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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:20250309T070000
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DTSTART:20251102T060000
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DTSTART;TZID=America/New_York:20250808T100000
DTEND;TZID=America/New_York:20250808T113000
DTSTAMP:20260517T030111
CREATED:20250602T202054Z
LAST-MODIFIED:20250604T152807Z
UID:23192-1754647200-1754652600@www.bowdoinfestival.org
SUMMARY:Meet the Composer: Amy Williams
DESCRIPTION:MEET THE COMPOSER: Amy Williams \nDuring this talk\, Amy Williams will discuss his work and creative process. You can hear her works Cineshape 3 and Switch performed on Wednesday\, August 6 at Studzinski Recital Hall \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-amy-williams/
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/Amy-Williams-MTC.jpg
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DTSTART;TZID=America/New_York:20250808T120000
DTEND;TZID=America/New_York:20250808T170000
DTSTAMP:20260517T030111
CREATED:20250504T033956Z
LAST-MODIFIED:20250808T164735Z
UID:23023-1754654400-1754672400@www.bowdoinfestival.org
SUMMARY:Young Artists Concert
DESCRIPTION:This concert features the Festival’s talented young artists.   \nFree | Tickets Not Required \n  \nprogram \n  \nNINO ROTA (1911–1979) \nSarabanda e Toccata per Arpa \nI. Sarabanda \nII. Toccata \nOmkara Patel\, harp \nOmkara is a summer student of June Han. \n  \nANTONÍN DVOŘÁK (1841–1904) \nCello Concerto No. 2 in B Minor\, Op. 104 \nI. Allegro \nJustin Kang\, cello • Narae Joo\, piano \nJustin is a summer student of Edward Arron. \n  \nFRANZ LISZT (1811–1886) \nParaphrase de concert sur Rigoletto\, S.434 \nTheo Tsao\, piano \nTheo is a summer student of Tao Lin. \n  \nFRITZ KREISLER (1875–1962) \nRecitativo and Scherzo\, Op. 6 \nKaren Orita\, violin \nKaren is a summer student of Mikhail Kopelman. \n  \nCÉSAR FRANCK (1822–1890)\nPrélude\, Choral et Fugue\, FWV 21 \nI. Prélude. Moderato \nNed Henneman\, piano \nNed is a summer student of Tao Lin.   \n  \n1:00 PM \n  \nSAMUEL COLERIDGE TAYLOR (1875–1912) \nViolin Concerto in G Minor\, Op. 80 \nI. Allegro maestoso \nLauren Edwards\, violin • Malcolm Liu\, piano \nLauren is a summer student of Nelson Lee and is sponsored by George & Christine Bachrach. Malcolm is a summer student of Pei-Shan Lee and is sponsored by Ruth & Rupert White. \n  \nDMITRI SHOSTAKOVICH (1906–1975) \nSonata for Cello and Piano in D Minor\, Op. 40 \nI. Allegro ma non troppo \nCelina Chen\, cello • Malcolm Liu\, piano \nCelina is a summer student of David Ying. Malcolm is a summer student of Pei-Shan Lee and is sponsored by Ruth & Rupert White. \n  \nANTONÍN DVOŘÁK (1841–1904) \nCello Concerto No. 2 in B Minor\, Op. 104 \nI. Allegro moderato \nBenjamin Lee\, cello • Malcolm Liu\, piano \nBenjamin is a summer student of Daniel McDonough. Malcolm is a summer student of Pei-Shan Lee and is sponsored by Ruth & Rupert White. \n  \nHENRI VIEUXTEMPS (1820–1881) \nSonata for Viola and Piano in B-flat Major\, Op. 36 \nI. Maestoso — Allegro \nJoshua Felser\, viola • Jingyang Wu\, piano \nJoshua is a summer student of Atar Arad. Jingyang is a summer student of Pei-Shan Lee and is sponsored by Ed & Whitney Selover. \n  \nHENRI VIEUXTEMPS (1820–1881) \nSonata for Viola and Piano in B-flat Major\, Op. 36 \nII. Barcarolla \nEllis Peterson\, viola • Jieun Jeong\, piano \nEllis is a summer student of Phillip Ying. Jieun is a summer student of Pei-Shan Lee and is sponsored by the Richard & Maryan F. Chapin Scholarship Fund.  \n  \n2:00 PM \n  \nGABRIEL FAURÉ (1845–1924) \nSonata for Violin and Piano No. 1 in A Major\, Op. 13 \nI. Allegro molto \nGuan Gui\, violin • Jieun Jeong\, piano \nGuan is a summer student of Kurt Sassmannshaus. Jieun is a summer student of Pei-Shan Lee and is sponsored by the Richard & Maryan F. Chapin Scholarship Fund. \n  \n​​LUDWIG VAN BEETHOVEN (1770–1827) \nSonata for Piano and Violin No. 5 “Spring” in F Major\, Op. 24 \nI. Allegro \nNoa Burchesky\, violin • Jingyang Wu\, piano \nNoa is a summer student of Sergiu Schwartz and is sponsored by The Bingham Trust. Jingyang is a summer student of Pei-Shan Lee and is sponsored by Ed & Whitney Selover. \n  \nCÉSAR FRANCK (1822–1890)\nSonata for Violin and Piano in A Major \nI. Allegretto ben moderato \nE Na Tee\, violin • Alber Chien\, piano \nE Na is a summer student of Sergiu Schwartz. \n  \nJOHANNES BRAHMS (1833–1897) \nSonata No. 1 in G Minor for Violin and Piano\, Op. 78 \nI. Vivace ma non troppo \nNoa Suk\, violin • Alber Chien\, piano \nNoa is a summer student of YooJin Jang. \n  \nREBECCA CLARKE (1886–1979) \nSonata for Viola and Piano \nIII. Adagio \nNoah Haro Jang\, viola • Byunghee Yoo\, piano \nNoah is a summer student of Atar Arad. \n  \nWILLIAM KROLL (1901–1980) \nBanjo and Fiddle \nRebecca Hall\, violin • Byunghee Yoo\, piano \nRebecca is a summer student of Sergiu Schwartz and is sponsored by Herbert & Harriet Paris. \n  \n3:00 PM \n  \nFRITZ KREISLER (1875–1962) \nLa Gitana \nRebecca Hall\, violin • Jiarong Li\, piano \nRebecca is a summer student of Sergiu Schwartz and is sponsored by Herbert & Harriet Paris. \n  \nCLAUDE DEBUSSY (1862–1918) \nSonata for Violin and Piano in G Minor\, L. 140 \nI. Allegro vivo \nII. Intermède. Fantasque et legér \nJace Elliott\, violin • Jiarong Li\, piano \nJace is a summer student of Sergiu Schwartz. \n  \nWILLIAM WALTON (1902–1983) \nViola Concerto \nI. Andante comodo \nEllie Washecka\, viola • Byunghee Yoo\, piano \nEllie is a student of Ivo van der Werff. \n  \nBÉLA BARTÓK (1881–1945) \nViola Concerto\, BB 128\, Sz. 120 \nI. Moderato \nJessica Ward\, viola • Byunghee Yoo\, piano \nJessica is a summer student of Liz Freivogel and is sponsored by Hollis McBride. \n  \nDMITRI SHOSTAKOVICH (1906–1975) \nViolin Concerto No. 1 in A Minor\, Op. 77 \nIIIb. Cadenza \nIV. Burlesque \nShuma Hoppo\, violin • Byunghee Yoo\, piano \nShuma is a summer student of Kurt Sassmannshaus.  \n  \nDOMENICO SCARLATTI (1685–1757) \nKeyboard Sonata in A Major\, K. 24 \nKeyboard Sonata in F Minor\, K. 466 \nBenjamin Wolfson\, piano \nBenjamin is a summer student of Elinor Freer. \n  \n4:00 PM \n  \nROBERT SCHUMANN (1810–1856) \nPiano Quintet in E-flat Major\, Op. 44 \nIII. Scherzo: Molto vivace \nAlice Ruth Conry\, Rebecca Hall\, violin • Hannah Wendorf\, viola \nAsher Kalfus\, cello • Danny Ziqi Su\, piano \nThis group is coached by Elinor Freer. Rebecca is sponsored by Herbert & Harriet Paris. \n  \nGUILLAUME CONNESSON  (b. 1970) \nSextour \nII. Nocturne \nNatalie Feldpausch\, oboe • Frank Tao\, clarinet • Tzu-Ting Chen\, violin \nMargaret O’Malley\, viola • Mélisande Lochak\, double bass • Kate Hyebin Park\, piano \nThis group is coached by Elinor Freer. Natalie is sponsored by Norma Phelps\, Frank is sponsored by Doug Collins\, Tzu-Ting is sponsored by Peter & Susan Bachrach\, and Mélisande is sponsored by Charles Johnson & Jean Appleby Johnson. \n  \nANTONÍN DVOŘÁK (1841–1904) \nPiano Trio No. 4 in E Minor\, Op. 90\, B. 166\, “Dumky” \nI. Lento maestoso — Allegro quasi doppio movimento \nII. Poco adagio — Vivace non troppo — Vivace \nAshley Park\, violin • Benjamin Mandigo\, cello • Theo Tsao\, piano \nThis group is coached by Elinor Freer. \n  \nJOHANNES BRAHMS (1833–1897) \nPiano Quartet No. 3 in C Minor\, Op. 60\, “Werther” \nIII. Andante \nNoa Burchesky\, violin • Noah Haro Jang\, viola • Calvin Patti\, cello • Richard Francis Martin\, piano \nThis group is coached by Phillip Ying. Noa is sponsored by ​​The Bingham Trust. \n  \nFRANZ SCHUBERT (1797–1828) \nString Quartet No. 14 in D Minor\, D. 810\, “Death and the Maiden” \nII. Andante con moto \nBenjamin Linton\, Karis Dharmawirya\, violin • Fatima Sullivan\, viola • Stine Adkins\, cello  \nThis group is coached by Phillip Ying. Benjamin is sponsored by Ken & Judy Segal. \n  \nJOHANNES BRAHMS (1833–1897) \nString Quartet No. 2 in A Minor\, Op. 51\, No. 2 \nIV. Finale. Allegro non assai — Più vivace \nKelsey Payne\, Rachel Wang\, violin • Flora Cummings\, viola • Elizabeth Miya Jones\, cello \nThis group is coached by Meg Freivogel. 
URL:https://www.bowdoinfestival.org/event/young-artists-concert-8825/
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-2025-17.jpg
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DTSTART;TZID=America/New_York:20250808T140000
DTEND;TZID=America/New_York:20250808T150000
DTSTAMP:20260517T030111
CREATED:20250803T142816Z
LAST-MODIFIED:20250807T134726Z
UID:23572-1754661600-1754665200@www.bowdoinfestival.org
SUMMARY:Curtis Library Community Concert
DESCRIPTION:Join us at Curtis Library for the final Community Concert of the 2025 season. This concert will feature our Young Artist pianists. \n  \nprogram \n  \nSERGEI PROKOFIEV (1891–1953)\nPiano Sonata No. 3 in A Minor\, Op. 28 \nKou Shimizu\, piano \n  \nFRÉDÉRIC CHOPIN (1810–1849)\nÉtude in E Minor\, Op. 25\, No. 5 \n  \nSERGEI RACHMANINOFF (1873–1943)\nÉtudes-Tableaux\, Op. 39\, No. 5 \nNaomi Wong\, piano \n  \nFRANZ SCHUBERT (1797–1828)\nPiano Sonata No. 17 in D Major\, Op. 53\, D. 850 \nIII. Scherzo: Allegro vivace — Trio \nNabeel Hayek\, piano\nNabeel is sponsored by Lorna & Jack Flynn. \n  \nJOHANNES BRAHMS (1833–1897)\nKlavierstücke\, Op. 119 \nNo. 3 Intermezzo in C Major\nNo. 4 Rhapsody in E-flat Major \nRichard Francis Martin\, piano \n  \nLUDWIG VAN BEETHOVEN (1770–1827)\nPiano Sonata No. 31 in A-flat Major\, Op. 110 \nI. Moderato cantabile molto espressivo\nII. Allegro molto\nIII. Adagio ma non troppo — Fuga. Allegro ma non troppo \nPeizhang Wu\, piano
URL:https://www.bowdoinfestival.org/event/curtis-library-8825/
LOCATION:Curtis Memorial Library\, 23 Pleasant St\, Brunswick\, ME\, 04011
CATEGORIES:Concert,Community Concerts,Free Events
ATTACH;FMTTYPE=image/jpeg:https://www.bowdoinfestival.org/contents/media/2025/05/YAS-2025-18.jpg
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DTSTART;TZID=America/New_York:20250808T193000
DTEND;TZID=America/New_York:20250808T210000
DTSTAMP:20260517T030111
CREATED:20250204T202803Z
LAST-MODIFIED:20250806T121951Z
UID:22709-1754681400-1754686800@www.bowdoinfestival.org
SUMMARY:Richard Goode Plays Mozart
DESCRIPTION:richard goode plays Mozart \nPlease note that this concert will not be livestreamed. \nThis concert features renowned pianist Richard Goode performing Mozart’s Piano Concerto K. 503 with the Festival Orchestra under the baton of Peter Bay. \nPAQUITO D’RIVERA\nWapango\nIsabelle Jamois\, flute • Toyin Spellman-Diaz\, oboe • Frank Tao\, clarinet • Christian Whitacre\, bassoon • Daniel Halstead\, horn \nERNST VON DOHNÁNYI\nSextet in C Major\, Op. 37\nKatia Sofia Waxman\, clarinet • Daniel Halstead\, horn • YooJin Jang\, violin • Liz Freivogel\, viola • Denise Djokic\, cello • Jon Nakamatsu\, piano\n \nWOLFGANG AMADEUS MOZART\nPiano Concerto No. 25 in C Major\, K. 503\nRichard Goode\, piano • Peter Bay\, conductor • Festival Orchestra \n  \n\n  \nprogram notes \n  \nPAQUITO D’RIVERA  \nWapango (1990) \nPaquito D’Rivera’s Wapango first appeared as the penultimate track on his second solo album\, Mariel (1982)\, which he produced shortly after he defected from Cuba and moved to New York City. Most of the album features D’Rivera playing original tunes on alto saxophone together with a standard jazz combination of piano\, percussion\, and bass. Wapango forms a striking contrast with the other numbers in the set\, opening with an extended\, bounding\, polyphonic saxophone chorus that establishes the main tune before the full band enters. In his memoir\, My Sax Life\, he mentions that he originally wrote this part of the piece for the saxophone quartet of his colleague Carlos Averhoff\, with whom he worked before leaving Cuba. In the past few decades\, Wapango has been arranged\, performed\, and recorded by many chamber ensembles. On YouTube\, there is a split-screen video from the height of the Covid-19 Pandemic of D’Rivera playing it together with himself and a few others\, and he has spoken fondly of a particular rendition of it by the Turtle Island String Quartet\, who took it and “turtleized it.” \nThe piece features the clashing combination of 6/8 and 3/4 time typical of the Huapango\, a Mexican dance. The rhythmic groove is set up as a hocket\, meaning that the line is split between different instruments\, as if one is finishing the other’s sentences. This aspect of the piece is well served by this wind quintet transcription\, in which the diversity of timbres in the ensemble makes the interactive divisions of the bassline particularly pointy and characterful. \n  \nERNST VON DOHNÁNYI  \nSextet in C Major\, Op. 37 (1935) \nIn 1934\, Ernő Dohnányi assumed the directorship of the Franz Liszt Academy of Music\, Hungary’s main conservatory. It was a leadership role he had long wished to occupy. He had returned to Budapest in 1915 after a period teaching and performing in Berlin\, and since that time he had been working together with fellow composers of his generation\, like Béla Bartók and Zoltán Kodály\, to build up Hungarian educational and performance institutions. He had briefly served as director of the school in 1919\, but he was pushed out after a few months because the government favored another candidate\, Jenő Hubay. When Dohnányi finally got the job in the 1930s\, he only kept it for a few years; in 1941\, he resigned rather than capitulate to Nazi demands that he expel all Jewish staff and students.  \nHis short tenure got off to a slow start because he suffered from a series of health problems\, including a terrible case of thrombosis that left him stuck at home for several months. He composed the Sextet for Clarinet\, Horn\, Violin\, Viola\, Cello\, and Piano during this period of bedrest\, and one of the first things he did upon recovering was to play in the premiere of the work\, which took place in June 1935. An early reviewer of the piece noted the originality and effectiveness of the mixed ensemble\, which feels almost like a small chamber orchestra. The four instrument families of a symphony — winds\, brass\, strings\, and percussion — are all represented. \nDohnányi’s harmonic and melodic style remained largely rooted in the late-nineteenth-century language of Johannes Brahms\, but he liked to do some rather curious things with form. In the first movement of his Sextet\, he writes out a varied repeat of the exposition rather than calling for a verbatim repetition. In the two versions of the section that he presents\, the main themes appear in the same keys in roughly the same places\, but the transitions and modulations between them are realized differently. It’s a nod to the structure of solo concertos\, but also a decision that gets the listener accustomed to hearing different ways that the movement’s primary musical ideas can be framed. This strategy proves important to the remainder of the piece: first movement themes re-appear at the end of the third movement variation set and also before the closing of the bubbly finale. The flexible familiarity that his idiosyncratic opening movement helps to engender makes these moments of cyclic return all the more hard-hitting. \n  \nWOLFGANG AMADEUS MOZART \nPiano Concerto No. 25 in C Major\, K. 503 (1786) \nBetween 1784 and 1786\, W. A. Mozart wrote and premiered twelve new piano concertos for a string of concerts in Vienna. He was an undeniably agile composer and performer; he dated the manuscript to the last of these\, his Concerto in C major\, K. 503\, on December 4\, 1786\, and he played in the piece’s first performance the next evening. Still\, it’s worth noting that Mozart was certainly not tossing things off or churning them out. In reality\, he worked on that concerto periodically over the course of two years and only completed it after carefully puzzling out some compositionally problematic passages in the opening Allegro maestoso. \nIn May of that year\, Mozart’s Marriage of Figaro had its first run in Vienna\, soon followed by a well-received production in Prague and a commission for his next opera\, Don Giovanni. His writing for the stage and his instrumental works from that time share many features. The pompous dotted rhythms of the opening subject of the C major Piano Concerto lend the music the quality of a grand\, theatrical overture. Mozart attaches a set of three\, light upbeats to the lyrical and transitional themes throughout the concerto’s first movement\, which gives these melodies a playfulness reminiscent of the comic numbers found throughout Figaro. And the wind writing at the beginning of the sweet Andante is so like his opera arias that it is a genuine surprise when a piano\, rather than a voice\, enters after the introduction. \nOne of the most satisfying and characteristic aspects of this concerto is the way that Mozart often plays a little snippet of music twice\, once in major and once in minor. He uses this mode-mixing replay with single measures\, with parts of phrases\, and sometimes with whole melodies. This is a fairly basic trick in a composer’s toolbox — Franz Schubert did this all the time to efficiently re-frame a tune in an alternate mood. But Mozart’s use of these repetitions is particularly effective in this piece\, creating dramatic dialogues between different sections of the orchestra and also between the soloist and the ensemble. \nProgram Notes by Nicky Swett
URL:https://www.bowdoinfestival.org/event/richard-goode-plays-mozart/
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/Richard-Goode-Concert.jpg
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