An die Musik Oct 30, 2014 – Jan 7, 2015

October 30, 2014 – January 7, 2015

An die MusikThe Schubert Club • schubert.org

4 THE SCHUBERT CLUB An die Musik

By TED DYKSTRA & RICHARD GREENBLATTDirected by TOM FREY

A Riotous, Heart-Warming Play with Music

On the Proscenium Stage

nOv 28 – dec 28, 2014 Join us during the holiday season!

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651.291.7005 | parksquaretheatre.org | Historic Hamm Building | Downtown Saint Paul

Based upon the novel written by ALICE WALKER and the Warner Bros./Amblin Entertainment Motion Picture Book by MARSHA NORMAN; Music and Lyrics by BRENDA RuSSELL, ALLEE WILLIS and STEPHEN BRAYDirected and Choreographed by LEWIS WHITLOCK III Musical Direction by REV. CARL WALKER

On the Proscenium Stagejan 16 – feb 15, 2015 Cast of 20 Plus a Live Orchestra

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“...A multihued human comedy of resilience and love.”

Featuring some of the Twin Cities’ best talent – including:

Aimee K. Bryant* Thomasina Petrus* T. Mychael Rambo* Regina Marie Williams*

*Member, Actors’ Equity Association | Photography by Petronella J. Ytsma —Chicago Tribune

An die MusikOctober 30, 2014 – January 7, 2015

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

ticket office as soon as possible. Donating unneeded tickets en-

titles you to a tax-deductible contribution for their face value

and allows others to experience the performance in your seats.

Turnbacks must be received one hour prior to the performance.

Thank you!

The Schubert Club Ticket Office:

651.292.3268 • schubert.org/turnback

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

cover: Richard Goodephoto: Michael Wilson

Table of Contents

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

9 Calendar of Events: November – March

10 Richard Goode

18 Ensemble Caprice

23 Artist of the Past: Arnold Dolmetsch

24 Accordo

26 Courtroom Concerts

32 Intervals: Alumni News of The Schubert Club Scholarship Competition

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

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

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Brooklyn Rider & Greg Saunier, drums at Aria in Minneapolis

January 18, 2015

schubert.org/mix


President's Welcome Artistic and Executive Director's Welcome

Welcome to The Schubert Club!

As the days get shorter, we’re glad to share some

wonderful musical experiences with you, both

during the diminishing daylight hours and in the

evenings. What a delight it is to welcome Richard

Goode back to The Schubert Club. His last recital

in the International Artist Series was over 20 years

ago in 1993! Some members of our loyal audience

remember that recital vividly and have told me how

much they are looking forward to welcoming him

back. For others, this may be the first time hearing

one of the world’s truly sensitive and compelling

pianists. We are honored to have him on our stage

once again.

Our guests for the November Music in the Park

Series concert in St. Anthony Park are the Canadian

musicians of Ensemble Caprice. The title of their

program alone – Salsa Baroque – is tantalizing in

the juxtaposition of two words which rarely feature

in the same sentence. Featuring a combination of

recorders, baroque guitar, cello, and percussion, the

performance promises to be delightful

and distinctive.

As we head toward the Holiday season, consider

joining us for our annual Minnesota Composers

Carol Concert on Thursday, December 18 at noon

in Landmark Center. This concert featuring carols

and Holiday music by a wide variety of Minnesota

composers has quickly become a tradition and an

audience favorite.

Whatever performance or event you are joining us

for, may I take this opportunity to wish you a very

enjoyable Holiday season filled with music to lift

your spirit and nourish your soul.

Nina ArchabalPresident

Barry KemptonArtistic and Executive Director

If you are ever asked for a metaphor for The

Schubert Club, I suggest that you consider

responding with “launching pad.”

There is no other musical organization I know of

anywhere that has launched more brilliant careers

than The Schubert Club. Its record of presenting

young musicians who have gone on to achieve

stardom on the world stage is truly remarkable.

Consider this list of artists who gave recitals in the

International Artist Series when they were just

getting started on their careers. The great violinist

Jascha Heifetz performed here at age 20. Pianist

Lang Lang and violinists Joshua Bell and Isaac Stern

gave recitals at age 22. Pianist Vladimir Horowitz

and violinist Hilary Hahn both performed for The

Schubert Club at age 24. Cellist Yo-Yo Ma was only

27 when he first appeared on the Ordway stage,

and soprano Frederica von Stade was only 33 when

she gave her first Schubert Club recital. Based on

this list of musical stars there is little doubt that

The Schubert Club has been a launching pad

to stardom.

With its commitment to presenting recitals of the

highest quality and to nurturing young musicians,

The Schubert Club occupies a unique place in the

musical sphere. Audience members like you and me

get to enjoy this magnificent galaxy.

An die Musik!

schubert.org 7

What is ARTshare?

ARTshare is an all-access, all-you-can-see performance membership program. For $18/month,

you can see as many performances as you’d like by

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ONLY THREE PERFORMANCES!December 10 – 12, 7:00pm

Travel back in time to 1843. Laughter and song greet you as you arrive for a night of revelry and a Victorian feast. Fezziwig’s annual Christmas party, famous for live

music, dancing, and gourmet food, has a special surprise in store for you this year…

Fezziwig and his staff will perform Charles Dickens’ “A Christmas Carol” live while you dine!

TICKETS: actorsmn.org/feast or 800.838.3006 LOCATION: The Saint Paul Athletic Club Grand Ballroom

BILL OF FAREButler Passed Hors d’oeuvres:Asian Pear & Brie Miniature TartletSmoke Salmon Cucumber CanapéWild Mushroom & Goat Cheese Crostini Dinner:Butternut Squash Soup with Roasted PecansMixed Green Salad with Toasted Almonds, Craisins, Smoked Bacon, Shaved Parmesan & Poppyseed DressingCrown Roasted Pork & Sautéed Apple Cider GravyOven Roasted Winter Mixed Vegetables with Fresh Sage & Orange ZestMashed Sweet Potato with Brown Sugar ButterFresh Baked Artisan Rolls & Bread with Rosette of Herb Butter

Dessert:Christmas Bread Pudding with Warm Grand MarnIer Sauce & Peppermint StickGourmet Roasted Coffee & Hot Christmas Tea Menu is subject to change based upon the chef’s whims.


Be the Hero.

Support

March Campaign GardenShare Harvest Campaign Advocacy

Donate at mnfoodshare.gmcc.org

Fight Hunger.

a program of the Greater Minneapolis Council of Churches

schubert.org 9

More information at schubert.orgBox office 651.292.3268

Calendar of EventsNovember – March

November 2014Tuesday, November 11 • 7:30 PM Ordway Center

International Artist Series

Richard Goode, piano

Tuesday, November 18 • 7:30 PM Landmark Center

Live at the Museum

CRASH, with Mary Ellen Childs

Sunday, November 23 • 4 PM St. Anthony Park UCC

Music in the Park Series

Ensemble Caprice

December 2014Monday, December 8 • 7:30 PM Christ Church Lutheran

Accordo

Tuesday, December 9 • 7:30 PM Amsterdam Bar & Hall

Accordo at Amsterdam

January 2015Sunday, January 18 • 7:00 PM Aria

Schubert Club Mix

Brooklyn Rider & Greg Saunier, drums

Tuesday, January 22 • 7:30 PM Landmark Center

Live at the Museum

Music and Tales from the Manuscripts (all new)with Vern Sutton and Maria Jette

February 2015Mondays, February 2 & 9 • 7:30 PM James J. Hill House

Hill House Chamber Players"Last Words"

Sunday, February 15 • 4 PM St. Anthony Park UCC


Schubert Ensemble of London

Tuesday, February 24 • 7:30 PM Ordway Center

International Artist Series

Benjamin Grosvenor, piano

March 2015Sunday, March 8 • 2:00 PM Ordway Concert Hall

Rock the Ordway

Pekka Kuusisto, violin & Dermot Dunne, accordion

Tuesday, March 10 • 7:30 PM Aria

Schubert Club Mix

Pekka Kuusisto, violin & Jay Gilligan, juggler

Friday, March 20 • 7:30 PM Ordway Concert Hall

Rock the Ordway

"Love Songs"Michelle Arezaga, soprano, Tamara Mumford, mezzo-soprano,

Paul Appleby, tenor, Kelly Markgraf, baritone

Gilbert Kalish, piano, Wu Han, piano

Sunday, March 22 • 1:00 PM Ordway Concert Hall

Rock the Ordway

Bruce P. Carlson Scholarship Competition Winners Recital

Pekka Kuusisto, violin & Jay Gilligan, juggler

Benjamin Grosvenor, piano

Goerne Program Page

The Schubert Club

presents

Richard Goode, pianoTuesday, November 11, 2014 • 7:30 PM

Pre-concert talk hosted by Mark Muzullo at 6:45 PM

Adagio in B minor, K. 540 Mozart

Sonata No. 24 in F-sharp major, Opus 78 Beethoven Adagio cantabile – Allegro ma non troppo Allegro vivace

Eight Piano Pieces, Opus 76 Brahms Capriccio in F-sharp minor Capriccio in B minor Intermezzo in A-flat major Intermezzo in B-flat major Capriccio in C-sharp minor Intermezzo in A major Intermezzo in A minor Capriccio in C major

Intermission

This evening's concert is dedicated in memory of Virginia and Edward Brooks, Jr.by their daughters, Katherine Brooks and Julie Zelle.

Children’s Corner Debussy Doctor Gradus ad Parnassum Jimbo's Lullaby Serenade for the Doll The Snow is Dancing The Little Shepherd Golliwogg's Cake Walk

Humoreske, Opus 20 Schumann

Please turn off all electronic devices.

schubert.org 11

Gramophone recently captured the essence of what makes

Richard Goode such an original and compelling pianist:

“Every time we hear him, he impresses us as better than we

remembered, surprising us, surpassing our expectations and

communicating perceptions that stay in the mind.”

In an extensive profile in The New Yorker, David Blum wrote:

“What one remembers most from Goode’s playing is not its

beauty—exceptional as it is—but his way of coming to grips

with the composer’s central thought, so that a work tends

to make sense beyond one’s previous perception of it . . . The

spontaneous formulating process of the creator [becomes]

tangible in the concert hall.”

In recent seasons Mr. Goode curated a multi-event residency

as one of South Bank Centre’s Artist-in-Residence includ-

ing collaborative performances with pianist Jonathan Biss.

This followed his “engrossing” (New York Times) eight-event

Carnegie Hall Perspectives. This celebration of Mr. Goode’s

artistry also included master classes at the city’s three lead-

ing conservatories—Juilliard, Manhattan, and Mannes—and

two illustrated talks on his Perspectives repertoire at the

Metropolitan Museum of Art.

Richard Goode was honored for his contributions to music

with the first ever Jean Gimbel Lane Prize in Piano

Performance, which culminated in a two-season residency

at Northwestern University in Evanston, Illinois, and in May

2010, he was awarded an Honorary Fellowship from

Guildhall School of Music and Drama in London.

A native of New York, Richard Goode studied with Elvira

Szigeti and Claude Frank, with Nadia Reisenberg at the

Mannes College of Music, and with Rudolf Serkin at the

Curtis Institute. He has won many prizes, including the

Young Concert Artists Award, First Prize in the Clara Haskil

Competition, the Avery Fisher Prize, and a Grammy Award.

His remarkable interpretations of Beethoven came to

national attention when he played all five concertos with

the Baltimore Symphony under David Zinman, and when he

performed the complete cycle of sonatas at New York’s 92nd

Street Y and Kansas City’s Folly Theater.

In addition to his most recent release, Richard Goode, an

exclusive Nonesuch artist, has made more than two dozen

recordings, including Mozart solo works as well as concer-

tos with the Orpheus Chamber Orchestra, the complete

Beethoven Piano Sonatas, the complete Partitas by J. S.

Bach, and solo and chamber works of Brahms, Schubert,

Schumann, Chopin, Busoni, and George Perle. Goode is the

first American-born pianist to have recorded the complete

Beethoven sonatas, which were nominated for a Grammy

Award and universally acclaimed Kullervo with the Atlanta

Symphony Orchestra (Telarc) and American Anthem (EMI).

Richard Goode last performed on the International Artist

Series in 1993.

Maud Moon Weyerhaeuser Sanborn International Artist SeriesTuesday, November 11, 2014 • 7:30 PM • Ordway Center


Program Notes

Tonight’s recital offers neglected masterpieces by Mozart and Beethoven, and major works by Schumann and Brahms that illuminate those composers’ relationships to Clara Wieck Schumann, a woman they both loved. The listener will also sense subtle key-relationships in this carefully constructed program. Mozart’s Adagio in B minor is a gentle springboard for Beethoven’s sonata in the bright key of F-sharp major. Brahms uses that key’s relative minor as a door into a labyrinth that leads to C major. After intermission, Debussy’s Doctor resumes his practice in C, and another passage takes us to the E-flat major of the Golliwogg and the threshold of Schumann’s B-flat Humoreske.

Adagio in B minor, K. 540 Wolfgang Amadeus Mozart(b. Salzburg, 1756; d. Vienna, 1791)

Between the triumphant Prague premiere of the opera Don Giovanni and its less successful Vienna run, Mozart entered “An Adagio for Klavier alone in B minor” into his thematic catalogue on March 19, 1788. There are few B-minor movements by Mozart. In 1787, C. F. D. Schubart called B minor: “the key of patience, of the silent expecta-tion of fate, and of the submission to the divine decree. Its complaint is gentle, without ever breaking out in offending murmurs or whimpers.” (Schubart was well

known in his day as a musician, journalist, and malcon-tent. Today we remember him as the poet of Schubert’s song, “The Trout.”)

In his recent book, Mozart at the Gateway to His Fortune, Christoph Wolff argues that the composer “had the great misfortune of experiencing a period in Austrian history that was marked by considerable economic depression combined with great political instability and uncertainty.” Emperor Joseph II had plunged the nation into the unpopular Austro-Turkish War of 1787-1791. Inflation spiked. Mozart’s noble patrons left Vienna. It was “a culmination point in the composer’s creative career, [but also] a time of external disadvantages and difficulties, a time that could after all produce as forlorn a piece as the B minor Adagio.”

The Adagio begins with a gently arching triadic theme and a pair of accents. Throbbing chords support sighs heavy and light. Often the right hand dips below the left, forcing the ear to reinterpret the harmony. On Mozart’s five-octave piano, these bass notes would have been dark and brooding, while the late, drooping chromatics would have sounded tender and vulnerable. The ending in major mode comes as a surprise and a relief.

Sonata No. 24 in F-sharp major, Opus 78 Ludwig van Beethoven (b. Bonn, 1770; d. Vienna, 1827)

In September 1809, a jocular Beethoven agreed to write three piano sonatas for the publisher Breitkopf and Härtel: “Indeed, I promise them to you—as you know, I’m a member of the [Royal Dutch] Academy of Fine Arts and Sciences—with a title, no less—ha-ha, that makes me laugh!” He fulfilled his promise the following February with the sonatas, Opp. 78, 79 and 81a, Les adieux. He also sent the sonatas to Muzio Clementi, the eminent pianist and composer who was now a London publisher. (Clementi appears later in this program in connection with Debussy’s Children’s Corner.)

“A rippling, black-key excursion into the realm of F-sharp major” is how Lewis Lockwood characterizes Beethoven’s only work in the unusual key of six sharps. Theorist Schubart gives the attributes of its enharmonic key, G-flat major, as: “triumph in difficulty, a free sigh of relief on having crossed hills, reminiscence of a soul which has struggled hard and finally is victorious.” This description

Emperor Joseph II's reign was characterized by "consider-able economic depression combined with great political instability and uncertainty."

schubert.org 13

The Siege of Vienna, May 10, 1809, caused Beethoven to cover his head with pillows so as not to hear the cannons

may have held significance for Beethoven. The Siege of Vienna had begun on May 10 and continued until the July 12 armistice. Beethoven’s friend and student Jacob Ries reported that during the shelling the composer “covered his head with pillows so as not to hear the cannons.”

Opus 78 was a special favorite of Beethoven’s, perhaps, Maynard Solomon suggests, “because of its serenity, economy of form, and songful expressiveness.” The placid introductory bars—standing in for a slow movement—are never heard again, but its three-note ascending motive subtly influences what follows. The playful second movement begins with a fillip, and two-note slurs spread from it like wildfire between the hands. Does the answering phrase sound familiar? Beethoven had written Five Variations on ‘Rule, Britannia,’ in 1803. Here, the reference may have been a light-hearted appeal to Clementi’s British market.

Eight Piano Pieces, Opus 76 Johannes Brahms (b. Hamburg, 1833; d. Vienna, 1897)

Most of the Eight Piano Pieces, Opus 76 were written around the time of the Violin Concerto (1878). It was Brahms's first set of character pieces in the tradition of Schumann, Mendelssohn, and Chopin. Brahms had used the title Intermezzo once before: for the third of the four Ballades, Opus 10. Here the intermezzos provide relief and reflection between four muscular capriccios. The duality is not unlike Schumann’s Florestan and Eusebius (see below), but the capriccios here have a dark, legend-ary quality, while the intermezzos are as delicate as wildflowers. Brahms would return to the intermezzo genre in Opp. 116-119 for some of his final, innermost musical thoughts.

“The pattern and moods of the outer pieces bear a significant relationship,” notes Michael Musgrave, “both masking simple progressions and essential stepwise melodic motion behind rich and wide-ranging figuration and following a parallel pattern of A–B–development–A–B–coda.” The opening Capriccio, the cornerstone of the set, was a gift to Clara Schumann on September 12, 1871, the 31st anniversary of her marriage to Robert Schumann as well as the day before her 52nd birthday. Clara called the piece “dreadfully difficult, but so wonderful, so tender and melancholy, that when I play it,

Brahms manuscript of Opus 76, No.1, which he dedicated to Clara Schumann


Program Notescontinued

joy and sadness always surround my heart.” This particu-lar capriccio is important because of its relationship to Brahms’s song “Alte Liebe” (Old Love), which followed in 1876. As Yale scholar Paul Berry has pointed out, the song quotes the theme that appears after the piano piece’s turbulent introduction, joining it to the words, “An old dream takes hold of me / And leads me along its path.”

The Capriccio in B minor is the soubrette of the group, combining a descending chromatic bass with folksy vigor and Schubertian lightness. Brahms suggested to conductor Hans von Bülow that he serenade his bride with the graceful and expressive Intermezzo in A-flat major. The textures of the Intermezzo in B-flat major remind us that Brahms edited the keyboard works of Couperin; with an oh-so-very-French discretion, Brahms avoids tonic harmony until the last two lines.

The play of three notes against two is a common rhythmic feature in these works, but in the Capriccio in C-sharp minor it becomes a generative force. Variation technique is important, too; one hears the opening material in three different forms. Fans of the “other” Intermezzo in A major—Opus 118, No. 2—will find a kindred spirit in No. 6, a dialogue with a graceful middle section in the relative minor. There is no easy Brahms, but the A-minor Intermezzo, with its overlapping dialogue, is many a young pianist’s portal into Brahms’s meditative realm.

Children’s Corner Claude Debussy (b. Germain-en-Laye, 1862; d. Paris, 1918)

Debussy had a reputation as a misanthrope, but he loved children, and he adored Chouchou (“little cabbage”), his only child with his second wife, Emma Bardac. Debussy admired Mussorgsky’s song cycle, The Nursery, and he composed Children’s Corner in the same spirit of humor, simplicity and play—though certainly not for children to play at the piano. It was complete by 1908, the year that Debussy also began work on a libretto for Poe’s The Fall of the House of Usher. The composer would not live to complete that work or to see his girl into adolescence. He died in 1918; she died of diphtheria a year later.

The suite’s English titles are a nod to Chouchou’s English governess. Doctor Gradus ad Parnassum is a silvery rondo that honors and updates Clementi’s one hundred études, “Steps to Parnassus.” Debussy called it “a kind of progressive, hygienic gymnastics. It should be played every morning on an empty stomach, beginning moderato, and ending up animé.” Marked “gentle and a little clumsy,” Jimbo’s Lullaby begins with the velvet elephant’s gently lumbering theme, then the children’s song, “Dodo, l’enfant do” (Go to Sleep, My Child) is heard against whole-tone material. The Serenade of the Doll, with its strummed accompaniment and jazzy middle section, was the first movement to be written, in 1906. The Snow is Dancing works fantastic variations on the idea of alternating hands at the keyboard, as it brings a winter scene to life. The Little Shepherd may be a doll, but as pianist Paul Roberts observes, “his ancestry stretches back through the ages, imparting the wisdom and mystery of an ancient world.” Few composers can evoke so much with a solo line or a pair of chords.

Debussy and his daughter Claude-Emma "Chouchou"

Clara Wieck Schumann, by Edward Hendeman

schubert.org 15

Golliwogg is the name of a wildly popular black doll in books by American illustrator Flora Upton. American slaves invented the cakewalk as a strutting parody of white manners and dancing. In Golliwogg’s Cake Walk, hand-crossings suggest the dancers’ high leaps. Don’t miss the appearance of the love-motive from Wagner’s Tristan und Isolde. Debussy is perhaps engaging in a bit of self-parody: he was briefly a Wagnerian, visiting Bayreuth in 1888 and 1889 to hear Parsifal, Meistersinger, and yes, Tristan.

Humoreske, Opus 20 Robert Schumann (b. Zwickau, 1810; d. near Bonn, 1856)

Einfach (Simply) Sehr rasch und leicht (Very quick and light)Hastig (Hurriedly) Einfach und zart (Simply and tenderly)Innig (Intimately)Sehr lebhaft (Very lively)Mit einigem Pomp (Rather pompous) – Zum Beschluss (In conclusion)

Schumann entered the opening of the Humoreske into his Bridal Book for Clara Wieck in spring 1838. He completed the work in Vienna the following March. The published edition bears a dedication to Julie Baroni-Cavalcabò (1813–87), a pianist, composer, and student of Mozart’s youngest son Franz Xaver.

Of Schumann’s large-scale piano works of the 1830s, the Humoreske is in some ways the most challenging. “As in Carnaval,” notes pianist Anton Kuerti, “[Schumann] makes no pretense of integrating or connecting this set of superb sketches in more than the most tenuous manner. This should not be perceived as a flaw, but as an unaffected expression of his personality and of the romantic's general disdain for conventional restraints.” The composer himself admitted his bivalent response in a letter to his fiancé, Clara Wieck: “All week I sat at the piano composing, writing, laughing and crying, all at the same time. You will find this beautifully illustrated in my opus 20, the massive Humoreske.” The structure is unique and evolving, at times seemingly haphazard. But then, no one boards a roller-coaster to learn geography.

Robert and Clara Schumann in 1847

“Sehr rasch und leicht” contains the only real physical comedy in the work, an echo-game. “Hastig” is a puzzle. Schumann inserts a third staff in the score between treble and bass staves, marking it “Inner voice.” The voice is not to be played; it appears to be a voice that is felt, perhaps as one might hum—Glenn Gould-style. And it carried a message to Clara, for it echoes her Opus 11, No. 2. Another part of this movement is marked “Out of tempo.” The right hand is deliberately offset from the left by a sixteenth-note.

The listener expecting pratfalls in this music will be disappointed. In a letter to Belgian music-lover Simonin de Sire (1800–72), Schumann expanded on the meaning of his title. “The French language has no truly appropri-ate equivalent at its disposal for Humor, a notion deeply rooted in the German national consciousness . . . [and] involving the happy union of easy-going cheerfulness and wit.” Schumann’s famous alter egos Florestan and Eusebius express themselves in this music. Caprice, irony, and the key of B-flat major belong to Florestan; G minor is the domain of the sensitive, dreamy Eusebius. In the end, of course, humor is subjective. As Shakespeare’s Rosaline quips: “A jest’s prosperity lies in the ear / Of him that hears it, never in the tongue / Of him that makes it."

Program notes © 2014 by David Evan Thomas.


November 2014

Dear Schubert Club Friends,

CHANGES TO OUR SCHUBERT CLUB INTERNATIONAL ARTIST SERIES AT THE ORDWAY

As we near the completion of the Ordway Concert Hall construction, I am eager to share our news of two

important improvements that we are making to the International Artist Series next season (beginning October 2015).

• Next season, we will present our 5-concert International Artist Series in both venues: the existing Ordway

Music Theater and the new Ordway Concert Hall. Most of the recitals will be presented in the new Ordway

Concert Hall and occasional recitals in the Music Theater.

• International Artist Series subscribers and single ticket buyers will have the choice of an evening recital series

(as we offer currently) or a new, mostly daytime recital series.

If you are a renewing 5-concert subscriber, you will be guaranteed your same seat in the Music Theater, and we will

assign you a seat in a similar location in the new Concert Hall.

Though The Schubert Club has presented its International Artist Series in the Ordway Music Theater ever since

the Ordway opened in 1985, we are very excited about the opportunities presented by the soon-to-be-completed

Concert Hall. It will have a natural acoustic better suited to recitals and chamber music and will be a smaller, more

intimate space. Furthermore, since we know many music lovers prefer to attend daytime concerts over evenings,

particularly during the winter months, we are pleased to be able to offer the choice of a daytime series or an

evening series beginning next season.

Existing subscribers will receive their renewal packages in late February 2015. If you’re curious to experience a

performance in the new Concert Hall before next season, I hope you will consider joining us at a recital by Finnish

violinist Pekka Kuusisto (with Dermot Dunne, accordion), a Chamber Music Society of Lincoln Center production

featuring a quartet of vocal soloists with Wu Han and Gilbert Kalish, or our Schubert Club Scholarship Competition

Winners’ Recital – all scheduled in March 2015 in the Ordway Concert Hall as part of the Rock the Ordway festivities.

Thank you for your support and enthusiasm for The Schubert Club.

Sincerely,

Barry Kempton

Artistic & Executive Director

schubert.org 17

NEW CONCERT HALL CELEBRATION MAR 2015

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RTO 7x10_SchubertProgram.indd 4 10/2/14 3:23 PM


Goerne Program Page

The Schubert Club


presents

Ensemble CapriceMatthias Maute & Sophie Larivière, Artistic Directors

Matthias Maute, recorder, traverso • Sophie Larivière, recorder, traverso

David Jacques, baroque guitar • Susie Napper, baroque cello • Ziya Tabassian, percussion

Sunday, November 23, 2014 • 4:00 PM

Pre-concert conversation at 3:00 PM

¡Jácaras! Santiago de Murcia Hanacpachap cussicuinin Anon. (pub. Cuzco, Perú, 1631) Chacona, from Flores de música, 1706-1709 Antonio Martín y Coll Tarantelas Murcia La suave melodia Andrea Falconieri Doulce mémoire Diego Ortiz Canarios Murcia Xicochi Conetzintle Gaspar Fernandes Pasacalles de 2o tono Martín y Coll Marizapolos Murcia Los coflades de la estleya Juan de Araujo Differenzias sobre la Gayta Martín y Coll Xácara Martín y Coll La Folia Falconieri

Pastorale: Allegro – Piva – Pastorale Domenico Zipoli Lanchas para baylar, from Truxillo del Perú II, c. 1780 Anon.

Battalia: Battalia imperiale – Battalia dolorosa Zipoli – Battalia furiosa La Jota Murcia Temblante estilo italiano (Flores de música) Martín y Coll Yo soy la locura, from Ballet de la follie Henry de Bailly Tarará Antonio de Salazar Discurso con ecos Martín y Coll Danza del hacha Martín y Coll Canarios Antonio Martín (late 17th c.) Wainjo trad. Argentine Chaconne, Le veilleur de nuit Heinrich Ignaz Biber Convidando está la noche Juan García de Zéspedes

Intermission

Salsa baroqueMusic of Latin America and Spain

schubert.org 19

Music in the Park SeriesSunday, November 23, 2014 • 4:00 PM • Saint Anthony Park United Church of Christ

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

INSTITUTIONALEleanor L. and Elmer Andersen FoundationArts Touring Fund of Arts Midwest Boss FoundationCarter Avenue Frame ShopComo Rose TravelCy and Paula DeCosse Fund of The Minneapolis FoundationPhyllis and Donald Kahn Philanthropic Fund of the Jewish Communal FundWalt McCarthy and Clara Ueland and the Greystone FoundationMuffuletta CafeSaint Anthony Park Community FoundationSaint Anthony Park HomeSpeedy MarketTrillium Foundation

INDIVIDUALSArlene AlmNina and John ArchabalLynne and Bruce BeckChristopher and Carolyn BinghamAnn-Marie BjornsonAlan and Ruth CarpPenny and Cecil ChallyMary Sue ComfortDon and Inger DahlinGarvin and Bernice DavenportShirley I. DeckerKnowles DoughertyBruce DoughmanDavid and Maryse FanLisl GaalDick GeyermanDawn and Michael GeorgieffEugene and Joyce Haselmann

Sandy and Don HenryAnders and Julie HimmelstrupPeter and Gladys HowellGary M. Johnson and Joan G. HershbellMichael JordanChris and Marion LevyRichard H. and Finette L. MagnusonDorothy Mattson EstateDeborah McKnightJames and Carol MollerJack and Jane MoranDavid and Judy MyersGerald NolteJohn NoydKathleen NewellSallie O'BrienJames and Donna Peter

Rick Prescott and Victoria Wilgocki Dr. Paul and Elizabeth QuieJuliana Kaufman RupertMichael and Shirley SantoroMary Ellen and Carl SchmiderJon Schumacher and Mary BriggsDan and Emily ShapiroElizabeth ShippeeEileen V. StackCynthia Stokes James and Ann StoutJohn and Joyce TesterBruce and Marilyn ThompsonTim ThorsonMary Tingerthal and Conrad SoderholmDale and Ruth WarlandPeggy R. WolfeJudy and Paul WoodwardAnn Wynia

Ensemble Caprice, a baroque ensemble which performs on

period instruments, was founded by recorder soloist Matthias

Maute and has become known for its innovative approach to

an increasingly expanding musical repertoire. In addition to its

series of concerts in Montreal, the group tours extensively in

Quebec, Canada, the USA, Europe, and even Asia. The ensemble

is a regular guest at many European festivals: the Lufthansa

Festival of Baroque Music in London, the Bruges (Belgium) and

Utrecht (Netherlands) festivals, the Felicia Blumenthal

International Music Festival in Tel Aviv, and in Germany, the

Musikfestspiele Potsdam Sanssouci, the Regensburg Early

Music Festival, the Händel-Festspele in Halle, and the

Stockstadt festival. In the United States, the group performs at

New York’s Frick Collection and Miller Theater, Boston’s Early

Music Festival, and the Library of Congress. In Canada, the

ensemble can be heard at the Ottawa International

Chamber Music Festival, Early Music Vancouver, Early Music

Voices in Calgary, the Edmonton Chamber Music Society, the

Elora Festival, and the Festival International du Domaine

Forget. In November of 2009, the New York Times published a

lengthy article hailing the musicians’ innovative and

refreshing approach, praising them as “imaginative, even

powerful; and the playing is top-flight”.

The Ensemble’s recording activity comprises over twenty

CD’s having appeared on the Analekta, ATMA Classique, and

Antes labels, sold in some fifty countries around the world.

These recordings have gained many honors and much

critical acclaim. The CD Gloria! Vivaldi and his Angels received

a Juno Award in 2009 from the Canadian recording industry.

The Conseil québécois de la musique presented the group

with three prestigious Prix Opus awards: “Performer of the

year,” “Concert of the year” for its performance of Bach’s

B Minor Mass during the 2011 Montreal Bach Festival, and

“Concert of the year” for Le Faste de la France, a collaboration

with the Studio de Musique ancienne de Montréal, in 2011.

Ensemble Caprice was also recognized for its artistic

approach and the quality of its performances by being

selected “People’s choice” (2008-2009 season) and was a

finalist in the music category for the Montreal Arts Council’s

Grand Prix de Montréal for 2009. The group also earned the

Echo Klassik award in Germany and several other

nominations for the Association québécoise de l’industrie

du disque and Prix Opus awards. And finally, the acclaimed

publication Gramophone chose the group’s CD Telemann

and the Baroque Gypsies as one of its recommended

recordings. Ensemble Caprice makes their Music in the Park

Series debut this season.

Thank you to all those who gave to the new Music in the Park Series Endowment Fund. Please see page 38.


Program Notes

Salsa baroqueMusic of Latin America and Spain

During the sixteenth and seventeenth centuries, the musical

dialogue between the Old and the New Worlds produced

extraordinary results. This fascinating blend of European

polyphony and Latin American traditional music created

a unique style that is exemplified by the villancicos of the

Bolivian composer Juan de Araujo and the colorful

guarachas of his contemporaries. Also included in the

program are sonatas by Biber (1644-1704) and Falconieri

(1586-1656), two European composers who were influenced

by this Latin-American style. Gems from this spectacular

musical era will be performed on instruments that were

common at the time: flutes and recorders, baroque guitar,

violoncello, and various percussion instruments.

One can describe baroque music of Latin America as a fusion

of harmonies and rhythms of Europe and Africa blended

with Amerindian nuances and styles. This unique fusion

dates back to the sixteenth century and gave rise to a

complex and fascinating multitude of musical forms

resulting in a great variety of instrumentations, structures,

and rhythmic and melodic phrasing.

Salsa is the Spanish word for sauce, designating at the same

time a dance as well as a family of musical genres in

Latin-American music. It is this latter meaning and its

ancient roots that, together with a bit of humor, we have

taken to give the title Salsa baroque to our project. Despite

the human and political tragedies surrounding the

colonization of the South-American continent, the

multipolar musical culture that resulted is distinguished

by its fiery spirit and passion: here is music with a unique

character that enriches the repertoire of the seventeenth

century with refreshing novelties.

Gaspar Fernandes (c. 1570-1629) was Portuguese by birth,

but emigrated to Mexico, where he became a chapel

musician at the cathedrals of Guatemala and Puebla. His

villancicos (a popular song form of Spanish origin) often

have texts written in a mixture of an Amerindian language

with Spanish or the local dialect. The touching lullaby

Xicochi conetzintle utilizes the Nahuatl language of the

Aztecs. The collection of roughly 250 works from the pen of

Gaspar Fernandes forms the largest source of seventeenth-

century secular music from the New World.

Juan de Araujo (1648-1712), born in Spain, also spent his life

as a musician in Peru and Bolivia where he was appointed

Choirmaster of the cathedral in La Plata. His Los coflades de

la estleya (with the subtitle Black Song for the Birth of Our

Lord) and the Convidando está la noche by Juan García de

Zéspedes (1619-1678) distinguish themselves through the

Indigenous percussion instruments used in Mesoamerica.

The "two-l" tarentella, originally an Italian dance, became the "one-l" tarentela of Spanish composer Santago de Murcia

schubert.org 21

The cathedral in Sucre (formerly La Plata), Bolivia where Juan de Araujo was maestro de capella 1680-1712.

use of African rhythms juxtaposed with sections of

European counterpoint. It is perhaps through these two

short masterpieces of mixed coloring that the peculiar

ambiance that reigned in Latin America in the seventeenth

century is best conveyed.

The Christmas music, Tarará, of Antonio de Salazar

(c. 1650-1715), as well as the Pastorale of Domenico Zipoli

(1668-1726) display the originality of composers in the New

World who were able to meld their European background

with—from a European point of view—the exotic sonorities

of their Latin-American environment. The audacious final

melody of the Pastorale gives us an inkling of the creative

desires of an immigrant musician.

Spanish music is represented by instrumental works from

the vast collection of Antonio Martín y Coll (1671-1734) that

encompasses some hundred pieces of music in its four

volumes called Flores de música. The Chacona and the Xácara

are enriched with complex rhythms that approach those of

another contemporary Spanish composer who had travelled

in Latin America, Santiago de Murcia (1673-1739), whose

Tarantelas, Jacaras, and La Jota draw on a rich repertoire of

dance rhythms.

It is evident that geographic separation did not impede

the relatively rapid transfer of musical styles and

genres, despite the problems imposed by the very lim-

ited means of international and intercontinental travel.

The Canción de clarín con eco a discreción, also taken

from the Flores de música collection, as well as the

Temblante estilo italiano clearly show the Italian influ-

ence on the Iberian Peninsula. Conversely, the air-de-

cour Yo soy la locura by Henry de Bailly (c. 1585-1637)

has a Spanish text in spite of the French nationality of

the composer.

The rite Hanacpachap cussicuinin was sung and

performed during religious processions in church.

Published in 1631 in Peru, this is the very first

polyphony published in the Americas. It is a very

touching piece of music, born of different cultural

worlds united by the beauty of music.

–Matthias Maute

Antonio Martín y Coll's collection of popular, and mostly unattributed, keyboard pieces, Flores de musica. The pieces were famous enough at the time that the people would have known the composers.

You can help guarantee The Schubert Club for future generations by planning a gift in your estate or will.

In 1882, a group of Saint Paul residents formed a small society of music lovers. Since then, The Schubert Club has evolved into the

world-renowned performing arts organization you know today. We are thankful for the stewardship of our many past donors and

subscribers – their thoughtful inclusion of The Schubert Club in their estate plans is currently helping us bring the great music and

innovative programming we enjoy today.

Please help continue their legacy by planning your own estate gift for a strong tomorrow

A meeting with your financial planner is all it takes to make a meaningful future gift to The Schubert Club while

also making sure to provide for your heirs.

Think beyond cash–you can make gifts of stock, personal property, or real estate, or make The Schubert Club the

beneficiary of your life insurance policy, IRA, or pension plan.

An up-to-date will or living trust is the only way to ensure your wishes are carried out and not decided upon by

the courts.

The financial landscape for non-profits like The Schubert Club is changing. Unfortunately, we’re less and less able

to depend on corporations and foundations for the majority of our support, as we once were. You can help make

up the difference by dedicating an estate gift to The Schubert Club, incurring no expense to you during your

lifetime and providing for a successful future for years to come.

Make a planned gift today to help us carry out our mission:

The Schubert Club invites the world’s finest recital soloists and ensembles to our community and promotes the finest musical

talents of our community to the world. We do this through performances, education and museum programs, championing the

music of today and of the future while celebrating great classical music of the past. Learn more at schubert.org/donate

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

The future of The Schubert Club depends on you!

Benjamin Grosvenor, pianoTuesday, February 24, 2015

7:30 at the Ordway

schubert.org

“With virtuosity of this calibre,

allied to a probing musical intelligence,

the sky’s the limit.”

– The Independent

schubert.org 23

The Schubert Club

Artist from the Past

One of the pioneering figures in the twentieth-century revival of early music, Arnold Dolmetsch (1858-1940), may be chiefly known today as the name on the plastic recorders many of us remember from grade school.

Raised in a family of instrument makers and inspired by ancient instruments he saw at the British Museum, Dolmetsch began making playable copies of those antiques—his first lute in 1893, and later harpsichords, viols, and recorders. He is often credited with establishing the recorder as a concert instrument, as well as promoting it as a teaching tool in schools.

Of Czech heritage and born in France, Dolmetsch studied at the Conservatoire in Brussels, learning violin from renowned virtuoso Henri Vieuxtemps. Though he spent much of his working life in England, Dolmetsch at the time of his Schubert Club concert was employed in Boston building harpsichords and clavichords for the Chickering piano company.

Dolmetsch was an active participant in the cultural life of London, and his friends and admirers included such luminaries as William Morris, Roger Fry, Gabriele d’Annunzio, George Bernard Shaw, Ezra Pound, and W. B. Yeats. His life and work were even celebrated in a novel: Evelyn Innes by George Moore!

Below, a young Arnold Dolmetsch; above, the program of his 1906 Schubert Club recital, in which he performed with his third wife, Mabel, née Johnston, a noted bass-viol player

Arnold Dolmetsch

Arnold Dolmetsch (with lute) surrounded by his very musical family in the 1930s.


Intermission

String Trio in G major, Opus 9, No. 3 Ludwig van Beethoven

Adagio – Allegro con brio Adagio ma non tanto and cantabile Scherzo – Allegro Presto

The Schubert Cluband

Kate Nordstrum Projects

present

AccordoKyu-Young Kim, violin • Steven Copes, violin

Maiya Papach, viola • Anthony Ross, cello • Ronald Thomas, cello

Monday, December 8, 2014 • 7:30 PM

Cello Quintet in A major, Opus 39 Alexander Glazunov

Allegro Scherzo. Allegro moderato Andante sostenuto Finale. Allegro moderato

Copes, Ross

Kim, Papach, Thomas

Copes, Kim, Papach, Thomas, Ross

Please join us in the Luther Lounge for complimentary drinks and small bites after the concert

Duo for Violin and Cello Erwin Schulhoff

Moderato Zingaresca: Allegro giocoso Andantino Moderato

schubert.org 25

AccordoMonday, December 8, 2014 • 7:30 PM • Christ Church Lutheran

A special thanks to the Accordo donors:

Performance SponsorsHella Mears HuegJohn and Ruth HussLucy Jones and James JohnsonJenny Nilsson and Garrison KeillorAlfred and Ann Moore

Musician SponsorsNina and John ArchabalMary and Bill BakemanEileen Baumgartner Michael and Carol BromerTim and Barbara BrownRachelle Dockman Chase and John H. FeldmanPaul Markwardt and Richard AllendorfFred and Gloria SewellJoseph and Kay Tashjian

PatronsAnonymous (3)Carl AhlbergBeverly S. AndersonBarbara A. BaileyBrian O. BerggrenKit BinghamPhillip Bohl and Janet BartelsBarbara Ann BrownJudy and Richard BrownleeJohn and Birgitte ChristiansonPamela and Stephen DesnickGeorge EhrenbergCelia and Hillel GershensonMary Glynn, Peg and Liz GlynnBonnie GrzeskowiakMichelle HackettKen and Suanne Hallberg

Betsy and Michael HalvorsonPhillip and Alice HandyCarol A. JohnsonMary JonesRobert JordanErwin and Miriam KelenBarry and Cheryl KemptonChristine Kraft and Nelson CapesAlexandra KulijewiczDavid G. LarsonThomas LogelandHelmut and Mary MaierRhoda and Don MainsRachel MannRon and Mary MattsonDeborah McKnight and James AltJane E. MercierElizabeth Myers

Kathleen NewellLowell and Sonja NoteboomJohn NoydChuck Ullery and Elsa NilssonPatricia O'GormanCarol Olig and Gregory TacikGlad and Baiba OlingerScott and Judy OlsenSydney M. PhillipsBill and Susan ScottBuddy Scroggins and Kelly SchroederEd and Marge SenningerDan and Emily ShapiroGale SharpeArne SorensonGregory Tacik and Carol OligAlex and Marguerite Wilson

Accordo (from left): Ruggero Allifranchini, Anthony Ross, Maiya Papach, Ronald Thomas, Erin Keefe, Rebecca Albers, Steven Copes, Kyu-Young Kim

Sponsors:

Accordo, established in 2009, is a Minnesota-based chamber group made up of some of the very best instrumentalists in the country,

eager to share their love of classical and contemporary chamber music in intimate and unique performance spaces. Their concerts are

held in the National Historic Landmark Christ Church Lutheran, one of the Twin Cities’ great architectural treasures, designed by the

esteemed architect Eliel Saarinen and his son Eero Saarinen.

Accordo includes a string octet composed of Saint Paul Chamber Orchestra (SPCO) and Minnesota Orchestra current and former principal

players Rebecca Albers, Ruggero Allifranchini, Steven Copes, Erin Keefe, Kyu-Young Kim, Maiya Papach, Anthony Ross, and Ronald Thomas.

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Accordo at Amsterdam:

Accordo performs excerpts from this

program with guest host Chuck

Ullery on Tuesday, December 9 at

Amsterdam Bar & Hall


Courtroom ConcertOctober 30, 2014 • Noon • Landmark Center

Charles Asch, celloFranco Holder, piano

Cello Sonata No. 2 in F major, Op. 99 – Johannes Brahms

Allegro vivace

Adagio affettuoso

Allegro passionato

Allegro molto

Variations on One String on a Theme by Rossini ("Moses") – Nicolo Paganini (trans. by Luigi Silva)

Charles Asch is completing his Doctor of Musical Arts Degree at the University of Minnesota with

an active performance schedule of orchestral, chamber, and solo cello music. He received his Mas-

ter’s degree from Juilliard in 2011, where he studied with Richard Aaron and Fred Sherry. His studies

at the University of Minnesota were with Tanya Remenikova. In March 2014, Charles won second

place in graduate strings in The Schubert Club's Bruce P. Carlson Scholarship Competition. Recent

performances have included a complete Bach Solo Cello Suite series at St. John the Evangelist in St.

Paul last spring and performances with the Lakes Area Music Festival Orchestra in Brainerd this past

August. Charles comes from a musical family in Milwaukee, where he grew up singing and

performing piano.

Franco Holder received his Bachelor of Music degree from Indiana University-Purdue University

in 2009, after which he joined the faculty as a collaborative pianist. He has appeared in recital in the

United States, Canada, and Europe and in 2013 was named a winner of the Minnesota Music Teach-

ers Association Artistic Ambassador Competition. He enjoys collaborating with musicians and danc-

ers alike and accompanies at Saint Paul Ballet, TU Dance Center, and the University of Minnesota.

schubert.org 27

Courtroom ConcertNovember 6, 2014 • Noon • Landmark Center

Cordova QuartetAndy Liang, violin • Niccolo Muti, violin

Blake Turner, viola • Matthew Kufchak, cello

Quartet No. 9 in C major, Op. 59, No. 3 – Ludwig van Beethoven

Introduzione. Andante con moto-Allegro vivace

Andandte con moto quasi Allegretto

Menuetto. Grazioso-Trio

Allegro Molto

The Cordova Quartet was formed in the Fall of 2013 at Rice University

in Houston, TX where they were coached primarily by Desmond Hoebig and

Norman Fischer. In the Fall of 2014, they begin their new appointment as

Graduate String Quartet in Residence at the University of Texas, studying with

the Miró Quartet. The Cordova Quartet was one of three fellowship quartets

at Madeline Island Music Camp in 2014. They are currently participating in

the Music Camp’s Artist Residency Program in Minneapolis.

(from left) Matthew Kufchak, Blake Turner,

Niccolo Muti, Andy Liang

Andy Liang has been a featured soloist with orchestras such as the Oregon Symphony, Portland Chamber Orchestra, Vancouver

Symphony, Portland Youth Philharmonic, and the National Repertory Orchestra. He has also served as concertmaster of the Shep-

herd School Symphony Orchestra, the Portland Youth Philharmonic, and as the Assistant Concertmaster of the National Repertory

Orchestra. At the age of 13, Andy was the Northwest Regional MTNA (Music Teachers National Association) Junior String Competi-

tion winner as well as a national finalist. Andy has been featured on the radio program From the Top. Andy received his Bachelor’s

and Master’s degrees in Violin Performance from Rice University’s Shepherd School of Music.

Niccoló Muti completed his Master’s Degree at Rice University’s Shepherd School of Music. He received his Bachelor's degree in

Violin Performance from Indiana University’s Jacobs School of Music, studying on a merit scholarship. Niccoló has won numerous

competitions and awards, among them the Senior Division of South Carolina's MTNA Competition in 2006 and the Charleston

Symphony League Scholarship in 2007. He made his solo debut in 2007 with the State Philarmonic Orchestra of Romania in Spo-

leto, Italy. Five months later, Niccoló made his American solo debut with the Chamber Orchestra of the Triangle. In 2012, Mr. Muti

founded Incontri Musicali, an annual summer chamber music festival in Spoleto, Italy.

A native of San Antonio, Blake Turner has appeared in a wide range of venues, including New York’s Carnegie Hall, the World

Trade Center in Curaçao, Netherland Antilles, and Miami’s New World Center. Blake received his Bachelor’s degree in viola per-

formance from the Shepherd School of Music at Rice University, where he served as principal violist of both the Symphony and

Chamber Orchestras. Blake recently joined the Austin Symphony and has performed with the Houston Symphony and the New

World Symphony. Blake developed a winter concert series in collaboration with the Aspen Music Festival to bring chamber music

to Aspen during the ski season.

Matthew Kufchak completed his Bachelor's and Master's degrees in Cello Performance at Rice University. Matthew was a

recipient of From the Top’s prestigious Jack Kent Cooke Young Artist Award in 2007. He was also a silver medalist in the Junior Divi-

sion of the 2006 Fischoff National Chamber Music Competition. Matthew spent four summers at the Aspen Music Festival and

School, where he was a fellowship student and served as principal cellist of the American Academy of Conducting at Aspen Or-

chestra and the Aspen Philharmonic Orchestra. He has also served as principal cellist of the Shepherd School Symphony Orchestra

at Rice and of Alkali, a small conductor-less string ensemble.


Jewish Soviet-born American pianist, Shulamit Irina Maneev, was born in Kharkov, Ukraine. She

started her music education at the Special School for gifted children at age six. She continued her studies

at the famed Leningrad conservatory in Russia, graduating with honors and earning her MA in piano per-

formance and pedagogy. After immigrating to Israel, she was a yearly participant of Festival Jerusalem,

a finalist of the First Israeli Modern Music Competition, and made several recordings on Israeli radio "Kol

Israel." She was among twenty pianists from the former Soviet Union selected for the special course at

the Jerusalem Music Center, under the sponsorship of Isaac Stern and Israeli government. After moving

to Minneapolis, she has produced a concert series co-presented by The Schubert Club, was the recipient

of a grant from The Howard B. Brin Endowment for the Jewish Arts and was a featured performer on

Music de Camera, a series of videotaped performances produced by Baby Blue Arts for public television.

She has made several recordings for Minnesota Public Radio. A highlight of Ms. Maneev's work was a

concert, "Music of Paul Schoenfield," at the St. Paul Jewish Community Center, which she produced and performed with violinist

Michal Sobieski, and cellist Laura Sewell. Ms. Maneev collaborated with Manny Laureano, principal trumpeter from the Minnesota

Orchestra, performing for the International Trumpet Guild in Minneapolis (2013) and at the St. Paul JCC (2012).


David Franzel, saxophoneJerrod Wendland, piano

"Fire in the Earth," from Concerto for Saxophone – David Maslanka (b. 1943)

Rock Me – Barry Cockcroft (b. 1972)

Andante con tenerezza – C. P. E. Bach

Fantasie Impromtu, Op. 66 – Frédéric Chopin

Impromtu in E flat major, Op. 90 – Franz Schubert

"Someone to watch over Me" – George Gershwin (trans. Maneev)

Shulamit Maneev, piano

David Franzel grew up attending Eugene Rousseau’s Saxophone Workshops in Shell Lake, WI. This is

what opened the door to music for him. Since then, he has won multiple competitions, played lead roles in

top university bands at St. Olaf and the University of Minnesota, and maintained a private lessons studio.

Dave has studied with Kurt Claussen, Greg Keel, and the internationally recognized Eugene Rousseau.

Currently, Dave is finishing his Bachelor of Music at the University of Minnesota and is working to establish

himself in the Minneapolis area as a virtuosic saxophonist in both classical and jazz idioms.

Minneapolis pianist Jerrod Wendland is a performer, educator, and collaborator, equally at home in

classical or popular styles, in art song or opera, in the concert hall or the classroom. All of his activities are

united by his conviction that every person has a unique artistic voice, that every performance is an

improvisation, and that music is not a museum piece, but a living art.

schubert.org 29


Artu DuoRuth Marshall, cello • Garret Ross, piano

Polonaise-Fantasy, Op. 61 – Frédéric Chopin

12 Variations on 'See the conqu'ring hero comes,' WoO 45 – Ludwig van Beethoven

Sonata for Solo Cello – György Ligeti

I. Dialogo – Adagio, rubato, cantabile

II. Capriccio – Presto con slancio

Fantasiestücke, Op. 73 – Robert Schumann

I. Zart und mit Ausdruck

II. Lebhaft, leicht

III. Rasch und mit Feuer

In 2011, pianist Garret Ross and cellist Ruth Marshall gave their first performance as a duo. Since then, their collaboration has

grown and thrived. In 2011, they had a residency at the Banff Centre in Alberta, Canada, where they studied the Beethoven

Sonatas for Cello and Piano with Colin Carr and Thomas Sauer. In 2012, they were residents at the Aldeburgh Festival in Suffolk,

England, studying the music of Brahms and Schumann with the chamber music guru Menahem Pressler. In 2013, they made their

debut on the Dame Myra Hess Memorial Concert Series at the Cultural Center in Chicago, which was broadcast live on WFMT. The

Artu Duo is the ensemble-in-residence at the Annual Chamber Music Festival of Houston, Minnesota.

A Seattle native, Ruth Marshall has developed a diverse career as a pedagogue, orchestral player, and chamber musician in the

Midwest. Ruth teaches over 30 cello students in her home-base city of Indianapolis, and is on the faculties of the Butler University

Community Arts School in Indianapolis and the DePaul University School of Music in Chicago. She is Principal Cello of the Illinois

Symphony Orchestra in Springfield, Illinois, and is a frequent substitute player with the Indianapolis Symphony Orchestra and

the Columbus, Ohio Symphony Orchestra. Ruth recently became the cellist for the Chicago-based Ursa Ensemble, which presents

chamber music concerts to audiences in collaboration with artists from different disciplines. She holds degrees from the Univer-

sity of Washington and DePaul University. In August 2014, Ruth joined the Britt Festival Orchestra in Jacksonville, Oregon as the

newest member of their cello section.

Garret Ross enjoys an active career as a soloist and chamber musician. This year, he performed alongside cellist Ruth Marshall

for the Dame Myra Hess Memorial Concert Series at the Chicago Cultural Center and also started The Annual Chamber Music

Series in Houston, Minnesota. Ross has also recently performed in various venues in NYC, including Steinway Hall and Loewe

Theater. During the 2011-2012 season, Ross performed Rachmaninoff's First Concerto with the Bethel University Philharmonic

Orchestra, was soloist for the world premiere of Gregory Vajda's Csardas Obstine for Piano and Orchestra at the Music in the

Mountains and Round Top Festivals, and was a winner in The Schubert Club Scholarship Competition. Ross has performed and

studied at the Aldeburgh Festival, Banff Centre, International Keyboard Institute and Festival, International Festival-Institute at

Round Top, AmerKlavier Institute at Steinway Hall, and PianoSummer at New Paltz. Currently, Ross studies with Eteri Andjaparidze

at NYU's Steinhardt School where he also serves as adjunct faculty in piano. He completed his Master of Music degree at the

University of Minnesota with Alexander Braginsky. In 2008, Ross graduated from Bethel University in Saint Paul with a Bachelor of

Music in Performance where he won first prizes in the Solo and Concerto Competitions.


Courtroom ConcertDecember 11, 2014 • Noon • Landmark Center

Nicholas Nelson, bass • Denis Evstuhin, piano

Hyounsoo Sohn, mezzo soprano • Eric McEnaney, piano

Songs of Rimsky-Korsakov

The Fir and the Palm Op. 3 No. 1

The Messenger Op. 4 No. 2

The West fades into the Sunset Op. 39 No. 2

When the yellowing Field trembles Op. 40 No. 1

The Ocean heaves Op. 46 No. 3

The Prophet. Op. 49 No. 2

"Because You are here" – Sun-Ae Kim

"Wenn mein Schatz Hochzeit macht," from Lieder eines fahrenden Gesellen – Gustav Mahler

"Ging heut morgen uebers Feld," from Lieder eines fahrenden Gesellen – Gustav Mahler

"Boy's Lips," from Love after 1950 – Libby Larsen

"Blond Men," from Love after 1950 – Libby Larsen

In September, Nicholas Nelson made his Minnesota Opera debut as Larkens in Puccini's La Fanciulla del West. From 2010-13,

Nelson was a Resident Artist at Portland Opera. Roles performed in Portland include Inigo Gomez in L'heure Espagnole, Masetto

in Don Giovanni, Pistola in Falstaff, and the Pope in Philip Glass's Galileo Galilei. The latter production was the basis for the world

premiere recording of the opera. Nelson has also performed roles with Tacoma Opera, Central City Opera, and Opera North. Origi-

nally from Winthrop, he attended the University of Minnesota as a student of Glenda Maurice. In addition to his work as a classi-

cal bass, he is also active as a guitarist, thereminist, and actor.

Hyounsoo Sohn, a native of Seoul, South Korea, has appeared on stage as Suzuki in Madama Butterfly,

Hansel in Hansel and Gretel, Carmen in The Tragedy of Carmen, and Nicklaus in Les Countes du Hoffmann.

She has performed principal or solo roles in Handel’s Messiah, Berlioz’s La Damnation de Faust, Brahms’s Alto Rhapsody, Mozart’s

C Minor Mass, Bach’s B Minor Mass, Canteloube’s Chants d’Auvergne and Vivaldi’s Gloria. In addition to traditional pieces, she

has premiered contemporary works including the world premiere of John Eaton’s opera “...inasmuch” in New York City. She was a

member of the National Chorus of Korea before coming to the United States in the fall of 2000 to renew her studies at Indiana

University’s School of Music. Her recent concerts include soloist for Vocal Essence in Minneapolis.

Eric McEnaney has worked as a pianist and vocal coach on more than 75 opera productions. In recent seasons, he has also

served as pianist and coach for the workshop and rehearsal process of several newly commissioned operas including Doubt,

The Manchurian Candidate, The Poe Project, Rockland, The Shining, and the Pulitzer Prize winning Silent Night. As a recitalist, Dr.

McEnaney has appeared with singers from the rosters of the Metropolitan Opera, Lyric Opera of Chicago, and Santa Fe Opera,

among others. His performances have been broadcast locally and nationally on Minnesota Public Radio, Colorado Public Radio,

Twin Cities Public Television, KSTP-TV's Twin Cities Live, and American Public Media's A Prairie Home Companion.

Russian pianist Denis Evstuhin has performed in venues throughout Europe and America, including Walt Disney Concert Hall,

Great Tchaikovsky Hall (Moscow), and the Mariinsky Theater (St. Petersburg). He has appeared as a soloist with the San Diego

Symphony and the Minnesota Orchestra and on broadcasts from NPR’s Performance Today and Russian National Television. He

is the winner of the first prize at the Maria Yudina International Piano Competition and has won awards at the Rachmaninoff

International Piano Competition, the Andorra Competition, and the International Piano e-Competition.

schubert.org 31

Courtroom ConcertDecember 18, 2014 • Noon • Landmark Center

Carols of Minnesota ComposersCarrie Henneman Shaw, soprano; Linda Kachelmeier, alto; Nick Chalmers, tenor; Timothy C. Takach, bassMin Kim, harp; Hannah Peterson, flute

I. Singing the Story

O Nations, Let Us Now Prepare – Richard Toensing

O Little Town of Bethlehem – William Rhys Herbert

O Little Town – Linda Kachelmeier

* Noel, noel – Paul Rudoi

Canticum Novum: I Sing the Birth – Stephen Paulus

II. Getting There

The Oxen – Maura Bosch

* A Winter Ride – John Ward

Heavenly Child – Peter Mayer

III. Traditions Old & New

* Come Bring with a Noise – Barbara Rogers

Little Tree – Steve Heitzeg

Four Carols of Alfred Burt – Abbie Betinis, arr.

Carol of the Stranger – Abbie Betinis

IV. Minnesota Wishes

* After Harvest – Timothy C. Takach

Coming Home – Peter Mayer

Wishes and Candles – Stephen Paulus

Winter Comes Again – Keri Noble

Timothy C. Takach enjoys a busy and varied career as a composer, singer, clinician, and freelance graphic designer. As a

full-time composer, Takach has a healthy schedule of commissioned work. He is a co-founder of the professional ensemble

Cantus and Vice President of both Graphite Publishing and the Independent Music Publishers Cooperative. Takach

graduated with honors from St. Olaf College with degrees in Music Composition and Art.

Nick Chalmers has sung with The Singers-Minnesota Choral Artists and the Minnesota Opera Chorus and has been

section leader with the Chorus of Opera Memphis. Recent engagements include The Mirandola Ensemble and Glorious

Revolution Baroque. Currently, Chalmers sings with the The Rose Ensemble, teaches private voice at St. Francis High School,

and is cantor and tenor section leader at The Cathedral of St. Paul.

Linda Kachelmeier is a singer, composer, pianist, and conductor. Linda has performed with The Dale Warland Singers,

VocalEssence, the a cappella quintet Dare to Breathe, The Mirandola Ensemble, Glorious Revolution Baroque, and The Rose

Ensemble, of which she is a founding member. She is the artistic director and alto in the new Twin Cities women’s trio,

Lumina. Linda is the Director of Music at First Presbyterian Church in South St. Paul.

Carrie Henneman Shaw weaves style and emotion into vivid performances of Baroque and contemporary classical

music. Winner of a McKnight Fellowship for Performing Musicians, she has been praised as a “major musical force” (St. Paul

Pioneer Press) and “consistently stylish” (Boston Globe). Shaw sings with ensembles in Minnesota, Boston, and Chicago:

Glorious Revolution Baroque, The Bach Society of Minnesota, Ensemble Dal Niente, and Baroque opera companies.

Min Kim is Principal Harpist of the Minnesota Opera and has also performed with the Minnesota Orchestra, Saint Paul

Chamber Orchestra, VocalEssence, The Singers, Rochester Philharmonic, Buffalo Philharmonic, New Haven Symphony,

Minneapolis Pops, Minnesota Sinfonia, and North Star/Skylark Opera. She has taught at MacPhail Center for the Arts,

Gustavus Adolphus College and Schmitt Music Company, and is a member of Trio Callisto, a Minneapolis-based ensemble.

Hannah Peterson is a former Schubert Club intern and Scholarship Competition winner. She holds a Bachelor of Music

degree in Flute Performance from the University of Cincinnati. Hannah currently works for the Minnesota Opera in addition

to maintaining a private flute studio and freelance performance schedule.

Christmas card artwork by Emily Burt Betinis

*World Premiere


IntervalsAlumni News of The Schubert Club Scholarship Competition

Unlike many Schubert Club Competition winners who began their studies at a very young age, bass Nick Nelson only began studying voice at age 22. (Before then his sole passion was to perform as a blues/rock/jazz guitarist!) Nick began his vocal studies with Glenda Maurice at the University of Minnesota and entered his first Schubert Club Competition in 2005, having never participated in a competition before and having limited experience performing in public as a classical singer. Thus, it came as a shock for him when he received 2nd prize in the Advanced Voice division, and as an extra bonus, received the Thelma Hunter prize.

Even more important to him than the prizes was the realization that professional classical singers saw potential and talent in him. Nick went on to win 1st prize in Advanced Voice in 2007 and 1st prize in Graduate Voice in 2008; that year’s vocal judge was renowned American soprano Benita Valente! Also in 2007, Nick was featured in the documentary film, Prized Performers, but apologized profusely for the bad haircut and polyester suit he was sporting at the time!

Further encouragement came from master classes with Dawn Upshaw, Jennifer Larmore and Håkan Hagegård, and also from Director David Walsh who cast Nick in

(left) Nick as the Pope in Glass's Galileo Galilei with André Chiang as Galileo. (right) As Iñigo Gomez in L'heure Espagnole with Daryl Freedman as Concepción.

Nick Nelson, bass

three University of Minnesota opera productions. He played the roles of Colline in La Boheme, Figaro in Le Nozze di Figaro, and Seneca in L’incoronazione di Poppea.

Nick’s first professional operatic experience was in 2009 as an Apprentice Artist at Central City Opera in Colorado. He also worked as a Portland Opera Resident Artist from 2010-2013 where he performed nine mainstage roles over three seasons. But one thing Nick felt, as a Minnesotan, was missing in his career was that he had never actually worked with Minnesota Opera. With thanks to Artistic Director Dale Johnson, Nick just completed his debut performance with Minnesota Opera as Larkens in La Fanciulla del West.

Coming up for Nick will be his first Magic Flute experience as he sings Sarastro with Opera in the Rock. He is looking forward to his first opera with dialogue as he feels happiest when he gets to speak AND sing.

Nick has words of advice to pass on to younger musicians: “Stay as curious as possible—exposing yourself to as much music as possible, regardless of genre. That is what will give you imagination and inspiration to say something unique as a musician. The more you listen to, the more chances you have of finding something that touches you deeply. Ultimately all of these styles and art forms are just alternate methods of achieving the same goal: sharing the beauty of the human experience with others.”

Nick Nelson as Larkens in Minnesota Opera's La fanciulla del West

Phot

o: M

ich

al D

anie

l, M

inn

esot

a O

pera

schubert.org 33schubert.org 33

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

OfficersPresident: Nina Archabal

President Elect: Kim A. Severson

Vice President Artistic: Lynne Beck

Vice President Audit & Compliance: Gerald Nolte

Vice President Education: Marilyn Dan

Vice President Finance & Investment: Craig Aase

Vice President Marketing & Development: Mark Anema

Vice President Museum: Ford Nicholson

Vice President Nominating & Governance: Kim A. Severson

Recording Secretary: Catherine Furry

Craig Aase

Mahfuza Ali

Mark Anema

Nina Archabal

Paul Aslanian

Lynne Beck

Carline Bengtsson

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

Dorothea Burns

James Callahan

Carolyn Collins

Marilyn Dan

Anna Marie Ettel

Richard Evidon

Catherine Furry

Michael Georgieff

Elizabeth Holden

Dorothy Horns

Anne Hunter

Kyle Kossol

Chris Levy

Jeff Lin

Kristina MacKenzie

Peter Myers

Ford Nicholson

Gerald Nolte

Gayle Ober

David Ranheim

Ann Schulte

Kim A. Severson

Gloria Sewell

Anthony Thein

John Treacy

Allison Young

Barry Kempton, Artistic & Executive Director

Max Carlson, Program Associate

Kate Cooper, Education & Museum Manager

Lisa Dahlberg, Ticketing & Development Associate

Kate Eastwood, Executive Assistant

Julie Himmelstrup, Artistic Director, Music in the Park Series

Megan Lutz, Social Media & Marketing Intern

Tessa Retterath Jones, Marketing & Ticketing Manager

Joanna Kirby, Project CHEER Director, Martin Luther King Center

StaffDavid Morrison, Museum Associate & Graphics Manager

Paul D. Olson, Director of Development

Kathy Wells, Controller

Composers in Residence:

Abbie Betinis, Edie Hill

The Schubert Club Museum Interpretive Guides:

Sarah Church, Aly Fulton, Paul Johnson, Alan Kolderie, Sherry Ladig,

Kirsten Peterson, Edna Rask-Erickson

Dorothy Alshouse

Mark Anema

Dominick Argento

Jeanne B. Baldy

Ellen C. Bruner

Carolyn S. Collins

Dee Ann Crossley

Josee Cung

Mary Cunningham

Joy Davis

Terry Devitt

Arlene Didier

Karyn Diehl

Ruth Donhowe

Anna Marie Ettel

Diane Gorder

Julie Himmelstrup

Hella Mears Hueg

Advisory Circle

Thelma Hunter

Ruth Huss

Lucy Rosenberry Jones

Richard King

Karen Kustritz

Libby Larsen

Sylvia McCallister

Dorothy Mayeske

Elizabeth B. Myers

Nicholas Nash

Richard Nicholson

Gilman Ordway

Stephen Paulus

Christine Podas-Larson

George Reid

Barbara Rice

Estelle Sell

Gloria Sewell

Katherine Skor

Tom Swain

Jill Thompson

Nancy Weyerhaeuser

Lawrence Wilson

Mike Wright

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


The Schubert Club Annual ContributorsThank you for your generosity and support

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and Greystone Foundation

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schubert.org 37

In honor of the marriage of Mark

Baumgartner and Paul D. Olson


and James Johnson

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In honor of the Elkina Sisters

Rebecca Shockley

In honor of the marriage of Kyle

Kossol and Tom Becker

Mark Baumgartner and Paul Olson

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Rick Reynen and Harlan Verke

In honor of Lisa Niforopulos

Gretchen Piper

In memory of William Ammerman

Marilyn and John Dan

In memory of Dr. John Davis

August Rivera, Jr.

In memory of Leon R. Goodrich

Bruce and Lucinda Backberg

J.J. and Debra Cascalenda

Bradley and Mary Louise Clary

Charles and Kathryn Cunningham

Kristi and Scott Eckert

Rita Eckert

Steve Farsht

John and Sarah Garrett

Ruth E. Glarner

Daniel Goodrich

Katherine Goodrich

The Family of Leon R. Goodrich

Ward and Shotsy Johnson

Amy and Randy Karger

Heidi and Bradley Keil

Ingrid and Lee Krumpelmann

Edward and Susan Laine

Richard and Thelma Lareau

John and Nancy Lindahl

Anne C. McElroy

Jeffrey Messerich

Metro Bridge Club

Dan Miller and Beth Haukebo

Erin O’Neill and Caitlin Serrano

Ilene A. Olson

Oppenheimer Wolff & Donnelly LLP

H.W. and Mary Park

Ann Treacy and Aine O'Donnell

Jerrol and Alleen Tostrud

Melinda and Steven Wellvang

Roger and Barbara Wistrcill

Jamie W. Witt

In memory of Manuel P. Guerrero

August Rivera, Jr.

In memory of Hilda Haarstick

Elizabeth Cummins

An endowment gift to

support the Thelma Hunter

Scholarship Prize in honor of

Thelma's 90th Birthday

Hella Mears Hueg and Bill Hueg

In memory of Hilary Kempton

Nina and John Archabal

Dorothea Burns


Julie and Anders Himmelstrup

Megen Balda and Jon Kjarum

Paul D. Olson

and Mark L. Baumgartner

Judy and David Ranheim

Connie Ryberg

Helen M. Smith

In memory of Dorothy Mattson

Penny and Cecil Chally

In memory of Jeanette Maxwell Rivera

August Rivera, Jr.

In memory of Jeanne Shepard

Nan C. Shepard

In memory of Nancy Shepard

Nan C. Shepard

In memory of Tom Stack

Eileen V. Stack

In memory of Catharine Wright



Diane and Mark Gorder

Paul D. Olson

John and Barbara Rice

Helen M. Smith

Memorials and Tributes

This activity is made possible by the voters of Minnesota

through a Minnesota State Arts Board Operating Support

grant, thanks to a legislative appropriation from the arts

and cultural heritage fund, and a grant from the Wells Fargo

Foundation Minnesota.

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

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

Thank you to the following organizations

The Deco Catering is the preferred caterer of The Schubert Club


The Schubert Club Endowment

The Schubert Club Endowment was started

in the 1920s. Today, our endowment

provides more than one-quarter of our

annual budget, allowing us to offer free

and affordable performances, education

programs, and museum experiences for

our community. Several endowment funds

have been established to support education

and performance programs, including the

International Artist Series with special

funding by the family of Maud Moon

Weyerhaeuser Sanborn in her memory. We

thank the following donors who have made

commitments to our endowment funds:

The Eleanor J. Andersen

Scholarship and Education Fund

The Rose Anderson

Scholarship Fund

Edward Brooks, Jr.

The Eileen Bigelow Memorial

The Helen Blomquist

Visiting Artist Fund

The Clara and Frieda Claussen Fund

Catherine M. Davis

The Arlene Didier Scholarship Fund

The Elizabeth Dorsey Bequest

The Berta C. Eisberg

and John F. Eisberg Fund

The Helen Memorial Fund

“Making melody unto the Lord in her very

last moment.” – The MAHADH Fund

of HRK Foundation

The Julia Herl Education Fund

Hella and Bill Hueg/Somerset

Foundation

The Daniel and Constance Kunin Fund

The Margaret MacLaren Bequest

The Dorothy Ode Mayeske

Scholarship Fund

In memory of Reine H. Myers

by the John Myers Family,

Paul Myers, Jr. Family

John Parish Family

The John and Elizabeth Musser Fund

To honor Catherine and John Neimeyer

By Nancy and Ted Weyerhaeuser

In memory of Charlotte P. Ordway

By her children

The Gilman Ordway Fund

The I. A. O’Shaughnessy Fund

The Ethelwyn Power Fund

The Felice Crowl Reid Memorial

The Frederick and Margaret L.

Weyerhaeuser Foundation

The Maud Moon Weyerhaeuser Sanborn

Memorial

The Wurtele Family Fund

Music in the Park Series Fund

of The Schubert Club Endowment

Music in the Park Series was established by

Julie Himmelstrup in 1979. In 2010, Music

in the Park Series merged into The Schubert

Club and continues as a highly sought-after

chamber music series in our community.

In celebration of the 35th Anniversary of

Music in the Park Series and its founder Julie

Himmelstrup in 2014, we created the Music

in the Park Series Fund of The Schubert

Club Endowment to help ensure long-term

stability of the Series. Thank you to Dorothy

Mattson and all of the generous contributors

who helped start this new fund:

Meredith Alden


Lydia Artymiw and David Grayson

Carol E. Barnett

Lynne and Bruce Beck

Harlan Boss Foundation

Jean and Carl Brookins

Mary Carlsen and Peter Dahlen

Donald and Inger Dahlin

Bernice and Garvin Davenport

Adele and Richard Evidon

Maryse and David Fan

Roxana Freese

Gail Froncek

Catherine Furry and John Seltz

Richard Geyerman

Julie and Anders Himmelstrup

Cynthia and Russell Hobbie

Peg Houck and Philip S. Portoghese

Thelma Hunter

Lucy Jones and James Johnson

Ann Juergens and Jay Weiner

Phyllis and Donald Kahn

Barry and Cheryl Kempton

Marion and Chris Levy

Estate of Dorothy Mattson

Wendy and Malcolm McLean

Marjorie Moody

Mary and Terry Patton

Donna and James Peter

Betty and Paul Quie

Barbara and John Rice

Shirley and Michael Santoro

Mary Ellen and Carl Schmider

Sewell Family Foundation

Katherine and Douglas Skor

Eileen V. Stack

Ann and Jim Stout

Joyce and John Tester

Thrivent Financial Matching Gift Program

Clara Ueland and Walter McCarthy

Ruth and Dale Warland

Katherine Wells and Stephen Wilging

Peggy R. Wolfe

The Legacy Society

The Legacy Society honors the dedicated

patrons who have generously chosen to leave

a gift through a will or estate plan. Add your

name to the list and leave a lasting legacy of

the musical arts for future generations.

Anonymous

Frances C. Ames*

Rose Anderson*

Margaret Baxtresser*

Mrs. Harvey O. Beek*

Helen T. Blomquist*

Dr. Lee A. Borah, Jr.

Raymond J. Bradley*

James Callahan

Lois Knowles Clark*

Margaret L. Day*

Timothy Wicker and Carolyn Deters

Harry Drake*

Mary Ann Feldman

John and Hilde Flynn

Salvatore Franco

Marion B. Gutsche*

Anders and Julie Himmelstrup

Thelma Hunter

Lois and Richard King

Florence Koch*

Dorothy Mattson*

John McKay

Mary Bigelow McMillan

Jane Matteson*

Elizabeth Musser*

Heather Palmer

Mary E. Savina

Lee S. and Dorothy N. Whitson*

Richard A. Zgodava*

Joseph Zins and Jo Anne Link

*In Remembrance

Become a member of The Legacy Society by

making a gift in your will or estate plan. For

further information, please contact

Paul D. Olson at 651.292.3270 or

[email protected]

The Schubert Club Endowment and Legacy Society

schubert.org 39

O N LY 5 P E R F O R M A N C E S !December 19 − 23

State Theatrewww.mndance.org

T I C K E T S : State Theatre Box O�ce, Ticketmaster.com or 800.982.2787

P R E S E N T S

5 0 t h A N N I V E R S A R Y

Osmo Vänskä /// Music Director

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

PHOTOS Marsalis: Frank Stewart, Rose: Michael Harry, Brass: Bo Haung, Scandinavian: Greg Helgeson, McNair: Roni Ely

SCANDINAVIAN CHRISTMAS

SYLVIA McNAIR

Media Partner:

Big Band Holidays: Jazz at Lincoln Center Orchestra with Wynton Marsalis and special guest Cécile McLorin Salvant*Tue Dec 2 7:30pmFor a single glorious night, these beloved ambassadors of jazz led by trumpeter Wynton Marsalis will have Orchestra Hall swingin’.

Navidad en Cuba: Christmas in Havana Cathedralwith the Minnesota Orchestra and The Rose EnsembleSun Dec 14 2pmExperience a stunning rhythmic tradition with a rich Latin flavor that sparkles with energy and excitement—Feliz Navidad!

Canadian BrassChristmas Time is Here*Wed Dec 17 7:30pmBe amazed by these five brass masters in this most wonderful holiday highlight. Even the Grinch would love this concert!

A Scandinavian Christmas with the Minnesota OrchestraSat Dec 20 2pm / Sun Dec 21 7pmChristina Baldwin and Robb Asklof, vocals Patrick Harison, accordion / Ethnic Dance Theatre Minnesota Boychoir / Twin Cities Girls Chorus

A magical Minnesota Orchestra tradition for the whole family.

New Year’s Eve:Sparkling Gershwin to Ring in the New Year!Wed Dec 31 7pm & 10pmOsmo Vänskä, conductor / Sylvia McNair, soprano

Celebrate in style—a glamorous evening of romantic Gershwin favorites with Grammy Award-winning soprano Sylvia McNair.

COMPOSER INSTITUTE

Future Classics with the Minnesota OrchestraFri Jan 16 8pmOsmo Vänskä, conductor

You heard it here first! Directed by Pulitzer Prize-winner Kevin Puts, the Institute brings the brightest emerging composers to Orchestra Hall.

JAZZ AT LINCOLN CENTER ORCHESTRA

CANADIAN BRASS

612.371.5656 / minnesotaorchestra.org / Orchestra Hall

THE ROSE ENSEMBLE

An die Musik Oct 30, 2014 – Jan 7, 2015

Documents

Transcript of An die Musik Oct 30, 2014 – Jan 7, 2015