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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:20240310T070000
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DTSTART:20241103T060000
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240712T130000
DTEND;TZID=America/New_York:20240712T170000
DTSTAMP:20260410T061306
CREATED:20240425T154455Z
LAST-MODIFIED:20240712T173621Z
UID:21589-1720789200-1720803600@www.bowdoinfestival.org
SUMMARY:Young Artists Concert
DESCRIPTION:1:00 PM \n  \nKAIJA SAARIAHO\nSerenatas \n I. Delicato\nII. Dolce\nIII. Languido\nIV. Agitato\nV. Misterioso \n Angela Marvin\, cello • Benjamin Keating\, piano • Lydia Sorenson\, percussion\nAngela is sponsored by George & Christine Bachrach. \n  \nFELIX MENDELSSOHN\nString Quartet No. 1 in E-flat Major\, Op. 12 \n I. Adagio non troppo — Allegro non tardante \n Mindy Zhao\, Xue Liu\, violin • Cyle Tang\, viola • Noah Ferris\, cello \n  \nLUDWIG VAN BEETHOVEN\nPiano Trio No. 1 in E-flat Major\, Op. 1\, No. 1 \n l. Allegro \n Lev Sakae Taira\, violin • Andy Shin\, cello • Ivan Menolascino\, piano \n  \nJOHANNES BRAHMS\nPiano Quartet No. 1 in G Minor\, Op. 25 \n I. Allegro \n Zoe Barton\, violin • Mason Jay Lee\, viola • Harry Tao\, cello • Caleb Sharkey\, piano \n  \n2:00 PM \n  \nFRANZ SCHUBERT\nPiano Trio No. 1 in B-flat Major\, Op. 99 \n I. Allegro moderato \n Nathan Chen\, violin • Aaron Liu\, cello • Elsie Lu\, piano\nElsie is sponsored by Judy & Stephen Corson. \n  \nSERGEI RACHMANINOFF\nTrio élégiaque No. 1 in G Minor \n Samuel Wenger-Stickel\, violin • Allison Sheih\, cello • David Choi\, piano\nDavid is sponsored by Piper Shores. \n  \nALEXANDER BORODIN\nString Quartet No. 2 in D Major \n I. Allegro moderato \n Leo Trajano\, Mia Sakonju\, violin • Daniel Yoonsa Lee\, viola • Brianna Kim\, cello \n  \nROBERT SCHUMANN\nCello Concerto in A Minor\, Op. 129 \n I. Nicht zu schnell \n Aaron Liu\, cello • Eunseon Ahn\, piano\nEunseon is a summer student of Pei-Shan Lee and is sponsored by Claudia & Michael Spies. \n  \n3:00 PM \n  \nCAMILLE SAINT-SAËNS\nFantaisie for Violin and Harp\, Op. 124 \n Natalie Oh\, violin • Noa Michaels\, harp \n  \nFRANK BRIDGE\nSonata for Cello and Piano in D Minor\, H. 125 \n I. Allegro ben moderato \n Jonathan Fuller\, cello • Narae Joo\, piano \n  \nIGOR STRAVINSKY\nViolin Concerto in D Major \n I. Toccata\nII. Aria I \n Ryan Tully\, violin • Narae Joo\, piano \n  \nGASPAR CASSADÓ\nSuite for Solo Cello \n I. Preludio — Fantasia \n Angela Marvin\, cello\nAngela is sponsored by George & Christine Bachrach. \n  \nHENRYK WIENIAWSKI\nVariations on an Original Theme\, Op. 15 \n Vladimir Tsiper\, violin • Ting-Ting Yang\, piano\nTing-Ting is a summer student of Pei-Shan Lee and is sponsored by Dena & Chuck Verrill. \n  \nJOSEPH HAYDN\nCello Concerto No. 1 in C Major\, Hob. VIIb/1 \n I. Moderato \n Mary Brook Hartmann\, cello • Cynthia Tseng\, piano \n  \n4:00 PM \n  \nPABLO DE SARASATE\nCarmen Fantasy\, Op. 25 \n Natalie Oh\, violin • Cynthia Tseng\, piano \n  \nEDWARD ELGAR\nCello Concerto in E Minor\, Op. 85 \n IV. Allegro — Moderato — Allegro\, ma non-troppo — Poco più lento — Adagio \n Andy Shin\, cello • Cynthia Tseng\, piano \n  \nKARL DAVIDOFF\nAllegro de Concert\, Op. 11 \n Allison Sheih\, cello • Piotr Kozłowski\, piano\nPiotr is a recipient of the Richard & Maryan F. Chapin Scholarship Fund. \n  \nPYOTR ILYICH TCHAIKOVSKY\nViolin Concerto in D Major\, Op. 35 \n I. Allegro moderato \n Daniel Qi\, violin • Alber Chien\, piano
URL:https://www.bowdoinfestival.org/event/young-artists-concert-july12/
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:20240712T193000
DTEND;TZID=America/New_York:20240712T210000
DTSTAMP:20260410T061306
CREATED:20240107T220231Z
LAST-MODIFIED:20240712T175330Z
UID:21302-1720812600-1720818000@www.bowdoinfestival.org
SUMMARY:Alexi Kenney Plays Sibelius
DESCRIPTION:Alexi Kenney PLAYS Sibelius \n LEOŠ JANÁČEK\nMládí (“Youth”) \n I. Allegro\nII. Andante sostenuto\nIII. Vivace\nIV. Allegro animato \n Anne Chao\, flute • Will Stevens\, oboe • Abraham Schenck\, clarinet • Jingrui Liu\, bass clarinet\nMonica Ellis\, bassoon • Sophie Steger\, horn \n  \nOLLI MUSTONEN\n‭ Nonetto II‬ \nI. Inquieto‬\nII. Allegro impetuoso‬\nIII. Adagio‬\nIV. Vivacissimo‬ \nDaniel Dastoor\, Ugnė Liepa Žuklytė\, Rachel Yi\, Yip-Wai Chow\,‬ violin • Rebecca Albers\,\nSebastian Gonzalez Mora\, viola‬ • ‭David Ying\, Kyle Victor\, cello • Anthony Manzo\, bass‬ \n  \nJEAN SIBELIUS \nViolin Concerto in D Minor\, Op. 47 \nI. Allegro moderato\nII. Adagio di molto\nIII. Allegro\, ma non tanto \nAlexi Kenney\, violin • Jayce Ogren\, conductor • Festival Orchestra \n  \n  \n\n  \nAbout Alexi Kenney \n\n\n\nViolinist Alexi Kenney is forging a career that defies categorization\, following his interests\, intuition\, and heart. He is equally at home creating experimental programs and commissioning new works\, soloing with major orchestras around the world\, and collaborating with some of the most celebrated musicians of our time. Alexi is the recipient of an Avery Fisher Career Grant and a Borletti-Buitoni Trust Award. \nHighlights of Alexi’s 2023/24 season include appearances as soloist with the Dallas\, Pittsburgh\, and Milwaukee Symphonies\, leading a program of his own creation with the New Century Chamber Orchestra\, and debuting a new iteration of his project Shifting Ground at the Baryshnikov Arts Center and the Ojai Festival\, in collaboration with the new media and video artist Xuan. Shifting Ground intersperses seminal works for solo violin by J.S. Bach with pieces by Matthew Burtner\, Mario Davidovsky\, Nicola Matteis\, Kaija Saariaho\, Paul Wiancko\, and Du Yun\, as well as new commissions by composers Salina Fisher and Angélica Negrón. \nIn recent seasons\, Alexi has soloed with the Cleveland Orchestra\, San Francisco Symphony\, l’Orchestre de la Suisse Romande\, Detroit Symphony\, Rochester Philharmonic\, Indianapolis Symphony\, Gulbenkian Orchestra\, St. Paul Chamber Orchestra\, Oregon Symphony\, Louisville Orchestra\, and l’Orchestre de Chambre de Lausanne\, as well as in a play-conduct role as guest leader of the Mahler Chamber Orchestra. He has played recitals at Wigmore Hall\, on Carnegie Hall’s ‘Distinctive Debuts’ series\, Lincoln Center’s Mostly Mozart Festival\, Philadelphia Chamber Music Society\, 92nd Street Y\, Mecklenberg-Vorpommern Festival\, and the Isabella Stewart Gardner Museum. Winner of the 2013 Concert Artists Guild Competition and laureate of the 2012 Menuhin Competition\, Alexi has been profiled by Musical America\, Strings Magazine\, and The New York Times\, and has written for The Strad. \n\n\n\n\n\n\nChamber music continues to be a major part of Alexi’s life\, regularly performing at festivals including Caramoor\, ChamberFest Cleveland\, Chamber Music Northwest\, Kronberg\, La Jolla\, Ojai\, Marlboro\, Music@Menlo\, Ravinia\, Seattle\, and Spoleto\, and as a founding member of Owls—an inverted quartet hailed as a “dream group” by The New York Times—alongside violist Ayane Kozasa\, cellist Gabe Cabezas\, and cellist-composer Paul Wiancko. He is an alum of the Bowers Program (formerly CMS 2) at the Chamber Music Society of Lincoln Center. \nBorn in Palo Alto\, California in 1994\, Alexi is a graduate of the New England Conservatory in Boston\, where he received an Artist Diploma as a student of Miriam Fried and Donald Weilerstein. Previous mentors in the Bay Area include Wei He\, Jenny Rudin\, and Natasha Fong. He plays a violin made in London by Stefan-Peter Greiner in 2009 and a bow by François-Nicolas Voirin. \nOutside of music\, Alexi enjoys hojicha\, modernist design and architecture\, baking for friends (especially this lumberjack cake)\, and walking for miles on end in whichever city he finds himself\, listening to podcasts and Bach on repeat. \n\n\n\nPROGRAM NOTES \n‬\n‭LEOŠ JANÁČEK‬\n‭Mládí (“Youth”) (1924)‬ \nThe final decade of Janáček’s life was his most fruitful‬ compositionally. Janáček had sustained a distinguished career as‬ director of the Brno Conservatory since 1881; however\, despite‬ his prominence there\, success in the Czech capital of Prague‬ long eluded him\, and Janáček lamented what he considered his‬ merely provincial rank. In 1916\, after years of refusal\, the‬ National Theater finally accepted his opera\,‬‭ Jenůfa‬‭.‬‭ The‬ performance received great acclaim\, and at last\, at age 62\,‬ Janáček was propelled to national renown.‬ \nAn even more important spark to Janáček’s creativity came in‬ 1917\, when Janáček met the young Kamila Stösslová. He fell‬ deeply in love with her (an affection which she never wholly‬ reciprocated)\, and began a prolific and intimate correspondence:‬ over 700 letters until his death in 1928. Stösslová became the‬ direct source of inspiration for three operas\, a song cycle\, and a‬ string quartet (pointedly subtitled\, “Intimate Letters”).‬ \nIn 1924\, Janáček wrote to Stösslová from Hukvaldy\, a Moravian‬ village which Janáček visited for a few weeks on his 70th‬ birthday: “While here I have composed a sort of memoir of my‬ youth.” He had just completed‬‭ Mládí‬‭. The musical reminiscence‬ includes a direct quotation\, in the third movement\, of Janáček’s‬ “March of the Blue Boys\,” which evokes his boyhood days as a‬ chorister in the Brno Monastery. Janáček also employs a‬ technique he had developed to emulate the tone of the speaking‬ voice: the opening theme of the first movement\, introduced by‬ the oboe and featured again in the final movement\, sets the‬ phrase\, “Mládí\, zlaté mládí\,” (“Youth\, golden youth”).‬ \n  \nOLLI MUSTONEN‬\n‭Nonetto II (2000)‬ \nOlli Mustonen has provided the following note to accompany‬ his‬‭ Nonetto II‬‭ :‬ \nThe‬‭ Nonetto II‬‭ follows on from its predecessor. The‬‭ first‬ movement (Inquieto) opens with piercing discords and‬ stunted rhythms\, which nevertheless create a Balkanese‬ pulse. The brief and concise movement is anguished. \nThe second movement (Allegro impetuoso) is Romantically‬ opulent and passionate. These themes are joined by a‬ noble hymn-like theme (in the manner of Schumann or‬ Brahms) which also supposes the Beethovenian galloping‬ rhythms. In the development\, the music proceeds in a‬ Sibelian direction\, towards the mysterious pastoral‬ movement of the‬‭ Sixth Symphony‬‭. The movement‬ eventually ends on a tranquil note\, although the ostinato‬ rhythm never relents.‬ \nThe slow movement (Adagio) is inscrutably smiling\, more‬ sparsely populated than the previous one. The main theme‬ is again brief; in being repeated\, it becomes somewhat‬ desperate\, taking on board brief virtuoso flutters. Despite‬ occasional moments in a minor key\, the movement‬ maintains a radiant aura\, perhaps slightly unreal. The finale‬ (Vivacissimo) is full of white light and tremolo\, as Karelian‬ kanteles and bells ringing proclaim a Russian feast.‬ Virtuoso passages overtake one another and get snagged by‬ the block-like pounding rhythms\, but towards the end they‬ explode in an instrumental ecstasy. Mustonen dedicated his‬ Nonetteo II‬‭ to his parents.‬ \n  \nJEAN SIBELIUS‬‭\nViolin Concerto in D Minor\, Op. 47 (1904)‬ \nThe Nordic tone of Mustonen’s‬‭ Nonetto‬‭ sets the stage for the only‬ concerto ever written by Finland’s most glorified composer.‬ Sibelius’ decision to write a concerto for violin reflects the‬ instrument’s importance in his own musical formation. At the age‬ of ten\, Sibelius received the gift of a violin from his uncle; at age‬ 15\, his first serious forays into music were the violin lessons he‬ took with the military bandleader in his hometown of‬ Hämeenlinna. The Sibelius children — Jean\, together with his‬ siblings Christian and Linda on the cello and piano — grew up‬ playing trios at home. In the long run\, Sibelius’ virtuosity as a‬ violinist was limited. He began to focus increasingly on‬ composition from the 1880s\, and by the turn of the twentieth‬ century\, with works like his tone poem‬‭ Finlandia‬‭\,‬‭ his fame was‭ steadily growing.‬ \nWhy Sibelius set about composing a violin concerto in mid-1902‬ is uncertain. Around that time\, Sibelius and his wife were‬ undertaking construction on their rustic residence\, “Ainola\,” overlooking Lake Tuusula south of Helsinki\, which would be‬ complete the same year as the concerto\, in 1904. One spark of‬ inspiration may have come when the composer met famed‬ German violinist Willy Burmester. Ultimately\, however\, this‬ meeting led to a battle of egos: Sibelius had at various moments‬ expressed to Burmester that he wished for him to premiere the‬ new concerto\, even as he made arrangements for other violinists‬ to perform it in Helsinki and in Germany. Burmester retaliated by‬ declaring to Sibelius\, “I will‬‭ never‬‭ play the concerto!” He remained‬ true to his word.‬ \nInstead\, the concerto received an initial premiere in 1904 in an‬ early version\, causing a publicity disaster. Critics panned the poor‬ soloist\, rather haphazardly chosen by Sibelius\, who was hardly up‬ to the challenge. Meanwhile\, Sibelius decided to restructure the‬ work\, cutting out a number of themes and eliminating one of the‬ cadenzas. These cuts shifted the work’s equilibrium\, situating the‬ remaining cadenza right in the middle of the first movement as a‬ sort of “centerpiece” — a significant innovation in form. The‬ revised version was premiered in Berlin under the baton of‬ Richard Strauss\, and\, according to Martti Haapakoski\, it has‬ become the most frequently recorded of all twentieth-century‬ violin concertos.‬ \nProgram Notes by Peter Asimov‬\n‭
URL:https://www.bowdoinfestival.org/event/alexi-kenney-sibelius/
LOCATION:Crooker Theater\, 116 Maquoit Rd\, Brunswick\, ME\, 04011
CATEGORIES:Concert,Ticketed Events,Fridays,Livestream
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