An die Musik Sept 27 – Oct 25

September 27 – October 25, 2015

An die MusikThe Schubert Club • schubert.org

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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.


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:

[email protected]

schubert.org 7

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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


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



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


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


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.


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


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.


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.


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.


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.


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.


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


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


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


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


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


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


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


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


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


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


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


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

[email protected]

The Schubert Club Endowment and Legacy Society

walkerart.org/stage

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————————

Music Dance Theater Performance

Save 20% on season packages — call 612.375.7600 to find out more.

Walker Art Center Premier Partners

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.

FEB 2016Sainte-Chapelle A KING’S QUEST FOR THE TRUE CROSS de Paris

DEC 2015 Baroque MaltaITALIAN MAJESTY AT MDINA CATHEDRAL

Christmas in

MAY 201620th Season

A MAY DAY “CROWNING” PERFORMANCE

Celebration

FALL 2015

GREATER MINNESOTA TOUR

Last Queen of HawaiiThe

ANNIVERSARY

SEASON15 16TWENTIETH

TICKETS + INFORMATION: ROSEENSEMBLE.ORG | 651.225.4340

AT THE ORDWAY!

An die Musik Sept 27 – Oct 25

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