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April 1 – May 14, 2012 An die Musik

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An die Musik

April 1 – May 14, 2012

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

Table of Contents

6 James Sewell Ballet and The Parker Quartet

8 Kalichstein-Laredo-Robinson Trio

12 Hill House Chamber Players

14 Matthias Goerne and

24 The Schubert Club Museum: Letter from Haydn

26 Escher and Jason Vieaux

29 Artist from the Past: Nelson Eddy

30 Sandrine Piau and Susan Manoff

32 Accordo Letter from composer Maurice Ravel, gift of 34 Courtroom Concerts Gilman Ordway to The Schubert Club Museum. Photo by Natasha D’ Schommer, from the book To Music. For more information visit schubert.org/tomusic 39 The Schubert Club Annual Contributors: Thank you for your generosity and support

46 The Schubert Club Officers, Board of Directors and Staff

Turning back unneeded tickets:

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

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

4 THE SCHUBERT CLUB An die Musik Dear Friends An die Musik of The Schubert Club, Du holde Kunst, in wieviel grauen Stunden,

There’s more than a hint of spring in the air, and The Schubert Wo mich des Lebens wilder Kreis umstrickt, Club has a full and varied schedule of performances and Hast du mein Herz zu warmer Lieb entzunden, activities in April and May to which I welcome you. Hast mich in eine beßre Welt entrückt!

Schubert Club favorite Leif Ove Andsnes returns to the Ordway, Oft hat ein Seufzer, deiner Harf ’ entfl ossen, collaborating with Matthias Goerne in his fi rst appearance on Ein süßer, heiliger Akkord von dir the International Artist Series. We’re delighted to welcome the Den Himmel beßrer Zeiten mir erschlossen, Kalichstein-Laredo-Robinson Trio and the Du holde Kunst, ich danke dir dafür! with guitarist Jason Vieaux to our Music in the Park Series –Franz von Schober In addition to these concerts, we hope to see you at one of the many other events we are co-presenting including April To Music performances at The Cowles Center in Minneapolis by James You noble art, in how many dreary hours, Sewell Ballet. The Grammy Award-winning Parker Quartet When life’s mad whirl has snared me, provides live performances of Beethoven’s masterpiece, String Have you kindled my heart to a warmer love, Quartet, Opus 131, choreographed by Artistic Director James Have you released me into a better world! Sewell. There is more to read about this collaboration on page 6.

Please consider visiting our Museum this spring at Landmark Often has a sigh, fl owing from your harp, Center on Rice Park. We have a beautiful collection of keyboard A sweet, divine chord from you, instruments from various centuries as well as a display of some Revealed better times, as if heaven-sent. of the fascinating composer letters donated by Gilman Ordway. You noble art, I thank you! You’ll also fi nd several quirky music players, early inventions for playing back recorded music which never quite took off. The Museum is open noon to 4pm, Sunday through Friday, and guides are available to show you around.

Finally, please don’t forget to renew your series subscriptions for the 2012–13 season. Priority treatment for renewers ends early in June, and we are looking forward to a 130th anniversary season fi lled with the joy of music.

With warmest wishes,

Barry Kempton Artistic and Executive Director

schubert.org 5 James Sewell Ballet and The Parker Quartet: Opus 131

April 13–15, 20–22, 2012 The Cowles Center, Minneapolis

Set to Beethoven’s seminal work, Opus 131 is the center- piece of the James Sewell Ballet’s spring program. Their ongoing collaboration with The Schubert Club unites the brilliant, Grammy Award-winning Parker Quartet with virtuosic dancers in what the New York Times calls a rich, fanciful masterpiece. The second half of the program pushes the creative frontier with a world premiere by James Sewell that leads to the nexus between Argentine tango, ballet and contact improvisation.

“. . to me Opus 131 is like the evolution of a society . . . It starts sublimely and in innocence. In the middle, with the scherzo, it’s like a children’s game. Further in, where I have the pas de deux, it’s deeply romantic. The last section, in music as well as in movement, starts breaking all the rules but fi nally in the end fi nds its own sense of resolution . . .” –James Sewell

Read more about James Sewell’s conception of Opus 131 in his conversation with Barry Kempton at schubert.org/jsballet Photo: Erik Saulitis The Parker Quartet

Photo: Janette Beckman

6 THE SCHUBERT CLUB An die Musik The Schubert Club 2012–2013 Season

International Artist Series

Karita Mattila, soprano Wednesday, October 3, 2012

Stephen Hough, piano Tuesday, November 20, 2012

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

James Valenti, tenor Saturday, February 9, 2013

Anne-Sophie Mutter, violin Lambert Orkis, piano Monday, March 11, 2013

Music in the Park Series Photo: Anja Frers / DG Photo: Anja Frers Philharmonia Quartett Berlin Sunday, October 7, 2012

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

Aulos Ensemble, with Dominique Labelle, soprano Anne-Sophie Mutter, violin Sunday, November 25, 2012 David Finckel, cello Wu Han, piano Sunday, January 27, 2013

Elias Quartet Sunday, March 24, 2013

Shanghai Quartet Sunday, April 28, 2013

schubert.org The Schubert Club Music in the Park Series

Kalichstein-Laredo-Robinson Trio Joseph Kalichstein, piano • Jaime Laredo, violin Sharon Robinson, cello

Program

Sonata for Cello and Piano (1915) Claude Debussy (1862–1918) Prologue: Lent, sostenuto e molto risoluto Sérénade: Modérément animé Final: Animé

Sonata for Violin and Piano (1917) Debussy Allegro vivo Intermède: Fantasque et léger Finale: Très animé

Trio in D major, Opus 70, No. 1, Ghost (1770–1827) Allegro vivace e con brio Largo assai ed espressivo Presto

Intermission

Inventions on a Marriage (2010) Richard Danielpour (b. 1956) Mirror Image Heroics As You Were Sleeping Argument Reconciliation Celebration Good Night

Trio in A minor Maurice Ravel (1875–1937) Modéré Pantoum (Assez vif) Passacaille (Très large) Final (Animé)

Please turn off all electronic devices. Music in the Park Series

Sunday, April 15, 2012 • 4:00 PM Saint Anthony Park United Church of Christ

On the recording front, the ensemble has entered an exciting new partnership with KOCH International Classics. The Trio’s most recent recording project, a 4-disc Brahms Cycle of the complete trios, was released in autumn 2009. The release includes the fi nal two CDs of the project, following a previous release of the fi rst two CDs in 2008. Their Arensky & Tchaikovsky disc was released in October 2006 to great acclaim. KOCH also re-released many of the Kalichstein-Laredo-Robinson Trio’s hallmark recordings, including chamber works of Maurice Ravel, A Child’s Reliquary (piano trio) and In the Arms of the Beloved (double concerto) by Richard Danielpour, the complete sonatas and trios of Shostakovich, trios by Pärt, Zwilich, Kirchner and Silverman written especially for the group, and their beloved collection of the complete Beethoven Trios.

From left: Joseph Kalichstein, Jaime Laredo, In December 2001, the Kalichstein-Laredo-Robinson Sharon Robinson Trio were awarded ‘Ensemble of the Year’ for 2002 by Musical America. The 2003–04 season was their fi rst as Chamber Ensemble in Residence at the Kennedy Center, an honor which has continued to thrill the Trio throughout Kalichstein-Laredo-Robinson Trio subsequent seasons. They were also awarded the fi rst After more than three decades of great success, many annual Samuel Sanders Collaborative Artists Award by the recordings, and newly commissioned works, the Kalichstein- Foundation for Recorded Music. Jaime Laredo and Sharon Laredo-Robinson Trio continues to dazzle audiences Robinson joined the faculty of the Indiana University and critics alike with their performances. Since making Jacobs School of Music in 2005, while Joseph Kalichstein their debut at the White House for President Carter’s continues as a long-revered teacher at the Inauguration in January 1977, pianist Joseph Kalichstein, of Music. violinist Jaime Laredo and cellist Sharon Robinson have set the standard for performance of the piano trio literature for more than thirty years.

During past seasons, the Kalichstein-Laredo-Robinson Trio has maintained a heavy touring schedule that has taken them across the globe. Memorable concerts over the years include the Trio’s performance on Carnegie Hall’s Centennial Series; tours of , and ; a series with the featuring Brahms’ entire literature for piano and strings; the Beethoven cycle on Lincoln Center’s Great Performers Series and performances The creation of Inventions On A Marriage for Jaime Laredo, across America and of new concertos written violin and Sharon Robinson, cello was made possible with exclusively for the Trio. In Europe, the Kalichstein-Laredo- the support of The Schubert Club/Music in the Park Series Robinson Trio has performed in Amsterdam, Barcelona, in memory of Roberta Gladowski; The Virginia Arts Festival; Brussels, Copenhagen, Hamburg, Lisbon, London, Vienna, Honest Brook Music Festival (NY); The Jane Ambrose and Paris, as well as at major international music festivals Commissioning Fund of the University of Vermont Lane in Aldeburgh, Edinburgh, Granada, Helsinki, Highlands, Series (VT); Raleigh Chamber Music Guild (NC), The Schubert South Bank, Stresa and Tivoli. They have toured the British Club; String Theory, with a gift from Sherry Keller Brown in Isles with the Scottish Chamber Orchestra in performances memory of Dorothy Barckman Keller (TN); Linton Chamber of solo, double and triple concertos and have recorded Music Series and Stephen Monder (OH); New Orleans the Beethoven Triple Concerto with the English Chamber Friends of Music (LA), through the International Arts Orchestra for Chandos. Foundation, Inc.

schubert.org 9 Program notes

Sonata in D minor for Cello and Piano (1915) Sonata in G minor for Violin and Piano (1917 Claude Debussy (1862–1918) With the onset of WWI, Debussy returned to his national and musical roots, notably Gregorian chant and harpsichord composers like Couperin and Rameau. He conceived a cycle of six sonatas, but was only able to fi nish three before he died. The Cello Sonata was one of several works written during a summer on the Channel coast. The noble gestures of the Prologue appear to set up a weightier movement. Instead, the Sérénade almost sounds improvised, with the piano treated like a plucked Minehan Photo: Mike instrument. The Final levitates in the Spanish air. The Richard Danielpour Maurice Ravel Violin Sonata was Debussy’s last completed work. It begins timelessly, with two medieval-sounding chords. For the fi rst these duets years ago as a chronicle of married life and fourteen bars, one would never guess the brisk triple meter I wanted eventually to write these pieces for a pair of of the theme, which returns in the Finale. In the “whimsical musicians who were actually married to each other. These and light” second movement, we encounter Admiral Levine, seven movements are, in essence, musical “snapshots” or perhaps Debussy’s daughter Chouchou’s golliwog doll. which together comprise a suite of sorts; the movements are not in any way based on biographical information in Trio in D major, Opus 70, No. 1, Ghost my marriage or for that matter on Jaime and Sharon’s relationship but are really “inventions” or invented scenarios Ludwig van Beethoven (1770–1827) that often do occur in most marriages. They are also not Seldom has a subtitle been so misleading. The Allegro vivace unlike a set of two-part inventions, in their style and of the “Ghost” Trio thrusts upward con brio at Eroica tempo, approach—hence the title. The world premiere took place not quite one to the bar. The energy comes from the dum- at the Virginia Arts Festival, Hampton, on May 21, 2011. chuck-a-dum rhythm, the power from the two-beat pattern that confuses the sense of meter. We are transported to the shadow world of D minor for the Largo heart of the work. Trio in A minor (1914) The pulse is barely palpable, and deathly slow. Here is the Maurice Ravel (1875–1937) “Ghost,” and seldom has a subtitle been so apt. Trills usually Written as the Great War loomed, and shortly after the are played above a note, but here, Beethoven reimagines ballet Daphnis et Chloé, Ravel’s only Trio is a mix of the the trill for the underworld, to the lower note. The sparkling simple and the complex, and it frequently moves from one Presto restores the patient to life. Composed in 1808, the extreme to other. The opening Modéré bobs in pleasantly two trios, Opus 70, were fi rst performed at the Erdödy irregular pulse 3+3+2 meter. One doesn’t know whether residence with Beethoven at the piano. to believe Roland-Manuel’s claim that Ravel picked up the theme “watching ice-cream vendors dancing a fandango Inventions on a Marriage (2010) at Saint-Jean-de-Luz.” The Malayan pantun is a poetic form Richard Danielpour (b. 1956) in which two contrasting ideas develop in alternation. Ravel’s Pantoum presents two themes, one perky, the other Richard Danielpour writes: surging. The Passacaille is not a strict passacaglia, but an Inventions on a Marriage was written for Jaime Laredo and elegiac meditation on a single theme. Beginning colorfully Sharon Robinson in celebration of their 35th anniversary with a melody in the oriental vein, the boldly-imagined as a couple. They have been dear friends and colleagues Final builds to an unprecedented climax that strains the since the 90s, and much of the work that I have written boundaries of the medium. for them is based not only on my profound respect for them as musicians, but also because of my regard for them as the wonderful friends they are. I had envisioned Program notes © 2012 by David Evan Thomas

10 THE SCHUBERT CLUB An die Musik Calendar of Events More information at schubert.org Box office 651.292.3268

April 2012 Thursdays, April 5 – April 26 • 12:00 PM Courtroom Concert Landmark Center 317

April 13, 14, 20, 21 • 8:00 PM The Cowles Center April 15, 22 • 2:00 PM James Sewell Ballet & The Parker Quartet

Sunday, April 15 • 4:00 PM St. Anthony Park UCC Kalichstein-Laredo-Robinson Trio

Mondays, April 16 & 23 • 7:30 PM James J. Hill House Hill House Chamber Players

Friday, April 20 • 7:00 PM Sundin Hall

Student Scholarship Competition Winners Recital Grand Le Photo: Antoine Sandrine Piau, soprano

Wednesday, April 25 • 8:00 PM Ordway Center Matthias Goerne, & Leif Ove Andsnes, piano May 2012 Friday, April 27 • 6:15 & 7:30 PM St. Matthew’s Episcopal Tuesday, May 1 • 7:30 PM Landmark Center 317 Family Concert: Escher String Quartet Sandrine Piau, soprano & Susan Manoff, piano & Jason Vieaux, guitar

Monday, May 14 • 7:30 PM Christ Church Lutheran Sunday, April 29 • 4:00 PM St. Anthony Park UCC Accordo Escher String Quartet & Jason Vieaux, guitar June 2012 Wednesday, June 6 • 12:00 PM Ordway Center Annual Luncheon Marzitelli Foyer Photo: J. Henry Fair Photo: J. Escher String Quartet

schubert.org 11 The Schubert Club and The Minnesota Historical Society

present Hill House Chamber Players

Julie Ayer, violin • Catherine Schubilske, violin • Thomas Turner, viola Tanya Remenikova, cello • Rees Allison, piano • Jeffrey Van, guitar Guest artist: Bradley Greenwald, baritone

Program

Three Romances for Violin and Piano, Opus 22 Clara Schumann (1819–1896) Andante molto Allegretto, mit zartem Vortrage Leidenschaftlich schnelle

Dichterliebe, Opus 48 Robert Schumann (1810–1856) Im wunderschönen Monat Mai Aus meinen Tränen spriessen Die Rose, die Lilie, die Taube, die Sonne Wenn ich in deine Augen seh Ich will meine Seele tauchen Im Rhein, im heiligen Strome Ich grolle nicht Und wüssten’s die Blumen, die kleinen Das ist ein Flöten und Geigen Hör ich das Liedchen klingen Ein Jüngling liebt ein Mädchen Am leuchtenden Sommermorgen Ich hab im Traum geweinet Allnächtlich im Traume Aus alten Märchen Die alten, bösen Lieder Intermission String Quartet No. 3 in B-fl at major, Opus 67 Johannes Brahms (1833–1897) Vivace Andante Agitato (allegretto non troppo) Poco allegretto con variazioni

Please turn off all electronic devices.

12 THE SCHUBERT CLUB An die Musik Hill House Chamber Players

Monday, April 16 and Monday, April 23, 2012 • 7:30 PM James J. Hill House

The Hill House Parlor is the ideal setting for an intimate evening In an utterly original of music by a triad of great nineteenth-century musicians. The opening, the cycle events are legendary: Robert Schumann’s legal battle to win the begins in the middle of right to marry his beloved Clara Wieck in 1840; the appearance the year, and in mid- on a Düsseldorf doorstep of Johannes Brahms, “the young phrase, with bittersweet eagle;” Schumann’s 1854 suicide attempt in the Rhine; his harmonies. Many institutionalization and death two years later; the platonic love Romantic standbys are that sustained Brahms and Clara until nearly the end of here: fl owers, streams, the century. nightingales. But poet Heine wields a powerful Clara Wieck Schumann (1819–1896) was a world-class virtuosa irony to color them. And and composer at a time when women were discouraged from Schumann is twirling such things. She gave her debut at eleven, and played her own his own color-wheel: remarkable Piano Concerto at sixteen. The child of a tyrannical Clara Schumann no key is touched more father, Clara rebelled to marry Robert Schumann (1810–1856), than once. The work peaks in No. 7, “Ich grolle nicht,” as the a composer of promise and vision, but—at least at fi rst— poet denies his feelings. But more frightening are the wheeling limited prospects. The instrumental romance is less a form fl utes and violins of No. 9. Heine’s renunciation of Romanticism than a state of mind, and the Three Romances, Opus 22, are is summed up in the last song, as the old poems and songs are three different states of mind. Written in 1853 for her friend, packed off in a huge, heavy barge. A piano postlude, a Schumann the great violinist Joseph Joachim, the Romances were among hallmark, recalls at fi rst the eloquent fl owers and mute youth Clara’s last compositions. After Robert’s death in 1856, she of No. 12. But the cycle ends with a kind of resolve, emphasizing stopped composing. She lived as a widow into the last years of the clarity—and distance—that poetry brings to experience. the century with other obligations: as one of the world’s great concert pianists, and as a mom to seven children. Johannes Brahms (1833–1897) published his fi rst two string quartets, Opus 51, in 1873. Where the fi rst quartet is stormy, Dichterliebe (Poet’s Love) “Song Cycle from the Book of Songs by and the second, cerebral, the Quartet No. 3, written in 1876, is Heinrich Heine,” was part of the rich harvest of the “Liederjahr,” the most genial. It was Brahms’s favorite. Middle voices begin 1840. Heinrich Heine’s poems appeared in 1823, and Schubert in the manner of Mozart’s Hunt Quartet, but every third note set six of them before he died. In choosing sixteen to describe the gets an little bump. Brahms asserts himself in the ninth bar, as arc of a love affair, Schumann, in effect, becomes a poet himself. the second violin hangs back with notes half as fast and against the grain of the 6/8 meter. A second subject recalls folk song. The Andante introduces a French-overture-style interlude into a simple, heartfelt parlor song. The muted Agitato is typical, autumnal Brahms: searching and melancholic. A variation set brings the work full circle in two ways. The theme itself is circular; it ends as it begins. When the quartet’s opening material returns in variation seven, Brahms’s closes the larger circle as well. Clara found it “too fascinating for words.”

Hill House Chamber Players (from left): Jeffrey Van, Program notes © 2012 by David Evan Thomas Julie Ayer, Tanya Remenikova, Rees Allison, Catherine Schubilske, Thomas Turner

schubert.org 13 The Schubert Club

presents

Matthias Goerne, baritone GoerneLeif Program Ove Andsnes, piano Program

Songs by (1860–1911) PageFrom Rückert Lieder, Des Knaben Wunderhorn and Kindertotenlieder Songs by (1906–1975) From Michelangelo-Suite, Opus 145

I breathed a gentle fragrance (Ich atmet‘ einen linden Duft) Mahler Morning Shostakovich Where splendid trumpets sound Mahler (Wo die schönen Trompeten blasen) Separation Shostakovich Three angels were singing (Es sungen drei Engel) Mahler Life on earth (Das irdische Leben) Mahler Now I see well (Nun seh’ ich wohl) Mahler When your mother (Wenn dein Mütterlein) Mahler Primal light (Urlicht) Mahler

Intermission

Night Shostakovich I am lost to the world Mahler (Ich bin der Welt abhanden gekommen) Mahler Immortality Shostakovich Dante Shostakovich Reveille (Revelge) Mahler Death Shostakovich The drummer boy (Der Tamboursg‘sell) Mahler

Please reserve applause until the end of a set. Please turn off all electronic devices.

14 THE SCHUBERT CLUB An dieThis Musik evening’s concert is dedicated to the memory of Catherine M. Davis. Maud Moon Weyerhaeuser Sanborn International Artist Series

Wednesday, April 25, 2012 • 8:00 PM Ordway Center for the Performing Arts Photo: Decca / Sasha Gusov

Matthias Goerne, baritone

Highly praised for his warm, fl uid baritone voice and his profound interpretations, Matthias Goerne is one of the most internationally sought-after vocalists and a frequent guest at renowned festivals and concert halls including Carnegie Hall, New York; , London; and Teatro alla Scala, Milan. Photo: Sheila Rock Conductors such as , Valery Gergiev, Leif Ove Andsnes, piano Lorin Maazel, and Simon Rattle as well as eminent pianists such as Pierre-Laurent Aimard, Leif Ove The Wall Street Journal has called Leif Ove Andsnes, “one Andsnes and and are among his musical of the most gifted musicians of his generation.” With his partners. Goerne performs with American orchestras commanding technique and searching interpretations, such as the Boston Symphony, Chicago Symphony, New the celebrated Norwegian pianist has won worldwide York Philharmonic and , as acclaim. As well as giving recitals and playing concertos well as London Symphony, London Philharmonic, Berlin each season in the world’s leading concert halls, he is Philharmonic, Vienna Philharmonic and Orchestre de Paris. also an active recording artist, as well as an avid chamber Since his opera début at the in 1997, musician. In April, Andsnes begins an extensive recital tour Matthias Goerne has appeared on principal opera stages in with performances in Boston, Chicago, and New York’s the world, among others, at the , Covent Carnegie Hall, before returning to Europe for performances Garden; Teatro Real, Madrid; Paris National Opera; Vienna in Rome, St. Petersburg, Berlin, Madrid, Vienna, Hamburg, State Opera; and the , New York. His Geneva, and other cities. In the fall, EMI Classics will release carefully chosen roles range from Papageno and Wolfram a recording featuring Andsnes performing Rachmaninov’s right up to the title roles in ’s , Paul Piano Concertos Nos. 3 and 4 with Antonio Pappano and Hindemith’s and ’s Lear. the London Symphony Orchestra. Also with EMI Classics, Andsnes has recorded an album of Schumann’s complete Goerne’s artistry has been documented on numerous Piano Trios with violinist Christian Tetzlaff. CD recordings, many of which have received prestigious awards. He is currently recording a series of eleven CDs of Andsnes was born in Karmøy, in 1970, and studied at selected Schubert songs (The Goerne/Schubert Edition) for the Music Conservatory under the renowned Czech Harmonia Mundi. professor Jiri Hlinka. Andsnes currently lives in Copenhagen and Bergen, and also spends much time at his mountain From 2001 through 2005 Matthias Goerne taught as an home in Norway’s western Hardanger area. He is a Professor honorary professor of song interpretation at the Robert at the Norwegian Academy of Music in , a Visiting Schumann Academy of Music in Düsseldorf. In 2001, Professor at the Royal Music Conservatory of Copenhagen, and Matthias Goerne was appointed Honorary Member of a member of the Royal Swedish Academy of Music. In June the Royal Academy of Music in London. Born in , 2010, he achieved one of his proudest accomplishments to he studied with Hans-Joachim Beyer in , and with date: he became a father for the fi rst time. and Dietrich Fischer-Dieskau.

schubert.org 15 Program Notes

movement of Symphony No. 4 as the counterpoise to “Life in Heaven.” “Primal Light” is the fourth movement of the Resurrection Symphony. And for those who love the Adagietto of the Symphony No. 5, “Now I see why” and “I am lost to the world”— its pulse-rate off the metronome in the meditative zone—will have special meaning. “The Drummer-boy” and “Reveille” are also from the Wunderhorn collection, but they belong to the time of Symphonies Nos. 5 and 6, 1899–1901. Mahler asked: “Have you noticed that, with me, the melody always grows out of the words, that the words, so to speak, create the melody, never vice versa?” But Mitchell observes that “it is the symphonies that have fertilized the songs.”

Mahler was also drawn to the poems of Friedrich Rückert (1788–1866), a German who made his mark as a translator and poet in the Oriental spirit. From his 443 Kindertotenlieder (Songs on the Death of Children), Mahler chose fi ve to form a cycle. It was prophetic: Mahler’s fi ve- year-old daughter Maria died in 1907 of scarlet fever.

The concert-goer often hears the orchestral and chamber music of Shostakovich. But at the end of his life the Des Knaben Wunderhorn, composer wrote several signifi cant vocal works, including oil on canvas by Moritz von Schwind the Symphony No. 14 (really a song cycle) and the Suite on Verses of Michelangelo, Opus 145. Composed originally In this imaginative program, two masters from different for voice and piano in 1974, then orchestrated, and places shake hands on the concert platform. Michelangelo-Suite is one of Shostakovich’s last works. Gustav Mahler (1860–1911) and Dmitri Shostakovich (1906–1975) never met, but Mahler’s world of military We hear six of the eleven songs. The opening movement marches, nightmares and hapless children was familiar of the suite, with trumpets heralding “Truth,” is not heard territory for Shostakovich, who grew up entirely within here, but “Death” opens and closes with the same fanfare. the Soviet system. In the songs of both composers, The sprite ly theme of “Immortality” was composed in much lies beneath the surface. In Mahler’s case, the Shostakovich’s youth, a gentle irony. And, as Michelangelo subtext is personal and cultural. “I am thrice homeless,” is to Shostakovich a beacon from the past, so is Dante a he once said. “As a native of Bohemia in Austria, as an “pure star,” venerated by the sculptor in a sonnet. Austrian among Germans, and as a Jew throughout the world.” In the repressive Soviet state, Shostakovich spoke Under the wing of Lorenzo de’ Medici, young Michelangelo through a mirrored music, the full import of which is Buonarroti (1475–1564) quickly developed into the not discernable. Both composers use music to express a greatest artist of his time, the sculptor of the Pietà multilayered experience, but one that is accessible, for and David, the painter of the Sistine ceiling and The as Donald Mitchell notes: “Keen ears and a close reading Last Judgment. Even during his lifetime, he was hailed of the texts are all that is required for a response to their as the “divine Michelangelo.” From his late twenties, unique humor, terrors, drama and charm.” Michelangelo wrote poems as well, leaving about 300 of them. Other composers have set Michelangelo, notably Mahler was fond of the 1805 collection of folk poetry Britten, but his verse poses a challenge, for as Creighton by Arnim and Brentano titled Des Knaben Wunderhorn Gilbert writes: “Michelangelo was an amateur writer, and (The Youth’s Magic Horn). Its frank, often ironic texts did not smooth things out.” freed Mahler to roam through song and symphony. In fact, several Wunderhorn songs became movements of symphonies: “Three angels were singing” appears in toto in Symphony No. 3, sung by women’s chorus and solo alto. “Life on Earth” is quoted by the orchestra in the fi nal Program notes © 2012 by David Evan Thomas

16 THE SCHUBERT CLUB An die Musik Texts and Translations Songs from Rückert Lieder, Des Knaben Wunderhorn and Kindertotenlieder Gustav Mahler (1860–1911) Michelangelo-Suite, Opus 145 Dmitri Shostakovich (1906–1975) Poems by Michelangelo Buonarroti. Translations by Abram Efros (Russian) and Rita Brackman (English)

I breathed a gentle scent (Ich atmet’ einen linden Duft), from Rückert Lieder Mahler Ich atmet’ einen linden Duft! I breathed a gentle scent Im Zimmer stand ein Zweig der Linde, In the room stood a branch of linden, Ein Angebinde von lieber Hand. a gift from a dear hand. Wie lieblich war der Lindenduft! How lovely was the scent of linden! Wie lieblich ist der Lindenduft! How lovely is the scent of linden! Das Lindenreis brachst du gelinde! That sprig of linden you gathered gently! Ich atme leis im Duft der Linde I breathe softly amid the scent of linden Der Liebe linden Duft. Love’s gentle scent.

Morning (Michelangelo-Suite, No. 2) Shostakovich Net radostney veselovo zanyatya: There is no equal happiness Po zlatu kos, tsvetam napereboy Than to compete with the fl ower wreath Soprikasatsya s miloy golovoy in touching the golden streaks of your I lnut lobzanyem vsyudu bez izyatya! lovely hair and spread my kisses all over with no exception! I skolko naslazhdeniya dlya platya And what delight it is for every dress Szhimat ey stan i nispadat volnoy. to bind your waist, coming down in a fl ow. I kak otradno setke zolotoy And then that golden lace Yeyo lanity zakluchat v obyatya! to touch your pretty cheeks! Yeshcho nezhney naryadnoy lenty vyaz, And still more tender is the golden ribbon’s fl ow, Blestya uzornoy vyshivkoy svoyeyu, And the embroidery’s design Smykayetsya vkrug persey molodykh. Which clasps around your youthful breasts. A chisty poyas, laskovo viyas And the gently twining girdle whispers: Kak budto shepchet: “Ne rasstanus s neyu…” “I shall not part with you.” O, skolko dela zdes diya ruk moikh! There’s so much my arms would do!

Where beautiful trumpets blow (Wo die schönen Trompeten blasen), from Des Knaben Wunderhorn Mahler Wer ist denn draussen und wer klopfet an, Who is then outside, and who is knocking, Der mich so leise, so leise wecken kann? Who can so softly, softly waken me? Das ist der Herzallerliebste dein, It is your darling, Steh auf und lass mich zu dir ein! Arise and let me come in to you! Was soll ich hier nun länger stehn? Why should I stand here any longer? Ich seh die Morgenröt aufgehn, I see the dawn arrive, Die Morgenröt, zwei helle Stern, The dawn, two bright stars, Bei meinem Schatz, da wär ich gern, With my darling would I gladly be, bei meiner Herzallerliebsten. With my heart’s most beloved! Das Mädchen stand auf und liess ihn ein; The maiden arose and let him in; Sie heisst ihn auch wilkommen sein. She welcomed him as well: Willkommen, lieber Knabe mein, Welcome, my beloved boy, So lang hast du gestanden! You have stood outside so long! Sie reicht ihm auch die schneeweisse Hand. She reached to him her snow-white hand. Von ferne sang die Nachtigall From afar a nightingale sang; Das Mädchen fi ng zu weinen an. The maiden began to weep. Ach weine nicht, du Liebste mein, Oh, do not cry, my darling, Aufs Jahr sollst du mein eigen sein. Next year you shall be my own! Mein Eigen sollst du werden gewiss, My own shall you certainly be, Wie’s keine sonst auf Erden ist. As no one else on earth is. O Lieb auf grüner Erden. O Love on the green earth! Ich zieh in Krieg auf grüner Heid, I go to war on the green heath, Die grüne Heide, die ist so weit. The green heath that is so broad! Allwo dort die schönen Trompeten blasen, It is there where beautiful trumpets blow, Da ist mein Haus, von grünem Rasen. There is my house of green grass!

schubert.org 17 Texts and Translations continued

Separation (Michelangelo-Suite, No. 4) Shostakovich Derznul, sokrovishche moyo, Would I dare, my treasure, Sushchestvovat bez vas, sebe na muku, To exist without you, in torturous pain, Raz glukhi vy k molbam smyagchit razluku? Since you remain deaf to my pleas to soften the pains of parting? Unylym serdtsem bolshe ne tayu No longer does my sad heart hide Ni vozglasov, ni vzokhov, ni rydaniy. My screams, my sighs, my sobs, Chto vam yavit, , gnyot stradaniy To present you, my Madonna, with the yoke of my sufferings, I smert uzh nedalyokuyu moyu; And my approaching death. No daby rok potom moyo sluzhenye But so fate will never rid your memory Izgnat iz vashey parnayati ne mog. of my eternal service, Ya ostavlyayu serdtse vam v zalog I pledge to you my heart.

Three Angels were Singing (Es sungen drei Engel), from Des Knaben Wunderhorn Mahler

Es sungen drei Engel einen süssen Gesang, Three angels were singing a sweet air, mit Freuden es selig in dem Himmel klang. with joy it rang out blessedly in heaven. Sie jauchzten fröhlich auch dabei: They also shouted with joy dass Petrus sei von Sünden frei! that St. Peter was freed of sin! Und als der Herr Jesus zu Tische sass, And as the Lord Jesus sat at table mit seinen zwölf Jüngern das Abendmahl ass, eating the evening meal with his twelve disciples, da sprach der Herr Jesus: “Was stehst du denn hier? then spoke Lord Jesus: “Why are you standing here? Wenn ich dich anseh’, so weinest du mir!” When I look at you, you weep!” Und sollt’ ich nicht weinen, du gütiger Gott, And should I not weep, my merciful God, ich hab’ übertreten die zehn Gebot! I have broken the Ten Commandments! Ich gehe und weine ja bitterlich! I go my way weeping bitterly! Ach komm’ und erbarme dich über mich! Ah, come and have mercy upon me! “Hast du denn übertreten die zehen Gebot, “So have you broken the Ten Commandments, so fall’ auf die Kniee und bete zu Gott! then fall on your knees and pray to God! Bete zu Gott nur alle Zeit, Pray to God for all time, so wirst du erlangen die himmlische Freud’!” then you shall attain the heavenly joy!” Die himmlische Freud’ ist eine selige Stadt, The heavenly joy is a blessed city, die himmlische Freud’, die kein End’ mehr hat, The heavenly joy that never has an end, die himmlische Freude war Petro bereit’t the heavenly joy was granted to Peter durch Jesum und Allen zur Seligkeit! through Jesus and for us all in blessedness!

18 THE SCHUBERT CLUB An die Musik Life on Earth (Das irdische Leben), from Des Knaben Wunderhorn Mahler “Mutter, ach Mutter! es hungert mich, “Mother, oh Mother! I’m hungry; Gib mir Brot, sonst sterbe ich.” Give me bread, or I shall die!” “Warte nur, mein liebes Kind, “Wait a little, my darling child; Morgen wollen wir säen geschwind.” Tomorrow we shall sow quickly.” Und als das Korn gesäet war, And when the corn had been sown, Rief das Kind noch immerdar: The child wailed again: “Mutter, ach Mutter! es hungert mich, “Mother, oh Mother! I’m hungry; Gib mir Brot, sonst sterbe ich.” Give me bread, or I shall die!” “Warte nur, mein liebes Kind, “Wait a little, my darling child; Morgen wollen wir ernten geschwind.” Tomorrow we shall harvest quickly.” Und als das Korn geerntet war, And when the corn had been harvested, Rief das Kind noch immerdar: The child wailed again: “Mutter, ach Mutter! es hungert mich, “Mother, oh Mother! I’m hungry; Gib mir Brot, sonst sterbe ich.” Give me bread, or I shall die!” “Warte nur, mein liebes Kind, “Wait a little, my darling child; Morgen wollen wir dreschen geschwind.” Tomorrow we shall thresh quickly.” Und als das Korn gedroschen war, And when the corn had been threshed, Rief das Kind noch immerdar: The child wailed again: “Mutter, ach Mutter! es hungert mich, “Mother, oh Mother! I’m hungry; Gib mir Brot, sonst sterbe ich.” Give me bread, or I shall die!” “Warte nur, mein liebes Kind, “Wait a little, my darling child; Morgen wollen wir mahlen geschwind.” Tomorrow we shall grind quickly.” Und als das Korn gemahlen war, And when the corn had been ground, Rief das Kind noch immerdar: The child wailed again: “Mutter, ach Mutter! es hungert mich, “Mother, oh Mother! I’m hungry; Gib mir Brot, sonst sterbe ich.” Give me bread, or I shall die!” “Warte nur, mein liebes Kind, “Wait a little, my darling child; Morgen wollen wir backen geschwind.” Tomorrow we shall bake quickly.” Und als das Brot gebacken war, And when the bread had been baked, Lag das Kind auf der Totenbahr. The child was lying on the funeral bier.

Now I see well (Nun seh’ ich wohl), from Kindertotenlieder Mahler Nun seh’ ich wohl, warum so dunkle Flammen Now I see well, why with such dark fl ames Ihr sprühtet mir in manchem Augenblicke. in many glances you fl ash upon me O Augen, gleichsam, um voll in einem Blicke O Eyes: as if in one look Zu drängen eure ganze Macht zusammen. to draw all your strength together. Doch ahnt’ ich nicht, weil Nebel mich umschwammen, I didn’t realise, because a mist surrounded me Gewoben vom verblendenden Geschicke, woven of tangled destinies Dass sich der Strahl bereits zur Heimkehr schicke, That your beam was already returning homewards to Dorthin, von wannen alle Strahlen stammen. the place from which all rays emanate. Ihr wolltet mir mit eurem Leuchten sagen: You would tell me with your brightness: Wir möchten nah dir bleiben gerne! We would gladly stay with you! Doch ist uns das vom Schicksal abgeschlagen. Now that is denied to us by Fate. Sieh’ uns nur an, denn bald sind wir dir ferne! Look at us, soon we will be far away! Was dir nur Augen sind in diesen Tagen: What are only eyes to you in these days, In künft’gen Nächten sind es dir nur Sterne. In the coming night shall be your stars.

schubert.org 19 Texts and Translations continued

When your mother (Wenn dein Mütterlein), from Kindertotenlieder Mahler Wenn dein Mütterlein When your mother tritt zur Tür herein, steps in through the door und den Kopf ich drehe, and I turn my head ihr entgegen sehe, to see at her, fällt auf ihr Gesicht falling on her face erst der Blick mir nicht, my gaze does not fi rst fall, sondern auf die Stelle, but at the place näher nach der Schwelle, nearer the doorstep, dort, wo würde dein there, where your lieb Gesichten sein. dear little face would be, Wenn du freudenhelle when you with bright joy trätest mit herein, step inside, wie sonst, mein Töchterlein. as you used to, my little daughter. Wenn dein Mütterlein When your mother tritt zur Tür herein, steps in through the door mit der Kerze Schimmer, with the glowing candle, ist es mir, als immer it seems to me, always kämst du mit herein, you came in too, huschtest hinterdrein, hurrying behind her, als wie sonst ins Zimmer! as you used to come into the room. O du, des Vaters Zelle, Oh you, of a father’s cell, ach, zu schnell ah, too soon erloschner Freudenschein! extinguished light!

Primal Light (Urlicht), from Des Knaben Wunderhorn Mahler O Röschen rot! O red rose! Der Mensch liegt in grosster Not! Mankind lies in greatest need! Der Mensch liegt in grosster Pein! Mankind lies in greatest pain! Je lieber möcht’ ich im Himmel sein! Much rather would I be in Heaven! Da kam ich auf einen breiten Weg; Then I came upon a broad path; Da kam ein Engelein und wollt’ mich abweisen. Then an angel came and wanted to dismiss me. Ach nein! Ich liess nicht abweisen! Ah no! I would not be dismissed! Ich bin von Gott und will wieder zu Gott! I am from God and would go back to God! Der liebe Gott wird mir en Lichtchen geben, Dear God will give me a light, Wird leuchten mir bis an das ewig selig Leben! Will light me to blissful everlasting life!

Intermission

Night (Michelangelo-Suite, No. 9) Shostakovich —Vot eta Noch, chto tak spokoyno spit And here’s this night so peacefully asleep Pered toboyu, angela sozdanye. Before you—the creation of an Angel. Ona iz kamnya, no v ney est dykhanye: It’s made of rock, yet it is breathing! Lish razbudi, —ona zagovorit. (Giovanni Strozzi) Just wake it up—and it will talk. —Mne sladko spat, a pushche—kamnen byt, How sweet it is to sleep, and still better it is to be a rock, Kogda krugom pozor i prestuplenye: When all around you are shame and crime: Ne chuvstvovat, ne videt—oblyogchenye, Just not to feel it, no improvement in sight, Umolkni zh, drug, k chemu menya budit? Hush, hush, my friend, why wake me up?

20 THE SCHUBERT CLUB An die Musik I am lost to the world (Ich bin der Welt abhanden gekommen), from Rückert Lieder Mahler Ich bin der Welt abhanden gekommen, Mit der ich sonst viele Zeit verdorben, I am lost to the world Sie hat so lange von mir nichts vernommen, with which I used to waste so much time, Sie mag wohl glauben, ich sei gestorben. It has heard nothing from me for so long Es ist mir auch gar nichts daran gelegen, that it may very well believe that I am dead! Ob sie mich für gestorben hält, It is of no consequence to me Ich kann auch gar nichts sagen dagegen, Whether it thinks me dead; Denn wirklich bin ich gestorben der Welt. I cannot deny it, Ich bin gestorben dem Weltgewimmel, for I really am dead to the world. Und ruh’ in einem stillen Gebiet. I am dead to the world’s tumult, Ich leb’ allein in mir und meinem Himmel, And I rest in a quiet realm! In meinem Lieben, in meinem Lied. I live alone in my heaven, In my love and in my song!

Immortality (Michelangelo-Suite, No. 11) Shostakovich Zdes rok posial bezremenny mne son, A timeless dream was sent to me by fate. No ya ne myortv, khot i opushchen vzemlu: I am not dead although I am buried, Ya zhiv v tebe, chim setovanyam vnemlyu, In you I live your lamentation heeding, Zatem chto v druge drug otobrazhon. Since you in me and I in you refl ected, Ya slovno b myortv, no miru v utshenye As if in death, but the world consoled, Ya tysyachami dush zhivu v serdtsakh My soul inhabits thousands of hearts Vsekh lyubyashchikh, i, znachit, ya ne prakh, Of those who love, which means I am not dust I smertnoye menya ne tronet tlenye. And not affected by decay of death.

Dante (Michelangelo-Suite, No. 6) Shostakovich Spustivshis s neba v tlennoy ploti, on Having descended from heaven in his mortal fl esh, Uvidel ad, obitel iskuplenya, He saw the hell, the abode of redemption, I zhiv predstal diya Bozhya litsezrenya, Alive he appeared for the God’s inspection, I nam povedal vsyo, chem umudryon. He told us all of his wisdom. Luchistaya zvezda, chim ozaryon O pure star, whose light shines Siyanyem kray, mne danny dlya rozhdenya, on the land where I was born, Ey ne ot mira zhdat voznagrazhdenya, Not from the earth can man await rewards No ot tebya, kem mir byl sotvoryon. But from You by whom I’m created. Ya govoryu o Dante, o Dante: ne nuzhny I speak of Dante, of Dante: Ozloblennoy tolpe evo sozdanya,— The angered mob has no need in his creations, Ved diya neyo I vysshi geni mal. The greatest of geniuses is too small for it. Bud ya kak on! O, bud mne suzhdeny I do resemble him! Do bless me with his fate, Evo dela i skorb evo izganjy,— His deeds, and bereavement of his exile, Ya b luchshey doli v mire ne zhelal! I wish for no better fate in the world.

schubert.org 21 Texts and Translations continued

Reveille (Revelge), from Des Knaben Wunderhorn Mahler Des Morgens zwischen drei’n und vieren, In the morning between three and four, da müssen wir Soldaten marschieren we soldiers must march das Gässlein auf und ab, up and down the alley, trallali, trallaley, trallalera, trallali, trallaley, trallalera, mein Schätzel sieht herab! my sweetheart looks down! “Ach Bruder, jetzt bin ich geschossen, “Oh, brother, now I’ve been shot, die Kugel hat mich schwere getroffen, the bullet has struck me hard, trag’ mich in mein Quartier, carry me to my billet trallali, trallaley, trallalera, trallali, trallaley, trallalera, es ist nicht weit von hier.” it isn’t far from here!” “Ach Bruder, ich kann dich nicht tragen, “Oh, brother, I can’t carry you, die Feinde haben uns geschlagen, the enemy has beaten us, helf’ dir der liebe Gott! may the dear God help you! Trallali, trallaley, Trallali, trallaley, trallali, trallaley, trallalera, trallali, trallaley, trallalera, ich muss marschieren bis in’ Tod.” I must march on until death!” “Ach Brüder, ach Brüder, “Oh brothers, oh, brothers, ihr geht ja mir vorüber, you go on past me als wär’s mit mir vorbei, as if I were done with, als wär’s mit mir schon vorbei! as if I were already done with! Trallali, trallaley, etc. Trallali, trallaley, etc. ihr tretet mir zu nah!” you’re treading too near to me!” “Ich muss meine Trommel rühren, “I must nevertheless beat my drum, trallali, trallaley, trallali, trallaley, Trallali, trallaley, trallali, trallaley, sonst werd’ ich mich verlieren. otherwise I will lose myself. Die Brüder dick gesät, My brothers, thickly covering the ground, sie liegen wie gemäht.” lie as if mown down.” Er schlägt die Trommel auf und nieder, Up and down he beats the drum, er wecket seine stillen Brüder, he wakes his silent brothers, trallali, trallaley, trallali, trallaley, trallali, trallaley, trallali, trallaley, sie schlagen und sie schlagen ihren Feind, they batter and they strike their enemy, trallali, trallaley, trallalerallala, trallali, trallaley, trallalerallala, ein Schrecken schlägt den Feind! a terror smites the enemy! Er schlägt die Trommel auf und nieder, Up and down he beats the drum, da sind sie vor dem Nachtquartier schon wieder, there they are again before their billets In’s Gässlein hell hinaus! Clearly out into the alley! sie ziehen vor Schätzleins Haus. They pass by before sweetheart’s house, Trallali, trallaley, etc. Trallali, trallaley, etc. sie zieh’n vor Schätzleins Haus, they pass by before sweetheart’s house, Trallali, trallaley, etc. Trallali, trallaley, etc. Des Morgens stehen da die Gebeine In the morning, there stand the skeletons in Reih’ und Glied, sie steh’n wie Leichensteine in rank and fi le, they stand like tombstones, Die Trommel steht voran, The drum stands in front, dass sie ihn sehen kann, so that she can see him, trallali, trallaley, etc. trallali, trallaley, etc. dass sie ihn sehen kann! so that she can see him!

22 THE SCHUBERT CLUB An die Musik Death (Michelangelo-Suite, No. 10) Shostakovich Uzh chuya smert, khot i ne znaya sroka, Sensing approaching death, not knowing the exact moment, Ya vizhu: zhizn vsyo ubystryayet shag, I see how life is speeding up its pace, No teluy eshscho zhalko plotskikh blag. My fl esh still holding onto pleasure, Dushe zhe smert zhelaneye poroka. And to the soul death is more desirous than vice. Mir v slepote: postydnovo uroka The world is blind: out of the power of evil Iz vlasti zla ne izvlekayet zrak, I can’t bring forth the shameful lesson, Nadezhdy net, i vsyo obymlet mrak, There is no hope and all is darkness, I lozh tsarit, i pravda pryachet oko. Deception reigns and truth is hiding its eyes. Kogda zh, Gospod, nastupit to, chevo When my Lord, can Your believers Zhdut verniee tebe? Oslabevayet expect what they await? V otsrochkakh vera, dushu davit gnyot; The faith’s becoming weak by delays; Na chto nam svet spasenya tvoyevo, The soul is under oppression; Raz smert bystrey i navsegda yavlyayet What use is in the light of Your salvation Nas v sramote, v kotoroy zastayot? If death precedes it all?

The Drummer Boy (Der Tamboursg‘sell), from Des Knaben Wunderhorn Mahler Ich armer Tamboursg’sell, I, poor drummer boy— Man führt mich aus dem Gwölb, they’re leading me from my cell. Wär ich ein Tambour blieben, If I had stayed a drummer Dürft ich nicht gefangen liegen. I would not be imprisoned now. O Galgen, du hohes Haus, O gallows, you lofty house, Du siehst so furchtbar aus, You look so fearsome, Ich schau dich nicht mehr an, I won’t look at you any longer Weil i weiss, dass i gehör dran. because I know I am yours. Wenn Soldaten vorbeimarschieren, When soldiers march by Bei mir nicht einquartieren. who were not quartered with me— Wenn sie fragen, wer i g’wesen bin: when they ask who I was: Tambour von der Leibkompanie. I was a drummer from the fi rst company. Gute Nacht, ihr Marmelstein, Good night, marble rocks, Ihr Berg und Hügelein. mountains and hills— Gute Nacht, ihr Offi zier, Good night, offi cers, Korporal und Musketier. corporals and musketeers. Ich schrei mit lauter Stimm, I cry with a loud voice, Von euch ich Urlaub nimm. and take my leave of you! Gute Nacht! Gute Nacht. Good night! Good night.

schubert.org 23 The Schubert Club Museum Hours: Sunday – Friday • Noon – 4:00 PM Landmark Center

Letter from Haydn, 1794

Franz Joseph “Papa” Haydn is sometimes called the “Father of the symphony”—he composed more than one-hundred of them in his long life. Haydn is also credited as the “Father of the string quartet,” having produced more than 60 compositions for the combination of two violins, viola and cello. He also established the usual quartet form of four movements: fast, slow, minuet and trio, and a fast fi nale. His published string quartets start in 1762 with Opus 1 and run to Opus 103 in 1803— a span of more than forty years!

(Accordo performs one of Haydn’s great Opus 20 quartets on a Schubert Club concert on May 14. See page 32 for details.)

But in addition to being the godfather of musical genres, Haydn was also the actual godfather of a younger composer by the name of Joseph Weigl. One of the oldest items in The Schubert Club Museum’s collection is a letter Haydn wrote to his godson in 1794. In it, Haydn congratulates the young man on the Vienna premiere of his comic opera La Principessa d’Amalfi . It is an affectionate letter, full of praise for Weigl’s music.

Weigl had studied music with Antonio Salieri, and had assisted Mozart in mounting the fi rst Vienna performances of Don Giovanni and Così fan tutte. In 1790 he become music director at the Vienna Court Theater—succeeding his teacher Salieri—and at the time of La Principessa had already produced a number of his own operas. Weigl, like his godfather Haydn, was a prolifi c composer in his chosen genre, Austrian composer Joseph Franz Weigl (1766–1846) producing more than thirty operas in his lifetime.

24 THE SCHUBERT CLUB An die Musik “. . . it is a new conception, sublime, expressive, in short — a masterpiece.”

Dearest Godson,

When I carried you on my arm after your coming into being and had the pleasure of being your Godfather, I implored the omnipotent Providence to imbue you with the most perfect degree of musical talent: My warmest wish has been heard — it has been a long time since I have heard any music with such enthusiasm as your La Principessa d’Amalfi of yesterday: it is a new conception, sublime, expressive, in short — a masterpiece — I took the warmest part in the well-deserved applause they gave you. Go ahead, dearest Godson, always following this respected style, so that you convince the foreigners once again of what the Germans can do. But in doing so, keep this old boy in your thoughts. I love you dearly, and am, dearest Weigl,

Your heartfelt friend and servant, Joseph Haydn

From home on the 11th of January 1794

Franz Joseph Haydn (1732–1809)

Letter from Haydn to Joseph Weigl, 1794 (Gift of Gilman Ordway)

schubert.org 25 The Schubert Club Music in the Park Series

presents

Escher String Quartet Jason Vieaux, guitar

Program

Quintet No. 4 in D major, Fandango Luigi Boccherini (1743–1805) Pastorale Allegro maestoso Grave Assai-Fandango

Quartet in D major Ottorino Respighi (1879–1936) Allegro moderato Tema con variazioni Intermezzo Finale

Intermission

Grande Ouverture, Opus 61 for Guitar Solo Mauro Giuliani (1781–1829)

Concerto in C major, RV 425 Antonio Vivaldi (1678–1741) Allegro Largo Allegro

Quintet for Guitar & Strings, Opus 143 Mario Castelnuovo-Tedesco (1895–1968) Allegro vivo e schietto Andante maestoso Scherzo: Allegro con spirito, alla Marcia Finale: Allegro con fuoco

Please turn off all electronic devices.

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

Sunday, April 29, 2012 • 4:00 PM Saint Anthony Park United Church of Christ

the University of Ottawa in 2000, his Master of Music from the San Francisco State University in 2003, and is currently working on his DMA at the Manhattan School of Music. His teachers were Yaëla Hertz Berkson, Calvin Sieb, Paul Yarbrough and Larry Dutton. Photo: J. Henry Fair Photo: J. American cellist Dane Johansen has performed throughout the and Europe, including appearances at New York’s Alice Tully Hall at Lincoln Center, Helsinki’s Sibelius Academy, ’s Academy of Music, Paris’s Conservatoire National Supérieur de Musique and BBC Live Radio. Mr. Johansen received the prestigious Artist Diploma from the Juilliard School and is a now Juilliard Faculty Assistant to Joel Krosnick. He studies privately with Bernard Greenhouse, founding cellist of the Beaux Arts Trio.

From left: Adam Barnett-Hart, Wu Jie, Pierre Lapointe, Dane Johansen

Escher String Quartet Boye Photo: Tyler Within months of its inception in 2005, the Escher Quartet was invited by both Pinchas Zukerman and Itzhak Perlman to be quartet-in-residence at each artist’s summer festival. The ensemble takes its name from Dutch graphic artist M.C. Escher.

Violinist Adam Barnett-Hart made his debut with the Juilliard Symphony at 19 performing the Brahms concerto in Alice Tully Hall. He began studying with Pinchas Zukerman Jason Vieaux after graduating from the Juilliard School, where he American virtuoso guitarist Jason Vieaux began his musical completed a B.A. with Joel Smirnoff. Prior to Juilliard, Adam training in Buffalo, New York at the age of eight, after studied with James Maurer, Paul Kantor, and which he continued his studies in the Cleveland Institute Donald Weilerstein of Music. In 1992, he became the youngest winner of the Guitar Foundation of America International Competition. Violinist was awarded fi rst prize at the Orford Wu Jie He followed this success with a 53-city recital tour of the Second International Violin Competition at the age of 16 United States and France and has had more than ten with her performance of the Barber violin concerto, which commercially successful compact discs with Azica Records. was broadcast across the province of Quebec, Canada. Wu His collaborations with the Escher Quartet, fl utist Gary Jie began her studies at the Music Conservatory, Schocker, harpist Yolanda Kondonassis, mezzo-soprano and continued her training in Montreal. She received her Sasha Cooke, and bandoneon/accordion virtuoso Julien undergraduate degree from the Manhattan School of Music. Labro continue to display Vieaux’s broad range of musical Her teachers include Pinchas Zukerman, Patinka Kopec, interests. Currently he serves on the faculties of the Eleonora Turovsky, Lei Fang, and Robert Mann. Cleveland Institute of Music and the Curtis Institute of Music. Canadian violist Pierre Lapointe received a prize in 2004 from Lieutenant-Governor of Quebec for his work This presentation is supported by the Performing Arts Fund, at the Gatineau Music Conservatory. Prior to this award, a program of Arts Midwest funded in part by the National the University of Ottawa granted him a gold medal for Endowment for the Arts with additional contributions from his undergraduate degree in composition and violin the Minnesota State Arts Board, General Mills Foundation, performance. He acquired his undergraduate degree from and Land O’Lakes Foundation.

schubert.org 27 Program Notes

Quintet No. 4 in D major, Fandango Concerto in C major, RV 425 Luigi Boccherini (1743–1805) Antonio Vivaldi (1678–1741) The prolifi c Boccherini composed at least a hundred From 1703, Vivaldi was Maestro di violino at the Pio string quintets and as many quartets. We will never Ospedale della Pietà in Venice, an orphanage for gifted know the extent of his oeuvre, for half of his manuscripts girls in Venice. A pioneer in the development of concerto were lost in the Spanish Civil War of the late 1930s. A form, Vivaldi wrote over 500 concertos, two-thirds of pioneer in the writing of quintets, pieces in which the them for a solo instrument. Several, like this Concerto, cello could join a quartet, Boccherini also wrote piano are scored for mandolin, an eight-stringed instrument quintets, twelve of which he arranged for guitar and tuned like a violin and played with a plectrum. strings in the late 1790s. The Quintet in D is full of colorful surprises, but the closing fandango, a Spanish Quintet for Guitar & Strings, Opus 143 dance in triple meter, is a coup de théâtre. It comes as Mario Castelnuovo-Tedesco (1895–1968) no surprise that Ravel originally called his Bolero . . . Mario Castelnuovo-Tedesco was born in Florence and Fandango. educated in Bologna, but as a Jew in Italy was threatened as World War II approached. “My music was suddenly String Quartet in D major banished from the Italian radio and some performances Ottorino Respighi (1879–1936) of my works were cancelled,” he recalled. He relocated Ottorino Respighi is known for tone poems celebrating to the U.S., becoming a citizen in 1946. Castelnuovo- the fountains, pines and festivals of Rome, his adopted Tedesco’s music, like his name, is in a hyphenated style: city from 1913. But he composed much chamber music. half-popular, half-learned. He knew the craft thoroughly, Respighi was a string player, and a good one, serving a and could write to order, so he naturally turned to term as principal viola at the Russian Imperial Opera, Hollywood. Castelnuovo-Tedesco supplied music for where he studied briefl y with Rimsky-Korsakov. He was nearly 150 fi lms, from high dramas like “Gaslight” and one of the generazione dell’ottanta (Generation of the “The Picture of Dorian Gray” to low-voltage fl icks like 80s) which aimed to restore Italy’s reputation as a source “The Creature with the Atom Brain.” And he passed of abstract music—not opera. The Quartet in D was along his knowledge to students Jerry Goldsmith, Henry composed in 1907, when Respighi still lived in his native Mancini and John Williams. Castelnuovo-Tedesco’s most Bologna and was a member of the Mugellini Quartet. important contribution may be his nearly one hundred It is one of at least fi ve early quartets. In addition guitar works. The gracious Quintet, written for Andres to idiomatic string writing and an often-pentatonic Segovia, comes from 1950. freshness, there are many Straussian harmonic turns.

Grande Ouverture, Opus 61 for Guitar Solo Program notes © 2012 by David Evan Thomas Mauro Giuliani (1781–1829) Giuliani was the greatest guitar virtuoso of his day. Born near Bari on the Adriatic, he migrated to Vienna in 1806, and there appeared with virtuoso pianists Hummel and Moscheles. Giuliani composed over 200 works for guitar, adopting a new style of guitar notation—in the treble clef, sounding an octave lower—that is used today. The Grande Ouverture opens with dotted rhythms in the French-overture style, shifting gently into a sonata movement and ending with a brilliant coda.

Mario Castelnuovo-Tedesco

28 THE SCHUBERT CLUB An die Musik Artist from the Past: Nelson Eddy

Both Hollywood heartthrob and classically trained baritone, American singer Nelson Eddy performed twice for The Schubert Club, fi rst in 1934 and again in 1935. Eddy’s Hollywood career took off that same year with the success of “Naughty Marietta,” the fi rst of the eight fi lms he made with soprano Jeanette MacDonald. Eddy appeared in nineteen musical fi lms, including “Sweethearts,” “New Moon,” “Bittersweet” and “The Chocolate Soldier.” Rose Marie was probably his most memorable fi lm, featuring such hits as “Song of the Mounties” and “Indian Love Call.” With signature songs to his credit, among them “Ah! Sweet Mystery of Life,” “Will you Remember?” and “Stouthearted Men,” Eddy was considered one of the fi rst “crossover” stars, though he continued to give classical recitals with traditional serious repertoire. He performed his screen songs only as encores.

Nelson Eddy and Jeanette MacDonald in Maytime (1937)

schubert.org 29 The Schubert Club

presents

Sandrine Piau, soprano Susan Manoff, piano

Program

Nachtliebe Felix Mendelssohn (1809–1847) Neue Liebe Schlafl oser Augen Leuchte Hexenleid (Andres Maienlied)

En sourdine Gabriel Fauré (1845–1924) Prison Les berceaux Après un rêve

Amour d’antan Amédée-Ernest Chausson (1855–1899) Dans la forêt du charme et de l’enchantement Les heures

Morgen Richard Strauss (1864–1949) Das Geheimnis, Opus 17, No. 3 Die Nacht, Opus 10, No. 3 Stänchen

Intermission

Galgenlieder (cycle) Vincent Bouchot (b. 1966) Mondendinge Der Hecht Die Mitternachtsmaus Das wasser Galgenkindes Wiegenlied

Montparnasse Francis Poulenc (1899–1963) Hyde Park « C » Fêtes Galantes

The Sally Gardens Benjamin Britten (1913–1976) There’s none to soothe

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30 THE SCHUBERT CLUB An die Musik Sandrine Piau, soprano • Susan Manoff, piano

Tuesday, May 1, 2012 • 7:30 PM Courtroom 317, Landmark Center

Prix Charles Cros. In 2008, she released a Franco-German recital programme on compact disc entitled Évocation, which was awarded Editors Choice by Gramophone and “Diamant d’Opéra” by Opera Magazine. Ms. Piau gave her Carnegie Hall debut recital based on this disc. 2009 saw two new Handel recordings in her continued collaboration with Naïve. The fi rst an eclectic selection of duets with the contralto Sara Mingardo; and the second, Between Heaven and Earth, was named MIDEM Classical Album of the Year 2010.

In 2010–2011, Sandrine Piau sang in L’Incoronazione di Poppea in Köln, in La Finta Giardiniera (Sandrina) at la Monnaie Brussels. Hers is the bewitching soprano from the hit fi lm “HOME” by Yann Athus-Bertrand. Recently Sandrine was awarded the Chevalier de l’Ordre des Arts et

Photo: Georgia BertazziPhoto: Georgia des Lettres from the French Ministry of Culture and in 2009 she received the ‘Opera Singer of the Year’ award at Les Sandrine Piau, soprano Victoires de la Musique awards. A renowned fi gure in the world of Baroque music, French soprano Sandrine Piau performs regularly with such celebrated conductors as William Christie, Philippe Herreweghe, Christophe Rousset, Gustav Leonhardt, Sigiswald Kuijken, Ton Koopman, René Jacobs, Marc Minkowski, Fabio Biondi, Michel Corboz, Josep Pons and Louis Langrée. Susan Manoff, piano Ms. Piau embraces both the lyric and Baroque repertoire, Born in New York, Susan Manoff studied piano at and performs roles such as Pamina from Mozart’s Die Manhattan School of Music and the University of Oregon. Zauberfl öte, Titania from Britten’s A Midsummer Night’s After winning fi rst prize in the Petri Competition, she Dream and Servilia from Gluck’s La Clemenza di Tito. went to Paris to study with Noël Lee. Ms. Manoff pursued her love for singers and the repertoire, and has Previous opera engagements have taken her to the Grand rapidly become one of the leading and most appreciated Théâtre de Genève, the Théâtre des Champs Elysées, the accompanists of her generation. Théâtre du Châtelet, Opéra National de Bordeaux, Teatro Lirico di Cagliari, Opéra de Montpellier, the Dresden Festival, She has worked with Christa Ludwig and Hans Hotter, and Drottningholm Festival, Bayersiche Staatsoper and Opéra appears regularly in recitals worldwide with such artists as National de Bordeaux. Véronique Gens, Patricia Petibon, Sandrine Piau, Magdalena Kožená and Natalie Dessay. Fascinated with the theater, Sandrine Piau takes great pleasure in the art of recital. As Manoff has also created recitals that blend music and text, a singer of both French and German repertoire, she has working with such partners as Nelly Borgeaud, Hélène performed with many renowned recital accompanists, Delavault, Marie Christine Barrault and Jean Rochefort. such as Jos van Immerseel, Myung-Whun Chung, Georges Pludermacher, Roberto Negri, Billy Eidi, David Selig, Christian Ms. Manoff currently focuses on chamber music, Ivaldi, Alexandre Tharaud, Jérôme Hantaï and Corine Durous. performing with Nemanya Radulovic and other notable Recital appearances include Théâtre des Bouffes du Nord in instrumentalists. Her festival appearances include Verbier, Paris, The Wigmore Hall and Carnegie Hall. Covent Garden, Lugano and Montpellier. Her 2009–2010 season included performances at Carnegie Hall, the Ms. Piau has an exclusive recording contract with the record Musikverein (Vienna) and the Concertgebouw (Amsterdam). company Naïve. Her disc of Mozart arias, accompanied by Ms. Manoff is a professor at the Paris Opera School and the the Freiburger Barockorchester was awarded the Paris Conservatory.

schubert.org 31 The Schubert Club Northrop Concerts and Lectures and Kate Nordstrum Projects

present Accordo

Ruggero Allifranchini, violin • Erin Keefe, violin Maiya Papach, viola • Anthony Ross, cello • Burt Hara, clarinet

“Brahms/Haydn Variations”

Program

String Quartet in F minor, Opus 20, No. 5 Joseph Haydn (1732–1809) Allegro moderato Minuetto Adagio Finale: Fuga a due soggetti

Concerto a Tre Ingolf Dahl (1912–1970)

Intermission

Clarinet Quintet in B minor, Opus 115 Johannes Brahms (1833–1897) Allegro Adagio Andantino Con moto

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32 THE SCHUBERT CLUB An die Musik Accordo

Monday, May 14, 2012 • 7:30 PM Christ Church Lutheran, Minneapolis

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

Ruggero Allifranchini is the associate concertmaster Principal cello Anthony Ross has often appeared as of the SPCO. He was born into a musical household in soloist with the Minnesota Orchestra, performing concertos Milan, Italy. He studied at the New School in Philadelphia with by Schumann, Dvorák, Beethoven, Saint-Saëns, Elgar and Jascha Brodsky and later at the Curtis Institute of Music, with Shostakovich, among others, as well as many chamber works. Szymon Goldberg and, for chamber music, Felix Galimir. He was Ross was principal cello of the Rochester Philharmonic in New the recipient of the Diploma d’Onore from the Chigiana Academy York before joining the Orchestra in 1988. Ross has taught at the in Siena, Italy. In 1989, he co-founded the , Eastman School of Music, the Aspen Festival and the Grand Teton with which he played exclusively for eleven years. He is the violinist orchestra seminar. A graduate of Indiana University, Ross earned a of the trio Nobilis, with pianist and former SPCO Artistic Partner master’s degree at the State University of New York, Stony Brook. Stephen Prutsman and cellist Suren Bagratuni. Allifranchini plays In 1982 he was awarded the bronze medal at the prestigious on the “Fetzer” violin made by Antonio Stradivari in 1694, which is Tchaikovsky Competition, and he received McKnight Fellowships on loan to him from the Stradivari Society of Chicago. in 2001 and 2005.

Violinist Erin Keefe was named concertmaster of the This September, Burt Hara celebrates his 25th season as the Minnesota Orchestra in September 2011 and undertook her new Principal Clarinet of the Minnesota Orchestra. Hara has served duties with the classical season’s fi rst concert on September 29. as Principal Clarinet of the Philadelphia Orchestra and also of Keefe has appeared as soloist with such orchestras as the the New York Philharmonic, the Saint Louis Symphony and the Ballet, New Mexico Symphony, the Korean Saint Paul Chamber Orchestra. Hara is on the faculty at the Symphony Orchestra, and the Gottingen Symphony Orchestra, Aspen Music Festival, and the Principal Clarinet of the Aspen among others. A native of Northampton, Massachusetts, Keefe Chamber Symphony. This summer he will perform at the Aspen earned a master of music degree from the Juilliard School and a Music Festival, Summerfest in La Jolla, Music in the Vineyards bachelor of music degree from the Curtis Institute of Music. She in Napa Valley and the Salt Bay Chamberfest in Maine. Hara is lives in St. Paul with her husband, cellist Andrey Tchekmazov. a graduate of the Curtis Institute of Music where he studied with Donald Montanaro. Burt Hara is a Buffet Group USA Maiya Papach is acting principal viola of the SPCO and performing artist. served in the same capacity last year. She is a founding member of the International Contemporary Ensemble (ICE), one of the leading new music ensembles in the United States. Prior to joining the SPCO, she performed regularly with the IRIS Orchestra Turn to page 24 to learn more about the and the New York Philharmonic. In New York, Papach has Schubert Club Museum’s Haydn letter . . . performed in chamber concerts at Bargemusic, Alice Tully Hall, Merkin Concert Hall, and Miller Theater, among others. Papach is a graduate of the Oberlin Conservatory and the Juilliard School.

schubert.org 33 Courtroom Concert Music, Now! April 5, 2012 • Noon Courtroom 317, Landmark Center

Bradley Greenwald, baritone and Jocelyn Hagen, piano Love Songs – Jocelyn Hagen (b. 1980) burn • your little voice • so quite new • i love you much (most beautiful darling) • i carry your heart with me

Bradley Greenwald has performed opera, theater, music-theater, concert and recital repertoire with several Twin Cities’ arts organizations, including Theatre de la Jeune Lune (Figaro, Don Juan Giovanni, Mefi stofele, Carmen, Marìa de Buenos Aires, Così fan tutte, Magic Flute), Guthrie Theater (Caroline, or Change, 1776, She Loves Me, The Comedy of Errors), Children’s Theatre Company (A Christmas Story, The 500 Hats of Bartholomew Cubbins, The Wizard of Oz, The Snow Queen), Jungle Theater (A Funny Thing Happened on the Way to the Forum, Hamlet, The Mystery of Irma Vep), Ten Thousand Things Theater (As You like It, My Fair Lady, At Your Service!), Minnesota Orchestra, Lyra Baroque Orchestra, “A Prairie Home Companion,” Skylark Opera and Ballet of the Dolls. Bradley is the recipient of a Minnesota State Arts Board Fellowship in music, the McKnight Fellowship for Theater Artists, and a 2006 Ivey Award.

Since her graduation from St. Olaf College in 2003, Jocelyn Hagen has received over 40 commissions, 50 premieres, and 100 performances. In 2010 Jocelyn was awarded a McKnight Artist Fellowship. She has also received grants and awards from ASCAP, the American Composers Forum, Minnesota Music Educators Association, VocalEssence, the Yale Glee Club, the Lotte Lehman Foundation, the Sorel Medallion Competition, the Cincinnati Camerata, the University of Minnesota, and the San Francisco Song Festival. Her commissions include the American Choral Directors Association of Minnesota, The Singers — Minnesota Choral Artists, Trio Callisto, Cantus, the St. Olaf Band, and the Copper Street Brass Quintet. Her work is published by Graphite Publishing, Santa Barbara Music Publishing and Boosey and Hawkes.

Preston Duncan, saxophone and Scotty Horey, marimba Digressions for Soprano / Alto Saxophone and Marimba – Heath Mathews (1974) Song Book I. Movement for Davy – David Maslanka (b. 1943) Aeolian Song – Warren Benson (1928–2005)

Preston Duncan received degrees from Indiana University and Bowling Green State University. In 2002 he completed his Artist Diploma at The Boston Conservatory. Duncan was awarded a Fulbright Fellowship in 1996 for study in France with Jean-Yves Fourmeau. He is currently pursuing a Doctorate of Musical Arts from the University of Minnesota and regularly performs as an orchestral member with the Minnesota Orchestra. He has been Artist in Residence at Ball State University and has presented master classes at the National University of Taiwan and the National Conservatory of Costa Rica.

Scotty Horey is the principal percussionist of the Mankato Symphony Orchestra and the Contemporary Music Workshop at the University of Minnesota. Scotty has performed and collaborated with the Minnesota Orchestra, Saint Paul Chamber Orchestra, The Minnesota Chorale, The Singers—Minnesota Choral Artists, Bob Becker, Eric Sammut, Mario Caroli, Libby Larsen, Morton Lauridsen and Steven Schick. Scotty regularly performs with his fl ute and percussion duo The Rococo Duo, and is drummer for several twin cities rock bands. He is currently developing an interdisciplinary DVD focusing on advanced performance concepts to be completed in May 2012.

34 THE SCHUBERT CLUB An die Musik Courtroom Concert Music, Now! April 12, 2012 • Noon Courtroom 317, Landmark Center

Schubert Club Composer in Residence: Abbie Betinis Carrie Henneman Shaw, soprano • Jake Endres, baritone Joel Salvo, cello • Ruth Palmer, piano

Jerusalem Luminosa

Two Carols: Prayer for Peace • Carol of the Snow

Moonlight (World Premiere)

The Waking

My Heart is Longing to Praise My Savior

Two Rilke Songs – David Evan Thomas (b. 1958)

Du bist die Zukunft Ein Gebet

Unwissend vor dem Himmel meines Lebens (World Premiere, commissioned by Diane Gorder for her dear sweet husband Mark)

Ophelie

I. Sur l’onde calme et noire où dorment les étoiles II. O pâle Ophélia! belle comme la neige! (World Premiere)

Baritone Jake Endres lives in St. Paul and freelances as a singer, actor, music director, composer, director and producer. He has appeared with many regional groups, including the Minnesota Orchestra, Saint Paul Chamber Orchestra, Flying Foot Forum/Guthrie Theater, Children’s Theatre Company, History Theatre, Skylark Opera and Park Square Theatre.

Soprano Carrie Henneman Shaw explores both virtuoso avant-garde chamber music and seventeenth-century vocal works with equal passion. She is a recent winner of a McKnight Artist Fellowship for Performing Musicians. Shaw collaborates with organizations across the country, including Boston Early Music Festival, The Newberry Consort, LIBER, dal Niente New Music, The Rose Ensemble and the Bach Society of Minnesota, and is co-artistic director of St. Paul-based Glorious Revolution Baroque. She holds a doctorate of musical arts from the University of Minnesota.

Cellist Joel Salvo is an active performer of new music, collaborating with a number of celebrated composers including Bright Sheng, Osvaldo Golijov and Libby Larson. He has performed alongside members of the Cleveland Orchestra and Opera Cleveland, and has recently embarked on an intensive study of contemporary cello repertoire with Finnish cellist, Anssi Karttunen. Joel is currently a member of the string faculty at the University of Minnesota-Morris and Anoka Ramsey Community College.

Pianist Ruth Palmer has spent her career working in the art song recital, opera and choral fi elds. As a vocal coach/pianist she has prepared winners in national competitions for NATS Artist Award, Carnegie Hall International American Music Competition, Metropolitan Opera Auditions, and the Rosa Ponselle Vocal Competition, as well as coaching singers for roles in major houses. Ruth has accompanied master classes by such icons as Elly Ameling and Gerard Souzay, and has appeared often in recital with mezzo-soprano, Glenda Maurice. Currently she is the Director of Music Ministries at Unity Church-Unitarian in Saint Paul.

schubert.org 35 Courtroom Concert Music, Now! April 19, 2012 • Noon Courtroom 317, Landmark Center

2011–2012 Schubert Club Composer Apprentices and The Copper Street Brass Quintet Dylan Perese • Christopher Neiner • Austin Frohmader • Grant Luhmann

Calculated Risk – Dylan Perese Brevity is the Soul of Wit – Christopher Neiner Brass Quintet in E-fl at major – Austin Frohmader Cake Walk – Grant Luhmann

Dylan Perese has studied piano and composition with Dr. Sarah Miller at MacPhail Center for Music since 2005 and has studied composition with Edie Hill since 2010. Dylan participates in a variety of workshops and camps and has enjoyed working with other local artists. His music has been described as “dance- like” and “visceral” and has achieved recognition on a national scale. Dylan was recently awarded a Schubert Club Composer Mentorship for the second year in a row.

Christopher Neiner is a seventeen-year-old composer from Burnsville, Minnesota. He fi rst became interested in music at the age of ten when he started playing the French horn. Besides the Schubert Club Composers Mentorship, he has participated in the Junior Composer’s program where he has studied with Linda Tutas Haugen, Jocelyn Hagen and Randall Davidson. He participates in the Greater Twin Cities Youth Symphonies (GTCYS) and their chamber ensembles in cooperation with the Saint Paul Chamber Orchestra.

Austin Frohmader, a pianist and composer since the age of fi ve, is from Coon Rapids, MN. Four years ago, Austin was accepted into Crocus Hill Studios where he now studies piano with Dr. Joseph Zins. Since then, Austin has accelerated his growth as an artist of both piano performance and music composition. He is very glad to have had this time with his fi rst composition instructor, Edie Hill, who has been tremendously supportive and inspirational during this busy year.

Grant Luhmann, a high school junior, has been involved in music studies since fourth grade. A devoted oboe and English horn player, he plays in the youth symphonies GTCYS and MYS. His works have won him state and national awards and honors from associations such as MFMC, ASCAP, and Defi niens, and this year one of his orchestral works is being performed by the Duluth Symphony. He plans on pursuing a professional career in music in either composition or oboe performance.

Founded in Albuquerque in 2007, The Copper Street Brass Quintet set up shop in Minneapolis, Minnesota in 2008 where, through their inventive concerts, engaging classroom programs, and a host of original arrangements, they’ve transcended the brass quintet box and evolved into something fresh. As devoted educators, the group spends much of its time in local schools sharing their energy and passion with students from kindergarten to college. The group has recorded three albums and has been featured on Minnesota Public Radio, KARE 11 news and Montana Today. Their two newest albums, “Christmas on Copper Street” and “The Evolution of the Brass Quintet” feature all-new recordings of everything from Tchaikovsky’s “Nutcracker Suite” to Journey’s “Don’t Stop Believin’”.

36 THE SCHUBERT CLUB An die Musik Courtroom Concert Music, Now! April 26, 2012 • Noon Courtroom 317, Landmark Center

Schubert Club Composer in Residence: Edie Hill KrisAnne Weiss, mezzo-soprano • Roy Heilman, tenor • Tim O’Brien, baritone Eric Bartlett, bass • Kristian Anderson, guitar • Matthew Cochran, tenor and guitar • Ruth Palmer, piano

Draw the Strings Tight I. Draw the Strings Tight II. Open the Window to the West III. Waves Are Coming In IV. Listen: Sound of big seashells! Sound of bells!

Marvellous Error!

Corner of the Sky (World Premiere) I. Preludio • II. Rincon del cielo • III. Total • IV. Un lucero • V. Franja VI. Una • VII. Madre • VIII. Recuerdo • IX. Hospicio • X. Cometa XI. Venus • XII. Abajo • XIII. La gran tristeza

Questo Muro

Thinkers, Listen!

KrisAnne Weiss is a past fi rst place winner of The Schubert Club Scholarship Competition and Emil Hunter-Schubert Club Scholarship. She has performed leading roles in L’Italiana in Algeri, The Dangerous Liaisons, The Merry Wives of Windsor, Le Nozze di Figaro, La Cenerentola, Così fan tutte and Madama Butterfl y. An advocate of new music, KrisAnne has premiered a number of works, among them John Tartaglia’s orchestral work Dark Night, Glad Day, Edie Hill’s concert work Amy Lowell: A Rare Pattern, and the lead role in Chris Gable and Merie Kirby’s opera The Ladysmith Story. Recent premieres include the mezzo-soprano solos in the fi rst SATB version performance of Robert Seeley’s Brave Souls and Dreamers with One Voice Mixed Chorus, as well as the alto solos in Abbie Betinis’s new choral work, Lord, When Did We See You? with VocalPoint Chorus. KrisAnne has a doctorate in music performance from the University of Minnesota and has taught on the voice faculties of the U of M, Lawrence University and Luther College. She currently teaches voice at the Mount Olivet School of Music in Minneapolis.

Roy Heilman has performed with The Oratorio Society of Minnesota, The Bach Society of Minnesota, Skylark Opera and the Minnesota Orchestra. Mr. Heilman received his musical training from Gustavus Adolphus College, earning a Bachelor of Arts in Music with Honors in Performance, and from The New Conservatory of Music, leaving as a Master of Music in Vocal Performance. He is most often engaged to sing the high tenor parts of the oratorio works of the Baroque and Classical eras, but is equally at home singing art songs, opera roles, arias in Bach’s cantatas and new compositions. Roy has also sung with The Rose Ensemble, Glorious Revolution Baroque and the new chamber ensemble Silver Swan. He lives in Shoreview with his wife and children.

Tim O’Brien has sung with the Minnesota Opera, the Dale Warland Singers, the Saint Paul Chamber Orchestra Chorale and the Rose Ensemble. A frequent soloist, he has performed regularly with groups such as the National Lutheran Choir, the St. Peter Choral Arts Society and Glorious Revolution Baroque. Tim maintains an active teaching and lecturing schedule, having held posts at Concordia University, St. Paul, and Gustavus Adolphus College, St. Peter.

bios continued on next page

schubert.org 37 Courtroom Concert Music, Now! April 26, 2012 • Noon Courtroom 317, Landmark Center

Eric Bartlett received a degree in Vocal Music Education from Concordia University-St. Paul. He has sung with St. Martin’s Chamber Choir in Denver, Colorado, and the Gregorian Singers and VocalEssence of Minnesota. Eric has also done numerous solo projects, and was the bass section leader of St. Christopher’s Episcopal Church in Roseville, Minnesota, and at St. Paul’s-on-the-Hill in St. Paul, Minnesota, after holding a similar position at St. Martin’s-by-the-Lake Church in Minnetonka Beach for seven years. Eric is also a voice-over actor, having done commercials for Hyundai, The Minnesota State Lottery, Berlitz and others. He enjoys camping, traveling, cooking, skiing, golfi ng, sailing and being with friends and family.

Kristian Anderson is a three-time gold medalist at various international guitar competitions and has received an array of teaching assistantships and scholarships awarded by Florida State University (DM), Arizona State University (MM) and the University of North Texas (BM). Kristian is the head of guitar studies at North Hennepin Community College and is on the Board of Directors of the Minnesota Guitar Society. He also enjoys a career as a theater musician, performing approximately 400 shows a year throughout the Twin Cities.

Matthew Cochran is a singer/guitarist/composer who eschews the categorizations of traditional classical music. He is equally at home performing Schubert lieder, Appalachian folk ballads, Gershwin, or cutting-edge works by today’s leading composers. Cochran’s repertoire also consists of his original compositions and arrangements, plus a growing number of commissions and collaborations with composers such as Robert Beaser, Edie Hill, Apostolos Paraskevas and Kristian Anderson. Cochran regularly appears at important concert series and festivals throughout the U.S., Europe and Canada, including Weill Hall, the Guitar Foundation of America, Brownsville Guitar Festival, the New York Guitar Seminar (U.S.A.); Iserlohn Guitar Symposium (); Acadia Guitar Festival (Canada) and many others.

Ruth Palmer has spent her career working in Art Song recital, opera and the choral fi eld. Her work began in the Art Song world where she was accompanist for master classes by such icons as Elly Ameling and Gerard Souzay, and appeared often in recital with mezzo-soprano, Glenda Maurice. As a vocal coach/pianist she has worked extensively in opera, preparing singers for roles in major houses as well as in university programs. Ruth both played for and prepared national winners in competitions for NATS Artist Award, Carnegie Hall International American Music Competition, Metropolitan Opera Auditions and the Rosa Ponselle Vocal Competition. Ruth was Assistant Conductor of the Dale Warland Singers in their fi nal season, 2003–2004, and continues to work with Dale Warland on several projects such as the current Saint Paul Chamber Orchestra Anniversary Chorale. She is the Director of Music Ministries at Unity Church-Unitarian, St. Paul MN.

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

Thank you for your generosity

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

schubert.org 39 The Schubert Club Annual Contributors

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

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

schubert.org 41 The Schubert Club Annual Contributors

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

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

Memorials and Tributes In honor of Julia and Irina Elkina Julian Plante In memory of Nancy Shepard Rebecca and John Schockley John and Barbara Rice Nan C. Shepard Terry and Leah Slye In honor of Julie Himmelstrup Tom and Arlene Swain In memory of Tom Stack Mary Ellen Schmider Eileen Stack In memory of Lisl Close In honor of the fi rst wedding anniversary Judith Brownlee In memory of Mark Swanson of Lucy Jones and James Johnson Geraldine M. Jolley Allen and Joan Carrier Edward and Monica Cook Anders and Julie Himmelstrup Nan Skelton and Peter Leach In memory of Ruth Wolff In honor of Jason Kudrna Mr. and Mrs. Cliff Aamoth Carol A. Braaten In memory of Dr. John Davis John and Carol Esbjornson Cathy Braaten John and Barbara Rice James and Judith Frisbie Helen Smith Jean Heglund In honor of Lisa Niforopulas Gregory and Barbara Janssen Gretchen Piper In memory of Mary Jane Munson Elaine Magnuson Marilyn and John Dan David Melbye In honor of Paul D. Olson Stan and Darlene Diesch Betty and Lowell Melby Mark L. Baumgartner John and Barbara Rice Chuck Schiller Margaret and Steven Schiller In honor of Wendy Undercofl er In memory of Olga M. Nordin Nancy I. Schiller Jennifer Undercofl er Shirley I. Decker The Hamihardja Family In memory of Eleanor J. Andersen In memory of Rose Petroske, Dean and Marily Wahl Berg Karen L. Johnson mother of Marilyn Dan James and Alexis Wolff Moore Stephen and Bonnie Johnson Beatrice D. Sexton Gerald A. Meigs In memory of Richard Zgodava Nancy and Mervin Kiryluik In memory of Nancy Pohren Helen Smith Peter and Bonnie Olin Sandra and Richard Haines

schubert.org 43 The Schubert Club 125th Anniversary Campaign Terry Devitt and Tom H. Swain, Co-Chairs • Dominick Argento, Honorary Chair

The Schubert Club 125th Anniversary Campaign

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

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

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

The Schubert Club Endowment The Legacy Society

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

schubert.org 45 The Schubert Club Officers, Board of Directors and Staff

Offi cers President: Lucy Rosenberry Jones Past President: Diane Gorder Vice President Marketing and Development: Jill Thompson Vice President Artistic: Dee Ann Crossley Vice President Museum: Ford Nicholson Vice President Audit and Compliance: Richard King Vice President Nominating and Governance: David Ranheim Vice President Education: Margaret Houlton Recording Secretary: Catherine Furry Vice President Finance and Investment: Michael Wright Assistant Recording Secretary: Arlene Didier

Board of Directors Craig Aase James Callahan Michael Georgieff Richard King Barbara Rice Mark Anema Carolyn Collins Diane Gorder Dorothy Mayeske Ann Schulte Nina Archabal Dee Ann Crossley Jill Harmon Sylvia McCallister Kim A. Severson Suzanne Asher Marilyn Dan Margaret Houlton Ford Nicholson Jill Thompson Paul Aslanian Arlene Didier Anne Hunter Gerald Nolte Michael Wright Lynne Beck Catherine Furry Lucy Rosenberry Jones David Ranheim Matt Zumwalt

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

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

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

KATE NORDSTRUM PROJECTS

46 THE SCHUBERT CLUB An die Musik get noticed.

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