an die musik mar 4—apr 17, 2016

March 4–April 17, 2016

An die MusikThe Schubert Club • schubert.org

20 th Season CelebrationA May Day “Crowning” Performance

Our 20th season comes to a truly regal close on May Day with an elegant spring brunch, our debut in the new Ordway Concert Hall, and a post-show soirée with plenty of bubbly.

Themes of coronation and majesty adorn our concert program, highlighted by the glorious music of Handel, Monteverdi, Purcell and Byrd.

Photo by Michael Haug Photography

MAY 1, 2016SUNDAY AFTERNOONOrdway Concert Hall345 Washington Street, Saint Paul

PRESENTING SPONSOR

TICKETS

TICKETS AT ORDWAY BOX OFFICE 651.224.4222 | ordway.org / the-rose-ensemble

$150: BRUNCH | CONCERT | PARTY (WITH PRIORITY SEATING)$30 and $50: CONCERT AND PARTY ONLY

CAROL BARNETT

Join our full ensemble of singers and a special

period chamber orchestra, and witness the world

premiere of a new work by legendary composer

Carol Barnett. What a way to toast 20 years!

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

presents

An afternoon of jazz and classical workswith Jazz saxophone great, Joe Lovano,in tribute to Gunther Schuller.Featuring Peter Child’s Moon Sculptures,written expressly for Lovano and violinistYoung-Nam Kim.

Buy Tickets Today! • chambermusicmn.org • 651.450.0527Sundays at 4pm • Sundin Music Hall • 1541 Hewitt Ave. St. Paul

Peter Wiley, eminent cellist ofGuarneri String Quartet and Beaux ArtsTrio, in a program of the Kodaly Duo forviolin and cello, the Brahms String Sextetin G major, and the Haydn String Trioin G major.

Joe LovanoJune 5th

Peter WileyApril 3rd

ASL interpreted performance

Twin Cities Gay Men’s Chorus has been proudly fulfilling its mission of Gay Men Building Community Through Music for the past 35 years! Celebrate our history and on-going legacy on this special one night only musical fête in the newly remodeled Northrop. We’ll feature highlights from seasons past, premiere several new commissions and reveal a few surprises up our cufflinked sleeves. Join us for a gala night to remember – A Night at Northrop!

U of M Tickets and Events: 612-624-2345 or tickets.umn.edu

Chorus: 612-339-7664 or tcgmc.org

JOIN THE CONVERSATION

• Saturday • April 2, 2016 • 8pm

If you haven’t heard us,it’s time you came out!

Providing quality education in the vocal and instrumental music arts, based on a strong foundation of good technique

and thoughtful artistic direction, and in the recognition that every person possessing the

desire can experience the joy of realizing their vocal and musical potentials.

www. chansonvoicestudios.com 612.630.1599

[email protected]

Wayzata Symphony Orchestra

presents

Maria Sings Maria

Guest Artist: Maria Jette, Soprano

Rogers: Sound of Music Respighi: Pines of Rome

Trinity Lutheran Church

115 4th St N Stillwater, MN 55082

May 7 at 7:30 pm

Free – no ticket required

MIAMI CITY BALLETWed, Apr 27, 7:30 pm

with live orchestra

Miami City Ballet in Balanchine’s Serenade. Photo by Daniel Azoulay.

An die MusikMarch 4–April 17, 2016

Table of Contents

6 President and Artistic & Executive Director’s Welcome

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

10 Ébène String Quartet

15 Calendar of Events

16 Michael Collins and Michael McHale

22 Chiara String Quartet

27 Brass from the Past

28 Courtroom Concerts

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

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

notify our ticket office as soon as possible. Donating

unneeded tickets entitles you to a tax-deductible

contribution for their face value and allows others to

experience the performance in your seats. Turnbacks

must be received one hour prior to the performance.

There is no need to mail in your tickets.

Thank you!

The Schubert Club Ticket Office:

651.292.3268 • schubert.org/turnback

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

on the cover: MIchael Collinsphoto by Benjamin Ealovega

The Schubert Club presents

Bryn Terfel, baritoneNatalia Katyukova, piano

Tuesday, April 20, 2016 • 7:30 PM

At the Ordway

schubert.org 651.292.3268ph

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Audiences adore Bryn, and no wonder. He has a powerfully

beautiful voice, is a charismatic actor, and has enough charm

for a dozen singers. —The Boston Musical Intelligencer

6 THE SCHUBERT CLUB An die Musik

President and Artistic & Executive Director’s Welcome

There are many music lovers who don’t like the

formality of a concert hall. In response, Schubert

Club “Mix” concerts take place in alternative venues,

where the seating is more informal, food and drink is

at hand, and the atmosphere more intimate and a

bit bohemian.

The atmosphere means you never have to worry

about what you are going to wear. Jeans and a black

t-shirt? No problem—the performers are wearing

the same thing. But more importantly, Mix programs

challenge the audience in new ways, with innovative

programming, high quality music and sometimes

even flying objects. When Hauschka played prepared

piano with violinist Hilary Hahn at Aria in 2014, he

tossed bits and pieces from the piano. When Finnish

violinist Pekka Kuusisto improvised to the juggling

feats of Jay Gilligan at Aria in 2015, balls, balloons,

juggling pins and rings of assorted colors danced

above the stage. Pianist David Greilsammer played

alternating Cage and Scarlatti sonatas at St. Paul’s

James J. Hill Library this past December, sitting on a

drum stool between two pianos. After each sonata,

he cast the sheet music to the stage then whirled

around to the other piano to play the next.

For me, these weren’t just theatrical antics. Rather,

they created a conversation of sorts between the

music and the physical world. At Aria on March

8, mandolin soloist Avi Avital will be joined by

accordionist Ksenija Sidorova and percussionist

Itamar Doari. Who knows what might be flying

through the air this time? Hope to see you there

Kim A. SeversonPresident

Welcome to The Schubert Club!

The photograph I took below shows four young

teenagers concentrating hard on their didgeridoo skills

during a recent KidsJam workshop at Arlington Hills

Community Center in Saint Paul’s East Side. KidsJam is

a music program which The Schubert Club introduced

last year. This year, we’ve expanded its reach into the

community through collaboration with four after

school programs in various neighborhoods. I especially

love this photo because it demonstrates so clearly how

music can focus energy. A half hour earlier just before

the workshop began, these young boys, just out of

school for the day, were significantly more boisterous!

On the concert stage, the month of March will be

a busy one featuring musicians and programs I am

especially looking forward to: long-time friend and

virtuoso clarinetist Michael Collins plays with Irish

pianist Michael McHale, the world’s most popular

mandolin soloist Avi Avital brings a program with

accordion and percussion to Schubert Club Mix and

we welcome the renowned French Ébène String

Quartet to Music in the Park Series. This promises

to be a month of great music-making. Thank you for

being here.

Barry KemptonArtistic and Executive Director

schubert.org 7

a creativeagency for the artsartsink.org

For advertising opportunities in The Schubert Club program publications:[email protected]

Proud to partner with

The Schubert Club


ZEITGEISTpresents

PINE EYESby

MARTIN BRESNICK

A dark and delightful chamber work based on The Adventures

of Pinocchio

May 20-22Studio Z

275 E. 4th Street, Suite 200, St. Paul

www.zeitgeistnewmusic.org

SEASON 28Songs of Love and Nature

Axel Theimer, Artistic Director

Tickets and more information at kantorei.net

April 30, 2016 | 7:30 p.m.Mount Calvary Lutheran

Church, Excelsior

May 1, 2016 | 4 p.m.The Saint Paul Seminary,

Saint Paul

Kantorei’s Spring concerts celebrate the blossoming of love and blooming of nature with folksongs and

songs of praise from many lands! The concerts feature selections from composers across four

continents, including Aguiar, Reger, Orlovich, and repeat performances of “Create in me a clean heart,” written by

renowned Minnesota composer David Evan Thomas and dedicated to Kantorei.

schubert.org 9

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

Officers

Craig Aase

Mark Anema

Nina Archabal

James Ashe

Suzanne Asher

Paul Aslanian

Aimee Richcreek Baxter

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

Carline Bengtsson

Lynne Beck

Dorothea Burns

James Callahan

Cecil Chally

Carolyn Collins

Marilyn Dan

Anna Marie Ettel

Richard Evidon

Catherine Furry

Michael Georgieff

Elizabeth Holden

Dorothy Horns

John Holmquist

Anne Hunter

Kyle Kossol

Chris Levy

Jeffrey Lin

Kristina MacKenzie

Peter Myers

Ford Nicholson

Gerald Nolte

Jana Sackmeister

Kim A. Severson

Gloria Sewell

Anthony Thein

John Treacy

Alison Young

Barry Kempton, Artistic & Executive Director

Tirzah Blair, Ticketing & Development Associate

Maximillian Carlson, Program & Production Associate

Kate Cooper, Museum & Education Manager

Aly Fulton, Executive Assistant & Artist Coordinator

Julie Himmelstrup, Artistic Director, Music in the Park Series

Tessa Retterath Jones, Director of Marketing & Ticketing

Joanna Kirby, Project CHEER Director, Martin Luther King Center

David Morrison, Museum Associate & Graphics Manager

Paul D. Olson, Director of Development

StaffJanet Peterson, Finance Manager

Quinn Shadko, Marketing Intern

Composers-in-Residence:

Abbie Betinis, Edie Hill

The Schubert Club Museum Interpretive Guides:

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

Sherry Ladig, Rachel Olson, Kirsten Peterson, Whittney Streeter

Project CHEER Instructors:

Joe Christensen, Omid Farzin Huttar, Anika Kildegaard

Dorothy Alshouse

Mark Anema

Dominick Argento

Jeanne B. Baldy

Ellen C. Bruner

Carolyn S. Collins

Dee Ann Crossley

Josee Cung

Mary Cunningham

Joy Davis

Terry Devitt

Arlene Didier

Karyn Diehl

Ruth Donhowe

Anna Marie Ettel

Diane Gorder

Elizabeth Ann Halden

Julie Himmelstrup

Advisory Circle

Hella Mears Hueg

Ruth Huss

Lucy Rosenberry Jones

Richard King

Karen Kustritz

Libby Larsen

Dorothy Mayeske

Sylvia McCallister

Elizabeth B. Myers

Nicholas Nash

Richard Nicholson

Gayle Ober

Gilman Ordway

Christine Podas-Larson

David Ranheim

Anne Schulte

George Reid

Barbara Rice

Estelle Sell

Gloria Sewell

Katherine Skor

Tom Swain

Jill Thompson

Nancy Weyerhaeuser

Lawrence Wilson

Mike Wright

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

President: Kim A. Severson

Immediate Past President: Nina Archabal

Vice President Artistic: Lynne Beck

Vice President Education: Marilyn Dan

Vice President Finance & Investment: Craig Aase

Vice President Marketing & Development: Mark Anema

Vice President Nominating & Governance: Catherine Furry

Vice President Audit & Compliance: Gerald Nolte

Vice President Museum: Ford Nicholson

Recording Secretary: Catherine Furry

The Schubert Club

Music in the Park Series

presents

Ébène String QuartetPierre Colombet, violin • Gabriel Le Magadure, violin

Adrien Boisseau, viola • Raphaël Merlin, cello

Sunday, March 13, 2016 • 4:00 PM

Pre-concert conversation at 3:00 PM

Quartet in C major, Opus 20, No. 2 Joseph Haydn

Moderato Capriccio: Adagio Menuetto: Allegretto—Trio Fuga a 4 Soggetti: Allegro

Quartet in G minor, Opus 10 Claude Debussy

Animé et très décidé Assez vif et bien rythmé Andantino, doucement expressif Très modéré—Très mouvementé et avec passion

Intermission

A program of jazz and cross-over selections will be announced from the stage

PLEASE SILENCE ALL ELECTRONIC DEVICES

Today's performance is dedicated to the memory of Andy Boss, an inspired community leaderand champion of the arts. A long-time resident of St. Anthony Park,

Andy was a loyal and generous supporter of Music in the Park Series for over three decades.

schubert.org 11

Music in the Park SeriesSunday, March 13, 2016 • 4:00 PM • Saint Anthony Park United Church of Christ

“A string quartet that can easily morph into a jazz band,”

wrote the New York Times after a 2009 performance by

the Ébène String Quartet. The ensemble opened with

Debussy and Haydn and then improvised on a film

music theme.

What began in 1999 as a distraction in the university’s

practice rooms for the four young French musicians has

become a trademark of the Ébène String Quartet, and

has generated lasting reverberations in the music scene.

The four breathe new life into chamber music through

their consistently direct, open-minded perspective on the

works. Regardless of the genre, they approach the music

with humility and respect. They change styles with gusto,

and yet remain themselves: with all the passion that they

experience for each piece, and which they bring to the stage

and to their audiences directly and authentically.

There is no single word that describes their style:

they’ve created their own. Their traditional repertoire

does not suffer from their engagement with other

genres; rather, their free association with diverse styles

brings a productive excitement to their music. From the

beginning, the complexity of their oeuvre has been greeted

enthusiastically by audiences and critics.

After studies with the Quatuor Ysaÿe in Paris and with

Gábor Takács, Eberhard Feltz, and György Kurtág, the

quartet had an unprecedented victory at the ARD Music

Competition 2004. This marked the beginning of their rise,

which has culminated in numerous prizes and awards.

The Ébène String Quartet’s concerts are marked by a

special élan. With their charismatic playing, their fresh

approach to tradition and their open engagement

with new forms, the musicians have been successful

in reaching a wide audience of young listeners; they

communicate their knowledge in regular master classes at

the Conservatoire Paris and at the Colburn School in

Los Angeles.

In 2005, the ensemble won the Belmont Prize of the

Forberg-Schneider Foundation. Since then, the Foundation

has worked closely with the musicians, making it possible

for them to play priceless old Italian instruments from

private collections.

The Ébène String Quartet’s début CD, featuring works

by Haydn, was praised unanimously by critics. Further

recordings of music by Bartók, Debussy, Mozart, Fauré, and

the Mendelssohn siblings have won numerous awards,

including the Gramophone Award, the ECHO Klassik, the

BBC Music Magazine Award, and the Midern Classic Award.

Their 2010 album Fiction and the accompanying DVD, a

live recording of jazz arrangements, has only solidified

their unique position in the chamber music scene. Their

second crossover CD Brazil, a collaboration with Stacey

Kent, appeared early in 2014. In the same year, Erato

released A 90th Birthday Celebration, a live recording (on

CD and DVD) of Menahem Pressler's birthday celebration

concert with the Ébène String Quartet in Paris.

In 2015–2016, the quartet will perform in London’s

Wigmore Hall, the LG Arts Center in Seoul, at the Berlin

Philharmonic, and in New York’s Carnegie, to name just

a few. An additional highlight of the season will be their

three-part concert cycle in Brussels. The fundamental

classical repertoire for string quartet will remain a

cornerstone: this season, the Ébène String Quartet will

focus on Ludwig van Beethoven’s String Quartets Opus 95

and Opus 127.

Ébène String Quartet was the Prize Winner in Residence at

the Mecklenburg-Vorpommern Festival in the Summer

of 2015.

Ébène String Quartet is managed by Arts Management Group

Phot

o: Ju

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Program Notes

Quartet in C major, Opus 20, No. 2 Joseph Haydn (b. Austria, 1732; d. Vienna, 1809)

Exploring Haydn’s 68 string quartets is like entering a vast,

multi-story warehouse, its shelves on the ground floor

brimming with elaborate costumes and regalia, spiral

staircases leading to ingenious contraptions and, on the top

floor, ancient papyrus manuscripts. There are discoveries

to be made everywhere. The Quartet in C major is one such

find. When Haydn composed Opus 20 in 1772, he was in the

service of Nikolaus “the Magnificent” Esterházy, who was

constructing a grand, Rococo palace near the Neusiedlersee

in rural Hungary. Kapellmeister Haydn played violin as he led

the orchestra.

Hans Keller has called Opus 20, No. 2 “Haydn’s first

homotonal masterpiece,” because all the movements are

in C. It is a sonorous key for stringed instruments: the

two lowest strings of both viola and cello are C and G; the

violin’s lowest string is G. That said, this C-major work is

full of surprises. Each movement plays dramatically with

form. In fact, one might not recognize this as a quartet until

nearly a minute has passed. This Moderato starts as a trio,

and what’s more, with the cello singing in golden tones on

top. An answering trio puts the viola on the bottom! The

instruments pair off for the second subject. The development

begins with a highly differentiated texture, as first violin calls

to the cello, and second violin arpeggiates. Even the viola has

a moment in the sun.

With the Adagio, aptly subtitled “Capriccio,” Haydn strikes

quite a different tone. For the first time in a string quartet,

the slow movement is placed before the minuet. And where

F major would be the logical key for a slow movement, this

caprice is in C minor. The music is at first stern and bare, like

a recitative from opera seria. An arioso in E-flat is completely

unexpected, as is the segue to the Menuetto, which

completes the return to C major. This dance movement,

which is full of asymmetries, would be pretty hard to dance to.

A shadowy trio in C minor is similarly unbalanced.

The quartet ends with what Keller calls “the first great fugue

in the history of the string quartet.” Haydn calls it a fuga a 4

soggetti. These four subjects are all short; they fit together

like a puzzle. The first is a leap of an octave followed by

sliding chromatics. It’s answered immediately by two, more

rhythmic, bits. Haydn saves the fourth for later: it’s the main

subject turned upside down. The texture is marked “always

in a whisper” until the last minute, when it erupts, and

subjects topsy and turvy cavort gleefully. Haydn appends

these words to the score: “Laus omnip. Deo. Sic fugit amicus

amicum.” (Praise to Almighty God. Thus one friend

escapes another.)

Portrait by Martin Knoller of Prince Nikolaus “the Magnificent” Esterházy

Esterháza Palace, where Haydn was employed from 1761–1790

schubert.org 13

Quartet in G minor, Opus 10Claude 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 find.” Paris’s Universal Exposition

of 1889—the fair for which the Eiffel Tower was erected—

provided a direction. It was there that the composer first

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.

Debussy at the time of the Exposition

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 five tones of sléndro, one of

two Javanese tunings. The first two chords are tough and

harmonically ambiguous, provocation with rough speech.

There is a little flourish 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 influence of

young Russia,” referring perhaps to the deliberately crude

harmony that propels the final 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?

Program notes © 2013, 2016 by David Evan Thomas.

The Javanese Village at the 1889 Paris Exposition, where Debussy was inspired by gamelan music

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

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

Thrivent Financial Matching Gift ProgramTrillium Foundation

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

Lisl GaalNancy and John GarlandMichael and Dawn GeorgieffDick GeyermanPeg and Liz GlynnAnne R. GreenSandra and Richard HainesEugene and Joyce HaselmannAnders and Julie HimmelstrupWarren and Marian HoffmanPeg Houck and Phil PortogheseGary M. Johnson and Joan G. HershbellMichael JordanAnn Juergens and Jay WeinerChris and Marion LevyRichard and Finette MagnusonDeborah McKnightGreta and Robert MichaelsJames and Carol MollerMarjorie MoodyDavid and Judy MyersKathleen NewellJohn B. Noyd Dennis and Turid OrmsethJames and Donna Peter

Rick Prescott and Victoria WilgockiPaul and Elizabeth QuieJuliana Kaufman RupertMichael and Shirley SantoroMary Ellen and Carl SchmiderJon Schumacher and Mary BriggsLaura Sewell and Peter FreemanDan and Emily ShapiroMarie and Darrol SkillingKathy and Doug SkorConrad Soderholm & Mary TingerthalEileen V. StackCynthia StokesJohn and Joyce TesterAnthony TheinDavid Evan ThomasTim ThorsonChuck Ullery and Elsa NilssonStuart and Mary WeitzmanPeggy WolfeJudy and Paul Woodword

Thank you to all those who

gave to the new Music in

the Park Series Endowment

Fund. Please see page 38

Gabriel Kahane & Timo Andres

“Friends Making Music”

Tuesday, April 5, 2016 • 7:30 PM

at Bedlam Lowertown

a new generation of classical music

Timo Andres, piano

Gabriel Kahane,singer-songwriter

schubert.org/mix • 651.292.3268

Picture yourself amid clarity and calm

at classicalmpr.org

More information at schubert.orgTicket office 651.292.3268

Calendar of EventsMarch—May

APRIL 2016

MARCH 2016

MAY 2016

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

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

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

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

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

Tue, Apr 5 • 7:30 PM Bedlam LowertownSchubert Club Mix Gabriel Kahane, singer-songwriter; Timo Andres, piano

Thu, Apr 7 • 7:30 PM Landmark CenterLive at the Museum Life & Music of Celius DoughertyMark Bilyeu & Friends

Sun, Apr 17 • 4 PM Saint Anthony Park UCCMusic in the Park SeriesChiara String Quartet

Tue, Apr 20 • 7:30 PM Ordway Music TheaterInternational Artist SeriesBryn Terfel, baritone & Natalia Katyukova, piano

Mon, Apr 25 • 7:30 PM James J. Hill HouseHill House Chamber Players

Mon, May 2 • 7:30 PM James J. Hill HouseHill House Chamber Players

Mon, May 9 • 7:30 PM Christ Church LutheranAccordo

Tues, May 10 • 7:30 PM Icehouse MPLS Accordo at Icehouse

Gabriel Kahane,singer-songwriter


Rhapsodos (2016) Abbie Betinis World Premiere

Sonata for Clarinet and Piano Herbert Howells

Moderato con moto, dolce e con tenerezza Allegro, ritmico, con brio

Sonata in E-flat major, Opus 120, No. 2 Johannes Brahms

Allegro amabile Allegro appassionato Andante con moto—Allegro

Intermission

Première rapsodie Claude Debussy

Sonata in E-flat major, Opus 167 Camille Saint-Saëns

Allegretto Allegro animato Lento Molto allegro

Sonata for Clarinet and Piano Francis Poulenc

Allegro tristamente Romanza: Très calme Allegro con fuoco

These concerts are dedicated in memory of Charlotte P. Ordway, by her children.

The Schubert Club

presents

Michael Collins, clarinetMichael McHale, piano

Friday, March 18, 2016 • 10:30 AMSaturday, March 19, 2016 • 7:30 PM

Pre-concert conversation by David Evan Thomasone hour before each performance

schubert.org 17

Maud Moon Weyerhaeuser Sanborn International Artist SeriesMarch 18, 2016 at 10:30 AM & March 19, 2016 at 7:30 PM • Ordway Concert Hall

Phot

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min

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Dazzling virtuosity and sensitive musicianship have

earned Michael Collins recognition as one of today’s

most distinguished artists and a leading exponent of his

instrument. At 16 he won the woodwind prize in the first BBC

Young Musician of the Year Competition, going on to make

his US debut at New York’s Carnegie Hall at the age of 22.

He has since performed as soloist with many of the world’s

most significant orchestras including the Philadelphia,

San Francisco Symphony, Philharmonia, Royal Stockholm

Philharmonic, Netherlands Philharmonic, and formed strong

links with leading conductors. Collins also has the distinction

of being the most frequently invited wind soloist to the BBC

Proms, including several appearances at the renowned Last

Night of the Proms.

In recent seasons Collins has become increasingly highly

regarded as a conductor and in September 2010 took

the position of Principal Conductor of the City of London

Sinfonia. His success in this role is testament to the natural

musicianship and galvanising leadership that is evident in

both his playing and conducting. His conducting highlights

include engagements with the Philharmonia, BBC Symphony,

BBC Scottish Symphony, BBC Concert, Ulster Orchestra,

Hungarian National Philharmonic, Bergen Philharmonic,

Swedish Chamber, Kuopio Symphony, and Melbourne

Symphony orchestras.

In 2007, Collins received the Royal Philharmonic Society’s

Instrumentalist of the Year Award, placing him among past

recipients of the award such as Itzhak Perlman, Mitsuko

Uchida, Murray Perahia, and Sir András Schiff. The award

was made in recognition of the pivotal role that Collins has

played in expanding the clarinet repertoire, commissioning

repertoire by some of today’s most highly regarded

composers. He has given world and local premières of John

Adams’s Gnarly Buttons, Elliott Carter’s Clarinet Concerto,

Brett Dean’s Ariel’s Music, and Turnage’s Riffs and Refrains,

which was commissioned by the Hallé Orchestra. Collins

has gone on to perform Turnage’s work with the Residentie

Orkest, Royal Flanders Philharmonic, Helsinki Philharmonic

and London Philharmonic orchestras. In 2009 he appeared at

New York’s Mostly Mozart Festival, performing Gnarly Buttons

under the baton of the composer. In 2008, Collins gave the

world première of Elena Kats-Chernin’s clarinet concerto

Ornamental Air with the North Carolina Symphony Orchestra

and in 2013 released a recording of the work on the Chandos

label with the Swedish Chamber Orchestra.

In great demand as a chamber musician, Collins performs

with musical colleagues such as the Belcea and Borodin

quartets, Martha Argerich, Stephen Hough, Mikhail Pletnev,

Lars Vogt, Joshua Bell, and Steven Isserlis. His Residency at

Wigmore Hall saw him in performance with Sir András Schiff,

Piers Lane and the Endellion String Quartet. His ensemble,

London Winds, celebrated its twenty-fifth anniversary in

2013, with entirely unchanged membership during that

time. The group maintains a busy diary of high calibre

engagements such as the BBC Proms, Aldeburgh Festival,

Edinburgh Festival, City of London Festival, Cheltenham

International Festival and Bath Mozartfest. Collins is also

Artistic Director of the Liberation International Music Festival

in Jersey.

With a prolific discography, Collins is signed exclusively to

Chandos Records. His most recent disc is of Brahms’s Clarinet

Trio with Paul Watkins and Ian Brown, released in July 2014.

Michael Collins plays exclusively on Yamaha clarinets.

Since winning the 2009 Terence Judd/Hallé Award, Belfast-

born Michael McHale has gone on to establish himself as

one of the leading Irish pianists of his generation.

He has performed as soloist with the Minnesota, Hallé, Teatro

Colon, Bournemouth Symphony, and Moscow Symphony

orchestras, the London Mozart Players, and all five of the

major Irish orchestras, in repertoire ranging from Mozart and

Beethoven to Prokofiev and Rachmaninoff.


The winds of the orchestra are generally younger, brasher

voices than their string colleagues, and the clarinet is the

youngest of them all. It is the only single-reed woodwind in

the classical orchestra, and the only one that overblows at

the twelfth, lending it a haunting, hollow tone. Clarinet tone

varies greatly in its three registers: the deep chalumeaux;

a delicate middle region called the throat register; and the

powerful, piercing clarino, so named because of its similarity

to the (clarino) trumpet. Something about the clarinet has

prompted composers, often late in life, to musings invariably

described as “autumnal.” And three virtuosi, in three

different centuries, have been particularly inspiring. Mozart

wrote a luminous concerto and quintet for Anton Stadler.

Brahms fell head over heels for Richard Mühlfeld’s playing

with the Meiningen Orchestra. And Benny Goodman, who

was far more than just the “King of Swing,” was fêted by

Hindemith, Copland, and Stravinsky.

Rhapsodos (2016)Abbie Betinis (b. Stevens Point, 1980)Commissioned by the Minnesota Commissioning Club and

the Seattle Commissioning Club for Michael Collins and

Michael McHale

Abbie Betinis is Composer-in-Residence for The Schubert

Club, and she is familiar to audiences as the host of the

popular Courtroom Concerts. Betinis received her second

McKnight Artist Fellowship in 2015. She has written over 60

commissioned pieces, including a recent collaboration with

the James Sewell Ballet, Ribcage. Minnesota Public Radio

has honored her by recording and producing her annual

Christmas carol since 2001.

Born in Stevens Point, Wisconsin, Betinis holds a bachelor’s

degree in music from St. Olaf College and a master’s degree

from the University of Minnesota, and she has done post-

graduate work in Paris, France. Abbie is Adjunct Professor of

Composition at Concordia University, Saint Paul.

Program Notes

Abbie Betinis introduces her work:

Rhapsodos is inspired by the performers of Greek epic poetry

in the fourth and fifth centuries BC. The word rhapsody

comes from the Greek word rhapsodein, which literally

means “to sew songs together.” The rhapsode (in Greek,

rhapsodos) would stand with a long staff in front of a crowd

and sing snippets of stories from the great epic poets, one

after the next, telling long tales much to the delight of the

audience. The performance practice was surprisingly strict;

these performers were attempting to recreate the legends of

bards like Homer, who lived centuries earlier. The rhapsodes

took their rhythm from epic poetry’s dactylic hexameter

(strong-weak-weak, etc.) and their melodic contour from

the accents in the language. Some rhapsodes became quite

famous, traveling many miles to tell different stories every

night to eager audiences, often competing for honors and

other prizes.

In many ways, the ancient rhapsodes are not so different

from contemporary recitalists, who know well the art of

stitching songs together, as they craft programs for their

audiences and travel to perform them. I was curious to

explore that connection, and to find out if the musical

essence of those ancient tales would hold up to our

Marble statue from Herculaneum, thought to represent Homer holding the long staff ofthe rhapsode.

Michael’s début album The Irish Piano was released in 2012

and has been featured on national radio throughout Europe,

North America and Australia. The disc was selected as “CD of

the Week” by critic Norman Lebrecht, who described it as “a

scintillating recital . . . fascinating from start to stop,” while

Gramophone praised “the singing sensibility of McHale’s

sensitive and polished pianism.”

An orchestral album will follow in 2016, featuring piano

concertos by John Field and Philip Hammond, with the RTÉ

National Symphony Orchestra and Courtney Lewis.

Michael collaborates regularly with Sir James Galway,

Michael Collins, Barry Douglas, Patricia Rozario, and

Camerata Pacifica. www.michaelmchale.com

schubert.org 19

contemporary ears, even with the words themselves stripped

away. For source material, I used fragments from Homer’s

The Odyssey, letting the original Greek verse suggest both

the melodic contour and rhythmic accents of the clarinet

part. The piano paints the context and drama of the stories

themselves: the wine dark sea, Penelope’s loom, etc. Like all

epic poems, the performance opens with an invocation to

the muse, a brief summary of the plot, and then the stories

begin. I hope this piece gives contemporary audiences the

sense of the musicality inherent in Greek epic poetry, and

connects us to those who—like us—sat together listening to

master performers “sew songs together” thousands of

years ago.

Sonata for Clarinet and Piano Herbert Howells (b. Lydney, 1892; d. London, 1983)We often hear of composers

who died young, full of promise.

But what of those promising

youngsters who went on to live

a full life? The life of Herbert

Howells was marked by ill health

and tragedy, but he lived long and

composed much striking music

in a style distinctly his own,

blending superb contrapuntal

skill with the pastoral influences

of his native Gloucestershire. His was the

generation—between Vaughan Williams and Britten—that

fought World War I, and Howells was singled out as its

foremost talent. But Graves’ Disease, a thyroid disorder, was

diagnosed when Howells was 23. Given six months to live,

he was offered the untested treatment of radium therapy,

the first human to be so treated. When his nine-year-old son

Michael died of polio in 1935, Howells, who was self-critical

to begin with, seemed to lose his creative bearings. But he

found renewed purpose in vocal music, particularly that of

the Anglican Church.

Howells is perhaps best known in Minnesota for his

marvelous Requiem for unaccompanied chorus, which

he expanded in Hymnus Paradisi. But he first made his

mark as a composer of abstract music. The Piano Quartet,

Opus 21, was the first work selected for the Carnegie

Collection of British Music in 1917, and his (second) Piano

Concerto received an auspicious performance by the Royal

Philharmonic Society in 1925. And Howells, who joked

Herbert Howells

that he was a reincarnation of “one of the lesser Tudor

composers,” is certainly the most prolific modern composer

for the clavichord, honoring composer friends with

whimsical bits like “Walton’s Toye” and “Finzi’s Rest.”

The Sonata for Clarinet and Piano was composed in 1946 for

British clarinetist Frederick Thurston. Howells had written

an Oboe Sonata several years earlier, but the criticism of

its dedicatee, Leon Goossens, caused him to withdraw

it. Gentle rhumba rhythms pervade the elegiac first

movement, which is marked “sweetly and with tenderness.”

The first and second themes of the first movement return in

reverse order in the last.

Sonata in E-flat major, Opus 120, No. 2Johannes Brahms (b. Hamburg, 1833; d. Vienna, 1897)In his last decade, Brahms’s creative urge subsided. But

in January 1891, he was profoundly impressed by the

clarinet playing of Richard Mühlfeld (1856-1907) with the

Meiningen Orchestra. Like Brahms, Mühlfeld was versatile.

He played the violin and was assistant conductor to Hans

von Bülow in Meiningen. He also conducted his own male-

voice choir. It was love, in a way. Brahms addressed Mühlfeld

as “my dear nightingale” and wrote for his unique voice

four final chamber works: the Trio in A minor, the Clarinet

Quintet, and a brace of sonatas. The sonatas, written in

1894, were arranged by Brahms for viola and for violin, but

he always spoke of them as clarinet pieces. Whether you

prefer the sonatas on clarinet or viola may hang on your

need for vibrato. Clarinet technique is traditionally non-

vibrato, although individuals like Reginald Kell and Richard

Stolzman have opted otherwise.

Richard Mühlfeld, “my dear nightingale” to Johannes Brahms.


Program Notes continued

The Sonata begins with a genial melody that decorates the

tonic E-flat, but finishes with an arabesque covering nearly

the entire compass of the clarinet. What better expression of

kinship than a close canon? The second subject is shadowed

by piano at just one beat. The exposition is not repeated,

but moves seamlessly into an expansive development.

Throughout, one senses that the players are prompting,

responding to one another, even finishing each other’s

sentences. There are two delicious harmonic sequences in the

coda. The first, a half-step above tonic, is marked “always very

sweetly.” The second brings us back home. It’s an unusual,

sentimental moment for Brahms, who has encoded in his

music the special love he feels for this partnership.

The Allegro appassionato is a forum for unexpectedly big

thoughts. It is neither a scherzo nor a slow movement. Four

descending steps in E-flat minor are the kernel here. The

central Sostenuto in B major climbs up the stairs:

do–re–mi–fa.

For his chamber-music swan-song, Brahms offers a theme

and variations. Variation form served him well from his first

sonata, Opus 1, through monumental sets on themes by

Handel and Haydn, to the finale of the 1891 Clarinet Quintet.

This short-breathed theme and its five contrasting variations

are a view through a kaleidoscope, expressing equally the

wonder of a child and the wisdom of a man at the end of life.

Première rapsodieClaude Debussy(b. Germain-en-Laye, 1862; d. Paris, 1918)When you join a board of directors, you will of course be

asked to make a generous contribution. When Debussy joined

the Paris Conservatory Board of Directors on Gabriel Fauré’s

recommendation, the contribution was paid in music: two

works for the 1910 clarinet examinations. Debussy called the

first Première rapsodie (a deuxième never appeared), the other,

a sight-reading test, Petite pièce.

The rapsodie fills the bill admirably. A generally slow-fast

structure begins “dreamily” but moves mercurially between

states, from fast-tongued scherzo passages to liquid legato,

often covering two octaves in a beat. Debussy called it “one of

the easiest on the ear I’ve ever written.” Today’s listeners may

also hear a little proto-Gershwin in the closing bars.

The elusive nature of the Rapsodie may have a literary origin.

For years, Debussy contemplated an operatic setting of

Shakespeare’s As You Like It. One of the characters of that play,

“melancholy” Jaques, declares: “All the world’s a stage,” and

WIlliam Hodge’s painting of Jaques from Shakespeare’s As You Like It.

goes on to muse on the seven ages of man. “Jaques is the

only purely contemplative character in Shakespeare,” noted

critic William Hazlitt. “He is the prince of philosophical

idlers; his only passion is thought.” The composer’s friend

Jean-Aubry suggested that the Rapsodie is Debussy’s

portrait of Jaques. Had Debussy lived longer, we might know

for certain. We might also have seen his setting of Poe’s The

Fall of the House of Usher realized onstage.

Sonata in E-flat major, Opus 167 Camille Saint-Saëns(b. Paris, 1835; d. Algiers, 1921)In a eulogy, Gabriel Fauré called Camille Saint-Saëns “the

most complete musician that we have ever possessed.”

Saint-Saëns began to compose before he was five. At his

first concert—given at the age of eleven—the boy offered

to play as an encore any of the Beethoven sonatas. And he

wasn’t just a pianist. Biographer Brian Rees describes his

fame “as greatest among the great organists of France.”

The influence on French culture of the Société Nationale de

Musique, founded by Saint-Saëns and his circle, cannot be

overestimated. Many of the French chamber works we now

hear in recital were first performed by that Parisian

concert society.

“As for me, I’m writing nothing more,” wrote the 85-year-

old Saint-Saëns to Fauré in 1920. “I have no other plans

for composition in my head. The grape harvest is over!”

But there was wine yet to be made in the form of three

late sonatas for winds, composed in his last year. The flute

already had a substantial French repertoire, so Saint-

Saëns wrote, in score order, sonatas for oboe, clarinet and

bassoon (one for English horn was left unfinished). In these

works, Saint-Saëns speaks with utmost clarity and classical

schubert.org 21

Camille Saint-Saëns in 1921

economy. “Limpid and serene,” writes Jean-Michel Nectoux,

“they bear no resemblance to anything, not even the music

of the composer!”

Unlike Brahms, who writes for equal partners, the

Frenchman’s sonata is “with piano accompaniment.” But

it’s surely no coincidence that the Allegretto’s opening

melody, as it bobs on gentle waves, quotes the very four

notes that begins Brahms’s sonata in the same key. The

second movement is a gavotte, treated so suavely that its

clever harmonies and tonal structure never obtrude. In one

passage, the clarinet hops between its lowest note and the

first overtone a twelfth above, neatly illustrating in music

the structure of the instrument. The grave theme of the

Lento is first played forte in the chalumeau register, then

presented exactly the same but two octaves higher—and

pianissimo—in the clarino register. But what do the seven

inscrutable chords that intervene mean? The closing Molto

allegro is all about agility, at least until the music of the

first movement returns to round off the sonata.

Sonata for Clarinet and PianoFrancis Poulenc (b. Paris, 1899; d. Paris, 1963)

Poulenc’s Clarinet Sonata is dedicated to the memory of

Arthur Honegger, like Poulenc a member of Les Six—that

anti-Impressionist band of confrères that included Milhaud,

Tailleferre and Auric—and the first of that group to die.

Poulenc disparaged his sonatas for strings, saying “Nothing

could be further from the human breath than the stroke

of a bow.” But late in life, like Saint-Saëns and Brahms, he

found wind instruments congenial, and his last sonatas

were for flute, clarinet and oboe.

Paradox and irony are at the heart of Poulenc’s music. The

Allegro tristamente (“sadly cheerful”) begins with two

musics, one scampering, one ranging over two octaves

in dotted rhythms. The ambiguous mood is matched by

ambiguous mode, as major and minor are thoroughly

mixed. A third idea is like a calling bird. At the heart of

the movement, marked Très calme, arpeggios flicker up

and down. The Romanza opens and closes with an exotic,

heartfelt cri de cœur. In this melancholy conversation, both

lovers seem to be facing the Seine. The finale is by turns

exuberant, darkly comic and passionate, as the clarinet

recalls in its boisterous highs its origin as the “little clarion.”

The Sonata received its premiere on April 10, 1963, several

months after Poulenc’s death, by Benny Goodman and

Leonard Bernstein. When Goodman died, some 23 years

later, a Brahms sonata was on his music stand.

Program notes © 2016 by David Evan Thomas

Rhapsodos note © 2016 by Abbie Betinis

Les Six: Francis Poulenc, Germaine Tailleferre, Louis Durey, Jean Cocteau, Darius Milhaud, Arthur Honegger. Sketch of Georges Auric on the wall behind them.

The Schubert Club

Music in the Park Series

presents

Chiara String Quartet Rebecca Fischer, violin • Hyeyung Julie Yoon, violin

Jonah Sirota, viola • Gregory Beaver, cello

Sunday, April 17, 2016 • 4:00 PM

Pre-concert conversation at 3:00 PM

Leyendas: An Andean Walkabout (2001) Gabriela Lena Frank

Toyos Tarqueada Himno de Zampoñas Chasqui Canto De Velorio Coqueteos

String Quartet No. 4, Sz. 91 Béla Bartók

Allegro Prestissimo, con sordino Non troppo lento Allegretto pizzicato Allegro molto

Intermission

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 23

Music in the Park SeriesSunday, April 17, 2016 • 4:00 PM • Saint Anthony Park United Church of Christ

Renowned for bringing fresh excitement to traditional

string quartet repertoire as well as for creating insightful

interpretations of new music, the Chiara String Quartet (Rebecca Fischer and Hyeyung Julie Yoon,

violins; Jonah Sirota, viola; Gregory Beaver, cello) captivates

its audiences throughout the country. The Chiara has

established itself as among America’s most respected

ensembles, lauded for its “highly virtuosic, edge-of-the-seat

playing” (The Boston Globe). They are currently Hixson-Lied

Artists-in-Residence at the Glenn Korff School of Music at

the University of Nebraska—Lincoln and were the Blodgett

Artists-in-Residence at Harvard University from 2008- 2014.

For the 2015-2016 season, the Chiara will be the quartet-in-

residence at The Metropolitan Museum of Art in New York.

Now in its 16th season, the Chiara is moving forward by

taking a cue from the past. Harkening back to a tradition

that is centuries old and still common among soloists, the

Chiara Quartet has adopted a new way of performing: from

memory, without printed sheet music. After memorizing

a work, the Quartet is rewarded with deeply gratifying

performances where each member feels fully present in the

moment, truly performing with heart, by heart. The Chiara

is currently recording Bartók by Heart, a 2-CD set featuring

Bartók’s six string quartets, played entirely from memory,

slated for release in 2016 on Azica. The quartet’s latest

album, Brahms by Heart, was released on Azica in

March 2014.

In addition to the Chiara Quartet’s regular performances

in major concert halls across the country, including Lincoln

Center’s Alice Tully Hall, Carnegie Hall, Philadelphia’s

Kimmel Center, the Philadelphia Museum of Art, and the

National Gallery in Washington DC, the ensemble was one

of the first string quartets to perform in alternative venues

for chamber music performance. Recent highlights of

the Chiara Quartet’s international performances include

extensive tours of China, Korea, and Sweden.

In addition to Brahms by Heart and the forthcoming

Bartók by Heart, the complete Chiara discography includes

a Grammy-nominated recording of Jefferson Friedman’s

String Quartets Nos. 2 and 3 on New Amsterdam Records,

the Mozart and Brahms clarinet quintets for SMS Classical,

and the world premiere recordings of Robert Sirota’s

Triptych, and Gabriela Lena Frank’s Leyendas: An Andean

Walkabout on the Quartet’s own New Voice Singles label.

The Chiara has been committed to the creation of new

music for string quartet since its inception, and has

commissioned composers including Gabriela Lena Frank,

Jefferson Friedman, Nico Muhly, Daniel Ott, Robert Sirota,

among others. Recent collaborators in performance

include The Juilliard String Quartet, Joel Krosnick, Roger

Tapping, Todd Palmer, Robert Levin, Simone Dinnerstein,

Norman Fischer, Nadia Sirota, and Paul Katz, as well as

members of the Orion, Ying, Cavani, and Pacifica Quartets.

In the summer, the Chiara Quartet is in residence at

Greenwood Music Camp as well as the University of

Nebraska-Lincoln’s Chamber Music Institute. The Chiara

trained and taught at The Juilliard School, mentoring for

two years with the Juilliard Quartet, as recipients of the

Lisa Arnhold Quartet Residency.

Chiara (key-ARE-uh) is an Italian word, meaning “clear,

pure, or light.”

www.chiaraquartet.com

Phot

o: L

isa-

Mar

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Program Notes

Leyendas: An Andean Walkabout Gabriela Lena Frank (b. Berkeley, 1972)

Identity has always been at the center of Gabriela Lena

Frank’s music. Born in Berkeley, California, to a mother

of mixed Peruvian-Chinese ancestry and a father of

Lithuanian-Jewish descent, Frank explores her multicultural

heritage most ardently through her compositions. Inspired

by the works of Béla Bartók and Alberto Ginastera, Frank is

something of a musical anthropologist. She has traveled

extensively throughout South America, and her pieces

reflect and refract her studies of Latin-American folklore,

incorporating poetry, mythology and native musical styles

into a western classical framework that is uniquely her own.

Moreover, she writes, “There’s usually a story line behind my

music; a scenario or character.” Frank’s compositions also

reflect her virtuosity as a pianist—when not composing, she

is a sought-after performer, specializing in

contemporary repertoire.

Frank attended Rice University in Houston, Texas, where she

studied composition with Paul Cooper, Ellsworth Milburn

and Sam Jones, and piano with Jeanne Kierman Fischer.

At the University of Michigan, Frank studied composition

with William Albright, William Bolcom, Leslie Bassett and

Michael Daugherty, and piano with Logan Skelton. She

received a doctorate in composition in 2001. Gabriela Lena

Frank’s music is published exclusively by G. Schirmer, and

is recorded on the Reference, New Voice Singles, Naxos and

Tonar Music Labels.

Gabriela Lena Frank offers notes on her work:

Leyendas: An Andean Walkabout for string quartet draws

inspiration from the idea of mestizaje [the cultural

intermixing of Spanish and American Indian people] as

envisioned by the Peruvian writer José María Arguedas,

where cultures can coexist without the subjugation of one

by the other. As such, this piece mixes elements from the

western classical and Andean folk music traditions.

“Toyos” depicts one of the most recognizable instruments

of the Andes, the panpipe. One of the largest kinds is the

breathy toyo, which requires great stamina and lung power,

and is often played in parallel fourths or fifths.

“Tarqueada” is a forceful and fast number featuring the

tarka, a heavy wooden duct flute that is blown harshly in

order to split the tone. Tarka ensembles typically also play

in fourths and fifths.

“Himno de Zampoñas” features a particular type of

panpipe ensemble that divides up melodies through a

technique known as hocketing. The characteristic sound

of the zampoña panpipe is that of a fundamental tone

blown flatly so that overtones ring out on top, hence the

unusual scoring of double stops in this movement.

“Chasqui” depicts a legendary figure from the Inca period,

the chasqui runner, who sprinted great distances to

deliver messages between towns separated from one

another by the Andean peaks. The chasqui needed to

travel light. Hence, I take artistic license to imagine his

choice of instruments to be the charango, a high-pitched

cousin of the guitar, and the lightweight bamboo quena

flute, both of which are featured in this movement.

“Canto de Velorio” portrays another well-known Andean

personality, a professional crying woman known as the

llorona. Hired to render funeral rituals even sadder, the

llorona is accompanied here by a second llorona and an

additional chorus of mourning women (coro de mujeres).

The chant “Dies irae” is quoted as a reflection of the

comfortable mix of Quechua Indian religious rites with

those from Catholicism.

“Coqueteos” is a flirtatious love song sung by gallant men

known as romanceros. As such, it is direct in its harmonic

expression, bold and festive. The romanceros sing in

harmony against a backdrop of guitars, which I think of as

a vendaval de guitarras (“storm of guitars”).

Chasqui on a Peruvian postage stamp

schubert.org 25

Above, one of two letters from Bartók in The Schubert Club Museum’s Gilman Ordway Manuscript Collection

String Quartet No. 4, Sz. 91Béla Bartók (b. Nagyszentmiklós, 1881; d. New York, 1945)

Bartók’s six string quartets span 30 years, and are now

regarded as the most significant works in the genre since

Beethoven. The Fourth Quartet is the most concentrated,

perhaps the most original, and certainly the most

challenging for the listener. The composer visited Saint

Paul on his first American tour in 1928, the year he wrote

the Fourth Quartet, Bartók’s music was tending toward

abstraction at that time, influenced by composers as diverse

as Alban Berg and Frescobaldi. But the irregular meters,

modes and phrasing of folk song were still a potent source

of inspiration.

“The work is in five movements,” Bartók tells us. “The slow

movement is the kernel of the work; the other movements

are, as it were, arranged in layers around it. Movement IV is

a free variation of II, and I and V have the same

thematic material.”

No one would describe the tonality of the Fourth Quartet

as C major, but its tonal focus, from the first note, is C.

The musical syntax is built from motives rather than

themes. The principal motive has the rhythm: “Gridlock in

Washington!” Bartók invents a striking development in the

coda: as the loud, hammered motive grows shorter, a soft-

stroked chordal phrase grows longer.

If the outer movements are crunchy, the second and fourth

tend toward the soft side of the dynamic spectrum, calling

for mutes and plucked strings respectively. Bartók discovers

a sonority so distinctive it has become known as the “Bartók

pizz.” The string is pulled away from the fingerboard, then

released—with a thwack! Although the Prestissimo begins

and ends clearly on E, glissando and bowing near-the-bridge

threaten to nullify the sense of tonality. But the music is not

without humor. In the second theme, one can imagine the

buzz of bees on a hot summer day.

As Bartók lays out the cool background of the third

movement, he carefully indicates where the players should

or should not vibrate. Solo cello enters and plays in the

spaces between and around these notes. The central

section—the “kernel”—is one of Bartók’s great

nocturnal landscapes.

Strident bowed chords, clashing seconds, clanging open

strings: the rondo-like fifth movement recalls the brutal

rhythms of Stravinsky’s Rite of Spring. The quartet concludes

with the same music that ended the first movement.

String Quartet No. 2 in A minor, Opus 51, No. 2 Johannes Brahms (b. Hamburg, 1833; d. 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 first year as

director of Vienna’s Gesellschaft der Musikfreunde, and

his compositional energies were pent up. And he was 40.

His first task was to write the “Haydn Variations.” He then

turned to chamber music for the first 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 magnificent 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

Program Notes continued

The Schubert Club • Bruce P. Carlson

Student Scholarship Winners Recital

Come Hear the Best of the Best!

Performances by top-prize winners of the 2016 competition

Sunday, March 20 • 1 PMOrdway Concert Hall FREE and open to the public

Theodor Billroth, to whom Brahms dedicated the quartet

Brahms finished his A minor quartet while spending the summer on the shores of the Starnberger See in southern Bavaria

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, and the Age, with its

emphasis on program music and opera, was abstraction-

averse. Brahms’s début 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 first

violin and cello, accompanied by rustling inner voices, a new

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 other three 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 fill in the silences with the inner ear.

It’s a 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.

Program notes (Brahms, Bartók) © 2012, 2013

by David Evan Thomas

schubert.org 27

The Schubert Club • Bruce P. Carlson

Student Scholarship Winners Recital

A New Exhibit in The Schubert Club Museum

Brass bands were an important part of American society

in the 1800s. Entertainment of the day—such as social

dances—often featured brass bands, and the Civil War gave

rise to military bands dominated by the brass instruments.

Thanks to numerous generous donations, notably by

Minnesota band-leader William Kugler, The Schubert

Club Museum is thrilled to highlight the brass family of

instruments in our newest exhibit, Brass from the Past.

The nineteenth century saw big technological changes in

the design and manufacture of brass instruments, and the

exhibit includes some beautiful examples from the period.

The 1852 Fiske Circular Cornet (at right) is still playable.

Visitors can not only see this unique instrument but also

hear it demonstrated in a video by guest curator,

Lynn Erickson.

We are pleased to give our visitors a hands-on experience

in this exhibit by allowing them to examine, touch, and

play real and “found-sound” instruments. It’s a great way to

learn how brass instruments work and what makes

them special.

1852 circular cornet made by Isaac Fiske of Worcester, Mass.

A keyed bugle from around 1810, made by the Muzio Clementi factory in London.

The Great Western Band of Saint Paul directed by George Seibert (1890). When Civil War volunteers arrived at Fort Snelling in 1861, they were greeted by the Great Western band of Saint Paul.

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Brass From the Past


Pianist Neil Nanyi Qiang is pursuing a diverse career as a chamber musician, vocal coach, and

soloist. He has performed in many music venues across North America and his homeland, China. He has

appeared in music festivals such as Music Academy of the West, iSING Young Artists Festival, Vancouver

International Song Institute, New Music on the Point, and Seattle Piano Summer Institute. He is currently

pursuing his DMA in Collaborative Piano and Coaching at the University of Minnesota, Twin Cities.

David Franzel, saxophoneNeil Nanyi Qiang, piano

Sonata in E-flat major, Opus 120—Johannes Brahms

Allegro amabile

Allegro appassionato

Andante con moto – allegro

Fuzzy Bird Sonata—Takashi Yoshimatsu (1994)

I – Run, Bird

II – Sing, Bird

III – Fly, Bird

Fantasy on An Original Theme—Jules Demersseman

Courtroom ConcertMarch 10, 2016 • Noon • Landmark Center

David Franzel is a versatile saxophonist based in the Minneapolis area. Having completed his

Bachelor of Music in Performance, he gigs regularly with a local rockabilly band, subs in various

jazz groups, and plays several classical recitals throughout the year. Dave is also an instructor of

saxophone/flute/clarinet at Schmitt Music based in Brooklyn Center. His principle teachers include Dr.

Eugene Rousseau, Greg Keel, and Kurt Claussen.

Takashi Yoshimatsu

schubert.org 29


Go—Timothy C. Takach

Ave Maria—Franz Biebl, arr. Timothy C. Takach

Kinetic—Timothy C. Takach

I. Surge

III. Mechanical

IV. Kinetic

Haragei, part I—Timothy C. Takach and Paul John Rudoi

Prelude to Etude #1—Paul John Rudoi

Five Stages—Paul John Rudoi

Haragei, part II—Timothy C. Takach and Paul John Rudoi

Wanting Memories—Ysaye Barnwell, arr. Paul John Rudoi

Runowamæ—Paul John Rudoi

Paul John Rudoi, composer and tenor vocalist, has performed and recorded as a member of the full-time vocal ensemble

Cantus. Since joining the group in 2008, he has premiered dozens of new works for male chorus, traveled on four continents,

and advocated for arts education and empowerment through education outreach opportunities nationwide. Paul John Rudoi’s

compositions have been commissioned and performed by various ensembles and artists throughout North America and Europe,

including Orphei Dränger, the Vancouver Chamber Singers, the British Trombone Society, Cantus, and the National Lutheran Choir.

His work has garnered grants from the Jerome Foundation, the ACF, MRAC, MSAB, the NEA, and ASCAP. His music is published

through PJR Music, Graphite Publishing, Santa Barbara Music Publishing, Walton Music, and Morningstar Music Publishers. Paul

holds a degree in vocal performance from the Hartt School in Hartford, Connecticut. His teachers have included Libby Larsen, Mary

Ellen Childs, Edward Bolkovac, and Tyler Flanders.

Timothy C. Takach has received commissions from various organizations including the St. Olaf Band, Cantus, Pavia Winds,

Lorelei Ensemble, The Singers: Minnesota Choral Artists, VocalEssence, the DeBartolo Performing Arts Center, The Rose Ensemble,

and numerous high school and university choirs. His compositions have been performed on A Prairie Home Companion, The

Boston Pops holiday tour, multiple All-State and festival programs and at venues such as the Library of Congress, Kennedy

Center and Royal Opera House Muscat. Takach has received grants from the American Composers Forum, Meet the Composer,

Minnesota State Arts Board, Metropolitan Regional Arts Council, and ASCAP. He is a co-creator of the theatrical production of All

is Calm: the Christmas Truce of 1914, by Peter Rothstein. The show has had over 100 performances since its premiere in 2006. He

was also selected for the 2014 Nautilus Music-Theater Composer-Librettist Studio. Takach studied music composition at St. Olaf

College, where he graduated with honors. He has frequent work as a composer-in-residence, presenter, clinician and lecturer for

conventions, schools and organizations across the country. He is a full-time composer and lives in Minneapolis with his wife and

two sons.

Pavia Wind QuintetGina Goettl, horn; Justin Windschitl, bassoon; Erica Bennett Duggan, flute

Lindsey Thompson, oboe; Ryan Golden, clarinet

with Paul John Rudoi, tenor & Timothy C. Takach, bass

Music of Paul John Rudoi & Timothy C. Takach

Paul John Rudoi, Timothy C. Tackach,Pavia Wind Quintet


Two Pieces for Cello and Piano—Sir Hamilton Harty

Waldesstille

Der Schmetterling

Fantasie in B minor, Opus 28—Alexander Scriabin

Cello Sonata No. 3 in A major, Opus 69—Ludwig van Beethoven

Allegro ma non troppo

Scherzo. Allegro molto

Adagio cantabile—Allegro vivace

Artu Duo: Pianist Garret Ross and cellist Ruth Marshall met in 2009 at the International Festival–Institute at Round Top. Their

first performance as a duo was in 2011. Since then, their collaboration has grown. In 2011, the Artu Duo had a residency at the

Banff Centre in Alberta, Canada, where they studied the Beethoven Sonatas for Cello and Piano with Colin Carr and Thomas

Sauer. In 2012, they were residents at the Aldeburgh Festival in Suffolk, England, studying the music of Brahms and Schumann

with Menahem Pressler. In 2013, the Artu Duo made their debut on the Dame Myra Hess Memorial Concert Series at the

Cultural Center in Chicago, which was broadcast live on WFMT. The Artu Duo is the ensemble-in-residence at the Apollo Music

Festival in Houston. The Artu Duo enjoys returning to performing on concert series such as the Music Northwest Chamber

Music Series in Seattle, and the Courtroom Concert Series in St. Paul.

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

Midwest. Ruth is Principal Cello of the Illinois Symphony Orchestra, and is a frequent substitute player with the Indianapolis

and Columbus Symphony Orchestras. She has also performed with the Michigan Opera Theater in Detroit, and is a permanent

member of the Britt Festival Orchestra in Jacksonville, Oregon. Ruth is a dedicated teacher, with students age 4 to 62 in her

home city of Indianapolis, and she has been on the faculties of the DePaul University School of Music, the Butler University

Community Arts School, and the Illinois State University. She is currently Instructor of Cello at Eastern Illinois University. Ruth

holds undergraduate degrees in Comparative History of Ideas and Music Theory from the University of Washington in Seattle,

and graduate degrees in cello performance from DePaul University in Chicago.

A resident of New York City, Garret Ross enjoys a vibrant and varied musical career. An avid chamber musician, Garret

founded the Apollo Music Festival in Houston in 2013. As a soloist, Garret has appeared with the Music in the Mountains

Festival Orchestra, Texas Festival Orchestra, and the Bethel University Philharmonic. Garret currently serves as faculty at the

Rubato Music School in Brooklyn and maintains a large private studio in New York City. Garret is also a collaborative pianist

at the Lucy Moses School. He holds degrees from the New York University, University of Minnesota and Bethel University. He

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

Festival-Institute at Round Top, AmerKlavier Institute at Steinway Hall, and PianoSummer at New Paltz. Garret’s most

important mentors are Eteri Andjaparidze and Alexander Braginsky.

Artu DuoGarret Ross, piano • Ruth Marshall, cello


Artu Duo: Ruth Marshall, Garret Ross

schubert.org 31

Courtroom ConcertApril 7, 2016 • Noon • Landmark Center

Sam Viguerie, cello • Matthew Harikian, piano

Kaddish, from Deux Mélodies Hébraïques—Maurice Ravel

Pièce en forme de Habanera—Ravel

Sonata No. 1 in D minor—Claude Debussy

Matthew Harikian is currently a senior at St. Olaf College where he is pursuing a B.M. in Piano Performance.

Matthew has held public recitals at St. Olaf College in Minnesota, and Paul Shaghoian Hall and CSU Stanislaus

in California. In 2014, he spent the fall semester studying with Konrad Elser at the Musikhochschule in Lübeck,

Germany. Mr. Harikian currently studies with Kent McWilliams, and upon graduation plans on continuing his studies

by pursuing an M.M. in Piano Performance.

Sam Viguerie, cellist, is a junior at St. Olaf College, studying music and computer science. His performances have

been featured on National Public Radio, as well as Georgia Public Broadcasting. Most recently, Sam appeared as a

soloist with the St. Olaf Orchestra on their 2015 fall tour to California, Oregon, and Washington, playing the Dvorak

concerto. Sam was a winner of the college strings division of the 2015 Schubert Club Competition, and is currently a

national finalist in the MTNA competition, having won both the Minnesota and Midwest rounds. This past summer,

Sam attended the Centre d’Arts Orford in Quebec, as well as the Heifetz International Music Institute in Staunton,

Virginia, where he was featured as part of their Stars of Tomorrow concert series. He has studied privately and

appeared in masterclasses with renowned artists and pedagogues including Richard Aaron, Laurence Lesser, Amit

Peled, Alisa Weilerstein, Paul Katz, the St. Lawrence Quartet, the Emerson Quartet, and Robert Spano. His primary teachers include David

Carter (St. Olaf College), and Daniel Laufer (Atlanta Symphony Orchestra). Aside from performing, Sam is an avid composer and programmer,

and maintains a private teaching studio in Northfield. Upon Graduation, Sam plans to pursue a M.M. in cello performance, while working in

the field of software. His hobbies include, running, skiing, and gaming.

Roderick Phipps-Kettlewell, piano

Hammurabi—Beatrice Ohanessian

Alexander’s Bachiana—Roderick Phipps-Kettlewell

Roderick Phipps-Kettlewell is an English-born concert pianist, conductor, teaching and recording artist, who has previ-

ously served as Artist-in-Residence for the Schubert Club Museum. He has been Music Director of the Bach Society of Minnesota,

Wayzata Community Church, St. John the Evangelist Episcopal Church and performed many times with the Saint Paul Chamber

Orchestra, and in chamber music recitals with its members, and those of the Minnesota Orchestra. His performing career has

taken him across the United States and Europe, including the Wigmore Hall and Purcell Room in London, the Aldeburgh Festival,

Carnegie’s Weill Hall and Alice Tully Hall in New York. More information can be found at amademusic.com


Courtroom ConcertApril 14, 2016 • Noon • Landmark Center

Carol Barnett creates audacious and engaging music, both for traditional instrumentation, and for cross-pollinations such as a mass

accompanied by a bluegrass band or a duet for steel pan and organ. A force in the Minnesota music scene since 1970, her work has been

funded by multiple regional and national organizations, and published through major houses. Carol is a charter member of the American

Composers Forum and a graduate of the University of Minnesota. She was composer in residence with the Dale Warland Singers from 1992

to 2001, and taught composition at Augsburg College from 2000 to 2015.

Due Canti Meridionali (poetry by Mina Ferraguti)

Nel grande letto la notte

Quando rinasceremo

The Blond Assassin (Emily Dickinson)

Leaves Are My Flowers Now (Michael Dennis Browne)

Shaker Suite: Canterbury

Scenes of Glory

Purest Blessing

Ministration

The Good Samaritan

Green Magic Songs

Song of Enchantment (Walter de la Mare)

Time and Eternity (Emily Dickinson)

Many Songs I’ve Heard: Melodies from Eastern Europe

Are You Not My Radiant Sunset? • Vanyusha, The Steward

The Vistula/Outside, Dusk is Falling • Dubinushka, My Trusty Cudgel

Don’t Wake the Young Wife

Maria Jette, soprano & Carol Barnett, pianoBB-5: Julie Carey, flute • Lorelei Giddings, oboe Carley Olson, clarinet • Steve Ecklund, horn Ann Hagen, bassoonDenis Evstuhin & Oleg Levin, pianos

Music of Carol Barnett

Carol Barnett, Maria Jette,

Denis Evstuhin, Oleg Levin

schubert.org 33

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Alex Braginsky

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A. Truman and Beverly Schwartz

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Buddy Scroggins and

Kelly Schroeder

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Matthew Sobek

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Alex and Marguerite Wilson

Sue Wiltgen

Kathleen Winters

Yea-Hwey Wu

Janis Zeltins

John Ziegenhagen

Erin Zolotukhin-Ridgway

In memory of Clifton W. Burns

Dorothea Burns

In memory of Elise Donohue, sister

of Lucy R. Jones

Terry Devitt

Paul D. Olson

In memory of Dr. John Davis

August Rivera

In memory of Edna Rask Erickson

Richard and Jill Stever-Zeitlin

In memory of Mindy Sue Geyerman

Richard Geyerman

In memory of Leon R. Goodrich

Megan and Daniel Goodrich

Katherine Goodrich

In memory of Manuel P. Guerrero

August Rivera

In memory of Donald Kahn

Stephen and Hilde Gasiorowicz

In memory of Thelma Hunter

Jack and Helen Barber and Family

James Ford Bell Foundation and

Ford W. Bell

Elisabeth R. Bennett

Ellen Bruner

Shirley I. Decker

Suzanne Asher and Thomas Ducker


Mary and Bill Cunningham

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Norm and Sherry Eder

Kay and Daniel Halvorsen

Benjamin Heille

Mark and Jane Heille

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John and Ruth Huss Fund

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Kjeld and Karen Husebye

Maria Jette

B.K. and Robbin Johnson

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Cheryl and Barry Kempton

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Mella Martin

Tami McConkey

Alison H. Page

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and Kent Larson

Ramsey County Attorney’s Office

Mindy Ratner

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Estelle Quinn Sell

Rebecca Shockley

Linda Smith-Kiewel

Barbara J. Telander

David Evan Thomas

Clara Ueland and Walter McCarthy

Rica and Jeffrey Van

Nancy and Ted Weyerhaeuser

In memory of Beatrice Ohanessian

Sita Ohanessian

In memory of Laura Platt

Meredith Alden

In memory of Nancy Pohren

Sandra and Richard Haines

In memory of Warren L. Pomeroy

Betty Pomeroy

In memory of Jeanette Maxwell Rivera

August Rivera

In memory of Nancy Shepard

Nan C. Shepard

In memory of Helen McMeen Smith

Mary and Bill Cunningham


Lois Ann and Robert Dokken

Lucy R. Jones and James Johnson

Cheryl and Barry Kempton

Dorothy and Roy Mayeske

Barbara and Lewis McMeen


In memory of Tom Stack

Eileen V. Stack

In memory of John Stevens

Gail Stremel

Memorials and Tributes

In honor of the anniversary and

birthdays of Annette Atkins and

Tom Joyce

Adele and Richard Evidon

Judy A. Karon

In honor of Julia and Irina Elkina

Rebecca Shockley

In honor of Alice Hanson, Professor

of Music, St. Olaf College

Kristina MacKenzie

In honor of Julie Himmelstrup’s

leadership

Theresa Black

Carl and Mary Ellen Schmider

Stuart and Mary Weitzman

An endowment gift to support the

Thelma Hunter Scholarship Prize

in honor of Thelma’s 90th Birthday

Hella Mears Hueg and Bill Hueg

In honor of Lisa Niforopulos

Gretchen Piper

In honor of Paul D. Olson

Barbara Lund and Cathy Muldoon

In memory of William Ammerman

Marilyn and John Dan

In memory of Elmer L. and Eleanor

J. Andersen

Stephen and Bonnie Johnson

This activity is made possible by the voters of

Minnesota through a Minnesota State Arts

Board Operating Support grant, thanks to a

legislative appropriation from the arts and

cultural heritage fund, and a grant from the

Wells Fargo Foundation Minnesota.

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

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

Thank you to the following organizations

The Deco Catering is the preferred caterer of The Schubert Club

well flockedfor celebrations

612.767.9495thethirdbirdmpls.com


The Schubert Club Endowment

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

commitments to our endowment funds:

The Eleanor J. Andersen

Scholarship and Education Fund

The Rose Anderson

Scholarship Fund

Edward Brooks, Jr.

The Eileen Bigelow Memorial

The Helen Blomquist

Visiting Artist Fund

The Clara and Frieda Claussen Fund

Catherine M. Davis

The Arlene Didier Scholarship Fund

The Elizabeth Dorsey Bequest

The Berta C. Eisberg

and John F. Eisberg Fund

The Helen Memorial Fund

“Making melody unto the Lord in her very

last moment.” – The MAHADH Fund

of HRK Foundation

The Julia Herl Education Fund

Hella and Bill Hueg/Somerset

Foundation

The Daniel and Constance Kunin Fund

The Margaret MacLaren Bequest

The Dorothy Ode Mayeske

Scholarship Fund

In memory of Reine H. Myers

by her children

The John and Elizabeth Musser Fund

To honor Catherine and John Neimeyer

By Nancy and Ted Weyerhaeuser

In memory of Charlotte P. Ordway

By her children

The Gilman Ordway Fund

The I. A. O’Shaughnessy Fund

The Ethelwyn Power Fund

The Felice Crowl Reid Memorial

The Frederick and Margaret L.

Weyerhaeuser Foundation

The Maud Moon Weyerhaeuser Sanborn

Memorial

The Wurtele Family Fund

Music in the Park Series Fundof The Schubert Club Endowment

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

who helped start this new fund:

Meredith Alden

Nina and John Archabal

Lydia Artymiw and David Grayson

Carol E. Barnett

Lynne and Bruce Beck

Harlan Boss Foundation

Jean and Carl Brookins

Mary Carlsen and Peter Dahlen

Penny and Cecil Chally

Don and Inger Dahlin

Bernice and Garvin Davenport

Adele and Richard Evidon

Maryse and David Fan

Roxana Freese

Gail Froncek

Catherine Furry and John Seltz

Richard Geyerman

Julie and Anders Himmelstrup

Cynthia and Russell Hobbie

Peg Houck and Philip S. Portoghese

Thelma Hunter

Lucy Jones and James Johnson

Ann Juergens and Jay Weiner

Phyllis and Donald Kahn

Barry and Cheryl Kempton

Marion and Chris Levy

Estate of Dorothy Mattson

Wendy and Malcolm McLean

Marjorie Moody

Mary and Terry Patton

Donna and James Peter

Paul and Betty Quie


Shirley and Michael Santoro

Mary Ellen and Carl Schmider

Sewell Family Foundation

Katherine and Douglas Skor

Eileen V. Stack

Cynthia Stokes

Ann and Jim Stout

Joyce and John Tester

Thrivent Financial Matching Gift Program

Clara Ueland and Walter McCarthy

Ruth and Dale Warland

Katherine Wells and Stephen Wilging

Peggy R. Wolfe

The Legacy Society

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

the musical arts for future generations.

Anonymous

Frances C. Ames*

Rose Anderson*

Margaret Baxtresser*

Mrs. Harvey O. Beek*

Helen T. Blomquist*

Dr. Lee A. Borah, Jr.

Raymond J. Bradley*

James Callahan

Lois Knowles Clark*

Margaret L. Day*

Harry Drake*

James E. Ericksen*

Mary Ann Feldman

John and Hilde Flynn

Salvatore Franco

Richard Geyerman

Marion B. Gutsche*

Anders and Julie Himmelstrup

Thelma Hunter*

Lois and Richard King

Florence Koch*

Dorothy Mattson*

John McKay

Mary Bigelow McMillan

Jane Matteson*

Elizabeth Musser*

Heather Palmer

Mary E. Savina

Helen McMeen Smith*

Jill and John Thompson

Lee S. and Dorothy N. Whitson*

Timothy Wicker and Carolyn Deters

Richard A. Zgodava*

Joseph Zins and Jo Anne Link

*In Remembrance

Become a member of The Legacy Society by

making a gift in your will or estate plan. For

further information, please contact

Paul D. Olson at 651.292.3270 or

[email protected]

The Schubert Club Endowment and Legacy Society

Romeo & JulietGOUNODSept. 24–Oct. 2, 2016

Das RheingoldWAGNERNov. 12–20, 2016

Diana‘s GardenSOLERJan. 21–29, 2017

Dinner at EightWORLD PREMIEREMar. 11–19, 2017Music by WILLIAM BOLCOMLibretto by MARK CAMPBELLBased on the play by GEORGE S. KAUFMAN and EDNA FERBER

La BohèmePUCCINIMay 6–21, 2017

seasonThe

2016–17

mnopera.org 612-333-6669

SEE 3 OR MORE OPERAS AND SAVE UP TO 25%

Mostly Mozart (Solemn Vespers KV 339), but also Mendelssohn (Hör mein Bitten), Whitacre (Five Hebrew Love Songs), and a solo set of Stephen Foster songs by the incomparable Maria Jette.

Rochester of 2016 is a diverse community, full of rich voices from around the globe. Diverse Voices will

celebrate this vibrant cultural tapestry with music inspired by these far flung countries of origin.

TICKETS: www.ChoralArtsEnsemble.org | 1001 14 St NW, Rochester, MN

Your one-clickguide to allof Minnesota’smust-seetheater.

minnesotaplaylist.com/calendar

Need help deciding? Opening Nights Closing NightsPost-Show Parties DiscussionsPay-What-You-Can PerformancesFree Shows Audio-DescribedASL-Interpreted Comedy DramaMusical Dance ImprovStorytelling Kids Experimental

MAY CONCERTSRACHMANINOFF’S FIRST PIANO CONCERTOThu May 5 11am / Fri May 6 8pm Sat May 7 6pm Early start time! Vasily Petrenko, conductor / Inon Barnatan, piano

RACHMANINOFF Piano Concerto No. 1SHOSTAKOVICH Symphony No. 8

The young, critically-acclaimed Israeli pianist Inon Barnatan debuts at Orchestra Hall, and Vasily Petrenko conducts a signature work by Shostakovich.

STRAUSS’ MERRY PRANKS Thu May 12 11am / Fri May 13 8pm Asher Fisch, conductor / Amber Wagner, soprano

WAGNER Prelude and Liebestod from Tristan and IsoldeSTRAUSS Interludes from Die Frau ohne Schatten

Til Eulenspiegel’s Merry Pranks

Hear Wagner’s heavenly Liebestod with young American soprano Amber Wagner, plus musical gems by Richard Strauss.

INSIDE THE CLASSICS* THE EVOLUTION OF OPERA Fri May 20 8pm Sarah Hicks, conductor / Sam Bergman, host and violist

Join Sam and Sarah as they explore the history of opera: lifting the curtain on the dramatic combination of singers, players, stage and story.

Tickets $29 / $20 for patrons age 40 and under!

CIRQUE DE LA SYMPHONIE WITH THE MINNESOTA ORCHESTRA Sat May 21 8pm / Sun May 22 2pm Sarah Hicks, conductor

Watch the Orchestra perform while all around them (and flying over their heads!) the internationally acclaimed artists of Cirque de la Symphonie bring the Big Top to Orchestra Hall.

ERIN KEEFE PLAYS BRAHMS Fri May 27 & Sat May 28 8pm Osmo Vänskä, conductor / Erin Keefe, violin

PUTS Two Mountain ScenesNIELSEN Symphony No. 6, Sinfonia sempliceBRAHMS Violin Concerto

Hear one of the most beloved works for violin, performed by Concertmaster Erin Keefe.

SYMPHONY IN 60 Thu May 26 8pm

Enjoy this one-hour performance of Brahms followed by post-concert cocktails onstage with the musicians.

Tickets $29 / $20 for patrons age 40 and under!

PHOTOS Petrenko: Mark McNulty; Fisch: Chris Gonz; Keefe, Vänskä: Joel Larson Photography; Hicks: Josh Kohanek Photography

612.371.5656 / minnesotaorchestra.org / Orchestra Hall

VASILY PETRENKO

ASHER FISCH

SARAH HICKS

CIRQUE DE LA SYMPHONIE

OSMO VÄNSKÄ

Osmo Vänskä /// Music Director

Creative Partner:

*Please note: first half is conversation and orchestral excerpts, second half is a full performance.

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CL-1516-084 Schubert Club Ad.indd 1 2/22/16 11:29 AM

an die musik mar 4—apr 17, 2016

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