2018.19 SEASON
September 7 – December 2 BAT OUT OF HELL JUN 12–23, 2019
A crazy wild child of a rock’n’roll musical. Here comes a musical with an electric edge! Experience Jim Steinman’s smash-hit that celebrates the beloved songs of one of Meat Loaf’s most iconic and successful album, BAT OUT OF HELL. This new musical heats up the streets (and the stage) as young, rebellious leader Strat falls in love with Raven, the beautiful daughter of the most powerful man in post-apocalyptic Obsidian. With an award-winning creative team from the worlds of Theatre, Opera, Music and film, this is a can’t-miss production. BAT OUT OF HELL JUN 12–23, 2019
A crazy wild child of a rock’n’roll musical. Here comes a musical with an electric edge! Experience Jim Steinman’s smash-hit that celebrates the beloved songs of one of Meat Loaf’s most iconic and successful album, BAT OUT OF HELL. This new musical heats up the streets (and the stage) as young, rebellious leader Strat falls in love with Raven, the beautiful daughter of the most powerful man in post-apocalyptic Obsidian. With an award-winning creative team from the worlds of Theatre, Opera, Music and film, this is a can’t- miss production. DOLLY PARTON’S DOLLY PARTON’ ORDWAY A NEW WAY SAVE UP TO 20% WITH A 2018–2019 BROADWAY SEASON PACKAGE! ALL RIGHTS RESERVED. ILLUSTRATION TM & © NEW LINE PRODUCTIONS, INC.
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651.224.4222 TTY651.282.3100 Accessibility services are scheduled for select performances and available upon request. For more information visit Ordway.org/access
Generous support for Spamalot Broadway Series 42nd Street is provided Elf sponsored by sponsored by sponsored by by Marcia L. Morris (detail) Coll. Minnesota Museum of American Art Minnesota Museum of American (detail) Coll. Mother Spirit Aiken, of:art courtesy Ta-coumba
(Re)Opening Dec. 2, 2018 st. paul | mmaa.org | FREE
GRAND OPENING EVENTS MEDIA SPONSORS SPONSORED BY
THE SPCO | 2018.19 SEASON FEIN TABLE OF CONTENTS STRINGED INSTRUMENTS CONCERTS IN THIS ISSUE
SEP 7–9, 2018 SPCO Musicians + 12 Opening Weekend: 07 Administration Jeremy Denk Plays Beethoven’s Emperor Concerto SPCO Artistic Partners + 08 Composer-in-Residence Dealers, Repairers and SEP 13–15, 2018 Makers of Violins, Violas, 14 Thomas Zehetmair Conducts Cellos and Bows Beethoven and Haydn SPCO Governance 10 Andrew Fein SEP 20–30, 2018 The Spectrum of GREAT INSTRUMENTS 17 Haydn’s Symphony No. 102 38 Your Support On-Line & On Grand Avenue
OCT 12–13, 2018 Institutional Investors + Haydn’s Oxford Symphony www.FineViolins.com 19 43 Acknowledgments 1850 Grand Ave. / St. Paul, MN 55105 651.228.0783 / 800.347.9172 OCT 19–21, 2018 Honor + Memorial Beethoven, Mozart and Strauss 22 44 Gifts, In-kind Donations, Estate Gifts, Music Alive NOV 2–4, 2018 Composer-in-Residence and 24 Bach’s Saint John Passion Liquid Music Contributors
NOV 9–18, 2018 28 Mozart’s Haffner Symphony
NOV 23–25, 2018 30 Adams’ Shaker Loops with For details on our entire Pekka Kuusisto concert season, Sep. 2018–Jun. 2019, NOV 29–DEC 2, 2018 visit thespco.org/calendar 33 Handel’s Water Music with Richard Egarr Bach’s Saint John Passion Bach’s |
PG. 26 Joélle Harvey, soprano PG. 26 Joélle Harvey, PG. 26
TICKETS THESPCO.ORG 651.291.1144 5 SHADOWS, TEARS, AND LIGHT Oct 6 & 7, 2018 WHAT SWEETER MUSIC Dec 1, 2 & 9, 2018 MY SOUL’S REPOSE Jeffrey Stirling, Music Director Mar 9 & 10, 2019 A FALL FESTIVAL TIMOTHY TAKACH’S OF MUSIC! HELIOS May 18 & 19, 2019 Subscriptions and single tickets “A Day in the Country” at singersmca.org 651.917.1948 Featuring pianist Michael Kim playing d’Indy’s “Symphony on a French Mountain Air” plus orchestral music of Copland and Dvořák SUNDAY, OCTOBER 21 1PM • LANDMARK CENTER, SAINT PAUL
“Celebrating
Prize-winningBernstein@100!” mezzo-soprano Clara Osowski sings songs by Mahler with music from West Side Story and “heavenly” ballet music by Hindemith SUNDAY, DECEMBER 2 3PM • KING OF KINGS LUTHERAN CHURCH, WOODBURY
FREE ADMISSION VISIT SPCSMUSIC.ORG FOR DETAILS!
Meet Dr. Jaime Davis. Born in the Bahamas, she now calls Minneapolis her home. She's a graduate of the Mayo Medical School, the caretaker of beloved rescue dogs, an avid art collector, a certi ed scuba diver, a former Miss Northern Bahamas body building champion, and a huge fan of her new Spectacle Shoppe glasses.
See Di erent Uptown, New Brighton, Burnsville Center and Grand Avenue
6 THE SPCO 2018.19 SEASON SHARE YOUR CONCERT EXPERIENCE: @THESPCO #SPCOLIVE ADMINISTRATION 2018.19 SPCO MUSICIANS PRESIDENT’S OFFICE FINANCE For a complete listing of orchestra personnel performing on each program, including biographical Jon Limbacher Beth Toso information and photos, please visit thespco.org/roster. Managing Director Chief Financial Officer and President Prasanthi Alfveby VIOLIN Amy Thirsten Senior Accountant/Analyst Executive Assistant Kristen Hager Controller ARTISTIC Mark Niehaus ADMINISTRATION Accounting Manager Kyu-Young Kim Artistic Director HUMAN Paul Finkelstein RESOURCES Artistic Planning Manager Jen Muenchow Steven Copes Ruggero Kyu-Young Kim Daria T. Adams Nina Tso-Ning Fan Eleanor GrandPre Director of Human CONCERTMASTER Allifranchini PRINCIPAL VIOLIN Education Manager Resources John M. and Elizabeth W. ASSOCIATE Bruce H. Coppock Chair Musser Chair CONCERTMASTER Erin Jude John H. and Elizabeth B. Director of Education and MARKETING AND Myers Chair Community Engagement PUBLIC RELATIONS VIOLA Kate Nordstrum Lindsey Thoreson Hansen Executive Producer Director of Marketing of Special Projects and Communications Ricardo Bennett-Guzman ORCHESTRAL Audience Development OPERATIONS Manager Jason Piehl Olivia Gault Orchestra Manager Communications Coordinator Emily Curran Eunice Kim Maureen Nelson Nicholas Tavani* Maiya Papach Hyobi Sim Production Assistant Joe Grigar PRINCIPAL Alice Preves Viola Chair Database and Digital Alfred and Ingrid Lenz Cassandra Flowers Marketing Coordinator Hairrison Chair Concert and Events Manager Gretchen Hazelton Creative Manager CELLO BASS Natalie Hokanson Director of Operations Ronnell Wheeler Marketing Assistant Jon Kjarum Technical Director Chris Woznicki Marketing Manager Kelly MacLennan Director of Orchestra Personnel DIGITAL MEDIA Ann Piotrowski Matt Thueson Event Supervisor Executive Producer of Digital Media Julie Albers Joshua Sarah Lewis Zachary Cohen Melissa McCarthy Patrick Pelham PRINCIPAL Koestenbaum John and Karen PRINCIPAL Steinberg Media Production Larsen Chair Bill and Hella Mears Hueg ASSOCIATE Orchestra Librarian Assistant Chair PRINCIPAL Ruth and John Huss Chair DEVELOPMENT TICKET OFFICE FLUTE OBOE CLARINET Katie Berg Courtney Stirn Director of Development Ticket Office Manager Becky Cline Katharine Anderson Associate Director Alex Engert of Development Jo Gilbertson Megan Foust Eric Gonzalez Patron Development Emily Gunyou Halaas Coordinator Rosie Hughes Jonathan Posthuma Georgina Chinchilla Jon Savin Gonzalez Ticket Office Associates Julia Bogorad-Kogan Alicia McQuerrey Barbara Bishop Sang Yoon Kim Grants and Institutional PRINCIPAL PRINCIPAL Support Manager Philip H. and Katherine SPCO Nason Chair Morgan Graby ADMINISTRATIVE Major Gifts Officer OFFICES BASSOON HORN TRUMPET Rosie Hughes Third Floor Development Assistant The Historic Hamm Building 408 Saint Peter Street Katelin Richter Davis Saint Paul, MN 55102 Assistant Director 651.292.3248 of Development for T. 651.292.3281 Individual Giving F. [email protected] Erin VanBurkleo thespco.org Individual Giving and Events Specialist Carole Mason Smith James Ferree Matthew Wilson Lynn Erickson PRINCIPAL SPCO PROGRAM BOOK
OPEN POSITIONS * GUEST MUSICIAN FOR 2018.19 SEASON a creative agency PRINCIPAL OBOE for the arts Sewell Family Chair In addition to those listed above, we extend our deepest thanks to the PRINCIPAL BASSOON HRK Family for endowing a position in the orchestra. FOR ADVERTISING OPPORTUNITIES: PRINCIPAL TIMPANI Hulings Chair [email protected] • artsink.org ALL SOLO PERFORMANCES BY SPCO MUSICIANS ARE ENDOWED BY THE REDLEAF FAMILY CHAIR 612.791.3629 Proud to partner with the SPCO!
TICKETS THESPCO.ORG 651.291.1144 7 ARTISTIC PARTNERS 2018.19 SEASON
JONATHAN COHEN JEREMY DENK MARTIN FRÖST conductor, harpsichord, cello piano conductor, clarinet Jonathan Cohen is one of Britain's finest Jeremy Denk is one of America’s foremost Clarinetist, conductor and Sony Classical young musicians. He has forged a remark- pianists. Winner of a MacArthur "Genius" recording artist Martin Fröst is known able career as a conductor, cellist and key- Fellowship, the Avery Fisher Prize and for pushing musical boundaries and has boardist. Well-known for his passion and Musical America’s Instrumentalist of been described by The New York Times commitment to chamber music, Cohen is the Year award, Denk was also recently as having "a virtuosity and a musician- equally at home in such diverse activities elected to the American Academy of Arts ship unsurpassed by any clarinetist- as baroque opera and the classical sym- and Sciences. Denk returns frequently to perhaps any instrumentalist-in my phonic repertoire. He is Artistic Director of Carnegie Hall and has recently performed memory." In 2017.18 he returned to the Arcangelo, Music Director of Les Violons with the Chicago Symphony, New York Los Angeles Philharmonic and Swedish du Roy, Associate Conductor of Les Arts Philharmonic, Los Angeles Philharmonic, Radio Symphony Orchestra, made his Florissants, Artistic Director of Tetbury San Francisco Symphony and Cleveland debut with the Orchestre symphonique Festival and Artistic Partner of the SPCO. Orchestra, as well as on tour with de Montréal, and appeared with the Academy of St. Martin in the Fields. NDR Radiophilharmonie, Royal Flemish The 18.19 season brings debuts with New Philharmonic, BBC Scottish Symphony York Philharmonic, Mozarteum Orchester, Denk’s upcoming releases from Nonesuch Orchestra and Residentie Orkest. In Royal Northern Sinfonia and BBC National Records include The Classical Style. His autumn 2017, Fröst was joined by Janine Orchestra of Wales. He returns to the BBC disc of the Goldberg Variations reached Jansen, Lucas Debargue and Torleif Proms for Theodora with Arcangelo, the number one on Billboard’s Classical Chart. Thedéen in releasing Messiaen's Quartet ensemble which he founded in 2010. He has And his recording of Beethoven’s Op. 111 for the End of Time, his second recording toured with them to exceptional halls and was selected by BBC Radio 3’s “Building for Sony Classics. festivals including Wigmore Hall London, a Library” as the best available version Philharmonie Berlin, Kölner Philharmonie, recorded on modern piano. Fröst will be Chief Conductor of the Vienna Musikverein, Salzburg Festival and Swedish Chamber Orchestra starting in the Carnegie Hall New York. Denk is known for his original and 2019.20 season. Known for artistic collabo- insightful writing on music, which has rations worldwide, this season he continues Arcangelo are busy and much in demand appeared in the New Yorker and the New as Artistic Partner with both the SPCO and in the recording studio, partnering with York Times Book Review. He is currently Royal Stockholm Philharmonic orchestras, fine soloists including Iestyn Davies, Anna working on a book for Random House. and was in 2017.18 Artist in Residence Prohaska and Nicolas Altstaedt, and they His blog, Think Denk, was recently select- at L'Auditiori, Barcelona appearing with have an extensive and award winning dis- ed for inclusion in the Library of Congress the Orquestra Simfònica de Barcelona I cography on the Hyperion label. web archives. Nacional de Catalunya.
MUSIC ALIVE Music Alive Composer-in-Residence with Boston, Houston, Ann Arbor, Berlin, New COMPOSER-IN-RESIDENCE The Saint Paul Chamber Orchestra. Music York and Philadelphia, earning degrees Alive is a national residency program of from Harvard, Rice and the University of the League of American Orchestras and Michigan. This varied background has New Music USA. Praised by The San made him particularly sensitive to place, Francisco Chronicle as “hauntingly lovely ecology, memory, and the multitude of and deeply personal,” Lembit Beecher’s ways in which people tell stories. music combines “alluring” textures (The New York Times) and vivid colors In addition to the Tapestry19 Festival with with striking emotional immediacy. the SPCO, recent premieres include works LEMBIT BEECHER for A Far Cry, Opera Philadelphia, the Born to Estonian and American parents, Juilliard Quartet, and a chamber opera for Noted for his collaborative spirit and Lembit grew up under the redwoods in soprano Kiera Duffy, the Aizuri Quartet, “ingenious” interdisciplinary projects (The Santa Cruz, California, a few miles from and a custom-built sound sculpture. Wall Street Journal), Lembit Beecher is the the wild Pacific. Since then he has lived in
8 THE SPCO 2018.19 SEASON SHARE YOUR CONCERT EXPERIENCE: @THESPCO #SPCOLIVE Join us for FANFARE,
PATRICIA KOPATCHINSKAJA PEKKA KUUSISTO a pre-concert presentation and violin violin Patricia Kopatchinskaja is hailed as "one Pekka Kuusisto is renowned for his fresh discussion before of the most distinctive voices in the violin approach to repertoire. An advocate of new Friday and Saturday world” (Presto Classical). Highlights for music, Kuusisto’s recent premieres include her 18.19 season include a tour with Il concerti by Sauli Zinovjev, Anders Hillborg, performances. Giardino Armonico with works by Vivaldi Andrea Tarrodi and Philip Venables. This Proudly sponsored and contemporary Italian composers, a season he performs Daníel Bjarnason’s tour with Currentzis and Musica Aeterna Violin Concerto with the Iceland and by the Friends of the SPCO and dates with renowned orchestras such Detroit Symphony Orchestras, and its through a generous grant as the Berlin Philharmonic, as well as U.S. Finnish premiere with the Finnish Radio from the John Larsen debuts with the L.A. Philharmonic and Symphony Orchestra, as well as the Austrian Cleveland Orchestra. On recital platform, premiere of Hillborg’s Bach Materia with the Foundation she will continue to tour in Japan, North Camerata Salzburg. Other highlights include America and Canada with recital partner debuts with the Rotterdam Philharmonic Polina Leschenko giving performances in Orchestra, and Aurora Orchestra with Not just Dvorák: San Francisco, Santa Barbara, Princeton whom he tours to Singapore and the UK. The Composers and Montreal. He returns to the Philharmonia, Helsinki of Bohemia Philharmonic orchestras, Deutsches 17.18 was a landmark season for Symphonie-Orchester Berlin, and WDR October 18, 25 Kopatchinskaja, beginning with the world Sinfonieorchester Köln. He also takes up a and November 1 and 8 premiere of her second staged project, Dies season-long residency at the Wigmore Hall. Irae at the Lucerne Festival. She went on An entertaining and informative to win a Grammy® award with the SPCO Kuusisto is a gifted improviser who engages 4-week lecture series taught by for their innovative recording of Schubert’s with people across the artistic spectrum, Dr. Daniel Freeman Death and the Maiden and released a duo recently with Hauschka and Samuli For more information, recital disc, Deux recorded with pianist Kosminen, neurologist Erik Scherder, elec- visit friendsofthespco.org Polina Leschenko (Alpha Classics). The tronic music pioneer Brian Crabtree and folk season culminated with a position as artist Sam Amidon. In addition to his work Music Director for the Ojai Music Festival with the SPCO, Kuusisto is Artistic Director Save the Date! for the curation and performance of sev- of the ACO Collective and Artistic Partner eral concerts, amongst others, her original of the Mahler Chamber Orchestra. He also The Eighth Annual staged project Bye Bye Beethoven which directs ensembles including Die Deutsche SPCO Youth Chamber was performed in Ojai, Berkeley and at the Kammerphilharmonie Bremen, the Scottish Aldeburgh Festival. and Norwegian Chamber Orchestras. Music Competition Finals February 23, 2019 For details, visit spco-ycmc.org
www.friendsofthespco.org
TICKETS THESPCO.ORG 651.291.1144 9 BOARD OF DIRECTORS EMERITUS DIRECTORS
CHAIR D. William Kaufman Ronald Sit Caroline Baillon Yvonne Momsen Joseph Tashjian Erwin A. Kelen° James Donald Smith Joseph Barsky Lowell J. Noteboom° Robert L. Lee° Joseph Tashjian° Ronald Bosrock Robert Potts Sandra L. Davis° Walter Pratt° David L. Lillehaug Charles Ullery PRESIDENT Rick Dow John Pulver Jon Limbacher Jon Limbacher* ‡ Dobson West° Joan R. Duddingston° Andrew J. Redleaf Laura Liu Alan Wilensky Kareen Ecklund Paul Redleaf° SECRETARY Lydia Lui° Scott Wilensky David Ferguson Mary Rice David L. Lillehaug Marja Lutsep Elizabeth Willis Rebecca Field Sarah Rockler Wendell Maddox Paul Wilson Donald Garretson Donald E. Ryks Scotty Gillette Terry Saario Stephen H. Mahle Justin Windschitl ‡ TREASURER Kathy Gremillion Anthony C. Scarfone° Shawn Quant Maureen Maly James N. Haymaker Janet Shapiro Richard M. Martinez ARTISTIC Herbert Kahler Marschall I. Smith LIFE DIRECTORS Alfred P. Moore PERSONNEL Paul B. Klaas Linda D. Stinson° Betty Myers* Sanford Moore COMMITTEE Allan W. Klein Diane Thormodsgard David E. Myers° Julia Bogorad-Kogan Randall J. Kroll James Toscano William C. Kuhlmann° Kristen Smith Wenker Eric Nilsson°* ‡ Eunice Kim DIRECTORS Harriet Lansing John Windhorst Kelly MacLennan Donna Ahrens* Jenny Lind Nilsson Karen Larsen° Gary Woeltge Daniel Avchen Robert M. Oberlies Jason Piehl William McGrath Max E. Zarling° Jo Bailey° Robert M. Olafson° Matt Wilson Jerome A. Miranowski° Betty Zats Theresa Bevilacqua ‡ Deborah J. Palmer° Jon C. Cieslak Paula J. Patineau ARTISTIC VISION Emeritus Directors of the SPCO are former members of the Board of Directors who have chosen to continue their Richard J. Cohen Daniel R. Pennie° COMMITTEE service to the orchestra in a non-fiduciary role. The orchestra Julia Bogorad-Kogan Mary Cunningham* Nancy McGlynn Phelps appreciates their ongoing commitment, advice and support. Sheldon Damberg° Nicholas S. Pifer ‡ Kyu-Young Kim Jeffrey DeYoung Eric Prindle* Sarah Lewis Judith Garcia Galiana ‡ Shawn Quant ‡ Jon Limbacher LIQUID MUSIC Bonnie R. Grzeskowiak° Peter Remes Alicia McQuerrey ADVISORY COUNCIL Ingrid Lenz Harrison° Barb Renner Anne E. Carayon Jon Oulman Lowell W. Hellervik° Paul C. Reyelts Debra Cohen Peter Remes Amy Hubbard° David Rosedahl Rick Dow Joe Spencer A. J. Huss, Jr.° Daniel J. Schmechel ‡ Amanda Keillor Dameun Strange James E. Johnson° Kathleen Schubert° Michelle Klein Dr. Tom von Sternberg Arthur W. Kaemmer, M.D.° Fred Sewell° Jennifer Leopold Gordon Wright Patricia Limbacher
Douglas Affinito Doug Devens Janet P. Kampf Patricia A. O’Gorman The Dorsey & Lloyd Armstrong Jennifer Raeder-Devens Miriam Kelen David Olson Whitney Foundation Susan Armstrong Greg DeWitt Dan Kelly Karen Olson Gloria Sewell Ann Bagnoli Liz Dodson Felhaber Larson John Orbison Barbara Sherman Thomas Bagnoli Jamie Forman Katherine Kim Janet Payne Robert Sherman UnitedHealth Group Gordon J. Bailey Jr. James D. Gasper J. Thomas Payne Craig Shulstad Ehrich Koch Eileen Baumgartner Julie Heyroth Gasper David Perrin Mariana Shulstad Travelers Dianne Siegel Elizabeth Bell Jim Gesell Debra Koop Astghik Poladyan 3M Teresa Fong Sit Kay Bendel Teddy Gesell Steven Koop Harriet Pratt Gary Specker Rick Bendel Karen Grabow Linda Krach Rhoda Redleaf Sue Specker Art F. Bergstrom Keith Halperin Robert Kriel ‡ Betty Reichert Michael Spence Jevon Bindman Alfred Harrison Maureen Kucera-Walsh Maslon Dr. John Reichert Sherry Spence Kris Hauschild Diane Kuhlmann Arnold M. Brier ‡ Thomas Hauschild Michael Reif Arturo Steely John Larsen Robins Kaplan LLP Judith G. Brier ‡ Cay Hellervik Michael Steffes Margaret Lindlof Kenneth L. Rich Paul Burns Jack Hoeschler Stephanie Van D’Elden EY Holly MacDonald John Riehle Linda Hoeschler Amy Vargo Paul Casey Beatrice B. Magee ‡ Jack Rossmann ‡ Cara Gould Holmberg Paul Vargo Securian P. T. Magee ‡ Marty Rossmann ‡ David Holmberg ‡ Terry L. Wade Tina Casey Helen Mairs Kennon Rothchild Ruth Huss Tom Wahlrobe Harlan Cavert Robert Mairs Nina Rothchild Margaret Hustad-Perrin David L. Welliver Cecil Chally Marsha Mann Edwin Ryan Deloitte Peter Hyman Penny Chally Thomas Mann Jennifer Ryan Jane West Chris Jackson Anne Cheney Nancy Middleton Bill Sands F. T. Weyerhaeuser Val Jackson Lili Chester David Miller Susan Sands Nancy Weyerhaeuser Barb Johnson Sheldon Chester Stuart Mitchell Kay Savik Mark Williamson Marshall Johnson Bill Clapp Judy Myers Katie Scarfone Gray Plant Mooty Sharon R. Clapp Peter Johnson Rosanne Nathanson Margaret Wurtele Mairs & Power Mary E. Schaffner Ben Cooper ‡ Sonja Noteboom Deborah Zarling Lucy Rosenberry Jones Sandra K. Schloff Laura Cooper Gayle M. Ober Ron Zweber Dr. Charles R. Jorgensen Doug Schmitt Gisela Corbett Timothy Ober Schmitt Music Company Bremer Bank Dr. Sally B. Jorgensen Suzanne Damberg Linda Odegard Kim A. Severson Created as an extension of the Board of Directors, the Governing Members is a leadership organization that gives individuals and corporate representatives an avenue for greater ownership of and advocacy for the SPCO. For more information, please contact Katelin Richter Davis at 651.292.4314 or [email protected].
SYMBOL KEY * EX-OFFICIO ° GOVERNING MEMBER • CHAIR ‡ EXECUTIVE COMMITTEE
10 THE SPCO 2018.19 SEASON SHARE YOUR CONCERT EXPERIENCE: @THESPCO #SPCOLIVE Oct 7 Mozart, Missa Brevis in D O ct 14 Haydn, Paukenmesse Oct 21 Mozart, Mass in C Oct 28 Beethoven, Mass in C Nov 2 Mozart, Requiem Mass (7:30pm) Nov 4 Haydn, Nikolaimesse Nov 11 Dvořák, Mass in D Nov 18 Schubert, Mass in B-flat Nov 25 Haydn, Nelsonmesse Dec Mozart, Coronation Mass 24/25 Christmas Midnight Mass Dec 30 Schubert, Mass in G Jan 6 Mozart, Piccolomini Mass Jan 13 Haydn, Theresienmesse Jan 20 Gounod, Saint Cecilia Mass Jan 27 Haydn, Kleine Orgelsolomesse Feb 3 Mozart, Missa Brevis in F Feb 10 Schubert, Mass in C Feb 17 Mozart, Spatzenmesse Feb 24 Haydn, Mariazellermesse Mar 3 Rheinberger, Mass in C Apr 21 Haydn, Grosse Orgelmesse Apr 28 Mozart, Coronation Mass May 5 Mozart, Credo Mass in C major May 12 Gounod, Saint Cecilia Mass May 19 Schubert, Mass in G May 26 Mozart, Trinitatis Mass June 2 Mozart, Missa Longa in C Jun 9 Haydn, Heiligmesse
Twin Cities Catholic Chorale & Orchestra directed by Dr. Robert L. Peterson at the Church of Saint Agnes 548 Lafond Avenue Saint Paul, MN 55103 www.catholicchorale.org Latin Mass at 10:00 a.m. Each Sunday
TICKETS THESPCO.ORG 651.291.1144 11 SEP 7, 8 & 9, 2018
THE SAINT PAUL CHAMBER ORCHESTRA ORDWAY CONCERT HALL
Led by SPCO Musicians Jeremy Denk, director and piano | Julia Bullock, soprano
RILEY (b. 1935) In C (30 min)
INTERMISSION (20 min)
BARBER (1910–1981) Knoxville: Summer of 1915, Opus 24 (16 min) For the lyrics to Knoxville: Summer of 1915, please see the insert to this program at the Sep 7–9 concerts. Julia Bullock, soprano
BEETHOVEN (1770–1827) Concerto No. 5 in E-flat for Piano and Orchestra, Opus 73, Emperor (39 min) Allegro Adagio un poco mosso Rondo: Allegro Jeremy Denk, director and piano
WE’D LOVE TO HEAR ABOUT YOUR CONCERT EXPERIENCE. PLEASE SHARE YOUR FEEDBACK BY VISITING THESPCO.ORG/SURVEY.
The Official Restaurant of Please hand your program to an usher after SPONSORS SPCO Ordway Sunday Concerts the concert if you don’t want to keep it. SEPTEMBER 8 ♼ Help us reuse and recycle. Thank you.
12 THE SPCO 2018.19 SEASON SHARE YOUR CONCERT EXPERIENCE: @THESPCO #SPCOLIVE PROGRAM NOTES | SEP 7–9
said of the text, “It reminded me so much demeanor, forgoing a standalone cadenza in (1964) In C of summer evenings in West Chester, now favor of solo escapades that integrate deftly TERRY RILEY very far away, and all of you are in it.” After into the forward progress of the form. initially accompanying the voice with In 1964, with one radical composition full orchestra, Barber revisited Knoxville The slow movement enters in the unex- notated on a single page, Terry Riley syn- in 1950 to create a more vulnerable and pected key of B major with a simple theme, thesized various strands of West Coast, transparent scoring for chamber orchestra. first stated as a chorale for muted strings. anti-establishment thought into a style The piano plays a decorated version over that would revolutionize music to this day: — © 2018 AARON GRAD pizzicato accompaniment, and woodwinds Minimalism. That seminal piece, In C, later intone the theme, supported by piano lays out 53 short modules to be played any filigree and off-beat string pulses. number of times by any number of instru- The transition back to the home key for the ments. The result is a gradual morphing Concerto No. 5 in finale is brilliantly understated, pivoting on a as the layers separate and progress inde- E-flat for Piano and held note that drops a half-step to set up the pendently through the series, united by a Orchestra, Opus 73, piano’s entrance. The upward arpeggio of steady pulse and a limited palette of pitches (1809) the main theme generates extra propulsion centering on the unwavering harmony of Emperor through its unexpected climax on an accent- C major. Commercial recordings range LUDWIG VAN BEETHOVEN ed off-beat, injecting a dash of Haydn’s from 20 to 76 minutes in length, played on humor into a score that has all the power everything from a single piano to ensem- Beethoven completed his fifth and final and majesty of Beethoven in his prime. bles of traditional Asian and African instru- piano concerto during the miserable ments—bringing full circle the significant summer of 1809, when Napoleon’s army — © 2018 AARON GRAD influence of those non-Western traditions occupied Vienna for the second time in on Riley and other pioneering Minimalists. four years. By the time of the premiere two years later, Beethoven’s hearing had dete- — © 2018 AARON GRAD riorated so much that he could not per- form the concerto himself. Having filled the void left by Mozart’s death, Beethoven’s ARTIST PROFILES Knoxville: Summer long run as the leading pianist-composer JEREMY DENK (director and piano) in Vienna had officially come to an end. Artistic Partner profiles appear on pages 8–9. of 1915, Opus 24 (1947, rev. 1950) The Piano Concerto No. 5 is in many ways JULIA BULLOCK (soprano) a sibling to the earlier “Eroica” Symphony. Equally at home SAMUEL BARBER In the case of the concerto, Beethoven had with opera and no part in the nickname—“Emperor” came concert reper- Samuel Barber had a strong family con- later from an English publisher—but both toire, Soprano nection to the world of vocal music: his works share a monumental posture and a Julia Bullock has uncle was Sidney Homer, a composer triumphant spirit. Beethoven dedicated the captivated and known for art songs, and his aunt was concerto to the Archduke Rudolph, the inspired audienc- Louise Homer, a star contralto at the youngest brother of the Austrian emperor es through her Metropolitan Opera. Barber began writing Franz. More than just a patron, Rudolph versatile artistry, probing intellect and com- songs at the age of seven, and his output was a piano student of Beethoven’s and the manding stage presence. Opera News extols, eventually included two grand operas. His two maintained a warm friendship until “Bullock's radiant soprano shines brightly most enduring vocal work has proven to the composer’s death. and unfailingly… Most compellingly, how- be Knoxville: Summer of 1915, an orches- ever, she communicates intense, authentic tral setting of a prose poem by James Agee. The “Emperor” Concerto begins at a cli- feeling, as if she were singing right from her Written in the wake of World War II, at a max: the orchestra proclaims the home soul.” This season Miss Bullock makes a San time when Barber’s own father was dying, key with a single chord and the piano leaps Francisco Opera debut in the world pre- the score strikes a musical posture perfect- in with a virtuosic cadenza. The ensemble miere of Girls of the Golden West composed ly aligned with Agee’s intimate and nostal- holds back its traditional exposition until by John Adams to a libretto by Peter Sellars, gic look back at an easier, simpler time. the pianist completes three of these fanci- ful solo flights, the last connecting directly and she joins Dutch National Opera in a Agee and Barber were born within a few to the start of the movement’s primary company premiere of Simon McBurney’s months of each other, and the description theme. It is a remarkable structure for a production of The Rake’s Progress. of Agee’s childhood in Tennessee resonat- concerto, with an assurance of victory, as To learn more about the other ed deeply with Barber and his own experi- it were, before the battle lines have been musicians performing on this ences at the same age in a Philadelphia drawn. Even once the piano returns, the program, visit thespco.org/roster. suburb. Writing to his uncle Sidney, Barber movement continues in a symphonic
TICKETS THESPCO.ORG 651.291.1144 13 SEP 13, 14 & 15, 2018
THE SAINT PAUL CHAMBER ORCHESTRA ORDWAY CONCERT HALL
Thomas Zehetmair, conductor | Eunice Kim, violin
BEETHOVEN (1770–1827) Romance No. 1 in G for Violin and Orchestra, Opus 40 (7 min) Eunice Kim, violin
REBEL (1666–1747) Les Elémens (The Elements) (Nicholas McGegan, editor) (25 min) Le Cahos Les Elémens — Loure 1 Chaconne Ramage Rossignols Loure 2 Tambourin 1 Tambourin 2 Sicilienne Air pour l' Amour: Rondeau Caprice
INTERMISSION (20 min)
VIVIER (1948–1983) Zipangu (14 min)
HAYDN (1732–1809) Symphony No. 95 in C Minor (21 min) Allegro moderato Andante Menuet Vivace
For Happy Hour concert details, please see the insert to this program at the Sep 13 concert.
WE’D LOVE TO HEAR ABOUT YOUR CONCERT EXPERIENCE. PLEASE SHARE YOUR FEEDBACK BY VISITING THESPCO.ORG/SURVEY.
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14 THE SPCO 2018.19 SEASON SHARE YOUR CONCERT EXPERIENCE: @THESPCO #SPCOLIVE PROGRAM NOTES | SEP 13–15
represent Earth, the bright tone of piccolo opposed to pure harmonics when returning Romance No. 1 in G evokes Air, violins correspond to Fire and to normal technique. A melody becomes for Violin and Orchestra, the mellow flutes voice the sound of Water. a color (chords), grows lighter and slowly (1801–1802) This highly colorful and varied suite also returns as though purified and solitary.” Opus 40 offers images of nightingales, hunters giv- — © 2018 AARON GRAD LUDWIG VAN BEETHOVEN ing chase, lively dances in assorted styles and a song for Love. Not much is known about why Beethoven composed two independent slow move- For all the novelty within the suite, the ments for violin and orchestra, each highlight of The Elements is surely the very Symphony No. 95 labeled Romance. That term had originat- first chord of its jaw-dropping introduc- in C Minor (1791) ed with a Spanish style of ballad singing, tion, titled Chaos. Rebel felt compelled to but composers began using the Romance explain his thinking in a forward to the FRANZ JOSEPH HAYDN published score: “The introduction to this heading in instrumental music around After Prince Nikolaus Esterházy died in work is Chaos itself; that confusion which 1760 as a way to indicate a simple, tuneful 1790 and his successor cut back on music, reigned among the Elements before the type of slow movement. The Romance No. the family’s longtime Kapellmeister, Joseph moment when, subject to immutable laws, 2 in F Major, published in 1805 as Opus Haydn, had new freedom to capitalize they assumed their prescribed places with- 50, actually came first, and it may have on his international fame. He accepted a in the natural order. This initial idea led been attached to a stalled Violin Concerto lucrative invitation from a German violin- me somewhat further. I have dared to link from the late 1790s. The Romance No. 1 ist and impresario working in England, the idea of the confusion of the Elements in G Major followed in 1801 or 1802, but Johann Peter Salomon, who soon accom- with that of confusion in Harmony. I have it was published sooner, in 1803, giving it panied Haydn to London. Haydn wrote, risked opening with all the notes sound- the lower opus number and first place in “My arrival caused a great sensation … ing together, or rather, all the notes in an the sequence. The most distinctive passag- I went the rounds of all the newspapers octave played as a single sound.” es of this Romance are those in which the for three successive days. Everyone wants violin provides its own accompaniment to — © 2018 AARON GRAD to know me.” Besides a busy schedule of the songlike themes, starting with the very socializing and teaching, Haydn prepared first measures. The rondo structure makes music for the upcoming spring concert space for music of contrasting attitudes, season. Salomon’s orchestra of 40 or so including a minor-key episode full of crisp, Zipangu (1980) musicians offered mixed programs of staccato articulations. symphonies, concertos, arias and cham- CLAUDE VIVIER — © 2018 AARON GRAD ber music, appearing each Monday in The Québécois composer Claude Vivier London’s Hanover Square Rooms. Haydn was producing some of the most original ended up presenting six new symphonies and haunting music of his generation in London, and six more during a follow- Les Elémens before he was murdered in his Paris apart- up visit in 1794–95. (1737–1738) (The Elements) ment at the age of 34. After studying com- The Symphony No. 95 was one of the first position and electroacoustic techniques JEAN-FÉRY REBEL of Haydn’s “London” symphonies to reach with European heavyweights, Vivier’s the public, and it followed a different tem- fascination with themes of isolation and Jean-Féry Rebel, the son of a musician in plate than the works that followed. It was otherness took him in a more personal the court of Louis XIV, had the privilege the only example that Haydn set in a minor and mystical direction, especially following of studying violin and composition with key, and it was also the only one to forgo a a long journey through Asia in 1976. Jean-Baptiste Lully, the king’s favorite slow introduction, instead launching direct- composer. Rebel was 71 and retired from Vivier developed a particular fascination ly into a stark, five-note motive declared his long career composing and performing with Marco Polo, the Venetian trader who in naked octaves. The secondary theme dance music when he wrote his final and traveled to China and inspired Western provides a sunny contrast, especially when most consequential work, The Elements. explorers for centuries to come. Zipangu, it returns at the end of the movement in C The bulk of this “symphonie nouvelle” a 1980 composition for amplified string major, brightened by passages from a solo consisted of orchestral dances, infusing orchestra, took its title from “the name violin (music designed to feature Salomon, the French ballet style mastered by Lully given to Japan at the time of Marco Polo,” who played as the concertmaster). with aspects of Italian sinfonias (i.e. opera as Vivier explained in a program note. The Andante cantabile slow movement overtures, which evolved into symphonies “Within the frame of a single melody I as we know them). takes the form of a theme and variations. explore in this work different aspects of After a variation featuring a solo cello, it color. I tried to ‘blur’ my harmonic struc- Musical details of The Elements corre- takes a brief detour from its comfortable ture through different bowing techniques. spond to those Classical “elements” that E-flat major tonality into the dark territory A colorful sound is obtained by applying comprise the natural world: the low strings of E-flat minor. exaggerated bow pressure on the strings as
TICKETS THESPCO.ORG 651.291.1144 15 SEP 13–15 | PROGRAM NOTES
The Menuet strikes up the severe key of concertos with the Orchestra of the C minor again, but a chuckling “crushed- Eighteenth Century under Frans Brüggen. note” figure intervenes from time to time For his far-reaching artistic contributions, to lighten the mood. The contrasting trio Zehetmair was awarded, among others, returns to C major and once again show- the certificate of honour by the Preis der cases a solo cello, supported by plucked Deutschen Schallplattenkritik, as well as chords. The lively finale affirms the sym- the Karl Böhm Interpretation Prize by the phony’s gravitation toward C major, and federated state of Styria. contrapuntal passages recall the legendary fugal finale of Mozart’s last symphony, No. EUNICE KIM (violin) 41 in C Major (“Jupiter”), composed sev- A native of the eral years before Haydn left for London. San Francisco Bay Area, vio- — © 2018 AARON GRAD linist Eunice Kim made her solo debut at the age of seven with the Korean ARTIST PROFILES Broadcasting Symphony Orchestra. Called THOMAS ZEHETMAIR (conductor) “just superb” (The New York Times) and “a Thomas born performer” (Epoch Times), she Zehetmair’s recently made her solo debut with The ability to skill- Philadelphia Orchestra and the Louisville fully blend his Symphony, performed George Tsontakis’ musical inter- Unforgettable with the Albany Symphony ests is unparal- Orchestra and toured Taiwan, Hong Kong, leled. He enjoys Germany and South Korea with “Curtis widespread On Tour.” Kim’s honors include Astral’s international acclaim not only as a vio- 2012 National Auditions, the California linist, but also as a conductor and cham- International Violin Competition, the ber musician, making him one of the Pacific Music Society Competition, the most prominent artistic personalities of Korea Times String Competition and the today. He holds the position of Principal Youth Excellence Scholarship for the Arts. Conductor of the Musikkollegium An advocate for community engagement, Winterthur, Conductor Laureate of the she has partnered with The Philadelphia Royal Northern Sinfonia, past Artistic Orchestra Education Department, partici- Partner with the SPCO and from the pates in Astral’s Community Engagement 19.20 season, Chief Conductor of the & Education programs, and has taught at Stuttgart Chamber Orchestra. numerous international music festivals including the Teatro Del Lago Festival Zehetmair has an extensive, award- (Chile), the Valdres Music Academy winning discography, including (Norway) and the Marlboro Music Zimmermann’s violin concerto with the festival (Vermont). WDR Sinfonieorchester (“Diapason d’Or de l’Année“ 2009), Elgar with the Hallé To learn more about the musicians Orchestra Manchester / Sir Mark Elder performing on this program, visit thespco.org/roster. (Gramophone Award 2010) and Mozart’s
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16 THE SPCO 2018.19 SEASON SHARE YOUR CONCERT EXPERIENCE: @THESPCO #SPCOLIVE SEP 20, 21, 22, 25, 28, 29 & 30, 2018
THE SAINT PAUL CHAMBER ORCHESTRA TRINITY LUTHERAN CHURCH, WAYZATA COMMUNITY CHURCH, SAINT PAUL’S UNITED CHURCH OF CHRIST, SHEPHERD OF THE VALLEY CHURCH, ORDWAY CONCERT HALL, TED MANN CONCERT HALL
Led by SPCO Musicians | Sang Yoon Kim, clarinet
SCHREKER (1878–1934) Intermezzo, Opus 8 (5 min)
MOZART (1756–1791) Symphony No. 36 in C, K. 425 Linz (30 min) Adagio — Allegro spiritoso Andante Menuetto Presto
INTERMISSION (20 min)
WEBER (1786–1826) Rondo for Clarinet and Strings in B-flat, Opus 34 (7 min) Sang Yoon Kim, clarinet
HAYDN (1732–1809) Symphony No. 102 in B-flat (23 min) Largo — Vivace Adagio Menuet: Allegro Presto
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TICKETS THESPCO.ORG 651.291.1144 17 SEP 20–30 | PROGRAM NOTES
For program notes on Rondo for Clarinet and less than five days to compose the new The Adagio is an example of Haydn’s self- Strings in B-flat, Opus 34 (Weber), please see the insert to this program at the Sep 20–30 concerts. piece, copy out the parts and rehearse with borrowing: this music appears, in a differ- the orchestra. ent key, as the slow movement of a Piano Intermezzo, Opus 8 (1900) Trio in F-sharp Minor, composed around Nicknamed “Linz” for its city of origin, the the same time. The long-lined melodies, FRANZ SCHREKER symphony betrays no evidence of strained beginning in the violins, possess a vocal composition. In fact, it is rare among quality, and the movement takes on an Franz Schreker, the son of a Jewish pho- Mozart’s symphonies in that it begins with a tographer, was one of the leading opera operatic character as it passes through dra- leisurely introduction. The opening harmo- matic minor-key episodes. composers in the German-speaking world nies wander away from C major and settle during his lifetime. He was ousted from in C minor, creating a moody counterpoint The Menuet jokes around with three-note his powerful teaching post in Berlin amid to the generally bright disposition of the tapping figures displaced to cut against the Nazi rise to power, and after his death symphony. Further excursions into minor the grain of the three-beat meter, while in 1934 his scores were suppressed and keys, in the first movement’s secondary the contrasting trio section is smooth and forgotten. Schreker’s operas never recov- theme and later in the graceful Andante, lyrical, entrusting melodic duties to the ered, but several of his instrumental works echo the tonal rub of the introduction. After expressive pairing of oboe and bassoon. In have regained their rightful place in the a playful Menuetto, the Presto finale sprints the finale, Haydn incorporated a Croatian international repertoire. through a fluid range of themes, with short folk tune that he might have picked up An early highlight for Schreker was the motives bouncing among sections. during his youth in a part of Austria with a large population of Croatian immigrants. Intermezzo for strings, which he wrote — © 2018 AARON GRAD the year he graduated from the Vienna Or he might have heard it during the Conservatory. The score was selected as interminable stays at the Esterházy fam- the winner of a composition competi- ily’s summer palace, located on the remote tion, leading to its publication and a well- eastern edge of Austria—the place where, Symphony No. 102 in Haydn’s own words, he was “forced to reviewed performance in Vienna. Schreker, (1794) a violinist himself, possessed a keen ear for in B-flat become original.” string sonorities, and he wrote for a divid- FRANZ JOSEPH HAYDN — © 2018 AARON GRAD ed string orchestra (with four parts for violin, two each for violas and cellos, and After the triumph of his first visit to one bass part) that maximized the richness London in 1791–92, Haydn arranged a and saturation of the ensemble. return engagement as soon as he could. The highlights of his second visit in — © 2018 AARON GRAD 1794–95 were once again the premieres of ARTIST PROFILES six new symphonies—Haydn’s biggest and SANG YOON KIM (clarinet) boldest examples yet, tailored to the large SPCO Principal orchestra and adoring crowds. Clarinet Sang Symphony No. 36 in C, Yoon Kim made K. 425 Linz (1783) Most of the second batch of “London” his debut at the symphonies added clarinets to the orches- Prague Spring WOLFGANG AMADEUS MOZART tration, and several featured notable effects International that inspired nicknames for the works. A year after Mozart married Constanze Festival as a This symphony does not have a nickname, soloist with Weber without his father’s blessing, the although it deserves to be known as “The young couple left for Salzburg in the hope BBC Symphony Orchestra (2016). He is a Miracle,” the title ascribed instead to the sought-after chamber musician, working of smoothing the family tension. On their Symphony No. 96. It was at the premiere return trip to Vienna several months later, with leading international artists, among of the Symphony No. 102 on February 2, them Swedish clarinetist Martin Fröst, they stopped in Linz, where their host, 1795 (and not that of the earlier sympho- Count Johann Joseph Anton von Thun- the French string quartet Quatuor Ebene, ny) that a chandelier crashed to the floor; and pianists Jean-Yves Thibaudet and Hohenstein, arranged for the court orches- miraculously, no one was hurt. tra to perform a concert. Mozart wrote to Robert Levin. As a passionate orchestra his father, “I really cannot tell you what The Symphony No. 102 begins with a player, he has been guest principal clari- kindnesses the family are showering on simple yet striking effect: the home pitch of net with The Cleveland Orchestra, us. On Tuesday, November 4, I am giving B-flat, spread among the whole orchestra in Auckland Philharmonic Orchestra, a concert in the theater here and, as I have several octaves, swells from a piano dynam- Sarasota Orchestra and London not a single symphony with me, I am writ- ic and then recedes. The lively body of the Philharmonic Orchestra. ing a new one at breakneck speed, which movement maintains a thematic link to To learn more about the musicians must be finished by that time.” Mozart that initial motive, using held tutti octaves performing on this program, visit only arrived on October 30, leaving him to make surprising pivots to new sections. thespco.org/roster.
18 THE SPCO 2018.19 SEASON SHARE YOUR CONCERT EXPERIENCE: @THESPCO #SPCOLIVE OCT 12 & 13, 2018
THE SAINT PAUL CHAMBER ORCHESTRA ORDWAY CONCERT HALL
Christian Reif, conductor
BRITTEN (1913–1976) Sinfonietta, Opus 1 (14 min) Poco presto e agitato Variations: Andante lento Tarantella: Presto vivace
SHOSTAKOVICH Chamber Symphony in C Minor for String Orchestra, Opus 110a (1906–1975) (after String Quartet No. 8) (arranged by Barshai) (22 min) Largo Allegro molto Allegretto Largo Largo (Movements performed without pause)
INTERMISSION (20 min)
HAYDN (1732–1809) Symphony No. 92 in G, Oxford (26 min) Adagio – Allegro spiritoso Adagio cantabile Menuetto: Allegretto Presto
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Sinfonietta, Opus 1 (1932) Symphony No. 92 in G, BENJAMIN BRITTEN Oxford (1789)
Benjamin Britten had a precocious start in music, studying piano and viola and com- FRANZ JOSEPH HAYDN posing hundreds of works by the time he was a teenager. At fourteen, Britten’s viola After decades of being locked into teacher introduced him to the composer Frank Bridge, who agreed to give Britten an exclusive contract with Austria’s private lessons. “I, who thought I was already on the verge of immortality, saw my illu- Esterházy family, Haydn negotiated new sions shattered,” Britten later wrote about his course of study with Bridge, a demanding terms in 1779 that gave him more leeway teacher who fostered the rigorous technique needed to round out Britten’s natural inven- to compose and publish independently. tiveness. Britten went on to enroll at the Royal Conservatory of Music in 1930, and even He was already immensely popular if he chafed at the conservative approach of his teachers, he was able to fill in the gaps around Europe thanks to the many by devouring recent music by Stravinsky, Schoenberg and other modernists. pirated scores in circulation, and under Britten’s career began to take off in 1932, when a prize-winning Phantasy for string his new terms he could finally capital- quartet led to his first professional performance. That same summer he took three ize on his fame, like when he accepted weeks to compose the Sinfonietta, the work that would become his first published opus. a commission in 1785 to write six new The scoring for ten solo instruments (a woodwind quintet plus a string quintet) reflects symphonies for a young French count, the influence of Schoenberg’s First Chamber Symphony, a seminal work for such mixed Claude-François-Marie Rigolet. The ensembles. The dissonant harmonies and spiky phrases in the opening movement also same count requested three more sym- point to young Britten’s fascination with Continental modernism, but still the music phonies that Haydn completed by 1789, retains Britten’s intuitive feel for melody, as heard in the mellifluous woodwind phrases including the Symphony No. 92, the last and crystalline violin duet in the central movement. A trembling viola line links directly of that set. to the Tarantella, a kinetic finale in the manner of the Italian folk dance named, so it is Haydn composed the Symphony No. 92 said, for the manic gyrations intended to ward off death after the bite of a tarantula. for Paris, and not Oxford, despite the — © 2018 AARON GRAD nickname. Having accepted an invitation to present concerts in London in 1791, Haydn brought some of his existing sym- phonies to perform while he was work- Chamber Symphony in C Minor for String ing to write new ones—an endeavor that eventually produced twelve “London” Orchestra, Opus 110a (after String Quartet No. 8) symphonies over the course of two visits. (arranged by Rudolf Barshai) (1960) The Symphony No. 92 was among the music that Haydn conducted when he DMITRI SHOSTAKOVICH accepted an honorary doctorate from Shostakovich traveled to Dresden in July 1960 to work on a film called Five Days—Five Oxford University. Nights, commemorating the devastation of that German city during World War II. Once Like most of its successors composed for there, his muse led him in an unexpected direction. He explained in a letter to a friend, London, the “Oxford” Symphony builds “However much I tried to draft my obligations for the film, I just couldn’t do it. Instead anticipation with a slow introduction. I wrote an ideologically deficient quartet nobody needs. I reflected that if I die someday, With subtle harmonic subterfuge and then it’s hardly likely anyone will write a work dedicated to my memory. So I decided to not-so-subtle dynamic jolts, the fast body write one myself. You could even write on the cover: ‘Dedicated to the memory of the of the movement is a model example of composer of this quartet.’” Haydn’s fluidity within the fixed struc- With Shostakovich’s blessing, the Russian conductor and violist Rudolf Barshai adapted ture of a sonata-allegro form. that work from Dresden, the String Quartet No. 8, into this Chamber Symphony in C One of the most effective sounds in Minor, Opus 110a. The intensely personal nature of the music is evident from the very Haydn’s arsenal is a sudden, unexpected first notes: they spell out D–E-flat–C–B, or, in German parlance, D–S–C–H, signify- silence, a device that lends extra poi- ing the composer’s first initial and last name. This motto theme had appeared in earlier gnancy near the end of the slow second compositions, but here the motive’s lugubrious rise and fall becomes a morbid obses- movement, and which arises again sion. The score also quotes other Shostakovich works, with passages referencing the throughout the playful Minuetto. With First and Fifth Symphonies and the Second Piano Trio. The work unfolds as a continu- a dramatic application of formal coun- ous arc of five connected movements, opening and closing in a slow Largo tempo and terpoint, the finale made this symphony encompassing central episodes of greater urgency and agitation. an especially strong pick to impress the — © 2018 AARON GRAD academic crowd at Oxford.
— © 2018 AARON GRAD
20 THE SPCO 2018.19 SEASON SHARE YOUR CONCERT EXPERIENCE: @THESPCO #SPCOLIVE ARTIST PROFILES CHRISTIAN REIF (conductor) THE OLDEST BACH SOCIETY ON THE CONTINENT EST. 1932 German-born Christian Reif is Resident Conductor of the San Francisco Symphony and Music Director of the San Francisco Symphony Youth Orchestra. In 2018.19, Reif conducts subscription concerts with the SPCO and the San Francisco Symphony and makes debuts with the Omaha Symphony and Hong Kong Philharmonic. He returns to Bach and the Forbidden City the Nürnberger Symphoniker and Berkeley with Gao Hong, Chinese Pipa Master Symphony, leads a production of Oct. 5 | 6 | 7 | 2018 Leoncavallo’s Pagliacci at Opera San Jose, and conducts a new chamber version of John Bach’s Christmas Oratorio Adams’s El Niño with the American Modern collaboration with Lyra Baroque Orchestra Opera Company as part the Metropolitan Dec. 7 | 8 | 9 | 2018 Museum of Art’s MetLiveArts series in New York. Reif is a member of Germany’s Bach’s Passion Conductor’s Forum (Dirigentenforum) and collaboration with Choral Arts Ensemble is one of the forum’s 2017.18 and 2018.19 Mar. 15 | 16 | 17 | 2019 featured “Maestros of Tomorrow”. Matthias Maute, Artistic Director To learn more about the musicians TICKETS & INFO: bachsocietymn.org performing on this program, visit thespco.org/roster. BECOME AN SPCO SUSTAINER TODAY!
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spco_Sustainer_1819-PB1.indd 1 TICKETS THESPCO.ORG 651.291.11446/26/2018 11:28:54 AM21 OCT 19, 20 & 21, 2018
THE SAINT PAUL CHAMBER ORCHESTRA WOODDALE CHURCH, SAINT PAUL’S UNITED CHURCH OF CHRIST, BENSON GREAT HALL
Led by SPCO Musicians
STRAUSS (1864–1949) Till Eulenspiegel Einmal Anders! (arranged by Hasenöhrl) (15 min)
MOZART (1956–1791) Nonetto based on Quintet for Piano and Winds, K. 452 (arranged by Françaix) (25 min) Largo — Allegro moderato Larghetto Allegretto
INTERMISSION (20 min)
BEETHOVEN (1770–1827) Sonata for Strings in A Major, Opus 47, Kreutzer (arranged by Tognetti) (43 min) Adagio sostenuto — Presto Andante con varizioni Presto
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22 THE SPCO 2018.19 SEASON SHARE YOUR CONCERT EXPERIENCE: @THESPCO #SPCOLIVE PROGRAM NOTES | OCT 19–21
days after finishing the Piano Concerto score to Rodolphe Kreutzer, a French Till Eulenspiegel Einmal No. 16 in D Major, and two days before violinist and composer who had visited Anders! (arranged by Franz his self-produced “Grand Academy” Vienna in 1798, and “Kreutzer” stuck Hasenöhrl) (1895/1954) concert in Vienna that likely featured as a nickname even though Kreutzer the premieres of both works. Chamber himself never played it. The actual RICHARD STRAUSS music was a rarity on such programs, violinist for whom Beethoven wrote which usually presented symphonies and the sonata, and the one who joined After a musical upbringing shaped by his concertos along with keyboard improvi- him for the premiere in 1803, was father’s conservative tastes, a whole new sations. But the new quintet was unlike George Bridgetower, born in Poland to world opened up for Richard Strauss when any of Mozart’s preceding chamber a Caribbean father of African descent he began working as the conducting assis- music, and much closer in spirit to his and a European mother. Before they tant to Hans von Bülow at the Meiningen recent piano concertos. He was certainly had a falling out, Beethoven had Court Orchestra in 1885. Guided by his new pleased with the novel sound of the referred to his score as the Sonata friend Alexander Ritter, a violinist in the quintet, writing to his father, “I myself mulattica, in reference to Bridgetower’s orchestra (and nephew-in-law of Wagner), consider it to be the best thing I have mixed racial heritage. (In 2009, the Strauss devoured the music of Wagner and written in my life.” African-American poet Rita Dove Liszt. Ritter encouraged Strauss to try writ- used that title for a collection of poems ing a “symphonic poem,” to use Liszt’s term The French composer Jean Françaix about Bridgetower and Beethoven.) for a programmatic orchestral work in a sin- (1912–1997) created this edition for gle movement, and Strauss ended up writing Nonetto in 1995. The arrangement The Kreutzer Sonata—the work itself four such works between 1886 and 1889. distributes Mozart’s piano part among and the name—took on new signifi- five string players while leaving the cance when Leo Tolstoy gave that title After a hiatus, Strauss returned in 1894 to the wind parts untouched, an approach that to an 1889 novella. It tells the story genre that he preferred to call Tondichtung, emphasizes the work’s melodic freedom, of a disaffected wife who, swept up or “tone poem.” His next subject was Till starting with a slow introduction that by the passion of Beethoven’s sonata, Eulenspiegel, a trickster character from moves the piano’s delicate strands to a has an affair with the male violinist German folklore. Strauss did not follow a violin. In the Larghetto slow movement, with whom she plays piano, only to be strict program outline when he composed woodwind solos intertwine as if they are caught and murdered by her husband. Till Eulenspiegel’s Merry Pranks, but he did characters in a wordless opera, and the International censorship and outrage point to certain vignettes from the folklore, concluding rondo makes the most of the put The Kreutzer Sonata into the center including Till riding through the market and contrasting tone colors between winds of public debate, and a host of artists tipping over the carts, Till flirting with the and strings, reframing the concerto-like followed with plays, paintings and other ladies and Till impersonating a priest. dialogue of Mozart’s original. creations inspired by Tolstoy’s scenario. The name even came full circle to The most explicit character in the tone poem — © 2018 AARON GRAD music when Janáček dubbed his first is the trickster himself, represented by a jocu- string quartet The Kreutzer Sonata. lar horn theme. Another recurring motive, introduced by the clarinet, suggests Till’s This larger-than-life sonata has always peals of laughter as various pranks ensue. Sonata for Strings in A drawn musicians to approach it with These instrumental characterizations remain Major, Opus 47, Kreutzer expanded forces, starting with a intact in the abbreviated quintet arrangement (arranged by Richard Tognetti) (1803/2010) string quintet arrangement released created in 1954 by the Viennese composer by Beethoven’s publisher in 1832. The Franz Hasenöhrl (1885–1970), who gave his LUDWIG VAN BEETHOVEN arrangement for strings featured in this version a suitably silly title that translates as performance, created by the Australian Till Eulenspiegel – Differently, for once! Beethoven wrote his Ninth Violin violinist Richard Tognetti, surrounds Sonata early in 1803, just before he the focus and virtuosity of a solo violin — © 2018 AARON GRAD began work on the monumental Third with a rich, orchestral body of sound. Symphony (Eroica). Abandoning the careful proportions and pleasantries of — © 2018 AARON GRAD early works modeled after Mozart and Nonetto based on Haydn, Beethoven’s blunt and expan- Quintet for Piano and sive new style—what we now call his Winds, K. 452 (arranged by “middle period”—heralded a bold leap forward for the increasingly deaf and Jean Françaix) (1784/1995) ARTIST PROFILES fiercely independent young composer. To learn more about the WOLFGANG AMADEUS MOZART musicians performing on this Even the name of that violin sonata program, visit thespco.org/roster Mozart completed the Quintet for Piano comes with an epic backstory. and Winds on March 30, 1784, just eight Beethoven eventually dedicated the
TICKETS THESPCO.ORG 651.291.1144 23 NOV 2, 3 & 4, 2018
THE SAINT PAUL CHAMBER ORCHESTRA CATHEDRAL OF SAINT PAUL, ORDWAY CONCERT HALL
Jonathan Cohen, conductor Nicholas Mulroy, tenor (Evangelist) | Matthew Brook, bass (Jesus) | Joélle Harvey, soprano Tim Mead, countertenor | Nick Pritchard, tenor | William Berger, baritone (Pilate) The Singers – Minnesota Choral Artists, prepared by Matthew Olson and Matthew Culloton
BACH (1685–1750) Saint John Passion, BWV 245 For the lyrics to Saint John Passion, please see the insert to this program at the Nov 2, 3 & 4 concerts.
Part I (42 min) Chorus: Herr, unser Herrscher Aria: Von den Stricken meiner Sünden Recit: Jesus ging mit seinen Jüngern Recit: Simon Petrus aber folgete Jesu nach Chorus: Jesum von Nazareth Aria: Ich folge dir gleichfalls Recit: Jesus spricht zu ihnen Recit: Derselbige Jünger war dem Hohenpriester bekannt Chorus: Jesum von Nazareth Chorale: Wer hat dich so geschlagen Recit: Jesus antwortete Recit: Und Hannas sandte ihn gebunden Chorale: O große Lieb Chorus: Bist du nicht seiner Jünger einer Recit: Auf daß das Wort erfüllet würde Recit: Er leugnete aber und sprach Chorale: Dein Will gescheh Herr Gott, zugleich Aria: Ach, mein Sinn Recit: Die Schar aber und der Oberhauptmann Chorale: Petrus, der nicht denkt zurück
INTERMISSION (20 min)
Part II (72 min) Chorale: Christus, der uns selig macht Recit: Spricht Pilatus zu ihnen Recit: Da führeten sie Jesum Chorus: Wir haben keinen König Chorus: Wäre dieser nicht ein Übeltäter Recit: Da überantwortete er ihn Recit: Da sprach Pilatus zu ihnen Aria: Eilt ihr angefochtnen Seelen Chorus: Wir dürfen niemand töten Recit: Allda kreuzigten sie ihn Recit: Auf daß erfüllet würde das Wort Chorus: Schreibe nicht: der Jüden König Chorale: Ach großer König Recit: Pilatus antwortet Recit: Da sprach Pilatus zu ihm Chorale: In meines Herzens Grunde Chorus: Nicht diesen, sondern Barrabam Recit: Die Kriegsknechte aber Recit: Barrabas aber was ein Mörder Chorus: Lasset uns den nicht zerteilen Arioso: Betrachte, meine Seel Recit: Auf daß erfüllet würde die Schrift Aria: Erwäge, wie sein blutgefärbter Rücken Chorale: Er nahm alles wohl in acht Recit: Und die Kriegsknechte flochten eine Krone Recit: Und von Stund an nahm sie der Jünger Chorus: Sei gegrüßet, lieber Jüdenkönig Aria: Es ist vollbracht Recit: Und gaben ihm Bachenstreiche Recit: Und neiget das Haupt Chorus: Kreuzige, kreutzige Aria: Mein teuer Heiland, laß dich fragen Recit: Pilatus sprach zu ihnen Recit: Und siehe da, der Vorhang im Tempel zerriß Chorus: Wir haben ein Gesetz Arioso: Mein Herz, indem die ganzel Welt Recit: Da Pilatus das Wort hörete Aria: Zerfließe, mein Herze Chorale: Durch dein Gefängnis, Gottes Sohn Recit: Die Jüden aber, dieweil er der Rüsttag war Recit: Die Jüden aber schrieen und sprachen Chorale: O hilf, Christe, Gottes Sohn Chorus: Lässet du diesen los Recit: Darnach bat Pilatum Joseph von Arimanthia Recit: Da Pilatus das Wort hörete Chorus: Ruht wohl, ihr heiligen Gebeine Chorus: Weg, weg mit dem Chorale: Ach Herr, laß dein lieb Engelein
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24 THE SPCO 2018.19 SEASON SHARE YOUR CONCERT EXPERIENCE: @THESPCO #SPCOLIVE PROGRAM NOTES | NOV 2–4
the intimacy of the Saint John Passion is with notable ensembles and orchestras, Saint John Passion, finally getting its due, thanks to decades of including Monteverdi Choir with Sir John BWV 245 (1724) scholarship and historically-informed per- Eliot Gardiner, BBC Philharmonic, formance practice that have stripped back Orchestra of the Age of Enlightenment, JOHANN SEBASTIAN BACH oversized choruses and orchestras, coming Koelner Akademie, Staatskapelle Dresden, closer to the sound and spirit of the lean Copenhagen Philharmonic and Australian From 1723 until his death in 1750, ensembles Bach would have squeezed into Chamber Orchestra. Bach held the demanding position of the tiny choir lofts of Leipzig’s churches. Thomaskantor, directing music for the Mulroy is particularly renowned for his principal churches of Leipzig and training An ornate chorus, “Herr, unser Herrscher” early music performances. His recent the young choristers at the church school. (Lord, Thou our Master), begins the first highlights include Evangelist in Bach’s In his early years he wrote new cantatas part of the Passion. With the recitative that Saint John Passion at the BBC Proms, for weekly services at an astounding pace, follows, we meet the Evangelist, a tenor Schütz at the Edinburgh International and he took special care with music for soloist who narrates the story with lines Festival and Monteverdi Vespers through- the all-important Vespers service on Good drawn verbatim from Martin Luther’s out the USA and Europe. He also has an Friday, which always featured a rendition German translation of the Bible. The extensive and award-winning discography, of the Passion—the account of Jesus’ last drama pauses for points of reflection in most recently recording Piazzolla’s remark- days, from his arrival in Jerusalem to his the form of solo arias, with texts assem- able ‘tango operita’ María de Buenos crucifixion, as recounted in the Gospels of bled by an unknown librettist. Other key Aires with Mr McFall’s Chamber. Further Matthew, Mark, Luke and John. anchor points are the familiar Lutheran recordings include a Gramophone Award- chorales that Bach’s congregation would winning Messiah, Bach’s Passions and Not many years earlier, the congregation have known well, including the hymns Christmas Oratorio on Linn, Gavin Bryars’ would simply recite the Passion liturgy that bookend the break between Part I and Petrarch Sonnets on Delphian, Easter in an unadorned, plainchant style. The Part II, marking the point in the service Oratorio and Actus Tragicus on SDG. idea of presenting the Passion as a dra- when the sermon would be delivered. matic oratorio only took hold around (bass, Jesus) 1712, when the poet Barthold Brockes MATTHEW BROOK In the second part, Jesus appears before Matthew Brook published a libretto that was soon set to Pontius Pilate, with the chorus standing music by Telemann and Handel among has appeared in at times for the inflamed crowd. Again widely as a solo- other early adopters. It caught on first in arias magnify the richest emotions, with more progressive cities like Hamburg and ist and has support from obbligato counter-lines worked exten- Frankfurt, and within a few years even assigned to various solo instruments. conservative Leipzig warmed to the idea. sively with con- The chorus that precedes the final hymn, ductors such as beginning with the invitation to “Rest Bach probably attempted some sort of Sir John Eliot well,” underscores the sweet and humble Passion setting earlier in Weimar, but the Gardiner, Richard Hickox, Sir Charles essence of the Saint John Passion. work that stands as his first great achieve- Mackerras, Harry Christophers, ment in the new style was the Saint John — © 2018 AARON GRAD Christophe Rousset, Paul McCreesh and Passion from 1724, offered during his first Sir Mark Elder, and many ensembles yearlong cantata cycle for Leipzig. He was including the Philharmonia, LSO, the St. probably hoping to follow the next year Petersburg Philharmonic, the RPO, the with a setting of the Gospel of Matthew, but English Baroque Soloists and the Royal that even larger composition did not appear Northern Sinfonia. until 1727; the Good Friday service in 1725 ARTIST PROFILES instead featured a revised version of the Saint JONATHAN COHEN (conductor) Recent and future highlights include Bach’s John Passion, including some music that was Artistic Partner profiles appear on pages 8–9. Magnificat and Brahms’ Triumphlied with later redirected to the Saint Matthew Passion. the Cincinnati Symphony Orchestra, Il Re di Scozia (King of Scotland) in Ariodante Bach brought the Saint John Passion back NICHOLAS MULROY several more times, making musical adjust- (tenor, Evangelist) with the Staatstheater Stuttgart, Bach’s B minor Mass at the Al Bustan Festival ments along the way, until he directed the Born in and with Les Violons du Roy, Mozart’s work for the last time in 1749. Liverpool, Requiem with the Fryderyk Chopin Nicholas Mulroy Institute in Warsaw, a tour of Bach canta- The Saint John Passion is smaller in studied at Clare tas with the Nederlandse Bachvereniging, scale than its sibling work, and it has not College a tour of Bach’s Saint Matthew Passion enjoyed quite the celebrated status that Cambridge and with the Orchestra of the Age of the Saint Matthew Passion has had ever Royal Academy Enlightenment, and the roles of Herod and since Felix Mendelssohn resuscitated that of Music, Father in Berlioz’s L’Enfance du Christ with work (and Bach’s reputation in general) London. He performs at the world’s leading the Melbourne Symphony Orchestra. with a landmark performance in 1829. But concert halls, opera houses and festivals
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JOÉLLE HARVEY (soprano) NICK PRITCHARD (tenor) THE SINGERS — Joélle Harvey’s Nick Pritchard’s MINNESOTA CHORAL ARTISTS performances in highlights to Founded in 2004, the 2018.19 sea- date include The Singers orga- son include King Arthur for nization is dedi- Beethoven’s 9th the Early Opera cated to giving Symphony with Company, world-class per- the Utah Bach's Mass in B formances of the Symphony, minor with the finest choral liter- Mahler’s 2nd Symphony with the Monteverdi Choir, Bach’s Saint Matthew ature. The Singers, Cleveland Orchestra and the Toronto Passion with the SPCO, Bach Cantatas a professional choir of 40 members, exists Symphony, and the Saint John Passion with with Ensemble Pygmalion, Matthew in to serve as artists, educators and advocates the SPCO. She joins the Philadelphia Mark Simpson’s Pleasure for Opera North, of the choral art. Recognized nationally for Chamber Music Society for their Emerging and Prologue The Turn of the Screw for their innovative programming, commit- Voices concert series, North Carolina Opera Holland Park. Recent and future ment to new music and peerless artistic Symphony for a program of Schubert engagements include: Lysander A quality, The Singers made their debut at the songs as well as Mozart’s Mass in C Minor, Midsummer Night’s Dream for the renowned Ravinia Festival in June 2013, performs a joint recital with pianist Allen Aldeburgh Music Festival, Amphinomus and have made subsequent returns in 2014, Perriello at Carnegie Hall, sings Barber’s The Return of Ulysses for the Royal Opera 2015 and 2016. Knoxville: Summer of 1915 and Mahler’s House, Ferrando Così fan tutte for Opera 4th Symphony with the San Diego Holland Park, Henry Crawford Mansfield The Singers and Matthew Culloton are very Symphony, Bach’s Coffee Cantata with Park for The Grange Festival, Acis Acis engaged in educational collaborations that Music of the Baroque, and Mozart’s and Galatea for the London Handel pair the choir with school choirs around Requiem with the New York Philharmonic Festival, Charpentier’s Te Deum with the Minnesota. The Singers have premiered and the Handel & Haydn Society. She also Early Opera Company, Bach’s Saint John and commissioned nearly 80 new works by appears with Arcangelo for a concert of Passion with the BBC National Orchestra composers including Stephen Paulus, Tesfa Handel, Bach and Buxtehude. of Wales, Polyphony and the OAE and Wondemagegnehu, Timothy Takach, Linda with the Instruments of Time and Truth. Kachelmeier, Abbie Betinis, Jocelyn Hagen, TIM MEAD (countertenor) Joshua Shank, Craig Carnahan and con- Countertenor WILLIAM BERGER (baritone, Pilate) ductor Matthew Culloton. Tim Mead is Baritone (artistic director) praised for his William Berger, MATTHEW CULLOTON “alluring” and described as Matthew Culloton “consistently “one of the best is the Founding excellent” inter- of our younger Artistic Director pretations (The baritones” of The Singers. He New York (Gramophone), holds a Bachelor Times). Highlights of his 2018.19 season is making a of Music from include Endimione in Cavalli’s La Calisto name for himself in concert halls and Concordia College for Teatro Real Madrid, Bertarido in opera houses on both sides of the and a Master of Handel’s Rodelinda for Opera de Lille, Atlantic. In concert, Berger has performed Music plus Doctor of Musical Arts from Oberon in Britten’s A Midsummer Night’s at leading venues including the Royal the University of Minnesota. Aside from Dream for Opera of Philadelphia, and a Albert Hall, Royal Festival Hall, Wigmore his duties with The Singers, Culloton is major European recital tour with Hall, Birmingham Symphony Hall, Choirmaster at House of Hope Presbyterian Emmanuelle Haim and Le Concert d’Astree. Zellerbach Hall and Los Angeles’ Disney Church in Saint Paul and adjunct faculty at Concert Hall, with orchestras and ensem- the University of Saint Thomas, Graduate Recent highlights include his debut at bles including the London Philharmonic Music Program. He has received the MN the Opéra National de Paris as Hamor in Orchestra, City of Birmingham ACDA Outstanding Young Choral Handel’s Jephtha, Oberon in Britten’s A Symphony Orchestra, English Consort, Conductor of the Year Award and the Midsummer Night’s Dream at Glyndebourne Handel & Haydn Society and VocalEssence/ACDA of Minnesota Creative Festival Opera and Bergen National Opera, Philharmonia Baroque Orchestra. Programming Award. He has been com- the title role in Philip Glass’ Akhnaten and missioned to compose for the Dale Ottone in Handel’s Agrippina at Opera Berger’s 2016 CD, Duet (Delphian), was Warland Singers, Choral Arts Ensemble of Vlaanderen, a reprisal of the role of Boy/ named an “Editor’s Choice” (BBC Music Rochester and MMEA All-State Choir. Angel in George Benjamin’s Written on Skin Magazine). His debut recital album, at the Bolshoi and he recently appeared Insomnia: A Nocturnal Voyage in Song To learn more about the musicians performing on this program, with the Los Angeles Philharmonic at the was named one of the “Top 10 Classical visit thespco.org/roster Hollywood Bowl. Albums of 2012” (The Guardian).
26 THE SPCO 2018.19 SEASON SHARE YOUR CONCERT EXPERIENCE: @THESPCO #SPCOLIVE The Arts Partnership is a strategic alliance between the four The work of the Arts Partnership is supported by donors to the organizations that regularly perform on the Ordway stages. annual Arts Partnership Fund. We extend a sincere thank you Together, the Arts Partners manage the Ordway facility, to the following contributors for being inaugural donors to this collaborate on joint programming and share resources fund for the 2017–18 fiscal year. to provide a world-class venue and exceptional artistic programming for over 300,000 people annually.
Fred C. and Katherine B. Erwin and Miriam Kelen Christine Sagstetter Andersen Foundation Barry and Cheryl Kempton William and Susan Sands * Hugh J. Andersen Foundation Kyle Kossol and Tom Becker Christine Sand and William Bluhm The Katherine B. Andersen Fund David and Laurel Kuplic Daniel J. Schmechel and Anonymous (2) Mary and Barry Lazarus Wilhelmina M. Wright * Nina Archabal Cynthia and Lawrence Lee Mary and Christian G. Schrock Suzanne Asher and Thomas Ducker Robert Lee and Mary Schaffner Kathy Schubert Jo and Gordon Bailey Eric and Celita Levinson Securian Financial Patricia Beithon David Lillehaug and Winifred Smith Kim Severson and Philip Jemielita Katie Berg Jon and Patty Limbacher David and Martha Sewall Mary and Gus Blanchard Jeff Lin and Sarah Bronson Fred and Gloria Sewell Shari and David Boehnen Eric and Mary Lind David Smith Priscilla Brewster * Steve and Kathi Mahle * Kevin and Lynn Smith Bob Cattanach and Allyson Hartle Mardag Foundation Nadege Souvenir and Joshua A. Dorothy Birgitte and John Christianson Laura McCarten Carley and Bill Stuber Kent and Dee Ann Crossley McCarthy Bjorklund Foundation at the Greg Sullivan and Annie Frazer The Crosswols Foundation request of Alexandra O. Bjorklund Kay Savik and Joe Tashjian Sheldon Damberg and Susan and Edwin McCarthy Ryan Taylor Julia W. Dayton Jeninne McGee Anthony Thein Rebecca and Jay Debertin Julie McKinley * Norrie Thomas Annie Deering Rosa Miller * Beth Toso Dellwood Foundation Patricia A. Mitchell Stephanie Van D’Elden William and Terry Dircks * Alfred P. and Ann M. Moore H. Bernt von Ohlen and W. Thomas Nichol Sara and Jock Donaldson Leni and David Moore Dobson and Jane West Ecolab Foundation Marcia L. Morris and Richard L. Miller Ted and Nancy Weyerhaeuser Anna Marie Ettel David and Judy Myers William White Patrick Garay-Heelan and Erin Heelan Elizabeth Myers Tim Wicker and Carolyn Deters Judith Garcia Galiana and Alberto Castillo Myers Family Fund of Scott Wilensky Jamie Grant and Christine Bird The Saint Paul Foundation Beth and Bruce Willis Bonnie Grzeskowiak and Terry Wade Nicholson Brothers Fund of Cara and Paul Wilson Laura E. Halferty The Saint Paul Foundation Justin Windschitl Thomas and Susan Handley * Eric Nilsson and Lizabeth Boger Brad and Colleen Wood Dorothy J. Horns and James P. Richardson Diane Nixa and Kurt Hochfeld John and Judy Wolak Anne and Steve Hunter Robert Olafson Margaret Wurtele Ruth and John Huss Paul Olson and Mark Baumgartner Mary Ingebrand-Pohlad John and Marla Ordway * The Arts Partnership Fund is also supported by a portion of the proceeds Sandi Irvine and Family Deborah Palmer and Ken Rich from the Ordway Spring Fête. Deepest thanks - In memory of Tommy Irvine * Bill and Anne Parker * to these donors for their major support. Phillip and Ludmilla Isaacson * Daniel Pennie and Anne Carayon Diane and Paul Jacobson Jason and Kate Piehl Lucy Jones and Jim Johnson Nic Pifer and Amy McNally John and Kathleen Junek Shawn and Elizabeth Quant The Art and Martha Kaemmer Fund Karen Quisenberry of HRK Foundation Carleen Rhodes and Byron Gilman
Another way to support the Arts Partnership and to make a lasting impact in recognition of your family, friends, or loved onesw is to dedicate a seat in the recently built Concert Hall.
For more information visit artspartnership.org/name-a-seat NOV 9, 10, 13, 16, 17 & 18, 2018
THE SAINT PAUL CHAMBER ORCHESTRA WAYZATA COMMUNITY CHURCH, ORDWAY CONCERT HALL, SHEPHERD OF THE VALLEY CHURCH, SAINT PAUL’S UNITED CHURCH OF CHRIST, SAINT ANDREW’S LUTHERAN CHURCH
Led by SPCO Musicians
MOZART (1756–1791) Divertimento in B-flat, K. 287 (41 min) Allegro Thema mit Variationen: Andante grazioso Menuetto Adagio Menuetto Andante — Allegro molto Molto allegro
INTERMISSION (20 min)
MOZART Six German Dances, K. 571 (9 min) No. 1 in D No. 2 in A No. 3 in C No. 4 in G No. 5 in B-flat No. 6 in D
MOZART Symphony No. 35 in D, K. 385, Haffner (20 min) Allegro con spirito Andante Menuetto Finale: Presto
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28 THE SPCO 2018.19 SEASON SHARE YOUR CONCERT EXPERIENCE: @THESPCO #SPCOLIVE PROGRAM NOTES | NOV 9–18
1787, when Emperor Joseph II arranged quickly as he could in the following weeks, Divertimento in B-flat, to install Mozart as Kammermusicus, a not even making copies to keep himself. K. 287 (1777) position held by Gluck until his death that With an introductory march, an extra year. Mozart received a modest annual sal- minuet movement and a smaller wood- WOLFGANG AMADEUS MOZART ary of 800 gulden, for which he provided wind complement, the resulting work dances for the court ensemble to play at was a typical Serenade—a form of music When composers of Mozart’s day were balls. (By comparison, he collected 559 intended as jovial background music for asked to entertain their patrons with party gulden from a single concert in 1785.) It an evening gathering. music, they dashed off simple, lighthearted wasn’t exactly the opera commissions or works—divertimentos, serenades, nocturnes publishing deals he longed for, but at least No evidence remains of a Salzburg per- and the like—that were hardly worth reusing it was a paying gig. formance of that Serenade (not to be con- or remembering. But Mozart being Mozart, fused with the other Serenade known as even his light music from his late teens Mozart wrote 30 short dances during his the Haffner, written for an earlier wedding and early twenties has withstood the test of first two years in that role, including the Six in the family), but Mozart remembered time. One patron he would have been espe- German Dances (K. 571) he completed on the score when he was preparing music for cially eager to please was Countess Antonia February 21, 1789. The “Deutsche Tänze” a self-produced concert, and he asked his Lodron, an avid musician herself and one or “German Dance,” a couple’s dance style father to send back the manuscript. When of the most influential citizens of Salzburg. in three beats, was a favorite of the emper- it arrived months later, Mozart replied, In 1776 he supplied her with a concerto for or, who overlooked its risqué reputation “My new Haffner symphony has positively three pianos that she could play with her stemming from the close embrace main- amazed me, for I had forgotten every daughters, plus a Divertimento scored for a tained by the couples. (The style endured single note of it. It must surely produce a typical ensemble of two horns and strings. and evolved into the waltz, the quintes- good effect.” He followed up with another Divertimento sential Viennese dance.) Mozart played for the same scoring in June of 1777, to help into another trend when he capped this To convert the serenade into a symphony, celebrate the countess’ name day. dance set with percussive, jangly music in Mozart added flutes and clarinets to the the “Turkish” style—an approximation of outer movements and dropped the intro- Mozart, a strong violinist, probably led the the fearsome military bands from Austria’s ductory March and superfluous Minuet. ensemble from the first violin part, and he perennial foe, the Ottoman Empire. From the outset, with its regal leaps up an would have been unfazed by the melodic octave and resonant blasts from the brass passages that draw the violin high into its — © 2018 AARON GRAD and timpani, this symphony’s festive roots upper range, whether in the fast first move- shine through. Mozart probably went ment or during the decorative variations of too far for a Serenade in his finale, with the second movement. The other substantial all its boisterous humor, rude surprises inner movement, an Adagio, is exemplary Symphony No. 35 in D, and drama worthy of the operatic stage. night music, with plucked accompaniment K. 385, Haffner (1782) However it landed on provincial Salzburg’s imparting the character of an intimate lov- upper crust, it was a hit with the discern- ers’ serenade. Twin minuets surround the WOLFGANG AMADEUS MOZART ing crowd at Vienna’s Burgtheater. Adagio as breezy palate cleansers, although Mozart may have pushed the boundaries Just a year after his move to Vienna, — © 2018 AARON GRAD a bit with a mischievous move to G minor Mozart was “up to his eyes in work” dur- during the first minuet’s contrasting trio. ing the whirlwind summer of 1782, as he The drama of the finale is even more unex- explained in a letter to his father. He had pected, with its introductory recitative that just prepared the opera Abduction from casts the lead violin as a moody soprano in a the Seraglio for its premiere, and he was wordless opera scene. rushing to arrange the score for winds. ARTIST PROFILES (“Otherwise someone will beat me to it To learn more about the musicians performing on this — © 2018 AARON GRAD and secure the profits instead of me,” he program, visit thespco.org/roster wrote.) He also moved houses, and he was arranging his wedding to Constanze Weber on the sly without tipping off his Six German Dances, disapproving father quite yet. K. 571 (1789) In the midst of all this activity, Leopold THE SPCO IS A PROUD MEMBER WOLFGANG AMADEUS MOZART asked his son to write music for the enno- OF THE ARTS PARTNERSHIP. blement of Sigmund Haffner, a boyhood The Partnership strengthens its Once Mozart’s long and lucrative run as chum of Wolfgang’s and the son of the member organizations in service Vienna’s favorite keyboard player fizzled Salzburg Burgomaster. Mozart completed to the community through growing out, his financial situation became increas- a first movement within a week, and he collaboration and stewardship of its ingly dire. A small boost came at the end of dispatched subsequent movements as shared assets.
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THE SAINT PAUL CHAMBER ORCHESTRA ORDWAY CONCERT HALL
Pekka Kuusisto, director and violin | Maureen Nelson, violin
OLIVEROS (1932–2016) Thirteen Changes for Violin (10 min) Pekka Kuusisto, violin
MAZZOLI (b. 1980) Vespers for Violin (5 min) Pekka Kuusisto, violin
MAZZOLI You Know Me From Here (19 min) I. Lift Your Fists II. Everything That Rises Must Converge III. You Know Me From Here
INTERMISSION (20 min)
REICH (b. 1936) Duet (5 min) Pekka Kuusisto and Maureen Nelson, violin
ADAMS (b. 1947) Shaker Loops for String Orchestra (25 min) Part I. Shaking and Trembling Part II. Hymning Slews Part III. Loops and Verses Part IV. A Final Shaking (Performed without pause)
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composed for Monica Germino and Frank sonic fascination that has always been a Thirteen Changes van der Weij, and later recorded by violinist hallmark of Reich’s output, regardless of for Violin (1986) Olivia De Prato for her recent album Streya. the medium. He dedicated the score “to © Anthology of Text Scores by Pauline Oliveros Yehudi Menuhin and to those ideals of — © 2018 MISSY MAZZOLI (ASCAP), Deep Listening Publications, 2013 international understanding which Sir Courtesy of The Pauline Oliveros Trust Yehudi has practiced throughout his life.” (Pauline Oliveros.us) — © 2018 AARON GRAD PAULINE OLIVEROS You Know Me
Pauline Oliveros dedicated her life to a From Here (2012) practice she called “deep listening,” promot- MISSY MAZZOLI Shaker Loops for ing physical and psychological transforma- (1978) tion through acute awareness of sound. You Know Me From Here was commissioned String Orchestra Building on her pioneering early career in by Carol Cole, for the Kronos Quartet, in JOHN ADAMS California’s Bay Area, where she co-founded honor of her husband Tim's 75th birthday. and directed the San Francisco Tape Music When she asked me to write this piece I Shaker Loops, born out of the large-scale Center, Oliveros developed group exercises immediately imagined a 20-minute musical Minimalism developed by Steve Reich and performance instructions that drew journey homeward, a trek through chaos (I. and Philip Glass in the 1970s, was a break- from her experiences with tai chi, body Lift Your Fists) and loneliness (II. Everything through work for the young John Adams. work, feminist and LGBT activism, musi- That Rises Must Converge) to a place of In its initial form, it was a string quartet cal improvisation and meditation, among security and companionship (III. You Know titled Wavemaker; as Adams explained in other influences. Until her death in 2016, Me From Here). This is, at its core, music a program note, “I gradually developed she advanced her work through the Deep about loss, but in the most positive sense; it a scheme for composing that was partly Listening Institute. She was also a capti- speaks of the loss of our old selves, the jumps indebted to the repetitive procedures of vating performer who improvised on the into the unknown, the leaps of faith we all Minimalism and partly an outgrowth of my accordion in her own Deep Listening Band. must make and the beautiful moments when interest in waveforms.” Unsatisfied with his we find solace in a person, in an idea or in first attempt, he expanded the score into a 13 Changes, composed in 1986 for the vio- music itself. The music shifts constantly from string septet (and ultimately string orches- linist-improviser Malcolm Goldstein, does earthy, gritty gestures to soaring, leaping tra) and changed the title to Shaker Loops. not dictate any specific musical mate- melodies that rarely land where we expect. rial, length or instrumentation. Oliveros “The ‘loops’ idea”, he wrote, “was a simply prompts the performer(s) with — © 2018 MISSY MAZZOLI technique from the era of tape music brief, intriguing snippets of text to guide where small lengths of prerecorded tape the improvisation. (The first instruction (1993) attached end-to-end could repeat melodic is: “Standing naked in the moonlight— Duet or rhythmic figures ad infinitum. (Steve Music washing the body.”) To do justice STEVE REICH Reich’s It’s Gonna Rain is the paradigm of to Oliveros’ approach requires deep pres- this technique.) The Shakers got into the ence and connection within the ensemble, In the 1960s, Steve Reich broke away from act partly as a pun on the musical term which in turn invites the audience to join musical academia and its obsession with ‘to shake,’ meaning either to make a trem- in that state of expanded consciousness. complex, European techniques. He support- olo with the bow across the string or else ed himself by driving a taxi in San Francisco, to trill rapidly from one note to another. — © 2018 AARON GRAD and he began to connect with other West Coast mavericks who were experimenting “The flip side of the pun was suggested by with trance-like loops and repetitive cycles, my own childhood memories of growing up not far from a defunct Shaker colony near Vespers for Violin (2014) giving rise to the movement that has come to be called “Minimalism.” After moving to Canterbury, New Hampshire. Although, as MISSY MAZZOLI New York, he established his own ensemble, has since been pointed out to me, the term Steve Reich and Musicians, which provided ‘Shaker’ itself is derogatory, it nevertheless Vespers for Violin, for amplified violin and a DIY outlet for his pulsing, multi-layered summons up the vision of these otherwise electronics, began as a reimagining of my scores. He also found new ways to utilize pious and industrious souls caught up in the recent composition Vespers for a New Dark recording technology, combining live and ecstatic frenzy of a dance that culminated Age. I sampled keyboards, vintage organs, pre-recorded layers of the same instrument in an epiphany of physical and spiritual voices and strings from that composition, in such works as Vermont Counterpoint transcendence. This dynamic, almost electri- drenched them in delay and distortion, and (1982) for flute and Electric Counterpoint cally charged element, so out of place in the re-worked them into a piece that can be per- (1987) for guitar. orderly mechanistic universe of Minimalism, formed by a soloist. The result is something gave the music its raison d’être and ultimate- completely separate from the original work, With its smooth pulses and precise can- ly led to the full realization of the piece.” with only distant, nostalgic connections to ons (in which one voice follows another), the source material. Vespers for Violin was the Duet achieves a depth of texture and — © 2018 AARON GRAD
TICKETS THESPCO.ORG 651.291.1144 31 NOV 23–25 | PROGRAM NOTES
sonorities...half honey, half molten lava." the Kronos Quartet, eighth blackbird, ARTIST PROFILES The quartet quickly went on to win top pianist Emanuel Ax, Opera Philadelphia, PEKKA KUUSISTO prizes at the Concert Artists Guild com- LA Opera, Cincinnati Opera, New York (director and violin) petition and the Banff International City Opera, Chicago Fringe Opera, the Artistic Partner profiles appear on pages 8–9. String Quartet Competition. Classical Detroit Symphony, the LA Philharmonic, Voice praised the ensemble as "one of the the Minnesota Orchestra, the American MAUREEN NELSON (violin) eminent string quartets of our era." Composers Orchestra, JACK Quartet, Maureen Along with a busy touring and teaching cellist Maya Beiser, violinist Jennifer Nelson, violin, schedule, Maureen made numerous criti- Koh, pianist Kathleen Supové, Dublin’s became a full- cally acclaimed recordings on the Naxos Crash Ensemble, the Sydney Symphony time member of label with the Enso. and many others. Her second opera, The Saint Paul Breaking the Waves, premiered to great Chamber MISSY MAZZOLI (composer) acclaim in Philadelphia in September Orchestra in Missy Mazzoli 2016. Her third opera, Proving Up, pre- 2016. As former was recently miered at Washington National Opera founding member and first violinist, she deemed “one of in January 2018. She is currently at led the Grammy-nominated Enso String the more con- work on a large-scale ballet for the Quartet for nearly two decades captivat- sistently inven- National Ballet of Canada, and opera ing audiences from major concert stages tive, surprising number four. of the world, regularly concertizing composers now throughout North America and abroad. working in To learn more about the musicians performing on this Founded at Yale University in 1999, the New York” (The New York Times) and program, visit thespco.org/roster quartet has been described by Strad mag- “Brooklyn’s post-millennial Mozart” azine as "thrilling" and praised by the (Time Out New York). Her music has Washington Post for its "glorious been performed all over the world by
Pulitzer Prize-winning
A moment of peace, in the midst of war. NOVEMBER 10–18 Composed by Kevin Puts. Libretto by Mark Campbell. Based on the screenplay Joyeux Noël by Christian Carion Puccini’s for the motion picture produced by Nord-Ouest Production.
OCTOBER 6–14 A nostalgic and wistful gem from the composer of La Bohème and Madame Butterfly.
TICKETS FROM $25
mnopera.org | 612-333-6669
32 THE SPCO 2018.19 SEASON SHARE YOUR CONCERT EXPERIENCE: @THESPCO #SPCOLIVE NOV 29, DEC 1 & 2, 2018
THE SAINT PAUL CHAMBER ORCHESTRA TEMPLE ISRAEL, ORDWAY CONCERT HALL, TED MANN CONCERT HALL
Richard Egarr, conductor
PURCELL (1659–1695) Selections from The Fairy Queen (20 min) Aire Rondeau Symphony Dance of the Fairies Monkey's Dance Overture If Love's a sweet Passion Symphony See, even Night herself Come all ye songsters Prelude Chaconne
LOCKE (1621–1677) Selections from The Tempest (15 min) The First Musick: Introduction — Galliard Lilk Curtain Tune The First Act Tune: Rustick Air The Third Act Tune: Corant The Conclusion: A Canon 4 in 2
AVISON (1709–1770) Concerto Grosso No. 1 in A (after D. Scarlatti) (12 min) Adagio Kk91a Allegro Kk24 Amoroso Kk91d Allegro Kk24
INTERMISSION (20 mn)
HANDEL (1685–1759) Selections from Water Music (40 min) I. Overture II. Adagio e staccato III. [Allegro] VII. Minuet VIII. Bourrée VI. Air XI. [Allegro] XII. Alla Hornpipe X. [Allegro moderato] XVI. Sarabande XVII. XVIII. XVII. Rigaudon — Allegro — Rigaudon XIII. Minuet XIV. Lentement XV. Bourrée
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TICKETS THESPCO.ORG 651.291.1144 33 NOV 29–DEC 2 | PROGRAM NOTES
Shakespeare by the playwright Thomas The Concerto Grosso No. 1 in A Major Selections from Shadwell, Locke provided a suite of draws from three different Scarlatti The Fairy Queen (1692) instrumental music, and they also collab- sonatas to stitch together the usual slow- orated the next year on Shadwell’s Psyche. fast-slow-fast structure of movements. HENRY PURCELL The two productions were seminal Avison’s opening Adagio is not far off examples of the genre of “semi-opera”— from the Grave treatment in Scarlatti’s Born into a musical family, Henry Purcell that mix of singing and spoken dialogue original; the Amoroso third movement, spent his boyhood in London as a cho- that would have such a profound influ- on the other hand, is almost unrecogniz- rister for the Chapel Royal. At 18, he was ence on Henry Purcell and composers of able compared to the swift Allegro it bor- appointed to a position as a court com- future generations. rows from. (There were not very many poser, and two years later he became the slow movements by Scarlatti in circula- organist for Westminster Abbey, a posi- Locke’s music for The Tempest was tion at the time, so Avison had to get cre- tion he held until his death. Only in the exceptionally colorful for its time, above ative.) The concerto’s two Allegro move- last seven years of his short life did Purcell all in the Curtain Tune that played just ments maximize the counterpoint and concentrate on the theater music for before the curtain first opened. The textural contrast found within Scarlatti’s which he is best known today, including Tempest begins with the storm that gives landmark keyboard sonatas. Dido and Aeneas and The Fairy Queen. it its name, and Locke established that atmosphere with music that starts “soft,” — © 2018 AARON GRAD Premiered in London in 1692 and becomes “louder by degrees,” and ulti- revived the following year with addition- mately turns “violent”—performance al new music, The Fairy Queen adapted instructions preserved in the first pub- A Midsummer Night’s Dream into a semi- lication from 1675. The closing Canon Selections from opera. Shakespeare’s comedy, centering demonstrates Locke’s grasp of the older, (1717) on the magical manipulations of the fairy Water Music learned style of counterpoint. queen Titania, offered ample opportuni- GEORGE FRIDERIC HANDEL ties for Purcell to intersperse fanciful — © 2018 AARON GRAD interludes with singing and dancing Not long after Handel became around scenes of spoken dialogue. Kapellmeister in 1710 to George Ludwig, Elector of Hanover, those two Germans This suite samples the vibrant music Concerto Grosso found themselves making history in Purcell used to set each scene, includ- No. 1 in A (after England. Handel, for his part, revolu- ing the opening Overture and the regal tionized the opera scene in London with Symphony that introduced Act IV. We also D. Scarlatti) (1744) Rinaldo from 1711, spurring him to set- hear a variety of dances that accompanied tle there permanently. Meanwhile George CHARLES AVISON choreographed ballet numbers, from became the unlikely heir to the British the sprightly Dance for the Fairies to the Charles Avison was a British composer, throne, as the closest living Protestant hearty Monkeys’ Dance. The suite closes organist and writer who worked mainly relative to Queen Anne when she died with an instrumental rendition of a song in the northern city of Newcastle. As the in 1714. from Act III that plaintively asks, “If love’s director of a local concert series, he had a sweet passion why does it torment?” first-hand experience with the English George fired the perpetually absent Handel from his Hanover position — © 2018 AARON GRAD craze for concerti grossi, those group concertos developed in Italy by Corelli in 1713, but the two reconciled after and imitated by Handel and many oth- George’s coronation and Handel became ers. Avison capitalized on the trend in a trusted source of music for the royal 1744 by publishing a set of 12 concertos court. In 1717, when a conflict with his Selections from liberal-minded son (the future George The Tempest (1674) modeled on Corelli’s template: a solo group consisting of two violins and cello, II) left the king in need of some good public relations, he organized an outing MATTHEW LOCKE accompanied by a larger string ensemble and basso continuo. Instead of composing on the River Thames and asked Handel Matthew Locke was the leading com- new material, Avison adapted sonatas by to provide orchestral entertainment. On poser of the Restoration, that period that Domenico Scarlatti, whose popularity in July 17, 1717, the river filled with boats, followed the return of the British mon- England spiked after a major publication including a barge loaded with some 50 archy in 1660. In the instrumental music appeared in 1738. In merging Corelli’s musicians. The whole flotilla rode the he composed in service to King Charles ensemble structure with Scarlatti’s musical tide upriver to Chelsea, stopped for sup- II, and also in his works for London’s material, the relatively unknown Avison per and then returned to Whitehall, with theater scene, Locke integrated the older created a collection that easily surpassed Handel’s new Water Music sounding all traditions of the string consort with new his subscription target, and which remains the while. trends in musical drama. For a 1674 active in the repertoire to this day. production of The Tempest, adapted from
34 THE SPCO 2018.19 SEASON SHARE YOUR CONCERT EXPERIENCE: @THESPCO #SPCOLIVE This performance samples highlights conducted major symphonic orchestras from the three suites that comprise Water ARTIST PROFILES such as the London Symphony, Royal Music, each with slightly different instru- RICHARD EGARR (conductor) Concertgebouw and Philadelphia mentation. To help the sound carry over Richard Egarr Orchestra, has frequently guested with the water, Handel leaned on the winds brings a joyful leading baroque ensembles such as and brass, including the first use of horns sense of adven- Philharmonia Baroque and the Handel in a British orchestral work—a sound ture and a keen, and Haydn Society. As well as an that is especially prominent in the third enquiring mind accomplished conductor, he is a brilliant selection from the First Suite in F Major. to all his music- harpsichordist, and is equally skilled on making — the organ and fortepiano. He regularly The Second Suite in D Major emphasiz- whether con- plays solo at major venues such as es the brilliant tone of the trumpets. In ducting, directing from the keyboard, Wigmore and Carnegie Hall and has both the Overture and the beloved Alla giving recitals, playing chamber-music recorded many discs for Harmonia Hornpipe that follows, the horns have and, indeed, talking about music at Mundi, notably of J.S. Bach, Couperin, an echoing role, answering the trumpets every opportunity. Music Director of the Purcell and Mozart. in a mellower, lower register. The Third Academy of Ancient Music since 2006, Suite in G Major is the most condensed Egarr was recently appointed Principal To learn more about the section of Water Music, with its stylized Guest Conductor of the Residentie musicians performing on this program, visit dances using an orchestra without brass. Orkest in The Hague from 2019, and thespco.org/roster From the First Suite’s regal Overture that was Associate Artist of the Scottish begins this collection to the deft Bourree Chamber Orchestra 2011–17. He has from the Second Suite that marks the end, the music consistently follows the French template of the dance suite. Handel may have been German by birth FREE TICKET EXCHANGES and British by allegiance, but as a com- Don’t let scheduling conflicts keep you from attending SPCO concerts. Season poser his ability to imitate and outshine ticket holders can exchange into concerts that better fit their busy schedules — his predecessors knew no boundaries. free of charge! Individual ticket buyers can exchange for a small fee. Visit thespco.org/exchange for more information. — © 2018 AARON GRAD
CELEBRATE THE HOLIDAYS WITH THE SPCO Join in an annual holiday tradition as the SPCO presents festive performances of some of classical music’s most treasured works. These performances are sure to sell out — order today to ensure you get seats! Bach’s Brandenburg Concertos Handel’s Messiah Thursday, December 13, 7:30pm Copresented with The Basilica of Saint Mary Temple Israel, Minneapolis Thursday, December 20, 7:30pm Saturday, December 15, 8:00pm Friday, December 21, 8:00pm Ordway Concert Hall, Saint Paul The Basilica of Saint Mary, Minneapolis Sunday, December 16, 2:00pm Saturday, December 22, 8:00pm Benson Great Hall, Arden Hills Sunday, December 23, 2:00pm Ordway Concert Hall, Saint Paul Led by SPCO musicians and soloists Jeannette Sorrell, conductor; Carine Tinney, soprano Continuing our annual holiday tradition, the SPCO Reginald Mobley, countertenor; Rufus Müller, tenor presents Bach’s most cherished set of orchestral Jesse Blumberg, baritone The Singers – Minnesota Choral Artists; works, the Brandenburg Concertos. The profound Matthew Culloton, Artistic Director inventiveness and instrumental virtuosity of these enduring Baroque masterpieces are on full display as Celebrate one of classical music’s most beloved traditions led by our own SPCO musicians and soloists. as the SPCO performs Handel’s Messiah. Jeannette Sorrell and the SPCO will be joined by an all-star roster of vocal soloists, and renowned vocal ensemble The The Brandenburg Concertos Singers – Minnesota Choral Artists in what is sure to be a sponsored by wonderful musical experience for the whole family.
Please note: Holiday concerts are Adult Tickets: $11 – $50 | Child and Student Tickets: $5 not eligible for voucher or concert membership redemption.
TICKETS THESPCO.ORG 651.291.1144 35 Celebrating Eight Years of Partnership! The SPCO and the Greater Twin Cities Youth Symphonies (GTCYS) are celebrating eight years of partnership this season! Grounded in our shared commitment to strengthen and serve the broader community, GTCYS and the SPCO work together to inspire a love for instrumental music both on and off the stage.
Kids performing Chamber Music for kids. Institute. This annual This powerful concept is workshop provides brought to life once a year GTCYS students the through a co-produced opportunity to rehearse free family-friendly and perform chamber experience. music alongside SPCO musicians.
Winter Retreat. GTCYS Night Once a year, SPCO Out. Twice a year, musicians perform GTCYS families attend for more than an SPCO concert and 750 students who meet (and sometimes participate in GTCYS’ discuss bowing nine orchestras. techniques with) SPCO musicians.
Learn more at gtcys.org and thespco.org
36 THE SPCO 2018.19 SEASON SHARE YOUR CONCERT EXPERIENCE: @THESPCO #SPCOLIVE Make music part of your legacy Through the generosity of donors, the SPCO is making it easier than ever for young people to experience transformational performances. Since the launch of free tickets for children and students as part of our New Generation Initiative, attendance by young people has quadrupled to more than 8,000 children and students attending regular SPCO concerts per season, all free of charge. Legacy gifts from audience members like you help to ensure that the SPCO’s music inspires generations to come. Popular ways to make a legacy gift to the SPCO include: • A bequest of any dollar amount or percentage, or a balance or residue of your estate in your will or trust • A beneficiary designation of any amount or percentage for your IRA or retirement plan, bank or brokerage account, life insurance policy or annuity • Establishment of a charitable gift annuity, which provides immediate support to the SPCO and provides you with dependable income Have you already made a legacy gift? Please let us know! The SPCO’s Encore Society honors and recognizes individuals who have included the SPCO in their estate plans. Membership is offered to anyone who has notified the SPCO of a gift. Please contact Katelin Richter Davis at [email protected] or 651.292.4314 with any questions or for more information. We encourage you to consult your tax advisor or estate planner about which financial vehicles might be best for you.
We thank the following donors for their commitment to sustaining the SPCO into the future. Encore Society members as of June 15, 2018 Anonymous (37) Hanley Daws Margaret Hustad-Perrin Allan E. ‘Pat’ Mulligan* Daryl Skobba Paul and Valerie Ackerman Mrs. Betty Z. Deane* and David Perrin Ms. Betty D. Murray* and Kathleen M. McLaughlin Arlene Alm Cy and Paula DeCosse Frank J. Indihar, M.D.* Mr.* and Mrs.* John M. Musser Charles J. and Myrna G. Smith Karen Anderson and Dr. Karol Jensen* Carol A. Deutsch* Andrea and Gary Iseminger Mr.* and Mrs. John H. Myers Mary L. and Clarence Smith Ms. Betty J. Anderson* Harry Drake* Sarah Miller Johnson Peter B. Myers Frank J. Sorauf* S. S. Anderson Hugh and Joyce Edmondson Charles R. and Sally B. Jorgensen Mr.* and Mrs.* Philip H. Nason Robert Sporre* Mr. Rolf L. Andreassen* Harry and Ilmi* Eichstaedt Erwin A. Kelen Lowell and Sonja Noteboom Richard and Carol Stahl Brent and Jan Assink Kent E. and Katherine A. Eklund Steven and Lee Kingsbury Jean H. Nudell* Barbara L. Strom* Mr. Edmund Babcock* Dr. Dan and Marilyn* Erwin Sternie Kissin-Rosen* Gayle M. Ober Evy Sussman Dr. Thomas C. and Ann G. Bagnoli William Etter Gretchen A. Klein* Margaret J. O’Connor* Edward O. Swanson* Mr.* and Mrs.* John M. Baker John* and Hilde Flynn Rebecca Klein* Linda Odegard and Harlan Cavert Gerald and Emma Talen Rosalyn* and Michael* Baker Marian Forsythe* Gisela Knoblauch* Robert M. Olafson Carolyn Talmage* Mr. Kenneth R. Barry* Clare Fossum Joanne Kay Knoll* Marri M. Oskam Margaret J. Thomas Tina and Joe Barsky Daniel E. Freeman Linda E. Krach and Robert L. Kriel Janet B. Otis* Peter and Anne Thorp Inez C. Bergquist C. Louis Frey* John and Karen Larsen Deborah J. Palmer Mr.* and Mrs.* George A. Toren Arthur F. Bergstrom Inez Gantz Dawn and Mark Larson Janet S. Paper* Ms. Audrey Traub* Ms. Ruth E. Bergstrom* Donald E. and Adele A.* Garretson Robert* and Elaine* Larson Terry and Mary Patton Joe* and Jean Urista Bruce and Arline* Beutel William J. Georgou* David R. and Darlene A. Lee Mr.* and Mrs. William S. Phillips Stephanie Cain Van D’Elden Marion Birmingham* David J. Gerdes Sallie Moniot Lilienthal Sandra Pietron Roman and Alice* Verostko Cynthia Bittner and Randal Schreiner Theresa M. Gienapp Dorothy Lindeke* Patrick Steven Poole* Charles T.* and Carrie R. Walker Robert E. Boldt Paula L. Gottschalk* Warren* and Stephanie Lundsgaard Alice Preves* Douglas Wallace and Peggy Hunter Dennis Breining Mrs. Nettie Grabscheid* Beatrice and P.T. Magee Eric Prindle Michael Walsh Larry and Ellen Marie Brentzel Rose O. Gustafson Tom and Marsha Mann Barbara U. Putnam* and Maureen A. Kucera-Walsh Dr. Arnold and Judith Brier Miss Marion Hallgren* Robert* and Nancy Martin Ellen Paper Rau* Steven Wangstad and Kristi Rollag Dr. Charles T. Brown* William H. Halverson Ludwig Mayer* David A. Robinson Wangstad Thomas* and Barbara Brown Ruth E. Hanold* Richard* and Mary B.* McMillan and Janet G. Ekern Marilee Ward* Theodore* and Mildred* Bulinski Pastor Carl Hansen Marguerite S. McNally* Norman R. Rose* Arvid* and Margie* Wellman C.T. Bundy 2d and Pastor Mary* Hansen Robert* and Roberta Megard Jack and Marty Rossmann Patricia Whitacre* James Callahan Douglas R. Heidenreich Marlys and Robert Melius Ken and Nina Rothchild Karl S. Willson Nicky Carpenter* Tom and Mary Heller Dr.* and Mrs.* Robert Merrick Berneen Rose Rudolph Mrs. Rita Wilson* Jennifer D. Charpentier John F. Hick Maximillian H. Metzger* Don and Mary Anne Ryks Frank* and Laurel Winsor Anne L. Cheney Walt and Judy Hinck Margaret L.* and Walter S.* Meyers Terry Saario Jean C. Wirsig* and W. Stuart Mitchell, Jr. Cara Gould Holmberg John L. Michel Virgil B.* and Marion* Sandquist Gary R. and Sandra M. Woeltge James P. Corson* and David Holmberg and H. Berit Midelfort Barbara and Robert Sherman Max and Deborah Zarling Dr. Sheldon and Mrs. Carol L.* Damberg Hella Mears Hueg* Cornelia Middents* Ralph* and Pearl* Shoemaker Lynn and Sandra Davis Ruth S. Huss Mr. George Muellner Paul* and Teri Singer * In remembrance $50,000+ $10,000–$14,999 Marja Lutsep and Michael Halloran Anonymous Anonymous Helmut and Mary Maier Julia W. Dayton The Allegro Fund of Maureen M. Maly, Alfred and Ingrid Lenz Harrison The Saint Paul Foundation in memory of Lance A. Maly Ruth and John Huss Baillon Family Foundation Tom and Marsha Mann James E. Johnson and Lucy Robert and Gail Buuck from the Richard Martinez and Rosenberry Jones Buuck Family Foundation Sarah Hudleston Erwin A. and Miriam Kelen Judy and Aaron Daniels Jim and Jane Matson Stephen H. and Greg DeWitt Jim Phelps and Kathi Austin Mahle Mr. and Mrs. Al Hilde, Jr. Nancy McGlynn Phelps Andrew and Lynne Redleaf Hoeft Family Fund of William McGuire THE Daniel J. Schmechel and The Minneapolis Foundation Judy and David Myers Wilhelmina M. Wright Thomas Hudson Myers Family Fund of Nancy and Ted Weyerhaeuser Paul and Barbara Klaas The Saint Paul Foundation SPECTRUM Margaret Wurtele David L. Lillehaug and Rosanne Nathanson Winifred Smith Lowell and Sonja Noteboom Laura Liu and Ken Pomerantz OF YOUR $25,000–$49,999 Patricia A. O'Gorman Jo and Gordon Bailey Philip and Katherine Nason Fund of The David and Karen Olson Debra Berns and Amy Lederer Saint Paul Foundation Family Foundation SUPPORT: Sheldon W. Damberg Robert M. and Colleen Oberlies Mr. Jon Oulman Joan R. Duddingston Robert M. Olafson Peravid Foundation Mike and Linda Fiterman Elizabeth and Shawn Quant Mr. David Perrin and A yearly look at all the Family Foundation Dr. Margaret Hustad-Perrin David and Linda Rosedahl Judith Garcia Galiana and Walter E. and Harriet Pratt Alberto Castillo Ed and Jenni Ryan ways you contribute Prospect Creek Foundation James and Kathryn Haymaker Sheva and Tom Sanders Peter and Annie Remes Lowell and Cay Shea Hellervik Bill and Susan Sands Barbara and Ronald Renner Amy L. Hubbard and Sandra K. Schloff Ken and Nina Rothchild The annual giving of more than Geoffrey J. Kehoe Fund James Smith Michael and Shirley Santoro The Art and Martha Kaemmer Alan and Connie Wilensky Kathleen Schubert 5,000 individuals, corporations and Fund and the MAHADH Fund Elizabeth and Bruce Willis of HRK Foundation Anne Simpson foundations has been instrumental Mary E. Schaffner and Robert L. Lee Dr. Michael and $5,000–$9,999 Alfred P. and Ann M. Moore Mrs. Sherry Spence in advancing the artistry of The Susan and Lloyd Armstrong Betty Myers Paul and Amy Vargo Mr. Jeffrey T. Bakken Saint Paul Chamber Orchestra. The The Garrison Keillor and Jenny Mary W. Vaughan Fund of Nilsson Fund of the Minnesota Michael Barry The Minneapolis Foundation Annual Fund provides the SPCO’s Community Foundation Tina and Joseph Barsky Dr. Tom von Sternberg and Mr. Daniel Pennie and Mr. Donald E. Benson Eve Parker single largest and most sustainable Ms. Anne Carayon Joan and Eric Berg Kris Wenker Paul and Mary Reyelts Foundation Michael and Judith Berman Paul and Cara Wilson form of revenue, in addition to the Mr. Justus Schlichting Family Philanthropic Fund Mr. Justin Windschitl many other forms of support we Fred and Gloria Sewell Theresa M. Bevilacqua and Max and Deborah Zarling Teresa and Ron Sit Delbert B. Vanderheiden Harriet Bissen receive. The following list indicates Kay Savik and Joe Tashjian $2,500–$4,999 McCarthy-Bjorklund Anonymous Foundation total giving from individuals Mr. Douglas Affinito $15,000–$24,999 Dr. Arnold and Judith Brier Anonymous William and Suzanne Ammerman between July 1, 2017, and June Barbara B. Brown Ms. Eileen M. Baumgartner Dr. Thomas and Ann Bagnoli Anne L. Cheney and 30, 2018, toward the 2017.18 fiscal Lynn and Sandra Davis W. Stuart Mitchell, Jr. Roger Battreall and Jayne Funk Ronald Eibensteiner Jon and Ann Cieslak Keith and Mary Bednarowski year. We also thank more than 1,000 Terry Wade and Benjamin and Laura Cooper Kay and Rick Bendel Bonnie Grzeskowiak The Dellwood Foundation, Inc. Mr. Arthur F. Bergstrom sustaining donors who support the D. William and Jeffrey and Michele DeYoung Nancy and John Brock Mary Ellen Kaufman Hugh and Joyce Edmondson Barbara Ann Brown SPCO with recurring gifts. Marjorie and Ted Kolderie Chip and Vicki Emery Elwood F. Caldwell John and Karen R. Larsen Charitable Foundation James and Julie Gasper Wendell and Julia Maddox Paul F. and Tina Marie Casey While we are not able to list all James and Teddy Gesell Walter S. and Margaret Meyers Cecil and Margaret Chally Charitable Foundation Kathy and Lee Gremillion of our supporters here, we Sheldon and Lili Chester Deborah J. Palmer and N. Bud and Beverly extend our deepest appreciation Kenneth L. Rich Grossman Foundation Dr. Jay and Syma Cohn Paula Patineau Douglas R. Heidenreich Peter Dahlen and Mary S. Carlsen to all those who have helped the Nicholas Pifer and Amy McNally Sharon and Bruce Hendry The Dawkins Family Fund of The Saint Paul Foundation Rice Family Foundation / Cara Gould Holmberg and SPCO serve our community. A list Mr. and Mrs. John Douglass, David Holmberg Cy and Paula DeCosse Fund of The Minneapolis Foundation Mr. and Mrs. James Bowditch Kris Johnson of all contributors who made a Mr. Douglas Devens and Mrs. John Riehle and Lee Jones Jennifer Raeder-Devens gift during the 2017.18 fiscal Margaret Lindlof Kyu-Young Kim and Pitnarry Shin Leland T. Lynch and Terry Saario Tom DiPasquale and Dr. Robert L. Kriel and Rosanne Pera year can also be found at Fund of The Minneapolis Dr. Linda E. Krach Foundation Liz Dodson Mrs. Anita Kunin www.thespco.org/contribute. Janet Shoemaker Warren and The Forman Family Fund of Dr. Randall C. Warren Sheila and Stephen Lieberman The Saint Paul Foundation Jane and Dobson West Jon and Patty Limbacher Dean Greenberg Scott Wilensky John and Nancy Lindahl Frederick Haas and The Benno and Thomas and Hinda Litman Sarah Nordstrom Gertrude Wolff Fund of S.K. and Sing Lo Karen Grabow and The Saint Paul Foundation Keith Halperin
38 THE SPCO 2018.19 SEASON SHARE YOUR CONCERT EXPERIENCE: @THESPCO #SPCOLIVE Ms. Lorraine Hart Andrea and Gary Iseminger Rick and Murph Dow Karen and Steve Sanger Mary Beth Cutting Kris and Tom Hauschild Mr. Raymond Jacobsen William and Kareen Ecklund Lanny and Charlotte Schmidt Denise and James Wilfrid Hines Mrs. Barbara Jenkins Jessica and Jason Etten Mr. and Mrs. Jerald R. Shannon D'Aurora, Ph.D. The Hoeschler Fund of Isabelle and Dan Johnson Jeff and LeeAnn Ettinger Mark and Rebecca Shavlik Tom E. Davis The Saint Paul Foundation Nancy and Bill Jones Rebecca S. and Benjamin R. Field Richard H. and Mary Jo Skaggs Charles M. Denny, Jr. and Gisela Corbett and Peter Hyman Carol E. Denny Fund of the Mr. and Mrs. Robert R. Kloehn Catherine Fischer Clifford C. and Virginia G. Minneapolis Foundation Chris and Val Jackson Sorensen Trust of the James and Gail LaFave Patricia Freeburg Mr. and Mrs. Stephen E. DeRoche Drs. Charles and Sally Jorgensen Saint Paul Foundation Ms. Alice Lesney Mary and Thomas Gross Mrs. Pamela H. Desnick Janet P. Kampf Mr. Ronald Spiegel George M. Logan and Jennifer Gross Mrs. Ann L. Dieperink Dr. and Mrs. Sung Jo Kim Susan H. Holman Virginia L. and William H. Halverson Edward C. Stringer Mr. and Mrs. Larry J. Douglas Dr. Steven and Debbie Koop Stuart and Martha Mason Mr. Charles Hample and Dr. Andrew J. Thomas Bill Drake Maureen Kucera-Walsh and Catherine A. Mayer Ms. Frances Bly Michael Walsh Mrs. Elsie G. Trapp Beverly Dretzke and William and Virginia McDonald The Hanley Family Paul Schaleger Bill and Diane Kuhlmann Vantine Family Fund of The Jerry and Jeanne Meigs Paul and Cheryl Hansen The Minneapolis Foundation David and Karen Dudley Ms. Susan S. Lauer Fund of the Saint Paul Pastor Carl Hansen Foundation Stephen and Alex Warch David Dudycha and Lydia S. Lui Lindsey and David Hansen Dorothy Vawter Mersky Family Foundation Mr. David Ward Holly MacDonald and Ms. Katherine Harris David and Tammy Durant John Orbison David and Leni Moore Mark Warnken and William Hauser Nancy Coppa Ms. Sheryl Ebert Daniel and Chris Mahai Family Foundation Don Helgeson and Sue Shepard Mr. Charles Weinhold Richard Effress Helen and Bob Mairs Kay Phillips and Jill Mortensen Fund of The Minneapolis Mr. John F. Hick John G. and Lois Schrantz Mr. Ryan Egan Jerome Miranowski and Foundation Welshons Fund Donna Kelly Dr. and Mrs. James House Mike and Betty Elson D. William O'Brien and Coralie O. Hunter John and Sandy White Judy Enfield Alice Carile Neale Julie Smendzuik-O'Brien Ms. Nancy Hylden Richard and Lucy Wilhoit Ms. Deborah Enyeart James and Carolyn Nestingen Lawrence M. O'Shaughnessy Karen and Stuart Johnson Steven Williamson Patricia Fair Christie and Win Neuger Dr. Anita M. Pampusch Erika and Herb Kahler John W. Windhorst, Jr. Karl and Sara Fiegenschuh Eric Nilsson and Lizabeth Boger Jason and Kate Piehl Roger A. and The Jean C. Wirsig Fund Ms. Carolyn D. Fiterman Linda Odegard and Stephen Willett and Diane Pike Harlan Cavert Patricia Katzenmaier Gordon Wright Edward Fox and Lori Belair Julianne Prager J. Thomas and Janet Payne Sandra Keith Fox Family Foundation Ted and Karen Rado Family Ms. Astghik Poladyan Mr. Robert Kieft $500–$999 Mary and Mike Frederick Sarah Rockler Eric Prindle and Margaret V. and E. Anonymous (6) Paul and Greta Garmers Kenneth and Marian Rose Robert Kinney Dr. Emily Anderson Mr. Gary Aamodt and Ms. Jo Gilbertson Don and Mary Anne Ryks Ms. Andrea Kircher Ms. Celia Ellingson Rhoda and Paul Redleaf John and Cindy Gilpin Anthony and Katie Scarfone Mr. and Mrs. Marek Kokoszka Paul and Valerie Ackerman Dr. John and Betty Reichert James and Jo Glasser Mr. and Mrs. Hugh K. Schilling Mr. Robert Kramer Ms. Barbara A. Agard Thomas D. and Nancy V. Rohde Mr. and Mrs. Richard Gould Rod and Nancy Smith Jim and Gretchen Kvikstad Tom and Arlene Alm Jack and Marty Rossmann Mr. and Mrs. Thomas A. Grace Dr. Michael Spilane LeJeune Family Foundation Mrs. Anita Anderson Ms. Kim Severson Mr. and Mrs. Curt Gray Mr. and Mrs. Warren R. Staley Jennifer Leopold Mr. Stuart J. Applebaum and Robert and Barbara Sherman Greg and Carol Gross Mrs. Stephanie Sulentic Ginny and Sy Levy Ms. Jean King Mariana and Craig Shulstad Stephanie Chew Grossman Beth Toso and Eric Freeburg Family Fund of The Ms. Diana Barber Mrs. Dianne Siegel Minneapolis Foundation Arthur and JeanAnn Guetter Ms. Marcia K. Townley Mr. Paul A. Bard, Jr. Gary and Susan Specker Sarah Lutman and Rob Rudolph Mr. and Mrs. Curtis Gumbrell Charles Ullery and Elsa Nilsson Ms. Mary Bauman Mr. Arturo Steely Mark and Becky Lystig Dr. Elizabeth M. Gutmann Mr. Carl Voss Ronald and Joyce Beauchane Mr. Michael W. Steffes Dusty Mairs The Donor Advised Charitable Wiltz Family Fund Lynne and Bruce Beck Christopher Stewart Laura McCarten Fund of Jonathan Guyton Pat Wuest Dr. Susan Benfield Christopher T. and Ms. Martha McCusker Merrill Biel and Leslie Hahn Linda D. Stinson Mr. Ron Zweber and Erika Marie Berg Mary Bigelow McMillan Ken and Suanne Hallberg Diane and Gaylord Mr. Peter Scott Dr. Sylvia and Fred Berndt Margaret Mehle Ms. Sandra L. Halvorson Thormodsgard Kenneth and Marie Bezdicek Dean and Diane Milbrath Mr. and Mrs. Harold Hamilton Dr. Stephanie Van D'Elden $1,000–$1,499 Mr. Robert Bishaw David Miller and Mary Dew Thomas B. Hatch Thomas Wahlrobe and Anonymous (3) Dr. Michelle M. Blaeser Elizabeth Bell Mark Mislivec Mr. Nick Hay and Adams Family Charitable Mary and Gus Blanchard Ms. Carol Poulson Delores Weaver Fund of American Charles Mitchell Joth Blodgett and Sally Mullen Cheryl and Reid Hegland Endowment Foundation Mrs. Jeanette L. Mitchell Patricia and Martin Blumenreich Scott and Kathy Heiderich Ms. Margaret Alldredge Ms. Carolyn Mueller $1,500–$2,499 Ms. Fran Bly Tom and Mary Heller Mary and Bill Bakeman NaLa Fund of Anonymous (2) Thelma Boeder The Minneapolis Foundation Ms. Cate Hesser James and Sharon Allen Mrs. Jeanne B. Baldy Gail and Richard Bohr James and Leane Hewitt Clarence and Carolyn Bass Thomas and Kathryn Nelson Dan Avchen and David Johnson Ms. Mary S. Bowman Judith and Joseph Neumeier Dr. and Mrs. Walter A. Hinck Robert Ball and Mark Schuler Ms. Jane K. Batcheller Allan Bradley Mr. Alden Hoefer and Richard Bayles Dovehill Foundation Katie Berg Mrs. Andrea Brainard Mrs. Marion Stuart Drs. Ellen and John and Kathryn O'Brien Carole and Norlin Boyum Mr. Steve and Gail Brand John Hogie Michael Bendel-Stenzel Diane Ogren and Jeffrey Hill Mr. and Mrs. Roger Brooks Mr. Bruce L. Brasaemle Stan and Jane Hooper Diane and Henry Benz Jean and Douglas Parish Annette Conklin Mr. and Mrs. Michael D. Bromer Stephen L. Hopkins and Paul Burns and Kathy Kim Robert and Julie Paschke Ariel W. Dickerman Herb and Bonnie Buchbinder Gail Olson Ms. Barbara L. Butcher Catherine Polasky and Kathleen and Douglas Drake Ms. Ginny Housum Ms. Elizabeth Riedel Carney Averial Nelson Ellen Butler Lori Ricke and Eric Dunn Anne and Rich Hovland Ms. Ellen L. Conway Dr. Richard and Arlene Pontinen Ronald and Martha Caldwell Joyce F. Field Terry and Ann Huntrods Lucia P. May and Bruce Coppock Dr. and Mrs. Dwight A. Porter Mr. James Callahan Mr. and Mrs. William Gacki Jerome and Judith Ingber David and Mary Cost David and Norma Porter Campbell Family Doug and Jane Gorence Charitable Gift Fund Rene and Marcus Jacobson through the Charles Piper Mary and Jonathan Preus Mr. Walt Handschin Cost Foundation Jim and Janet Carlson Mr. Donald Janes and Mr. and Mrs. William L. Roberts Ms. Marilyn Thompson John W. Harris Family Mr. and Mrs. Leigh F. Countryman Debra Cohen and Craig Fields Mrs. Carol A. Robertson Carol Oversvee Johnson Emily and Jed Harris Gwen and Kenneth Crabb Senator Richard Cohen The David Robinson and Lynn Johnson Jon and Karen Helgason Casey Crabb Janet Ekern Fund Mr. Larry Colbeck Pamela Johnson Polly Henderson Doug and Ruth Crane John David Rodriguez Steven Copes Orville and Kathy Johnson Ms. M. Janice Hogan-Schiltgen James and Gretchen Davidson Burton G. Ross and David and Jeanne Cornish Katrina Johnson and Orville C. Hognander, Jr. Frances Davis Cynthia Rosenblatt Ross Fund Mr. and Mrs. Michael Costello Anita Wheeler David and Marjorie Hols Dovehill Foundation Christine Sagstetter Helen and John Crosson
TICKETS THESPCO.ORG 651.291.1144 39 Dr. Linda Johnson Mr. CT Osthoff Mr. David Willetts Caroline and Dutton Foster James P. Kortz Barry and Karen Johnson Ms. Janice Ostrem Mr. John Williams Mr. and Mrs. John Frank Dalia and Lawrence Kraut H. Budd and Carolynn Johnson Dr. Christina Pabelick Mark and Susie Williamson Ms. Cynthia Freedman Ms. Jana Larson Caryn and Jim Josephson Lana K. Pemberton Bernie and Evie Zeruhn Mr. Lee Frelich Richard Launer and Amy Sadoff Mr. James Kalbler John and Margaret Perry Ms. Phyllis Doane Frisby Mr. and Mrs. James A. Leighton Mr. and Mrs. John C. Kaplan Ms. Jane Persoon $300–$499 Barbara A. Fritz Ray and Ginny Levi Andrew and Virginia Kass Sidney and Decima Phillips Anonymous (9) Marjorie Frost Mr. and Mrs. Herbert Lewis Pam Kaufman and Anne D. Pick Gwen R. Anderson Bruce and Alice Gaarder Ms. Mary Lewis Dennis Keierleber Ms. Sandra Pietron Chip and Barbara Allen Margot Forfunato Galt Mr. and Mrs. Michael A. Lidberg Mr. and Mrs. Timothy M. Kelly Mr. Nick Hay and Robert Anderson and Ms. Deb Garvey Dr. Roger and Ellen C. Lillemoen Ms. Rosemary Kessler Ms. Carol Poulson John Schmidt Rebecca Gepner Christopher and Jana Lind Dale and Jan Kidd Linda Magdsick Quammen and Mr. Bruce T. Anderson Mr. David Gerdes Mr. Rodney J. Loeffler Parker Quammen Steve and Lee Kingsbury Mr. Dean Anderson Theresa M. Gienapp Dr. Linda Ann Long James and Connie Reagan Mr. David Kirkland and Mrs. Margaret Anderson Theodore and Hung-Ja Gliske Mary Lundberg-Johnson and Ms. Laurel Anthony Mr. John Reay Linda Anderson Nina and Matthew Graham David C. Johnson Mr. Harold Kistler David and Catherine Richter Ms. Kathryn D. Andrews Mr. Vadim Gurvich Ms. Michele Madigan Dr. Kevin Kooiker Joanne and Jerry Robertson J. Michael Barone John and Mary Gustafson Robert Madoff and Jane Korn Lambert and Jean R. Krinke Fund of Gulf Coast Comm Fndn Michelle and Phillip Barry Scott and Jane Hall Danette Malerich John and Nanciann Kruse Ms. Debra Rodahl Ms. Karen Baszynski Mark and Mary Jo Hallberg Michael Manns Mr. Steven Kurzweg Dr. and Mrs. Calvin J. Roetzel Dr. and Mrs. Milton C. Bauer Mr. William Hanson Merritt and Betty Marquardt Brian Lammers Ronning Linc Fund Mrs. Meredith Berg Lowell M. Hanson Mr. Todd Marshall Mr. and Mrs. Richard Lang Tamara and Michael Root Vernon and Luann Berglund Robert and Clara Hardy Lawrence and Claire Martin Kenyon S. Latham, Jr. Diane R. Rosenwald Eli Berg-Maas Stan and Jodi Harpstead Edwin and Katherine Martin Dr. and Mrs. Stanley A. Leonard Brynhild Rowberg Mr. Bruce Beutel Ms. Loraine Harris Ms. Phyllis Mattill Mr. Kelvin Lim Mitchell and Sally Rubinstein Sharon Bigot Lyle Hart Kristi Mattson William Litchy Juliana Kaufman Rupert Christopher Bineham and Dr. Paul Hartzheim Brian and Karen Maverick Donald and Lois Lovejoy Harrison Rivers Thomas and Claire Rykken Mr. David Hawley Ms. Sylvia McAlpine Kathryn and Nancy Madson Mrs. Joyce Blomquist Mr. Tom Scott Ms. Carrie Hefte Ms. Sylvia McCallister Donald andv Rhoda Mains Jane L. Boss Kathryn J. Sedo David and Ann Heider David McClung Chris and Ann Malecek George and Elaine Boyd Ms. Miriam Seim Mr. Grey Helvey Ms. Susan McKinley Ronald and Mary Mattson Mrs. Elaine Brahms Daniel and Emily Shapiro Ms. Mary Beth Henderson Ms. Anne McKinsey James P. McCarthy and Judith and Paul Brandon Ms. Gale Sharpe Ms. Kristin L. Hendrickson Stanley and Susanne Meyer Gloria Peterson Mr. and Mrs. John E. Brandt Mr. and Mrs. Morris Sherman Mr. and Mrs. David Henseler Mr. John Michel Corrine McCarthy Jean and Carleton Brookins Lane and Francine Shetterly Ms. Mary Kay Hicks Mr. John L. Michel and Andrea and Larry McGough Dr. Andrew and Dr. H. Berit Midelfort Fund of The Catholic Terry Shima Dr. and Mrs. John Jacob Hill Sherilyn Burgdorf Ms. Deborah Mielke and Community Foundation Mary F. Hill John and Rebecca Shockley Susan and Michael Burnett Mr. Ben Jackson Mary Ann and John Mecom Anders and Julie Himmelstrup Mark and Mary Sigmond Mr. Crawford M. Campbell Ms. Nancy Miller Roberta Megard Arthur and Donna Hogenson Mrs. Madeline Simon Dr. Thomas G. and Rodney Miller and Dolores M. Merrill Terry and Leah Slye Susan P. Cathey Mr. and Mrs. Robert Hohertz William A. Miner LaVonne B. Middleton Mr. David Smith Mr. Oscar B. Chamberlain Mr. Matt Holden Joan and Robert Mitchell Mr. Keith Miesel and Marsha and John Soucheray Steven and Helen Chambers Mr. and Mrs. John M. Hopkins Dan and Lynn Montgomery Ms. Linda Ojala Nancy Speer Mr. and Mrs. Darrell J. Ms. Nancy Huart Mr. and Mrs. Jack Moran Mr. John Palmer Miller Delores and Donald Stenzel Charboneau Mr. Guillermo Irisarri Inar and Susan Morics Ms. Laurie Miller and Mrs. Michelle Christianson Mr. and Mrs. Jerome H. Irsfeld Mr. Scott Sakaguchi Dr. M. Thomas and Liba Stillman Ms. Ann Morrissey Margaret and Roger Clemence Mina Jacobs Ms. Stephanie Misono Dr. Kathryn Strom Mrs. Jennifer Muenchow Monika Stumpf Robert Cochrane and Mary E. and Todd C. Jacobson Mary and Peter Mulier James and Carol Moller Denise Scharlemann Sulasalmi Fund of the Donald and Suzanne James John Mulloy Bob and Yvonne Momsen John and Grace Cogan Minneapolis Foundation Margaret and John Janzen April L. Narcisse and Reverend William and Ms. Judith Collopy Karen Montgomery Marcia & Joe Sullivan Mr. Mark Jarrett James A. Percich Charity Fund Mary Sue Comfort Amy and Eric Moon Ms. Suzanne Jebe Michael Nation and Barbara Swan Mr. and Mrs. Russell G. Cox Janet Sauers George and Cheryl Moore Ms. JoAnn Johnson Janet and Craig Swan The Crosswols Foundation Dr. and Mrs. Robert P. Nelson Russell Moore and Erica Weida Ronald and Barbara Johnson Mr. and Mrs. Dudley Swedberg Mr. Peter Cross Mr. and Mrs. Edmund Newman The Moore Family Nancy H. Jones Paul A. and Judith Tarabek Don and Gerda Nightingale Charitable Fund Mr. Terry and Erin and Alex Jude James B. Tchobanoff and Mrs. Jeanette Cureton Mr. David Nordhausen Ms. Anne Murphy-Resz Mr. and Mrs. Henry Kaldahl Mariann Cyr Ms. Mary Dawson Byron and Janet Nordstrom Karla and Peter Myers Mr. Raye Kanzenbach and Jon and Lea Theobald John and Virginia Dell Ms. Gail Nelson Mrs. Joni MacDonald Mr. Paul Nyquist Richard Thomas and Michael and Sherry DeRosa Helen Nelson Harvey and Suzanne Kaplan Mr. James Oberly and Teena Moy Mrs. Elisabeth Deutsch Ms. Louise Merriam Richard and Nancy Nelson Bert and Jane Kasiske David and Jennifer Thomas Paul and Jeana Ogren Peter and Sara Discenza Pamela E. and Merritt C. Nequette and Mr. Timothy Thorson Nancy Hartung Ms. Marybeth Dorn Jeremiah J. Kearney Ms. Patricia Olive Dale W. Ulrich and Julie Brunner Ken and Mary Neustel Dr. and Mrs. Jerome W. Dougan Mr. Chris Keating Mr. David Edward Olsen Andrejs Vape Mr. J. Newlin Mr. and Mrs. Wayne Dunshee Jeffrey Kimpton Ms. Ellen Olson Ginny and Ed Vizard Eric Newman and Janice Gepner Jan L. Duquette Anthony L. Kiorpes and Mr. William Olszewski Mr. and Mrs. Raymond K. Ms. Ethel Dzubay Farrel E. Rich Corrie W. Ooms Beck Joan and Richard Newmark Voelker Mr. & Mrs. John C. English Mr. Carlton Kittleson Ms. Charissa Osborn Ms. Phuong Nguyen Douglas Wallace and Arthur Klassen David and Billie Novy Margaret O. Hunter Mr. and Mrs. Leif Erickson Mr. and Mrs. Stephen L. Parker Mr. and Mrs. Arthur and Mr. and Mrs. James M. Odland Helen Wang Joseph and Susan Eschenbacher Terry and Mary Patton Bethany Klebanov Mr. Robert P. O'Hara, Jr. Mr. John Ward John and Carol Evert Mr. Michael J. Peterman Allan W. Klein and Richard and Adele Evidon David and Nancy Peters Jesse Okie and Mary Harrington Mrs. Sarah Weddell Harriet Lansing Mr. and Mrs. Francis Fallon Ms. Janet Petri and Mr. Kevin O'Malley Margaret Weglinski William D. Klein and Hildy Bowbeer Dr. Louise Fawcett Mr. Paul Zorn John Benson and Mr. and Mrs. Frederick West Ms. Ellen Kniebel Krisan Osterby-Benson Mr. William Fitzgerald Ms. Ann L. Piotrowski Timothy Wiedmann Gerd Knops Mr. and Mrs. Allan Osterud Ms. Jo Fleming Mr. David Pitt and Mrs. Frances R. Wilkinson Ms. Linda Y. Kohl Ms. Mary Beth Curry
40 THE SPCO 2018.19 SEASON SHARE YOUR CONCERT EXPERIENCE: @THESPCO #SPCOLIVE Bruce and Kathleen Pohlig George and Josephine Vania Mr. and Mrs. Randall C. Betcher Timothy and Cynthia Davey Peg and Liz Glynn Mr. John K. Porter Ms. Victoria K. Veach Beth Bird Mr. and Mrs. Peter A. Davis Frances S. Go Ms. Lorraine Potuzak Ms. Elizabeth Villalta and Renee Pfenning and Richard Day Mr. and Mrs. Howard Gochberg Ms. Leila D.J. Poullada Mr. Perry Leo Wayne Bjorlie Amos and Sue Deinard Ralph H. and Ursula F. Goebel Mr. Alex Pritchard Mr. Mark Viste Melissa and Matt Bleecker Ms. Laura Delavie Bette Goldberg Mrs. Jean Probst Jenifer Wagner and Ms. Joan Bliss Mr. and Mrs. Max Delong Mr. Tim Golden James Vogel Joseph and Patricia Pulice Sheila M. Boos Dr. and Mrs. Donald E. Derauf Ken and Harriet C. Goodpaster Shawn Wanta and Pat Fenlon Mr. Richard Putzier and Patricia Borchert Mr. William Dexheimer Pharris Mrs. Katherine Goodrich Mr. and Mrs. Gilbert E. Ward Ms. Jane Poethke Mr. Stuart Borken Marcia and John Diracles Paul and Barbara Grabowski Mr. Mark Weigel Mr. Bradley and Mrs. Linda Mr. and Mrs. David J. Borsheim Korto Dixon Mr. Timothy Grady and Quarderer William and Diana Weller Mr. and Mrs. Jeff Bowar Mr. James Doak Ms. Catherine Allan Michael and Charito Rabe James and Martha Wells Judy and Gerald Bratt Humphrey Doermann Charlotte L. Grantier Mr. and Mrs. Dave Racer John P. and John and Rosemary Braun Sue Dosal Ms. Annalee Gray Ms. Dorothy Raetz Annette Morrison Whaley Mr. Roger Bredeson Reverend Mark B. Dosh Dennis and Liz Grimmer Ms. Molly Raske Thomas and Mary Lou Wilharber Jim Brewer Mr. Donald Draayer Mr. and Mrs. Robert Groover Ms. Lisa Reed Mr. and Mrs. Robert T. Wilson Ms. Dorothy Brewer Mr. and Mrs. Joel R. Dufresne Mr. Gerald F. Gruber Gregory and Patricia Reese Mrs. Marguerite Wilson Ms. Jan C. Brown Stephen and Vickie Dunn Pamela and Josh Gruber Mr. and Mrs. Vern Reinhardt Gary and Sandra Woeltge Ms. Cheryl Brown Ms. Mary Earl Stephen and Roxanne Gudeman Sally A. Richardson Ms. Mary Yee Philip and Ellen Bruner Doug and Connie Earl Mr. Daniel Gumnit and Gail and Joel Roberts Alex Schildmeyer and Ms. Linda Kuusisto Priscilla Zee Ms. Dorene J. Bruns Lisa Edstrom Mr. James A. Roeller Mr. and Mrs. James M. Hacking Ms. Nancy Zeis Keith and Nora Buckley Robert and Kathleen Eide Mr. and Mrs. Richard Rominski Michael and Jane Hagedorn Mrs. Judy Zinn Ms. Tamara R. Buetow Kent and Katherine Eklund Bruce and Ann Rovner Bob and Diane Hagstrom Mr. Matthew Bulisco Ms. Nada Ellert Jim and Sandy Rummel Mr. and Mrs. Daniel Burks Noelle and Theodore Haland $150–$299 Joseph and Marilyn Emond Mr. Dick Sarafolean Mr. and Mrs. Paul E. Burns John and Anne Haley Anonymous (16) Debra and Curtis Enestvedt Mr. Ottavio A. Savina Ms. Elizabeth Buschor Dr. Pinckney Hall Tracey Abbott Mr. and Mrs. Theodore Ericson Mary E. Savina Mrs. Annabelle D. Bush Mrs. Evelyn H. Halverson Ms. Karen Abraham Mrs. Patricia Erlandson Robert Stanich and Ms. Janel M. Bush Louise M. Halverson and Jeanne Schleh Wayne and Connie Adkisson Ms. Diana Ersfeld David C. Sommer Ms. Diane Bushyager Mr. and Mrs. Joseph R. Schumi James and Anne Afdahl Ms. Laura Espondaburu Ms. Kathlyn Halvorsen Mr. Douglas Caldwell Harold A. Schwind Donna Ahrens and Philip Mrs. Wendy D. Evans Ms. Linda Hammond Anderson Charles G. Calhoun Mr. and Mrs. William R. Scott, Jr. Mr. Rumi Faizer and Mr. Russell Hankins Mr. and Mrs. Nobuhiko Akimoto Mr. and Mrs. J. Kevin Callahan Mrs. Archana Ramaswamy Dr. and Mrs. Robert H. Scott Anne Hanley and Janet Albers Mr. and Mrs. Robert J. Callahan Gary Falkenstein Mr. and Mrs. Thomas H. Selwold George Skinner Mr. James Alt and Dr. John B. Cardle Jack and Eileen Falker Mr. and Mrs. Mrs. Sally S. Hart Mrs. Deborah McKnight Edward J. Senninger Ms. Elaine J. Carlson Ms. Kathie Faricy Shawn D. Hartfeldt Mr. and Mrs. William Althoff Jay and Kathryn Severance Lynn and Steve Carnes Mr. Russell Felt Linda and Dick Hartshorn Arthur Anczarski Ms. Mary Shamrock Alan and Ruth Carp Dr. Brian Fiedler Dennis Hartung Dr. and Mrs. John H. Anderson Alan and Linda Shapiro Dr. Emmett Carpel Frances and Roger Field Mr. Ken H. Hartung Beverly S. Anderson Dr. and Mrs. Leslie A. Sharpe Mr. James Carr Dennis Findley Mrs. Mary M. Hauser Lori and Lee Anderson Frank and Ruth Shaw Mr. Eugene W. Carroll Ms. Wanda Fingalson Mr. and Mrs. Harry C. Heacox Dr. John Anderson and David Short and Jennifer Ms. Cynthia Cattell Papa Smurf Ms. Marsha Niebuhr Dennis and Nancy Hebrink Marrone Mr. and Mrs. William C. Child, Jr. Jan and John Finnegan Jerome and Constance Mrs. Sally Heimerman John and Brenda Sielaff Sharon T. Chmielarz Mr. Sheldon Finver and Anderson Geoffrey and Randi Hellman Paul and Erika Sitz Ms. Jeannine A. Churchill Ms. Dee Albert Ms. Paula A. Anderson Mr. and Mrs. Glenn and Mary Skoy Casey Clausen Dr. and Mrs. Steven Fisher Mr. and Mrs. Renner S. Anderson Lawrence J. Hessburg, Jr. Mr. and Mrs. Robert B. Smith Rebecca and Brian Cline Mr. John Floberg and Mr. Russell Heuckendorf Ms. Rosalind Annen Ms. Martha Hickner Mr. and Mrs. Douglas Smith Mr. and Mrs. Joseph Clysdale Mr. Charles Hibbard Ms. Lois Anselment Mr. Paul Floyd Ashley and Jon Sondergaard Elizabeth Cobb and Peter Maye Mr. Brian Hildebrant Peter Anson and Ms. Delores Fohlmeister Dr. Krzysztof Burhardt and Sally Ankeny Anson Gary B. Cohen Mr. Jonathan Hill Ms. April Spas Mrs. Elizabeth Foley Emily Anthony Jan Colliton Ms. Elizabeth Hinz Margaret Spear The Connie Foote Family Fund Matt Anton and Melina Williams Ms. Phyllis Conlin of The Saint Paul Foundation Ms. Gayle E. Hjellming Florence Sprague and Ms. Carole Appleby Ms. Nancy Conway Mr. Michael Hjelmeland David Misemer Linda and Douglas Foster Ms. Ellen Archibald Edward and Monica Cook Mr. and Mrs. Neil A. Hodson Biruta and Andris Spruds Edward and Janet Foster Mr. Steven Arnold The Nellie Johnson and Walter Ms. Kathleen Fouty S.E. and Lynn W. Hodulik Kevin and Barbara Stalsberg Cooney Fund of InFaith Mary Kay Arthur Mr. and Mrs. James A. Hoglund Mr. Michael Stellmacher Community Foundation Dr. and Mrs. Elliot Francke Mr. and Mrs. Frederick M. Asher Lois Hollingsworth Mrs. Judy Steltzner Mark Lammers and Ms. Bobbie Fredsall Michael Atton Ms. Julie F. Holmen Denis and Nancy Stoddard Margaret Cords Dr. Arlo and Stephanie Frost Elisabeth Aurand Mr. Richard Holmes Carol and William Straka Mrs. Jeanne E. Corwin Mr. Markus Gaelli and Ms. Karen Avaloz Ms. Deborah Gross Ms. Abbe Holmgren Steve Pincus and Mr. Michael Coscio Michelle Strangis Mr. Mentor Addicks Peter E. and Eunice K. Cote Theodore Galambos Dr. and Mrs. Robert T. Holt Benjamin Swanson Joseph R. Baierl and Jane Cowles Susan Gallagher Alexander and Ms. Beth Honetschlager and Denise Duchateau Mark Alexander Mr. Donald Greenebaum Richard Swensen Stephen J. Creasey and Audrey and Dan Bailey Dr. and Mrs. John T. Garland Ms. Linda M. Hoskins Mr. Jerry Swenson Lori L. Wilcox Ms. Carly Baker Mr. Paul B. Garrett Burt and Sandy Hoverson Wayne and Judy Swisher Robert and Leanne Crompton Fred and Carol Banister Mr. Joseph Gaugler Mr. and Mrs. Brian Howell Kipling Thacker and Kevyn Riley Barbara and Richard Crouter Mr. Richard Banyard Olivia and Donald Gault Ms. Teresa Hudoba Ms. Joyce Thielen T. Joseph and Benjamin and Aroti Bayman Mary Kane Crumley Dr. and Mrs. Robert W. Geist Kathleen and Mark Humphrey Mr. and Mrs. John P. Thomas John Beal and Barbara Brin Ms. Nancy A. Cudahy Robert and Elizabeth Genovese Mr. John Humphrey Mr. Benjamin Thomas Mr. and Mrs. Mitchell E. Bender Mr. and Mrs. Robert Cuerden David and Sharon Giel Chris Huntington Jean Thomson Andrew and Audrey Benjamin Ms. Judith Custer Ms. Janet Gillespie Patricia Hurd and Bruce Weeks John and Theresa Thurmes Bradley and Jenny Benn Ms. Elaine A. Dalager Mary Gillespie Barbara Hyer and John Pavlovich Mark and Jan Tiggas Ms. Elizabeth Bennett Frederick and Mr. Mark D. Gitch Ms. Emi Ito Bruce and Janet Tockman Edith Ann Dalleska Donald and Mary Anne Bennett Joline Gitis and Steven Miles Mrs. Kathleen Jaglo-Joseph Mr. Neil J. Trainor Richard and Nancy Randall Dana Susan Benus Anne and Stanley Glad Ms. Ann Jalonen David and Janice Tweet
TICKETS THESPCO.ORG 651.291.1144 41 Skip and Linda James Susan and Claus Mahler Mr. and Mrs. Roger Oelschlager Ms. Nancy Scanlan Mr. Richard Todd Pat and Rita G. Jarrard Tony and Alice Maistrovich Mr. David Oglesby Ms. Renee Schaefer Mr. and Mrs. Joseph R. Trepanier Michael Jelinsky Paul and Patricia Mamula Jonathan Oleson Ms. D.A. Schaefer Dale Trippler Ms. Paula Johnson Mr. David Mangen Peter and Cheryl Olofson Ms. Naomi Scheman Robert and Lois Troemel Ms. Marnie Johnson Mrs. Sara Martineau Mr. and Mrs. David W. Olsen Sue T. and Charles G. Schiess Ms. Nancy Truax Martha Johnson Thomas and Nona Mason Scott and Judy Olsen Lynn Schindler Mr. Mark Twedt Mr. Robert Johnson Jack and Robin Mayfield Julie and Robert Olson Ms. Neala Schleuning Mr. Byron Twiss Mr. and Mrs. Russell Johnson Mr. David Mayo Gerard and Louise Olson Mr. Richard Schmitter Lowell and Marilyn Ueland Ms. Dolores Johnson Laverle McAdams and Mr. William O'Neill Mr. and Mrs. Gary Schnitker Ms. Mary Ulness Guy and Jean Johnson Judy Winiecki Donna and Marvin Ortquist Mr. and Mrs. Robert J. Schwob Mr. and Mrs. John Urbanski Virginia and Roger Johnson Mr. William McCarthy Iven Ose Mr. Arne Selbyg Kirk Vadnais Ms. Diane Johnson Ms. Dorothy McClung Janice and Rick Ostrom Ms. Mary Sell Mr. and Mrs. Jeffrey Van Karen and George Johnson M. J. McGregor and Mr. Thomas Pacholl Ms. Linda Sellars Ms. Janice Vance Stephen M. Dahl Elizabeth and Neal Johnston Charlotte and Joseph Palmiter Luke and Karen Shanahan Bette Vandersteen Donn and Bonnie McLellan Jan Joncas Ms. Bonnie Palmquist Ms. Maureen Shannon Dr. Carol Vaubel Ms. Regina McNearney Mr. Ellis Jones John Park Mr. and Mrs. Jeffry S. Shaw Mr. Roman Verostko Mr. and Mrs. Myron Meinhardt Mary A. Jones Mr. and Mrs. James S. Parker Dr. Len E. Shelhamer Michael Vitt and James and Judith Mellinger Ms. Lois Juster Ms. Patricia Parrish and Marion and C. David Sides Maureen McCarthy Velia R. Melrose Mrs. Rosann Kahner Mr. David Schaffer Robert Silverman Ms. Amy Vogt Brock Metzger Ms. Rebecca Kajander Mr. and Mrs. Brian Parsons Ms. Ginger Sisco Mr. Phillip Voight Mr. and Mrs. Virgil J. Meyer Ms. Elizabeth Kaluza Mr. Thomas Paul Ms. M. Kathleen Sitzmann Ms. Mary Volk Mr. Lysle Meyer Mr. Michael Kanner Cynthia and George Peck Sandra Skaar Mr. David Vorland Mr. William Michaelis Mr. and Mrs. Joel Katz Mr. Paul Pederson Mr. Dennis Skrade Ms. Eileen Voth Ms. Carol Millar Alfred and Sharon Kauth Ms. Lisa Pederson Ms. Helen Slater Carol and Timothy Wahl Curtis and Catherine Miller Ms. Alice Keith Heather Perkins Ms. Isabel Slator Mary C. Waibel Mr. John Miranowski and Mr. and Mrs. Robert Peters James Waldo Dr. and Mrs. Curtis D. Keller Ms. Susana Goggi Mrs. Sharon Slettehaugh DeWayne and Lois Petersen Mr. and Mrs. Lee Wall J. Richard and Faith Kelley Joyce Mitchell and Elaine Sloan and Ross Moen Mrs. Joanne E. Kendall William Satzer Mr. Robert Peterson Charitable Fund Charles and Susan Ward Paul and Nancy Kerestes Ms. Carol Moen Ms. Naomi Peterson Ms. Linda Smith Mrs. Theresa Watschke Mrs. Charlyn Kerr Ms. Karen Moline Sydney M. Phillips Ms. Jean Smith Ms. Jean Watson Mr. Eric N. King Ms. Marilyn Moon Ms. Evelyn Pickett Ms. Kathie Smith Raymond and Arlette Watts Linda A. King and Mr. Richard Moore Mr. Herb Pilhofer and Mr. Conrad Soderholm and A. D. and Theo R. Wee Ms. Rosemary Januschka Ms. Mary Tingerthal Robert Schauinger Garry Moore Barbara F. Weissberger Mr. and Mrs. Chester Piotrowski Ms. Mary Sonnen Sarah Kinney Mrs. Alice Moormann Ms. Karen Weium and Richard and Meredith Poppele Ms. Angeline Sorenson Mr. Dave Barnard Clara and Donald Klatke Ms. Yvonne Morehouse Mrs. Beverly Johnson Mr. Dennis Sorheim Mr. John Welckle Mr. Karl Korbel Mary Morehouse and Mr. Thomas Kornacker Greg Kruse Alan and Judith Potter Ms. Sheryl Sostarich Ms. Naomi Wells Jeanne and William Kosfeld Ms. Judith Morgan Mrs. Bonnie Power Emil John and Joyce Staba Casey Wells Wes and Deirdre Kramer Mr. and Mrs. James A. 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Lee Lori Myren-Manbeck Barbara and William Read Paul and Jan Wicklund Mr. John Stout Karen Leonard Family Mary Jo and Frederick Nairn Mr. John Reitan Mr. Rodney Wilkens Charitable Fund Michael and Janis Nash Ms. Patricia Repinski Mrs. Anne Stundahl John and Ann Wilkes Stephen and Rita Levin Alan and Dena Naylor Brian Richards Ms. Janet Sullivan Kathie and Jay Wilkinson Richard and Wende Lewis Richard and Jeannette Negri Ms. Ann Richter Ms. Elizabeth Sullivan Martha and Michael Willett Mr. Robert Libera Mrs. Marlys Nelson Mr. Philip Rickey John Susag Phillip Williams Mr. Don Lifto Ms. Lynne Nelson Ms. Ruth Rinker Evy and Ross Sussman Ms. Charlotte Williams Mrs. Perrin Lilly Ms. Barbara Nelson Nancy and David Robbins Swanson Charity Fund Mrs. Arlene Williams Mr. Robert Lindesmith David A. and Audrey J. Nelson Mrs. Annemarie Robertson Cynthia Syme and C. Neil and Julie M. Williams Richard Rosenberg Ms. Mary Lindgren Mary Helen Nelson Jesus Rodriguez Mr. Karl Willson Ms. Karen Tarrant Ms. Susan Lindoo Ms. Patricia Nelson Mr. Nick Rogers Mr. Theodore Wilson Carol Tauer Mr. Thomas Lindquist Mark Nerenhausen Allan Rosenwald Mary Grau Ms. Sue Wiltgen Mr. Allan Taylor Ms. Patricia Lockyear Mr. Michael Nesset Charitable Fund Mr. and Mrs. Glen Winchell Roger and Alice Thiede Elaine and Marvin Lofquist Ms. Kathleen Newell Mrs. Constance Ross Edwin and Barbara Wistrand Ms. Irma Thies Judy Lund Robert and Ann Niedringhaus Nancy and Everett Rotenberry Mr. and Mrs. Ernest Woizeschke Amy Thirsten Ms. Lynn Lundberg Mr. Mark Niehaus Mr. Warren Rottmann Ms. Kimberly Wolken Ms. Katharine Thomas Eric and Cindy Lundin Laurits and Mary Nielsen Paul and Pat Sackett Wayne and Mary Lou Wolsey Charles Thompson Earl and Evangeline R. Ms. Mary Noble Mr. Scott Sandberg Mr. and Mrs. Lee Woolman Mr. and Mrs. Anthony Thompson Lundstrom Beverly and Warren Nordley Ms. Karen Sandberg Ling Yang Mr. and Mrs. King W. Ma Ms. Sandra Sandell DoraLee Delzell Throckmorton Mr. and Mrs. Leonard Nordstrom and Don Allen Wells Suzanne Yeager Mr. and Mrs. John MacBain Dr. and Mrs. Leon Satran Ms. Laura Nortwen John and Susan Thueson Jane U. Young Ms. Marsha Macey Mr. Robert Satterstrom Kevin Nosbisch and Ms. Deiane Thurner Christine Zagaria and Stan Keillor Susan and Roderick Macpherson Kim Leventhal Mark and Gail Satz Ms. Pamela Tibbetts Joan Madden Charitable Fund Lucas O'Brien Mr. Steven Savitt Ms. Janet Madrigal Maryfrances O'Brien Yader Madriz Jim and Judy O'Donnell We have given careful attention to ensure a complete and accurate list. If your name has been misspelled Mr. Vernon Maetzold Ms. Rose Mary O'Donovan or omitted, please accept our apologies and inform us of the error by calling 651.292.3246.
42 THE SPCO 2018.19 SEASON SHARE YOUR CONCERT EXPERIENCE: @THESPCO #SPCOLIVE INSTITUTIONAL INVESTORS The Saint Paul Chamber Orchestra is pleased to recognize the following organizations who contributed to the SPCO between July 1, 2017, and June 30, 2018.
$250,000 + $5,000–$9,999 $250,000+ Minnesota State Arts Board** Beaverdale Foundation Target** Bowman and Brooke Eide Bailly This activity is made possible by the $100,000–$249,999 Fredrikson & Byron Foundation Katherine B. Andersen Fund of Emerson Process Management – voters of Minnesota through a Minnesota The Saint Paul Foundation** State Arts Board Operating Support grant, Rosemount, Inc. thanks to a legislative appropriation from Hammel, $50,000–$99,999 Green and Abrahamson, Inc. 3M ** the arts and cultural heritage fund. ** Hardenbergh Foundation Fred C. and Katherine B. Andersen Foundation** HealthPartners General Mills Foundation InterContinental Saint Paul Riverfront ** The McKnight Foundation $100,000–$249,999 Maslon LLP $25,000–$49,000 Rahr Foundation RBC Foundation - USA** Katherine B. Andersen Fund Anonymous The Augustine Foundation ** Renaissance Minneapolis Hotel, The Depot** of The Saint Paul Foundation** City of Saint Paul Cultural STAR Program** R.C. Lilly Foundation Commonwealth Properties Stonebridge Capital Advisors Ecolab** Success Computer Consulting $50,000–$99,999 John S. and James L. Thomson Reuters Knight Foundation** Mairs & Power, Inc. $2,500–$4,999 ** Fred C. and Katherine B. Medtronic Foundation Accredited Investors, Inc. National Endowment for the Arts** Alice M. Ditson Fund of Andersen Foundation** Columbia University** The Saint Paul Hotel Amphion Foundation** Securian Financial Bust Out Solutions Inc.** Wells Fargo Foundation Minnesota Fox Rothschild LLP $15,000–$24,999 Gray Plant Mooty Andersen Corporate Foundation KPMG LLP Anna M. Heilmaier Locus Architecture Charitable Foundation Margaret Rivers Fund $25,000–$49,999 Deluxe Corporation Foundation Mayo Clinic Friends of The Saint Paul Merchant & Gould P.C. Chamber Orchestra** New Music USA** John Larsen Foundation Nilan Johnson Lewis, PA Anonymous ** Sit Investment Associates, Inc. Okabena Advisors Pavilion Advisory Group Inc. $10,000–$14,999 Peregrine Capital Management Anonymous The Augustine Foundation** Elizabeth C. Quinlan Foundation Best Buy Foundation Schwegman, Lundberg & Woessner, PA The Boss Foundation ** Tennant Foundation Mairs & Power, Inc. Deloitte LLP The Dorsey & Whitney Foundation $1,500–$2,499 Faegre Baker Daniels LLP Bailey Nurseries, Inc. Felhaber Larson Canyon Partners, LLC Eugene U. and Mary F. Frey Family Chatham Asset Management ** Fund of The Saint Paul Foundation Foundation Hubbard Broadcasting Foundation Houlihan Lokey Minnesota McGough Construction LifeWTR** Pyrford International Piper Jaffray Companies Foundation John S. and James L. PricewaterhouseCoopers $1,000–$1,499 ** Robins Kaplan LLP Anonymous St. Paul Radiology Foundation Alice M. O'Brien Foundation Stella Artois Bremer Bank Stinson Leonard Street LLP Briggs and Morgan, PA United Health Foundation Federated Insurance $15,000–$24,999 Travelers NTH, Inc. U.S. Bank Foundation RSP Architects, Ltd. Wenger Foundation Senior Health Management, Inc. Andersen Corporate Xcel Energy Foundation** Weyerhaeuser Memorial Fund Foundation ** $500–$999 Anna M. Heilmaier CBIZ, Inc. Charitable Foundation Community Shares of Minnesota Dordt College John Larsen Foundation Marco PIMCO
$499 AND BELOW OFFICIAL PARTNERS OF THE SPCO ACKNOWLEDGMENTS Anonymous Boyer and Associates Project funding provided in part by an award from the National Endowment for the Arts. Brock White Company LLC Grumbles Law PLLC This project is This activity is made possible by the voters HR Simplified financed in part by of Minnesota through a Minnesota State the City of Saint Paul Arts Board Operating Support grant, thanks Jim Burton Realty, Inc. Cultural Sales Tax to a legislative appropriation from the arts Revitalization Program. and cultural heritage fund.** Pentwater Capital Management Smith Foundry Company Promotional support is provided by Classical Minnesota Public Radio, KSJN 99.5 in the Twin Cities. The Friends of the SPCO sponsor Fanfare pre-concert events before select Friday and Saturday performances. Victory Parking
SYMBOL KEY ** ALL OR PART OF THIS GIFT IS RESTRICTED FUNDING.
TICKETS THESPCO.ORG 651.291.1144 43 HONOR AND MEMORIAL GIFTS LIQUID MUSIC July 1, 2017 – June 30, 2018 CONTRIBUTORS In memory of James T. Adams In memory of Karen Donnelly In memory of Carol Ann Ollila The Saint Paul Chamber Orchestra is pleased Adams Family Charitable Fund of the Johanna Del Castillo Ms. Kristi Ollila to recognize the following organizations and American Endowment Foundation Friends of The Saint Paul individuals who contributed to the SPCO’s Liquid Music Chamber Orchestra In memory of Dr. Ernest Orr Series between July 1, 2017, and June 30, 2018. In honor of Arlene and Tom Alm's Nancy McNee Kay and Rick Bendel 25th wedding anniversary Carole and Norlin Boyum Barbara Goodman Mr. Austin Evans In memory of Harold and $25,000–$49,999 Winnie Doran Friends of The Saint Paul In honor of Gordon Altshuler's Mr. A. Brian Doran Chamber Orchestra The Augustine Foundation 60th birthday James and Teddy Gesell City of Saint Paul Cultural STAR Program Bob and Linda Perry In honor of Professor Jocelyn Matthews-Peterson Edwin Fogelman In memory of Tamara and Michael Root Mike and Jane Murphy Dennis Robert Anderson Dona Woolfrey $10,000–$24,999 Walter Gegner In memory of Virginia Greenman LifeWTR Dr. and Mrs. Robert W. Geist In memory of Mary A. Riehle Stella Artois In honor of Evelyn Berg John Riehle and Margaret Lindlof Eli Berg-Maas In memory of Rose Gustafson Friends of The Saint Paul In honor of Ruth Ann Rose's birthday In memory of Arline Beutel Chamber Orchestra Claudia Wagner $5,000–$9,999 Mr. Bruce Beutel AgraCulture** In honor of Marty and Jack In memory of Kathleen Gail Helvey InterContinental Saint Paul-Riverfront* In honor of the SPCO and Mr. Grey Helvey Rossman's 60th wedding Jonathan Biss’ performance anniversary Jon Oulman on 2.1.18 In memory of Gary John Hunt Drs. Charles and Sally Jorgensen Renaissance Minneapolis Hotel, the Depot* Eve Wolf Mr. Thomas Hunt In honor of Jackie and Steve, Dr. Tom von Sternberg and Eve Parker In memory of Howard Brin In honor of John and Ruth Huss and anything oboe Jerome and Judith Ingber Charles Ullery and Elsa Nilsson Janice Ziegler $2,500–$4,999 In memory of In honor of Jackie Ruprecht In honor of Layton James Alice M. Ditson Fund of Columbia University Dr. Charles T. Brown, Jr. James and Carolyn Nestingen Lucas Spaeth Marilyn Anderson Amphion Foundation Ms. Kay Bach In honor of Art and Martha Kaemmer In memory of Jon L. Schasker Locus Architecture Lynnette Bailey Richard and Nancy Randall Dana David and Janice Tweet New Music USA Kay and Rick Bendel Dianne Blankenbaker In memory of Martha Kaemmer In memory of Ralph and P. T. and B. B. Magee Friends of The Saint Paul Pearl Shoemaker Ms. Carol Brahms Chamber Orchestra Janet Shoemaker Warren and Herb Buchbinder Erwin A. and Miriam Kelen Dr. Randall C. Warren Joann Buie $1,500–$2,499 Betty Myers Janet Duran In memory of Dr. Manly Staley David & Leni Moore Family Foundation Friends of The Saint Paul Judith Gibson In honor of Miriam Kelen Chamber Orchestra Jane and Robert Keller for her birthday Mr. Robert Weiss $1,000–$1,499 Christine Kongsvik In memory of Carol Korogi-Reeves Rick and Murph Dow In honor of Erwin and Miriam Kelen's Dr. William Edward Stephens Stephen Pratt Suzanne Meland 56th wedding anniversary The Hoeschler Fund of Barbara and Richard Parks Amos and Sue Deinard Walter E. and Harriet Pratt The Saint Paul Foundation Dr. Michael and Mrs. Sherry Spence Jennifer Leopold Dr. Wayne Thompson In memory of Leo and Shirley Levey In memory of Gerda Subak Dr. Michael Burwell Jon and Patty Limbacher Sharon Torodor Mr. Daniel Levey Daniel Pennie and Anne Carayon In memory of Andy and In memory of Ruth Brummond In memory of Lance A. Maly Mark Warnken and Nancy Coppa Maureen M. Maly Jane Vitale Friends of The Saint Paul Chamber Steven Vitale Gordon Wright Orchestra In honor of Max's 70th birthday Roger and Vicki Henry Maxine Davis In memory of Ed Volker Leslie Volker $150–$999 In honor of Anne Cheney and In memory of Irene E. Miller Stu Mitchell Mr. Richard Waldman In honor of Dobson West Debra Cohen and Craig Fields Mr. and Mrs. Renner S. Anderson Ann Buran Patricia Fair In honor of Kayla Moffett Thomas B. Hatch In honor of Steven Copes Ms. Naomi Wells In memory of Harold Williamson Ms. Zehra Keye Jim Burton Realty, Inc. Sarah Lutman and Rob Rudolph In honor of Amy Moore Julie Kuberski Ms. Lisa Pederson In memory of Dixie J. Courant and her family Ms. Yvonne Kuhlman Dr. Anita M. Pampusch Heather Perkins Elizabeth Frankel James and Karen Martin-Schramm Phillip Williams Steven Williamson In memory of Diane In memory of Denny Moore Mr. Milton Stone Susan Moore In honor of Kristi Wussow *ALL OR PART OF THIS GIFT IS IN-KIND. Mary Helen Nelson In honor of Ruth and Jerry In honor of Elsa Nilsson and Degehausen's 50th anniversary Chuck Ullery Mr. Dennis Sorheim Steven Copes In memory of Walter Yellowhammer, Jr. Ms. Terri Yellowhammer In honor of the wedding anniversary In memory of Orrell Nilsson of Amos and Sue Deinard Richard Bayles Erwin A. and Miriam Kelen MUSIC ALIVE COMPOSER-IN-RESIDENCE The Residency of Lembit Beecher is made possible through Music Alive, a residency program of the League of American Orchestras and New Music USA. This national program is IN-KIND DONATIONS The Saint Paul Chamber Orchestra is pleased to recognize the designed to provide orchestras with resources and tools to following businesses and individuals for in-kind gifts made between July 1, 2017, and June 30, 2018. support their work with composers and new music, capital- izing on the power of composers and their creativity to build AgraCulture InterContinental Saint Paul-Riverfront The Saint Paul Hotel new paths for orchestras to heighten their relevancy and Bust Out Solutions LifeWTR Stella Artois deepen their relationships with their communities. Major funding for Music Alive comes from The Andrew W. Mellon Jayme Halbritter Photography Renaissance Minneapolis Hotel, Foundation, with additional support from The Aaron Copland The Depot Fund for Music, The Amphion Foundation, The ASCAP Foundation Bart Howard Fund, the Francis Goelet Charitable Lead Trusts and the National Endowment for the Arts. ESTATE GIFTS We honor these generous donors for the gifts received through their estates between July 1, 2017, and June 30, 2018. Anonymous Nicky Carpenter Frank J. Indihar, M.D. Mrs. Rosalyn Baker Hella Mears Hueg
44 THE SPCO 2018.19 SEASON SHARE YOUR CONCERT EXPERIENCE: @THESPCO #SPCOLIVE As the SPCO celebrates its 60th Anniversary during the 2018.19 season, we are overwhelmed with gratitude for the support of our community. Over the last six decades, the growing support of our donors has made it possible for the SPCO to share music with more people in our community than ever before while offering the most affordable ticket prices of any American orchestra.THANK YOU to those of you who already support us with your donations — you make the SPCO possible.
We rely on donations from audience members like you as our largest and most important source of support, with more than 60% of our budget coming from philanthropic support. Today, the support of our more than 5,000 donors makes it possible for us to provide free tickets for children and students and free access to our online Concert Library — initiatives that allow thousands more in our community to experience the SPCO. Just imagine what a difference 6,000 supporters could make! Gifts of all sizes make a difference in bringing transformational performances to more people from all parts of our community.
If you have not yet made a gift to the SPCO, we hope you’ll help us celebrate 60 by joining the supporters who make the SPCO possible! • Become a Sustaining donor with a recurring monthly gift of $6/month • Make a new one-time gift of $60 or any amount of your choice • Make the SPCO’s music part of your legacy through a bequest, beneficiary designation or charitable gift annuity
To make a gift, visit thespco.org/contribute. Thank you! We hope you enjoy this historic season that your support has made possible. A TWIN CITIES PBS ORIGINAL
Sundays at 6pm TPT2 Starting Oct. 14th
TPTORIGINALS.ORG/MNO My family and I loved it! We’re making this show “ our holiday tradition.” HOME for the HOLIDAYS See full concert schedule online.
Home for the Holidays Dec 14-20
Sarah Hicks Gregory Porter Dec 1
A Christmas Oratorio Dec 8-9
George Winston Dec 21
A Big, Brassy Christmas with Charles Lazarus Dec 15
Film with Live A New Year Celebration: Orchestra Vänskä Conducts Bernstein, Copland and Gershwin Dec 22 Dec 31
612-371-5656 / minnesotaorchestra.org / Orchestra Hall / #mnorch
PHOTOS Home for theFILM Holidays: WITH LIVE Courtney ORCHESTRA Perry; Hicks & Lazarus: Travis Anderson Photo Beauty and the Beast: PresentationVENUE made under license from Buena Vista Concerts, a division of ABC Inc. © 2015 Disney. All rights reserved. DAY, MONTH 4TH Full Orchestra and Choir Conducted by NAME
music by NAME lyrics by NAME and NAME score by NAME concert produced by NAME concert creative direction NAME 2018-09-07 SPCO Print© DISNEY Ad.indd 1 8/15/18 12:01 PM PRESENTATION LICENSED BY "Powerful bass, Incredible Presence" -Dr. Elizabeth Karelse
Home of Bösendorfer
“Your pianos were so much nicer than anything in the Twin Cities,
and in fact all of MN” -Dr.Ryan Bosca, Moorhead
408 Snelling Avenue South, Saint Paul