Ears, head and heart:  they all play their part in listening to music

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After a relatively quiet summer – at least in terms of attending concerts – I find myself back in full swing.  We’ve had two Schubert Club concerts already and look forward to welcoming Renee Fleming and Hartmut Höll for their recital this coming Wednesday.  But I’ve also recently been to several other concerts locally, and I’ve been on the road to hear various artists and ensembles during August and September.

Especially when I go to hear a musician or ensemble we’re considering for a future Schubert Club invitation, I go with heightened senses.  I’m listening, I’m trying to figure out if this is music-making which would fit on one of our series, in short I’m in full judgment mode. 

When such performances begin, I’ve grown conscious that I’m usually listening very analytically.  How do I rate the technique, what about tempos, dynamics, phrasing, intonation, sound qualities, overall shape, stylistic choices appropriate to the music.  Does it all add up to something interesting?  It’s highly subjective of course, but these are all things that help us all assess a performance, and consequently help me to determine whether artist A or ensemble B are high on our wish list or not.

But I’ve noticed that on many occasions, after I’ve spent a few minutes organizing those thoughts, the really strong performers cause me to forget about analysis.  Instead, of thinking about the language, it’s what the musicians are communicating which takes over.  It doesn’t matter how they’re doing it, it’s the music they are making which speaks directly to the heart.   It might be uplifting and comforting, it might be unsettling, but it’s at that point that I’m won over.  After all, having a command of any language is only useful if you have something meaningful to say.  It’s not that the analysis isn’t worthwhile, but at some level we all respond to music and musicians at a gut level.  It can be difficult to speak or write articulately about how we respond to music and why a performance was good or not.  Sometimes we can only express a reaction in terms of “it was great.”

Have you attended any performances lately that have spoken to your heart? Please share with us.


Barry Kempton is Artistic & Executive Director of The Schubert Club. Originally from the UK, his previous management experience spans 25 years at the Scottish Chamber Orchestra, Saint Paul Chamber Orchestra and City of London Sinfonia.
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Five things I like to see in concert venues – before even a note is heard

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Over the summer I read a blog post of a professional orchestra wind player who wrote up a list of things he didn’t like to see during a concert. Apparently he developed the list initially for student musicians he was coaching.  I agreed with pretty much everything he included, but it got me thinking about what I actually do like to see.  I came up with these five things pretty quickly, all in advance of the actual experience of hearing any music.

  1. Smiling ushers and welcoming box office staff as I enter the venue. If the journey to the venue has been trying, parking difficult or the temperature outside is 20 Fahrenheit below, a warm welcome changes your mood.  It’s nice to think that someone appears to appreciate the effort you’ve made to get there.
  2. A clean and tidy stage or performance area with lights focused on the stage – and also on any special features in the room. For example, a former presenting partner of the Accordo series (Ben Johnson) encouraged us to feature the impressive candlestick at Christ Church Lutheran – and to light the candles.  It was a lovely image which many audience members commented on.
  3. A buzzing, expectant audience. One of the reasons we go to concert venues is to experience music in a community of fellow music-lovers.  So, walking first into the lobby and then into the performance space itself is particularly fun if other people are excited about the upcoming experience too.
  4. Musicians entering the stage with a purpose. It might seem trivial or of little importance to some, but I believe that the way a musician or ensemble enters the stage and engages with the audience from the moment we see them, tells us audience members something about the performance we’re about to experience.  It’s all about the energy projected from the stage.  Audiences (consciously or subconsciously) respond to the energy coming from the stage, they reflect their own energy back to the performers.   And as many artists have told me, they feel that energy from the audience, feed off it and usually perform better because of it.
  5. Well-dressed musicians. I am not a fan particularly of uniforms or conventional concert dress.  I don’t mind it, but I have grown tired of seeing orchestras in tails, evening dress or all-black attire.  Most important for me, is that musicians on stage have made some effort (shirts ironed, shoes polished), that they have thought about style (and some color please!) and that these don’t look like clothes they might have worn on the way to the concert.

Disagree? Or did I miss something important to you?  Please let me know.  Maybe you can help us improve the experience of attending Schubert Club concerts this coming season.    

2015-16 Season Reflections

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Earlier this month, I had the opportunity at our Schubert Club Annual Luncheon to reflect back on the past season.  In case you weren’t there, here’s a transcript of what I said.

It’s always difficult to single out highlights from a year packed with so much wonderful music-making and music education programs.  It would be easy to get carried away and mention everything, but I’ve done my best to resist that kind of temptation.

Our headline for concert attendance is, I think, strong:  we sold 800 more seats for the International Artist Series compared with last year and had the highest revenue ever for the series.  And Music in the Park Series chamber music concerts were pretty much sold out again this year.

This past season was the first season in which we’ve been able to present the International Artist Series in both Ordway venues:  the original, elegant Music Theater and our glorious new Concert Hall with its outstanding acoustic.  It was also our first season of morning coffee recitals at the Ordway.  We believe that these daytime concerts (same artists and same programs as the evening series) will grow increasingly popular, in particular with those who have retired or prefer not to be out driving at night – and especially during the middle of winter.

One of the International Artist Series programs included clarinetist Michael Collins & pianist Michael McHale playing Rhapsodos, a fine new work by one of our two excellent composers-in-residence Abbie Betinis.  The piece was commissioned by the wonderful Minnesota Commissioning Club, to whom we owe a big thank you.

Our focus is so often on the outstanding artists and ensembles we invite from the United States and around the world, but it is just as important to celebrate The Schubert Club concert series which feature artists from the Twin Cities and Minnesota.  You might be surprised to learn that between the Courtroom Concerts series, Accordo, the Hill House Chamber Players and Live at the Museum, we featured – and I might add paid performance fees to – over 120 Minnesota-based professional and student musicians; and our programming included 55 works written by 26 different Minnesota-based composers.

Adding to the Music in the Park Series Family Concert Series which my dear friend and colleague Julie Himmelstrup started many years ago, we have just completed our first full year of KidsJam, our new program devised by Kate Cooper, which is a hybrid between workshop and concert for kids to play, create, listen and learn;  we connected fabulous musicians with kids who rarely get access to live musicians and music workshops of any kind.  This year, we partnered with four local community centers which run after-school programs for young kids and at-risk teenagers, introducing them, among other things, to brass music, the art of the didgeridoo and Hawaiian hula dancing.

We said goodbye to some dear friends and passionate supporters of The Schubert Club over the course of this past year.  I will mention Meredith Alden, Elise Donahue, Bruce Doughman, Bill Hueg, Donald Kahn, Helen Smith, and Thelma Hunter.  It’s incredible to think back on what these women and men have meant to The Schubert Club over the years.  We announce several months ago that we have named our Schubert Club Museum performance space the Thelma Hunter Recital Room in honor of Thelma who performed, participated and supported The Schubert Club for over 50 years.

We had our first Schubert Club Patron tour – Paul Olson and I traveled with a tour group of 26 Schubert Club friends to London and then Scotland, following some of the journey Felix Mendelssohn made in 1829.  Fortunately we had a lot better weather than he did – and we did it in 8 days rather than the 4 or so months Felix took.

Finally, it’s important for me to take this opportunity to recognize and thank The Schubert Club staff.  It’s a small team and they work incredibly hard.  I thank them all for their roles in making the 2015-16 the success it was.

My Schubert Club blog will be taking a summer break.  Back in September.


Theoroi Recap: May & June 2016

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Today’s blog post about Theoroi is written by The Schubert Club’s Marketing Intern, Quinn Shadko.

Theoroi is a Schubert Club program attempting to cultivate the next generation of Twin Cities arts audiences. The 30 members of this group (all in their 20s and 30s) attend a “sampler package” of performing arts events across the Twin Cities to get a wide variety of cultural experiences. The group then uses social media to share their experiences with their own social network.


In May, Theoroi attended its second-to-last event of the season, Minnesota Opera’s world premiere of The Shining at the Ordway. This was probably my favorite arts experience in season full of incredible performances. The Shining wasn’t opera as one might think of it – stuffy, in another language, with confusing plot lines. Instead, it was an entirely accessible performance, featuring a familiar storyline, a libretto in English, and design elements that made it entirely more exciting than watching the movie at home. The lavish costumes, moving set pieces, and extensive projections helped to tell the story alongside nuanced performances that combined singing, acting, and stage combat. I felt like I was doing more than just seeing an opera – I was a part of a once-in-a lifetime event. I look forward to seeing more world premieres and new works at Minnesota Opera in the future!

Theoroi’s final event of the season was Liquid Music’s Orpheus Unsung featuring Steven Mackey at the Guthrie. The group met early for a tour of the Guthrie and then went for a quick bite to eat and drink at Day Block Brewery a couple blocks away. The performance itself was in the Dowling Studio at the Guthrie on one of the highest floors with absolutely breathtaking views of the Mississippi River in downtown Minneapolis.

I reached out to member Alyssa Scott to get her opinion of the evening’s performance: “I would have never thought to attend this performance had I not been a member of Theoroi, but I’m glad I was exposed to it.  Knowing that it was based on an opera, but that there wouldn’t be any singing at all, left me not quite sure what to expect.  The music was phenomenal and the show overall was like nothing I’d ever seen before – including a lot of elements like modern dance, technology, and curtains and projected images/video to create various effects that all made you feel like you were truly in the underworld.”

The Theoroi season spans September through June, so the 2015-2016 season is just concluding, and we are in search of new members for the 2016-2017 season! If you’re social media savvy and between the ages of 21-39, consider joining the 2016-2017 group. We’re limited to only 30 individuals, so get your application in soon, as the program always fills up early!

Reflections on the Composer Mentorship Program, Part II

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Today’s post is written by Max Carlson, The Schubert Club’s Program and Production Associate who manages our Composer Mentorship Program. 

The Schubert Club hosts a unique opportunity for high-school student composers called the Composer Mentorship Program. We are currently seeking participants for the 2016-17 school year (deadline is June 20).  Students in this program get to work with The Schubert Club’s composer-in-residence Edie Hill and benefit from bi-weekly lessons, roundtable sessions, and concert outings as a group. The program is offered free of charge to each selected composer and is sponsored in part by HRK Foundation.

Two weeks ago we posted some reflections on the program from the 2014-2015 participants. This week, we reached out to some alumni of the program to share their thoughts. 


Chris Neiner
unnamed (1)Currently, I study composition at the Indiana University Jacobs School of Music with Aaron Travers. While here, I have had the opportunity to collaborate with choreographers and film directors and receive premieres of several instrumental compositions. When I was a part of The Schubert Club Composer Mentorship Program, the opportunity to work with the ensemble in residence at the time, the Copper Street Brass Quintet, was a valuable experience; working with them provided insight into brass quintet repertoire, brass instrument techniques, and balancing dynamics in a chamber ensemble. I feel the Mentorship Program has also connected me to more composers; I continue to meet and connect with alumni at music festivals such as the Oregon Bach Composers Symposium and the New Music on the Point Festival. 

Dylan Perese
unnamed (2)Now in my fourth year at Harvard, I still look back on the Schubert Club Composer Mentorship program as a formative creative experience.  Edie’s unique ability to uplift, inspire and empower the creative genius within all of us is truly unparalleled.  At Harvard, I have continued to compose for anything and everything and I have also advocated for the arts and increased collaboration and cooperation on campus.  I believe that emotion constitutes energy in motion, and so in everything I write I strive to evoke an energetic frequency that speaks to one’s highest potential and purpose – in much a similar way that Edie (I’m sure) continues to do in her teaching!  More in-depth information about my work is available online at:

Simon Alexander Adams
unnamedThe Schubert Club Composer Mentorship Program was a great opportunity for me to pursue my interest in music composition during high school. At the time, I planned on studying composition in college, and the program gave me one more outlet to hone my craft, and perform my music for others. I went on to study Performing Arts Technology at the University of Michigan School of Music, Theatre and Dance, and subsequently pursued a Master’s in Media Arts through the same program. My creative practice has since become increasingly interdisciplinary – expanding to the intersection of art, music and technology. Developing multimedia performances, interactive installation art and designing new interfaces for musical expression are just a few of the avenues I have dived into. I continue to collaborate with fellow artists and musicians in the Detroit / Ann Arbor area – contributing sound design and music to theatre, dance and video productions, developing live visual performances and animation to music, and performing with my glitch-electronic free-jazz prog-rock band Saajtak. Website:

Riona Ryan
unnamed (3)It hasn’t even been a year since I last met with Edie and the wonderful musicians of The Schubert Club Mentorship Program, but it feels like it’s been maybe four. I’m two-thirds of the way through my first year studying composition at Northwestern University’s Bienen School of Music, and it’s been one of the most transformative years of my life thus far. Currently I’m working on a lot of things; I’ve gotten really into live electronics, working extensively in Max/MSP. I’m starting to play solo performances under the pseudonym Namatamago as well as writing for others. My most recent notated piece was for bassoon and electronics and I’m preparing a structured improvisation set based on crowdsourced responses to a question about embodied emotion that I’ll be performing at the Block Museum of Art in April. I am also working on a piece with my video collaborator and good friend Jae Shin Cross, and am working toward a summer album release. I’ve started to think about a piece for harp and electronics which will be played sometime in the fall.

It’s crazy to look back and realize that I really developed the confidence to pursue composition seriously through The Schubert Club Mentorship Program. I love what I’m doing so much now, but three years ago I had never written a note in my life; even at the beginning of last year I was applying to schools as solely a flute performance major. Edie’s warm trust in me and her invaluable guidance were essential to my development both as a composer and a human being. I learned a lot about the craft and what it means to work as a composer. I don’t know where I’d be now without all of this knowledge, and I’m forever grateful to Edie, Melange A Trois, and The Schubert Club for granting me this amazing opportunity.


Learn more about the Composer Mentorship Program and download an application here:

The Deadline to apply for the 2016-2017 season has been extended to June 20, 2016.



Reflections on the Composer Mentorship Program, Part I

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Today’s post is written by Max Carlson, The Schubert Club’s Program and Production Associate who manages our Composer Mentorship Program. 

Did you know that The Schubert Club hosts a unique opportunity for high-school student composers called the Composer Mentorship Program? Each year, students in the greater Twin Cities area can apply to work with The Schubert Club’s composer-in-residence Edie Hill for the coming academic year. The students selected to participate benefit from bi-weekly lessons, roundtable sessions, and concert outings as a group. Specific opportunities include:

  • composition, notation, orchestration and the creative process
  • attendance at local performances, rehearsals, and workshops
  • college preparation and career-building opportunities
  • premiere of their work on The Schubert Club’s Courtroom Concert Series
  • one-year membership to the American Composers Forum

The mentorship program is offered free of charge to each selected composer and is sponsored in part by HRK Foundation.

As we gear up for the 2016-2017 season, we asked our participants from this past season to share a few reflections on their time in the program:

louisabyron_webLouisa Byron
The Schubert Club Composer Mentorship Program has helped me in so many ways in accomplishing my dreams of becoming a composer. At the welcoming reception, I knew right away that this program was going to be an awarding experience. The concerts we attended inspired me so much to try new techniques and expanded the music that I listen to. It was so helpful to have the Copper Street Brass Quintet perform and give us composers advice on how to write for brass. On the Thursday nights, Edie Hill encouraged me to think outside the box of what I was used to writing for. This program helped me realize that composing is what I want to study in college and eventually have as a career. I would like to thank The Schubert Club and the people who made this opportunity possible.

simonpeters_webSimon Peters
The Schubert Club’s Composer Mentorship Program has been greatly enjoyable for me throughout the year. With Edie’s mentorship I have gained a better understanding of my creative process, and more confidence in my work. Also, the interaction with other composers and Copper Street Brass has been lovely and has helped shape my composing process. My entire experience with the program has been absolutely wonderful.

seamusflyn_webSeamus Flynn
The Schubert Club Mentorship Program has been an excellent opportunity to connect with a composer mentor, a professional ensemble, and other high school composers. Since I was in frequent contact with the ensemble-in-residence, I saw it as an opportunity to try new things, and Edie Hill is a very encouraging mentor. I also have fond memories of standing around with other high school composers after concerts of new music, and analyzing what the composers had done well and not well. I highly recommend the Program.

saraahbushara_webSaraah Bushara
I am certainly not alone in saying that my experience with The Schubert Club Composer Mentorship Program has been completely vital and invaluable to my growth as a composer and to my musical education in general. To be able to mold musical ideas into complete, listenable pieces is virtually impossible to achieve alone, as what makes sense musically to us may not make sense to an audience, and a program that combines not only a mentor with world-class breadth of musical experience with extensive interaction a professional ensemble is the most effective way to teach the craft of composition.

Next week some of the mentorship alumni from years past will share their experiences with the program and where they are now.

Learn more about the Composer Mentorship Program and download an application here:

The Deadline to apply for the 2016-2017 season is Monday, June 20, 2016.


My Top Three Criteria for Selecting Artists

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One of the many interesting things my job involves is listening to live concerts by solo artists and ensembles whom we might invite to perform on a Schubert Club series.  You can learn a lot from a demo recording of course, but not everything.  In fact, the most important thing you can learn from a demo (or commercial) recording is that a particular musician or ensemble is probably not destined for the priority list.

In recent weeks I’ve found myself with the opportunity to hear quite a few concerts.  It got me thinking about what my criteria are for ranking and prioritizing potential Schubert Club guests.  I’ve narrowed it down to 3 areas: technique, interest (substance) and communication.

Technical ability is probably the least important, simply because there’s such a high level of proficiency among professional soloists and ensembles these days.  Indeed, it’s probably fair to say that if you ever get the impression at a concert that a piece of music is really difficult and pushing the performer(s) to their limit, then it’s probably more a reflection on the limitations of the artist than the technical problems of a piece of music.  Great performances usually transcend technical difficulties.

So, the more important question is whether a performance is interesting, meaning does it capture my attention, unlock the imagination? That comes down to choices a musician makes around musical colors and textures, variation, consistency of approach, creating tension, the overall shape of a piece, tastefulness and context.  Much of this is subjective, which is why it’s okay, indeed healthy, for people to disagree after a concert whether they liked it or not.

Thirdly, there’s the issue of communication. Unlike a recording, an artist or ensemble on stage with a live audience has to acknowledge the audience is there and perform for them. Singers maybe have the advantage of words to articulate, but instrumental music is a language too, and the live concert experience is about communicating. I’ve written before about the importance of communication among musicians in an ensemble, but just as important is that those making the music are expressing something they believe in to those who are listening.  That sounds a little “obvious” when written down, but think of recent concerts you have attended and ask yourself whether this has always been the case.  The most memorable concerts I’ve attended are those at which that communication has been strong and convincing.

Lucky for us, there are many, many musicians and ensembles across the world who deliver at the highest level.  Our lives are more enriched for having the exposure to them.


Barry Kempton is Artistic & Executive Director of The Schubert Club. Originally from the UK, his previous management experience spans 25 years at the Scottish Chamber Orchestra, Saint Paul Chamber Orchestra and City of London Sinfonia.
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Theoroi Recap: March & April 2016

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Today’s blog post about Theoroi is written by The Schubert Club’s Marketing Intern, Quinn Shadko.

Theoroi is a Schubert Club program attempting to cultivate the next generation of Twin Cities arts audiences. The 30 members of this group (all in their 20s and 30s) attend a “sampler package” of ten performing arts events across the Twin Cities to get a wide variety of cultural experiences. The group attends one performance per month. The group then uses social media to share their experiences with their own social network.

Spring has been good to the Theoroi Arts Ambassadors! The months of March and April each offered a unique arts event: a mandolin-accordion-percussion trio from Israel, and a new musical inspired by a well-known historical figure, respectively.


Theoroi member Katie Heilman writes about her experience at the Schubert Club Mix concert featuring Avi Avital:
A concert featuring both Bulgarian folk music and Bach on the same program? That’s exactly what we heard when Avi Avital came to town in early March. On Tuesday, March 8, The Schubert Club presented mandolinist Avi Avital with Ksenija Sidorova on accordion and Itamar Doari on percussion at Aria as part of the Schubert Club Mix series. This captivating concert featured a blend of classical and folk music from around the world. Titled Between Worlds, Avital was inspired by composers like Bela Bartok and Astor Piazzolla, who took folk music from their own cultures and incorporated them into new compositions. Avital chose works by classical composers who were influenced by folk music and arranged them for mandolin, accordion, and a large variety of percussion instruments. The concert included works by several composers, such as Bartok, Bach, Bloch, and Villa-Lobos, as well as traditional folk tunes from Turkey, Bulgaria, and Israel. 
Each of the musicians were energetic, passionate performers. There’s a reason Avital was nominated for a Grammy. At one point, one of my fellow Theoroi members leaned over and whispered, “His right hand is just a blur!” After the concert, the musicians stayed around for a little meet-and-greet, where they autographed CDs and chatted with audience members. It was a delightful treat and an exciting way to spend a Tuesday
The next month, Theoroi ventured away from classical and folk music to the world of contemporary, and local, musical theatre.
Theoroi member Elsa Cook describes Theater Latte Da’s World Premiere of “C.” (This show still has a few performances left, but tickets are selling fast.)
On a beautiful Sunday in April, Theoroi ascended upon The Ritz Theater in Northeast Minneapolis. Long a venue I’d been daydreaming of checking out, I was excited for this opportunity to get inside. The performance of the month was “C.”, presented by Theater Latte Da (a very cool non-profit musical theater production company that stages shows at a variety of theaters throughout the Twin Cities, and would be worth another blog post all their own at some point, but that’s another story). 
“C.” is set in mid-1600s France, with the characters separated by war for much of the time. It’s a love triangle with an element of Shakespearean mistaken-identity. I suppose a modern interpretation would be something along the lines of Boy loves Girl, who wants to date Boy’s Dumb Friend, so Girl asks Boy to tell his Dumb Friend to find her on Facebook. From there “Dumb Friend” seduces her through Facebook Messenger, but actually it is Boy writing those messages all along. Something like that.
The set was gorgeous, featuring soft white lighting and a huge, majestic tree. The coolest part of the experience, though, was probably the script. I realized that although this story was first written in French prose in 1897, the script I saw come to life was a whole new creation (since poetry can’t be translated line for line, because it won’t rhyme). Local actor Bradley Greenwald was the writer of “C.” as well as the lead character, and he spoke to the audience after the show about the process of translating every word, and how he was struck by the power of the raw emotion that remained, even when that translated version was no longer melodic. He aimed for a final product that was musical but not glittery to the point of distracting an audience from the humanness. Mission accomplished, Greenwald. 
The Theoroi Arts Ambassadors are looking forward to the final two events of the season, Minnesota Opera’s The Shining in May and Liquid Music’s Orpheus Unsung in June. 
The 2015-2016 season started in September 2015 and will conclude in June 2016. Recruitment for new members will begin soon. If you are interested, or know someone who is, put be touch with for more info on joining. 

April – Not Your Average Month at The Schubert Club

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April is always a busy month for The Schubert Club.  I’ve noted this in prior years but in spite of that awareness, this year is no different. During this middle period of April, we have a concert or event practically every day.  For anyone who might wonder all that The Schubert Club does exactly, here’s what has been going on.  It’s a good cross-section of the breadth of our activities.

  • Schubert Club Mix at Bedlam Lowertown – the season finale of this series of next generation concerts in less formal venues featured singer-songwriter Gabriel Kahane and pianist/composer Timo Andres.
  • Live at the Museum – a fascinating exploration of the life and works of Celius Dougherty put together by Mark Bilyeu and friends which included some of the archives of our Museum collection.
  • Music in the Park Series – yesterday’s final chamber music concert of the series in St Anthony Park featured the excellent Chiara String Quartet. While in the Twin Cities, we also presented the quartet in two family concerts on Friday evening, and they make visits to a school and the St Anthony Park Home today.
  • Last week, we had our Advisory Circle spring meeting and were delighted to have one of the Student Scholarship competition winners perform some Schubert songs.

Recitals, chamber music, music education and financial support for young musicians, museum programs and music appreciation: this is what The Schubert Club is all about.  And though programs and focuses have changed with the times, I believe that the founders of The Schubert Club back in 1882 would approve and delight in the fact that their club still thrives and is, I believe, making a difference in this community.  Thank you for your support.

Friends Making Music

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Some people reading this blog entry may recognize the above title as the one chosen by Gabriel Kahane and Timo Andres for their fascinating program on our Schubert Club Mix series tomorrow evening.  It will be an eclectic mix of older, traditional songs (Schubert, Schumann) newer old songs (Britten, Ives) and brand new music written by the artists themselves – both highly regarded composers.  I am really looking forward to the music and the musicians – both really intrigue me.

There’s also something about their program title itself “Friends Making Music” that makes the performance very appealing.  I’ve written in the past about some of my most memorable concert experiences, when the spirit and enjoyment of the musicians on stage is so clear that these affect – or indeed infect – the audience.  There’s a palpable intimacy shared between performers on stage which spreads to the audience and makes the audience’s experience feel more special.

Friends making music is really at the heart of small ensemble music-making, be it classical chamber music or jazz or rock and pop.  Groups and ensembles who aren’t engaged in their music-making, enjoying and responding to the playing of the musicians around them, these groups usually fail in public performances to make much of an impression.

Friends making music also speaks directly to the way The Schubert Club got started back in 1882 when the State of Minnesota was just a few decades old.  Women with musical abilities of various levels found themselves in new homes, in a new city and presumably with plenty of time on their hands.  They formed a music club and got together to play with one another.  Though 130+ years later, being part of The Schubert Club no longer requires membership nor an audition, the spirit of The Schubert Club remains tied to that original essence of 1882.  We are united by our enthusiasm and passion for music – listening, playing, learning and admiring.