October 30, 2014 – January 7, 2015
An die MusikThe Schubert Club • schubert.org
4 THE SCHUBERT CLUB An die Musik
By TED DYKSTRA & RICHARD GREENBLATTDirected by TOM FREY
A Riotous, Heart-Warming Play with Music
On the Proscenium Stage
nOv 28 – dec 28, 2014 Join us during the holiday season!
Pete
r V
itale
* an
d M
icha
el P
earc
e D
onle
y
651.291.7005 | parksquaretheatre.org | Historic Hamm Building | Downtown Saint Paul
Based upon the novel written by ALICE WALKER and the Warner Bros./Amblin Entertainment Motion Picture Book by MARSHA NORMAN; Music and Lyrics by BRENDA RuSSELL, ALLEE WILLIS and STEPHEN BRAYDirected and Choreographed by LEWIS WHITLOCK III Musical Direction by REV. CARL WALKER
On the Proscenium Stagejan 16 – feb 15, 2015 Cast of 20 Plus a Live Orchestra
Reg
ina
Mar
ie W
illia
ms*
and
Aim
ee K
. Bry
ant*
“...A multihued human comedy of resilience and love.”
Featuring some of the Twin Cities’ best talent – including:
Aimee K. Bryant* Thomasina Petrus* T. Mychael Rambo* Regina Marie Williams*
*Member, Actors’ Equity Association | Photography by Petronella J. Ytsma —Chicago Tribune
An die MusikOctober 30, 2014 – January 7, 2015
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 en-
titles 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.
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
cover: Richard Goodephoto: Michael Wilson
Table of Contents
6 President's Welcome Artistic and Executive Director's Welcome
9 Calendar of Events: November – March
10 Richard Goode
18 Ensemble Caprice
23 Artist of the Past: Arnold Dolmetsch
24 Accordo
26 Courtroom Concerts
32 Intervals: Alumni News of The Schubert Club Scholarship Competition
33 The Schubert Club Officers, Board of Directors, Staff, and Advisory Circle
34 The Schubert Club Annual Contributors: Thank you for your generosity and support
Phot
o: S
arah
Sm
all
Brooklyn Rider & Greg Saunier, drums at Aria in Minneapolis
January 18, 2015
schubert.org/mix
6 THE SCHUBERT CLUB An die Musik
President's Welcome Artistic and Executive Director's Welcome
Welcome to The Schubert Club!
As the days get shorter, we’re glad to share some
wonderful musical experiences with you, both
during the diminishing daylight hours and in the
evenings. What a delight it is to welcome Richard
Goode back to The Schubert Club. His last recital
in the International Artist Series was over 20 years
ago in 1993! Some members of our loyal audience
remember that recital vividly and have told me how
much they are looking forward to welcoming him
back. For others, this may be the first time hearing
one of the world’s truly sensitive and compelling
pianists. We are honored to have him on our stage
once again.
Our guests for the November Music in the Park
Series concert in St. Anthony Park are the Canadian
musicians of Ensemble Caprice. The title of their
program alone – Salsa Baroque – is tantalizing in
the juxtaposition of two words which rarely feature
in the same sentence. Featuring a combination of
recorders, baroque guitar, cello, and percussion, the
performance promises to be delightful
and distinctive.
As we head toward the Holiday season, consider
joining us for our annual Minnesota Composers
Carol Concert on Thursday, December 18 at noon
in Landmark Center. This concert featuring carols
and Holiday music by a wide variety of Minnesota
composers has quickly become a tradition and an
audience favorite.
Whatever performance or event you are joining us
for, may I take this opportunity to wish you a very
enjoyable Holiday season filled with music to lift
your spirit and nourish your soul.
Nina ArchabalPresident
Barry KemptonArtistic and Executive Director
If you are ever asked for a metaphor for The
Schubert Club, I suggest that you consider
responding with “launching pad.”
There is no other musical organization I know of
anywhere that has launched more brilliant careers
than The Schubert Club. Its record of presenting
young musicians who have gone on to achieve
stardom on the world stage is truly remarkable.
Consider this list of artists who gave recitals in the
International Artist Series when they were just
getting started on their careers. The great violinist
Jascha Heifetz performed here at age 20. Pianist
Lang Lang and violinists Joshua Bell and Isaac Stern
gave recitals at age 22. Pianist Vladimir Horowitz
and violinist Hilary Hahn both performed for The
Schubert Club at age 24. Cellist Yo-Yo Ma was only
27 when he first appeared on the Ordway stage,
and soprano Frederica von Stade was only 33 when
she gave her first Schubert Club recital. Based on
this list of musical stars there is little doubt that
The Schubert Club has been a launching pad
to stardom.
With its commitment to presenting recitals of the
highest quality and to nurturing young musicians,
The Schubert Club occupies a unique place in the
musical sphere. Audience members like you and me
get to enjoy this magnificent galaxy.
An die Musik!
schubert.org 7
What is ARTshare?
ARTshare is an all-access, all-you-can-see performance membership program. For $18/month,
you can see as many performances as you’d like by
any/all of these Resident Companies.
Learn more
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ONLY THREE PERFORMANCES!December 10 – 12, 7:00pm
Travel back in time to 1843. Laughter and song greet you as you arrive for a night of revelry and a Victorian feast. Fezziwig’s annual Christmas party, famous for live
music, dancing, and gourmet food, has a special surprise in store for you this year…
Fezziwig and his staff will perform Charles Dickens’ “A Christmas Carol” live while you dine!
TICKETS: actorsmn.org/feast or 800.838.3006 LOCATION: The Saint Paul Athletic Club Grand Ballroom
BILL OF FAREButler Passed Hors d’oeuvres:Asian Pear & Brie Miniature TartletSmoke Salmon Cucumber CanapéWild Mushroom & Goat Cheese Crostini Dinner:Butternut Squash Soup with Roasted PecansMixed Green Salad with Toasted Almonds, Craisins, Smoked Bacon, Shaved Parmesan & Poppyseed DressingCrown Roasted Pork & Sautéed Apple Cider GravyOven Roasted Winter Mixed Vegetables with Fresh Sage & Orange ZestMashed Sweet Potato with Brown Sugar ButterFresh Baked Artisan Rolls & Bread with Rosette of Herb Butter
Dessert:Christmas Bread Pudding with Warm Grand MarnIer Sauce & Peppermint StickGourmet Roasted Coffee & Hot Christmas Tea Menu is subject to change based upon the chef’s whims.
8 THE SCHUBERT CLUB An die Musik
Be the Hero.
Support
March Campaign GardenShare Harvest Campaign Advocacy
Donate at mnfoodshare.gmcc.org
Fight Hunger.
a program of the Greater Minneapolis Council of Churches
schubert.org 9
More information at schubert.orgBox office 651.292.3268
Calendar of EventsNovember – March
November 2014Tuesday, November 11 • 7:30 PM Ordway Center
International Artist Series
Richard Goode, piano
Tuesday, November 18 • 7:30 PM Landmark Center
Live at the Museum
CRASH, with Mary Ellen Childs
Sunday, November 23 • 4 PM St. Anthony Park UCC
Music in the Park Series
Ensemble Caprice
December 2014Monday, December 8 • 7:30 PM Christ Church Lutheran
Accordo
Tuesday, December 9 • 7:30 PM Amsterdam Bar & Hall
Accordo at Amsterdam
January 2015Sunday, January 18 • 7:00 PM Aria
Schubert Club Mix
Brooklyn Rider & Greg Saunier, drums
Tuesday, January 22 • 7:30 PM Landmark Center
Live at the Museum
Music and Tales from the Manuscripts (all new)with Vern Sutton and Maria Jette
February 2015Mondays, February 2 & 9 • 7:30 PM James J. Hill House
Hill House Chamber Players"Last Words"
Sunday, February 15 • 4 PM St. Anthony Park UCC
Music in the Park Series
Schubert Ensemble of London
Tuesday, February 24 • 7:30 PM Ordway Center
International Artist Series
Benjamin Grosvenor, piano
March 2015Sunday, March 8 • 2:00 PM Ordway Concert Hall
Rock the Ordway
Pekka Kuusisto, violin & Dermot Dunne, accordion
Tuesday, March 10 • 7:30 PM Aria
Schubert Club Mix
Pekka Kuusisto, violin & Jay Gilligan, juggler
Friday, March 20 • 7:30 PM Ordway Concert Hall
Rock the Ordway
"Love Songs"Michelle Arezaga, soprano, Tamara Mumford, mezzo-soprano,
Paul Appleby, tenor, Kelly Markgraf, baritone
Gilbert Kalish, piano, Wu Han, piano
Sunday, March 22 • 1:00 PM Ordway Concert Hall
Rock the Ordway
Bruce P. Carlson Scholarship Competition Winners Recital
Pekka Kuusisto, violin & Jay Gilligan, juggler
Benjamin Grosvenor, piano
Goerne Program Page
The Schubert Club
presents
Richard Goode, pianoTuesday, November 11, 2014 • 7:30 PM
Pre-concert talk hosted by Mark Muzullo at 6:45 PM
Adagio in B minor, K. 540 Mozart
Sonata No. 24 in F-sharp major, Opus 78 Beethoven Adagio cantabile – Allegro ma non troppo Allegro vivace
Eight Piano Pieces, Opus 76 Brahms Capriccio in F-sharp minor Capriccio in B minor Intermezzo in A-flat major Intermezzo in B-flat major Capriccio in C-sharp minor Intermezzo in A major Intermezzo in A minor Capriccio in C major
Intermission
This evening's concert is dedicated in memory of Virginia and Edward Brooks, Jr.by their daughters, Katherine Brooks and Julie Zelle.
Children’s Corner Debussy Doctor Gradus ad Parnassum Jimbo's Lullaby Serenade for the Doll The Snow is Dancing The Little Shepherd Golliwogg's Cake Walk
Humoreske, Opus 20 Schumann
Please turn off all electronic devices.
schubert.org 11
Gramophone recently captured the essence of what makes
Richard Goode such an original and compelling pianist:
“Every time we hear him, he impresses us as better than we
remembered, surprising us, surpassing our expectations and
communicating perceptions that stay in the mind.”
In an extensive profile in The New Yorker, David Blum wrote:
“What one remembers most from Goode’s playing is not its
beauty—exceptional as it is—but his way of coming to grips
with the composer’s central thought, so that a work tends
to make sense beyond one’s previous perception of it . . . The
spontaneous formulating process of the creator [becomes]
tangible in the concert hall.”
In recent seasons Mr. Goode curated a multi-event residency
as one of South Bank Centre’s Artist-in-Residence includ-
ing collaborative performances with pianist Jonathan Biss.
This followed his “engrossing” (New York Times) eight-event
Carnegie Hall Perspectives. This celebration of Mr. Goode’s
artistry also included master classes at the city’s three lead-
ing conservatories—Juilliard, Manhattan, and Mannes—and
two illustrated talks on his Perspectives repertoire at the
Metropolitan Museum of Art.
Richard Goode was honored for his contributions to music
with the first ever Jean Gimbel Lane Prize in Piano
Performance, which culminated in a two-season residency
at Northwestern University in Evanston, Illinois, and in May
2010, he was awarded an Honorary Fellowship from
Guildhall School of Music and Drama in London.
A native of New York, Richard Goode studied with Elvira
Szigeti and Claude Frank, with Nadia Reisenberg at the
Mannes College of Music, and with Rudolf Serkin at the
Curtis Institute. He has won many prizes, including the
Young Concert Artists Award, First Prize in the Clara Haskil
Competition, the Avery Fisher Prize, and a Grammy Award.
His remarkable interpretations of Beethoven came to
national attention when he played all five concertos with
the Baltimore Symphony under David Zinman, and when he
performed the complete cycle of sonatas at New York’s 92nd
Street Y and Kansas City’s Folly Theater.
In addition to his most recent release, Richard Goode, an
exclusive Nonesuch artist, has made more than two dozen
recordings, including Mozart solo works as well as concer-
tos with the Orpheus Chamber Orchestra, the complete
Beethoven Piano Sonatas, the complete Partitas by J. S.
Bach, and solo and chamber works of Brahms, Schubert,
Schumann, Chopin, Busoni, and George Perle. Goode is the
first American-born pianist to have recorded the complete
Beethoven sonatas, which were nominated for a Grammy
Award and universally acclaimed Kullervo with the Atlanta
Symphony Orchestra (Telarc) and American Anthem (EMI).
Richard Goode last performed on the International Artist
Series in 1993.
Maud Moon Weyerhaeuser Sanborn International Artist SeriesTuesday, November 11, 2014 • 7:30 PM • Ordway Center
12 THE SCHUBERT CLUB An die Musik
Program Notes
Tonight’s recital offers neglected masterpieces by Mozart and Beethoven, and major works by Schumann and Brahms that illuminate those composers’ relationships to Clara Wieck Schumann, a woman they both loved. The listener will also sense subtle key-relationships in this carefully constructed program. Mozart’s Adagio in B minor is a gentle springboard for Beethoven’s sonata in the bright key of F-sharp major. Brahms uses that key’s relative minor as a door into a labyrinth that leads to C major. After intermission, Debussy’s Doctor resumes his practice in C, and another passage takes us to the E-flat major of the Golliwogg and the threshold of Schumann’s B-flat Humoreske.
Adagio in B minor, K. 540 Wolfgang Amadeus Mozart(b. Salzburg, 1756; d. Vienna, 1791)
Between the triumphant Prague premiere of the opera Don Giovanni and its less successful Vienna run, Mozart entered “An Adagio for Klavier alone in B minor” into his thematic catalogue on March 19, 1788. There are few B-minor movements by Mozart. In 1787, C. F. D. Schubart called B minor: “the key of patience, of the silent expecta-tion of fate, and of the submission to the divine decree. Its complaint is gentle, without ever breaking out in offending murmurs or whimpers.” (Schubart was well
known in his day as a musician, journalist, and malcon-tent. Today we remember him as the poet of Schubert’s song, “The Trout.”)
In his recent book, Mozart at the Gateway to His Fortune, Christoph Wolff argues that the composer “had the great misfortune of experiencing a period in Austrian history that was marked by considerable economic depression combined with great political instability and uncertainty.” Emperor Joseph II had plunged the nation into the unpopular Austro-Turkish War of 1787-1791. Inflation spiked. Mozart’s noble patrons left Vienna. It was “a culmination point in the composer’s creative career, [but also] a time of external disadvantages and difficulties, a time that could after all produce as forlorn a piece as the B minor Adagio.”
The Adagio begins with a gently arching triadic theme and a pair of accents. Throbbing chords support sighs heavy and light. Often the right hand dips below the left, forcing the ear to reinterpret the harmony. On Mozart’s five-octave piano, these bass notes would have been dark and brooding, while the late, drooping chromatics would have sounded tender and vulnerable. The ending in major mode comes as a surprise and a relief.
Sonata No. 24 in F-sharp major, Opus 78 Ludwig van Beethoven (b. Bonn, 1770; d. Vienna, 1827)
In September 1809, a jocular Beethoven agreed to write three piano sonatas for the publisher Breitkopf and Härtel: “Indeed, I promise them to you—as you know, I’m a member of the [Royal Dutch] Academy of Fine Arts and Sciences—with a title, no less—ha-ha, that makes me laugh!” He fulfilled his promise the following February with the sonatas, Opp. 78, 79 and 81a, Les adieux. He also sent the sonatas to Muzio Clementi, the eminent pianist and composer who was now a London publisher. (Clementi appears later in this program in connection with Debussy’s Children’s Corner.)
“A rippling, black-key excursion into the realm of F-sharp major” is how Lewis Lockwood characterizes Beethoven’s only work in the unusual key of six sharps. Theorist Schubart gives the attributes of its enharmonic key, G-flat major, as: “triumph in difficulty, a free sigh of relief on having crossed hills, reminiscence of a soul which has struggled hard and finally is victorious.” This description
Emperor Joseph II's reign was characterized by "consider-able economic depression combined with great political instability and uncertainty."
schubert.org 13
The Siege of Vienna, May 10, 1809, caused Beethoven to cover his head with pillows so as not to hear the cannons
may have held significance for Beethoven. The Siege of Vienna had begun on May 10 and continued until the July 12 armistice. Beethoven’s friend and student Jacob Ries reported that during the shelling the composer “covered his head with pillows so as not to hear the cannons.”
Opus 78 was a special favorite of Beethoven’s, perhaps, Maynard Solomon suggests, “because of its serenity, economy of form, and songful expressiveness.” The placid introductory bars—standing in for a slow movement—are never heard again, but its three-note ascending motive subtly influences what follows. The playful second movement begins with a fillip, and two-note slurs spread from it like wildfire between the hands. Does the answering phrase sound familiar? Beethoven had written Five Variations on ‘Rule, Britannia,’ in 1803. Here, the reference may have been a light-hearted appeal to Clementi’s British market.
Eight Piano Pieces, Opus 76 Johannes Brahms (b. Hamburg, 1833; d. Vienna, 1897)
Most of the Eight Piano Pieces, Opus 76 were written around the time of the Violin Concerto (1878). It was Brahms's first set of character pieces in the tradition of Schumann, Mendelssohn, and Chopin. Brahms had used the title Intermezzo once before: for the third of the four Ballades, Opus 10. Here the intermezzos provide relief and reflection between four muscular capriccios. The duality is not unlike Schumann’s Florestan and Eusebius (see below), but the capriccios here have a dark, legend-ary quality, while the intermezzos are as delicate as wildflowers. Brahms would return to the intermezzo genre in Opp. 116-119 for some of his final, innermost musical thoughts.
“The pattern and moods of the outer pieces bear a significant relationship,” notes Michael Musgrave, “both masking simple progressions and essential stepwise melodic motion behind rich and wide-ranging figuration and following a parallel pattern of A–B–development–A–B–coda.” The opening Capriccio, the cornerstone of the set, was a gift to Clara Schumann on September 12, 1871, the 31st anniversary of her marriage to Robert Schumann as well as the day before her 52nd birthday. Clara called the piece “dreadfully difficult, but so wonderful, so tender and melancholy, that when I play it,
Brahms manuscript of Opus 76, No.1, which he dedicated to Clara Schumann
14 THE SCHUBERT CLUB An die Musik
Program Notescontinued
joy and sadness always surround my heart.” This particu-lar capriccio is important because of its relationship to Brahms’s song “Alte Liebe” (Old Love), which followed in 1876. As Yale scholar Paul Berry has pointed out, the song quotes the theme that appears after the piano piece’s turbulent introduction, joining it to the words, “An old dream takes hold of me / And leads me along its path.”
The Capriccio in B minor is the soubrette of the group, combining a descending chromatic bass with folksy vigor and Schubertian lightness. Brahms suggested to conductor Hans von Bülow that he serenade his bride with the graceful and expressive Intermezzo in A-flat major. The textures of the Intermezzo in B-flat major remind us that Brahms edited the keyboard works of Couperin; with an oh-so-very-French discretion, Brahms avoids tonic harmony until the last two lines.
The play of three notes against two is a common rhythmic feature in these works, but in the Capriccio in C-sharp minor it becomes a generative force. Variation technique is important, too; one hears the opening material in three different forms. Fans of the “other” Intermezzo in A major—Opus 118, No. 2—will find a kindred spirit in No. 6, a dialogue with a graceful middle section in the relative minor. There is no easy Brahms, but the A-minor Intermezzo, with its overlapping dialogue, is many a young pianist’s portal into Brahms’s meditative realm.
Children’s Corner Claude Debussy (b. Germain-en-Laye, 1862; d. Paris, 1918)
Debussy had a reputation as a misanthrope, but he loved children, and he adored Chouchou (“little cabbage”), his only child with his second wife, Emma Bardac. Debussy admired Mussorgsky’s song cycle, The Nursery, and he composed Children’s Corner in the same spirit of humor, simplicity and play—though certainly not for children to play at the piano. It was complete by 1908, the year that Debussy also began work on a libretto for Poe’s The Fall of the House of Usher. The composer would not live to complete that work or to see his girl into adolescence. He died in 1918; she died of diphtheria a year later.
The suite’s English titles are a nod to Chouchou’s English governess. Doctor Gradus ad Parnassum is a silvery rondo that honors and updates Clementi’s one hundred études, “Steps to Parnassus.” Debussy called it “a kind of progressive, hygienic gymnastics. It should be played every morning on an empty stomach, beginning moderato, and ending up animé.” Marked “gentle and a little clumsy,” Jimbo’s Lullaby begins with the velvet elephant’s gently lumbering theme, then the children’s song, “Dodo, l’enfant do” (Go to Sleep, My Child) is heard against whole-tone material. The Serenade of the Doll, with its strummed accompaniment and jazzy middle section, was the first movement to be written, in 1906. The Snow is Dancing works fantastic variations on the idea of alternating hands at the keyboard, as it brings a winter scene to life. The Little Shepherd may be a doll, but as pianist Paul Roberts observes, “his ancestry stretches back through the ages, imparting the wisdom and mystery of an ancient world.” Few composers can evoke so much with a solo line or a pair of chords.
Debussy and his daughter Claude-Emma "Chouchou"
Clara Wieck Schumann, by Edward Hendeman
schubert.org 15
Golliwogg is the name of a wildly popular black doll in books by American illustrator Flora Upton. American slaves invented the cakewalk as a strutting parody of white manners and dancing. In Golliwogg’s Cake Walk, hand-crossings suggest the dancers’ high leaps. Don’t miss the appearance of the love-motive from Wagner’s Tristan und Isolde. Debussy is perhaps engaging in a bit of self-parody: he was briefly a Wagnerian, visiting Bayreuth in 1888 and 1889 to hear Parsifal, Meistersinger, and yes, Tristan.
Humoreske, Opus 20 Robert Schumann (b. Zwickau, 1810; d. near Bonn, 1856)
Einfach (Simply) Sehr rasch und leicht (Very quick and light)Hastig (Hurriedly) Einfach und zart (Simply and tenderly)Innig (Intimately)Sehr lebhaft (Very lively)Mit einigem Pomp (Rather pompous) – Zum Beschluss (In conclusion)
Schumann entered the opening of the Humoreske into his Bridal Book for Clara Wieck in spring 1838. He completed the work in Vienna the following March. The published edition bears a dedication to Julie Baroni-Cavalcabò (1813–87), a pianist, composer, and student of Mozart’s youngest son Franz Xaver.
Of Schumann’s large-scale piano works of the 1830s, the Humoreske is in some ways the most challenging. “As in Carnaval,” notes pianist Anton Kuerti, “[Schumann] makes no pretense of integrating or connecting this set of superb sketches in more than the most tenuous manner. This should not be perceived as a flaw, but as an unaffected expression of his personality and of the romantic's general disdain for conventional restraints.” The composer himself admitted his bivalent response in a letter to his fiancé, Clara Wieck: “All week I sat at the piano composing, writing, laughing and crying, all at the same time. You will find this beautifully illustrated in my opus 20, the massive Humoreske.” The structure is unique and evolving, at times seemingly haphazard. But then, no one boards a roller-coaster to learn geography.
Robert and Clara Schumann in 1847
“Sehr rasch und leicht” contains the only real physical comedy in the work, an echo-game. “Hastig” is a puzzle. Schumann inserts a third staff in the score between treble and bass staves, marking it “Inner voice.” The voice is not to be played; it appears to be a voice that is felt, perhaps as one might hum—Glenn Gould-style. And it carried a message to Clara, for it echoes her Opus 11, No. 2. Another part of this movement is marked “Out of tempo.” The right hand is deliberately offset from the left by a sixteenth-note.
The listener expecting pratfalls in this music will be disappointed. In a letter to Belgian music-lover Simonin de Sire (1800–72), Schumann expanded on the meaning of his title. “The French language has no truly appropri-ate equivalent at its disposal for Humor, a notion deeply rooted in the German national consciousness . . . [and] involving the happy union of easy-going cheerfulness and wit.” Schumann’s famous alter egos Florestan and Eusebius express themselves in this music. Caprice, irony, and the key of B-flat major belong to Florestan; G minor is the domain of the sensitive, dreamy Eusebius. In the end, of course, humor is subjective. As Shakespeare’s Rosaline quips: “A jest’s prosperity lies in the ear / Of him that hears it, never in the tongue / Of him that makes it."
Program notes © 2014 by David Evan Thomas.
16 THE SCHUBERT CLUB An die Musik
November 2014
Dear Schubert Club Friends,
CHANGES TO OUR SCHUBERT CLUB INTERNATIONAL ARTIST SERIES AT THE ORDWAY
As we near the completion of the Ordway Concert Hall construction, I am eager to share our news of two
important improvements that we are making to the International Artist Series next season (beginning October 2015).
• Next season, we will present our 5-concert International Artist Series in both venues: the existing Ordway
Music Theater and the new Ordway Concert Hall. Most of the recitals will be presented in the new Ordway
Concert Hall and occasional recitals in the Music Theater.
• International Artist Series subscribers and single ticket buyers will have the choice of an evening recital series
(as we offer currently) or a new, mostly daytime recital series.
If you are a renewing 5-concert subscriber, you will be guaranteed your same seat in the Music Theater, and we will
assign you a seat in a similar location in the new Concert Hall.
Though The Schubert Club has presented its International Artist Series in the Ordway Music Theater ever since
the Ordway opened in 1985, we are very excited about the opportunities presented by the soon-to-be-completed
Concert Hall. It will have a natural acoustic better suited to recitals and chamber music and will be a smaller, more
intimate space. Furthermore, since we know many music lovers prefer to attend daytime concerts over evenings,
particularly during the winter months, we are pleased to be able to offer the choice of a daytime series or an
evening series beginning next season.
Existing subscribers will receive their renewal packages in late February 2015. If you’re curious to experience a
performance in the new Concert Hall before next season, I hope you will consider joining us at a recital by Finnish
violinist Pekka Kuusisto (with Dermot Dunne, accordion), a Chamber Music Society of Lincoln Center production
featuring a quartet of vocal soloists with Wu Han and Gilbert Kalish, or our Schubert Club Scholarship Competition
Winners’ Recital – all scheduled in March 2015 in the Ordway Concert Hall as part of the Rock the Ordway festivities.
Thank you for your support and enthusiasm for The Schubert Club.
Sincerely,
Barry Kempton
Artistic & Executive Director
schubert.org 17
NEW CONCERT HALL CELEBRATION MAR 2015
22 DAYS OF OPEN ING N IGHTS
LA SANTA CECILIAMAR 12 2015TICKETS start at $16
ORDWAY.ORG
WINNER 2014 GRAMMY AWARD BEST LATIN ROCK ALBUM
RTO 7x10_SchubertProgram.indd 4 10/2/14 3:23 PM
18 THE SCHUBERT CLUB An die Musik
Goerne Program Page
The Schubert Club
Music in the Park Series
presents
Ensemble CapriceMatthias Maute & Sophie Larivière, Artistic Directors
Matthias Maute, recorder, traverso • Sophie Larivière, recorder, traverso
David Jacques, baroque guitar • Susie Napper, baroque cello • Ziya Tabassian, percussion
Sunday, November 23, 2014 • 4:00 PM
Pre-concert conversation at 3:00 PM
¡Jácaras! Santiago de Murcia Hanacpachap cussicuinin Anon. (pub. Cuzco, Perú, 1631) Chacona, from Flores de música, 1706-1709 Antonio Martín y Coll Tarantelas Murcia La suave melodia Andrea Falconieri Doulce mémoire Diego Ortiz Canarios Murcia Xicochi Conetzintle Gaspar Fernandes Pasacalles de 2o tono Martín y Coll Marizapolos Murcia Los coflades de la estleya Juan de Araujo Differenzias sobre la Gayta Martín y Coll Xácara Martín y Coll La Folia Falconieri
Pastorale: Allegro – Piva – Pastorale Domenico Zipoli Lanchas para baylar, from Truxillo del Perú II, c. 1780 Anon.
Battalia: Battalia imperiale – Battalia dolorosa Zipoli – Battalia furiosa La Jota Murcia Temblante estilo italiano (Flores de música) Martín y Coll Yo soy la locura, from Ballet de la follie Henry de Bailly Tarará Antonio de Salazar Discurso con ecos Martín y Coll Danza del hacha Martín y Coll Canarios Antonio Martín (late 17th c.) Wainjo trad. Argentine Chaconne, Le veilleur de nuit Heinrich Ignaz Biber Convidando está la noche Juan García de Zéspedes
Intermission
Salsa baroqueMusic of Latin America and Spain
schubert.org 19
Music in the Park SeriesSunday, November 23, 2014 • 4:00 PM • Saint Anthony Park United Church of Christ
Phot
o: B
ill B
lack
ston
e
A Special Thanks to the Donors Who Designated Their Gift to Music in the Park Series:
INSTITUTIONALEleanor L. and Elmer Andersen FoundationArts Touring Fund of Arts Midwest Boss FoundationCarter Avenue Frame ShopComo Rose TravelCy and Paula DeCosse Fund of The Minneapolis FoundationPhyllis and Donald Kahn Philanthropic Fund of the Jewish Communal FundWalt McCarthy and Clara Ueland and the Greystone FoundationMuffuletta CafeSaint Anthony Park Community FoundationSaint Anthony Park HomeSpeedy MarketTrillium Foundation
INDIVIDUALSArlene AlmNina and John ArchabalLynne and Bruce BeckChristopher and Carolyn BinghamAnn-Marie BjornsonAlan and Ruth CarpPenny and Cecil ChallyMary Sue ComfortDon and Inger DahlinGarvin and Bernice DavenportShirley I. DeckerKnowles DoughertyBruce DoughmanDavid and Maryse FanLisl GaalDick GeyermanDawn and Michael GeorgieffEugene and Joyce Haselmann
Sandy and Don HenryAnders and Julie HimmelstrupPeter and Gladys HowellGary M. Johnson and Joan G. HershbellMichael JordanChris and Marion LevyRichard H. and Finette L. MagnusonDorothy Mattson EstateDeborah McKnightJames and Carol MollerJack and Jane MoranDavid and Judy MyersGerald NolteJohn NoydKathleen NewellSallie O'BrienJames and Donna Peter
Rick Prescott and Victoria Wilgocki Dr. Paul and Elizabeth QuieJuliana Kaufman RupertMichael and Shirley SantoroMary Ellen and Carl SchmiderJon Schumacher and Mary BriggsDan and Emily ShapiroElizabeth ShippeeEileen V. StackCynthia Stokes James and Ann StoutJohn and Joyce TesterBruce and Marilyn ThompsonTim ThorsonMary Tingerthal and Conrad SoderholmDale and Ruth WarlandPeggy R. WolfeJudy and Paul WoodwardAnn Wynia
Ensemble Caprice, a baroque ensemble which performs on
period instruments, was founded by recorder soloist Matthias
Maute and has become known for its innovative approach to
an increasingly expanding musical repertoire. In addition to its
series of concerts in Montreal, the group tours extensively in
Quebec, Canada, the USA, Europe, and even Asia. The ensemble
is a regular guest at many European festivals: the Lufthansa
Festival of Baroque Music in London, the Bruges (Belgium) and
Utrecht (Netherlands) festivals, the Felicia Blumenthal
International Music Festival in Tel Aviv, and in Germany, the
Musikfestspiele Potsdam Sanssouci, the Regensburg Early
Music Festival, the Händel-Festspele in Halle, and the
Stockstadt festival. In the United States, the group performs at
New York’s Frick Collection and Miller Theater, Boston’s Early
Music Festival, and the Library of Congress. In Canada, the
ensemble can be heard at the Ottawa International
Chamber Music Festival, Early Music Vancouver, Early Music
Voices in Calgary, the Edmonton Chamber Music Society, the
Elora Festival, and the Festival International du Domaine
Forget. In November of 2009, the New York Times published a
lengthy article hailing the musicians’ innovative and
refreshing approach, praising them as “imaginative, even
powerful; and the playing is top-flight”.
The Ensemble’s recording activity comprises over twenty
CD’s having appeared on the Analekta, ATMA Classique, and
Antes labels, sold in some fifty countries around the world.
These recordings have gained many honors and much
critical acclaim. The CD Gloria! Vivaldi and his Angels received
a Juno Award in 2009 from the Canadian recording industry.
The Conseil québécois de la musique presented the group
with three prestigious Prix Opus awards: “Performer of the
year,” “Concert of the year” for its performance of Bach’s
B Minor Mass during the 2011 Montreal Bach Festival, and
“Concert of the year” for Le Faste de la France, a collaboration
with the Studio de Musique ancienne de Montréal, in 2011.
Ensemble Caprice was also recognized for its artistic
approach and the quality of its performances by being
selected “People’s choice” (2008-2009 season) and was a
finalist in the music category for the Montreal Arts Council’s
Grand Prix de Montréal for 2009. The group also earned the
Echo Klassik award in Germany and several other
nominations for the Association québécoise de l’industrie
du disque and Prix Opus awards. And finally, the acclaimed
publication Gramophone chose the group’s CD Telemann
and the Baroque Gypsies as one of its recommended
recordings. Ensemble Caprice makes their Music in the Park
Series debut this season.
Thank you to all those who gave to the new Music in the Park Series Endowment Fund. Please see page 38.
20 THE SCHUBERT CLUB An die Musik
Program Notes
Salsa baroqueMusic of Latin America and Spain
During the sixteenth and seventeenth centuries, the musical
dialogue between the Old and the New Worlds produced
extraordinary results. This fascinating blend of European
polyphony and Latin American traditional music created
a unique style that is exemplified by the villancicos of the
Bolivian composer Juan de Araujo and the colorful
guarachas of his contemporaries. Also included in the
program are sonatas by Biber (1644-1704) and Falconieri
(1586-1656), two European composers who were influenced
by this Latin-American style. Gems from this spectacular
musical era will be performed on instruments that were
common at the time: flutes and recorders, baroque guitar,
violoncello, and various percussion instruments.
One can describe baroque music of Latin America as a fusion
of harmonies and rhythms of Europe and Africa blended
with Amerindian nuances and styles. This unique fusion
dates back to the sixteenth century and gave rise to a
complex and fascinating multitude of musical forms
resulting in a great variety of instrumentations, structures,
and rhythmic and melodic phrasing.
Salsa is the Spanish word for sauce, designating at the same
time a dance as well as a family of musical genres in
Latin-American music. It is this latter meaning and its
ancient roots that, together with a bit of humor, we have
taken to give the title Salsa baroque to our project. Despite
the human and political tragedies surrounding the
colonization of the South-American continent, the
multipolar musical culture that resulted is distinguished
by its fiery spirit and passion: here is music with a unique
character that enriches the repertoire of the seventeenth
century with refreshing novelties.
Gaspar Fernandes (c. 1570-1629) was Portuguese by birth,
but emigrated to Mexico, where he became a chapel
musician at the cathedrals of Guatemala and Puebla. His
villancicos (a popular song form of Spanish origin) often
have texts written in a mixture of an Amerindian language
with Spanish or the local dialect. The touching lullaby
Xicochi conetzintle utilizes the Nahuatl language of the
Aztecs. The collection of roughly 250 works from the pen of
Gaspar Fernandes forms the largest source of seventeenth-
century secular music from the New World.
Juan de Araujo (1648-1712), born in Spain, also spent his life
as a musician in Peru and Bolivia where he was appointed
Choirmaster of the cathedral in La Plata. His Los coflades de
la estleya (with the subtitle Black Song for the Birth of Our
Lord) and the Convidando está la noche by Juan García de
Zéspedes (1619-1678) distinguish themselves through the
Indigenous percussion instruments used in Mesoamerica.
The "two-l" tarentella, originally an Italian dance, became the "one-l" tarentela of Spanish composer Santago de Murcia
schubert.org 21
The cathedral in Sucre (formerly La Plata), Bolivia where Juan de Araujo was maestro de capella 1680-1712.
use of African rhythms juxtaposed with sections of
European counterpoint. It is perhaps through these two
short masterpieces of mixed coloring that the peculiar
ambiance that reigned in Latin America in the seventeenth
century is best conveyed.
The Christmas music, Tarará, of Antonio de Salazar
(c. 1650-1715), as well as the Pastorale of Domenico Zipoli
(1668-1726) display the originality of composers in the New
World who were able to meld their European background
with—from a European point of view—the exotic sonorities
of their Latin-American environment. The audacious final
melody of the Pastorale gives us an inkling of the creative
desires of an immigrant musician.
Spanish music is represented by instrumental works from
the vast collection of Antonio Martín y Coll (1671-1734) that
encompasses some hundred pieces of music in its four
volumes called Flores de música. The Chacona and the Xácara
are enriched with complex rhythms that approach those of
another contemporary Spanish composer who had travelled
in Latin America, Santiago de Murcia (1673-1739), whose
Tarantelas, Jacaras, and La Jota draw on a rich repertoire of
dance rhythms.
It is evident that geographic separation did not impede
the relatively rapid transfer of musical styles and
genres, despite the problems imposed by the very lim-
ited means of international and intercontinental travel.
The Canción de clarín con eco a discreción, also taken
from the Flores de música collection, as well as the
Temblante estilo italiano clearly show the Italian influ-
ence on the Iberian Peninsula. Conversely, the air-de-
cour Yo soy la locura by Henry de Bailly (c. 1585-1637)
has a Spanish text in spite of the French nationality of
the composer.
The rite Hanacpachap cussicuinin was sung and
performed during religious processions in church.
Published in 1631 in Peru, this is the very first
polyphony published in the Americas. It is a very
touching piece of music, born of different cultural
worlds united by the beauty of music.
–Matthias Maute
Antonio Martín y Coll's collection of popular, and mostly unattributed, keyboard pieces, Flores de musica. The pieces were famous enough at the time that the people would have known the composers.
You can help guarantee The Schubert Club for future generations by planning a gift in your estate or will.
In 1882, a group of Saint Paul residents formed a small society of music lovers. Since then, The Schubert Club has evolved into the
world-renowned performing arts organization you know today. We are thankful for the stewardship of our many past donors and
subscribers – their thoughtful inclusion of The Schubert Club in their estate plans is currently helping us bring the great music and
innovative programming we enjoy today.
Please help continue their legacy by planning your own estate gift for a strong tomorrow
A meeting with your financial planner is all it takes to make a meaningful future gift to The Schubert Club while
also making sure to provide for your heirs.
Think beyond cash–you can make gifts of stock, personal property, or real estate, or make The Schubert Club the
beneficiary of your life insurance policy, IRA, or pension plan.
An up-to-date will or living trust is the only way to ensure your wishes are carried out and not decided upon by
the courts.
The financial landscape for non-profits like The Schubert Club is changing. Unfortunately, we’re less and less able
to depend on corporations and foundations for the majority of our support, as we once were. You can help make
up the difference by dedicating an estate gift to The Schubert Club, incurring no expense to you during your
lifetime and providing for a successful future for years to come.
Make a planned gift today to help us carry out our mission:
The Schubert Club invites the world’s finest recital soloists and ensembles to our community and promotes the finest musical
talents of our community to the world. We do this through performances, education and museum programs, championing the
music of today and of the future while celebrating great classical music of the past. Learn more at schubert.org/donate
Contact Paul D. Olson at The Schubert Club at 651.292.3270 or [email protected]
The future of The Schubert Club depends on you!
Benjamin Grosvenor, pianoTuesday, February 24, 2015
7:30 at the Ordway
schubert.org
“With virtuosity of this calibre,
allied to a probing musical intelligence,
the sky’s the limit.”
– The Independent
schubert.org 23
The Schubert Club
Artist from the Past
One of the pioneering figures in the twentieth-century revival of early music, Arnold Dolmetsch (1858-1940), may be chiefly known today as the name on the plastic recorders many of us remember from grade school.
Raised in a family of instrument makers and inspired by ancient instruments he saw at the British Museum, Dolmetsch began making playable copies of those antiques—his first lute in 1893, and later harpsichords, viols, and recorders. He is often credited with establishing the recorder as a concert instrument, as well as promoting it as a teaching tool in schools.
Of Czech heritage and born in France, Dolmetsch studied at the Conservatoire in Brussels, learning violin from renowned virtuoso Henri Vieuxtemps. Though he spent much of his working life in England, Dolmetsch at the time of his Schubert Club concert was employed in Boston building harpsichords and clavichords for the Chickering piano company.
Dolmetsch was an active participant in the cultural life of London, and his friends and admirers included such luminaries as William Morris, Roger Fry, Gabriele d’Annunzio, George Bernard Shaw, Ezra Pound, and W. B. Yeats. His life and work were even celebrated in a novel: Evelyn Innes by George Moore!
Below, a young Arnold Dolmetsch; above, the program of his 1906 Schubert Club recital, in which he performed with his third wife, Mabel, née Johnston, a noted bass-viol player
Arnold Dolmetsch
Arnold Dolmetsch (with lute) surrounded by his very musical family in the 1930s.
24 THE SCHUBERT CLUB An die Musik
Intermission
String Trio in G major, Opus 9, No. 3 Ludwig van Beethoven
Adagio – Allegro con brio Adagio ma non tanto and cantabile Scherzo – Allegro Presto
The Schubert Cluband
Kate Nordstrum Projects
present
AccordoKyu-Young Kim, violin • Steven Copes, violin
Maiya Papach, viola • Anthony Ross, cello • Ronald Thomas, cello
Monday, December 8, 2014 • 7:30 PM
Cello Quintet in A major, Opus 39 Alexander Glazunov
Allegro Scherzo. Allegro moderato Andante sostenuto Finale. Allegro moderato
Copes, Ross
Kim, Papach, Thomas
Copes, Kim, Papach, Thomas, Ross
Please join us in the Luther Lounge for complimentary drinks and small bites after the concert
Duo for Violin and Cello Erwin Schulhoff
Moderato Zingaresca: Allegro giocoso Andantino Moderato
schubert.org 25
AccordoMonday, December 8, 2014 • 7:30 PM • Christ Church Lutheran
A special thanks to the Accordo donors:
Performance SponsorsHella Mears HuegJohn and Ruth HussLucy Jones and James JohnsonJenny Nilsson and Garrison KeillorAlfred and Ann Moore
Musician SponsorsNina and John ArchabalMary and Bill BakemanEileen Baumgartner Michael and Carol BromerTim and Barbara BrownRachelle Dockman Chase and John H. FeldmanPaul Markwardt and Richard AllendorfFred and Gloria SewellJoseph and Kay Tashjian
PatronsAnonymous (3)Carl AhlbergBeverly S. AndersonBarbara A. BaileyBrian O. BerggrenKit BinghamPhillip Bohl and Janet BartelsBarbara Ann BrownJudy and Richard BrownleeJohn and Birgitte ChristiansonPamela and Stephen DesnickGeorge EhrenbergCelia and Hillel GershensonMary Glynn, Peg and Liz GlynnBonnie GrzeskowiakMichelle HackettKen and Suanne Hallberg
Betsy and Michael HalvorsonPhillip and Alice HandyCarol A. JohnsonMary JonesRobert JordanErwin and Miriam KelenBarry and Cheryl KemptonChristine Kraft and Nelson CapesAlexandra KulijewiczDavid G. LarsonThomas LogelandHelmut and Mary MaierRhoda and Don MainsRachel MannRon and Mary MattsonDeborah McKnight and James AltJane E. MercierElizabeth Myers
Kathleen NewellLowell and Sonja NoteboomJohn NoydChuck Ullery and Elsa NilssonPatricia O'GormanCarol Olig and Gregory TacikGlad and Baiba OlingerScott and Judy OlsenSydney M. PhillipsBill and Susan ScottBuddy Scroggins and Kelly SchroederEd and Marge SenningerDan and Emily ShapiroGale SharpeArne SorensonGregory Tacik and Carol OligAlex and Marguerite Wilson
Accordo (from left): Ruggero Allifranchini, Anthony Ross, Maiya Papach, Ronald Thomas, Erin Keefe, Rebecca Albers, Steven Copes, Kyu-Young Kim
Sponsors:
Accordo, established in 2009, is a Minnesota-based chamber group made up of some of the very best instrumentalists in the country,
eager to share their love of classical and contemporary chamber music in intimate and unique performance spaces. Their concerts are
held in the National Historic Landmark Christ Church Lutheran, one of the Twin Cities’ great architectural treasures, designed by the
esteemed architect Eliel Saarinen and his son Eero Saarinen.
Accordo includes a string octet composed of Saint Paul Chamber Orchestra (SPCO) and Minnesota Orchestra current and former principal
players Rebecca Albers, Ruggero Allifranchini, Steven Copes, Erin Keefe, Kyu-Young Kim, Maiya Papach, Anthony Ross, and Ronald Thomas.
Phot
o: C
amer
on W
itti
g
Accordo at Amsterdam:
Accordo performs excerpts from this
program with guest host Chuck
Ullery on Tuesday, December 9 at
Amsterdam Bar & Hall
26 THE SCHUBERT CLUB An die Musik
Courtroom ConcertOctober 30, 2014 • Noon • Landmark Center
Charles Asch, celloFranco Holder, piano
Cello Sonata No. 2 in F major, Op. 99 – Johannes Brahms
Allegro vivace
Adagio affettuoso
Allegro passionato
Allegro molto
Variations on One String on a Theme by Rossini ("Moses") – Nicolo Paganini (trans. by Luigi Silva)
Charles Asch is completing his Doctor of Musical Arts Degree at the University of Minnesota with
an active performance schedule of orchestral, chamber, and solo cello music. He received his Mas-
ter’s degree from Juilliard in 2011, where he studied with Richard Aaron and Fred Sherry. His studies
at the University of Minnesota were with Tanya Remenikova. In March 2014, Charles won second
place in graduate strings in The Schubert Club's Bruce P. Carlson Scholarship Competition. Recent
performances have included a complete Bach Solo Cello Suite series at St. John the Evangelist in St.
Paul last spring and performances with the Lakes Area Music Festival Orchestra in Brainerd this past
August. Charles comes from a musical family in Milwaukee, where he grew up singing and
performing piano.
Franco Holder received his Bachelor of Music degree from Indiana University-Purdue University
in 2009, after which he joined the faculty as a collaborative pianist. He has appeared in recital in the
United States, Canada, and Europe and in 2013 was named a winner of the Minnesota Music Teach-
ers Association Artistic Ambassador Competition. He enjoys collaborating with musicians and danc-
ers alike and accompanies at Saint Paul Ballet, TU Dance Center, and the University of Minnesota.
schubert.org 27
Courtroom ConcertNovember 6, 2014 • Noon • Landmark Center
Cordova QuartetAndy Liang, violin • Niccolo Muti, violin
Blake Turner, viola • Matthew Kufchak, cello
Quartet No. 9 in C major, Op. 59, No. 3 – Ludwig van Beethoven
Introduzione. Andante con moto-Allegro vivace
Andandte con moto quasi Allegretto
Menuetto. Grazioso-Trio
Allegro Molto
The Cordova Quartet was formed in the Fall of 2013 at Rice University
in Houston, TX where they were coached primarily by Desmond Hoebig and
Norman Fischer. In the Fall of 2014, they begin their new appointment as
Graduate String Quartet in Residence at the University of Texas, studying with
the Miró Quartet. The Cordova Quartet was one of three fellowship quartets
at Madeline Island Music Camp in 2014. They are currently participating in
the Music Camp’s Artist Residency Program in Minneapolis.
(from left) Matthew Kufchak, Blake Turner,
Niccolo Muti, Andy Liang
Andy Liang has been a featured soloist with orchestras such as the Oregon Symphony, Portland Chamber Orchestra, Vancouver
Symphony, Portland Youth Philharmonic, and the National Repertory Orchestra. He has also served as concertmaster of the Shep-
herd School Symphony Orchestra, the Portland Youth Philharmonic, and as the Assistant Concertmaster of the National Repertory
Orchestra. At the age of 13, Andy was the Northwest Regional MTNA (Music Teachers National Association) Junior String Competi-
tion winner as well as a national finalist. Andy has been featured on the radio program From the Top. Andy received his Bachelor’s
and Master’s degrees in Violin Performance from Rice University’s Shepherd School of Music.
Niccoló Muti completed his Master’s Degree at Rice University’s Shepherd School of Music. He received his Bachelor's degree in
Violin Performance from Indiana University’s Jacobs School of Music, studying on a merit scholarship. Niccoló has won numerous
competitions and awards, among them the Senior Division of South Carolina's MTNA Competition in 2006 and the Charleston
Symphony League Scholarship in 2007. He made his solo debut in 2007 with the State Philarmonic Orchestra of Romania in Spo-
leto, Italy. Five months later, Niccoló made his American solo debut with the Chamber Orchestra of the Triangle. In 2012, Mr. Muti
founded Incontri Musicali, an annual summer chamber music festival in Spoleto, Italy.
A native of San Antonio, Blake Turner has appeared in a wide range of venues, including New York’s Carnegie Hall, the World
Trade Center in Curaçao, Netherland Antilles, and Miami’s New World Center. Blake received his Bachelor’s degree in viola per-
formance from the Shepherd School of Music at Rice University, where he served as principal violist of both the Symphony and
Chamber Orchestras. Blake recently joined the Austin Symphony and has performed with the Houston Symphony and the New
World Symphony. Blake developed a winter concert series in collaboration with the Aspen Music Festival to bring chamber music
to Aspen during the ski season.
Matthew Kufchak completed his Bachelor's and Master's degrees in Cello Performance at Rice University. Matthew was a
recipient of From the Top’s prestigious Jack Kent Cooke Young Artist Award in 2007. He was also a silver medalist in the Junior Divi-
sion of the 2006 Fischoff National Chamber Music Competition. Matthew spent four summers at the Aspen Music Festival and
School, where he was a fellowship student and served as principal cellist of the American Academy of Conducting at Aspen Or-
chestra and the Aspen Philharmonic Orchestra. He has also served as principal cellist of the Shepherd School Symphony Orchestra
at Rice and of Alkali, a small conductor-less string ensemble.
28 THE SCHUBERT CLUB An die Musik
Jewish Soviet-born American pianist, Shulamit Irina Maneev, was born in Kharkov, Ukraine. She
started her music education at the Special School for gifted children at age six. She continued her studies
at the famed Leningrad conservatory in Russia, graduating with honors and earning her MA in piano per-
formance and pedagogy. After immigrating to Israel, she was a yearly participant of Festival Jerusalem,
a finalist of the First Israeli Modern Music Competition, and made several recordings on Israeli radio "Kol
Israel." She was among twenty pianists from the former Soviet Union selected for the special course at
the Jerusalem Music Center, under the sponsorship of Isaac Stern and Israeli government. After moving
to Minneapolis, she has produced a concert series co-presented by The Schubert Club, was the recipient
of a grant from The Howard B. Brin Endowment for the Jewish Arts and was a featured performer on
Music de Camera, a series of videotaped performances produced by Baby Blue Arts for public television.
She has made several recordings for Minnesota Public Radio. A highlight of Ms. Maneev's work was a
concert, "Music of Paul Schoenfield," at the St. Paul Jewish Community Center, which she produced and performed with violinist
Michal Sobieski, and cellist Laura Sewell. Ms. Maneev collaborated with Manny Laureano, principal trumpeter from the Minnesota
Orchestra, performing for the International Trumpet Guild in Minneapolis (2013) and at the St. Paul JCC (2012).
Courtroom ConcertNovember 13, 2014 • Noon • Landmark Center
David Franzel, saxophoneJerrod Wendland, piano
"Fire in the Earth," from Concerto for Saxophone – David Maslanka (b. 1943)
Rock Me – Barry Cockcroft (b. 1972)
Andante con tenerezza – C. P. E. Bach
Fantasie Impromtu, Op. 66 – Frédéric Chopin
Impromtu in E flat major, Op. 90 – Franz Schubert
"Someone to watch over Me" – George Gershwin (trans. Maneev)
Shulamit Maneev, piano
David Franzel grew up attending Eugene Rousseau’s Saxophone Workshops in Shell Lake, WI. This is
what opened the door to music for him. Since then, he has won multiple competitions, played lead roles in
top university bands at St. Olaf and the University of Minnesota, and maintained a private lessons studio.
Dave has studied with Kurt Claussen, Greg Keel, and the internationally recognized Eugene Rousseau.
Currently, Dave is finishing his Bachelor of Music at the University of Minnesota and is working to establish
himself in the Minneapolis area as a virtuosic saxophonist in both classical and jazz idioms.
Minneapolis pianist Jerrod Wendland is a performer, educator, and collaborator, equally at home in
classical or popular styles, in art song or opera, in the concert hall or the classroom. All of his activities are
united by his conviction that every person has a unique artistic voice, that every performance is an
improvisation, and that music is not a museum piece, but a living art.
schubert.org 29
Courtroom ConcertNovember 20, 2014 • Noon • Landmark Center
Artu DuoRuth Marshall, cello • Garret Ross, piano
Polonaise-Fantasy, Op. 61 – Frédéric Chopin
12 Variations on 'See the conqu'ring hero comes,' WoO 45 – Ludwig van Beethoven
Sonata for Solo Cello – György Ligeti
I. Dialogo – Adagio, rubato, cantabile
II. Capriccio – Presto con slancio
Fantasiestücke, Op. 73 – Robert Schumann
I. Zart und mit Ausdruck
II. Lebhaft, leicht
III. Rasch und mit Feuer
In 2011, pianist Garret Ross and cellist Ruth Marshall gave their first performance as a duo. Since then, their collaboration has
grown and thrived. In 2011, they had a residency at the Banff Centre in Alberta, Canada, where they studied the Beethoven
Sonatas for Cello and Piano with Colin Carr and Thomas Sauer. In 2012, they were residents at the Aldeburgh Festival in Suffolk,
England, studying the music of Brahms and Schumann with the chamber music guru Menahem Pressler. In 2013, they made their
debut on the Dame Myra Hess Memorial Concert Series at the Cultural Center in Chicago, which was broadcast live on WFMT. The
Artu Duo is the ensemble-in-residence at the Annual Chamber Music Festival of Houston, Minnesota.
A Seattle native, Ruth Marshall has developed a diverse career as a pedagogue, orchestral player, and chamber musician in the
Midwest. Ruth teaches over 30 cello students in her home-base city of Indianapolis, and is on the faculties of the Butler University
Community Arts School in Indianapolis and the DePaul University School of Music in Chicago. She is Principal Cello of the Illinois
Symphony Orchestra in Springfield, Illinois, and is a frequent substitute player with the Indianapolis Symphony Orchestra and
the Columbus, Ohio Symphony Orchestra. Ruth recently became the cellist for the Chicago-based Ursa Ensemble, which presents
chamber music concerts to audiences in collaboration with artists from different disciplines. She holds degrees from the Univer-
sity of Washington and DePaul University. In August 2014, Ruth joined the Britt Festival Orchestra in Jacksonville, Oregon as the
newest member of their cello section.
Garret Ross enjoys an active career as a soloist and chamber musician. This year, he performed alongside cellist Ruth Marshall
for the Dame Myra Hess Memorial Concert Series at the Chicago Cultural Center and also started The Annual Chamber Music
Series in Houston, Minnesota. Ross has also recently performed in various venues in NYC, including Steinway Hall and Loewe
Theater. During the 2011-2012 season, Ross performed Rachmaninoff's First Concerto with the Bethel University Philharmonic
Orchestra, was soloist for the world premiere of Gregory Vajda's Csardas Obstine for Piano and Orchestra at the Music in the
Mountains and Round Top Festivals, and was a winner in The Schubert Club Scholarship Competition. Ross has performed and
studied at the Aldeburgh Festival, Banff Centre, International Keyboard Institute and Festival, International Festival-Institute at
Round Top, AmerKlavier Institute at Steinway Hall, and PianoSummer at New Paltz. Currently, Ross studies with Eteri Andjaparidze
at NYU's Steinhardt School where he also serves as adjunct faculty in piano. He completed his Master of Music degree at the
University of Minnesota with Alexander Braginsky. In 2008, Ross graduated from Bethel University in Saint Paul with a Bachelor of
Music in Performance where he won first prizes in the Solo and Concerto Competitions.
30 THE SCHUBERT CLUB An die Musik
Courtroom ConcertDecember 11, 2014 • Noon • Landmark Center
Nicholas Nelson, bass • Denis Evstuhin, piano
Hyounsoo Sohn, mezzo soprano • Eric McEnaney, piano
Songs of Rimsky-Korsakov
The Fir and the Palm Op. 3 No. 1
The Messenger Op. 4 No. 2
The West fades into the Sunset Op. 39 No. 2
When the yellowing Field trembles Op. 40 No. 1
The Ocean heaves Op. 46 No. 3
The Prophet. Op. 49 No. 2
"Because You are here" – Sun-Ae Kim
"Wenn mein Schatz Hochzeit macht," from Lieder eines fahrenden Gesellen – Gustav Mahler
"Ging heut morgen uebers Feld," from Lieder eines fahrenden Gesellen – Gustav Mahler
"Boy's Lips," from Love after 1950 – Libby Larsen
"Blond Men," from Love after 1950 – Libby Larsen
In September, Nicholas Nelson made his Minnesota Opera debut as Larkens in Puccini's La Fanciulla del West. From 2010-13,
Nelson was a Resident Artist at Portland Opera. Roles performed in Portland include Inigo Gomez in L'heure Espagnole, Masetto
in Don Giovanni, Pistola in Falstaff, and the Pope in Philip Glass's Galileo Galilei. The latter production was the basis for the world
premiere recording of the opera. Nelson has also performed roles with Tacoma Opera, Central City Opera, and Opera North. Origi-
nally from Winthrop, he attended the University of Minnesota as a student of Glenda Maurice. In addition to his work as a classi-
cal bass, he is also active as a guitarist, thereminist, and actor.
Hyounsoo Sohn, a native of Seoul, South Korea, has appeared on stage as Suzuki in Madama Butterfly,
Hansel in Hansel and Gretel, Carmen in The Tragedy of Carmen, and Nicklaus in Les Countes du Hoffmann.
She has performed principal or solo roles in Handel’s Messiah, Berlioz’s La Damnation de Faust, Brahms’s Alto Rhapsody, Mozart’s
C Minor Mass, Bach’s B Minor Mass, Canteloube’s Chants d’Auvergne and Vivaldi’s Gloria. In addition to traditional pieces, she
has premiered contemporary works including the world premiere of John Eaton’s opera “...inasmuch” in New York City. She was a
member of the National Chorus of Korea before coming to the United States in the fall of 2000 to renew her studies at Indiana
University’s School of Music. Her recent concerts include soloist for Vocal Essence in Minneapolis.
Eric McEnaney has worked as a pianist and vocal coach on more than 75 opera productions. In recent seasons, he has also
served as pianist and coach for the workshop and rehearsal process of several newly commissioned operas including Doubt,
The Manchurian Candidate, The Poe Project, Rockland, The Shining, and the Pulitzer Prize winning Silent Night. As a recitalist, Dr.
McEnaney has appeared with singers from the rosters of the Metropolitan Opera, Lyric Opera of Chicago, and Santa Fe Opera,
among others. His performances have been broadcast locally and nationally on Minnesota Public Radio, Colorado Public Radio,
Twin Cities Public Television, KSTP-TV's Twin Cities Live, and American Public Media's A Prairie Home Companion.
Russian pianist Denis Evstuhin has performed in venues throughout Europe and America, including Walt Disney Concert Hall,
Great Tchaikovsky Hall (Moscow), and the Mariinsky Theater (St. Petersburg). He has appeared as a soloist with the San Diego
Symphony and the Minnesota Orchestra and on broadcasts from NPR’s Performance Today and Russian National Television. He
is the winner of the first prize at the Maria Yudina International Piano Competition and has won awards at the Rachmaninoff
International Piano Competition, the Andorra Competition, and the International Piano e-Competition.
schubert.org 31
Courtroom ConcertDecember 18, 2014 • Noon • Landmark Center
Carols of Minnesota ComposersCarrie Henneman Shaw, soprano; Linda Kachelmeier, alto; Nick Chalmers, tenor; Timothy C. Takach, bassMin Kim, harp; Hannah Peterson, flute
I. Singing the Story
O Nations, Let Us Now Prepare – Richard Toensing
O Little Town of Bethlehem – William Rhys Herbert
O Little Town – Linda Kachelmeier
* Noel, noel – Paul Rudoi
Canticum Novum: I Sing the Birth – Stephen Paulus
II. Getting There
The Oxen – Maura Bosch
* A Winter Ride – John Ward
Heavenly Child – Peter Mayer
III. Traditions Old & New
* Come Bring with a Noise – Barbara Rogers
Little Tree – Steve Heitzeg
Four Carols of Alfred Burt – Abbie Betinis, arr.
Carol of the Stranger – Abbie Betinis
IV. Minnesota Wishes
* After Harvest – Timothy C. Takach
Coming Home – Peter Mayer
Wishes and Candles – Stephen Paulus
Winter Comes Again – Keri Noble
Timothy C. Takach enjoys a busy and varied career as a composer, singer, clinician, and freelance graphic designer. As a
full-time composer, Takach has a healthy schedule of commissioned work. He is a co-founder of the professional ensemble
Cantus and Vice President of both Graphite Publishing and the Independent Music Publishers Cooperative. Takach
graduated with honors from St. Olaf College with degrees in Music Composition and Art.
Nick Chalmers has sung with The Singers-Minnesota Choral Artists and the Minnesota Opera Chorus and has been
section leader with the Chorus of Opera Memphis. Recent engagements include The Mirandola Ensemble and Glorious
Revolution Baroque. Currently, Chalmers sings with the The Rose Ensemble, teaches private voice at St. Francis High School,
and is cantor and tenor section leader at The Cathedral of St. Paul.
Linda Kachelmeier is a singer, composer, pianist, and conductor. Linda has performed with The Dale Warland Singers,
VocalEssence, the a cappella quintet Dare to Breathe, The Mirandola Ensemble, Glorious Revolution Baroque, and The Rose
Ensemble, of which she is a founding member. She is the artistic director and alto in the new Twin Cities women’s trio,
Lumina. Linda is the Director of Music at First Presbyterian Church in South St. Paul.
Carrie Henneman Shaw weaves style and emotion into vivid performances of Baroque and contemporary classical
music. Winner of a McKnight Fellowship for Performing Musicians, she has been praised as a “major musical force” (St. Paul
Pioneer Press) and “consistently stylish” (Boston Globe). Shaw sings with ensembles in Minnesota, Boston, and Chicago:
Glorious Revolution Baroque, The Bach Society of Minnesota, Ensemble Dal Niente, and Baroque opera companies.
Min Kim is Principal Harpist of the Minnesota Opera and has also performed with the Minnesota Orchestra, Saint Paul
Chamber Orchestra, VocalEssence, The Singers, Rochester Philharmonic, Buffalo Philharmonic, New Haven Symphony,
Minneapolis Pops, Minnesota Sinfonia, and North Star/Skylark Opera. She has taught at MacPhail Center for the Arts,
Gustavus Adolphus College and Schmitt Music Company, and is a member of Trio Callisto, a Minneapolis-based ensemble.
Hannah Peterson is a former Schubert Club intern and Scholarship Competition winner. She holds a Bachelor of Music
degree in Flute Performance from the University of Cincinnati. Hannah currently works for the Minnesota Opera in addition
to maintaining a private flute studio and freelance performance schedule.
Christmas card artwork by Emily Burt Betinis
*World Premiere
32 THE SCHUBERT CLUB An die Musik
IntervalsAlumni News of The Schubert Club Scholarship Competition
Unlike many Schubert Club Competition winners who began their studies at a very young age, bass Nick Nelson only began studying voice at age 22. (Before then his sole passion was to perform as a blues/rock/jazz guitarist!) Nick began his vocal studies with Glenda Maurice at the University of Minnesota and entered his first Schubert Club Competition in 2005, having never participated in a competition before and having limited experience performing in public as a classical singer. Thus, it came as a shock for him when he received 2nd prize in the Advanced Voice division, and as an extra bonus, received the Thelma Hunter prize.
Even more important to him than the prizes was the realization that professional classical singers saw potential and talent in him. Nick went on to win 1st prize in Advanced Voice in 2007 and 1st prize in Graduate Voice in 2008; that year’s vocal judge was renowned American soprano Benita Valente! Also in 2007, Nick was featured in the documentary film, Prized Performers, but apologized profusely for the bad haircut and polyester suit he was sporting at the time!
Further encouragement came from master classes with Dawn Upshaw, Jennifer Larmore and Håkan Hagegård, and also from Director David Walsh who cast Nick in
(left) Nick as the Pope in Glass's Galileo Galilei with André Chiang as Galileo. (right) As Iñigo Gomez in L'heure Espagnole with Daryl Freedman as Concepción.
Nick Nelson, bass
three University of Minnesota opera productions. He played the roles of Colline in La Boheme, Figaro in Le Nozze di Figaro, and Seneca in L’incoronazione di Poppea.
Nick’s first professional operatic experience was in 2009 as an Apprentice Artist at Central City Opera in Colorado. He also worked as a Portland Opera Resident Artist from 2010-2013 where he performed nine mainstage roles over three seasons. But one thing Nick felt, as a Minnesotan, was missing in his career was that he had never actually worked with Minnesota Opera. With thanks to Artistic Director Dale Johnson, Nick just completed his debut performance with Minnesota Opera as Larkens in La Fanciulla del West.
Coming up for Nick will be his first Magic Flute experience as he sings Sarastro with Opera in the Rock. He is looking forward to his first opera with dialogue as he feels happiest when he gets to speak AND sing.
Nick has words of advice to pass on to younger musicians: “Stay as curious as possible—exposing yourself to as much music as possible, regardless of genre. That is what will give you imagination and inspiration to say something unique as a musician. The more you listen to, the more chances you have of finding something that touches you deeply. Ultimately all of these styles and art forms are just alternate methods of achieving the same goal: sharing the beauty of the human experience with others.”
Nick Nelson as Larkens in Minnesota Opera's La fanciulla del West
Phot
o: M
ich
al D
anie
l, M
inn
esot
a O
pera
schubert.org 33schubert.org 33
The Schubert Club Officers, Board of Directors, Staff, and Advisory Circle
OfficersPresident: Nina Archabal
President Elect: Kim A. Severson
Vice President Artistic: Lynne Beck
Vice President Audit & Compliance: Gerald Nolte
Vice President Education: Marilyn Dan
Vice President Finance & Investment: Craig Aase
Vice President Marketing & Development: Mark Anema
Vice President Museum: Ford Nicholson
Vice President Nominating & Governance: Kim A. Severson
Recording Secretary: Catherine Furry
Craig Aase
Mahfuza Ali
Mark Anema
Nina Archabal
Paul Aslanian
Lynne Beck
Carline Bengtsson
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.
Dorothea Burns
James Callahan
Carolyn Collins
Marilyn Dan
Anna Marie Ettel
Richard Evidon
Catherine Furry
Michael Georgieff
Elizabeth Holden
Dorothy Horns
Anne Hunter
Kyle Kossol
Chris Levy
Jeff Lin
Kristina MacKenzie
Peter Myers
Ford Nicholson
Gerald Nolte
Gayle Ober
David Ranheim
Ann Schulte
Kim A. Severson
Gloria Sewell
Anthony Thein
John Treacy
Allison Young
Barry Kempton, Artistic & Executive Director
Max Carlson, Program Associate
Kate Cooper, Education & Museum Manager
Lisa Dahlberg, Ticketing & Development Associate
Kate Eastwood, Executive Assistant
Julie Himmelstrup, Artistic Director, Music in the Park Series
Megan Lutz, Social Media & Marketing Intern
Tessa Retterath Jones, Marketing & Ticketing Manager
Joanna Kirby, Project CHEER Director, Martin Luther King Center
StaffDavid Morrison, Museum Associate & Graphics Manager
Paul D. Olson, Director of Development
Kathy Wells, Controller
Composers in Residence:
Abbie Betinis, Edie Hill
The Schubert Club Museum Interpretive Guides:
Sarah Church, Aly Fulton, Paul Johnson, Alan Kolderie, Sherry Ladig,
Kirsten Peterson, Edna Rask-Erickson
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
Julie Himmelstrup
Hella Mears Hueg
Advisory Circle
Thelma Hunter
Ruth Huss
Lucy Rosenberry Jones
Richard King
Karen Kustritz
Libby Larsen
Sylvia McCallister
Dorothy Mayeske
Elizabeth B. Myers
Nicholas Nash
Richard Nicholson
Gilman Ordway
Stephen Paulus
Christine Podas-Larson
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.
34 THE SCHUBERT CLUB An die Musik
The Schubert Club Annual ContributorsThank you for your generosity and support
Ambassador$20,000 and aboveAnna M. Heilmaier Charitable
Foundation
MAHADH Fund of HRK Foundation
Lucy Rosenberry Jones
The McKnight Foundation
Minnesota State Arts Board
Gilman and Marge Ordway
Target Foundation
Schubert Circle$10,000 – $19,999Patrick and Aimee Butler Family
Foundation
Rosemary and David Good
Family Foundation
Dorothy J. Horns, M.D. and
James P. Richardson
Phyllis and Donald Kahn
Philanthropic Fund
of the Jewish Communal Fund
George Reid
Robert J. Sivertsen
Patron$5,000 – $9,999The Allegro Fund of
The Saint Paul Foundation and
Gayle and Tim Ober
John and Nina Archabal
Boss Foundation
Julia W. Dayton
Terry Devitt
Katherine Goodrich
Hackensack Fund of
The Saint Paul Foundation
Harlan Boss Foundation
Hélène Houle and John Nasseff
Bill Hueg and Hella Mears Hueg
Art and Martha Kaemmer Fund
of The HRK Foundation
Barry and Cheryl Kempton
Walt McCarthy and Clara Ueland
and Greystone Foundation
Malcom and Wendy McLean
Sita Ohanessian
Luther I. Replogle Foundation
Michael and Shirley Santoro
Sewell Family Foundation
Fred and Gloria Sewell
Thrivent Financial for Lutherans
Foundation
Travelers Foundation
Trillium Family Foundation
Margaret and Angus Wurtele
Benefactor$2,500 – $4,999Anonymous
The Burnham Foundation
Dee Ann and Kent Crossley
Dorsey & Whitney Foundation
Richard and Adele Evidon
Michael and Dawn Georgieff
Mark and Diane Gorder
Thelma Hunter
John and Ruth Huss Fund
James E. Johnson
Lois and Richard King
Kyle Kossol and Tom Becker
Chris and Marion Levy
McCarthy-Bjorklund Foundation
and Alexandra O. Bjorklund
Alfred P. and Ann M. Moore
Alice M. O’Brien Foundation
Paul D. Olson
and Mark L. Baumgartner
Ford and Catherine Nicholson
Family Foundation
Richard and Nancy Nicholson Fund
of The Nicholson Family
Foundation
John and Barbara Rice
Lois and John Rogers
Saint Anthony Park
Community Foundation
Securian Foundation
Kim Severson and Philip Jemielita
Charles and Carrie Shaw
Katherine and Douglas Skor
3M Foundation
Wenger Foundation
Nancy and Ted Weyerhaeuser
Guarantor$1,000 – $2,499Anonymous
Mahfuza and Zaki Ali
William and Suzanne Ammerman
Elmer L. & Eleanor J. Andersen
Foundation
Suzanne Asher
Paul J. Aslanian
Craig and Elizabeth Aase
J. Michael Barone and Lise Schmidt
Eileen M. Baumgartner
Lynne and Bruce Beck
Dr. Lee A. Borah, Jr.
Dorothea Burns
James Callahan
Deanna L. Carlson
Cecil and Penny Chally
Rachelle Chase and John Feldman
John and Marilyn Dan
Cy and Paula DeCosse Fund of
The Minneapolis Foundation
Joy L. Davis
Dellwood Foundation
Joan R. Duddingston
Anna Marie Ettel
William and Bonita Frels
Dick Geyerman
Jill Harmon and Frank Fairman
Anders and Julie Himmelstrup
Susanna and Tim Lodge
The Thomas Mairs and
Marjorie Mairs Fund of
The Saint Paul Foundation
Roy and Dorothy Ode Mayeske
Sylvia and John McCallister
Laura McCarten
Sandy and Bob Morris
Elizabeth B. Myers
Peter and Karla Myers
The Philip and Katherine Nason
Fund of The Saint Paul Foundation
Robert M. Olafson
Oppenheimer Wolff & Donnelly LLP
Performing Arts Fund
of Arts Midwest
The William and Nancy Podas
aRt&D Fund
David and Judy Ranheim
August Rivera, Jr.
Dr. Leon and Alma Jean Satran
Ann and Paul Schulte
Anthony Thein
Jill and John Thompson
John and Bonnie Treacy
Wells Fargo Foundation Minnesota
Doborah Wexler M.D.
and Michael Mann
Michael and Catharine Wright
Sponsor$500 – $999Anonymous
Meredith B. Alden
Mary and Bill Bakeman
Jeanne B. Baldy
Susan Brewster
and Edwin McCarthy
Michael and Carol Bromer
Tim and Barbara Brown
David Christensen
Andrew and Carolyn Collins
David and Catherine Cooper
F. G. and Bernice Davenport
Arlene and Calvin Didier
Ruth S. Donhowe
David and Maryse Fan
Andrew Hisey and Chandy John
Judith K. Healey
Frederick J. Hey, Jr.
Cynthia and Russell Hobbie
Peg Houck and Philip S. Portoghese
Anne and Stephen Hunter
William Klein
Lehmann Family Fund of
The Saint Paul Foundation
Wendell Maddox
Paul Markwardt
and Richard Allendorf
Lucia P. May and Bruce Coppock
David Morrison
Kay Phillips and Jill Mortensen Fund
of The Minneapolis Foundation
Alan and Charlotte Murray
Lowell and Sonja Noteboom
John B. Noyd
Sallie O'Brien
Patricia O’Gorman
Mary and Terry Patton
William and Suzanne Payne
Walter Pickhardt
and Sandra Resnick
Christine Podas-Larson
and Kent Larson
Sarah Rockler
Juliana Kaufman Rupert
Saint Anthony Park Home
John Sandbo and Jean Thomson
Kay Savik and Joseph Tashjian
Mary Ellen and Carl Schmider
William and Althea Sell
John Seltz and Catherine Furry
Dan and Emily Shapiro
Helen McMeen Smith
John and Joyce Tester
David L. Ward
Katherine Wells
and Stephen Willging
Jane and Dobson West
Peggy R. Wolfe
Mark W. Ylvisaker
schubert.org 35
Partner$250 – $499Anonymous (3)
Arlene Alm
Beverly S. Anderson
Kathy and Jim Andrews
Lydia Artymiw and David Grayson
Adrienne and Bob Banks
Jerry and Caroline Benser
Christopher and Carolyn Bingham
Jean and Carl Brookins
Philip and Ellen Bruner
Mark Bunker
Gretchen Carlson
Joann Cierniak
Don and Inger Dahlin
Marybeth Dorn and Robert Behrens
Roxana Freese
General Mills Foundation
Jennifer Gross and Jerry Lafavre
Mary Beth Henderson
Joan Hershbell and Gary Johnson
Mary Hintz
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
Gloria Kittleson
Arnold and Karen Kustritz
Frederick Langendorf
and Marian Rubenfeld
Jeffrey H. Lin and Sarah Bronson
Sarah Lutman and Rob Rudolph
Frank Mayers
Anne C. McElroy
Mary Bigelow McMillan
James and Carol Moller
Jack and Jane Moran
William Myers and Virginia Dudley
Nicholas Nash
Margaret Orandi
Heather J. Palmer
Richard and Suzanne Pepin
James and Donna Peter
Barbara Pinaire and William Lough
Anastasia Porou and George Deden
Dr. Paul and Betty Quie
Karen Robinson
Connie Ryberg
Mary E. Savina
Paul L. Schroeder
Estelle Sell
Marilynn and Arthur Skantz
Conrad Soderholm
and Mary Tingerthal
Eileen V. Stack
Hazel Stoeckeler and Alvin Weber
Tom H. Swain
Jon and Lea Theobald
Dale and Ruth Warland
Timothy Wicker and Carolyn Deters
Contributor$100 – $249Anonymous (7)
Carl Ahlberg
Elaine Alper
Mrs. Dorothy Alshouse
Mary A. Arneson
and Dale E. Hammerschmidt
Kay C. Bach
Robert Ball
Gene and Peggy Bard
Benjamin and Mary Jane Barnard
Carol E. Barnett
Carline Bengtsson
Fred and Sylvia Berndt
Ann-Marie Bjornson
Phillip Bohl and Janet Bartels
Tanya and Alexander Braginsky
Philip and Carolyn Brunelle
Roger F. Burg
Alan and Ruth Carp
Carter Avenue Frame Shop
David and Michelle Christianson
John and Brigitte Christianson
Mary Louise and Bradley Clary
Mary Sue Comfort
Como Rose Travel
John and Jeanne Cound
Charles and Kathryn Cunningham
Lisa and Cliff Dahlberg
Shirley I. Decker
Pamela and Stephen Desnick
Janet and Kevin Duggins
Jayne and Jim Early
George Ehrenberg
Peter Eisenberg and Mary Cajacob
Steve Farsht
Mina Fisher
Flowers on the Park
Jack Flynn and Deborah Pile
Salvatore Franco
Patricia Freeburg
Richard and Brigitte Frase
Jane Frazee
Gail A. Froncek
Joan and William Gacki
Nancy and Jack Garland
David J. Gerdes
Phyllis and Bob Goff
Daniel Goodrich
M. Graciela Gonzalez
Katherine and Harley Grantham
Carol L. and Walter Griffin
Bonnie Grzeskowiak
Ken and Suanne Hallberg
Betsy and Mike Halvorson
Hegman Family Foundation
Rosemary J. Heinitz
Stefan and Lonnie Helgeson
Anne Hesselroth
Mary Kay Hicks
Dr. Kenneth and Linda Holmen
J. Michael Homan
Peter and Gladys Howell
Patty Hren-Rowan
IBM Matching Grants
Ideagroup Mailing Service
and Steve Butler
Ora Itkin
Paul W. Jansen
Ann Juergens and Jay Weiner
Carol A. Johnson
Craig Johnson
Pamela and Kevin Johnson
Ward and Shotsy Johnson
Nancy P. Jones
Joseph Catering
and George Kalogerson
John and Kristine Kaplan
Heidi and Bradley Keil
Erwin and Miriam Kelen
Sarah Kinney
Anthony L. Kiorpes and Farrel Rich
Jean W. Kirby
Robin and Gwenn Kirby
Karen Koepp
Marek Kokoszka
Mary and Leo Kottke
Dave and Linnea Krahn
Susan and Edward Laine
Landmark Center
Thelma Lareau
David G. Larson
Gary M. Lidster
John and Nancy Lindahl
Thomas Logeland
Barbara Lund and Cathy Muldoon
Mark Lystig
Richard and Finette Magnuson
Mary and Helmut Maier
Rhoda and Don Mains
Helen and Bob Mairs
Danuta Malejka-Giganti
Ron and Mary Mattson
Polly McCormack
Deborah McKnight and James Alt
Gerald A. Meigs
John A. Michel
David Miller and Mary Dew
Patricia Mitchell
Steven Mittelholtz
Bradley H. Momsen
and Richard Buchholz
Susan Moore
Martha Morgan
Elizabeth A. Murray
Holace Nelson
Kathleen Newell
Jay Shipley and Helen Newlin
Jackie and Mark Nolan
Gerald Nolte
Tom O’Connell
Scott and Judy Olsen
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
Sidney and Decima Phillips
Gretchen Piper
Deborah and Ralph Powell
Mindy Ratner
Rhoda and Paul Redleaf
Karen Robinson
Richard Rogers
Peter Romig
Michael and Tamara Root
Diane Rosenwald
David Schaaf
Russell G. Schroedl
A. Truman and Beverly Schwartz
Sylvia J. Schwendiman
Bill and Susan Scott
Buddy Scroggins
and Kelly Schroeder
Jonathan Siekmann
Gale Sharpe
Renate Sharp
Nan C. Shepard
Rebecca and John Shockley
Darroll and Marie Skilling
Nance Olson Skoglund
Patricia and Arne Sorenson
Carol Christine Southward
Arturo L. Steely
Michael Steffes
Ann and Jim Stout
Vern Sutton
Barbara Swadburg and James Kurle
Lillian Tan
David Evan Thomas
Tim Thorson
Charles and Anna Lisa Tooker
Jerrol and Alleen Tostrud
Susan Travis
Karen and David Trudeau
Rev. Robert L. Valit
Joy R. Van
Osmo Vanska
Harlan Verke and Richard Reynen
Mary K. Volk
Kathleen Walsh
Beverly and David Wickstrom
Lori Wilcox and Stephen Creasey
Victoria Wilgocki
and Lowell Prescott
Christopher N. Williams
Dr. Lawrence A. Wilson
Paul and Judy Woodward
Ann Wynia
36 THE SCHUBERT CLUB An die Musik
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
Friends$1 – $99Anonymous (7)
Cigale Ahlquist
Renner and Martha Anderson
Susan and Brian Anderson
Karen Ashe
Bruce and Lucinda Backberg
Barbara A. Bailey
Megan Balda and Jon Kjarum
Dr. Roger and Joan Ballou
Anita Bealer
Verna H. Beaver
Janet M. Belisle
Brian O. Berggren
Roger Bolz
David and Elaine Borsheim
Thomas K. Brandt
Charles D. Brookbank
Barbara Ann Brown
Richard and Judy Brownlee
Christopher Brunelle
Dr. Magda Bushara
James and Janet Carlson
Allen and Joan Carrier
J.J. and Debra Cascalenda
Ed Challacombe
Katha Chamberlain
Chapter R PEO
Kenneth Chin-Purcell
Kristi M. Christman
Christina Clark
Anne E. Commers
Irene Coran and Bruce Bernu
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 Downing
Margaret E. Durham
Suzanne Durkacs
Sue Ebertz
Kristi and Scott Eckert
Rita Eckert
Andrea Een
Katherine and Kent Eklund
Jim Ericson
Joseph Filipas
John Floberg and Martha Hickner
Susan Flaherty
John and Hilde Flynn
Dan and Kaye Freiberg
Michael George Freer
Lisl Gaal
Cléa Galhano
John and Sarah Garrett
Dr. and Mrs. Robert Geist
Celia and Hillel Gershenson
Ruth E. Glarner
Mary M. Glynn
William R. Goetz
A. Nancy Goldstein
Paul Greene
Alexandra Grin
Lisa Gulbranson
Michelle Hackett
Phillip and Alice Handy
Eugene and Joyce Haselmann
Dr. James Hayes
Mary Ann Hecht
Marguerite Hedges
Alan J. Heider
Don and Sandralee Henry
Helen and Curt Hillstrom
Jack and Linda Hoeschler
Marian and Warren Hoffman
Dr. Charles W. Huff
Gloria and Jay Hutchinson
Fritz Jean-Noel
Angela Jenks
Maria Jette
Max Jodeit
Kara M. Johansson
Daniel Johnson
Thelma Johnson
Mary A. Jones
Dr. Robert Jordan
Amy and Randy Karger
Stanley Kaufman
Carol R. Kelly
Marla Kinney
Dr. Armen Kocharian
Krystal Kohler
Todd L. Kosovich
Jane and David Kostik
Christine Kraft and Nelson Capes
Judy and Brian Krasnow
Ingrid and Lee Krumpelmann
Erik van Kuijk
Alexandra Kulijewicz
Gloria Kumagai and Steven Savitt
Helen and Tryg Larsen
Kenyon S. Latham, Jr.
Karla Larsen
Margaret Laughton
Nowell and Julia Leitzke
Elaine Leonard
Amy Levine and Brian Horrigan
Archibald and Edith Leyasmeyer
Mary and James Litsheim
Malachi and Stephanie Long
John Longballa
Jeff Lotz
Rebecca Lund
Carol G. Lundquist
Roderick and Susan Macpherson
Samir Mangalick
Eva Mach
Vernon Maetzold
Theodore T. Malm
Rachel Mann
Carol K. March
Karen R. Markert
Chapman Mayo
David Mayo
Judy and Martin McCleery
Kara McGuire
James McLaughlin
Dr. Alejandro Mendez
Jane E. Mercier
Jeffrey Messerich
Dina Mikhailenko
Donna Millen
Dan Miller and Beth Haukebo
John W. Miller, Jr.
Margaret Mindrum
Marjorie Moody
Anne and John Munholland
Sandra Murphy
Shannon Neeser
Stephen C. Nelson
Sarah L. Nagle
Jane A. Nichols
Polly O’Brien
Tom O’Connell
Erin O’Neill and Caitlin Serrano
Glad and Baiba Olinger
Ilene A. Olson
Dennis and Turid Ormseth
Thomas W. Osborn
Melanie Ounsworth
H.W. and Mary Park
Dorothy Peterson
James L. Phelps
Sydney M. Phillips
Michael Rabe
Alberto and Alexandra Ricart
Drs. W.P. and Nancy W. Rodman
Steven Rosenberg
Stewart Rosoff
Nancy and Everett Rotenberry
Anne C. Russell
Sandra D. Sandell
Linda H. Schelin
Sarah M. Schloemer
Ralph J. Schnorr
Carl H. Schroeder
Jon J. Schumacher and Mary Briggs
Steven Seltz
Ed and Marge Senninger
Jay and Kathryn Severance
Shelly Sherman
Elizabeth Shippee
Brian and Stella Sick
Bill and Celeste Slobotski
Susannah Smith
and Matthew Sobek
Emma Small
Robert Sourile
Karen and Stan Stenson
Cynthia Stokes
James and Ann Stout
Ralph and Grace Sulerud
Benjamin H. Swanson
Ruthann Swanson
Gregory Tacik and Carol Olig
Bruce Tennebaum
Bruce and Marilyn Thompson
Karen Titrud
Robert Tomaschko
Charles D. Townes
Ann Treacy and Aine O'Donnell
Chuck Ullery and Elsa Nilsson
Gordon Vogt
Sarah M. Voigt
Carol and Tim Wahl
William K. Wangensteen
Helen H. Wang
Betsy Wattenberg and John Wike
Stuart and Mary Weitzman
Hope Wellner
Melinda and Steven Wellvang
Eva Weyandt
Deborah Wheeler
Vickie Wheeler
Alex and Marguerite Wilson
Roger and Barbara Wistrcill
Yea-Hwey Wu
Tim Wulling and Marilyn Benson
Janis Zeltins
John Ziegenhagen
schubert.org 37
In honor of the marriage of Mark
Baumgartner and Paul D. Olson
Lucy Rosenberry Jones
and James Johnson
Barbara Lund and Cathy Muldoon
In honor of the Elkina Sisters
Rebecca Shockley
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 memory of William Ammerman
Marilyn and John Dan
In memory of Dr. John Davis
August Rivera, Jr.
In memory of Leon R. Goodrich
Bruce and Lucinda Backberg
J.J. and Debra Cascalenda
Bradley and Mary Louise Clary
Charles and Kathryn Cunningham
Kristi and Scott Eckert
Rita Eckert
Steve Farsht
John and Sarah Garrett
Ruth E. Glarner
Daniel Goodrich
Katherine Goodrich
The Family of Leon R. Goodrich
Ward and Shotsy Johnson
Amy and Randy Karger
Heidi and Bradley Keil
Ingrid and Lee Krumpelmann
Edward and Susan Laine
Richard and Thelma Lareau
John and Nancy Lindahl
Anne C. McElroy
Jeffrey Messerich
Metro Bridge Club
Dan Miller and Beth Haukebo
Erin O’Neill and Caitlin Serrano
Ilene A. Olson
Oppenheimer Wolff & Donnelly LLP
H.W. and Mary Park
Ann Treacy and Aine O'Donnell
Jerrol and Alleen Tostrud
Melinda and Steven Wellvang
Roger and Barbara Wistrcill
Jamie W. Witt
In memory of Manuel P. Guerrero
August Rivera, Jr.
In memory of Hilda Haarstick
Elizabeth Cummins
An endowment gift to
support the Thelma Hunter
Scholarship Prize in honor of
Thelma's 90th Birthday
Hella Mears Hueg and Bill Hueg
In memory of Hilary Kempton
Nina and John Archabal
Dorothea Burns
Dee Ann and Kent Crossley
Julie and Anders Himmelstrup
Megen Balda and Jon Kjarum
Paul D. Olson
and Mark L. Baumgartner
Judy and David Ranheim
Connie Ryberg
Helen M. Smith
In memory of Dorothy Mattson
Penny and Cecil Chally
In memory of Jeanette Maxwell Rivera
August Rivera, Jr.
In memory of Jeanne Shepard
Nan C. Shepard
In memory of Nancy Shepard
Nan C. Shepard
In memory of Tom Stack
Eileen V. Stack
In memory of Catharine Wright
Nina and John Archabal
Dee Ann and Kent Crossley
Diane and Mark Gorder
Paul D. Olson
John and Barbara Rice
Helen M. Smith
Memorials and Tributes
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
38 THE SCHUBERT CLUB An die Musik
The Schubert Club Endowment
The Schubert Club Endowment was started
in the 1920s. Today, our endowment
provides more than one-quarter of our
annual budget, allowing us to offer free
and affordable performances, education
programs, and museum experiences for
our community. Several endowment funds
have been established to support education
and performance programs, including the
International Artist Series with special
funding by the family of Maud Moon
Weyerhaeuser Sanborn in her memory. We
thank the following donors who have made
commitments to our endowment funds:
The Eleanor J. Andersen
Scholarship and Education Fund
The Rose Anderson
Scholarship Fund
Edward Brooks, Jr.
The Eileen Bigelow Memorial
The Helen Blomquist
Visiting Artist Fund
The Clara and Frieda Claussen Fund
Catherine M. Davis
The Arlene Didier Scholarship Fund
The Elizabeth Dorsey Bequest
The Berta C. Eisberg
and John F. Eisberg Fund
The Helen Memorial Fund
“Making melody unto the Lord in her very
last moment.” – The MAHADH Fund
of HRK Foundation
The Julia Herl Education Fund
Hella and Bill Hueg/Somerset
Foundation
The Daniel and Constance Kunin Fund
The Margaret MacLaren Bequest
The Dorothy Ode Mayeske
Scholarship Fund
In memory of Reine H. Myers
by the John Myers Family,
Paul Myers, Jr. Family
John Parish Family
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 Fund
of 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
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
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*
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
The Schubert Club Endowment and Legacy Society
schubert.org 39
O N LY 5 P E R F O R M A N C E S !December 19 − 23
State Theatrewww.mndance.org
T I C K E T S : State Theatre Box O�ce, Ticketmaster.com or 800.982.2787
P R E S E N T S
5 0 t h A N N I V E R S A R Y
Osmo Vänskä /// Music Director
*Please note: The Minnesota Orchestra does not perform on this program.
PHOTOS Marsalis: Frank Stewart, Rose: Michael Harry, Brass: Bo Haung, Scandinavian: Greg Helgeson, McNair: Roni Ely
SCANDINAVIAN CHRISTMAS
SYLVIA McNAIR
Media Partner:
Big Band Holidays: Jazz at Lincoln Center Orchestra with Wynton Marsalis and special guest Cécile McLorin Salvant*Tue Dec 2 7:30pmFor a single glorious night, these beloved ambassadors of jazz led by trumpeter Wynton Marsalis will have Orchestra Hall swingin’.
Navidad en Cuba: Christmas in Havana Cathedralwith the Minnesota Orchestra and The Rose EnsembleSun Dec 14 2pmExperience a stunning rhythmic tradition with a rich Latin flavor that sparkles with energy and excitement—Feliz Navidad!
Canadian BrassChristmas Time is Here*Wed Dec 17 7:30pmBe amazed by these five brass masters in this most wonderful holiday highlight. Even the Grinch would love this concert!
A Scandinavian Christmas with the Minnesota OrchestraSat Dec 20 2pm / Sun Dec 21 7pmChristina Baldwin and Robb Asklof, vocals Patrick Harison, accordion / Ethnic Dance Theatre Minnesota Boychoir / Twin Cities Girls Chorus
A magical Minnesota Orchestra tradition for the whole family.
New Year’s Eve:Sparkling Gershwin to Ring in the New Year!Wed Dec 31 7pm & 10pmOsmo Vänskä, conductor / Sylvia McNair, soprano
Celebrate in style—a glamorous evening of romantic Gershwin favorites with Grammy Award-winning soprano Sylvia McNair.
COMPOSER INSTITUTE
Future Classics with the Minnesota OrchestraFri Jan 16 8pmOsmo Vänskä, conductor
You heard it here first! Directed by Pulitzer Prize-winner Kevin Puts, the Institute brings the brightest emerging composers to Orchestra Hall.
JAZZ AT LINCOLN CENTER ORCHESTRA
CANADIAN BRASS
612.371.5656 / minnesotaorchestra.org / Orchestra Hall
THE ROSE ENSEMBLE
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