Concert 2 – July 29, 2022 @ 7
James Wilson, baritone
Mary Ellen Haupert, piano
Ray Shows, violin
Nancy Oliveros, violin
Pedro Oviedo, viola
Magdalena Sas, cello
PROGRAM
Die schöne Müllerin (“The Fair Maid of the Mill”), Op. 25, D. 795
"Das Wandern" ("Wandering"):
"Wandering is the miller's joy" – a journeyman Miller happily travels through the countryside, singing of the restless water, millstones, and millwheels of his trade.
"Wohin?" ("Where to?”):
"Is this my path then? Oh tell me, brook, where to?" – the Miller fatefully comes across a Brook, and is captivated into following it.
"Halt!" ("Stop!"; C major):
"Dear little Brook, is this what you meant?" – the Brook leads the Miller to an idyllic mill in a forest grove.
"Danksagung an den Bach" ("Thanksgiving to the Brook"):
"Did she send you? Or have you enchanted me?"
– The grateful Miller thanks the Brook for providing work for his hands and his heart.
"Am Feierabend" ("Evening's Rest"):
"If only I could move the millstones alone! Then the beautiful maiden would know my true purpose!" – the Miller is troubled when the Maiden wishes a good night to all the men, paying him no particular attention; he aches to distinguish himself from his peers.
"Der Neugierige" ("The Inquirer"):
"Tell me, little Brook – does she love me?" – he asks the enigmatic brook whether the Maiden loves him – Yes or No – between these two words lies his entire world.
"Ungeduld" ("Impatience"):
"My heart is yours, and it will be forever!" – he wishes he could carve his love into every tree, have every bird sing of it,
have the wind tell of it.
"Morgengruß" ("Morning Greeting"):
"Does my greeting displease you so?" – the Miller is troubled by the Maiden's cool reaction to his morning greeting. Nonetheless, his optimism is intact – he will just wait outside her window.
"Des Müllers Blumen" ("The Miller's Flowers"):
"The flowers will whisper to her as in a dream: forget me not!" – the Miller indulges in a poetic metaphor between the blue flowers beside the brook and the Maiden's blue eyes.
"Tränenregen" ("Rain of Tears"):
"She said: 'A rain is coming – farewell, I'm going home'" – the Miller and Maiden share a tender moment by the Brook – the three principal characters in one place. The Miller cannot bring himself to look at her, and stares into the Brook at the moon and her reflection. As his tears ripple in the water, she abruptly leaves.
"Mein!" ("Mine!"):
"Are these all the flowers you have, spring? Can you not shine brighter, sun? The beloved Millermaid is mine! Mine!" – the ecstatic Miller is convinced he possesses the Maiden, despite heretofore dubious encouragement.
James Wilson, baritone
Mary Ellen Haupert, piano
Antonin Dvořák (1841-1904)
Piano Quintet No. 2 in A Major, Op. 81
I. Allegro, ma non tanto
II. Dumka: Andante con moto
III. Scherzo (Furiant): Molto vivace
IV. Finale: Allegro
Ray Shows and Nancy Oliveros, violin | Pedro Oviedo, viola | Magda Sas, cello | Mary Ellen Haupert, piano
Notes: The Piano Quintet in A major, Op. 81, is easily one of the finest examples of late Romantic chamber music. Written between August and October 1887, the Quintet was Dvorák’s second attempt at composing in the form.
The first movement, Allegro ma non tanto, begins with the cello stating a noble yet brief first theme atop arpeggiated piano chords. The mood is abruptly transformed by the entire ensemble’s rush into F-sharp minor before stating a fortissimo second theme in C major. The second movement, Andante con moto, again makes use of the dumka to devastating effect. The piano introduces the movement’s main theme in the form of a delicate, wistful figure in F-sharp minor. Accompaniment by the strings is minimal and transparent so as not to intrude too heavily upon the gentle introversion of the piano’s theme. A somewhat brighter D-major interlude is provided and is followed by the main theme, this time played by viola with the piano providing understated accompaniment. The movement rushes to a close with a frenzied, schizophrenic repeat of the movement’s principal theme. The playful third-movement Scherzo, marked Molto vivace, is also in the form of a furiant, which is not quite evident until the trio section where Dvorák ingeniously tinkers with the rhythm. The Allegro finale, in the form of a rondo, begins with a furious burst of syncopation in the piano leading to a series of raucous 16th-note passages in the strings. The second violin leads the movement’s main theme into a fugue-like development. The brakes are applied at the coda, which Dvorák marked tranquillo, as a stately chorale offers one final bit of introspection punctuated by the piano. The tempo once again picks up as the movement rushes to an exuberant close.
- J. Anthony McAlister
James Wilson, baritone
Dr. James Wilson is an Associate Professor of Music at Viterbo University where he directs the Concert Choir, 9th Street Singers, and Rose Chorale. Wilson also teaches conducting, choral methods, diction, and serves as the artistic director for the annual A Viterbo Christmas performances. Prior to his coming to Viterbo, Wilson served as Professor of Music and Director of Choirs at Wesley College, a private liberal arts college located in Dover, Delaware. For ten years he served as Artistic Director of the Delaware Choral Society, an organization of 100 singers with whom he performed works such as Handel’s Messiah, Orff’s Carmina Burana, and Haydn’s The Creation. As a baritone soloist, Wilson has performed with Brandywine Baroque, Melomanié, the Manchester Choral Society of New Hampshire, the Braintree Choral Society, the Masterworks Chorale of Boston, The Marsh Chapel Choir at Boston University, the Choral Society of Greensboro, North Carolina and the Voices of Omaha, Nebraska.
Ray Shows, violin
Colombian-American Violinist RAY SHOWS is a complete musician with three decades of performances as 1st violin of the acclaimed Artaria String Quartet and as a solo recitalist. His sound “a wail of individuality”, Ray has performed in major concert halls in New York, Boston, Chicago, Cleveland, Philadelphia, Atlanta, Minneapolis, across the U.S. and in Europe. Winner of a prestigious McKnight Performing Artist Fellowship, Ray is a highly regarded chamber musician and has appeared on national television and radio broadcasts in both the U.S. and Canada. A Teaching-Artist in Residence at the Tanglewood Institute, Ray has held positions at Boston College, Viterbo University, Florida State University and Baldwin-Wallace Conservatory. Chamber Music studies were mentored by Eugene Lehner of the legendary Kolisch Quartet and by members of the Budapest, Juilliard, Emerson, Cleveland, LaSalle, Muir, and Colorado Quartets. Shows is a member of the string faculty at St. Olaf College where he teaches violin, viola and chamber music.
Nancy Oliveros, violin
A founding member of the critically acclaimed Artaria String Quartet and a 2004 McKnight Fellow, violinist Nancy Oliveros has performed at renowned venues in New York, Boston, Atlanta, Cleveland, Philadelphia, Chicago, and throughout the United States and Europe. She is a multi-year recipient of grants from the National Endowment for the Arts, Chamber Music America, and the Minnesota State Arts Board for performance and educational outreach projects. She has performed with members of the Boston Symphony and Minnesota Orchestra, Juilliard, Guarneri, Cleveland, Miro, Pacifica, Cavani, and St. Lawrence Quartets, among others. Co-founder of the Stringwood Summer Chamber Music Festival in Lanesboro, MN and the Artaria Chamber Music School in St. Paul, she was Artist/Teacher in Residence at the world-renowned Tanglewood Institute under the mentorship of Norman Fischer. With the ASQ, she competed at the finals of the Banff International String Quartet Competition and was a protege of Walter Levine at ProQuartet and the L’Epau Festival in France. Further studies in Chamber Music were mentored by members of the Budapest, Emerson, and Cleveland Quartets. Nancy’s principal violin teachers were Roman Totenberg, Gerardo Ribeiro, and Karen Clarke.
James Wilson, baritone
Mary Ellen Haupert, piano
Ray Shows, violin
Nancy Oliveros, violin
Pedro Oviedo, viola
Magdalena Sas, cello
PROGRAM
Die schöne Müllerin (“The Fair Maid of the Mill”), Op. 25, D. 795
"Das Wandern" ("Wandering"):
"Wandering is the miller's joy" – a journeyman Miller happily travels through the countryside, singing of the restless water, millstones, and millwheels of his trade.
"Wohin?" ("Where to?”):
"Is this my path then? Oh tell me, brook, where to?" – the Miller fatefully comes across a Brook, and is captivated into following it.
"Halt!" ("Stop!"; C major):
"Dear little Brook, is this what you meant?" – the Brook leads the Miller to an idyllic mill in a forest grove.
"Danksagung an den Bach" ("Thanksgiving to the Brook"):
"Did she send you? Or have you enchanted me?"
– The grateful Miller thanks the Brook for providing work for his hands and his heart.
"Am Feierabend" ("Evening's Rest"):
"If only I could move the millstones alone! Then the beautiful maiden would know my true purpose!" – the Miller is troubled when the Maiden wishes a good night to all the men, paying him no particular attention; he aches to distinguish himself from his peers.
"Der Neugierige" ("The Inquirer"):
"Tell me, little Brook – does she love me?" – he asks the enigmatic brook whether the Maiden loves him – Yes or No – between these two words lies his entire world.
"Ungeduld" ("Impatience"):
"My heart is yours, and it will be forever!" – he wishes he could carve his love into every tree, have every bird sing of it,
have the wind tell of it.
"Morgengruß" ("Morning Greeting"):
"Does my greeting displease you so?" – the Miller is troubled by the Maiden's cool reaction to his morning greeting. Nonetheless, his optimism is intact – he will just wait outside her window.
"Des Müllers Blumen" ("The Miller's Flowers"):
"The flowers will whisper to her as in a dream: forget me not!" – the Miller indulges in a poetic metaphor between the blue flowers beside the brook and the Maiden's blue eyes.
"Tränenregen" ("Rain of Tears"):
"She said: 'A rain is coming – farewell, I'm going home'" – the Miller and Maiden share a tender moment by the Brook – the three principal characters in one place. The Miller cannot bring himself to look at her, and stares into the Brook at the moon and her reflection. As his tears ripple in the water, she abruptly leaves.
"Mein!" ("Mine!"):
"Are these all the flowers you have, spring? Can you not shine brighter, sun? The beloved Millermaid is mine! Mine!" – the ecstatic Miller is convinced he possesses the Maiden, despite heretofore dubious encouragement.
James Wilson, baritone
Mary Ellen Haupert, piano
Antonin Dvořák (1841-1904)
Piano Quintet No. 2 in A Major, Op. 81
I. Allegro, ma non tanto
II. Dumka: Andante con moto
III. Scherzo (Furiant): Molto vivace
IV. Finale: Allegro
Ray Shows and Nancy Oliveros, violin | Pedro Oviedo, viola | Magda Sas, cello | Mary Ellen Haupert, piano
Notes: The Piano Quintet in A major, Op. 81, is easily one of the finest examples of late Romantic chamber music. Written between August and October 1887, the Quintet was Dvorák’s second attempt at composing in the form.
The first movement, Allegro ma non tanto, begins with the cello stating a noble yet brief first theme atop arpeggiated piano chords. The mood is abruptly transformed by the entire ensemble’s rush into F-sharp minor before stating a fortissimo second theme in C major. The second movement, Andante con moto, again makes use of the dumka to devastating effect. The piano introduces the movement’s main theme in the form of a delicate, wistful figure in F-sharp minor. Accompaniment by the strings is minimal and transparent so as not to intrude too heavily upon the gentle introversion of the piano’s theme. A somewhat brighter D-major interlude is provided and is followed by the main theme, this time played by viola with the piano providing understated accompaniment. The movement rushes to a close with a frenzied, schizophrenic repeat of the movement’s principal theme. The playful third-movement Scherzo, marked Molto vivace, is also in the form of a furiant, which is not quite evident until the trio section where Dvorák ingeniously tinkers with the rhythm. The Allegro finale, in the form of a rondo, begins with a furious burst of syncopation in the piano leading to a series of raucous 16th-note passages in the strings. The second violin leads the movement’s main theme into a fugue-like development. The brakes are applied at the coda, which Dvorák marked tranquillo, as a stately chorale offers one final bit of introspection punctuated by the piano. The tempo once again picks up as the movement rushes to an exuberant close.
- J. Anthony McAlister
James Wilson, baritone
Dr. James Wilson is an Associate Professor of Music at Viterbo University where he directs the Concert Choir, 9th Street Singers, and Rose Chorale. Wilson also teaches conducting, choral methods, diction, and serves as the artistic director for the annual A Viterbo Christmas performances. Prior to his coming to Viterbo, Wilson served as Professor of Music and Director of Choirs at Wesley College, a private liberal arts college located in Dover, Delaware. For ten years he served as Artistic Director of the Delaware Choral Society, an organization of 100 singers with whom he performed works such as Handel’s Messiah, Orff’s Carmina Burana, and Haydn’s The Creation. As a baritone soloist, Wilson has performed with Brandywine Baroque, Melomanié, the Manchester Choral Society of New Hampshire, the Braintree Choral Society, the Masterworks Chorale of Boston, The Marsh Chapel Choir at Boston University, the Choral Society of Greensboro, North Carolina and the Voices of Omaha, Nebraska.
Ray Shows, violin
Colombian-American Violinist RAY SHOWS is a complete musician with three decades of performances as 1st violin of the acclaimed Artaria String Quartet and as a solo recitalist. His sound “a wail of individuality”, Ray has performed in major concert halls in New York, Boston, Chicago, Cleveland, Philadelphia, Atlanta, Minneapolis, across the U.S. and in Europe. Winner of a prestigious McKnight Performing Artist Fellowship, Ray is a highly regarded chamber musician and has appeared on national television and radio broadcasts in both the U.S. and Canada. A Teaching-Artist in Residence at the Tanglewood Institute, Ray has held positions at Boston College, Viterbo University, Florida State University and Baldwin-Wallace Conservatory. Chamber Music studies were mentored by Eugene Lehner of the legendary Kolisch Quartet and by members of the Budapest, Juilliard, Emerson, Cleveland, LaSalle, Muir, and Colorado Quartets. Shows is a member of the string faculty at St. Olaf College where he teaches violin, viola and chamber music.
Nancy Oliveros, violin
A founding member of the critically acclaimed Artaria String Quartet and a 2004 McKnight Fellow, violinist Nancy Oliveros has performed at renowned venues in New York, Boston, Atlanta, Cleveland, Philadelphia, Chicago, and throughout the United States and Europe. She is a multi-year recipient of grants from the National Endowment for the Arts, Chamber Music America, and the Minnesota State Arts Board for performance and educational outreach projects. She has performed with members of the Boston Symphony and Minnesota Orchestra, Juilliard, Guarneri, Cleveland, Miro, Pacifica, Cavani, and St. Lawrence Quartets, among others. Co-founder of the Stringwood Summer Chamber Music Festival in Lanesboro, MN and the Artaria Chamber Music School in St. Paul, she was Artist/Teacher in Residence at the world-renowned Tanglewood Institute under the mentorship of Norman Fischer. With the ASQ, she competed at the finals of the Banff International String Quartet Competition and was a protege of Walter Levine at ProQuartet and the L’Epau Festival in France. Further studies in Chamber Music were mentored by members of the Budapest, Emerson, and Cleveland Quartets. Nancy’s principal violin teachers were Roman Totenberg, Gerardo Ribeiro, and Karen Clarke.