An die Musik Jan 1—Mar 3

January 1–March 3, 2016

An die MusikThe Schubert Club • schubert.org

We’ll add some color

toblack & white

thinking.

WE INVITE YOU TO LEARN MORE BY CONTACTINGBecky Krieger @ 952.841.2222 or accredited.com5200 West 73rd Street, Edina, Minnesota 55439

An die MusikJanuary 1–March 3, 2016

Table of Contents

4 President and Artistic & Executive Director’s Welcome

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

8 Accordo with Stephen Prutsman

12 Hill House Chamber Players

14 Julie Albers and Orion Weiss

20 Igor Levit

25 Calendar of Events: January–March

26 Courtroom Concerts

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

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

notify our ticket office as soon as possible. Donating

unneeded tickets entitles you to a tax-deductible

contribution for their face value and allows others to

experience the performance in your seats. Turnbacks

must be received one hour prior to the performance.

There is no need to mail in your tickets.

Thank you!

The Schubert Club Ticket Office:

651.292.3268 • schubert.org/turnback

The Schubert Club75 West 5th Street, Suite 302Saint Paul, Minnesota 55102schubert.org

on the cover: Igor Levitphoto by Felix Broede

Gabriel Kahane &Timo Andres

“Friends Making Music”

Tuesday, April 5, 2016 • 7:30 PM

at Bedlam Lowertown

a new generation of classical music

Timo Andres, piano

Gabriel Kahane, singer-songwriterschubert.org/mix • 651.292.3268

4 THE SCHUBERT CLUB An die Musik

President and Artistic & Executive Director’s Welcome

The Schubert Club invests in music and in musicians,

especially in young musicians. One of the most direct

forms of investment is the annual Bruce P. Carlson

Student Scholarship Competition. This competition,

in existence since 1922, awards approximately

$50,000 in scholarships each year to students

competing in voice, piano, strings, woodwinds, brass,

and guitar. The competition gets underway with

preliminary rounds in late February and culminates

with a free Winners Recital on Sunday, March 20 at

1 p.m. at Ordway Concert Hall.

I have volunteered at the competition for several

years, each year as a “timer.” The timer’s somewhat

heartbreaking job is to operate a stop watch and

call “Time” if the student exceeds the allotted time.

Fortunately, most of the contestants are so well

prepared that they stop exactly on time!

During one of my stints as timer, the strings judge

(an accomplished violinist) was extolling the benefits

of music education. He exclaimed passionately: “If

they have a violin in their hands, they can’t hold

a gun!” Music education is clearly not the sole

solution to gun violence and our myriad social ills,

but introducing young people to the beauty and

challenge of music may be one small step in the right

direction. The Schubert Club, through the scholarship

competition and its other educational programs such

as Project CHEER, is committed to investing in young

musicians for the benefit of our community. Come

to the Winners Recital and hear what these young

musicians have accomplished!

Kim A. SeversonPresident

A Happy New Year to everyone and welcome to The

Schubert Club!

Though I do sometimes enjoy being outside and active

during these cold months, I confess I’m probably

happier spending my leisure hours inside, warm and

inspired by great music. Fortunately I’m not alone, so

for those of us who seek musical stimulation to see

us through the winter months, The Schubert Club has

plenty to offer, as you’ll see looking through

this program.

Now through April we have regular free Thursday

noontime concerts in Landmark Center; the much-

lauded young pianist Igor Levit—who according to

Britain’s Daily Telegraph is “in a class of his own”—is

our next recitalist in the International Artist Series;

and Julie Himmelstrup and I are thrilled to present

the new Principal Cellist of the Saint Paul Chamber

Orchestra, Julie Albers with pianist Orion Weiss in our

Music in the Park Series concert on February 7th. We

present Twin Cities-based string ensemble Accordo in

their first appearance at the Ordway Concert Hall on

January 19 with composer/pianist Stephen Prutsman

performing live music to complement silent movies

of the 1920s. And finally, don’t miss hearing the Hill

House Chamber Players in their 30th anniversary

season. They perform at the historic Hill House on

Summit Avenue on the first two Mondays in February.

Something, we hope, for everyone who needs music to

keep the heart and soul warm.

Barry KemptonArtistic and Executive Director

You can get there. We can help.

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schubert.org 7

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

Officers

Craig Aase

Mark Anema

Nina Archabal

James Ashe

Suzanne Asher

Paul Aslanian

Aimee Richcreek Baxter

Board of DirectorsSchubert Club Board members, who serve in a voluntary capacity for three-year terms, oversee the activities of the organization on behalf of the community.

Carline Bengtsson

Lynne Beck

Dorothea Burns

James Callahan

Cecil Chally

Carolyn Collins

Marilyn Dan

Anna Marie Ettel

Richard Evidon

Catherine Furry

Michael Georgieff

Elizabeth Holden

Dorothy Horns

John Holmquist

Anne Hunter

Kyle Kossol

Chris Levy

Jeffrey Lin

Kristina MacKenzie

Peter Myers

Ford Nicholson

Gerald Nolte

Jana Sackmeister

Kim A. Severson

Gloria Sewell

Anthony Thein

John Treacy

Alison Young

Barry Kempton, Artistic & Executive Director

Tirzah Blair, Ticketing & Development Associate

Max Carlson, Program & Production Associate

Kate Cooper, Museum & Education Manager

Aly Fulton, Executive Assistant & Artist Coordinator

Julie Himmelstrup, Artistic Director, Music in the Park Series

Tessa Retterath Jones, Director of Marketing & Ticketing

Joanna Kirby, Project CHEER Director, Martin Luther King Center

David Morrison, Museum Associate & Graphics Manager

Paul D. Olson, Director of Development

StaffJanet Peterson, Finance Manager

Quinn Shadko, Marketing Intern

Composers-in-Residence:

Abbie Betinis, Edie Hill

The Schubert Club Museum Interpretive Guides:

Sara Oelrich Church, Zachary Forstrom, Paul Johnson, Alan Kolderie,

Sherry Ladig, Rachel Olson, Kirsten Peterson, Whittney Streeter

Project CHEER Instructors:

Joe Christensen, Omid Farzin Huttar, Anika Kildegaard

Dorothy Alshouse

Mark Anema

Dominick Argento

Jeanne B. Baldy

Ellen C. Bruner

Carolyn S. Collins

Dee Ann Crossley

Josee Cung

Mary Cunningham

Joy Davis

Terry Devitt

Arlene Didier

Karyn Diehl

Ruth Donhowe

Anna Marie Ettel

Diane Gorder

Elizabeth Ann Halden

Julie Himmelstrup

Advisory Circle

Hella Mears Hueg

Ruth Huss

Lucy Rosenberry Jones

Richard King

Karen Kustritz

Libby Larsen

Dorothy Mayeske

Sylvia McCallister

Elizabeth B. Myers

Nicholas Nash

Richard Nicholson

Gayle Ober

Gilman Ordway

Christine Podas-Larson

David Ranheim

Anne Schulte

George Reid

Barbara Rice

Estelle Sell

Gloria Sewell

Katherine Skor

Tom Swain

Jill Thompson

Nancy Weyerhaeuser

Lawrence Wilson

Mike Wright

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

President: Kim A. Severson

Immediate Past President: Nina Archabal

Vice President Artistic: Lynne Beck

Vice President Education: Marilyn Dan

Vice President Finance & Investment: Craig Aase

Vice President Marketing & Development: Mark Anema

Vice President Nominating & Governance: Catherine Furry

Vice President Audit & Compliance: Gerald Nolte

Vice President Museum: Ford Nicholson

Recording Secretary: Catherine Furry


The Schubert Cluband

Kate Nordstrum Projects

present

AccordoSteven Copes, violin • Ruggero Allifranchini, violin

Maiya Papach, viola • Julie Albers, cello

with Stephen Prutsman, piano

Tuesday, January 19, 2016 • 7:30 PM

Thank you to Accordo’s season sponsor, Accredited Investors Inc.

From 2004–2007 Stephen Prutsman was Artistic Partner

with the St. Paul Chamber Orchestra, where he conducted

concertos from the keyboard, performed in chamber ensembles,

conducted works of living composers, developed and arranged

collaborations for their Engine 408 series of contemporary and

world music, and wrote several new works for the orchestra.

From 2009–2012 he was the Artistic Director of the Cartagena

International Festival of Music, South America’s largest festival

of its kind, programming and curating concerts with themes

ranging from Mozart celebrations, to eclectic evenings of folk

and popular music of the Americas, to hybrid programs fusing

art and dance music of multiple musical dimensions.

In the early 90s he was a medal winner at the Tchaikovsky

and Queen Elisabeth Piano Competitions, and received the

Avery Fisher Career Grant. Since then Stephen has performed

the classical concerto repertoire as soloist with many of the

world’s leading orchestras and his classical discography includes

acclaimed recordings of the Barber and McDowell concerti with

the Royal Scottish National Orchestra and National Symphony

Orchestra of Ireland.

Born in Los Angeles, Stephen first began playing the piano by

ear at age 3, before moving on to more formal music studies. In

his teens and early 20s he was the keyboard player for several

art rock groups including Cerberus and Vysion. He was also

during those years a solo jazz pianist playing in many southern

California clubs and lounges and was the music arranger for a

nationally syndicated televangelist program. A former student

of Aube Tzerko, Leon Fleisher, and Jack Wilson, Stephen studied

at the University of California at Los Angeles and the Peabody

Conservatory of Music.

As a composer, Stephen’s long collaboration with Grammy Award

winning Kronos Quartet has resulted in over 40 arrangements

and compositions for them. Other leading artists and ensembles

who have performed Stephen’s compositions and arrangements

include Leon Fleisher, Dawn Upshaw, the St. Lawrence String

Quartet, Yo-Yo Ma, Spoleto USA, and the Silk Road Project.

The Cabinet of Dr. Caligari Stephen Prutsman

Copes, Allifranchini, Papach, Albers

Intermission

Sherlock, Jr., for String Quartet and Piano Stephen Prutsman

Allifranchini, Copes, Papach, Albers, Prutsman

PLEASE SILENCE ALL ELECTRONIC DEVICES

schubert.org 9

AccordoTuesday, January 19, 2016 • 7:30 PM • Ordway Concert Hall

Program Notes

In 2010, his song cycle Piano Lessons was premiered by Ms.

Upshaw and Emanuel Ax at Carnegie Hall, the Concertgebouw,

Disney Hall, and the Barbican Centre. As a pianist or arranger

outside of the classical music world he has collaborated with

such diverse personalities as Tom Waits, Rokia Traore, Joshua

Redman, Jon Anderson of YES, Sigur Rós, and Asha Bhosle.

In the past, his dedication to the creation of new musical

environments led him to create music festivals in such far-flung

places as the island of Guam and the border town of El Paso,

Texas. Passionate about the value of music for all, Stephen is

actively promoting music and arts education wherever he visits.

He is involved in several projects whose missions are to create

enjoyable artistic or recreational environments for children on

the autistic spectrum and their families.

Stephen lives in San Francisco.

The Cabinet of Dr. Caligari

The film opens in a hauntingly mysterious garden. On a bench

a man named Francis begins to tell an old man the story about

his best friend Alan and his fiancée Jane—how Francis and Alan

had gone to a fair where they saw the famous “Dr. Caligari” show.

Caligari exhibits a somnambulist, Cesare, who can predict the

future. When Alan asks how long he has to live, Cesare says he

has until dawn. The prophecy comes true, as Alan is murdered,

and Cesare is a prime suspect. Later, Cesare creeps into Jane’s

bedroom and abducts her, running from the townspeople and

finally dying of exhaustion.

The police discover a

manikin of Cesare in the

cabinet where he sleeps

and Caligari flees. Francis

tracks Caligari to a mental

asylum; the finale includes

one of the great film twists

of all time.

A musical depiction of any

visual image should, in my

opinion, be reflective in

some way to the historical

time in which the image takes place. The sublime art direction

in Robert Wiene’s masterpiece Das Cabinet des Dr. Caligari

stems from Berlin’s expressionist “Der Sturm” group, this

group had enlisted the musical offerings of the expressionists

of the time, those affiliated with the so-called Second

Viennese School.

Rest assured, this particular musical offering to Caligari is not

entirely dodecaphonic, twelve-tone, a-tonal, or as some have

put it, “cat strolling on the keys” school of composition.

The opportunity to write music around such a visually

stunning and complex neo-expressionist film did at times

overwhelm me with one basic question: How complex Second

Viennese-ish, then, should the music be, if it is to reflect the

music of the Germany in the 20s? At the same time, I was well

aware of the cardinal rule that film music ought never take

attention away from the film itself; hence a complex yet cheap

Schoenberg-like allusion would no doubt detract from the

visual and possibly raise Cesare from the dead and make me

his next victim!

What to do? Nice saccharine, sweet-laced harmonies or

intense twelve-tone? Well . . . Being the good, progressive,

empathetic Democrat that I am, (yes I do have feelings for

poor Cesare, the victim forced to murder) . . . I tried to go

somewhere in the middle.

I decided to ‘sprinkle’ dodecaphonic elements here and there,

(Caligari and Cesare do each have their own tone-rows), yet

most of what one hears can be described as imitations of

either post-romantic concert, salon, theatre or carnival music

around the turn of the 19th century.

Shadows play an important part in Wiene’s cinematic vision

and with that in mind, the score contains a certain amount Concept sketch for one of the Dr. Caligari movie sets

Director Robert Wiene


beginnings of swing, the end of

ragtime). Also, Buster Keaton’s

character displays an endearing

mix of sadness, sweetness and

humor, reminiscent to me of

the works of Erik Satie, whose

influence can be heard.

It may be worth noting that

the performers for this score

have no auditory cues, (such

as a metronomic click) which

would guide tempos and hence

coordinate the musical changes with the visual. As a result,

much is left to the spontaneity and flexibility of the performers.

There are periods when some repetition may be required

to elongate the accompaniment, other periods whereby a

quick jump may needed to catch a scene change. Slapstick,

being a vital element of the film, is on occasion mirrored with

instrumental effects, hopefully only to shadow and not take

away any attention from genius that is so poignant already

without sound.

Program notes by Stephen Prutsman

A special thanks to the Accordo donors:

Performance SponsorsAccredited Investors Inc. Eileen BaumgartnerHella Mears Hueg and Bill HuegRuth and John HussLucy Jones and James JohnsonGarrison Keillor and Jenny NilssonAnn and Alfred Moore

Musician SponsorsRichard Allendorf and Paul MarkwardtNina and John ArchabalMary and Bill Bakeman in honor of Tony RossMichael and Carol BromerJames CallahanRachelle Chase and John FeldmanJoan R. DuddingstonSusan and Bill Scott, in honor of Maiya Papach

PatronsBeverly S. AndersonDavid and Gretchen AndersonRoger J. AndersonDorothy BoenBarbara Ann BrownBonnie BrzeskowiakBirgitte and John ChristiansonMaggie CordsPamela and Stephen DesnickDr. and Mrs. Thomas DuckerGeorge EhrenbergJohn Floberg and Martha HicknerBarbara and John FoxPatricia GaarderNancy and Jack GarlandMary Glynn, Peg and Liz GlynnKatherine GoodrichBonnie Grzeskowiak

Bonnie GretzBeverly L. HlavacBrian Horrigan and Amy LevineCarol A. JohnsonMary A. JonesKris and John KaplanMiriam and Erwin KelenMary LachDavid G. LarsonKaren S. LeeThomas LogelandThomas L. MannMary and Ron MattsonMargot McKinneyBarbara and Ralph MenkJane C. MercierJohn Michel and Berit MidelfortDavid Miller and Mary DewElizabeth Myers

J. Shipley and Helen NewlinSonja and Lowell NoteboomPatricia O’GormanJudy and Scott OlsenSydney M. PhillipsAnn C. RichterElizabeth and Roger RickettsTamara and Michael RootSteven Savitt and Gloria KumagaiSylvia SchwendimanScott Studios, Inc. and William ScottMarge and Ed SenningerEmily and Dan ShapiroPatricia and Arne SorensonJudith and Bruce TennebaumChuck Ullery and Elsa NilssonCarol and Tim WahlBarbara WeissbergerMarguerite and Alex Wilson

Season Sponsor: Sponsors:well flocked

for celebrations

612.767.9495thethirdbirdmpls.com

of sul tasto playing, along with other eerie string effects. Also

to complement that certain tenderness in Cesare’s character,

(that touching pathos of worry, desire, fear) solo “espressivo”

passage-work is given to each member of the quartet.

Sherlock, Jr., for String Quartet and Piano

Commissioned by Bay Chamber Concerts

Premiered by the St. Lawrence String Quartet and

Stephen Prutsman

A cardinal rule for anyone attempting to score any kind of

movie is that the music must never garner attention at the

expense of the visual element. Certainly there have been

wonderful composers who have learned this basic tenet the

hard way, discovering to their dismay that large parts of their

efforts were cut out or left barely audible in the final print.

Taking this rule to heart in composing the original score to

the silent classic Sherlock Jr., I intended nothing too complex,

too dense nor too far removed from a tonal and metric center.

Instead the music consists of simple reappearing themes,

occasional harmonic ‘padding’, and imitative allusions to some

of the popular music of the time (think ‘Charleston’ or the

29-year-old Buster Keaton, director and star

The SPCO’s Liquid Music Series presents

Daniel Wohl: HolographicWith Mantra Percussion and the Holographic String Quartet Album and live performance commissioned by Liquid Music, MASS MoCA, Baryshnikov Arts Center and Indianapolis Museum of Art

Visuals commissioned by The Film Society of Minneapolis St. Paul

Thursday, Feb 11, 2016 at 7:30pmOrdway Concert Hall, Saint Paul

“Rising star composer.” – Time Out New York“An original voice.” – Pitchfork

Tickets: $20 ($15)www.liquidmusicseries.org

Picture yourself amid clarity and calm

at classicalmpr.org

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 Artist: Mary Jo Gothmann, piano

Mondays, February 1 & 8, 2016 • 7:30 PM

“Behind the Lines—Music and Composers of World War One”

Fantasma de Falla da Camera for Guitar and String Trio Jeffrey Van

Badinage Moon Garden Intermezzo Finale

Sonata for Violin and Piano, Opus 82 Edward Elgar

Allegro Andante Allegro, non troppo

Intermission

Piano Trio No. 2 in C minor, Opus 66 Felix Mendelssohn-Bartholdy

Allegro energico e fuoco Andante espressivo Scherzo: Molto Allegro quasi Presto Finale: Allegro appassionato


schubert.org 13

Jeffrey Van composed Fantasma de Falla da Camera (The

Ghost of Manuel de Falla) for guitar ensemble to celebrate

Clare Callahan’s twenty-fifth anniversary as director of the

Classical Guitar Workshop at the University of Cincinnati

College-Conservatory of Music. Recast for guitar and string

trio, the work fêted the twenty-fifth season of The Hill

House Chamber Players. In this, the Players’ thirtieth year, it

returns to mark Van’s final season as a regular member of

the ensemble. “Scattered through the work are a few musical

quotations from Falla’s evocative Nights in the Gardens of

Spain,” Van tells us. “Other Falla quotes filter through the

texture from the ballet El amor brujo and Falla’s solo guitar

Homenaje: pour le tombeau de Debussy. These “fantasmas”

celebrate two milestone anniversaries while paying homage

to one of my favorite composers. Even when snatches of

Falla’s music are not making ghostly appearances, his spirit is

never far away.

Throughout this season, the Hill House Chamber Players is

exploring the music and composers of World War One. The

eminent English critic Ernest Newman, in a 1914 article,

“The War and the Future of Music,” wrote: “Were we writing

about the situation as if it were 500 years behind us, instead

of something blindingly and terrifyingly near to us, we

might perhaps say that some such war was necessary for

the re-birth of music. For there is no denying that of late

music has lacked truly commanding personalities.” Newman

cited one composer as the exception: Edward Elgar. Sir

Edward was in his fifties when war broke out, and too old to

serve, but it affected him deeply. By 1918 he was suffering

from a mysterious illness that required a tonsillectomy. To

convalesce, Elgar took a cottage in Sussex called Brinkwells.

Hill House Chamber PlayersMondays, February 1 & 8, 2016 • 7:30 PM • James J. Hill House

Three late chamber essays were composed there that year:

a string quartet, a piano quintet, and the Violin Sonata

in E minor.

Elgar was a violinist, and he gives the first chord boldly

to the violin. Then we hear a theme with three ascending

stepwise notes. A second theme leaps upward—while

the bass descends—in an aspiring mood typical of the

composer. A third theme combines a distant chorale with

quiet string arpeggios. The central Romance works up to

a great emotional pitch, but the beginning and end are all

Spanish rhapsody. The Finale returns to the three rising

notes of the very opening, now gentle and in the major

mode. The war left its mark on the Sonata in a subtle,

personal way. Marie Joshua was a German woman who

had been raised on the notion of Teutonic supremacy.

But on hearing Elgar’s Symphony No. 1, she became an

instant devotee. As Elgar was finishing this Brahmsian

Sonata, he offered the dedication to Mrs. Joshua in a spirit

of universality. The woman died a few days later. She is

memorialized in the delicate recollection of the Romance

theme toward the end of the work, and in its

dedication: “MJ, 1918.”

Felix Mendelssohn dedicated his second and last piano

trio (1845), to Ludwig Spohr, one of the luminaries of his

day. A blustery first movement recalls Mendelssohn’s own

Hebrides Overture; its second theme feels like standing

on the deck in a fresh breeze. The second movement is a

rocking, lullaby-like song without words. Mendelssohn

described the Scherzo as “a trifle nasty to play,” but it’s

delightful to listen to. The Finale of the C minor Trio is a

chamber music monument; each theme tops the one

before it. When pianist and scholar Charles Rosen cites

the culminating chorale as an exemplar of what he calls

“religious kitsch,” he’s not deriding it, but making a point

about the nineteenth-century practice of introducing a

hymn at a climactic moment. “The religious atmosphere

makes the virtuoso display seem less trivial, more deeply

serious,” writes Rosen, “while the virtuosity makes the

feeling of being in church more effective, passionate, and

interesting. Religion is drained of all its content and has

become powerfully sensuous, a purely aesthetic form of

the sublime.”

Program notes © 2015 by David Evan Thomas

Edward Elgar

The Schubert Club

Music in the Park Series

presents

Julie Albers, cello Orion Weiss, piano

Sunday, February 7, 2016 • 4:00 PM

Pre-concert conversation at 3:00 PM

Pohádka (Fairy Tale) Leoš Janácek

Sonata for Piano and Cello Francis Poulenc

Allegro: Tempo di Marcia—Très sensiblement plus calme Cavatine: Très calme Ballabile: Très animé et gai Finale: Largo, très librement—Presto subito

Intermission

Twelve Variations Ludwig van Beethoven on “Ein Mädchen oder Weibchen,” Opus 66

Sonata for Piano and Cello Edvard Grieg

Allegro agitato Andante molto tranquillo Allegro—Allegro molto e marcato


This concert is dedicated to the memory of Donald Kahn, a long-time friend and supporter of The Schubert Club and Music in the Park Series

schubert.org 15

Music in the Park SeriesSunday, February 7, 2016 • 4:00 PM • Saint Anthony Park United Church of Christ

American cellist Julie Albers is

recognized for her superlative

artistry, her charismatic and

radiant performing style, and

her intense musicianship. She

was born into a musical family

in Longmont, Colorado and

began violin studies at the

age of two with her mother,

switching to cello at four. She

moved to Cleveland during

her junior year of high school to pursue studies through

the Young Artist Program at the Cleveland Institute of

Music, where she studied with Richard Aaron. Miss Albers

soon was awarded the Grand Prize at the XIII International

Competition for Young Musicians in Douai, France, and as a

result toured France as soloist with Orchestre Symphonique

de Douai.

Julie Albers made her major orchestral debut with the

Cleveland Orchestra in 1998, and thereafter has performed

in recital and with orchestras throughout North America,

Europe, Korea, Taiwan, Australia, and New Zealand. In

2001, she won Second Prize in Munich’s Internationalen

Musikwettbewerbes der ARD, and was also awarded the

Wilhelm-Weichsler-Musikpreis der Stadt Osnabruch. While

in Germany, she recorded solo and chamber music of Kodaly

for the Bavarian Radio, performances that have been heard

throughout Europe. In 2003, Miss Albers was named the

first Gold Medal Laureate of South Korea’s Gyeongnam

International Music Competition, winning the $25,000

Grand Prize.

In North America, Miss Albers has performed with many

important orchestras and ensembles. Recent performances

have included exciting debuts on the San Francisco

Performances series and with the Grant Park Music Festival

where she performed Penderecki’s Concerto Grosso for 3

cellos with Mr. Penderecki conducting. Past seasons have

included concerto appearances with the orchestras of

Colorado, Indianapolis, San Diego, Seattle, Vancouver,

Saint Paul Chamber Orchestra, and Munchener

Kammerorchester among others. During the 2014–15

season, performances included appearances with the

Winnipeg Symphony, Oklahoma Philharmonic, San Antonio

Symphony, St. Paul Chamber Orchestra, and Albany

Symphony where she premiered a new concerto by Michael

Torke. Upcoming performances include recitals at Orange

County Philharmonic Society in Costa Mesa, California,

and appearances with orchestras such as the Colorado

Music Festival orchestra, the Ann Arbor Symphony, the

Rochester and Rhode Island Philharmonics, among others.

In addition to solo performances, Miss Albers regularly

participates in chamber music festivals around the

world. 2009 marked the end of a three-year residency

with the Chamber Music Society of Lincoln Center Two.

She is currently active with the Albers String Trio and the

Cortona Trio. Teaching is also a very important part of Miss

Albers’ musical life. She currently is Assistant Professor

and holds the Mary Jean and Charles Yates Cello Chair at

the McDuffie Center for Strings at Mercer University in

Macon, Georgia. Miss Albers was named principal cellist

of the St. Paul Chamber Orchestra in 2014 and begins her

position there in fall 2015.

Miss Albers’ debut album with Orion Weiss includes works

by Rachmaninoff, Beethoven, Schumann, Massenet, and

Piatiagorsky and is available on the Artek Label. Julie

Albers performs on a N.F. Vuillaume cello made in 1872

and makes her home in Minneapolis with her husband,

Bourbon, and their dog, Dozer.

Orion Weiss, one of the

most sought-after soloists

in his generation of young

American musicians, has

performed with the major

American orchestras, including

the Chicago Symphony,

Boston Symphony, Los Angeles

Philharmonic, and New York

Philharmonic. His deeply felt

and exceptionally crafted

performances go far beyond his technical mastery and

have won him worldwide acclaim.

The 2015–16 season will see Orion performing with the

Iceland Symphony, among others, and in collaborative

projects including those with the Pacifica Quartet and

with Cho-Liang Lin and the New Orford String Quartet in

a performance of the Chausson Concerto for piano, violin,

and string quartet. The 2014–15 season featured Orion’s

third performance with the Chicago Symphony Orchestra

as well as a North American tour with the world-famous

Salzburg Marionette Theater in an enhanced piano recital

Phot

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Mar

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cco


Program NotesPohádka (Fairy Tale)Leoš Janácek (b. Hukvaldy, Czech Republic, 1854; d. Ostrava, Czech Republic, 1928)

Usually described as a Czech nationalist, Leoš Janácek

also had strong Russian sympathies. He visited Russia

several times, beginning in 1896. He learned the language

and founded a “Russian Circle” in Brno. Janácek explored

Russian subjects in two early and incomplete operas, in

a piano trio based on Tolstoy’s story The Kreutzer Sonata

(which later became the String Quartet No. 1) and in

Pohádka, his earliest surviving chamber work, completed

in February 1910.

Janácek was first and foremost an opera composer, and

his instrumental music always tells a story. Think of his

piano titles On an Overgrown Path and the melancholy

In the Mists. Pohádka, often translated as Fairy Tale, is a

perfect program-opener. There is no formal introduction;

two slender piano notes say “Once upon a time . . . ” and

the listener is transported to “The tale of Czar Berendey, of

his son the Czarevich Ivan, of the intrigues of Koschei the

Immortal and the wisdom of the Princess Marya, Koschei’s

daughter,” a musical setting of the epic poem by Vasily

Zhukovsky (1783–1852). This is the same Ivan, the same

Koschei familiar to ballet lovers from Stravinsky’s Firebird.

The story:

Czar Berendey unwittingly promises his newborn son

in ransom to Koschei (sometimes called “The Immortal

Skeleton” because his Russian name comes from the

word for bone.) When the Czarevich Ivan grows up

and learns of the fateful promise, he sets out to meet

Koschei. On a lake he sees 30 silver ducklings, with as

many white gowns on the bank. He steals one of the

gowns. When the ducklings swim to the shore, all but

one turn into beautiful maidens. The odd one searches

in vain for her gown. When Ivan takes pity on her and

returns it, she changes into Marya, the most beautiful

of all the maidens. They fall instantly in love, and the

story has a happy ending.

It’s hard to correlate the tale with the music, but Janácek

biographer Jaroslav Vogel suggests that the cello

represents the Czarevich, the piano the beautiful princess.

To begin, a gliding piano melody is answered by a three-

note motive plucked by the cello. The listener will enjoy

the varied and expressive use of pizzicato in this work.

By coincidence, this motive will reappear with the same

pitches in the last movement of Poulenc’s Sonata.

Janácek never lost his intrepid spirit. At the age of 72,

he traveled to England. “I am come with the youthful

spirit of my country, with youthful music,” he told the

Czechoslovak Club in 1926. “I am not one to look back, I

prefer to look ahead. “Pohádka was on the program: but

Janácek asked the audience not to overlook his operas: “In

them alone can the nation be known as it really is—firm,

steadfast, unflinching—in its true character.” In a letter

Koschei the Immortal by Ivan Bilibin, 1901

of Debussy’s La boîte à joujoux. In 2015 Naxos released

his recording of Christopher Rouse’s Seeing—a major

commission Orion debuted with the Albany Symphony—

and in 2012 he released a recital album of Dvorák,

Prokofiev, and Bartók. That same year he also spearheaded

a recording project of the complete Gershwin works for

piano and orchestra with his longtime collaborators the

Buffalo Philharmonic and JoAnn Falletta.

Named the Classical Recording Foundation’s Young

Artist of the Year in September 2010, in the summer of

2011 Weiss made his debut with the Boston Symphony

Orchestra at Tanglewood as a last-minute replacement

for Leon Fleisher. In March 1999, with less than 24 hours’

notice, Weiss stepped in to replace André Watts for a

performance of Shostakovich’s Piano Concerto No. 2 with

the Baltimore Symphony Orchestra. He was immediately

invited to return to the Orchestra for a performance of

the Tchaikovsky Piano Concerto in October 1999. 2004, he

graduated from the Juilliard School, where he studied with

Emanuel Ax.

schubert.org 17

home, he wrote: “What they play here of mine is nice

music. Just right for the unruffled English. People eat a

lot here.”

Sonata for Piano and CelloFrancis Poulenc (b. Paris, 1899; d. Paris, 1963)

Poulenc’s music is instantly recognizable. It isn’t just the

rich harmony that occasionally evokes the music hall.

His sweeping melodies are distinctive. But perhaps it is

his phrases, as neatly arranged as a bento box in what

Wilfrid Mellers calls “collage technique,” that express

his personality. There are no transitions. One phrase

ends; another begins, with a new identity. And the music

bites, but never draws blood. Actor Stéphane Audel

described the composer in glowing words: “in love with

life, mischievous, good-hearted, tender and pert, sad and

serenely mystical, at once monk and playboy.”

One could call Poulenc’s Sonata for Piano and Cello a

melody-sonata in the tradition of Schubert’s Arpeggione.

At the same time, it’s the most companionable of pieces:

the partners almost always play ensemble, one ceding to

the other. It’s an animated conversation on a busy Paris

street, the pair pausing at the corner for a turning deux

chevaux, one suddenly exclaiming; the other vigorously

nodding in agreement.

The Sonata was composed for cellist Pierre Fournier. It is

dedicated jointly to Fournier and to “Marthe Bosredon,

in whose home in Brive I sketched this sonata.” It was

premiered on May 18, 1949 at the Salle Gaveau in Paris

on a program with Debussy’s Sonata. Poulenc expressed

dissatisfaction with his string writing in general and with

Francis Poulenc in Paris

his two string sonatas in particular, feeling more at home

with wind instruments and the voice. Oddly, the cello part

rarely touches the C string, preferring the tenor and alto

registers. In fact, the work could grace the viola literature

with but a few modifications.

Piano offers an opening gambit of E and G-sharp, but

the music doesn’t stay in a single key for long. Poulenc

often omits the key signature altogether, preferring to

write in accidentals note by note. Themes fly by, one

fallingly chromatic, another rhythmic and “gai.” There is a

recapitulation of sorts, but sonata form is treated loosely.

A cavatina is a short aria, like Figaro’s “Se vuol ballare.”

But as the title of an instrumental work, it calls to mind

Beethoven’s deeply moving Cavatina from the String

Quartet, Opus 130. In this sonata, the Cavatina hovers in

a halo of sound in luminous F-sharp major. Its initial Très

calme is balanced by a sublime closing pedal-point, marked

“Excessivement calme.”

The Ballabile third movement is a dance-like three-part

form in E major. The Finale begins and ends in Stravinskian

grandeur and objectivity. When the Presto kicks in, A major

is the key, and the players call out to one another as if from

opposite sides of the street.

Twelve Variations on “Ein Mädchen oder Weibchen,”Ludwig van Beethoven (b. Bonn, 1770; d. Vienna, 1827)

From its opus number, one would place the Twelve

Variations, Opus 66 with the Symphonies 5 and 6 (Opp.

67 and 68, respectively). But in fact, they were composed

around the time of Beethoven’s 1796 concert tour. His trip

included a stay in Berlin, where he appeared several times

before King Friedrich Wilhelm II of Prussia, playing his

Opus 5 cello sonatas with Duport, the king’s brilliant first

cellist. The Magic Flute was still new music, having opened

only five years before, on September 30, 1791. That was just

a year before Beethoven had arrived in Vienna to “receive

the spirit of Mozart from the hands of Haydn,” as Count

Waldstein had promised.

Beethoven composed two sets of variations on themes

from The Magic Flute; both are tunes sung by the bird-

catcher Pagageno. Beethoven scholar Louis Lockwood

tells us that the opera “reverberated in Beethoven’s

consciousness, musically in both direct and indirect ways,

and philosophically as a tract on human brotherhood.” One

must also wonder if Beethoven identified with Papageno.


Program Notes continued

“Ein Mädchen oder

Weibchen” comes from

Act II of the opera.

Pagageno has been

told by a voice that he

will never enjoy the

pleasures of the elect.

When asked what he

would like instead—aside

from a glass of wine—he

hesitates: “I would like…

I wish… a sweetheart or

a little wife!” He breaks

into song, accompanied

by a keyed Glockenspiel.

In Beethoven’s Variations,

piano states the theme

and takes the first variation.

The finale brings three surprises: a shift to 3/4; a brief

but bracing side-trip into D major, and a most delicate,

pianissimo ending.

Sonata for Piano and CelloEdvard Grieg (b. Bergen, Norway, 1843; d. Bergen, 1907)

Raised in middle-class Norwegian society in Trondheim,

Edvard Grieg knew little of the folk music of his native

land. Norwegian urban culture at that time was

predominantly Danish. Grieg’s musical training at the

Leipzig Conservatory, where he studied with Carl Reinecke,

was naturally German. It was an encounter with Rikard

Nordraak, a composer and an ardent nationalist, that

awakened his interest in the folk material of Norway.

Grieg described their first meeting: “Suddenly it seemed

as if a mist fell from my eyes and I knew what I wanted.

It was not exactly the same as what Nordraak wanted,

but I believe the way to myself went through him.” Grieg’s

distinctive voice soon emerged with works like the Piano

Concerto (1872) and the music for Ibsen’s Peer Gynt (1876).

Like many lyric composers, Grieg was not always

comfortable with the abstractions of sonata form, yet he

composed three violin sonatas and a String Quartet in

G minor that influenced Debussy (whose Quartet is

also in that key). “You wanted three works from me,”

Grieg wrote to Max Abraham, his publisher at Peters. “As

the first of these, will you accept a cello sonata? I have

been more inclined to write this kind of work instead of a

violin sonata. I started on a piano concerto, but Pegasus

refused to budge.” (Pegasus was Grieg’s muse; the piano

concerto was left unfinished.)

Note the use of Lisztian thematic transformation in the

Cello Sonata of 1883. The opening idea, three stressed

equal notes and a three-note fillip, serves as well for the

second theme, where in pure C major it sounds quite fresh

and new. In the Andante, the three-note fillip changes

direction and acquires a harmonic profile.

Percy Grainger was perhaps Grieg’s most famous student

and advocate. “Delius was with Ravel and some other

French composers and the talk turned on the origins of

modern French music,” recalled Grainger. “There was the

usual platitudinous dictum: ‘It all comes from Couperin

and Rameau.’ At this point Delius could not refrain from

saying: ‘Fiddlesticks! Modern French music is just Grieg

plus the Prelude to the Third Act of Tristan!’ To which Ravel

replied: ‘It’s true; we are always very unjust to Grieg.’”

Program notes © 2015 by David Evan Thomas

Papageno, colored engraving, Italian School, 18th century

Edvard Grieg

“It’s true; we are always very unjust to Grieg”

— Maurice Ravel

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

INSTITUTIONALElmer L. and Eleanor J. Andersen FoundationArts Touring Fund of Arts MidwestBoss FoundationCarter Avenue Frame ShopComo Rose TravelCy and Paula DeCosse Fund of The Minneapolis FoundationDorsey & Whitney Foundation Matching Gift ProgramPhyllis and Donald Kahn Philanthropic Fund of the Jewish Communal FundWalt McCarthy and Clara Ueland and the Greystone FoundationMinnesota State Arts BoardMuffuletta CaféDan and Sallie O’Brien Fund of The Saint Paul FoundationSaint Anthony Park Community FoundationSaint Anthony Park HomeSpeedy MarketTheresa’s Hair Salon and Theresa Black

Thrivent Financial Matching Gift ProgramTrillium Foundation

INDIVIDUALSMeredith AldenNina and John ArchabalClaire and Donald AronsonAdrienne BanksCarol BarnettLynne and Bruce BeckChristopher and Carolyn BinghamAnne-Marie BjornsonCarl and Jean BrookinsAlan and Ruth CarpPeter Dahlen and Mary CarlsenPenny and Cecil ChallyMary Sue ComfortDon and Inger DahlinGarvin and Bernice DavenportRuth S. DonhoweBruce Doughman Craig Dunn and Candy HartMaryse and David FanJane FrazeeLisl Gaal

Nancy and John GarlandMichael and Dawn GeorgieffDick GeyermanAnne R. GreenSandra and Richard HainesEugene and Joyce HaselmannAnders and Julie HimmelstrupWarren and Marian HoffmanPeg Houck and Phil PortogheseGary M. Johnson and Joan G. HershbellMichael JordanAnn Juergens and Jay WeinerChris and Marion LevyRichard and Finette MagnusonDeborah McKnightGreta and Robert MichaelsJames and Carol MollerMarjorie MoodyDavid and Judy MyersKathleen NewellJohn B. Noyd Dennis and Turid OrmsethJames and Donna PeterRick Prescott and Victoria WilgockiPaul and Elizabeth Quie

Juliana Kaufman RupertMichael and Shirley SantoroMary Ellen and Carl SchmiderJon Schumacher and Mary BriggsDan and Emily ShapiroMarie and Darrol SkillingKathy and Doug SkorConrad Soderholm & Mary TingerthalEileen V. StackCynthia StokesJohn and Joyce TesterAnthony TheinDavid Evan ThomasTim ThorsonChuck Ullery and Elsa NilssonStuart and Mary WeitzmanJudy and Paul Woodword

Thank you to all those who

gave to the new Music in

the Park Series Endowment

Fund. Please see page 41

Music and Tales from The Schubert Club ManuscriptsThursday, February 25, 2016 • 7:30 PM Landmark Center, downtown Saint Paul

Vern Sutton, tenor and narrator • Maria Jette, sopranoMichael Sutton, violin • Donald Livingston, keyboardComplimentary wine, desserts, and refreshments will be served!

Tickets: schubert.org • 651.292.3268

The Schubert Club Museum

The American Brass Band Movement of the 19th CenturyAn historical and interactive educational exploration

of brass instruments in The Schubert Club collection,

Minnesota band connections, and hands-on

experiments in instrument construction.

Letters from ComposersHand-written letters from Beethoven, Brahms, Chopin,

Mendelssohn, and other famous classical composers

show the human side of musical genius in fascinating

letters to family, friends, and colleagues.

New exhibitsLive at the Museum

Vern Sutton & friends


Partita No. 4 in D major, BWV 828 J. S. Bach

Ouverture Allemande Courante Aria Sarabande Menuet Gigue

Moments Musicaux, D. 780 Franz Schubert

Moderato (C major) Andantino (A-flat major) Allegro moderato (F minor) Moderato (C-sharp minor) Allegro vivace (F minor) Allegretto (A-flat major)

Intermission

Sonata No. 17 in D minor, Opus 31, No. 2, Tempest Ludwig van Beethoven

Allegro Adagio Allegretto

Sonata No. 7 in B-flat major, Opus 83 Sergei Prokofiev

Allegro inquieto Andante caloroso Precipitato

These concerts are dedicated in memory of Virginia and Edward Brooks, Jr. by their daughters, Katherine Brooks and Julie Zelle.

The Schubert Club

presents

Igor Levit, piano

Tuesday, February 16, 2016 • 7:30 PMWednesday, February 17, 2016 • 10:30 AM

Pre-concert conversation by Mark Mazulloone hour before each performance

schubert.org 21

Maud Moon Weyerhaeuser Sanborn International Artist SeriesFebruary 16, 2016 at 7:30 PM & February 17, 2016 at 10:30 AM • Ordway Concert Hall

Phot

os: F

elix

Bro

de

Lauded for his rare technical sophistication, refinement

of tone, and keen programmatic explorations, Igor Levit

continues to make his mark on the classical music world as

“one of the most probing, intelligent and accomplished artists

of the new generation” (The New York Times), and as a true

artist “authentic in the most profound meaning of the word”

(London’s Sunday Times). The Los Angeles Times proclaimed in

Spring 2015: “He is the future.”

In October 2015, Sony Classical released Igor Levit’s third

solo album for the label, all three featuring variation works

in cooperation with the Festival Heidelberger Frühling. This

season marks the finale of his Beethoven Sonata cycle at the

Austrian Schubertiade Festival, and will see him perform all

Beethoven sonatas at Tonhalle Düsseldorf. Further solo recitals

will bring Igor Levit to the Lucerne Festival, the Musikverein

Vienna, Bilbao’s Philharmonic Society, and to the U.S. in a

multi-city recital tour featuring debuts amongst others with

Princeton University, San Francisco Performances, The Schubert

Club, Spivey Hall, University of Michigan, and with Vancouver

Recital Society in his Canadian debut.

The season marks Igor Levit’s debuts with the Israel

Philharmonic Orchestra (Kirill Petrenko), Tonhalle-Orchester

Zurich (Bernhard Haitink), and NDR Sinfonieorchester (Thomas

Hengelbrock). Return engagements reunite him with Deutsche

Kammerphilharmonie Bremen (Sir Roger Norrington),

Deutsches Symphonieorchester Berlin (Osmo Vänskä), and the

Royal Scottish National Symphony (Thomas Søndergård). In

Spring 2016 he will debut with the Irish Chamber Orchestra

(Jörg Widman) both in Ireland and at the Festival Heidelberger

Frühling—a collaboration that will extend into 2017 featuring

Mendelssohn’s Piano Concerto No. 1 and three Mozart

concerti. Igor Levit continues his close relationship with the

Heidelberger Frühling as the Artistic Director of the Festival’s

Chamber Music Academy in April 2016.

An avid chamber musician, Igor Levit joins violinist Julia

Fischer in presenting all Beethoven violin sonatas in three

evenings each in Berlin, London, Munich, Paris, and Zurich.

At the Schubertiade, he will collaborate with Daniel Müller-

Schott in an evening of Beethoven Cello Sonatas.

Highlights of past seasons included orchestral debuts with

the Bavarian Radio Symphony Orchestra (Lionel Bringuier),

Berliner Philharmoniker (Riccardo Chailly), Cleveland

Orchestra (Franz Welser-Möst), and San Francisco Symphony

(Pablo Heras-Casado). In Spring 2014, Igor Levit celebrated

both his recital and orchestral debut on the main stage of

Vienna’s Musikverein to great critical acclaim: jumping in for

Maurizio Pollini in June 2014 and for Hélene Grimaud (City

of Birmingham Symphony Orchestra with Andris Nelsons)

respectively in March 2014. Only four days earlier on March

12, 2014, Igor Levit made his New York City recital debut at the

Park Avenue Armory to unsurpassed critical acclaim by both

The New Yorker and The New York Times.

An exclusive recording artist for Sony Classical, Igor Levit’s

debut disc of the five last Beethoven sonatas won the BBC

Music Magazine Newcomer of the Year 2014 Award, the Royal

Philharmonic Society’s Young Artist Award 2014 and the ECHO

2014 for Solo Recording of the Year (19th Century Music/

Piano). His second recording for Sony—Johann Sebastian

Bach’s Six Partitas—was released in August 2014.

Born in Nizhny Novgorod in 1987, Igor Levit at age eight

moved with his family to Germany where he completed his

piano studies at Hannover Academy of Music, Theatre and

Media in 2009 with the highest academic and performance

scores in the history of the institute. Mr. Levit has studied

under the tutelage of Karl-Heinz Kämmerling, Matti Raekallio,

Bernd Goetze, Lajos Rovatkay, and Hans Leygraf.

As the youngest participant in the 2005 Arthur Rubinstein

Competition in Tel Aviv, Igor Levit won the Silver Prize, the Prize

for Best Performer of Chamber Music, the “Audience Favorite”

Prize and the Prize for Best Performer of Contemporary Music.

Previously, he had won the First Prize of the International

Hamamtsu Piano Academy Competition in Japan. Since 2003

Igor Levit has been a scholarship student at Studienstiftung

des Deutschen Volkes as well as at Deutsche Stiftung

Musikleben. In Hannover, where he makes his home, Igor Levit

plays on a Steinway D Grand Piano kindly lent to him by the

Trustees of Independent Opera at Sadler’s Wells.

Igor Levit is an exclusive recording artist of Sony Classical

World Management: IMG Artists, LLC, New York City

Exclusive Manager: Kristin Schuster


Partita No. 4 in D major, BWV 828J. S. Bach (b. Eisenach, 1685; died Leipzig, 1750)

In 1726, J.S. Bach was 41, and thinking carefully about

his legacy. He began to publish at his own expense a

comprehensive four-volume work which he called Clavier-

Übung. “Übung macht den Meister” is the German way

of saying “Practice makes perfect.” Bach’s title was thus:

“Keyboard Practice consisting in Preludes, Allemandes,

Courantes, Sarabandes, Gigues, Minuets and other

Galanteries Composed for Music Lovers, to Refresh

their Spirits.” Bach was no less an entrepreneur than a

virtuoso. He timed the publication of the four sets of his

Clavier-Übung to coincide with the Leipzig Easter trade

fair, writes John Eliot Gardiner, “when, for three weeks, a

flood of visitors—book dealers, craftsmen, hawkers and

international commercial travelers—swelled the resident

population to some 30,000 citizens.”

Clavier-Übung embraces a wealth of music surveying

the styles of the day and the types of keyboard available.

Volume 1 presents six partitas or “German” Suites, playable

on a single-manual harpsichord. Volume 2 contains the

Italian Concerto and French Overture; it calls for a two-

manual harpsichord. Volume 3 is liturgical organ music.

The last volume is the Goldberg Variations. The partitas

are Bach’s most elaborate essays in suite form, more

extended than the so-called “French” or “English” suites.

A Baroque suite often comprises four dances: allemande,

courante, sarabande and gigue. But Bach was conscious

of the styles evolving around him, so he inserted into the

partitas pieces in the newer galant style, which favored light

accompaniments and simpler melodies.

Each partita opens with a different kind of introduction, as

if offering a variety of rhetorical models for approaching

a subject. Partita No. 4, published in 1728, begins with an

“Ouverture” in the French manner, bristling with dotted

rhythms and incorporating elements of concerto and fugue.

(Brahms must have smiled when he lifted this fugue subject

for the scherzo of his A-major Piano Quartet.) Bach’s longest

allemande follows. But as felicitous as this outpouring of

florid melody is, the bass is the real driver in this movement,

often making sudden left turns or parking on long pedal

points. A French courante in 3/2 meter features a giddy-up

rhythm that spreads like laughter throughout the texture.

The bonus galanteries are an aria—just like one from a

cantata, minus the words—and a menuet. The gigue is a

fugue, with the subject inverted in the second half. But here,

Bach begins with an entirely new theme, which he then

combines with the upside-down gigue idea.

Moments Musicaux, D. 780Franz Schubert (b. Vienna, 1797; d. Vienna, 1828)

These charming and often profound gems were published as

Momens musicals by the inattentive and not very successful

Viennese publisher Leidesdorf. Still, he must have seen

in these various pieces, which he brought out in 1827 as

Schubert’s Opus 94, the opportunity to appeal to a wide

range of players. There is none of the brilliant figuration

of the impromptus. Rather, one detects the influence

of Beethoven’s bagatelles and the poetic inspirations of

Czech composers. “We find in Schubert all the touches

characteristic of the Bohemian masters,” notes musicologist

Paul Nettl, “a preference for the less usual keys, so often

found in Vorišek’s music, the frequent appearance of lyrical

passages, the interweaving of a sustained melody with the

accompaniment, the frequency of episodes in octave unison,

the sudden reappearance of a minor theme in the major and

the converse.”

The bookends are minuets with trio. No. 2 highlights the

sonority of the piano itself; its ABABA form includes some

striking, even shocking modulations. Louis Malle used it

memorably in his 1987 film, Au revoirs les enfants. No. 3 was

composed in 1823; it was originally called “Air russe.” No.

4 has all the polyphonic subtlety of a Bach prelude. If the

“Russian Air” was a trot, No. 5 is, in the words of Schubert

Bach timed the publication of his Clavier-Übung for the so-called “Marketplace of all Europe,” the Leipzig Trade Fair—now going on 900 years old.

Program Notes

schubert.org 23

biographer Brian Newbould, “a riot of galloping dactyls,

hard-driven and single-minded from beginning to end.”

Plaintes d’un Troubadour was the treakly title someone gave

to the final piece. More to the point, its opening gesture is

related to Schubert’s song, “Tränenregen” (Rain of Tears), in

Die schöne Müllerin. There is no more poignant minuet

in music.

Sonata No. 17 in D minor, Opus 31, No. 2, TempestLudwig van Beethoven (b. Bonn, 1770; d. Vienna, 1827)

In 1801, Beethoven had told his friend, the violinist Wenzel

Krumpholtz, that he was “only a little satisfied with his work

thus far. From today on I shall take a new path.” Historians

and critics have been much exercised trying to determine

what, precisely, had in mind, but generally it is clear that

Beethoven is now entering a new phase in his creative life,

that his compositions are inclined to be bigger, bolder, more

dramatic. Not even the fairly casual listener is going to

mistake many of Beethoven’s works from the first decade of

the new century for Haydn or Mozart.

The D-minor Sonata, Opus 31, no. 2, one of the great ones,

is one of the works of the period imbued with a tragic

vision. The three sonatas of Opus 31 were written in

1801–02 and published in 1803 by Nägeli of Zürich,

who enraged Beethoven not merely by putting

out a printing full of errors but even more by

contributing some measures of his own. Nägeli’s

edition has no opus number: 31 first appears on

the composer-authorized “édition trés correct”

issued by Simrock in Bonn later in 1803, though,

confusingly, a Viennese publisher simultaneously

printed the work as Opus 29, a number preempted

the year before by the C-major String Quintet.

The dramatic D-minor Sonata stands between

two pieces of more relaxed temper. Its very first gesture

is amazing, a chord of the kind often used to introduce

operatic recitatives, but here unfolded very slowly and in

pianissimo. But what ensues is a scurrying Allegro, halted

almost at once by an expansive cadence. This play of

violent contrast gives way to a forward-thrusting music

of extreme concentration; music, moreover, in which

minor-mode harmonies are scarcely ever relieved except

at the recurrences of the introductory broken chord. The

relentless drive is unprecedented in Beethoven’s music: It

is of this movement that he said, “The piano must break!”

The seeming promise of the opening chord to prepare a

recitative is eventually redeemed in an astonishing, darkly

mysterious passage in which a solitary voice speaks as

though from an immense distance, the music washed in

dissonance by the pedal.

The Adagio, too, opens with a softly spreading major chord.

Here it is the beginning of a noble music whose repose is

threatened by the undercurrent of distant drumming. The

third movement is a restless and haunted piece, filled

with pathos until that final moment at which it

seems simply to disappear off the bottom of

the keyboard.

The Sonata’s name comes from Anton Schindler,

the self-important liar and forger who was

friend, social secretary, and general amanuensis

to Beethoven from 1819 to 1824 and again in

the last few months of the composer’s life. In the

biography he published in 1840, Schindler tells

of asking Beethoven the meaning of the D-minor

Sonata and being told to read Shakespeare’s Tempest.

Here is Sir Donald Tovey on the subject:

Though the two works have not a single course of events on

any parallel lines and though each contains much that would

be violently out of place in the other . . . there is a mood that

is common to both. Beethoven would never have posed as a

Shakespeare scholar; but neither would he have been misled

by the fairy-tale elements in Shakespeare’s last plays into

regarding them as consisting only of mellow sunset and

milk of human kindness. With all the tragic power of its first

movement the D-minor Sonata is, like Prospero, almost as far

beyond tragedy as it is beyond mere foul weather.

Miranda, John William Waterhouse’s painting inspired by The Tempest

Anton Schindler


Program Notes continued

What could be a greater contrast than the down-home

tenths that open the Andante caloroso? This warm, E major

is about as far removed from B-flat as can be. But gradually

an ominous alternation of A-flat and G intrudes. That

tension between major and minor will become an obsession

in the finale.

And what a finale! Its meter is 7/8. With a measure divided

in seven parts, in quick tempo there will be three beats to

the measure, and one of the beats will be a group of three

eighths. Usually that long beat is the first or last group

of the measure. In Prokofiev’s piece it’s the middle one,

creating a great, chronic limp. The listener experiences it

as a persistent “blue note” in the bass. Soviet biographer

Nestyev described the movement amusingly as “a dynamic

Russian toccata which calls to mind the heroic images

of Borodin’s music. . . . a martial procession of legendary

giants.” Nonsense: it’s an unstoppable juggernaut that

threatens to annihilate everything in its path.

Sviatoslav Richter was entrusted with the first performance.

“I was very taken with it and learned it in four days,” he

admitted. The premiere “was a solemn and serious moment.

The listeners understood the spirit of the piece; it puts us

in a world that has lost its balance.” Richter has hit on the

paradox of this music: the meter is absolutely regular, yet

there is no groove.

“I was very taken with it and learned it in four days.” The sonata was first performed on January 18, 1943 in Moscow by Sviatoslav Richter, one of the great pianists of the 20th century

TIME Magazine Cover:Sergei Prokofiev, 1945

Sonata No. 7 in B-flat major, Opus 83Sergei Prokofiev (b. Sontsovka, eastern Ukraine, 1891; d. Moscow, 1953)

“Debussy wanted to suggest a piano without hammers,”

writes Harold Schonberg in The Great Pianists. “Prokofiev,

Bartók, Stravinsky and Hindemith had the opposite view.

The piano is a percussive instrument, and there’s no use

trying to disguise the fact.” Francis Poulenc, himself a fine

pianist, marveled at Prokofiev’s percussive piano-playing:

“He played with an extraordinary sureness of wrist, a

marvelous staccato. He rarely attacked from on high; he

wasn’t at all the sort of pianist who throws himself from the

fifth floor to produce the sound. He had a nervous power

like steel, so that on a level with the keys he was capable of

producing sonority of fantastic strength and intensity.”

There are nine piano sonatas by Prokofiev; two more were

planned but never written. The so-called “War Sonatas”—

Nos. 6, 7 and 8—were composed between 1939 and 1942,

with Prokofiev contemplating their ten movements more or

less at once. In these first years of World War Two, Prokofiev

had been evacuated to the Caucasus, where he worked on

the opera War and Peace with his librettist and new partner,

Mira Mendelson.

Prokofiev himself described the sonata as “atonal,” but

that’s inaccurate and misleading. The first movement

alternates stomping militarism with a wiry theme. A

languid second theme in 9/8 begins with four repeated

notes—some liken it to the “fate motive” of Beethoven’s

Fifth Symphony. A tantalizingly gradually accelerando leads

back to the first material, and the “fate” theme returns in

the bass.

Beethoven program note © by Michael Steinberg.

Used by kind permission of Jorja Fleezanis.

Bach, Schubert, Prokofiev program notes © 2015

by David Evan Thomas

More information at schubert.orgTicket office 651.292.3268

Calendar of EventsJanuary–March

JANUARY 2016

MARCH 2016

FEBRUARY 2016

Sun, Jan 16 • 11:00 AM Landmark CenterAzure Family Concert (for families touched by autism)Stephen Prutsman, piano

Tue, Jan 19 • 7:30 PM Ordway Concert HallAccordo: an evening of music for silent filmwith Stephen Prutsman, piano

Mon, Feb 1 • 7:30 PM James J. Hill HouseHill House Chamber Players

Sun, Feb 7 • 4 PM Saint Anthony Park UCCMusic in the Park Series Julie Albers, cello & Orion Weiss, piano

Mon, Feb 8 • 7:30 PM James J. Hill HouseHill House Chamber Players

Tue, Feb 16 • 7:30 PM Ordway Concert HallWed, Feb 17 • 10:30 AMInternational Artist Series Igor Levit, piano

Thu, Feb 25 • 7:30 PM Landmark CenterLive at the Museum: Vern Sutton & Friends

Tue, Mar 8 • 7:30 PM AriaSchubert Club Mix Avi Avital, mandolin; Ksenija Sidorova, accordionItamar Doari, percussion

Sun, Mar 13 • 4 PM Saint Anthony Park UCCMusic in the Park Series Ébène String Quartet

Fri, Mar 18 • 10:30 AM Ordway Concert HallSat, Mar 19 • 7:30 PMInternational Artist SeriesMichael Collins, clarinet & Michael McHale, piano

Sat, Mar 19 • 8:30 AM University of St. CatherineBruce P. Carlson Scholarship CompetitionCompetition Finals

Sun, Mar 20 • 1 PM Ordway Concert HallBruce P. Carlson Scholarship CompetitionWinners Recital


Courtroom ConcertJanuary 7, 2016 • Noon • Landmark Center

Hannah Peterson is an active performer and teacher in the Twin Cities. In addition to teaching private flute lessons in Saint

Paul, she is on faculty at The Saint Paul Conservatory of Music, and Sarah Jane’s Music School in the Northeast Arts District of

Minneapolis and is a Woodwind Section Coach and Teaching Artist at several local schools. Recently, Hannah was a finalist in the

2014 Upper Midwest Flute Association Young Artist Competition and has performed solo and chamber recitals at The Schubert

Club. She has played with the Bloomington Symphony Orchestra and the Mankato Symphony Orchestra. Hannah is especially fond

of new music and has premiered works by Jennifer Higdon, Michael Daugherty, Dana Wilson, Stephen Paulus, and many more.

Tim Shows was born in Boston to Ray and Nancy Shows of the Artaria String Quartet. He began playing oboe at age 12. After

participating in All-state orchestra and the Minnesota Youth Symphonies in high school, he attended Augustana College on a

baseball scholarship and received the recognition of Pro Musica Scholar from the school. He currently studies oboe with Basil

Reeve, retired principal oboist of the Minnesota Orchestra.

Jessica Cribbs is a current junior in the Instrumental Music Education program at the University of Minnesota-Twin Cities. She

is the Vice President of the student group CNAFME, which is the collegiate national association for music educators. The group

offers support for the music education majors on campus and serves as an outreach program. Jessica studies horn at the U under

Caroline Lemen and performs in the Wind Ensemble, University Symphony Orchestra, and Brass Choir.

Joseph Trucano is currently pursuing his Master’s of Music Degree in organ performance at Eastman School of Music. Joseph

graduated in 2011 from Concordia College in Moorhead where he studied organ with Peter Nygaard. At Concordia, he was an

active performer on both organ and cello. He accompanied the Concordia Choir (under the direction of René Clausen) on their

2011 domestic tour he served as featured soloist with the Concordia College Orchestra on their 2009 international tour. He is

currently organist at Penfield Presbyterian Church.

Francis Poulenc’s Birthday

Minne Wind QuintetHannah Peterson, flute • Tim Shows, oboe Lydia Sadoff, clarinet • David Husby, bassoon • Jessica Cribbs, horn

with Joseph Trucano, piano

Sonata for oboe and piano

Elégie • Scherzo

Déploration

Shows, Trucano

Sonata for flute and piano

Allegretto malinconico • Cantilena: Assez lent

Presto giocoso

Peterson, Trucano

Sextet For piano, flute, oboe, clarinet, bassoon & horn

Allegro Vivace • Divertissement • Finale: Prestissimo

Minne Wind Quintet

Francis Poulenc (b. January 7, 1899, Paris; d. January 30, 1963, Paris)

schubert.org 27

Chopin at 25, by his fiancée Maria Wodzinska, 1835

1839 letter from Chopin, gift of Gilman Ordway

Jonathan Matteson, piano

24 Préludes, Opus 28—Frédéric Chopin

No. 1 In C major, Agitato

No. 2 In A minor, Lento

No. 3 In G major, Vivace

No. 4 In E minor, Largo

No. 5 In D major, Allegro molto

No. 6 In B minor, Lento assai

No. 7 In A major, Andantino

No. 8 In F-sharp minor, Molto agitato

No. 9 In E major, Largo

No. 10 In C-sharp minor, Allegro molto

No. 11 In B major, Vivace

No. 12 In G-sharp minor, Presto

No. 13 In F-sharp major, Lento

No. 14 In E-flat minor, Allegro

No. 15 In D-flat major, Sostenuto

No. 16 In B-flat minor, Presto con fuoco

No. 17 In A-flat major, Allegretto

No. 18 In F minor, Allegro molto

No. 19 In E-flat major, Vivace

No. 20 In C minor, Largo

No. 21 In B-flat major, Cantabile

No. 22 In G minor, Molto agitato

No. 23 In F major, Moderato

No. 24 In D minor, Allegro apassionato

Jonathan Mattson is a freshman studying Piano Performance at The University of Kansas

with Dr. Jack Winerock. Jonathan is a native of Minnesota, and began his studies with the

piano at the age of eight. His former teachers include Basia VanderZanden and Dr. Paul Wirth.

Jonathan has performed with The Dakota Valley Symphony Orchestra, Southeast Minnesota

Youth Orchestra, and with The Rochester Symphony Orchestra as part of their annual

educational program. Jonathan was also a member of the Penrose Trio. He is a prizewinner

of Thursday Musical’s Scholarship Competition, the Rochester Music Guild Scholarship

Competition, was selected as a finalist in the David D. Dubois International Competition, and

has been featured on MPR’s Minnesota Varsity. Jonathan received second prize in The Schubert

Club’s Bruce P. Carlson Scholarship Competition in 2014, and Honorable Mention in 2015.


From The Schubert Club Museum:

Currently on display in the Manuscript Gallery is a chatty 1839 letter from Chopin to an old friend. In it he refers obliquely to the publication of his Opus 28 Préludes—which he had just finished writing during an otherwise rather disastrous winter in Majorca.


Charles Asch completed his Master of Music at Juilliard, and is finishing up his Doctor of Musical Arts at the University

of Minnesota. He has an active performance schedule, ranging from orchestra performances, chamber music concerts, and

solo cello performances. Charles has performed and taught repertoire from the popular and folk traditions, playing as the

cellist for string rock group “The Gentlemen of NUCO”. In orchestral playing, Charles has participated in the Lakes Area Music

Festival in Brainerd, the Aspen Music Festival, and the Schleswig-Holstein Music Festival in Germany.

Recently appointed to the faculty at North Dakota State University, pianist Tyler Wottrich is Artistic Director of the

NDSU Chamber Music Festival and has created a new graduate collaborative piano program at NDSU. Recent concert

appearances include Carnegie’s Weill and Zankel halls, the Dame Myra Hess Memorial Concerts at the Chicago

Cultural Center, the Juilliard School, and Dartmouth College. Wottrich is an alumnus of Ensemble ACJW, chamber

ensemble in-residence at Carnegie Hall, and joined the faculty at the Banff Centre, one of Canada’s most prominent

music festival, in summer 2015.

Jake Endres freelances as an actor, singer, music director, composer, director, and producer. He has appeared with many

regional organizations, including The Minnesota Orchestra (Mozart’s The Magic Flute; Bernstein’s Mass; Puccini’s Tosca),

The Flying Foot Forum/Guthrie Theater (Alice in Wonderland; Heaven), The Children’s Theatre Company (The 500 Hats of

Bartholomew Cubbins), History Theatre (The St. Paul Gangster Musical), G.R.E.A.T. Theatre (Tevye in Fiddler on the Roof), Ten

Thousand Things (The Music Man), Skylark Opera (including On the Town and The Merry Widow), and Park Square Theatre

(Oliver Twist and Oh, Coward!). Mr. Endres is also a member of The Rose Ensemble.

Huldah Niles currently plays with the Minnesota Opera Orchestra, as well as Associate Concertmaster for the Mankato

Symphony, as a substitute violinist for the Minnesota Orchestra, and as a founding member of Mill City String Quartet.

She is the Principal Viola for the Minnetonka Symphony Orchestra. Huldah began her music studies on violin at the age of

five at the Preucil School of Music in Iowa City. Through Preucil School of music, Huldah traveled to Japan with a group of

peers from the Cleveland Institute of Music where they played for Dr. Suzuki at his private residence and for the Prince and

Princess of Japan in Tokyo. Huldah received Bachelor and Master of Music degrees in Violin Performance from the University of Minnesota.


Clara Osowski, mezzo-soprano • Jake Endres, baritone

Huldah Niles, violin • Charles Asch, cello • Tyler Wottrich, piano

A Few Words about Chekhov—Dominick Argentofor mezzo and baritone voice and piano,

20th Anniversary of the 1996 commission by The Schubert Club

Based on “A few Words About Tchehov” by Olga Knipper-Tchehov (1924)

and “Letters of Anton Tchehov” (1899–1904) Edited and arranged by the composer

Duo • Solo (Olga) • Solo (Anton) • Duo • Solo (Olga) • Solo (Anton) •Duo

Matinee: The Fantom of the Fair—Libby Larsenfor male and female voice, violin, cello, and piano, with animated comic book slides

based on the comic of Paul Gustavson, with animation by Toni Lindgren

Clara Osowski’s passion for performance is highlighted in her recital work and oratorio performances. In recent

competitions she was the only American to reach the finals of Thomas Quasthoff’s Das Lied in Berlin, Germany last February.

This past October Clara was a finalist in the Liederkranz Foundation in New York City and placed second in the American

Prize for Art Song. Upcoming engagements include Dominick Argento’s Casa Guidi with Metropolitan Symphony Orchestra

in Minneapolis this April. In collaboration with pianist Mark Bilyeu and composer Libby Larsen, Clara serves as the Associate

Artistic Director of Source Song Festival, a week-long art song festival in Minneapolis. claraosowski.com and sourcesongfestival.org.

Dominick Argento, Libby Larsen

Music of Dominick Argento & Libby Larsen

schubert.org 29

I. Duo (Olga Knipper)

We met in 1898 at one of the Moscow Art Theatre’s early rehearsals of The Sea-Gull. We actors were filled with immense excitement at this first meeting with Anton Pavlovich, the author beloved by us all.

How exhilarating it was to feel in that dark, empty theatre that he who was our ‘soul’ sat listening.

We did not know how to take his words- in jest or in earnest. He looked at us, sometimes with a smile, sometimes with the utmost gravity, pinching his beard, twirling his pince-nez by its cord.

(Anton Chekhov)

We met in 1898 at one of the Moscow Art Theatre’s early rehearsals of The Sea Gull.

An actor asked me to discuss the character of the author in The Sea-Gull. I replied, “Why, he wears check trousers!”

Another actor wanted to know what one was to make of a certain role. I answered, “The best you can.”

Ah, but Olga Knipper, she was magnificent. Voice, dignity, earnestness – her acting was so good it brought a lump into my throat. Had I stayed in Moscow, I should surely have asked her to marry me!

II. Solo (Olga)

On the 25th of May we were married.From then on, we were constantly parting, Always seeing each other off,Always having to say ‘goodbye.’Though his heart was drawn to Moscow,For his health we had to live in Yalta—His ‘warm Siberia,’ he called it.

Through his efforts and great loveFor everything the earth brings forthHe transformed a wilderness into a Luxuriant, exquisite varied garden.

Still he always yearned to be in Moscow—To be near the theatre among actors, to talk, to joke,To be near life, to watch it, feel it, take part in it—Even so, he took a simple, wise and beautiful attitudeTo his bodily dissolution, saying it is because ‘God has put a bacillus into me.’

III. Solo (Anton)

It’s the devil who has put this bacillus into me and the love of art into you, Olga!

Yalta November 12th

We are having glorious weather for November,Although for the past few days it has been pouring down incessantly.

It is so damp that toads and frisky young crocodilesAre hopping about all over the garden.The performing fleas continue to serve the sacred cause of art. There is even an operetta at the theatre.

Oh, if only we could spend five years together, and Then let old age catch us; then we should really haveSomething to remember. But, what is the use of talkingAbout it? And though the weather here is magnificent forNovember, it would be far nicer in Moscow,In Moscow, driving in a sledge with you.

God bless you, my little German. I love you, but youHave known that for ages now.

I send you 1,013,212 kisses

Olga and Anton, 1901

A Few Words about Chekhov


(Anton)

My darling: the winter is so veryLong, I am not well, no one has written to mefor nearly a month—and I hadMade up my mind that there was nothing left for me but to go abroad to someplaceNew, to a place where it is not so dull. You are living, working, hoping,Drinking; you laugh when someone sayssomething amusing. I am a differentMatter, I am torn up by the roots,

I am not living a full life; IDon’t drink, though I am fond of drinking; I love excitement and don’t get it— In fact I am like a transplantedTree . . . hesitating whether to take rootOr to wither.

IV. Duo (Olga)

Chekhov as I knew him was the Chekhov of the last six years of his life—Slowly growing weaker in body but atThe same time stronger in spirit,Stronger in mind.

The impression left by those six Years is one of anxiety, and of rushingFrom place to place—like a sea-gull,A sea-gull over the ocean,Not knowing where to alight:Endless trips between Moscow and Yalta;Dreams of traveling along northernRivers, traveling to Sweden and Norway. And the Most cherished dream of all:

To travel through Italy which alluredHim with its colors, its pulsing life, and Above all, its music and flowers.

V. Solo (Olga)

Our first performance of The Cherry Orchard wasA triumphant occasion, but there was a feeling of anxiety,A sense of something ominous in the air. I do not know.

(Anton: When are you going to take me away?)

Chekhov listened very gravely, very attentively toAll the speeches read in his honor, but from time to time he Threw up his head and it seemed as though he were takingA bird’s-eye view of all that was going on, as though heHad no part in it, it was nothing to do with him . . .

(Anton: When are you going to take me away?)

. . . and characteristic lines appeared around his mouth, hisFace lit up by a soft, twinkling smile. Still I could not escapeThe sense of something immense swooping down upon me. IDo not know.

VI. Solo (Anton)

There is a feeling of black melancholy about your letter, dear actress—‘something immense swooping down upon me’ and so on.

You must think about the future,Otherwise we shall never live, but go onSipping life from a tablespoon, once an hour.

When are you going to take me away?

We shall go first to Vienna, stay a day or two,Then on to Switzerland, then to Venice (if it is not too hot)Then to Lake Como, where we shall take a villaAnd settle down properly.

VII. Duo (Olga)

We went instead to Badenweiler, a Health resort in the Black Forest. One night he woke up, and askedFor the doctor to be fetched.The doctor came and ordered champagne.Chekhov sat up and said aloud to the Doctor:

Then he took the glass, turned toMe, and with his wonderful smileHe said:

(Anton)

“Ich Sterbe . . .”

‘It’s been a long while since IHave drunk champagne.”

Olga and Anton, 1901

Rehearsing for the premiere ofA Few Words About Chekhov in 1996.

Frederica von Stade, Håkan Hagegård, Martin Katz, Dominick Argento.

schubert.org 31

(Anton)

You askWhat is life? That is just the same as asking What is a carrot. A carrot is a carrot, and Nothing more is known about it.

Stanley Woolner was born in Rochester, Minnesota in 1959. He studied composition at Stanford

University and locally with Paul Siskind and Edie Hill. He is the winner of the 2007 and 2009 Eric Stokes

Song Contests, and the 2010 nationwide Met-Life “Meet the Composer” award for emerging composers.

His music has been performed on Minnesota Public Radio, as well as at The Schubert Club, the Stan Rogers

International Music Festival, Nova Scotia, Canada, by the Minnesota Sinfonia, the University of Minnesota

HealthSciences Orchestra, at Park Nicollet Struthers Parkinson’s Center benefit, Westminster Presbyterian

Church, Minneapolis, as well as numerous other venues. Interviews and articles about Woolner and his music

have appeared on Minnesota Public Radio, in Nick Coleman’s StarTribune column, Minnesota Medicine, Three

Minute Egg, The St. Paul Voice, and The Eastside Review. His award winning CDs: Katherine on my Chest/with you at your Grave,

Houston County and Blue Horizon available at [email protected].

Ivan Konev, piano

Houston County

I. Awakening • II. Of the Earth • III. Evening

Courtroom ConcertFebruary 4, 2016 • Noon • Landmark Center

Music of Stanley Woolner

Ivan Konev was born in Ukraine and educated in Moscow where he completed his Bachelor degree in

Piano Performance from the College of the Moscow Conservatory and Masters degree in Piano Performance,

Gnessin’s Music Academy. In 2003 he came to the United States where he received his Master of Arts

Hamline University, St. Paul, and his Doctorate in Piano Performance, University of Minnesota, 2010. Dr.

Konev has won prizes in international and local piano competitions, including the Andorra International

Piano Competition, Corpus Christi International Piano Competition, Schubert Club Scholarship Competition,

University of Minnesota School of Music Concerto Competition, and the Bell Scholarship Competition. He

has performed at the Embassy of the United States in Moscow, Great and Rachmaninoff Halls of the Moscow

Conservatory, Sundin Music Hall, Ted Mann Concert Hall, and with the Kharkov Philharmonic Orchestra and Yalta Symphony

Orchestra in Ukraine. Dr. Konev is a member of the Piano faculty at the UW River Falls and St. Paul Conservatory of Music.

(Olga)

He calmly drank it to the last drop,Quietly lay down and soon afterwardsSank into silence forever. A huge black moth burst in andDashed itself in terror against the electric light. The doctor went away. Gradually, it began to get light. I stoodAlone on the balcony and there in the Stillness I looked at the rising sun.

Then I looked at the lovely, sereneFace of Anton Pavlovich, smiling as thoughWith the comprehension of Something . . . There had never been such A moment in my life. Nor, I suppose, will there ever Be again.

Olga in 1912



Love and Death: The works of John Dowland, 1563—1626

Come, ye heavy states of night

In darkness let me dwell (arr. Scott Sandersfeld)

Unquiet Thoughts

In this trembling shadow

The lowest trees have tops

Come again

Can she excuse my wrongs?

Fine knacks for ladies

Love those beams

Go crystal tears

I saw my lady weepe (arr. Scott Sandersfeld)

Flow my tears

Come, heavy sleep

The Mirandola Ensemble, established in 2011 by Scott Sandersfeld, is a Minneapolis-based

professional choral ensemble dedicated to promoting the highest standards of choral music, the

idea of choral music as ‘high art’ in the Western tradition, and the aesthetics of the Renaissance.

The ensemble is a 501(c)(3) non-profit arts organization, and is a 2014–2015 Class Notes Artist-in-

Residence for Classical Minnesota Public Radio. The group’s 2013 studio album Nymphs & Angels is

now available via iTunes, Amazon, Spotify, and other streaming music services.

In late 2015, Artistic Director and founder Scott Sandersfeld joined the US Army and resigned his

position with The Mirandola Ensemble. After an extensive search, the Board of Directors selected

Nick Chalmers to be the new Artistic Director of The Mirandola Ensemble.

To learn more about The Mirandola Ensemble, please visit www.themirandolaensemble.org

Artistic Director Nick Chalmers was one of the founding singers of The Mirandola Ensemble before becoming Artistic Director

in 2015. In addition to his active performing and conducting schedule, he is a graduate student in Choral Conducting at the

University of Minnesota.

Portrait of several musicians and artists by François Puget

Mirandola Ensemble

schubert.org 33

David Walton was most recently heard as Tamino in The Magic Flute with the Minnesota Opera in

their Duluth performance. Other past roles include Brighella in Ariadne auf Naxos, Il Postiglione in La

fanciulla del West and Ed Mavole in the world premiere of The Manchurian Candidate. Later this season,

he will perform as the Huntsman in Rusalka, Spoletta in Tosca and Delbert Grady in the world premiere

of The Shining. He has sung Rinuccio (Gianni Schicchi) and Marco (The Gondoliers) with the Ole Miss

Opera Theatre in Oxford, Mississippi and also appeared as Tamino (Magic Flute) and Ernesto (Don Pasquale)

with the Atlantic Music Festival. He spent three years with the Cantus Vocal Ensemble in Minneapolis. Mr.

Walton recently toured Azor in Grétry’s Zemire et Azor with Opera for the Young and was a regional finalist in the Upper Midwest

Metropolitan Opera National Council Auditions.

Erik Barsness has performed as a soloist and with ensembles throughout the US, Europe, Russia, and Cuba. Erik was the

recipient of a Fulbright Scholarship to study percussion in Stockholm, Sweden, receiving his Masters Degree from the Royal College

of Music in Stockholm. He is currently a member of CRASH and The Minnesota Percussion Trio. With the Minnesota Percussion

Trio, Erik was a finalist for the 2015 McKnight Artists Fellowship. An avid instrument builder, Erik was recently a recipient of 2015

The Knights Arts Challenge for his project “The Ice Orchestra,” to build a set musical instruments out of ice for the 2017 St. Paul

Winter Carnival.

Vincent Van Gogh,Self-portrait, 1889

Dear Theo: Letters from Vincent Van Gogh—Jocelyn Hagen

Variations sur un thème libre, Opus 42—Eugene Bozza

Theme: Andantino • Variation I: Allegretto • Variation II: Andantino • Variation III: Allegro

Variation IV: Calme • Variation V: Allegro • Variation VI: Allegro vivo • Variation VII: Lento, Vivo

Scenes from a Comedy—Christopher Ball

I. Comedy Overture • II. Hilda Broods and Hatches a Plot • III. March Past of the Jaunty Boys

IV. Waltzing with Hilda • VI. All’s Well that Ends Well

Dolce Wind Quintet has been performing since 1995 for recitals, weddings, receptions, worship services, schools, charity

benefits, and other events, including pub nights! Engaged by Classical Minnesota Public Radio as “Class Notes Artists” for 2013–14,

the quintet presented concerts for elementary and middle-school children in inner city and suburban schools and was featured

often on air on Classical MPR 99.5 FM. Dolce has been performing on the MPR stage at the Minnesota State Fair since 2013, and

was the house band for MPR’s 2010 Taste of the Holidays Concert at the Fitzgerald Theater in 2010, and was featured on the

station’s Holiday Sampler broadcast in 2009. In 2007 Dolce performed live on-air during MPR Day in Rochester and for MPR’s

Music Alive event at Calhoun Square in Minneapolis. Dolce regularly performs as part of the Fridays in the Valley concert series

and Hennepin County Bar Association Memorial Service in the Twin Cities, the Munsinger/Clemens Gardens summer series

in St. Cloud, and the international Vintage Band Festival in Northfield. The members of Dolce are freelance performers and

teachers, and hold positions with other ensembles, including Bloomington Symphony Orchestra, Duluth-Superior Symphony, Lake

Wobegon® Brass Band, Mankato Symphony Orchestra, Mississippi Valley Orchestra, and Rochester Symphony Orchestra.

David Walton, tenor • Erik Barsness, percussion

Dolce Wind QuintetNancy Wucherpfennig, flute • Megan Dvorak, oboe • Karen Hansen, clarinet • Ford Campbell, bassoon • Vicki Wheeler, horn




Sonata in A minor, D. 821, Arpeggione (trans. for guitar and piano)—Franz Schubert

Allegro moderato

Adagio

Allegretto

Sonata for Guitar and Cello—Radamés Gnattali

Allegretto comodo

Adagio

Con Spirito

Intermezzo in A major, Opus 118, No. 2 —Johannes Brahms

Song of the Black Swan, for Cello and Piano—Heitor Villa-Lobos

Piéce en forme de Habanera, for Cello and Piano—Maurice Ravel

Oblivion, for Cello and Piano—Astor Piazzolla (arr. Patricio Villarejo)

Laura Sewell, cello • Chris Kachian, guitar • Ora Itkin, piano

Ora Itkin was born in Moscow where she started her piano lessons at age four with her father, an accomplished

jazz musician. After graduating from Moscow Academy of Music, she emigrated to Israel where she graduated from

Tel-Aviv University and Hebrew University of Jerusalem Rubin Academy of Music. She was awarded a grant from the

American Israeli Cultural Foundation Karen Sharet. Ms. Itkin is a member of the piano faculty at MacPhail Center for

Music, the University of St. Thomas and the St. Paul Conservatory of Music, and maintains a private piano studio.

Recently she was a guest performer and clinician at the Second Caribbean Festival of Humanities, and Latin American

Composers Forum.

Chris Kachian has performed throughout Europe, the Americas, South and Central America and the Far East, as

recitalist, chamber musician and concerto soloist. His American performances have included a significant number

of works written in the last twenty-five years, many of them commissions. He has been heard on Minnesota

Public Radio, National Public Radio and American Public Media (including several appearances on A Prairie Home

Companion). Since 1984, Dr. Kachian has directed one of the largest guitar programs in the USA at the University of St

Thomas where he is professor of music. He has lectured in music of Europe, the Americas, the Twentieth-Century, the

World, the United States, Film, Protest, Mathematics, and Guitar Pedagogy, and Guitar Literature.

Laura Sewell is a member of the Artaria String Quartet and was the founding cellist of the award-winning Lark

Quartet. She received her Bachelor’s Degree from the Juilliard School and her Master’s Degree from the Cleveland

Institute of Music. She has appeared in solo recitals in New York and throughout the Midwest including the Dame

Myra Hess Memorial Concert Series in Chicago. She has premiered solo works by Paul Schoenfield, Stephen Paulus

and Steve Heitzeg, and chamber works by Libby Larsen, Peter Schickele, Jon Deak and Stanislaw Skrowacewski.

She has performed on American Public Media’s Saint Paul Sunday and on A Prairie Home Companion and plays as

a substitute cellist with both the Minnesota and Saint Paul Chamber Orchestras. She has been a guest with the

Chamber Music Society of Minnesota, the Bakken Trio and the Musical Offering. She is on the faculties of Augsburg

College, the MacPhail Center for Music, Madeline Island Music Camp, Stringwood, and Artaria Chamber Music School.

Phot

os: M

icha

el Y

eshi

on

Radamés Gnattali, 1924

schubert.org 35

Courtroom ConcertMarch 3, 2016 • Noon • Landmark Center

Cameron Pieper is a first year master’s student under the tutelage of Solomon Mikowsky and Alexandre Moutouzkine at the

Manhattan School of Music where he is studying towards a master in piano performance degree. Cameron has participated at the

Atlantic Music Festival, the Eastern Music Festival, and The Rocky Ridge Music center. He has performed in master classes given by world-

renowned pianists including Martin Canin, Robert McDonald, Douglas Humphrys, and Christopher O’Riley. He has won numerous prizes

from competitions including The Concord Chamber Orchestra Concerto Competition, The Eastern Music Festival Concerto Competition,

first prizes in The Schubert Club Competition, The Wisconsin Federation of Music Clubs Collegiate Biennial Competition, The Neale Silva

Competition, and The Lawrence University Concerto Competition.

While studying at Lawrence University for his undergraduate, Cameron not only received degrees in piano performance and mathematics,

but was also the captain of the men’s soccer team. In addition, he was awarded an accompanying fellowship at the conservatory and

taught at the Lawrence Academy of Music. He also garnered piano performance awards including The Daniels Prize, The Warch Music

Scholarship, and The Irvin Prize. Cameron has performed in venues that include the Lawrence University Chapel, the Ordway Center,

Wisconsin Public Radio, Guilford Hall, and Thrasher Opera House in Green Lake Wisconsin for the opening of the Green Lake Festival.

Currently living in New York City, Cameron collaborates regularly with singers and instrumentalists. As an avid teacher, Cameron recently

accepted a position as a piano instructor at the Long Island City Academy of Music in New York City.

Aeolian Harp—Henry Cowell

The Banshee—Henry Cowell

Prelude and Fugue in E major, Book 2—Johann Sebastian Bach

Valses nobles et sentimentales—Maurice Ravel

El Fandango de Candil, No. 3 from Goyescas—Enrique Granados

Cameron Pieper, piano

Radamés Gnattali, 1924


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2015

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SDAY

MUS

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Membership $75, Seniors $65 Single Tickets $10 (at the door)

612-333-0313thursdaymusical.org

October 8, 22November 5, 19

December 3January 21

February 4, 18March 3, 17April 14, 28April 14, 28

MacPhail Center for MusicFree Coffee and Donuts

10:00 am10:30 am program

2015

-201

6 CO

NCER

T SE

ASON

THUR

SDAY

MUS

ICAL

Membership $75, Seniors $65 Single Tickets $10 (at the door)

612-333-0313thursdaymusical.org

October 8, 22November 5, 19

December 3January 21

February 4, 18March 3, 17April 14, 28April 14, 28

MacPhail Center for MusicFree Coffee and Donuts

10:00 am10:30 am program

In memory of William Ammerman

Marilyn and John Dan

In memory of Elmer L. and Eleanor

J. Andersen

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Dorothea Burns

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of Lucy R. Jones

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August Rivera

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Richard Geyerman

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and Kent Larson

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Betty Pomeroy

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in honor of Thelma’s 90th Birthday

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Jonathan Siekmann

Rick Reynen and Harlan Verke

In honor of Lisa Niforopulos

Gretchen Piper

In honor of Paul D. Olson

Barbara Lund and Cathy Muldoon

This activity is made possible by the voters of

Minnesota through a Minnesota State Arts

Board Operating Support grant, thanks to a

legislative appropriation from the arts and

cultural heritage fund, and a grant from the

Wells Fargo Foundation Minnesota.

The Schubert Club is a proud member of The Arts Partnership with

The Saint Paul Chamber Orchestra, Minnesota Opera, and Ordway Center for the Performing Arts

Thank you to the following organizations

The Deco Catering is the preferred caterer of The Schubert Club

well flockedfor celebrations

612.767.9495thethirdbirdmpls.com

schubert.org 41

The Schubert Club Endowment

The Schubert Club Endowment was started in the 1920s. Today, our endowment provides more than one-quarter of our annual budget, allowing us to offer free and affordable performances, education programs, and museum experiences for our community. Several endowment funds have been established to support education and performance programs, including the International Artist Series with special funding by the family of Maud Moon Weyerhaeuser Sanborn in her memory. We thank the following donors who have made

commitments to our endowment funds:

The Eleanor J. Andersen

Scholarship and Education Fund

The Rose Anderson

Scholarship Fund

Edward Brooks, Jr.

The Eileen Bigelow Memorial

The Helen Blomquist

Visiting Artist Fund

The Clara and Frieda Claussen Fund

Catherine M. Davis

The Arlene Didier Scholarship Fund

The Elizabeth Dorsey Bequest

The Berta C. Eisberg

and John F. Eisberg Fund

The Helen Memorial Fund

“Making melody unto the Lord in her very

last moment.” – The MAHADH Fund

of HRK Foundation

The Julia Herl Education Fund

Hella and Bill Hueg/Somerset

Foundation

The Daniel and Constance Kunin Fund

The Margaret MacLaren Bequest

The Dorothy Ode Mayeske

Scholarship Fund

In memory of Reine H. Myers

by her children

The John and Elizabeth Musser Fund

To honor Catherine and John Neimeyer

By Nancy and Ted Weyerhaeuser

In memory of Charlotte P. Ordway

By her children

The Gilman Ordway Fund

The I. A. O’Shaughnessy Fund

The Ethelwyn Power Fund

The Felice Crowl Reid Memorial

The Frederick and Margaret L.

Weyerhaeuser Foundation

The Maud Moon Weyerhaeuser Sanborn

Memorial

The Wurtele Family Fund

Music in the Park Series Fundof The Schubert Club Endowment

Music in the Park Series was established by Julie Himmelstrup in 1979. In 2010, Music in the Park Series merged into The Schubert Club and continues as a highly sought-after chamber music series in our community. In celebration of the 35th Anniversary of Music in the Park Series and its founder Julie Himmelstrup in 2014, we created the Music in the Park Series Fund of The Schubert Club Endowment to help ensure long-term stability of the Series. Thank you to Dorothy Mattson and all of the generous contributors

who helped start this new fund:

Meredith Alden

Nina and John Archabal

Lydia Artymiw and David Grayson

Carol E. Barnett

Lynne and Bruce Beck

Harlan Boss Foundation

Jean and Carl Brookins

Mary Carlsen and Peter Dahlen

Penny and Cecil Chally

Donald and Inger Dahlin

Bernice and Garvin Davenport

Adele and Richard Evidon

Maryse and David Fan

Roxana Freese

Gail Froncek

Catherine Furry and John Seltz

Richard Geyerman

Julie and Anders Himmelstrup

Cynthia and Russell Hobbie

Peg Houck and Philip S. Portoghese

Thelma Hunter

Lucy Jones and James Johnson

Ann Juergens and Jay Weiner

Phyllis and Donald Kahn

Barry and Cheryl Kempton

Marion and Chris Levy

Estate of Dorothy Mattson

Wendy and Malcolm McLean

Marjorie Moody

Mary and Terry Patton

Donna and James Peter

Paul and Betty Quie


Shirley and Michael Santoro

Mary Ellen and Carl Schmider

Sewell Family Foundation

Katherine and Douglas Skor

Eileen V. Stack

Cynthia Stokes

Ann and Jim Stout

Joyce and John Tester

Thrivent Financial Matching Gift Program

Clara Ueland and Walter McCarthy

Ruth and Dale Warland

Katherine Wells and Stephen Wilging

Peggy R. Wolfe

The Legacy Society

The Legacy Society honors the dedicated patrons who have generously chosen to leave a gift through a will or estate plan. Add your name to the list and leave a lasting legacy of

the musical arts for future generations.

Anonymous

Frances C. Ames*

Rose Anderson*

Margaret Baxtresser*

Mrs. Harvey O. Beek*

Helen T. Blomquist*

Dr. Lee A. Borah, Jr.

Raymond J. Bradley*

James Callahan

Lois Knowles Clark*

Margaret L. Day*

Timothy Wicker and Carolyn Deters

Harry Drake*

James E. Ericksen*

Mary Ann Feldman

John and Hilde Flynn

Salvatore Franco

Marion B. Gutsche*

Anders and Julie Himmelstrup

Thelma Hunter*

Lois and Richard King

Florence Koch*

Dorothy Mattson*

John McKay

Mary Bigelow McMillan

Jane Matteson*

Elizabeth Musser*

Heather Palmer

Mary E. Savina

Helen McMeen Smith*

Lee S. and Dorothy N. Whitson*

Richard A. Zgodava*

Joseph Zins and Jo Anne Link

*In Remembrance

Become a member of The Legacy Society by

making a gift in your will or estate plan. For

further information, please contact

Paul D. Olson at 651.292.3270 or

[email protected]

The Schubert Club Endowment and Legacy Society

Global Tour | FEB. 19–21 | ORPHEUM THEATREAll-New 2016 Production with Live Orchestra

100 Top Musicians & Dancers400 Exquisite Costumes5-Continent Global TourLive Orchestral AccompanimentBreathtaking Animated Backdrops

ShenYun.com

“Spectacular! Absolutely the Greatest of the Great. It’s really out of this world!

You cannot describe it in words, it must be experienced.”— Christine Walevska, “Goddess of Cello” & 4-Time Shen Yun Viewer

Secure Your Favorite Seats Today! Tickets: 800.554.5109 | ShenYun.com

BEST GIFT

“This is the finest thing I’ve ever been to in my life. I was in tears, because the human spirit, the dignity, the power, the love coming out of those people was astounding... This is the profound, quintessential end of entertainment—there is nothing beyond this...nothing.” — Jim Crill, Retired Senior Producer & 3-Time Shen Yun Viewer

“The orchestra is phenomenal. They are very, very on top. The mixing of instruments that are western instruments and Chinese instruments, a very nice touch...and brought a lot of character to the score.”

— Roger Tallman, 7-Time Emmy Award–Winning Composer & Producer

Need help deciding?

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TODAY

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NEXT

WEEK

THISWEEK

Your one-click guideto all of Minnesota’smust-see theater.

Christmas in Baroque MaltaItalian Majesty at Mdina Cathedral DEC 17 Sacred Heart Music Center, Duluth, 7:30 pm DEC 18 Nativity of Our Lord Catholic Church, Saint Paul, 8 pm

DEC 19 Basilica of St. Mary, Minneapolis, 8 pm

DEC 20 Church of the Holy Family, St. Louis Park, 3 pm

ROSEENSEMBLE.ORG | 651.225.4340 | 314 LANDMARK CENTER 75 W. 5TH STREET, SAINT PAUL, MN

2016201520th Performance Season

Featuring four world premieres by Minnesota composers!

Sainte-Chapelle de ParisA King’s Quest for the True Cross FEB 18 Holy Cross Catholic Church, Minneapolis, 8 pm * FEB 19 Church of the Incarnation, Minneapolis, 8 pm* FEB 20 Saint Paul Seminary Chapel, Saint Paul, 8 pm* FEB 21 Mary of the Angels Chapel, La Crosse, WI, 7 pm

* PRE-CONCERT TALK, 7 pm

MAY 1, 2016 | Ordway Concert Hall | Saint PaulEVENTS INCLUDE: Festive BRUNCH | Celebration CONCERT | Post-concert PARTY

20th Season CelebrationA May Day “Crowning” Performance Music by Handel, Monteverdi, Purcell and Byrd

Order tickets to the 20th Season Celebration by December 20 and receive in time for Christmas A Rose in Winter: A Garden of Medieval and Renaissance Music for the Nativity·

Tickets: $30 | $50 | $150 | Call 651.224.4222 or visit ordway.org/the-rose-ensemble

Free Exclusive CD

MARCHCONCERTSLADYSMITH BLACK MAMBAZOFri Mar 4 8pm*

The South African ensemble’s nine powerful singers express their harmonies in English and Zulu, accompanied by tongue clicks, snaps, whistles, kicks, hops and waves.

*Please note: the Minnesota Orchestra does not perform on this program.

RAJATON: BEST OF THE BEATLES with the Minnesota Orchestra Sat Mar 12 8pm / Sun Mar 13 2pm Sarah Hicks, conductor

Finnish a cappella vocal group Rajaton joins the Minnesota Orchestra with its take on the complete Sgt. Pepper’s Lonely Hearts Club Band album. After intermission, it’s the Beatles greatest hits.

SCHUMANN, RAVEL AND DE FALLA Fri Mar 18 8pm / Sat Mar 19 8pm Jesús López-Cobos, conductor / Andreas Haefliger, piano

SCHUMANN Overture to Manfred Piano Concerto RAVEL Rapsodie espagnole DE FALLA Suites No. 1 and 2 from The Three Cornered Hat

Don’t miss the Orchestra Hall debut of the Spanish-born conductor Jesús López-Cobos.

ALAN CUMMING SINGS SAPPY SONGS Sat Mar 26 8pm*

He’s achieved legendary status as the slinky emcee in Broadway’s Cabaret. He’s the political fixer Eli Gold in the hit The Good Wife. Thrill to yet another side of this incredible entertainer.

VÄNSKÄ CONDUCTS BRAHMS’ THIRD Thu Mar 31 11am / Fri Apr 1 & Sat Apr 2 8pm Osmo Vänskä, conductor / Arto Noras, cello

BEETHOVEN Leonore Overture No. 2 PENDERECKI Cello Concerto No. 2 BRAHMS Symphony No. 3

Osmo Vänskä has a passionate connection to each of the pieces on this program—and in its center is a brief and powerful solo piece featuring Finland’s Arto Noras.

PHOTOS Vänskä: Joel Larson; Ladysmith: Shane Doyle; Rajaton: Ville Paul Paasimaa; López-Cobos: Javier del Real

minnesotaorchestra.org / 612.371.5656 / Orchestra Hall

LADYSMITH BLACK MAMBAZO

RAJATON

JESÚS LÓPEZ-COBOS

ALAN CUMMING

ARTO NORAS

Osmo Vänskä /// Music Director

Media Partner:

CL-1516-062 Schubert Club Ad.indd 1 12/10/15 1:20 PM

An die Musik Jan 1—Mar 3

Documents

Transcript of An die Musik Jan 1—Mar 3