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X-WR-CALDESC:Events for Bowdoin Music Festival
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DTSTART:20240310T070000
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DTSTART;TZID=America/New_York:20240728T140000
DTEND;TZID=America/New_York:20240728T153000
DTSTAMP:20260409T063004
CREATED:20240107T220803Z
LAST-MODIFIED:20240726T205427Z
UID:21319-1722175200-1722180600@www.bowdoinfestival.org
SUMMARY:Jon Nakamatsu with Ying Quartet Members
DESCRIPTION:Jon Nakamatsu with Members of the Ying Quartet \nThis concert is sold out. This concert will also livestream at bowdoinfestival.org/festivalive. \n  \n‬\n‭J.S. BACH [ARR. MYRA HESS]‬‭\n‭Jesu\, Joy of Man’s Desiring‬ (Chorale from Cantata No. 147 arranged for Solo Piano)‬ \n  \nLUDWIG VAN BEETHOVEN\n‭Piano Sonata No. 15 in D Major\, Op. 28\, “Pastorale” \n‭I. Allegro‬\n‭II. Andante‬\n‭III. Scherzo: Allegro vivace — Trio‬\n‭IV. Rondo: Allegro ma non troppo‬ \n  \nFRÉDÉRIC CHOPIN\nFantasy in F Minor\, Op. 49‬ \n  \n‭JOHANNES BRAHMS\nPiano Quartet No. 1 in G Minor\, Op. 25‬ \nI. Allegro‬\n‭II. Intermezzo. Allegro\, ma non troppo — Trio. Animato‬\n‭III. Andante con moto‬\n‭IV.‬‭ Rondo alla zingarese. Presto‬ \nRobin Scott\, violin • Phillip Ying\, viola • David Ying\, cello‬ •‭ Jon Nakamatsu\, piano‬\n‭ \nFestival faculty member Jon Nakamatsu is generously sponsored by Peter and Harriette Griffin. \n\nLUDWIG VAN BEETHOVEN\nPiano Sonata No. 15 in D Major\, Op. 28\, “Pastorale” (1801) \nBy the turn of the nineteenth century\, Beethoven had established himself in Vienna as the leading light of a young generation: as a pianist\, he impressed elite audiences through his performances\, improvisations\, and even his fair share of piano “duels\,” a popular pastime in the aristocratic salons. As a composer\, he achieved public success through his First Symphony and his Septet — the latter being among his most popular works during his lifetime. Piano sonatas gave Beethoven an additional vehicle with which to translate the trademarks of his pianism into compositions that could inhabit both the private sphere and the public stage. \n  \nIn 1801\, Beethoven began to take his piano sonatas in a distinctly new direction. The pair of Op. 27 sonatas\, his thirteenth and fourteenth\, are experimental: both bear the marking\, “Quasi una fantasia” — evocative of Beethoven’s reputation as an improviser — although the latter of the two is better known as the “Moonlight.” Yet the broody\, dreamlike character of that famous work could hardly seem more distant from Beethoven’s next sonata\, Op. 28. Unlike the “Pastoral Symphony” of 1808\, which Beethoven nicknamed himself\, this sonata’s moniker was the conceit of his Hamburg-based publisher\, August Cranz. Cranz was quite right: the nickname aptly captures the work’s rustic charm\, conveyed through features like the steady bass D that pulses through the first movement\, and which returns in the form of a gently rocking bassline in the Rondo Finale. (Contrast these bucolic qualities — the drone-like stasis and melodic lucidity evocative of folk music — with the foreboding harmonic progression and tolling bells that open the “Moonlight.”) \n  \nFRÉDÉRIC CHOPIN\nFantasy in F Minor\, Op. 49 (1841) \nChopin’s gallant lyricism earns him more frequent comparisons with Mozart than with Beethoven: if Liszt is the pianistic heir apparent to Beethovenian drama\, Chopin admitted to finding Beethoven “obscure\,” pledging allegiance instead to Mozart’s charm and luminosity. Yet Beethoven’s “Moonlight” Sonata (which\, recall\, was marked Quasi una fantasia) struck a chord with Chopin\, who used it as the model for his Fantasy- Impromptu\, composed in 1835 but published only posthumously. There is something Beethovenian\, too\, about the Fantasy in F Minor\, Op. 49 (1841)\, with its stark contrasts\, staunch rhythms\, and taut\, diminished harmonies. But Chopin also had worthy models in Mozart’s keyboard fantasies — such as the popular Fantasy in D Minor\, K. 397\, with its free succession of characters and moods — or\, chronologically closer\, the fantasies of Robert Schumann\, to whom Chopin had dedicated his second Ballade. Recent research suggests that Chopin also knew and played Schubert’s Fantasy in F minor for piano four-hands\, and perhaps also the Wanderer Fantasy. \n  \nIn terms of dramatic intensity\, Chopin’s Fantasy Op. 49 is similar to his four Ballades\, distinguished by a greater proliferation of stylistic and thematic materials. The work begins with a pair of marches\, which some critics have heard as a nationalist gesture from a composer who enjoyed alluding to the music of his native Poland (in fact\, the only other fantasy Chopin published during his lifetime was a Fantasy on Polish Airs\, just after his twentieth birthday). Four themes follow\, by turns agitated or graceful and each rising in key by an interval of a third\, until we arrive at a conclusive march in E-flat Major closing out the work’s “exposition\,” or first section. If this breathless succession of personalities is bizarre from the point of view of classical form\, it is also exhilarating\, aptly described by Chopin’s nineteenth-century biographer\, Frederick Niecks\, as “enthralling weirdness” and “fantastic waywardness.” The effect is further enhanced by the diverse virtuosic demands each successive theme places on the pianist. \n  \nWriters often cite the letter Chopin wrote to his close friend\, Julian Fontana\, in which he declared: “Today I finished the Fantasy — and the sky is beautiful\, a sadness in my heart — but that’s all right. If it were otherwise\, perhaps my existence would be worth nothing to anyone.” It is difficult to know what\, if anything\, to make of such a declaration\, except to ask whether the Fantasy’s triumphant major-key conclusion is\, if anything\, too victorious — an effort to stamp out\, through sheer force of insistence\, the sense of melancholy and nostalgia that imbues the work’s more tender moments. \n  \nJOHANNES BRAHMS\nPiano Quartet No. 1 in G Minor\, Op. 25 (1857–1861) \nBefore Brahms had ever visited Vienna — the city where he would eventually settle for the majority of his career — he worked between his native Hamburg and the small court of Prince Leopold III at Detmold. He secured his post at Detmold thanks to Clara Schumann\, whom he had met in Düsseldorf in 1853. Schumann was impressed by Brahms’ talent even at age twenty\, and she remained a lifetime friend\, supporter (and of course\, love interest) of the composer. During these stable years\, Brahms spent his winters at the court\, where he gave lessons to Princess Friederike; the rest of the year\, sustained by the stipend he received from his court position\, Brahms returned to Hamburg\, where he founded the Hamburg Ladies’ Choir and composed a wide range of chamber music — including both String Sextets\, the Piano Quintet\, his first two Piano Quartets\, and an abundance of songs and choral music. \n  \nThe Piano Quartet\, Op. 25 is a composition on a grand scale\, in a complex form rich in development and full of contrasts\, seemingly designed for the concert stage rather than the domestic salon. (Indeed\, a few decades later\, Schoenberg saw its symphonic potential\, which he realized by orchestrating it.) Its exhilarating Finale is marked “alla Zingarese\,” which translates to “in the Gypsy style\,” an allusion to the popular Romani music which could be heard in streets and cafés across Germany and Austria. The Quartet received its premiere performance in Hamburg in 1861\, with none other than Clara Schumann handling the fiendish keyboard part; and it was among the first works Brahms performed when he moved to the Austrian capital the following year\, arousing excitement among Vienna’s artistic circles over the up-and-coming new musical personality. \nProgram Notes by Peter Asimov
URL:https://www.bowdoinfestival.org/event/jon-nakamatsu/
LOCATION:Studzinski Recital Hall\, 12 Campus Road S\, Brunswick\, ME\, 04011
CATEGORIES:Concert,Ticketed Events,Livestream,Sundays
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DTSTART;TZID=America/New_York:20240728T190000
DTEND;TZID=America/New_York:20240728T220000
DTSTAMP:20260409T063004
CREATED:20240425T160123Z
LAST-MODIFIED:20240728T200500Z
UID:21605-1722193200-1722204000@www.bowdoinfestival.org
SUMMARY:Young Artists Concert
DESCRIPTION:— 7:00 PM — \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  \nROBERT SCHUMANN\nPiano Quintet in E-flat Major\, Op. 44 \nI. Allegro brillante \nJade McClellan\, Yihan He\, violin • Elizabeth Thorup\, viola • Ryan Babe\, cello • Jun Hwi Cho\, piano\nThis group is coached by Ahrim Kim.  \n  \nJOHANNES BRAHMS\nPiano Trio No. 1 in B Major\, Op. 8 \nI. Allegro con brio \nClaire Lee\, violin • Noah Ferris\, cello • Munan Cheng\, piano\nThis group is coached by Jon Nakamatsu.  \n  \nCLAUDE DEBUSSY\nString Quartet in G Minor\, Op. 10 \nI. Animé et très décidé\nII. Assez vif et bien rythmé \nErin Emi Nishi\, Naomi-Jeanne Main\, violin • Katherine Dursi\, viola • Kyle Pinzon\, cello\nThis group is coached by Daniel McDonough. \n  \nLUDWIG VAN BEETHOVEN\nString Quartet No. 4 in C Minor\, Op. 18\, No. 4 \nI. Allegro ma non tanto \nNathan Chen\, Isabell Johnson\, violin • Milo Page\, viola • Harry Tao\, cello\nThis group is coached by Phillip Ying. \n  \n— 8:00 PM — \n  \nJOHANNES BRAHMS\nPiano Quintet in F Minor\, Op. 34 \nI. Allegro non troppo \nZoe Barton\, Maureen Min\, violin • Yoonsa Lee\, viola • Kevin Baek\, cello • David Choi\, piano\nThis group is coached by Daniel McDonough. David is sponsored by Piper Shores. \n  \nANTONÍN DVOŘÁK\nPiano Quartet No. 2 in E-flat Major\, Op. 87 \nI. Allegro con fuoco  \nLauren Edwards\, violin • Brynn Cogger\, viola • Tyler Ngai\, cello • Loren Kim\, piano\nThis group is coached by Jeewon Park. Lauren is sponsored by George & Christine Bachrach\, Brynn is sponsored by Lenore Rapkin. \n  \nLUDWIG VAN BEETHOVEN\nPiano Trio No. 5 in D Major\, Op. 70\, No. 1\, “Ghost” \nI. Largo assai ed espressivo \nChen-Wei Han\, violin • Anika Grieve\, cello • Sirui Chen\, piano\nThis group is coached by Jeewon Park. \n  \nRODION SHCHEDRIN\nIn the Style of Albéniz\, Op. 52 \nKyle Victor\, cello • Piotr Kozłowski\, piano\nKyle is a summer student of Daniel McDonough and is sponsored by an anonymous donor. Piotr is a summer student of Pei-Shan Lee and is a recipient of the Richard & Maryan F. Chapin Scholarship. \n  \nCOLERIDGE-TAYLOR PERKINSON\nLamentations\, “Black/Folk Song Suite” \nI. Perpetual Motion \nKyle Victor\, cello\nKyle is a summer student of Daniel McDonough and is sponsored by an anonymous donor. \n  \nJEAN FRANÇAIX\nTema con Variazioni \nAbraham Schenck\, clarinet • Lydia Yu\, piano\nAbraham is sponsored by Doug Collins. Lydia is a summer student of Pei-Shan Lee and is sponsored by Ed & Whitney Selover. \n  \n— 9:00 PM — \n  \nALFREDO CASELLA\nSicilienne et Burlesque\, Op. 23 \nAlexander Day\, flute • Lydia Yu\, piano\nAlexander is sponsored by Howard & Mary Jane Rosenfield. Lydia is a summer student of Pei-Shan Lee and is sponsored by Ed & Whitney Selover. \n  \nBENJAMIN BRITTEN\nCello Suite No. 1\, Op. 72 \nI. Canto primo. Sostenuto e largamente\nII. Fuga. Andante sostenuto\nIII. Lamento. Lento rubato\nIV. Canto secondo. Sostenuto \nIsaac Moorman\, cello\nIsaac is a summer student of Edward Arron. \n  \nANDRÉ PREVIN\nSonata for Bassoon and Piano \nII. Slowly\nIII. Vivace\, very rhythmic \nChristian Whitacre\, bassoon • Byunghee Yoo\, piano\nChristian is sponsored by Debbie Schall. \n  \nERNEST BLOCH\nSchelomo: Rhapsodie Hébraïque \nKyle Pinzon\, cello • Cynthia Tseng\, piano\nKyle is a summer student of Edward Arron.
URL:https://www.bowdoinfestival.org/event/young-artists-concert-july28/
LOCATION:Studzinski Recital Hall\, 12 Campus Road S\, Brunswick\, ME\, 04011
CATEGORIES:Concert,Young Artists Series,Livestream,Free Events
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