Our first several programs have turned out to be a kind of celebration of romantic music—the period we call “romantic” at any rate. Certainly, our first program set the pace with works of Clara and Robert Schumann, both of whom were giants of the period and the romantic movement, especially Robert with his literary writings helping to define the trend. Our most recent program features the masterly String Sextet by Dvořák who took romanticism to new heights by embracing Czech folk elements. You can still hear that program on Wednesday evening at the Kress Pavilion at 7:00 pm.
But our next program features two giants that helped establish romanticism in music from the very start. Certainly, Mendelssohn needs no introduction as a master of highly emotional content with works like Midsummer’s Night Dream, and his wonderfully evocative overture, Fingal’s Cave, and the Italian Symphony. And his Second Piano Trio, which is featured on our next program, is equally eloquent in exploring feelings in music, especially when he introduces that Bach chorale melody in the last movement. I can’t think of a more thrilling moment in music. It gives me goose bumps every time.
However, a key composer in the early romantic movement often goes unheralded. It’s probably because much of his influence was in opera, especially in Germany. I’m speaking of Carl Maria von Weber. He was such a revolutionary figure in his approach, bringing stories like Der Freischütz (The Sharpshooter) to such colorful and dramatic realization. He had a profound effect on Richard Wagner, but also on Strauss, Mahler, and, of course, Hindemith who wrote his Symphonic Metamorphosis of Themes from Carl Maria von Weber. The amazing thing is how far out in front of most other composers he was in this regard. He died in 1826, the year before Beethoven and 21 years before Mendelssohn, yet he had already opened widely the door to romanticism.
The Trio for Flute, Cello, and Piano is one of the last of a modest number of chamber works that Weber wrote and is one of his most serious and most emotional. It is perhaps best known for its slow movement which is based on a song entitled “Shepherd’s Lament.” It will feature Heather Zinninger, flute, along with her colleague from the Milwaukee Symphony, pianist Jeanie Yu plus cellist Mara McClain. The program begins with a heartfelt Afro American Suite by an under-appreciated black composer by the name of Undine Smith Moore. Ms. Moore’s Suite is written for the same instrumentation as the Weber, but Ms. Zinninger will also play the alto flute in the third movement. Violinist David Perry will join Mara and Jeannie for the Mendelssohn Piano Trio. Mendelssohn wrote this second piano trio only two years before his untimely death.
Performances are Thursday, June 26th, at the Unitarian Fellowship in Ephraim, Friday at MUSE in Sturgeon Bay, Saturday at St. Luke’s Episcopal Church in Sister Bay, and Tuesday, July 1st, at Shepherd of the Bay Lutheran Church in Ellison Bay (all at 7:00 pm). Call 920-854-7088 or visit www.midsummersmusic.com for tickets or more information.
