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:20210314T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20211107T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210714T100000
DTEND;TZID=America/New_York:20210714T110000
DTSTAMP:20260413T122742
CREATED:20210529T233637Z
LAST-MODIFIED:20210714T081655Z
UID:17704-1626256800-1626260400@www.bowdoinfestival.org
SUMMARY:Meet the Composer: Aaron Jay Kernis
DESCRIPTION:MEET THE COMPOSER: Aaron Jay Kernis \nAn opportunity to learn about and experience the creative process of a living composer. These distinguished artists will discuss aspects of their music and inspirations.  \nPlease note: this talk was rescheduled from July 8 to July 14. \nPulitzer Prize-winning composer AARON JAY KERNIS draws artistic inspiration from a vast and often surprising palette of sources\, among them the limitless color spectrum and immense emotional tangle of the orchestra\, cantorial music in its beauty and dark intensity\, the roiling drama of world events\, and the energy and drive of jazz and popular music. All are woven into the tapestry of a musical language of rich lyric splendor\, vivid poetic imagery\, and fierce instrumental brilliance\, and he has been praised for his “fearless originality [and] powerful voice” (The New York Times). \nAmong the most esteemed musical figures of his generation\, he is dedicated to creating music which can be meaningful to other people’s lives\, and extend communication among us to make an emotional connection with listeners – while frequently challenging audiences and performers alike. That connection has brought his music to major musical stages world-wide\, performed and commissioned by many of America‘s foremost artists\, including sopranos Renee Fleming and Dawn Upshaw\, violinists Joshua Bell\, Pamela Frank\, Nadja Salerno-Sonnenberg and James Ehnes\, pianist Christopher O’Riley and guitarist Sharon Isbin\, and such musical institutions as the New York Philharmonic\, Philadelphia Orchestra (for the inauguration of its new home at the Kimmel Center)\, Walt Disney Company\, Rose Center for Earth and Space at New York’s American Museum of Natural History\, The Knights\, Ravinia Festival \, San Francisco\, Melbourne\, Dallas\, Toronto\, London\, and Singapore Symphonies\,  London Philharmonic\, Lincoln Center Great Performers Series\, Minnesota and Royal Scottish National Orchestras\, American Public Radio; Orpheus\, Los Angeles and Saint Paul Chamber Orchestras\, Aspen Music Festival\, beyond. Recent and upcoming commissions include his 4th Symphony for the New England Conservatory (for its 150th anniversary)\, Nashville Symphony and Bellingham Festival; concerti for cellist Joshua Roman\, violist Paul Neubauer\, flutist Marina Piccinini\, and violinist James Ehnes\, which the Seattle Symphony recorded and is Grammy nominated; a quartet for the Borromeo String Quartet; a series of works for Tippet Rise Art Center; a horn concerto for the Royal Liverpool Orchestra and Grant Park Music Festival. \nOne of America’s most honored composers\, he won Northwestern’s Nemmers Award (2011) and was inducted in to the Classical Music Hall of Fame.  A member of the American Academy of Arts and Letters\, he received the coveted Grawemeyer Award in Music Composition (2002) for the cello and orchestra version of “Colored Field”; the 1998 Pulitzer Prize for his String Quartet No. 2 (“musica instrumentalis”). He has also been awarded the Stoeger Prize from the Chamber Music Society of Lincoln Center\, a Guggenheim Fellowship\, the Rome Prize\, an NEA grant\, a Bearns Prize\, and a  New York Foundation for the Arts Award. He is the Workshop Director of the Nashville Symphony Composer Lab\, and for 11 years\, served as New Music Adviser to the Minnesota Orchestra\, with which he co-founded and directed its Composer Institute for 15 years. \nHis works have been recorded on Nonesuch\, Koch\, Naxos\, Signum\, Virgin and Argo\, with which Mr. Kernis had an exclusive recording contract. Previously issued CDs include a widely acclaimed album with Hugh Wolff conducting the City of Birmingham Symphony Orchestra in his Symphony No. 2\, “Invisible Mosaic III\,” and “musica celestis” was nominated for a Grammy\, and won France’s Diapason d’or Palmares for Best Contemporary Music Disc of the Year. Other recordings include a disc of his Pulitzer-Prize winning String Quartet No. 2 (“musica instrumentalis”) and Musica Celestis\, both on Arabesque with the Lark Quartet; works for violinists Pamela Frank and Joshua Bell with David Zinman and the Minnesota Orchestra\, and his Double Concerto with guitarist Sharon Isbin\, violinist Cho-Liang Lin and Hugh Wolff leading the Saint Paul Chamber Orchestra. Originally released on Virgin/EMI was his cello version of “Colored Field” and “Air\,” created for the Norwegian virtuoso Truls Mork and the Minnesota Orchestra with Eiji Oue. Several of his important works recorded on Argo have been re-released by Phoenix\, including his Second Symphony\, “Musica Celestis” for String Orchestra\, “Invisible Moasic III\, and “Symphony in Waves\,” with Gerard Schwarz and the New York Chamber Symphony. Other critically acclaimed recordings include his “Goblin Market\,” and “Invisible Mosaic II\,” on the Signum label with The New Professionals\, Rebecca Miller conductor\, and Mary King narrator;  “Three Flavors\,” featuring pianist Andrew Russo\, violinist James Ehnes and the Albany Symphony under David Alan Miller’s direction\, and a disc of his solo and chamber music\, “On Distant Shores\,” (Phoenix);  vocal music with soprano Talise Travigne and the Albany Symphony; his third string quartet (“River”) as part of The Kernis Project\, a complete cycle of his quartets with the Jasper Quartet\, and a   concerti disc with cellist Joshua Roman and violist Paul Neubauer with conductor Rebecca Miller (Signum). Upcoming is a disc of his new flute concerto and Air for flute and orchestra with Marina Piccinini with Leonard Slatkin/Marin Alsop and the Peabody Symphony. \nKernis first came to national attention in 1983 with the acclaimed premiere of his first orchestral work\, “dream of the morning sky\,” by the New York Philharmonic at its Horizons Festival. He was born in Philadelphia on January 15\, 1960 and began his musical studies on the violin; at age 12 he began teaching himself piano and\, the following year\, composition. He attended the San Francisco Conservatory of Music\, and Manhattan and Yale Schools of Music. Leta Miller’s book-length portrait of Kernis and his work was published in 2014 by University of Illinois Press as part of its American Composer series. He has taught composition at Yale School of Music since 2003. \nMr. Kernis’s music is published by AJK Music\, administered by Associated Music Publishers/G.Schirmer. More information can be found at http://ow.ly/t7GN4 and http://ow.ly/t7GEK
URL:https://www.bowdoinfestival.org/event/meet-the-composer-aaron-kernis/
LOCATION:Online from Brunswick\, 12 Campus Rd S\, Brunswick\, ME\, 04011
CATEGORIES:Livestream,Meet the Composer
ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2020/06/20070425-Aaron-Kernis-0026_glb.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210714T193000
DTEND;TZID=America/New_York:20210714T203000
DTSTAMP:20260413T122742
CREATED:20190926T161004Z
LAST-MODIFIED:20210722T181012Z
UID:15124-1626291000-1626294600@www.bowdoinfestival.org
SUMMARY:Foley & Brahms
DESCRIPTION:Foley & Brahms \nXAVIER DUBOIS FOLEY (b. 1994)\nLost Child \nXavier Foley\, bass \nXAVIER DUBOIS FOLEY (b. 1994)\nSpirit of the Ice Bear \n\n\n\nThe Spirit\nBear Feast\nHibernation\nThe Bear Chase\n\n\n\nRenée Jolles\, violin • Xavier Foley\, bass \nXAVIER DUBOIS FOLEY (b. 1994)\nEtude No. 12 “Reconstruction” \nXavier Foley\, bass \nJOHANNES BRAHMS (1833–1897)\nSonata No. 1 in E Minor for Piano and Cello\, Op. 38 \n\n\n\nAllegro non troppo\nAllegretto quasi menuetto\nAllegro\n\n\n\nDavid Ying\, cello • Elinor Freer\, piano \n\n  \nPROGRAM NOTES\n  \nXAVIER DUBOIS FOLEY\nLost Child (2021) \nXavier Dubois Foley composed “Lost Child” in Osher Hall 216 during the 2021 Bowdoin International Music Festival. \nXAVIER DUBOIS FOLEY\nSpirit of the Ice Bear (2018) \nXavier Dubois Foley has provided the following program note to accompany Spirit of the Ice Bear: \nI started composing the piece “The Spirit of the Ice Bear” after being exposed to Native American spiritual flute music for the first time. When I listened to the artist perform\, he was improvising the entire time\, and the imagery that came to mind while listening was a spirit animal that resembled a bear covered in frost. “The Spirit of the Ice Bear” features Native American improvisatory elements infused with classical music\, blue grass\, and many more genres of music from all over the world. \nXAVIER DUBOIS FOLEY\nEtude No. 12 “Reconstruction” (2020) \nXavier Dubois Foley has provided the following program note to accompany Etude No. 12: \nThis is a piece I wrote based on the Reconstruction Era that took place after the American Civil War (1861-1865). The piece reflects the impressive amount of destruction as a result of the war\, with the music changing to a more “happy” mood to signify the taste of freedom by those who were once enslaved. \nJOHANNES BRAHMS\nSonata No. 1 in E Minor for Piano and Cello\, Op. 38 (1862-65) \nBrahms’s cello sonata\, Op. 38\, was begun shortly after the composer’s move from Hamburg to Vienna when he was not quite thirty years old. It was a period when chamber music was flowing freely from his quill: he had brought with him the two recently completed piano quartets\, and he also completed the piano quintet and a pair of string sextets during this span of years which has become known as Brahms’s “First Maturity.” \nYet this work\, written for the cellist and singer Josef Gänsbacher\, was Brahms’s first duo sonata. Gänsbacher was present for the Viennese premieres of the piano quartets and became a fast and lasting friend to Brahms upon his arrival to the new city\, helping him acquire a position as choirmaster at the Vienna Singakademie in 1863. When Brahms first composed the sonata in 1862\, he conceived it in three movements – an Allegro\, an Adagio\, and a Minuet. But\, following repeated enjoinders from his prospective publisher\, he was eventually compelled to add the Allegro Finale and withdraw the Adagio. The result\, published in 1865\, is a rather unusual three-movement form without a true slow movement. \nThe sonata reflects Brahms’s remarkable music-historical consciousness and his concerted desire to retool early music in the service of modern composition. Since the 1850s\, he had become (at Clara Schumann’s instigation) a subscriber to the new Complete Edition of the works of J. S. Bach\, which were published on a rolling basis over the second half of the nineteenth century. Since his move to Vienna\, Brahms had become a frequent reader at the Hofbibliothek\, where he diligently transcribed a wide range of early music manuscripts into notebooks for future use. Brahms’s Bachian inspirations in particular are on full display in the Finale\, which opens with an homage to the Art of the Fugue through gestural and structural allusions introduced in three-part counterpoint—with one line allocated to the cellist and another to each of the pianist’s hands. \nProgram Notes by Peter Asimov \n  \nSPONSORS\nThis concert is generously sponsored by:
URL:https://www.bowdoinfestival.org/event/foley-brahms/
LOCATION:Live Online from Studzinski Recital Hall\, 12 Campus Rd S\, Brunswick\, ME\, 04011
CATEGORIES:Concert,Ticketed Events,Wednesdays,Livestream
ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2019/09/xavierfoley-scaled.jpg
END:VEVENT
END:VCALENDAR