Concertos on a chamber music concert? Don’t miss this unique opportunity to experience Anne-Marie McDermott’s elegant virtuosity in tandem with the vivid intimacy and dynamic flexibility of Ensemble Connect.
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ANNE-MARIE MCDERMOTT, PIANO
MEMBERS OF ENSEMBLE CONNECT
BACH: Piano Concerto No. 5 in F minor
BACH: Piano Concerto No. 1 in D minor
MOZART/CZERNY: Piano Concerto No. 20 in D minor
BACH: PIANO CONCERTO NO. 5 IN F MINOR
Piano Concerto No. 5 in F minor, BWV 1056 (ca. 1730)
JOHANN SEBASTIAN BACH (1685-1750)
It is said that when the Viennese were finally able to drive the Turks from their walls in 1683, the fleeing legions left behind an unforeseen legacy — coffee. The rage for the stimulating new beverage swept through Austria and into Germany, where coffee houses became important centers of society and amusement. In order to give public concerts of instrumental music at one of the local coffee houses in Leipzig, in 1704 Georg Philipp Telemann organized some of his fellow students at the city’s university into a performing group known as the “Collegium Musicum,” a “Musical College (or Society).” Those Friday afternoon concerts became a fixture of life in Leipzig, and were still popular when Bach arrived in 1723 to assume the position of cantor and organist at the Thomas Church. In 1729, he took over leadership of the Collegium Musicum, and continued in the post for seven years. In addition to his work at the Thomas Church and with the Collegium during those years, Bach also derived special delight from making music at home with his family. It was for use at both his home entertainments and the Collegium concerts that Bach produced his keyboard concertos.
The Concerto No. 5 in F minor is generally thought to have been based on a lost violin concerto in G minor. The opening movement follows the common Baroque formal practice of ritornello, in which a “returning” orchestral refrain is separated by episodes for the soloist. The second movement resembles an operatic cantilena in its lyrical flow and florid decorations. It leads with only a pause for a single breath into the finale, which returns the bracing vitality of the first movement.
BACH: PIANO CONCERTO NO. 1 IN D MINOR
Piano Concerto No. 1 in D minor, BWV 1052 (ca. 1730)
JOHANN SEBASTIAN BACH (1685-1750)
The source of the Concerto No. 1 in D minor continues to puzzle scholars. From stylistic evidence, it seems to have been based originally on a violin concerto by a composer other than Bach. An early version of Bach’s arrangement for harpsichord and orchestra corresponds with instrumental movements in his Cantatas No. 188 (Ich habe meine Zuversicht [“I have my faith”]) and No. 146 (Wir müssen durch viel Trübsal [“We must go through much sorrow”]). The final version of the Concerto apparently represents yet a further refinement of the earlier arrangements. The ritornello-form opening movement is music of grave countenance but vigorous rhythmic energy that embodies the Baroque ideals of touching sentiment allied with physical stimulation. The somber Adagio is an elaborately decorated song spun by the soloist above expressive harmonies in the orchestra. The dashing motion of the finale is enriched by elaborate conversational interchanges between orchestra and soloist.
MOZART/CZERNY: PIANO CONCERTO NO. 20 IN D MINOR
Piano Concerto in D minor, K. 466 (1785)
WOLFGANG AMADEUS MOZART (1756-1791)
ARRANGED BY CARL CZERNY (1791-1857)
Though his legacy is commonly reduced to just the finger-strengthening and spirit-dulling exercises that have been the bane (and boon) of generations of piano students, Carl Czerny was one of Vienna’s most respected musicians during the early 19th century. Born in Vienna on February 20, 1791, Czerny was playing piano at three, noting down some little pieces at seven, debuting publicly (in Mozart’s Concerto No. 24 in C minor, K. 491) at nine, and exhibiting a phenomenal musical memory at ten, when he played Beethoven’s “Pathétique” Sonata for the composer himself, and was eagerly accepted as his student. Beethoven mapped out a tour for his pupil in 1804, but political unrest forced the venture’s cancellation. Apparently this was much to the relief of Czerny, who claimed that he lacked “the brilliant, calculated charlatanry necessary for touring virtuosos.” Czerny instead devoted himself to teaching, and became one of the day’s most renowned (and expensive) piano pedagogues. Though his friends recognized in him a warm personality, he chose to follow a reclusive life ruled by the stern work ethic instilled by his father. He renounced marriage, almost never socialized, rarely played in public, seldom attended concerts or opera, and remained in Vienna all his life except for one-time trips to London, Paris, Leipzig and Italy. During the day, he taught up to twelve hours At night, surrounded by an ever-growing pride of cats, he composed. Czerny was forced to retire from teaching when his health declined during the 1840’s, and by 1850 he had become a semi-invalid. He died in Vienna in July 1857.
Czerny’s career coincided with the exploding demand from genteel home music-makers for instruments and sheet music. In addition to well over 800 original compositions, he made some 300 arrangements, including the Requiem, a half-dozen symphonies and the D minor Piano Concerto by Mozart, whom he championed throughout his file.
The first movement of the D minor follows the concerto-sonata form that Mozart had perfected in his earlier works for piano and orchestra. It is filled with conflict between soloist and tutti heightened by enormous harmonic, dynamic and rhythmic tensions. The Romanza moves to a brighter key that provides a contrast to the stormy opening Allegro, but even this lovely music summons a dark, minor-mode intensity for one of its episodes. The finale is a complex sonata-rondo form with developmental episodes. The D major coda offers less a lighthearted, happy conclusion than a sense of catharsis capping the cumulative drama of this noble masterwork.
ANNE-MARIE MCDERMOTT, piano
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.
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
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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. You may exchange tickets ($7 fee per ticket) by calling the Box Office at 877.812.5700 up to 2 days before the concert. 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).