twenty-three at the the twenty-year-old violinist Josef Slavík, a Czech virtuoso time.) The Sonata was received with tumultuous applause new to Vienna. It was published the following year as and was offered to the public in print just two and a Opus 70. Slavík was an inspiration to Schubert in the last half months later. The announcement by the publisher years of the composer’s life. Schubert would compose the Torricella presents the work as one of “three pianoforte Fantasy in C major, D. 934 for him, and Slavík also would sonatas, of which two are for the pianoforte alone and of rehearse the last, monumental Quartet in G major. which one has an accompaniment for an obbligato violin.” Mozart’s own catalogue entry lists it as “a piano sonata Schubert gives us a two-tempo structure. The violinist with a violin.” And like the other sonatas on this program, struts her stuff immediately, sweeping across two it is a duet for equal partners. octaves in a stroke of the bow. The last two notes of the Andante pose a question. The Rondo theme answers It is the only one of Mozart’s sonatas to indulge in in three distinct tones of voice: playful, then sweet, the splendid gesture of a slow introduction. Its initial then boisterous (with Czech fl avor). A second theme is gestures are grand in a formal sort of way, but by the announced by soft trumpets. Later, a skipping G-major fi fth bar Mozart is writing throbbing accompaniments violin tune is echoed dreamily by the piano. Twice, its and expansively songful lines that are altogether development takes daring steps down the tonal stairway. personal. These commanding preparations introduce a Schubert is popularly portrayed as a great melodist, but rich and beautifully poised allegro, it’s his harmony—the way he pivots in mid-phrase to an uncommonly serious and skitter off into a distant key—that fascinates theorists. poignant slow movement (“andante” being Mozart’s Trying his luck in Paris, Slavík was befriended by Chopin: second thought to replace “Slavík fascinates the listener and brings tears into his his original direction of eyes. He plays like a second Paganini, but a rejuvenated “adagio”), and a most one, who will perhaps in time surpass the fi rst. Ninety-six delightful, varied, and staccato notes in one bow!” But the Czech would not get glittering rondo. the chance. He would die suddenly in 1833, seven years before Paganini. © Michael Steinberg © 2011 David Evan Thomas

Mozart, drawing by Dora Stock, 1789

schubert.org 15 Program Notes continued

Sonata in G minor (1917) sonata in other ways as well: the entire set was dedicated Claude Debussy to the memory of Debussy’s mother, who had died in (b. Germain-en-Laye, 1862; d. Paris, 1918) March 1915, and the Léon Vallas biography tells us as well that the composer intended these works “as a secret, The title page of the fi rst edition of Debussy’s Sonata for fervent tribute to the youth of France mowed down by the Violin and Piano reads: scythe of war.” Appending “musicien francais” to his name was also a war-inspired gesture, and Debussy’s urgent need SIX SONATES pour divers instruments to make the statement that French thought would not be Composées par CLAUDE DEBUSSY Musicien Français destroyed fed his will to work in the face of ravaging illness. La Troisième pour Violon et Piano Debussy was at the piano both for the unoffi cial premiere at “Six Sonatas”—that was tempting providence, or, if you a hospital for soldiers blinded in the war and for the offi cial prefer a more rationalistic formulation, fl ying in the face one in Paris a few days later, on 5 May 1917. His partner of probability. The rectal cancer that was to bring Debussy both times was Gaston Poulet. About that time Debussy a drawn-out and hideous death had already begun to wrote to Gabriel Fauré, declining an invitation to take part in manifest in 1915 when, after an interval of a couple of years, another concert, that he really could no longer play—there he resumed composing and planned his sonata project. He were too many keys and not enough fi ngers, and he forgot began writing like a madman, he said, and in quick succession where the pedals were. A witness at the concert described composed two sonatas, one for cello and piano, another for him as being “the color of molten wax, or ashes.” fl ute, viola and harp, as well as two of his most visionary works for keyboard, the two-piano suite En blanc et noir and This one is the nearest to orthodox of Debussy’s three the Twelve Etudes. In the fall of 1916, when he found the sonatas, though even here nineteenth-century manner beginning of the third sonata of the projected six, he was and form have been left far behind. Nothing could be desperately ill and “suffering the tortures of the damned.” He more ordinary than the fi rst two chords if we take each was worse when he completed the work in the spring of 1917. as a separate component—one of G minor, another of C major—but juxtaposed as they are, they open a vista He lingered on another year and, while he continued to onto a harmonic landscape that is amazing. The brevity cling to his long-cherished hope of writing an opera on of the music strikes us, and so does the wittily aphoristic Poe’s The Fall of the House of Usher, the Violin Sonata manner of proceeding from thought to thought. No turned out to be the last work he was able to complete. less remarkable is the way in which this Gallic lightness (No. 4 in the series, for oboe, horn, and harpsichord, would of touch, this elegance, is at the service of a variety have been the fi rst major work in the twentieth-century of utterance running the range from champagne harpsichord revival.) The shadow of death hangs about the effervescence to urgent, richly shadowed passion.

The tempo of the fi rst movement is quick and its measures are short, but Debussy phrases across the bar lines with such fl exibility and in such large and easy breaths that we lose all sense of meter. The Intermezzo, which Debussy wants to sound “fantastical and light,” is the last of his many serenades, now capricious, now languorous. The fi nale continues as a distant echo of this mood. The sounds of guitars and cicadas softly fi ll the air, but the song to which this is the accompaniment turns out to be the gently melancholy theme of the fi rst movement. Even as the fi rst two chords foretold, there is constant confl ict between major and minor. It is the bright major that fi nally wins out. To quote Debussy once more (and, given his illness, in a moment of remarkable black humor): “[The fi nale] goes through the most curious contortions before ending up with a simple idea which turns back on itself like a snake biting its own tail—an amusement whose charm I beg leave to doubt.”

© 1988 Michael Steinberg Claude Debussy

16 THE SCHUBERT CLUB An die Musik symphony of the kettle…[waiting with] passionate curiosity for its fi rst murmurs, its slow crescendo so full of surprises, and the appearance of a microscopic oboe whose sound rose little by little until the water had reached a boiling point.” At three, he could fi nd his way about the keyboard and at four years and seven months he played the piano part of one of Beethoven’s violin sonatas at a private concert. On 6 May 1846 in the Salle Pleyel in Paris—he was now ten and a half—he made his formal debut, playing concertos by Mozart and Beethoven, as well as solos by Bach, Handel, Hummel, and Kalkbrenner, and offering to play as an encore any Beethoven sonata requested, from memory of course. His widowed mother and his great-aunt did not, however, exploit him as a prodigy, and the next years were devoted to study, not just of music but of humanistic and scientifi c disciplines as well. He became a formidable presence on the French musical scene and at least in the Symphony No. 3 he both aspired to and reached the heights. Charles Gounod Camille Saint-Saëns was in the audience when Saint-Saëns introduced that work in Paris in 1887 and announced, as the composer left the stage, “There goes the French Beethoven!” No doubt that Sonata No. 1 in D minor, Opus 75 was quickly reported to Saint-Saëns, and he must have loved Camille Saint-Saëns it. It often seems as though Saint-Saëns gets to us more (b. Paris, 1835; d. Algiers, 1921) when he is content to charm and seduce. The D-minor Violin The dates amaze: he was born the year of Lucia di Sonata is one of those works. Lammermoor, I puritani, and Schumann’s Carnaval; when he He was fi fty when he composed it in 1885. The 1870s died, Alban Berg had nearly fi nished orchestrating Wozzeck. and 1880s were, in all, the best period of Saint-Saëns The Pickwick Papers and The Waste Land were written within long creative life, and this sonata is a fi ne example of his his lifetime. The entire life spans of Mahler and Debussy, intelligent elegance at its best. Heifetz was fond of it and of Grieg, Bizet, Dvorˇák, Mussorgsky and Tchaikovsky were made a memorable recording of it with Emanuel Bay. comprehended within his own. He was born in the reign of Louis-Philippe and just six years after George Stephenson’s The sonorities of the fi rst movement are powerfully spare, Rocket had frightened the horses by steaming along iron and with superlative skill, Saint-Saëns has devised a keyboard rails between Liverpool and Manchester at sixteen miles an part that, for all its brilliance, never threatens to swamp the hour. When he died, France was a republic; it was curtains violin. A striking effect, and unusual for Saint-Saëns, is the for the Russian, Austro-Hungarian, and German empires rhythmic irregularity produced by the insertion from time to (the last of which had been founded when he was thirty- time of a measure half again as long as its neighbors fi ve); and Captain John Alcock and Lieutenant A. W. Brown (9/8 in a fl ow of 6/8). Saint-Saëns often sought to devise new of the Royal Flying Corps had crossed the Atlantic from formal designs for his large-scale works, the Piano Concerto Newfoundland to Ireland in sixteen hours. No. 4 and the Symphony No. 3 being especially successful in this regard, and this sonata, too, surprises us by proceeding We would have a hard time working out a chronology for his without break from the opening Allegro agitato into an music on the basis of stylistic evidence alone. “This young man Adagio, and one in quite a remote key at that. Its effect knows everything,” said Berlioz, “but he lacks inexperience.” is almost as much one of epilogue as of an independent We are apt to be a little down on him for the combination of statement, and only when this movement has had its say fl uency and emotional detachment that informs so much of does the fi rst real division occur. A quasi-scherzo offers some his music. But that does seem to be how he meant to write. relaxation of intensity. A solemn chord sequence leads, again without break, into the fi nale. This begins with whizzing Berlioz also said that Saint-Saëns was as formidable a scale passages and is altogether a splendid example of musical mechanism as he had ever encountered. Evidence Saint-Saëns’s cool skill at bringing the house down. of prodigious gifts came in early. At two, as Saint-Saëns © 1984 Michael Steinberg. Program notes by Mr. Steinberg recalled, he was listening with precocious connoisseurship used by kind permission of Jorja Fleezanis. to creaking doors, striking clocks, and particularly “the

schubert.org 17 The Schubert Club Music in the Park Series

Ysaÿe Quartet Guillaume Sutre, violin • Luc-Marie Aguera, violin Miguel da Silva, viola • Yovan Markovitch, cello

Program

Quartettstudie Wolfgang Rihm

Quartet in G minor Claude Debussy Animé et très décidé Assez vif et bien rythmé Andantino doucement expressif Très modéré—Très mouvementé et avec passion

Intermission

String Quartet No. 2 in A minor, Opus 51, No. 2 Allegro non troppo Andante moderato Quasi minuetto, moderato Finale: Allegro non assai

Please turn off all electronic devices.

18 THE SCHUBERT CLUB An die Musik Music in the Park Series

Sunday, February 26, 2012 • 4:00 PM Saint Anthony Park United Church of Christ, Saint Paul, Minnesota

This marked the beginning of an international career which has taken the Ysaÿe Quartet from London, Rome and Riga to Washington, Tel Aviv and Tokyo, and to festivals such as Stavanger, Edinburgh and Bonn’s Beethovenfest. The ensemble enjoys a particularly close association with the festival of L’Epau in Northern France. Since 1993 the players’ busy concert schedule has been complemented by teaching activity with string quartet classes at the Paris Conservatoire. They also teach regularly in Riga, São Paulo, Aldeburgh and at the University of Southern California in Los Angeles.

Ysaÿe Records is the quartet’s own recording label, which since 2003 has produced releases of Haydn, Mozart, Beethoven, Schumann, Fauré, Franck, Magnard and others. Contemporary composers also play a central role Ysaÿe Quartet (from left): Yovan Markovitch, in the quartet’s performing activities, among them André Miguel da Silva, Guillaume Sutre, Luc-Marie Aguera Boucourechliev, Pascal Dusapin, Frank Krawczyk, Eric Tanguy and Thierry Escaich, who have all written new works at the quartet’s instigation. In 2006 the Vienna Konzerthaus was Ysaÿe Quartet the venue for the world premiere, in collaboration with Paul Meyer, of a new clarinet quintet by the Austrian composer Friedrich Cerha. Acquired wisdom attributes French musicians with a particular sensitivity for color and timbre–a truism, maybe, In the same year the Ysaÿe Quartet embarked on an but undeniably valid in the case of the Ysaÿe Quartet. The especially close journey with the music of Haydn, ensemble, acknowledged as one of the world’s supreme performing his 69 quartets at the Besançon Festival. In quartets, captivates audiences with its subtlety of nuance 2008 they turned to the Beethoven cycle, performing it at and its exceptional “joy in sound and patience with sound” the Musée d’Orsay in Paris. as the Süddeutsche Zeitung observed after a performance in Munich’s Herkulessaal in early 2009. The concert featured The 2011-2012 season brings appearances in Hamburg two of Beethoven’s late quartets, Op. 127 and Op. 132, and Basel, followed by concerts at the Manchester Royal and the application of French fi nesse to these German Northern College of Music, at the Cité de la Musique in Paris, masterpieces resulted in a profound and memorable and in Italy and The Netherlands–all opportunities for this musical experience. inimitably French ensemble to provide further evidence of its special qualities. The Ysaÿe’s plans include also a sextet The Ysaÿe Quartet, named after the great Belgian violinist, project with two former members of the , composer and quartet player Eugène Ysaÿe, was founded in Valentin Erben (violoncello) and Isabel Charisius (viola). 1984 and rapidly achieved recognition as one of the leading ensembles of its generation. Its members, all from France, studied with Walter Levin of the LaSalle Quartet and with the in Cologne, and in 1988 won fi rst prize in the International String Quartet Competition in Evian, becoming the fi rst French group to do so.

Discography: YSAŸE RECORDS, HARMONIA MUNDI, PHILIPS, and DECCA Exclusive Management: ARTS MANAGEMENT GROUP, INC., 37 West 26th St., New York, NY 10010

schubert.org 19 Program Notes

Quartettstudie (2004) Wolfgang Rihm (b. Karlsruhe, 1952) While the American composer cruises with minimal traffi c down a consonant road, 4000 miles to the east composition has a somewhat sterner face. Even as elders like Lutosławski, Ligeti and Messiaen have departed, modernism remains a potent force on the European scene. One of its most prolifi c and expressive exponents is German composer Wolfgang Rihm, who turns sixty on March 13. In celebration, this year’s String Quartet Biennial at Paris’s Cité de la Musique features Rihm’s complete works for string quartet, including a performance by the Ysaÿe Quartet. Rihm feels a kinship with the Austro-German tradition from The Kampong Javanais, where Debussy heard Beethoven forward, but he is not a serialist. Believing that gamelan music in 1889 “it is not what is systematically derived but what arrives unexpectedly [that] gives life to art,” his methods and impulses— Quartet in G minor and often style—change from work to work. He is especially drawn to stringed instruments. There are twelve numbered Claude Debussy quartets to date and several unnumbered ones like the (b. St. Germain-en-Laye, 1862; d. Paris, 1918) Quartettstudie (Quartet Study). “To me, instrumental virtuosity The Impressionist marketing tag sticks fast to Debussy, though is an enhancement of vocal abilities,” Rihm says. “On stringed it largely indicates a discount. Composer Andrew Imbrie recalls instruments, in particular, I love the drawn-out vocal timbre, a master class with Roger Sessions where Sessions “asked a the vibrating of the ray of time, the energy which collects in the student where one phrase of his composition ended and the note in order to generate the next note. And between the notes next one began.” The student responded: “I wanted it to be there appears, unimaginably, the thing that we can call music.” vague like Debussy.” Sessions replied: “Debussy is never vague.” That music has spilled forth in abundance. In addition to a dozen Looking back on the early 1890s, Debussy recalled: “the operas, there are well over sixty orchestral works. period when I wrote my String Quartet was not exactly one The single-movement Quartettstudie was composed for the of extravagant luxury but, even so, it was the best time of all.” 2004 International Music Competition of the ARD (Germany The young composer had passed through many phases. His Association of Public Broadcasters). It is a rotational structure. Conservatoire training had introduced him to the harmony Frigid, static textures alternate with highly-volatile material, in of Massenet. A Prix de Rome rewarded an academicism he a way reminiscent of Ives’s The Unanswered Question. The viola soon found distasteful. He made two trips to Bayreuth to is frequently the instigator. Rihm’s score bristles with extreme hear Wagner’s Parsifal, Meistersinger and Tristan. “When I met dynamic markings, ranging from pppp to ffff. Beethoven’s symbol Debussy he was full of Mussorgsky,” recalled Eric Satie, “and was for a strong accent (or sforzando) is sf or sfz. Here, sfffz abounds. very deliberately seeking a way that wasn’t very easy to fi nd.” Approaching a Rihm composition for the fi rst time can be a Paris’s Universal Exposition of 1889—the fair for which the Eiffel challenge. There are no conventional themes, nor do traditional keys Tower was erected—provided a direction. It was there that the or modes hold sway. Its beauties are as impersonal as a changeable composer fi rst heard the Javanese gamelan, an orchestra of sky or as fascinating as overhearing an impassioned argument. mostly ringing percussion. Debussy had promised to dedicate his Quartet to Ernest Chausson, but in the end that honor went to the Ysaÿe Quartet. The great Belgian violinist Eugène Ysaÿe led his ensemble in the premiere shortly after Christmas 1893 at a concert of the Société Nationale de Musique. Durand published it as Premier Quatuor, Opus 10, but the composer would never write another quartet, nor would he use opus numbers again. The Quartet is often called cyclic. Moreover, it’s the story of a single theme, which is broken in pieces, stretched apart and viewed from many perspectives. The opening motto-theme, marked “animated and very determined,” is full of possibilities. It mimics the fi ve tones of sléndro, one of two Javanese tunings. Wolfgang Rihm The fi rst two chords are tough and harmonically ambiguous,

20 THE SCHUBERT CLUB An die Musik provocation with rough speech. There is a little fl ourish at the top of the line, and the bass marches down by half-steps. With the “Lively and well paced” scherzo, Debussy strikes out into unfamiliar territory. Never before had the string quartet sounded so percussive. The viola lays down an ostinato (a repeated pattern) based on the motto-theme, and soon there are four different things going at once. This carbonated but static texture imitates superimposed gamelan rhythms. “Remember the music of Java which contained every nuance, even the ones we no longer have names for,” wrote a wistful Debussy to Pierre Louÿs. Much of the Andantino is played muted, and after the wooden tones of the scherzo it glows. The form is simple, the music sustained, heartfelt and “gently expressive.” Oddly, the moments of greatest control, the several points of imitation, are the ones View of the Starnberger See in Bavaria, where Brahms that feel the most improvisatory. spent the summer of 1873. Critic Guy Ropartz detected the “predominant infl uence of young ,” referring perhaps to the deliberately crude harmony that One senses the strong presence of violinist Joseph Joachim in the propels the fi nal movement from “moderate,” to “hectic and many little canons and contrapuntal play of the A-minor Quartet. passionate.” In any case, it’s a thrilling progress, crowned by the Brahms and Joachim had conducted a didactic correspondence most frankly-virtuosic roulade in the quartet literature. A trip up going back to the 1850s. (Some play chess by mail; others the lift to the top of the Tower? exchange canons.) But the pair had recently fallen out. Hence the dedication to Brahms’s friend Theodor Billroth. To begin, we hear an arching phrase, the notes A-F-A-E, and we recognize Joachim’s String Quartet No. 2 in A minor, Opus 51, No. 2 personal motto, Frei Aber Einsam (Free but lonely). Now, anyone Johannes Brahms can write a piece using a cryptogram, but it’s what comes after (b. in Hamburg, 1833; d. in Vienna, 1897) those notes—what’s not so cryptic—that makes the piece. What’s more, the piece doesn’t begin in A minor, but in D, suggesting Brahms spent the summer of 1873 in the Bavarian town of that this relationship is ongoing. Donald Tovey called the second Tutzing on the Starnberger See, where he had a mountain view. subject “one of the most attractive and graceful passages Brahms He had just completed his fi rst year as director of Vienna’s ever wrote,” and one is reminded of a similarly gracious place in Gesellschaft der Musikfreunde, and his compositional energies the Second Symphony. Note the rhetorical silences late in the were pent up. And he was 40. His fi rst task was to write the movement. They are downbeats, moments of great tension. “Haydn Variations.” He then turned to chamber music for the The Andante moderato is famous in compositional circles for fi rst time in eight years, polishing a pair of string quartets in C the way it slowly spins its pensive theme from a series of simple minor and A minor that he had been working on for some time. scale-steps. One would never guess from this opening what is Though he had not yet published a string quartet, Brahms was to come: the central martial canon between the fi rst violin and no stranger to string chamber music. Indeed, he had already cello, accompanied by rustling inner voices, a new and dramatic written two magnifi cent sextets, Opp. 18 and 36. Nor should sound in quartet-writing. it be assumed that he was uncomfortable with the quartet medium. “Brahms claimed that Opus 51 had been preceded The third movement is a minuet about a minuet: its three-beat by twenty discarded quartets,” notes biographer Jan Swafford. measures are grouped in larger groups of three. The cello lays Why had it taken so long? For decades after Beethoven’s death down a frosty drone while the others sing in wintry half-tones. composers were quartet-shy. Beethoven’s sixteen quartets Twice, a scampering version of the theme interrupts (another stood—like his symphonies—as an unassailable wall. Granted, foreshadowing of the Second Symphony). Mendelssohn wrote six quartets and Louis Spohr turned out Three-measure thinking continues in the rondo-Finale. Silence six times that many. But Liszt, Wagner and Berlioz shunned the plays a crucial part here. The swinging second subject appears medium altogether, and others, like Debussy, stopped at one. to break off in a most puzzling way. Eventually, we realize that The string quartet represented abstract musical thought, but the listener is to fi ll in the silences with the inner ear. It’s an idea the Age, with its emphasis on program music and opera, was Brahms takes from Beethoven, but here it’s carried to another abstraction-averse. Brahms’s debut was belated, but it was conceptual level. The movement ends with three strikingly masterly and necessary. different ways of looking at the same material.

Program notes © 2012 by David Evan Thomas

schubert.org 21 The Schubert Club Museum Hours: Sunday – Friday • Noon – 4:00 PM Landmark Center

Letter from Eugène Ysaÿe, 1925

Belgian violinist, conductor and composer Eugène Ysaÿe (1858–1931) was one of the most highly regarded—and most infl uential—artists of his day. Born in Liège into a musical family, he began his violin studies at age fi ve, and was admitted to the Royal Conservatory at seven. His studies there suffered, as he was obliged to play in two orchestras to help support the family. The result was a lack of progress in school and he was asked to leave the conservatory. However, as the story goes, the renowned violin virtuoso Henri Vieuxtemps, passing in the street, heard the twelve-year old Ysaÿe practicing in a cellar and took an interest in him. He was readmitted to the conservatory, studying with the great Polish violinist Henryk Wieniawski and later with Vieuxtemps himself.

Ysaÿe’s international success as a concert artist began while he was still in his twenties and continued well into his later years in spite of increasing ill health. This affectionate letter to his second wife Jeannette Dincin, was written while Ysaÿe was on tour in Poland at age sixty-seven. Widowed in the previous year, Ysaÿe had only recently married again—to a former pupil 44 years his junior.

In his long performing career, Ysaÿe concertized throughout , Russia and America, appearing in Saint Paul in a Schubert Club recital in 1895. He also achieved renown as a conductor, declining to assume the leadership of the in 1898–due to an intense solo performing schedule–but leading the Cincinnati Orchestra from 1918 to 1922. He founded the original string quartet that bore his name in 1886. That group premiered Debussy’s only string quartet—dedicated to the composer’s friend and supporter, Ysaÿe. This same work is performed this month on The Schubert Club’s Music in the Park Series by the Quatuor Ysaÿe. That ensemble, named after the great Belgian violinist, Program from Ysaÿe’s 1895 Schubert Club recital was founded in 1984.

22 THE SCHUBERT CLUB An die Musik “ My fi ngers and the bow did their duty, and I found myself again there as in the greatest days of my career. . . .”

Ysaÿe in 1905

Łódz 24 January 1925 Dear Mum

I have an hour before me and I will employ it in the best way in the world by writing you. As I told you in my previous card, the concert in Warsaw was a happy one: My fi ngers and the bow did their duty, and I found myself again there as in the greatest days of my career. Yesterday evening here was not as good. The very tiny recital with piano immediately after the big one with orchestra did not go well, whether it was fatigue, the letup of effort after last night, or that the magnetic current did not establish itself–I played badly, without creating, as if indifferent, with mediocre physical-technical means, and a capricious and unstable bow - having one and one half days of rest, I hope to fi nd myself back to normal tomorrow in Cracow.

I think a lot of my little mother, of my angel and guardian of the last spring seasons, who knows so affectionately how to help me pass the winters. Each object so carefully placed in my luggage recalls to me your thoughtfulness, attention, desire to be useful, and that does me good, gives me courage, new strength, and sweet promises of the future because your love (charitas), your affection, your devotion to your Maître render my life better and have on me the effect of a Fountain of Youth which keeps my heart warm and beating in spite of everything.

More news soon. I kiss all the loved ones and you triply. E. Ysaÿe First and last page of letter from Ysaÿe, 1925 (Acquired through the generosity of Gilman Ordway)

schubert.org 23 The Schubert Club Northrop Concerts and Lectures and Kate Nordstrum Projects

present Accordo

Steven Copes, violin • Ruggero Allifranchini, violin Maiya Papach, viola • Edward Arron, cello • Ian Ding, percussion

“Bacchanalia”

Program

String Trio in G major, Opus 9, No. 1 (1770-1827) Adagio – Allegro con brio Adagio, ma non tanto, e cantabile Scherzo: Allegro Presto

Meditation, Rhapsody & Bacchanal Jeffery Cotton (b. 1957) for violin & percussion (2004) Intermission

String Quartet in C major, Opus 61 Antonín Dvorˇ ák (1841-1904) Allegro Poco adagio e molto cantabile Allegro vivo Finale: Vivace

Please turn off all electronic devices.

24 THE SCHUBERT CLUB An die Musik Accordo

Monday, March 12, 2012 • 7:30 PM Christ Church Lutheran

Accordo, established in 2009, is a Minnesota-based chamber group made up of some of the best instrumentalists in the country, eager to share their love of classical and contemporary chamber music in intimate and unique performance spaces. Accordo’s 2011–2012 season is presented by The Schubert Club, Northrop Concerts and Lectures and Kate Nordstrum Projects at the National Historic Landmark Christ Church Lutheran, one of the Twin Cities’ great architectural treasures, designed by architect Eliel Saarinen and his son Eero Saarinen. Accordo consists of Saint Paul Chamber Orchestra (SPCO) principal players Steven Copes, violin; Ruggero Allifranchini, violin; Maiya Papach, viola; and Ronald Thomas, cello; and Minnesota Orchestra principal cellist Anthony Ross. This season also includes guest artists Erin Keefe, violin; Rebecca Albers, viola; Edward Arron, cello; Ian Ding, percussion; and Burt Hara, clarinet. Dori Photo: Rose

A native of Los Angeles, violinist Steven Copes joined the SPCO Guest artist Ian Ding has been the Assistant Principal as concertmaster in 1998 and has led the orchestra from the chair Percussionist of the Detroit Symphony Orchestra since 2003 in highly acclaimed, eclectic programs, and performed concertos by and a Lecturer of Percussion at the University of Michigan since Berg, Brahms, Hindemith, Kirchner, Lutoslawski, Mozart, Prokofi ev, 2005. Previously, he was a member of the New World Symphony and Weill. A zealous advocate of the music of today, he gave the in Miami under Michael Tilson Thomas and the Verbier Festival world premiere of George Tsontakis’ Grammy-nominated Violin Orchestra in Switzerland under James Levine. As a hand Concerto No. 2 (2003), which won the 2005 Grawemeyer award, drummer, Ian has appeared with several of Detroit’s top Indian and has been recorded for KOCH Records. Copes was co-founder classical performers as well as with the New York-based acoustic of the Alpenglow Chamber Music Festival in Colorado. He holds music trio Project. Originally from Arlington Heights, Illinois, degrees from The Curtis Institute and Juilliard. Ian played piano and cello before starting drum lessons at the age of ten. He is a graduate from the University of Illinois and Ruggero Allifranchini is the associate concertmaster the in New York. of the SPCO. He was born into a musical household in Milan, Italy. He studied at the New School in with Cellist Edward Arron, a native of Cincinnati, Ohio, made his Jascha Brodsky and later at the Curtis Institute of Music, with New York recital debut in 2000 at the Metropolitan Museum Szymon Goldberg and, for chamber music, Felix Galimir. He was of Art. The 2012-2013 season will mark Mr. Arron’s 10th the recipient of the Diploma d’Onore from the Chigiana Academy anniversary season as the artistic director of the Metropolitan in Siena, Italy. In 1989, he co-founded the , Museum Artists in Concert, a chamber music series created to with which he played exclusively for eleven years. He is the violinist celebrate the 50th anniversary of the Museum’s Concerts and of the trio Nobilis, with pianist and former SPCO Artistic Partner Lectures series. Mr. Arron has performed numerous times at Stephen Prutsman and cellist Suren Bagratuni. Allifranchini plays Carnegie’s Weill and Zankel Halls, Lincoln Center’s Alice Tully and on the “Fetzer” violin made by Antonio Stradivari in 1694, which is Avery Fisher Halls, New York’s Town Hall, and the 92nd Street Y, on loan to him from the Stradivari Society of Chicago. and is a frequent performer at Bargemusic. Mr. Arron has toured and recorded as a member of MOSAIC, an ensemble dedicated Maiya Papach is acting principal viola of the SPCO and to contemporary music. Edward Arron began his studies on served in the same capacity last year. She is a founding member the cello at age seven in Cincinnati and, at age ten, moved to of the International Contemporary Ensemble (ICE), one of the New York, where he continued his studies with Peter Wiley. He leading new music ensembles in the . Prior to is a graduate of the Juilliard School, where he was a student joining the SPCO, she performed regularly with the IRIS Orchestra of Harvey Shapiro. Currently, Mr. Arron serves on the faculty of and the New York Philharmonic. In New York, Papach has New York University. performed in chamber concerts at Bargemusic, Alice Tully Hall, Merkin Concert Hall, and Miller Theater, among others. Papach is a graduate of the Oberlin Conservatory and the Juilliard School.

schubert.org 25 The Schubert Club

presents Menahem Pressler, piano “A Life of Music” Tuesday, March 13, 8 PM • The Music Room, SPCO Center

“Menahem Pressler’s joyous pianism-technically faultless, stylistically impeccable, emotionally irrepressible-is from another age and is a virtually forgotten sensibility. He is a national treasure.” – Los Angeles Times

Menahem Pressler, founding member and pianist of grace the faculties of prestigious schools of music across the Beaux Arts Trio, has established himself among the the world, and have become some of the most prominent world’s most distinguished and honored musicians, with and infl uential artists and teachers today. a career that spans over fi ve decades. He continues to captivate audiences throughout the world as performer Among his numerous honors and awards, Pressler has and pedagogue, performing solo and chamber music received honorary doctorates from the University of recitals to great critical acclaim while maintaining a Nebraska, the San Francisco Conservatory of Music dedicated and robust teaching career. and the North Carolina School of the Arts, six Grammy nominations (including one in 2006), a lifetime Born in Magdeburg, Germany in 1923, Pressler fl ed Nazi achievement award from Gramophone magazine, Germany in 1939 and emigrated to Israel. Pressler’s career Chamber Music America’s Distinguished Service Award, was launched after he was awarded fi rst prize at the and the Gold Medal of Merit from the National Society of Debussy International Piano Competition in San Francisco Arts and Letters. In 2005 Pressler received two additional in 1946. This was followed by his successful American awards of international merit: the German President’s debut with the Philadelphia Orchestra under the baton of Deutsche Bundesverdienstkreuz (German Cross of Eugene Ormandy. Merit) First Class, Germany’s highest honor, and France’s highest cultural honor, the Commandeur in the Order of After nearly a decade of an illustrious and praised solo Arts and Letters award. career, the 1955 Berkshire Music Festival saw Menahem Pressler’s debut as a chamber musician, where he In addition to recording nearly the entire piano chamber appeared as pianist with the Beaux Arts Trio. With repertoire with the Beaux Arts Trio on the Philips Pressler at the Trio’s helm as the only pianist for nearly label, Menahem Pressler has compiled over thirty solo 55 years, The New York Times described the Beaux Arts recordings, ranging from the works of Bach to Ben Haim. Trio as “in a class by itself” and the Washington Post exclaimed that “since its founding more than 50 years ago, the Beaux Arts Trio has become the gold standard for trios throughout the world.” The 2007-2008 season was nothing short of bitter-sweet, as violinist Daniel Hope, cellist Antonio Meneses and Menahem Pressler took their fi nal bows as The Beaux Arts Trio, which marked the end of one of the most celebrated and revered chamber music careers of all time. For nearly 60 years, Menahem Pressler has taught on the piano faculty at Indiana University Jacobs School of Music where he currently holds the rank of Distinguished Professor of Music as the Charles Webb Chair. Professor Pressler has been hailed as “Master Pedagogue” and has had prize-winning students in all of the major international piano competitions, including the Queen Elizabeth, Busoni, Rubenstein, Leeds and competitions among many others. His former students

Please turn off all electronic devices.

26 THE SCHUBERT CLUB An die Musik Matthias Goerne, baritone Borggreve Marco Photo:

Leif Ove Andsnes, piano

April 25, 2012

schubert.org

651.292.3268

schubert.org 27 Photo: Simon Fowleri Photo: The Schubert Club

presents

Christian Tetzlaff, violin

Program

Sonata in G minor for Solo Violin, Opus 27, No. 1 Eugène Ysaÿe Grave: Lento assai Fugato: Molto moderato Allegretto poco scherzoso: Amabile Finale con brio: Allegro fermo

Sonata No. 3 in C major for Solo Violin, BWV 1005 Johann Sebastian Bach Adagio Fuga: Allabreve Largo Allegro assai

Intermission

Sonata for Solo Violin (1944) Béla Bartók Tempo di ciaccona Fuga: Risoluto, non troppo vivo Melodia: Adagio Presto

Please turn off all electronic devices.

28 THE SCHUBERT CLUB An die Musik Christian Tetzlaff

Monday, March 19, 2012 • 8:00 PM Ted Mann Concert Hall

Program notes Christian Tetzlaff builds this program of unaccompanied sonatas around Bach’s monumental and deeply spiritual C-major Sonata. Two centuries after Bach, Eugène Ysaÿe and Béla Bartók created sonatas that pay homage to that master’s spirit and architecture, but speak a more modern musical language and acknowledge the many advances in violin technique and construction.

Sonata in G minor for Solo Violin, Opus 27, No. 1 Eugène Ysaÿe (b. Liège, 1858; d. Brussels 1931) Edward Elgar portrayed his circle of friends in veiled terms in his Enigma Variations, throwing in a splashing bulldog for added color. In his Six Sonatas for Violin Solo, Opus 27, Belgian violinist and composer Eugène Ysaÿe has similarly

Photo: BertazziPhoto: Georgia sketched the characters of violinists he admired. Composed in 1923–24 near the end of Ysaÿe’s performing career, the sonatas honor such legends as George Enescu, Fritz Kreisler Born in Hamburg in 1966 into a musical family, and Joseph Szigeti in their varied styles, often quoting from Christian Tetzlaff began playing the violin and piano the dedicatees’ respective repertoires. at age six. From the outset of his career, Mr. Tetzlaff has performed and recorded a broad spectrum of the repertoire, Ysaÿe studied with Vieuxtemps and Wieniawski, two giants of ranging from Bach’s unaccompanied sonatas and partitas to the Franco-Belgian school of violin playing. He was appointed 19th century masterworks by Mendelssohn, Beethoven, and Professor at Brussels Conservatory in 1886, and by the turn of the Brahms; and from 20th century concertos by Bartók, Berg, and century was acknowledged as “the greatest idol among violinists Shostakovich to world premieres of contemporary works. Also and music lovers of his age,” in Josef Gingold’s words. Franck’s a dedicated chamber musician, he frequently collaborates Violin Sonata and Chausson’s Poème are dedicated to him, with distinguished artists including Leif Ove Andsnes, Lars and his original Ysaÿe Quartet gave the premiere of Debussy’s Vogt, Alexander Lonquich and Tabea Zimmermann and is the Quartet. Among his pupils: Henri Verbrugghen, the second founder of the Tetzlaff Quartet, which he formed in 1994 with permanent conductor of the Minneapolis Symphony Orchestra. violinist Elisabeth Kufferath, violist Hanna Weinmeister and And in 1895, on his fi rst American tour, Ysaÿe performed a his sister, cellist Tanja Tetzlaff. benefi t for the fl edgling Schubert Club Education Fund.

Tetzlaff’s recordings refl ect the breadth of his musical What can we infer about Joseph Szigeti (1892–1973), to whom interests and include solo works, chamber music and this sonata is dedicated? He was daring. The opening Grave concertos ranging from Haydn to Bartók. His recordings is the most volatile of the four movements, moving through include Tchaikovsky’s Violin Concerto; Beethoven’s Violin many textures and culminating in a series of fearsome fi ve- Concerto; the complete Bach Sonatas and Partitas for Solo and six-note chords (this on a four-stringed instrument!). He Violin, Berg’s Chamber Concerto for piano, violin with 13 loved new music, and would go on to premiere many new wind instruments, and Schumann’s three Piano Trios. works, including Bartók’s Contrasts. Ysaÿe had been impressed with Szigeti’s Bach playing, and in these inner movements, Christian Tetzlaff makes his home near Frankfurt with his Bach’s spirit is palpable. The Fugato—a treatment less wife, a clarinetist with the Frankfurt Opera, and their three rigorous than a fugue—provides elaborate fi guration between children. He currently performs on a violin modeled after a statements of the theme. An Allegretto touches on Bach’s Guarneri del Gesu made by the German violin maker, Peter sweetness, updating it with wistful, pastoral touches. The Greiner. In honor of his achievements, Musical America vigorous Finale is full of cross-rhythms and virtuoso touches, named Mr. Tetzlaff “Instrumentalist of the Year” in 2005. completing a portrait of a suave, Hungarian artist.

schubert.org 29 Program Notes continued

Sonata No. 3 in C major for Solo Violin, BWV 1005 who arranged to play Bartók’s Sonata No. 1 for the composer Johann Sebastian Bach at a friend’s Manhattan apartment. Bartók was impressed: “I did not think music could be played like that until long after (b. Eisenach, 1685, d. Leipzig, 1750) the composer was dead,” he told the violinist. Spontaneously, “From his youth until he was quite old [my father] played Menuhin asked Bartók to write something for him. But when the violin clearly and penetratingly,” recalled C.P.E. Bach. the Sonata for Solo Violin arrived in March 1944, Menuhin “He perfectly understood the potential of all the string admits he was shaken. “It seemed to me almost unplayable,” instruments.” Bach also felt a mission as a teacher, creating Menuhin writes. Bartók didn’t play the violin, but he’d written several encyclopedic works which have pedagogic as well as six quartets and a pair of concertos. He knew the instrument artistic ends. The Six Sonatas and Partitas for solo violin is one thoroughly, and was even able to tell violinists a thing or two. such collection: three sonatas—each with four movements Menuhin learned the piece in six months and gave the fi rst alternating slow with fast tempo in the fashion of the Italian performance in New York in November 1944. It was Bartók’s church sonata; and three partitas—suites of dance movements. last piece of chamber music, and his last completed work. He They were written around 1720, during the seven years Bach died on September 26, 1945. was Kapellmeister to Prince Leopold of Anhalt-Köthen. It is, as Menuhin says, “a work of wild contrasts” that unites Bach caps his sonatas with a masterwork in what Hans Vogt the spirit of Bach with the Hungarian folk idiom so dear to calls “Bach’s personal key of joy”: C major. The four strings of Bartók. The fi rst movement is not a chaconne, but a movement the violin are introduced from bottom to top in the Adagio’s in dignifi ed chaconne tempo. The Fugue is very free, and slow, rocking motion. The Fugue follows without pause, and like a human face, changes over time. It begins with a terse what a structure! A chorale tune “Komm, heiliger Geist” question—silence—then elaborates to fi ll the space. Bartók (Come, Holy Ghost) is treated in four-voice texture, paired with takes care to differentiate the voices by articulation as well as a descending, chromatic countersubject. Three interludes by register. After a movement of such intense counterpoint, lighten the mood with a little fi ddling. Bach wishes to Bartók in the Melodia follows the trail of a single, wandering provide a model in composition as well as violin playing, so in line that begins on the lowest string and rises gradually into midstream he turns the subject upside-down and repeats the thin air. Whistling harmonics give occasional glimpses of a process. The pastoral Largo, in F major, balances the previous far-away land. The Presto begins its rounded journey as a moto complexity with pure melody. A concluding dance of joy, perpetuo. The score is notated with conventional pitches, but Allegro assai, shows wonderfully how a single melodic line can Bartók’s original conception had the scurrying notes imitating create three clear strands of polyphony. the quarter-tones of the folk fi ddler. Pulsing pizzicato later ushers in two folk-like themes. Bach was not the fi rst to write unaccompanied music for violin. It was something of a North-German specialty, and composers like Pisendel and Biber had already explored the Music Without a Net medium. But Bach transcended any earlier effort. Critic A recital of unaccompanied music is the ne plus ultra of J. F. Reichardt suggested in 1805 that the sonatas and virtuosity. It is to fl y without a net, to stand without a base. partitas of Bach “are perhaps the greatest example in any The violin is often called a melody instrument, but it is art form of a master’s ability to move with freedom and potentially a medium complete in itself, capable of complex assurance, even in chains.” harmony and polyphony. Its compass is nearly as great as the harpsichord, and it has a far more varied sonic palette. Because Sonata for Solo Violin (1944) its four strings—G-D-A-E—are stretched across a rounded Béla Bartók (b. Torontal district of Hungary, now bridge, only two may be sustained at a time. Chords of three Rumania, 1881; d. New York, 1945) and four notes must be broken, either through arpeggio or with a characteristic ka-shing. Another time-honored way Bartók’s situation in the summer of 1943 was dire. A of suggesting polyphony is through compound melody, a wartime refugee, his research fellowship at Columbia phenomenon similar to the “persistence of vision” that makes University had come to an end. There were few concert motion pictures possible. Because a note will linger in the engagements or pupils in this new country, and he needed mind until it is connected to another in the same register, a work. Most ominously, leukemia had declared war on his melody with notes in different registers will give the illusion of system. But friends did what they could to help. A commission having more than one voice. Sing Bernstein’s “There’s a place for the Concerto for Orchestra came from Serge Koussevitsky, for us,” and you have created two voices—in a single line. with funds donated by Bartók’s fellow Hungarians Szigeti and Fritz Reiner, and a similar largesse prompted a request from the American virtuoso Yehudi Menuhin (1916-1999), Program notes © 2012 by David Evan Thomas

30 THE SCHUBERT CLUB An die Musik Courtroom Concert Celebrate Early Music February 16, 2012 • Noon • Courtroom 317, Landmark Center

Kim Sueoka, soprano and Phillip Rukavina, lute Lute Songs and Solos of John Dowland (1563-1626) What Poor Astronomers are They Sorrow, Stay A Fancy (5) It Was a Time of Silly Bees Clear or Cloudy

Kim Sueoka is an active performer of Hawaiian historical music, early music, chamber music, and new compositions. She frequently appears in concert as a soloist and with The Rose Ensemble and Silver Swan Chamber Ensemble. She is the founder and artistic director of Lau, a new ensemble dedicated to the perpetuation of Hawaiian music. Originally from Kaua‘i, Kim earned a Bachelor of Music degree in vocal performance at the University of Evansville under the instruction of Joseph Hopkins, and completed a Masters degree at the University of Minnesota, where she studied with Lawrence Weller. She is a 2011 Minnesota State Arts Board Artist Initiative grant recipient. She received a McKnight Performing Artist Fellowship fi nalist award in 2007, and a Minnesota State Arts Board Cultural Community Partnership grant in 2005.

Phillip Rukavina performs nationally and internationally on lute and vihuela. He is a founding member of the Venere Lute Quartet, the Chambure Vihuela Quartet, and the Terzetti Lute Duo. He is a regular guest instrumentalist with the Rose Ensemble and has performed with the St. Paul Chamber Orchestra, the New World Symphony, soprano Carrie Henneman Shaw, and others. Phillip has been a regular member of the faculty at the Lute Society of America’s bi-annual Seminars at Case Western Reserve University in Cleveland, Ohio, and directed the event in 2008 and 2010. He has also directed the lute program at the Amherst Early Music Festival in New London, Connecticut. He studied lute with Hopkinson Smith at the Academie Musical in Villecroze, France and in Basel, Switzerland, and also with Patrick O’Brien in New York.

Ora Itkin, piano Sonata in D minor, K9 – Domenico Scarlatti (1685-1757) Italienisches Konzert BWV 971 – Johann Sebastian Bach (1685-1750)

Ora Itkin was born in Moscow where she started her piano lessons at age four with her father, an accomplished jazz musician. After graduating from Moscow Academy of Music, she emigrated to Israel where she graduated from Tel- Aviv University and Hebrew University of Jerusalem Rubin Academy of Music. She was awarded a grant from the American Israeli Cultural Foundation Karen Sharet. Ms. Itkin is a member of the piano faculty at the University of St. Thomas and the St. Paul Conservatory of Music, and maintains a private piano studio. Recently she was a guest performer and clinician at the Second Caribbean Festival of Humanities, and Latin American Composers Forum.

schubert.org 31 Courtroom Concert Celebrate Early Music February 23, 2012 • Noon Courtroom 317, Landmark Center

Flying Forms: Marc Levine, violin and Tami Morse, harpsichord Sonata Quarta – Johann Heinrich Schmelzer (c.1620-1680) Sonata in E minor for violin and continuo, BWV 1023 – Johann Sebastian Bach (1685-1750) (untitled) • Adagio ma non troppo • Allemanda • Gigue

Marc Levine is Artistic Director of the Southampton Cultural Center Chamber Music Series, and has performed extensively in notable venues including Carnegie Hall and Symphony Space. Marc has performed with many top baroque ensembles including Concert Royal, the Lyra Baroque Orchestra, the Aulos Ensemble and Early Music New York. Marc teaches privately and is on the faculty of the Saint Paul Conservatory of Music.

Tami Morse is the Executive Director of the Lyra Baroque Orchestra. She has a Doctor of Musical Arts degree from studying with harpsichordist Arthur Haas, and a Master of Music degree from the University of Michigan studying with Edward Parmentier. In addition to her studies in the United States, Tami was awarded a DAAD grant, which she used to study in Germany at the Hochschule für Musik in Cologne with Ketil Haugsand.

Julie Elhard, viola da gamba and Paul Bohenke, harpsichord Recercada Segunda, “La Spagna” – Diego Ortiz (ca.1510-ca.1570) Recercada Segunda, Passamezzos Moderno and Antico Canzona – Girolamo Frescobaldi (1583-1643) La Marieé (The Bride) – Marin Marais (1656-1728) Allemande, from French Suite No. 4 – Johann Sebastian Bach (1685-1750) Sonata in D major – J.S. Bach Adagio • Allegro

Julie Elhard has made several appearances with the St. Paul Chamber Orchestra, and is a founding member of Violes Egales and Glorious Revolution Baroque. Ms. Elhard was recently awarded a 2011 Artist’s Initiative grant from the Minnesota State Arts Board. She also received a Jerome Foundation grant to study vielle and early string playing with Margriet Tindemans. Ms. Elhard currently teaches viola da gamba at Macalester College, and also at the St. Paul Conservatory of Music where she has developed a Suzuki-style approach for children to learn the viola da gamba.

As harpsichordist, organist, and conductor, Paul Boehnke specializes in the performance of Baroque music. In 2007 he was appointed Artistic Director of the Bach Society of Minnesota. He has performed with the Newberry Consort, Second City Music, and the Lyra Baroque Orchestra and has recorded for Centaur Records. Mr. Boehnke also serves as organist/choir director at Olivet Congregational Church in St. Paul, Minnesota.

32 THE SCHUBERT CLUB An die Musik Courtroom Concert The Art of Ensemble March 1, 2012 • Noon Courtroom 317, Landmark Center

Irina and Julia Elkina, duo piano Concert Paraphrase on themes from Eugene Onegin – Pyotr Ilyich Tchaikovsky (1840-1893), arr P. Pabst Waltz from the Suite for Two Pianos No. 2, Opus 17 – (1873-1943) La Valse for Two Pianos – Maurice Ravel (1875-1937) Waltz from “Masquerade” – Aram Khachaturian (1903-1978) “I Got Rhythm,” arranged for Two Pianos – George Gershwin (1898-1937)

“Simply dazzling” is the way the American Record Guide has described the Elkina Piano Duo.

Having played together since the age of fi ve, Russian-born identical twins Julia and Irina Elkina are praised for their “truly remarkable oneness” by critics who also recognize that “each is a formidable pianist in her own right.”

The Elkina twins won the top prize in the Fourth Murray Dranoff International Two Piano Competition. They have performed throughout the United States, making their New York debut in 1996 and playing return engagements there and in San Francisco, Chicago, Minneapolis/Saint Paul, Miami and New Orleans, just to name a few.

The twins have appeared at numerous festivals including Ravinia, the Gilmore Keyboard Festival, the Oregon Bach Festival and the Minnesota Orchestra’s Sommerfest, and have performed with such conductors as Hugh Wolff and Bobby McFerrin.

The Elkinas have been heard on National Public Radio and many public radio stations nationwide including the award-winning weekly series Saint Paul Sunday, Performance Today and A Prairie Home Companion.

Irina and Julia have been praised for their collaboration with the acclaimed Basil Twist’s puppet production Petrouchka, which returned for a much-awaited engagement at New York’s Lincoln Center in 2008. It has been performed again in Boston and Philadelphia in November 2010 and April 2011 respectively. They are performing it again in 2012 in Washington, DC.

The sisters studied under Professor Alexander Braginsky at the University of Minnesota, where they earned their Doctoral degrees in Piano Performance.

schubert.org 33 Courtroom Concert The Art of Ensemble March 8, 2012 • Noon Courtroom 317, Landmark Center

The Incidental Trio: Steven Staruch, tenor; Karen Hansen, clarinet and Sue Ruby, piano Six German Songs for Voice, Clarinet and Piano, Opus 103 – Louis M. Spohr (1784-1859) I. Sei still mein Herz • II. Zwiegesang • III. Sehnsucht • IV. Wiegenlied • V. Das heimliche Lied • VI. Wach auf!

Best known to Classical MPR listeners as an on-air host and producer, Steve Staruch is also a singer. A tenor in the Dale Warland Singers for seven seasons, he is featured as a soloist on several Dale Warland Singers recordings. A freelance singer (and violist), he also serves as cantor at his parish church in Minneapolis. He earned B.A and B.M. degrees from Oberlin College and his M.M. degree from Eastman School of Music.

In addition to her positions with Dolce Wind Quintet and Rochester Symphony Orchestra, Karen Hansen is principal clarinetist with Bloomington Symphony Orchestra and Mississippi Valley Orchestra. A Thursday Musical performing artist, Karen does other freelance performing and teaches clarinet at Cadenza Music in St. Paul. She earned a B.A. from St. Olaf and an M.A. from University of Wisconsin- Madison.

Sue Ruby earned a B.M. from the University of Minnesota-Duluth and her M.M. in piano pedagogy from Columbus State University in Georgia. Sue has been a teaching artist at MacPhail Center for Music since 2001. In addition to teaching private, group and Music Tree piano, she serves as collaborative pianist for the Prelude program and Advanced Music Theater Performance Lab.

Dolce Wind Quintet: Nancy Wucherpfennig, fl ute; Marilyn Ford, oboe; Karen Hansen, clarinet Vicki Wheeler, horn; Ford Campbell, bassoon; Sue Ruby, piano Sextet for Piano & Wind Quintet in B-fl at major, Opus 6 - Ludwig Thuille (1861-1907) I. Allegro Moderato II. Larghetto III. Gavotte: Andante, quasi Allegretto IV. Finale: Vivace

Formed in 1995, Dolce Wind Quintet performs for The Schubert Club Courtroom Concert series in St. Paul and the Munsinger/Clemens Gardens concert series in St. Cloud, and plays classical and popular music for public and private events. In November, Dolce Wind Quintet presented an All-Americana program at the opening of a new concert series, “Concerts at First, “ in Anoka. In July, the Quintet were guest artists for the Bayfi eld (Wisconsin) “Summer Mostly Thursdays” Concert Series. In December, Dolce was the “house band” for Classical ’s “Taste of the Holidays” live program at the Fitzgerald Theater. Dolce also performed live on-air during MPR Day in Rochester, and for MPR’s Music Alive event at Calhoun Square in Minneapolis.

34 THE SCHUBERT CLUB An die Musik Courtroom Concert The Art of Ensemble March 15, 2012 • Noon Courtroom 317, Landmark Center

Kantorei Chamber Ensemble Music to be selected from the following: My Spirit Sang All Day - Gerald Finzi Sommerlust im Walde - Max Bruch Il est Bel et Bon - Passereau Ave Maria - Javier Busto El Grillo - Josquin Desprez Exultate Justi - Lodovico Viadana In Stiller Nacht - Johannes Brahms You Are the New Day - John David, arr. Peter Knight

The Kantorei Chamber Ensemble is a select group of 16 singers from Kantorei who provide special music for events and galas. Kantorei is an a cappella choral ensemble of about 40 voices based in Minnesota. Directed since 1988 by Axel Theimer, Kantorei has become widely known for its seldom-heard 19th- and 20th-century European compositions. Kantorei presents a full season of concerts each year, offers a growing collection of recordings and has been regularly featured on classical public radio programs. Through its educational and outreach programming, Kantorei invites audiences of all ages to share its pursuit of singing for a lifetime.

LePaKa Trio: Kristine Kautzman, fl ute; Charlotte Palmiter, clarinet and Dolores Lenore, piano Music for the Middle of the Day – Joseph Makholm (2006) Late One Afternoon • Dolores’ Kitchen • December • You Think You Know But You Don’t

Growing up in Cleveland, Kris Kautzman intended be a concert fl utist. In college in Minnesota she was accepted into the St. Olaf Choir, an experience that opened up a new path in her performing career. Since 1999 she has sung professionally with The Rose Ensemble, and has served as cantor and choir section leader at several local churches, currently at the Cathedral of Saint Paul. She continues to freelance as a fl utist: most recently in a performance of Libby Larsen’s “Fantasy on Slane” for the 100th Anniversary festival concert of the Twin Cities American Guild of Organists.

Charlotte Palmiter received degrees from Youngstown State University and Ithaca College. She has taught music to students of all ages – clarinet, fl ute, oboe and saxophone. She was on the faculty of the Metrowest Performing Arts Center in Framingham, Massachusetts. Most recently she participated in the 2011 Claremont Clarinet Festival at Pomona College and attended the International Clarinet Association’s ClarinetFest 2011.

Dolores Lenore has taught piano and performed in Milwaukee, Spokane, and the San Francisco Bay Area. Her music lessons began at the Wisconsin College of Music and proceeded through a Master’s Degree in Piano Performance from the University of Wisconsin-Madison under Gunnar Hohansen. She has served as director of numerous choirs in California and Wisconsin churches. She returned to piano performance and teaching at the Wisconsin Conservatory of Music and in her own Downer Avenue Piano Studio until her retirement in 1998.

schubert.org 35 Courtroom Concert The Art of Ensemble March 22, 2012 • Noon Courtroom 317, Landmark Center

The WolfGang: Paul Jacobson, fl ute; Mary Sorlie, violin and Gail Olszewski, fortepiano Sonata for Flute, Violin and Clavier – Johann Christoph Friedrich Bach (1732-1795) Allegro • Andante • Rondo: Allegro

The WolfGang was formed in 1996 as a collaboration to perform music from the Classical Era on classical instruments. They collaborated with Minnesota Public Radio and Barnes & Noble to celebrate the 250th Anniversary of Mozart’s birth and have performed for the St. Paul Early Music Series, Northwestern College Faculty Artists Series and at the Hopkins Center for the Arts, Inc. and have also been on the music series for Hamline United Methodist, Central Baptist, and Guardian Angels, Plymouth Congregational, Bethlehem Lutheran, St. Luke’s Episcopal, and Mount Olive, as well as Bethel Lutheran in Northfi eld. The members of the Wolfgang are Paul Jacobson, fl ute; Stanley King, oboe; Mary Sorlie, violin; Steve Staruch, viola; Laura Handler, cello and Gail Olszewski, fortepiano.

Catherine McCord Larsen, soprano; Michelle Frisch, fl ute and Mary Jo Gothmann, piano Le Rossignol –Léo Delibes (1826-1891) Une Flute Invisible – Camille Saint-Saëns (1835-1921) Pan et les Oiseaux, from La Flûte de Pan – Jules Mouquet (1867-1946) Soir Païen – Georges Hüe (1858-1948) The Bird Song – Michael Jerome Davis (b. 1957)

Catherine McCord Larsen has performed as soloist with Lyra Baroque Orchestra and Saint Paul Chamber Orchestra. She was also a member of the Dale Warland Singers and the Los Angeles Master Chorale. She is a member of the voice faculty at Northwestern College in St. Paul. Ms. McCord Larsen is a member of the Screen Actor’s Guild and can be heard on numerous fi lm and commercial sound tracks. She holds a B.A. degree from the University of California-Santa Barbara and a M.F.A. degree in vocal music from California Institute of the Arts.

Michele Antonello Frisch, principal fl ute of the Minnesota Opera Orchestra, currently serves on the faculty of Northwestern College. She has recorded extensively with VocalEssence on the Collins Classics, EMI, and Virgin Classics labels and has toured throughout Europe and Asia with the Kairos Trio. In recent years, Frisch has released three albums on The Schubert Club’s 10,000 Lakes label with colleague Kathy Kienzle, principal harp of the Minnesota Orchestra.

Mary Jo Gothmann enjoys a varied career as chamber musician, soloist, opera coach and organist. She has worked for the Metropolitan Opera, Santa Fe Opera and Minnesota Opera, and performed in concert series of the St. Paul Chamber Orchestra, Minnesota Orchestra, EOS orchestra in New York City and Taos Chamber Music Group. Ms. Gothmann holds Master of Music Degrees from the University of Minnesota and New Conservatory of Music, and a Bachelor of Music degree from St. Olaf College.

36 THE SCHUBERT CLUB An die Musik Courtroom Concert The Art of Ensemble March 29, 2012 • Noon Courtroom 317, Landmark Center

Gilded Lily Trio: Jennifer Hanson, fl ute; Dana Donnay, oboe; Matt Bertrand, bassoon; with Seth Engelby, piano Quartet for Flute, Oboe, Bassoon and Piano – Bill Douglas (b. 1944) I. Cantilena • II. Full Moon • III. Andalucia • IV. Bebop Cantabile

Jennifer Hanson is a fl ute and piano instructor at Mount Olivet Lutheran Church and MacPhail Center for Music. She is an active chamber musician and performs with the Como Avenue Jug Band, the Brian Just Band, and with percussionist Scotty Horey. Jennifer is the President of the Upper Midwest Flute Association.

Dana Donnay teaches at Mount Calvary Academy of Music, Mount Olivet Lutheran Church School of Music, MacPhail Center for Music, and her home studio. She holds the English Horn position with the South Dakota Symphony in Sioux Falls. Dana also performs on multiple instruments at the Bloomington Civic Theater and with the folk music ensemble, Eclectic Blend.

Matt Bertrand has been a member of the South Dakota Symphony since 2003. Prior to this, he was a member of the Fargo-Moorhead Symphony for six seasons. Matt has also been a substitute bassoonist with the Minnesota Orchestra, the St. Paul Chamber Orchestra, and the Bach Society of Minnesota. Matt maintains a small private teaching studio out of his home in Coon Rapids.

Seth Engelby, piano, performs as a soloist, chamber musician, and accompanist throughout the Twin Cities. In addition to performing, he also teaches at Schmitt Music in Edina. Seth holds a Bachelor’s degree in instrumental music education with emphasis in piano a Indiana University. His primary teachers include Luba Edlina-Dubinsky and Michel Block.

Suzana Pinto and Pinar Basgöze, piano duo Dances Andalouses – Manuel Infante (1883-1958) Ritmo • Sentimiento • Gracia (El vito)

Susana Pinto, a native of Lisbon, Portugal, teaches individual lessons and class piano at Macphail Center for Music. She received her B.A. in piano performance at the Escola Superior de Musica de Lisboa under the tutelage of Tania Achott and her M.A in piano performance and pedagogy from Central Michigan University. Dance has always been a very important part of Susana’s artistic world. She was an assistant to her mother’s dance classes, a piano accompanist at the Colégio Sagrado Coraçao de Maria and performed extensively with the Academia de Danças Antigas de Lisboa.

Pınar Basgöze was born and raised in Turkey. She started her music studies at Ankara State Conservatory when she was 10. She came to the United States to continue her studies in Piano Performance with Dr. Paul Shaw and in Piano Pedagogy with Dr. Rebecca Shockley at the University of Minnesota. She worked as an individual and a class piano instructor at the University of Minnesota School of Music, St Joseph School of Music and East Metro Music Academy, respectively from 2002 to 2007. She was invited to perform in several national and international events and festivals. She has been teaching exclusively at MacPhail Center for Music since 2007.

schubert.org 37 The Schubert Club Officers, Board of Directors and Staff

Offi cers President: Lucy Rosenberry Jones Past President: Diane Gorder Vice President Marketing and Development: Jill Thompson Vice President Artistic: Dee Ann Crossley Vice President Museum: Ford Nicholson Vice President Audit and Compliance: Richard King Vice President Nominating and Governance: David Ranheim Vice President Education: Margaret Houlton 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 Richard King Barbara Rice Mark Anema Carolyn Collins Diane Gorder Dorothy Mayeske Ann Schulte Nina Archabal Dee Ann Crossley Jill Harmon Sylvia McCallister Kim A. Severson Suzanne Asher Marilyn Dan Margaret Houlton Ford Nicholson Jill Thompson Paul Aslanian Arlene Didier Anne Hunter Gerald Nolte Michael Wright Lynne Beck Catherine Furry Lucy Rosenberry Jones David Ranheim Matt Zumwalt

The Schubert Club Staff Barry Kempton, Artistic and Executive Director Jason Kudrna, Education & Museum Manager Max Carlson, Program Assistant David Morrison, Museum Associate & Graphics Manager Kate Eastwood, Executive Assistant Paul D. Olson, Director of Development Julie Himmelstrup, Artistic Director, Music in the Park Series Tessa Retterath, Box Offi ce & Systems Manager Joanna Kirby, Project CHEER Director, Martin Luther King Center Kathy Wells, Controller Brian Woods, Project Manager

Composers in Residence: Abbie Betinis, Edie Hill The Schubert Club Museum Interpretive Guides: Dana Harper, Paul Johnson, Alan Kolderie, Rodger Kelly, 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 of Minnesota on November 4, 2008.

KATE NORDSTRUM PROJECTS

38 THE SCHUBERT CLUB An die Musik The Schubert Club Annual Contributors Music in the Park Series is now part of The Schubert Club. We are pleased to recognize supporters of two esteemed organizations that have now become one.

Thank you for your generosity

Schubert Circle Benefactor Cy and Paula DeCosse Fund of $10,000 and above $2,500 – $4,999 The Minneapolis Foundation Rachelle Dockman Chase and John H. Feldman Family Fund of Patrick and Aimee Butler Family Sophia and Mark Anema The Minneapolis Foundation Foundation Anonymous Dellwood Foundation Rosemary and David Good John and Nina Archabal Dorsey & Whitney Foundation Family Foundation Suzanne Asher Harry M. Drake MAHADH Fund of HRK Foundation J. Michael Barone and Lise Schmidt John F. Eisberg and Susan Kline Anna M. Heilmaier Charitable McCarthy-Bjorklund Foundation and Charitable Fund of Foundation Alexandra O. Bjorklund The Minneapolis Foundation Lucy Rosenberry Jones Boss Foundation William and Bonita Frels Phyllis and Donald Kahn The Burnham Foundation David B. Gold Foundation Philanthropic Fund Dee Ann and Kent Crossley Dick and Mary Geyerman of the Jewish Communal Fund Michael and Dawn Georgieff Mary Livingston Griggs and John S. and James L. Knight Foundation Mark and Diane Gorder Mary Griggs Burke Foundation The McKnight Foundation James E. Johnson Jill Harmon Minnesota State Arts Board Barry and Cheryl Kempton Anders and Julie Himmelstrup Gilman and Marge Ordway Chris and Marion Levy Andrew and Margaret Houlton Padilla Speer Beardsley Alice M. O’Brien Foundation Bill Hueg and Hella Mears Hueg George Reid Roy and Dorothy Ode Mayeske John and Ruth Huss The Saint Paul Cultural STAR Program Ford and Catherine Nicholson Lois and Richard King The Scheide Fund Richard and Nancy Nicholson Fund Kyle Kossol and Tom Becker Target Foundation of The Nicholson Family Foundation Frederick Langendorf Travelers Foundation John and Barbara Rice and Marian Rubenfeld Michael and Shirley Santoro Susanna and Tim Lodge Kim Severson and Philip Jemielita Dorothy Mattson Estate of Nancy Troxell Shepard Patron The Medtronic Foundation Thrivent Financial for Lutherans Sylvia and John McCallister $5,000 – $9,999 Foundation C. Robert and Sandra Morris Kathleen van Bergen Mary and Clinton Morrison Julia W. Dayton Nancy and Ted Weyerhaeuser The Philip and Katherine Nason Fund Terry Devitt Margaret and Angus Wurtele Fir Tree Funds of The Saint Paul Foundation The Hackensack Fund of Sita Ohanessian The Saint Paul Foundation and Paul D. Olson Mr. and Mrs. Ted Kolderie Guarantor Performing Arts Fund of Arts Midwest Dorothy J. Horns, M.D. and $1,000 – $2,499 David and Judy Ranheim James P. Richardson Lois and John Rogers Hélène Houle and John Nasseff The Allegro Fund of Saint Anthony Park Community Foundation Art and Martha Kaemmer Fund The Saint Paul Foundation Ann and Paul Schulte of The HRK Foundation William and Suzanne Ammerman Securian Foundation Walt McCarthy and Clara Ueland Elmer L. & Eleanor J. Andersen Foundation Fred and Gloria Sewell Luther I. Replogle Foundation Paul J. Aslanian Katherine and Douglas Skor Robins, Kaplan, Miller & Ciresi L.L.P. Bruce and Lynne Beck Solo Vino and Chuck Kanski Sewell Family Foundation George and Denise Bergquist Jill and John Thompson Thrivent Financial for Lutherans Dr. Lee A. Borah, Jr. Doborah Wexler M.D. and Michael Mann Foundation Dorothea Burns The Charles A. Weyerhaeuser Memorial Trillium Family Foundation Deanna L. Carlson Foundation 3M Foundation Cecil and Penny Chally Michael and Cathy Wright

schubert.org 39 The Schubert Club Annual Contributors

Sponsor Partner Emily and Daniel Shapiro $500 – $999 $250 – $499 Marilyn and Arthur Skantz Terry and Leah Slye Harvey D. Smith, MD Craig Aase Meredith B. Alden Eileen Stack Dorothee Aeppli Arlene Alm Tom von Sternberg and Eve Parker Anonymous Anonymous (2) Sarah Stoltze O’Brien Glenn Bartsch Annette Atkins Barbara Swadburg and Jim Kurle Mark L. Baumgartner Adrienne B. and Bob Banks Arlene and Tom H. Swain Best Buy Foundation The Bibelot Shops Anneke and Travis Thompson Nicholai P. Braaten and Tim and Barbara Brown David L. Ward Jason P. Kudrna Jackie and Gary Brueggemann Margaret and Steven Wolff Elwood and Florence A. Caldwell Miriam Cameron and Matt Zumwalt James Callahan Michael Ormond John and Marilyn Dan Joann Cierniak Arlene Didier Andrew and Carolyn Collins Joan R. Duddingston Lucia P. May and Bruce Coppock Contributor Anna Marie Ettel Donald and Alma Derauf $100 – $249 David and Katherine Galligan Ruth S. Donhowe Andrew Hisey and Chandy John Jayne and Jim Early Anonymous (7) Alfred and Ingrid Lenz Harrison Sue Ebertz Mira Akins Anne and Stephen Hunter Richard and Adele Evidon Elaine Alper William Klein David and Maryse Fan Mrs. Dorothy Alshouse Lehmann Family Fund of Jorja Fleezanis Kathleen and Jim Andrews The Saint Paul Foundation General Mills Foundation Lois Anselment Mike and Kay McCarthy Jennifer Gross and Jerry LeFavre Jean and Michael Antonello Malcolm and Wendy McLean Sue Freeman Dopp Haugen Lydia Artymiw and David Grayson The Thomas Mairs and Marjorie Mairs Joachim and Yuko Heberlein Faith M. Asper Fund of The Saint Paul Foundation Peg Houck and Phil Portoghese Annette Atkins Jack and Jane Moran Elizabeth J. Indihar Julie Ayer and Carl Nashan Jill Mortensen Ray Jacobsen Kay C. Bach Elizabeth B. Myers Pamela and Kevin Johnson Frank and AnnLiv Bacon Lowell and Sonja Noteboom Erwin Kelen Robert Ball Robert M. Olafson Youngki and Youngsun Lee Kim Gene and Peggy Bard The Constance S. Otis Fund of Nancy and Mervin Kiryluik Benjamin and Mary Jane Barnard The Saint Paul Foundation Arnold and Karen Kustritz Carol E. Barnett Luis Pagan-Carlo Dr. John A MacDougall Carline and Lars Bengtsson Park Midway Bank Chris and Cheryl McHugh Jerry and Caroline Benser Mary and Terry Patton James and Carol Moller Fred and Sylvia Berndt William and Suzanne Payne William Myers and Virginia Dudley Christopher and Carolyn Bingham Richard and Suzanne Pepin Mark and Jackie Nolan Family Fund of Ann-Marie Bjornson Nancy Podas The Saint Paul Foundation Dorothy Boen Dr. Leon and Alma Jean Satran John B. Noyd Philip Bohl and Janet Bartels John Sandbo and Jean Thomson Dan and Sallie O’Brien Fund of Carol A. Braaten William and Althea Sell The Saint Paul Foundation Tanya and Alexander Braginsky Helen McMeen Smith Scott and Judy Olsen Jean and Carl Brookins Hazel Stoeckeler and Alvin Weber Heather J. Palmer Philip and Carolyn Brunelle Debra K. Teske James and Donna Peter Stephen Bubul John C. Treacy Walter Pickhardt and Sandra Resnick Donna and Martin Bruhl Katherine Wells and Stephen Willging Laura Platt Matthew P. Brummer Jane and Dobson West Mary Savina Philip and Ellen Bruner Keith and Anne-Marie Wittenberg Mary Ellen and Carl Schmider Carolyn Jens Brusseau Peggy Wolfe Estelle Sell Mark Bunker John Seltz and Catherine Furry Roger F. Burg

40 THE SCHUBERT CLUB An die Musik Jo and H. H. Cheng Michael C. Jordan John D. and Amy Parrish Richard and Nancy Cantwell Ann Juergens and Jay Weiner Patricia Penovich and Gerald Moriarty Gretchen Carlson Donald and Carol Jo Kelsey Earl A. Peterson Rev. Kristine Carlson and Rev. Morris Wee Anthony L. Kiorpes Sidney and Decima Phillips Alan and Ruth Carp Nancy and Mervin Kiryluik Laura Platt Carter Avenue Frame Shop Robin and Gwenn Kirby Paul and Betty Quie David and Michelle Christianson Marie Klabunde Mindy Ratner Amy L. Clifton and Theodore B. Walsh Steve Knudson Rhoda and Paul Redleaf Grace J. Cogan Karen Koepp Jennifer and Chris Reedy Edward and Monica Cook Mary and Leo Kottke Karen Robinson Mary E. and William Cunningham Peter K. Krembs Saint Anthony Park Home Don and Inger Dahlin Phillip Kunkel David Schaaf Drs. Joy and John Davis Colles and John Larkin Paul Schroeder Norma Danielson Larkin Hoffman Daly & Lindgren Ltd. A. Truman and Beverly Schwartz Christian Davis and Sarah Snapp Patricia Lally S. J. Schwendiman Shirley I. Decker Libby Larsen and Jim Reece Will Shapira Deluxe Corporation Foundation Nowell and Julia Leitzke Nan C. Shepard John and Karyn Diehl Rebecca Lindholm Phil and Barbara Shively Janet and Kevin Duggins Marilyn S. Loftsgaarden Wayne and Ann Sisel Kathleen Walsh Eastwood Jean London Nance Olson Skoglund Stephen Eide Joyce S. Lyon Darroll and Marie Skilling Peter Eisenberg and Mary Cajacob Roderick and Susan Macpherson Ann Perry Slosser Flowers on the Park Rhoda and Don Mains Conrad Soderholm and Mary Tingerthal Kathleen A. Fluegel Danuta Malejka-Giganti Frank J. Sorauf Salvatore Franco Lynn Marceau and Larry Monck Carol Christine Southward Patricia Freeburg Laura McCarten Arturo L. Steely Jane Frazee Susan and Edwin McCarthy Michael Steffes Dan and Kaye Freiberg Polly McCormack Donald Steinkraus Saul Friefeld Deborah McKnight Cynthia Stokes Joan and William Gacki Laurie P. McManus Ann and Jim Stout Cléa Galhano Mary Bigelow McMillan Mark D. Swanson Hilde and Stephen Gasiorowic Gerald A. Meigs Dru and John Sweetser Robert and Ellen Green Katherine Merrill Lillian Tan Richard and Sandra Haines Ron and Dorcas Michaelson John and Joyce Tester Karin and Erick Hakanson David Miller and Mary Dew Anna Thompson Jon and Diane Hallberg Patricia A. Mitchell Tim Thorson Betsy and Mike Halvorson Tom. D. Moberg Chuck Ullery and Elsa Nilsson Mary A. Arneson and Dale E. Hammerschmidt Bradley H. Momsen Rev. Robert L. Valit Robert and Janet Lunder Hanafin Jack and Jane Moran Joy R. Van Hegman Family Foundation David Morrison Osmo Vänskä Joan Hershbell and Gary Johnson Mozart Octet Mary K. Volk Mary Kay Hicks John and Hebe Murphy Maxine H. Wallin Asako Hirabayashi Elizabeth A. Murray Jean Ward Cynthia and Russell Hobbie David and Judy Myers Dale and Ruth Warland Dr. Kenneth and Linda Holmen Karla and Peter Myers Anita Welch Wendy Holmes and David Frank Kathleen Newell Wells Fargo Human Resources J. Michael Homan Gerald Nolte Beverly and David Wickstrom Peter and Gladys Howell Alvina O’Brien Neil and Julie Williams Thomas Hunt and John Wheelihan Kathleen O’Brien and Jeffrey Loesch Dr. Lawrence A. Wilson IBM Matching Grants Program Patricia O’Gorman James and Alexis Wolff Phyllis and William Jahnke John and Ann O’Leary Paul and Judy Woodward George J. Jelatis Sally O’Reilly Herbert Wright Karen L. Johnson Vivian Orey Ann Wynia Nancy P. Jones Elizabeth M. Parker Zelle Hofmann Voelbel & Mason LLP

schubert.org 41 The Schubert Club Annual Contributors

Friends Susan and Gregg Downing Geraldine M. Jolley Craig Dunn and Candy Hart Mary A. Jones $1 – $99 Margaret E. Durham Ruth and Edwin Jones Katherine and Kent Eklund Carol R. Kelly Cigale Ahlquist Andrea Een Donald and Mary Kenney Anonymous (7) Esme Evans Jean W. Kirby Beverly S. Anderson Ruth Fardig Gloria Kittleson Charles and Adair Anderson Mary Ann Feldman Richard and Susan Knuth Renner and Martha Anderson Barbara A. Fleig Jane and David Kostik Claire and Donald Aronson Jack Flynn and Deborah Pile Dave and Linnea Krahn Barbara F. Aslakson John and Hilde Flynn Judy and Brian Krasnow Frederick H. Bachman Gerald Foley Paul and Sue Kremer Roger and Joan Ballou Lea Foli and Marilyn Zupnik Patricia J. Lalley Verna H. Beaver Catherine Ellen Fortier Helen and Tryg Larsen Dr. Karen Becker Michael Freer Amy Levine and Brian Horrigan Roberta Beutel Inez Gantz Meg Layese and Paul Bloom Roger Bolz Nancy and John Garland Karla Larsen David and Elaine Borsheim Michael and Christine Garner Meg Layese and Paul Bloom Ted and Marge Bowman Dr. and Mrs. Robert Geist Barbara Leibundguth Judith Boylan A. Nancy Goldstein Kurt and Maren Leonard Cathy Braaten M. Graciela Gonzalez Gary M. Lidster Daniel Braaten Warren and Kiki Gore Bernard Lindgren Dennis Breining George and Ann Green Vandora Linck Charles D. Brookbank David Grothe and Margaret Hasse Thomas and Martha Link Richard and Judy Brownlee Jean and Bruce Grussing Thomas Logeland Leo Bruhl Gary C. Gustafson Lord of Life Lutheran Church Chris Brunelle Marcia G. Hammelman Ed Lotterman and Victoria Tirrel Daniel Buivid Christina Hart and George Hart, Jr. Rebecca Lund Millicent Bunker Patricia Hart Carol G. Lundquist Daryl J. Carlson Eugene and Joyce Haselmann Richard and Finette Magnuson Donna Carlson Marguerite Hedges Helen and Bob Mairs Kevin Callahan Alan Heider Anne B. Mayer Allen and Joan Carrier Rosemary J. Heinitz Bruce and Eleanor McLear Joseph Catering and George Kalogerson Stefan and Lonnie Helgeson Roberta Megard Laura Caviani Don and Sandralee Henry David L. Melbye Marilyn S. Christian-Pieper Helen and Curt Hillstrom Neill Merck and Sue Gibson Susan Cobin Lisa Himmelstrup and Dan Liljedahl Robert and Greta Michaels Eduardo Colon Marian and Warren Hoffman H. Christine Midelfort Mary Sue Comfort Nina Holiday-Lynch John W. Miller, Jr. Como Rose Travel Rikki Hulsebus Steven Mittelholtz Irene D. Coran Jay and Gloria Hutchinson Marjorie Moody John and Jeanne Cound Patricia A. Hvidston and Roger A. Opp E. L. and C. S. Morrison James Cupery Ora Itkin Sarah Nagle Bernice and Garvin Davenport William and Phyllis Jahnke Nicholas Nash Dave and Rita Docter Mimi and Len Jennings Eva J. Neubeck Nathan Doege Stephen and Bonnie Johnson Eleanor H. Nickles Knowles Dougherty Thelma Johnson Tom O’Connell

42 THE SCHUBERT CLUB An die Musik Peter and Bonnie Olin David and Pat Saari Norton Stillman Robert and Margot Olsen Mitra Sadeghpour Bruce and Marilyn Thompson Dr. and Mrs. R. Oriani Dora Salazar Karen Titrude Dennis and Turid Ormseth Jon Schumacher Anna Lisa and Charles Tooker Elisabeth Paper Steve Seltz Byron Twiss Patricia J. Paulus Jay and Kathryn Severance Mary Tyrell Patty and Bruce W. Shine Jennifer Undercofl er Timothy Perry Jay Shipley and Helen S. Newlin William K. Wangensteen Mrs. Dorothy Peterson Elizabeth Shippee Clifton and Bettye Ware Solveg Peterson Brian and Stella Sick Betsy Wattenberg and John Wike Dick and Elaine Phillips Paul and Carol Seifert Deborah Wheeler Marcos and Barbara Pinto Mark and Mary Sigmond Hope Wellner Julian Plante Nan Skelton and Peter Leach Rev. Victoria Wilgocki and Rick Prescott Nancy Pohren Nell Slater Evan and Diane Williams C.J. Richardson Susannah Smith and Matthew Sobek Alex and Marguerite Wilson Roger and Elizabeth Ricketts Arne Sorenson Brian Woods and Brian Dahlvig Carmen Luna-Robledo Emma Small David and Mary Woodword Drs. W.P. and Nancy W. Rodman Barbara Snowfi eld Michael Wu Mary Savina Marilyn and Thomas Soulen Tom Wulling and Marilyn Benson Martha Rosen and Ken Stewart Mark R. Stahley Stewart Rosoff John Stensing Juliana Rupert Ruth Stryker-Gordon David Rupp Theresa’s Hair Salon

Every effort has been made to ensure the accuracy in listing our contributors. If your name has been inadvertently omitted or incorrectly listed, please contact The Schubert Club at 651.292.3267.

Donor Spotlight: The Rosemary and David Good Foundation The Schubert Club extends a sincere thank you to The Rosemary and David Good Foundation for their generous support of our collaborative presentation of “Opus 131” with the James Sewell Ballet. The Schubert Club has engaged the Grammy Award-winning Parker Quartet to perform Beethoven’s seminal string quartet work brilliantly choreographed by James Sewell for multiple performances in April at The Cowles Center in Minneapolis. Photo: Erik Saulitis

schubert.org 43 Memorials and Tributes

In honor of Julie Himmelstrup In memory of Ruth Wolff Mary Ellen Schmider Mr. and Mrs. Cliff Aamoth John and Carol Esbjornson In honor of the fi rst wedding anniversary James and Judith Frisbie of Lucy Jones and James Johnson Jean Heglund Edward and Monica Cook Gregory and Barbara Janssen Elaine Magnuson In honor of Jason Kudrna David Melbye Carol A. Braaten Betty and Lowell Melby Cathy Braaten Chuck Schiller Margaret and Steven Schiller In honor of Lisa Niforopulas Nancy I. Schiller Gretchen Piper The Hamihardja Family In honor of Paul D. Olson Dean and Marily Wahl Berg Mark L. Baumgartner James and Alexis Wolff Moore

In honor of Wendy Undercofl er In memory of Richard Zgodava Jennifer Undercofl er Helen Smith

In memory of Eleanor J. Andersen Karen L. Johnson Stephen and Bonnie Johnson Gerald A. Meigs Nancy and Mervin Kiryluik Peter and Bonnie Olin Julian Plante John and Barbara Rice Terry and Leah Slye Tom and Arlene Swain

In memory of Lisl Close Judith Brownlee Geraldine M. Jolley Anders and Julie Himmelstrup Nan Skelton and Peter Leach

In memory of Dr. John Davis John and Barbara Rice Helen Smith

In memory of Nancy Shepard Nan C. Shepard

In memory of Tom Stack Eileen Stack

In memory of Mark Swanson Allen and Joan Carrier Photo: Max Carlson Landmark Center, on Rice Park in downtown Saint Paul, is home to The Schubert Club Museum.

44 THE SCHUBERT CLUB An die Musik The Schubert Club 125th Anniversary Campaign Terry Devitt and Tom H. Swain, Co-Chairs • Dominick Argento, Honorary Chair

The Schubert Club 125th Anniversary Campaign

$1 million and above $10,000 and above Ruth Donhowe* Gilman Ordway for The Gilman Ordway Helen T. Blomquist Sue Freeman Dopp Manuscript Collection Bruce and Deanna Carlson Sally Economon* The Cherbec Advancement Foundation City of Saint Paul Cultural STAR program Jayne Early* and The Charles A. Weyerhaeuser Arlene and Tom H. Swain* John and Karen Froelich* Memorial Foundation for The Maud Margo Garrett* Moon Weyerhaeuser Sanborn $5,000 and above Michael Georgieff, M.D. International Artist Series Dakota Foundation for Jazz Robert Goodale* Dr. Thomas Ducker and Suzanne Asher Margaret Houlton* $500,000 and above Dorothy Horns, M.D. and James Richardson* Bill and Hella Mears Hueg* George and Frances Reid Bill and Rebecca Klein Marsha Hunter Estate of Lee S. and Dorothy N. Whitson* Estate of Jane Matteson Thelma Johnson* C. Angus and Margaret Wurtele Patty and Stephen Paulus Gene and Beth Karjala* John and Lois Rogers* Youngki and Youngsun Lee Kim $200,000 and above Michael and Shirley Santoro* Marjorie and Ted Kolderie* Anonymous Judy Kogan and Hugh Wolff Julia W. Dayton $2,500 and above Theodore Larsen* HRK Foundation, MAHADH Fund of Mark and Sophia Anema Susanna and Timothy Lodge* HRK Foundation, Art and Martha Kathleen van Bergen Estate of Jane Matteson Kaemmer Fund of HRK Foundation, Roy and Dorothy Ode Mayeske* Pugsley Fund of HRK Foundation and $1,000 and above Susan Brewster and Edwin McCarthy* the Mary H. Rice Foundation Estate of Raymond Bradley Polly McCormack, M. D. Lucy Rosenberry Jones Walt McCarthy and Clara Ueland* Charlene McEvoy, M.D. and Doug Olson Richard and Nancy Nicholson Fund Erik Nordahl* $100,000 and above of the Nicholson Family Foundation* Timothy and Gayle Ober* The Katherine B. Andersen Foundation* Beatrice Ohanessian* Christine Podas and Kent Larson* Estate of Mrs. Harvey O. Beek* Mary and Clinton Morrison Nancy Podas* Elise R. Donohue Norton Stillman Dr. John and Barbara Rice The Huss Foundation Jane Scallen and Steve Wells* Dusty and George Mairs* Up to $1,000 Helen M. Smith* Hélène Houle and John Nasseff* J. Michael Barone Allan H. Spear Mr. and Mrs. Lars Bengtsson* Michael Steinberg and Jorja Fleezanis $50,000 and above Alexander and Tanya Braginsky* Thrivent Foundation Estate of Rose Anderson Richard and Jody Brownlee* Mimi Tung and Lorne Robinson Cal and Arlene Didier James Callahan* Joy Van* E. M. Pearson Foundation Gretchen E. Carlson* Marcia Weiser Sharon M. Carlson* Larry Williams* $25,000 and above Laura Caviani Katherine Wells and Stephen Willging* Terry Devitt Joann Cierniak Mark and Diane Gorder Dee Ann and Kent Crossley Estate of Marian B. Gutsche Mary E. Cunningham Luther I. Replogle Foundation Marilyn Dan* * For the Bruce P. Carlson Student Mary B. McMillan Scholarship and Competition Fund Minnesota Landmarks Ramsey County

Every effort has been made to ensure the accuracy in listing our contributors. If your name has been inadvertently omitted or incorrectly listed, please contact The Schubert Club at 651.292.3267.

schubert.org 45 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 who have contributed to The Schubert by the John Myers Family, dedicated patrons who have Paul Myers, Jr. Family Club Endowment, a tradition started generously chosen to leave a gift John Parish Family in the 1920s. Our endowment provides The John and Elizabeth Musser Fund through a will or estate plan. Add nearly one-third of our annual budget, To honor Catherine and John Neimeyer your name to the list and leave a allowing us to offer free and affordable By Nancy and Ted Weyerhaeuser lasting legacy of the musical arts for In memory of Charlotte P. Ordway performances, education programs and future generations. By her children museum experiences for our community. The Gilman Ordway Fund Anonymous Several endowment funds have been The I. A. O’Shaughnessy Fund The Ethelwyn Power Fund Frances C. Ames* established, including the International The Felice Crowl Reid Memorial Rose Anderson* Artist Series with special support by the The Frederick and Margaret L. Margaret Baxtresser* Mrs. Harvey O. Beek* family of Maud Moon Weyerhaeuser Weyerhaeuser Foundation The Maud Moon Weyerhaeuser Sanborn Helen T. Blomquist* Sanborn in her memory. We thank Dr. Lee A. Borah, Jr. Memorial the following donors who have made The Wurtele Family Fund Raymond J. Bradley* commitments to our endowment funds: James Callahan Lois Knowles Clark* Margaret L. Day* The Eleanor J. Andersen Scholarship and Mary Ann Feldman Education Fund John and Hilde Flynn The Rose Anderson Scholarship Fund Salvatore Franco Edward Brooks, Jr. Marion B. Gutsche* The Eileen Bigelow Memorial Lois and Richard King The Helen Blomquist Visiting Artist Fund Florence Koch* The Clara and Frieda Claussen Fund John McKay Catherine M. Davis Mary B. McMillan The Arlene Didier Scholarship Fund Jane Matteson* The Elizabeth Dorsey Bequest Elizabeth Musser* Add your name to this list by making a The Berta C. Eisberg and John F. Eisberg Heather Palmer Fund gift to The Schubert Club Endowment Lee S. and Dorothy N. Whitson* The Helen Memorial Fund or provide a special gift directly to The Richard A. Zgodava* “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 The Daniel and Constance Kunin Fund will or estate plan. For further The Margaret MacLaren Bequest The Dorothy Ode Mayeske Scholarship Fund information, please contact Paul D. Olson at 651.292.3270 or [email protected]

46 THE SCHUBERT CLUB An die Musik