6 10 90 https://finearts.uvic.ca/music/archive/files/original/a8be54d1a81626d938fffaf5aa0fc721.pdf d75d78a2252bcf835abdf6971c12f941 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC FACULTY CONCERT SERIES Home Grown: Jazz in Canada Patrick Boyle Quartet Featuring Patrick Boyle, trumpet Brent Jarvis, piano Sean Drabitt, double bass Hans Verhoeven, drums With special guests from the UVic Jazz Ensemble Will Lynch, piano (Music and Computer Science) Blake Palm, double bass (Music Education) Myim Bakan-Kline, drums (Political Science) Saturday, January 16, 2016 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $18 / Students, seniors, alumni: $14 �PROGRAM Isfahan Billy Strayhorn Beija Flor Nilson Cavaquinho Kind Folk Kenny Wheeler Untitled Brent Jarvis Ask Me Now Thelonious Monk Black Nile Wayne Shorter I NT E R M I S S I O N Beverages and snacks available at the concession located in the lounge. What East of Pho Hung/Nest of the Loon Jeff Johnston Terry Promane/ Mike Murley Chores of Amulree Patrick Boyle Heart and Mind Patrick Boyle Swingin’ Shepherd Blues Moe Koffman �UPCOMING EVENTS Monday, January 18, 8:00 p.m. (Free Admission) GRADUATING RECITAL: Justin Malchow, horn Justin Malchow presents his Bachelor of Music graduating recital for horn. Phillip T. Young Recital Hall Wednesday, January 20, 12:30 p.m. (Free Admission) LIEDER AT LUNCH Selections from Hugo Wolf ’s Italienisches Liederbuch An exploration of the German Lied repertoire with Sharon and Harald Krebs. Bring your lunch! Rm. B037, MacLaurin Building, B-Wing Friday, January 22, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall Friday, January 22, 8:00 p.m. (Admission by donation) PIANO CLASS RECITAL Featuring students from the studio of Bruce Vogt. Phillip T. Young Recital Hall Sunday, January 24, 2:30 p.m. (Admission by donation) SAXOPHONE CLASS RECITAL Featuring students from the studio of Wendell Clanton. Phillip T. Young Recital Hall Monday, January 25, 8:00 p.m. ($15 & $10 / Free for UVic Alumni with valid ONECard) Alumni Concert Series: VICTORIA GUITAR TRIO Adrian Verdejo (B.Mus ‘07) / Michael Dias (M.Mus ‘08) / Bradford Werner (BA ‘12) Known for their virtuosic and captivating performances, the Victoria Guitar Trio is one of Canada’s premier classical guitar trios. Performing a program of 20th- and 21st-Century works by West-Coast Canadian composers. Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca) and at the door. � To receive our On the Pulse brochure & newsletter by email, contact: concert@uvic.ca www.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/011616-FacultyRecital/011616-Boyle_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011616-FacultyRecital/011616-Boyle_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011616-FacultyRecital/011616-Boyle_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011616-FacultyRecital/011616-Boyle_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011616-FacultyRecital/011616-Boyle_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011616-FacultyRecital/011616-Boyle_06.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011616-FacultyRecital/011616-Boyle_07.mp3">track7</a> (Chores of Amulree)<br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011616-FacultyRecital/011616-Boyle_08.mp3">track8</a> (What)<br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011616-FacultyRecital/011616-Boyle_09.mp3">track9</a> (East of Pho Hung/Nest of the Loon)<br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011616-FacultyRecital/011616-Boyle_10.mp3">track10</a> (Swingin' Shepherd Blues) 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 - <em>Home Grown: Jazz in Canada<br /></em>Patrick Boyle Quartet Creator An entity primarily responsible for making the resource Adar Guy Date A point or period of time associated with an event in the lifecycle of the resource January 16, 2016 Contributor An entity responsible for making contributions to the resource Patrick Boyle, trumpet; Brent Jarvis, piano; Sean Drabbit, double bass; Hans Verhoeven, drums https://finearts.uvic.ca/music/archive/files/original/e5e31aacf5a01419ba448603a476a56b.pdf f7a60d7730d25ebcd72a15bbd6cf8c1b PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC FACULTY CHAMBER MUSIC SERIES Intimate Chamber Music of the Early 20th-Century Saturday, January 9, 2016 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $18 / Students, seniors, alumni: $14 �FEATURING: Suzanne Snizek, flute Patricia Kostek, clarinet Ross Ingstrup, soprano saxophone Wendell Clanton, alto saxophone Robyn Jutras (B.Mus ‘04), bassoon Alex Rempel (B.Mus ‘12), double bass Anne Grimm, soprano Benjamin Butterfield, tenor Adam Con, conductor & The Lafayette String Quartet: Ann Elliott-Goldschmid, violin Sharon Stanis, violin Joanna Hood, viola Pamela Highbaugh-Aloni, cello �PROGRAM Quatre Sonnets à Cassandre (1921) (tires des Amours de Ronsard) Avec mouvement Lent et rythmé comme une Sarabande Vif et léger Lent et très intime Frank Martin (1890–1974) Anne Grimm, soprano Suzanne Snizek, flute Joanna Hood, viola Pamela Highbaugh Aloni, cello Poem for String Quartet (1926) Rebecca Clarke (1886–1979) Lafayette String Quartet Ann Elliott-Goldschmid, violin Sharon Stanis, violin Joanna Hood, viola Pamela Highbaugh Aloni, cello Trio for flute, violin and viola (1927) Ruhig, frei Alla Marcia, leggiero Molto vivace Suzanne Snizek, flute Sharon Stanis, violin Joanna Hood, viola I NT E R M I S S I O N Beverages and snacks available at the concession located in the lounge. Jan van Gilse (1881–1944) �Along the Field (1927) 1. We’ll to the Woods no more 2. Along the Field 3. The Half-Moon Westers Low 4. In the Morning 5. The Sigh that Heaves the Grasses 6. Good-Bye 7. Fancy’s Knell 8. With Rue my Heart is Laden Ralph Vaughan Williams (1872–1958) Anne Grimm, soprano Benjamin Butterfield, tenor Ann Elliott-Goldschmid, violin Légende (1903) Andre Caplet (1878–1925) Arranged for octet by Clark McAlister (b. 1946) Patricia Kostek, clarinet Ross Ingstrup, soprano saxophone Wendell Clanton, alto saxophone Robyn Jutras, bassoon Ann Elliott-Goldschmid, violin Joanna Hood, viola Pamela Highbaugh Aloni, cello Alex Rempel, double bass Adam Con, conductor �TEXTS & TRANSLATIONS Quatre sonnets à Cassandre (Four Sonnets to Cassandra) Song Cycle by Frank Martin (1890–1974) Qui voudra voir comme un dieu me... Qui voudra voir comme un dieu me surmonte, Comme il m’assaut, comme il se fait vainqueur, Comme il renflamme et renglace mon coeur, Comme il se fait un honneur de ma honte, Whoever wishes to see a god overcoming me Whoever wishes to see a god overcoming me, assailing me, vanquishing me, making my heart flame and freeze repeatedly, and taking pride in my shame... Qui voudra voir une jeunesse prompte A suivre en vain l’objet de son malheur, Me vienne lire: il verra ma douleur Dont ma déesse et mon dieu ne font compte. whoever wishes to see a young man quick to pursue in vain the object of his misery... should read my words: he will see my suffering, which is ignored by my goddess Cassandre, and by my god. Il connaîtra qu’amour est sans raison, Un doux abus, une belle prison, Un vain espoir qui de vent nous vient paître. He will learn that love is irrational, a sweet illusion, a beautiful prison, a futile hope which feeds on empty air. Et connaîtra que l’homme se décoit Quand plein d’erreur un aveugle il reçoit Pour sa conduite, un enfant pour son maître. He will learn that one lets oneself down when one mistakenly accepts Eros the blind as guide, Eros the child as master. Nature ornant la Dame Nature ornant la dame qui devoyt De sa douceur forcer les plus rebelles, Luy fit present des beautez les plus belles, Que des mille ans en espargne elle avoyt Nature, when adorning that lady Nature, when adorning that lady whose gentleness would compel the most recalcitrant, bestowed on her all the most beautiful features that she had been saving up for centuries. Tout ce qu’Amour avarement couvoyt, De beau, de chaste, et d’honneur soubz ses ailles, Emmiella les graces immortelles De son bel oeil qui les dieux emouvoyt. Everything fair and chaste and honourable that Eros was avariciously guarding under his wings went to sweeten the immortal graces of her beautiful eyes which excited the gods themselves. Du ciel à peine elle estoyt descendue, Quand je la vi, quand mon ame ésperdue En devint folle: et d’un si poignant trait, Scarcely had she descended from heaven than I saw her, and, distracted, became crazy about her... Proud Fate engraved her Le fier destin l’engrava dans mon ame, Que vif ne mort, jamais d’une aultre dame Empraint au cuoeur je n’auray le portraict. in my heart with such a sharp arrow that, whether alive or dead, I will never have the portrait of any other lady imprinted on my heart. �Avant le temps tes tempes fleuriront “Avant le temps tes tempes fleuriront, De peu de jours ta fin sera bornée, Avant [le]1 soir se clora ta journée, Trahis d’espoir tes pensers périront; Your hair will prematurely blossom white “Your hair will prematurely blossom white; your lifespan will be short; your day will close before your evening; your thoughts will perish with their hope betrayed; Sans me fléchir tes écrits flétriront, [En]2 ton désastre ira ma destinée, Ta mort sera pour [m’aimer]3 terminée, De tes soupirs [nos]4 neveux se riront. your writings will wither without swaying me; my destiny will cause your ruin; your death will befall for love of me; your descendants will ridicule your sighs; Tu seras fait d’un vulgaire la fable, Tu bâtiras sur l’incertain du sable Et vainement tu peindras dans les cieux.” you will become a laughing-stock; you will build on unstable sand and paint futilely on the skies!” Ainsi disait la nymphe qui m’affole, Lorsque le ciel, témoin de sa parole, D’un dextre éclair fut présage à mes yeux. The nymph who drives me crazy was making these prophecies, when heaven as witness to her words flashed before my eyes the sinister omen of a lightning-bolt. Quand je te vois, seule, assise, à part... Quand je te vois, seule, assise, à part toi, Toute [amusée]1 avecque ta pensée, La tête un peu encontre bas baissée, Te retirant du vulgaire et de moi, When I see you sitting all by yourself When I see you sitting all by yourself, engrossed in your thoughts, with your head somewhat lowered, withdrawn from the crowd and from me, Je veux souvent, pour rompre ton émoi, Te saluer, mais ma voix offensée De trop de peur se retient amassée Dedans [ma]2 bouche et me laisse tout coi. then I often want to greet you, to interrupt your moodiness; but my weakened voice, excessively fearful, stays back in my mouth, leaving me mute. Souffrir ne puis les rayons de ta vue, Craintive au corps mon âme tremble émue, Langue ni voix ne font leur action. I cannot stand the brilliance of your appearance; my soul quivers timorously in my body; my tongue and vocal cords do not function. Seuls mes soupirs, seul mon triste visage Parlent pour moi, et telle passion De mon amour donne assez témoignage. Only my sighs, only my sad face speak for me; and such passion gives sufficient evidence of my love. Translations by Peter Low©, The LiederNet Archive http://www.lieder.net/lieder/ �UPCOMING EVENTS Sunday, January 10, 2:30 p.m. (Adults $18 / Seniors, students & alumni $14) FACULTY CONCERT SERIES: High Class, Low Brass UVic low brass faculty and special guest the Pinnacle Brass Quintet. Performing Ralph Vaughan Williams’s Concerto for Tuba and Jacob ter Veldhuis’s I was like WOW! accompanied by a powerful video. Proceeds will benefit the Eugene Dowling Scholarship for Tuba and Euphonium. Phillip T. Young Recital Hall Wednesday, January 13, 8:00 p.m. (Free Admission) GRADUATING RECITAL: Raina Saunders, violin Violinist Raina Saunders presents her Bachelor of Music graduating recital. Phillip T. Young Recital Hall Friday, January 15, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall Saturday, January 16, 8:00 p.m. (Adults $18 / Seniors, students & alumni $14) FACULTY CONCERT SERIES: Home Grown: Jazz in Canada Patrick Boyle Quartet featuring: Patrick Boyle, trumpet Brent Jarvis, piano Sean Drabitt, double bass Hans Verhoeven, drums Victoria’s top flight jazz musicians perform original music and music by Canadian composers. Phillip T. Young Recital Hall Wednesday, January 20, 12:30 p.m. (Free Admission) LIEDER AT LUNCH Selections from Hugo Wolf ’s Italienisches Liederbuch An exploration of the German Lied repertoire with Sharon and Harald Krebs. Bring your lunch! Rm. B037, MacLaurin Building, B-Wing Tickets available at the UVic Ticket Centre (250-721-8480), online (www.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 � 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/010916-FacultyChamberMusicSeries/010916-FacultyConcert_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/010916-FacultyChamberMusicSeries/010916-FacultyConcert_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/010916-FacultyChamberMusicSeries/010916-FacultyConcert_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/010916-FacultyChamberMusicSeries/010916-FacultyConcert_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/010916-FacultyChamberMusicSeries/010916-FacultyConcert_05.mp3">track5</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 - <em>Intimate Chamber Music of the Early 20th-Century</em> Creator An entity primarily responsible for making the resource Adar Guy Date A point or period of time associated with an event in the lifecycle of the resource January 9, 2016 Contributor An entity responsible for making contributions to the resource Suzanne Snizek, flute; Patricia Kostek, clarinet; Ross Ingstrup, soprano saxophone; Wendell Clanton, alto saxophone; Robyn Jutras (B.Mus '04), bassoon; Alex Rempel (B.Mus '12), double bass; Anne Grimm, soprano; Benjamin Butterfield, tenor; Adam Con, conductor; The Lafayett String Quartete - Ann Elliot-Goldschmid, violin; Sharon Stanis, violin; Joanna Hood, viola; Pamela Highbaugh-Aloni, cello https://finearts.uvic.ca/music/archive/files/original/22b72de1dffebdfa707e554a8a0f1612.pdf 16ad9c4175b682f75dc510218359deda PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC FACULTY CONCERT SERIES High Class, Low Brass The Pinnacle Brass Quintet: John Ellis, trumpet Louis Ranger, trumpet Mike Oswald, horn Scott MacInnes, trombone Paul Beauchesne, tuba & Yoomi Kim, piano Sunday, January 10, 2016 • 2:30 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $18 / Students, seniors, alumni: $14 Proceeds will benefit the Eugene Dowling Scholarship for Tuba and Euphonium. �PROGRAM Johannes Brahms (1833–1897) Ed. Kerekes Four Serious Songs 1. Denn es gehet dem Menschen wie dem Vieh Prediger Salomo, Kap. 3 2. Ich wandte mich, und sahe an Prediger Salomo, Kap. 4 3. O Tod, wie bitter bist du Jesus Sirach, Kap. 41 4. Wenn ich mit Menschen- und mit Engelszungen S. Pauli an die Corinther I., Kap. 13 Alec Wilder (1907–1980) Effie Suite (i - vi) I was like…WOW Jacob TV (b. 1951) Concerto for Tuba Ralph Vaughan Williams (1872–1958) I NT E R M I S S I O N Beverages and snacks available at the concession located in the lounge. Le Grand Tango Astor Piazzolla (1921–1992) Arr. MacInnes Ancient Airs and Dances, Suite No. 1 Ottorino Respighi (1879–1936) Arr. MacInnes 1. Balletto detto “Il cinte Orlando” 2. Villanella 3. Gagliarda Sinfonietta for Brass Brian Sykora (b. 1955) �UPCOMING EVENTS Wednesday, January 13, 8:00 p.m. (Free Admission) GRADUATING RECITAL: Raina Saunders, violin Violinist Raina Saunders presents her Bachelor of Music graduating recital. Phillip T. Young Recital Hall Friday, January 15, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall Saturday, January 16, 8:00 p.m. (Adults $18 / Seniors, students & alumni $14) FACULTY CONCERT SERIES: Home Grown: Jazz in Canada Patrick Boyle Quartet featuring: Patrick Boyle, trumpet; Brent Jarvis, piano Sean Drabitt, double bass; Hans Verhoeven, drums Victoria’s top flight jazz musicians perform original music and music by Canadian composers. Phillip T. Young Recital Hall Monday, January 18, 8:00 p.m. (Free Admission) GRADUATING RECITAL: Justin Malchow, horn Justin Malchow presents his Bachelor of Music graduating recital for horn. Phillip T. Young Recital Hall Wednesday, January 20, 12:30 p.m. (Free Admission) LIEDER AT LUNCH Selections from Hugo Wolf ’s Italienisches Liederbuch An exploration of the German Lied repertoire with Sharon and Harald Krebs. Bring your lunch! Rm. B037, MacLaurin Building, B-Wing Friday, January 22, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca) and at the door. To receive our On the Pulse brochure & newsletter by email, contact: concert@uvic.ca www.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/011016-FacultyRecital/011016-FacultyRecital_MacInnes_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011016-FacultyRecital/011016-FacultyRecital_MacInnes_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011016-FacultyRecital/011016-FacultyRecital_MacInnes_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011016-FacultyRecital/011016-FacultyRecital_MacInnes_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011016-FacultyRecital/011016-FacultyRecital_MacInnes_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011016-FacultyRecital/011016-FacultyRecital_MacInnes_06.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011016-FacultyRecital/011016-FacultyRecital_MacInnes_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 - High Class, Low Brass Creator An entity primarily responsible for making the resource Adar Guy Date A point or period of time associated with an event in the lifecycle of the resource January 10, 2016 Contributor An entity responsible for making contributions to the resource The Pinnacle Brass Quintet: John Ellis, trumpet; Louis Ranger, trumpet; Mike Oswald, horn; Scott MacInnes, trombone; Paul Beauchesne, tuba; Yoomi Kim, piano https://finearts.uvic.ca/music/archive/files/original/7aad8d5f36022c192dbd4da371ef54b3.pdf f6fae3e19fe6b2435ef90f742f00da3e 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 Saturday, November 21, 2015 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free Admission �PROGRAM 12 Miniature Preludes Andrew Allan Willcocks* Fresh Summer Day (1869–1956) Romance Scatterbrained Le matin au bord de l’eau – In the Morning at the Waters Edge Pantomine Ô Mort, poussière d’étoiles – O Death, Dust of Stars Paysage Sentimental – Sentimental Landscape The Handmaid’s Dream in the Dunes Stormy Atmosphere Moonlight Landscape The little Puck The Waters Fall Suite in C major BWV 1009 Prélude Allemande Courante Sarabande Bourée I-II Gigue J.S. Bach** (1685–1750) I NT E R M I S S I O N Beverages and snacks available at the concession located in the lounge Studies for Guitar Weeping Willows A Summer Breeze Le Gibet de Ravel Luminous Sunset Images of Nature Still Waters Children playing Frost and Dew Reflections Choral The Bells of Notre Dame A Gale is blowing Guitar by Antonius Mueller, Aarbergen, Germany, 2014 *Canadian premiere of combined cycles **Arranged by Alexander Dunn Allan Willcocks* �PROGRAM NOTES Andrew Allan Willcocks Willcocks hailed from Canterbury where as a child he was encouraged to study the guitar with Giulia Pelzer, sister to the most prominent female guitarist of the nineteenth century. He later devoted his attention to piano, organ and composition. Study in Paris under Paul Dukas exposed him to the French style and it was there he formed deep friendships with Manuel Ponce, Cyril Scott, and other notable musicians. Indeed these influences and especially Ravel, can be discerned in his blending of Impressionist syntax with expert instrumental writing. 12 Miniature Preludes date from his Paris years alongside the Studies, which were discovered and published in 2012. Tonight’s concert features the complete preludes and studies — Willcock’s combined output for guitar. 12 Miniature Preludes were composed quickly, following the first six studies. They are lighter in tone, shorter in length, and generally less technically demanding than their counterpart. They all bear titles to poems or paintings, inspired by Willcocks’ contemporaries. The composer seems to draw creative motivation from the concept of a lone figure wandering rapt in nature, as seen in all the preludes inspired by paintings. The first, Fresh Summer Day, is drawn from Anderson Hague’s (1850–1916) sun-bathed oil landscape of the same name. Dapples of light play within its frame, suffused with intoxicating warmth, and where a solitary individual is dwarfed by tall trees. The music is a breezy arpeggio study that swells and abates, in this brief entry into the cycle. Romance is fashioned after Paul Bourget’s (1852–1935) poem from Les Aveaux — a languorous reflection on lost love, whose dolorous opening lines are: ‘The vanishing and suffering soul, / The sweet soul, the fragrant soul / Of divine lilies that I have picked / In the garden of your thoughts…’ This prelude is contemplative and resonant, tinged with more somber moments. The Debussy-like Scatterbrained (after Scott C. Wilson’s poem) is an ephemeral scherzo, unable to resolve its mood swings, but resolute in its intent. Le matin au bord de l’eau — a sumptuous oil painting by Rodolphe Piguet (1840–1915) shows a pensive figure at the early morning river’s edge, bathed in soft greys and light greens. A placid musical figure repeats throughout in gradually shifting kaleidoscopic colours. Pantomine is a snapshot of the buffoonish Pierrot — the tragicomic clown of Commedia dell’arte theatre — pining after Columbine. Paul Verlaine’s (1844– �1896) poem Pantomine reads: ‘Pierrot, who is nothing like Clitandre, empties a bottle without ado, and, ever practical, cuts into a pâté /.…Columbine dreams, surprised / at feeling a heart in the breeze / and at hearing voices in her heart.’ Willcocks’ prelude teases: now dynamic, now bumbling in amiable changeability. Ô Mort, poussière d’étoiles inhabits a dark, measured place. Marked molto triste, it tolls funereal chords in the low register, answered by luminous harmonics. Charles van Lerberghe’s (1861–1907) poem of the same title concludes: ‘And like a wine of fire and divine scent flowing from a golden amphora, pour out my soul into your abyss, so that it may perfume the dark earth and the breath of the dead.’ Paul Bourget’s poem Paysage Sentimental describes a winter landscape where lovers juxtapose their frozen surroundings with warm stirrings: ‘The winter sky, so soft, / so sad, so dormant, /…Of the death of all- of all, / that is, but you, whom I so love, / and of the happiness that fills my soul…’ Willcocks’ music is continuous in its movement, giving the impression of an expressive inward journey, culminating in a gentle and inevitable cadence. Johann Cornelius Pabst’s (1853–?) Farmer Girl in the Dunes depicts a young farm girl in an ocean-blue frock with a basket, standing alone, lost in thought, gazing from the white sands onto a distant rural farmhouse and church. She seems to be enrapt in faraway dreams of the sea. The music falls in languid sighs with fleeting pentatonic colors, hinting at exotic and unknown lands. Stormy Atmosphere is a dark-hued painting showing ominous clouds gathering over a landscape and reflected in water below. The prelude begins with low mysterious rumblings, gathering momentum with a burst of light before its radiant ending. Louis Douzette’s (1834–1924) Moonlight Landscape is a gorgeous nightscape in which a solitary boatman regards the full moon emerging from behind silvered clouds. In the distance, a dark windmill with a lone light. Willcocks’ music begins with pale harmonics, giving way to expressive arpeggios before fading away into quiet oblivion. Comic relief is found in The little Puck — Shakespeare’s prankster from A Midummer Night’s Dream. The passage that seems to have inspired the jocular music is from Act II, Scene I, where Puck exclaims: ‘I am that merry wanderer of the night. /…And then the whole quire hold their hips and laugh, / And waxen in their mirth and neeze and swear / A merrier hour was never wasted there’. 12 Miniature Preludes concludes with a setting of Lovis Corinth’s (1828– 1925) The Waters Fall — an expressionistic hand-colored lithograph from Corinth’s late period. In an apocalyptic, wind-battered scape, the Ark seems to float near mountaintops appearing through the flood. A raven and doves �hover overhead, with a tree, signifying resurgence, in the foreground. The music is a rush of cascading sound, with a more pensive middle section, giving way to exhilarating arpeggios and a final surge of light — closing in a fleeting moment and dispersing the reflective, duskier hues of the Preludes. The Studies form two six-work cycles, in their totality reminiscent of Debussy or Villa-Lobos’ études. They are deeper in weight and purpose than the Miniature Preludes and range in temper from effervescent to rather bleak. Each addresses a specific technical consideration: scales, arpeggios, chords, harmonics, etc. The first six were composed before 1928 and the following six, featuring unusual scordatura tunings, completed in 1941. The first, Weeping Willows, dedicated to the Mexican composer Manuel Ponce, is largely based on the whole-tone scale, glumly ranging across the instrument and marked ‘dreary’. A Summer Breeze — a fluid arpeggio study, follows, lightly dispelling any mood of gravity. The expressive highlight of the cycle, Le Gibet de Ravel, is a stark re-imagining of the second movement of Ravel’s monumental Gaspard de la Nuit. It is a monotonic tableaux on Alois Bertrand’s poem Le gibet (The Gallows), whose translation of the first and last couplet read: Ah! What do I hear, was it the north wind that screeches in the night, or the hanged one who utters a sigh on the fork of the gibbet?

 … It is the bell that tolls from the walls of a city, under the horizon, and the corpse of the hanged one that is reddened by the setting sun. Willcocks begins with a direct quote of the Ravel, slowly evolving into original music, but somehow combining elegance with utter dread. Luminous Sunset — prolonging the setting of dusk — scatters the hex with a spacious treatment of harmonics and flowing arpeggios. It fades gently into highpitched harmonics, resolving any previous anxiety. Images of Nature exists in a physical realm with dynamic figuration and chiaroscuro shifts of brightness and shadow. It relaxes into a meditative state, but only to recall the forceful exclamation of its opening. Inspired by Charles J. Pahlmie’s (1863–1911) Silent Water — a darkly hued oil on canvas landscape in which the partially obscured moon is reflected in a deep, placid lake — Still Waters is a calm, unruffled meditation on beautiful sonorities and is dedicated to the Spanish virtuoso Miguel Llobet. �The frolicsome Children Playing echoes Mussorsky’s Pictures at an Exhibition and Debussy; hurried musical motives scamper across its pages. Frost and Dew also draws its inspiration from a painting — Peter Scott Purvil’s (1845– 1926) Frost and Dew — contrasting a snow-covered lakeside with the slow thaw of early spring. In this study, Willcocks begins with frigid major seconds, slowly expanding into a radiant close. Reflections recalls Debussy’s piano work Images (Vol. 1) with its sumptuous harmonies. It begins with a sense of breathless urgency, soon relaxing into spacious octaves and a drooping, expressive motive. In Choral, we are invited to the fleeting memory of a Ravelian waltz emerging from bell-like harmonics. The clamorous The Bells of Notre Dame emerge from and retreat into a fog and in its expanse recalls Frost and Dew, but with the weighty and imperious tolling of cathedral bells. This performance of Willcocks’ Studies ends with A Gale is blowing, its oppressive gusts subside only at its very conclusion. Program notes by Alexander Dunn �UPCOMING EVENTS Sunday, November 22, 1:30 p.m. (Admission by donation) PIANO CLASS RECITAL Featuring students from the studio of May Ling Kwok. Phillip T. Young Recital Hall Sunday, November 22, 8:00 p.m. (Admission by donation) UVIC VOCAL JAZZ ENSEMBLE Fall Showcase:Too Hot To Sleep in Winter Wendell Clanton, director The UVic Vocal Jazz Ensemble performs original and inspiring arrangements in a fun-filled audience engaging evening. Phillip T. Young Recital Hall Tuesday, November 24, 12:30 p.m. (Admission by donation) TUESDAYMUSIC Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall Tuesday, November 24, 8:00 p.m. (Admission by donation) CLASS RECITAL: Innovations in Music Students premiere new works by School of Music composition students and present cutting edge repertoire as the culmination of the interdisciplinary class, MUS 350/462/562, focused on musical innovation. Phillip T. Young Recital Hall Wednesday, November 25, 8:00 p.m. (Admission by donation) STRING CHAMBER CONCERT Featuring students from the studios of the Lafayette String Quartet. Phillip T. Young Recital Hall Thursday, November 26, 8:00 p.m. (Admission by donation) GUITAR CLASS RECITAL Featuring students from the studio of Dr. Alexander Dunn in an eclectic program of solo and ensemble works. Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca) and at the door. To receive our On the Pulse brochure and newsletter by email, contact: concert@uvic.ca www.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/112115-FacultyRecital/112115-FacultyConcert_Dunn_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/112115-FacultyRecital/112115-FacultyConcert_Dunn_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/112115-FacultyRecital/112115-FacultyConcert_Dunn_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 - Alexander Dunn, guitar Creator An entity primarily responsible for making the resource Adar Guy Date A point or period of time associated with an event in the lifecycle of the resource November 21, 2015 Contributor An entity responsible for making contributions to the resource Alexander Dunn, guitar https://finearts.uvic.ca/music/archive/files/original/e0c3aba4b28676c62d0afec9875f4071.pdf 218395b06a6b2da6564f5511184dab16 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 by Czech Composers Suzanne Snizek, flute Alexandria Le, piano Thursday, November 5, 2015 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $18 / Students, seniors, alumni: $14 �PROGRAM Miniatures for flute and piano Con desiderio Moderato misterioso Moderato con gravita Andantino solenne Semplice Con calore Petr Eben (1929–2007) Sonata for flute and piano Allegro giocoso Grave Allegro vivace Jindrich Feld (1925–2007) Ztracene Serenady (Lost Serenade) E. F. Burian (1904–1959) Sonata for flute and piano Allegro moderato Adagio Allegro poco moderato Bohuslav Martinů (1890–1959) �UPCOMING EVENTS Friday, November 6, 12:30 p.m. (Admission by donation) FRIDAYMUSIC: Eternal Light: A Requiem Featuring the University of Victoria Chamber Singers Phillip T. Young Recital Hall Friday, November 13, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Featuring School of Music woodwind students in a concert of varied repertoire. Phillip T. Young Recital Hall Saturday, November 14, 2:00 p.m. (Admission by donation) TROMBONE CLASS RECITAL Featuring students from the studio of Scott MacInnes. Phillip T. Young Recital Hall Sunday, November 15, 2:30 p.m. ($25) FACULTY CONCERT SERIES Lafayette String Quartet Shostakovich – Prelude and Scherzo, Op. 11 Shostakovich – Quartet No. 5 in E flat, Op. 92 Dvořák – Quartet No. 12 in F Major, Op. 96 “American” Phillip T. Young Recital Hall Monday, November 16, 8:00 p.m. (Admission by donation) GUEST CONCERT: Daan Vandewalle, piano Belgian pianist Daan Vandewalle plays music of American contemporary composers Gordon Mumma (Victoria/California) and Alvin Curran (Rome). Phillip T. Young Recital Hall Tuesday, November 17, 12:00 p.m. (Free admission) Orion Series in Fine Arts presents GUEST CONCERT: Benny Sluchin, trombone Performing music for trombone and electronics by Paul Steenhuisen and Keith Hamel. Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca) and at the door. To receive our On the Pulse brochure and newsletter by email, contact: concert@uvic.ca www.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/110515-FacultyRecital/110515-FacultyRecital_Snizek_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/110515-FacultyRecital/110515-FacultyRecital_Snizek_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/110515-FacultyRecital/110515-FacultyRecital_Snizek_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/110515-FacultyRecital/110515-FacultyRecital_Snizek_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 Series - Music by Czech Composers Creator An entity primarily responsible for making the resource Adar Guy Date A point or period of time associated with an event in the lifecycle of the resource November 5, 2015 Contributor An entity responsible for making contributions to the resource Suzanne Snizek, flute; Alexandria Le, piano https://finearts.uvic.ca/music/archive/files/original/4cd19750bf131fd8a9826ccfcd35c1aa.pdf b01213999018d4941779b1bbc4779c5c PDF Text Text School of Music 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 Sunday, November 15, 2015 • 2:30 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission: $25 �PROGRAM Two Pieces for String Octet, Op. 11 Prelude Scherzo Dmitri Shostakovich (1906–1975) Lafayette String Quartet with Raina Saunders, violin Aliayta Foon-Dancoes, violin Sarah de Niverville, viola Shiun Kim, cello String Quartet No. 5 in B flat major, Op. 92 Dmitri Shostakovich I. Allegro non troppo II. Andante–Andantino–Andante–Andantino–Andante III. Moderato–Allegretto–Andante I NT E R M I S S I O N Beverages and snacks available at the concession located in the lounge The String Quartet in F major, Op. 96 I. Allegro ma non troppo II. Lento III. Molto vivace IV. Finale: Vivace ma non troppo Antonín Dvořák (1841–1904) *Raina Saunders is from the class of Sharon Stanis Aliayta Foon-Dancoes is from the class of Ann Elliott-Goldschmid Sarah de Niverville is from the class of Joanna Hood Shiun Kim is from the class of Pamela Highbaugh Aloni �LAFAYETTE STRING QUARTET In July 1986, four young musicians, based in Detroit and just beginning their professional careers, performed together for the first time as the Lafayette String Quartet. Today the LSQ continues to flourish with its original personnel: violinists Ann Elliott-Goldschmid and Sharon Stanis, violist Joanna Hood, and cellist Pamela Highbaugh Aloni. 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 and the Alban Berg, and Cleveland—and from the violinist Rostislav Dubinsky, of the legendary Borodin Quartet, who served as the women’s “musical mentor” until his death in 1997. The LSQ’s extraordinary musicianship was recognized early on. Already in 1988, it was ranked among the magazine Musical America’s “Young Artists to Watch,” and in its first years they won the Grand prize at the Fischoff National Chamber Music Competition and 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. Artists-in-Residence at the University of Victoria’s School of Music since 1991, their dedication and skill have 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 recieved honorary doctorates from University Canada West and were honored with the inaugural Craigdarroch Award for Excellence in Artistic Expression in 2010 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. They have collaborated with distinguished colleagues including bassist Gary Karr; clarinetist James Campbell; flutist Eugenia Zukerman; violinists Andrew Dawes and Gary Levinson; violists James Dunham, Atar Arad, and Yariv Aloni; cellists Paul Katz, and the late Tanya Prochazka; and pianists Luba Edlina Dubinsky, Jane Coop, Robert Silverman, Ronald Turini, Alexander Tselyakov, Baya Kakouberi and Flavio Varani. They often collaborate with other string quartets including the Alcan, the New Zealand, the Penderecki, the Molinari, the Emily Carr, and the Quarteto Latinoamericano. The four women also maintain separate careers as solo and chamber music performers, teachers, and adjudicators. The LSQ carries a large, wide-ranging repertoire, from the classical period to the present, and has commissioned music from (and in some cases collaborated closely with) composers including Murray Adaskin, John Burke, Justin Haynes, David Jaffe, R. Murray Schafer, Eugene Weigel, and Kelly Marie Murphy. They have performed the complete Beethoven cycle, during the 2000-2001 season, the quartets of the Second Viennese school with the Molinari Quartet in 2013, and in celebration of their thirty years together, will perform the string quartets of Dmitri Shostakovich. Since 1990, the LSQ has released CDs on the Dorian, Centrediscs, and other labels (including its own). Its discography includes major quartets by Borodin, Debussy, Grieg, Shostakovich, and Tchaikovsky; Dvořák’s piano quintets (with Antonin Kubalek); and four CDs of music by Adaskin, for his AdLar label. Its 2002 CBC Records disc Death and the Maiden, featuring music by Schubert, Fanny Mendelssohn-Hensel, and Rebecca Clarke, won the Western Canadian Music Award for Outstanding Classical Recording. It recorded Michael Longton’s Almost Nothing Like Purple Haze for the 2011 CD Jimi Hendrix Uncovered, and has recently released a CD together with Alexander Tselyakov of the quintets of Dmitri Shostakovich and the newly commissioned quintet Motion and Distance, by Canadian composer Kelly-Marie Murphy. The LSQ is the subject of David Rounds’ book The Four and the One: In Praise of String Quartets, published in 1999. �ORION SERIES IN FINE ARTS Each year we invite world-renowned guest artists to perform concerts and present masterclasses at the School of Music with generous support from the Orion Fund in Fine Arts. Events take place in the Phillip T. Young Recital Hall unless otherwise indicated. Admission to all events is free. BENNY SLUCHIN, trombone A member of the Ensemble InterContemporain (dir. Pierre Boulez) since 1976, Benny Sluchin specializes in brass acoustics and extended techniques. CONCERT: Tuesday, November 17, 12 p.m. Performing music for trombone and electronics by Paul Steenhuisen and Keith Hamel. TROMBONE MASTERCLASS: Tuesday, November 17, 2:30 p.m. Rm. B037, MacLaurin Building, B-Wing LAURENCE KAYALEH, violin ELIZABETH DOLIN, cello Laurence Kayaleh (Montreal) is an international concert performer and professor at the University of Montreal. Elizabeth Dolin (Montreal) has earned a solid reputation as one of Canada’s finest cellists, in demand as a recitalist throughout Canada and the United States. STRING MASTERCLASSES: Tuesday, November 17, 12:30–2:30 p.m. Rm. B016, MacLaurin Building, B-Wing CONCERT: Wednesday, November 18, 12:30 p.m. Performing works for violin and cello by Kodaly and Ravel. RACHEL MERCER, cello Rachel Mercer (Ontario) is currently guest principal cellist for the National Arts Centre Orchestra and the Canadian Opera Company. CELLO MASTERCLASS: Monday, November 23, 8 p.m. ��UPCOMING EVENTS Monday, November 16, 8:00 p.m. (Admission by donation) GUEST CONCERT: Daan Vandewalle, piano Belgian pianist Daan Vandewalle plays music of American contemporary composers Gordon Mumma (Victoria/California) and Alvin Curran (Rome). Phillip T. Young Recital Hall Friday, November 20, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Featuring School of Music voice students in a concert of varied repertoire. Phillip T. Young Recital Hall Friday, November 20, 8:00 p.m. (Admission by donation) SONIC LAB: Workers Union Ajtony Csaba, conductor UVic’s contemporary music ensemble performs Louis Andriessen’s Workers Union and Hout, as well as Elliott Carter’s Flute Concerto. Phillip T. Young Recital Hall Saturday, November 21, 8:00 p.m. ($18 & $14) FACULTY CONCERT SERIES Alexander Dunn, guitar Performing his adaptations of lute and cello works by Bach, 12 Miniature Preludes by Allan Wilcocks, and Joaquin Turina’s Sonata. Phillip T. Young Recital Hall Sunday, November 22, 1:30 p.m. (Admission by donation) PIANO CLASS RECITAL Featuring students from the studio of May Ling Kwok. Phillip T. Young Recital Hall Sunday, November 22, 8:00 p.m. (Admission by donation) UVIC VOCAL JAZZ ENSEMBLE Fall Showcase:Too Hot To Sleep in Winter The UVic Vocal Jazz Ensemble performs original and inspiring arrangements in a fun-filled audience engaging evening. Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca) and at the door. � To receive our On the Pulse brochure and newsletter by email, contact: concert@uvic.ca www.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/111515-FacultyRecital/111515-FacultyRecital_LSQ_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/111515-FacultyRecital/111515-FacultyRecital_LSQ_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/111515-FacultyRecital/111515-FacultyRecital_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 - The Lafayette String Quartet Creator An entity primarily responsible for making the resource Adar Guy Date A point or period of time associated with an event in the lifecycle of the resource November 15, 2015 Contributor An entity responsible for making contributions to the resource Ann Elliot-Goldschmid, violin; Sharon Stanis, violin; Joanna Hood, viola; Pamela Highbaugh Aloni, cello https://finearts.uvic.ca/music/archive/files/original/4003bdf0b3da4c9520d0225740786585.pdf a6ca8c295ed573c71999f2d63d5bd17f PDF Text Text School of Music University of Victoria School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC FACULTY CHAMBER MUSIC SERIES A program of music selected by Dr. Michelle Fillion in celebration of her retirement. FEATURING: Benjamin Butterfield, tenor Suzanne Snizek, flute Shawn Earle, clarinet & bass clarinet Alexander Dunn, guitar Michelle Mares, piano & The Lafayette String Quartet: Ann Elliott-Goldschmid & Sharon Stanis, violins Joanna Hood, viola Pamela Highbaugh-Aloni, cello Saturday, October 24, 2015 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $18 / Students, seniors, alumni: $14 �PROGRAM Quartettsatz in C minor, D. 703 Allegro assai Franz Schubert (1797–1828) The Lafayette String Quartet Faisandage et galimafrée, divertimento in eight movements (1984) Fanfare Gordon Mumma (b. 1935) Bagatelle Hommage March Waltz Minuetto al Rovescio e Trio Extruduto Notturno Romanza Scherzo Fanfare Suzanne Snizek, flute Shawn Earle, clarinet and bass clarinet Alex Dunn, guitar Sharon Stanis, violin Joanna Hood, viola Pamela Highbaugh Aloni, cello An die ferne Geliebte (To the distant beloved), op. 98 Auf dem Hügel sitz ich, spähend Wo die Berge so blau Leichte Segler in den Höhen Diese Wolken in den Höhen Es kehret der Maien, es blühet die Au Nimm sie hin denn, diese Lieder Ludwig van Beethoven (1770–1827) Benjamin Butterfield, tenor Michelle Mares, piano I NT E R M I S S I O N Beverages and snacks available at the concession located in the lounge. Piano Trio in B-flat Major, op. 97 (“Archduke”) Allegro moderato Scherzo - Allegro Andante cantabile, ma però con moto Allegro moderato Ann Elliott-Goldschmid, violin Pamela Highbaugh Aloni, cello Michelle Mares, piano Ludwig van Beethoven (1770–1827) �PROGRAM NOTES Franz Schubert Quartettsatz in C minor, D. 703 Schubert’s single quartet movement of December 1820, the first movement of a projected but never completed string quartet in C minor, lies at the gateway to Schubert’s late chamber music. Biographer Brian Newbould justifiably considers it to be the first work of Schubert’s full maturity as a composer of instrumental music and the highpoint of his transition years 1820–21. As boldly original as the “Unfinished” Symphony, it stands alone in performance no less than the “Unfinished” for many of the same reasons, not the least that it conveys both satisfying completion and unfulfilled promise. Why Schubert never added the following movements to this monumental Romantic fragment remains a mystery. Was it his preoccupation with intractable operatic projects around this time? Or its tangible connections to Beethoven’s “Quartetto serioso” in F minor op. 95, which would have required a continuation of equal distinction? That he broke off its slow movement after only forty measures and abandoned several other major instrumental works around this time, including two symphony projects, suggest that Schubert may have been grappling with problems of large-scale instrumental form during these years. Yet the Quartettsatz belies any hint of uncertainty. Here is the Schubert of the “Death and the Maiden” Quartet of 1824, intense, poignant, impassioned, and in full control of the quartet medium. Its spacious sonata form exposition features three thematic areas in the manner of Schubert’s late instrumental music. It opens with a restless theme in C minor outlining a tragic lament figure, followed by a haunting lyrical song planted in a distant key (Schubert “sang” at his sweetest in foreign keys). A destructive modulating interlude interrupts the lyrical dream-state, rife with his characteristic string tremolos and stabbing accents. It yields to a bittersweet closing theme in G major poised over the chromatic lament theme; its bewitching harmonic shifts and multi-layered textures predate by a half-century the string quartet writing of Johannes Brahms. The second half of the movement is ambiguous owing to several new themes added to the development section, and Schubert’s stunning avoidance of the tonic C minor and the first theme throughout the recapitulation. By withholding the double return of the home key and first theme until the very closing measures, Schubert assures that his movement will end as it had begun and with a final dip into the tragic C minor mood. Surely this delayed return to the opening gesture is one of the reasons that this magnificent torso so effectively stands alone. �Gordon Mumma Faisandage et galimafrée, divertimento in eight movements (1984) American composer Gordon Mumma (born 1935) has been a Canadian resident since 2002, having accompanied his wife Michelle Fillion to Victoria. Since then he has provided support for new music in Victoria and casual mentoring to young composers at the University of Victoria. Although known especially for his path-breaking electronic music and his poetic piano works, Mumma has also composed for chamber ensembles in the tradition of Hausmusik. Among these is his suite Faisandage et galimafrée, composed in 1984 for premiere in Santa Cruz, California, by members of the faculty of the University of California, Santa Cruz, where Mumma was for many years Professor of Music. Modeled on the classical divertimento, Faisandage et galimafrée consists of eight short movements with variable scoring. The instruments are determined by the performers from available resources, with the one proviso that high, medium, and low ranges be represented – here strings, woodwinds, and guitar. The performers also select the order of movements. Tonight’s musicians have decided to frame their performance with the “Fanfare,” played by all in call-and-response. At the centerpoint comes the ironic “Minuetto al rovescio e Trio extruduto,” a madcap distortion of Haydn’s famous palindromic minuet and trio from the Symphony no. 47. Allusions to other composers appear as well in the “Hommage” to Luigi Dallapiccola and the “Notturno,” based on a 12-tone row used by Aaron Copland. The fleet “Scherzo” serves as a virtuoso climax to the set. Its ensemble performs together in what Mumma calls “articulation unity,” three independent voices that strictly coincide in rhythm and meter. The tongue-in-cheek title of the work derives from the classic Larousse gastronomique. There “faisandage” is defined as the ancient gastronomic practice of aging pheasants by hanging them by the tail until putrefied: “A pheasant killed on Shrove Tuesday will make perfect eating by Easter.” More appetizing is the Renaissance recipe for a “galimafrée,” a mutton stew with ginger and mustard. By the writer’s time, however, it had taken on the pejorative meaning of “a badly cooked stew made from scraps.” Tonight’s performance of Faisandage et galimafrée celebrates Mumma’s eightieth birthday this year and the release this month of his book Cybersonic Arts: Adventures in American New Music, edited by Michelle Fillion and published by the University of Illinois Press. �Ludwig van Beethoven An die ferne Geliebte, op. 98 – To the distant beloved In May 1816 Beethoven wrote to his friend Ferdinand Ries: “Unfortunately I have no wife. I have found only one whom no doubt I shall never possess.” This was likely in reference to the woman known only as the “Immortal Beloved,” with whom Beethoven’s rupture in late summer 1812 remained a source of bitter regret. It may be that his work on the song cycle An die ferne Geliebte, composed in April 1816 — a month before the letter to Ries — had revived those feelings of loss. Personal experience may likewise have attracted Beethoven to the poetic cycle sent to him by amateur poet Alois Jeitteles, a medical student from Brno then studying in Vienna. Set in a musical landscape of pastoral loveliness, its six songs tell the tale of separated lovers from the vantage point of a rustic poet-composer. His are songs of tender recollection interrupted by flashes of resignation and yearning for his “distant beloved.” By the fifth song he reaches a point of hopelessness when the rebirth of nature proves cold consolation: “Though springtime brings together all lovers, our love alone knows no spring.” In the end music provides a fragile connection between them: “Take my songs and sing them,” he urges her in the concluding song, evoking its power to bridge physical separation. In response to the simplicity of Jeitteles’s verses, which “flow from the heart without artistic pretension,” Beethoven’s songs are rooted in the German folk-song, though transformed by a uniquely sophisticated structure. Beethoven’s use of the subtitle Liederkreis — circle of songs — in the Steiner first edition of An die ferne Geliebte points to its circular design. Performed without breaks and beginning and ending in the key of E flat, the inner songs are connected by related keys and by improvisatory piano transitions, a stunning novelty in the song cycle. Moreover the first song, “Auf dem Hügel,” is a set of variations the opening phrases of which provide a network of thematic material for the rest of the cycle, the fruit of long compositional sketching. The theme of musical “connection” carries through to the sixth song, “Nimm sie hin denn, diese Lieder,” which alludes to fragments of the earlier songs before its climactic recall of Song 1 at the words: “Then what has parted us must yield to these songs.” This insight unlocks a jubilant close for singer and pianist, whose impassioned reiterations of the final verse strive to persuade one another – and us – that music can provide the consolation that life withholds. �Ludwig van Beethoven Piano Trio in B-flat, op. 97 “Archduke” Beethoven’s last piano trio was composed in 1810–11 and dedicated to Archduke Rudolph of Austria, Beethoven’s benefactor, student, and friend. Although Rudolph was an excellent pianist, Beethoven himself played the piano part for the premiere of the “Archduke” trio in Vienna on April 11, 1814 – one of his last major concert appearances as a pianist. By then seriously out of practice and in an advanced stage of deafness, he proved no match for the Trio’s substantial musical and technical challenges. Not even veteran string players Ignaz Schuppanzigh and Joseph Linke were able to save the day. Yet the pianist Ignaz Moscheles, who was in the audience for this historic event, heard through the technical mishaps “many traces of the grand style” in Beethoven’s performance. And grandeur is indeed the prevailing characteristic of the Trio op. 97. From the noble opening gesture of the broad Allegro moderato first movement, the “Archduke” trio unfolds at a pace of unhurried grandeur. The chamber music interaction of all three players is intense, rich, and nearly constant. The Scherzo and Trio second movement is unique in its juxtaposition of contrasting styles. The puckish Scherzo is a rustic German country-dance or deutscher, while the Trio alternates an austere chromatic fugato in the “learned” style with a glittering high-society waltz from the Viennese salons. Beethoven’s indication that the Scherzo-Trio pairing are to be repeated an extra time makes for a long movement indeed, further extended by a Coda in which city and country, fugato and deutscher, collide. In the end the country-dance wins the competition by a hair. The emotional heart of the work is the variation third movement based on an exquisitely harmonized sarabande theme. Four variations progress from slower to faster rhythms until the texture dissolves into shimmering clouds of thirty-second notes. From there, the music returns to the theme as if, to quote T. S. Eliot, “to the well-remembered gate,” now intensified by surprising details. In the fantasialike Coda it is left to the cello to reveal the full implications of the theme, as if at last “we know it for the first time.” This splendid movement marks the beginning of Beethoven’s late variation style. Yet conviviality wins the day in the sparkling sonata-rondo finale, with its quirky off-tonic theme and numerous opportunities for brilliant display by all members of the trio. As a celebration of music-making among friends of the highest ability, the “Archduke” Trio is a fitting close to a concert celebrating warm friendship and collegiality in small ensembles. Notes by Michelle Fillion �NEXT FACULTY CHAMBER MUSIC CONCERT: Saturday, January 9, 2016 • 8:00 p.m. Featuring mixed ensemble works from the Early Twentieth Century, including compositions by Vaughan Williams, Caplet and Martin. Phillip T. Young Recital Hall UPCOMING EVENTS Sunday, October 25, 8:00 p.m. (Admission by donation) STUDENT COMPOSERS CONCERT Featuring original compositions by students in the School of Music Composition program. Phillip T. Young Recital Hall Friday, October 30, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Featuring School of Music brass students in a concert of varied repertoire. This concert will be broadcast live at finearts.uvic.ca/music/events/live/ Phillip T. Young Recital Hall Friday, October 30, 8:00 p.m. ($15 & $10) UNIVERSITY OF VICTORIA ORCHESTRA: White Heat Aliayta Foon-Dancoes, violin (UVic Concerto Competition Winner) Ajtony Csaba, conductor Mendelssohn – Die Hebriden, Op. 26 “Fingal’s Cave” Sibelius – Violin Concerto Copland – Rodeo Suite University Centre Farquhar Auditorium Tickets available at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca) and at the door. To receive our On the Pulse brochure and 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/102415-FacultyChamberMusicSeries/102415-FacultyChamber_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102415-FacultyChamberMusicSeries/102415-FacultyChamber_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102415-FacultyChamberMusicSeries/102415-FacultyChamber_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102415-FacultyChamberMusicSeries/102415-FacultyChamber_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 Chamber Music Series Creator An entity primarily responsible for making the resource Allyssa Haigh Date A point or period of time associated with an event in the lifecycle of the resource October 24, 2015 Contributor An entity responsible for making contributions to the resource Benjamin Butterfield, tenor; Suzanne Snizek, flute; Shawn Earle, clarinet & bass clarinet; Alexander Dunn, guitar; Michelle Mares, piano; Ann Elliott-Goldschmid, violin; Sharon Stanis, violin; Joanna Hood, viola; Pamela Highbaugh-Aloni, cello https://finearts.uvic.ca/music/archive/files/original/592e72fde8b4ec5f24cab93930e630c4.pdf 066b9309afd4cfc47768b9fdba4cf3f6 PDF Text Text School of Music University of Victoria School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC FACULTY CONCERT SERIES Patrick Boyle, trumpet With The Capital City Syncopators Avram Devon McCagherty, banjo & vocals Rueben Wier, guitar & vocals Chris Herbst, lap steel & vocals Don Cox, sousaphone Matt Pease, drums And special guests UVic Swing Dance Club led by Meaghan Allen Saturday, October 17, 2015 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $18 / Students, seniors, alumni: $14 ** Ticket proceeds will benefit the UVic Community ** Matching Fund for Refugee Assistance Beverages and snacks available at the concession during intermission �BIOGRAPHIES DON COX Don Cox plays tuba, double bass, and electric bass. He is one of the most indemand musicians in Victoria, BC. Don is an integral member of the Capital City Syncopators: a modern take on prohibition-era jazz and country swing. Don’s tuba lays down the foundation of this eccentric 5-piece band playing hot jazz, novelty songs, and hits from the 1980’s. CHRIS HERBST Chris Herbst is a Victoria, BC based musician who specializes in dobro, lap steel and guitar. He plays many acoustic and electric styles including blues, bluegrass, Hawaiian, swing and rock. He started playing the guitar at age 12 and soon formed a bluesy rock band that stayed together until the end of high school. He went on to study music for several years at Vancouver Community College and graduated with a diploma in Jazz guitar performance. Around this time he became increasingly interested in country blues, ragtime and bluegrass. He had been playing bottle neck slide for many years but when he got a square neck dobro, Chris felt like he had found his calling. He has since gone on to perform all across Canada with a variety of acts including the Gruff, Kent McAlister and the Iron Choir, the Bluesberries, the Boot Screeffers, Flash in the Pan, Skagway and the Stowaways. Currently he is playing Hawaiian and western swing with Maui Waui, bluegrass with the Moonshiners, swing with the Capital City Syncopators, performing solo and teaching from his home. MATT PEASE Matt Pease credits his musical eccentricity to growing up with a jazz musician father and playing in punk bands. Currently, Matt plays drums with the Capital City Syncopators, Fans and Motor Supply Co. (roots rock), Aidan Miller and the Burn (funk and EDM) and many others. Matt has played with artists Daniel Lapp, Mark Atkinson, Michael Kaeshammer, Juno award winner Lee Aaron, Hugh Fraser, Oliver Swain, Zora Young, Louise Rose, Kenny “Blues Boss” Wayne, Brian Nova, Ian McDougall, James Harman and the Twisters. Matt has previously played at the DuMaurier and Toronto Dominion JazzFests and many other jazz, blues and folk festivals around western Canada. When Matt was just starting out he shared a stage with Edgar Winter, the Wailers, and Green Day as a member of the Victoria band Fungkus. Matt studied with the great Canadian drummer Claude Ranger. Matt is known for his musicality and, through his many years of experience, the ability to play confidently in any style. �DEVON MCCAGHERTY After several years of tutelage from Victoria’s finest guitarists, fingerstyle virtuoso Ron Forbes-Roberts, and the now infamous Gypsy Swing master Marc Atkinson, Avram Devon McCagherty became a full-time professional performer and teacher of music. Avram has founded and fronted The Stomp Club, The Original Stomp Club, The House Band and the Devon McCagherty Trio. He is presently playing in some of Victoria’s most successful groups including Casey Ryder & Twango, The Yiddish Columbia State Orchestra, and Gene Hardy & the Pipsqueak Orchestra. He can also on occasion be found playing with the Flying Saucers, the eleven-piece ‘20s orchestra Belvedere Broadcasters, and CanUs Hot Jazz Band, renowned on the American jazz festival circuit. Avram taught for 10 years at Old Town Strings. REUBEN WIER Reuben Wier is a multi-faceted musician based in Victoria, BC. He compliments his fiery yet unpretentious guitar playing with husky-smooth as honey vocals. With influences ranging from swing to soul, gospel to manouche, blues to jazz, he has captivated audiences around the world. Reuben is known for his complex but accessible improvisations, driving rhythms and a nostalgic dreamy aesthetic. He has toured internationally with the critically-acclaimed Marc Atkinson Trio, led the Montreal-based Griffintown Hotclub and played with The Ambassadors and FNK Orchestra.
Currently, he plays with The Capital City Syncopators, Brishen, The Red Hot Swing Set, and Trio Swing Futur. DR. PATRICK BOYLE Dr. Patrick Boyle embodies the jazz spirit by synthesizing a range of influences into a compelling original voice. He has been aptly referred to as a “trumpet personality” and “one of Canada’s top trumpet players and jazz musicians” by CBC Radio. At the University of Victoria, Patrick is Graduate Advisor and teaches courses in Music Business, Jazz Theory, Jazz Pedagogy, Improvisation, Arranging, Jazz History and Jazz Orchestra. An in-demand session player not bound by genre, Patrick can be heard on more than 50 recordings and three critically acclaimed solo albums: Patrick recently performed at Carnegie Hall with tabla virtuoso Zakir Hussain and drummer Steve Smith. He has also performed with Uri Caine, Mickey Dolenz, Bill Frisell, Great Big Sea, Mike Downes, Andrew Downing, Jeff Johnston, Mike Murley, Jim Vivian, and Ken Whitely in styles ranging from gospel to rock to bluegrass. �Patrick balances life as a performer with a strong dedication to academics. He completed his Doctorate of Musical Arts in Performance at the University of Toronto in 2012. His primary research interest is how improvisation, particularly collective improvisation in organizations, can help students negotiate situations of tension and anxiety, inside and outside of music. Patrick also holds an M.A. in Ethnomusicology from York University and a B.Mus from Memorial University. Patrick is a regular contributor to Canadian Musician magazine and an active clinician throughout North America. Patrick also composes music for film, television, radio, and theatre. “Home” by Warsan Shire no one leaves home unless home is the mouth of a shark you only run for the border when you see the whole city running as well your neighbors running faster than you breath bloody in their throats the boy you went to school with who kissed you dizzy behind the old tin factory is holding a gun bigger than his body you only leave home when home won’t let you stay. no one leaves home unless home chases you fire under feet hot blood in your belly it’s not something you ever thought of doing until the blade burnt threats into your neck and even then you carried the anthem under your breath only tearing up your passport in an airport toilets sobbing as each mouthful of paper made it clear that you wouldn’t be going back. �you have to understand that no one puts their children in a boat unless the water is safer than the land no one burns their palms under trains beneath carriages no one spends days and nights in the stomach of a truck feeding on a newspaper unless the miles travelled means something more than journey. no one crawls under fences no one wants to be beaten pitied. no one chooses refugee camps or strip searches where your body is left aching or prison, because prison is safer than a city of fire and one prison guard in the night is better than a truckload of men who look like your father no one could take it no one could stomach it no one skin would be tough enough the go home blacks refugees dirty immigrants asylum seekers sucking our country dry niggers with their hands out they smell strange savage messed up their country and now they want to mess ours up how do the words the dirty looks roll off your backs maybe because the blow is softer than a limb torn off �of the words are more tender than fourteen men between your legs of the insults are easier to swallow than rubble than bone than your child body in pieces i want to go home, but home is the mouth of a shark home is the barrel of the gun and no one would leave home unless home chased you to the shore unless home told you to quicken your legs leave your clothes behind crawl through the desert wade through the oceans drown save be hungry beg forget pride your survival is more important no one leaves home until home is a sweaty voice in your ear saying – leave run away from me now i don’t know what i’ve become but i know that anywhere is safer than here �UPCOMING EVENTS Sunday, October 18, 2:30 p.m. (Admission by donation) VIOLIN CLASS RECITAL Featuring students from the studio of Sharon Stanis. Phillip T. Young Recital Hall Tuesday, October 20, 12:30 p.m. (Admission by donation) TUESDAYMUSIC Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall Friday, October 23, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Featuring School of Music guitar students in a concert of varied repertoire. Phillip T. Young Recital Hall Saturday, October 24, 8:00 p.m. / Pre-concert talk at 7:15 p.m. ($18 & $14) FACULTY CHAMBER MUSIC SERIES Featuring School of Music Performance Faculty A program chosen by and in celebration of Dr. Michelle Fillion, Head of Musicology, on her retirement. Works by Beethoven, Schubert and Gordon Mumma. Phillip T. Young Recital Hall Sunday, October 25, 8:00 p.m. (Admission by donation) STUDENT COMPOSERS CONCERT Featuring original compositions by students in the School of Music Composition program. Phillip T. Young Recital Hall Tuesday, October 27, 12:30 p.m. (Admission by donation) TUESDAYMUSIC Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca) and at the door. To receive our On the Pulse brochure and newsletter by email, contact: concert@uvic.ca www.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/101715-FacultyRecital/101715-FacultyRecital_Boyle_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/101715-FacultyRecital/101715-FacultyRecital_Boyle_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/101715-FacultyRecital/101715-FacultyRecital_Boyle_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/101715-FacultyRecital/101715-FacultyRecital_Boyle_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/101715-FacultyRecital/101715-FacultyRecital_Boyle_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/101715-FacultyRecital/101715-FacultyRecital_Boyle_06.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/101715-FacultyRecital/101715-FacultyRecital_Boyle_07.mp3">track7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/101715-FacultyRecital/101715-FacultyRecital_Boyle_08.mp3">track8</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/101715-FacultyRecital/101715-FacultyRecital_Boyle_09.mp3">track9</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/101715-FacultyRecital/101715-FacultyRecital_Boyle_10.mp3">track10</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/101715-FacultyRecital/101715-FacultyRecital_Boyle_11.mp3">track11</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/101715-FacultyRecital/101715-FacultyRecital_Boyle_12.mp3">track12</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/101715-FacultyRecital/101715-FacultyRecital_Boyle_13.mp3">track13</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/101715-FacultyRecital/101715-FacultyRecital_Boyle_14.mp3">track14</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/101715-FacultyRecital/101715-FacultyRecital_Boyle_15.mp3">track15</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/101715-FacultyRecital/101715-FacultyRecital_Boyle_16.mp3">track16</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 - Patrick Boyle, trumpet with the Capital City Syncopators Creator An entity primarily responsible for making the resource Adar Guy Date A point or period of time associated with an event in the lifecycle of the resource October 17, 2015 Contributor An entity responsible for making contributions to the resource Patrick Boyle, trumpet; Avram Devon McCagherty, banjo & vocals; Rueben Wier, guitar & vocals; Chris Herbst, lap steel & vocals; Don Cox, sousaphone; Matt Pease, drums https://finearts.uvic.ca/music/archive/files/original/330070c2949dddbdb816dcf47715cd90.pdf dc61bc4a31797b7948354227617bac6f PDF Text Text School of Music University of Victoria School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC Faculty Concert Series Suzanne Snizek, flute Joanna Hood, viola Alexandria Le, piano Tuesday, September 29, 2015 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $18 / Students, seniors, alumni: $14 �PROGRAM Prélude, Recitatif et Variations for flute, viola and piano Trio, Op. 127 Maurice Duruflé (1902–1986) Mieczysław Weinberg (1919–1996) Six Year Interlude for flute, viola and piano Nebojsa S. Macura (b. 1982) I nt e r m i s s i o n (Beverages and snacks available at the concession located in the lounge) Trio for flute, cello or viola and piano I. Poco Allegretto II. Adagio III. Andante; Allegretto Scherzando Bohuslav Martinů (1890–1959) �Upcoming Events Friday, October 2, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall Saturday, October 3, 8:00 p.m. (Admission by donation) EMERGING ARTISTS ALUMNI SERIES Music by Justin Boechler (M.Mus ‘13) Featuring compositions by Justin Boechler performed by School of Music alumni Alexei Paish (percussion), Kimberley Shepherd (piano), and Anna Shill (soprano) as well as the Proteus Saxophone Quartet. Phillip T. Young Recital Hall Monday, October 5, 8:00 p.m. (Free admission) Orion Series in Fine Arts presents GUEST CONCERT: Ilya Poletaev, piano Pianist Ilya Poletaev, Assistant Professor at McGill’s Schulich School of Music, is quickly becoming recognized as one of today’s most original and compelling artists. Performing works by Bach, J.K.Fischer, Carl Nielsen, Yevgeniy Sharlat and Franz Liszt. Phillip T. Young Recital Hall Wednesday, October 7, 8:00 p.m. ($18 & $14 / Free for UVic Alumni with valid ONECard) ALUMNI CONCERT SERIES: duo526 Featuring Kerry DuWors, violin (B.Mus ‘01) and Futaba Niekawa, piano Performing works by Leoš Janáček, Ottorino Respighi, Elliot Weisgarber and Joaquin Turina. duo526 is dedicated to creative thought and the art of listening through the performance of a vast repertoire from standard Classical to contemporary music. Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca) and at the door. � To receive our On the Pulse brochure and newsletter by email, contact: concert@uvic.ca www.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/092915-FacultyRecital/092915-FacultyRecital_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/092915-FacultyRecital/092915-FacultyRecital_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/092915-FacultyRecital/092915-FacultyRecital_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/092915-FacultyRecital/092915-FacultyRecital_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 Series - Suzanne Snizek, flute; Joanna Hood, viola; Alexandria Le, piano Creator An entity primarily responsible for making the resource Allyssa Haigh Date A point or period of time associated with an event in the lifecycle of the resource September 29, 2015 Contributor An entity responsible for making contributions to the resource Suzanne Snizek, flute; Joanna Hood, viola; Alexandria Le, piano https://finearts.uvic.ca/music/archive/files/original/9e1fdd9019cabf8bafbf5b78309dfa94.pdf e9c7e96eb7b5b7895b0dbcff6e688717 PDF Text Text UNIVERSITY OF VICTORA Faculty Chamber Music Series 5σ: God(’s) particle in music Special Guest Michel Lefebvre, Science Department, UVic, CERN Spoken Word Inserts: Justin McGrail Concept: Ajtony Csaba Program Sonata for Violin and Piano in C Major, K. 296 1. Allegro vivace
 II. Andante sostenuto
 III. Rondo. Allegro W. A. Mozart Ann Elliott-Goldschmid, violin Michelle Mares, piano Trio for flute, viola and harp (1926) Allegro ma non troppo Suzanne Snizek, flute Joanna Hood, viola Annabelle Stanley, harp Leo Smit �Sonata in D for Viola and Keyboard, BWV 1028 1. Adagio II. Allegro III. Andante IV. Allegro J. S. Bach Joanna Hood, viola Ajtony Csaba, piano Intermission (Beverages and snacks available at the concession located in the lounge) String Duo No.1 in G major for violin and viola, K. 423 I. Allegro II. Adagio III. Rondeau La Muerte del Ángel W. A. Mozart Ann Elliott-Goldschmid, violin Joanna Hood, viola Joanna Hood, viola Alexander Dunn, guitar Jonathan Goldman, accordion Brian Anderson*, double bass Ajtony Csaba, piano Charms of the Night Sky (1997) Astor Piazzola Dave Douglas Patrick Boyle, trumpet Joanna Hood, viola Jonathan Goldman, accordion Brian Anderson*, double bass The Melody of the Higgs Bozon: an object trouvée from Eugene Dowling Joanna Hood, viola Jonathan Goldman, accordion Brian Anderson*, double bass Ajtony Csaba, piano Eugene Dowling, tuba * School of Music student Saturday, October 20, 2012, 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $17.50 / Students & seniors: $13.50 � 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/102012-FacultyChamberMusicSeries/102012-FacultyConcert_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102012-FacultyChamberMusicSeries/102012-FacultyConcert_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102012-FacultyChamberMusicSeries/102012-FacultyConcert_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102012-FacultyChamberMusicSeries/102012-FacultyConcert_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102012-FacultyChamberMusicSeries/102012-FacultyConcert_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102012-FacultyChamberMusicSeries/102012-FacultyConcert_06.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102012-FacultyChamberMusicSeries/102012-FacultyConcert_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 Chamber Music Series - 5σ: God(’s) particle in music Creator An entity primarily responsible for making the resource Kirk McNally Date A point or period of time associated with an event in the lifecycle of the resource October 20, 2012 Contributor An entity responsible for making contributions to the resource Ann Elliott-Goldschmid, violin; Michelle Mares, piano; <span>Suzanne Snizek, flute; </span><span>Joanna Hood, viola; Annabelle Stanley, harp; </span>Ajtony Csaba, piano; Alexander Dunn, guitar; Jonathan Goldman, accordion; Brian Anderson, double bass; Patrick Boyle, trumpet; Eugene Dowling, tuba <br /><br />