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X-WR-CALDESC:Events for Bowdoin Music Festival
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DTSTART;TZID=America/New_York:20240802T120000
DTEND;TZID=America/New_York:20240802T130000
DTSTAMP:20260409T031720
CREATED:20240728T131042Z
LAST-MODIFIED:20240728T131158Z
UID:22188-1722600000-1722603600@www.bowdoinfestival.org
SUMMARY:Music & Cognition Talk with Elinor Freer
DESCRIPTION:Music & Cognition \nJoin Elinor Freer for a talk about her research study at the Eastman School of Music/Univ. of Rochester Medical Center involving piano lessons for adults with Mild Cognitive Impairment. \nFree | Tickets not required \n  \nAbout Elinor Freer \nA native of Montana\, pianist Elinor Freer has built a versatile career as soloist and chamber musician\, performing across the United States\, Europe\, and China. In Europe\, Ms. Freer has given multiple performances at The Concertgebouw in Amsterdam and appeared at the Valery Gergiev Festival in Rotterdam. Other highlights include recordings for Dutch radio\, performances at the International Musicians’ Seminar in Prussia Cove\, England\, and concerts at Moscow’s Gnessin Institute. She was also one of two American pianists selected to perform throughout China in tours designed to promote cultural relations. Ms. Freer has been featured as soloist with numerous orchestras including the String Orchestra of the Rockies\, the Brevard Music Center Orchestra\, the University of Rochester Chamber Orchestra\, the Dekalb Symphony\, the Southeastern Kansas Symphony\, the Kingsport Symphony\, and many others. She is also a frequent performer at festivals such as Summer Music in Harrisburg\, PA\, the Festival de Música de Cámera in Mexico\, the Bowdoin Music Festival\, the Lake Winnipesaukee Music Festival\, and Music in the Vineyards in Napa Valley. Ms. Freer has been a laureate and prizewinner in competitions such as the Joanna Hodges International Competition and the American Pianists Association\, and has held piano fellowships at the Steans Institute/ Ravinia Festival and the Tanglewood Music Center. She holds degrees with honors from the Cleveland Institute of Music and the University of Southern California and was awarded a Performer’s Diploma from the Hogeschool voor de Kunsten Utrecht in the Netherlands. A dedicated teacher\, Ms. Freer was previously appointed to the piano faculties of Fort Hays State University and the University of Missouri\, and in 2003 joined the faculty of the Eastman School of Music. She also previously served as Co-Artistic Director of the Skaneateles Festival in Central New York for 10 years. In addition to performing and teaching\, Ms. Freer has founded and produced a number of initiatives designed to bring classical music to new audiences and has presented a variety of educational and outreach performances across the country in settings ranging from inner city schools to psychiatric hospitals. For these projects she was awarded multiple grants from the National Endowment for the Arts.
URL:https://www.bowdoinfestival.org/event/music-cognition-talk-with-elinor-freer/
LOCATION:Studzinski Rehearsal Room\, 12 Campus Road S\, Brunswick\, ME\, 04011
CATEGORIES:Festival Insights,Free Events
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DTSTART;TZID=America/New_York:20240802T130000
DTEND;TZID=America/New_York:20240802T170000
DTSTAMP:20260409T031720
CREATED:20240425T160951Z
LAST-MODIFIED:20240802T132330Z
UID:21616-1722603600-1722618000@www.bowdoinfestival.org
SUMMARY:Young Artists Concert
DESCRIPTION:1:00 PM \nFELIX MENDELSSOHN\nString Quartet No. 2 in A Minor\, Op. 13 \nI. Adagio — Allegro vivace \nZihuan Xu\, Ashley Park\, violin • Yoonsa Lee\, viola • Bryanna Liu\, cello\nThis group is coached by Nelson Lee. \n  \nLUDWIG VAN BEETHOVEN\nPiano Sonata No. 27 in E Minor\, Op. 90 \nI. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck\nII. Nicht zu geschwind und sehr singbar vorgetragen \nJohn Garo Lonergan\, piano\nJohn is a summer student of Jon Nakamatsu and is a recipient of the Paul J. Lynskey Piano Scholarship. \n  \nJOHANN SEBASTIAN BACH\nViolin Sonata No. 2 in A Minor\, BWV 1003 \nIII. Andante \nZihuan Xu\, violin\nZihuan is a summer student of Nelson Lee. \n  \nHENRI DUTILLEUX\nPiano Sonata \nIII. Chorale et variations \nLoren Kim\, piano\nLoren is a summer student of Jon Nakamatsu. \n  \nJOHANN SEBASTIAN BACH\nCello Suite No. 3 in C Major\, BWV 1009 \nI. Prelude \nYoonsa Lee\, viola\nYoonsa is a summer student of Kirsten Docter. \n  \nFRÉDÉRIC CHOPIN\nBarcarolle in F-sharp Major\, Op. 60 \nMax Milian\, piano\nMax is a summer student of Jon Nakamatsu. \n  \n2:00 PM \n  \nDMITRI SHOSTAKOVICH\nSonata for Cello and Piano in D Minor\, Op. 40 \nI. Allegro non troppo \nAnika Grieve\, cello • Yi-Hsuan Su\, piano\nAnika is a student of David Ying\, and Yi-Hsuan is a summer student of Pei-Shan Lee. \n  \nPYOTR ILYICH TCHAIKOVSKY\nVariations on a Rococo Theme\, Op. 33 \nModerato assai quasi Andante — Thema: Moderato semplice\nVariation I: Tempo della Thema\nVariation II: Tempo della Thema\nVariation III: Andante sostenuto\nVariation VII e Coda: Allegro vivo \nDaniel Yoonsuh Lee\, cello • Eunseon Ahn\, piano\nDaniel is a summer student of Paul Katz. Eunseon is a summer student of Pei-Shan Lee and is sponsored by Claudia & Michael Spies. \n  \nERICH WOLFGANG KORNGOLD\nCello Concerto in C Major\, Op. 37 \nVincent Louis Claes\, cello • Narae Joo\, piano\nVincent is a summer student of Edward Arron. \n  \nROBERT SCHUMANN\nFantasiestücke\, Op. 73 \nI. Zart und mit Ausdruck\nII. Lebhaft\, leicht \nBryanna Liu\, cello • Piotr Kozłowski\, piano\nBryanna is a summer student of Daniel McDonough. Piotr is a summer student of Pei-Shan Lee and is a recipient of the Richard & Maryan F. Chapin Scholarship. \n  \nLUDWIG VAN BEETHOVEN\nSonata for Piano and Violin No. 10 in G Major\, Op. 96 \nI. Allegro moderato \nJune Chung\, violin • Alber Chien\, piano\nJune is a summer student of Mikhail Kopelman. \n  \n3:00 PM \n  \nJOHANN SEBASTIAN BACH\nPartita for Solo Violin No. 2 in D Minor\, BWV 1004 \nV. Chaconne \nIsabel Chin Garita\, violin\nIsabel is a summer student of Robin Scott. \n  \nFRANZ SCHUBERT\nFantaisie in C Major for Violin and Piano\, Op. 159\, D. 934 \nRachel Yi\, violin • Piotr Kozłowski\, piano\nRachel is a summer student of YooJin Jang and is sponsored by Lewis & Adria Kaplan. Piotr is a summer student of Pei-Shan Lee and is a recipient of the Richard & Maryan F. Chapin Scholarship. \n  \nMATTHEW SCHULTHEIS\nAn Open Room In Fenway Court \nSophie Steger\, horn\nMatthew is a summer student of Derek Bermel and is sponsored by Lorna & Jack Flynn. Sophie is sponsored by Kent & Natalie Mitchell. \n  \nETHAN CHAVES\nIf you forget me — Shadow Monologue II for Solo Violoncello (Premiere) \nCamden M. Archambeau\, cello\nCamden is a summer student of David Ying and is sponsored by Margy Burroughs. \n  \n4:00 PM \n  \nSERGEI RACHMANINOFF\nSonata for Cello and Piano in G Minor\, Op. 19 \nIII. Andante \nHayoung Moon\, cello • Teddi Yoo\, piano\nHayoung is a summer student of Amir Eldan and is sponsored by Margot Stiassni & Chris Sieracki. Teddi is a summer student of Pei-Shan Lee. \n  \nJOHANNES BRAHMS\nMeine Lieder\, Op. 106\, No. 4\nLerchengesang\, Op. 70\, No. 2\nWie Melodien zieht est mir\, Op. 105\, No. 1 \nCamden M. Archambeau\, cello • Chris Han\, piano\nCamden is a summer student of David Ying and is sponsored by Margy Burroughs. Chris is a summer student of Jon Nakamatsu and is sponsored by Ned & Beth Schuller. \n  \nASTOR PIAZZOLLA\nThe Four Seasons of Buenos Aires for Piano Trio \nII. Verano Porteño \nRachel Yi\, violin • Kyle Victor\, cello • Teddi Yoo\, piano\nRachel is sponsored by Lewis & Adria Kaplan and Kyle is sponsored by an anonymous donor. \n  \nLUDWIG VAN BEETHOVEN\nPiano Trio No. 6 in E-flat Major\, Op. 70\, No. 2 \nI. Poco sostenuto — Allegro ma non troppo \nGabrielle Sewell\, violin • Abby Heck\, cello • Henry Bryan\, piano\nThis group is coached by Jeewon Park. \n  \nROBERT SCHUMANN\nPiano Trio No. 1 in D Minor\, Op. 63 \nI. Mit Energie und Leidenschaft \nRachel Won\, violin • Auden Smith\, cello • Caleb Sharkey\, piano\nThis group is coached by Nelson Lee. \n  \nHIRAD MORADI\nToy | Box — Mut il at e d \nDavid Hung\, violin • Kyle Pinzon\, cello • Hirad Moradi\, piano\nHirad is a summer student of Derek Bermel. David is sponsored by Ken & Judy Segal.
URL:https://www.bowdoinfestival.org/event/young-artists-concert-august2/
LOCATION:Studzinski Recital Hall\, 12 Campus Road S\, Brunswick\, ME\, 04011
CATEGORIES:Concert,Young Artists Series,Livestream,Free Events
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DTSTART;TZID=America/New_York:20240802T140000
DTEND;TZID=America/New_York:20240802T150000
DTSTAMP:20260409T031720
CREATED:20240728T132959Z
LAST-MODIFIED:20240728T132959Z
UID:22191-1722607200-1722610800@www.bowdoinfestival.org
SUMMARY:Curtis Library Community Concert
DESCRIPTION:Join us at Curtis Library for the final Community Concert of the 2024 season. This concert will feature our Young Artist cellists and their collaborative piano partners.
URL:https://www.bowdoinfestival.org/event/curtis-library-community-concert-2/
LOCATION:Curtis Memorial Library\, 23 Pleasant St\, Brunswick\, ME\, 04011
CATEGORIES:Concert,Community Concerts,Free Events
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DTSTART;TZID=America/New_York:20240802T193000
DTEND;TZID=America/New_York:20240802T210000
DTSTAMP:20260409T031720
CREATED:20240107T220914Z
LAST-MODIFIED:20240801T211921Z
UID:21326-1722627000-1722632400@www.bowdoinfestival.org
SUMMARY:Sergei Babayan Plays Mozart
DESCRIPTION:SERGEI BABAYAN Plays Mozart \nThis concert is sold out. Please contact Lori Hopkinson at lori@bowdoinfestival.org or 207-373-1400 to be placed on a waiting list. This concert will not be livestreamed. \n  \nWOLFGANG AMADEUS MOZART\nFlute Quartet in D Major\, K. 285 \nI. Allegro\nII. Adagio\nIII. Rondeau \nAlexander Day\, flute • Yip-Wai Chow\, violin • Jack Kessler\, viola • Camden M. Archambeau\, cello \n  \nWOLFGANG AMADEUS MOZART\nString Quintet No. 4 in G Minor\, K. 516 \nI. Allegro\nII. Menuetto. Allegretto\nIII. Adagio ma non troppo\nIV. Adagio — Allegro \nRobin Scott\, YooJin Jang\, violin • Kirsten Docter\, Phillip Ying\, viola • Edward Arron\, cello \n  \nWOLFGANG AMADEUS MOZART\nPiano Concerto No. 9 in E-flat Major\, K. 271 \nI. Allegro\nII. Andantino\nIII. Rondo \nSergei Babayan\, piano • Peter Bay\, conductor • Festival Orchestra \n  \n\n  \nSergei Babayan \n\n\n\nSergei Babayan is one of the leading pianists of our time. Hailed for his emotional intensity\, bold energy and remarkable levels of color\, Sergei Babayan brings a deep understanding and insight to an exceptionally diverse repertoire. Le Figaro has praised his “unequaled touch\, perfectly harmonious phrasing and breathtaking virtuosity.” Le Devoir from Montreal put it simply: “Sergei Babayan is a genius. Period.” \n  \nSergei Babayan has collaborated with such conductors as Sir Antonio Pappano\, David Robertson\, Neeme Järvi\, Rafael Payare\, Thomas Dausgaard\, Tugan Sokhiev\, and Dima Slobodeniouk. Over the years\, Babayan has performed with Valery Gergiev numerous times to great critical acclaim\, including appearances at the Barbican Centre with the London Symphony Orchestra\, at the Théâtre des Champs-Elyseés in Paris\, the Salzburg Festival\, and at the Rotterdam Philharmonic-Gergiev Festival\, where Babayan was artist-in-residence. \n  \nIn recent seasons\, Mr. Babayan’s schedule has included concert performances with the Leipzig Gewandhaus Orchestra\, Bamberg Symphony Orchestra\, Royal Liverpool Philharmonic\, Orchestre Philharmonique de Radio France\, Mahler Chamber Orchestra\, Toronto Symphony\, Vancouver Symphony\, and the Verbier Festival Orchestra\, among others. Sergei Babayan regularly performs at many of the world’s most prestigious venues\, including the Amsterdam Concertgebouw\, Carnegie Hall\, London’s Wigmore Hall\, the Vienna Konzerthaus and Munich’s Prinzregententheater\, Teatro Colón in Buenos Aires\, the Maison de la Radio in Paris\, Hamburg’s Elbphilharmonie\, Alte Oper Frankfurt\, and the Zurich Tonhalle. He has appeared at major festivals including La Roque d’Anthéron\, Piano aux Jacobins in Toulouse\, Gstaad Menuhin Festival\, and Verbier Festival. At Konzerthaus Dortmund\, Sergei Babayan was a Curating Artist. Mr. Babayan performs with the world’s foremost orchestras\, including the London Symphony Orchestra\, The Cleveland Orchestra\, Warsaw Philharmonic\, BBC Scottish Symphony Orchestra\, Orchestre National de Lille\, Detroit Symphony Orchestra and Baltimore Symphony Orchestra. \n  \nSergei Babayan is a Deutsche Grammophon exclusive artist; his release Rachmaninoff (DG 2020) was hailed by the international press as a groundbreaking recording and received numerous awards including BBC Recording of the Month and CHOC Classica (“This musical journey\, born out of a limitless imagination and thought in minute detail\, is one big masterpiece.”) His previous DG release of his own transcriptions for two pianos of works by Sergei Prokofiev\, with Martha Argerich as his partner (Prokofiev for Two; DG 2018)\, was praised by reviewers as “the CD one has waited for” (Le Devoir)\, an “electrifying duo that leaves the listener in consternation” (Pianiste). Mr. Babayan’s performances have been broadcast by Radio France\, BBC-TV and BBC Radio 3\, NHK Satellite Television and Medici TV. \n  \nBorn in Armenia into a musical family\, Babayan began his studies there with Georgy Saradjev and continued at the Moscow Conservatory with Mikhail Pletnev\, Vera Gornostayeva and Lev Naumov. Following his first trip outside of the USSR in 1989\, he won consecutive first prizes in several major international competitions including the Cleveland International Piano Competition\, the Hamamatsu Piano Competition\, and the Scottish International Piano Competition. An American citizen\, he lives in New York City. \n\nWOLFGANG AMADEUS MOZART\nFlute Quartet in D Major\, K. 285 (1777) \nIn 1777\, growing tired of his position at the court of Salzburg and with a conviction that he could earn a more illustrious (and more remunerative) living elsewhere\, Mozart\, aged twenty-one\, set off on a tour of the musical capitals of Europe in search of a new post. The grail\, his ultimate destination\, was Paris\, still the continent’s leading musical capital. The Mozarts had already visited the royal palace at Versailles a decade prior on the family’s “grand tour\,” when the young prodigy had been allowed to kiss the hand of the queen. \n  \nMannheim was also on the itinerary. In those days\, Mannheim was renowned for arguably the best orchestra in Germany\, thriving under the lavish patronage of the Elector Palatine\, Karl Theodor. While there\, Mozart consorted with fellow visitors\, including a certain Dutchman named Ferdinand De Jong. This “gentleman of means” (as Mozart would describe him)\, a surgeon with the Dutch East India company\, was an amateur flutist\, taking lessons from a Mannheim musician. He offered Mozart a generous sum in exchange for three short flute concertos and a few quartets for flute and strings. Mozart made the wise professional move and accepted the commission\, even though it ultimately bored him and he languished over it. Writing to his father\, he claimed\, “You know that I become quite powerless whenever I am obliged to write for an instrument which I cannot bear” — a stray remark which has fed the (likely exaggerated) claim that Mozart possessed a strong aversion to the flute. Mozart nevertheless insisted on his own integrity\, assuring his father that however onerous the task\, he would invest his best efforts into any music bearing his name. \n  \nAnd yet Mozart’s focus was concentrated in another direction: while in Mannheim\, he met the soprano Aloysia Weber\, with whom he fell in love\, and for whom composed an aria\, apparently with greater enthusiasm than the flute pieces. In the end\, Mozart completed two quartets for De Jong\, of which this is the first\, in addition to two concertos. His romance with Aloysia\, on the other hand\, came to an abrupt end when he disclosed it to his father — and in the end\, Mozart would go on to marry her sister\, Constanze. \n  \nWOLFGANG AMADEUS MOZART\nString Quintet No. 4 in G Minor\, K. 516 (1787) \nThe year 1787 was difficult for Mozart in several ways. By now he had settled in Vienna for several years; yet Mozart still struggled to find the steady and fulfilling position he sought within the city’s musical world. He had a few years of lucrative success as a composer-performer\, premiering several piano concertos each season. However\, from 1786-1787\, he turned his attention to operatic collaborations\, resulting in a sharp decline in income that could not adequately sustain his lavish lifestyle. Moreover\, in April of 1787\, Mozart learned that his father’s health had significantly worsened\, which caused particular anguish as the younger Mozart was unable to take the time to visit Leopold in Salzburg. \n  \nThese trying circumstances surrounded Mozart’s composition of two String Quintets\, K. 515/516\, often considered the summit of his chamber music writing. Observing the sharp contrasts between the two quintets\, commentators frequently draw a comparison between these and Mozart’s Symphonies No. 40 and 41\, composed the following year — a comparison bolstered by the respective key signatures of each pair (C Major and G Minor). The dark tone of this quintet is enhanced by Mozart’s choice of ensemble\, a string quartet plus an additional viola. This dense instrumentation was nonstandard; and although\, by force of these quintets\, Mozart was the composer to popularize the genre\, he was not without predecessors. Mozart was likely inspired by Michael Haydn (younger brother of Joseph)\, an old acquaintance from Salzburg who had published his own viola quintets over the preceding decades. \n  \nMozart’s father died twelve days after Mozart completed the String Quintet No. 4. Mozart managed\, despite his sorrow\, to complete Don Giovanni later the same year\, which received a spectacular premiere in Prague. And by the end of the year\, Mozart at last obtained part-time royal patronage as “chamber composer” to Emperor Joseph II. It was not as grand of a post as Mozart may have hoped for\, but it proved sufficient incentive for Mozart to remain in Vienna. \n  \nWOLFGANG AMADEUS MOZART\nPiano Concerto No. 9 in E-flat Major\, K. 271 (1777) \nMozart’s Piano Concerto K. 271 takes us back to 1777\, on the eve of the departure for his aforementioned tour across Europe. The numbering is somewhat misleading: although described as Mozart’s “ninth” piano concerto\, the first four concertos were in fact pastiche arrangements of existing compositions by previous composers\, and the seventh concerto was written for three pianos. Accordingly\, K. 271 is more correctly Mozart’s fourth concerto for solo piano and orchestra; and it is widely considered the first of Mozart’s piano concertos to stage the dramatic interplay between piano solo and orchestral tutti that would become his trademark contribution to the piano concerto genre. Charles Rosen goes further still\, describing the work as Mozart’s “first large-scale masterpiece in any form.” \n  \nThe confrontational piano-orchestra relationship is articulated immediately in the opening bars: contrary to the convention of an orchestral ritornello prior to the pianist’s entry in which the concerto’s principal themes are introduced\, here the piano makes an interjection in the second measure — a feature both unprecedented and unrepeated in Mozart’s œuvre. The dramatic dialogue is intensified in the Andantino\, reminiscent of a tragic aria and perhaps inspired by Gluck (the movement is Mozart’s first concerto movement to be set in a minor key). The Rondo Finale\, meanwhile\, achieves new heights of pianistic virtuosity\, its theme resembling a quasi perpetuum mobile. This Presto is interrupted\, however\, by a courtly Minuet — an unexpected detour allowing us to catch our breath and reset before a lively race to the finish. \n  \nMozart dedicated this concerto to Louise-Victoire Jenamy (1749–1812)\, the daughter of the celebrated French ballet master Jean-Georges Noverre. Mozart had made Noverre’s acquaintance when the dancer visited Vienna in 1773 and his daughter performed an impressive keyboard recital for her father’s benefit. When Jenamy passed through Salzburg in 1777\, on her way from Vienna to visit her father in Paris\, the opportunistic Mozart seized the occasion to present her with the Concerto\, perhaps in anticipation of his own upcoming trip to the French capital where he would reconnect with Novarre. Some have even suggested that the Minuet embedded in the Finale is a tribute to the dancer. \nProgram Notes by Peter Asimov
URL:https://www.bowdoinfestival.org/event/sergei-babayan-mozart/
LOCATION:Crooker Theater\, 116 Maquoit Rd\, Brunswick\, ME\, 04011
CATEGORIES:Concert,Ticketed Events,Fridays
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