an die musik oct 26 - dec 31, 2015

October 26–December 31, 2015

An die MusikThe Schubert Club • schubert.org

You can get there. We can help.

Visit www.MN529today.com or call Chris McLeod 952-830-3127

their future!Help mold

The Art of TranscriptionFriday, October 30, 8:00pmSundin Music Hall at Hamline University, Saint Paul Sunday, November 1, 2:00pmCenter for the Performing Arts at St. Paul Academy and Summit School, Saint Paul

Fauré’s Piano Quartet No. 1Friday, February 5, 8:00pmSundin Music Hall at Hamline University, Saint PaulSunday, February 7, 2:00pmCenter for the Performing Arts at St. Paul Academy and Summit School, Saint Paul

Miniatures and MendelssohnFriday, April 8, 8:00pmSundin Music Hall at Hamline University, Saint PaulSunday, April 10, 2:00pmCenter for the Performing Arts at St. Paul Academy and Summit School, Saint Paul

Wynton Marsalis’s A Fiddler’s TaleFriday, June 3, 8:00pmSundin Music Hall at Hamline University, Saint Paul Sunday, June 5, 2:00pmCenter for the Performing Arts at St. Paul Academy and Summit School, Saint Paul

CHAMBER MUSIC SERIESOur extremely popular Chamber Music Series showcases the talents of SPCO

musicians as they perform a wide variety of works written for small ensembles. Set in Sundin Music Hall at Hamline University and the new Center for the Performing Arts at St. Paul

Academy and Summit School, these concerts provide listeners with some of the most intimate and engaging experiences the SPCO has to offer.

Save 33% off tickets to the SPCO’s intimate Chamber Music Series

Tickets for individual Chamber Music Series performances are available for $15 each4-concert series discounted pricing: Adult $40 (regularly $60); Child $20

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An die MusikOctober 26–December 31, 2015

Table of Contents

6 President and Artistic and Executive Director’s Welcome

9 Calendar of Events: January–March

10 Accordo

14 Joshua Bell & Sam Haywood

19 The Huberman Violin, by Joshua Bell

20 WindSync

26 Courtroom Concerts

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

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: Joshua Bell photo by Lisa-Marie Mazzucco

schubert.org/mix651.292.3268

Avi Avital, mandolin

Ksenija Sidorova, accordion

Itamar Doari, percussion

“Between Worlds”

Tuesday, March 8, 2016

at Aria in Minneapolisa new generation of

classical music

Phot

o: H

aral

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offm

an /

DG

6 THE SCHUBERT CLUB An die Musik

President and Artistic and Executive Director’s Welcome

There may be no such thing as a free lunch, but at

The Schubert Club there is lots of free music. This

issue of An die Musik covers nine Schubert Club

concerts, six of which are ABSOLUTELY FREE. Right

now you may be waiting for Joshua Bell to come on

stage; that concert, admittedly, is not free. But, flip

ahead in this magazine and take a look at the six free

Courtroom Concerts, all of which take place at noon

in a majestic courtroom of the Landmark Center.

If you have never been inside the beautiful and

historic courtrooms of Landmark Center, that alone

is reason enough to stop by for one of the concerts.

Another is that the concerts feature musicians of the

highest quality. A friend, after attending one of these

concerts a few seasons past, remarked incredulously:

“I would have paid $50 for that ticket in New York,

and, it was just as good as anything I could have

heard in New York!”

Yet another reason to check out the Courtroom

Concerts is that they frequently showcase Minnesota

composers. The November 5 concert highlights

music of The Schubert Club’s composer-in-residence

Edie Hill. If by December 17 you have had enough of

“Jingle Bells” and the Hallelujah Chorus you might

catch the Courtroom Concert of seasonal carol music

by Minnesota composers, organized by our other

composer-in-residence Abbie Betinis.

The generosity of The Schubert Club’s supporters

throughout its long history makes these free

concerts, and the support of Minnesota composers,

possible. Thank you and may your holidays be filled

with music.

Kim A. SeversonPresident

A warm welcome to The Schubert Club!

Whether you are reading this issue of An die Musik in

a concert hall as you wait for a performance, at home

by the fire or indeed you’re out-of-state in a warmer

climate, I am delighted that you care about The

Schubert Club and are interested in what we’re doing.

This issue includes program information for a whole

variety of performances in November and December

as well as our season calendar and information on all

those who give generously to make so much Schubert

Club activity possible.

In addition to the performances referenced in this

book, you may be interested to learn that the wind

quintet WindSync will be in residence here for almost

a week not only appearing (or rather reappearing)

in the Music in the Park Series, but also giving a free

lunchtime Courtroom Concert at Landmark Center,

a workshop with kids in the Neighborhood House

after-school program at the Wellstone Center, several

St. Anthony Park appearances and a family concert

at Landmark Center designed especially for families

touched by autism. Funded in part with a grant from

Arts Midwest as well as support from the Minnesota

State Arts Board and many thoughtful individual

donors, we are able to have musicians of outstanding

quality bring inspirational music-making to many

varied corners of our community. As we begin to feel

the approach of winter, sharing the power of music far

and wide should make at least our hearts warm.

Thank you for your support of The Schubert Club.

Barry KemptonArtistic and Executive Director

minnesotaorchestra.org612.371.5656 / Orchestra Hall

Media Partner:

A JOYOUS NEW YEAR: BEETHOVEN’S NINTH SYMPHONY New Year’s Eve Concert & Party: Thu Dec 31 8:30pm New Year’s Day Matinee: Fri Jan 1 2pm (limited availability)Osmo Vänskä, conductor / Tamara Wilson, sopranoJennifer Johnson Cano, mezzo / Zach Borichevsky, tenorEric Owens, bass-baritone / Minnesota Chorale

Bridge the old and new years with Beethoven’s graceful First and his towering Ninth. Join us afterward as we toast the New Year with more entertainment, a countdown and, of course, champagne—or catch a reprise of the performance on New Year’s Day.

BEETHOVEN SYMPHONY 7 PIANO CONCERTOS 1 & 2 Fri Jan 8 8pm Osmo Vänskä, conductor / Yevgeny Sudbin, piano

The superbly gifted Yevgeny Sudbin balances athletic strength and virtuosity performing back-to-back concertos. To send you dancing into the evening air, the program concludes with the cascading excitement of Beethoven’s Seventh which Osmo Vänskä likens to early rock ’n’ roll.

BEETHOVEN SYMPHONIES 8 & 3 THIRD PIANO CONCERTO Sat Jan 9 8pm / Sun Jan 10 2pm Osmo Vänskä, conductor / Yevgeny Sudbin, piano

Beethoven's Eroica, full of the revolution and hope then sweeping Europe, is almost a concert unto itself. Paired with it are the light-hearted Symphony No. 8 and the Piano Concerto No. 3, with its passages that simply melt with beauty.

BEETHOVEN SYMPHONIES 2 & 5 EMPEROR PIANO CONCERTO Thu Jan 14 11am / Sat Jan 16 8pm Osmo Vänskä, conductor / Yevgeny Sudbin, piano

The season’s hottest ticket? You’ll find it here with two momentous summits in one concert: Beethoven’s Piano Concerto No. 5, aptly named Emperor, and Symphony No. 5, the composer’s signature cryof tragedy to triumph. The program begins with a climb up the sun-washed foothills of Symphony No. 2.

BEETHOVEN SYMPHONIES 4 & 6 FOURTH PIANO CONCERTO Fri Jan 15 8pmOsmo Vänskä, conductor / Yevgeny Sudbin, piano

The Beethoven Marathon wraps up with three gorgeous works, each of which ultimately breaks into joy: the nature-themed Pastoral and the Fourth Symphony—both among Beethoven’s happiest expressions—and the Fourth Piano Concerto, which begins with a whisper-quiet hymn.

B E E T H O V E N M A R AT H O N9 SY M P H O N I E S . 5 P I A N O C O N C E R T O S . 8 DAY S .

1516 S

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Osmo Vänskä /// Music Director


Oratoriosociety of minnesota

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November 21, 20157:30 p.m.

Ordway Concert HallSt. Paul

Tickets & Information at www.oratorio.org

Midwest PremiereREAPING THE WHIRLWIND

The harvesT of War

Jeffrey Van (2014)

11.25ELEGY: In memoriam Rupert BrookesTring orchesTra & harp

Frederick S. Kelly (1915)

AS THE LEAVES FALLHarold Darke (1917)

WE WILL REMEMBER THEMChristopher Willcock (2014)

Hannah Armstrong Stanke sopranoClara Osowski mezzo sopranoPhilip Zawisza baritone

Oratorio Society Chorus & OrchestraMatthew Mehaffey, conductor

We invite you to join us for an unforgettable Season of Music & Film Premieres presented in the Twin Cities’ finest performance venues

2015 - 2016 36 th anniversary season

remembrance dayconcerT

voices of lighTThe passion of joan of arc

by Richard Einhorn1928 Silent Film by Carl Dreyer

Friday

April 22, 20168:00 p.m.

Basilica of Saint MaryMinneapolis

Friday

April 15, 20168:00 p.m.

Cathedral of Saint PaulSt. Paul

Twin Cities Premiere

A Stunning Evening of Music and Film

Use Code: MMEH20% Discount for Schubert Club Patrons

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

Proud to partner with

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More information at schubert.orgTicket office 651.292.3268

Calendar of EventsJanuary–March

JANUARY 2016

MARCH 2016

FEBRUARY 2016

Thu, Jan 7 • 12 PM Landmark CenterCourtroom Concert—freeFrancis Poulenc’s BirthdayHannah Peterson, flute; Tim Shows, oboe

Thu, Jan 14 • 12 PM Landmark CenterCourtroom Concert—freeJonathan Mattson, piano

Sun, Jan 16 • 11:00 AM Landmark CenterAzure Family Concert (for families touched by autism)Stephen Prutsman, piano

Tue, Jan 19 • 7:30 PM Ordway Music TheaterAccordo with Silent Movieswith Stephen Prutsman, piano

Thu, Jan 21 • 12 PM Landmark CenterCourtroom Concert—freeMusic of Dominick Argento & Libby LarsenClara Osowski, mezzo-soprano; Jake Endres, baritone

Mon, Feb 1 • 7:30 PM James J. Hill HouseMon, Feb 8 • 7:30 PMHill House Chamber Players

Thu, Feb 4 • 12 PM Landmark CenterCourtroom Concert—freeMusic of Stan WoolnerIvan Konev, piano

Sun, Feb 7 • 4 PM Saint Anthony Park UCCMusic in the Park Series Julie Albers, cello & Orion Weiss, piano

Thu, Feb 11 • 12 PM Landmark CenterCourtroom Concert—freeMirandola Ensemble

Tue, Feb 16 • 7:30 PM Ordway Music TheaterWed, Feb 17 • 10:30 AMInternational Artist Series Igor Levit, piano

Thu, Feb 18 • 12 PM Landmark CenterCourtroom Concert—freeI. Music of Jocelyn Hagen David Walton, tenor and Erik Barsness, percussionII. Dolce Wind Quintet

Thu, Feb 25 • 12 PM Landmark CenterCourtroom Concert—freeLaura Sewell, cello; Ora Itkin, piano; Chris Kachian, guitar

Thu, Feb 25 • 7:30 PM Landmark CenterLive at the Museum The Schubert Club Manuscripts Vern Sutton & Friends

Thu, Mar 3 • 12 PM Landmark CenterCourtroom Concert—freeCameron Pieper, piano

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

Thu, Mar 10 • 12 PM Landmark CenterCourtroom Concert—free David Franzel, saxophone

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 Landmark CenterBruce P. Carlson Scholarship CompetitionCompetition Finals

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

Thu, Mar 24 • 12 PM Landmark CenterCourtroom Concert—freeMusic of Paul John Rudoi & Timothy C. Takach

Thu, Mar 31 • 12 PM Landmark CenterCourtroom Concert—freeArtu Duo: Garret Ross, piano & Ruth Marshall, cello

Michael Collins

The Schubert Cluband

Kate Nordstrum Projects

present

Accordo

Steven Copes, violin • Erin Keefe, violin

Maiya Papach, viola • Ronald Thomas, cello

Rieko Aizawa, piano

Monday, October 26, 2015 • 7:30 PM

Piano Trio in C minor, Opus 66 Felix Mendelssohn

Allegro energico e fuoco Andante espressivo Scherzo: Molto Allegro quasi Presto Finale: Allegro appassionato

Keefe, Thomas, Aizawa

Copes, Keefe, Papach, Thomas

String Quartet in F major, Opus 59, No. 1 Ludwig van Beethoven

Allegro Allegretto vivace e sempre scherzando Adagio molto e mesto Thème russe: Allegro

Copes, Papach

Sonatina for Violin and Viola, Opus 226 Darius Milhaud

Decidé Lent Fugue

Intermission

Thank you to Accordo’s season sponsor, Accredited Investors Inc.

PLEASE SILENCE ALL ELECTRONIC DEVICES

schubert.org 11

AccordoMonday, October 26, 2015 • 7:30 PM • Christ Church Lutheran

Sonatina for Violin and Viola, Opus 226Darius Milhaud (b. Marseille, 1892; d. Geneva, 1974)

French composer Darius Milhaud developed an eclectic

style from a variety of influences, including the songs of the

workers who sorted almonds for his father’s business, the

recent American development of jazz, fellow countryman

Claude Debussy, and Brazilian popular music. His Sonatina for

Violin and Viola, Opus 226, composed in 1941, reveals an older

influence: Baroque music. The energetic Decidé features a thick

contrapuntal texture that would be at home in the eighteenth

century, though the unexpected harmonic shifts mark it as

belonging to the twentieth century. The viola presents the

melancholy melody of the Lent, with the violin offering tasteful

embellishments. The violin part becomes more complex until

the two instruments switch roles—the violin takes over the

melody with the viola as accompaniment. As the movement

unfolds, the two instruments’ lines become so intertwined

that neither seems subordinate; they depend upon each other,

ending together in harmony. The Fugue bursts into a playful viola

tune, chased by a violin echo. Again, their lines tangle together,

creating dense textures that are nevertheless full of

buoyant energy.

String Quartet in F major, Opus 59, No. 1 Ludwig van Beethoven (b. Bonn, 1770; d. Vienna, 1827)

With his third symphony, nicknamed Eroica, Ludwig van

Beethoven ushered in a new phase of his composing: “heroic,”

bolder, and more experimental than the Classical sounds of his

first period. In his chamber music, this new style manifested in

the three Razumovsky quartets of Opus 59. The quartets were

named for Count Andreas Kyrillovitch Razumovsky, the Russian

ambassador to Vienna, a violinist who commissioned them to

be played at his new palace on the Danube. Once Beethoven

received the commission, he devoted himself wholly to his work, Palais Rasumofsky, painting by Gurk

Program Notes producing the quartets between May and October 1806. They

pushed the boundaries of the genre, challenging players and

audiences alike. According to Beethoven’s student Carl Czerny,

when the musicians first received the String Quartet in F major,

Opus 59, No. 1, they thought that Beethoven had played a joke on

them due to its length and difficulty. When he learned that first

violinist Ignaz Schuppanzigh complained about the challenging

passages, Beethoven famously responded, “Does he think I care

about his miserable fiddle when the spirit moves me?”

The cello begins the Allegro with a carefree melody built on

a rising gesture that becomes integral to the movement as a

whole. The theme transfers to the first violin and the exposition

continues, settling into a lush second theme. Though the

standard procedure would be to repeat all of the opening

material, when Beethoven returns to the first theme, he takes off

in another direction, fragmenting the melody and making it the

basis of an expansive development section that includes a stern

fugue. Beethoven sneaks the recapitulation in, then transitions

smoothly to a long coda that revisits old material in yet new

configurations. The second movement, Allegretto vivace e sempre

scherzando, begins with the drum-like cello beating out a rhythm

on a single pitch, followed by the second violin introducing a

dance tune. As the scherzo gets underway, it becomes clear

that the drum rhythm was more than just an introduction, as it

permeates the movement at every level. The movement is full of

surprises, sounding boisterous one moment and mysterious the

next. The Adagio molto e mesto is solemn and funereal, reflecting

the inscription Beethoven wrote on a sketch of the movement:

“A weeping willow or acacia tree on my brother’s grave.” As both

of Beethoven’s brothers were still alive, this phrase is thought

to have other significance, perhaps Masonic. The movement

features long, arching melodies with anxious embellishments. It

creeps into major to offer sublime hope, which makes the return

to minor all the more tragic with its ponderous pizzicato. The first

Darius Milhaud


violin ends the movement with a trill that acts as a bridge

to the Allegro, in which the cello introduces a jaunty Russian

melody, reflecting the nationality of the quartet’s dedicatee.

What follows is a spirited finale, full of bright effects and

intricate rhythmic interplay.

Piano Trio in C minor, Opus 66Felix Mendelssohn(b. Hamburg, 1809; d. Leipzig, 1847)

Toward the end of his life, Felix Mendelssohn was

exceptionally busy. His services as a performer and

conductor were always in demand. In 1845, the year he

composed his second piano trio (the last chamber work

published in his lifetime), Mendelssohn was settling his

family in Frankfurt, finishing up his duties to the king in

Berlin, conducting the Gewandhaus Orchestra, and teaching

at the conservatory in Leipzig, and traveling to London to

conduct for their Philharmonic Society. He was also offered

the opportunity to conduct a music festival in New York that

year, but he turned it down. Somehow in the midst of all

this activity, he still found time to compose.

The Piano Trio No. 2 in C minor, Opus 66 begins with an

ominous Allegro energico e fuoco, with a winding theme

in the piano echoed by the violin and cello. The violin

introduces a mournful melody over the piano’s agitated

runs, then passes it off to the cello. All three instruments

A special thanks to the Accordo donors:

Performance SponsorsEileen BaumgartnerHella Mears Hueg and Bill HuegRuth and John HussLucy Jones and James JohnsonGarrison Keillor and Jenny NilssonAnn and Alfred Moore

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

PatronsBeverly S. AndersonDavid and Gretchen AndersonRoger J. AndersonDorothy BoenBarbara Ann BrownBonnie BrzeskowiakBirgitte and John ChristiansonMaggie CordsPamela and Stephen DesnickDr. and Mrs. Thomas DuckerGeorge EhrenbergJohn Floberg and Martha HicknerBarbara and John FoxPatricia GaarderNancy and Jack GarlandMary Glynn, Peg and Liz GlynnKatherine GoodrichBonnie Gretz

Beverly L. HlavacBrian Horrigan and Amy LevineCarol A. JohnsonMary A. JonesKris and John KaplanMiriam and Erwin KelenMary LachDavid G. LarsonKaren S. LeeThomas LogelandThomas L. MannMary and Ron MattsonMargot McKinneyBarbara and Ralph MenkJane C. MercierJohn Michel and Berit MidelfortDavid Miller and Mary DewElizabeth MyersJ. Shipley and Helen Newlin

Sonja and Lowell NoteboomPatricia O’GormanJudy and Scott OlsenSydney M. PhillipsAnn C. RichterElizabeth and Roger RickettsTamara and Michael RootSteven Savitt and Gloria KumagaiSylvia SchwendimanSusan and Bill ScottScott Studios, Inc. and William ScottMarge and Ed SenningerEmily and Dan ShapiroPatricia and Arne SorensonJudith and Bruce TennebaumChuck Ullery and Elsa NilssonCarol and Tim WahlBarbara WeissbergerMarguerite and Alex Wilson

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arrive together for the

heroic second theme, which

offers a contrast to the

foreboding previous material.

Mendelssohn masterfully

weaves these disparate

elements together in the

development section before

parsing them out again in

the recapitulation. The piano begins the lilting Andante

espressivo alone, calling to mind Mendelssohn’s popular

Songs Without Words. The violin and cello follow the piano’s

lead, tenderly embracing the melody. The middle of the

movement grows tumultuous, starting with a plaintive

melody in the cello, but the tranquil mood is restored by

the end. The Scherzo: Molto Allegro quasi Presto typifies

the Mendelssohnian style of scherzo—it scampers around

nimbly and mysteriously before disappearing. The Allegro

appassionato finale is in the form of a rondo, with a

flamboyant recurring melody introduced by the cello. The

rondo theme is offset by contrasting episodes, including

the triumphal appearance of the Lutheran chorale “Gelobet

seist du, Jesu Christ.” Mendelssohn gathers material from all

of the themes for a massive push toward the

thrilling conclusion.

Program notes by Linda Shaver Gleason

Are you a classical instrumentalist, vocalist or composer, aged 14 – 18?

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spco_LM_AccordoProgramAd.indd 1 10/2/2015 10:25:58 AM

The Schubert Club

presents

Joshua Bell, violinSam Haywood, piano

Sunday, November 1, 2015 • 3:00 PMPre-concert conversation by David Evan Thomas at 2:00 PM


Chaconne Attributed to Tomaso Antonio Vitali

Sonata No. 9 in A major, Opus 47, Kreutzer Ludwig van Beethoven

Adagio sostenuto–Presto Andante con variazioni Presto

Intermission

Sonata in A major César Franck

Allegretto ben moderato Allegro Recitative-Fantasia: Ben moderato Allegretto poco mosso

This afternoon’s concert is dedicated in honor of Catherine and John Neimeyer by Nancy and Ted Weyerhaeuser

Additional pieces to be announced from the stage

schubert.org 15

International Artist SeriesSunday, November 1, 2015 • 3:00 PM • Ordway Music Theater

Photos: Lisa-Marie Mazzucco, Panos Damaskinidis

Joshua Bell is one of the most celebrated violinists of his era,

and his restless curiosity, passion, and multi-faceted musical

interests are almost unparalleled in

the world of classical music. Named

the Music Director of the Academy

of St Martin in the Fields in 2011,

Bell is the first person to hold this

post since Sir Neville Marriner

formed the orchestra in 1958.

An exclusive Sony Classical artist,

Bell has recorded more than 40

CDs since his first LP recording at age 18 on the Decca Label,

garnering Grammy, Mercury, Gramophone, and Echo Klassik

awards in the process. The Academy of St. Martin in the Fields’

first release under Bell’s leadership, Beethoven Symphonies

No. 4 and 7, debuted at #1 on the Billboard charts, and was

followed up by the critically acclaimed Bach. Other recent

releases include French Impressions with pianist Jeremy Denk,

At Home With Friends, Vivaldi’s The Four Seasons with the

Academy of St Martin in the Fields, and Tchaikovsky’s Violin

Concerto with the Berlin Philharmonic. His discography

encompasses much of the major violin repertoire as well as

ground-breaking collaborations across multiple musical genres

with respected artists from the worlds of Pop (Sting, Josh

Groban), Jazz (Chick Corea, Branford Marsalis), Bluegrass (Edgar

Meyer, Bela Fleck) and Film (including John Corigliano’s Oscar-

winning soundtrack, The Red Violin, and the Oscar-nominated

score to Ladies in Lavender written by Nigel Hess and starring

Dames Judy Dench and Maggie Smith).

Born in Bloomington, Indiana, Bell received his first violin at

age four, and at 12 began studying with the legendary Josef

Gingold at Indiana University where he now serves as a senior

lecturer at the Jacobs School of Music. At the age of 14 Bell

began his rise to stardom, performing with Riccardo Muti and

the Philadelphia Orchestra and at age 17 making his Carnegie

Hall debut and touring Europe for the first time.

Perhaps the event that helped most to transform his

reputation from “musician’s musician” to “household

name” was his incognito performance in a Washington,

DC subway station in 2007. Ever adventurous, Bell had

agreed to participate in the Washington Post story by Gene

Weingarten which thoughtfully examined art and context.

The story earned Weingarten a Pulitzer Prize and sparked

an international firestorm of discussion. The conversation

continues to this day, thanks in part to the September 2013

publication of the children’s book The Man with the Violin by

Kathy Stinson, illustrated by Dušan Petrii from Annick Press.

Bell has received many accolades: in 2013 he was honored by

the New York Chapter, The Recording Academy; in 2012 by the

National Young Arts Foundation; in 2011 he received the Paul

Newman Award from Arts Horizons and the Huberman Award

from Moment Magazine. Bell was named ‘Instrumentalist

of the Year, 2010’ by Musical America and received the

Humanitarian Award from Seton Hall University. In 2009 he

was honoured by Education Through Music and he received

the Academy of Achievement Award in 2008. He was awarded

the Avery Fisher Prize in 2007 and was inducted into the

Hollywood Bowl Hall of Fame in 2005.

In 2003 Bell was chosen to perform at the World Economic

Forum for an audience of world leaders and was later

recognized by that prestigious organisation as a Young

Global Leader. Convinced of the value of music as both a

diplomatic and educational tool, he has performed for three

U.S. Presidents as well as the President of China and has

devoted himself to several charitable causes, most notably

Education Through Music, which has helped put instruments

in the hands of tens of thousands of kids in the inner cities

of America.Bell performs on the 1713 Huberman Stradivarius

violin and uses a late 18th century French bow by François

Tourte. More information at www.joshuabell.com

Sam Haywood has performed to

critical acclaim in many of the world’s

major concert halls. As a chamber

musician he is a regular duo partner

of Joshua Bell and Steven Isserlis,

and performs with many leading

chamber ensembles. For Hyperion

he has recorded the piano works

of Russian pianist-composer Julius

Isserlis, grandfather of cellist Steven Isserlis. His latest album

Composers in Love brings together both well-loved and lesser

known music inspired by composers’ muses. To celebrate

Chopin’s bicentennial year, Haywood made the world première

recording on Chopin’s own Pleyel piano, part of the Cobbe

Collection at Hatchlands. He is also featured on Joshua Bell’s

Musical Gifts for Sony Masterworks. He has broadcast widely

in USA and Europe and was recently a guest on BBC

Radio 4’s Midweek.

Following Haywood’s early success in BBC Young Musician of

the Year, the Royal Philharmonic Society awarded him their

prestigious Isserlis Award. He studied with Paul Badura-Skoda


Program Notes

ChaconneAttributed to Tomaso Antonio Vitali (b. Bologna, 1663; d. Modena, 1745)

Whether it’s the heavy tread of Bach’s “Crucifixus” or the

hammered piano of “The Night They Drove Old Dixie Down,”

a descending bass conveys a powerful sense of destiny.

Variations on ostinato harmonies were stock-in-trade for

Baroque-era performers, vehicles for improvisation and

display. A score in a Dresden library collection elaborates

nearly 60 variations on a four-note ground bass. The piece,

which modulates freely, even bizarrely, is identified as “Parte

del Tomaso Vitalino,” referring to Tomaso Antonio Vitali

(1663–1745), the leader of the Este orchestra in Modena

whose students included Dall’Abaco and Senaillé. But

scholars agree that the music is not Vitali’s. Ferdinand David

(1810–1873), Mendelssohn’s concertmaster in Leipzig and

a composer, gave the work a title and arranged it in grand

fashion in the manner of Bach’s great D-minor Chaconne,

adding dazzling figuration and an elaborate piano part.

David’s is the version one encounters most often. Whether

you call it a chaconne or passacaglia—the terms were

virtually interchangeable in “Vitali’s” lifetime—this is a four-

wheel drive, all-terrain vehicle.

Sonata No. 9 in A major, Opus 47, KreutzerLudwig van Beethoven (b. Bonn, 1770; d. Vienna, 1827)

The Kreutzer, even if it is not played as much as it was fifty

or a hundred years ago, is still the most famous of violin

sonatas. Tolstoy took its title for one of those querulous,

anti-sexual polemics of his later years, though in the midst of

the nagging, he tells a compelling story of jealousy, reflecting

some of the legend that surrounds the Sonata itself. (In

1923, Janácek took it one more step when he wrote a string

quartet, a marvelous piece, based on Tolstoy’s novella.)

Beethoven composed the Sonata in the early spring of 1803

for a concert he was to give that May with the Ethiopian-

Polish violinist, Georg Auguste Polgreen Bridgetower. The

autograph is lost, but is said to have been inscribed Sonata

mulattica Composta per il Mulattico Brischdauer gran pazzo

e compositore mulattico or something to that effect. The

“great mulatto madman and composer” and the even greater

madman and composer from the Rhineland introduced

the sonata with huge success, even though Bridgetower/

Brischdauer had to read from Beethoven’s close to illegible

manuscript. More, there had not been time to compose

a finale, and Beethoven lifted the last movement from

an earlier sonata in the same key, Opus 30, No. 1 (which

subsequently got a new finale of its own).

Then, the story goes, Beethoven quarreled with Bridgetower

over a woman and in consequence withdrew his dedication,

substituting for Bridgetower’s name that of the celebrated

French violinist Rodolphe Kreutzer. (Kreutzer’s many études

are still standard fare in the teaching and torment of

in Vienna, where he began his enduring love affair with

opera. At the Royal Academy of Music in London, he was

mentored by the great teacher Maria Curcio, a pupil of Artur

Schnabel.Private audiences have included Princess Diana,

HRHs Prince and Princess Michael of Kent, Hillary Clinton and

Xi Jingping, President of China.

Haywood is co-founder and Artistic Director of the Solent

Music Festival, which combines recitals by internationally-

renowned artists with projects in the local community. He

attaches great importance to his work with young people. He

is an Ambassador to the West Lakes Academy, has written a

children’s opera and is regularly involved in family concerts,

workshops and master classes. His Song of the Penguins, for

bassoon and piano, is published by Emerson Editions.

He is also the inventor of memorystars (memory-stars.com),

which can dramatically reduce the time needed to memorise

a music score, or indeed any printed text.

His many passions include inspiring science lectures, natural

history, technology, magic, scooting, table tennis and chess.

Rodolphe Kreutzer

Georg Auguste Polgreen Bridgetower

schubert.org 17

violinists.) Beethoven’s choice of Kreutzer probably had to do

with the entirely hard-headed, unromantic wish to shore up

his professional good relations with musical eminences in

France, and Kreutzer certainly was one of those. There is no

information that Kreutzer ever played the sonata that made

his name famous.

The Kreutzer is the most brilliant of Beethoven’s sonatas

with violin: the composer himself noted in his sketchbook

that it was “written in a very concertante style, almost like

a concerto.” The sonata is often designated as being in A

major, although this feels quite wrong. (The first edition

gives no key and the autograph, as noted earlier, has

vanished.) The slow introduction does indeed begin in A

major, and, arrestingly, with the violin alone. When the piano

enters in the fifth measure, it also does so with a chord of

A major but immediately “corrects” this, and the remainder

of this suspenseful Adagio is definitely oriented toward the

darker mode. The main part of the movement, a fiery Presto,

is set firmly in A minor, and it is one of Beethoven’s most

impetuously dramatic and ardent achievements. After this,

the work rather changes tone: the variations that make up

the middle movement are more than anything decorative

and virtuosic, and the finale is a swift and winning tarantella.

Sonata in A majorCésar Franck (b. Liège, 1822; d. Paris 1890)

For many, Franck’s name is apt to conjure the vision of a

serene, wizened old master presiding over the console of

one of Cavaillé-Coll’s finest instruments in the organ loft

of Paris’s basilica of Sainte-Clothilde. He is improvising in a

remote key, and he is surrounded by a band of adoring, even

over-zealous, student-disciples who will take to the streets

immediately following the service to carry the flame of

their master’s genius. There is truth to this, but it is only a

portion of the whole story.

Franck was born in the French-speaking Walloon district

of the Netherlands, a region that would later become

Belgium, although his parents were of Germanic ancestry.

He was musically precocious, and his father,

Nicolas-Joseph, determined to have a child prodigy in

the family, ruthlessly exploited the child’s talent in ways

that make Leopold Mozart’s and Johann van Beethoven’s

methods of promotion seem benign. César outgrew the

Liége Conservatory by age thirteen, so concert tours and

study in Paris were the next step.

Franck’s Conservatory career was exemplary, laden with

First Prizes and honors. He decided to study organ during

his third year at the Conservatory, in autumn of 1840,

at age eighteen, with hopes of eventually securing an

organist’s post. He continued to concertize during these

Conservatory years, and his father set up piano and

harmony classes for César to teach at home, as well as

a grueling round of private piano instruction at various

boarding schools.

Franck began to attain fame once he ascended the organ

loft at Sainte-Clothilde. His appointment came in January

1858, and he soon acquired a loyal following of auditors

and students who gathered to hear his passionate and

mystical improvisations. Franck’s initial achievement was

to reform the accepted conventions of sacred organ music

in France, which had fallen into a state of decay. Instead of

facile, meretricious displays of virtuosity for its own sake,

he played Bach. His improvisations were solely intended

as an aid to worship, to buttress religious emotion. As

significant as his achievements were in the organ loft, he

exerted an even greater influence from the classroom. In

1872 he succeeded his former teacher François Benoist

as Professor of Organ at the Conservatoire, and over the

next nineteen years Franck trained an entire generation

of French composers. So pure were Franck’s ideals, with its

emphasis on musical architecture, thematic development,

and sincerity of expression, that the term “Franckism” was

coined by his followers, who promulgated his teachings as

a kind of doctrine.

Rather like Haydn, Bruckner, and Janácek, the unworldly

Franck was one of those artists slow to come into their

César Franck at the console, painting by Jeanne Rongier

Program Notes continued

own and to whom advancing years bring a crescendo of

originality and invention. He was in his fifties when he wrote

the symphonic poem Les Éolides, the first in that run of late

masterpieces including the Piano Quintet, the Prelude, Chorale,

and Fugue, and the D-minor Symphony. At sixty-three he wrote

the Sonata for Violin and Piano as a wedding present for his

young compatriot, the violinist, composer and conductor

Eugène Ysaÿe, who then gave the first performance in 1887

with his distinguished sonata partner, the French pianist

Raoul Pugno.

In a manner quite typical for late Franck, the layout of this

Sonata is altogether original. A gently meditative Allegretto,

whose final all-but-throwaway feminine cadence is very much

in character, is introductory in nature and function, setting, by

extreme contrast, the scene for the “real” first movement. This

is a stormy Allegro that recalls Schumannesque fervors. The

third and fourth movements are also paired, an impassioned

recitative with grand aria leading to the sweetly songful finale

with its pleasing canons.

Beethoven, Franck program notes © Michael Steinberg.

Reprinted by kind permission of Jorja Fleezanis.

Vitali program notes © 2015 by David Evan Thomas.

Igor Levitpiano

Tuesday, February 16, 7:30 PMWednesday, February 17, 10:30 AM

Ordway Concert Hallschubert.org • 651.292.3268

Family Concert co-presented by Music in the Park Series & Saint Anthony Park Lutheran Church WindSync

Friday, November 20, 2015 • 6:30 PM

Saint Anthony Park Lutheran Church • Free-will donation

schubert.org/family • 651.292.3268

For children of all ages!

schubert.org 19

My violin is over 300 years old.

Known as the Gibson ex-Huberman, the revered instrument

came into my life one fateful day during the summer of 2001,

I was in London, getting ready to play a Proms concert at the

Royal Albert Hall and decided to stop by the famous violin

shop J & A Beare to pick up some strings. As I entered the

shop, Charles Beare was just coming out of the back room

with a stunning violin in hand. He told me that it was the

famous Huberman Strad, and of course I was

instantly intrigued.

I soon learned all of the known details of the violin’s

remarkable history, which is complete with twists and turns

to rival the film that I had only recently finished working

on—The Red Violin. Believed to be one of only five or six

instruments made in 1713 by Antonio Stradivari in Cremona,

Italy, the violin has belonged to many, including the English

violinist George Alfred Gibson. But it was its connection to

Bronislaw Huberman that I found particularly fascinating and

somewhat personal.

Huberman was a Jewish Polish violinist who lived from

1882–1947. He was a child prodigy who was revered

for hisremarkable virtuosity and daring interpretations.

Huberman studied under Joseph Joachim in Berlin, and by

the age of 11 he was already touring Europe as a virtuoso. It

was during one of those early tours that he met the pianist

Arthur Rubinstein, who was only six at the time, and had not

yet achieved the legendary status that he came to hold. The

two musicians remained lifelong friends.

At 13, Huberman had the honor of performing the violin

concerto of Johannes Brahms in the presence of the

composer himself, who was stunned by his interpretation.

According to biographer Max Kalbeck, “As soon as Brahms

heard the sound of the violin, he pricked up his ears, during

the Andante he wiped his eyes, and after the Finale he

went into the green room, embraced the young fellow, and

stroked his cheeks. When Huberman complained that the

public applauded after the cadenza, breaking into the lovely

Cantilena, Brahms replied, ‘You should not have played the

cadenza so beautifully.’”

Huberman became one of the most celebrated musicians

of his time, but it was in 1929 that his contribution to

humanity took on an added dimension. During that year he

visited Palestine and came up with the idea to establish a

classical music presence there. During Hitler’s rise to power,

Bronisław Huberman 1882–1947)

Huberman had the foresight to realize he could save many

Jewish artists while fulfilling his desire to start a Palestinian

Orchestra. Huberman auditioned musicians from all over

Europe. Those selected for the orchestra would receive

contracts and, most importantly, otherwise impossible-to-

get exit visas from their homeland to Palestine. Huberman

raised the money for the musicians and then their families,

even partnering with Albert Einstein to set up an exhaustive

U.S. fundraising trip in 1936. By the end of that tour, the

money for the orchestra was secured and sixty top-rate

players had been chosen from Germany and Central Europe.

All in all, it was a fantastically successful tour, barring one

particular performance at Carnegie Hall on February 28th.

That night Huberman chose to play the second half of his

concert on his ‘other violin’, a Guarneri del Gesu. During the

applause following his performance of the Franck Sonata,

Huberman’s valet walked on stage to inform him that his

Stradivarius had been stolen from his dressing room. The

police were called while Huberman tried not to panic,

continuing optimistically with his encores. The instrument

had previously been stolen in 1919 from a hotel room in

Vienna but was recovered days later when the thief tried to

sell it. This time, Huberman was not so lucky.

There are several versions as to exactly how and why the

violin was stolen, but what we know for sure is that the

instrument ended up in the hands of a young freelance

violinist by the name of Julian Altman. Some say Altman’s

mother convinced him to steal it; others report that Altman

bought if off the actual thief for $100. Regardless, Altman

took great pains to conceal the violin’s true identity, covering

its lovely varnish with shoe polish and performing on it

throughout the rest of his career, which included a stint as

first chair with the National Symphony Orchestra during

World War II.

The Huberman Violin by Joshua Bell

continued on page 25

The Schubert Club

Music in the Park Series

presents

WindSyncGarrett Hudson, flute • Emily Tsai, oboe

Jack Marquardt, clarinet • Tracy Jacobson, bassoonAnni Hochhalter, hornSunday, November 22, 2015 • 4:00 PM

Pre-concert conversation at 3:00 PM

Scherzo from A Midsummer Night’s Dream, Opus 61 Felix Mendelssohn, arr. Windsync

Winter Music Adam Schoenberg

“Exit Music (for a film)” Radiohead, arr. Windsync

Suite from Pulcinella Igor Stravinsky, arr. Windsync Sinfonia Serenate Gavotta con due Variazione Menuetto and Finale

Intermission

Suite from Romeo and Juliet Sergei Prokofiev Montegues and Capulets Romeo Juliet Balcony The Duel Romeo at Juliet’s Grave

Suite from West Side Story Leonard Bernstein, arr. Windsync Prologue Scherzo Mambo Cha-cha (Meeting scene) Maria Balcony Scene (Tonight) America Act 1 Finale

Something About a Rose: Inspired by Shakespeare

This presentation is supported by the Arts Midwest Touring Fund, a program of Arts Midwest, which is

generously supported by the National Endowment for the Arts with additional contributions from

Minnesota State Arts Board and General Mills Foundation.


schubert.org 21

Music in the Park SeriesSunday, November 22, 2015 • 4:00 PM • Saint Anthony Park United Church of Christ

Hailed by the Houston Chronicle as “revolutionary chamber

musicians,” WindSync is a fresh and energetic wind

quintet internationally recognized for dramatic and

engaging interpretations of classical music. As a winner of

the 2012 Concert Artists Guild Victor Elmaleh International

Competition, they received the Adventurous Artist Prize.

Critics and audiences alike rave about programs that

expand the wind quintet repertoire with a wide array of

original arrangements of classical masterworks, hidden

gems, and performances of newly commissioned works.

These five virtuoso players perform exclusively from

memory inspiring audiences of all ages with adventurous

programming and charismatic stage presence.

WindSync’s 2015–16 season features concerts throughout

the US and Canada, as well as in Panama City, Panama.

Featured performances include the Library of Congress in

Washington, DC, including the world premiere of a new

quintet by American composer Paul Lansky

(co-commissioned by the LOC and the Chamber Music

Society of Lincoln Center) and extended residencies with

The Schubert Club in St. Paul, the Chamber Music Festival of

Lexington, KY, and Quad City Arts in Illinois & Iowa. Also in

May 2016, the Quintet looks forward to the world premiere

of a new concerto written for them by American Composer

Michael Gilbertson, in collaboration with the Lafayette

Symphony of Indiana.

Houston Public Radio’s The Front Row called WindSync

“innovative…unconventional and exciting,” and other recent

radio appearances include Performance Today of American

Public Media, Minnesota Public Radio and The McGraw

Hill Financial’s Young Artists Showcase program on WQXR

in New York. In 2014, Houston Public Media released the

group’s new CD, Common Thread, which is comprised of the

group’s unique arrangements, and a second new recording

will be released by CAG Records during the

2015–16 season.

WindSync recent engagement highlights Weill Recital Hall

at Carnegie Hall, Shanghai Oriental Arts Center in China,

New York’s Metropolitan Museum of Art, Chautauqua

Institution, Washington Performing Arts Society,

Caramoor Center for the Arts, and the Hobby Center for

the Performing Arts in Houston, where the group has been

based since its inception in 2009.

The group was selected as Ensemble in Residence for the

Da Camera of Houston Young Artist Program in 2011–12

and held the position of Ensemble in Residence with the

Grand Teton Music Festival during the summers of 2012

and 2013 and ensemble in residence at the Chamber

Music Festival of Lexington from 2013 through 2015.

WindSync is strongly committed to educational

enrichment and promoting arts engagement, featuring

outreach performances designed for their specific

audiences including students, community audiences and

people with disabilities. WindSync has been presented

in diverse spaces including museums, outdoor venues,

hospitals and schools, in educational performances by

The Seattle Symphony, Rockport Chamber Music Festival,

Orcas Island Chamber Music Festival, Music for Autism,

and the Canucks Autism Network in Canada. The group

has also performed lecture recitals, workshops and master

classes presented by Stanford University, Adelphi, CSU

Long Beach, and the University of Minnesota among

others. WindSync’s latest initiative is The Play Different

Project, a campaign against bullying, launched in spring

2013, which teaches literacy, music, and appreciation of

differences through original music and poetry.

Individual bios can be found on page 29

WindSync’s Schubert Club/Music in the Park Series residency,

supported in part by Arts Midwest, Saint Anthony Park

Community Foundation, Trillium Foundation, Elmer L. and

Eleanor J. Andersen Foundation, and Boss Foundation, includes

performances at Saint Anthony Park Elementary School and

Saint Anthony Park Home, a Family Concert, a Courtroom

Concert, a KidsJam workshop, a workshop at Murray Middle

School, and a special performance for families touched

by autism.


Oberon, Titania, and Puck with Fairies Dancing

by William Blake

Romeo and Juliet, particularly Franco Zeffirell’s 1968 film

adaptation, inspired Radiohead’s “Exit Music (For a Film)”

Program Notes

WindSync’s program Something About A Rose is a modern

take on classical storytelling traditions, including music

inspired by Shakespeare (particularly Romeo and Juliet)

and Italian commedia dell’arte.

Scherzo from A Midsummer Night’s Dream, Opus 61Felix Mendelssohn (b. Hamburg, 1809; d. Leipzig, 1847)

A child prodigy, Felix Mendelssohn was already a

seasoned composer when he wrote the incidental music

to A Midsummer Night’s Dream at age 17 in 1826. The

Scherzo is intended to be an Intermezzo between Acts I

and II of the Shakespeare comedy, introducing the forest

outside of Athens, filled with fairies on Midsummer’s Eve.

Winter MusicAdam Schoenberg(b. Northampton, Massachusetts, 1980)

Adam Schoenberg has quickly become one of the best

known and most frequently performed American

composers of his generation. Full of “mystery and

sensuality” (The New York Times), Schoenberg’s music

embraces both warm tonality and gentle chromaticism

and has been heralded as “open, bold, and optimistic”

(Atlanta Journal-Constitution). Schoenberg earned his

Doctor of Musical Arts degree at The Juilliard School as

a student of John Corigliano and Robert Beaser. He also

received his Master of Music degree from Juilliard and his

Bachelor of Music degree from the Oberlin Conservatory

of Music. A committed educator, Schoenberg is Assistant

Professor of Composition at Occidental College where

he runs the composition and film scoring program, and

starting in 2015–16, he will serve as the Fort Worth

Symphony Orchestra’s composer-in-residence.

The composer writes:

Winter Music was commissioned by Quintet of

the Americas, and is approximately six minutes

in duration. Barber’s Summer Music was the main

source of inspiration, as I consider his woodwind

quintet to be one of the best written for the medium.

Along with Ives, Gershwin, Copland, and Bernstein, he

helped define the sound of American classical music.

I have always felt connected to these composers, so

I wanted to write a quintet that feels American in

spirit. The theme that the Quintet of the Americas

proposed to me was our universe—galaxies, planets,

and stars. I thought about what it would be like to be

on another planet and came up with Winter Music. It

is both a companion piece to Barber’s Summer Music,

and also my idea of a fantasy world paralleling and

reflecting my first winter in Los Angeles: magically

warm, fairy-tale like, whimsical, light, airy, and full

of love.

WindSync is a winner of the Concert Artists Guild

International Competition and is represented by Concert

Artists Guild, 850 Seventh Ave, PH-A, New York, NY 10019

(www.concertartists.org)

schubert.org 23

“Exit Music (for a film)”Radiohead

One of the great rock albums of the 1990’s, OK Computer

was released by Radiohead in 1997 to critical acclaim.

The fourth track, “Exit Music (For a Film),” was inspired

by the 1968 Zeffirelli film adaptation of Romeo and Juliet.

Radiohead frontman Thom Yorke initially wanted to work

lines from the play into the lyrics, but instead the final

draft became a broad summary of the narrative. Musical

influences from Johnny Cash to Portishead can be heard

in the accompaniment figures.

Wake from your sleepThe drying of your tearsToday we escapeWe escape

Pack and get dressedBefore your father hears usBefore all hell breaks loose

Breathe keep breathingDon’t lose your nerveBreathe keep breathingI can’t do this alone

Sing us a songA song to keep us warmThere’s such a chill, such a chill

You can laughA spineless laughWe hope your rules and wisdom choke you

Now we are oneIn everlasting peace

We hope that you choke, that you chokeWe hope that you choke, that you choke

We hope that you choke, that you choke

Suite from PulcinellaIgor Stravinsky (b. Lomonosov, Russia, 1882; d. New York City, 1971)

Igor Stravinsky completed the ballet Pulcinella in 1920,

seven years after he shocked the world with the spiky

dissonance and irregular rhythms of The Rite of Spring.

Pulcinella represented a dramatic change in style for the

Russian composer, as the piece is commonly credited

as the first piece written in the Neoclassical style.

The Neoclassical movement in music was marked by

composers returning to aesthetic precepts associated

with the broadly defined concept of “classicism,” namely

order, balance, clarity, economy, and emotional restraint.

The source material for Pulcinella was a collection of

melodies by the 18th century Italian Composer Giovanni

Battista Pergolesi inspired by Pulcinella, the traditional

hero of the Neapolitan commedia dell’arte. Stravinsky

left the melodies and bass Lines completely intact but

wove his own musical voice into the tapestry through the

accompaniment figures and harmonies.

Suite from Romeo and JulietSergei Prokofiev (b. Sontsovka, eastern Ukraine, 1891; d. 1953, Moscow, 1953)

After a self-imposed nine year exile from Russia, Sergei

Prokofiev returned to Russia, renting an apartment in

Moscow. His first major project involved a collaboration

with the Moscow Bolshoi Theatre involving music inspired

by Romeo and Juliet. However, the Bolshoi declared the

music impossible to dance to and broke the contract with

the composer. The ballet did not receive a premiere until

1940, when it eventually did find commercial success. The

music demonstrates the composer’s incredible emotional

palate and ability to portray characters through music.

Pulcinella in Loveby Giovanni Domenico Tiepolo (1727–1804)


Suite from West Side StoryLeonard Bernstein (b. 1918, Lawrence, Mass., 1918; d. New York City, 1990)

Leonard Bernstein’s West Side Story had its genesis as

early as 1949 as a collaboration between Bernstein and

his friends Jerome Robbins and Arthur Laurents. The idea

of creating a musical retelling of Romeo and Juliet in the

urban setting of New York City was initially conceived as

the story between a Jewish girl and a Catholic boy on the

Lower East Side. Years later it took the form that we all

know today as the story of Tony and Maria, set against the

backdrop of the Upper West Side with the Sharks and the

Jets. Arthur Laurents was immediately taken by the iconic

music upon the first run-though.

He remarked:

“The thing that distinguishes American music theater

music is its vitality and its complex rhythms, the

qualities to be found in Bernstein, and to me those

qualities reach their peak in West Side Story. It was the

best theater music that’s ever been written. He didn’t

think; the music just poured out of him. He somehow

knew how to take the vernacular and raise it up, make

music instead of a pastiche. He had that rare quality of being

able to feel each character; he was a musical dramatist.”

WindSync’s version of West Side Story was first conceived in 2010

to go beyond the score and introduce elements of choreography,

costuming and staging to the music. For this season we have

worked with Houston-based director Mitchell Greco of Stages

Repertory Theatre to stage and choreograph our

own arrangements.

Poster from the 1961 film adaptation of West Side Story

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 Home

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

INDIVIDUALSMeredith AldenNina and John ArchabalClaire and Donald AronsonAdrienne BanksCarol BarnettLynne and Bruce BeckChristopher and Carolyn BinghamCarl and Jean BrookinsAlan and Ruth CarpPeter Dahlen and Mary CarlsenPenny and Cecil ChallyMary Sue ComfortDon and Inger DahlinRuth S. DonhoweBruce Doughman

Craig Dunn and Candy HartMaryse and David FanJane FrazeeLisl GaalNancy and John GarlandMichael and Dawn GeorgieffDick GeyermanAnne 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 Moody

David and Judy MyersKathleen NewellJohn B. Noyd Dennis and Turid OrmsethJames and Donna PeterRick Prescott and Victoria WilgockiDr. Paul and Elizabeth QuieJuliana Kaufman RupertMichael and Shirley SantoroMary Ellen and Carl SchmiderJon Schumacher and Mary BriggsDan and Emily ShapiroMarie and Darrol SkillingKathy and Doug SkorConrad SoderholmEileen V. StackCynthia StokesJohn and Joyce TesterAnthony TheinTim ThorsonChuck Ullery and Elsa NilssonStuart and Mary WeitzmanJudy and Paul Woodword

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

Program Notes continued

Program notes provided by WindSync

schubert.org 25

Heartbroken, Huberman never saw his Stradivarius again.

However, his great dream was fulfilled when the new

Palestine Orchestra made its debut in December of 1936

with the great Toscanini on the podium. I like to imagine

that my own relatives might have been in the audience

on that opening night, as my grandfather was born there

and my great grandfather was part of the first “Aliyah” of

Russian Jewish immigrants to Palestine in 1882. As for his

violin, it was played by its suspected thief for over fifty years,

and in 1985, Julian Altman made a deathbed confession

to his wife, Marcelle Hall, about the true identity of the

instrument. She eventually returned the violin to Lloyd’s

of London and received a finder’s fee; and the instrument

underwent a nine month restoration by J & A Beare Ltd

which noted it was like “taking dirt off the ceiling of the

Sistine Chapel.”

The instrument was then sold to the late British violinist

Norbert Brainin of the Amadeus String Quartet. Previous

to my fortuitous encounter with the violin at J & A Beare,

Brainin had once let me play it after a rehearsal of the

Mozart G minor string quintet which I had the pleasure of

playing with him one evening in the 1990s. “One day you

might be lucky enough to have such a violin,” he had

said prophetically.

And so here I was in 2001, buying some strings at the violin

shop and I was introduced to the 1713 Stradivarius again.

As it was handed to me, I was told it was being sold to a

wealthy German industrialist for his private collection.

However, after playing only a few notes on it I vowed that

this would not happen. This was an instrument meant to be

played, not just admired. I fell in love with the instrument

right away, and even performed that very night on it at the

Royal Albert Hall. I simply did not want it to leave my hands.

This violin is special in so many ways. It is overwhelming to

think of how many amazing people have held it and heard

it. When I perform in Israel with the Israel Philharmonic, I

am always touched to think how many of the orchestra and

audience members are direct descendants of the musicians

Huberman saved from the Holocaust—with funds raised

by concerts performed on the very same instrument I play

every day. Who knows what other adventures will come to

my precious violin in the years to come? While it certainly

will be enjoyed and admired long after I am not around

anymore, for the time being I count myself incredibly lucky

to be its caretaker on its 300th birthday.

– Joshua Bell

The Huberman Violin continued from page 15

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

In 1882, a group of Saint Paul residents formed a small society of

music lovers. Since then, The Schubert Club has evolved into the

world-renowned performing arts organization you know today.

We are proud of the stewardship of our many past donors and

subscribers—their thoughtful inclusion of The Schubert Club in

their estate plans is currently helping us bring great music and

innovative programming to the Twin Cities.

Please help continue their legacy by planning your own estate gift; the process is simpler than it may seem.

Contact Paul D. Olson at The Schubert Club at 651.292.3270

or [email protected]

The future of The Schubert Club depends on you!

What will our community look like

fifty years from now?

Will it include classical music, high-quality

yet affordable performances, and scholarship

opportunities for young, talented musicians?


Courtroom ConcertOctober 29, 2015 • Noon • Landmark Center

Julia and Irina Elkina, duo piano

Andante with Variations in G major for four hands, K. 501—Wolfgang Amadeus Mozart

Variations sur un air national de Moore, B.12a—Frédéric Chopin

Andante and Variations Opus. 46—Robert Schumann

“I Got Rhythm” Variations for Piano and Orchestra—George Gershwin (Transcribed for Two Pianos by the composer)

Variations on a Theme by Paganini for Two Pianos—Witold Lutoslawski

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

Having played together since the age of five, 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, among others.

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 throughout the United

States with most recent performances in Boston, Philadelphia, and Washington DC. In 2014 the Elkinas collaborated with the

well-known local theater “Heart of the Beast” on a new production of Petrouchka. Last season Irina performed in the very well-

received play “33 Variations” at the Park Square Theater in St. Paul, Julia performed Schumann’s Carnival as part of MacPhail’s

Spotlight series, and together they performed Mozart’s double concerto with the Century Community College orchestra.

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

in Piano Performance. They both are currently on the piano faculty of MacPhail Center for Music

schubert.org 27

Draw the Strings Tight

Kristian Anderson, guitar

Rincón del cielo

I. Rasgos • II. Preludio • III. Rincón del cielo

IV. Total • V. Un lucero • VI. Franja

VII. Una • VIII. Madre • IX. Recuerdo

X. Hospicio • XI. Cometa • XII. Venus

XIII. Abajo • XIV. La gran tristeza

Gary Ruschman, tenor

Kristian Anderson, guitar

We Bloomed In Spring

Clay Jug

The First Readings Project

J. David Moore, music director

From solo to orchestra, epigram to epic, Edie Hill’s music unfolds seamlessly in all spaces and idioms. Born in New York City

(1962), her works are widely performed in the United States, Canada, and Europe in such venues as Lincoln Center, the Los Angeles

County Museum of Art, the Library of Congress, Minneapolis’ Walker Arts Center, St. Paul’s The Schubert Club, The Cape May

Festival (NJ), The Downtown Arts Festival (NYC), Liviu Cultural Center (Romania), Feszek Müvészklub (Budapest), as well as venues

in Bangkok, Dublin, Iceland, Great Britain, Germany, The Netherlands, the Minnesota State Fair, classrooms and cafes, and basilicas

and back yards.

A three-time McKnight Artist Fellow and a two-time Bush Artist Fellow, Hill has received grants from the Jerome Foundation,

ASCAP, Meet The Composer, and Chamber Music America, to name a few. She actively cultivates the talents of young composers

and musicians as well as educating and engaging the public in the music of today. She has been a guest lecturer at such

institutions as Syracuse University, the American Composers Forum, the Iowa Composers Forum Nuts N’ Bolts Festival, Tufts

University, the University of Michigan, and Delft University (Netherlands). Hill earned a B.A. in music composition and piano

performance at Bennington College where she studied with Vivian Fine, and then went on to earn her M.A. and Ph.D. degrees from

the University of Minnesota with principal composition teacher Lloyd Ultan. She has also studied extensively with Libby Larsen.

Hill is composer-in-residence at The Schubert Club where she runs the Composer Mentorship Program. She resides in Minneapolis

where she works as a freelance composer and owns Hummingbird Press.

Courtroom ConcertNovember 5, 2015 • Noon • Landmark Center

Edie Hill, Gary Ruschmann, Kristian Anderson

Music of Edie Hill

Phot

o: A

nne

Mar

sden



Christiano Rodrigues, violin

Mary Catherine Cox, violin

Seido Karasaki, viola

Seulki Lee, cello

String Quartet No. 15 in G Major, D. 887—Franz Schubert

I. Allegro molto moderato

II. Andante un poco moto

III. Scherzo. Allegro vivace–Trio. Allegretto

IV. Allegro assai

Seulki Lee first performed as a soloist with the Youth Philharmonic Orchestra in Pyungsong when she was

thirteen years old. She performed the Dvorak Concerto with the Daejeon Art High School Philharmonic Orchestra

and has collaborated with Richard Stolzman and Ivo van der Werff. As a chamber musician, she performed at

the Chapelle de la Trinite, NJPAC, the Rose Room in Lincoln Center, and at Carnegie Hall. Seulki performed in

master classes with Kurt Muroki, American String Quartet, Cleveland String Quartet, and Takacs String Quartet.

She participated in Fontainebleau Music Festival, National Orchestra Institute, Music Academy of the West, and this year she

participated in the Madeline Island Music Festival. Seulki is pursuing a Bachelor of Music degree at Manhattan School of Music.

Mary Catherine Cox recently graduated from East Carolina University where she studied with Ara Gregorian.

As a result of her performance at the Yves Nat International Music Festival in France, she was invited to perform

in Steinway Hall in Manhattan. At the International Music Festival in Norma, Italy in 2010, she was awarded top

honors. In 2011, Mary Catherine was an NFWC North Carolina Chapter Whitener scholarship recipient. She won the

concerto competitions of the Raleigh Symphony, the Durham Symphony, and the Fayetteville Symphony Orchestras.

Mary Catherine served as concertmaster of the East Carolina University Symphony Orchestra. She was on the Chancellor’s List at

East Carolina University. Last summer she participated in the Madeline Island Music Festival.

Seido Karasaki has performed at such venues as Carnegie, Severance, and Davies Symphony Halls. He is a senior viola

performance major at the Oberlin Conservatory, where he studies with Michael Strauss. He has studied with the

Muir and Jupiter Quartets, and has collaborated and performed chamber music with Bion Tsang, Daniel Binelli, and

Scott Yoo, as well as members of the Ying Quartet and Pro Arte Quartet. Last summer Seido participated as part of

the quartet in residence for the Madeline Island Music Festival. Seido has appeared as principal violist of the Oberlin

Chamber Orchestra, Oberlin Orchestra, Colorado College Festival Orchestra, and California Youth Symphony. He has

collaborated and performed with bands and artists such as Snarky Puppy, Magda Giannikou, Abraham Laboriel Sr.,

and Billy Drewes. His band, Parade, was recently awarded the title of young ensemble in residence at the Detroit Chamber Winds

and String Society.

Christiano Rodrigues gained national recognition in Brazil as a winner of the competition Jovens Solistas

Brasileiros. Following his concerto debut at age eighteen with the Bahia Symphony Orchestra, Christiano was a prize-

winner of the MTNA National Competition. He was concertmaster of the Shepherd School Symphony Orchestra

and led the orchestra of the International Festival-Institute at Round Top. He studied with the Cavani and Cleveland

Quartets. He holds a Masters of Music from Rice University, where he was a student of Paul Kantor. Previously,

he was a student of James Alexander at Nicholls State University’s String Program. Most recently, Christiano was appointed

concertmaster of the Dubrovnik Symphony Orchestra at the Late Summer Music Festival in Croatia.

Gustav Klimt’s Schubert am Klavier

schubert.org 29

Flutist Garrett Hudson emerged through the Manitoba high school band program. He performed his

orchestral solo debut with the Winnipeg Symphony Orchestra at the age of 16 and with the same orchestra

recently performed Mozart’s Flute Concerto in D Major. Hudson earned his Bachelor of Music degree from the

University of British Columbia in 2007, studying under Scottish flutist Lorna McGhee. He has held positions in

the National Academy Orchestra of Canada and the Orchestre de la Francophonie based in Montreal, Quebec.

Additionally he has participated in other programs such as the Young Artists Program through Ottawa’s National

Arts Center and The National Youth Orchestra of Canada. Garrett earned his Masters of Music Degree from Rice University’s

Shepherd School of Music under the tutelage of renowned flute pedagogue, Leone Buyse.

Emily Tsai began her musical studies at the age of four on the violin and started the oboe when she was ten.

She won 2nd place in the Eastman Oboe and University of Maryland Concerto Competitions performing with the

University of Maryland Symphony Orchestra with added dance choreography. Based in the Washington, DC area,

she is the Principal English Horn in the Peoria Symphony Orchestra and also is the oboist in the Patagonia Winds,

the oboist in an oboe and guitar duo, Duo d’Amore, a frequent performer in the Riversdale Mansion Chamber Music

Series, and a member of Gourmet Symphony, where concerts are paired with gourmet meals. She received her

Bachelor of Music degree in Oboe Performance from the Eastman School of Music with a Performer’s Certificate and the Chamber

Music Award, and her Bachelor of Science degree in Ecology and Evolutionary Biology from the University of Rochester, graduating

Magna Cum Laude. She received her Master of Music from the University of Maryland.

A native of Chicago, clarinetist Jack Marquardt a member of the Illinois Symphony and Quad City Symphony

Orchestras. He has also performed at the Spoleto USA, Pacific (Sapporo, Japan), and Aspen summer Music

Festivals, as well with the Milwaukee, Cleveland and New World Symphony Orchestras. As a soloist, he was a

winner of Concerto Competitions at both Oberlin and Northwestern, most recently performing John Corigliano’s

Clarinet Concerto with the Northwestern University Symphony Orchestra. A fierce advocate of new music, he

frequently performs with Ensemble Dal Niente, a Chicago-based new music ensemble. His performances of

new music have been featured on NPR’s Performance Today and Chicago’s WFMT classical music radio station. Marquardt holds

degrees from The Oberlin Conservatory of Music, The University of Southern California, and Northwestern University. His principal

teachers have been Richard Hawkins, Yehuda Gilad, and Steve Cohen.

A New Jersey native, bassoonist Tracy Jacobson began her musical career riding the commuter train to Juilliard

Pre-College every Saturday. She took her bassoon and moved southwest to continue her studies, to pursue a

Bachelor of Music degree from Rice University’s Shepherd School of Music. Jacobson has played with orchestras

including the Louisiana Philharmonic Orchestra, Symphony of Southeast Texas and has soloed with the New

Philharmonic of New Jersey. Ms. Jacobson is dedicated to outreach programs, particularly those designed to get

both children and adults excited about classical music. Tracy founded the Music Bus Tour, an organization that

sponsors emerging chamber groups. In addition to founding the Music Bus Tour, Tracy was a fellow at the Music Academy of the

West, National Symphony Orchestra Summer Music Institute and Sarasota Music Festival.

Anni Hochhalter began playing the French horn in 7th grade after a few months on the trumpet, and has

never looked back, just like her inspired decision to join WindSync. Her initial passion for music was fostered in

Henderson, Nevada and continued during her undergraduate career at the University of Southern California.

She studied with James Thatcher and Kristy Morrell. She was a founding member of the Horn Squad, a horn

quartet in Los Angeles In 2009 Anni won first prize in the Yen Liang Young Artist After graduating in 2009 with

a Bachelor of Music she moved to Cincinnati, Ohio and began working on a Masters degree at the Cincinnati

College-Conservatory of Music. In addition Anni has attended both the Chautauqua Music Festival and the Texas Music Festival

where she studied with Roger Kaza.


WindSyncprogram to be announced


Courtroom ConcertDecember 10, 2015 • Noon • Landmark Center

Selections from Noels en Trio—Michel-Richard de Lalande (1657–1726)

Two Noels—Nicolas-Antoine Lebegue (1631–1702)

Les Bourgeoises de Chartres

Ou s’en vont ces gays Bergers

Greensleeves to a Ground—Anonymous, 17th-century

Lulla Lullaby—William Byrd (1540–1623)

from The Messiah—G.F. Handel (1685–1759)

Rejoice Greatly, O Daughter of Zion

Cantata Pastorale—Alessandro Scarlatti (1660–1725)

Traditional Carols

Coventry Carol

Bring a Torch

The Holly and the Ivy

Lo, How a Rose E’er Blooming

Selections from The Dancing Master by John Playford—Anonymous, 17-century

Christmas Cheer

Drive the Cold Winter Away

In the Fields of Frost and Snow

Cold and Raw/Stingo

Flying Forms is a baroque chamber music ensemble that is quickly establishing a presence in America’s early music scene.

Formed out of a passion for performing early chamber music Flying Forms collaborates with prominent musicians, musicologists

and baroque dancers in a wide variety of programs from traditional to experimental. Recent performances have included concerts

at the Metropolitan Museum of Art, Yale University, Symphony Space, (le) Poisson Rouge, and Stony Brook University where

the group presented a concert of seven new works commissioned for period instruments. Also of note is Flying Forms’ second

appearance at the Boston Early Music Festival in June of 2009 where the group produced and performed, as part of a New York/

Boston tour, a fully staged and critically acclaimed production of Henry Purcell’s Dido and Aeneas. In Saint Paul, Minnesota,

where the group is based, Flying Forms has performed and taught extensively in local schools, universities, and concert venues.

This includes the new space, The Baroque Room, located in downtown Saint Paul, which the group created in 2011 and currently

manages. Hailed by harpsichordist Arthur Haas as “the bright future of early music,” Flying Forms is committed to being a

presence that transforms communities and inspires expression through excellence in performance, innovative education and

creative collaboration.

The Concert by Gerard van Honthorst, 1623

A Baroque Christmas

Flying Forms Marc Levine, baroque violin Tami Morse, harpsichord Carrie Henneman-Shaw, soprano John West, recorder Phillip Rukavina, lute Donald Livingston, baroque harp

schubert.org 31

Lumina Women’s Ensemble Angela Grundstad & Kim Sueoka, sopranos Linda Kachelmeier & Clara Osowski, altosMark Bilyeu, piano

Courtroom ConcertDecember 17, 2015 • Noon • Landmark Center

Lumina Women’s Ensemble is a new Twin Cities organization dedicated to the beauty, mystery,

and hope inherent in music. Founded by alto Linda Kachelmeier, Lumina shares the spiritual experience

of music with audiences in churches, schools, hospitals, and care facilities, through programming drawn

from a rich well of musical sources, including Medieval chants, Renaissance motets, folk song traditions,

and works by living and local composers. This season, Lumina was selected by Minnesota Public Radio as

a 2015–16 Class Notes Artist, and is collaborating with Classical MPR to enrich the music curriculum and

engage elementary school students in Saint Paul, Fridley, and Brooklyn Park. The ensemble can also be

heard in performance with the Calliope Women’s Chorus, at St. Paul’s Classical Music Crawl, and on MPR’s

Taste of the Holidays CD Volume VI.

Mark Bilyeu is a collaborative pianist, vocal coach, and accompanist in Minneapolis. With a passion for

words, engagement, and collaboration, the Chicago-native is Artistic Director of the Source Song Festival,

a Twin Cities summer series of public recitals, masterclasses, and workshops dedicated to art song. He has

also served as music director with Chicago Opera Vanguard, Chicago Folks Operetta, and ensemble113,

and has performed with Minnesota Concert Opera, VocalEssence, Chicago Choral Artists, and as Associate

Keyboardist of the Civic Orchestra of Chicago, the training orchestra of the Chicago Symphony. Most

recently, with Clara Osowski, he was the only American pianist to advance to the finals of the Das Lied

International Song Competition held in Berlin. He holds degrees from the Chicago College of Performing

Arts and the University of Minnesota, and is currently a faculty coach at Viterbo University.

I. Mary Had a Baby

O Frondens Virga—Drew Collins

Precious Child (recitative)—Patrick O’Shea

Hallelu!—Stephen Paulus

* Noël—David Evan Thomas

Hail, Christmas Day!—Abbie Betinis

II. Darkness to Light

We Grow Accustomed to the Dark—Linda Kachelmeier

In the Sky of Winter—J. David Moore

Snow (featuring guest Siri Undlin)—Siri Undlin

Winter, Snow—Carol Barnett

III. In the North Country

Winter (from Six Elizabethan Songs)—Dominick Argento

* Noël (from Brief Thoughts on the Winter of 2013)—Justin Rubin

In the Moon of Wintertime—Stephen Paulus

Girl from the North Country—Bob Dylan

IV. Would You Come

Listen to the Angels—Neal Hagberg

When the Song of the Angels is Stilled—Elizabeth Alexander

Merry Christmas, Darling—F. Pooler/R. Carpenter

Songs of the Season,

by Minnesota Composers

*premiere


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

Max 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

schubert.org 33

The Schubert Club Annual ContributorsThank you for your generosity and support

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

Schubert Circle$10,000–$19,999Estate of James E. Ericksen

Rosemary and David Good

Family Foundation

Dorothy J. Horns, M.D. and

James P. Richardson

Ruth and John Huss

Lucy Rosenberry Jones

Phyllis and Donald Kahn

Philanthropic Fund

of the Jewish Communal Fund

Alfred P. and Ann M. Moore

George Reid

Charles A. Weyerhaeuser Memorial

Foundation and

Robert J. Sivertsen

Thrivent Financial for Lutherans

Foundation

Margaret and Angus Wurtele

Patron$5,000–$9,999Anonymous (2)

Accredited Investors Inc.

The Allegro Fund of

The Saint Paul Foundation and

Gayle and Tim Ober

John and Nina Archabal

Boss Foundation

Julia W. Dayton

Terry Devitt

Dorsey & Whitney Foundation

Harlan Boss Foundation

Bill Hueg and Hella Mears Hueg

Art and Martha Kaemmer Fund

of HRK Foundation

Barry and Cheryl Kempton

Marjorie and Ted Kolderie

Walt McCarthy and Clara Ueland

and Greystone Foundation

Malcom and Wendy McLean

Ford and Catherine Nicholson

Family Foundation

Luther I. Replogle Foundation

Michael and Shirley Santoro

Sewell Family Foundation

Travelers Foundation

Trillium Family Foundation

Benefactor$2,500–$4,999Anonymous

Sophia and Mark Anema

Arts Midwest Touring Fund

The Burnham Foundation

Dee Ann and Kent Crossley

Joan R. Duddingston

Richard and Adele Evidon

Michael and Dawn Georgieff

Mark and Diane Gorder

Thelma Hunter

James E. Johnson

Lois and Richard King

Kyle Kossol and Tom Becker

Chris and Marion Levy

McCarthy-Bjorklund Foundation

and Alexandra O. Bjorklund

Peter and Karla Myers

Alice M. O’Brien Foundation

Sita Ohanessian

Paul D. Olson

and Mark L. Baumgartner

Richard and Nancy Nicholson Fund

of The Nicholson Family

Foundation

John and Barbara Rice

Lois and John Rogers

Saint Anthony Park

Community Foundation

Securian Foundation

Kim Severson and Philip Jemielita

Fred and Gloria Sewell

Charles and Carrie Shaw

Katherine and Douglas Skor

Wenger Foundation

Nancy and Ted Weyerhaeuser

Guarantor$1,000–$2,499Craig and Elizabeth Aase

Anonymous

Suzanne Ammerman

Elmer L. & Eleanor J. Andersen

Foundation

Suzanne Asher

Paul J. Aslanian

J. Michael Barone and Lise Schmidt

Eileen M. Baumgartner

Lynne and Bruce Beck

Dorothea Burns

James Callahan

Deanna L. Carlson

Cecil and Penny Chally

Dellwood Foundation

Rachelle Chase and John Feldman

Mary Carlsen and Peter Dahlen

David and Catherine Cooper

John and Marilyn Dan

Cy and Paula DeCosse Fund of

The Minneapolis Foundation

Joy L. Davis

Dellwood Foundation

Dick Geyerman

Anders and Julie Himmelstrup

Jack and Linda Hoeschler

Hélène Houle and John Nasseff

Anne and Stephen Hunter

Garrison Keillor and Jenny Nilsson

Roy and Dorothy Ode Mayeske

Laura McCarten

Mary Bigelow McMillan

Sandy and Bob Morris

David Morrison

Elizabeth B. Myers

The Philip and Katherine Nason

Fund of The Saint Paul

Foundation

Dan and Sallie O’Brien Fund of

The Saint Paul Foundation

Robert M. Olafson

Paddock Family Foundation

The William and Nancy Podas

aRt&D Fund

Betty Pomeroy

David and Judy Ranheim

August Rivera, Jr.

Alma Jean and Leon Satran

Ann and Paul Schulte

Estelle Sell

Anthony Thein

Jill and John Thompson

John and Bonnie Treacy

Kathleen van Bergen

Wells Fargo Foundation Minnesota

Michael and Catharine Wright

Sponsor$500–$999Anonymous

Mary and Bill Bakeman

Jeanne B. Baldy

Carline Bengtsson

Susan Brewster

and Edwin McCarthy

Michael and Carol Bromer

Tim and Barbara Brown

David Christensen

Andrew and Carolyn Collins

F. G. and Bernice Davenport

Arlene and Calvin Didier

Ruth S. Donhowe

Anna Marie Ettel

David and Maryse Fan

Joan and William Gacki

Judith K. Healey

Frederick J. Hey, Jr.

Andrew Hisey and Chandy John

Cynthia and Russell Hobbie

Nancy P. Jones

Gloria Kittleson

William Klein

James and Gail LaFave

Jeffrey H. Lin and Sarah Bronson

Susanna and Tim Lodge

Barbara Lund and Cathy Muldoon

Wendell Maddox

The Thomas Mairs and

Marjorie Mairs Fund of


Theodore T. Malm

Paul Markwardt

and Richard Allendorf

Lucia P. May and Bruce Coppock

Medtronic Foundation

Kay Phillips and Jill Mortensen Fund

of The Minneapolis Foundation

Alan and Charlotte Murray

Lowell and Sonja Noteboom

John B. Noyd

Mary and Terry Patton

William and Suzanne Payne

Walter Pickhardt

and Sandra Resnick


and Kent Larson

Sarah Rockler

Richard Rose

Juliana Kaufman Rupert

Kay Savik and Joseph Tashjian

William and Althea Sell

John Seltz and Catherine Furry

Dan and Emily Shapiro

Helen McMeen Smith

Conrad Soderholm and Mary

Tingerthal

Ronald Spiegel

Stephanie Van D’Elden

Katherine Wells

and Stephen Willging

Mark W. Ylvisaker

Partner$250–$499Kathleen R. Adix

Anonymous (3)

Meredith B. Alden

Arlene Alm

Beverly S. Anderson

Kathy and Jim Andrews

Adrienne B. Banks


Thomas and Jill Barland

Jerry and Caroline Benser

Fred Berndt

Jean and Carl Brookins

Philip and Ellen Bruner

Bonnie Brzeskowiak

Mark Bunker

Gretchen Carlson

Joann Cierniak

Maryse and David Fan

Barbara and John Fox

Roxana Freese

Stephen and Hilde Gasiorowicz

General Mills Foundation

Katherine Goodrich

Megan and Daniel Goodrich

Marsha and Richard Gould

Jennifer Gross and Jerry LaFavre

Yuko Heberlein

Mary Beth Henderson

Joan Hershbell and Gary Johnson

Mary Kay Hicks

Elizabeth Holden

Elizabeth J. Indihar

The International School

of Minnesota

Ray Jacobsen

Michael C. Jordan

Donald and Carol Jo Kelsey

Youngki and Youngsun Lee Kim

Sarah Kinney

Anthony L. Kiorpes and Farrel Rich

Arnold and Karen Kustritz

Frederick Langendorf

and Marian Rubenfeld

Lehmann Family Fund of


Hinda and Tom Litman

Mary and David Lundberg-Johnson

Sarah Lutman and Rob Rudolph

Holly MacDonald

Kathryn Madson

Richard and Finette Magnuson

Frank Mayers

Sylvia and John McCallister

Christopher and Cheryl McHugh

Gerald A. Meigs

David Miller and Mary Dew

James and Carol Moller

William Myers and Virginia Dudley

Nicholas Nash and Karen Lundholm

Gerald Nolte

Lowell and Sonja Noteboom

Patricia O’Gorman

Amaria and Patrick O’Leary

Heather J. Palmer

Rick and Suzanne Pepin

James and Donna Peter

Sidney and Decima Phillips

Barbara Pinaire and William Lough

Anastasia Porou and George Deden

Connie Ryberg

Saint Anthony Park Home

Mary E. Savina

Paul L. Schroeder

Renate Sharp

Marilynn and Arthur Skantz

Harvey Smith

Eileen V. Stack

Michael Steffes

Richard and Jill Stever-Zeitlin

Hazel Stoeckeler and Alvin Weber

Tom Swain

Jon and Lea Theobald

David L. Ward

Dale and Ruth Warland

Jane and Dobson West

William White

Timothy Wicker and Carolyn Deters

Contributor$100–$249Anonymous (7)

Carl Ahlberg

Elaine Alper

Mrs. Dorothy Alshouse

Roger J. Anderson

Lydia Artymiw

Julie Ayer and Carl Nashan

Kay C. Bach

Megen Balda and Jon Kjarum

Robert Ball

Gene and Peggy Bard

Benjamin and Mary Jane Barnard

Carol E. Barnett

Roger Battreall

Fred and Sylvia Berndt

Christopher and Carolyn Bingham

Ann-Marie Bjornson

Phillip Bohl and Janet Bartels

Robert Brokopp

Barbara Ann Brown

Charles Brown

Philip and Carolyn Brunelle

Roger F. Burg

James and Janet Carlson

Alan and Ruth Carp

Carter Avenue Frame Shop

Adam Chelseth

Jo and H.H. Cheng

David and Michelle Christianson

John and Brigitte Christianson

Como Rose Travel

Jeanne and John Cound

Don and Inger Dahlin

Shirley I. Decker

Pamela and Stephen Desnick

Karyn and John Diehl

Marybeth Dorn and Robert Behrens

Bruce Doughman

Janet and Kevin Duggins

Douglas Dybvig

Jayne and Jim Early

George Ehrenberg

Peter Eisenberg and Mary Cajacob

Nancy Feinthel

Karl and Sara Fiegenschuh

Sarah Flanagan

Flowers on the Park

Jack Flynn and Deborah Pile

Gerald Foley

John Fox

Salvatore Franco

Patricia Freeburg

Richard and Brigitte Frase

Jane Frazee

Gail A. Froncek

Lisl Gaal

Nancy and Jack Garland

David J. Gerdes

Ramsis and Norma Gobran

William R. Goetz

Phyllis and Bob Goff

M. Graciela Gonzalez

Ramsis and Norma Goran

Katherine and Harley Grantham

Carol L. and Walter Griffin

David Griffin and Margie Hogan

Bonnie Grzeskowiak

Sandra and Richard Haines

Ken and Suanne Hallberg

Betsy and Mike Halvorson

Robert and Janet Hanafin

Hegman Family Foundation

Rosemary J. Heinitz

Stefan and Lonnie Helgeson

Mary Beth Henderson

Anne Hesselroth

Beverly L. Hlavac

Dr. Kenneth and Linda Holmen

Gale Holmquist

J. Michael Homan

Peg Houck and Philip S. Portoghese

Peter and Gladys Howell

Patty Hren-Rowan

IBM Matching Gifts Program

Ideagroup Mailing Service

and Steve Butler

Ora Itkin

Veronica Ivans

Paul W. Jansen

George Jelatis

Carol A. Johnson

Craig Johnson

Katrina W. Johnson

Pamela and Kevin Johnson

Joseph Catering

and George Kalogerson

Ann Juergens and Jay Weiner

John and Kristine Kaplan

Edwin and Martha Karels

Erwin and Miriam Kelen

Linda Kelsey and Glenn Strand

Marla Kinney

Jean W. Kirby

Robin and Gwenn Kirby

Karen Koepp

Marek Kokoszka

Mary and Leo Kottke

Dave and Linnea Krahn

Robert and Barbara Kueppers

Gloria Kumagai and Steve Savitt

Amy Levine and Brian Horrigan

Libby Larsen and Jim Reece

Bill Larson

David G. Larson

Gary M. Lidster

Thomas Logeland

Mark and Becky Lystig

K.W. and Nancy Ma

Eva Mach

Richard and Finette Magnuson

Mary and Helmut Maier

Rhoda and Don Mains

Helen and Bob Mairs

Danuta Malejka-Giganti

Ron and Mary Mattson

Tami McConkey

Polly McCormack

Mary McDiarmid

Deborah McKnight and James Alt

Margot McKinney

Mary A. Jones

John A. Michel

Margaret Mindrum

Patricia Mitchell

Steven Mittelholtz

Bradley H. Momsen

and Richard Buchholz

Susan Moore

Martha and Jonathan Morgan

Elizabeth A. Murray

David and Judy Myers

Holace Nelson

Kathleen Newell

J. Shipley and Helen Newlin

Jackie and Mark Nolan

Alvina O’Brien

Tom O’Connell

Ann O’Leary

Scott and Judy Olsen

Alan Onberg

Barbara and Daniel Opitz

Sally O’Reilly and Phoebe Dalton

Vivian Orey

Melanie L. Ounsworth

Elizabeth M. Parker

Patricia Penovich

and Gerald Moriarty

James and Kirsten Peterson

Janet V. Peterson

Sydney and William Phillips

Gretchen Piper

Dwight and Chris Porter

Deborah and Ralph Powell

Dr. Paul and Betty Quie

Mindy Ratner

Rhoda and Paul Redleaf

Tanya Remenikova and Alex

Braginsky

Karen Robinson

Richard Rogers

Michael and Tamara Root

Lee and Roberta Rosenberg

Diane Rosenwald

Barbara Roy

schubert.org 35

Connie Ryberg and Craig Forsgren

Mary A. Sigmond

David Schaaf

Mary Ellen and Carl Schmider

Russell G. Schroedl

A. Truman and Beverly Schwartz

Sylvia J. Schwendiman

Bill and Susan Scott

Buddy Scroggins

and Kelly Schroeder

Sara Ann Sexton

Jonathan Siekmann

Gale Sharpe

Nan C. Shepard

Rebecca and John Shockley

Mariana and Craig Shulstad

Darroll and Marie Skilling

Nance Olson Skoglund

Patricia and Arne Sorenson

Carol Christine Southward

Eileen V. Stack

Arturo L. Steely

Ann and Jim Stout

Vern Sutton

Barbara Swadburg and James Kurle

Craig and Janet Swan

John and Dru Sweetser

Lillian Tan

John and Joyce Tester

Theresa’s Hair Salon and

Theresa Black

David Evan Thomas

Tim Thorson

Charles and Anna Lisa Tooker

Tour de Chocolat and Mina Fisher

Susan Travis

Karen and David Trudeau

Chuck Ullery and Elsa Nilsson

Rev. Robert L. Valit

Joy R. Van

Osmo Vanska

Paul and Amy Vargo

Harlan Verke and Richard Reynen

Gordon Vogt

Mary K. Volk

Carol and Tim Wahl

Maxine H. Wallin

Kathleen Walsh

Barbara Weissberger

Stuart and Mary Weitzman

Beverly and David Wickstrom

Lori Wilcox and Stephen Creasey

Victoria Wilgocki

and Lowell Prescott

Christopher and Julie Williams

Dr. Lawrence A. Wilson

Paul and Judy Woodward

Tim Wulling and Marilyn Benson

Herbert Wright

Ann Wynia

Alison Young

Friends$1–$99Anonymous (7)

About Tours with Spangles, Inc.

Cigale Ahlquist

David and Gretchen Anderson

Marie Anderson

Renner and Martha Anderson

Susan and Brian Anderson

Mary A. Arneson

and Dale E. Hammerschmidt

Karen Ashe

Barbara A. Bailey

Megen Balda and Jon Kjarum

Dr. Roger and Joan Ballou

Jim Baltzell

Anita Bealer

Verna H. Beaver

Janet M. Belisle

Irina Belyavin

Barbara and Paul Benn

Brian O. Berggren

Abbie Betinis

Mitchell Blatt

Dorothy Boen

Roger Bolz

Cecelia Boone

David and Elaine Borsheim

Marge and Ted Bowman

Robert Bowman

Thomas K. Brandt

Charles D. Brookbank

Richard and Judy Brownlee

Christopher Brunelle

and Serena Zabin

Jackson Bryce

Elizabeth Buschor

Dr. Magda Bushara

Sherri Buss

David and Marjorie Cahlander

Lori Cannestra

Ed Challacombe

Katha Chamberlain

Chapter R PEO

Kenneth Chin-Purcell

Kristi M. Christman

Christina Clark

Mary Sue Comfort

Ann and Kevin Commers

Irene Coran

Maggie Cords

James Crabb

Barbara Cracraft

Ruth H. Crane

Cynthia L. Crist

Denise Nordling Cronin

Elizabeth R. Cummings

Mary E. and William Cunningham

Marybeth Cunningham

James Cupery

Kathleen A. Curtis

John Davenport

Rachel L. Davison

David Dayton

Gregg and Susan Downing

David Dudley

Katherine and Delano DuGarm

Craig Dunn and Candy Hart

Turmond Durden

Margaret E. Durham

Suzanne Durkacs

Sue Ebertz

Rita Eckert

Andrea Een

Catherine Egan

Katherine and Kent Eklund

Jim Ericson

Joseph Filipas

John Floberg and Martha Hickner

Susan Flaherty

John and Hilde Flynn

Lea Foli

Kathleen Franzen

Dan and Kaye Freiberg

M.G. Freer

Patricia Gaarder

Cléa Galhano

Inez Gantz

Frieda Gardner

Christine Garner

Dr. and Mrs. Robert Geist

Celia and Hillel Gershenson

Girl Scouts MN, WI 14249

Mary, Peg and Liz Glynn

A. Nancy Goldstein

Paul L. Grass

Anne R. Green

Paul Greene

Bonnie Gretz

Alexandra and Grigory Grin

Peg Guilfoyle

Lisa Gulbranson

Michelle Hackett

Elaine J. Handelman

Phillip and Alice Handy

Deborah L. Hanson

Eugene and Joyce Haselmann

Kristina and Thomas Hauschild

Dr. James Hayes

Mary Ann Hecht

Marguerite Hedges

Alan J. Heider

Don and Sandralee Henry

Nelly Hewett

Helen and Curt Hillstrom

Elizabeth Hinz

Marian and Warren Hoffman

Bradley Hoyt

Maryanne Hruby

Dr. Charles W. Huff

Gloria and Jay Hutchinson

Fritz Jean-Noel

Angela Jenks

Maria Jette

Max Jodeit

Kara M. Johansson

Carol A. Johnson

Daniel Johnson

Isabelle Johnson

Stephen and Bonnie Johnson

Thelma Johnson

Tessa Retterath Jones

Dr. Robert Jordan

Christine Kaplan

Shirley Kaplan

Stanley Kaufman

Carol R. Kelly

Charlyn Kerr

Marla Kinney

Kathryn Kloster

Richard Knuth and Susan Albright

Dr. Armen Kocharian

Krystal Kohler

Todd L. Kosovich

Jane and David Kostik

Christine Kraft and Nelson Capes

Judy and Brian Krasnow

Erik van Kuijk

Alexandra Kulijewicz

Mary Lach

Elizabeth Lamin

Colles and John Larkin

Helen and Tryg Larsen

Karla Larsen

Kenyon S. Latham, Jr.

Karla Larsen

Margaret Laughton

Karen S. Lee

David Leitzke

Elaine Leonard

James W. Lewis

Archibald and Edith Leyasmeyer

Mary and James Litsheim

Malachi and Stephanie Long

John Longballa

Jeff Lotz

Elizabeth Lukanen

Rebecca Lund

Mary and David Lundberg-Johnson

Carol G. Lundquist

Roderick and Susan Macpherson

Samir Mangalick

Kristina MacKenzie

Kathryn Madson

Vernon Maetzold

Thomas L. Mann

Rachel Mann

Carol K. March

Karen Markert

Chapman Mayo

David Mayo

Judy and Martin McCleery

Kara McGuire

James McLaughlin

Dr. Alejandro Mendez

Ralph and Barbara Menk

Jane E. Mercier

Robert and Greta Michael

John L. Michel and Berit Midelfort

Dina and Igor Mikhailenko

Donna Millen


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.

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

John W. Miller, Jr.

Margaret Mindrum

Pantea Moghimi

Marjorie Moody

Anne and John Munholland

Sandra Murphy

Christy and Gordon Myers

Sarah L. Nagle

Shannon Neeser

Stephen C. Nelson

Amy Newton

Phong Nguyen

Jane A. Nichols

Philip Novak

Polly O’Brien

Tom O’Connell

Jonathan OConner

Glad and Baiba Olinger

Tamas Ordog

Nancy Orgeman

Dennis and Turid Ormseth

Thomas W. Osborn

Elisabeth Paper

Rick Penning

Timothy Perry

Dorothy Peterson

James L. Phelps

David Pieper

Eugenia Popa

Jonathan and Mary Preus

Michael Rabe

Alberto and Alexandra Ricart

Ann C. Richter

Roger and Elizabeth Ricketts

Julia Robinson

Drs. W.P. and Nancy W. Rodman

Karen S. Roehl

Peter Romig

Steven Rosenberg

Stewart Rosoff

Nancy and Everett Rotenberry

Anne C. Russell

Kurt Rusterholz

Sandra D. Sandell

Linda H. Schelin

Sarah M. Schloemer

Ralph J. Schnorr

Carl H. Schroeder

Jon J. Schumacher and Mary Briggs

Scott Studios, Inc.

and William Scott

Steven Seltz

Ed and Marge Senninger

Jay and Kathryn Severance

Shelly Sherman

Shirley Shimota

Elizabeth Shippee

Ray and Nancy Shows

Brian and Stella Sick

Bill and Celeste Slobotski

Susannah Smith

and Matthew Sobek

Emma Small

Suzanne Snyder

Robert Sourile

Nancy Sponaugle

Donna Stephenson

Karen and Stan Stenson

Norton Stillman

Cynthia Stokes

James and Ann Stout

Patricia Strandness

Gail Stremel

Ralph and Grace Sulerud

Benjamin H. Swanson

Ruthann Swanson

Gregory Tacik and Carol Olig

Bruce and Judith Tennebaum

Kipling Thacker

Bruce and Marilyn Thompson

Keith Thompson

Karen Titrud

Robert Tomaschko

Charles and Anna Lisa Tooker

Charles D. Townes

Casey Triplett

Jean O. VanHeel

Erik Vankuijk and Virginia Brooke

Louise A. Viste-Ross

Gordon Vogt

Sarah M. Voigt

Karen Volk

William K. Wangensteen

Helen H. Wang

Betty and Clifton Ware

Betsy Wattenberg and John Wike

Hope Wellner

Cynthia Werner

Eva Weyandt

Deborah Wheeler

Kurt and Vickie Wheeler

Alex and Marguerite Wilson

Yea-Hwey Wu

Janis Zeltins

John Ziegenhagen

Erin Zolotukhin-Ridgway

The Schubert Club Annual Contributors continued

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 Clifton W. Burns

Dorothea Burns

In memory of Elise Donohue, sister

of Lucy R. Jones

Terry Devitt

Paul D. Olson

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 Donald Kahn

Stephen and Hilde Gasiorowicz

In memory of Thelma Hunter

Suzanne Asher and Thomas Ducker


Mary and Bill Cunningham

Donald and Alma Derauf

Norm and Sherry Eder

Julie and Anders Himmelstrup

John and Ruth Huss Fund

Lucy R. Jones and James Johnson

Cheryl and Barry Kempton

Nicholas Nash and Karen Lundholm


and Kent Larson

Estelle Quinn Sell

Rebecca Shockley

Clara Ueland and Walter McCarthy

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 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

An evening of music for silent film

Guest pianist/composer Stephen Prutsman joins Accordo to perform original music with silent film: The Cabinet of Dr. Caligari (1920) Sherlock Junior starring Buster Keaton (1924)

Tuesday, January 19, 2016 • 7:30pmOrdway Concert Hall

schubert.org/accordo • 651.292.3268

Accordo is presented by The Schubert Club and Kate Nordstrum Projects.

“Best Chamber Ensemble”—Minneapolis Star Tribune

ACCORDOat the Movies

In honor of the Elkina Sisters

Rebecca Shockley

In honor of Alice Hanson, Professor

of Music, St. Olaf College

Kristina MacKenzie

In honor of Julie Himmelstrup’s

leadership

Theresa Black

Carl and Mary Ellen Schmider

Stuart and Mary Weitzman

An endowment gift to support the

Thelma Hunter Scholarship Prize

in honor of Thelma’s 90th Birthday

Hella Mears Hueg and Bill Hueg

In honor of the marriage of Kyle

Kossol and Tom Becker

Mark Baumgartner and Paul Olson

Jonathan Siekmann

Rick Reynen and Harlan Verke


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

Donald and Inger Dahlin

Bernice and Garvin Davenport

Adele and Richard Evidon

Maryse and David Fan

Roxana Freese

Gail Froncek

Catherine Furry and John Seltz

Richard Geyerman

Julie and Anders Himmelstrup

Cynthia and Russell Hobbie

Peg Houck and Philip S. Portoghese

Thelma Hunter

Lucy Jones and James Johnson

Ann Juergens and Jay Weiner

Phyllis and Donald Kahn

Barry and Cheryl Kempton

Marion and Chris Levy

Estate of Dorothy Mattson

Wendy and Malcolm McLean

Marjorie Moody

Mary and Terry Patton

Donna and James Peter

Betty and Paul Quie

Barbara and John Rice

Shirley and Michael Santoro

Mary Ellen and Carl Schmider

Sewell Family Foundation

Katherine and Douglas Skor

Eileen V. Stack

Cynthia Stokes

Ann and Jim Stout

Joyce and John Tester

Thrivent Financial Matching Gift Program

Clara Ueland and Walter McCarthy

Ruth and Dale Warland

Katherine Wells and Stephen Wilging

Peggy R. Wolfe

The Legacy Society

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

the musical arts for future generations.

Anonymous

Frances C. Ames*

Rose Anderson*

Margaret Baxtresser*

Mrs. Harvey O. Beek*

Helen T. Blomquist*

Dr. Lee A. Borah, Jr.

Raymond J. Bradley*

James Callahan

Lois Knowles Clark*

Margaret L. Day*

Timothy Wicker and Carolyn Deters

Harry Drake*

James E. Ericksen*

Mary Ann Feldman

John and Hilde Flynn

Salvatore Franco

Marion B. Gutsche*

Anders and Julie Himmelstrup

Thelma Hunter*

Lois and Richard King

Florence Koch*

Dorothy Mattson*

John McKay

Mary Bigelow McMillan

Jane Matteson*

Elizabeth Musser*

Heather Palmer

Mary E. Savina

Helen McMeen Smith*

Lee S. and Dorothy N. Whitson*

Richard A. Zgodava*

Joseph Zins and Jo Anne Link

*In Remembrance

Become a member of The Legacy Society by

making a gift in your will or estate plan. For

further information, please contact

Paul D. Olson at 651.292.3270 or

[email protected]

The Schubert Club Endowment and Legacy Society

Sunday, December 6, 2015 - 4pmSundin Music Hall • Saint Paul

Buy Tickets Today! 651.450.0527www.chambermusicmn.org

Join us for a special pre-release concert of ArianaKim’s debut solo album “Routes of Evanescence”Music for Solo Violin and Violin + 1 Written byAmerican Women Composers.

Presents:

Ariana KimCD Release Concert

With Special Guests

Ieva Jokubaviciute, piano/harpsichordJennifer Curtis, mandolin

an die musik oct 26 - dec 31, 2015

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