9 10 90 https://finearts.uvic.ca/music/archive/files/original/61c90978e96d41e0ed357b02d55094de.pdf 173356924502a9832b2a30d786ddd57c PDF Text Text UNIVERSITY OF VICTORIA Faculty Concert Series The Lafayette String Quartet Ann Elliott-Goldschmid, violin Sharon Stanis, violin Joanna Hood, viola Pamela Highbaugh Aloni, cello With guests: Yariv Aloni, viola & Alexander Tselyakov, piano Saturday, February 1, 2014 at 8:00 p.m. Phillip T. Young Recital Hall MacLa0urin Building, University of Victoria Admission: $25 �PROGRAM Quintet in E flat Major, Opus 97 Antonin Dvorak (1841–1904) Allegro non tanto Allegro vivo Larghetto Finale: Allegro giusto Lafayette String Quartet & Yariv Aloni, viola I nt e r m i s s i o n (Beverages and snacks available at the concession located in the lounge) Piano Quintet in G minor, Opus 57 Prelude: Lento Fugue: Adagio Scherzo: Allegretto Intermezzo: Lento Finale: Allegretto Lafayette String Quartet & Alexander Tselykov, piano Dmitri Shostakovich (1906–1975) �B I O G RA P H I E S The Lafayette String Quartet In July 1986, four young musicians, based in Detroit and just beginning their professional careers, performed together for the first time as the Lafayette String Quartet. As it celebrates its twenty-sixth anniversary this season, the LSQ continues to flourish with its original personnel: violinists Ann Elliott-Goldschmid and Sharon Stanis, violist Joanna Hood, and cellist Pamela Highbaugh Aloni. Such longevity is unprecedented for an all-female quartet—indeed, is rare anywhere in classical music—and is particularly impressive considering that the group’s multifarious activities and international reputation have only expanded with time. The LSQ remained in Detroit for five years, where its members taught at the Center for Creative Studies/Institute of Music and Dance and at nearby Oakland University. Meanwhile, the LSQ itself received coaching from two of the world’s most esteemed quartets—the Amadeus and the Alban Berg—and from the violinist Rostislav Dubinsky, of the legendary Borodin Quartet, who served as the women’s “musical father” until his death in 1997. The LSQ’s extraordinary musicianship was recognized early on. Already in 1988, it was ranked among Musical America’s “Young Artists to Watch,” and shortly after it won top prizes at the Fischoff National Chamber Music Competition and the Portsmouth International String Quartet Competition. As winners of the 1988 Cleveland String Quartet Competition, the LSQ had the opportunity to work closely with the Cleveland Quartet for two years at the Eastman School of Music, in Rochester, New York. In 1991, the four women became artists-in-residence at the University of Victoria’s School of Music, where they have built one of the finest string programs in the country. They hold honorary doctorates from University Canada West and were honored with the inaugural Craigdarroch Award for Excellence in Artistic Expression from the University of Victoria in 2010. The LSQ has made a significant impact on the city of Victoria, through their music, serving as section leaders of the Galiano Ensemble, and outreach activities, including advocating for string education in Victoria’s public schools and administering the annual Lafayette Health Awareness Forum, founded in 2006. The LSQ performs across Canada, the United States, Mexico, and Europe, its concerts often allied with masterclasses. Performing regularly with their esteemed colleagues at the University of Victoria, the quartet has also collaborated with such distinguished colleagues as bassist Gary Karr, clarinetist James Campbell, and pianists including Luba Edlina, Jane Coop, Robert Silverman, and Ronald Turini, as well as with other quartets—the Alcan, New Zealand, Penderecki, and Quarteto Latinoamericano. The four women also maintain separate careers as solo and chamber-music performers, teachers, and adjudicators. �The LSQ carries a large, wide-ranging repertoire, including canonical works but also some offbeat corners of the string-quartet literature, and it has commissioned quartets from (and collaborated closely with) composers including Murray Adaskin, John Burke, Justin Haynes, R. Murray Schafer, and Eugene Weigel. Two upcoming commissions for the LSQ include a new string quartet by David A. Jaffe and a piano quintet by Kelly-Marie Murphy (with pianist Alexander Tselyakov). It has a particular affinity for the quartets of Beethoven, which it has performed as a six-concert cycle in Victoria, Waterloo and Winnipeg. The LSQ has released CDs on the Dorian, Centrediscs, and other labels (including its own). Its discography includes major quartets by Borodin, Debussy, Grieg, Shostakovich, and Tchaikovsky; Dvořák’s piano quintets (with Antonin Kubalek); and four CDs of music by Adaskin, for his AdLar label. Its CBC Records disc Death and the Maiden, featuring music by Schubert, Fanny Mendelssohn-Hensel, and Rebecca Clarke, won the Western Canadian Music Award for Outstanding Classical Recording. It recorded Michael Longton’s Almost Nothing Like Purple Haze for the CD Jimi Hendrix Uncovered. The LSQ is the subject of David Rounds’ book The Four and the One: In Praise of String Quartets, published in 1999. Yariv Aloni Yariv Aloni is acclaimed by critics for his “impeccable technical accomplishments, exquisite phrasing and superb viola playing”, and as having “a huge, singing tone and a rare depth and nobility of feeling”. He was a finalist at the François Shapira competition in Tel-Aviv. His awards included the Israel Broadcasting Authority award for chamber music performance and numerous awards and annual scholarships from the AmericanIsrael Cultural foundation which led to an initiation to play with Isaac Stern and Pinchas Zuckerman at Carnegie Hall in New York. A former violist of the Penderecki string quartet in Canada and the Aviv Piano Quartet in Israel, he has performed in concert halls around the world including Lincoln Centre in New York, the Louvre in Paris, Tonhalle in Zurich, and numerous concert halls in Canada, the United States, and Europe. Mr. Aloni recorded for the United, Marquise, Tritonus, and CBC labels as well as independent CD labels. He appears regularly with the Vetta Ensemble in Vancouver and performs in numerous chamber music festivals and recitals series. Born on A kibbutz in Israel, He turned from violin to the viola when he was in his teens. He studied viola with David Chen at the Rubin Academy of Music in Jerusalem, Daniel Benyamini, principal violist of the Israel Philharmonic, and Michael Tree of the Guarneri Quartet. With an emphasis on chamber music he also studied at the Jerusalem Music Centre with distinguished visiting faculty from around the world including the Isaac Stern, the Amadeus and the Guarneri String Quartets, and many others. Much in demand as a conductor he is currently the music director of three orchestras; the Galiano Ensemble of Victoria, the Victoria Chamber Orchestra and the Greater Victoria Youth Orchestra, and his guest appearances include the Saskatoon Symphony Orchestra, the West Coast Symphony in Vancouver and the Civic Orchestra of Victoria. �Alexander Tselyakov Recognized as one of Canada’s most outstanding musicians, Tselyakov has been described as all “representing the best aspect of Russian pianism and its attributes... effectively synthesized the emotional balance of Arthur Rubenstein and the more highly strung febrile quality of Horowitz” (New York Concert Review). Tselyakov studied with Lev Naumov (custodian of the legendary Heinrich Neuhaus methods that are credited with producing many extraordinary twentieth century Russian keyboard masters such as Gilels and Richter) at the Tchaikovsky Conservatory in Moscow. He has won major prizes at the prestigious International Tchaikovsky Competition in Moscow, the International Music Competition of Japan in Tokyo, the New Orleans International Competition in USA. Tselyakov has distinguished himself as guest soloist with some of the world’s most renowned orchestras such as the St. Petersburg Philharmonic, the Moscow Philharmonic. He has appeared with the Tokyo Philharmonic, the Toronto Symphony Orchestra, the Warsaw National Philharmonic Orchestra, the Orchestra Symphonique de Québec, the Buffalo Philharmonic, the Virginia Symphony, the Istanbul State Symphony Orchestra to name a few. Tselyakov has appeared as a recitalist at major concerts halls around the world such as the Carnegie Hall in New York, Wigmore Hall in London, the Shostakovich Philharmonic Hall in St. Petersburg, the Great Hall of the Moscow State Conservatory, the Regentenbau Hall in Bad Kissingen (Germany), the Concert & Congress Centre de Doelen in Rotterdam (Netherlands) and many others. A busy concert pianist, teacher and chamber musician, Tselyakov collaborates with many leading Canadian and International musicians. His knowledge of the repertoire and exquisite sense of program balance make him a valuable artistic director of two Chamber Music Festivals; at Clear Lake in Manitoba and Pender Harbour in BC. Currently Professor of Piano at Brandon University, Tselyakov relishes the challenges and rewards of working with the next generation of gifted young musicians. �Upcoming Events Monday, February 3, 8:00 p.m. (Admission by donation) VIOLIN CLASS RECITAL Students from the studio of Sharon Stanis. Phillip T. Young Recital Hall Tuesday, February 4, 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 Wednesday, February 5, 6:00 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 Thursday, February 6, 8:00 p.m. (Admission by donation) VIOLIN CLASS RECITAL Students from the studio of Ann Elliott-Goldschmid. Phillip T. Young Recital Hall Friday, February 7, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Featuring School of Music guitar students. Phillip T. Young Recital Hall Friday, February 7, 8:00 p.m. (Admission by donation) PIANO CLASS RECITAL Students from the studio of Michelle Mares. 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. 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Title A name given to the resource Faculty Concert Series - The Lafayette String Quartet 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 February 1, 2014 Contributor An entity responsible for making contributions to the resource Ann Elliott-Goldschmid, violin; Sharon Stanis, violin; Joanna Hood, viola; Pamela Highbaugh Aloni, cello; Yariv Aloni, viola; Alexander Tselyakov, piano https://finearts.uvic.ca/music/archive/files/original/656d696d4839e499a5f77bcf1527f8a5.pdf 9895d8609626898ed59e5baf1de632c8 PDF Text Text UNIVERSITY OF VICTORIA FACULTY CONCERT SERIES Guitar  Works ALEXANDER DUNN, GUITAR WITH STEVEN PRICE, BARITONE SUSAN YOUNG, MEZZO-SOPRANO PATRICIA KOSTEK, CLARINETS JAY SCHREIBER, PERCUSSION ALEX REMPEL, BASS BRIAN DESJARLAIS, STEFAN MAIER, GRAEME CRUICKSHANK, GUITARS Friday, March 15, 2013, 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $17.50 / Students & seniors: $13.50 �P  R  O  G  R  A  M Ghosts (1987 rev. 2013)† Tim Brady (b.1951) The Ghosts of Alhambra (Spanish Songbook I) (2010)† George Crumb (b.1929) Alba (Dawn) Las Seis Cuerdas (The Six Strings) Danza (Dance) Paisaje (Landscape) !Ay! (Ay!) Malagueña (Malagueña) Memento (Memento) I  n  t  e  r  m  i  s  s  i  o  n   (Beverages and snacks available at the concession located in the lounge) Dark Angels (1971)† The Drowning Brothers Dark Angels Dead Fires Poema Mistico* † Canadian premiere * written for Alexander Dunn Peter Maxwell Davies (b.1934) Liova Bueno (b. 1979) �PROGRAM  NOTES Tim Brady: Ghosts Ghosts�GSRXVEWXW�XLI�IEVXL]�WSYRH�SJ�XLI�KYMXEV�UYEVXIX�EKEMRWX�E�¾SEXMRK��HMWIQbodied electronic part which bridges the work’s sections. It begins straightaway with both elements, giving way to an extended solo against a fading electronic spectre. Sustained guitar chords give way to a lively section of overlapping rhythms and then a gentle duo of rippling accompaniment against an expressive melody in octaves. Another extended solo leads to another lively section of overlapping melodic QSXMZIW��KEMRMRK�QSQIRXYQ��SRP]�XS�EFVYTXP]�IRH�[MXL�XLI�½REP�ETTIEVERGI�SJ�E� slowly fading electronic apparition. The composer writes: In 1987 I wrote Ghosts for the English Guitar Quartet. I liked the guitar music, but it had a tape part which I never liked, then I lost the tape, then I forgot about the piece altogether. In 2011 Alexander Dunn contacted me asking about the piece so I thought - “OK, I’ll give it a second chance”. With very minor revisions the guitar parts fell back into place and I was able to create a new, very simple tape part (just a single electric guitar with some electronics), which acts as a musical shadow, or a “ghost”, of the live quartet. Many thanks to Alexander for his tenacity and help in bringing this piece back to life. George Crumb: The Ghosts of Alhambra (Spanish Songbook I) - poems by Federico Garcia Lorca (ca. 1921) The Ghosts of Alhambra is a seven-song cycle on poems of Lorca - a poet that Crumb has continually returned to. Striking images of dawn bells, a guitar entrapping WSYPW��KLSWXP]�HERGMRK�½KYVIW��E�HIWSPEXI�PERHWGETI��(IEXL�JVIUYIRXMRK�XLI�XEZIVR�� ERH�E�[MWXJYP�VI¾IGXMSR�SR�SRI´W�TEWWMRK�EVI�TVSRSYRGIH�MR�'VYQF´W�MRMQMXEFPI�ERH� immediately recognizable voice. Color, rhythm, and musical patterns form the basis of his style that traverses and enhances the stark beauty and darkly layered meanings in Lorca. The interplay of instruments is given as masterly a treatment as the persona of the poet and composer, embodied in the baritone voice, is both intimate and profound. From an interview with the composer: “I have a piano in my studio, and my desk is opposite that; between them, there’s a rotating chair. Sometimes, I’ll compose at the piano, but often I’ll go for three or four days without touching it.” He does not use any compositional software, professing a dislike for sounds meant to imitate real instruments. “I might improvise at the piano to feel my way into a piece, but I suppose everyone does that.” Because he does not use any software or simulaXMSR��E�[SVO´W�TVIQMIV�MW�VIEPP]�XLI�½VWX�GLERGI�LI´PP�LEZI�XS�LIEV�MX��±-�LEZI�ER�MRXYMXMZI� sense of what the piece will sound like as I’m composing it; I hear it in my inner ear, so to speak, but when it’s done, I’m always moving onto the next project, so it’s as if -´Q�LIEVMRK�MX�ERI[�[LIR�MX´W�TIVJSVQIH�²�-R�E�FPSK�[VMXXIR�EJXIV�XLI�½VWX�VILIEVWEP� for Ghosts of Alhambra��'VYQF�[EW�±MR�XMROIVMRK�QSHI���0MXXPI�½\IW�LIVI�ERH�XLIVI�� XVIQSPSW�MR�XLI�½VWX�QSZIQIRX�ZMFVETLSRI�TEVX��E�RI[�TMXGL�WXVYGXYVI�JSV�XLI� bottleneck guitar in #5, etc …” His sketchbooks contain a fair number of what he NSGYPEVP]�GEPPW�±QMW½VIW�²�XS�[LMGL�LI�QE]�SV�QE]�RSX�VIXYVR�EX�WSQI�TSMRX��±8LIVI� have been many miscalculations along the way. I usually know what something should WSYRH�PMOI��EW�-�ORS[�E�PSX�SJ�½RI�MRWXVYQIRXEPMWXW��ERH�XLI]´ZI�WLS[R�QI�RYQIVSYW� new sounds over the years.” �1. Alba ¡Campanas de Córdoba en la madrugada! ¡Campanas de amanecer en Granada! Os sienten todas las muchachas. Las niñas de España de pie menudo y temblorosas faldas, UYI�LER�PPIREHS�HI�PYGIW� � las encrucijadas. ¡Oh, campanas de Córdoba en la madrugada! ¡Y oh, campanas de amanecer en Granada! Dawn Bells of Córdoba In the early hours! Bells of dawn In Granada! They hear you, all the girls Young girls of Spain with tiny feet and trembling skirts [LS�½PPIH�XLI�GVSWWVSEHW with lights. Oh, bells of Córdoba In the early hours! And oh, bells of dawn In Granada! 2. Las Seis Cuerdas La guitarra hace llorar a los sueños. El sollozo de las almas perdidas se escapa por su boca redonda. Y como la tarántula teje una gran estrella para cazar suspiros, UYI�¾SXER�IR�WY�RIKVS��� aljibe de madera. The Six Strings The guitar makes dreams weep. The sobs of lost souls escape through its round mouth. And like the tarantula it weaves a great star to trap the sighs, ¾SEXMRK�MR�MXW�FPEGO wooden cistern. � 3. Danza En la noche del huerto seis gitanas vestidas de blanco bailan. En la noche del huerto, coronadas con rosas de papel y biznagas. Dance In the night of the garden, six gypsy women, dance in white. In the night of the garden, crowned with paper roses and jasmine. En la noche del huerto sus dientes de nácar escriben la sombra quemada. Y en la noche del huerto sus sombras se alargan, y llegan hasta el cielo moradas. In the night of the garden, their teeth – mother-of-pearl – inscribe the burnt darkness. And in the night of the gardens, their shadows grow long and purple as they reach the sky. �4. Paisaje )P�GEQTS�� � � de olivos se abre y se cierra como un abanico. Sobre el olivar hay un cielo hundido y una lluvia oscura de luceros fríos. Tiembla junco y penumbra a la orilla del río. Se riza el aire gris. Los olivos, están cargados de gritos. 9RE�FERHEHE�� � � de pájaros cautivos, que mueven sus larguísimas colas en lo sombrío. Landscape 8LI�½IPH�� of olive trees opens and closes like a fan. Above the olive grove a foundering sky and a dark rain of cold stars. Bullrush and penumbra tremble at the river’s edge. The gray air ripples. The olive trees are laden with cries. %�¾SGO of captive birds, moving their long long tails in the gloom. 5. !Ay! El grito deja en el viento una sombra de ciprés. !Ay! The shout leaves a cypress shadow on the wind. �(INEHQI�IR�IWXI�GEQTS�� � llorando.) Todo se ha roto en el mundo. No queda más que el silencio. �(INEHQI�IR�IWXI�GEQTS�� � llorando.) �0IEZI�QI�MR�XLMW�½IPH� crying.) Everything has broken in the world. Nothing but silence remains. �0IEZI�QI�MR�XLMW�½IPH� crying.) El horizonte sin luz IWXj�QSVHMHS�HI�LSKYIVEW�� � The lightless horizon MW�FMXXIR�F]�FSR½VIW� (Ya os he dicho que me dejéis IR�IWXI�GEQTS�� � � llorando.) (I have already told you XS�PIEZI�QI�MR�XLMW�½IPH�� crying.) 6. Malagueña La muerte entra y sale de la taberna. Malagueña Death goes in and out of the tavern. Pasan caballos negros y gente siniestra por los hondos caminos de la guitarra. Black horses and sinister people pass along the sunken roads of the guitar. �Y hay un olor a sal y a sangre de hembra, en los nardos febriles de la marina. There’s an odor of salt and female blood in the feverish spikenard along the shore. La muerte entra y sale, y sale y entra la muerte de la taberna. Death goes in and out, out and in of the tavern goes death. 7. Memento Cuando yo me muera, enterradme con mi guitarra bajo la arena. Memento Whenever I die, bury me with my guitar beneath the sand. Cuando yo me muera, entre los naranjos y la hierbabuena. Whenever I die, among orange trees and mint. Cuando yo me muera, enterradme si queries en una veleta. Whenever I die, bury me if you wish in a weathervane. ¡Cuando yo me muera! Whenever I die! Peter Maxwell Davies: Dark Angels - poems by George Mackay Brown (from Fisherman with Ploughs, 1971) The composer writes: “The valley where I live, in a remote island off the north coast SJ�7GSXPERH��WMRGI�:MOMRK�XMQIW�E�XLVMZMRK�GVSJXMRK�?JEVQMRK�PERHLSPHMRKA�ERH�½WLMRK� GSQQYRMX]��MW�EPP�RS[�FYX�HIWIVXIH��8LI�MWPERHIVW�KVEHYEPP]�PIJX�XLVSYKL�XLI�½VWX�LEPJ� of this [20th] century, the contrasts between their own hard life and the comparatively easy life of the Scottish cities being too cruel. A few crofts were worked till UYMXI�VIGIRXP]��FYX�XLIVI�[IVI�IZIV�JI[IV�]SYRKIV�TISTPI��ERH�XLI�½REP�FPS[�JSV�XLI� community was the drowning of the last two children – brothers – in the mid-50’s. They made a raft and sailed it on the burn [watercourse] where it widens before joining the sea, far away from all possibility of rescue. Their death was a sign to the inhabitants remaining, who, with the exception of one farmer who is still there, left what they could only see as a doomed place, and the school, shop, crofts, byres, fell into disrepair, open to the birds and sheep. The two poems I have set by George 1EGOE]�&VS[R�GSRGIVR�XLIWI�IZIRXW��XLI�½VWX��³(VS[RMRK�&VSXLIVW´��VIPEXIW�XLI� GMVGYQWXERGI�[LMGL�PIH�XS�XLI�½REP�I\SHYW��ERH�XLI�WIGSRH��³(IEH�*MVIW´��MW�E�PMXER]� SJ�XLI�HIWIVXIH�GVSJXW��8LI�XMXPI�SJ�XLI�KYMXEV�WSPS�WITEVEXMRK�XLI�X[S�WIXXMRKW��³(EVO� Angels’, which I gave to the whole work, refers to the silent brooding hills around the deserted valley. The work is imbued with the sound of the island, where, at one SJ�XLI�HIWIVXIH�GVSJXW�PMWXIH�MR�³(IEH�*MVIW´��XLI�½VI�FYVRW�EKEMR�MR�XLI�LIEVXL��ERH� the ground is once more fertile.” �The Drowning Brothers The boy said (his arm a long white stone) ±8LI�FYVR�MW�E�½WL�MR�E�RIX�SJ�JIRGIW©� The burn is a glancing shuttle”….. A crofter turned a homing rudder. Corn, a prodigal stood in the door of the sun Arrayed in harvest patches. The crofter beached. The ripe hands of the wind Throttled his haddocks. ,I�WLSYXIH�XLI�[SQIR�JVSQ�PSSQ�ERH�½VI� The brother said (his thigh a struck glean) ³8LI�FYVR�MW�E�PEVO�MR�E�GEKI��8LI�WMPZIV�XSRKYI� Yearns on and out….’ The burn thrills between hills and beach all day. Pigeons fretted in the stubble. Women stooped to the sheaves with bronze throats. 8LI�½VWX�FS]�WEMH��LEPJ�QEVFPI�LEPJ�¾IWL ³8LI�XMROIV�FYVR�LYVVMIW�JVSQ�½IPH�XS�½IPH� He begs for small things. Heather to cornstalk to seaweed he burbles gossip. He spreads his pack at every stone, Torrents of sapphire and lace, Among the reeds a swath of green silk….’ An oat, a can, a straw left the slow valley Ikey slouched by the stubble edge &ERMWLIH�XLEX�HE]�[MXL�PEVOW��VEXW��½WLIVQER� The brother said (his throat a sculpted psalm) ³8LI�FYVR�MW�SYV�ERKIP��,I�TVEMWIW�� ,I�½PPW�SYV�TEMPW� ,I�¾EQIW�MR�XLI�JEGI�SJ�XLI�HVMROMRK�FIEWXW� ,I�GEVVMIW�XLI�ZEPPI]�½PXL Out to the seven brightnesses of the bay. He has turned a key. Quick, now, follow the cold one. They will drag us back to their old sweat and dung….’ Those hills, The Ward and Moorfea, brooded upon them, Dark angels. The tractor throbbed with one urgent image, bread. Heavy with images, the statues drowned. �Dead Fires At Burnmouth the door hangs from a broken hinge %RH�XLI�½VI�MW�SYX� The windows of Shore empty sockets And the hearth coldness. At Bunertoon the small drains are choked. Thrushes sing in the chimney Stars shine through roofbeams of Scar. 2S�¾EQI�MW�RIIHIH To warm ghost and nettle and rat. Greenhill is sunk into a new bog. No kneeling women Blows red wind through squares of ancient turf. The Moss is a tumble of stones. That one black stone -W�XLI�SRI�[LIVI�LIEVXL�½VI�[EW�VSSXIH� At Crawnest the sunken hearth Was an altar for priests of legend, Old seamen from the clippers with silken beards. The three-toed pot at the wall of Park Is lost to woman’s cunning. %�WPS[�½VI�SJ�VYWX�IEXW�XLVSYKL�XLI�GSPH�MVSR� The sheep drift through Reumin all winter. Sheep and snow &PERGL�¾IIXMRKP]�XLI�FPEGO�WXSRI� From that sacred stone the children of the valley Drifted lovewards And out of labour to the lettered kirkyard stone. 8LI�½VI�FIEX�PMOI�E�LIEVX�MR�IEGL�LSYWI *VSQ�XLI�½VWX�GSVRIVWXSRI� Till they led through a sagging lintel the last old one. 8LI�TSSV�ERH�XLI�KSSH�½VIW�EVI�EPP�UYIRGLIH� Now cold angel, keep the valley From the bedlam and the cinders of A Black Pentecost. �Liova Bueno: Poema Mistico Poema Mistico is a kind of lyric poem that moves between serene meditation and severe action. Each instrument is given an opportunity to explore its particular quiet ruminations and violent episodes: hushed ostinato rhythms and calm melodies are SJXIR�ERXEKSRM^IH�MRXS�JYV]��SRP]�XS�EFEXI�EKEMR�MRXS�VI¾IGXMSR��&SVR�JVSQ�E�KIVQMREP� musical idea, the single-movement work “explores the facets of mysticism,” explains Bueno, a recent School of Music alumnus. “Calm and meditative moments are interspersed with sections of rhythmic intensity, creating a sound world which alternates between both the gentle and the wild energies of mystical and spiritual discovery and experience.” – Program notes by Alexander Dunn �UPCOMING EVENTS Saturday, March 16, 8:00 p.m. ($15 & $10) UVic Jazz Orchestra Patrick Boyle, director An eclectic evening of standards and originals featuring jazz students from the UVic School of Music. Phillip T. Young Recital Hall Sunday, March 17, 2:30 p.m. (Admission by donation) Cello Class Recital Students from the studio of Pamela Highbaugh Aloni Phillip T. Young Recital Hall Friday, March 22, 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 22, 8:00 p.m. ($14 & $10) Don Wright Symphonic Winds Lord of the Rings Michael Keddy, conductor With guest, The Greater Victoria Concert Band University Centre Farquhar Auditorium Saturday, March 23, 12:30 p.m. (Admission by donation) Tuba & Euphonium Class Recital Students from the studio of Eugene Dowling Phillip T. Young Recital Hall Sunday, March 24, 8:00 p.m. (Admission by donation) Vocal Jazz Spring Showcase Moods of March Wendell Clanton, director Featuring charts by New York Voices, Burton Lane, Eric Clapton, Michelle Weir, Arlen & Capote, Darmon Meader and more! 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 �[[[�½RIEVXW�YZMG�GE�QYWMG�IZIRXW � 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/031513-FacultyRecital/031513-FacultyRecital_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/031513-FacultyRecital/031513-FacultyRecital_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/031513-FacultyRecital/031513-FacultyRecital_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/031513-FacultyRecital/031513-FacultyRecital_04.mp3">track4</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Concert Series <em>- Guitar Works, Alexander Dunn, guitar</em> 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 March 15, 2013 Contributor An entity responsible for making contributions to the resource Alexander Dunn, guitar; Steven Price, baritone; Susan Young, mezzo-soprano; Patricia Kostek, clarinets; Jay Schreiber, percussion; Alex Rempel, Bass; Brian Desjarlais, Stefan Maier, Graeme Cruickshank, guitars https://finearts.uvic.ca/music/archive/files/original/e0801322f1acb6696cbc7d28348746b5.pdf 74f1b273f223be9bc1c223c5d934b83f PDF Text Text P R O G RA M UNIVERSITY OF VICTORIA FACULTY CONCERT SERIES A Mostly Canadian Recital How Beautiful (2009) (Isaiah 52:7; Written in memory of Eli Reuben Brown) Sonata for Tuba and Piano Allegro Adagio Allegro non troppo—Allegro molto Tribute EUGENE DOWLING, tuba With MICHELLE MARES, piano & THE PINNACLE BRASS QUINTET John Ellis and Matthew McCrady, trumpets Dan Moses, horn Scott MacInnes, trombone Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $17.50 / Students & seniors: $13.50 Oskar Morawetz (1917–2007) Elizabeth Raum (b. 1945) (In memory of John Griffiths) Sonata for Tuba and Piano Moderato Expressively Energico David L. McIntyre (b. 1950) Intermission (Beverages and snacks available at the concession located in the lounge) Contrabajeando Music for Brass Quintet (1977) Sunday, January 12, 2014 at 2:30 p.m. Barbara York (b. 1949) Astor Piazzolla (1921–1992) arr. Joe Burgstaller Murray Adaskin (1906–2002) Quintet No. 1 Victor Ewald Moderato—Più mosso (1860–1935) Adagio non troppo lento—Allegro vivace—Adagio Allegro moderato � 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/011214-FacultyRecital/011214-EugeneDowling_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011214-FacultyRecital/011214-EugeneDowling_02.mp3">talk</a> <br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011214-FacultyRecital/011214-EugeneDowling_03.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011214-FacultyRecital/011214-EugeneDowling_04.mp3">talk</a> <br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011214-FacultyRecital/011214-EugeneDowling_05.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011214-FacultyRecital/011214-EugeneDowling_06.mp3">talk</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011214-FacultyRecital/011214-EugeneDowling_07.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011214-FacultyRecital/011214-EugeneDowling_08.mp3">talk</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011214-FacultyRecital/011214-EugeneDowling_09.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011214-FacultyRecital/011214-EugeneDowling_10.mp3">talk</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011214-FacultyRecital/011214-EugeneDowling_11.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011214-FacultyRecital/011214-EugeneDowling_12.mp3">talk<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011214-FacultyRecital/011214-EugeneDowling_13.mp3">track7<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011214-FacultyRecital/011214-EugeneDowling_14.mp3">talk</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 - Eugene Dowling, tuba Creator An entity primarily responsible for making the resource Sondra Moyls Date A point or period of time associated with an event in the lifecycle of the resource January 12, 2014 Contributor An entity responsible for making contributions to the resource Eugene Dowling, tuba; Michelle Mares, piano; The Pinnacle Brass Quintet: John Ellis and Matthew McCrady, trumpets; Dan Moses, horn; Scott MacInnes, trombone https://finearts.uvic.ca/music/archive/files/original/fa466b925940717d189e2f82f46b569e.pdf a3f1e3e13619bdff0f82a1cdabd70526 PDF Text Text UNIVERSITY OF VICTORIA Faculty chamber music series Song of the Earth: A Week with Gustav Mahler The School of Music pays tribute to the celebrated late-Romantic Austrian composer, Gustav Mahler Saturday, January 11, 2014, 8:00 p.m. Pre-concert talk at 7:30 p.m. with Harald Krebs Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $17.50 / Students & seniors: $13.50 �Program Das Lied von der Erde 1. 2. 3. 4. 5. 6. Gustav Mahler (1860–1911) arr. Arnold Schönberg / Rainer Riehn Das Trinklied vom Jammer der Erde Der Einsame im Herbst Von der Jugend Von der Schönheit Der Trunkene im Frühling Der Abschied Suzanne Snizek, flute & piccolo Alexandra Pohran Dawkins, oboe & English horn Patricia Kostek, clarinet & bass clarinet Jenny Gunter, bassoon Alana Despins, horn Michelle Mares, piano Harald Krebs, harmonium & celeste Aaron Mattock & Alexei Paish, percussion Ann Elliott-Goldschmid & Sharon Stanis, violin Joanna Hood, viola Pamela Highbaugh Aloni, cello Alex Olsen, double bass Benjamin Butterfield, tenor Nathaniel Watson, baritone Ajtony Csaba, conductor (Der Abschied) �P r o g ra m N ot e s 1907 was a difficult year for Gustav Mahler. In July, his daughter Maria died of scarlet fever. Soon thereafter, Mahler was diagnosed with a dangerous heart condition. Furthermore, he felt compelled to give up his longstanding directorship of the Vienna Court Opera because, in his own words, “he could no longer endure the rabble.” On the one hand, he was happy to be rid of the tensions that the position brought with it, but on the other, he missed it and became nervous and irritable. Although Mahler’s creative capacities lay fallow during 1907, the events of this year left their mark on his major composition of the following year—Das Lied von der Erde. In October 1907, the poet Hans Bethge published a volume of poems based on works by Li Po and other Chinese poets, entitled The Chinese Flute. It is uncertain when this volume came into Mahler’s hands, but during 1908 he began to draft settings of seven of Bethge’s poems and to forge them into a unique song-symphony composed of six songs or movements (the final song sets two related poems). Mahler prepared versions of the work for voices and piano and for voices and orchestra; the voices were to be alto and tenor in alternation, with the alto potentially replaced by baritone. The version to be performed tonight is an arrangement (begun by Arnold Schoenberg in 1921, and completed in the 1980s by the German composer Rainer Riehn) for chamber ensemble, including piano, harmonium and celeste. Since the scoring of Mahler’s full orchestral version is for the most part delicate and economical, an arrangement for smaller ensemble works exceedingly well. The poems Mahler selected focus on various significant aspects of life, and, not surprisingly, given Mahler’s recent experiences, on death. In the first song, entitled “Drinking Song of the Sorrow of the Earth,” we three times hear the refrain “Dark is life, [dark] is death,” and at the shattering climax we are confronted with the horrifying image of an ape crouched on a grave, howling out into the night. Mahler’s music for this text, however, possesses a triumphant élan that suggests the surmounting of the darkness of death. In the melancholy second song, “The Lonely Man in Autumn,” autumnal images such as mist, frost, wind, and withered leaves are juxtaposed with allusions to fatigue and the need for comfort and love. The third, fourth, and fifth songs, “Of Youth,” “Of Beauty,” and “The Drunkard in Springtime,” are lighter in mood, both poetically and musically. The poem that underlies “Of Youth” refers to a group of friends drinking, chatting, and writing verses; the music is dominated by flowing eighth notes tracing the pentatonic scale. “Of Beauty” relates an encounter between a group of beautiful maidens and a horde of macho horsemen. The maidens’ charms are evoked by gentle, graceful music that again features the pentatonic scale, whereas the brief intrusion of the men is represented by appropriately loud and forceful music of a martial character. The “Drunkard in Springtime” spends his life drinking, �singing, and sleeping, caring nothing for the passing of time. Mahler’s music recaptures the bacchantic energy of the first song without, however, returning to its tragic quality. The sixth and final song, “The Farewell,” is as long as the others put together. The first of the two poems that Mahler selected for this song describes a man waiting for his friend in the beauty of evenfall. In the second poem, the friend has come but, in search of rest for his lonely heart, is about to depart again on a long journey. There is no doubt that this is the journey of death—but here, in contrast to the first song, death is represented in a gentle, transcendent light. The close of Mahler’s music, suffused with ethereal arpeggios from the celeste, creates the effect of looking down at the beauty of the world from an increasing distance as the final journey into eternity begins. Mahler was concerned about the effect of this work on the public; he asked his student Bruno Walter (who was destined to conduct the premiere of Das Lied in 1911, after Mahler’s death) whether listeners wouldn’t go out and commit suicide after hearing it. May our listeners’ reactions after tonight’s performance rather be like those of Schoenberg and Webern after playing through the score (as described in a letter from Webern to Berg): “We could not speak”! Harald Krebs �B i o g ra p h i e s Benjamin Butterfield, tenor Regarded by the Washington Post as a tenor who sings “…with taste, authority and agility…”, Benjamin Butterfield has performed across North America, throughout Europe and in Asia. Recent highlights have included Haydn’s Die Schopfung with the Orchestra of St. Lukes at Carnegie Hall, Mendelssohn’s Elijah at the Kennedy Center and Mozart arias and duets with the American Classical Orchestra at Lincoln Center in New York. Upcoming engagements include Mozart’s Requiem with the Augusta Symphony, Bach’s B minor Mass with the Bach Choir of Bethlehem and touring with pianist Arthur Rowe to the Nasher Sculpture Center in Dallas performing Janacek’s The diary of one who disappeared. Mr. Butterfield has recorded for Analekta, Dorion, CBC, Koch and Timpani. Nathaniel Watson, baritone Baritone Nathaniel Watson is a versatile artist who has performed successfully in a wide variety of musical styles. Originally from Boston, Mr. Watson attended the Eastman School of Music and Yale University. Career highlights have included performing in Der Freischütz with the New York Philharmonic under Sir Colin Davis, Beethoven’s Ninth Symphony under Kurt Masur, and in Carnegie Hall with Sir Roger Norrington. He has appeared with the Boston Early Music Festival, Tanglewood and at the Utrecht Festival in Holland, as well as being featured in the Salzburg Festival production of Weill’s Mahagonny. Recent seasons have included performances of Bach’s Christmas Oratorio with Nicholas McGegan and the Philharmonia Baroque Orchestra; Messiah with the National Symphony at the Kennedy Center; Mahler’s 8th Symphony with Orchestre symphonique de Québec; and Handel’s Semele with Pacific Opera Victoria. He is featured in recordings of the Bach Passions: the St. Matthew with American Bach Soloists (San Francisco), and the St. John with Arion Baroque Orchestra (Montreal). �Upcoming Events Sunday, January 12, 2:30 p.m. ($17.50 & $13.50) Faculty Concert Series: Eugene Dowling, tuba With Michelle Mares, piano and the Pinnacle Brass Quintet A mostly Canadian concert with works by Barbara York, Elizabeth Raum, Oskar Morawetz, David L. MacIntyre, Murray Adaskin, André Previn and Malcolm Arnold. Phillip T. Young Recital Hall Tuesday, January 14, 8:00 p.m. (Admission by donation) VIOLA CLASS RECITAL Students from the studio of Joanna Hood perform works by Bach, Brahms, Doheny, and Prokofiev. Phillip T. Young Recital Hall Wednesday, January 22, 12:30 p.m. (Free admission) LIEDER AT LUNCH: Hollywood Elegies An exploration of the German Lied repertoire with Sharon and Harald Krebs. The Hollywood Elegies of Hanns Eisler and Bertolt Brecht. Bring your lunch! Rm. B037, MacLaurin Building B-Wing Saturday, January 25, 2:30 p.m. (Admission by donation) SAXOPHONE CLASS RECITAL Students from the studio of Wendell Clanton. Phillip T. Young Recital Hall Saturday, January 25, 8:00 p.m. (Admission by donation) VOICE SHOWCASE Students from the studios of Benjamin Butterfield, Susan Young and Anne Grimm. Phillip T. Young Recital Hall Sunday, January 26, 1:00 p.m. (Admission by donation) CLARINET CLASS RECITAL Students from the studio of Patrician Kostek. 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/011114-FacultyChamberMusicSeries/011114-FacultyChamber-0.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011114-FacultyChamberMusicSeries/011114-FacultyChamber-0.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011114-FacultyChamberMusicSeries/011114-FacultyChamber-0.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011114-FacultyChamberMusicSeries/011114-FacultyChamber-0.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011114-FacultyChamberMusicSeries/011114-FacultyChamber-0.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011114-FacultyChamberMusicSeries/011114-FacultyChamber-0.mp3">track6</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Chamber Music Series Creator An entity primarily responsible for making the resource Jamie Bracke Date A point or period of time associated with an event in the lifecycle of the resource January 11, 2014 Contributor An entity responsible for making contributions to the resource Suzanne Snizek, flute &amp; piccolo; Alexandra Pohran Dawkins, oboe &amp; English horn; Patricia Kostek, clarinet &amp; bass clarinet; Jenny Gunter, bassoon; Alana Despins, horn; Michelle Mares, piano; Harald Krebs, harmonium &amp; celeste; Aaron Mattock &amp; Alexei Paish, percussion; Ann Elliott-Goldschmid &amp; Sharon Stanis, violin; Joanna Hood, viola Pamela Highbaugh Aloni, cello Alex Olsen, double bass; Benjamin Butterfield, tenor; Nathaniel Watson, baritone; Ajtony Csaba, conductor (Der Abschied) https://finearts.uvic.ca/music/archive/files/original/b8a6320ed37d018365592229ec43d7cf.pdf b0ec8cab37f153dc6b5f7f4a577206d7 PDF Text Text P R O G RA M UNIVERSITY OF VICTORIA Faculty Concert series Études, Op. 10 Michelle Mares, piano Performing the complete sets of Chopin Études, Opus 10 & 25 Frédéric Chopin (1810 -1849) No. 1 in C major No. 2 in A minor No. 3 in E major No. 4 in C-sharp minor No. 5 in G-flat major No. 6 in E-flat minor No. 7 in C major No. 8 in F major No. 9 in F minor No. 10 in A-flat major No. 11 in E-flat major No. 12 in C minor (Revolutionary) Intermission (Beverages and snacks available at the concession located in the lounge) Études, Op. 25 Monday, November 25, 2013 at 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $17.50 / Students & seniors: $13.50 No. 1 in A-flat major No. 2 in F minor No. 3 in F major No. 4 in A minor No. 5 in E minor No. 6 in G-sharp minor No. 7 in C-sharp minor No. 8 in D-flat major No. 9 in G-flat major No. 10 in B minor No. 11 in A minor No. 12 in C minor �Upcoming Events Wednesday, November 27, 12:30 p.m. (Admission by donation) TROMBONE CLASS RECITAL Students from the studio of Scott MacInnes Phillip T. Young Recital Hall Wednesday, November 27, 8:00 p.m. (Admission by donation) STRING CHAMBER CONCERT Students from the studios of the Lafayette String Quartet Phillip T. Young Recital Hall Friday, November 29, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Featuring School of Music composition students. Phillip T. Young Recital Hall Saturday, November 30, 8:00 p.m. ($17.50 & $13.50) UNIVERSITY OF VICTORIA CHORUS & ORCHESTRA Meeresstille (Calm Sea) Ajtony Csaba, conductor & Susan Young, chorus director Performin Beethoven’s Egmont-Ouverture and Meeresstille und Glückliche Fahrt; Grondahl’s Concerto for Trombone, featuring soloist Liam Caveney, winner of the UVic Concerto Competition; Shostakovich’s Festive Ouverture; Chant du Deportes by Messiaen; and Poulenc’s Gloria. University Centre Farquhar Auditorium Sunday, December 1, 2:30 p.m. ($12 advance / $15 at the door) UNIVERSITY OF VICTORIA PHILOMELA WOMEN’S CHOIR Susan Young, conductor St. Aidan’s United Church (3703 St. Aidan’s) � Monday, December 2, 8:00 p.m. (Admission by donation) UNIVERSITY OF VICTORIA CHAMBER SINGERS Christmas Narratives Garry Froese, conductor 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/112513-FacultyRecital/112513-FacultyRecital_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/112513-FacultyRecital/112513-FacultyRecital_02.mp3">track2</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Recital <em>- Michelle Mares, piano</em> Creator An entity primarily responsible for making the resource Sondra Moyls Date A point or period of time associated with an event in the lifecycle of the resource November 25, 2013 Contributor An entity responsible for making contributions to the resource Michelle Mares, piano https://finearts.uvic.ca/music/archive/files/original/a0c0e73e2ec8a0b113dfb6c98e2992a9.pdf 57db403a59f3fcba3728fb20ee0a8e3a PDF Text Text UNIVERSITY OF VICTORIA Faculty Concert series A BrittenCelebration Music by Benjamin Britten (1913–1976), commemorating the centenary of his birth. Alexander Dunn guitar with Kathyrn Whitney mezzo-soprano Roger Buksa & Anna Cal piano duo Guyonne Le Louarn viola Anne Grimm soprano Robert Holliston piano Paula Kiffner cello Saturday, November 23, 2013, 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $17.50 / Students & seniors: $13.50 �Program Orpheus Britannicus (ca. 1700) Henry Purcell (1659–1695) Fairest Isle arranged by Britten ca.1947 Mad Bess Sweeter than Roses Nocturnal after John Dowland, Op. 70 (1963) Musingly Dreaming Very agitated Restless Uneasy March-like Gently rocking Passacaglia Slow and quiet Introduction and Rondo Burlesca, Op. 23, No.1 (1941) Intermission (Beverages and snacks available at the concession located in the lounge) Lachrymae, reflections on a song of Dowland, Op. 48 (1950) Lento Appassionato Allegretto, andante molto Animato Tranquillo Allegro con moto Largamente Alla valse moderato Allegro marcia Lento L’istesso tempo Songs from the Chinese, Op. 58 (1957) The Big Chariot The Old Lute The Autumn Wind The Herd-Boy Depression Dance Song Sonata for Cello and Piano in C, Op.65 (1961) Dialogo Scherzo - pizzicato Elegia: Marcia
 Moto perpetuo �P r o g ra m N ot e s Benjamin Britten’s centenary (November 22, 1913–2013) is coincidentally conjoined with two of Britain’s greatest composers: Henry Purcell (1659-1695), who died one day 300 years before Britten was born, and the 450th anniversary of Elizabethan master lutenist and composer John Dowland (1563–1626). The works on tonight’s program reflect aspects of Britten persona: the dream world, a fascination with music of the past, and heady instrumental virtuosity. Britten’s instrumental music traverses a wide range of emotion, and his expert vocal writing explores text painting and colors with a unique compositional voice – certainly one of England’s and the early twentieth centuries most important composers. S o n g T e xt s Orpheus Britannicus 1. Fairest Isle John Dryden (1631-1700) Fairest isle, all isles excelling, Seat of pleasure and of love Venus here will choose her dwelling, And forsake her Cyprian grove. Cupid from his fav’rite nation Care and envy will remove; Jealousy, that poisons passion, And despair, that dies for love. Gentle murmurs, sweet complaining, Sighs that blow the fire of love Soft repulses, kind disdaining, Shall be all the pains you prove. Ev’ry swain shall pay his duty, Grateful ev’ry nymph shall prove; And as these excel in beauty, Those shall be renown’d for love. 2. Mad Bess (authorship unknown) From silent shades and the Elysian groves Where sad departed spirits mourn their loves From crystal streams and from that country where Jove crowns the fields with flowers all the year, Poor senseless Bess, cloth’d in her rags and folly, Is come to cure her lovesick melancholy. �“Bright Cynthia kept her revels late While Mab, the Fairy Queen, did dance, And Oberon did sit in state When Mars at Venus ran his lance. In yonder cowslip lies my dear, Entomb’d in liquid gems of dew; Each day I’ll water it with a tear, Its fading blossom to renew. For since my love is dead and all my joys are gone, Poor Bess for his sake A garland will make, My music shall be a groan. I’ll lay me down and die within some hollow tree, The rav’n and cat, The owl and bat Shall warble forth my elegy. Did you not see my love as he pass’d by you? His two flaming eyes, if he comes nigh you, They will scorch up your hearts: Ladies beware ye, Les he should dart a glance that may ensnare ye! Hark! Hark! I hear old Charon bawl, His boat he will no longer stay, And furies lash their whips and call: Come, come away, come, come away. Poor Bess will return to the place whence she came, Since the world is so mad she can hope for no cure. For love’s grown a bubble, a shadow, a name, Which fools do admire and wise men endure. Cold and hungry am I grown. Ambrosia will I feed upon, Drink Nectar still and sing.” Who is content, Does all sorrow prevent? And Bess in her straw, Whilst free from the law, In her thoughts is as great, great as a king. 3. Sweeter than Roses (authorship unknown) Sweeter than roses, or cool evening breeze On a warm flowery shore, was the dear kiss, First trembling made me freeze, Then shot like fire all o’er. What magic has victorious love! For all I touch or see since that dear kiss, I hourly prove, all is love to me. �Songs From the Chinese 1. The Big Chariot (The Book of Songs) Don’t help on the big chariot You will only make yourself dusty Don’t think about the sorrows of the world
 You will only make yourself wretched. Don’t help on the big chariot 
 You won’t be able to see for dust. Don’t think about the sorrows of the world 
 Or you will never escape from your despair. Don’t help on the big chariot You’ll be stifled with dust, be stifled with dust
 Don’t think about the sorrows of the world 
 You will only load yourself with care 2. The Old Lute (Po-Chu-i) Of cord and cassia- wood is the lute compounded Within lie extremely ancient melodies Ancient melodies weak and savourless, Not appealing to present men’s taste Light and colour are faded from its jade stops Dust has covered its rose-red strings Decay and ruin came to it long ago But the sound that is left is still cold and clear I do not refuse to play If you want me to But even if I play people will not listen How did it come to be neglected so? Because of the Ch’iang flute and the zithern of Ch’in 3. The Autumn Wind (Wu-ti) Autumn wind rises White clouds fly Grass and trees wither; Geese go south... Orchids all in bloom, Chrysanthemums smell sweet… I think of my lovely lady I never can forget Floating pagoda boat Crosses Fen River Across the midstream White waves rise �Flute and drum keep time To sound of rowers’ song Amidst revel and feasting Sad thoughts come Youth’s years how few, Age, how sure! Age, how sure, Age, how… sure! 4. The Herd-Boy (Lu Yu) In the southern village, the boy who minds the ox, With his naked feet stands on the ox’s back Through the hole in his coat The river wind blows Through his broken hat The mountain rain pours On the long dyke He seemed to be far away, In the narrow lane Suddenly we were face to face The boy is home And the ox is back in its stall, And a dark smoke oozes Through the thatched roof 5. Depression (Po Chu-i) Turned to jade Are the boy’s rosy cheeks To his sick temples The frost of winter clings 
 Do not wonder That my body sinks to decay
 Though my limbs are old, My heart is older, Older, yet 6. Dance Song (The Book of Songs) The unicorn’s hoofs! The duke’s sons throng Alas for the unicorn! The unicorn’s brow! The duke’s kingsmen throng Alas for the unicorn! The unicorn’s horn! The duke’s clansmen throng Alas for the unicorn! Alas! �Britten’s realizations of the accompaniment for Orpheus Britannicus (1698-1702) of Purcell make the collection available for different voice ranges with piano accompaniment, as well as function as a vehicle for Britten to apply coloristic and word painting ideas to Purcell’s fine songs. One of Britten’s lesser-known works, Songs From the Chinese (1957) is nevertheless an outstanding addition to the repertory of songs for voice and guitar. It seems to reflect changes in Britten’s life, especially his realization that, at nearly 45, he had become middleaged. He and tenor Peter Pears had traveled around the world recently, especially enjoying various East Asian cultures. Britten had not written any music involving tenor solo since 1954, and his next big stage work for the Aldeburgh Festival, Noye’s Fludde, would be the only Britten opera without a tenor part. Pears had recently begun a recital partnership with a brilliant young guitarist, Julian Bream. Thus, it was natural for Britten to choose the guitar to accompany the tenor. Pears and Bream premiered Songs From the Chinese at the 1958 Aldeburgh Festival. The song cycle is comprised of six songs with texts from Arthur Waley’s translations of classic verses published in 1946, under the title Chinese Poems. The writing is remarkably condensed and terse, with the spareness of the texture of the guitar writing seeming to reflect something of the spirit of Chinese lute or koto aesthetic. Nevertheless, there are no overt orientalisms in the music. The songs all can be interpreted as reflecting aspects of Britten’s own life, as if he were using them to ponder his middle age. “The Big Chariot,” the first song, is metaphor for acquisition of fame, which will “only make yourself dusty.” It also admonishes the listener not to take on the sorrows of the world, but at the end Britten repeats that line, reminding the listener that he could never manage to do that. The second song, “The Old Lute,” reflects on the fickle changing of public taste; the lute has been superceded by flute and zithern. “The Autumn Wind” is an obvious image of encroaching age. Then the music turns lilting for “The HerdBoy.” The tenderness of the setting reflects Britten’s feelings, which are especially awakened by the fact that the boy is exploited, ill-clothed, and unshod, living in poverty. “Depression” features spooky glissandi on the guitar as the words ponder the body’s decay. The deceptively named “Dance Song” is about a hunt for a unicorn by the retainers of a duke. Britten seems reminded that a unicorn traditionally represents chastity. The capture of the unicorn causes Britten to dwell on the word “Alas!” ending the work with his recurrent theme of destruction of innocence. [Joseph Stevenson] In 1949, while Britten was on tour in the United States, he met the outstanding viola virtuoso William Primrose, who agreed to come to the 1950 edition of Britten’s own Aldeburgh Festival, which, after two successful editions in 1948 and 1949, was already established as one of England’s major summer musical events. As the Festival approached, he composed the Lachrymae - a major set of variations on a theme by late Renaissance English composer John Dowland for Primrose, “to reward him for coming to the Festival.” Primrose played it in the 1950 Festival in a recital in which Britten himself accompanied at the keyboard. Dowland (1563 - 1626) was one of the great composers of lute songs. Although contemporary accounts show that socially he was engaging and positive in mood and outlook, his music is known for its sadness, particularly for sadness at rejection or inconstancy by a lovely lady. Perhaps joking at his own image, he punned on his name by writing “Semper Dowland, Semper Dolens” (Always Dowland, Always Sorrowful”). Britten’s title for this composition reflects the general classical listening audience’s image of Dowland by its title, which means “Tears.” Among musicians, however, Dowland has been particularly admired for his subtle command of harmony. It is this aspect of the work with which Britten primarily concerns himself in constructing this set of ten variations. The work begins to quote the song “If my complaints could passion move” in a mood-setting slow introduction, with Dowland’s melody in the low part of the accompaniment. However, Dowland’s original theme breaks off at the end of its first part, as the harmonies of the song begin to generate Britten’s variations. Fragments of the melody are also heard, though Britten’s concern with the harmonies leads him to recreate something like Dowland’s sensitivity to harmonic progression and devices in twentiethcentury terms. �The first five variations are marked Allegretto, andante molto; Animato; Tranquillo; Allegro con moto; and Largamente. Britten’s variations throughout the piece tend to be concise: only the opening and closing sections of the composition and the Animato and Tranquillo movements are more than a minute long. In the sixth variation, marked Appassionato, Britten quotes another well-known Dowland song, “Flow my Tears.” Then he continues working with the opening strain of the main Dowland song, in variations marked Alla valse moderato; Allegro Marcia; and Lento. For the final variation, Britten remains in Lento tempo and, in an expansive ending, quotes the entire Dowland song from beginning to end, for the first time in this composition, with Dowland’s original harmonies, although spaced differently for piano and viola. The text of Dowland’s ‘If My Complaints’: If my complaints could passions move,
 Or make Love see wherein I suffer wrong:
 My passions were enough to prove,
 That my despairs had governed me too long.
 O Love, I live and die in thee,
 Thy grief in my deep sighs still speaks:
 Thy wounds do freshly bleed in me,
 My heart for thy unkindness breaks:
 Yet thou dost hope when I despair,
 And when I hope, thou mak’st me hope in vain.
 Thou say’s thou canst my harms repair,
 Yet for redress, thou let’st me still complain. No. 4, Firste Booke of Songes, 1597 Britten wrote the Nocturnal, after John Dowland for guitarist Julian Bream, who had received high praise for his collaborations with tenor Peter Pears in the songs of John Dowland. The Nocturnal consists of nine movements, with a theme taken from Dowland’s song, Come heavy sleep, presented in the opening panel, titled “Musingly,” followed by eight variants. The first movement is dreamy and ethereal, having that typically Britten-esque fantasy-like character. The two succeeding panels, titled “Very agitated” and “Restless,” respectively, are lively and tense, with the latter less energetic, less driven, but more ominous and threatening. The fourth movement, “Uneasy,” maintains the nervous, dark mood with ponderous music that lurches ahead at times and stalls at others. The middle panel, “March-like,” despite its title, also brims with tension, but Britten adds a touch of humor in the quirky pacing and oafish character of the melodic material. Dreaming ensues, for once seeming to offer a break from the agitated manner of the previous variants. But it, too, gradually divulges a restless spirit, despite its slow pacing and ethereal character. The seventh movement, “Gently rocking,” brims with energy in descending repeating notes that seem nervously in search of something. The ensuing Passacaglia, at nearly five minutes, is the longest movement. It is also, not surprisingly, the most multifaceted, but again the sense of restiveness dominates. The closing panel, “Slow and quiet,” continues without pause and at last presents a serene and tranquil mood. Here the spirit of Dowland is most evident in the simpler writing and songful character of the music. The variations, presented in reverse order, range through a series of dream states before the tortured Passacaglia, finally quoting the Dowland song - an invitation to the dream world. The first quatrain of Dowland’s song: Come, heavy sleep, the image of true death; And close up these my weary weeping eyes: Whose spring of tears doth stop my vital breath, And tears my heart with sorrow’s sigh-swoll’n cries: Come and possess my tired thoughtworn soul That living dies, till thou on me be stole. No. 20, Firste Booke of Songes, 1597 �Upcoming Events Sunday, November 24, 1:00 p.m. (Admission by donation) PIANO CLASS RECITAL Students from the studio of May Ling Kwok Phillip T. Young Recital Hall Sunday, November 24, 8:00 p.m. (Admission by donation) VOCAL JAZZ FALL SHOWCASE Fall Back Wendell Clanton, director In early November clocks “fall back.” The time shift can catch us slightly off guard. Join for an evening of switch hits that might cause the audience to fall forward out of sheer joy. Phillip T. Young Recital Hall Sunday, November 24, 2:30 p.m. ($30) Jewish Arts 2013 presents Grand Finale celebration of Congregation Emanu-El’s 150th anniversary Lafayette String Quartet With Arthur Rowe, piano & Benjamin Butterfield, tenor Performing works by Britten, Vaughan Williams, Schubert and others. For tickets: phone 250-382-0615 or email info@congregationemanu-el.ca. Visit lafayettestringquartet.ca for more details. Congregation Emanu-El Synagogue (1461 Blanshard Street, corner of Pandora and Blanshard) Monday, November 25, 8:00 p.m. ($17.50 & $13.50) FACULTY CONCERT SERIES Michelle Mares, piano Performing the complete sets of Chopin Études Op.10 and Op. 25 Phillip T. Young Recital Hall Wednesday, November 27, 12:30 p.m. (Admission by donation) TROMBONE CLASS RECITAL Students from the studio of Scott MacInnes 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/112313-FacultyRecital/112313-BrittenFacultyConcert-01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/112313-FacultyRecital/112313-BrittenFacultyConcert-02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/112313-FacultyRecital/112313-BrittenFacultyConcert-03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/112313-FacultyRecital/112313-BrittenFacultyConcert-04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/112313-FacultyRecital/112313-BrittenFacultyConcert-05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/112313-FacultyRecital/112313-BrittenFacultyConcert-06.mp3">track6</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Recital - A Britten Celebration 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 November 23, 2013 Contributor An entity responsible for making contributions to the resource Alexander Dunn, guitar; Kathyrn Whitney, mezzo-soprano; Roger Buksa &amp; Anna Cal, piano; Guyonne le Louarn, viola; Anne Grimm, soprano; Robert Holliston, piano; Paula Kiffner, cello https://finearts.uvic.ca/music/archive/files/original/6a32f91f17ea0695349d05436d17a021.pdf 77c3cba9b60eba1db2e069c400f2726c PDF Text Text UNIVERSITY OF VICTORIA Faculty Concert series GuitarWorks The Music of David A. Jaffe GuitarWorks Players: Alexander Dunn guitar David A. Jaffe mandolin, 5-string banjo, electronics Alexei Paish conductor Susan Young soprano Guyonne Le Louarn viola Alex Jang mandolin Douglas Hensley guitar Josh Herrett harpsichord UVic Guitars Brian Desjarlais, Michael Chambers, Natasha Pashchenko, Graeme Cruickshank, Nolan Krell, Jordan Charette, Byron McIntosh, Joshua Amendt-Moylan Saturday, November 9, 2013, 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $17.50 / Students & seniors: $13.50 �PROGRAM City Life for 5-string banjo, mandolin, guitar, & harpsichord A Little Kid Sees a Skyscraper for two guitars tuned a quarter-tone apart Grass Valley Fire, 1988 for two mandolins & two guitars Intermission (Beverages and snacks available at the concession located in the lounge) Three Musicians for viola and guitar Fanfare for the First Musician Philadelphia Version (with Dog) Fanfare for the Second Musician New York Version (without Dog) Fanfare for the Third Musician and Dog May All Your Children Be Acrobats for soprano, electronics, & eight guitars �Program Notes David Jaffe’s music is at once familiar and erudite, drawing on recognizable folk, jazz and popular idioms, filtered through a prism of modernism. From direct quote to multi-layering, these styles are blended or compounded into a global language where recognition and obscurity form a dual basis for Jaffe’s musical persona. Sometimes the comfort of a known style will be affirmed, only to give way to different ideas sounding simultaneously. Other times, discordant clusters will be pronounced with the same rhythmic gestures. In dense textures, snippets from a folk or jazz idiom will be buried underneath or within, creating a kind of cultural clutter or musical Tower of Babel. Furthermore, a sense of wryness provides a sheen over starkness. Jaffe often juxtaposes antiquity with modernity - with a unique ability to write well for instruments combined with a sense of larger structures – manifests itself in a music both engaging and demanding. - Alexander Dunn City Life is based on the idioms of the five-string banjo. The piece expresses something of the frenetic pace of modern life. While the banjo is the protagonist, harpsichord, mandolin and guitar provide supporting texture and color in this unorthodox quartet. A Little Kid Sees a Skyscraper is based on daring and death-defying expeditions on the island of Manhattan taken by the composer and his father long ago. It is scored for two guitars, one tuned a quarter-tone below the other. Between the two, all twenty-four tones of the quarter-tone scale are available, opening a fresh, rich harmonic domain. The first and third movements explore quarter-tone harmony, while the second is primarily polyphonic. Three Musicians (after the Picasso paintings) was inspired by the two paintings by that name, one hanging in the Museum of Modern Art in New York and the other in the Philadelphia Museum of Art. One of these paintings includes a dog. The piece is in five movements, each incorporating elements of a particular style of American folk music, although these styles are often abstracted to a bizarre extent. The styles are: old-time fiddle style, blues, bluegrass style, jazz and country music style. Grass Valley Fire, 1988 for mandolin quartet commemorates the 1988 fire that burned 49 square miles around Grass Valley, California, including the home of the composer’s sister. The piece’s three continuous sections loosely follow the progress of the fire---the opening suggests the pastoral quality of the grasslands before the fire, the middle evokes the fire as it takes hold in earnest and the conclusion is a stark desolate reworking of the opening, depicting the charred remains the fire left behind. The fire itself is represented as an intensity of rhythm, derived from the composer’s experience playing Afro-Cuban charranga music on the violin. This piece, written for the Modern Mandolin Quartet, was the first original piece in their repertoire that was designed expressly for their instrumentation. The Quartet gave the premier performance in 1989 at Merkin Concert Hall in New York and have toured the work extensively. The work also exists in a version for string quartet, which was premiered in Buenos Aires by the Quartet of Argentina in 1991. For this program, a new version for two mandolins and two guitars was prepared by the composer and Alexander Dunn. �May All Your Children Be Acrobats for mezzo-soprano, eight guitars and computergenerated sound is a celebration of folk wisdom, as well as folly. It is based on a text excerpted from ‘The People, Yes” by Carl Sandburg and consists entirely of proverbs, sayings and anecdotes from the rich and varied backgrounds of immigrants, natives, fools and others. Complementing this text is a heterogeneous music that draws on such styles as bluegrass, Irish, Jewish and African-American music, as well as American popular and European classical styles. The computer part was created at Stanford University Center for Computer Research in Music and Acoustics. It is entirely synthesized, yet often resembles voices and plucked strings, using techniques pioneered by the composer and others at Stanford University. The People,Yes by Carl Sandburg (1878-1967) Excerpted and assembled by David A. Jaffe I. The People, YES! They have their proverbs, old and new. II. We’ll see what we’ll see. Time is a great teacher. Today me and tomorrow maybe you. Even if your stomach be strong, eat as few cockroaches as possible. III. What is bred in the bone will tell. Between the inbreeds and the crossroads the argument goes on. You can breed them up as easy as you can down. “I don’t know who my ancestors were”, said a mongrel, “but we’ve been descending for a long time.” “My ancestors”, said the Cherokee-blooded Oklahoman, “didn’t come over on the Mayflower but were there to meet the boat!” “Why,” said the Denver Irish policeman as he arrested a Pawnee Indian I.W.W. soap-boxer, “why don’t you go back to where you came from?!” IV. Wedlock is padlock. We all belong to one big family and have the same smell. A wife is not a guitar you hang on the wall after playing it. Take a good look at the mother before getting tied with the daughter. Let a mother be ever so bad she wishes her daughter to be good. The man hardly ever marries the woman he jokes about: she often marries the man she laughs at. Keep your eyes open before marriage, half-shut afterwards. �V. Blue eyes say love me or I’ll die. Black eyes say love me or I’ll kill you. Wash a dog, comb a dog, still a dog. VI. You don’t know enough to come in when it rains. You don’t know beans when the bag is open. You don’t know enough to pound sound into a rat hole. The white man drew a small circle in the sand And told the red man, “This is what the Indian knows,” and drawing a big circle around the small one, “This is what the white man knows.” The Indian took the stick and swept an immense circle around both circles: “This is where the white man and the red man know nothing.” All I know is what I hear. All I know is what I read in the papers. All I know you can put in a thimble. All I know I keep forgetting. VII. We have to eat, don’t’ we? You can eat promises, can you? You can’t eat the Constitution, can you? I can eat crow, but I don’t hanker after it. VIII. Out of the roots of the earth, Out of dirt, barns, workshops, timetables, Out of lumberjack payday jamborees, Out of joybells and headaches the day after, Out of births, weddings, accidents, Out of wars, laws promises, betrayals, Out of mists of the lost and anonymous, Out of plain living, early rising and spare belongings: YES! They… An expert is only a damn fool a long way from home. You’re either a thoroughbred, a scrub, or an in-between. Speed is born with the foal-sometimes. �They have … Always some dark horse never heard of before is coming under the wire a winner. A thoroughbred always wins against a scrub, even though you never know for sure: even thoroughbreds have their off days: new blood tells: the worn out thorough breds lose to the fast young scrubs. They have their … The big fish eat the little fish, the little fish eat shrimps and the shrimps eat mud. proverbs old and new! IX. The best preacher is the heart. The best teacher is the time. The best book is the world. The best friend is… [God]. GuitarWorks issues 1000 huge thank-you’s to the amazing talent of the musicians who gave of their time and energy to realize this project. I love you Man. �Upcoming Events Friday, November 15, 8:00 p.m. (Admission by donation) GUITAR CLASS RECITAL Students from the studio of Dr. Alexander Dunn Phillip T. Young Recital Hall Saturday, November 16, 8:00 p.m. (Admission by donation) SONIC LAB: Vertical Concert Ajtony Csaba, conductor UVic’s new music ensemble performs Pierluigi Billone’s Verticale Muto, Dérive I by Pierre Boulez and Elliott Carter’s A Mirror on Which to Dwell. Phillip T. Young Recital Hall Wednesday, November 20, 7:00 p.m. (Admission by donation) FLUTE CLASS RECITAL Students from the studio of Suzanne Snizek Phillip T. Young Recital Hall Friday, November 22, 8:00 p.m. ($14 & $12) UNIVERSITY OF VICTORIA WIND SYMPHONY In Remembrance Eugene Dowling, conductor Performing music of war and music of remembrance, include works by John Williams, Daniel Bukvich, Sir Edward Elgar, Elliot del Borgo and Stephen Bulla. University Centre Farquhar Auditorium Saturday, November 23, 8:00 p.m. ($17.50 & $13.50) FACULTY CONCERT SERIES: A Britten Celebration Alexander Dunn (guitar) and guests Solo, ensemble and vocal works of the eminent British composer, Benjamin Britten, commemorating the centenary of his birth. 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/110913-FacultyRecital/110913-FacultyRecital-01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/110913-FacultyRecital/110913-FacultyRecital-02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/110913-FacultyRecital/110913-FacultyRecital-03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/110913-FacultyRecital/110913-FacultyRecital-04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110913-FacultyRecital/110913-FacultyRecital-05.mp3">track5</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Concert Series - <em>Guitar Works, The Music of David A. Jaffe</em> Creator An entity primarily responsible for making the resource Jamie Bracke Date A point or period of time associated with an event in the lifecycle of the resource November 9, 2013 Contributor An entity responsible for making contributions to the resource Alexander Dunn, guitar; David A. Jaffe, mandolin, 5-string banjo, electronics; Alexei Paish, conductor; Susan Young, soprano; Guyonne le Louarn, viola; Alex Jang, mandolin; Douglas Hensley, Guitar; Josh Herrett, harpsichord; UVic Guitars: Brian Desjarlais, Michael Chambers, Natasha Pashchenko, Graeme Cruickshank, Nolan Krell, Jordan Charette, Byron McIntosh, Joshua Amendt-Moylan https://finearts.uvic.ca/music/archive/files/original/554f2de89593a4b246095381cbc97a5b.pdf 3f28d002a22866a5a05cb4f3eb24d167 PDF Text Text UNIVERSITY OF VICTORIA Faculty Chamber music series [Mostly] Off the Beaten Path Featuring School of Music Performance Faculty: Suzanne Snizek, flute Patricia Kostek, clarinet Wendell Clanton, alto saxophone Louis Ranger, trumpet Ann Elliott-Goldschmid, violin Joanna Hood, viola Pamela Highbaugh Aloni, cello Ajtony Csaba, piano Michelle Mares, piano Arthur Rowe, piano Saturday, October 19, 2013 at 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $17.50 / Students & seniors: $13.50 PROGRAM Trio Serenade, for Flute,Violin and Cello, Op. 88 Hans Gál Allegro moderato (1890-1987) Andante - Allegretto Intermezzo scherzoso Rondo - Allegretto piacevole Suzanne Snizek, flute Ann Elliott-Goldschmid, violin Pamela Highbaugh Aloni, cello Quiet City (1940), chamber version Concert adaptation by Christopher Brellochs Patricia Kostek, clarinet Wendell Clanton, alto saxophone Louis Ranger, trumpet Arthur Rowe, piano Aaron Copland (1900-1990) Intermission (Beverages and snacks available at the concession located in the lounge) Sonata No. 1 for Viola and Piano (1955) Bohuslav Martinu Poco andante (1890-1959) Allegro non troppo Joanna Hood, viola Ajtony Csaba, piano Suite No. 2, Op. 17 for Two Pianos, Four Hands Sergei Rachmaninoff Introduction (1873-1943) Waltz Romance Tarantella Arthur Rowe, piano Michelle Mares, piano � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Concert Series Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/101913-FacultyRecital/101913-FacultyRecital_01.mp3">talk</a> <br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/101913-FacultyRecital/101913-FacultyRecital_02.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/101913-FacultyRecital/101913-FacultyRecital_03.mp3">talk</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/101913-FacultyRecital/101913-FacultyRecital_04.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/101913-FacultyRecital/101913-FacultyRecital_05.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/101913-FacultyRecital/101913-FacultyRecital_06.mp3">track4</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Chamber Music Series <em>[Mostly] Off the Beaten Path</em> Creator An entity primarily responsible for making the resource Dylan Powell Date A point or period of time associated with an event in the lifecycle of the resource October 19, 2013 Contributor An entity responsible for making contributions to the resource Suzanne Snizek, flute; Patricia Kostek, clarinet; Wendell Clanton, alto saxophone; Louis Ranger, trumpet; Ann Elliott-Goldschmid, violin; Joanna hood, viola; Pamela highbaugh Aloni, cello; Ajtony Csaba, piano; Michelle mares, piano; Arthur Rowe, piano https://finearts.uvic.ca/music/archive/files/original/2ed3d2df2e794f05343fffce8530aeb6.pdf 650c64c23ffb2fb0a6c08dd3e8980973 PDF Text Text UNIVERSITY OF VICTORIA Faculty Concert series Poetic License Alexandra Pohran Dawkins oboe & English horn With Jane Hayes, piano And guests Catherine Lewis, soprano Jan Wood, actor Sunday, September 15, 2013 at 2:30 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $17.50 / Students & seniors: $13.50 �P R O G RA M Sonata No. 1 for oboe and piano Allegretto con sentimento Poco animato e grazioso Andante sostenuto Moderato Julius Röntgen (1855-1932) Romances, Op. 22 1. Andante molto Clara Schumann (1819-1896) Liebst du um Schönheit Romances, Op. 22 2. Allegretto Die Lotusblume, Op. 25, No. 7 Robert Schumann (1810-1856) Romances, Op. 94 1. Nicht schnell 3. Nicht schnell Intermission The Gentlest Chord Barbara Monk Feldman (b. 1953) Plainsong (2004) Tawnie Olson From Five Preludes for Piano (1938) Barbara Pentland 4. Romance (1912-2000) 5. Curtain Four Moravian Duets, Op. 20 Promeny Rozlouceni Chudoba Vure sohaj, vure Antonín Dvořák (1841-1904) from Spanishes Leiderspeil, Op. 74 Erste Begegnung Leibesgram In der Nacht R. Schumann (1810-1856) Improvisation Jan Wood, Alexandra Pohran Dawkins, Catherine Lewis from Moravian Duets, Op. 32 A. Dvořák Zajata V dobrým sme se sešli �BIOGRAPHIES Alexandra Pohran Dawkins Alexandra Pohran Dawkins is a graduate of the University of Toronto where she was a student of Melvin Berman; she furthered her studies with Heinz Holliger. She has held the principal oboe positions with the orchestras of the National Ballet Company Orchestra and the Canadian Opera Company and has extensive orchestral experience with, among others, the Toronto Symphony Orchestra, the Vancouver Symphony Orchestra and Symphony Nova Scotia. Ms. Pohran Dawkins is well recognized as an interpreter of contemporary music and has commissioned and premiered a number of Canadian works with Toronto New Music Concerts, Vancouver New Music Society and at Open Space in Victoria. Ms. Pohran Dawkins is active as a recitalist, soloist with orchestra, chamber musician and educator, nationally and internationally. She has been a guest soloist with the Kyiv Chamber Orchestra and the National Chamber Orchestra of Armenia in Yerevan, among others. She has given master classes at Conservatories in both Ukraine and Armenia as well as at the universities of British Columbia, Washington, Oregon and Calgary and at the Glenn Gould School. She has worked extensively with pianist Jane Hayes, with whom she has recorded three CDs, portions of which are often heard on CBC. Ms. Pohran Dawkins has held a full-time position at the University of Victoria since 1986. Her students have continued their educations in graduate programs at McGill University, University of British Columbia, University of Calgary and California Institute of the Arts. In addition to instruction in oboe and woodwind chamber music at the University of Victoria, she teaches Music 347, Introduction to Improvisation, which focuses on developing creativity in 20th and 21st Century concert music. Jane Hayes Since her debut with the Toronto Symphony, Jane Hayes’ concerts have taken her across Canada, the United States and Europe. Her early studies were in her native Ottawa and she went on to study with such notable pianists as Bela Siki, Menahem Pressler, Pierre Sancan, and Patricia Parr. She can be heard frequently on CBC radio and has recordings available on the Fanfare, EMI, Centrediscs, ATMA, Artifact, CBCMusica Viva and CBC SM5000 labels. Her performances consistently receive rave reviews. As Lloyd Dyck wrote in the Vancouver Sun, “her performance had such an impact that I wanted to hear it again, right away.” In addition to being Director of Keyboard Studies at Kwantlen Polytechnic University in Langley, Jane maintains a busy performing and adjudicating schedule. Now Past-President of the Canadian Music Festival Adjudicators’ Association, she regularly travels to both small and large Canadian centres to judge solo and chamber competitions, including the E-Gré competition, Pacific Coast Music Association Competitions, and provincial and local festivals. She is also a founding member of Vancouver’s Turning Point Ensemble and the Yarilo Ensemble. In March 2012, she travelled to �Mexico City as a guest of the National Autonomous University of Mexico to give concerts with Maestro Edison Quintana. She returned there in November 2012 to present a program of Barbara Pentland’s solo and chamber music with members of the National Symphony Orchestra of Mexico City. She will now be visiting Mexico on a regular basis to present programs and premieres of Canadian and Mexican works. This year, she will be recording and releasing two CDs with Vancouver clarinetist Francois Houle in addition to her many chamber and solo performances in Canada and the US. Catherine Lewis An alumni of the University of Victoria School of Music, soprano voice artist Catherine Lewis, has premiered over ninety works, many written specially for her. Lewis enjoys a varied musical career, balancing traditional, modern and chamber music with exploration, improvisation and creation which has lead to collaborations with noted artists of all disciplines. Lewis teaches voice part-time at the Victoria Conservatory of Music. Jan Wood Jan Wood graduated from the University of Alberta with a BFA in Drama, specializing in acting. She has over 30 years experience in professional theatre as an actor, director, movement coach, voice coach and teacher. Her professional acting credits include the Stratford Festival, the Blyth Festival, Bard on the Beach, the Belfry Theatre and most major theatre companies in Alberta. Originally contracted for five years as an artist in residence by the University of Victoria, she is now a tenured faculty member balancing her teaching with professional acting and directing opportunities. �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/091513-FacultyRecital/091513-FacultyRecital_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091513-FacultyRecital/091513-FacultyRecital_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091513-FacultyRecital/091513-FacultyRecital_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091513-FacultyRecital/091513-FacultyRecital_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091513-FacultyRecital/091513-FacultyRecital_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091513-FacultyRecital/091513-FacultyRecital_06.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091513-FacultyRecital/091513-FacultyRecital_07.mp3">track7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091513-FacultyRecital/091513-FacultyRecital_08.mp3">track8</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091513-FacultyRecital/091513-FacultyRecital_09.mp3">track9</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091513-FacultyRecital/091513-FacultyRecital_10.mp3">track10</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091513-FacultyRecital/091513-FacultyRecital_11.mp3">track11</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091513-FacultyRecital/091513-FacultyRecital_12.mp3">track12</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091513-FacultyRecital/091513-FacultyRecital_13.mp3">track13</a> <div style="text-align:center;">***Please Note: concert program is incorrect, program order and pieces played do not match audio tracks in the archive***</div> 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 - Alexandra Pohran Dawkins, oboe & English horn Creator An entity primarily responsible for making the resource Sondra Moyls Date A point or period of time associated with an event in the lifecycle of the resource September 15, 2013 Contributor An entity responsible for making contributions to the resource Alexandra Pohran Dawkins, Jane Hayes, Catherine Lewis, Jan Wood https://finearts.uvic.ca/music/archive/files/original/70d5e3260997a56b719a9128019d1933.pdf 58f643c76503dd3ee049da8b794f27f7 PDF Text Text P R O G RA M UNIVERSITY OF VICTORIA Faculty Concert series Suzanne snizek flute Sonata in E flat Major, BWV 1031 1. Allegro Moderato 2. Siciliana 3. Allegro Selections from Twelve Miniatures Op.29 Mieczyslaw Weinberg 2. Arietta (1919-1996) 3. Burleske 4. Marziale marcatissimo 5. Nocturne 6. Walzer 7. Ode Broken Branch for solo flute With Michelle Mares, piano Joanna Hood, viola Robert Hansler (b.1989) Intermission Prélude et Scherzo Henri Büsser (1872-1973) Six Year Interlude for flute, viola and piano Nebojsa Macura (b.1982) Sonata for flute and piano Srul Irving Glick (1934-2002) Tuesday, September 10, 2013, 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $17.50 / Students, alumni, seniors: $13.50 J. S. Bach (1685-1750) � 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. Local URL The URL of the local directory containing all assets of the website <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091013-FacultyRecital_01.mp3">Track 1 </a> URL <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091013-FacultyRecital/091013-FacultyRecital_01.mp3">track 1</a> <br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091013-FacultyRecital/091013-FacultyRecital_02.mp3">track 2</a> <br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091013-FacultyRecital/091013-FacultyRecital_03.mp3">track 3</a> <br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091013-FacultyRecital/091013-FacultyRecital_04.mp3">track 4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091013-FacultyRecital/091013-FacultyRecital_05.mp3">track 5</a> <br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091013-FacultyRecital/091013-FacultyRecital_06.mp3">track 6</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Concert Series - Suzanne Snizek, flute Creator An entity primarily responsible for making the resource Kirk McNally Date A point or period of time associated with an event in the lifecycle of the resource September 10, 2013 Contributor An entity responsible for making contributions to the resource Suzanne Snizek, Michelle Mares, Joanna Hood