HAYDN: Symphony No. 59, Fire

Symphony No. 59 in A major, “Fire” (1767-1768)

JOSEPH HAYDN (1732-1809)

Among the most eagerly awaited visitors to Esterháza Palace, where Haydn was music director, was the theatrical troupe of Karl Wahr, a fine actor and a capable businessman. In 1774, Wahr’s troupe mounted Die Feuerbrunst (“Fire-Passion”) by Gustav Friedrich Wilhelm Grossman (1746-1796), for which Haydn apparently drew incidental music from an A major Symphony he had composed six or seven years before. The dramatic nature of the music suggests it may have been intended for some earlier stage presentation, but no evidence to that effect has come to light and the nickname “Fire” has always been attached to this Symphony. It is one of Haydn’s most highly charged pieces. The opening Presto begins with a machine-gun theme of accelerating repeated notes suddenly broken off for a quiet chordal phrase. To these two elements — repeated notes and quiet phrase — is added the formal second theme, a playful motive of descending triplets. The repeated notes and triplets find a place in the compact development. The recapitulation of the earlier material and a dying close end the movement. A sad song for strings begins the Andante; formal and expressive balance is provided by a lyrical melody in a brighter key. The theme of the Menuetto is modeled on that of the Andante, but changed into a major mode; the central trio provides melancholy contrast. The finale, with its horn calls, oboes duets and propulsive rhythms, provides a jolly ending for the Symphony.

HAYDN: Cello Concerto in C major

Cello Concerto No. 1 in C major, H. VIIb:1 (early 1760s)

JOSEPH HAYDN (1732-1809)

Haydn composed the C major Cello Concerto in the early 1760s for Joseph Franz Weigl, a musician in the Esterháza orchestra and a close friend for many years. It is one of few works in which all three movements are in the same form, as though Haydn were experimenting to discover what sort of musical material best fit into this particular construction. Each movement comprises alternations between orchestra and soloist, the basic formal principle of the old Baroque concerto. There are four orchestral sections interspersed with three for the cellist. Unlike the Baroque model, however, the three cello sections take on the Classical properties of exposition, development and recapitulation with the intervening orchestral episodes serving as introduction, interludes and coda. The soloist is provided with an opportunity for a cadenza in the closing orchestral coda. There are only two exceptions to this pattern in the Concerto: the second movement has no orchestral interlude before the soloist’s recapitulation and there is no cadenza in the last movement.

MOZART: Piano Concerto No. 14

HAYDN: Symphony No. 49, La Passione

Symphony No. 49 in F minor, “La Passione” (1768)

JOSEPH HAYDN (1732-1809)

The “passion” evoked by Haydn’s F minor Symphony is that associated with the death of Christ, whose emotions perfectly suited the expressive essence of Sturm und Drang, the name given to the German style characterized by minor keys, sudden contrasts, chromatic harmonies and a pervasive sense of agitation that was named after Friedrich Maximilian von Klinger’s 1776 play, Wirrwarr, oder, Sturm und Drang (“Confusion, or, Storm and Stress”). Indeed, one theory about the genesis of the Symphony No. 49 is that it was expressly composed for the observance of Good Friday. The opening sonata-form movement retains its somber Adagio tread throughout, as though evoking “winding lines of penitents before the Cross,” wrote Haydn authority H.C. Robbins Landon. There follows a fast movement in agitated rhythms. The thoughtful Menuet provides the only glint of sunlight in the work when its central trio turns to a major key. The finale, tempestuous and unsettled, is one of the most dramatic instrumental statements of its era.

Chamber Orchestra Vienna – Berlin

The Vienna and Berlin Philharmonic Orchestras stand as two fundamental pillars of orchestral excellence. Despite sharing decade-long collaborations with esteemed conductors Wilhelm Furtwängler, Herbert von Karajan, and Claudio Abbado, audiences and critics alike acknowledge their contrasting identities. The noble Viennese are defined by smooth elegance and velvety strings; whereas, the captivating, passionate Berliners speak to the virtue of brilliant wind soloists. The sensation that is ‘Chamber Orchestra Vienna-Berlin’ emerged from Sir Simon Rattle’s dream for his 50^th Birthday Celebration: to unite both orchestras on one stage for the first time. This concert of epic proportions uncovered a mutual ambition and ability to combine chamber-music-like delicacy with symphonic force. The ensemble, which represents the essence of both orchestras by putting forth their most renowned musicians, looks to create a unique creative exchange where refinement of technique, enormous flexibility, and specific beauty of sound result in exciting experiences for musicians and audiences alike. Since the formation of the ‘Chamber Orchestra Vienna –Berlin’ in 2012, the ensemble has toured across Europe and Asia with featured soloists Yefim Bronfman, Anne-Sophie Mutter, Jonas Kaufmann, Antoine Tamestit, Gautier Capucon, Gabor Boldoczki, Denis Matsuev, Yuja Wang, and Daniel Müller-Schott. Rainer Honeck (concert master of the Orchestra of the Vienna State Opera since 1984 and concert master of the Vienna Philharmonic Orchestra since 1992) acts as primarius and Artistic Director of the Orchestra.

Photo: Philipp Horak

Knut Weber, cello

A friend of his older sister played the cello. Knut Weber, then exactly five years old, was especially taken with the low strings and knew at once: "That’s my instrument!" He’d already been searching for a suitable one and, in any event, wanted to learn an instrument where you didn’t have to stand while playing. The cello seemed absolutely ideal. He received his first musical training from the Slovenian cellist Milos Mlejnik. Later he studied in Cologne with the Alban Berg Quartet and Claus Kanngiesser as well as with Wolfgang Boettcher in Berlin, where in 2002 he passed his concert exam with distinction. Further significant encouragement came from Heinrich Schiff, Frans Helmerson, David Geringas, Siegfried Palm and the Beaux Arts Trio.
Knut Weber was a scholar and principal cellist of the Gustav Mahler Youth Orchestra before being engaged by the Berliner Philharmoniker. Chamber music is a major focus of his activities. He is a member of the »12 Cellists of the Berlin Philharmonic« and also appears regularly as a soloist and in various chamber ensembles in Europe, Asia, North and South America. His greatest extra-musical interest is his family. In addition, the cellist enjoys sport, especially in the mountains of his native Austria, and he delights in aesthetics, whether in painting, architecture, photography, language or music.

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 orchestras 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 and association with Bravo! Vail, McDermott is also Artistic Director of two other festivals; The Ocean Reef Chamber Music Festival in the Florida Keys and The Avila Chamber Music Celebration in Curaçao, off the coast of Venezuela.

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 them each season. She also 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.

In addition to her duties at Bravo! Vail, Anne-Marie McDermott regularly performs at Festivals across the United States including Spoleto, Mainly Mozart, Sante Fe, La Jolla Summerfest, Mostly Mozart, Newport, Caramoor, Chamber Music Northwest, Aspen, Music from Angelfire, and the Festival Casals in Puerto Rico, among others.

Photo: Zach Mahone