Anne-Marie McDermott and Dallas Symphony's principle string players join forces for two gorgeous large-scale works, filled with shimmering melodies and brilliant displays of virtuosity, plus a delightfully lyrical trio by Dvořák.
$33
Donovan Pavilion
Tuesday
06:00 PM
- SOLD OUT -
MEMBERS OF DALLAS STRINGS
ALEX KERR, VIOLIN
NATHAN OLSON, VIOLIN
EUNICE KEEM, VIOLIN
SARAH KIENLE, VIOLA
CHRIS ADKINS, CELLO
ANNE-MARIE McDERMOTT, PIANO
LIEBERMANN: Chamber Concerto No. 1 for Violin, Piano, and String Quartet
DVORÁK: Terzetto for Two Violins and Viola
CHAUSSON: Concerto for Violin, Piano, and String Quartet
LIEBERMANN: Chamber Concerto No. 1 for Violin, Piano, and String Quartet
DVORÁK: Terzetto for Two Violins and Viola
CHAUSSON: Concerto for Violin, Piano, and String Quartet
LIEBERMANN: Chamber Concerto No. 1 for Violin, Piano, and String Quartet
Concerto for Violin, Piano and String Quartet (Chamber Concerto No. 1), Op. 28 (1989)
LOWELL LIEBERMANN (B. 1961)
Lowell Liebermann, born in New York City on February 22, 1961, showed a remarkable gift for music as a youngster — the Piano Sonata he premiered at Carnegie Hall when he was sixteen received prizes from both the Music Teachers National Association and the Yamaha Music Foundation. He went on to study composition with David Diamond and Vincent Persichetti, piano with Jacob Lateiner, and conducting with Laszlo Halasz at Juilliard, where he received his bachelor’s, master’s, and doctoral degrees. Liebermann has since forged a career as one of America’s busiest and most frequently performed and recorded composers: his music appears on over eighty compact discs and his Flute Sonata and Gargoyles for Piano has each been recorded a dozen times and the Flute Concerto four. In 2012 Liebermann joined the faculty of Mannes College in New York City, where he teaches composition and directs the Mannes American Composers Ensemble. Among his honors are a Charles Ives Fellowship from the American Academy and Institute of Arts and Letters, and awards from ASCAP, BMI and the Van Cliburn Competition.
Liebermann’s Concerto for Violin, Piano and String Quartet (Chamber Concerto No. 1) takes its instrumentation and concept of paired soloists competing/cooperating with an accompanying ensemble from Chausson’s eponymous work of 1891, though the compositions occupy different expressive and stylistic worlds. Liebermann’s Concerto is in three continuous sections. The first, itself divided into three parts, opens with diaphanous piano figurations as background to the violin’s lyrical main theme and the quartet’s subtle comments. The music grows in intensity as these ideas are worked out with considerable instrumental interaction before returning to the halcyon strains of the opening. The central episode is a passacaglia, a Baroque technique in which a slow, repeating theme, usually in the bass, is draped with varying lines by the other instruments. The cello here presents the motto. This section, too, builds in intensity and includes short cadenzas for both soloists. The finale begins with a brief bravura passage before returning to the serene mood of the opening for the Concerto’s close.
DVORÁK: Terzetto for Two Violins and Viola
Terzetto for Two Violins and Viola in C major, Op. 74 (1887)
ANTONÍN DVOŘÁK (1841-1904)
Living at the same address in Prague as Dvořák during the winter of 1887 was a chemistry student and amateur violinist named Josef Kruis. Composer and chemist struck up a friendship, and in the space of one week (January 7-14), Dvořák composed a Terzetto (trio) for Kruis and the young man’s teacher, Jan Pelikán, a violinist with the Prague National Theater Orchestra, and himself as violist. (Dvořák had played viola in the National Orchestra many years before.) The Terzetto opens with a lyrical movement of quiet melancholy Dvořák labeled “Introduction” that leads through a series of harmonic peregrinations directly to the Larghetto, a warmly emotional instrumental song that becomes more rhythmically animated in its middle regions. The Scherzo proper makes use of the vivacious Bohemian dance mannerisms Dvořák favored in many of the works of his maturity, while the movement’s central trio is in the style of the waltz-like Ländler. The finale is a set of variations on a harmonically mischievous theme that courses through sections in both slow and fast tempos before ending with a lively dash.
CHAUSSON: Concerto for Violin, Piano, and String Quartet
Concert for Piano, Violin and String Quartet in D major, Op. 21 (1889-1891)
ERNEST CHAUSSON (1855-1899)
The Concert for Piano, Violin and String Quartet, composed at various stops during Chausson’s travels between 1889 and 1891, occupies an unusual niche in the instrumental repertory — part vest-pocket double concerto for piano and violin, part chamber music. The title seemingly derives from the French Baroque practice of Couperin and Rameau, who called certain of their large chamber pieces “concerts,” in the sense of accord among the instruments. (English, Italian and French all use the word “concerto” for works for soloist and orchestra.) In his study of Chausson, Ralph Scott Grover noted, “If one thinks of the Concert as a chamber work of unusual design, a sextet perhaps, in which the solo violin and piano often function in the manner of a violin and piano sonata against the quartet, with the latter taking a very active part in the proceedings, the work falls into proper perspective.”
The Concert opens with the piano’s stern three-note summons, a motive that is worked into the movement’s main theme by the solo violin. The second theme, given by solo violin and cello, comprises mostly small, half-step intervals. An expressive melody with a poignant downward fall is the third theme. All three themes are elaborated in order in the development before they return, after a brief violin cadenza, in the recapitulation. The Sicilienne, based on a wistful melody given at the outset by the full ensemble led by the violin, was described by the composer and pedagogue Vincent d’Indy, who assisted in preparations for the Concert’s premiere, as like “the charming fanciful gardens of Gabriel Fauré.” Of the Grave, which follows a large three-part structure (A–B–A: the return of the opening music occurs at the height of a turbulent climax), Ralph Grover wrote, “This is a tremendous outpouring of despair and pessimism, one of the really remarkable slow movements in all chamber music.” The finale, a hybrid form combining rondo and variations, is music of driving energy and high spirits.
Alexander Kerr’s expressive and charismatic style has made him one of the most accomplished and versatile violinists on the international music scene today.
A winner of the Joseph and Elsie Scharff prize in violin at CIM, Nathan has performed as soloist with the Dallas Symphony Orchestra, the Canton Symphony Orchestra, the Breckenridge Music Festival Orchestra, the Cleveland Pops Orchestra, CityMusic Cleveland, the San Francisco Chamber Orchestra, the Berkeley Symphony, the Oakland East Bay Symphony and the Lexington Bach Festival Orchestra.
Sarah Kienle will begin as section viola with the Dallas Symphony Orchestra in September of 2019. She started her viola studies at the age of 7 in her hometown of Kalispell, Montana.
Violinist Eunice Keem has established herself as a dynamic and engaging artist, equally compelling as both soloist and chamber musician.
Christopher Adkins is Principle Cello for the Dallas Symphony Orchestra
Pianist and Bravo! Vail Artistic Director 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.
Alexander Kerr’s expressive and charismatic style has made him one of the most accomplished and versatile violinists on the international music scene today. In 1996 at the age of 26, Mr. Kerr was appointed to the prestigious position of Concertmaster of the Royal Concertgebouw Orchestra in Amsterdam, the Netherlands. After nine successful years at that post, he left in June, 2006 to assume the endowed Linda and Jack Gill Chair in Music as Professor of Violin at the Indiana University Jacobs School of Music. In addition to his teaching responsibilities in Bloomington, he maintains a busy concert schedule appearing with orchestras and in recital and chamber music performances throughout the U.S., Asia and Europe. In 2008 he began his tenure as Principal Guest Concertmaster of the Indianapolis Symphony Orchestra and in September 2011, he assumed his role as Concertmaster of the Dallas Symphony Orchestra.
Regarded by the press as a masterful virtuoso with an elegant, old-world sound, Mr. Kerr has appeared as soloist with major orchestras throughout the United States and Europe, working with such renowned conductors as Mariss Jansons, Riccardo Chailly, Peter Oundjian, Robert Spano, Alan Gilbert, Jaap van Zweden and David Zinman.
An active chamber musician, Mr. Kerr has collaborated with Martha Argerich, Leif Ove Andsnes, Emanuel Ax, Joshua Bell, Yefim Bronfman, Edgar Meyer, Truls Mørk, Menahem Pressler, Vadim Repin, Alisa Weilerstein, Kim Kashkashian and Maxim Vengerov in performances at festivals in Aspen, Santa Fe, Caramoor, La Jolla, Stavanger, and throughout Spain, Portugal, Turkey, Switzerland, Austria and the Netherlands. He has recently launched a collaboration with cellist Eric Kim and the Dorothy Richard Starling Foundation, showcasing the enormous wealth of talent at the Indiana University Jacobs School of Music. The “Starling Chamber Players,” a mixture of faculty and students will tour chamber music venues throughout the nation.
Mr. Kerr’s CD releases include the Dvorak Piano Quintet with Sarah Chang and Leif Ove Andsnes on the EMI label, music by Dutch composer Julius Röntgen on the NM Classics label, and the Shostakovich Romance on a series of discs including “Violin Adagios” and “Evening Adagios” released by Decca. A live DVD and CD recording of Strauss’ Ein Heldenleben with Mr. Kerr, the RCO and Maestro Mariss Jansons was released in 2005 on the RCO’s own label: RCOLive!
Raised in Alexandria, Virginia, Mr. Kerr began his studies at age seven with members of the National Symphony Orchestra. He went on to study with Sally Thomas at the Juilliard School, and with Aaron Rosand at the Curtis Institute of Music where he received his Bachelor of Music degree in 1992.
A native of Berkeley, California, violinist Nathan Olson began his appointment as Co-Concertmaster with the Dallas Symphony Orchestra in September 2011. He served as Adjunct Faculty at the University of North Texas College Of Music in 2013-16 and was recently appointed Adjunct Faculty at Southern Methodist University. A graduate of the Cleveland Institute of Music's prestigious Concertmaster Academy, Nathan studied with William Preucil and Paul Kantor. Currently Concertmaster of the Breckenridge Music Festival, he has participated in the Mainly Mozart Festival, the Bravo Vail Music Festival and the Amelia Island Chamber Music Festival.
An enthusiastic chamber musician, Nathan is a member of the Baumer String Quartet, whose debut recording will be coming out in the next year. The BSQ serves on faculty at the Crowden Chamber Music Workshop and the Monterey Chamber Music Workshop, and has held residencies at several institutions, including the University of North Texas, the University of South Florida and the University of South Dakota.
A winner of the Joseph and Elsie Scharff prize in violin at CIM, Nathan has performed as soloist with the Dallas Symphony Orchestra, the Canton Symphony Orchestra, the Breckenridge Music Festival Orchestra, the Cleveland Pops Orchestra, CityMusic Cleveland, the San Francisco Chamber Orchestra, the Berkeley Symphony, the Oakland East Bay Symphony and the Lexington Bach Festival Orchestra.
In recent seasons, Nathan has appeared as Guest Concertmaster with the symphony orchestras of Pittsburgh, Toronto, Omaha, and Tucson, and as Principal Second Violin with the St. Paul Chamber Orchestra. While completing his bachelors degree at the Cleveland Institute of Music, Nathan earned minors in both Mathematics and Music Theory.
Sarah Kienle will begin as section viola with the Dallas Symphony Orchestra in September of 2019. She started her viola studies at the age of 7 in her hometown of Kalispell, Montana. After graduating from the Walnut Hill School for the Arts, she went on to receive her Bachelor of Music from the Colburn School and Master of Music from Indiana University where she studied with Paul Coletti and Atar Arad. Sarah spent two years as a fellow with the New World Symphony before moving to Texas, where she was a freelancer, frequently performing with the Dallas Symphony Orchestra and the Houston Symphony. In 2017, she began serving as the associate principal viola and later acting principal viola with the Fort Worth Symphony Orchestra. She spends her summers in Durango, Colorado hiking and playing at the Music in the Mountains festival.
Violinist Eunice Keem has established herself as a dynamic and engaging artist, equally compelling as both soloist and chamber musician. A Chicago native, she attended Carnegie Mellon University for her music studies. After joining the Dallas Symphony Orchestra in September of 2011, she began her new position as Associate Concertmaster in the 2014/15 season.
As a soloist, Ms. Keem has been a featured with numerous orchestras including the National Chamber Orchestra, Keweenaw Symphony Orchestra, Eastern Connecticut Symphony Orchestra, and Evanston Symphony Orchestra. A winner of numerous competitions, she received first and top prizes at the Irving M. Klein International Competition, Schadt International Competition, Corpus Christi International Competition, Kingsville International Competition, as well as a Paganini Prize at the 7th International Violin Competition of Indianapolis, among others.
As a chamber musician, Ms. Keem was a member of the Fine Arts Trio, first place winners of the Fischoff National Chamber Music Competition. They also performed on Chicago WFMT'S "Dame Myra Hess Concert Series" and "Live from Studio One". Several years later, she again received first prize at the Fischoff National Competition, this time with the Orion Piano Trio. She was also a founding member of Carnegie Mellon University's Starling Quartet, with whom she toured Costa Rica, China, and the United States in a series of concerts and masterclasses,
Ms. Keem has participated in the Colorado, Lake George, and Breckenridge Music Festivals, as well as the Rencontres Musicales Internationales des Graves in Bordeaux, the Bowdoin Music Festival, and the International Music Academy in Pilsen, Czech Republic, where she also served as a faculty member.
Christopher Adkins joined the Dallas Symphony in 1987. He previously served with the Milwaukee, New Haven and Denver symphonies. A native of Denton, Texas, Adkins holds degrees from the University of North Texas and Yale University. Adkins also studied with former Dallas Symphony Principal Cello, Lev Aronson. In addition, Adkins is a member of the Dallas String Quartet and has performed with the ensemble throughout the U.S. and Europe. He also serves as adjunct Associate Professor of music at the Meadows School of the Arts at Southern Methodist University in Dallas. Adkins is married to Dallas Symphony violinist Alexandra Adkins.
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
Tuesday, July 9 | 6:00PM
Lauded by The New York Times for "making the most traditional of works feel radical once more," the Takács Quartet presents a compelling program featuring three essential cornerstones of the chamber music repertoire.
Tuesday, July 16 | 6:00PM
Rock-and-roll energy meets classical sophistication with the Bravo! Vail debut of the St Lawrence String Quartet, joined by Anne-Marie McDermott for a tenderly expressive Piano Quintet by America's first truly successful female composer.
Wednesday, July 31 | 7:30PM
Explore the extraordinary depth and breadth of the world of percussion music, including a Violin Concerto (featuring Yvonne Lam of the acclaimed ensemble Eighth Blackbird) accompanied by a "orchestra" that calls for flowerpots, coffee cans, and washtubs.
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Where are the chamber music series performances held?
Bravo! Vail Chamber Music Series concerts at held at Donovan Pavilion, located at 1600 S Frontage Rd W, Vail, CO 81657.
What time do performances begin?
Concerts start promptly at 6:00PM. Doors open 30 minutes prior. Give yourself plenty of time to park and get to the venue. Latecomers will be escorted to seats by ushers at an appropriate interval.
Where do I park for Chamber Music Series performances?
Free parking is available at Donovan Pavilion.
How long do concerts last?
Concerts generally last 90 minutes to 2 hours including a scheduled intermission.
How do I buy tickets?
Tickets, passes, and gift certificates may be ordered in the following ways:
1. Online: bravovail.org
2. By phone 877.812.5700
3. In person: Bravo! Vail 2271 N Frontage Rd W Suite C, Vail, CO 81657
Bravo! Vail accepts American Express, Visa, MasterCard, and Discover credit cards, cash, and checks. There is a $2 fee per ticket. Tickets are delivered by mail or email, or may be picked up at the Box Office.
What are the Box Office hours?
Bravo! Vail Box Office hours are Monday-Friday from 9AM to 4PM. During the Festival, hours include Saturday & Sunday from 10AM to 4PM. The Bravo! Vail Box Office can be reached at 877.812.5700. Tickets are also sold at the Donovan Pavilion one hour prior to concert.
Where is the Will Call window?
Will Call tickets may be picked up one hour prior to the concert at the Box Office table located to the right of the entrance of Donovan Pavilion.
Does Bravo! Vail offer group pricing?
Discounts for groups of 15 or more are available for select concerts. Please call 970.827.4316 for more information.
What if I buy tickets and cannot attend?
Tickets are non-refundable and non-exchangeable. You may release your tickets or leave them for a friend at Will Call by calling the Box Office.
What if I misplace or forget to bring my tickets?
There is no charge to reprint tickets. Please call 877.812.5700 before 3PM on the day of the performance or allow extra time to request new tickets from the Box Office at the venue.
What is the seating plan?
Seating for Chamber Music Series concerts is general admission and is ADA (American Disability Act) accessible.
What food and beverages are available at the concert?
Food and beverages including beer and wine are available for purchase on the back patio prior to the concert and at intermission.
What should I wear?
There is no dress code for concerts.
What are some general rules of Chamber Series concert etiquette?
Please allow time for parking and seating. Concert attendees must silence all mobile devices prior to performances to not disrupt musicians and other patrons. Please limit conversations and other noisy activities during the performance. We recommend eating prior to the concert or at intermission. Parental supervision is required for all children attending Bravo! Vail concerts.
What is the Donovan Pavilion Child Policy?
Chamber Music Series concerts are very intimate. We strongly recommend that parents bring children aged six or older who are able to sit quietly through the entire performance.
What if I lose something at the concert?
Call the Bravo! Vail Box Office 970.827.5700 or the Donovan Pavilion 970.477.3699.
What if I still have questions?
Please contact the Box Office at 877.812.5700 Mon–Fri 9AM–4PM (and Sat–Sun 10AM-4PM during the Festival).
877.812.5700
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