St. Christopher’s has hosted an array of fine musicians from The Wolfgang to the Minneapolis Guitar Quartet to the Minnesota Boychoir, as well as talented pianists and chamber musicians. The acoustics in our sanctuary are particularly lovely and we draw a warm and welcoming audience from the communities of the northern suburbs, Roseville and the Episcopal Church in Minnesota. Our events are most often free to the public or for a freewill offering or a nominal ticket charge. Please watch this page for information about future musical happenings in our sanctuary.
January 27, 2017 at 7:00pm A Viennese Evening with Karla and Friends
Karla Standridge Cole, piano
Rolf Krogstad, viola
Lars Krogstad Ortiz, cello
Carol Gilkey, flute
Katie Miller, soprano
Katherine Johnson, alto
Tom McNellis, tenor
AJ Lund, bass
Our music director and her favorite chamber musicians present a program of works by composers who lived in Vienna. The Op. 11 Clarinet trio of Ludwig von Beethoven was written in 1797 and is arranged here for viola, cello and piano. Over the years, it has garnered the traditional nickname Gassenhauer or “street song” trio. The last movement, a theme and variations was written on a melody from an opera by Joseph Wiegl and the little tune was all the rage in Vienna at the time, hummed and whistled by the folks in the streets, hence the nickname.
In the Trockne Blumen Variations for piano and flute, Franz Schubert took his own melody from the song cycle Die Schöne Mullerin (The Miller’s Fair Daughter) that he had recently written. Trockne Blumen (Withered Flowers) is a sad little song about flowers on the singer’s grave and perhaps Schubert returned to it in, as he wrote to his brother Ferdinand in 1824, “a period of fateful recognition of a miserable reality”. Poor Schubert was already quite ill and despondent and though he would only live another four years, he would “endeavor to beautify as far as possible” his miserable reality with an exceedingly prolific outpouring of beautiful music.
Johannes Brahms was quite taken with a set of Ländler, little waltz-like folk dances that Schubert had written for piano. Though it is not proven, it is sometimes posited that Brahms was inspired by his love for another composer’s wife to write his own waltzes, setting love poems from Georg Friedrich Daumer’s Polydora. Originally written for mixed voices and piano four hands, the Liebeslieder Walzer were immensely popular and proved quite a reliable revenue source. In the years that followed, Brahms arranged other settings of these popular waltzes as well as having composed a second set of them. Here we use the composer’s setting of a piano solo accompaniment. The waltzes are all quite brief, by turns delighted, nostalgic, despairing, impassioned and always expressive.