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Maria McGarry, piano

November 2011 to January 2012



          Presented with
      Music Network
      Performance and 
Touring Award


Saturday 12 November 8.00pm
Con Brio Series, The Clarion Hotel, Sligo

Thursday 17 November 8.00pm
Ballina Arts Centre, Co. Mayo

Sunday 4 December 4.00pm
Music for Kilkenny, Castalia Hall,
Ballytobin, Co.Kilkenny

Wednesday 7 December 8.00pm
Linenhall Arts Centre,
Castlebar, Co. Mayo
Sunday 15 January 2012 12 noon
Dublin City Gallery The Hugh Lane
J.S Bach/E. Petri: Sheep May Safely Graze
J. S. Bach/F. Busoni: Chaconne in D minor

Schumann: Fantasie Op. 17

followed by launch of debut CD
"20th Century Piano Masterworks"
Alban Berg:   Sonata Op.1
Arnold Schoenberg:  Sechs Kleine Klavierstucke Op.19
Enrique Granados: Quejas o la maja y el ruisenor
O. Messiaen: Le courlis cendre  (from Catalogue d'Oiseaux)
 xi  Premiere communion de la Vierge; xii Noel;; xv  Le baiser de l'enfant Jesus
(from Vingt regards sur l'enfant Jesus)
Evening programme:
J.S Bach/E. Petri: Sheep May Safely Graze
J. S. Bach/F. Busoni: Chaconne in D minor
E. Granados:   Los Requiebros;
Quejas o la Maja y el Ruisenor
(Lament or the Maiden and the Nightingale);
El Amor y la Muerte (from Goyescas)
Schumann: Fantasie Op. 17
Maria McGarry will also perform this programme in the Station House Clifden on Monday 20 February for Clifden Arts Society.

Dublin City Gallery, The Hugh Lane, concert review by Michael Dungan, Irish Times 17 January 2012:

Egon Petri (1881-1962) was a pianist and a pupil of Busoni. He was less known for his arranging than for his playing and teaching (pupils included John Ogden, pianist- comedian Victor Borge, and the late Earl Wild).

Yet he penned this nice transcription from Bach’s Cantata BWV 208 of the well-known soprano aria Sheep may safely graze . His discreet triumph of cleverness is the successful condensing of soprano, accompaniment and two solo recorders into two hands on a single keyboard.

The triumph was even more discreet in the playing of Maria McGarry who allowed it vanish into the shadow of her interpretation, which was unbridled romantic indulgence. In fact, she skirted the border of sentimentality and you wondered had she actually saved any emotional release for the programme’s genuine Romantic still to come – Schumann.

But she reined in quite dramatically for her second Bach transcription, Busoni’s piano version of the D minor Chaconne from the Partita for Violin No 2. It’s music long associated with the death of Bach’s wife, and McGarry allowed its force to find its own voice. There were a few stray notes, and pedalling that I sometimes found over-rich. However, especially following the powerful central re-statement of the theme, McGarry achieved a strong affective connection – much deeper than in the Petri – and took hold of something whose intensity she tended with unbroken concentration right to the final note.

She exercised restraint again in the Schumann – his Fantasie in C Op 17 – with its episodes of explosive power, which she never over-cooked. It occasionally felt as though there were a struggle between player and composer to see who was truly in charge, with McGarry at times seeking a safety net in the pedal. And although her command of Schumann’s sometimes mercilessly virtuosic writing was impressive, what proved most moving was, again, the way she prepared and sustained the thoughtful closing chapters, notably the ends of the first and final movements.

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