Schubert Club An die Musik February 14 - March 31, 2012

schubert.org 1

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

February 14 – March 31, 2012

An die Musik

Phot

o: U

we

Are

ns

schubert.org 5

An die MusikFebruary 14 – March 31, 2012

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

Table of Contents

9 A Brief History of The Schubert Club

10 Announcing the 2012-2013 Season

11 Calendar of Events

12 Julia Fischer and Milana Chernyavska

18 Ysaÿe Quartet

22 The Schubert Club Museum: Letter from Ysaÿe

24 Accordo

26 Menahem Pressler

28 Christian Tetzlaff

31 Courtroom Concerts

38 The Schubert Club Officers, Board of Directors and Staff

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

Hardanger fi ddle, owned by Norwegian violinist Ole Bull, from The Schubert Club MuseumPhoto by Natasha D’ Schommer, from the book To Music. For more information visit schubert.org/tomusic

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

6 THE SCHUBERT CLUB An die Musik

Dear Friends of The Schubert Club,

Welcome to the new edition

of An die Musik which includes

information about our concert

programs during February and

March, and the eagerly awaited

announcement of our 130th

anniversary season. I am certain you will want to fl ick to page 10

immediately (if you haven’t already) to see the stellar line up of

guest soloists and ensembles we have engaged for next season.

I’d like to pay homage to my predecessor Kathleen van Bergen

(and of course Julie Himmelstrup, Artistic Director of Music in

the Park Series) for putting this amazing program together.

March is our Student Scholarship Competition month, named for

another great Schubert Club predecessor, Bruce Carlson. We have

200 young instrumentalists and singers from all over the Midwest

competing for scholarships totaling approximately $50,000.

The Schubert Club Board and Staff have begun a process of

strategic planning with the intention of mapping out the next

5-10 years of programming. If we have contact details for you,

there’s a good chance that we may soon send you a short survey to

ask for some thoughts about us. We think it is vital to get as much

feedback as we can from our audiences, from our Museum visitors

and from participants in the various educational programs we run,

as we make important decisions about how we focus our efforts

and resources going forward. I do hope you will help by giving the

survey 15 minutes of your time, should we approach you.

Whatever decisions we make about our future, I can assure you

that music of the highest quality will always be central to The

Schubert Club and I hope you enjoy whichever performances

you choose to attend.

With warmest wishes,

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

An die MusikDu holde Kunst, in wieviel grauen Stunden,

Wo mich des Lebens wilder Kreis umstrickt,

Hast du mein Herz zu warmer Lieb entzunden,

Hast mich in eine beßre Welt entrückt!

Oft hat ein Seufzer, deiner Harf ’ entfl ossen,

Ein süßer, heiliger Akkord von dir

Den Himmel beßrer Zeiten mir erschlossen,

Du holde Kunst, ich danke dir dafür!

–Franz von Schober

To Music

You noble art, in how many dreary hours,

When life’s mad whirl has snared me,

Have you kindled my heart to a warmer love,

Have you released me into a better world!

Often has a sigh, fl owing from your harp,

A sweet, divine chord from you,

Revealed better times, as if heaven-sent.

You noble art, I thank you!

Barry KemptonArtistic and Executive Director

get noticed.

Advertising in The Schubert Club

program magazines will get you noticed.

[email protected]

952.843.4603


Tickets: 952-979-1111HOPKINS CENTER FOR THE ARTS

1111 Mainstreet, Hopkins www.hopkinsartscenter.com

March 318:00 pm

AshuAward winning concert saxophonist Ashu with pianist Kuang-Hao Huang. Classically

trained, Ashu has pizzazz to burn!

May 128:00 pm

Lee Engele presents Trad Jazz All Stars with Evan ChristopherLocal vocalist Lee Engele is joined by nationally-

recognized clarinetist Evan Christopher and a group of vocal and instrumental all-stars.

April 288:00 pm

Bruce Henry and Friends In a Tribute to Marvin Gaye Relive the music of the “Prince of Motown,” Marvin Gaye as interpreted by vocalist Bruce Henry, his band and guest artists.

schubert.org 9

The Schubert Club was launched on an autumn afternoon in

the year 1882. Marion Ramsey Furness, daughter of Governor

Ramsey, along with some music-loving friends, formed a

club they called “The Ladies Musicale.” The first meetings

were social gatherings with club members providing musical

counterpoint. Concerts, lectures and study groups were soon

organized, and before long the name was changed to honor

composer Franz Schubert. In 1893, by adding the International

Artist Series to its programs, the women began presenting

some of the finest artists of the day—including the recital

debuts in Saint Paul of Vladimir Horowitz in 1928, Dietrich

Fischer-Dieskau in 1955, Leontyne Price in 1961, Mstislav

Rostropovich in 1963, and Cecilia Bartoli in 1996, among

many others. Following decades of musical collaboration,

the venerable Music in the Park Series became part of The

Schubert Club in 2010. Schubert Club audiences now total

more than 30,000 people a year.

Promoting music in education has long been an important part

of The Schubert Club’s activities. The annual student scholarship

competition, begun in 1922, awards more than $50,000 each

year to young musicians. Project CHEER offers free piano and

guitar lessons to families for whom music instruction would

not otherwise be a priority. Additional special grants for music

education are awarded annually to deserving young musicians.

The Schubert Club Museum, inaugurated in 1980 and

remodeled and expanded in 2009 and has been visited by more

than 20,000 since then. It features both exotic and familiar

musical instruments, historic keyboards, and letters from such

famous composers as Beethoven, Mozart and Haydn.

Today, nearly 130 years from its founding, The Schubert Club—

no longer a club—has secured a prominent place among musical

organizations. Its tradition of promoting the fi nest in musical

arts continues into the twenty-fi rst century in its concerts,

education programs, and museum. The Schubert Club is thriving.

A Brief History ofThe Schubert Club

130th Anniversary

Ford Music Hall, at the corner of Saint Peter and Sixth Streets in downtown Saint Paul, was the location of The Schubert Club’s public concerts from 1893 to 1912. The luxurious third-fl oor auditorium was known through the years variously as Conover Hall, Raudenbusch Hall and The Odeon. The building was razed in the 1970s; the site is now a small park called Landmark Plaza.

Announcing the 2012-2013 Season • schubert.org 130th Anniversary

Phot

o: A

rtu

ro N

orbr

e

Philharmonia Quartett BerlinSunday, October 7, 2012

Baiba Skride, violinLauma Skride, pianoSunday, October 28, 2012

Aulos Ensemble,with Dominique Labelle, sopranoSunday, November 25, 2012

David Finckel, celloWu Han, pianoSunday, January 27, 2013

Elias QuartetSunday, March 24, 2013

Shanghai QuartetSunday, April 28, 2013

Music in the Park Series

2012-2013 SeasonInternational Artist Series

Karita Mattila, sopranoWednesday, October 3, 2012

Stephen Hough, pianoTuesday, November 20, 2012

Alisa Weilerstein, celloInon Barnatan, piano Tuesday, January 8, 2013

James Valenti, tenorSaturday, February 9, 2013

Anne-Sophie Mutter, violin Lambert Orkis, pianoMonday, March 11, 2013

Phot

o: C

olin

Bel

l

Anne-Sophie Mutter, violin

Stephen Hough, piano

Philharmonia Quartett Berlin

Elias QuartetPh

oto:

Tin

a Ta

hir

/ D

G

Phot

o: M

arco

Bor

ggre

ve

Baiba and Lauma Skride, violin and piano

Karita Mattila, soprano

James Valenti, tenor

schubert.org 11

February – April 2012Thursdays, Febuary 16 – April 26 • 12:00 PM

Courtroom Concert Landmark Center 317

February 2012Wednesday, February 15 • 8:00 PM Ordway Center

Julia Fischer, violin & Milana Chernyavska, piano

Friday, February 24 • 6:15 & 7:30 PM St. Matthew’s Episcopal

Family Concert: Ross Sutter & Laura MacKenzie

Sunday, February 26 • 4:00 PM St. Anthony Park UCC

Ysaÿe Quartet

March 2012Monday, March 12 • 7:30 PM Christ Church Lutheran

Accordo

Tuesday, March 13 • 8:00 PM SPCO Center

Menahem Pressler, piano: “A Life of Music”

Monday, March 19 • 8:00 PM Ted Mann Concert Hall

Christian Tetzlaff, violin

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

Family Concert: Ancia Saxophone Quartet

April 2012April 13, 14, 20, 21 • 8:00 PM The Cowles Center

April 15, 22 • 2:00 PM

James Sewell Ballet & Parker Quartet

Sunday, April 15 • 4:00 PM St. Anthony Park UCC

Kalichstein-Laredo-Robinson Trio

Mondays, April 16 & 23 • 7:30 PM James J. Hill House

Hill House Chamber Players

Friday, April 20 • 7:00 PM Sundin Hall

Student Scholarship Competition Winners Recital

Wednesday, April 25 • 8:00 PM Ordway Center

Matthias Goerne, baritone & Leif Ove Andsnes, piano

Friday, April 27 • 6:15 & 7:30 PM St. Matthew’s Episcopal

Family Concert: Escher String Quartet

& Jason Vieaux, guitar

Sunday, April 29 • 4:00 PM St. Anthony Park UCC

Escher String Quartet & Jason Vieaux, guitar

May 2012Tuesday, May 1 • 7:30 PM Landmark Center

Sandrine Piau, soprano & Susan Manoff, piano

Monday, May 14 • 7:30 PM Christ Church Lutheran

Accordo

More information at schubert.orgBox office 651.292.3268

Sandrine Piau

Calendar of Events

Phot

o: A

ntoi

ne

Le G

ran

d

Parker Quartet

Phot

o: Ja

net

te B

eckm

an


The Schubert Club

presents

Julia Fischer, violin

Milana Chernyavska, pianoProgram

This evening’s concert is dedicated to the memory of Reine H. Myers

by the John Myers Family, Paul Myers Jr. Family and John Parish Family

Sonata in B-fl at major, K. 454 Wolfgang Amadeus Mozart

Largo—Allegro

Andante

Allegretto

Rondo brillant in B minor, Opus 70, D. 895 Franz Schubert

Intermission

Sonata in G minor (1917) Claude Debussy

Allegro vivo

Intermède: Fantasque et léger

Finale: Très animé

Sonata No. 1 in D minor, Opus 75 Camille Saint-Saëns

Allegro agitato—Adagio

Allegro moderato—Allegro molto

Please turn off all electronic devices.

schubert.org 13

Maud Moon Weyerhaeuser Sanborn International Artist Series

Wednesday, February 15, 2012 • 8:00 PM

Ordway Center for the Performing Arts

German violinist Julia Fischer is recognized worldwide for possessing a talent of uncommon ability and as an exceptionally gifted artist, refl ected in the numerous awards and effusive reviews she has received for both her live performances and recordings, including being named “Artist of the Year” at The Gramophone Awards in 2007 and “Instrumentalist of the Year” at the 2009 MIDEM Classical Awards.

Julia Fischer started the 2011-12 season at the Lucerne Festival with the London Philharmonic Orchestra and Vladimir Jurowski and a subsequent tour to London, Luxembourg and Frankfurt performing the world premiere of Matthias Pintscher’s violin concerto “Mar’eh” – a piece dedicated to Ms. Fischer. Other highlights of season include European tours with the Academy of St. Martin in the Fields as well as with the St. Petersburg Philharmonic Orchestra. Guest appearances will see Ms. Fischer with the Orchestre Philharmonique du Luxembourg and Emmanuel Krivine, the Orchestre Philharmonique de Monte Carlo, the Staatskapelle Dresden and the Munich Philharmonic Orchestra as well as with the Tonhalle Orchestra Zurich under the baton of David Zinman. Recital tours with pianist Milana Chernyavska will take her to Italy and Spain as well as to six cities in the U.S. The season is rounded off with recital and chamber music performances at the Menuhin Festival in Gstaad and Copenhagen’s Tivoli Concert Hall in summer 2012.

Phot

o: D

ecca

/Uw

e A

ren

s

Julia Fischer, violin

In April 2011, Decca released Ms. Fischer’s latest recording ‘Poème’ featuring Chausson’s Poème, Respighi’s Poema Autunnale, Suk’s Fantasy in G minor and Vaughan Williams’s The Lark Ascending to great critical acclaim. This highly poignant album is also the last recording of the late Yakov Kreizberg – a close collaborator of Ms. Fischer for years – conducting the Orchestre Philharmonique de Monte Carlo. The recording was featured on the quarterly “Bestenliste” of the prestigious Preis der Deutschen Schallplattenkritik.

This recording was preceded by the fall 2010 release of Paganini’s 24 Caprices and her 2009 best-selling debut recording for Decca of Bach violin concertos with the Academy of St. Martin in the Fields. Upon its U.S. release the recording became the fastest-selling classical music debut in iTunes history. Previous recordings were released on the PentaTone label. Her debut CD, a recording of Russian Violin Concertos by Khatchaturian, Prokofi ev and Glazunov with the Russian National Orchestra under Yakov Kreizberg, won Germany’s coveted ECHO Award in 2005. Ms. Fischer recorded Bach’s Sonatas and Partitas for Solo Violin in 2005 and this recording earned worldwide critical praise including the rare distinction of winning three of France’s most prestigious awards: the Diapason d’Or from Diapason; the CHOC from Le Monde de la Musique; and the highest rating from Classica-Repertoire. The Bach recording also saw her awarded the BBC Music Magazine Award as “Best Newcomer” in 2006. In 2007, her Tchaikovsky Violin Concerto recording saw her awarded the ECHO award for “Instrumentalist of the Year”.

Born in Munich in 1983, Ms. Fischer began learning the piano with her mother at age three and soon thereafter started taking violin lessons. She became a pupil of Ana Chumachenco at the Munich Academy of Music and at just 11-years-old, she won the Yehudi Menuhin International Violin Competition, an event that catapulted her towards a career as a soloist. Throughout her career, Ms. Fischer has always maintained her piano studies. On January 1st, 2008 she made her professional piano debut at the Alte Oper Frankfurt performing the Grieg Piano Concerto with the Junge Deutsche Philharmonie and conductor Matthias Pintscher. On the same program, she performed the Saint-Saëns Violin Concerto No. 3. A DVD of this concert, recorded by Unitel Classica, was released by Decca in September 2010.

Personal Management to Ms. Fischer: J.F. Mastroianni and Kristin Schuster, IMG Artists, New York City. Ms. Fischer is exclusive to Decca Records.


Milana Chernyavska, piano

Milana Chernyavska was born in Kiev in the Ukraine. At the age of five she took her first piano lessons before entering the School for Gifted Children at the Tchaikovsky Conservatoire two years later. At seven, she performed her first concert in the Great Philharmonic Hall in Kiev and then went on to win the first international chamber music competition Concertino Praga at only twelve years of age.In 1990 Milana graduated with distinction from the Tchaikovsky Conservatoire, where she studied with Professor Sagaidachny. She then undertook masterclasses with Professors Baschkirov, Bloch and others, and continued her studies at the Academy for Music and Theatre in Munich with Professors Hoehenrieder and Oppitz. Her artistic abilities have won her many prizes at both national and international levels, including a Gold Medal at the Vladimir and Regina Horowitz Competition in 1994. Since 1994 Milana has also held the title “Outstanding Artist in the Ukraine.”

Since 1998 Milana has appeared as soloist with a number of orchestras, including the Munich Chamber and Ukrainian National Symphonic Orchestras. Additionally, she was recorded at performances with the Bavarian, Hessian, Middle German (MDR) and North German (NDR) Radio; as well as for the BBC, the VRS, Radio France and the National Ukrainian Radio. She has

also produced solo and chamber music recordings for EMI, Naxos, Claves, Avie and Ars Musici. With EMI she produced a CD which was selected as one of the best CDs of 2001 by the BBC Music Magazine. She has led performances around the world, including Wigmore Hall in London, Concertgebouw in Amsterdam, Herkulessaal in Munich, Châtelet in Paris, the Conservatoire in Moscow, the St. Petersburg Philharmonic Hall and the Suntory Hall in Tokyo. Concert tours included most European countries, Canada, the USA and Japan and she has been invited to numerous international festivals. Milana is also much in demand as a chamber musician, working together with Lisa Batiashvili, Julia Fischer, Adrian Brendel, Daniel Müller-Schott, Vogler-Quartett, David Garrett, David Frühwirt, Susanna Henkel and others. In addition to her performances she has also taught at the Academy for Music and Theatre in Munich and is a Professor at Art University in Graz.

schubert.org 15

Sonata in B-fl at major, K. 454 Wolfgang Amadeus Mozart(b. Salzburg, 1756; d. Vienna, 1791)

We owe the existence of this, Mozart’s grandest violin sonata, to the Mantuan virtuosa Regina Strinasacchi, who had the wit to commission a piece from Vienna’s most ragingly successful composer for her fi rst series of concerts in the Austrian capital. Praised by Mozart as a player of taste and sensibility, she gave a concert in Vienna on March 29, 1784 and another on April 29, and it was at the latter that this sonata was introduced, and under circumstances to make any composer’s or performer’s blood run cold—today, at any rate. That Strinasacchi received her part barely in time for the concert, that the twenty-eight-year-old composer-pianist had time to write his own part out only in a few stenographic notations, that the two had never met for a rehearsal, seems not to have fazed either of the two musicians. (Strinasacchi, who lived until 1839, was a resilient twenty-three at the time.) The Sonata was received with tumultuous applause and was offered to the public in print just two and a half months later. The announcement by the publisher Torricella presents the work as one of “three pianoforte sonatas, of which two are for the pianoforte alone and of which one has an accompaniment for an obbligato violin.” Mozart’s own catalogue entry lists it as “a piano sonata with a violin.” And like the other sonatas on this program, it is a duet for equal partners.

It is the only one of Mozart’s sonatas to indulge in the splendid gesture of a slow introduction. Its initial gestures are grand in a formal sort of way, but by the fi fth bar Mozart is writing throbbing accompaniments and expansively songful lines that are altogether personal. These commanding preparations introduce a rich and beautifully poised allegro, an uncommonly serious and poignant slow movement (“andante” being Mozart’s second thought to replace his original direction of “adagio”), and a most delightful, varied, and glittering rondo.

© Michael Steinberg

Rondo brillant in B minor, D. 895Franz Schubert (b. Vienna, 1797; d. Vienna, 1828)

The Rondo in B minor was composed in October 1826 for the twenty-year-old violinist Josef Slavík, a Czech virtuoso new to Vienna. It was published the following year as Opus 70. Slavík was an inspiration to Schubert in the last years of the composer’s life. Schubert would compose the Fantasy in C major, D. 934 for him, and Slavík also would rehearse the last, monumental Quartet in G major.

Schubert gives us a two-tempo structure. The violinist struts her stuff immediately, sweeping across two octaves in a stroke of the bow. The last two notes of the Andante pose a question. The Rondo theme answers in three distinct tones of voice: playful, then sweet, then boisterous (with Czech fl avor). A second theme is announced by soft trumpets. Later, a skipping G-major violin tune is echoed dreamily by the piano. Twice, its development takes daring steps down the tonal stairway. Schubert is popularly portrayed as a great melodist, but it’s his harmony—the way he pivots in mid-phrase to skitter off into a distant key—that fascinates theorists.

Trying his luck in Paris, Slavík was befriended by Chopin: “Slavík fascinates the listener and brings tears into his eyes. He plays like a second Paganini, but a rejuvenated one, who will perhaps in time surpass the fi rst. Ninety-six staccato notes in one bow!” But the Czech would not get the chance. He would die suddenly in 1833, seven years before Paganini.

© 2011 David Evan Thomas

Mozart, drawing by Dora Stock, 1789

Josef Slavík, portrait by Jan Vilímek

Program Notes


sonata in other ways as well: the entire set was dedicated to the memory of Debussy’s mother, who had died in March 1915, and the Léon Vallas biography tells us as well that the composer intended these works “as a secret, fervent tribute to the youth of France mowed down by the scythe of war.” Appending “musicien francais” to his name was also a war-inspired gesture, and Debussy’s urgent need to make the statement that French thought would not be destroyed fed his will to work in the face of ravaging illness.

Debussy was at the piano both for the unoffi cial premiere at a hospital for soldiers blinded in the war and for the offi cial one in Paris a few days later, on 5 May 1917. His partner both times was Gaston Poulet. About that time Debussy wrote to Gabriel Fauré, declining an invitation to take part in another concert, that he really could no longer play—there were too many keys and not enough fi ngers, and he forgot where the pedals were. A witness at the concert described him as being “the color of molten wax, or ashes.”

This one is the nearest to orthodox of Debussy’s three sonatas, though even here nineteenth-century manner and form have been left far behind. Nothing could be more ordinary than the fi rst two chords if we take each as a separate component—one of G minor, another of C major—but juxtaposed as they are, they open a vista onto a harmonic landscape that is amazing. The brevity of the music strikes us, and so does the wittily aphoristic manner of proceeding from thought to thought. No less remarkable is the way in which this Gallic lightness of touch, this elegance, is at the service of a variety of utterance running the range from champagne effervescence to urgent, richly shadowed passion.

The tempo of the fi rst movement is quick and its measures are short, but Debussy phrases across the bar lines with such fl exibility and in such large and easy breaths that we lose all sense of meter. The Intermezzo, which Debussy wants to sound “fantastical and light,” is the last of his many serenades, now capricious, now languorous. The fi nale continues as a distant echo of this mood. The sounds of guitars and cicadas softly fi ll the air, but the song to which this is the accompaniment turns out to be the gently melancholy theme of the fi rst movement. Even as the fi rst two chords foretold, there is constant confl ict between major and minor. It is the bright major that fi nally wins out. To quote Debussy once more (and, given his illness, in a moment of remarkable black humor): “[The fi nale] goes through the most curious contortions before ending up with a simple idea which turns back on itself like a snake biting its own tail—an amusement whose charm I beg leave to doubt.”

© 1988 Michael Steinberg

Sonata in G minor (1917)Claude Debussy(b. Germain-en-Laye, 1862; d. Paris, 1918)

The title page of the fi rst edition of Debussy’s Sonata for Violin and Piano reads:

SIX SONATES pour divers instruments Composées par CLAUDE DEBUSSY Musicien Français La Troisième pour Violon et Piano

“Six Sonatas”—that was tempting providence, or, if you prefer a more rationalistic formulation, fl ying in the face of probability. The rectal cancer that was to bring Debussy a drawn-out and hideous death had already begun to manifest in 1915 when, after an interval of a couple of years, he resumed composing and planned his sonata project. He began writing like a madman, he said, and in quick succession composed two sonatas, one for cello and piano, another for fl ute, viola and harp, as well as two of his most visionary works for keyboard, the two-piano suite En blanc et noir and the Twelve Etudes. In the fall of 1916, when he found the beginning of the third sonata of the projected six, he was desperately ill and “suffering the tortures of the damned.” He was worse when he completed the work in the spring of 1917.

He lingered on another year and, while he continued to cling to his long-cherished hope of writing an opera on Poe’s The Fall of the House of Usher, the Violin Sonata turned out to be the last work he was able to complete. (No. 4 in the series, for oboe, horn, and harpsichord, would have been the fi rst major work in the twentieth-century harpsichord revival.) The shadow of death hangs about the

Claude Debussy

Program Notes continued

schubert.org 17

Sonata No. 1 in D minor, Opus 75 Camille Saint-Saëns (b. Paris, 1835; d. Algiers, 1921)

The dates amaze: he was born the year of Lucia di Lammermoor, I puritani, and Schumann’s Carnaval; when he died, Alban Berg had nearly fi nished orchestrating Wozzeck. The Pickwick Papers and The Waste Land were written within his lifetime. The entire life spans of Mahler and Debussy, of Grieg, Bizet, Dvorák, Mussorgsky and Tchaikovsky were comprehended within his own. He was born in the reign of Louis-Philippe and just six years after George Stephenson’s Rocket had frightened the horses by steaming along iron rails between Liverpool and Manchester at sixteen miles an hour. When he died, France was a republic; it was curtains for the Russian, Austro-Hungarian, and German empires (the last of which had been founded when he was thirty-fi ve); and Captain John Alcock and Lieutenant A. W. Brown of the Royal Flying Corps had crossed the Atlantic from Newfoundland to Ireland in sixteen hours.

We would have a hard time working out a chronology for his music on the basis of stylistic evidence alone. “This young man knows everything,” said Berlioz, “but he lacks inexperience.” We are apt to be a little down on him for the combination of fl uency and emotional detachment that informs so much of his music. But that does seem to be how he meant to write.

Berlioz also said that Saint-Saëns was as formidable a musical mechanism as he had ever encountered. Evidence of prodigious gifts came in early. At two, as Saint-Saëns recalled, he was listening with precocious connoisseurship to creaking doors, striking clocks, and particularly “the

symphony of the kettle…[waiting with] passionate curiosity for its fi rst murmurs, its slow crescendo so full of surprises, and the appearance of a microscopic oboe whose sound rose little by little until the water had reached a boiling point.” At three, he could fi nd his way about the keyboard and at four years and seven months he played the piano part of one of Beethoven’s violin sonatas at a private concert. On 6 May 1846 in the Salle Pleyel in Paris—he was now ten and a half—he made his formal debut, playing concertos by Mozart and Beethoven, as well as solos by Bach, Handel, Hummel, and Kalkbrenner, and offering to play as an encore any Beethoven sonata requested, from memory of course. His widowed mother and his great-aunt did not, however, exploit him as a prodigy, and the next years were devoted to study, not just of music but of humanistic and scientifi c disciplines as well. He became a formidable presence on the French musical scene and at least in the Symphony No. 3 he both aspired to and reached the heights. Charles Gounod was in the audience when Saint-Saëns introduced that work in Paris in 1887 and announced, as the composer left the stage, “There goes the French Beethoven!” No doubt that was quickly reported to Saint-Saëns, and he must have loved it. It often seems as though Saint-Saëns gets to us more when he is content to charm and seduce. The D-minor Violin Sonata is one of those works.

He was fi fty when he composed it in 1885. The 1870s and 1880s were, in all, the best period of Saint-Saëns long creative life, and this sonata is a fi ne example of his intelligent elegance at its best. Heifetz was fond of it and made a memorable recording of it with Emanuel Bay.

The sonorities of the fi rst movement are powerfully spare, and with superlative skill, Saint-Saëns has devised a keyboard part that, for all its brilliance, never threatens to swamp the violin. A striking effect, and unusual for Saint-Saëns, is the rhythmic irregularity produced by the insertion from time to time of a measure half again as long as its neighbors (9/8 in a fl ow of 6/8). Saint-Saëns often sought to devise new formal designs for his large-scale works, the Piano Concerto No. 4 and the Symphony No. 3 being especially successful in this regard, and this sonata, too, surprises us by proceeding without break from the opening Allegro agitato into an Adagio, and one in quite a remote key at that. Its effect is almost as much one of epilogue as of an independent statement, and only when this movement has had its say does the fi rst real division occur. A quasi-scherzo offers some relaxation of intensity. A solemn chord sequence leads, again without break, into the fi nale. This begins with whizzing scale passages and is altogether a splendid example of Saint-Saëns’s cool skill at bringing the house down.

© 1984 Michael Steinberg. Program notes by Mr. Steinberg used by kind permission of Jorja Fleezanis.

Camille Saint-Saëns


Ysaÿe QuartetGuillaume Sutre, violin • Luc-Marie Aguera, violin

Miguel da Silva, viola • Yovan Markovitch, cello

Program

Intermission

The Schubert Club Music in the Park Series

Quartettstudie Wolfgang Rihm

Quartet in G minor Claude Debussy

Animé et très décidé

Assez vif et bien rythmé

Andantino doucement expressif

Très modéré—Très mouvementé et avec passion

String Quartet No. 2 in A minor, Opus 51, No. 2 Johannes Brahms Allegro non troppo Andante moderato Quasi minuetto, moderato Finale: Allegro non assai


schubert.org 19

Music in the Park Series

Sunday, February 26, 2012 • 4:00 PM

Saint Anthony Park United Church of Christ, Saint Paul, Minnesota

Ysaÿe Quartet (from left): Yovan Markovitch, Miguel da Silva, Guillaume Sutre, Luc-Marie Aguera

Discography: YSAŸE RECORDS, HARMONIA MUNDI, PHILIPS, and DECCAExclusive Management: ARTS MANAGEMENT GROUP, INC., 37 West 26th St., New York, NY 10010

Ysaÿe Quartet

Acquired wisdom attributes French musicians with a particular sensitivity for color and timbre–a truism, maybe, but undeniably valid in the case of the Ysaÿe Quartet. The ensemble, acknowledged as one of the world’s supreme quartets, captivates audiences with its subtlety of nuance and its exceptional “joy in sound and patience with sound” as the Süddeutsche Zeitung observed after a performance in Munich’s Herkulessaal in early 2009. The concert featured two of Beethoven’s late quartets, Op. 127 and Op. 132, and the application of French fi nesse to these German masterpieces resulted in a profound and memorable musical experience.

The Ysaÿe Quartet, named after the great Belgian violinist, composer and quartet player Eugène Ysaÿe, was founded in 1984 and rapidly achieved recognition as one of the leading ensembles of its generation. Its members, all from France, studied with Walter Levin of the LaSalle Quartet and with the Amadeus Quartet in Cologne, and in 1988 won fi rst prize in the International String Quartet Competition in Evian, becoming the fi rst French group to do so.

This marked the beginning of an international career which has taken the Ysaÿe Quartet from London, Rome and Riga to Washington, Tel Aviv and Tokyo, and to festivals such as Stavanger, Edinburgh and Bonn’s Beethovenfest. The ensemble enjoys a particularly close association with the festival of L’Epau in Northern France. Since 1993 the players’ busy concert schedule has been complemented by teaching activity with string quartet classes at the Paris Conservatoire. They also teach regularly in Riga, São Paulo, Aldeburgh and at the University of Southern California in Los Angeles.

Ysaÿe Records is the quartet’s own recording label, which since 2003 has produced releases of Haydn, Mozart, Beethoven, Schumann, Fauré, Franck, Magnard and others. Contemporary composers also play a central role in the quartet’s performing activities, among them André Boucourechliev, Pascal Dusapin, Frank Krawczyk, Eric Tanguy and Thierry Escaich, who have all written new works at the quartet’s instigation. In 2006 the Vienna Konzerthaus was the venue for the world premiere, in collaboration with Paul Meyer, of a new clarinet quintet by the Austrian composer Friedrich Cerha.

In the same year the Ysaÿe Quartet embarked on an especially close journey with the music of Haydn, performing his 69 quartets at the Besançon Festival. In 2008 they turned to the Beethoven cycle, performing it at the Musée d’Orsay in Paris.

The 2011-2012 season brings appearances in Hamburg and Basel, followed by concerts at the Manchester Royal Northern College of Music, at the Cité de la Musique in Paris, and in Italy and The Netherlands–all opportunities for this inimitably French ensemble to provide further evidence of its special qualities. The Ysaÿe’s plans include also a sextet project with two former members of the Alban Berg Quartett, Valentin Erben (violoncello) and Isabel Charisius (viola).


Program Notes

The Kampong Javanais, where Debussy heard gamelan music in 1889

Wolfgang Rihm

Quartettstudie (2004) Wolfgang Rihm (b. Karlsruhe, 1952)While the American composer cruises with minimal traffi c down a consonant road, 4000 miles to the east composition has a somewhat sterner face. Even as elders like Lutosławski, Ligeti and Messiaen have departed, modernism remains a potent force on the European scene. One of its most prolifi c and expressive exponents is German composer Wolfgang Rihm, who turns sixty on March 13. In celebration, this year’s String Quartet Biennial at Paris’s Cité de la Musique features Rihm’s complete works for string quartet, including a performance by the Ysaÿe Quartet.

Rihm feels a kinship with the Austro-German tradition from Beethoven forward, but he is not a serialist. Believing that “it is not what is systematically derived but what arrives unexpectedly [that] gives life to art,” his methods and impulses—and often style—change from work to work. He is especially drawn to stringed instruments. There are twelve numbered quartets to date and several unnumbered ones like the Quartettstudie (Quartet Study). “To me, instrumental virtuosity is an enhancement of vocal abilities,” Rihm says. “On stringed instruments, in particular, I love the drawn-out vocal timbre, the vibrating of the ray of time, the energy which collects in the note in order to generate the next note. And between the notes there appears, unimaginably, the thing that we can call music.” That music has spilled forth in abundance. In addition to a dozen operas, there are well over sixty orchestral works.

The single-movement Quartettstudie was composed for the 2004 International Music Competition of the ARD (Germany Association of Public Broadcasters). It is a rotational structure. Frigid, static textures alternate with highly-volatile material, in a way reminiscent of Ives’s The Unanswered Question. The viola is frequently the instigator. Rihm’s score bristles with extreme dynamic markings, ranging from pppp to ffff. Beethoven’s symbol for a strong accent (or sforzando) is sf or sfz. Here, sfffz abounds.

Approaching a Rihm composition for the fi rst time can be a challenge. There are no conventional themes, nor do traditional keys or modes hold sway. Its beauties are as impersonal as a changeable sky or as fascinating as overhearing an impassioned argument.

Quartet in G minorClaude Debussy(b. St. Germain-en-Laye, 1862; d. Paris, 1918)The Impressionist marketing tag sticks fast to Debussy, though it largely indicates a discount. Composer Andrew Imbrie recalls a master class with Roger Sessions where Sessions “asked a student where one phrase of his composition ended and the next one began.” The student responded: “I wanted it to be vague like Debussy.” Sessions replied: “Debussy is never vague.”

Looking back on the early 1890s, Debussy recalled: “the period when I wrote my String Quartet was not exactly one of extravagant luxury but, even so, it was the best time of all.” The young composer had passed through many phases. His Conservatoire training had introduced him to the harmony of Massenet. A Prix de Rome rewarded an academicism he soon found distasteful. He made two trips to Bayreuth to hear Wagner’s Parsifal, Meistersinger and Tristan. “When I met Debussy he was full of Mussorgsky,” recalled Eric Satie, “and was very deliberately seeking a way that wasn’t very easy to fi nd.” Paris’s Universal Exposition of 1889—the fair for which the Eiffel Tower was erected—provided a direction. It was there that the composer fi rst heard the Javanese gamelan, an orchestra of mostly ringing percussion.

Debussy had promised to dedicate his Quartet to Ernest Chausson, but in the end that honor went to the Ysaÿe Quartet. The great Belgian violinist Eugène Ysaÿe led his ensemble in the premiere shortly after Christmas 1893 at a concert of the Société Nationale de Musique. Durand published it as Premier Quatuor, Opus 10, but the composer would never write another quartet, nor would he use opus numbers again.

The Quartet is often called cyclic. Moreover, it’s the story of a single theme, which is broken in pieces, stretched apart and viewed from many perspectives. The opening motto-theme, marked “animated and very determined,” is full of possibilities. It mimics the fi ve tones of sléndro, one of two Javanese tunings. The fi rst two chords are tough and harmonically ambiguous,

schubert.org 21

provocation with rough speech. There is a little fl ourish at the top of the line, and the bass marches down by half-steps.

With the “Lively and well paced” scherzo, Debussy strikes out into unfamiliar territory. Never before had the string quartet sounded so percussive. The viola lays down an ostinato (a repeated pattern) based on the motto-theme, and soon there are four different things going at once. This carbonated but static texture imitates superimposed gamelan rhythms. “Remember the music of Java which contained every nuance, even the ones we no longer have names for,” wrote a wistful Debussy to Pierre Louÿs.

Much of the Andantino is played muted, and after the wooden tones of the scherzo it glows. The form is simple, the music sustained, heartfelt and “gently expressive.” Oddly, the moments of greatest control, the several points of imitation, are the ones that feel the most improvisatory.

Critic Guy Ropartz detected the “predominant infl uence of young Russia,” referring perhaps to the deliberately crude harmony that propels the fi nal movement from “moderate,” to “hectic and passionate.” In any case, it’s a thrilling progress, crowned by the most frankly-virtuosic roulade in the quartet literature. A trip up the lift to the top of the Tower?

String Quartet No. 2 in A minor, Opus 51, No. 2 Johannes Brahms (b. in Hamburg, 1833; d. in Vienna, 1897)Brahms spent the summer of 1873 in the Bavarian town of Tutzing on the Starnberger See, where he had a mountain view. He had just completed his fi rst year as director of Vienna’s Gesellschaft der Musikfreunde, and his compositional energies were pent up. And he was 40. His fi rst task was to write the “Haydn Variations.” He then turned to chamber music for the fi rst time in eight years, polishing a pair of string quartets in C minor and A minor that he had been working on for some time. Though he had not yet published a string quartet, Brahms was no stranger to string chamber music. Indeed, he had already written two magnifi cent sextets, Opp. 18 and 36. Nor should it be assumed that he was uncomfortable with the quartet medium. “Brahms claimed that Opus 51 had been preceded by twenty discarded quartets,” notes biographer Jan Swafford. Why had it taken so long? For decades after Beethoven’s death composers were quartet-shy. Beethoven’s sixteen quartets stood—like his symphonies—as an unassailable wall. Granted, Mendelssohn wrote six quartets and Louis Spohr turned out six times that many. But Liszt, Wagner and Berlioz shunned the medium altogether, and others, like Debussy, stopped at one. The string quartet represented abstract musical thought, but the Age, with its emphasis on program music and opera, was abstraction-averse. Brahms’s debut was belated, but it was masterly and necessary.

One senses the strong presence of violinist Joseph Joachim in the many little canons and contrapuntal play of the A-minor Quartet. Brahms and Joachim had conducted a didactic correspondence going back to the 1850s. (Some play chess by mail; others exchange canons.) But the pair had recently fallen out. Hence the dedication to Brahms’s friend Theodor Billroth. To begin, we hear an arching phrase, the notes A-F-A-E, and we recognize Joachim’s personal motto, Frei Aber Einsam (Free but lonely). Now, anyone can write a piece using a cryptogram, but it’s what comes after those notes—what’s not so cryptic—that makes the piece. What’s more, the piece doesn’t begin in A minor, but in D, suggesting that this relationship is ongoing. Donald Tovey called the second subject “one of the most attractive and graceful passages Brahms ever wrote,” and one is reminded of a similarly gracious place in the Second Symphony. Note the rhetorical silences late in the movement. They are downbeats, moments of great tension.

The Andante moderato is famous in compositional circles for the way it slowly spins its pensive theme from a series of simple scale-steps. One would never guess from this opening what is to come: the central martial canon between the fi rst violin and cello, accompanied by rustling inner voices, a new and dramatic sound in quartet-writing.

The third movement is a minuet about a minuet: its three-beat measures are grouped in larger groups of three. The cello lays down a frosty drone while the others sing in wintry half-tones. Twice, a scampering version of the theme interrupts (another foreshadowing of the Second Symphony).

Three-measure thinking continues in the rondo-Finale. Silence plays a crucial part here. The swinging second subject appears to break off in a most puzzling way. Eventually, we realize that the listener is to fi ll in the silences with the inner ear. It’s an idea Brahms takes from Beethoven, but here it’s carried to another conceptual level. The movement ends with three strikingly different ways of looking at the same material.

View of the Starnberger See in Bavaria, where Brahms spent the summer of 1873.

Program notes © 2012 by David Evan Thomas


The Schubert Club MuseumHours: Sunday – Friday • Noon – 4:00 PM

Landmark Center

Letter from Eugène Ysaÿe, 1925

Program from Ysaÿe’s 1895 Schubert Club recital

Belgian violinist, conductor and composer Eugène Ysaÿe (1858–1931) was one of the most highly regarded—and most infl uential—artists of his day. Born in Liège into a musical family, he began his violin studies at age fi ve, and was admitted to the Royal Conservatory at seven. His studies there suffered, as he was obliged to play in two orchestras to help support the family. The result was a lack of progress in school and he was asked to leave the conservatory. However, as the story goes, the renowned violin virtuoso Henri Vieuxtemps, passing in the street, heard the twelve-year old Ysaÿe practicing in a cellar and took an interest in him. He was readmitted to the conservatory, studying with the great Polish violinist Henryk Wieniawski and later with Vieuxtemps himself.

Ysaÿe’s international success as a concert artist began while he was still in his twenties and continued well into his later years in spite of increasing ill health. This affectionate letter to his second wife Jeannette Dincin, was written while Ysaÿe was on tour in Poland at age sixty-seven. Widowed in the previous year, Ysaÿe had only recently married again—to a former pupil 44 years his junior.

In his long performing career, Ysaÿe concertized throughout Europe, Russia and America, appearing in Saint Paul in a Schubert Club recital in 1895. He also achieved renown as a conductor, declining to assume the leadership of the New York Philharmonic in 1898–due to an intense solo performing schedule–but leading the Cincinnati Orchestra from 1918 to 1922. He founded the original string quartet that bore his name in 1886. That group premiered Debussy’s only string quartet—dedicated to the composer’s friend and supporter, Ysaÿe. This same work is performed this month on The Schubert Club’s Music in the Park Series by the Quatuor Ysaÿe. That ensemble, named after the great Belgian violinist, was founded in 1984.

schubert.org 23

Łódz 24 January 1925 Dear Mum

I have an hour before me and I will employ it in the best way in the world by writing you. As I told you in my previous card, the concert in Warsaw was a happy one: My fi ngers and the bow did their duty, and I found myself again there as in the greatest days of my career. Yesterday evening here was not as good. The very tiny recital with piano immediately after the big one with orchestra did not go well, whether it was fatigue, the letup of effort after last night, or that the magnetic current did not establish itself–I played badly, without creating, as if indifferent, with mediocre physical-technical means, and a capricious and unstable bow - having one and one half days of rest, I hope to fi nd myself back to normal tomorrow in Cracow.

I think a lot of my little mother, of my angel and guardian of the last spring seasons, who knows so affectionately how to help me pass the winters. Each object so carefully placed in my luggage recalls to me your thoughtfulness, attention, desire to be useful, and that does me good, gives me courage, new strength, and sweet promises of the future because your love (charitas), your affection, your devotion to your Maître render my life better and have on me the effect of a Fountain of Youth which keeps my heart warm and beating in spite of everything.

More news soon. I kiss all the loved ones and you triply.

E. Ysaÿe

“ My fi ngers and the bow did their duty, and I found myself again there as in the greatest days of my career. . . .”

Ysaÿe in 1905

First and last page of letter from Ysaÿe, 1925(Acquired through the generosity of Gilman Ordway)


String Trio in G major, Opus 9, No. 1 Ludwig van Beethoven (1770-1827)

Adagio – Allegro con brio Adagio, ma non tanto, e cantabile Scherzo: Allegro

Presto

Meditation, Rhapsody & Bacchanal Jeffery Cotton (b. 1957) for violin & percussion (2004)

String Quartet in C major, Opus 61 Antonín Dvor ák (1841-1904)

Allegro Poco adagio e molto cantabile Allegro vivo Finale: Vivace


The Schubert ClubNorthrop Concerts and Lectures

andKate Nordstrum Projects

present

Accordo

Steven Copes, violin • Ruggero Allifranchini, violinMaiya Papach, viola • Edward Arron, cello • Ian Ding, percussion

“Bacchanalia”

Program

Intermission

schubert.org 25

Accordo, established in 2009, is a Minnesota-based chamber

group made up of some of the best instrumentalists in the

country, eager to share their love of classical and contemporary

chamber music in intimate and unique performance spaces.

Accordo’s 2011–2012 season is presented by The Schubert Club,

Northrop Concerts and Lectures and Kate Nordstrum Projects

at the National Historic Landmark Christ Church Lutheran, one

of the Twin Cities’ great architectural treasures, designed by

architect Eliel Saarinen and his son Eero Saarinen.

Accordo consists of Saint Paul Chamber Orchestra (SPCO)

principal players Steven Copes, violin; Ruggero Allifranchini,

violin; Maiya Papach, viola; and Ronald Thomas, cello; and

Minnesota Orchestra principal cellist Anthony Ross. This season also includes guest artists Erin Keefe, violin; Rebecca Albers, viola; Edward Arron, cello; Ian Ding, percussion; and Burt Hara, clarinet.

Accordo

Monday, March 12, 2012 • 7:30 PM

Christ Church Lutheran

Phot

o: R

ose

Dor

i

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.

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.

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.

Guest artist Ian Ding has been the Assistant Principal Percussionist of the Detroit Symphony Orchestra since 2003 and a Lecturer of Percussion at the University of Michigan since 2005. Previously, he was a member of the New World Symphony in Miami under Michael Tilson Thomas and the Verbier Festival Orchestra in Switzerland under James Levine. As a hand drummer, Ian has appeared with several of Detroit’s top Indian classical performers as well as with the New York-based acoustic music trio Project. Originally from Arlington Heights, Illinois, Ian played piano and cello before starting drum lessons at the age of ten. He is a graduate from the University of Illinois and the Juilliard School in New York.

Cellist Edward Arron, a native of Cincinnati, Ohio, made his New York recital debut in 2000 at the Metropolitan Museum of Art. The 2012-2013 season will mark Mr. Arron’s 10th anniversary season as the artistic director of the Metropolitan Museum Artists in Concert, a chamber music series created to celebrate the 50th anniversary of the Museum’s Concerts and Lectures series. Mr. Arron has performed numerous times at Carnegie’s Weill and Zankel Halls, Lincoln Center’s Alice Tully and Avery Fisher Halls, New York’s Town Hall, and the 92nd Street Y, and is a frequent performer at Bargemusic. Mr. Arron has toured and recorded as a member of MOSAIC, an ensemble dedicated to contemporary music. Edward Arron began his studies on the cello at age seven in Cincinnati and, at age ten, moved to New York, where he continued his studies with Peter Wiley. He is a graduate of the Juilliard School, where he was a student of Harvey Shapiro. Currently, Mr. Arron serves on the faculty of New York University.



The Schubert Club

presents

Menahem Pressler, piano“A Life of Music”

Tuesday, March 13, 8 PM • The Music Room, SPCO Center

“Menahem Pressler’s joyous pianism-technically faultless, stylistically impeccable, emotionally irrepressible-is from another age and is a virtually forgotten sensibility. He is a national treasure.” – Los Angeles Times

Menahem Pressler, founding member and pianist of the Beaux Arts Trio, has established himself among the world’s most distinguished and honored musicians, with a career that spans over fi ve decades. He continues to captivate audiences throughout the world as performer and pedagogue, performing solo and chamber music recitals to great critical acclaim while maintaining a dedicated and robust teaching career.

Born in Magdeburg, Germany in 1923, Pressler fl ed Nazi Germany in 1939 and emigrated to Israel. Pressler’s career was launched after he was awarded fi rst prize at the Debussy International Piano Competition in San Francisco in 1946. This was followed by his successful American debut with the Philadelphia Orchestra under the baton of Eugene Ormandy.

After nearly a decade of an illustrious and praised solo career, the 1955 Berkshire Music Festival saw Menahem Pressler’s debut as a chamber musician, where he appeared as pianist with the Beaux Arts Trio. With Pressler at the Trio’s helm as the only pianist for nearly 55 years, The New York Times described the Beaux Arts Trio as “in a class by itself” and the Washington Post exclaimed that “since its founding more than 50 years ago, the Beaux Arts Trio has become the gold standard for trios throughout the world.” The 2007-2008 season was nothing short of bitter-sweet, as violinist Daniel Hope, cellist Antonio Meneses and Menahem Pressler took their fi nal bows as The Beaux Arts Trio, which marked the end of one of the most celebrated and revered chamber music careers of all time.

For nearly 60 years, Menahem Pressler has taught on the piano faculty at Indiana University Jacobs School of Music where he currently holds the rank of Distinguished Professor of Music as the Charles Webb Chair. Professor Pressler has been hailed as “Master Pedagogue” and has had prize-winning students in all of the major international piano competitions, including the Queen Elizabeth, Busoni, Rubenstein, Leeds and Van Cliburn competitions among many others. His former students

grace the faculties of prestigious schools of music across the world, and have become some of the most prominent and infl uential artists and teachers today.

Among his numerous honors and awards, Pressler has received honorary doctorates from the University of Nebraska, the San Francisco Conservatory of Music and the North Carolina School of the Arts, six Grammy nominations (including one in 2006), a lifetime achievement award from Gramophone magazine, Chamber Music America’s Distinguished Service Award, and the Gold Medal of Merit from the National Society of Arts and Letters. In 2005 Pressler received two additional awards of international merit: the German President’s Deutsche Bundesverdienstkreuz (German Cross of Merit) First Class, Germany’s highest honor, and France’s highest cultural honor, the Commandeur in the Order of Arts and Letters award.

In addition to recording nearly the entire piano chamber repertoire with the Beaux Arts Trio on the Philips label, Menahem Pressler has compiled over thirty solo recordings, ranging from the works of Bach to Ben Haim.

schubert.org 27

Matthias Goerne, baritone

Leif Ove Andsnes, piano

April 25, 2012

schubert.org

651.292.3268

Phot

o: S

imon

Fow

leri

Phot

o: M

arco

Bor

ggre

ve


The Schubert Club

presents

Christian Tetzlaff, violin


Sonata in G minor for Solo Violin, Opus 27, No. 1 Eugène Ysaÿe

Grave: Lento assai Fugato: Molto moderato Allegretto poco scherzoso: Amabile Finale con brio: Allegro fermo

Sonata No. 3 in C major for Solo Violin, BWV 1005 Johann Sebastian Bach

Adagio Fuga: Allabreve Largo Allegro assai

Sonata for Solo Violin (1944) Béla Bartók

Tempo di ciaccona Fuga: Risoluto, non troppo vivo Melodia: Adagio Presto

Intermission

Program

schubert.org 29

Christian Tetzlaff builds this program of unaccompanied sonatas

around Bach’s monumental and deeply spiritual C-major Sonata.

Two centuries after Bach, Eugène Ysaÿe and Béla Bartók created

sonatas that pay homage to that master’s spirit and architecture,

but speak a more modern musical language and acknowledge the

many advances in violin technique and construction.

Sonata in G minor for Solo Violin, Opus 27, No. 1 Eugène Ysaÿe (b. Liège, 1858; d. Brussels 1931)

Edward Elgar portrayed his circle of friends in veiled terms in his Enigma Variations, throwing in a splashing bulldog for added color. In his Six Sonatas for Violin Solo, Opus 27, Belgian violinist and composer Eugène Ysaÿe has similarly sketched the characters of violinists he admired. Composed in 1923–24 near the end of Ysaÿe’s performing career, the sonatas honor such legends as George Enescu, Fritz Kreisler and Joseph Szigeti in their varied styles, often quoting from the dedicatees’ respective repertoires.

Ysaÿe studied with Vieuxtemps and Wieniawski, two giants of the Franco-Belgian school of violin playing. He was appointed Professor at Brussels Conservatory in 1886, and by the turn of the century was acknowledged as “the greatest idol among violinists and music lovers of his age,” in Josef Gingold’s words. Franck’s Violin Sonata and Chausson’s Poème are dedicated to him, and his original Ysaÿe Quartet gave the premiere of Debussy’s Quartet. Among his pupils: Henri Verbrugghen, the second permanent conductor of the Minneapolis Symphony Orchestra. And in 1895, on his fi rst American tour, Ysaÿe performed a benefi t for the fl edgling Schubert Club Education Fund.

What can we infer about Joseph Szigeti (1892–1973), to whom this sonata is dedicated? He was daring. The opening Grave is the most volatile of the four movements, moving through many textures and culminating in a series of fearsome fi ve- and six-note chords (this on a four-stringed instrument!). He loved new music, and would go on to premiere many new works, including Bartók’s Contrasts. Ysaÿe had been impressed with Szigeti’s Bach playing, and in these inner movements, Bach’s spirit is palpable. The Fugato—a treatment less rigorous than a fugue—provides elaborate fi guration between statements of the theme. An Allegretto touches on Bach’s sweetness, updating it with wistful, pastoral touches. The vigorous Finale is full of cross-rhythms and virtuoso touches, completing a portrait of a suave, Hungarian artist.

Christian Tetzlaff

Monday, March 19, 2012 • 8:00 PM

Ted Mann Concert Hall

Born in Hamburg in 1966 into a musical family, Christian Tetzlaff began playing the violin and piano at age six. From the outset of his career, Mr. Tetzlaff has performed and recorded a broad spectrum of the repertoire, ranging from Bach’s unaccompanied sonatas and partitas to 19th century masterworks by Mendelssohn, Beethoven, and Brahms; and from 20th century concertos by Bartók, Berg, and Shostakovich to world premieres of contemporary works. Also a dedicated chamber musician, he frequently collaborates with distinguished artists including Leif Ove Andsnes, Lars Vogt, Alexander Lonquich and Tabea Zimmermann and is the founder of the Tetzlaff Quartet, which he formed in 1994 with violinist Elisabeth Kufferath, violist Hanna Weinmeister and his sister, cellist Tanja Tetzlaff.

Tetzlaff’s recordings refl ect the breadth of his musical interests and include solo works, chamber music and concertos ranging from Haydn to Bartók. His recordings include Tchaikovsky’s Violin Concerto; Beethoven’s Violin Concerto; the complete Bach Sonatas and Partitas for Solo Violin, Berg’s Chamber Concerto for piano, violin with 13 wind instruments, and Schumann’s three Piano Trios.

Christian Tetzlaff makes his home near Frankfurt with his wife, a clarinetist with the Frankfurt Opera, and their three children. He currently performs on a violin modeled after a Guarneri del Gesu made by the German violin maker, Peter Greiner. In honor of his achievements, Musical America named Mr. Tetzlaff “Instrumentalist of the Year” in 2005.

Program notes

Phot

o: G

eorg

ia B

erta

zzi


Program Notescontinued

Program notes © 2012 by David Evan Thomas

Sonata for Solo Violin (1944) Béla Bartók (b. Torontal district of Hungary, now Rumania, 1881; d. New York, 1945)

Bartók’s situation in the summer of 1943 was dire. A wartime refugee, his research fellowship at Columbia University had come to an end. There were few concert engagements or pupils in this new country, and he needed work. Most ominously, leukemia had declared war on his system. But friends did what they could to help. A commission for the Concerto for Orchestra came from Serge Koussevitsky, with funds donated by Bartók’s fellow Hungarians Szigeti and Fritz Reiner, and a similar largesse prompted a request from the American virtuoso Yehudi Menuhin (1916-1999),

Sonata No. 3 in C major for Solo Violin, BWV 1005 Johann Sebastian Bach (b. Eisenach, 1685, d. Leipzig, 1750)

“From his youth until he was quite old [my father] played the violin clearly and penetratingly,” recalled C.P.E. Bach. “He perfectly understood the potential of all the string instruments.” Bach also felt a mission as a teacher, creating several encyclopedic works which have pedagogic as well as artistic ends. The Six Sonatas and Partitas for solo violin is one such collection: three sonatas—each with four movements alternating slow with fast tempo in the fashion of the Italian church sonata; and three partitas—suites of dance movements. They were written around 1720, during the seven years Bach was Kapellmeister to Prince Leopold of Anhalt-Köthen.

Bach caps his sonatas with a masterwork in what Hans Vogt calls “Bach’s personal key of joy”: C major. The four strings of the violin are introduced from bottom to top in the Adagio’s slow, rocking motion. The Fugue follows without pause, and what a structure! A chorale tune “Komm, heiliger Geist” (Come, Holy Ghost) is treated in four-voice texture, paired with a descending, chromatic countersubject. Three interludes lighten the mood with a little fi ddling. Bach wishes to provide a model in composition as well as violin playing, so in midstream he turns the subject upside-down and repeats the process. The pastoral Largo, in F major, balances the previous complexity with pure melody. A concluding dance of joy, Allegro assai, shows wonderfully how a single melodic line can create three clear strands of polyphony.

Bach was not the fi rst to write unaccompanied music for violin. It was something of a North-German specialty, and composers like Pisendel and Biber had already explored the medium. But Bach transcended any earlier effort. Critic J. F. Reichardt suggested in 1805 that the sonatas and partitas of Bach “are perhaps the greatest example in any art form of a master’s ability to move with freedom and assurance, even in chains.”

who arranged to play Bartók’s Sonata No. 1 for the composer at a friend’s Manhattan apartment. Bartók was impressed: “I did not think music could be played like that until long after the composer was dead,” he told the violinist. Spontaneously, Menuhin asked Bartók to write something for him. But when the Sonata for Solo Violin arrived in March 1944, Menuhin admits he was shaken. “It seemed to me almost unplayable,” Menuhin writes. Bartók didn’t play the violin, but he’d written six quartets and a pair of concertos. He knew the instrument thoroughly, and was even able to tell violinists a thing or two. Menuhin learned the piece in six months and gave the fi rst performance in New York in November 1944. It was Bartók’s last piece of chamber music, and his last completed work. He died on September 26, 1945.

It is, as Menuhin says, “a work of wild contrasts” that unites the spirit of Bach with the Hungarian folk idiom so dear to Bartók. The fi rst movement is not a chaconne, but a movement in dignifi ed chaconne tempo. The Fugue is very free, and like a human face, changes over time. It begins with a terse question—silence—then elaborates to fi ll the space. Bartók takes care to differentiate the voices by articulation as well as by register. After a movement of such intense counterpoint, Bartók in the Melodia follows the trail of a single, wandering line that begins on the lowest string and rises gradually into thin air. Whistling harmonics give occasional glimpses of a far-away land. The Presto begins its rounded journey as a moto perpetuo. The score is notated with conventional pitches, but Bartók’s original conception had the scurrying notes imitating the quarter-tones of the folk fi ddler. Pulsing pizzicato later ushers in two folk-like themes.

Music Without a NetA recital of unaccompanied music is the ne plus ultra of virtuosity. It is to fl y without a net, to stand without a base. The violin is often called a melody instrument, but it is potentially a medium complete in itself, capable of complex harmony and polyphony. Its compass is nearly as great as the harpsichord, and it has a far more varied sonic palette. Because its four strings—G-D-A-E—are stretched across a rounded bridge, only two may be sustained at a time. Chords of three and four notes must be broken, either through arpeggio or with a characteristic ka-shing. Another time-honored way of suggesting polyphony is through compound melody, a phenomenon similar to the “persistence of vision” that makes motion pictures possible. Because a note will linger in the mind until it is connected to another in the same register, a melody with notes in different registers will give the illusion of having more than one voice. Sing Bernstein’s “There’s a place for us,” and you have created two voices—in a single line.

schubert.org 31

Courtroom ConcertCelebrate Early MusicFebruary 16, 2012 • Noon • Courtroom 317, Landmark Center

Kim Sueoka is an active performer of Hawaiian historical music, early music, chamber music, and new

compositions. She frequently appears in concert as a soloist and with The Rose Ensemble and Silver Swan

Chamber Ensemble. She is the founder and artistic director of Lau, a new ensemble dedicated to the perpetuation

of Hawaiian music. Originally from Kaua‘i, Kim earned a Bachelor of Music degree in vocal performance at

the University of Evansville under the instruction of Joseph Hopkins, and completed a Masters degree at the

University of Minnesota, where she studied with Lawrence Weller. She is a 2011 Minnesota State Arts Board Artist

Initiative grant recipient. She received a McKnight Performing Artist Fellowship fi nalist award in 2007, and a

Minnesota State Arts Board Cultural Community Partnership grant in 2005.

Phillip Rukavina performs nationally and internationally on lute and vihuela. He is a founding member

of the Venere Lute Quartet, the Chambure Vihuela Quartet, and the Terzetti Lute Duo. He is a regular guest

instrumentalist with the Rose Ensemble and has performed with the St. Paul Chamber Orchestra, the New World

Symphony, soprano Carrie Henneman Shaw, and others. Phillip has been a regular member of the faculty at the

Lute Society of America’s bi-annual Seminars at Case Western Reserve University in Cleveland, Ohio, and directed

the event in 2008 and 2010. He has also directed the lute program at the Amherst Early Music Festival in New

London, Connecticut. He studied lute with Hopkinson Smith at the Academie Musical in Villecroze, France and in

Basel, Switzerland, and also with Patrick O’Brien in New York.

Kim Sueoka, soprano and Phillip Rukavina, lute

Lute Songs and Solos of John Dowland (1563-1626)

What Poor Astronomers are They

Sorrow, Stay

A Fancy (5)

It Was a Time of Silly Bees

Clear or Cloudy

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

her father, an accomplished jazz musician. After graduating from Moscow Academy of

Music, she emigrated to Israel where she graduated from Tel- Aviv University and Hebrew

University of Jerusalem Rubin Academy of Music. She was awarded a grant from the

American Israeli Cultural Foundation Karen Sharet. Ms. Itkin is a member of the piano

faculty at the University of St. Thomas and the St. Paul Conservatory of Music, and

maintains a private piano studio. Recently she was a guest performer and clinician at the

Second Caribbean Festival of Humanities, and Latin American Composers Forum.

Ora Itkin, piano

Sonata in D minor, K9 – Domenico Scarlatti (1685-1757)

Italienisches Konzert BWV 971 – Johann Sebastian Bach (1685-1750)


Courtroom ConcertCelebrate Early Music

February 23, 2012 • Noon

Courtroom 317, Landmark Center

Flying Forms: Marc Levine, violin and Tami Morse, harpsichord

Sonata Quarta – Johann Heinrich Schmelzer (c.1620-1680)

Sonata in E minor for violin and continuo, BWV 1023 – Johann Sebastian Bach (1685-1750)

(untitled) • Adagio ma non troppo • Allemanda • Gigue

Marc Levine is Artistic Director of the Southampton Cultural Center Chamber Music Series,

and has performed extensively in notable venues including Carnegie Hall and Symphony Space.

Marc has performed with many top baroque ensembles including Concert Royal, the Lyra

Baroque Orchestra, the Aulos Ensemble and Early Music New York. Marc teaches privately and is

on the faculty of the Saint Paul Conservatory of Music.

Tami Morse is the Executive Director of the Lyra Baroque Orchestra. She has a Doctor of

Musical Arts degree from Stony Brook University studying with harpsichordist Arthur Haas, and

a Master of Music degree from the University of Michigan studying with Edward Parmentier. In

addition to her studies in the United States, Tami was awarded a DAAD grant, which she used to

study in Germany at the Hochschule für Musik in Cologne with Ketil Haugsand.

Julie Elhard has made several appearances with the St. Paul Chamber Orchestra, and is a founding member

of Violes Egales and Glorious Revolution Baroque. Ms. Elhard was recently awarded a 2011 Artist’s Initiative

grant from the Minnesota State Arts Board. She also received a Jerome Foundation grant to study vielle and

early string playing with Margriet Tindemans. Ms. Elhard currently teaches viola da gamba at Macalester

College, and also at the St. Paul Conservatory of Music where she has developed a Suzuki-style approach for

children to learn the viola da gamba.

As harpsichordist, organist, and conductor, Paul Boehnke specializes in the performance of Baroque music. In

2007 he was appointed Artistic Director of the Bach Society of Minnesota. He has performed with the Newberry

Consort, Second City Music, and the Lyra Baroque Orchestra and has recorded for Centaur Records. Mr. Boehnke

also serves as organist/choir director at Olivet Congregational Church in St. Paul, Minnesota.

Julie Elhard, viola da gamba and Paul Bohenke, harpsichord

Recercada Segunda, “La Spagna” – Diego Ortiz (ca.1510-ca.1570)

Recercada Segunda, Passamezzos Moderno and Antico

Canzona – Girolamo Frescobaldi (1583-1643)

La Marieé (The Bride) – Marin Marais (1656-1728)

Allemande, from French Suite No. 4 – Johann Sebastian Bach (1685-1750)

Sonata in D major – J.S. Bach

Adagio • Allegro

schubert.org 33

Courtroom ConcertThe Art of Ensemble

March 1, 2012 • Noon


Irina and Julia Elkina, duo piano

Concert Paraphrase on themes from Eugene Onegin – Pyotr Ilyich Tchaikovsky (1840-1893), arr P. Pabst

Waltz from the Suite for Two Pianos No. 2, Opus 17 – Sergei Rachmaninoff (1873-1943)

La Valse for Two Pianos – Maurice Ravel (1875-1937)

Waltz from “Masquerade” – Aram Khachaturian (1903-1978)

“I Got Rhythm,” arranged for Two Pianos – George Gershwin (1898-1937)

“Simply dazzling” is the way the American Record Guidehas described the Elkina Piano Duo.

Having played together since the age of fi ve, Russian-born identical twins Julia

and Irina Elkina are praised for their “truly remarkable oneness” by critics who also

recognize that “each is a formidable pianist in her own right.”

The Elkina twins won the top prize in the Fourth Murray Dranoff International Two

Piano Competition. They have performed throughout the United States, making their

New York debut in 1996 and playing return engagements there and in San Francisco,

Chicago, Minneapolis/Saint Paul, Miami and New Orleans, just to name a few.

The twins have appeared at numerous festivals including Ravinia, the Gilmore Keyboard

Festival, the Oregon Bach Festival and the Minnesota Orchestra’s Sommerfest, and

have performed with such conductors as Hugh Wolff and Bobby McFerrin.

The Elkinas have been heard on National Public Radio and many public radio stations nationwide including the award-winning weekly

series Saint Paul Sunday, Performance Today and A Prairie Home Companion.

Irina and Julia have been praised for their collaboration with the acclaimed Basil Twist’s puppet production Petrouchka, which returned for

a much-awaited engagement at New York’s Lincoln Center in 2008. It has been performed again in Boston and Philadelphia in November

2010 and April 2011 respectively. They are performing it again in 2012 in Washington, DC.

The sisters studied under Professor Alexander Braginsky at the University of Minnesota, where they earned their Doctoral degrees

in Piano Performance.





Formed in 1995, Dolce Wind Quintet performs for The Schubert Club Courtroom

Concert series in St. Paul and the Munsinger/Clemens Gardens concert series in St. Cloud,

and plays classical and popular music for public and private events. In November, Dolce

Wind Quintet presented an All-Americana program at the opening of a new concert

series, “Concerts at First, “ in Anoka. In July, the Quintet were guest artists for the Bayfi eld

(Wisconsin) “Summer Mostly Thursdays” Concert Series. In December, Dolce was the “house

band” for Classical Minnesota Public Radio’s “Taste of the Holidays” live program at the

Fitzgerald Theater. Dolce also performed live on-air during MPR Day in Rochester, and for

MPR’s Music Alive event at Calhoun Square in Minneapolis.

Dolce Wind Quintet: Nancy Wucherpfennig, fl ute; Marilyn Ford, oboe; Karen Hansen, clarinetVicki Wheeler, horn; Ford Campbell, bassoon; Sue Ruby, piano

Sextet for Piano & Wind Quintet in B-fl at major, Opus 6 - Ludwig Thuille (1861-1907)

I. Allegro Moderato

II. Larghetto

III. Gavotte: Andante, quasi Allegretto

IV. Finale: Vivace

Best known to Classical MPR listeners as an on-air host and producer, Steve Staruch is also a singer. A tenor in the Dale Warland

Singers for seven seasons, he is featured as a soloist on several Dale Warland Singers recordings. A freelance singer (and violist), he also

serves as cantor at his parish church in Minneapolis. He earned B.A and B.M. degrees from Oberlin College and his M.M. degree from

Eastman School of Music.

In addition to her positions with Dolce Wind Quintet and Rochester Symphony Orchestra, Karen Hansen is principal clarinetist with

Bloomington Symphony Orchestra and Mississippi Valley Orchestra. A Thursday Musical performing artist, Karen does other freelance

performing and teaches clarinet at Cadenza Music in St. Paul. She earned a B.A. from St. Olaf and an M.A. from University of Wisconsin-

Madison.

Sue Ruby earned a B.M. from the University of Minnesota-Duluth and her M.M. in piano pedagogy from Columbus State University in

Georgia. Sue has been a teaching artist at MacPhail Center for Music since 2001. In addition to teaching private, group and Music Tree

piano, she serves as collaborative pianist for the Prelude program and Advanced Music Theater Performance Lab.

The Incidental Trio: Steven Staruch, tenor; Karen Hansen, clarinet and Sue Ruby, piano

Six German Songs for Voice, Clarinet and Piano, Opus 103 – Louis M. Spohr (1784-1859)

I. Sei still mein Herz • II. Zwiegesang • III. Sehnsucht • IV. Wiegenlied • V. Das heimliche Lied • VI. Wach auf!

schubert.org 35




Growing up in Cleveland, Kris Kautzman intended be a concert fl utist. In college in Minnesota she was accepted into the St. Olaf

Choir, an experience that opened up a new path in her performing career. Since 1999 she has sung professionally with The Rose Ensemble,

and has served as cantor and choir section leader at several local churches, currently at the Cathedral of Saint Paul. She continues to

freelance as a fl utist: most recently in a performance of Libby Larsen’s “Fantasy on Slane” for the 100th Anniversary festival concert of the

Twin Cities American Guild of Organists.

Charlotte Palmiter received degrees from Youngstown State University and Ithaca College. She has taught music to students

of all ages – clarinet, fl ute, oboe and saxophone. She was on the faculty of the Metrowest Performing Arts Center in Framingham,

Massachusetts. Most recently she participated in the 2011 Claremont Clarinet Festival at Pomona College and attended the International

Clarinet Association’s ClarinetFest 2011.

Dolores Lenore has taught piano and performed in Milwaukee, Spokane, and the San Francisco Bay Area. Her music lessons began at the

Wisconsin College of Music and proceeded through a Master’s Degree in Piano Performance from the University of Wisconsin-Madison under

Gunnar Hohansen. She has served as director of numerous choirs in California and Wisconsin churches. She returned to piano performance

and teaching at the Wisconsin Conservatory of Music and in her own Downer Avenue Piano Studio until her retirement in 1998.

LePaKa Trio: Kristine Kautzman, fl ute; Charlotte Palmiter, clarinet and Dolores Lenore, piano

Music for the Middle of the Day – Joseph Makholm (2006)

Late One Afternoon • Dolores’ Kitchen • December • You Think You Know But You Don’t

Kantorei Chamber Ensemble

Music to be selected from the following:

My Spirit Sang All Day - Gerald Finzi

Il est Bel et Bon - Passereau

El Grillo - Josquin Desprez

In Stiller Nacht - Johannes Brahms

Sommerlust im Walde - Max Bruch

Ave Maria - Javier Busto

Exultate Justi - Lodovico Viadana

You Are the New Day - John David, arr. Peter Knight

The Kantorei Chamber Ensemble is a select group of 16 singers from Kantorei who provide

special music for events and galas. Kantorei is an a cappella choral ensemble of about 40 voices

based in Minnesota. Directed since 1988 by Axel Theimer, Kantorei has become widely known for

its seldom-heard 19th- and 20th-century European compositions. Kantorei presents a full season

of concerts each year, offers a growing collection of recordings and has been regularly featured

on classical public radio programs. Through its educational and outreach programming, Kantorei

invites audiences of all ages to share its pursuit of singing for a lifetime.





The WolfGang: Paul Jacobson, fl ute; Mary Sorlie, violin and Gail Olszewski, fortepiano

Sonata for Flute, Violin and Clavier – Johann Christoph Friedrich Bach (1732-1795)

Allegro • Andante • Rondo: Allegro

Catherine McCord Larsen has performed as soloist with Lyra Baroque Orchestra and Saint Paul Chamber

Orchestra. She was also a member of the Dale Warland Singers and the Los Angeles Master Chorale. She is a

member of the voice faculty at Northwestern College in St. Paul. Ms. McCord Larsen is a member of the Screen

Actor’s Guild and can be heard on numerous fi lm and commercial sound tracks. She holds a B.A. degree from the

University of California-Santa Barbara and a M.F.A. degree in vocal music from California Institute of the Arts.

Michele Antonello Frisch, principal fl ute of the Minnesota Opera Orchestra, currently serves on the faculty

of Northwestern College. She has recorded extensively with VocalEssence on the Collins Classics, EMI, and Virgin

Classics labels and has toured throughout Europe and Asia with the Kairos Trio. In recent years, Frisch has released

three albums on The Schubert Club’s 10,000 Lakes label with colleague Kathy Kienzle, principal harp of the

Minnesota Orchestra.

Mary Jo Gothmann enjoys a varied career as chamber musician, soloist, opera coach and organist. She

has worked for the Metropolitan Opera, Santa Fe Opera and Minnesota Opera, and performed in concert series

of the St. Paul Chamber Orchestra, Minnesota Orchestra, EOS orchestra in New York City and Taos Chamber

Music Group. Ms. Gothmann holds Master of Music Degrees from the University of Minnesota and New

England Conservatory of Music, and a Bachelor of Music degree from St. Olaf College.

Catherine McCord Larsen, soprano; Michelle Frisch, fl ute and Mary Jo Gothmann, piano

Le Rossignol –Léo Delibes (1826-1891)

Une Flute Invisible – Camille Saint-Saëns (1835-1921)

Pan et les Oiseaux, from La Flûte de Pan – Jules Mouquet (1867-1946)

Soir Païen – Georges Hüe (1858-1948)

The Bird Song – Michael Jerome Davis (b. 1957)

The WolfGang was formed in 1996 as a collaboration to perform music from the

Classical Era on classical instruments. They collaborated with Minnesota Public Radio and

Barnes & Noble to celebrate the 250th Anniversary of Mozart’s birth and have performed

for the St. Paul Early Music Series, Northwestern College Faculty Artists Series and at the

Hopkins Center for the Arts, Inc. and have also been on the music series for Hamline United

Methodist, Central Baptist, and Guardian Angels, Plymouth Congregational, Bethlehem

Lutheran, St. Luke’s Episcopal, and Mount Olive, as well as Bethel Lutheran in Northfi eld.

The members of the Wolfgang are Paul Jacobson, fl ute; Stanley King, oboe; Mary Sorlie,

violin; Steve Staruch, viola; Laura Handler, cello and Gail Olszewski, fortepiano.

schubert.org 37




Jennifer Hanson is a fl ute and piano instructor at Mount Olivet Lutheran Church and

MacPhail Center for Music. She is an active chamber musician and performs with the Como

Avenue Jug Band, the Brian Just Band, and with percussionist Scotty Horey. Jennifer is the

President of the Upper Midwest Flute Association.

Dana Donnay teaches at Mount Calvary Academy of Music, Mount Olivet Lutheran Church

School of Music, MacPhail Center for Music, and her home studio. She holds the English Horn

position with the South Dakota Symphony in Sioux Falls. Dana also performs on multiple

instruments at the Bloomington Civic Theater and with the folk music ensemble, Eclectic Blend.

Matt Bertrand has been a member of the South Dakota Symphony since 2003. Prior to this, he was a member of the Fargo-Moorhead

Symphony for six seasons. Matt has also been a substitute bassoonist with the Minnesota Orchestra, the St. Paul Chamber Orchestra, and

the Bach Society of Minnesota. Matt maintains a small private teaching studio out of his home in Coon Rapids.

Seth Engelby, piano, performs as a soloist, chamber musician, and accompanist throughout the Twin Cities. In addition to performing,

he also teaches at Schmitt Music in Edina. Seth holds a Bachelor’s degree in instrumental music education with emphasis in piano a

Indiana University. His primary teachers include Luba Edlina-Dubinsky and Michel Block.

Gilded Lily Trio: Jennifer Hanson, fl ute; Dana Donnay, oboe; Matt Bertrand, bassoon; with Seth Engelby, piano

Quartet for Flute, Oboe, Bassoon and Piano – Bill Douglas (b. 1944)

I. Cantilena • II. Full Moon • III. Andalucia • IV. Bebop Cantabile

Susana Pinto, a native of Lisbon, Portugal, teaches individual lessons and class piano at

Macphail Center for Music. She received her B.A. in piano performance at the Escola Superior

de Musica de Lisboa under the tutelage of Tania Achott and her M.A in piano performance

and pedagogy from Central Michigan University. Dance has always been a very important

part of Susana’s artistic world. She was an assistant to her mother’s dance classes, a piano

accompanist at the Colégio Sagrado Coraçao de Maria and performed extensively with the

Academia de Danças Antigas de Lisboa.

Pınar Basgöze was born and raised in Turkey. She started her music studies at Ankara State Conservatory when she was 10. She came

to the United States to continue her studies in Piano Performance with Dr. Paul Shaw and in Piano Pedagogy with Dr. Rebecca Shockley

at the University of Minnesota. She worked as an individual and a class piano instructor at the University of Minnesota School of Music,

St Joseph School of Music and East Metro Music Academy, respectively from 2002 to 2007. She was invited to perform in several national

and international events and festivals. She has been teaching exclusively at MacPhail Center for Music since 2007.

Suzana Pinto and Pinar Basgöze, piano duo

Dances Andalouses – Manuel Infante (1883-1958)

Ritmo • Sentimiento • Gracia (El vito)


The Schubert Club Officers, Board of Directors and 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

of Minnesota on November 4, 2008.

KATENORDSTRUM PROJECTS

Craig Aase

Mark Anema

Nina Archabal

Suzanne Asher

Paul Aslanian

Lynne Beck

James Callahan

Carolyn Collins

Dee Ann Crossley

Marilyn Dan

Arlene Didier

Catherine Furry

Michael Georgieff

Diane Gorder

Jill Harmon

Margaret Houlton

Anne Hunter

Lucy Rosenberry Jones

Richard King

Dorothy Mayeske

Sylvia McCallister

Ford Nicholson

Gerald Nolte

David Ranheim

Barbara Rice

Ann Schulte

Kim A. Severson

Jill Thompson

Michael Wright

Matt Zumwalt

Board of Directors

Offi cersPresident: Lucy Rosenberry Jones

Past President: Diane Gorder

Vice President Artistic: Dee Ann Crossley

Vice President Audit and Compliance: Richard King

Vice President Education: Margaret Houlton

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 and Executive Director

Max Carlson, Program Assistant

Kate Eastwood, Executive Assistant

Julie Himmelstrup, Artistic Director, Music in the Park Series

Joanna Kirby, Project CHEER Director, Martin Luther King Center

Jason Kudrna, Education & Museum Manager

David Morrison, Museum Associate & Graphics Manager

Paul D. Olson, Director of Development

Tessa Retterath, Box Offi ce & Systems Manager

Kathy Wells, Controller

Brian Woods, Project Manager

Composers in Residence: Abbie Betinis, Edie Hill

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

The Schubert Club Staff

schubert.org 39

Schubert Circle$10,000 and above

Patrick 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 OrdwayPadilla Speer BeardsleyGeorge ReidThe Saint Paul Cultural STAR ProgramThe Scheide FundTarget FoundationTravelers Foundation

Patron$5,000 – $9,999

Julia W. DaytonTerry DevittFir Tree FundsThe 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 FoundationRobins, Kaplan, Miller & Ciresi L.L.P.Sewell Family FoundationThrivent Financial for Lutherans FoundationTrillium Family Foundation3M Foundation

Benefactor$2,500 – $4,999

Sophia and Mark AnemaAnonymousJohn and Nina ArchabalSuzanne AsherJ. Michael Barone and Lise SchmidtMcCarthy-Bjorklund Foundation and Alexandra O. BjorklundBoss FoundationThe Burnham FoundationDee Ann and Kent CrossleyMichael and Dawn GeorgieffMark and Diane GorderJames 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 FoundationJohn and Barbara RiceMichael and Shirley SantoroKim Severson and Philip JemielitaEstate of Nancy Troxell ShepardThrivent Financial for Lutherans FoundationKathleen van BergenNancy and Ted WeyerhaeuserMargaret and Angus Wurtele

Guarantor$1,000 – $2,499

The Allegro Fund of The Saint Paul FoundationWilliam and Suzanne AmmermanElmer L. & Eleanor J. Andersen Foundation Paul J. AslanianBruce and Lynne Beck George and Denise BergquistDr. Lee A. Borah, Jr.Dorothea BurnsDeanna L. CarlsonCecil and Penny Chally

Cy and Paula DeCosse Fund of The Minneapolis FoundationRachelle Dockman Chase and John H. Feldman Family Fund of The Minneapolis FoundationDellwood FoundationDorsey & Whitney Foundation Harry M. DrakeJohn F. Eisberg and Susan Kline Charitable Fund of The Minneapolis FoundationWilliam and Bonita FrelsDavid B. Gold FoundationDick and Mary GeyermanMary Livingston Griggs and Mary Griggs Burke FoundationJill HarmonAnders and Julie Himmelstrup Andrew and Margaret HoultonBill Hueg and Hella Mears Hueg John and Ruth HussLois and Richard KingKyle Kossol and Tom BeckerFrederick Langendorf and Marian RubenfeldSusanna and Tim LodgeDorothy MattsonThe Medtronic FoundationSylvia and John McCallisterC. Robert and Sandra MorrisMary and Clinton MorrisonThe Philip and Katherine Nason Fund of The Saint Paul FoundationSita OhanessianPaul D. OlsonPerforming Arts Fund of Arts Midwest David and Judy RanheimLois and John RogersSaint Anthony Park Community Foundation Ann and Paul SchulteSecurian FoundationFred and Gloria Sewell Katherine and Douglas SkorSolo Vino and Chuck KanskiJill and John ThompsonDoborah Wexler M.D. and Michael MannThe Charles A. Weyerhaeuser Memorial FoundationMichael and Cathy Wright

The Schubert Club Annual ContributorsMusic in the Park Series is now part of The Schubert Club. We are pleased to recognize

supporters of two esteemed organizations that have now become one.

Thank you for your generosity


The Schubert Club Annual Contributors

Sponsor$500 – $999

Craig AaseDorothee AeppliAnonymous Glenn BartschMark L. BaumgartnerBest Buy FoundationNicholai P. Braaten and Jason P. KudrnaElwood and Florence A. CaldwellJames CallahanJohn and Marilyn DanArlene DidierJoan R. DuddingstonAnna Marie EttelDavid and Katherine GalliganAndrew Hisey and Chandy JohnAlfred and Ingrid Lenz HarrisonAnne and Stephen HunterWilliam KleinLehmann Family Fund of The Saint Paul FoundationMike and Kay McCarthyMalcolm and Wendy McLeanThe Thomas Mairs and Marjorie Mairs Fund of The Saint Paul FoundationJack and Jane MoranJill MortensenElizabeth B. MyersLowell and Sonja NoteboomRobert M. OlafsonThe Constance S. Otis Fund of The Saint Paul FoundationLuis Pagan-CarloPark Midway BankMary and Terry PattonWilliam and Suzanne PayneRichard and Suzanne PepinNancy PodasDr. Leon and Alma Jean SatranJohn Sandbo and Jean ThomsonWilliam and Althea SellHelen McMeen SmithHazel Stoeckeler and Alvin WeberDebra K. TeskeJohn C. TreacyKatherine Wells and Stephen WillgingJane and Dobson WestKeith and Anne-Marie WittenbergPeggy Wolfe

Partner$250 – $499

Meredith B. AldenArlene AlmAnonymous (2)Annette AtkinsAdrienne B. and Bob BanksThe Bibelot ShopsTim and Barbara BrownJackie and Gary BrueggemannMiriam Cameron and Michael OrmondJoann CierniakAndrew and Carolyn CollinsLucia P. May and Bruce CoppockDonald and Alma DeraufRuth S. DonhoweJayne and Jim EarlySue EbertzRichard and Adele EvidonDavid and Maryse FanJorja FleezanisGeneral Mills FoundationJennifer Gross and Jerry LeFavreSue Freeman Dopp HaugenJoachim and Yuko HeberleinPeg Houck and Phil PortogheseElizabeth J. IndiharRay JacobsenPamela and Kevin JohnsonErwin KelenYoungki and Youngsun Lee KimNancy and Mervin KiryluikArnold and Karen KustritzDr. John A MacDougallChris and Cheryl McHughJames and Carol MollerWilliam Myers and Virginia DudleyMark and Jackie Nolan Family Fund of The Saint Paul FoundationJohn B. NoydDan and Sallie O’Brien Fund of The Saint Paul FoundationScott and Judy OlsenHeather J. PalmerJames and Donna PeterWalter Pickhardt and Sandra ResnickLaura PlattMary SavinaMary Ellen and Carl SchmiderEstelle SellJohn Seltz and Catherine Furry

Emily and Daniel ShapiroMarilyn and Arthur SkantzTerry and Leah SlyeHarvey D. Smith, MDEileen StackTom von Sternberg and Eve ParkerSarah Stoltze O’BrienBarbara Swadburg and Jim KurleArlene and Tom H. SwainAnneke and Travis ThompsonDavid L. WardMargaret and Steven WolffMatt Zumwalt

Contributor$100 – $249

Anonymous (7)Mira AkinsElaine AlperMrs. Dorothy AlshouseKathleen and Jim AndrewsLois AnselmentJean and Michael AntonelloLydia Artymiw and David GraysonFaith M. AsperAnnette AtkinsJulie Ayer and Carl NashanKay C. BachFrank and AnnLiv BaconRobert BallGene and Peggy BardBenjamin and Mary Jane BarnardCarol E. BarnettCarline and Lars BengtssonJerry and Caroline BenserFred and Sylvia BerndtChristopher and Carolyn BinghamAnn-Marie BjornsonDorothy BoenPhilip Bohl and Janet BartelsCarol A. BraatenTanya and Alexander BraginskyJean and Carl BrookinsPhilip and Carolyn BrunelleStephen BubulDonna and Martin BruhlMatthew P. BrummerPhilip and Ellen BrunerCarolyn Jens BrusseauMark BunkerRoger F. Burg

schubert.org 41

Jo and H. H. ChengRichard and Nancy CantwellGretchen CarlsonRev. Kristine Carlson and Rev. Morris WeeAlan and Ruth CarpCarter Avenue Frame ShopDavid and Michelle ChristiansonAmy L. Clifton and Theodore B. WalshGrace J. CoganEdward and Monica CookMary E. and William CunninghamDon and Inger DahlinDrs. Joy and John DavisNorma DanielsonChristian Davis and Sarah SnappShirley I. DeckerDeluxe Corporation FoundationJohn and Karyn DiehlJanet and Kevin DugginsKathleen Walsh EastwoodStephen EidePeter Eisenberg and Mary CajacobFlowers on the ParkKathleen A. FluegelSalvatore FrancoPatricia FreeburgJane FrazeeDan and Kaye FreibergSaul FriefeldJoan and William GackiCléa GalhanoHilde and Stephen GasiorowicRobert and Ellen GreenRichard and Sandra HainesKarin and Erick HakansonJon and Diane HallbergBetsy and Mike HalvorsonMary A. Arneson and Dale E. HammerschmidtRobert and Janet Lunder HanafinHegman Family FoundationJoan Hershbell and Gary JohnsonMary Kay HicksAsako HirabayashiCynthia and Russell HobbieDr. Kenneth and Linda HolmenWendy Holmes and David FrankJ. Michael HomanPeter and Gladys HowellThomas Hunt and John WheelihanIBM Matching Grants ProgramPhyllis and William JahnkeGeorge J. JelatisKaren L. JohnsonNancy P. Jones

Michael C. JordanAnn Juergens and Jay WeinerDonald and Carol Jo KelseyAnthony L. KiorpesNancy and Mervin KiryluikRobin and Gwenn KirbyMarie KlabundeSteve KnudsonKaren KoeppMary and Leo KottkePeter K. KrembsPhillip KunkelColles and John LarkinLarkin Hoffman Daly & Lindgren Ltd.Patricia LallyLibby Larsen and Jim ReeceNowell and Julia LeitzkeRebecca LindholmMarilyn S. LoftsgaardenJean LondonJoyce S. LyonRoderick and Susan MacphersonRhoda and Don MainsDanuta Malejka-GigantiLynn Marceau and Larry MonckLaura McCartenSusan and Edwin McCarthyPolly McCormackDeborah McKnightLaurie P. McManusMary Bigelow McMillanGerald A. MeigsKatherine MerrillRon and Dorcas MichaelsonDavid Miller and Mary DewPatricia A. MitchellTom. D. MobergBradley H. MomsenJack and Jane MoranDavid MorrisonMozart OctetJohn and Hebe MurphyElizabeth A. MurrayDavid and Judy MyersKarla and Peter MyersKathleen NewellGerald NolteAlvina O’BrienKathleen O’Brien and Jeffrey LoeschPatricia O’GormanJohn and Ann O’LearySally O’ReillyVivian OreyElizabeth M. Parker

John D. and Amy ParrishPatricia Penovich and Gerald MoriartyEarl A. PetersonSidney and Decima PhillipsLaura Platt Paul and Betty QuieMindy RatnerRhoda and Paul RedleafJennifer and Chris ReedyKaren RobinsonSaint Anthony Park HomeDavid SchaafPaul SchroederA. Truman and Beverly SchwartzS. J. SchwendimanWill ShapiraNan C. ShepardPhil and Barbara ShivelyWayne and Ann SiselNance Olson SkoglundDarroll and Marie SkillingAnn Perry SlosserConrad Soderholm and Mary TingerthalFrank J. SoraufCarol Christine SouthwardArturo L. SteelyMichael SteffesDonald SteinkrausCynthia StokesAnn and Jim StoutMark D. SwansonDru and John SweetserLillian TanJohn and Joyce TesterAnna ThompsonTim ThorsonChuck Ullery and Elsa NilssonRev. Robert L. ValitJoy R. VanOsmo VänskäMary K. VolkMaxine H. WallinJean WardDale and Ruth WarlandAnita WelchWells Fargo Human ResourcesBeverly and David WickstromNeil and Julie WilliamsDr. Lawrence A. WilsonJames and Alexis WolffPaul and Judy WoodwardHerbert WrightAnn WyniaZelle Hofmann Voelbel & Mason LLP


Susan and Gregg DowningCraig Dunn and Candy HartMargaret E. DurhamKatherine and Kent EklundAndrea EenEsme EvansRuth FardigMary Ann FeldmanBarbara A. FleigJack Flynn and Deborah PileJohn and Hilde FlynnGerald FoleyLea Foli and Marilyn ZupnikCatherine Ellen FortierMichael FreerInez GantzNancy and John GarlandMichael and Christine GarnerDr. and Mrs. Robert GeistA. Nancy GoldsteinM. Graciela GonzalezWarren and Kiki GoreGeorge and Ann GreenDavid Grothe and Margaret HasseJean and Bruce GrussingGary C. GustafsonMarcia G. HammelmanChristina Hart and George Hart, Jr. Patricia HartEugene and Joyce HaselmannMarguerite HedgesAlan HeiderRosemary J. HeinitzStefan and Lonnie HelgesonDon and Sandralee HenryHelen and Curt HillstromLisa Himmelstrup and Dan LiljedahlMarian and Warren HoffmanNina Holiday-LynchRikki HulsebusJay and Gloria HutchinsonPatricia A. Hvidston and Roger A. OppOra ItkinWilliam and Phyllis Jahnke Mimi and Len JenningsStephen and Bonnie JohnsonThelma Johnson

Friends $1 – $99

Cigale AhlquistAnonymous (7)Beverly S. AndersonCharles and Adair AndersonRenner and Martha AndersonClaire and Donald AronsonBarbara F. AslaksonFrederick H. BachmanRoger and Joan BallouVerna H. BeaverDr. Karen BeckerRoberta BeutelRoger BolzDavid and Elaine BorsheimTed and Marge BowmanJudith BoylanCathy BraatenDaniel BraatenDennis BreiningCharles D. BrookbankRichard and Judy BrownleeLeo BruhlChris BrunelleDaniel BuividMillicent BunkerDaryl J. CarlsonDonna CarlsonKevin CallahanAllen and Joan CarrierJoseph Catering and George KalogersonLaura CavianiMarilyn S. Christian-PieperSusan CobinEduardo ColonMary Sue ComfortComo Rose TravelIrene D. CoranJohn and Jeanne CoundJames CuperyBernice and Garvin DavenportDave and Rita DocterNathan DoegeKnowles Dougherty

Geraldine M. JolleyMary A. JonesRuth and Edwin JonesCarol R. KellyDonald and Mary KenneyJean W. KirbyGloria KittlesonRichard and Susan KnuthJane and David KostikDave and Linnea KrahnJudy and Brian KrasnowPaul and Sue KremerPatricia J. LalleyHelen and Tryg LarsenAmy Levine and Brian HorriganMeg Layese and Paul BloomKarla LarsenMeg Layese and Paul BloomBarbara LeibundguthKurt and Maren LeonardGary M. LidsterBernard LindgrenVandora LinckThomas and Martha LinkThomas LogelandLord of Life Lutheran ChurchEd Lotterman and Victoria TirrelRebecca LundCarol G. LundquistRichard and Finette MagnusonHelen and Bob MairsAnne B. MayerBruce and Eleanor McLearRoberta MegardDavid L. MelbyeNeill Merck and Sue GibsonRobert and Greta MichaelsH. Christine MidelfortJohn W. Miller, Jr.Steven MittelholtzMarjorie MoodyE. L. and C. S. MorrisonSarah NagleNicholas NashEva J. NeubeckEleanor H. NicklesTom O’Connell

The Schubert Club Annual Contributors

schubert.org 43

Every effort has been made to ensure the accuracy in listing our contributors. If your name has been inadvertently omitted or incorrectly

listed, please contact The Schubert Club at 651.292.3267.

Peter and Bonnie OlinRobert and Margot OlsenDr. and Mrs. R. OrianiDennis and Turid OrmsethElisabeth PaperPatricia J. PaulusPatty and Stephen PaulusTimothy PerryMrs. Dorothy PetersonSolveg PetersonDick and Elaine PhillipsMarcos and Barbara PintoJulian PlanteNancy PohrenC.J. RichardsonRoger and Elizabeth RickettsCarmen Luna-RobledoDrs. W.P. and Nancy W. RodmanMary SavinaMartha Rosen and Ken StewartStewart RosoffJuliana RupertDavid Rupp

David and Pat SaariMitra SadeghpourDora SalazarJon SchumacherSteve SeltzJay and Kathryn SeveranceBruce W. ShineJay Shipley and Helen S. NewlinElizabeth ShippeeBrian and Stella SickPaul and Carol SeifertMark and Mary SigmondNan Skelton and Peter LeachNell SlaterSusannah Smith and Matthew SobekArne SorensonEmma SmallBarbara Snowfi eldMarilyn and Thomas SoulenMark R. StahleyJohn StensingRuth Stryker-GordonTheresa’s Hair Salon

Norton StillmanBruce and Marilyn ThompsonKaren TitrudeAnna Lisa and Charles TookerByron TwissMary TyrellJennifer Undercofl erWilliam K. WangensteenClifton and Bettye WareBetsy Wattenberg and John WikeDeborah WheelerHope WellnerRev. Victoria Wilgocki and Rick PrescottEvan and Diane WilliamsAlex and Marguerite WilsonBrian Woods and Brian DahlvigDavid and Mary WoodwordMichael WuTom Wulling and Marilyn Benson

The Schubert Club extends a sincere thank you to The Rosemary and David Good Foundation for their generous support of our collaborative presentation of “Opus 131” with the James Sewell Ballet. The Schubert Club has engaged the Grammy Award-winning Parker Quartet to perform Beethoven’s seminal string quartet work brilliantly choreographed by James Sewell for multiple performances in April at The Cowles Center in Minneapolis.

Donor Spotlight:The Rosemary and David Good Foundation

Phot

o: E

rik

Sau

litis

In memory of Ruth WolffMr. and Mrs. Cliff AamothJohn and Carol EsbjornsonJames and Judith FrisbieJean HeglundGregory and Barbara JanssenElaine MagnusonDavid MelbyeBetty and Lowell MelbyChuck SchillerMargaret and Steven SchillerNancy I. SchillerThe Hamihardja FamilyDean and Marily Wahl BergJames and Alexis Wolff Moore

In memory of Richard ZgodavaHelen Smith

Memorials and Tributes

In honor of Julie HimmelstrupMary Ellen Schmider

In honor of the fi rst wedding anniversary of Lucy Jones and James JohnsonEdward and Monica Cook

In honor of Jason KudrnaCarol A. BraatenCathy Braaten

In honor of Lisa NiforopulasGretchen Piper

In honor of Paul D. OlsonMark L. Baumgartner

In honor of Wendy Undercofl erJennifer Undercofl er

In memory of Eleanor J. AndersenKaren L. JohnsonStephen and Bonnie JohnsonGerald A. MeigsNancy and Mervin KiryluikPeter and Bonnie OlinJulian Plante John and Barbara RiceTerry and Leah Slye Tom and Arlene Swain

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 Nancy ShepardNan C. Shepard

In memory of Tom StackEileen Stack

In memory of Mark SwansonAllen and Joan Carrier


Landmark Center, on Rice Park in downtown Saint Paul, is home to The Schubert Club Museum.

Phot

o: M

ax C

arls

on

schubert.org 45

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

The Schubert Club 125th Anniversary Campaign

$1 million and aboveGilman Ordway for The Gilman Ordway Manuscript CollectionThe Cherbec Advancement Foundation and The Charles A. Weyerhaeuser Memorial Foundation for The Maud Moon Weyerhaeuser Sanborn International Artist Series

$500,000 and aboveGeorge and Frances ReidEstate of Lee S. and Dorothy N. Whitson*C. Angus and Margaret Wurtele

$200,000 and aboveAnonymousJulia W. DaytonHRK Foundation, MAHADH Fund of HRK Foundation, Art and Martha Kaemmer Fund of HRK Foundation, Pugsley Fund of HRK Foundation and the Mary H. Rice FoundationLucy Rosenberry Jones

$100,000 and aboveThe Katherine B. Andersen Foundation*Estate of Mrs. Harvey O. Beek*Elise R. DonohueThe Huss FoundationDusty and George Mairs*Hélène Houle and John Nasseff*

$50,000 and aboveEstate of Rose AndersonCal and Arlene DidierE. M. Pearson Foundation

$25,000 and aboveTerry DevittMark and Diane GorderEstate of Marian B. GutscheLuther I. Replogle FoundationMary B. McMillanMinnesota LandmarksRamsey County

$10,000 and aboveHelen T. BlomquistBruce and Deanna CarlsonCity of Saint Paul Cultural STAR programArlene and Tom H. Swain*

$5,000 and aboveDakota Foundation for JazzDr. Thomas Ducker and Suzanne AsherDorothy Horns, M.D. and James Richardson*Bill and Rebecca KleinEstate of Jane MattesonPatty and Stephen PaulusJohn and Lois Rogers*Michael and Shirley Santoro*

$2,500 and aboveMark and Sophia AnemaKathleen van Bergen

$1,000 and aboveEstate of Raymond BradleyWalt McCarthy and Clara Ueland*Richard and Nancy Nicholson Fund of the Nicholson Family Foundation*Beatrice Ohanessian*Mary and Clinton MorrisonNorton Stillman

Up to $1,000 J. Michael BaroneMr. and Mrs. Lars Bengtsson*Alexander and Tanya Braginsky*Richard and Jody Brownlee*James Callahan*Gretchen E. Carlson*Sharon M. Carlson*Laura CavianiJoann CierniakDee Ann and Kent CrossleyMary E. CunninghamMarilyn Dan*

Ruth Donhowe*Sue Freeman DoppSally Economon*Jayne Early*John and Karen Froelich*Margo Garrett*Michael Georgieff, M.D.Robert Goodale*Margaret Houlton*Bill and Hella Mears Hueg*Marsha HunterThelma Johnson*Gene and Beth Karjala*Youngki and Youngsun Lee KimMarjorie and Ted Kolderie*Judy Kogan and Hugh WolffTheodore Larsen*Susanna and Timothy Lodge*Estate of Jane MattesonRoy and Dorothy Ode Mayeske*Susan Brewster and Edwin McCarthy*Polly McCormack, M. D.Charlene McEvoy, M.D. and Doug OlsonErik Nordahl*Timothy and Gayle Ober*Christine Podas and Kent Larson*Nancy Podas*Dr. John and Barbara RiceJane Scallen and Steve Wells*Helen M. Smith*Allan H. SpearMichael Steinberg and Jorja FleezanisThrivent FoundationMimi Tung and Lorne RobinsonJoy Van*Marcia WeiserLarry Williams*Katherine Wells and Stephen Willging*

* For the Bruce P. Carlson Student Scholarship and Competition Fund

The Schubert Club 125th Anniversary CampaignTerry Devitt and Tom H. Swain, Co-Chairs • Dominick Argento, Honorary Chair


The Legacy Society

The Legacy Society honors the

dedicated patrons who have

generously chosen to leave a gift

through a will or estate plan. Add

your name to the list and leave a

lasting legacy of the musical arts for

future generations.

AnonymousFrances C. Ames*Rose Anderson*Margaret Baxtresser*Mrs. Harvey O. Beek*Helen T. Blomquist*Dr. Lee A. Borah, Jr.Raymond J. Bradley*James CallahanLois Knowles Clark*Margaret L. Day*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

information, please contact

Paul D. Olson at 651.292.3270 or

[email protected]

The Schubert Club Endowment

We are grateful for the generous donors

who have contributed to The Schubert

Club Endowment, a tradition started

in the 1920s. Our endowment provides

nearly one-third of our annual budget,

allowing us to offer free and affordable

performances, education programs and

museum experiences for our community.

Several endowment funds have been

established, including the International

Artist Series with special support by the

family of Maud Moon Weyerhaeuser

Sanborn in her memory. We thank

the following donors who have made

commitments to our endowment funds:

The Eleanor J. Andersen Scholarship and Education FundThe Rose Anderson Scholarship FundEdward Brooks, Jr.The Eileen Bigelow MemorialThe Helen Blomquist Visiting Artist FundThe Clara and Frieda Claussen FundCatherine M. DavisThe Arlene Didier Scholarship FundThe Elizabeth Dorsey BequestThe Berta C. Eisberg and John F. Eisberg

FundThe Helen Memorial Fund “Making melody unto the Lord in her very last moment.” – The Mahadh 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.

The Schubert Club Endowmentand The Legacy Society

Schubert Club An die Musik February 14 - March 31, 2012

Documents

Transcript of Schubert Club An die Musik February 14 - March 31, 2012