The Schubert Club 130th Anniversary

An die MusikThe Schubert Club • schubert.org

130th Anniversary

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An die Musik130th Anniversary Issue

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

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Table of Contents

6 From the President

9 From the Artistic and Executive Director

10 The Recital, by Michael Steinberg

17 At the Piano, by Carolyn Benser

20 Viennese Patriotism: Schubert’s Jägerlied,by Janna Kysilko

24 International Artist Series 2013-2014 season

26 130th Anniversary Celebratory Concert: Jessye Norman and Mark Markham

38 Music in the Park Series 2013-2014 season

39 The Schubert Club Officers, Board of Directors and Staff

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

An die Musik

An die Musik

Du holde Kunst, in wieviel grauen Stunden,

Wo mich des Lebens wilder Kreis umstrickt,

Hast du mein Herz zu warmer Lieb entzunden,

Hast mich in eine beßre Welt entrückt!

Oft hat ein Seufzer, deiner Harf ’ entfl ossen,

Ein süßer, heiliger Akkord von dir

Den Himmel beßrer Zeiten mir erschlossen,

Du holde Kunst, ich danke dir dafür!

To Music

You noble art, in how many gray hours,

When life’s wild cycle has entangled me,

Have you enfl amed my heart to hotter love,

Have you carried me to a better world!

Often has a sigh, fl owing from your harp,

A sweeter, holier chord of yours,

Opened better times for me from Heaven,

You noble art, I thank you for that!

Franz von Schober,

Musical setting by Franz Schubert, 1817

On the cover: artists from past Schubert Club recitals – and our namesake (left to right, top to bottom)

Henri Marteau, Mstislav Rostropovich, Anne-Sophie Mutter

Joshua Bell, Ossip Gabrilowitsch, Cecilia Bartoli, Renée Fleming

Lang Lang, Anne Brown, Deborah Voigt,Yo-Yo Ma

Franz Schubert, Alfred Brendel, Bryn Terfel, Arthur Rubinstein

Marilyn Horne,Vladimir Horowitz, Håkan Hagegård

Isaac Stern, Elisabeth Schwarzkopf, Beverly Sills, André Watts

6 THE SCHUBERT CLUB An die MusikAn die Musik

Dear Friends of The Schubert Club,

It is an honor to welcome Miss Jessye Norman to the 130th Anniversary of The Schubert Club. Her distinguished career

has included performances in the world’s most prestigious venues and we are lucky to have presented her in three

previous recitals. Tonight‘s program promises inspiration and beauty.

Founded in 1882, The Schubert Club, one of the oldest arts organizations in the United States, has an impressive history.

A small group of women who performed for each other was its beginning. As membership grew, they invited touring

musicians to perform in Saint Paul. Their mission expanded to include music education and student competitions, all

handled by volunteers including raising the funds to make it all possible.

In 1968 Bruce Carlson was hired as a Business Manager, later Executive Director, and he worked for The Schubert Club

until his death in 2006. He had a real gift both for hiring great artists and for discovering artists before they were

famous. He assembled board members, built the endowment and began The Schubert Club Museum featuring musical

instruments and the Gilman Ordway Manuscript Collection.

Kathleen van Bergen was hired as Artistic and Executive Director in 2008. While she was here only three and one half

years, she oversaw the merger with Music in the Park Series, opened the new Museum on the second fl oor of Landmark

Center and helped complete updated governance procedures.

We are extremely fortunate that Barry Kempton came to The Schubert Club as Artistic and Executive Director in

January 2012. He is both loyal to The Schubert Club traditions and also forward-thinking. He embraces our new mission

statement: To invite the world’s fi nest recital soloists and ensembles to our community and to promote the fi nest

musical talents of our community to the world. We do this through performances, education and museum programs,

championing the music of today and of the future while celebrating great classical music of the past.

Thank you all for your support. You keep The Schubert Club vibrant.

Lucy Rosenberry Jones, President

From the President

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8 THE SCHUBERT CLUB An die Musik

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From the Artistic and Executive Director

The Schubert Club opened the Ordway in January 1985 with a recital by Miss Leontyne Price. As a member of the Arts Partnership, The Schubert Club will again feature in the opening festivities for the new Concert Hall when construction is completed—30 years later in Spring 2015.

1985 2015

Welcome all to this special Schubert Club concert celebrating our 130th Anniversary Season.

The Schubert Club presented its fi rst public recital in 1893. A look through the lists of past guest performers affi rms

that we have brought many of the world’s greatest classical soloists to entertain Twin Cities audiences. How fi tting

and fortunate therefore that we are able to welcome back Jessye Norman to feature in this special evening. This is Miss

Norman’s fourth Schubert Club recital. She is one of very few artists to perform four times on our stage and a true friend

of The Schubert Club. Tonight’s program which she performs with collaborative pianist Mark Markham features the great

American song literature, music that is both popular and of great cultural value – and with good reason.

We continue our celebration this evening in the Marzitelli Foyer, where the MacPhail Community Youth Choir with their

director J.D. Steele will entertain us immediately following Miss Norman's performance. Do please stay for a glass of

bubbly as we enjoy the privilege of listening to great music in a premier venue.

It’s important to thank the many people who worked so hard to make this evening happen: Our evening sponsors Target

Corporation, Travelers, The Saint Paul Hotel and Solo Vino; Landmark Center and Tour de Chocolat for their generous

support; our hard-working 130th Anniversary Committee chaired by Catherine Furry; the Ordway administrative team

and backstage crew; my administrative staff team for their dedicated efforts and enthusiasm; Peter Myers for his

expertise with video production and fi nally the honorary chairs of the evening’s celebration, Nancy and Ted Weyerhaeuser.

We are thankful to our patrons for being here to celebrate with us.

Barry KemptonArtistic and Executive Director


The Recital

Michael Steinberg

It’s the concentration, the distillation of the artistic

experience. The Vienna-born English critic Hans Keller

maintained that if a symphony and a string quartet

are equally good, the quartet is better—a pleasingly

paradoxical insight instantly illuminating for some and

forever unintelligible to others. Fewer is better. I love

orchestras—the mountain climb to the last page of a

Bruckner symphony and, no less, the sighs and whispers

of Webern’s Opus 10. I love opera and the possibilities,

magnifi cent and mysterious, of the great choral

machines. But a stage with just four or fi ve musicians

on it, or even fewer—now we’re on the way to

transfi guration and ecstasy.

A quartet, even a trio, is a mini-orchestra, a micro-team,

a group with an intricate, carefully encoded system of

mutually supporting and protective devices. But when

you go down from three people to two you cross a

border, and from two to one there is another frontier

to traverse, a really daunting one. As the numbers get

smaller, the vulnerability factor for the performers

increases exponentially; at the same time, though, the

intensity and precision of focus that the listener can

lavish on just a singer and a pianist, a violinist or cellist

with a pianist, or a pianist alone grows proportionally.

We enter another world, and so it makes sense that we

have a separate word to distinguish concerts given by

two musicians, or just one: recital.

In the 1820s, when a concert meant a mixed grill with

perhaps a pianist, a singer, some string players—and

as recently as a hundred years ago orchestral concerts

often featured the concerto soloist in a solo group of

programmed encores, as it were—Franz Liszt was the

fi rst musician to dare produce events at which he was

the sole performer. (Not unrelated, he was also the fi rst

pianist to set his instrument so as to display his profi le

to the audience.) And in London, in 1840, he also gave us

a new term when he announced for Tuesday afternoon,

May 9th, in those Hanover Square Rooms where Haydn

had enjoyed his symphonic triumphs in the 1790s,

“RECITALS on the PIANOFORTE.” Liszt had presented

solo concerts before, but calling them “RECITALS”

was new. That was in fact the brainchild of his friend

Frederick Beale, a partner in the piano and publishing

fi rm of Cramer, Addison, & Beale, and if we want to be

really precise, we should note that the Oxford English

Dictionary gives a citation for “recital” from the 1811

edition of Thomas Busby’s Complete Dictionary of Music,

“formerly the general name for any performance with a

single voice.” (Oddly, the OED tells us that “recital” is a

“musical (now only instrumental) performance given by

one person.”

“. . . if a symphony and a string quartet are equally good, the quartet is better.” The Flonzaley Quartet performed three times under the auspices of The Schubert Club, in 1911, 1912, and again in 1913.

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Liszt’s 1840 “recitals” were in fact perceived as something

new. Note the plural “RECITALS” in the advertisement:

each piece was to be thought of and heard as a separate

recitation. What he “recited” is a program we would fi nd

most strange if Mr. Andsnes or Mr. Brendel or Ms. Hewitt

were to offer it at the Ordway today: solo arrangements

of two movements of Beethoven’s Pastoral Symphony

and two Schubert songs, the Hexaméron (variations

on a Bellini march by Liszt himself and fi ve of his most

notable pianistic colleagues, Thalberg, Pixis, Herz, Czerny,

and Chopin—actually a very engaging gallimaufry), and

a few solo pieces of his own, ending with the Grand

Galop Chromatique, with which he must have closed a

thousand concerts in his traveling-virtuoso years. Equally

strange for us, but perhaps not without a certain appeal,

would be Liszt’s practice—and this was something all his

own—of descending from the platform between pieces

and chatting with members of the audience.

Plural or singular, “recital” baffl ed people. How in the

world do you “recite” on the piano? But the London

public caught on, responding to the communicative and

dramatic suggestions behind that word, and of course

Liszt could realize those suggestions with incredible

Franz Liszt

psychological force. The English critics had their doubts,

fi nding Liszt’s doings showy and ungentlemanly, but at

least one of them, Henry Chorley in the Athenaeum, got

the point when he wrote (as quoted in Alan Walker’s Liszt

biography): “We cannot call to mind any other artist,

vocal or instrumental, who could thus, by his own

unassisted power, attract and engage an audience for a

couple of hours.” It is still a marvel each time it happens.

Anyone who ever took music lessons will remember

what it was like to be compelled into the recital experi-

ence. It is more than sixty years since I last sat on a stage

by myself to play piano pieces, Chopin’s Minute Waltz

and some Gershwin and Poulenc, and far away as that

experience is now, I can remember exactly the strange

mixture of terror and power—the one because of real-

izing that I am out there all alone and there is no one to

help me, the other because what I am doing is somehow

getting all those people to be quiet, to look in one

direction, and to pay attention only to me. (I was obviously

thinking less about Chopin, Gershwin, and Poulenc than

I should have been.) The terror part was compelling

enough so that even now, as I write these sentences, I

fi nd myself working up a bit of a sweat. That essential

part of the recital experience, the agon between the one

and the mob, remains intimately and sometimes scarily

Thomas Hosmer Shepherd’s engraving from around 1830 of the Hanover Square rooms, for a century the principal venue for musical performances in London.


familiar to me: I don’t play in public now, but it all comes

back to me each time I have to give a lecture.

Being on stage with another person, for example when

I produced and participated in a series of concerts of

four-hand piano music or took the reckless plunge of

partnering a singer in Schubert’s Die schöne Müllerin, was

different. It removed the terror of being alone out there,

although it introduced instead the jitters that came

with knowing how much my partner’s welfare—and the

concomitant absence of the desire to strangle me after-

wards—depended on my not screwing up.

When you have two people in musical partnership, ideally

the two should both become one and remain two. The

reasons for wanting the oneness are obvious: the partners

are in pursuit of the same goal, bringing the Beethoven’s

D-major Cello Sonata or Schumann’s Dichterliebe to clear

and vivid life, revealing that music and that poetry as

truthfully as they are able. I often think of the great bass

Fyodor Chaliapin recalling recitals he had given with

Rachmaninoff at the piano, saying it was never a matter

of “I am singing” but always of “we are singing.”

But remaining two? The two are more than the sum of

their parts. Remaining two, that is for the electricity, the

surprises, the friction (without which, after all, we could

not move), for the sudden charge of knowledge and

understanding that comes from another mind, another

spirit, another heart. The room must have been alive with

these currents when Schubert accompanied Michael

Vogl in Winterreise, when Brahms played sonatas with

Joseph Joachim or was partner to Julius Stockhausen

in Die schöne Müllerin, or when Bartók played his music

(and others’) with Jelly d’Arányi, Zoltán Székely, or Joseph

Szigeti. Performers, all these, who knew the music

deeply, but who were ever receptive to that unexpected,

unrehearsed spark vaulting across the stage.

A caricature of Schubert (right) and the singer Johann Michael Vogl (1768-1840)

Brahms (left) and violin virtuosoJoseph Joachim

The Recital (continued)

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English contralto Kathleen Ferrier appeared in recital at The Schubert Club in 1949.

To witness and sense that is exciting and profoundly

moving. The fi rst time I was made aware of what

partnership in music might mean was at a sonata

recital by Adolf Busch and Rudolf Serkin in 1946. Theirs

was a connection of long standing, and the sharing of

ideals and ideas had come about because Busch had

been a demanding mentor to the younger pianist, who

had also become his son-in-law. Even when Serkin

was a revered senior fi gure in his seventies, his awe

of Busch was as alive as ever. I had somehow made

my way into the hall—it was the McCarter Theatre at

Princeton—for their brief pre-concert warm-up, Serkin

at the piano in shirtsleeves but with his black homburg

still on, and what struck me as they touched passages

in Beethoven’s last sonata was the wordlessness of

their communication: it was all grimaces, smiles, nods,

and headshakes, and the occasional “hmmm.” At the

concert, forty-fi ve minutes later, added to the depth of

shared understanding that was the fruit of years of work

together, documented on many recordings, was what one

might call the fever of performance, and I recall vividly

how amazing it was to witness the psychic power that

emanated from the externally so quiet Busch as he both

stimulated and restrained his all-nerve-endings partner.

Perhaps my most special memories—and lessons—are

of song recitals. I think of Bruno Walter and Kathleen

Ferrier, Walter’s playing a bit all over the place, but

defi nitely exerting an enlivening power over that

sometimes pallid singer and himself obviously warmed

and delighted by something she sent back to him. That,

too, was essentially a mentor-mentee relationship. Very

different was an electrifying recital of disturbing songs—

Krenek was on the program and the sacred songs from

Hugo Wolf’s Spanish Songbook—by Eleanor Steber

and Dimitri Mitropoulos. Here again the conductor-as-

pianist was clearly the driver, but there was an almost

harrowing sense of two great and by nature terrifyingly

vulnerable musicians clinging to one another as they


Leontyne Price’s 1985 Schubert Club recital was the first concert in the newly completed Ordway Music Theatre, as it was then known.

sought diffi cult artistic truth. Different yet again was

the partnership of Leontyne Price and Samuel Barber,

warmth blended with a touchingly old-fashioned

courtesy and mutual awe. It was early in Price’s career,

and it was sad to learn that that elegant pair was unable

to procure any signifi cant number of concert dates.

Grateful as I am to have heard those recitals, what

meant most to me then—and still does, in retrospect—

are the evenings in the presence of two partnerships

grounded in the bedrock of years of working together

but with fresh and inventive music-making that was

all adventure and discovery: Pierre Bernac with Francis

Poulenc and Peter Pears with Benjamin Britten. The

two pairs could not have been more different with

respect to temperament, stage presence, and even

repertory, though I did hear both in Dichterliebe, but in

each you had a singer with an extraordinarily personal,

instantly recognizable, non-glamorous but to me

stirringly beautiful voice and a pianist who brought to

his task a combination of a composer’s intelligence with

unobtrusive, almost deliberately concealed keyboard

skills of the highest order.

On stage, both those famous composers seemed as

deferential as old-fashioned career accompanists to their

partners. I remember how Bernac, for whom the word

“soigné” might have been invented, introduced encore

after encore with the words “Francis Poulenc,” enunciated

with a crisp precision that brought it just short of parody.

Meanwhile, his eminent collaborator, who liked to speak

of piano sound “bathed in pedal” and had all evening

turned that ideal into a ravishing treat to the senses, sat

at the piano as though the words “Francis Poulenc” could

not possibly have anything to do with him—nor for that

matter the trifl ing matter of having composed “C’est

ainsi que tu es” or “C.” And did anyone ever look less like

an important composer?

Britten detested performing, and often in later years

needed to be literally pushed onto the stage, preferably

with the fresh infusion of an ounce or two of brandy.

Once out there, he seemed to strive only for utter

invisibility. Could this man possibly have written “The

Holy Sonnets of John Donne” or Winter Words? But from

Poulenc and Britten alike, the playing of the one so

seemingly carefree and dedicated to sensuous delight,

French baritone Pierre Bernac (left) with his frequent recital collaborator Francis Poulenc


schubert.org 15

that of the other as delicately chiseled and precise as

some uncanny sculpture in ivory, there came music-

making of rarely experienced authority and command as

well as sheer sonorous beauty.

And what listeners they both were, deeply attuned to

spontaneities of nuance, to colors of vowels, lengths of

consonants, the unpredictabilities of timing that are

at the heart of great singing. And great singing is what

Bernac and Pears gave us, great singing founded on the

understanding of poetry, of musical shapes, of color.

And all four knew that the mysterious essence in a great

song collaboration has everything to do with allowing

the voice seeming dominance—it also of course has the

possession of the words on its side—but creating in fact

a partnership of equals, akin to an ideal marriage. The

elegant Bernac and the more dramatic Pears, who also

had a touch of British offi cer about him, were formidable

presences, but each knew—without of course giving

a hint of this to the audience—that he was only half

himself without his pianistic other self.

And what about piano recitals, when one fi gure alone

commands the stage and two thousand ears and eyes

are trained on one human presence doing something

that most of us cannot dream of doing? There the

challenge to our power of concentration can become

overwhelming. Two names are especially alive in my

mind as examples, and if I confi ne myself to two it

is not for want of gratitude to such musicians as the

diabolic Michelangeli; Rudolf Serkin, who could appear

angelic and possessed at the same time; and the warmly

embracing Myra Hess.

Artur Rubinstein was the fi rst hugely, hugely celebrated

musician I ever experienced in concert. It happened

to be an orchestral concert at which he exulted in

Rachmaninoff, but the pianist I encountered in recital

soon after was clearly the same astonishing personality.

He was so welcoming, so delighted we were there for

him, no less delighted that he, on this evening, could

be there for us. The stage always overfl owed with extra

seats; in halls where it was possible, he liked to enter

not from the side but from the back, facing front and

center. The crash of applause that always greeted the

appearance of this compact fi gure was like no other

concert hall sound I ever heard. But when he sat at the

keyboard he was the embodiment of concentration, of

Dame Myra Hess gave February piano recitals twice for The Schubert Club, first in 1925 and again in 1958.

Pianist Rudolf Serkin, perhaps the greatest Beethoven interpreter of the 20th century performed for The Schubert Club in 1967, 1977, and 1981.


Musicologist Michael Steinberg

avoidance of anything wasteful, of elegant economy of

body use (except when, as an encore, he played Falla’s

Ritual Fire Dance, with hands fl ung higher than the top

of his head). Aside from its musical pleasures, every

Rubinstein recital was a demonstration, so natural to him

and so easy, of what it means to be a host, of unconfi ned

joy in the existence of great—or even just delightful—

music, an equal joy in seeming to discover anew each

time what might be done on a piano, and, so he made it

seem, the greatest joy of all: sharing it with us.

A Schnabel recital was another sort of event. There was

never a Ritual Fire Dance or anything remotely like it, not

even a note of Chopin (“that right-handed composer,”

he said, unjustly), to say nothing of Liszt or Debussy.

Mozart, Beethoven, Schubert, occasionally a little Bach

or Schumann, were the centers of his musical world,

certainly in those later years when I heard him. He once

said that the typical piano recital program was like a

tourist’s day in Paris: Notre Dame in the morning, the

Folies-Bergères in the evening. The difference between

himself and other pianists, he remarked ironically, was

that his recitals “were boring also after the intermission.”

In other words, when you went to hear Schnabel you

went to be transported into those worlds that Bach,

Mozart, Beethoven, and Schubert command. When

he was on, which was not always, he could take you

to worlds of whose existence you had no idea. Even

afterwards, as though after a dream, you could hardly

credit that you had experienced something ineffable,

something forever beyond words. I don’t think I ever

heard another musician who could do that in quite that

way. The last time I ever heard him play he ended with

Beethoven’s Opus 111 Sonata, the fi nal one, whose close

is all that one could possibly mean by sublime music. (He

never played encores, fi rm in his conviction that applause

was “a receipt, not a bill.”) There he sat, uncannily still

in a domestic-seeming upholstered chair the like of

which one normally never saw on a concert stage,

another man who, with his gray brush cut, did not in the

least suggest “artist.” Nearly motionless, the energies

fl owing from that tired body caused the piano, through

sounds granitic and limpid, to bear us out of ourselves.

I remember afterwards thinking of the words from

the Catholic burial service: “In Paradisum te deducant

angeli—May angels lead you into Paradise.”

It was the quintessential recital experience: one musician

on stage, a listener, who knows how many feet away, and

through the powerful, generous, and dedicated gift of

the one, and the hunger and willing concentration of the

other, distance dissolved into no distance.

—Michael Steinberg

Reprinted by kind permission of Jorja Fleezanis

The actor Stefan Schnabel visited in his dressing room by his father, renowned pianist Artur Schnabel.


schubert.org 17

At the Piano: Pianists at The Schubert Club in our Century Caroline Benser

The fi rst decade of our present century is now history, and

with this 130th anniversary of The Schubert Club, we can

already refl ect on the performances of the pianists we

have heard during that fi rst decade at The Schubert Club.

Approaching the turn of this century, I had begun serious

thought about the pianists playing today. After moving

into 2000, I felt more strongly that the time was right

to gather ideas about who the most exciting pianists

are among the dozens who appear on the world’s

most prominent stages as solo, chamber, concerto, and

recording artists. My focus centered solely on those

pianists who are fi rst-rate musicians. I listened to those

who are bringing fresh insight to familiar masterpieces;

those who are exploring music which was once played but

today sadly forgotten; those who are playing the music of

living composers and who are commissioning new music.

And fi nally I looked at those who are creative themselves.

These pianists are today composing, arranging, and

reviving the nearly lost art of improvisation. Many

questions sprang to mind. But how best to have them

answered? Why not speak directly with the pianist

himself, and ultimately share what I learned?

Thus the idea of a series of interviews took shape. I

interviewed only those whom I had heard in live

performances, had met, and with whom I had had a

brief conversation. Each choice was my own, and I will

readily admit I am a fan of each. Yes, there are others

who could easily have been interviewed but a multitude

of circumstances intervened. Most of the interviews

took place by telephone, which was advantageous for

unhurried, serious conversation.

I limited my choices to pianists whose careers developed

no earlier than the mid-1980s—the younger generation.

The French-Canadian Marc-André Hamelin and the

British Stephen Hough, both born in 1961, are the oldest

pianists with whom I spoke, and Yuja Wang from Beijing

had just turned 23 when we talked in 2010.

With each pianist, our conversation covered topics such as

the crucial importance of their fi rst teachers, their families

and the relationship to music in the home, the music they

are naturally drawn to, recording, live performances, the

stresses of modern travel and keeping in healthy shape.

Each pianist had in common the realization, beyond any

doubt, between the ages of ten and twelve, that playing

the piano was a serious business. Playing the piano was

going to be a lifetime’s commitment; there was no way to

consider any other activity, because life could not be lived

without being a Pianist—with an upper case P.

Leif Ove Andsnes has performed three times on The Schubert Club's International Artist Series.

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Jonathan Biss


Although both Simone Dinnerstein and Jonathan Biss

played for The Schubert Club, I am sorry that I missed

hearing them. Dinnerstein played Bach’s Goldberg

Variations at the Cortile in the Landmark Center in the

fall of 2007 after the huge success of her recording

released earlier that year, and Biss appeared in January

2005 playing a program on the International Artists

Series with his mother the violinist Miriam Fried.

Biss spoke with me in July 2007. I asked him about his

memories of his paternal grandmother, the cellist Raya

Garbousova, who died in 1997 when he was only sixteen

years old. Growing up, he knew her only as a doting

grandmother—not the highly regarded cellist for whom

Samuel Barber wrote his 1945 cello concerto and premiered

with Serge Koussevitsky, nor the soloist who had earlier

in January of 1938 appeared with The Schubert Club. He

expressed with some regret that he never saw her hold her

instrument. But Biss is the third generation of his family to

have appeared with The Schubert Club. And now we can

look forward to his return as he opens the 2013-2014 season

with a program that includes the music of Schumann.

Dinnerstein sat down with me for conversation in

Madison in December of 2009. And like Biss, she revealed

how her early family environment has affected her present

artistic life. Neither of her parents is musical, but for both,

art holds the highest value in their family. They constantly

stressed to their daughter the importance of passion for

what one does, and the commitment to doing it to the

In 2012 Scarecrow Press published my series as At the

Piano: Interviews with 21st-Century Pianists, with Richard

Sorensen’s lovely, familiar photo of the interior of the

Ordway on its cover, courtesy of The Schubert Club. Many

will remember that this photo, that invites the listener

to a sacred space for transcendent music listening,

appeared for many seasons on the program booklet of

The Schubert Club’s International Artists Series during

the late Bruce Carlson’s tenure as director.

Six pianists, who are featured in At the Piano, have

appeared with The Schubert Club during this decade.

While it is exceedingly diffi cult to single out a

mere handful of memorable highlights from their

appearances, I will recall a highlight from each one’s

appearance, and share a little from my conversations.

Leif Ove Andsnes, the great Norwegian pianist, has

appeared three times with The Schubert Club: in January

of 2002 with the German violinist Christian Tetzlaff,

and more recently with the German baritone Matthias

Goerne in April of 2012. Both Tetzlaff and Goerne are

musicians whom Andsnes counts among his friends.

One of the most memorable highlights of Andsnes’s

performances was his encore choice after his solo

recital in April of 2006. Concluding his program with

Mussorgsky’s Pictures at an Exhibition and recalled to the

piano, he offered a tender, quiet, seldom-heard miniature

by the Catalonian composer Frederico Mompou. There

could not have been a more magical conclusion to his

program of Beethoven, Schubert, Schumann and the

grand Russian masterpiece.

Phot

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Cellist Raya Garbousova performed for The Schubert Club in 1938. Her grandson, pianist Jonathan Biss, performs on the International Artist Series later this year.

At the Piano:Pianists at The Schubert Club in our Century (continued)

schubert.org 19

Marc-André Hamelin

utmost of one’s ability. Her father Simon Dinnerstein is

a well-known painter in Brooklyn. Many of his creations

are seen on Simone’s professional web-site, including

works made when she was a child.

Two of the most versatile, distinctive, and creative

pianists playing today are Marc-André Hamelin, and

Stephen Hough. Both play an immensely broad swath of

the piano literature, are widely regarded today as gifted

arrangers and composers, and each has made dozens of

recordings for the British label Hyperion.

Hamelin appeared in October of 2008, featuring

Charles-Valentin Alkan’s technically daunting, physically

demanding 1857 Concerto for Solo Piano, Op.39 which

fi lled the entire second half of his program. Alkan’s

Concerto consists of three numbers from his whole set

of études in all the minor keys. I doubt that more than

a very small percent of the audience that evening had

ever heard Alkan’s work performed live. It is among those

monumental 19th-century pieces whose reputation

has given it historical notoriety, and likewise, one

that pianophiles scarcely ever expect to hear in live

performance--unless in the hands of a superb pianist

such as Hamelin. His own equally daunting 12 Études in

All the Minor Keys, composed over several decades, were

published in 2010 by Peters Edition. He has recorded

them and frequently plays them in recital.

Stephen Hough made his long-awaited appearance—

by me at least—with The Schubert Club in November

of 2012. His program of night-time music began with

Chopin’s two familiar Op. 27 Nocturnes. The second half

introduced his own Second Sonata, Notturno luminoso

whose premiere he had played in Wales just weeks

prior to this performance. The Schubert Club had joined

several other organizations in commissioning his Second

Sonata. While his work carries the title of “nocturne,”

Hough makes it musically clear that it is not a night of

moonlight and tender moments, but rather a tortuous

one of nightmares, anxiety, dread, and insomnia. For

those who love Schumann’s mercurial, multi-charactered

piano works, Hough brought a fresh interpretation to his

familiar Carnaval, Op. 9. His pacing took unpredictable

turns introducing Schumann’s characters, among

whom was Chopin making an appearance at his dreamy

nocturne best. In Hough’s hands, Schumann’s well-

known music was transformed into a dazzling new piece.

Yuja Wang brought youthful energy to her January 2011

recital at The Schubert Club as she offered a group

of smaller works by Scriabin, Rachmaninoff’s Corelli

Variations and several virtuosic transcriptions. Wang is

the foremost representative of the tremendous wave of

young Chinese pianists who have come to the Western

world to study and perform during the last several

decades. Her own youth is marked by her leaving Beijing

permanently at the age of 14, initially to study at the

Mount Royal College Conservatory in Calgary, Canada. She

told me that she credits that quiet period of her life, when

she found herself totally isolated from her culture, to

discovering her sense of independence through exploring

Western culture at the library and improving her English.

Even though there are fewer and fewer venues around

the globe for hearing the standard piano recital,

The Schubert Club, with its high artistic standards,

continues to reveal that the world of the piano is indeed

healthy and exciting well into the 21st century.

—Caroline Benser

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At the Piano: Interviews with 21st century pianists, by

Caroline Benser, was published in 2012

by Scarecrow Press (Rowman & Littlefi eld).

Available at rowman.com/ISBN/978-0-8108-8172-3.


This musical manuscript contains a unique autograph

version of Schubert’s song for two horns or two voices,

Jägerlied, literally “Hunter’s song” or “Rifl eman’s song.”

The text is by Karl Theodor Körner, from a collection of his

thirty-six patriotic poems written between 1811 and 1813

compiled posthumously by Körner’s father in 1814 into a

volume entitled Leyer und Schwert (Lyre and Sword). On the

reverse side of this fragment, which is clearly the bottom

portion of a larger folio as can be inferred from the tails of

letters visible at the top, Schubert has written out the last

four verses of the poem An ein Ideal (To an Ideal) by Ludwig

Hölty. The way he has grouped the verses, as well as the

number “four” that appears in the second column,

suggests that Schubert had regrouped Hölty’s four-line

stanzas into eight lines, most likely to fi t his conception of

a musical setting. Since there are nine stanzas in Hölty’s

poem, it seems probable that Schubert chose to omit one

of the fi rst fi ve stanzas. The fi rst half of this poem was

very likely written on the missing portion of the folio, and

perhaps a musical setting of it as well, if Schubert ever

wrote one. No musical setting of this poem has been found.

Schubert’s choice to set Körner’s vigorous summons to

freedom and national unity is indicative of the

revolutionary times that shaped his young life. The year

Schubert was born, his hometown of Vienna was for the

fi rst time directly threatened by Napoleon and his armies.

Austrian territories in Italy had been invaded by French

armies the year before, and Vienna was Napoleon’s next

target. While Vienna was not attacked at this time, Austria

lost many of its territories, and in the years that followed,

the Holy Roman Empire lost much of its power through

Napoleon’s eradication of ecclesiastic heads of state.

Vienna was fi nally invaded in November of 1805, and in

August of the next year, Francis II was forced to relinquish

the title of Holy Roman Emperor that the Hapsburg family

had held for 640 years, and the empire was dissolved.

In 1808, Schubert, having already attracted the attention

of the court with his musical abilities, was entered in the

Stadtkonvikt, a special school for non-aristocratic boys with

court connections. The following year, Vienna was again

attacked and occupied by Napoleon’s forces, and even the

Stadtkonvikt was damaged by the bombing. However in

1812, France was dealt several severe blows: Napoleon’s

ill-fated attempt to invade Russia during the harsh winter,

the battle of Leipzig, and Wellington’s victory at Vittoria.

The 15-year old Schubert commemorated the Leipzig

Viennese Patriotism: Schubert's Jägerlied

Janna Kysilko

Autograph manuscript of Schubert’s Jägerlied, D. 104, gift of Gilman Ordway

schubert.org 21

The Schubert Club MuseumLandmark Center • Second floor

Open Sunday–Friday, Noon–4 PM

Franz Schubert

Listen to a recording of Schubert’s Jägerlied

on The Schubert Club Museum website:

schubert.org/museum

victory in his song Auf den Sieg der Deutschen (On the

Victory of the Germans), D. 81. Napoleon was fi nally forced

to abdicate in 1814, and the allied victors seized control of

Paris, inspiring another song from Schubert, Die Befreier

Europas in Paris (The Liberators of Europe in Paris), D 104.

From September 1814 to June 1815, Vienna hosted

the great international congress at which rulers and

ambassadors from European lands assembled to redefi ne

European order in the wake of the havoc caused by the

French Empire. Amidst the high-powered negotiations

that took place, Viennese society shone at its brightest,

providing an exhilarating environment for lavish

entertainments and artistic productions. During this

time Schubert was at his most prolifi c, composing nearly

150 songs in the space of a year—a burst of creative

energy that produced such masterpieces as Gretchen am

Spinnrade, (D. 118) and the Erlkönig (D.328), as well as the

set of Five Duets for Two Voices or Two Horns on poems by

Körner from which the Jägerlied (D.104) comes.

Just as its business was coming to a close, the Congress of

Vienna received the startling news in March of 1815 that

Napoleon had escaped from his exile in Elba and rallied

French troops anew. The European allies prepared to do

battle once again. By June Napoleon had been defeated at

the famous battle of Waterloo and again sent into exile,

this time to Saint Helena, a much harsher location, where

he died six years later. It was during these Hundred Days,

as they came to be known, that Schubert set Körner’s

patriotic texts; the Jägerlied was most likely written

on May 26, 1815. Körner himself had been an ardent

freedom fi ghter and writer of nationalist poetry, and was

killed in 1813 fi ghting Napoleon’s troops in the battle at

Gadebusch. Schubert had known Körner briefl y, and was

inspired by his commitment to art, setting several of his

poems to music for solo and ensemble voices. Körner was

memorialized as a war hero, and his poetry gave voice

to the German people’s striving for liberation from the

tyranny of Napoleon and subsequently was appropriated

by emerging nationalist causes.

—Janna Kysilko


Theodor Körner, whose poem Jägerlied was set to music by Schubert

Rifl eman’s Song

Arise, ye rifl emen, free and quick!

Take your fl intlocks from the wall!

The brave man will fi ght the world.

Arise, meet the enemy! Briskly into the fi eld,

For the German fatherland!

Jägerlied

Frisch auf, irh Jäger, frei und fl ink!

Die Büchse von der Wand!

Der Mütige bekämpft die Welt.

Frisch auf den Fiend! Frisch in das Feld,

Für's deutsche Vaterland!

Viennese Patriotism: Schubert's Jägerlied

The Soldier-Poet

Karl Theodor Körner was a poet, playwright and

soldier who was killed fighting Napoleon’s troops at

the age of 21.

Körner was born into a highly cultured family in

Dresden—Goethe and Schiller were friends of his father,

and Goethe promoted the younger Körner’s brief literary

career. The family home was a noted musical and literary

salon; it even housed a small theater where several of

Schiller’s plays received their fi rst performances. (Theodor

Körner was the fi rst to play the part of William Tell in

Schiller’s play of the same name.) Visitors to the house

included such luminaries as Wilhelm von Humboldt

(founder of the University of Berlin), Schlegel (translator

of Shakespeare), Mozart and Weber, among others.

Körner’s aunt, Dora Stock, who lived with the family, was

a noted artist who produced the posthumous portrait

of her nephew on this page. Her most famous portrait

is the widely reproduced silverpoint drawing of Mozart

done from life in 1789.

Theodor Körner moved to Vienna after fi nishing his

schooling. In fi fteen months in the Austrian capital, he

produced, in addition to a number of poems, a succession

of works for the stage, including a singpiel later set

by Schubert, Die drei jahrige Posten. In March of 1813

he joined the Lützow Free Corps to fi ght the invading

French. While on campaign, Körner continued to produce

poetry, including in June, the sonnet Abschied vom Leben

(Farewell to life) after receiving a severe head wound.

Only hours before his death in a skirmish on August 26,

he wrote the patriotic call-to-arms which Schubert later

set as Schwertlied (Song of the Sword), D. 170.

–Ian Frye

schubert.org 23

To an Ideal

And soon after, in the little fl ower garden,

Beautiful as Eve,

To tend the rose trees and carnations,

You go to the garden plot.

When I catch sight of you, for whom I bid the heavens,

I beg you,

Then come, then come into my straw hut,

And comfort me!

You shall have a fl ower-bed, where a thousand blossoms sway,

Blooming across from you;

I want to grow a roof of young honeysuckle vines

For you.

To dream myself into Paradise at your breast,

My sweet child,

And to be happier than the angels are,

Under the living trees.

The last four verses of Ludwig Hölty's poem “An ein Ideal”—also known as “Das Traumbild”—were copied by Schubert on the back of the manuscript of his song Jägerlied. However, no musical setting by Schubert of this poem has been found.

An ein Ideal

Und bald darauf, im kleinen Blumengarten,

Wie Eva schön,

Des Rosenbaums, des Nelkenstrauchs zu warten,

Am Beete gehn.

Erblick ich dich, die ich vom HImmel bitte,

Erbitt' ich dich,

So komm, so komm in meine Palmenhütte,

Und tröste mich!

Dir soll ein Beet, wo tausend Blumen wanken,

Entgeggenblühn;

Ich will ein Dach von jungen Geißblattranken

Für dich erziehn.

Ins Paradis, an deiner Brust, mich träumen,

Meine süsses Kind,

Und froher seyn, als unter Lebensbäumen

Die Engel sind.

The Schubert Club MuseumLandmark Center • Second floor

Open Sunday–Friday, Noon–4 PM

Valentina Lisitsa, piano

The Schubert Club

2013–2014 Season

International Artist SeriesJonathan Biss, pianoWednesday, October 2

Christian Tetzlaff, violin Lars Vogt, pianoTuesday, November 19

Gidon Kremer, violin with Kremerata BalticaSaturday, February 8

Valentina Lisitsa, pianoTuesday, March 11

Dmitri Hvorostovsky, baritoneMonday, May 19

Subscribe now!schubert.org

Dmitri Hvorostovsky, baritone


Goerne Program Page

The Schubert Club

130th Anniversary Celebratory Concert

Jessye Norman, sopranoMark Markham, piano

AMERICAN MASTERSA CELEBRATION OF THE AMERICAN MUSICAL THEATRE

I Falling in Love with Love, from The Boys from Syracuse Rodgers & Hart

You’ll Never Walk Alone, from Carousel Rodgers & Hammerstein

But Not for Me, from Girl Crazy George & Ira Gershwin

I Got Rhythm, from Girl Crazy George & Ira Gershwin

II The Man I Love, from Lady Be Good George & Ira Gershwin

Sleepin’ Bee, from House of Flowers Harold Arlen

Climb Ev’ry Mountain, from The Sound of Music Rodgers & Hammerstein

Lonely Town, from On the Town Leonard Bernstein

My Man’s Gone Now, from Porgy and Bess Gershwin

A CELEBRATION OF THE AMERICAN MUSICAL MOSAICA TRIBUTE TO THE GREATS

III My Baby Just Cares for Me (for Nina Simone) Donaldson/Kahn

Stormy Weather (for Lena Horne) Harold Arlen

Another Man Done Gone (for Odetta) Traditional

Mack the Knife (for Ella Fitzgerald) Brecht/Weill

IVEdward Kennedy “Duke” Ellington

Meditation for piano

Don’t Get Around Much Anymore

I Got It Bad and That Ain’t Good

It Don’t Mean a Thing (If It Ain’t Got That Swing)

Intermission

Please turn off all electronic devices.

schubert.org 27

The Schubert Club 130th Anniversary Celebratory ConcertTuesday, April 30, 2013 • 7:30 PM

Ordway Center

Jessye Norman, soprano

The breadth and width of Jessye Norman’s eclectic repertoire share equal richness with that of her innovative programming and scholarship. She brings her passion for singing to all that she surveys on the opera and concert stages of the world, as well as her newest expansion in the world of jazz.

Miss Norman’s collaborations with some of today’s most exciting and creative artists of many different disciplines enliven her own exploration of the arts in all its glorious forms.

Most recently, her work with the four-time Grammy winning composer, Laura Karpman, produced a thrilling new multi-media musical theatre piece, Ask Your Mama–Twelve poems on Jazz by Langston Hughes, which had its premiere at Carnegie Hall in March of 2009 as a part of the HONOR! Festival held that month: a fifty-two event celebration of the African American contribution to the culture of the world, curated and directed by Miss Norman. Ask Your Mama was also presented at The Hollywood Bowl in the summer of 2009.

The Jessye Norman School for the Arts in her home-town of Augusta, Georgia is a tuition-free arts program for talented middle school students who would otherwise not be able to enjoy private tutoring in the arts. The school is entering its ninth academic year and is not only a source of great pride for Miss Norman, but a reaction to the need and understanding that students given the opportunity of having the arts as a part of their education and this positive means of self-expression perform better academically all around and grow up to be more involved and caring citizens. Please do find out more about the school at: jessyenormanschool.org.

Miss Norman’s latest recording, Roots: My Life, My Song, shares with the listener what she refers to as a part of her personal universe, some of the soundtrack of her life which offers her the opportunity to pay homage to some of the many who influence and encourage her ceaseless curiosity and what she feels is an obligation to offer musical expression outside of the traditional Classical canon, as she wishes to reach as many ears as will hear and as many hearts that are open to taking this often surprising musical journey with her.

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The Schubert Club 130th Anniversary Celebratory Concert

In March of 2012, she performed songs of John Cage with Meredith Monk and Joan LaBarbara under the auspices of the San Francisco Symphony and conductor, Michael Tilson Thomas. This fully-staged production of the Cage songs presented yet another opportunity for Miss Norman to scale new heights and broaden her artistic palette while enjoying another wonderful collaboration with artists whom she admires.

Her work with several not-for-profit organizations include the New York Public Library, The Dance Theatre of Harlem, Howard University and the Carnegie Hall Boards of Trustees, a graduate fellowship program and master class series in her name at The University of Michigan and spokesperson for The Partnership for the Homeless, all of which speak to her concern for the larger community and the citizenship that she credits her parents for having shown her from early childhood through their own community service.

Miss Norman is an honorary ambassador to the United Nations, a fellow at Jesus and Newham Colleges at Cambridge University, a Commandeur des Arts et des Lettres as well as a holder of the Legion D’Honneur, in France. France has named an orchid for her and in her hometown, an amphitheater which overlooks the tranquil Savannah River, bearsher name.

Further accolades and awards include five Grammys and some thirty-eight honorary doctorates from universities, colleges and conservatories around the world, but it is the sheer joy of singing that keeps her ever searching, ever exploring, ever seeking to honor the ancestors.

In addition to this special 130th Anniversary Concert, Miss Norman has previously performed three times for The Schubert Club's International Artist Series.

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Management for Miss Jessye Norman: Brenda J. Robinson, Esq., Faegre Baker Daniels LLP

schubert.org 29

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Mark Markham, pianoPianist Mark Markham is widely recognized around the world as one of the great artists of his generation. With an extraordinary technique combined with an unerring sense of style from the Baroque to jazz, his communica-tive powers to touch an audience have no boundaries. His playing has been described as “brilliant”, “exquisitely sensitive”, and “in full service to the music.”

Born in Pensacola, Florida, Mr. Markham made his debut in 1980 as soloist with the New Orleans Symphony Orchestra and in the same year was invited by the renowned Boris Goldovsky to coach opera at the Oglebay Institute, hence the beginning of a multi-faceted career. His teachers at the time, Robert and Trudie Sherwood, were supportive of all his musical endeavors from solo repertoire, vocal accompanying, and chamber music to Broadway and jazz. During the next 10 years as a student at the Peabody Conservatory, where he received bachelor’s, master’s, and doctoral degrees in piano performance, this same support for the diversity of his musical gifts came from Ann Schein, a pupil of the great Artur Rubinstein. While under her tutelage he won several competitions including the First Prize and the Contemporary Music Prize at the 1988 Frinna Awerbuch International Piano Competition in New York City. He has given solo recitals at the National Gallery of Art in Washington, DC; the New York Public Library; the Baltimore Museum of Art; and the Getty Museum in Los Angeles. In 1987 Mr. Markham was appointed pianist of the Contemporary Music Forum of Washington, DC. During fi ve seasons he gave numerous premiere performances at the Corcoran Gallery with this ensemble. This work led to other premieres throughout the US by composers Shulamit Ran, Larence Smith, and Richard Danielpour. Mr. Markham has also performed with the Brentano, Mozarteum, Glinka, and Castagnieri quartets and the Baltimore Woodwind Quintet, as well as with Edgar Meyer, Ron Carter, Grady Tate, and Ira Coleman. While a student at the conservatory Mr. Markham toured with soprano Phyllis Bryn-Julson. This collaboration resulted in critically acclaimed recordings of works by Messiaen, Carter, Dallapiccola, Schuller, and Wuorinen. In addition, he has toured the US, Europe, and Asia with countertenor Derek Lee Ragin.

Since 1995 Mr. Markham has been the recital partner of Jessye Norman, giving over 200 performances in over 25 countries, including recitals in Carnegie Hall, the Concertgebouw in Amsterdam, La Palau de la Musica in Barcelona, London’s Royal Festival Hall, the Musikverein in Vienna, the Salzburg Festival, Bunka Kaikan in Tokyo, Mann Auditorium in Tel Aviv, the Ancient Theatre of Epidaurus in Greece, and at the 2002 Nobel Peace Prize presentation to President Jimmy Carter in Oslo. This year he will perform with Ms. Norman in London, Paris, Lyon, Moscow, St. Petersburg, Ghent, Zurich, Oman, Beirut and Baden-Baden.

Much appreciated by the public for his improvisational skills, Mr. Markham performed at the Expo 2000 in Hanover, Germany, where he collaborated with Sir Peter Ustinov for a live television broadcast throughout the country. His gift for jazz has been recognized in the Sacred Ellington, a program created by Ms. Norman in which he serves as pianist and musical director and which has toured Europe and the Middle East. Most recently, his recording with Jessye Norman of “Roots: My Life, My Song” was nominated for a Grammy.

In 1990 Mr. Markham was invited to join the faculty of the Peabody Conservatory, where he served for ten years as vocal coach and professor of vocal repertoire and accompanying. A former faculty member of Morgan State University, the Britten-Pears School in England, and the Norfolk Chamber Festival of Yale University, he has presented master classes for pianists and singers throughout the US, Europe, and Asia and has been a guest lecturer for the Metropolitan Opera Guild and the Johns Hopkins University. Mr. Markham currently resides in New York City.


Program notes and song texts

AMERICAN MASTERSA CELEBRATION OF THE AMERICAN MUSICAL THEATREI.Once upon a time, in what is now the NoMad neighborhood of Manhattan (West 28th Street between Fifth and Sixth Avenues), the jangle of sheet-music “pluggers” fi lled the air as publishers jostled one another for a place on America’s parlor pianos. But “Tin Pan Alley,” as it came to be called, is more aptly a metaphor for American popular music of the late nineteenth and early twentieth centuries. And the music that created this yellow-brick road had roots in the larger world: song forms of Mendelssohn; Stephen Foster melodies; American hymnody; European folk song and Jewish chant; and especially, the music of black America—spirituals and jazz.

Before teaming up with Oscar Hammerstein II, Richard Rodgers had a fruitful partnership with Larry Hart, whose penchant for internal rhyme is evident everywhere in Adriana’s song from The Boys of Syracuse, a 1938 show with a book based on Shakespeare’s Comedy of Errors. Rodgers’s second collaboration with Hammerstein, Carousel, was the composer’s favorite. One of the fi rst musicals with a tragic plot, it was based on Ferenc Molnár’s play, Liliom, relocated from Hungary to coastal Maine. “You’ll Never Walk Alone” is fi rst sung by Julie Jordan after the death of her husband Billy Bigelow, and its choral reprise closes the show. The Sound of Music was the duo’s last effort, and ultimately the most successful. It ran for 1433 performances on Broadway, and the fi lm

adaptation is still the fi fth highest-grossing in history (adjusted for infl ation). “Climb Ev’ry Mountain” begins tellingly, pointing with its second note out of the home key.

George Gershwin started out as a song-plugger on the Alley, and wrote for more than two dozen musical comedies, operettas and revues. But his popularity peaked during the Depression, when the welcome sunshine of his songs lifted the national mood. Ira Gershwin, George’s older brother, was his collaborator from 1924’s Lady Be Good! until George’s premature death from a brain tumor in 1937. Later, he worked with Kern, Arlen, P.G. Wodehouse and others. Composer Alec Wilder considers “But Not for Me” “a masterpiece of control and understatement from beginning to end.” Ira’s urbane lyric—“With love to lead the way/I found more clouds of grey/Than any Russian play could guarantee.”—was introduced by Ginger Rogers in Girl Crazy. That show also featured Ethel Merman’s début with “I Got Rhythm.” The fi rst four notes of that song are answered by the same notes in reverse, a kind of modernist thinking the composer absorbed in his self-study of concert music. Otherwise, it’s a clear example of the AABA design so characteristic of popular songs.

Richard Rodgers, left, with his first great collaborator, Lorenz Hart

Tin Pan Alley in the 1920s

schubert.org 31

Falling in Love with Love, from The Boys from Syracuse (1938) Music by Richard Rodgers (1902–1979)Words by Lorenz Hart (1895–1943)

Falling in love with love is falling for make believe,Falling in love with love is playing the fool.Caring too much is such a juvenile fancy,Learning to trust is just for children in school.

I fell in with love one night when the moon was full,I was unwise with eyes unable to see.I fell in love, in love with love everlasting,But love fell out with me!

You’ll Never Walk Alone, from Carousel (1945)Music by Richard RodgersWords by Oscar Hammerstein II (1895–1960)

When you walk through a stormHold your head up highAnd don’t be afraid of the dark.At the end of a storm is a golden skyAnd the sweet silver song of a lark.

Walk on through the wind,Walk on through the rain,Tho’ your dreams be tossed and blown,Walk on, walk on, with hope in your heart,And you’ll never walk alone,You’ll never walk alone!

But Not for Me, from Girl Crazy (1930)Music by George Gershwin (1898–1937)Words by Ira Gershwin (1896–1983)

They’re writing songs of love,But not for me.A lucky star’s above,But not for me.With love to lead the wayI found more clouds of greyThan any Russian play could guarantee.

I was a fool to fall,And Get that Way.Heigh ho! Alas! And also Lackaday!Although I can’t dismissThe mem’ry of his kissI guess he’s not for me.

I Got Rhythm, from Girl CrazyMusic by George Gershwin. Words by Ira Gershwin

I got rhythm,I got music,I got my man—Who could ask for anything more?

I got daisiesIn green pastures,I got my man,—Who could ask for anything more?

Old Man Trouble,I don’t mind him—You won’t fi nd himRound my door.

I got starlight,I got sweet dreams,I got my man,—Who could ask for anything more?

Two young singers who made a big hit in the 1930 production of Girl Crazy. Ginger Rogers (below right) was nineteen and Ethel Merman (above) was twenty-two.


Program notes and song textscontinued

II.

“Ira is always experimenting with words,” noted Harold Arlen about the elder Gershwin, “using the language, twisting it, bending it.” Case in point: “This is tulip weather/So let’s put two and two together.” Lady, be Good! opened in 1924, and starred Fred Astaire and his sister Adele. It was George’s breakthrough year; Paul Whiteman and his Band also introduced the smash Rhapsody in Blue. “The Man I Love” was dropped from Lady, be Good! and two others, but hit the charts anyway.

The son of a synagogue cantor, Harold Arlen was a jazz musician, and wanted to be a singer. “I hear in jazz and in gospel my father singing,” he recalled. “His glorious improvisations must have had some effect on me and my own style.” That style often tended toward melancholy, as in “Stormy Weather” and “Over the Rainbow,” from the otherwise-chipper Wizard of Oz. House of Flowers, Arlen’s only collaboration with Truman Capote, featured Pearl Bailey singing the title song. Barbra Streisand sang “A Sleepin’ Bee” in her TV début on the Jack Paar Show in 1961. In an idealized Haitian setting, the young Ottilie consults a voodoo priest who tells her: catch a bee; if he doesn’t sting, you’ve found your true love.

Of all the theater songs, Leonard Bernstein’s “Lonely Town” is perhaps the most original, with long, wandering phrases, an AABC layout and harmony that just won’t settle down. The young Bernstein was appointed assistant conductor of the New York Philharmonic in 1943, and made a sensational début when he substituted for an ailing Bruno Walter. On the Town opened on Broadway the following year. Porgy and Bess, based on DuBose Heyward’s 1925 novel Porgy, is George Gershwin’s only full-length opera. With lyrics by Heyward and brother Ira, it ran on Broadway for 124 performances and toured to fi ve cities. “My Man’s Gone Now,” Serena’s haunting lament for her dead husband, is one of Stephen Sondheim’s “Songs I Wish I’d Written.”

The Man I Love, originally for Lady Be Good! (1924)Music by George Gershwin. Words by Ira Gershwin

Someday he’ll come along,The man I love;And he’ll be big and strong,The man I love;And when he comes my way,I’ll do my best to make him stay.

He’ll look at me and smile—I’ll understand;And in a little whileHe’ll take my hand;And though it seems absurd,I know we both won’t say a word.

Maybe I shall meet him Sunday,Maybe Monday—maybe not;Still I hope to meet him one day—Maybe TuesdayWill be my Good news day.

He’ll build a little home,Just meant for two,From which I’ll never roam—Who would? Would you?And so, all else above,I’m waiting for the man I love.

From leftGeorge Gershwin, DuBose Heyward, Ira Gershwin

schubert.org 33

Sleepin’ Bee, from House of Flowers (1954)Music by Harold Arlen (1905–1986)Words by Arlen and Truman Capote (1924–1984)

When a bee lies sleepin’In the palm o’ your hand,You’re bewitch’dAnd deep in love’s long look’d after land.Where you’ll see a sun-up skyWith a mornin’ new,And where the days go laughin’ byAs love comes a-callin’ on you.

Sleep on, Bee, don’t waken,Can’t believe what just passed.He’s mine for the takin’,I am so happy at last.Maybe I dreams, but he seemsSweet golden as a crown,A sleepin’ bee done told me,I’ll walks with my feet off the groun’When my one true love I has found.

Climb Ev’ry Mountain, from The Sound of Music (1959)Rodgers & Hammerstein

Climb ev’ry mountain, search high and low,Follow ev’ry by-way, ev’ry path you know.Climb ev’ry mountain, ford ev’ry stream,Follow ev’ry rainbow, till you fi nd your dream!

A dream that will need all the love you can give,Ev’ry day of your life for as long as you live.Climb ev’ry mountain, ford ev’ry stream,Follow ev’ry rainbow, till you fi nd your dream!

Lonely Town, from On the Town (1944)Music by Leonard Bernstein (1918–1990)Words by Betty Comden (1915–2006) and Adolph Green (1915–2002)

A town’s a lonely townWhen you pass throughAnd there is no one waiting there for you,Then it’s a lonely town;You wander up and down,The crowds rush by;A million faces pass before your eye,Still it’s a lonely town

Unless there’s love,A love that’s shining like a harbor light,You’re lost in the night,Unless there’s loveThe world’s an empty placeAnd every town’s a lonely town.

My Man’s Gone Now, from Porgy and Bess (1935) Music by George GershwinWords by DuBose Heyward (1885–1940)

My man’s gone now,Ain’ no use a-listenin’For his tired footstepsClimbin’ up de stairs. Ah…

Ole Man Sorrow’sCome to keep me comp’nyWhisperin’ beside meWhen I say my prayers. Ah…

Ain’ dat I min’ workin’Work an’ me is travelersJourneyin’ togedderTo de promise land.

But Ole Man Sorrow’sMarchin’ all de way wid meTellen’ me I’m ole nowSince I lose my man.

Ole Man SorrowSittin’ by de fi replaceLyin’ all night longBy me in de bed

Tellen’ me de same thingMornin’, noon an’ eb’nin’That I’m all alone,Since my man is dead. Ah…



A CELEBRATION OF THE AMERICAN MUSICAL MOSAICA TRIBUTE TO THE GREATSIII.

It’s an age-old question: which comes fi rst, the music or the words? In art song, the composer always sets the poet’s lines to music, but in the history of popular song, music has generally led the way; hence the term “lead sheet,” which gives a melody as a guide for the lyricist. Still, it varies from team to team. With Jerome Kern, music came fi rst. Richard Rodgers composed his music before giving it to Lorenz Hart, but Oscar Hammerstein wrote his lyrics before handing them off to Rodgers. Irving Berlin, who wrote both word and tone, worked both ways. Music and lyrics are but two sides of a triangle. The hypotenuse is the interpretation, which may be an arrangement or a performance. The second half of tonight’s program honors great interpreters.

A fi ne pianist who studied at Juilliard, Eunice Waymon left the classical music world behind and reinvented herself in Atlantic City as the singer-pianist Nina Simone. Through the 1960s and 70s, the soulful Simone shone a blazing talent on a wide range of material, and brought a fi erce passion for justice to the struggle for civil rights. “My Baby Just Cares for Me” became one of her signature tunes.

Born in 1917 in Brooklyn, Lena Horne’s multi-faceted career began with a Cotton Club début at age sixteen. Her elegant presence graced many of the great bands of the 1930s and 40s, and she appeared on Broadway and in Hollywood, singing “Stormy Weather” in the 1943 fi lm of the same name. On hearing the tune, George Gershwin told Harold Arlen: “You know, you didn’t repeat a phrase in the fi rst eight bars?” And the song bedeviled rhythm sections accustomed to strict eight-bar phrases.

Born Odetta Holmes in Birmingham, Alabama, Odetta was classically trained as a singer, but she taught herself the guitar and made her mark in the 1950s and 60s as a blues and folk artist. Championed by Pete Seeger and Harry Belafonte, she in turn infl uenced Dylan, Baez and Janis Joplin. The power of “Another Man Done Gone” lies in its stark repetitions and potent key words.

Ella Fitzgerald was America’s “First Lady of Song.” In a long concert and recording career she brought an ever-fresh voice to big-band jazz beginning in the 1930s as a teenager. A lightning-quick scat-singer, Fitzgerald also had a knack for mimicking instruments of the band. In the 1950s, she drew attention to America’s musical

heritage in a celebrated series of “Song Books” for the Verve label featuring the music of Ellington, Kern, Cole Porter and others. For the source of “Mack the Knife,” fl ip back through stacks of Bobby Darin and Satchmo to The Beggar’s Opera of 1728. Two hundred years later, Kurt Weill composed the “Moritat von Mackie Messer” as a framing device for The Threepenny Opera.

For Ella Fitzgerald:Mack the Knife, from The Threepenny Opera (1928)Music by Kurt Weill (1900–1950)Words by Bertolt Brecht (1898–1956)translated by Marc Blitzstein

Oh, the shark has pretty teeth, dear,And he shows them pearly white.Just a jack-knife has MacHeath, dear,And he keeps it out of sight.

Oh the shark bites with its teeth, dear,Scarlet billows start to spread.Fancy gloves, though, wears MacHeath, dear,So there’s not a trace of red.

On the sidewalk Sunday morning,Lies a body just oozing life,Someone’s sneaking ‘round the corner,Could that someone be Mack the Knife?

Ella Fitzgerald

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There’s a tugboat down by the river,With a cement bag just a drooping on down,Well, the cement’s just for weight, dear,Five ‘ll get you ten, old Mackie’s back in town.

Did you hear about old Louie Miller,He disappeared after drawing all his cash,And now MacHeath is out here spending like a sailor,Can it be our boy’s done something rash?

Oh, Jenny Diver, and Sueky Tawdry,Then there’s Lotte Lenya and old Lucy Brown,Well, the line forms right here on the right babes,Now that Mackie’s back in town.

For Nina Simone:My Baby Just Cares for MeMusic by Walter Donaldson (1893–1947)Words by Gus Kahn (1886–1941)

My baby don’t care for showsMy baby don’t care for clothesMy baby just cares for meMy baby don’t care for cars and racesMy baby don’t care for high-tone places

Liz Taylor is not his style And even Lana Turner’s smileIs somethin’ he can’t seeMy baby don’t care who knows itMy baby just cares for me

For Lena Horne:Stormy WeatherMusic by Harold Arlen. Words by Ted Koehler (1894–1973)

Don’t know why there’s no sun up in the sky,Stormy weather, since my man and I ain’t together,Keeps rainin’ all the time. Life is bare, gloom and mis’ry ev’rywhere,Stormy weather, just can’t get my poor self together,I’m weary all the time, the time.

When he went away, the blues walked in and met me,If he stays away, old rockin’ chair will get me,All I do is pray the Lord above will let meWalk in the sun once more.

Can’t go on, ev’rything I had is gone,Stormy weather, since my man and I ain’t together,Keeps rainin’ all the time.

Odetta

For Odetta:Another Man Done Gone (Traditional)

Another man done goneFrom the county farmAnother man done gone.He had a long chain on…I didn’t know his name…They killed another man…Another man done gone…

Lena Horne

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IV.Edward Kennedy “Duke” Ellington

Gunther Schuller has described pianist, composer and band leader Duke Ellington as “the greatest, and in the long run the most important creative fi gure in the history of jazz.” From his early days at New York’s Cotton Club—where all-black casts played to all-white audi-ences—Ellington emerged with the hit “Mood Indigo” in 1930. Self-taught through experimentation with his ten- to eighteen-piece Orchestra, Ellington produced as many as two thousand compositions: 78 rpm records, pop songs, extended suites, musical comedies and fi lm scores. His later music focused on liturgical works like 1968’s Second Sacred Concert, premiered at New York’s Cathedral of St. John the Divine, from which Meditation is drawn. Most Ellington songs were originally instrumentals, to which words were added. “I Got it Bad” is an exception. Its bold leap up to the second word is an inspired bit of word-painting. Ellington credited trumpeter “Bubber” Miley with the title of “It Don’t Mean a Thing,” and the “doo-wahs” that follow mimic the effect of Miley’s trademark plunger mute. Moreover, they express neatly what swing is, swing is, swing is . . . all about.

Don’t Get Around Much Anymore (1942)Music by “Duke” Ellington (1899–1974)Words by Bob Russell (1914–1970)

Missed the Saturday dance,Heard they crowded the fl oor,Couldn’t bear it without you,Don’t get around much anymore.

Thought I’d visit the club,Got as far as the door,They’d have asked me about you,Don’t get around much anymore.

Darling I guess my mind’s more at ease,But, nevertheless, why stir up memories?

Been invited on dates,Might have gone but what for,Awf’lly diff’rent without you,Don’t get around much anymore.

I Got It Bad and That Ain’t Good, from Jump for Joy (1941)Music by “Duke” EllingtonWords by Paul Francis Webster (1907–1984)

Never treats me sweet and gentle the way he should.I got it bad and that ain’t good.My poor heart is sentimental not made of wood.I got it bad and that ain’t good.

But when the weekend’s over and Monday rolls aroun’I end up like I start out, just crying my heart out.

He don’t love me like I love him, nobody could.I got it bad and that ain’t good.Lord above me, make him love me the way he shouldI got it bad and that ain’t good.

Edward Kennedy "Duke" Ellington

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It Don’t Mean a Thing (If It Ain’t Got That Swing) (1932) Music by “Duke” EllingtonWords by Irving Mills (1894–1985)

It don’t mean a thing if it ain’t got that swing,(doo wah, doo wah, doo wah, . . . doo wah.)It don’t mean a thing, all you’ve got to do is sing,(doo wah, doo wah, doo wah, . . . doo wah.)

It makes no diff’rence if it’s sweet or hot,just give that rhythm everything you’ve got.

Oh, it don’t mean a thing if it ain’t got that swing,(doo wah, doo wah, doo wah, . . . doo wah.)

Program notes © 2013 by David Evan Thomas

The Cotton Club–renowned jazz night club in Harlem–operated from 1923 to 1940

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please join us in an online discussion about tonight’s performance.

Twitter use hashtag #schubertchat or post at facebook.com/schubertclub


Sunday, September 29 Pacifi ca Quartet & Anthony McGill, clarinet

Sunday, October 27 Erin Keefe, violin & Anna Polonsky, piano

Sunday, January 26 Gryphon Trio

Sunday, February 23 WindSync

Sunday, March 30 Miró Quartet

Sunday, April 27 Cuarteto Latinoamericano

The Schubert Club

Music in the Park Series

2013-2014 Season

WindSync

Pacifi ca Quartet

The Schubert Club Officers, Board of Directors and Staff

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, Joe Iannazzo, Paul Johnson, Alan Kolderie,

Sherry Ladig, Edna Rask-Erickson

Barry Kempton, Artistic & Executive Director

Timothy Budge, Ticketing and 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

Tessa Retterath Jones, Marketing & Audience Development Manager

Joanna Kirby, Project CHEER Director, Martin Luther King Center

David Morrison, Museum Associate & Graphics Manager

Paul D. Olson, Director of Development

Kathy Wells, Controller

The Schubert Club Staff

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Ted and Nancy Weyerhaeuser, Honorary ChairsThe Schubert Club 130th Anniversary Celebration

The Schubert Club is pleased to acknowledge its great

friends, Ted and Nancy Weyerhaeuser, our 130th

Anniversary Celebration Honorary Chairs. Carrying on the

long-time tradition of their families, Ted and Nancy are

loyal subscribers, donors, leaders and ambassadors for

the organization.

Nancy’s parents, Catherine and John Neimeyer introduced

Nancy to The Schubert Club when she was a young girl.

Catherine—a pianist—had a passion for great music, and

served as president of The Schubert Club in the 1940s.

John acted as "chauffeur" for visiting artists while they

were in Saint Paul performing for The Schubert Club.

Nancy has continued the family connection by serving on

The Schubert Club board of directors, governance

committees, and as a corporate board member.

In honor of Nancy’s parents, Ted and Nancy have

established an International Artist Series endowment

fund to support one of the concerts each year. Their

generous gifts to The Schubert Club provides support

for the highest level of musical artistry in our concerts,

museum, and education programs.

It is our pleasure to extend our deep gratitude to Ted and

Nancy Weyerhaeuser for their dedication and friendship

to The Schubert Club as we honor them as our 130th

Anniversary Celebration Honorary Chairs.

This activity is made possible in part by a grant provided by

the Minnesota State Arts Board through an appropriation by

the Minnesota State Legislature from the State's general fund

and its arts and cultural heritage fund with money from the

vote of the people of Minnesota on November 9, 2008, and a

grant from the Wells Fargo Foundation Minnesota.

KATENORDSTRUM PROJECTS

The Schubert Club is a proud member of The Arts Partnership

with The Saint Paul Chamber Orchestra, Minnesota Opera

and Ordway Center for the Performing Arts

Thank you to the following organizationsfor helping to make this special occasion possible

Special thanks to:

University of Minnesota School of Music Jazz Program,

MacPhail Community Youth Choir and FAIR School Downtown,

Director J.D. Steele

schubert.org 41

The Schubert Club Annual ContributorsThank you for your generosity and support

Ambassador$20,000 and aboveEstate of Harry M. DrakeMAHADH Fund of HRK FoundationLucy Rosenberry JonesThe Mcknight FoundationMinnesota State Arts BoardGilman and Marge OrdwayTarget Foundation

Schubert Circle$10,000 – $19,999Patrick and Aimee Butler Family FoundationRosemary and David Good Family FoundationAnna M. Heilmaier Charitable FoundationPhyllis and Donald Kahn Philanthropic Fund of the Jewish Communal FundJohn S. and James L. Knight FoundationGeorge ReidTravelers FoundationThe Charles A. Weyerhaeuser Memorial Foundation

Patron$5,000 – $9,999John and Nina ArchabalBoss FoundationJulia W. DaytonTerry DevittBarry and Cheryl KemptonHelen Gillespie Kolderie and Theodore Kolderie Jr. Fund of The Saint Paul FoundationDorothy 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 FoundationMargaret and Angus Wurtele

Benefactor$2,500 – $4,999AnonymousMcCarthy-Bjorklund Foundation and Alexandra O. BjorklundThe Burnham FoundationDee Ann and Kent CrossleyMichael and Dawn GeorgieffBill Hueg and Hella Mears HuegJames E. JohnsonKyle Kossol and Tom BeckerChris and Marion LevyAlice M. O’Brien FoundationFord and Catherine NicholsonRichard and Nancy Nicholson Fund of The Nicholson Family FoundationJohn and Barbara RiceSaint Anthony Park Community FoundationMichael and Shirley SantoroSecurian FoundationKim Severson and Philip JemielitaThrivent Financial for Lutherans FoundationNancy and Ted WeyerhaeuserMichael and Cathy Wright

Guarantor$1,000 – $2,499AnonymousCraig and Elizabeth AaseMahfuza and Zaki AliThe Allegro Fund of The Saint Paul FoundationWilliam and Suzanne AmmermanElmer L. & Eleanor J. Andersen FoundationSuzanne Asher 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 FoundationJoy L. Davis

Dellwood FoundationDorsey & Whitney Foundation Richard and Adele EvidonWilliam and Bonita FrelsDick GeyermanMark and Diane GorderJill HarmonAnders and Julie Himmelstrup John and Ruth HussThelma HunterLois and Richard KingFrederick Langendorf and Marian RubenfeldSusanna and Tim LodgeRoy and Dorothy Ode MayeskeSylvia and John McCallisterAlfred P. and Ann M. MooreSandy and Bob MorrisPeter and Karla MyersThe Philip and Katherine Nason Fund of The Saint Paul FoundationSita OhanessianPaul D. OlsonMary and Terry PattonPerforming Arts Fund of Arts MidwestDavid and Judy RanheimLois and John RogersRon and Carol RydellAnn and Paul SchulteFred and Gloria Sewell Katherine and Douglas SkorHelen McMeen SmithAnthony TheinJill and John ThompsonJohn and Bonnie TreacyKatherine Wells and Stephen WillgingWells Fargo Foundation MinnesotaDoborah Wexler M.D. and Michael Mann

Sponsor$500 – $999AnonymousMary and Bill BakemanEileen M. BaumgartnerMark L. BaumgartnerNicholai P. Braaten and Jason P. KudrnaTim and Barbara BrownElwood and Florence A. CaldwellJames CallahanAndrew and Carolyn Collins


John and Marilyn DanArlene DidierDorsey & Whitney FoundationJoan R. DuddingstonAnna Marie EttelDavid and Maryse FanJennifer Gross and Jerry LafavreAndrew Hisey and Chandy JohnAlfred and Ingrid Lenz HarrisonAnne and Stephen HunterKevin KayGarrison Keillor and Jenny NilssonWilliam KleinLehmann Family Fund of The Saint Paul FoundationThe Thomas Mairs and Marjorie Mair Fund of The Saint Paul FoundationWendell MaddoxDavid MorrisonKay Phillips and Jill Mortensen Fund of The Minneapolis FoundationElizabeth B. MyersWilliam Myers and Virgina DudleyJohn 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 PepinAugust Rivera, Jr.John Sandbo and Jean ThomsonDr. Leon and Alma Jean SatranWilliam and Althea SellJohn Seltz and Catherine FurryMarilee and Terry StevensDebra K. TeskeDavid L. WardJane and Dobson WestKeith and Anne-Marie WittenbergMark W. Ylvisaker

Partner$250 – $499Anonymous (3)Meredith B. AldenBeverly S. AndersonKathy and Jim AndrewsJerry and Caroline BenserBibelot ShopsJean and Carl BrookinsTim and Barbara BrownMiriam Cameron and Michael OrmondJoann CierniakDonald and Alma DeraufRuth S. DonhoweJayne and Jim EarlySue Ebertz

Jorja FleezanisJoachim and Yuko HeberleinMargaret HoultonMargaret HumphreyElizabeth J. IndiharRay JacobsenPamela and Kevin JohnsonErwin and Miriam KelenYoungki and Youngsun Lee KimSarah Lutman and Rob RudolphSusan and Edwin McCarthyDr. John A. MacDougallRhoda and Don MainsFrank MayersMalcom and Wendy McLeanDeborah McKnightJames and Carol MollerJack and Jane MoranLowell and Sonja NoteboomScott and Judy OlsenHeather J. PalmerJames and Donna PeterSidney and Decima PhillipsWalter Pickhardt and Sandra ResnickDr. Paul and Betty QuieMary Ellen and Carl SchmiderPaul L. SchroederEstelle SellEmily and Daniel ShapiroMarilyn and Arthur SkantzHarvey D. Smith, MDEileen StackMichael SteffesHazel Stoeckeler and Alvin WeberBarbara Swadburg and Jim KurleArlene and Tom H. SwainPeggy WolfeMatt Zumwalt

Contributor$100 – $249Anonymous (7)Mira AkinsMary E. AldenArlene AlmElaine AlperMrs. Dorothy AlshouseSusan and Brian AndersonJean and Michael AntonelloMary A. Arneson and Dale E. HammerschmidtClaire and Donald AronsonJulie Ayer and Carl NashanKay C. BachFrank and AnnLiv BaconAdrienne and Bob BanksGene and Peggy BardThomas and Jill BarlandBenjamin and Mary Jane Barnard

Carol E. BarnettCarline BengtssonFred and Sylvia BerndtChristopher and Carolyn BinghamAnn-Marie BjornsonDavid and Elaine BorsheimCarol A. BraatenTanya and Alexander BraginskyDr. Arnold and Judith BrierMichael and Carol BromerRichard and Judy BrownleeMatthew P. BrummerPhilip and Carolyn BrunellePhilip and Ellen BrunerRoger F. BurgGretchen CarlsonRev. Kristine Carlson and Rev. Morris WeeAlan and Ruth CarpCarter Avenue Frame ShopJo and H. H. ChengDavid and Michelle ChristiansonJohn and Brigitte ChristiansonEdward and Monica CookSage CowlesDon and Inger DahlinBernice and Gavin DavenportShirley I. DeckerJohn and Karyn DiehlBruce DoughmanJanet and Kevin DugginsMary DunlapKathleen Walsh EastwoodThomas and Mari Oyanagi EggumGeorge EhrenbergPeter Eisenberg and Mary CajacobFlowers on the ParkGerald FoleySalvatore FrancoPatricia FreeburgRichard and Brigitte FraseJane FrazeeJoan and William GackiNancy and Jack GarlandGeneral Mills FoundationDavid J. GerdesRamsis and Norma GobranGreg and Maureen GrazziniCarol L. GriffinRichard and Sandra HainesJon and Diane HallbergKen and Suanne HallbergBetsy and Mike HalvorsonRobert and Janet Lunder HanafinPatricia HartHegman Family FoundationMary Beth HendersonJoan Hershbell and Gary JohnsonFrederick J. Hey, Jr.Mary Kay HicksAsako Hirabayashi and Thomas Stoffregen

schubert.org 43

Cynthia and Russell HobbieDr. Kenneth and Linda HolmenJ. Michael HomanPeter and Gladys HowellPatty Hren-RowanThomas Hunt and John WheelihanIBM Matching Grants ProgramIdeagroup Mailing Service and Steve ButlerPhyllis and William JahnkeGeorge J. JelatisBenjamin M. JohnsonPamela JohnsonNancy P. JonesTessa Retterath JonesMichael C. JordanDonald and Carol Jo KelseyAnthony L. KiorpesGloria KittlesonRobin and Gwenn KirbySteve KnudsonKaren KoeppMarek KokoszkaMary and Leo KottkeJanet and Richard KrierGail and James LaFaveColles and John LarkinPatricia LalleyLibby Larsen and Jim ReeceKent and Christine Podas-LarsonNowell and Julia LeitzkeCharlene S. LevyWilliam Lough and Barbara PinaireRebecca LindholmVirginia LindowMichael and Keli LitmanMarilyn S. LoftsgaardenRoderick and Susan MacphersonRichard and Finette MagnusonHelen and Bob MairsDanuta Malejka-GigantiPaul W. MarkwardtLaura McCartenPolly McCormackMalcolm and Patricia McDonaldGerald A. MeigsJohn MichelDavid Miller and Mary DewSteven MittelholtzTom. D. MobergBradley H. MomsenElizabeth A. MurrayDavid and Judy MyersNicholas NashCarolyn and Jim NestingenKathleen NewellJay Shipley and Helen NewlinGerald NolteTom O’ConnellPatricia O’GormanJohn and Ann O’Leary

Sally 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 RobinsonPeter RomigJane RosemarinJ.L. and Sandra RutzickSaint Anthony Park HomeDavid SchaafCraig and Mariana SchulstadA. Truman and Beverly SchwartzS. J. SchwendimanBuddy Scroggins and Kelly SchroederSteven SeltzWill ShapiraGale SharpeRenate SharpNan C. ShepardRebecca and John ShockleyNance Olson SkoglundDarroll and Marie SkillingSarah Snapp and Christian DavisAnn Perry SlosserConrad Soderholm and Mary TingerthalArne SorensonMarilyn and Thomas SoulenCarol Christine SouthwardArturo L. SteelyEva SteinerBarbara Swadberg and James KurleGregory Tacik and Carol OligLillian TanJohn and Joyce TesterJane A. ThamesTheresa’s Hair SalonTim ThorsonCharles and Anna Lisa TookerKaren and David TrudeauChuck Ullery and Elsa NilssonRev. Robert L. ValitJoy R. VanOsmo VänskäMary VolkTom von Sternberg and Eve ParkerMaxine H. WallinDale and Ruth WarlandAnita WelchTimothy Wicker and Carolyn DetersBeverly and David WickstromNeil and Julie WilliamsDr. Lawrence A. WilsonJames and Alexis Wolff

Paul and Judy WoodwardAnn WyniaZelle Hofmann Voelbel & Mason LLPLola Watson and Michael HillmanNancy Zingale and William Flanigan

Friends $1 – $99Anonymous (7)Cigale AhlquistRenner and Martha AndersonKay C. BachThomas and Jill BarlandVerna H. BeaverDr. Karen BeckerJudith BentleyRoberta BeuteDagny BilkadiDorothy BoenRoger BolzJudith BoylanCathy BraatenCharles D. BrookbankJackie and Gary BrueggmannChris BrunelleDaniel BuividDr. Magda BusharaKevin CallahanDonna CarlsonAllen and Joan CarrierDavid and Phyllis CasperLaura CavianiSusan CobinEduardo ColonMary Sue ComfortComo Rose TravelCatherine CooperIrene D. CoranJohn and Jeanne CoundMary E. and William CunninghamJames CuperyErnest and Beth CuttingDonald and Inger DahlinCharles Dean, MDPamela and Stephen DesnickDr. Stan and Darlene DieschChristine Wilkinson DonovanCraig Dunn and Candy HartDavid and Alice DugganMargaret E. DurhamAndrea EenKatherine and Kent EklundMark Ellenberger and Janet ZanderSteven and Marie EricksonRev. L.J. and Shirley EspelandRuth FardigMary Ann FeldmanRegina Flanagan and Daniel DonovanBarbara A. FleigJohn and Hilde Flynn


Nancy FogelbergHerb FreyLea Foli and Marilyn ZupnikCatherine Ellen FortierMichael FreerLisl GaalJoan and William GackiCléa GalhanoNancy and John GarlandDr. and Mrs. Robert GeistMary M. GlynnPeg and Liz GlynnA. Nancy GoldsteinM. Graciela GonzalezGracoKirk HallEugene and Joyce HaselmannJudith K. HealeyMarguerite HedgesHoward and Bonnie Gay HedstromAlan HeiderRosemary J. HeinitzStefan and Lonnie HelgesonMolly M. HenkeDon and Sandralee HenryHelen and Curt HillstromLisa Himmelstrup and Dan LiljedahlMarian and Warren HoffmanMargaret Hubbs and FamilyDr. Charles W. HuffKaren 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 JonesJoseph Catering and George KalogersonCarol R. KellyJean W. KirbyJane and David KostikDave and Linnea KrahnJudy and Brian KrasnowPaul and Sue KremerGail and James LaFavePatricia J. Lalley

Amy Levine and Brian HorriganCarol A. JohnsonKarla LarsenMargaret LaughtonLarry LeeJohn R. LewisShirley and Charles LewisArchibald and Edith LeyasmeyerGary M. LidsterBernard LindgrenMargaret and Frank LindholmThomas and Martha LinkThomas LogelandJanet R. LorenzLord of Life Lutheran ChurchEd Lotterman and Victoria TirrelCarol G. LundquistCarol MarchDavid MayoRoberta MegardDavid L. MelbyeRobert and Greta MichaelsDina MikhailenkoJohn W. Miller, Jr.Richard and Deborah MjeldeMarjorie MoodyJoy P. NorenbergEva J. NeubeckJane A. NicholsEleanor H. NicklesPolly O’BrienTom O’ConnellDr. and Mrs. R. OrianiDennis and Turid OrmsethCatherine M. OwenElisabeth PaperMrs. Dorothy PetersonLynn R. PetersonSolveg PetersonMarcos and Barbara PintoRalph PodasJonathan and Mary PreusSusan D. PriceSiegfried and Ann RabieAlberto RicartC.J. RichardsonJulia RobinsonDrs. W.P. and Nancy W. RodmanMichael and Tamara RootDiane RosenwaldStewart RosoffAnne C. Russell

Mitra Sadeghpour and Mark MowrySaint Paul Riverfront CorporationMary SavinaRalph J. SchnorrKevin SchoenrockRussell G. SchroedlJon J. Schumacker and Mary BriggsPaul and Carol SeifertEd and Marge SenningerJay and Kathryn SeveranceBeatrice D. SextonElizabeth ShippeeBrian and Stella SickJames and Ann StoutColeen SickelerNan Skelton and Peter LeachCharles Skrief and Andrea BondSusannah Smith and Matthew SobekRobert and Claudia SolotaroffSpeedy Market and Tom SpreiglDr. James and Margaret StevensonRalph and Grace SulerudNorton StillmanCynthia StokesLori SundmanDru and John SweetserJon TheobaldBruce and Marilyn ThompsonKaren TitrudSusan TravisImogene H. TreichelMartha Hughesdon TurnerByron TwissJennifer Undercofl erYamy VangJeanne M. VoightCarol and Tim WahlWilliam K. WangensteenHelen H. WangClifton and Bettye WareBetsy Wattenberg and John WikeStuart and Mary WeitzmanHope WellnerDeborah WheelerVictoria Wilgocki and Lowell PrescottEvan WilliamsAlex and Marguerite WilsonYea-Hwey WuTim Wulling and Marilyn BensonMax E. ZarlingJanis Zeltins

schubert.org 45

Memorials and Tributes

In memory of Dr. John DavisJohn and Barbara RiceAugust Rivera, Jr.Helen Smith

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

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

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 EggumSteven and Marie EricksonAnna Marie EttelCarole and Tom FagreliusNancy FogelbergRegina 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. Norenberg

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 Amy Hwei-Mei LiuMargaret Laughton

In honor of Marion and Chris Levy’s Wedding AnniversaryThomas and Jill Barland

In honor of David MorrisonJohn Michel

In honor of Lisa NiforopulasGretchen Piper

In honor of Paul D. OlsonMark L. Baumgartner

In honor of Wendy Undercofl er's BirthdayJenny Undercofl er

In honor of Barbara RoyMolly Henke

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

Polly O’BrienEileen O’Shaughnessy and Arthur PerlmanCatherine M. OwenKathleen OwenRalph PodasChristine Podas LarsonSusan D. PriceJohn and Barbara RiceJ. L. and Sandra RutzickSaint Paul Riverfornt CorporationColleen SickelerCharles Skrief and Andrea BondEva SteinerTom and Arlene SwainJane A. ThamesJon TheobaldImogene H. TreichelMartha Hughesdon TurnerYamy VangJeanne M. Voight

In memory of Nancy PohrenSandra and Richard Haines

In memory of Jeanette Maxwell RiveraAugust Rivera, Jr.

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


The Schubert Club Endowmentand The Legacy Society

The Legacy Society

The Legacy Society honors the

dedicated patrons who have

generously chosen to leave a gift

through a will or estate plan. Add

your name to the list and leave a

lasting legacy of the musical arts for

future generations.

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

*In Remembrance

Become a member of The Legacy

Society by making a gift in your

will or estate plan. For further

information, please contact

Paul D. Olson at 651.292.3270 or

[email protected]

The Schubert Club Endowment

We are grateful for the generous donors

who have contributed to The Schubert

Club Endowment, a tradition started

in the 1920s. Our endowment provides

nearly one-third of our annual budget,

allowing us to offer free and affordable

performances, education programs and

museum experiences for our community.

Several endowment funds have been

established, including the International

Artist Series with special support by the

family of Maud Moon Weyerhaeuser

Sanborn in her memory. We thank the

following donors who have made

commitments to our endowment funds:

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

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

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

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

Add your name to this list by making a

gift to The Schubert Club Endowment

or provide a special gift directly to

The Schubert Club.

Documents

The Schubert Club 130th Anniversary