Opus Colorado

I am always quite pleasantly surprised by the number of fine chamber ensembles in the state of Colorado. Friday evening, April 27, the Mendelssohn Trio gave a wonderful performance in Hamilton Hall on the DU campus. The Mendelssohn Trio is in residence at Colorado State University, and is comprised of Theodor Lichtman, piano; Barbara Thiem, cello; and Ronald François, violin. Friday evening’s performance was augmented with Margaret Miller, a terrific violist, whose presence made it possible for them to perform Dvořák’s Piano Quartet, Op. 87. As a matter fact, there were two works performed on Friday evening’s program: Beethoven’s “Archduke” Trio, Opus 97, and the Dvořák. But, make no mistake about it; this is a full program. Both of these works are enormous, and require the utmost in listening from the audience, as well as the utmost in stamina and courage from the performers. But, you must understand all four of these musicians possess the undeniable qualities of stamina and courage, as well as supreme musicianship.

The only disappointing aspect of the evening was the fact that the audience was so pitifully small. It astounds me that when such a superb chamber group performs, that the hall was not full.

The first work on the program was the famous “Archduke” Trio of Beethoven’s. This trio was the last finished of Beethoven’s trios, and Beethoven considered it one of his finest works. This is the first piano trio of the classical period wherein the piano and violin and cello are truly equal partners. This particular work is known for its lyricism. I could not locate my score to this piece, but as I recall, the violin and cello have only six measures, after the piano begins the first movement, to make their entrance. They play a little duet, and then announce the theme that was originally played by the piano. This piece has always seemed to me quite remarkable for a Beethoven piano trio, for there is nothing of any pressing urgency throughout the entire work. It is all very lush and very straightforward. These three performers have absolutely exquisite control over dynamics, and this aspect was highlighted by the fact that they are so very comfortable performing with each other. The phrasing was absolutely perfect, and the balance between all three performers was excellent as well. When I say balance, I am referring specifically to the ability of these three individuals to allow each one to have their own expressive road upon which to travel.

The second movement is a scherzo, and their tempo was absolutely perfect because one could hear absolutely every idea that Beethoven wanted us to hear. And, there is an abundance of things to hear in this movement including the remarkable chromaticism. Lichtman, François, and Thiem have a unique way of playing together, in that, everything is so perfectly clear. And, speaking of chromaticism, the third movement of this piece, which is marked andante cantabile, has its own remarkable chromaticism: an absolutely, totally unexpected, German 6-5 chord. Every time the main theme returns – and this movement is really a theme and variations – that chord is a wonderful surprise. It is so easy for some musicians to overdo this surprise, because of its emotional impact, let alone its own element of revelations, for truly, that’s what it is. There is much to say about Beethoven’s contemporary, Franz Schubert, and his chromaticism. He most certainly used this chord, but in a much more subtle way. And, the way it was performed Friday night by the Mendelssohn Trio, when this movement reaches its end, one cannot help but think that Beethoven’s use of this chord is equally perfect. The Mendelssohn Trio allowed so many instances such as this to simply unfold the way the composer wished. The third movement was absolutely stunning, and it truly seemed as though these three musicians were joined at the hip.

The fourth movement was simply full of joy. This is the one movement of this piano trio that puts everyone on his/her mettle (trust me, I know). It is truly an almost boisterous movement which is a total joy to listen to. This was truly wonderful Beethoven, performed in a way, which, as I said, was boisterous, but with no crudity, which is sometimes, by some performers, associated with Beethoven.

After the intermission, the Mendelssohn Trio performed Dvořák’s monumental Piano Quartet, Opus 87. It is my own personal belief that Dvořák is a very underrated composer, though everyone is familiar with his name, and certainly, everyone knows the New World Symphony and the Dumky Piano Trio. There is much of his output which is not performed, or even explored in the university sophomore level music history classes.

This Piano Quartet in E Flat Major certainly does contain some of the folk influences that many music history teachers simply dismiss as “Nationalistic Influence,” but it is hugely appealing on many other levels as well. This entire work could be considered as treatises on the Sonata form, and is full of the vehicle difficulties that make all four instruments work extremely hard. I think that its originality and its typically Dvořák-ian (please excuse me for that) craftsmanship, which is so excellent, make it an unjustly neglected work.

The Mendelssohn Trio began this work with true vigorousness. François and Miller (remember, she was the guest violist of the evening) accomplished the tremolo’s at the end of the first movement perfectly. All four musicians literally “dug in” to this music with true conviction, and it was very clear that they enjoyed performing this work. In the second movement, which is marked Lento, Barbara Thiem was wonderfully intense in tone and expression. The performance of this movement was truly spectacular because of the communication between all four of the musicians. It is always such a joy to watch individuals who are united in their consideration of music as their first priority rather than displaying their own personal technique.

The third movement, which Dvořák marked grazioso, was just that: graceful, even though it is done at a fairly quick tempo. The fourth movement was full of energy and emotion and joy. There is no question that the performance of this entire Piano Quartet exhibited a great deal of enthusiasm. The response by the audience was a standing ovation, and I am sure that they noticed the enthusiasm demonstrated by all four performers.

I must say that I felt that the performance of the Dvořák exceeded that of the Beethoven, but you must understand that the Beethoven was done exceptionally well. The Dvořák had the necessary spark.

Concerning the guest artist Margaret Miller, I will quote from the program notes:

“Margaret Miller has been Assistant Professor of Viola and Chamber Music at CSU since 2004, and is also the coordinator for the Graduate Quartet program. Prior to joining the CSU faculty, Ms. Miller was violist of the Da Vinci Quartet for eighteen years, touring throughout the United States and recording three CDs for the Naxos American Classics label.

“Ms. Miller maintains a private studio in Colorado Springs, where she is also on the faculty of Colorado College and Pike’s Peak Community College. She has been honored for her teaching by the Colorado Chapter of the American String Teachers Association and the Colorado Springs Youth Symphony.”

Concerning the members of the Mendelssohn Trio:

“Dr. Ron Francois’ performances as a soloist, recitalist and chamber musician has consistently won the acclaim of notable musicians. ‘…a big talent…’ said Abram Shtern concertmaster of the Kiev State Opera and professor at the Kiev Conservatory. Others proclaim Francois’ playing as ‘…extremely musical…Francois plays with great sensitivity and warmth…’ said concert violinist Daniel Heifetz ‘…A wonderful musician…sensitive ensemble player and a brilliant violinist,’ said Michael Tree from the Guarneri String Quartet.

“A recipient of the Quebec Arts Council Grant, Francois began his career under the tutelage of concert violinist Daniel Heifetz and members of the Guarneri String Quartet. Francois concertized all over the USA and abroad with Heifetz as soloist, and as a member of his ‘Classical Band’. Consequently, Francois has performed several major solo works with orchestras in Canada and throughout the United States. He has also studied with David Salness of the Audubon Quartet, Elizabeth Adkins, Zvi Zeitlin and taken masterclasses with Charles Castelman.

“In addition to his performance activities, Ron Francois serves as Head of the String Division at Colorado State University in Fort Collins Colorado where he has been on the faculty since 2002.”

“Barbara Thiem is an internationally acclaimed cellist who combines teaching cello and coaching chamber music with her active schedule of performances in Europe and the United States, playing recitals, solo with orchestra, and chamber music. She is a member of the Mendelssohn Trio and in the summers administers the International Summer Academy of Schloss Ort, Austria. She holds degrees from Cologne, Germany, where she studied with avant-garde cellist Siegfried Palm, and from Indiana University where she was assistant to Janos Starker and was awarded the coveted Performer’s Certificate. In addition to concertizing, she has recorded for many radio stations and has produced several CDs among them a set of Bach Suites for cello solo, Complete Works by Felix Draeseke for cello and piano with pianist Wolfgang Mueller-Steinbach, Works for Cello and Organ with organist Robert Cavarra, and Cello/Bass duets with Gary Karr. She has published the translation of Gerhard Mantel’s Cello Technique as well as a number of articles on good postural and practicing habits which appeared in the ASTA and Suzuki Journals. She has also been involved in research as part of the Center for Biomedical Research in Music Therapy at CSU.

“Presently she is teaching and performing at Colorado State University. In addition to studio teaching of cello and chamber music, she is teaching a three semester course of cello pedagogy, as well as organizing the Pre-College Chamber Music Program and the biennial Rocky Mountain Contemporary Music Festival.”

Ted Lichtman is certainly well-known throughout Colorado and much of the United States. Nonetheless, I will include a short bio statement:

“Theodor Lichtmann, pianist, was born and educated in Switzerland. He studied at the University of Munich and the Vienna Academy of Music as well as privately with Irma Schaichet and Leonard Shure, assistant to legendary Arthur Schnabel. Lichtmann received his Master of Music degree from the University of Texas at Austin. He is highly sought after as a soloist and chamber musician throughout the U.S. and internationally and is co-founder of the Mendelssohn Trio. Professor Lichtmann has taught in Zurich, the Brooklyn Conservatory, the University of Texas at Austin and Wittenberg University. Until his retirement he was Professor of Piano at the Lamont School of Music at the University of Denver in Colorado.”

This was an absolutely delightful chamber music concert. All of you who attended this performance are aware of that: all of you, who did not attend, make the effort the next time the Mendelssohn Trio performs.