MUSIK An die 2021-2022 SEASON - October 7-November 18, 2021 - Schubert Club
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An die 2021–2022 SEASON
October 7—November 18, 2021
MUSIK
AN DIE MUSIK • TABLE OF CONTENTS
An die Musik
COVID-19 INFORMATION October 7 – November 18, 2021 WELCOME TO THE 2021–2022 SEASON!
TABLE OF CONTENTS For the most up to date concert and event
GUIDELINES & POLICIES schedule, as well as general information about
1 Covid-19 Guidelines and Policies Schubert Club and our programs and policies,
please visit our website at schubert.org
As guidance regarding COVID-19 continues to develop, Schubert Club is monitoring 3 Artistic & Executive Director and
updates from health organizations, local and state government, and the performing President's Welcome Schubert Club Ticket Office:
arts community. 5 Accordo 651.292.3268 • schubert.org
9 ZOFO Piano Duo Schubert Club
TICKET POLICIES FOR 2021-2022 11 Dover Quartet with Davóne Tines 75 West 5th Street, Suite 302
In light of the current uncertainties, we’ve made temporary changes to our ticket Saint Paul, Minnesota 55102
policies for the 2021-22 season to give our ticket holders more flexible options. 15 Courtroom Concerts schubert.org
17 Schubert Club Annual Contributors:
You can read more about our updated ticket policies at: Thank you for your generosity and support On the cover:
www.schubert.org/buy-tickets/ticket-info-and-policies/ Augustin Hadelich, violin; Photo: Suxiao Yang
26 Schubert Club Officers, Board, Staff, Orion Weiss, piano; Photo: Jacob Blickenstaff
and Advisory Circle
CURRENT SAFETY POLICIES
Vaccination policy:
In light of the highly transmissible Delta variant and increasing case numbers in
Minnesota, we require all guests to present proof of either full COVID-19 vaccination
September – December 2021 Event Schedule
or a negative COVID-19 test result taken within 72 hours prior to attending a ticketed
Schubert Club concert or event. Being fully vaccinated means completing your final
dose of a COVID-19 vaccine at least 14 days before the performance date. Proof of
vaccination or a negative test result must be shown when entering the venue. Proof
of vaccination includes bringing a physical card or showing a digital photo of your
vaccination card. Proof of a negative test result includes bringing a printed or digital
copy of your test results.
Mask policy:
All guests and staff will be required to wear masks inside our concert venues, except
while eating or drinking in the lobbies. This follows the Centers for Disease Control
and Prevention’s recent recommendation that everyone should wear a mask indoors
regardless of vaccination status.
Capacity Restrictions:
Schubert Club performances through January 2022 will be reduced to 50% capacity
to allow for social distancing.
You can read more on our commitment to safety at:
www.schubert.org/covid
For more details,
please visit
schubert.org/events
2 SCHUBERT CLUB An die Musik schubert.org 3
GREETINGS FROM BARRY KEMPTON AND CATHERINE FURRY
Welcome to the Schubert Club
After last year’s full season of digital We are delighted and eager to welcome audiences
presentations, it feels good to anticipate a new back to our Schubert Club performance spaces for
season of concerts and events, where I will get the 139th season of superb concerts. The precautions
to greet many of you in person again. we’ve established are important to keep everyone
safe while enjoying the excellent musical offerings
To open the 21-22 season, we welcome back this season. Our intention is to remain nimble given
several musical friends. The formidable violin/ the changing conditions that is our new world. We
piano duo of Augustin Hadelich and Orion Weiss will keep you posted as changes become necessary.
opens the International Artist Series at Ordway
Center. We’re delighted too to welcome back By way of introduction, although my music
the Dover Quartet to Music in the Park Series, background is minimal, I’m an enthusiastic devotee.
this time with American bass-baritone Davóne I served as a Board member of Julie Himmelstrup’s
Tines. And opening Schubert Club Mix, in Music in the Park Series for several years prior to
partnership with the Walker Arts Center, the the fortuitous merger with Schubert Club in 2011. We
hugely popular Brooklyn Rider (string quartet) proudly called ourselves “Julie’s harem!” I joined the
collaborates with leading kamancheh soloist, Schubert Club Board then and have served in one
Kayhan Kalhor, and percussionist Mathis Kunzli. capacity or another ever since.
A second Schubert Club Mix program features Be sure to make a trip to Landmark Center to visit
piano duo ZOFO at Park Square Theatre in a and interact with our magnificently reconfigured
and enhanced Schubert Club Music Museum. You’ll
Brooklyn Rider,
program of music and visual art projections
that works as a 21st century “Pictures at an find the Music Makers Zone to discover and create
Exhibition.” String ensemble Accordo’s first music with instruments from around the globe. The
Keyboard Journey will immerse you in the sights
program of the season includes guest pianist
Anna Polonsky and the Courtroom Concert and sounds of our keyboard and composer letter with Kayhan Kalhor, kamancheh
collections. Our museum guides are knowledgeable
series features a performance by Border
CrosSing (Ahmed Anzaldua director) in the and available for tours. See our website for museum a new generation of classical music and Mathias Kunzli, percussion
Landmark Center Cortile. There’s much to be hours and tour information.
excited about.
As we gather to enjoy the multitude of excellent Friday, October 29, 8:00 pm Hailed as “the future of chamber music” (Strings),
Please remember to bring proof of full programs this season, and if you’re able to recognize Walker Art Center Brooklyn Rider makes their overdue Walker debut in a
vaccination or a negative COVID test result me behind my mask, please introduce yourself as I 725 Vineland Pl
would love to meet you all! special collaboration with Kayhan Kalhor, the Kurdish
taken within 72 hours and a face mask. We Minneapolis, MN 55403
Iranian master of the Persian kamancheh (spike
appreciate your cooperation and look forward
to welcoming you back. fiddle) and member of Yo-Yo Ma’s acclaimed Silk
Single tickets are on sale now
Road Ensemble. This eclectic and inspired evening
and only available through our co-presenters
of contemporary-meets-classical music includes
at The Walker.
Kalhor’s Silent City, a piece commemorating the
Iraqi Kurdish city of Halabja, which was destroyed in
a chemical attack. Championing art’s global value in
a violent world, the richly nuanced and mesmerizing
walkerart.org/tickets concert leaves a hauntingly powerful afterglow.
Barry Kempton Catherine Furry
Artistic & Executive Director President
schubert.org 5
ACCORDO
Accordo
Monday, October 18, 2021, 7:30 PM
St. Paul’s United Church of Christ Three Romances for Viola and Piano
Clara Schumann
(b. Leipzig, 1819; d. Frankfurt, 1896)
ACCORDO The recent reappraisal of the remarkable Clara
Schubert Club •
Schumann—long overdue—began building momentum
Steven Copes, violin • Susie Park, violin in the 1970’s when more of her works were published,
some for the first time. And despite her extraordinary
Rebecca Albers, viola • Ronald Thomas, cello achievements, to this day, references to Clara’s career
Anna Polonsky, piano are usually subordinate to her more famous spouse’s
life and music—not to mention the gossipy speculation Photo of Clara Schumann, 1853
about her relationship with Brahms—all to the detriment
of her reputation. I would be remiss not to mention the dramatic saga of
Three Romances for Viola and Piano (1853) Clara Schumann (1819–1896) how Clara and Robert managed to get married, despite
Today, the historical record now recognizes that Ms. the bitter battle that Clara’s father waged to prevent it.
I. Andante molto Schumann—to use the vernacular—was something of a He tried every trick he could think of to split them apart,
II. Allegretto: Mit zartem Vortrage superwoman. She became one of the most respected which—big surprise—only reinforced their resolve.
pianists and composers of her time (or any time)
III. Leidenschaftlich schnell and a mother to eight, who became the family’s sole Clara’s father was against it largely for selfish reasons,
Albers, Polonsky breadwinner when Robert was committed to an asylum because, as her piano teacher, he had spent years
at age 44, where he died two years later. grooming Clara’s formidable talents, from child prodigy
into accomplished artist. Just when he was about to reap
Fantasy Pieces for Quartet, Op. 5 (1895) Samuel Coleridge-Taylor (1875–1912) Clara had no choice but to keep playing concerts, the financial rewards from her expected success, he
all over Europe, sometimes while pregnant. It goes thought she was throwing herself away on a penniless
I. Prelude without saying that women were not encouraged to composer nine years her senior, whose music he thought
II. Serenade have a career, certainly not as a concert pianist or little of. Clara’s father was indeed a respected piano
composer, both crimes of which she was guilty, making teacher, but unfortunately, he is also the exemplar of the
MAR III. Humoreske her achievements even more remarkable. To give you cold-hearted, ambitious stage father.
12 IV. Minuet & Trio an idea of the challenges Schumann faced, she had
to do most of the work to organize her tours, with little Things got uglier once they got engaged, as Clara and
V. Dance help from the presenters, promoters, and agents of Robert famously had to go to court to get permission to
Park, Copes, Albers, Thomas the day, who, being male, did not consider the concert marry, since she was still under 18. The judge granted it
stage a proper place for a woman, not to mention that and they got married one day before Clara’s 18th birthday,
(horrors) she might take away work from men. This was just to spite her father.
Intermission 1853 after all, a full 67 years before women were given
the right to vote. Sadly, after Robert died, Clara hardly composed
MAR another note, probably the first casualty of her new life
19 Piano Quintet in G minor, Op. 57 (1940) Dmitri Shostakovich (1906–1975) Schumann’s best revenge was longevity. She had a circumstances. She simply didn’t have the time, with
61-year stage career and remained active as a performer the competing responsibilities of family, teaching, and
I. Prelude: Lento
and teacher well into her 70’s, a revered and well- concertizing. Her body of just 100 works, all of them first
II. Fugue: Adagio respected figure in a male-dominated profession. Fun rate, reveal what the world has missed by neglecting her
fact: an image of Clara Schumann was featured on the music over the last 150 years!
III. Scherzo: Allegretto 100 Deutsche Mark banknote until 2002.
MAR IV. Intermezzo: Lento Ms. Schumann composed the Three Romances for
26 For all her successes, Schumann’s family life was violin and piano in 1853 and dedicated the work to the
V. Finale: Allegretto marred by tragedy. Her husband and four of her legendary violinist Joseph Joachim. This arrangement
Copes, Park, Albers, Thomas, Polonsky eight children predeceased her, and her husband for viola and piano is equally effective, as the Romance
and one son died in asylums. In addition to raising form was one that both Clara and Robert used often and
her own large family, she took on the responsibility of elevated to an art form. These three vignettes burst with
raising two grandchildren when one of her children expressive character, intelligence, and wit, and deserve a
PLEASE SILENCE ALL ELECTRONIC DEVICES became incapacitated. far wider audience.
schubert.org 7
ACCORDO ACCORDO
To survive artistically, Shostakovich maintained a
clever balancing act, writing earthy, populist music that Photo of Dmitri
Fantasy Pieces for Quartet, Op. 25 Photo of Samuel could appeal to the less sophisticated listener, while Shostakovich
Samuel Coleridge-Taylor Coleridge-Taylor, hidden on the inside—at great risk to himself and his c. 1930
(b. Holborn, 1875; d. Croydon, 1912) 1905 family—were statements of harsh dissent, cleverly
camouflaged to fool the government censors. It only
As with Clara Schumann, there has been a recent Piano Quintet in G minor, Op. 57 became clear after his death how much he despised the The Fugue that follows is not a fast-moving, virtuosic
reappraisal of Englishman Samuel Coleridge-Taylor’s Dmitri Shostakovich oppression of the Soviet system and the people who fugue that one might expect, but rather, one in slow
music, that reveal what an immensely popular, successful, (b. Saint Petersburg, 1906; d. Moscow, 1975) ran it. Shostakovich spent his entire life trying to serve motion, as if time stands still. The entry of each new voice
and respected composer and conductor he was around two masters, without entirely selling his soul. is like adding bricks that build into a wall of sound, a
the turn of the last century. Born to an English mother When Shostakovich wrote his Piano Quintet in 1940, process that generates enormous musical tension. Just
and West African father, he began the violin with his Germany was marching towards Moscow and war The Piano Quintet does not harbor hidden messages, as gradually, the intensity dies away, before fading away
grandfather, who later paid for his lessons when he got appeared imminent. Just four years earlier, Shostakovich but is instead refreshingly direct, and unpretentious, on the breeze.
into the Royal Conservatory of Music, where he turned had been denounced by Stalin himself for his opera Lady providing easy access for the listener. A glance at the
his attention to composing. Sir Edward Elgar supported Macbeth, so the immediate success of the Piano Quintet movement titles reveals that he was experimenting The Scherzo changes moods completely, depicting
his early career. was a great relief to him, bolstered a year later when with older styles, in this case the baroque era and the a raucous village fair, with a demonic, driven energy,
the quintet was awarded the inaugural Stalin Prize for composer he admired most, J.S. Bach, and his keyboard a movement that is often reprised as an encore! (Just
If Samuel Coleridge-Taylor’s name sounds vaguely composition, accompanied by a $100,000 ruble prize. preludes and fugues. a thought.)
familiar (or if you are an English major), it’s because This is often cited as the largest sum ever awarded for a
he was named after the English poet, literary critic, chamber music work, yet Shostakovich promptly handed The piano opens with a proud, exclamatory theme The Intermezzo functions as the work’s slow
philosopher and theologian Samuel Taylor Coleridge, over the money for the benefit of his fellow Muscovites in G minor that invites a full-throated response from movement, a poignant, often mournful tale that
whom his mother greatly admired. Little did she know during the war. the strings, ending quite unexpectedly in a glorious concludes optimistically, a perfect segue (without a
that this homage to a dead poet would later complicate cadence in G major. After dispensing with the solemn pause) to the finale, that is lighthearted, even humorous
her son’s life once he became well-known, with frequent As an emerging composer, Shostakovich had been introductions, Shostakovich begins the Prelude proper, at turns. Shostakovich clearly wanted to leave a smile on
confusion resulting from the similarity of their two names. hyped as the great musical hope of the young Soviet but in a simpler, more intimate voice. everyone’s face.
Union, the first composer trained entirely under the new
During his lifetime, Coleridge-Taylor’s popularity rested Soviet system. But after the Lady Macbeth incident, Program notes ©2021 by Michael Adams
on primarily one piece, written when he was just 22: his relationship with the government officials of the
The Song of Hiawatha, a cantata on the epic poem Association of Composers was often rocky. Following
by American Henry Wadsworth Longfellow. Hiawatha Stalin’s denouncement and his public humiliation,
became so popular during his lifetime that choral groups Shostakovich obsessed over getting the dreaded knock SPECIAL THANKS TO OUR ACCORDO DONORS
all over England performed it in the decades after his on the door in the middle of the night from the secret
PERFORMANCE SPONSORS PATRONS Mary A. Jones Cynthia Mueller
death. Only two choral works were done more often: police, followed by a generous “sabbatical” at a Siberian Eileen Baumgartner Beverly S. Anderson Thomas and Susan Kafka J. Shipley and Helen Newlin
Edwin Karels Lowell and Sonja Noteboom
Mendelssohn’s Elijah & Handel’s Messiah. gulag (or worse), for writing music the state found Dorothy J. Horns Gretchen and David Anderson
Dwayne King Robert O’Hara
and James P. Richardson Karen Bachman
offensive, or simply “anti-Soviet”. This happened to a Ruth and John Huss Dorothy Boen Marit Lee Kucera Judy and Scott Olsen
Lucy R. Jones and James E. Johnson Gloria Kumagai and Dr. Steven Savitt Barbara Osadcky
Coleridge-Taylor came to America for three successful number of his friends, relatives, fellow composers, and Phyllis Kahn
Carol and Michael Bromer
Frederick Langendorf Joseph Osowski
Barbara Ann Brown
concert tours in the early 1900’s. He was sometimes writers, who were never to be seen again. As a result, he Barbara Cohen and Dr. Frederick Langendorf Lois and Stephen Parker
Phyllis Conlin and Marian Rubenfeld Clara Presser
referred to by white New York musicians as the “African always carried a toothbrush and a bar of soap in case he Donald † and Inger Dahlin Leslie Leik Alberto and Alexandria Ricart
Mahler”. President Teddy Roosevelt received him at the was hauled off unexpectedly by the secret police. MUSICIAN SPONSORS Pamela and Stephen Desnick Mary and Doug Logeland Ann and Joan Richter
Susan L. Adamek George Ehrenberg Mark and Becky Lystig Jane Rosemarin
White House, an extremely rare event in those days for a Richard Allendorf and Paul Markwardt Sara and Karl Fiegenschuh Suzanne Mahmoodi Diane Rosenwald
man of African descent. But for all his success, he shared Shostakovich spent his entire professional life walking Nina Archabal Gerald Foley Marsha and Thomas L. Mann Mort Schlesinger
Mary and Bill Bakeman, Patricia Gaarder Kate Maple and Joan Oliver Goldsmith
a fate seemingly common among artists: he died young, a tightrope over the shark-filled waters of the Soviet in support of Tony Ross Nancy and Jack Garland Mary and Ron Mattson Christine Schwab and Mike Klevay
James Callahan Dorothy McClung Sylvia Schwendiman
at 37 from pneumonia. cultural authorities who were always on guard for artists Sheldon Damberg
Mary Glynn, Peg and Liz Glynn
David McClung and Chris Zickrick Gary Seim and Lee Pfannmuller
Katherine Goodrich
who displayed “western, formalist, elitist tendencies” Marybeth Dorn and Robert Behrens Elly Grace Nancy McKinley Marge and Ed Senninger
Richard and Marsha Gould Linda Grothe Anne McKinsey Elizabeth Sharpe
He labelled these five movements “Fantasiestücke” (whatever that means). This constant (and very real) Melissa Harl, Michelle Hackett Deborah McKnight and James Alt Gale Sharpe
(Fantasy Pieces) using the German name first coined by threat exacted a terrible toll on Shostakovich, who was In support of Rebecca Albers Betsy and Mike Halvorson Ralph † and Barbara Menk Judith and Bruce Tennebaum
Margot McKinney Mary Beth Henderson Jane Mercier and Mark Taylor Anthony Thein
Robert Schumann. A typical set of fantasy pieces would chronically depressed, anxious, and in ill health. He Elizabeth B. Myers John Floberg and Martha Hickner John Michel and Berit Midelfort Timothy and Carol Wahl
Patricia O’Gorman Kate Hunt and Howard Miller Alex and Marguerite Wilson
consist of a set of short character sketches, each of a spoke in a nervous and shaky voice. He slept poorly. Bill and Susan Scott,
Elizabeth Hinz
David Miller and Mary Dew Becky Yust
Beverly Hlavac
different mood and type. He follows that blueprint here, Polio struck him as an adult and crippled his right hand, In support of Erin Keefe Brian Horrigan and Amy Levine James Miner and John Easton Debbie and Max Zarling
Dan and Emily Shapiro Alfred P. and Ann M. Moore
with a Serenade, a Humoresque, a Minuet, and a Dance. ending his days as a performing pianist. Carol A. Johnson
8 SCHUBERT CLUB An die Musik schubert.org 9
AUGUSTIN HADELICH & ORION WEISS • INTERNATIONAL ARTIST SERIES
Maud Moon Weyerhaeuser Sanborn International Artist Series
Tuesday, November 2, 2021, 7:30 PM Suite after Themes, Fragments and Pieces the 1925 suite. “It’s a little quirkier and much more
by Pergolesi (1925) similar to the orchestral version,” he said in a 2011
Wednesday, November 3, 2021, 10:30 AM Igor Stravinsky interview. “I also think that the two instruments are
Ordway Concert Hall (b. Lomonosov, Russia, 1882; d. New York City, 1971) a lot more equal. The violin doesn’t have the theme
all the time, there’s a little more switching back and
Igor Stravinsky called Pulcinella the “swan song” forth.” Hadelich adds: ”It’s also much more difficult.”
of his Swiss years, “the epiphany through which the
AUGUSTIN HADELICH, VIOLIN whole of my late work became possible.” But the
1920 project wasn’t his idea. It was Serge Diaghilev’s.
Stravinsky’s Pulchinella score is famous for ushering
in the movement “back to Bach.” But let us return
ORION WEISS, PIANO The director of the Ballet Russes invited Stravinsky
to orchestrate some bits and pieces of music by
to Massine, who was interested in combining folk
dance with ballet. With all its “wrong notes,” glaring
an assortment of eighteenth-century composers open strings and rustic pedal points, the atavism of
represented by “Pergolesi,” a native of Pergola who Pulcinella may be inspired as much by Russian folk
This concert is dedicated to the memory of Reine H. Myers by her family had died young in 1726, known in modern times music as by Italian “classics.”
mainly for the one-act opera buffa La serva pedrona
and a keenly expressive Stabat Mater. Diaghilev Blue/s Forms for Solo Violin (1972)
was fascinated with Italy, the commedia dell’arte in Coleridge-Taylor Perkinson
Suite after Themes, Fragments and Pieces by Pergolesi (1925) particular. He found a kindred spirit—and a lover—in (b. 1932, New York City; d. 2004, Chicago)
Introduction Igor Stravinsky (1882–1971) Léonide Massine, Nijinsky’s successor as the male
star of Ballet Russes. They enlisted Pablo Picasso, The names confuse. Samuel Taylor Coleridge was
Serenata
then at the peak of his Parisian popularity. That tickled an English Romantic poet, famous for “The Rime of
Tarantella Stravinsky, who had retreated with his family to the Ancient Mariner.” Samuel Coleridge Taylor was
Gavotta con due variazioni Switzerland after the 1913 scandal over the ballet Le an Victorian-era English composer of mixed race.
Minuetto e Finale Sacre du printemps, an episode of typhoid fever, and Coleridge-Taylor Perkinson, the composer on this
the onset of a great war. “The proposal that I should program, was an African-American musician of many
work with Picasso, who was to do the scenery and gifts who lived into this century and is now receiving
Blue/s Forms for Solo Violin (1972) Coleridge-Taylor Perkinson (1932–2004) costumes and whose art was particularly near and deserved recognition.
dear to me was certainly appealing,” he admitted.
Plain Blue/s Born in New York City, Perkinson received thorough
Just Blue/s The subject of what Stravinsky called an “action training in music, first attending the High School for
Jettin’ Blue/s dansante” was Pulcinella, or Punch, a beloved Music and Art in New York, then going on to study at
caricature in Naples. Witty and eccentric with a NYU and the Manhattan School of Music, where he
hooked-nose mask, one side of Pulcinella’s face earned bachelor’s and master’s degrees. His teachers
expressed laughter, the other anguish. Stravinsky included composer Vittorio Giannini and conductor
Sonata in G major, M. 77 (1923–27) Maurice Ravel (1875–1937)
took Pergolesi’s music and turned it into a ballet score
Allegretto for strings divided between soli and tutti, three singers
Blues: Moderato and a modest wind section. Maud Moon Weyerhaeuser Sanborn
Perpetuum mobile: Allegro International Artist Series
Stravinsky made several distinct arrangements
of music from Pulcinella: one for orchestra, two for M a u d M o o n We y e r h a e u s e r
Intermission violin and piano, and one for cello and piano. All Sanborn (1876-1965) was born in
scoop out the internal action of the ballet, excising Rochester, Minnesota. She married
two of the vocal numbers but preserving the outer Charles Weyerhaeuser in 1898 and
Sonata No. 9 in A major, Opus 47, Kreutzer (1923–27) Ludwig van Beethoven walls. The one on this program is the earliest of the
(1770–1827) lived most of her life in Saint Paul.
Adagio sostenuto—Presto three. Suite d’après thèmes, fragments et pièces de A talented singer always active in
Andante con variazioni Giambattista Pergolesi was arranged in the summer the musical community, she supported Schubert
Presto of 1925. It is dedicated to the eminent Polish violinist Club and the Minneapolis Symphony. She had a
Paul Kochanski (1887–1934), who had assisted special affection for Salzburg and Tanglewood
Szymanowski and Prokofiev with concerto writing. where she spent summers. She developed close
friendships with important musicians of her day
PLEASE SILENCE ALL ELECTRONIC DEVICES In the 1930s, Stravinsky collaborated with violinist such as Dmitri Mitropoulos and Serge Koussevitsky.
Samuel Dushkin on a new suite of essentially the The International Artist Series is dedicated to her
same music, which he dubbed Suite italienne. But memory by her grandchildren.
Augustin Hadelich prefers the colors and effects of
10 SCHUBERT CLUB An die Musik schubert.org 11
AUGUSTIN HADELICH & ORION WEISS • INTERNATIONAL ARTIST SERIES AUGUSTIN HADELICH & ORION WEISS • INTERNATIONAL ARTIST SERIES
Jonel Perlea. He continued conducting studies note is C-sharp, which conveys a feeling of Lydian in Vienna’s Augarten on the morning of May 24, In a complete break with the accompanied-sonata
at Tanglewood and the Mozarteum in Salzburg mode. Piano responds with an ironic drumming 1803 with Beethoven at the piano, must have been tradition, violin opens alone, chording in A major.
and later studied composition with Earl Kim at comment which is answered by a whole-tone exhilarating, even chaotic, for the work wasn’t quite Piano takes the chords in a minor direction, cadencing
Princeton. Perkinson’s concert works include “sun dog” high in the piano. A second theme is finished. At 4:30 that morning, Beethoven had called with a half-step. That half-step generates all the ideas
concertos for viola and cello, three piano sonatas, accompanied by open fifths, leaving the violin on his friend Ries to copy out the violin part of the in the Presto. There was no precedent for this furious,
songs, choral pieces, and chamber music. But melody to sweeten the thirds. Ravel used this first movement. Bridgetower read the Variations breathtaking virtuosity in chamber music. Beethoven
“Perk” also played jazz, joining the Max Roach very texture around the same time in a setting movement over Beethoven’s shoulder from the described it as “written in a very concertante style, like
Quartet as pianist in 1964. And he brought his of verses by Ronsard that speaks of the “cold composer’s famously sketchy manuscript. The Finale a concerto.” The formal borders are clearly marked
expertise to many scores for film and TV, working kingdom of the dead.” In particular, notice how was already complete, intended originally for the by fermatas; like the eye of a hurricane, they tell you
with Marvin Gaye and Harry Belafonte. Ravel sets up the expectation of a rich climax, only Sonata, Opus 30, No. 3, but as Beethoven wisely where you are in the storm. The quiet second subject
to dash our hopes in a long, rustling tremolando. sensed, it was too brilliant for that introspective work. is in major, decaying to minor. (Notice it begins with
The 1972 composition Blue/s Forms honors a half-step!) A distinctive third theme is a robust new
violinist Sanford Allen, who in 1962 became Ravel calls the second movement “Blues,” On the manuscript to Opus 47 Beethoven version of the half-step idea with Hungarian flavor.
the first full-time African-American violinist with but this is not The Blues, that twelve-bar strain scrawled: “Sonata mulattica composta per il mulatto
the New York Philharmonic. The composer that Blind Willie McTell made famous. There are Brischdauer, gran pazzo e compositore mulattico” Piano states the theme of the Andante, which
encourages the player to “freely sing the blue certainly “blue” elements, like the flatted third (Mixed-race sonata composed for the mixed-race culminates in bird-like trills for both partners. Four
notes, the falsetto cries, hums, growls, moans and seventh, a mixing of major and minor mode, Bridgetower, great fool and mixed-race composer), variations follow. Piano is featured in the first, while
and shouts and the slides of the blues.” As the a persistent, strummed accompaniment that an impudent dedication which betrays Beethoven’s violin chirps away. Nervous repeated notes in
slash in the title implies, the traditional twelve-bar suggests guitar. The effect is something like an affection and admiration for Bridgetower. He also Variation 2 carry the violin into the clouds. Variation
jazz blues and the free-form folk blues are freely improvisation on a known but unstated melody. presented Bridgetower with his tuning fork. 3 is in minor mode. Returning to Maggiore, piano sets
combined. “The structure of each movement Think of other jazz-inspired works at this time, like up a music-box texture with ecstatic flourishes like
is four choruses of ‘the blues.’ Their sum total, Gershwin’s Rhapsody in Blue, which premiered on But after the premiere, the dedication of the those in Beethoven’s late piano sonatas to come.
however, is just some plain ole black ‘n’ blue February 12, 1924. published work went not to Bridgetower, but to
Blue/s Forms.” Rodolphe Kreutzer (1766–1831), a leading violin A single massive piano chord ignites the Finale.
The perpetual-motion finale starts by recalling virtuoso and teacher at the Paris Conservatoire for Then it’s what violinist Abram Loft calls “a tarantella of
Sonata for Violin and Piano, M. 77 (1923–27) the ironic drumming, then by diminutions arrives some 30 years. His 42 Études or Caprices (1796) the possessed, a dance to death that is nevertheless
Maurice Ravel at scurrying violin sixteenths. Obsessive motor- are still standard study material. filled with the highest of good spirits and climaxed
(b. Ciboure, Basses-Pyrénées, 1875; d. Paris, 1937) rhythm drives us to the finish line. with the most triumphant of endings.”
Performance is one thing, publication another,
The music of Maurice Ravel’s later years must Sonata No. 9 in A major, Opus 47, Kreutzer (1803) and here the facts are less certain. An 1858 account Kreutzer is the nickname of the sonata, not a true title
be heard with the guns of a world war echoing in Ludwig van Beethoven suggests that the change of dedication was chosen by the composer. Some would like to rebrand
the distance. Although he was initially rejected (b. Bonn, 1770; d. Vienna, 1827) an impulse. “In respect to the Kreutzer Sonata, the Kreutzer Sonata as the Bridgetower Sonata,
for military service, Ravel enlisted as a driver in Beethoven told me, that when it was written, acknowledging the contributions of a Black man in
the Motor Transport Corps. The stress of Verdun The Kreutzer Sonata is the grandest and most Beethoven and [Bridgetower] were constant elite White society. Surely, Opus 47 is infused with
and the death of his mother in 1917 sent him into difficult of Beethoven’s ten sonatas for piano and companions,” recounted J. W. Thirlwall in the the flamboyant Bridgetower’s skills and personality.
a creative coma. violin and it’s the one with the best back story. Musical World. “On the first copy was a dedication He deserves recognition. But Kreutzer’s name has
The extraordinary character who inspired it was to his friend Bridgetower, but when it was first echoed through succeeding generations, inspiring a
The Violin Sonata occupied Ravel from not Kreutzer, but George Augustus Polgreen published, they had some silly quarrel about a girl, short story by Tolstoy and a string quartet by Janáček
1923 to 1927. Unlike earlier composers, who Bridgetower (1778–1860), a young violin virtuoso and in consequence Beethoven scratched out the that explore extremes of passion. Where once
thought of the chamber duo as a conversation from England visiting Vienna in the spring of 1803. name of Bridgetower and inserted that of Kreutzer.” Kreutzer was a name on the cover of a dusty étude
or embrace, Ravel found violin and piano Bridgetower was of mixed race, the son of a south- book, it now has connotations of fire and sexuality.
essentially incompatible. “Far from minimizing German mother and a Black, West-Indian father in There is another plausible reason for the change Those associations will be hard to disentangle.
their contrasts,” he said, “the work emphasizes service to the Esterházy family. He was a prodigy, of dedication: sheer opportunism. Beethoven was
that incompatibility.” Two styles vie for brilliantly marketed by his father as a “Haydn seriously thinking of moving to Paris in 1803. He Those interested in a poetic treatment of the
prominence in Ravel’s post-war music: his pupil” and grandson of an African prince. After his had received a gift of a beautiful new piano from the Bridgetower story will enjoy Rita Dove’s Sonata
characteristic diatonic, modal, lyric voice, which début in Frankfurt at age seven, Bridgetower went Parisian maker Érard, and according to Jan Caeyer’s Mulattica: A Life in Five Movements and a Short
dominates the first movement, and a new style to London, where he was taken under the wing of recent Beethoven: A Life, he believed Kreutzer to be Play, published by W.W. Norton in 2009. Dove, a
in which harmony and melody take a back seat the Prince of Wales, the artsy but dissolute son of behind it. In any case, in October 1804 Beethoven Pulitzer Prize winner and former U.S. Poet Laureate,
to propulsive rhythms. “mad” King George III. wrote to Simrock: “This Kreutzer is a dear, kind fellow, brings a musician’s insight to her graceful and
who during his stay in Vienna gave me a great deal imaginative verses.
The Allegretto begins in flexible compound Bridgetower was introduced to Beethoven of pleasure. I prefer his modesty and natural behavior
meter with an ever-translucent texture. The by Prince Lichnowsky, the composer’s patron. to all the exterior without any interior, which is the Program notes © 2021 by David Evan Thomas
sonata is often said to be “in G,” but Ravel Apparently they were firm friends for a while. character of most virtuosi.” A dig at Bridgetower? www.davidevanthomas.com
avoids saying that in his title, and the second The premiere of Opus 47, which took place Kreutzer never bothered to play the sonata
12 SCHUBERT CLUB An die Musik schubert.org 13a new generation of clatssical music
PROGRAM
ZOFO duet tasked 15 composers to write a new piece for piano four
hands inspired by a work of visual art representative of his or her culture.
The result is a thought-provoking tapestry of sights and sounds.
COMPOSERS VISUAL ARTISTS
Keyla Orozco Douglas Pérez Castro (CUBA)
Lei Liang Huang Binhong (CHINA)
Carl Vine James Gleeson (AUSTRALIA)
Avner Dorman Reuven Rubin (ISRAEL)
Cécile Marti Verena Marti-Buchmann (SWITZERLAND)
ZOFO Piano Duo Wednesday, November 17, 7:30 pm
Franghiz Ali-Zadeh Sattar Bahlulzade (AZERBAIJAN)
Eva-Maria Zimmermann Andy Boss Stage
Samuel Carl Adams Emily Davis Adams (USA)
and Keisuke Nakagoshi Park Square Theater
Paweł Mykietyn Wojciech Fangor (POLAND)
Since joining forces as a professional duo in 2009, internationally acclaimed solo Wayan Yudane I Made Budhiana (INDONESIA)
pianists Eva-Maria Zimmerman and Keisuke Nakagoshi – ZOFO – have electrified
Pablo Ortiz Eduardo Stupia (ARGENTINA)
audiences from Carnegie Hall to Tokyo Japan with their dazzling artistry and outside-
the-box thematic programming for piano-four-hands. This GRAMMY-nominated, Kenji Oh Yokoyama Taikan (JAPAN)
prize-winning Steinway Artist Ensemble – one of only a handful of duos worldwide
devoted exclusively to piano duets – is blazing a bold new path for four-hands groups Gabriel Prokofiev Robert Fry (UK)
by focusing on 20th and 21st century repertoire and by commissioning new works
Sahba Aminikia Nicky Nodjoumi (IRAN)
from noted composers each year.
Gilles Silvestrini Claude Monet (FRANCE)
Jonathan Russell Stormie Mills (UK)
14 SCHUBERT CLUB An die MusikDOVER QUARTET WITH DAVÓNE TINES • MUSIC IN THE PARK SERIES
Julie Himmelstrup Music in the Park Series
Quartettsatz in C minor, D. 703 (1820)
Sunday, November 14, 2021, 4:00 PM Franz Schubert
(b. Vienna, 1797; d. Vienna, 1828)
Saint Anthony Park United Church of Christ
“Quartet Movement” is the translation of the
German, and it’s a description, not an actual title. It
may be best to think of the 1820 Quartettsatz as the
DOVER QUARTET beginning of a four-movement unfinished quartet,
for there is also a 40-bar sketch of an Andante.
DAVÓNE TINES, BASS-BARITONE
Schubert scholar Brian Newbould considers the
fate of the C-minor Quartet a tragedy comparable to
the abandonment of the “Unfinished” Symphony: “It Samuel Barber at the piano, c. 1960
Joel Link, violin Milena Pajaro-van de Stadt, viola is one of the great mysteries of these years of fast
maturing that even when [Schubert] produced music
Bryan Lee, violin Camden Shaw, cello of such miraculous certainty, his recognition of its Adding a voice to the string quartet would seem
supreme quality did not compel him through to its as natural as adding a piano or viola, but in fact, the
final completion.” Even so, this fragment marks his repertoire for voice and string quartet is surprisingly
coming of age as a composer of instrumental music. small. Schönberg’s landmark Quartet No. 2 invents
the genre by adding a soprano in its final movements.
There are many striking features in this knotty ten- There are also works by Warlock, Respighi, Pizzetti,
Quartettsatz in C minor, D. 703 (1820) Franz Schubert (1797–1828) minute piece. The opening is a maelstrom, a furious and more recently, George Rochberg’s Quartet No.
energy that never completely abates, sustained 7, but of these, Barber’s Dover Beach is the most
Dover Beach, Op. 3 (1931) Samuel Barber (1910–1981) through a variety of restive inner-voice figures. frequently performed. Barber’s setting dates from
A second idea in A-flat soon appears, possibly a 1931, when Barber was studying composition with
parody of a quartet from an opera by Grétry. But Rosario Scalero. Ralph Vaughan Williams, who heard
By and By (2010) Caroline Shaw (b. 1982) the third theme is utterly magical: marked ppp and the piece that year while visiting Bryn Mawr College,
Will there be any Stars in my Crown further enhanced when played up an octave over told Barber: “I tried several times to set Dover Beach,
Angel Band plucked cello. Some six minutes later, the passage but you really got it!”
O Death returns as if aged in oak. Schubert experiments
with spacing, moving the first violin to the bass and Barber would have agreed with Schumann that a
I’ll Fly Away placing the cello on top. And because the maelstrom great song requires a great poem, and “Dover Beach”
theme has never really gone away, there is no need fits the bill. Many critics still consider it the first “modern”
to recap it. poem. Matthew Arnold’s theme, prompted by the sound
Intermission of rocks thrown back upon the shore, is the ebbing of
Dover Beach, Op. 3 (1931) faith. Barber is drawn more by the effect of the ebbing
Samuel Barber tide of faith—the “eternal note of sadness”—an effect
(b. West Chester, PA, 1910; d. New York City, 1981) created in the opening bars by a rocking violin figure,
Quartet No. 4 in D major, Op. 44, No. 1 (1838) Felix Mendelssohn (1809–1847) iambic tune and plaintive harmony.
Molto allegro vivace Samuel Barber was the nephew of Metropolitan
Opera contralto Louise Homer and her composer- Dover Beach
Menuetto: Un poco Allegretto The sea is calm to-night.
husband Sidney. (Ms. Homer appeared in Schubert
Andante espressivo ma con moto Club recitals in 1902 and 1913.) Young Barber was The tide is full, the moon lies fair
Presto con brio an amazingly accomplished musician. He entered Upon the straits;—on the French coast the light
with the first class of The Curtis Institute, studying Gleams and is gone; the cliffs of England stand,
piano with Vengerova and conducting with Glimmering and vast, out in the tranquil bay.
Reiner, and gave recitals there as a baritone, later Come to the window, sweet is the night air!
traveling to Vienna to study voice. While in Rome Only, from the long line of spray
as the winner of the Rome Prize in 1935, he wrote Where the sea meets the moon-blanch’d land,
of memorizing the entire Dichterliebe of Schumann, Listen! you hear the grating roar
both voice and piano parts. Later that year, the Of pebbles which the waves draw back, and fling,
composer recorded Dover Beach with the Curtis At their return, up the high strand,
PLEASE SILENCE ALL ELECTRONIC DEVICES String Quartet, a recording that was praised as Begin, and cease, and then again begin,
having “singular charm and beauty,” “intelligently With tremulous cadence slow, and bring
sung by a naturally beautiful voice.” The eternal note of sadness in.
schubert.org 17DOVER QUARTET WITH DAVÓNE TINES • MUSIC IN THE PARK SERIES DOVER QUARTET WITH DAVÓNE TINES • MUSIC IN THE PARK SERIES
Sophocles long ago Recent commissions include new works Opus 44 is dedicated “a son altesse royale to include orchestral effects like octave doublings and
Heard it on the Aegean, and it brought for Renée Fleming with Inon Barnatan, Dawn M o n s i g n e u r l e P r i n c e R o y a l d e S u e d e .” the agitated bowed-tremolo accompaniment of the
Into his mind the turbid ebb and flow Upshaw with Sō Percussion and Gil Kalish, the Mendelssohn had more than a passing interest in opening Molto allegro vivace. The Menuetto is less a
Of human misery; we Seattle and Baltimore Symphonies, Anne Sofie Sweden and the North Country. His aunt “Peppi” minuet than a pastorale in its slow harmonic rhythms,
Find also in the sound a thought, von Otter with Philharmonia Baroque, the LA lived in Stockholm, and beginning in 1844 he but its central episode breathes the air of another
Hearing it by this distant northern sea. Philharmonic, the Orchestra of St. Luke’s with cultivated a close friendship with Jenny Lind, “The world. With the haunting Andante espressivo it’s clear
John Lithgow, and string quartets including the Swedish Nightingale.” Mendelssohn met the Crown that the work will have neither a true slow movement
The Sea of Faith Calidore and Dover Quartets and Brooklyn Rider. Prince and future King Oscar I of Sweden while nor a scherzo typical of this composer. The finale
Was once, too, at the full, and round earth’s shore Shaw’s film scores include Erica Fae’s To Keep visiting an art exhibit in Frankfurt in 1837. When he brings melodic foreshadows of the sunny “Italian”
Lay like the folds of a bright girdle furl’d. the Light and Josephine Decker’s Madeline’s expressed an interest in dedicating a work to the Symphony.
But now I only hear Madeline as well as the upcoming short 8th Year Prince, Mendelssohn’s friend Adolf Lindblad (1801–
Its melancholy, long, withdrawing roar, of the Emergency by Maureen Towey. Shaw has 1878) offered his help. “A public dedication implies At the end of the summer, an epidemic swept Berlin.
Retreating, to the breath produced for Kanye West (The Life of Pablo; Ye) a relationship between the author and dedicatee,” On October 28 Mendelssohn wrote to his friend
Of the night-wind, down the vast edges drear and Nas (NASIR), and has contributed to records observes Kirsten Santos Rutschman in a 2020 Moscheles: “The fatal measles, as you thought, really
And naked shingles of the world. by The National and by Arcade Fire’s Richard article. “Social codes demanded that Mendelssohn set me back. Even now my eyes are not completely
Reed Parry. first secure the approval of his intended honoree.” recovered, and I am particularly irritable that every
Ah, love, let us be true Known as “the Swedish Schubert” for his Songs little exertion requires unusual effort.” Mendelssohn
To one another! for the world, which seems Caroline Shaw studied at Rice, Yale, and and Ditties at the Pianoforte, Lindblad was the was lucky; his infant nephew Felix, son of his sister
To lie before us like a land of dreams, Princeton, currently teaches at NYU, and is a Prince’s music teacher. Although Mendelssohn Rebecka, was not. Mendelssohn’s namesake died on
So various, so beautiful, so new, Creative Associate at The Juilliard School. She never traveled to Scandinavia, Rutschman raises a November 17, 1838.
Hath really neither joy, nor love, nor light, has held residencies at Dumbarton Oaks, the tantalizing question: “Which Nordic-inspired pieces
Banff Centre, Music on Main, and the Vail Dance might have emerged had he experienced first-hand Program notes © 2021 by David Evan Thomas
Nor certitude, nor peace, nor help for pain; Festival. Caroline loves the color yellow, otters, this region that so captivated his imagination?” www.davidevanthomas.com
And we are here as on a darkling plain Beethoven’s Opus 74, Mozart opera, Kinhaven
Swept with confused alarms of struggle and flight, Music School, the smell of rosemary, and the Mendelssohn referred to Opus 44 as
Where ignorant armies clash by night. sound of a janky mandolin. Violinquartette, to distinguish them from piano
quartets. And the first violin is first among equals in
Matthew Arnold (1822–1888) (Adapted from carolineshaw.com) these works, which expand string quartet vocabulary
By and By (2010) Quartet No. 4 in D major, Op. 44, No. 1 (1838)
Caroline Shaw Felix Mendelssohn
(b. Greenville, NC, 1982) (b. Hamburg, 1809; d. Leipzig, 1847) A special thanks to the donors who designated their gift to MUSIC IN THE PARK SERIES:
INSTITUTIONAL Rolf and Lisa Bjornson Joan Hershbell and Gary Johnson Rebecca and John Shockley
By & By is a collection of songs that reimagine There are six string quartets by Mendelssohn. Arts Midwest Touring Fund Dorothy Boen Nancy P. Jones Marie and Darrol Skilling
Linda L. Boss Ann Juergens and Jay Weiner Katherine and Douglas Skor
the lyrics from several traditional hymns. Rather Opus 12 and Opus 13 are early works by the most Boss Foundation
Marge and Ted Bowman Frederick Langendorf and Harvey Smith
Greystone Foundation
than arrangements of the original tunes, only the brilliant teen composer in history. A “middle- and Walt McCarthy and Clara Ueland Jean † and Carl Brookins Marian Rubenfeld Robert Solotaroff
words remain, reset in a gentler, darker context. period” set—Opus 44—comprises three quartets, Minnesota State Arts Board Richard and Judith Brownlee Chris and Marion Levy Eileen V. Stack
Saint Anthony Park Ruth and Alan Carp Richard † and Finette Magnuson Cynthia Stokes
The melody is loose and limber, straying far from composed 1837–38. The Quartet in F minor, Joan and Allen Carrier Deborah McKnight and James Alt John † and Joyce Tester
Community Foundation
the shape and character of the original melody, Opus 80 was composed in 1847, Mendelssohn’s Saint Anthony Park Home Penny and Cecil Chally James and Carol Moller Keith and Mary Thompson
while the string textures that envelop the voice last year. Saint Olaf College William † and Mary Cunningham Marjorie Moody and Michael Zaccardi Marilyn and Bruce Thompson
Thrivent Financial Matching Rita and David † Docter Jack and Jane Moran Linda and Mike Thompson
both draw from and undermine the traditional, Gift Program Donald † and Inger Dahlin Eva Neubeck Mary Tingerthal and Conrad Soderholm
familiar harmonic framework that we generally Mendelssohn in 1838 was no longer a prodigy Trillium Family Foundation Nancy and John Garland Kathleen Newell Timothy Thorson
Michael and Dawn Georgieff Gerald Nolte Elizabeth Villaume
associate with these songs. — Caroline Shaw but an esteemed member of bourgeois society,
INDIVIDUALS Richard Geyerman † Vivian Orey Susan and Robert Warde
the music director of the Leipzig Gewandhaus. Janet Albers Sue Gibson and Neill Merck James and Donna Peter Judy and Paul Woodword
Caroline Shaw is remarkable for her versatility He had married Cécile Jeanrenaud, the beautiful Arlene Alm Mary, Peg and Liz Glynn Marcia Raley Ann Wynia
Beverly S. Anderson Sandra and Richard Haines Elizabeth and Roger Ricketts
and excellence in the varied roles of vocalist, daughter of a Huguenot pastor. The couple’s Melissa Harl Richard and Mary Rogers †
in remembrance
Martha and Renner Anderson
violinist, composer, and producer. The New York- first child, Carl Wolfgang Paul, had been born on Anonymous Don and Sandy Henry Peter Romig
based musician was the youngest recipient of the February 7. The D-major Quartet, last of Opus 44 Nina Archabal Curt and Helen Hillstrom Michael and Tamara Root
Thank you to all those who gave
Adrienne Banks Anders and Julie Himmelstrup Juliana Rupert
Pulitzer Prize for Music in 2013 for Partita for 8 to be composed, was written during the summer Mary Abbe Hintz Michael and Shirley Santoro to the Music in the Park Series
Carol E. Barnett
Voices, written for the Grammy-winning ensemble of 1838 while the young family was visiting the Marilyn Benson and Thomas Wulling Warren and Marian Hoffman Jon Schumacher and Mary Briggs Endowment Fund.
Gladys Howell Sylvia Schwendiman
Roomful of Teeth, of which she is a member. grandparents in Berlin. Lynne and Bruce Beck
Carolyn and Kit Bingham Jay and Gloria Hutchinson Dan and Emily Shapiro
18 SCHUBERT CLUB An die Musik schubert.org 19COURTROOM CONCERTS COURTROOM CONCERTS
OCT Thursday, October 21, 2021, Noon Landmark Center Cortile
Thursday, October 7, 2021, Noon Landmark Center Cortile 21
OCT
7 Border Crossings: Music Director Ahmed Fernando Anzaldúa El Samkary Twin Cities Hot Club
Robert Bell, guitar; Stan Ponkin, guitar
Program to be selected from the following: Gary Schulte, violin; Matt Peterson, bass
Introito (from Misa de Difuntos) by Manuel de Ubeda
Sanctae Maria yn il huicac by Hernando Don Franco I Love Paris by Cole Porter Blue Drag by Josef Myrow
Dios itlaçonantzine by Hernando Don Franco Nuages by Django Reinhardt Daphne by Django Reinhardt
Yyai Jesuchristo, anonymous (Bolivia, 17th century) Douce Ambiance by Django Reinhardt Artillerie Lourde by Django Reinhardt
Dulce Jesús mío, anonymous (Bolivia, 17th century) Manoir De Mes Reves by Django Reinhardt Les Feuilles mortes by Joseph Kosma
En los surcos del amor by Carlos Guastavino
Lloraré by Carlos Guastavino
Aquí te amo by Modesta Bor
Corazón coraza by Beatriz Corona
NOV Thursday, November 11, 2021, Noon Landmark Center Cortile
Te quiero by Alberto Favero, Liliana Cangiano arr. 11
Juramento by Miguel Matamoros, Electo Silva arr. Riverside Winds
A tu lado, by Javier Busto
Trudi Anderson, flute; Merilee Klemp, oboe; Jennifer Gerth, clarinet
Texts and Translations will be provided at the concert
Charles Hodgson, french horn; Laurie Merz, bassoon
Music of David Evan Thomas
Tales of the Sierra Madre for quintet
Sunset on the lake for horn, piano
OCT
Thursday, October 14, 2021, Noon Landmark Center Cortile Cavatina and Cabaletta for clarinet and piano
14 Randall Scarlata, baritone; Nikki Melville, piano
Selections from:
Die schöne Müllerin, Op. 25, D. 795 (1824)
NOV Thursday, November 18, 2021, Noon Landmark Center Cortile
Das Wandern (Wandering) 18
Wohin? (Where to?) Julia & Irina Elkina, piano duo
Halt! (Halt!)
Am Feierabend (On the Evening Off) Die Zauberflote Overture — W. A Mozart
Der Neugierige (The Curious One) (Transcribed for Two Pianos by J. Musto)
Ungeduld (Impatience) Sonata for Two Pianos in D major, K. 448 — W. A. Mozart
Tränenregen (Rain of Tears) Allegro con spirito
Mein! (Mine!) Andante
Pause (Interlude) Allegro molto
Der Jäger (The Hunter)
Andante Cantabile after the 3rd movement of the Piano Quartet, Op. 47 — R. Schumann
Eifersucht und Stolz (Jealousy and Pride) (Transcribed for Two Pianos by A. Gotlieb)
Die liebe Farbe (The Favorite Colour)
Die böse Farbe (The Hateful Colour) Three Lullabies for Two Pianos, Op.76 — L. Liebermann
Der Müller und der Bach (The Miller and the Brook) I. Con moto
II. Andante
Des Baches Wiegenlied (The Brook’s Lullaby) III. Lento
Scherzo-Burlesca — A. Bubelnikov
Texts and Translations will be provided at the concert
20 SCHUBERT CLUB An die Musik schubert.org 21Jon and Lea Theobald Kathryn Madson Paul and Barbara Benn Sandra and Richard Haines
Schubert Club Annual Contributors Contributors as of October 15, 2021
Jean Thomson
DoraLee Delzell Throckmorton †
Timothy Malooly
Franck and Amy Marret
Stacey Berkheimer
Alice Berquist
Betsy and Mike Halvorson
George and Christina Hart
Please inform us of any errors or omissions so we Stephanie Van D’Elden Patricia Martinson Emily and John Betinis William Hauser
Thank you for your generosity and support can make corrections in subsequent listings. Mary K. Volk Sylvia McCallister Frank Bevsek The Hegman Family Foundation
Wells Fargo Foundation Minnesota James McCarthy and Gloria Peterson Christopher and Kit Bingham Dorothy Heinz
Katherine Wells Gerald A. Meigs The Bjornson Ohana Alan J. Heider
and Stephen Willging Dorothy McClung Charitable Fund Geoffrey Hellman
AMBASSADOR BENEFACTOR Julie and Anders Himmelstrup SPONSOR Dr. Deborah Wexler Christopher and Cheryl McHugh Dorothy Boen Daniel Hellrung
$20,000 AND ABOVE $2,500–$4,999 Barbara Hoese $500–$999 and Michael Mann Deborah McKnight and James Alt Robert Bowman Joan Hershbell and Gary Johnson
Patrick and Aimee Butler Suzanne Ammerman IBM Matching Gifts Program Susan L. Adamek David Wheaton and Michele Moylan David Miller and Mary Dew James and Jean Bromley Frank Hester
Family Foundation James and Karen Ashe Elizabeth J. Indihar † Suzanna and Bryan Altman C. Neil and Julie M. Williams Amy and Marek Mino Jean † and Carl Brookins Ruth Hiland
City of Saint Paul Paul Aslanian Ann Juergens and Jay Weiner Anita Anderson Melissa Wright and Robert Alfano James and Carol Moller Philip and Carolyn Brunelle Elfrieda Hintze
Cultural STAR Program J. Michael Barone and Lise Schmidt Frederick Langendorf Mary A. Arneson Michael and Janis Nash Chris and Clare Buntrock Mary Abbe Hintz
Richard Geyerman † Eileen M. Baumgartner and Marian Rubenfeld and Dale E. Hammerschmidt PARTNER Michael Nation and Janet Sauers Ann Buran Lynne Holt
Rosemary and David Good The Burnham Foundation Jane Lanctot Bank of America $250–$499 Alan and Dena Naylor Roger F. Burg Kathleen and Steve Holt
Family Foundation David and Catherine Cooper Libby Larsen and Jim Reece Tom Baxter Craig and Elizabeth Aase Tuyet Nguyen Nicholas Cannellakis Esther Hope and John Clark
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Target Foundation Roy and Dorothy Ode Mayeske Fayneese Miller Melissa Harl Cheryl Brown Mindy Ratner Richard and Dixie Cornell Fritz Jean-Noel
Laura McCarten David and Leni Moore Beverly L. Hlavac Ellen and Philip Bruner Gladys and Roger Reiling Cynthia Crist Carol A. Johnson
SCHUBERT CIRCLE Elizabeth B. Myers Family Foundation Brian Horrigan and Amy Levine Mark Bunker Tanya Remenikova Valerie and Donn Cunningham Manuel Kaplan
$10,000–$19,999 Peter and Karla Myers Thomas Murtha Ginny Housum Elizabeth Buschor and Alex Braginsky William † and Mary Cunningham Richard Kain and Katherine Frank
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MAHADH Fund of HRK Foundation Robert M. Olafson William and Suzanne Payne Lois and Richard King Viola D’Ambrosio Sylvia Schwendiman Gary DeKrey Pamela King
John Michel and Barbara Brown Nancy C. Orr Kay Phillips and Anthony Kiorpes and Farrel Rich Patricia Durst Rebecca and John Shockley Pamela and Stephen Desnick Robin and Gwenn Kirby
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Fred and Gloria Sewell Sandra Resnick Rebecca Lindholm Clare Fossum Darryl Smith Andrea Een Jane and David Kostik
PATRON Shattuck-St. Mary’s The William and Nancy Podas Susanna and Tim Lodge Jane Frazee Harvey Smith George Ehrenberg Marek Kokoszka
$5,000–$9,999 Pre-Conservatory Program aRt&D Fund Mark and Becky Lystig Patricia Freeburg Tom Swain Claudia Ernst Judy and Brian Krasnow
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Nina Archabal Nathan Pommeranz and Aaron Brown Michael Manns Leland and Beverly Gehrke Osmo Vänskä Tim and Renee Farley Alvin Kvaal
Arts Midwest Touring Fund GUARANTOR August Rivera, Jr. Paul Markwardt and Richard Allendorf Katherine Goodrich Dorothy Vawter Gerald Foley Kenyon S. Latham, Jr.
Lynne and Bruce Beck $1,000–$2,499 Ken and Nina Rothchild David McClung and Chris Zickrick Diane Griliches Elizabeth Villaume Janet Folsom Alan and Peggy Lathrop
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Cecil and Penny Chally Suzanne Asher and Thomas Ducker Saint Anthony Park Tamara McConkey Mary Kay Hicks Christopher and Julie Williams Michael and MaryFaith Fox and Lindgren Foundation
Julia W. Dayton Mary and Bill Bakeman Community Foundation Bradley H. Momsen Curt and Helen Hillstrom Lani Willis and Joel Spoonheim Salvatore Franco Karla Larsen
Rebecca and Jay Debertin Jeanne B. Baldy Saint Anthony Park Home William Myers and Virginia Dudley Jack and Linda Hoeschler Max and Debbie Zarling Brigitte and Richard Frase David Larson
Terry Devitt † and Michael Hoffman Thomas and Jill Barland Saint Olaf College Nicholas Nash Elizabeth Holden Jayne Funk and Roger Battreall Scott LeGere
Family Fund Eileen M. Baumgartner Leon Satran, M.D. and Alma J. Satran The Nash Foundation John and Patty Hren-Rowan CONTRIBUTOR Cléa Galhano Edith Leyasmeyer
Hilde and John Flynn Richard Brownlee Estelle Sell Patricia O’Gorman Nancy Huart $100–$249 Emily Galusha and Don McNeil Kathleen Lindblad
Diane and Mark Gorder James Callahan John Seltz and Catherine Furry Amaria and Patrick O’Leary Veronica Ivans Advantage Solutions LeAnn Gfrerer Timothy Lovelace
Anders and Julie Himmelstrup Gretchen Carlson Dr. Gary and Jan Septon Scott and Judy Olsen Maria Jette Janet Albers Mark and Jane Gjevre Sharon Lovo
Hélène Houle Central Indiana Laura Sewell and Peter Freeman Heather J. Palmer Mary A. Jones Douglas Allchin Sharon Giorgini Karen Lundholm
Phyllis Kahn Community Foundation of the Sewell Family Foundation Mary and Terry Patton Ed and Martha Karels Dorothy Alshouse John Glasenapp and Ann Cohen King and Nancy Ma
Barry and Cheryl Kempton John and Birgitte Christianson Dan and Emily Shapiro James and Kirsten Peterson Robert Kieft Joy Amel Phyllis Goff Richard † and Finette Magnuson
Lyndel and Blaine King Maureen Curran William and Marcelyn Smale Decima and Sidney † Phillips Chris and Joanne Kudrna Beverly S. Anderson Graciela Gonzalez Thomas and Marsha Mann
Marjorie and Ted Kolderie John and Marilyn Dan Arturo Steely Kim, Serge and Luke Phillips Fund of Central Minnesota David and Gretchen Anderson Elly Grace Bonnie Marron
DeeDee Lee Paula and Cy DeCosse Jerry Swenson Plymouth Congregational Church Community Foundation Renner and Martha Anderson Kathyrn Greenbank Ron and Mary Mattson
McCarthy-Bjorklund Foundation Dellwood Foundation Anthony Thein Chris and Maria Troje Poitras Robert and Barbara Kueppers Anonymous (2) Amy Grinsteiner Corrine McCarthy
Alfred P. and Ann M. Moore Marybeth Dorn and Robert Behrens Jill and John Thompson Tom and Jill Reister Mark and Maggie Lammers Scott Appelwick Jonathan R. Gross Sue and Tom McCarthy
Gayle and Tim Ober Anna Marie Ettel Thrivent Financial Juliana Rupert William Larson and Edward Sootsman Laurie Hacking Polly McCormack
Michael and Shirley Santoro Richard and Adele Evidon Union Bank & Trust Georgiana Ruzich Lehmann Family Fund David Arnott Neal Hagberg Nancy McKinley
Kim Severson and Philip Jemielita Foster Klima & Co. Inc. Kathleen van Bergen Jana Sackmeister of The Saint Paul Kay and Ron Bach Bob and Janet Lunder Hanafin Anne McKinsey
Katherine and Douglas Skor Joan and William Gacki Carl Voss Ann and Paul Schulte and Minnesota Foundation Karen Bachman Donald and Hannah Harper Family James and Sally McLaughlin
Kay Savik and Joe Tashjian Judith Garcia Galiana and David L. Ward Bill and Susan Scott Seth Levin and Maria Nosanow Megan Balda and Jon Kjarum Fund of the Saint Paul Lawrence and Linda Merwin
Wenger Foundation Alberto Castillo Michael and Catherine Wright Renate Sharpe Rex Levang Charles Ballentine and Minnesota Foundation Alexandra Meyer
Nancy and Ted † Weyerhaeuser Gayle Gaskill Conrad Soderholm Jeffrey H. Lin and Sarah Bronson Adrienne Banks Lonnie and Stefan Helgeson Charles and Carolyn Meyer
General Mills Foundation and Mary Tingerthal Doug and Mary Logeland Benjamin and Mary Jane Barnard Geoffrey Hellman James Miner and John Easton
Richard Geyerman † Ron Spiegel Mark and Becky Lystig Carol E. Barnett Mary Beth Henderson Patricia Mitchell
Rosemary and David Good Bruce and Judith Tennebaum Holly MacDonald and John Orbison Charles Baxter Richard Hill Steven Mittelholtz
Robert Madoff and Jane Korn Donald Beck David Griffin and Margie Hogan Susan Moore
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