2018.19 season

September 7 – December 2

2018.19 SEASON

BAT OUT OF HELL

JUN 12–23, 2019

A crazy wild child of a rock’n’roll musical. Here comes a musical with an electric edge! Experience

Jim Steinman’s smash-hit that celebrates the beloved songs of one of Meat Loaf’s most iconic and successful

album, BAT OUT OF HELL. This new musical heats up the streets (and the stage) as young, rebellious leader Strat falls in love

with Raven, the beautiful daughter of the most powerful man in post-apocalyptic Obsidian. With an award-winning creative team from

the worlds of Theatre, Opera, Music and film, this is a can’t-miss production. BAT OUT OF HELL JUN 12–23, 2019

A crazy wild child of a rock’n’roll musical. Here comes a musical with an electric edge! Experience Jim Steinman’s smash-hit that celebrates the beloved songs of one of

Meat Loaf’s most iconic and successful album, BAT OUT OF HELL. This new musical heats up the streets (and the stage) as young, rebellious leader Strat falls in love with Raven,

the beautiful daughter of the most powerful man in post-apocalyptic Obsidian. With an award-winning creative team from the worlds of Theatre, Opera, Music and film, this is a can’t-

miss production. DOLLY PARTON’S DOLLY PARTON’

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TABLE OF CONTENTS

THE SPCO | 2018.19 SEASON

IN THIS ISSUE

07 SPCO Musicians + Administration

08 SPCO Artistic Partners + Composer-in-Residence

10 SPCO Governance

38 The Spectrum of Your Support

43 Institutional Investors + Acknowledgments

44 Honor + Memorial Gifts, In-kind Donations, Estate Gifts, Music Alive Composer-in-Residence and Liquid Music Contributors

PG. 26

For details on our entire concert season,

Sep. 2018–Jun. 2019, visit thespco.org/calendar

CONCERTS

12 SEP 7–9, 2018 Opening Weekend: Jeremy Denk Plays Beethoven’s Emperor Concerto

14 SEP 13–15, 2018 Thomas Zehetmair Conducts Beethoven and Haydn

17 SEP 20–30, 2018 Haydn’s Symphony No. 102

19 OCT 12–13, 2018 Haydn’s Oxford Symphony

22 OCT 19–21, 2018 Beethoven, Mozart and Strauss

24 NOV 2–4, 2018 Bach’s Saint John Passion

28 NOV 9–18, 2018 Mozart’s Haffner Symphony

30 NOV 23–25, 2018 Adams’ Shaker Loops with Pekka Kuusisto

33 NOV 29–DEC 2, 2018 Handel’s Water Music with Richard Egarr

PG. 2

6 Jo

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Dealers, Repairers and Makers of Violins, Violas,

Cellos and BowsAndrew Fein

GREAT INSTRUMENTSOn-Line & On Grand Avenue

FEINSTRINGED

INSTRUMENTS

www.FineViolins.com1850 Grand Ave. / St. Paul, MN 55105

651.228.0783 / 800.347.9172

6 THE SPCO 2018.19 SEASON SHARE YOUR CONCERT EXPERIENCE: @THESPCO #SPCOLIVE

See Di�erent

Uptown, New Brighton, Burnsville Center and Grand Avenue

Meet Dr. Jaime Davis. Born in the Bahamas, she now calls Minneapolis her home. She's a graduate of the Mayo Medical School, the caretaker of beloved

rescue dogs, an avid art collector, a certi�ed scuba diver,a former Miss Northern Bahamas body building champion,

and a huge fan of her new Spectacle Shoppe glasses.

Jeffrey Stirling, Music Director

A FALL FESTIVAL OF MUSIC!

“A Day in the Country”Featuring pianist Michael Kim playing d’Indy’s

“Symphony on a French Mountain Air” plus orchestral music of Copland and Dvořák

SUNDAY, OCTOBER 211PM • LANDMARK CENTER, SAINT PAUL

“Celebrating Bernstein@100!”

Prize-winning mezzo-soprano Clara Osowski sings songs by Mahler with music from West Side Story

and “heavenly” ballet music by Hindemith

SUNDAY, DECEMBER 23PM • KING OF KINGS

LUTHERAN CHURCH, WOODBURY

FREE ADMISSION VISIT SPCSMUSIC.ORG FOR DETAILS!

SHADOWS, TEARS, AND LIGHT

Oct 6 & 7, 2018

WHAT SWEETER MUSICDec 1, 2 & 9, 2018

MY SOUL’S REPOSEMar 9 & 10, 2019

TIMOTHY TAKACH’S HELIOS

May 18 & 19, 2019 Subscriptions and single tickets

at singersmca.org 651.917.1948


PRESIDENT’S OFFICEJon Limbacher

Managing Director and President

Amy Thirsten Executive Assistant

ARTISTIC ADMINISTRATIONKyu-Young Kim

Artistic DirectorPaul Finkelstein

Artistic Planning ManagerEleanor GrandPre

Education ManagerErin Jude

Director of Education and Community Engagement

Kate Nordstrum Executive Producer of Special Projects

ORCHESTRAL OPERATIONSJason Piehl

Orchestra ManagerEmily Curran

Production AssistantCassandra Flowers

Concert and Events Manager

Natalie Hokanson Director of Operations

Jon Kjarum Technical Director

Kelly MacLennan Director of Orchestra Personnel

Ann Piotrowski Event Supervisor

Melissa McCarthy Steinberg Orchestra Librarian

DEVELOPMENTKatie Berg

Director of DevelopmentBecky Cline

Associate Director of Development

Megan Foust Patron Development Coordinator

Georgina Chinchilla Gonzalez Grants and Institutional Support Manager

Morgan Graby Major Gifts Officer

Rosie Hughes Development Assistant

Katelin Richter Davis Assistant Director of Development for Individual Giving

Erin VanBurkleo Individual Giving and Events Specialist

FINANCEBeth Toso

Chief Financial OfficerPrasanthi Alfveby

Senior Accountant/AnalystKristen Hager

ControllerMark Niehaus

Accounting Manager

HUMAN RESOURCESJen Muenchow

Director of Human Resources

MARKETING AND PUBLIC RELATIONSLindsey Thoreson Hansen

Director of Marketing and Communications

Ricardo Bennett-Guzman Audience Development Manager

Olivia Gault Communications Coordinator

Joe Grigar Database and Digital Marketing Coordinator

Gretchen Hazelton Creative Manager

Ronnell Wheeler Marketing Assistant

Chris Woznicki Marketing Manager

DIGITAL MEDIAMatt Thueson

Executive Producer of Digital Media

Patrick Pelham Media Production Assistant

TICKET OFFICECourtney Stirn

Ticket Office ManagerKatharine Anderson Alex Engert Jo Gilbertson Eric Gonzalez Emily Gunyou Halaas Rosie Hughes Jonathan Posthuma Jon Savin

Ticket Office Associates

SPCO ADMINISTRATIVE OFFICESThird FloorThe Historic Hamm Building408 Saint Peter StreetSaint Paul, MN 55102

T. 651.292.3248 F. [email protected] thespco.org

ADMINISTRATION

FOR ADVERTISING OPPORTUNITIES: [email protected] • artsink.org 612.791.3629

Proud to partner with the SPCO!

a creative agency for the arts

SPCO PROGRAM BOOK

2018.19 SPCO MUSICIANSFor a complete listing of orchestra personnel performing on each program, including biographical information and photos, please visit thespco.org/roster.

* GUEST MUSICIAN FOR 2018.19 SEASON

ALL SOLO PERFORMANCES BY SPCO MUSICIANS ARE ENDOWED BY THE REDLEAF FAMILY CHAIR

In addition to those listed above, we extend our deepest thanks to the HRK Family for endowing a position in the orchestra.

VIOLIN

Steven CopesCONCERTMASTERJohn M. and Elizabeth W. Musser Chair

Ruggero AllifranchiniASSOCIATECONCERTMASTERJohn H. and Elizabeth B. Myers Chair

Kyu-Young KimPRINCIPAL VIOLINBruce H. Coppock Chair

Daria T. Adams Nina Tso-Ning Fan

OPEN POSITIONSPRINCIPAL OBOESewell Family Chair

PRINCIPAL BASSOON

PRINCIPAL TIMPANIHulings Chair

BASSCELLO

Joshua KoestenbaumASSOCIATE PRINCIPALRuth and John Huss Chair

Julie AlbersPRINCIPALBill and Hella Mears Hueg Chair

Zachary CohenPRINCIPAL

Sarah LewisJohn and Karen Larsen Chair

VIOLA

Maureen Nelson Nicholas Tavani* Maiya PapachPRINCIPALAlfred and Ingrid Lenz Hairrison Chair

Hyobi SimAlice Preves Viola Chair

Eunice Kim

FLUTE OBOE

Alicia McQuerrey Barbara BishopJulia Bogorad-Kogan PRINCIPAL

CLARINET

Sang Yoon KimPRINCIPALPhilip H. and Katherine Nason Chair

James FerreePRINCIPAL

BASSOON HORN TRUMPET

Carole Mason Smith Matthew Wilson Lynn Erickson


conductor, harpsichord, celloJonathan Cohen is one of Britain's finest young musicians. He has forged a remark-able career as a conductor, cellist and key-boardist. Well-known for his passion and commitment to chamber music, Cohen is equally at home in such diverse activities as baroque opera and the classical sym-phonic repertoire. He is Artistic Director of Arcangelo, Music Director of Les Violons du Roy, Associate Conductor of Les Arts Florissants, Artistic Director of Tetbury Festival and Artistic Partner of the SPCO.

The 18.19 season brings debuts with New York Philharmonic, Mozarteum Orchester, Royal Northern Sinfonia and BBC National Orchestra of Wales. He returns to the BBC Proms for Theodora with Arcangelo, the ensemble which he founded in 2010. He has toured with them to exceptional halls and festivals including Wigmore Hall London, Philharmonie Berlin, Kölner Philharmonie, Vienna Musikverein, Salzburg Festival and Carnegie Hall New York.

Arcangelo are busy and much in demand in the recording studio, partnering with fine soloists including Iestyn Davies, Anna Prohaska and Nicolas Altstaedt, and they have an extensive and award winning dis-cography on the Hyperion label.

pianoJeremy Denk is one of America’s foremost pianists. Winner of a MacArthur "Genius" Fellowship, the Avery Fisher Prize and Musical America’s Instrumentalist of the Year award, Denk was also recently elected to the American Academy of Arts and Sciences. Denk returns frequently to Carnegie Hall and has recently performed with the Chicago Symphony, New York Philharmonic, Los Angeles Philharmonic, San Francisco Symphony and Cleveland Orchestra, as well as on tour with Academy of St. Martin in the Fields.

Denk’s upcoming releases from Nonesuch Records include The Classical Style. His disc of the Goldberg Variations reached number one on Billboard’s Classical Chart. And his recording of Beethoven’s Op. 111 was selected by BBC Radio 3’s “Building a Library” as the best available version recorded on modern piano.

Denk is known for his original and insightful writing on music, which has appeared in the New Yorker and the New York Times Book Review. He is currently working on a book for Random House. His blog, Think Denk, was recently select-ed for inclusion in the Library of Congress web archives.

conductor, clarinetClarinetist, conductor and Sony Classical recording artist Martin Fröst is known for pushing musical boundaries and has been described by The New York Times as having "a virtuosity and a musician-ship unsurpassed by any clarinetist-perhaps any instrumentalist-in my memory." In 2017.18 he returned to the Los Angeles Philharmonic and Swedish Radio Symphony Orchestra, made his debut with the Orchestre symphonique de Montréal, and appeared with the NDR Radiophilharmonie, Royal Flemish Philharmonic, BBC Scottish Symphony Orchestra and Residentie Orkest. In autumn 2017, Fröst was joined by Janine Jansen, Lucas Debargue and Torleif Thedéen in releasing Messiaen's Quartet for the End of Time, his second recording for Sony Classics.

Fröst will be Chief Conductor of the Swedish Chamber Orchestra starting in the 2019.20 season. Known for artistic collabo-rations worldwide, this season he continues as Artistic Partner with both the SPCO and Royal Stockholm Philharmonic orchestras, and was in 2017.18 Artist in Residence at L'Auditiori, Barcelona appearing with the Orquestra Simfònica de Barcelona I Nacional de Catalunya.

ARTISTIC PARTNERS 2018.19 SEASON

JONATHAN COHEN MARTIN FRÖST JEREMY DENK

MUSIC ALIVECOMPOSER-IN-RESIDENCE

Noted for his collaborative spirit and “ingenious” interdisciplinary projects (The Wall Street Journal), Lembit Beecher is the

Music Alive Composer-in-Residence with The Saint Paul Chamber Orchestra. Music Alive is a national residency program of the League of American Orchestras and New Music USA. Praised by The San Francisco Chronicle as “hauntingly lovely and deeply personal,” Lembit Beecher’s music combines “alluring” textures (The New York Times) and vivid colors with striking emotional immediacy.

Born to Estonian and American parents, Lembit grew up under the redwoods in Santa Cruz, California, a few miles from the wild Pacific. Since then he has lived in

Boston, Houston, Ann Arbor, Berlin, New York and Philadelphia, earning degrees from Harvard, Rice and the University of Michigan. This varied background has made him particularly sensitive to place, ecology, memory, and the multitude of ways in which people tell stories.

In addition to the Tapestry19 Festival with the SPCO, recent premieres include works for A Far Cry, Opera Philadelphia, the Juilliard Quartet, and a chamber opera for soprano Kiera Duffy, the Aizuri Quartet, and a custom-built sound sculpture.

LEMBIT BEECHER


violinPatricia Kopatchinskaja is hailed as "one of the most distinctive voices in the violin world” (Presto Classical). Highlights for her 18.19 season include a tour with Il Giardino Armonico with works by Vivaldi and contemporary Italian composers, a tour with Currentzis and Musica Aeterna and dates with renowned orchestras such as the Berlin Philharmonic, as well as U.S. debuts with the L.A. Philharmonic and Cleveland Orchestra. On recital platform, she will continue to tour in Japan, North America and Canada with recital partner Polina Leschenko giving performances in San Francisco, Santa Barbara, Princeton and Montreal.

17.18 was a landmark season for Kopatchinskaja, beginning with the world premiere of her second staged project, Dies Irae at the Lucerne Festival. She went on to win a Grammy® award with the SPCO for their innovative recording of Schubert’s Death and the Maiden and released a duo recital disc, Deux recorded with pianist Polina Leschenko (Alpha Classics). The season culminated with a position as Music Director for the Ojai Music Festival for the curation and performance of sev-eral concerts, amongst others, her original staged project Bye Bye Beethoven which was performed in Ojai, Berkeley and at the Aldeburgh Festival.

violinPekka Kuusisto is renowned for his fresh approach to repertoire. An advocate of new music, Kuusisto’s recent premieres include concerti by Sauli Zinovjev, Anders Hillborg, Andrea Tarrodi and Philip Venables. This season he performs Daníel Bjarnason’s Violin Concerto with the Iceland and Detroit Symphony Orchestras, and its Finnish premiere with the Finnish Radio Symphony Orchestra, as well as the Austrian premiere of Hillborg’s Bach Materia with the Camerata Salzburg. Other highlights include debuts with the Rotterdam Philharmonic Orchestra, and Aurora Orchestra with whom he tours to Singapore and the UK. He returns to the Philharmonia, Helsinki Philharmonic orchestras, Deutsches Symphonie-Orchester Berlin, and WDR Sinfonieorchester Köln. He also takes up a season-long residency at the Wigmore Hall.

Kuusisto is a gifted improviser who engages with people across the artistic spectrum, recently with Hauschka and Samuli Kosminen, neurologist Erik Scherder, elec-tronic music pioneer Brian Crabtree and folk artist Sam Amidon. In addition to his work with the SPCO, Kuusisto is Artistic Director of the ACO Collective and Artistic Partner of the Mahler Chamber Orchestra. He also directs ensembles including Die Deutsche Kammerphilharmonie Bremen, the Scottish and Norwegian Chamber Orchestras.

PATRICIA KOPATCHINSKAJA PEKKA KUUSISTO

Join us for FANFARE, a pre-concert

presentation and discussion before

Friday and Saturday performances.Proudly sponsored

by the Friends of the SPCO through a generous grant

from the John Larsen Foundation

Not just Dvorák: The Composers

of BohemiaOctober 18, 25

and November 1 and 8

An entertaining and informative 4-week lecture series taught by

Dr. Daniel Freeman

For more information, visit friendsofthespco.org

Save the Date!The Eighth Annual

SPCO Youth Chamber Music Competition

FinalsFebruary 23, 2019

For details, visit spco-ycmc.org

www.friendsofthespco.org


Created as an extension of the Board of Directors, the Governing Members is a leadership organization that gives individuals and corporate representatives an avenue for greater ownership of and advocacy for the SPCO. For more information, please contact Katelin Richter Davis at 651.292.4314 or [email protected].

Douglas AffinitoLloyd ArmstrongSusan ArmstrongAnn BagnoliThomas BagnoliGordon J. Bailey Jr.Eileen BaumgartnerElizabeth BellKay BendelRick BendelArt F. BergstromJevon Bindman

Maslon

Arnold M. Brier ‡Judith G. Brier ‡Paul Burns

EY

Paul Casey Securian

Tina CaseyHarlan CavertCecil ChallyPenny ChallyAnne CheneyLili ChesterSheldon ChesterBill ClappSharon R. ClappBen Cooper ‡Laura CooperGisela CorbettSuzanne Damberg

Doug DevensJennifer Raeder-DevensGreg DeWittLiz DodsonJamie FormanJames D. GasperJulie Heyroth GasperJim GesellTeddy GesellKaren GrabowKeith HalperinAlfred HarrisonKris HauschildThomas HauschildCay HellervikJack HoeschlerLinda HoeschlerCara Gould HolmbergDavid Holmberg ‡Ruth HussMargaret Hustad-PerrinPeter HymanChris JacksonVal JacksonBarb JohnsonMarshall JohnsonPeter Johnson

Mairs & Power

Lucy Rosenberry JonesDr. Charles R. JorgensenDr. Sally B. Jorgensen

Janet P. KampfMiriam KelenDan Kelly

Felhaber Larson

Katherine Kim UnitedHealth Group

Ehrich Koch Travelers

Debra KoopSteven KoopLinda KrachRobert Kriel ‡Maureen Kucera-WalshDiane KuhlmannJohn LarsenMargaret LindlofHolly MacDonaldBeatrice B. Magee ‡P. T. Magee ‡Helen MairsRobert MairsMarsha MannThomas MannNancy MiddletonDavid MillerStuart MitchellJudy MyersRosanne NathansonSonja NoteboomGayle M. OberTimothy OberLinda Odegard

Patricia A. O’GormanDavid OlsonKaren OlsonJohn OrbisonJanet PayneJ. Thomas PayneDavid PerrinAstghik Poladyan

3M

Harriet PrattRhoda RedleafBetty ReichertDr. John ReichertMichael Reif

Robins Kaplan LLP

Kenneth L. RichJohn Riehle Jack Rossmann ‡Marty Rossmann ‡Kennon RothchildNina RothchildEdwin RyanJennifer RyanBill SandsSusan SandsKay SavikKatie ScarfoneMary E. SchaffnerSandra K. SchloffDoug Schmitt

Schmitt Music Company

Kim A. Severson

The Dorsey & Whitney Foundation

Gloria SewellBarbara ShermanRobert ShermanCraig ShulstadMariana ShulstadDianne SiegelTeresa Fong SitGary SpeckerSue SpeckerMichael SpenceSherry SpenceArturo SteelyMichael SteffesStephanie Van D’EldenAmy VargoPaul VargoTerry L. WadeTom WahlrobeDavid L. Welliver

Deloitte

Jane WestF. T. WeyerhaeuserNancy WeyerhaeuserMark Williamson

Gray Plant Mooty

Margaret WurteleDeborah ZarlingRon Zweber

Bremer Bank

EMERITUS DIRECTORS

Anne E. CarayonDebra CohenRick DowAmanda KeillorMichelle KleinJennifer LeopoldPatricia Limbacher

Jon OulmanPeter RemesJoe SpencerDameun StrangeDr. Tom von SternbergGordon Wright

LIQUID MUSIC ADVISORY COUNCIL

Emeritus Directors of the SPCO are former members of the Board of Directors who have chosen to continue their service to the orchestra in a non-fiduciary role. The orchestra appreciates their ongoing commitment, advice and support.

Caroline BaillonJoseph BarskyRonald BosrockSandra L. Davis°Rick DowJoan R. Duddingston°Kareen EcklundDavid FergusonRebecca FieldDonald GarretsonScotty GilletteKathy GremillionJames N. HaymakerHerbert KahlerPaul B. KlaasAllan W. KleinRandall J. KrollWilliam C. Kuhlmann°Harriet LansingKaren Larsen°William McGrathJerome A. Miranowski°

Yvonne MomsenLowell J. Noteboom°Robert PottsWalter Pratt°John PulverAndrew J. RedleafPaul Redleaf°Mary RiceSarah RocklerDonald E. RyksTerry SaarioAnthony C. Scarfone°Janet ShapiroMarschall I. SmithLinda D. Stinson°Diane ThormodsgardJames ToscanoKristen Smith WenkerJohn WindhorstGary WoeltgeMax E. Zarling°Betty Zats

SYMBOL KEY * EX-OFFICIO ° GOVERNING MEMBER • CHAIR ‡ EXECUTIVE COMMITTEE

CHAIRJoseph Tashjian

PRESIDENTJon Limbacher

SECRETARYDavid L. Lillehaug

TREASURER Shawn Quant

LIFE DIRECTORSBetty Myers*

DIRECTORSDonna Ahrens*Daniel AvchenJo Bailey°Theresa Bevilacqua ‡Jon C. CieslakRichard J. CohenMary Cunningham*Sheldon Damberg°Jeffrey DeYoungJudith Garcia Galiana ‡Bonnie R. Grzeskowiak°Ingrid Lenz Harrison°Lowell W. Hellervik°Amy Hubbard°A. J. Huss, Jr.°James E. Johnson°Arthur W. Kaemmer, M.D.°

D. William KaufmanErwin A. Kelen°Robert L. Lee°David L. LillehaugJon Limbacher* ‡Laura LiuLydia Lui°Marja LutsepWendell MaddoxStephen H. MahleMaureen MalyRichard M. MartinezAlfred P. MooreSanford MooreDavid E. Myers°Eric Nilsson°* ‡Jenny Lind NilssonRobert M. OberliesRobert M. Olafson°Deborah J. Palmer°Paula J. PatineauDaniel R. Pennie°Nancy McGlynn PhelpsNicholas S. Pifer ‡Eric Prindle*Shawn Quant ‡Peter RemesBarb RennerPaul C. ReyeltsDavid RosedahlDaniel J. Schmechel ‡Kathleen Schubert°Fred Sewell°

Ronald SitJames Donald SmithJoseph Tashjian°Charles UlleryDobson West°Alan WilenskyScott WilenskyElizabeth WillisPaul WilsonJustin Windschitl ‡

ARTISTIC PERSONNEL COMMITTEEJulia Bogorad-KoganEunice KimKelly MacLennanJason PiehlMatt Wilson

ARTISTIC VISION COMMITTEEJulia Bogorad-KoganKyu-Young KimSarah LewisJon LimbacherAlicia McQuerrey

BOARD OF DIRECTORS


Latin Mass at 10:00 a.m.Each Sunday

directed by Dr. Robert L. PetersonTwin Cities Catholic Chorale & Orchestra

548 Lafond AvenueSaint Paul, MN 55103

www.catholicchorale.org

at the Church of Saint Agnes

Oct 7 Mozart, Missa Brevis in D Oct 14 Haydn, PaukenmesseOct 21

Schubert, Mass in B-flat

Oct 28 Requiem Mass (7:30pm)Nov 2 Mozart,

Nov 4 Dvořák, Mass in DNov 11

Nov 18Haydn, NelsonmesseNov 25

Mozart, Coronation Mass

Beethoven, Mass in C

Christmas Midnight Mass

Schubert, Mass in G

Dec24/25 Dec 30

Mozart,

Jan 6 Jan 13 Jan 20

Mozart,

Schubert, Mass in C

Jan 27

Mozart, Spatzenmesse

Feb 3

Haydn, Grosse Orgelmesse

Feb 10 Feb 17 Feb 24 Mar 3 Apr 21Apr 28 May 5 May 12 May 19 May 26

Mozart, Missa Brevis in F

June 2Jun 9

Haydn, Nikolaimesse

Piccolomini Mass

Gounod, Saint Cecilia MassHaydn, Kleine Orgelsolomesse

Rheinberger, Mass in C

Schubert, Mass in G

Heiligmesse

Mozart, Trinitatis MassMissa Longa in C

Mozart, Mass in C

Haydn, Theresienmesse

Haydn, Mariazellermesse

Mozart, Coronation MassMozart, Credo Mass in C majorGounod, Saint Cecilia Mass

Haydn,


WE’D LOVE TO HEAR ABOUT YOUR CONCERT EXPERIENCE. PLEASE SHARE YOUR FEEDBACK BY VISITING THESPCO.ORG/SURVEY.

Please hand your program to an usher after the concert if you don’t want to keep it. Help us reuse and recycle. Thank you.♼SPONSORS

SEP 7, 8 & 9, 2018


THE SAINT PAUL CHAMBER ORCHESTRAORDWAY CONCERT HALL

Led by SPCO Musicians Jeremy Denk, director and piano | Julia Bullock, soprano

RILEY (b. 1935) In C (30 min)

I N T E R M I S S I O N (20 min)

BARBER (1910–1981) Knoxville: Summer of 1915, Opus 24 (16 min)

Julia Bullock, soprano

BEETHOVEN (1770–1827) Concerto No. 5 in E-flat for Piano and Orchestra, Opus 73, Emperor (39 min)

AllegroAdagio un poco mossoRondo: Allegro

Jeremy Denk, director and piano

For the lyrics to Knoxville: Summer of 1915, please see the insert to this program at the Sep 7–9 concerts.

SEPTEMBER 8

The Official Restaurant ofSPCO Ordway Sunday Concerts


In C (1964)

TERRY RILEY

In 1964, with one radical composition notated on a single page, Terry Riley syn-thesized various strands of West Coast, anti-establishment thought into a style that would revolutionize music to this day: Minimalism. That seminal piece, In C, lays out 53 short modules to be played any number of times by any number of instru-ments. The result is a gradual morphing as the layers separate and progress inde-pendently through the series, united by a steady pulse and a limited palette of pitches centering on the unwavering harmony of C major. Commercial recordings range from 20 to 76 minutes in length, played on everything from a single piano to ensem-bles of traditional Asian and African instru-ments—bringing full circle the significant influence of those non-Western traditions on Riley and other pioneering Minimalists.

— © 2018 AARON GRAD

Knoxville: Summer of 1915, Opus 24 (1947, rev. 1950)

SAMUEL BARBER

Samuel Barber had a strong family con-nection to the world of vocal music: his uncle was Sidney Homer, a composer known for art songs, and his aunt was Louise Homer, a star contralto at the Metropolitan Opera. Barber began writing songs at the age of seven, and his output eventually included two grand operas. His most enduring vocal work has proven to be Knoxville: Summer of 1915, an orches-tral setting of a prose poem by James Agee. Written in the wake of World War II, at a time when Barber’s own father was dying, the score strikes a musical posture perfect-ly aligned with Agee’s intimate and nostal-gic look back at an easier, simpler time.

Agee and Barber were born within a few months of each other, and the description of Agee’s childhood in Tennessee resonat-ed deeply with Barber and his own experi-ences at the same age in a Philadelphia suburb. Writing to his uncle Sidney, Barber

said of the text, “It reminded me so much of summer evenings in West Chester, now very far away, and all of you are in it.” After initially accompanying the voice with full orchestra, Barber revisited Knoxville in 1950 to create a more vulnerable and transparent scoring for chamber orchestra.


Concerto No. 5 in E-flat for Piano and Orchestra, Opus 73, Emperor (1809)

LUDWIG VAN BEETHOVEN

Beethoven completed his fifth and final piano concerto during the miserable summer of 1809, when Napoleon’s army occupied Vienna for the second time in four years. By the time of the premiere two years later, Beethoven’s hearing had dete-riorated so much that he could not per-form the concerto himself. Having filled the void left by Mozart’s death, Beethoven’s long run as the leading pianist-composer in Vienna had officially come to an end.

The Piano Concerto No. 5 is in many ways a sibling to the earlier “Eroica” Symphony. In the case of the concerto, Beethoven had no part in the nickname—“Emperor” came later from an English publisher—but both works share a monumental posture and a triumphant spirit. Beethoven dedicated the concerto to the Archduke Rudolph, the youngest brother of the Austrian emperor Franz. More than just a patron, Rudolph was a piano student of Beethoven’s and the two maintained a warm friendship until the composer’s death.

The “Emperor” Concerto begins at a cli-max: the orchestra proclaims the home key with a single chord and the piano leaps in with a virtuosic cadenza. The ensemble holds back its traditional exposition until the pianist completes three of these fanci-ful solo flights, the last connecting directly to the start of the movement’s primary theme. It is a remarkable structure for a concerto, with an assurance of victory, as it were, before the battle lines have been drawn. Even once the piano returns, the movement continues in a symphonic

demeanor, forgoing a standalone cadenza in favor of solo escapades that integrate deftly into the forward progress of the form.

The slow movement enters in the unex-pected key of B major with a simple theme, first stated as a chorale for muted strings. The piano plays a decorated version over pizzicato accompaniment, and woodwinds later intone the theme, supported by piano filigree and off-beat string pulses.

The transition back to the home key for the finale is brilliantly understated, pivoting on a held note that drops a half-step to set up the piano’s entrance. The upward arpeggio of the main theme generates extra propulsion through its unexpected climax on an accent-ed off-beat, injecting a dash of Haydn’s humor into a score that has all the power and majesty of Beethoven in his prime.


ARTIST PROFILESJEREMY DENK (director and piano)Artistic Partner profiles appear on pages 8–9.

JULIA BULLOCK (soprano) Equally at home with opera and concert reper-toire, Soprano Julia Bullock has captivated and inspired audienc-es through her

versatile artistry, probing intellect and com-manding stage presence. Opera News extols, “Bullock's radiant soprano shines brightly and unfailingly… Most compellingly, how-ever, she communicates intense, authentic feeling, as if she were singing right from her soul.” This season Miss Bullock makes a San Francisco Opera debut in the world pre-miere of Girls of the Golden West composed by John Adams to a libretto by Peter Sellars, and she joins Dutch National Opera in a company premiere of Simon McBurney’s production of The Rake’s Progress.

To learn more about the other musicians performing on this program, visit thespco.org/roster.

PROGRAM NOTES | SEP 7–9





Thomas Zehetmair, conductor | Eunice Kim, violin

BEETHOVEN (1770–1827) Romance No. 1 in G for Violin and Orchestra, Opus 40 (7 min)

Eunice Kim, violin

REBEL (1666–1747) Les Elémens (The Elements) (Nicholas McGegan, editor) (25 min)

Le CahosLes Elémens — Loure 1ChaconneRamageRossignolsLoure 2Tambourin 1Tambourin 2SicilienneAir pour l' Amour: RondeauCaprice


VIVIER (1948–1983) Zipangu (14 min)

HAYDN (1732–1809) Symphony No. 95 in C Minor (21 min)

Allegro moderatoAndanteMenuetVivace

SEP 13, 14 & 15, 2018

SEPTEMBER 15

For Happy Hour concert details, please see the insert to this program at the Sep 13 concert.


Romance No. 1 in G for Violin and Orchestra, Opus 40 (1801–1802)


Not much is known about why Beethoven composed two independent slow move-ments for violin and orchestra, each labeled Romance. That term had originat-ed with a Spanish style of ballad singing, but composers began using the Romance heading in instrumental music around 1760 as a way to indicate a simple, tuneful type of slow movement. The Romance No. 2 in F Major, published in 1805 as Opus 50, actually came first, and it may have been attached to a stalled Violin Concerto from the late 1790s. The Romance No. 1 in G Major followed in 1801 or 1802, but it was published sooner, in 1803, giving it the lower opus number and first place in the sequence. The most distinctive passag-es of this Romance are those in which the violin provides its own accompaniment to the songlike themes, starting with the very first measures. The rondo structure makes space for music of contrasting attitudes, including a minor-key episode full of crisp, staccato articulations.


Les Elémens (The Elements) (1737–1738)

JEAN-FÉRY REBEL

Jean-Féry Rebel, the son of a musician in the court of Louis XIV, had the privilege of studying violin and composition with Jean-Baptiste Lully, the king’s favorite composer. Rebel was 71 and retired from his long career composing and performing dance music when he wrote his final and most consequential work, The Elements. The bulk of this “symphonie nouvelle” consisted of orchestral dances, infusing the French ballet style mastered by Lully with aspects of Italian sinfonias (i.e. opera overtures, which evolved into symphonies as we know them).

Musical details of The Elements corre-spond to those Classical “elements” that comprise the natural world: the low strings

opposed to pure harmonics when returning to normal technique. A melody becomes a color (chords), grows lighter and slowly returns as though purified and solitary.”


Symphony No. 95 in C Minor (1791)

FRANZ JOSEPH HAYDN

After Prince Nikolaus Esterházy died in 1790 and his successor cut back on music, the family’s longtime Kapellmeister, Joseph Haydn, had new freedom to capitalize on his international fame. He accepted a lucrative invitation from a German violin-ist and impresario working in England, Johann Peter Salomon, who soon accom-panied Haydn to London. Haydn wrote, “My arrival caused a great sensation … I went the rounds of all the newspapers for three successive days. Everyone wants to know me.” Besides a busy schedule of socializing and teaching, Haydn prepared music for the upcoming spring concert season. Salomon’s orchestra of 40 or so musicians offered mixed programs of symphonies, concertos, arias and cham-ber music, appearing each Monday in London’s Hanover Square Rooms. Haydn ended up presenting six new symphonies in London, and six more during a follow-up visit in 1794–95.

The Symphony No. 95 was one of the first of Haydn’s “London” symphonies to reach the public, and it followed a different tem-plate than the works that followed. It was the only example that Haydn set in a minor key, and it was also the only one to forgo a slow introduction, instead launching direct-ly into a stark, five-note motive declared in naked octaves. The secondary theme provides a sunny contrast, especially when it returns at the end of the movement in C major, brightened by passages from a solo violin (music designed to feature Salomon, who played as the concertmaster).

The Andante cantabile slow movement takes the form of a theme and variations. After a variation featuring a solo cello, it takes a brief detour from its comfortable E-flat major tonality into the dark territory of E-flat minor.

represent Earth, the bright tone of piccolo evokes Air, violins correspond to Fire and the mellow flutes voice the sound of Water. This highly colorful and varied suite also offers images of nightingales, hunters giv-ing chase, lively dances in assorted styles and a song for Love.

For all the novelty within the suite, the highlight of The Elements is surely the very first chord of its jaw-dropping introduc-tion, titled Chaos. Rebel felt compelled to explain his thinking in a forward to the published score: “The introduction to this work is Chaos itself; that confusion which reigned among the Elements before the moment when, subject to immutable laws, they assumed their prescribed places with-in the natural order. This initial idea led me somewhat further. I have dared to link the idea of the confusion of the Elements with that of confusion in Harmony. I have risked opening with all the notes sound-ing together, or rather, all the notes in an octave played as a single sound.”


Zipangu (1980)

CLAUDE VIVIER

The Québécois composer Claude Vivier was producing some of the most original and haunting music of his generation before he was murdered in his Paris apart-ment at the age of 34. After studying com-position and electroacoustic techniques with European heavyweights, Vivier’s fascination with themes of isolation and otherness took him in a more personal and mystical direction, especially following a long journey through Asia in 1976.

Vivier developed a particular fascination with Marco Polo, the Venetian trader who traveled to China and inspired Western explorers for centuries to come. Zipangu, a 1980 composition for amplified string orchestra, took its title from “the name given to Japan at the time of Marco Polo,” as Vivier explained in a program note. “Within the frame of a single melody I explore in this work different aspects of color. I tried to ‘blur’ my harmonic struc-ture through different bowing techniques. A colorful sound is obtained by applying exaggerated bow pressure on the strings as

PROGRAM NOTES | SEP 13–15


SEP 13–15 | PROGRAM NOTES

The Menuet strikes up the severe key of C minor again, but a chuckling “crushed-note” figure intervenes from time to time to lighten the mood. The contrasting trio returns to C major and once again show-cases a solo cello, supported by plucked chords. The lively finale affirms the sym-phony’s gravitation toward C major, and contrapuntal passages recall the legendary fugal finale of Mozart’s last symphony, No. 41 in C Major (“Jupiter”), composed sev-eral years before Haydn left for London.


ARTIST PROFILESTHOMAS ZEHETMAIR (conductor)

Thomas Zehetmair’s ability to skill-fully blend his musical inter-ests is unparal-leled. He enjoys widespread

international acclaim not only as a vio-linist, but also as a conductor and cham-ber musician, making him one of the most prominent artistic personalities of today. He holds the position of Principal Conductor of the Musikkollegium Winterthur, Conductor Laureate of the Royal Northern Sinfonia, past Artistic Partner with the SPCO and from the 19.20 season, Chief Conductor of the Stuttgart Chamber Orchestra.

Zehetmair has an extensive, award-winning discography, including Zimmermann’s violin concerto with the WDR Sinfonieorchester (“Diapason d’Or de l’Année“ 2009), Elgar with the Hallé Orchestra Manchester / Sir Mark Elder (Gramophone Award 2010) and Mozart’s

concertos with the Orchestra of the Eighteenth Century under Frans Brüggen. For his far-reaching artistic contributions, Zehetmair was awarded, among others, the certificate of honour by the Preis der Deutschen Schallplattenkritik, as well as the Karl Böhm Interpretation Prize by the federated state of Styria.

EUNICE KIM (violin)A native of the San Francisco Bay Area, vio-linist Eunice Kim made her solo debut at the age of seven with the Korean

Broadcasting Symphony Orchestra. Called “just superb” (The New York Times) and “a born performer” (Epoch Times), she recently made her solo debut with The Philadelphia Orchestra and the Louisville Symphony, performed George Tsontakis’ Unforgettable with the Albany Symphony Orchestra and toured Taiwan, Hong Kong, Germany and South Korea with “Curtis On Tour.” Kim’s honors include Astral’s 2012 National Auditions, the California International Violin Competition, the Pacific Music Society Competition, the Korea Times String Competition and the Youth Excellence Scholarship for the Arts. An advocate for community engagement, she has partnered with The Philadelphia Orchestra Education Department, partici-pates in Astral’s Community Engagement & Education programs, and has taught at numerous international music festivals including the Teatro Del Lago Festival (Chile), the Valdres Music Academy (Norway) and the Marlboro Music festival (Vermont).

To learn more about the musicians performing on this program, visit thespco.org/roster.

SPECIAL ACCESS AUDIENCE SERVICESThe Saint Paul Chamber Orchestra’s programs and activities do not discriminate on the basis of disability. Reserved parking, entrance ramps, wheelchair seating and accessible restrooms are available at all performance locations. Elevators are available at many locations. Infrared listening devices are available at Ted Mann Concert Hall and Ordway Center. Large-print programs are available by request. Braille programs are available when requested at least one month in advance. Audio description is available by request when made at least one month in advance. When ordering tickets, please indicate your specific needs. For more information, please call 651.291.1144.



Please hand your program to an usher after the concert if you don’t want to keep it. Help us reuse and recycle. Thank you.♼

THE SAINT PAUL CHAMBER ORCHESTRATRINITY LUTHERAN CHURCH, WAYZATA COMMUNITY CHURCH, SAINT PAUL’S UNITED CHURCH OF CHRIST,

SHEPHERD OF THE VALLEY CHURCH, ORDWAY CONCERT HALL, TED MANN CONCERT HALL

Led by SPCO Musicians | Sang Yoon Kim, clarinet

SCHREKER (1878–1934) Intermezzo, Opus 8 (5 min)

MOZART (1756–1791) Symphony No. 36 in C, K. 425 Linz (30 min)

Adagio — Allegro spiritosoAndanteMenuettoPresto


WEBER (1786–1826) Rondo for Clarinet and Strings in B-flat, Opus 34 (7 min)

Sang Yoon Kim, clarinet

HAYDN (1732–1809) Symphony No. 102 in B-flat (23 min)

Largo — VivaceAdagioMenuet: AllegroPresto

SEP 20, 21, 22, 25, 28, 29 & 30, 2018

SPONSORSThe Official Restaurant of SPCO Ordway Morning Concerts


The Adagio is an example of Haydn’s self-borrowing: this music appears, in a differ-ent key, as the slow movement of a Piano Trio in F-sharp Minor, composed around the same time. The long-lined melodies, beginning in the violins, possess a vocal quality, and the movement takes on an operatic character as it passes through dra-matic minor-key episodes.

The Menuet jokes around with three-note tapping figures displaced to cut against the grain of the three-beat meter, while the contrasting trio section is smooth and lyrical, entrusting melodic duties to the expressive pairing of oboe and bassoon. In the finale, Haydn incorporated a Croatian folk tune that he might have picked up during his youth in a part of Austria with a large population of Croatian immigrants. Or he might have heard it during the interminable stays at the Esterházy fam-ily’s summer palace, located on the remote eastern edge of Austria—the place where, in Haydn’s own words, he was “forced to become original.”


ARTIST PROFILESSANG YOON KIM (clarinet)

SPCO Principal Clarinet Sang Yoon Kim made his debut at the Prague Spring International Festival as a soloist with

BBC Symphony Orchestra (2016). He is a sought-after chamber musician, working with leading international artists, among them Swedish clarinetist Martin Fröst, the French string quartet Quatuor Ebene, and pianists Jean-Yves Thibaudet and Robert Levin. As a passionate orchestra player, he has been guest principal clari-net with The Cleveland Orchestra, Auckland Philharmonic Orchestra, Sarasota Orchestra and London Philharmonic Orchestra.


For program notes on Rondo for Clarinet and Strings in B-flat, Opus 34 (Weber), please see the insert to this program at the Sep 20–30 concerts.

Intermezzo, Opus 8 (1900)

FRANZ SCHREKER

Franz Schreker, the son of a Jewish pho-tographer, was one of the leading opera composers in the German-speaking world during his lifetime. He was ousted from his powerful teaching post in Berlin amid the Nazi rise to power, and after his death in 1934 his scores were suppressed and forgotten. Schreker’s operas never recov-ered, but several of his instrumental works have regained their rightful place in the international repertoire.

An early highlight for Schreker was the Intermezzo for strings, which he wrote the year he graduated from the Vienna Conservatory. The score was selected as the winner of a composition competi-tion, leading to its publication and a well-reviewed performance in Vienna. Schreker, a violinist himself, possessed a keen ear for string sonorities, and he wrote for a divid-ed string orchestra (with four parts for violin, two each for violas and cellos, and one bass part) that maximized the richness and saturation of the ensemble.


Symphony No. 36 in C, K. 425 Linz (1783)

WOLFGANG AMADEUS MOZART

A year after Mozart married Constanze Weber without his father’s blessing, the young couple left for Salzburg in the hope of smoothing the family tension. On their return trip to Vienna several months later, they stopped in Linz, where their host, Count Johann Joseph Anton von Thun-Hohenstein, arranged for the court orches-tra to perform a concert. Mozart wrote to his father, “I really cannot tell you what kindnesses the family are showering on us. On Tuesday, November 4, I am giving a concert in the theater here and, as I have not a single symphony with me, I am writ-ing a new one at breakneck speed, which must be finished by that time.” Mozart only arrived on October 30, leaving him

less than five days to compose the new piece, copy out the parts and rehearse with the orchestra.

Nicknamed “Linz” for its city of origin, the symphony betrays no evidence of strained composition. In fact, it is rare among Mozart’s symphonies in that it begins with a leisurely introduction. The opening harmo-nies wander away from C major and settle in C minor, creating a moody counterpoint to the generally bright disposition of the symphony. Further excursions into minor keys, in the first movement’s secondary theme and later in the graceful Andante, echo the tonal rub of the introduction. After a playful Menuetto, the Presto finale sprints through a fluid range of themes, with short motives bouncing among sections.


Symphony No. 102 in B-flat (1794)

FRANZ JOSEPH HAYDN

After the triumph of his first visit to London in 1791–92, Haydn arranged a return engagement as soon as he could. The highlights of his second visit in 1794–95 were once again the premieres of six new symphonies—Haydn’s biggest and boldest examples yet, tailored to the large orchestra and adoring crowds.

Most of the second batch of “London” symphonies added clarinets to the orches-tration, and several featured notable effects that inspired nicknames for the works. This symphony does not have a nickname, although it deserves to be known as “The Miracle,” the title ascribed instead to the Symphony No. 96. It was at the premiere of the Symphony No. 102 on February 2, 1795 (and not that of the earlier sympho-ny) that a chandelier crashed to the floor; miraculously, no one was hurt.

The Symphony No. 102 begins with a simple yet striking effect: the home pitch of B-flat, spread among the whole orchestra in several octaves, swells from a piano dynam-ic and then recedes. The lively body of the movement maintains a thematic link to that initial motive, using held tutti octaves to make surprising pivots to new sections.

SEP 20–30 | PROGRAM NOTES





Christian Reif, conductor

BRITTEN (1913–1976) Sinfonietta, Opus 1 (14 min)

Poco presto e agitatoVariations: Andante lentoTarantella: Presto vivace

SHOSTAKOVICH Chamber Symphony in C Minor for String Orchestra, Opus 110a (after String Quartet No. 8) (arranged by Barshai) (22 min)

LargoAllegro moltoAllegrettoLargoLargo

(Movements performed without pause)


HAYDN (1732–1809) Symphony No. 92 in G, Oxford (26 min)

Adagio – Allegro spiritosoAdagio cantabileMenuetto: AllegrettoPresto

OCT 12 & 13, 2018

(1906–1975)


OCT 12–13 | PROGRAM NOTES

Sinfonietta, Opus 1 (1932)

BENJAMIN BRITTEN

Benjamin Britten had a precocious start in music, studying piano and viola and com-posing hundreds of works by the time he was a teenager. At fourteen, Britten’s viola teacher introduced him to the composer Frank Bridge, who agreed to give Britten private lessons. “I, who thought I was already on the verge of immortality, saw my illu-sions shattered,” Britten later wrote about his course of study with Bridge, a demanding teacher who fostered the rigorous technique needed to round out Britten’s natural inven-tiveness. Britten went on to enroll at the Royal Conservatory of Music in 1930, and even if he chafed at the conservative approach of his teachers, he was able to fill in the gaps by devouring recent music by Stravinsky, Schoenberg and other modernists.

Britten’s career began to take off in 1932, when a prize-winning Phantasy for string quartet led to his first professional performance. That same summer he took three weeks to compose the Sinfonietta, the work that would become his first published opus. The scoring for ten solo instruments (a woodwind quintet plus a string quintet) reflects the influence of Schoenberg’s First Chamber Symphony, a seminal work for such mixed ensembles. The dissonant harmonies and spiky phrases in the opening movement also point to young Britten’s fascination with Continental modernism, but still the music retains Britten’s intuitive feel for melody, as heard in the mellifluous woodwind phrases and crystalline violin duet in the central movement. A trembling viola line links directly to the Tarantella, a kinetic finale in the manner of the Italian folk dance named, so it is said, for the manic gyrations intended to ward off death after the bite of a tarantula.


Chamber Symphony in C Minor for String Orchestra, Opus 110a (after String Quartet No. 8) (arranged by Rudolf Barshai) (1960)

DMITRI SHOSTAKOVICH

Shostakovich traveled to Dresden in July 1960 to work on a film called Five Days—Five Nights, commemorating the devastation of that German city during World War II. Once there, his muse led him in an unexpected direction. He explained in a letter to a friend, “However much I tried to draft my obligations for the film, I just couldn’t do it. Instead I wrote an ideologically deficient quartet nobody needs. I reflected that if I die someday, then it’s hardly likely anyone will write a work dedicated to my memory. So I decided to write one myself. You could even write on the cover: ‘Dedicated to the memory of the composer of this quartet.’”

With Shostakovich’s blessing, the Russian conductor and violist Rudolf Barshai adapted that work from Dresden, the String Quartet No. 8, into this Chamber Symphony in C Minor, Opus 110a. The intensely personal nature of the music is evident from the very first notes: they spell out D–E-flat–C–B, or, in German parlance, D–S–C–H, signify-ing the composer’s first initial and last name. This motto theme had appeared in earlier compositions, but here the motive’s lugubrious rise and fall becomes a morbid obses-sion. The score also quotes other Shostakovich works, with passages referencing the First and Fifth Symphonies and the Second Piano Trio. The work unfolds as a continu-ous arc of five connected movements, opening and closing in a slow Largo tempo and encompassing central episodes of greater urgency and agitation.


Symphony No. 92 in G, Oxford (1789)

FRANZ JOSEPH HAYDN

After decades of being locked into an exclusive contract with Austria’s Esterházy family, Haydn negotiated new terms in 1779 that gave him more leeway to compose and publish independently. He was already immensely popular around Europe thanks to the many pirated scores in circulation, and under his new terms he could finally capital-ize on his fame, like when he accepted a commission in 1785 to write six new symphonies for a young French count, Claude-François-Marie Rigolet. The same count requested three more sym-phonies that Haydn completed by 1789, including the Symphony No. 92, the last of that set.

Haydn composed the Symphony No. 92 for Paris, and not Oxford, despite the nickname. Having accepted an invitation to present concerts in London in 1791, Haydn brought some of his existing sym-phonies to perform while he was work-ing to write new ones—an endeavor that eventually produced twelve “London” symphonies over the course of two visits. The Symphony No. 92 was among the music that Haydn conducted when he accepted an honorary doctorate from Oxford University.

Like most of its successors composed for London, the “Oxford” Symphony builds anticipation with a slow introduction. With subtle harmonic subterfuge and not-so-subtle dynamic jolts, the fast body of the movement is a model example of Haydn’s fluidity within the fixed struc-ture of a sonata-allegro form.

One of the most effective sounds in Haydn’s arsenal is a sudden, unexpected silence, a device that lends extra poi-gnancy near the end of the slow second movement, and which arises again throughout the playful Minuetto. With a dramatic application of formal coun-terpoint, the finale made this symphony an especially strong pick to impress the academic crowd at Oxford.



THE OLDEST BACH SOCIETY ON THE CONTINENT EST. 1932

Bach and the Forbidden City

Oct. 5 | 6 | 7 | 2018

Bach’s Christmas Oratorio

Dec. 7 | 8 | 9 | 2018

Bach’s Passion

Mar. 15 | 16 | 17 | 2019

Matthias Maute, Artistic Director

with Gao Hong, Chinese Pipa Master

collaboration with Lyra Baroque Orchestra

collaboration with Choral Arts Ensemble

T I C K E T S & I N F O : b a ch s o c i e t y m n . o r g

BECOME AN SPCO SUSTAINER TODAY!We hope you will join the thousands of generous audience members each year who contribute to the SPCO in addition to buying tickets. Sustainers’ recurring monthly gifts enable us to reduce fundraising costs and allow more of your gift to go directly to the music. Sustaining gifts of any amount are welcome and can be automatically deducted from your checking or savings account or charged to your credit card. You may change or end your monthly contribution at any time.

To set up a recurring Sustainer gift, visit thespco.org/contribute or give us a call at 651.292.3246.

spco_Sustainer_1819-PB1.indd 1 6/26/2018 11:28:54 AM

ARTIST PROFILESCHRISTIAN REIF (conductor)

German-born Christian Reif is Resident Conductor of the San Francisco Symphony and Music Director of the San Francisco

Symphony Youth Orchestra. In 2018.19, Reif conducts subscription concerts with the SPCO and the San Francisco Symphony and makes debuts with the Omaha Symphony and Hong Kong Philharmonic. He returns to the Nürnberger Symphoniker and Berkeley Symphony, leads a production of Leoncavallo’s Pagliacci at Opera San Jose, and conducts a new chamber version of John Adams’s El Niño with the American Modern Opera Company as part the Metropolitan Museum of Art’s MetLiveArts series in New York. Reif is a member of Germany’s Conductor’s Forum (Dirigentenforum) and is one of the forum’s 2017.18 and 2018.19 featured “Maestros of Tomorrow”.





OCT 19, 20 & 21, 2018

THE SAINT PAUL CHAMBER ORCHESTRAWOODDALE CHURCH, SAINT PAUL’S UNITED CHURCH OF CHRIST, BENSON GREAT HALL

Led by SPCO Musicians

STRAUSS (1864–1949) Till Eulenspiegel Einmal Anders! (arranged by Hasenöhrl) (15 min)

MOZART (1956–1791) Nonetto based on Quintet for Piano and Winds, K. 452 (arranged by Françaix) (25 min)

Largo — Allegro moderatoLarghettoAllegretto


BEETHOVEN (1770–1827) Sonata for Strings in A Major, Opus 47, Kreutzer (arranged by Tognetti) (43 min)

Adagio sostenuto — PrestoAndante con varizioniPresto


score to Rodolphe Kreutzer, a French violinist and composer who had visited Vienna in 1798, and “Kreutzer” stuck as a nickname even though Kreutzer himself never played it. The actual violinist for whom Beethoven wrote the sonata, and the one who joined him for the premiere in 1803, was George Bridgetower, born in Poland to a Caribbean father of African descent and a European mother. Before they had a falling out, Beethoven had referred to his score as the Sonata mulattica, in reference to Bridgetower’s mixed racial heritage. (In 2009, the African-American poet Rita Dove used that title for a collection of poems about Bridgetower and Beethoven.)

The Kreutzer Sonata—the work itself and the name—took on new signifi-cance when Leo Tolstoy gave that title to an 1889 novella. It tells the story of a disaffected wife who, swept up by the passion of Beethoven’s sonata, has an affair with the male violinist with whom she plays piano, only to be caught and murdered by her husband. International censorship and outrage put The Kreutzer Sonata into the center of public debate, and a host of artists followed with plays, paintings and other creations inspired by Tolstoy’s scenario. The name even came full circle to music when Janáček dubbed his first string quartet The Kreutzer Sonata.

This larger-than-life sonata has always drawn musicians to approach it with expanded forces, starting with a string quintet arrangement released by Beethoven’s publisher in 1832. The arrangement for strings featured in this performance, created by the Australian violinist Richard Tognetti, surrounds the focus and virtuosity of a solo violin with a rich, orchestral body of sound.


ARTIST PROFILES To learn more about the

musicians performing on this program, visit thespco.org/roster

Till Eulenspiegel Einmal Anders! (arranged by Franz

Hasenöhrl) (1895/1954)

RICHARD STRAUSS

After a musical upbringing shaped by his father’s conservative tastes, a whole new world opened up for Richard Strauss when he began working as the conducting assis-tant to Hans von Bülow at the Meiningen Court Orchestra in 1885. Guided by his new friend Alexander Ritter, a violinist in the orchestra (and nephew-in-law of Wagner), Strauss devoured the music of Wagner and Liszt. Ritter encouraged Strauss to try writ-ing a “symphonic poem,” to use Liszt’s term for a programmatic orchestral work in a sin-gle movement, and Strauss ended up writing four such works between 1886 and 1889.

After a hiatus, Strauss returned in 1894 to the genre that he preferred to call Tondichtung, or “tone poem.” His next subject was Till Eulenspiegel, a trickster character from German folklore. Strauss did not follow a strict program outline when he composed Till Eulenspiegel’s Merry Pranks, but he did point to certain vignettes from the folklore, including Till riding through the market and tipping over the carts, Till flirting with the ladies and Till impersonating a priest.

The most explicit character in the tone poem is the trickster himself, represented by a jocu-lar horn theme. Another recurring motive, introduced by the clarinet, suggests Till’s peals of laughter as various pranks ensue. These instrumental characterizations remain intact in the abbreviated quintet arrangement created in 1954 by the Viennese composer Franz Hasenöhrl (1885–1970), who gave his version a suitably silly title that translates as Till Eulenspiegel – Differently, for once!


Nonetto based on Quintet for Piano and Winds, K. 452 (arranged by

Jean Françaix) (1784/1995)


Mozart completed the Quintet for Piano and Winds on March 30, 1784, just eight

days after finishing the Piano Concerto No. 16 in D Major, and two days before his self-produced “Grand Academy” concert in Vienna that likely featured the premieres of both works. Chamber music was a rarity on such programs, which usually presented symphonies and concertos along with keyboard improvi-sations. But the new quintet was unlike any of Mozart’s preceding chamber music, and much closer in spirit to his recent piano concertos. He was certainly pleased with the novel sound of the quintet, writing to his father, “I myself consider it to be the best thing I have written in my life.”

The French composer Jean Françaix (1912–1997) created this edition for Nonetto in 1995. The arrangement distributes Mozart’s piano part among five string players while leaving the wind parts untouched, an approach that emphasizes the work’s melodic freedom, starting with a slow introduction that moves the piano’s delicate strands to a violin. In the Larghetto slow movement, woodwind solos intertwine as if they are characters in a wordless opera, and the concluding rondo makes the most of the contrasting tone colors between winds and strings, reframing the concerto-like dialogue of Mozart’s original.


Sonata for Strings in A Major, Opus 47, Kreutzer (arranged by Richard Tognetti) (1803/2010)


Beethoven wrote his Ninth Violin Sonata early in 1803, just before he began work on the monumental Third Symphony (Eroica). Abandoning the careful proportions and pleasantries of early works modeled after Mozart and Haydn, Beethoven’s blunt and expan-sive new style—what we now call his “middle period”—heralded a bold leap forward for the increasingly deaf and fiercely independent young composer.

Even the name of that violin sonata comes with an epic backstory. Beethoven eventually dedicated the

PROGRAM NOTES | OCT 19–21




NOV 2, 3 & 4, 2018

THE SAINT PAUL CHAMBER ORCHESTRACATHEDRAL OF SAINT PAUL, ORDWAY CONCERT HALL

Jonathan Cohen, conductor Nicholas Mulroy, tenor (Evangelist) | Matthew Brook, bass (Jesus) | Joélle Harvey, soprano

Tim Mead, countertenor | Nick Pritchard, tenor | William Berger, baritone (Pilate) The Singers – Minnesota Choral Artists, prepared by Matthew Olson and Matthew Culloton

BACH (1685–1750) Saint John Passion, BWV 245

Part I (42 min)


Part II (72 min)

Chorus: Herr, unser HerrscherRecit: Jesus ging mit seinen JüngernChorus: Jesum von NazarethRecit: Jesus spricht zu ihnenChorus: Jesum von NazarethRecit: Jesus antworteteChorale: O große LiebRecit: Auf daß das Wort erfüllet würdeChorale: Dein Will gescheh Herr Gott, zugleichRecit: Die Schar aber und der Oberhauptmann

Aria: Von den Stricken meiner SündenRecit: Simon Petrus aber folgete Jesu nachAria: Ich folge dir gleichfallsRecit: Derselbige Jünger war dem Hohenpriester bekanntChorale: Wer hat dich so geschlagenRecit: Und Hannas sandte ihn gebundenChorus: Bist du nicht seiner Jünger einerRecit: Er leugnete aber und sprachAria: Ach, mein SinnChorale: Petrus, der nicht denkt zurück

Chorale: Christus, der uns selig machtRecit: Da führeten sie JesumChorus: Wäre dieser nicht ein ÜbeltäterRecit: Da sprach Pilatus zu ihnenChorus: Wir dürfen niemand tötenRecit: Auf daß erfüllet würde das WortChorale: Ach großer KönigRecit: Da sprach Pilatus zu ihmChorus: Nicht diesen, sondern BarrabamRecit: Barrabas aber was ein MörderArioso: Betrachte, meine SeelAria: Erwäge, wie sein blutgefärbter RückenRecit: Und die Kriegsknechte flochten eine KroneChorus: Sei gegrüßet, lieber JüdenkönigRecit: Und gaben ihm BachenstreicheChorus: Kreuzige, kreutzigeRecit: Pilatus sprach zu ihnenChorus: Wir haben ein GesetzRecit: Da Pilatus das Wort höreteChorale: Durch dein Gefängnis, Gottes SohnRecit: Die Jüden aber schrieen und sprachenChorus: Lässet du diesen losRecit: Da Pilatus das Wort höreteChorus: Weg, weg mit dem

Recit: Spricht Pilatus zu ihnenChorus: Wir haben keinen KönigRecit: Da überantwortete er ihnAria: Eilt ihr angefochtnen SeelenRecit: Allda kreuzigten sie ihnChorus: Schreibe nicht: der Jüden KönigRecit: Pilatus antwortetChorale: In meines Herzens GrundeRecit: Die Kriegsknechte aberChorus: Lasset uns den nicht zerteilenRecit: Auf daß erfüllet würde die SchriftChorale: Er nahm alles wohl in achtRecit: Und von Stund an nahm sie der JüngerAria: Es ist vollbrachtRecit: Und neiget das HauptAria: Mein teuer Heiland, laß dich fragenRecit: Und siehe da, der Vorhang im Tempel zerrißArioso: Mein Herz, indem die ganzel WeltAria: Zerfließe, mein HerzeRecit: Die Jüden aber, dieweil er der Rüsttag warChorale: O hilf, Christe, Gottes SohnRecit: Darnach bat Pilatum Joseph von ArimanthiaChorus: Ruht wohl, ihr heiligen GebeineChorale: Ach Herr, laß dein lieb Engelein

For the lyrics to Saint John Passion, please see the insert to this program at the Nov 2, 3 & 4 concerts.

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with notable ensembles and orchestras, including Monteverdi Choir with Sir John Eliot Gardiner, BBC Philharmonic, Orchestra of the Age of Enlightenment, Koelner Akademie, Staatskapelle Dresden, Copenhagen Philharmonic and Australian Chamber Orchestra.

Mulroy is particularly renowned for his early music performances. His recent highlights include Evangelist in Bach’s Saint John Passion at the BBC Proms, Schütz at the Edinburgh International Festival and Monteverdi Vespers through-out the USA and Europe. He also has an extensive and award-winning discography, most recently recording Piazzolla’s remark-able ‘tango operita’ María de Buenos Aires with Mr McFall’s Chamber. Further recordings include a Gramophone Award-winning Messiah, Bach’s Passions and Christmas Oratorio on Linn, Gavin Bryars’ Petrarch Sonnets on Delphian, Easter Oratorio and Actus Tragicus on SDG.

MATTHEW BROOK (bass, Jesus)Matthew Brook has appeared widely as a solo-ist and has worked exten-sively with con-ductors such as Sir John Eliot

Gardiner, Richard Hickox, Sir Charles Mackerras, Harry Christophers, Christophe Rousset, Paul McCreesh and Sir Mark Elder, and many ensembles including the Philharmonia, LSO, the St. Petersburg Philharmonic, the RPO, the English Baroque Soloists and the Royal Northern Sinfonia.

Recent and future highlights include Bach’s Magnificat and Brahms’ Triumphlied with the Cincinnati Symphony Orchestra, Il Re di Scozia (King of Scotland) in Ariodante with the Staatstheater Stuttgart, Bach’s B minor Mass at the Al Bustan Festival and with Les Violons du Roy, Mozart’s Requiem with the Fryderyk Chopin Institute in Warsaw, a tour of Bach canta-tas with the Nederlandse Bachvereniging, a tour of Bach’s Saint Matthew Passion with the Orchestra of the Age of Enlightenment, and the roles of Herod and Father in Berlioz’s L’Enfance du Christ with the Melbourne Symphony Orchestra.

Saint John Passion, BWV 245 (1724)

JOHANN SEBASTIAN BACH

From 1723 until his death in 1750, Bach held the demanding position of Thomaskantor, directing music for the principal churches of Leipzig and training the young choristers at the church school. In his early years he wrote new cantatas for weekly services at an astounding pace, and he took special care with music for the all-important Vespers service on Good Friday, which always featured a rendition of the Passion—the account of Jesus’ last days, from his arrival in Jerusalem to his crucifixion, as recounted in the Gospels of Matthew, Mark, Luke and John.

Not many years earlier, the congregation would simply recite the Passion liturgy in an unadorned, plainchant style. The idea of presenting the Passion as a dra-matic oratorio only took hold around 1712, when the poet Barthold Brockes published a libretto that was soon set to music by Telemann and Handel among other early adopters. It caught on first in more progressive cities like Hamburg and Frankfurt, and within a few years even conservative Leipzig warmed to the idea.

Bach probably attempted some sort of Passion setting earlier in Weimar, but the work that stands as his first great achieve-ment in the new style was the Saint John Passion from 1724, offered during his first yearlong cantata cycle for Leipzig. He was probably hoping to follow the next year with a setting of the Gospel of Matthew, but that even larger composition did not appear until 1727; the Good Friday service in 1725 instead featured a revised version of the Saint John Passion, including some music that was later redirected to the Saint Matthew Passion. Bach brought the Saint John Passion back several more times, making musical adjust-ments along the way, until he directed the work for the last time in 1749.

The Saint John Passion is smaller in scale than its sibling work, and it has not enjoyed quite the celebrated status that the Saint Matthew Passion has had ever since Felix Mendelssohn resuscitated that work (and Bach’s reputation in general) with a landmark performance in 1829. But

the intimacy of the Saint John Passion is finally getting its due, thanks to decades of scholarship and historically-informed per-formance practice that have stripped back oversized choruses and orchestras, coming closer to the sound and spirit of the lean ensembles Bach would have squeezed into the tiny choir lofts of Leipzig’s churches.

An ornate chorus, “Herr, unser Herrscher” (Lord, Thou our Master), begins the first part of the Passion. With the recitative that follows, we meet the Evangelist, a tenor soloist who narrates the story with lines drawn verbatim from Martin Luther’s German translation of the Bible. The drama pauses for points of reflection in the form of solo arias, with texts assem-bled by an unknown librettist. Other key anchor points are the familiar Lutheran chorales that Bach’s congregation would have known well, including the hymns that bookend the break between Part I and Part II, marking the point in the service when the sermon would be delivered.

In the second part, Jesus appears before Pontius Pilate, with the chorus standing in at times for the inflamed crowd. Again arias magnify the richest emotions, with support from obbligato counter-lines assigned to various solo instruments. The chorus that precedes the final hymn, beginning with the invitation to “Rest well,” underscores the sweet and humble essence of the Saint John Passion.


ARTIST PROFILESJONATHAN COHEN (conductor)Artistic Partner profiles appear on pages 8–9.

NICHOLAS MULROY (tenor, Evangelist)

Born in Liverpool, Nicholas Mulroy studied at Clare College Cambridge and Royal Academy of Music,

London. He performs at the world’s leading concert halls, opera houses and festivals

PROGRAM NOTES | NOV 2–4


NOV 2–4 | PROGRAM NOTES

JOÉLLE HARVEY (soprano)Joélle Harvey’s performances in the 2018.19 sea-son include Beethoven’s 9th Symphony with the Utah Symphony,

Mahler’s 2nd Symphony with the Cleveland Orchestra and the Toronto Symphony, and the Saint John Passion with the SPCO. She joins the Philadelphia Chamber Music Society for their Emerging Voices concert series, North Carolina Symphony for a program of Schubert songs as well as Mozart’s Mass in C Minor, performs a joint recital with pianist Allen Perriello at Carnegie Hall, sings Barber’s Knoxville: Summer of 1915 and Mahler’s 4th Symphony with the San Diego Symphony, Bach’s Coffee Cantata with Music of the Baroque, and Mozart’s Requiem with the New York Philharmonic and the Handel & Haydn Society. She also appears with Arcangelo for a concert of Handel, Bach and Buxtehude.

TIM MEAD (countertenor)Countertenor Tim Mead is praised for his “alluring” and “consistently excellent” inter-pretations (The New York

Times). Highlights of his 2018.19 season include Endimione in Cavalli’s La Calisto for Teatro Real Madrid, Bertarido in Handel’s Rodelinda for Opera de Lille, Oberon in Britten’s A Midsummer Night’s Dream for Opera of Philadelphia, and a major European recital tour with Emmanuelle Haim and Le Concert d’Astree.

Recent highlights include his debut at the Opéra National de Paris as Hamor in Handel’s Jephtha, Oberon in Britten’s A Midsummer Night’s Dream at Glyndebourne Festival Opera and Bergen National Opera, the title role in Philip Glass’ Akhnaten and Ottone in Handel’s Agrippina at Opera Vlaanderen, a reprisal of the role of Boy/Angel in George Benjamin’s Written on Skin at the Bolshoi and he recently appeared with the Los Angeles Philharmonic at the Hollywood Bowl.

THE SINGERS — MINNESOTA CHORAL ARTISTS

Founded in 2004, The Singers orga-nization is dedi-cated to giving world-class per-formances of the finest choral liter-ature. The Singers,

a professional choir of 40 members, exists to serve as artists, educators and advocates of the choral art. Recognized nationally for their innovative programming, commit-ment to new music and peerless artistic quality, The Singers made their debut at the renowned Ravinia Festival in June 2013, and have made subsequent returns in 2014, 2015 and 2016.

The Singers and Matthew Culloton are very engaged in educational collaborations that pair the choir with school choirs around Minnesota. The Singers have premiered and commissioned nearly 80 new works by composers including Stephen Paulus, Tesfa Wondemagegnehu, Timothy Takach, Linda Kachelmeier, Abbie Betinis, Jocelyn Hagen, Joshua Shank, Craig Carnahan and con-ductor Matthew Culloton.

MATTHEW CULLOTON (artistic director)Matthew Culloton is the Founding Artistic Director of The Singers. He holds a Bachelor of Music from Concordia College and a Master of

Music plus Doctor of Musical Arts from the University of Minnesota. Aside from his duties with The Singers, Culloton is Choirmaster at House of Hope Presbyterian Church in Saint Paul and adjunct faculty at the University of Saint Thomas, Graduate Music Program. He has received the MN ACDA Outstanding Young Choral Conductor of the Year Award and the VocalEssence/ACDA of Minnesota Creative Programming Award. He has been com-missioned to compose for the Dale Warland Singers, Choral Arts Ensemble of Rochester and MMEA All-State Choir.

To learn more about the musicians performing on this program, visit thespco.org/roster

NICK PRITCHARD (tenor)Nick Pritchard’s highlights to date include King Arthur for the Early Opera Company, Bach's Mass in B minor with the

Monteverdi Choir, Bach’s Saint Matthew Passion with the SPCO, Bach Cantatas with Ensemble Pygmalion, Matthew in Mark Simpson’s Pleasure for Opera North, and Prologue The Turn of the Screw for Opera Holland Park. Recent and future engagements include: Lysander A Midsummer Night’s Dream for the Aldeburgh Music Festival, Amphinomus The Return of Ulysses for the Royal Opera House, Ferrando Così fan tutte for Opera Holland Park, Henry Crawford Mansfield Park for The Grange Festival, Acis Acis and Galatea for the London Handel Festival, Charpentier’s Te Deum with the Early Opera Company, Bach’s Saint John Passion with the BBC National Orchestra of Wales, Polyphony and the OAE and with the Instruments of Time and Truth.

WILLIAM BERGER (baritone, Pilate)Baritone William Berger, described as “one of the best of our younger baritones” (Gramophone), is making a

name for himself in concert halls and opera houses on both sides of the Atlantic. In concert, Berger has performed at leading venues including the Royal Albert Hall, Royal Festival Hall, Wigmore Hall, Birmingham Symphony Hall, Zellerbach Hall and Los Angeles’ Disney Concert Hall, with orchestras and ensem-bles including the London Philharmonic Orchestra, City of Birmingham Symphony Orchestra, English Consort, Handel & Haydn Society and Philharmonia Baroque Orchestra.

Berger’s 2016 CD, Duet (Delphian), was named an “Editor’s Choice” (BBC Music Magazine). His debut recital album, Insomnia: A Nocturnal Voyage in Song was named one of the “Top 10 Classical Albums of 2012” (The Guardian).

Another way to support the Arts Partnership and to make a lasting impact in recognition of your family, friends, or loved onesw is to dedicate a seat in the recently built Concert Hall.

For more information visit artspartnership.org/name-a-seat

The Arts Partnership is a strategic alliance between the four

organizations that regularly perform on the Ordway stages.

Together, the Arts Partners manage the Ordway facility,

collaborate on joint programming and share resources

to provide a world-class venue and exceptional artistic

programming for over 300,000 people annually.

The work of the Arts Partnership is supported by donors to the

annual Arts Partnership Fund. We extend a sincere thank you

to the following contributors for being inaugural donors to this

fund for the 2017–18 fiscal year.

Fred C. and Katherine B. Andersen FoundationHugh J. Andersen FoundationThe Katherine B. Andersen FundAnonymous (2)Nina ArchabalSuzanne Asher and Thomas DuckerJo and Gordon BaileyPatricia BeithonKatie BergMary and Gus BlanchardShari and David BoehnenPriscilla Brewster *Bob Cattanach and Allyson HartleBirgitte and John ChristiansonKent and Dee Ann CrossleyThe Crosswols Foundation Sheldon DambergJulia W. DaytonRebecca and Jay DebertinAnnie DeeringDellwood Foundation William and Terry Dircks *Sara and Jock DonaldsonEcolab FoundationAnna Marie EttelPatrick Garay-Heelan and Erin HeelanJudith Garcia Galiana and Alberto CastilloJamie Grant and Christine BirdBonnie Grzeskowiak and Terry WadeLaura E. HalfertyThomas and Susan Handley *Dorothy J. Horns and James P. RichardsonAnne and Steve HunterRuth and John HussMary Ingebrand-PohladSandi Irvine and Family - In memory of Tommy Irvine *Phillip and Ludmilla Isaacson *Diane and Paul JacobsonLucy Jones and Jim JohnsonJohn and Kathleen JunekThe Art and Martha Kaemmer Fund of HRK Foundation

Erwin and Miriam KelenBarry and Cheryl KemptonKyle Kossol and Tom BeckerDavid and Laurel KuplicMary and Barry LazarusCynthia and Lawrence LeeRobert Lee and Mary SchaffnerEric and Celita LevinsonDavid Lillehaug and Winifred SmithJon and Patty LimbacherJeff Lin and Sarah BronsonEric and Mary LindSteve and Kathi Mahle *Mardag FoundationLaura McCartenMcCarthy Bjorklund Foundation at the request of Alexandra O. Bjorklund and Susan and Edwin McCarthyJeninne McGeeJulie McKinley *Rosa Miller *Patricia A. MitchellAlfred P. and Ann M. MooreLeni and David MooreMarcia L. Morris and Richard L. MillerDavid and Judy MyersElizabeth MyersMyers Family Fund of The Saint Paul FoundationNicholson Brothers Fund of The Saint Paul FoundationEric Nilsson and Lizabeth BogerDiane Nixa and Kurt HochfeldRobert OlafsonPaul Olson and Mark BaumgartnerJohn and Marla OrdwayDeborah Palmer and Ken RichBill and Anne Parker *Daniel Pennie and Anne CarayonJason and Kate PiehlNic Pifer and Amy McNallyShawn and Elizabeth QuantKaren QuisenberryCarleen Rhodes and Byron Gilman

Christine SagstetterWilliam and Susan Sands *Christine Sand and William BluhmDaniel J. Schmechel and Wilhelmina M. Wright *Mary and Christian G. SchrockKathy SchubertSecurian FinancialKim Severson and Philip JemielitaDavid and Martha SewallFred and Gloria SewellDavid SmithKevin and Lynn SmithNadege Souvenir and Joshua A. DorothyCarley and Bill StuberGreg Sullivan and Annie FrazerKay Savik and Joe TashjianRyan TaylorAnthony TheinNorrie ThomasBeth TosoStephanie Van D’EldenH. Bernt von Ohlen and W. Thomas NicholDobson and Jane WestTed and Nancy WeyerhaeuserWilliam WhiteTim Wicker and Carolyn DetersScott WilenskyBeth and Bruce WillisCara and Paul WilsonJustin WindschitlBrad and Colleen WoodJohn and Judy WolakMargaret Wurtele

* The Arts Partnership Fund is also supported by a portion of the proceeds from the Ordway Spring Fête. Deepest thanks to these donors for their major support.



NOV 9, 10, 13, 16, 17 & 18, 2018

THE SAINT PAUL CHAMBER ORCHESTRAWAYZATA COMMUNITY CHURCH, ORDWAY CONCERT HALL, SHEPHERD OF THE VALLEY CHURCH,

SAINT PAUL’S UNITED CHURCH OF CHRIST, SAINT ANDREW’S LUTHERAN CHURCH

Led by SPCO Musicians

MOZART (1756–1791) Divertimento in B-flat, K. 287 (41 min)

AllegroThema mit Variationen: Andante graziosoMenuettoAdagioMenuettoAndante — Allegro moltoMolto allegro


MOZART Six German Dances, K. 571 (9 min)

No. 1 in DNo. 2 in ANo. 3 in CNo. 4 in GNo. 5 in B-flatNo. 6 in D

MOZART Symphony No. 35 in D, K. 385, Haffner (20 min)

Allegro con spiritoAndanteMenuettoFinale: Presto

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quickly as he could in the following weeks, not even making copies to keep himself. With an introductory march, an extra minuet movement and a smaller wood-wind complement, the resulting work was a typical Serenade—a form of music intended as jovial background music for an evening gathering.

No evidence remains of a Salzburg per-formance of that Serenade (not to be con-fused with the other Serenade known as the Haffner, written for an earlier wedding in the family), but Mozart remembered the score when he was preparing music for a self-produced concert, and he asked his father to send back the manuscript. When it arrived months later, Mozart replied, “My new Haffner symphony has positively amazed me, for I had forgotten every single note of it. It must surely produce a good effect.”

To convert the serenade into a symphony, Mozart added flutes and clarinets to the outer movements and dropped the intro-ductory March and superfluous Minuet. From the outset, with its regal leaps up an octave and resonant blasts from the brass and timpani, this symphony’s festive roots shine through. Mozart probably went too far for a Serenade in his finale, with all its boisterous humor, rude surprises and drama worthy of the operatic stage. However it landed on provincial Salzburg’s upper crust, it was a hit with the discern-ing crowd at Vienna’s Burgtheater.


ARTIST PROFILES To learn more about the

musicians performing on this program, visit thespco.org/roster

Divertimento in B-flat, K. 287 (1777)


When composers of Mozart’s day were asked to entertain their patrons with party music, they dashed off simple, lighthearted works—divertimentos, serenades, nocturnes and the like—that were hardly worth reusing or remembering. But Mozart being Mozart, even his light music from his late teens and early twenties has withstood the test of time. One patron he would have been espe-cially eager to please was Countess Antonia Lodron, an avid musician herself and one of the most influential citizens of Salzburg. In 1776 he supplied her with a concerto for three pianos that she could play with her daughters, plus a Divertimento scored for a typical ensemble of two horns and strings. He followed up with another Divertimento for the same scoring in June of 1777, to help celebrate the countess’ name day.

Mozart, a strong violinist, probably led the ensemble from the first violin part, and he would have been unfazed by the melodic passages that draw the violin high into its upper range, whether in the fast first move-ment or during the decorative variations of the second movement. The other substantial inner movement, an Adagio, is exemplary night music, with plucked accompaniment imparting the character of an intimate lov-ers’ serenade. Twin minuets surround the Adagio as breezy palate cleansers, although Mozart may have pushed the boundaries a bit with a mischievous move to G minor during the first minuet’s contrasting trio. The drama of the finale is even more unex-pected, with its introductory recitative that casts the lead violin as a moody soprano in a wordless opera scene.


Six German Dances, K. 571 (1789)


Once Mozart’s long and lucrative run as Vienna’s favorite keyboard player fizzled out, his financial situation became increas-ingly dire. A small boost came at the end of

1787, when Emperor Joseph II arranged to install Mozart as Kammermusicus, a position held by Gluck until his death that year. Mozart received a modest annual sal-ary of 800 gulden, for which he provided dances for the court ensemble to play at balls. (By comparison, he collected 559 gulden from a single concert in 1785.) It wasn’t exactly the opera commissions or publishing deals he longed for, but at least it was a paying gig.

Mozart wrote 30 short dances during his first two years in that role, including the Six German Dances (K. 571) he completed on February 21, 1789. The “Deutsche Tänze” or “German Dance,” a couple’s dance style in three beats, was a favorite of the emper-or, who overlooked its risqué reputation stemming from the close embrace main-tained by the couples. (The style endured and evolved into the waltz, the quintes-sential Viennese dance.) Mozart played into another trend when he capped this dance set with percussive, jangly music in the “Turkish” style—an approximation of the fearsome military bands from Austria’s perennial foe, the Ottoman Empire.


Symphony No. 35 in D, K. 385, Haffner (1782)


Just a year after his move to Vienna, Mozart was “up to his eyes in work” dur-ing the whirlwind summer of 1782, as he explained in a letter to his father. He had just prepared the opera Abduction from the Seraglio for its premiere, and he was rushing to arrange the score for winds. (“Otherwise someone will beat me to it and secure the profits instead of me,” he wrote.) He also moved houses, and he was arranging his wedding to Constanze Weber on the sly without tipping off his disapproving father quite yet.

In the midst of all this activity, Leopold asked his son to write music for the enno-blement of Sigmund Haffner, a boyhood chum of Wolfgang’s and the son of the Salzburg Burgomaster. Mozart completed a first movement within a week, and he dispatched subsequent movements as


THE SPCO IS A PROUD MEMBER OF THE ARTS PARTNERSHIP. The Partnership strengthens its member organizations in service to the community through growing collaboration and stewardship of its shared assets.





Pekka Kuusisto, director and violin | Maureen Nelson, violin

OLIVEROS (1932–2016) Thirteen Changes for Violin (10 min)

Pekka Kuusisto, violin

MAZZOLI (b. 1980) Vespers for Violin (5 min)

Pekka Kuusisto, violin

MAZZOLI You Know Me From Here (19 min)

I. Lift Your FistsII. Everything That Rises Must ConvergeIII. You Know Me From Here


REICH (b. 1936) Duet (5 min)

Pekka Kuusisto and Maureen Nelson, violin

ADAMS (b. 1947) Shaker Loops for String Orchestra (25 min)

Part I. Shaking and TremblingPart II. Hymning SlewsPart III. Loops and VersesPart IV. A Final Shaking

(Performed without pause)

NOV 23, 24 & 25, 2018

VISIT THE CONCERT LIBRARY TO HEAR A PREVIOUS SPCO PERFORMANCE OF THIS PIECE: THESPCO.ORG/MUSIC.

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Thirteen Changes for Violin (1986)

© Anthology of Text Scores by Pauline Oliveros (ASCAP), Deep Listening Publications, 2013Courtesy of The Pauline Oliveros Trust (Pauline Oliveros.us)PAULINE OLIVEROS

Pauline Oliveros dedicated her life to a practice she called “deep listening,” promot-ing physical and psychological transforma-tion through acute awareness of sound. Building on her pioneering early career in California’s Bay Area, where she co-founded and directed the San Francisco Tape Music Center, Oliveros developed group exercises and performance instructions that drew from her experiences with tai chi, body work, feminist and LGBT activism, musi-cal improvisation and meditation, among other influences. Until her death in 2016, she advanced her work through the Deep Listening Institute. She was also a capti-vating performer who improvised on the accordion in her own Deep Listening Band.

13 Changes, composed in 1986 for the vio-linist-improviser Malcolm Goldstein, does not dictate any specific musical mate-rial, length or instrumentation. Oliveros simply prompts the performer(s) with brief, intriguing snippets of text to guide the improvisation. (The first instruction is: “Standing naked in the moonlight—Music washing the body.”) To do justice to Oliveros’ approach requires deep pres-ence and connection within the ensemble, which in turn invites the audience to join in that state of expanded consciousness.


Vespers for Violin (2014)

MISSY MAZZOLI

Vespers for Violin, for amplified violin and electronics, began as a reimagining of my recent composition Vespers for a New Dark Age. I sampled keyboards, vintage organs, voices and strings from that composition, drenched them in delay and distortion, and re-worked them into a piece that can be per-formed by a soloist. The result is something completely separate from the original work, with only distant, nostalgic connections to the source material. Vespers for Violin was

sonic fascination that has always been a hallmark of Reich’s output, regardless of the medium. He dedicated the score “to Yehudi Menuhin and to those ideals of international understanding which Sir Yehudi has practiced throughout his life.”


Shaker Loops for String Orchestra (1978)

JOHN ADAMS

Shaker Loops, born out of the large-scale Minimalism developed by Steve Reich and Philip Glass in the 1970s, was a break-through work for the young John Adams. In its initial form, it was a string quartet titled Wavemaker; as Adams explained in a program note, “I gradually developed a scheme for composing that was partly indebted to the repetitive procedures of Minimalism and partly an outgrowth of my interest in waveforms.” Unsatisfied with his first attempt, he expanded the score into a string septet (and ultimately string orches-tra) and changed the title to Shaker Loops.

“The ‘loops’ idea”, he wrote, “was a technique from the era of tape music where small lengths of prerecorded tape attached end-to-end could repeat melodic or rhythmic figures ad infinitum. (Steve Reich’s It’s Gonna Rain is the paradigm of this technique.) The Shakers got into the act partly as a pun on the musical term ‘to shake,’ meaning either to make a trem-olo with the bow across the string or else to trill rapidly from one note to another.

“The flip side of the pun was suggested by my own childhood memories of growing up not far from a defunct Shaker colony near Canterbury, New Hampshire. Although, as has since been pointed out to me, the term ‘Shaker’ itself is derogatory, it nevertheless summons up the vision of these otherwise pious and industrious souls caught up in the ecstatic frenzy of a dance that culminated in an epiphany of physical and spiritual transcendence. This dynamic, almost electri-cally charged element, so out of place in the orderly mechanistic universe of Minimalism, gave the music its raison d’être and ultimate-ly led to the full realization of the piece.”


composed for Monica Germino and Frank van der Weij, and later recorded by violinist Olivia De Prato for her recent album Streya.

— © 2018 MISSY MAZZOLI

You Know Me From Here (2012)

MISSY MAZZOLI

You Know Me From Here was commissioned by Carol Cole, for the Kronos Quartet, in honor of her husband Tim's 75th birthday. When she asked me to write this piece I immediately imagined a 20-minute musical journey homeward, a trek through chaos (I. Lift Your Fists) and loneliness (II. Everything That Rises Must Converge) to a place of security and companionship (III. You Know Me From Here). This is, at its core, music about loss, but in the most positive sense; it speaks of the loss of our old selves, the jumps into the unknown, the leaps of faith we all must make and the beautiful moments when we find solace in a person, in an idea or in music itself. The music shifts constantly from earthy, gritty gestures to soaring, leaping melodies that rarely land where we expect.

— © 2018 MISSY MAZZOLI

Duet (1993)

STEVE REICH

In the 1960s, Steve Reich broke away from musical academia and its obsession with complex, European techniques. He support-ed himself by driving a taxi in San Francisco, and he began to connect with other West Coast mavericks who were experimenting with trance-like loops and repetitive cycles, giving rise to the movement that has come to be called “Minimalism.” After moving to New York, he established his own ensemble, Steve Reich and Musicians, which provided a DIY outlet for his pulsing, multi-layered scores. He also found new ways to utilize recording technology, combining live and pre-recorded layers of the same instrument in such works as Vermont Counterpoint (1982) for flute and Electric Counterpoint (1987) for guitar.

With its smooth pulses and precise can-ons (in which one voice follows another), the Duet achieves a depth of texture and



ARTIST PROFILESPEKKA KUUSISTO (director and violin)Artistic Partner profiles appear on pages 8–9.

MAUREEN NELSON (violin) Maureen Nelson, violin, became a full-time member of The Saint Paul Chamber Orchestra in 2016. As former

founding member and first violinist, she led the Grammy-nominated Enso String Quartet for nearly two decades captivat-ing audiences from major concert stages of the world, regularly concertizing throughout North America and abroad. Founded at Yale University in 1999, the quartet has been described by Strad mag-azine as "thrilling" and praised by the Washington Post for its "glorious

the Kronos Quartet, eighth blackbird, pianist Emanuel Ax, Opera Philadelphia, LA Opera, Cincinnati Opera, New York City Opera, Chicago Fringe Opera, the Detroit Symphony, the LA Philharmonic, the Minnesota Orchestra, the American Composers Orchestra, JACK Quartet, cellist Maya Beiser, violinist Jennifer Koh, pianist Kathleen Supové, Dublin’s Crash Ensemble, the Sydney Symphony and many others. Her second opera, Breaking the Waves, premiered to great acclaim in Philadelphia in September 2016. Her third opera, Proving Up, pre-miered at Washington National Opera in January 2018. She is currently at work on a large-scale ballet for the National Ballet of Canada, and opera number four.


sonorities...half honey, half molten lava." The quartet quickly went on to win top prizes at the Concert Artists Guild com-petition and the Banff International String Quartet Competition. Classical Voice praised the ensemble as "one of the eminent string quartets of our era." Along with a busy touring and teaching schedule, Maureen made numerous criti-cally acclaimed recordings on the Naxos label with the Enso.

MISSY MAZZOLI (composer)Missy Mazzoli was recently deemed “one of the more con-sistently inven-tive, surprising composers now working in

New York” (The New York Times) and “Brooklyn’s post-millennial Mozart” (Time Out New York). Her music has been performed all over the world by

NOV 23–25 | PROGRAM NOTES

A nostalgic and wistful gem from the composer of La Bohème and Madame Butterfly.

OCTOBER 6–14

Puccini’s

Pulitzer Prize-winning

A moment of peace, in the midst of war.NOVEMBER 10–18

Composed by Kevin Puts. Libretto by Mark Campbell.Based on the screenplay Joyeux Noël by Christian Carionfor the motion picture produced by Nord-Ouest Production.

TICKETS FROM $25mnopera.org | 612-333-6669



THE SAINT PAUL CHAMBER ORCHESTRATEMPLE ISRAEL, ORDWAY CONCERT HALL, TED MANN CONCERT HALL

Richard Egarr, conductor

PURCELL (1659–1695) Selections from The Fairy Queen (20 min)

AireRondeauSymphonyDance of the FairiesMonkey's DanceOvertureIf Love's a sweet PassionSymphonySee, even Night herselfCome all ye songstersPreludeChaconne

LOCKE (1621–1677) Selections from The Tempest (15 min)

The First Musick: Introduction — GalliardLilkCurtain TuneThe First Act Tune: Rustick AirThe Third Act Tune: CorantThe Conclusion: A Canon 4 in 2

AVISON (1709–1770) Concerto Grosso No. 1 in A (after D. Scarlatti) (12 min)

Adagio Kk91aAllegro Kk24Amoroso Kk91dAllegro Kk24

I N T E R M I S S I O N (20 mn)

HANDEL (1685–1759) Selections from Water Music (40 min)

I. OvertureII. Adagio e staccatoIII. [Allegro]VII. MinuetVIII. BourréeVI. AirXI. [Allegro]XII. Alla HornpipeX. [Allegro moderato]XVI. SarabandeXVII. XVIII. XVII. Rigaudon — Allegro — RigaudonXIII. MinuetXIV. LentementXV. Bourrée

NOV 29, DEC 1 & 2, 2018


DECEMBER 1


Selections from The Fairy Queen (1692)

HENRY PURCELL

Born into a musical family, Henry Purcell spent his boyhood in London as a cho-rister for the Chapel Royal. At 18, he was appointed to a position as a court com-poser, and two years later he became the organist for Westminster Abbey, a posi-tion he held until his death. Only in the last seven years of his short life did Purcell concentrate on the theater music for which he is best known today, including Dido and Aeneas and The Fairy Queen.

Premiered in London in 1692 and revived the following year with addition-al new music, The Fairy Queen adapted A Midsummer Night’s Dream into a semi-opera. Shakespeare’s comedy, centering on the magical manipulations of the fairy queen Titania, offered ample opportuni-ties for Purcell to intersperse fanciful interludes with singing and dancing around scenes of spoken dialogue.

This suite samples the vibrant music Purcell used to set each scene, includ-ing the opening Overture and the regal Symphony that introduced Act IV. We also hear a variety of dances that accompanied choreographed ballet numbers, from the sprightly Dance for the Fairies to the hearty Monkeys’ Dance. The suite closes with an instrumental rendition of a song from Act III that plaintively asks, “If love’s a sweet passion why does it torment?”


Selections from The Tempest (1674)

MATTHEW LOCKE

Matthew Locke was the leading com-poser of the Restoration, that period that followed the return of the British mon-archy in 1660. In the instrumental music he composed in service to King Charles II, and also in his works for London’s theater scene, Locke integrated the older traditions of the string consort with new trends in musical drama. For a 1674 production of The Tempest, adapted from

The Concerto Grosso No. 1 in A Major draws from three different Scarlatti sonatas to stitch together the usual slow-fast-slow-fast structure of movements. Avison’s opening Adagio is not far off from the Grave treatment in Scarlatti’s original; the Amoroso third movement, on the other hand, is almost unrecogniz-able compared to the swift Allegro it bor-rows from. (There were not very many slow movements by Scarlatti in circula-tion at the time, so Avison had to get cre-ative.) The concerto’s two Allegro move-ments maximize the counterpoint and textural contrast found within Scarlatti’s landmark keyboard sonatas.


Selections from Water Music (1717)

GEORGE FRIDERIC HANDEL

Not long after Handel became Kapellmeister in 1710 to George Ludwig, Elector of Hanover, those two Germans found themselves making history in England. Handel, for his part, revolu-tionized the opera scene in London with Rinaldo from 1711, spurring him to set-tle there permanently. Meanwhile George became the unlikely heir to the British throne, as the closest living Protestant relative to Queen Anne when she died in 1714.

George fired the perpetually absent Handel from his Hanover position in 1713, but the two reconciled after George’s coronation and Handel became a trusted source of music for the royal court. In 1717, when a conflict with his liberal-minded son (the future George II) left the king in need of some good public relations, he organized an outing on the River Thames and asked Handel to provide orchestral entertainment. On July 17, 1717, the river filled with boats, including a barge loaded with some 50 musicians. The whole flotilla rode the tide upriver to Chelsea, stopped for sup-per and then returned to Whitehall, with Handel’s new Water Music sounding all the while.

Shakespeare by the playwright Thomas Shadwell, Locke provided a suite of instrumental music, and they also collab-orated the next year on Shadwell’s Psyche. The two productions were seminal examples of the genre of “semi-opera”—that mix of singing and spoken dialogue that would have such a profound influ-ence on Henry Purcell and composers of future generations.

Locke’s music for The Tempest was exceptionally colorful for its time, above all in the Curtain Tune that played just before the curtain first opened. The Tempest begins with the storm that gives it its name, and Locke established that atmosphere with music that starts “soft,” becomes “louder by degrees,” and ulti-mately turns “violent”—performance instructions preserved in the first pub-lication from 1675. The closing Canon demonstrates Locke’s grasp of the older, learned style of counterpoint.


Concerto Grosso No. 1 in A (after D. Scarlatti) (1744)

CHARLES AVISON

Charles Avison was a British composer, organist and writer who worked mainly in the northern city of Newcastle. As the director of a local concert series, he had first-hand experience with the English craze for concerti grossi, those group concertos developed in Italy by Corelli and imitated by Handel and many oth-ers. Avison capitalized on the trend in 1744 by publishing a set of 12 concertos modeled on Corelli’s template: a solo group consisting of two violins and cello, accompanied by a larger string ensemble and basso continuo. Instead of composing new material, Avison adapted sonatas by Domenico Scarlatti, whose popularity in England spiked after a major publication appeared in 1738. In merging Corelli’s ensemble structure with Scarlatti’s musical material, the relatively unknown Avison created a collection that easily surpassed his subscription target, and which remains active in the repertoire to this day.

NOV 29–DEC 2 | PROGRAM NOTES


This performance samples highlights from the three suites that comprise Water Music, each with slightly different instru-mentation. To help the sound carry over the water, Handel leaned on the winds and brass, including the first use of horns in a British orchestral work—a sound that is especially prominent in the third selection from the First Suite in F Major.

The Second Suite in D Major emphasiz-es the brilliant tone of the trumpets. In both the Overture and the beloved Alla Hornpipe that follows, the horns have an echoing role, answering the trumpets in a mellower, lower register. The Third Suite in G Major is the most condensed section of Water Music, with its stylized dances using an orchestra without brass. From the First Suite’s regal Overture that begins this collection to the deft Bourree from the Second Suite that marks the end, the music consistently follows the French template of the dance suite. Handel may have been German by birth and British by allegiance, but as a com-poser his ability to imitate and outshine his predecessors knew no boundaries.


conducted major symphonic orchestras such as the London Symphony, Royal Concertgebouw and Philadelphia Orchestra, has frequently guested with leading baroque ensembles such as Philharmonia Baroque and the Handel and Haydn Society. As well as an accomplished conductor, he is a brilliant harpsichordist, and is equally skilled on the organ and fortepiano. He regularly plays solo at major venues such as Wigmore and Carnegie Hall and has recorded many discs for Harmonia Mundi, notably of J.S. Bach, Couperin, Purcell and Mozart.


ARTIST PROFILESRICHARD EGARR (conductor)

Richard Egarr brings a joyful sense of adven-ture and a keen, enquiring mind to all his music-making — whether con-

ducting, directing from the keyboard, giving recitals, playing chamber-music and, indeed, talking about music at every opportunity. Music Director of the Academy of Ancient Music since 2006, Egarr was recently appointed Principal Guest Conductor of the Residentie Orkest in The Hague from 2019, and was Associate Artist of the Scottish Chamber Orchestra 2011–17. He has

FREE TICKET EXCHANGESDon’t let scheduling conflicts keep you from attending SPCO concerts. Season ticket holders can exchange into concerts that better fit their busy schedules — free of charge! Individual ticket buyers can exchange for a small fee. Visit thespco.org/exchange for more information.

CELEBRATE THE HOLIDAYS WITH THE SPCOJoin in an annual holiday tradition as the SPCO presents festive performances of some of classical music’s most treasured works. These performances are sure to sell out — order today to ensure you get seats!

Bach’s Brandenburg ConcertosThursday, December 13, 7:30pmTemple Israel, MinneapolisSaturday, December 15, 8:00pmOrdway Concert Hall, Saint PaulSunday, December 16, 2:00pmBenson Great Hall, Arden Hills

Led by SPCO musicians and soloists

Continuing our annual holiday tradition, the SPCO presents Bach’s most cherished set of orchestral works, the Brandenburg Concertos. The profound inventiveness and instrumental virtuosity of these enduring Baroque masterpieces are on full display as led by our own SPCO musicians and soloists.

Adult Tickets: $11 – $50 | Child and Student Tickets: $5Please note: Holiday concerts are not eligible for voucher or concert membership redemption.

Handel’s Messiah Copresented with The Basilica of Saint Mary

Thursday, December 20, 7:30pm Friday, December 21, 8:00pmThe Basilica of Saint Mary, MinneapolisSaturday, December 22, 8:00pm Sunday, December 23, 2:00pmOrdway Concert Hall, Saint Paul

Jeannette Sorrell, conductor; Carine Tinney, soprano Reginald Mobley, countertenor; Rufus Müller, tenor Jesse Blumberg, baritone The Singers – Minnesota Choral Artists;

Matthew Culloton, Artistic Director

Celebrate one of classical music’s most beloved traditions as the SPCO performs Handel’s Messiah. Jeannette Sorrell and the SPCO will be joined by an all-star roster of vocal soloists, and renowned vocal ensemble The Singers – Minnesota Choral Artists in what is sure to be a wonderful musical experience for the whole family.

The Brandenburg Concertos

sponsored by


Celebrating Eight Years of Partnership! The SPCO and the Greater Twin Cities Youth Symphonies (GTCYS) are celebrating eight years of partnership this season! Grounded in our shared commitment to strengthen and serve the broader community, GTCYS and the SPCO work together to inspire a love for instrumental music both on and off the stage.

Learn more at gtcys.org and thespco.org

Kids performing for kids. This powerful concept is brought to life once a year through a co-produced free family-friendly experience.

Winter Retreat. Once a year, SPCO musicians perform for more than 750 students who participate in GTCYS’ nine orchestras.

Chamber Music Institute. This annual workshop provides GTCYS students the opportunity to rehearse and perform chamber music alongside SPCO musicians.

GTCYS Night Out. Twice a year, GTCYS families attend an SPCO concert and meet (and sometimes discuss bowing techniques with) SPCO musicians.

Through the generosity of donors, the SPCO is making it easier than ever for young people to experience transformational performances. Since the launch of free tickets for children and students as part of our New Generation Initiative, attendance by young people has quadrupled to more than 8,000 children and students attending regular SPCO concerts per season, all free of charge.

Legacy gifts from audience members like you help to ensure that the SPCO’s music inspires generations to come.

Popular ways to make a legacy gift to the SPCO include: • A bequest of any dollar amount or percentage, or a balance or residue of your estate in your will or trust• A beneficiary designation of any amount or percentage for your IRA or retirement plan, bank or brokerage account,

life insurance policy or annuity• Establishment of a charitable gift annuity, which provides immediate support to the SPCO and provides you with

dependable income

Have you already made a legacy gift? Please let us know! The SPCO’s Encore Society honors and recognizes individuals who have included the SPCO in their estate plans. Membership is offered to anyone who has notified the SPCO of a gift.

Please contact Katelin Richter Davis at [email protected] or 651.292.4314 with any questions or for more information.We encourage you to consult your tax advisor or estate planner about which financial vehicles might be best for you.

Anonymous (37)Paul and Valerie AckermanArlene AlmKaren Anderson and Dr. Karol Jensen*Ms. Betty J. Anderson*S. S. AndersonMr. Rolf L. Andreassen*Brent and Jan AssinkMr. Edmund Babcock*Dr. Thomas C. and Ann G. BagnoliMr.* and Mrs.* John M. BakerRosalyn* and Michael* BakerMr. Kenneth R. Barry*Tina and Joe BarskyInez C. BergquistArthur F. BergstromMs. Ruth E. Bergstrom*Bruce and Arline* BeutelMarion Birmingham*Cynthia Bittner and Randal SchreinerRobert E. BoldtDennis BreiningLarry and Ellen Marie BrentzelDr. Arnold and Judith BrierDr. Charles T. Brown*Thomas* and Barbara BrownTheodore* and Mildred* BulinskiC.T. Bundy 2dJames CallahanNicky Carpenter*Jennifer D. CharpentierAnne L. Cheney and W. Stuart Mitchell, Jr.James P. Corson*Dr. Sheldon and Mrs. Carol L.* Damberg Lynn and Sandra Davis

Hanley DawsMrs. Betty Z. Deane*Cy and Paula DeCosseCarol A. Deutsch*Harry Drake*Hugh and Joyce EdmondsonHarry and Ilmi* EichstaedtKent E. and Katherine A. EklundDr. Dan and Marilyn* ErwinWilliam EtterJohn* and Hilde FlynnMarian Forsythe*Clare FossumDaniel E. FreemanC. Louis Frey*Inez GantzDonald E. and Adele A.* GarretsonWilliam J. Georgou*David J. GerdesTheresa M. GienappPaula L. Gottschalk*Mrs. Nettie Grabscheid*Rose O. GustafsonMiss Marion Hallgren*William H. HalversonRuth E. Hanold*Pastor Carl Hansen and Pastor Mary* HansenDouglas R. HeidenreichTom and Mary HellerJohn F. HickWalt and Judy HinckCara Gould Holmberg and David HolmbergHella Mears Hueg*Ruth S. Huss

Margaret Hustad-Perrin and David PerrinFrank J. Indihar, M.D.* Andrea and Gary IsemingerSarah Miller JohnsonCharles R. and Sally B. JorgensenErwin A. KelenSteven and Lee KingsburySternie Kissin-Rosen*Gretchen A. Klein*Rebecca Klein*Gisela Knoblauch*Joanne Kay Knoll*Linda E. Krach and Robert L. KrielJohn and Karen LarsenDawn and Mark LarsonRobert* and Elaine* LarsonDavid R. and Darlene A. LeeSallie Moniot LilienthalDorothy Lindeke*Warren* and Stephanie LundsgaardBeatrice and P.T. MageeTom and Marsha MannRobert* and Nancy MartinLudwig Mayer*Richard* and Mary B.* McMillanMarguerite S. McNally*Robert* and Roberta MegardMarlys and Robert MeliusDr.* and Mrs.* Robert MerrickMaximillian H. Metzger*Margaret L.* and Walter S.* MeyersJohn L. Michel and H. Berit MidelfortCornelia Middents*Mr. George Muellner

Allan E. ‘Pat’ Mulligan*Ms. Betty D. Murray*Mr.* and Mrs.* John M. MusserMr.* and Mrs. John H. MyersPeter B. MyersMr.* and Mrs.* Philip H. NasonLowell and Sonja NoteboomJean H. Nudell*Gayle M. OberMargaret J. O’Connor*Linda Odegard and Harlan CavertRobert M. OlafsonMarri M. OskamJanet B. Otis*Deborah J. PalmerJanet S. Paper*Terry and Mary PattonMr.* and Mrs. William S. PhillipsSandra PietronPatrick Steven Poole*Alice Preves*Eric PrindleBarbara U. Putnam*Ellen Paper Rau*David A. Robinson and Janet G. Ekern Norman R. Rose*Jack and Marty RossmannKen and Nina RothchildBerneen Rose RudolphDon and Mary Anne RyksTerry SaarioVirgil B.* and Marion* SandquistBarbara and Robert ShermanRalph* and Pearl* ShoemakerPaul* and Teri Singer

Daryl Skobba and Kathleen M. McLaughlinCharles J. and Myrna G. SmithMary L. and Clarence SmithFrank J. Sorauf*Robert Sporre*Richard and Carol StahlBarbara L. Strom*Evy SussmanEdward O. Swanson*Gerald and Emma TalenCarolyn Talmage*Margaret J. ThomasPeter and Anne ThorpMr.* and Mrs.* George A. TorenMs. Audrey Traub*Joe* and Jean UristaStephanie Cain Van D’EldenRoman and Alice* VerostkoCharles T.* and Carrie R. WalkerDouglas Wallace and Peggy HunterMichael Walsh and Maureen A. Kucera-WalshSteven Wangstad and Kristi Rollag WangstadMarilee Ward*Arvid* and Margie* WellmanPatricia Whitacre*Karl S. WillsonMrs. Rita Wilson*Frank* and Laurel WinsorJean C. Wirsig*Gary R. and Sandra M. WoeltgeMax and Deborah Zarling

* In remembrance

We thank the following donors for their commitment to sustaining the SPCO into the future.Encore Society members as of June 15, 2018

Make music part of your legacy


$50,000+AnonymousJulia W. DaytonAlfred and Ingrid Lenz HarrisonRuth and John HussJames E. Johnson and Lucy

Rosenberry JonesErwin A. and Miriam KelenStephen H. and

Kathi Austin MahleAndrew and Lynne RedleafDaniel J. Schmechel and

Wilhelmina M. WrightNancy and Ted WeyerhaeuserMargaret Wurtele

$25,000–$49,999Jo and Gordon BaileyDebra Berns and Amy LedererSheldon W. DambergJoan R. DuddingstonMike and Linda Fiterman

Family FoundationJudith Garcia Galiana and

Alberto CastilloJames and Kathryn HaymakerLowell and Cay Shea HellervikAmy L. Hubbard and

Geoffrey J. Kehoe FundThe Art and Martha Kaemmer

Fund and the MAHADH Fund of HRK Foundation

Mary E. Schaffner and Robert L. LeeAlfred P. and Ann M. MooreBetty MyersThe Garrison Keillor and Jenny

Nilsson Fund of the Minnesota Community Foundation

Mr. Daniel Pennie and Ms. Anne Carayon

Paul and Mary Reyelts FoundationMr. Justus SchlichtingFred and Gloria SewellTeresa and Ron SitKay Savik and Joe Tashjian

$15,000–$24,999AnonymousMs. Eileen M. BaumgartnerLynn and Sandra DavisRonald EibensteinerTerry Wade and

Bonnie GrzeskowiakD. William and

Mary Ellen KaufmanMarjorie and Ted KolderieJohn and Karen R. LarsenWendell and Julia MaddoxWalter S. and Margaret Meyers

Charitable FoundationDeborah J. Palmer and

Kenneth L. RichPaula PatineauNicholas Pifer and Amy McNallyRice Family Foundation /

Mr. and Mrs. John Douglass, Mr. and Mrs. James Bowditch

John Riehle and Margaret Lindlof

Leland T. Lynch and Terry Saario Fund of The Minneapolis Foundation

Janet Shoemaker Warren and Dr. Randall C. Warren

Jane and Dobson WestScott WilenskyThe Benno and

Gertrude Wolff Fund of The Saint Paul Foundation

$10,000–$14,999AnonymousThe Allegro Fund of

The Saint Paul FoundationBaillon Family FoundationRobert and Gail Buuck from the

Buuck Family FoundationJudy and Aaron DanielsGreg DeWittMr. and Mrs. Al Hilde, Jr.Hoeft Family Fund of

The Minneapolis FoundationThomas HudsonPaul and Barbara KlaasDavid L. Lillehaug and

Winifred SmithLaura Liu and Ken PomerantzPhilip and Katherine

Nason Fund of The Saint Paul Foundation

Robert M. and Colleen OberliesRobert M. OlafsonElizabeth and Shawn QuantDavid and Linda RosedahlEd and Jenni RyanSheva and Tom SandersBill and Susan SandsSandra K. SchloffJames SmithAlan and Connie WilenskyElizabeth and Bruce Willis

$5,000–$9,999Susan and Lloyd ArmstrongMr. Jeffrey T. BakkenMichael BarryTina and Joseph BarskyMr. Donald E. BensonJoan and Eric BergMichael and Judith Berman

Family Philanthropic FundTheresa M. Bevilacqua and

Delbert B. VanderheidenHarriet BissenMcCarthy-Bjorklund

FoundationDr. Arnold and Judith BrierBarbara B. BrownAnne L. Cheney and

W. Stuart Mitchell, Jr.Jon and Ann CieslakBenjamin and Laura CooperThe Dellwood Foundation, Inc.Jeffrey and Michele DeYoungHugh and Joyce EdmondsonChip and Vicki EmeryJames and Julie GasperJames and Teddy GesellKathy and Lee GremillionN. Bud and Beverly

Grossman FoundationDouglas R. HeidenreichSharon and Bruce HendryCara Gould Holmberg and

David HolmbergKris JohnsonLee JonesKyu-Young Kim and Pitnarry ShinDr. Robert L. Kriel and

Dr. Linda E. KrachMrs. Anita KuninSheila and Stephen LiebermanJon and Patty LimbacherJohn and Nancy LindahlThomas and Hinda LitmanS.K. and Sing Lo

Marja Lutsep and Michael Halloran

Helmut and Mary MaierMaureen M. Maly,

in memory of Lance A. MalyTom and Marsha MannRichard Martinez and

Sarah HudlestonJim and Jane MatsonJim Phelps and

Nancy McGlynn PhelpsWilliam McGuireJudy and David MyersMyers Family Fund of

The Saint Paul FoundationRosanne NathansonLowell and Sonja NoteboomPatricia A. O'GormanDavid and Karen Olson

Family FoundationMr. Jon OulmanPeravid FoundationMr. David Perrin and

Dr. Margaret Hustad-PerrinWalter E. and Harriet PrattProspect Creek FoundationPeter and Annie RemesBarbara and Ronald RennerKen and Nina RothchildMichael and Shirley SantoroKathleen SchubertAnne SimpsonDr. Michael and

Mrs. Sherry SpencePaul and Amy VargoMary W. Vaughan Fund of

The Minneapolis FoundationDr. Tom von Sternberg and

Eve ParkerKris WenkerPaul and Cara WilsonMr. Justin WindschitlMax and Deborah Zarling

$2,500–$4,999AnonymousMr. Douglas AffinitoWilliam and Suzanne AmmermanDr. Thomas and Ann BagnoliRoger Battreall and Jayne FunkKeith and Mary BednarowskiKay and Rick BendelMr. Arthur F. BergstromNancy and John BrockBarbara Ann BrownElwood F. Caldwell

Charitable FoundationPaul F. and Tina Marie CaseyCecil and Margaret ChallySheldon and Lili ChesterDr. Jay and Syma CohnPeter Dahlen and Mary S. CarlsenThe Dawkins Family Fund of

The Saint Paul FoundationCy and Paula DeCosse Fund of

The Minneapolis FoundationMr. Douglas Devens and Mrs.

Jennifer Raeder-DevensTom DiPasquale and

Rosanne PeraLiz DodsonThe Forman Family Fund of

The Saint Paul FoundationDean GreenbergFrederick Haas and

Sarah NordstromKaren Grabow and

Keith Halperin

THE SPECTRUM OF YOUR SUPPORT: A yearly look at all the ways you contribute

The annual giving of more than 5,000 individuals, corporations and foundations has been instrumental in advancing the artistry of The Saint Paul Chamber Orchestra. The Annual Fund provides the SPCO’s single largest and most sustainable form of revenue, in addition to the many other forms of support we receive. The following list indicates total giving from individuals between July 1, 2017, and June 30, 2018, toward the 2017.18 fiscal year. We also thank more than 1,000 sustaining donors who support the SPCO with recurring gifts.

While we are not able to list all of our supporters here, we extend our deepest appreciation to all those who have helped the SPCO serve our community. A list of all contributors who made a gift during the 2017.18 fiscal year can also be found at www.thespco.org/contribute.


Ms. Lorraine HartKris and Tom HauschildWilfrid HinesThe Hoeschler Fund of

The Saint Paul FoundationGisela Corbett and Peter HymanChris and Val JacksonDrs. Charles and Sally JorgensenJanet P. KampfDr. and Mrs. Sung Jo KimDr. Steven and Debbie KoopMaureen Kucera-Walsh and

Michael WalshBill and Diane KuhlmannMs. Susan S. LauerLydia S. LuiHolly MacDonald and

John OrbisonDaniel and Chris MahaiHelen and Bob MairsJerome Miranowski and

Donna KellyAlice Carile NealeJames and Carolyn NestingenChristie and Win NeugerEric Nilsson and Lizabeth BogerLinda Odegard and

Harlan CavertJ. Thomas and Janet PayneMs. Astghik PoladyanEric Prindle and

Dr. Emily AndersonRhoda and Paul RedleafDr. John and Betty ReichertThomas D. and Nancy V. RohdeJack and Marty RossmannMs. Kim SeversonRobert and Barbara ShermanMariana and Craig ShulstadMrs. Dianne SiegelGary and Susan SpeckerMr. Arturo SteelyMr. Michael W. SteffesChristopher StewartChristopher T. and

Linda D. StinsonDiane and Gaylord

ThormodsgardDr. Stephanie Van D'EldenThomas Wahlrobe and

Elizabeth BellDelores Weaver

$1,500–$2,499Anonymous (2)James and Sharon AllenDan Avchen and David JohnsonRobert Ball and Mark SchulerKatie BergCarole and Norlin BoyumMr. and Mrs. Roger BrooksAnnette ConklinAriel W. DickermanKathleen and Douglas DrakeLori Ricke and Eric DunnJoyce F. FieldMr. and Mrs. William GackiDoug and Jane GorenceMr. Walt HandschinJohn W. Harris FamilyEmily and Jed HarrisJon and Karen HelgasonPolly HendersonMs. M. Janice Hogan-SchiltgenOrville C. Hognander, Jr.David and Marjorie Hols

Andrea and Gary IsemingerMr. Raymond JacobsenMrs. Barbara JenkinsIsabelle and Dan JohnsonNancy and Bill JonesMr. and Mrs. Robert R. KloehnJames and Gail LaFaveMs. Alice LesneyGeorge M. Logan and

Susan H. HolmanStuart and Martha MasonCatherine A. MayerWilliam and Virginia McDonaldThe Jerry and Jeanne Meigs

Fund of the Saint Paul Foundation

Mersky Family FoundationDavid and Leni Moore

Family FoundationKay Phillips and Jill Mortensen

Fund of The Minneapolis Foundation

D. William O'Brien and Julie Smendzuik-O'Brien

Lawrence M. O'ShaughnessyDr. Anita M. PampuschJason and Kate PiehlStephen Willett and Diane PikeJulianne PragerTed and Karen Rado FamilySarah RocklerKenneth and Marian RoseDon and Mary Anne RyksAnthony and Katie ScarfoneMr. and Mrs. Hugh K. SchillingRod and Nancy SmithDr. Michael SpilaneMr. and Mrs. Warren R. StaleyMrs. Stephanie SulenticBeth Toso and Eric FreeburgMs. Marcia K. TownleyCharles Ullery and Elsa NilssonMr. Carl VossWiltz Family FundPat WuestMr. Ron Zweber and

Mr. Peter Scott

$1,000–$1,499Anonymous (3)Adams Family Charitable

Fund of American Endowment Foundation

Ms. Margaret AlldredgeMary and Bill BakemanMrs. Jeanne B. BaldyClarence and Carolyn BassMs. Jane K. BatchellerRichard BaylesDrs. Ellen and

Michael Bendel-StenzelDiane and Henry BenzPaul Burns and Kathy KimMs. Barbara L. ButcherMs. Elizabeth Riedel CarneyMs. Ellen L. ConwayLucia P. May and Bruce CoppockDavid and Mary Cost

through the Charles Piper Cost Foundation

Mr. and Mrs. Leigh F. CountrymanGwen and Kenneth CrabbCasey CrabbDoug and Ruth CraneJames and Gretchen DavidsonFrances DavisDovehill Foundation

Rick and Murph DowWilliam and Kareen EcklundJessica and Jason EttenJeff and LeeAnn EttingerRebecca S. and Benjamin R. FieldCatherine FischerPatricia FreeburgMary and Thomas GrossJennifer GrossWilliam H. HalversonMr. Charles Hample and

Ms. Frances BlyThe Hanley FamilyPaul and Cheryl HansenPastor Carl HansenLindsey and David HansenMs. Katherine HarrisWilliam HauserDon Helgeson and Sue ShepardMr. John F. HickDr. and Mrs. James HouseCoralie O. HunterMs. Nancy HyldenKaren and Stuart JohnsonErika and Herb KahlerRoger A. and

Patricia KatzenmaierSandra KeithMr. Robert KieftMargaret V. and E.

Robert KinneyMs. Andrea KircherMr. and Mrs. Marek KokoszkaMr. Robert KramerJim and Gretchen KvikstadLeJeune Family FoundationJennifer LeopoldGinny and Sy Levy

Family Fund of The Minneapolis Foundation

Sarah Lutman and Rob RudolphMark and Becky LystigDusty MairsLaura McCartenMs. Martha McCuskerMary Bigelow McMillanMargaret MehleDean and Diane MilbrathDavid Miller and Mary DewMark MislivecCharles MitchellMrs. Jeanette L. MitchellMs. Carolyn MuellerNaLa Fund of

The Minneapolis FoundationThomas and Kathryn NelsonJudith and Joseph NeumeierDovehill FoundationJohn and Kathryn O'BrienDiane Ogren and Jeffrey HillJean and Douglas ParishRobert and Julie PaschkeCatherine Polasky and

Averial NelsonDr. Richard and Arlene PontinenDr. and Mrs. Dwight A. PorterDavid and Norma PorterMary and Jonathan PreusMr. and Mrs. William L. RobertsMrs. Carol A. RobertsonThe David Robinson and

Janet Ekern FundJohn David RodriguezBurton G. Ross and

Cynthia Rosenblatt Ross FundChristine Sagstetter

Karen and Steve SangerLanny and Charlotte SchmidtMr. and Mrs. Jerald R. ShannonMark and Rebecca ShavlikRichard H. and Mary Jo SkaggsClifford C. and Virginia G.

Sorensen Trust of the Saint Paul Foundation

Mr. Ronald SpiegelVirginia L. and

Edward C. StringerDr. Andrew J. ThomasMrs. Elsie G. TrappVantine Family Fund of

The Minneapolis FoundationStephen and Alex WarchMr. David WardMark Warnken and

Nancy CoppaMr. Charles WeinholdJohn G. and Lois Schrantz

Welshons FundJohn and Sandy WhiteRichard and Lucy WilhoitSteven WilliamsonJohn W. Windhorst, Jr.The Jean C. Wirsig FundGordon Wright

$500–$999Anonymous (6)Mr. Gary Aamodt and

Ms. Celia EllingsonPaul and Valerie AckermanMs. Barbara A. AgardTom and Arlene AlmMrs. Anita AndersonMr. Stuart J. Applebaum and

Ms. Jean KingMs. Diana BarberMr. Paul A. Bard, Jr.Ms. Mary BaumanRonald and Joyce BeauchaneLynne and Bruce BeckDr. Susan BenfieldErika Marie BergDr. Sylvia and Fred BerndtKenneth and Marie BezdicekMr. Robert BishawDr. Michelle M. BlaeserMary and Gus BlanchardJoth Blodgett and Sally MullenPatricia and Martin BlumenreichMs. Fran BlyThelma BoederGail and Richard BohrMs. Mary S. BowmanAllan BradleyMrs. Andrea BrainardMr. Steve and Gail BrandMr. Bruce L. BrasaemleMr. and Mrs. Michael D. BromerHerb and Bonnie BuchbinderEllen ButlerRonald and Martha CaldwellMr. James CallahanCampbell Family

Charitable Gift FundJim and Janet CarlsonDebra Cohen and Craig FieldsSenator Richard CohenMr. Larry ColbeckSteven CopesDavid and Jeanne CornishMr. and Mrs. Michael CostelloHelen and John Crosson

Mary Beth CuttingDenise and James

D'Aurora, Ph.D.Tom E. DavisCharles M. Denny, Jr. and

Carol E. Denny Fund of the Minneapolis Foundation

Mr. and Mrs. Stephen E. DeRocheMrs. Pamela H. DesnickMrs. Ann L. DieperinkMr. and Mrs. Larry J. DouglasBill DrakeBeverly Dretzke and

Paul SchalegerDavid and Karen DudleyDavid Dudycha and

Dorothy VawterDavid and Tammy DurantMs. Sheryl EbertRichard EffressMr. Ryan EganMike and Betty ElsonJudy EnfieldMs. Deborah EnyeartPatricia FairKarl and Sara FiegenschuhMs. Carolyn D. FitermanEdward Fox and Lori BelairFox Family FoundationMary and Mike FrederickPaul and Greta GarmersMs. Jo GilbertsonJohn and Cindy GilpinJames and Jo GlasserMr. and Mrs. Richard GouldMr. and Mrs. Thomas A. GraceMr. and Mrs. Curt GrayGreg and Carol GrossStephanie Chew GrossmanArthur and JeanAnn GuetterMr. and Mrs. Curtis GumbrellDr. Elizabeth M. GutmannThe Donor Advised Charitable

Fund of Jonathan GuytonMerrill Biel and Leslie HahnKen and Suanne HallbergMs. Sandra L. HalvorsonMr. and Mrs. Harold HamiltonThomas B. HatchMr. Nick Hay and

Ms. Carol PoulsonCheryl and Reid HeglandScott and Kathy HeiderichTom and Mary HellerMs. Cate HesserJames and Leane HewittDr. and Mrs. Walter A. HinckMr. Alden Hoefer and

Mrs. Marion StuartJohn HogieStan and Jane HooperStephen L. Hopkins and

Gail OlsonMs. Ginny HousumAnne and Rich HovlandTerry and Ann HuntrodsJerome and Judith IngberRene and Marcus JacobsonMr. Donald Janes and

Ms. Marilyn ThompsonCarol Oversvee JohnsonLynn JohnsonPamela JohnsonOrville and Kathy JohnsonKatrina Johnson and

Anita Wheeler


Dr. Linda JohnsonBarry and Karen JohnsonH. Budd and Carolynn JohnsonCaryn and Jim JosephsonMr. James KalblerMr. and Mrs. John C. KaplanAndrew and Virginia KassPam Kaufman and

Dennis KeierleberMr. and Mrs. Timothy M. KellyMs. Rosemary KesslerDale and Jan KiddSteve and Lee KingsburyMr. David Kirkland and

Ms. Laurel AnthonyMr. Harold KistlerDr. Kevin KooikerLambert and Jean R. KrinkeJohn and Nanciann KruseMr. Steven KurzwegBrian LammersMr. and Mrs. Richard LangKenyon S. Latham, Jr.Dr. and Mrs. Stanley A. LeonardMr. Kelvin LimWilliam LitchyDonald and Lois LovejoyKathryn and Nancy MadsonDonald andv Rhoda MainsChris and Ann MalecekRonald and Mary MattsonJames P. McCarthy and

Gloria PetersonCorrine McCarthyAndrea and Larry McGough

Fund of The Catholic Community Foundation

Mary Ann and John MecomRoberta MegardDolores M. MerrillLaVonne B. MiddletonMr. Keith Miesel and

Ms. Linda OjalaMr. John Palmer MillerMs. Laurie Miller and

Mr. Scott SakaguchiMs. Stephanie MisonoJames and Carol MollerBob and Yvonne MomsenReverend William and

Karen MontgomeryAmy and Eric MoonGeorge and Cheryl MooreRussell Moore and Erica WeidaThe Moore Family

Charitable FundMs. Anne Murphy-ReszKarla and Peter MyersMs. Gail NelsonHelen NelsonRichard and Nancy NelsonMerritt C. Nequette and

Nancy HartungKen and Mary NeustelMr. J. NewlinEric Newman and Janice GepnerJoan and Richard NewmarkMs. Phuong NguyenDavid and Billie NovyMr. and Mrs. James M. OdlandMr. Robert P. O'Hara, Jr.Jesse Okie and Mary HarringtonMr. Kevin O'MalleyJohn Benson and

Krisan Osterby-BensonMr. and Mrs. Allan Osterud

Mr. CT OsthoffMs. Janice OstremDr. Christina PabelickLana K. PembertonJohn and Margaret PerryMs. Jane PersoonSidney and Decima PhillipsAnne D. PickMs. Sandra PietronMr. Nick Hay and

Ms. Carol PoulsonLinda Magdsick Quammen and

Parker QuammenJames and Connie ReaganMr. John ReayDavid and Catherine RichterJoanne and Jerry Robertson

Fund of Gulf Coast Comm Fndn

Ms. Debra RodahlDr. and Mrs. Calvin J. RoetzelRonning Linc FundTamara and Michael RootDiane R. RosenwaldBrynhild RowbergMitchell and Sally RubinsteinJuliana Kaufman RupertThomas and Claire RykkenMr. Tom ScottKathryn J. SedoMs. Miriam SeimDaniel and Emily ShapiroMs. Gale SharpeMr. and Mrs. Morris ShermanLane and Francine ShetterlyTerry ShimaJohn and Rebecca ShockleyMark and Mary SigmondMrs. Madeline SimonTerry and Leah SlyeMr. David SmithMarsha and John SoucherayNancy SpeerDelores and Donald StenzelDr. M. Thomas and Liba StillmanDr. Kathryn StromMonika StumpfSulasalmi Fund of the

Minneapolis FoundationMarcia & Joe Sullivan

Charity FundBarbara SwanJanet and Craig SwanMr. and Mrs. Dudley SwedbergPaul A. and Judith TarabekJames B. Tchobanoff and

Mariann CyrJon and Lea TheobaldRichard Thomas and

Teena MoyDavid and Jennifer ThomasMr. Timothy ThorsonDale W. Ulrich and Julie BrunnerAndrejs VapeGinny and Ed VizardMr. and Mrs. Raymond K.

VoelkerDouglas Wallace and

Margaret O. HunterHelen WangMr. John WardMrs. Sarah WeddellMargaret WeglinskiMr. and Mrs. Frederick WestTimothy WiedmannMrs. Frances R. Wilkinson

Mr. David WillettsMr. John WilliamsMark and Susie WilliamsonBernie and Evie Zeruhn

$300–$499Anonymous (9)Gwen R. AndersonChip and Barbara AllenRobert Anderson and

John SchmidtMr. Bruce T. AndersonMr. Dean AndersonMrs. Margaret AndersonLinda AndersonMs. Kathryn D. AndrewsJ. Michael BaroneMichelle and Phillip BarryMs. Karen BaszynskiDr. and Mrs. Milton C. BauerMrs. Meredith BergVernon and Luann BerglundEli Berg-MaasMr. Bruce BeutelSharon BigotChristopher Bineham and

Harrison RiversMrs. Joyce BlomquistJane L. BossGeorge and Elaine BoydMrs. Elaine BrahmsJudith and Paul BrandonMr. and Mrs. John E. BrandtJean and Carleton BrookinsDr. Andrew and

Sherilyn BurgdorfSusan and Michael BurnettMr. Crawford M. CampbellDr. Thomas G. and

Susan P. CatheyMr. Oscar B. ChamberlainSteven and Helen ChambersMr. and Mrs. Darrell J.

CharboneauMrs. Michelle ChristiansonMargaret and Roger ClemenceRobert Cochrane and

Denise ScharlemannJohn and Grace CoganMs. Judith CollopyMary Sue ComfortMr. and Mrs. Russell G. CoxThe Crosswols FoundationMr. Peter CrossMr. Terry and

Mrs. Jeanette CuretonMs. Mary DawsonJohn and Virginia DellMichael and Sherry DeRosaMrs. Elisabeth DeutschPeter and Sara DiscenzaMs. Marybeth DornDr. and Mrs. Jerome W. DouganMr. and Mrs. Wayne DunsheeJan L. DuquetteMs. Ethel DzubayMr. & Mrs. John C. EnglishMr. and Mrs. Leif EricksonJoseph and Susan EschenbacherJohn and Carol EvertRichard and Adele EvidonMr. and Mrs. Francis FallonDr. Louise FawcettMr. William FitzgeraldMs. Jo Fleming

Caroline and Dutton FosterMr. and Mrs. John FrankMs. Cynthia FreedmanMr. Lee FrelichMs. Phyllis Doane FrisbyBarbara A. FritzMarjorie FrostBruce and Alice GaarderMargot Forfunato GaltMs. Deb GarveyRebecca GepnerMr. David GerdesTheresa M. GienappTheodore and Hung-Ja GliskeNina and Matthew GrahamMr. Vadim GurvichJohn and Mary GustafsonScott and Jane HallMark and Mary Jo HallbergMr. William HansonLowell M. HansonRobert and Clara HardyStan and Jodi HarpsteadMs. Loraine HarrisLyle HartDr. Paul HartzheimMr. David HawleyMs. Carrie HefteDavid and Ann HeiderMr. Grey HelveyMs. Mary Beth HendersonMs. Kristin L. HendricksonMr. and Mrs. David HenselerMs. Mary Kay HicksDr. and Mrs. John Jacob HillMary F. HillAnders and Julie HimmelstrupArthur and Donna HogensonMr. and Mrs. Robert HohertzMr. Matt HoldenMr. and Mrs. John M. HopkinsMs. Nancy HuartMr. Guillermo IrisarriMr. and Mrs. Jerome H. IrsfeldMina JacobsMary E. and Todd C. JacobsonDonald and Suzanne JamesMargaret and John JanzenMr. Mark JarrettMs. Suzanne JebeMs. JoAnn JohnsonRonald and Barbara JohnsonNancy H. JonesErin and Alex JudeMr. and Mrs. Henry KaldahlMr. Raye Kanzenbach and

Mrs. Joni MacDonaldHarvey and Suzanne KaplanBert and Jane KasiskePamela E. and

Jeremiah J. KearneyMr. Chris KeatingJeffrey KimptonAnthony L. Kiorpes and

Farrel E. RichMr. Carlton KittlesonArthur KlassenMr. and Mrs. Arthur and

Bethany KlebanovAllan W. Klein and

Harriet LansingWilliam D. Klein and Hildy BowbeerMs. Ellen KniebelGerd KnopsMs. Linda Y. Kohl

James P. KortzDalia and Lawrence KrautMs. Jana LarsonRichard Launer and Amy SadoffMr. and Mrs. James A. LeightonRay and Ginny LeviMr. and Mrs. Herbert LewisMs. Mary LewisMr. and Mrs. Michael A. LidbergDr. Roger and Ellen C. LillemoenChristopher and Jana LindMr. Rodney J. LoefflerDr. Linda Ann LongMary Lundberg-Johnson and

David C. JohnsonMs. Michele MadiganRobert Madoff and Jane KornDanette MalerichMichael MannsMerritt and Betty MarquardtMr. Todd MarshallLawrence and Claire MartinEdwin and Katherine MartinMs. Phyllis MattillKristi MattsonBrian and Karen MaverickMs. Sylvia McAlpineMs. Sylvia McCallisterDavid McClungMs. Susan McKinleyMs. Anne McKinseyStanley and Susanne MeyerMr. John MichelMr. John L. Michel and

Dr. H. Berit MidelfortMs. Deborah Mielke and

Mr. Ben JacksonMs. Nancy MillerRodney Miller and

William A. MinerJoan and Robert MitchellDan and Lynn MontgomeryMr. and Mrs. Jack MoranInar and Susan MoricsMs. Ann MorrisseyMrs. Jennifer MuenchowMary and Peter MulierJohn MulloyApril L. Narcisse and

James A. PercichMichael Nation and

Janet SauersDr. and Mrs. Robert P. NelsonMr. and Mrs. Edmund NewmanDon and Gerda NightingaleMr. David NordhausenByron and Janet NordstromMr. Paul NyquistMr. James Oberly and

Ms. Louise MerriamPaul and Jeana OgrenMs. Patricia OliveMr. David Edward OlsenMs. Ellen OlsonMr. William OlszewskiCorrie W. Ooms BeckMs. Charissa OsbornMr. and Mrs. Stephen L. ParkerTerry and Mary PattonMr. Michael J. PetermanDavid and Nancy PetersMs. Janet Petri and

Mr. Paul ZornMs. Ann L. PiotrowskiMr. David Pitt and

Ms. Mary Beth Curry


Bruce and Kathleen PohligMr. John K. PorterMs. Lorraine PotuzakMs. Leila D.J. PoulladaMr. Alex PritchardMrs. Jean ProbstJoseph and Patricia PuliceMr. Richard Putzier and

Ms. Jane PoethkeMr. Bradley and Mrs. Linda

QuardererMichael and Charito RabeMr. and Mrs. Dave RacerMs. Dorothy RaetzMs. Molly RaskeMs. Lisa ReedGregory and Patricia ReeseMr. and Mrs. Vern ReinhardtSally A. RichardsonGail and Joel RobertsMr. James A. RoellerMr. and Mrs. Richard RominskiBruce and Ann RovnerJim and Sandy RummelMr. Dick SarafoleanMr. Ottavio A. SavinaMary E. SavinaRobert Stanich and

Jeanne SchlehMr. and Mrs. Joseph R. SchumiHarold A. SchwindMr. and Mrs. William R. Scott, Jr.Dr. and Mrs. Robert H. ScottMr. and Mrs. Thomas H. SelwoldMr. and Mrs.

Edward J. SenningerJay and Kathryn SeveranceMs. Mary ShamrockAlan and Linda ShapiroDr. and Mrs. Leslie A. SharpeFrank and Ruth ShawDavid Short and Jennifer

MarroneJohn and Brenda SielaffPaul and Erika SitzGlenn and Mary SkoyMr. and Mrs. Robert B. SmithMr. and Mrs. Douglas SmithAshley and Jon SondergaardDr. Krzysztof Burhardt and

Ms. April SpasMargaret SpearFlorence Sprague and

David MisemerBiruta and Andris SprudsKevin and Barbara StalsbergMr. Michael StellmacherMrs. Judy SteltznerDenis and Nancy StoddardCarol and William StrakaSteve Pincus and

Michelle StrangisBenjamin SwansonRichard SwensenMr. Jerry SwensonWayne and Judy SwisherKipling Thacker and Kevyn RileyMs. Joyce ThielenMr. and Mrs. John P. ThomasMr. Benjamin ThomasJean ThomsonJohn and Theresa ThurmesMark and Jan TiggasBruce and Janet TockmanMr. Neil J. TrainorDavid and Janice Tweet

George and Josephine VaniaMs. Victoria K. VeachMs. Elizabeth Villalta and

Mr. Perry LeoMr. Mark VisteJenifer Wagner and

James VogelShawn Wanta and Pat FenlonMr. and Mrs. Gilbert E. WardMr. Mark WeigelWilliam and Diana WellerJames and Martha WellsJohn P. and

Annette Morrison WhaleyThomas and Mary Lou WilharberMr. and Mrs. Robert T. WilsonMrs. Marguerite WilsonGary and Sandra WoeltgeMs. Mary YeeAlex Schildmeyer and

Priscilla ZeeMs. Nancy ZeisMrs. Judy Zinn

$150–$299Anonymous (16)Tracey AbbottMs. Karen AbrahamWayne and Connie AdkissonJames and Anne AfdahlDonna Ahrens and Philip

AndersonMr. and Mrs. Nobuhiko AkimotoJanet AlbersMr. James Alt and

Mrs. Deborah McKnightMr. and Mrs. William AlthoffArthur AnczarskiDr. and Mrs. John H. AndersonBeverly S. AndersonLori and Lee AndersonDr. John Anderson and

Ms. Marsha NiebuhrJerome and Constance

AndersonMs. Paula A. AndersonMr. and Mrs. Renner S. AndersonMs. Rosalind AnnenMs. Lois AnselmentPeter Anson and

Sally Ankeny AnsonEmily AnthonyMatt Anton and Melina WilliamsMs. Carole ApplebyMs. Ellen ArchibaldMr. Steven ArnoldMary Kay ArthurMr. and Mrs. Frederick M. AsherMichael AttonElisabeth AurandMs. Karen AvalozMr. Mentor AddicksJoseph R. Baierl and

Denise DuchateauAudrey and Dan BaileyMs. Carly BakerFred and Carol BanisterMr. Richard BanyardBenjamin and Aroti BaymanJohn Beal and Barbara BrinMr. and Mrs. Mitchell E. BenderAndrew and Audrey BenjaminBradley and Jenny BennMs. Elizabeth BennettDonald and Mary Anne BennettSusan Benus

Mr. and Mrs. Randall C. BetcherBeth BirdRenee Pfenning and

Wayne BjorlieMelissa and Matt BleeckerMs. Joan BlissSheila M. BoosPatricia BorchertMr. Stuart BorkenMr. and Mrs. David J. BorsheimMr. and Mrs. Jeff BowarJudy and Gerald BrattJohn and Rosemary BraunMr. Roger BredesonJim BrewerMs. Dorothy BrewerMs. Jan C. BrownMs. Cheryl BrownPhilip and Ellen BrunerMs. Dorene J. BrunsKeith and Nora BuckleyMs. Tamara R. BuetowMr. Matthew BuliscoMr. and Mrs. Daniel BurksMr. and Mrs. Paul E. BurnsMs. Elizabeth BuschorMrs. Annabelle D. BushMs. Janel M. BushMs. Diane BushyagerMr. Douglas CaldwellCharles G. CalhounMr. and Mrs. J. Kevin CallahanMr. and Mrs. Robert J. CallahanDr. John B. CardleMs. Elaine J. CarlsonLynn and Steve CarnesAlan and Ruth CarpDr. Emmett CarpelMr. James CarrMr. Eugene W. CarrollMs. Cynthia CattellMr. and Mrs. William C. Child, Jr.Sharon T. ChmielarzMs. Jeannine A. ChurchillCasey ClausenRebecca and Brian ClineMr. and Mrs. Joseph ClysdaleElizabeth Cobb and Peter MayeGary B. CohenJan CollitonMs. Phyllis ConlinMs. Nancy ConwayEdward and Monica CookThe Nellie Johnson and Walter

Cooney Fund of InFaith Community Foundation

Mark Lammers and Margaret Cords

Mrs. Jeanne E. CorwinMr. Michael CoscioPeter E. and Eunice K. CoteJane CowlesStephen J. Creasey and

Lori L. WilcoxRobert and Leanne CromptonBarbara and Richard CrouterT. Joseph and

Mary Kane CrumleyMs. Nancy A. CudahyMr. and Mrs. Robert CuerdenMs. Judith CusterMs. Elaine A. DalagerFrederick and

Edith Ann DalleskaRichard and Nancy Randall Dana

Timothy and Cynthia DaveyMr. and Mrs. Peter A. DavisRichard DayAmos and Sue DeinardMs. Laura DelavieMr. and Mrs. Max DelongDr. and Mrs. Donald E. DeraufMr. William Dexheimer PharrisMarcia and John DiraclesKorto DixonMr. James DoakHumphrey DoermannSue DosalReverend Mark B. DoshMr. Donald DraayerMr. and Mrs. Joel R. DufresneStephen and Vickie DunnMs. Mary EarlDoug and Connie EarlLisa EdstromRobert and Kathleen EideKent and Katherine EklundMs. Nada EllertJoseph and Marilyn EmondDebra and Curtis EnestvedtMr. and Mrs. Theodore EricsonMrs. Patricia ErlandsonMs. Diana ErsfeldMs. Laura EspondaburuMrs. Wendy D. EvansMr. Rumi Faizer and

Mrs. Archana RamaswamyGary FalkensteinJack and Eileen FalkerMs. Kathie FaricyMr. Russell FeltDr. Brian FiedlerFrances and Roger FieldDennis FindleyMs. Wanda FingalsonPapa SmurfJan and John FinneganMr. Sheldon Finver and

Ms. Dee AlbertDr. and Mrs. Steven FisherMr. John Floberg and

Ms. Martha HicknerMr. Paul FloydMs. Delores FohlmeisterMrs. Elizabeth FoleyThe Connie Foote Family Fund

of The Saint Paul FoundationLinda and Douglas FosterEdward and Janet FosterMs. Kathleen FoutyDr. and Mrs. Elliot FranckeMs. Bobbie FredsallDr. Arlo and Stephanie FrostMr. Markus Gaelli and

Ms. Deborah GrossTheodore GalambosSusan Gallagher Alexander and

Mark AlexanderDr. and Mrs. John T. GarlandMr. Paul B. GarrettMr. Joseph GauglerOlivia and Donald GaultDr. and Mrs. Robert W. GeistRobert and Elizabeth GenoveseDavid and Sharon GielMs. Janet GillespieMary GillespieMr. Mark D. GitchJoline Gitis and Steven MilesAnne and Stanley Glad

Peg and Liz GlynnFrances S. GoMr. and Mrs. Howard GochbergRalph H. and Ursula F. GoebelBette GoldbergMr. Tim GoldenKen and Harriet C. GoodpasterMrs. Katherine GoodrichPaul and Barbara GrabowskiMr. Timothy Grady and

Ms. Catherine AllanCharlotte L. GrantierMs. Annalee GrayDennis and Liz GrimmerMr. and Mrs. Robert GrooverMr. Gerald F. GruberPamela and Josh GruberStephen and Roxanne GudemanMr. Daniel Gumnit and

Ms. Linda KuusistoMr. and Mrs. James M. HackingMichael and Jane HagedornBob and Diane HagstromNoelle and Theodore HalandJohn and Anne HaleyDr. Pinckney HallMrs. Evelyn H. HalversonLouise M. Halverson and

David C. SommerMs. Kathlyn HalvorsenMs. Linda HammondMr. Russell HankinsAnne Hanley and

George SkinnerMrs. Sally S. HartShawn D. HartfeldtLinda and Dick HartshornDennis HartungMr. Ken H. HartungMrs. Mary M. HauserMr. and Mrs. Harry C. HeacoxDennis and Nancy HebrinkMrs. Sally HeimermanGeoffrey and Randi HellmanMr. and Mrs.

Lawrence J. Hessburg, Jr.Mr. Russell HeuckendorfMr. Charles HibbardMr. Brian HildebrantMr. Jonathan HillMs. Elizabeth HinzMs. Gayle E. HjellmingMr. Michael HjelmelandMr. and Mrs. Neil A. HodsonS.E. and Lynn W. HodulikMr. and Mrs. James A. HoglundLois HollingsworthMs. Julie F. HolmenMr. Richard HolmesMs. Abbe HolmgrenDr. and Mrs. Robert T. HoltMs. Beth Honetschlager and

Mr. Donald GreenebaumMs. Linda M. HoskinsBurt and Sandy HoversonMr. and Mrs. Brian HowellMs. Teresa HudobaKathleen and Mark HumphreyMr. John HumphreyChris HuntingtonPatricia Hurd and Bruce WeeksBarbara Hyer and John PavlovichMs. Emi ItoMrs. Kathleen Jaglo-JosephMs. Ann Jalonen


Skip and Linda JamesPat and Rita G. JarrardMichael JelinskyMs. Paula JohnsonMs. Marnie JohnsonMartha JohnsonMr. Robert JohnsonMr. and Mrs. Russell JohnsonMs. Dolores JohnsonGuy and Jean JohnsonVirginia and Roger JohnsonMs. Diane JohnsonKaren and George JohnsonElizabeth and Neal JohnstonJan JoncasMr. Ellis JonesMary A. JonesMs. Lois JusterMrs. Rosann KahnerMs. Rebecca KajanderMs. Elizabeth KaluzaMr. Michael KannerMr. and Mrs. Joel KatzAlfred and Sharon KauthMs. Alice KeithDr. and Mrs. Curtis D. KellerJ. Richard and Faith KelleyMrs. Joanne E. KendallPaul and Nancy KerestesMrs. Charlyn KerrMr. Eric N. KingLinda A. King and

Robert SchauingerSarah KinneyClara and Donald KlatkeMr. Karl KorbelMr. Thomas KornackerJeanne and William KosfeldWes and Deirdre KramerMr. and Mrs. Thomas KrickMs. Bonita KuslichMs. Dawn KuzmaMs. Mary LachSarah LarocheDr. and Mrs. Van S. LawrenceMr. and Mrs. Charles H. LeckJim and Linda LeeDavid R. and Darlene A. LeeKaren Leonard Family

Charitable FundStephen and Rita LevinRichard and Wende LewisMr. Robert LiberaMr. Don LiftoMrs. Perrin LillyMr. Robert LindesmithMs. Mary LindgrenMs. Susan LindooMr. Thomas LindquistMs. Patricia LockyearElaine and Marvin LofquistJudy LundMs. Lynn LundbergEric and Cindy LundinEarl and Evangeline R.

LundstromMr. and Mrs. King W. MaMr. and Mrs. John MacBainMs. Marsha MaceySusan and Roderick MacphersonJoan Madden Charitable FundMs. Janet MadrigalYader MadrizMr. Vernon Maetzold

Susan and Claus MahlerTony and Alice MaistrovichPaul and Patricia MamulaMr. David MangenMrs. Sara MartineauThomas and Nona MasonJack and Robin MayfieldMr. David MayoLaverle McAdams and

Judy WinieckiMr. William McCarthyMs. Dorothy McClungM. J. McGregor and

Stephen M. DahlDonn and Bonnie McLellanMs. Regina McNearneyMr. and Mrs. Myron MeinhardtJames and Judith MellingerVelia R. MelroseBrock MetzgerMr. and Mrs. Virgil J. MeyerMr. Lysle MeyerMr. William MichaelisMs. Carol MillarCurtis and Catherine MillerMr. John Miranowski and

Ms. Susana GoggiJoyce Mitchell and

William SatzerMs. Carol MoenMs. Karen MolineMs. Marilyn MoonMr. Richard MooreGarry MooreMrs. Alice MoormannMs. Yvonne MorehouseMary Morehouse and

Greg KruseMs. Judith MorganMr. and Mrs. James A. MornesMark MovicPaul and Kris MoyerJames and Marilyn MuellnerMr. George MuellnerJanet and Thomas MungerMr. and Mrs.

John K. MunhollandMr. Roger MussellLori Myren-ManbeckMary Jo and Frederick NairnMichael and Janis NashAlan and Dena NaylorRichard and Jeannette NegriMrs. Marlys NelsonMs. Lynne NelsonMs. Barbara NelsonDavid A. and Audrey J. NelsonMary Helen NelsonMs. Patricia NelsonMark NerenhausenMr. Michael NessetMs. Kathleen NewellRobert and Ann NiedringhausMr. Mark NiehausLaurits and Mary NielsenMs. Mary NobleBeverly and Warren NordleyMr. and Mrs. Leonard NordstromMs. Laura NortwenKevin Nosbisch and

Kim LeventhalLucas O'BrienMaryfrances O'BrienJim and Judy O'DonnellMs. Rose Mary O'Donovan

Mr. and Mrs. Roger OelschlagerMr. David OglesbyJonathan OlesonPeter and Cheryl OlofsonMr. and Mrs. David W. OlsenScott and Judy OlsenJulie and Robert OlsonGerard and Louise OlsonMr. William O'NeillDonna and Marvin OrtquistIven OseJanice and Rick OstromMr. Thomas PachollCharlotte and Joseph PalmiterMs. Bonnie PalmquistJohn ParkMr. and Mrs. James S. ParkerMs. Patricia Parrish and

Mr. David SchafferMr. and Mrs. Brian ParsonsMr. Thomas PaulCynthia and George PeckMr. Paul PedersonMs. Lisa PedersonHeather PerkinsMr. and Mrs. Robert PetersDeWayne and Lois PetersenMr. Robert PetersonMs. Naomi PetersonSydney M. PhillipsMs. Evelyn PickettMr. Herb Pilhofer and

Ms. Rosemary JanuschkaMr. and Mrs. Chester PiotrowskiRichard and Meredith PoppeleMrs. Beverly JohnsonAlan and Judith PotterMrs. Bonnie PowerStephen PrattMs. Judith PryorMs. Mary Ellen PughAndrea and Ronald QuanbeckSiegfried and Ann RabieMs. Sharon RadmanDavid and Graciela RamirezMr. and Mrs. Thue RasmussenGordon RauschBarbara and William ReadMr. John ReitanMs. Patricia RepinskiBrian RichardsMs. Ann RichterMr. Philip RickeyMs. Ruth RinkerNancy and David RobbinsMrs. Annemarie RobertsonJesus RodriguezMr. Nick RogersAllan Rosenwald Mary Grau

Charitable FundMrs. Constance RossNancy and Everett RotenberryMr. Warren RottmannPaul and Pat SackettMr. Scott SandbergMs. Karen SandbergMs. Sandra SandellDr. and Mrs. Leon SatranMr. Robert SatterstromMark and Gail SatzMr. Steven Savitt

Ms. Nancy ScanlanMs. Renee SchaeferMs. D.A. SchaeferMs. Naomi SchemanSue T. and Charles G. SchiessLynn SchindlerMs. Neala SchleuningMr. Richard SchmitterMr. and Mrs. Gary SchnitkerMr. and Mrs. Robert J. SchwobMr. Arne SelbygMs. Mary SellMs. Linda SellarsLuke and Karen ShanahanMs. Maureen ShannonMr. and Mrs. Jeffry S. ShawDr. Len E. ShelhamerMarion and C. David SidesRobert SilvermanMs. Ginger SiscoMs. M. Kathleen SitzmannSandra SkaarMr. Dennis SkradeMs. Helen SlaterMs. Isabel SlatorMrs. Sharon SlettehaughElaine Sloan and Ross Moen

Charitable FundMs. Linda SmithMs. Jean SmithMs. Kathie SmithMr. Conrad Soderholm and

Ms. Mary TingerthalMs. Mary SonnenMs. Angeline SorensonMr. Dennis SorheimMs. Sheryl SostarichEmil John and Joyce StabaYvonne and Larry StaffordRichard and Carol StahlMr. Mike SteinerMarcia L. Stephens and

Jeffrey RundgrenMrs. Janet StevensMs. Rachel StiglitzCharles StoddardMs. Stephanie StoesselMr. Warren StortroenMr. John StoutMrs. Anne StundahlMs. Janet SullivanMs. Elizabeth SullivanJohn SusagEvy and Ross SussmanSwanson Charity FundCynthia Syme and

Richard RosenbergMs. Karen TarrantCarol TauerMr. Allan TaylorRoger and Alice ThiedeMs. Irma ThiesAmy ThirstenMs. Katharine ThomasCharles ThompsonMr. and Mrs. Anthony ThompsonDoraLee Delzell Throckmorton

and Don Allen WellsJohn and Susan ThuesonMs. Deiane ThurnerMs. Pamela Tibbetts

Mr. Richard ToddMr. and Mrs. Joseph R. TrepanierDale TripplerRobert and Lois TroemelMs. Nancy TruaxMr. Mark TwedtMr. Byron TwissLowell and Marilyn UelandMs. Mary UlnessMr. and Mrs. John UrbanskiKirk VadnaisMr. and Mrs. Jeffrey VanMs. Janice VanceBette VandersteenDr. Carol VaubelMr. Roman VerostkoMichael Vitt and

Maureen McCarthyMs. Amy VogtMr. Phillip VoightMs. Mary VolkMr. David VorlandMs. Eileen VothCarol and Timothy WahlMary C. WaibelJames WaldoMr. and Mrs. Lee WallCharles and Susan WardMrs. Theresa WatschkeMs. Jean WatsonRaymond and Arlette WattsA. D. and Theo R. WeeBarbara F. WeissbergerMs. Karen Weium and

Mr. Dave BarnardMr. John WelckleMs. Naomi WellsCasey WellsMr. and Mrs. Eric WesmanMrs. Gerri WestlundDina and Mark WestlundJoy and John WetzelMs. Leeann WhelanLloyd and Carol WhiteAnn WhiteNicholas and Laura WhitneyMr. and Mrs. Donaldson WickensPaul and Jan WicklundMr. Rodney WilkensJohn and Ann WilkesKathie and Jay WilkinsonMartha and Michael WillettPhillip WilliamsMs. Charlotte WilliamsMrs. Arlene WilliamsC. Neil and Julie M. WilliamsMr. Karl WillsonMr. Theodore WilsonMs. Sue WiltgenMr. and Mrs. Glen WinchellEdwin and Barbara WistrandMr. and Mrs. Ernest WoizeschkeMs. Kimberly WolkenWayne and Mary Lou WolseyMr. and Mrs. Lee WoolmanLing YangSuzanne YeagerJane U. YoungChristine Zagaria and Stan Keillor

We have given careful attention to ensure a complete and accurate list. If your name has been misspelled or omitted, please accept our apologies and inform us of the error by calling 651.292.3246.


SYMBOL KEY ** ALL OR PART OF THIS GIFT IS RESTRICTED FUNDING.

OFFICIAL PARTNERS OF THE SPCO ACKNOWLEDGMENTS

INSTITUTIONAL INVESTORSThe Saint Paul Chamber Orchestra is pleased to recognize the following organizations who contributed to the SPCO between July 1, 2017, and June 30, 2018.

$250,000 +Minnesota State Arts Board**Target**

$100,000–$249,999Katherine B. Andersen Fund of

The Saint Paul Foundation**

$50,000–$99,9993MFred C. and Katherine B.

Andersen Foundation**General Mills FoundationThe McKnight Foundation

$25,000–$49,000Anonymous The Augustine Foundation **City of Saint Paul Cultural

STAR Program**Commonwealth PropertiesEcolab**John S. and James L.

Knight Foundation**Mairs & Power, Inc.Medtronic FoundationNational Endowment for the Arts**The Saint Paul HotelSecurian FinancialWells Fargo Foundation Minnesota

$15,000–$24,999Andersen Corporate FoundationAnna M. Heilmaier

Charitable FoundationDeluxe Corporation FoundationFriends of The Saint Paul

Chamber Orchestra**John Larsen FoundationSit Investment Associates, Inc.

$10,000–$14,999AnonymousBest Buy FoundationThe Boss FoundationDeloitte LLPThe Dorsey & Whitney FoundationFaegre Baker Daniels LLPFelhaber LarsonEugene U. and Mary F. Frey Family

Fund of The Saint Paul FoundationHoulihan LokeyLifeWTR**Piper Jaffray Companies FoundationPricewaterhouseCoopersRobins Kaplan LLPSt. Paul Radiology FoundationStella ArtoisStinson Leonard Street LLPUnited Health FoundationTravelersU.S. Bank FoundationWenger FoundationXcel Energy Foundation**

$5,000–$9,999Beaverdale FoundationBowman and BrookeEide BaillyFredrikson & Byron FoundationEmerson Process Management –

Rosemount, Inc.Hammel,

Green and Abrahamson, Inc.Hardenbergh FoundationHealthPartnersInterContinental

Saint Paul Riverfront **Maslon LLPRahr FoundationRBC Foundation - USA**Renaissance Minneapolis Hotel,

The Depot**R.C. Lilly FoundationStonebridge Capital AdvisorsSuccess Computer ConsultingThomson Reuters

$2,500–$4,999Accredited Investors, Inc.Alice M. Ditson Fund of

Columbia University**Amphion Foundation**Bust Out Solutions Inc.**Fox Rothschild LLPGray Plant MootyKPMG LLPLocus ArchitectureMargaret Rivers FundMayo ClinicMerchant & Gould P.C.New Music USA**Nilan Johnson Lewis, PAOkabena AdvisorsPavilion Advisory Group Inc.Peregrine Capital ManagementElizabeth C. Quinlan FoundationSchwegman, Lundberg & Woessner, PATennant Foundation

$1,500–$2,499Bailey Nurseries, Inc.Canyon Partners, LLCChatham Asset ManagementHubbard Broadcasting FoundationMcGough ConstructionPyrford International

$1,000–$1,499AnonymousAlice M. O'Brien FoundationBremer BankBriggs and Morgan, PAFederated InsuranceNTH, Inc.RSP Architects, Ltd.Senior Health Management, Inc.Weyerhaeuser Memorial Fund

$500–$999CBIZ, Inc.Community Shares of MinnesotaDordt CollegeMarcoPIMCO

$499 AND BELOWAnonymousBoyer and AssociatesBrock White Company LLCGrumbles Law PLLCHR SimplifiedJim Burton Realty, Inc.Pentwater Capital ManagementSmith Foundry CompanyVictory Parking

$250,000+

This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund.**

**

Andersen Corporate Foundation

Anna M. Heilmaier Charitable Foundation

John Larsen Foundation

$15,000–$24,999

$100,000–$249,999

Katherine B. Andersen Fund of The Saint Paul Foundation**

$50,000–$99,999

** Fred C. and Katherine B. Andersen Foundation**

Project funding provided in part by an award from the National Endowment for the Arts.

**

This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund.

This project is financed in part by the City of Saint Paul Cultural Sales Tax Revitalization Program. **

Promotional support is provided by Classical Minnesota Public Radio, KSJN 99.5 in the Twin Cities.The Friends of the SPCO sponsor Fanfare pre-concert events before select Friday and Saturday performances.

$25,000–$49,999

Anonymous

The Augustine Foundation**

Mairs & Power, Inc.

FoundationMinnesota

**

**

**

**John S. and James L.


In memory of James T. AdamsAdams Family Charitable Fund of the

American Endowment Foundation

In honor of Arlene and Tom Alm's 25th wedding anniversaryBarbara Goodman

In honor of Gordon Altshuler's 60th birthdayBob and Linda Perry

In memory of Dennis Robert AndersonWalter Gegner

In honor of Evelyn BergEli Berg-Maas

In memory of Arline BeutelMr. Bruce Beutel

In honor of the SPCO and Jonathan Biss’ performance on 2.1.18Eve Wolf

In memory of Howard BrinJerome and Judith Ingber

In memory of Dr. Charles T. Brown, Jr.Marilyn AndersonMs. Kay BachLynnette BaileyKay and Rick BendelDianne BlankenbakerMs. Carol BrahmsHerb BuchbinderJoann BuieJanet DuranJudith GibsonJane and Robert KellerChristine KongsvikCarol Korogi-ReevesSuzanne MelandBarbara and Richard ParksDr. Michael and Mrs. Sherry SpenceDr. Wayne ThompsonSharon Torodor

In memory of Ruth BrummondFriends of The Saint Paul Chamber

OrchestraRoger and Vicki Henry

In honor of Anne Cheney and Stu MitchellMr. and Mrs. Renner S. Anderson

In honor of Steven CopesMs. Zehra Keye

In memory of Dixie J. CourantDr. Anita M. Pampusch

In memory of DianeMr. Milton Stone

In honor of Ruth and Jerry Degehausen's 50th anniversaryMr. Dennis Sorheim

In honor of the wedding anniversary of Amos and Sue DeinardErwin A. and Miriam Kelen

In memory of Karen DonnellyJohanna Del CastilloFriends of The Saint Paul

Chamber OrchestraNancy McNee

In memory of Harold and Winnie DoranMr. A. Brian Doran

In honor of Professor Edwin FogelmanTamara and Michael Root

In memory of Virginia GreenmanDr. and Mrs. Robert W. Geist

In memory of Rose GustafsonFriends of The Saint Paul

Chamber Orchestra

In memory of Kathleen Gail HelveyMr. Grey Helvey

In memory of Gary John HuntMr. Thomas Hunt

In honor of John and Ruth HussCharles Ullery and Elsa Nilsson

In honor of Layton JamesJames and Carolyn Nestingen

In honor of Art and Martha KaemmerRichard and Nancy Randall Dana

In memory of Martha KaemmerFriends of The Saint Paul

Chamber OrchestraErwin A. and Miriam KelenBetty Myers

In honor of Miriam Kelen for her birthdayMr. Robert Weiss

In honor of Erwin and Miriam Kelen's 56th wedding anniversaryAmos and Sue Deinard

In memory of Leo and Shirley LeveyMr. Daniel Levey

In memory of Lance A. MalyMaureen M. Maly

In honor of Max's 70th birthdayMaxine Davis

In memory of Irene E. MillerMr. Richard Waldman

In honor of Kayla MoffettMs. Naomi Wells

In honor of Amy Moore and her familyElizabeth Frankel

In memory of Denny MooreSusan Moore

In honor of Elsa Nilsson and Chuck UllerySteven Copes

In memory of Orrell NilssonRichard Bayles

In memory of Carol Ann OllilaMs. Kristi Ollila

In memory of Dr. Ernest OrrKay and Rick BendelCarole and Norlin BoyumMr. Austin EvansFriends of The Saint Paul

Chamber OrchestraJames and Teddy GesellJocelyn Matthews-PetersonMike and Jane MurphyDona Woolfrey

In memory of Mary A. RiehleJohn Riehle and Margaret Lindlof

In honor of Ruth Ann Rose's birthdayClaudia Wagner

In honor of Marty and Jack Rossman's 60th wedding anniversaryDrs. Charles and Sally Jorgensen

In honor of Jackie and Steve, and anything oboeJanice Ziegler

In honor of Jackie RuprechtLucas Spaeth

In memory of Jon L. SchaskerDavid and Janice Tweet

In memory of Ralph and Pearl ShoemakerJanet Shoemaker Warren and

Dr. Randall C. Warren

In memory of Dr. Manly StaleyFriends of The Saint Paul

Chamber Orchestra

In memory of Dr. William Edward StephensStephen PrattWalter E. and Harriet Pratt

In memory of Gerda SubakDr. Michael Burwell

In memory of Andy and Jane VitaleSteven Vitale

In memory of Ed VolkerLeslie Volker

In honor of Dobson WestAnn Buran

In memory of Harold WilliamsonJim Burton Realty, Inc.Julie KuberskiMs. Yvonne KuhlmanJames and Karen Martin-SchrammSteven Williamson

In honor of Kristi WussowMary Helen Nelson

In memory of Walter Yellowhammer, Jr.Ms. Terri Yellowhammer

HONOR AND MEMORIAL GIFTSJuly 1, 2017 – June 30, 2018

IN-KIND DONATIONS The Saint Paul Chamber Orchestra is pleased to recognize the following businesses and individuals for in-kind gifts made between July 1, 2017, and June 30, 2018.AgraCulture

Bust Out Solutions

Jayme Halbritter Photography

InterContinental Saint Paul-Riverfront

LifeWTR

Renaissance Minneapolis Hotel, The Depot

The Saint Paul Hotel

Stella Artois

ESTATE GIFTS We honor these generous donors for the gifts received through their estates between July 1, 2017, and June 30, 2018.Anonymous

Mrs. Rosalyn Baker

Nicky Carpenter

Hella Mears Hueg

Frank J. Indihar, M.D.

LIQUID MUSIC CONTRIBUTORSThe Saint Paul Chamber Orchestra is pleased to recognize the following organizations and individuals who contributed to the SPCO’s Liquid Music Series between July 1, 2017, and June 30, 2018.

$25,000–$49,999The Augustine Foundation

City of Saint Paul Cultural STAR Program

$10,000–$24,999LifeWTR

Stella Artois

$5,000–$9,999AgraCulture**

InterContinental Saint Paul-Riverfront*

Jon Oulman

Renaissance Minneapolis Hotel, the Depot*

Dr. Tom von Sternberg and Eve Parker

$2,500–$4,999Alice M. Ditson Fund of Columbia University

Amphion Foundation

Locus Architecture

New Music USA

P. T. and B. B. Magee

$1,500–$2,499David & Leni Moore Family Foundation

$1,000–$1,499Rick and Murph Dow

The Hoeschler Fund of The Saint Paul Foundation

Jennifer Leopold

Jon and Patty Limbacher

Daniel Pennie and Anne Carayon

Mark Warnken and Nancy Coppa

Gordon Wright

$150–$999Debra Cohen and Craig Fields

Patricia Fair

Thomas B. Hatch

Sarah Lutman and Rob Rudolph

Ms. Lisa Pederson

Heather Perkins

Phillip Williams

*ALL OR PART OF THIS GIFT IS IN-KIND.

MUSIC ALIVE COMPOSER-IN-RESIDENCEThe Residency of Lembit Beecher is made possible through Music Alive, a residency program of the League of American Orchestras and New Music USA. This national program is designed to provide orchestras with resources and tools to support their work with composers and new music, capital-izing on the power of composers and their creativity to build new paths for orchestras to heighten their relevancy and deepen their relationships with their communities. Major funding for Music Alive comes from The Andrew W. Mellon Foundation, with additional support from The Aaron Copland Fund for Music, The Amphion Foundation, The ASCAP Foundation Bart Howard Fund, the Francis Goelet Charitable Lead Trusts and the National Endowment for the Arts.

As the SPCO celebrates its 60th Anniversary during the 2018.19 season, we are overwhelmed with gratitude for the support of our community. Over the last six decades, the growing support of our donors has made it

possible for the SPCO to share music with more people in our community than ever before while offering the most affordable ticket prices of any American orchestra. THANK YOU to those of you who already support us with your donations — you make the SPCO possible.

We rely on donations from audience members like you as our largest and most important source of support, with more than 60% of our budget coming from philanthropic support. Today, the support of our more than 5,000 donors makes it possible for us to provide free tickets for children and students and free access to our online Concert Library — initiatives that allow thousands more in our community to experience the SPCO. Just imagine what a difference 6,000 supporters could make! Gifts of all sizes make a difference in bringing transformational performances to more people from all parts of our community.

If you have not yet made a gift to the SPCO, we hope you’ll help uscelebrate 60 by joining the supporters who make the SPCO possible! • Become a Sustaining donor with a recurring monthly gift of $6/month• Make a new one-time gift of $60 or any amount of your choice• Make the SPCO’s music part of your legacy through a bequest,

beneficiary designation or charitable gift annuity

To make a gift, visit thespco.org/contribute. Thank you! We hope you enjoy this historic season that your support has made possible.

Sundays at 6pm TPT2

Starting Oct. 14th

A TWIN CITIES

PBS ORIGINAL

TPTORIGINALS.ORG/MNO

HOME HOLI DAYS

See full concert schedule online.

for the

PHOTOS Home for the Holidays: Courtney Perry; Hicks & Lazarus: Travis Anderson PhotoBeauty and the Beast: Presentation made under license from Buena Vista Concerts, a division of ABC Inc. © 2015 Disney. All rights reserved.

612-371-5656 / minnesotaorchestra.org / Orchestra Hall / #mnorchFILM WITH LIVE ORCHESTRA

VENUEDAY, MONTH 4TH

Full Orchestra and Choir Conducted by NAME

music by NAME lyrics by NAME and NAME score by NAME concert produced by NAME concert creative direction NAME

© DISNEY

PRESENTATION LICENSED BY

Gregory PorterDec 1

Sarah Hicks

A Big, Brassy Christmas with Charles Lazarus

Dec 15

“My family and I loved it! We’re making this show our holiday tradition.”

Home for the HolidaysDec 14-20

Film with Live

OrchestraDec 22

A New Year Celebration: Vänskä Conducts Bernstein, Copland and Gershwin

Dec 31

George WinstonDec 21

A Christmas OratorioDec 8-9

2018-09-07 SPCO Print Ad.indd 1 8/15/18 12:01 PM

BösendorferHome of

“Your pianos were so much nicer than anything in the Twin Cities, and in fact all of MN” -Dr.Ryan Bosca, Moorhead

408 Snelling Avenue South, Saint Paul

-Dr. Elizabeth Karelse

"Powerful bass, Incredible Presence"

2018.19 season

Documents