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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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DTSTART;TZID=America/New_York:20240726T140000
DTEND;TZID=America/New_York:20240726T150000
DTSTAMP:20260409T091832
CREATED:20240517T124744Z
LAST-MODIFIED:20240725T182959Z
UID:21748-1722002400-1722006000@www.bowdoinfestival.org
SUMMARY:Thornton Oaks Community Concert
DESCRIPTION:Join us for a wonderful afternoon of music at Thornton Oaks featuring talented Festival Young Artists. Community Concerts typically feature a variety of classical repertoire and last 45 minutes to 1 hour. \n\nROBERT SCHUMANN\nPiano Quintet in E-flat Major\, Op. 44 \nI. Allegro brillante \nYihan He\, Jade McClellan\, violin • Elizabeth Thorup\, viola • Ryan Babe\, cello • Jun Hwi Cho\, piano \n  \nJOHANN SEBASTIAN BACH\nPrelude and Fugue in D Minor\, BWV 875 \n  \nPERCY GRAINGER\nRamble on the Last Love — Duet from Strauss’ Der Rosenkavalier \nDavid Choi\, piano \n  \nFRANCIS POULENC\nSonata for Violin and Piano\, FP 119 \nI. Allegro con fuoco \nUgnė Liepa Žuklytė\, violin • Alber Chien\, piano\nUgnė is sponsored by Sharon Abbott. \n  \nFRANCIS POULENC\nSonata for Cello and Piano\, FP 143 \nI. Allegro — Tempo di marcia\nIII. Ballabile: Très anime et gai \nCamden M. Archambeau\, cello • Eunseon Ahn\, piano\nCamden is sponsored by Margy Burroughs\, and Eunseon is sponsored by Claudia & Michael Spies. \n  \nJOHANNES BRAHMS\nSonata for Piano and Violin No. 1 in G Major\, Op. 78\, “Regensonate” \nIII. Allegro molto moderato \nJack Kessler\, viola • Piotr Kozłowski\, piano\nJack is sponsored by Tod & Lyn Rodger\, and Piotr is a recipient of the Richard & Maryan F. Chapin Scholarship. \n  \nFRANZ LISZT\nBallade No. 2 in B Minor\, S. 171 \nCaleb Sharkey\, piano \n  \nMARIO RUIZ ARMENGOL\nDanza Cubana No. 7 \nAndrea Sarahí\, piano\nAndrea is sponsored by the Cheswatyr Foundation\, in memory of Cece Wasserman.
URL:https://www.bowdoinfestival.org/event/thornton-oaks2-2024/
LOCATION:Thornton Oaks\, 25 Thornton Way\, Brunswick\, ME\, 04011
CATEGORIES:Concert,Community Concerts,Free Events
ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2017/02/Thorton-Oaks.jpg
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DTSTART;TZID=America/New_York:20240726T193000
DTEND;TZID=America/New_York:20240726T210000
DTSTAMP:20260409T091832
CREATED:20240107T220750Z
LAST-MODIFIED:20240725T222359Z
UID:21317-1722022200-1722027600@www.bowdoinfestival.org
SUMMARY:Mozart\, Morlock\, & Brahms
DESCRIPTION:Mozart\, Morlock\, & Brahms \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. \n  \n WOLFGANG AMADEUS MOZART\nPiano Quartet No. 1 in G Minor\, K. 478 \n I. Allegro\nII. Andante\nIII. Rondo. Allegro moderato \n Mikhail Kopelman\, violin • Phillip Ying\, viola • Keiko Ying\, cello • Jeewon Park\, piano \n  \nJOCELYN MORLOCK\nThree Meditations on Light \nI. The birds breathe the morning light\nII. Bioluminescence (wine-dark sea)\nIII. Absence of light — gradual reawakening \n Denise Djokic\, cello • June Han\, harp \n  \nJOHANNES BRAHMS\nString Sextet No. 2 in G Major\, Op. 36\, “Agathe” \n I. Allegro non troppo\nII. Scherzo. Allegro non troppo — Presto giocoso\nIII. Poco adagio\nIV. Poco allegro \n Nelson Lee\, Meg Freivogel\, violin • Liz Freivogel\, Phillip Ying\, viola\nDaniel McDonough\, Ahrim Kim\, cello \n\n‬\n‭WOLFGANG AMADEUS MOZART‬\nPiano Quartet No. 1 in G Minor\, K. 478 (1785)‬ \nIt was long thought that Mozart’s two piano quartets — the‬ ‭first of which was performed earlier this week — were part of‬ a commission for three such quartets by Franz Anton‬ Hoffmeister\, one of Vienna’s most successful publishers.‭ Mozart\, it was said\, sent Hoffmeister the first quartet\, K. 478\,‭ only for the publisher to complain that it was far too difficult‬‭ for the general public to perform. Unwilling to dumb himself‬‭ down\, Mozart kept his advance\, sent the second quartet to‬‭ another publisher\, and never composed the third.‬‭ \nWhile Mozart’s refusal to capitulate to marketplace‬‭ considerations might appear noble\, there is one snag: the‬‭ story appears to be untrue. While the tall tale circulated‬‭ widely for nearly two centuries\, it was definitively snuffed out‬‭ in 2010 by Rupert Ridgewell\, whose 70-page journal article —‭ complete with examinations of printers’ plate numbers\,‬ penmanship\, and glyphs — reads more like a forensic case‬ ‭file than music history. The story appears to have been little‬‭ more than a game of telephone based on a dim recollection\,‬‭ perhaps calculated to bolster Mozart’s reputation for artistic‬‭ integrity. In reality\, the available evidence suggests that‬‭ Mozart’s K. 478 quartet was received rather warmly by‬ publisher and public alike. To be sure\, the quartet was not to‬‭ be performed by casual amateurs: it is something like a cross‬‭ between a piano concerto and a string quartet\, with moments‬ of teamwork interspersed with soloistic virtuosity.‬ \nMozart’s unfailing wit shines through in a detail of the first‬‭ movement that I particularly enjoy — seldom noticed even by‬‭ seasoned performers of this work. After the presentation of‬‭ the first theme\, with its distinct rhythmic profile\, and an‬‭ extensive transition in which the first theme’s rhythm is‬‭ passed around the players\, we arrive at the second theme\, in‬‭ the relative major key\, introduced first by the piano alone and‬‭ then joined by the strings. Listen for the unusual accent on‬ the fifth note of this theme\, marked\, counterintuitively\, on the‬ fourth beat of the measure. This idiosyncratic stress is not‬ arbitrary: it encodes that distinct rhythm of the first theme‬‭ into the second half of the second theme\, displaced by a beat.‬ \n  \nJOCELYN MORLOCK‬\nThree Meditations on Light (2011)‬ \nJocelyn Morlock has provided the following note to accompany‬ Three Meditations on Light‬‭:‬ \nThree Meditations on Light‬‭ was inspired by various‬ conceptions of light and sun\, in particular‬‭ Sol Invictus‬‭\,‭ the unconquerable sun. In ancient Egyptian culture‬‭ (ca. 3000–2000 BC) it was believed that each night\, the‬‭ sun god\, Ra\, made a heroic journey\, and fought a‬‭ nocturnal battle in order to rise again in the morning. I‬ love the idea that the sunrise is not a given\, that each‬ new day is miraculous.‬‭ \nThree Meditations on Light‬‭ was commissioned by and dedicated to‬‭ Couloir‬‭ — harpist Heidi Krutzen and cellist‬‭ Ariel Barnes — and premiered on October 1\, 2012 at‬‭ Music on Main’s‬‭ Modulus Festival‬‭ in Vancouver\, BC.‬‭ Many‬‭ thanks to the British Columbia Arts Council for their‬‭ support of this project.‬ \n  \nJOHANNES BRAHMS‬\nString Sextet No. 2 in G Major\, Op. 36\, “Agathe” (1864–1865)‬ \nIt can be risky and futile to derive a link between the events in‭ an artist’s life and the interpretation of a work. In his second‬‭ String Sextet\, however\, Brahms leaves little room for doubt as‬‭ to his preoccupations. The second theme of the first‭ movement\, introduced by the cello\, builds into a climactic‬ inscription declaimed by the first violin and viola on the notes‬ A-G-A-H-E: that is\, Brahms’ way of invoking the name of his‬‭ formerly betrothed\, Agathe von Siebold (with “H” representing‬‭ B-natural in German).‬‭ \nBrahms’ intense romance with von Siebold had begun in 1858\,‬‭ but was terminated abruptly after the dismal premiere of‬‭ Brahms’ Piano Concerto No. 1. Brahms had grown fearful at the‬‭ prospect of forming a family amidst a potential career of‭ artistic failures\, and broke off the engagement acrimoniously.‬ He later ruminated\, perhaps unfairly: “If\, in such moments\, I‬‭ had had to meet the anxious\, questioning eyes of a wife with‬‭ the words ‘another failure’ — I could not have borne that!”‬ Clearly\, however\, despite his ill will\, Brahms did not overcome‬ his feelings for von Siebold as easily as he dismissed her. She‬‭ remained on his mind throughout the ensuing years; and when‬‭ Brahms was wrapping up work on the Sextet in 1864\, he wrote ‭ to his friend Josef Gänsbacher\, “By this work I have freed‬‭ myself of my last love.” \nThe Sextet weaves its way into New England music history as‬‭ well: it received its world premiere in Boston by the‬‭ Mendelssohn Quintette Club on October 11\, 1866. The‬‭ musicians and founders of the Mendelssohn Quintette Club‬‭ were largely German emigrants who had arrived to the United‬‭ States in the late 1840s\, and who had been playing together in‬‭ various professional orchestras across Boston and Cambridge.‬ They began to present chamber music to American audiences‬ in the salons of Bostonian businesspeople\, beginning with the‬‭ jeweler John Bigelow. In the 1850s\, the Club expanded their‬‭ reach\, regularly performing in Providence and elsewhere in the‬ region. They became one of the most acclaimed chamber‬‭ music societies in the United States\, and eventually embarked‬‭ on tours across the country and even to Australia and New‬‭ Zealand.‬ \nProgram Notes by Peter Asimov‬
URL:https://www.bowdoinfestival.org/event/mozart-morlock-brahms/
LOCATION:Studzinski Recital Hall\, 12 Campus Road S\, Brunswick\, ME\, 04011
CATEGORIES:Concert,Ticketed Events,Fridays,Livestream
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