MOZART VIOLIN CONCERTO
Previously, Danzmayr served as Music
Director of the Illinois Philharmonic
Orchestra and was also the only
conductor in the Chicago area who
programmed a piece of American
music on every concert.
Danzmayr won second prize at
the International Gustav Mahler
Conducting Competition and
prizes at the International Malko
Conducting Competition. For his
extraordinary success, he was awarded
the Bernhard Paumgartner Medal by
the Internationale Stiftung Mozarteum.
Propelled by these early successes into
a far-reaching international career,
Danzmayr has quickly become a sought-
after guest conductor for orchestras
around the globe. He has worked with
the City of Birmingham, Detroit, New
Jersey, Indianapolis, Iceland, Odense,
Stuttgart Radio and Vienna Radio
symphony orchestras; the Bamber
and San Diego symphonies; and the
Sinfonieorchester Basel.
He has served as the Assistant
Conductor of the Royal Scottish National
Orchestra, with which he performed in
all the major Scottish concert halls and
in the Orkney-based St. Magnus Festival.
Danzmayr received his musical training
at the University Mozarteum where, after
initially studying piano, he went on to
study conducting in the class of Dennis
Russell Davies.
Danzmayr gained significant
experience as assistant to Neeme Järvi,
Stéphane Denève, Carlos Kalmar, Sir
Andrew Davis and Pierre Boulez.
David Danzmayr makes his BSO debut.
Stefan Jackiw
Stefan Jackiw is one
of the U.S.’ foremost
violinists, captivating
audiences with
playing that combines
poetry and purity with an impeccable
technique. Hailed for playing that
is “striking for its intelligence and
sensitivity” by The Boston Globe, Jackiw
has appeared as a soloist with the New
York Philharmonic; the Cleveland and
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OV E R T U R E / BSOmusic.org
Philadelphia orchestras; and the Boston,
National, Chicago and San Francisco
symphony orchestras.
Highlights of recent seasons
include a performance of Prokofiev’s
Second Violin Concerto at Carnegie
Hall and the world premiere of
American composer David Fulmer’s
Violin Concerto No. 2, which was
written for him, with the Deutsche
Kammerphilharmonie Bremen under
Matthias Pintscher. He also appeared on
tour with l’Orchestre national d’Île-de-
France in Europe and Asia.
In recital, Jackiw performs the
complete Ives Violin Sonatas with
Jeremy Denk at the Tanglewood Music
Festival ahead of their upcoming
recording of the works for Nonesuch
Records. He also joins the acclaimed
pianist alongside Benjamin Beilman and
Pamela Frank in performances of the
Mozart Violin Sonatas both at Carnegie
Hall and the Philadelphia Chamber
Music Society.
Jackiw has performed in numerous
important festivals and concert series,
including the Aspen Music Festival and
School, Ravinia Festival, Caramoor
International Music Festival, the
Celebrity Series of Boston, New
York’s Mostly Mozart Festival, the
Metropolitan Museum of Art, the
Washington Performing Arts Society and
the Louvre Recital Series. As a chamber
musician, Jackiw has collaborated with
Jeremy Denk, Steven Isserlis, Yo-Yo Ma
and Gil Shaham, and forms a trio with
Jay Campbell and Conrad Tao.
Born to physicist parents of Korean
and German descent, Stefan Jackiw
began playing the violin at the age of
four. His teachers have included Zinaida
Gilels, Michèle Auclair and Donald
Weilerstein. He holds a Bachelor of Arts
from Harvard University, as well as an
Artist Diploma from the New England
Conservatory. He is the recipient of a
prestigious Avery Fisher Career Grant.
Stefan Jackiw last appeared with
the BSO in October 2010, performing
Mendelssohn’s Violin Concerto in E Minor,
Marin Alsop, conductor.
About the Concert
SIX PIECES FOR ORCHESTRA, OP. 6
Anton Webern
Born in Vienna, Austria, December 3, 1883;
died in Mittersill, Austria, September 15, 1945
As they broke decisively with tonality—the
harmonic system that relies on established
keys and pitch hierarchies—Arnold
Schoenberg, Alban Berg and Anton
Webern boldly designated themselves the
“Second Viennese School,” implying their
discovery and implementation of the non-
tonal twelve-tone system was the successor
of the great Viennese classicists Haydn,
Mozart and Beethoven, the “First Viennese
School.” Ironically, it was Webern—the
shyest, least confident and most idealistic
of the three—who broke most definitively
with the traditions that had ruled music for
at least two centuries. And he, more than
his teacher and father figure Schoenberg,
became the patron saint of mid-20 th
century serial music.
Growing up on his family’s rural
estate in the Carinthian Alps of
southern Austria, Webern was a
passionate mountain-rambler and
nature-lover, who always returned to
the mountains to rest and restore his
highly tuned nervous system. He was
less a theorist like Schoenberg and more
a Romantic philosopher who sought to
achieve in music the perfection of detail
he found in nature. When he began
studying with Schoenberg in 1904, he
found the man and the goals he would
follow, with devotion bordering on self-
abnegation, for the rest of his life.
Strangely, Webern did not believe he
was a revolutionary. “I am not so much
interested in being a musical terrorist,” he
wrote, “as [being] a natural continuer of
rightly understood, good, old tradition!”
Webern’s earliest works confirmed this
belief, for they followed the mellow late
Romantic style of Brahms, Max Reger
and his contemporary Gustav Mahler. But
in 1909 and 1910, Webern—galvanized
by Schoenberg’s atonal First Chamber
Symphony—plunged feet-first into
atonality with his Five Pieces for String
Quartet and his Six Pieces for Orchestra.