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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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TZID:America/New_York
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DTSTART:20240310T070000
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DTSTART:20241103T060000
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240724T130000
DTEND;TZID=America/New_York:20240724T150000
DTSTAMP:20260409T123544
CREATED:20240530T164430Z
LAST-MODIFIED:20240723T195012Z
UID:21839-1721826000-1721833200@www.bowdoinfestival.org
SUMMARY:Jon Nakamatsu Masterclass
DESCRIPTION:JON Nakamatsu Piano 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. \n  \nFestival faculty member Jon Nakamatsu is generously sponsored by Peter and Harriette Griffin. \n\nSERGEI RACHMANINOFF\nPreludes\, Op. 32 \nNo. 5 in G Major\nNo. 13 in D-flat Major \nDominic Doutney\, piano\nDominic is a summer student of HieYon Choi and is sponsored by Mary Beth & Michael Feldman. \n  \nFRÉDÉRIC CHOPIN\nBallade No. 4 in F Minor\, Op. 52 \nTessa Tianxiang Ni\, piano\nTianxiang is a summer student of Elinor Freer. \n  \nJOSEPH HAYDN\nPiano Sonata in C Major\, Hob XVI: 48 \nI. Andante con espressione\nII. Rondo. Presto \nJun Hwi Cho\, piano\nJun Hwi is a summer student of HieYon Choi. \n  \nMAURICE RAVEL\nMiroirs\, M. 43 \nIV. Alborada del gracioso \nHenry Bryan\, piano\nHenry is a student of HieYon Choi.
URL:https://www.bowdoinfestival.org/event/jon-nakamatsu-masterclass/
LOCATION:Studzinski Recital Hall\, 12 Campus Road S\, Brunswick\, ME\, 04011
CATEGORIES:Free Events,Masterclasses
ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2024/05/Jon-Masterclass.jpg
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DTSTART;TZID=America/New_York:20240724T140000
DTEND;TZID=America/New_York:20240724T150000
DTSTAMP:20260409T123544
CREATED:20240517T123225Z
LAST-MODIFIED:20240724T213227Z
UID:21741-1721829600-1721833200@www.bowdoinfestival.org
SUMMARY:Bath Library Community Concert
DESCRIPTION:Join us for a wonderful afternoon of music at the Bath Patten Free Library featuring talented Festival Young Artists. Community Concerts typically feature a variety of classical repertoire and last 45 minutes to 1 hour. \n\nJOHANN SEBASTIAN BACH\nCello Suite No. 2 in D Minor\, BWV 1008 \nI. Prelude\nIV. Sarabande\nVI. Gigue \nKyle Pinzon\, cello \n  \nJOHANN SEBASTIAN BACH\nViolin Sonata No. 3 in C Major\, BWV 1005 \nIII. Largo\nIV. Allegro assai \nKelsey Payne\, violin \n  \nJACQUES IBERT\nTrio for Violin\, Cello\, and Harp \nI. Allegro tranquillo\nII. Andante sostenuto \nRyan Tully\, violin • Tyler Ngai\, cello • Sachi Ikuma\, harp \n  \nBERNARD ANDRÈS\nChants D’arrière-Saison \nI. Andantino\nII. Allegro\nIII. Larghetto\nIV. Adagietto\nV. Andante\nVI. Allegretto\nVII. Moderato \nElizabeth Jones\, cello • Megan Apostol\, harp \n  \nFELIX MENDELSSOHN\nString Quartet No. 6 in F Minor\, Op. 80 \nI. Allegro vivace assai \nSamuel Wenger-Stickel\, Maureen Min\, violin • Matthew Vu\, viola • Avrom Lindner\, cello
URL:https://www.bowdoinfestival.org/event/bath-library-2024/
LOCATION:Bath Patten Free Library\, 33 Summer Street\, Bath\, ME\, 04530\, United States
CATEGORIES:Concert,Community Concerts,Free Events
ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2024/05/bathlibrary.jpeg
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DTSTART;TZID=America/New_York:20240724T193000
DTEND;TZID=America/New_York:20240724T210000
DTSTAMP:20260409T123544
CREATED:20240107T220738Z
LAST-MODIFIED:20240723T135037Z
UID:21315-1721849400-1721854800@www.bowdoinfestival.org
SUMMARY:Chen\, Schumann\, & Brahms
DESCRIPTION:Chen\, Schumann\, & Brahms \n QIGANG CHEN\nVoyage d’un Rêve \n Anne Chao\, flute • Rachel Yi\, violin • Chi-Yun Liu\, viola • Hayoung Moon\, cello • June Han\, harp\nLuke Rinderknecht\, percussion \n  \nCLARA WIECK SCHUMANN\nDrei Romanzen\, Op. 22 \n I. Andante molto\nII. Allegretto\nIII. Leidenschaftlich Schnell \n Sergiu Schwartz\, violin • Jeewon Park\, piano \n  \nJOHANNES BRAHMS\nPiano Quartet No. 2 in A Major\, Op. 26 \n I. Allegro non troppo\nII. Poco adagio\nIII. Scherzo. Poco allegro\nIV. Finale Allegro \n YooJin Jang\, violin • Kirsten Docter\, viola • Amir Eldan\, cello • HieYon Choi\, piano \n\nQIGANG CHEN‬\n‭Voyage d’un Rêve (1987) \nQigang Chen wrote‬‭ Voyage d’un Rêve‬‭ on commission from‬ Radio France in 1986. He wrote the following program note to‬ accompany its premiere:‬ \nVoyage d’un Rêve‬‭ was written in 1987. At that time\,‬‭ I felt the‬ general idea of “musical modernity\,” in both research and in‬‭ practice\, was rather rigid — in fact\, modern music often‬‭ consisted of sonorities which were rather more‬‭ conventional even than those of so-called “conservative”‭ music.‬ \n  \nComposing‬‭ Voyage d’un Rêve‬‭ was for me a sort of escape.‬‭ \n  \nI wanted to simply whisper a love song\, describe a silvery‬‭ night\, distance myself somewhat from Parisian‬‭ intellectualism\, and avoid overusing the major seventh and‬‭ minor ninth… the readymade intervals so often used in‬ “contemporary music\,” despite their apparent complexity. Of‬‭ course\, at that time\, I did not possess a great deal of‬‭ self-confidence. So I wrote this work with much‬‭ apprehension.‬‭ \n  \nIt was an experiment\, but a precious experiment\, and a‬‭ starting point from which I have been able to gradually‬‭ chart my path.‬‭ Qigang Chen added the following postscript in correspondence‬‭ with the program annotator:‬‭ It is important to know that this was my first commission‬‭ after I moved to France and it meant a lot to me as a‬‭ young composer. Even when I read what I wrote 37 years‬‭ ago I can feel vividly what I was thinking back then and‬‭ what the atmosphere was like around me.‬ \n  \nCLARA WIECK SCHUMANN‬\n‭Drei Romanzen\, Op. 22 (1853)‬ \nThe “Romance” was a genre of predilection for both Robert‬ and Clara Schumann. Derived from the sentimental vocal‭ ballads of southern Europe\, the instrumental romance grew in‬‭ popularity in early nineteenth-century Germany as a character‬‭ piece\, free in form but maintaining the lyricism of its sung‬‭ origins. The Schumanns also used Romances as vehicles for‬‭ compositional dialogue: Robert and Clara exchanged‬‭ Romances in 1839–40; and when Clara titled the slow‬‭ movement of her Piano Concerto “Romanze\,” Robert borrowed‬‭ a passage from this movement for the opening of his‭ Dichterliebe cycle.‬‭ \n  \nThe Three Romances\, Op. 22\, were also composed “in‬‭ dialogue” with another close friend of the Schumanns —‬‭ violinist Joseph Joachim\, who had begun composing‬‭ Romances of his own in 1850. Joachim\, who had only just‬‭ turned twenty\, impressed the Schumanns with a performance‬ of Beethoven’s Violin Concerto in 1853. Clara\, having just‬‭ completed another set of Three Romances for solo piano (Op.‬‭ 21)\, responded by dedicating the Op. 22 set to Joachim\,‬‭ thereby initiating a creative partnership that would last several‬‭ decades. Together\, they brought the work on tours across‬‭ Germany and England\, and the Romances became a particular‬‭ favorite of Joachim’s employer\, the King of Hanover.‬‭ \n  \nThe Three Romances are poignant in that they are among Clara‬ Schumann’s final works. When Robert died in 1856\, Clara found‬‭ herself in a precarious position\, with seven children to take‬‭ care of and in need of a stable revenue stream. She ceased‬‭ composing\, and for the four remaining decades of her life‬‭ devoted herself to more reliably lucrative acts of performing\,‬‬‭ as well as promoting Robert’s legacy through arrangements‬‭ and editions of his work and through pedagogy. Joachim‬‭ remained a steadfast collaborator throughout these years\, as‬‭ her most frequent partner in performance\, and as a fellow‬‭ editor of Robert’s music.‬ \n  \nJOHANNES BRAHMS‬\n‭Piano Quartet No. 2 in A Major\, Op. 26 (1857-1861)‬ \nThere is a tradition\, almost as old as the work itself\, of‬ comparing Brahms’ Second Piano Quartet to the late chamber‬ music of Franz Schubert\, on account of the broad dimensions‬ of the work’s extended form and the patient unfurling of its‬ developmental explorations. The comparison is historically apt:‬ though Schubert had died five years before Brahms’ birth\, his‭ instrumental music in particular was undergoing a period of‬‭ rediscovery in the mid-1850s\, nourished in part by Brahms’ close friends\, the Schumanns (Brahms spent a month visiting‭ the Schumanns in 1853\, the same year Clara composed her‬ Drei Romanzen‬‭\,‬‭ Op. 22‬‭\, heard on the first half of‬‭ tonight’s‬‭ program). It was Robert and Clara’s admiration for Schubert‬‭ that first drove Brahms to study the composer’s works‬‭ intensely during a period of doubt\, reflection\, and‬‭ experimentation that yielded\, by the end of the decade\, to‬‭ what musicologist James Webster has called Brahms’ “first‬‭ maturity.”‬‭ \n  \nThe Schubertian imprint already may be located in the formal‬‭ expansiveness of Brahms’ first piano quartet (in G Minor\, to be‬‭ performed on Sunday evening) — completed immediately‬‭ before the second — except that the Schubert-like lyricism‬‭ foregrounded in the second quartet is (like the second quartet‬‭ as a whole) often overshadowed by the vigor and force of its‬‭ older sibling. The two quartets also share Brahms’ first nods to‬‭ Romungro‬‭ (so-called Hungarian “Gypsy”) music in their‬‭final‬‭ movements: but while the first quartet’s unbridled Finale is‬‭ explicitly marked “Alla Zingarese” (literally\, “in the Gypsy‬‭ style”)\, the Allegro that concludes the Second Quartet‬‭ balances spirited syncopations with moments of tender‬‭ suspension and almost courtly grace.‬‭ \n  \nWhen Brahms completed the two quartets in 1861\, he was not‬‭ yet thirty years old\, and had yet to relocate to Schubert’s city\,‬‭ Vienna: it was in his native Hamburg that the first of the‬‭ quartets was premiered\, with Clara on the piano. But with her‬‭ encouragement (and a letter of introduction bearing her‬‭ signature)\, Brahms departed for Vienna in autumn of the‬‭ following year\, whereupon his second quartet received its first‬‭ performance — now with the composer at the keyboard —‬‭ and where Brahms would unleash an outpouring of chamber‬‭ music over the following few years\, including his piano quintet\,‬‭ the second string sextet\, and the horn trio.‬ \nProgram Notes by Peter Asimov‬\n‭\n‭
URL:https://www.bowdoinfestival.org/event/chen-schumann-brahms/
LOCATION:Studzinski Recital Hall\, 12 Campus Road S\, Brunswick\, ME\, 04011
CATEGORIES:Concert,Ticketed Events,Wednesdays,Livestream
ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2024/01/15-Chen-Schumann-Brahms.jpg
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