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

January 1 - February 13, 2013

An die Musik

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130th Anniversary

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An die MusikJanuary 1 – February 13, 2013

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

Table of Contents

6 Alisa Weilerstein and Inon Barnatan

12 Artist from the past: Mstislav Rostropovich

14 David Finckel and Wu Han

18 Accordo

20 Calendar of Events

22 Hill House Chamber Players

24 James Valenti and Danielle Orlando

26 The Schubert Club Museum: Letter from Beethoven

28 Artaria String Quartet / Courtroom Concerts

31 The Schubert Club Officers, Board of Directors and Staff

32 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 box office as soon as possible. Donating unneeded tickets entitles you to a tax-deductible contribution for their face value. Turnbacks must be received one hour prior to the performance. Thank you!

The Schubert Club Box Offi ce: 651.292.3268or schubert.org/turnback

Dear Friends,

Welcome to The Schubert Club!

What a thrill it is to present James Valenti in our International

Artist Series, a tenor dear to the hearts and ears of many of

us due to his long relationship with Minnesota Opera. We’re

fortunate too to present the truly exciting duo of cellist Alisa

Weilerstein and pianist Inon Barnatan in our fi rst Ordway

recital of the New Year.

Certainly the International Artist Series is our fl agship series

with over 1200 loyal subscribers. It is however one of several

concert series we present throughout the year. The Schubert

Club’s Music in the Park Series features another stellar cello

and piano duo in David Finckel and Wu Han. The affection that

audiences have for this husband and wife team was affi rmed

last year when they were proclaimed Musical America’s

Musicians of the Year. Accolades don’t come much higher

than that.

The Schubert Club co-presents a variety of performances by

some of our leading local ensembles, among them Accordo,

Artaria String Quartet and the Hill House Chamber Players.

Check out the upcoming concerts listing on page 20 to make

sure you don’t miss anything. And if you like to experience

music in less formal settings, please look out for some new

“Live at the Museum” programs including “Cocktails with

Culture” happy hour events. The next program is in Landmark

Center, 5:00-7:00 PM on January 10. It features gamelan music

along with a woodturning demonstration—sponsored by our

friends in the AAW Gallery of Wood Art—in and around our

Museum on the 2nd fl oor.

I wish you all a happy and peaceful New Year, and hope

you will come back regularly to enjoy music presented by

The Schubert Club.

Barry KemptonArtistic and Executive Director

6 THE SCHUBERT CLUB An die Musik

Goerne Program Page

The Schubert Club

presents

Alisa Weilerstein, cello • Inon Barnatan, piano

This evening’s concert is dedicated in memory of Charlotte P. Ordway, by her children.

Sonata No. 5 in D Major, Opus 102, No. 2 Ludwig van Beethoven (1770–1827)

Allegro con brio Adagio con molto sentimento d’affetto Allegro fugato Sonata in C Minor, Opus 6 Samuel Barber (1910–1981)

Allegro ma non troppo Adagio—Presto—di nuovo Adagio Allegro appassionato

Suite italienne Igor Stravinsky (1882–1971)

Introduzione Serenata Aria Tarantella Minuetto e Finale

Sonata in G Minor, Opus 19 Sergei Rachmaninoff (1873–1943)

Lento—Allegro moderato Allegro scherzando Andante Allegro mosso

Intermission

Please turn off all electronic devices.

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Maud Moon Weyerhaeuser Sanborn International Artist SeriesTuesday, January 8, 2013 • 7:30 PM

Ordway Center

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Alisa Weilerstein, celloAmerican cellist Alisa Weilerstein has appeared with the major orchestras throughout the United States and Europe with conductors including Marin Alsop, Daniel Barenboim, Sir Andrew Davis, Gustavo Dudamel, Christoph Eschenbach, Paavo Järvi, Lorin Maazel, Zubin Mehta, Osmo Vänskä, and David Zinman. She made her BBC Proms debut with the Minnesota Orchestra and Osmo Vänskä performing Shostakovich’s Cello Concerto No. 1.

In 2009, Ms. Weilerstein was one of four artists invited by the First Lady, Michelle Obama, to participate in a widely-applauded, high-profi le classical music event at the White House. In September 2011, she was named a MacArthur Foundation Fellow, and in 2010, she became an exclusive recording artist for Decca Classics, the fi rst cellist to be signed by that label in over 30 years.

Ms. Weilerstein’s love for the cello began when she was just two-and-a-half after her grandmother assembled a makeshift set of instruments out of cereal boxes to entertain her when she was ill with chicken pox. Alisa, who was born in 1982, was instantly drawn to the Rice Krispies box cello but soon grew frustrated that it didn’t make a sound. After convincing her parents to buy her a real cello when she was four, she showed a natural affi nity for the instrument and performed her fi rst public concert six months later. Ms. Weilerstein is a graduate of the Young Artist Program at the Cleveland Institute of Music. In May 2004, she graduated from Columbia University in New York with a degree in Russian History. In November 2008, Ms. Weilerstein, who was diagnosed with type 1 diabetes when she was nine, became a Celebrity Advocate for the Juvenile Diabetes Research Foundation.

Inon Barnatan, pianoSince moving to the United States from Israel in 2006, pianist Inon Barnatan has performed with many of the country’s most noted orchestras and conductors, including the Los Angeles Philharmonic and the symphony orchestras of Dallas, Cincinnati, Cleveland, Houston, Philadelphia, and San Francisco. He has toured with the Academy of St. Martin in the Fields as a conductor and soloist, and has performed in New York at Carnegie Hall, the 92nd Street Y and at Lincoln Center, and at San Francisco’s Herbst Theater, Philadelphia’s Kimmel Center, and Boston’s Jordan Hall, among many other venues. In 2009, Mr. Barnatan was awarded the Avery Fisher Career Grant, an honor refl ecting the strong impression he has made on the American music scene in such a short period of time.

Born in Tel Aviv in 1979, Inon Barnatan started playing the piano at the age of three after his parents discovered he had perfect pitch, and he made his orchestral debut at eleven. in 1997 he moved to London to study at the Royal Academy of Music with Maria Curcio – who was a student of the legendary Artur Schnabel. Leon Fleisher has also been an infl uential teacher and mentor, and in 2004, he invited Mr. Barnatan to study and perform Schubert sonatas as part of a Carnegie Hall workshop, an experience that has had a lasting resonance for Mr. Barnatan. In 2006 Mr. Barnatan moved to New York City, where he currently resides in a converted warehouse in Harlem.

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Program Notes

Sonata No. 5 in D Major, Opus 102, No. 2Ludwig van Beethoven (b. Bonn, 1770; d. Vienna, 1827)

Beethoven’s career peaked in 1814. The revision and revival of his opera, Fidelio, was welcomed in the context of the times as a rouser to victory over Napoleon. He was fêted by dignitaries and even granted honorary citizenship of Vienna. But as the Congress of Vienna wrapped up in June 1815, the composer found himself at something of a dead end with the “heroic style.” The Heroic age had concluded, and aristocrats were ceding place to Biedermeiers.

Beethoven’s Opus 102 is a pair of sonatas “for Pianoforte and Violoncello or Violin” in C major and D major respectively. They were completed in August 1815, just before the song cycle, An die ferne Geliebte. Beethoven’s compositional output slowed dramatically at this time, as he searched for new ways of working with the sonata form. In Opus 102, he points the way forward to a new, more concentrated style.

A brusque fi ve-note kernel with an octave leap opens the work. The transition adds a counterpoint to that tid-bit, but the texture is generally lean, often just two

lines, the rhythm halting, and there are few familiar accompaniment patterns. The coda forshadows the trend toward Romanticism, as cello and piano, hushed, play leap-frog over a trembling bass.

“With a great feeling of affection,” a somber hymn—mezza voce: half-voice—alternates with an expressive dialogue between partners. Beethoven’s early biographer Schindler thought this “among the richest and most deeply sensitive inspirations of Beethoven’s muse.” More than that, it is the discovery of new life. As the movement fl ows on, it sweetens and moves more easily. A quiet third theme—sempre pp—tentatively proposes new keys. When the cello asks a question in the form of a rising scale, the door to the fi nale opens.

That Allegro fugato is in fact a rigorous four-voice double fugue: two principal themes, introduced separately, then combined. In his last decade, Maynard Solomon writes, “Beethoven reinstated the polyphonic principle as a rival of—and perhaps as the completion of—the sonata principle.” Beethoven would incorporate fugues into many of his late works; think of the Hammerklavier Sonata, the Missa Solemnis and the Ninth Symphony. A compositional solution, perhaps, but one that mystifi ed audiences at the time. After the premiere of Opus 102, Mannheim Kapellmeister Michael Frey wrote: “It is so original that no one can understand it on fi rst hearing.” But for today’s listener it’s much easier: just follow the question.

Program note © 2012 by David Evan Thomas

Masked ball at the Imperial palace during the Congress of Vienna, drawing by Joseph Schuetz

Ludwig van Beethoven

Join the discussion!During intermission or after the concert, please join us in an online discussion:

What one word best describes tonight’s performance and why?On Twitter use hashtag #schubertchat or post at facebook.com/schubertclub

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Sonata in C Minor, Opus 6Samuel Barber (b. West Chester PA, 1910; d. New York City, 1981)

Samuel Barber was blessed with talent, intelligence, drive—and connections. His aunt was Metropolitan Opera contralto Louise Homer; his uncle was the composer Sidney Homer, who guided young Barber’s development and offered much sage advice. Barber entered the newly-founded Curtis Institute in 1924, where right off he met Gian Carlo Menotti, his future companion and a creative force in his own right.

The Cello Sonata belongs to a heady time in Barber’s early career. It was begun in the summer of 1932—after Barber and Menotti hiked from Innsbruck to the Italian border and made their way to the Menotti villa in Cadegliano—and fi nished by Christmas. One success followed another: publication by G. Schirmer; a one-hour NBC Music Guild broadcast featuring Barber as composer, pianist and singer; an invitation from RCA Victor to record his Dover Beach, singing the baritone part himself; a Pulitzer traveling scholarship; the Prix de Rome. Few careers in American music have begun with such promise.

Barber’s published score bears a dedication to Rosario Scalero, his composition teacher at Curtis. But the piece really belongs to Orlando Cole, the cellist who fi rst played it. Cole taught at Curtis for 75 years, and died only in 2010 at the age of 101!

Poulenc famously said that “there’s room for new music that doesn’t mind using other people’s chords.” Barber’s early music abounds in major and minor chords, but in new guises and relationships. The harmony, though accessible and full of feeling, doesn’t always move in traditional ways. Among the infl uences, two are exceptional for an American in the 1930s: Brahms and Sibelius. Barber had played the Brahms sonatas as early as 1928 on an Atlantic crossing, and his uncle Sidney was a Brahms advocate. The sympathy with Sibelius went two ways. Though they never met, the Finn wrote an enthusiastic endorsement of Barber’s music in 1937. “Skyscrapers, subways, and train lights play no part in the music I write,” Barber told the Philadelphia Bulletin. “Neither am I at all concerned with the musical values inherent in geometric cerebrations.”

Three great swells, made of wide leaps carrying the cello over nearly three octaves, open the Sonata. When this theme returns, it will be quiet, stretched out, adorned with piano fi ligree. An elevated second theme in A-fl at takes a decidedly Sibelian turn. The middle movement nests a Presto—in Barber’s School for Scandal vein— between strains of a heartfelt Adagio. It features a tricky rhythm that could only have come to Barber on the march from Innsbruck. Sibelius is felt again in the stormy clouds of the Allegro appassionato, a rondo with piano interludes. The middle statement of the theme is disguised, scherzando. As you enjoy this passionate, virtuoso work, remember that you’re listening to the music of a 22-year-old.

Samuel Barber

Villa Menotti in Cadegliano, Barber’s destination in the summer of 1932

10 THE SCHUBERT CLUB An die Musik

Program Notescontinued

The triumph of Pulcinella, by Giovanni Domenico Tiepolo

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

Suite italienne is part of the runoff from Stravinsky’s ballet Pulcinella. The origins of that go back to 1917, when Serge Diaghilev had great success with a Neapolitan ballet, The Good-Humored Ladies, choreographed by Massine and for which Vincenzo Tommasini had arranged music by Scarlatti. Next, Diaghilev mounted Le astuzie femminili, also with choreography by Massine, this time with music by Cimarosa arranged by Respighi. Wishing to complete his Neapolitan trilogy, he asked Stravinsky to prepare some music by Pergolesi. Pulcinella was produced in Paris in 1920. Again, Massine created the choreography, and Picasso designed the sets and costumes. Stravinsky had found his source material in the British Museum and the Naples Conservatory. Some of it is operatic or otherwise vocal, some of it is instrumental, and almost none of it turns out to be by Pergolesi. Stravinsky’s chief collaborators are Domenico Gallo, a mid-eighteenth-century Venetian, and a still more mysterious fi gure, Unico Wilhelm, Count van Wassenaer, a Dutch diplomat who wrote a series of Concerti armonici that were ascribed to Pergolesi for two centuries. A few parts of Pulcinella remain without certain attribution.

Late in life Stravinsky declared that Pulcinella was the only piece by “Pergolesi” that he really liked. The score is no mere arrangement, as Tommasini’s and Respighi’s were. The procedure is also quite different from that in The Fairy’s Kiss, where genuine Tchaikovsky is mixed with

Tchaikovskian Stravinsky. All the material in Pulcinella is eighteenth-century. Stravinsky even begins with music that strikes a pretty convincing eighteenth-century attitude, and it is only in measure eleven that we get a twentieth-century rhythmic foreshortening that puts the next breathing-place at a point rather different from the one we expect. When the same phrase is repeated half a dozen measures later, Stravinsky introduces one of his most characteristic devices, the telescoping of tonic and dominant harmonies.

The original Pulcinella is a work for chamber orchestra with three singers. There are four derivative works, including two suites for violin and piano. The present work, Suite italienne for cello and piano, was transcribed in 1932 by Stravinsky with Gregor Piatigorsky. It begins, as all the suites do, with an Introduzione and, again like all the arrangements, moves on to the Serenata, a charming aria in siciliano style and actually by Pergolesi (from his opera Il Flaminio). Both there and in the ballet it is sung to a pastoral text about a shepherdess who wanders about the woods, singing as she goes. The cello suite is alone in including the comic bass aria “Con queste paroline” also from Il Flaminio, and still more comic in Stravinsky’s elegantly zany fragmentation. There follows a tarantella in non-stop 6/8 motion. Like Pulcinella itself and all its derivatives, the cello suite ends with a gravely beautiful aria in minuet tempo from the dialect opera Lo frate ‘nnamorato (The Monk in Love), which spills into a giddy fi nale.

Program note by Michael Steinberg, used by kind permission of Jorja Fleezanis

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Sonata in G Minor, Opus 19Sergei Rachmaninoff (b. Oneg, Russia, 1873; d. Beverly Hills, 1943)

The humiliating public premiere of his First Symphony in 1897 plunged Rachmaninoff into a depression from which he took three years to emerge. There’s no need to diagnose mental illness in the wake of profound disappointment. Whether it was therapy with Dr. Nicolai Dahl, the challenge of a new career as an opera conductor, or simply the effect of cuing great singers like Chaliapin, Rachmaninoff rose from his torpor with renewed energy, conviction, and a warm, singing style that has engaged listeners ever since.

The Sonata for Piano and Cello in G minor was composed in the last half of 1901, shortly after the beloved Piano Concerto No. 2 and at the beginning of a sixteen-year creative streak. It is dedicated to Anatoly Brandukov, who played the premiere. (Brandukov would later be the best man at Rachmaninoff’s wedding. In marrying his own fi rst cousin, Natalya Satina, Rachmaninoff gained access to Ivanovka—the huge country estate where he would write most of his music for the rest of his life.)

There is no easy Rachmaninoff, and the Sonata is a challenge even for two virtuoso players, but it is also a sonata of memorable melodies. Every movement has at least one, and each is far more than a tune, unfolding with its own logic in an individual setting. And the singer is perhaps the most persuasive of all instrumental voices.

A series of sighs and a starched rhythm—dot-dot-dash—launch the movement, which has fi ve distinct tempos. The cello has the fi rst theme, while the piano presents the melancholy second subject alone. Note the narrow compass of this idea in which even a little leap of a third becomes an event. In developing the material, fi rst the second subject, then the opening half-step are featured. A kind of piano cadenza, the fi rst of several references to concerto style, precedes the return to the main theme.

The scherzo is a night ride, furtive to begin with, but with occasional shouts and two long-breathed melodies on the way.

Before anyone in the European world had heard of the blues, Rachmaninoff was singin’ ‘em. Is the Andante’s horn-signal theme in major or minor mode? It’s hard to say which of the sonata’s melodies is most beautiful, but with its carefully-crafted shape and wonderfully delayed pay-off, this one may take the prize. At its height, the glow of Chopin’s Nouvelle études suffuses the texture.

The fl exing metrics of the fi nale’s heroic main theme are soothed by an equally stirring, but gentler baritone song. Big bell-sounds in the piano—another Rachmaninoff hallmark—prepare us for a poetic close. Instead, we are rushed, breathless, to the double bar”

Program notes © 2012 by David Evan Thomas (Beethoven, Barber, Rachmaninoff)

Portrait of Sergei Rachmaninoffby Konstantin Somov

12 THE SCHUBERT CLUB An die Musik

Artist from the Past:

Mstislav Rostropovich

Russian cellist Mstislav Rostropovich (1927–2007), is regarded by many as the greatest cellist of his day. He appeared three times on The Schubert Club’s International Artist Series, in 1963, 1981 and 1994.

Well known for both inspiring and commissioning new works, he gave the premieres of over one-hundred pieces, and formed friendships and artistic partnerships with many notable twentieth-century composers: Shostakovich, Prokofi ev, Stravinsky, Lutoslawski, Schnittke, and especially Benjamin Britten.

His international career took off in 1963, and Rostropovoch was on his second American tour when he appeared at The Schubert Club in November of that year. On that program he performed two works dedicated to him by their composers, Dmitri Kabalevsky’s Cello suite, and Benjamin Britten’s Sonata in C Major.

Rostropovich was a staunch advocate of human rights. Although in 1953 he was awarded what was then the highest distinction in the Soviet Union, the Stalin Prize, he eventually fell from favor with the regime. As a student at the Moscow Conservatory he dropped out in protest over the dismissal of his teacher Dmitri Shostakovich. In 1970, Rostropovich sheltered Aleksandr Solzhenitsyn in his own home. His friendship with Solzhenitsyn and his support for other dissidents led to official disgrace in the early 1970s. As a result, Rostropovich was restricted from foreign touring.

Rostropovich left the Soviet Union in 1974 with his wife (soprano Galina Vishnevskaya) and children and settled in the United States. His Soviet citizenship was revoked in 1978 because of his public opposition to the Soviet Union’s restriction of cultural freedom. He did not return to the Soviet Union until 1990.

In his 1981 Schubert Club recital, Rostropovich’s

artistic collaborator was his daughter, pianist

Elena Rostropovich. Their program ranged from

the Baroque music of Benedetto Marcello to the

contemporary Sonata for Cello and piano by his

one-time teacher Dmitri Shostakovich.

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Rostropovich after his 1994 Ordway

recital, greeted by Deanna Carlson, with

her husband Bruce, former Executive

Director of The Schubert Club, peeking

in at right.

In the photos at left, Rostropovich is shown with four of the twentieth-century composers whose music he championed.From the top, Igor Stravinsky, Dmitri Shostakovich, Sergei Prokofiev and Benjamin Britten. In 1963, Rostropovich played Britten’s C Major cello sonata—which the composer had dedicated to him—at his Schubert Club recital. Audiences have a chance to hear that work again this season, performed by David Finckel and Wu Han in their Music in the Park Series concert on January 27, 2013.(See page 14 for details of that program.)

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Intermission

Please turn off all electronic devices.

Sonata No. 2 in G Minor, Opus 5, No. 2 Ludwig van Beethoven (1770–1827)

Adagio sostenuto ed espressivo—Allegro molto più tosto presto Rondo: Allegro Sonata No. 1 in E Minor, Opus 38 Johannes Brahms (1833–1897)

Allegro non troppo Allegro quasi Menuetto—Trio Allegro

Sonata for Cello and Piano Claude Debussy (1862–1918)

Prologue: Lent Sérénade: Modérément animé Finale: Animé

Sonata in C, Opus 65 Benjamin Britten (1913–1976)

Dialogo: Allegro Scherzo–pizzicato: Allegretto Elegia: Lento Marcia: Energico Moto Perpetuo: Presto

The Schubert Club presents

David Finckel, cello • Wu Han, piano

Program

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Music in the Park SeriesSunday, January 27, 2013 • 4:00 PM

Saint Anthony Park United Church of Christ

David Finckel, cello • Wu Han, piano

Musical America’s 2012 Musicians of the Year, cellist David Finckel and pianist Wu Han are In high demand year after year among chamber music audiences worldwide. The duo has appeared each season at the most prestigious venues and concert series across the United States, Mexico, Canada, the Far East, and Europe to unanimous critical acclaim. Highlights include performances at Lincoln Center, the Kennedy Center, and Aspen’s Harris Concert Hall; their presentation of the complete Beethoven sonatas for cello and piano in Tokyo; and their signature all-Russian program at London’s Wigmore Hall. They have also been frequent guests on American Public Media’s Performance Today, Saint Paul Sunday, and other popular classical radio programs. Beyond the duo’s recital activities, David Finckel also serves as cellist with the Emerson String Quartet, which has won eight Grammy Awards including two honors for “Best Classical Album,” three Gramophone awards, and the prestigious Avery Fisher Prize, awarded in 2004 for the fi rst time to a chamber ensemble.

David Finckel and Wu Han have served as Artistic Directors of The Chamber Music Society of Lincoln Center since 2004. They are also the founders and Artistic Directors of Music@Menlo, a chamber music festival and institute in Silicon Valley now celebrating its tenth anniversary season. They have overseen the establish-ment and design of The Chamber Music Society’s CMS Studio Recordings label, as well as the Society’s recording partnership with Deutsche Grammophon, which has been praised as a “breakthrough” (Billboard) and “probably the

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most ambitious recording project of any classical music festival in the world” (San Jose Mercury News). In 2011, David Finckel and Wu Han were named Artistic Directors of Chamber Music Today, a new festival to be held annually at the Seoul Arts Center in Korea.

The duo’s repertoire spans virtually the entire literature for cello and piano, with an equal emphasis on the classics and the contemporaries. Their modern repertoire includes all the signifi cant works, from Prokofi ev and Britten to Alfred Schnittke and André Previn. Their commitment to new music has brought commissioned works by Bruce Adolphe, Lera Auerbach, Gabriela Lena Frank, Pierre Jalbert, Augusta Read Thomas, and George Tsontakis to audiences around the world. In 2010, the duo released “For David and Wu Han” (ArtistLed), an album of four contemporary works for cello and piano expressly composed for them. In 2011, Summit Records released a recording of the duo perform-ing Gabriela Lena Frank’s concerto, Compadrazgo, with the ProMusica Columbus Chamber Orchestra.

David Finckel and Wu Han are passionately committed to nurturing the careers of young artists through a wide array of education initiatives. For many years, the duo taught alongside the late Isaac Stern at Carnegie Hall and the Jerusalem Music Center. They appeared annually on the Aspen Music Festival’s Distinguished Artist Master Class series. Last season, under the auspices of the Chamber Music Society of Lincoln Center, David Finckel and Wu Han have established chamber music training workshops for young artists in Korea and Taiwan. David Finckel and Wu Han reside in New York with their eighteen-year-old daughter, Lilian.

16 THE SCHUBERT CLUB An die Musik

Program Notes

View between Berlin and Potsdam in 1796, the year of Beethoven’s visit.

Sonata No. 2 in G Minor, Opus 5, No. 2Ludwig van Beethoven (1770-1827)

The two sonatas of Opus 5 are a by-product of the only real tour of Beethoven’s performing career. After passing through Prague, Dresden and Leipzig, Beethoven landed, in May 1796, at the Berlin court of Frederick the Great’s successor, Friedrich Wilhelm II. The Prussian monarch was an enthusiastic amateur cellist, and virtuoso players like Boccherini and the brothers Duport fl ocked to him. The elder Jean-Pierre Duport had been the king’s teacher. Younger but more talented, Jean-Louis joined his brother after the French Revolution. Beethoven seized the opportunity to write a new kind of cello work for Jean-Louis and perform it with him for the King. For his efforts, Friedrich Wilhelm gave Beethoven a gold snuffbox stuffed with louis d’ors. “Not an ordinary snuffbox,” boasted Beethoven, “but such a one as it might have been customary to give an ambassador!”

The G-minor sonata is a generous and unifi ed work in a form Mozart had used: an extended slow introduction, followed by a movement in essay form and a rondo. That introduction, moving through many keys and moods, is nearly equivalent to a slow movement, while the Allegro molto is one of Beethoven’s longest. Freed from its role as a bass or continuo instrument, the cello ranges freely over three octaves. Beethoven solves the problem of balance between cello and piano in two ways. He avoids scoring the instruments in the same register, reserving the middle of the piano for solo passages; when the cello is playing, the piano is either above it or below. He also contrasts the rhythmic nature of the partners. In the main Allegro, for instance, all the triplets are in the piano, while the cello plays more singing material.

The fi rst edition of Beethoven’s Opus 5 is titled: “Two Grand Sonatas for Harpsichord or Piano-Forte with a Violoncello Obbligato.” Note the order of the instruments: keyboard before cello. The mention of harpsichord as an alternative is laughable now, but it was a marketing must at the time. In 1796, the piano was still something of an innovation.

Sonata No. 1 in E Minor, Opus 38Johannes Brahms (1833-1897)

It may seem strange to think of Brahms as a choral conductor rather than a symphonist, but for the 1863-64 season, that was his livelihood: conductor of the Vienna Singakademie. Brahms brought his love of ancient music to that still-extant chorus, programming Renaissance motets, a Bach cantata and parts of the Christmas Oratorio. The man who recommended Brahms for the job was Josef Gänsbacher, a lawyer and sometime cellist who later became a respected singing teacher at the Conservatory. It was to Gänsbacher, “in friendship,” that Brahms dedicated the fi rst cello sonata. Friendship, but also in appreciation for a much-needed job reference.

Opus 38 is the fi rst of two Brahms sonatas for cello, and it was his fi rst solo sonata to appear in print. Drafted in June 1862—Brahms sketched fi rst movement of the First Symphony at this time—the work wasn’t completed until May 1865. The problem of balance, solved so neatly by Beethoven, is in this work more acute, for the low register of the cello is often favored. Brahms frequently uses the instrument like the pedals of an organ. Or was he evoking Gänsbacher’s voice? The older man was no virtuoso. When he once complained that Brahms’s loud playing was covering his cello, Brahms is said to have growled “You should be glad.”

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The Allegro non troppo begins at a measured walking pace. A second subject grows out of itself, adding notes impulsively. When the walking music returns, it is magnifi ed many times, to almost terrifying proportions. But the reharmonized main theme returns magically, sleep-walking in the major mode. Instead of a slow movement, Brahms gives us something like a minuet in A minor. A will-o’-the-wisp attends the trio in distant F-sharp minor. The fi nale is a thrilling combination of three-voice fugue and sonata procedure. The subject here is similar to one from Bach’s Art of Fugue, but Brahms’s penchant for pitting two notes against three makes this fugue sound more hectic. And if you notice that the second theme is a playful blossoming of the second countersubject, it will only double your pleasure. To maximize the drive to the fi nish, the themes come back in reverse order, and the coda is marked più presto.

Sonata for Cello and Piano Claude Debussy (1862-1918)

Depressed by The Great War, suffering from the cancer that would kill him three years later, Claude Debussy in 1915 worked on an operatic setting of Poe’s Fall of the House of Usher, the Etudes for piano and the Six Sonates, of which only those for fl ute, viola and harp, for violin, and for cello were fi nished. In the Cello Sonata, Debussy initially recalls the world of Lully with majestic dotted rhythms. Cello and piano never duplicate each other, but often combine to create guitar-like textures. The central Sérénade is marked fantasque et léger (whimsical and light) and is as dry as an Alsatian white wine. The Finale glows with Latin ardor. What wouldn’t one give to hear Debussy’s other projected sonatas, like the one for oboe, horn and harpsichord!

Sonata in C, Opus 65 Benjamin Britten (1913-1976)

Like the sonatas by Beethoven and Brahms, Benjamin Britten’s Sonata in C was conceived for a specifi c performer. On September 21, 1960, Britten found himself seated next to Dmitri Shostakovich at the British premiere of that composer’s Cello Concerto, played by the great Russian cellist (and teacher, conductor and pianist) Mstislav Rostropovich. Britten remembered it as “the most extraordinary cello playing I’d ever heard.” After the concert, recounted the cellist: “I attacked Britten then and there and pleaded most sincerely and passionately with him to write something for the cello.” The pair met at Rostropovich’s Kensington hotel the next

day, and hit it off immediately. Britten agreed to write a sonata for “Slava” to perform at the following summer’s Aldeburgh Festival, on a program that would include Debussy’s Sonata. They at fi rst communicated with conductor Gennady Rozhdestvensky as interpreter, but eventually lapsed into a fractured German they called “Aldeburgh Deutsch.”

Britten delivered the Sonata the following January with a note: “I have put some suggestions of bowing, but I haven’t had much fi rst-hand experience of the cello and may have made some mistakes. The pizzicato movement will amuse you. I hope it is possible!” This was characteristic Britten modesty. According to Rostropovich biographer Elizabeth Wilson, the cellist came to believe that no other composer understood the nature of string playing so well. Rostropovich wired back: “ADMIRING AND IN LOVE WITH YOUR GREAT SONATA.”

Soprano Galina Vishnevskaya, Rostropovich’s wife of 52 years, described her husband as “a man with a kind of frantic motor inside him. Once [he] had made up his mind to do something and had decided he was right, no force on earth could stop him.” And his moods would swing “now high and expressive, now low and grumbling, now gay and carefree.” All this Britten captured in the Sonata, which some have called a portrait of Rostropovich. The friendship between the two men continued to fl ourish in the Symphony for Cello and Orchestra and three unaccompanied Cello Suites.

The Sonata’s opening is unusual: a conversation, the subject of which only gradually reveals itself. Britten called it a “discussion of a tiny motive of a rising or falling second.” One usually thinks of lyricism as connecting notes one to another, but isolated notes, like single words, can have meaning. As a second theme, steps are strung together. In a fi nal gesture, cello ascends through the harmonic series, lingering on the naturally very fl at seventh harmonic. For the Scherzo, which evokes not only Bartók but the Balinese gamelan, the bow is put aside. In the Elegia, the cello serves resolutely as a bass to the piano’s keenings. Britten the pacifi st offers a bitingly satirical Marcia and concludes with a study in perpetual motion. The fi nal extended mad dash confi rms a remarkable meeting of minds—and nations. Remember, these events took place at the height of the Cold War.

Program notes © 2012 by David Evan Thomas

18 THE SCHUBERT CLUB An die Musik

Prelude and Fugue in D Minor, K. 404a Wolfgang Amadeus Mozart (1756-1791) after Johann Sebastian Bach (1685-1750) Prelude: Adagio Fugue: Andante cantabile (transcribed from the Well-Tempered Clavier, Part 1, No. 8)

String Quartet No. 4, Opus 22 Paul Hindemith (1895-1963)

Fugato. Sehr Langsame Viertel Schnele Achtel. Sehr Energisch Ruhige Viertel. Stets Fliessend Massig Schnelle Viertel Rondo. Gemachlich Und Mit Grazie

String Sextet in B fl at, Opus 18 Johannes Brahms (1833-1897)

Allegro ma non troppo Andante ma moderato Scherzo: Allegro molto Rondo: Poco Allegretto e grazioso

The Schubert ClubNorthrop Concerts and Lectures

andKate Nordstrum Projects

present

Accordo

Steven Copes, violin • Kyu-Young Kim, violin

Maiya Papach, viola • Rebecca Albers, viola • Anthony Ross, cello • Ronald Thomas, cello

Program“In the Footsteps of Bach”

Intermission

Please turn off all electronic devices.

Copes, Papach, Thomas

Copes, Kim, Albers, Ross

Kim, Copes, Papach, Albers, Thomas, Ross

schubert.org 19

AccordoMonday, February 4, 2013 • 7:30 PM

Christ Church Lutheran

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

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

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

Principal second violin Kyu-Young Kim was recently appointed as principal second violin of The Saint Paul Chamber Orchestra, of which he served as associate concertmaster for fi ve years. He has also served as guest concertmaster of the Pittsburgh Symphony, the Minnesota Orchestra, and the Mostly Mozart Festival Orchestra, and is the newest member of both the Orpheus Chamber Orchestra and the New York City Ballet Orchestra. Kim has received degrees from the Curtis Institute, the Juilliard School, and the Cleveland Institute of Music, and has studied with Donald Weilerstein, Robert Mann, Jaime Laredo, Yumi Scott, and Shirley Givens.

Violist Rebecca Albers is among the Minnesota Orchestra’s newest members, having joined the ensemble in 2010 as assistant principal viola. She also continues to tour with the Albers Trio, a string ensemble she and two sisters formed. Albers began piano and violin studies at the age of 2, picking up the viola at 9 for an ensemble her mother, a Suzuki teacher, was putting together. While a student at the Juilliard School, where she worked with Heidi Castleman and Hsin-Yun Huang, she won the school’s viola competition, resulting in her performance with the Juilliard Orchestra at Lincoln Center.

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

Principal cello Anthony Ross has often appeared as soloist with the Minnesota Orchestra, performing concertos by Schumann, Dvorák, Beethoven, Saint-Saëns, Elgar and Shostakovich, among others, as well as many chamber works. Ross was principal cello of the Rochester Philharmonic in New York before joining the Orchestra in 1988. Ross has taught at the Eastman School of Music, the Aspen Festival and the Grand Teton orchestra seminar. A graduate of Indiana University, Ross earned a master’s degree at the State University of New York, Stony Brook. In 1982 he was awarded the bronze medal at the prestigious Tchaikovsky Competition, and he received McKnight Fellowships in 2001 and 2005.

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

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20 THE SCHUBERT CLUB An die Musik

Calendar of Events More information at schubert.orgBox office 651.292.3268

October 2012 – April 2013

Thursdays, January 3 – April 25 • 12:00 PM

Courtroom Concerts Landmark Center 317

(No concert January 31)

January 2013

Tuesday, January 8 • 7:30 PM Ordway Center

Alisa Weilerstein, cello & Inon Barnatan, piano

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

Cocktails with Culture - Happy Hour Concerts

International Novelty Gamelan

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

Sunday, January 20 • 4:00 PM

Artaria String Quartet

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

David Finckel, cello & Wu Han, piano

February 2013

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

Accordo: In the Footsteps of Bach

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

Hill House Chamber Players

Saturday, February 9 • 7:30 PM Ordway Center

James Valenti, tenor & Danielle Orlando, piano

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

Cocktails with Culture - Happy Hour Concerts

Maria Jette, soprano; Alan Dunbar, baritone

& Sonja Thompson, piano

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

Family Concert: Ross Sutter

March 2013

Monday, March 11 • 7:30 PM Ordway Center

Anne-Sophie Mutter, violin & Lambert Orkis, piano

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

Family Concert: Elias Quartet

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

Elias Quartet

April 2013

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

April 7 • 2:00 PM

Lover: James Sewell Ballet with Maria Jette, soprano;

Bradley Greenwald, baritone & Dan Chouinard, piano

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

Family Concert: Lau Hawaiian Collective Ensemble

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

Hill House Chamber Players

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

Shanghai Quartet

May 2013

Monday, May 6 • 7:30 PM Christ Church Lutheran

Accordo: Intimate Voices

Shanghai Quartet

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James Valenti, tenor

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schubert.org 21

The Schubert Club130th Anniversary Celebratory Concert

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

Jessye Norman, soprano

In celebration of its 130th anniversary, The Schubert Club presents a recital by one of the great vocal artists of our day, American soprano Jessye Norman. The New York Times has called her “one of those once-in-a-generation singers who is not simply following in the footsteps of others, but is staking out her own niche in the history of singing.”

Norman continues to share her sumptuous sound and her joy and her passion with audiences around the world—in recital performances and appearances with symphony orchestras and chamber music collaborators. The size, power, and luster of her voice deserve equal acclaim with her thoughtful music-making, innovative programming of the classics, and fervent advocacy of contemporary music.

In the words of Fiona Maddocks of The Independent, “A pattern can be detected in most Jessye Norman concerts. In the fi rst half, with her voice still warming up, pleasure is tempered with a slight anxiety that perhaps she will not prove as exciting as you thought. In the second, some strange alchemy occurs, not simply explained by the fact that the program is structured to reach a climax, as any solo recital would. By the end, quite apart from any emotional uplift, you leave with a sense of having been physically overwhelmed.”

Norman has also been known for roles more traditionally sung by other types of voices. She told John Gruen of the New York Times, “As for my voice, it cannot be categorized—and I like it that way, because I sing things that would be considered in the dramatic, mezzo or spinto range. I like so many different kinds of music that I’ve never allowed myself the limitations of one particular range.”

Miss Norman has appeared three times before in recital on The Schubert Club International Artist Series. It is a delight to bring her once again to Ordway Center for this special celebratory anniversary concert.

Jessye Norman’s April 30th recital of American classics will be preceded by a special 130th Anniversary Dinner.

More information and tickets for both recital and dinner at schubert.org/130anniversary

22 THE SCHUBERT CLUB An die Musik

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Fantasiestücke, Opus 73 Robert Schumann (1810–1856)

Zart und mit Ausdruck

Lebhaft, leicht

Rasch und mit Feuer

Triptych for Violin and Guitar Jeffrey Van (b. 1941)

Allegro non troppo

Lento – Andantino

Vivace

Capriccio for Viola and Double Bass (2004) John Tartaglia (b. 1932)

Quintet in A major for Piano and Strings, D. 667, Trout Franz Schubert (1797–1828)

Allegro vivace

Andante

Scherzo: Presto

Andantino (Thema con variationi)—Allegretto

Finale: Allegro giusto

The Schubert Cluband

The Minnesota Historical Society

present

Hill House Chamber Players

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

Guest artist: William Schrickel, double bass

Program

Intermission

Please turn off all electronic devices.

schubert.org 23

John Tartaglia played viola for the Minnesota Orchestra for over

30 years before retiring in 1999, and several of his works have

been premiered by that ensemble. A long-time affi liate faculty

member of the University of Minnesota, he has also taught at

the Oberlin Conservatory. Mr. Tartaglia writes:

The form of the early capriccio makes its appearance with

lesser known composers such as Stivori in 1594 and Baldi

in 1586. The thematic material of the capriccio form is

not always unifi ed, and it frequently involves the use of

special themes, as in Frescobaldi’s Capriccio sopra il cucu.

The title was used by romantic composers like Brahms and

Mendelssohn for short piano pieces of a humorous or playful

nature. The word comes from the Latin capra: goat, perhaps

in keeping with the goat’s propensity to absorb, to devour—

anything. Capriccio for Viola and Cello, like the early examples

of capriccio, is not intended as a profound musical statement,

but for the most part as a playful, capricious experience.

Franz Schubert’s beloved “Trout” Quintet is scored for an

ensemble invented by Hummel for his Opus 87: one of each

member of the string family, with piano. Five distinct timbres,

and the double bass, all-too-rare in chamber music, has an

independent part to play. Schubert set C.F.D. Schubart’s poem

“Die Forelle” in 1817. The song’s fame preceded him to the

Austrian town of Steyr, where two years later an amateur cellist

and friend of the baritone Michael Vogl, Sylvester Paumgartner,

commissioned a chamber work incorporating the song. Schubert

responded in short order.

The piece has a divertimento quality, due partly to the fi ve-

movement design, partly to the shortcuts that Schubert took

in working quickly. But even in this light-hearted work, his

inspiration is at play. What sounds like an introduction in slow

tempo is actually part of the main body of the movement, in

itself a forward-looking idea. There are rich duets inside the

texture for viola and cello, and Schubert’s piano sparkles like a

mountain stream. One can even reconstruct through the fourth-

movement variations the song’s chase scenario: a clear stream;

the “merry little fi sh”; a dastardly angler muddying the water; the

catch; the observer’s raging blood, and fi nally the song itself, with

its distinctive leaping-trout fi gure.

Program note © 2012 by David Evan Thomas

Hill House Chamber Players (from left): Jeffrey Van, Julie Ayer, Tanya Remenikova, Rees Allison, Catherine Schubilske, Thomas Turner

One of the fruits of Robert Schumann’s amazingly productive

1849 was the Fantasiestücke for piano and clarinet (or violin or

cello). Schumann used the word Fantasie (or Phantasie) in the

title of no fewer than eight works. Fantasy was for him a power,

a literary power, that drove the creation of poetic music. It’s clear

that the three pieces of Opus 73 were conceived as a whole. By

placing the word attacca at the close of the fi rst two movements,

Schumann directs the players to proceed without pause.

Each piece is in either A minor or A major, though there is one

extended stay in F major in the “Lively” central movement. And in

the last movement, marked “Quickly and with fi re,” a phrase from

each of the fi rst two pieces is artfully recalled, as though the

movements are all part of the same impulsive stream of thought.

Indeed, the instruments seem to share a consciousness, as their

melodic material frequently overlaps.

Jeffrey Van has premiered over 50 works for guitar, among them

fi ve concertos and Argento’s Letters from Composers. He has also

composed music for chorus, vocal solo, organ and many guitar

chamber works. Of his Triptych, Van writes:

Opening with broad strokes in both violin and guitar, the

Triptych proceeds with a second, more active theme of

running lines and dotted rhythms. The opening theme

is hinted at by the violin, but folds into more active

musings from both instruments, returning later to end

the movement as it began. The second movement spins

out a slow melody, introduced by the guitar before being

taken up by the violin, over a pedal low D in the guitar.

This material and its inversion alternates with and later

joins a contrasting section reminiscent of music from

the fi rst movement. The fi nale is a playful, high-energy

romp, fi lled with angular fi gures and shifting rhythms.

Triptych was premiered in 1987, and is featured on the

Hill House Chamber Players CD Music in the Gallery II.

Hill House Chamber PlayersMonday, February 4 and Monday, February 11, 2013 • 7:30 PM

James J. Hill House

24 THE SCHUBERT CLUB An die Musik

The Schubert Club

presents

James Valenti, tenor • Danielle Orlando, piano

This evening’s concert is dedicated in memory of Edward Brooks, Jr. by Ginny Brooks, Kakie Brooks and Julie Zelle.

À Chloris Reynaldo Hahn (1874–1947) L’heure exquise, from Chansons grises

Le rêve, from Manon Jules Massenet (1842–1912)

Chanson triste Henri Duparc (1848–1933) Phydilé

La fl eur, from Carmen Georges Bizet (1838–1875)

Chanson de L’adieu Paolo Tosti (1846–1916) Pour un baiser

O Paradis!, from L’africaine Giacomo Meyerbeer (1791–1864)

Quando le sere al placido, from Luisa Miller Giuseppi Verdi (1813–1901)

Vaga luna, che inargenti Vincenzo Bellini (1801–1835) Vanne o rosa fortunata Malinconia, ninfa gentile

Stornello Verdi

Sole e amore Giacomo Puccini (1858–1924)

O del mio amato ben Stefano Donaudy (1879–1925)

A vucchella Tosti L’ulitima canzone Ideale L’alba sepàra dalla luce l’ombra

Lamento di Federico, from L’arlesiana Francesco Cilea (1866–1950)

Intermission

Please turn off all electronic devices.

schubert.org 25

Maud Moon Weyerhaeuser Sanborn International Artist SeriesSaturday, February 9, 2013 • 7:30 PM

Ordway Center

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James Valenti, tenorAmerican tenor James Valenti owns a voice of Italianate lustre which is continually compared to those of the greatest tenors of the post World War ll period: Franco Corelli, Giuseppe di Stefano, and Carlo Bergonzi. The much sought after 6’5” tenor has built a global reputation for his elegant musicianship, commanding stage presence, and ardent vocal style. Mr. Valenti made his professional debut on the stage of the Teatro dell’Opera di Roma as Rodolfo in the Franco Zeffi relli production of La Boheme at the age of 25. Since then, he scored one triumphal debut after another in the celebrated citadels of Opera, including Teatro alla Scala, Metropolitan Opera, Royal Opera House, and Opera National de Paris. Further performances included: Alfredo Germont in La traviata (Royal Opera House and Japan Tour with Anna Netrebko, Simon Keenlyside and Maestro Antonio Pappano, Metropolitan Opera with Angela Gheorghiu and Thomas Hampson, Canadian Opera Company, Deutsche Oper Berlin, Salzburg Festival with Maestro Carlo Rizzi, the Bayeriesche Staatsoper, Dallas Opera), Duke of Mantua in Rigoletto (Maggio Musicale Florence, Dallas Opera, Palm Beach Opera), Rodolfo (Teatro alla Scala Milan with Maestro Gustavo Dudamel, Dresden Semperoper, Santander, Spain, Tokyo, Japan), Werther (Opera de Lyon in Tokyo, Opera National de Paris with Maestro Emmanuel Plasson, Minnesota Opera), Faust (Trieste, Royal Opera House with Rene Pape and Dimitri Hvorostovsky), and Lt. Pinkerton in Madama Butterfl y (Royal Opera House, Opera National de Paris, Marseilles, Chicago, Vancouver, San Francisco and on a PBS ‘Live from Lincoln Center’ telecast). Mr. Valenti has also recorded for EMI/Virgin Classics with Ms. Gheorghiu.

2012–2013 commenced with a return to the role of Edgardo in Lucia di Lammermoor for his debut at the Sydney Opera House with Opera Australia. His demanding

schedule continues with several concert performances across the globe, after recent appearances in Toronto, Copenhagen, and St. Petersburg, with further debuts at the Opernhaus Zürich, and The Lyric Opera of Chicago.

Danielle Orlando, pianoDanielle Orlando is enjoying an active career as an accompanist to many international opera singers as well as serving as a distinguished vocal coach to many organizations throughout the musical world. She is presently the Principal Opera Coach of The Curtis Institute of Music and a Master Coach for the Academy of Vocal Arts in Philadelphia.

Ms. Orlando collaborated with Luciano Pavarotti as accompanist, judge, and artistic coordinator for all of the Luciano Pavarotti International Voice Competitions. She spent nine seasons in Spoleto, Italy, working with Gian Carlo Menotti for the Festival Dei Due Mondi as artistic coordinator and coach for the operas, in addition to editing several of his compositions and performing annually in the festival recital series.

She was the Artistic Administrator and Head of Music Staff for the Opera Company of Philadelphia for many years and has served on the music staffs of numerous opera companies and festivals. These include the Metropolitan Opera, Washington National Opera, Teatro Colón in Buenos Aires, Spoleto Festival USA in Charleston. She is annually a guest judge for the Metropolitan Opera National Council Auditions.

Ms. Orlando is a member of the music staff of the Savonlinna Opera Festival in Finland, where she has also performed in recital. She is a Master Coach for Oberlin in Italy (Arezzo), and principal judge in Budapest, Paris, and New York for Armel Opera Festival’s 2012 season held in Szeged, Hungary.

26 THE SCHUBERT CLUB An die Musik

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

Landmark Center

Undated letter from Beethoven to his friend Count Zmeskall. Gift of Gilman Ordway

“Please tell your servant, dear Z., to tell the person he

recommended to me not to come this year, as the matter

of the bill has not been corrected—but in a few days I

will tell your servant when the other person can come to

me—I usually go to the Archduke Karl, where one at least

doesn’t get any poisoned wine.”

Count Nikolaus von Zmeskall (1759–1833)

Beethoven wrote this short note to ”Dear Z,” his friend the Hungarian count Nikolaus Zmeskall. Although undated, it was probably written between 1820 and 1826.

The tone is slightly peremptory, but Zmeskall was one of Beethoven’s few close personal friends in Vienna. He was sometimes the butt of Beethoven’s practical jokes, as well as a companion with whom to share a glass of wine. Zmeskall also helped the composer with a great many mundane details, including fi nding servants, and lending small amounts of money. Numerous notes of this sort to “dear Z” have survived, attesting to their long friendship—the last written a few weeks before Beethoven’s death.

Zmeskall was an amateur cellist, and quite near-sighted. When Beethoven began to wear glasses himself, he composed a duet “obligato for two pairs of spectacles” for viola and cello for Zmeskall and him to play together.

The Count arranged for quartet performances at his home on Sundays, affording Beethoven the opportunity to have his string quartets practiced and performed. Zmeskall was eventually confined to bed and wheelchair by gout, but pleased his friend, by managing to be present at the premiere of the Ninth Symphony in 1824.

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

Letter from Beethoven to Count Zmeskall

schubert.org 27

Anne-Sophie Mutter, violin • Lambert Orkis, piano

March 11, 2013 • 7:30 • Ordway Center

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28 THE SCHUBERT CLUB An die Musik

Artaria String Quartet: “East meets West”

Thursdays, January 3, 10, 17, 24 • Noon • Landmark Center

Saturday, January 19 • 7:30 pm & Sunday, January 20 • 4:00 pm • Hennepin United Methodist

January 3, 2013 – “British”

String Quartet No. 2 in G minor – Frank Bridge (1879–1941) Allegro ben moderato • Allegro vivo - Andante con moto - Tempo 1 • Allegro vivace

Three Divertimenti for String Quartet (1936) – Benjamin Britten (1913–1976) March • Waltz • Burlesque

“Scherzo” – William Walton (1902–1983)

January 10, 2013 – “Russian”

String Quartet No. 2 in F Major, Opus 92 – Sergei Prokofi ev (1891–1953) Allegro sostenuto • Adagio • Allegro

String Quartet No. 2 – Alexander Borodin (1833–1887) Allegro moderato • Scherzo. Allegro • Notturno: Andante • Finale: Andante – Vivace

January 17, 2013 – “American”

String Quartet No. 1 – Charles Ives (1874–1954) Andante con moto • Allegro • Adagio cantabile • Allegro marziale

String Quartet – Samuel Barber (1910–1981) Molto allegro e appassionato • Molto adagio • Molto allegro – Presto

Lullaby, for string quartet – George Gershwin (1898–1937)

January 24, 2013 – “Czech”

String Quartet No. 1 – Erwin Schulhoff (1894–1942) Presto con fuoco • Allegretto con moto e con malinconia grotesca • Andante molto sostenuto String Quartet No. 12 in F Major, Opus 96 – Antonín Dvorák (1841–1904) Allegro ma non troppo • Lento • Molto vivace • Finale: vivace ma non troppo

Ray Shows, violin • Nancy Oliveros, violin • Annalee Wolf, viola • Laura Sewell, cello

Guest artists: Johanna Torbenson, viola and Sabina Thatcher, viola

schubert.org 29

The Artaria String Quartet, named after the Italian family that published the premier issues of many of the Haydn, Mozart and

Beethoven quartets, Artaria’s refi ned and thoughtful playing has brought them critical acclaim in Europe and throughout the United

States. Formed in Boston in 1986, the quartet was mentored by the renowned Budapest, La Salle, Kolisch, Juilliard, and Cleveland

Quartets. They were featured on a Peter Jennings World News Tonight broadcast, have given numerous live performances on WGBH

Boston and Minnesota Public Radio stations, and have performed at celebrated venues across the United States including the Isabella

Stewart Gardner Museum in Boston, Dame Myra Hess in Chicago, and the Phillips Collection and Cosmos Club in Washington, D.C. They

have also been featured at the Banff Centre in Canada, Festival de L’Epau in France, and the Tanglewood Music Center. Most recently they

successfully competed and won the prestigious 2004 McKnight Fellowship for performing musicians.

Violist Johanna Torbenson has given many solo and chamber music performances throughout the United States and Europe,

touring Europe as principal violist with the Schleswig-Holstein Musik Festival Orchester and as assistant principal violist of the

Washington Chamber Symphony in Washington, D.C., where she also appeared as a soloist at the John F. Kennedy Center for the

Performing Arts. As principal violist of the Saint Paul Chamber Orchestra for twenty-three years, Sabina Thatcher soloed with them

on numerous occasions. Thatcher is a faculty member at the Aspen Music Festival and School and has performed in festivals throughout

the United States and abroad, including the Spoleto Festival and the Mozart Festival in Lille, France.

January 19, 2013 – “Russian” and “Czech”

String Quartet No. 2 in F Major, Opus 92 – Sergei Prokofi ev (1891–1953) Allegro sostenuto • Adagio • Allegro

String Quartet No. 2 – Alexander Borodin (1833–1887) Allegro moderato • Scherzo. Allegro • Notturno: Andante • Finale: Andante – Vivace

String Quartet No. 1 – Erwin Schulhoff (1894–1942) Presto con fuoco • Allegretto con moto e con malinconia grotesca • Andante molto sostenuto String Quartet No. 12 in F Major, Opus 96 – Antonín Dvorák (1841–1904) Allegro ma non troppo • Lento • Molto vivace • Finale: vivace ma non troppo

January 20, 2013 – “American” and “British”

String Quartet No. 1 – Charles Ives (1874–1954) Andante con moto • Allegro • Adagio cantabile • Allegro marziale

String Quartet – Samuel Barber (1910–1981) Molto allegro e appassionato • Molto adagio • Molto allegro – Presto

String Quartet No. 2 in G minor – Frank Bridge (1879–1941) Allegro ben moderato • Allegro vivo - Andante con moto - Tempo 1 • Allegro vivace

Three Divertimenti for String Quartet (1936) – Benjamin Britten (1913–1976) March • Waltz • Burlesque

Lullaby, for string quartet – George Gershwin (1898–1937)

30 THE SCHUBERT CLUB An die Musik

Courtroom ConcertFebruary 7, 2013 • Noon

Landmark Center

Twin Cities based lutenists Paul Beget, Richard Griffi th, Rockford Mjos, Phillip Rukavina, and Thomas Walker Jr. have performed in various

lute ensembles over many years. Most recently, these fi ve performers have appeared under the auspices of the Twin Cities Lute Co-op,

an organization which serves to promote performances of early plucked-string instruments in the Twin Cities area. Each has appeared,

in various combinations, on the monthly TLC concert series, ‘Thursday at the Lute Cafe,’ which presents lute-oriented performances at

Immanuel Lutheran Church in St. Paul. The ensemble performs a wide variety of pieces from the Renaissance and early Baroque eras.

Twin Cities Lute Co-op: Paul Berget, Richard Griffi th, Rockford Mjos, Phillip Rukavina, Thomas Walker Jr.

Courante – Michael Praetorius (1571–1621)

Ballet des coqs – Praetorius

Callinoe – Anonymous (English c. 1600)

Branles de Village – John Baptiste Besard (1567–1617)

Ah partiale e cruda morte – Bartolomeo Tromboncino (1479–1535)

La, la, la, je ne l’ose dire – Pierre Certon (c. 1515–1572)

Suite for Two Lutes – William Lawes (1602–1645)

Courante 1 – Alman – Courante 2

Suite for Lutes – Nicolas Vallet (c. 1583–1626)

Un jour de la semaine • Est-ce mar • Courante de mars • Galliarde

Flying Forms: Marc Levine, baroque violin & Tami Morse, harpsichord

Sonata in G Major for Violin and Continuo, BWV 1021 – Johann Sebastian Bach (1685–1750)

Adagio • Vivace • Largo • Presto

Sonata in E Major for Violin and Obligato Harpsichord, BWV 1016 – Bach

Adagio • Allegro • Adagio ma non tanto • Allegro

Baroque chamber music ensemble 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. 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.

schubert.org 31

schubert.org

The Schubert Club Officers, Board of Directors and Staff

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

operating grant from the Minnesota State Arts Board. This

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

heritage fund as appropriated by the Minnesota State

Legislature with money from the Legacy Amendment vote of

the people of Minnesota on November 4, 2008.

KATENORDSTRUM PROJECTS

Craig Aase

Mahfuza Ali

Mark Anema

Nina Archabal

Paul Aslanian

Lynne Beck

Dorothea Burns

James Callahan

Carolyn Collins

Marilyn Dan

Arlene Didier

Anna Marie Ettel

Richard Evidon

Catherine Furry

Michael Georgieff

Jill Harmon

Anne Hunter

Lucy Rosenberry Jones

Richard King

Kyle Kossol

Sylvia McCallister

Peter Myers

Ford Nicholson

Gerald Nolte

David Ranheim

Ann Schulte

Gloria Sewell

Kim A. Severson

Jill Thompson

Anthony Thein

John Treacy

Michael Wright

Matt Zumwalt

Board of Directors

Offi cersPresident: Lucy Rosenberry Jones

President-Elect: Nina Archabal

Vice President Artistic: Nina Archabal

Vice President Audit and Compliance: Richard King

Vice President Education: Marilyn Dan

Vice President Finance and Investment: Michael Wright

Vice President Marketing and Development: Jill Thompson

Vice President Museum: Ford Nicholson

Vice President Nominating and Governance: David Ranheim

Recording Secretary: Catherine Furry

Assistant Recording Secretary: Arlene Didier

Composers in Residence: Abbie Betinis, Edie Hill

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

Barry Kempton, Artistic & Executive Director

Timothy Budge, Ticketing & Development Associate

Max Carlson, Program Associate

Kate Cooper, Education & Museum Manager

Kate Eastwood, Executive Assistant

Amy Fox, Social Media & Audience Development Intern

Dana Harper, Museum Intern

Julie Himmelstrup, Artistic Director, Music in the Park Series

Joanna Kirby, Project CHEER Director, Martin Luther King Center

David Morrison, Museum Associate & Graphics Manager

Paul D. Olson, Director of Development

Tessa Retterath Jones, Marketing & Audience Development Manager

Kathy Wells, Controller

The Schubert Club Staff

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

32 THE SCHUBERT CLUB An die Musik

The Schubert Club Annual ContributorsThank you for your generosity and support

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

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

Benefactor$2,500 – $4,999AnonymousJohn and Nina Archabal

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

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

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

Sponsor$500 – $999AnonymousCraig AaseMark L. BaumgartnerNicholai P. Braaten and Jason P. KudrnaElwood and Florence A. CaldwellJames CallahanAndrew and Carolyn CollinsJohn and Marilyn DanArlene DidierHarry M. DrakeJoan R. DuddingstonAnna Marie EttelDavid and Maryse FanJennifer Gross and Jerry LafavreAndrew Hisey and Chandy John

schubert.org 33

Alfred and Ingrid Lenz HarrisonAnne and Stephen HunterKevin KayWilliam KleinLehmann Family Fund of The Saint Paul FoundationThe Thomas Mairs and Marjorie Mair Fund of The Saint Paul FoundationWendell MaddoxAlfred P. and Ann M. MooreDavid MorrisonJill MortensenElizabeth B. MyersWilliam Myers and Virgina DudleyLowell and Sonja NoteboomJohn B. NoydDan and Sallie O’Brien Fund of The Saint Paul FoundationRobert M. OlafsonLuis Pagan-CarloPark Perks of Park Midway BankWilliam and Suzanne PayneRichard and Suzanne PepinDr. Leon and Alma Jean SatranJohn Sandbo and Jean ThomsonWilliam and Althea SellDebra K. TeskeJohn C. TreacyDavid L. WardJane and Dobson WestKeith and Anne-Marie Wittenberg

Partner$250 – $499Anonymous (3)Meredith B. AldenJean and Carl BrookinsTim and Barbara BrownJoann CierniakShirley I. DeckerDonald and Alma DeraufRuth S. DonhoweSue EbertzJorja FleezanisJoachim and Yuko HeberleinElizabeth J. IndiharRay JacobsenPamela and Kevin JohnsonErwin KelenYoungki and Youngsun Lee KimSusan and Edwin McCarthyDr. John A MacDougallMalcom and Wendy McLeanJames and Carol MollerJack and Jane MoranScott and Judy OlsenHeather J. PalmerJames and Donna PeterSidney and Decima PhillipsWalter Pickhardt and Sandra ResnickDr. Paul and Betty Quie

Mary Ellen and Carl SchmiderJohn Seltz and Catherine FurryEmily and Daniel ShapiroMarilyn and Arthur SkantzHarvey D. Smith, MDEileen StackMichael SteffesTom von Sternberg and Eve ParkerHazel Stoeckeler and Alvin WeberBarbara Swadburg and Jim KurleArlene and Tom H. SwainPeggy WolfeMatt Zumwalt

Contributor$100 – $249Anonymous (7)Arlene AlmMira AkinsMrs. Dorothy AlshouseSusan and Brian AndersonKathleen and Jim AndrewsJean and Michael AntonelloClaire and Donald AronsonJulie Ayer and Carl NashanKay C. BachAdrienne and Bob BanksGene and Peggy BardThomas and Jill BarlandBenjamin and Mary Jane BarnardCarol E. BarnettCarline and Lars BengtssonJerry and Caroline BenserFred and Sylvia BerndtAnn-Marie BjornsonCarol A. BraatenTanya and Alexander BraginskyDr. Arnold and Judith BrierRichard and Judy BrownleeMatthew P. BrummerPhilip and Carolyn BrunellePhilip and Ellen BrunerRoger F. BurgGretchen CarlsonRev. Kristine Carlson and Rev. Morris WeeAlan and Ruth CarpJo and H. H. ChengDavid and Michelle ChristiansonEdward and Monica CookMary E. and William CunninghamDon and Inger DahlinBernice and Gavin DavenportJohn and Karyn DiehlJanet and Kevin DugginsThomas and Mari Oyanagi EggumKathleen Walsh EastwoodPeter Eisenberg and Mary CajacobFlowers on the ParkGerald FoleySalvatore Franco

Patricia FreeburgRichard and Brigitte FraseJane FrazeeJoan and William GackiGeneral Mills FoundationDavid J. GerdesGreg and Maureen GrazziniCarol L. GriffinRichard and Sandra HainesJon and Diane HallbergKen and Suanne HallbergBetsy and Mike HalvorsonRobert and Janet Lunder HanafinPatricia HartJudith K. HealeyHegman Family FoundationJoan Hershbell and Gary JohnsonFrederick J. Hey, Jr.Mary Kay HicksCynthia and Russell HobbieDr. Kenneth and Linda HolmenJ. Michael HomanPeter and Gladys HowellMargaret HumphreyThomas Hunt and John WheelihanIBM Matching Grants ProgramPhyllis and William JahnkeGeorge J. JelatisBenjamin M. JohnsonNancy P. JonesTessa Retterath JonesMichael C. JordanDonald and Carol Jo KelseyAnthony L. KiorpesRobin and Gwenn KirbySteve KnudsonKaren KoeppMary and Leo KottkeJanet and Richard KrierGail and James LaFaveColles and John LarkinPatricia LalleyLibby Larsen and Jim ReeceNowell and Julia LeitzkeCharlene S. LevyWilliam Lough and Barbara PinaireRebecca LindholmMarilyn S. LoftsgaardenRoderick and Susan MacphersonRhoda and Don MainsDanuta Malejka-GigantiPolly McCormackMalcolm and Patricia McDonaldDeborah McKnightGerald A. MeigsJohn MichelDavid Miller and Mary DewSteven MittelholtzTom. D. MobergBradley H. MomsenElizabeth A. MurrayDavid and Judy MyersKarla and Peter Myers

34 THE SCHUBERT CLUB An die Musik

Nicholas NashKathleen NewellJay Shipley and Helen NewlinGerald NoltePatricia O’GormanJohn and Ann O’LearySally O’ReillyEileen O’Shaugnessy and Arthur PerlmanVivian OreyMelanie L. OunsworthElizabeth M. ParkerMary and Terry PattonRichard and Mary Ann PedtkePatricia Penovich and Gerald MoriartyEarl A. PetersonLaura D. Platt Mindy RatnerRhoda and Paul RedleafKaren RobinsonJ.L. and Sandra RutzickRon and Carol RydellSaint Anthony Park HomeDavid SchaafMary Ellen and Carl SchmiderPaul SchroederA. Truman and Beverly SchwartzS. J. SchwendimanWill ShapiraRenate SharpNan C. ShepardRebecca and John ShockleyNance Olson SkoglundDarroll and Marie SkillingAnn Perry SlosserConrad Soderholm and Mary TingerthalMarilyn and Thomas SoulenCarol Christine SouthwardArturo L. SteelyEva SteinerCynthia StokesBarbara Swadberg and James KurleLillian TanJane A. ThamesTheresa’s Hair SalonTim ThorsonCharles and Anna Lisa TookerChuck Ullery and Elsa NilssonRev. Robert L. ValitJoy R. VanOsmo VänskäMaxine H. WallinDale and Ruth WarlandAnita WelchBeverly and David WickstromNeil and Julie WilliamsDr. Lawrence A. WilsonJames and Alexis WolffPaul and Judy WoodwardAnn WyniaZelle Hofmann Voelbel & Mason LLPNancy Zingale and William Flanigan

Friends $1 – $99Anonymous (7)Cigale AhlquistElaine AlperBeverly S. AndersonRenner and Martha AndersonMary A. Arneson and Dale E. HammerschmidtKay C. BachVerna H. BeaverDr. Karen BeckerRoberta BeutelDorothy BoenRoger BolzDavid and Elaine BorsheimJudith BoylanCathy BraatenCharles D. BrookbankJackie and Gary BrueggmannChris BrunelleDaniel BuividKevin CallahanDonna CarlsonAllen and Joan CarrierLaura CavianiSusan CobinEduardo ColonMary Sue ComfortComo Rose TravelCatherine CooperIrene D. CoranJohn and Jeanne CoundJames CuperyErnest and Beth CuttingPamela and Stephen DesnickDr. Stan and Darlene DieschCraig Dunn and Candy HartMargaret E. DurhamAndrea EenKatherine and Kent EklundMark Ellenberger and Janet ZanderMary Ann FeldmanRegina Flanagan and Daniel DonovanBarbara A. FleigJohn and Hilde FlynnNancy FogelbergLea Foli and Marilyn ZupnikCatherine Ellen FortierMichael FreerLisl GaalJoan and William GackiNancy and John GarlandDr. and Mrs. Robert GeistMary M. GlynnPeg and Liz GlynnA. Nancy GoldsteinM. Graciela GonzalezGracoKirk Hall

Eugene and Joyce HaselmannMarguerite HedgesHoward and Bonnie Gay HedstromAlan HeiderRosemary J. HeinitzDon and Sandralee HenryHelen and Curt HillstromLisa Himmelstrup and Dan LiljedahlMarian and Warren HoffmanMargaret Hubbs and FamilyKaren A. HumphreyPatricia A. Hvidston and Roger A. OppBenita IllionsOra ItkinMariellen JacobsonMimi and Len JenningsMaria JetteStephen and Bonnie JohnsonThelma JohnsonGeraldine M. JolleyMary A. JonesRuth and Edwin JonesCarol R. KellyJean W. KirbyGloria KittlesonMark KokoszkaJane and David KostikDave and Linnea KrahnJudy and Brian KrasnowPaul and Sue KremerPatricia J. LalleyAmy Levine and Brian HorriganKarla LarsenKent and Christine Podas LarsonLarry LeeShirley and Charles LewisJohn R. LewisArchibald and Edith LeyasmeyerGary M. LidsterBernard LindgrenMargaret and Frank LindholmThomas and Martha LinkMichael and Keli LitmanJanet R. LorenzLord of Life Lutheran ChurchEd Lotterman and Victoria TirrelCarol G. LundquistHelen and Bob MairsDavid MayoRoberta MegardDavid L. MelbyeRobert and Greta MichaelsJohn W. Miller, Jr.Richard and Deborah MjeldeMarjorie MoodyJoy P. NorenbergEva J. NeubeckJane A. NicholsEleanor H. NicklesPolly O’BrienTom O’Connell

schubert.org 35

Dr. and Mrs. R. OrianiDennis and Turid OrmsethCatherine M. OwenElisabeth PaperMrs. Dorothy PetersonLynn R. PetersonSolveg PetersonMarcos and Barbara PintoRalph PodasJonathan and Mary PreusSusan D. PriceC.J. RichardsonDrs. W.P. and Nancy W. RodmanPeter RomigStewart RosoffMitra Sadeghpour and Mark MowrySaint Paul Riverfront CorporationMary SavinaRalph J. SchnorrRussell G. SchroedlJon J. Schumacker and Mary BriggsPaul and Carol SeifertEd and Marge SenningerSteve SeltzJay and Kathryn SeveranceBeatrice D. SextonElizabeth ShippeeBrian and Stella SickColeen SickelerNan Skelton and Peter LeachCharles Skrief and Amanda BondSusannah Smith and Matthew SobekRobert and Claudia SolotaroffArne SorensonSpeedy Market and Tom SpreiglDr. James and Margaret StevensonRalph and Grace SulerudNorton StillmanDru and John SweetserJon TheobaldBruce and Marilyn ThompsonKaren TitrudSusan TravisImogene H. TreichelMartha Hughesdon TurnerByron TwissJennifer Undercofl erYamy VangJeanne M. VoightWilliam K. WangensteenClifton and Bettye WareDeborah WheelerHope WellnerEvan WilliamsAlex and Marguerite WilsonYea-Hwey WuTim Wulling and Marilyn BensonJanis Zeltins

In Remembrance: Nancy Lincoln Podas

For more than 50 years, Nancy Podas was a loyal subscriber, patron and leader of

The Schubert Club. Unable to attend the opening concert of the 130th Anniversary

Season, Nancy offered her tickets for Karita Mattila’s International Artist Series recital

to dear friends. Little did they realize this generous gift of music would be her last;

Nancy passed away the day after the concert at the age of 93. But her greater gift was

her commitment of time and talent that helped shape The Schubert Club into the vital

organization it is today.

A member of The Colonial Dames of America, Nancy appreciated the importance of

stewardship of our cultural legacy, of education and service to the community. The

Schubert Club benefi ted from Nancy’s active participation. She shared her passion for

great music by serving as a board member, corporate board member, a host to visiting

artists, and a leader in our annual Student Scholarship Competition. She loved to share

in the excitement of classical music with young performers, and the affi rmation of

their talents the competition gives them. We extend our gratitude to Nancy and all the

dedicated patrons who are the foundation for the future of great music for

our community.

36 THE SCHUBERT CLUB An die Musik

Memorials and Tributes

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

In memory of Olga M. NordinShirley I. Decker

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

In memory of Nancy PodasDiane and Greg EganThomas and Mari Oyanagi EggumAnna Marie EttelCarole and Tom FagreliusRegina Flanagan and Donald DonovanNancy FogelbergGreg and Maureen GrazziniHoward and Bonnie Gay HedstromSharon Owen and Fred HilleMargaret Hubbs and FamilyJohn and Ruth HussLucy Jones and James JohnsonKent and Christine Podas-LarsonCharlene S. LevyJohn R. LewisShirley and Charles LewisMargaret and Frank LindholmRichard and MjeldeJoy P. NorenbergPolly O’BrienEileen O’Shaughnessy and Arthur PerlmanCatherine M. OwenKathleen OwenRalph PodasSusan D. PriceJohn and Barbara RiceJ. L. and Sandra RutzickSaint Paul Riverfornt CorporationColleen SickelerCharles Skrief and Andrea BondEva SteinerTom and Arlene Swain

In honor of Julia and Irina ElkinaRebecca and John Shockley

In honor of Julie HimmelstrupMary Ellen Schmider

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

In honor of Lucy Jones’ BirthdayMalcolm McDonald

In honor of Jason KudrnaCarol A. BraatenCathy Braaten

In honor of David MorrisonJohn Michel

In honor of Lisa NiforopulasGretchen Piper

In honor of Paul D. OlsonMark L. Baumgartner

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

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

In memory of Dr. John DavisJohn and Barbara RiceHelen Smith

In memory of Board member Jill Harmon’s fatherChristine Podas-Larson

In memory of Dorothy MattsonChristine Podas-LasonNancy Zingale and William Flanigan

Jane A. ThamesJon TheobaldImogene H. TreichelMartha Hughesdon TurnerYamy VangJeanne M. Voight

In memory of Nancy PohrenSandra and Richard Haines

In memory of Nancy ShepardNan C. Shepard

In memory of Tom StackEileen Stack

In memory of Catherine StovenMary and Terry Patton

In memory of Mark SwansonAllen and Joan Carrier

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

In memory of Richard ZgodavaHelen Smith

schubert.org 37

The Schubert Club Endowmentand The Legacy Society

The Legacy Society

The Legacy Society honors the dedi-

cated patrons who have generously

chosen to leave a gift through a will or

estate plan. Add your name to the list

and leave a lasting legacy of the musi-

cal arts for future generations.

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

*In Remembrance

Become a member of The Legacy

Society by making a gift in your will or

estate plan. For further information,

please contact:

Paul D. Olson at 651.292.3270 or

polson@schubert.org

The Schubert Club Endowment

We are grateful for the generous donors

who have contributed to The Schubert

Club Endowment, a tradition started

in the 1920s. Our endowment provides

nearly one-third of our annual budget,

allowing us to offer free and affordable

performances, education programs and

museum experiences for our community.

Several endowment funds have been

established, including the International

Artist Series with special support by the

family of Maud Moon Weyerhaeuser San-

born in her memory. We thank the follow-

ing donors who have made commitments

to our endowment funds:

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

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

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

Add your name to this list by making a

gift to The Schubert Club Endowment

or provide a special gift directly to The

Schubert Club.