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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:20220313T070000
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DTSTART;TZID=America/New_York:20220715T120000
DTEND;TZID=America/New_York:20220715T170000
DTSTAMP:20260628T175508
CREATED:20220501T204507Z
LAST-MODIFIED:20220715T165612Z
UID:18829-1657886400-1657904400@www.bowdoinfestival.org
SUMMARY:Young Artists Concert
DESCRIPTION:Program \n  \n12:00 PM \n  \nFELIX MENDELSSOHN (1809-1847)\nPiano Trio No. 2 in C Minor\, Op. 66 \nI. Andante espressivo \nLilyanne Thoroughman\, violin • Leyuan Zhang\, cello • Alana Chiang\, piano\nThe group is coached by Elinor Freer.  \n  \nGABRIEL FAURÉ (1845-1924)\nPiano Quartet No. 1 in C Minor\, Op. 15 \nII. Scherzo\, Allegro vivo \n  \nClark Snavely\, violin • Jie-Ling Jennie Tang\, viola • Lexine Feng\, cello • Sarah Yuan\, piano\nThe group is coached by Elinor Freer.  \n  \nSERGEI PROKOFIEV (1891-1953)\nQuintet in G Minor\, Op. 39 \nV. Allegro precipitato\, ma con brio\nVI. Andantino \nJulia Simpson\, oboe • George Chen\, clarinet • Catherine Alsey\, violin\nHo Fei Ng\, viola • Zach McMillan\, double bass\nhis group is coached by Jeremy McCoy. Julia is sponsored by Doug Collins. George is sponsored by Dr. & Mrs. Stephen Corson. Zach is sponsored by Howard & Mary Jane Rosenfield.  \n  \nJOHANNES BRAHMS (1833-1897)\nPiano Quintet in F Minor\, Op. 34 \nIII. Scherzo: Allegro  \nGabrielle Sewell\, Noor Rouhana\, violin • William Sotiriou\, viola • Eleanor Pompa\, cello\nSean Yang\, piano\nThe group is coached by Ahrim Kim. Sean is sponsored by the Paul J. Lynskey Piano Scholarship.  \n  \nRALPH VAUGHAN WILLIAMS (1872-1958)\nPiano Quintet in C Minor \nII. Andante \nClaire Byeol Kim\, violin • Sam Sun\, viola • Kyle Ryu\, cello\nBroner McCoy\, double bass • Max Hammond\, piano\nThe group is coached by Ahrim Kim.  \n  \nFRANZ SCHUBERT (1797-1828)\nPiano Quintet in A Major\, Op. 114\, D. 667\, “The Trout” \nIV. Andantino – Allegretto \nAram Kim\, violin • Max Wang\, viola • Jonathan Fuller\, cello\nMichaella Tufariello\, double bass • Audrey Lin\, piano\nThe group is coached by Jeremy McCoy.  \n  \n1:00 PM \n  \nJOSEPH JONGEN (1873-1953)\nDeux pièces en trio\, Op. 80 \nI. Assez lent\nII. Allegretto moderato – Très modéré – Vif \nKamilla Dancsa\, flute • Anna Lee\, cello • Sebastian Gobbels\, harp\nThe group is coached by June Han. Kamilla is sponsored by Civia & Irwin H. Rosenberg.  \n  \nLUDWIG VAN BEETHOVEN (1770-1827)\nString Quartet No. 12 in E-flat Major\, Op. 127 \nI. Maestoso – Allegro \nGabriel Anker\, Xingyu Guan\, violin • Dominick Douglas\, viola • Benjamin Rodriguez\, cello\nThe group is coached by Phillip Ying. \n  \nWOLFGANG AMADEUS MOZART (1756-1791)\nString Quartet No. 19 in C Major\, K. 465  \nI. Adagio – Allegro \nYahli Anter\, Anna Park violin • Sofia Scherer\, viola • Charlotte Raine\, cello\nThe group is coached by Kyung Sun Lee.  \n  \nLUDWIG VAN BEETHOVEN (1770-1827)\nString Quartet No. 4 in C Minor\, Op. 18\, No. 4 \nI. Allegro ma non tanto\nII. Andante scherzoso quasi allegretto \nLauren Kim\, Kayla Lee\, violin • Andie Zhu\, viola • Seah Yu\, cello\nThe group is coached by Janet Ying. \n  \nFELIX MENDELSSOHN (1809-1847)\nString Quartet No. 6 in F Minor\, Op. 80 \nI. Allegro vivace assai \nAsher Blackburn\, Luke Lee\, violin • Lia Stallmann\, viola • Felix Kim\, cello\nThe group is coached by Jeffrey Zeigler. \n  \n2:00 PM \n  \nFRANZ SCHUBERT (1797-1828)\nString Quintet in C Major\, Op. 163\, D. 956 \nIII. Scherzo. Presto – Trio. Andante sostenuto \nCamden Stohl\, Ellie Loya\, violin • Sam Sun\, viola • Bennet Huang\, Lexine Feng\, cello\nThe group is coached by Jeffrey Zeigler.  \n  \nANTONÍN DVOŘÁK (1841-1904)\nString Quartet No. 10 in E-flat Major\, Op. 51 \nI. Allegro ma non troppo \nMicaela Lee Chyu\, Erica Nam\, violin • Andie Zhu\, viola • Prestin Kim\, cello\nThe group is coached by Ahrim Kim. \n  \nFELIX MENDELSSOHN (1809-1847)\nString Quartet No. 2 in A Minor\, Op. 13 \nAdagio – Allegro Vivace \nChloe Hyun\, Vincent Chen violin • Sofia Scherer\, viola • Ivy Robison\, cello\nThe group is coached by Janet Ying. \n  \n​​LUDWIG VAN BEETHOVEN (1770-1827)\nSonata for Piano and Violin No. 4 in A Minor\, Op. 23 \nII. Andante scherzoso\, più allegretto\nIII. Allegro molto \nGabriel Anker\, violin • Minjung Seo\, piano\nGabriel is a summer student of Itzhak Rashkovsky. \n  \nEDWARD ELGAR (1857-1934)\nCello Concerto in E Minor\, Op. 85 \nI. Adagio – Moderato\nII. Lento – Allegro molto \nLeo Kubota\, cello • Minjung Seo\, piano\nLeo is a summer student of Paul Katz.  \n  \n3:00 PM \n  \nSERGEI PROKOFIEV (1891-1953)\nViolin Concerto No. 1 in D Major\, Op. 19 \nI. Andantino \nCharlie Hamilton\, violin • Jing-Fang Huang\, piano\nCharlie is a summer student of Kyung Sun Lee. Jing-Fang is a summer student of Pei-Shan Lee and is a recipient of the Richard & Maryan F. Chapin Scholarship. \n  \nJOHANN SEBASTIAN BACH (1685-1750)\nCello Suite No. 4 in E-flat Major\, BWV 1010 \nII. Allemande \nCharlotte Raine\, cello\nCharlotte is a summer student of Jeffrey Zeigler.  \n  \nHENRYK WIENIAWSKI (1835-1880)\nEtudes-Caprices Op. 18\, No. 2 \nEllie Loya\, William Kinney\, violin\nThe group is coached by Robin Scott.  \n  \nCAMILLE SAINT-SAËNS (1835-1921)\nCello Concerto No. 1 in A Minor\, Op. 33 \nI. Allegro non troppo\nII. Allegretto con moto \nEleanor Pompa\, cello • Minjung Seo\, piano\nEleanor is a summer student of Jeffrey Zeigler.  \n  \nSERGE KOUSSEVITZKY (1874-1951)\nDouble Bass Concerto\, Op. 3 \nI. Allegro \nBroner McCoy\, double bass • Byunghee Yoo\, piano\nBroner is a summer student of Jeremy McCoy.  \n  \nEDWARD ELGAR (1857-1934)\nCello Concerto in E Minor\, Op. 85 \nIV. Allegro – Moderato – Allegro\, ma non troppo \nJoseph Hsieh\, cello • Minjung Seo\, piano\nJoseph is a summer student of Jeffrey Zeigler.  \n  \n4:00 PM \n  \nAMPARO ÁNGEL (b. 1942)\nEl Encantador de Pájaros Op. 24 \nNikolas Rodriguez\, flute\nNikolas is a summer student of Linda Chesis.  \n  \nHENRI VIEUXTEMPS (1820-1881)\nÉlégie\, Op. 30 \n  \nMax Wang\, viola • Byunghee Yoo\, piano\nMax is a summer student of Phillip Ying.  \n  \nBENJAMIN NORBROOK (b. 2001)\nDialogues in the Middle of Time \nIII. On the Pack-Ice \nClark Snavely\, Cole Habekost\, violin\nBenjamin is a summer composition student of Derek Bermel.  \n  \nFRANK BRIDGE (1879-1941)\nSonata for Cello and Piano in D Minor\, H. 125 \nII. Adagio ma non troppo — Molto allegro e agitato \nJoseph Kim\, cello • Xi Huang\, piano\nJoseph is a summer student of Steven Doane. Xi is a summer student of Pei-Shan Lee.  \n  \nERNEST BLOCH (1880-1959)\nSuite for Viola and Piano  \nI. Lento – Allegro – Moderato \nMathew Lee\, viola • Byunghee Yoo\, piano\nMathew is a summer student of Rebecca Albers.  \n  \nCAMILLE SAINT-SAËNS (1835-1921)\nHavanaise in E Major\, Op. 83 \nNoah Arcenas\, violin • Nathan Cheung\, piano\nNoah is a summer student of Kyung Sun Lee.  \n  \nOur Young Artists Series features performances by Festival students. Programs are announced a day or two before the concert. \nCOVID POLICY\nProof of vaccination and booster required upon entry at Studzinski Recital Hall.
URL:https://www.bowdoinfestival.org/event/yas-july-15/
LOCATION:Studzinski Recital Hall\, 12 Campus Road S\, Brunswick\, ME\, 04011
CATEGORIES:Concert,Young Artists Series,Livestream,Free Events
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DTSTART;TZID=America/New_York:20220715T193000
DTEND;TZID=America/New_York:20220715T210000
DTSTAMP:20260628T175508
CREATED:20220428T015922Z
LAST-MODIFIED:20220719T153649Z
UID:18677-1657913400-1657918800@www.bowdoinfestival.org
SUMMARY:Orli Shaham plays Mozart
DESCRIPTION:Orli Shaham plays Mozart \nLUDWIG VAN BEETHOVEN (1770-1827)\nSeptet in E-flat Major\, Op. 20 \n\n Adagio – Allegro con brio\n Adagio cantabile\nTempo di menuetto\n Tema con variazioni. Andante\n Scherzo. Allegro molto e vivace\n Andante con molto alla marcia – Presto\n\nAlan Kay\, clarinet • Nina Laube*\, bassoon • Susannah Greenslit*\, horn • Kyung Sun Lee\, violin • Maiya Papach\, viola • Ahrim Kim\, cello • Jeremy McCoy\, bass \n*Fellows \n— Intermission — \nWOLFGANG AMADEUS MOZART (1756-1791)\nPiano Concerto No. 20 in D Minor\, K. 466 \n\n Allegro\n Romance\nAllegro assai\n\nOrli Shaham\, piano • Jayce Ogren\, conductor • Festival Orchestra \nEncore:\nJ.S. Bach [Arr. Siloti]\nPrelude in B Minor\, BWV 855a \nPROGRAM NOTES \nLUDWIG VAN BEETHOVEN  \nSeptet in E-flat Major\, Op. 20 (1799) \nThe two works on tonight’s program were written with the intent to help their respective composers establish themselves in the Austrian capital. Their backstories remind us that the transcendent success of Mozart and Beethoven was not preordained by their unique talents and visions\, but also depended on strategic careerism and perseverance. \n  \nIn 1792\, Beethoven\, aged 22\, set out from his hometown of Bonn. Although he had built a modest reputation as a composer on his early piano sonatas and some chamber music\, Beethoven became best known to Vienna during the 1790s as a superb virtuoso pianist and astounding improviser. He demonstrated his prowess in improvisational duels held before the aristocracy: two pianists\, each sponsored by a nobleman\, would give one another tunes upon which to improvise complex and flamboyant fantasies and variations.  \n  \nIt took rather more time and effort for Beethoven to rebrand himself as a serious composer. Early in these Viennese years\, he focused on chamber music\, preparing himself to compose large-scale orchestral works by first writing several pieces for wind instruments—including two trios\, a horn sonata\, and the Septet\, Op. 20. By 1800\, he was finally ready to present his first “Academy\,” a type of benefit concert\, intended to introduce and ingratiate himself to Viennese society. On the program (alongside the customary improvisations) were Beethoven’s first symphony\, his first piano concerto\, and the Septet. While the first two works were received with cautious optimism\, the Septet stole the show; not only that\, it became far and away Beethoven’s best-known composition during his lifetime. \n  \nMusicologist Laura Tunbridge\, who recently selected the Septet as one of nine works to better understand Beethoven’s life and times\, argues that the work’s outsized success may be attributed to its versatility—its attractiveness to several audiences in diverse performance contexts. The careful balance it strikes between joyful buoyancy and probing expressivity allows it to be both crowd-pleasing and intellectually satisfying. On the one hand\, its divertimento form\, comprising six movements that contrast in mood and tempo\, links it with a tradition of lighthearted serenade music often performed in outdoor settings; on the other hand\, the work contains more than sufficient intrigue to sustain focused listening in the concert hall or the aristocratic salon. Before long\, the Septet circulated in arrangements for any thinkable combination of instruments\, allowing amateurs of all stripes to partake in its riches; meanwhile\, Beethoven grew characteristically disgruntled with how his Septet’s popularity eclipsed what he considered his more “serious” works\, in the vein of his symphonies. Yet\, if those more “serious” works have ensured Beethoven’s posthumous glory\, the Septet recalls another\, more congenial facet of the composer\, more famed and appreciated in his own day. \n  \nWOLFGANG AMADEUS MOZART\nPiano Concerto No. 20 in D Minor\, K. 466 (1785) \nMozart’s D Minor Piano Concerto\, K. 466\, was written only a few weeks after the completion of his Dissonance Quartet\, K. 465. While the string quartet was a genre fashioned and championed by Haydn (to whom Mozart’s K. 465 paid tribute)\, the piano concerto as we know it today was a genre forged by Mozart himself. Mozart composed over a dozen piano concertos between 1784 and 1786\, which he performed from the keyboard at subscription concerts in view of securing his reputation among the Austrian elite. At the premiere of this particular concerto on February 11\, 1785—alongside the customary aristocrats at Vienna’s Mehlgrube Casino—Mozart’s father\, Leopold\, was in attendance\, having arrived from Salzburg earlier that day. Thanks to him\, we have an account of the proceedings: a snow-blanketed Friday evening\, with young Amadeus so preoccupied by the copying of the orchestral parts that he had no time to run through the Rondo before the performance. \nEven among the exquisite gallery of Mozart’s concertos from this period\, K. 466 stands out. For one\, it was the first of Mozart’s piano concertos to be written in a minor key\, which\, when sustained by the strings in taut syncopation\, sets a tone of tense anticipation—more than one commentator has drawn a connection between the D Minor of K. 466 and of Mozart’s dramatic masterpiece\, Don Giovanni\, composed a few years later. But the minor-key framing also intensifies the sweetness of the second theme\, presented in F Major first by the pianist and echoed by a bucolic ensemble of woodwinds. Such emotive contrasts endeared this concerto in particular to future generations—starting with Beethoven himself\, who made the work a staple of his performance repertoire\, and followed by Clara Schumann\, Brahms\, and Busoni—all of whom supplied their own cadenzas\, of course. \n  \nProgram Notes by Peter Asimov \n  \nCOVID POLICY\nProof of vaccination and booster required upon entry at Crooker Theater. \n  \nThis concert is generously sponsored by:
URL:https://www.bowdoinfestival.org/event/orli-shaham-plays-mozart/
LOCATION:Crooker Theater\, 116 Maquoit Rd\, Brunswick\, ME\, 04011
CATEGORIES:Concert,Ticketed Events,Fridays,Livestream
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