Concert 1 – “1875”
Saturday, September 13 @ 7:30 PM
Viterbo University
Nola Starling Recital Hall
Michelle Elliott, violin | Busya Lugovier, viola | Derek Clark, cello | Mary Ellen Haupert, piano
PROGRAM
Piano Quartet No. 1 in D Major, Op. 23
by Antonin Dvořák
1. Allegro moderato
2. Andantino
3. Finale. Allegretto scherzando
NOTES:
The Piano Quartet in D major, completed in a mere eighteen days, is part of a group of works appearing in the first half of 1875 which now fully established the composer’s distinctive compositional style (including the first series of Moravian Duets, the Piano Trio in B-flat Major and the Serenade in E Major). This was also an unusually productive time in Dvořák’s career, since he had been granted a state scholarship for the first time in January of that year, and was thus able to focus solely on his work without worrying about financial concerns. The quartet had to wait more than five years for its premiere, which was held in Prague in December 1880 at a concert organised by the artists’ association Umělecká beseda. In February of the following year the work was performed for the first time outside the country, in Amsterdam, through the enterprising endeavours of violinist Jean Becker, founder of the famous Florentine Quartet. Thanks to Becker, the quartet soon found its way to other cities (Leiden, Deventer, Mannheim, Graz). The quartet was published in the year of its premiere, 1880, by Berlin-based firm Schlesinger.
The Piano Quartet in D major is Dvořák’s last attempt to write a traditional sonata cycle of three movements; in the final movement he combines the scherzo with the finale. The scherzo section is substituted with a main subject in three-eight time which has a quasi-waltz feel to it; the final movement is represented by the second subject in 4/4 time. The remaining two movements deviate very little from traditional schemes. The first is written in sonata form, with two main subjects and complex modulations in the development section. The second movement is a set of variations: The theme is heard in its elemental form, apparently a prefiguration of Dvořák’s later dumkas, after which follow five variations – distinct in terms of rhythm and instrumental stylisation rather than overall mood – and then the coda. This is one of Dvořák’s most enchanting variational movements.
INTERMISSION
Piano Quartet No. 3 in C Minor. Op. 60
by Johannes Brahms
1. Allegro non troppo
2. Scherzo: Allegro
3. Andante
4. Finale: allegro comodo
NOTES:
In 1875, Johannes Brahms sent the newly completed score for his C minor Piano Quartet to his publisher, Fritz Simrock, with the following message:
On the cover you must have a picture, namely a head with a pistol to it. Now you can form some conception of the music! I’ll send you my photograph for the purpose. Since you seem to like color printing, you can use blue coat, yellow breeches, and top-boots.
It was a tongue in cheek reference to Goethe’s 1774 epistolary novel, The Sorrows of Young Werther, in which the Romantic hero commits suicide after falling in love with a married woman whose husband he admires. Piano Quartet No. 3 in C minor was the last to be published of Brahms’ contributions to the genre. Yet, its first version, which preceded the other two quartets, was completed in 1856 at a time when the 23-year-old composer had become devoted to Clara Schumann. While Robert Schumann spent his final years languishing in an asylum amid deteriorating mental health, Brahms assisted Clara in taking care of the Schumann household. Obvious parallels can be drawn between Brahms’ deep affection for Clara and the emotional tumult of the fictional Werther.
Dissatisfied with the work in its original form, Brahms set it aside. Twenty years later, the mature piece emerged. Originally set in C-sharp minor, the final version moved down a semitone to tragic and lamenting C minor, the key of Brahms’ First Symphony. The original finale was transformed into the Scherzo, and the concluding two movements were newly written. Still, the turbulent passions which swirled around the piece at its inception remained.
The first movement (Allegro non troppo) begins with octave C’s in the piano, followed by tragic “sighs” in the strings which seem to intone the name, “Clara.” It’s a motivic kernel which develops into a transposition of the four note descending "Clara Theme" (E-flat, D, C, B, C), the motif which haunts so much of the music of Robert Schumann. These gloomy opening bars undergo a harmonic “descent.” The first theme is launched into motion with the jarring, dissonant interruption of a rising octave E pizzicato in the viola and violin. The remainder of the tempestuous movement alternates between ferocity and soaring passion. The recapitulation drifts into mysterious territory which fails to establish fully the home key of C minor. The coda’s tragic final cadence leaves the tension unresolved.
The Scherzo returns to C minor, as if to “[furnish] the tonal balance unprovided for by the end of the first movement.” (Donald Francis Tovey) It unfolds as a thrilling, frenetic musical conversation. We are denied the relief of a contrasting trio section. Instead, a ferocious development section takes hold.
Moving to the remote key of E major, the third movement (Andante) is a tender love song without words. The warm first theme is introduced by the cello, and then becomes a sensuous duet between the cello and violin. This music gives us a sense of deep yearning, mystery, and shimmering transcendence. The final bars are a poignant farewell.
The final movement (Allegro comodo) returns to tempestuous C minor. In the opening bars, the piano’s undulating lines echo the opening of Mendelssohn’s Piano Trio in C minor, Op. 66. The fateful “short-short-short-long” motif of Beethoven’s Fifth Symphony (also in C minor) lurks in the shadows of the inner voices. This rhythmic motif becomes more bold as the movement continues. It haunts the music as a persistent musical ghost. There are allusions to the “sighs” of the opening movement, as well as the “Clara Theme,” which is heard in retrograde in the violin (B, C, D, E-flat, F, E-flat). The second theme moves to the relative major with a chorale theme which is heard in the strings amid playful ripples in the piano. The coda drifts into quiet resignation and exhaustion. A forte cadence in C major brings the Quartet to an abrupt conclusion.
The “Werther” Quartet, as it has come to be known, was premiered in Vienna on November 18, 1875 with Brahms at the piano alongside members of the Hellmesberger Quartet.
- Timothy Judd, View all posts by Timothy Judd | Website
Saturday, September 13 @ 7:30 PM
Viterbo University
Nola Starling Recital Hall
Michelle Elliott, violin | Busya Lugovier, viola | Derek Clark, cello | Mary Ellen Haupert, piano
PROGRAM
Piano Quartet No. 1 in D Major, Op. 23
by Antonin Dvořák
1. Allegro moderato
2. Andantino
3. Finale. Allegretto scherzando
NOTES:
The Piano Quartet in D major, completed in a mere eighteen days, is part of a group of works appearing in the first half of 1875 which now fully established the composer’s distinctive compositional style (including the first series of Moravian Duets, the Piano Trio in B-flat Major and the Serenade in E Major). This was also an unusually productive time in Dvořák’s career, since he had been granted a state scholarship for the first time in January of that year, and was thus able to focus solely on his work without worrying about financial concerns. The quartet had to wait more than five years for its premiere, which was held in Prague in December 1880 at a concert organised by the artists’ association Umělecká beseda. In February of the following year the work was performed for the first time outside the country, in Amsterdam, through the enterprising endeavours of violinist Jean Becker, founder of the famous Florentine Quartet. Thanks to Becker, the quartet soon found its way to other cities (Leiden, Deventer, Mannheim, Graz). The quartet was published in the year of its premiere, 1880, by Berlin-based firm Schlesinger.
The Piano Quartet in D major is Dvořák’s last attempt to write a traditional sonata cycle of three movements; in the final movement he combines the scherzo with the finale. The scherzo section is substituted with a main subject in three-eight time which has a quasi-waltz feel to it; the final movement is represented by the second subject in 4/4 time. The remaining two movements deviate very little from traditional schemes. The first is written in sonata form, with two main subjects and complex modulations in the development section. The second movement is a set of variations: The theme is heard in its elemental form, apparently a prefiguration of Dvořák’s later dumkas, after which follow five variations – distinct in terms of rhythm and instrumental stylisation rather than overall mood – and then the coda. This is one of Dvořák’s most enchanting variational movements.
INTERMISSION
Piano Quartet No. 3 in C Minor. Op. 60
by Johannes Brahms
1. Allegro non troppo
2. Scherzo: Allegro
3. Andante
4. Finale: allegro comodo
NOTES:
In 1875, Johannes Brahms sent the newly completed score for his C minor Piano Quartet to his publisher, Fritz Simrock, with the following message:
On the cover you must have a picture, namely a head with a pistol to it. Now you can form some conception of the music! I’ll send you my photograph for the purpose. Since you seem to like color printing, you can use blue coat, yellow breeches, and top-boots.
It was a tongue in cheek reference to Goethe’s 1774 epistolary novel, The Sorrows of Young Werther, in which the Romantic hero commits suicide after falling in love with a married woman whose husband he admires. Piano Quartet No. 3 in C minor was the last to be published of Brahms’ contributions to the genre. Yet, its first version, which preceded the other two quartets, was completed in 1856 at a time when the 23-year-old composer had become devoted to Clara Schumann. While Robert Schumann spent his final years languishing in an asylum amid deteriorating mental health, Brahms assisted Clara in taking care of the Schumann household. Obvious parallels can be drawn between Brahms’ deep affection for Clara and the emotional tumult of the fictional Werther.
Dissatisfied with the work in its original form, Brahms set it aside. Twenty years later, the mature piece emerged. Originally set in C-sharp minor, the final version moved down a semitone to tragic and lamenting C minor, the key of Brahms’ First Symphony. The original finale was transformed into the Scherzo, and the concluding two movements were newly written. Still, the turbulent passions which swirled around the piece at its inception remained.
The first movement (Allegro non troppo) begins with octave C’s in the piano, followed by tragic “sighs” in the strings which seem to intone the name, “Clara.” It’s a motivic kernel which develops into a transposition of the four note descending "Clara Theme" (E-flat, D, C, B, C), the motif which haunts so much of the music of Robert Schumann. These gloomy opening bars undergo a harmonic “descent.” The first theme is launched into motion with the jarring, dissonant interruption of a rising octave E pizzicato in the viola and violin. The remainder of the tempestuous movement alternates between ferocity and soaring passion. The recapitulation drifts into mysterious territory which fails to establish fully the home key of C minor. The coda’s tragic final cadence leaves the tension unresolved.
The Scherzo returns to C minor, as if to “[furnish] the tonal balance unprovided for by the end of the first movement.” (Donald Francis Tovey) It unfolds as a thrilling, frenetic musical conversation. We are denied the relief of a contrasting trio section. Instead, a ferocious development section takes hold.
Moving to the remote key of E major, the third movement (Andante) is a tender love song without words. The warm first theme is introduced by the cello, and then becomes a sensuous duet between the cello and violin. This music gives us a sense of deep yearning, mystery, and shimmering transcendence. The final bars are a poignant farewell.
The final movement (Allegro comodo) returns to tempestuous C minor. In the opening bars, the piano’s undulating lines echo the opening of Mendelssohn’s Piano Trio in C minor, Op. 66. The fateful “short-short-short-long” motif of Beethoven’s Fifth Symphony (also in C minor) lurks in the shadows of the inner voices. This rhythmic motif becomes more bold as the movement continues. It haunts the music as a persistent musical ghost. There are allusions to the “sighs” of the opening movement, as well as the “Clara Theme,” which is heard in retrograde in the violin (B, C, D, E-flat, F, E-flat). The second theme moves to the relative major with a chorale theme which is heard in the strings amid playful ripples in the piano. The coda drifts into quiet resignation and exhaustion. A forte cadence in C major brings the Quartet to an abrupt conclusion.
The “Werther” Quartet, as it has come to be known, was premiered in Vienna on November 18, 1875 with Brahms at the piano alongside members of the Hellmesberger Quartet.
- Timothy Judd, View all posts by Timothy Judd | Website
ARTIST BIOGRAPHIES
Mary Ellen Haupert, pianist, is currently a professor of music in Viterbo University Music Department and Director of Liturgy at Roncalli Newman and Blessed Sacrament Parishes. She was awarded the Alec Chui Memorial Award in 2012 (for fostering student research) and Teacher of the Year in 2014. Mary Ellen is passionate about chamber music and is credited as founder/artistic director of the One-of-a-Kind Chamber Music Series (2008-2018), the Out-of-Our-Minds Chamber Music Series (2018-present), and the Bonfire Chamber Music Series (2018 – present) – a summer series sponsored by the Reif Center in Grand Rapids, MN. Mary Ellen has presented her theory pedagogy at national and international conferences, recorded two albums of chamber by Louise Farrenc on the CENTAUR label, and is a published composer. Her most recent composition, "Variant," was performed by the Galan Piano Trio on tour in November 2022.
Michelle Lee Elliott, violinist, has enjoyed a diverse musical career as a chamber musician, orchestral musician, and soloist. As a founding member of the Vinca Quartet, which was appointed as the first resident quartet to study and collaborate with the Takács Quartet at the University of Colorado. The Vinca Quartet were prizewinners of the Fischoff National String Quartet competition, and laureates of the Chesapeake and Plowman Chamber Music Competitions, as well as the Premio Paolo Borciani Competition in Reggio Emilia, Italy. The Vinca Quartet was also selected to participate in the Emerson Quartet’s Carnegie Hall Training Workshop where they were hailed as “stunning” and “musicians worth keeping an eye on” by the New York Times.
Busya Lugovier, violist, was born and educated in the former USSR. She was a member of the Dubna Trio, which was the first delegation to come to La Crosse after the Cold War between the US and Russia. The Dubna Trio played an instrumental role in the sister-city/La Crosse-Dubna project by helping build bridges of understanding between cultures. At the present time, Ms. Lugovier coaches chamber music for the School District of La Crosse, teaches private students, and plays with the La Crosse Symphony Orchestra.
Derek Clark, cellist, received his Master of Music degree in cello performance from The Pennsylvania State University. Before moving to La Crosse Mr. Clark resided in Pittsburgh, PA, where he was an active professional cellist with several area symphony orchestras and ensembles as well as a private teacher. Upon moving to La Crosse in 2002, Mr. Clark became a member of the Rochester Orchestra and the La Crosse Symphony, where he was principal cellist for ten years. Mr. Clark is currently a member of Bluffside Consort, Crescendo String Quartet, and Ensemble Druzhba. In addition to performing, Mr. Clark has been an active cello teacher as well. He has taught cello at the University of Wisconsin-La Crosse, Winona State University, and St. Mary’s University in Winona. He also maintains a private studio.
Mary Ellen Haupert, pianist, is currently a professor of music in Viterbo University Music Department and Director of Liturgy at Roncalli Newman and Blessed Sacrament Parishes. She was awarded the Alec Chui Memorial Award in 2012 (for fostering student research) and Teacher of the Year in 2014. Mary Ellen is passionate about chamber music and is credited as founder/artistic director of the One-of-a-Kind Chamber Music Series (2008-2018), the Out-of-Our-Minds Chamber Music Series (2018-present), and the Bonfire Chamber Music Series (2018 – present) – a summer series sponsored by the Reif Center in Grand Rapids, MN. Mary Ellen has presented her theory pedagogy at national and international conferences, recorded two albums of chamber by Louise Farrenc on the CENTAUR label, and is a published composer. Her most recent composition, "Variant," was performed by the Galan Piano Trio on tour in November 2022.
Michelle Lee Elliott, violinist, has enjoyed a diverse musical career as a chamber musician, orchestral musician, and soloist. As a founding member of the Vinca Quartet, which was appointed as the first resident quartet to study and collaborate with the Takács Quartet at the University of Colorado. The Vinca Quartet were prizewinners of the Fischoff National String Quartet competition, and laureates of the Chesapeake and Plowman Chamber Music Competitions, as well as the Premio Paolo Borciani Competition in Reggio Emilia, Italy. The Vinca Quartet was also selected to participate in the Emerson Quartet’s Carnegie Hall Training Workshop where they were hailed as “stunning” and “musicians worth keeping an eye on” by the New York Times.
Busya Lugovier, violist, was born and educated in the former USSR. She was a member of the Dubna Trio, which was the first delegation to come to La Crosse after the Cold War between the US and Russia. The Dubna Trio played an instrumental role in the sister-city/La Crosse-Dubna project by helping build bridges of understanding between cultures. At the present time, Ms. Lugovier coaches chamber music for the School District of La Crosse, teaches private students, and plays with the La Crosse Symphony Orchestra.
Derek Clark, cellist, received his Master of Music degree in cello performance from The Pennsylvania State University. Before moving to La Crosse Mr. Clark resided in Pittsburgh, PA, where he was an active professional cellist with several area symphony orchestras and ensembles as well as a private teacher. Upon moving to La Crosse in 2002, Mr. Clark became a member of the Rochester Orchestra and the La Crosse Symphony, where he was principal cellist for ten years. Mr. Clark is currently a member of Bluffside Consort, Crescendo String Quartet, and Ensemble Druzhba. In addition to performing, Mr. Clark has been an active cello teacher as well. He has taught cello at the University of Wisconsin-La Crosse, Winona State University, and St. Mary’s University in Winona. He also maintains a private studio.
