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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;TZID=America/New_York:20250709T100000
DTEND;TZID=America/New_York:20250709T110000
DTSTAMP:20260517T020618
CREATED:20250602T194307Z
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UID:23179-1752055200-1752058800@www.bowdoinfestival.org
SUMMARY:Meet the Composer: Helen Grime
DESCRIPTION:MEET THE COMPOSER: Helen Grime \nDuring this talk\, composer Helen Grime will discuss her creative process and work Luna. You can hear this piece performed by Festival Fellows during our Gamper Festival of Contemporary Music on Thursday\, July 10. \nThis event is livestream-only\, join the conversation online!
URL:https://www.bowdoinfestival.org/event/meet-the-composer-helen-grime/
LOCATION:Online from Brunswick\, 12 Campus Rd S\, Brunswick\, ME\, 04011
CATEGORIES:Livestream,Free Events,Meet the Composer,New Music
ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2025/06/Helen-Grime-MTC.jpg
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DTSTART;TZID=America/New_York:20250709T130000
DTEND;TZID=America/New_York:20250709T150000
DTSTAMP:20260517T020618
CREATED:20250602T193325Z
LAST-MODIFIED:20250610T163028Z
UID:23170-1752066000-1752073200@www.bowdoinfestival.org
SUMMARY:Carol Rodland Masterclass
DESCRIPTION:Carol rodland viola 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. \nFree | Tickets Not Required
URL:https://www.bowdoinfestival.org/event/rodland-masterclass/
LOCATION:Studzinski Recital Hall\, 12 Campus Road S\, Brunswick\, ME\, 04011
CATEGORIES:Livestream,Free Events,Masterclasses
ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2025/06/Rodland-Masterclass.jpg
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DTSTART;TZID=America/New_York:20250709T140000
DTEND;TZID=America/New_York:20250709T150000
DTSTAMP:20260517T020618
CREATED:20250604T124022Z
LAST-MODIFIED:20250709T130910Z
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SUMMARY:Farnsworth Museum Community Concert
DESCRIPTION:Farnsworth Museum Community Concert \nJoin us for a wonderful afternoon of music in Rockland featuring talented Festival Young Artists. This concert will include a variety of classical repertoire and last 45 minutes to 1 hour. \nThis concert is free and open to the public; each concert ticket includes free access to the museum galleries after the concert is over. Pre-registration is highly encouraged; seats not claimed ten minutes prior to the start of the concert will be available to walk in registrants. \nFREE REGISTRATION \nPre-Registration has reached capacity; walk-in registration dependent on open seats. \n  \nProgram \n  \nSERGEI PROKOFIEV (1891–1953)\nSonata for Two Violins in C Major\, Op. 56 \nI. Andante cantabile\nII. Allegro \nIan Johnson\, Vladimir Tsiper\, violin \nGIACOMO PUCCINI (ARR. AIDAN PURTELL) (1858–1924)\n“Quando me’n vo'” from La Bohème\n“Ah! mes amis” from La Fille du Régiment \nAidan Purtell\, piano \nLUDWIG VAN BEETHOVEN (1770–1827)\nSonata for Piano and Cello No. 3 in A Major\, Op. 69\nI. Allegro\, ma non tanto \nROBERT SCHUMANN (1810–1856)\nCello Concerto in A Minor\, Op. 129\nI. Nicht zu schnell \nElliott Kim\, cello • Anna Sunmin Park\, Piano\nElliott is sponsored by Karen & Charles Sumner\, and Anna is sponsored by Barbara &\nJohn Norton.
URL:https://www.bowdoinfestival.org/event/farnsworth-museum-2025/
LOCATION:Farnsworth Art Museum\, 16 Museum Street\, Rockland\, ME\, 04841
CATEGORIES:Concert,Community Concerts,Free Events
ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2020/05/BIMF_FarnsworthArtMuseumCC_NGS-16-scaled.jpg
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DTSTART;TZID=America/New_York:20250709T193000
DTEND;TZID=America/New_York:20250709T210000
DTSTAMP:20260517T020618
CREATED:20250204T203145Z
LAST-MODIFIED:20250706T180906Z
UID:22670-1752089400-1752094800@www.bowdoinfestival.org
SUMMARY:Beethoven\, Ishizaki\, & Brahms
DESCRIPTION:Beethoven\, Ishizaki\, & Brahms \nThis concert is sold out. Please email Lori Hopkinson if you would like to be placed on a waiting list. \nLUDWIG VAN BEETHOVEN\nSonata for Piano and Cello No. 5 in D Major\, Op. 102\, No. 2\nAmir Eldan\, cello • Pei-Shan Lee\, piano \nHANNAH ISHIZAKI\nObon Uta (World Premiere)\nJeffrey Zeigler\, cello \nJOHANNES BRAHMS\nPiano Quintet in F Minor\, Op. 34\nItamar Zorman\, Janet Ying\, violin • Melissa Reardon\, viola • Keiko Ying\, cello • Ran Dank\, piano\n \n  \n\n  \nProgram Notes \nLUDWIG VAN BEETHOVEN \nSonata for Piano and Cello No. 5 in D Major\, Op. 102\, No. 2 (1815) \nThe mid-1810s were a trying period for Ludwig van Beethoven. In 1812\, he wrote a passionate letter to a woman identified only as “my immortal beloved” (probably either Antonie Brentano or Josephine Brunsvik\, though her identity is still debated). He never sent this note\, and soon after penning it he became convinced that he would live out his life alone; as he proclaimed to himself in his journal\, “for you there is no longer happiness except in yourself\, in your art.” Over the course of the 1810s\, Beethoven became almost completely deaf\, which contributed to his mounting sense of isolation; by 1818\, he carried out most conversations via pen and paper. Around that time\, he was also engaged in a painful battle for custody of his nephew Karl. Between 1815 and early 1818\, he wrote very few fresh works\, but those he did complete showed signs of a groundbreaking new style. \nHis two 1815 cello sonatas\, published together as Op. 102\, were among the only major pieces he finished during those transitional years\, and both display an extraordinary level of expressive concision. The Allegro con brio of the D major Sonata\, Op. 102\, No. 2\, is oddly brassy\, full of ecstatic bursts and trumpet calls. It is extremely efficient music\, shifting between themes and sections without great ceremony\, a quality that lends poignancy to the few moments of stillness. The Adagio is the only proper slow movement that Beethoven wrote for cello and piano\, and it has some of the spare\, plaintive qualities that he would only replicate in his late string quartets. At the end of the Adagio\, Beethoven writes a long\, harmonically daring transition that sets up a playful\, fugal finale. This closing movement is based on a jolly\, almost trite\, melody but it builds to something quite profound and meaningful—a procedure that he would go on to employ in many of the major works of his last period\, from his “Hammerklavier” Piano Sonata to his “Diabelli” Variations to the glorious finale of his Ninth Symphony.                                                           \nProgram Note by Nicky Swett \n  \nHANNAH ISHIZAKI \nObon Uta (2025) — World Premiere \nHannah Ishizaki has provided the following note to accompany Obon Uta: \nBeing half-Japanese\, but growing up not speaking the language and without a large community in my hometown\, I have often felt disconnected from my Japanese heritage. Recently\, I have been trying to reconnect with my culture through music and dance. In developing this piece for Jeffrey Zeigler’s upcoming album\, “We Were Fridays\,” I spoke with Jeffrey about our shared half-Japanese heritages. “Obon Uta” is inspired by the festival Obon\, which is a homecoming for both the living and the dead and a celebration of ancestors. A large part of the festival is communal dancing. Large groups of people of all ages come together to dance together\, some in traditional dress\, some in casual clothes\, some who have practiced the dances\, and others who are newcomers. The title\, “Obon Uta” means Obon Song in Japanese. The piece consists of two main sections. The first is percussive and rhythmic\, and it was inspired by the communal experience of breathing together\, dancing together with cyclical sets of movements. The rhythmic patterns and cello timbres follow the sounds of the taiko drum and the vocal timbre of the musicians that usually occupy a central pillar around which these circular dances take place. The second part is based on the ebbing and flowing of the dance\, with everyone not quite exactly dancing together\, but creating a living\, breathing\, imperfect unison. The live cello emerges out of the loops\, floating above\, below\, and in between all of the voices. \n  \nJOHANNES BRAHMS \nPiano Quintet in F Minor\, Op. 34 (1864) \nBrahms’ Piano Quintet belongs to an outpouring of chamber music from the early 1860s — the period musicologists generally call Brahms’ “first maturity” — which also gave rise to his two string sextets\, his first two piano quartets\, and the horn trio. The style Brahms cultivated during these years is partly accountable to his historicist sensibility: his appreciation for the large-scale formal arcs and emotional intensity of Beethoven\, to be sure\, but also his study of the unhurried melodies and harmonic sorcery of Schubert\, whose instrumental music was considerably less known at that time. \nBut the final form of the Piano Quintet is also the result of Brahms’ dialogue with a trusted coterie of performers who offered critical feedback. The musical substance began its life scored for string quintet\, with two cellos (suggesting that Brahms was keeping the score of Schubert’s glorious cello quintet nearby). He presented this version of the work to violinist Joseph Joachim\, a close friend and tireless advocate of Brahms’ work. After rehearsing the work with colleagues\, Joachim disclosed his misgivings to Brahms: “every line shows proof of an almost overwhelming creative strength\, full of spirit through and through.” But\, Joachim continued\, “the instrumentation is not energetic enough to my ears to convey the powerful rhythmic convulsions; the sound is almost helplessly thin for the musical thought. Then again for long stretches everything lies too thickly. You surely can’t like it either: it sounds artificial!” After some unsatisfactory attempts to salvage the work as a string quintet\, Brahms (always the perfectionist) burned the score\, and decided to rearrange the work as a Sonata for Two Pianos. It was in this form that Op. 34 received its premiere in 1864\, Brahms playing with Karl Tausig\, a student of Liszt. But when Brahms shared this version with Clara Schumann\, his confidante betrayed her own doubts: “The first time I played it I had the impression it was an arrangement. It cannot be called a sonata; rather\, it is a work whose ideas you could — and should — distribute among the whole orchestra\, as though out of a horn of plenty!” Perhaps it is fitting\, then\, that Brahms ultimately found the perfect compromise in the Piano Quintet formation — something of a hybrid\, preserving the best elements of both previous ventures — a genre which had been pioneered by Robert Schumann two decades prior. Unlike the string quintet\, however\, Brahms did not destroy the two-piano version\, which continues to enjoy occasional performance to this day. \nProgram Note by Peter Asimov
URL:https://www.bowdoinfestival.org/event/07-09-2025/
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/2025/02/05-July-9-Jeff.jpg
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