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X-WR-CALDESC:Events for Bowdoin Music Festival
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DTSTART;TZID=America/New_York:20230706T100000
DTEND;TZID=America/New_York:20230706T110000
DTSTAMP:20260522T035820
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LAST-MODIFIED:20230702T140941Z
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SUMMARY:Meet the Composer: Jeffrey Mumford
DESCRIPTION:MEET THE COMPOSER: Jeffrey Mumford \nDuring this talk\, Mumford will discuss his work amid still and floating depths and creative process. This event is livestream-only\, join the conversation online! \namid still and floating depths was co-commissioned by the Los Angeles Philharmonic Association\, Gustavo Dudamel Music Director\, and the Library of Congress\, for the Mivos Quartet. \nThe title for me suggests the image of a still place\, resonant with varying intensities of light\, which interact with one another on many levels. Often\, as these relationships evolve\, there are multiple layers of unfolding modes of expression\, sometimes juxtaposing and superimposing more explosive and figurative material with that which is more lyrical and sparse. \nThe work celebrates the many sonic possibilities of the string quartet medium\, and in particular\, the individual and collective brilliance and vision of the members of the Mivos Quartet. \n  \nAbout Jeffrey Mumford\n \nBorn in Washington\, D.C. in 1955\, composer Jeffrey Mumford has received numerous fellowships\, grants\, awards and commissions. \nAwards include the “Academy Award in Music” from the American Academy of Arts & Letters\, a Fellowship from the Guggenheim Foundation\, and an ASCAP Aaron Copland Scholarship. He was also the winner of the inaugural National Black Arts Festival/Atlanta Symphony Orchestra Composition Competition. Other grants have been awarded by the Ohio Arts Council\, Meet the Composer\, the Martha Baird Rockefeller Fund for Music Inc.\, the ASCAP Foundation\, and the University of California. \nMumford’s most notable commissions include those from the Isabella Stewart Gardner Museum\, the Koussevitzky Foundation\, the Los Angeles Philharmonic Association and the Library of Congress (co-commission)\, the BBC Philharmonic\, the San Antonio\, Chicago & National Symphonies\, Washington Performing Arts\, the Network for New Music\, ‘cellist Mariel Roberts\, the Fulcrum Point New Music Project (through New Music USA)\, Duo Harpverk (Iceland)\, the Sphinx Consortium\, the Cincinnati Symphony\, the VERGE Ensemble /National Gallery of Art/Contemporary Music Forum\, the Argento Chamber Ensemble\, the Cleveland Orchestra\, the Nancy Ruyle Dodge Charitable Trust\, the Meet the Composer/Arts Endowment Commissioning Music/USA\, Cincinnati radio station WGUC\, the Walter W. Naumburg Foundation\, the Fromm Music Foundation\, and the McKim Fund in the Library of Congress. \nRead more.\n 
URL:https://www.bowdoinfestival.org/event/meet-the-composer-jeffrey-mumford/
LOCATION:Online
CATEGORIES:Livestream,Meet the Composer,New Music
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DTSTART;TZID=America/New_York:20230706T193000
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SUMMARY:Gamper Festival: Musical Elements I
DESCRIPTION:Part of the Festival’s mission is to promote the vibrancy and bright future of chamber music\, and this is reflected in our commitment to promoting and producing new music. During the Gamper Festival of Contemporary Music\, we devote a long weekend to focus on the music of living composers performed by faculty and our fellowship students. \nTANSY DAVIES (b. 1973)\nAquatic  \nNathaniel Wolff\, English horn • Michael McKeague\, percussion \nTEXU KIM (b. 1980)\nHomage to anonymous ancient fiddlers \nKayla Bryan\, Julimar González\, violin \nALEX TEMPLE (b. 1983)\nThick line \nGraeme Sugden\, flute • Nathaniel Wolff\, oboe • Daniel McCarty\, bassoon • Jean Marie Smith\, horn \nROZALIE HIRS (b. 1965)\narticle 4 [map butterfly] \nSteven Baloue\, viola \nELIJAH SMITH (b. 1995)\nSounds of a Fading Daylight \nJu Young Yi\, clarinet • Daniel Dastoor\, violin • Isaac Berglind\, cello • Yuan Zhou\, piano \nKAIJA SAARIAHO (b. 1952)\nBosun’s Cheer  \nElijah Smith\, spoken voice • Chi Ting\, flute • Bennet Huang\, cello • Lindsay Donat\, double bass \nIGOR SANTOS (b. 1985)\noffering [music and the ocean] \nLyndon Ji\, piano • video \n  \nPROGRAM NOTES \n  \nTANSY DAVIES \nAquatic (2011) \nAquatic was born of a fascination for the amazing creatures\, preserved as fossils\, in the Burgess Shale Formation — located in the Canadian Rockies of British Columbia. Many of the animals had bizarre anatomical features and only the slightest resemblance to other known animals. One example is Opabinia\, which has five eyes and a snout like a vacuum cleaner hose\, probably lived on the seafloor\, had no legs but crawled on lobes\, and could also have swum slowly by flapping the lobes\, especially if it timed the movements to create “Mexican waves.” Aquatic is perhaps a ‘day in the life of an Opabinia.’ There’s an exotic elegance and grace about this strange animal\, for which the English horn seems the perfect counterpart. The percussion pallet surrounds and echoes the English horn\, imagining the submerged environment of the early-Cambrian seafloor. \n  \n  \nTEXU KIM \nHomage to anonymous ancient fiddlers (2015) \nEntertainment has been one of the most significant functions of music\, and virtuosity is one of the keys to that. One may recall some representative examples\, such as Paganini and Liszt\, but I believe there have been many more unknown heroes in music history.  As the title attempts to show\, this piece is about the anonymous ancient fiddlers — their impressive skills and their endeavor to acquire them. This piece has numerous virtuosic variations of a simple imaginary ancient melody. To add more ‘ancient flavor’ and make the work more virtuosic\, I incorporated composition techniques like hockets (distributed tune between multiple players)\, triple and quadruple stops\, and detuning effect\, all of which predate the Baroque period. \n  \n  \nALEX TEMPLE \nThick Line (2012) \n“Thick Line” can be performed by any number of wind or brass instruments\, from a trio to an entire concert band. No matter how many musicians are playing\, they all read from the same line of music. But it’s an unusual sort of line: it’s got rhythms\, dynamics\, character markings\, and the general shape of a melody\, but no specific pitches. The performers get to choose the pitches themselves — so each note becomes a rich harmony\, and those rich harmonies move up and down in parallel. It’s as if the melodic line of the piece were drawn not with a fine-tipped pencil\, but with a thick piece of charcoal. \n  \n  \nROZALIE HIRS \narticle 4 [map butterfly] (2004) \nThe composition article 4 [map butterfly] for violin or viola solo by Rozalie Hirs is inspired by the map butterfly (Araschnia Levana)\, a kind of butterfly that possesses remarkable drawings on its wings\, evoking maps of imaginary continents. article 4 (2004) makes extensive use of the natural harmonics present in the violin (or viola). The score is notated on two staves\, indicating sounding and fingered pitch respectively. The sounding and fingered pitches as well as the pitches of the open strings of the violin together form a virtual resonant space. The fingered pitches can be regarded as a metaphor for the shadows cast on the earth by the map butterfly\, mysteriously connecting the light\, the butterfly’s body\, and its movements. The topography of pitch is mapped during the flight of the butterfly\, while revealing the physical properties of the string instrument. \n  \n  \nELIJAH SMITH \nSounds of a Fading Daylight (2022) \nSounds of a Fading Daylight aims to capture the subtle movements of shadows cast by trees and leaves during sunset. \n  \n  \nKAIJA SAARIAHO \nBosun’s Cheer (2014) \nFinnish composer Kaija Saariaho studied composition in Helsinki\, Freiburg\, and Paris. Her work was notable for including electronics alongside more traditional instruments before going on to compose much larger works including the epic opera ‘L’Amour de Loin’ in 2000\, a recording of which won the 2011 Grammy Award for best opera recording. Tonight’s piece\, Bosun’s Cheer\, is an exhilarating work including some inventive instrumental techniques as well as a hauntingly poetic voice. \n  \n  \nIGOR SANTOS \noffering [music and the ocean] (2022) \nThe ocean\, in offering\, is used as a vehicle to talk about migration\, to invoke ancient myths and symbols\, and to celebrate cross-cultural and transnational ‘contaminations.’ I also take the opportunity to also bring forth and make sense of my own mixed background\, both ethnical and cultural. These concepts and ideas\, along with the visuals of the work\, were made in collaboration with the visual artist William Villalongo during our residency at the American Academy in Rome. \noffering makes use of found footage\, found sounds\, quotations of ocean-inspired works\, and water-like pianistic gestures\, all joined in a mimetic cycle — constantly navigating between video\, sound\, and live performance\, as well as back and forth in historical time. 
URL:https://www.bowdoinfestival.org/event/gamper-july-6/
LOCATION:Studzinski Recital Hall\, 12 Campus Road S\, Brunswick\, ME\, 04011
CATEGORIES:Concert,Gamper Festival of Contemporary Music,Livestream,Free Events,New Music
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