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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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TZID:America/New_York
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TZOFFSETFROM:-0500
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TZNAME:EDT
DTSTART:20210314T070000
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DTSTART:20211107T060000
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210716T103000
DTEND;TZID=America/New_York:20210716T113000
DTSTAMP:20260413T154941
CREATED:20210707T211118Z
LAST-MODIFIED:20210712T235428Z
UID:17924-1626431400-1626435000@www.bowdoinfestival.org
SUMMARY:Winds Showcase
DESCRIPTION:The Festival’s 2021 Virtual Wind Fellows and student composers in Brunswick have collaborated to compose and perform new works this summer. The program features world premieres by Nan Yi\, Shahar Regev\, Kunal Gala\, and Sarah Jane Wald alongside favorites by Piazzolla\, Barboteu\, Carter\, and Nash. Watch the premiere of these five collaborations on our website or YouTube Channel. \nThe Festival Woodwind Program is coordinated by Linda Chesis.
URL:https://www.bowdoinfestival.org/event/winds-showcase/
LOCATION:Online Premiere
CATEGORIES:Young Artists Series,Livestream
ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2019/04/summer-fellowship-program.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210716T130000
DTEND;TZID=America/New_York:20210716T180000
DTSTAMP:20260413T154941
CREATED:20190926T184411Z
LAST-MODIFIED:20210720T142933Z
UID:15166-1626440400-1626458400@www.bowdoinfestival.org
SUMMARY:Young Artists Performance
DESCRIPTION: 1:00 PM \nANDRÉ CAPLET\nConte fantastique \nHannah MacLean\, Ryan Cheng\, violin • Angela Rubin\, viola • Jan Fuller\, cello • Lethicia Caravello\, harp \nThis group is coached by June Han. Angela is sponsored by Karsten Sorensen. Lethicia is sponsored by Doug Collins. \nCAMILLE SAINT-SAËNS\nFantaisie for Violin and Harp in A Major\, Op. 124 \n\nPoco allegretto\nAllegro\nVivo e grazioso\nLargamente\nAndante con moto\n\nMoonhee Kim\, violin • Kathleen Meiling Hopkins\, harp \nThis group is coached by June Han. \nSERGEI PROKOFIEV\nString Quartet No. 1 in B Minor\, Op. 50 \nIII.  Andante \nNate Strothkamp\, Lisa An\, violin • Amelia Krinke\, viola • Evan Nicholson\, cello \nThis group is coached by Mikhail Kopelman. \nCAMILLE SAINT-SAËNS\nHavanaise in E Major\, Op. 83 \nMilan Rohatgi\, violin • Miles Fellenberg\, piano \nMilan is a student of Mikhail Kopelman. \n  \n2:00 PM \nGASPAR CASSADÓ\nRequiebros \nElizabeth Norris\, cello • Miles Fellenberg\, piano \nElizabeth is a student of Jeffrey Zeigler. \nALEXANDER GLAZUNOV (1865-1936)\nViolin Concerto in A Minor\, Op. 82 \n\nModerato\nAndante sostenuto\n\nMatthew Cone\, violin • Miles Fellenberg\, piano \nMatthew is a student of Ayano Ninomiya and is sponsored by Lenore & Norman Rapkin. \nGIOACHINO ROSSINI (1792-1868)\nDuet for Cello and Bass in D Major \n\nAllegro\nAndante Molto\n\nAnia Lewis\, cello • Michaella Tufariello\, bass \nThis group is coached by Jeffrey Zeigler. \nLUDWIG VAN BEETHOVEN (1770-1827)\nSonata for Piano and Horn in F Major\, Op. 17 \n\nAllegro moderato\nPoco adagio\, quasi andante\nRondo. Allegro moderato\n\nBennett Norris\, bass • Miles Fellenberg\, piano \nBennett is a student of Xavier Foley and is sponsored by Dr. Richard & Sandra Neiman. \nANTONÍN DVOŘÁK (1841-1904)\nPiano Quartet No. 1 in D Major\, Op. 23 \nII.  Andantino con variazioni \nTobias Liu\, violin • William Sotiriou\, viola • Vincent Garcia-Hettinger\, cello • Sebastian Picht\, piano \nThis group is coached by Jeffrey Zeigler. \n  \n3:00 PM \nLUDWIG VAN BEETHOVEN (1770-1827)\nRomance No. 2 in F Major\, Op. 50 \nMiriam Viazmenski\, violin • Chris Soong\, piano \nMiriam is a student of Ayano Ninomiya. Chris is a student of Pei-Shan Lee and is sponsored by Lewis & Adria Kaplan. \nJOHANNES BRAHMS (1833-1897)\nSonata for Piano and Cello in F Major\, Op. 99 \nII.  Adagio affettuoso \nIII.  Allegro passionato \nEvan Nicholson\, cello • Feng Niu\, piano \nEvan is a student of David Ying. \nBOHUSLAV MARTINŮ (1890-1959)\nSonata for Cello and Piano No. 1\, H. 277 \n\nPoco allegro\n\nGrace Mockus\, cello • Feng Niu\, piano \nGrace is a student of Amir Eldan. \nLUDWIG VAN BEETHOVEN (1770-1827)\nPiano Trio No. 1 in E-flat Major\, Op. 1 No. 1 \n\nAdagio cantabile\n\nSushu Xiao\, violin • Matthew Wiest\, cello • Vikki Chen\, piano \nThis group is coached by Peter Basquin. \nJOHANNES BRAHMS (1833-1897)\nPiano Trio No. 1 in B Major\, Op. 8 \nIII.  Adagio \nJonathan Fenwick\, violin • Nicholas Pascucci\, cello • Ben Meltzer\, piano \nThis group is coached by Peter Basquin. \nANTONÍN DVOŘÁK (1841-1904)\nString Quartet No. 12 in F Major\, Op. 96\, “American” \nIII.  Molto vivace \nEmma Andersen\, Gabrielle Sewell\, violin • Brian Jennings\, viola • Helen LaGrand\, cello \n  \nThis group is coached by Janet Ying. \n  \n  \n4:00 PM \nERNST VON DOHNÁNYI (1877-1960)\nPiano Quintet No. 1 in C Minor\, Op. 1 \n IV.  Finale. Allegro animato \nMoshi Tang\, Naomi Shapiro\, violin • Hideaki Shiotsu\, viola • Carson Ling-Efird\, cello • Apollo Lee\, piano \nThis group is coached by Elinor Freer. \nCLAUDE DEBUSSY (1862-1918)\nL’isle joyeuse\, L. 106 \nWeiwei Zhai\, piano \nWeiwei is a student of Elinor Freer. \nLUDWIG VAN BEETHOVEN (1770-1827)\nPiano Sonata No. 3 in C Major\, Op. 2 No. 3 \nIV.  Allegro assai  \nApollo Lee\, piano \nApollo is a student of Matti Raekallio. \nALBERTO GINASTERA (1916-1983)\nPampeana No. 2\, Rhapsody for Cello and Piano\, Op. 21 \nMatthew Wiest\, cello • Ming-Li Liu\, piano \nMatthew is a student of David Ying. Ming-Li is a student of Pei-Shan Lee and is sponsored by Lewis & Adria Kaplan. \nLUDWIG VAN BEETHOVEN (1770-1827)\nPiano Sonata No. 24 in F-sharp Major\, Op. 78 \n\nAdagio cantabile – Allegro ma non troppo\nAllegro vivace\n\nNorris Blackburn\, piano \nNorris is a student of Elinor Freer. \nDMITRI SHOSTAKOVICH (1906-1975)\nViolin Concerto No. 1 in A Minor\, Op. 77 \nII.  Scherzo – Allegro \nMoshi Tang\, violin • Ming-Li Liu\, piano \nMoshi is a student of Itzhak Rashkovsky. Ming-Li is a student of Pei-Shan Lee and is sponsored by Lewis & Adria Kaplan. \nDOMENICO SCARLATTI (1685-1757)\nSonata in F-sharp Minor\, K. 25 \nJasmine Ogiste\, piano \nJasmine is a student of Elinor Freer. \nDOMENICO SCARLATTI (1685-1757)\nSonata in G Major\, K. 427 \nJasmine Ogiste\, piano \nJasmine is a student of Elinor Freer. \n  \n5:00 PM \nFRÉDÉRIC CHOPIN (1810-1849)\nScherzo No. 3 in C-sharp Minor\, Op. 39 \nSon Duong\, piano \nSon is a student of Matti Raekallio. \nZOLTÁN KODÁLY (1882-1967)\nSonata for Solo Cello in B Minor\, Op. 8 \nII.  Adagio: con grand espressione \nVincent Garcia-Hettinger\, cello \nVincent is a student of Steven Doane. \nFRÉDÉRIC CHOPIN (1810-1849)\nSonata for Cello and Piano in G Minor\, Op. 65 \n\nAllegro Moderato\n\nHayden Idson\, cello • Feng Niu\, piano \nHayden is a student of Steven Doane. \nROBERT SCHUMANN (1810-1856)\nPiano Quartet in E-flat Major\, Op. 47 \nII.  Scherzo: Molto vivace \nIII.  Andante cantabile \nJenny Choi\, violin • Benjamin Martz\, viola • Eleanor Pompa\, cello •  Yejin Song\, piano \nThis group is coached by David Ying. \nFELIX MENDELSSOHN (1809–1847)\nString Quartet No. 1 in E-flat Major\, Op. 12 \n\nAdagio non troppo – Allegro non tardante\nCanzonetta: Allegretto\nAndante espressivo\n\nMiranda Rojas\, Emma Johnson\, violin • Marcus Stevenson\, viola • Sebastian Berofsky\, cello \nThis group is coached by Phillip Ying.
URL:https://www.bowdoinfestival.org/event/young-artists-performance-54/
LOCATION:Live Online from Studzinski Recital Hall\, 12 Campus Rd S\, Brunswick\, ME\, 04011
CATEGORIES:Concert,Young Artists Series,Livestream,Free Events
ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2016/12/Young-Artists-July-13-afternoon-concert-26.jpg
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DTSTART;TZID=America/New_York:20210716T193000
DTEND;TZID=America/New_York:20210716T203000
DTSTAMP:20260413T154941
CREATED:20201210T190648Z
LAST-MODIFIED:20210722T181452Z
UID:17257-1626463800-1626467400@www.bowdoinfestival.org
SUMMARY:Kodály & Mozart
DESCRIPTION:Kodály & Mozart \nZOLTÁN KODÁLY (1882–1967)\nDuo for Violin and Cello\, Op. 7 \n\n\n\nAllegro serioso\, non troppo\nAdagio\nMaestoso e largamente\, ma non troppo lento – Presto\n\n\n\nAyano Ninomiya\, violin • David Ying\, cello \nWOLFGANG AMADEUS MOZART (1756–1791)\nPiano Quartet No. 2 in E-flat Major\, K. 493 \n\n\n\nAllegro\nLarghetto\nAllegretto\n\n\n\nAyano Ninomiya\, violin • Che-Yen Chen\, viola • Amir Eldan\, cello • Pei-Shan Lee\, piano \n  \nProgram Notes\nZOLTÁN KODÁLY\nDuo for Violin and Cello\, Op. 7 (1914) \nThe arts were not immune to the rise of nationalism on the eve of the Great War—far from it\, many at the turn of the twentieth century believed music had an important role to play in the awakening of “national sentiment.” In central Europe\, such beliefs emerged partly in reaction against the perceived dominance of a Germanic culture of composition that aspired (not without arrogance) toward universalism and transcendence. Nationalist composers\, on the other hand\, believed in the possibility—necessity\, even—of championing the local\, the regional\, and the “folk;” not in a gesture of picturesque pastiche\, but rather in the spirit of invigorating modernist techniques with new raw materials with a deliberate identitarian edge. \nZoltán Kodály was a leader of Hungarian musical nationalism\, equipped not only with the intellectual formation to study folk music with scientific rigor (his PhD on “The Strophe Structure of Magyar Folksong” combined linguistics and ethnomusicology)\, but also with the artistic vision to transform his academic analysis into exhilarating music\, with no sacrifice of experimentation or drama. In these qualities (especially the latter)\, he shared much in common with his colleague\, compatriot\, and close friend\, one year his senior\, Béla Bartók. The two met in 1905\, and by the end of 1906 they had published Magyar népdalok (“Magyar folksongs”)\, jointly exhorting the Hungarian people to embrace their heritage. \nThe Duo for Violin and Cello was written in 1914\, at the height of Kodály’s folkloristic fervor\, and exemplifies how he appropriated popular music for modernist prerogatives\, opening up “art” music to the freewheeling meters\, impassioned digressions\, and inexhaustible melodic variety of the oral traditions in which he immersed himself. Moreover\, Kodály achieves these objectives with a remarkable economy of instrumental means: the austere two-line textures one might expect of such a duo more frequently yield to passages supersaturated with double-stopped (even triple-stopped) chords and tight interlocking rhythms that give the impression of a more substantial ensemble. Kodály’s success with the new medium would inspire similar Duos by Ravel and Schulhoff in the 1920s. \n  \nWOLFGANG AMADEUS MOZART\nPiano Quartet No. 2 in E-flat Major\, K. 493 (1786) \nHaydn is often regarded as the grandfather of two of chamber music’s most venerable configurations—the string quartet and the piano trio—genres in which Mozart excelled\, too\, following in the elder composer’s footsteps. Yet the piano quartet was a later-blooming form. Unlike the string quartet—which matured relatively early into a rarefied genre destined for professional-caliber musicians\, each capable of sustaining individualistic yet interdependent lines in consort—piano chamber music proceeded to develop primarily in the sphere of aristocratic entertainment\, allowing adept keyboardists to showcase concerto-like virtuosity accompanied by a light string complement\, often two violins and a cello. Sometimes a bass would join in; sometimes a flute or oboe would replace a violin. \nThe two piano quartets written by Mozart in 1785–86 distinguish themselves from this model\, and that is partly what makes them so noteworthy. On the one hand\, Mozart\, a star pianist\, continued to showcase his skill with effervescent keyboard writing. On the other hand\, rather than reducing the strings to a subsidiary role\, Mozart devised means of distributing the thematic material between the piano and string cohort. He did this not simply by trading melodic and accompanimental roles\, but by simulating the techniques of galant conversation and discourse\, as musicologist Edward Klorman has demonstrated with respect to K. 493. Melodic snippets are introduced by the pianist\, for example\, as an idea may be proffered in speech; this is taken up and developed by the violinist. A note of consternation is intoned by the viola\, leading the other musicians down a melodic and harmonic detour\, ultimately to be resolved by the piano. In other words\, each instrumentalist appears\, at different moments\, to possess the agency to steer the conversation into new directions\, inspiring agreement\, or occasionally dissent\, from fellow interlocutors. While such galant repartee crops up throughout Mozart’s chamber music\, in the case of this chatty piano quartet\, we might even hear echoes of Mozart’s operatic style—after all\, just before composing K. 493\, Mozart had completed K. 492\, The Marriage of Figaro.\n\nProgram Notes by Peter Asimov \n  \nSPONSORS\nThis concert is generously sponsored by:
URL:https://www.bowdoinfestival.org/event/kodaly-mozart/
LOCATION:Live Online from Studzinski Recital Hall\, 12 Campus Rd S\, Brunswick\, ME\, 04011
CATEGORIES:Concert,Ticketed Events,Fridays,Livestream
ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2020/12/ayanopurple-scaled.jpg
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