4 10 90 https://finearts.uvic.ca/music/archive/files/original/a3b28ec26cd35e2239c106b99f1677be.pdf 74e635b55b988673029ea74ca4510a73 PDF Text Text School of Music 50 YEARS MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC FACULTY CONCERT SERIES Songs of Passion Merrie Klazek, trumpet & Dr. Kinza Tyrrell, piano This concert is presented on the traditional territory of the WS’ANEC’ (Saanich), Lkwungen (Songhees) and Wyomilth (Esquimalt) peoples of the Coast Salish Nation. Monday, January 29, 2018 • 8 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $25 / Seniors: $20 / Students & UVic alumni: $10 �PROGRAM Toreador song, from Carmen Georges Bizet (1838-1875) Tus ojillos Negros Asturiana Manuel de Falla (1876-1946) Sin Tu Amor (1936) Miguel Sandoval (1902-1953) Gabriel Fauré (1845-1924) Les Berceaux Dans les Ruines d’une abbeye Quejas, o La Maja y el ruiseñor from Goyescas Habanera Ho Sparse Tante Lagrime Variation 18 from Theme of Paganini Rusalka’s Song to the Moon Enrique Granados (1867-1916) Maurice Ravel (1875-1937) Francesco Morlacchi (1784-1841) Sergei Rachmaninov (1873-1943) Antonín Dvořák (1841-1904) I NT E R M I S S I O N O! Vieni al mare Gaetano Donizetti (1797-1848) Franz Liszt (1811-1886) Oh! Quand je dors George Gershwin (1898-1937) Prelude No.1 Gabriel’s Oboe (1986) Ennio Morricone (b. 1928) Prelude No.2 George Gershwin (1898-1937) Maria, from West Side Story (1957) One Hand, One Heart Something’s Coming Leonard Bernstein (1918-1990) Libertango (1974) Astor Piazzolla (1921-1992) Someone to Watch Over Me George Gershwin (1898-1937) (Arr. Joseph Turrin) This recital is dedicated to Carol Klazek. �BIOGRAPHIES Merrie Klazek is a versatile and respected artist in the world of music performance and education A professional trumpeter in orchestral, chamber, solo, traditional, and popular music, Merrie joined the full-time faculty at the University of Victoria’s School of Music as Assistant Professor in 2016. Merrie holds a BMus from her native Calgary and an MMus from Northwestern University in Chicago, where she studied with the late Vincent Cichowicz. Her musical travels have taken her around the globe with performance highlights including the Spoleto Festival Italy, Musik Contemporaire Strasbourg France, Tokyo’s Bunka Kaikan hall, Stratford Festival, Hungary’s Niyrbator Festival, and numerous solo appearances with various Canadian orchestras. Merrie’s first solo recording entitled Songs to the Moon has been featured on TVO Studio 2 and on CBC Radio. She appears on numerous other recordings including five JUNO nominated albums, and is currently working on a new recording which will highlight the trumpet in settings of world music based on folk dance. Merrie has appeared as a presenter at the International Trumpet Guild conference and the International Women’s Brass Conference and is a founding member of Brass Northwest and current member of Pinnacle Brass. Principal trumpet with the Thunder Bay Symphony from 1999-2017, Merrie has held the same position with the Victoria Symphony and Orchestra London Canada. She has performed in the trumpet sections of Canada’s top orchestras and spent 14 years on sessional faculty at Lakehead University. As a teacher Merrie is sought after in the world of brass, career-coaching in the arts, and inter-generational music camps. Merrie is the administrative director for the Canadian Celtic Celebration and is an endorsing artist for Wedge Mouthpieces. www.merrieklazek.com Victoria native Dr. Kinza Tyrrell is one of Canada’s most sought after vocal coaches and repetiteurs. In addition to receiving her Doctorate in piano and vocal coaching from McGill University under the tutelage of Michael McMahon, and a Bachelor of Music from the University of Victoria, her musical education has been extensive, including study at the Hochschule für Musik und darstellende Kunst in Graz, the International Mozarteum Summer Academy in Salzburg, the Tanglewood Music Festival and the Merola Opera Program with world-renowned teachers Warren Jones, Martin Katz, Martin Isepp, Rudolph Jansen, Hans Graf, Gyorgy Sebok and Jon Kimura Parker. Dr. Tyrrell started piano lessons at age 4 and made her orchestral debut with the Victoria Symphony at age 12. Today, she is one of Canada’s finest collaborators, having concertized with Canadian singers Richard Margison and Measha Brueggergosman to name a few. She is also a clinician and adjudicator, and currently the Principle Répétiteur, Assistant Conductor and Associate Chorus Master with Vancouver Opera, and Music Director of Vancouver Opera in Schools. She is also an ongoing member of the visiting guest faculty at the Canadian Opera Company and the Center for Operatic Studies in Sulmona, Italy. � 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 Series, Songs of Passion 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 January 29, 2018 Contributor An entity responsible for making contributions to the resource Merrie Klazek, Dr. Kinza Tyrrell https://finearts.uvic.ca/music/archive/files/original/fe6d85eccd460128f2ea70bf8f7b1943.pdf c6ad221cee2abca8e14615c41a4de2fb PDF Text Text School of Music 50 YEARS MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC FACULTY CONCERT SERIES ALEXANDER DUNN GUITAR 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, February 23, 2018 • 8 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $25 / Seniors: $20 / Students & UVic alumni: $10 �PROGRAM 12 Impressionistic Sketches (1932) Dialogue Sky Andrew Allan Willcocks (1869-1956) Luminous Hills The Moon has risen? In the Meadows Sentimental Memories Squalls A mysterious person Sarabandesque Mischievous Cakewalks Gentle Water Games Cheeky, jaunty, canny Sonate in E Ferdinand Rebay I. Fliessend bewegt (1880-1953) II. Thema mit Variationen III. Scherzo IV. Finale I NT E R M I S S I O N Concession open in the lounge 12 Miniature Preludes (1932) Fresh Summer Day Romance Scatterbrained Le matin au bord de l’eau Pantomine Ô mort, poussière d’étoiles Paysage Sentimentale The Handmaid’s Dreams in the Dunes Stormy Atmosphere Moonlight Landscape The little Puck The Waters fall Andrew Allan Willcocks Sonate in A moll Ferdinand Rebay I. Gut bewegt II. Ruhig und Zart III. Scherzo: Lebhaft und mit Humor IV. Lustig bewegt �UPCOMING EVENTS SATURDAY, FEBRUARY 24 | 2 PM (By donation) Piano Studio Recital Featuring UVic School of Music piano students from the studio of Arthur Rowe. Phillip T. Young Recital Hall SATURDAY, FEBRUARY 24 | 7 PM (By donation) Flute Studio Recital Featuring UVic School of Music flute students from the studio of Dr. Suzanne Snizek. Phillip T. Young Recital Hall SUNDAY, FEBRUARY 25 | 2 PM (By donation) Violin Studio Recital Featuring UVic School of Music violin students from the studio of Ann Elliott-Goldschmid. Phillip T. Young Recital Hall SUNDAY, FEBRUARY 25 | 8 PM (By donation) Guest Concert: Dr. Stephanie Zelnick, clarinet Stephanie Zelnick’s program takes a unique and provocative musical snapshot from the middle of the 20th-century, with music by Joseph Horovitz, Béla Kovács, Alan Shulman and Francis Poulenc. Dr. Zelnick is Associate Professor of Clarinet at the University of Kansas and principal clarinet of the Boulder Philharmonic Orchestra. Phillip T. Young Recital Hall FRIDAY, MARCH 2 | 12:30 PM (By donation) Fridaymusic Featuring UVic School of Music woodwind students in a concert of varied repertoire. Phillip T. Young Recital Hall SATURDAY, MARCH 3 | 8 PM (Free) Orion Series in Fine Arts Works Not Written by Men Amy Horvey, trumpet Amy Horvey (BMus ‘02) is a performer of creative music, an orchestral trumpeter, and a specialist in the Baroque trumpet. Performing Barbara Strozzi’s Sino alla morte with lutist Douglas Hensley, Cecilia Arditto’s Musica Invisible for trumpet and flugelhorn, and Interview by Anna Hostman. Phillip T. Young Recital Hall To receive our On the Pulse brochure & newsletter by email, contact: concert@uvic.ca finearts.uvic.ca/music/events � 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/022318-FacultyConcertDunn/022318-FacultyConcertDunn_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/022318-FacultyConcertDunn/022318-FacultyConcertDunn_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/022318-FacultyConcertDunn/022318-FacultyConcertDunn_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/022318-FacultyConcertDunn/022318-FacultyConcertDunn_04.mp3">track4</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 - A. Dunn, guitar Creator An entity primarily responsible for making the resource Christian Knowles Date A point or period of time associated with an event in the lifecycle of the resource February 23, 2018 Contributor An entity responsible for making contributions to the resource Alexander Dunn https://finearts.uvic.ca/music/archive/files/original/5be8b60bec0fcc4ec07d48fc5d8f5a2b.pdf 256e8664d7d3488cb0b38ebc81025128 PDF Text Text School of Music 50 YEARS MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC FACULTY CONCERT SERIES “Hurling a Lance Into the Future” The Spiritual Vision of Franz Liszt (1811-1886) BRUCE VOGT PIANO We respectfully acknowledge that the land on which we gather is the traditional territory of the WS’ANEC’ (Saanich), Lkwungen (Songhees) and Wyomilth (Esquimalt) peoples of the Coast Salish Nation. Saturday, March 10, 2018 • 8 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $25 / Seniors: $20 / Students & UVic alumni: $10 �PROGRAM i. Religious Iconography “St. François d’Assise: la prédication aux oiseaux” from Deux légendes (St. Francis of Assisi: Preaching to the Birds) (c.1863) ii. Aspects of Love i. “Sonetto 47 del Petrarca” (Sonnet by Petrarch) from Années de pèlerinage, Deuxième année: Italie (1858) ii. Widmung (Dedication) Robert Schumann / Arr. Liszt (1848) iii. “Ricordanza” (Remembrance) from Études d’exécution transcendante (1851) iii. Hungarian Resonances Hungarian Rhapsody No. 13 in A Minor (c. 1845) Historical Hungarian Portraits No. 4 Eötvös József (1885) No. 6 Petõfi Sándor 1877-85) No. 7 Mosonyi Mihály (1870-77) I NT E R M I S S I O N Concession open in the lounge iv. Darker Visions of Eternity i. Valse oubliée No. 1 (Forgotten Waltz) (c. 1881) ii. Mephisto Waltz No. 4: Bagatelle sans tonalité (1883-85) iii. Schlaflos! Frage und Antwort (Sleepless: Question and Answer) (1883) iv. Aux cyprès de la Villa d’Este No. 1: Thrénodie (Among the Cypresses of the Villa d’Este) from Années de pèlerinage, Troisième année (c. 1877) v. Transcendental Vision Bénédiction de Dieu dans la solitude (Blessing of God in Solitude) from Harmonies poétiques et religieuses (1847-52) vi. Postlude Elegie: Die Zelle in Nonnenwerth (The Cell on Nonnenweth) (1880) �PROGRAM NOTES i. Religious Iconography Sometime in 1863, Liszt completed Two Legends from Catholic tradition of the lives of Saints. The first of these is based upon the story of St. Francis Preaching to the Birds: ...And as he went on his way, with great fervour, St. Francis lifted up his eyes, and saw on some trees by the wayside a great multitude of birds; and being much surprised, he said to his companions, “Wait for me here by the way, whilst I go and preach to my little sisters the birds”; and entering into the field, he began to preach to the birds which were on the ground, and suddenly all those also on the trees came round him, and all listened while St. Francis preached to them, and did not fly away until he had given them his blessing... Liszt knew perfectly well that this legend was ultimately mythological. And yet it contains much truth in the way it speaks of the beauty to be found in sympathy and sensitivity to all living things. As a friend of the poor who was loved by God’s creatures, Saint Francis invited all of creation—animals, plants, natural forces, even Brother Sun and Sister Moon—to give honor and praise to the Lord. The poor man of Assisi gives us striking witness that when we are at peace with God we are better able to devote ourselves to building up that peace with all creation which is inseparable from peace among all peoples. (Pope John Paul II, 1990) ii. Aspects of Love Liszt’s Franciscan Catholicism was a profound inspiration throughout his life, although some have seen an amusing contradiction in the zest with which he lived his secular life. But for Liszt there was no such contradiction: his religious feelings exerted a powerful influence over all his strivings. Indeed, his polemics on behalf of art and other artists—as well as his love letters—were expressed in language of religious fervour and conviction. The first two of these Aspects of Love were originally for voice and piano but were transcribed by Liszt with great skill and imagination so that the piano versions became separate works of art. With great subtlety the composer captures the sentiment of the poems which inspired the original songs. In Sonnet No. 47 by Petrarch­—the first of three piano settings of his own vocal settings of Petrarch Sonnets—Liszt took a very free approach to transcription. The material has been elaborated considerably, resulting in what is perhaps a more vivid illustration of the varying moods of Petrarch’s Sonnet. �Sonnet 47 Francesco Petrarca (1304–1374) Blest be the year, the month, the hour, the day, The season and the time, the point of space, And blest the beauteous country and the place Where first of two bright eyes I felt the sway: Blest the sweet pain of which I was the prey, When newly doomed Love’s sovereign law to embrace, And blest the bow and shaft to which I trace The wound that to my inmost breast found way: Blest be the ceaseless accents of my tongue, Unwearied breathing my loved lady’s name: Blest my fond wishes, sighs, and tears, and pains: That on all sides acquired to her fair fame; And blest my thoughts! for o’er them all she reigns. From his first encounter with Robert Schumann as a young man until the end of his life, Liszt remained a great supporter of Schumann’s compositions.This transcription of Schumann’s Lied, Widmung, was an elaboration on an earlier and more literal version. With this final version, composed in 1848, Liszt created perhaps his greatest song transcription, which so very beautifully suggests an ecstatic vision of fulfilled love. Yet in the end, it fundamentally changes the nature of the song. In Schumann’s original setting, the contrasting middle section (“You are my repose...”) is followed by a quite literal return to the opening music. Liszt, however, transforms this return into something more ecstatic before moving to a final verse in which the pulsating “peaceful” triplets of the middle section become yet a further transfiguration of the opening melody. Widmung (Dedication) Friedrich Rückert (1788-1866) You are my soul, my heart, my ecstasy and pain; You are my world in which I live, My heaven into which I am suspended, My grave into which I have laid forever my sorrow. You are my repose and my peace, You are bestowed to me from heaven; That you love me makes me of worth, Your gaze transfigures me, Lovingly you raise me above myself, My good spirit, my better self. Ricordanza (Memorial) is not a transcription of a song: it originated as one of twelve relatively simple Czerny-like studies Liszt wrote when he was 15. However, it was completely recomposed in 1837, and then again in 1852, as No. 9 of his 12 Études d’exécution transcendante (Transcendental Studies). Its sentiment was memorably described by Ferruccio Busoni as evoking “a bundle of faded love letters” iii. Hungarian Resonances Liszt’s Hungarian Rhapsody No. 13 was completed, along with the first fifteen Rhapsodies, in his middle years between 1846 and 1853, with four more added in the last four years of his life. It was Liszt’s belief that the melodies he used for these works were genuine Hungarian folk melodies—a wilful belief, since the evidence certainly existed at the time to show that these were actually melodies composed by members of the Hungarian middle class and nobility. But Liszt valued his Hungarian roots, and his belief in the folk source of these melodies allowed him to imaginatively express an important part of his own musical lineage.The Rhapsodies came from his reminiscence �of the melodies he heard in Gypsy camps as a child, which he valued for their emotional directness, their generosity of spirit, their humour, and their improvisatory brilliance. Many decades after Liszt’s death, Béla Bartók gently took him to task for misrepresenting these melodies but then argued for another kind of authenticity, in these and in all of Liszt’s so-called borrowings: “...whatever Liszt touched he so stamped and so transformed with his own individuality that it became like something of his own...We can say he was eclectic in the best sense of the word: one who took from all foreign sources but gave still more from himself.” Liszt spoke Hungarian only haltingly: nevertheless he strongly identified with his Hungarian roots. In his last years a great deal of his music is coloured by Hungarian elements. Not only are there a number of works based on Hungarian themes or forms, but certain characteristic musical elements are found in many non-Hungarian works: pentatonic and whole tone scales, and the use of the so-called “Gypsy” scale with its augmented seconds and flattened fourths. The Seven Hungarian Historical Portraits, composed between 1870 and 1885, were compiled in 1885, a year before the composer’s death. However, astonishingly, they were not published until 1956.These works commemorate Hungarian statesmen, patriots and artists whom Liszt had known. Jozsef Eötvös (1813-1871) was a writer and statesmen who was for a time minister of education and religious affairs in 1848, and again in 1867. He also was a passionate advocate of Jewish emancipation. Sandor Petöfi (1822-1849) was a celebrated poet who was killed while taking part in the revolution of 1848-1849. Mihály Mosonyi (1815-1870) was a composer whose music was admired by Liszt. Indeed Liszt wrote a piano fantasy on Mosonyi’s opera Szép Ilonka. iv. Darker Visions of Eternity Liszt’s last years were spent teaching and composing. He did nothing to make his compositions known and even discouraged his students from playing them. In 1873 he wrote to Mosonyi: “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. It was not until the enthusiastic advocacy of Bartók, Busoni and others, that these late works were recognized for what they are—a most astounding anticipation of major new paths which music was to follow. In their radical simplicity, obsessive rhythms and strange harmonies, they take the listener to the very brink of tonality. But if their anticipation of the future were their only distinction, they would be little more than curiosities. With art and artists, it’s not who does things first that matters but who does them best. Ultimately it is the uniqueness and power of their vision that makes these works so significant. Liszt’s biographer Alan Walker focusses on their expression of depression and despair. I think they are more truly an extension of Liszt’s life-long spiritual strivings, a courageous and unrelenting gaze into the abyss. He finds much terror there but also much beauty. �We live our lives in full knowledge of our mortality. We know we must die and everything that we value—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 ignored by what D. H. Lawrence refers to as: “the dead vanity of knowing better…the blank/cold comfort of superiority, [the] silly/conceit of being immune.“ It is a privilege of great 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. For the middle section Liszt instructs the performer to play in an “elegiac mood”. The publishing history of the Fourth Mephisto Waltz: Bagatelle sans tonalité demonstrates both the incomprehension with which these late works were received and the composer’s listless indifference to their fate. Written sometime between 1883 and 1885, it remained unknown until 1956 when it was finally published in Budapest. Schlaflos! Frage und Antwort (Sleepless! Question and Answer) was inspired by a poem by Toni Raab which is now lost. 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 Thrénodies, Aux cyprès de la Villa d’Este (Among the Cypresses of the Villa d’Este), two 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.” (Sacheverell Sitwell) v. Transcendental Vision Liszt’s greatest religious composition is his Bénédiction de Dieu: Blessing of God in Solitude—based on a poem by Lamartine. Surely this is one of his 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—in order 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.” 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) vi. Postlude Die Zelle in Nonnenwerth originated as a song composed in 1843. Nonnenwerth is an island on the Rhine which was the site of a ruined monastery and a chapel. Liszt used this island as a retreat during the summers of the early 1840s. The poem refers to love abandoned, with the monastery (Die Zelle) a symbol of loss and death. Liszt subsequently wrote four versions of this song for solo piano, and the metamorphosis over the years is extreme. In this last version, written in 1880, little is left of love, abandoned or otherwise; instead, there remains a sense of profound resignation, with echoes of ghostly chanting and the sound of distant bells from the long-deserted monastery. — Bruce Vogt BIOGRAPHY Canadian pianist Bruce Vogt was born in Southern Ontario but for the past 36 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. � 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 Series - Bruce Vogt, Piano Creator An entity primarily responsible for making the resource Hector Perez Date A point or period of time associated with an event in the lifecycle of the resource March 10, 2018 Contributor An entity responsible for making contributions to the resource Bruce Vogt https://finearts.uvic.ca/music/archive/files/original/bddfe0f7d889e48f97841b57af6125f4.pdf 0ac6d29daacb9f280a7fb592ee467419 PDF Text Text School of Music 50 YEARS MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC FACULTY CONCERT SERIES Suzanne Snizek, flute With Yoomi Kim, piano & Harald Krebs, piano This concert is presented on the traditional territory of the WS’ANEC’ (Saanich), Lkwungen (Songhees) and Wyomilth (Esquimalt) peoples of the Coast Salish Nation. Sunday, January 7, 2018 • 2:30 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $25 / Seniors: $20 / Students & UVic alumni: $10 �PROGRAM Pièce for flute and piano Yoomi Kim, piano Sonata for flute and piano I. Allegro II. Andante III. Presto Dick Kattenburg (1919–1943) Boris Blacher (1903–1975) Yoomi Kim, piano Preludio and Fuga for solo flute Selections from Twelve Miniatures for flute and piano II. Arietta III. Burlesque IV. Capriccio V. Andantino VI. Walzer VII. Ode Jan Novak (1921–1984) Mieczyslaw Weinberg (1919–1996) Yoomi Kim, piano I NT E R M I S S I O N Concession open in the lounge Sonata in E for solo flute I. Sehr fließend II. Etwas bewegt, unlustig; doppelt, so schnell III. Siciliano IV. Sehr launisch und schrullig Gunter Raphael (1903–1960) Camillo Schumann (1872–1946) Sonata for flute and piano I. Allegro amabile II. Un poco adagio III. Allegro moderato Harald Krebs, piano �UPCOMING EVENTS WEDNESDAY, JANUARY 10 | 12:30 PM (Free) Lieder at Lunch: Gespräche über Bäume (Tree Songs) An exploration of the German Lied (song) repertoire with Sharon and Harald Krebs, and special guest UVic alumnus Nick Fairbank (composer and baritone). Bring your lunch! Rm. B037, MacLaurin Building, B-Wing WEDNESDAY, JANUARY 10 | 8 PM (Free) Graduate Recital: Chroma Quartet The Chroma Quartet presents a recital in partial fulfillment of the requirements for the Master of Music in Performance—Emphasis String Quartet program. Phillip T. Young Recital Hall JANUARY 12–13 (Free) Orion Series in Fine Arts Owen Underhill, composer, piano (BMus ‘75) Daniel Tones, percussion (BMus ‘00) Owen Underhill is a composer, conductor, artistic director and faculty member in the School for Contemporary Arts at Simon Fraser University. Daniel Tones is an award-winning percussionist currently teaching at Kwantlen Polytechnic University. PERCUSSION MASTERCLASS: Friday, January 12 | 10–11:20 AM Rm. B016, MacLaurin Building, B-Wing LECTURE: Friday, January 12 | 2:30–4 PM Collaborations with Music and Dance: A Composer and Artistic Director’s Perspective Rm. B037, MacLaurin Building, B-Wing CONCERT: Saturday, January 13 | 8 PM REConnected This unique duo performs music by Underhill, Alvarez, Rzewski, Applebaum & others. Phillip T. Young Recital Hall To receive our On the Pulse brochure & newsletter by email, contact: concert@uvic.ca finearts.uvic.ca/music/events Donate Now 50 For 50 years the UVic School of Music has been nurturing musicians with the richest musical experience on the West Coast. This could not have been possible without the generous contributions from our loyal patrons and the incredible support of our community. Support the 50th anniversary season with a donation and be a part of our legacy. Let’s ensure that this anniversary season delights audiences and students for decades to come. To make a donation online, visit finearts.uvic.ca/music/calendar/50thsupport/ � 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/010718-FacultyRecital_Snizek/010718-FacultyRecital_Snizek_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/010718-FacultyRecital_Snizek/010718-FacultyRecital_Snizek_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/010718-FacultyRecital_Snizek/010718-FacultyRecital_Snizek_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/010718-FacultyRecital_Snizek/010718-FacultyRecital_Snizek_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/010718-FacultyRecital_Snizek/010718-FacultyRecital_Snizek_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/010718-FacultyRecital_Snizek/010718-FacultyRecital_Snizek_06.mp3">track6</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 - Suzanne Snizek, flute 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 January 7, 2018 Contributor An entity responsible for making contributions to the resource Suzanne Snizek, flute; Yoomi Kim, piano; Harald Krebs, piano https://finearts.uvic.ca/music/archive/files/original/583ef59aa3fab88d48508ea152fd4251.pdf 2b1263bb30076ec102c306e3e69fbc21 PDF Text Text School of Music 50 YEARS MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC FACULTY CONCERT SERIES The Lafayette String Quartet Ann Elliott-Goldschmid, violin Sharon Stanis, violin Joanna Hood, viola Pamela Highbaugh Aloni, cello This concert is presented on the traditional territory of the WS’ANEC’ (Saanich), Lkwungen (Songhees) and Wyomilth (Esquimalt) peoples of the Coast Salish Nation. Saturday, November 4, 2017 • 8 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $25 / Seniors: $20 / Students & UVic alumni: $10 �PROGRAM Quartet in E-flat major, Op. post. 125, D. 87 Allegro moderato Scherzo: Prestissimo Adagio Allegro Franz Schubert (1797–1828) Quartet No. 12 in D-flat major, Op. 133 Dmitri Shostakovich (1906–1975) Moderato–Allegretto Allegretto–Adagio–Moderato–Adagio–Moderato–Allegretto I NT E R M I S S I O N Concession open in the lounge Quartet in E-flat major, Op. 127 Ludwig van Beethoven (1770–1827) Maestoso–Allegro Adagio ma non troppo e molto cantabile– Andante con moto–Adagio molto espressivo Scherzando vivace Finale �About the Lafayette String Quartet Formed in 1986, and Artists in Residence at the University of Victoria since 1991, the Lafayette String Quartet is known for their rich sonority, masterful interpretations and extraordinary ensemble. During their 30th anniversary season in 2016-17, the Lafayette Quartet performed the Shostakovich Cycle to sold out audiences at home in Victoria and in Waterloo, Ontario, and performed concerts across Canada, and in Europe. For five years, the LSQ prospered in Detroit, where its members taught at the Center for Creative Studies/Institute of Music and Dance, and Oakland University. The LSQ itself received coaching from some of the world’s most esteemed quartets — the Amadeus, Alban Berg, and Cleveland — and from violinist Rostislav Dubinsky, of the legendary Borodin Quartet, who served as their “musical mentor” until his death in 1997. The Quartet’s musicianship was recognized early on. In their first years together they were ranked among Musical America’s “Young Artists to Watch,” won the Grand prize at the Fischoff National Chamber Music Competition and top prizes at the Portsmouth (now City of London) International String Quartet Competition, and the Chicago Discovery Competition. As winners of the 1988 Cleveland String Quartet Competition, the LSQ had the opportunity to study for two years with the Cleveland Quartet at the Eastman School of Music, in Rochester, New York. As Artists-in-Residence at the University of Victoria, their dedication and skill has played a major role in building one of the finest music schools in Canada. In addition to quartet performances and collaborating with colleagues in the School of Music, members of the quartet teach individual lessons, coach chamber music groups, and give studio masterclasses on a weekly basis. They have been principal players of the Galiano Ensemble of Victoria since its inception and continue to serve the community promoting strings in the public schools through outreach programs and the strings mentoring course at UVic. In June, they offer Quartet Fest West, an intensive quartet seminar that brings together young musicians from all over the world.Their annual Health Awareness Forum, founded in 2006, offers timely insights from top health experts on a wide range of topics. They received honorary doctorates from University Canada West and were awarded the inaugural Craigdarroch Award for Excellence in Artistic Expression from the University of Victoria. The LSQ has performed across Canada, the United States, Mexico and Europe, with concerts often allied with masterclasses and workshops. They had a close and lasting relationship with the University of Saskatchewan in Saskatoon while playing on the set of Amatis owned by the institution. The LSQ carries a large, wide-ranging repertoire, from the classical period to the present, and has commissioned and premiered music from numerous composers. Since 1990, the LSQ has released numerous CDs on the Dorian, Centrediscs, AdLar, CBC and other labels (including its own). They have been the subject of numerous articles and the book The Four and the One: In Praise of String Quartets by David Rounds, published in 1999. � 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/110417-FacultyConcert_LSQ/110417-LafayetteStringQuartet_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/110417-FacultyConcert_LSQ/110417-LafayetteStringQuartet_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/110417-FacultyConcert_LSQ/110417-LafayetteStringQuartet_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 - Lafayette String Quartet Creator An entity primarily responsible for making the resource Anthony Shackell Date A point or period of time associated with an event in the lifecycle of the resource November 4, 2017 https://finearts.uvic.ca/music/archive/files/original/1edb77404da9627d972b3366fb70cfe2.pdf 604087f6180147ac78cfc669f577f4d0 PDF Text Text School of Music 5 UVIC 0 YEARS MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC FACULTY CONCERT SERIES Sounding Now: Boyle, McFetridge & Young FEATURING: PATRICK BOYLE TRUMPET, FLUGELHORN GEORGE MCFETRIDGE JAMES YOUNG PIANO DOUBLE BASS We acknowledge that the land on which we gather is the traditional territory of the WS’ANEC’ (Saanich), Lkwungen (Songhees) and Wyomilth (Esquimalt) peoples of the Coast Salish Nation. Sunday, October 22, 2017 • 8 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $25 / Seniors: $20 / Students & UVic alumni: $10 �PROGRAM This concert features two 45 minute sets and a 15 minute intermission. All selections are original compositions and improvisations. Specific selections will be announced from the stage. A short note from Patrick Boyle: Over a decade ago, I got a call from the manager of The Ship Inn, a popular bar in my hometown, St. John’s, NL. He said that there was a touring musician performing tonight and he thought I should be down and sit in. That musician was George McFetridge. We ended up playing a few tunes that night, I recall for certain we played “Tangerine” and had a marvelous time. Fast forward to 2016 on the other side of the continent, when I was on a gig in Victoria’s Chinatown, with bassist James Young for the first time. There was a deep connection made straight away, and I was pleased when James invited me to play in this trio format with George. George and James are two-thirds of The May Trio with drummer Paul Fitterer, whose self-titled release is available at the intermission. The trio performing for you this evening practices very nearly every single week, working on our own compositions and improvisations. The music you hear this evening has never been played before and will never be played again. Thank you for your attention and for supporting live music. ABOUT THE ARTISTS: Dr. Patrick Boyle (trumpet) is Associate Professor of Jazz Studies at UVic. Originally from Newfoundland, Canada, he appears on over 50 commercial releases and 3 acclaimed solo albums. CBC Radio has called him a “trumpet personality” and “one of Canada’s top jazz musicians.” He has cultivated the rare ability to synthesize a range of influence — including jazz, rock, trad, Balkan, and South Indian music — which all come together into a rhythmically compelling musical voice. In 2009, Patrick performed at Carnegie Hall with tabla virtuoso Zakir Hussain. www.patrickboyle.ca George McFetridge (piano) made his way early on through deep knowledge of standard repertoire, leading him to work in Toronto with Lee Konitz, among many others. Beyond that, his aim has always been to arrive at a personal music, culminating so far in the May Trio and B..M.. and Y... George makes open musical landscapes that blur improvisation and composition. His interest is in the musical unknown free of style or idiom. James Young (bass) believes crossing musical boundaries is the key to his multistylistic approach to improvisation and composition. Upon moving to Victoria, James embraced Bluegrass, Blues, Folk and Salsa with such luminaries as Doug Cox, Ken Hamm, and Cuban Singer Adonis Puentis. His exploration of new musical styles includes work with Ukrainian Shumka, Big Band Swing, Jazz, Free Jazz, Rock and Blues. In Edmonton and Banff, James worked with noted Jazz musicians such as Pepper Adams, Ed Bickert, Eddie Blackwell, Lenny Breau, Lee Konitz, Roscoe Mitchell, Phil Nimmons, and Sam Rivers. In Toronto, James collaborated with many musicians such as Julius Hemphill, Paul Cram, Holly Cole, Rich Underhill, Tom Walsh, among others. www.jamesyoungbass.com �UPCOMING EVENTS TUESDAY, OCTOBER 24 | 12:30 PM (By donation) Tuesdaymusic Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring UVic School of Music students. Phillip T. Young Recital Hall FRIDAY, OCTOBER 27 | 12:30 PM (By donation) Fridaymusic Featuring UVic School of Music voice students in a concert of varied repertoire. Phillip T. Young Recital Hall FRIDAY, OCTOBER 27 | 8 PM ($10-$20) UVic Orchestra: A Tribute to Maureen Forrester Noa Frenkel, contralto & Benjamin Butterfield, tenor Ajtony Csaba, conductor This concert honours the extraordinary Canadian mezzo-soprano Maureen Forrester. An artist who achieved great acclaim, Forrester was a generous teacher whose legacy carries on through her many students. The program features a new work commissioned by the Toronto Symphony Orchestra by Canada’s acclaimed film composer Howard Shore. Also on the program is one of Forrester’s signature works, Gustav Mahler’s Das Lied von der Erde as well as Richard Wagner’s Rienzi Overture. University Centre Farquhar Auditorium SATURDAY, OCTOBER 28 | 2:30 PM (By donation) UVic Chamber Singers: Autumn Songs Susan Young, director Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480), online (tickets.uvic.ca) and at the door. To receive our On the Pulse brochure & newsletter by email, contact: concert@uvic.ca finearts.uvic.ca/music/events Donate Now 50 For 50 years the UVic School of Music has been nurturing musicians with the richest musical experience on the West Coast. This could not have been possible without the generous contributions from our loyal patrons and the incredible support of our community. Support the 50th anniversary season with a donation and be a part of our legacy. Let’s ensure that this anniversary season delights audiences and students for decades to come. To make a donation online, visit finearts.uvic.ca/music/calendar/50thsupport/ � 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/102217-FacultyConcert_Boyle/102217-BoyleMcFetridgeYoung_01.mp3">Track01</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102217-FacultyConcert_Boyle/102217-BoyleMcFetridgeYoung_02.mp3">Track02</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102217-FacultyConcert_Boyle/102217-BoyleMcFetridgeYoung_03.mp3">Track03</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102217-FacultyConcert_Boyle/102217-BoyleMcFetridgeYoung_04.mp3">Track04</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102217-FacultyConcert_Boyle/102217-BoyleMcFetridgeYoung_05.mp3">Track05</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102217-FacultyConcert_Boyle/102217-BoyleMcFetridgeYoung_06.mp3">Track06</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102217-FacultyConcert_Boyle/102217-BoyleMcFetridgeYoung_07.mp3">Track07</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102217-FacultyConcert_Boyle/102217-BoyleMcFetridgeYoung_08.mp3">Track08</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102217-FacultyConcert_Boyle/102217-BoyleMcFetridgeYoung_09.mp3">Track09</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102217-FacultyConcert_Boyle/102217-BoyleMcFetridgeYoung_10.mp3">Track10</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102217-FacultyConcert_Boyle/102217-BoyleMcFetridgeYoung_11.mp3">Track11</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102217-FacultyConcert_Boyle/102217-BoyleMcFetridgeYoung_12.mp3">Track12</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102217-FacultyConcert_Boyle/102217-BoyleMcFetridgeYoung_13.mp3">Track13</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102217-FacultyConcert_Boyle/102217-BoyleMcFetridgeYoung_14.mp3">Track14</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- Sounding Now Creator An entity primarily responsible for making the resource Anthony Shackell Date A point or period of time associated with an event in the lifecycle of the resource October 22, 2017 Contributor An entity responsible for making contributions to the resource Patrick Boyle, trumpet and flugelhorn George McFetridge, piano James Young, double bass https://finearts.uvic.ca/music/archive/files/original/75e097de1b5c2cc66fbd4a84d4a2f349.pdf 5158d01a943ffece1edca9eae0b0962d PDF Text Text School of Music 5 UVIC 0 YEARS MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC FACULTY CHAMBER MUSIC SERIES French Connections: Poulenc Stravinsky Saint-Saëns This concert is presented on the traditional territory of the WS’ANEC’ (Saanich), Lkwungen (Songhees) and Wyomilth (Esquimalt) peoples of the Coast Salish Nation. Saturday, October 14, 2017 • 8 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $25 / Seniors: $20 / Students & UVic alumni: $10 �FEATURING Gregor Craigie, narrator & Donovan Waters, raconteur The Lafayette String Quartet Ann Elliott-Goldschmid, violin Sharon Stanis, violin Joanna Hood, viola Pamela Highbaugh Aloni, violincello Benjamin Butterfield, tenor Arthur Rowe, piano Harald Krebs, piano Kinza Tyrrell, piano (BMus ‘96) Marie-Perle Broadley, flute Patricia Kostek, clarinet Rebecca Hissen, clarinet (BMus ‘03) Robyn Jutras, bassoon (BMus ‘04) Merrie Klazek, trumpet Scott MacInnes, trombone (MMus ‘11) Alex Olsen, bass Aaron Mattock, percussion (BMus ‘14) Owen Underhill, conductor (BMus ‘75) �PROGRAM Rapsodie Nègre, Op. 1 Francis Poulenc (1899–1963) Poem by Makoko Kangourou (1870–1895) Prélude – Modéré Ronde – Très vite Honoloulou – Vocal Interlude – Lent et monotone Pastorale – Modéré Final – Presto et pas plus Ann Elliott-Goldschmid and Sharon Stanis, violin Joanna Hood, viola Pamela Highbaugh Aloni, violoncello Marie-Perle Broadley, flute Patricia Kostek, clarinet Arthur Rowe, piano Benjamin Butterfield, baritone L’Histoire du Soldat – Suite Igor Stravinsky (1882–1971) Narrative written for Stravinsky’s trio reduction of L’Histoire du Soldat – Douglas J. Penick, after C. F. Ramuz I. The Soldier’s March II. Airs by a Stream III. Pastorale IV. Royal March V. The Little Concert VI. 3 Dances: No. 1. Tango VI. 3 Dances: No. 2. Waltz VI. 3 Dances: No. 3. Ragtime VII. Dance of the Devil VIII. Grand Chorale IX. Triumphant March of the Devil Ann Elliott-Goldschmid, violin Alex Olsen, double bass Rebecca Hissen, clarinet Robyn Jutras, bassoon Merrie Klazek, trumpet Scott MacInnes, trombone Aaron Mattock, percussion Gregor Craigie, narrator Owen Underhill, conductor �I NT E R M I S S I O N Concession open in the lounge Le Carnaval des Animaux Camille Saint-Saëns (1835–1921) Poems by Ogden Nash (1902–1971) No. 1 Introduction and Royal March of the Lion No. 2 Hens and Roosters No. 3 Wild Asses (Swift Animals) No. 4 Tortoises No. 5 The Elephant No. 6 Kangaroos No. 7 Aquarium No. 8 Characters with Long Ears No. 9 The Cuckoo in the Depths of the Woods No. 10 Aviary No. 11 Pianists No. 12 Fossils No. 13 The Swan No. 14 Finale Harald Krebs and Kinza Tyrrell, piano Ann Elliott-Goldschmid and Sharon Stanis, violin Joanna Hood, viola Pamela Highbaugh Aloni, violoncello Alex Olson, bass Marie-Perle Broadley, flute Patricia Kostek, clarinet Aaron Mattock, percussion Donovan Waters, raconteur Please join us for a reception in the lobby. �BIOGRAPHIES Gregor Craigie has been the host of CBC Radio’s On the Island since 2007. He studied history at the University of Calgary, broadcast journalism at the BC Institute of Technology, and his first radio job was reporting for CKWX in Vancouver. In 1999 he joined the BBC World Service in London as a news announcer and producer and also reported for the American network CBS radio as well as freelancing for CBC Radio. Following his BBC/CBC/CBS days, Gregor returned to Canada and to the CBC exclusively. Most recently he has worked as a producer on The Current and a radio reporter in the Kootenays. Gregor and his wife Rebecca are happy to be on the island and look forward to staying in one place for a long time to come. For rest and relaxation, he rides his bike and runs after his three young sons. Dr. Donovan Waters, Q.C., F.R.S.C., is a leading international expert in trust law and the author of several texts including Waters’ Law of Trusts in Canada now in its fourth edition. He has had a distinguished academic career which has included positions at the Universities of Oxford, London, Chicago, Saskatchewan, Montreal and Victoria as well as holding an honorary doctorate from McGill University and an honorary degree of Doctor of Laws from the University of Victoria. He is a Fellow of the Royal Society of Canada, a member of the International Academy of Comparative Law, and a Fellow of the American College of Trust and Estate Counsel. In 2016 he was presented by the international Society of Trust and Estate Practitioners, based in London, England, with the Lifetime Achievement Award. In his ‘retirement’ he practices as a specialist in trusts law. Dr. Waters has a love of the spoken English language, which he was able to indulge throughout his years of teaching and lecturing around the world. �UVIC 50 YEARS Join us for an extraordinary season of concerts and events to celebrate the School of Music’s 50th Anniversary! FRIDAY, OCTOBER 27 | 8 PM ($10-$20) UVic Orchestra: A Tribute to Maureen Forrester Noa Frenkel, contralto & Benjamin Butterfield, tenor Ajtony Csaba, conductor University Centre Farquhar Auditorium This concert honours the extraordinary Canadian mezzo-soprano Maureen Forrester. An artist who achieved great acclaim, Forrester was a generous teacher whose legacy carries on through her many students. The program features a new work commissioned by the Toronto Symphony Orchestra by Howard Shore, Canada’s acclaimed film composer most renowned for his scores for The Lord of the Rings trilogy. Also on the program is one of Forrester’s signature works, Gustav Mahler’s masterpiece, Das Lied von der Erde (The Song of the Earth), as well as Richard Wagner’s Rienzi Overture. DECEMBER 1–3 50th Anniversary Celebration Weekend & Reunion Inviting all School of Music alumni from near and far! We welcome you back to campus to reconnect with fellow alumni. Mix and mingle at the dinner party on Friday, attend concerts, fun activities, or a campus tour, and perform on the Phillip T. Young Recital Hall stage in an “Open Mic” concert. Details at: finearts.uvic.ca/music/50th SATURDAY, DECEMBER 2 | 8 PM ($10-$25) UVic Chorus & Orchestra: 50th Anniversary Gala Concert Timothy Vernon, guest conductor Arthur Rowe, piano & Merrie Klazek, trumpet University Centre Farquhar Auditorium Founding artistic director of Pacific Opera Victoria, Maestro Vernon has earned the admiration of audiences and fashioned POV into one of the city’s true cultural treasures. Maestro Vernon will conduct the UVic Chorus & Orchestra in G. F. Handel’s Utrecht Te Deum, Hindemith’s Symphonic Metamorphosis, and Beethoven’s Coriolanus Overture. As an added treat, School of Music faculty pianist Arthur Rowe and trumpeter Merrie Klazek will appear as soloists in Shostakovich’s Piano Concerto No. 1 for Strings and Trumpet. Cake reception to follow! FEBRUARY 2–4 New Music & Digital Media Festival The landscape of new and experimental music in Canada has been greatly influenced by the creative individuals who have taught and studied at the School of Music. Join us as we celebrate this vital community with a weekend of new music, technology, and concerts featuring the UVic Orchestra, faculty, students, alumni and special guests. �UPCOMING EVENTS MONDAY, OCTOBER 16 | 7:30 PM (Free) Orion Series in Fine Arts Guest Lecture with Dr. Klisala Harrison, ethnomusicologist (BMus ‘97) How Music Can Help: Human Rights Deficits and Early Deaths in Urban Poverty In this special lecture-presentation, Dr. Harrison looks at how popular and Indigenous musics are used in Canadian efforts to address human rights deficits occurring in poverty—which academics and activists link to premature deaths—as well as how music can benefit urban poor in life-affirming ways. Harrison is Academy of Finland Research Scholar at the University of Helsinki, Finland. Her main research interest is how music may be used to address concrete social problems. David Lam Auditorium, Rm. A144, MacLaurin Building, A-Wing TUESDAY, OCTOBER 17 (Free) The Adaskin Series in partnership with the Victoria Symphony Tanya Tagaq, Adaskin Visitor, 2017 Christine Duncan, Director, Element Choir Canadian Inuk experimental vocalist and artist, Tanya Tagaq, blends throat singing with electronic, classical, punk and rock music. She won the Polaris Prize for best Canadian album in 2014 and has played to major festivals and packed houses all over the world. Christine Duncan possesses a five-octave range, and while she performs a wide range of styles with ease, she is most in her element with free improvisation. Discussion: Creative Collaboration in the Music Industry | 2:30–4 PM Hosted by Dr. Patrick Boyle Rm. B037, MacLaurin Building, B-Wing Workshop with the UVic Chorus | 7–8:20 PM Tagaq and Duncan lead the UVic Chorus in an improvisation workshop exploring texture, timbre, rhythmic patterns and extended vocal techniques. David Lam Auditorium, MacLaurin Building, A-Wing WEDNESDAY, OCTOBER 18 | 12:30 PM (Free) Lieder at Lunch: Mom and Pop Songs An exploration of the German Lied (song) repertoire with Sharon and Harald Krebs. Bring your lunch! Rm. B037, MacLaurin Building, B-Wing FRIDAY, OCTOBER 20 | 12:30 PM (By donation) Fridaymusic Featuring UVic School of Music string students in a concert of varied repertoire. Phillip T. Young Recital Hall To receive our On the Pulse brochure & newsletter by email, contact: concert@uvic.ca finearts.uvic.ca/music/events � 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/101417-FacultyChamberMusicSeries/101417-50thFacultyChamberConcert_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/101417-FacultyChamberMusicSeries/101417-50thFacultyChamberConcert_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/101417-FacultyChamberMusicSeries/101417-50thFacultyChamberConcert_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 Chamber Music Series - French Connections Date A point or period of time associated with an event in the lifecycle of the resource October 14, 2017 Creator An entity primarily responsible for making the resource Anthony Shackell https://finearts.uvic.ca/music/archive/files/original/4518b1b9c8d5046115edc3ae1440809a.pdf 30fcef07a51d3e5a7b1962b77aea1182 PDF Text Text School of Music 50 YEARS MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC FACULTY CONCERT SERIES FRIENDS & NEIGHBOURS BENJAMIN BUTTERFIELD TENOR & KINZA TYRRELL PIANO This concert is presented on the traditional territory of the WS’ANEC’ (Saanich), Lkwungen (Songhees) and Wyomilth (Esquimalt) peoples of the Coast Salish Nation. Sunday, September 17, 2017 • 2:30 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $25 / Seniors: $20 / Students & UVic alumni: $10 �PROGRAM From Young man from Canada Young man from Canada Le roulier Tighinn do America John Beckwith (b. 1927) Adelaide Ludwig van Beethoven (1770–1827) Fussreise Hugo Wolf (1860–1903) Der Musensohn Franz Schubert (1797–1828) Aufträge Robert Schumann (1810–1856) Ablösung im Somer Gustav Mahler (1860–1911) Ich trage meine Minne Richard Strauss (1864–1949) Johannes Brahms (1833–1897) Intermezzo in A major, Op. 118, No. 2 I NT E R M I S S I O N Concession open in the lounge Prelude in G-sharp minor, Op. 32, No. 12 Kuda Kuda from Eugene Onegin Summer nights Not all sorrows have died A memory Sergei Rachmaninoff (1873–1943) Pyotr Ilyich Tchaikovsky (1840–1893) Yakiv Stepovij (1883–1921) Sally in our alley Stanislav Liudkevich (1879–1979) Benjamin Britten (1913–1976) Lonely at the top Randy Newman Simon Smith (b. 1943) Short people Marie Texas girl at the funeral of her father Dayton Ohio, 1903 �UPCOMING EVENTS FRIDAY, SEPTEMBER 29 (Free admission) Orion Series in Fine Arts in partnership with the Victoria Symphony James Ehnes, violin Grammy Award Winner James Ehnes is one of Canada’s most beloved violinists. He has performed in over 35 countries on five continents, appearing regularly in the world’s great concert halls and with many of the most celebrated orchestras and conductors. Violin Masterclass with School of Music students: 10 AM – 12 PM Conversation and Q&A: 12:30 – 1:20 PM Phillip T. Young Recital Hall THURSDAY, OCTOBER 5 | 7 PM (Free admission) 12th Annual Lafayette Health Awareness Forum Our Vital Brain: Being mindful about optimal health The Lafayette String Quartet is joined by experts to explore how mindfulness and new understandings of the workings of our brain affect our overall health. Reserve seats at: lafayettestringquartet.ca David Lam Auditorium, Rm. A144, MacLaurin Building, A-Wing 50TH ANNIVERSARY SIGNATURE EVENT SATURDAY, OCTOBER 14 | Dinner at 6 PM / Concert at 8 PM Faculty Chamber Music Series French Connections: Poulenc, Stravinsky, Saint-Saëns Local celebrities Gregor Craigie and Donovan Waters (narrators) join faculty and alumni in a carnival of stories and songs, including Poulenc’s Rapsodie nègre, Stravinsky’s L’Histoire du soldat, and Carnival of the Animals by Saint-Saëns. Make an evening of it with a dinner and pre-concert talk with UVic Distinguished Professor Dr. Harald Krebs and hosts Craigie and Waters at the University Club. Concert: $10-$25 | Concert + Dinner: $80 Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480), online (tickets.uvic.ca) and at the door. To receive our On the Pulse brochure & newsletter by email, contact: concert@uvic.ca finearts.uvic.ca/music/events Donate Now 50 For 50 years the UVic School of Music has been nurturing musicians with the richest musical experience on the West Coast. This could not have been possible without the generous contributions from our loyal patrons and the incredible support of our community. Support the 50th anniversary season with a donation and be a part of our legacy. Let’s ensure that this anniversary season delights audiences and students for decades to come. To make a donation online, visit finearts.uvic.ca/music/calendar/50thsupport/ � 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 Due to technical issues, the first track begins in the middle of <em>Ich trage meine Minne</em>.<br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091717-FacultyRecital_Butterfield/091717-ButterfieldRecital_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091717-FacultyRecital_Butterfield/091717-ButterfieldRecital_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091717-FacultyRecital_Butterfield/091717-ButterfieldRecital_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091717-FacultyRecital_Butterfield/091717-ButterfieldRecital_04.mp3">Track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091717-FacultyRecital_Butterfield/091717-ButterfieldRecital_05.mp3">Track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091717-FacultyRecital_Butterfield/091717-ButterfieldRecital_06.mp3">Track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091717-FacultyRecital_Butterfield/091717-ButterfieldRecital_07.mp3">Track7</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 - Friends & Neighbours Creator An entity primarily responsible for making the resource Colin Malloy Date A point or period of time associated with an event in the lifecycle of the resource September 17, 2017 Contributor An entity responsible for making contributions to the resource Benjamin Butterfield, tenor Kinza Tyrrell, piano 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/071517-FacultyRecital/071517-FacultyRecital_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/071517-FacultyRecital/071517-FacultyRecital_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/071517-FacultyRecital/071517-FacultyRecital_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 UVic Flute Intensive Faculty Recital Creator An entity primarily responsible for making the resource Robert Pond Date A point or period of time associated with an event in the lifecycle of the resource July 15, 2017 Contributor An entity responsible for making contributions to the resource Suzanne Snizek, flute Harald Krebs, piano https://finearts.uvic.ca/music/archive/files/original/ac687f26ecf93152952fa632924bdef0.pdf 94e4ad11932e08deb0905171b17b8c60 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC FACULTY CONCERT SERIES BRUCE VOGT PIANO Sunday, February 26, 2017 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $20 / Seniors: $15 / Students & UVic alumni: $10 �PROGRAM Beethoven and Debussy: Purgatory Mates Bruce Vogt I NT E R M I S S I O N Concession open in the Lounge Images, Book II (1907) i. Cloches à travers les feuilles (Bells Heard Through the Leaves) ii. Et la lune descend sur le temple qui fût (And the Moon Shines down on the Temple that was) iii. Poissons d’or (Goldfish) Sonata in C minor, Opus 111 (1822) Claude Debussy (1862–1918) L. van Beethoven (1770–1827) i. Maestoso – Allegro con brio ed appassionato ii. Arietta: Adagio molto semplice e cantabile �BIOGRAPHY Canadian pianist Bruce Vogt appears regularly in concert, both as a soloist and as a chamber musician, in Canada, England, the USA, Germany, France, Italy, Norway, Czechoslovakia, Bulgaria, China, and Japan. Born in Southern Ontario, Bruce completed his initial musical studies with Damjana Bratuz and Anton Kuerti. Later he studied in the United States, England, Switzerland, and Italy, working with a number of celebrated musicians including Gyorgy Sebok, Louis Kentner, Fou Ts’Ong, and Dario de Rosa. Bruce Vogt’s repertoire is extremely diverse, encompassing music from the sixteenth century to the present. He has consistently championed the music of contemporary composers and has commissioned and premiered a number of new works by such Canadian luminaries as Murray Adaskin and Alfred Fisher. He is also an enthusiastic and dedicated performer on period instruments; one of his recordings (2003) features music of Robert Schumann performed on a restored 1864 Erard. His 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 Liszt’s birth – he recorded two subsequent CDs of this great composer’s music. In addition to his career as a piano soloist, chamber musician and recording artist, Bruce Vogt is also Professor of Piano at the University of Victoria. 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. For information about upcoming performances and other CDs, please refer to brucevogt.com. Please tell us about your concert experience in this quick Audience Survey: https://finearts.uvic.ca/forms/music/audience/ finearts.uvic.ca/music � 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/022617-FacultyConcert_Vogt/022617-FacultyConcert_Vogt_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/022617-FacultyConcert_Vogt/022617-FacultyConcert_Vogt_02.mp3">Track2</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 - Bruce Vogt Creator An entity primarily responsible for making the resource Robert Pond Date A point or period of time associated with an event in the lifecycle of the resource February 26, 2017 Contributor An entity responsible for making contributions to the resource Bruce Vogt, piano