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130th Anniversary

November 1 - December 31, 2012 An die Musik

The Schubert Club • Saint Paul, Minnesota • schubert.org Photo: Natasha D’Schommer Photo: Natasha

schubert.org 1 schubert.org 3

An die Musik

November 1 – December 31, 2012 The Schubert Club • Saint Paul, Minnesota • schubert.org

Dear Friends,

As the days get shorter and we approach the holidays, music plays a special role in our lives. Several upcoming programs relate overtly to the season. Our Music in the Park Series program, “A Baroque Christmas,” features the Table of Contents Aulos Ensemble with Dominique Labelle, and we unveil The Schubert Club Carolers singing carols by Minnesota 9 The Schubert Club Officers, Board of Directors composers at our December 20th free Courtroom Concert. and Staff

We are fortunate to feature a number of excellent 10 Hill House Chamber Players Minnesota-based ensembles over the next two months. The ever-popular Hill House Chamber Players give the 12 Stephen Hough ﬁ rst of their six concerts on November 19th and the string ensemble Accordo continues its series at Christ Church 18 The Aulos Ensemble with Dominique Labelle Lutheran in Minneapolis with a tribute to Claude Debussy. In addition to these regular collaborators, we welcome 26 Calendar of Events Belladonna with Maria Jette at Sundin Hall in a feast of early music, song and poetry, pipa virtuoso Gao Hong with her Carleton College Chinese Music Ensemble at our Landmark 28 Accordo Center Cocktails with Culture program on November 8th, and the talented Ensemble 61 performing a program of 30 Belladonna Minnesota composers in our November 15th Courtroom Concert in Landmark Center. 34 The Schubert Club Museum: Letter from Beethoven And for our November International Artist Series concert at 35 Courtroom Concerts Ordway Center, what a thrill it is to welcome British pianist Stephen Hough at his ﬁ rst Schubert Club recital. Stephen’s 39 An Interview with Thelma Hunter many appearances with the Minnesota Orchestra have made him a favorite in the Twin Cities and a musician I 42 The Schubert Club Annual Contributors: personally have admired for many years. Thank you for your generosity and support On behalf of all the team at The Schubert Club, I wish you a happy, harmonious and peaceful Holiday season.

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 Barry Kempton performance. Thank you for your contribution! Artistic and Executive Director The Schubert Club Box Ofﬁ ce: 651.292.3268

schubert.org 5 130th Anniversary

“The greatness of music speaks for itself when Jessye Norman sings,’’ —The Washington Post

Jessye Norman, soprano Photo: Carol Friedman Celebratory 130th Anniversary Concert April 30, 2013 • 7:30 PM • Ordway Center schubert.org • 651.292.3268 Tickets still available 6 THE SCHUBERT CLUB An die Musik schubert.org 7

The Schubert Club Officers, Board of Directors and Staff

Ofﬁ cers President: Lucy Rosenberry Jones President-Elect: Nina Archabal Vice President Marketing and Development: Jill Thompson Vice President Artistic: Nina Archabal Vice President Museum: Ford Nicholson Vice President Audit and Compliance: Richard King Vice President Nominating and Governance: David Ranheim Vice President Education: Marilyn Dan Recording Secretary: Catherine Furry Vice President Finance and Investment: Michael Wright Assistant Recording Secretary: Arlene Didier Board of Directors Craig Aase James Callahan Michael Georgieff Peter Myers Jill Thompson Mahfuza Ali Carolyn Collins Jill Harmon Ford Nicholson Anthony Thein Mark Anema Marilyn Dan Anne Hunter Gerald Nolte John Treacy Nina Archabal Arlene Didier Lucy Rosenberry Jones David Ranheim Michael Wright Paul Aslanian Anna Marie Ettel Richard King Ann Schulte Matt Zumwalt Lynne Beck Richard Evidon Kyle Kossol Gloria Sewell Dorothea Burns Catherine Furry Sylvia McCallister Kim A. Severson

The Schubert Club Staff Barry Kempton, Artistic & Executive Director Joanna Kirby, Project CHEER Director, Martin Luther King Center Max Carlson, Program Assistant David Morrison, Museum Associate & Graphics Manager Kate Cooper, Education & Museum Manager Paul D. Olson, Director of Development Kate Eastwood, Executive Assistant Tessa Retterath Jones, Marketing & Audience Development Manager Amy Fox, Social Media & Audience Development Intern Kathy Wells, Controller Julie Himmelstrup, Artistic Director, Music in the Park Series

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

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

KATE NORDSTRUM PROJECTS

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

schubert.org 9 The Schubert Club and The Minnesota Historical Society

present Hill House Chamber Players

Julie Ayer, violin • Catherine Schubilske, violin • Thomas Turner, viola Tanya Remenikova, cello • Jeffrey Van, guitar Guest artists: Adriana Zabala, mezzo-soprano • Ivan Konev, piano

Program

A Ring of Birds Jeffrey Van (b. 1941) “The Hermit Thrush” “Three Little Birds in a Row” “Little Birds of the Night” “To a Skylark” “The Owl” “The Young Crows”

Sonata for Violin and Piano Leoš Janácˇek (1854–1928) Con moto Ballada. Con moto Allegretto Adagio

Intermission

Piano Quartet No. 2 in E-ﬂ at major, Opus 87 Antonín Dvorˇák (1841–1904) Allegro con fuoco Lento Allegro moderato, grazioso Finale. Allegro, ma non troppo

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10 THE SCHUBERT CLUB An die Musik Hill House Chamber Players

Monday, November 19 and Monday, November 26, 2012 • 7:30 PM James J. Hill House

Jeffrey Van’s song cycle A Ring of Birds opens this Hill House began to notate “speech melodies,” everyday speech infl ected concert on an avian theme. As a guitarist, Van has premiered by mood and situation. “Sounds, the intonation of human over 50 works, among them fi ve concertos and Argento’s Letters speech, indeed of every living being, have always had for me from Composers. He has also composed music for chorus, vocal the deepest truth,” he said. Speech-melody and an irrepressible solo, organ, and many guitar chamber works. A Ring of Birds vitality are at the heart of Janácˇek’s singular musical language. received its premiere at the 2009 Schubert Club Signature Song Late-bloomers, take heart. Janácˇek had to wait until he was 50 Festival by tonight’s performers. Van describes the work: for his fi rst signifi cant premiere—of the opera Jenu˚fa. When I sought to create a musical atmosphere which would refl ect the Archduke Franz Ferdinand of Austria was assassinated in June contrasts in character and actions of each of the various birds as 1914, Janácˇek was a sexagenarian, respected as a composer, they are depicted by the poets. The range of mood and activity teacher and folklorist, but with a provincial reputation. His is wide: the shy and hidden hermit thrush, fi lling the night with private response to “the shot heard round the world” was the solitary song; three little birds mocking a man’s attempt to sing; Violin Sonata, sketched that summer as war threatened and little birds of the night recounting their wide travels and vast the Russian army was marching from the east. A Russophile, experience; the skylark, soaring upward while pouring a fl ood Janácˇek nursed hopes that the Russians would deliver Moravia of harmony upon the world; the owl, musing alone in his belfry, from its long servitude to Austria-Hungary. The Sonata would while the bustle of human life carries on below; and fi nally, the be a poetic souvenir of his disappointment. noisy crows, teaching their young to fl y in the rose-gold light of Roused by a cryptic utterance from the violin, the piano shakes early morning. and shimmers like the Hungarian dulcimer called cimbalom. Dvorˇák and Janácˇek shared more than Czech heritage. They The haunting Ballada soothes like a lullaby from legendary were both aspiring opera composers, both prized the songs of times. Some suggest that the violin’s fi rst comments in the last their people, and above all, they both loved nature. Dvorˇák was movement evoke distant guns—muted, but feroce, espressivo. fond of pigeons; Janácˇek kept hens. The elder Dvorˇák was born Indeed, the bracing tremolando passage that caps the movement near Prague in Bohemia, the western part of what is now the represented for Janácˇek the Russian armies entering Hungary. Czech Republic. Janácˇek hailed from Moravia, the eastern part, What role does the piano play in a piano quartet? First among and lived much of his life in Brno. The two met in the mid- equals? A stand-in for the fi rst violin? A contrasting force to 1870s, stepping out together on a walking tour of Bohemia in the strings? Dvorˇák‘s Piano Quartet in E-fl at is his second work 1877. “Do you know what it’s like when someone takes your for the medium. It was composed in the summer of 1889, words out of your mouth before you speak them?” Janácˇek just before the Eighth Symphony and several years before his remembered. “This is how I always felt in Dvorˇák’s company. three-year sojourn in the U.S. Here, the piano provides a foil He has taken his melodies from my heart.” From 1897, Janácˇek to a marching string theme. The viola states a gentle second idea in the distant key of G major. Throughout, the tight motivic development is worthy of Dvorˇák ’s advocate Brahms. As he composed the spacious Lento, Dvorˇák must have been contemplating the cello concerto he would soon write. The third movement is particularly rich in thematic material, as gently dancing strings are answered by the piano in two contrasting folk styles. Brahms would have enjoyed the canons in this movement, and would certainly have admired the way his Czech friend knew how to make the piano sparkle. Hill House Chamber Players (from left): Jeffrey Van, Julie Ayer, Tanya Remenikova, Rees Allison, Program note © 2012 by David Evan Thomas Catherine Schubilske, Thomas Turner

schubert.org 11 The Schubert Club

presents GoerneStephen Program Hough, piano Two Nocturnes, Opus 27 Frédéric Chopin (1810–1849) No. 1 in C-sharp minor No. 2 in D-ﬂ at major

Page Sonata No. 3 in F minor, Opus 5 Johannes Brahms (1833–1897) Allegro maestoso Andante espressivo Scherzo. Allegro energico. Trio. Intermezzo (Rückblick). Andante molto Finale. Allegro moderato ma rubato

Intermission

Piano Sonata No. 2, Notturno luminoso Stephen Hough (b. 1961)

Carnaval, Opus 9 Robert Schumann (1810–1856) Préambule • Pierrot • Arlequin Valse noble • Eusebius • Florestan Coquette • Réplique • Sphinxes Papillons • A.S.C.H. - S.C.H.A. (Lettres dansantes) • Chiarina Chopin • Estrella • Reconnaissance Pantalon et Colombine • Valse allemande Paganini • Aveu • Promenade • Pause Marche des Davidsbündler contre les Philistins

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This evening’s concert is dedicated to the memory of Catherine M. Davis.

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

Tuesday, November 20, 2012 • 7:30 PM Ordway Center for the Performing Arts

Highlights of Mr. Hough’s 2012-13 season include re-engagements with the Boston, San Francisco, Houston and Baltimore symphonies as well as with the Hong Kong Philharmonic and Deutsche Symphony Orchestra Berlin and solo recitals in Carnegie Hall, Vancouver, St. Paul and London’s Barbican Center. He will also be the Artist-in-Residence with the BBC Symphony in London.

Stephen Hough’s catalogue of over 50 CDs has garnered numerous international prizes, including the Deutsche Schallplattenpreis, Diapason d’or, Monde de la musique, four Grammy nominations and eight Gramophone Magazine Awards, including ‘Record of the Year’ in 1996 and 2003 and the Gramophone “Gold Disc” Award in 2008. His most recent recordings are the Grieg and Liszt Concertos for Hyperion and a disc of his own compositions for BIS Records. He records the two Brahms Photo: Andrew Crowley Photo: Andrew concertos with the Salzburg Mozarteum Orchestra in Stephen Hough, piano January 2013. With an artistic vision that transcends musical fashions An avid writer, Stephen Hough frequently writes for and trends, Stephen Hough is widely regarded as one of many of the major London newspapers such as The the most important and distinctive pianists of his Guardian, The Times, and was invited by the Daily generation. In recognition of his achievements, he was Telegraph in 2008 to start what has become one of the awarded a prestigious MacArthur Fellowship in 2001, most popular cultural blogs. He has also written joining prominent scientists, writers and others who have extensively about theology and his book, The Bible made unique contributions to contemporary life. He as Prayer, is published in the US and Canada by received the 2008 Northwestern University School of Paulist Press. Music’s Jean Gimbel Lane Prize in Piano Performance and was the 2010 winner of the Royal Philharmonic Society As a composer, Mr. Hough has been commissioned by Instrumentalist Award. the musicians of the Berlin Philharmonic, London’s National Gallery, Westminster Abbey, Wigmore Hall, Mr. Hough has appeared with most of the major American Le Musée de Louvre and Musica Viva Australia among and European orchestras and plays recitals regularly in others. He premiered his Sonata for Piano (broken the important halls and concert series around the world. branches) at Wigmore Hall in June 2011 and the world Recent engagements include recitals in London, Paris, premiere of his Missa Mirabilis, commissioned by the Hong Kong, Sydney, Chicago and San Francisco; Indianapolis Symphony, took place in April 2012. Mr. performances with the New York, London, Los Angeles and Hough’s numerous compositions for solo piano, chamber Czech Philharmonics, the Chicago, Pittsburgh, San Fran- ensembles, orchestra and voice are published by Josef cisco, St. Louis and Toronto symphonies, the Cleveland, Weinberger Ltd. Philadelphia, Minnesota and Russian National Orchestras; and a performance televised worldwide with the Berlin A resident of London, Mr. Hough is a visiting professor Philharmonic and Sir Simon Rattle. at the Royal Academy of Music in London and holds the International Chair of Piano Studies at his alma mater, Stephen Hough is also a regular guest at festivals such as the Royal Northern College in Manchester. Salzburg, Ravinia, Tanglewood, Blossom, Hollywood Bowl, Edinburgh, Aldeburgh and the BBC Proms, where he has Stephen Hough’s Piano Sonata No. 2, Notturno luminoso, is a made over 20 appearances. In the summer of 2009 he joint commission with funds generously supplied by Lakeside played all of the works for piano and orchestra of Arts Centre, University of Nottingham; The Schubert Club, St. Tchaikovsky over four Prom concerts, three of which were Paul, Minnesota; Singapore International Piano Festival; Swan- broadcast live on BBC television. During the summer of sea Festival of Music and the Arts; and the Vancouver Recital So- 2012 he returned to the Aspen, Grand Teton and Lincoln ciety. It was given its premiere by the composer at the Brangwyn Center’s Mostly Mozart Festivals. Hall, Swansea Festival of Music and the Arts, on October 9, 2012.

schubert.org 13 Program Notes

Sonata No. 3 in F minor, Opus 5 Johannes Brahms (b. Hamburg, 1833; d. Vienna, 1897)

Brahms was twenty, blond, beardless and slender when he composed this sonata, the earliest of his works to have found a steady place in the repertory. He had just been “discovered” by Schumann, who closed his career as music critic with the celebrated article to which he gave the title “New Paths”: “I have always thought that some day one would be bound suddenly to appear, one called to express in ideal form the spirit of his time, one Frédéric Chopin whose mastery would not reveal itself to us step by step, but who, like Minerva, would spring fully armed Two Nocturnes, Opus 27 from the head of Zeus. And he is come, a young man Frédéric Chopin (b. near Warsaw, 1810; d. Paris, 1849) over whose cradle graces and heroes have stood watch. His name is Johannes Brahms.” By then, moreover, Liszt credited Irish composer-pianist John Field (1782- Schumann had already written to Breitkopf & Härtel in 1837) with the invention not only of the nocturne, Leipzig, urging them to publish the young man’s music. but with “all pieces designed to portray subjective and profound emotion.” Czerny linked the nocturne to the All three sonatas are works of enormous scope and serenade: “The peculiar object of such work—that of ambition, the ﬁ rst of them even making the boldest being performed at night, before the dwelling of an possible claim for a place in the central tradition by esteemed individual—must always exercise an inﬂ u- beginning with an unmistakable allusion to Beethoven’s ence upon its character.” Hammerklavier Sonata. Brahms went on to write many more works in the sonata style and very much more The Two Nocturnes, Opus 27, were composed in 1835, music for solo piano, but he never again wrote a the year of Schumann’s Carnaval, but also the year piano sonata. Chopin became reacquainted with Maria Wodzin´ska, whose family would ultimately reject his suit. Chopin’s nocturnes had hitherto been published in groups of three. With Opus 27, he began to issue them in pairs, elevating their status. These nocturnes have a particularly intimate relationship. They share a tonic, and are as inseparable as light from shadow. Yet they are quite different in structure and mood.

The fi rst nocturne begins on the dark side of the moon, and struggles to fi nd a voice. The acoustics of the opening undulations lead the ear to expect a major third: E-sharp. But the fi rst, plaintive melody note is the minor mode’s E instead, and the line that follows is more emanation than tune. A contrasting middle section briefl y strikes up a cheery waltz, but loses its footing. Only falling sighs in duet confi rm the major mode. The voice sought in No. 1 is found in No. 2. This is a different structure, a lyric poem in three-stanzas. Under the full moon, a richly embroidered right hand falls and rises, aspiring to a diva’s power to wax and wane. A second voice joins the fi rst—another duet!—in operatic fashion. The coda falls under the timeless spell of a tonic pedal point.

14 THE SCHUBERT CLUB An die Musik Sonata No. 2, Notturno luminoso (2011) Stephen Hough (b. Heswall, UK, 1961)

The subtitle for my second Piano Sonata, ‘Notturno luminoso,’ suggests many images: the reﬂ ection of the moon on a calm lake perhaps, or stars across a restful sky. But this piece is about a different kind of night and a different kind of light: the brightness of a brash city in the hours of darkness; the loneliness of pre-morning; sleep- lessness and the dull glow of the alarm clock’s unmoving hours; the irrational fears or the disturbing dreams which are only darkened by the harsh glare of a suspended, dusty light bulb. But also suggested are nighttime’s heightened emotions: its mysticism, its magic, its imaginative possibilities.

The Sonata’s form is ABA and there are three musical ideas: one based on sharps (brightness), one based on fl ats (darkness), and one based on naturals (white notes) representing a kind of blank irrationality. The piece opens Johannes Brahms, 1853 clangorously, its bold, assertive theme – sharps piled upon sharps – separated by small cadenzas. Yearning and Brahms begins with a movement so massive in sonority, hesitating to reach a cadence it fi nally stumbles into the B so imperious in its gestures (he even gives the direction section where all accidentals are suddenly bleached away “fi rm and defi nite”) that we are apt to be surprised by in a whiteout. Extremes of pitch and dynamics splatter its compact form. The Andante has an epigraph of three sound across the keyboard until an arpeggio fi gure in the lines by the Romantic poet Wilhelm Sternau: “It is bass gathers rhythmic momentum and leads to the ‘fl at’ evening, the moonlight glows,/Now two hearts are musical idea, jarring in its romantic juxtaposition to what united in love/And hold each other in blissful embrace.” has gone before. The music itself is songful, expansive, quietly passion- This whole B section is made up of a collision, a toss- ate, rich in contrast. The descending chain of thirds with ing and turning, between the two tonalities of fl ats and which Brahms begins was to be a signature all his life. naturals, interrupting each other with impatience until After a roistering Scherzo—but with a broad and calm the whiteout material spins up into the stratosphere, a whirlwind in the upper octaves of the piano. Under this Trio—Brahms prefaces the fi nale with an Intermezzo blizzard we hear the theme from the beginning of the which he also calls Retrospect (Rückblick). What he looks piece, fi rstly in purest, brilliant C major in the treble, then, back upon is the Romantic scene of the Andante, but after it subsides to pianissimo, in a snarl of dissonance in now he makes its melodies harder in contour and gives the extreme bass of the instrument. The music stops … them an accompaniment of muffl ed drums. That leads and then, for the fi rst time, we hear the full statement of without break into the grandly energetic, often the ‘fl at’ material, Andante Lamentoso. The music’s sorrow capricious fi nale. increases with wave after wave of romantic ardour, delib- erately risking overkill and discomfort. Adapted from notes by Michael Steinberg At its climax the music halts twice at a precipice then tumbles into the recapitulation, the opening theme now in white-note tonality and unrecognizably spotted across the keyboard. As this peters out we hear the same theme but now with warm, gentle, romantic harmonies. A fi nal build-up to an exact repetition of the opening of the piece is blended with material from the B section and, in the last bar, in a fi nal wild scream, we hear all three tonalities together for a blinding second-long fl ash, brighter than noon, before the fi nal soft chord closes the curtain on these night visions. – Stephen Hough

schubert.org 15 Program Notes continued

Carnaval, Scènes mignonnes sur quatre notes, Opus 9 Robert Schumann (b. Zwickau, 1810; d. near Bonn, 1856)

In the winter of 1834-35, when he composed Carnaval, the 24-year-old Robert Schumann had been living in Leipzig, off and on, for seven years. He had founded what would long be an inﬂ uential magazine, Neue Leipziger Zeitschrift für Musik, and begun his distin- guished career as a writer about music. He had formed friendships with Chopin, Mendelssohn, and Ignaz Moscheles. Most important, his life as a composer was now securely under way. As early as 1831 he had written the delightful Papillons, Opus 2, and in 1834 there began that great outpouring of piano works of explosive genius, starting with the Symphonic Etudes and Carnaval and continuing through 1839, the year of the Blumenstück, Humoreske, Nachtstücke and Faschings- schwank aus Wien.

He called Carnaval a musical picture gallery. A fascinatingly diverse array of ﬁ gures ghosts across the scene at this fantastical masked ball. Among them we can recognize Pierrot, Harlequin, Pantaloon, and Columbine from Italian commedia dell’arte; Chopin, Paganini, and Schumann himself, three of the most important musicians of the day; the ﬁ fteen-year-old Clara Wieck and her seventeen-year-old rival, Ernestine von Fricken.

Like Clara, Chopin, and the rest, Ernestine has just one piece specifi cally named for her, Estrella, but in a larger sense, Carnaval is her piece. Schumann composed it in the heightened, even dizzy state of mind brought about by his engagement to her and their sexual relationship, Robert Schumann and he also found a way of building her presence right into the music itself. It had thrilled him to discover that all omitting Chopin from the tally) use A-fl at/C/B. Just the letters in the name of Ernestine’s home town, Asch— before Papillons, Schumann presents the pianist with a now Asˇ in the Czech Republic, about 100 miles west of mystery in that he writes out the three musical Prague—were the names of musical notes. In German, encodings, SCHA and the two versions of ASCH, in the “Es” (“S”) is E-fl at, “H” is B-natural, and “As” is A-fl at. bass clef and in double whole notes, and heads them Sphinxes. Representing the total genetic code of These magic notes dance almost all the way through Carnaval, they are something for the pianist to know Carnaval, one of whose movements is even titled Lettres about but not to play. Now just about any other com- dansantes—”almost” because in the Préambule they poser would have placed Sphinxes at the point where have not yet come on the scene, and in Chopin they he switches from the A/E-fl at/C/B version to A-fl at/C/B, are almost completely concealed. The eight pieces that in other words, after Papillons rather than before it; follow the Préambule—Pierrot through Papillons—are Schumann’s (literally) eccentric placement is so based on A/E-fl at/C/B; the remainder (possibly characteristic of him!

16 THE SCHUBERT CLUB An die Musik But Carnaval is, ﬁ rst and foremost, a party, a work to appeal to the listener’s imagination. I won’t describe the music, but let me decode some of the titles I have not mentioned:

Eusebius and Florestan are the names Schumann gave to the introspective and outgoing sides of his personality. His critical writings are sometimes couched as conversa- tions between the two. Nineteenth-century piano music is full of Papillons—butterfl ies—most of them fl uttering salon pieces. Schumann used the title more than once; he also quotes his own suite, Papillons, Opus 2, in Florestan, strangely marking the quotation in the score as “Papillon?”. The Chopin portrait is affectionate and lovely; its subject was offended, however, because Schumann included fi ngerings that parody Chopin’s idiosyncratic ways at the keyboard. Reconnaissance is a word with an immense range of meanings, from reconnoitering to pawn-ticket. Here Schumann intends

Clara Schumann

it in the sense of avowal or confession (Note that it immediately follows Estrella). Aveu also means avowal, confession. Marche des “Davidsbündler” contre les Philistins—the “Davidsbündler” (League of David) were a group of friends whose central ﬁ gure was Schumann and who stood for everything progressive in the arts. In the exuberant ﬁ nale to Carnaval, the Philistines are represented by the galumphing seventeenth-century tune called the “Grandfather Dance.”

schubert.org 17 The Schubert Club

presents The Aulos Ensemble Christopher Krueger, ﬂ auto traverso, Marc Schachman, baroque oboe Linda Quan, baroque violin, Myron Lutzke, baroque cello Arthur Haas, harpsichord with Dominique Labelle, soprano

Program “A Baroque Christmas”

Concerto in D major, RV 94 Antonio Vivaldi (1678–1741) Allegro-Largo-Allegro

Traditional Carols

Arias from the Cantatas Johann Sebastian Bach (1685–1750) “Ich esse mit freuden,” from BWV 84 “Süsser Trost, mein Jesus kommt,” from BWV 151 “Mein Glaübiges Herze,” from BWV 68

Intermission

Cantata Pastorale Alessandro Scarlatti (1660–1725)

4ème Symphonie de Nöel Michel Corrette (1709–1795) Moderato-Adagio-Allegro

“Vous qui désirez sans ﬁ n” Traditional Musettes, from Les Fêtes d’hébé Jean-Phillipe Rameau (1683–1764) “Chrétiens quie suivez l’église” Traditional Rigaudons, from Les Fêtes d’hébé Rameau “Grâce soit renduë” Traditional Nöel Provençal Corrette

18 THE SCHUBERT CLUB An die Musik Please turn off all electronic devices. Music in the Park Series

Sunday, November 25, 2012 • 4:00 PM Saint Anthony Park United Church of Christ Photo: Jill LeVine From left: Myron Lutzke, Marc Schachman, Linda Quan, Arthur Haas, Christopher Krieger Photo: Lino Alvarez The Aulos Ensemble Dominique Labelle, soprano Formed in 1973 by fi ve Juilliard graduates, the Aulos Ensemble was at the forefront of a movement that has Soprano Dominique Labelle’s passionate commitment to captured the imagination of the American listening public. music-making has led to close and enduring collaborations The group’s fi rst recording for the Musical Heritage Society, with a number of the world’s most respected conductors Original Telemann, was released in 1981 in connection and composers, most recently Nicholas McGegan, Iván with the composer’s tercentenary, and was universally Fischer, Jos van Veldhoven, and the Pulitzer Prize winning hailed as one of the most accomplished and signifi cant composer Yehudi Wyner. She also treasures her long early-music recordings ever, receiving the Critic’s Choice association with the late Robert Shaw. Award of High Fidelity/Musical America Magazine. Since then, the Ensemble has released over a dozen recordings Her recent appearances with Hungarian conductor Iván on the same label. Fischer include the Countess Almaviva in Mozart’s Nozze di Figaro at Teatro Perez Galdos in Las Palmas and in In the group’s early years, they created a wonderful Budapest, a Bach B-minor Mass in Washington, D.C., and a tradition for New York concertgoers: the Aulos’ Christmas Bach St. Matthew Passion with the Royal Concertgebouw concerts in front of the Neapolitan Christmas tree at the Orchestra in Amsterdam. Metropolitan Museum of Art. The popularity of these concerts encouraged Aulos to begin to offer the program Among her numerous recordings of opera and concert on tour. Recently the group has expanded its repertoire, repertoire is Monsigny’s Le Déserteur,with Opera Lafayette and has added programming with additional guest artists, and Ryan Brown (Naxos), with whom she also performed in enabling performances of the complete Brandenburg Gluck’s Armide at Lincoln Center’s Frederick P. Rose Hall and at Concerti, Handel’s Water Music, and Acis and Galatea. the Kennedy Center in Washington, D.C. Of her performance in the title role, Anthony Tommasini wrote in the New York Now in its fourth decade, Aulos continues to explore Times, “Singing with tender longing one moment and steely new projects and develop outlets for its music-making. determination the next, Ms. Labelle conveyed Armide’s The group has continued to give master classes and aching confl icts.” Her recording of Handel’s Arminio (Virgin lecture-demonstrations in 17th- and 18th-century Classics) won the 2002 Handel Prize. performance practice at colleges and universities throughout the country. With its members serving Born in Montreal and trained at McGill and Boston on faculties of various schools of music and institutes Universities, Ms. Labelle enjoys sharing her technical specializing in historically informed performance, the and musical insights with young singers, and has taught Ensemble is responsible for training a new generation of master classes at Harvard University, McGill, Smith College, American early-music performers. and the University of Massachusetts.

schubert.org 19 Program Notes

because of its resemblance to the slow movement of the “Winter” concerto from the Four Seasons.

The carols all date from between 1500 and 1700 (thus some predate the theoretical beginning of the Baroque period and belong in that historical period known as the Renaissance). These works come to us in a variety of sources, and we have chosen to orchestrate them, using our baroque instruments, according to our tastes, attempting to capture the affect of each piece in an appropriate manner. Similar performing decisions have Antonio Vivaldi been made regarding texts and number of verses, since there are no defi nitive answers as to the authenticity of any particular version. A recurring characteristic of Of all the holidays in our western culture, Christmas, these carols is the harmonic feature of the drone more than any other, transcends its religious origins commonly associated with the bagpipe or musette– and implications. It has become for almost all of us a instruments that evoke the images of shepherds that time to celebrate; an opportunity to rejoice. Thus it is have come to be identifi ed with Christmas. not surprising that Christmas is the inspiration for an unequalled wealth of musical composition, both vocal We include a group of Bach arias on all our Christmas and instrumental, secular and non-secular. This body of concerts. All of us have our favorite Bach works and literature spans all periods of musical history, from the each of us has different reasons for regarding him as Middle Ages to the present. The spirit of Christmas has one of history’s greatest composers. It is interesting become such a part of our lives that the month of to note, however, that this universal acclaim was not December sees easily twice as many concerts as any accorded Bach during his lifetime, and that he spent other month of the year, for the inherent festive quality most of his career (and made perhaps his most of music-making has become synonymous with signifi cant contributions) as a church composer at celebrating the birth of Jesus Christ. It is in this spirit Saint Thomas’ Church in Leipzig, where he composed a that we offer “A Baroque Christmas”, a concert of vocal cantata for each Sunday of the year. These works were and instrumental works from the 16th to 18th-centu- never intended as concert pieces, but rather as part of ries, some with obvious references to the holiday, others a religious observance (Bach saw himself as a true ser- with less direct connections, and one work (Concerto vant of God) and although only one of the three arias in D major) by Vivaldi that has nothing at all to do with is specifi cally about Christmas, all share in the spirit of Christmas and with which we open our program. love and devotion that is associated with this holiday. “Ich esse mit Freuden” (BWV 84) is a dance-like aria Antonio Vivaldi (1678-1741) lived in Venice and earned with an obbligato of oboe and violin. The text speaks of his living teaching at the Ospedale della Pieta, a found- eating one’s bread with a cheerful spirit and a grateful ling home for girls. His duties, in addition to teaching the violin, consisted of organizing the spectacular concerts presented by the Ospedale. For these concerts Vivaldi composed hundreds of concerti which ultimately gained him an international reputation as a composer, and which helped crystallize the concerto form throughout Europe. Although smaller in number than his solo concerti, Vivaldi explored the idiom of the chamber concerto, where instead of a ripieno or “back-up band” the soloists themselves function as the orchestral tutti and then take turns playing the solos. These works are in the traditional three movement mold (fast-slow-fast) with the middle movement typically allowing a certain freedom for improvisation. In the concerto we present this afternoon, this movement will be familiar to many Saint Thomas’ Church

20 THE SCHUBERT CLUB An die Musik The French, with their attraction to all things pastoral and their predilection for dance music, made an especially colorful contribution to this literature. We close our program with several musette settings and rigaudons interspersed with French Christmas carols, or noëls. The musette was a type of French bagpipe that gave rise to an entire genre of pastorally evocative pieces that were very popular in the 18th century. The rigaudon was a quick and lively dance, originally from Provençe, danced by “peasants and sailors,” according to Johann Mattheson. French noëls, some lively, some serious, were meant not only to tell the Christmas story, and to give insight into the events leading up to the birth of Jesus, but also to provide moral instruc- tion. Thus, in “Grâce soit renduë,” the text informs us Michel Corrette that Adam put us in danger of eternal damnation by eating the apple, but God sent us salvation in the form of His son. “Vous qui désirez sans fi n” tells us that God will always listen to our songs of praise and is always heart. “Süsser Trost, mein Jesus kommt” (from Cantata ready to pardon our sins. “Chrétiens qui suivez l’église” 151-written for Christmas) states “Sweet comfort, my shows the importance of being a practicing Christian. Jesus comes, Jesus is now born.” It is a gorgeous This grand closing group of interwoven vocal and lullaby, sung instrumentally at fi rst by the oboe instrumental pieces is designed to show a French d’amore, crowned with a fl owing fl ute obbligato 18th-century Christmas in all its facets: dances, representing the holy spirit. In “Mein Glaubiges Herze” poignant melodies, pastoral elements, and an (from Cantata 68), the text speaks of “My believing exquisite moral rendering of the Christmas story. heart, be glad, sing, make merry, for thy Jesus is near.” The aria begins with a virtuosic obbligato for solo cello and when the soprano is fi nished, the cello is joined by oboe and violin for a fully worked out “quartet” movement which brings the aria to its joyous conclusion.

Michel Corrette was a church organist for most of his long life, but that doesn’t begin to give an idea of his indefatigable and multifaceted activities on behalf of French music. He was the author of countless treatises and tutors for just about every instrument played in his time, from the ﬂ ute to the double bass. He was a leader in furnishing simple music to bourgeois homes and in supplying brilliant concerti for the burgeoning Jean-Phillip Rameau public concert business. In short, he was France’s leading “popularizer” of music. Perhaps his best known works were his Concerto Comiques, in which the tunes all Paris hummed– many of them ﬁ rst heard at the Opera Comique (hence the name)--were paraphrased in vivaciously embellished instrumental settings. In a similar vein is a group of six compositions entitled Symphonies en Quartuor contenant les plus beaux Noëls François et Etranger avec des Variations. The work we perform today includes many of the most lovely and most recognized French carols of the period, along with their dazzling variations.

schubert.org 21 Texts and Translations

Arias from the Cantatas Johann Sebastian Bach (1685–1750)

“Ich esse mit freuden,” from BWV 84 Ich esse mit Freuden mein weniges Brot I eat now with gladness my humblest of bread Und gönne dem Nächsten von Herzen das Seine. And grant to my neighbor sincerely what he hath. Ein ruhig Gewissen, ein fröhlicher Geist, A conscience e’er quiet, a spirit e’er gay, Ein dankbares Herze, das lobet und preist, A heart ever thankful, exalting with praise, vermehret den Segen, verzuckert die Not. Increaseth one’s blessings and sweetens one’s need.

“Süsser Trost, mein Jesus kommt,” from BWV 151

Süßer Trost, mein Jesus kömmt, Comfort sweet, my Jesus comes, Jesus wird anitzt geboren! Jesus now is born amongst us! Herz und Seele freuet sich, Heart and soul with joy are ﬁ lled, Denn mein liebster Gott hat mich For my dearest God hath me Nun zum Himmel auserkoren Now for heaven’s prize elected

“Mein Glaübiges Herze,” from BWV 68

Mein gläubiges Herze, My heart ever faithful, Frohlocke, sing, scherze, Exulting, sing gladly, Dein Jesus ist da! Thy Jesus is here! Weg Jammer, weg Klagen, Hence sorrow! Hence grieving! Ich will euch nur sagen: I will simply tell you: Mein Jesus ist nah. My Jesus is near!

Cantata Pastorale Alessandro Scarlatti (1660–1725)

Recitativo Recitative O di Betlemme altera povertà venturosa, Oh, noble, fortunate poverty of Bethlehem, Se chi fece ogni cosa, Se chi muova ogni sfera, if the maker of all things, who makes the heavens move, in te descende, e l’autor della luce, descends to you, and the source of light, nei suoi primi vagiti a te risplende. with his frst newborn cries, makes you resplendent.

Aria Aria Dal bel seno d’una stella From the fair bosom of a star, spunta a noi l’eterno sole. comes forth for us the eternal sun, Da una pura verginella From a pure young virgin nacque già l’eterna prole. is born the eternal child.

Recitativo Recitative Presa d’uomo la forma, alle gelide tempre Taking the human form, D‘inclemente stagione soggiace the great child is exposed il gran bambino, e d’acerbo destino to the frigid trial of inclement weather, per sottrarre al rigore and from the harsh fate l‘umanità cadente, dal suo corpo innocente of sinful humanity, his innocent body fa scudo a noi l’appassionata amore. offers to us a shield of passionate love.

22 THE SCHUBERT CLUB An die Musik Aria Aria L’autor d’ogni mio bene The author of all my fortune, scioglie le mie catene wrapped in swaddling, è stretto, è in fasce. loosens my chains. Il tutto ei fè dal nulla, He made everything from nothing, eppur lo veggio in culla yet I see him in the cradle, e in terra nasce. born into the world.

Recitativo Recitative Fortunati pastori, giacchè v’è dato in sorte Happy shepherds, it was your lot ch’il signor della vita, immortale, that the lord of life, immortal, increato respiri fra di voi l’aure primiere! and not created drew his ﬁ rst breath among you! Al dolce suon giulivo di zampagne innocente. With the sweet merry sound of your rustic pipes, D’un Dio fatto mortale Hasten to celebrate the great birth correte, a celebrar, a celebrar l’alto Natale. of God made mortal.

Aria Aria Tocco la prima sorte a voi pastori. Yours, shepherds, was the good fortune, Perchè si fa Gesù di Dio l’Agnello. because Jesus was made Lamb of God. Offrite alla sua cuna i vostri cuori, Offer your hearts at his crib, mirate quanto è vago e quanto è bello. see how fair he is and how pretty he is. Lasciate i vostri armenti e la capanna, Leave your ﬂ ocks and huts, abbandonate si le pecorelle. abandon your lambs. Ve’una speranza in lui che non v’inganna, See a hope in him that will not deceive you, e che vi puo dar loco in fra le stelle. and can give you place among the stars.

A Pastoral Landscape with Shepherds and their Flocks by George Lambert

schubert.org 23 Texts and Translations continued

Vous qui désirez sans ﬁ n

Vous qui désirez sans ﬁ n. Oüir chanter, God is always ready to listen que nôtre Dieu est enclin to men’s songs praising him. A écouter nôtre priere et complainte tous les jours; He listens to our prayers and complaints every day quand nous invoquons sans feinte, son secours. when we invoke his help.

Et comme il est toûjours prest de pardonner, And he is always ready to pardon non pas d’un severe arrest nous condamner: without condemnation, nôtre mal et nôtre peine rélaschant, and release us from our evil and our pain oyez de la Magdelaine, le beau chant. thanks to these songs to Mary Magdalene.

Magdelaine se levoit estant au jour, Magdalene arose with the coming of day et bravement se paroit d’un bel atour: and with a beautiful visage. quand Marthe moins curieuse des habits, Martha, who by habit was less curious la vint aborder joyeuse par ces dits. became joyful at the following words from her:

Dieu soit nôtre protecteur, ma chere soeur, God is our protector, dear sister. si vous voulez en ce temps pour passe-temps: If you want to see voir quelque chose de rare et de beau, something rare and beautiful, oyez ce qui se prepare, de nouveau. listen to what is now being prepared.

Un prophete est arrivé, bien approuvé, A prophet has arrived, saintly in appearance. dit Jesus de Nazareth, homme discret: His name is Jesus of Nazareth. He is a discreet man. Qui devoit faire a l’instance (ce dit-on) It is said that his sermons d’une divine éloquence, le sermon. bespeak divine eloquence.

C’est l’homme le plus parfait, et en effet, This man is the most perfect, the most beautiful, le plus beau, le plus sçavant, le mieux disant: the most knowledgeable, the most well-spoken, Que jamais vîtes en face, pour certain, and he carries himself with such grace that it is not certain son port avec telle grace, n’en humain. that he is merely human.

Gaspard de Gueidan playing the musette de cour, painting by Hyacinthe Rigaud, 1738

24 THE SCHUBERT CLUB An die Musik Chrétiens qui suivez l’église

Chrétiens qui suivez l’église, bien apprise, Christians who follow the path of the church are well schooled de son divin précepteur: about their divine preceptor. Venez oûyr les merveilles, nonpareilles, Come and listen to the unparalleled marvels du Dieu nôtre salvateur. of God the saviour.

Il aymoit tant la nature sa facture, He loved so much the nature of his making, que du trosne supernel that from his supernatural throne sur terre il voulut descendre, pour y prendre he wanted to descend to earth in order to bring there un semblable corps mortel. a God-like mortal.

Doncques la Vierge Marie, fut choisie, Therefore the Virgin Mary was chosen pour cette incarnation, for this incarnation. le saint esprit vint parfaire, ce mystere The Holy Spirit went to perfect this mystery digne d’admiration. which is worthy of admiration.

Lors Cesar faisant décrire son empire, When Caesar was enlarging his empire du pays Galiléem, to include Galilee, Joseph avecque Marie, la remplie, Joseph with Mary, who was already pregnant, comparoist en Bethléem. was journeying to Bethlehem.

Pendant qu’ils y séjournerent, approcherent, While they were staying there, the day of birth les jours de l’enfantement; was approaching; mais la Vierge en cette ville incivile, but the Virgin in this uncivil town ne trouva soulagement. did not ﬁ nd any comfort.

Tant s’en faut dans une étable incapable, Forced to rest in a stable because, unable pour loger honnestement: to ﬁ nd any honest lodging, cette mere et Vierge sainte, fut constrainte, this mother, the holy virgin, faire son accouchement. had to have her delivery there.

Grâce soit renduë

Grâce soit renduë, a Dieu de la sus; Grace is rendered to God de la bien venuë, de son ﬁ ls Jesus: for the much awaited arrival of his son Jesus; qui naquit de Vierge sans corruption, who was born from immaculate conception from the Virgin pour nôtre décharge souffrit passion; and suffered and died for our sins. Alleluya, Alleluya, Kyrie, Christe, Kyrie, eleyson. Alleluia, Kyrie, Christe eleison.

Adam nôtre pere nous mit en danger, Adam, our forefather, put us in danger de la pomme chere qu’il voulut manger: with the apple that he wanted to eat. Il nous miten voye de damnation, He put us in sight of damnation. mais Dieu nous envoye a salvation; But God sent us salvation.

Dieu doint bonne vie a nôtre bon roy, God, grant a good life to our good king. le garde d’envie et mortel defroy: Keep him safe and out of mortal danger. Luy donne victoire de ses ennemis, Grant him victory over his enemies a la ﬁ n la gloire de son paradis; and at the end of his life glory and paradise.

Luy estant ﬁ delle nous conservera, He will conserve those who are faithful. et toute querelle il appaisera: He will calm all quarrels Rendant la justice aux petits et grands, and render justice to the big and the small. punissant le vice nous rendans contents; He will punish evil and make us happy.

Nous ferons prieres generalement, We will pray in general pour pere et pour mere, soeur, frere, et parent: for mothers, fathers, sisters, brothers, all relatives. Pour toutes les ames qui sont en prison, For all souls who are in prison, que Dieu par sa grace nous fasse pardon. God by his grace will pardon them.

schubert.org 25 Calendar of Events 2012–2013

October 2012 – April 2013 Thursdays, October 11 – April 25 • 12:00 PM Courtroom Concerts Landmark Center 317 (No concerts November 22, November 29, December 27, January 31)

November 2012 Thursday, November 8 • 5:00 PM Landmark Center Galleria Cocktails with Culture - Happy Hour Event Gao Hong, pipa & the Carleton College Chinese Music Ensemble

Mondays, November 19 & 26 • 7:30 PM James J. Hill House Hill House Chamber Players

Tuesday, November 20 • 7:30 PM Ordway Center Stephen Hough, piano

Sunday, November 25 • 4:00 PM St. Anthony Park UCC Tahir Photo: Tina Anne-Sophie Mutter, violin Aulos Ensemble, with Dominique Labelle, soprano

December 2012 Monday, December 3 • 7:30 PM Christ Church Lutheran Accordo: A Tribute to Debussy on his 150th

Friday, December 14 • 7:30 PM Sundin Music Hall Belladonna, with Maria Jette, soprano

January 2013 Inon Barnaton, piano Tuesday, January 8 • 7:30 PM Ordway Center Alisa Weilerstein, cello & Inon Barnatan, piano

Thursday, January 10 • 5:00 PM Landmark Center Galleria Cocktails with Culture - Happy Hour Event International Novelty Gamelan Photo: Marco Borggreve Photo: Marco

Saturday, January 19 • 7:30 PM Hennepin Avenue UMC Sunday, January 20 • 4:00 PM Artaria String Quartet

Photo: Marco Borggreve Photo: Marco Sunday, January 27 • 4:00 PM St. Anthony Park UCC Alisa Weilerstein, cello David Finckel, cello & Wu Han, piano

26 THE SCHUBERT CLUB An die Musik More information at schubert.org Box office 651.292.3268

Friday, March 22 • 6:15 & 7:30 PM St. Matthew’s Episcopal Family Concert: Elias Quartet

Sunday, March 24 • 4:00 PM St. Anthony Park UCC Elias Quartet James Valenti, tenor

April 2013 April 5, 6, 12, 13 • 8:00 PM Cowles Center April 7 • 2:00 PM Lover: James Sewell Ballet with Maria Jette, Bradley Greenwald & Dan Chouinard Photo: Bard MartinPhoto: Bard Shanghai Quartet Friday, April 12 • 6:15 & 7:30 PM St. Matthew’s Episcopal Family Concert: Lau Hawaiian Collective Ensemble

Mondays, April 22 & 29 • 7:30 PM James J. Hill House Hill House Chamber Players

Sunday, April 28 • 4:00 PM St. Anthony Park UCC Shanghai Quartet Photo: Dario Acosta

February 2013 Tuesday, April 30 • 7:30 PM Ordway Center Monday, February 4 • 7:30 PM Christ Church Lutheran 130th Anniversary Celebration Accordo: In the Footsteps of Bach Jessye Norman, soprano

Mondays, February 4 & 11 • 7:30 PM James J. Hill House May 2013 Hill House Chamber Players Monday, May 6 • 7:30 PM Christ Church Lutheran Accordo: Intimate Voices Saturday, February 9 • 7:30 PM Ordway Center James Valenti, tenor

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

& Sonja Thompson, piano Friedman Photo: Carol

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

March 2013 Jessye Norman, soprano Monday, March 11 • 7:30 PM Ordway Center Anne-Sophie Mutter, violin & Lambert Orkis, piano

schubert.org 27 The Schubert Club Northrop Concerts and Lectures and Kate Nordstrum Projects

present Accordo

Steven Copes, violin • Ruggero Allifranchini, violin Maiya Papach, viola • Ronald Thomas, cello with Benjamin Hochman, piano

Program “A Tribute to Debussy on his 150th”

Sonata for Violin and Piano Leoš Janácˇek (1854–1928) Con moto Balada Allegretto Adagio

String Quartet in F major Maurice Ravel (1875–1937) Allegro moderato – Très doux Assez vif – Très rythmé Très lent Vif et agité

Intermission

Three Preludes from Book 1 Claude Debussy (1862–1918) Les sons et les parfums tournent dans l’air du soir Des pas sur la neige Les collines d’Anacapri

Piano Quartet in C minor, Opus 15 Gabriel Fauré (1845–1924) Allegro molto moderato Scherzo. Allegro vivo Adagio Allegro molto

28 THE SCHUBERT CLUB An die Musik Please turn off all electronic devices. Accordo

Monday, December 3, 2012 • 7:30 PM Christ Church Lutheran, Minneapolis

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

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

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

Ruggero Allifranchini is the associate concertmaster Benjamin Hochman was the winner of 2011’s of the SPCO. He was born into a musical household in prestigious Avery Fisher Career Grant. He has worked with the Milan, Italy. He studied at the New School in Philadelphia with Tokyo, Mendelssohn, Casals, Prazak and Daedalus Quartets, Jascha Brodsky and later at the Curtis Institute of Music, with Zukerman Chamber Players, members of the Guarneri, Juilliard Szymon Goldberg and, for chamber music, Felix Galimir. He and Orion Quartets, Jonathan Biss, Jaime Laredo, Cho-Liang Lin was the recipient of the Diploma d’Onore from the Chigiana and Ani Kavaﬁ an, Miklós Perényi, Ralph Kirshbaum and Sharon Academy in Siena, Italy. In 1989, he co-founded the Borromeo Robinson. He began his studies at the Conservatory of the Rubin String Quartet, with which he played exclusively for eleven years. Academy in Jerusalem. He is a graduate of the Curtis Institute He is the violinist of the trio Nobilis, with pianist and former SPCO of Music and the Mannes College of Music where his principal Artistic Partner Stephen Prutsman and cellist Suren Bagratuni. teachers were Claude Frank and Richard Goode. His studies were Allifranchini plays on the “Fetzer” violin made by Antonio supported by the America-Israel Cultural Foundation. He is Stradivari in 1694, which is on loan to him from the Stradivari currently on the piano faculty of the Longy School of Music of Society of Chicago. Bard College.

A native of Los Angeles, violinist Steven Copes joined the Maiya Papach is acting principal viola of the SPCO and served SPCO as concertmaster in 1998 and has led the orchestra from in the same capacity last year. She is a founding member of the the chair in highly acclaimed, eclectic programs, and performed International Contemporary Ensemble (ICE), one of the leading concertos by Berg, Brahms, Hindemith, Kirchner, Lutoslawski, new music ensembles in the United States. Prior to joining the Mozart, Prokoﬁ ev, and Weill. A zealous advocate of the music of SPCO, she performed regularly with the IRIS Orchestra and the today, he gave the world premiere of George Tsontakis’ Grammy- New York Philharmonic. In New York, Papach has performed in nominated Violin Concerto No. 2 (2003), which won the 2005 chamber concerts at Bargemusic, Alice Tully Hall, Merkin Concert Grawemeyer award, and has been recorded for KOCH Records. Hall, and Miller Theater, among others. Papach is a graduate of Copes was co-founder of the Alpenglow Chamber Music Festival the Oberlin Conservatory and the Juilliard School. in Colorado. He holds degrees from The Curtis Institute and Juilliard. Former principal cellist of the SPCO, Ronald Thomas sustains an active and varied career as performer, teacher and artistic administrator. Thomas is the co-founder and artistic director of the Boston Chamber Music Society with which he appears regularly. He has appeared as soloist and in recital with orchestras throughout the United States and Europe. Thomas has taught at MIT, Brown University, Boston Conservatory and Peabody Conservatory. Prior to winning the Young Artists Auditions at the age of nineteen, he attended the New England Conservatory and the Curtis Institute.

schubert.org 29 The Schubert Club

presents Belladonna

Margaret Humphrey, baroque violin • Rebecca Humphrey, baroque cello Cléa Galhano, baroque recorders • Barbara Weiss, harpsichord with Maria Jette, soprano

Program “Rhythm and Verse: An Exploration of Pulse through Music and Poetry”

Adagio, from Sonata No. 3, BWV 1005 Johann Sebastian Bach (1685–1750), arr. Barbara Weiss “Il Tempo Fugge” from Rappresentatione di anima, et di corpo Emilio de Cavalieri (1550–1602) “His Golden Locks” John Dowland (1563–1626) La Sonnerie de Sainte-Geneviève du Mont à Paris Marin Marais (1656–1728), arr. Cléa Galhano “Addio Roma” from L’incoronazione di Poppea Claudio Monteverdi (1576–1643) Toccata in E minor, BWV 914 J.S. Bach “Lagrimosa Beltà” Giovanni Felice Sances (c. 1600–1679) Folias echa para mi Señora Doña Tarolilla de Carallenos Andrea Falconieri (1585–1656) Jácara Juan Cabanilles (1644–1712), arr. Weiss

Intermission

Intrada Giovanni Battista Buonamente (1595–1642) The Battell, from Lady Nevell’s Book William Byrd (1540–1623), arr. Weiss The March before the Battell The Soldiers Summons The March of the Footmen The March of the Horsemen The Irish March The Bagpipe and the Drone The March to the Fighte The Retreat The Burying of the Dead Fantasia, from Suite No. 1 in G minor William Lawes (1602–1645), arr. Weiss “Hor ch’e tempo di dormire” Tarquinio Merula (1595–1665), arr. Weiss La Vinciolina, from Sonate a violino solo, Opus 4, No. 6 G.A. Pandolﬁ Mealli (c.1620–c.1669) Adagio, from Toccata, Adagio and Fugue, BWV 564 Bach, arr. Weiss “Oblivion Soave” from L’incoronazione di Poppea Monteverdi

30 THE SCHUBERT CLUB An die Musik Please turn off all electronic devices. Belladonna Friday, December 14, 2012 • 7:30 PM Sundin Music Hall

Brazilian recorder player Cléa Galhano has performed in the United States, Canada, South America and Europe as a chamber musician, collaborating with recorder player Marion Verbruggen, Jacques Ogg, Belladonna, Lanzelotte/Galhano Duo, Galhano/Montgomery Duo, Kingsbery Ensemble, and Blue Baroque Band. As a featured soloist, Galhano has worked with the Saint Paul Chamber Orchestra conducted by Christopher Hogwood, Nicholas McGegan and Emmanuelle Haim, World Symphony, Milwaukee Baroque and Lyra Baroque Orchestra. Ms. Galhano has performed at the Boston Early Music Festival, the Tage Alter Music Festival in Germany and at Wigmore Hall in London, Weill and Merkin Hall in New York and Palazzo Santa Croce in Rome. Galhano regularly conducts workshops across the United States, Europe and Brazil. Currently, Galhano is the Executive Artistic Director of the St. Paul Conservatory of Music and she is on the faculty of Belladonna Macalester College. Barbara Weiss has been on the faculty of both the Oberlin Maria Jette has appeared with The Saint Paul Chamber Conservatory and the Peabody Institute, as well as Concordia Orchestra, Los Angeles Chamber Orchestra, Minnesota College and the University of Minnesota and Pennsylvania. Orchestra, Houston, Kansas City, San Luis Obispo, Santa She teaches at summer workshops such as the Oberlin Rosa, Charlotte, Buffalo, Grand Rapids, Austin and San Baroque Performance Institute, the Madison Early Music Antonio Symphonies, New York Chamber Symphony and Festival, and Indiana University’s Recorder Academy. Ms. Portland Baroque Orchestra, and for many merry seasons Weiss has performed at the Boston, San Antonio and Berkeley with Ex Machina Antique Music Theatre in the Twin Cities Early Music Festivals, and the Winnipeg Folk Festival. Her (Minneapolis-St. Paul), where she’s often heard locally with collaborations include Belladonna, the Newberry Consort, VocalEssence, Chamber Music Society of Minnesota and Lyra Quicksilver, Chatham Baroque, the Smithsonian Chamber Baroque Orchestra. With conductor Helmuth Rilling, she’s Players, the King’s Noyse, Apollo’s Fire, the Chicago Opera sung Bach, Mozart and Haydn around the US, Germany, Spain, Theater and Piffaro. Ms. Weiss has recorded with the Dorian, Venezuela, Japan and Canada. She’s performed her own Flying Fish and Harmonia Mundi labels. She currently lives in production of Seuss/Kapilow’s Green Eggs & Ham for over Asheville, NC, where she performs with Muses Delight, Pan 40,000 kids around the USA. She has been a regular guest Harmonia and is teaching at the Mountain Collegium Early over many seasons at the San Luis Obispo Mozart and Oregon Music Workshop, and at Eastern Tennessee State University’s Bach Festivals and the Oregon Festival of American Music, and Summer Piano Camp. is often heard on Garrison Keillor’s A Prairie Home Companion. Rebecca Humphrey moved to Melbourne, Australia Violinist Margaret Humphrey maintains a freelance in 2009, is a founding member of Pleiades and performs schedule based in St. Paul, Minnesota, and performs with regularly with Eclectus Consort, the Australian Chamber Choir orchestras and chamber ensembles around the country. A and the Australian Baroque Ensemble. Prior to Melbourne, featured concerto soloist with several local orchestras, Ms. Rebecca lived in Philadelphia, PA, where she was an active Humphrey is also a core member of the Minnesota Opera freelancer, performing as a core member of Tempesta Di Orchestra. Early music being her special focus, she has Mare, and as a founding member of Aurelio and The Merion toured as guest of Tempesta di Mare in Philadelphia, and the Trio. She spent much of her time playing in Washington DC Kingsbury Ensemble in St. Louis, and in chamber ensembles with the Washington Bach Consort, in Baltimore with the in the Ancient Music Series of St. Savin, France. A founding Handel Singers of Baltimore, and in New York City with Rebel member of Ladyslipper, a Twin Cities-based baroque trio and Quicksilver. Rebecca lived in Switzerland for three years performing a monthly chamber music series, she tours where she was the principal cellist for Kammerensemble nationally for festivals as well. Ms. Humphrey has recorded on Luzerne and in Basel with Capriccio Basel. Her recordings with the Chandos label. Tempesta di Mare for Chandos have received wide acclaim.

schubert.org 31 Program Notes

Beginners in music are told that musical notation represents two things primarily – pitch and rhythm. And yet, somehow, in the rush to melody, we too often overlook the critical importance of rhythm in musical experience. In foregrounding pulse and rhythm, this program seeks to recover this central characteristic of music in all its varied beauty.

The earliest notated sources of Western music, from the middle of the 9th century, tell us a great deal about the pitch structure of music but they tell us surprisingly little William Byrd about its rhythmic life. Indeed, to this day, certain types of music that have roots in this period – repertoires such Gregorian chant – remained essentially unmetered, their rhythmic life entirely dependent on the sacred words they set. The ﬁ rst steps in the direction of regular rhythm The works on this program all arise from the Baroque saw the co-ordination of long and short pulses typical period, a time of profound cultural experimentation that of some early polyphony, particularly from the Notre also played out in the realm of musical rhythm and pulse. Dame school of the 12th century. The subtle and ornate Baroque sense of rhythm and pulse wears its allegiance rhythmic control of the late 14th century ars subtilior to the human experience on its sleeve in two ways, both composers, almost unequalled in its complexity before betrayed in its careful balance between stability and the advent of Complexist music in the late 20th century, regularity on the one hand and instability and surprise represents the most extreme experimentation of the on the other: it casts itself as responsive to patterns of early modern period in rhythm. human speech, and imagines itself as reﬂ ective of what is increasingly conceived as the volatility of human By the time of the Renaissance, rhythm and pulse were emotional states. Rhythm and pulse played their part entering that long period of regularization that would in this portrayal of the ‘affections’ of the human soul: culminate in the lucid perfection of the Classical period. abrupt shifts in pulse might represent a sudden shift Composers increasingly learnt to put rhythm and pulse from joy to despair; steady pulse, with melodic lines to the service of periodicity in music, creating self-con- accumulating dissonance, might represent a soul turning tained melodies, harmonic periods and phrase structures. in on itself in profound anguish.

Baroque composers used regular rhythmic pulse to create a variety of moods, often pairing its use to that of melodic ostinato, the repetition of a small melodic cell, sometimes for the space of a whole composition. Similar uses of this device are encountered in Oblivion soave, the nurse Arnalta’s lullaby over Poppea in Monteverdi’s 1642 L’Incoronazione di Poppea, and in the passionate Christmas pastorale, Hor ch’è tempo di dormire, from Tarquinio Merula’s Curtio precipitato (1638). Merula’s pastorale, a lullaby sung by the Virgin Mary over the Christ Child, is dominated by a two-ﬁ gure that, by using the interval of a semitone, is profoundly tense and emotionally charged. Arnalta’s lullaby is based on Claudio Monteverdi the descending tetrachord (a four-note scale segment), emblematic of sorrow in the Baroque, and on the same oscillation of two notes separated by a semitone.

Byrd’s The Battell and Marais’ Sonnerie explore the physical world in their use of insistent pulse. Marais’ 1723 Sonnerie, one of several signiﬁ cant works of the

32 THE SCHUBERT CLUB An die Musik French Baroque to evoke the ringing of church bells, is written in the form of a chaconne based on a three-note theme. Despite the simplicity of its harmonic and rhythmic scheme, the work is marked by solo parts of increas- ing complexity, particularly in the viol part Marais must have written for himself to play. Byrd’s Battell, a ‘suite’ of nine movements and an associated March and Galliard, shows how a truly great composer can create a thrilling work from rhythm and pulse alone. While not quite devoid of melody in the traditional sense, Byrd’s musical realization of John Derricke’s engravings The Image of Irelande (1581) relies heavily on regular pulse to evoke Johann Sebastian Bach the thrill and desolation of the battleﬁ eld.

That Baroque composers were also virtuosos at manipu- lating our sense of the passage of time is evidenced in those works in which the composer wishes to give us the sense of music being made up on the spot, wrung from the composer’s mind before our very eyes. This kind of work reached formulaic expression in the genre of the toccata, in masterful pieces such as Bach’s Toccata taut with harmonic dissonance, also seems trapped in in E minor. But the earlier Baroque period is also fi lled a moment of pregnant, breathless stasis. So too does with such works, including Pandolfi Mealli’s La Vincio- the passionate song of the soprano line wandering in lina. Dedicated to Teodora Vinciolina, named in Pandolfi agonized despair over the pulsing bass in the Adagio of Mealli’s publication as ‘signora singularissima’, the fi rst Bach’s Toccata, Adagio and Fugue BWV 564. section of this sonata is like a long rhapsodic soliloquy for the solo violin in which time stands still and The pulse-dominated world of the dance played an momentum is arrested. The Adagio from Bach’s violin especially critical role in the Baroque and, in this regard, sonata in C major, focused obsessively on a dotted Spain made crucial contributions to the music of this rhythm, with an insistent pulse beating like a heart, and period. Valencian native Juan Cabanilles drew on Spanish roots for his Xacara, a virtuoso variation work based on a repeating pattern derived from a vulgar street dance. Falconieri and Sances drew on more dangerous material; Falconieri on the folia, the subject of innumerable variations during the Baroque period and Sances on the ciacona. In both pieces, the hypnotic sway of insistent pulse and repeated rhythms and harmonic patterns conjures up the fi gure of the maja.

Finally, the great pulse that all of us feels – the march through life towards death – itself runs like a theme through the Baroque, which produced exquisite meditations on the frailty of the human condition. The slaughter of soldiers on the battleﬁ eld of Byrd’s Battell, the ominous pronouncements of Time in Cavalieri’s early oratorio La rappresentatione dell’anima e di corpo, Sir Henry Lee’s sad leave-taking of an active life (His golden locks) and the funeral march at the heart of Ottone’s farewell to Rome (Addio, Roma) remind us all how enthralled we are to the inescapable march of time.

schubert.org 33 The Schubert Club Museum

Sunday – Friday • Noon – 4:00 PM Landmark Center

Letter from Beethoven and Christmas card from Toscanini

In 1818 Beethoven wrote this letter (formerly in the collection of conductor Arturo Toscanini) to his friend, German composer and pianist Ferdinand Ries. In it, Beethoven asks his young friend to tell the Philharmonic Society of London that poor health prevents him from coming to England.

The Society had commissioned Beethoven to write two symphonies and to appear in person in London for the winter season of 1817-18. When Beethoven began work on the Ninth Symphony, it was with the intent to provide at least one of the two promised symphonies for the Society. Elements of these two symphonies had been dancing around in his head for years. By fusing all of the ideas together into what he termed “a pious song in symphony in the ancient modes,” he produced his life’s great work, the Symphony No. 9 in D minor, which incorporated a choral setting of Schiller’s poem, An die Freude (Ode to Joy).

Letter (1818) from Beethoven to his friend Ferdinand Ries This is one of three Beethoven letters given to The Schubert Club Museum by Gilman Ordway. formerly owned by Toscanini.

Internationally renowned Italian conductor Arturo Toscanini (1867–1957) became the leader of the Metropolitan Opera in New York in 1906, and later was, for a decade, the conductor of the New York Philharmonic Orchestra. However, it was as music director of the NBC Symphony Orchestra, created for him in 1937, that he became a household name to Americans, through his radio and television broadcasts and numerous recordings.

This card, printed for the 1943 holidays, shows the maestro gazing at an image of Beethoven, and includes a musical quotation from Friedrich von Schiller’s Ode to Joy, used by Beethoven in his Ninth Symphony: 1943 Christmas card sent by Toscanini to cellist Seid umschlungen, Millionen! Joseph Gingold. (Be embraced, you multitude!) Diesen Kuss der ganzen Welt! (This kiss is for all the world!)

34 THE SCHUBERT CLUB An die Musik Courtroom Concert

November 1, 2012 • Noon Courtroom 317, Landmark Center

Christopher Atzinger, piano

All dreams begin with the horizon (2007) – Christopher Theofanidis (b. 1967) Lucid, present • Erratic, charged • Singing, noble • Menacing Toccata (2001) – Pierre Jalbert (b. 1967)

Christopher Atzinger has performed in Germany, Austria, Italy, England, France, Spain, and Canada in addition to performances throughout the United States highlighted by concerts at New York’s Carnegie Hall (Weill) and the Phillips Collection in Washington. He is a medalist of the New Orleans, San Antonio, Cincinnati, Shreveport, and Seattle International Piano Competitions, and has performed at the Brevard Music Festival, Banff International Keyboard Festival, and the Chautauqua Institution. He has recorded for Centaur Records and MSR Classics, lectured at The Juilliard School and Berklee College of Music, and conducted masterclasses across the United States. In addition to degrees from the University of Texas at Austin and the University of Michigan, Atzinger earned the Doctor of Musical Arts degree from the Peabody Conservatory of the Johns Hopkins University. He is an associate professor of Piano at St. Olaf College in Minnesota.

Clara Osowski, mezzo-soprano & Mark Bilyeu, piano

Allerseelen – Richard Strauss (1864–1849) Ronsard a son ame – Maurice Ravel (1875–1937) Going to Heaven – Aaron Copland (1900–1990) Ruhe, Meine Seele – R. Strauss Morgen – R. Strauss

Mezzo-soprano Clara Osowski’s most recent orchestral performances include alto soloist in Bach’s St. John Passion and Mozart’s Requiem. She has performed roles including the Mother in Amahl and the Night Visitors, Dorabella in Cosí fan tutte, and Venus in Venus and Adonis. In 2012, Clara was a Metropolitan Opera National Council Auditions Regional Finalist, and also received second place in The Schubert Club’s Bruce P. Carlson Scholarship Competiton. Upcoming engagements include alto soloist in Rachmaninoff’s Vespers with the University of Chicago Rockefeller Chapel Choir in February of 2013, and performances with the Bach Society of Minnesota, Silver Swan, and Mirandola. Clara sings professionally with the VocalEssence Ensemble Singers. In addition to her private voice studio, she is also Adjunct Faculty of Voice at the University of Minnesota, Morris Campus.

Pianist Mark Bilyeu has served as music director with Chicago Opera Vanguard, Chicago Folks Operetta, and ensemble113, and has been seen as pianist with Chicago Opera Playhouse, Chicago Choral Artists, and served as Associate Keyboardist of the Civic Orchestra of Chicago. Mark has been seen in the VOICES! at St. Matthews, and the Fran Randall series in Chicago, across the Midwest with his piano- horn-voice ensemble Trio Pastiche, and internationally as part of the Stamford Chamber Music Festival (Stamford, UK). A graduate of the Chicago College of Performing Arts, he holds a Bachelor of Musical Arts degree with emphases in German and the Humanities. Following graduation, he had the privilege of studying with Chicago Symphony pianist Mary Sauer. Bilyeu is currently a student of Timothy Lovelace at the University of Minnesota, where he is completing a master’s degree in Vocal Coaching & Accompanying.

schubert.org 35 Courtroom Concert

November 8, 2012 • Noon Courtroom 317, Landmark Center

Jeremy Krahn, piano

Après une Lecture de Dante: Fantasia quasi Sonata from Années de pèlerinage – Deuxième Année: Italie – Franz Liszt (1811-1886)

A native of Rivers, Manitoba, Canada, Jeremy Krahn recently graduated with distinction from St. Olaf College in Northﬁ eld, Minnesota. While attending St. Olaf, he studied piano with Dr. Kent McWilliams. Recent awards come from Canada and the United States, including ﬁ rst and second place honors in the Schubert Club Scholarship Competition (2012, 2010), second place in the Snjolaug Sigurdson Piano Competition (Canada), and National Finalist at the Canadian Music Competition. He was also honored by winning the MTNA State Performance Competition (Young Artist Division) and representing Minnesota at the Division Finals in Denver. Recent highlights include performing the Grieg piano concerto with the St. Olaf Orchestra, and also playing with them on their tour through China this past summer. In addition to piano at St. Olaf, he also studied voice with Karen Wilkerson and sang in the St. Olaf Choir.

Rosalind Leavell, cello & Banchinda Laothai, piano

Capriccio for Violoncello and Piano (1985) – William Bolcom (b. 1938) I. Allegro con spirito; very rhythmic • II. Molto Adagio: espressivo • III. Like a barcarolle; tempo giusto IV. Gingando - Brazilian Tango Tempo “Tombeau d’Ernesto Nazareth”

Rosalind Leavell began studying cello at age six with former principal of the Philadelphia Orchestra William Stokking. She continued at the Manhattan School of Music Precollege, and received a Bachelor of Music degree in Cello Performance with Academic Honors from the Cleveland Institute of Music. She was a fellowship recipient at the Aspen Music Festival and School in 2010 and 2011, and is currently pursuing a Doctor of Musical Arts degree from the University of Minnesota Twin Cities, studying with Tanya Remenikova. In 2011, Rosalind was the First Prize Winner of the Thursday Musical Young Artist Scholarship Competition in the College Strings division. This year she was also the First Prize Winner of the Schubert Club Scholarship Competition in the College/Graduate Strings division.

Banchinda Laothai served as a pianist at the National Association of Teachers of Singing (NATS) Artist Awards Competition in Orlando, Florida this summer. She has worked as a staff pianist for the University of Minnesota’s Bravo String Summer School since 2011. Banchinda is an alumnus of Music Academy of the West, where she studied collaborative piano with pianist Jonathan Feldman and Anne Epperson. Banchinda holds graduate degrees from the Cleveland Institute of Music where she studied collaborative piano. She also has a passion for a variety of arts, previously completing an undergraduate degree in architecture. Currently she is a doctoral candidate studying collaborative piano with Timothy Lovelace at the University of Minnesota School of Music.

36 THE SCHUBERT CLUB An die Musik Courtroom Concert: Spotlight on Minnesota Composers

November 15, 2012 • Noon Courtroom 317, Landmark Center

Ensemble 61 Erik Barsness, co-director and percussion Kirsten Broberg, co-director and composer Carrie Henneman Shaw, soprano Emilia Mettenbrink, violin Joel Salvo, cello Paul Schimming, clarinet

Opening-solo cello – Kirsten Broberg Untitled New Piece – Justin Merritt Corker – Libby Larson Moonlight – Abbie Betinis Crossing Over – James Dillon Untitled New Piece – Noah Keesecker Slippery Fish (excerpt) – Jocelyn Hagan

Ensemble 61’s members have been featured by internationally recognized presenters such as the American Academy in Rome, Sonic Fusion Festival in Edinburgh, Bang on a Can in Massachusetts, SEAMUS National Conference, June in Buffalo in New York, the Museum of Contemporary Art in Chicago, Soundﬁ eld New and Experimental Music Festival in Chicago, Orchestra Hall in Minneapolis and the Walker Art Center in Minneapolis. Its artists have received prestigious awards from the Fulbright Foundation, the McKnight Foundation, the Fromm Foundation at Harvard University, Aaron Copland Fund, the Ditson Fund, the Minnesota State Arts Board and the American Composers Forum. Their work has been featured by National Public Radio’s Performance Today, the American Music Center’s NewMusicBox broadcast and publication, Tutti magazine, and has been commercially released by Innova, Parma/Navona and BIS records. Ensemble 61 was founded by composer Kirsten Broberg and percussionist Erik Barsness. The group is named after Highway 61 as a tribute to Bob Dylan, the rich cultural history of the road and the organization’s mission to present the music it performs in communities along the highway.

schubert.org 37 Courtroom Concert

December 6, 2012 • Noon Courtroom 317, Landmark Center

James Hodges, clarinet & Miryana Moteva, piano

Fantasie – Jörg Widmann Fantasia da Concerto su motivi de ‘La Traviata’ by Verdi, Opus 45 – Donato Lovreglio

James Hodges is a junior studying clarinet performance with Alexander Fiterstein at the University of Minnesota. James is the recipient of the Thelma Hunter scholarship prize for the 2012 Schubert Club Competition and ﬁ rst prize winner for Winds and Brass in the 2012 Thursday Musical competition. He previously studied with Yehuda Gilad for six years at the Colburn School of Performing Arts in Los Angeles, California. James was born and raised in Santa Monica, California. In his spare time, James enjoys cooking, traveling and spending time with friends.

Miryana Moteva is currently pursuing her Masters in Piano Performance with Lydia Artymiw at the University of Minnesota. Miryana is a recipient of Lloyd Gonyea Music Scholarship, and Maroon Global Excellence Scholarship at the University of Minnesota, and an Accompanying Fellowship Award at Lawrence University. Born and raised in Bulgaria, she received an Honors Artist Diploma from the National School of Music in Soﬁ a. In addition to her studies, Miryana works as a Collaborative Piano Teaching Assistant at the University of Minnesota.

Thelma Hunter, piano

Schatz-Walzer, Opus 418, from “Der Zigeunerbaron” – Johann Strauss/Ernst von Dohnányi

Thelma Hunter was born and brought up in New York City where her family was actively engaged in its musical life. She earned her B.A. at Cornell University where she studied with the eminent Dutch pianist Egon Petri. After receiving her M.A. and the coveted Artist Diploma from the Eastman School of Music, she joined the piano faculty of the University of Minnesota in 1947. She has been a board member of many Twin Cities arts organizations, chief among them The Schubert Club, where she served in many capacities over the years. She is frequently heard on Minnesota Public Radio, and is currently on the Advisory Council in the School of Music of the University of Minnesota.

Album cover from “Reflections”

38 THE SCHUBERT CLUB An die Musik An Interview with Thelma Hunter

Thelma Hunter grew up in Staten Island, New York, graduated from Cornell University, and received her MA in piano from Eastman School of Music. Thelma married her high-school sweetheart, Sam Hunter, and together they raised six sons. She has had a lifelong career as a pianist, having performed as soloist in Grieg’s Piano Concerto on “Norway Day” at the New York World’s Fair, at New York’s Town Hall, with the Minneapolis Symphony (now Minnesota Orchestra), The Schubert Club, and in recital with extraordinary colleagues. Thelma is a member of the Minnesota Commissioning Club, has recorded under The Schubert Club’s Ten Thousand Lakes label, and provides a scholarship prize through The Schubert Club’s Bruce P. Carlson Student Scholarship Competition. She performed at The Schubert Club’s 75th Anniversary Season opener, and was co-chair of the 100th Anniversary celebration. In 2005 The Schubert Club acquired an 1878 Bechstein grand piano used by Liszt, Mahler, Brahms, Bartók, Kodály, and von Dohnányi. Thelma performed on its inaugural concert in The Schubert Club Museum. For the recent celebration of Thelma’s 88th birthday, a piano piece using all 88 keys was written for her by composer David Evan Thomas, along with a piece by Carol Barnett inspired by Percy Grainger’s Country Gardens, a staple of Thelma’s repertoire.

When did you become involved with The Schubert Club? Sam and I moved to Minneapolis in 1947, and I didn’t really know much about St. Paul. That changed when we moved across the river in 1955, as Sam began a surgical practice in St. Paul. Sam said, “We have to get involved in St. Paul in every way, from shopping, working and everything we do.” It was then that I became aware of The Schubert Club. Before I even knew about the selection process for The Schubert Club’s International Artist Series performers, I had the audacity to ask to be considered to perform on the Series. I was gently told that it was intended for artists of international reputation outside of the Twin Cities.

What signiﬁ cant changes have you seen over the years? The biggest change I’ve seen was in 1968, when we hired Bruce Carlson as the ﬁ rst paid staff, which was a major step for the organization since up until then it had been completely volunteer-based. This created an opportunity for The Schubert Club to really grow. It professionalized the organization.

For years, I was a member of the artistic committee who selected the artists for the recitals. We were always cautious about presenting “superstar” artists, or opera stars who would tend to prioritize big opera arias over lieder recital. Singers nowadays are so much more versatile, and lieder and opera arias are both within their grasp. Also, establishing the Museum was a brilliant decision. The representation of historic instruments, some with amazing pedigree of being played by Brahms, Liszt and others, makes it an extraordinary place to visit.

What sets The Schubert Club apart from other arts organizations? The Schubert Club’s board of directors has an incredibly rich makeup of talent: This is a working board, made up of extraordinary men and women who have the success of the organization as their motivation for board membership. I believe this is one of the reasons why The Schubert Club is so successful.

Do you have a future dream for The Schubert Club? As a member of the Minnesota Commissioning Club, we support the creation of new music. I think the creation of new music is exciting, as is the collaboration between composer and performer. I think we should explore and present new works over the course of the season, and The Schubert Club could lead the way in that. New music premiered and performed is such an unforgettable experience. As we hear on MPR’s Composers Datebook, “All music was once new.”

schubert.org 39 Courtroom Concert

December 13, 2012 • Noon Courtroom 317, Landmark Center

Xiayin Wang, piano

Sonata in E-ﬂ at major, HOB XVI, No. 62 – Franz Joseph Haydn (1732–1809) L’lsle joyeuse – Claude Debussy (1862–1918) I’ve Got Rhythm – George Gershwin (1898–1937) Prelude No. 1 – Gershwin Etude No. 3 The Man I Love – Earl Wild/Gershwin Etude No. 4, Embraceable You – Wild/Gershwin La Valse – Maurice Ravel (1875–1937) Photo: Dario Acosta

Pianist Xiayin Wang has toured throughout the United States at such venues and locations as Carnegie Hall’s Weill Recital Hall and Lincoln Center’s Alice Tully Hall, Jordan Hall in Boston, Tanglewood, the University of Miami, Philharmonic Center for the Arts in Naples Florida, the Caramoor Center in Katonah, NY, Saratoga Arts Festival, Coastal Carolina Arts Festival, the Meyer Concert Series at The Smithsonian in D.C., and the East Hawaii Cultural Center on the island of Hawaii. Ms. Wang has also been heard on radio stations WFMT in Chicago and on WNYC’s “Soundcheck” with John Schaefer in New York, among others. Abroad she has appeared with the National Symphony Orchestra of the Dominican Republic.

Among the highlights of season 2011/12 was a tour with the St. Petersburg Symphony with stops in Houston, Washington D.C., Philadelphia, Baltimore, Boston, culminating in a concert at Alice Tully Hall in New York. She also performed a recital at Cadogan Hall in London, gave her debut at the Music in the Mountains Festival, partnered with Sarah Chang in Pittsburgh and appeared with the MAV Symphony in Budapest. This past fall, Ms. Wang released a recording of the piano music of Earl Wild, including his celebrated Gershwin arrangements, on Chandos.

Xiayin Wang completed studies at the Shanghai Conservatory and garnered an enviable record of fi rst prize awards and special honors for her performances throughout China, most notably in the Fu Zhou National Piano Competition, Hang Zhou Instrumental Competition, Zhe Jiang Competition and the National Piano Competition in Beijing. She was heard with some of China’s leading orchestras, including the Beijing Opera House Symphony and the Zhe Jiang Symphony, and in many of the country’s most prestigious concert halls. In addition to her performances in China, Ms. Wang has been heard in Europe with the Tenerife Symphony of Spain. Ms. Wang, who began piano studies at the age of fi ve, subsequently came to New York in 1997 and, in 2000, was awarded the “Certifi cate of Achievement” by the Associated Music Teacher League of New York, winning an opportunity to perform at Carnegie Hall’s Weill Hall. She also pursued studies at the Manhattan School of Music and won the school’s Eisenberg Concerto Competition in 2002, as well as the Roy M. Rubinstein Award. Xiayin Wang holds Bachelor’s, Master’s and Professional Studies degrees from the Manhattan School of Music.

40 THE SCHUBERT CLUB An die Musik Courtroom Concert: Carols by Minnesota Composers

December 20, 2012 • Noon Courtroom 317, Landmark Center

The Schubert Club Carolers Ruth Palmer, piano

The Newborn Babe The Son of God, The Eternal King – Barbara Rogers Prayer for Peace – Abbie Burt Betinis Riverside – Sherry Ladig Lullay of the Nativity – Libby Larsen

Ships & Shepherds The Old Shepherd’s Carol – David Evan Thomas Welsh Carol – Linda Kachelmeier Song of the Ship – Linda Kachelmeier

Stars & Snow Run, Toboggan, Run – Abbie Burt Betinis Carol of the Snow – Abbie Burt Betinis Two December Carols: I. Snowﬂ ake Song – Carl Schroeder Northern Nativity – Richard Rasch Ringeltanze III: Beautiful Star – Libby Larsen To Drive the Cold Winter Away – J. David Moore

Rejoice & Be Merry Be Careful, Don’t Tear the Paper – arr. J. David Moore/lyrics: Jean Sramek

Christmas Cards from Abbie Burt Betinis Card Design: Emily Burt Betinis

schubert.org 41 The Schubert Club Annual Contributors Thank you for your generosity and support

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

42 THE SCHUBERT CLUB An die Musik Lehmann Family Fund of Harvey D. Smith, MD Richard and Sandra Haines The Saint Paul Foundation Eileen Stack Jon and Diane Hallberg The Thomas Mairs and Marjorie Mairs Michael Steffes Ken and Suanne Hallberg Fund of The Saint Paul Foundation Tom von Sternberg and Eve Parker Betsy and Mike Halvorson Alfred P. and Ann M. Moore Hazel Stoeckeler and Alvin Weber Robert and Janet Lunder Hanafin David Morrison Barbara Swadburg and Jim Kurle Judith K. Healey Jill Mortensen Arlene and Tom H. Swain Hegman Family Foundation Elizabeth B. Myers Peggy Wolfe Joan Hershbell and Gary Johnson William Myers and Virgina Dudley Matt Zumwalt Frederick J. Hey, Jr. Lowell and Sonja Noteboom Mary Kay Hicks John B. Noyd Cynthia and Russell Hobbie Dan and Sallie O’Brien Fund of Contributor Dr. Kenneth and Linda Holmen The Saint Paul Foundation $100 – $249 J. Michael Homan Robert M. Olafson Anonymous (7) Peter and Gladys Howell Luis Pagan-Carlo Arlene Alm Thomas Hunt and John Wheelihan Park Midway Bank Mira Akins IBM Matching Grants Program William and Suzanne Payne Mrs. Dorothy Alshouse Phyllis and William Jahnke Richard and Suzanne Pepin Kathleen and Jim Andrews George J. Jelatis Dr. Leon and Alma Jean Satran Jean and Michael Antonello Benjamin M. Johnson John Sandbo and Jean Thomson Julie Ayer and Carl Nashan Nancy P. Jones William and Althea Sell Kay C. Bach Tessa Retterath Jones Helen McMeen Smith Adrienne and Bob Banks Michael C. Jordan Debra K. Teske Gene and Peggy Bard Donald and Carol Jo Kelsey John C. Treacy Thomas and Jill Barland Anthony L. Kiorpes David L. Ward Benjamin and Mary Jane Barnard Robin and Gwenn Kirby Jane and Dobson West Carol E. Barnett Steve Knudson Keith and Anne-Marie Wittenberg Carline and Lars Bengtsson Karen Koepp Jerry and Caroline Benser Mary and Leo Kottke Fred and Sylvia Berndt Janet and Richard Krier Partner Ann-Marie Bjornson Gail and James LaFave $250 – $499 Carol A. Braaten Colles and John Larkin Anonymous (2) Tanya and Alexander Braginsky Patricia Lalley Meredith B. Alden Dr. Arnold and Judith Brier Libby Larsen and Jim Reece Jean and Carl Brookins Richard and Judy Brownlee Nowell and Julia Leitzke Tim and Barbara Brown Matthew P. Brummer William Lough and Barbara Pinaire Andrew and Carolyn Collins Philip and Carolyn Brunelle Rebecca Lindholm Shirley I. Decker Philip and Ellen Bruner Marilyn S. Loftsgaarden Donald and Alma Derauf Roger F. Burg Roderick and Susan Macpherson Ruth S. Donhowe Gretchen Carlson Rhoda and Don Mains Sue Ebertz Rev. Kristine Carlson and Danuta Malejka-Giganti Jorja Fleezanis Rev. Morris Wee Polly McCormack Joachim and Yuko Heberlein Alan and Ruth Carp Malcolm and Patricia McDonald Elizabeth J. Indihar Jo and H. H. Cheng Deborah McKnight Ray Jacobsen David and Michelle Christianson Gerald A. Meigs Pamela and Kevin Johnson Edward and Monica Cook John Michel Erwin Kelen Mary E. and William Cunningham David Miller and Mary Dew Youngki and Youngsun Lee Kim Don and Inger Dahlin Steven Mittelholtz Susan and Edwin McCarthy Bernice and Gavin Davenport Tom. D. Moberg Dr. John A MacDougall John and Karyn Diehl Bradley H. Momsen Malcom and Wendy McLean Janet and Kevin Duggins Elizabeth A. Murray James and Carol Moller Kathleen Walsh Eastwood David and Judy Myers Jack and Jane Moran Peter Eisenberg and Mary Cajacob Karla and Peter Myers Scott and Judy Olsen Flowers on the Park Nicholas Nash Heather J. Palmer Gerald Foley Kathleen Newell James and Donna Peter Salvatore Franco Jay Shipley and Helen Newlin Sidney and Decima Phillips Patricia Freeburg Gerald Nolte Walter Pickhardt and Sandra Resnick Richard and Brigitte Frase Patricia O’Gorman Dr. Paul and Betty Quie Jane Frazee John and Ann O’Leary Mary Ellen and Carl Schmider Joan and William Gacki Sally O’Reilly John Seltz and Catherine Furry General Mills Foundation Vivian Orey Emily and Daniel Shapiro David J. Gerdes Melanie L. Ounsworth Marilyn and Arthur Skantz Carol L. Griffin Elizabeth M. Parker Mary and Terry Patton

schubert.org 43 Richard and Mary Ann Pedtke Judith Boylan Paul and Sue Kremer Patricia Penovich and Gerald Moriarty Cathy Braaten Patricia J. Lalley Earl A. Peterson Charles D. Brookbank Amy Levine and Brian Horrigan Laura D. Platt Jackie and Gary Brueggmann Karla Larsen Mindy Ratner Chris Brunelle Larry Lee Rhoda and Paul Redleaf Daniel Buivid Archibald and Edith Leyasmeyer Karen Robinson Kevin Callahan Gary M. Lidster Ron and Carol Rydell Donna Carlson Bernard Lindgren Saint Anthony Park Home Allen and Joan Carrier Thomas and Martha Link David Schaaf Laura Caviani Michael and Keli Litman Paul Schroeder Susan Cobin Janet R. Lorenz A. Truman and Beverly Schwartz Eduardo Colon Lord of Life Lutheran Church S. J. Schwendiman Mary Sue Comfort Ed Lotterman and Victoria Tirrel Will Shapira Como Rose Travel Carol G. Lundquist Renate Sharp Irene D. Coran Helen and Bob Mairs Nan C. Shepard John and Jeanne Cound David Mayo Rebecca and John Shockley James Cupery Roberta Megard Nance Olson Skoglund Ernest and Beth Cutting David L. Melbye Darroll and Marie Skilling Pamela and Stephen Desnick Robert and Greta Michaels Ann Perry Slosser Dr. Stan and Darlene Diesch John W. Miller, Jr. Conrad Soderholm and Mary Tingerthal Craig Dunn and Candy Hart Marjorie Moody Marilyn and Thomas Soulen Margaret E. Durham Eva J. Neubeck Carol Christine Southward Katherine and Kent Eklund Jane A. Nichols Arturo L. Steely Andrea Een Eleanor H. Nickles Cynthia Stokes Mary Ann Feldman Tom O’Connell Barbara Swadberg and James Kurle Barbara A. Fleig Dr. and Mrs. R. Oriani Lillian Tan John and Hilde Flynn Dennis and Turid Ormseth Theresa’s Hair Salon Lea Foli and Marilyn Zupnik Elisabeth Paper Tim Thorson Catherine Ellen Fortier Mrs. Dorothy Peterson Charles and Anna Lisa Tooker Michael Freer Solveg Peterson Chuck Ullery and Elsa Nilsson Lisl Gaal Marcos and Barbara Pinto Rev. Robert L. Valit Nancy and John Garland C.J. Richardson Joy R. Van Dr. and Mrs. Robert Geist Drs. W.P. and Nancy W. Rodman Osmo Vänskä Mary M. Glynn Peter Romig Maxine H. Wallin Peg and Liz Glynn Stewart Rosoff Dale and Ruth Warland A. Nancy Goldstein Mitra Sadeghpour and Mark Mowry Anita Welch M. Graciela Gonzalez Mary Savina Beverly and David Wickstrom Graco Russell G. Schroedl Neil and Julie Williams Kirk Hall Steve Seltz Dr. Lawrence A. Wilson Patricia Hart Jay and Kathryn Severance James and Alexis Wolff Eugene and Joyce Haselmann Beatrice D. Sexton Paul and Judy Woodward Marguerite Hedges Elizabeth Shippee Ann Wynia Alan Heider Brian and Stella Sick Zelle Hofmann Voelbel & Mason LLP Rosemary J. Heinitz Paul and Carol Seifert Don and Sandralee Henry Nan Skelton and Peter Leach Helen and Curt Hillstrom Susannah Smith and Matthew Sobek Friends Lisa Himmelstrup and Dan Liljedahl Robert and Claudia Solotaroff $1 – $99 Marian and Warren Hoffman Arne Sorenson Anonymous (7) Patricia A. Hvidston and Roger A. Opp Speedy Market and Tom Spreigl Cigale Ahlquist Benita Illions Dr. James and Margaret Stevenson Elaine Alper Ora Itkin Ralph and Grace Sulerud Beverly S. Anderson Mimi and Len Jennings Norton Stillman Renner and Martha Anderson Stephen and Bonnie Johnson Dru and John Sweetser Mary A. Arneson and Thelma Johnson Bruce and Marilyn Thompson Dale E. Hammerschmidt Geraldine M. Jolley Karen Titrud Claire and Donald Aronson Mary A. Jones Susan Travis Kay C. Bach Ruth and Edwin Jones Jennifer Undercoﬂ er Verna H. Beaver Carol R. Kelly William K. Wangensteen Dr. Karen Becker Jean W. Kirby Clifton and Bettye Ware Roberta Beutel Gloria Kittleson Deborah Wheeler Dorothy Boen Mark Kokoszka Hope Wellner Roger Bolz Jane and David Kostik Evan Williams David and Elaine Borsheim Dave and Linnea Krahn Alex and Marguerite Wilson Judy and Brian Krasnow Michael Wu

44 THE SCHUBERT CLUB An die Musik Memorials and Tributes

In honor of Julia and Irina Elkina In memory of Nancy Podas In memory of Nancy Pohren Rebecca and John Shockley Diane and Greg Egan Sandra and Richard Haines Thomas and Mari Oyanagi Eggum In honor of Julie Himmelstrup Anna Marie Ettel In memory of Nancy Shepard Mary Ellen Schmider Carole and Tom Fagrelius Nan C. Shepard Nancy Fogelberg In honor of Jim Johnson and Lucy Jones’ Greg and Maureen Grazzini In memory of Catherine Birthdays Howard and Bonnie Gay Hedstrom Stoven Susan and Edwin McCarthy Sharon Owen and Fred Hille Mary and Terry Patton Margaret Hubbs and Family In honor of Lucy Jones’ Birthday John and Ruth Huss In memory of Mark Swanson Malcolm McDonald John R. Lewis Allen and Joan Carrier Margaret and Frank Lindholm In honor of Jason Kudrna Joy P. Norenberg In memory of Anne E. Walsh, Carol A. Braaten Eileen O’Shaughnessy sister of Kate Walsh Eastwood Cathy Braaten and Arthur Perlman Jim Johnson and Lucy Jones Catherine M. Owen Paul D. Olson In honor of David Morrison Kathleen Owen Marilyn and John Dan John Michel Susan D. Price John and Barbara Rice In memory of Richard Zgodava In honor of Lisa Niforopulas J. L. and Sandra Rutzick Helen Smith Gretchen Piper Colleen Sickeler Charles Skrief and Andrea Bond In honor of Paul D. Olson Tom and Arlene Swain Mark L. Baumgartner Jane A. Thames Imogene H. Treichel In memory of Lars Bengtsson, husband of Martha Hughesdon Turner Carline Bengtsson Yamy Vang Paul D. Olson

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 Mary Jane Munson Marilyn and John Dan Stan and Darlene Diesch John and Barbara Rice

In memory of Olga M. Nordin Shirley I. Decker Ordway Center (on the left) is home to The Schubert Club’s International Artist In memory of Rose Petroske, mother of Series. Landmark Center (at right) was Marilyn Dan originally the Post Ofﬁ ce, Customs and Beatrice D. Sexton Federal Courts building. It is now home to The Schubert Club’s administrative ofﬁ ce and Museum,

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

46 THE SCHUBERT CLUB An die Musik get noticed.

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