Guest Blog Post: Concert Etiquette and Clapping Between Movements by Katie Heilman

By | Commentary | No Comments

Today’s blog post is written by guest, Katie Heilman. Katie is a regular attendee at Schubert Club concerts, a member of Schubert Club’s Theoroi program, program assistant at GTCYS (Greater Twin Cities Youth Symphony), composer, and oboist. Learn more about Katie here.


Have you ever been to another country and found yourself confused by the customs of everyday life surrounding you? Or have you gone to a wedding of a different culture from your own and saw people saying certain things at certain times or dressing a certain way, and you felt out of place?

I’ve had several conversations recently with friends and colleagues about the state of classical music and diversity. One thing I’ve been thinking about in particular lately is concert etiquette. Concert etiquette is what I suspect turns many people off from attending classical music concerts (besides cost). There’s this idea that classical music is really stuffy, and when you think about it… it kind of is. Most concerts in other musical genres expect noisy audiences, clapping when you like something, and coming and going as you need to. Not so with classical concerts. The vast majority of classical concerts expect audiences to be quiet, only clap at the very end of the piece, and you better not leave during the middle of a piece!

I grew up in a musical family and didn’t learn that you weren’t supposed to clap in between movements until I was at a Baltimore Symphony Orchestra concert, probably in late middle school (a few years after I’d started playing an instrument), and I started clapping after the first movement of whatever symphony they were playing, because it just made sense. It wasn’t until I got a weird look from my mom that I realized that wasn’t “okay.” When people start clapping between movements of a piece, I see that same weird look get passed along through the “regulars” at the concert. I’ve seen this happen twice in the last few months. The first was during the Sphinx Virtuosi concert at the Ordway, where the vast majority of the audience was people of color (especially younger people of color). The second was just this past weekend, when the Saint Paul Chamber Orchestra performed Mozart’s third violin concerto to an audience with several students (they all certainly looked younger than me). The common thread between these two audiences, besides clapping between movements? They weren’t your stereotypical classical music demographic!

Here’s my philosophy on clapping between movements (or other “breaches” of classical etiquette): if people are clapping between each movement, they aren’t necessarily being rude. It’s probably because they don’t know about this weird tradition we have that really only dates back to the end of the 19th century or so. That means there’s a good chance they’re probably first-timers at an orchestra concert, which is awesome! And yes, there are some pieces where’s it’s nice to have that silence in between movements (slow Mahler for sure), but Mozart or Haydn? Clapping in between movements was standard back in their day – sometimes, if the audience really liked something, they’d demand a second run-through of a movement or section. I’ve attended a bunch of more “informal” chamber concerts at coffee shops and art museums where you’ll even have people chatting in the background. For a first-timer at a classical concert, going to the orchestra probably feels the same as being a foreigner in another country. There are so many customs that we’ve been doing for years that a newbie isn’t going to automatically know, and they might feel lost and alienated when people stare at them for not doing the “correct” procedures.

It’s great when the administrative side of an organization is working to bring in new audiences, but in order for this to be successful, we as current audience members need to be more welcoming and patient when new audiences don’t automatically know the culture. Administrators, if you really want to make sure that your program is quiet and that audiences wait until the end to clap, then just make an announcement before the concert. They do this sometimes at the Saint Paul Chamber Orchestra when they have a program that interweaves other pieces throughout a larger piece, and it doesn’t feel out of place at all. Imagine how much more welcomed new audience members would feel if we let them know when it’s appropriate to clap, instead of assuming? It’s like when you have someone over to your house for a party, and you let them know where the restroom is, where to leave their coat, and where to put the food they brought. On the other hand, maybe it’s time to take a lesson from the newcomers and bring back clapping between movements of certain pieces. Trust me, Haydn is a lot more fun when you let yourself get a little rowdy.

Video Blog: Schubert Club’s Bruce P. Carlson Student Scholarship Competition

By | Commentary | No Comments

At our Bruce P. Carlson Student Scholarship competition earlier in 2017, Schubert Club board member and media professional Peter Myers roved the corridors and practice rooms of Augsburg University’s music department with a video camera, talking to students about the competition, about what it means to be a competitor and what they get out of participating.  

November is here and applications for the 2018 Student Scholarship Competition are now being accepted!   The competition will take place in February/March 2018.  We award scholarships totaling over $50,000 annually to young musicians to be used for further musical education.  Check out the new video which shines a light on what makes the competition so special, from the mouths of our competitors themselves. Take a look, and whether you’re a music student yourself or know a budding young musician, be sure to tell everyone to get their applications in by January 19, 2018

 

What Makes a Great Place For a Concert?

By | Commentary | 3 Comments

One reason (of many) why I find my position at the Schubert Club so interesting is that we present concerts and recitals in so many venues. It means that I am always happy to hear from people about performance spaces they’ve enjoyed. Though I’ve lived in the Twin Cities since 1995 (with a 5-year hiatus in London), and I’ve been lucky to attend many live arts events all over the place, I am still learning about new spaces where Schubert Club might present live music. This curiosity for new venues is especially relevant for our Schubert Club Mix series which got underway for its fifth season last week at Aria in Minneapolis.

Mix (as it is inevitably shortened to) is our concert series designed to appeal to music lovers who prefer live performances with less formality and concert ritual. We’re intentionally informal; artists interact with the audience more; and we go to extra efforts to make the ambiance in the venue more relaxed than it is likely to be in a more traditional concert hall like our wonderful Ordway (home of the International Artist Series) or a church like St Anthony Park UCC (home of Music in the Park Series). 

As we plan future years of Schubert Club Mix, I will always be on the look out for new and interesting spaces. There are three primary criteria in a space which factor in assessing a space’s suitability for presenting concerts: Acoustic, location, & ambiance.

Acoustic: kind of obvious, but not all big rooms with large volumes sound the same. We’re blessed in the Twin Cities with several venues which have truly world-class acoustics for unamplified music – the Ordway and Orchestra Hall are at the top of that list. The recent removal of carpet and other changes at St Anthony Park’s United Church of Christ have made an extraordinary difference, making this church a wonderful place to listen to chamber music. Not all venues can have superlative acoustics though. What I always look for is a balance of resonance and clarity, and the confidence that the sound produced by musicians and their instruments really fills the space.

Location: it’s not only important to present concerts in locations which are convenient for an audience to get to, but also that they have amenities close by like parking, restaurants and bars and that the whole experience of going out for the evening feels safe and enjoyable. 

Ambiance:  slightly more difficult to put one’s finger on, ambiance is, I believe, hugely significant to an audience member’s enjoyment of an event – and thus an important factor in the decision whether to return another time. Ambiance can be created by the look or architecture of a space, its history, the welcome of our staff and ushers, lighting, even an aroma or some kind of association that is personal to an individual. A great example of this is the comment I hear regularly at Aria when audience members nostalgically remember performances by Theater de la Jeune Lune ten or more years ago.

Since Schubert Club has no primary performance space, we will always be on the look out for new possible venues. This nomadic approach to presenting concerts is, I think, a strength and opportunity for Schubert Club.  We can seek out spaces which suit different performers and meet the needs of different audience members. As our new strategic plan calls for the organization to make connections with new communities, we need to pursue our curiosity to find gathering spaces which we haven’t yet come across.  I’ll be pleased to hear from anyone who has venues or community connections they would like to recommend.

 

 

 

 

Congratulations to Clara Osowski and Tyler Wottrich who won the Richard Tauber Prize for the best interpretation of Schubert Lieder at Wigmore Hall, London

By | Commentary | No Comments

Congratulations to local mezzo-soprano Clara Osowski and pianist Tyler Wottrich who were finalists in the recent Wigmore Hall International Song Competition in London, and indeed they won the Richard Tauber Prize for the best interpretation of Schubert Lieder.  Clara’s outstanding voice and magical song interpretations are very familiar to Schubert Club regulars and supporters of the Source Song Festival.  

The day after the competition, Clara and Tyler were interviewed on BBC Radio 3  by Ian Skelly.  The 2 hour radio show, “In Tune” can be heard here for another 3 weeks.
http://www.bbc.co.uk/programmes/b093m4kc
Clara and Tyler’s interview and song performances begin at about 3 minutes and end at 22 minutes.

There is also a lovely review of their performance in the competition itself in Britain’s Daily Telegraph.  
http://www.telegraph.co.uk/music/what-to-listen-to/romanian-hero-brought-vividly-life-enescu-festival-bucharest/

Announcing the 2017 An die Musik recipient: Nancy Weyerhaeuser

By | Commentary | No Comments

The An die Musik Award is Schubert Club’s highest honor. It’s presented annually to one classical music enthusiast whose outstanding dedication and commitment over many years has significantly furthered the work and mission of Schubert Club. It is announced and presented at our Annual Meeting. This year’s well-deserved recipient is Nancy Weyerhaeuser.

Nancy’s involvement with and commitment to the Schubert Club goes back more years than we can imagine.  Since her mother Catherine Neimeyer was President of the Schubert Club Board some 60 years ago, it appears that Nancy had no choice but to be immersed in Schubert Club music and ideas from an early age. A past member of the Board of Directors, a member of the erst-while Corporate Board, a founding member of the Advisory Circle, a still-very-active community member of the Nominating & Governance Committee with apparently unlimited ideas for potential new board members, a subscriber with husband Ted for more decades than we have records, a generous and engaged supporter of all we do, the list of Nancy’s commitment to the Schubert Club is extensive. She and Ted established the John and Catherine Neimeyer International Artist Series Endowment Fund in memory of Nancy’s parents. She and Ted were Honorary Chairs of our 130th Anniversary Gala concert featuring the great American Soprano, Jessye Norman. Because of Nancy’s commitment and thoughtfulness, in addition to her love for music and the Schubert Club, we are honored to award her the 2017 An die Musik Award. 

Bach to Basics Trivia Quiz Answers

By | Commentary | No Comments

At last week’s Schubert Club Mix featuring music by Philip Glass and Johan Sebastian Bach played by Christopher O’Riley, we had a pre-concert trivia quiz.  Thanks to former Schubert Club intern Quinn Shadko for researching and presenting the quiz.

Here are the answers to our Bach to Basics trivia quiz:

Sound Round

  1. The Beach Boys, “Lady Lynda” (Bach – Jesu, Joy of Man’s Desiring)
  2. Xzibit featuring Dr. Dre, “Symphony in X Major” (Bach – Brandenburg #3)
  3. Paul Simon, “American Tune” (Bach – St. Matthew’s Passion)
  4. Alicia Keys, “Karma” (Brahms – Violin Concerto)
  5. The Toys, “Lover’s Concerto” (Bach – Minuet in G)

Identification

A: Mozart

  1.  

A: Mendelssohn

  1.  

A: Schoenberg

  1.  

A: Brahms

  1.  

A: Chopin

General Knowledge

Q:Who is attributed with saying that Bach is “the immortal god of harmony?”
A: Beethoven

Q: Bach once walked a great distance to hear his favorite organist, Dietrich Buxtehude, perform. How many miles did he walk?
A: 250 miles

Q: What famous film features Bach’s Passacaglia and Fugue in C Minor during a baptism scene?
A: The Godfather

Q: What Broadway musical draws from Bach’s Toccata and Fugue in D Minor for one of its main themes?
A: The Phantom of the Opera

Q: What is the common title of Bach’s comic cantata that directly translates from German as “Be still, stop chattering?”
A: The Coffee Cantata

Save

An Endowment: what is it and why does it matter?

By | Commentary | No Comments

 

Schubert Club has an Endowment Fund. We are very fortunate to have this Fund  — a vital piece of the organizational and financial puzzle challenging today’s non-profit organizations. I thought I would write my blog today about our Endowment and provide, I hope, some clarity around what it is and what it does for Schubert Club’s programming.

First, what do we mean by “Endowment”? An Endowment is a long-term or perpetual investment owned by an organization that generates income to fund its ongoing mission. The gifts that are given to the Endowment are not spent; they remain invested in stocks, bonds and other investment vehicles, managed either directly or indirectly by the Board of Directors.

The first Schubert Club Scholarship Fund was established back in 1922 on the occasion of Schubert Club’s 40th anniversary!  Over the years, a significant number of donors have added to the endowment with generous gifts and bequests. Some donors may wish to support a particular program, to honor a person, or simply to express their belief in the organization’s mission; but in all cases, the reason Endowment gifts are made is to help ensure the long-term stability of Schubert Club. The current value of our Endowment is approximately $15 million.

Each year, the Board authorizes a certain percentage to be withdrawn from the Endowment to fund programming. Of course we all know that the value of investment portfolios can go down as well as up. So, the Endowment draw authorized by the Board of Directors needs to be small enough to reasonably allow the fund to sustain itself for future years, and large enough to actually fulfill the Endowment’s mission-related purpose each year. This year, Schubert Club’s Endowment draw is 4.5%.

Of Schubert Club’s annual draw, about 70% is restricted by donors for specific programs, and the other 30% is available for general operating purposes. In the current year, the Endowment draw amounts to 28% of our total revenue. The rest comes primarily from ticket sales, donations, grants and sponsorships.

What does our Endowment Fund pay for? Donors over time have made endowment gifts to support Schubert Club’s overall mission in the Operating Fund, as well as to support specific programs. There are five specific areas of programming that the Endowment funds:

  1. The Concert Fund supports primarily our International Artist Series. It pays for some of the artist fees and concert production costs, allowing us to keep ticket prices affordable. You’re unlikely to be able to buy top price tickets to a 5-performance recital series featuring artists like Renée Fleming and Sir András Schiff anywhere else in the country for $200! 
  2. The Music in the Park Series Fund was added in 2014 to help support that wonderful concert series.
  3. The Scholarship Fund supports student musicians through the Bruce P. Carlson Scholarship Competition, the Special Music Grants program, and the Jazz Piano Workshop day.
  4. The Education Fund supports the Schubert Club’s education and outreach programs, which are offered at free or reduced cost to participants.
  5. The Museum Fund has enabled us to keep Museum admission free.   

Endowment giving is not possible for everyone, but it’s certainly not just for wealthy music lovers. Consider this: an endowment gift or provision in your will of $5,000 will generate $225 every year (4.5% of $5,000). Similarly, $10,000 will generate $450 annually.  Every endowment gift, be it $50,000 or $5,000, is meaningful  because it contributes to Schubert Club’s ability to offer our programs to people who share our love of music without the barrier of high prices. 

If music is important to you and if you believe Schubert Club is playing a role in your musical life and in the musical life of the Twin Cities community, please give it some thought.  You can really make a difference.

Video Interview: Minnesota’s Clara Osowski Wins 2nd Prize in International Song Competition

By | Commentary | 2 Comments

Last week, I had the fun task of interviewing Twin Cities-based mezzo soprano Clara Osowski who is just back from Europe having won second place in the prestigious Das Lied International Song Competition in Heidelberg, Germany.  Here are some highlights from my conversation with her.  Sincere thanks to Schubert Club Board Member Peter Myers for recording and editing this interview.

Clara is well known to Schubert Club regulars who have enjoyed following the progress of her career over a number of years.  More information about Clara can be found here.

 

My description of the Schubert Club – but what is yours?

By | Commentary | No Comments

 

A few weeks ago, I was asked for a brief written description of the Schubert Club for someone unfamiliar with what we are.  Sounds easy!  But like the perfect elevator speech, it kept me busy for a lot longer than I thought it would.  Here it is:   

Schubert Club is not so much a club, but rather a community of music-lovers, a not-for-profit organization dedicated to presenting and supporting classical music and musicians, with a focus on solo recitals and chamber music.  Sixty concerts each year feature guest artists and ensembles of world renown as well as distinguished local musicians.  Not just a concert presenter, Schubert Club supports local music students with scholarships, and provides introductory music lessons and workshops for Twin Cities children who otherwise get little exposure to music learning.  A third focus, our Museum in Landmark Center with keyboard instruments from four centuries and handwritten letters from famous composers among its exhibits (attracting 8,000 visitors annually), makes us a truly unique entity.  What keeps this 135-year old organization thriving?  A passion for music and a sincere belief in the positive impact of music on the quality of life.

While writing it, I was reminded that this is an organization that wears a variety of hats.  Music-lovers in this community – indeed music enthusiasts from all over the country and abroad know us for different reasons.  It might be the concert series they have attended for many years, it might be because of a particular composer letter in our Museum collection which throws light on their academic research (as happened recently) or because they participated in Project CHEER or won a scholarship years ago.  Concerts, the Museum collection and music education are all important facets of the Schubert Club and each aspect has a long history.  Even the relatively new Schubert Club Museum will be 50 in less than 5 years!

In addition to identifying what we do, I also want the biography to convey a little of why we do it – the passion and interest in music which ties together all who participate as a community.

But this is just my description of the Schubert Club, and I know that others may see it differently.  I’d love to hear your portrayal of the Schubert Club and invite you to compose a paragraph and post it below in the comments. Try to keep to 150 words or fewer.  We will include some submissions on our website and in future issues of our program magazine An die Musik, and anyone who participates will be entered to win tickets to your choice of an upcoming concert in the 2016-2017 season. We’ll contact the winners by email at the very end of March. 

Announcing the 17-18 International Artist Series & Music in the Park Series

By | Announcements, Commentary | 2 Comments

We are very pleased to share with you our 136th season, featuring the International Artist Series at Ordway Center for the Performing Arts and the Music in the Park Series at Saint Anthony Park United Church of Christ. 

Subscriptions will be on sale Monday, February 27 at 8:30am. Single tickets will be on sale Tuesday, August 1, at 11am. The best way to guarantee tickets to these very popular series is to purchase a subscription. Read more about subscriptions at the bottom of this email.

 

2017-2018 International Artist Series

 

Sir András Schiff, piano

Sunday, October 29, 2017, 3pm
Ordway Music Theater

Pianist Sir András Schiff is known as one of the most renowned interpreters of Bach, Mozart, Beethoven, Schubert and Schumann. A Hungarian-born British classical pianist and conductor, he started piano at the age of five and has since received numerous major awards and honors, including the Grammy Award, Gramophone Award, Mozart Medal, and Royal Academy of Music Bach Prize. In 2014, Sir András was knighted by Queen Elizabeth II for his services to music. For his October 29 Schubert Club recital, he will perform a program featuring Mendelssohn, Beethoven, Brahms and Bach on the Ordway Music Theater stage. This will be his first Schubert Club recital in over 20 years, and we are thrilled to welcome him back to the Ordway stage. We advise you purchase your tickets early, as we expect this concert to sell out well in advance!

 

Eric Owens, bass-baritone
& Susanna Phillips, soprano

Wednesday, December 6, 10:30am & Thursday, December 7, 2017, 7:30pm
Ordway Concert Hall

This concert will feature vocal superstars Eric Owens and Susanna Phillips bring a program featuring Schubert songs to the Ordway Concert Hall. Bass-baritone Eric Owens is loved for his rich, velvety voice and is a regular at major opera companies like the Metropolitan Opera and Lyric Opera Chicago. Susanna Phillips, winner of the The Metropolitan Opera’s 2010 Beverly Sills Artist Award, is in her ninth consecutive season with the Metropolitan Opera. This will be her International Artist Series debut. This popular duo recital program has been adored by audiences at Carnegie Hall and across America, and we are thrilled to share it with our Schubert Club audience. The Inquirer in Philadelphia comments on this recital program, “Owens is a master storyteller, who often gives not just the characters of the song’s scenario but the larger world in which they exist, Phillips delivers an almost microscopically close reading of the song and its protagonists, revealed with the detail of a fine Shakespearean actress. Never does she force her Mozart-weight voice while hitting various emotional peaks. No longer a merely promising young singer, she’s a mature artist with a highly personal relationship with Schubert.”

Avi Avital, mandolin
& Sérgio and Odair Assad, guitar

Tuesday, February 20, 7:30pm & Wednesday, February 21, 2018, 10:30am
Ordway Concert Hall

Avi Avital is an Israeli mandolinist, composer, and performer best known for his renditions of well-known Baroque and folk music, much of which was originally written for other instruments. Acknowledged by The New York Times for his “exquisitely sensitive playing” and “stunning agility,” Avi Avital is the first mandolin player to receive a GRAMMY nomination in the category “Best Instrumental Soloist.” After a wildly successful performance with Schubert Club Mix in 2015, we are delighted to welcome him back to hear another side of his playing.

Sérgio and Odair Assad are Brazilian-born brothers who have taken the classical guitar world by storm. Their exceptional artistry and uncanny ensemble playing come from both a family rich in Brazilian musical tradition and from studies with the guitar/lutenist Monina Távora (1921-2011), a disciple of Andrés Segovia. In addition to setting new performance standards, the Assads have played a major role in creating and introducing new music for two guitars. Their virtuosity has inspired a wide range of composers to write for them including Astor Piazzolla, Terry Riley, Radamés Gnattali, Marlos Nobre, and many others. The Assads last performed on our Music in the Park Series to a sold-out audience in May 2015. Hearing the musical talents of all three musicians together, all making their debuts on this series, will be a magical event.

 

Jennifer Koh, violin
& Shai Wosner, piano

Tuesday, March 20, 7:30pm & Wednesday, March 21, 2018, 10:30am
Ordway Concert Hall

Born of Korean parents, American violinist, Jennifer Koh, began playing the violin by chance, choosing the instrument in a Suzuki-method program only because spaces for cello and piano had been filled. She made her debut with the Chicago Symphony Orchestra at age 11 and went on to win the International Tchaikovsky Competition in Moscow, the Concert Artists Guild Competition, and an Avery Fisher Career Grant all when she was only 18 years old. She is recognized for her intense, commanding performances, delivered with dazzling virtuosity and technical assurance.

For this recital, she will be joined by internationally recognized Israeli pianist Shai Wosner,  both making their debuts on this series. The New York Times declared that “Mr. Wosner’s singing tone and expressive musicality complemented Ms. Koh’s insightful, richly hued playing,” and The San Jose Mercury News raved of a recent concert that “Koh’s impetuous, bright-toned phrasing was attractively set against Wosner’s flowing, articulate pianism.” 

Steven Isserlis, cello
& Richard Egarr, harpsichord

Tuesday, April 24, 7:30pm & Wednesday, April 25, 2018, 10:30am
Ordway Concert Hall

Acclaimed worldwide for his profound musicianship and technical mastery, British cellist, Steven Isserlis enjoys a distinguished career as a soloist, chamber musician, educator, author, and broadcaster. The recipient of many awards, Steven Isserlis is one of only two living cellists featured in Gramophone’s Hall of Fame. He takes a strong interest in presenting authentic performances using instruments and style that closely resemble music of the Baroque period. For this International Artist Series performance, he will be joined by the remarkable British harpsichordist Richard Egarr, in a recital featuring the viola da gamba sonatas of J.S. Bach as well as sonatas by Handel and Scarlatti.  Egarr will play a harpsichord from the Schubert Club’s keyboard collection.

Read more at schubert.org


2017-2018 Music in the Park Series

Schubert Ensemble of London

Sunday, October 8, 2017, 4pm

Since its first concert in 1983, the Schubert Ensemble of London has become widely recognized as one of the world’s leading exponents of music for piano and strings. The Ensemble has decided to bring its illustrious 35-year career to a close at the end of June 2018 in celebratory style, with over fifty concerts planned during their final season, including a return visit to Music in the Park Series. Their eclectic program features “The Whole Earth Dances,” a new, nature-inspired work by young British composer Cheryl Frances-Hoad; Vaughan Williams’ romantic and rarely-performed Piano Quintet in C-minor; and the grand finale–Franz Schubert’s much-beloved “Trout” quintet.

 

Dover String Quartet
with David Shifrin, clarinet

Sunday, November 12, 2017, 4pm

The Dover Quartet catapulted to international stardom following a stunning sweep of the 2013 Banff International String Quartet Competition. Praised by The Strad for “exceptional interpretive maturity, tonal refinement and taut ensemble,” the quartet has become one of the most in-demand ensembles in the world. The Dover’s debut disc pays tribute to the renowned Guarneri Quartet, whose members served as mentors for the ensemble. Beginning their “mostly American” program with quartets by Richard Danielpour and Bartok, the Dover is joined by clarinetist David Shifrin to perform works for clarinet and string quartet by Corigliano and young American composer Chris Rogerson, along with arrangements of Duke Ellington tunes. Shifrin is in constant demand as an orchestral soloist, recitalist and chamber musician. His numerous recordings, including trios with cellist David Finckel and pianist Wu Han, have consistently garnered awards. A member of the Chamber Music Society of Lincoln Center since 1989, Shifrin served as its artistic director from 1992 to 2004.

Calmus Ensemble

Sunday, December 3, 2017, 4pm

One of Germany’s most successful vocal groups, Calmus offers the unique combination of a soprano with four male voices ranging from bass to countertenor. The group has been awarded prizes in numerous international competitions, including the prestigious Concert Artists Guild Competition. Music in the Park Series brings the a cappella quintet to St. Paul with a program of carols from around the world − from 16th Italian century madrigals to traditional carols of France, Germany, Sweden and England, to American popular holiday songs. Embodying the rich choral tradition of its hometown of Leipzig, Germany, Calmus captivates both audiences and critics with its charming stage presence, flawless technique and entertaining presentations.

Parker Quartet

Sunday, February 11, 2018, 4pm

Inspiring performances, luminous sound, and exceptional musicianship are the hallmarks of the Grammy Award-winning Parker Quartet. Well known to Twin Cities music lovers, the Parker made its debut on Music in the Park Series in 2007, subsequently serving as Artists-in-Residence at the University of St. Thomas, at the University of Minnesota, with the St. Paul Chamber Orchestra, and as the first-ever Artists-in-Residence with Minnesota Public Radio. Currently Blodgett Artists-in-Residence at Harvard University’s Department of Music, the Parker Quartet has distinguished itself with acclaimed recordings, including György Ligeti’s complete works for string quartet, which won the 2011 Grammy Award for Best Chamber Music Performance. The Parker’s Music in the Park Series concert will feature works by Mozart, Ligeti and Bartok.

David Finckel, cello
& Wu Han, piano

Sunday, March 4, 2018, 4pm

Cellist David Finckel and pianist Wu Han rank among the most dynamic and influential forces in classical music today. Their performances have inspired audiences around the world and have won universal critical acclaim. Partners in music and marriage, they were recipients of Musical America’s prestigious Musicians of the Year award in 2012. David and Wu Han are in their third term as Artistic Directors of the Chamber Music Society of Lincoln Center and founding Artistic Directors of Music@Menlo, soon to celebrate its fifteenth season. A favorite of Music in the Park audiences, David Finckel and Wu Han make their fifth appearance on the series. Their program, titled “Distinctive Voices,” highlights works of Beethoven, Bruce Adolphe, Mendelssohn, Grieg, and a repeat performance of Lera Auerbach’s “Sonata for Cello and Piano,” composed for the duo and co-commissioned by Music in the Park Series in 2004.

Lark Quartet: Past and Present

Sunday, April 15, 2018, 4pm

This unique concert will celebrate the past and present Lark Quartet through music old and new, with the original quartet – founded in 1985 in the Twin Cities by native Laura Sewell – and the current Lark Quartet members for a total of eight musicians. In keeping with Lark’s tradition of broadening the chamber music repertory through diverse commissions, members of the current and original quartets join forces to perform the Minnesota premiere of Andrew Waggoner’s work for two string quartets. Dedicated to “the once and future Lark Quartet”, the commission was supported in part by the Thelma Hunter Fund of the American Composers Forum. Moving back in time to a work regarded as “one of the miracles of 19th century music”, the group brings the Music in the Park Series season to a close with a performance of Mendelssohn’s brilliant Octet in E-flat Major, written in 1825 when the composer was only sixteen years old.

Read more at schubert.org

Subscriptions on sale Monday, February 27, 8:30am

Subscriptions are on sale starting Monday, February 27, 2017 at 8:30am and can be purchased online at schubert.org/subscribe or by calling 651.292.3268.

International Artist Series five-concert subscription prices range from $93 to $217 for the daytime package option and from $110 to $240 for the evening package option. Student subscriptions are $55 (with valid I.D. and .edu email address). 
 
Music in the Park Series six-concert subscriptions are $144. Student subscriptions are $66 (with valid I.D. and .edu email address). 
 

Single Tickets on sale Tuesday, August 1, 11am