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X-WR-CALNAME:Bowdoin Music Festival
X-ORIGINAL-URL:https://www.bowdoinfestival.org
X-WR-CALDESC:Events for Bowdoin Music Festival
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DTSTART:20200308T070000
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DTSTART;TZID=America/New_York:20200729T130000
DTEND;TZID=America/New_York:20200729T140000
DTSTAMP:20260629T131736
CREATED:20200610T120148Z
LAST-MODIFIED:20210503T162806Z
UID:16396-1596027600-1596031200@www.bowdoinfestival.org
SUMMARY:Masterclass: Percussion in Chamber Music Part 2
DESCRIPTION:How to Balance in a Chamber Music Setting\, Part 2: Blending with Strings\, Piano\, and Winds.\n\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                \n                        First Name*Last Name*Email*\n                            \n                        QuestionsWhat questions do you have about percussion in a chamber music setting?
URL:https://www.bowdoinfestival.org/event/masterclass-percussion-in-chamber-music-part-2/
ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2020/06/luker4.jpg
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DTSTART;TZID=America/New_York:20200729T143000
DTEND;TZID=America/New_York:20200729T153000
DTSTAMP:20260629T131736
CREATED:20200610T121856Z
LAST-MODIFIED:20200724T161814Z
UID:16345-1596033000-1596036600@www.bowdoinfestival.org
SUMMARY:Masterclass: Renée Jolles\, violin
DESCRIPTION:Performance Class\nPublic observers may view this event on our Livestream page. The sign up form is for student participants. \nThis class is open to all 2020 Bowdoin Festival students. Please sign up below.\nOnline classes are held via Zoom. Please review our Zoom best practices guide. \nSTUDENT SIGN UP \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-renee-jolles-july-29/
CATEGORIES:Livestream
ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2020/06/reneejolles.jpg
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DTSTART;TZID=America/New_York:20200729T160000
DTEND;TZID=America/New_York:20200729T170000
DTSTAMP:20260629T131736
CREATED:20200610T121446Z
LAST-MODIFIED:20200612T163925Z
UID:16351-1596038400-1596042000@www.bowdoinfestival.org
SUMMARY:Masterclass: Kirsten Docter\, viola
DESCRIPTION:This 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                        Student Festival Password*Performance InterestIf there is a performance spot available\, are you interested in submitting a recording for the class to listen to and discuss together? Or are you planning to observe and participate in the discussion?
URL:https://www.bowdoinfestival.org/event/masterclass-kirsten-docter-july-29/
ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2020/06/kirstendocter.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200729T193000
DTEND;TZID=America/New_York:20200729T210000
DTSTAMP:20260629T131736
CREATED:20200608T142912Z
LAST-MODIFIED:20200713T192422Z
UID:16059-1596051000-1596056400@www.bowdoinfestival.org
SUMMARY:Rebroadcast: Haydn & Messiaen
DESCRIPTION:HAYDN & MESSIAEN\nJOSEPH HAYDN (1732-1809)\nPiano Trio in C Major\, Hob. XV:27\nI. Allegro\nII. Andante\nIII. Finale. Presto \nRobin Scott\, violin • Julia Lichten\, cello • Julian Martin\, piano \n— Intermission — \nOLIVIER MESSIAEN (1908-1992)\nQuatuor pour la fin du Temps\nI. Liturgie de cristal\nII. Vocalise\, pour l’Ange qui annonce la fin du Temps\nIII. Abîme des oiseaux\nIV. Intermède\nV. Louange à l’Éternité de Jésus\nVI. Danse de la fureur\, pour les sept trompettes\nVII. Fouillis d’arcs-en-ciel\, pour l’Ange qui annonce la fin du Temps\nVIII. Louange à l’Immortalité de Jésus \nAyano Ninomiya\, violin • Amir Eldan\, cello • Derek Bermel\, clarinet • Pei-Shan Lee\, piano \nThis concert is a rebroadcast from Wednesday\, July 11\, 2018 at Studzinski Recital Hall. It will be available to view on demand for 48 hours after this live rebroadcast. \n  \nPROGRAM NOTES\nJOSEPH HAYDN\nPiano Trio in C Major\, Hob. XV:27 (1797) \nThe piano trio was a popular domestic form in the eighteenth century; symphonic arrangements for piano trio allowed larger forms to be heard inside the home\, while original compositions for the ensemble often resembled keyboard sonatas with string supplements. The earliest among Haydn’s forty-plus trios are in this mold\, while in his later trios\, he began to experiment in texture by expanding the roles of the individual instruments\, and in form by adding third movements. \nThe development of Haydn’s trio-writing technique seems to have been stimulated by two voyages the composer took to London in 1791-92 and 1794-95. At that time\, London had a flourishing publishing industry\, with a robust market for amateur music; the proliferation of piano trios Haydn composed during these journeys was surely inspired by these local demands. \nThe set of three trios (Hob. XV:27-29) was composed during the second of Haydn’s trips to London\, where they were ultimately published in 1797. All three were dedicated to Therese Jansen\, the German-born pianist known as one of Clementi’s star pupils. Haydn also served as witness at Jansen’s marriage to the prominent art dealer\, Gaetano Bartolozzi\, in 1795\, and was one of several composers to dedicate works to the accomplished young musician.  \nOLIVIER MESSIAEN\nQuatuor pour la fin du temps (1941) \nOlivier Messiaen did not compose much chamber music in his long career\, and his Quartet for the End of Time was more a result of circumstance than the product of a vision. Messiaen was drafted into the French army during World War II\, although given his poor eyesight he was assigned only to non-combat posts\, including a tailor-made position at the army’s Musical and Theatrical Center in Verdun. Nevertheless\, when the Nazis invaded France in May 1940\, thousands of soldiers were captured; Messiaen was taken to Stalag-8A\, a prisoner-of-war camp outside the German town of Görlitz\, in what is today just over the Polish border. \nMessiaen recounted the story of how the Quartet emerged during his time at the camp: \n“In the Stalag with me were a violinist\, a clarinettist\, and the cellist Etienne Pasquier. I wrote an unpretentious little trio for them which they played to me in the washrooms\, because the clarinettist had kept his instrument and someone had given the cellist a cello with three strings. Emboldened by this first experiment\, called ‘Intermède\,’ I gradually added the seven movements which surround it\, and it is thus that my Quatuor pour la fin du Temps has a total of eight sections. An upright piano was brought into the camp\, very out of tune\, the keys of which seemed to stick at random. On this piano I played my Quatuor pour la fin du Temps in front of an audience of five thousand people – the most diverse mixture of all classes in society – farmworkers\, labourers\, intellectuals\, career soldiers\, doctors\, and priests. Never have I been listened to with such attention and such understanding.” \nMore recent research demonstrates that Messiaen embellished aspects of this narrative as he told it throughout his life. Etienne Pasquier himself\, for example\, denied that his cello only had three strings; and it appears that the cultural life in the Stalag was in many ways rather vibrant\, with regular evenings dedicated to theatrical and musical productions in which Messiaen and his fellow musicians appeared to participate. In fact\, despite the notes Messiaen published alongside each movement linking them thematically with verses from the Book of Revelation\, it was only after each of the component movements were individually composed that Messiaen had the idea to compile them into a unified work with a biblical theme. A number of the movements – including the ‘Liturgie de Cristal\,’ the ‘Abîme des oiseaux\,’ the ‘Danse de la fureur\,’ and the two ‘Louanges’ – were composed prior to Messiaen’s arrival in the camp\, carefully preserved by the composer throughout his military dispatches in his trusty satchel and only subsequently rearranged for the available musicians. While these discoveries may contradict the version of the work’s genesis propounded by the composer\, they testify to a no less poignant story of creation under duress\, of musicians adapting to strenuous and precarious circumstances in the pursuit of their art. \nProgram Notes by Peter Asimov \n  \nSPONSORS\nThis is concert is generously sponsored by:
URL:https://www.bowdoinfestival.org/event/rebroadcast-haydn-messiaen/
LOCATION:Online from Brunswick\, 12 Campus Rd S\, Brunswick\, ME\, 04011
CATEGORIES:Livestream
ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2018/11/DSC_1887-2.jpg
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