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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:20230312T070000
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DTSTART;TZID=America/New_York:20230714T130000
DTEND;TZID=America/New_York:20230714T170000
DTSTAMP:20260521T190603
CREATED:20230213T014854Z
LAST-MODIFIED:20230714T132003Z
UID:19962-1689339600-1689354000@www.bowdoinfestival.org
SUMMARY:Young Artists Concert
DESCRIPTION:Concert featuring the Festival’s 2023 Young Artists. \n  \n1:00 PM \n  \nEDVARD GRIEG (1843-1907) \nString Quartet No. 1 in G Minor\, Op. 27 \nI. Un poco andante — Allegro molto ed agitato \nSabine Stern\, Faith Borkowski\, violin • Vivienne Lucier\, viola • Ethan Hess\, cello  \nThis group is coached by Ahrim Kim. \n  \nANTONÍN DVOŘÁK (1841-1904) \nString Quartet No. 12 in F Major\, Op. 96\, “American” \nI. Allegro ma non troppo \nIV. Vivace ma non troppo \nLela Stair\, Maya Momot\, violin • Peyton Crony\, viola • Lorelei Deutsch\, cello \nThis group is coached by Janet Ying. \n  \nSERGEI PROKOFIEV (1891-1953) \nString Quartet No. 2 in F Major\, Op. 92 \nI. Allegro sostenuto \nII. Adagio \nYuri Popov\, Eva Crichton\, violin • Samuel Beasley\, viola • Vien Le\, cello \nThis group is coached by Janet Ying.  \n  \nJOHANNES BRAHMS (1833-1897) \nPiano Quartet No. 2 in A Major\, Op. 26 \nII. Poco adagio \nYucheng Zeng\, violin • Zoe Yost\, viola • Isaac Pagano-Toub\, cello • Henry Giles\, piano \nThis group is coached by Tao Lin. \n  \n2:00 PM \n  \nLUDWIG VAN BEETHOVEN (1770-1827) \nString Quartet No. 9 in C Major\, Op. 59\, No. 3\, “Razumovsky” \nII. Andante con moto quasi allegretto \nEllen Zhou\, Dexter Mott\, violin • Amelia Abouljoud\, viola • April Lee\, cello \nThis group is coached by Janet Ying.  \n  \nROBERT SCHUMANN (1810-1856) \nPiano Trio No. 1 in D Minor\, Op. 63 \nII. Lebhaft\, doch nicht zu rasch \nYucheng Zeng\, violin • Kyle Victor\, cello • Xinyan Vanessa Zou\, piano \nThis group is coached by David Ying. \n  \nFRANZ SCHUBERT (1792-1828) \nPiano Trio in E-flat Major\, Op. 100 \nII. Andante con moto \nIII. Scherzo. Allegro moderato \nJesse Xiaoqian Zhu\, violin • Kyle Victor\, cello • Bo Zhang\, piano \nThis group is coached by Jeffrey Zeigler. \n  \nJOHANNES BRAHMS (1833-1897) \nPiano Quintet in F Minor\, Op. 34 \nII. Andante\, un poco adagio \nSofia Velinzon\, Ava Gehlen-Williams\, violin • Anna Brooke\, viola • Elizabeth Jones\, cello  \nJohn Garo Lonergan\, piano \nThis group is coached by David Ying. \n  \nBETHIA KONG (b. 2003) \nMayfly \n  \nAnna Linder\, violin • Zoe Yost\, viola • Alex Aranzabal\, cello • Vicky Cai\, piano \n  \n3:00 PM \n  \nAIDAN GOLD (b. 1997) \nWe Play New Music Like It’s Old \n  \nRina Kubota\, violin • Phoebe Jenkins\, viola • Isabelle Nichols\, cello • Yuan Zhou\, piano  \nChris Williams\, Aidan Gold\, narrator \n  \nJOHANN SEBASTIAN BACH  (1685-1750) \nViolin Sonata No. 1 in G Minor\, BWV. 1001 \nI. Adagio \nIV. Presto \nKaito Stohr\, violin \nKaito is a summer student of Ayano Ninomiya.  \n  \nOTTORINO RESPIGHI (1879-1963) \nAdagio con variazioni \n  \nLorelei Deutsch\, cello • Nathan Cheung\, piano \nLorelei is a summer student of Steven Doane. \n  \nCLAUDE DEBUSSY (1862-1918) \nSonata for Violin and Piano in G Minor\, L. 140 \nI. Allegro vivo \nClaire Arias-Kim\, violin • Jinzhao Xu\, piano \nClaire is a summer student of Peter Winograd. Jinzhao is a summer student of Pei-Shan Lee and is a recipient of the Paul J. Lynskey Piano Scholarship. \n  \nFELIX MENDELSSOHN (1809-1847) \nViolin Concerto in E Minor\, Op. 64 \nIII. Allegro non troppo — Allegro molto vivace \nHannah Lee\, violin • Jinzhao Xu\, piano \nHannah is a summer student of Peter Winograd. Jinzhao is a summer student of Pei-Shan Lee and is a recipient of the Paul J. Lynskey Piano Scholarship. \n  \nSERGEI PROKOFIEV (1891-1953) \nSonata for Cello and Piano in C Major\, Op. 119 \nII. Moderato \nMia Kim Bernard\, cello • Pualina Lim Mei En\, piano \nMia is a summer student of David Ying. Pualina is a student of Pei-Shan Lee and is sponsored by Hugh & Norma Phelps.  \n  \n4:00 PM \n  \nERNEST CHAUSSON (1855-1899) \nPoème \n  \nXiongyufan Sophia Miao\, violin • Pualina Lim Mei En\, piano \nSophia is a student of Ani Scharch. Pualina is a student of Pei-Shan Lee and is sponsored by Hugh & Norma Phelps.  \n  \nFRANZ SCHUBERT (1797-1828) \nPiano Sonata in C Minor\, D. 958 \nI. Allegro \nII. Adagio \nIII. Menuetto. Allegro — Trio \nIV. Allegro \nLyndon Ji\, piano \nLyndon is a summer student of Julian Martin and is sponsored by Lorna & Jack Flynn.
URL:https://www.bowdoinfestival.org/event/yas-july14-2023/
LOCATION:Studzinski Recital Hall\, 12 Campus Road S\, Brunswick\, ME\, 04011
CATEGORIES:Concert,Young Artists Series,Livestream,Free Events
ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2023/02/2023-YAS7.jpg
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DTSTART;TZID=America/New_York:20230714T193000
DTEND;TZID=America/New_York:20230714T210000
DTSTAMP:20260521T190603
CREATED:20230119T163931Z
LAST-MODIFIED:20230713T174640Z
UID:19839-1689363000-1689368400@www.bowdoinfestival.org
SUMMARY:Robin Scott\, Dimitri Murrath Play Mozart
DESCRIPTION:WOLFGANG AMADEUS MOZART (1756–1791)\nSinfonia Concertante in E-flat Major for Violin and Viola\, K. 364   \n\n\n\n Allegro maestoso\n Andante\nPresto   \n\n\n\nRobin Scott\, violin • Dimitri Murrath\, viola • Angel Gil-Ordóñez\, conductor • Festival Orchestra  \nRobin Scott’s Festival residency is generously sponsored by Elliot Rosen and Sharon Cohen. \n— Intermission — \nPYOTR ILYICH TCHAIKOVSKY (1840–1893)\nString Sextet in D Minor\, Op. 70\, “Souvenir de Florence”   \n\n\n\n Allegro con spirito\n Adagio cantabile e con moto\nAllegretto moderato \n Allegro vivace\n\n\n\nAyano Ninomiya\, Itamar Zorman\, violin • Dimitri Murrath\, Phillip Ying\, viola • David Ying\, Ahrim Kim\, cello  \n  \nPROGRAM NOTES \n  \nWOLFGANG AMADEUS MOZART \nSinfonia Concertante in E-flat Major\, K. 364 (1779)   \nA sinfonia concertante\, as its name suggests\, is a Classical genre which falls somewhere between symphony and concerto — that is\, an orchestral work with two or more prominent soloists in the forefront. The typical sinfonia concertante is lighthearted\, nearly always in a major key\, and has a particular focus on the soloists’ virtuosic display. The form began to gain great popularity in the 1770s\, particularly in the Paris and Mannheim musical circles. In fact\, in that decade\, more symphonies concertantes appear to have been composed than conventional symphonies or solo concertos. \nIt was shortly after returning to Salzburg from a European tour — with notable long stays in both Mannheim and Paris — that Mozart composed this Sinfonia Concertante for Violin\, Viola\, and Orchestra\, K. 364. Having been exposed to the form during his travels\, Mozart tried his hand at it. After discarding two initial attempts\, Mozart began again from scratch\, resulting in the present work. In it\, Mozart demonstrates his awareness of the fashionable compositional techniques associated with the genre\, such as the orchestra’s dramatic crescendo above an E-flat pedal in the bass (a technique which musicologists have whimsically named a “Mannheim steamroller”)\, setting the stage for the soloists’ entry in the first movement. Yet\, he breaks away from other trends\, deciding to cast the second movement in a minor key — a rarity among Mozart’s major-key concerti\, and even rarer for a sinfonia concertante. This Sinfonia Concertante is particularly important within Mozart’s output as it contains the only cadenzas written and published by Mozart for string soloists. While it was standard practice for soloists to improvise or compose their own cadenzas\, Mozart did frequently include a composed cadenza in his concerti\, which he would typically expand further during performance. Given the absence of surviving cadenzas for Mozart’s string concerti\, however\, the candenzas in the first and second movements of the Sinfonia Concertante provide insight as to how Mozart might have imagined cadenzas for his five Violin Concerti\, completed four years earlier. \n  \nPYOTR ILYICH TCHAIKOVSKY \nString Sextet in D Minor\, Op. 70\, “Souvenir de Florence” (1890) \nTchaikovsky had the notion to compose a string sextet as early as 1887. The previous year\, he had been presented honorary membership in the Saint Petersburg Chamber Music Society\, and he promised his friends in the organization a new chamber composition in gratitude. But in 1890\, when Tchaikovsky began composing the music in earnest\, it did not come easily to him. He struggled with the dense texture of the string sextet. He wrote to his friend Aleksandr Ziloti of how it was “terribly difficult working in this new form; it seems that rather than writing for six voices\, I am\, in essence\, composing for the orchestra\, and only then arranging it for six string instruments.” Indeed\, Tchaikovsky had just been laboring over The Queen of Spades and The Nutcracker\, and may have struggled converting the momentum from these large-scale projects to the more intimate chamber music setting. \nTchaikovsky’s breakthrough on the Sextet came following a stint in Florence\, a favorite vacation spot of his. When there\, he stayed at a villa owned by his most faithful benefactress\, Nadezhda von Meck — an interesting and by all accounts extraordinary woman\, whom Tchaikovsky long considered his “best friend\,” despite their mutual agreement to never meet face to face. If Tchaikovsky found inspiration and respite in Florence\, however\, he set down the composition upon his return to Russia\, infusing the later movements with distinctly Russian themes. In the end\, the composition’s wistfully programmatic title refers more to Tchaikovsky’s nostalgia for the city than to any musical evocation of Italy. After initial anxieties following the Sextet’s unsatisfying premiere\, Tchaikovsky undertook significant revisions\, and rewrote large sections of the third and fourth movements. When the Sextet was reintroduced\, Tchaikovsky was giddy with pride: “What a sextet!” he wrote to his brother\, Modest\, “and what a fugue at the end — it’s a pleasure! It is awful how pleased I am with myself.”  \nProgram Notes by Peter Asimov
URL:https://www.bowdoinfestival.org/event/frank-huang-phillip-ying-play-mozart/
LOCATION:Crooker Theater\, 116 Maquoit Rd\, Brunswick\, ME\, 04011
CATEGORIES:Concert,Ticketed Events,Fridays,Livestream
ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2023/01/23-July-14.jpg
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