The Schubert Club Board of Directors recently adopted a new five year strategic plan for the period 2017-2022. This plan took shape over the course of the past 12 months with input from Board Members, staff, audience, community members and donors. It is our intention to use it as we would us a map, helping us to strengthen our programs and to cultivate new community connections through a shared passion for music.
KEY STRATEGY 1: Invest in new and expanded program initiatives to advance Schubert Club as an innovative and nationally recognized classical music presenter with a strong commitment to music education.
KEY STRATEGY 2: Broaden Schubert Club’s scope of service in the Twin Cities community.
KEY STRATEGY 3: Enhance Schubert Club’s impact on concert audiences, Museum visitors and education participants through interaction, learning and new technology opportunities.
KEY STRATEGY 4: Build strong governance and institutional resources to ensure the long-term ability of Schubert Club to respond to opportunities and pursue new initiatives.
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.
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
The Beach Boys, “Lady Lynda” (Bach – Jesu, Joy of Man’s Desiring)
Xzibit featuring Dr. Dre, “Symphony in X Major” (Bach – Brandenburg #3)
Paul Simon, “American Tune” (Bach – St. Matthew’s Passion)
Alicia Keys, “Karma” (Brahms – Violin Concerto)
The Toys, “Lover’s Concerto” (Bach – Minuet in G)
Identification
A: Mozart
A: Mendelssohn
A: Schoenberg
A: Brahms
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
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:
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!
The Music in the Park Series Fund was added in 2014 to help support that wonderful concert series.
The Education Fund supports the Schubert Club’s education and outreach programs, which are offered at free or reduced cost to participants.
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.
I regularly find myself discussing and answering questions about our very unique young professionals program, Theoroi, with audience members, colleagues in the industry and even our own Board Members. Many people have heard a little about this group, and it has caught their intrigue, but don’t fully understand what the program is and how it fits into Schubert Club’s offerings. So because this is something I am asked about so frequently, I will dedicate this blog post to shedding some light on this complicated and unique program that we’re very proud of.
So, to start: Theoroi is a program that was started in 2011 in an effort to connect more young people to the Schubert Club in a meaningful way. The idea was to introduce new people to a wide variety of arts performances in an effort to give them the chance to sample all kinds of different art forms and pick and choose what they like. Of course, a good sampling of Schubert Club concerts are sprinkled in each season’s schedule with the hope that many of the young participants will come away with a devotion to our organization and our offerings.
Each ten-month season features six or more different events and offers a variety of genres including classical music, dance, jazz, world music, theater, and opera. As much as I’m able, I try to arrange some sort of extra enrichment opportunity for the group such as backstage tours or Q&A sessions with the artists or production staff. I also arrange some sort of social opportunity for each event to encourage the group to get to know each other well and form deep friendships.
We are able to accommodate between 20 to 30 individuals (all ages 21-39) each season. Each participant has to submit a written application stating their interest and making a commitment to participate for a 10 month season. The application period runs from June-August with the season spanning September-June. The cost to participate is highly subsidized by the Schubert Club, so to guarantee a solid commitment from each member and to be sure tickets that have been paid for aren’t going unused, in addition to the cost to participate, each member is also required to make a deposit that is refunded at the completion of the program.
If you remember, 2011 was when Twitter, Facebook and blogging were just becoming very mainstream, and there was a lot of excitement about implementing these tools into the audience experience at concerts. So to jump on board the social media bandwagon, we decided one of the core components of this group would be a requirement to use social media leading up to or after each event the group attended. Activating each user’s social media network would expand the reach of this program beyond just those participating to the hundreds and hundreds of people who are connected to each of the participants through social networks. The idea was that by asking the members to post about their experiences, they will show their peers, “Hey, look, the arts are cool. The arts are for young people. Look at all the great opportunities we have in the Twin Cities!”
The name Theoroi was chosen (despite being a very difficult word to pronounce) because much like the Theoroi of Ancient Greece, whose job it was to journey to festivals as ambassadors and announce and invite others to these celebrations, the members of Schubert Club’s Theoroi act as ambassadors of the arts by spreading the word about their cultural experiences through interactive social media outlets.
So here we are, nearing the completion of year six of the program, and I’d like to share a list of many of the successes of this program so far.
Out of about 115 total participants, over 40 have gone on to attend other Schubert Club performances; 14 have made financial contributions and six have gone on to become Board Members!
Word of mouth has caught on, and most new participants are a result of positive word of mouth from past or current members, and many people choose to participate for several years in a row (despite an increased cost for returning members).
The typical participant has no prior association with the Schubert Club and is a novice to many, if not most, of the different art forms featured in our season.
The varied season gives participants a wide variety of experiences which lets everyone come away learning what they like and dislike and hopefully exposing the group to many performances they might not have otherwise attended, fostering a well-rounded appreciation of the arts.
Not only are we aiding in the audience development efforts for Schubert Club specifically, but we are assisting audience development initiatives across the entire Twin Cities arts scene. In doing so, the Schubert Club has been recognized as a leader in the area of helping to grow Twin Cities’ audiences.
This program gives us the opportunity to form close ties with the audience development, ticketing, and marketing teams at other arts organizations and form collaborative relationships.
The last two years have quickly met capacity before the application deadline even passed.
For the sake of brevity, I won’t go into the list of challenges in this post, but I will say that that list is much, much shorter. It is encouraging to see so many young people having very positive experiences at so many of our events and going on to further their engagement with both the Schubert Club and many other Twin Cities arts organizations. I am grateful to the Schubert Club Board for viewing this program as a priority and giving me the opportunity to be involved in such an impactful program.
If you or someone you know is interested in getting involved, watch our website for the application process starting in June, or even better yet, shoot me an email and let me know you’re interested, and I’ll be sure to remind you when it’s time to apply!
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.
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.
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.
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!
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.”
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.
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.”
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.
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.
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.
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.
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.
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.
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.
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).
Today’s blog post is written by Kate Cooper, the Schubert Club’s Education and Museum Director.
As the preparation begins for our 95th annual Bruce P. Carlson Student Scholarship Competition, I am surrounded by to-do lists, timelines, schedules, agendas and rosters. It’s a chaotic time of the season, but one that gives me great satisfaction. One of the most fulfilling pieces is the rallying together and camaraderie of what I call the “Schubert Club family” or our great circle of dedicated and passionate Schubert Club volunteers.
The old phrase “it takes a village” is quite apparent when planning for the scholarship competition. We assemble up to 40 volunteers on a single day of student auditions. I personally am so energized when I interact with our volunteers who arrive for their assigned positions filled with motivation and enthusiasm. It results in days that flow like clockwork, and the atmosphere is filled with joy and excitement.
One of the keys to our success to the Schubert Club volunteer program is our fabulous Volunteer Coordinator, Kirsten Peterson. She is impeccably organized and connects with our volunteers with kindness, radiating a true love for the organization. “I love connecting our volunteers with opportunities that are a great fit for their interests and talents, and then watching the magic happen”, says Kirsten. “our volunteers embody what it means to be part of the Schubert Club family, working with friends old and new, united by the music, to support Schubert Club programs.”
A volunteer can enjoy an abundance of Schubert Club programs. Whether it’s welcoming audiences to concerts as an usher, helping nervous competition students stay calm, or playing silly songs on homemade instruments with delighted KidsJam kids, you will be instrumental in helping people in our greater community of all ages learn to love music and so much more! Please check out the video below and feel the genuine and heartfelt spirit of Schubert Club volunteerism.
I want to encourage all who are reading this blog to consider becoming an integral part of the Schubert Club as a volunteer, if you aren’t already. Interact with familiar friends and make new friends as you share a common interest and enjoy fun and fulfilling activities. Whatever your age or life situation, volunteering adds more zest and happiness to your life as you give to others!
Watch our website announcing our annual volunteer appreciation events which are held every September. We celebrate and welcome new and existing volunteers to start the season off. We are blessed with the spirit of volunteerism within our organization so please consider joining the family!
If you are interested in volunteering, and would like to receive more information about opportunities, please email our volunteer coordinator, Kirsten at kpeterson@schubert.org. She’ll put you on our list and keep you informed of any upcoming opportunities. You can also learn more about volunteer opportunities at schubert.org/volunteer.
Later this week, we will post an announcement inviting applications for a new position for Composer-in-Residence at the Schubert Club. It will be a revamped composer position, and I am excited at the prospect of reading proposals and meeting some of Minnesota’s finest creative people during our search.
But in today’s blog, I would like to turn my focus on two very special people, the two colleagues who have served jointly in the role of Schubert Club Composer-in-Residence for the past twelve years. Edie Hill and Abbie Betinis joined the Schubert Club as Composers-in-Residence in 2005. They were brought into the team by the late Bruce Carlson, Schubert Club Director from 1968 through 2006. They have devoted their creativity, time and passion for music to a broad array of Schubert Club activities and have provided wonderful inspiration to three different Schubert Club directors: Bruce Carlson, Kathleen van Bergen and myself.
Their twelve years of service is considerably longer than the usual composer residency in a music organization, but their work and contributions have always been fresh and enthusiastic. I have hesitated to initiate change for this very reason, but we have all agreed that a healthy residency should last a finite amount of time and that change in any creative position can and should be a positive thing.
A few words about the extraordinary work that Edie and Abbie have done during their residencies.
Edie Hill has devoted herself primarily to our Composer Mentorship program. Under her leadership it has grown to offer mentorship to four high school age composers each year with remarkable devotion. Those of us who have had the opportunity to see the April performance of the resulting new works in a Courtroom Concert know what an impression Edie has on these talented and creative young people. It is a profound experience for all involved (Edie included) – and for those of us who have witnessed the program first-hand too.
Abbie Betinis has dedicated herself to the Schubert Club too – in myriad ways. Though we see her most often as our weekly Courtroom Concert host, her role as liaison to the Minnesota new music community has included both musical and administrative jobs, including advocacy and programming, new music grants and adjudication, staff arranger and engraver, co-administering the Composer Mentorship program, and numerous writing and speaking projects. Her work lives on in her contributions to our museum guides’ script, cataloging our composer archives, and her Schubert Club book chapter “125 Years of New Music”.
Of course as composers, we’ve heard music by each of them, at least once every year at their Courtroom Concerts. Their programs this season will be in March and April.
I personally am grateful to them for their wise words and counsel whenever I’ve needed them. These are two creative minds and wonderful human beings. We will have the opportunity to celebrate their contributions and thank them for work at the Schubert Club later this spring. We are lucky to have artists like these two women in our community.
Schubert Club Insider is a blog by Artistic and Executive Director Barry Kempton. The blog posts will cover news and announcements about Schubert Club as well as interesting topics and current issues pertaining to classical music and music industry in general.
