7 10 90 https://finearts.uvic.ca/music/archive/files/original/05ac8e3d53d8e7bb786acd37ebc30ad0.pdf b5666458bd1dde8f32f469ac95b6a718 PDF Text Text Faculty Recital Patrick Boyle trumpet, flugelhorn, resonator guitar, electric guitar Featuring: Brian Anderson, double bass Jonathan Goldman, accordion Joanna Hood, viola Ian McDougall, trombone Friday, September 28, 2012 at 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $17.50 / Students & seniors: $13.50 �Program Charms of the Night Sky Dave Douglas Fresh Duds Patrick Boyle A Hard Rain’s Gonna Fall/Paradise Found Bob Dylan/Patrick Boyle Did I Ever Patrick Boyle Everything Happens To Me Mc Not Mac – Two “L’s”!! Adair/Dennis Ian McDougall Intermission (Beverages and snacks available at the concession located in the lounge) Darn That Dream Van Heusen/De Lange Adrian Adonis vs. Roddy Piper (March 27, 1987) Patrick Boyle �About Patrick Boyle Newfoundland born trumpeter and guitarist Dr. Patrick Boyle is Assistant Professor of Jazz Studies at the University of Victoria. CBC Radio calls Patrick a “trumpet personality” and “one of Canada’s top trumpet players and jazz musicians in general.” He blends a range of influences into a compelling original voice. Patrick is an in-demand session player unbound by genre. He can be heard on more than 45 recordings and three critically acclaimed solo albums: Rock Music (2010) with percussionist Curtis Andrews; Still No Word (2008); and Hold Out (2005). Patrick performed at Carnegie Hall with tabla virtuoso Zakir Hussain and drummer Steve Smith in 2009. At UVic, he teaches courses in jazz theory, history, improvisation, arranging, and directs the Jazz Orchestra. Check out www.patrickboyle.ca for more information. Also this weekend... Saturday, September 29, 11:30 a.m. (Free Admission) Hand Drumming Workshop with Jordan Hanson Bring your own drum or use one of the drums provided for free. Please R.S.V.P at www.drumvictoria.com Phillip T. Young Recital Hall Saturday, September 29, 1:00-3:00 p.m. (Free Admission) UVic 50th Anniversary Homecoming Open House Various musical offerings featuring School of Music students. MacLaurin Music Building (B Wing) 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/092812-FacultyRecital/092812-FacultyRecital_01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/092812-FacultyRecital/092812-FacultyRecital_02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/092812-FacultyRecital/092812-FacultyRecital_03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/092812-FacultyRecital/092812-FacultyRecital_04.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/092812-FacultyRecital/092812-FacultyRecital_05.mp3">track5</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/092812-FacultyRecital/092812-FacultyRecital_06.mp3">track6</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/092812-FacultyRecital/092812-FacultyRecital_07.mp3">track7</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/092812-FacultyRecital/092812-FacultyRecital_08.mp3">track8</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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Title A name given to the resource Faculty Recital - Patrick Boyle, trumpet, flugelhorn, resonator guitar, electric guitar 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 September 28, 2012 Contributor An entity responsible for making contributions to the resource Patrick Boyle, trumpet, flugelhorn, resonator guitar, electric guitar; Brian Anderson, double bass; Jonathan Goldman, accordion; Joanna Hood, viola; Ian MacDougall, trombone https://finearts.uvic.ca/music/archive/files/original/b76085609708bee62f0bc0782a5da8a6.pdf b9fb44e2e89e5b5cebcdf19bb833dcba PDF Text Text UNIVERSITY OF VICTORIA Faculty Recital Program Allusions, arrangements and reminiscences of the following compositions: Horn Trio in E flat Major, Op. 40 Johannes Brahms Patrick Boyle, trumpet, flugelhorn Peacocks Bill Evans Ajtony Csaba, piano, electronics Joanna Hood, viola Giant Steps John Coltrane Cveti mi Fiolica Traditional Croatian (arr. Patrick Boyle) Seven Variations over a Mozart-Theme from the Magic Flute WoO 46 Ludwig van Beethoven Es ist genug Edison Denisov Monday, November 28, 2011 at 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building Admission: $17.50 & $13.50 www.finearts.uvic.ca/music/events ...solos, duos, trios, tracks, Soundpainting �PROGRAM NOTES PATRICK BOYLE University is a place to establish new connections among - till now isolated principles. What ever that means. At this concert (in)famous musician-professors of the UVic School of Music, Joanna Hood (viola), Patrick Boyle (jazz studies) and Ajtony Csaba (conductor), throw a spontaneous program playing instruments and styles belonging to their “dark side”, the unofficial one. Soundpainting is a cueword for the performance. Based on a bandconcept rather than classical chamber music principles, soundpainting is the name of the improvisation-language that free improvisers use to communicate with each other while playing, and acts as joint material throughout the concert. A moment to reconsider boundries of classical, jazz and electronic music - if there are any. - Ajtony Csaba BIOGRAPHIES JOANNA HOOD Originally from Seattle, Joanna Hood studied viola with Isadore Tinkleman at the San Francisco Conservatory and Abraham Skernick at Indiana University School of Music in Bloomington. Since 1986, Ms. Hood has played with the Lafayette String Quartet, which she co-founded. As artist-in-residence at the University of Victoria, in Victoria, BC, she teaches viola and chamber music. She performs with Victoria’s Galiano Ensemble, as well as the Loma Mar Quartet and Orchestra of St. Luke’s (both in New York City). She has collaborated with Sir Paul McCartney in a performance, and a recording of his music, titled “Working Classical” (on the EMI label), and A Garland for Linda (Selections) also on the EMI label. Also along with the other members of the Loma Mar Quartet she has been principal viola with the Lincoln Center Jazz orchestra, as well as making a recording with Jazz singer Claudia Acuña.  Throughout her career, along with concerts in Canada, the US and abroad, Ms. Hood has broadcast for CBC and NPR, and other radio stations, worldwide. She has also participated in the Spoleto Festival, Olympic Music Festival, the Adam New Zealand Chamber Music Festival, and the Caramoor International Festival (with the Orchestra of St. Luke’s), among others. She plays on an English viola made in 1754 by Edmund Areaton. Trumpeter Patrick Boyle is from Mount Pearl, Newfoundland. He is currently Assistant Professor (Jazz Studies) at the University of Victoria. An in-demand session player not bound by genre, Patrick can be heard on more than 45 recordings and 3 critically acclaimed solo albums: “Rock Music” (2010) with percussionist Curtis Andrews; “Still No Word” (2008); and “Hold Out” (2005). In 2009, he performed at Carnegie Hall with tabla virtuoso Zakir Hussain and drummer Steve Smith. Patrick balances his life as a performer with a strong dedication to teaching and education. He successfully defended his Doctoral dissertation Improvisation and the Politics and Error at the University of Toronto (supervisor Dr. Russell Hartenberger) in September 2011. Improvisation is his primary research interest, particularly how collective improvisation in organizations can help students negotiate situations of tension and anxiety, inside and outside of music. See www.patrickboyle.ca for more information. AJTONY CSABA Ajtony Csaba was born in Transylvania and studied conducting, composition and electroacoustics at the Music University in Budapest and Vienna. Recipient of numerous awards for his compositions and conducting, his engagements include concerts and music theatre performances with major orchestras across Europe and in China. Ajtony has worked with renowned composers and conductors including Peter Eötvös, Lucas Vis, Zsolt Nagy, Antoni Wit, Marco Stroppa, Michael Jarrell and Chaya Czernowin. Csaba served as assistant conductor to the Hungarian National Philharmonic and Salzburg Festspiele (A), and was resident conductor in Festspielhaus Dresden (Germany). From 2007, Csaba was chief conductor of the Central-European Chamber Orchestra and of the Vienna Jeunesse Choir. Active as a composer, his first opera gentle birth (2005), for 3 singers, 12 dancers, interactive video and electroacoustics, received numerous prizes and awards. Ajtony joined the University of Victoria School of Music faculty in 2010, where he teaches conducting and leads the UVic Orchestra. Visit www.ajtonycsaba.com for more information. � 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/112811-FacultyRecital/112811-FacultyRecital_01.mp3">track1</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 Recital - Patrick Boyle, trumpet, flugelhorn; Ajtony Csaba, piano, electronics; Joanna Hood, viola 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 November 28, 2011 Contributor An entity responsible for making contributions to the resource Dr. Patrick Boyle, trumpet, flugelhorn; Ajtony Csaba, piano, electronics; Joanna Hood, viola https://finearts.uvic.ca/music/archive/files/original/d6e46eebf834658cddc265901e9b4355.pdf 6f1478396fc40958febc2245dc3d61a9 PDF Text Text Faculty Chamber P r o g r a m UNIVERSITY OF VICTORA Music Series Music for a Found Harmonium/Julia Delaney Traditional Patrick Boyle, flugelhorn Drei Intermezzi Suzanne Snizek, flute Charlotte Hale, piano Hans Gál (1890-1987) Passacaglia, on an old English Tune Grave, ma non troppo lento Rebecca Clarke (1886-1979) Untitled English Tethers Morpheus Ben moderato Chinese Puzzle Moderato Joanna Hood, viola Ajtony Csaba, piano Cluck Old Hen Variations for Solo Violin David Jaffe (b.1955) Ann Elliott-Goldschmid, violin I n t e r m i s s i o n Canticle One – My Beloved is mine Benjamin Butterfield, tenor Arthur Rowe, piano Saturday, October 22, 2011, 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building Admission: $17.50 & $13.50 www.finearts.uvic.ca/music/events On Wenlock Edge Benjamin Britten (1913-1976) Ralph Vaughan-Williams (1872-1958) Benjamin Butterfield, tenor Arthur Rowe, piano Lafayette String Quartet: Ann Elliot-Goldschmid & Sharon Stanis, violin Joanna Hood, viola, Pamela Highbaugh Aloni, cello � 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/102211-FacultyChamberMusicSeries/102211-FacultyChamberMusic_01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102211-FacultyChamberMusicSeries/102211-FacultyChamberMusic_02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102211-FacultyChamberMusicSeries/102211-FacultyChamberMusic_03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102211-FacultyChamberMusicSeries/102211-FacultyChamberMusic_04.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102211-FacultyChamberMusicSeries/102211-FacultyChamberMusic_05.mp3">track5</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102211-FacultyChamberMusicSeries/102211-FacultyChamberMusic_06.mp3">track6</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102211-FacultyChamberMusicSeries/102211-FacultyChamberMusic_07.mp3">track7</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102211-FacultyChamberMusicSeries/102211-FacultyChamberMusic_08.mp3">track8</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102211-FacultyChamberMusicSeries/102211-FacultyChamberMusic_09.mp3">track9</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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Title A name given to the resource Faculty Chamber Music Series - English Tethers 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 22, 2011 Contributor An entity responsible for making contributions to the resource Patrick Boyle, flugelhorn; Suzanne Snizek, flute; Charlotte Hale, piano; Joanna Hood, viola; Ajtony Csaba, piano; Ann Elliott-Goldschmid, violin; Benjamin Butterfield, tenor; Arthur Rowe, piano; Sharon Stanis, violin; Pamela Highbaugh Aloni, cello https://finearts.uvic.ca/music/archive/files/original/a6788a78c92aaec0727dfa74bba3af83.pdf 69336244c6e10ddc344da139195c8a3a PDF Text Text School of Music University of Victoria School of Music MUS C Faculty of Fine Arts University of Victoria �SCHOOL OF MUSIC • UNIVERSITY OF VICTORIA FACULTY CONCERT SERIES GuitarWorks Featuring: Alexander Dunn, Baroque guitar Anne Grimm, soprano Soile Stratkauskas, Baroque flute Ann Fraser, Baroque violin Douglas Hensley, theorbo Martin Bonham, Baroque cello Friday, March 13, 2015 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults $18 / Students & Seniors $14 �PROGRAM Sonata in D Minor, K. 89 Allegro Grave Allegro Domenico Scarlatti (1685–1757) Cantata Spagnuola a voce sola e Chitarra, HWV 140 Aria: No se enmendará jamás Georg Frederic Händel Recitativo: Si del quereros es causa  (1685–1759) Aria: Dícente mis ojos Concerto in D Major, RV 93 Allegro Largo Allegro Antonio Vivaldi (1678–1741) Intermission (Beverages & snacks available at the concession located in the lounge) Sonata in E Minor, K. 81 Grave Allegro Grave Allegro Domenico Scarlatti Cantata Pensieri notturni di Filli, HWV 140 Recitativo: Nel dolce dell’oblio Georg Friedrich Händel Aria: Giacché il sonno a lei dipinge Recitativo: Così fida ella vive Aria: Ha l’inganno il suo diletto Marizápalos Anon. 17th century (arr. Alexander Dunn) �INSTRUMENTARIUM Baroque guitar by Mel Wong, (San Francisco, 2014) after Antonio Stradivarius ‘Sabionari’ (Cremona, 1679) Baroque flute by Martin Wenner (Singen, 2004) after Carlo Palanca (Torino, c.1750) Baroque violin by Walther Mahr (Bubenreuth, 2005) on a Jacobus Stainer pattern (Cremona, mid-17th century) Baroque bow (1720 pattern) by Martin Opustil 14-course theorbo by Ray Nurse (Vancouver) (1980/2008) after Tieffenbrucker (Padua, mid-17th century) Baroque cello by Warren Bailey (Victoria, 2002) after Antonio Stradivarius ‘Gorbooth’ (Cremona, 1710) Baroque bow by Christopher English Your contribution makes a difference! The arts have always been dependent on the generosity of its patrons, and a donation to the School of Music can make all the difference to the future of our students. A scholarship of just $500 a year can change a life forever. For more information about our giving initiatives, please contact Fine Arts Development Officer Karen Walker at 250-721-6305 or via email at kmwalker@uvic.ca. �PROGRAM NOTES GuitarWorks ’15 presents the Baroque guitar in its various guises—as a solo vehicle, a partner in music supported by a bass instrument, and in its accompaniment role alongside instruments such as Baroque lutes, harpsichord, organ, and Baroque harp. Its heyday was the seventeenth century, where, as an antidote to the cumbersome multi-string lute, the guitar found practitioners from amateurs to professional musicians who utilized its delicate sound and various tunings to delightful effects. In use from the lowland countries to the Mediterranean, from the British Isles to the eastern reaches of Europe, the voguish guitar reflected current instrumental practices in its vast solo repertoire, notated in a cryptic tablature system. Antoine Watteau depicted—in numerous sketches, drawings and paintings featuring forlorn Commedia dell’arte theatre characters in stages of wooing, swooning, rapture or rejection—all with the de riguer guitar. In 1672, Jan Vermeer painted a lovely young woman in the midst of playing her exquisitely detailed Voboam French guitar. And elsewhere in taverns, barbershops, and less haughty surroundings, the guitar functioned as a popular social medium. Its delicate sonorities blended well with instruments in art music, and its percussive batterie or repicco brought the characteristic strum to popular European culture with different national accents, laying the groundwork for the Iberian style of struck rhythms—coupled with singing, and dancing—as expressed by wandering egyptiens—European Gypsy culture. Scarlatti Sonatas In Domenico Scarlatti’s vast output of harpsichord sonatas, there are a small number of works that feature figured bass, a three- or four- movement structure, and distinctive melodic lines that are particularly suited for a plucked solo instrument. The discovery of a new manuscript containing some of these pieces, at the Bibliothèque de l’Arsenal in Paris, bears the inscription “per mandolino, violino o flauto” and has a version of the D minor K. 89 Sonata for mandolin and harpsichord. Indeed, they are admirably suited to plucked string instruments in its part-chords and dynamic nuances. The absence of long note-values, even in slow movements, corroborates the claim that they were primarily intended for a plucked instrument. The mandola appeared as an obbligato instrument in a cantata by Alessandro Scarlatti in 1699; it is probable that, in the employment of this instrument, Domenico Scarlatti was influenced by the musical milieu of Florence, in which the mandola had its most significant champions beginning in 1597. In tonight’s performance, Baroque guitar plays the upper voice, with theorbo rather than harpsichord, as the supporting instrument. �Händel Cantatas Sometime in 1706, Händel travelled to Italy and by the beginning of 1707, was ensconced in the capitol. There the Cardinals Colonna and Pamphili were among the influential patrons for whom Händel provided many compositions. He was soon composing secular cantatas in Italian, receiving the patronage of the Marchese Francesco Ruspoli, for whom he was to provide works for his weekly musical gatherings. This association continued on and off until the end of 1708, and during this time Händel composed over fifty cantatas for this patron, as well as some church works. The short Cantata Spagnuola a voce sola e Chitarra, was possibly written in the summer of 1707 for Händel’s patron Cardinal Ottoboni. It was copied for Marquis Ruspoli in 1707, along with some Italian cantatas. Handel was challenged to write works in Italian and French, and also responded with the ‘Spanish Cantata’, his only work in that language. The guitar is employed for local color and is Händel’s only use of Baroque guitar. Like the Spanish Cantata, Pensieri notturni di Filli could have also been composed in Rome. It deals with love in an Arcadian context, and offers an intellectual and sentimental interplay between dream and reality. The singer refers to his lover as “my adored Phillis”, but then goes on to describe only Phillis’ feelings and imaginings, as an ‘omniscient author’. Phillis is perhaps lost in dreams over her lover, but the final aria warns that this may be followed by sorrow when dreams fade. Vivaldi Concerto The Lute Concerto in D Major is one of four works featuring the solo lute written by Vivaldi. He wrote the work in the 1730’s, a period in which two other works featuring the lute appeared: the trios for violin, lute, and basso in G minor and C major. The concerto is in the typical three movement form. The first is a fast tempo and begins with a catchy ritornello played by the entire group, then repeated by the soloist. This ritornello contrasts a tuneful opening theme with a more lyrical motif in the minor mode. During the movement, the soloist presents melodies to contrast the ritornello. The movement consists of several sections, almost all of which incorporate a portion of the original ritornello melody. The second movement also consists of several sections and has been described as a “reflective meditation by the soloist” against accompaniment by the upper parts and bass. The third movement is in a fast meter, something in the style of the Italian Tarantella. While originally scored for lute, two violins, and continuo, tonight’s performance replaces the second violin with �Baroque flute. The continuo battery is made up of Baroque cello and theorbo. The concerto uses the solo lute primarily in a high register, but is also played successfully on Baroque guitar. Marizápalos A tune used by innumerable musicians, Marizápalos is a gorgeous Spanish ballad whose piquant text barely conceals charged innuendo. Based on a simple recurring harmonic progression and a fetching melody, it recounts the circumstances of Marizápalos, a young Madrid beauty and niece of the town’s priest. She innocently wanders into the afternoon groves to ‘collect flowers’—and is enamoradita—infatuated with Pedro Martin, who joins the venture. She stamps upon the forest floor, turning it to ‘watered silk’, which gives way to a ‘social scene’ where they lay out a feast upon her petticoat. Pedro, referred to as ‘Parakeet’, devours the meal with his ‘parsley sauce’. She gently coaxes him to stop, but upon hearing horses approach, he flees in terror. The priest arrives who would have witnessed them committing the unpardonable sin of using ‘bad Latin’. Variations on the Marizápalos melody were unwittingly used by Spanish composer Joaquin Rodrigo in his 1954 concerto-suite Concierto para un Gentilhombre (Concerto for a Gentlemen) for guitar and orchestra. Program notes by Alexander Dunn �TEXTS AND TRANSLATIONS Händel: Cantata Spagnuola a voce sola e Chitarra Aria No se enmendará jamás de amaros mi corazón, que culpas de la razón cada día crecen más. Aria Never shall my heart’s love be amended The fault of reason each day grows more. Crescerá cada momento el quereros, enojaros, que este delito de amaros todo es bello entendimiento. Increasing every moment the desire, angered, with this crime of love all becomes beautifully understood Recitativo Si del quereros es causa y razón el conoceros, a amarte cuanto mereces espero llegar un día, pues crecen en mí a porfía amor y conocimiento; Recitative If loving is cause and reason does agree, to love as so deserved I wait until the day, but growing obstinate in love and knowledge. y si medir no quisieres mi amor por tu perfección, escucha con qué primor explica, callando sus ansias, Amor and if you do not measure, my love for your perfection, listen how delicately they explain, quietly of their longing, Love. Aria Dícente mis ojos en muda pasión lástimas sin quejas, palabras sin voz. Como sólo amarte mi amor pretendió, sólo de quererte bien pagado estoy. Aria My eyes speak in silent passion, pity without complaint, words without voice. As only my heart sought love, only in love am I well compensated. �Händel: Cantata Pensieri notturni di Filli Recitativo Nel dolce dell’oblio benché riposi la mia Filli adorata veglia coi pensier suoi e in quella quiete Amor non cessa mai con varie forme la sua pace turbar mentr’ella dorme. Recitative In sweet oblivion, although resting, my beloved Phyllis’ vigil thoughts are waking and in the quietude Cupid never ceases with various means disturbing her peace while she sleeps. Aria Giacché il sonno a lei dipinge la sembianza del suo bene, nella quiete ne pur finge d’abbracciar le sue catene. Aria Since her sleep depicts the semblance of his goodness, she envisions, in the stillness, the embrace of his chains. Recitativo Così fida ella vive al cuor che adora e nell’ombre respira la luce di quel sol per cui sospira. Recitative Thus she remains faithful to the beloved heart and in the shade breathes the sunlight that she loves so dearly. Aria Ha l’inganno il suo diletto se i pensier mossi d’affetto stiman ver ciò che non sanno. Ma se poi si risveglia un tal errore il pensier ridice a noi ha l’inganno il suo dolore. Aria Deception delights when affections are overwhelmed and believe the dream true. But when thoughts, on waking, reveals the error and deception knows its dolor. �Marizápalos (Anonymous Spanish song, 17th century)   Marizápalos era muchacha,  enamoradita de Pedro Martín,  por sobrina del cura estimada,   la gala del pueblo, la flor del abril.   Marizápalos was a girl, enamored with Pedro Martín, the niece of the esteemed priest,  the toast of the village, the flower of Madrid.   Marizápalos salió una tarde  al verde sotillo que va hacia Madrid a coger con sus manos las flores, teniendo más ella que mayo y abril.   Marizápalos went out one afternoon   to the green grove that borders Madrid  to collect flowers by hand,  possessing more than May and April.  Estampando la breve chinela, que tiene ventaja de mayor chapín, por bordarle sus plantas de flores, el lazo del campo se volvió tabí. Stamping with dainty slipper, far finer than an old clog,  to embroider flower plants, the meadow turned to watered silk. Merendaron los dos a la mesa que puso Marieta de su faldellín   y Perico, mirando a lo verde,   comió con la salsa de su perejil. The two socialized on a table made from Marieta’s petticoat and Parakeet, gazing upon the green,  devoured with his own parsley sauce.   Pretendiendo de su garabato   quitarle la carne con garfio sutil, Marizápalos le dijo: ¡zape!   quedando en su aliento cariño de miz.   Pretending to dawdle he scooped flesh with a crooked finger, Marizápalos said ‘Shoo!’   in an affectionate breath. Cuando oyeron allá entre la ramas las herradurillas de un fuerte rocín,   el Adonis se puso en huida  temiendo los dientes de algún jabalí. Hearing sounds among the branches, Hoofs stirring fallen leaves, the Adonis took flight,  fearing the tusks of some boar. Y era el cura, que al soto venía, que si un poco antes acierta a venir,   como sabe gramática el cura,   podía cogerlos en un mal latín. And it was the priest making way, and if he had arrived earlier, knowing grammar as he did,  would have caught them out using bad Latin. ��UPCOMING EVENTS Saturday, March 14, 8:00 p.m. ($15 & $10) UVIC JAZZ ENSEMBLE Dr. Patrick Boyle, Director An eclectic evening of contemporary works for jazz ensemble, including a rare performance of the Ebony Concerto by Igor Stravinsky. Phillip T. Young Recital Hall Sunday, March 15, 7:00 p.m. ($15) CRAIGDARROCH CASTLE IN SONG A concert in celebration of the story of Craigdarroch Castle and Victoria’s heritage. With music by Noel Coward, Richard Strauss, Samuel Barber, Benjamin Britten and Elinor Dunsmuir, as well as traditional Chinese and Persian songs. A portion of the proceeds will benefit scholarships for VISI student summer music programs. Craigdarroch Castle (1050 Joan Cresc.) Thursday, March 19, 8:00 p.m. (Admission by donation) GUITAR CLASS RECITAL Students from the studio of Dr. Alexander Dunn. Phillip T. Young Recital Hall Friday, March 20, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Featuring School of Music string students. Phillip T. Young Recital Hall Friday, March 20, 8:00 p.m. ($15 & $10) UNIVERSITY OF VICTORIA WIND SYMPHONY Lights, Action: Student Spectacular! Dr. Gerald King, Conductor David P. Gagnon, Graduate Assistant Conductor Performing the Canadian Premiere of Jeff Tyzik’s New York Cityscape: Concerto for Brass Quintet and Wind Ensemble with guest ensemble, Brasstastic, Eric Whitacre’s Godzilla Eats Las Vegas and more. 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/031315-FacultyRecital/031715-DunnBaroque-01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/031315-FacultyRecital/031715-DunnBaroque-02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/031315-FacultyRecital/031715-DunnBaroque-03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/031315-FacultyRecital/031715-DunnBaroque-04.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/031315-FacultyRecital/031715-DunnBaroque-05.mp3">track5</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/031315-FacultyRecital/031715-DunnBaroque-06.mp3">track6</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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Title A name given to the resource Faculty Concert Series - Guitar Works Creator An entity primarily responsible for making the resource Brennan MacKay Date A point or period of time associated with an event in the lifecycle of the resource March 13, 2015 Contributor An entity responsible for making contributions to the resource Alexander Dunn, Baroque guitar; Anne Grimm, soprano; Soile Stratkauskas, Baroque flute; Ann Fraser, Baroque violin; Douglas Hensley, theorbo; Martin Bonham, Baroque cello https://finearts.uvic.ca/music/archive/files/original/915e2161c90048ec1412a7283e703e0c.pdf b12ed2d353b73bc9f5afe94158e2763f PDF Text Text School of Music University of Victoria School of Music MUS C Faculty of Fine Arts University of Victoria �SCHOOL OF MUSIC • UNIVERSITY OF VICTORIA FACULTY CONCERT SERIES 19TH-CENTURY WOMEN COMPOSERS OF SONG A Concert in Celebration of Josephine Lang’s 200th Birthday Saturday, February 21, 2015 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $18 / Students, seniors, alumni: $14 �With Nancy Argenta, soprano Ingrid Attrot, soprano Charlotte Hale, soprano Sharon Krebs, soprano Anna Shill, soprano Chelsey Ternes, soprano Shelley Shen, mezzo-soprano Kathryn Whitney, mezzo-soprano Stephen Rodgers, tenor Sam McNally, Drake Lovett, Collin Lloyd, Justin Malchow, James Waddell, John Millsip, horn Ian VanGils, Alex White, trumpet Megan White, Eric Showers, Trevor Hoy, trombone Harald Krebs, piano Thomas Nicholson, piano Arthur Rowe, piano And The University of Victoria Chamber Singers Dr. Garry Froese, Conductor Julia Albano-Crockford Laura Altenmueller Frances Armstrong-Douglas Richard Bailey Joey Cutajar Kimberley Farris-Manning Zander Felton Micha Fortin Cody Froese Laura Giffen Jenna Grossman Crystal-Anne Howell Allison Kingsley Alex Klassen Marlena Kurek Kenji Lee Margaret Lingas Emmanuel Moore Ryan Narciso Natasha Penfield Joshua Poon Zachary Power Sean Quicke Nicholas Renaud Matthew Sabo Kassandra Schantz Shelley Shen Samuel Simons Duncan Slade Emily Stewart Chelsey Ternes Rebecca Thackray Austin Warren Kelsey Wheatley Mandy Wiltshire Dawn Yuan Xuguang Zhang �PROGRAM “Die Wolken”, op. 25, no. 5 “Erinnerung”, WoO Josephine Lang (1815–80) Sharon Krebs, soprano, and Harald Krebs, piano Sechs Lieder, op. posth. 9 No. 1 “Die Ersehnte” No. 4 “Die frühen Gräber” No. 6 “Die Mainacht” Fanny Hensel (1805–47) Stephen Rodgers, tenor, and Harald Krebs, piano Mazurka in F minor, op. 49, no. 2 Arabesque, WoO Scherzo, Quatre pièces fugitives, op. 15, no. 4 Arthur Rowe, piano “Im Garten klagt die Nachtigall”, op. 8, no. 2 Josephine Lang Clara Schumann (1819–96) Ingeborg von Bronsart (1840–1913) Chelsey Ternes, soprano, and Harald Krebs, piano “Die Verlassene”, WoO “Die gute Nacht, die ich dir sage”, WoO “Am Strande”, WoO Pauline Viardot (1821–1910) Clara Schumann Charlotte Hale, soprano, and Harald Krebs, piano “Ständchen”, unpublished Josephine Lang Sharon Krebs, soprano, Charlotte Hale, soprano, and Kathryn Whitney, mezzo-soprano “Nichts über Ruh”, unpublished “Das ist die wehmuthvollste Zeit”, unpublished “Auf dem See in tausend Sterne”, op. 14, no. 6 Anna Shill, soprano, and Harald Krebs, piano Intermission Beverages and snacks available at the concession located in the lounge. Josephine Lang �“Seid mir gegrüsst”, op. 36[38], no. 3 “Abschied”, op. 11, no. 4 “Sängers Trost”, op. 11, no. 5 Josephine Lang Kathryn Whitney, mezzo-soprano, and Harald Krebs, piano “Die Fischerkinder”, op. 12, no. 1 Johanna Kinkel (1810–58) Ingrid Attrot, soprano, Nancy Argenta, soprano, Harald Krebs, piano “Der Mond kommt still gegangen”, op. 13, no. 4 “Ob ich manchmal Dein gedenke”, op. 27, no. 3 Clara Schumann Josephine Lang Ingrid Attrot, soprano, and Harald Krebs, piano “Das Veilchen”, WoO “An den Mond”, op. 7, no. 5 “Frühzeitiger Frühling”, [op. 6], no. 3 Clara Schumann Johanna Kinkel Josephine Lang Nancy Argenta, soprano, and Harald Krebs, piano “Frühzeitiger Frühling”, WoO “Wandl’ ich in dem Wald des Abends”, WoO Fanny Hensel Sopranos and altos of the UVic Chamber Singers, directed by Garry Froese “Jägerlied”, unpublished Josephine Lang, arr. by Felix Mendelssohn “Trinklied vor der Schlacht”, unpublished (1809–47) Tenors and basses of the UVic Chamber Singers, directed by Garry Froese Sam McNally, Drake Lovett, Collin Lloyd, Justin Malchow, James Waddell, John Millsip, horn Ian VanGils, Alex White, trumpet Megan White, Eric Showers, Trevor Hoy, trombone “Hymne au soleil”, WoO Lili Boulanger (1893–1918) UVic Chamber Singers, directed by Garry Froese Soloist: Shelley Shen, mezzo-soprano Thomas Nicholson, piano We warmly thank the Archive of the Gesellschaft der Musikfreunde in Wien for making available the autograph of Felix Mendelssohn’s arrangements of Josephine Lang’s “Jägerlied” and “Trinklied vor der Schlacht.” �TRANSLATIONS Josephine Lang, “Die Wolken” (“The Clouds”), op. 25, no. 5 Quickly as arrows they go by. Oh, if you knew how far and whereto! You too would be so glad to fly from here! Lightly as the birds in the airy expanse You would fly to the edge of the clouds, To attain light and life! Text by Felix Köstlin, translation © Harald and Sharon Krebs Josephine Lang, “Erinnerung” (“Remembrance”), WoO Every dream shows me my end! The future no longer smiles upon me! I barely know anymore what happiness is. Into the springtime of my life fell The wintry play of the snowflakes of misfortune. Joy, Hope, Love have passed away; I wish Remembrance were among [the things that had passed away]! Original text by Lord Byron, German translation by Ernst Ortlepp, translation of German © Sharon Krebs Fanny Hensel, “Die Ersehnte” (“The one so yearned for”), op. posth. 9, no. 1 If only the next spring would bring you to my arms! If only the birds would sing me my wedding song from the blossoms, Then, then I would be blessed On earth with the bliss of heaven. Ecstasy! She will conjure paradise for me! She will gladly wander with me in God’s garden; She will rock in my arms And give wings to the spring evening. Come, the tears of yearning in my eye call to you! And this fluttering heart, full of sweet foreboding! Dismally flowed my life – O messenger of heaven, come to cheer it. Text by Ludwig Hölty, translation © Emily Ezust, from the LiederNet Archive – http://www.lieder.net/ (used by permission) Fanny Hensel, “Die frühen Gräber” (“The early graves”), op. posth. 9, no. 4 Welcome, o silver moon, Fair, quiet companion of the night! You flee? Don’t hurry away - remain, friend of thought! Look, it stays - it was only the clouds that were moving. Only the awakening May Is yet fairer than the summer night, �When dew, bright as light, trickles from his locks And red, he comes up over the hill. You nobler beings, alas! garlanded Are your monuments, with stern moss! O, how happy I was when, still with you, I saw day redden and night glimmer! Text by Friedrich Gottlieb Klopstock, translation © Emily Ezust, from the LiederNet Archive – http://www.lieder.net/ (used by permission) Fanny Hensel, “Die Mainacht” (“May Night”), op. posth. 9, no. 6 When the silvery moon blinks through the shrubbery And scatters its slumbering light over the lawn, And the nightingale sings flutingly, I walk sadly from bush to bush. How I praise your happiness, fluting nightingale, For your wife lives with you in the same nest, Bestowing upon her singing spouse A thousand faithful kisses. Shrouded by foliage, a pair of doves Coo their rapture to me; But I turn away, seeking darker shadows, And the lonely tear flows. Text by Ludwig Hölty, translation © Sharon Krebs Ingeborg von Bronsart, “Im Garten klagt die Nachtigall”, (“The nightingale laments in the garden”), op. 8 no. 2 The nightingale laments in the garden And its delicate little head droops: What good is it that I have such beautiful songs And such wondrously sweet sounds— As long as I have this my grey plumage And not the beauty of the rose! In the flowerbed the rose complains: How can life please me? What good is it that more than all other flowers I have grace, scent, and beauty— As long as I do not have the nightingale’s Song and sweet sounds! Mirza Schaffy resolved the matter. He said: Leave off complaining, You rose with your scented garments, You nightingale with your songs: Unite yourselves in my poems For humankind’s joy and listening pleasure. Original Azerbaijani text by Mirzə Şəfi Vazeh, German translation by Friedrich von Bodenstedt, translation of German © Sharon Krebs �Pauline Viardot, “Die Verlassene” (“The forsaken one”), WoO Once fate led you toward me, Deep within my heart I felt myself wounded And when I came upon you, beloved, in the streets, I lowered my eyes; the heavens were opened for me. Love is lost, I feel it with trembling, I lower my eyes, my life is wilted! Take into your hand a little knife of gold, Plunge it into my heart without fear or hesitation; Then see to whom I wanted to give my whole existence, And for whom alone this poor heart beat. If truth lives therein and love and faithfulness, To that may my breaking heart bear witness anew. Anonymous German translation of an Italian folk song, translation of German © Sharon Krebs Clara Schumann, “Die gute Nacht, die ich dir sage” (“The ‘good night’ that I say to you”), WoO The ‘good night’ that I say to you, Beloved friend, do you hear it? An angel who carries the message Goes to and fro between us. The angel brings my good night wish to you And has brought back to me a greeting from you: “To you, too, at this very moment Your friend’s songs are saying good night.” Text by Friedrich Rückert, translation © Sharon Krebs Clara Schumann, “Am Strande”, WoO Sadly I gaze from the cliff Upon the tide which has separated us, And with ardour my lips implore, Spare him, Elements! Fear is my soul’s master, Ah, and hope almost disappears; Only in dreams do spirits Bring me tidings of my beloved. You, who were the happy companions Of golden days of joy and jesting, You, who have never shed tears of grief – Ah, you do not know my pain! Be kind to me, oh nightly hours, Send rest to descend upon my eyes, Then, gracious spirits, whisper to me Tidings of my beloved. Original text by Robert Burns, German translation by Wilhelm Gerhard, translation of German © Sharon Krebs �Josephine Lang, “Ständchen” (“Serenade”), unpublished The earth rests in heaven, Moon and stars keep watch; Upon the earth, a little garden Slumbers in the flowers’ splendour. Good night, good night! In the garden there stands a little house, Quietly covered by a canopy of lime trees; Outside before the little bay window A singing bird keeps watch. Good night, good night! In the bay-windowed room a maiden sleeps, Dreaming of the splendour of the flowers; Within her heart rests heaven, Wherein the angels keep watch. Good night, good night! Text by Robert Reinick, translation © Sharon Krebs Josephine Lang, “Nichts über Ruh” (“Nothing more important than peace”), unpublished Nothing more important than peace! Nothing more important than peace? Do you still recognize this word? You spoke it in a beloved place. It rings on and on in my heart! Peace, peace, peace remained there [i.e., was left behind at the beloved place]. Text by Agnes von Calatin, translation © Sharon Krebs Josephine Lang, “Das ist die wehmuthvollste Zeit” (“That is the most melancholy time”), unpublished That is the most melancholy time, When day has gone to rest, When flowers and birds, ready for sleep, Hang their tired heads. The moon with its pale light Gazes sadly down upon you; It shows me your dear face, Your mute smile again! Many violets and narcissi bloom. None of the flowers makes me happy. Silent, I see springtime Passing by, and I weep! Text by M.K. [Maria Köstlin], translation © Sharon Krebs �Josephine Lang, “Auf dem See in tausend Sterne”, op. 14, no. 6 On the lake the sun has fragmented itself Into a thousand stars, Such that [the lake] far and wide Quivers like a sea of fire. Thus into the waves of my life Your dear image sank down, And from a thousand wellsprings of joy New songs [poems] constantly burst forth. Fair sailor-maiden, do you dare To enter into this shimmering sea? Come, oh come! And let it always Glowingly crash about you! Text by C. Reinhold [Köstlin], translation © Sharon Krebs INTERMISSION Josephine Lang, “Seid mir gegrüsst” (“I greet you”), op. 36[38], no. 3 Greetings to you, you laughing hills, Gloriously crowned with green foliage! Mildly wafted about by the wings of Zephyr, You do not fall victim to the predations of any storm! Greetings to you, oh quiet sea, Billowing waves upon the lonely shore, Mirror for the hosts of stars at night! Greetings to you, land of my youth! Dear images of joys that have passed away, That disappeared after a short space! May the pain of earthly partings Turn my eyes to the blessed goal [of heaven]! Text by Hélène d’Orléans, translation © Sharon Krebs Josephine Lang, “Abschied” (“Farewell”), op. 11, no. 4 When we parted, the sky was stormy and forlorn. To me, the earth was cold. The birds fell silent in the valley. Years have passed since then, but for me, the sky is still stormy, The earth is still cold, [and] no bird sings for me in the valley. Text by Justinus Kerner, translation © Sharon Krebs �Josephine Lang, “Sängers Trost” (“Singer’s [Poet’s] comfort”), op. 11, no. 5 Even if someday no beloved Weeps tears onto my grave, The flowers still drop down Their gentle dew. Even if no wanderer Lingers there while passing by, The moon during its journey Looks down upon that place. Even if on these fields Soon no earthling remembers me, The meadow and the quiet grove Do remember me. Flowers, grove, and meadow, Star- and moonlight, Of whom I once sang [in my poems], Shall not forget their singer [poet]. Text by Justinus Kerner, translation © Harald and Sharon Krebs Johanna Kinkel, “Die Fischerkinder” (“About the fisherman’s children”), op. 12, no. 1 Have you heard the old fairy-tale About the fisherman’s children? The ones who went out to sea Alone in a rickety boat? They picked water-lilies for each other, They sang each other many songs, They embraced and kissed each other In sweet exchange. They lost sight of the shore When the day departed, They never returned, Their names have been forgotten.– And do you know: we are the children, I am the maiden, you the lad / You are the maiden, I the lad, The sea is our love; It shall likely become our grave! Text by Wolfgang Müller von Königswinter, translation © Sharon Krebs Clara Schumann, “Der Mond kommt still gegangen” (“The moon approaches quietly”), op. 13, no. 4 The moon approaches quietly With its golden light. The tired world then falls asleep Resplendent in beauty. �And swaying upon the breezes Are, from many a loyal spirit, Thousands of loving thoughts, Wafting over those who sleep. And down in the valley there sparkle The windows of my beloved’s house. But in the darkness, I gaze Quietly out at the world. Text by Emanuel von Geibel, translation © Sharon Krebs Josephine Lang, “Ob ich manchmal Dein gedenke” (“Do I sometimes think of you?”), op. 27, no. 3 Do I sometimes think of you? If you [only] knew how much! Draw unto yourself even the shadows Of [my] dreaming thoughts! Day and night, and at all hours, Oh all [those words] do not express it; You alone, since we found each other, Are the substance of my utterances. I see everything else tottering About me like dreams and illusions! To think of you is my [very] life! To love you is my existence. Text by C. Reinhold [Köstlin], translation © Harald and Sharon Krebs Clara Schumann, “Das Veilchen” (“The Violet”), WoO A little violet stood upon the meadow, Lowly, humble, and unknown; It was a dear little violet. There came a young shepherdess With a light step and a merry spirit Along, along, Along the meadow, and sang. Ah! thinks the violet, if I only were The most beautiful flower in nature, Ah, only for a little while, Until the darling had picked me And pressed me to her bosom until I became faint, Ah only, ah only A quarter of an hour long! �Alas! but alas! the maiden came And paid no heed to the little violet, She trampled the poor violet. It drooped and died and yet rejoiced: And if I must die, yet I die Through her, through her, Yet [I die] at her feet. Text by Johann Wolfgang von Goethe, translation © Sharon Krebs Johanna Kinkel, “An den Mond” (“To the moon”), op. 7, no. 5 You fill bush and valley again Quietly with a splendid mist And finally set loose Entirely my soul. Every echo my heart feels, Of happy and troubled times; I alternate between joy and pain In my solitude. Blissful is he who, away from the world, Locks himself without hate, Holding to his heart one friend And enjoying with him That which is unknown to most men Or never contemplated, And which, through the labyrinth of the heart, Wanders in the night. Text by Johann Wolfgang von Goethe, translation © Emily Ezust, from the LiederNet Archive – http://www.lieder.net/ (used by permission) Josephine Lang, “Frühzeitiger Frühling” (“Premature Spring”), [op. 6], no.3 Days of ecstasy, come you so early? Does the sun present me with hill and forest? The brooks flow more generously now. Is it the meadows? Is it the valley? Under the blossoming wealth of greenery, The little bees sip, buzzing, on nectar. Colourful plumage rustles in the grove, Heavenly songs ring out! Text by Johann Wolfgang von Goethe, translation © Harald and Sharon Krebs Fanny Hensel, “Frühzeitiger Frühling” (“Premature Spring”), WoO Days of ecstasy, come you so early? Does the sun present me with hill and forest? The brooks flow more generously now. Is it the meadows? Is it the valley? Blue-tinged freshness. Heaven and the heights! The lake is teeming with golden fish. �Soon a breath of air stirs more powerfully, Yet it is immediately lost in the shrubs. But it returns to [my] bosom; Muses, help [me] bear the happiness! Tell me what happened to me since yesterday. Sweet sisters, my beloved has arrived! Text by Johann Wolfgang von Goethe, translation © Harald and Sharon Krebs Fanny Hensel, “Wandl’ ich in dem Wald des Abends” (“When I wander in the evening woods”), WoO When I wander in the evening woods, In the dream-like woods, Ever at my side wanders Your tender form. Is this not your white veil? Is this not your mild face? Or is it only moonlight Breaking through the darkness of the firs? Is it my own tears That I hear softly running? Or are you, beloved, truly walking here, Weeping close beside me? Text by Heinrich Heine, translation © Emily Ezust, from the LiederNet Archive – http://www.lieder.net/ (used by permission) Josephine Lang, arr. by Felix Mendelssohn “Jägerlied” (“Song of the Hunters”), unpublished Briskly, ye hunters, free and fleet! [Take] the musket from the wall! The courageous one fights the world! Briskly upon the enemy! For the German fatherland! From the west, the north, south and east, We are driven by the ray of revenge: From the Oder River, Weser, Main, From the flowing Elbe and from Father Rhine, And from the Danube Valley. Those of you who loved us faithfully, May the Lord be your shield, Should we pay [for victory] with our blood; For freedom is the greatest possession, Even if it requires a thousand lives. Thus, merry hunters, free and fleet, However much your beloved weeps! God will help us in the righteous war! Briskly into battle! – death or victory! Briskly, comrades, upon the enemy! Text by Theodor Körner, translation © Sharon Krebs �Josephine Lang, arr. by Felix Mendelssohn “Trinklied vor der Schlacht” (“Drinking song before battle”), unpublished Battle, you are commencing! Greet them in the joyful circle, Loudly, according to the Germanic custom. Comrades, step forward! The wine is still bubbling; Before the trombones blast forth, Let us reconcile life; Comrades, pour out [the wine]! Do you hear them nearing? Love and joys and sorrows! Death! you cannot separate us. Drink to that, comrades! The battle summons! we’re off! Hark, the trumpets are calling. Forward, to life or to death! Comrades, drink up! Text by Theodor Körner, translation © Sharon Krebs Lili Boulanger, “Hymne au soleil”, WoO Let us bless the power of the reborn sun. With all the universe, let us celebrate its return. Crowned with splendour, it rises, it soars. The waking of the earth is a hymn of love. Seven rushing steeds that the god scarcely holds back Ignite the horizon with their scorching breath. Oh vivid sun, you appear! With its fields in bloom, its mountains, its thick forests, The vast sea set ablaze by your fires, The universe, younger and fresher With morning vapours, [is] glistening with dew. Text by Casimir Delavigne, translation © Korin Kormick from the LiederNet Archive – http://www.lieder.net/ (used by permission) �UPCOMING EVENTS Sunday, February 22, 8:00 p.m. (Admission by donation) VIOLIN CLASS RECITAL Students from the studio of Sharon Stanis. Phillip T. Young Recital Hall Wednesday, February 25, 8:00 p.m. (Admission by donation) PIANO CLASS RECITAL Students from the studio of Eva Solar-Kinderman. Phillip T. Young Recital Hall Thursday, February 26, 8:00 p.m. (Admission by donation) PIANO CLASS RECITAL Students from the studio of Arthur Rowe. Phillip T. Young Recital Hall Friday, February 27, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Featuring School of Music voice students. Phillip T. Young Recital Hall Friday, February 27, 8:00 p.m. ($18 & $14) FACULTY CONCERT SERIES Bruce Vogt, piano Piano virtuoso, Bruce Vogt, performs works by Mozart, Liszt and Schubert. Phillip T. Young Recital Hall Saturday, February 28, 2:30 p.m. (Free admission) THANK-YOU CONCERT Featuring School of Music Scholarship recipients The School of Music says Thank-You to our concert-goers, the community, and supporters with a wonderful afternoon of 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 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/022115-FacultyRecital/022115-WomenComposersConcert_01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/022115-FacultyRecital/022115-WomenComposersConcert_02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/022115-FacultyRecital/022115-WomenComposersConcert_03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/022115-FacultyRecital/022115-WomenComposersConcert_04.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/022115-FacultyRecital/022115-WomenComposersConcert_05.mp3">track5</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/022115-FacultyRecital/022115-WomenComposersConcert_06.mp3">track6</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/022115-FacultyRecital/022115-WomenComposersConcert_07.mp3">track7</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/022115-FacultyRecital/022115-WomenComposersConcert_08.mp3">track8</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/022115-FacultyRecital/022115-WomenComposersConcert_09.mp3">track9</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/022115-FacultyRecital/022115-WomenComposersConcert_10.mp3">track10</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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Title A name given to the resource Faculty Concert Series - 19TH-CENTURY WOMEN COMPOSERS OF SONG A Concert in Celebration of Josephine Lang’s 200th Birthday Creator An entity primarily responsible for making the resource Bryan Lilly Date A point or period of time associated with an event in the lifecycle of the resource February 21, 2015 Contributor An entity responsible for making contributions to the resource Nancy Argenta, soprano; Ingrid Attrot, soprano; Charlotte Hale, soprano; Sharon Krebs, soprano; Anna Shill, soprano; Chelsey Ternes, soprano; Shelley Shen, mezzo-soprano; Kathryn Whitney, mezzo-soprano; Stephen Rodgers, tenor; Sam McNally, Drake Lovett, Collin Lloyd, Justin Malchow, James Waddell, John Millsip, horn; Ian VanGils, Alex White, trumpet Megan White, Eric Showers, Trevor Hoy, trombone; Harald Krebs, piano; Thomas Nicholson, piano; Arthur Rowe, piano; The University of Victoria Chamber Singers, Dr. Garry Froese, Conductor https://finearts.uvic.ca/music/archive/files/original/7bf00281ebda97f2c34f54baa03f8992.pdf c7883cbdb160c3bce62612bf7c6e002d PDF Text Text School of Music University of Victoria School of Music MUS C Faculty of Fine Arts University of Victoria �SCHOOL OF MUSIC • UNIVERSITY OF VICTORIA FACULTY CONCERT SERIES BRUCE VOGT PIANO Friday, February 27, 2015 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $18 / Students, seniors, alumni: $14 �PROGRAM Rondo in A minor, K. 511 (1787) W. A. Mozart (1756–91) Aux Cyprès de la Villa d’Este No. 1: Thrénodie from Années de Pèlerinage,Troisième Année (c. 1877) Variations on a Bach motive: Weinen, Klagen S. 180 (1862) Franz Liszt (1811–86) F. Liszt I NT E R M I S S I O N Beverages and snacks available at the concession located in the lounge. Die Taubenpost (The Courier Pigeon) (poem by Johann Gabriel Seidl, 1804–1875) Franz Schubert (1797–1828) Sonata No. 21 in B flat major, D. 960 (1828) Molto moderato Andante sostenuto Menuetto Rondo F. Schubert �PROGRAM NOTES W. A. Mozart The Rondo in A minor, Kv. 511 was written in 1787 for no known commission. It is certainly one of Mozart’s most original and personal compositions. A powerfully chromatic harmonic language combined with a unique contrapuntal mastery dominate the various statements of the rondo theme as well as the two extensive episodes and the coda. Mozart, along with Chopin, is the greatest master of expressive ornamentation, and the way in which each statement of the main theme is intensified through elaboration is unforgettably poignant. Franz Liszt 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. “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.” But it was not until the enthusiastic endorsement of Bartók and Busoni 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. Liszt spent a good part of each year from 1864 onwards in the Villa d’Este— a 16th-century castle in a park in Tivoli near Rome. It is famous for its ancient cypresses, which became the inspiration for Aux Cyprès de la Villa d’Este (To the Cypresses of the Villa d’Este). This work is the first of two threnodies, 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) Liszt’s Variations on a Motive from Bach’s Cantata “Weinen, Klagen, Sorgen, Zagen” were written in 1862 after the death of Liszt’s eldest child Blandine. Its atmosphere reflects the darkening repetitions of the chromatic falling bass line from Bach’s Cantata No. 12: Weinen, Klagen, Sorgen, Zagen…sind der Christen Tränenbrot (Weeping, plaints, sorrows, fears are the Christian’s lot). These variations might better be termed “Passacaglia” like the first chorus of Bach’s Cantata. In fact, after the introduction, Liszt begins by quoting Bach’s �opening chorus, using it as a point of departure for the expression of unrelentingly grief, rage, despair, dark resignation. The final section of Bach’s Cantata is the chorale Was Gott tut, das is wohlgetan (What God does is for the best). In Liszt’s work, this same chorale comes as a miraculous consolation after a dramatic build-up of almost unbearable chaos. Franz Schubert “Schubert’s tonality is as wonderful as star clusters, and a verbal description of it is as dull as a volume of astronomical tables.” [D. F. Tovey] “The art of Music has here entombed a rich treasure but yet much fairer hopes.” Those are the words inscribed on Schubert’s tombstone. Certainly we can think with regret of the many works that he surely would have created had he been given something of a normal life span, and yet his achievement in his brief span of active composing years is remarkable and needs no disclaimer. Schubert, at the time of his death, was well known only to his circle of friends and even they knew him mostly as a song composer. His achievement as a composer of instrumental music was not at all understood. How could it be, when most of his instrumental works were not yet published? Many of them would not be heard for decades. His nine symphonies (seven complete), fifteen string quartets, many other chamber works, twenty-one piano sonatas (thirteen complete), masses, other choral works and much, much more—these were almost all unknown. When these works were finally being heard and pondered over, they were too often patronized as formally flawed. Even fifty years ago it was not uncommon to hear many of Schubert’s instrumental works characterized as undisciplined. There were a few champions of note. Liszt and Brahms both recognized the greatness of Schubert as an instrumental composer, and in 1894, Antonín Dvořák wrote these words: “[He] is never at fault in his means of expression, while mastery of form came to him spontaneously…Schubert’s musical individuality is unmistakable. . .” The stature of Schubert’s piano sonatas took a particularly long time to be recognized. It was long thought that it was only in shorter works—such as his Impromptus and Moments Musicaux—that his genius for instrumental writing could thrive. His sonatas were typically seen as diffuse and overly repetitive. It was not until the 1920s, especially with the advocacy of the Austrian pianist Artur Schnabel, that some of the sonatas began to be established in the repertoire, and it is only in the last few decades that competent editions of his sonatas have appeared. In his lifetime only three sonatas were published and yet at least ten of the twenty-one sonatas are major works. �The last year of Schubert’s life was marked by growing public acclaim for the composer’s works, but also by the gradual deterioration of his health. On March 26, 1828, a concert of his music in Vienna was a great success. There was also renewed interest in publishing his works. Schubert’s health had been precarious since 1822–23 when he contracted syphilis. In spite of this he led a relatively normal life until September 1828 when his health began to decline more precipitously. A move to his brother Ferdinand’s house, at the advice of his doctor, may have worsened his condition. The poor sanitary conditions in that part of the city may have led to the typhoid fever which took his life on November 19 of that year. Yet, until the very last weeks of his life he composed steadily and in the last few months wrote some of his greatest works including the song cycle Winterreise, the song collection Schwanengesang, the Mass in E flat major, D. 950, the String Quintet in C, D. 956 and the Piano Trio in E flat, D. 929. In September of that year he completed his last three piano sonatas. Certainly Schubert recognized the importance of these last works. One can hear both impatience and a certain pride and confidence in the letter he wrote to a prospective publisher less than seven weeks before his death: October 2nd, 1828 To Schott and Probst: (to Probst) Sir! I have been asking myself when the trio [Piano Trio in E flat, not published in full until 1886] will finally appear? Have you not yet decided the opus number? It is No. 100. I await its appearance with longing. Among other things I have composed three sonatas for pianoforte which I should like to dedicate to Hummel. I have also set several songs by Heine from Hamburg which were extraordinarily well-liked here [the six Heine Lieder subsequently published as part of Schwanengesang] and finally a quintet for two violins, one viola and two violoncellos [String Quintet in C, D. 956, opus 163, which was not published until 1853]. I have played the sonatas in several places to great applause, but the quintet is to be rehearsed shortly. If any of these compositions seem to be suitable for you, please let me know. Respectfully yours Frz. Schubert. It is tempting to hear in the last Sonata in B flat major, D. 950, a kind of valediction, a farewell to life, a profound acceptance of the mystery of death, of oblivion. Yet clearly Schubert did not realize he was so soon to die: while on his sick-bed, he wrote to his friend Schober, asking for more novels of James Fenimore Cooper. This is the equivalent of a modern convalescent requesting more novels of Dan Brown—an unlikely request indeed to be made from one’s death-bed! However Schubert certainly knew that he had not long to live—there was no cure for syphilis at that time. �The three last sonatas were not published in his lifetime. Instead his brother Ferdinand sold the autographs to the publisher Anton Diabelli, who published them in 1839 with a dedication to Robert Schumann, who had been one of the first to recognize the genius of Schubert’s instrumental works. The range of mood in this last sonata is extraordinary. The meditative mood of the first movement sinks into one of despair in the second movement, and thence to lighter celebration in the last two movements. It was a matter of confusion to the later romantics how Schubert could follow music of profound depths and sorrow with joyous, playful music. But this is partly, perhaps, the Viennese spirit—a kind of illustration of the Austrian attitude—that “The situation is desperate, but not serious”. And yet, more profoundly, Schubert did not see the fact of death as tragic. For Schubert, death was a friend, the great consoler. In a letter to his father, written in 1825, he made this clear in teasing reference to one of his brothers: My best greetings to [brother] Ferdinand…I am certain that he has been ill 77 times again, and fancied himself 9 times at least on the point of death—as though dying were the worst evil we mortals had to face. If only he could see these marvellous mountains and lakes, whose aspect threatens to crush us or swallow us up, he would become less enamoured of the tiny span of human life, and would be ready joyfully to give his body to the earth, to be quickened by its incomprehensible forces into new life. It is probable that Die Taubenpost was Schubert’s last song and perhaps his last composition. It was written in October of 1828 shortly before his death and was published in 1829 as the last of a set of fourteen songs which the publisher attempted to pass off as a song cycle called Schwanengesang (Swan Song). Most of the other songs in this collection are intense, in a new style. Die Taubenpost in a sense reverts to a lighter, unpretentious style yet its mastery is undeniable (Fischer-Dieskau calls it “first-class Schubert.”) The poet speaks of a carrier-pigeon in his service who delivers message after message to the beloved. Only at the end of the song do we learn that the carrier pigeon is a symbol of “longing… the messenger of faithfulness.” Bruce Vogt �UPCOMING EVENTS Saturday, February 28, 2:30 p.m. (Free admission) THANK-YOU CONCERT The School of Music says Thank-You to our concert-goers, the community, and supporters with a wonderful afternoon of music. Phillip T. Young Recital Hall Saturday, February 28, 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 Sunday, March 1 (Admission by donation) GUEST MASTERCLASS & CONCERT: Kate Prestia-Schaub, piccolo With Martin Kennedy, piano Flute Masterclass: 3:15–5:30 p.m. | Concert: 5:30–6:30 p.m. Performing music by Antonio Vivaldi, Francois Couperin, Mike Mower, Alessandro Cavicci, Martin Kennedy, and others. Phillip T. Young Recital Hall Wednesday, March 4, 8:00 p.m. (Admission by donation) VIOLIN CLASS RECITAL Students from the studio of Ann Elliott-Goldschmid. Phillip T. Young Recital Hall Thursday, March 5, 4:00 p.m. to 5:30 p.m. (Free admission) GUEST LECTURE: The Speculative Experience of Composing Music Toronto-based composer and School of Music alumna, Linda C. Smith, presents: The Speculative Experience of Composing Music Thursday, March 5, 8:00 p.m. (Admission by donation) SONIC LAB: Current Exchange Rate of Sixpenny-concepts UVic’s contemporary music ensemble performs works by Gerald Barry, Anton Webern and Karlheinz Stockhausen. 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/public/022715-FacultyRecital/022715-Faculty_01.mp3">track1</a> **technical fault, missing start of track 1** <a href="https://finearts.uvic.ca/music/archive/uploads/public/022715-FacultyRecital/022715-Faculty_02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/public/022715-FacultyRecital/022715-Faculty_03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/public/022715-FacultyRecital/022715-Faculty_04.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/public/022715-FacultyRecital/022715-Faculty_05.mp3">track5</a> <a href="https://finearts.uvic.ca/music/archive/uploads/public/022715-FacultyRecital/022715-Faculty_06.mp3">track6</a> encore 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, piano Creator An entity primarily responsible for making the resource Noel Anstey Date A point or period of time associated with an event in the lifecycle of the resource February 27, 2015 Contributor An entity responsible for making contributions to the resource Bruce Vogt, piano; Benjamin Butterfield, tenor https://finearts.uvic.ca/music/archive/files/original/15311139b91a0d6f82c1286a27828b75.pdf 271a954a73505bf8f37c03e6476e2486 PDF Text Text School of Music University of Victoria School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA Faculty Concert Series The Lafayette String Quartet Ann Elliott-Goldschmid, violin Sharon Stanis, violin Joanna Hood, viola Pamela Highbaugh Aloni, cello Saturday, February 7, 2015 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission: $25 �PROGRAM String Quartet in B-flat Major, KV 458 Allegro vivace assai Menuetto : Moderato Adagio Allegro assai W.A. Mozart (1756–1791) Threnody for String Quartet Poco mosso Adagio molto Lento Passionata—Allegro con brio Jean Coulthard (1908–2000) I nt e r m i s s i o n (Beverages and snacks available at the concession located in the lounge) String Quartet in A minor, Op. 132 Assai sostenuto—Allegro Allegro, ma non tanto Molto adagio Alla Marcia, assai vivace Piu allegro—Allegro appassionato Ludwig van Beethoven (1770–1827) �Lafayette String Quartet Described as “Splendid… powerful and riveting in every way” (New York Times), the Lafayette String Quartet, comprised of its four founding members, has established itself among the world’s leading chamber ensembles. Artists-in-Residence at the University of Victoria’s School of Music in British Columbia 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 world. Their annual Health Awareness Forum offers timely insights from top health experts on a wide range of topics. Formed in 1986 in Detroit, Michigan, the Lafayette String Quartet began their teaching and performing careers as the resident quartet at the Center for Creative Studies - Institute of Music and Dance, (Detroit) and Oakland University in Rochester, MI. Early in their career, they garnered major competition prizes, including the Portsmouth International String Quartet Competition, the Cleveland Quartet Competition, and the Grand Prize at the Fischoff National Chamber Music Competition. They embarked on extensive study with chamber musicians of international stature, including the Cleveland Quartet at the Eastman School, members of the Amadeus and Alban Berg Quartets, and long-term coaching from their mentor, the late Rostislav Dubinsky, former Primarius of the Borodin Quartet. The Quartet enjoys an international concert career, performing in the major concert halls of the world including London at Wigmore Hall, Amsterdam at the Concertgebouw, and the Mozarteum in Salzburg. The Lafayette Quartet performs music from all eras of the quartet literature. Celebrating landmark years they have performed the complete Beethoven String Quartets and commissioned and premiered works by major North American composers, among them R. Murray Shafer’s 11th String Quartet, David Jaffe’s Fox Hollow, and Eugene Weigel’s Search. They have recently recorded the piano quintet by Shostakovich and Kelly Marie-Murphy’s quintet Distance and Motion, written for the Lafayette Quartet and pianist Alexander Tselyakov in celebration of the Pender Harbour Chamber Music Festival’s 10th anniversary. Look for the CD release this June during Quartet Fest West ‘15. For their 30th anniversary the Quartet is preparing to perform the complete quartets of Shostakovich. Their recordings on the Dorian label (including the piano quintets by Dvorak, and quartets by Shostakovich, Tchaikovsky, Borodin and Stravinsky), and the AdLar label (featuring the music of Murray Adaskin), have received universal critical acclaim. Their CD “Death and the Maiden” on the CBC label was awarded a Western Canadian Music Award for Outstanding Classical Recording. The members of the Lafayette Quartet have been awarded honorary degrees from University Canada West and UVic’s Craigdarroch Award for Excellence in Research. They are the subject of the book The Four and the One, by David Rounds. ��Upcoming Events Monday, February 16, 4:00 p.m. to 5:30 p.m. (Free admission) Orion Series in Fine Arts presents GUEST LECTURE: DAVID BEHRMAN, COMPOSER (New York) How We Got Here: some notes on six decades of sound art exploration In this informal lecture-demo, Behrman discusses changes in the nature and sensibility of works by him and some of his colleagues as one explosive decade succeeded another and as the 20th Century gave way to the 21st. Rm. A169, MacLaurin Building, A-Wing Monday, February 16, 8:00 p.m. (Admission by donation) PIANO CLASS RECITAL Students from the studio of Michelle Mares. Phillip T. Young Recital Hall Tuesday, February 17, 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, February 20, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Featuring School of Music piano students. Phillip T. Young Recital Hall Saturday, February 21, 8:00 p.m. ($18 & $14) FACULTY CONCERT SERIES 19th-century Women Composers of Song A recital of songs by 19th-century women composers, featuring the UVic Chamber Singers, faculty and alumni of the School of Music, and faculty of the Victoria Conservatory of 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/020715-FacultyRecital/020715-Lafayette_01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/020715-FacultyRecital/020715-Lafayette_02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/020715-FacultyRecital/020715-Lafayette_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 Bryan Lilly Date A point or period of time associated with an event in the lifecycle of the resource February 7, 2015 Contributor An entity responsible for making contributions to the resource Ann Elliott-Goldschmid, violin; Sharon Stanis, violin; Joanna Hood, viola; Pamela Highbaugh Aloni, cello https://finearts.uvic.ca/music/archive/files/original/b95709af7fad7060ec5bda38680b910e.pdf 06d65e3fb8b239a08beb0a5c6594b0f9 PDF Text Text School of Music University of Victoria School of Music MUS C Faculty of Fine Arts University of Victoria �SCHOOL OF MUSIC • UNIVERSITY OF VICTORIA Faculty Concert series Dr. Laurel Parsons presents “Red Cross Nell and Khaki Jim”: The WWI Songs of Gordon V.Thompson With Anna Shill (M.Mus ‘13), soprano and members of Dr. Parsons’s first-year musicianship class: Matthew Connelly Alexander Felton Zachary Power Nicholas Renaud Austin Warren Laurel Parsons, piano Tuesday, February 3, 2015 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation �PROGRAM Music and lyrics by Gordon V. Thompson (1888–1965) unless otherwise noted. Marching Off to War That Old Tipperary Tune Fly the Flag* lyrics by M. Gillmor Davis music by Gordon V. Thompson Imagining the Battlefield Red Cross Nell and Khaki Jim (with Nicholas Renaud as Khaki Jim) Dreaming of Home lyrics by Gordon V. Thompson music by Jules Brazil (?-1955) Remember Nurse Cavell lyrics by Gordon V. Thompson music by Jules Brazil Women and Children Waiting at Home When Your Boy Comes Back to You I Want to Kiss Daddy Good-Night Return of the Veterans You Are Welcome Back at Home Sweet Home* *Please feel free to join in the chorus! �LYRICS THAT OLD TIPPERARY TUNE I’ve a dear Irish boy, He’s my pride and my joy; And I love him as I never loved before, But he left me one day And he marched to the fray While the bands were bravely playing songs of war. Chorus: My boy marched away On a bright summer day To that old “Tipperary” tune And the strains of “The Red, White and Blue;” While the bugle call sounded “To Arms,” And the band played “Rule Britannia” That parting day in June When he marched away to the “Maple Leaf” And that old “Tipperary” tune. Though my eyes filled with tears, As I thought of the years That would pass before I saw his face again, Still I felt mighty proud As I followed the crowd And we sang those good old songs with might and main! [Chorus] FLY THE FLAG (lyrics by M. Gillmor Davis) Oh! proudly they march, yet each soldier knows He may tread in his country no more; Yet bravely they hurry their steps to the field Where the deadly cannon roar. To the time of martial music grand, With its minor chord of pain, They follow their chief to that distant land, Freedom’s rights there to maintain. � Chorus (sing along): Then fly the flag of Britain! Fly the flag of Britain! Wave it in the wind! Flag of truth and honor, Flag of peace and freedom, Best old flag you’ll find! Flag our soldiers die for; Flag our pris’ners sigh for; Silk, or tattered rag, Keep its colors waving, While your home it’s saving, Fly, oh fly the flag! They know that for ages the loyal brave To their colors have always been true. And so one and all of that staunch, noble band As was done they vowed to do. For our British soldiers never stoop With a flag of truce to yield! For freedom and country they fight or die On the far off battlefield! [Chorus] So may God protect them the gallant band Who have enter’d the struggle for right! Be with them on sea and be with them on land When engaged in battle fight! In the distant ages yet unroll’d, Of their deeds in France we’ll sing; And time and again will the tale be told How they fought to serve their King! [Chorus] RED CROSS NELL AND KHAKI JIM A lad in Khaki, a lass in white; He was wounded, she nursed him right: Now he loves her; she wears a ring; And together they sweetly sing: � Chorus: When at last the war is over And the boys march home, You and I will be in clover, Never more to roam From home sweet home but Where the sun is always shining On our cottage trim, There the folks will say, “What sweethearts!” Red Cross Nell and Khaki Jim! Now Nell is lonely; they’re miles apart; Reads a letter that cheers her heart: “Sure I’m homesick—‘tis all that’s wrong; Come and nurse me and sing this song: [Chorus] DREAMING OF HOME We’re fighting for our country and we’re battling for the flag, Struggling in the cause of freedom, steps will never lag; Still there comes a vision shining bright where’er we roam, Of a dear old mother waiting with the folks at home. Chorus Thinking of friends left behind us, Dreaming of girls that we know, Thinking of boys who are missing, Died for the flag we love so. Longing for days when dear mother Greets us again o’er the foam, Mem’ries returning, How our hearts are yearning When dreaming of home. We’re not a bit downhearted, we are far from feeling blue; We are bent on victory and mean to see it through! But when we are singing of the days that used to be, Dreams of my own loving sweetheart often come to me. [Chorus] �REMEMBER NURSE CAVELL We have praised Joan of Arc, the soldier lass of France, How she stirred defeated troops to make a fresh advance, But our British hearts are moved By a tale we long will tell, Of how she faced the foemen’s guns, Our martyred Nurse Cavell! Chorus: Remember how she gladly nursed your pals, boys! Remember how she striv’d to make them well; Don’t forget how patiently she suffered, And remember how she bore the prison cell! Remember how she bravely gave her life, boys; Remember when you’re facing shot and shell, She was made of British stuff – So are you! and that’s enough; The Bull-Dog’s loose! Remember Nurse Cavell. Oh! Our brave heroic girls who nurse our wounded men, Let their praises ring afar, the tale repeat again, Hostile prisons could not break, German threats could never quell, The stalwart heart that knew no fear, Our martyred Nurse Cavell! [Chorus] WHEN YOUR BOY COMES BACK TO YOU Keep the lamp of hope still brightly burning, Till your boy comes back to you; And although your heart may oft be yearning For one whose love is true, Bear in mind the day he’ll be returning; So then, cheer up! don’t be blue! Ev’ry day you’re far apart You grow dearer to his heart, Till your boy comes back to you! � Chorus: When your boy comes back to you, You will keep your promise true; You will watch, you will wait By the old garden gate, Till the regiment appears in view. When your boy comes back to you And the bands are playing too, Won’t your heart be beating fast, Just to welcome him at last? When your boy comes back to you! Don’t forget to heed this word of warning, It will mean so much to you; Though it’s dark tonight the sun at morning Will shine with brighter hue On the boys with glory all adorning; You will share that glory too! Wear a bright and sunny smile, Tho’ you wait a long long while, Till your boy comes back to you! [Chorus] I WANT TO KISS DADDY GOOD-NIGHT I am so very lonely now, Since daddy went away To be a great big soldier man, I long for him each day. But, oh! the time I miss him most Is when to bed I go, For then he’d always play with me, That’s why I miss him so! Chorus: I want to kiss daddy “Good-night!” I want him to tuck me in right! My pray’rs have been said, But I can’t go to bed Till daddy has turn’d out the light! I want to kiss daddy “Good-night;” I want him to hug me up tight; And, oh! how I miss My own daddy’s sweet kiss! I want to kiss daddy “Good-night!” �Last night I had an awful dream, I saw my daddy there, Some naughty men were hurting him, They never seemed to care. But, oh! I’m glad it was not true, For somewhere far away, He wrote my mamma he’ll be back, And when he comes he’ll stay! [Chorus] YOU ARE WELCOME BACK AT HOME SWEET HOME ‘Twas a dark, dark day When you marched away With your gun upon your shoulder And your head held high; But a bright, bright day Bro’t you back our way To your mother, home and sweetheart ‘Neath a sunny sky. Chorus: You are welcome back at home sweet home, Laddie boy who sailed away across the foam, By your sweetheart true and your mother too, And ev’ry pal that wish’d the best of luck to you! You are welcome back at home sweet home And you’ll never have to wander or to roam, You’re the boys who saved the nation, Won our love and admiration! You are welcome back at home sweet home! You have played the game; You have made your name And we never can forget you We’ll look after you. You have fought our fight, We must treat you right; So we’ll try to make you happy – Help you start anew! [Chorus] �BIOGRAPHIES Laurel Parsons, Ph.D. Laurel Parsons is a Canadian music theorist known for her research on the music of Elisabeth Lutyens, one of the pioneers of British serial music, and on the music of female composers. Her groundbreaking four-volume project Analytical Studies of Music by Women Composers, co-edited with Brenda Ravenscroft, will be published by Oxford University Press beginning in 2015. Dr. Parsons is also an award-winning music theory and musicianship instructor with an interest in developing teaching and learning strategies to facilitate music-reading for music students with dyslexia. With Dr. Marion Porath of the UBC Faculty of Education and UBC Opera Director Nancy Hermiston, Dr. Parsons held a SSHRC Insight Grant for their project Libretti of Learning: Portraits of Journeys to Operatic Accomplishment, a qualitative study of opera students with dyslexia and other learning differences. In recent years, circumstance and curiosity have led her into research on music and Canadian history, first through a paper on the links between representations of Inuit poetry in Canadian postwar music and nationalist politics at the University of Tromsø. The research journey Dr. Parsons will present tonight began while she was sorting through old sheet music in her father’s piano bench following his death in 2010. Her father Frederic G. Thompson, Gordon V. Thompson’s middle son, was four days old when the shot that killed Archduke Franz Ferdinand set the world on the path to war. Anna Shill, soprano “[Possessing] a lovely voice, artistry in spades and a delightful stage presence” (Music in Victoria), soprano Anna Shill has been recognized for her work in concert and opera, performing repertoire from Bach to Boechler. Anna is a graduate of the UBC Opera Bachelors of Music Program, completing her Masters at UVic in Voice Performance. She is also an alumni of Opera Nuova. �Her recent oratorio work includes Handel’s Messiah and Haydn’s Creation (Via Choralis), Mozart’s Vesperae solennes de confessore (Victoria Mendelssohn Choir; UVic Chorus and Orchestra), Mendelssohn’s Second Symphony and Gounod’s St. Cecilia Mass (Victoria Summer Choir), and Vivaldi’s Gloria (West Coast Consort). Anna has performed a number of opera roles, including Despina (Così fan tutte), Noémie (Cendrillon), Cis (Albert Herring), Papagena (The Magic Flute) and Second Woman (Dido and Aeneas). She also premiered to great acclaim the principal role of The Young Night in Ithaca, a new opera by Justin Boechler. Coming up, Anna will be performing in a recital with repertoire by Josephine Lang with Dr. Harald Krebs, followed by Schubert’s Shepherd on the Rock and Mendelssohn’s Hear My Prayer with the Victoria Mendelssohn Choir. Acknowledgements Many thanks to my wonderful singers for making this music come alive so beautifully! Kristy Farkas, UVic School of Music Concert & Publicity Manager, was terrifically helpful with arrangements and advertising. Thanks also to Tim Lowan for the loan of the Canadian Red Ensign, the Canadian War Museum, Bernie Spring at Antiquarius Books in Falkland, BC, and Denise Choppin of Turtle Creek Books in Mississauga. �Upcoming Events Wednesday, February 4, 10:30 a.m. to 1:30 p.m. (Free admission) WELLNESS DAY A day for YOU! Release some mid-term stress with an afternoon of puppy cuddles, yoga, and meditation. Talk with campus Food & Health Service experts and find out about fitness programs offered by Vikes Rec at the Resource Fair in the lower lobby. MacLaurin Builidng, B-Wing lobbies and various rooms Wednesday, February 4, 7:00 p.m. (Admission by donation) ANNUAL SOLO BACH COMPETITION Featuring the solo suites and sonatas by J.S. Bach performed by UVic string students. The jury will elect three prizewinners and the audience has the opportunity to vote for the Audience Prize. Phillip T. Young Recital Hall Friday, February 6, 12:00 to 4:00 p.m. (Free admission) WEST COAST STUDENT COMPOSERS SYMPOSIUM An annual meeting of student composers from UBC, SFU, and UVic. Three concerts showcase composers and performers from each institution. Phillip T. Young Recital Hall Friday, February 6, 8:00 p.m. ($15 & $10) UNIVERSITY OF VICTORIA WIND SYMPHONY: One Ring to Rule Them All! Dr. Gerald King, Conductor David P. Gagnon, Graduate Assistant Conductor Johan de Meij – Symphony No. 1: The Lord of the Rings John Estacio – Prairie Ride and Sunset And more! University Centre Farquhar Auditorium Saturday, February 7, 8:00 p.m. ($25) FACULTY CONCERT SERIES: Lafayette String Quartet W. A. Mozart – String Quartet in B-flat major, Kv. 458 Jean Coulthard – String Quartet No. 2: Threnody Ludwig van Beethoven – String Quartet in A minor, Op. 132 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 � 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/public/020315-FacultyRecital/020315-FacultyLecture_01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/public/020315-FacultyRecital/020315-FacultyLecture_02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/public/020315-FacultyRecital/020315-FacultyLecture_03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/public/020315-FacultyRecital/020315-FacultyLecture_04.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/public/020315-FacultyRecital/020315-FacultyLecture_05.mp3">track5</a> <a href="https://finearts.uvic.ca/music/archive/uploads/public/020315-FacultyRecital/020315-FacultyLecture_06.mp3">track6</a> <a href="https://finearts.uvic.ca/music/archive/uploads/public/020315-FacultyRecital/020315-FacultyLecture_07.mp3">track7</a> <a href="https://finearts.uvic.ca/music/archive/uploads/public/020315-FacultyRecital/020315-FacultyLecture_08.mp3">track8</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 Dr. Laurel Parsons presents "Red Cross Nell and Khaki Jim" The WWI songs of Gordon V. Thompson Creator An entity primarily responsible for making the resource Noel Anstey Date A point or period of time associated with an event in the lifecycle of the resource February 3, 2015 Contributor An entity responsible for making contributions to the resource Dr. Laurel Parsons, piano; Anna Shill, soprano https://finearts.uvic.ca/music/archive/files/original/c8cb4e5b009cf2c92d7caedea1d3c008.pdf f5e5271523aeb347dcf6e0dbd0e56993 PDF Text Text School of Music University of Victoria School of Music MUS C Faculty of Fine Arts University of Victoria �SCHOOL OF MUSIC • UNIVERSITY OF VICTORIA FACULTY CONCERT SERIES MICHELLE MARES & MARK ANDERSON PIANOS Saturday, January 24, 2015 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $18 / Students, seniors, alumni: $14 �PROGRAM Bach–Kurtág (transcribed for 2 pianos) Chorale Christum wir sollen loben schon BWV 611 Chorale Ach wie nichtig, ach wie fluchtig BWV 644 Johannes Brahms Variations on a Theme by Joseph Haydn, op. 56b I NT E R M I S S I O N Beverages and snacks available at the concession located in the lounge. Johannes Brahms Sonata for 2 pianos in F minor, op. 34b Allegro non troppo Scherzo: Allegro Finale: Poco sostenuto—Allegro non troppo �BIOGRAPHIES MICHELLE MARES A native of Vancouver, Canada, Michelle Mares began her musical studies at the age of 4. As a student of the Suzuki Piano Method, she amassed a great deal of performing experience from an early age as a child prodigy. At the age of 10, she gave her first full length recital and in the same year, appeared for the first time as a soloist with the Mozarteum Orchestra in Salzburg, Austria. At the age of 12, she was personally invited by the world renowned pedagogue, Karl Heinz Kämmerling to study with him in Germany and worked with him there for a year. From that point on, she routinely won top prizes in competitions including the CBC Young Performer’s Competition (2nd prize in 1987 at the age of 15 and again in 1995 with 1st prize), the Hamburg Steinway Competition (1983), the Montreal Symphony Competition (1986), the S.A.C.E.M. Prize at the Robert Casadesus International Competition (1993) and at the age of 17, top prize at the 1988 Geneva International Competition. She has also been awarded the Canada Council B grant on various occasions. She has attracted the attention of some of the world’s most eminent musicians studying with Canada’s own Jane Coop at UBC and Leon Fleisher at the Peabody Conservatory. She received her performance degree at the Mozarteum Conservatory in Salzburg, Austria in 1995. Subsequently, she moved to London, England to work with Alfred Brendel and was also privileged to come into the orbit of the great Hungarian composer, György Kurtag who had an enormous influence on her as a musician. It was at this point that she decided to settle in Europe. She has lead an active performing career in both Canada and Europe spanning the entire repertoire as a soloist and chamber musician. She has performed with virtually every major orchestra in Canada as a soloist and her performances have been heard regularly on national and international radio broadcast. Some of the orchestras she has appeared with in Europe include Orchestre de la Suisse Romande, Basel Symphony Orchestra, Slovak Philharmonic Orchestra, Polish Chamber Orchestra and the Netherlands Radio Chamber Orchestra. After nearly two decades in Europe, Ms. Mares returned to her native West Coast of Canada in 2008. In 2010, she suffered the serious setback of a broken wrist. She managed to triumph over her injury, and in 2011 she performed the demanding Goldberg Variations and the 12 Chopin Etudes Op.10 to enthralled audiences in Victoria. She is currently settled in Vancouver, BC and is on the piano faculty at the University of Victoria and at the Victoria Conservatory of Music. In her teaching, she draws from a deep reservoir of musical and professional experience. �MARK ANDERSON Having begun piano studies at the age of 5, pianist Mark Anderson, a native of the San Francisco Bay Area, has become one of the world’s outstanding pianists. After winning major prizes at the 1992 IMCJ (Japan), the 1992 Busoni Competition (Italy), the 1993 Leeds (U.K.) and 1994 William Kapell (U.S.) International Piano Competitions, Mark Anderson toured much of the world as recitalist and soloist. He has performed in Japan, throughout the former Soviet Union, Europe and Great Britain, Ireland and North America. He is invited regularly to perform as soloist with orchestras throughout the U.S. and abroad. Closer to home, Mr. Anderson performs with a variety of Bay Area ensembles such as San Francisco Contemporary Music Players and The San Jose Chamber Players. As a duo partner, he has performed with flutist Robert Stallman, the Vertavo Quartet of Norway and the Ives Quartet in residence at Stanford University. Mark began his studies with Eugene Masluk in Livermore, California and received his formative training with Trula Whelan and Aiko Onishi. Having been awarded a Fulbright Scholarship in 1987, Mark finished his formal training at the Royal Northern College of Music in Manchester, England under Ryszard Bakst and concluded his formal studies with Benjamin Kaplan in London. Mark records exclusively with Nimbus Records and has released six commercial CDs to date, all of which have met with considerable critical acclaim. His most recent recording, solo piano music of Hans von Bülow, contains works never before recorded and was released in November 2011. A second disc of von Bülow’s solo piano works will be released shortly, also on the Nimbus label. Mr. Anderson holds a bachelor degree in piano performance from San Jose State University as well as postgraduate degrees from the Royal Northern College of Music in Manchester, and the Royal Academy of Music in London. In June 2001, he was awarded the Master of Arts in Multimedia from California State University Hayward. Mr. Anderson has been visiting guest aritst at the Royal Northern College of Music, San Jose State University, and the San Francisco Conservatory of Music. ��UPCOMING EVENTS Sunday, January 25, 8:00 p.m. (Admission by donation) PIANO CLASS RECITAL: An Evening of Chopin Mazurkas Students from the class of Bruce Vogt perform mazurkas written throughout Chopin’s composing life. Phillip T. Young Recital Hall Tuesday, January 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 Thursday, January 29, 8:00 p.m. ($18 & $14 / Free for UVic Alumni with valid ID) ALUMNI CONCERT SERIES: Emily Carr String Quartet One of BC’s finest music ensembles performs George Crumb’s Black Angels, Warblework by Cassandra Miller (B.Mus ‘05), and music by Osvaldo Golijov, and Dimitri Shostakovich. With Müge Büyükçelen and Cory Balzer (violins), violist Mieka Michaux (B.Mus ’98) and cellist Alasdair Money (M.Mus ’03). Phillip T. Young Recital Hall Friday, January 30, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Featuring School of Music guitar students. Phillip T. Young Recital Hall Friday, January 30, 8:00 p.m. ($15 & $10) UNIVERSITY OF VICTORIA ORCHESTRA: Dancy Academics Keenan Mittag-Degala, marimba (UVic Concerto Competition winner) Ajtony Csaba, Conductor Ludwig van Beethoven – Symphony No. 2 in D Ney Rosauro – Concerto for Marimba and Strings Jean Sibelius – Finlandia Johannes Brahms – Academic Festival Ouverture 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 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/012415-FacultyRecital/012415-FacultyRecital_01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/012415-FacultyRecital/012415-FacultyRecital_02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/012415-FacultyRecital/012415-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 Faculty Concert Series - Michelle Mares & Mark Anderson, pianos Creator An entity primarily responsible for making the resource Kimberlee Graham-Knight Date A point or period of time associated with an event in the lifecycle of the resource January 24, 2015 Contributor An entity responsible for making contributions to the resource Michelle Mares, piano; Mark Anderson, piano https://finearts.uvic.ca/music/archive/files/original/aa314a8ae948114cd9b21e913d23a383.pdf f5a5a1ed574daca9b16e3489033aad33 PDF Text Text School of Music University of Victoria School of Music MUS C Faculty of Fine Arts University of Victoria �SCHOOL OF MUSIC • UNIVERSITY OF VICTORIA FACULTY CONCERT SERIES FAVOURITES FROM A LIFE IN MUSIC A program of music selected by Louis Ranger, in celebration of his 36 years of teaching and performing at the School of Music Saturday, January 10, 2015 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $18 / Students, seniors, alumni: $14 �With Anne Grimm, soprano Benjamin Butterfield, tenor Suzanne Snizek, flute Alexandra Pohran Dawkins, Teigan Cosgrove, oboe Patricia Kostek, clarinet Pierre Cayer, English horn Jennifer Gunter, Nancy van Oort, bassoons Louis Ranger, Matthew MacLean, trumpet Matthew McConchie, Liam Caveney, MeganWhite, Scott MacInnes, trombones Lafayette String Quartet: Ann Elliott-Goldschmid, Sharon Stanis, violins Joanna Hood, viola Pamela Highbaugh-Aloni, cello Arthur Rowe & Bruce Vogt, piano And The University of Victoria Chamber Singers Dr. Garry Froese, Conductor Julia Albano-Crockford Laura Altenmueller Frances Armstrong-Douglas Richard Bailey Joey Cutajar Kimberley Farris-Manning Zander Felton Micha Fortin Cody Froese Laura Giffen Jenna Grossman Crystal-Anne Howell Allison Kingsley Alex Klassen Marlena Kurek Kenji Lee Margaret Lingas Emmanuel Moore Ryan Narciso Natasha Penfield Joshua Poon Zachary Power Sean Quicke Nicholas Renaud Matthew Sabo Kassandra Schantz Shelley Shen Samuel Simons Duncan Slade Emily Stewart Chelsey Terres Rebecca Thackray Austin Warren Kelsey Wheatley Mandy Wiltshire Dawn Yuan Xuguang Zhang �PROGRAM Serenata, Op. 46 (1927) I. Marcia II. Minuetto III. Notturno IV. Gavotta V. Cavatina VI. Finale Alfredo Casella (1883–1947) Sharon Stanis, violin; Pamela Highbaugh-Aloni, cello Patricia Kostek, clarinet; Jennifer Gunter, bassoon Louis Ranger, trumpet In Memorium Dylan Thomas: Dirge-Canons and Song (1954) Prelude Song Postlude Igor Stravinsky (1882–1971) Benjamin Butterfield, tenor Lafayette String Quartet: Ann Elliott-Goldschmid, Sharon Stanis, violins Joanna Hood, viola; Pamela Highbaugh-Aloni, cello Trombone choir: Matthew McConchie, Liam Caveney, MeganWhite, Scott MacInnes Louis Ranger, conductor Intermission Beverages and snacks available at the concession located in the lounge. �The Owl and the Pussy-Cat (1944) Igor Stravinsky Anne Grimm, soprano Bruce Vogt, piano Capricorn Concerto for Flute, Oboe, Samuel Barber Trumpet, and Strings (1944) (1910–1981) (piano reduction by Kurt Frederick) I. Allegro ma non troppo II. Allegretto III. Allegro con brio Suzanne Snizek, flute Alexandra Pohran Dawkins, oboe Louis Ranger, trumpet Arthur Rowe, piano Mass (1944–48) For Mixed Chorus and Double Wind Quintet Igor Stravinsky The University of Victoria Chamber Singers Dr. Garry Froese, Conductor Woodwinds: Alexandra Pohran Dawkins, Teigan Cosgrove, oboes Pierre Cayer, English horn Jennifer Gunter, Nancy van Oort, bassoons Brass: Louis Ranger, Matthew MacLean, trumpets Matthew McConchie, Liam Caveney, Scott MacInnes, trombones �TEXTS & TRANSLATIONS Do Not Go Gentle Into that Good Night Dylan Thomas (1914–1953) Do not go gentle into that good night, Old age should burn and rave at close of day; Rage, rage against the dying of the light. Though wise men at their end know dark is right, Because their words had forked no lightning they Do not go gentle into that good night. Good men, the last wave by, crying how bright Their frail deeds might have danced in a green bay, Rage, rage against the dying of the light. Wild men who caught and sang the sun in flight, And learn, too late, they grieved it on its way, Do not go gentle into that good night. Grave men, near death, who see with blinding sight Blind eyes could blaze like meteors and be gay, Rage, rage against the dying of the light. And you, my father, there on the sad height, Curse, bless, me now with your fierce tears, I pray. Do not go gentle into that good night. Rage, rage against the dying of the light. The Owl and the Pussy-Cat Edward Lear (1812–1888) The Owl and the Pussy-cat went to sea In a beautiful pea-green boat, They took some honey, and plenty of money, Wrapped up in a five-pound note. The Owl looked up to the stars above, And sang to a small guitar, “O lovely Pussy! O Pussy, my love, What a beautiful Pussy you are, You are, You are! What a beautiful Pussy you are!” �Pussy said to the Owl, “You elegant fowl! How charmingly sweet you sing! O let us be married! too long we have tarried: But what shall we do for a ring?” They sailed away, for a year and a day, To the land where the Bong-Tree grows And there in a wood a Piggy-wig stood With a ring at the end of his nose, His nose, His nose, With a ring at the end of his nose. “Dear Pig, are you willing to sell for one shilling Your ring?” Said the Piggy, “I will.” So they took it away, and were married next day By the Turkey who lives on the hill. They dined on mince, and slices of quince, Which they ate with a runcible spoon; And hand in hand, on the edge of the sand, They danced by the light of the moon, The moon, The moon, They danced by the light of the moon. Mass KYRIE Kyrie eleison. Christe eleison. Kyrie eleison. Lord, have mercy. Christ, have mercy. Lord, have mercy. GLORIA Gloria in excelsis Deo. Et in terra pax hominibus bonæ voluntatis. Glory be to God in the highest. And in earth peace to men of good will. Laudamus te; benedicimus te; adoramus te; glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. We praise Thee; we bless Thee; we worship Thee; we glorify Thee. We give thanks to Thee for Thy great glory. Domine Deus, Rex coelestis, Deus Pater omnipotens. Domine Fili unigenite Jesu Christe. Domine Deus, Agnus Dei, Filius Patris. O Lord God, Heavenly King, God the Father Almighty. O Lord Jesus Christ, the only begotten Son. Lord God, Lamb of God, Son of the Father. �Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dextram Patris, O miserere nobis. Thou that takest away the sins of the world, have mercy upon us. Thou that takest away the sins of the world, receive our prayer. Thou that sittest at the right hand of the Father, have mercy upon us. Quoniam tu solus Sanctus, tu solus Dominus, tu solus Altissimus, Jesu Christe. Cum Sancto Spiritu in gloria Dei Patris. For thou only art holy, thou only art the Lord, thou only art the most high, Jesus Christ. Together with the Holy Ghost in the glory of God the Father. Amen. Amen. CREDO Credo in unum Deum; Patrem omnipotentem, factorem coeli et terrae, visibilium omnium et invisibilium. I believe in one God; the Father almighty, maker of heaven and earth, and of all things visible and invisible. Et in unum Dominum Jesum Christum, Filium Dei unigenitum, Et ex Patre natum ante omnia sæcula. Deum de Deo, lumen de lumine, Deum verum de Deo vero, Genitum non factum, consubstantialem Patri: per quem omnia facta sunt. Qui propter nos homines, et propter nostram salutem descendit de coelis. Et incarnatus est de Spiritu Sancto ex Maria Virgine: et homo factus est. And in one Lord Jesus Christ, the only begotten Son of God, begotten of the Father before all worlds; God of God, light of light, true God of true God, begotten not made; being of one substance with the Father, by Whom all things were made. Who for us men and for our salvation descended from heaven; and was incarnate by the Holy Ghost, of the Virgin Mary, and was made man. Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est. Et resurrexit tertia die secundum Scripturas. Et ascendit in coelum: sedet ad dexteram Patris. Et iterum venturus est cum gloria, judicare vivos et mortuos: cujus regni non erit finis. He was crucified also for us, suffered under Pontius Pilate, and was buried. And on the third day He rose again according to the Scriptures: and ascended into heaven. He sitteth at the right hand of the Father; and He shall come again with glory to judge the living and the dead; and His kingdom shall have no end. �Et in Spiritum Sanctum, Dominum, et vivificantem: qui ex Patre Filioque procedit. Qui cum Patre et Filio simul adoratur et conglorificatur: qui locutus est per Prophetas. Et unam sanctam catholicam et apostolicam Ecclesiam. And in the Holy Ghost, the Lord and giver of life, Who prodeedeth from the Father and the Son, Who with the Father and the Son together is worshipped and glorified; as it was told by the Prophets. And one holy catholic and apostolic Church. Confiteor unum baptisma, in remissionem peccatorum. I acknowledge one baptism for the remission of sins. Et expecto resurrectionem mortuorum et vitam venturi sæculi. And I await the resurrection of the dead and the life of the world to come. Amen. Amen. SANCTUS Sanctus, Sanctus, Sanctus, Dominus Deus Holy, Holy, Holy, Lord God of Hosts. Sabaoth. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of Thy glory. Hosanna in excelsis. Hosanna in the highest. Benedictus qui venit Blessed is He that cometh in nomine Domini. in the name of the Lord. Hosanna in excelsis. Hosanna in the highest. AGNUS DEI Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei. Dona nobis pacem. Lamb of God, Who takest away the sins of the world, have mercy upon us. Lamb of God. Grant us peace. �PROGRAM NOTES Contributed by Louis Ranger I was honoured and delighted when faculty colleagues of the UVic School of Music expressed interest in observing my impending retirement with a Faculty Chamber Music Series concert consisting entirely of music of my choosing. Truth be told, a more accurate theme for this concert would be “music that I find interesting and rewarding that does not get performed frequently enough.” However, this seemed a little awkward. These program notes offer facts about the pieces, but I also include a few comments on why this music is particularly significant for me. (Personal reflection in program notes might be thought of as somewhat self-indulgent, but I don’t retire that often…) Alfredo Casella was a highly respected Italian composer, conductor, and pianist during the first half of the 20th Century. He was introduced in North America conducting a concert with the Philadelphia Orchestra, and was the first conductor of the Boston Pops. The Serenata is a lighthearted Neo-classical work, intended to entertain. However, it is well constructed, original, and challenging for the players. An indication of the respect that Casella enjoyed is the fact that this piece tied for first place in a competition organized by the Philadelphia Musical Fund Society. (The prize was $10,000—the largest sum of money that had ever been offered as a prize for a chamber composition.) Incredibly, the prize was split between Casella and Bartók, who had entered his String Quartet No. 3. I became aware of this piece when I had the good fortune to study with brass players of the Boston Symphony in the 1960s. A couple of them were chronologically enhanced enough to remember Casella’s work with the orchestra and spoke highly of his musicianship. One of the reasons I decided to become a musician was the excitement I felt when first hearing the great ballet music from Igor Stravinsky’s Russian Period (ca. 1907-1919). The Firebird, Petroushka, and The Rite of Spring compelled me to cloister myself in the practice room; I had to be able to participate in performances of those pieces one day. Works from his later, Neo-Classical Period (ca. 1920-1954), such as Symphony of Psalms, Orpheus, Concerto for Piano and Wind Instruments, and the Mass heard this evening, were some of the many pieces from this period that were likewise inspirational. With tonight’s presentation of In Memorium Dylan Thomas and The Owl and the Pussy-Cat we hear two examples from his final Serial Period (1954-1968). In Memorium was the first piece in which Stravinsky fully utilized serial techniques of composition that had been pioneered by Arnold Schoenberg. The Owl and the Pussy-Cat was the very last piece he composed. Stravinsky admired the work of Welsh poet Dylan Thomas, one of the towering figures in 20th Century verse. The two had planned to collaborate in the creation of an opera. Stravinsky said that Thomas envisioned a work that would depict “the rediscovery of our planet following an atomic misadventure.” Anticipating a lengthy collaboration, Stravinsky built an extension on his house to accommodate the poet. Tragically, Thomas died suddenly in New York while en route to join the composer in Hollywood. Deeply moved, Stravinsky set “Do Not Go Gentle into that Good Night” for tenor and string quartet, framed by short instrumental dirges with trombones joining the strings. As he had done throughout his career, Stravinsky absorbed compositional techniques developed by others and used them to create music with �character readily identifiable as his own. In Memorium is constructed upon a series of just five tones, rather than on a twelve-tone series, as developed by Schoenberg. When I learned of the existence of this piece I had already long admired not only the work of Stravinsky, but also that of Dylan Thomas; I was fascinated with the piece even before I heard it. The Owl and the Pussy-Cat was a gift to Stravinsky’s wife, Vera, who was very fond of the poem. It was the first English verse she had learned by heart. It might seem ironic that the composer of The Rite of Spring would finish his long, profoundly productive career with setting of a short nonsense poem. However, I have come to hear the piece as a crafty final gift to all. The illogical tale of the fowl and the feline is actually rather mysterious and compelling. Stravinsky’s music seems almost random at first listening, but like the rhyme, it is very tightly structured. It is an absolutely strict twelve-tone work. In his Themes and Conclusions, Stravinsky wrote, “The piano octaves form a syncopated canonic voice as well as a double mirror.” (Analysis, anyone? Who can resist a palindrome? Or for that matter, a dirge?) The music of Samuel Barber is deeply rooted in traditional forms and tonality. It is characteristically lyrical and expressive. He was often criticized as a reactionary, but his angular melodic lines, rhythmic energy, and use of dissonance places him firmly in the 20th Century. His large body of work includes music in nearly every genre. Originally written in 1945 for a solo trio of flute, oboe, and trumpet with strings, the Capricorn Concerto was finally arranged for the solo trio with piano accompaniment by Kurt Frederick in 1997. The piece was named after Barber’s home in Mt. Kisco, New York, which was a haven for artists from many disciplines. The instrumentation is the same as Bach’s Second Brandenburg Concerto, and the homage to Bach is also apparent in the contrapuntal writing and form reminiscent of a Baroque Concerto Grosso. Nonetheless, syncopated rhythms and 20th Century harmonies make clear the composer’s appreciation of American music of his own era. The Stravinsky Mass is one of only a handful of pieces that the composer was not commissioned to write. In 1927, he rejoined the Russian Orthodox Church, acknowledging values of his Russian upbringing. After discovering some Masses of Mozart in a second hand book store in Los Angeles, his interest in writing a Mass grew. He wrote a traditional Catholic Mass because “I wanted my Mass to be used liturgically, an outright impossibility as far as the Russian Orthodox Church was concerned, as Orthodox tradition proscribes musical instruments in its services.” He also said “One composes a march to facilitate marching men, so with my Credo I hope to provide an aid to the text. The Credo is the longest movement. There is much to believe.” In contrast to Masses of Romantic tradition, Stravinsky’s could be perceived as severe. He said that he wanted to write “cold music” that would appeal “directly to the spirit.” In my view, the Mass succeeds in appealing to the spirit directly and powerfully. Every performer in this evening’s concert has a current or former teaching affiliation with the school, or is a current or former student. Without exception, everyone I approached about participating in this concert readily agreed, for which I am most grateful. I also wish to express my thanks to Dr. Susan Lewis Hammond, Director of the School of Music, for her enthusiastic support of this project. �UPCOMING EVENTS Sunday, January 11, 2:30 p.m. ($18 & $14) FACULTY CONCERT SERIES: Eugene Dowling Scholarship Concert Eugene Dowling, tuba With Charlotte Hale, piano, Ann Elliott-Goldschmid, violin, The Pinnacle Brass Quintet, and The Bastion Jazz Band The inaugural scholarship concert with proceeds benefitting the Eugene Dowling Scholarship Fund for Tuba and Euphonium. Performing Tarantella by W.H. Squire and The Spring Suite by Yukiko Isomura. Phillip T. Young Recital Hall Tuesday, January 13, 12:30 to 1:20 p.m. (Free admission) Orion Series in Fine Arts presents: GUEST LECTURE: Compositional Process in John Cage’s Sixteen Dances (1951) DAVID W. BERNSTEIN (Mills College) David W. Bernstein, professor of music and head of the music department at Mills College, sheds new light on the evolving complex interplay between compositional choice and chance in Cage’s music. Rm. A169, MacLaurin Building, A-Wing Wednesday, January 14, 12:30 to 1:20 p.m. (Free admission) LIEDER AT LUNCH An exploration of the German Lied repertoire with Sharon and Harald Krebs. The annual Unterwegs (On the Road) recital. Bring your lunch! Rm. B037, MacLaurin Building, B-Wing Saturday, January 17, 2:30 p.m. (Admission by donation) EMERGING ARTISTS ALUMNI SERIES Trio Dolce: Romantic Intuition Shawn Earle (M.Mus ‘07), clarinet, Laine Longton (B.Mus ‘10), cello, and Clare Yuan (B.Mus ‘06), piano perform Beethoven’s Trio in B-flat major Op. 11, Nino Rota’s Trio for clarinet, cello, and piano, and Trio in A minor, Op. 114 by Johannes Brahms. 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/011015-FacultyRecital/011015-Facultyconcert_Intro.mp3">intro</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011015-FacultyRecital/011015-Facultyconcert_01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011015-FacultyRecital/011015-Facultyconcert_02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011015-FacultyRecital/011015-Facultyconcert_03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011015-FacultyRecital/011015-Facultyconcert_04.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011015-FacultyRecital/011015-Facultyconcert_05.mp3">track5</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011015-FacultyRecital/011015-Facultyconcert_06.mp3">track6</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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Title A name given to the resource Faculty Concert Series - Favourites from a life in music: A program of music selected by Louis Ranger, trumpet 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 January 10, 2015 Contributor An entity responsible for making contributions to the resource Anne Grimm, soprano; Benjamin Butterfield, tenor; Suzanne Snizek, flute; Alexandra Pohran Dawkins, Teigan Cosgrove, oboe; Patricia Kostek, clarinet; Pierre Cayer, English horn; Jennifer Gunter, Nancy van Oort, bassoons; Louis Ranger, Matthew MacLean, trumpet; Matthew McConchie, Liam Caveney, MeganWhite, Scott MacInnes, trombones; Lafayette String Quartet: Ann Elliott-Goldschmid, Sharon Stanis, violins; Joanna Hood, viola; Pamela Highbaugh-Aloni, cello; Arthur Rowe & Bruce Vogt, piano; The University of Victoria Chamber Singers: Dr. Garry Froese, Conductor