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X-WR-CALNAME:Bowdoin Music Festival
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X-WR-CALDESC:Events for Bowdoin Music Festival
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TZID:America/New_York
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DTSTART:20250309T070000
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DTSTART:20251102T060000
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250718T100000
DTEND;TZID=America/New_York:20250718T113000
DTSTAMP:20260517T030032
CREATED:20250602T194732Z
LAST-MODIFIED:20250602T202042Z
UID:23182-1752832800-1752838200@www.bowdoinfestival.org
SUMMARY:Meet the Composer: Zhou Long
DESCRIPTION:MEET THE COMPOSER: Zhou Long \nDuring this talk\, Zhou Long will discuss his work and creative process. You can hear his works Illussion and Poems from Tang performed on the July 16 and July 18 subscription series concerts. \nJoin us in the Beam Classroom for this conversation. (The Beam Classroom is located in the Visual Arts Center\, 239 Maine Street\, Brunswick\, ME 04011)
URL:https://www.bowdoinfestival.org/event/meet-the-composer-zhou-long/
LOCATION:Beam Classroom\, Visual Arts Center\, 239 Maine Street\, Brunswick\, ME\, 04011
CATEGORIES:Festival Insights,Free Events,Meet the Composer,New Music
ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2025/06/Zhou-Long-MTC.jpg
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DTSTART;TZID=America/New_York:20250718T130000
DTEND;TZID=America/New_York:20250718T170000
DTSTAMP:20260517T030032
CREATED:20250504T020340Z
LAST-MODIFIED:20250717T134240Z
UID:22993-1752843600-1752858000@www.bowdoinfestival.org
SUMMARY:Young Artists Concert
DESCRIPTION:This concert features the Festival’s talented young artists. Program information will appear here the day of the concert.  \nFree | Tickets Not Required \n  \nprogram \n  \nFRANZ JOSEPH HAYDN (1732–1809) \nCello Concerto No. 2 in D Major\, Hob. VIIb: 2 \nI. Allegro Moderato \nCheyoon Kaylin Lee\, cello • Jingyang Wu\, piano \nCheyoon is a summer student of Amir Eldan and is sponsored by Margy Burroughs. Jingyang is a summer student of Pei-Shan Lee and is sponsored by Ed & Whitney Selover.  \n  \nFRANZ LISZT (1811–1886) \nBallade No. 2 in B Minor\, S. 171 \nLeqi Yang\, piano \nLeqi is a summer student of Ran Dank. \n  \nJOHANNES BRAHMS (1833–1897) \nSonata No. 3 in F Minor\, Op. 5 \nII. Andante espressivo — Andante molto \nAidan Purtell\, piano \nAidan is a summer student of Julian Martin.  \n  \nGABRIEL FAURÉ (1845–1924) \nSonata for Violin and Piano No. 1 in A Major\, Op. 13 \nI. Allegro molto \nDa-Wei Chan\, violin • Jieun Jeong\, piano \nDa-Wei is a summer student of Ani Schnarch. Jieun is a summer student of Pei-Shan Lee and is a recipient of the Richard & Maryan F. Chapin Scholarship. \n  \nANTONÍN DVOŘÁK [Arr. KREISLER] (1841–1904) \nSongs My Mother Taught Me \nHENRYK WIENIAWSKI (1835–1880) \nPolonaise de Concert No. 1 in D Major\, Op. 4 \nXuangying Jiang\, violin • Alber Chien\, piano  \nXuangying is a student of Kurt Sassmannshaus.  \n  \n2:00 PM \n  \nJEAN SIBELIUS (1865–1957) \nViolin Concerto in D Minor\, Op. 47 \nI. Allegro moderato \nEvan MacLean\, violin • Jieun Jeong\, piano \nEvan is a summer student of Ani Schnarch. Jieun is a summer student of Pei-Shan Lee and is a recipient of the Richard & Maryan F. Chapin Scholarship. \n  \nFRÉDÉRIC CHOPIN (1810–1849) \nScherzo No. 3 in C-sharp Minor\, Op. 39 \nXiaolin Zhang\, piano \nXiaolin is a summer student of Soyeon Kate Lee.  \n  \nWOLFGANG AMADEUS MOZART (1756–1791) \nViolin Concerto No. 3 in G Major\, K. 216 \nI. Allegro \nLillian Arnold Mages\, violin • Jiarong Li\, piano \nLillian is a summer student of Itamar Zorman.  \n  \nMAX BRUCH (1838–1920) \nScottish Fantasy\, Op. 46 \nIII. Andante sostenuto \nPei-shiuan Lin\, violin • Narae Lee\, piano \nPei-shiuan is a summer student of Itzhak Rashkovsky. \n  \nPAUL HINDEMITH (1895–1963) \nSonata in F Major for Viola and Piano\, Op. 11\, No. 4 \nI. Fantasie. Ruhig \nII. Thema mit Variationen \nWyeth Minami\, viola • Byunghee Yoo\, piano \nWyeth is a student of Phillip Ying.  \n  \nWILLIAM WALTON (1902–1983) \nViola Concerto \nII. Vivo e molto preciso \nKara Wong\, viola • Jingyang Wu\, piano \nKara is a summer student of Phillip Ying. Jingyang is a summer student of Pei-Shan Lee and is sponsored by Ed & Whitney Selover. \n  \n3:00 PM \n  \n  \nJOHANNES BRAHMS (1833–1897) \nString Sextet No. 2 in G Major\, Op. 36\, “Agathe” \nII. Scherzo. Allegro non troppo — Presto giocoso \nAdrian Min Wu\, Po-Ling Huang\, violin • Margaret O’Malley\, Zoë Slap\, viola \nFinn Luyten\, Noah Ferris\, cello \nThis group is coached by Phillip Ying.  \n  \nANTONÍN DVOŘÁK (1841–1904) \nPiano Quartet No. 2 in E-flat Major\, Op. 87\, B. 162 \nII. Lento \nAustin Zhong\, violin • Jessica Ward\, viola • Jiayi Cheng\, cello \nSanjana Dhanasekaran\, piano \nThis group is coached by Melissa Reardon and Robin Scott. Jessica is sponsored by Hollis McBride.  \n  \nLUDWIG VAN BEETHOVEN (1770–1827) \nPiano Trio No. 4 in B-flat Major\, Op. 11\, “Gassenhauer” \nII. Adagio \nIII. Tema: Pria ch’io l’impegno. Allegretto — [Variations] \nKaris Dharmawirya\, violin • Angela Kim\, cello • Chang Xu\, piano \nThis group is coached by Ani Schnarch. \n  \nLUDWIG VAN BEETHOVEN (1770–1827) \nPiano Trio No. 5 in D Major\, Op. 70 No. 1\, “Ghost” \nII. Largo assai ed espressivo \nRuike Yang\, violin • Finn Luyten\, cello • Edin Yazici\, piano \nThis group is coached by Itzhak Rashkovsky. \n  \nANTON ARENSKY (1861–1906) \nPiano Trio No. 1 in D Minor\, Op. 32 \nIII. Elegia. Adagio \nIV. Finale. Allegro non troppo \nKelsey Payne\, violin • Maya Sauder\, cello • Heting Xia\, piano \nThis group is coached by Itzhak Rashkovsky. \n  \n4:00 PM \n  \n  \nLUDWIG VAN BEETHOVEN (1770–1827) \nPiano Trio No. 2 in G Major\, Op. 1\, No. 2 \nI. Adagio — Allegro vivace \nWinston Chen\, violin • Ziyong Bai\, cello • Victor Romero-Paredes\, piano \nThis group is coached by Ran Dank and Soyeon Kate Lee. Victor is sponsored by Lenore Rapkin. \n  \nROBERT SCHUMANN (1810–1856) \nPiano Quartet in E-flat Major\, Op. 47 \nI. Sostenuto assai — Allegro ma non troppo \nRiona Zhu\, violin • Dorothy Chen\, viola • Dalloway Smith\, cello • Kou Shimizu\, piano \nThis group is coached by Tao Lin. \n  \nEDWARD ELGAR (1857–1934) \nPiano Quintet in A Minor\, Op. 84 \nII. Adagio \nEvan MacLean\, Max Chu\, violin • Charlie Strutzel\, viola • Adam Kremer\, cello \nJiaying Li\, piano \nThis group is coached by Ahrim Kim. Adam is sponsored by Sandra & Richard Neiman. \n  \nJOHANNES BRAHMS (1833–1897) \nPiano Trio No. 2 in C Major\, Op. 87 \nIII. Scherzo. Presto — Trio. Poco meno presto \nIV. Finale. Allegro giocoso \nAmelia Posner-Hess\, violin • Aaron Liu\, cello • Elsie Lu\, piano \nThis group is coached by Tao Lin. Elsie is sponsored by Judy & Stephen Corson.
URL:https://www.bowdoinfestival.org/event/young-artists-concert-71825/
LOCATION:Studzinski Recital Hall\, 12 Campus Road S\, Brunswick\, ME\, 04011
CATEGORIES:Concert,Young Artists Series,Livestream,Free Events
ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2025/05/YAS-2025-14.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250718T193000
DTEND;TZID=America/New_York:20250718T210000
DTSTAMP:20260517T030032
CREATED:20250204T203055Z
LAST-MODIFIED:20250717T152141Z
UID:22683-1752867000-1752872400@www.bowdoinfestival.org
SUMMARY:Simone Porter Plays Bruch
DESCRIPTION:Simone porter plays Bruch \nPlease note that this concert will not be livestreamed. \nThis concert features violinist Simone Porter performing Bruch’s Scottish Fantasy with the Festival Orchestra under the baton of Peter Bay.  \nZHOU LONG\nPoems from Tang\nRachel Yi\, Claire Arias-Kim\, violin • Julian Seney\, viola • Amanda Chi\, cello \nANDRÉ MESSAGER [ARR. TODD PALMER]\nSuite from the ballet “Les Deux Pigeons” \nEllen Hayun Lee\, flute • Natalie Feldpausch\, oboe • Todd Palmer\, clarinet • Katherine Cheng\, Ashley Yoon\, violin • Phillip Ying\, viola • Emma Fisher\, cello • Tracy Rowell\, bass • June Han\, harp \nMAX BRUCH\nScottish Fantasy\, Op. 46\nSimone Porter\, violin • Peter Bay\, conductor • Festival Orchestra \n     \n\n  \nProgram Notes \n  \nZHOU LONG  \nPoems from Tang (1995) \nZhou has provided the following note to accompany Poems from Tang: \nPoems From Tang was jointly commissioned by the Ciompi Quartet\, Chester and Shanghai String Quartets\, and composed in 1995. It was funded by the Meet the Composer\, the National Endowment for the Arts and the Leila Wallace Reader’s Digest Foundation. It had its world premiere in the 95/96 music season. \nPoems From Tang consists of four movements inspired by the works of four poets of the Tang dynasty.  Unlike the preceding folk traditions in which thematic material relied heavily on magic and spiritualism\, Tang dynasty arts were more cultivated and intellectual.  Tang poets created distinguished new literary forms within an ancient civilization. \nIn Poems From Tang\, I am concerned primarily with a merging of Eastern and Western cultures through music.  The influence of Chinese culture can be heard in some of the earlier twentieth century music of Mahler and Bartok.  What I have tried to do here is more directly to combine ancient Chinese and Western musical traditions in a coherent and personal statement.  I have conceived of the string quartet as an expanded ch’in\, an ancient seven string Chinese zither.  Throughout the piece there are musical traits directly reminiscent of ancient China:  sensitive melodies\, expressive glissandi in various statements\, and\, in particular\, a peculiarly Chinese undercurrent of tranquility and meditation. \nThe second movement is based on a poem titled Old Fisherman by Liu Zongyuan (773-819) who was government official and outstanding thinker and writer during the middle of the Tang dynasty.  He was removed from his post for advocating reform\, but he never became despondent.  He travelled to many mountains and valleys in southwestern China and created many excellent works.  In the Old Fisherman\, he wrote: \nThe old fisherman moors at night by western cliffs; \nAt dawn\, water draws from the clear Xiang\, lights a fire with southern bamboo.  \nMists melt in the morning sun\, and the man is gone;  \nOnly the song reverberates in the green of the hills and waters.  \nLook back\, the horizon seems to fall into the stream; \nAnd clouds float aimlessly over the cliffs. \nThe fourth movement is based on Du Fu’s Song of Eight Unruly Tipsy Poets.  In this long poem\, Du Fu (712-770) provides individual humorous and affectionate descriptions of the drunken behavior of eight famous poets\, all friends of his.  He described the images of his drunk fellow poets as: \nUnrestrained\, undisciplined\, humour and eloquent; \nRiding on the horse\, faltering steps in enjoyment; \nDrawing on the paper\, spattering inks as dancing dragon; \nHowling toward the sky\, citing poems feeling indignant; \nThe movement is in the form of a scherzo.  I have written a rhythmic motive for the quartet and a dialogue between the quartet and the orchestra.  The movement begins ad libitum\, but as the poets’ drink more and more\, the tempo increases first to andantino and then to allegro\, fast and wild at its climax\, the point at which the poets are so uninhibited and “unruly.”  The movement ends with eight identical fortissimo chords for full orchestra–one chord in honor of each poet.  The chords are separated by eight measures of rest\, during which we hear the faltering sounds of the quartet\, representing these by now very drunken poets\, trying harder and harder to continue reciting until eventually despite themselves they collapse into silence. \n  \nANDRÉ MESSAGER [ARR. TODD PALMER] \nSuite from the ballet “Les Deux Pigeons” (1886) \nIn the fable Les deux pigeons (The two pigeons)\, recorded in the seventeenth century by poet Jean de La Fontaine\, two male birds live together in friendship. One grows tired of this platonic bliss\, ventures out into the world\, gets soaked in a storm and attacked by a mean boy with a slingshot\, and promptly returns home to the safety of his companion. In the 1880s\, the director of the Paris Opéra Auguste Vaucorbeil planned a ballet based on the tale. As was the case in many later interpretations of the fable\, the libretto (by Henri de Régnier and the choreographer Louis Mérante) substituted the original pair of men for a heterosexual relationship. In it\, a young fellow named Pépio is enticed by a wandering troupe of so-called “Gypsies” (presumably Romani travellers\, though this label was often used as a proxy for any sort of cultural outsider). He follows them when they leave town\, but he is humbled by his encounters with other women\, gets robbed\, and eventually goes back to his love\, Gourouli. For the score\, Vaucorbeil hired André Messager—a talented student of Camille Saint-Saëns and Gabriel Fauré who had worked variously as an organist\, a choirmaster\, and the composer for stage productions at the Folies-Bergère music hall in Paris. The ballet debuted in 1886\, and it was a considerable financial success for the Opéra and for Messager. \nMuch of what we hear in this suite comprises entrances or dances of the virtuosic and alluring troupe. Many French composers of this period\, perhaps most notably Georges Bizet in his 1875 opera Carmen\, depicted Romani women with an assortment of exoticizing scales\, orchestration strategies\, and chromatic melodies and harmonies. Strikingly\, Messager does not lean all that much on these tropes in Les deux pigeons. The music tends toward bombastic and militaristic characters\, the cooing melodies and fluttering pitter-patter coloratura of light opera\, and winding\, harp-filled waltzes that bring to mind ballets of Pyotr Ilyich Tchaikovsky. In the second act\, Gourouli disguises herself as one of the “Gypsy” dancers\, and she actively orchestrates her partner’s disappointments. This twist on the fable\, which gives her character considerably more agency\, makes the soaring\, final\, forgiveness-filled Pas des deux feel like a much-deserved reunion. \n  \nMAX BRUCH  \nScottish Fantasy\, Op. 46 (1880) \nMax Bruch wrote most of his large catalogue of violin works for two great soloists of the second half of the nineteenth century. He finished his beloved Violin Concerto No. 1 in G minor (1866–67) with the help of Joseph Joachim\, the foremost German violinist of the era. A decade later\, he produced another one for the eminent Spanish violinist Pablo de Sarasate\, who premiered it in London in 1877. This event helped Bruch secure more concerts in England\, and in 1880 he was appointed conductor of the Liverpool Philharmonic Society. In late 1879\, while he was living in Berlin and anticipating his move to Britain\, he started another piece intended for Sarasate\, a Fantasy for violin with orchestra and harp\, “with free use of Scottish folk melodies.” Joachim again served as Bruch’s informant on violin-related matters\, and he ended up debuting the Fantasy in Liverpool in 1881. Ultimately\, Bruch was unhappy with Joachim’s interpretation and relieved when Sarasate took up the piece a couple of years later. Whereas Joachim was known for elastic\, rounded performances of large-scale Romantic concertos\, Sarasate’s precise\, understated approach to executing technical passages\, and his intuitions for presenting folk music with both meaning and flair\, were more appropriate to the challenges of Bruch’s new creation. \nBruch’s interest in the music of Scotland had started back in the 1860s\, when he arranged and published twelve Scottish songs. For the finale of his Scottish Fantasy\, as the work came to be known\, he conscripted one of these\, the chipper\, patriotic drinking song “Hey Tuttie Taiti.” The rest of the work draws on other folk tunes that he most likely encountered and earmarked when preparing these song transcriptions. The second movement of the piece is a rousing chorus of “The Dusty Miller\,” and the third is a keening rendition of “I’m A’ Doun for Lack O’ Johnnie\,” the outcry of a pining lover. Bruch makes his collection into a continuous fantasy by using freely flowing transitions and refrains. The opening movement introduces “Through the Wood Laddie\,” a rich underscore for sweethearts walking through the forest. When the composer brings this song back at the conclusion of the second\, it becomes a means of smoothly strolling from one stirring scene to another\, and a last hearing near the end of the fourth provides satisfying closure. \nProgram Notes by Nicky Swett
URL:https://www.bowdoinfestival.org/event/simone-porter-plays-bruch/
LOCATION:Crooker Theater\, 116 Maquoit Rd\, Brunswick\, ME\, 04011
CATEGORIES:Concert,Ticketed Events,Fridays
ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2025/01/Simone-Porter-Concert.jpg
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