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schubert.org 5
An die MusikSeptember 27 – October 25, 2015
Table of Contents
6 President’s Welcome
9 Calendar of Events: September – December
10 Borromeo String Quartet with Kim Kashkashian
15 Remembering Thelma Hunter
16 David Finckel, Wu Han & Philip Setzer
26 Trio con Brio Copenhagen
32 Hill House Chamber Players
35 Courtroom Concerts
36 The Schubert Club Officers, Board of Directors, Staff, and Advisory Circle
37 The Schubert Club Annual Contributors: Thank you for your generosity and support
Turning back unneeded tickets:If you will be unable to attend a performance, please
notify our ticket office as soon as possible. Donating
unneeded tickets entitles you to a tax-deductible
contribution for their face value and allows others to
experience the performance in your seats. Turnbacks
must be received one hour prior to the performance.
There is no need to mail in your tickets.
Thank you!
The Schubert Club Ticket Office:
651.292.3268 • schubert.org/turnback
The Schubert Club75 West 5th Street, Suite 302Saint Paul, Minnesota 55102schubert.org
on the cover: Trio con Brio Copenhagen
Barry KemptonArtistic and Executive Director
Artistic and Executive Director’s Welcome
I’m delighted to welcome you to The Schubert Club as
we begin our 133rd season. This is, in fact, only the
122nd season of public recitals – the first of which
took place on March 3rd, 1893 and featured pianist
Adele Aus der Ohe at the Ford Music Hall.
This new season, we present some of our International
Artist Series in the new Ordway Concert Hall, which
– we know already – promises to be a superior space
in which to experience chamber music and recitals.
What a delight to have David Finckel, Wu Han and
Philip Setzer open the series playing two different
Beethoven Piano Trios. We have wonderful chamber
musicians in Music in the Park Series too; both the
Borromeo String Quartet and the Danish musicians of
Trio con Brio Copenhagen return to the series.
And it is our privilege to co-present two ensembles of
outstanding locally-based musicians, Accordo and the
Hill House Chamber Players, the latter presenting its
30th anniversary season.
I’m thrilled to be beginning my 4th full season, and
thank you for choosing to spend time with us at The
Schubert Club.
6 THE SCHUBERT CLUB An die Musik
President’s Welcome
If you are sitting in a seat at a Schubert Club concert
reading this piece, you are already a “concertgoer.” At the
very least, you have purchased a ticket to one concert (or
have found your way to one of our many free concerts) and
you are here, waiting for the music to begin. Have you ever
considered how you became a concertgoer? What or who
first brought you to a classical music concert and why do
you keep buying concert tickets? That is a question we as an
organization need to ask, and answer, if we hope to attract
people of all ages to our concerts.
So I thought I would tell you how I became a concertgoer. It
seems like an appropriate first act for the new President of
the Board of this wonderful old organization.
I was raised in small towns in the Dakotas and Minnesota
and never attended a concert, other than the ones I played in.
I played the flute, and later the bassoon (not very well, mind
you), in the grade school, junior high, and high school band
and orchestra. I loved the concerts in which we played,
especially the high school Christmas concert (yes, it was
called a Christmas concert back then) when the girls wore
long dresses and the boys wore shirts and ties. Other than
those twice or thrice yearly events, the closest I ever came
to a concert hall was Sunday at church when the choir sang.
I came to be a concertgoer through a bit of larceny. I can
admit it now because it was 38 years ago and occurred in
another country. Was it a misdemeanor or a felony? I have
no idea, but the statute of limitations ran out years ago,
and I am unlikely to be extradited any time soon. I was an
impecunious student in Oxford, England. My college room
was two houses east of the Holywell Music Room, the first
purpose-built concert hall in Europe. The Holywell Music
Room was and still is a tiny jewel of a chamber music hall,
white on the outside, with a small flight of stairs leading
up from Holywell Street to the double front doors. I had a
great friend who was studying music and who was even
more impecunious than I. Every Friday he took the train to
London for his cello lessons and on his way back to college
on Friday evening he would walk past the Holywell Music
Room and listen outside the double doors to the first half
of the evening’s concert. If he liked what he heard he would
dash to my room (no cell phones then) to collect me. We
would rush to the Music Room, arriving during intermission
when concertgoers emerged from the hall and milled
around on the sidewalk. We mingled with the small crowd
and, when intermission was over, discreetly made our way
inside the building, hanging back until nearly everyone was
seated so we could pick out a couple of unoccupied places.
I now pay for my concert tickets, but nothing can quite
match the thrill of those stolen second halves. I was like
Keats looking into Chapman’s Homer, and it is perhaps
not incidental that I first read Homer around the same
time. The stolen concerts were mostly, as befit the space,
string quartets and trios, though after all these years I
couldn’t tell you exactly what I heard. With my friend at
my side I learned how to sit through a concert (well, half
a concert), how to keep from coughing, how to listen,
and how to evaluate what I was hearing. That spring, my
friend and I actually bought tickets to hear the great cellist
Paul Tortelier play a memorable recital in the Sheldonian
Theatre down the street. I was hooked, and I’ve been a
paying concertgoer ever since.
Kim A. SeversonPresident
Holywell Music Room, Oxford, the first purpose-built concert hall in Europe.
How did you become a concertgoer, and why do you
keep coming back? Tell us your story by emailing it to:
schubert@schubert.org
schubert.org 7
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THISWEEK
8 THE SCHUBERT CLUB An die Musik
N The Magic FluteNov. 14–22, 2015
RusalkaJan. 23–31, 2016
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ILLUSIONTHEATER.ORG | 612.339.4944 | GROUP DISCOUNTS AVAILABLE
NOV. 5 – 21, 2015 • TICKETS: $17 – $25
schubert.org 9
More information at schubert.orgTicket office 651.292.3268
Calendar of EventsSeptember – December
Thu, Dec 3 • 7:30 PM James J. Hill CenterSchubert Club MixDavid Greilsammer
Thu, Dec 10 • 12 PM Landmark CenterCourtroom Concert—free
Thu, Dec 17 • 12 PM Landmark CenterCourtroom Concert—free
NOVEMBER 2015
SEPTEMBER 2015
OCTOBER 2015
DECEMBER 2015
Sun, Sept 27 • 4:00 PM Saint Anthony Park UCCMusic in the Park Series Borromeo String Quartet with Kim Kashkashian
Thu, Oct 1 • 7:30 PM Ordway Concert HallFri, Oct 2 • 10:30 AMInternational Artist Series David Finckel, Wu Han & Philip Setzer
Sun, Oct 11 • 7:30 PM Bedlam LowertownSchubert Club MixSYBARITE5
Thu, Oct 15 • 12 PM Landmark CenterCourtroom Concert—free
Mon, Oct 19 • 7:30 PM James J. Hill HouseMon, Oct 26 • 7:30 PMHill House Chamber Players
Mon, Oct 19 • 7:30 PM Schubert Club MuseumLive at the MuseumBarthold Kuijken, Immanuel Davis
Thu, Oct 22 • 12 PM Landmark CenterCourtroom Concert—free
Sun, Oct 25 • 4 PM Saint Anthony Park UCCMusic in the Park Series Trio con Brio Copenhagen
Sun, Nov 1 • 3 PM Ordway Music TheaterInternational Artist Series Joshua Bell & Sam Haywood
Thu, Nov 5 • 12 PM Landmark CenterCourtroom Concert—free
Thu, Nov 12 • 12 PM Landmark CenterCourtroom Concert—free
Thu, Nov 19 • 12 PM Landmark CenterCourtroom Concert—free
Sat, Nov 21 • 10:30 AMAzure Family Concert (for families touched by autism)WindSync
Sun, Nov 22 • 4 PM Saint Anthony Park UCCMusic in the Park Series WindSync
WindSync
David Greilsammer
Mon, Oct 26 • 7:30 PM Christ Church LutheranAccordo with Rieko Aizawa
Thu, Oct 29 • 12 PM Landmark CenterCourtroom Concert—free
The Schubert Club
Music in the Park Series
presents
Borromeo String QuartetNicholas Kitchen, violin • Kristopher Tong, violin
Mai MotobuchiI, viola • Yeesun Kim, cello
with Kim Kashkashian, violaSunday, September 27, 2015 • 4:00 PM
Pre-concert conversation at 3:00 PM
Please silence all electronic devices
String Quartet No. 13 in B-flat major, Opus 130 Ludwig van Beethoven
Adagio, ma non troppo–Allegro Presto Andante con moto, ma non troppo–Poco scherzoso Alla danza tedesca: Allegro assai Cavatina: Adagio molto espressivo Grosse Fuge: Overtura: Allegro—Meno mosso e moderato Fuga: Allegro—Meno mosso e moderato—Allegro molto e con brio
Intermission
Canzona from String Quartet No. 3 Gunther Schuller
String Quintet in E-flat major, Opus 97, American Antonín Dvorák
Allegro non tanto Allegro vivo Larghetto Allegro giusto
Kim Kashkashian, viola
schubert.org 11
Music in the Park SeriesSunday, September 27, 2015 • 4:00 PM • Saint Anthony Park United Church of Christ
A Special Thanks to the Donors Who Designated Their Gift to Music in the Park Series:
INSTITUTIONALElmer L. and Eleanor J. Andersen FoundationArts Touring Fund of Arts MidwestBoss FoundationCarter Avenue Frame ShopComo Rose TravelCy and Paula DeCosse Fund of The Minneapolis FoundationDorsey & Whitney Foundation Matching Gift ProgramPhyllis and Donald Kahn Philanthropic Fund of the Jewish Communal FundWalt McCarthy and Clara Ueland and the Greystone FoundationMinnesota State Arts BoardMuffuletta CaféDan and Sallie O’Brien Fund of The Saint Paul FoundationSaint Anthony Park Community FoundationSaint Anthony Park Home
Speedy MarketTheresa’s Hair Salon and Theresa BlackThrivent Financial Matching Gift ProgramTrillium Foundation
INDIVIDUALSMeredith AldenNina and John ArchabalClaire and Donald AronsonAdrienne BanksCarol BarnettLynne and Bruce BeckChristopher and Carolyn BinghamCarl and Jean BrookinsAlan and Ruth CarpPeter Dahlen and Mary CarlsenPenny and Cecil ChallyMary Sue ComfortDon and Inger DahlinRuth S. DonhoweBruce Doughman
Craig Dunn and Candy HartMaryse and David FanJane FrazeeLisl GaalNancy and John GarlandMichael and Dawn GeorgieffDick GeyermanAnne R. GreenSandra and Richard HainesEugene and Joyce HaselmannAnders and Julie HimmelstrupWarren and Marian HoffmanPeg Houck and Phil PortogheseGary M. Johnson and Joan G. HershbellMichael JordanAnn Juergens and Jay WeinerChris and Marion LevyRichard and Finette MagnusonDeborah McKnightGreta and Robert MichaelsJames and Carol MollerMarjorie Moody
David and Judy MyersKathleen NewellJohn B. Noyd Dennis and Turid OrmsethJames and Donna PeterRick Prescott and Victoria WilgockiDr. Paul and Elizabeth QuieJuliana Kaufman RupertMichael and Shirley SantoroMary Ellen and Carl SchmiderJon Schumacher and Mary BriggsDan and Emily ShapiroMarie and Darrol SkillingKathy and Doug SkorConrad SoderholmEileen V. StackCynthia StokesAnthony TheinTim ThorsonChuck Ullery and Elsa NilssonStuart and Mary WeitzmanJudy and Paul Woodword
Thank you to all those who gave to the new Music in the Park Series Endowment Fund. Please see page 42.
Phot
o: C
hris
tian
Ste
iner
Celebrating its 25th anniversary, each visionary performance of
the award-winning Borromeo String Quartet strengthens
its reputation as one of the most important ensembles of our
time, “simply the best there is.” (Boston Globe)
A pioneer in its use of technology, the Quartet strives to
redefine the classical music landscape through innovation;
the first string quartet to utilize laptop computers in concert
to read music, it’s also the first classical ensemble to make
and distribute its own live recordings to audiences. Passionate
educators, the Borromeo’s programs for young people include
MATHEMUSICA, a fun and uniquely effective learning environ-
ment combining music and science study.
With an expansive repertoire ranging from Beethoven to
Gunther Schuller, its signature cycle of Bartók String Quartets,
and collaborations with some of this generation’s most
important composers—John Cage, György Ligeti, Jennifer
Higdon, John Harbison—the Quartet performs on such major
concert stages as Carnegie Hall, Lincoln Center, Kennedy
Center, the Concertgebouw, Wigmore Hall, Tuscany’s Terra di
Siena Chamber Music Festival, and at venues in Switzerland,
Japan, Korea, and China.
The BSQ is Quartet-in-Residence at the New England
Conservatory, the Isabella Stewart Gardner Museum, and the
Taos School of Music. Recent and upcoming engagements
include appearances at the Library of Congress, Peabody
Institute, San Francisco Conservatory, La Jolla Music Society,
and Trinity Church Wall Street, among many others.
Kim Kashkashian, winner of the
2013 Grammy Award for Best Classi-
cal Instrumental Solo Album, is rec-
ognized internationally as a unique
voice on the viola. Born in Michigan
of Armenian parents, Kashkashian
studied with Karen Tuttle and the
legendary Walter Trampler at the
Peabody Conservatory of Music in
Baltimore. Her Grammy-awarded recording, Kurtág/Ligeti
Music for Viola, was released on the renowned ECM New
Series label in September 2012. Kashkashian has worked
tirelessly to broaden the range of technique, advocacy and
12 THE SCHUBERT CLUB An die Musik
Program Notes
String Quartet No. 13 in B-flat major, Opus 130Ludwig van Beethoven (b. Bonn, 1770; d. Vienna, 1827)
Beethoven turned to the string quartet in his final years,
writing three quartets on commission from Prince Nikolas
Galitzin of St. Petersburg, an amateur cellist and admirer
of the composer’s music. Opus 130 was composed July–
November 1825, after the Quartet, Opus 132. Beethoven’s
first biographer Thayer tells us that the first performers, the
reliable Schuppanzigh Quartet, “found the concluding fugue
extremely troublesome, but the Cavatina entranced them at
once.” When the work was performed on March 21, 1826, the
public was mostly baffled. A Leipzig review was blunt, if
ecumenical, calling the fugue: “incomprehensible, like
Chinese,” and the program, “a concert that only the
Moroccans might enjoy.” Publisher Artaria convinced
Beethoven to write a more manageable last movement—the
last work the composer completed—publishing the Fugue
separately as Opus 133. In this performance we hear the
Quartet in its original design, ending with the Grosse Fuge.
Opus 130 is Beethoven’s most varied quartet. Rather than the
traditional four movements, Beethoven gives us six highly
contrasting pieces, what Lewis Lockwood calls “more nearly a
string of pearls of different colors and facets of light than any
of the other late quartets.” The introductory Adagio heaves
a great sigh in the first phrase, then leaps upward. That leap
of a sixth will later turn into the second theme. Note the four
repeated notes in the second phrase. The ensuing Allegro
presents a running figure accompanied by a five-note fanfare
with a rhetorical quirk: a muted high note. The central
development is likewise counter-intuitive, exploring lyricism
rather than conflict.
The next three pearls seem to comprise a set, beginning
with a rather grim presto counterpoint exercise answered by
a purely harmonic passage in leaping arpeggios. There is a
frank tunefulness in the next two pieces. The Andante con
moto is gracious yet impish in spirit. Beethoven marks it Poco
scherzoso. “Alla danza tedesca,” means “in the style of a
German dance.” But these dancers are in particularly high
spirits, for odd little swells characterize the melodic gesture,
and a change to a two-footed meter goes unnoticed. And to
begin the coda, Beethoven reverses the order of the
melodic fragments!
repertoire for the viola. A staunch proponent of contemporary
music, she has developed creative relationships with György
Kurtág, Krzysztof Penderecki, Alfred Schnittke, Giya Kancheli
and Arvo Pärt; she has also commissioned works from Peter
Eötvös, Ken Ueno, Thomas Larcher, Lera Auerbach and Tigran
Mansurian.
Kashkashian is a regular participant at the Verbier, Salzburg,
Lockenhaus, Marlboro and Ravinia festivals. She has long-
standing duo partnerships with pianist Robert Levin and
percussionist Robyn Schulkowsky, and played in a unique
string quartet with Gidon Kremer, Daniel Phillips and Yo-Yo
Ma. As a soloist, Kashkashian has appeared with the great
orchestras of Berlin, London, Vienna, Milan, New York and
Cleveland. She has also given recitals at the Metropolitan
Museum of Art and Kaufmann Concert Hall in New York, in
Boston’s Jordan Hall, as well as in the halls of Philadelphia,
Pittsburgh, Cleveland, Frankfurt, Berlin, Paris, Athens
and Tokyo.
Her association with the ECM label since 1985 has resulted
in recordings of the complete sonatas of Hindemith and
Brahms, an album of Argentinian songs, the concertos of
Schnittke, Bartók, Penderecki and Kurtág, as well as the Bach
viola da gamba sonatas, recorded with Keith Jarrett.
Kim Kashkashian has taught in Bloomington, Indiana and
in Freiburg and Berlin, Germany. She now resides with her
daughter in Boston, where she teaches chamber music and
viola at the New England Conservatory. Kashkashian is a
founding member of Music for Food, a musician-led initiative
to play benefit concerts for local hunger relief.
Ignaz Schuppanzigh, whose virtuoso string quartet gave the first performance of Beethoven’s Opus 130, and found the Fugue “troublesome.”
schubert.org 13
A cavatina is a short operatic aria. In this famously
expressive Adagio, violin sings a deeply heartfelt melody
which is echoed—assented to, really—by the other strings.
The pulse is of an unearthly slowness, and Beethoven
creates seamless legato through a masterly flow of chordal
inversions. In the extraordinary middle section, the violin
breaks down into sobs that reach beyond music into pure
feeling. According to Beethoven’s friend Karl Holz, the
composer was so moved by his own Cavatina that the mere
thought of it would bring tears.
The concluding Grosse Fuge (Lockwood’s phrase: Grand
Fugue) is a complete world unto itself, comparable in scope
and design to the finale of the Ninth Symphony. It is as
intense as it is difficult to play. Beethoven recalls the French-
overture convention of a slow introduction followed by a
fugal structure. But what a structure! He acknowledges the
flexibility of his approach in a French subtitle—“tantôt libre,
tantôt recherchée”—which could be translated “partly free,
partly in strict counterpoint.” Two subjects of contrasting
color are coupled: a melancholy blue one of corkscrew shape,
and a bounding orange one in dotted rhythms. There are ten
sections in all, organized in a loose sonata structure. A fugue
takes its character from its theme (the “subject”). If the
subject is bright, as in the “Ode to Joy,” the fugue will express
joy or something like it; if the subject is twisted, like this
corkscrew, the discourse will twist and turn. Follow the
subject, and you’ll hear the fugue. “To many, the [Grand]
Fugue is disagreeably harsh,” writes Charles Rosen. “But
when it is played, as it should be, as the finale of the B-flat
Quartet, there is nothing eccentric in this harshness, or in
the broken sobs (marked “strangled”) of the Cavatina that
precedes it. What makes some of these works appear willful
is that they are uncompromising.”
Canzona, from String Quartet No. 3 (1986)Gunther Schuller (b. New York City, 1925; d. Boston, 2015)
The accomplishments of Gunther Schuller are so many and
so varied, one can scarcely credit them to an individual:
principal horn positions at the Metropolitan Opera and
Cincinnati Symphony; recordings with Miles Davis and Gil
Evans; a Grammy Award for Scott Joplin’s Red Back Book,
which sparked a ragtime revival; books like Early Jazz and The
Compleat Conductor; presidency of the New England
Gunther Schuller
Conservatory of Music; a MacArthur Award; a Pulitzer; not
least, works composed in nearly every genre,
including more than twenty concertos. This individual
once described himself as “a high school dropout without
a single earned degree.” Gunther Schuller died in June
2015 from complications of leukemia.
Schuller wrote four numbered string quartets (1957,
1966, 1986, 2002), but don’t overlook the early Quartet for
Double Basses, composed in 1947. While Schuller employs
twelve-tone technique in the Third Quartet, his music, as
the title of the second movement implies, has its roots in
music of the past. The canzone was an instrumental
offshoot of the chanson that developed in the
seventeenth century. One feels the progress of a funeral
march in the glacial pace of Schuller’s Canzona, but there
is much tenderness in its sighing melodic thirds. Many of
the chords have six notes or more, a neat trick for a string
quartet! The final chord is a sweet combination of tonic
and dominant harmonies.
The String Quartet No. 3 was commissioned by the
Syracuse Friends of Chamber Music, and is dedicated to
violinist Louis Krasner, who commissioned Berg’s
landmark Violin Concerto. (Krasner was also
concertmaster of the Minneapolis Symphony under
Mitropoulos.) It received the 1987 Kennedy Center
Friedheim Award for Chamber Music.
14 THE SCHUBERT CLUB An die Musik
Program Notes
String Quintet in E-flat major, Opus 97, American Antonín Dvorák (b. Nelahozeves, Czech Republic, 1841;d. Prague, 1904)
Dvorák spent two and a half years in America at the
invitation of the philanthropist Jeannette Thurber, who had
founded the National Conservatory of Music in New York in
1885. She offered him $15,000 a year—about twenty-five
times his salary in Prague—to head the school, teach
composition, and conduct his own music. After arriving in
September 1892, Dvorák wrote to his friend Joseph Hládva:
“The Americans expect great things of me and the main
thing is, so they say, to show them a promised land and
kingdom of a new and independent art, in short, to create a
national music. If the small Czech nation can have such
musicians, they say, why could not they too, when their
country and people are immense.”
To ease his homesickness, Dvorák and his family spent the
summer of 1893 in the Czech community of Spillville, Iowa,
making a side trip to Saint Paul and Minnehaha Falls. Dvorák
wrote several works in Iowa, including the so-called
“American” Quartet, Opus 96 and the Quintet, Opus 97. The
Panic of 1893 posed financial challenges for Mrs. Thurber,
and Dvorák returned home in 1895. But Dvorák told his
biographer Šourek: “[Spillville] was an ideal spot, that’s when
I felt happy, and I should have stayed there.” For a lyrical
meditation on Dvorák’s summer in the Midwest, read Patricia
Hampl’s Spillville (Milkweed Press).
Dvorák had already composed a dozen string quartets and
two earlier quintets, including one with double bass. A violist
himself, the composer naturally favored the “viola quintet,”
which adds a viola to the string quartet. Like Opus 96, which
had taken only three days to write, the Quintet was com-
posed in short order, a little over a month.
The “in tempo” introduction to the Allegro non tanto presents
a pentatonic (five-note) theme offered by the guest in the
ensemble, Viola 2. It’s answered by some “blue” notes that
will have consequences later. The principal theme is stated by
violin in triple meter, and a second theme in sprightly dotted
rhythms may have been suggested by Native American song.
Dvorák was fascinated by a “Kickapoo” medicine show in
Spillville, an itinerant band of performers that assembled at
the local inn. What’s certain: these works are melodically rich,
accessible, with simple but lively rhythms, and as open as the
Great Plains.
Dvorák on Spillville, Iowa: “ . . . an ideal spot, that’s
when I felt happy, and I should have stayed there.”
What sounds like a beating drum is the first of three distinct
layers laid down to open the Allegro vivo. The last layer is
a lyric theme that taught Hollywood composers a thing or
two about “Western” music. A minor-mode central episode
features rhapsodic solos for viola and violin. The Larghetto
is a set of variations on a theme that Jarmil Burghauser has
identified as Dvorák’s “future American anthem,” a
setting of “My Country, ‘tis of Thee.” (“Of thee I sing” is set to
four descending steps.) The lilt of the finale brings to mind
Dvorák’s greatest hit, the Humoreske, while the pizzicato
texture and pentatonic melody of the second theme may
again evoke Native American music. Dvorák certainly knew
how to write a brilliant coda: stir up a little counterpoint,
splash on some colorful harmony, set the violins a-trilling,
and end sonorously.
How successful was Dvorák in showing America the
promised land? Dvorák died in his native land in 1904,
having turned his attention to opera and the symphonic
poem. The most eminent American composer of that time,
Edward MacDowell, incorporated some Native American
elements into his music, but he died in 1908. World War
One completely reshuffled the deck. Indian music and
spirituals were largely forgotten. What captured the public’s
attention after the Great War was Stravinsky, the new music
created by Americans who had studied in France, and—
especially—jazz. Which is, after all, a native American music.
Program notes © 2015 by David Evan Thomas
continued
schubert.org 15
Remembering Thelma HunterPiano virtuoso and great friend of The Schubert Club
In August, The Schubert Club lost an extraordinary friend, and
the musical community of Saint Paul and Minneapolis lost a
leading figure, when Thelma Hunter passed away just days
before her 91st birthday. An active soloist, collaborative
pianist, educator, and supporter of new music, Thelma
maintained a long association with The Schubert Club. In
addition to her years as a member of the Board of Directors,
and as a performing artist in numerous concerts—most
recently this past season in a Live at the Museum series
concert with tenor Vern Sutton—Thelma also established a
special prize in The Schubert Club’s annual Student
Scholarship Competition.
A New York City native, Thelma became an important
presence in the local scene: serving as Board Member of
Minnesota Orchestra, American Composers Forum, and
Jerome Foundation, and as faculty member at the University
of Minnesota. In an essay to accompany her 2007 recording
of favorite solo piano pieces,
Thelma reminisced:
I enjoyed a happy, wonder-
fully rich musical childhood
in Staten Island, New York,
with my mother (a singer
and cellist), younger brother
(a violinist), and father, a
choir director and
organist who played viola
when needed. At weekly
living room concerts with the
four of us, my brother and I learned how to bow, acknowledge
applause and keep going through mistakes and memory lapses.
At age five, I entered a contest sponsored by New York City’s
Music Education League, winning the silver medal; the gold
medal followed two years later. I remember using pedal
extenders because my feet couldn’t reach the pedals.
There were innumerable opportunities to perform during the
Depression in the 30s: concerts in the parks, literary society
teas, Frick Museum recitals, in churches and at colleges. In 1939,
I was the soloist in Grieg’s Piano Concerto on “Norway Day” at
the New York World’s fair. Later I played that work under the
baton of Grieg’s friend Percy Grainger at the Ernest Williams
Music Camp in the Catskills. Unforgettable!
It was inevitable that the Emile family, of one-hundred percent
Norwegian heritage, would plan a concert tour of Norway. In
1935, my brother, mother and I gave 26 concerts in the space
of a month, followed by a month of visiting relatives, and just
having fun. [. . . ]
I’ve been blessed with opportunities to perform in the region,
with the Minneapolis Symphony (now the
Minnesota Orchestra) and other regional orchestras, and in
recital with extraordinary colleagues. It has been my
privilege to participate in many premieres, including works by
Skrowaczewski, Schoenfeld, Vandervelde, Thomas, and Barnett.
This commitment to new music came late. Though I was
surrounded by composers at Eastman, it has been my work
with the Jerome Foundation, American Composers Forum,
and Minnesota Commissioning Club that has stimulated my
interest. My involvement with the boards of several venerable
arts organizations has given me great satisfaction and sense
of purpose. None is dearer to my heart than The Schubert
Club. Its standards of excellence, established by strong-willed
women, are still maintained today on an international stage.
To hear Thelma Hunter performing one of her signature
pieces, Grainger’s Country Gardens visit schubert.org
An anecdote illustrating the significance of this piece in
Thelma’s life comes to us by way of composer
David Evan Thomas:
During Thelma’s sophomore year of high school, Country
Gardens played an all-important role in her introduction to
[her future husband] Sam Hunter’s family. The Hunters were
members of the Plymouth Brethren, an insular sect. Though
they had an upright piano, they had never been to a concert.
“Play us a wee tune,” said Sam’s mother in her Irish brogue,
when Thelma visited them for the first time. It was a crucial
moment: the Moonlight Sonata? Fantaisie-Impromptu?
Thelma rolled up her sleeves and launched into Country
Gardens. When she finished, Mrs. Hunter was won over, and
could only ask, “Would you play that again?”
Thelma Hunter, portrait by Maxine Bergh
The Schubert Club
presents
David Finckel, cello • Wu Han, pianoPhilip Setzer, violin
Thursday, October 1, 2015 • 7:30 PMPre-concert talk hosted by David Evan Thomas at 6:30 PM
Ludwig van Beethoven
Trio in E-flat major, Opus 1, No. 1Allegro • Adagio cantabile • Scherzo: Allegro assai • Finale: Presto
Trio in C minor, Opus 1, No. 3Allegro con brio • Andante cantabile con Variazioni
Menuetto: Quasi allegro • Finale: Prestissimo
Intermission
Trio in D major, Opus 70, No. 1, GhostAllegro vivace e con brio • Largo assai ed espressivo • Presto
This evening’s concert is dedicated to the memory of Catherine M. Davis
Friday, October 2, 2015 • 10:30 AMPre-concert talk hosted by David Evan Thomas at 9:30 AM
Ludwig van Beethoven
Trio in G major, Opus 1, No. 2Adagio–Allegro vivace • Largo con espressione
Scherzo: Allegro • Finale: Presto
Trio in E-flat major, Opus 70, No. 2Poco sostenuto–Allegro ma non troppo • Allegretto
Allegretto ma non troppo • Finale: Allegro
Intermission
Trio in B-flat major, Opus 97, Archduke Allegro moderato • Scherzo: Allegro
Andante cantabile ma però con moto • Allegro moderato–Presto
This morning’s concert is dedicated to the memory of Thelma Hunter
schubert.org 17
International Artist SeriesOctober 1, 2015 at 7:30 PM & October 2, 2015 at 10:30 AM • Ordway Concert Hall
Cellist David Finckel and pianist Wu Han, Musical
America’s 2012 Musicians of the Year, rank among the most
esteemed and influential classical musicians in the world
today. The talent, energy, imagination, and dedication they
bring to their multifaceted endeavors as concert perform-
ers, recording artists, educators, artistic administrators, and
cultural entrepreneurs go unmatched. In high demand year
after year among chamber music audiences worldwide, the
duo has appeared each season at the most prestigious
venues and concert series across the United States and
around the world to unanimous critical acclaim. For thirty-
four years, David Finckel served as cellist of the Grammy
Award-winning Emerson String Quartet.
David Finckel and Wu Han’s wide-ranging musical
innovations include the launch of ArtistLed (www.artistled.
com), classical music’s first musician-directed and Internet-
based recording company, whose catalogue of sixteen
albums has won widespread critical acclaim. David Finckel
and Wu Han are the founding Artistic Directors of Music@
Menlo, a chamber music festival and institute in Silicon
Valley soon to celebrate its twelfth season, and have served
as Artistic Directors of The Chamber Music Society of
Lincoln Center since 2004. In 2011, David Finckel and Wu
Han were named Artistic Directors of Chamber Music Today,
an annual festival held in Korea, and David Finckel was
recently named Artistic Director and honoree of the
Mendelssohn Fellowship, which identifies young Korean
musicians and promotes chamber music in Korea.
In these capacities, as well as through a multitude of other
education initiatives, such as their newly created chamber
music studio at Aspen Music Festival and School, they have
achieved universal renown for their passionate
commitment to nurturing the careers of countless young
artists. David Finckel and Wu Han reside in New York. For
more information, please visit davidfinckelandwuhan.com.
Violinist Philip Setzer is a founding member of the
Emerson String Quartet, which has received nine Grammy
Awards, three Gramophone Awards, and the coveted Avery
Fisher Prize, and has performed cycles of the complete
Beethoven, Bartók, and Shostakovich string quartets in the
world's musical capitals, from New York to Vienna. The Noise
of Time, a groundbreaking theater collaboration between
the Emerson Quartet and Simon McBurney--about the life
of Shostakovich--was based on an original idea of
Mr. Setzer's.
As a soloist, he has appeared on several occasions with The
Cleveland Orchestra, with the Aspen Chamber Orchestra,
and also with the National, Memphis, New Mexico, Puerto
Rico, Omaha and Anchorage Symphonies. In 1976, Philip
Setzer won a bronze medal at the Queen Elisabeth
International Competition in Brussels. He has also
participated in the Marlboro Music Festival.
Mr. Setzer is a tenured Professor of Violin and Chamber
Music at Stony Brook University and has given master
classes at schools around the world. He has been a regular
faculty member of the Isaac Stern Chamber Music
Workshops at Carnegie Hall and the Jerusalem Music
Center. His article about those workshops appeared in The
New York Times on the occasion of Isaac Stern’s 80th
birthday celebration in 2001.
Mr. Setzer studied violin with Josef Gingold and Rafael
Druian, at The Juilliard School with Oscar Shumsky, and also
studied chamber music with Robert Mann and Felix Galimir.
David Finckel Wu Han Philip Setzer
18 THE SCHUBERT CLUB An die Musik
Ludwig van Beethoven (b. Bonn, 1770; d. Vienna, 1827)
Program Notes
The Piano TriosProgram notes by Patrick Castillo
As with the symphony and the string quartet—genres
elevated by Haydn and crystallized by Mozart into
signature forms of the Classical literature—the piano trio
was thus inherited by Beethoven and transformed, at the
turn of the nineteenth century, into a vehicle for the
fiercest and most deeply felt musical expression.
Beethoven’s granite cycles of nine symphonies, sixteen
string quartets, thirty-two piano sonatas and five cello
sonatas span the whole of his artistic maturity,
handily demarcating the composer’s oft-cited three
periods: the early period, encompassing his early work in
Bonn and during his first decade in Vienna, when he was
most clearly under the influence of Haydn and Mozart;
the middle, “heroic” period, which produced works of
sea-parting ambition; and the late period, during which,
stone-deaf and increasingly isolated from society,
Beethoven created such forward-looking works that they
continue to confound listeners two centuries later.
The catalogue of Beethoven’s piano trios begins at the
same point of origin: his first set of three trios, published
as his Opus 1, marks the official launch of the composer’s
professional career. The two Opus 70 trios share airspace
with the Eroica and Fifth Symphonies, the Razumovsky
Quartets, and other emblems of the heroic period. The
Archduke Trio, Beethoven’s final essay in the medium,
appears on the cusp of the middle and late periods. Its
premiere poignantly marked Beethoven’s final concert
appearance as a pianist. The next half dozen years,
marked by all manner of personal trauma, were the most
fallow of Beethoven’s career, but he emerged from this
dark period, as if from a cocoon, impelled to create the
Ninth Symphony, the Missa solemnis, the late quartets—
magna opera that cast long shadows over the entire
nineteenth century and beyond.
The piano trios thus collectively chart Beethoven’s remark-
able artistic journey. They offer us the portrait of the artist
as a young, ambitious, and, in the end, downtrodden
man—yet never accepting of defeat. Indeed, each test
propels him to conquer new frontiers. It is that creative
strength, inexorable willfulness, and triumph of the
human spirit that ultimately comes through in
these works.
Please note: these essays describe the trios NOT in the order presented in the program, but in order of composition.
schubert.org 19
Three Piano Trios, Opus 1
Composed, 1794-95 (No. 1 probably before 1794)
Published, Vienna, 1795
For his first published works, completed within three
years of traveling from his native Bonn to Vienna, the
musical capital of the Western world, Beethoven chose
a set of three piano trios: two genial, major-key works,
and the blustery Trio No. 3 in C minor, a key which would
become one of the composer’s calling cards. With some
dozen or more chamber works already under his belt,
composed in Bonn and during his early days in Vienna,
the publication of these Trios as his Opus 1 represented a
bold and deliberate decision. Beethoven’s teacher, Joseph
Haydn, had played a pathbreaking role in the elevation of
the piano trio genre from light salon music (little more
than a keyboard sonata with violin doubling the melody
and cello doubling the left hand) to chamber music of
the highest sophistication. In choosing Haydn’s signature
medium to announce himself to Viennese audiences, the
notoriously headstrong Beethoven—whom, moreover,
Haydn hardly nurtured with the kind of paternal warmth
that, for instance, Mozart had shown to his students—put
the public on notice that an important new musical voice
was here to be reckoned with.
Beethoven dedicated the Trios—significantly, not to
Haydn—but to the Prince Carl von Lichnowsky, the
patron in whose home the works were first performed.
Beethoven was joined for the occasion by violinist Ignaz
Schuppanzigh and cellist Anton Kraft, two of Vienna’s
most prominent chamber musicians. (Before his debut
as a composer, Beethoven had already made his mark
as a virtuoso pianist. His take-no-prisoners energy at
the keyboard became the stuff of legend. Simply put,
Vienna had never before heard a pianist like Beethoven.
Contemporary accounts noted the “tremendous power,
character, unheard-of bravura and facility” of Beethoven’s
playing. Images have endured of the ferocious virtuoso
requiring an assistant to pull broken strings out of the
instrument as he played). Vienna’s musical elite, includ-
ing Haydn, turned up for the performance. As Beethoven
subsequently prepared the Trios for publication, Haydn
advised that he withhold the Trio in C minor, feeling it out
of step with Viennese tastes; when that Trio proved the
most popular of the set, Beethoven suspected Haydn of
jealousy and professional sabotage. It is also telling that
he forewent the custom of appending “pupil of Haydn” to
his name in the published score.
Trio in E-flat major, Opus 1, No. 1
Despite the burgeoning tensions between master and
pupil, Beethoven’s Opus 1 Trios are nevertheless audibly
indebted to Haydn, as well as to Mozart, the character of
whose Piano Quartet in E-flat, K. 493, the first of these
Trios, also in E-flat, calls to mind. For Haydn’s part, his
influence is evident in the E-flat Trio’s melodic sensibility
and, especially, in its independence of voices.
The Allegro first movement’s opening theme is marked
by a series of ascending arpeggios—a gesture known as
the “Mannheim rocket”—separated by three chords. The
Mannheim rocket was fashionable at the time, named
for its frequent use by composers associated with the
Mannheim court orchestra to show off the brilliant
virtuosity of that celebrated “army of generals.” Before
proceeding to the second theme, the Trio offers a glimpse
of Beethoven’s obsessive developmental tendencies, fully
Beethoven dedicated the Opus 1 Trios to Prince Carl von Lichnowsky, the patron in whose home the works were first performed.
20 THE SCHUBERT CLUB An die Musik
and shockingly abrupt dynamic contrasts.
The exposition of the sonata-form Presto finale recalls
Haydn in its mischievous sense of humor, right from its
opening gesture: cheeky ascending leaps of a tenth in the
piano. The music that follows, with its rhythmic pep and
effervescent energy, might evoke children at play. Likewise
the extended recapitulation. But the movement’s
development section unleashes a sudden outburst
beyond even Haydn’s most forward-looking Sturm-und-
Drang moments. Cast into relief against the innocuous
material that comes before and after, this music’s ferocity
is only further intensified. The moment passes quickly, but
makes an indelible impression. It is as though Beethoven
offers but a taste of what more he has up his sleeve.
Trio in G major, Opus 1, No. 2
Unfairly under-recognized among Beethoven’s oeuvre,
and even among just the Opus 1 Trios, is the second of the
set, the Trio in G major. It is the least frequently performed
of the three, and consequently the least known, despite
its sheer excellence. One could perhaps make a similar
case for the G-major Trio, relative to its two siblings, as
Beethoven would make twenty years later for his Eighth
Symphony, when told that it failed to meet the same
acclaim as the Seventh—to which the temperamental
composer retorted, “That’s because it’s so much better!”
To be sure, that is as rash a judgment on the Seventh as it
would be on the ingenious Trios in E-flat major and
C minor, but at the very least, the G major is the most
difficult to figure out. If the E-flat Trio is the most firmly
situated in the realm of Haydnesque and Mozartian
Classicism, and the C minor the most brazenly forward-
looking, the Trio in G Major captures, like a time-lapse
video of day turning to night, the metamorphosis of
Beethoven’s creative impulses towards the “new path” his
music would soon pursue.
The Trio begins with a luxurious Adagio introduction: a
hazy reverie, which is nevertheless of structural
importance, as the violin’s opening melodic figure
foreshadows the movement’s first theme. Even once
the music enters into its main Allegro vivace section,
this buoyant theme doesn’t appear in full until several
realized in later works: the three instruments toss the
Mannheim-rocket gesture back and forth, each
extending it in turn, while another voice comments.
Another series of three chords, at double the note value
of those in the opening measures, followed by a simple
legato line, signals the arrival of the second theme-group,
which in turn unfolds as a generous succession of
affable melodic ideas. The short but sure-handed
development section and subsequent recapitulation
confirm Beethoven’s total integration of the formal model
set by Haydn and Mozart.
The tender Adagio cantabile is a rondo, shaded with
remarkable subtlety and expressive nuance. Consider the
second episode, in E-flat minor: following a thoughtful
utterance in the piano, the violin presents an ascending
melody—a prayer of supplication, perhaps—soon taken
up by the cello. But the mood of this passage is short-
lived: the atmosphere turns suddenly sentimental, then
assertive—all within the span of a few measures. While
this slow movement may not break any new ground in its
formal structure, a subtle but powerful sense of drama
nevertheless plays out, framed by seemingly innocuous
(but, indeed, deeply felt) music.
The Scherzo shows a restraint perhaps unexpected in the
first published scherzo from such a youthful firebrand
as Beethoven in 1794. But likewise does this movement
demonstrate some of the propensities that would come
to define Beethoven’s voice over the following decades,
such as his obsessive working-over of short motivic cells
Vienna in 1794, when the young Beethoven arrived from Bonn.
Program Notescontinued
schubert.org 21
measures in—so long a runway does it need before taking
flight. Beethoven’s restless approach to thematic develop-
ment is already evident in the movement’s exposition; the
proper development section itself traverses a remarkably
wide spectrum of expressive characters. This is a move-
ment marked by its great breadth of musical materials;
though it has the trappings of the sonata form innovated
by Haydn, it leaves us with the impression that that form
was insufficient to contain Beethoven’s imagination. The
movement concludes with a rich coda, continuing on past
an emphatic cadence that would have made for a wholly
satisfying conclusion, like the bonus of extra innings after
nine frames of riveting baseball.
The Trio’s centerpiece, however, is the second movement,
poetically marked Largo con espressione—“unexcelled,”
writes Lewis Lockwood, “by the slow movement of any
piano trio written up to this time, and for sheer lyrical
beauty it outdoes those of [Beethoven’s] early piano
sonatas.” The three instruments (four voices, given the
independence of the pianist’s left and right hands)
synergistically share phrases, weaving a rich polyphonic
texture that looks ahead to the most deeply felt chamber
scores of the coming century.
The Scherzo movement, as genial as it is brief, bridges
the profundity of the slow movement to the lighthearted
finale. The ebullience of the main theme, marked by fast
repeated notes, doesn’t abate even for the movement’s
more cantabile moments, and drives the Trio to its
conclusion with a wide grin.
Trio in C minor, Opus 1, No. 3
The Trio in C minor remains to this day the most
popular and frequently performed of the Opus 1 set. Of
the three Trios, it is the most immediately characteristic of
Beethoven—or, at least, of that dimension of Beethoven
most widely known and cherished by lay listeners and
aficionados alike: the emotionally volatile, Sturm-und-
Drang Beethoven. It is moreover in a key that would evolve
special associations for Beethoven, the Pathétique Sonata,
Third Piano Concerto, Fifth Symphony (in which Fate
famously knocks at the door), and other works of similar
gravitas likewise occupying the dark and stormy realm of
C minor.
The Trio in C minor foreshadows the searing, no-holds-
barred expressive power that defines those later works.
The first movement opens with a terse gesture, stated by
piano and strings in pallid octaves. A staccato descending
melodic figure in the piano follows, quickly launching the
music into the turbulent airspace that dominates much of
the remainder of the movement. Though the exposition
ends in seemingly friendly E-flat major, the tempestuous
development section that follows—shifting immediately
to E-flat minor, then winding capriciously through a
gauntlet of other keys—reveals sinister motives lurking
behind that major-key smile.
The Andante cantabile offers the listener a reprieve from
the angst of the first movement, analogous to the slow
movements of the Pathétique and Moonlight Sonatas, the
latter called by Liszt a “flower between two chasms.”
Indeed, this theme and set of five variations constitute
the Trio’s only moment of respite throughout the entire
work. The first three variations become increasingly florid.
The fourth variation submerges the listener in somber
e-flat minor, but the clouds part in the elegant fifth,
whose staccato triplet-note figures are fondly recalled in
the movement’s idyllic coda.
The third movement, a minuet, parlays the graceful
manner of that traditional dance form into understated
menace. A bright-eyed, if somehow peculiar, trio section
offsets the ominous temper of the minuet, which,
however, has the last word.
The Trio concludes with a gruff Prestissimo, whose
opening measures present two Mannheim rockets,
separated by three chords—the villainous Doppelgänger,
perhaps, of the start of the Trio No. 1 in E-flat major. The
quivering theme that follows is all nervous agitation. A
gentler second theme, in E-flat major, provides a foil to
the first, but nevertheless retains its caffeinated energy.
Beethoven’s deft treatment of each of these themes
makes for a volatile development section, propelling
the Trio inexorably towards its final measures. The work
unexpectedly settles into a pianissimo C major in its last
breath—sweet relief, perhaps, or an enigmatic
psychological ploy on Beethoven’s part.
22 THE SCHUBERT CLUB An die Musik
Hungarian noblewoman and amateur pianist Countess
Maria von Erdödy. Both trios were dedicated to Erdödy and
received their premiere at her salon. The details of the
nature of Beethoven’s relationship with the countess
remain speculative, with many scholars believing that
Beethoven was in love with her.
The German Romantic author, composer, and cultural
commentator E.T.A. Hoffmann offered his rapturous praise
to the composer upon discovering the works, writing,
“How deeply, O! exalted Master! have your noble piano
compositions penetrated into my soul; how hollow and
meaningless in comparison all music seems which does
not emanate from you, or from the contemplative Mozart,
or that powerful genius, Sebastian Bach...[I]t has been
such a pleasure to me this evening that now, like one who
wanders through the sinuous mazes of a fantastic park,
among all kinds of rare trees, plants, and wonderful
flowers, always tempted to wander further, I am
unable to tear myself away from the marvelous variety
and interweaving figures of your trios. The pure siren
voices of your gaily varied and beautiful themes always
tempt me on further and further.” Hoffmann later sur-
mised about the Opus 70 Trios: “Beethoven carries the
romantic spirit of music deep into his soul and with what
high geniality, with what deep sense of self-possession he
enlivens each work.”
Trio in D major, Opus 70, No. 1, Ghost
The exposition of the Ghost Trio’s first movement begins
with a lively, affirmative rhythmic idea, stated in unison
between the violin, cello, and piano. Following an abrupt
halt, the theme continues with a sweet, lyrical melody,
started by the cello and then shared by the full ensemble.
After extending this musical idea, Beethoven introduces
the second theme in the piano. As in the opening
measures, the defining trait of this theme is its distinctive
rhythm. Beethoven’s elaboration of this theme takes the
exposition to its close. The development section opens
with a variation of this idea: while the exposition opens
with an assertive shout, here, Beethoven turns the same
rhythmic idea into a quiet, reflective utterance, then uses
rhythmic fragments of it to enter an utterly
different world.
Two Piano Trios, Opus 70
Composed, 1808; Published, Leipzig, 1809
Dedication: Countess Maria von Erdödy
Beethoven’s student Carl Czerny offers the following
anecdote in his memoirs: “Around the year 1803
Beethoven said to his friend Krumpholz: ‘I am not
satisfied with what I have composed up to now. From now
on I intend to embark on a new path.’”
At the beginning of the nineteenth century, Beethoven
unquestionably entered into a new stage of artistic
maturity. The music composed during what history has
dubbed Beethoven’s “heroic” period consists largely
of bold, epic works. With the two Opus 70 piano trios,
Beethoven raised the technical and artistic standards of
the genre to new heights; nowhere is the unprecedented
emotional breadth of the composer’s “new path” more
strongly present than in the second movement of the
Ghost Trio, which serves as that work’s
expressive centerpiece.
Beethoven composed the pair of Opus 70 piano trios in
late 1808, while residing at the Vienna apartment of the
Hungarian noblewoman Maria von Erdody. Beethoven composed the Opus 70 piano trios in late 1808, while residing at her Vienna apartment.
Program Notescontinued
schubert.org 23
The second movement of the Ghost Trio serves as the
work’s expressive centerpiece. Czerny once wrote that its
macabre character evoked for him the first appearance of
the ghost in Hamlet, thus bestowing upon the entire work
the nickname by which it has been known ever since.
Coincidentally, Beethoven’s sketches for the movement
relate directly to another of Shakespeare’s plays: the
musical ideas were first considered for the opening
witches’ chorus in Macbeth. Tempering the morose slow
movement, the finale remains sunny and exuberant from
its opening theme to its final measures.
Trio in E-flat major, Opus 70, No. 2
The E-flat Piano Trio is a radiant work. It is no less
powerful a statement than such works as the Fifth
Symphony or its companion piece, the better-known Ghost
Trio, Opus 70, No. 1—but the Opus 70, No. 2 Trio
transmutes the intensity of those works into a warm
lyricism. Biographer Lewis Lockwood observes, “After the
Ghost, the E-flat Trio . . . turns from the demonic to the hu-
man.” Indeed, in contrast to the adrenalized opening of the
Carl Czerny, who began piano lessons with Beethoven at age 10, provided the nickname for the Ghost trio.
Ghost Trio, the E-flat Trio begins with a slow,
introspective introduction. A more buoyant theme,
marked by wide, ascending leaps, announces the start
of the main body of the movement. Yet even here, the
fieriness of the Fifth Symphony yields to a more elegant
temperament. Beethoven quickly recalls the music of the
slow introduction and transforms this music into an
eloquent new musical idea. In the development section,
the mood intensifies through vintage Beethovenian
means: thematic material from the exposition is
fragmented, creating a feeling of anxiety, and the piano
provides a restless accompaniment, arpeggiating a series
of diminished-seventh chords, one of the signature
harmonies of Romantic Sturm und Drang. The
recapitulation restores the movement’s sunny
perspective, but as the music appears to approach a
climactic point, Beethoven once again shows unexpected
restraint. After this final remembrance of the slow
introduction, the movement comes to a soft-spoken close.
Beethoven forgoes a true slow movement, inserting
instead a second-movement Allegretto. The movement’s
opening melody is so sweet and so sincere, perhaps
calling to mind some of Schubert’s lieder. But beneath the
graceful demeanor of this first musical idea lies some-
thing more. As a pianist, Beethoven is known to have
toyed somewhat with his listeners: he would lull them
into a blissful reverie with soft, lyrical music and then
suddenly play loud, crashing, dissonant chords. In his
The Pasqualati House, where Beethoven rented a 4th-floor apartment between 1804 and 1815. Without telling his landlord, Beethoven installed a window on the east wall in order to gain a better view.
24 THE SCHUBERT CLUB An die Musik
compositions, too, he would often work in such abrupt
emotional extremes. Beethoven continues to teeter
between these two contrasting ideas—and he varies
them along the way—keeping the listener unsure of what
to expect and perhaps, in a Jekyll-and-Hyde sort of way, a
little uneasy, even during the music’s most
comforting moments.
There’s a nuanced psychological complexity to this E-flat
Piano Trio that comes to the fore in places, such as those
abrupt changes in character in the second movement—
and even while he is fashioning those exquisite moments,
Beethoven avoids the obvious expressive devices. Think,
for instance, about the slow, thoughtful introduction to
the first movement, where a more vigorous gesture might
have been expected. And then where a deeply
sentimental slow movement might have gone, Beethoven
writes instead an understated Allegretto.
Likewise, the trio lacks a true scherzo movement. In its
place, Beethoven writes another Allegretto—in fact, he
marks the third movement “Allegretto ma non troppo”—
“but not too fast”—exactly the opposite of what we
would expect in a typical scherzo movement. Indeed,
instead of a fast, frenzied scherzo, Beethoven gives us
music of broad, sweeping lyricism.
The finale is just as nuanced as the rest of the trio. As the
movement begins, it appears that, finally, the listener’s
expectations will be met: the music begins quick runs in
the piano, punctuated by energetic “ta-das!” in the violin
and cello, but then immediately changes character: the
piano shifts gears and plays a gentle, lyrical melody that
gets picked up by the violin. Beethoven marks the passage
piano and dolce—softly and sweetly. As in the first
movement, the development and recapitulation sections
work over the thematic materials of the exposition,
weaving a dramatically compelling conclusion to the
Opus 70 Number 2 Piano Trio. All told, the E-flat Trio is a
remarkably rich work. Reflecting a watershed moment in
the creative life of one of history’s greatest composers, it is
a work that demonstrates masterly compositional
technique and that offers a tremendous breadth of
emotion, giving the listener always something new
to discover.
Trio in B-flat major, Opus 97, Archduke
Composed, 1811; Published, Vienna and London, 1816
Dedication: Archduke Rudolph
First performance: April 11, 1814
Beethoven completed the Archduke Trio in three weeks,
from March 3 to 26, 1811. Europe was in the midst of
rapid social change. Napoleon was soon to fall from
power, and the eminent rise of the bourgeoisie coupled
with the steady decline of the aristocracy’s influence. The
decline of the aristocracy also led to a decline in domestic
music-making. As amateur musicians became generally
less proficient and able to master the music of
composers as technically demanding as Beethoven, a new
wave of music began to appear. This was music composed
expressly for professional musicians to perform at public
concerts for the bourgeois audience.
The Archduke Trio is named for the Archduke Rudolph:
the younger brother of Emperor Leopold II, a patron and
sometime student of Beethoven’s, and recipient of the
Trio’s dedication. Beethoven played in the Trio’s premiere,
and this performance turned out to be one of Beethoven’s
last few public performances, due to his worsening
deafness. Recalling this concert, the composer Ludwig
Spohr made the famous remark that, “On account of his
deafness there was scarcely anything left of the virtuosity
Rudolph, to whom the Archduke trio was dedicated, was Beethoven’s friend and patron.
Program Notescontinued
schubert.org 25
of the artist which had formerly been so greatly admired.
In forte passages the poor deaf man pounded on the
keys until the strings jangled, and in piano he played so
softly that the whole group of notes were omitted, so
that the music was unintelligible . . .”. However poor his
performance may have been, the greatness of the music
itself was immediately recognizable. Another account of
the premiere comes from the pianist and composer Ignaz
Moscheles: “I heard a new Trio by Beethoven…played by
himself. How many new compositions are unjustifiably
marked with the little word ‘new.’ But never a composition
by Beethoven, and surely not this one, which is
completely original.”
The Archduke Trio exemplifies Beethoven’s skill in
extending, with endless inventiveness, a minimal amount
of musical material to create a kaleidoscopic array of
musical ideas—a quality important to understanding
Beethoven’s oeuvre as a whole: the most famous
examples include the so-called “Fate knocking at the door”
motif of the Fifth Symphony, and the Ninth Symphony’s
“Ode to Joy” finale. Though most iconically present in
these works, the principle of turning one idea into many is
likewise prevalent in his chamber music.
The exposition of the sonata-form first movement begins
with one of Beethoven’s grandest melodies, proudly
presented straightaway, as if carved in granite: a stately
theme that begins simply by extending a B-flat major
chord. The development section is founded on the
fragmentation and extension of this central theme. At the
recapitulation, the theme returns transformed, as though
its journey has produced a kind of enlightenment. The
movement ends with a triumphant coda.
The charming second movement Scherzo begins with a
most delightful tune. A quiet and eerie chromatic line
played by the cello sets off an intricate canon between the
three instruments to launch into the grandiose
trio section.
Again demonstrating Beethoven’s gift for turning one
musical idea into many, the Andante cantabile third
movement takes the form of a theme and variations. With
each variation, the rhythm expands: from one note to
each beat, then to three, then four, etc. Beethoven’s theme
is marked “semplice”—simple, ordinary. Far from ordinary,
however, this music is simplicity at its most transcendent.
The serenity of the slow movement is rudely interrupted
as the music flies into the exuberant finale. Beethoven
socks the listener out of any possible reverie induced by
the heavenly slow movement. An energetic opening figure
expands into an extroverted main theme. Like children at
play, the piano, violin, and cello toss musical ideas back
and forth. Thunderous scales in the piano rise to quiet
heights, only to come crashing down again.
Toward the end of the movement, a Presto variation
on the theme gives the music yet another inflection.
Often remembered as an eternally anguished composer,
Beethoven here continues to display his great wit and
humor. He was also known for his deep love of nature, and
this passage paints a joyous, pastoral picture – complete
with birds chirping along happily in the right hand of
the piano.
Program notes © Patrick Castillo
Bohemian pianist and composer Ignaz Moscheles (1764-1870). “I heard a new Trio by Beethoven . . . played by himself. How many new compositions are unjustifiably marked with the little word ‘new.’ But never a composition by Beethoven, and surely not this one, which is completely original.”
The Schubert Club
Music in the Park Series
presents
Trio con Brio CopenhagenJens Elvekjaer, piano • Soo-Jin Hong, violin
Soo-Kyung Hong, cello
Sunday, October 25, 2015 • 4:00 PMPre-concert conversation at 3:00 PM
Spell (1973) Per Nørgård
Trio in A minor Maurice Ravel
Modéré Pantoum–Assez vif Passacaille–Très large Final–Animé
Intermission
Trio in A minor, Opus 50 Peter Ilyich Tchaikovsky
Pezzo elegiaco: Moderato assai–Allegro giusto Theme and Variations Theme: Andante con moto
Variation I
Variation II: Più mosso
Variation III: Allegro moderato
Variation IV: L’istesso tempo
Variation V: L’istesso tempo
Variation VI: Tempo di Valse
Variation VII: Allegro moderato
Variation VIII: Fugue: Allegro moderato
Variation IX: Andante flebile, ma non tanto
Variation X: Tempo di Mazurka
Variation XI: Moderato
Final Variation and Coda: Allegro risoluto e con fuoco—
Andante con moto—Lugubre
Please silence all electronic devices
schubert.org 27
Music in the Park SeriesSunday, October 25, 2015 • 4:00 PM • Saint Anthony Park United Church of Christ
A Special Thanks to the Donors Who Designated Their Gift to Music in the Park Series:
INSTITUTIONALElmer L. and Eleanor J. Andersen FoundationArts Touring Fund of Arts MidwestBoss FoundationCarter Avenue Frame ShopComo Rose TravelCy and Paula DeCosse Fund of The Minneapolis FoundationDorsey & Whitney Foundation Matching Gift ProgramPhyllis and Donald Kahn Philanthropic Fund of the Jewish Communal FundWalt McCarthy and Clara Ueland and the Greystone FoundationMinnesota State Arts BoardMuffuletta CaféDan and Sallie O’Brien Fund of The Saint Paul FoundationSaint Anthony Park Community FoundationSaint Anthony Park Home
Speedy MarketTheresa’s Hair Salon and Theresa BlackThrivent Financial Matching Gift ProgramTrillium Foundation
INDIVIDUALSMeredith AldenNina and John ArchabalClaire and Donald AronsonAdrienne BanksCarol BarnettLynne and Bruce BeckChristopher and Carolyn BinghamCarl and Jean BrookinsAlan and Ruth CarpPeter Dahlen and Mary CarlsenPenny and Cecil ChallyMary Sue ComfortDon and Inger DahlinRuth S. DonhoweBruce Doughman
Craig Dunn and Candy HartMaryse and David FanJane FrazeeLisl GaalNancy and John GarlandMichael and Dawn GeorgieffDick GeyermanAnne R. GreenSandra and Richard HainesEugene and Joyce HaselmannAnders and Julie HimmelstrupWarren and Marian HoffmanPeg Houck and Phil PortogheseGary M. Johnson and Joan G. HershbellMichael JordanAnn Juergens and Jay WeinerChris and Marion LevyRichard and Finette MagnusonDeborah McKnightGreta and Robert MichaelsJames and Carol MollerMarjorie Moody
David and Judy MyersKathleen NewellJohn B. Noyd Dennis and Turid OrmsethJames and Donna PeterRick Prescott and Victoria WilgockiDr. Paul and Elizabeth QuieJuliana Kaufman RupertMichael and Shirley SantoroMary Ellen and Carl SchmiderJon Schumacher and Mary BriggsDan and Emily ShapiroMarie and Darrol SkillingKathy and Doug SkorConrad SoderholmEileen V. StackCynthia StokesAnthony TheinTim ThorsonChuck Ullery and Elsa NilssonStuart and Mary WeitzmanJudy and Paul Woodword
Thank you to all those who gave to the new Music in the Park Series Endowment Fund. Please see page 42.
Trio con Brio Copenhagen is in great international
demand and has an intensive worldwide touring schedule.
Appearances this season include Washington DC, Los
Angeles, Dublin, Hannover and Mannheim, (Germany), the
Evian Festival (France), Göteborg (Sweden), Trondheim
(Norway) and Copenhagen among many other cities.
Trio con Brio Copenhagen continues to play a central role in
Scandinavia’s vibrant contemporary music scene. Several of
Denmark’s most prominent composers such as Per Nørgård
and Bent Sørensen, as well as Swedish composer Sven David
Sandström, have composed and dedicated works to the trio.
Trio con Brio Copenhagen was enormously honored to be
chosen by Per Nørgård to be the dedicatee of a work that was
premiered at a festival in Stockholm celebrating his 80th
birthday in 2012. Coming up in January 2016 is the world
premiere of Bent Sørensen’s Triple Concerto with the Danish
National Orchestra.
The trio’s début CD was unanimously praised by critics.
American Record Guide wrote: “One of the greatest
performances of chamber music I’ve ever encountered.”
Gramophone Magazine wrote: “the performances can
compete with the best available . . . airtight ensemble . . .
a superb, greatly gifted chamber group.” Their recording,
“Phantasmagoria,” of Danish contemporary music, has also
been receiving rave reviews.
Trio con Brio Copenhagen is frequently featured as soloists in
Beethoven’s Triple Concerto with orchestras. In 2011 the trio
premiered a new Triple Concerto by the renowned Swedish
composer Sven-David Sandström with the Danish National
Symphony Orchestra and Kristjan Järvi in
Copenhagen’s Koncerthuset.
As educators, the trio members teach at the Royal Academy
in Copenhagen and give masterclasses on their
international tours.
The trio’s sound benefits from the superb instruments all
three play: Soo-Jin plays a violin built by Andrea Guarneri
from the 17th century, Soo-Kyung plays a Grancino cello,
and Jens is Denmark’s first Steinway Artist. The ensemble
was coached by the Alban Berg Quartet, Frans Helmerson,
Mihaela Martin and Harald Schoneweg at the Cologne
University of Music.
The trio members are the founders and artistic directors
of the Copenhagen Chamber Music Festival, which was
launched with great success in 2011.
More information is available on Trio con Brio Copenhagen’s
website: trioconbrio.dk
28 THE SCHUBERT CLUB An die Musik
Program Notes
pastiches, infinity rows, golden-section proportions,
beauty-seeking metaphysics in the ‘70s, via the wrestling
of the ‘80s with great existential questions, centered
around a large group of works strongly inspired by the
schizophrenic artist Adolf Wölfli, to the experiments in
the ‘90s with the phenomenon that Nørgård calls
“tone lakes.”
Rationality and spontaneity, structure and freedom, yin
and yang, local and global, system and chaos, art and
kitsch, construction and expression—in Per Nørgård’s
universe, opposites are constantly taken into
consideration. The tension or interference in Nørgård’s
music is this dialectic between opposite tendencies in
the different layers.
Nørgård’s art constantly creates the vision that the
potential of music is far greater than we think. The
conductor Sergiu Celibidache predicted: “Only the mind
of a new time in the new millennium will be able to
understand the scope of Nørgård’s music.”
Spell, written in 1973, is the second of Nørgård’s three
piano trios. As the piece progressively brings together
disparate strands of material, its textures grow more
complex as well as more unified, until, in the closing
section, the music starts to disintegrate once more.
Nørgård devised a system of notation in which certain
notes within larger groupings are singled out for dynamic
variation. On several occasions the number of repetitions
is left to the performer, so that the piece actually begins
with the kind of aleatory music with which the earlier
trio ends.
Trio in A minorMaurice Ravel (b. Ciboure, 1875; d. Paris, 1937)
By 1914 Ravel had already been toying with the idea
of writing a piano trio for some eight years and is even
reported to have said to his friend and pupil Maurice
Delage: “I’ve written my trio. Now all I need are the
themes.” But in an autobiographical note he dictated in
1928 his only comment on the completed work was that
it was “Basque in coloring.” This puzzled commentators
until, some years after his death, the opening theme of
Spell (1973)Per Nørgård (b. Gentofte, Denmark, 1932)
Per Nørgård (pronounced “Pair Ner-gore”) is the most
prominent Danish composer after Carl Nielsen, and
one of the most original figures in the cultural life of
Denmark. His signature can be found almost anywhere
in Danish music as a result of his animation, teaching,
thought-provoking theories and cultural criticism. For
more than thirty years his widely embracing musical
personality has inspired and influenced a host of
Scandinavian composers. Nørgård has written works in
all categories, for amateurs as well as for professionals:
from large-scale operas to modest hymns, from simple
movements to imposing edifices. He received the
Wilhelm Hansen Composer Prize 2000.
As a young man, Nørgård was a student of Vagn
Holmboe, and his early works do show that he was
inspired by the Nordic character of his teacher. During the
late 1950s, Nørgård explored the possibilities in Central
European modernism. His occupation with new
structural approaches lead to the discovery of the so-
called infinity row, a serial system or musical growth
principle, which can be compared to the symmetrical
formations of nature. This way of composing has been
compared with fractal geometrical forms—repeating
structures in an infinite, hierarchical system.
For Nørgård, the artistic universe is connected from
beginning to end as one big work in progress. This is
paradoxical, since in his music through the years, the
composer has continuously broken with his own
traditions, in the name of self-transgression: ironic
Phot
o: K
nut
Gry
Per Nørgård
schubert.org 29
the first movement was discovered among sketches for
his unfinished work for piano and orchestra Zaspiak Bat
(The Seven Provinces), based on Basque themes.
The first movement is in sonata form, but inevitably Ravel
introduces his own modifications, as with the second
theme which appears unconventionally in the
tonic A minor. In the development, Ravel builds up tension
by means of continually fluctuating tempi, while at the
reprise the first theme on the piano is reduced to its
3+2+3 rhythm in order to accommodate the
simultaneous presentation of the second theme on the
strings (it may be worth recording that Ravel spoke
admiringly of the reprise in the first movement of the
Mendelssohn Violin Concerto, likewise disguised). In the
matter of instrumental balance, Ravel frequently doubles
violin and cello at a distance of two octaves, placing the
right hand of the piano between them.
Pantoum, the title of the second movement, is taken
from a Malay verse form, imitated by Hugo, Gautier and
Baudelaire among others, in which the second and fourth
lines of each quatrain become the first and third lines of
the next. For years it was rather casually assumed that
in adopting this title Ravel was merely indulging vague
exotic inclinations. But nothing about Ravel’s
composing was ever vague, and in 1975 the British
scholar Brian Newbould proved that Ravel does in fact
adhere closely to the structure outlined above and,
what is more, observes a further requirement of the
original form—that the poem (or movement) deal with
two separate ideas pursued in parallel, in this case, the
brittle opening theme on the piano and the subsequent
smoother one on strings two octaves apart. Each of these
themes thus has a real continuation (which we hear in
performance) and a notional one (which is unheard but
provided the composer a private satisfaction).
These exigencies would be enough to keep most
composers occupied, but Ravel goes one step further and
superimposes these games on a traditional ABA form,
whose middle section is in a different meter! It could
be that he was trying to outdo Debussy, who had set
Baudelaire’s pantoum “Harmonie du soir” in 1889. But at
any rate this extraordinarily intricate structure lends some
credence to his remark about only needing the themes.
In contrast with the whirling motion of the Pantoum, the
Passacaille that follows is obsessively linear-eleven
statements of an eight-bar phrase, rising to a climax and
then receding again. Even more than the Pantoum,
perhaps, this movement is a tribute to the teaching of
André Gedalge, the work’s dedicatee, to whom Ravel was
ever grateful for his technical advice. In the last
movement, the alternation of 5/4 and 7/4 bars returns
us to the metric instability of the first movement, but the
structure is even more firmly that of sonata form with
a second theme in the shape of massive piano chords.
Ravel’s work on this movement coincided with the
declaration of war in August, which may possibly explain
the trumpet calls in the development. Typically, he wrote
off this work, in which his technical mastery is seen in all
its dazzling perfection, as “just another trio.”
That disclaimer was, however, to some extent for public
consumption. In his heart, Ravel was passionate about
compositional technique and about his role in its
progress: to close friends he would occasionally unbutton
to the extent of saying: “Well, you know, nobody has ever
done that before!”
Maurice Ravel
30 THE SCHUBERT CLUB An die Musik
Trio in A minor, Opus 50Peter Ilyich Tchaikovsky (b. Votkinsk, Russia, 1840;d. Saint Petersburg, 1893)
The A-minor piano trio was written as a memorial tribute
to Nikolay Rubinstein, director of the Moscow
Conservatory and brother of the pianist and composer
Anton Rubinstein. Rubinstein had served as mentor, critic
and supporter to Tchaikovsky, and had seen to it that
Tchaikovsky’s works got the best possible performances.
However, they did not always agree on matters musical.
Despite the fact that Tchaikovsky had once described
Rubinstein as a “heartless, dried-up pianist,” he was so
devastated by Rubinstein’s death in March of 1881, as well
as the illness of his sister, that he ceased work altogether
until December of that same year. (As a result of
Rubinstein’s death, Tchaikovsky was offered the position of
Director of the Moscow Conservatory, which he declined.)
He then began work on the piano trio—an instrumental
combination he had heretofore felt antipathy toward (he
had once written to his patroness Nadezhda von Meck,
who was urging him to write a piano trio, that it was
torture to him to have to listen to the combination of
piano with violin and cello). The trio bears the dedication
“to the memory of a great artist.”
The Trio is a large-scale work in two sections. The first
movement, in sonata form, is marked “Pezzo elegiaco”—
elegaic piece. And that it is: melancholy, yet warm and
passionate, filled with Tchaikovsky’s broad and lovely
melodies. (A less charitable view of the work is taken by
Alfred Einstein in Music in the Romantic Era, in which he
characterizes it as an example of Tchaikovsky’s “yielding
unreservedly to his lyric, melancholy, and
emotional ebullitions.”)
The second part of the trio consists of a set of varia-
tions followed by a finale and coda. The simple folk-like
theme for the variations is said to have been inspired
by the memories of a happy day in the country, where
Tchaikovsky and Rubinstein were entertained by peasants
singing and playing for them. There are eleven variations
of the theme, which is introduced by the piano. Here are
some “landmarks”: In the first variation the violin presents
the theme, followed by (what else) variation two, where
the cello sings the theme as the violin provides a
countermelody. If you hear what sounds to be a scherzo
by the piano punctuated by pizzicatti from the strings,
you’re in the third variation. If it’s the theme played in the
minor mode, you’re in the fourth variation. If you think
you hear what sounds like a music box-piano in the upper
register, with strings providing a drone, you’re in the fifth
variation. After an introduction of repeated notes by the
cello, the group breaks into an elegant waltz—said to be
evocation of Tchaikovsky’s opera Eugene Onegin. This sixth
variation is a long one. If you hear the piano belting out
chords, punctuated by the strings, you’re in the seventh
variation; it’s a short one, and we’re coming down the
Peter Ilyich Tchaikovsky
Nikolay Rubinstein
Program Notescontinued
home stretch. If you hear a lot of counterpoint, canons
and the like, you’re in the eighth variation—this from a
composer who had no love for Bach and Handel. If it’s a
lively mazurka you hear, you’re in the tenth variation. One
more to go. Almost. If you hear the cello plunking out a
bass line to repeated notes on the piano, and a gradual
dying away of the theme, you’re in the eleventh variation.
The finale actually starts out with yet another variation of
the theme; festive and jubilant and developed at length.
This manic mood eventually, but abruptly changes, as
if the composer, lost in pleasant memories, is suddenly
brought back to his pain at the loss of his friend. The
melancholy opening theme of the first movement returns,
orchestral and engulfing in its force. This gives way to a
solemn funeral march, whose characteristic dum-dum-
dee-dum rhythm is given to the piano, while the first
movement theme given to the strings, itself dies away.
After he completed the work, Tchaikovsky had it played for
some friends, as a result of which he made some revisions
in the score. It was first privately performed in Moscow
on March 2, 1882, with Sergei Taneyev (a noted composer
and teacher) at the piano, N. Grimaldi on violin and
Wilhelm Fitzhagen on cello. The first public performance
took place in Moscow on October 30, 1882.
The trio, and the second movement in particular, is
arguably the most difficult piece Tchaikovsky wrote for
piano, whether solo, with orchestra, or in a chamber
group. It remains popular, in spite of its length, for its
breathtaking lyricism and the cosmic finality of its
final statement.
– Program notes provided by the artist’s management
Trio con Brio Copenhagen appears by arrangement with
Lisa Sapinkopf Artists, www.chambermuse.com
Are you a classical instrumentalist, vocalist or composer, aged 14 – 18?
GET READY FOR MINNESOTA VARSITY!
The finalists of our annual showcase will record in our world-class studios,
hear their work broadcast on Classical MPR, and perform at an exciting live event.
Submissions are open now through December 7. Learn more at classicalmpr.org/varsity
ATTENTION, YOUNG MUSICIANS
CLASSICAL MINNESOTA PUBLIC RADIO PRESENTS
The Schubert Cluband
The Minnesota Historical Society
present
Hill House Chamber Players
Julie Ayer, violin • Catherine Schubilske, violinThomas Turner, viola • Tanya Remenikova, cello • Jeffrey Van, guitar
Mondays, October 19 & 26, 2015 • 7:30 PM
“Behind the Lines – Music and Composers of World War One”
String Quartet in D major, K .575 Wolfgang Amadeus Mozart
Allegretto Andante Menuetto: Allegretto Allegretto
Las Presencias No. 6, Jeromita Linares Carlos Guastavino
Intermission
Danza Española No. 10, Melancólica Enrique Granados La maja de Goya
String Quartet in A minor Fritz Kreisler
Fantasia: Moderato Scherzo: Allegro vivo, con spirito Introduction and Romance Finale: Allegro molto moderato
Please silence all electronic devices
schubert.org 33
A century ago, war raged across Europe, pitting the Central
Powers of Germany, Austria-Hungary and Italy against the
Triple Entente: Russia, France and the United Kingdom.
Sparked by the 1914 assassination in Sarajevo of Archduke
Franz Ferdinand and the Duchess Sophie, the “Great War,” as
it came to be called, scored Europe with trenches and added
new weapons like the airship and poison gas to the arsenal.
Three years on, the United States entered the war, and in
1918 an armistice was reached “on the eleventh hour of the
eleventh day of the eleventh month.” The survivors straggled
back to a society transformed, confronting issues of class,
race and sex, vibrating to the rhythms of jazz. The Hill House
Chamber Players will explore the music of the Great War
throughout the 2015–16 season.
The notion that Mozart composed his so-called “Prussian”
Quartets on commission from King Friedrich Wilhelm II has
been questioned by scholars. Rather, it seems likely that his
efforts to gain an audience with the king in the spring of
1789 failed, and that the commission was wishful thinking or
perhaps a pose. The Quartet, K. 575 is the first of a projected
set of six, of which Mozart completed three before his death
in 1791. The king was an amateur cellist, and the prominence
given to his instrument, especially in its songful high register,
sets these works apart from Mozart’s earlier quartets. They
are leaner, more urgent in tone. The Quartet opens sweetly,
in a whisper, with the 1-3-5 of the tonic chord giving Mozart
his opening theme. And what rich material Mozart finds in
these three aspiring notes! He returns to them for the highly-
concentrated finale, where they entwine in rich sequences.
The Andante, with the violins coupled in octaves, feels less
like a quartet-movement than a twilight serenade.
If the music of the soft-spoken Argentinian Carlos
Guastavino is less familiar to North American audiences
Hill House Chamber PlayersMondays, October 19 & 26, 2015 • 7:30 PM • James J. Hill House
than his countrymen Ginastera and Piazzolla, Guastavino
is cherished in his homeland as a composer of songs and
piano music. He even achieved in his lifetime the distinction
of being able to live on royalties from his work. Guastavino’s
music is unabashedly tonal and often folk-inspired. British
guitarist John Duarte learned from the composer that
Jeromita Linares pays homage to an old Spanish lady, “a
neighbor of Guastavino when he lived in his native, quiet
and peaceful Santa Fe, Argentina. She lived in a very modest
rancho, surrounded by plants and flowers which grew in old
oil cans; as a child Guastavino used to go there to buy eggs.”
The work is in three sections without a break: Allegretto
amabile—Molto sostenuto—Tempo I.
Enrique Granados was fascinated by the romantic painter
Franciso Goya (1746-1828) and his portrayal of the majos
and majas, lower class artisans of old Madrid. Granados’s
opera on the subject, Goyescas, was the first Spanish-
language opera given at the Met. In 1916, returning from its
premiere, Granados’s ship, the SS Sussex, was torpedoed by
a German U-boat in the English Channel. The composer and
his wife drowned. La maja de Goya is the first of Granados’s
Tonadillas, theater songs in the old style. The Spanish Dances
for piano were composed 1888-90, and are heard here in a
transcription for guitar.
The Viennese Fritz Kreisler was a trained composer as well
as one of the most celebrated and beloved violin virtuosos
of his era, but notoriety came in an unexpected way. Early
in his career, Kreisler wrote many short pieces for his own
use, attributing them to forgotten “masters” like Pugnani
and Padre Martini. For years few guessed their provenance,
until Kreisler was forced to admit in 1935 that he had
hoodwinked the public—and the critics! Early in World
War One, Kreisler served four weeks as a lieutenant in the
Austrian army, was wounded and honorably discharged—
with a limp. At first he was welcomed back on American
soil, but when U.S. entered the war in 1917, public opinion
shifted, and he was regarded by many as an enemy alien.
Kreisler went into voluntary retirement, telling the New
York Times: “I propose to live quietly, and devote myself
to composing some serious works that I have long had in
mind.” One of those works was the String Quartet, which
was published in 1921. It begins like an old tale, told “with
knightly pathos” by the cello. The same gentle almost-waltz
closes the first and last movements, testifying to memories
distant and painful.
Program notes © 2015 by David Evan Thomas
Carlos Guastavino
34 THE SCHUBERT CLUB An die Musik
Courtroom ConcertOctober 15, 2015 • Noon • Landmark Center
Saxophone Quartet
Dave Franzel, soprano • Kurt Hattenberger, alto
Ben Cold, tenor • CJ Longabaugh, baritone
Presto - Jean Rivier (1896-1987)
Suite Bergamasque - Claude Debussy (1962-1918)
Transcribed for saxophone quartet by Kurt Hattenberger
Prelude • Minuet • Clair de lune • Passepied
Recitation Book (2004) - David Maslanka (b. 1943)
Broken Heart: Meditation on the chorale melody Der du bist drei in Einigkeit
Prelude/Chorale: Meditation on the chorale melody Jesu meine Freude
Ecco, morirò dunque
Meditation on the Gregorian Chant O Salutaris Hostia
Fanfare/Variations on the chorale melody Durch Adams Fall
Ben Cold, a native of Wisconsin, is finishing his DMA in saxophone performance under Dr. Eugene Rousseau. He actively per-
forms nationally and internationally, and has performed as a soloist in France, Germany, Canada, and Brazil as well as throughout
various colleges in the United States. He is a strong supporter of new music, collaborating with composers Christian Lauba, Mark
Engebretson, and Libby Larson. He currently is an active performer and educator in Minneapolis. Benjamin Cold is a Conn-Selmer
and E-Rousseau brand endorsed performing artist.
Dave Franzel is a versatile saxophonist based in the Minneapolis area. Having completed his Bachelor of Music in Performance,
he gigs regularly with a local rockabilly band, subs in various jazz groups, and plays several classical recitals throughout the year.
Dave is also an instructor of saxophone/flute/clarinet at Schmitt Music based in Brooklyn Center. His principle teachers include
Dr. Eugene Rousseau, Greg Keel, and Kurt Claussen.
Cameron (C J) Longabaugh is working towards his Doctor of Musical Arts in Saxophone Performance with a secondary
emphasis in Musicology at the University of Minnesota. He received his MM in Performance and his Bachelor of Music Education
at the University of Minnesota and Kansas State University respectively. Cameron currently serves on the music staff with the
Irondale High School Marching Knights, a consistent Bands of America St. Louis Super Regional finalist. Prior to his graduate stud-
ies, Cameron was the Assistant Director of Bands at Blue Valley West High School in Overland Park, KS. Cameron’s mentors include
Eugene Rousseau, Anna Marie Wytko, Preston Duncan, Craig Kirchhoff, and Frank Tracz.
Kurt Hattenberger is a second year master’s student at the University of Minnesota, where he studies classical repertoire, with
a special interest in new works and chamber music. He studied with Dr. Eugene Rousseau, and will complete his performance
degree with Dr. Preston Duncan. He received his undergraduate degree in music education from St. Olaf College, where he studied
with Kurt Claussen and Greg Keel. He was a winner of the St. Olaf Orchestra Concerto Competition and received a distinction
award for his degree recital. Kurt is an active player in the area, performing with the University of Minnesota Wind Ensemble,
various local community orchestras, and as a featured soloist with the Plymouth Concert Band.
Opening Concert
Dave Franzel, Kurt Hattenberger
Ben Cold, CJ Longabaugh
schubert.org 35
Roderick Phipps-Kettlewell, piano/artistic director
Marilène Phipps-Kettlewell, poet • Riley Svatos, soprano
Erick Krohg, baritone
Roderick Phipps-Kettlewell is an English-born concert pianist, conductor, teaching and recording artist, who
has previously served as Artist-in-Residence for the Schubert Club Museum. He has been Music Director of the
Bach Society of Minnesota, Wayzata Community Church, St. John the Evangelist Episcopal Church and performed
many times with the Saint Paul Chamber Orchestra, and in chamber music recitals with its members, and those of
the Minnesota Orchestra. His performing career has taken him across the United States and Europe, including the
Wigmore Hall and Purcell Room in London, the Aldeburgh Festival, Carnegie’s Weill Hall and Alice Tully Hall in New York. Roderick’s
interest in British and American Song came from his work with Sir Peter Pears, Michael Pilkington, Paul Sperry and many living
composers. More information can be found at amademusic.com
“The Poet’s Song”: A program of British and American Poetry and SongThis program is a creative mix of spoken poetry and art songs in the English language
that will explore the connections, commonalities and differences between distinct
cultures, even as we share a language. From classic poems and songs to work by living
poets and composers, there is a vast range of beautiful words and music, some obscure
and some iconic.
Erik Krohg is a recent graduate of Indiana University, where he served as an Associate Instructor in Voice while
earning a Master of Music in Voice Performance as a student of Timothy Noble. At Indiana, he performed the roles of
Schaunard in La Bohème and Captain Corcoran in H.M.S. Pinafore. Concert credits as baritone soloist included Josef
Haydn’s Paukenmesse, Britten’s War Requiem, and Vaughan William’s Five Mystical Songs. Krohg earned a Bachelor of
Music Summa Cum Laude in Vocal Performance from Concordia College in Moorhead, Minnesota, where he studied
with Peter Halverson. In 2013, Krohg was an Associate Fellow at the Tanglewood Music Center.
Marilène Phipps-Kettlewell is a Haitian-born poet, painter and short story writer. She has held fellowships at
the Guggenheim Foundation, at Harvard’s W.E.B. Du Bois Institute for Afro-American Research and the Center for the
Study of World Religions, as well as at Radcliffe’s Bunting Institute. Her collection, The Company of Heaven: Stories
from Haiti won the 2010 Iowa Short Fiction Award. Her poetry won the Grolier Poetry Prize, while her collection
Crossroads and Unholy Water won the Crab Orchard Poetry Prize. Her poems are also published in England by
Carcanet Press Inc.. She is the editor of The Library of America’s Jack Kerouac: Collected Poems. www.marilenephipps.com
Riley Svatos made her debut with Florida Grand Opera in 2013 as Helen Niles in Marvin David Levy’s Mourning
Becomes Electra, where she also sang Estelle in Andy Vores’ No Exit. Ms. Svatos completed her studies in 2013 for
the Master of Music Program at Indiana University, where she studied with Costanza Cuccaro. In 2012 she was the
grand-prize winner of the Franco-American Vocal Academy Grand Concours de Chant, was awarded the Winston
Scholarship from the National Society of Arts and Letters. She performed the title role in Rimsky-Korsakov’s The
Golden Cockerel and Thibault in Verdi’s Don Carlos with Sarasota Opera.
Courtroom ConcertOctober 22, 2015 • Noon • Landmark Center
36 THE SCHUBERT CLUB An die Musik
The Schubert Club Officers, Board of Directors, Staff, and Advisory Circle
Officers
Craig Aase
Mark Anema
Nina Archabal
James Ashe
Suzanne Asher
Paul Aslanian
Aimee Richcreek Baxter
Board of DirectorsSchubert Club Board members, who serve in a voluntary capacity for three-year terms, oversee the activities of the organization on behalf of the community.
Carline Bengtsson
Lynne Beck
Dorothea Burns
James Callahan
Cecil Chally
Carolyn Collins
Marilyn Dan
Anna Marie Ettel
Richard Evidon
Catherine Furry
Michael Georgieff
Elizabeth Holden
Dorothy Horns
John Holmquist
Anne Hunter
Kyle Kossol
Chris Levy
Jeffrey Lin
Kristina MacKenzie
Peter Myers
Ford Nicholson
Gerald Nolte
Gayle Ober
Jana Sackmeister
Kim A. Severson
Gloria Sewell
Anthony Thein
John Treacy
Alison Young
Barry Kempton, Artistic & Executive Director
Tirzah Blair, Ticketing & Development Associate
Max Carlson, Program & Production Associate
Kate Cooper, Museum & Education Manager
Aly Fulton, Executive Assistant & Artist Coordinator
Julie Himmelstrup, Artistic Director, Music in the Park Series
Tessa Retterath Jones, Director of Marketing & Ticketing
Joanna Kirby, Project CHEER Director, Martin Luther King Center
David Morrison, Museum Associate & Graphics Manager
StaffPaul D. Olson, Director of Development
Janet Peterson, Finance Manager
Composers in Residence:
Abbie Betinis, Edie Hill
The Schubert Club Museum Interpretive Guides:
Sara Oelrich Church, Zachary Forstrom, Paul Johnson, Alan Kolderie,
Sherry Ladig, Rachel Olson, Kirsten Peterson, Whittney Streeter
Project CHEER Instructors:
Joe Christensen, Anika Kildegaard
Dorothy Alshouse
Mark Anema
Dominick Argento
Jeanne B. Baldy
Ellen C. Bruner
Carolyn S. Collins
Dee Ann Crossley
Josee Cung
Mary Cunningham
Joy Davis
Terry Devitt
Arlene Didier
Karyn Diehl
Ruth Donhowe
Anna Marie Ettel
Diane Gorder
Elizabeth Ann Halden
Julie Himmelstrup
Advisory Circle
Hella Mears Hueg
Ruth Huss
Lucy Rosenberry Jones
Richard King
Karen Kustritz
Libby Larsen
Dorothy Mayeske
Sylvia McCallister
Elizabeth B. Myers
Nicholas Nash
Richard Nicholson
Gilman Ordway
Christine Podas-Larson
David Ranheim
Anne Schulte
George Reid
Barbara Rice
Estelle Sell
Gloria Sewell
Katherine Skor
Tom Swain
Jill Thompson
Nancy Weyerhaeuser
Lawrence Wilson
Mike Wright
The Advisory Circle includes individuals from the community who meet occasionally throughout the year to provide insight and advice to The Schubert Club leadership.
President: Kim A. Severson
Immediate Past President: Nina Archabal
Vice President Artistic: Lynne Beck
Vice President Education: Marilyn Dan
Vice President Finance & Investment: Craig Aase
Vice President Marketing & Development: Mark Anema
Vice President Nominating & Governance: Catherine Furry
Vice President Audit & Compliance: Gerald Nolte
Vice President Museum: Ford Nicholson
Recording Secretary: Catherine Furry
schubert.org 37
The Schubert Club Annual ContributorsThank you for your generosity and support
Ambassador$20,000 and abovePatrick and Aimee Butler Family Foundation Anna M. Heilmaier Charitable FoundationMAHADH Fund of HRK FoundationThe McKnight FoundationMinnesota State Arts BoardGilman and Marge OrdwayTarget Foundation
Schubert Circle$10,000 – $19,999Estate of James E. Ericksen
Rosemary and David Good
Family Foundation
Dorothy J. Horns, M.D. and
James P. Richardson
Ruth and John Huss
Lucy Rosenberry Jones
Phyllis and Donald Kahn
Philanthropic Fund
of the Jewish Communal Fund
Alfred P. and Ann M. Moore
George Reid
Charles A. Weyerhaeuser Memorial
Foundation and Robert J.
Sivertsen
Thrivent Financial for Lutherans
Foundation
Margaret and Angus Wurtele
Patron$5,000 – $9,999Anonymous
The Allegro Fund of
The Saint Paul Foundation and
Gayle and Tim Ober
John and Nina Archabal
Boss Foundation
Julia W. Dayton
Terry Devitt
Dorsey & Whitney Foundation
Harlan Boss Foundation
Bill Hueg and Hella Mears Hueg
Art and Martha Kaemmer Fund
of HRK Foundation
Barry and Cheryl Kempton
Marjorie and Ted Kolderie
Walt McCarthy and Clara Ueland
and Greystone Foundation
Malcom and Wendy McLean
Ford and Catherine Nicholson
Family Foundation
Luther I. Replogle Foundation
Sewell Family Foundation
Travelers Foundation
Trillium Family Foundation
Benefactor$2,500 – $4,999AnonymousSophia and Mark AnemaArts Midwest Touring FundThe Burnham FoundationDee Ann and Kent CrossleyJoan R. DuddingstonRichard and Adele EvidonMichael and Dawn GeorgieffMark and Diane GorderThelma HunterJames E. JohnsonLois and Richard KingKyle Kossol and Tom BeckerChris and Marion LevyMcCarthy-Bjorklund Foundation and Alexandra O. BjorklundPeter and Karla MyersAlice M. O’Brien FoundationSita OhanessianPaul D. Olson and Mark L. BaumgartnerRichard and Nancy Nicholson Fund of The Nicholson Family FoundationJohn and Barbara RiceLois and John RogersSaint Anthony Park Community FoundationMichael and Shirley SantoroSecurian FoundationKim Severson and Philip JemielitaFred and Gloria SewellCharles and Carrie ShawKatherine and Douglas SkorWenger FoundationNancy and Ted Weyerhaeuser
Guarantor$1,000 – $2,499Craig and Elizabeth Aase
Anonymous
Suzanne Ammerman
Elmer L. & Eleanor J. Andersen
Foundation
Suzanne Asher
Paul J. Aslanian
J. Michael Barone and Lise Schmidt
Eileen M. Baumgartner
Lynne and Bruce Beck
Dorothea Burns
James Callahan
Deanna L. Carlson
Cecil and Penny Chally
Dellwood Foundation
Rachelle Chase and John Feldman
Mary Carlsen and Peter Dahlen
David and Catherine Cooper
John and Marilyn Dan
Cy and Paula DeCosse Fund of
The Minneapolis Foundation
Joy L. Davis
Dellwood Foundation
Dick Geyerman
Anders and Julie Himmelstrup
Jack and Linda Hoeschler
Hélène Houle and John Nasseff
Anne and Stephen Hunter
Garrison Keillor and Jenny Nilsson
Roy and Dorothy Ode Mayeske
Laura McCarten
Mary Bigelow McMillan
Sandy and Bob Morris
David Morrison
Elizabeth B. Myers
The Philip and Katherine Nason
Fund of The Saint Paul Founda-
tion
Dan and Sallie O’Brien Fund of
The Saint Paul Foundation
Robert M. Olafson
Paddock Family Foundation
The William and Nancy Podas
aRt&D Fund
Betty Pomeroy
David and Judy Ranheim
August Rivera, Jr.
Alma Jean and Leon Satran
Ann and Paul Schulte
Estelle Sell
Anthony Thein
Jill and John Thompson
John and Bonnie Treacy
Kathleen van Bergen
Wells Fargo Foundation Minnesota
Michael and Catharine Wright
Sponsor$500 – $999Anonymous
Mary and Bill Bakeman
Jeanne B. Baldy
Carline Bengtsson
Susan Brewster
and Edwin McCarthy
Michael and Carol Bromer
Tim and Barbara Brown
David Christensen
Andrew and Carolyn Collins
F. G. and Bernice Davenport
Arlene and Calvin Didier
Ruth S. Donhowe
Anna Marie Ettel
David and Maryse Fan
Joan and William Gacki
Judith K. Healey
Frederick J. Hey, Jr.
Andrew Hisey and Chandy John
Cynthia and Russell Hobbie
Nancy P. Jones
Gloria Kittleson
William Klein
James and Gail LaFave
Jeffrey H. Lin and Sarah Bronson
Susanna and Tim Lodge
Barbara Lund and Cathy Muldoon
Wendell Maddox
The Thomas Mairs and
Marjorie Mairs Fund of
The Saint Paul Foundation
Theodore T. Malm
Paul Markwardt
and Richard Allendorf
Lucia P. May and Bruce Coppock
Medtronic Foundation
Kay Phillips and Jill Mortensen Fund
of The Minneapolis Foundation
Alan and Charlotte Murray
Lowell and Sonja Noteboom
John B. Noyd
Mary and Terry Patton
William and Suzanne Payne
Walter Pickhardt
and Sandra Resnick
Christine Podas-Larson
and Kent Larson
Sarah Rockler
Richard Rose
Juliana Kaufman Rupert
Kay Savik and Joseph Tashjian
William and Althea Sell
John Seltz and Catherine Furry
Dan and Emily Shapiro
Helen McMeen Smith
Conrad Soderholm and Mary
Tingerthal
Ronald Spiegel
Stephanie Van D’Elden
Katherine Wells
and Stephen Willging
Mark W. Ylvisaker
Partner$250 – $499Kathleen R. Adix
Anonymous (3)
Meredith B. Alden
Arlene Alm
Beverly S. Anderson
Kathy and Jim Andrews
Adrienne B. Banks
Thomas and Jill Barland
Jerry and Caroline Benser
Fred Berndt
Jean and Carl Brookins
Philip and Ellen Bruner
Bonnie Brzeskowiak
38 THE SCHUBERT CLUB An die Musik
Mark Bunker
Gretchen Carlson
Joann Cierniak
Maryse and David Fan
Barbara and John Fox
Roxana Freese
Stephen and Hilde Gasiorowicz
General Mills Foundation
Katherine Goodrich
Megan and Daniel Goodrich
Marsha and Richard Gould
Jennifer Gross and Jerry LaFavre
Yuko Heberlein
Mary Beth Henderson
Joan Hershbell and Gary Johnson
Mary Kay Hicks
Elizabeth Holden
Elizabeth J. Indihar
The International School
of Minnesota
Ray Jacobsen
Michael C. Jordan
Donald and Carol Jo Kelsey
Youngki and Youngsun Lee Kim
Sarah Kinney
Anthony L. Kiorpes and Farrel Rich
Arnold and Karen Kustritz
Frederick Langendorf
and Marian Rubenfeld
Lehmann Family Fund of
The Saint Paul Foundation
Hinda and Tom Litman
Mary and David Lundberg-Johnson
Sarah Lutman and Rob Rudolph
Holly MacDonald
Kathryn Madson
Richard and Finette Magnuson
Frank Mayers
Sylvia and John McCallister
Christopher and Cheryl McHugh
Gerald A. Meigs
David Miller and Mary Dew
James and Carol Moller
William Myers and Virginia Dudley
Nicholas Nash and Karen Lundholm
Gerald Nolte
Lowell and Sonja Noteboom
Patricia O’Gorman
Amaria and Patrick O’Leary
Heather J. Palmer
Rick and Suzanne Pepin
James and Donna Peter
Sidney and Decima Phillips
Barbara Pinaire and William Lough
Anastasia Porou and George Deden
Connie Ryberg
Saint Anthony Park Home
Mary E. Savina
Paul L. Schroeder
Renate Sharp
Marilynn and Arthur Skantz
Harvey Smith
Eileen V. Stack
Michael Steffes
Richard and Jill Stever-Zeitlin
Hazel Stoeckeler and Alvin Weber
Tom Swain
Jon and Lea Theobald
David L. Ward
Dale and Ruth Warland
Jane and Dobson West
William White
Timothy Wicker and Carolyn Deters
Contributor$100 – $249Anonymous (7)
Carl Ahlberg
Elaine Alper
Mrs. Dorothy Alshouse
Roger J. Anderson
Lydia Artymiw
Julie Ayer and Carl Nashan
Kay C. Bach
Megen Balda and Jon Kjarum
Robert Ball
Gene and Peggy Bard
Benjamin and Mary Jane Barnard
Carol E. Barnett
Roger Battreall
Fred and Sylvia Berndt
Christopher and Carolyn Bingham
Ann-Marie Bjornson
Phillip Bohl and Janet Bartels
Robert Brokopp
Barbara Ann Brown
Charles Brown
Philip and Carolyn Brunelle
Roger F. Burg
James and Janet Carlson
Alan and Ruth Carp
Carter Avenue Frame Shop
Adam Chelseth
Jo and H.H. Cheng
David and Michelle Christianson
John and Brigitte Christianson
Como Rose Travel
Jeanne and John Cound
Don and Inger Dahlin
Shirley I. Decker
Pamela and Stephen Desnick
Karyn and John Diehl
Marybeth Dorn and Robert Behrens
Bruce Doughman
Janet and Kevin Duggins
Douglas Dybvig
Jayne and Jim Early
George Ehrenberg
Peter Eisenberg and Mary Cajacob
Nancy Feinthel
Karl and Sara Fiegenschuh
Sarah Flanagan
Flowers on the Park
Jack Flynn and Deborah Pile
Gerald Foley
Salvatore Franco
Patricia Freeburg
Richard and Brigitte Frase
Jane Frazee
Gail A. Froncek
Lisl Gaal
Nancy and Jack Garland
David J. Gerdes
Ramsis and Norma Gobran
William R. Goetz
Phyllis and Bob Goff
M. Graciela Gonzalez
Ramsis and Norma Goran
Katherine and Harley Grantham
Carol L. and Walter Griffin
David Griffin and Margie Hogan
Bonnie Grzeskowiak
Sandra and Richard Haines
Ken and Suanne Hallberg
Betsy and Mike Halvorson
Robert and Janet Hanafin
Hegman Family Foundation
Rosemary J. Heinitz
Stefan and Lonnie Helgeson
Mary Beth Henderson
Anne Hesselroth
Beverly L. Hlavac
Dr. Kenneth and Linda Holmen
Gale Holmquist
J. Michael Homan
Peg Houck and Philip S. Portoghese
Peter and Gladys Howell
Patty Hren-Rowan
IBM Matching Gifts Program
Ideagroup Mailing Service
and Steve Butler
Ora Itkin
Veronica Ivans
Paul W. Jansen
George Jelatis
Carol A. Johnson
Craig Johnson
Katrina W. Johnson
Pamela and Kevin Johnson
Joseph Catering
and George Kalogerson
Ann Juergens and Jay Weiner
John and Kristine Kaplan
Edwin and Martha Karels
Erwin and Miriam Kelen
Linda Kelsey and Glenn Strand
Marla Kinney
Jean W. Kirby
Robin and Gwenn Kirby
Karen Koepp
Marek Kokoszka
Mary and Leo Kottke
Dave and Linnea Krahn
Robert and Barbara Kueppers
Gloria Kumagai and Steve Savitt
Amy Levine and Brian Horrigan
Libby Larsen and Jim Reece
Bill Larson
David G. Larson
Gary M. Lidster
Thomas Logeland
Mark and Becky Lystig
K.W. and Nancy Ma
Eva Mach
Richard and Finette Magnuson
Mary and Helmut Maier
Rhoda and Don Mains
Helen and Bob Mairs
Danuta Malejka-Giganti
Ron and Mary Mattson
Tami McConkey
Polly McCormack
Mary McDiarmid
Deborah McKnight and James Alt
Margot McKinney
Mary A. Jones
John A. Michel
Margaret Mindrum
Patricia Mitchell
Steven Mittelholtz
Bradley H. Momsen
and Richard Buchholz
Susan Moore
Martha and Jonathan Morgan
Elizabeth A. Murray
David and Judy Myers
Holace Nelson
Kathleen Newell
Jay Shipley and Helen Newlin
Jackie and Mark Nolan
Alvina O’Brien
Tom O’Connell
Ann O’Leary
Scott and Judy Olsen
Alan Onberg
Barbara and Daniel Opitz
Sally O’Reilly and Phoebe Dalton
Vivian Orey
Melanie L. Ounsworth
Elizabeth M. Parker
Patricia Penovich
and Gerald Moriarty
James and Kirsten Peterson
Janet V. Peterson
Sydney and William Phillips
Gretchen Piper
Dwight and Chris Porter
Deborah and Ralph Powell
Dr. Paul and Betty Quie
Mindy Ratner
Rhoda and Paul Redleaf
Tanya Remenikova and Alex
Braginsky
Karen Robinson
Richard Rogers
Michael and Tamara Root
Lee and Roberta Rosenberg
Diane Rosenwald
Barbara Roy
Connie Ryberg and Craig Forsgren
Mary A. Sigmond
David Schaaf
Mary Ellen and Carl Schmider
Russell G. Schroedl
A. Truman and Beverly Schwartz
Sylvia J. Schwendiman
schubert.org 39
Bill and Susan Scott
Buddy Scroggins and Kelly Schroeder
Sara Ann Sexton
Jonathan Siekmann
Gale Sharpe
Nan C. Shepard
Rebecca and John Shockley
Mariana and Craig Shulstad
Darroll and Marie Skilling
Nance Olson Skoglund
Patricia and Arne Sorenson
Carol Christine Southward
Eileen V. Stack
Arturo L. Steely
Ann and Jim Stout
Vern Sutton
Barbara Swadburg and James Kurle
Craig and Janet Swan
John and Dru Sweetser
Lillian Tan
Theresa’s Hair Salon and
Theresa Black
David Evan Thomas
Tim Thorson
Charles and Anna Lisa Tooker
Tour de Chocolat and Mina Fisher
Susan Travis
Karen and David Trudeau
Chuck Ullery and Elsa Nilsson
Rev. Robert L. Valit
Joy R. Van
Osmo Vanska
Paul and Amy Vargo
Harlan Verke and Richard Reynen
Gordon Vogt
Mary K. Volk
Carol and Tim Wahl
Maxine H. Wallin
Kathleen Walsh
Barbara Weissberger
Stuart and Mary Weitzman
Beverly and David Wickstrom
Lori Wilcox and Stephen Creasey
Victoria Wilgocki
and Lowell Prescott
Christopher and Julie Williams
Dr. Lawrence A. Wilson
Paul and Judy Woodward
Tim Wulling and Marilyn Benson
Herbert Wright
Ann Wynia
Alison Young
Friends$1 – $99Anonymous (7)
About Tours with Spangles, Inc.
Cigale Ahlquist
David and Gretchen Anderson
Marie Anderson
Renner and Martha Anderson
Susan and Brian Anderson
Mary A. Arneson
and Dale E. Hammerschmidt
Karen Ashe
Barbara A. Bailey
Megen Balda and Jon Kjarum
Dr. Roger and Joan Ballou
Jim Baltzell
Anita Bealer
Verna H. Beaver
Janet M. Belisle
Irina Belyavin
Barbara and Paul Benn
Brian O. Berggren
Abbie Betinis
Mitchell Blatt
Dorothy Boen
Roger Bolz
Cecelia Boone
David and Elaine Borsheim
Marge and Ted Bowman
Robert Bowman
Thomas K. Brandt
Charles D. Brookbank
Richard and Judy Brownlee
Christopher Brunelle
and Serena Zabin
Jackson Bryce
Elizabeth Buschor
Dr. Magda Bushara
Sherri Buss
David and Marjorie Cahlander
Lori Cannestra
Ed Challacombe
Katha Chamberlain
Chapter R PEO
Kenneth Chin-Purcell
Kristi M. Christman
Christina Clark
Mary Sue Comfort
Ann and Kevin Commers
Irene Coran
Maggie Cords
James Crabb
Barbara Cracraft
Ruth H. Crane
Cynthia L. Crist
Denise Nordling Cronin
Elizabeth R. Cummings
Mary E. and William Cunningham
Marybeth Cunningham
James Cupery
Kathleen A. Curtis
John Davenport
Rachel L. Davison
David Dayton
Gregg and Susan Downing
David Dudley
Katherine and Delano DuGarm
Craig Dunn and Candy Hart
Turmond Durden
Margaret E. Durham
Suzanne Durkacs
Sue Ebertz
Rita Eckert
Andrea Een
Catherine Egan
Katherine and Kent Eklund
Jim Ericson
Joseph Filipas
John Floberg and Martha Hickner
Susan Flaherty
John and Hilde Flynn
Lea Foli
Kathleen Franzen
Dan and Kaye Freiberg
Michael George Freer
Patricia Gaarder
Cléa Galhano
Inez Gantz
Frieda Gardner
Christine Garner
Dr. and Mrs. Robert Geist
Celia and Hillel Gershenson
Girl Scouts MN, WI 14249
Mary, Peg and Liz Glynn
A. Nancy Goldstein
Paul L. Grass
Anne R. Green
Paul Greene
Bonnie Gretz
Alexandra and Grigory Grin
Peg Guilfoyle
Lisa Gulbranson
Michelle Hackett
Elaine J. Handelman
Phillip and Alice Handy
Deborah L. Hanson
Eugene and Joyce Haselmann
Kristina and Thomas Hauschild
Dr. James Hayes
Mary Ann Hecht
Marguerite Hedges
Alan J. Heider
Don and Sandralee Henry
Nelly Hewett
Helen and Curt Hillstrom
Elizabeth Hinz
Marian and Warren Hoffman
Bradley Hoyt
Maryanne Hruby
Dr. Charles W. Huff
Gloria and Jay Hutchinson
Fritz Jean-Noel
Angela Jenks
Maria Jette
Max Jodeit
Kara M. Johansson
Carol A. Johnson
Daniel Johnson
Isabelle Johnson
Stephen and Bonnie Johnson
Thelma Johnson
Tessa Retterath Jones
Dr. Robert Jordan
Christine Kaplan
Shirley Kaplan
Stanley Kaufman
Carol R. Kelly
Charlyn Kerr
Marla Kinney
Kathryn Kloster
Richard Knuth and Susan Albright
Dr. Armen Kocharian
Krystal Kohler
Todd L. Kosovich
Jane and David Kostik
Christine Kraft and Nelson Capes
Judy and Brian Krasnow
Erik van Kuijk
Alexandra Kulijewicz
Mary Lach
Elizabeth Lamin
Colles and John Larkin
Helen and Tryg Larsen
Karla Larsen
Kenyon S. Latham, Jr.
Karla Larsen
Margaret Laughton
Karen S. Lee
David Leitzke
Elaine Leonard
James W. Lewis
Archibald and Edith Leyasmeyer
Mary and James Litsheim
Malachi and Stephanie Long
John Longballa
Jeff Lotz
Elizabeth Lukanen
Rebecca Lund
Mary and David Lundberg-Johnson
Carol G. Lundquist
Roderick and Susan Macpherson
Samir Mangalick
Kristina MacKenzie
Kathryn Madson
Vernon Maetzold
Thomas L. Mann
Rachel Mann
Carol K. March
Karen Markert
Chapman Mayo
David Mayo
Judy and Martin McCleery
Kara McGuire
James McLaughlin
Dr. Alejandro Mendez
Ralph and Barbara Menk
Jane E. Mercier
Robert and Greta Michael
John L. Michel and Berit Midelfort
Dina and Igor Mikhailenko
Donna Millen
John W. Miller, Jr.
Margaret Mindrum
Pantea Moghimi
Marjorie Moody
Anne and John Munholland
Sandra Murphy
Christy and Gordon Myers
Sarah L. Nagle
Shannon Neeser
Stephen C. Nelson
Amy Newton
Phong Nguyen
Every effort has been made to ensure the accuracy in listing our contributors. If your name has been inadvertently omitted or incorrectly listed, please contact The Schubert Club at 651.292.3267.
This activity is made possible by the voters of Minnesota
through a Minnesota State Arts Board Operating Support
grant, thanks to a legislative appropriation from the arts
and cultural heritage fund, and a grant from the Wells Fargo
Foundation Minnesota.
The Schubert Club is a proud member of The Arts Partnership with
The Saint Paul Chamber Orchestra, Minnesota Opera, and Ordway Center for the Performing Arts
Thank you to the following organizations
The Deco Catering is the preferred caterer of The Schubert Club
well flockedfor celebrations
612.767.9495thethirdbirdmpls.com
Jane A. Nichols
Philip Novak
Polly O’Brien
Tom O’Connell
Jonathan OConner
Glad and Baiba Olinger
Tamas Ordog
Nancy Orgeman
Dennis and Turid Ormseth
Thomas W. Osborn
Melanie Ounsworth
Elisabeth Paper
Rick Penning
Timothy Perry
Dorothy Peterson
James L. Phelps
David Pieper
Eugenia Popa
Jonathan and Mary Preus
Michael Rabe
Alberto and Alexandra Ricart
Ann C. Richter
Roger and Elizabeth Ricketts
Julia Robinson
Drs. W.P. and Nancy W. Rodman
Karen S. Roehl
Peter Romig
Steven Rosenberg
Stewart Rosoff
Nancy and Everett Rotenberry
Anne C. Russell
Kurt Rusterholz
Sandra D. Sandell
Linda H. Schelin
Sarah M. Schloemer
Ralph J. Schnorr
Carl H. Schroeder
Jon J. Schumacher and Mary Briggs
Scott Studios, Inc.
and William Scott
Steven Seltz
Ed and Marge Senninger
Jay and Kathryn Severance
Shelly Sherman
Shirley Shimota
Elizabeth Shippee
Ray and Nancy Shows
Brian and Stella Sick
Bill and Celeste Slobotski
Susannah Smith
and Matthew Sobek
Emma Small
Suzanne Snyder
Robert Sourile
Nancy Sponaugle
Donna Stephenson
Karen and Stan Stenson
Norton Stillman
Cynthia Stokes
James and Ann Stout
Patricia Strandness
Gail Stremel
Ralph and Grace Sulerud
Benjamin H. Swanson
Ruthann Swanson
Gregory Tacik and Carol Olig
Bruce and Judith Tennebaum
Kipling Thacker
Bruce and Marilyn Thompson
Keith Thompson
Karen Titrud
Robert Tomaschko
Charles and Anna Lisa Tooker
Charles D. Townes
Casey Triplett
Jean O. VanHeel
Erik Vankuijk and Virginia Brooke
Louise A. Viste-Ross
Gordon Vogt
Sarah M. Voigt
Karen Volk
William K. Wangensteen
Helen H. Wang
Betty and Clifton Ware
Betsy Wattenberg and John Wike
Hope Wellner
Cynthia Werner
Eva Weyandt
Deborah Wheeler
Kurt and Vickie Wheeler
Alex and Marguerite Wilson
Yea-Hwey Wu
Janis Zeltins
John Ziegenhagen
Erin Zolotukhin-RidgwayRay and Nancy ShowsBrian and Stella SickBill and Celeste Slobotski Susannah Smith and Matthew SobekEmma SmallSuzanne SnyderRobert SourileNancy SponaugleKaren and Stan StensonNorton StillmanCynthia StokesJames and Ann StoutPatricia StrandnessGail StremelRalph and Grace SulerudBenjamin H. SwansonRuthann Swanson
Gregory Tacik and Carol OligBruce and Judith TennebaumKipling ThackerBruce and Marilyn ThompsonKeith ThompsonKaren TitrudRobert TomaschkoCharles D. Townes
Ann Treacy and Aine O’DonnellCasey TriplettJean O. VanHeelErik Vankuijk and Virginia BrookeGordon VogtSarah M. VoigtKaren VolkWilliam K. WangensteenHelen H. WangBetty and Clifton WareBetsy Wattenberg and John WikeHope WellnerMelinda and Steven WellvangCynthia WernerEva WeyandtDeborah Wheeler Kurt and Vickie WheelerAlex and Marguerite WilsonRoger and Barbara WistrcillYea-Hwey WuJanis ZeltinsJohn Ziegenhagen
In honor of the Elkina Sisters
Rebecca Shockley
In honor of Alice Hanson, Professor
of Music, St. Olaf College
Kristina MacKenzie
In honor of Julie Himmelstrup’s
leadership
Theresa Black
Carl and Mary Ellen Schmider
Stuart and Mary Weitzman
An endowment gift to support the
Thelma Hunter Scholarship Prize
in honor of Thelma’s 90th Birthday
Hella Mears Hueg and Bill Hueg
In honor of the marriage of Kyle
Kossol and Tom Becker
Mark Baumgartner and Paul Olson
Jonathan Siekmann
Rick Reynen and Harlan Verke
In honor of Lisa Niforopulos
Gretchen Piper
In honor of Paul D. Olson
Barbara Lund and Cathy Muldoon
In memory of William Ammerman
Marilyn and John Dan
In memory of Clifton W. Burns
Dorothea Burns
In memory of Elise Donohue, sister
of Lucy R. Jones
Terry Devitt
Paul D. Olson
In memory of Edna Rask Erickson
Richard and Jill Stever-Zeitlin
In memory of Mindy Sue Geyerman
Richard Geyerman
In memory of Leon R. Goodrich
Megan and Daniel Goodrich
Katherine Goodrich
In memory of Donald Kahn
Stephen and Hilde Gasiorowicz
In memory of Thelma Hunter
Suzanne Asher and Thomas Ducker
Mary and Bill Cunningham
Norm and Sherry Eder
John and Ruth Huss Fund
Walter McCarthy and Clara Ueland
Nicholas Nash and Karen Lundholm
Christine Podas-Larson and Kent Larson
Estelle Quinn Sell
Rebecca Shockley
In memory of Beatrice Ohanessian
Sita Ohanessian
In memory of Laura Platt
Meredith Alden
In memory of Nancy Pohren
Sandra and Richard Haines
In memory of Warren L. Pomeroy
Betty Pomeroy
In memory of Nancy Shepard
Nan C. Shepard
In memory of Helen McMeen Smith
Mary and Bill Cunningham
Dee Ann and Kent Crossley
Lois Ann and Robert Dokken
Dorothy and Roy Mayeske
Barbara and Lewis McMeen
In memory of Tom Stack
Eileen V. Stack
In memory of John Stevens
Gail Stremel
Memorials and Tributes
SYBARITE5
Sunday, October 11, 2015, 7 PM
David Greilsammer, piano
& prepared piano
Thursday, December 3, 2015, 7:30 PM
Avi Avital, mandolin
Ksenija Sidorova, accordion
Itamar Doari, percussion
Tuesday, March 8, 2016, 7:30 PM
Gabriel Kahane, singer-songwriter
Timo Andres, piano
Tuesday, April 5, 2016, 7:30 PM
a new generation of classical music
David Greilsammer“Freshness, elegance, spark, intelligence, simplicity, evidence” – Le Monde
schubert.org/mix• 651.292.3268
42 THE SCHUBERT CLUB An die Musik
The Schubert Club Endowment
The Schubert Club Endowment was started in the 1920s. Today, our endowment provides more than one-quarter of our annual budget, allowing us to offer free and affordable performances, education programs, and museum experiences for our community. Several endowment funds have been established to support education and performance programs, including the International Artist Series with special funding by the family of Maud Moon Weyerhaeuser Sanborn in her memory. We thank the following donors who have made
commitments to our endowment funds:
The Eleanor J. Andersen
Scholarship and Education Fund
The Rose Anderson
Scholarship Fund
Edward Brooks, Jr.
The Eileen Bigelow Memorial
The Helen Blomquist
Visiting Artist Fund
The Clara and Frieda Claussen Fund
Catherine M. Davis
The Arlene Didier Scholarship Fund
The Elizabeth Dorsey Bequest
The Berta C. Eisberg
and John F. Eisberg Fund
The Helen Memorial Fund
“Making melody unto the Lord in her very
last moment.” – The MAHADH Fund
of HRK Foundation
The Julia Herl Education Fund
Hella and Bill Hueg/Somerset
Foundation
The Daniel and Constance Kunin Fund
The Margaret MacLaren Bequest
The Dorothy Ode Mayeske
Scholarship Fund
In memory of Reine H. Myers
by her children
The John and Elizabeth Musser Fund
To honor Catherine and John Neimeyer
By Nancy and Ted Weyerhaeuser
In memory of Charlotte P. Ordway
By her children
The Gilman Ordway Fund
The I. A. O’Shaughnessy Fund
The Ethelwyn Power Fund
The Felice Crowl Reid Memorial
The Frederick and Margaret L.
Weyerhaeuser Foundation
The Maud Moon Weyerhaeuser Sanborn
Memorial
The Wurtele Family Fund
Music in the Park Series Fundof The Schubert Club Endowment
Music in the Park Series was established by Julie Himmelstrup in 1979. In 2010, Music in the Park Series merged into The Schubert Club and continues as a highly sought-after chamber music series in our community. In celebration of the 35th Anniversary of Music in the Park Series and its founder Julie Himmelstrup in 2014, we created the Music in the Park Series Fund of The Schubert Club Endowment to help ensure long-term stability of the Series. Thank you to Dorothy Mattson and all of the generous contributors
who helped start this new fund:
Meredith Alden
Nina and John Archabal
Lydia Artymiw and David Grayson
Carol E. Barnett
Lynne and Bruce Beck
Harlan Boss Foundation
Jean and Carl Brookins
Mary Carlsen and Peter Dahlen
Penny and Cecil Chally
Donald and Inger Dahlin
Bernice and Garvin Davenport
Adele and Richard Evidon
Maryse and David Fan
Roxana Freese
Gail Froncek
Catherine Furry and John Seltz
Richard Geyerman
Julie and Anders Himmelstrup
Cynthia and Russell Hobbie
Peg Houck and Philip S. Portoghese
Thelma Hunter
Lucy Jones and James Johnson
Ann Juergens and Jay Weiner
Phyllis and Donald Kahn
Barry and Cheryl Kempton
Marion and Chris Levy
Estate of Dorothy Mattson
Wendy and Malcolm McLean
Marjorie Moody
Mary and Terry Patton
Donna and James Peter
Betty and Paul Quie
Barbara and John Rice
Shirley and Michael Santoro
Mary Ellen and Carl Schmider
Sewell Family Foundation
Katherine and Douglas Skor
Eileen V. Stack
Cynthia Stokes
Ann and Jim Stout
Joyce and John Tester
Thrivent Financial Matching Gift Program
Clara Ueland and Walter McCarthy
Ruth and Dale Warland
Katherine Wells and Stephen Wilging
Peggy R. Wolfe
The Legacy Society
The Legacy Society honors the dedicated patrons who have generously chosen to leave a gift through a will or estate plan. Add your name to the list and leave a lasting legacy of
the musical arts for future generations.
Anonymous
Frances C. Ames*
Rose Anderson*
Margaret Baxtresser*
Mrs. Harvey O. Beek*
Helen T. Blomquist*
Dr. Lee A. Borah, Jr.
Raymond J. Bradley*
James Callahan
Lois Knowles Clark*
Margaret L. Day*
Timothy Wicker and Carolyn Deters
Harry Drake*
James E. Ericksen*
Mary Ann Feldman
John and Hilde Flynn
Salvatore Franco
Marion B. Gutsche*
Anders and Julie Himmelstrup
Thelma Hunter*
Lois and Richard King
Florence Koch*
Dorothy Mattson*
John McKay
Mary Bigelow McMillan
Jane Matteson*
Elizabeth Musser*
Heather Palmer
Mary E. Savina
Lee S. and Dorothy N. Whitson*
Richard A. Zgodava*
Joseph Zins and Jo Anne Link
*In Remembrance
Become a member of The Legacy Society by
making a gift in your will or estate plan. For
further information, please contact
Paul D. Olson at 651.292.3270 or
polson@schubert.org
The Schubert Club Endowment and Legacy Society
walkerart.org/stage
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Walker Art Center
————————
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