Live Stream_241203 Magritte Trio

Performed Tuesday, December 3, 2024, at Noontime Concerts, San Francisco, California at Historic Old St. Mary's Cathedral, 660 California at Grant Avenue, San Francisco. http://www.noontimeconcerts.org Magritte Trio Elektra Schmidt, Piano Sarah Elert, Violin Lewis Patzner, Cello Program: L. V. Beethoven: Piano Trio in C Minor, Op. 1, No. 3 L. V. Beethoven: Piano Trio in D Major, Op. 70, No. 1 " Ghost" Program Notes: The trios of Opus 1 were written during Beethoven's early years in Vienna, where he was determined to establish himself as a serious composer rather than just a virtuoso pianist. These trios were premiered at a private concert in 1795 at the residence of Prince Lichnowsky, Beethoven's patron. Many of the most influential musical figures of the time attended the event, including Joseph Haydn. This trio, often considered the most symphonic of the Opus 1 set, unfolds in four movements: a dark and brooding Allegro con brio, a lyrical Andante cantabile con variazioni, a nimble and graceful Menuetto, and a fiery, intense Finale. The work showcases Beethoven’s ability to balance the conversational interplay between the piano, violin, and cello while pushing the boundaries of the trio form. The Piano Trio in D Major, Op. 70 No. 1, is often referred to as the "Ghost" Trio due to its eerie and mysterious second movement. Composed in 1808 during one of Beethoven's most prolific periods, this trio is a testament to the composer’s evolving style, blending classical forms with the dramatic intensity that would define his middle period. The nickname "Ghost" is attributed to Carl Czerny, Beethoven's student, who remarked on the spectral quality of the second movement, Largo assai ed espressivo. This movement is believed to have been inspired by sketches Beethoven made for an opera based on Shakespeare's Macbeth, a project that never came to fruition. The haunting atmosphere is created using unusual harmonic progressions and a sparse, brooding texture that contrasts sharply with the lively outer movements. Together, these two trios illustrate Beethoven's journey from a young, ambitious composer eager to make his mark in Vienna, to a mature artist unafraid to push the boundaries of musical expression. The Opus 1 No. 3 Trio shows Beethoven challenging the expectations of his predecessors, while the Opus 70 No. 1 “Ghost” Trio reveals his unique voice, blending the classical tradition with the bold, innovative spirit that would come to define his legacy. Players: Award-winning pianist Elektra Schmidt performs as a solo artist and in chamber groups in the United States as well as France, Greece, and the United Kingdom. She has had the good fortune to learn alongside such visionaries as Marios Papadopoulos, Neil Immelman, Theodor Paraskeveku, the Ganev duo, and others. After graduating summa cum laude from the National Conservatory of her native Greece in the class of her cherished mentor Stavroula Papadiamanti, Elektra pursued her post-graduate studies in Paris at the Schola Cantorum and the Conservatoire Raoul Pugno under the guidance of distinguished pianist Lilia Boyadjieva. She received her master’s degree with First Prize and Distinction (Medaille d’Or avec les felicitations du jury). Elektra is based in San Francisco. Originally from Annapolis, Maryland, Sarah Gelert began studying violin at age five and made her solo debut with the Baltimore Symphony Orchestra at age seventeen. She holds a Bachelor of Music from the University of Colorado Boulder, a Master of Music from Boston University, and an Artist Diploma in Orchestral Studies from the San Francisco Academy Orchestra. Sarah currently holds a position as principal second violinist of the Vallejo Symphony, section positions in the Berkeley and Modesto Symphonies, and performs with other groups throughout the Bay Area. She has previously held section positions with the Boston Philharmonic Orchestra and the Midland-Odessa Symphony and Chorale and has attended several prestigious festivals, most notable of which include the National Repertory Orchestra, Aspen Music Festival, and Icicle Creek Chamber Music Institute. An avid chamber musician, Sarah plays regularly with her San Francisco-based quartet, the Atlas Quartet. Recently, she spent the summer in Breckenridge as part of the National Repertory Orchestra’s Alumni String Quartet, where she had the opportunity to curate numerous classical programs and perform educational concerts at local preschools and libraries. Lewis Patzner is a professional cellist and composer from Oakland, CA. After earning a bachelor’s degree in cello performance from the Peabody Institute in 2007, Lewis took an uncommon path and toured both as a side musician for rock bands and in his experimental instrumental metal band, Judgement Day. He now lives in Oakland and works as a freelance musician.