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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Concert: Simon Farintosh - Solo Guitar Works Creator An entity primarily responsible for making the resource Sean Kiley Date A point or period of time associated with an event in the lifecycle of the resource February 27 2026 https://finearts.uvic.ca/music/archive/files/original/dbae4a7addf904ae237b246ffcb4eabb.pdf 33206b854123706ae8708bb58883576c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Concert Series Hyperlink A link, or reference, to another resource on the Internet. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Chamber Music For a New Season Creator An entity primarily responsible for making the resource Sean Kiley Date A point or period of time associated with an event in the lifecycle of the resource October 30 2025 https://finearts.uvic.ca/music/archive/files/original/36773e4a291d5907345a750bb2e830fc.pdf 61b5080a16a6dd4f094507f9f40ef3ed Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Concert Series Hyperlink A link, or reference, to another resource on the Internet. 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Title A name given to the resource Bedtime Stories: A Recital for Horn and Piano Creator An entity primarily responsible for making the resource Sean Kiley Date A point or period of time associated with an event in the lifecycle of the resource October 23 2025 https://finearts.uvic.ca/music/archive/files/original/fdc3a9ed16307cf0675a1e130efef763.pdf 3c99c42e91fae56c9e53787c219d8167 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Concert Series Hyperlink A link, or reference, to another resource on the Internet. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lecture-Recital: Dance Around the Sun Creator An entity primarily responsible for making the resource Sean Kiley Date A point or period of time associated with an event in the lifecycle of the resource September 29 2025 https://finearts.uvic.ca/music/archive/files/original/1a6a3e2ce1c395b02ca7095c8f6a5529.pdf 0bd20715732c4e516ea563df0e7cf309 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Concert Series Hyperlink A link, or reference, to another resource on the Internet. 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Title A name given to the resource Faculty Concert: Nocturne featuring guitarist Simon Farintosh Creator An entity primarily responsible for making the resource Megan Harton https://finearts.uvic.ca/music/archive/files/original/5d320ae015f1556c030ca65c7f6d7c71.pdf a95cf3d52a1ee9934ddf09ab9524f972 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Concert Series Hyperlink A link, or reference, to another resource on the Internet. 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Title A name given to the resource Faculty Concert: Stories Within the Notes Creator An entity primarily responsible for making the resource Megan Harton Date A point or period of time associated with an event in the lifecycle of the resource October 26 2024 Contributor An entity responsible for making contributions to the resource Pamela Highbaugh Aloni, cello with guest pianist Futaba Niekawa https://finearts.uvic.ca/music/archive/files/original/df85b63955431a1d94e775837743d053.pdf dbce94eec331d4a7dcb5bfd6351c441b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Concert Series Hyperlink A link, or reference, to another resource on the Internet. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Concert: Gathering Our Voices Subject The topic of the resource A UVic Voice Faculty Showcase featuring Anne Grimm, soprano Marion Newman, mezzo-soprano Benjamin Butterfield, tenor Kyron Basu, baritone Kinza Tyrrell and Simi Luttrell, piano Description An account of the resource The UVic School of Music is thrilled to welcome mezzo-soprano Marion Newman as the newest member of the voice faculty with a special concert performed by our renowned voice instructors. The centrepiece of the program will be Brahms’ Liebeslieder Waltzes, Op. 52. Originally composed for informal music-making among friends — a practice common in the 19th century — this collection consists of 18 songs for vocal quartet (soprano, alto, tenor, bass) and piano four-hands. The texts are drawn from a collection of folk-like poems, originally published by Georg Friedrich Daumer in his book Polydora. Despite their simplicity, the songs are infused with Brahms’ trademark emotional depth, exploring themes of love, longing, and the complexities of relationships. Critically acclaimed and award-winning mezzo-soprano Marion Newman is Kwagiulth and Stó:lō First Nations with English, Irish and Scottish heritage. Marion was born in Bella Coola and grew up in Sooke, BC, immersed in and embraced by her community and culture. She is one of Canada’s most accomplished singers in repertoire ranging from Charpentier to Cusson and operatic roles, including Carmen and Rosina in The Barber of Seville. Nominated for a Dora Award for her leading role in the world premiere of Shanawdithit (Nolan/Burry) with Toronto’s Tapestry Opera, Ian Ritchie wrote, “She invests her character with towering dignity and courage.” Creator An entity primarily responsible for making the resource Megan Harton Date A point or period of time associated with an event in the lifecycle of the resource September 28 2024 Contributor An entity responsible for making contributions to the resource Anne Grimm, soprano Marion Newman, mezzo-soprano Benjamin Butterfield, tenor Kyron Basu, baritone Kinza Tyrrell and Simi Luttrell, piano https://finearts.uvic.ca/music/archive/files/original/c05823c837359cf3b02c8788480f4595.pdf 5a8ad4027e478f25d55093feb1723256 PDF Text Text SCHOOL OF MUSIC • UNIVERSITY OF VICTORIA FACULTY CONCERT SERIES LEBEWOHL. A FINAL RECITAL BRUCE VOGT PIANO WITH SPECIAL GUEST JAN ZWICKY SATURDAY, MARCH 2, 2024 | 8 PM Phillip T. Young Recital Hall MacLaurin Building, University of Victoria �PROGRAM We acknowledge and respect the Lekwungen peoples on whose traditional territory the university stands and the Songhees, Esquimalt and WSÁNEĆ peoples whose historical relationships with the land continue to this day. Goe From My Window John Munday (1555–1630) Sonata in D Major Hob XVI:42 (1784) i. Andante con espressione ii. Vivace assai Joseph Haydn (1732–1809) i. Les Cyclopes from Suite in D Major (1706) Jean-Phillipe Rameau ii. L’enharmonique from Suite in G minor (1729-30) (1683-1784) Two Meditations: Andante in A Major, D. 604 (c. 1817) Nocturne in B Major, Opus 62, No. 1 (1846) Franz Schubert (1797–1828) Frédéric Chopin (1810–1849) I NT E R M I S S I O N The late vision of Franz Liszt (1811–1886) Valses oublieé No. 1 (1881) Bagatelle sans tonalité (1885) Aux cyprès de la Villa d’Este: Threnodie (1877) — Reading by Jan Zwicky — Schaflos! Frage und Antwort (1883) Resignazione (1881) Transcendence Bénédiction de Dieu dans la solitude (Hymn to God in My Solitude) (1851) All are welcome to join for a reception in the lounge. �PROGRAM NOTES Munday: Goe From My Window I have loved the music of the Elizabethan virginalists since first being introduced to it as an undergrad student, but I have never attempted a performance. Now seems to be the time. Many composers wrote sets of variations on the popular song ‘Goe From My Window’ but the song itself is now lost. The identity of the composer of this set remains a bit of a mystery. It is ascribed to two different composers in the Fitzwilliam Virginal Book, which is the most important collection of English keyboard music from the Elizabethan and post-Elizabethan period. The first version has seven variations with the composer listed as Thomas Morley. But later, in the same collection, the composition appears again, this time with an added eighth variation and with the composer listed as John Mundy (or Jhon Munday — the Elizabethans evidently couldn’t spell). Did this Munday/ Mundy simply purloin the first seven variations and add another, claiming sole authorship? Perhaps the two composers reached an agreement over a flagon of ale. Certainly, the additional variation concludes the composition much more satisfyingly. But rather than getting too involved in this mystery, we can instead simply ascribe the authorship to Francis Bacon. Haydn: Sonata in D Major Hob XVI:42 Haydn often included in his sonatas a variation movement, with alternating tonic major and minor variations. This two-movement sonata begins wistfully with such a movement. The second vivace movement takes a very long time to make up its mind that it truly is in D Major. The wit, along with the full-hearted humanity of this composer, remain for us a great gift. Two pieces by Rameau: Les Cyclopes The solitude, strength and clumsiness of Cyclops were at that time a frequent theme on the stage, here rendered with style and continuous invention. And even after the many pianistic developments in the 19th century, Les Cyclopes retains the ability to astonish both the performer and the listener. Here, Rameau the theorist, is also a man of the theatre. He wished the “pleasure of the eyes” to be matched with the “pleasure of the ears”. And to support this show of virtuosity, he indicated directly on the score when to rotate the thumb or where to cross hands with little circles and precise fingerings — dramatic movements that challenge the performer and catch the eye of the observer. �L’Enharmonique At a time when keyboard music was increasingly free from a dependence on basso continuo, Rameau imagined that L’Enharmonique would baffle a contemporary audience with its extreme chromatism and striking harmonic progressions. In the present day, these qualities gently disorient and charm the listener, while they somehow anticipate the romantic tradition of 19th century piano music. We are perhaps no longer confused by its harmonic audacity, but the sustained uncertainty has a role in surrendering us to its emotion. Two Meditations: Schubert: Andante “Schubert’s tonality is as wonderful as star clusters, and a verbal description of it is as dull as a volume of astronomical tables.” [D. F. Tovey] At the time of Schubert’s death, only his own circle of friends was familiar with his music — and even they knew him mostly as a song composer. Most of his instrumental music had not yet been published. Many of these works would not be heard for decades. His 9 symphonies (7 complete), 15 string quartets, many other chamber works, 21 piano sonatas (13 complete), masses, other choral works and many more — were almost all unknown then. And when these works were finally being heard and pondered over, too often they were patronized as structurally flawed. Even 50 years ago it was not uncommon to hear that many of Schubert’s instrumental works were undisciplined. There were, however, a few champions of note. Liszt and Brahms were among the first to recognize Schubert’s achievement as an instrumental composer. And in 1894, Antonín Dvořák wrote: “[He] is never at fault in his means of expression, while mastery of form came to him spontaneously… Schubert’s musical individuality is unmistakable...” Of course, his audience long ago grew far beyond a small circle of friends, and yet the sense of intimacy with Schubert’s music remains. It can feel as if each work has been written for us personally, moving us all the more profoundly. That has been very much my experience: Schubert’s music has been a constant companion throughout my musical life. This seemingly unprepossessing Andante brings to this programme the enduring depth of his presence. It is an early work, likely unmoored from an unfinished sonata. Thus, it reflects the fate of much of his music: to be discovered late and understood intimately later still. Chopin: Nocturne, Opus 62, No. 1 The Irish composer and pianist John Field (1782–1837) may have been the first to use the title “Nocturne” for a single solo piano work. The genre was young and free when Chopin took from Field the characteristic device of creating, with the left hand, a web-like accompaniment by means of intricate broken chord figurations, which sup- �ports and enriches an aria-like melody above. And all of this unified with the use of the sustaining pedal. To this, Chopin added his own original harmonic language and his command of long sustained lyricism. The two Nocturnes, opus 62, were written very near the end of his compositional life and three years before his death. In this first of the pair, one scarcely notices the contrapuntal richness which is unobtrusively everywhere, yet discreetly absorbed into the ongoing vocal texture. The Late Vision of Franz Liszt In his last years, Liszt spent his time teaching and composing, he did nothing to make these late compositions known and even discouraged his students from playing them. The works I chose for this program were all written in those later years, works surrounded by silence, and addressed to an uncertain future. They represent a radical break from his earlier compositions, and he expected no success for them in his lifetime. Composing them was a means — in his words — of ‘hurling a lance into the future’. In 1873, he wrote to his friend, the Hungarian composer Mosonyi, about his continued dedication to composing, despite contemporary indifference: “Yet there still remain several things for me to say, irrespective as to whether they may be quickly understood or recognized. Sometime when I am no longer of this earth, the rest will find itself. I can calmly await the event while I go on working, and meanwhile composedly expiate my virtuoso reputation with the disapproval my compositions have excited.” And so it was. Not until the enthusiastic advocacy of Bartók, Busoni and others, were these late works recognized for what they are — a most astounding anticipation of major new paths which Western music was to follow. In their radical simplicity, obsessive rhythms, and strange harmonies, they take the listener to the very brink of tonality. But these works are more than anticipations of the future, curiosities for music historians, or the ruminations from the composer’s last years. Liszt’s biographer, Alan Walker, focuses on their expression of depression and despair — and Liszt did describe his last years as a time when “exuberance of heart turned to bitterness of heart.” But I hear in these late works an extension of Liszt’s life-long spiritual inquiries, a courageous and unrelenting gaze into the abyss. He finds much terror there but also much beauty. They represent the achievement and the sum of a life devoted to music and spiritual questioning. For me, these are works which meditate on the human condition.To live our lives fully and truly is to face, at every turn, our own mortality: how we must die and how everything that we hold dear — those we love, the things that resonate throughout our lives — will disappear, often painfully and in a protracted way. The preciousness of the things we value will not change this reality. The gap between the meaningfulness, the preciousness of life and its fleeting grain-of-sand nature cannot be closed by thought or by argument. Nor can it be put aside by what D. H. Lawrence calls “the dead vanity of knowing better …the blank / cold comfort of superiority, [the] silly / conceit of being immune.” �Surely, it is a privilege of art that it can hint at a way of closing — or at least lessening — the gap. Liszt wrote three Valses oubliées, or “forgotten waltzes,” between 1881 and 1885; a fourth was left almost completed. All of them share a kind of other-worldly strangeness. The first, the most familiar of the three, has the giddiness of the waltz — yet something sinister is perhaps suggested. It seems to come from afar, and to be vaguely out of tune, unattainable. The Fourth Mephisto Waltz: Bagatelle sans tonalité was written sometime between 1883 and 1885. It remained unknown until 1956, when it was finally published in Budapest. This publishing history demonstrates both the incomprehension with which these late works were received and the composer’s listless indifference to their fate. Now, more than a century later, this work fascinates us for the very reasons that made it incomprehensible in the 1880s. Liszt spent a good part of each year from 1864 onward in the Villa d’Este — a 16th century castle in a park in Tivoli near Rome. It is famous for its elaborate fountains, but it is also renowned for its ancient cypresses, which became the inspiration for two Threnodies. The two Aux Cyprès de la Villa d’Este (Among the Cypresses of the Villa d’Este) are ruminations on the ephemeral nature of existence. “For three whole days, in September 1877, Liszt spent every hour of sunlight and as much of night as was made visible by the moon, in admiration of the cypresses. They obsessed his thoughts to the exclusion of all else” — words of one of Liszt’s biographers, Sacheverell Sitwell. Schlaflos! Frage und Antwort (Sleepless! Question and Answer) was inspired by a poem by Toni Raab, which is now lost.The distinguished poet and philosopher, Jan Zwicky, has generously agreed to reverse the original process: instead of a composition inspired by a poem, she is giving us a poem inspired by the composition. As is the case with so many of Liszt’s late works, nothing is known of the origin of the simple and touching Resignazione. Transcendental Vision The greatest of Liszt’s many religious compositions is Bénédiction de Dieu: Blessing of God in Solitude — based on a poem by Lamartine. Surely this is one of Liszt’s most moving masterpieces, but also one of the few religious works of the 19th century that is not suffused with a kind of stained-glass sentimentality. It describes a mystical experience, bringing a sense of harmony with the universe, a freedom from doubt and despair. One does not need to share Liszt’s religious convictions — or indeed, any religious conviction — to feel the power of this vision. Such moments of clarity seem to be found in all religions, and even among those who would call themselves atheists. Perhaps, as Carol Shields suggests, we all have some intimation of these moments in time: “…those… rare transcendental moments when you suddenly feel everything makes �sense and you perceive the pattern of the universe. I think we all get a few of these minutes.” My brother Gordon, who died more than 40 years ago, once told me of his own such mystical experience: I had gone for a walk in the autumn heat, through the vibrant air of the woods. As I was returning from the woods, my head filled with fresh air, I watched the slanting beams of the setting sun turning the grey brush gold where the light had managed to penetrate the trees, and I felt drawn to get as close to the sun as I possibly could before it disappeared across the lake. I picked my way down as close to the edge of the water as I could and still stand comfortably. I am not a religious man. But balancing there, the dry scent of dead leaves and the heady essence of pine and cedar in my nostrils, and with the dying sun of the dying year still warm on my face, l had as close to a religious experience as I am capable of imagining. As I stood there, eyes closed, I felt my arms slowly lift’ from my sides until they were slightly above shoulder level, my palms open to the sun, fingers yawning. I don’t know how long I maintained that position, but I know that when I felt the sun’s last beams cool on my forehead I felt utterly and strangely full. I have no idea why but I suddenly found myself sobbing uncontrollably, my whole being full of an indescribable feeling of joy. Blessing of God in Solitude Whence does it come to me, O my God! this peace which floods over me? Whence comes this faith with which my heart overflows? To me, who so recently was uncertain, restless, and tossed about on the waves of doubt, Searching for the good, for the truth, in the dreams of sages, And for peace in hearts resounding with turmoil. It is but a few days that have slipped by, Yet it seems that a century and a world have passed away; And that, separated from all of that by an immense abyss, A new man within me is reborn and begins again. (Alphonse de Lamartine) �BIOGRAPHIES Bruce Vogt is a Canadian pianist and teacher who has received praise internationally for his mesmerizing performances, inspiring audiences across Canada and abroad. He has given recitals across Europe, as a soloist and with chamber ensembles, in such major centres as London, Paris and Prague, as well as in venues in Germany, Italy, Slovenia, Bulgaria and Romania. His upcoming visit to Japan in May of 2024 will be his sixteenth Japanese tour. He has also performed and taught in China. Vogt grew up in Southern Ontario where he studied with Damjana Bratuz and Anton Kuerti. Later, he studied in the U.S. and Europe with Gyorgy Sebok, Louis Kentner, Fou Ts’Ong, Dario de Rosa and other notable musicians. In addition to his career as a soloist and chamber musician, Vogt is Professor at the University of Victoria. Because he sees teaching and working with young pianists and teachers as an important commitment, he leads masterclasses and workshops and adjudicates for festivals. In recent years, he has received many invitations in Canada and abroad to indulge another of his passions — improvising accompaniments to great films of the silent era. He has played for and lectured on films by Chaplin, Keaton, Lloyd, Griffith, Murnau, Sjöström, Lubitsch and others. Jan Zwicky is the author of over twenty books of poetry and prose including Songs for Relinquishing the Earth, Wisdom & Metaphor and, with co-author Robert Bringhurst, Learning to Die: Wisdom in the Age of Climate Crisis. She was educated at the Universities of Calgary and Toronto and, in the 80s and 90s, developed the first courses in environmental studies at several Canadian universities. Her poetry has been published in translation in several European languages, and she has read and lectured widely in North America and Europe. Zwicky grew up in the northwest corner of the Great Central Plain on Treaty 6 territory and currently lives on Quadra Island, unceded territory with a complex history including Coast Salish and Kwakwalan influences. She is a serious gardener, a musician, and an amateur naturalist. Full schedule of School of Music concerts & events. www � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Concert Series Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/%20https://finearts.uvic.ca/music/archive/uploads/faculty/03022024-LebewohlBruceVogt/03022024-LebewohlBruceVogt_01.wav">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/%20https://finearts.uvic.ca/music/archive/uploads/faculty/03022024-LebewohlBruceVogt/03022024-LebewohlBruceVogt_02.wav">Track 2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/%20https://finearts.uvic.ca/music/archive/uploads/faculty/03022024-LebewohlBruceVogt/03022024-LebewohlBruceVogt_03.wav">Track 3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/%20https://finearts.uvic.ca/music/archive/uploads/faculty/03022024-LebewohlBruceVogt/03022024-LebewohlBruceVogt_04.wav">Track 4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/%20https://finearts.uvic.ca/music/archive/uploads/faculty/03022024-LebewohlBruceVogt/03022024-LebewohlBruceVogt_05.wav">Track 5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/%20https://finearts.uvic.ca/music/archive/uploads/faculty/03022024-LebewohlBruceVogt/03022024-LebewohlBruceVogt_06.wav">Track 6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/%20https://finearts.uvic.ca/music/archive/uploads/faculty/03022024-LebewohlBruceVogt/03022024-LebewohlBruceVogt_07.wav">Track 7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/%20https://finearts.uvic.ca/music/archive/uploads/faculty/03022024-LebewohlBruceVogt/03022024-LebewohlBruceVogt_08.wav">Track 8</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/%20https://finearts.uvic.ca/music/archive/uploads/faculty/03022024-LebewohlBruceVogt/03022024-LebewohlBruceVogt_09.wav">Track 9</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/%20https://finearts.uvic.ca/music/archive/uploads/faculty/03022024-LebewohlBruceVogt/03022024-LebewohlBruceVogt_10.wav">Track 10</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/%20https://finearts.uvic.ca/music/archive/uploads/faculty/03022024-LebewohlBruceVogt/03022024-LebewohlBruceVogt_11.wav">Track 11</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/%20https://finearts.uvic.ca/music/archive/uploads/faculty/03022024-LebewohlBruceVogt/03022024-LebewohlBruceVogt_12.wav">Track 12</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/%20https://finearts.uvic.ca/music/archive/uploads/faculty/03022024-LebewohlBruceVogt/03022024-LebewohlBruceVogt_13.wav">Track 13</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Concert: Lebewohl. A Final Recital by Bruce Vogt, piano Description An account of the resource Bruce Vogt has been Professor of Piano at the UVic School of Music since 1980 and will retire this June. Join us for Vogt’s final performance at the School of Music with captivating piano works by Haydn, Rameau, Schubert, Chopin and Liszt. Creator An entity primarily responsible for making the resource Megan Harton Date A point or period of time associated with an event in the lifecycle of the resource March 2 2024 Contributor An entity responsible for making contributions to the resource Bruce Vogt Jan Zwicky https://finearts.uvic.ca/music/archive/files/original/3018604315201778436b76fef5c5a19c.pdf 8ef237606a58e88b95e62c336a264720 PDF Text Text UVIC SUNDAY, FEBRUARY 11, 2024 | 2 PM Phillip T. Young Recital Hall, MacLaurin Building University of Victoria FACULTY CONCERT SERIES AN AFTERNOON OF SONGS ANNE GRIMM SOPRANO BENJAMIN BUTTERFIELD TENOR BRUCE VOGT PIANO We acknowledge and respect the Lekwungen peoples on whose traditional territory the university stands and the Songhees, Esquimalt and WSÁNEĆ peoples whose historical relationships with the land continue to this day. PROGRAM Robert Schumann (1810-1856) Op. 78 Tanzlied Er und Sie Ich denke dein Wiegenlied Op. 2 Erwartung Schenk mir deinem goldenen Kamm Erhebung Waldsonne Arnold Schoenberg (1874-1951) Henri Duparc (1848-1933) La fuite I NT E R M I S S I O N “Buddy on the Nightshift” from Lunch Time Follies Kurt Weill “Lonely House” from Street Scene “If Love Were All” from Bitter Sweet Kurt Weill (1900-1950) “You’re Just in Love” from Call Me Madam Noël Coward (1899-1973) Irving Berlin (1888-1989) “I Wish I Were in Love Again” from Babes in Arms Op. 34 Liebesgarten Liebhabers Ständchen Unterm Fenster Familien-Gemälde Richard Rodgers (1902-1979) Lorenz Hart (1895-1943) “Ah yes, I Remember it Well” from Gigi Alan Jay Lerner (1918-1986) Frederick Loewe (1901-1988) Robert Schumann �BIOGRAPHIES Dutch soprano ANNE GRIMM studied voice in Amsterdam continuing in London and in the US. She is recognized for her work in opera, concert and recital throughout Europe, North America as well as in Australia and New Zealand. Anne toured extensively with Ton Koopman and the Amsterdam Baroque Orchestra (Ambronay, Salzburg Festival) as well as with the Amsterdamse Bachsolisten, also appearing with Christoph Rousset at the Händel-Festspiele Halle and Potsdam Festival Sanssouci. Other highlights include touring with Frans Bruggen and the Orchestra of the 18th Century as well as singing with the Netherlands Opera and at the Holland Festival. Appearances in North America have include the Tanglewood Festival, the National Arts Center Orchestra under Pinchas Zuckerman,Toronto’s Tafelmusik, Symphony Nova Scotia, Winnipeg Symphony, Pacific Opera Victoria, the Pacific Baroque Orchestra, the Bach Choir of Bethlehem and Cleveland based Apollo’s Fire at the Ojai Festival in California. Recognized for her performances in contemporary music, Ms. Grimm toured with Aventa to New York and Montreal as well as to Australia in Gavin Bryars’ opera, Marilyn Forever. Most recently she performed the role of Barate in Rudolf Komorous’ The Mute Canary with Turning Point Ensemble of Vancouver in the Czech Republic. She has recorded extensively for Erato, NM Classics, Vanguard Classics, Troubadisc, Sony Classics and Harmonia Mundi France as well as for CBC Radio, ZDF, RAI, Radio France and VARA in the Netherlands. Ms. Grimm in on faculty at UVic’s School of Music and at the Victoria Conservatory of Music. She also teaches at summer vocal programs including Opera Nuova (Edmonton) and the Sicily International Voice Competition and Festival in Noto, Italy. Praised by The New York Times as, “clarion-voiced and vibrant”, BENJAMIN BUTTERFIELD has performed in concert, recital and opera throughout North America and Europe as well as in Asia, New Zealand, the middle east and Ukraine. Highlights have included Stankovych’s Kiddish Requiem with the Hamburg Philharmonic at the Kyiv Opera, To Hope with the Dave Brubeck Quartet at the Montreal Jazz Festival, Stravinsky’s Perséphone with film actress Isabella Rossellini at the San Carlo in Naples and Epidaurus, Greece as well as Handel’s Messiah with the English Concert filmed for ZDF at the Händel-Festspiele Halle in Germany. Benjamin has also sung in the Barber of Seville for the Welsh National Opera and Le Capitole Toulouse, The Magic Flute at New York City Opera, St. François d’Assise with the Montreal Symphony and Janacek’s Cunning little Vixen with the Canadian Opera Company. Recent engagements have included the Verdi Requiem for the Vancouver Symphony, Oronte in Handel’s Alcina with Les Violons du Roy in Montreal and the St. Matthew Passion (Evangelist) with the Bach Choir of Bethlehem in Pennsylvania. Aside from his duties for the School of Music at the University of Victoria, Professor Butterfield is on faculty for Opera Nuova (Edmonton),Valley Opera Summer Intensive (Kelowna) and Orford Musique (Quebec). He is also Co-Director of the Ukrainian Art Song Summer Vocal Institute (Toronto) and teaches for the Sicily International Voice Festival and Competition (Noto, Italy). A Fellow of the Royal Society of Canada and recipient of a Ruby Award (Opera Canada) for his contributions as a tenor and voice teacher, Benjamin has been recognized by the Juno Awards and is heard regularly on CBC Radio. Canadian pianist BRUCE VOGT was born in Southern Ontario but for the past 44 years has lived and worked in Victoria, BC and taught at the University of Victoria as Professor of Piano. As a soloist he has appeared regularly in concerts within Canada and he tours yearly in many countries throughout Europe and Asia. His repertoire encompasses music from the sixteenth century to the present. In addition to having a special affinity for the music of Franz Liszt, he has both performed on period instruments and commissioned and premiered a number of new works. Because he sees teaching and working with young pianists and with piano teachers as an important commitment, he makes himself available as much as possible for masterclasses, workshops, festival adjudications, and lectures. In recent years, he has received many invitations in Canada and abroad to indulge another of his passions -- improvising accompaniments to great films of the silent era. He has played for and lectured about films by Chaplin, Keaton, Lloyd, Griffith, Murnau and others. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Concert Series Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/02112024-FacultyConcertGrimmButterfieldVogt-AnAfternoonOfSongs/02112024-FacultyConcertGrimmButterfieldVogt-AnAfternoonOfSongs-001.wav">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/02112024-FacultyConcertGrimmButterfieldVogt-AnAfternoonOfSongs/02112024-FacultyConcertGrimmButterfieldVogt-AnAfternoonOfSongs-002.wav">Track 2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/02112024-FacultyConcertGrimmButterfieldVogt-AnAfternoonOfSongs/02112024-FacultyConcertGrimmButterfieldVogt-AnAfternoonOfSongs-003.wav">Track 3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/02112024-FacultyConcertGrimmButterfieldVogt-AnAfternoonOfSongs/02112024-FacultyConcertGrimmButterfieldVogt-AnAfternoonOfSongs-004.wav">Track 4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/02112024-FacultyConcertGrimmButterfieldVogt-AnAfternoonOfSongs/02112024-FacultyConcertGrimmButterfieldVogt-AnAfternoonOfSongs-005.wav">Track 5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/02112024-FacultyConcertGrimmButterfieldVogt-AnAfternoonOfSongs/02112024-FacultyConcertGrimmButterfieldVogt-AnAfternoonOfSongs-006.wav">Track 6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/02112024-FacultyConcertGrimmButterfieldVogt-AnAfternoonOfSongs/02112024-FacultyConcertGrimmButterfieldVogt-AnAfternoonOfSongs-007.wav">Track 7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/02112024-FacultyConcertGrimmButterfieldVogt-AnAfternoonOfSongs/02112024-FacultyConcertGrimmButterfieldVogt-AnAfternoonOfSongs-008.wav">Track 8</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/02112024-FacultyConcertGrimmButterfieldVogt-AnAfternoonOfSongs/02112024-FacultyConcertGrimmButterfieldVogt-AnAfternoonOfSongs-009.wav">Track 9</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/02112024-FacultyConcertGrimmButterfieldVogt-AnAfternoonOfSongs/02112024-FacultyConcertGrimmButterfieldVogt-AnAfternoonOfSongs-010.wav">Track 10</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource An Afternoon of Songs Creator An entity primarily responsible for making the resource Megan Harton Date A point or period of time associated with an event in the lifecycle of the resource February 11 2024 Contributor An entity responsible for making contributions to the resource Anne Grimm, soprano Bruce Vogt, piano With Benjamin Butterfield, tenor https://finearts.uvic.ca/music/archive/files/original/3616467faa896dcf400e0452580f6865.pdf 4766b5d3da96d309a3175fafec90c7f4 PDF Text Text UVIC THURSDAY, FEBRUARY 1, 2024 | 7:30 PM Phillip T. Young Recital Hall, MacLaurin Building University of Victoria FACULTY CONCERT SERIES POPULAR CULTURE THROUGH THE CENTURIES We acknowledge and respect the Lekwungen peoples on whose traditional territory the university stands and the Songhees, Esquimalt and WSÁNEĆ peoples whose historical relationships with the land continue to this day. PROGRAM Aria of the Queen of the Night from The Magic Flute Wolfgang Amadeus Mozart (1756–1791) arr. Jean-Francois Taillard Milonga del Angel Astor Piazzolla (1921–1992) arr. Scott MacInnes Libertango Astor Piazzolla (1921–1992) arr. Hans Zellner Merrie Klazek & Marianne Ing, trumpet Sam McNally, horn Scott MacInnes, trombone Kory Major, tuba Two Lieder i. Tanzlied ii. Unterm Fenster Robert Schumann (1810–1856) Anne Grimm, soprano Benjamin Butterfield, tenor Bruce Vogt, piano Simon Smith and the Amazing Dancing Bear Short People Randy Newman (b.1943) Benjamin Butterfield, tenor Arthur Rowe, piano Trio in A minor, Opus 114 (1891) ii. Adagio Johannes Brahms (1833–1897) David Bourque, clarinet Pamela Highbaugh-Aloni, cello Bruce Vogt, piano Dance Music Through the Ages arr. Scott MacInnes Merrie Klazek & Marianne Ing, trumpet Sam McNally, horn Scott MacInnes, trombone Kory Major, tuba Video Presentation Andrew Schloss �BIOGRAPHIES Originally from Peterborough, Ontario, DAVID BOUTIN-BOURQUE joined the Victoria Symphony in 2022 as Principal Clarinet. He previously held the same position with the Thunder Bay Symphony and served as 3rd/Bass clarinet with the Erie Philharmonic. He has also performed with the Pittsburgh Symphony Orchestra and Symphony Nova Scotia. From 2017-2021, he enjoyed a fellowship at the Aspen Music Festival, winning the winds concerto competition in 2018. David completed degrees from the University of Toronto, Northwestern University, and Carnegie Mellon University. His teachers include Michael Rusinek, David Bourque, Steve Cohen and Lawrie Bloom. Outside of music, David enjoys reading and tennis. BENJAMIN BUTTERFIELD studied voice with Selena James in Victoria and at McGill University. He has subsequently performed throughout Europe, North America, Israel, Taiwan and New Zealand in opera, concert, and recital. Career highlights include Carnegie Hall, Royal Albert Hall, the San Carlo Naples, filming Messiah for ZDF at the Handel Festspiele Halle, the San Francisco and Chicago Symphony Orchestras, The Magic Flute with New York City Opera and the Kiddish Requiem (Stankovych) in Kyiv, Ukraine. Professor Butterfield has recorded over 40 CD’s, is Co-Director of the Ukrainian Art Song Summer Institute in Toronto, is a fellow of the Royal Society of Canada and was awarded a Ruby from Opera Canada in 2019. Dutch soprano ANNE GRIMM studied voice in Amsterdam and London and has performed throughout Europe, Canada, US, Australia and New Zealand. She toured and recorded extensively with Ton Koopman and the Amsterdam Baroque Orchestra, the Orchestra of the 18th Century, The Netherlands Bachvereniging, and sang at the festivals of Handel Festspiele Halle, Ambronay, Salzburg, Ostrava New Music and the Prague Nova amongst others. Highlights in North America include performing at the National Arts Centre with Pinkas Zuckerman, at Tanglewood, the Ojai Festival in California, Apollo’s Fire in Cleveland, Tafelmusik, Bach Choir Bethlehem and a tour to Australia with Gavin Bryars’ opera Marilyn Forever in the Adelaide Festival. Anne has recorded for Erato, NM Classics, Sony and Harmonia Mundi. PAMELA HIGHBAUGH ALONI is an Associate Professor at UVic where she has been teaching cello, chamber music and string pedagogy since 1991. She is a founding member of the prize-winning Lafayette String Quartet. The quartet celebrated over 37 years of musical life together and took their final bow in August 2023. Highlights of their years include performing all sixteen Beethoven string quartets, a 30th anniversary Shostakovich Cycle, a Second Viennese School project, the commissioning of five new quartets by women composers, and the initiation of the Lafayette Health Awareness Forum. Pamela performs as a soloist regularly in and around Vancouver Island and plays on a George Craske cello made in England, 1850. MARIANNE ING has been playing trumpet for many years. She is a UVic alumna, most recently graduating in 2020 with a Masters of Music in trumpet performance. She also obtained an Education degree in 2008. Marianne plays regularly with several groups in Victoria including the Palm Court, The Sooke Philharmonic, The Victoria Jazz Orchestras and the Meridiem Wind Ensemble. In addition to this she teaches band, strings and choir at Central Middle School. MERRIE KLAZEK is a versatile and respected trumpet artist in performance and education. Merrie joined the full-time faculty at UVic in 2016, after 21 years as principal trumpet with the Thunder Bay Symphony (1999-2018), Victoria Symphony (05/06) and Orchestra London Canada (96-99). Performance highlights include Spoleto Festival Italy, Musik Contemporaire Strasbourg France, Tokyo’s Bunka Kaikan Hall, Stratford Festival, Hungary’s Niyrbator Festival, and more. Her solo album Songs to the Moon has been featured on TVO and CBC Radio, and Dance Around the Sun celebrates the trumpet in settings of world music. Presenter, artist and adjudicator at top international brass and music conferences, Merrie holds a BMus from her native Calgary and an MMus from Northwestern University. She is an endorsing artist for Wedge Mouthpieces, Bach Trumpets/Conn-Selmer, and Robinson’s Remedies. SCOTT MACINNES completed his performance degrees from the University of Toronto and UVic. Highly sought after as a bass and tenor trombonist, he maintains an active career as a touring, performing and recording artist. Scott has founded many successful groups such as itromboni, Pinnacle Brass, Victoria Brass Collective, and others. Equally at home in classical, contemporary, jazz, R&B, folk, rock, and big band, Scott has performed for British and Dutch royalty, the Pope, the Dalai Lama, and other heads of state. He is the trombone instructor at UVic and Principal Bass Trombone with the Vancouver Island Symphony Orchestra. As a composer and arranger, Scott has been commissioned to write works for large and small ensemble. KORY MAJOR graduated from UVic in 2010 with a degree in Performance, studying with Eugene Dowling. Following this, he earned an Artist Diploma from the Glenn Gould School in Toronto. After taking a short hiatus from tuba, he joined the Royal Canadian Air Force Band in Winnipeg, MB in 2016. During his 7 seven years in Winnipeg, he had the opportunity to perform at sporting events, Buckingham Palace and with the Winnipeg Symphony. He moved back to Victoria in July of 2023 and is working as a financial services administrator in the Canadian Armed Forces. Originally from Calgary, SAM MCNALLY began his studies with Laurie Matiation before departing for UVic where he completed his BMus in performance with Kurt Kellan. In 2015, Sam was appointed principal horn of the Kamloops Symphony. Sam won the UVic concerto competition twice, performing Strauss’ 1st horn concerto (2016) and Schumann’s Konzertstück (2017). After graduating in 2017, Sam travelled to London where he attended the Guildhall School of Music and Drama (MMus ‘18) on the Orchestral Artistry course. After returning to Canada and continuing his position with Kamloops, Sam won the third horn position in the Victoria Symphony and joined the Faculty at the UVic School of Music. ARTHUR ROWE is a critically acclaimed recitalist, soloist and chamber musician. He has recorded for the Crystal, ebs, Innova, GM and Fanfare labels. Arthur regularly collaborates with artists and chamber ensembles across North America and has been a guest artist at summer festivals in Blossom, Interlochen, Niagara, Santa Fe, Seattle, France, New Zealand, and Yugoslavia. Arthur is the Artistic Director of the Victoria Summer Music Festival and The Jeffery Concerts in London Ontario. Professor of Piano at UVic, he has served as Acting Director of the School of Music and Acting Associate Dean of Fine Arts. ANDREW SCHLOSS studied at Bennington College, the University of Washington, and Stanford University, where he received his Ph.D. in 1985 working at CCRMA (Center for Computer Research in Music and Acoustics). He has taught at Brown University, the University of California at San Diego, The Banff Centre for the Arts, and (since 1990) at the University of Victoria. Schloss is a pioneer in new musical instruments. He was invited to perform at the Centennial celebrations at Stanford University along with Leon Theremin, the inventor of one of the first electronic musical instruments of the 20th century. BRUCE VOGT appears regularly in concert across Canada and inspires audiences abroad, including multiple tours in Japan, China, and across Europe. Bruce’s recordings include music of Robert Schumann performed on a restored 1864 Erard, and two volumes of the music of Franz Liszt. In addition to his career as a soloist and chamber musician, Bruce is Professor at UVic. He is also active in presenting and improvising accompaniments to great films of the silent era, including films by Chaplin, Keaton, Lloyd, Griffith, Murnau and others. Bruce has been invited to offer these presentations around the world. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Concert Series Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/02012024-PopularCultureThroughTheCenturies/02012024-PoplarCultureThroughTheCenturies-001.wav">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/02012024-PopularCultureThroughTheCenturies/02012024-PoplarCultureThroughTheCenturies-002.wav">Track 2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/02012024-PopularCultureThroughTheCenturies/02012024-PoplarCultureThroughTheCenturies-003.wav">Track 3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/02012024-PopularCultureThroughTheCenturies/02012024-PoplarCultureThroughTheCenturies-004.wav">Track 4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/02012024-PopularCultureThroughTheCenturies/02012024-PoplarCultureThroughTheCenturies-005.wav">Track 5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/02012024-PopularCultureThroughTheCenturies/02012024-PoplarCultureThroughTheCenturies-006.wav">Track 6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/02012024-PopularCultureThroughTheCenturies/02012024-PoplarCultureThroughTheCenturies-007.wav">Track 7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/02012024-PopularCultureThroughTheCenturies/02012024-PoplarCultureThroughTheCenturies-008.wav">Track 8</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/02012024-PopularCultureThroughTheCenturies/02012024-PoplarCultureThroughTheCenturies-009.wav">Track 9</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/02012024-PopularCultureThroughTheCenturies/02012024-PoplarCultureThroughTheCenturies-010.wav">Track 10</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/02012024-PopularCultureThroughTheCenturies/02012024-PoplarCultureThroughTheCenturies-011.wav">Track 11</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Popular Culture Through the Centuries Description An account of the resource UVic School of Music faculty explore popular culture through the centuries and across the globe, while also honouring our retiring colleagues from the School of Music: Bruce Vogt and Andrew Schloss. Creator An entity primarily responsible for making the resource Megan Harton Date A point or period of time associated with an event in the lifecycle of the resource February 1 2024 Contributor An entity responsible for making contributions to the resource Merrie Klazek (trumpet), Scott MacInnes (trombone), Sam McNally (horn), Pamela Highbaugh Aloni (cello), David Boutin-Bourque (clarinet), Bruce Vogt (piano), Andrew Schloss (electronics), Benjamin Butterfield (tenor) and others.