NYP STRING QUARTET & Anne-Marie McDermott
The New York Philharmonic String Quartet, comprised of four musicians from the orchestra, performs alongside pianist Anne-Marie McDermott in a program including Dvořák’s Piano Quintet No. 2 and more.
Featured Artists
Anne-Marie McDermott
Frank Huang
Alina Kobialka
Cynthia Phelps
Carter Brey
Anne-Marie McDermott
piano
Pianist Anne-Marie McDermott is a consummate artist who balances a versatile career as a soloist and collaborator. She performs over 100 concerts a year in a combination of solo recitals, concerti and chamber music. Her repertoire choices are eclectic, spanning from Bach and Haydn to Prokofiev and Scriabin to Kernis, Hartke, Tower and Wuorinen.
With over 50 concerti in her repertoire, Ms. McDermott has performed with many leading orchestra including the New York Philharmonic, Minnesota Orchestra, Dallas Symphony, Columbus Symphony, Seattle Symphony, National Symphony, Houston Symphony, Colorado Symphony, Pittsburgh Symphony, St. Louis Symphony, Atlanta Symphony, Los Angeles Chamber Orchestra, Moscow Virtuosi, Hong Kong Philharmonic, San Diego Symphony, New Jersey Symphony and Baltimore Symphony among others. Ms, McDermott has toured with the Australian Chamber Orchestra and the Moscow Virtuosi.
In the recent seasons, Ms. McDermott performed with the Philadelphia Orchestra, Buffalo Philharmonic, North Carolina Symphony, Charlotte Symphony, Huntsville Symphony, Alabama Symphony, San Diego Symphony, the Oregon Mozart Players, and the New Century Chamber Orchestra.
Recital engagements have included the 92nd Street Y, Alice Tully Hall, Town Hall, The Schubert Club, Kennedy Center, as well as universities across the country. Anne-Marie McDermott has curated and performed in a number of intense projects including: the Complete Prokofiev Piano Sonatas and Chamber Music, a Three Concert Series of Shostakovich Chamber Music, as well as a recital series of Haydn and Beethoven Piano Sonatas. Most recently, she commissioned works of Charles Wuorinen and Clarice Assad which were premiered in May 2009 at Town Hall, in conjunction with Bach’s Goldberg Variations.
As a soloist, Ms. McDermott has recorded the complete Prokofiev Piano Sonatas, Bach English Suites and Partitas (which was named Gramophone Magazine’s Editor’s Choice), and most recently, Gershwin Complete Works for Piano and Orchestra with the Dallas Symphony and Justin Brown.
In addition to her many achievements, Anne-Marie McDermott has been named the Artistic Director of the famed Bravo! Vail Music Festival in Colorado, which hosts the New York Philharmonic, the Philadelphia Orchestra and the Dallas Symphony in addition to presenting over 40 chamber music concerts throughout the summer. She is also Artistic Director of Santa Fe Pro Musica, The Ocean Reef Chamber Music Festival, McKnight Chamber Music Festival, and The Avila Chamber Music Celebration in Curacao.
As a chamber music performer, Anne-Marie McDermott was named an artist member of the Chamber Music Society of Lincoln Center in 1995 and performs and tours extensively with CMS each season. She continues a long standing collaboration with the highly acclaimed violinist, Nadja Salerno Sonnenberg. As a duo, they have released a CD titled “Live” on the NSS label and plan to release the Complete Brahms Violin and Piano Sonatas in the future. Ms. McDermott is also a member of the renowned piano quartet, Opus One, with colleagues Ida Kavafian, Steven Tenenbom and Peter Wiley.
She continues to perform each season with her sisters, Maureen McDermott and Kerry McDermott in the McDermott Trio. Ms, McDermott has also released an all Schumann CD with violist, Paul Neubauer, as well as the Complete Chamber Music of Debussy with the Chamber Music Society of Lincoln Center.
Ms. McDermott studied at the Manhattan School of Music with Dalmo Carra, Constance Keene and John Browning. She was a winner of the Young Concert Artists auditions and was awarded an Avery Fisher Career Grant.
Ms. McDermott regularly performs at Festivals across the United States including, Spoleto, Mainly Mozart, Sante Fe, La Jolla Summerfest, Mostly Mozart, Newport, Caramoor, Bravo, Chamber Music Northwest, Aspen, Music from Angelfire, and the Festival Casals in Puerto Rico, among others.
Frank Huang
violin
Frank Huang joined the New York Philharmonic as Concertmaster, The Charles E. Culpeper Chair, in September 2015. The first prize winner of the 2003 Walter W. Naumburg Foundation’s Violin Competition and the 2000 Hannover International Violin Competition, he has established a major career as a violin virtuoso.
Since performing with the Houston Symphony in a nationally broadcast concert at the age of 11 he has appeared with orchestras throughout the world including The Cleveland Orchestra, Los Angeles Philharmonic, Saint Paul Chamber Orchestra, Indianapolis Symphony, NDR Radio Philharmonic Orchestra of Hannover, Amadeus Chamber Orchestra, and the Genoa Orchestra. He has also performed on NPR’s Performance Today, ABC’s Good Morning America, and CNN’s American Morning with Paula Zahn. He has performed at Wigmore Hall (London), Salle Cortot (Paris), Kennedy Center (Washington, DC), and Herbst Theatre (San Francisco), as well as a second recital in Alice Tully Hall (New York), which featured the World Premiere of Donald Martino’s Sonata for Solo Violin. Following more than 25 additional solo appearances with the Orchestra, in May 2022 he performed Mozart’s Violin Concerto No. 5, Turkish, conducted by Music Director Jaap van Zweden.
Huang has had great success in competitions since the age of 15 and received top prizes in the Premio Paganini International Violin Competition and the Indianapolis International Violin Competition. Other honors include Gold Medal Awards in the Kingsville, Irving M. Klein, and D’Angelo international competitions. His first commercial recording — featuring fantasies by Schubert, Ernst, Schoenberg, and Waxman — was released on Naxos in 2003.
In addition to his solo career, Frank Huang is deeply committed to chamber music. He is a member of the New York Philharmonic String Quartet, established in the 2016–17 season, and has performed at the Marlboro Music Festival, Ravinia’s Steans Institute, Seattle Chamber Music Festival, and Caramoor. He frequently participates in Musicians from Marlboro’s tours and was selected by The Chamber Music Society of Lincoln Center to be a member of the prestigious CMS Two program. Before joining the Houston Symphony as concertmaster in 2010, he served as first violinist of the GRAMMY Award–winning Ying Quartet and was a faculty member at the Eastman School of Music.
Frank Huang was born in Beijing, China. At seven, he moved to Houston, Texas, where he began violin lessons with his mother. He commenced study with Fredell Lack at the University of Houston and at 16 he enrolled in the pre-college program at the Cleveland Institute of Music (CIM) where he studied with Donald Weilerstein. He continued studies with Weilerstein in college and earned his Bachelor of Music degree from CIM in 2002. He subsequently attended The Juilliard School in New York City, studying violin with Robert Mann. He is an alumnus of the Music Academy of the West. He served on the faculties of The Shepherd School of Music at Rice and the University of Houston, and currently serves on the faculty of The Juilliard School.
Alina Kobialka
violin
Violinist Alina Kobialka joined the New York Philharmonic in 2022. She has been praised for her beautiful tone, effortless precision, and musical maturity beyond her years. Since her first appearance as soloist at age ten, she has toured and performed with many ensembles throughout the world. San Francisco Classical Voice described her as a “jaw-droppingly assured” soloist, who “made present and future converge,” and the Las Vegas Review-Journal wrote, “Watch for her name. She appears to be bound for greatness.”
Kobialka began her studies at age five with Li Lin. She continued on to the San Francisco Conservatory of Music’s preparatory program, where she studied with Wei He. Leaving San Francisco at age 16, she attended the Colburn School’s Music Academy, in Los Angeles, where she studied with Robert Lipsett and Danielle Belen. Most recently, she graduated from the Cleveland Institute of Music with her master’s in violin performance, under the tutelage of Ilya Kaler.
At age 14 Kobialka made her solo debut with the San Francisco Symphony at its 100th anniversary reunion concert in Davies Symphony Hall, where she has since returned three times as soloist. Soon after she was featured live on NPR’s nationally acclaimed program From the Top. Since then, she has performed with various American orchestras, including the Las Vegas Philharmonic, ProMusica Chamber Orchestra, California Symphony, and Colburn Academy Virtuosi Orchestra.
In 2015 Kobialka made her performance debut in Asia with the Macau Youth Symphony for its New Year’s concert. She returned in 2016 to tour Japan with the Kagawa International Youth Orchestra, and in 2017 to perform in the Shanghai International Arts Festival gala concert.
Kobialka was awarded second prize at the 2017 Elmar Oliveira International Violin Competition. Other competition accolades include being named a laureate of the 2016 Irving M. Klein International Competition and receiving the Grand Prize at the Mondavi Center National Young Artists Competition.
Recent concert highlights include performing with world-renowned conductor Michael Tilson Thomas and the San Francisco Symphony and making her debut with Vadim Gluzman and the ProMusica Chamber Orchestra. She also performed Brahms’s Double Concerto for Violin and Cello with the California Symphony and made her debut with the Asheville Symphony.
An avid chamber musician, Kobialka has been an artist at the Marlboro Music Festival. During her time there, she had the great honor of performing with acclaimed pianist Mitsuko Uchida. Other celebrated musicians she has worked with include pianist Jonathan Biss, violist Kim Kashkashian, and cellist Peter Wiley.
Cynthia Phelps
viola
Cynthia Phelps is the New York Philharmonic’s Principal Viola, The Mr. and Mrs. Frederick P. Rose Chair. Highlights of her solo appearances with the Orchestra have included the New York Premiere–Philharmonic Co-Commission of Julia Adolphe’s Unearth, Release, in 2016; performances on the 2006 Tour of Italy, sponsored by Generali; Mozart’s Sinfonia concertante in 2010 and 2014; and Sofia Gubaidulina’s Two Paths, which the Orchestra commissioned for her and Philharmonic Associate Principal Viola Rebecca Young and which they premiered in 1999 and reprised both on tour and in New York, most recently in 2011. Other solo engagements have included the Minnesota Orchestra, San Diego Symphony, Orquesta Sinfónica de Bilbao, and Hong Kong Philharmonic.
Phelps is a member of the New York Philharmonic String Quartet, established in the 2016–17 season, and performs with The Chamber Music Society of Lincoln Center, Jupiter Chamber Players, and the Santa Fe, La Jolla, Seattle, Chamber Music Northwest, and Bridgehampton festivals. She has appeared with the Guarneri, Tokyo, Orion, American, Brentano, and Prague Quartets, and the Kalichstein-Laredo-Robinson Trio. She has given recitals in the major music capitals of Europe and the U.S. She is also a founding member of the chamber group Les Amies, a flute-harp-viola group with Philharmonic Principal Harp Nancy Allen and flutist Carol Wincenc.
Phelps is a first-prize winner of both the Lionel Tertis International Viola Competition and the Washington International String Competition and is a recipient of the Pro Musicis International award. Under the auspices of this philanthropic organization, she has appeared as soloist in New York, Los Angeles, Boston, Rome, and Paris, as well as in prisons, hospitals, and drug rehabilitation centers worldwide. Her recording Air, for flute, viola, and harp on Arabesque, was nominated for a GRAMMY Award. Her television and radio credits include Live From Lincoln Center on PBS; St. Paul Sunday Morning on NPR; Radio France; Italy’s RAI; and WGBH in Boston. Phelps has served on the faculties at The Juilliard School and the Manhattan School of Music. She is married to cellist Ronald Thomas.
Carter Brey
cello
Carter Brey was appointed Principal Cello, The Fan Fox and Leslie R. Samuels Chair, of the New York Philharmonic in 1996. He made his official subscription debut with the Orchestra in May 1997 performing Tchaikovsky’s Rococo Variations under the direction of then Music Director Kurt Masur. He has since appeared as soloist almost every season and was featured during The Bach Variations: A Philharmonic Festival, when he gave two performances of the cycle of all six of Bach’s cello suites. Most recently, he was the soloist in performances of Haydn’s Cello Concerto in C major at David Geffen Hall in February 2020 and at the Bravo! Vail Music Festival in July 2021, with Music Director Jaap van Zweden conducting on both occasions.
He rose to international attention in 1981 as a prizewinner in the Rostropovich International Cello Competition. The winner of the Gregor Piatigorsky Memorial Prize, Avery Fisher Career Grant, Young Concert Artists’ Michaels Award, and other honors, he also was the first musician to win the Arts Council of America’s Performing Arts Prize.
Brey has appeared as soloist with virtually all the major orchestras in the United States and performed under the batons of prominent conductors including Claudio Abbado, Semyon Bychkov, Sergiu Comissiona, and Christoph von Dohnányi. He is a member of the New York Philharmonic String Quartet, established in the 2016–17 season, and has made regular appearances with the Tokyo and Emerson string quartets, The Chamber Music Society of Lincoln Center, and at festivals such as Spoleto (both in the United States and Italy) and the Santa Fe and La Jolla Chamber Music festivals. He and pianist Christopher O’Riley recorded Le Grand Tango: Music of Latin America, a disc of compositions from South America and Mexico released on Helicon Records.
Carter Brey was educated at the Peabody Institute, where he studied with Laurence Lesser and Stephen Kates, and at Yale University, where he studied with Aldo Parisot and was a Wardwell Fellow and a Houpt Scholar. His violoncello is a rare J.B. Guadagnini made in Milan in 1754. An avid racing and cruising sailor since childhood, he holds a Yachtmaster Offshore rating from the Royal Yachting Association.
Program Highlights
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New York Philharmonic String Quartet
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Frank Huang, violin
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Alina Kobialka, violin
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Cynthia Phelps, viola
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Carter Brey, cello
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- Anne-Marie McDermott, piano
DVOŘÁK String Quartet No. 11 in C major, Op. 61
DVOŘÁK Piano Quintet No. 2
Program Notes
String Quartet No. 11 in C major, Op. 61 (1881)
ANTONÍN DVOŘÁK (1841-1904)
String Quartet No. 11 in C major, Op. 61
Allegro
Poco adagio e molto cantabile
Scherzo
Finale: Vivace
INTERMISSION
Piano Quintet in A major, Op. 81 (1887)
ANTONÍN DVOŘÁK (1841-1904)
Piano Quintet in A major, Op. 81
Allegro ma non troppo
Dumka: Andante con moto
Scherzo (Furiant): Molto vivace—Trio: Poco
tranquillo
Finale: Allegro
Antonín Dvořák composed the 11th of his 14 string quartets on request from the Hellmesberger Quartet, led by the renowned Viennese concertmaster Josef Hellmesberger, Sr. On October 1, 1881, he wrote to Hellmesberger promising to carry out the commission “with all enthusiasm and mustering all my ability and insight to the endeavor in order to provide you with something good and solid.” Hellmesberger scheduled the premiere but apparently failed to communicate that fact to Dvořák, who was busy working on his opera Dimitrij. Dvořák wrote to a friend on November 5: “I have read in the newspapers that on December 15, Hellmesberger is playing my new quartet, which I have not yet in any way completed. There is no choice but to set aside the opera in order to write the quartet.” He proceeded with haste; this quartet, which usually runs 35-40 minutes in performance materialized in perhaps three weeks. As it happened, the Vienna Ringtheater, where the event was to take place, suffered a catastrophic fire, and the concert was postponed. When Hellmesberger hadn’t gotten around to programming it by the end of January, Dvořák wrote a perturbed letter to his publisher, Fritz Simrock: “Isn’t the Quartet dedicated to Hellmesberger? He sure is a lowdown patron!” “The new Quartet is in fact very difficult,” Simrock responded. Dvořák sent a copy to the Joachim Quartet in Berlin, which played it there on November 2, 1882—the work’s first documented performance.
Here Dvořák’s voice is less overtly nationalistic than in such coeval works as his Sixth Symphony or Legends for piano four-hands. Perhaps the sudden deadline explains why Dvořák derived several of the quartet’s themes from pre-existing sketches and compositions: the beginning of the second movement grew from a sketch for his F-major Violin Sonata of the preceding year, and the principal themes of the third and fourth movements employ motifs from his A-major Polonaise for Cello and Piano. The first movement, however, is entirely new, its triadic themes embodying a swaggering, heroic quality (though they are sometimes rendered tenderly).
The second movement may recall Schubert in its relaxation. Its lyrical cantilena melody (with a dollop of major-minor ambivalence) is often heard against murmuring figures in the accompaniment, sometimes enlivened by intriguing cross-rhythms. In the Scherzo, Beethovenian vigor and intensity rub shoulders with contrasting expanses of broad lyricism, and the Finale turns somewhat nationalistic through a dance rhythm that suggests the skočná, a Czech “leaping-dance.”
Chamber music figured prominently among the best of Dvořák’s early work. One of the first pieces he wrote after deciding to commit full-time to composition was a piano quintet, a three-movement work in A major that came into being in 1872. Dvořák destroyed his manuscript, but 15 years later, in 1887, he borrowed a score from a friend who had kept a copy and set about revising it. In the end, he seems to have found it unsalvageable. It was eventually published posthumously—in 1959—as his Op. 5 and is occasionally played today as a long-winded curiosity.
But in the course of the revision, he became hooked again on the medium, and he soon embarked on his new Piano Quintet, Op. 81, again in A major, one of the finest piano quintets ever written. It is a relatively long piece by chamber-music standards, clocking in at about forty minutes, but it passes quickly thanks to its elegantly constructed dramatic logic. Dvořák’s most endearing characteristics are encapsulated here: rhythmic vitality, elegant scoring, arresting melodies with distinct but well-balanced personalities, and a broad emotional palette. In this work Dvořák also gives free reign to his nationalistic tendencies. Folk-flavored touches abound throughout: quick alternation of major and minor modes, smile-provoking rhythmic displacements (as in the principal theme of the polka-like Finale), phrases that depart from the foursquare.
The cello proposes the lyrical subject of the first movement, and a nostalgic second subject is announced by the viola. Throughout the movement, major and minor modes alternate with such natural ease that one begins to sense a tonic key that encapsulates both—a characteristic of many modal folk musics, and certainly of the Bohemian songs and dances Dvořák loved. His nationalistic leanings are most insistent in the two ensuing movements. The second movement is a dumka, an ancient and melancholy Slavonic (originally Ukrainian) folk ballad. In this case, the rather gloomy melody alternates with sunnier sections to form a musical palindrome: A-B-AC-A-B-A. The rich-toned viola and cello reign over the principal melody (along with the piano), and the brighter violins grow more prominent in the contrasting sections.
Dvořák subtitles the ensuing Scherzo a Furiant, though with some poetic license, since it is more a quick waltz than a proper furiant, which is an energetic Bohemian folk dance marked by the alternation of duple and triple meters. In folk usage, furiants often followed dumkas; at the very least, Dvořák recaptures the spirit of the furiant’s function in such a coupling, which is to eradicate the melancholy of the slow movement. Though the Finale is not cast in any specific “folk form,” it embodies a vigorous spirit of earthy good humor. Rather than toss it off as a mere exercise in peasant jollity, however, Dvořák works a learned fugue into the movement’s development section and builds up into a joyful secular chorale near the end.