Elektra Schmidt, Piano Sarah Elert, Violin Lewis Patzner, Cello
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”
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.
Beethoven had a particular affection for the C minor trio as it distinguished itself from the other two in the Opus 1 set with its dramatic intensity and structural innovation. The work’s boldness and complexity reportedly led to a moment of tension with Haydn, who suggested that Beethoven reconsider publishing this trio as part of the set, fearing it might be too challenging for the public. Beethoven, however, stood by his composition, a decision that underscored his confidence and foreshadowed his later works in the same key, including the famous Symphony No. 5.
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.
The trio was first performed at the home of Countess Marie von Erdödy, another of Beethoven’s patrons, during the winter of 1808-1809. The private premiere was attended by a select group of Vienna’s elites, who were both intrigued and unsettled by the work’s unconventional character. The first public performance of the trio further cemented its reputation, with audiences captivated by its originality and emotional depth.
The “Ghost” Trio unfolds in three movements: a bright and lively Allegro vivace e con brio, the Largo assai ed espressivo, and a playful Presto finale. The piece demonstrates Beethoven’s mastery of contrast, with each movement exploring a different facet of the trio ensemble’s expressive capabilities.
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.
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 the founder of Artist Migration, an organization dedicated to the integration and mobility of international artists.
She has collaborated with international festivals throughout the world including the San Francisco International Arts Festival, the Arundel Festival and Oxford Philomusica in the United Kingdom.
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.
Recent solo performances include Lou Harrison’s Concerto for Violin with Percussion Orchestra alongside world-renowned percussionist and conductor Steven Schick, Mozart’s Violin Concerto No. 4 with the San Francisco Academy Orchestra after winning their 2022 concerto competition, and Vivaldi’s Autumn with the National Repertory Orchestra in 2021.
Her major teachers include Polina Sedukh, Bayla Keyes, and Harumi Rhodes.
Sarah currently performs on a 1780 Lockey Hill violin.
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. A dedicated chamber musician of all styles, Lewis plays standard string quartet repertoire with the Town Quartet, jazz, world music, and originals with the Musical Art Quintet, and modern punk with the artsy Oakland band, La Dee Da. Lewis has appeared on over 100 recordings, with artists including Slash, Pete Yorn, Pinback, and Demi Lovato. He is also the organizer of the Classical Revolution Oakland chapter, which presents one performance a month at Awaken Cafe in Oakland. Lewis is currently in the process of recording an album of original music for solo cello, produced by the former cellist of the Kronos Quartet, Joan Jeanrenaud.