2 10 90 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/02052024-IHaveBeenToTibet_AjtonyCsaba/02052024-IHaveBeenToTibet_AjtonyCsaba.wav">Track 1</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 I Have Been to Tibet Description An account of the resource I Have Been to Tibet Ajtony Csaba, piano & electronics 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 5 2024 Contributor An entity responsible for making contributions to the resource Ajtony Csaba https://finearts.uvic.ca/music/archive/files/original/ff36fe9d3756e28fab2d61c6873f3369.pdf 85df9811f468b64018e7437ece29df08 PDF Text Text ' A TROIS Kimberley-Ann Bartczak, piano Hannah Craig, cello David Boutin-Bourque, clarinet Thursday, January 25, 2024, 7:30 PM Philip T. Young Recital Hall University of Victoria Guillaume Connesson b.1970 PaulJuon (1872-1940) Johannes Brahms (1833-1897) Disco-Toccata (2002) Trio Miniatu res (1901) Reverie Humoresque Elegy Dance Fantastique Trio in A minor, Op. 114 (1891) Allegro Adagio Andantino grazioso - Trio Allegro � 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/01252024-DavidBourqueATrois/01252024-DavidBourqueATrois_01.wav">Track 1 </a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/01252024-DavidBourqueATrois/01252024-DavidBourqueATrois_02.wav">Track 2 </a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/01252024-DavidBourqueATrois/01252024-DavidBourqueATrois_03.wav">Track 3</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 À Trois Description An account of the resource Kimberley-Ann Bartczak, Hannah Craig and David Boutin-Bourque present an evening of chamber music for clarinet, cello and piano. The program features music by Guillaume Connesson, Paul Juon and Johannes Brahms. 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 January 25 2024 Contributor An entity responsible for making contributions to the resource Kimberley-Ann Bartczak, Hannah Craig and David Boutin-Bourque https://finearts.uvic.ca/music/archive/files/original/586a80da0dc67ad95d131591f6c5434c.pdf 91619ef0fc5eef1469f052b2ed5ca466 PDF Text Text UVIC MONDAY, JANUARY 22, 2024 | 8 PM Phillip T. Young Recital Hall, MacLaurin Building University of Victoria FACULTY CONCERT SERIES ARTHUR ROWE 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 Franz Schubert (1797–1828) Sonata in B-flat Major, D. 960 Molto moderato Andante sostenuto Scherzo: Allegro vivace con delicatezza Allegro, ma non troppo I NT E R M I S S I O N Tanz-Suite Moderato Allegro molto Allegro vivace Molto tranquillo Comodo Finale. Allegro Variations and Fugue on a Theme by Handel, Op. 24 Béla Bartók (1881–1945) Johannes Brahms (1833–1897) �BIOGRAPHY Canadian pianist and Steinway Artist Arthur Rowe has enjoyed a career as a critically acclaimed recitalist, soloist with orchestra and chamber musician. Having previously held faculty positions at the University of Iowa and the University of Western Ontario, Arthur Rowe joined the University of Victoria in 1992, where he is currently a Professor of Piano and Collaborative Piano. At UVic he has also served as Acting Director of the School of Music and Acting Associate Dean of Fine Arts, and in 2008 he helped enable the School of Music to become Canada’s first, and still only All-Steinway School of Music. Following a New York solo recital, The New York Times wrote: “The Canadian pianist Arthur Rowe made an immediate and positive impression...before eight bars had gone by, one knew he was capable of vigor without heaviness, energy without excess of drive. It was first-rate playing: a kind of execution tinglingly alive to the shape and contribution of each phrase.” Reviewing a solo recital in London England, The London Times spoke of his “unusual clarity of articulation and poetry of expression,” and David Burge, writing in The San Diego Tribune said, “Rowe is a marvelous pianist...even when he is pushed to the limit by extreme virtuosic demands...he can concentrate all of his considerable talents on vital matters of phrasing, tone and ensemble.” In 2007, the Centaur label released an all-Schubert recording by Arthur Rowe (available on Apple Music). Fanfare magazine’s review says, “Rowe’s reading (of the posthumous B-flat Sonata) is one of the most beautiful I have heard... The D. 899 Impromptus are equally impressive...his purling right-hand runs recall Schnabel’s velvety sound...every harmonic change is underscored by a delicate nuance of color change. This kind of expression cannot be taught; it is in the bloodstream and the soul.” Arthur Rowe has recorded with various artists for the Crystal, ebs, Innova, GM and Fanfare labels. A highly respected chamber musician, he has performed widely throughout North America. In 2004 The Harrington String Quartet joined forces with Arthur Rowe and Cleveland Orchestra Concertmaster William Preucil in New York, for a performance of the Chausson Concerto for Violin, Piano and String Quartet, which was reviewed by Harris Goldsmith as a “reading that rivaled the benchmark recordings by Franzescatti/Casadesus/Pascal, and Heifetz/Sanroma/New Arts.” As Artistic Director of both the Victoria Summer Music Festival and The Jeffery Concerts in London Ontario, Arthur Rowe enjoys the opportunity to present both world renowned artists and exceptional young artists to audiences in these communities. In 2024, Arthur Rowe looks forward to performances with the Isidore Quartet, the Dover Quartet, Canadian violinists Alice Lee and Timothy Chooi (Professor of Violin at the University of Ottawa), American cellist Philip Hansen and Principal Clarinetist of the Calgary Philharmonic Slavko Popovich. � 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/01222024_FacultyConcert-ArthurRowe/01222024_FacultyConcert_ArthurRowe-001.wav">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/01222024_FacultyConcert-ArthurRowe/01222024_FacultyConcert_ArthurRowe-002.wav">Track 2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/01222024_FacultyConcert-ArthurRowe/01222024_FacultyConcert_ArthurRowe-003.wav">Track 3</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 Series: Arthur Rowe plays Bartók, Schubert and Brahms 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 January 22 2024 Contributor An entity responsible for making contributions to the resource Arthur Rowe 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/01212024-TheSoundOfSilence/01212024-TheSoundOfSlience-001.wav">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/01212024-TheSoundOfSilence/01212024-TheSoundOfSlience-002.wav">Track 2</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 Series: The Sound of SiIence Description An account of the resource The Sound of SiIence: Great silent films with improvised accompaniment Featuring Bruce Vogt, piano 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 January 21 2024 Contributor An entity responsible for making contributions to the resource Bruce Vogt, piano https://finearts.uvic.ca/music/archive/files/original/a3138d385aac24ecabfb6ec476cb3ac9.pdf b412c9ff56532f6a2e35bec6662e8779 PDF Text Text UVIC FRIDAY, JANUARY 12, 2024 | 8 PM Phillip T. Young Recital Hall, MacLaurin Building University of Victoria FACULTY CONCERT SERIES SAM MCNALLY HORN With JANY LU PIANO PROGRAM Andante for Horn and Piano R. Strauss (1864-1949) Andrea Clearfield River Melos (b. 1960) Emil Hlobil Sonata for Horn and Piano (1901-1987) I. Animato II. Lento III. Vivace - INTERMISSION - Cinq Pièces Poétiques pour Cor en Fa I. Andante cantabile II. Mouvement trés libre IV. Allegro vivo The Glass Bead Game I. The Call and Awakening II. Father Jacobus III. Magister Ludi Coronation and Death G. Barboteu (1924-2006) James Beckel Jr. (b. 1948) � 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. � 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/01122024-SamMcNally-TheGlassBeadGame/01122024-SamMcNally-TheGlassBeadGame_001.wav">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/01122024-SamMcNally-TheGlassBeadGame/01122024-SamMcNally-TheGlassBeadGame_002.wav">Track 2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/01122024-SamMcNally-TheGlassBeadGame/01122024-SamMcNally-TheGlassBeadGame_003.wav">Track 3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/01122024-SamMcNally-TheGlassBeadGame/01122024-SamMcNally-TheGlassBeadGame_004.wav">Track 4</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 Series: The Glass Bead Game Description An account of the resource A recital for horn and piano 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 January 12 2024 Contributor An entity responsible for making contributions to the resource Sam McNally, horn Jany Lu, piano https://finearts.uvic.ca/music/archive/files/original/a800d4f577fa5ef141a54fc9fe185cfb.pdf 4315af1a855510ef983277394dbc340a PDF Text Text SCHOOL OF MUSIC • UNIVERSITY OF VICTORIA FACULTY CONCERT SERIES Eloquence, Verve and Fantasy PAMELA HIGHBAUGH ALONI CELLO & JANE HAYES PIANO FRIDAY, OCTOBER 27, 2023 | 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. Variations Concertantes, Op. 17 for Cello and Piano Felix Mendelssohn Bartholdy (1809-1847) Tree Spirit* for Cello and Piano (July 2022) Leila Lustig Lento (b. 1944) Fantasy Pieces, Op. 73 Zart und mit Ausdruck Lebhaft, leicht Rasch und mit Feuer Robert Schumann (1810-1856) I NT E R M I S S I O N Sonata for Cello and Piano, Op. 6 Allegro con brio Andante ma non troppo Finale: Allegro vivo Richard Strauss (1864-1949) *World premiere, commissioned by Pamela Highbaugh Aloni �PROGRAM NOTES & BIOGRAPHIES A few words about “Tree Spirit” In this song for cello and piano, a tree slowly rises from below the soil and becomes a sapling, steadily growing until its mature crown of leaves rustles in the wind, birds nesting in its branches. A cruel logger fells the tree, which crashes to earth, bouncing in the underbrush to stillness. But the tree slowly rises again from its root, beginning the journey as it did before – an enduring tree spirit. PAMELA HIGHBAUGH ALONI Praised for her “meltingly beautiful solos” (The Detroit News) and performances of “depth and insight” (Times Colonist), cellist Pamela Highbaugh Aloni is a founding member of the prize-winning Lafayette String Quartet. She is an Associate Professor at the University of Victoria where she has been teaching cello, chamber music and string pedagogy since 1991. The Lafayette Quartet celebrated over 37 years of musical life together with the same four members and took their final bow in August 2023. Highlights of their years include a celebration in 2000 performing all sixteen of Beethoven’s 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.Their CBC recording “Death and the Maiden” was awarded “Outstanding Classical Recording of the Year” by the Western Canada Music Awards. An enthusiastic and devoted teacher, Ms. Highbaugh Aloni served for ten years on the faculty at the Courtenay Youth Music School and Festival and has been the coach for the Greater Victoria Youth Orchestra cello section since 2004. She performs both as a soloist and recitalist and has been a guest artist with the Vetta Ensemble of Vancouver, Victoria Chamber Orchestra, Victoria Summer Festival, Sooke Philharmonic, Eine Kleine Summer Music, Chamber Music San Juan, and served as principal cellist with the Galiano Ensemble from 2000-2018. Pamela plays on a George Craske cello made in England, 1850. JANE HAYES Since her debut with the Toronto Symphony, pianist, Jane Hayes’ concerts have taken her across Canada, the United States, Europe, Asia and Mexico. An active recording artist, she has over 30 CDs available on many prestigious labels. Jane moved to BC in 1993 to become a faculty member in the newly opened Music Department �of Kwantlen Polytechnic University. Her passion for teaching was recognized when she received the 2015 Distinguished Teaching Award in the Faculty of Arts. She has established a strong link with Chinese music schools, giving a series of recitals and master classes in 2017 at universities and private music schools to foster professional development among Chinese piano professors. In recent years she has appeared on concert stages in every combination from duo through large ensemble, as soloist with orchestra to chamber collaborator. She has been a partner of such esteemed artists as cellist Harvey Shapiro, violinist Robert Davidovici, and flutists Julius Baker and Bonita Boyd. Jane’s Four Jays performance for Vetta Chamber Music was recognized with a nomination for the 2021 Western Canada Music Awards as was Sassicaia, a CD devoted to Canadian repertoire for clarinet and piano. Her recent performance on a CD commemorating the life and musical legacy of composer Nikolai Korndorf was listed on CBC’s Top 22 of 2022. As an active member of Vancouver’s Turning Point Ensemble,Yarilo Ensemble and the Stellar Jays, recent tours have taken her to Spain and Eastern Europe. Since leaving Kwantlen in 2020, Jane is maintaining an active performing, recording, teaching and adjudicating career. No matter what hat she wears, her focus is always on communication through music, talking a language that doesn’t need words. LEILA LUSTIG Leila Lustig studied music composition at UCLA and the University of WisconsinMadison, earning MA and PhD degrees. She spent 14 years in radio as a music producer and program director, producer of a number of classical music programs for the National Public Radio and American Public Radio networks, and creator/host of the long-running series “Music in Buffalo” for WNED-FM in Buffalo, NY, for which she composed the theme music. She was president of the Composers’ Alliance of Buffalo for two years. Although she did not follow the usual academic path following graduation, she continued writing music, emigrating to Canada and becoming a citizen in 2003. Her output includes music for voice, choral and chamber groups, orchestra and wind ensemble. One of her major works is a cantata in memory of her father, “Angels in My Way,” using as texts the Hebrew Kaddish, the Gloria from the Latin Mass, and excerpts from Ralph Waldo Emerson’s poetry. She has set to music all 26 poems in Barbara Holender’s “Ladies of Genesis,” intimate monologues by women in the Bible, combining the female voice with various combinations of instruments. Leila also co -composed, “Singing Through Generations” with singer/drummer Nicole Mandryk which is one of the five works commissioned by the Lafayette String Quartet for their BK Weigel commissioning project. She is an associate composer of the Canadian Music Centre and a BMI composer. � 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/10272023FacultyConcertSeriesEloquenceVerveAndFantasy/10272023FacultyConcertSeriesEloquenceVerveAndFantasy_1.wav">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/10272023FacultyConcertSeriesEloquenceVerveAndFantasy/10272023FacultyConcertSeriesEloquenceVerveAndFantasy_2.wav">Track 2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/10272023FacultyConcertSeriesEloquenceVerveAndFantasy/10272023FacultyConcertSeriesEloquenceVerveAndFantasy_3.wav">Track 3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/10272023FacultyConcertSeriesEloquenceVerveAndFantasy/10272023FacultyConcertSeriesEloquenceVerveAndFantasy_4.wav">Track 4</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 Series: Eloquence, Verve and Fantasy 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 27 2023 Contributor An entity responsible for making contributions to the resource Pamela Highbaugh Aloni, cello Jane Hayes, piano https://finearts.uvic.ca/music/archive/files/original/81b29b5ffd1025857ec53f094b3565b6.pdf 31f6bf5bfe80bf3e1f6d60136de26652 PDF Text Text SCHOOL OF MUSIC • UNIVERSITY OF VICTORIA FACULTY CONCERT SERIES Diverse Harmonies 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. THURSDAY, OCTOBER 12, 2023 7:30 PM Phillip T. Young Recital Hall MacLaurin Building, University of Victoria �PROGRAM Six-Year Interlude Nebojsa Macura (b.1982) Suzanne Snizek, flute Joanna Hood, viola Michelle Mares, piano Sebastián Durón (1660-1716) “Animoso denuedo, guerrero” from La guerra de los gigantes Virginia Acuña, scholar Kinza Tyrrell, harpsichord Anne Grimm, soprano Merrie Klazek, trumpet Variations on a Theme of Alban Berg for viola and piano T. J. Anderson (b.1928) Joanna Hood, viola Ajtony Csaba, piano Trumpet Songs 1. Morning Opens 3. In our Quiet 4. Hop & Toe Dance 6. Breaking Merrie Klazek, trumpet and flugelhorn Kinza Tyrrell, piano Jennifer Higdon (b. 1962) �Not all sorrows have died Silver Song 2 Evensong Yakiv Stepovyi (1883-1921) Stefania Turkevych (1898-1977) Kyrylo Stetsenko (1882-1922) Benjamin Butterfield, tenor Kinza Tyrrell, piano Ibrahim Maalouf (b. 1980) Red and Black Light Merrie Klazek, flugelhorn Kinza Tyrrell, piano “Ferne,” Op. 15, No. 3 “Der Herbst,” Op. 12, No. 5 “Erinnerung,” WoO “Fee’n-Reigen,” Op. 3, No. 4 Josephine Lang Quartetto Sorbetto Dr. Alexander Richards, soprano saxophone Sylvan Wilkinson, alto saxophone Wendell Clanton, tenor saxophone Xavier Marican, baritone saxophone These works by Josephine Lang, arranged by Sharon and Harald Krebs, incorporate suggestions for performance edits from Sobremesa, UVic Senior Student Saxophone Quartet (2017-20). �TEXTS & TRANSLATIONS Animoso denuedo, guerrero Spirited boldness, warrior who in battles crowns my manly labour, since for me alone cheers the concave famous bugle. Where will I find something to conquer, if there is nothing left for me to defeat? — Translation by Maria Virginia Acuña “In weite Ferne” (Into the distance) I would like to dream my way into the distance, where you are—where there is snow, where there are foaming brooks, mountain goats on ice fields, figs ripening in warm valleys. I shall continue to love you, and we shall be just as we were, when you return home. (Johann Gustav Droysen) “Der Herbst” (Autumn) Is there rustling in the foliage? Are the grapes turning red? Is autumn coming? How its approach once oppressed me! But now I wait for its arrival, for when the leaves fall, my beloved shall come! (Christian Reinhold Köstlin, based on a letter from Josephine Lang) “Erinnerung” (Memory) Every dream shows me my death; no future smiles for me. I hardly know what happiness is; into my life’s spring there descended the blizzard of misfortune. Joy, hope and love have passed away; would that memory would pass away with them! (Lord Byron) “Fee’n-Reigen” (Fairy Dance) The silver bells of May ring out, inviting us to the dance. Come hither, ye fairies, to the place where moonlight trembles over the primroses; there let the airy round dance be woven! Humans pass away like leaves and find rest in a small wooden chamber—but we laugh at the wrinkles of time and remain the same always! (Friedrich von Mathisson) — Paraphrases by Dr. Harald Krebs � 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/10122023DiverseHarmoniesFacultyConcert/10122023DiverseHarmoniesFacultyConcert_01.wav">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/10122023DiverseHarmoniesFacultyConcert/10122023DiverseHarmoniesFacultyConcert_02.wav">Track 2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/10122023DiverseHarmoniesFacultyConcert/10122023DiverseHarmoniesFacultyConcert_03.wav">Track 3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/10122023DiverseHarmoniesFacultyConcert/10122023DiverseHarmoniesFacultyConcert_04.wav">Track 4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/10122023DiverseHarmoniesFacultyConcert/10122023DiverseHarmoniesFacultyConcert_05.wav">Track 5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/10122023DiverseHarmoniesFacultyConcert/10122023DiverseHarmoniesFacultyConcert_06.wav">Track 6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/10122023DiverseHarmoniesFacultyConcert/10122023DiverseHarmoniesFacultyConcert_07.wav">Track 7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/10122023DiverseHarmoniesFacultyConcert/10122023DiverseHarmoniesFacultyConcert_08.wav">Track 8</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/10122023DiverseHarmoniesFacultyConcert/10122023DiverseHarmoniesFacultyConcert_09.wav">Track 9</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 Series: Diverse Harmonies Description An account of the resource Experience the power of music that transcends boundaries and celebrates the richness of cultural diversity. UVic School of Music faculty musicians come together to pay homage to underrepresented composers — including people of colour and of diverse heritage and gender — who have contributed immensely to the world of classical music. This inspiring evening will feature a carefully curated selection of pieces spanning different eras and styles, including Ukranian folk songs, a work of Baroque theatre by Sebastián Durón, Trumpet Songs by Jennifer Higdon, Six Year Interlude by Serbian American composer Nebojsa Macura, works by Josephine Lang arranged by Sharon and Harald Krebs, and more! 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 12 2023 Contributor An entity responsible for making contributions to the resource Suzanne Snizek, flute Wendell Clanton, saxophone with Quartetto Sorbetto Merrie Klazek, trumpet Joanna Hood, viola Michelle Mares, Ajtony Csaba & Kinza Tyrrell, piano Anne Grimm, soprano Benjamin Butterfield, tenor Virginia Acuña, lecturer https://finearts.uvic.ca/music/archive/files/original/fd3d36257fa8c3043a39516c5c93d138.pdf e74165abb114ee724a60e9c037ddba01 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC FACULTY CONCERT SERIES Lafayette String Quartet Ann Elliott-Goldschmid, violin Sharon Stanis, violin Joanna Hood, viola Pamela Highbaugh Aloni, cello With Yariv Aloni, viola We acknowledge that the land on which we gather is the traditional territory of the WSÁNEĆ (Saanich), Lkwungen (Songhees) and Wyomilth (Esquimalt) peoples of the Coast Salish Nation. Tuesday, April 23, 2019 • 8 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation �PROGRAM Quintet No. 1 in B-flat Major, K. 174 Allegro moderato Adagio Menuetto Allegro Wolfgang Amadeus Mozart (1756–1791) Quintet No. 4 in C Minor, K. 406 (516b) Allegro Andante Menuetto in canone Allegro I NT E R M I S S I O N Quintet No. 5 in D Major, K. 593 Larghetto: Allegro Adagio Menuetto: Allegretto Allegro All proceeds from this concert will go towards the Cleveland String Quartet Fund, which assists the Lafayette String Quartet in inviting visiting artists for masterclasses and providing scholarships to UVic string students. �BIOGRAPHIES Lafayette String Quartet How does one compress 33 years into a single biography? The members of the LSQ are Artists-in-Residence at the University of Victoria where they teach violin, viola, cello and coach chamber music to some of Canada’s finest young string players. They are active in the Victoria community working with young people in the GVYO, connecting with the strings program in the public schools, performing in Pacific Baroque, hosting Quartet Fest West and continuing their annual Health Awareness Forum every fall. They are frequently sought-after to adjudicate in local, provincial and national music festivals. All of this while maintaining an active touring schedule with concerts this year taking them to Mexico, the Unites States, the Yukon, Saskatchewan, BC and Ontario. They have performed all over North America and Europe and are always met with critical acclaim. Their various quartet projects, often in partnership with esteemed colleagues, have included the Complete Beethoven Cycle, the Second Viennese School, Bartók’s Legacy and the Complete Cycle of Shostakovich String Quartets. Following tonight’s performance, the LSQ and Yariv Aloni travel to Ontario to perform all six of Mozart’s quintets in a two-concert series. In 2020 the LSQ has been invited to perform the Shostakovich Cycle at the Banff Centre. Other upcoming projects include Beethoven’s Legacy (2020) honouring one of their favourite composer’s 250th anniversary by exploring the friendships and influences that lead to the Beethoven Quartet phenomenon.The LSQ and colleagues will delve into how these remarkable quartets changed the course of musical history and continues to change it even today. Yariv Aloni, viola Beloved colleague Yariv Aloni is one of Victoria’s most artistically involved musicians. A wonderful conductor as well as violist, Aloni is the Artistic Director of the Victoria Chamber Orchestra, the Greater Victoria Youth Orchestra, principal guest conductor of the West Coast Symphony Orchestra in Vancouver and has recently been appointed Artistic Director of the Sooke Philharmonic. As the violist of both the Penderecki String Quartet and the Aviv Piano Quartet, he has performed in many concert halls around the world. A regular guest with the Vetta Ensemble, he continues to perform in various combinations at numerous chamber music concerts, festivals and recital series all over Canada. Aloni is performing the complete Mozart viola quintets with the Lafayette String Quartet this year. � 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/042319-LSQ/042419-LSQ_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/042319-LSQ/042419-LSQ_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/042319-LSQ/042419-LSQ_03.mp3">track3</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 Series Creator An entity primarily responsible for making the resource Bezal Benny Date A point or period of time associated with an event in the lifecycle of the resource April 23, 2019 Contributor An entity responsible for making contributions to the resource Lafayette String Quartet Yariv Aloni https://finearts.uvic.ca/music/archive/files/original/861bf21f4595ab97e83de68b870c9458.pdf 92cc4863c021f2e4302de9321488e42e PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC FACULTY CONCERT SERIES ALEXANDER DUNN GUITAR With SUSAN YOUNG SOPRANO We acknowledge that the land on which we gather is the traditional territory of the WSÁNEĆ (Saanich), Lkwungen (Songhees) and Wyomilth (Esquimalt) peoples of the Coast Salish Nation. Saturday, March 30, 2019 • 8 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $25 / Seniors: $20 / Students & UVic alumni: $10 �PROGRAM from Der Kleine Rosengarten (text by Hermann Löns) 1. Der Rosengarten (The Rose Garden) 2. Das Bittersüsse Lied (The Bittersweet Song) 3. Der Abschiedsstrauss (The Farewell Bouquet) Ferdinand Rebay (1880–1953) 12 Impressionistic Sketches (1932) Andrew Allan Willcocks 1. Dialogue (1869–1956) 2. Cielo (Sky) 3. Luminous Hills 4. Der Mond is aufgegangen? (The Moon has risen?) 5. In the Meadows 6. Sentimental Memories 7. Squalls 8. Une personne mystérieuse (A mysterious person) 9. Sarabandesque 10. Mischievous Cakewalks 11. Jeau d’eau douce (Gentle Water Games) 12. Cheeky, Jaunty, Canny Stücke für Gitarre 1. Praludium Op. 46, No. 8 (Prelude) 2. Sinnen Op. 46, No. 4 (Muse) 3. Andante No. 1, Op. 48 4. Romance No. 9, Op. 48 5. Andante Op. 48, No. 3 6. Unruhe Op. 48, No. 2 (Unrest) 7. Praludium Op. 48, No. 4 8. Allegretto Op. 48, No. 5 9. Nachtstuck Op. 46, No. 7 (Night Piece) 10. Bange Stunde Op. 48, No. 1 (Anxious Hour) 11. Allegretto Op. 48, No. 3 12. Fantasiestück Op. 48, No. 8 (Fantasy Piece) I NT E R M I S S I O N Concession open in the lounge Rudolph Leberl (1884–1952) �from Der Kleine Rosengarten 4. Das Irrlicht (The will-o’-the-wisp) 5. Wilde Rosen (Wild Roses) 6. Abendlied (Evening Song) Ferdinand Rebay Variations sur Folia de España et Fugue (1928) Preludio Tema 1. Poco vivo 2. Allegretto mosso 3. Lento 4. Un po’ agitato 5. Andantino 6. Allegretto espressivo 7. Andante 8. Moderato 9. Andantino affettuoso 10. Presto 11. Andantino 12. Animato 13. Sostenuto 14. Allegro non troppo 15. Allegro moderato, energico 16. Moderato 17. Allegro ma non troppo 18. Allegro scherzando 19. Vivo e marcato 20. Andante Fuga Manuel Ponce (1882–1948) Guitar by Glenn Canin, San Francisco, 2016 �SONG TEXTS from Der Kleine Rosengarten The Rose Garden I know a garden pretty and fine, there blooms a red rosary; And hence a garden fence, Green in summer, in winter, brown. And whomever wants to break the rosary, Must come silent, must come still; Must come in the dreaming night, When neither moon nor starlets wake. I wanted to confide my happiness, Climbing secretly over the garden fence; But the red rosebud was broken, Another had picked it. The garden is now bare and empty, The red rosebud no longer blooms; Sadly, I must stand from afar And search for the rose garden. The Bittersweet Song In the greening bush the greening bush Sings the nightingale all night; Sings with loud sound, sings with loud sound, That I am awakened from sleep. It sings much too sweet, sings much too sweet, Nightingale, before my chamber; Singing so bittersweet, singing so bittersweet For a maiden that must be alone. When the sun shines, when the sun shines, Can you sing always - constantly; But at night, but at night Your song steals all rest. The Farewell Bouquet Red clover, white clover, heart’s sorrow pains love; Beauty’s maiden, My fine darling, When I go from you. Forget-me-not, you noble ornament, I travel forth and you stay here; Beauty’s maiden, My fine darling, No beauty here for you. White lilies so beautiful, Now I must go into exile; Beauty’s maiden, My fine darling, And I cannot see you. The rose petals are blown, The morning star stands in Heaven; Beauty’s maiden, My fine darling, Who knows how we go. �Wild roses The roses in the garden Are lovely to behold; The wild dog roses Are again as nice. One day on the road Do not you look towards me; It takes no man to know That I am your love. The day, that has passed, The night, which is falling; In the very last house, There is a bright light. I call to the owl, The light goes back and forth; The window, it is dark, The owl no longer calls. The love everyone knows Do not many joys make; As if one cuts the roses In great secrecy. The will-o’-the-wisp Here and there, here and there Is a light and that is blue, Far and near, far and near twilight in the dew; Margarete, Margarete, You have spurned love, Your poor, poor soul After looking for love goes. Back and forth, back and forth, Where the white roses stand, Criss-cross, criss-cross Must go the flame; Margarete, Margarete, The wind that blows, Your poor, poor soul After looking for love goes. Without rest, without rest Goes up and down the flame, All the time, all the time About her grave; (The will-o’-the-wisp con’t) Margarete, Margarete, Now it is too late, Your poor, poor soul After looking for love goes. Still and silent, still and silent If the flame goes cold and blue Round and round, round and round Morning in the dew; Margarete, Margrete, The rooster and the crows, Your poor, poor soul After looking for love goes. Evening song Rose Marie, Rose Marie, Seven years my heart cried out for you, Rose Marie, Rose Marie, But you never heard it. Each night, any night, your image laughs with me in a dream Then came the day, then came the day, Again alone I was. Now I am old, now I am old, But my heart is still not cold, Sleep well soon, probably asleep soon, But even now it still resonates: Rose Marie, Rose Marie, Seven years my heart cried out for you, Rose Marie, Rose Marie, But you never heard it. �PROGRAM NOTES The music on tonight’s program proffers two trends of distinctly different music from the 1920’s on — the impressionist style of the French as articulated by an Englishman and a Mexican, and the German Romantic style by an Austrian and Bohemian composer, written well after the style had flourished. Andrew Allan Willcocks’ set of short character pieces, 12 Impressionistic Sketches, are the briefest of his output. The large 12 Concert Etudes and 12 Miniature Preludes explore English Impressionism at its fullest and richest, as French proclivities toward color and subtlety made its way across the channel. In his Sketches, the composer only hints at or suggests intimate scenarios — always informed by poetry or art of the continental impressionists. Dialogue is a short interaction between an upward sweeping arpeggio and its mirroring downward gesture. After a short exchange, it relaxes into its lowest register. Cielo is a study in harmonics — light, bell-like sounds produced by engaging the string at a nodal point. Luminous Hills has gently rolling harmonies — with sometimes darker, sometimes brighter hues that eventually vanish. Der Mond is aufgegangen? is a quizzical, rapid study in repeated notes where, at its center, a short melody emerges, only to be obscured again by running passages. In the Meadows is expansive and earnest. A middle section explores a playful figure, only to be forgotten when the prevailing mood of breadth returns. Sentimental Memories intones a melancholic melody in octaves, giving way to a brief episode of harp-like sounds. A kind of disgruntled cadence brings the melody back into awareness, then re-answered by arpeggios, gently fading away into bell sounds. Squalls is an irksome shower of chords — nearing peril — but a sudden clearing and bright light disperses any concerns. Une personne mystériuese is a series of languid melodic statements — dark, breathy whole-tone scales are replied by short, mysterious phrases. No clearly defined character emerges, and its gentle final cadence places a question mark. Sarabandesque suggests the character of the stately sarabande dance, but changes pulse and intent, ruminating in a darker, lower register. Mischievous Cakewalks alludes to Debussy with its jaunty, snappy figures and fluid sonorities — always tonguein-cheek. Jeux d’eau douce plays with subtlety and pastel colors rising and abating. The final Cheeky, Jaunty, Canny is a clever but undecided series of irreverent fragments, summarily dismissed at its closure. �Stücke für Gitarre represents the work of the nearly unknown composer and musicologist Rudolph Leberl, whose works were not in keeping with the progressive composers of the 1920’s. A tireless worker and pedagogue, his output — mostly unpublished — includes works for the instruments he mastered: piano, organ violin, viola and guitar. His father was a choir director and he received training in piano and composition, later acquiring a teaching post in southern Bohemia. By 1918, the end of the war had a devastating effect on the family: German inhabitants became Czech citizens and Leberl’s wife was forced to move.The Second World War brought further difficulties when they were expelled from Czechoslovakia. Modesty and shyness, avoidance of public performance, and a firm dedication to his students prevented his works from becoming better known. In those works, a great shadow of Brahms looms, but a Bohemian character, a certain longing, and Germanic romanticism suffuse his works with a true nineteenth century spirit. Fedinand Rebay, like Leberl, eschewed modernist tendencies, and wrote neoRomantic works heavily influenced by Brahms, but with some impressionist touches. His cycle Der Kleine Rosengarten (The Little Rose Garden) of 1937 harken back to the spirit of Schubert and Wolf. The thiry-plus songs in the cycle are but a fraction of Rebay’s entire guitar output which includes songs for all voice types with guitar, solo works and sonatas, chamber music for many combinations, duos with piano, and sets of variations. Manuel Maria Ponce penned his monumental Variations et Fugue sur la Folia in 1929 following a request by the Spanish virtuoso Andres Segovia. The work ensues with a prelude, then stating the folia harmonic progression — a kind of template chord sequence in use since the 17th century — followed by twenty variations, culminating in a commanding fugue. It stands as Ponce’s largest guitar work and a testament to his craft in developing the folia chord progression into an impressive work of beauty and power. � 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 Series Creator An entity primarily responsible for making the resource Bezal Benny Date A point or period of time associated with an event in the lifecycle of the resource March 30, 2019 Contributor An entity responsible for making contributions to the resource Alexander Dunn Susan Young https://finearts.uvic.ca/music/archive/files/original/ba1909b12503fd126a115356c2a90f35.pdf 9a6dc5535fb530cb63bbac93bbe0cfa5 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC FACULTY CONCERT SERIES Music & Biography Featuring BRUCE VOGT PIANO We acknowledge that the land on which we gather is the traditional territory of the WSÁNEĆ (Saanich), Lkwungen (Songhees) and Wyomilth (Esquimalt) peoples of the Coast Salish Nation. Friday, March 15, 2019 • 8 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $25 / Seniors: $20 / Students & UVic alumni: $10 �PROGRAM Frédéric Chopin (1810–1849) Two Nocturnes i. Op. 62, No. 1 in B Major (1846) ii. Op. 27, No. 2 in D-flat Major (1835–36) Seven Fantasias, Op. 116 (1892) i. Capriccio in D Minor ii. Intermezzo in A Minor iii. Capriccio in G Minor iv. Intermezzo in E Major v. Intermezzo in E Minor vi. Intermezzo in E Major vii. Capriccio in D Minor Johannes Brahms (1833–1897) I NT E R M I S S I O N Concession open in the lounge Intermezzo, Op.119, No. 1 in B Minor (1893) Brahms Interlude About Life and Art – and the case of Brahms’ Schumann Variations, Op. 9 Variations on a Theme by Schumann, Op. 9 (1854) Brahms �PROGRAM NOTES It seems that it was the Irish composer and pianist John Field (1782–1837) who first used the title “Nocturne”, or “Night Piece” for a single solo piano work. From Field, Chopin took the device of creating a web-like accompaniment by means of intricate broken chord figures in the left hand, combined with the sustaining pedal. To this Chopin added his own original harmonic language and his command of long sustained melodies. The Nocturne in D-flat, Opus 27, No. 2 certainly demonstrates Chopin’s genius for expressive melody. However he goes far beyond Field in harmonic range as well as in his seemingly inexhaustible capacity for inventing imaginative textures. The pair of Nocturnes, Opus 62, were written very near the end of his compositional life and three years before his death. In Opus 62, No. 1, one scarcely notices the contrapuntal richness which is unobtrusively everywhere, yet discreetly absorbed into the ongoing vocal texture. Many of Brahms’ earlier works for piano have an epic dimension with a powerful virtuoso approach. His three early sonatas and his four sets of variations are large in scale, often heroic in gesture. However, in 1878 and then again between 1892 and 1893 there appeared five sets of mostly shorter works, varying in number from three to eight.The majority of these are lyrical, intimate in mood. Of the four sets,The Seven Fantasies, Opus 116 most strongly suggests a unity from first to last, a unity both of tonality and character balance. Together, the seven pieces suggest the formal shape of a four-movement sonata. The two extroverted D minor pieces frame the set, the G minor Capriccio (No. 3) acts as a scherzo and the three slow intermezzi in E (minor and major) which follow it, together suggest a sonata slow movement. Furthermore, the opening theme of the final D minor Capriccio is a compressed version of the opening theme of the third piece, the G minor Capriccio. �Variations on a Theme by Schumann, Opus 9 – J. Brahms By the time he set off to meet Robert Schumann in Dusseldorf in September 1853, the 20-year old Johannes Brahms’ reputation as a pianist and composer was already established, if not widely known beyond a small circle of friends and admirers. Schumann and his wife, the great pianist Clara Wieck, were astounded both by Brahms’ masterful and passionate piano playing and by the originality and nobility of his compositions: they immediately became his musical champions. Robert advised Brahms on the polishing as well as the publishing of his youthful works, including the three early piano sonatas, and also introduced his name to the musical world in an article — the last criticism Schumann was to write — entitled “New Paths.” Six months after Brahms’ departure, word reached him that Robert Schumann had succumbed to the mental illness that had plagued him for many years — he was to spend the remaining two years of his life in an asylum. Immediately returning to Dusseldorf, Brahms devoted himself over the next few months to easing the burden of Clara and her children. During this time he became familiar with a set of variations written by Clara on a theme by her husband from his Bunte Blätter (Opus 99). Brahms not only admired these variations but he saw in this same theme a means to express his devotion to Clara, as well as his love and veneration for Robert. Accordingly he composed sixteen variations of his own on Robert’s theme and presented them to Clara on her birthday, August 12, 1854. Brahms clearly wrote this work as an elegy to Robert Schumann and as a gift of consolation to Clara: the autograph contains the dedication “Variationen über ein Thema von Ihm - Ihr zugeeignet” (Variations on a theme by Him - dedicated to Her). Therefore it is not surprising to find many allusions to Schumann’s music; many of the variations are clear parodies of Schumann’s style and some — particularly variations 9 and 16 — amount to paraphrases of particular works of the older composer. Variation 10 ends with a direct quotation of a theme by Clara which Robert had used as the basis for a set of variations at the beginning of his composing career. And, as a final symbolic gesture, the first variation from this same early work of Schumann is clearly recalled, to end this great homage. — Bruce Vogt �BIOGRAPHY Bruce Vogt appears regularly in concert across Canada, and also inspires audiences abroad, having performed in Japan, China, the U.S., Germany, France, Italy, Norway, the former Czechoslovakia, Romania and Bulgaria. 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 such celebrated musicians as Gyorgy Sebok, Louis Kentner, Fou Ts’Ong and Dario de Rosa. Vogt’s repertoire is diverse, encompassing music from the sixteenth century to the present. He has long championed the music of contemporary composers, and commissioned and premiered a number of new works by such Canadian luminaries as Murray Adaskin and Alfred Fisher. He is also a dedicated performer on period instruments; one of his recordings features the music of Robert Schumann performed on a restored 1864 Erard. Other recordings include two volumes of the music of Franz Liszt, which have established for him an enviable reputation as a Liszt interpreter. In 2011 — the bicentenary of the composer’s birth — he recorded two subsequent Liszt CDs. 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 lectures widely, leads masterclasses and workshops, and adjudicates for festivals. In recent years he has been invited more frequently in Canada and abroad to indulge another passion — presenting and improvising accompaniments to great films of the silent era. �Orion The Series in Fine Arts Through the generous support of the Orion Fund in Fine Arts, the Faculty of Fine Arts, University of Victoria, is pleased to present JENS LINDEMANN TRUMPET THURSDAY, MARCH 28 11:30 AM – 1 PM CONCERT AND Q&A Join Jens Lindemann for a short performance of Classical and jazz repertoire followed by a question and answer session. FRIDAY, MARCH 29 1:30-3:30 PM BRASS MASTERCLASS Lindemann leads a masterclass with School of Music brass students. Rm. B037, MacLaurin Building, B-Wing Phillip T. Young Recital Hall, MacLaurin B-Wing Trumpeter Jens Lindemann is hailed as one of the most celebrated soloists in his instrument’s history and is the first classical brass player ever to receive the Order of Canada. As an internationally recognized virtuoso and multiple Juno and Grammy nominee, Jens has performed in every major concert hall in the world and has an extensive discography in a multitude of styles ranging from solo and chamber to jazz and contemporary. All events are FREE and open to the public. uvic.ca/music �UPCOMING AT THE SCHOOL OF MUSIC SATURDAY, MARCH 16 | 8 PM ($10-$20) UVic Voice Ensemble: Acis and Galatea With Larry Beckwith, Music director & Isaiah Bell, Stage director And members of Victoria Baroque Presenting a staged concept of Handel’s beautiful pastoral drama about love, jealousy, and the power of devotion. Chapel of the New Jerusalem, Christ Church Cathedral SATURDAY, MARCH 16 | 8 PM ($10-$20) UVic Jazz Ensemble Patrick Boyle, director The UVic Jazz Ensemble presents a night of small group improvisation featuring UVic’s finest, with music by Horace Silver, Jimmy Giuffree, Wayne Shorter, Clifford Brown and more. Phillip T. Young Recital Hall SUNDAY, MARCH 17 | 2 PM (By donation) Piano Studio Recital Featuring piano students from the studio of May Ling Kwok. Phillip T. Young Recital Hall WEDNESDAY, MARCH 20 | 12:30 PM (By donation) Low Brass Studio Recital Featuring tuba & euphonium students from the studio of Paul Beauchesne. Phillip T. Young Recital Hall WEDNESDAY, MARCH 20 (Free) Orion Series in Fine Arts Cris Inguanti, clarinet 11:30 AM: Lecture Vox Terra: Music for the clarinet with a global focus Rm. B037, MacLaurin Building, B-Wing 1:30 PM: Clarinet Masterclass Phillip T. Young Recital Hall To receive our season brochure & monthly newsletter by email, contact: concert@uvic.ca � 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 Series Creator An entity primarily responsible for making the resource Bezal Benny Date A point or period of time associated with an event in the lifecycle of the resource March 15, 2019 Contributor An entity responsible for making contributions to the resource Bruce Vogt