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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:20240731T100000
DTEND;TZID=America/New_York:20240731T110000
DTSTAMP:20260409T050037
CREATED:20240517T125653Z
LAST-MODIFIED:20240730T192252Z
UID:21754-1722420000-1722423600@www.bowdoinfestival.org
SUMMARY:Children’s Museum Community Concert (Family Series)
DESCRIPTION:Join us at the Children’s Museum & Theatre in Portland! Festival Young Artists will provide family-friendly instrument demonstrations and ensembles featuring string and woodwind players will perform classical repertoire. \nThis concert is part of our Family Series! Children of all ages encouraged. \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 \n  \nDMITRI SHOSTAKOVICH\nString Quartet No. 8 in C Minor\, Op. 110 \nI. Largo\nII. Allegro molto\nIII. Allegretto\nIV. Largo\nV. Largo \nIsabel Chin Garita\, Lea Parseghian\, violin • Charlotte Lohmann\, viola • Avrom Lindner\, cello\nCharlotte is sponsored by Sandra & Richard Neiman. \n  \nGIOACHINO ROSSINI\nSonata a Quattro No. 3 in C Major \nI. Allegro\nII. Andante\nIII. Moderato \nShin-Rou Catherine Lin\, Wendi Li\, violin • Isaac Moorman\, cello • Duo Chen\, double bass\nWendi is sponsored by William & Mary Earl Rogers\, and Duo is sponsored by Charles Johnson & Jean Appleby Johnson.
URL:https://www.bowdoinfestival.org/event/childrens-museum-2024/
LOCATION:Children’s Museum & Theatre of Maine\, 250 Thompsons Point Rd\, Portland\, ME\, 04102
CATEGORIES:Concert,Community Concerts,Free Events
ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2023/06/20210506_114158.jpg
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DTSTART;TZID=America/New_York:20240731T193000
DTEND;TZID=America/New_York:20240731T210000
DTSTAMP:20260409T050037
CREATED:20240107T220902Z
LAST-MODIFIED:20240730T192827Z
UID:21324-1722454200-1722459600@www.bowdoinfestival.org
SUMMARY:Villa-Lobos\, Montag\, & Schubert
DESCRIPTION:Villa-Lobos\, Montag\, & Schubert \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 \n‭HEITOR VILLA-LOBOS‬‭\n‭Sonata for Cello and Piano No. 2\, Op. 66‬ \n‭I. Allegro moderato‬\n‭II. Andante cantabile‬\n‭III. Scherzo. Allegro scherzando‬\n‭IV. Allegro vivace sostenuto \nDenise Djokic\, cello • Tao Lin\, piano‬ \n  \nVILMOS MONTAG\nSonata for Contrabass and Piano in E Minor‬ \n‭I. Allegro moderato‬\n‭II. Andante‬\n‭III. Allegro‬ \nJeremy McCoy\, bass • Pei-Shan Lee\, piano‬ \n  \nFRANZ SCHUBERT\n‭Piano Quintet in A Major\, Op. 114\, D. 667\, “The Trout” \n‭I. Allegro vivace‬\n‭II. Andante‬\n‭III. Scherzo. Presto — Trio‬\n‭IV. Theme. Andantino — Variazioni. Allegretto‬\n‭V. Finale. Allegro giusto‬ \nMikhail Kopelman\, violin • Liz Freivogel\, viola‬ • Edward Arron\, cello • Jeremy McCoy\, bass‬\n‭Elinor Freer\, piano‬\n‭ \n\nHEITOR VILLA-LOBOS\nSonata for Cello and Piano No. 2\, Op. 66 (1916) \nHeitor Villa-Lobos is recognized as a defining composer of Brazilian concert music\, whose work creatively combined European modernism with Brazilian traditions in the widest sense. He borrowed ecumenically from urban popular genres\, including Iberian and Afro-Brazilian dances; he drew inspiration from musical instruments used by indigenous groups of central Brazil; and he imitated the complex soundscapes of the Amazon and its diverse fauna. These seemingly eclectic elements coalesce into lush avant-garde tapestries\, exemplified in his series of fifteen Chôros (1920–1929) or Bachianas Brasileiras (1930–1945)\, either of which provide a wonderful panorama of this unique composer’s œuvre\, which by some tallies comprises over two thousand works. \n  \nVilla-Lobos’s fluency and prolificity are due in part to a disciplined and immersive musical upbringing initiated by his father\, Raul\, an amateur cellist. Raul’s unexpected death in 1899 left the Villa-Lobos family in a precarious position; Heitor helped support his mother and siblings by playing cello and guitar in bands wherever he could — restaurants\, cinemas\, vaudevilles\, and the like. As he entered adulthood\, he continued performing popular and concert music in tandem: he kept himself apprised of recent trends in French music\, and taught himself advanced sonata techniques by reading the composition treatise of prominent French pedagogue Vincent d’Indy\, which he acquired in 1914. He immediately put these techniques to the test\, composing two violin sonatas and two cello sonatas in 1915–16\, which share more in common with European trends of the time than the Brazilian inspirations that he embraced elsewhere. \n  \nD’Indy’s imprint is especially palpable in the Second Sonata for Cello and Piano\, most notably in the “cyclical” construction\, whereby themes from the first movement return\, transformed\, in the Finale — a sonata-technique practiced by composers since Haydn and Beethoven\, but more systematically codified in d’Indy’s pedagogy. The Sonata was premiered in Rio de Janeiro\, with Heitor’s wife and creative partner\, Lucília Guimarães Villa-Lobos\, at the piano. \n  \nVILMOS MONTAG\nSonata for Contrabass and Piano in E Minor (1967) \nVery little documentation exists pertaining to the life and work of Hungarian composer Vilmos Montag. Born in Budapest\, Montag studied violin\, conducting\, and composition\, obtaining positions in the city’s opera and philharmonic orchestras upon graduation. He remained in Budapest through the Second World War. Following the brutally repressed Hungarian Revolution of 1956\, however\, Montag emigrated\, like many Hungarians\, eventually settling in Sweden where he remained for the rest of his life.  \n  \nSomewhat more is known about his brother\, Lajos Montag (1906–1997): like Vilmos\, Lajos began his musical training on the violin\, but\, following slow progress (and a growth spurt)\, he switched to the double bass. As a bassist\, Lajos emerged as a pioneer: in addition to his own positions in the Budapest orchestras\, he tapped the underexploited potential of the double bass as a solo instrument\, touring widely and producing an important five-volume pedagogical method of double bass performance. \n  \nVilmos Montag’s compositional output is modest: the Sonata for Contrabass and Piano is without doubt his most famous work\, due in part to the paucity of sonatas written for this instrument. It is no surprise that Vilmos dedicated the Sonata to his brother\, who remained in Hungary even after Vilmos relocated to Sweden. The wide range of idiomatic techniques suggests that Vilmos received wise counsel during the compositional process — perhaps from Lajos himself. One of the most obvious particularities is the scordatura tuning: the bassist retunes the three higher strings up by a tone. As a result\, the A-string\, tuned to B\, produces a resonant open-string pedal-tone on the key of the dominant\, put to great effect in the opening pages. The upper range of the instrument is not neglected\, either\, with extended passages requiring the bassist to play in thumb position. \n  \nFRANZ SCHUBERT\nPiano Quintet in A Major\, Op. 114\, D. 667\, “The Trout” (1819) \nThe “Trout” Quintet reminds us that during his lifetime\, and even after\, Schubert was best known as a composer of Lieder (songs) — a reputation which long prevented his many larger-scale works from being taken seriously. Schubert’s songwriting was indeed prodigious: he composed more than 600 in his short lifetime\, including more than 300 between 1815 and 1817\, often managing several in a day. His song “Die Forelle” (“The Trout”)\, composed in 1817\, was instantly popular\, apparently widely known throughout his hometown of Vienna. Perhaps part of its success was due to its sheer affability: the song begins with a delightful tune and a bubbly piano part\, setting part of a poem written by Christian Friedrich Daniel Schubart in 1782\, in which a fisherman spots a trout in a stream. The music turns somewhat darker for the third stanza\, when the fisherman stirs the waters muddy and manages to reel in the elusive fish.  \n  \nIn 1819\, Schubert spent the summer away from Vienna in the town of Steyr\, where he met Sylvester Paumgartner. Paumgartner\, a patron and amateur cellist\, regularly invited guests to his salon for chamber music sessions\, of which Schubert was a frequent visitor. Paumgartner was familiar with and keenly fond of “Die Forelle\,” and asked if Schubert would be willing to extrapolate the song into a chamber work\, suggesting Hummel’s Quintet of the same instrumentation (as yet unpublished) as a model. Schubert accepted the suggestion\, composing a quintet that resembles a Classical serenade in its five-movement structure and lighthearted tone. He excerpted the first verse of the song — the part before the fisherman manages to catch the trout — and expanded it into the Theme and Variations that became the Quintet’s fourth movement. In the final variation\, he even incorporates the distinct\, limpid sextuplet figurations from the piano part of the song\, which brings the movement to a delicate conclusion before the work’s contrasting\, dance-like Finale. \n  \nProgram Notes by Peter Asimov
URL:https://www.bowdoinfestival.org/event/villalobos-montag-schubert/
LOCATION:Studzinski Recital Hall\, 12 Campus Road S\, Brunswick\, ME\, 04011
CATEGORIES:Concert,Ticketed Events,Wednesdays,Livestream
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