February 17, 2025 By: Guest Blogger Timothy Sawyer Artistic Director and Conductor Two Rivers Chorale
A German Requiem by Johannes Brahms holds many fond memories for me. I first encountered it when I sang it as an early “20-something” with the Bethel College Choir under the direction of my college choir mentor, Robert Berglund. That was a transformational and deeply spiritual experience, especially since he had studied and sung it under the great Robert Shaw, this Requiem being one of Shaw’s “signature” pieces. I recently had the privilege of conducting the fourth movement (How Lovely Is Thy Dwelling Place, O Lord of Hosts) at a recent memorial service for that mentor. While I was at Bethel, we were deep into polishing it around the time of the sudden death of my beloved grandmother, Viola. She was my mom Lollie’s mother, and the three of us were very close. In the Requiem, and especially the fifth movement (You Now Have Sorry, But You Will See Me Again), I found a source of tremendous catharsis along with tremendous comfort and hope from that grief. Only six years later, upon the unexpected death of my mother, like Brahms himself, I found that soul solace in Brahms Requiem once again. I still do.
In the ensuing years – now over forty years since, I have had the privilege of singing and studying it multiple times under esteemed German conductor and Bach scholar Helmuth Rilling, whose interpretations were peerless. Bach’s influence on Brahms was indelible, and Rilling shares a part of that legacy. Not surprising, for even Brahms himself said: “Study Bach, there you will find everything.” Brahms’ respect for and deep understanding of theological composition learned from Bach is clearly evident in every measure of his A German Requiem.
As a professor, what a joy it was to teach it to my students and have the privilege of conducting it myself with the combined choirs of Northwestern/Bethel and both orchestras in a partnership with my lifelong friend Dennis Port. Further explorations of this towering work with Two Rivers Chorale on the Iron Range were with the Mesabi Orchestra and also in Brahms’ so-called “London Version” for two pianos (or piano 4-hands). I have a fond memory of preparing it for our 2017 performance with the Wayzata Symphony Orchestra under Marlene Pauley. That project still resonates in my memory, and we are relishing returning to this piece once again with the WSO, and its new conductor Hannah Schendel. Reengaging with the original German language has been a welcome treat as well, with all the layered richness of Martin Luther’s 16th century translation of Scripture.
Joshua Bauder is an ascending young Twin Cities composer on the faculty of University of Northwestern – St. Paul, and he was a natural choice for a commission of a piece to celebrate my 20th anniversary season with TRC, and also my 30th year as artistic director of Christmas at Northwestern, whose theme this year was “Arise, Your Light is Come.” A graduate of St. Thomas University (BA) and the University of Minnesota (MA, PhD), Josh lovingly crafted a beautiful and moving piece, exactly what both occasions called for. I was delighted and honored by his excellent work. It is a privilege to present this piece once again in the context of our collaborative concert with the WSO and the Edina Chorale, and to infuse more light and hope into this deeply moving concert of consolation “for the living.”
Timothy Sawyer, Artistic Director – Two Rivers Chorale Professor of Music and Director of Choral Activities – University of Northwestern-St. Paul
https://thewso.org/wp-content/uploads/2015/05/wayzata-symphony-orchestra-mainLogo.png00Melissa Kalalhttps://thewso.org/wp-content/uploads/2015/05/wayzata-symphony-orchestra-mainLogo.pngMelissa Kalal2025-02-17 12:06:532025-02-17 12:06:53A German Requiem by Guest Blogger Timothy Sawyer
January 3, 2025 By Hannah Schendel, Music Director
Exploring the Richness of Scandinavian Music
On Sunday, January 19, 2025 the WSO will explore the richness of Scandinavian classical music, with its sweeping landscapes and deep cultural pride, offers a unique blend of folk traditions, national pride, and emotional depth. In this concert, we’ll explore three works that embody the spirit of Scandinavia—Elfrida Andrée’s Concert Overture in D Major, Jean Sibelius’ Karelia Suite, and Edvard Grieg’s Peer Gynt Suite No. 1. Each composition reveals the rich history and vibrant folk traditions of their homelands.
Concert Overture in D Major by Elfrida Andrée
Born in Visby, Sweden in 1841, Elfrida Andrée was a pioneering figure in Sweden. Andrée fought against barriers that restricted women from enrolling in the Royal Academy of Music in Stockholm and in working in churches.
Andrée’s Concert Overture in D Major, is a testament to her musical prowess and rich compositional voice. It blends classical form with the energy and passion of Romanticism, reflecting Andrée’s artistic depth and resilience in the face of societal obstacles.
Karelia Suite by Jean Sibelius
Jean Sibelius, one of Finland’s most beloved composers, is best known for his symphonic works that often reflect the Finnish landscape and national identity. Composed for a student pageant in 1893, the Karelia Suite takes inspiration from the Karelia region, a historically contested area between Sweden and Russia, and a place rich with folk traditions.
The music captures the essence of Finnish folk culture through its vivid and emotive melodies. Each movement of the Karelia Suite highlights a different aspect of Finnish history and folklore, embodying the rustic charm and rugged beauty of the region.
Peer Gynt Suite No. 1 by Edvard Grieg
Norwegian composer Edvard Grieg’s music is intrinsically linked to his homeland. Peer Gynt Suite No. 1 was originally created as incidental music for Henrik Ibsen’s play Peer Gynt, which explores themes of self-deception, cultural satire, and the quest for the meaning of life. Peer, the play’s protagonist, embarks on a reckless journey, rejecting love, abandoning family, and seeking adventure across the world—only to discover in the end that the true fulfillment he sought was always at home.
The suite concludes with one of Grieg’s most recognizable works, In the Hall of the Mountain King.
Conclusion
These three works showcase the rich musical heritage of Scandinavia. From Andrée’s triumph over societal obstacles to Sibelius’ celebration of Finnish folk traditions and Grieg’s vivid musical portrayal of Norwegian storytelling, each composer offers a window into the soul of their respective nations. Through their music, we gain insight not only into the landscapes and history of Scandinavia but also into the deep emotions and cultural pride that continue to define the region’s music today.
Concert details: Click here
January 19, 2025 at 3:00 pm
Free, no ticket required
Note new venue! Hopkins High School 2400 Royals Drive Minnetonka, MN 55305
https://thewso.org/wp-content/uploads/2015/05/wayzata-symphony-orchestra-mainLogo.png00Melissa Kalalhttps://thewso.org/wp-content/uploads/2015/05/wayzata-symphony-orchestra-mainLogo.pngMelissa Kalal2025-01-03 11:44:192025-01-03 11:44:19Exploring Scandinavian Music
November 4, 2024 By Hannah Schedel, Music Director
“Star-crossed lovers” is a term which is often quoted, but one that merits a closer examination. This phrase refers to lovers whose fate is determined by the stars, a concept rooted in the astrological belief that celestial bodies have the ability to shape human destinies. In the realm of classical music, many compositions explore emotional turmoil that resonates with all of us. On this program, we explore three remarkable works: Richard Wagner’s Die Meistersinger von Nürnberg, Emmanuel Séjourné’s Concerto for Marimba and Strings, and Sergei Prokofiev’s Romeo and Juliet Suite No. 2. Each piece offers a unique insight into the composers’ artistic imagination and the emotions they aim to evoke.
Please join us for this concert at Eisenhower Community Center in Hopkins on November 17, 2024 at 3:00 pm. Note the new venue!Details can be found here.
Prelude to Die Meistersinger von Nürnberg by Richard Wagner Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg), Wagner’s only comedic opera, stands out not only for its humor but also for its historical setting, diverging from the mythical realms typical of Wagner’s other operas. Composed over twenty-two years, the opera premiered in Leipzig in 1862. Set in sixteenth-century Nuremberg, it depicts a complicated love story between Walther and Eva, as Eva must marry the winner of a singing contest organized by the Mastersingers—a guild of amateur musicians and poets.
With the guidance of Hans Sachs, the most esteemed mastersinger, Walther learns to sing the night before the contest, and ultimately triumphs. This victory allows him not only to join the guild but also to marry Eva, creating a narrative that celebrates love, artistry, and community.
Concerto for Marimba and Strings by Emmanuel Séjourné Kelly Grill, Marimba
The next piece, Concerto for Marimba and Strings was composed by French composer Emmanuel Séjourné who currently teaches at the Strasbourg Conservatory, Séjourné is celebrated for his innovative compositions for keyboard percussion, particularly the marimba and vibraphone. His works often blend classical traditions with jazz, rock, and world music styles.
Commissioned by marimba virtuoso Bogdan Bácanu, the concerto has seen over 500 performances since its premiere in 2006. Originally comprised of just two movements—“Tempo souple” and “Rhythmique énergique”—the piece highlights the marimba’s versatility. The second movement, with its intricate rhythms reminiscent of Spanish flamenco, showcases challenging passages in an 11/8 meter, allowing the soloist to explore the instrument’s emotional depth and technical brilliance. This lively work invites listeners to appreciate the marimba as both a lyrical and virtuosic instrument.
Romeo and Juliet Suite No. 2 by Sergei Prokofiev
No exploration of a love story in music would be complete without Sergei Prokofiev’s Romeo and Juliet. Composed as a ballet in 1935, Prokofiev later extracted movements to create three orchestral suites that illuminate Shakespeare’s tragic tale.
The suite begins with the “Montagues and Capulets,” in which the “Dance of the Knights” sets the tone for the tension felt between the feuding families. This is followed by “Juliet – The Young Girl,” which captures the youthful spirit of Juliet, and “Friar Lawrence,” which portrays the well-meaning priest. As the suite unfolds, listeners experience the intimate moments between Romeo and Juliet, culminating in the heart wrenching “Romeo at Juliet’s Grave.” This movement evokes the deep sorrow felt as Romeo, unaware of Juliet’s feigned death, takes his own life in despair, only to have her awaken moments later.
Each of these works offers a distinct perspective on love, artistry, and the human experience. Wagner’s playful yet profound opera, Séjourné’s vibrant and captivating marimba concerto, and Prokofiev’s poignant ballet suite together create a rich tapestry of musical expression. As we immerse ourselves in these compositions, we are reminded of the power of music to tell stories that resonate across time and culture. As we immerse ourselves in these compositions, we are reminded of music’s power to tell stories that resonate across time and culture. Whether through Wagner’s storytelling, Séjourné’s rhythmic innovations, or Prokofiev’s tragic beauty, each piece invites us to explore the depths of emotion and creativity found in both the world and in classical music. I’d love to see you in the audience on November 17!
A German Requiem by Guest Blogger Timothy Sawyer
/in WSO News, WSO NewsBy: Guest Blogger Timothy Sawyer
Artistic Director and Conductor
Two Rivers Chorale
A German Requiem by Johannes Brahms holds many fond memories for me. I first encountered it when I sang it as an early “20-something” with the Bethel College Choir under the direction of my college choir mentor, Robert Berglund. That was a transformational and deeply spiritual experience, especially since he had studied and sung it under the great Robert Shaw, this Requiem being one of Shaw’s “signature” pieces. I recently had the privilege of conducting the fourth movement (How Lovely Is Thy Dwelling Place, O Lord of Hosts) at a recent memorial service for that mentor. While I was at Bethel, we were deep into polishing it around the time of the sudden death of my beloved grandmother, Viola. She was my mom Lollie’s mother, and the three of us were very close. In the Requiem, and especially the fifth movement (You Now Have Sorry, But You Will See Me Again), I found a source of tremendous catharsis along with tremendous comfort and hope from that grief. Only six years later, upon the unexpected death of my mother, like Brahms himself, I found that soul solace in Brahms Requiem once again. I still do.
In the ensuing years – now over forty years since, I have had the privilege of singing and studying it multiple times under esteemed German conductor and Bach scholar Helmuth Rilling, whose interpretations were peerless. Bach’s influence on Brahms was indelible, and Rilling shares a part of that legacy. Not surprising, for even Brahms himself said: “Study Bach, there you will find everything.” Brahms’ respect for and deep understanding of theological composition learned from Bach is clearly evident in every measure of his A German Requiem.
As a professor, what a joy it was to teach it to my students and have the privilege of conducting it myself with the combined choirs of Northwestern/Bethel and both orchestras in a partnership with my lifelong friend Dennis Port. Further explorations of this towering work with Two Rivers Chorale on the Iron Range were with the Mesabi Orchestra and also in Brahms’ so-called “London Version” for two pianos (or piano 4-hands). I have a fond memory of preparing it for our 2017 performance with the Wayzata Symphony Orchestra under Marlene Pauley. That project still resonates in my memory, and we are relishing returning to this piece once again with the WSO, and its new conductor Hannah Schendel. Reengaging with the original German language has been a welcome treat as well, with all the layered richness of Martin Luther’s 16th century translation of Scripture.
Joshua Bauder is an ascending young Twin Cities composer on the faculty of University of Northwestern – St. Paul, and he was a natural choice for a commission of a piece to celebrate my 20th anniversary season with TRC, and also my 30th year as artistic director of Christmas at Northwestern, whose theme this year was “Arise, Your Light is Come.” A graduate of St. Thomas University (BA) and the University of Minnesota (MA, PhD), Josh lovingly crafted a beautiful and moving piece, exactly what both occasions called for. I was delighted and honored by his excellent work. It is a privilege to present this piece once again in the context of our collaborative concert with the WSO and the Edina Chorale, and to infuse more light and hope into this deeply moving concert of consolation “for the living.”
Timothy Sawyer, Artistic Director – Two Rivers Chorale
Professor of Music and Director of Choral Activities – University of Northwestern-St. Paul
Exploring Scandinavian Music
/in WSO News, WSO NewsBy Hannah Schendel, Music Director
Exploring the Richness of Scandinavian Music
On Sunday, January 19, 2025 the WSO will explore the richness of Scandinavian classical music, with its sweeping landscapes and deep cultural pride, offers a unique blend of folk traditions, national pride, and emotional depth. In this concert, we’ll explore three works that embody the spirit of Scandinavia—Elfrida Andrée’s Concert Overture in D Major, Jean Sibelius’ Karelia Suite, and Edvard Grieg’s Peer Gynt Suite No. 1. Each composition reveals the rich history and vibrant folk traditions of their homelands.
Concert Overture in D Major by Elfrida Andrée
Born in Visby, Sweden in 1841, Elfrida Andrée was a pioneering figure in Sweden. Andrée fought against barriers that restricted women from enrolling in the Royal Academy of Music in Stockholm and in working in churches.
Andrée’s Concert Overture in D Major, is a testament to her musical prowess and rich compositional voice. It blends classical form with the energy and passion of Romanticism, reflecting Andrée’s artistic depth and resilience in the face of societal obstacles.
Karelia Suite by Jean Sibelius
Jean Sibelius, one of Finland’s most beloved composers, is best known for his symphonic works that often reflect the Finnish landscape and national identity. Composed for a student pageant in 1893, the Karelia Suite takes inspiration from the Karelia region, a historically contested area between Sweden and Russia, and a place rich with folk traditions.
The music captures the essence of Finnish folk culture through its vivid and emotive melodies. Each movement of the Karelia Suite highlights a different aspect of Finnish history and folklore, embodying the rustic charm and rugged beauty of the region.
Peer Gynt Suite No. 1 by Edvard Grieg
Norwegian composer Edvard Grieg’s music is intrinsically linked to his homeland. Peer Gynt Suite No. 1 was originally created as incidental music for Henrik Ibsen’s play Peer Gynt, which explores themes of self-deception, cultural satire, and the quest for the meaning of life. Peer, the play’s protagonist, embarks on a reckless journey, rejecting love, abandoning family, and seeking adventure across the world—only to discover in the end that the true fulfillment he sought was always at home.
The suite concludes with one of Grieg’s most recognizable works, In the Hall of the Mountain King.
Conclusion
These three works showcase the rich musical heritage of Scandinavia. From Andrée’s triumph over societal obstacles to Sibelius’ celebration of Finnish folk traditions and Grieg’s vivid musical portrayal of Norwegian storytelling, each composer offers a window into the soul of their respective nations. Through their music, we gain insight not only into the landscapes and history of Scandinavia but also into the deep emotions and cultural pride that continue to define the region’s music today.
Concert details:
Click here
January 19, 2025 at 3:00 pm
Free, no ticket required
Note new venue!
Hopkins High School
2400 Royals Drive
Minnetonka, MN 55305
Star-Crossed Lovers
/in Wayzata Symphony Orchestra, WSO News, WSO NewsBy Hannah Schedel, Music Director
“Star-crossed lovers” is a term which is often quoted, but one that merits a closer examination. This phrase refers to lovers whose fate is determined by the stars, a concept rooted in the astrological belief that celestial bodies have the ability to shape human destinies. In the realm of classical music, many compositions explore emotional turmoil that resonates with all of us. On this program, we explore three remarkable works: Richard Wagner’s Die Meistersinger von Nürnberg, Emmanuel Séjourné’s Concerto for Marimba and Strings, and Sergei Prokofiev’s Romeo and Juliet Suite No. 2. Each piece offers a unique insight into the composers’ artistic imagination and the emotions they aim to evoke.
Please join us for this concert at Eisenhower Community Center in Hopkins on November 17, 2024 at 3:00 pm. Note the new venue! Details can be found here.
Prelude to Die Meistersinger von Nürnberg by Richard Wagner
Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg), Wagner’s only comedic opera, stands out not only for its humor but also for its historical setting, diverging from the mythical realms typical of Wagner’s other operas. Composed over twenty-two years, the opera premiered in Leipzig in 1862. Set in sixteenth-century Nuremberg, it depicts a complicated love story between Walther and Eva, as Eva must marry the winner of a singing contest organized by the Mastersingers—a guild of amateur musicians and poets.
With the guidance of Hans Sachs, the most esteemed mastersinger, Walther learns to sing the night before the contest, and ultimately triumphs. This victory allows him not only to join the guild but also to marry Eva, creating a narrative that celebrates love, artistry, and community.
Concerto for Marimba and Strings by Emmanuel Séjourné
Kelly Grill, Marimba
The next piece, Concerto for Marimba and Strings was composed by French composer Emmanuel Séjourné who currently teaches at the Strasbourg Conservatory, Séjourné is celebrated for his innovative compositions for keyboard percussion, particularly the marimba and vibraphone. His works often blend classical traditions with jazz, rock, and world music styles.
Commissioned by marimba virtuoso Bogdan Bácanu, the concerto has seen over 500 performances since its premiere in 2006. Originally comprised of just two movements—“Tempo souple” and “Rhythmique énergique”—the piece highlights the marimba’s versatility. The second movement, with its intricate rhythms reminiscent of Spanish flamenco, showcases challenging passages in an 11/8 meter, allowing the soloist to explore the instrument’s emotional depth and technical brilliance. This lively work invites listeners to appreciate the marimba as both a lyrical and virtuosic instrument.
Romeo and Juliet Suite No. 2 by Sergei Prokofiev
No exploration of a love story in music would be complete without Sergei Prokofiev’s Romeo and Juliet. Composed as a ballet in 1935, Prokofiev later extracted movements to create three orchestral suites that illuminate Shakespeare’s tragic tale.
The suite begins with the “Montagues and Capulets,” in which the “Dance of the Knights” sets the tone for the tension felt between the feuding families. This is followed by “Juliet – The Young Girl,” which captures the youthful spirit of Juliet, and “Friar Lawrence,” which portrays the well-meaning priest. As the suite unfolds, listeners experience the intimate moments between Romeo and Juliet, culminating in the heart wrenching “Romeo at Juliet’s Grave.” This movement evokes the deep sorrow felt as Romeo, unaware of Juliet’s feigned death, takes his own life in despair, only to have her awaken moments later.
Each of these works offers a distinct perspective on love, artistry, and the human experience. Wagner’s playful yet profound opera, Séjourné’s vibrant and captivating marimba concerto, and Prokofiev’s poignant ballet suite together create a rich tapestry of musical expression. As we immerse ourselves in these compositions, we are reminded of the power of music to tell stories that resonate across time and culture. As we immerse ourselves in these compositions, we are reminded of music’s power to tell stories that resonate across time and culture. Whether through Wagner’s storytelling, Séjourné’s rhythmic innovations, or Prokofiev’s tragic beauty, each piece invites us to explore the depths of emotion and creativity found in both the world and in classical music. I’d love to see you in the audience on November 17!