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

November 1 - December 31, 2012

An die Musik

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130th Anniversary

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An die MusikNovember 1 – December 31, 2012

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

Table of Contents

9 The Schubert Club Officers, Board of Directors and Staff

10 Hill House Chamber Players

12 Stephen Hough

18 The Aulos Ensemble with Dominique Labelle

26 Calendar of Events

28 Accordo

30 Belladonna

34 The Schubert Club Museum: Letter from Beethoven

35 Courtroom Concerts

39 An Interview with Thelma Hunter

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

Turning back unneeded tickets:

If you know you will be unable to attend a performance, please notify our box office as soon as possible by calling 651.292.3268 or schubert.org/turnback. Donating your unneeded tickets entitles you to a tax-deductible contribution for the face value of the tickets. Turnbacks must be received one hour prior to the performance. Thank you for your contribution!

The Schubert Club Box Offi ce: 651.292.3268

Dear Friends,

As the days get shorter and we approach the holidays,

music plays a special role in our lives. Several upcoming

programs relate overtly to the season. Our Music in the

Park Series program, “A Baroque Christmas,” features the

Aulos Ensemble with Dominique Labelle, and we unveil

The Schubert Club Carolers singing carols by Minnesota

composers at our December 20th free Courtroom Concert.

We are fortunate to feature a number of excellent

Minnesota-based ensembles over the next two months.

The ever-popular Hill House Chamber Players give the

fi rst of their six concerts on November 19th and the string

ensemble Accordo continues its series at Christ Church

Lutheran in Minneapolis with a tribute to Claude Debussy.

In addition to these regular collaborators, we welcome

Belladonna with Maria Jette at Sundin Hall in a feast of early

music, song and poetry, pipa virtuoso Gao Hong with her

Carleton College Chinese Music Ensemble at our Landmark

Center Cocktails with Culture program on November 8th,

and the talented Ensemble 61 performing a program of

Minnesota composers in our November 15th Courtroom

Concert in Landmark Center.

And for our November International Artist Series concert at

Ordway Center, what a thrill it is to welcome British pianist

Stephen Hough at his fi rst Schubert Club recital. Stephen’s

many appearances with the Minnesota Orchestra have

made him a favorite in the Twin Cities and a musician I

personally have admired for many years.

On behalf of all the team at The Schubert Club, I wish you a

happy, harmonious and peaceful Holiday season.

Barry KemptonArtistic and Executive Director

6 THE SCHUBERT CLUB An die Musik

Jessye Norman, sopranoCelebratory 130th Anniversary Concert

April 30, 2013 • 7:30 PM • Ordway Center

schubert.org • 651.292.3268

Tickets still available

130th Anniversary

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an“The greatness of music speaks for itself

when Jessye Norman sings,’’

—The Washington Post

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The Schubert Club Officers, Board of Directors and Staff

Craig Aase

Mahfuza Ali

Mark Anema

Nina Archabal

Paul Aslanian

Lynne Beck

Dorothea Burns

James Callahan

Carolyn Collins

Marilyn Dan

Arlene Didier

Anna Marie Ettel

Richard Evidon

Catherine Furry

Michael Georgieff

Jill Harmon

Anne Hunter

Lucy Rosenberry Jones

Richard King

Kyle Kossol

Sylvia McCallister

Peter Myers

Ford Nicholson

Gerald Nolte

David Ranheim

Ann Schulte

Gloria Sewell

Kim A. Severson

Jill Thompson

Anthony Thein

John Treacy

Michael Wright

Matt Zumwalt

Board of Directors

Offi cersPresident: Lucy Rosenberry Jones

President-Elect: Nina Archabal

Vice President Artistic: Nina Archabal

Vice President Audit and Compliance: Richard King

Vice President Education: Marilyn Dan

Vice President Finance and Investment: Michael Wright

Vice President Marketing and Development: Jill Thompson

Vice President Museum: Ford Nicholson

Vice President Nominating and Governance: David Ranheim

Recording Secretary: Catherine Furry

Assistant Recording Secretary: Arlene Didier

Barry Kempton, Artistic & Executive Director

Max Carlson, Program Assistant

Kate Cooper, Education & Museum Manager

Kate Eastwood, Executive Assistant

Amy Fox, Social Media & Audience Development Intern

Julie Himmelstrup, Artistic Director, Music in the Park Series

Joanna Kirby, Project CHEER Director, Martin Luther King Center

David Morrison, Museum Associate & Graphics Manager

Paul D. Olson, Director of Development

Tessa Retterath Jones, Marketing & Audience Development Manager

Kathy Wells, Controller

Composers in Residence: Abbie Betinis, Edie Hill

The Schubert Club Museum Interpretive Guides: Amy Fox, Dana Harper, Paul Johnson, Alan Kolderie, Sherry Ladig, Edna Rask-Erickson

The Schubert Club Staff

The Schubert Club is a fi scal year 2012 recipient of a general

operating grant from the Minnesota State Arts Board. This

activity is funded, in part, by the Minnesota arts and cultural

heritage fund as appropriated by the Minnesota State

Legislature with money from the Legacy Amendment vote

of the people of Minnesota on November 4, 2008.

KATENORDSTRUM PROJECTS

The Schubert Club is a proud member of The Arts Partnership with The Saint Paul Chamber Orchestra,

Minnesota Opera and Ordway Center for the Performing Arts


A Ring of Birds Jeffrey Van (b. 1941)

“The Hermit Thrush”

“Three Little Birds in a Row”

“Little Birds of the Night”

“To a Skylark”

“The Owl”

“The Young Crows”

Sonata for Violin and Piano Leoš Janácek (1854–1928)

Con moto

Ballada. Con moto

Allegretto

Adagio

Piano Quartet No. 2 in E-fl at major, Opus 87 Antonín Dvorák (1841–1904) Allegro con fuoco

Lento

Allegro moderato, grazioso

Finale. Allegro, ma non troppo

The Schubert Cluband

The Minnesota Historical Society

present

Hill House Chamber Players

Julie Ayer, violin • Catherine Schubilske, violin • Thomas Turner, violaTanya Remenikova, cello • Jeffrey Van, guitar

Guest artists: Adriana Zabala, mezzo-soprano • Ivan Konev, piano

Program

Intermission

Please turn off all electronic devices.

schubert.org 11

began to notate “speech melodies,” everyday speech infl ected

by mood and situation. “Sounds, the intonation of human

speech, indeed of every living being, have always had for me

the deepest truth,” he said. Speech-melody and an irrepressible

vitality are at the heart of Janácek’s singular musical language.

Late-bloomers, take heart. Janácek had to wait until he was 50

for his fi rst signifi cant premiere—of the opera Jenufa. When

Archduke Franz Ferdinand of Austria was assassinated in June

1914, Janácek was a sexagenarian, respected as a composer,

teacher and folklorist, but with a provincial reputation. His

private response to “the shot heard round the world” was the

Violin Sonata, sketched that summer as war threatened and

the Russian army was marching from the east. A Russophile,

Janácek nursed hopes that the Russians would deliver Moravia

from its long servitude to Austria-Hungary. The Sonata would

be a poetic souvenir of his disappointment.

Roused by a cryptic utterance from the violin, the piano shakes

and shimmers like the Hungarian dulcimer called cimbalom.

The haunting Ballada soothes like a lullaby from legendary

times. Some suggest that the violin’s fi rst comments in the last

movement evoke distant guns—muted, but feroce, espressivo.

Indeed, the bracing tremolando passage that caps the movement

represented for Janácek the Russian armies entering Hungary.

What role does the piano play in a piano quartet? First among

equals? A stand-in for the fi rst violin? A contrasting force to

the strings? Dvorák‘s Piano Quartet in E-fl at is his second work

for the medium. It was composed in the summer of 1889,

just before the Eighth Symphony and several years before his

three-year sojourn in the U.S. Here, the piano provides a foil

to a marching string theme. The viola states a gentle second

idea in the distant key of G major. Throughout, the tight

motivic development is worthy of Dvorák ’s advocate Brahms.

As he composed the spacious Lento, Dvorák must have been

contemplating the cello concerto he would soon write. The

third movement is particularly rich in thematic material,

as gently dancing strings are answered by the piano in two

contrasting folk styles. Brahms would have enjoyed the canons

in this movement, and would certainly have admired the way

his Czech friend knew how to make the piano sparkle.

Program note © 2012 by David Evan ThomasHill House Chamber Players (from left): Jeffrey Van, Julie Ayer, Tanya Remenikova, Rees Allison, Catherine Schubilske, Thomas Turner

Jeffrey Van’s song cycle A Ring of Birds opens this Hill House

concert on an avian theme. As a guitarist, Van has premiered

over 50 works, among them fi ve concertos and Argento’s Letters

from Composers. He has also composed music for chorus, vocal

solo, organ, and many guitar chamber works. A Ring of Birds

received its premiere at the 2009 Schubert Club Signature Song

Festival by tonight’s performers. Van describes the work:

I sought to create a musical atmosphere which would refl ect the

contrasts in character and actions of each of the various birds as

they are depicted by the poets. The range of mood and activity

is wide: the shy and hidden hermit thrush, fi lling the night with

solitary song; three little birds mocking a man’s attempt to sing;

little birds of the night recounting their wide travels and vast

experience; the skylark, soaring upward while pouring a fl ood

of harmony upon the world; the owl, musing alone in his belfry,

while the bustle of human life carries on below; and fi nally, the

noisy crows, teaching their young to fl y in the rose-gold light of

early morning.

Dvorák and Janácek shared more than Czech heritage. They

were both aspiring opera composers, both prized the songs of

their people, and above all, they both loved nature. Dvorák was

fond of pigeons; Janácek kept hens. The elder Dvorák was born

near Prague in Bohemia, the western part of what is now the

Czech Republic. Janácek hailed from Moravia, the eastern part,

and lived much of his life in Brno. The two met in the mid-

1870s, stepping out together on a walking tour of Bohemia in

1877. “Do you know what it’s like when someone takes your

words out of your mouth before you speak them?” Janácek

remembered. “This is how I always felt in Dvorák’s company.

He has taken his melodies from my heart.” From 1897, Janácek

Hill House Chamber PlayersMonday, November 19 and Monday, November 26, 2012 • 7:30 PM

James J. Hill House


Goerne Program Page

The Schubert Club

presents

Stephen Hough, piano

This evening’s concert is dedicated to the memory of Catherine M. Davis.

Two Nocturnes, Opus 27 Frédéric Chopin (1810–1849)

No. 1 in C-sharp minor No. 2 in D-fl at major Sonata No. 3 in F minor, Opus 5 Johannes Brahms (1833–1897)

Allegro maestoso Andante espressivo Scherzo. Allegro energico. Trio. Intermezzo (Rückblick). Andante molto Finale. Allegro moderato ma rubato

Piano Sonata No. 2, Notturno luminoso Stephen Hough (b. 1961) Carnaval, Opus 9 Robert Schumann (1810–1856)

Préambule • Pierrot • Arlequin Valse noble • Eusebius • Florestan Coquette • Réplique • Sphinxes Papillons • A.S.C.H. - S.C.H.A. (Lettres dansantes) • Chiarina Chopin • Estrella • Reconnaissance Pantalon et Colombine • Valse allemande Paganini • Aveu • Promenade • Pause Marche des Davidsbündler contre les Philistins

Intermission


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Maud Moon Weyerhaeuser Sanborn International Artist SeriesTuesday, November 20, 2012 • 7:30 PM

Ordway Center for the Performing Arts

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Stephen Hough, pianoWith an artistic vision that transcends musical fashions and trends, Stephen Hough is widely regarded as one of the most important and distinctive pianists of his generation. In recognition of his achievements, he was awarded a prestigious MacArthur Fellowship in 2001, joining prominent scientists, writers and others who have made unique contributions to contemporary life. He received the 2008 Northwestern University School of Music’s Jean Gimbel Lane Prize in Piano Performance and was the 2010 winner of the Royal Philharmonic Society Instrumentalist Award.

Mr. Hough has appeared with most of the major American and European orchestras and plays recitals regularly in the important halls and concert series around the world. Recent engagements include recitals in London, Paris, Hong Kong, Sydney, Chicago and San Francisco; performances with the New York, London, Los Angeles and Czech Philharmonics, the Chicago, Pittsburgh, San Fran-cisco, St. Louis and Toronto symphonies, the Cleveland, Philadelphia, Minnesota and Russian National Orchestras; and a performance televised worldwide with the Berlin Philharmonic and Sir Simon Rattle.

Stephen Hough is also a regular guest at festivals such as Salzburg, Ravinia, Tanglewood, Blossom, Hollywood Bowl, Edinburgh, Aldeburgh and the BBC Proms, where he has made over 20 appearances. In the summer of 2009 he played all of the works for piano and orchestra of Tchaikovsky over four Prom concerts, three of which were broadcast live on BBC television. During the summer of 2012 he returned to the Aspen, Grand Teton and Lincoln Center’s Mostly Mozart Festivals.

Highlights of Mr. Hough’s 2012-13 season include re-engagements with the Boston, San Francisco, Houston and Baltimore symphonies as well as with the Hong Kong Philharmonic and Deutsche Symphony Orchestra Berlin and solo recitals in Carnegie Hall, Vancouver, St. Paul and London’s Barbican Center. He will also be the Artist-in-Residence with the BBC Symphony in London.

Stephen Hough’s catalogue of over 50 CDs has garnered numerous international prizes, including the Deutsche Schallplattenpreis, Diapason d’or, Monde de la musique, four Grammy nominations and eight Gramophone Magazine Awards, including ‘Record of the Year’ in 1996 and 2003 and the Gramophone “Gold Disc” Award in 2008. His most recent recordings are the Grieg and Liszt Concertos for Hyperion and a disc of his own compositions for BIS Records. He records the two Brahms concertos with the Salzburg Mozarteum Orchestra in January 2013.

An avid writer, Stephen Hough frequently writes for many of the major London newspapers such as The Guardian, The Times, and was invited by the Daily Telegraph in 2008 to start what has become one of the most popular cultural blogs. He has also written extensively about theology and his book, The Bible as Prayer, is published in the US and Canada by Paulist Press.

As a composer, Mr. Hough has been commissioned by the musicians of the Berlin Philharmonic, London’s National Gallery, Westminster Abbey, Wigmore Hall, Le Musée de Louvre and Musica Viva Australia among others. He premiered his Sonata for Piano (broken branches) at Wigmore Hall in June 2011 and the world premiere of his Missa Mirabilis, commissioned by the Indianapolis Symphony, took place in April 2012. Mr. Hough’s numerous compositions for solo piano, chamber ensembles, orchestra and voice are published by Josef Weinberger Ltd.

A resident of London, Mr. Hough is a visiting professor at the Royal Academy of Music in London and holds the International Chair of Piano Studies at his alma mater, the Royal Northern College in Manchester.

Stephen Hough’s Piano Sonata No. 2, Notturno luminoso, is a joint commission with funds generously supplied by Lakeside Arts Centre, University of Nottingham; The Schubert Club, St. Paul, Minnesota; Singapore International Piano Festival; Swan-sea Festival of Music and the Arts; and the Vancouver Recital So-ciety. It was given its premiere by the composer at the Brangwyn Hall, Swansea Festival of Music and the Arts, on October 9, 2012.


Program Notes

Two Nocturnes, Opus 27Frédéric Chopin (b. near Warsaw, 1810; d. Paris, 1849)

Liszt credited Irish composer-pianist John Field (1782-1837) with the invention not only of the nocturne, but with “all pieces designed to portray subjective and profound emotion.” Czerny linked the nocturne to the serenade: “The peculiar object of such work—that of being performed at night, before the dwelling of an esteemed individual—must always exercise an infl u-ence upon its character.”

The Two Nocturnes, Opus 27, were composed in 1835, the year of Schumann’s Carnaval, but also the year Chopin became reacquainted with Maria Wodzinska, whose family would ultimately reject his suit. Chopin’s nocturnes had hitherto been published in groups of three. With Opus 27, he began to issue them in pairs, elevating their status. These nocturnes have a particu-larly intimate relationship. They share a tonic, and are as inseparable as light from shadow. Yet they are quite different in structure and mood.

The fi rst nocturne begins on the dark side of the moon, and struggles to fi nd a voice. The acoustics of the opening undulations lead the ear to expect a major third: E-sharp. But the fi rst, plaintive melody note is the minor mode’s E instead, and the line that follows is more emanation than tune. A contrasting middle section briefl y strikes up a cheery waltz, but loses its footing. Only falling sighs in duet confi rm the major mode. The voice sought in No. 1 is found in No. 2. This is a different structure, a lyric poem in three-stanzas. Under the full moon, a richly embroidered right hand falls and rises, aspiring to a diva’s power to wax and wane. A second voice joins the fi rst—another duet!—in operatic fashion. The coda falls under the timeless spell of a tonic pedal point.

Program note © 2012 by David Evan Thomas

Sonata No. 3 in F minor, Opus 5Johannes Brahms (b. Hamburg, 1833; d. Vienna, 1897)

Brahms was twenty, blond, beardless and slender when he composed this sonata, the earliest of his works to have found a steady place in the repertory. He had just been “discovered” by Schumann, who closed his career as music critic with the celebrated article to which he gave the title “New Paths”: “I have always thought that some day one would be bound suddenly to appear, one called to express in ideal form the spirit of his time, one whose mastery would not reveal itself to us step by step, but who, like Minerva, would spring fully armed from the head of Zeus. And he is come, a young man over whose cradle graces and heroes have stood watch. His name is Johannes Brahms.” By then, moreover, Schumann had already written to Breitkopf & Härtel in Leipzig, urging them to publish the young man’s music.

All three sonatas are works of enormous scope and ambition, the fi rst of them even making the boldest possible claim for a place in the central tradition by beginning with an unmistakable allusion to Beethoven’s Hammerklavier Sonata. Brahms went on to write many more works in the sonata style and very much more music for solo piano, but he never again wrote a piano sonata.

Frédéric Chopin

Maria Wodzinska

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Brahms begins with a movement so massive in sonority, so imperious in its gestures (he even gives the direction “fi rm and defi nite”) that we are apt to be surprised by its compact form. The Andante has an epigraph of three lines by the Romantic poet Wilhelm Sternau: “It is evening, the moonlight glows,/Now two hearts are united in love/And hold each other in blissful embrace.” The music itself is songful, expansive, quietly passion-ate, rich in contrast. The descending chain of thirds with which Brahms begins was to be a signature all his life.

After a roistering Scherzo—but with a broad and calm Trio—Brahms prefaces the fi nale with an Intermezzo which he also calls Retrospect (Rückblick). What he looks back upon is the Romantic scene of the Andante, but now he makes its melodies harder in contour and gives them an accompaniment of muffl ed drums. That leads without break into the grandly energetic, often capricious fi nale.

Adapted from notes by Michael Steinberg

Sonata No. 2, Notturno luminoso (2011)Stephen Hough (b. Heswall, UK, 1961)

The subtitle for my second Piano Sonata, ‘Notturno luminoso,’ suggests many images: the refl ection of the moon on a calm lake perhaps, or stars across a restful sky. But this piece is about a different kind of night and a different kind of light: the brightness of a brash city in the hours of darkness; the loneliness of pre-morning; sleep-lessness and the dull glow of the alarm clock’s unmoving hours; the irrational fears or the disturbing dreams which are only darkened by the harsh glare of a suspended, dusty light bulb. But also suggested are nighttime’s heightened emotions: its mysticism, its magic, its imaginative possibilities.

The Sonata’s form is ABA and there are three musical ideas: one based on sharps (brightness), one based on fl ats (darkness), and one based on naturals (white notes) representing a kind of blank irrationality. The piece opens clangorously, its bold, assertive theme – sharps piled upon sharps – separated by small cadenzas. Yearning and hesitating to reach a cadence it fi nally stumbles into the B section where all accidentals are suddenly bleached away in a whiteout. Extremes of pitch and dynamics splatter sound across the keyboard until an arpeggio fi gure in the bass gathers rhythmic momentum and leads to the ‘fl at’ musical idea, jarring in its romantic juxtaposition to what has gone before.

This whole B section is made up of a collision, a toss-ing and turning, between the two tonalities of fl ats and naturals, interrupting each other with impatience until the whiteout material spins up into the stratosphere, a whirlwind in the upper octaves of the piano. Under this blizzard we hear the theme from the beginning of the piece, fi rstly in purest, brilliant C major in the treble, then, after it subsides to pianissimo, in a snarl of dissonance in the extreme bass of the instrument. The music stops … and then, for the fi rst time, we hear the full statement of the ‘fl at’ material, Andante Lamentoso. The music’s sorrow increases with wave after wave of romantic ardour, delib-erately risking overkill and discomfort.

At its climax the music halts twice at a precipice then tumbles into the recapitulation, the opening theme now in white-note tonality and unrecognizably spotted across the keyboard. As this peters out we hear the same theme but now with warm, gentle, romantic harmonies. A fi nal build-up to an exact repetition of the opening of the piece is blended with material from the B section and, in the last bar, in a fi nal wild scream, we hear all three tonalities together for a blinding second-long fl ash, brighter than noon, before the fi nal soft chord closes the curtain on these night visions.

– Stephen Hough

Johannes Brahms, 1853


Program Notescontinued

Carnaval, Scènes mignonnes sur quatre notes, Opus 9Robert Schumann (b. Zwickau, 1810; d. near Bonn, 1856)

In the winter of 1834-35, when he composed Carnaval, the 24-year-old Robert Schumann had been living in Leipzig, off and on, for seven years. He had founded what would long be an infl uential magazine, Neue Leipziger Zeitschrift für Musik, and begun his distin-guished career as a writer about music. He had formed friendships with Chopin, Mendelssohn, and Ignaz Moscheles. Most important, his life as a composer was now securely under way. As early as 1831 he had written the delightful Papillons, Opus 2, and in 1834 there began that great outpouring of piano works of explosive genius, starting with the Symphonic Etudes and Carnaval and continuing through 1839, the year of the Blumenstück, Humoreske, Nachtstücke and Faschings-schwank aus Wien.

He called Carnaval a musical picture gallery. A fascinatingly diverse array of fi gures ghosts across the scene at this fantastical masked ball. Among them we can recognize Pierrot, Harlequin, Pantaloon, and Columbine from Italian commedia dell’arte; Chopin, Paganini, and Schumann himself, three of the most important musicians of the day; the fi fteen-year-old Clara Wieck and her seventeen-year-old rival, Ernestine von Fricken.

Like Clara, Chopin, and the rest, Ernestine has just one piece specifi cally named for her, Estrella, but in a larger sense, Carnaval is her piece. Schumann composed it in the heightened, even dizzy state of mind brought about by his engagement to her and their sexual relationship, and he also found a way of building her presence right into the music itself. It had thrilled him to discover that all the letters in the name of Ernestine’s home town, Asch—now As in the Czech Republic, about 100 miles west of Prague—were the names of musical notes. In German, “Es” (“S”) is E-fl at, “H” is B-natural, and “As” is A-fl at.

These magic notes dance almost all the way through Carnaval, one of whose movements is even titled Lettres dansantes—”almost” because in the Préambule they have not yet come on the scene, and in Chopin they are almost completely concealed. The eight pieces that follow the Préambule—Pierrot through Papillons—are based on A/E-fl at/C/B; the remainder (possibly

omitting Chopin from the tally) use A-fl at/C/B. Just before Papillons, Schumann presents the pianist with a mystery in that he writes out the three musical encodings, SCHA and the two versions of ASCH, in the bass clef and in double whole notes, and heads them Sphinxes. Representing the total genetic code of Carnaval, they are something for the pianist to know about but not to play. Now just about any other com-poser would have placed Sphinxes at the point where he switches from the A/E-fl at/C/B version to A-fl at/C/B, in other words, after Papillons rather than before it; Schumann’s (literally) eccentric placement is so characteristic of him!

Robert Schumann

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Ernestine von Fricken

But Carnaval is, fi rst and foremost, a party, a work to appeal to the listener’s imagination. I won’t describe the music, but let me decode some of the titles I have not mentioned:

Eusebius and Florestan are the names Schumann gave to the introspective and outgoing sides of his personality. His critical writings are sometimes couched as conversa-tions between the two. Nineteenth-century piano music is full of Papillons—butterfl ies—most of them fl uttering salon pieces. Schumann used the title more than once; he also quotes his own suite, Papillons, Opus 2, in Florestan, strangely marking the quotation in the score as “Papillon?”. The Chopin portrait is affectionate and lovely; its subject was offended, however, because Schumann included fi ngerings that parody Chopin’s idiosyncratic ways at the keyboard. Reconnaissance is a word with an immense range of meanings, from reconnoitering to pawn-ticket. Here Schumann intends

it in the sense of avowal or confession (Note that it immediately follows Estrella). Aveu also means avowal, confession. Marche des “Davidsbündler” contre les Philistins—the “Davidsbündler” (League of David) were a group of friends whose central fi gure was Schumann and who stood for everything progressive in the arts. In the exuberant fi nale to Carnaval, the Philistines are represented by the galumphing seventeenth-century tune called the “Grandfather Dance.”

Adapted from notes copyright © 1994 by Michael Steinberg. Used by kind permission of Jorja Fleezanis.

Clara Schumann


Intermission


Concerto in D major, RV 94 Antonio Vivaldi (1678–1741) Allegro-Largo-Allegro Traditional Carols Arias from the Cantatas Johann Sebastian Bach (1685–1750)

“Ich esse mit freuden,” from BWV 84

“Süsser Trost, mein Jesus kommt,” from BWV 151

“Mein Glaübiges Herze,” from BWV 68

Cantata Pastorale Alessandro Scarlatti (1660–1725)

4ème Symphonie de Nöel Michel Corrette (1709–1795) Moderato-Adagio-Allegro

“Vous qui désirez sans fi n” Traditional

Musettes, from Les Fêtes d’hébé Jean-Phillipe Rameau (1683–1764)

“Chrétiens quie suivez l’église” Traditional

Rigaudons, from Les Fêtes d’hébé Rameau

“Grâce soit renduë” Traditional

Nöel Provençal Corrette

The Schubert Club presents

The Aulos EnsembleChristopher Krueger, fl auto traverso, Marc Schachman, baroque oboe

Linda Quan, baroque violin, Myron Lutzke, baroque celloArthur Haas, harpsichord

withDominique Labelle, soprano

Program“A Baroque Christmas”

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Music in the Park SeriesSunday, November 25, 2012 • 4:00 PM

Saint Anthony Park United Church of Christ

From left: Myron Lutzke, Marc Schachman, Linda Quan, Arthur Haas, Christopher Krieger

The Aulos Ensemble

Formed in 1973 by fi ve Juilliard graduates, the Aulos Ensemble was at the forefront of a movement that has captured the imagination of the American listening public. The group’s fi rst recording for the Musical Heritage Society, Original Telemann, was released in 1981 in connection with the composer’s tercentenary, and was universally hailed as one of the most accomplished and signifi cant early-music recordings ever, receiving the Critic’s Choice Award of High Fidelity/Musical America Magazine. Since then, the Ensemble has released over a dozen recordings on the same label.

In the group’s early years, they created a wonderful tradition for New York concertgoers: the Aulos’ Christmas concerts in front of the Neapolitan Christmas tree at the Metropolitan Museum of Art. The popularity of these concerts encouraged Aulos to begin to offer the program on tour. Recently the group has expanded its repertoire, and has added programming with additional guest artists, enabling performances of the complete Brandenburg Concerti, Handel’s Water Music, and Acis and Galatea.

Now in its fourth decade, Aulos continues to explore new projects and develop outlets for its music-making. The group has continued to give master classes and lecture-demonstrations in 17th- and 18th-century performance practice at colleges and universities throughout the country. With its members serving on faculties of various schools of music and institutes specializing in historically informed performance, the Ensemble is responsible for training a new generation of American early-music performers.

Dominique Labelle, soprano

Soprano Dominique Labelle’s passionate commitment to music-making has led to close and enduring collaborations with a number of the world’s most respected conductors and composers, most recently Nicholas McGegan, Iván Fischer, Jos van Veldhoven, and the Pulitzer Prize winning composer Yehudi Wyner. She also treasures her long association with the late Robert Shaw.

Her recent appearances with Hungarian conductor Iván Fischer include the Countess Almaviva in Mozart’s Nozze di Figaro at Teatro Perez Galdos in Las Palmas and in Budapest, a Bach B-minor Mass in Washington, D.C., and a Bach St. Matthew Passion with the Royal Concertgebouw Orchestra in Amsterdam.

Among her numerous recordings of opera and concert repertoire is Monsigny’s Le Déserteur,with Opera Lafayette and Ryan Brown (Naxos), with whom she also performed in Gluck’s Armide at Lincoln Center’s Frederick P. Rose Hall and at the Kennedy Center in Washington, D.C. Of her performance in the title role, Anthony Tommasini wrote in the New York Times, “Singing with tender longing one moment and steely determination the next, Ms. Labelle conveyed Armide’s aching confl icts.” Her recording of Handel’s Arminio (Virgin Classics) won the 2002 Handel Prize.

Born in Montreal and trained at McGill and Boston Universities, Ms. Labelle enjoys sharing her technical and musical insights with young singers, and has taught master classes at Harvard University, McGill, Smith College, and the University of Massachusetts.

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Of all the holidays in our western culture, Christmas, more than any other, transcends its religious origins and implications. It has become for almost all of us a time to celebrate; an opportunity to rejoice. Thus it is not surprising that Christmas is the inspiration for an unequalled wealth of musical composition, both vocal and instrumental, secular and non-secular. This body of literature spans all periods of musical history, from the Middle Ages to the present. The spirit of Christmas has become such a part of our lives that the month of December sees easily twice as many concerts as any other month of the year, for the inherent festive quality of music-making has become synonymous with celebrating the birth of Jesus Christ. It is in this spirit that we offer “A Baroque Christmas”, a concert of vocal and instrumental works from the 16th to 18th-centu-ries, some with obvious references to the holiday, others with less direct connections, and one work (Concerto in D major) by Vivaldi that has nothing at all to do with Christmas and with which we open our program.

Antonio Vivaldi (1678-1741) lived in Venice and earned his living teaching at the Ospedale della Pieta, a found-ling home for girls. His duties, in addition to teachingthe violin, consisted of organizing the spectacular concerts presented by the Ospedale. For these concerts Vivaldi composed hundreds of concerti which ultimately gained him an international reputation as a composer, and which helped crystallize the concerto form through-out Europe. Although smaller in number than his solo concerti, Vivaldi explored the idiom of the chamber concerto, where instead of a ripieno or “back-up band” the soloists themselves function as the orchestral tutti and then take turns playing the solos. These works are in the traditional three movement mold (fast-slow-fast) with the middle movement typically allowing a certain freedom for improvisation. In the concerto we present this afternoon, this movement will be familiar to many

Program Notes

because of its resemblance to the slow movement of the “Winter” concerto from the Four Seasons.

The carols all date from between 1500 and 1700 (thus some predate the theoretical beginning of the Baroque period and belong in that historical period known as the Renaissance). These works come to us in a variety of sources, and we have chosen to orchestrate them, using our baroque instruments, according to our tastes, attempting to capture the affect of each piece in an appropriate manner. Similar performing decisions have been made regarding texts and number of verses, since there are no defi nitive answers as to the authenticity of any particular version. A recurring characteristic of these carols is the harmonic feature of the drone commonly associated with the bagpipe or musette–instruments that evoke the images of shepherds that have come to be identifi ed with Christmas.

We include a group of Bach arias on all our Christmas concerts. All of us have our favorite Bach works and each of us has different reasons for regarding him as one of history’s greatest composers. It is interesting to note, however, that this universal acclaim was not accorded Bach during his lifetime, and that he spent most of his career (and made perhaps his most signifi cant contributions) as a church composer at Saint Thomas’ Church in Leipzig, where he composed a cantata for each Sunday of the year. These works were never intended as concert pieces, but rather as part of a religious observance (Bach saw himself as a true ser-vant of God) and although only one of the three arias is specifi cally about Christmas, all share in the spirit of love and devotion that is associated with this holiday. “Ich esse mit Freuden” (BWV 84) is a dance-like aria with an obbligato of oboe and violin. The text speaks of eating one’s bread with a cheerful spirit and a grateful

Antonio Vivaldi

Saint Thomas’ Church

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heart. “Süsser Trost, mein Jesus kommt” (from Cantata 151-written for Christmas) states “Sweet comfort, my Jesus comes, Jesus is now born.” It is a gorgeous lullaby, sung instrumentally at fi rst by the oboe d’amore, crowned with a fl owing fl ute obbligato representing the holy spirit. In “Mein Glaubiges Herze” (from Cantata 68), the text speaks of “My believing heart, be glad, sing, make merry, for thy Jesus is near.” The aria begins with a virtuosic obbligato for solo cello and when the soprano is fi nished, the cello is joined by oboe and violin for a fully worked out “quartet” move-ment which brings the aria to its joyous conclusion.

Michel Corrette was a church organist for most of his long life, but that doesn’t begin to give an idea of his indefatigable and multifaceted activities on behalf of French music. He was the author of countless treatises and tutors for just about every instrument played in his time, from the fl ute to the double bass. He was a leader in furnishing simple music to bourgeois homes and in supplying brilliant concerti for the burgeoningpublic concert business. In short, he was France’s leading “popularizer” of music. Perhaps his best known works were his Concerto Comiques, in which the tunes all Paris hummed– many of them fi rst heard at the Opera Comique (hence the name)--were paraphrased in vivaciously embellished instrumental settings. In a similar vein is a group of six compositions entitled Symphonies en Quartuor contenant les plus beaux Noëls François et Etranger avec des Variations. The work we perform today includes many of the most lovely and most recognized French carols of the period, along with their dazzling variations.

The French, with their attraction to all things pastoral and their predilection for dance music, made an especially colorful contribution to this literature. We close our program with several musette settings and rigaudons interspersed with French Christmas carols, or noëls. The musette was a type of French bagpipe that gave rise to an entire genre of pastorally evocative pieces that were very popular in the 18th century. The rigaudon was a quick and lively dance, originally from Provençe, danced by “peasants and sailors,” according to Johann Mattheson. French noëls, some lively, some serious, were meant not only to tell the Christmas story, and to give insight into the events leading up to the birth of Jesus, but also to provide moral instruc-tion. Thus, in “Grâce soit renduë,” the text informs us that Adam put us in danger of eternal damnation by eating the apple, but God sent us salvation in the form of His son. “Vous qui désirez sans fi n” tells us that God will always listen to our songs of praise and is always ready to pardon our sins. “Chrétiens qui suivez l’église” shows the importance of being a practicing Christian. This grand closing group of interwoven vocal and instrumental pieces is designed to show a French 18th-century Christmas in all its facets: dances, poignant melodies, pastoral elements, and an exquisite moral rendering of the Christmas story.

Michel Corrette

Jean-Phillip Rameau


Texts and Translations

“Ich esse mit freuden,” from BWV 84

Ich esse mit Freuden mein weniges BrotUnd gönne dem Nächsten von Herzen das Seine.Ein ruhig Gewissen, ein fröhlicher Geist,Ein dankbares Herze, das lobet und preist,vermehret den Segen, verzuckert die Not.

I eat now with gladness my humblest of bread And grant to my neighbor sincerely what he hath.A conscience e’er quiet, a spirit e’er gay, A heart ever thankful, exalting with praise, Increaseth one’s blessings and sweetens one’s need.

“Süsser Trost, mein Jesus kommt,” from BWV 151

Süßer Trost, mein Jesus kömmt,Jesus wird anitzt geboren!Herz und Seele freuet sich,Denn mein liebster Gott hat michNun zum Himmel auserkoren

Comfort sweet, my Jesus comes, Jesus now is born amongst us!Heart and soul with joy are fi lled, For my dearest God hath me Now for heaven’s prize elected

“Mein Glaübiges Herze,” from BWV 68

Mein gläubiges Herze,Frohlocke, sing, scherze,Dein Jesus ist da!Weg Jammer, weg Klagen, Ich will euch nur sagen:Mein Jesus ist nah.

My heart ever faithful, Exulting, sing gladly, Thy Jesus is here!Hence sorrow! Hence grieving! I will simply tell you: My Jesus is near!

Arias from the CantatasJohann Sebastian Bach (1685–1750)

RecitativoO di Betlemme altera povertà venturosa, Se chi fece ogni cosa, Se chi muova ogni sfera, in te descende, e l’autor della luce, nei suoi primi vagiti a te risplende.

RecitativeOh, noble, fortunate poverty of Bethlehem, if the maker of all things, who makes the heavens move, descends to you, and the source of light, with his frst newborn cries, makes you resplendent.

RecitativeTaking the human form, the great child is exposed to the frigid trial of inclement weather,and from the harsh fate of sinful humanity, his innocent body offers to us a shield of passionate love.

RecitativoPresa d’uomo la forma, alle gelide tempre D‘inclemente stagione soggiace il gran bambino, e d’acerbo destino per sottrarre al rigore l‘umanità cadente, dal suo corpo innocente fa scudo a noi l’appassionata amore.

AriaFrom the fair bosom of a star,comes forth for us the eternal sun,From a pure young virginis born the eternal child.

AriaDal bel seno d’una stellaspunta a noi l’eterno sole.Da una pura verginellanacque già l’eterna prole.

Cantata PastoraleAlessandro Scarlatti (1660–1725)

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AriaThe author of all my fortune, wrapped in swaddling,loosens my chains. He made everything from nothing, yet I see him in the cradle,born into the world.

RecitativeHappy shepherds, it was your lotthat the lord of life, immortal, and not created drew his fi rst breath among you!With the sweet merry sound of your rustic pipes,Hasten to celebrate the great birth of God made mortal.

AriaYours, shepherds, was the good fortune,because Jesus was made Lamb of God. Offer your hearts at his crib, see how fair he is and how pretty he is.Leave your fl ocks and huts,abandon your lambs. See a hope in him that will not deceive you, and can give you place among the stars.

AriaTocco la prima sorte a voi pastori.Perchè si fa Gesù di Dio l’Agnello.Offrite alla sua cuna i vostri cuori,mirate quanto è vago e quanto è bello.Lasciate i vostri armenti e la capanna,abbandonate si le pecorelle.Ve’una speranza in lui che non v’inganna,e che vi puo dar loco in fra le stelle.

RecitativoFortunati pastori, giacchè v’è dato in sorte ch’il signor della vita, immortale, increato respiri fra di voi l’aure primiere! Al dolce suon giulivo di zampagne innocente. D’un Dio fatto mortalecorrete, a celebrar, a celebrar l’alto Natale.

AriaL’autor d’ogni mio bene scioglie le mie cateneè stretto, è in fasce.Il tutto ei fè dal nulla, eppur lo veggio in cullae in terra nasce.

A Pastoral Landscape with Shepherds and their Flocks by George Lambert


Texts and Translationscontinued

Vous qui désirez sans fi n

Vous qui désirez sans fi n. Oüir chanter, que nôtre Dieu est enclin A écouter nôtre priere et complainte tous les jours;quand nous invoquons sans feinte, son secours.

Et comme il est toûjours prest de pardonner,non pas d’un severe arrest nous condamner: nôtre mal et nôtre peine rélaschant, oyez de la Magdelaine, le beau chant.

Magdelaine se levoit estant au jour, et bravement se paroit d’un bel atour:quand Marthe moins curieuse des habits,la vint aborder joyeuse par ces dits.

Dieu soit nôtre protecteur, ma chere soeur, si vous voulez en ce temps pour passe-temps:voir quelque chose de rare et de beau, oyez ce qui se prepare, de nouveau.

Un prophete est arrivé, bien approuvé, dit Jesus de Nazareth, homme discret: Qui devoit faire a l’instance (ce dit-on) d’une divine éloquence, le sermon.

C’est l’homme le plus parfait, et en effet,le plus beau, le plus sçavant, le mieux disant:Que jamais vîtes en face, pour certain, son port avec telle grace, n’en humain.

God is always ready to listen to men’s songs praising him. He listens to our prayers and complaints every day when we invoke his help.

And he is always ready to pardon without condemnation, and release us from our evil and our pain thanks to these songs to Mary Magdalene.

Magdalene arose with the coming of day and with a beautiful visage. Martha, who by habit was less curious became joyful at the following words from her:

God is our protector, dear sister. If you want to see something rare and beautiful, listen to what is now being prepared.

A prophet has arrived, saintly in appearance. His name is Jesus of Nazareth. He is a discreet man. It is said that his sermons bespeak divine eloquence.

This man is the most perfect, the most beautiful, the most knowledgeable, the most well-spoken, and he carries himself with such grace that it is not certain that he is merely human.

Gaspard de Gueidan playing the musette de cour, painting by

Hyacinthe Rigaud, 1738

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Chrétiens qui suivez l’église

Chrétiens qui suivez l’église, bien apprise, de son divin précepteur: Venez oûyr les merveilles, nonpareilles, du Dieu nôtre salvateur.

Il aymoit tant la nature sa facture, que du trosne supernel sur terre il voulut descendre, pour y prendre un semblable corps mortel.

Doncques la Vierge Marie, fut choisie, pour cette incarnation, le saint esprit vint parfaire, ce mystere digne d’admiration.

Lors Cesar faisant décrire son empire, du pays Galiléem, Joseph avecque Marie, la remplie, comparoist en Bethléem.

Pendant qu’ils y séjournerent, approcherent, les jours de l’enfantement; mais la Vierge en cette ville incivile, ne trouva soulagement.

Tant s’en faut dans une étable incapable, pour loger honnestement: cette mere et Vierge sainte, fut constrainte, faire son accouchement.

Christians who follow the path of the church are well schooled about their divine preceptor. Come and listen to the unparalleled marvels of God the saviour.

He loved so much the nature of his making, that from his supernatural throne he wanted to descend to earth in order to bring there a God-like mortal.

Therefore the Virgin Mary was chosen for this incarnation. The Holy Spirit went to perfect this mystery which is worthy of admiration.

When Caesar was enlarging his empire to include Galilee, Joseph with Mary, who was already pregnant, was journeying to Bethlehem.

While they were staying there, the day of birth was approaching; but the Virgin in this uncivil town did not fi nd any comfort.

Forced to rest in a stable because, unableto fi nd any honest lodging, this mother, the holy virgin, had to have her delivery there.

Grâce soit renduë

Grâce soit renduë, a Dieu de la sus; de la bien venuë, de son fi ls Jesus: qui naquit de Vierge sans corruption, pour nôtre décharge souffrit passion; Alleluya, Alleluya, Kyrie, Christe, Kyrie, eleyson.

Adam nôtre pere nous mit en danger, de la pomme chere qu’il voulut manger: Il nous miten voye de damnation, mais Dieu nous envoye a salvation;

Dieu doint bonne vie a nôtre bon roy, le garde d’envie et mortel defroy: Luy donne victoire de ses ennemis, a la fi n la gloire de son paradis;

Luy estant fi delle nous conservera, et toute querelle il appaisera: Rendant la justice aux petits et grands, punissant le vice nous rendans contents;

Nous ferons prieres generalement, pour pere et pour mere, soeur, frere, et parent: Pour toutes les ames qui sont en prison, que Dieu par sa grace nous fasse pardon.

Grace is rendered to God for the much awaited arrival of his son Jesus; who was born from immaculate conception from the Virgin and suffered and died for our sins. Alleluia, Kyrie, Christe eleison.

Adam, our forefather, put us in danger with the apple that he wanted to eat. He put us in sight of damnation. But God sent us salvation.

God, grant a good life to our good king. Keep him safe and out of mortal danger. Grant him victory over his enemies and at the end of his life glory and paradise.

He will conserve those who are faithful. He will calm all quarrels and render justice to the big and the small. He will punish evil and make us happy.

We will pray in general for mothers, fathers, sisters, brothers, all relatives. For all souls who are in prison, God by his grace will pardon them.


Anne-Sophie Mutter, violin

Calendar of Events2012–2013

October 2012 – April 2013

Thursdays, October 11 – April 25 • 12:00 PM

Courtroom Concerts Landmark Center 317

(No concerts November 22, November 29, December 27, January 31)

November 2012

Thursday, November 8 • 5:00 PM Landmark Center Galleria

Cocktails with Culture - Happy Hour Event

Gao Hong, pipa & the Carleton College Chinese Music Ensemble

Mondays, November 19 & 26 • 7:30 PM James J. Hill House


Tuesday, November 20 • 7:30 PM Ordway Center

Stephen Hough, piano

Sunday, November 25 • 4:00 PM St. Anthony Park UCC

Aulos Ensemble, with Dominique Labelle, soprano

December 2012

Monday, December 3 • 7:30 PM Christ Church Lutheran

Accordo: A Tribute to Debussy on his 150th

Friday, December 14 • 7:30 PM Sundin Music Hall

Belladonna, with Maria Jette, soprano

January 2013

Tuesday, January 8 • 7:30 PM Ordway Center

Alisa Weilerstein, cello & Inon Barnatan, piano

Thursday, January 10 • 5:00 PM Landmark Center Galleria


International Novelty Gamelan

Saturday, January 19 • 7:30 PM Hennepin Avenue UMC

Sunday, January 20 • 4:00 PM

Artaria String Quartet

Sunday, January 27 • 4:00 PM St. Anthony Park UCC

David Finckel, cello & Wu Han, piano

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Alisa Weilerstein, cello

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Inon Barnaton, piano

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More information at schubert.org Box office 651.292.3268

February 2013

Monday, February 4 • 7:30 PM Christ Church Lutheran

Accordo: In the Footsteps of Bach

Mondays, February 4 & 11 • 7:30 PM James J. Hill House


Saturday, February 9 • 7:30 PM Ordway Center

James Valenti, tenor

Thursday, February 14 • 5:00 PM Landmark Center Galleria


Maria Jette, soprano; Alan Dunbar, baritone

& Sonja Thompson, piano

Friday, February 22 • 6:15 & 7:30 PM St. Matthew’s Episcopal

Family Concert: Ross Sutter

March 2013

Monday, March 11 • 7:30 PM Ordway Center

Anne-Sophie Mutter, violin & Lambert Orkis, piano

Friday, March 22 • 6:15 & 7:30 PM St. Matthew’s Episcopal

Family Concert: Elias Quartet

Sunday, March 24 • 4:00 PM St. Anthony Park UCC

Elias Quartet

April 2013

April 5, 6, 12, 13 • 8:00 PM Cowles Center

April 7 • 2:00 PM

Lover: James Sewell Ballet with Maria Jette,

Bradley Greenwald & Dan Chouinard

Friday, April 12 • 6:15 & 7:30 PM St. Matthew’s Episcopal

Family Concert: Lau Hawaiian Collective Ensemble

Mondays, April 22 & 29 • 7:30 PM James J. Hill House


Sunday, April 28 • 4:00 PM St. Anthony Park UCC

Shanghai Quartet

Tuesday, April 30 • 7:30 PM Ordway Center

130th Anniversary Celebration

Jessye Norman, soprano

May 2013

Monday, May 6 • 7:30 PM Christ Church LutheranAccordo: Intimate Voices

Jessye Norman, soprano

Shanghai Quartet

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James Valenti, tenor

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Sonata for Violin and Piano Leoš Janácek (1854–1928)

Con moto Balada Allegretto Adagio

String Quartet in F major Maurice Ravel (1875–1937)

Allegro moderato – Très doux Assez vif – Très rythmé Très lent Vif et agité

Three Preludes from Book 1 Claude Debussy (1862–1918)

Les sons et les parfums tournent dans l’air du soir Des pas sur la neige Les collines d’Anacapri

Piano Quartet in C minor, Opus 15 Gabriel Fauré (1845–1924)

Allegro molto moderato Scherzo. Allegro vivo Adagio Allegro molto

The Schubert ClubNorthrop Concerts and Lectures

andKate Nordstrum Projects

present

Accordo

Steven Copes, violin • Ruggero Allifranchini, violin

Maiya Papach, viola • Ronald Thomas, cello

with Benjamin Hochman, piano

Program“A Tribute to Debussy on his 150th”

Intermission


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Accordo, established in 2009, is a Minnesota-based chamber group made up of some of the very best instrumentalists in the country, eager to share their love of classical and contemporary chamber music in intimate and unique performance spaces. Their concerts are held in the National Historic Landmark Christ Church Lutheran, one of the Twin Cities’ great architectural treasures, designed by the esteemed architect Eliel Saarinen and his son Eero Saarinen.

Accordo includes a string octet composed of Saint Paul Chamber Orchestra (SPCO) and Minnesota Orchestra current and former principal players Rebecca Albers, Ruggero Allifranchini, Steven Copes, Erin Keefe, Kyu-Young Kim, Maiya Papach, Anthony Ross and Ronald Thomas.

AccordoMonday, December 3, 2012 • 7:30 PM

Christ Church Lutheran, Minneapolis

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Ruggero Allifranchini is the associate concertmaster of the SPCO. He was born into a musical household in Milan, Italy. He studied at the New School in Philadelphia with Jascha Brodsky and later at the Curtis Institute of Music, with Szymon Goldberg and, for chamber music, Felix Galimir. He was the recipient of the Diploma d’Onore from the Chigiana Academy in Siena, Italy. In 1989, he co-founded the Borromeo String Quartet, with which he played exclusively for eleven years. He is the violinist of the trio Nobilis, with pianist and former SPCO Artistic Partner Stephen Prutsman and cellist Suren Bagratuni. Allifranchini plays on the “Fetzer” violin made by Antonio Stradivari in 1694, which is on loan to him from the Stradivari Society of Chicago.

A native of Los Angeles, violinist Steven Copes joined the SPCO as concertmaster in 1998 and has led the orchestra from the chair in highly acclaimed, eclectic programs, and performed concertos by Berg, Brahms, Hindemith, Kirchner, Lutoslawski, Mozart, Prokofi ev, and Weill. A zealous advocate of the music of today, he gave the world premiere of George Tsontakis’ Grammy-nominated Violin Concerto No. 2 (2003), which won the 2005 Grawemeyer award, and has been recorded for KOCH Records. Copes was co-founder of the Alpenglow Chamber Music Festival in Colorado. He holds degrees from The Curtis Institute and Juilliard.

Benjamin Hochman was the winner of 2011’s prestigious Avery Fisher Career Grant. He has worked with the Tokyo, Mendelssohn, Casals, Prazak and Daedalus Quartets, Zukerman Chamber Players, members of the Guarneri, Juilliard and Orion Quartets, Jonathan Biss, Jaime Laredo, Cho-Liang Lin and Ani Kavafi an, Miklós Perényi, Ralph Kirshbaum and Sharon Robinson. He began his studies at the Conservatory of the Rubin Academy in Jerusalem. He is a graduate of the Curtis Institute of Music and the Mannes College of Music where his principal teachers were Claude Frank and Richard Goode. His studies were supported by the America-Israel Cultural Foundation. He is currently on the piano faculty of the Longy School of Music of Bard College.

Maiya Papach is acting principal viola of the SPCO and served in the same capacity last year. She is a founding member of the International Contemporary Ensemble (ICE), one of the leading new music ensembles in the United States. Prior to joining the SPCO, she performed regularly with the IRIS Orchestra and the New York Philharmonic. In New York, Papach has performed in chamber concerts at Bargemusic, Alice Tully Hall, Merkin Concert Hall, and Miller Theater, among others. Papach is a graduate of the Oberlin Conservatory and the Juilliard School.

Former principal cellist of the SPCO, Ronald Thomas sustains an active and varied career as performer, teacher and artistic administrator. Thomas is the co-founder and artistic director of the Boston Chamber Music Society with which he appears regularly. He has appeared as soloist and in recital with orchestras throughout the United States and Europe. Thomas has taught at MIT, Brown University, Boston Conservatory and Peabody Conservatory. Prior to winning the Young Artists Auditions at the age of nineteen, he attended the New England Conservatory and the Curtis Institute.

30 THE SCHUBERT CLUB An die Musik Please turn off all electronic devices.

Intermission

The Schubert Club

presents

Belladonna

Margaret Humphrey, baroque violin • Rebecca Humphrey, baroque celloCléa Galhano, baroque recorders • Barbara Weiss, harpsichord

with Maria Jette, soprano

Program“Rhythm and Verse: An Exploration of Pulse through Music and Poetry”

Adagio, from Sonata No. 3, BWV 1005 Johann Sebastian Bach (1685–1750), arr. Barbara Weiss

“Il Tempo Fugge” from Rappresentatione di anima, et di corpo Emilio de Cavalieri (1550–1602)

“His Golden Locks” John Dowland (1563–1626)

La Sonnerie de Sainte-Geneviève du Mont à Paris Marin Marais (1656–1728), arr. Cléa Galhano

“Addio Roma” from L’incoronazione di Poppea Claudio Monteverdi (1576–1643)

Toccata in E minor, BWV 914 J.S. Bach

“Lagrimosa Beltà” Giovanni Felice Sances (c. 1600–1679)

Folias echa para mi Señora Doña Tarolilla de Carallenos Andrea Falconieri (1585–1656)

Jácara Juan Cabanilles (1644–1712), arr. Weiss

Intrada Giovanni Battista Buonamente (1595–1642)

The Battell, from Lady Nevell’s Book William Byrd (1540–1623), arr. Weiss

The March before the Battell The Soldiers Summons The March of the Footmen The March of the Horsemen The Irish March The Bagpipe and the Drone The March to the Fighte The Retreat The Burying of the Dead

Fantasia, from Suite No. 1 in G minor William Lawes (1602–1645), arr. Weiss

“Hor ch’e tempo di dormire” Tarquinio Merula (1595–1665), arr. Weiss

La Vinciolina, from Sonate a violino solo, Opus 4, No. 6 G.A. Pandolfi Mealli (c.1620–c.1669)

Adagio, from Toccata, Adagio and Fugue, BWV 564 Bach, arr. Weiss

“Oblivion Soave” from L’incoronazione di Poppea Monteverdi

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BelladonnaFriday, December 14, 2012 • 7:30 PM

Sundin Music Hall

Maria Jette has appeared with The Saint Paul Chamber Orchestra, Los Angeles Chamber Orchestra, Minnesota Orchestra, Houston, Kansas City, San Luis Obispo, Santa Rosa, Charlotte, Buffalo, Grand Rapids, Austin and San Antonio Symphonies, New York Chamber Symphony and Portland Baroque Orchestra, and for many merry seasons with Ex Machina Antique Music Theatre in the Twin Cities (Minneapolis-St. Paul), where she’s often heard locally with VocalEssence, Chamber Music Society of Minnesota and Lyra Baroque Orchestra. With conductor Helmuth Rilling, she’s sung Bach, Mozart and Haydn around the US, Germany, Spain, Venezuela, Japan and Canada. She’s performed her own production of Seuss/Kapilow’s Green Eggs & Ham for over 40,000 kids around the USA. She has been a regular guest over many seasons at the San Luis Obispo Mozart and Oregon Bach Festivals and the Oregon Festival of American Music, and is often heard on Garrison Keillor’s A Prairie Home Companion.

Violinist Margaret Humphrey maintains a freelance schedule based in St. Paul, Minnesota, and performs with orchestras and chamber ensembles around the country. A featured concerto soloist with several local orchestras, Ms. Humphrey is also a core member of the Minnesota Opera Orchestra. Early music being her special focus, she has toured as guest of Tempesta di Mare in Philadelphia, and the Kingsbury Ensemble in St. Louis, and in chamber ensembles in the Ancient Music Series of St. Savin, France. A founding member of Ladyslipper, a Twin Cities-based baroque trio performing a monthly chamber music series, she tours nationally for festivals as well. Ms. Humphrey has recorded on the Chandos label.

Belladonna

Brazilian recorder player Cléa Galhano has performed in the United States, Canada, South America and Europe as a chamber musician, collaborating with recorder player Marion Verbruggen, Jacques Ogg, Belladonna, Lanzelotte/Galhano Duo, Galhano/Montgomery Duo, Kingsbery Ensemble, and Blue Baroque Band. As a featured soloist, Galhano has worked with the Saint Paul Chamber Orchestra conducted by Christopher Hogwood, Nicholas McGegan and Emmanuelle Haim, World Symphony, Milwaukee Baroque and Lyra Baroque Orchestra. Ms. Galhano has performed at the Boston Early Music Festival, the Tage Alter Music Festival in Germany and at Wigmore Hall in London, Weill and Merkin Hall in New York and Palazzo Santa Croce in Rome. Galhano regularly conducts workshops across the United States, Europe and Brazil. Currently, Galhano is the Executive Artistic Director of the St. Paul Conservatory of Music and she is on the faculty of Macalester College.

Barbara Weiss has been on the faculty of both the Oberlin Conservatory and the Peabody Institute, as well as Concordia College and the University of Minnesota and Pennsylvania. She teaches at summer workshops such as the Oberlin Baroque Performance Institute, the Madison Early Music Festival, and Indiana University’s Recorder Academy. Ms. Weiss has performed at the Boston, San Antonio and Berkeley Early Music Festivals, and the Winnipeg Folk Festival. Her collaborations include Belladonna, the Newberry Consort, Quicksilver, Chatham Baroque, the Smithsonian Chamber Players, the King’s Noyse, Apollo’s Fire, the Chicago Opera Theater and Piffaro. Ms. Weiss has recorded with the Dorian, Flying Fish and Harmonia Mundi labels. She currently lives in Asheville, NC, where she performs with Muses Delight, Pan Harmonia and is teaching at the Mountain Collegium Early Music Workshop, and at Eastern Tennessee State University’s Summer Piano Camp.

Rebecca Humphrey moved to Melbourne, Australia in 2009, is a founding member of Pleiades and performs regularly with Eclectus Consort, the Australian Chamber Choir and the Australian Baroque Ensemble. Prior to Melbourne, Rebecca lived in Philadelphia, PA, where she was an active freelancer, performing as a core member of Tempesta Di Mare, and as a founding member of Aurelio and The Merion Trio. She spent much of her time playing in Washington DC with the Washington Bach Consort, in Baltimore with the Handel Singers of Baltimore, and in New York City with Rebel and Quicksilver. Rebecca lived in Switzerland for three years where she was the principal cellist for Kammerensemble Luzerne and in Basel with Capriccio Basel. Her recordings with Tempesta di Mare for Chandos have received wide acclaim.


Beginners in music are told that musical notation repre-sents two things primarily – pitch and rhythm. And yet, somehow, in the rush to melody, we too often overlook the critical importance of rhythm in musical experience. In foregrounding pulse and rhythm, this program seeks to recover this central characteristic of music in all its varied beauty.

The earliest notated sources of Western music, from the middle of the 9th century, tell us a great deal about the pitch structure of music but they tell us surprisingly little about its rhythmic life. Indeed, to this day, certain types of music that have roots in this period – repertoires such Gregorian chant – remained essentially unmetered, their rhythmic life entirely dependent on the sacred words they set. The fi rst steps in the direction of regular rhythm saw the co-ordination of long and short pulses typical of some early polyphony, particularly from the Notre Dame school of the 12th century. The subtle and ornate rhythmic control of the late 14th century ars subtilior composers, almost unequalled in its complexity before the advent of Complexist music in the late 20th century, represents the most extreme experimentation of the early modern period in rhythm.

By the time of the Renaissance, rhythm and pulse were entering that long period of regularization that would culminate in the lucid perfection of the Classical period. Composers increasingly learnt to put rhythm and pulse to the service of periodicity in music, creating self-con-tained melodies, harmonic periods and phrase structures.

Program Notes

The works on this program all arise from the Baroque period, a time of profound cultural experimentation that also played out in the realm of musical rhythm and pulse. Baroque sense of rhythm and pulse wears its allegiance to the human experience on its sleeve in two ways, both betrayed in its careful balance between stability and regularity on the one hand and instability and surprise on the other: it casts itself as responsive to patterns of human speech, and imagines itself as refl ective of what is increasingly conceived as the volatility of human emotional states. Rhythm and pulse played their part in this portrayal of the ‘affections’ of the human soul: abrupt shifts in pulse might represent a sudden shift from joy to despair; steady pulse, with melodic lines accumulating dissonance, might represent a soul turning in on itself in profound anguish.

Baroque composers used regular rhythmic pulse to cre-ate a variety of moods, often pairing its use to that of melodic ostinato, the repetition of a small melodic cell, sometimes for the space of a whole composition. Similar uses of this device are encountered in Oblivion soave, the nurse Arnalta’s lullaby over Poppea in Monteverdi’s 1642 L’Incoronazione di Poppea, and in the passionate Christmas pastorale, Hor ch’è tempo di dormire, from Tarquinio Merula’s Curtio precipitato (1638). Merula’s pastorale, a lullaby sung by the Virgin Mary over the Christ Child, is dominated by a two-fi gure that, by using the interval of a semitone, is profoundly tense and emotionally charged. Arnalta’s lullaby is based on the descending tetrachord (a four-note scale segment), emblematic of sorrow in the Baroque, and on the same oscillation of two notes separated by a semitone.

Byrd’s The Battell and Marais’ Sonnerie explore the physical world in their use of insistent pulse. Marais’ 1723 Sonnerie, one of several signifi cant works of the

Claudio Monteverdi

William Byrd

schubert.org 33

French Baroque to evoke the ringing of church bells, is written in the form of a chaconne based on a three-note theme. Despite the simplicity of its harmonic and rhyth-mic scheme, the work is marked by solo parts of increas-ing complexity, particularly in the viol part Marais must have written for himself to play. Byrd’s Battell, a ‘suite’ of nine movements and an associated March and Galliard, shows how a truly great composer can create a thrillingwork from rhythm and pulse alone. While not quite devoid of melody in the traditional sense, Byrd’s musical realization of John Derricke’s engravings The Image of Irelande (1581) relies heavily on regular pulse to evoke the thrill and desolation of the battlefi eld.

That Baroque composers were also virtuosos at manipu-lating our sense of the passage of time is evidenced in those works in which the composer wishes to give us the sense of music being made up on the spot, wrung from the composer’s mind before our very eyes. This kind of work reached formulaic expression in the genre of the toccata, in masterful pieces such as Bach’s Toccata in E minor. But the earlier Baroque period is also fi lled with such works, including Pandolfi Mealli’s La Vincio-lina. Dedicated to Teodora Vinciolina, named in Pandolfi Mealli’s publication as ‘signora singularissima’, the fi rst section of this sonata is like a long rhapsodic soliloquy for the solo violin in which time stands still and momentum is arrested. The Adagio from Bach’s violin sonata in C major, focused obsessively on a dotted rhythm, with an insistent pulse beating like a heart, and

taut with harmonic dissonance, also seems trapped in a moment of pregnant, breathless stasis. So too does the passionate song of the soprano line wandering in agonized despair over the pulsing bass in the Adagio of Bach’s Toccata, Adagio and Fugue BWV 564.

The pulse-dominated world of the dance played an especially critical role in the Baroque and, in this regard, Spain made crucial contributions to the music of this period. Valencian native Juan Cabanilles drew on Spanish roots for his Xacara, a virtuoso variation work based on a repeating pattern derived from a vulgar street dance. Falconieri and Sances drew on more dangerous material; Falconieri on the folia, the subject of innumerable variations during the Baroque period and Sances on the ciacona. In both pieces, the hypnotic sway of insistent pulse and repeated rhythms and harmonic patterns conjures up the fi gure of the maja.

Finally, the great pulse that all of us feels – the march through life towards death – itself runs like a theme through the Baroque, which produced exquisite meditations on the frailty of the human condition. The slaughter of soldiers on the battlefi eld of Byrd’s Battell, the ominous pronouncements of Time in Cavalieri’s early oratorio La rappresentatione dell’anima e di corpo, Sir Henry Lee’s sad leave-taking of an active life (His golden locks) and the funeral march at the heart of Ottone’s farewell to Rome (Addio, Roma) remind us all how enthralled we are to the inescapable march of time.

Program notes © 2012 by John WeretkaEngraving from The Image of Irelande

Johann Sebastian Bach


The Schubert Club MuseumSunday – Friday • Noon – 4:00 PM

Landmark Center

Letter (1818) from Beethoven to his friend Ferdinand Ries formerly owned by Toscanini.

Internationally renowned Italian conductor Arturo Toscanini (1867–1957) became the leader of the Metropolitan Opera in New York in 1906, and later was, for a decade, the conductor of the New York Philharmonic Orchestra. However, it was as music director of the NBC Symphony Orchestra, created for him in 1937, that he became a household name to Americans, through his radio and television broadcasts and numerous recordings.

This card, printed for the 1943 holidays, shows the maestro gazing at an image of Beethoven, and includes a musical quotation from Friedrich von Schiller’s Ode to Joy, used by Beethoven in his Ninth Symphony:

Seid umschlungen, Millionen!

(Be embraced, you multitude!)

Diesen Kuss der ganzen Welt!

(This kiss is for all the world!)

1943 Christmas card sent by Toscanini to cellist Joseph Gingold.

In 1818 Beethoven wrote this letter (formerly in the collection of conductor Arturo Toscanini) to his friend, German composer and pianist Ferdinand Ries. In it, Beethoven asks his young friend to tell the Philharmonic Society of London that poor health prevents him from coming to England.

The Society had commissioned Beethoven to write two symphonies and to appear in person in London for the winter season of 1817-18. When Beethoven began work on the Ninth Symphony, it was with the intent to provide at least one of the two promised symphonies for the Society. Elements of these two symphonies had been dancing around in his head for years. By fusing all of the ideas together into what he termed “a pious song in symphony in the ancient modes,” he produced his life’s great work, the Symphony No. 9 in D minor, which incorporated a choral setting of Schiller’s poem, An die Freude (Ode to Joy).

This is one of three Beethoven letters given to The Schubert Club Museum by Gilman Ordway.

Letter from Beethoven and Christmas card from Toscanini

schubert.org 35

Courtroom ConcertNovember 1, 2012 • Noon

Courtroom 317, Landmark Center

Christopher Atzinger has performed in Germany, Austria, Italy, England, France, Spain, and Canada

in addition to performances throughout the United States highlighted by concerts at New York’s Carnegie

Hall (Weill) and the Phillips Collection in Washington. He is a medalist of the New Orleans, San Antonio,

Cincinnati, Shreveport, and Seattle International Piano Competitions, and has performed at the Brevard

Music Festival, Banff International Keyboard Festival, and the Chautauqua Institution. He has recorded for

Centaur Records and MSR Classics, lectured at The Juilliard School and Berklee College of Music, and conducted masterclasses across the

United States. In addition to degrees from the University of Texas at Austin and the University of Michigan, Atzinger earned the Doctor

of Musical Arts degree from the Peabody Conservatory of the Johns Hopkins University. He is an associate professor of Piano at St. Olaf

College in Minnesota.

Christopher Atzinger, piano

All dreams begin with the horizon (2007) – Christopher Theofanidis (b. 1967)

Lucid, present • Erratic, charged • Singing, noble • Menacing

Toccata (2001) – Pierre Jalbert (b. 1967)

Clara Osowski, mezzo-soprano & Mark Bilyeu, piano

Allerseelen – Richard Strauss (1864–1849)

Ronsard a son ame – Maurice Ravel (1875–1937)

Going to Heaven – Aaron Copland (1900–1990)

Ruhe, Meine Seele – R. Strauss

Morgen – R. Strauss

Mezzo-soprano Clara Osowski’s most recent orchestral performances include alto soloist in Bach’s St.

John Passion and Mozart’s Requiem. She has performed roles including the Mother in Amahl and the Night

Visitors, Dorabella in Cosí fan tutte, and Venus in Venus and Adonis. In 2012, Clara was a Metropolitan Opera National Council Auditions

Regional Finalist, and also received second place in The Schubert Club’s Bruce P. Carlson Scholarship Competiton. Upcoming engagements

include alto soloist in Rachmaninoff’s Vespers with the University of Chicago Rockefeller Chapel Choir in February of 2013, and

performances with the Bach Society of Minnesota, Silver Swan, and Mirandola. Clara sings professionally with the VocalEssence Ensemble

Singers. In addition to her private voice studio, she is also Adjunct Faculty of Voice at the University of Minnesota, Morris Campus.

Pianist Mark Bilyeu has served as music director with Chicago Opera Vanguard, Chicago Folks Operetta, and ensemble113, and has

been seen as pianist with Chicago Opera Playhouse, Chicago Choral Artists, and served as Associate Keyboardist of the Civic Orchestra of

Chicago. Mark has been seen in the VOICES! at St. Matthews, and the Fran Randall series in Chicago, across the Midwest with his piano-

horn-voice ensemble Trio Pastiche, and internationally as part of the Stamford Chamber Music Festival (Stamford, UK). A graduate of the

Chicago College of Performing Arts, he holds a Bachelor of Musical Arts degree with emphases in German and the Humanities. Following

graduation, he had the privilege of studying with Chicago Symphony pianist Mary Sauer. Bilyeu is currently a student of Timothy Lovelace

at the University of Minnesota, where he is completing a master’s degree in Vocal Coaching & Accompanying.


Courtroom ConcertNovember 8, 2012 • Noon


Jeremy Krahn, piano

Après une Lecture de Dante: Fantasia quasi Sonata

from Années de pèlerinage – Deuxième Année: Italie – Franz Liszt (1811-1886)

A native of Rivers, Manitoba, Canada, Jeremy Krahn recently graduated with distinction from St. Olaf

College in Northfi eld, Minnesota. While attending St. Olaf, he studied piano with Dr. Kent McWilliams.

Recent awards come from Canada and the United States, including fi rst and second place honors in

the Schubert Club Scholarship Competition (2012, 2010), second place in the Snjolaug Sigurdson Piano

Competition (Canada), and National Finalist at the Canadian Music Competition. He was also honored by

winning the MTNA State Performance Competition (Young Artist Division) and representing Minnesota

at the Division Finals in Denver. Recent highlights include performing the Grieg piano concerto with the

St. Olaf Orchestra, and also playing with them on their tour through China this past summer. In addition

to piano at St. Olaf, he also studied voice with Karen Wilkerson and sang in the St. Olaf Choir.

Rosalind Leavell began studying cello at age six with former principal of the Philadelphia Orchestra William Stokking. She continued

at the Manhattan School of Music Precollege, and received a Bachelor of Music degree in Cello Performance with Academic Honors from

the Cleveland Institute of Music. She was a fellowship recipient at the Aspen Music Festival and School in 2010 and 2011, and is currently

pursuing a Doctor of Musical Arts degree from the University of Minnesota Twin Cities, studying with Tanya Remenikova. In 2011, Rosalind

was the First Prize Winner of the Thursday Musical Young Artist Scholarship Competition in the College Strings division. This year she was

also the First Prize Winner of the Schubert Club Scholarship Competition in the College/Graduate Strings division.

Banchinda Laothai served as a pianist at the National Association of Teachers of Singing (NATS) Artist Awards Competition in

Orlando, Florida this summer. She has worked as a staff pianist for the University of Minnesota’s Bravo String Summer School since 2011.

Banchinda is an alumnus of Music Academy of the West, where she studied collaborative piano with pianist Jonathan Feldman and Anne

Epperson. Banchinda holds graduate degrees from the Cleveland Institute of Music where she studied collaborative piano. She also has a

passion for a variety of arts, previously completing an undergraduate degree in architecture. Currently she is a doctoral candidate studying

collaborative piano with Timothy Lovelace at the University of Minnesota School of Music.

Rosalind Leavell, cello & Banchinda Laothai, piano

Capriccio for Violoncello and Piano (1985) – William Bolcom (b. 1938)

I. Allegro con spirito; very rhythmic • II. Molto Adagio: espressivo • III. Like a barcarolle; tempo giusto

IV. Gingando - Brazilian Tango Tempo “Tombeau d’Ernesto Nazareth”

schubert.org 37

Courtroom Concert: Spotlight on Minnesota ComposersNovember 15, 2012 • Noon


Ensemble 61Erik Barsness, co-director and percussion

Kirsten Broberg, co-director and composer

Carrie Henneman Shaw, soprano

Emilia Mettenbrink, violin

Joel Salvo, cello

Paul Schimming, clarinet

Opening-solo cello – Kirsten Broberg

Untitled New Piece – Justin Merritt

Corker – Libby Larson

Moonlight – Abbie Betinis

Crossing Over – James Dillon

Untitled New Piece – Noah Keesecker

Slippery Fish (excerpt) – Jocelyn Hagan

Ensemble 61’s members have been featured by internationally recognized presenters such as the American Academy in

Rome, Sonic Fusion Festival in Edinburgh, Bang on a Can in Massachusetts, SEAMUS National Conference, June in Buffalo in New

York, the Museum of Contemporary Art in Chicago, Soundfi eld New and Experimental Music Festival in Chicago, Orchestra Hall in

Minneapolis and the Walker Art Center in Minneapolis. Its artists have received prestigious awards from the Fulbright Foundation,

the McKnight Foundation, the Fromm Foundation at Harvard University, Aaron Copland Fund, the Ditson Fund, the Minnesota

State Arts Board and the American Composers Forum. Their work has been featured by National Public Radio’s Performance Today,

the American Music Center’s NewMusicBox broadcast and publication, Tutti magazine, and has been commercially released by

Innova, Parma/Navona and BIS records. Ensemble 61 was founded by composer Kirsten Broberg and percussionist Erik Barsness.

The group is named after Highway 61 as a tribute to Bob Dylan, the rich cultural history of the road and the organization’s mission

to present the music it performs in communities along the highway.


Courtroom ConcertDecember 6, 2012 • Noon


Thelma Hunter, piano

Schatz-Walzer, Opus 418, from “Der Zigeunerbaron” – Johann Strauss/Ernst von Dohnányi

Miryana Moteva is currently pursuing her Masters in Piano Performance with Lydia Artymiw at the University of Minnesota. Miryana

is a recipient of Lloyd Gonyea Music Scholarship, and Maroon Global Excellence Scholarship at the University of Minnesota, and an

Accompanying Fellowship Award at Lawrence University. Born and raised in Bulgaria, she received an Honors Artist Diploma from the

National School of Music in Sofi a. In addition to her studies, Miryana works as a Collaborative Piano Teaching Assistant at the University

of Minnesota.

James Hodges, clarinet & Miryana Moteva, piano

Fantasie – Jörg Widmann

Fantasia da Concerto su motivi de ‘La Traviata’ by Verdi, Opus 45 – Donato Lovreglio

James Hodges is a junior studying clarinet performance with Alexander Fiterstein at the University

of Minnesota. James is the recipient of the Thelma Hunter scholarship prize for the 2012 Schubert Club

Competition and fi rst prize winner for Winds and Brass in the 2012 Thursday Musical competition.

He previously studied with Yehuda Gilad for six years at the Colburn School of Performing Arts in Los

Angeles, California. James was born and raised in Santa Monica, California. In his spare time, James

enjoys cooking, traveling and spending time with friends.

Thelma Hunter was born and brought up in New York City where her family was actively

engaged in its musical life. She earned her B.A. at Cornell University where she studied with the

eminent Dutch pianist Egon Petri. After receiving her M.A. and the coveted Artist Diploma from

the Eastman School of Music, she joined the piano faculty of the University of Minnesota in

1947. She has been a board member of many Twin Cities arts organizations, chief among them

The Schubert Club, where she served in many capacities over the years. She is frequently heard

on Minnesota Public Radio, and is currently on the Advisory Council in the School of Music of the

University of Minnesota.

Album cover from “Reflections”

schubert.org 39

An Interview with Thelma Hunter

Thelma Hunter grew up in Staten Island, New York, graduated from Cornell University, and received her MA in piano from Eastman School

of Music. Thelma married her high-school sweetheart, Sam Hunter, and together they raised six sons. She has had a lifelong career as

a pianist, having performed as soloist in Grieg’s Piano Concerto on “Norway Day” at the New York World’s Fair, at New York’s Town Hall,

with the Minneapolis Symphony (now Minnesota Orchestra), The Schubert Club, and in recital with extraordinary colleagues. Thelma

is a member of the Minnesota Commissioning Club, has recorded under The Schubert Club’s Ten Thousand Lakes label, and provides a

scholarship prize through The Schubert Club’s Bruce P. Carlson Student Scholarship Competition. She performed at The Schubert Club’s

75th Anniversary Season opener, and was co-chair of the 100th Anniversary celebration. In 2005 The Schubert Club acquired an 1878

Bechstein grand piano used by Liszt, Mahler, Brahms, Bartók, Kodály, and von Dohnányi. Thelma performed on its inaugural concert in

The Schubert Club Museum. For the recent celebration of Thelma’s 88th birthday, a piano piece using all 88 keys was written for her by

composer David Evan Thomas, along with a piece by Carol Barnett inspired by Percy Grainger’s Country Gardens, a staple of

Thelma’s repertoire.

When did you become involved with The Schubert Club?

Sam and I moved to Minneapolis in 1947, and I didn’t really know much about St. Paul. That changed when we moved across the river in

1955, as Sam began a surgical practice in St. Paul. Sam said, “We have to get involved in St. Paul in every way, from shopping, working and

everything we do.” It was then that I became aware of The Schubert Club. Before I even knew about the selection process for The Schubert

Club’s International Artist Series performers, I had the audacity to ask to be considered to perform on the Series. I was gently told that it

was intended for artists of international reputation outside of the Twin Cities.

What signifi cant changes have you seen over the years?

The biggest change I’ve seen was in 1968, when we hired Bruce Carlson as the fi rst paid staff, which was a major step for the organization

since up until then it had been completely volunteer-based. This created an opportunity for The Schubert Club to really grow.

It professionalized the organization.

For years, I was a member of the artistic committee who selected the artists for the recitals. We were always cautious about presenting

“superstar” artists, or opera stars who would tend to prioritize big opera arias over lieder recital. Singers nowadays are so much more

versatile, and lieder and opera arias are both within their grasp. Also, establishing the Museum was a brilliant decision. The representation

of historic instruments, some with amazing pedigree of being played by Brahms, Liszt and others,

makes it an extraordinary place to visit.

What sets The Schubert Club apart from other arts organizations?

The Schubert Club’s board of directors has an incredibly rich makeup of talent: This is a working

board, made up of extraordinary men and women who have the success of the organization as

their motivation for board membership. I believe this is one of the reasons why The Schubert

Club is so successful.

Do you have a future dream for The Schubert Club?

As a member of the Minnesota Commissioning Club, we support the creation of new music.

I think the creation of new music is exciting, as is the collaboration between composer and

performer. I think we should explore and present new works over the course of the season, and

The Schubert Club could lead the way in that. New music premiered and performed is such an

unforgettable experience. As we hear on MPR’s Composers Datebook, “All music was once new.”


Courtroom ConcertDecember 13, 2012 • Noon


Xiayin Wang, piano

Sonata in E-fl at major, HOB XVI, No. 62 – Franz Joseph Haydn (1732–1809)

L’lsle joyeuse – Claude Debussy (1862–1918)

I’ve Got Rhythm – George Gershwin (1898–1937)

Prelude No. 1 – Gershwin

Etude No. 3 The Man I Love – Earl Wild/Gershwin

Etude No. 4, Embraceable You – Wild/Gershwin

La Valse – Maurice Ravel (1875–1937)

Pianist Xiayin Wang has toured throughout the United States at such venues and locations as Carnegie Hall’s Weill Recital Hall and

Lincoln Center’s Alice Tully Hall, Jordan Hall in Boston, Tanglewood, the University of Miami, Philharmonic Center for the Arts in Naples

Florida, the Caramoor Center in Katonah, NY, Saratoga Arts Festival, Coastal Carolina Arts Festival, the Meyer Concert Series at The

Smithsonian in D.C., and the East Hawaii Cultural Center on the island of Hawaii. Ms. Wang has also been heard on radio stations WFMT

in Chicago and on WNYC’s “Soundcheck” with John Schaefer in New York, among others. Abroad she has appeared with the National

Symphony Orchestra of the Dominican Republic.

Among the highlights of season 2011/12 was a tour with the St. Petersburg Symphony with stops in Houston, Washington D.C.,

Philadelphia, Baltimore, Boston, culminating in a concert at Alice Tully Hall in New York. She also performed a recital at Cadogan Hall in

London, gave her debut at the Music in the Mountains Festival, partnered with Sarah Chang in Pittsburgh and appeared with the MAV

Symphony in Budapest. This past fall, Ms. Wang released a recording of the piano music of Earl Wild, including his celebrated Gershwin

arrangements, on Chandos.

Xiayin Wang completed studies at the Shanghai Conservatory and garnered an enviable record of fi rst prize awards and special honors for

her performances throughout China, most notably in the Fu Zhou National Piano Competition, Hang Zhou Instrumental Competition, Zhe

Jiang Competition and the National Piano Competition in Beijing. She was heard with some of China’s leading orchestras, including the

Beijing Opera House Symphony and the Zhe Jiang Symphony, and in many of the country’s most prestigious concert halls. In addition to

her performances in China, Ms. Wang has been heard in Europe with the Tenerife Symphony of Spain. Ms. Wang, who began piano studies

at the age of fi ve, subsequently came to New York in 1997 and, in 2000, was awarded the “Certifi cate of Achievement” by the Associated

Music Teacher League of New York, winning an opportunity to perform at Carnegie Hall’s Weill Hall. She also pursued studies at the

Manhattan School of Music and won the school’s Eisenberg Concerto Competition in 2002, as well as the Roy M. Rubinstein Award. Xiayin

Wang holds Bachelor’s, Master’s and Professional Studies degrees from the Manhattan School of Music.

Phot

o: D

ario

Aco

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schubert.org 41

Courtroom Concert: Carols by Minnesota ComposersDecember 20, 2012 • Noon


The Schubert Club CarolersRuth Palmer, piano

The Newborn Babe

The Son of God, The Eternal King – Barbara Rogers

Prayer for Peace – Abbie Burt Betinis

Riverside – Sherry Ladig

Lullay of the Nativity – Libby Larsen

Ships & Shepherds

The Old Shepherd’s Carol – David Evan Thomas

Welsh Carol – Linda Kachelmeier

Song of the Ship – Linda Kachelmeier

Stars & Snow

Run, Toboggan, Run – Abbie Burt Betinis

Carol of the Snow – Abbie Burt Betinis

Two December Carols: I. Snowfl ake Song – Carl Schroeder

Northern Nativity – Richard Rasch

Ringeltanze III: Beautiful Star – Libby Larsen

To Drive the Cold Winter Away – J. David Moore

Rejoice & Be Merry

Be Careful, Don’t Tear the Paper – arr. J. David Moore/lyrics: Jean Sramek

Christmas Cards from Abbie Burt BetinisCard Design: Emily Burt Betinis


The Schubert Club Annual ContributorsThank you for your generosity and support

Schubert Circle$10,000 and abovePatrick and Aimee Butler Family FoundationRosemary and David Good Family FoundationMAHADH Fund of HRK FoundationAnna M. Heilmaier Charitable FoundationLucy Rosenberry JonesPhyllis and Donald Kahn Philanthropic Fund of the Jewish Communal FundJohn S. and James L. Knight FoundationThe McKnight FoundationMinnesota State Arts BoardGilman and Marge OrdwayGeorge ReidTarget FoundationTravelers FoundationThe Charles A. Weyerhaeuser Memorial Foundation

Patron$5,000 – $9,999Boss FoundationJulia W. DaytonTerry DevittThe Hackensack Fund of The Saint Paul Foundation and Mr. and Mrs. Ted KolderieDorothy J. Horns, M.D. and James P. RichardsonHélène Houle and John NasseffArt and Martha Kaemmer Fund of The HRK FoundationWalt McCarthy and Clara Ueland Luther I. Replogle FoundationThrivent Financial for Lutherans FoundationTrillium Family Foundation3M Foundation

Benefactor$2,500 – $4,999AnonymousJohn and Nina ArchabalSuzanne Asher

McCarthy-Bjorklund Foundation and Alexandra O. BjorklundThe Burnham FoundationDee Ann and Kent CrossleyMichael and Dawn GeorgieffMark and Diane GorderBill Hueg and Hella Mears HuegJames E. JohnsonBarry and Cheryl KemptonChris and Marion LevyAlice M. O’Brien FoundationRoy and Dorothy Ode MayeskeFord and Catherine NicholsonRichard and Nancy Nicholson Fund of The Nicholson Family FoundationPerforming Arts Fund of Arts MidwestJohn and Barbara RiceSaint Anthony Park Community FoundationMichael and Shirley SantoroSecurian FoundationKim Severson and Philip JemielitaThrivent Financial for Lutherans FoundationNancy and Ted WeyerhaeuserMichael and Cathy WrightMargaret and Angus Wurtele

Guarantor$1,000 – $2,499AnonymousThe Allegro Fund of The Saint Paul FoundationWilliam and Suzanne AmmermanElmer L. & Eleanor J. Andersen Foundation Paul J. AslanianJ. Michael Barone and Lise SchmidtBruce and Lynne Beck Dr. Lee A. Borah, Jr.Dorothea BurnsDeanna L. CarlsonCecil and Penny ChallyRachelle Dockman Chase & John H. Feldman Family Fund of The Minneapolis FoundationCy and Paula DeCosse Fund of The Minneapolis FoundationDrs. John B. and Joy L. DavisDellwood FoundationDorsey & Whitney Foundation

Richard and Adele EvidonWilliam and Bonita FrelsDick and Mary GeyermanJill HarmonAnders and Julie Himmelstrup Andrew and Margaret HoultonJohn and Ruth HussLois and Richard KingKyle Kossol and Tom BeckerFrederick Langendorf and Marian RubenfeldSusanna and Tim LodgeSylvia and John McCallisterC. Robert and Sandra MorrisThe Philip and Katherine Nason Fund of The Saint Paul FoundationSita OhanessianPaul D. OlsonMary and Terry PattonDavid and Judy RanheimLois and John RogersAnn and Paul SchulteFred and Gloria Sewell Katherine and Douglas SkorJill and John ThompsonKatherine Wells and Stephen WillgingWells Fargo Foundation MinnesotaDoborah Wexler M.D. and Michael Mann

Sponsor$500 – $999Anonymous Craig AaseMark L. BaumgartnerNicholai P. Braaten and Jason P. KudrnaElwood and Florence A. CaldwellJames CallahanJohn and Marilyn DanArlene DidierHarry M. DrakeJoan R. DuddingstonAnna Marie EttelDavid and Maryse FanJennifer Gross and Jerry LafavreAndrew Hisey and Chandy JohnAlfred and Ingrid Lenz HarrisonAnne and Stephen HunterKevin KayWilliam Klein

schubert.org 43

Lehmann Family Fund of The Saint Paul FoundationThe Thomas Mairs and Marjorie Mairs Fund of The Saint Paul FoundationAlfred P. and Ann M. MooreDavid MorrisonJill MortensenElizabeth B. MyersWilliam Myers and Virgina DudleyLowell and Sonja NoteboomJohn B. NoydDan and Sallie O’Brien Fund of The Saint Paul FoundationRobert M. OlafsonLuis Pagan-CarloPark Midway BankWilliam and Suzanne PayneRichard and Suzanne PepinDr. Leon and Alma Jean SatranJohn Sandbo and Jean ThomsonWilliam and Althea SellHelen McMeen SmithDebra K. TeskeJohn C. TreacyDavid L. WardJane and Dobson WestKeith and Anne-Marie Wittenberg

Partner$250 – $499Anonymous (2)Meredith B. AldenJean and Carl BrookinsTim and Barbara BrownAndrew and Carolyn CollinsShirley I. DeckerDonald and Alma DeraufRuth S. DonhoweSue EbertzJorja FleezanisJoachim and Yuko HeberleinElizabeth J. IndiharRay JacobsenPamela and Kevin JohnsonErwin KelenYoungki and Youngsun Lee KimSusan and Edwin McCarthyDr. John A MacDougallMalcom and Wendy McLeanJames and Carol MollerJack and Jane MoranScott and Judy OlsenHeather J. PalmerJames and Donna PeterSidney and Decima PhillipsWalter Pickhardt and Sandra ResnickDr. Paul and Betty QuieMary Ellen and Carl SchmiderJohn Seltz and Catherine FurryEmily and Daniel ShapiroMarilyn and Arthur Skantz

Harvey D. Smith, MDEileen StackMichael SteffesTom von Sternberg and Eve ParkerHazel Stoeckeler and Alvin WeberBarbara Swadburg and Jim KurleArlene and Tom H. SwainPeggy WolfeMatt Zumwalt

Contributor$100 – $249Anonymous (7)Arlene AlmMira AkinsMrs. Dorothy AlshouseKathleen and Jim AndrewsJean and Michael AntonelloJulie Ayer and Carl NashanKay C. BachAdrienne and Bob BanksGene and Peggy BardThomas and Jill BarlandBenjamin and Mary Jane BarnardCarol E. BarnettCarline and Lars BengtssonJerry and Caroline BenserFred and Sylvia BerndtAnn-Marie BjornsonCarol A. BraatenTanya and Alexander BraginskyDr. Arnold and Judith BrierRichard and Judy BrownleeMatthew P. BrummerPhilip and Carolyn BrunellePhilip and Ellen BrunerRoger F. BurgGretchen CarlsonRev. Kristine Carlson and Rev. Morris WeeAlan and Ruth CarpJo and H. H. ChengDavid and Michelle ChristiansonEdward and Monica CookMary E. and William CunninghamDon and Inger DahlinBernice and Gavin DavenportJohn and Karyn DiehlJanet and Kevin DugginsKathleen Walsh EastwoodPeter Eisenberg and Mary CajacobFlowers on the ParkGerald FoleySalvatore FrancoPatricia FreeburgRichard and Brigitte FraseJane FrazeeJoan and William GackiGeneral Mills FoundationDavid J. GerdesCarol L. Griffin

Richard and Sandra HainesJon and Diane HallbergKen and Suanne HallbergBetsy and Mike HalvorsonRobert and Janet Lunder HanafinJudith K. HealeyHegman Family FoundationJoan Hershbell and Gary JohnsonFrederick J. Hey, Jr.Mary Kay HicksCynthia and Russell HobbieDr. Kenneth and Linda HolmenJ. Michael HomanPeter and Gladys HowellThomas Hunt and John WheelihanIBM Matching Grants ProgramPhyllis and William JahnkeGeorge J. JelatisBenjamin M. JohnsonNancy P. JonesTessa Retterath JonesMichael C. JordanDonald and Carol Jo KelseyAnthony L. KiorpesRobin and Gwenn KirbySteve KnudsonKaren KoeppMary and Leo KottkeJanet and Richard KrierGail and James LaFaveColles and John LarkinPatricia LalleyLibby Larsen and Jim ReeceNowell and Julia LeitzkeWilliam Lough and Barbara PinaireRebecca LindholmMarilyn S. LoftsgaardenRoderick and Susan MacphersonRhoda and Don MainsDanuta Malejka-GigantiPolly McCormackMalcolm and Patricia McDonaldDeborah McKnightGerald A. MeigsJohn MichelDavid Miller and Mary DewSteven MittelholtzTom. D. MobergBradley H. MomsenElizabeth A. MurrayDavid and Judy MyersKarla and Peter MyersNicholas NashKathleen NewellJay Shipley and Helen NewlinGerald NoltePatricia O’GormanJohn and Ann O’LearySally O’ReillyVivian OreyMelanie L. OunsworthElizabeth M. ParkerMary and Terry Patton


Richard and Mary Ann PedtkePatricia Penovich and Gerald MoriartyEarl A. PetersonLaura D. Platt Mindy RatnerRhoda and Paul RedleafKaren RobinsonRon and Carol RydellSaint Anthony Park HomeDavid SchaafPaul SchroederA. Truman and Beverly SchwartzS. J. SchwendimanWill ShapiraRenate SharpNan C. ShepardRebecca and John ShockleyNance Olson SkoglundDarroll and Marie SkillingAnn Perry SlosserConrad Soderholm and Mary TingerthalMarilyn and Thomas SoulenCarol Christine SouthwardArturo L. SteelyCynthia StokesBarbara Swadberg and James KurleLillian TanTheresa’s Hair SalonTim ThorsonCharles and Anna Lisa TookerChuck Ullery and Elsa NilssonRev. Robert L. ValitJoy R. VanOsmo VänskäMaxine H. WallinDale and Ruth WarlandAnita WelchBeverly and David WickstromNeil and Julie WilliamsDr. Lawrence A. WilsonJames and Alexis WolffPaul and Judy WoodwardAnn WyniaZelle Hofmann Voelbel & Mason LLP

Friends $1 – $99Anonymous (7)Cigale AhlquistElaine AlperBeverly S. AndersonRenner and Martha AndersonMary A. Arneson and Dale E. HammerschmidtClaire and Donald AronsonKay C. BachVerna H. BeaverDr. Karen BeckerRoberta BeutelDorothy BoenRoger BolzDavid and Elaine Borsheim

Judith BoylanCathy BraatenCharles D. BrookbankJackie and Gary BrueggmannChris BrunelleDaniel BuividKevin CallahanDonna CarlsonAllen and Joan CarrierLaura CavianiSusan CobinEduardo ColonMary Sue ComfortComo Rose TravelIrene D. CoranJohn and Jeanne CoundJames CuperyErnest and Beth CuttingPamela and Stephen DesnickDr. Stan and Darlene DieschCraig Dunn and Candy HartMargaret E. DurhamKatherine and Kent EklundAndrea EenMary Ann FeldmanBarbara A. FleigJohn and Hilde FlynnLea Foli and Marilyn ZupnikCatherine Ellen FortierMichael FreerLisl GaalNancy and John GarlandDr. and Mrs. Robert GeistMary M. GlynnPeg and Liz GlynnA. Nancy GoldsteinM. Graciela GonzalezGracoKirk HallPatricia HartEugene and Joyce HaselmannMarguerite HedgesAlan HeiderRosemary J. HeinitzDon and Sandralee HenryHelen and Curt HillstromLisa Himmelstrup and Dan LiljedahlMarian and Warren HoffmanPatricia A. Hvidston and Roger A. OppBenita IllionsOra ItkinMimi and Len JenningsStephen and Bonnie JohnsonThelma JohnsonGeraldine M. JolleyMary A. JonesRuth and Edwin JonesCarol R. KellyJean W. KirbyGloria KittlesonMark KokoszkaJane and David KostikDave and Linnea KrahnJudy and Brian Krasnow

Paul and Sue KremerPatricia J. LalleyAmy Levine and Brian HorriganKarla LarsenLarry LeeArchibald and Edith LeyasmeyerGary M. LidsterBernard LindgrenThomas and Martha LinkMichael and Keli LitmanJanet R. LorenzLord of Life Lutheran ChurchEd Lotterman and Victoria TirrelCarol G. LundquistHelen and Bob MairsDavid MayoRoberta MegardDavid L. MelbyeRobert and Greta MichaelsJohn W. Miller, Jr.Marjorie MoodyEva J. NeubeckJane A. NicholsEleanor H. NicklesTom O’ConnellDr. and Mrs. R. OrianiDennis and Turid OrmsethElisabeth PaperMrs. Dorothy PetersonSolveg PetersonMarcos and Barbara PintoC.J. RichardsonDrs. W.P. and Nancy W. RodmanPeter RomigStewart RosoffMitra Sadeghpour and Mark MowryMary SavinaRussell G. SchroedlSteve SeltzJay and Kathryn SeveranceBeatrice D. SextonElizabeth ShippeeBrian and Stella SickPaul and Carol SeifertNan Skelton and Peter LeachSusannah Smith and Matthew SobekRobert and Claudia SolotaroffArne SorensonSpeedy Market and Tom SpreiglDr. James and Margaret StevensonRalph and Grace SulerudNorton StillmanDru and John SweetserBruce and Marilyn ThompsonKaren TitrudSusan TravisJennifer Undercofl erWilliam K. WangensteenClifton and Bettye WareDeborah WheelerHope WellnerEvan WilliamsAlex and Marguerite WilsonMichael Wu

schubert.org 45

In memory of Nancy PodasDiane and Greg EganThomas and Mari Oyanagi EggumAnna Marie EttelCarole and Tom FagreliusNancy FogelbergGreg and Maureen GrazziniHoward and Bonnie Gay HedstromSharon Owen and Fred HilleMargaret Hubbs and FamilyJohn and Ruth HussJohn R. LewisMargaret and Frank LindholmJoy P. NorenbergEileen O’Shaughnessy and Arthur PerlmanCatherine M. OwenKathleen OwenSusan D. PriceJohn and Barbara RiceJ. L. and Sandra RutzickColleen SickelerCharles Skrief and Andrea BondTom and Arlene SwainJane A. ThamesImogene H. TreichelMartha Hughesdon TurnerYamy Vang

In honor of Julia and Irina ElkinaRebecca and John Shockley

In honor of Julie HimmelstrupMary Ellen Schmider

In honor of Jim Johnson and Lucy Jones’ BirthdaysSusan and Edwin McCarthy

In honor of Lucy Jones’ BirthdayMalcolm McDonald

In honor of Jason KudrnaCarol A. BraatenCathy Braaten

In honor of David MorrisonJohn Michel

In honor of Lisa NiforopulasGretchen Piper

In honor of Paul D. OlsonMark L. Baumgartner

In memory of Lars Bengtsson, husband of Carline BengtssonPaul D. Olson

In memory of Lisl CloseJudith BrownleeGeraldine M. JolleyAnders and Julie HimmelstrupNan Skelton and Peter Leach

In memory of Dr. John DavisJohn and Barbara RiceHelen Smith

In memory of Mary Jane MunsonMarilyn and John DanStan and Darlene DieschJohn and Barbara Rice

In memory of Olga M. NordinShirley I. Decker

In memory of Rose Petroske, mother of Marilyn DanBeatrice D. Sexton

Memorials and Tributes

In memory of Nancy PohrenSandra and Richard Haines

In memory of Nancy ShepardNan C. Shepard

In memory of Catherine StovenMary and Terry Patton

In memory of Mark SwansonAllen and Joan Carrier

In memory of Anne E. Walsh, sister of Kate Walsh EastwoodJim Johnson and Lucy JonesPaul D. OlsonMarilyn and John Dan

In memory of Richard ZgodavaHelen Smith

Ordway Center (on the left) is home to The Schubert Club’s International Artist Series. Landmark Center (at right) was originally the Post Offi ce, Customs and Federal Courts building. It is now home to The Schubert Club’s administrative offi ce and Museum,


The Schubert Club Endowmentand The Legacy Society

The Legacy Society

The Legacy Society honors the dedi-

cated patrons who have generously

chosen to leave a gift through a will

or estate plan. Add your name to the

list and leave a lasting legacy of the

musical arts for future generations.

AnonymousFrances C. Ames*Rose Anderson*Margaret Baxtresser*Mrs. Harvey O. Beek*Helen T. Blomquist*Dr. Lee A. Borah, Jr.Raymond J. Bradley*James CallahanLois Knowles Clark*Margaret L. Day*Harry M. Drake*Mary Ann FeldmanJohn and Hilde FlynnSalvatore FrancoMarion B. Gutsche*Lois and Richard KingFlorence Koch*John McKayMary B. McMillanJane Matteson*Elizabeth Musser*Heather PalmerLee S. and Dorothy N. Whitson*Richard A. Zgodava*

*In Remembrance

Become a member of The Legacy

Society by making a gift in your will

or estate plan. For further informa-

tion, please contact

Paul D. Olson at 651.292.3270 or

[email protected]

The Schubert Club Endowment

We are grateful for the generous donors

who have contributed to The Schubert

Club Endowment, a tradition started

in the 1920s. Our endowment provides

nearly one-third of our annual budget,

allowing us to offer free and affordable

performances, education programs and

museum experiences for our community.

Several endowment funds have been

established, including the International

Artist Series with special support by the

family of Maud Moon Weyerhaeuser San-

born in her memory. We thank the follow-

ing donors who have made commitments

to our endowment funds:

The Eleanor J. Andersen Scholarship and Education FundThe Rose Anderson Scholarship FundEdward Brooks, Jr.The Eileen Bigelow MemorialThe Helen Blomquist Visiting Artist FundThe Clara and Frieda Claussen FundCatherine M. DavisThe Arlene Didier Scholarship FundThe Elizabeth Dorsey BequestThe Berta C. Eisberg and John F. Eisberg FundThe Helen Memorial Fund “Making melody unto the Lord in her very last moment.” – The Mahadh Foundation

The Julia Herl Education FundHella and Bill Hueg/Somerset FoundationThe Daniel and Constance Kunin FundThe Margaret MacLaren BequestThe Dorothy Ode Mayeske Scholarship Fund

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

Add your name to this list by making a

gift to The Schubert Club Endowment

or provide a special gift directly to The

Schubert Club.

get noticed.

Advertising in The Schubert Club

program magazines will get you noticed.

[email protected]

952.843.4603

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