BEETHOVEN: Leonore Overture No. 3

Leonore Overture No. 3, Op. 72b (1806)

LUDWIG VAN BEETHOVEN (1770-1827)

The Leonore Overture No. 3 distills the opera’s essential dramatic progression into purely musical terms: the triumph of good over evil, the movement from darkness to light, from subjugation to freedom. The Overture begins with a broad, slow introduction, by turns lugubrious and threatening, during which the clarinets and bassoons intone the opening phrases of the aria Florestan sings in his dungeon prison. In a faster tempo, the violins present the arch-shaped main theme; the lyrical strain is introduced by flute and violins. The development is filled with sudden dynamic changes and expressive harmonic excursions that mirror the struggles of the play. Then, in an unforgettable coup de théâtre, a distant trumpet call signals deliverance for Florestan and his faithful Leonore. The recapitulation of the themes glows in triumph before a jubilant coda brings this superb work to a stirring close.

BEETHOVEN: Concerto for Violin, Cello, Piano, and Orchestra

Concerto for Violin, Cello, Piano and Orchestra in C major, Op. 56, “Triple Concerto” (1803-1804)

LUDWIG VAN BEETHOVEN (1770-1827)

“Everyone likes flattery; and when you come to Royalty you should lay it on with a trowel,” counseled the 19th-century British statesman Benjamin Disraeli. He would have gotten no argument from Beethoven. When Rudolph, Archduke of Austria and titled scion of the Habsburg line, turned up among Beethoven’s Viennese pupils, the young composer realized he had tapped into the highest echelon of European society. Beethoven gave instruction in both piano and composition to Rudolph, who had a genuine if limited talent for music. Concerning flattery, the most important manner in which 19th-century composers could praise royalty was by dedicating a composition to a noble personage. Beethoven wrote the Triple Concerto for Rudolph, who eventually became Archbishop Cardinal of Austria and remained a life-long friend and patron of the composer, and dedicated to him such important works as the Fourth and Fifth Piano Concertos, “Lebewohl” and “Hammerklavier” Sonatas, Op. 96 Violin Sonata, “Archduke” Trio, Missa Solemnis and Grosse Fuge.

The “Triple” Concerto’s first movement is a modified sonata design with a lengthy exposition and recapitulation necessitated by the many thematic repetitions needed to give equal prominence to the three soloists. After a hushed and halting opening in the strings, the full orchestra takes up the main thematic material of the movement. The soloists enter, led, as usual throughout this Concerto, by the cello with the main theme. The second theme begins, again in the cello, with a snappy broken chord. Much of the remainder of the movement is given over to repetitions and figurations rather than to true motivic development. A sudden quickening of the tempo charges the concluding measures of the movement with flashing energy. The second movement is a peaceful song for the solo strings with elaborate embroidery for the piano. The finale is a strutting Rondo alla Polacca in the style of the Polish polonaise.

BEETHOVEN: Symphony No. 7

Symphony No. 7 in A major, Op. 92 (1811-1812)

LUDWIG VAN BEETHOVEN (1770-1827)

The Seventh Symphony is a magnificent creation in which Beethoven displayed several technical innovations that were to have a profound influence on the music of the 19th century: he expanded the scope of symphonic structure through the use of more distant tonal areas; he brought an unprecedented richness and range to the orchestral palette; and he gave a new awareness of rhythm as the vitalizing force in music. It is particularly the last of these characteristics that most immediately affects the listener, and to which commentators have consistently turned to explain the vibrant power of the work. Perhaps the most famous such observation about the Seventh Symphony is that of Richard Wagner, who called the work “the apotheosis of the Dance in its highest aspect ... the loftiest deed of bodily motion incorporated in an ideal world of tone.” “Beethoven,” John N. Burk explained, “seems to have built up this impression by willfully driving a single rhythmic figure through each movement, until the music attains (particularly in the body of the first movement and in the finale) a swift propulsion, an effect of cumulative growth which is akin to extraordinary size.”

The slow introduction, almost a movement in itself, employs two themes: the first, majestic and unadorned, is passed down through the winds; the second is a graceful melody for oboe. The transition to the main part of the movement is accomplished by the superbly controlled reiteration of a single pitch. This device both connects the introduction with the exposition and also establishes the dactylic rhythm that dominates the movement. The Allegretto is a series of variations on the heartbeat rhythm of its opening measures. In spirit, however, it is more closely allied to the austere chaconne of the Baroque era than to the light, figural variations of Classicism. The third movement, a study in contrasts of sonority and dynamics, is built on the formal model of the scherzo, but expanded to include a repetition of the horn-dominated Trio (Scherzo – Trio – Scherzo – Trio – Scherzo). In the sonata-form finale, Beethoven not only produced music of virtually unmatched rhythmic energy (“a triumph of Bacchic fury,” in the words of Sir Donald Tovey), but did it in such a manner as to exceed the climaxes of the earlier movements and make it the goal toward which they had all been aimed.

Donald Runnicles, Conductor

Conductor Donald Runnicles is the General Music Director of the Deutsche Oper Berlin and Music Director of the Grand Teton Music Festival (Jackson, Wyoming), as well as the Principal Guest Conductor of the Atlanta Symphony Orchestra. He was recently named Conductor Emeritus of the BBC Scottish Symphony Orchestra, having served as its Chief Conductor from 2009-2016. Maestro Runnicles enjoys close and enduring relationships with several of the most significant opera companies and orchestras, and is especially celebrated for his interpretations of Romantic and post-Romantic symphonic and opera repertoire which are core to his musical identity.

As General Music Director of Deutsche Oper since 2009, Mr. Runnicles has primary responsibility for the musical forces of this historic company which produces each season an average of twenty-five productions and more than two hundred performances. In the 2017-18 season, Maestro Runnicles is leading the complete “Ring” cycle at the San Francisco Opera, and returns to the Metropolitan Opera to conduct Hansel and Gretel. He guest conducts the Philadelphia Orchestra, Dallas Symphony, National Symphony Orchestra, and the Toronto Symphony. In Europe and elsewhere, he returns to the Tonhalle-Orchester Zürich, Staatskapelle Dresden, BBC Scottish Symphony, and Sydney Symphony. Opera productions include the world premiere of Aribert Reimann’s L’Invisible and a new production of Die Fledermaus with the Deutsche Oper Berlin.

Born and raised in Edinburgh, Mr. Runnicles literally returned home to take up post as Chief Conductor of the BBC Scottish Symphony Orchestra in September 2009. His final season as Chief Conductor culminated in a triumphant closing concert of the 2016 Edinburgh International Festival season with Schoenberg’s Gurrelieder. Through its BBC Radio 3 broadcasts, commercially released recordings on the Hyperion label, and acclaimed concerts at home and on tour at the BBC Proms and throughout the UK, the BBC SSO/Runnicles has become one of the best known and most successful orchestra/conductor partnerships in the United Kingdom.

His Atlanta Symphony association began with a 1999 guest engagement and quickly matured into an abiding musical relationship of ever-increasing depth and accomplishment. The ASO named him Principal Guest Conductor in 2001 at the same time as the appointment of current ASO Music Director Robert Spano. Together, they have shaped an era for the ASO defined by a rare symbiotic partnership and musical growth that the ASO has not seen since the time of Robert Shaw. He spends three weeks each season in Atlanta, and after over a dozen years of making music together, has explored all corners of symphonic and choral repertory.

Mr. Runnicles has been Music Director since 2005 of the Grand Teton Music Festival, which draws its musicians from many of North America’s top orchestras to the natural beauty of the Grand Tetons in Jackson Hole, Wyoming. He leads four of the festival’s seven orchestra weeks, and directs and participates as pianist in the many chamber concerts, recitals and other activities the festival offers to its local public and visitors who flock to Jackson and nearby Yellowstone Park in the summer.

Beyond his annual commitments, Mr. Runnicles is active in symphonic repertoire and guest conducts some of the world’s finest symphony orchestras. Though fully engaged with four titled positions, he finds time to maintain regular guest relationships with the Berlin Philharmonic, London Symphony Orchestra, and the Philadelphia Orchestra, with whom he took on their 40th anniversary tour to China in June 2013.

For seventeen seasons Mr. Runnicles was Music Director of the San Francisco Opera (1992-2008). During his tenure, he led more than sixty productions including the world premieres of John Adams’s Dr. Atomic and Conrad Sousa’s Les Liaisons dangereuses, as well as the U.S. premieres of Olivier Messiaen’s Saint François d’Assise and Aribert Reimann’s Lear. At the close of his tenure, he was awarded the San Francisco Opera Medal, the company’s highest honor, previously given to luminaries such as Leontyne Price, Marilyn Horne, Plácido Domingo and Sir Charles Mackerras. Prior to the 2017-18 season, Mr. Runnicles had returned to the SFO in June 2015 to lead a new production of Berlioz’s Les Troyens.

Photo: Simon Pauly

James Ehnes, Violin

James Ehnes has established himself as one of the most sought-after violinists on the international stage. Gifted with a rare combination of stunning virtuosity, serene lyricism and an unfaltering musicality, Ehnes is a favourite guest of many of the world’s most respected conductors including Ashkenazy, Alsop, Sir Andrew Davis, Denève, Elder, Ivan Fischer, Gardner, Paavo Järvi, Mena, Noseda, Robertson and Runnicles. Ehnes’s long list of orchestras includes, amongst others, the Boston, Chicago, London, NHK and Vienna Symphony Orchestras, the Los Angeles, New York, Munich and Czech Philharmonic Orchestras, and the Cleveland, Philadelphia, Philharmonia and DSO Berlin orchestras.

Recent and future orchestral highlights include the MET Orchestra at Carnegie Hall with Noseda, Gewandhausorchester Leipzig with Shelley, Orchestre National de France with Gardner, San Francisco Symphony with Janowski, Frankfurt Radio Symphony with Orozco-Estrada, Hong Kong Philharmonic with van Zweden and Gothenburg Symphony with Nagano, as well as his debut with the London Philharmonic Orchestra at the Lincoln Center in spring 2019 and a residency with the Minnesota Orchestra throughout 2017/18. In 2017, Ehnes premiered the Aaron-Jay Kernis Violin Concerto with the Toronto, Seattle and Dallas Symphony Orchestras, and gave further performances of the piece with the Deutsches Symphonie-Orchester and Melbourne Symphony Orchestra. Ehnes was awarded the 2017 Royal Philharmonic Society Award in the Instrumentalist category.

Alongside his concerto work, James Ehnes maintains a busy recital schedule. He performs regularly at the Wigmore Hall, Carnegie Hall, Symphony Center Chicago, Amsterdam Concertgebouw, Ravinia, Montreux, Chaise-Dieu, the White Nights Festival in St Petersburg, Verbier Festival, Festival de Pâques in Aix, and in 2009 he made a sensational debut at the Salzburg Festival performing the Paganini Caprices. In 2016, Ehnes undertook a cross-Canada recital tour, performing in each of the country’s provinces and territories, to celebrate his 40th birthday.

As a chamber musician, he has collaborated with leading artists such as Andsnes, Capucon, Lortie, Lugansky, Yo-Yo Ma, Tamestit, Vogler and Yuja Wang. In 2010, he formally established the Ehnes Quartet, with whom he has performed in Europe at venues including the Wigmore Hall, Auditorium du Louvre in Paris and Théâtre du Jeu de Paume in Aix, amongst others. Ehnes is the Artistic Director of the Seattle Chamber Music Society.

Ehnes has an extensive discography and has won many awards for his recordings including a Gramophone Award for his live recording of the Elgar Concerto with Sir Andrew Davis and the Philharmonia Orchestra. His recording of the Korngold, Barber and Walton violin concertos won a Grammy Award for ‘Best Instrumental Soloist Performance’ and a JUNO award for ‘Best Classical Album of the Year’. His recording of the Paganini Caprices earned him universal praise, with Diapason writing of the disc, “Ehnes confirms the predictions of Erick Friedman, eminent student of Heifetz: ‘there is only one like him born every hundred years’.” Ehnes’s recent recording of the Bartók Concerti was nominated for a Gramophone Award in the Concerto category. Recent releases include sonatas by Beethoven, Debussy, Elgar and Respighi, and concertos by Britten, Shostakovich, Prokofiev and Walton, as well as the Beethoven Violin Concerto with the Royal Liverpool Philharmonic Orchestra and Andrew Manze, which was released in October 2017 (Onyx Classics).

Ehnes began violin studies at the age of four, became a protégé of the noted Canadian violinist Francis Chaplin aged nine, made his orchestral debut with Orchestre Symphonique de Montréal aged 13 and graduated from The Juilliard School in 1997, winning the Peter Mennin Prize for Outstanding Achievement and Leadership in Music. He is a Fellow of the Royal Society of Canada and in 2010 was appointed a Member of the Order of Canada.

James Ehnes plays the “Marsick” Stradivarius of 1715.

Photo: Benjamin Ealovega

Daniel Müller-Schott, Cello

Daniel Müller-Schott is one of the most sought-after cellists in the world, and can be heard on all the great international concert stages. For more than two decades now he has been enchanting audiences as an ambassador for classical music in the 21st century. The New York Times refers to his "intensive expressiveness" and describes him as a "fearless player with outstanding technique". (New York Times).

Daniel Müller-Schott guests with important leading international orchestras; in the US with the orchestras in New York, Boston, Cleveland, Chicago, Philadelphia, San Francisco and Los Angeles;  in Europe the Berliner Philharmoniker, the Gewandhausorchester Leipzig, Bayrisches Staatsorchester and Münchner Philharmoniker, the Radio Orchestras from Berlin, Munich, Frankfurt, Stuttgart, Leipzig and Hamburg, Copenhagen and Paris, the London Symphony and Philharmonic Orchestra, the City of Birmingham Symphony Orchestra, the Netherlands Philharmonic Orchestra, the Spanish National Orchestra as well as in Australia with the Sydney and Melbourne Symphony Orchestra and in Asia with Tokyo’s NHK Symphony Orchestra, Taiwan’s National Symphony Orchestra (NSO) and Seoul Philharmonic Orchestra.

All over the world Daniel Müller-Schott has appeared in concert with such renowned conductors as Vladimir Ashkenazy, Thomas Dausgaard, Charles Dutoit, Christoph Eschenbach, Iván Fischer, Alan Gilbert, Gustavo Gimeno, Bernard Haitink, Neeme Järvi, Dmitrij Kitajenko, Susanna Mälkki, Andris Nelsons, Gianandrea Noseda, Andrés Orozco-Estrada, Kirill Petrenko, André Previn, Michael Sanderling and Krzysztof Urbański. Many years of musical collaboration linked him with Kurt Masur, Lorin Maazel and Yakov Kreizberg.

In addition to performances of the great cello concertos, Daniel Müller-Schott has a special interest in discovering unknown works and extending the cello repertoire, e.g. with his own adaptations and through cooperation with contemporary composers.

Sir André Previn and Peter Ruzicka dedicated cello concertos to the cellist which were premiered under the direction of the composers with the Gewandhausorchester Leipzig and the Kammerphilharmonie Bremen. Last year, to much acclaim from the press, Daniel Müller-Schott performed the premiere of Berger's "Rime Sparse" for soprano and piano trio in Chicago and then in New York. Both the US-born Sebastian Currier as well as Olli Mustonen have composed a cello sonata for Daniel Müller-Schott.

Highlights of the season 2018/19 include the opening concert Settimane Musicali di Ascona with the Tonhalle-Orchester Zürich and Krzysztof Urbański, concerts with the Royal Philharmonic Orchestra and Lionel Bringuier, in den USA with the Dallas Symphony Orchestra and Karina Kannellaki, and the St. Louis Symphony Orchestra and Gilbert Varga, as well as the Spanish Radio Television Symphony Orchestra and Erik Nielson. There are three extended recital tours on the concert calendar: a solo recital tour to Asia, a trio tour with Julia Fischer and Nils Mönkemeyer as well as with Baiba Skride and Xavier de Maistre. Daniel Müller-Schott will play the premiere of Currier's piano trio with Anne- Sophie Mutter and Lambert Orkis in New York's Carnegie Hall, followed by a stop in Chicago. At the Mecklenburg-Vorpommern Music Festival Daniel Müller-Schott is artistic director for the Rügen Classical Music Spring Festival 2019.

International music festivals regularly invite Daniel Müller-Schott to perform, including the London Proms, the Schubertiade, Schleswig-Holstein, Rheingau, Schwetzingen, Mecklenburg-Vorpommern, the Heidelberg Spring Festival and the Vancouver Festival, and, in the USA, festivals in Tanglewood, Ravinia and the Hollywood Bowl in Los Angeles. In his chamber music concerts, Daniel Müller-Schott collaborates, inter alia with Nicholas Angelich, Kit Armstrong, Renaud Capuçon, Xavier de Maistre, Julia Fischer, Igor Levit, Nils Mönkemeyer, Anne-Sophie Mutter, Francesco Piemontesi, Lauma and Baiba Skride and Simon Trpčeski.

Daniel Müller-Schott has been involved for many years now in the project "Rhapsody in School". He regularly gives master classes and helps to support young musicians in Europe, the USA, Asia and Australia.

Since his childhood, Daniel Müller-Schott has felt a great love for the music of Johann Sebastian Bach. For his first CD record he chose the Six Suites for Cello Solo for Bach’s jubilee in 2000.

Daniel Müller-Schott has already built up a sizeable discography in a career spanning twenty years under the ORFEO, Deutsche Grammophon, Hyperion, Pentatone and EMI Classics labels and includes among others, works from Bach, Beethoven, Brahms, Mozart, Haydn, Schumann, Mendelssohn, Prokofiev, Schubert, Khachaturian, Shostakovich, Elgar, Walton, Britten and Dvořák.

His recordings have been enthusiastically received by both the public and the press and have also received numerous awards, including the Gramophone Editor’s Choice, Strad Selection, and the BBC Music Magazine’s “CD of the month”. He has been awarded the Quarterly Prize of German Record.

Critics for his recordings of the Elgar and Walton Cello Concertos with Oslo Philharmonic and André Previn and for his CD of the Shostakovich Cello Concertos recorded with the Bavarian Radio Orchestra and Yakov Kreizberg. In France the "Solo Suites" by Benjamin Britten were awarded with the Diapason d’or and "Dvořák The Cello Works" with the "Choc de Classica". For "Duo Sessions" Daniel Müller-Schott and Julia Fischer received the International Classical Music Award (ICMA) 2017. On his new CD to appear in fall 2018 with ORFEO, Daniel Müller-Schott recorded works by Tchaikovsky, Glasunow and Rimski-Korsakov with the German Symphony-Orchestra Berlin and Aziz Shokhakimov.

Daniel Müller-Schott can be regularly experienced on national and international radio broadcasters and on the TV channels ARD, ZDF, ARTE and 3Sat as a soloist in concert recordings and as an interview guest.

Daniel Müller-Schott studied under Walter Nothas, Heinrich Schiff and Steven Isserlis. He was supported personally by Anne-Sophie Mutter and received, among other things, the Aida Stucki Prize as well as a year of private tuition under Mstislaw Rostropovich. At the age of fifteen, Daniel Müller- Schott won the first prize at the International Tchaikovsky Competition for Young Musicians in 1992 in Moscow.

For the historic celebration on the Day of German Unity in 2018 and in Memoriam to his deceased teacher Mstislav Rostropovich Daniel Müller-Schott played in front of about 500,000 listeners at the Brandenburg Gate in Berlin music by Johann Sebastian Bach.

Beside the music Daniel Mueller-Schott has also a considerable affinity for the fine arts, in particular for French paintings of the 19th century. During his travels he always visits the major museums, seeing the great masters in the original. The cellist regularly takes part in art projects himself, for example in the "Street Art“ project in Munich, Berlin (ARTE) and Melbourne 2016.

Daniel Müller-Schott plays the “Ex Shapiro” Matteo Goffriller cello, made in Venice in 1727. 

Photo: Uwe Arens

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