An die Musik April 13 - June 2

April 13 – June 2, 2014

An die MusikThe Schubert Club • schubert.org

Hopper Drawing: A Painter’s Process is organized by the Whitney Museum of American Art, New York. This exhibition is supported by an indemnity from the Federal Council on the Arts and Humanities.

The Walker Art Center’s presentation is sponsored by

Additional support for the Walker’s presentation is generously provided by Miriam and Erwin Kelen, the Martin and Brown Foun-dation, and Robert and Rebecca Pohlad.

Media partners

Hotel partners

Through June 20 walkerart.org

Hopper Drawing:A Painter’s Process

Walker Art Center

top: Study for Morning Sun 1952 Whitney Museum of American Art, New York, Josephine N. Hopper Bequestbottom: Morning Sun 1952 Columbus Museum of Art; Howald Fund Purchase

“Illuminating and thrilling.”

—New York Times

An die MusikApril 13 – June 2, 2014

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

schubert.org 5

Turning back unneeded tickets:If you will be unable to attend a performance, please notify our ticket

office as soon as possible. Donating unneeded tickets entitles you to

a tax-deductible contribution for their face value and allows others to

experience the performance in your seats. Turnbacks must be received one

hour prior to the performance. Thank you!

The Schubert Club Ticket Office: 651.292.3268or schubert.org/turnback

An die Musik

An die Musik

Du holde Kunst, in wieviel grauen Stunden,

Wo mich des Lebens wilder Kreis umstrickt,

Hast du mein Herz zu warmer Lieb entzunden,

Hast mich in eine beßre Welt entrückt!

Oft hat ein Seufzer, deiner Harf ’ entflossen,

Ein süßer, heiliger Akkord von dir

Den Himmel beßrer Zeiten mir erschlossen,

Du holde Kunst, ich danke dir dafür!

To Music

You noble art, in how many gray hours,

When life’s wild cycle has entangled me,

Have you enflamed my heart to hotter love,

Have you carried me to a better world!

Often has a sigh, flowing from your harp,

A sweeter, holier chord of yours,

Opened better times for me from Heaven,

You noble art, I thank you for that!

Franz von Schober,

Musical setting by Franz Schubert, 1817

Table of Contents

6 President's Welcome Artistic and Executive Director's Welcome

9 The Schubert Club Officers, Board of Directors, Staff, and Advisory Circle

10 Schubert Club Anthony de Mare

14 Cuarteto Latinoamericano

20 Hill House Chamber Players "From Vienna to Buenos Aires"

22 Accordo

24 Dmitiri Hvorostovsky and Ivari Ilja

35 The Future of The Schubert Club

36 Hill House Chamber Players "An Evening with Schubert"

38 Courtroom Concerts

40 The Schubert Club Annual Contributors: Thank you for your generosity and support

6 THE SCHUBERT CLUB An die Musik

For this final 2013-14 issue of An die Musik, I decided to play

the dangerous game of favorites. Acknowledging that it is

an impossible game, I urge you to think about the music you

love and play favorites with me.

First, try to name the composer whose music you’d take

with you for a year-long solitary vacation on an unknown

lake in northern Minnesota. It’s a hard choice, but I think I’d

take along the music of J.S. Bach. As a young pianist, I loved

playing Bach, and I love hearing his music performed well

today. My hearing of the Goldberg Variations performed

by Jeremy Denk, the recently named SPCO artistic partner,

confirmed my choice that Bach is the greatest and that

Minnesota is a great place for music lovers.

Second, name the performer whose music-making reaches

the sublime. Again, it’s a hard choice, but I’d choose Dimitri

Hvorostovsky, the brilliant Siberian baritone who will

perform at the International Artist Series concert on Monday,

May 19. I first heard Hvorostovsky sing while watching CBS

Sunday Morning. His silken voice took my breath away, and

I rushed to purchase his recordings. I find Hvorostovsky’s

performances of Russian songs to be utterly sublime.

Third was to name the concert series that marries my

love for music and care for Minnesota history. When Julie

Ayer, long-time violinist with the Minnesota Orchestra,

approached the Minnesota Historical Society about the

possibility of creating the Hill House Chamber Players to

perform in the historic James J. Hill House, the marriage was

made. The Schubert Club and the Society have co-sponsored

music in the Hill House for 27 years and will conclude this

year’s season with a special all-Schubert concert on Monday,

June 2nd.

Now, it’s your turn to name your favorites!

An die Musik!

President's Welcome Artistic and Executive Director's Welcome

Welcome to The Schubert Club!

Whether you are a long-time supporter or

attending a Schubert Club event for the first time,

I hope today’s performance will be memorable.

In this fifth and final edition of An die Musik

for the season, we cover some eight weeks of

programming. We are delighted to welcome

baritone Dmitri Hvorostovsky back to our

International Artist Series. Mr. Hvorostovsky last

sang on our series in February 1999. Since then,

his career has included highlight after highlight.

His return to the Ordway has been looked forward

to by many—myself included—with

great anticipation.

But his is not the only performance I’m excited

about. We have two more Schubert Club Mix

presentations in the atmospheric venue Aria in

Minneapolis. Anthony de Mare plays a solo piano

recital of new works based on Stephen Sondheim

songs on April 13th, and pioneering string

quartet ETHEL performs their Documerica project

featuring video projections and original music.

Both programs highlight the music of some of

today’s most interesting composers including

Minnesota’s own Mary Ellen Childs.

We co-present Twin Cities ensembles Accordo and

the Hill House Chamber Players in concert; and

do consider joining us for our Annual Luncheon

on Wednesday, June 4th in the Marzitelli Foyer at

the Ordway. Reservations can be made online at

schubert.org/annualluncheon or by calling The

Schubert Club on 651-292-3267.

Nina ArchabalPresident

Barry KemptonArtistic and Executive Director

schubert.org 7

June 15 - July 12, 2014

Bravo! Advanced Studies for the Serious String Player and Pianist was established 25 years ago to meet the needs of the growing number of young musicians who choose to spend a portion of each summer focusing on their development as instrumentalists. Students receive a one-hour private lesson, one technique class and two chamber music coaching sessions weekly. In addition to performance classes held by faculty, master classes by guest artists enhance an already exciting environment. Auditors are welcome for a nominal fee.

For more information, visit music.umn.edu/bravo

or call 612-624-0846.

Be the hero. Fight hunger.

Give generously.mnfoodshare.gmcc.org

March Campaign

Hunger Heroes Piper and Violet


P L E A S E V I S I T B O Y C H O I R . O R G for upcoming performances , recordings & audit ion in formation

A freewil l donation wi l l be received at each performance .

ANNUAL SPRING CONCERTS

Saturday, May 31 at 7:00 p.m.

featuring Allegro, Cantabile, Cantando

and Cantar Central Presbyterian Church

500 Cedar Street, Saint Paul

Sunday, June 8 at 7:00 p.m.

featuring Allegro, Cantabile, Cantando, Cantar,

Adult Choir and AlumSing The Goodale Theater at The Cowles Center

516 Hennepin Avenue, Minneapolis

75 West Fifth St Suite 411, Saint Paulwww.boychoir.org

[email protected]

Mark Johnson, Artistic Director

August 11–15Concordia University Buetow Music Center

300 Hamline Ave N Saint Paul

SUMMER EXPERIENCE

FOR KIDS

one campus p-12 in Golden Valley

Redefining whole-child education

perpetually learning

From age four to eighteen, Breck cultivates each student’s growth in directions he or she didn’t know possible.

Looking for summer opportunities? Check out Breck Summer Programs, June 16-July 25.

boldlybreck.com

a creative agency for the arts

[email protected]

let’s chat.

schubert.org 9schubert.org 9

The Schubert Club Officers, Board of Directors, Staff, and Advisory Circle

OfficersPresident: Nina Archabal

Immediate Past President: Lucy Rosenberry Jones

Vice President Artistic: Lynne Beck

Vice President Audit & Compliance: Richard King

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: David Ranheim

Recording Secretary: Catherine Furry

Assistant Recording Secretary: Arlene Didier

Craig Aase

Mahfuza Ali

Mark Anema

Nina Archabal

Paul Aslanian

Lynne Beck

Dorothea Burns

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.

James Callahan

Carolyn Collins

Marilyn Dan

Arlene Didier

Anna Marie Ettel

Richard Evidon

Catherine Furry

Michael Georgieff

Elizabeth Holden

Dorothy Horns

Anne Hunter

Lucy Rosenberry Jones

Richard King

Kyle Kossol

Jeff Lin

Peter Myers

Ford Nicholson

Gerald Nolte

Gayle Ober

David Ranheim

Ann Schulte

Kim A. Severson

Gloria Sewell

Anthony Thein

John Treacy

Michael Wright

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

Tessa Retterath Jones, Marketing & Audience Development Manager

Joanna Kirby, Project CHEER Director, Martin Luther King Center

David Morrison, Museum Associate & Graphics Manager

StaffPaul D. Olson, Director of Development

Hannah Peterson, Social Media & Marketing Intern

Kathy Wells, Controller

Composers in Residence:

Abbie Betinis, Edie Hill

The Schubert Club Museum Interpretive Guides:

Joe Iannazzo, Paul Johnson, Natalie Kennedy-Schuck,

Alan Kolderie, Sherry Ladig, 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

Advisory Circle

Julie Himmelstrup

Hella Mears Hueg

Thelma Hunter

Ruth Huss

Lucy Rosenberry Jones

Karen Kustritz

Libby Larsen

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

Nancy Weyerhaeuser

Lawrence Wilson

The Advisory Circle includes individuals from the community who meet occasionally throughout the year to provide insight and advice to The Schubert Club leadership.

A Little Night Fughetta (2010) William Bolcom (after “Anyone Can Whistle” & “Send in the Clowns”)

Every Day A Little Death (2008/2010) Ricky Ian Gordon (A Little Night Music)

The Demon Barber (2010) Kenji Bunch (A Fantasia on “The Ballad of Sweeney Todd”)

Johanna in Space (2014) Duncan Sheik (after “Johanna” – Sweeney Todd)

Color and Light (2012) Nico Muhly (Sunday in the Park with George)

Finishing the Hat –Two Pianos (2010) Steve Reich (Sunday in the Park with George)

The Ladies Who Lunch (2010) David Rakowski (Company)

Everybody’s Got the Right (2012) Michael Daugherty (Assassins)

Now (2012) Mary Ellen Childs (after “Now/Later/Soon” – A Little Night Music)

Send in the Clowns (2011) Ethan Iverson (A Little Night Music)

No One Is Alone (2010) Fred Hersch (Into the Woods)

I Think About You (2010) Paul Moravec (after “Losing My Mind” – Follies)

I’m Excited. No You’re Not. (2010) Jake Heggie (after “A Weekend in the Country” – A Little Night Music)

presents

Anthony de Mare, pianoSunday, April 13, 2014 • 7:00 PM

"Liaisons: Re-Imagining Sondheim from the Piano"

INTERMISSION

schubert.org 11

Anthony de Mare

Praised by The New York Times for his “muscularly virtuosic,

remarkably uninhibited performance [and] impressive

talents”, Anthony de Mare is recognized as one of the

world’s most versatile pianists, a foremost champion of

contemporary music, and a pioneer in the speaking-singing

pianist genre. De Mare is currently touring Liaisons:

Re-Imagining Sondheim from the Piano, his latest initiative, a

landmark commissioning and concert project that perfectly

expresses his vision to expand both the repertoire and the

audience for contemporary music. As creator, performer, and

co-producer of The Liaisons Project, he has brought together

36 of today’s most highly regarded emerging and

established composers spanning the classical

contemporary, jazz, film, theater, and indie worlds to bring

the work of Stephen Sondheim into the concert hall. From

Steve Reich to William Bolcom, Nico Muhly to Mark Anthony

Turnage, the 2013-14 season will see the addition of the final

four new works by Wynton Marsalis, Duncan Sheik, Andy

Akiho, and Jherek Bischoff to complete the project.

Sold-out houses and raves in The New York Times greeted

the first two New York premieres of The Liaisons Project at

Symphony Space in 2012 and 2013. Recent performances have

included The Ravinia Festival, the Gilmore Keyboard Festival,

the Virginia Arts Festival, Monadnock Music, the Clarice Smith

Performing Arts Center, the Portland Piano International

Festival, the Cliburn Series in Fort Worth, and Music at Meyer

in San Francisco. The 2013-14 season will feature

performances at The Schubert Club in Minneapolis, the

Mondavi Center at UC Davis, Rockport Music Festival, and a

return to the Ravinia Festival, among others. An excerpt from

The Liaisons Project was recently featured in the HBO

documentary “Six by Sondheim”. A full recording of the project

is underway, produced by Judith Sherman, for release in 2015

on ECM.

Among his best known performance projects are Playing With

MySelf, a multi-media concert event; Missing Peace, an eclectic

series of old and new works inspired by the exhibition

The Missing Peace: Artists Consider the Dalai Lama; the

national tour of The American Piano (with pianist Steven

Mayer); Cool ~ A Journey into the Influence of Jazz; and

Unities: Music of Pride and Celebration. De Mare has also

collaborated and performed with the Lark Quartet, the

Bang-On-A-Can All-Stars, Meredith Monk/The House, and

the Chamber Music Society of Lincoln Center, among

many others.

He has been profiled by the Chicago Tribune, The New Yorker,

The New York Times, Time Out NY, The Contrapuntist,

BroadwayWorld.com, among others, and has been heard in

performance and interviews on nationally syndicated shows

with WNYC’s John Schaefer, NPR, WQXR, and numerous

stations across the country. Having been awarded First Prize

and Audience Prize at the International Gaudeamus

Interpreters Competition (The Netherlands) and The

International Competition of Contemporary Piano Music

(France), de Mare debuted under the auspices of Young

Concert Artists and gave his Carnegie Hall debut at Zankel

Hall. De Mare has nearly twenty recordings in his

discography. His most recent recording, SPEAK! ~ The

Speaking-Singing Pianist, the first disc devoted completely to

this genre, was released in 2010 on the Innova label. Both

SPEAK! and Out of My Hands (E1, formerly KOCH) were short

listed for Grammy Awards in 2011 and 2005 respectively.

For Out of My Hands, American Record Guide raved that

“his exquisite touch and impassioned beauty of utterance

imbue this program of vignettes by David del Tredici and

Aaron Jay Kernis with artistry of the highest order.” American

Record Guide also named Wizards and Wildmen: Piano Music

of Charles Ives, Henry Cowell and Lou Harrison (CRI /New

World) as one of 2000’s Ten Best Releases. Other acclaimed

recordings include Pianos and Voices: Music by John Cage

and Meredith Monk, an unprecedented pairing of these two

mavericks of the American avant garde (Koch); Frederic

Rzewski - Anthony de Mare (O.O. Discs); and Oblivion, with

cellist Maya Beiser (Koch).

Currently professor of piano at Manhattan School of Music

and New York University, his commitment to education is

evidenced by his residency work at universities across North

America in which he has inspired a whole new generation

of pianists and contemporary music advocates, encouraging

them to initiate creative strategies as innovative

entrepreneurs. www.anthonydemare.com

Liaisons Title Design by David Prittie


COMPOSER COMMENTS

William Bolcom: The main theme for A Little Night Fughetta

is taken from “Anyone Can Whistle,” a melody that struck me

as a fugue subject—with a countersubject of “Send in the

Clowns.” I thought Steve would be amused at a fugue-like,

and mercifully short piece – thus a fughetta and not

a fugue.

Ricky Ian Gordon: In 1973, when Stephen Sondheim's A Little

Night Music was running on Broadway, I was 17 years old,

and I was obsessed with it. I saw it six times. There was one

song, though, that I couldn't wait to hear at every show–

"Every Day A Little Death." So when I began this piece for

Tony, I didn't even look at the music– I just started riffing

on what I myself might like to play, as if I were playing that

song for someone, introducing its delicate intricacies, its

stunning melody and the counter melody of the duet. I took

some things out of their original time and meter . . . I guess

you could say I sort of made love to it, with gratitude, for all

the pleasure it has given me over the years.

Kenji Bunch: My first exposure to Sweeney Todd came as

a 10-year-old watching a PBS broadcast of the Broadway

production. I was both terrified and fascinated, and have

felt the work’s and Sondheim’s influence ever since. For

The Demon Barber—an homage to the seething, menacing

introductory song, “The Ballad of Sweeney Todd,” I high-

lighted the original song’s oblique references to the Dies

Irae Gregorian melody into a persistent, ominous chant that

surfaces throughout. I also wanted to amplify the work’s

horror-show qualities with low register rumblings, shrieking

high clusters, and insistent rhythmic ostinato patterns.

Duncan Sheik: By some happy twist of circumstance my

mother took me to see the original Broadway production of

Sweeney Todd when I was 9 years old. I remember a shocking

amount of blood. Returning to see the show in John Doyle's

2006 production I more fully appreciated the neat trick of

how “Johanna” morphs from a plaintive, hopeful declaration

of love into the pathos and pathology of love completely

lost. Two opposite ends of the human condition oscillat-

ing back and forth. Not being a virtuoso pianist myself I

wanted to simplify the actual piano part to its most basic

components —the Satie version of “Johanna” if you will. But

I also wanted to have the atmosphere of Johanna's celestial

beauty and the idea that, like a shooting star, she is out of

reach. To this end I employed a technique of layering dozens

of takes of guitar improvisation through a tape echo thus

creating a blanket of sound for the piano to linger within. So

a piece for piano and tape echo, Johanna in Space.”

Nico Muhly: The light-suffused chords that open Sunday in

the Park with George are some of the best-spaced chords

ever. I used to obsessively study them and play them and

dream about ways to steal them. What is particularly

astonishing about Sunday, too, is the way in which the

“mechanical” music that drives the score gives way to an

emotional immediacy with the characters instantly: it’s the

best tension between the motor and the heart. This is

clearest, I think, in "Color and Light," a multi-part duet

between George and Dot and, indeed, the orchestra. My

homage to this piece tries to accentuate the angular music,

making it somewhat dangerously unhinged, while always

returning to the more supple landscape of the love story.

Steve Reich: Finishing the Hat—Two Pianos is a rather faith-

ful re-working of one of Sondheim’s favorite songs from

Sunday in the Park with George, and incidentally the title of

his recent book. Harmonically very close to the original, and

melodically adding only occasional variations, my only real

change is in the rhythm of constantly changing meters. This

gives my two-piano version a rhythmic character more in

line with my own music and, hopefully, another perspective

with which to appreciate Sondheim’s brilliant original. (For

this performance, Anthony de Mare accompanies himself

with his own recording of the Piano 2 part)

David Rakowski: Like all of the composers in The Liaisons

Project, I was presented with the problem of reframing a

song that is already perfect—and in my case, my favorite

Sondheim song, "The Ladies Who Lunch." My solution was,

to the best of my ability, to concentrate on the character’s

deep sadness, thereby eschewing the song’s big finish for a

slow, introspective one.

Phot

o: Je

rry

Jack

son

/HB

O

Stephen Sondheim

schubert.org 13

Michael Daugherty: When I got the call to compose my

opera Jackie O (1993) for the Houston Grand Opera, I began

my research by listening to Sammy Davis Jr. recordings and

attending a performance of Stephen Sondheim’s

masterpiece "Assassins." For decades, I have been a great

admirer of Mr. Sondheim’s uncanny ability to fuse witty,

brilliant, complex lyrics with original, beautiful, catchy

music. “Assassins” is a personal favorite of mine, and

"Everybody’s Got the Right" finds Mr. Sondheim at his very

best. I take the signature Sondheim chords from the

beginning of "Everybody’s Got the Right" and spin my own

cluster chords, which finally explode like a volley of gunfire.

I also incorporate fragments from “Hail to the Chief” to

remind us of the numerous assassinations from Lincoln

to Kennedy.

Mary Ellen Childs: In the lyrics of "Now—Later—Soon," I love

the way Sondheim, in the end, turns Now into Later, Later

to Soon and Soon to Now, turning everything on its head.

My version is mostly "Now," with a little bit of "Later" and

"Soon" sprinkled here and there, my way of mixing "Now"

and "Later" and "Soon" together. These words refer to time,

so I decided to play with the meter. Since this piece and all of

A Little Night Music is in various meters of three,

it seemed especially inviting to tweak the meter with 7's and

5's, truncating here, extending there, momentarily lurching

forward or drawing out, all while simultaneously

flowing along.

Ethan Iverson: Some songs we never tire of no matter how

many times we hear them. My reasonably straightforward

arrangement of "Send in the Clowns" can be played on

a concert grand but might be even better on a barroom

upright. The original melody at the beginning recurs and

interferes, eventually provoking a humiliating outburst in

G major (instead of the correct G minor).

Fred Hersch: "No One Is Alone" (from Into the Woods)

appealed to me because its diatonic melody (like many of

the great tunes by Richard Rodgers) enabled me to make

subtle changes in the harmony that reflect my jazz

sensibility. I could make the arrangement sound lush and

pianistic and just let the melody sing. And I love what the

lyric says; it is a very relevant song.

Paul Moravec: I Think About You takes its title from the sec-

ond—and oft repeated line of "Losing My Mind" from Follies.

In my re-imagining for piano solo, the eponymous musical

phrase repeats maniacally to the point of ‘losing its mind.’

The piece is a musical meditation on obsession, heartbreak,

and, finally, the timeless need to love and be loved.

Jake Heggie: I’m Excited. No You’re Not is my take on Stephen

Sondheim’s amazing ensemble, ‘"A Weekend in the Country."

I tried to capture the energy and the momentum, as well as

a few bumps in the road, in creating a big, fun, splashy

tour-de-force for Tony de Mare.

Sweeney Todd opened on Broadway in 1979 and in the West End in 1980.

Into the Woods debuted in San Diego at the Old Globe Theatre in 1986 and premiered on Broadway on November 5, 1987


Goerne Program Page

The Schubert Club

Music in the Park Series

presents

Cuarteto Latinoamericano Saúl Bitrán, violin • Arón Bitrán, violin

Javier Montiel, viola • Álvaro Bitrán, celloSunday, April 27, 2014 • 4:00 PM

"Latin Panorama"

Fantasia for string quartet (1946) Gonzalo Castellanos Yumar (born 1926)

Minuetto (1924) Francisco Mignone (1897-1986)

Barcarola (1932) Mignone

Three Spanish Songs (1928) Mignone Nana Por qué lloras morenita? Las mujeres son las moscas

String Quartet in G major Domingo Lobato (1920-2012)

Lento Largo Rudo

Echú (2010) Alejandro Cardona (born 1959)

String Quartet No. 2, Opus 26. Alberto Ginastera (1916-1983)

Allegro rustico Adagio angoscioso Presto magico Libero e rapsodico Furioso

Intermission

This engagement is supported by the Arts Midwest Touring Fund, a program of Arts Midwest,

which is generously supported by the National Endowment for the Arts with additional

contributions from MInnesota State Arts Board.

schubert.org 15

Music in the Park SeriesSunday, April 27, 2014 • 4:00 PM

Saint Anthony Park United Church of Christ

Phot

o: Jo

hn

Bee

be

A Special Thanks to the Donors Who Designated Their Gift to Music in the Park Series:

INSTITuTIoNAlEleanor L. and Elmer J. Anderson FoundationTouring Fund of Arts Midwest Bibelot ShopsBoss FoundationCy 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 FoundationMcKnight FoundationMuffuletta CafePark Perks of Sunrise BanksSaint Anthony Park Community Foundation`Saint Anthony Park HomeSpeedy MarketTrillium Foundation

INDIvIDuAlSArlene AlmNina and John ArchabalFrank and AnnLiv BaconLynne and Bruce BeckChristopher and Carolyn BinghamAnn-Marie BjornsonAlan and Ruth CarpPenny and Cecil ChallyMary Sue ComfortGarvin and Bernice DavenportShirley I. DeckerBruce DoughmanCraig J. Dunn and Candy HartDavid and Maryse FanLisl GaalDick GeyermanEugene and Joyce HaselmannSandy and Don Henry

Anders and Julie HimmelstrupRussell and Cynthia HobbiePeter 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'BrianJames and Donna PeterDr. Paul and Elizabeth Quie

Juliana 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 TesterTim ThorsonMary Tingerthal and Conrad SoderholmByron TwissDale and Ruth WarlandRick Prescott and Victoria Wilgocki Peggy R. WolfeJudy and Paul WoodwardAnn WyniaNancy Zingale and Bill Flanigan

Cuarteto latinoamericano, formed in 1982, is known

worldwide as the leading proponent of Latin American music

for string quartet. This Latin Grammy winning ensemble from

Mexico consists of the three Bitrán brothers, violinists Saúl and

Arón, and cellist Alvaro, along with violist Javier Montiel. The

Cuarteto has recorded most of the Latin American repertoire

for string quartet, and the sixth volume of their Villa-Lobos

17-quartet cycle, recorded for Dorian, was nominated for a

Grammy award in 2002 in the field of Best Chamber Music

Recording as well as for a Latin Grammy. Their CD, Brasileiro,

Works of Mignone, on the Sono Luminus label, won a Latin

Grammy for Best Classical Recording in 2012.

The Cuarteto has performed as soloist with many

orchestras, including the Los Angeles Philharmonic under Esa-

Pekka Salonen, the Seattle Symphony under Gerard Schwarz,

with the National Arts Center Orchestra in Ottawa, the

Orquesta Filarmónica de la Ciudad de México, the Dallas

Symphony, and the Símón Bolívar Orchestra of Venezuela.

The Cuarteto has toured extensively around the world

including performances in Europe and the Americas, Japan,

China, New Zealand, and Israel; they have appeared in a

wide range of venues and festivals: the Concertgebouw,

Milan's La Scala, Esterhazy Palace, the Kennedy Center, Santa

Fe Chamber Music Festival, Dartmouth College, Dartington

International Summer School, and the Ojai Festival. They

have collaborated with many artists including cellist Janos

Starker, pianists Cyprien Katsaris and Rudolph Buchbinder,

tenor Ramon Vargas, and guitarists Narciso Yepes, Sharon

Isbin, David Tanenbaum, and Manuel Barrueco. With

Mr. Barrueco, they have played in venues in the USA and

Europe, have recorded two CDs, and commissioned guitar

quintets from American composers Miguel del Aguila,

Michael Daugherty, and Gabriela Lena Frank.

The Cuarteto was in residence at Carnegie Mellon University

in Pittsburgh from 1988 until 2008. Under the auspices of

the Sistema Nacional de Orquestas Juveniles of Venezuela,

the Cuarteto has created the Latin American Academy for

String Quartets, based in Caracas, which serves as a train-

ing ground for eight select young string quartets from the

Sistema. The Cuarteto visits the Academy four times a year.

Since 2004, the Cuarteto has been a recipient of the México

en Escena grant given by the Mexican government through

FONCA (National Fund for Culture and the Arts). The

Cuarteto Latinoamericano is exclusively represented in the

United States By California Artists Management.


Francisco Paolo Mignone

Program Notes

Francisco Paolo Mignone, son of the Italian immigrant flutist

Alferio Mignone, is one of the most significant figures in

Brazilian classical music, and one of the most significant

Brazilian composers after Heitor Villa-Lobos. In 1968, he was

chosen as Brazilian composer of the year.

A graduate of the São Paulo Conservatory and then of the

Milan Conservatory, Mignone returned to São Paulo in 1929

to teach harmony and in 1933 took a post in Rio de Janeiro

at the Escola Nacional de Música. Mignone was a versatile

composer, dividing his output nearly evenly between solo

songs, piano pieces, chamber instrumental works, orchestral

works, and choral works. In addition, he wrote five operas

and eight ballets.

Much of Mignone's music is strongly nationalistic in flavor;

influenced by the nationalistic movement of his former

schoolmate and teacher, the musicologist and writer

Mário de Andrade, Mignone uses the folk and popular

melodies and forms of his native Brazil as a basis for his

compositions. From 1929 until 1960, his work was most

strongly characterized by this nationalism, during which

he composed such pieces as the Fantasias Brasileiras and

his ballets Maracatu de Chico Rei and Leilão. His solo vocal

and piano works of this time earned him particular acclaim

for their expression of Brazilian musical styles, such as

the choro, the modinha, and the valsas (waltzes) of which

he wrote a series called Valsas da Esquina, for different

instrumentations.

Brazilian musicologist and conductor Osvaldo Colarusso

writes the following about the three pieces by Mignone in

today’s concert:

Venezuelan composer and conductor Gonzalo Castellanos

Yumar, born in 1926, first studied with his father, Pablo

Castellanos, an organist and choirmaster from 1932–1940.

He next studied composition with Vicente Emilio Sojo

at the Escuela Superior de Música, Caracas, graduating

in 1947 with his Suite Caraqueña, for which won the

National Composition Prize. In 1955, his symphonic work

Antelación e Imitación Fugaz won a prize in the Queen

Elisabeth Competition in Belgium. Between 1959-63, he

studied conducting with Celibidache in Germany and

Siena, analysis with Frazzi in Siena, and orchestration with

Wissmer and Daniel-Lesur at the Schola Cantorum in Paris.

He also attended the classes of Messiaen.

After returning to Venezuela in 1963, Gonzalo Castellanos

Yumar held several posts as conductor, teacher, and

administrator, including the directorship of the Juan

Manuel Olivares School of Music (1963-68), the Collegium

Musicum of Caracas (1964-76), the Andrés Bello University

Chorale (1965-70), the music department of the Instituto

de Cultura y Bellas Artes (1965-78), and the Coral

Filarmónica de Caracas, which he founded (1969-72). From

1966-78, he was the music director of the Venezuela SO.

In 1972, he took sabbatical leave from the orchestra and

moved to London to compose his Violin Concerto. In 1978,

he abandoned conducting in order to dedicate himself to

composition. After this decision, Castellanos has only rarely

appeared in public. In 1990, he received the National Music

Prize of Venezuela for lifetime achievement. In spite of his

seclusion and small output, Castellanos is recognized as one

of the great Venezuelan composers.

Castellanos Yumar’s Fantasia for string quartet (1946)

reflects the composer’s post-Impressionist nationalist

aesthetic and introduces elements of Venezuelan

traditional music within a classical framework. Among

these is the constant alternation of 6/8 and 3/4 time

signatures, which constitutes a hallmark of Venezuelan

(and Latin American) music .

schubert.org 17

to become familiar with new trends in European music.

Domingo Lobato has been named Professor Emeritus by

the University of Guadalajara. His works include religious

music for choir and for the organ, symphonies, concerti,

chamber music, music for theatre, and ballet. As a teacher,

he trained and inspired several generations of musicians

in the western region of Mexico, many of who are now

outstanding pianists, organists, composers and singers.

Lobato’s Cuarteto en Sol (Quartet in G) is written in a

language which, although romantic in its gestures and

aesthetic conception, is nonetheless firmly rooted in the

20th century. The first movement, Lento, starts with a highly

chromatic and slow introduction, followed by a faster and

rocking movement in 12/8. The character of the music is

easy-going and flowing, although, again, there is a constant

and daring use of chromaticism. The second movement,

Largo, is one of the most haunting pages ever written for

string quartet in Mexico. If features an extended viola solo,

which explores a dark and personal emotional landscape.

The movement fades out slowly and leaves us with a feeling

of unresolved longing. It is only in the 3rd movement, Rudo

(literally, Rough), where Lobato lets his Mexican character

fully emerge. The music is joyful, and the roughness is

mainly apparent in the staccato articulations asked by the

composer in the eighth notes.

“The Barcarola (1932) was written at the beginning of

Mignone’s period of collaboration with Mario de Andrade.

It begins with the characteristic flowing rhythm of the

Italian Barcarolla, but there is also an element of nationalist

character in the middle section, in 3/8, where we can

foresee the Valsas da Esquina.

The Minuetto for string quartet is the oldest work for string

quartet by this author. Written in 1924, it has absolutely

nothing "Brazilian”, neither in the Minuetto’s main theme

(in A) or in the Trio (in D major). It is actually a transcription

of an excerpt from the opera O contratador de diamantes,

written in 1921. This Minuetto is used in the opera to

characterize the environment of the master's home, with

its European touches, and it contrasts strongly with the

Congada, a well-known passage of the same opera, which is

music danced by slaves, with obvious African influences.

Between 1927 and 1929, Mignone was in Spain, and

during this time he wrote several songs in Spanish. Vasco

Mariz, the Brazilian historian, said in his History of Music

in Brazil that it was in this period when Mignone became

a great songwriter. In 1932, he transcribed three of these

songs for string quartet: Nana, ¿Por qué lloras morenita?

and Las mujeres son las moscas. In these transcriptions

the main song line is in the first violin, while the other

three instruments accompany. The subtleties of the

instrumentation (harmonics, tremolo) put us in an almost

impressionistic atmosphere.”

Domingo lobato was born in 1920 in Morelia, in the state

of Michoacán. At the age of ten, he joined the Morelia

City Boys’ Choir at El Colegio de las Rosas, the School of

Sacred Music. His teachers included Miguel Bernal Jimenez

and Ignacio Mier Arriaga. In 1951, Lobato accepted an

invitation to collaborate at the State of Jalisco School of

Fine Arts. In 1956, he agreed to teach at the music school

of the University of Guadalajara where he accomplished

a notable amount of work. He was the director there for

18 years. In 1958, he received the Premio Jalisco for the

Arts as a musician, teacher, and composer. In 1973, he

traveled to Germany to lecture on Mexican music and

Domingo lobato


Alberto Ginastera’s String Quartet No. 2, opus. 26 (1957)

marks the beginning of the composer’s neo-expressionist

period. Ginastera makes use here of polytonality—common

in his earlier compositions—and micro-intervals.

The fast outer movements (Allegro rustico and Furioso),

alike in their vitality and energy, suggest a brilliant and

animated malambo. The slow movements (second and

fourth) are contemplative and introspective, conveying

Ginastera’s feelings for the solitude and mystery of the

endless pampas through the use of desolate, abruptly

broken melodies and free recitatives. The fourth movement

(Libero e rapsodico) is written as a theme with variations

in the form of cadenzas in which each player has solo

opportunities. The rhapsodic intensity of this movement

contrasts with the deep sadness and anguish of the

second (Adagio angoscioso). The tempo indication for the

third movement (Presto magico) conjures visions of the

supernatural and fantastic and makes the most obvious use

of modern techniques such as sul ponticello, col legno, and

harmonics to create a brilliant array of sounds and

aleatoric effects.

The Juilliard Quartet premiered the Second String Quartet

at the first Inter-American Music Festival in Washington, DC

(April 1958). The work received critical acclaim and affirmed

Ginastera’s international stature. The quartet was written

to fulfill a commission from the Elizabeth Sprague

Coolidge Foundation.

Costa Rican composer and guitarist, Alejandro Cardona,

studied composition with Luis Jorge González, Leon

Kirchner, Ivan Tcherepnin and Curt Cacioppo. He graduated

from Harvard University and has a Masters Degree in Image

Synthesis and Computer Animation from Portsmouth

University and The Utrecht School of the Arts. He lived for

many years in Mexico where he developed research on

popular Meso-American and Caribbean music. His music

has been performed and recorded in Latin America, North

America, and Europe.

Since 1986, he has worked at the Universidad Nacional

de Costa Rica in the Cultural Identity, Art and Technology

Program and the Music School. He is founder of the Latin

American Composition Workshop at that university. He has

also been a Researcher in the CENIDIM Center in México

and has lectured at universities in Latin America and the

United States.

Echú was originally composed for the Calacas Blues band

(a contemporary Latin American blues oriented group).

Since then, it has been adapted for various instrumental

groups: 6 cellos (for Alvaro Bitrán's CD, Mi Chelada), cello

and strings, 5 percussionists and electric bass guitar, and

now for string quartet. Echú is one of the names given to

an important Yoruban orisha (deity), of Nigerian origin, also

known as Elegguá, who, among other things, is responsible

for "opening doors", metaphorically speaking. We could say

that this piece is a contemporary and Latin-Americanized

reinvention of the blues idiom.

Alejandro Cardona

Alberto Ginastera

Program Notes

Cuarteto Latinomericano's Minnesota residency, supported in part by Arts Midwest, includes two Family Concerts, judging the St. Paul String Quartet Competition, and performances at Adams Spanish Immersion School and St. Olaf College.

Program notes copyright © 2014 by Saúl Bitrán

schubert.org 19

ETHElDocumerica Tuesday, June 3, 2014 • 7:30 PM Co-presented with the Saint Paul Chamber Orchestra’s Liquid Music Series and American Composers Forum

at ARIA • 105 North 1st Street, Minneapolis schubert.org/mix

a new generation of classical music


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The Schubert Cluband

The Minnesota Historical Society

present

Hill House Chamber Players

Julie Ayer, violin • Catherine Schubilske, violinThomas Turner, viola • Tanya Remenikova, cello • Jeffrey Van, guitar

Guest artists: Mary Joe Gothmann, piano • Jill Olson, violin • Leslie Shank, viola

Mondays, April 28 & May 5, 2014 • 7:30 PM

"From Vienna to Buenos Aires"

Intermission

Violin Sonata in E minor, BWV 1023 J. S. Bach

[Allegro] Adagio ma non tanto Allemande Gigue

Histoire du Tango for Guitar and Violin Astor Piazzolla

Bordel 1900 Café 1930 Night-club 1960 Concert d'aujourd'hui

Jalousie, Tango Tzigane Jacob Gade

String Quintet in C Major, K. 515 W. A. Mozart

Allegro Menuetto: Allegretto Andante [Allegro]

schubert.org 21

Laine. Gade never topped the success of his Gypsy tango, but with the royalties he established a foundation to support young composers.

J. S. Bach’s violin sonatas take three distinct forms. There are six sonatas and partitas for unaccompanied violin, six sonatas for violin with a fully-notated keyboard part, and a pair of “continuo sonatas” with a bass instrument and a chording companion like the harpsichord. The E-minor Sonata, one of the latter type, dates from Bach’s Leipzig days. In 1729, J. S. Bach added to his cantorial duties at the Thomaskirche the directorship of the Leipzig Collegium. Comprised of at least 50 musicians, many of them students, the ensemble performed twice a week at Zimmermann’s downtown coffee house. This sonata would have been one of the offerings. A salvo of rapid-fire fiddling over a sustained bass is followed by a sweetly sad Adagio and two movements borrowed from the baroque suite: an allemande and a jig.

Astor Piazzolla (1921–1992) has been called “The Ellington of Argentina.” “He actually took the tango to another level by inhabiting his music,” notes Yo-Yo Ma. “The music grew in him, and he adeptly incorporated the influences of his surroundings—whether from New York, Paris or Buenos Aires.” Piazzolla was a child prodigy on the bandoneon, a kind of button-accordion. Born in Mar del Plata, a four-hour drive from Buenos Aires, Piazzolla spent much of his childhood in New York City, but returned to Argentina in his teens, later studying with Alberto Ginastera. Nadia Boulanger’s advice: cultivate a personal style with your country’s music as the source. Tango originated in Argentina and Uruguay as a lower-class urban dance related to the habanera and Cuban contradanza. From it, Piazzolla developed his own voice, “nuevo tango,” which includes elements of jazz, baroque counterpoint and contemporary techniques along with traditional elements. “The Story of Tango” is instructive as well as pleasurable, a tale that spans four generations of the dance, from its lively whorehouse origins to the irregular rhythms, astringent harmonies, and percussive effects of the “present day.” Composed in 1986 for flute and guitar, it has been adapted to many combinations.

The characteristic hitch and slither of Jalousie may seem the very essence of tango, but this dark-haired tzigane has blond, Nordic roots. It was composed by a Dane, Jacob Gade (1879-1963), and was first heard at the Palads Cinema in Copenhagen accompanying Don Q., Son of Zorro, a 1925 silent film starring Douglas Fairbanks and Mary Astor. The song became a radio hit, with dozens of versions, including a 1951 cover by Frankie

Hill House Chamber PlayersMondays, April 28 & May 5, 2014 • 7:30 PM

James J. Hill House

In the spring of 1787, W. A. Mozart (1756-1791) was busy preparing the opera Don Giovanni for its Prague premiere. But he still found time to write Eine Kleine Nachtmusik, the Violin Sonata in A, at least half a dozen songs, and two monumental string quintets. Unlike cellist Boccherini, who added a cello to the bottom of the string quartet, Mozart wedges a second viola—his instrument—into the middle of the ensemble, thereby enriching the sonority and promoting the viola to nearly equal status with the violin. This is one of a set of three quintets Mozart offered by subscription and hoped to publish. He may have been prompted by the accession to the Prussian throne of the cello-playing Friedrich Wilhelm II. The Quintet in C is indeed a regal work. Its opening Allegro is the largest sonata-form movement before Beethoven. Its first theme—not so much a melody as a presence to which the violin nods in deference—covers more than two octaves. Try singing it. A wavering second idea creates moody counterpoint in the development, and the movement is summarized in a cadenza-like passage.

The Andante begins conventionally, but a complaint lodged by first viola leads to an elaborate dialogue with first violin, topped by a pair of surprise cadences which inspire Mozart’s most rhapsodic string writing. Textural possibilities are explored in the Menuetto, where the ingenious scoring includes a kind of Über-trio: coupled violins in octaves, coupled violas ditto, cello. The finale plays adult games with kiddish material.

Program note copyright © 2014 by David Evan Thomas

Jacob Gade around 1900

Intermission

Märchenbilder for Viola & Piano, Opus 113 Robert Schumann

Nicht schnell Lebhaft Rasch Langsam, mit melancholischem Ausdruck

Piano Quintet in G minor, Opus 57 Dmitri Shostakovich

Prelude: Lento Fugue: Adagio Scherzo: Allegretto Intermezzo: Lento Finale: Allegretto


Kate Nordstrum Projects

present

AccordoRuggero Allifranchini, violin • Kyu-Young Kim, violin

Rebecca Albers, viola • Anthony Ross, celloMihae Lee, piano

Monday, April 28, 2014 • 7:30 PM

Piano Trio in E minor, Opus 90, Dumky Antonín Dvorák

Lento maestoso Poco adagio Andante Andante moderato (Quasi tempo di marcia) Allegro Lento maestoso

Albers, Lee

Allifranchini, Ross, Lee

Lee, Kim, Allifranchini, Albers, Ross,

schubert.org 23

AccordoMonday, April 28, 2014 • 7:30 PM

Christ Church Lutheran

A special thanks to the Accordo donors:

Performance Sponsors

Hella Mears HuegJohn and Ruth HussLucy Jones and James Johnson

Musician Sponsors

Nina and John ArchabalMary and Bill BakemanEileen Baumgartner Tim and Barbara BrownRachelle Dockman Chase and John H. FeldmanPaul Markwardt and Richard Allendorf

Fred and Gloria SewellJoseph and Kay Tashjian

Patrons

Anonymous (3)Beverly S. AndersonBarbara A. BaileyKit BinghamMichael and Carol BromerBarbara Ann BrownJohn and Birgitte ChristiansonPamela and Stephen DesnickGeorge EhrenbergCelia and Hillel Gershenson

Peg and Liz GlynnBonnie GrzeskowiakMichelle HackettKen and Suanne HallbergBetsy and Michael HalvorsonPhillip and Alice HandyCarol A. JohnsonMary JonesErwin and Miriam KelenBarry and Cheryl KemptonThomas LogelandRhoda and Don MainsRachel MannRon and Mary Mattson

Elizabeth MyersKathleen NewellLowell and Sonja NoteboomChuck Ullery and Elsa NilssonPatricia O'GormanScott 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.

Mihae lee

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Celebrate Five Years of Accordo:

Join us following this concert for a

birthday-style celebration complete

with sweet treats courtesy of Parka.

Goerne Program Page

The Schubert Club

presents

Dmitri Hvorostovsky, baritoneIvari Ilja, piano

Monday, May 19, 2014 • 7:30 PM

Pyotr Ilyich Tchaikovsky

At bedtime (Na son grjadushchij)Frenzied nights (Nochi bezumnyje)

The nightingale (Solovej)I bless you, forests (Blagoslovljaju vas, lesa)

Don Juan's serenade (Serenada Don Zhuana)

Nicolas Medtner

Gone are my heart’s desires (Ya pyeryezhil svoi zhyelan'ya)To a dreamer (Mechtatelju)

The wanderer’s night song (Nochnaja pesn' strannika)Winter’s evening (Zimnii vecher)

Intermission

This evening's concert is dedicated to the memory of Reine H. Myers by the John Myers Family, Paul Myers Jr. Family and John Parish Family.

Franz Liszt

from Tre sonetti di Petrarca, S 280Pace non trovo, e non ho da far guerra

I' vidi in terra angelici costumi

Sergei Rachmaninoff

The raising of Lazarus (Voskreshenije Lazarja)Lilacs (Siren’)

Believe me not, friend (Ne ver’ moi drug)Do not sing, my beauty, to me (Ne poj, krasavica, pri mne)

I wait for you (Ja zhdu tebja)

schubert.org 25

Dmitri Hvorostovsky was born and studied in

Krasnoyarsk, Siberia. From the start, audiences were bowled

over by his cultivated voice, innate sense of musical line

and natural legato. After his Western operatic debut at the

Nice Opera in Tchaikovsky’s Pique Dame, his career exploded

and has included regular engagements at the world’s major

opera houses and appearances at international festivals. He

performs in concert with such orchestras as the New York

Philharmonic and the Rotterdam Philharmonic, and

conductors, including James Levine, Bernard Haitink, Claudio

Abbado, Lorin Maazel, Zubin Mehta, Yuri Termikanov, and

Valery Gergiev.

Hvorostovsky retains a strong musical and personal

contact with Russia. He became the first opera singer to give

a solo concert with orchestra and chorus on Red Square in

Moscow—a concert televised in over 25 countries. He has

gone on to sing concerts in Moscow as a part of the series,

"Dmitri Hvorostovsky and Friends," to which he has invited

such celebrated artists as Renée Fleming, Jonas Kaufmann,

Marcello Giordani, Sumi Jo, and Sondra Radvanovsky. In

2005, he gave an historic tour throughout Russia to

commemorate the soldiers of the Second World War.

Hvorostovsky now tours Russia and Eastern Europe annually.

Hvorostovsky’s discography spans recitals and operas. He

has also starred in Don Giovanni Unmasked, an award-

winning film (by Rhombus Media) based on the Mozart

opera, tackling the dual roles of Don Giovanni and Leporello.

Recently, he has established a collaboration with the popular

Russian composer Igor Krutoi, with concerts in Moscow, St.

Petersburg, Kiev, and New York. Recent recordings include a

solo CD of Rachmaninoff Romances (with pianist Ivari Ilja),

a DVD starring Hvorostovsky alongside Renée Fleming in a

film set in St. Petersburg, and a CD/DVD recording of Verdi

Opera Scenes with the Philharmonia of Russia conducted by

Constantine Orbelian.

The 2012–13 season included appearances at the

Metropolitan Opera, Royal Opera House Covent Garden,

Bayerische Staatsoper Munich, Vienna Staatsoper, Santa

Cecilia Rome, Arena di Verona, and Teatro Regio Turin; vari-

ous concerts and recitals in Europe and Russia; and further

CD releases on Ondine Records.

Maud Moon Weyerhaeuser Sanborn International Artist SeriesMonday, May 19, 2014 • 7:30 PM

Ordway Center

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Estonian-born pianist Ivari Ilja studied at the Tallinn State

Conservatory with Professor Laine Mets and at the Moscow

Tchaikovsky Conservatory with Professor Vera Gornostayeva

and Professor Sergey Dorensky.

An internationally recognized accompanist and ensemble

musician, he has collaborated with singers Dmitri

Hvorostovsky, Irina Arkhipova, Maria Guleghina, and Elena

Zaremba on many of the great concert stages of the world,

including Carnegie Hall, Alice Tully Hall, Avery Fisher Hall of

New York, The Kennedy Center of Washington, Davies Sym-

phony Hall San Francisco, La Scala in Milan, Queen Elizabeth

Hall and Wigmore Hall in London, the Bolshoi Theatre of

Moscow, and the great halls of St. Peterburg Philharmonic

and Moscow Conservatory.

Ivari Ilja has also held solo recitals in France, the United

Kingdom, Germany, Estonia, Russia, Sweden, Finland, and

performed as a soloist with orchestras such as Estonian

National Symphony Orchestra, the Moscow Symphony

Orchestra, the St. Petersburg Symphony Orchestra,

and others

His repertoire mostly consists of romantic music, primarily

of the works by Frédéric Chopin, Johannes Brahms, Robert

Schumann, but also Wolfgang Amadeus Mozart, Sergei

Prokofiev, Benjamin Britten, and others. Since 2003, he has

repeatedly toured with great Russian baritone Dmitri

Hvorostovsky in the United States, Europe, Hong Kong,

Japan, and elsewhere.


In this country, Pyotr Ilyich Tchaikovsky (1840–1893) is known primarily as a symphonist, but in his homeland, his operas and

songs are perhaps even more prized. Tchaikovsky wrote over one hundred songs and romances, usually between work on larger

projects, collecting them in sets, not cycles.

We know that Tchaikovsky loved Ogaryov’s “At bedtime,” because he made a choral setting of the poem in his student days. The

poet was an admirer of the 1825 Decembrists, pro-democracy rebels who were brutally repressed. The final plea—“Give your sad

creatures at least a dream to be deceived by”—is as political as it is personal. In the song setting, a compelling melody is urged

forward by masterful harmony and throbbing triplets, a Tchaikovsky trade-mark.

Russia's great Romantic poet, Aleksandr Pushkin

In Germany, an art song is called a Lied. In France, it’s a

mélodie. French influence in eighteenth-century Russia

fostered a characteristically Russian form, the romance. As

a drawing-room song, lyricism and folk qualities were

valued. But add deep religious traditions, the love of a

good story, and the willingness to look at a thing long and

hard, and you have the expressive, virtuosic, even operatic

form of the romance as cultivated by Tchaikovsky,

Rachmaninoff, and Medtner.

At bedtime

Nocturnal dark brings the silence Now calling me to rest.It's time, it's time! my body begs for peace,My soul worn out in whirls of day.

I pray Thee at bedtime, my Lord:Give peace to man, and baby's sleep;Keep and bless even the lowest crib,And quiet tears of love!

Forgive our sins, and blow a kissTo soothe burning pain,And all your saddened creaturesDelude now with dreams again!

Na son grjadushchij

Nochnaja t'ma bezmolvije prinositI k otdykhu zovjot menja.Pora, pora! pokoja telo prosit,Dusha ustala v vikhre dnja.

Molju tebja, pred snom grjadushchim, bozhe:Daj ljudjam mir; blagoslovi Mladenca son, i nishchenskoje lozhe,I sljozy tikhije ljubvi!

Prosti grekhu, na zhgucheje stradan'jeUspokojitel'no dokhni,I vse tvoji pechal'nyje sozdan'jaKhot' snoviden'jem obmani!

Program NotesTexts and Translations

Two poets account for half of the texts on this program.

Aleksandr Sergeyevich Pushkin (1799–1837) liberated the

Russian language from European models. His verse narratives

exerted a powerful influence throughout the nineteenth cen-

tury, long after his death in a duel. Ruslan and Lyudmila was

treated by Glinka, Eugene Onegin by Tchaikovsky, and Boris

Godunov by Musorgsky. But Pushkin also wrote short stories,

novellas, and stage plays. “Other Russian poets are read and

admired,” said his contemporary Alexander Herzen. “Pushkin

is in the hands of every civilized Russian, who reads him again

and again all his life long.”

Aleksei Konstantinovich Tolstoy (1817–1875) was the second

cousin of the younger Leo Tolstoy, author of War and Peace.

(He was also the grandson of Count Razumovsky, who com-

missioned Beethoven’s “middle” quartets.) Tolstoy’s universal-

ist philosophy and his belief in pure art did not endear him

to ideologues, either in his own time or the Soviet era. But

Tchaikovsky called him “an inexhaustible source of text for

music . . . one of the most attractive of all poets.”

Program notes copyright 2014 by David Evan Thomas

schubert.org 27

Night is a common theme in the Twelve Romances, Opus 60, Tchaikovsky’s lavish response to a request from the Empress Maria

Fyódorovna for a single song. Apúkhtin’s 1876 poem of lost love, “Frenzied nights,” had already been set by many composers when

Tchaikovsky got to it. How does a composer portray sleeplessness in music? The dull repetitions of the introduction and the whis-

pering textures later on are the first of several examples on this program.

Frenzied nights

Frenzied nights, sleepless nights,Incoherent speeches, tired gazes . . .Nights lit by the last candle,Dead autumn’s late-blooming flowers!

Even if the unsparing hand of timeHas laid bare all that is false in you,Still I fly to you in hungry memory,Searching the past for an impossible answer . . .

Your insinuating whispers muffleThe loud, unbearable noise of the day . . .In the still night you drive away sleep,Sleepless nights, frenzied nights!

Nochi bezumnyje

Nochi bezumnyje, nochi bessonnyje,Rechi nesvjaznyje, vzory ustalyje . . .Nochi, poslednim ognem ozarennyje,Oseni mjortvoj cvety zapozdalyje!

Pust' dazhe vremja rukoj besposhchadnojuMne ukazalo, chto bylo v vas lozhnogo,Vsjo zhe lechu ja k vam pamjat'ju zhadnoju,V proshlom otveta ishchu nevozmozhnogo . . .

Vkradchivym shepotom vy zaglushajeteZvuki dnevnyje, nesnosnyje, shumnyje . . .V tikhuju noch' vy moj son otgonjajete,Nochi bessonnyje, nochi bezumnyje!

“The nightingale,” Pushkin’s translation of a Serbian poem, is Tchaikovsky’s only mature Pushkin song, written in 1889 in the folk

style. A young man tells the nightingale his woes, comparing them to the bird’s three-part song: he married too young; his horse is

weary; wicked people estranged him from his love. “Dig my grave,” he pleads.

The nightingale

My nightingale, dear nightingale! Dear little bird of the woodland!You, little bird, have three unchanging songs.I, a young man, have three great worries.The first of them is: Too early was I married.The second: my brown horse is old and weary;the third: a beautiful girlwas taken from me by wicked people.Dig a grave in the field for me, in the wide field.Put flowers by my head and at my feet let clear spring water flow.Beautiful girls will pass by me, making chains of flowers;old folk will pass by me as they come to draw water.

Solovej

Solovej moj, solovejko! Ptica malaja, lesnaja!U tebja l', u maloj pticy, Nezamennyje tri pesni,U menja li, u molodca, Tri velikije zaboty!Kak uzh pervaja zabota –Rano molodca zhenili;A vtoraja-to zabota –Voron kon' moj pritomilsja;Kak uzh tret'ja-to zabota –Krasnu-devicu so mnoju Razluchili zlyje ljudi.Vy kopajte mne mogilu Vo pole, pole shirokom,V golovakh mne posadite Aly cvetiki-cvetochki,A v nogakh mne provedite Chistu vodu kljuchevuju.Projdut mimo krasny devki, Tak spletut sebe kepochkiProjdut mimo stary ljudi,Tak vody sebe zacherpnut.


Serenada Don Zhuana

Gasnut dal’nei Al’puharyZalatistye kraya,Na prizyvnyi zvon gitaryVyidi, milaya maya!

Fseh, kto skazhet, shto drugayaZdes’ ravnjayetsa s taboi,Fseh, ljuboviyu zgaraya,Fseh, fseh, fseh zavu na smertnyi boi!

Don Juan's serenade

Darkness descendsOn Alpujara’s golden land.My guitar invites you,Come out my dear!

Whoever says that there are othersWho can be compared to you,Whoever burns for your love,I challenge them all to a duel!

I bless you, forests

I bless you, forests, valleys, fields, mountains, waters, I bless freedom and blue skies. I bless my staff and my humble rags. And the steppe from beginning to end, And the sun's light, and night's darkness, And the path I walk, pauper that I am, And, in the field every blade of grass, and every star in the sky! O! if only I could encompass all life, And join my soul with yours. O! if only I could embrace you all, Enemies, friends and brothers, and all nature, And enfold all nature in my arms!

Blagoslovljaju vas, lesa

Blagoslovljaju vas, lesa, doliny, nivy, gory, vody,Blagoslovljaju ja svobodu i golubyje nebesa!

I posokh moj blagoslovljaju, i `etu bednuju sumu,I step' ot kraju i do kraju,i solnca svet, i nochi t'mu,

I odinokuju tropinku, po kojej, nishij, ja idu,I v pole kazhduju bylinku, i v nebe kazhduju zvezdu!

O, jesli b mog vsju zhizn' smeshat' ja,Vsju dushu vmeste s vami slit',O, jesli b mog v moji ob"jat'jaja vas, vragi, druz'ja, i brat'ja,I vsju prirodu v moji ob"jat'ja zakljuchit'!

Mozart was Tchaik’s favorite composer, and Don Giovanni the summit of

Moz’ art. Tchaikovsky spent an evening at the house of legendary singer

Pauline Viardot, leafing through the original score of Don Giovanni. “I can’t

express the emotion I felt examining this sacred treasure of music! It was as if

Mozart and I had shaken hands and had a conversation.” Tchaikovsky captures

the Don’s essence with brutal cross-rhythms in “Don Juan's serenade.” This

is not the wheedling ditty “Deh vieni alla finestra,” but a scene from A. K.

Tolstoy’s drama, Don Juan, set under the balcony of Nisetta, a local trollop. “For

her who’s loveliest I’ll give all my song and all my blood!” proclaims the rake.

How ironic that Tchaikovsky composed it shortly after his brief, disastrous

marriage in July 1877.

Tchaikovsky left his teaching post at the Moscow Conservatory in 1878. As if in answer to a prayer, Nadezhda von Meck, a wealthy

widow, bestowed on him an allowance, on condition that she and the composer never meet face to face. The Seven Romances,

Opus 47 were completed in July 1880. “I bless you, forests” treats a poem by A. K. Tolstoy about the pilgrimage of St. John Dama-

scene which expresses the saint’s wonder at the unity of all creation.

Don Juan by Max Slevogt

schubert.org 29

Recognition is coming to the work of Nicolas Medtner (1879–1951), but slowly. Like Chopin,

Medtner included the piano in everything he wrote, although he ranged more widely into cham-

ber music and song than the Polish composer. Like Rachmaninoff and Scriabin, who were eight

years his senior, he was a Moscow Conservatory-trained virtuoso pianist. His catalogue includes

fourteen piano sonatas in varied, imaginative forms, three concertos, and over one hundred

songs. Rachmaninoff spoke of him as “the most talented of all contemporary composers, one of

those rare people—as a musician and a human being—who grow in stature the closer you get

to them.” There are reasons for Medtner’s obscurity. His music, like Rachmaninoff’s, is extremely

detailed, and requires expert performers. In an age of innovation, his outlook was essentially

conservative and Apollonian in its emphasis on melody, form, and rhythm, what he called the

“unwritten laws that are the foundation of musical language.” As an émigré, he was long denied

the support of his homeland, dying in London in 1951. But the work itself deserves affection and honor. With the unlikely sponsor-

ship of the Maharajah of Mysore, the Medtner Society was founded in 1946, the first international recognition of

Medtner’s contribution.

The songs here are by Medtner’s favorite poets, Pushkin and Goethe. Wind whistles and leaf trembles in “Gone are my heart’s

desires,” a landscape of despair. The chords Medtner chooses for the words “alone and jaded” are unexpected—and perfect.

Nicolas Medtner

Gone are my heart’s desires

I have outlasted all desire, My dreams and I have grown apart; My grief alone is left entire, The gleanings of an empty heart.

The storms of ruthless dispensation Have struck my flowery garland numb–I live in lonely desolation And wonder when my end will come.

Thus on a naked tree-limb, blasted By tardy winter's whistling chill, A single leaf which has outlasted Its season will be trembling still.

Ya pyeryezhil svoi zhyelan'ya

Ya perezhil svai zhelanya,Ya razljubil svai mechty;Astalis’ mne adni stradanya,Plady serdechnai pustaty.

Pad burjami sud’by zhestokaiUvjal tsvetushii moi venets,Zhyvu pechal’na, adinokiiI zhdu: pridjot li moi kanets?

Tak, pozdnim hladam parazhonnyi,Kak buri slyshen zimnii svist,Adin na vetke abnazhonnaiTrepeshet zapazdalyi list.

At lunnava svetaZardel nebasklon,O, vyidi, Niseta, o vyidi, Niseta,Skarei na balkon!

At Sevil’yi da Grenady,F tiham sumrake nachei,Razdayutsa serenady,Razdayotsa stuk mechei.

Mnoga krovi, mnoga pesneiDlja prelestnyh lyutsa dam,Ya zhe toi, kto fseh prelestnei,Fsjo, fsjo, pesn’ i krof’ mayu addam!

At lunnava svetaZardel nebasklon,O, vyidi, Niseta, o vyidi, Niseta,Skarei na balkon!

Now the moonHas set the sky alight,Come out, Nisetta, oh come out, Nisetta,On to your balcony, quickly!

From Seville to GranadaIn the silence of the nights,One can hear the sound of serenadesAnd the clashing of swords.

Much blood, many songs,Pour forth for the lovely ladies;And I, for the loveliest one of allAm ready to give my song and my blood.

Now the moonHas set the sky alight,Come out, Nisetta, oh come out, Nisetta,On to your balcony, quickly!


The wanderer's night song

Over all the treetops is rest,

A gentle breeze scarcely stirs their waving crest;

All the birds are silent each in his quiet nest.

So my heart, waiting, soon will rest.

Nochnaja pesn' strannika

Na vershinah gor tishina, pakoi,

Dyhanye vetra yele kalyshet listvoi

Zamolkla v lesu ptichek penye.

Vremja pridjot: i ty addahnjosh.

To a dreamer

You find your delight in a painful passion.It gives you pleasure to shed tears,To torment your imagination with vain flame,And to harbour a silent grief in your heart.

Believe me, o innocent dreamer, you’re not in love!If only you, sad feeling seeker,Were struck with the fearful madness of love,If only its poison boiled in your blood;

If during the long hours of a sleepless night,Lying in bed, sick at heart,You called for a deceptive peace,Tried in vain to close your miserable eyes,

Frantically embraced your hot bedding,And wasted away, mad with a fruitless desire—Believe me, then you would not fallInto such futile reveries.

No, no! prostrating yourself in tearsBefore your arrogant beloved,Trembling, pale, impassioned,You would exclaim to deities

“Give me back, o gods, my clouded mind,And take away from me this fateful image!I’ve had enough of love, now give me rest!”Yet, the gloomy love and unforgettable imageWould remain with you forever.

Mechtatelju

Ty v strasti gorestnoj nakhodish' naslazhden'je;tebe prijatno sljozy lit',naprasnym plamenem tomit' voobrazhen'jei v serdce tikhoje unynije tajit'.

Pover', ne ljubish' ty, neopytnyj mechtatel'!O, jesli by tebja, unylykh chuvstv iskatel',postiglo strashnoje bezumije ljubvi;kogda b ves' jad jejo kipel v tvojej krovi;

kogda by v dolgije chasy bessonnoj nochina lozhe, medlenno terzajemyj toskoj,ty zval obmanchivyj pokoj,votshche smykaja skorbny ochi,

pokrovy zharkije, rydaja, obnimali sokhnul v beshenstve besplodnogo zhelan'ja,pover', togda b ty ne pitalneblagodarnogo mechtan'ja!

Net, net! v slezakh upav k nogamsvojej ljubovnicy nadmennoj,drozhashchij, blednyj, isstuplennyj,togda b voskliknul ty k bogam:

Otdajte, bogi, mne rassudok omrachennyj,voz'mite ot menja sej obraz rokovoj!Dovol'no ja ljubil; otdajte mne pokoj!No mrachnaja ljubov' i obraz nezabvennyjostalis' vechno by s toboj.

Acknowledging his German-Livonian descent, Medtner made some 35 settings of Goethe,

including “The wanderer’s night song,” a poem familiar in Schubert’s version, here in a

spacious, dramatic treatment.

“To a dreamer” departs from C minor on an unconventional path through B minor and D minor but is driven by sleeplessness into

a nearly atonal frenzy. Medtner said it was “not a description of love in the usual sense, but of a true love for art and the

suffering it entails.”

Goethe by Angelica Kauffman

schubert.org 31

In “Winter’s evening,” a couple huddles in a cottage during a storm. A lanky melodic line gives the impression of cramped quar-

ters, while the storm rages in the piano’s black notes. In the third stanza, marked “quasi recitativo,” the man proposes a song and a

drink to “the companion of his wretched youth.”

Medtner is sometimes called “The Russian Brahms,” a comparison he rejected: “I may have a long way to go to approach Brahms;

he is a colossal master!—I am speaking merely of my muse, which everyone for some reason has decided to consider the sister or

even the daughter of Brahms, which I cannot accept at all.”

Zimnii vecher

Burja mgloyu neba kroyet,Vihri snezhnye krutja;To, kak zver’, ana zavoyet,To zaplachet, kak ditja,To pa krovle abvetshalaiVdruk salomai zashumit,To, kak putnik zapazdalyi,K nam v akoshka zastuchit. Nasha vethaya lachushkaI pechal’na, i temna;Shto zhe ty, maya starushka,Priumolkla u akna?Ili buri zavyvanyemTy, moi druk, utamlena,Ili dremlesh pad zhuzhanyeSvayevo veretena?

Vypyem, dobraya padrushkaBednai yunasti mayei,Vypyem z gorja, gde zhe krushka?Sertsu budet veselei.Spoi mne pesnju, kak sinitsaTiha za marem zhyla;Spoi mne pesnju, kak devitsaZa vadoi pautru shla.

Burja mgloyu neba kroyet,Vihri snezhnye krutja;To, kak zver’, ana zavoyet,To zaplachet, kak ditja,Vypyem, dobraya padrushkaBednai yunasti mayei,Vypyem z gorja, gde zhe krushka?Sertsu budet veselei!

Winter's evening

The storm covers the sky with haze,Whirling the snow drifts.Now it howls like a wild animal,Now it cries like a child,Now it rustles the thatchOver our decayed roof,Now, like a delayed traveler,It knocks on our window pane.

Our tumbledown little hutIs gloomy and dark.So why, my old granny,Do you sit silent next to the window?Are you bored, my friend,With the howling of the storm?Or are you slumberingUnder the humming of your spinning wheel?

Let us drink, dearest friendOf my wretched youth.Let us drink from grief – where’s the glass?Our hearts will feel merry.Sing me a song about the blue birdLiving peacefully overseas.Sing me a song about the young girlGoing to fetch water in the morning.

The storm covers the sky with haze,Whirling the snow drifts.Now it howls like a wild animal,Now it cries like a child.Let us drink, dearest friendOf my wretched youth.Let us drink from grief – where’s the glass?Our hearts will feel merry.


There are at least 86 songs by Franz liszt (1811–1886), but only five in Italian. He grew up speaking

German and later mastered French, which he preferred. He also learned much from transcribing

seven Schubert songs for piano solo, arrangements which he played on his pioneering recital tours.

Liszt never finished his Sardanapale, an opera based on Byron’s verse play, but we have some idea of

what might have been from the grand and supremely lyrical Three Sonnets of Petrarch, two of which

are presented here. Francesco Petrarca or Petrarch (1304–1374) was born in the Italian city of Arezzo,

but moved with his family to Avignon. There he conceived a love for a married woman he called

Laura, possibly Laura de Noves. The love was not returned, but Petrarch celebrated his feelings for her

in a sequence of 366 poems. Petrarch’s poems were particularly popular for musical setting in the

sixteenth century. In Liszt's first song, the speaker’s extreme ambivalence is neatly symbolized by the

augmented triad and halting rhythms; in the last, we have a vision of time-stopping loveliness.

I find no peace

I find no peace, but for war am not inclined;I fear, yet hope; I burn, yet am turned to ice;I soar in the heavens, but lie upon the ground;I hold nothing, though I embrace the whole world. Love has me in a prison which he neither opens nor shuts fast;he neither claims me for his own nor loosens my halter;he neither slays nor unshackles me;he would not have me live, yet leaves me with my torment. Eyeless I gaze, and tongueless I cry out;I long to perish, yet plead for succour;I hate myself, but love another. I feed on grief, yet weeping, laugh;death and life alike repel me;and to this state I am come, my lady, because of you.

Pace non trovo, e non ho da far guerra

Pace non trovo, e non ho da far guerra,E temo, e spero, ed ardo, e son un ghiaccio:E volo sopra 'l cielo, e giaccio in terra;E nulla stringo, e tutto 'l mondo abbraccio.

Tal m'ha in priggion, che non m'apre, né serra,Né per suo mi ritien, né scioglie il laccio,E non m'uccide Amor, e non mi sferra;Né mi vuol vivo, né mi trahe d'impaccio.

Veggio senz'occhi; e non ho lingua e grido;E bramo di perir, e cheggio aita;Ed ho in odio me stesso, ed amo altrui:

Pascomi di dolor; piangendo rido;Egualmente mi spiace morte e vita.In questo stato son, Donna, per Voi.

I' vidi in terra angelici costumi

I' vidi in terra angelici costumi,E celesti bellezze al mondo sole;Tal che di rimembrar mi giova, e dole:Che quant'io miro, par sogni, ombre, e fumi.

E vidi lagrimar que' duo bei lumi,Ch'han fatto mille volte invidia al sole;Ed udì' sospirando dir paroleChe farian gir i monti, e stare i fiumi.

Amor! senno! valor, pietate, e dogliaFacean piangendo un più dolce concentoD'ogni altro, che nel mondo udir si soglia.

Ed era 'l cielo all'armonia s'intentoChe non si vedea in ramo mover foglia.Tanta dolcezza avea pien l'aer e 'l vento.

I beheld on earth angelic grace

I beheld on earth angelic grace,and heavenly beauty unmatched in this world,such as to rejoice and pain my memory,which is so clouded with dreams, shadows, mists. And I beheld tears spring from those two bright eyes,which many a time have put the sun to shame,and heard words uttered with such sighsas to move the mountains and stay the rivers. Love, wisdom, excellence, pity and griefmade in that plaint a sweeter concertthan any other to be heard on earth. And heaven on that harmony was so intentthat not a leaf upon the bough was seen to stir,such sweetness had filled the air and winds.

laura de Noves

schubert.org 33

Like Tchaikovsky, Sergei Rachmaninoff (1873–1943) is known in this country

primarily as a composer of instrumental music, but he spent time in the

theatre, conducting works as diverse as Gluck’s Orpheus and Bizet’s Carmen

at the Moscow Private Russian Opera and Mariinsky Theatre in St. Petersburg,

and composing the one-act operas Francesca da Rimini and The Miserly Knight.

And his songs, all composed before he left Russia in 1917, distill the essence of

his art.

“The raising of lazarus” is dedicated to the great bass Fyodor Chaliapin (1873–

1938). Over a few carefully chosen chords, Rachmaninoff allows the power of

the voice to reenact the miracle related in the Gospel of John. The postlude is

undoubtedly significant, its precise meaning left to the listener.

The raising of lazarus Oh Lord of Heaven! Man’s commands are naught beside thy single word,Thou has compelled the grave to openAnd called the beggar Lazarus forth.Repeat Thy wondrous work of marvel,And bid my soul arise againWith breath divine its life regaining,To share thy glory and thy crown!So shall my voice with proud endeavor,In strength renewed and courage brave,To God, on high, give praise for ever,And Him, who died, our sins to save!

voskreshenije lazarja

O Car’ i Bog moj! Slovo silyVo vremja ono Ty skazal,I sokrushen byl plen mogily,I Lazar’ ozhil i vozstal.Molju da slovo sily grjanet,Da skazhesh’: vstan’! dushe mojej,I mertvaja iz groba vstanet,I vyjdjot v svet Tvojikh luchej;I ozhivet, i velichavyj Jejo khvaly razdastsja glas,Tebe, sijan’ju Otchej slavy,Tebe umershemu za nas!

Siren'

Po utru, na zare,Po rosistoj trave,Ja pojdu svezhim utrom dyshat';I v dushistuju ten',Gde tesnitsja siren',Ja pojdu svoje schast'je iskat' . . .

V zhizni schast'je odnoMne najti suzhdeno, I to schast'je v sireni zhivjot;Na zeljonykh vetvjakh,Na dushistykh kistjakhMojo bednoje schast'je cvetjot . . .

lilacs

In the morning, at daybreak,over the dewy grass,I will go to breathe the crisp dawn;and in the fragrant shade,where the lilac crowds,I will go to seek my happiness . . .

In life, only one happinessit was fated for me to discover,and that happiness lives in the lilacs;in the green boughs,in the fragrant bunches,my poor happiness blossoms . . .

“lilacs” links the fragrance of the lilac to lost love in some of Rachmaninoff’s most delicate music. The song, in gentle triple time,

marked sempre tranquillo, was composed in April 1902, around the time of Rachmaninoff’s marriage to his first cousin, Natalya

Satina. As a wedding present, the couple received a house on the Ivanovka estate, where the composer would write many of his

finest works. Rachmaninoff later transcribed the song for piano solo, often including it in his recital programs.

The Raising of Lazarus after Rembrandt by vincent van Gogh


Do not sing, my beauty, to me

Do not sing, my beauty, to meyour sad songs of Georgia;they remind meof that other life and distant shore.

Alas, They remind me,your cruel melodies,of the steppe, the night and moonlitfeatures of a poor, distant maiden!

That sweet and fateful apparitionI forget when you appear;but you sing, and before meI picture that image anew.

Do not sing, my beauty, to meyour sad songs of Georgia;they remind meof that other life and distant shore.

Ne poj, krasavica, pri mne

Ne poj, krasavica, pri mneTy pesen Gruziji pechal'noj;Napominajut mne oniDruguju zhizn' i bereg dal'nij.

Uvy, napominajut mneTvoji zhestokije napevyI step', i noch', i pri luneCherty dalekoj, bednoj devy!

Ja prizrak milyj, rokovoj,Tebja uvidev, zabyvaju;No ty pojosh', i predo mnojJego ja vnov' voobrazhaju.

Ne poj, krasavica, pri mneTy pesen Gruziji pechal'noj;Napominajut mne oniDruguju zhizn' i bereg dal'nij.

Ja zhdu tebja

Ja zhdu tebja! Zakat ugas, I nochi tjomnyje pokrovySpustit'sja na zemlju gotovy I sprjatat' nas.

Ja zhdu tebja! Dushistoj mgloj Noch' napojila mir usnuvshij,I razluchilsja den' minuvshijNa vek s zemlej.

Ja zhdu tebja! Terzajas' i ljubja,Schitaju kazhdyja mgnoven'ja,Polna toski i neterpen'ja.Ja zhdu tebja!

I wait for you

I wait for you! The sun has setnight's dark coversare ready to descendand hide us.

I wait for you! With a fragrant mist,night suffused the sleeping worldand the past day has bidfarewell to earth.

I wait for you! Tormented and in love,I am counting each moment.Full of anguish and impatienceI wait for you!

Believe me not, friend

Don’t believe, my friend, when in a surge of sorrow,I say I don’t love you anymore!In the hours of ebb don’t believe that the sea has betrayed –It will be back to the shore filled with love.

I’m already longing, full of the same old passion,I’ll give my freedom back to you again,And now the waves are running back with roaringFrom a distance to the beloved shoreline.

Ne ver’ moi drug

Ne ver’ mne drug, kogda v izbytke gorjaJa govorju, chto razljubil tebja!V otliva chas ne ver’ izmene morja,

Ono k zemle vorotitsja, ljubja.

Uzh ja toskuju, prezhnej strasti polnyj,Moju svobodu vnov’ tebe otdam.I uzh begut s obratnym shumom volnyIzdaleka k ljubimym beregam.

The songs of Opus 14 feature powerful piano accompaniments. A. K. Tolstoy’s poem, “Believe me not, friend,” compares a lover’s

passion to the power of the returning tide. The sea has the last word. “I wait for you,” written in 1894, around the time of the First

Symphony, paints in vivid colors the quickening of a lover’s mood from a single note to the final virtuoso flourish.

Rachmaninoff evokes the spirit of Borodin in “Do not sing, my beauty, to me” the earliest song in this set, written 1892–93. Exotic

scales and vocal melismas express a lover’s sadness as he hears a song from his native Georgia, the land at the crossroads of Eu-

rope and Asia on the Black Sea.

schubert.org 35

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 proud of 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 great music

and innovative programming to the Twin Cities.

Please help continue their legacy by planning your own estate gift; the process is simpler than it may seem.

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 nonprofits 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.

Contact Paul D. Olson at The Schubert Club at 651.292.3270 or [email protected]

The future of

The Schubert Club

depends on you!

What will our community look like fifty years from now?

Will it include classical music, high-quality yet affordable performances, and scholarship opportunities for young, talented musicians?


Phot

o: M

arco

Bor

ggre

ve


The Minnesota Historical Society

present

Hill House Chamber Players

Julie Ayer, violin • Catherine Schubilske, violinThomas Turner, viola • Tanya Remenikova, cello • Jeffrey Van, guitar

Guest artist: Maria Jette, soprano • Jill Olson, violin • Leslie Shank, violin

Monday, June 2, 2014 • 7:30 PM

"An Evening with Schubert"

Intermission

Sonata in A minor, D. 821, Arpeggione Franz Schubert, arr. Jeffrey Van

Allegro moderato Adagio Allegretto

Selected Songs with Guitar Schubert

Ständchen, from Schwanengesang, D. 957

Sei mir gegrüsst, D. 741

Schlaflied, D. 527

Des Mädchens Klage, D. 191

Gretchen am Spinnrade, D. 118

Auf dem Wasser zu singen, D. 774

String Quartet in A minor, D. 804 Schubert

Allegro ma non troppo Andante Menuetto: Allegretto Allegro moderato

schubert.org 37

memorable variations on his setting of Rückert’s graceful “Sei mir gegrüsst” in the Fantasy for Violin and Piano. “Auf dem Wasser zu singen,” called by translator Richard Stokes “a bitter-sweet hymn to ephemerality,” was composed in 1823, around the time of the Arpeggione and A-minor Quartet. Ständchen, part of the posthumously-published Schwanengesang, came to Schubert obliquely. Berlin poet Ludwig Rellstab (1799-1860) had sent Beethoven a passel of poems. “A few had been marked with pencil, in Beethoven’s own hand,” the poet later recalled, “those which he liked best and had then passed on to Schubert to set, since he himself felt too ill.”

This Schubertiad offers a garland of beloved Lieder by six poets, with songful A-minor works from 1824 on either side. In March 1824, the twenty-seven-year-old Schubert wrote: “I feel myself to be the most unhappy and wretched creature in the world,” quoting words he had set famously in song: “My peace is gone, my heart is sore, I shall find it never and nevermore.” In fact, Schubert was suffering the symptoms of secondary-stage syphilis, and he knew it. That summer, he tutored at the Esterházy residence at Zseliz, about a hundred miles east of Vienna, where a crush on eighteen-year-old Countess Karoline may have added to his misery. The Arpeggione Sonata was written on his return to Vienna in September.

The instrument Schubert called the arpeggione was invented in 1824 by Stauffer, who applied the cello’s curved bridge and bow to an upturned guitar body and fretted neck. Six strings were tuned like a guitar, mostly in fourths, rather than in the cello’s fifths. Schubert may have thought he was cutting-edge when he composed a sonata for Vinzenz Schuster straight-away. But the arpeggione disappeared faster than you can say “Schubert Club Musical Instrument Museum,” and Schubert’s work remains virtually its only musical evidence. Yet, it’s an orphan everyone wants to adopt: it has become standard repertoire for flute and double bass; there is a “concerto” version for viola, a duo transcription for bassoon and harp. It’s even played on the trombone. The Arpeggione is less a dialogue than an extended outpouring of melody. What strikes the listener is the work’s changeable nature, as cheerful phrases turn away into reflection. The cello rarely rests, and its chording potential is underplayed; rather, it dips and soars, proclaiming the wistful song of a mythical bird, the first and last of its species, into the night.

The songs offered here span Schubert’s song-writing career. All were originally written with piano accompaniment. The composer first drafted “Des Mädchens Klage,” from Schiller’s play Die Piccolomini, when he was fourteen. “Gretchen at the Spinning Wheel,” from Goethe’s Faust, the first of 70 settings of Goethe by Schubert, is a complete drama in miniature. Johann Baptist Mayrhofer (1787-1836) was another favorite poet, for a time a close friend, even a roommate of Schubert. But he was ultimately denied the peace he evokes in “Schlaflied,” committing suicide by leaping from a third-story window. Schubert would compose

Hill House Chamber PlayersMonday, June 2, 2014 • 7:30 PM

James J. Hill House

Schubert often borrowed his own musical material. Sometimes this was a matter of expediency—his breathtaking pace of composition—sometimes of import. The Quartet in A minor, also from 1824, contains three such connections. The opening seems to conjure in its slowly gyrating accompaniment and droning harmony the phantom of a world-weary Gretchen. Listen to the way the simple descending triadic theme closes the first movement, then links to the first two notes of the next. That Andante reappears in the incidental music to Rosamunde. The song “The Greek Gods” lends its rocking motion to the Menuetto and poses the question: “Beautiful world, where have you gone?” Schubert must have asked himself this question in his last five years of life. Few composers smile so sadly.

Program note © 2014 by David Evan Thomas

Schubert's sonata for arpeggione (bowed guitar) is now known chiefly in arrangements for less obscure instruments.


Courtroom ConcertThe Schubert Club Composer ApprenticesApril 17, 2014 • Noon • Landmark Center

Spencer Hammersten is a young student of composition who lives in Lino Lakes, MN. He has studied piano since he was five years

old. He is currently a Junior at North Lakes Academy's high school, where he plays clarinet in the band. He also acts in his school's play on

a yearly basis and has written music for his school's band to perform.

William Decourt began music as a violinist at the age of four. His composition began as simple improvisation on the piano at the

age of seven. With coaching at a summer composition camp offered by MYS, he wrote his first piece for solo piano at ten years old. More

recently, he has written for solo trumpet and orchestra, premiered by the Ramsey Junior High Orchestra in 2010, and for full orchestra,

premiered by the Central Orchestra earlier in 2014. He is honored to have had the chance to work with Edie Hill and the Pavia Wind

Quintet on his first wind ensemble piece. This experience has affirmed to him the importance of continuing with music in college.

Isaac Roth Blumfield studies composition with Edie Hill and Shirley Mier and voice with Thaxter Cunio. He sings in Central Chamber

Singers under Martha Graber, and is a member of the Prelude Singer-Actor Lab at MacPhail Center for Music, where he is also a theory

tutor and collaborative piano intern. He studies piano with Shirley Mier, and has studied violin, oboe, double bass, and guitar. He vocal-

directed Central High School's production of "Little Shop of Horrors" this past fall. Isaac has been composing since 4th grade, and this

is his second year in the Composer Mentorship Program. This summer, he will be studying composition at Freie Universität Berlin with

Samuel Adler and plans to continue studying composition after high school.

Jacob Dominguez-Nelson is a senior at Perpich Center for the Arts Education in Golden Valley, MN. He was born in Mexico and

moved to Minnesota at the age of 13. He has studied piano since the age of 7 and has always loved to improvise. He also enjoys playing

guitar and bass guitar. His junior year at Perpich, Jacob enrolled in his first composition class with Janika Vandervelde where he had the

opportunity to compose for various projects and ensembles including the Zeitgeist group. Jacob plans on studying music composition at

the university this coming fall (final decision yet to be announced). He is also a prolific yogi.

Pavia Wind Quintet, formed in 2005 by alumni from the University of Minnesota and St. Olaf College, is interested in exploring a

variety of repertoire for wind soloists with an increasing focus on contemporary music. Pavia has worked with many local composers to

premiere and record new works, and in 2012 premiered Timothy Takach’s “Kinetic”. Because woodwind quintet repertoire is a specialized

genre of music, Pavia aspires to make this music accessible to all audiences by performing fun and varied programs. Active performers,

Pavia presents concerts and workshops throughout Minnesota, including St. Olaf College, Augsburg College, Gustavus Adolphus College,

Camden Music School, Unity Unitarian, House of Hope Presbyterian, The Schubert Club, and The Baroque Room. Pavia especially enjoys

working with students to encourage enthusiasm for chamber music of all kinds.

Pavia Wind QuintetErica Bennett, flute, Gina Goettl, horn • Justin Windschitl, bassoon

Ryan Golden, clarinet • Lindsey Thompson, oboe

Legend of a Time Forgotten - Spencer Hammersten

Wind Quintet No. 1, Op. 12 - William Decourt

I. Five • II. Wind • III. Gusts

Wind Quintet No. 2 - Isaac Roth Blumfield

Journey - Jacob Dominguez-Nelson

schubert.org 39

From solo to orchestra, epigram to epic, Edie Hill’s music unfolds seamlessly in all spaces and idioms. Born in

New York City (1962), her works are widely performed in the United States, Canada, and Eastern and Western

Europe in such prestigious venues as Lincoln Center, the LA County Museum of Art, the Library of Congress,

Minneapolis’ Walker Arts Center, St. Paul’s The Schubert Club, The Cape May Festival (NJ), The Downtown Arts

Festival (NYC), Liviu Cultural Center (Romania), Feszek Müvészklub (Budapest), as well as venues in Bangkok

(Thailand), Dublin (Ireland), Iceland, Great Britain, Germany, The Netherlands, the Minnesota State Fair,

classrooms and cafes, and basilicas and back yards. A three-time McKnight Artist Fellow and a two-time Bush

Artist Fellow, Hill has received grants from the Jerome Foundation, ASCAP, Meet The Composer, and Chamber

Music America, to name a few. She actively cultivates the talents of young composers and musicians as well

as educating and engaging the public in the music of today. She has been a guest lecturer at such institutions

as Syracuse University, the American Composers Forum, the Iowa Composers Forum Nuts N’ Bolts Festival,

Tufts University, the University of Michigan, and Delft University (Netherlands). Hill earned a B.A. in music

composition and piano performance at Bennington College where she studied with Vivian Fine and then went on to earn her M.A. and

Ph.D. degrees from the University of Minnesota with principal composition teacher Lloyd Ultan. She has also studied extensively with

Libby Larsen. Hill is Composer-in-Residence at St. Paul’s The Schubert Club where she runs the Composer Mentorship Program. She resides

in Minneapolis where she works as a freelance composer and owns Hummingbird Press.

Courtroom ConcertSpotlight on Minnesota Composer, Edie HillApril 24, 2014 • Noon • Landmark Center

The Fenix (2000)

KrisAnne Weiss, mezzo-soprano • Carrie Henneman Shaw, soprano • Naomi Staruch, soprano

Laura Krider, alto • Jocelyn Hagen, alto • Clara Osowski, mezzo-soprano/alto

Steve Staruch, tenor • Ben Riggs, tenor • Paul Wilson, baritone • Timothy Takach, bass

Matthew Culloton, conductor

Apparent Solids (1995)

I. Early Planting

II. Edges

III. A Birthday

KrisAnne Weiss, mezzo-soprano • Cara Wilson, violin • Emily Hagen, viola • Teresa Richardson, cello

Erica Bennett, flute/piccolo • Heather Barringer, percussion


From the Wingbone of a Swan (2013)

I. Prelude to Speech

II. Source

III. Paleolithic Flute

Teresa Richardson, cello • Erica Bennett, flute/piccolo • Heather Barringer, percussion

Carrie Henneman Shaw, soprano • Naomi Staruch, soprano • KrisAnne Weiss, mezzo-soprano

Laura Krider, alto • Jocelyn Hagen, alto • Clara Osowski, mezzo-soprano/alto

Steve Staruch, tenor • Ben Riggs, tenor • Paul Wilson, baritone •Timothy Takach, bass


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Since our fiscal year began on July 1,

2013, we have welcomed 182 new

people to The Schubert Club donor

family. Their gifts have added up to

$11,117. No matter how large or

small, your gift makes a difference!

This activity is made possible in part by a grant provided by

the Minnesota State Arts Board through an appropriation by

the Minnesota State Legislature from the State's general fund

and its arts and cultural heritage fund with money from the

vote of the people of Minnesota on November 9, 2008, and a

grant from the Wells Fargo Foundation Minnesota.

KATENORDSTRUM PROJECTS

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

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Memorials and Tributes

In honor of Barry Kempton's 50th BirthdayRichard and Adele Evidon

In honor of Amy Hwei-Mei LiuMargaret Laughton

In honor of the marriage of Mark Baumgartner and Paul D. OlsonLucy Rosenberry Jones and James JohnsonBarbara Lund and Cathy Muldoon

In honor of Lisa NiforopulosGretchen Piper

In honor of Paul D. Olson’s 50th BirthdayMark L. BaumgartnerRichard Frisch and Robert WallaceRita and Michael HampleBarbara and Daniel OpitzHarlan Verke and Richard Reynen

In memory of Hilda HaarstickElizabeth R. Cummins

In memory of Dr. John DavisAugust Rivera, Jr.

In memory of Leon R. GoodrichBruce and Lucinda BackbergJ.J. and Debra Cascalenda

Bradley and Mary Louise ClaryCharles and Kathryn CunninghamKristi and Scott EckertRita EckertSteve FarshtJohn and Sarah GarrettRuth E. GlarnerThe Family of Leon R. GoodrichWard and Shotsy JohnsonAmy and Randy KargerHeidi and Bradley KeilIngrid and Lee KrumpelmannRichard and Thelma LareauJohn and Nancy LindahlJeffrey MesserichMetro Bridge ClubErin O’Neill and Caitlin SerranoIlene A. OlsonOppenheimer Wolff & Donnelly LLPH.W. and Mary ParkAnn Treacy and Aine O'Donnell Jerrol and Alleen TostrudMelinda and Steven WellvangRoger and Barbara WistrcillJamie W. Witt

In memory of Hilary KemptonDee Ann and Kent CrossleyJulie and Anders HimmelstrupMegen Balda and Jon Kjarum

Paul D. OlsonJudy and David RanheimConnie Ryberg

In memory of Dorothy MattsonPenny and Cecil ChallyJulie and Anders HimmelstrupChristine Podas-LasonNancy Zingale and William FlaniganIn memory of Hilda HaarstickElizabeth R. Cummins

In memory of Jeanette Maxwell RiveraAugust Rivera, Jr.

In memory of Jeanne ShepardNan C. Shepard

In memory of Nancy ShepardNan C. Shepard

In memory of Tom StackEileen V. Stack

In memory of Catharine WrightDiane and Mark GorderPaul D. OlsonJohn and Barbara RiceHelen McMeen Smith


The Schubert Club Endowmentand The Legacy Society

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.

AnonymousFrances C. Ames*Rose Anderson*Margaret Baxtresser*Mrs. Harvey O. Beek*Helen T. Blomquist*Dr. Lee A. Borah, Jr.Raymond J. Bradley*James CallahanLois Knowles Clark*Margaret L. Day*Timothy Wicker and Carolyn DetersHarry Drake*Mary Ann FeldmanJohn and Hilde FlynnSalvatore FrancoMarion B. Gutsche*Anders and Julie HimmelstrupThelma HunterLois and Richard KingFlorence Koch*Dorothy Mattson*John McKayMary B. McMillanJane Matteson*Elizabeth Musser*Heather PalmerMary E. SavinaLee S. and Dorothy N. Whitson*Richard A. Zgodava*Joseph Zins and Jo Anne Link

*In Remembrance

Become a member of The Legacy

Society by making a gift in your

will or estate plan. For further

information, please contact

Paul D. Olson at 651.292.3270 or

[email protected]

The Schubert Club Endowment

We are grateful for the generous donors

who have contributed to The Schubert

Club Endowment, a tradition started

in the 1920s. Our endowment provides

nearly one-third 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, including the International

Artist Series with special support 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 FundThe Rose Anderson Scholarship FundEdward Brooks, Jr.The Eileen Bigelow MemorialThe Helen Blomquist Visiting Artist FundThe Clara and Frieda Claussen FundCatherine M. DavisThe Arlene Didier Scholarship FundThe Elizabeth Dorsey BequestThe Berta C. Eisberg and John F. Eisberg FundThe Helen Memorial Fund “Making melody unto the Lord in her very last moment.” – The MAHADH Fund of HRK FoundationThe Julia Herl Education FundHella and Bill Hueg/Somerset FoundationThe Daniel and Constance Kunin FundThe Margaret MacLaren BequestThe Dorothy Ode Mayeske Scholarship FundIn memory of Reine H. Myers by the John Myers Family, Paul Myers, Jr. Family John Parish Family

The John and Elizabeth Musser FundTo honor Catherine and John Neimeyer By Nancy and Ted WeyerhaeuserIn memory of Charlotte P. Ordway By her childrenThe Gilman Ordway FundThe I. A. O’Shaughnessy FundThe Ethelwyn Power FundThe Felice Crowl Reid MemorialThe Frederick and Margaret L. Weyerhaeuser Foundation The Maud Moon Weyerhaeuser Sanborn MemorialThe Wurtele Family Fund

Add your name to this list by making a gift

to The Schubert Club Endowment

or provide a special gift directly to

The Schubert Club.

Classical MPR’s Choral Stream

Tune in to Classical MPR’s Choral Stream — all choral music, all the time, from baroque to Bernstein — at classicalmpr.org/choral.

Or, stream the full range of classical music at classicalmpr.org.

An die Musik April 13 - June 2

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Transcript of An die Musik April 13 - June 2