Carthage Trio Concert

upcoming fine arts events carthage music department presents

Meet the Masters Wednesday, October 19 7:30 p.m.

Campbell Student Union Auditorium (CSU) Ope,not Ope Opening Reception Thursday, October 27 3:30 p.m.

H. F. Johnson Art Gallery Performing Arts Series: Lauren Jelencovich Thursday October 27 7:30 p.m.

A. F. Siebert Chapel Tickets Required. Visit www.carthage.edu/tickets for ticket information Lakeside Band Festival Saturday, October 29 7:00 p.m.

A. F. Siebert Chapel Student Recital: Nate Myers Sunday, October 30 2:00 p.m.

Campbell Student Union Auditorium (CSU)

Dr. Deborah Masloski, piano Peter J. Thomas, cello Dr. Charlene Kluegel, violin

Student Recital: Lexy Klawonn & Bailey Schneyr Monday, October 31 7:30 p.m.

H. F. Johnson Recital Hall Fine Arts at Carthage acknowledges that the land on which our building stands is part of the traditional Potawatomi, Sioux, Peoria, Kickapoo, and Miami peoples past, present and future. These homelands reside along the southwest shores of Michigami, North America’s largest system of freshwater lakes. We honor with gratitude the land itself, and the people who have stewarded it throughout the generations. Many Indigenous peoples thrive in this place––alive and strong, and this calls us to commit to continuing to learn how to be better stewards of the land we inhabit as well.

connect with us carthage.edu/finearts 262-551-5859 facebook.com/carthagefinearts instagram.com/carthagefinearts

Carthage Trio

Josef Fischer, guest artist

tickets required Get tickets 24/7 at carthage.edu/ tickets 262-551-6661 noon to 5p.m. Tuesday – Friday

Monday, Oct. 17, 2022 | 7:30 p.m.

H. F. Johnson Recital Hall

notes

program Claude Debussy Piano Trio in G major Piano Trio in G major Andantino con moto allegro Scherzo: Moderato con allegro Andante expressivo Appasionato

Piano Quartet in Eb major, Op. 47 Sostenuto assai – Allegro ma no troppo Scherzo: Moto vivace – Trio I – Trio II Andante cantabile Finale: Vivace

Claude Debussy (1862–1918)

Robert Schumann (1810–1856)

Written in 1880, at the tender age of 18, Debussy’s youthful Piano Trio in G major was the product of the composers extended trip through Central Europe and Italy in the household of Tchaikovsky’s patron Nadezhda von Meck. As a student of the Paris Conservatoire, he and a few select students were sent to Italy to teach the von Meck children and perform nightly chamber music concerts. This environment likely inspired the young Debussy to compose his only piano trio though whether it was also heard then is unknown. The piece was thought lost until rediscovered at auction and fully reconstructed over a century later. Written in four movements, Debussy’s later French musical language is already audible in the mercurial harmonies through the piece, taking the listener’s ear in unexpected and evocative directions. The first movement with its free – nearly rhapsodic thematic treatment gives way to a pointillistic and impish Scherzo. The lugubrious slow movement demonstrates the young master’s lyrical abilities. The Finale pulls together themes from all previous movements in reminiscence.

Robert Schumann Piano Quartet Robert Schumann’s Piano Quartet in E-flat major stands as a pillar of the genre, setting a romantic model for his protégé Johannes Brahms and countless others. Premiered in Leipzig by super stars Clara Schumann, and Gewandhausorchester musicians Ferdinand Davi , Niels Gade, and Franz Karl Wittmer, the Piano Quartet was composed during Schumann’s year of chamber music (1842). Often considered the twin piece to the Piano Quintet, the Piano Quartet is the intimate and neo-Classical sibling, reminiscent of Mozart in the first movement’s rhapsodic treatment of the piano and the fugal last movement. The agitated and quicksilvery Scherzo with its two quasi-waltz trios gives way to one of Schumann’s most sublime melodies in the lyrical third movement. Its rhapsodic nature allows for each of the four instruments to shine in their own unique register before ending on a near whisper. The fugato Finale sparkles with virtuosity and energy, contributing to Clara Schumann’s thoughts on this “beautiful piece, so youthful and fresh, as if it were his first.”

- Dr. Charlene Kleugel