BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Bowdoin Music Festival - ECPv5.10.1//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Bowdoin Music Festival X-ORIGINAL-URL:https://www.bowdoinfestival.org X-WR-CALDESC:Events for Bowdoin Music Festival BEGIN:VTIMEZONE TZID:America/New_York BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20200308T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20201101T060000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/New_York:20200715T090000 DTEND;TZID=America/New_York:20200715T100000 DTSTAMP:20260629T105350 CREATED:20200610T124930Z LAST-MODIFIED:20200701T002309Z UID:16246-1594803600-1594807200@www.bowdoinfestival.org SUMMARY:Masterclass: Rashkovsky & Schnarch\, violin DESCRIPTION:Performance Class: performance spots are reserved for students in the Rashkovsky or Schnarch studios. All Bowdoin Festival 2020 students are welcome to observe. Please sign up below.\n \nOnline classes are held via Zoom. Please review our Zoom best practices guide. \n\n\n \n First Name*Last Name*Email*\n \n Student Festival Password* URL:https://www.bowdoinfestival.org/event/masterclass-rashkovsky-schnarch-july-15/ ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2020/06/itzhakrashkovsky.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200715T110000 DTEND;TZID=America/New_York:20200715T120000 DTSTAMP:20260629T105350 CREATED:20200610T121014Z LAST-MODIFIED:20200712T152623Z UID:16375-1594810800-1594814400@www.bowdoinfestival.org SUMMARY:Masterclass: David Ying\, cello DESCRIPTION:Class Topic: Developing a Musical Left Hand\nThis class is open to all 2020 Bowdoin students. Please sign up below.\nOnline classes are held via Zoom. Please review our Zoom best practices guide. \nPlease note this class was rescheduled from Tuesday\, July 14 to Wednesday\, July 15. \n\n \n First Name*Last Name*Email*\n \n Student Festival Password*QuestionsWhat questions or topics would you like to discuss in the class? URL:https://www.bowdoinfestival.org/event/masterclass-david-ying-july-14/ ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2020/06/davidying1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200715T130000 DTEND;TZID=America/New_York:20200715T140000 DTSTAMP:20260629T105350 CREATED:20200610T120728Z LAST-MODIFIED:20200610T120728Z UID:16390-1594818000-1594821600@www.bowdoinfestival.org SUMMARY:Masterclass: Percussion Mallet Choice DESCRIPTION:Mallet Choice: Imagining Your Sound and Finding It\nwith Luke Rinderknecht\nThis class is open to all 2020 Bowdoin students. Please sign up below.\nOnline classes are held via Zoom. Please review our Zoom best practices guide. \n\n \n First Name*Last Name*Email*\n \n QuestionsWhat questions do you have about mallets? URL:https://www.bowdoinfestival.org/event/masterclass-percussion-mallet-choice/ ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2020/06/luker5.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200715T143000 DTEND;TZID=America/New_York:20200715T153000 DTSTAMP:20260629T105350 CREATED:20200610T124730Z LAST-MODIFIED:20200713T123340Z UID:16252-1594823400-1594827000@www.bowdoinfestival.org SUMMARY:Masterclass: Masumi Rostad\, viola DESCRIPTION:Class Topic: Performing\nThis class is open to all 2020 Bowdoin students. Please sign up below.\nOnline classes are held via Zoom. Please review our Zoom best practices guide. \nPublic observers may view this event on our Livestream page. The sign up form is for student participants only. \nSTUDENT SIGN UP \n\n \n First Name*Last Name*Email*\n \n Student Festival Password*QuestionsPlease submit questions about performing. URL:https://www.bowdoinfestival.org/event/masterclass-masumi-rostad-july-15/ CATEGORIES:Livestream ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2020/06/masumirostad3.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200715T173000 DTEND;TZID=America/New_York:20200715T183000 DTSTAMP:20260629T105350 CREATED:20200709T155317Z LAST-MODIFIED:20200709T155317Z UID:16804-1594834200-1594837800@www.bowdoinfestival.org SUMMARY:Masterclass: Linda Chesis\, winds DESCRIPTION:All Bowdoin Festival 2020 students are welcome to observe. Please sign up below.\nOnline classes are held via Zoom. Please review our Zoom best practices guide. \n\n \n First Name*Last Name*Email*\n \n Student Festival Password* URL:https://www.bowdoinfestival.org/event/masterclass-linda-chesis-winds-2/ ATTACH;FMTTYPE=image/png:https://www.bowdoinfestival.org/contents/media/2020/07/lindachesis.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200715T193000 DTEND;TZID=America/New_York:20200715T210000 DTSTAMP:20260629T105350 CREATED:20200608T142435Z LAST-MODIFIED:20200713T123415Z UID:16063-1594841400-1594846800@www.bowdoinfestival.org SUMMARY:Rebroadcast: Peter Serkin DESCRIPTION:PETER SERKIN\nThis rebroadcast is dedicated in memory of Peter\, who passed away on February 1\, 2020. \nOLIVER KNUSSEN (1952-2018)\nVariations\, Op. 24\nPlayed in loving memory of Olly. \nWOLFGANG AMADEUS MOZART (1756-1791)\nAdagio in B Minor\, K. 540 \nWOLFGANG AMADEUS MOZART (1756-1791)\nPiano Sonata No. 17 in B-flat Major\, K. 570\nI. Allegro\nII. Adagio\nIII. Allegretto \n— Intermission — \n \nROBERT SCHUMANN (1810-1856)\nWaldszenen\, Op. 82\nI. Eintritt\nII. Jäger auf der Lauer\nIII. Einsame Blumen\nIV. Verrufene Stelle\nV. Freundliche Landschaft\nVI. Herberge\nVII. Vogel als Prophet\nVIII. Jagdlied\nIX. Abschied \nWOLFGANG AMADEUS MOZART (1756-1791)\nPiano Sonata No. 8 in A Minor\, K. 310\nI. Allegro maestoso\nII. Andante cantabile con espressione\nIII. Presto \nThis concert is a rebroadcast from Sunday\, July 29\, 2018 at Studzinski Recital Hall. It will be available to view on demand for 48 hours after this live rebroadcast. \n  \nPROGRAM NOTES\nOLIVER KNUSSEN\nVariations\, Op. 24 (1989) \nPeter Serkin’s piano recital begins with a work by the celebrated British composer Oliver Knussen\, who died in 2018. His career got off to an auspicious start in 1968\, when\, at the age of fifteen\, he conducted the London Symphony Orchestra’s performance of his own first symphony; studies with John Lambert and Gunther Schiller\, in addition to robust encouragement from Benjamin Britten\, set Knussen on his path toward an illustrious life as a leading composer of the twentieth and twenty-first centuries. Knussen composed Variations\, Op. 24\, for Peter Serkin\, and wrote the following program note to accompany the work: \n“My Variations were composed in September-October 1989\, partly from sketches made during the previous spring. Although they are concise – the twelve variations play for a little more than six minutes in all – I have tried to integrate some highly contrasted textural and expressive approaches to a very limited amount of raw material (the theme is itself variations on its first six notes) within a three-part dramatic design: an initial group of five character-variations\, a central passacaglia enclosing four more variations\, and a final set of three\, more etude-like variations functioning as coda to the whole. I should like to acknowledge some things which were constantly in mind while composing this piece: the variation of Stravinsky\, Copland\, and Webern\, which provided positively intimidating models of richness of design and character in extreme concision; and the artistry and musical intelligence of Peter Serkin\, for whom it was commissioned and who was a constant source of encouragement during the composition. My Variations are dedicated affectionately to Peter and Regina Serkin.” \nWOLFGANG AMADEUS MOZART\nAdagio in B Minor\, K. 540 (1788)\nPiano Sonata No. 17 in B-flat Major\, K. 570 (1789)\nPiano Sonata No. 8 in A Minor\, K. 310 (1778) \nROBERT SCHUMANN\nWaldszenen\, Op. 82 (1848-49) \nThe rest of Mr. Serkin’s program is organized around a spectrum of Mozart’s keyboard shades\, spanning from melancholy to mirth and back again\, straddling a decade of Mozart’s short but dense career. Mozart composed eighteen keyboard sonatas in his life (that we know of)\, but he came to the form relatively late. He was nearly twenty when he composed his Piano Sonata No. 1 (K. 279) (for perspective\, he had already composed nearly ten operas by that time\, and had written sixteen violin sonatas by the age of ten). In all likelihood\, Mozart had not written keyboard sonatas earlier because he didn’t need to – he could improvise and perform sonatas at will\, and would not have felt compelled to fix them in ink. It is plausible that even these sonatas\, which were written down\, were rooted in improvisation or spawned improvisation as Mozart toured Europe. \nMr. Serkin’s own tour of three of Mozart’s keyboard works starts at the end of the chronological spectrum\, with the Adagio\, a work which is mysterious in both character and conception as a standalone slow movement\, the only complete piece Mozart ever composed in B minor. Mozart intensifies the brooding key signature with diminished harmonies early and often\, the work’s protracted chromaticism giving way to a glimpse of B major resolution only in the final moments. Composed in March 1788\, Mozart’s biographers have been tempted to link the doleful Adagio to the death of Mozart’s father\, Leopold\, the previous year; while such romanticized connections are often at odds with the mundane reality of Mozart’s material motives for composing certain works\, the absence of any obvious external stimulus for the Adagio leaves us at liberty to imagine such possible connections. \nIn this light\, the Adagio forms a mournful symmetry with the Sonata in A Minor\, K. 310\, composed a decade earlier\, during an unquestionably tragic period of Mozart’s life. Having left his position in Salzburg\, Mozart sought a fulfilling position elsewhere in Europe. His mother\, who reluctantly accompanied him on the journey\, died from a sudden and unexpected illness while the two were in Paris; Mozart\, deeply shaken\, was not consoled when his father cruelly blamed him for his mother’s death. These circumstances have again brought scholars and audiences to postulate a connection between Mozart’s grief and this rare\, minor-key sonata composed in the aftermath of his loss. \nTwo bands of sunlight\, in the key of B-flat major\, shine through these vulnerable works. First\, Mozart’s Sonata No. 17\, composed in 1789\, his penultimate work in the genre. Its relative technical simplicity makes it a natural pairing with the Sonata No. 16\, K. 545\, to which Mozart marked “for beginners.” What might count as simplicity\, however\, has also been viewed as an utter distillation of Mozart’s sonata style; this was the view of Alfred Einstein\, who considered the K. 570 “the ideal” Mozart piano sonata\, “the most completely rounded of them all.” And second\, Schumann’s Waldszenen\, a suite of miniatures evoking the Romantic lust for the natural world. Composed over an eighteen-month span in 1848-49\, Waldszenen is one of Schumann’s later piano cycles\, its imagery providing a contrast with the abstract forms of Mozart’s sonatas. Schumann’s capacious forest accommodates not only flora and fauna\, but also embraces human encounters and spills into the charmed world of fairytales. His miniatures themselves are fragmentary – episodic glimpses rather than panoramas – their asymmetrical forms resembling the natural growth of branches\, their sequence mimicking the twists and turns of a woodland path. \nProgram Notes by Peter Asimov \n  \nSPONSORS\nThis is concert is generously sponsored by: URL:https://www.bowdoinfestival.org/event/rebroadcast-peter-serkin/ LOCATION:Online from Brunswick\, 12 Campus Rd S\, Brunswick\, ME\, 04011 CATEGORIES:Livestream ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2020/06/peterserkin.jpg END:VEVENT END:VCALENDAR