BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Howland Chamber Music Circle - ECPv6.13.1//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:Howland Chamber Music Circle
X-ORIGINAL-URL:https://howlandmusic.org
X-WR-CALDESC:Events for Howland Chamber Music Circle
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/New_York
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20260308T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20261101T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260503T160000
DTEND;TZID=America/New_York:20260503T160000
DTSTAMP:20260523T130726
CREATED:20250601T144209Z
LAST-MODIFIED:20260425T115825Z
UID:2545-1777824000-1777824000@howlandmusic.org
SUMMARY:BRANDON PATRICK GEORGE\, FLUTE ANDPLÍNIO FERNANDES\, GUITAR
DESCRIPTION:GET TICKETSBrandon Patrick George is a GRAMMY®-winning flutist who performed at the Howland last season as part of Imani WInds. Plínio Fernandes fuses the tradition of classical guitar with Brazilian folk music. He was named on Forbes Brazil’s Under 30 list\, a Rising Star by Classic FM\, and recently received the Revelação Award at the 30th Annual Prêmio da Música Brasileira. \nThe concert is followed by a reception where you can meet the artists.\nAll are encouraged to attend. \nThis project is made possible with funds from the New York\nState Legislature and administered by Arts Mid-Hudson. \nProgram\nJ. S. Bach: Sonata in E Major\, BWV 1035\nI. Adagio ma non tanto\nII. Allegro\nIII. Siciliano\nIV. Allegro assai \nTōru Takemitsu: Toward the Sea\nI. The Night\nII. Moby Dick\nIII. Cape Cod \nAstor Piazzolla: Histoire du Tango\nI. Bordell 1900\nII. Café 1930\nIII. Night Club 1960\nIV. Concert d’aujourd-hui \nI N T E R M I S S I O N \nOsvaldo Golijov: Fish Tale \nHeitor Villa-Lobos: Distribuição de flores \nHeitor Villa-Lobos: Bachianas Brasileiras No. 5 \nManuel de Falla: Siete Canciones\nI. El paño moruno\nII. Seguidilla murciana\nIII. Asturiana\nIV. Jota\nV. Nana\nVI. Canción\nVII. Polo \nProgram Notes\nProgram Notes\, by Zachary Pulse. \nJohann Sebastian Bach’s Sonata in E Major\, BWV 1035\, is believed to have been composed during his later years\, likely in the 1740s while he was in Leipzig. Unlike many of his other instrumental sonatas\, this work survives in a manuscript copy rather than in Bach’s own hand\, and it has long been associated with his visits to the court of Frederick the Great in Potsdam\, where the king was an avid flutist. The sonata is written in four movements following the sonata da chiesa pattern (slow-fast-slow-fast) and reflects Bach’s mature style with its balance of contrapuntal writing and galant clarity.  \nTōru Takemitsu’s Toward the Sea was composed in 1981 and later revised in 1989. It exists in several instrumentations\, most commonly for alto flute and guitar or harp. The work was commissioned by Greenpeace and reflects Takemitsu’s longstanding interest in nature\, particularly water imagery\, which appears frequently in his music. Takemitsu\, largely self-taught as a composer\, drew from both Western avant-garde techniques and traditional Japanese aesthetics. His music often avoids conventional tonal development in favor of timbral and spatial exploration. In Toward the Sea\, he incorporates the use of pitch sets derived from musical cryptograms\, including one based on the name “SEA.” The work demonstrates his characteristic approach to silence\, resonance\, and subtle dynamic shading. \nAstor Piazzolla’s Histoire du Tango\, composed in 1985\, traces the evolution of the tango through four distinct historical periods. Piazzolla\, an Argentine composer and bandoneón virtuoso\, is known for revolutionizing traditional tango by incorporating elements of jazz and classical music into what became known as nuevo tango. Each movement of Histoire du Tango represents a different era and social context. “Bordell 1900” reflects the early tango as it developed in the brothels of Buenos Aires\, characterized by lively rhythms and simple harmonies. “Café 1930” depicts a shift toward more introspective and refined styles\, as tango moved into urban cafés and became associated with listening rather than dancing. “Night Club 1960” incorporates influences from jazz and bossa nova\, reflecting mid-20th-century musical trends. The final movement\, “Concert d’aujourd’hui\,” presents tango in a contemporary concert setting\, featuring advanced harmonies and virtuosic demands. The work was originally written for flute and guitar\, though it is frequently performed in various arrangements. \nOsvaldo Golijov’s Fish Tale was composed in 1997 as part of a set of pieces inspired by the writings of Isaac Bashevis Singer. Golijov\, an Argentine-born composer of Eastern European Jewish descent\, draws on a wide range of musical traditions\, including classical\, klezmer\, and Latin American idioms. Fish Tale reflects his interest in storytelling and cultural memory\, often blending tonal and modal elements with rhythmic vitality. The piece was originally written for clarinet\, cello\, and piano\, though it has been adapted for other instrumentations. Golijov has cited his upbringing in Argentina and his later studies in Israel and the United States as formative influences on his compositional voice. His works frequently engage with themes of migration\, identity\, and spirituality\, often through eclectic musical language. \nHeitor Villa-Lobos composed Distribuição de flores in 1937 as part of his extensive output that integrates Brazilian musical elements with European classical traditions. Villa-Lobos\, one of Brazil’s most prominent composers\, was largely self-taught and drew inspiration from the folk and popular music of his country. The title\, which translates to “Distribution of Flowers\,” reflects a ceremonial or festive character. The work is less frequently performed than many of his other compositions but exemplifies his interest in color\, rhythm\, and national identity.  \nVilla-Lobos’s Bachianas Brasileiras No. 5\, composed in 1938 and later revised in 1945\, is part of a series of nine works that pay homage to Johann Sebastian Bach while incorporating Brazilian musical idioms. Scored originally for soprano and an ensemble of eight cellos\, it is among his most well-known works. Villa-Lobos sought to merge the contrapuntal techniques of Bach with the melodic and rhythmic characteristics of Brazilian folk music. The Bachianas Brasileiras series reflects his broader project of creating a distinctly Brazilian classical music that remains connected to European traditions. \nManuel de Falla’s Siete Canciones Populares Españolas\, composed in 1914\, is a set of seven songs based on traditional Spanish melodies from various regions. De Falla\, a central figure in early 20th-century Spanish music\, was influenced by both French impressionism and Spanish folk traditions. The songs were originally written for voice and piano\, though they have been widely arranged for different ensembles. The tunes evoke a broad range of Spanish regional styles\, and each deals with themes of love and courtship—at turns playfully\, seriously\, and tragically. Rather than simply harmonizing existing tunes\, de Falla reworked them with sophisticated accompaniments and structural modifications. The songs vary in mood\, tempo\, and character\, showcasing a range of expressive possibilities rooted in Spain’s diverse musical heritage. \nAbout the Artist\nBrandon Patrick George\nBrandon Patrick George is a GRAMMY-winning flutist whose repertoire extends from the Baroque era to today. He is the flutist of Imani Winds and has appeared as a soloist with the Atlanta\, Baltimore\, and Albany symphonies\, American Composers Orchestra\, and the Orchestra of St. Luke’s\, among others. He has been praised as “elegant” by The New York Times\, as a “virtuoso” by The Washington Post\, and as a “knockout musician with a gorgeous sound” by The Philadelphia Inquirer. \nBrandon has performed at the Elbphilharmonie\, the Kennedy Center\, the Dresden Music Festival\, and the Prague Spring Festival. In addition to his work with Imani Winds\, Brandon’s solo performances include appearances at Lincoln Center\, the Metropolitan Museum of Art\, 92nd Street Y\, Tippet Rise\, Bridgehampton Chamber Music Festival\, and the Isabella Stewart Gardner Museum. In 2021\, Brandon was part of the inaugural class of WQXR’s Artist Propulsion Lab\, a program designed to advance the careers of early and mid-career artists and support the future of classical music. During his yearlong residency at WQXR\, Brandon guest hosted Evening Music\, interviewed Ford Foundation president Darren Walker about diversity and equity in the performing arts\, and recorded with pianist Aaron Diehl and harpist June Han. \nPrior to his solo career\, Brandon performed as a guest with many of the world’s leading ensembles including the Los Angeles Philharmonic\, the Pittsburgh Symphony Orchestra\, the Orpheus Chamber Orchestra\, and the International Contemporary Ensemble (ICE). He has appeared as guest principal flute with the Los Angels Philharmonic\, performing at Walt Disney Concert Hall and at the Hollywood Bowl with Music Director Gustavo Dudamel. His ensemble work allowed him to work closely with some of the foremost composers of our time including John Adams\, Louis Andriessen\, Tania León\, Steve Reich\, and George Lewis. \nBrandon has collaborated with many illustrious musicians and composers in chamber settings\, including with the Escher Quartet\, pianists Aaron Diehl and Lowell Liebermann\, harpsichordist Mahan Esfahani\, harpist Bridget Kibbey\, and composers Valerie Coleman and Sullivan Fortner. \nIn September 2023\, Brandon’s latest album\, Twofold\, was released on In a Circle Records. Twofold\, Brandon’s second solo album\, explores musical dialogues that transcend space\, time\, and identity by pairing canonical works for solo flute with new compositions. The recording features music by C.P.E. Bach\, Claude Debussy\, Reena Esmail\, Saad Haddad\, Shawn E. Okpebholo\, Ruth Crawford Seeger\, and Toru Takemitsu. BBC Music Magazine gave Twofold a four-star rating for both the performance and recording\, calling the album “a superb collection.” Twofold follows the success of Brandon Patrick George’s debut solo album\, which includes music by Kalevi Aho\, J.S. Bach\, Pierre Boulez\, and Sergei Prokofiev\, and was released in 2020 on Haenssler Classics. Brandon was profiled in The New York Times around the album’s release\, in an article titled “A Flutist Steps into the Solo Spotlight\,” which described the album as “a program that showcases the flute in all its wit\, warmth and brilliance.” \nBrandon Patrick George regularly serves on panels about diversity in classical music\, being repeatedly asked what institutions can do to support and reflect the communities they serve. The many conversations\, and desire to use his platform for change\, inspired him to create his latest commissioning initiative\, BPG: The Community Concerto Project. Brandon proposes a new concerto which features students that he will mentor during his collaboration in the community. Having a new commission which tells the story of that community\, while also representing the community on stage\, encompasses Brandon’s vision of helping orchestras deepen their connections with their audiences\, inspire young musicians of color\, and expand the repertoire with programming that reflects the community in which they serve. In June 2024\, the Albany Symphony presented BPG: The Community Concerto Project in a new concerto performed by Brandon and the Albany High School Choir composed by Michael Gilbertson. Brandon will continue to work with symphonies and students across the country in future seasons\, helping to build connections between various communities and orchestral institutions. \nRaised by a single mother in Dayton\, OH\, Brandon is the proud product of public arts education. He draws on his personal experiences in his commitment to educating the next generation\, performing countless outreach concerts for schoolchildren every year\, and mentoring young conservatory musicians of color embarking on performance careers. Brandon trained at the Oberlin Conservatory of Music with Michel Debost\, in Paris with Sophie Cherrier\, and received a Master of Music from the Manhattan School of Music\, studying with Marya Martin. He continued his studies under the guidance of Lorna McGhee\, now principal flutist of the Boston Symphony Orchestra. \nBrandon serves on the faculty of the Curtis Institute of Music since 2021 and was appointed to the flute faculty at the Mannes School of Music in January 2025. He has spent many summers on the faculty of the Banff Centre for Arts and Creativity in Canada. In 2024\, he was appointed as the Music Consultant at The Morgan Library & Museum\, where he oversees the development and implementation of its music program. \nhttps://www.brandonpatrickgeorge.com/ \nPlínio Fernandes\nBorn and raised in São Paulo\, Plínio Fernandes fuses the tradition of classical guitar with Brazilian folk music. An exclusive Decca Gold recording artist\, Plínio released his debut album Saudade in 2022\, which hit Number One on the Billboard Traditional Classical Albums Chart. His second album in the recording partnership\, Bacheando\, was released in September 2023. Plínio was named on Forbes Brazil’s Under 30 list\, a Rising Star by Classic FM\, and recently received the Revelação Award at the 30th Annual Prêmio da Música Brasileira. Recent highlights include a UK tour with Sheku Kanneh-Mason\, including a sold-out performance at London’s Wigmore Hall\, a sold-out UK tour with Braimah Kanneh-Mason\, and performances with Lang Lang. \nhttps://www.pliniofernandesmusic.com/
URL:https://howlandmusic.org/events/brandon-patrick-george-flute-andplinio-fernandes-guitar/
LOCATION:Howland Cultural Center\, 477 Main Street\, Beacon\, NY\, 12508
CATEGORIES:Chamber Music
ATTACH;FMTTYPE=image/png:https://howlandmusic.org/wp-content/uploads/2025/06/BrandonPatrickGeorge8byLaurenDesberg_DUO.png
ORGANIZER;CN="Howland Chamber Music Circle":MAILTO:info@howlandmusic.org
END:VEVENT
END:VCALENDAR