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Old Vienna Night: Kennebec Early Music Festival — Dynamic Classical Chamber Music
August 16, 2019 @ 7:30 pm - 9:30 pm$10 – $25
The Kennebec Early Music Festival is pleased to announce its Third Season of Chamber Music Concerts on Period Instruments for August 11th–18th. The Festival will feature the Dynamic Artistry of Seven Musicians of National and International Renown from Seattle, Boston, and Bath performing the Music of Bach, Vivaldi, Couperin, Haydn, Beethoven, Mozart, Schubert and other masters as it should be heard – on the historic instruments they knew, played and loved.
Evenings at 7:30 pm, Sundays at 3 pm
The Festival will take place in the majestic Long Reach Hall of the Maine Maritime Museum, 243 Washington Street, in Bath and the intimate Linden Tree Meeting House, 10 Church Lane, in Phippsburg.
Tickets are available for $25 general admission, $20 seniors, $10 students and young adults (ages 17–25) on the Festival’s website www.kemfmaine.org. “Kid’s Come Free” (ages 7–16 with one accompanying adult per child).
OLD VIENNA NIGHT
TRAVEL BACK TO OLD VIENNA with Thomas Carroll, Classical clarinets, Susanna Ogata, 1772 Klotz violin, Sarah Freiberg, 1784 Merlin violoncello, and Tamara Friedman, 1795 Viennese fortepiano, as they performed the music the Viennese masters, Haydn, Beethoven, and Schubert.
Ludwig van Beethoven – Duet in C major for Clarinet & Violoncello, WoO 27 No. 1
Franz Schubert – Sonatina in A minor, for Violin and Fortepiano, Op. posthum 137, D. 385
Ludwig van Beethoven – Duet mit zwei obligaten Augengläsern (Duet requiring two pairs of spectacles) in E-flat major, for Viola and Violoncello, WoO 32
Joseph Haydn, arr. by Vincent Gambaro – Quartet No. 1 in B flat major for Clarinet, Violin, Viola, & Violoncello
Thomas Carroll built his own B-flat Classical clarinet, modeling it after an instrument by August Grenser (Dresden).
Susanna Ogata’s violin was made in 1772 by Joseph Klotz of a well-known family of luthiers in Mittenwald, Germany. Mozart owned a Joseph Klotz violin.
Sarah Darling’s viola was made by William Whedsbee (Chicago, 1987) after a viola by the Brothers Amati (Cremona, 1619)
Sarah Freiberg’s violoncello was crafted by John Joseph Merlin (London, 1784), an ingenious mechanic whose inventions included various types of intricate clocks and automata, a perpetual motion machine, inline skates, and mathematical and keyboard instruments which he displayed in Merlins Mechanical Museum in London.
The fortepiano on which Tamara Friedman is performing was modeled after a 1795 instrument by Anton Walter (Vienna) and build by Rodney Regier of Freeport, Maine, that is similar to the fortepiano Mozart acquired when he took up residence in Vienna
in the early 1780s and all of his mature piano concertos.
With a sound described as “beautifully warm” (Herald Times) and “sweet and agile” (New York Times), period clarinetist and instrument builder THOMAS CARROLL performs extensively throughout North America and Europe on historical instruments. He holds degrees from Oberlin Conservatory, Indiana University, and The Royal Conservatoire of The Hague, where he studied with Eric Hoeprich. Internationally, he has performed under such directors as Christophe Coin, Richard Egarr, Philippe Herreweghe, and Jos van Immerseel, and has played at numerous festivals as an orchestral and chamber musician, including Oude Muziek Utrecht, Young Euro Classic, Festival de Saintes, and Musica Antiqua Brugge. He has been featured as a concerto soloist with Mercury: The Orchestra Redefined, Lyra Baroque, Ensemble ad Libitum, and Grand Harmonie. In North America, he is the principal clarinetist with Grand Harmonie and Mercury: The Orchestra Redefined, and he performs the Clarion Music and Handel and Haydn Societies, and Boston Baroque. Thomas is currently on the faculty of the Brookline Music School and maintains a private studio and a historical clarinet workshop.
Enjoy Thomas’s playing at https://http://www.carrollclarinet.com/media/
Violinist SUSANNA OGATA enjoys an active performance schedule in greater New England and beyond. She has been praised for “totally convincing, spontaneous and free-flowing playing” (The Berkshire Review), “her musical sensitivity and fire” (Boston Musical Intelligencer), and playing of “electrifying energy, awesome technical command, and rollicking dialogue” (Arts Fuse Magazine) where her concert appearance was distinguished as best solo performance of 2016. Her first recording in a complete set of Beethoven’s violin sonatas gained acclaim from the New York Times for “elegant readings that are attentive to quicksilver changes in dynamics and articulation.” Their performance of the Sonata No. 4 in A minor is “darkly playful,” their Kreutzer Sonata “brilliant and stormy.” The BBC Music Magazine has praised the recording for its “altogether compelling performances” and the music for being “always vividly characterized,” and further pronounced that “the atmosphere of excitement in both works is very well captured by Susanna Ogata and Ian Watson.” Susanna is a tenured member of the venerable Handel and Haydn Society in Boston and was recently appointed as Assistant Concertmaster of the orchestra. She has served on the violin faculty of the Longy School of Music and is a founding member of the Boston Classical Trio, the Copley String Quartet, and the Coriolan String Quartet.
Enjoy Susanna’s playing at https://mail.google.com/mail/u/0/#search/og/164250f2bc566885?projector=1
Violist SARAH DARLING has been praised for her “absolute concentration and astonishing precision” (Badischer Zeitung), “sympathy and spirit” (Hub Review), and “excellent solos” (Boston Globe). She enjoys a varied musical career that spans many centuries and styles. She studied at Harvard, Juilliard, Amsterdam, and Freiburg (as a recipient of the Beebe, Paine, and DAAD grants) and is currently finishing a doctorate at New England Conservatory with Kim Kashkashian. She holds a variety of leading roles with A Far Cry, Boston Baroque, Musicians of the Old Post Road, the Harvard Baroque Chamber Orchestra, Les Bostonades, Gut Reaction, Musical Offering, and the Arcturus Ensemble. Sarah also works with the Carmel Bach Festival, the BEMF orchestra, Tafelmusik, Emmanuel Music, and the Bach Ensemble, and has recorded for Naxos, Linn, Paladino, Azica, MSR, and Centaur Records. She has performed in the Ravinia, Lucerne, Norfolk, Sarasota, and Yellow Barn festivals, and has collaborated with members of the Juilliard, Takacs, Borromeo, Ying, Orion, and Cleveland string quartets. Active as a teacher and coach, she has a special interest in body mechanics and musical rhetoric.
Enjoy Sarah’s playing at https://www.youtube.com/watch?v=EyMxUFxrY5Y
SARAH FREIBERG is principal cellist of Boston Baroque and a tenured member of the Handel and Haydn Society. She has performed with the New York Collegium, the Philharmonia (San Francisco), Portland (Oregon), and Seattle Baroque Orchestras, the Boston Early Music Festival, and Arion (Montreal). As a corresponding editor for Strings magazine, she has contributed dozens of articles and reviews on a wide range of subjects. Sarah edited the long-forgotten Guerini cello sonatas for both PRB Productions and Broude Brothers, and recorded both Guerini and Laurenti cello sonatas for Centaur. As well as teaching in the Historical Performance department at Boston University, she is Chair of Strings and Chamber Music at the Powers Music School in Belmont and teaches at the Amherst Early Music Festival. Sarah can be heard on numerous recordings, including as soloist on the Boston Baroque CD of works by Vivaldi and Geminiani.
Enjoy Sarah’s playing at https://www.youtube.com/watch?v=sGkg5fbfUuc and www.sarahfreiberg.com
Pianist TAMARA FRIEDMAN, praised for the depth, wit, and humor of her performances (Seattle Times), attended the Oberlin Conservatory and received her master’s degree from the Mannes College of Music (NYC). She has collaborated with such artists as Stanley Ritchie, Jaap Schröder, and Max van Egmond, and appears with violinist Elizabeth Blumenstock as Duo Amadeus. In the Pacific Northwest she has performed on the Seattle Camerata, Allegro Baroque and Beyond, Belle Arte, Early Music Guild, Gallery Concerts, and Mostly Nordic series and for the Governor’s Chamber Music Festival. Tamara has been the featured performer in early piano workshops for Pacific Lutheran University (Tacoma, WA) and the Western Early Keyboard Association, and maintains a private studio in Seattle, where she teaches modern piano and fortepiano on the collection of eighteenth- and nineteenth-century keyboard instruments on display at SEKM! – the Skagit Early Keyboard Museum. Her summers are spent in Bath, Maine, where she also has a group of historic pianos.
Enjoy Tamara’s playing at https://www.youtube.com/watch?v=6iIrBWKV1nk
The Kennebec Early Music Festival is supported by grants from the
MAINE ARTS COMMISSION
EDGARD AND GERALDINE FEDER FOUNDATION
GEORGE P. DAVENPORT TRUST FUND
BATH SAVINGS TRUST COMPANY
WILLIAM RAVEIS/CARLETON REAL ESTATE