A limited number of guests will enjoy a highly exclusive experience on the Performance Hall stage — cocktails, catered dinner, and concert featuring Artistic Director Anne-Marie McDermott on piano alongside a roster of truly extraordinary artists. Available as an add-on to any ticket package.
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 Vail Valley 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 two new Festivals; The Ocean Reef 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.
In demand as both a performer and a composer, Edgar Meyer has formed a role in the music world unlike any other. Hailed by The New Yorker as “…the most remarkable virtuoso in the relatively un-chronicled history of his instrument”, Mr. Meyer’s unparalleled technique and musicianship in combination with his gift for composition have brought him to the fore, where he is appreciated by a vast, varied audience. His uniqueness in the field was recognized by a MacArthur Award in 2002.
As a solo classical bassist, Mr. Meyer can be heard on a concerto album with the St. Paul Chamber Orchestra conducted by Hugh Wolff featuring Bottesini’s Gran Duo with Joshua Bell, Meyer’s own Double Concerto for Bass and Cello with Yo-Yo Ma, Bottesini’s Bass Concerto No. 2, and Meyer’s own Concerto in D for Bass. He has also recorded an album featuring three of Bach’s Unaccompanied Suites for Cello. In 2006, he released a self-titled solo recording on which he wrote and recorded all of the music, incorporating piano, guitar, mandolin, dobro, banjo, gamba, and double bass. In 2007, recognizing his wide-ranging recording achievements, Sony/BMG released a compilation of The Best of Edgar Meyer. In 2011 Mr. Meyer joined cellist Yo-Yo Ma, mandolinist Chris Thile, and fiddler Stuart Duncan for the Sony Masterworks recording “The Goat Rodeo Sessions” which was awarded the 2012 Grammy® Award for Best Folk Album.
As a composer, Mr. Meyer has carved out a remarkable and unique niche in the musical world. One of his most recent compositions is the Double Concerto for Double Bass and Violin which received its world premiere July 2012 with Joshua Bell at the Tanglewood Music Festival with the Boston Symphony Orchestra. Mr. Meyer and Mr. Bell have also performed the work at the Hollywood Bowl with the Los Angeles Philharmonic, the Aspen Music Festival, and with the Nashville and Toronto symphony orchestras. In the 2011-12 season, Mr. Meyer was composer in residence with the Alabama Symphony where he premiered his third concerto for double bass and orchestra. Mr. Meyer has collaborated with Béla Fleck and Zakir Hussain to write a triple concerto for double bass, banjo, and tabla, which was commissioned for the opening of the Schermerhorn Symphony Center in Nashville. The triple concerto was recorded with the Detroit Symphony Orchestra under Leonard Slatkin and featured on the 2009 recording The Melody of Rhythm, a collection of trio pieces all co-composed by Mr. Meyer, Mr. Fleck and Mr. Hussain. Mr. Meyer has performed his second double bass concerto with the Los Angeles Chamber Orchestra and his first double bass concerto with Edo de Waart and the Minnesota Orchestra. Other compositions of Mr. Meyer’s include a violin/piano work which has been performed by Joshua Bell at New York’s Lincoln Center, a quintet for bass and string quartet premiered with the Emerson String Quartet and recorded on Deutsche Grammophon, a Double Concerto for Bass and Cello premiered with Yo-Yo Ma and The Boston Symphony Orchestra under Seiji Ozawa, and a violin concerto written for Hilary Hahn which was premiered and recorded by Ms. Hahn with the St. Paul Chamber Orchestra led by Hugh Wolff.
Collaborations are a central part of Mr. Meyer’s work. His longtime collaboration with fellow MacArthur Award recipient Chris Thile continues in 2014 with the release on Nonesuch Records a recording of all new original material by the two genre bending artists, a follow up to their very successful 2008 CD/DVD on Nonesuch. Mr. Meyer and Mr. Thile will embark on a nationwide tour in Fall 2014 appearing in many of the major cities in the US. Mr. Meyer’s previous performing and recording collaborations include a duo with Béla Fleck; a quartet with Joshua Bell, Sam Bush and Mike Marshall; a trio with Béla Fleck and Mike Marshall; and a trio with Yo-Yo Ma and Mark O’Connor. The latter collaborated for the 1996 Appalachia Waltz release which soared to the top of the charts and remained there for 16 weeks. Appalachia Waltz toured extensively in the U.S., and the trio was featured both on the David Letterman Show and the televised 1997 Inaugural Gala. Joining together again in 2000, the trio toured Europe, Asia and the US extensively and recorded a follow up recording to Appalachia Waltz, Appalachian Journey, which was honored with a Grammy® Award. In the 2006-2007 season, Mr. Meyer premiered a piece for double bass and piano performed with Emanuel Ax. Mr. Meyer also performs with pianist Amy Dorfman, his longtime collaborator for solo recitals featuring both classical repertoire and his own compositions, Mike Marshall in duo concerts and the trio with Béla Fleck and Zakir Hussain which has toured the US, Europe and Asia together.
Mr. Meyer began studying bass at the age of five under the instruction of his father and continued further to study with Stuart Sankey. In 1994 he received the Avery Fisher Career Grant and in 2000 became the only bassist to receive the Avery Fisher Prize. Currently, he is Visiting Professor of Double Bass at the Curtis Institute of Music in Philadelphia.
“A cellist of extraordinary technical and musical gifts” (San Francisco Chronicle), Joshua Roman has earned national renown as a cellist for performing a wide range of repertoire with an absolute commitment to communicating the essence of the music at its most organic level. He’s also recognized as an accomplished curator and programmer, particularly in his work as Artistic Director of Seattle Town Hall’s TownMusic series, with a vision to engage and expand the classical music audience. For his ongoing creative initiatives on behalf of classical music, Roman was named a 2011 TED Fellow.
During the 2014-15 season, Joshua Roman gives the world premiere of a new cello concerto by Mason Bates with the Seattle Symphony under Mirga Gražinytė-Tyla and then performs the work again with the Columbus Symphony under Rossen Milanov. In the role of Artistic Director of Seattle Town Hall’s TownMusic series, Roman showcases his eclectic musical influences and inspirations, presenting concerts by the NOW Ensemble, Third Coast Percussion, and the Deviant Septet as well as Seattle premieres of several new works. In the 2013-14 season, Roman gave the San Francisco premiere of Dreamsongs, a new cello concerto written for him by Pulitzer Prize-winning composer Aaron Jay Kernis, with the San Francisco Chamber Orchestra. He also revisited On Grace, a work for actor and cello he co-created and performs with Anna Deavere Smith, when the two artists were in residence at the University of Chicago. As Alumnus-in Residence at the Music Academy of the West, he lead the August premiere of we do it to one another, a nine-part song cycle based on Life on Mars, a collection of poems by the Pulitzer Prize-winning poet Tracy K. Smith.
Before embarking on a solo career, Roman spent two seasons as principal cellist of the Seattle Symphony, a position he won in 2006 at the age of 22. Since that time he has appeared as a soloist with the San Francisco Symphony, the Seattle Symphony, the Los Angeles Philharmonic, the BBC Scottish Symphony, the Mariinsky Orchestra, among many others. An active chamber music performer, Roman has collaborated with Cho-Liang Lin, Asaad Brothers, Christian Zacharias, the JACK Quartet and members of So Percussion. He recently completed an ongoing video series called “The Popper Project”, where Roman performed, recorded and uploaded the complete David Popper’s High School of Cello Playing to his dedicated YouTube channel (youtube.com/joshuaromancello). His newest YouTube project, “Everyday Bach,” features Roman performing Bach’s cello suites from beautiful settings around the world. Roman was the only guest artist invited to play an unaccompanied solo during the YouTube Symphony Orchestra’s 2009 debut concert at Carnegie Hall. He is grateful for the loan of an 1899 cello by Giulio Degani of Venice.
“Modern…dramatic…superb…wickedly attentive…with a hint of rock ‘n roll energy…” are just a few ways critics describe the musical phenomenon that is the St Lawrence String Quartet. The SLSQ is renowned for the intensity of its performances, its breadth of repertoire, and its commitment to concert experiences that are at once intellectually exciting and emotionally alive.
Recent highlights include performances with Gustavo Dudamel and the LA Philharmonic and Marin Alsop and the Baltimore Symphony in John Adams’s Absolute Jest for string quartet and orchestra, and the European premieres of Adams’s second string quartet. Fiercely committed to collaboration with living composers, the SLSQ’s fruitful partnership with Adams, Jonathan Berger, Osvaldo Golijov and many others has yielded some of the finest additions to the quartet literature in recent years. The Quartet is also especially dedicated to the music of Haydn, and are recording his groundbreaking set of six Op. 20 quartets in high-definition video for a free, universal release online in 2018. According to The New Yorker, “…no other North American quartet plays the music of Haydn with more intelligence, expressivity, and force…”
Established in Toronto in 1989, the SLSQ quickly earned acclaim at top international chamber music competitions and was soon playing hundreds of concerts per year worldwide. They established an ongoing residency at Spoleto Festival USA, made prize-winning recordings for EMI of music by Schumann, Tchaikovsky, and Golijov, earning two Grammy nominations and a host of other prizes before being appointed ensemble-in-residence at Stanford University in 1998.
At Stanford, the SLSQ is at the forefront of intellectual life on campus. The SLSQ directs the music department’s chamber music program, and frequently collaborates with other departments including the Schools of Law, Medicine, Business and Education. The Quartet frequently performs at Stanford Live, hosts an annual chamber music seminar, and runs the Emerging String Quartet Program through which they mentor the next generation of young quartets. In the words of Alex Ross of The New Yorker: “The St. Lawrence are remarkable not simply for the quality of their music making, exalted as it is, but for the joy they take in the act of connection.”
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