Anne-Marie Mc Der­mott

Santa Fe Cham­ber Mu­sic Fes­ti­val

Pasatiempo - - Front Page -

NoonTues­day, Aug. 10: a solo recital of pi­ano works by Haydn, Wuori­nen & Chopin; $15 & $20

6 p.m.Wed­nes­day &Thurs­day,Aug.11 &12: with vi­o­lin­ist Ani Kavafian play­ing Schu­bert’s Duo in A Ma­jor; with Opus One & Ani Kavafian in Steven Stucky’s new Pi­ano Quin­tet; $29-$55

NoonThurs­day, Aug.12: with clar­inetist David Shifrin in Mieczysław Wein­berg’s Sonata, Op. 28; $15 & $20

6 p.m.Aug.15 & 16: with Opus One in pi­ano quar­tets by Beethoven and

Schu­mann; $48 & $62 All con­certs are at St. Francis Au­di­to­rium, New Mex­ico Mu­seum of Art, 107W. Palace Ave.Tick­ets are avail­able from the fes­ti­val box of­fice in the mu­seum (www.sfcmf.org, 982-1890) andTick­ets Santa Fe at the Len­sic (www.tick­etssantafe.org, 988-1234). my life im­mersed in it, and the cham­ber mu­sic part of the Vail fes­ti­val has been ne­glected. But Vail is also an im­por­tant fes­ti­val for orches­tras. The 2011 sea­son will present 18 con­certs by the New York Phil­har­monic, the Dal­las Sym­phony, the Philadel­phia Or­ches­tra — so that’s a dif­fer­ent field of reper­toire from what I have nor­mally worked with.

Pasa: In your cham­ber mu­sic ac­tiv­i­ties you of­ten ap­pear as part of a ded­i­cated en­sem­ble that works to­gether over a long pe­riod, as you do with Opus One. But you also be­long to what we might call the float­ing pool of cham­ber mu­sic play­ers whose paths cross more spo­rad­i­cally, which is the norm at quite a few fes­ti­vals. How do you re­spond to these dif­fer­ent ap­proaches from your per­spec­tive as a pi­anist and as a pro­ducer of cham­ber mu­sic?

McDer­mott: That is such a cen­tral is­sue. In cre­at­ing Vail’s pro­grams, my ap­proach is go­ing to be to present five ab­so­lutely pow­er­ful con­certs. I am not draw­ing from the pool of the “cham­ber mu­sic club” in the sense of just bring­ing a group of mu­si­cians to­gether and giv­ing them a week to work up a pro­gram. I’ll do the op­po­site: es­tab­lish a pro­gram and then find the best group of play­ers for it. When play­ers from the cham­ber mu­sic pool come to­gether, there can be a level of spon­tane­ity — a vis­ceral in­ten­sity and fo­cus ev­ery­body has to have. If the group is well put to­gether, you can get some­thing re­ally amaz­ing in per­for­mance, but it is a real art to get the right match in a group.

Newspapers in English

Newspapers from USA

© PressReader. All rights reserved.