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Mozart à la Mode (Sunday performance in Bath, ME)

Maine Maritime Museum
Bath, ME

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Mozart à la Mode (Sunday performance in Bath, ME)

THE KENNEBEC EARLY MUSIC FESTIVAL

Under the artistic direction of George Bozarth, KEMF is bringing together musicians of national and international renown from Seattle, Boston, and Bath to perform the music of Bach, Mozart, Beethoven, and other classical masters on historic instruments four 18th-century clarinets, Classical violin and violoncello, Italian harpsichord, and Viennese fortepiano.

NOTE - This concert is also being performed on Saturday, August 18th, in the intimate Linden Tree Meeting House in Phippsburg, ME (see our separate link for this performance: https://www.brownpapertickets.com/event/3463199)

MOZART A LA MODE

Enjoy your Mozart with a side of Beethoven as Thomas Carroll, Classical clarinets, Susanna Ogata, 1772 Klotz violin, Sarah Freiberg, 1784 Merlin violoncello, and Tamara Friedman, 1795 Viennese fortepiano, serve up the Adagio from Mozart's Clarinet Concerto, Beethoven's "Bei Männer" Variations, Mozart's Rondo in A minor, Violin Sonata in D major, and Beethoven's Clarinet Trio, plus a Surprise Mozart Finale!

THE PROGRAM

Adagio from the Clarinet Concerto, K. 622 Wolfgang Amadeus Mozart (1756-1791)

Variations on Mozart's Aria "Bei Männern, welche Ludwig Beethoven
Liebe fühlen," from The Magic Flute, for Violoncello (1770-1827)
and Fortepiano, WoO 46

Sonata in D major for Violin and Fortepiano, K. 306 Mozart

Allegro con spirito Andante cantabile Allegretto

Trio in B-flat major for Clarinet, Violoncello, and Beethoven
Fortepiano, Op. 11

Allegro con brio Adagio Tema con variazione

A Mozart à la Mode Surprise Finale! Mozart

THE MUSICIANS

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 the 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, has served on the violin faculty of the Longy School of Music, and was recently appointed as Assistant Concertmaster of the orchestra. She is a founding member of the Boston Classical Trio, the Copley String Quartet, and the Coriolan String Quartet.

Hear Susanna play at https://mail.google.com/mail/u/0/#search/og/164250f2bc566885?projector=1

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 his major teacher on early clarinets and chalumeaux was Eric Hoeprich.

Internationally, Thomas 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, Muziekzomer Gelderland, Young Euro Classic, Festival de Saintes, and Musica Antiqua Brugge, in venues ranging from the Konzerthaus in Berlin to the Concertgebouw in Amsterdam. He has been featured to critical acclaim as a concerto soloist with Mercury: The Orchestra Redefined, Lyra Baroque, Ensemble ad Libitum, and Grand Harmonie. In North America, Thomas is the principal clarinetist with Boston-based Grand Harmonie and Houston-based Mercury: The Orchestra Redefined, and he frequently collaborates with other early music specialists on the east coast, including 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.

An interest in instrument mechanics and acoustics led Thomas to a secondary career as an instrument builder and to undertake extensive research into 18th- and 19th-century wood treatment and seasoning. He studied woodworking and instrument construction with Linda Shortridge, Rob Turner, and Paul Beekhuizen, and builds chalumeaux, baroque, and classical clarinets, and basset instruments for use in historically informed performance ensembles.

Hear Thomas play at https:// http://www.carrollclarinet.com/media/

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, Philharmonia Baroque Orchestra (San Francisco), Portland Baroque (Oregon), Seattle Baroque, 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.

Hear Sarah play 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 Seattle Early Keyboard Museum. Her summers are spent in Bath, Maine, where she also has a group of historic pianos.

Hear Tamara play at https://www.youtube.com/watch?v=6iIrBWKV1nk