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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;TZID=America/New_York:20240722T100000
DTEND;TZID=America/New_York:20240722T120000
DTSTAMP:20260409T152005
CREATED:20240517T140930Z
LAST-MODIFIED:20240722T172746Z
UID:21762-1721642400-1721649600@www.bowdoinfestival.org
SUMMARY:Miró Quartet Masterclass
DESCRIPTION:Miró QUARTET MASTERCLASS \nMasterclasses give the audience a first-hand look into the teaching and learning process that goes into creating music. Honing technical craft\, understanding the nuances of musical language\, and finding personal meaning in music are all part of a great masterclass. \nMiró Quartet: Daniel Ching\, William Fedkenheuer\, violin John Largess\, viola • Joshua Gindele\, cello \n  \n\n\n\n\nCLAUDE DEBUSSY\nString Quartet in G Minor\, Op. 10 \nI. Animé e très décidé \nErin Emi Nishi\, Naomi-Jeanne Main\, violin • Katherine Dursi\, viola • Kyle Pinzon\, cello\nThis group is coached by Daniel McDonough. \n  \nWOLFGANG AMADEUS MOZART\nString Quintet No. 4 in G Minor\, K. 516 \nI. Allegro \nDexter Mott\, Alice Ruth Conry\, violin • Erika Cho\, Harris Panner\, viola Nathaniel Hagan\, cello\nThis group is coached by Ahrim Kim. Dexter is sponsored by Herbert & Harriet Paris. \n  \nFRANZ SCHUBERT\nString Quintet in C Major\, Op. 163\, D. 956 \nI. Allegro ma non troppo \nDavid Hung\, Ylang Guo\, violin • Mack Jones\, viola • Ami Matsushita\, Ingrid Tverberg\, cello\nThis group is coached by Denise Djokic. David is sponsored by Ken & Judy Segal\, and Mack is sponsored by Jonathan Phillips.‭
URL:https://www.bowdoinfestival.org/event/miro-quartet-masterclass-2024/
LOCATION:Studzinski Recital Hall\, 12 Campus Road S\, Brunswick\, ME\, 04011
CATEGORIES:Livestream,Free Events,Masterclasses
ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2019/09/Miró-Quartet.jpg
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DTSTART;TZID=America/New_York:20240722T193000
DTEND;TZID=America/New_York:20240722T210000
DTSTAMP:20260409T152005
CREATED:20240107T220717Z
LAST-MODIFIED:20240722T172550Z
UID:21312-1721676600-1721682000@www.bowdoinfestival.org
SUMMARY:Miró Quartet with Elinor Freer
DESCRIPTION:Miró Quartet with Elinor Freer \nThis concert is sold out. Please contact Lori Hopkinson at lori@bowdoinfestival.org or 207-373-1400 to be placed on a waiting list. Concert also livestreamed at bowdoinfestival.org/festivalive. \nMiró Quartet\nDaniel Ching\, William Fedkenheuer\, violin • John Largess\, viola • Joshua Gindele\, cello \n  \nWOLFGANG AMADEUS MOZART\nPiano Quartet No. 2 in E-flat Major\, K. 493 \n I. Allegro‬\n‭II. Larghetto‬\n‭III. Allegretto \nElinor Freer\, piano \n  \nALBERTO GINASTERA\nString Quartet No. 1\, Op. 20 \nI. Allegro violente ed agitato‬\n‭II. Vivacissimo‬\n‭III. Calmo e poetico‬\n‭IV. Allegramente rustico \n  \nCLAUDE DEBUSSY\nString Quartet in G Minor\, Op. 10 \nI. Animé e très décidé‬\n‭II. Assez vif et bien rythmé‬\n‭III. Andantino\, doucement expressif‬\n‭IV. Très modéré \n  \n\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 venerated 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. This allowed 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. \n  \nThe two piano quartets written by Mozart in 1785–86 — the ‭first of which will be performed later this week — 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  \nALBERTO GINASTERA‬\nString Quartet No. 1\, Op. 20 (1948) \nBorn in Buenos Aires to parents of Catalan and Italian descent\,‬ Alberto Ginastera made it his mission to forge an Argentinian‬ voice in concert music through the integration of traditional‬ European forms with local and folkloric elements — a project‭ shared by many South and Central American composers of his‭ era\, including the Brazilian Heitor Villa-Lobos\, a generation his‭ senior. Ginastera did this in two main phases\, which he‭ described in his own terms: first\, his “objective nationalist”‭ style\, featuring direct quotations from Argentine melodies and‭ rhythms within a tonal framework; and then\, starting in‭ around 1947\, his “subjective nationalist” style\, where these‭ same elements were increasingly abstracted and submerged.‭ This transition came on the heels of an extensive‬ ‭fifteen-month tour of the United States over 1945-47\, where‬ he visited leading universities (Harvard\, Yale\, Columbia) and‬ conservatories (Juilliard and Eastman)\, and studied under‬ Copland at Tanglewood.‬ \n  \nGinastera’s First String Quartet reflects the fruits of this‭ maturation\, as the composer recognized in the program note‭ he wrote for the work:‭ \n  \nI wrote my First String Quartet in Buenos Aires\, in 1948.‭ This work was awarded the “Carlo Lopez Buchardo” prize‭ that same year in the first national competition for‭ composers organized by the Wagnerian Society of Buenos‭ Aires. It was selected by the International Society for‭ Contemporary Music for its XXVth Festival program in‬ Frankfurt (1951) and on that occasion was performed by the‬ Koechert Quartet.‬ \nIt consists of the usual four movements — Allegro\,‭ Scherzo\, Adagio and Rondo — wherein rhythms of‭ Argentine folk music can still be perceived through a‭ re-creation of an imaginary folklore. In this Quartet I find‭ that some characteristics of my own artistic personality‭ materialize for the first time: strong and incisive rhythms\,‭ adagios that are anxiety-ridden\, lyrical and contemplative‭ and atmospheres that are mysterious\, nocturnal and‭ surrealistic.‬ \n  \nCLAUDE DEBUSSY‬\n‭String Quartet in G Minor\, Op. 10 (1893)‬ \nDebussy’s only String Quartet dates from an important‬ formative period\, during which the composer\, thirsting for‬ novel artistic means\, became increasingly drawn to the‬ Symbolists. These poets and artists sought a somewhat‬ mystical mode of indirect expression\, making use of‬ techniques of suggestion\, metaphor\, and quasi-synaesthetic‬ sensory manipulation to “paint\,” as Stéphane Mallarmé put it\,‬ “not the thing\, but the effect it produces.” During the early‬ 1890s Debussy began attending the Tuesday meetings of‬ Mallarmé’s collective\, “les mardistes.” He composed song‬‭ cycles to the poetry of Paul Verlaine (‬‭Fêtes Galantes‬‭ and‬ Mélodies‬‭)\, and even tried his hand writing and setting‬‭ his own‬‭ Symbolist verses (‬‭Proses lyriques‬‭). A breakthrough‬‭ composition\,‬‭ Prélude à l’après-midi d’un faune‬‭\, an‬‭ instrumental adaptation of Mallarmé’s poem\, dates from this‬ period\, and it was in 1893 that Debussy discovered the plays of‬‭ Belgian symbolist Maurice Maeterlinck and undertook his‬‭ opera with Maeterlinck’s‬‭ Pelléas et Mélisande‬‭ serving‬‭ as‬ libretto.‬ \n  \nIn the midst of this experimentation\, Debussy’s decision to‬ write a “String Quartet” might appear comparatively‬ old-fashioned\, and Debussy’s publisher\, Jacques Durand\,‬ recalled his own surprise upon hearing of the composition.‬ The resulting work\, however\, is anything but traditional. The‬ entire quartet draws upon a single motif — the syncopated‬ rhythm and ornamental flourish with which the work opens — which reappears in the subsequent movements\, by turns‬ playfully shrouded in pizzicato textures\, and throbbingly‬ plaintive with the use of the mutes.‬ \n  \nThe quartet was premiered by an ensemble led by the famed‬ violinist Eugène Ysaÿe\, whom Debussy had met in 1893.‭ Despite a formidable performance by all accounts\, the‭ difficulty and complexity of the piece produced a tepid‭ reception. As Durand recounted: “As soon as the work was‭ printed\, Ysaÿe came to give it a first performance in Paris. The‬ success was immense\, the interpretation was first rate. We\,‬ my father and I\, set about recommending the Quartet to all‭ the violinists capable of playing it; we graciously offered it to‭ several ensembles. Our repeated efforts were in vain. People‭ did not want to bother with this music which was reputed to‭ be unplayable.” According to Durand\, ensembles only warmed‬‭ to the work over time\, as tastes became increasingly attracted‬‭ to musical “novelty.” “The most frustrating part\,” he continues\,‬ “is that certain personalities\, to whom we had previously‬ offered the Quartet\, came back later to ask us for it\, claiming‬‭ they’d never known about it before!” \n  \nProgram Notes by Peter Asimov‬
URL:https://www.bowdoinfestival.org/event/miro-quartet-2024/
LOCATION:Studzinski Recital Hall\, 12 Campus Road S\, Brunswick\, ME\, 04011
CATEGORIES:Concert,Ticketed Events,Mondays,Livestream
ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2024/01/Miro-Quartet.jpg
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