An die Musik April 20 – June 2

April 20 – June 2, 2015

An die MusikThe Schubert Club • schubert.org

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An die MusikApril 20 – June 2, 2015

Table of Contents

6 President’s and Artistic & Executive Director’s Welcome

9 Calendar of Events: April – June

10 Accordo (April 20)

12 Hill House Chamber Players: Fandango

14 Sérgio and Odair Assad

20 Joyce DiDonato and David Zobel

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

32 Accordo (June 1)

34 Hill House Chamber Players: Schubertiade

36 Courtroom Concerts

38 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: Joyce DiDonatophoto credit: Sheila Rock/Virgin Classics

schubert.org WindSync

The Schubert Club

2015-2016 Music in the Park Series

Borromeo String Quartetwith Kim Kashkashian, viola

September 27, 2015

Trio con Brio CopenhagenOctober 25, 2015

WindSyncNovember 22, 2015

Julie Albers, cello • Orion Weiss, piano

February 7, 2016

Ébène String QuartetMarch 13, 2016

quartet-labApril 17, 2016

6 THE SCHUBERT CLUB An die Musik

President’s and Artistic & Executive Director’s Welcome

Nina ArchabalPresident

Barry KemptonArtistic and Executive Director

At The Schubert Club’s 130th anniversary in 2013,

it would have been hard to anticipate the new

ways in which the oldest of Minnesota’s musical

organizations would fulfill its commitment to

present the finest recital soloists and ensembles to

our community.

In 2014, it stretched beyond its traditional programs

to try something new. Most notable among

these efforts was the birth of Schubert Club Mix,

a series intended to broaden its audience and

attract millennials to the art of recital. From the

performances of superstar violinist Hillary Hahn

improvising with Hauschka on the prepared piano,

to Brooklyn Rider, a traditional string quartet

performing with a remarkable drummer, Schubert

Club Mix has been opening our ears to what may be

the future of chamber music.

Looking forward, The Schubert Club is breaking

ground in another way: presenting concerts in both

the Ordway Music Theater and the new Ordway

Concert Hall. We can look forward to the big sound

of bass-baritone Bryn Terfel in the Music Theater,

while hearing the more intimate sound of the piano

trio comprised of cellist David Finckel, pianist Wu

Han and violinist Philip Setzer performing in the

acoustically brilliant Concert Hall. Making good use

of the Concert Hall, the Schubert Club will offer two

performances of most of its recitals, one evening

and one daytime.

These and other initiatives chart the way to the

continuing vitality of The Schubert Club in our

community as it delights audiences of just about

every musical taste.

An die Musik!

Welcome to The Schubert Club!

We are nearing the end of our season, though there’s

still much to look forward to. I am personally thrilled

to welcome the wonderful Joyce DiDonato to our

International Artist Series for the first time. I was

lucky to work with her some years ago when she

appeared as a soloist with the Saint Paul Chamber

Orchestra. Our Schubert Club mission includes a

commitment to present the great artists of the world

in recital and Ms. DiDonato is clearly one of them.

Two remarkable Brazilian guitarists, Sérgio and Odair

Assad, are our guest artists in the final Music in the

Park Series concert of this season – brothers who

have made music together for over 30 years.

We’re pleased also to welcome the very talented

pianist Stephen Prutsman to perform his program

Bach and Forth in our Schubert Club Mix series at

Bedlam Lowertown in Saint Paul. Stephen is well-

known to Twin Cities audiences from the time he

was an Artistic Partner with the SPCO; he is much

admired for his natural musicianship and his stylistic

versatility. In addition to his evening performance in

the Mix series, he will perform a Saturday morning

family concert for children on the autism spectrum

and their families. We’ve enjoyed partnering with the

Autism Society of Minnesota (AuSM) and Landmark

Center to make this presentation possible.

From all of us at The Schubert Club, I thank you for

your support, your feedback and your love for The

Schubert Club, and I wish you a happy and fulfilling

summer. Next season is just a few months away and

I’m excited to share it with you.

schubert.org 7

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More information at schubert.orgTicket office 651.292.3268

Calendar of EventsApril – June

April 2015

Monday, April 20 • 7:30 PM Christ Church Lutheran

Accordo

Tuesday, April 21 • 7:30 PM Landmark Center

Live at the Museum

Florestan Recital Project: “Samuel Barber, In Words and Song”

Friday, April 24 • 7:30 PM Bedlam Lowertown

Schubert Club Mix

Stephen Prutsman, piano

Saturday, April 25 • 10:00 AM Landmark Center

Azure Free Concert for Autism and Special Needs Families

Stephen Prutsman, piano

Monday, April 27 • 7:30 PM James J. Hill House

Hill House Chamber Players

“Fandango”

May 2015Monday, May 4 • 7:30 PM James J. Hill House


“Fandango”

Thursday, May 7 • 7:00 PM Landmark Center

New Age Art Salon

Sunday, May 10 • 4:00 PM St. Anthony Park UCC

Music in the Park Series

Sérgio and Odair Assad, guitarists

Tuesday, May 19 • 7:30 PM Ordway Music Theater

International Artist Series

Joyce DiDonato, mezzo-soprano & David Zobel, piano

June 2015Monday, June 1 • 7:30 PM Christ Church Lutheran

Accordo

Monday, June 1 • 7:30 PM James J. Hill House


“Schubertiade”

Tuesday, June 2 • 7:30 PM Amsterdam Bar & Hall

Accordo at Amsterdam

The Schubert Club 2015-2016International Artist Series

schubert.org

David Finckel, celloWu Han, piano Philip Setzer, violin

October 1 & 2, 2015

Joshua Bell, violin

November 1, 2015

Igor Levit, piano February 16 & 17, 2016

Michael Collins, clarinetMichael McHale, piano

March 18 & 19, 2016

Bryn Terfel, baritoneNatalia Katyukova, piano

April 20, 2016

Bryn Terfel, baritone

Photo: Adam Barker/DG

Violin Sonata in G minor Claude Debussy

Allegro vivo Intermède: Fantasque et léger Finale: Très animé

Keefe, Artymiw

Sonatina for Violin and Cello Arthur Honegger

Allegro Andante—Doppio movimento —Tempo 1 Allegro

Allifranchini, Thomas

Intermission

Quintet in A minor for Piano and String Quartet, Opus 84 Edward Elgar

Moderato—Allegro Adagio Andante—Allegro

Allifranchini, Keefe, Albers, Thomas, Artymiw

Please silence all electronic devices

The Schubert Cluband

Kate Nordstrum Projects

present

Accordo

Ruggero Allifranchini, violin • Erin Keefe, violin

Rebecca Albers, viola • Ronald Thomas, cello

Lydia Artymiw, piano

Monday, April 20, 2015 • 7:30 PM

AccordoMonday, April 20, 2015 • 7:30 PM • Christ Church Lutheran

A special thanks to the Accordo donors:

Performance SponsorsRuth and John HussEileen BaumgartnerLucy Jones and James JohnsonAnn and Alfred Moore

Musician SponsorsRichard Allendorf and Paul MarkwardtNina and John ArchabalMary and Bill BakemanMichael and Carol BromerRachelle Chase and John FeldmanJoan R. Duddingston

PatronsBarbara Ann BrownBonnie BrzeskowiakBirgitte and John ChristiansonPamela and Stephen DesnickDr. and Mrs. Thomas DuckerGeorge EhrenbergNancy and Jack GarlandMary Glynn, Peg and Liz GlynnBeverly L. HlavacBrian Horrigan and Amy LevineCarol A. JohnsonMary A. Jones

Miriam and Erwin KelenDavid G. LarsonKaren S. LeeMary and Ron MattsonMargot McKinneyDavid Miller and Mary DewElizabeth MyersSonja and Lowell NoteboomPatricia O’GormanSydney M. PhillipsElizabeth and Roger RickettsTamara and Michael RootSusan and Bill Scott

Scott 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

Accordo: 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 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.

In 2014-15, pianist Lydia Artymiw celebrates her 25th year as Distinguished McKnight Professor of Piano at the University of Minnesota where she also received the 2015 “Distinguished Graduate Teaching Award.” The recipient of an Avery Fisher Career Grant and the Andrew Wolf Chamber Music Prize, Philadelphia-born Lydia Artymiw has performed with over 120 orchestras world-wide. American orchestral appearances include the Boston Symphony, Cleveland Orchestra, New York Philharmonic, Philadelphia Orchestra, Los Angeles Philharmonic, National Symphony, and with the Cincinnati, Detroit, Pittsburgh, Kansas City, St. Louis, San Francisco, and Seattle Symphonies, and with the Minnesota and Saint Paul Chamber Orchestras. Solo recital tours have taken her to America, Europe, and Asia. She has seven solo recordings for the Chandos label, and has also recorded for Bridge, Centaur, Pantheon, Artegra, and Naxos. Her debut recording for Chandos, Variations, was a Gramophone Magazine “Critic’s Choice,” her Mendelssohn CD was hailed by both Hi-Fi News and the Monthly Guide to Recorded Music as “Best of the Month,” and Ovation Magazine honored her Schubert recording as “Recording of Distinction.” Her CD of the Tchaikovsky Seasons (released by Chandos in 1982) has sold over 25,000 copies. Festival appearances include Aspen, Bantry (Ireland), Bay Chamber, Bravo! Vail Valley, Caramoor, Chamber Music Northwest, Chautauqua, Grand Canyon, Hollywood Bowl, Marlboro, Montreal, Mostly Mozart, Seattle, and Tucson. Artymiw has collaborated with such artists as Yo-Yo Ma, Richard Stoltzman, Alexander Fiterstein, Arnold Steinhardt, Kim Kashkashian, John Aler, Benita Valente, and the Guarneri, Tokyo, American, Alexander, Borromeo, Daedalus, Miami, Orion, and Shanghai Quartets, and has toured nationally with Music from Marlboro groups. A recipient of top prizes in the 1976 Leventritt and the 1978 Leeds International Competitions, she graduated from Philadelphia’s University of the Arts and studied with distinguished concert pianist and former Director of the Curtis Institute of Music, Gary Graffman, for twelve years.

Lydia ArtymiwPhot

o: C

amer

on W

itti

g

well flockedfor celebrations

612.767.9495thethirdbirdmpls.com


The Minnesota Historical Society

present


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

Guest artist: Mary Jo Gothmann, piano

Mondays, April 27 & May 4, 2015 • 7:30 PM

“Fandango”

Homenaje: pour le tombeau de Debussy, for Guitar Solo Manuel de Falla

Echoes of Manuel de Falla (premiere) Jeffrey Van

Intermezzo, from Goyescas, for Cello and Piano Enrique Granados

arr. Gaspar Cassado

Quartet in A minor for Piano and Strings, Opus 67 Joaquin Turina

Lento—Andante mosso Vivo Allegretto

INTERMISSION

Danse espagnole for Violin and Piano, from La vida breve Falla, arr. Fritz Kreisler

Navarra, for Two Violins and Piano, Opus 33 Pablo de Sarasate

Quintet in D for Guitar and Strings, Fandango Luigi Boccherini

Allegro maestoso Pastorale Grave assai —Fandango


schubert.org 13

This program features music from several distinct regions

of Spain. Falla and Turina were born in the southern

province of Andalusia. Sarasate hailed from Pamplona, in

Navarre, far to the north. Granados was Catalan by birth,

but not by ancestry. His opera, Goyescas, is set in Madrid,

the cosmopolitan hub in the middle of the

Iberian Peninsula.

Manuel de Falla (1877–1946) cut his teeth on zarzuela,

the uniquely Spanish brand of music theatre, but it was

La vida breve, set in the Andalusian city of Granada, that

established his reputation. The second and final act

begins with a wedding fiesta that leads to a jota, which

Fritz Kreisler arranged for violin and piano in 1926 as

Danse espagnole.

A world war was raging when Claude Debussy died, and

his funeral had to be conducted amid the bombs of the

Spring Offensive of 1918. After the war, the festschrift

Le tombeau de Claude Debussy included works by

Bartók, Ravel, Satie and Stravinsky. Falla contributed his

Homenaje: pour le tombeau de Debussy. As Debussy had

celebrated Spain in his orchestral triptych Ibéria, Falla

uses the hypnotic habanera rhythm in a sad, dignified

meditation which quotes—in a fresh key—Debussy’s

Evening in Grenada from Estampes (1903).

Guitarist and composer Jeffrey Van (b. 1941) describes

his Echoes of Manuel de Falla as “an homage to one of my

favorite composers, whom I admire as one of a handful

of the world’s greatest orchestrators, and one who

understood the guitar to perfection in both atmosphere

and technique. Echoes includes snatches of themes

and rhythms from three of my favorite works: Falla’s

Homenaje, El Amor brujo, and Nights in the Gardens of

Spain. The composer’s presence fades in and out as the

music unfolds, creating an homage which blurs the areas

where Falla’s notes end and mine begin.”

Enrique Granados (1867–1916) composed Goyescas as

a six-movement piano suite, which he later expanded

to a one-act opera. Its subject: the world of the painter

Francisco Goya, with its affected, honey-tongued majos

and brazen, alluring majas. Granados and his wife crossed

the Atlantic to see Goyescas staged at the Metropolitan

Opera, where, as the first Spanish-language opera given

at that house, it was heard five times. When additional

music was needed to cover the change between the

first two scenes, Granados composed the Intermezzo

Hill House Chamber PlayersMondays, April 27 & May 4, 2015 • 7:30 PM • James J. Hill House

overnight. On the return trip, Granados’s ship was

torpedoed by a German U-boat. The composer and his

wife drowned. The affecting Intermezzo, heard here in a

transcription by cellist Gaspar Cassado, is Granados’s

last composition.

Joaquin Turina (1882–1949), like Falla, was born in

Andalusia and studied in Paris, where he worked with

D’Indy and took piano lessons with Moszkowski. But

an encounter with his countryman Albéniz convinced

him that the folk material of his native province was his

proper inspiration. After returning to Madrid in 1915,

Turina produced a large body of orchestral and dramatic

music that unites Spanish and European influences.

The three-movement Piano Quartet, completed in 1931,

presents Turina’s rhythmic, often impassioned lyricism in

clear forms. In each movement, elements of the previous

movements are recalled. The effect is like a carousel ride:

you notice different things each time you circle round.

Violinist Pablo de Sarasate (1844–1908) inspired concertos

by such prominent nineteenth-century composers as

Bruch, Saint-Saëns and Lalo. The virtuoso and teacher

Carl Flesch testified to Sarasate’s “aesthetic moderation,

euphony, and technical perfection,” concluding that “he

represented a completely new type of violinist.” Navarra,

composed in 1889 with orchestral accompaniment, is

a tribute to Sarasate’s native region. In this dazzler, two

violins merge to become in effect a super-fiddle, which is

capable of extraordinary delicacy as well as

spit-fire articulation.

The prolific Luigi Boccherini (1743–1805) composed at

least a hundred string quintets and as many quartets.

We will never know the extent of his oeuvre, for half of

his manuscripts were lost in the Spanish Civil War of the

late 1930s. A pioneer in the writing of string quintets

with cello, Boccherini also wrote piano quintets, twelve

of which he arranged for guitar and strings in the late

1790s. The Quintet in D is full of colorful surprises, but

the closing fandango, a Spanish dance in triple meter,

is a coup de théâtre. It comes as no surprise that Ravel

originally called his Bolero . . . Fandango.

Program notes © 2015 by David Evan Thomas

Esterházy Palace 1791

Goerne Program Page

The Schubert Club

Music in the Park Series

presents

Sérgio and Odair Assad guitarists

Sunday, May 10, 2015 • 4:00 PMPre-concert conversation at 3:00 PM


Córdoba, from Cantos de España, Opus 232 Isaac Albéniz

Ocho valses poeticos Enrique Granados Vivace molto – Melodico Tempo de Valse noble Tempo de Vals lente Allegro umoristico Allegretto elegante Quasi ad libitum Vivo Presto – Tempo de Valse

Bandoneón Astor Piazzolla Zita, from Suite Troileana

Tahhiyya Li Ossoulina Sérgio Assad

Intermission

Interrogando João Pernambuco

Abismo de Rosas Américo Jacomino “Canhoto”

Medley Anibal Augusto Sardinha “Garoto” Jorge do Fusa Gente Humilde Lamentos do Morropage

Dois Destinos Dilermando Reis

Tempo Feliz Baden Powell

Palhaço Egberto Gismonti Baiao malandro

Jongo Paulo Bellinati

schubert.org 15

Music in the Park SeriesSunday, May 10, 2015 • 4:00 PM • Saint Anthony Park United Church of Christ

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

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

Theresa’s Hair Salon and Theresa BlackThrivent Financial Matching Gift ProgramTrillium Foundation

INDIVIDUALSMeredith AldenArlene AlmNina and John ArchabalClaire and Donald AronsonAdrienne BanksCarol BarnettLynne and Bruce BeckChristopher and Carolyn BinghamAnn-Marie BjornsonCarl and Jean BrookinsAlan and Ruth CarpPeter Dahlen and Mary CarlsenPenny and Cecil ChallyMary Sue ComfortDon and Inger DahlinShirley Decker

Ruth S. DonhoweBruce DoughmanJane FrazeeLisl GaalNancy and John GarlandDick GeyermanAnne R. GreenSandra and Richard HainesEugene and Joyce HaselmannSandy and Don HenryAnders and Julie HimmelstrupWarren and Marian HoffmanPeg Houck and Phil PortoghesePeter and Gladys HowellGary M. Johnson and Joan G. HershbellMichael JordanAnn Juergens and Jay WeinerChris and Marion LevyRichard and Finette MagnusonDeborah McKnightGreta and Robert MichaelsJames and Carol Moller

Marjorie MoodyJack and Jane MoranDavid and Judy MyersKathleen NewellDennis and Turid OrmsethJames and Donna PeterRick Prescott and Victoria WilgockiDr. Paul and Elizabeth QuieJuliana Kaufman RupertMichael and Shirley SantoroMary Ellen and Carl SchmiderJon Schumacher and Mary BriggsDan and Emily ShapiroMarie and Darrol SkillingEileen V. StackCynthia StokesJohn and Joyce TesterBruce and Marilyn ThompsonTim ThorsonChuck Ullery and Elsa NilssonStuart and Mary WeitzmanPeggy R. WolfeJudy and Paul WoodwordAnn Wynia

Brazilian-born brothers Sérgio and Odair Assad have

set the benchmark for all other guitarists by creating a new

standard of guitar innovation, ingenuity and expression. Their

virtuosity has inspired a wide range of composers to write for

them including Astor Piazzolla, Terry Riley, Radamés Gnattali

and Marlos Nobre. Sérgio Assad has recently added to their

repertoire by composing music both for the duo and for vari-

ous musical partners with Symphony Orchestra and in recitals.

They have worked with such renowned artists as Yo-Yo Ma,

Nadja Salerno-Sonnenberg, Paquito D’Rivera, Gidon Kremer

and Dawn Upshaw.

In 2001, Nonesuch Records released Sérgio and Odair Assad

Play Piazzolla, which won a Latin Grammy. Their follow up re-

cording, Jardim Abandonado was nominated for Best Classical

Album and Sérgio Assad went on to win the Latin Grammy for

his composition, Tahhiya Li Oussilina.

In February 2011, Odair Assad performed his first solo guitar

concert tour in North America. Sérgio Assad composed the

concerto Phases which the duo premiered with the Seattle

Symphony. Sérgio Assad’s Interchange, (written for the LA

Guitar Quartet and the Delaware Symphony) and Maracaipe

(for the Beijing Guitar Duo) were nominated for Latin Gram-

mys in the Best Classical Composition Category. In fall 2011,

the Assad family—Sérgio, Odair, Badi, Clarice and Carolina

toured Qatar, Sweden, Germany, The Netherlands (to open

the “Brazil Festival” at The Amsterdam Concertgebouw) and

Belgium with an evening of popular Brazilian works.

The Assad Brothers maintain an ongoing collaboration with

cellist Yo-Yo Ma. In 2003 they released Grammy-winning

Obrigado Brazil which also featured Rosa Passos, Egberto

Gismonti and Cyro Baptista. In 2009, they were featured

on Yo-Yo Ma’s chart topping release, Songs of Joy & Peace,

which also included guest artists as diverse as James Taylor

and Dave Brubeck. Sérgio and Odair’s 2012 tour with Yo-Yo

Ma and pianist Kathryn Stott included concerts at the new

Smith Center in Las Vegas and Chicago’s Symphony Hall.

Future engagements include performances of a new duo-

guitar concerto, written for Sérgio and Odair by Sérgio’s

daughter Clarice Assad, which will premiere with the

Pro-Musica Chamber Orchestra in Columbus, Ohio. In the

fall of 2012 the Assad Brothers returned to the University of

Arizona in Tucson where Sérgio was recently given an honor-

ary Doctorate degree. In the spring of 2013, Sérgio and Odair

toured with the inimitable Paquito D’Rivera, and released

the record Dances from the New World.

Thank you to all those who gave to the new Music in the Park Series Endowment Fund. Please see page 42.

Phot

o: F

adi K

heir


Program Notes

Córdoba, from Cantos de España, Opus 232Isaac Albéniz (1860-1909)

The Spanish pianist and composer Isaac Albéniz studied

piano with Liszt and toured widely from 1880 on, settling

in Paris in 1893, where he was influenced by Fauré and

Dukas. He is perhaps best known for the twelve pieces that

make up the solo piano collection Iberia, published 1906-09.

Cantos de España, Opus 232, came out in 1892 as a three-

movement suite. Córdoba was added for the 1898 edition.

The city of Córdoba, in the heart of Andalusia, is a city rich

in Roman, Christian and Moorish history. Its Great Mosque

dates from the tenth century. Under caliph Al-Hakam II,

Córdoba had 3,000 mosques, splendid palaces, 300 public

baths, and the largest library in the world, housing nearly a

million volumes.

Ocho valses poeticosEnrique Granados (1867-1916)

Catalan by birth, cosmopolitan in outlook, largely self-taught

as a composer, Granados was one of the finest pianists of

his day. The French critic Jean-Aubry described his tempera-

ment in dualities: listless ardor; passionate languor. “The

spirit of Granados is inextricably bound up with European

Romanticism,” notes Alicia de Larrocha, “with an adoration

of Schumann and with the soul of Spain’s immemorial

folkloric traditions. . . .which he knew how to transform with

his instinctive musical genius.”

With the outbreak of World War One, a planned 1914

Paris premiere of the opera Goyescas was postponed. In

1916, Granados and his wife crossed the Atlantic to hear it

performed at the Met, where, as the first Spanish-language

opera given at that house, it was heard five times. The

couple died when the SS Sussex was torpedoed by a German

U-boat on the return voyage.

Bandoneón Astor Piazzolla (1921-1992)Zita, from Suite Troileana

Astor Piazzolla has been called “The Ellington of Argentina.”

“He actually took the tango to another level by inhabiting

his music,” notes Yo-Yo Ma. “The music grew in him, and

he adeptly incorporated the influences of his surround-

ings—whether from New York, Paris or Buenos Aires.”

Piazzolla was a child prodigy on the bandoneon, a kind of

button-accordion. Born in Mar del Plata, a four-hour drive

from Buenos Aires, Piazzolla spent much of his childhood in

New York City, but returned to Argentina in his teens, later

studying with Alberto Ginastera. Nadia Boulanger’s advice:

cultivate a personal style with your country’s music as the

source. That style, “nuevo tango,” includes elements of jazz,

baroque counterpoint and contemporary techniques along

with traditional elements.

Tahhiyya Li Ossoulina Sérgio Assad (b. 1952)

Sérgio Assad has developed a parallel career as a composer,

having written many works for solo guitar and guitar en-

sembles. His original compositions—such as Aquarelle and

Fantasia Carioca, both for solo guitar—are played by guitar-

ists around the world. Tahhiyya Li Ossoulina (Homage to Our

Roots) was written in 2006 and is dedicated to his ancestors.

Sérgio and Odair’s grandfather immigrated to Brazil from

Lebanon in 1895. There he married an Italian immigrant and

built a huge family with 15 children. One of them, Sérgio and

Odair’s father Jorge Assad, became an amateur musician and

encouraged his children to become professional

classical guitarists.

Astor Piazzola

Isaac Albéniz

schubert.org 17

InterrogandoJoão Pernambuco (1883-1947)

João Teixeira Guimarães (aka João Pernambuco) was one of

the pioneers of solo guitar music in Brazil. He was a member

of the famous group Caxanga, and for many years actively

performed as an accompanist. In addition to his activities in

this field he greatly contributed to the Brazilian guitar litera-

ture by composing many chôros and waltzes for solo guitar.

The great maestro Villa-Lobos once said that Bach wouldn’t

feel ashamed to sign Pernambuco’s works. Among the best

known are Sounds of Bells, Grauna and Interrogando, a jongo.

The arrangement for two guitars presented here opens with

an introduction based on the first motif of the piece. Treated

with mild dissonances and an air of fantasy, the introduction

sets the mood for the subsquent energetic rhythm, based on

fast, repeated notes.

Abismo de Rosas Américo Jacomino “Canhoto” (1887-1923)

Abismo de Rosas (Abyss of Roses) is considered the first

masterpiece to be composed for the guitar in Brazil. Its

composer, Américo Jacomino, aquired the nickname

“Canhoto” (lefty), after he once played guitar left-handed.

He wrote Abismo de Rosas, a gentle waltz, when he was just

sixteen, and it has been part of the guitar repertoire for

generations. The Assads’ arrangement maintains the original

compositional form while adding some extended harmonies

and a slight jazz groove.

MedleyAnibal Augusto Sardinha “Garoto” (1915-1955)

Anibal Augusto Sardinha, better known as “Garoto” (“The

Kid”), is an important composer in the history of Brazilian

guitar. A phenomenal player, he influenced most of the

guitarists who came after him and opened the door for the

modern Brazilian guitar. Despite his short life, he composed

many memorable guitar standards, such as Lamentos do

Morro and Jorge do Fusca. His output is so important that

the Assads decided to create a medley out of three of his

best known compositions—the two mentioned above, plus

the beautiful song Gente Humilde.

Dois Destinos Dilermando Reis (1916-1977)

Dilermando Reis, probably the most famous Brazilian

popular guitarist, was born in São Paulo, but lived most of

his life in Rio de Janeiro, where he worked actively in radio

and recordings. From 1941 to 1975 he recorded more than

forty albums. Reis was the son of the guitarist Francisco Reis

who was also his first teacher. At age seventeen, Dilermando

attended a recital in his city, Guaratinguetá, by the guitarist

Levino da Conceição. Inspired by the dexterity of the blind

musician, Reis became his accompanist throughout the tour

of Brazil. After a while he moved to Rio de Janeiro, where he

became a guitar teacher. In 1935, he premiered on Radio

Clube do Brasil. Soon his mastery at the accompaniment of

the great singers of those times was widely acknowledged,

and he became active in other radio stations, including

the most prestigious Rádio Nacional, where he worked

until 1969. Reis played different types of guitar music and

recorded the compositions of Bach, Barrios, Tárrega, as well

as popular Brazilian composers. His preference was the

traditional Brazilian guitar style: waltzes and chôros full of

modulations to “confuse accompanists,” played with his

unique style and sound.

Tempo Feliz Baden Powell (1937-2000)

Baden Powell was born in the town of Varre-e-Sai in Rio de

Janero on August 6, 1937, the first child of Adelina

Gonçalves de Aquino and Lilo de Aquino. He was named

after the founder of the Boy Scouts, Robert Thompson Baden

Powell, of whom de Aquino was an admirer. Powell’s family

moved to Rio, where the boy grew up listening to music. His

father, a shoemaker by trade and a violinist by calling, held

Américo Jacomino “Canhoto”

Program Notescontinued

regular get-togethers at home, at which Pixinguinha and

Donga, two of Brazil’s popular music icons, were always

present. As a composer, Powell explored the guitar to its

utmost limits, playing it in a distinctive, unique manner,

incorporating virtuoso classical techniques

together with popular harmony and swing. He performed

in many styles, including Bossa nova, Samba, Brazilian

jazz, Latin jazz, and Música Popular Brasileira. He

performed on stage during most of his lifetime, and

recorded an extensive discography composed of LP and

CD albums produced in Brazil and Europe, particularly in

France and Germany.

Palhaço (1987) Egberto Gismonti (b. 1947)Baiao malandro

Egberto Gismonti has created his own style by mixing

traditional Brazilian music with elements of jazz and

classical music. In some ways his output echoes that of

Ernesto Nazareth one hundred years before. A very ac-

complished pianist, over the years Gismonti has

written memorable themes that can easily be presented

in any classical program. Also an innovative guitarist, he

established a unique approach to the instrument by using

extended techniques on his eleven-string guitar. His piano

music adapts very well to the guitar, and some of his

piano scores became quite successful in guitar

arrangements. The Assads chose to play his very famous

composition Palhaço, originally scored for piano. Their

version for two guitars keeps the form of the original com-

position, while making room for a long improvised section.

Jongo Paulo Bellinati (b. 1950)

Born in São Paulo in 1950, Paulo Bellinati is one of Brazil’s

most accomplished contemporary guitarists. He studied

classical guitar with Isaias Sávio and graduated from the

Conservatory Dramático e Musical of São Paulo. From 1975

to 1980, Bellinati lived in Switzerland, continuing his

musical studies at the Conservatory of Geneva and teaching

at the Conservatory of Lausanne. He also performed with

his own group in many European jazz festivals including the

Montreux Jazz Festival, the Ozone Jazz in Neuchâtel, and the

Festival du Bois de La Batîe in Geneva. In 1988, Bellinati won

first prize for composition with his solo guitar piece Jongo at

the 8th Carrefour Mondial de la Guitare in Martinique. John

Williams has recorded Jongo on the album The Mantis and

the Moon.

Jongo, also known as caxambu or tambu, is a dance of

black communities from southeast Brazil. The dance was

brought to Brazil by Bantus, who had been kidnapped from

the ancient kingdoms of Ndongo and Kongo in modern-day

Angola. The fire and drums of the Jongo are said to possess

a magical function. The couple in the middle of the dance

circle symbolizes fertility.

Program notes by Debra Joyal, Sérgio Assad & David Evan Thomas.

Intervals: Alumni News of The Schubert Club Scholarship Competitors

Guitarist, Nathan Cornelius just participated in his 6th Schubert Club scholarship finals

round, noting his delight “to play at Landmark Center in the historic courtrooms (complete

with a judge!).” He appreciates the insightful comments received each year and the value

provided to him as a young artist. Nathan has an impressive track record of earning 2nd

prize each year since he began competing in 2010. It was a huge thrill, however, to win 1st

prize this year and it came at a perfect time, giving him the opportunity to perform in the

new Ordway Concert Hall at the Winners Recital. “That was the kind of experience I dream

about as a guitarist. It’s a rare opportunity to get to play solo guitar in such a beautiful and

acoustically perfect hall with such a gracious audience.” Nathan enjoys performing music

of the last 50 years, as it feel fresh, exciting and unfamiliar, and inspires his work as a

composer. “I enjoy the challenge of bringing out the relationships between different parts

of a piece and sharing these challenging works with audiences.” This summer, Nathan plans to attend several

summer festivals in hopes of expanding his imagination as a composer. Then it’s on to the Peabody Institute in the fall

to complete his doctorate in guitar performance. His primary aspiration is to teach music at a college or university, while

maintaining a career as both a guitarist and composer.

Photo: Jaym

e Halbritter

schubert.org 19

™

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Get started at classicalmpr.org/education


Goerne Program Page

The Schubert Club

presents

Joyce DiDonato, mezzo-sopranoDavid Zobel, piano

Tuesday, May 19, 2015 • 7:30 PM

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

Please reserve applause for the end of a set of songs.

Canciones clásicas españolas Fernando Obradors

La mi sola, Laureola Al Amor ¿Corazón, porqué pasáis? El majo celoso Con amores, la mi madre Del cabello más sutil Chiquitita la novia

Assisa a’ piè d’un salice, from Otello Gioachino Rossini

Beaumarchais Trilogy

Voi che sapete, from Le nozze di Figaro Wolfgang Amadeus Mozart Deh vieni, non tardar, from Le nozze di Figaro Mozart Una voce poco fa, from Il barbiere di Siviglia Rossini

Intermission

Cleopatra Duo

Morte, col fiero aspetto, from Marc’Antonio e Cleopatra Johann Adolf Hasse Piangerò la sorte mia, from Giulio Cesare George Frideric Handel

Venezia Reynaldo Hahn Sopra l’acqua indormenzada La barcheta L’avertimento Che pecà! La primavera

This evening's concert is dedicated in honor of Catherine and John Neimeyer

by Nancy and Ted Weyerhaeuser.

schubert.org 21

Joyce DiDonato has soared to international prominence

in operas by Rossini, Handel, and Mozart, as well as in high-

profile world premieres. Her signature parts include Rossini’s

La cenerentola and Il barbiere di Siviglia – her Rosina at the

Metropolitan Opera won over audiences in New York and on

cinema screens all over the world, and she was called “the

best Rosina around” by the London Sunday Times for

the portrayal.

Born and educated in Kansas, she was a member of the

young artist programs of the San Francisco, Houston Grand,

and Santa Fe Opera companies after graduate studies at

Philadelphia’s Academy of Vocal Arts. After beginning her

career in the U.S., DiDonato soon developed a growing and

enthusiastic worldwide following in opera, concert and

recital. In addition to appearing on the world’s major opera

stages – in Amsterdam, Barcelona, Chicago, Geneva, London,

Milan, Munich, New York, Paris, San Francisco, Tokyo, Vienna

and this year, Berlin – she has given recitals and concerts at

Wigmore Hall, Amsterdam’s Concertgebouw and Carnegie

Hall, and with the New York Philharmonic, Cleveland

Orchestra, San Francisco Symphony, Orchestre National de

Paris, St. Luke’s Chamber Orchestra, St. Paul Chamber

Orchestra and the London Symphony Orchestra.

Ms. DiDonato has had important triumphs at the Rossini

Festival in Pesaro and in performances and recordings with

Alan Curtis’s ensemble, Il complesso barocco and William

Christie’s Arts Florissants.

Her growing discography has earned accolades far and wide.

The Deepest Desire, her first solo disc, was awarded France’s

Diapason d’or de l’année, an extraordinary honour for a re-

cording of American songs. Gramophone commented about

her recent complete opera recording of Handel’s Alcina (DG/

Archiv Produktion) with DiDonato in the title role:

“DiDonato is superb: her Alcina is a complex, feminine crea-

ture, vain and vindictive,” and about her Handel’s Floridante:

“Joyce DiDonato’s silvery singing is beautiful, stylish,

dramatically astute yet unforced.” Her extensive discography

also includes a disc of Handel duets with soprano Patricia

Ciofi, complete recordings of Rossini’s La cenerentola, Handel’s

Radamisto, Berlioz’s Benvenuto Cellini and DVDs of Handel’s

Hercules, La cenerentola and Il barbiere di Siviglia. She can be

heard in a survey of Antonio Vivaldi’s sacred music, as well as

on three solo CDs – The Deepest Desire, ¡Pasión!, and her

debut recital from London’s Wigmore Hall which was a

Gramophone “Editor’s Choice.” DiDonato has made two

recordings as an exclusive artist for EMI’s Virgin Classics label:

a selection of Rossini arias associated with the composer’s

muse, the great Isabella Colbran; and Furore, surveying a

variety of emotional Handel arias with Les Talens Lyriques and

Christophe Rousset. At Houston Grand Opera she premiered

and recorded the roles of Meg in Mark Adamo’s highly

acclaimed Little Women, and of Katerina Maslova in Tod

Machover’s epic Resurrection. Honors bestowed upon

DiDonato also include the Beverly Sills Award from the

Metropolitan Opera, Echo Klassics “2010 Female Singer of the

Year,” the Royal Philharmonic Society’s 2005 “Singer of the

Year,” the Richard Tucker Award, given to a single American

singer annually, second place in Plácido Domingo’s Operalia,

and prizes from the George London Foundation, the ARIA

Award Foundation, and the Sullivan Foundation.

Maud Moon Weyerhaeuser Sanborn International Artist SeriesTuesday, May 19, 2015 • 7:30 PM • Ordway Center

Phot

o: S

imon

Pau

ly

French pianist David Zobel is a recipient of a Fulbright

Scholarship and a Sony ES Award for Musical Excellence. He

earned degrees in accompanying from The Juilliard School

and in singers’ coaching from the Conservatoire national

supérieur de musique in Paris.

Mr. Zobel enjoys a successful career as collaborative pianist

and opera accompanist in France and abroad. He regularly

accompanies singers at distinguished competitions,

including the Plácido Domingo International Voice


Program Notes

Competition, Le concours de la ville de Paris, Concours international d’opéra in Marseille, the Queen Elisabeth Competition, and

the International Hans Gabor Belvedere Singing Competition in Vienna.

As an opera coach, he is associated with Théâtre du Châtelet in Paris, the Vienna State Opera, Het Muziektheater

Amsterdam, Opéra National de Montpellier, Festival de Radio France in Montpellier, Festival d’Aix en Provence, and the Stani-

slawski Theatre. He has worked with many distinguished conductors, including Christoph von Dohnányi, Christoph Eschenbach,

Sir John Eliot Gardiner, Lawrence Foster, Alain Altinoglu, Antonino Fogliani, and Marc Minkowski. With Mr. Minkowski, Mr. Zobel

collaborated in the Olivier Py production of Debussy’s Pelléas et Mélisande in Moscow, which received the Russian Golden Mask

National Theatre Award for Best Opera of the Year and Best Conductor, and on which Philippe Béziat based his film Le chant

des aveugles.

With Ms. DiDonato, Mr. Zobel has performed on some of the world’s most prestigious concert stages, including at Teatro alla

Scala, Lincoln Center, Wigmore Hall, Gran Teatre de Liceu in Barcelona, La Monnaie in Brussels, Théâtre des Champs-Élysées, and at

the Rossini Opera Festival in Pessaro. Mr. Zobel accompanies Ms. DiDonato on her first highly acclaimed solo album The Deepest

Desire, which was awarded the Diapason d’Or de l’Année.

La mi sola, Laureola

La mi sola, LaureolaLa mi sola, sola, sola.Yo el cautivo Leriano Aunque mucho estoy ufano Herido de aquella manoQue en el mundo es una sola.La mi sola, Laureola,La mi sola, sola, sola.

My only Laureola

My only Laureolamy only, only, only one.I, the captive Lerianoam so proudto be wounded by the handthe only hand in the world.My only Laureola,my only, only, only one.

7 Canciones clásicas españolas (c.1920) – Fernando Obradors (1897-1945)

The Spanish art song, or canción lírica, developed from disparate cultural influences: gypsies who settled in Andalucía; Byzantine

chant; Al-Andalus, the Moorish occupation of Spain from 711-1492; and the Sephardic Jews. This continuous flow of song has

meant that the distinction between “folk” and “art” is not always clear in Spanish music. When we listen to the songs of Obradors,

the line blurs completely. These are folk melodies, but the composer has crafted them so convincingly that we are captivated as

much by the frame as by the picture therein. Fernando Jaumandreu Obradors (1897-1945) was self-taught as a composer, but

you’d never know it, so clear are his textures and deft his counterpoint. The piano is a full partner to the voice, often featured in

fully developed introductions and interludes. The four volumes of Classical Spanish Songs, the first of which we hear tonight, are as

distinctive as Copland’s Old American Songs or the folk-song settings of Britten.

Obradors sets the opening text—“My only”—to its corresponding solfège syllables—la-mi-so-la—then turns it into a brilliant

fughetta on that subject. “El majo celoso” has the dual tonality characteristic of many Andalusian songs; its upswept ending feels

not quite conclusive. Joyce DiDonato credits “Del cabello más sutil” with changing the course of her career: “A new world opened

up before my eyes. I was transported to a far-off land I knew nothing of and was singing about wanting to be a humble jug on a

table so that I might be lifted up to touch the lips of the one I loved and longed for.” The ecstatic melismas of “Chiquitita la novia,”

evoke flamenco style with its Canto Jondo (deep song) style of singing.

Al Amor

Dame, Amor, besos sin cuentoAsido de mis cabellosY mil y ciento tras ellosY tras ellos mil y ciento

To Love

Give me, Love, kisses without number,your hands seizing my hair,give me eleven hundred of them,and eleven hundred more,

Maud Moon Weyerhaeuser Sanborn International Artist SeriesTuesday, May 19, 2015 • 7:30 PM • Ordway Center

schubert.org 23

¿Corazón, porqué pasáis?

¿Corazón, porqué pasáisLas noches de amor despiertoSi vuestro dueño descansaEn los brazos de otro dueño?

El majo celoso

Del majo que me enamoraHe aprendido la quejaQue una y mil veces suspiraNoche tras noche en mi reja:Lindezas, me mueroDe amor loco y fieroI quisiera olvidarteMas quiero y no puedo!Le han dicho que en la PraderaMe han visto con un chisperoDesos de malla de sedaY chupa de terciopelo.Majezas, te quiero,No creas que mueroDe amores perdidaPor ese chispero.

Con amores, la mi madre

Con amores, la mi madre,Con amores m’adormí.Así dormida soñabaLo qu’el corazón velaba,Qu’el amor me consolabaCon más bien que merecí.Adormeciome el favorQue Amor me dió con amor:Dió descanso a mi dolorLa fe con que le serví.

With love in my heart, mother

With love in my heart, mother,with love in my heart, I fell asleep.While sleeping I dreamedof what my heart was hiding,and love consoled memore than I deserved.I was lulled to sleep by the tokenLove bestowed on me:my pain was soothed by thefaith with which I served her.

The jealous majo

From the majo who’s courting meI’ve learned this plaintive songwhich he sighs a thousand and one timesnight after night at my window:My darling, I am dyingof a wild and fierce love –would that I could forget you,but I try and cannot!They told him that in the PraderaI was seen with a dandy,who was dressed in a silk shirtand a velvet vest.My handsome boy, I love you,do not think I am dyingwith rakish lovefor that dandy.

Oh heart, why do you lie awake

Oh heart, why do you lie awakeduring the nights made for love,when your mistress restsin the arms of another lover?

Y después . . .De muchos millares, tres!Y porque nadie lo sientaDesbaratemos la cuentaY . . . contemos al revés.

and then . . .many more thousands, and three more!And so that no one may know,let’s forget the tallyand . . . count backwards.

Del cabello más sutil

Del cabello más sutilQue tienes en tu trenzadoHe de hacer una cadenaPara traerte a mi lado.Una alcarraza en tu casa,Chiquilla, quisiera ser,Para besarte en la boca,Cuando fueras a beber. ¡Ay!

From the finest hair

From the finest hairin your tressesI wish to make a chainto draw you to my side.In your house, young girl,I’d fain be a pitcher,to kiss your lipswhenever you went to drink! Ah!!

Chiquitita la novia

Chiquitita la novia,Chiquitito el novio,Chiquitita la salaY er dormitorio,Por eso yo quieroChiquitita la cama Y er mosquitero.

A tiny bride

A tiny bride,a tiny groom,a tiny roomand a bedroom,that’s why I wanta tiny bedand a mosquito net. [Please wait to turn the page.]



Assisa a’ piè d'un salice, from OtelloGioachino Rossini (1792-1868)

Rossini enjoyed early successes in Venice (Il signor Bruschino) and Milan (La pietra del

paragone). Naples was a tougher audience, but the composer found inspiration in the

artistry of Spanish soprano Isabella Colbran (1785-1845). With a voice that spanned

nearly three octaves and a dramatic flair to match, Colbran created a series of leading

Rossini heroines from Elisabetta, regina d'Inghilterra (1815) to Zelmira (1822). Rossini and

Colbran lived together in Naples, then married in 1822. The libretto of Otello, Rossini’s

second opera for Naples (1816), was based on a French re-working of Shakespeare’s play,

and it takes great liberties with the Bard’s text. But Rossini still fashioned from it his fin-

est dramatic work to that date. And Naples loved and adopted him.

Sitting at the foot of a willow tree,sunk in sorrow,was Isaura, woundedby the cruellest love;the breeze in the treesfaintly echoed the sound.

The clear streamsmingled the murmursof eddying waterwith her burning sighsThe breeze in the treesfaintly echoed the sound.

Willow, lover of love,forget my misfortuneand lend a merciful shadeto my tomb;and let the breeze repeat no morethe sound of my lament.

[recitative]

But, weary at last of sheddingher sad tears and sighs,the unhappy maiden died,alas, beside the willow.she died, that the grief, the faithless man . . .

Assisa a' piè d'un salice,immersa nel dolore,giacea trafitta Isauradal più crudele amore;I' aura fra i ramiflebile ne ripetea il suon.

I ruscelletti limpidia' caldi suoi sospiriil mormorio mescevanode' lor diversi giri.L'aura fra i ramiflebile ne ripetea il suon.

Salce d'amor deliziaombra pietosa apprestadi mie sciagure immemoreall'urna mia funestané più ripeta l'aurade' miei lamenti il suon . . .

[recitative]

Ma stanca alfin di spargeremesti sospiri e piantomorì l'afflitta vergineah! di quel salce accanto.morì, che il duol, l'ingrato . . .

Isabella Colbran as Desdemona

In her bedchamber, Desdemona has just heard a gondolier in the distance. His song reminds her of an old friend, Isaura, who

grieved for her love under a willow tree. Accompanying herself on the harp, Desdemona sings the “Willow Song,” an aria which

shows Rossini at his most lyrical and most daring. He presents a song in three verses, the last interrupted when a gust of wind

blows the window open. The vocal embellishments are as delicate as the harmonies and textures.

schubert.org 25

Beaumarchais Trilogy

Voi che sapete, from Le nozze di Figaro W. A. Mozart (1756-1791)

Deh vieni, non tardar, from Le nozze di Figaro Mozart

Una voce poco fa, from Il barbiere di Siviglia Rossini

Over twenty years, French writer Pierre-Augustin Beaumarchais (1732-1799) penned a

trilogy of plays about Figaro: The Barber of Seville (written 1772 and set most memorably

by Rossini in 1816); The Marriage of Figaro (written 1781, set famously by Mozart in 1786);

and The Guilty Mother (performed as a play in 1792; finally realized as an opera by Darius

Milhaud in 1966). Written in the years before the French Revolution, the plays were cutting-

edge theater, defying the existing class system by depicting a clever and daring servant

outwitting his master.

“Voi che sapete”

Voi che sapete che cosa è amor,Donne, vedete s'io l'ho nel cor.Quello ch'io provo vi ridiro,È per me nuovo, capir nol so.Sento un affetto, pien di desir,Ch'ora è diletto, ch'ora è martir.Gelo e poi sento l'alma avvampar,E in un momento torno a gelar.Ricerco un bene fuori di me, Non so ch'il tiene, non so cos'è.Sospiro e gemo senza voler,Palpito e tremo senza saper,Non trovo pace notte né di,Ma pur mi piace languir cosi.Voi che sapete che cosa è amor,Donne, vedete s'io l'ho nel cor.

You who know what love is,Ladies, see if I have it in my heart.I'll tell you what I'm feeling,It's new for me, and I understand nothing.I have a feeling, full of desire,Which is by turns delightful and miserable.I freeze and then feel my soul go up in flames,Then in a moment I turn to ice.I'm searching for affection outside of myself,I don't know how to hold it, nor even what it is!I sigh and lament without wanting to,I twitter and tremble without knowing why,I find peace neither night nor day,But still I rather enjoy languishing this way.You who know what love is,Ladies, see if I have it in my heart.

Pierre-Augustin Beaumarchais by Jean-Marc Nattier

“Voi che sapete,” from The Marriage of Figaro, is an arietta “composed” and sung by Cherubino, a

libidinous young page in Count Almaviva's service. In the second scene of Act Two, which takes place in Countess Rosina's

bedroom, Cherubino auditions it for the Countess and her maid, Susanna. Then he dons women’s clothes as a ruse to trick and

embarrass the Count. Of course, the role of Cherubino is played by a woman, which adds to the mayhem.

Alas, my own weeping stopsme from continuing!

O heaven, soothe my sufferingfor a while with sleep.Make my belovedcome to console me.

Yet if prayers prove vain,let him at least come to mycold urn to bathe my asheswith tears.

Ahime! che il pianto proseguirnon mi fa!

Deh, calma, o Ciel, nel sonnoper poco le mie pene,fa, che l' amato benemi venga a consolar.

Se poi son vani i prieghisi mia fredd' urna in senodi pianto venga almenoil cenere a bagnar

[Please wait to turn the page.]


“Deh vieni, non tardar”

Giunse alfin il momentoChe godrò senz'affannoIn braccio all'idol mio.Timide cure uscite dal mio petto!A turbar non venite il mio diletto.O, come par che all'amoroso focoL'amenità del loco, La terra e il ciel risponda.Come la notte i furti miei risponda.

Aria: Deh vieni, non tardar, o gioja bellaVieni ove amore per goder t'appellaFinché non splende in ciel notturna faceFinché l'aria è ancor bruna, E il mondo tace.Qui mormora il ruscel, qui scherza l'auraChe col dolce susurro il cor ristauraQui ridono i fioretti e l'erba è frescaAi piaceri d'amor qui tutto adesca.Vieni, ben mio, tra queste piante ascose.Vieni, vieni!Ti vo' la fronte incoronar di rose.

“Una voce poco fa”

Una voce poco faqui nel cor mi risuonò;il mio cor ferito è già,e Lindor fu che il piagò.

Sì, Lindoro mio sarà;lo giurai, la vincerò.

Il tutor ricuserà,io l'ingegno aguzzerò.Alla fin s'accheteràe contenta io resterò.

Sì, Lindoro mio sarà;lo giurai, la vincerò.

Io sono docile, son rispettosa,sono obbediente, dolce, amorosa;mi lascio reggere, mi fo guidar.

Ma se mi toccano dov'è il mio debolesarò una vipera e cento trappoleprima di cedere farò giocar.

A voice has justechoed here into my heartmy heart is already woundedand it was Lindoro who shot.

Yes, Lindoro will be mineI've swore it, I'll win.

The tutor will refuse,I'll sharpen my mindfinally he'll accept,and happy I'll rest.

Yes, Lindoro will be mineI've swore it, I'll win.

I'm gentle, respectfulI'm obedient, sweet, lovingI let be ruled, I let be guided.

But if they touch where my weak spot isI'll be a viper and a hundred trapsbefore giving up I'll make them fall.

The moment finally arrivesWhen I'll enjoy [experience joy] without hasteIn the arms of my beloved.Fearful anxieties, get out of my heart!Do not come to disturb my delight.Oh, how it seems that to amorous firesThe comfort of the place, Earth and heaven respond.As the night responds to my ruses.

Oh, come, don't be late, my beautiful joyCome where love calls you to enjoymentUntil night's torches no longer shine in the skyAs long as the air is still dark And the world quiet. Here the river murmurs and the light playsThat restores the heart with sweet ripples Here, little flowers laugh and the grass is freshHere, everything entices one to love's pleasuresCome, my dear, among these hidden plants.Come, come!I want to crown you with roses.


“Deh vieni, non tardar,” from Act Four of the same opera, is sung by Susanna, who spies her fiancé—Figaro—hiding in the bushes.

Rather than let on, she taunts him by singing of the “lover” she awaits. But at the same time, she is disclosing her true feelings

for him.

The events of The Barber of Seville take place several years before those of Figaro. “Una voce poco fa” is sung by a younger Rosina,

an orphan and ward of Dr. Bartolo, who is planning to wed his charge secretly the next day. Rosina has just read a letter from a

suitor, Lindoro (Count Almaviva in disguise).

schubert.org 27

Cleopatra DuoMorte, col fiero aspetto, from Marc'Antonio e Cleopatra J. A. Hasse (1699-1783)

Piangerò la sorte mia, from Giulio Cesare G. F. Handel (1685-1759)

“Morte, col fiero aspetto”

Morte, col fiero aspettoorror per me non ha,s’io possa in libertàmorir sul trono mio,dove regnai.

L’anima uscir dal pettolibera spera ognor,sin dale fasce ancorsì nobile desiomeco portai.

“Piangerò la sorte mia”

E pur così in un giornoperdo fasti e grandezze?Ahi fato rio!Cesare, il mio bel nume, è forse estinto;Cornelia e Sesto inermi son, né sannodarmi soccorso. O dio!Non resta alcuna speme al viver mio.

Aria: Piangerò la sorte mia,sì crudele e tanto ria,finché vita in petto avrò.Ma poi morta d'ogn'intornoil tiranno e notte e giornofatta spettro agiterò.

Why then, in one day,I am deprived of magnificence and glory?Oh, cruel fate!Caesar, my beloved idol is probably dead,Cornelia and Sextus are defencelessand cannot give me assistance. O God!There is no hope left in my life.

I will bemoan my fateso cruel and brutalAs long as there is breath left in my body.And when I am deadand become a ghost, I will hauntthe tyrant night and day.

Death’s grisly aspectholds no horror for me,provided I can diein freedom on the thronefrom which I reigned.

All hope to be free to choosethe manner of their death;since earliest childhoodI have cherishedthat noble aspiration.

Johann Adolf Hasse is little known today, but in his time he was Il Sassone, “The Saxon,”

a leading opera composer, and one who epitomized the values of Italian opera seria. The

conventions of that genre died with the eighteenth century, and with them, Hasse’s re-

nown, but perhaps it’s time to reassess the work of this composer of some sixty operas.

The long-lived Hasse was born in northern Germany and began his career as a tenor. In

time, he would hold positions at the Habsburg court in Vienna, serve the Saxon court

in Dresden, and enjoy the admiration of Frederick the Great. Marc'Antonio e Cleopatra

(1725) is the work that launched Hasse’s career in Naples. It seems to have been a

test piece, a sampler of arias and duets sung by two celebrated singers of the age: the

castrato Farinelli and the contralto Vittoria Tesi. Quantz (1754) called it a serenata, an

evening entertainment by artificial light. Its characters communicate directly rather

than act, more in the manner of oratorio than opera. “Morte col fiero aspetto” is a fine

example of an aria di bravura. Note Hasse’s setting of Metastasio’s words “die on my

throne” to a series of ascending chromatic steps. Hasse was married to a famous singer

himself: the mezzo-soprano Faustina Bordoni.

A year earlier, across the continent in London, Nicola Haym’s adaptation of Bussani’s

1685 libretto for Julius Caesar in Egypt (1724) provided George Frideric Handel with

a fanciful version of the Cleopatra story. In Act Three, Ptolemy’s forces have defeated

Cleopatra, and she is her younger brother’s prisoner. She mourns her fate as she is led

away, to a descending bass line of subtle power and great pathos.

The perennially affecting love story of Mark Anthony and Cleopatra was retold in a 1913 film version advertised in this poster.

[Please wait to turn the page.]


Sopra l'acqua indormenzada

Coi pensieri malinconiciNo te star a tormentar:Vien con mi, montemo in gondola,Andaremo fora in mar.Passaremo i porti e l'isoleChe circonda la cità:El sol more senza nuvoleE la luna spuntarà.

Oh! che festa, oh! che spetacolo,Che presenta sta laguna,Quando tuto xe silenzio,Quando sluse in ciel la luna;E spandendo i cavel morbidiSopra l'acqua indormenzada,La se specia, la se cocola,Come dona inamorada!

Tira zo quel velo e scòndite,Che la vedo comparir!Se l'arriva a descoverzarte,La se pol ingelosir!Sta baveta, che te zogolaFra i caveli imbovolai,No xe turbia de la polvereDe le rode e dei cavai. Vien!

Se in conchigli ai Grevi VenereSe sognava un altro di,Forse visto i aveva in gondolaUna zogia come ti,Ti xe bela, ti xe zovene,Ti xe fresca come un fior;Vien per tuti le so lagrme;Ridiadesso e fa l'amor!

Asleep on the water

Let not melancholy thoughts distress you:come with me, let us climb into our gondola,and make for the open sea.We will go past harbors and islandswhich surround the city:and the sun will sink in a cloudless skyand the moon will rise.

Oh what fun, oh what a sightis the lagoonwhen all is silentand the moon climbs in the sky;and spreading its soft hairover the tranquil waters,it admires its own reflectionlike a woman in love.

Draw your veil about you and hidefor I see the moon appearingand if it catches a glimpse of youit will grow jealous!This light breeze, playinggently with your ruffled tresses,bears no trace of the dust raisedby cartwheels and horses. Come!

If in other days Venusseemed to the Greeks to have risen from a shell,perhaps it was because they had seena beauty like you in a gondola. You are lovely, youngand fresh as a flower.Tears will come soon enough,so now is the time for laughter and for love.

Venezia Reynaldo Hahn (1874-1947)

The six songs of Reynaldo Hahn’s Venezia were composed in 1900-01, inspired by the composer’s first visit to Venice. “I’ve written

some Venetian songs—vulgar, sentimental, extremely Grand Canal—neither the Venice of the Doges nor that of Byron,” wrote

Hahn to a friend. “This is banal, pleasure-loving Venice, floating on a a tide of indolence and facile affairs.” One can imagine Hahn

at the keyboard, accompanying himself in these songs. He had a fine, sweet tenor and a fluid piano technique.

Hahn was born in Venezuela, the youngest of twelve children. By the time his family relocated to Paris four years later, he already

knew four languages. Hahn’s music was banned by the Nazis because of his Jewish heritage, and for years, he was known almost

exclusively for two early songs. But his frankly melodic, euphonious music, frequently in styles that evoke bygone eras, is once

again finding favor with singers. Hahn’s relationship with the past makes particular sense when one considers his close friendship

with Marcel Proust, for whom the past was an obsession.

The first song, “Sopra l’acqua indormenzada,” is dedicated to Emma Calvé, the most acclaimed French singer of the Belle Époque,

who in 1902 created the title role in Hahn’s opera, La Carmélite. The poet, Pietro Pagello, was a doctor who treated George Sand

and her lover Alfred de Musset for dysentery. Pagello later took Musset’s place in Sand’s affections. The last song, “La Primavera,” is

dedicated to Francesco Paolo Tosti, a singing composer much like Hahn himself. In between, the songs, in Venetian dialect, are very

much in the bel canto tradition, updated with little asymmetries and embellishments.

Perhaps Hahn was also charmed by the implicit connection between Venice and his native land. When the Amerigo Vespucci saw

the stilt houses on Lake Maracaibo in 1499, legend has it that he named the region Veneziola.


schubert.org 29

L'avertimento

No corè, puti, smaniosi tantoDrio quel incantoChe Nana g'haXe tuto amabileVe acordo, in ela,La xe una stelaCascada quaMa . . . ma . . . La Nana cocolaG'ha el cuor tigrà.

L'ocio xe vivoColor del cielo,Oro el caveloBalsamo el fià;Ghe sponta in visoDo' rose intate.Invidia al lateQuel sen ghe faMa . . . ma . . . La Nana cocolaG'ha el cuor tigrà.

Ogni ochiadinaChe la ve daga,Da qualche piagaVoda no va!Col so' graneloDe furbariaLa cortesiaMissiar la sa . . .Ma . . . ma . . . La Nana cocolaG'ha el cuor tigrà.

The warning

Do not rush so eagerly, lads,after the charmsof the lovely Nana.All is enchantmentin her, I grant you;she is like a starfallen to earth,but . . . but . . . that lovely Nanahas the heart of a tiger!

Her eye is livelyand heavenly blue;her hair is spun goldand her breath a balm;roses glowin her cheeks,her breasts are whiterthan milk,but . . . but . . . that lovely Nanahas the heart of a tiger!

Every glanceshe darts at youcarries its ownsweet poison!Nor is guileever absentfrom hergentle manner . . .but . . . but . . . that lovely Nanahas the heart of a tiger.

La barcheta

La note è bela,Fa presto, o Nineta,Andemo in barchetaI freschi a ciapar!A Toni g'ho ditoCh'el felze el ne cavaPer goder sta bavaChe supia dal mar.Ah!

Che gusto contarselaSoleti in laguna,E al chiaro de lunaSentirse a vogar!Ti pol de la ventolaFar senza, o mia cara,Chè zefiri a garaTe vol sventolar.Ah!

Se gh'è tra de loriChi troppo indiscretoVolesse da pètoEl velo strapar,No bada a ste frotole,Soleti za semoE Toni el so' remoLè a tento a menar.Ah!

The little boat

The night is beautiful.Make haste, Nineta,let us take to our boatand enjoy the evening breeze.I have asked Tonito remove the canopyso that we can feel the zephyrblowing in from the sea;Ah!

What bliss it is to exchangesweet nothingsalone on the lagoonand by moonlight,to be borne along in our boat;you can lay aside your fan, my dear,for the breezes will vie with each otherto refresh you.Ah!

If among them there should be one so indiscreetas to try to lift the veilshielding your breast,pay no heed to its nonsense,for we are all aloneand Toni is much too intenton plying his oar.Ah!

Reynaldo Hahn. Oil painting by Lucie Lambert.

Thank you

to all individual donors

and organizations

whose generous

support

makes our programs

possible.

The Schubert

Club

CONCERTS

EDUCATION • MUSEUM

schubert.org

Che pecà!

Te recordistu, Nina, quei aniChe ti geri el mio solo pensier?Che tormento, che rabie, che afani!Mai un'ora de vero piacer!Per fortuna quel tempo xe andà.Che pecà!

Ne vedeva che per i to' oci,No g'aveva altro ben che el to' ben...Che schempiezzi! che gusti batoci,Oh, ma adesso so tor quel che vien;No me scaldo po'tanto el figà.Che pecà!

Ti xe bela, ma pur ti xe dona,Qualche neo lo conosso anca in ti;Co ti ridi co un'altra persona,Me diverto co un'altra anca mi.Benedeta la so' libertà.Che pecà!

Te voi ben, ma no filo caligo,Me ne indormo de tanta virtù.Magno e bevo, so star co' l'amigoE me ingrasse ogni zorno de più.Son un omo che sa quel che'l fa...Che pecà!

Care gondole de la lagunaVoghè pur, che ve lasso vogar!Quando in cielo vien fora la luna,Vago in leto e me meto a ronfar,Senza gnanca pensarghe al passà!Che pecà!

What a shame!

Do you remember those years, Nina,when you were my one and only thought?What torment, what rage, what anguish!Never an hour of untroubled joy!Luckily that time is gone.But what a shame!

I saw only through your eyes;I knew no happiness but in you . . .What foolishness, what silly behavior;oh, but now I take all as it comesand no longer get agitated.But what a shame!

You are lovely, and yet you are woman,no longer perfection incarnate;when your smile is bestowed on another,I too can find solace elsewhere.Blessed be one's own freedom!But what a shame!

I still love you, but without all that torment,and am weary of all that virtue.I eat, drink, and enjoy my friends,and grow fatter with every day.I am a man who knows what he's about . . .But what a shame!

Lovely gondolas on the lagoonrow past, I'll hold you back!When the moon appears in the skyI'll take to my bed and snorewithout a thought for the past!But what a shame!

La primavera

Giacinti e violeteFa in tera BaosèteChe gusto! che giubilo!L'inverno è scampà!La Neve è svania,La brina è finia,Xe tepida l'aria,El sol chiapa fià.

Amici, fa ciera!Xe qua primavera!Me'l dise quel nuvolo . . .Senti! senti el ton!Ohimé! che sta ideaEl cuor me ricrea,E tuto desmentegoQuel fredo baron!

Ancora un meseto,E el rusignoleto,Col canto, ne sgiozzolo,Sul' anima el miel.Stagion deliziosa!Ti vien cola rosa,Ti parti col giglio,Fior degno del ciel!

Spring

Hyacinths and violetsdeck the earth.What pleasure, what bliss;winter has fled.The snow has melted,the frost is over,the air is warm and the sun is gaining strength.

Friends, be of good cheer,Spring is here!I know it by that cloud . . .Hark, hark to the thunder!Oh, how the thoughtdelights my heart,the dreary coldis now forgotten!

Just one more monthand the nightingale's songwill pour its honeyon my soul.Oh delightful season,you arrive bearing rosesand depart with the lilies,flowers worthy of heaven!

schubert.org 31

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

Tirzah Blair, Ticketing & Development Associate

Max Carlson, Program Associate

Kate Cooper, Education & Museum Manager

Aly Fulton, Executive Assistant & Artist Coordinator

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, Zach Forstrom, Paul Johnson,

Alan Kolderie, Sherry Ladig, Kirsten Peterson

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

Thelma Hunter

Ruth Huss

Lucy Rosenberry Jones

Richard King

Karen Kustritz

Libby Larsen

Dorothy Mayeske

Sylvia McCallister

Elizabeth B. Myers

Nicholas Nash

Richard Nicholson

Gilman Ordway

Christine Podas-Larson

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.

Thank you

to all individual donors

and organizations

whose generous

support

makes our programs

possible.

The Schubert

Club

CONCERTS

EDUCATION • MUSEUM

schubert.org


Photo: John Wagner

String Quintet No. 1 in F major, Opus 88, Johannes Brahms

Allegro non troppo ma con brio Grave ed appassionato – Allegretto vivaceI Finale: Allegro energico

Intermission

Quintet No. 5 in D major, K. 593 Wolfgang Amadeus Mozart

Larghetto—Allegro Adagio Menuetto: Allegretto Allegro



Kate Nordstrum Projects

present

Accordo

Ruggero Allifranchini, violin • Erin Keefe, violin

Rebecca Albers, viola • Maiya Papach, viola • Ronald Thomas, cello

Monday, June 1, 2015, 7:30 PM

schubert.org 33

AccordoMonday, June 1, 2015, 7:30 PM • Christ Church Lutheran

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

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

and Minnesota Orchestra current and former principal players Rebecca

Albers, Ruggero Allifranchini, Steven Copes, Erin Keefe, Kyu-Young Kim,

Maiya Papach, Anthony Ross, and Ronald Thomas.

Phot

o: C

amer

on W

itti

g

A special thanks to the Accordo donors:

Performance SponsorsRuth and John HussEileen BaumgartnerLucy Jones and James JohnsonAnn and Alfred Moore

Musician SponsorsRichard Allendorf and Paul MarkwardtNina and John ArchabalMary and Bill BakemanMichael and Carol BromerRachelle Chase and John FeldmanJoan R. Duddingston

PatronsBarbara Ann BrownBonnie BrzeskowiakBirgitte and John ChristiansonPamela and Stephen DesnickDr. and Mrs. Thomas DuckerGeorge EhrenbergNancy and Jack GarlandMary Glynn, Peg and Liz GlynnBeverly L. HlavacBrian Horrigan and Amy LevineCarol A. JohnsonMary A. Jones

Miriam and Erwin KelenDavid G. LarsonKaren S. LeeMary and Ron MattsonMargot McKinneyDavid Miller and Mary DewElizabeth MyersSonja and Lowell NoteboomPatricia O’GormanSydney M. PhillipsElizabeth and Roger RickettsTamara and Michael RootSusan and Bill Scott

Scott 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

Sponsors:



Accordo performs excerpts from this program with guest

presenter Ken Freed on Tuesday, June 2, at Amsterdam Bar & Hall

Photo: Jaym

e Halbritter


The Minnesota Historical Society

present


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

Guest artists: Susan Billmeyer, piano • Maria Jette, soprano • Craig Johnson, narrator

Monday, June 1, 2015 • 7:30 PM

“Schubertiade”Music of Franz Schubert (1797-1828)

– Selected readings –

– Songs with Piano –


Sonata in A major for Violin and Piano, D. 574

I. Allegro moderato

II. Scherzo: Presto

Intermission

– Songs with Guitar –

including

Franz Schubert (to a friend), Vienna, 31 March 1824

from Letters from Composers Dominick Argento (b. 1927)


Piano Trio in B-flat major, D. 898

II. Andante un poco mosso

IV. Rondo: Allegro vivace

Please silence all electronic devices.

schubert.org 35

The legendary French conductor Pierre Monteux was

once asked what he thought of programs devoted to a

single composer. “If the composer is Beethoven or Brahms,

perhaps. But a concert of all . . . Aaron Copland?” Monteux,

who conducted Schubert’s symphonies so deftly, would

surely have endorsed the Schubertiade, a celebration of

Schubert’s music in a private home. The tradition was

already well established during the composer’s lifetime. In

her article, “Vienna, City of Music,” Alice Hanson describes

a typical event: “Sponsored by high-ranking Austrian

civil servants, Schubertiades combined music with

camaraderie between hosts, their business associates,

their children, and their guests. Each party began with the

performance of songs by Schubert, often accompanied

by the composer. Then Schubert and his friends played

piano duets or sang jocular quartets. After a big meal, the

guests played parlor games or danced.” Of course, there

would also have been drinking, smoking, card games,

literary discussions, charades, even gymnastic displays.

Schubert might accompany himself at the piano. Schubert

ran with a literary crowd, and the musical fare offered was

generally light.

In Metternich’s Vienna—particularly the years after the

Congress of Vienna in 1815—the secret police kept a

firm grip on Austrian society. Spies and informers were

everywhere, alert to any kind of revolutionary chatter.

Public concerts were subject to approval by the censor.

Concert venues were limited; the first official concert hall

in Vienna was built in 1831, three years after Schubert’s

death. In any case, the recital as we know it had not yet

been invented. As a result, the middle class turned inward,

cultivating domestic life and giving rise to what was later

derisively called the Biedermeier style.

The Hill House Art Gallery is the ideal setting for a

Schubertiade. Along with a generous sampling of songs

and readings, the program will offer the first half of

an rather early duo complemented by the latter part

of a late trio. There’s only one piece of not-Schubert:

Hill House Chamber PlayersMonday, June 1, 2015 • 7:30 PM • James J. Hill House

Dominick Argento’s setting of a letter by Schubert to a

friend, written during the darkest days of the composer’s

life. “Finding that most poetry seems to be created for

public discourse, I began to consider more private forms

of writing: letters, journals, diaries, and so on,” Argento

writes in his Catalogue Raisonné as Memoir. “In this case

I chose letters from composers I am particularly fond of,

and only letters not dealing with music but revealing

something about them as human beings.”

The Sonata in A major, one of four by Schubert, was

published after the composer’s death under the title

Duo—indeed, the opening, an ambling left hand

answered by violin, suggests a conversation between two

people. The Sonata was written in August of 1817, when

Schubert was twenty. Elements of his compositional

personality are already present: sweet melodies, often

wilting at the corners; bursts of virtuosity; an occasional

harmonic adventure. Most of Schubert’s energy was

poured into song-writing, but he still managed to write

the Symphony No. 6 and four piano sonatas that year. The

second-movement scherzo dashes here and there like a

squirrel in spring.

The Trio in B-flat is the first of two great late trios, perhaps

the finest examples of the genre between Beethoven

and Brahms. Both were composed for professionals,

violinist Ignaz Schuppanzigh and cellist Josef Linke, who

had premiered several of Beethoven’s mature trios, with

pianist Carl Maria von Bocklet. The Trio in B-flat was

composed concurrently with the song cycle Winterreise,

but is utterly different in tone. “It is an ‘unbuttoned’

Schubert who speaks, sings, confides and dances here,”

writes biographer Brian Newbould, “not the ‘contained’

Schubert who had nothing further from his mind than

virtuosity when he followed the trudgings of Müller’s

world-weary traveller.” One is frequently reminded of

the sunny string-versus-piano textures of the “Trout”

Quintet. The lullaby-like Andante begins with a perfectly

poised four-note theme. Four-note themes are special:

think of the finale of Mozart’s “Jupiter” Symphony, or the

“Westminster Chimes,” or even the “Intel Inside” theme.

Much about Schubert’s personal life is hazy. He seldom

kept a diary; much of what we know comes from his

friends. Fortunately, they were many. Schubert was

not unappreciated.

Program notes © 2015 by David Evan Thomas


Courtroom ConcertApril 23, 2015, 2014 • Noon • Landmark Center

Mélange à Trois Melissa Morey, horn • Cara Wilson, violin • Stephen Self, piano

will-horse – Riona Ryan (b. 1996)

Horn Trio – Sarrah Bushara (b. 1998)

Reflections I – Isaac Roth Blumfield (b. 1996)

Digital Keynote – Samuel Hoch (b. 1997)

Riona Ryan is a senior music major at Perpich Arts High School. She studies flute with Barbara Leibundguth and composition with Edie Hill, and she hopes to pursue a composition degree with lessons in contemporary flute performance in the fall. Her current projects include a solo EP and a piece for full orchestra, in addition to collaborative work with media and visual artists to create new environments for live performance. Her biggest goal as a composer is to create honest work; she also would like to push the audience-performer-composer relationship to a higher degree of engagement and excitement.

Sarrah Bushara is in her junior year of high school as a PSEO student at University of Minnesota and is princi-pal oboist of the The Greater Twin Cities Youth Symphonies (GTCYS) and Minnesota Youth Symphonies (MYS) Symphony orchestras. She has participated in Junior Composers Institute over the past three summers. Sar-rah was first place winner of the 2014 Minnesota Music Teacher's Association Student Composition Contest in the Senior High division, and took 2nd place in the American Federation of Music Clubs Composition Con-test in 2014 and 2015. Most recently, she was named a finalist in the 2015 ASCAP Foundation Morton Gould Young Composer competition, and an Emerging Composer Tribeca New Music Young Composer competition.

Isaac Roth Blumfield attends Central High School. He has had works commissioned by Central’s orchestra and choir, as well as incidental music for the theatre department’s plays. He has studied composition with Samuel Adler, Edie Hill, and Shirley Mier, piano with Gail Olszewski, conducting with Emily Freeman Brown, and voice with David Walton. Upcoming projects include a setting of “If,” by E. E. Cummings, commissioned by the Central Chamber Singers, performances of “Open City” by the Central High School Orchestra, and a solo work for viola. Isaac has been a five-time first-place winner of Minnesota Music Educators Association composition awards, an MMEA Composer of the Year, and a three-time Schubert Club Composer Mentorship awardee.

Samuel Hoch: Early exposure to the digital age combined with a suburban upbringing really establish a lens for my affinity towards music. I think that, among many others, subtle themes of web interconnection, obsolescence, and pure boredom/repetition ring through to my musical writing interests and composition process. Engaged listening and keeping an open mind are so important to me when I take in influences. Contemporary classical music and experimental electronic music are broad genres that I am currently most interested in. Most of my current musical projects involve collaborating with other artists. With any composi-tion, inspiration from other artistic mediums is a key component to my process. The next couple of years, I plan to study computer music composition along with recording arts and sciences in a university setting.

Music of The 2014-2015 Schubert Club Composer Mentorship Students

High School Composers, Apply for the 2015-2016 Mentorship Program!

• composition, notation, orchestration and the creative process• attendance at local performances, rehearsals, and workshops• college preparation and career-building opportunities• premiere of their work on The Schubert Club’s Courtroom Concert Series• one-year membership to the American Composers Forum

Deadline to apply: Monday, June 1, 2015

Download rules and application:schubert.org/education/composer-mentorship

This program is offered free of charge and is sponsored in part by HRK Foundation.

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Courtroom ConcertApril 30, 2015 • Noon • Landmark Center

Continuum I. II. III.Kristian Anderson, guitar

Land Meeting Sky I. Zenith II. Cumulonimbus III. Blazing Twilight IV. Moon ShadowsLinda Chatterton, flute

Charles Asch, cello

Cold Blue NightLinda Chatterton, flute

Rincón del cielo I. Rasgos II. Preludio III. Rincón del cielo IV. Total V. Un lucero VI. Franja VII. Una VIII. Madre IX. Recuerdo X. Hospicio XI. Cometa XII. Venus XIII. Abajo XIV. La gran tristezaGary Ruschman, tenor

Kristian Anderson, guitar

Music of Edie Hill

From solo to orchestra, epigram to epic, the music of Edie Hill (b. 1962) unfolds seamlessly in all spaces and idioms. A native of New York City, her works are performed frequently and world-wide. Most recently, her music has been performed at Lincoln Center in New York, Musis Sacrum in Arnhem, The Netherlands and has been performed by The Estonian Philharmonic Chamber Choir, Cantus, and Nederlands Kamerkoor. A three-time McKnight Artist Fellow and a two-time Bush Artist Fellow, Hill has received grants from the Jerome Foundation, ASCAP, Meet The Composer and Chamber Music America, to name a few. She actively cultivates the talents of young composers and musicians as well as educating and engaging the public in the music of today. She has been a guest lecturer at such institutions as Syracuse University, the American Composers Forum, the Iowa Composers Forum Nuts N’ Bolts Festival, Tufts University, the University of Michigan and Delft University (Netherlands) and the Conservatory at Arnhem in Netherlands. Hill earned a B.A. at Bennington College where she studied with Vivian Fine, and then went on to earn her M.A. and Ph.D. degrees from the University of Minnesota She resides in Minneapolis where she works as a freelance composer and owns Hummingbird Press.

Photo: A

nn

e Marsden

(from top) Edie Hill, Kristian Anderson, Gary Ruschman, Linda Chatterton, Charles Asch


The Schubert Club Annual ContributorsThank you for your generosity and support

Ambassador$20,000 and abovePatrick and Aimee Butler Family Foundation Anna M. Heilmaier Charitable FoundationMAHADH Fund of HRK FoundationThe McKnight FoundationMinnesota State Arts BoardGilman and Marge OrdwayTarget Foundation

Schubert Circle$10,000 – $19,999Rosemary and David Good Family FoundationDorothy J. Horns, M.D. and James P. RichardsonLucy Rosenberry JonesPhyllis and Donald Kahn Philanthropic Fund of the Jewish Communal FundGeorge ReidCharles A. Weyerhaeuser Memorial Foundation and Robert J. SivertsenThrivent Financial for Lutherans FoundationMargaret and Angus Wurtele

Patron$5,000 – $9,999The Allegro Fund of The Saint Paul Foundation and Gayle and Tim OberJohn and Nina ArchabalBoss FoundationJulia W. DaytonTerry DevittDorsey & Whitney FoundationHarlan Boss FoundationBill Hueg and Hella Mears HuegArt and Martha Kaemmer Fund of The HRK FoundationBarry and Cheryl KemptonMarjorie and Ted KolderieWalt McCarthy and Clara Ueland and Greystone FoundationMalcom and Wendy McLeanAlfred P. and Ann M. MooreLuther I. Replogle FoundationSewell Family FoundationTravelers FoundationTrillium Family Foundation

Benefactor$2,500 – $4,999AnonymousSophia and Mark AnemaThe Burnham FoundationDee Ann and Kent CrossleyJoan R. DuddingstonRichard and Adele EvidonMichael and Dawn Georgieff

Mark and Diane GorderThelma HunterJohn and Ruth Huss FundJames E. JohnsonLois and Richard KingKyle Kossol and Tom BeckerChris and Marion LevyMcCarthy-Bjorklund Foundation and Alexandra O. BjorklundPeter and Karla MyersAlice M. O’Brien FoundationSita OhanessianPaul D. Olson and Mark L. BaumgartnerFord and Catherine Nicholson Family FoundationRichard and Nancy Nicholson Fund of The Nicholson Family FoundationJohn and Barbara RiceLois and John RogersSaint Anthony Park Community FoundationMichael and Shirley SantoroSecurian FoundationKim Severson and Philip JemielitaFred and Gloria SewellCharles and Carrie ShawKatherine and Douglas SkorWenger FoundationNancy and Ted Weyerhaeuser

Guarantor$1,000 – $2,499AnonymousMahfuza and Zaki AliSuzanne AmmermanElmer L. & Eleanor J. Andersen FoundationSuzanne Asher Paul J. AslanianCraig and Elizabeth AaseJ. Michael Barone and Lise SchmidtEileen M. BaumgartnerLynne and Bruce Beck Dr. Lee A. Borah, Jr.Dorothea BurnsDeanna L. CarlsonCecil and Penny ChallyRachelle Chase and John Feldman Mary Carlsen and Peter DahlenJohn and Marilyn DanCy and Paula DeCosse Fund of The Minneapolis FoundationJoy L. DavisDellwood FoundationWilliam and Bonita FrelsDick GeyermanJill Harmon and Frank FairmanAnders and Julie HimmelstrupHélène Houle and John NasseffAnne and Stephen Hunter Roy and Dorothy Ode MayeskeLaura McCartenSandy and Bob Morris

David MorrisonElizabeth B. MyersThe Philip and Katherine Nason Fund of The Saint Paul Founda-tion

Dan and Sallie O’Brien Fund of The Saint Paul FoundationRobert M. OlafsonOppenheimer Wolff & Donnelly LLPPerforming Arts Fund of Arts MidwestThe William and Nancy Podas aRt&D FundBetty PomeroyDavid and Judy RanheimAugust Rivera, Jr.Ann and Paul SchulteEstelle SellAnthony TheinJill and John ThompsonJohn and Bonnie TreacyWells Fargo Foundation MinnesotaDoborah Wexler M.D. and Michael MannMichael and Catharine Wright

Sponsor$500 – $999AnonymousMary and Bill BakemanJeanne B. BaldyCarline BengtssonSusan Brewster and Edwin McCarthyMichael and Carol BromerTim and Barbara BrownDavid ChristensenAndrew and Carolyn CollinsDavid and Catherine CooperF. G. and Bernice DavenportArlene and Calvin DidierRuth S. DonhoweAnna Marie Ettel David and Maryse FanJoan and William GackiAndrew Hisey and Chandy JohnJudith K. HealeyFrederick J. Hey, Jr.Cynthia and Russell HobbieNancy P. JonesGloria KittlesonWilliam KleinJames and Gail LaFaveLehmann Family Fund of The Saint Paul FoundationJeffrey H. Lin and Sarah BronsonSusanna and Tim LodgeWendell MaddoxThe Thomas Mairs and Marjorie Mairs Fund of The Saint Paul FoundationPaul Markwardt and Richard AllendorfLucia P. May and Bruce CoppockMedtronic Foundation

Kay Phillips and Jill Mortensen Fund of The Minneapolis FoundationAlan and Charlotte MurrayLowell and Sonja NoteboomJohn B. NoydMary and Terry PattonWilliam and Suzanne PayneWalter Pickhardt and Sandra ResnickChristine Podas-Larson and Kent LarsonSarah RocklerRichard RoseJuliana Kaufman RupertJohn Sandbo and Jean ThomsonDr. Leon and Alma Jean SatranKay Savik and Joseph TashjianWilliam and Althea SellJohn Seltz and Catherine FurryDan and Emily ShapiroHelen McMeen SmithRonald SpiegelJohn and Joyce TesterStephanie Van D’EldenKatherine Wells and Stephen WillgingPeggy R. WolfeMark W. Ylvisaker

Partner$250 – $499Kathleen R. AdixAnonymous (3)Meredith B. AldenKathy and Jim AndrewsLydia Artymiw and David GraysonAdrienne B. BanksThomas and Jill BarlandJerry and Caroline BenserFred BerndtJean and Carl BrookinsPhilip and Ellen BrunerBonnie BrzeskowiakMark BunkerGretchen CarlsonJoann CierniakRoxana FreeseStephen and Hilde GasiorowiczGeneral Mills FoundationKatherine GoodrichMegan and Daniel GoodrichMarsha and Richard GouldJennifer Gross and Jerry LaFavreMary Beth HendersonJoan Hershbell and Gary JohnsonMary Kay HicksMary Abbe HintzElizabeth HoldenElizabeth J. IndiharThe International School of MinnesotaRay JacobsenMichael C. JordanDonald and Carol Jo KelseyYoungki and Youngsun Lee Kim

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Sarah KinneyAnthony L. Kiorpes and Farrel RichArnold and Karen KustritzFrederick Langendorf and Marian RubenfeldHinda and Tom LitmanSarah Lutman and Rob RudolphRichard and Finette MagnusonFrank MayersSylvia and John McCallisterAnne C. McElroyChristopher and Cheryl McHughMary Bigelow McMillanGerald A. MeigsDavid Miller and Mary DewJames and Carol MollerJack and Jane MoranWilliam Myers and Virginia DudleyNicholas NashGerald NolteLowell and Sonja NoteboomPatricia O’GormanMargaret OrandiHeather J. PalmerRichard and Suzanne PepinJames and Donna PeterSidney and Decima PhillipsBarbara Pinaire and William LoughAnastasia Porou and George DedenConnie RybergSaint Anthony Park HomeMary E. SavinaPaul L. SchroederRenate SharpMarilynn and Arthur SkantzConrad Soderholm and Mary TingerthalEileen V. StackMichael SteffesRichard and Jill Stever-ZeitlinHazel Stoeckeler and Alvin WeberArlene and Tom SwainJon and Lea TheobaldDavid L. WardDale and Ruth WarlandJane and Dobson WestTimothy Wicker and Carolyn Deters

Contributor$100 – $249Anonymous (7)Carl AhlbergArlene AlmElaine AlperMrs. Dorothy AlshouseBeverly S. AndersonJulie Ayer and Carl NashanKay C. BachRobert BallGene and Peggy BardBenjamin and Mary Jane BarnardCarol E. BarnettRoger BattreallFred and Sylvia BerndtChristopher and Carolyn BinghamAnn-Marie BjornsonPhillip Bohl and Janet BartelsRobert BrokoppBarbara Ann BrownPhilip and Carolyn BrunelleRoger F. Burg

James CallahanJames and Janet CarlsonAlan and Ruth CarpCarter Avenue Frame ShopAdam ChelsethJo and H.H. ChengDavid and Michelle ChristiansonJohn and Brigitte ChristiansonMary Louise and Bradley ClaryComo Rose TravelJeanne and John CoundCharles and Kathryn CunninghamLisa and Cliff DahlbergDon and Inger DahlinShirley I. DeckerPamela and Stephen DesnickKaryn and John DiehlMarybeth Dorn and Robert BehrensBruce DoughmanJanet and Kevin DugginsDouglas DybvigJayne and Jim EarlyGeorge EhrenbergPeter Eisenberg and Mary CajacobSteve FarshtNancy FeinthelKarl and Sara FiegenschuhSarah FlanaganFlowers on the ParkJack Flynn and Deborah PileJohn W. FoxSalvatore FrancoPatricia FreeburgRichard and Brigitte FraseJane FrazeeGail A. FroncekLisl GaalNancy and Jack GarlandDavid J. GerdesRamsis and Norma GobranWilliam R. GoetzPhyllis and Bob GoffDaniel GoodrichM. Graciela GonzalezRamsis and Norma GoranKatherine and Harley GranthamCarol L. and Walter GriffinBonnie GrzeskowiakSandra and Richard HainesKen and Suanne HallbergBetsy and Mike HalvorsonHegman Family FoundationRosemary J. HeinitzStefan and Lonnie HelgesonAnne HesselrothBeverly L. HlavacDr. Kenneth and Linda HolmenGale HolmquistJ. Michael HomanPeg Houck and Philip S. PortoghesePeter and Gladys HowellPatty Hren-RowanIBM Matching GrantsIdeagroup Mailing Service and Steve ButlerOra ItkinVeronica IvansPaul W. JansenGeorge JelatisCarol A. JohnsonCraig Johnson

Katrina W. JohnsonPamela and Kevin JohnsonWard and Shotsy JohnsonJoseph Catering and George KalogersonAnn Juergens and Jay WeinerJohn and Kristine KaplanEdwin and Martha KarelsHeidi and Bradley KeilErwin and Miriam KelenLinda Kelsey and Glenn StrandMarla KinneyJean W. KirbyRobin and Gwenn KirbyKaren KoeppMarek KokoszkaMary and Leo KottkeDave and Linnea KrahnRobert and Barbara KueppersSusan and Edward LaineLandmark CenterThelma LareauLibby Larsen and Jim ReeceBill LarsonDavid G. LarsonGary M. LidsterJohn and Nancy LindahlThomas LogelandBarbara Lund and Cathy MuldoonMark and Becky LystigEva MachRichard and Finette MagnusonMary and Helmut MaierRhoda and Don MainsHelen and Bob MairsDanuta Malejka-GigantiRon and Mary MattsonTami McConkeyPolly McCormackDeborah McKnight and James AltMargot McKinneyJohn A. MichelPatricia MitchellSteven MittelholtzBradley H. Momsen and Richard BuchholzSusan MooreMartha MorganElizabeth A. MurrayDavid and Judy MyersHolace NelsonKathleen NewellJay Shipley and Helen NewlinJackie and Mark NolanAlvina O’BrienTom O’ConnellAnn O’LearyScott and Judy OlsenAlan OnbergBarbara and Daniel OpitzSally O’Reilly and Phoebe DaltonVivian OreyMelanie L. OunsworthElizabeth M. ParkerPatricia Penovich and Gerald MoriartyJames and Kirsten PetersonGretchen PiperDwight and Chris PorterDeborah and Ralph PowellDr. Paul and Betty Quie

Mindy RatnerRhoda and Paul RedleafTanya Remenikova and Alex BraginskyKaren RobinsonRichard RogersMichael and Tamara RootDiane RosenwaldBarbara RoyMary A. SigmondDavid SchaafMary Ellen and Carl SchmiderRussell G. SchroedlA. Truman and Beverly SchwartzSylvia J. SchwendimanBill and Susan ScottBuddy Scroggins and Kelly SchroederSara Ann SextonJonathan SiekmannGale SharpeNan C. ShepardRebecca and John ShockleyMariana and Craig ShulstadDarroll and Marie SkillingNance Olson SkoglundPatricia and Arne SorensonCarol Christine SouthwardEileen V. StackArturo L. SteelyAnn and Jim StoutVern SuttonBarbara Swadburg and James KurleCraig and Janet SwanJohn and Dru SweetserLillian TanTheresa’s Hair Salon and Theresa BlackDavid Evan ThomasTim ThorsonCharles and Anna Lisa TookerJerrol and Alleen TostrudTour de Chocolat and Mina FisherSusan TravisKaren and David TrudeauChuck Ullery and Elsa NilssonRev. Robert L. ValitJoy R. VanOsmo VanskaPaul and Amy VargoHarlan Verke and Richard ReynenMary K. VolkCarol and Tim WahlMaxine H. WallinKathleen WalshBarbara WeissbergerStuart and Mary WeitzmanBeverly and David WickstromLori Wilcox and Stephen CreaseyVictoria Wilgocki and Lowell PrescottChristopher and Julie WilliamsDr. Lawrence A. WilsonPaul and Judy WoodwardTim Wulling and Marilyn BensonAnn WyniaAlison Young

Friends$1 – $99Anonymous (7)


Cigale AhlquistMarie AndersonRenner and Martha AndersonSusan and Brian AndersonMary A. Arneson and Dale E. HammerschmidtKaren AsheBruce and Lucinda BackbergBarbara A. BaileyMegen Balda and Jon KjarumDr. Roger and Joan BallouJim BaltzellAnita BealerVerna H. BeaverJanet M. BelisleIrina BelyavinBrian O. BerggrenAbbie BetinisMitchell BlattDorothy BoenRoger BolzCecelia BooneDavid and Elaine BorsheimMarge and Ted BowmanRobert BowmanThomas K. BrandtCharles D. BrookbankRichard and Judy BrownleeChristopher Brunelle and Serena ZabinElizabeth BuschorDr. Magda BusharaDavid and Marjorie CahlanderAllen and Joan CarrierJ.J. and Debra CascalendaEd ChallacombeKatha ChamberlainChapter R PEOKenneth Chin-PurcellKristi M. ChristmanChristina ClarkMary Sue ComfortAnn and Kevin CommersIrene CoranBarbara CracraftRuth H. CraneCynthia L. CristDenise Nordling CroninElizabeth R. CummingsMary E. and William CunninghamMarybeth CunninghamJames CuperyKathleen A. CurtisJohn DavenportRachel L. DavisonDavid DaytonGregg DowningDavid DudleyKatherine and Delano DuGarmCraig Dunn and Candy HartTurmond DurdenMargaret E. DurhamSuzanne DurkacsSue EbertzKristi and Scott EckertRita EckertAndrea EenCatherine EganKatherine and Kent EklundJim EricsonJoseph FilipasJohn Floberg and Martha Hickner

Susan FlahertyJohn and Hilde FlynnLea FoliKathleen FranzenDan and Kaye FreibergMichael George FreerCléa GalhanoInez GantzFrieda GardnerChristine GarnerJohn and Sarah GarrettDr. and Mrs. Robert GeistCelia and Hillel GershensonGirl Scouts MN, WI 14249Ruth E. GlarnerMary, Peg and Liz GlynnA. Nancy GoldsteinPaul L. GrassAnne R. GreenPaul GreeneAlexandra and Grigory GrinPeg GuilfoyleLisa GulbransonMichelle HackettElaine J. HandelmanPhillip and Alice HandyDeborah L. HansonEugene and Joyce HaselmannDr. James HayesMary Ann HechtMarguerite HedgesAlan J. HeiderDon and Sandralee HenryNelly HewettHelen and Curt HillstromJack and Linda HoeschlerMarian and Warren HoffmanBradley HoytDr. Charles W. HuffGloria and Jay HutchinsonFritz Jean-NoelAngela JenksMaria JetteMax JodeitKara M. JohanssonCarol A. JohnsonDaniel JohnsonStephen and Bonnie JohnsonThelma JohnsonMary A. JonesTessa Retterath JonesDr. Robert JordanShirley KaplanAmy and Randy KargerStanley KaufmanCarol R. KellyCharlyn KerrMarla KinneyRichard Knuth and Susan AlbrightDr. Armen KocharianKrystal KohlerTodd L. KosovichJane and David KostikChristine Kraft and Nelson CapesJudy and Brian KrasnowIngrid and Lee KrumpelmannErik van KuijkAlexandra KulijewiczGloria Kumagai and Steven SavittElizabeth LaminColles and John LarkinHelen and Tryg Larsen

Kenyon S. Latham, Jr.Karla LarsenMargaret LaughtonKaren S. LeeDavid LeitzkeElaine LeonardAmy Levine and Brian HorriganArchibald and Edith LeyasmeyerMary and James LitsheimMalachi and Stephanie LongJohn LongballaJeff LotzRebecca LundMary and David Lundberg-JohnsonCarol G. LundquistRoderick and Susan MacphersonSamir MangalickKristina MacKenzieKathryn MadsonVernon MaetzoldTheodore T. MalmRachel MannCarol K. MarchKaren R. MarkertChapman MayoDavid MayoJudy and Martin McCleeryMary McDiarmidKara McGuireJames McLaughlinDr. Alejandro MendezRalph and Barbara MenkJane E. MercierJeffrey MesserichRobert and Greta MichaelsDina and Igor MikhailenkoDonna MillenDan Miller and Beth HaukeboJohn W. Miller, Jr.Margaret MindrumPantea MoghimiMarjorie MoodyAnne and John MunhollandSandra MurphySarah L. NagleShannon NeeserStephen C. NelsonAmy NewtonPhong NguyenJane A. NicholsPolly O’BrienTom O’ConnellJonathan OConnerErin O’Neill and Caitlin SerranoGlad and Baiba OlingerIlene A. OlsonTamas OrdogDennis and Turid OrmsethThomas W. OsbornMelanie OunsworthElisabeth PaperH.W. and Mary ParkRick PenningTimothy PerryDorothy PetersonJames L. PhelpsSydney M. PhillipsDavid PieperEugenia PopaJonathan and Mary PreusMichael RabeAlberto and Alexandra Ricart

Roger and Elizabeth RickettsJulia RobinsonDrs. W.P. and Nancy W. RodmanKaren S. RoehlPeter RomigSteven RosenbergStewart RosoffNancy and Everett RotenberryAnne C. RussellKurt RusterholzSandra D. SandellLinda H. SchelinSarah M. SchloemerRalph J. SchnorrCarl H. SchroederJon J. Schumacher and Mary BriggsScott Studios, Inc. and William ScottSteven SeltzEd and Marge SenningerJay and Kathryn SeveranceShelly ShermanElizabeth ShippeeRay and Nancy ShowsBrian and Stella SickBill and Celeste Slobotski Susannah Smith and Matthew SobekEmma SmallSuzanne SnyderRobert SourileNancy SponaugleKaren and Stan StensonNorton StillmanCynthia StokesJames and Ann StoutPatricia StrandnessGail StremelRalph and Grace SulerudBenjamin H. SwansonRuthann SwansonGregory Tacik and Carol OligBruce and Judith TennebaumKipling ThackerBruce and Marilyn ThompsonKeith ThompsonKaren TitrudRobert TomaschkoCharles D. Townes

Ann Treacy and Aine O’DonnellCasey TriplettJean O. VanHeelErik Vankuijk and Virginia BrookeGordon VogtSarah M. VoigtKaren VolkWilliam K. WangensteenHelen H. WangBetty and Clifton WareBetsy Wattenberg and John WikeHope WellnerMelinda and Steven WellvangCynthia WernerEva WeyandtDeborah Wheeler Kurt and Vickie WheelerAlex and Marguerite WilsonRoger and Barbara WistrcillYea-Hwey WuJanis ZeltinsJohn Ziegenhagen

Every effort has been made to ensure the accuracy in listing our contributors. If your name has been inadvertently omitted or incorrectly listed, please contactThe Schubert Club at 651.292.3267.

In honor of the Elkina Sisters

Rebecca Shockley

In honor of Alice Hanson, Professor

of Music, St. Olaf College

Kristina MacKenzie

In honor of Julie Himmelstrup’s

leadership

Theresa Black

Carl and Mary Ellen Schmider

Stuart and Mary Weitzman

An endowment gift to support the

Thelma Hunter Scholarship Prize

in honor of Thelma’s 90th Birthday

Hella Mears Hueg and Bill Hueg

In honor of the marriage of Kyle

Kossol and Tom Becker

Mark Baumgartner and Paul Olson

Jonathan Siekmann

Rick Reynen and Harlan Verke

In honor of Lisa Niforopulos

Gretchen Piper

In memory of William Ammerman

Marilyn and John Dan

In memory of Clifton W. Burns

Dorothea Burns

In memory of Dr. John Davis

August Rivera, Jr.

In memory of Edna Rask Erickson

Richard and Jill Stever-Zeitlin

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

Megan and 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

In memory of Donald Kahn

Stephen and Hilde Gasiorowicz

In memory of Hilary Kempton

Nina and John Archabal

Dorothea Burns

Dee Ann and Kent Crossley

Julie and Anders Himmelstrup

Megen Balda and Jon Kjarum

Paul D. Olson

and Mark L. Baumgartner

Judy and David Ranheim

Connie Ryberg

Helen M. Smith

In memory of Beatrice Ohanessian

Sita Ohanessian

In memory of Laura Platt

Meredith Alden

In memory of Nancy Pohren

Sandra and Richard Haines

In memory of Warren L. Pomeroy

Betty Pomeroy

In memory of Jeanette Maxwell Rivera

August Rivera, Jr.

In memory of Nancy Shepard

Nan C. Shepard

In memory of Tom Stack

Eileen V. Stack

In memory of John Stevens

Gail Stremel

In memory of Catharine Wright


Dee Ann and Kent Crossley

Diane and Mark Gorder

Paul D. Olson

John and Barbara Rice

Helen M. Smith

Memorials and Tributes

This activity is made possible by the voters of Minnesota

through a Minnesota State Arts Board Operating Support

grant, thanks to a legislative appropriation from the arts

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

Foundation Minnesota.

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

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

Thank you to the following organizations

The Deco Catering is the preferred caterer of The Schubert Club




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


Lydia Artymiw and David Grayson

Carol E. Barnett

Lynne and Bruce Beck

Harlan Boss Foundation

Jean and Carl Brookins

Mary Carlsen and Peter Dahlen

Penny and Cecil Chally

Donald and Inger Dahlin

Bernice and Garvin Davenport

Adele and Richard Evidon

Maryse and David Fan

Roxana Freese

Gail Froncek

Catherine Furry and John Seltz

Richard Geyerman

Julie and Anders Himmelstrup

Cynthia and Russell Hobbie

Peg Houck and Philip S. Portoghese

Thelma Hunter

Lucy Jones and James Johnson

Ann Juergens and Jay Weiner

Phyllis and Donald Kahn

Barry and Cheryl Kempton

Marion and Chris Levy

Estate of Dorothy Mattson

Wendy and Malcolm McLean

Marjorie Moody

Mary and Terry Patton

Donna and James Peter

Betty and Paul Quie

Barbara and John Rice

Shirley and Michael Santoro

Mary Ellen and Carl Schmider

Sewell Family Foundation

Katherine and Douglas Skor

Eileen V. Stack

Cynthia Stokes

Ann and Jim Stout

Joyce and John Tester

Thrivent Financial Matching Gift Program

Clara Ueland and Walter McCarthy

Ruth and Dale Warland

Katherine Wells and Stephen Wilging

Peggy R. Wolfe

The Legacy Society

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

the musical arts for future generations.

Anonymous

Frances C. Ames*

Rose Anderson*

Margaret Baxtresser*

Mrs. Harvey O. Beek*

Helen T. Blomquist*

Dr. Lee A. Borah, Jr.

Raymond J. Bradley*

James Callahan

Lois Knowles Clark*

Margaret L. Day*

Timothy Wicker and Carolyn Deters

Harry Drake*

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

SARAH HICKS SINGIN’ IN THE RAIN

IGUDESMAN & JOOANDREW LITTON ALESSIO BAX

Media Partner:Presented by:

Celebrate Cuba!with Coro Entrevoces andthe Minnesota OrchestraSun Jul 5 2pmNachito Herrera, piano

Be part of our vibrant musical exchange with Cuba, as this 23-voice choir joins our Orchestra for music from both cultures.

Singin’ in the Rain – Filmwith the Minnesota OrchestraThu Jul 9 11am / Fri Jul 10 8pmSarah Hicks, conductor

There’s no better way to recapture the magic of this classic MGM musical than on a big screen with a live orchestra.

Inside the Classics:Rachmaninoff’s Romantic LegacySat Jul 11 8pmSarah Hicks, conductor Sam Bergman, host and violist

Intrigued by classical music? Join Sam and Sarah as they explore Rachmaninoff’s Symphonic Dances.

The TemptationsSun Jul 12 7pmFounder Otis Williams and group takes us down memory lane with My Girl, Just My Imagination and Papa Was A Rolling Stone.

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

Rachmaninoff and BrahmsFri Jul 17 8pmAndrew Litton, conductor / Alessio Bax, piano

With his career rocketing forward, pianist Alessio Bax makes a rare stop in Minnesota to perform Rachmaninoff.

Nights in the Gardens of Spain Sat Jul 18 8pm Andrew Litton, conductor / Alessio Bax, piano

The rhythms are sensuous, melodies brazen and brilliant—and you can almost smell the blood-red roses in the Gardens of Spain.

Chamber Music: Schubert’s Trout QuintetSun Jul 19 7pmAndrew Litton, piano Members of the Minnesota Orchestra

Strauss: The Waltz KingFri Jul 24 8pm / Sun Jul 26 2pmAndrew Litton, conductor Members of the Minnesota Orchestra

With a smiling lilt and champagne bubbles in every bar of music, Strauss waltzes sing of Vienna at its grandest.

Igudesman & JooBIG Nightmare Musicwith the Minnesota OrchestraSat Jul 25 8pmSarah Hicks, conductor

Don’t worry: this nightmare is hilarious. These internet sensations are P.D.Q. Bach and Victor Borge on steroids!

Chamber Music: Rossini and MozartSun Jul 26 7pmMembers of the Minnesota Orchestra

Gershwin’s Piano ConcertoFri Jul 31 8pmAndrew Litton, conductor and piano

Don’t miss our Artistic Director at the Steinway and conducting the Orchestra at the same time!

Opera Finale: Madame ButterflyComplete Opera in ConcertSat Aug 1 7:30pmAndrew Litton, conductor Cast list online

Heartbreakingly beautiful music for a heartbreaking story.

612.371.5656 Ã minnesotaorchestra.org/sommerfest Ã Orchestra Hall

PHOTOS I&J: Julia Wisely, Bax: Lisa-Marie Mazzucco, Litton: Ann Marsden, Hicks: Jake Armour, Orchestra: Travis Anderson,

All sales final. All artists, dates, programs, prices and times are subject to change.

TICKETS ON SALE NOW!

Jul 5–Aug 1

SommerfestAndrew Litton /// Artistic Director

MINNESOTA ORCHESTRA

April 24 – May 3, 2015The Goodale Theater at The Cowles Center

World Premiere set to the recorded music of rapper/singer/word artist Dessa

Into the Spin

Dusty RealmsNew work from choreographer Norbert De La Cruz III

Silk RoadTwin Cities’ Premiere featuring the music of Yo-Yo Ma and the Silk Road Ensemble

SATURDAY, APRIL 2511:00 A.M.

Bring your entire family to the ballet. House lights remain partially lit during these 60-minute performances that invite all ages to engage with the JSB dancers. Audience members can exit and re-enter the theater as needed.

The Reif Dance Company performs James Sewell’s Doo-Be-Doo, set to the music of J.S. Bach. Also on the program will be excerpts from Silk Road, Dusty Realms and James’ world premiere of Into The Spin.

Family Performance Tickets: $10(children 3 and under attend free)

FAMILYPERFORMANCE

TICKETS: 612.2O6.36OO JSBALLET.ORG

An die Musik April 20 – June 2

Documents

Transcript of An die Musik April 20 – June 2