Y O U R 9 T H F E S T I V A L E V E N T P R O G R A M M E Chamber Music on Valentia Y O U 9 T H F E S T I V A L 17-21 AUG 2022 WORLDClass music on VAlentia island C H A M B E R M U S I C O N V A L E N T I A . C O M
W e a r e e x c i t e d t o l a u n c h o u r 9 t h C h a m b e r M u s i c o n V a l e n t i a F e s t i v a l . W i t h c o n c e r t s , e x p e r i e n c e - b a s e d e v e n t s , a n d w o r k s h o p s , t h e r e i s s o m e t h i n g f o r e v e r y o n e a n d w e a r e e x c i t e d t o w e l c o m e y o u b a c k t o t h e i s l a n d . W e w e l c o m e g u e s t a r t i s t s f r o m I c e l a n d , U S A , I t a l y , U K a n d I r e l a n d T h e p r o g r a m m e r a n g e s f r o m m a s t e r p i e c e s o f t h e r e p e r t o i r e b y E r n e s t M o e r a n a n d R o b e r t S c h u m a n n t o t h e w o r l d p r e m i e r e o f a u n i q u e c o m b i n a t i o n o f u i l l e a n n p i p e s a n d p i a n o t r i o , ‘ T h e y D a n c e d W h e n t h e M u s i c i a n s P l a y e d ’ W e p r e s e n t o u r r e c e n t C a r o l a n c e l e b r a t i o n , e x t e n d e d i n a l i v e f o r m a t a n d t h e g r a n d f i n a l e c o n c e r t w i l l b e a t w o p i a n o g a l a i n K n i g h t s t o w n i n c l u d i n g a p t l y ‘ P u c k F a i r ’ b y J o a n T r i m b l e a n d R a c h m a n i n o f f ‘ s m a j e s t i c S y m p h o n i c D a n c e s T h r o u g h o u t t h e F e s t i v a l o t h e r h i g h l i g h t s a n d e n g a g e m e n t o p p o r t u n i t i e s i n c l u d e a s p e c i a l l y c o m m i s s i o n e d S o u n d t r a i l a r o u n d V a l e n t i a , m a s t e r c l a s s e s , a n o p p o r t u n i t y t o p e r f o r m w i t h F e s t i v a l A r t i s t s , a s i n g i n g w o r k s h o p w i t h C h a m b e r C h o i r I r e l a n d a n d t h e n o w m u c h l o v e d ‘ M u s i c a l M a p ’ o n S a t u r d a y 2 0 t h . A s w e c o n t i n u e t o e x p l o r e v e n u e s a l l o v e r V a l e n t i a , w e l o o k f o r w a r d t o w e l c o m i n g y o u b a c k , i n p e r s o n , f o r t h i s y e a r ' s f e s t i v a l . M a r y D u l l e a A r t i s t i c D i r e c t o r
FÁILTE FÁILTE
1 WORLD TOUR: DITTERSDORF TO PRICE SATURDAY, 20 AUGUST 2022 | 7.00pm at Glanleam House with Melinda Maxwell O boe Darragh Morgan V iolin Una Sveinbjarnardóttir V iolin Claudio Laureti V iol a Dirk Wietheger V iolin cello Mary Dullea Piano PROGRAMME Florence Price Fantasy No. 2 in F sharp minor (1887 1953) for violin and piano Carl Ditters von Dittersdorf String Quartet No. 1 in D major (1739 1799) Movement 1 (Moderato), Kr. 191 Gustav Mahler Piano Quartet in A minor (1860 1911) Nicht zu schnell Ernest John Moeran Fantasy Quartet (1894 1950) for oboe and string trio INTERVAL
2 Clara Schumann Three Romances (arr. for oboe and piano) (1819 1896) Op. 22 I. Andante molto II. Allegretto III. Leidenschaftlich schnell Robert Schumann Piano Quartet in E flat major (1810 1856) Op. 47 I. Sostenuto assai Allegro ma non troppo II. Scherzo: Molto vivace Trio I Trio II III. Andante cantabile IV. Finale: Vivace
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Written by Festival Administrative Assistants, Nan Or and Nymara Blevins Hay (unless otherwise stated)
Florence Price Fantasy No. 2 in F sharp minor (1887 1953) for violin and piano
in March 1940, Price’s F sharp Minor Violin Fantasy represents a mature stage in her professional life. By the time this work was written, her presence on stage and her leadership for African American and other musicians was well established. She had been prominent in the National Association of Negro Musicians since the mid 1930s, was the first Black member of the Chicago Club of Women Organists and the Musicians Club of Women in Chicago, and the first Black woman in the Illinois Federation of Music Clubs. The piece exemplifies Price’s genius for integrating techniques and harmonic idioms of the European concert fantasy into the melodic styles and phraseology of the African American folksong and spiritual. This Fantasy is based on a folk melody. The main theme bears a resemblance to ‘Talk about a Child That Do Love Jesus’, but her notes clearly reveal that it is based around the ‘I’m Workin’ on My Buildin’’. This clear connection between her work and her heritage is important as an influential figure within composition.
As an African American woman, Florence Price was a composer that faced great silencing during her lifetime. In 2009 a sizeable amount of her compositions and other documents were found in St. Anne, Illinois, a recovery that was met with major media coverage. Thus, her voice was heard again. She studied at the New England Conservatory from 1903 to 1906, and then pursued a career in teaching at Shorter College, Little Rock. After moving to Chicago in search of a better life, she joined a plethora of different organisations and immersed herself in the culture and lifestyles that surrounded her. Today she is celebrated as the first African American woman to have her music performed by a major U.S. orchestra, though her fame extends beyond Composedthis.
PROGRAMME NOTES
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Gustav Mahler Piano Quartet in A minor (1860 1911) Nicht zu schnell Gustav Mahler was born to a Jewish family in Bohemia, in what was then the Austrian Empire and now is in the Czech Republic. Due to his changing religion and general upbringing, he himself stated that he developed a permanent sense of exile, “always an intruder, never welcomed.” It is the theme of isolation and homeless wandering that is reflected most in his music. Mahler is associated with enormous symphonies and vocal music with a large orchestral accompaniment. His initial musical training, however, was as a concert pianist, and his earliest compositions were chamber music. Thus, while still a teenage student at the Vienna Conservatory, he produced a violin and piano sonata, a piano quintet, the scherzo for another piano quintet, and the first movement and start of the second movement of a piano quartet. The sonata and piano quintet were subsequently lost, but the manuscript of the piano quartet somehow survived. After the piano quartet’s composition in 1876 there was no public performance of the work for 86 years. It was not performed until the completed first movement was broadcast over New York City radio station WBAI. It is a warm and melodious piece in the mid nineteenth century romantic tradition of Mendelssohn or Schumann, composers that Mahler was studying at the
Carl Ditters von Dittersdorf String Quartet No. 1 in D major (1739 1799) Movement 1 (Moderato), Kr. 191
Carl Ditters von Dittersdorf was a famous virtuoso of his time. Carl Ditters was enrolled into music school by his father and quickly excelled. In 1773 the Prince Bishop appointed him Amtshauptmann of nearby Jeseník. This post required a noble title and so he was sent to Vienna and given the title ‘von Dittersdorf’. He is recognised as one of the great violin virtuosos of the eighteenth century and is generally regarded, after Mozart and Haydn, as one of the most important representatives of the Viennesse Classical era. His symphonic and chamber compositions greatly emphasise the sensuous Italo Austrian melody rather than motivic development. This quartet is delicate, lyrical, rich, but also apparently straightforward. With three movements, it begins with a somber, almost dark introduction. The violin then begins introducing some light with the first melody. Over time, the first subject blossoms, leading into the second subject. The exposition repeats, but it does not lead us back to the first subject, rather what we may recognise as an introduction for a second slightly altered playthrough.
The Fantasy Quartet for Oboe and String Trio was composed toward the end of Moeran's life in 1946 and was dedicated to the famous Oboist Leon Goossens after he asked Moeran to compose a work for the oboe. While the music remains completely tonal, it does wander through many keys while reflecting the music and moods of the Norfolk countryside. Parts of two Norfolk folk tunes Sunday Come Seventeen and The Pretty Ploughboy can be heard in this very atmospheric and evocative work. The work was first heard on the 8th of December 1946 at the Cambridge Theatre, London with Leon Goossens as Whileoboist.the
Quartet is one flowing piece, there are several sections which are clearly linked. Though the single theme is constantly replayed, we hear it more as a rondo form structure with contrasting episodes separating the recurrences of the refrain. The piece is perhaps a reflection on Moeran’s life, particularly his childhood memories of the Norfolk area. The folk tunes are used as a basis for generating themes and motifs.
The movement is in a traditional sonata form, with the presentation of two main themes followed by their development and restatement. The piano states the first theme, marked by a three note pattern encompassing an upward jump of a sixth with a return to the fifth. The strings extend this pattern, which then dominates the movement. The second theme, presented by the strings, complements the pattern with a rapid descending series of notes. The development combines the two themes, rising to a climax. Perhaps the movement's most imaginative passage is the return of the first theme, now in a more subdued, even mysterious mood. Towards the end, a cadenza for the first violin leads us to a quiet conclusion.
Ernest John Moeran Fantasy Quartet (1894 1950) for oboe and string trio
5 Conservatory at the time. The movement was subsequently published, and it received its first concert performance in London in 1968.
Ernest Moeran was born in Heston near London, to an Irish clergyman father and mother from Norfolk. Shortly after his birth, the family moved to the remote Norfolk Fen Country. As a child he learned to play the violin and piano and subsequently enrolled at the Royal College of Music to studied composition with Charles Villiers Stanford. He fought in World War One and after discharge, in 1920 he continued his studies the Royal College, studying there under John Ireland. Moeran spent a considerable amount of time in Ireland, including on Valentia Island and he is buried on the outskirts of Kenmare, having died there in 1950. As well as larger scale works, he composed several pieces of chamber music for a variety of different instrumentation types.
This work was composed in 1853 and was premiered in 1855 by the composer, Clara Schumann. She dedicated the Three Romances to her close friend and virtuoso violinist, Joseph Joachim. Schumann and Joachim went on tour with this piece, and they even played it before King George V of Hanover who adored the work. Even today, this work is perhaps one of Clara Schumann’s most well Romancesknown.wereone of Clara Schumann’s favourite forms to compose in, which is perhaps why this work is so effective. The three movements are contrasting, exciting and bursting with character. The first romance leads into a very emotional melodic framework. The brief central theme is then developed and embellished throughout this romance. Incredibly passionate, the dialogue between the piano and oboe is most effective. The main theme is based loosely on arpeggios, with the final section of this movement referring to Robert Schumann’s First Violin Sonata.
The second romance is supposedly representative of all three movements as it embodies all the things that link these romances together. It is in G minor and is wistful in character. The main theme played by the oboe is syncopated and there is a very melancholy atmosphere created throughout the movement.
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INTERVAL Clara Schumann Three Romances (arr. for oboe and piano) (1819 1896) Op. 22 I. Andante molto II. Allegretto III. Leidenschaftlich schnell
The third and final romance is the longest of the three, and it is very similar to the first romance. Instantly there is a rippling accompaniment from the piano which is bubbly and fast paced. The work is developmental from the start and the main theme is taken and changed in a plethora of different ways. The piano part is unrelenting, with its fast paced arpeggiated motifs and constant moving parts. At the end of the work the tempo is broken, and the piece slows and beautifully resolves.
The quartet blends Schumann’s deeply Romantic spirit with his fascination for the contrapuntal techniques of his Leipzig predecessor, Johann Sebastian Bach. The first movement begins with a mysterious, floating, four note figure, which is suddenly transformed into a crisp, forward moving gesture that permeates the remainder of the movement. This compact motive combines with a flowing, linear melody in the piano that interacts conversationally with the three string instruments.
The Finale demonstrates Schumann’s skill as a contrapuntist. Clara and Robert often enjoyed analysing Bach’s fugues together. The final movement of the Piano Quartet reflects their passion for Bach, beginning with a vigorous fugue subject in the viola, which is then taken up by the piano and finally the violin.
Robert Schumann Piano Quartet in E flat major (1810 1856) Op. 47
The polyphonic writing quickly gives way to freely lyrical and syncopated passages that recall themes from the earlier movements. The final movement
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The Scherzo is nimble and hushed, emulating the atmosphere of the scherzos of Felix Mendelssohn, Schumann’s Leipzig friend and colleague. Two contrasting trios are laced with elements of the initial Scherzo, giving the short movement a seamless, unbroken motion. The song like third movement is the emotional high point of the quartet, beginning with a sweetly yearning cello melody that evolves into a tender duet with the violin. A chorale like middle section forms a bridge back to the initial melody, now heard in the viola and surrounded by a filigree of violin figuration. The ethereal coda features a sustained “pedal” in the cello.
I. Sostenuto assai Allegro ma non troppo II. Scherzo: Molto vivace Trio I Trio II III. Andante cantabile IV. Finale: Vivace Schumann tended to explore specific musical genres extensively before exhausting the possibilities and moving on to other compositional styles. The year 1842 is often called Schumann’s “Year of Chamber Music” during which he also composed the Piano Quintet in E flat major, Op. 44. The Piano Quartet is dedicated to Count Matvei Weilhorsky, an amateur cellist, it features prominent solos for that instrument, especially in the lyrical third movement. Schumann’s true source of inspiration, however, was the brilliant piano playing of his beloved wife, Clara. Throughout the work, the piano is kept constantly in the spotlight. Clara was delighted by the quartet, writing in her diary, “[It is] a beautiful work, so youthful and fresh, as if it were his first.”
8 displays Schumann’s unique blend of Romantic and Baroque textures and brings the work to an exuberant conclusion.
Full biographies are available on the website MELINDA MAXWELL MelindaOboe
Many pieces have been written for her including those by Sir Harrison Birtwistle, Simon Holt and Howard Skempton. Her own septet Fractures received its premiere in a performance by the Birmingham Contemporary Music Group in 2016 conducted by the late Oliver Knussen. She has recorded frequently for the BBC and her own recordings have been critically acclaimed and voted CD of the month in the BBC Music magazine and the Guardian. Her most recent CD Blue Bamboo: jazz and other improvisations was released in 2016 by Oboe Classics. As a teacher she has taught at the RAM, Trinity College of Music, and the RNCM (Head of Woodwind and Consultant in Woodwind Studies). She is the Oboe Tutor at the NYO and coaches at the Britten Pears School for Advanced Musical Studies in Snape, Suffolk. In 2013 she gained an MMus in Jazz Performance at the Royal Birmingham Conservatoire and in 2016 began a PhD in Improvisation, Performance and Composition. Part of her PhD studies involves opening the idea of oboe character and how this can influence a musical language. So far, she has learnt the Nadaswaram, an Indian oboe, and has begun research into the ancient Greek aulos.
www.melindamaxwell.co.uk
ARTIST BIOGRAPHIES
Maxwell has performed worldwide as soloist in Europe, Japan, Africa, the USA and nationally in the UK. She is also a recitalist, chamber musician, composer, improviser and teacher. She is Principal Oboist of the Birmingham Contemporary Music Group and has played as guest principal and sub principal with the London Sinfonietta for over thirty years.
A passionate chamber musician Darragh is founder member of ‘the virtuosic Fidelio Trio’ (Sunday Times). They were shortlisted for the Royal Philhamonic Society Awards Ensemble Prize and have received Gramophone Magazine Editor’s Choice for their recordings. The trio have appeared at prestigious venues around the globe including Shanghai Oriental Arts Centre, Wigmore Hall, Purcell Room Southbank Centre, Casa da Musica Porto, National Sawdust New York, Morrison Artist Series San Francisco, Princeton Sound Kitchen, Andy Warhol Museum Pittsburgh, National Centre for Performing Arts Mumbai, Beijing Modern Music Festival, National Concert Hall Dublin, Kilkenny Arts Festival, Brighton Festival, Cheltenham Festival, and the Vale of Glamorgan Festival. They have collaborated with actor Adrian Dunbar, writer Alexander McCall Smith and poet Sinead Morrissey.
DARRAGH MORGAN DescribedViolin by The Strad Magazine as ‘hugely impressive, he plays with seemingly effortless control’ Irish violinist Darragh Morgan was born in Belfast. A renowned exponent of contemporary music, Darragh has appeared as a soloist at Aldeburgh Festival, Philips Collection Washington DC, Wiener Konzerthaus, Spitalfields Festival, Osterfestival Tirol and BBC Proms Chamber Music. His numerous concerto appearances with The Ulster Orchestra include the World Premiere of ‘Hymn of Dawn’ by Sir John Tavener which he also performed with Istanbul Symphony Orchestra. With National Symphony Orchestra of Ireland, he has toured Beethoven Triple Concerto, recorded ‘Elastic Harmonic’ by Donnacha Dennehy for NMC Recordings and he has premiered Brian Irvine’s ‘A Mon Seul Desir’. With RTÉ Concert Orchestra and London Musici/Rambert Dance Company he has given over 40 performances of ‘Tabula Rasa’ by Arvo Pärt (including in the presence of the composer). Darragh gave the South African premiere of Barber Violin Concerto with the KZN Philhamonic Orchestra. Other concerto appearances have included Kölner Kammerorchester and Cyprus Symphony Orchestra. He has collaborated with such distinguished musicians as Thomas Adès, Emmanuel Pahud, Darius Brubeck, Joanna MacGregor, John Tilbury, Mícheál Ò Súilleabháin and David Holmes.
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Darragh was for several years violinist with the award winning Smith Quartet, praised by The Guardian as ‘Britain’s answer to the Kronos’. Highlights of his time with The Smiths included appearances with Rokia Traore at Peter Sellars New Crowned Hope Festival at The Barbican, Bang on a Can Marathon New York, two sold out concerts at Seoul Arts Centre, Maerz Musik Berlin, ten performances of the music of Morton Feldman with pianist John Tilbury at Huddersfield Contemporary Music Festival (shortlisted for an RPS Award), Steve Reich 75th Birthday Concerts, Kevin Volans 60th Birthday at The Wigmore Hall
www.darraghmorgan.com
Darragh regularly leads London Sinfonietta including recently at The Esplanade Singapore and Venice Biennale. He has appeared as leader of Ensemble Modern at Lucerne Festival, Sciarrino’s ‘Macbeth’ at Festival d’automne Paris, Klangspuren Schwaz, Tongyeong International Music Festival and at the Alte Opera Frankfurt. He has also appeared with Musik Fabrik in the World Premiere of ‘La Passione’ by Louis Andriessen and ‘Shelter’ by Michael Gordon, Julia Wolfe, and David Lang. Darragh has worked closely with conductors including Oliver Knussen, Pierre Boulez, Francois Xavier Roth, John Eliot Gardiner, Heinz Holliger, En Shao and Paul Daniel. He has appeared as guest leader of Aurora Orchestra, The Philharmonia, RTÉ National Symphony Orchestra, Macau Orchestra, Les Siecles and Athelas Sinfonietta, Remix Ensemble, BCMG and Red Note Ensemble. Darragh has been invited to direct European Union Chamber Orchestra and 2004 2005 was Artistic Director of Baroque 2000, South Africa’s premiere period instrument ensemble.
10 and many acclaimed albums including the first ever complete recording of Philip Glass String Quartets for Signum Classics.
Special composer associations have included being the dedicatee of Michael Finnissy’s Violin Sonata and the recording of his complete Violin and Piano repertoire for Metier, commissioning Kevin Volans Piano Trio No.3 ‘Le Tombeau des Regrets’ and recording his first piano trio for NMC, invitation to record Philip Glass Trios for his label Orange Mountain Music. World Premieres include Chris Newman violin concerto ‘Free Standards’, much music by Joe Cutler including his violin concerto ‘Macedonia’, Richard Causton‘s Seven States of Rain which he recorded for his NMC debut album ‘Opera’ alongside music by Joseph Phibbs, Gerald Barry’s chamber music recorded for Mode Records, Andrew Poppy’s Violin Concerto with Crash Ensemble, Steve Reich ‘Double Sextet’ Recording with Ekkozone which was awarded a Diapason D’or Award, Michael Nyman complete piano trios for MNR as well as works by Robert Fokkens, Judith Weir, Tansy Davies and Howard Skempton. He has recorded over 50 chamber music and solo albums for NMC, Resonus, Delphian, Signum, Diatribe, Metier, Da Capo, Centaur, Naxos, and Col Legno. Darragh plays an 1848 Giuseppe Rocca violin, generously on loan from the Morgan Rocca Instrument Trust which is administered by The Royal Society of Musicians and a bow by Joseph Alfred Lamy.
UnaViolinSveinbjarnardóttir
www.unasmusic.com
is the leader of the Reykjavík Chamber Orchestra and the 3rd. concertmaster of the Iceland Symphony Orchestra. She has premiered many compositions Among her solo concertos with the ISO are Beethoven, Shostakovich nr. 1, Philip Glass nr. 1, Atli Heimir Sveinsson, Páll Ragnar Pálsson and Þuríður Jónsdóttir. Una has worked closely with Björk, Jóhann Jóhannsson and Atli Heimir Sveinsson. She has worked with Ensemble Modern, Ensemble Musikfabrik and Bedroom Community. Una has written for film and theatre and her work includes Opacity (2014), Lullaby (2016), Gátt (2017), Missir and El Desnudo (2018). Her album Umleikis with her solo pieces for violin was out in 2014 and her new album LAST SONG is out on Sono Luminus on July 23rd , 2021. She is a founding member of Siggi String Quartet, and her work Opacity is featured on the quartet’s debut album South of the Circle, on Sono Luminus 2019. Siggi String Quartet was awarded the Icelandic Music Awards in 2019.
CLAUDIO LAURETI
11 UNA SVEINBJARNARDÓTTIR
BornViolaand raised in Rome, he graduated with honors from the Conservatorio di Santa Cecilia in Rome in the classes of Margot Burton and Luca Sanzò, and pursued further training at the Haute Ecole de Musique de Lausanne with Diemut Poppen, at the Hochschule für Musik und Tanz of Cologne with Alexander Zemtsov and at the Accademia Walter Stauffer of Cremona with Bruno Giuranna. A laureate of competitions such as the Anton Rubinstein International Competition (Düsseldorf) and Virtuoso & Belcanto (Lucca), he has attended masterclasses with Nobuko Imai, Kim Kashkashian, Hartmuth Rohde, Lars Anders Tomter and Wilfried Strehle. As soloist or chamber musician he has performed all across Europe, in venues such as the Gran Teatro la Fenice di Venezia, Kölner Philharmonie, Teatro Ponchielli di Cremona, Teatro alla Scala di Milano and Teatro Sociale di Como, with such artists as Ton Koopman, Giovanni Sollima, Bruno Giuranna, Karl Heinz Steffens, Andrej Bielow, Salvatore Accardo, Francesca Dego, Robert McDuffie, Franco Petracchi, Luc Marie Aguera (Ysaÿe Quartet), Alexander Zemtsov,
www.claudiolaureti.it
DirkVioloncelloWietheger
was born in Münster in 1972. He studied at the Hochschule für Musik Detmold with Gotthard Popp and Karine Georgian, then at the Hochschule für Musik und Theater Hannover with Klaus Heitz. He then attended Xenia Jankovic’s masterclass at the Hochschule für Musik Würzburg, which he completed in 2002 with a Masters in Music. He completed his training in numerous masterclasses, including with Maria Kliegel, Arto Noras, David Geringas and Heinrich Schiff. As early as 1991 he was invited to play a work for solo cello by the Japanese composer Seiichi Inagaki at the Festival Aktive Musik Ruhrgebiet. Since then he has performed regularly as a soloist and chamber
12 Marko Ylönen, and Antonio Meneses. He is regular guests of institutions such as the Zermatt Festival, in collaboration with the Scharoun Ensemble of the Berlin Philharmonic, Villa Musica Rheinland Pfalz, the Fiskars Summer Festival, OperaEstate Festival, Aurora Chamber Music, the Accademia dei Cameristi di Bari, Swiss Chamber Academy, New Generation Festival, Talich Beroun Festival and the Rome Chamber Music Festival. Some of his concerts have been recorded for broadcasters such as SWR and RaiRadio3. Since 2019 he is kindly supported by the Associazione Culturale Musica con le Ali, thanks to which he performs in several prestigious venues all across Italy, alongside some of the best musicians of the country. In 2020, as a result of this collaboration, he has published his first CD, recorded live at the Teatro la Fenice in Venice with Giovanni Sollima, Massimo Quarta and other young Italian talents. He is furthermore supported by the program NeuStart Kultur of the Deutscher Musikrat, and since 2018 he regularly takes part in the projects of the Lead! Foundation Finland. Since 2021 he is scholarship holder of the foundation Villa Musica Rheinland Pfalz. He is currently Principal Viola of the Orchestra Sinfonica Siciliana and has cooperated with ensembles such as Orchestre de Chambre de Lausanne, Orchestra dell’Accademia Nazionale di Santa Cecilia, Kölner Kammerorchester, Finnish Chamber Orchestra and Mahler Chamber Orchestra, under the baton of, among others, Antonio Pappano, Esa Pekka Salonen, Vassily Sinaisky, Jorma Panula, Andrés Orozco Estrada, Klaus Mäkela, Jukka Pekka Saraste, Juraj Valcuha, Sakari Oramo and Leif Segerstam.
DIRK WIETHEGER
MARY DULLEA
NowPianoin its 9th year, pianist Mary Dullea founded the annual Festival ‘Chamber Music on Valentia’ in 2014 with the aim of bringing chamber music performances of international standing, innovative programming and outreach and engagement programmes to this unique place. As soloist and chamber musician, Mary leads a diverse performance career internationally. Her frequent broadcasts include BBC Radio 3, Radio 4, RTHK, RTÉ Lyric FM, WQXR, Radio New Zealand and SkyArts, Irish, French, Austrian and Italian television. Concerto appearances include RTÉ Concert Orchestra, RTÉ National Symphony Orchestra and KZN Philharmonic Orchestra. Her many CD releases include on NMC, Orange Mountain, Delphian, Altarus, Divine Art, Naxos, Resonus, Col Legno, Lorelt and MN Records, and most recently a CD of chamber music music by Ernest Moeran with her piano trio, The Fidelio Trio which was Gramophone Magazine Editor’s Choice.
13 musician in German speaking countries, focusing on works from the 20th and 21st centuries. For example, he appeared at the Biennale Neue Musik Hannover or at the Bielefeld Concert Days, where the local press described him as a “gifted person of the first order”. He has been a permanent member of Ensemble Musikfabrik since 2001. With this high ranking and international ensemble, he is represented at all important festivals for new music worldwide.
Regular CD, radio and television recordings are just as much a part of this as collaboration with such important composers as Mauricio Kagel, Nicolaus A. Huber, Helmut Lachenmann, Hans Zender, Wolfgang Rihm, Péter Eötvös and Kaija Saariaho. In 2004, a critically acclaimed solo CD with works by Gubajdulina, Janáček and Grieg was released by TACET/EigenArt. Dirk Wietheger teaches around the world in master classes and workshops. From 2009 to 2011 he held a teaching position at the Hochschule für Musik Detmold. He plays a Testore cello from Milan, early 18th century.
Mary was the curator of Soundings (an annual UK/Austrian collaborative new music festival) at the Austrian Cultural Forum London from 2008 to 2016. She has served on the jury of ‘Schubert und die Musik der Moderne’ International Chamber Music Competition in Graz, Austria.
Mary was on the piano faculty of Royal Welsh College of Music and Drama for 9 years. She previously held the position of Director of Performance at University
14 of Sheffield and since 2015 she has held this position at Royal Holloway, University of London where she is also Reader in Music. www.marydullea.com
15 JOIN US AT OUR UPCOMING EVENTS SUNDAY, 21 AUGUST 2022 QUARTET with Chamber Choir Ireland Two Piano Finale: Symphonic Dances with Simon Callaghan & Mary Dullea 1.00pm | Church of St. Dorarca and St. Teresa, Chapeltown 8.00pm | Church of the Immaculate Conception, Knightstown JOIN US To find out more about our 2022 events, please visit chambermusiconvalentia.com/our-2022-festival or call +353 (83) 096 5977 SAVE THE DATE We also look forward to welcoming you to our 2023 festival, so why not pop the date in your diary now? Join us Thursday 17th to Sunday 20th August 2023.
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M GO RAIBH MAITH AGAT OUR PRINCIPAL PARTNERS
