2 10 27 https://finearts.uvic.ca/music/archive/files/original/550fb0ec5e958c6494f3f7d5ed059e3e.pdf fcdf526f3988aa0c1d88d65c1e7f4a01 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC ORION SERIES IN FINE ARTS presents MELIA WATRAS VIOLA & MICHAEL JINSOO LIM VIOLIN Friday, January 20, 2017 • 8 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free admission �PROGRAM Lament for viola solo (2016) Melia Watras (b. 1969) Luminous Points for violin solo (2013) Melia Watras Esther for violin and viola (2008) Passacaglia, from Viola Sonata, Op. 11, No. 5 Atar Arad (b. 1945) Paul Hindemith (1895–1963) I NT E R M I S S I O N Liquid Voices for violin and viola (2013) Melia Watras Duo in B-flat major for violin and viola, K. 424 Adagio-Allegro Andante cantabile Tema con variazioni W. A. Mozart (1756–1791) Please tell us about your concert experience in this quick Audience Survey: https://finearts.uvic.ca/forms/music/audience/ �PROGRAM NOTES Melia Watras: Lament for viola solo (2016) Lament was written for the memorial service of my father, Joseph Watras, who passed away in 2016 after battling cancer. It is impossible for me to express how much my father meant and continues to mean to me and my music. Joseph Watras was a philosophical man, and following his lead, I began to think of the loss we all experience as human beings when we lose someone close to us. The piece became not only a lament for him, but an expression of a shared sense of mourning that we all feel as part of humanity. —Melia Watras Melia Watras: Luminous Points for violin solo (2013) I began with the image of a mysterious, secret garden, where the night sky, brilliantly studded with unending stars, is reflected in a pond. The sky becomes the water and the water the sky. I wrote Luminous Points for violinist Michael Jinsoo Lim, hoping to imbue the work with his gentle character and molto dolce E string playing. —Melia Watras Atar Arad: Esther for violin and viola (2008) My late mother, Esther, to whom this music is dedicated, was born in Bulgaria to a Sephardic family before moving to Israel at a very young age. I remember her as a woman who could never stop singing: joyful and lively Bulgarian songs for the benefit and delight of her family and friends (hence the inspiration for my Toccatina), or melancholic, tender, sweet Sephardic tunes while on her own, mostly when working on her paintings (she was a well known artist). Esther, I believe, is a brief nostalgic reflection on my childhood and the music I used to hear a long time ago. —Atar Arad Melia Watras: Liquid Voices for violin and viola (2013) Liquid Voices takes its inspiration from Virginia Woolf ’s short story, The Fascination of the Pool. Woolf has been a profound, influential and special author to me. Her experimental nature and ever-changing writing style make her elusive. She was lyrical, poetic and forward thinking. I was taken with the story’s fluidity, imagery and depth, which helped shape the structure and basic concept for my piece: voices floating on top of each other. The pitch centers of Liquid Voices are taken from the harmonic series played by the violin in the first few measures of the work. —Melia Watras �BIOGRAPHIES MEILA WATRAS Hailed by Gramophone as “an artist of commanding and poetic personality” and described as “staggeringly virtuosic” by The Strad, violist Melia Watras has distinguished herself as one of her instrument’s leading voices. She has performed in major venues such as Carnegie Hall, Weill Recital Hall, and Alice Tully Hall, while achieving acclaim as an important recording artist. Watras has recorded 5 albums, while performing on 13 others as a chamber musician. Recent and upcoming highlights include the release of her latest disc from the Sono Luminus label, 26, which features world premiere recordings of her own compositions, and video projects with violist Garth Knox (performing with Knox on his duos, Viola Spaces for Two) and video artist Ha Na Lee. Watras’s discography has received considerable attention and praise from the media. Ispirare, which features the world premiere recording of Pulitzer Prize-winner Shulamit Ran’s Perfect Storm (a piece that was written for Watras), made numerous Best of 2015 lists, including the Chicago Reader’s (“Watras knocked the wind out of me with the dramatically dark beauty of this recording”). Short Stories was a Seattle Times Critics’ Pick, with the newspaper marveling at her “velocity that seems beyond the reach of human fingers.” Of her debut solo CD (Viola Solo), Strings praised her “stunning virtuosic talent” and called her second release (Prestidigitation) “astounding and both challenging and addictive to listen to.” As a composer, Watras’s music has been performed in New York City, Chicago, Seattle, Bloomington (IN), Denmark and Spain, by artists such as violist Atar Arad, cellist Sæunn Thorsteinsdóttir and violinist Michael Jinsoo Lim, and has been recorded for two upcoming CDs. With the Corigliano Quartet, Watras has concertized and recorded extensively, with the ensemble’s Naxos label CD being named one of the Ten Best Classical Recordings of the Year by The New Yorker. She is violist of Frequency, for whom she has also composed, and a member of Open End, with whom she has performed in France, Denmark and the United States and recorded for Albany Records. Watras studied with Atar Arad at Indiana University and served as a teaching assistant to the Juilliard String Quartet while at the Juilliard School. She is currently Professor of Viola and chair of Strings at the University of Washington School of Music, where she holds the Adelaide D. Currie Cole Endowed Professorship and was previously awarded the Donald E. Petersen Endowed Fellowship and the Royalty Research Fund. Watras has given viola and chamber music classes at schools such as Indiana University, Cleveland Institute of Music, Strasbourg Conservatoire (France), and Chosun University (South Korea). She has thrice returned to her alma mater, Indiana, to teach as a guest professor. �MICHAEL JINSOO LIM Violinist Michael Jinsoo Lim has been praised by Gramophone for playing with “delicious abandon” and described as “bewitching” by the Seattle Times. He is concertmaster and solo violinist of the Pacific Northwest Ballet Orchestra (“surely the best ballet band in America”—New York Times) and is in-demand as a chamber musician and performer of new music. Hailed by the Los Angeles Times as a “conspicuously accomplished champion of contemporary music” for his work as co-founder of the renowned Corigliano Quartet, Lim is also artistic director and violinist of the Seattle-based ensemble Frequency. Recent performance highlights include the world premiere of Andrew Waggoner’s violin concerto (written for Lim), live performances on Danish Public Radio and appearances as soloist for the Stravinsky violin concerto at New York’s City Center, as part of Pacific Northwest Ballet’s 2016 NYC tour. Lim’s 2016-17 season will include performances of concertos by Prokofiev and Stravinsky with PNB. As a member of the Corigliano Quartet, Lim has won numerous awards, including the Grand Prize at the Fischoff Chamber Music Competition and the ASCAP/CMA Award for Adventurous Programming, and has performed in the nation’s leading music centers, including Carnegie Hall, Weill Recital Hall, and the Kennedy Center. The quartet’s Naxos label CD was honored as one of The New Yorker’s Ten Best Classical Recordings of the Year. As a theater artist, Lim appeared in director Nick Schwartz-Hall’s Tempo of Recollection, a show about composer Erwin Schulhoff, and served as music consultant for Seattle Repertory Theatre’s production of Opus, directed by Braden Abraham. Lim has performed onstage with Pacific Northwest Ballet in George Balanchine’s Duo Concertante and Christopher Wheeldon’s After the Rain. Lim has also worked as a record producer on three critically acclaimed albums by violist Melia Watras and co-producer on a fourth. Lim attended Indiana University, where he was a pupil of the legendary Josef Gingold. He later studied chamber music at the Juilliard School and taught there as an assistant to the Juilliard String Quartet. He currently serves on the faculty of Cornish College of the Arts. Lim has recorded for Naxos, DreamWorks, Albany, Bridge, CRI, Bayer Records, RIAX and New Focus, and has been heard on NPR programs such as Performance Today and All Things Considered. �Dmitri Shostakovich: The Complete String Quartets February 3–9, 2017 The Lafayette String Quartet celebrates its 30th anniversary with the complete cycle of Shostakovich’s 15 String Quartets. FRIDAY, FEBRUARY 3 Nos. 1, 2, 3 SATURDAY, FEBRUARY 4 Nos. 4, 5, 6 MONDAY, FEBRUARY 6 Nos. 7, 8, 9 WEDNESDAY, FEBRUARY 8 Nos. 10, 11, 12, 13 THURSDAY, FEBRUARY 9 Nos. 14, 15 © L a ind ns Eva All concerts at 8 PM 7 PM Pre-concert talks by visiting scholars Phillip T. Young Recital Hall, MacLaurin Building, B-Wing, University of Victoria UVIC ORDER YOUR TICKETS TODAY! Single tickets: $25 / 5 concert festival pass: $100 UVic Ticket Centre: 250.721.8480 / tickets.uvic.ca finearts.uvic.ca/music is Dav �UPCOMING EVENTS SATURDAY, JANUARY 21 (Free admission) Orion Series in Fine Arts presents Lorna McGhee, flute Known for her “exceptionally rich and vibrant tone” (Washington Post), Scottish-born flutist Lorna McGhee has been principal flute of the Pittsburgh Symphony Orchestra since 2012. Masterclass: 10:15 AM–11:45 AM | Phillip T. Young Recital Hall Concert: 12 PM | Phillip T. Young Recital Hal Performing J.S. Bach’s Sonata BWV 525, Le Moment de Cristal by Yuko Uebayashi, East Wind by Schulamit Ran and Carl Frühling’s Fantasie Op. 55. Reception to follow SATURDAY, JANUARY 21 | 2:30 PM (By donation) Saxophone Class Recital Featuring saxophone students from the studio of Wendell Clanton. Phillip T. Young Recital Hall SATURDAY, JANUARY 21 | 8 PM ($10-$20) Faculty Concert Series Deep in the Groove: Organ Jazz with the Patrick Boyle/Tony Genge Trio Patrick Boyle, trumpet/guitar Tony Genge, Hammond B3 organ Kelby MacNayr, drums With Phil Dwyer, saxophone A concert of classic compositions by organ giants Jack McDuff and Jimmy Smith, as well as original compositions. Let’s get deep in the groove! Phillip T. Young Recital Hall SUNDAY, JANUARY 22 | 2:30 PM (By donation) Piano Class Recital Featuring UVic School of Music piano students from the studio of Bruce Vogt. Phillip T. Young Recital Hall FRIDAY, JANUARY 27 | 12:30 PM (By donation) Fridaymusic Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring UVic School of Music students. Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca) and at the door. To receive our On the Pulse brochure & newsletter by email, contact: concert@uvic.ca 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 Orion Series in Fine Arts Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/012017-Orion_WatrasLim/012017-OrionWatrasLim_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/012017-Orion_WatrasLim/012017-OrionWatrasLim_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/012017-Orion_WatrasLim/012017-OrionWatrasLim_Talk_01.mp3">Talk</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/012017-Orion_WatrasLim/012017-OrionWatrasLim_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/012017-Orion_WatrasLim/012017-OrionWatrasLim_04.mp3">Track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/012017-Orion_WatrasLim/012017-OrionWatrasLim_05.mp3">Track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/012017-Orion_WatrasLim/012017-OrionWatrasLim_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 Orion Series in Fine Arts - Melia Watras and Michael Jinsoo Lim Creator An entity primarily responsible for making the resource Adam Jasieniuk Date A point or period of time associated with an event in the lifecycle of the resource January 20, 2017 Contributor An entity responsible for making contributions to the resource Melia Watras, viola Michael Jinsoo Lim, violin https://finearts.uvic.ca/music/archive/files/original/c0f59ceb894a2b1e49534d6d604916f5.pdf f296f0b6cedd15e233e93cf9a6d89cbd PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC ORION SERIES IN FINE ARTS presents Bach & Before CHLOE MEYERS BAROQUE VIOLIN & ALEXANDER WEIMANN HARPSICHORD Tuesday, November 29, 2016 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free admission finearts.uvic.ca/music/events �PROGRAM Giovanni Battista Fontana (1571–1630) Sonata Seconda Francesco Rognoni (1570–1626) Diminutions on “Vestiva i Colli” Ciacona Bernardo Storace (1637–1707) Sonata Seconda (from Sonatae unarum fidium) Johann Heinrich Schmelzer (1623–1680) I NT E R M I S S I O N Passacaglia (from Mystery-Sonatas) Chaconne (from Trois Leçons) Heinrich Ignaz Franz Biber (1644–1704) George Frederic Handel (1685–1759) Sonata No. 4 in C minor, BWV 1017 Johann Sebastian Bach Largo (Siciliano), Allegro, Adagio, Allegro (1685–1750) �BIOGRAPHIES CHLOE MEYERS Heralding her beginnings as a true northern Albertan, violinist Chloe Meyers began her training at the age of three with the full intention of catching up to her older sister. Her training followed through the University of Victoria, and then McGill University, where she was introduced to and fell in love with the baroque violin. Chloe now plays a major role in the Montreal and North American early music scene. Chloe is the concertmaster of Vancouver’s prestigious baroque orchestra, Vancouver Pacific Baroque Orchestra, she is the presiding concertmaster of Montreal’s Le Nouvel Opera, and is the first violinist and founding member of Les Voix Baroques. She also plays principal violinist with the Theatre of Early Music, and holds the principal second violin position with the Arion Orchestra in Montreal.With countless tours, concerts, and CDs behind her, Chloe can be heard with record labels ATMA, Deutschland Funk, Analekta, CBC Records, earlymusic.com and on Bravo television. ALEXANDER WEIMANN Alexander Weimann is one of the most sought-after ensemble directors, soloists, and chamber music partners of his generation. After traveling the world with ensembles like Tragicomedia, Cantus Cölln, the Freiburger Barockorchester, the Gesualdo Consort and Tafelmusik, he now focuses on his activities as Artistic Director of the Pacific Baroque Orchestra in Vancouver, and as music director of Les Voix Baroques, Le Nouvel Opéra and Tempo Rubato. Recently, he has conducted the Montreal-based baroque orchestra Ensemble Arion, Les Violons du Roy, and the Portland Baroque Orchestra; both the Orchestre Symphonique de Québec and the Montreal Symphony Orchestra have regularly featured him as a soloist. He has repeatedly conducted the Victoria Symphony and Symphony Nova Scotia. Alexander Weimann can be heard on some 100 CDs. He won worldwide acclaim from both the public and critics for his 2001 release of Handel’s Gloria (ATMA Classique). Volume 1 of his recordings of the complete keyboard works by Alessandro Scarlatti appeared in May 2005 and in the following year it was nominated for an Opus Prize as the best Canadian early music recording. His album with Karina Gauvin and Arion Baroque Orchestra (Prima Donna) won a Juno Award in 2013, and a complete recording of Handel’s Orlando was released in the fall of 2013 with an exciting group of international star soloists and the Pacific Baroque Orchestra. Please tell us about your concert experience in this quick Audience Survey: https://finearts.uvic.ca/forms/music/audience/ � 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 Orion Series in Fine Arts Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/112916-Orion_MeyersWeimann/112916-OrionConcertSeries_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/112916-Orion_MeyersWeimann/112916-OrionConcertSeries_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/112916-Orion_MeyersWeimann/112916-OrionConcertSeries_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/112916-Orion_MeyersWeimann/112916-OrionConcertSeries_04.mp3">Track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/112916-Orion_MeyersWeimann/112916-OrionConcertSeries_05.mp3">Track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/112916-Orion_MeyersWeimann/112916-OrionConcertSeries_06.mp3">Track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/112916-Orion_MeyersWeimann/112916-OrionConcertSeries_07.mp3">Track7</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orion Series presents Bach & Before Date A point or period of time associated with an event in the lifecycle of the resource November 29, 2016 Contributor An entity responsible for making contributions to the resource Chloe Meyers, baroque violin Alexander Weimann, harpsichord https://finearts.uvic.ca/music/archive/files/original/17ce8e336e044eca9b3e367c5b6dedaa.pdf 3190016d9d3bf22a442a54e2f6d54249 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC ORION SERIES IN FINE ARTS presents Krisztina Szabó Mezzo-soprano & Arthur Rowe Piano Sunday, November 27, 2016 • 2:30 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free admission finearts.uvic.ca/music �PROGRAM Zigeunerlieder J. Brahms He! Zigeuner (1833–1897) Hochgetürmte Rimaflut, wie bist so trüb Wisst ihr, wann mein Liebster am besten mir gefällt? Lieber Gott du weisst, wie oft in stiller Nacht Brauner Bursche führt zum Tanze Röslein dreie in der Reihe blühn so roth Kommt dir manchmal in den Sinn, mein süsses Lieb Rote Abendwolken ziehn am Firmament Az hól én elmegyek Z. Kodály A rossz feleség (1882–1967) Kitrákotty mese Magas kösziklának I NT E R M I S S I O N Beverages and snacks available at the concession located in the lounge. Siete Canciones Populares Españolas El paño moruno Seguidilla murciana Asturiana Jota Nana Canción Polo Manual de Falla (1876–1946) Countess Maritza: E. Kálmán Luck is a Golden Dream (1882–1953) Giuditta: F. Lehár Meine Lippen sie Küssen so Heiß (1870–1948) Carmen: G. Bizet Habañera (1838–1875) Seguidilla �TRANSLATIONS Brahms: Zigeunerlieder Translations by Martha Gerhart 1. Hey, gypsy, strike up on the strings! Play the song of the unfaithful girl! Let the strings weep and wail, sadly anxious, Until the hot tears moisten this cheek! 2. High flooding Rima tide, how turbid you are! On the bank, I cry out loud for you, my love! Waves are fleeing, waves are rushing, Roaring up to the shore to me. On the bank of the Rima let me Forever weep for her! 3. Do you know when my dear little child is loveliest of all? When her sweet little mouth jokes and laughs and kisses. Little girl, you are mine; fervently I kiss you. Kind heaven created you only just for me! Do you know when I like my lover best of all? When he holds me closely entwined in his arms. Sweetheart, you are mine; fervently I kiss you. Kind heaven created you only just for me! 4. Dear God, you know how often I have regretted that I once gave my beloved a little kiss. My heart bid that I must kiss him; I shall remember, as long as I live, that first. Kiss. Dear God, you know how often in the still of night I have, in pleasure and pain, thought of my darling. Love is sweet, though bitter also is remorse. My poor heart will remain forever, ever true to him. 5. A swarthy lad leads to the dance his blue-eyed, beautiful dear one. As he boldly clicks his spurs, a Czardas melody begins. He kisses and caresses his sweet little dove, whirls her, leads her, shouts and leaps, and throws three shiny silver guilders on the cimbalom, so that it resounds. 6. Three little roses in a row are blooming so red. For the lad to go visit his girl there is no forbidding! Dear God, if that were forbidden, the beautiful wide world would have ceased to exist long ago. Were it a sin to remain single! The loveliest town in Alföld is Kecskemét; there, there are a good many trim, nice girls. Friends, choose for yourselves there a little bride; woo her for her hand in marriage and establish your household; drink up cups of joy! �7. Do you sometimes recall, my sweet love, what you once, on sacred oath, vowed to me? Deceive me not, leave me not; you don’t know how much I love you. Do you love me as I, you; then God’s grace will pour down upon you! Kodaly (Translations by Krisztina Szabó) Wherever I roam Wherever I roam even the trees are weeping. From their weak branches, the leaves fall. Fall, leaves; hide me, for my sweetheart weepingly searches for me. The road weeps before me, The path grieves, And it says: May God bless you. May God bless you with all goodness, Like the violets in the garden, with their beautiful scents. The Cock-a-doodle Story To the market I went with a hapenny in my hand. A rooster I bought with a hay penny in my hand. My rooster says: Cock-ri-coo! Cock-a-doodle, my sweet rooster And still I have a haypenny in my hand! To the market I went with a haypenny in my hand. A chicken I bought with a haypenny in my hand. My chicken says: cheep, cheep, cheep, my rooster says: Cock-ri-coo! Cock-a-doodle, my sweet rooster And still I have a hay penny in my hand! To the market I went with a hay penny in my hand. A turkey I bought with a hay penny in my hand. My turkey says: Gobble, gobble My chicken says: cheep, cheep, cheep, My rooster says: Cock-ri-coo! Cock-a-doodle, my sweet rooster And still I have a hay penny in my hand! To the market I went with a hay penny in my hand. A lambkin I bought with a hay penny in my hand. My lambkin says: Baa-a, baa-a My turkey says: Gobble, gobble My chicken says: cheep, cheep, cheep, My rooster says: Cock-ri-coo! Cock-a-doodle, my sweet rooster And still I have a hay penny in my hand! To the market I went with hay penny in my hand. A piglet I bought with a hay penny in my hand. My piglet says: Oink, oink, oink My lambkin says: Baa-a, baa-a My turkey says: Gobble, gobble My chicken says: cheep, cheep, cheep, My rooster says: Cock-ri-coo! Cock-a-doodle, my sweet rooster And now, my hay penny is spent! �The Bad Wife “Come home, dearest mother. Father is very ill!” “Wait, my daughter, just a little while. Let me dance a while longer. Soon I will be coming! Just a turn or two more and I will soon be home!” “Come home, dearest mother. Father has had his last confession!” “Wait, my daughter, just a little while. Let me dance a while longer. Soon I will be coming! Just a turn or two more and I will soon be home!” “Come home, dearest mother. Father has died!” “Wait, my daughter, just a little while. Let me dance a while longer. Soon I will be coming! Just a turn or two more and I will soon be home!” “Come home, dearest mother. Father has been buried.” “Oh no! My best sheet! My beautiful, white sheet! Another husband I will get, but not so another good linen. I cannot sew, and a new sheet I cannot make!” High up in the mountains High up in the mountains, from the rocky mountainside grows an antidote to love’s pain. It heals my heart, my weak countenance, and always renews me. Whoever has not felt love Can only find it in dreams. Oh, how beautiful it is More sweet than anything; An unfading rose In whose shadow, in whose fragile shelter my head finds rest. But it departs from me, suddenly it fades -That which gives my life its greatest support. As long as I live, Always my love, will I love you. Though I leave you now, on my heart is written your sacred name. My heart will be in darkness, my soul will weep Until I see you again. May God punish whoever has dealt me such a blow as to tear me away from you. From God in the highest Heaven, may no blessing fall on him. But you, my dearest, may the fidelity of your heart keep you with me forever. De Falla: Siete Canciones Populares Españolas (Translations by Claudia Landivar Cody except “Jota” and “Cancion” by Anne Evans) El paño moruno: The Moorish Cloth On the fine cloth in the store a stain has fallen; It sells at a lesser price, because it has lost its value. Alas! Seguidilla Murciana Who has a roof of glass should not throw stones to their neighbor’s (roof). Let us be muleteers; It could be that on the road we will meet! For your great inconstancy I compare you to a [coin] that runs from hand to hand; which finally blurs, and, believing it false, no one accepts! �Asturiana To see whether it would console me, I drew near a green pine, To see whether it would console me. Seeing me weep, it wept; And the pine, being green, seeing me weep, wept. Jota They say we don’t love each other because they never see us talking But they only have to ask both your heart and mine. Now I bid you farewell your house and your window too and even ... your mother Farewell, my sweetheart until tomorrow. Nana Go to sleep, Child, sleep, Sleep, my soul, Go to sleep, little star Of the morning. Lulla-lullaby, Lulla-lullaby, Sleep, little star of the morning. Canción: Song Because your eyes are traitors I will hide from them You don’t know how painful it is to look at them. “Mother, I feel worthless, Mother.” They say they don’t love me and yet once they did love me “Love has been lost in the air Mother, all is lost It is lost, Mother.” Polo Ay! I keep a... (Ay!) I keep a... (Ay!) I keep a sorrow in my breast, I keep a sorrow in my breast Ay! that to no one will I tell. Wretched be love, wretched, Wretched be love, wretched, Ay! And he who gave me to understand it! Ay! Lehar: My lips, they kiss so hotly (Translation is by Linda Godry) I don’t understand myself, why they keep talking of love, if they come near me, if they look into my eyes and kiss my hand. I don’t understand myself, Why they talk of magic, you fight in vain, if you see me If you pass me by. But if the red light is on In the middle of the night And everybody listens to my song, Then it is plain to see: My lips, they give so fiery a kiss, My limbs, they are supple and white, It is written for me in the stars: Thou shalt kiss! Thou shalt love! My feet, they glide and float, My eyes, they lure and glow, And I dance as if entranced, ‘cause I know! My lips give so fiery a kiss! In my veins runs a dancer’s blood, Because my beautiful mother Was the Queen of dance in the gilded Alcazar1. She was so very beautifull, I often saw her in my dreams, If she beat the tamburine, to her beguiling dance All eyes were glowing admiringly! She reawakened in me, mine is the same lot. I dance like her at midnight And from deep within I feel: My lips, they give so fiery a kiss! My limbs, they are supple and white, It is written for me in the stars: Thou shalt kiss! Thou shalt love! My feet, they glide and float, My eyes, they lure and glow, And I dance as if entranced, ‘cause I know! My lips give so fiery a kiss! �BIOGRAPHIES KRISZTINA SZABÓ In 2016-17 Krisztina Szabó appears as soloist and actor in Canadian Stage/Necessary Angel Theatre’s All But Gone, an innovative new production featuring plays by Samuel Beckett and music by Kaija Saariaho and Garrett Sholdice; as soloist in Messiah with Tafelmusik; as the title role in Rossini’s Cenerentola with Edmonton Opera; as soloist for a world premiere of a work by Gary Kulesha with the NAC Orchestra, Ottawa; as soloist in Mahler’s Symphony No. 2 with Ottawa Symphony Orchestra; as soloist with Music of the Baroque, Chicago; as Sofiya in Tapestry New Opera’s Oksana G; and in recital and masterclass at the University of Victoria, University of Alberta and Mount Allison University. Last season highlights include appearances with the Canadian Opera Company in three leading roles (Thisbe/Arianna/Clorinda) in Pyramus and Thisbe and she reprised the role of Judith in Bartók’s Bluebeard’s Castle with Samuel Ramey for the Colorado Music Festival. In 2015, she was nominated twice for a Dora Award for Outstanding Female Performance for her work with the Canadian Opera Company and with Tapestry Opera. Ms. Szabó is a member of the Voice Faculty at the University of Toronto. ARTHUR ROWE Canadian pianist and Steinway Artist Arthur Rowe is a critically acclaimed recitalist, soloist with orchestra and chamber musician. He has recorded with various artists for the Crystal, ebs, Innova, GM and Fanfare labels. His Schubert recording on the Centaur label (available on iTunes), was reviewed by Fanfare magazine, which said, “Rowe’s reading (of the posthumous B flat Sonata) is one of the most beautiful I have heard… The D. 899 Impromptus are equally impressive…his purling right-hand runs recall Schnabel’s velvety sound…” A highly respected chamber musician, Mr. Rowe regularly collaborates with artists and chamber ensembles across North America. He has been a guest artist at summer festivals in Blossom, Interlochen, Niagara, Santa Fe and Seattle, as well as in France, New Zealand, and Yugoslavia. In 2004 The Harrington String Quartet joined forces with Arthur Rowe and William Preucil in New York for a performance of the Chausson Concerto for Violin, Piano and String Quartet, which was reviewed by Harris Goldsmith as a “reading that rivaled the benchmark recordings by Franzescatti/ Casadesus/Pascal, and Heifetz/Sanroma/New Arts”. 2016/17 performances include recitals with William Preucil, Concertmaster of the Cleveland Orchestra, Vancouver’s Vetta Ensemble, and the Dover and Cecilia Quartets, both past winners of the Banff International String Quartet competition. Having previously held positions at the University of Iowa and the University of Western Ontario, Arthur Rowe is Professor of Piano at the University of Victoria and the Artistic Director of the Victoria Summer Music Festival. Please tell us about your concert experience in this quick Audience Survey: https://finearts.uvic.ca/forms/music/audience/ � 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 Orion Series in Fine Arts Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/112716-Orion_Szabo/112716-OrionSzaboAndRowe_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/112716-Orion_Szabo/112716-OrionSzaboAndRowe_Talk_01.mp3">Talk1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/112716-Orion_Szabo/112716-OrionSzaboAndRowe_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/112716-Orion_Szabo/112716-OrionSzaboAndRowe_Talk_02.mp3">Talk2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/112716-Orion_Szabo/112716-OrionSzaboAndRowe_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/112716-Orion_Szabo/112716-OrionSzaboAndRowe_Talk_03.mp3">Talk3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/112716-Orion_Szabo/112716-OrionSzaboAndRowe_04.mp3">Track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/112716-Orion_Szabo/112716-OrionSzaboAndRowe_05.mp3">Track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/112716-Orion_Szabo/112716-OrionSzaboAndRowe_Talk_04.mp3">Talk4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/112716-Orion_Szabo/112716-OrionSzaboAndRowe_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 Orion Series - Krisztina Szabó Creator An entity primarily responsible for making the resource Adam Jasieniuk Date A point or period of time associated with an event in the lifecycle of the resource November 27, 2016 Contributor An entity responsible for making contributions to the resource Krisztina Szabó, mezzo-soprano Arthur Rowe, 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 Orion Series in Fine Arts Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/102416-Orion_ECM/102416-ECM_Talk1.mp3">Talk1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/102416-Orion_ECM/102416-ECM_Track1.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/102416-Orion_ECM/102416-ECM_Talk2.mp3">Talk2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/102416-Orion_ECM/102416-ECM_Track2.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/102416-Orion_ECM/102416-ECM_Talk3.mp3">Talk3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/102416-Orion_ECM/102416-ECM_Track3.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/102416-Orion_ECM/102416-ECM_Talk4.mp3">Talk4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/102416-Orion_ECM/102416-ECM_Track4.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 Orion Series in Fine Arts - Ensemble Contemporaine de Montréal Creator An entity primarily responsible for making the resource Alex Klassen Date A point or period of time associated with an event in the lifecycle of the resource October 24, 2016 https://finearts.uvic.ca/music/archive/files/original/7a5da954172da399abf60d5a9e04cd71.pdf 62d43efe14e5e1dc86840b794dbc509c PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC ORION SERIES IN FINE ARTS presents ILYA POLETAEV PIANO Wednesday, October 12, 2016 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free admission �PROGRAM J. S. Bach (1685–1750) French Overture, BWV 831 Ouverture Courante Gavotte I and II Passepied I and II Sarabande Bourree I and II Gigue Echo George Enescu (1881–1955) Piano Sonata No. 1, Op. 24 No. 1, in f-sharp minor Allegro molto moderato e grave Presto vivace Andante molto espressivo I NT E R M I S S I O N Beverages and snacks available at the concession located in the lounge. Robert Schumann (1810–1856) Humoreske Op. 20 �BIOGRAPHY One of today’s most original and compelling artists, Ilya Poletaev captured First Prize at the prestigious 2010 International Johann Sebastian Bach Competition in Leipzig and, as the winner, appeared in recital at the Leipzig Gewandhaus. A pianist with an inquisitive mind who explores a wide range of repertoire ranging from the 16th –21st centuries, Mr. Poletaev leads a multifaceted career as both a classically trained pianist and as a performer on early keyboards. The Philadelphia Inquirer praised his concerto debut in Philadelphia’s Kimmel Center for the Performing Arts as “an interpretation of considerable individuality,” singling out his “lively imagination” and “unfailingly gorgeous tone.” The Berkshire Eagle has said, “An expert harpsichordist, he played Bach on the piano as well as any I have heard… All that he played was deeply considered… His intelligence was luminous.” Ilya Poletaev was the First Prize winner of the XX Concorso Sala Gallo Piano Competition in Monza, Italy, where he received the Audience Prize, the Bach Prize, and the Orchestra Prize. He also captured First Prize at the 2009 Grieg International Competition and was a laureate of the 2008 National Stepping Stone Competition in Canada. He joined the Astral Artists roster as a winner of its 2009 National Auditions. As a harpsichordist, Mr. Poletaev was a top prizewinner at the 2007 Southeastern Historical Keyboard Society harpsichord competition and has been heard in such venues as Carnegie’s Weill Recital Hall, Pierpont Morgan Library, the Helicon Foundation, the Aston Magna Early Music Festival, the Amherst Early Music Festival, and Yale’s Collection of Musical Instruments. As a continuo player on both harpsichord and organ, he has performed under Masaaki Suzuki, Andrew LawrenceKing, Steven Stubbs, Nicholas McGegan, Simon Carrington, Graham O’Reilly, and Helmuth Rilling and can be heard in recordings of music ranging from Bertali to Mendelssohn. At the piano, he has performed alongside such distinguished artists as Robert Mann, Donald Weilerstein, Gary Hoffmann, Boris Berman, Paul Hersh, Susan Narucki, and Miah Persson. He has also appeared at the Moab, Caramoor, Sarasota, Norfolk, Yellow Barn, Banff, Orford, and Stratford Summer Music festivals. Mr. Poletaev gave an acclaimed performance at the Caramoor Festival with renowned mezzo-soprano Susan Graham and the Orchestra of St. Luke’s. Other performances include a tour of Romania, recitals at Italy’s Festival Lago Maggiore, the Giuseppe Verdi Conservatory in Milan, and the Accademia di Santa Cecilia in Rome. His two-volume recording of the complete works of George Enescu for violin and piano, with violinist Axel Strauss was released on the Naxos label to major critical acclaim. Mr. Poletaev began studying in Moscow at the age of six and continued his studies in Israel until he moved to Canada at the age of 14. He holds a Bachelor’s degree from the University of Toronto where he studied with pianist Marietta Orlov and harpsichordist Colin Tilney, as well as a doctorate and a Master’s degree from Yale, where he studied with Boris Berman. Between 2005 and 2010 he served on the faculties of the Yale Institute of Sacred Music, the Yale Department of Music, and the Yale School of Music as a lecturer in Early Music. In the spring of 2011 he was appointed Assistant Professor of Piano at the Schulich School of Music at McGill University in Montréal. Ilya Poletaev is an Astral artist. � 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 Orion Series in Fine Arts Hyperlink A link, or reference, to another resource on the Internet. URL <div style="text-align:left;"><a href="https://finearts.uvic.ca/music/archive/uploads/guest/101216-Orion_Poletaev/101216-Orion_Poletaev_Track1.mp3">Track1</a></div> <a href="https://finearts.uvic.ca/music/archive/uploads/guest/101216-Orion_Poletaev/101216-Orion_Poletaev_Talk.mp3">Talk</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/101216-Orion_Poletaev/101216-Orion_Poletaev_Track2.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/101216-Orion_Poletaev/101216-Orion_Poletaev_Track3.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/101216-Orion_Poletaev/101216-Orion_Poletaev_Encore.mp3">Encore</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 Orion Series in Fine Arts - Ilya Poletaev Creator An entity primarily responsible for making the resource Robert Pond Date A point or period of time associated with an event in the lifecycle of the resource October 12, 2016 Contributor An entity responsible for making contributions to the resource Ilya Poletaev, piano https://finearts.uvic.ca/music/archive/files/original/aab6d241921f308df8983fdad39c6c99.pdf b5eacc7af982f12665760bf400048eae PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC ORION SERIES IN FINE ARTS presents Paul Merkelo trumpet WITH Merrie Klazek, trumpet Bruce Vogt, piano Friday, September 30, 2016 • 12:30 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free admission �PROGRAM Trumpet Sonata in D Major Henry Purcell Allegro (1659–1695) Grave Presto Légende for trumpet and piano Liebeslied, Op.22 No.2 Rhapsody in Blue Concerto for 2 Trumpets in C Major, RV 537 Allegro Largo Allegro Georges Enesco (1881–1955) Oskar Böhme (1870–1938) George Gershwin (1898–1937) Antonio Vivaldi (1678–1741) �PAUL MERKELO Renowned as one of the finest trumpet players of his generation, Paul Merkelo is recognized for his “pure technical prowess’’ (Rochester Democrat & Chronicle) as well as his “unusual lyrical gifts’’ (Gramophone). Principal trumpet with the Orchestre symphonique de Montréal since 1995, Mr. Merkelo is regularly praised by the Montreal press as “a spectacular soloist… a most impressive master of his instrument’’ (Montreal Gazette), a “great virtuoso… dazzling’’ (La Presse). He has been featured frequently with the OSM, including tours to South America and Lincoln Center in New York. In 1999, he was appointed Canadian musical ambassador to China for the inauguration of the Montreal Park in Shanghai, and as soloist with the Shanghai Broadcast Orchestra in a national telecast. Mr. Merkelo made his New York debut at Lincoln Center with the New World Symphony Orchestra and Michael Tilson Thomas in 1998. He has also worked with conductors Leonard Bernstein, Charles Dutoit, Lorin Maazel, Sir Georg Solti and Valery Gergiev. Mr. Merkelo’s first solo recording, A Simple Song was ranked No. 1 in Quebec’s classical recording chart in 2000. In 2004, Analekta released a highly praised second CD, Baroque Transcriptions, which was nominated by ADISQ for Best Classical Album of the Year. Previously, he was Principal Trumpet with the Rochester Philharmonic and New Orleans Symphony and gained early orchestral experience as an extra with the New York Philharmonic and Pittsburgh Symphony. Paul Merkelo attended the University of Illinois and Eastman School of Music, where he was awarded the Speth Scholarship for outstanding orchestral musician. Mr. Merkelo is on the faculty at the Music Academy of the West in Santa Barbara, and McGill University. He is on the board of directors for the Youth Orchestra of the Americas (Canada), and is the founder of the Paul Merkelo Scholarship. Paul Merkelo is a Yamaha artist. finearts.uvic.ca/music � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orion Series in Fine Arts Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/093016-Orion_Merkelo_Talk1.mp3">Talk1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/093016-Orion_Merkelo_1.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/093016-Orion_Merkelo_Talk2.mp3">Talk2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/093016-Orion_Merkelo_2.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/093016-Orion_Merkelo_Talk3.mp3">Talk3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/093016-Orion_Merkelo_3.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/093016-Orion_Merkelo_Talk4.mp3">Talk4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/093016-Orion_Merkelo_4.mp3">Track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/093016-Orion_Merkelo_Talk5.mp3">Talk5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/093016-Orion_Merkelo_5.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 Orion Series in Fine Arts - Paul Merkelo Creator An entity primarily responsible for making the resource Josh Calder Contributor An entity responsible for making contributions to the resource Paul Merkelo, trumpet Merrie Klazek, trumpet Bruce Vogt, piano Date A point or period of time associated with an event in the lifecycle of the resource September 30, 2016 https://finearts.uvic.ca/music/archive/files/original/3d3f8ddf2d580e70e35e966706228728.pdf 2e8f4295e4a479baf78dbebd6cac2736 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC ORION SERIES IN FINE ARTS presents Paul Roe clarinet & bass clarinet WITH Anne Grimm, soprano Patricia Kostek, clarinet Charlotte Hale, piano Thursday, September 29, 2016 • 7:30 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free admission �PROGRAM Monster for bass clarinet and electronics (2005) * Within Without for solo clarinet (2000) * Ed Bennett (b. 1975) Jane O’Leary (b. 1946) What Shall I Sing? * David Lumsdaine for soprano and two clarinets (b. 1931) What Shall I Sing Dame Trot and her cat Peas and Honey Granfa’ Grigg Roman Wall Blues Three young rats Little Jack Spratt’s Pig’s Jig or the Pig of the Middleway Ends With Words of Hope * for clarinet and soprano (2010) Ailís Ní Ríain (b. 1974) Wait a While for clarinet and piano (2015/16) * Kenneth Edge (b. 1965) Ah, the sad expression in the eyes of that caged bird-envying the butterfly! * for clarinet and piano (2015/16) Marian Ingoldsby (b. 1965) New Road Suite for clarinet and piano (2016) * i. Molto rubato ii. Swung iii. Moderato iv. Light and free Irish Tune…. * Canadian premiere Ultan O’Brien Traditional �BIOGRAPHIES: PERORMERS PAUL ROE, CLARINET Paul Roe is a musician with particular interests in performance, education and coaching. He is a performer (clarinet and bass clarinet) of international repute and was Associate Principal Clarinet of the National Symphony Orchestra of Ireland from 1987–2000. He has been a member of Concorde Contemporary Music Ensemble since 1989 and has given solo, ensemble and orchestral performances throughout Europe, Asia and America. Paul has a PhD in Performance Practice from the University of York, a Masters Degree in Community Music from the University of Limerick and he is a Fellow of Trinity College, London. As a Fulbright Scholar, he studied Klezmer performance at Mannes College of Music, New York, where he worked with internationally acclaimed clarinettist David Krakauer. Paul is a teacher, examiner and community musician. He has developed a number of performance and educational projects with support from the Arts Council of Ireland. He currently teaches at the Dublin Institute of Technology, Conservatory of Music and Drama and at the Royal Irish Academy of Music. He has a collaborative arts practice and works regularly with Dublin City Council, Music Network and the National Youth Orchestra. Paul represents Ireland as Chairperson for the International Clarinet Association. His interest in creative development and mentoring has led him to pursue an Advanced Diploma in Executive and Personal Coaching and further specialist coach training in the UK and the USA. He is a member of the International Coaching Federation. Paul has performed with many distinguished musicians and ensembles including Con Tempo String Quartet, Vanbrugh Quartet, Crash Ensemble, George Lewis, Harry Sparnaay, Garth Knox, Lenneke Ruiten and Finghin Collins. He is a member of several chamber music groups, performing classical to contemporary repertoires internationally in Tokyo, Seoul, Chicago, Paris, Rotterdam, Bratislava, Barcelona, Ljubljana and Riga, among many other cities. ANNE GRIMM, SOPRANO Known for her “expressive technique” and “dramatic presence”, Anne Grimm has performed throughout Europe, North America and in New Zealand. Originally from the Netherlands, Ms. Grimm is well known to Victoria audiences having recently performed with the Victoria Choral Society in Mendelssohn’s Lobgesang as well as singing works by New Zealand composers Juliet Palmer and Eve de CastroRobinson with Aventa Ensemble under Bill Linwood. Also with Aventa, Ms. Grimm toured to Australia, opening the Adelaide Festival as Marilyn Monroe in Gavin Bryars’ chamber opera, Marilyn Forever and performed works of Saariaho and Gonneville in Calgary, Montreal and New York City. Past highlights have included performances with the Netherlands Opera, National Reisopera and at the Holland Festival as well as touring with Ton Koopman and the Amsterdam Baroque Orchestra (Ambronay, Salzburg Festival), Frans Bruggen and the Orchestra of the 18th Century in Rameau’s Les Indes Galante and with the Amsterdamse Bachsolisten under Roy Goodman �(Concertgebouw). Amongst other highlights are the Halle Handel Festspiele and Potsdam Festival Sanssouci, Handels Rinaldo with Christophe Rousset in France, working with Massimo Zanetti and the Orchestra of Flanders and with Rozhdestvensky and the Rotterdam Philharmonic. Ms. Grimm has recorded for Erato, NM Classics, Vanguard Classics, Troubadisc, Sony and for Harmonia Mundi France and is on the voice faculty at the University of Victoria’s School of Music. CHARLOTTE HALE, PIANO Charlotte Hale is an experienced and sensitive coach and collaborative musician. She enjoys musical partnerships with many singers and instrumentalists and is also a classically trained soprano. She was a long-time faculty member at the Victoria Conservatory of Music and the University of Victoria, and now has a successful private studio. Ms. Hale is very active as a much-in-demand accompanist, coach, and chamber musician. PATRICIA KOSTEK, CLARINET Patricia Kostek is professor of clarinet at the University of Victoria and is well known as a chamber musician and soloist with a diverse and eclectic range of repertoire. Patricia has given recitals and masterclasses, and served as a competition jury member in major cultural centers of Europe, Asia, Canada, the USA, Mexico and South America. For a full biography, visit: finearts.uvic.ca/music/contacts/faculty/Bios/ pkostek.shtml BIOGRAPHIES: COMPOSERS ED BENNETT County Down-born Ed Bennett’s body of work includes large-scale orchestral works, ensemble pieces, solo works, electronic music, opera, installations and works for dance and film. He has lived and worked in recent years in Paris, Berlin and London. He has been commissioned and performed internationally by many diverse artists, ensembles and organisations, including the BBC, RTÉ, PRSF, Music Network, Moving On Music, 2012 Olympics, Integra and the Arts Councils of England, Ireland and Northern Ireland. Noted collaborators and performers of his work include the BBC Symphony and Philharmonic Orchestras, the National Orchestra of Belgium, RTÉ National Symphony Orchestra, Ulster Orchestra, the London Sinfonietta, Crash Ensemble, Orkest de ereprijs, Fidelio Trio, Berlin Percussion Ensemble, Ensemble SurPlus, Lontano, Concorde, the Smith Quartet, Noszferatu, Ensemble Ars Nova, Garth Knox, Pedro Carneiro, Reinbert de Leeuw, James MacMillan, Darragh Morgan, Mary Dullea, Rolf Hind and Paul Dunmall. He also performs with and directs his own ensemble, Decibel, which is dedicated to the performance of new and experimental cross-discipline work and with whom he recently released two critically acclaimed CDs of his music, Dzama Stories (Quartz Music) and My Broken Machines (NMC). He has also enjoyed collaborations with several visual artists and choreographers �including those with Juneau Projects and the award-winning Belgian choreographer Ann Van den Broek. His work has been featured in festivals such as Gaudeamus (Amsterdam), Musica Viva (Portugal), Huddersfield, Spitalfields, Bath, City of London, Homecoming (Moscow), Crash, Sonorities, Sonic Circuits (USA), Bourges, the BMIC Cutting Edge Series, Soundings (London/Vienna), News from the UK (South Bank), Integra and at New Music/New Ireland in Carnegie Hall, New York. In 2008 he was the first composer in residence at the Irish Cultural Centre in Paris, France. Recent projects include an opera in collaboration with the writer Stacey Gregg commissioned by Northern Ireland Opera for the 2012 Cultural Olympiad, Organ Grinder for mechanical organ and ensemble for the Dutch ensemble Orkest de Ereprijs, an hour long work for dance in collaboration with the Belgian choreographer Caroline D’Haese, a serious of new works for Decibel, a collaborative project with the Irish ensemble Yurodny and the the Turkish Herzafen ensemble and a new large-scale work for orchestra and percussion for the RTÉ National Symphony Orchestra. His scores are also published by Composers Edition (www.composersedition.com). JANE O’LEARY Born in Hartford, Connecticut, Jane O’Leary has been resident in Ireland since 1972. A founding member of Aosdána, Ireland’s state-sponsored academy of creative artists, she is a graduate of Vassar College and holds a PhD in composition from Princeton University, where she studied with Milton Babbitt among others. She was awarded an Honorary Doctor of Music Degree by the National University of Ireland in 2007. As artistic director and pianist of Concorde ensemble, Jane O’Leary has been nurturing the development of new music in Ireland and promoting its performance worldwide since 1976. She was a founding member of Music for Galway and is currently a Director of The Galway Music Residency and a member of Udarás na hOllscoile Gaillimh. O’Leary’s music has been selected on several occasions for performance at the ISCM World New Music Days and has been performed at prestigious international festivals and venues, including the Kennedy Cultural Center; Centre Culturel Irlandais, Paris; Spitalfields Festival, London; West Cork Chamber Music Festival. The RTÉ National Symphony Orchestra featured her music on their debut tour of the USA in 2003. Following international competition, her music was recently selected for performance in NY with mise-en ensemble and at the Parma Music Festival 2015. Recent performances have also included Sydney, Chicago, Paris, Bucharest, Passau and Tallinn. A CD of O’Leary’s chamber music was released on the Capstone label in 2007 featuring performances by the RTÉ Vanbrugh Quartet, ConTempo Quartet, Concorde, Paul Roe and Garth Knox. Her music features on CDs released in recent years with performances by Paul Roe and ConTempo Quartet (Quartz), Amstel Quartet, Concorde (Parma), Isabelle O’Connell (Diatribe), John Feeley and Laura Chislett. KENNETH EDGE The Irish saxophone-player Kenneth Edge was born in Dublin in 1965 and as a student won Ireland’s Young Musician of the Year Competition. He spent a year studying with the leading exponent of the instrument, Jean-Marie Londeix, at the Bordeaux Conservatoire, where he won the important premier prix of his class. In �addition to his work as a principal of the National Symphony Orchestra of Ireland, Kenneth Edge is a frequent recitalist and soloist and has given the first performances in Ireland of many important works in the saxophone repertoire, from Debussy and Ibert to Ned Rorem and Dominic Muldowney. His recordings include the SaxoRhapsody of Eric Coates in the Marco Polo British Light Music series. DAVID LUMSDAINE Born in Sydney on October 31, 1931, David Lumsdaine was educated at Sydney University and the Sydney Conservatorium. In 1953 he travelled to England to study with Matyas Seiber and afterwards remained in the UK working freelance as composer, conductor, teacher and music editor. Early performances which attracted attention included orchestral works and the several cantatas in which he collaborated with Peter Porter. Lumsdaine’s reputation was established with such works as Kelly Ground (1966), Flights (1967), Mandalas 1 (1967) and 2 (1969). The vivid imagery and rich harmonic vocabulary of these pieces were to become hallmarks of his style; the lucidity of the music belies its technical virtuosity. During the sixties he was immersed in British contemporary musical life; he set up The Manson Room for composers at the Royal Academy of Music, and was increasingly sought after as a composition teacher. This led to university appointments, first at Durham (where he founded and directed the Electronic Music Studio) and subsequently at King’s College, London, where he shared a post with his wife, the composer Nicola LeFanu. In 1973 Lumsdaine returned to Australia, and since then his life has been divided between the two countries, with an increasing number of performances in both. In both Australia and UK he was much in demand, too, as a director of composers’ workshops; with Don Banks, he pioneered the SPNM Composers’ Weekends in the UK, and the Young Composers’ Schools in Australia. At its heart, Lumsdaine’s music embodies his experience of the Australian landscape —the variety of its shapes, rhythms, colours and textures: the vitality of its creatures; its sudden violence; its sense of unlimited space and time. In 1993 he retired from academic life. Due to severe hearing difficulties, he gradually withdrew from the musical world and ceased composing in 1997. He moved to York (where his wife was appointed Professor of Music at York University) while still spending extended periods in Australia. AILÍS NÍ RÍAIN Born in Cork, Ailís Ní Ríain is a graduate of University College Cork, the University of York, the University of Manchester and the Royal Northern College of Music, Manchester, where she became the first Junior Fellow in Education. She has attended composition masterclasses, workshops and residencies throughout Europe. In 2007, her installation Streetsong was awarded first prize at the ISCM World Music Days sound art category and EXIT won Second Prize in the Vienna Masterworks Nancy Van Der Vate International Composition Prize for Opera. Her London Purcell Room debut took place in 2007 and her Carnegie Hall debut in 2008. Her work has been commissioned and broadcast on RTE, BBC 3 and BBC 4. As a composer, she is interested in producing works which challenge, provoke and engage. She is particularly interested in cross-discipline collaboration, music in the public realm, �music-theatre, sound installation and presenting contemporary music in diverse spaces. Her works have been performed throughout Europe and in the USA by numerous performers and ensembles including Psappha, Barry Guy, Harry Sparnaay, Ensemble 10:10, Jane Chapman, Concorde, Frode Haltli, Gareth Davies, Elsbeth Moser and De Ereprijs. Recent projects include a wide variety of interests and ideas including a large-scale, year-long installation for 12 humming voices and classical harp for Clitheroe Castle in Northern England; a suite of hotel-room based mini-operas for Sawn-off Opera in collaboration with writer David Gaffney; Brief-Blue-ElectricBloom, a music-theatre piece combining sign-language interpretation, animation, poetry and live music for Abandon Normal Devices; Boy You Turn Me, a site-specific music and text installation commissioned for the 2011 Birmingham Book Festival; DOWN, a collaboration with visual artist Nicola Dale for METALCulture at Liverpool Biennial 2010 and In Sleep... for the Royal Liverpool Philharmonic’s Ensemble 10:10 with Lori Lixenberg. In 2016 Ailís will be an Associate Artist at The Atlantic Center for the Arts in USA working with Myra Melford and focusing on piano improvisation and new piano preparations. In 2015 The Royal Irish Academy of Music Percussion Ensemble commissioned Dubinina’s Tongue, a percussion quartet which was performed in Ireland and the USA. Current projects include a UK tour of Skloniste for accordion (Dermot Dunne) with film inspired by the Siege of Sarajevo. Ailís Ní Ríain is also a playwright published by Methuen Drama (Bloomsbury). MARIAN INGOLDSBY Marian Ingoldsby was born in Carrick-on-Suir, Co. Tipperary. She studied composition with Gerald Barry at University College, Cork, graduating with an MA in Composition and winning the Fleischmann Prize in 1995. She is currently a lecturer in the music department of Waterford Institute of Technology. She has been commissioned by, among others, Opera Theatre Company, which premiered her chamber opera, Hot Food with Strangers in 1991; the National Symphony Orchestra of Ireland/Ulster Orchestra; Presteigne International Festival of Music and the Arts, Wales; Cork International Choral Festival; Pearls before Swine, Sweden; and the AXA Dublin International Piano Competition. Awards include the Macaulay Fellowship (1995) and in 1996, the first Elizabeth Maconchy Composition Fellowship tenable at the University of York. This enabled her to undertake a DPhil in Composition with Nicola LeFanu which she completed in 2000. ULTAN O’BRIEN Ultan O’Brien is a fiddle player and violist from County Clare, living in Dublin for the last few years. Ultan performs at home and abroad with the traditional music band, Skipper’s Alley, and contemporary folk trios Juhn Echo and Once there was a King. Ultan often performs with Aon Teanga – Un Çhengey, a project reuniting the song traditions of the Gaelic nations, and was involved in the recording of their debut album. After studying composition under David Bremner, Ultan stays active in the world of contemporary composition through a variety of projects, including a commission to write for Temenos duet. finearts.uvic.ca/music � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orion Series in Fine Arts Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/092916-Orion_Roe/092916-Orion_Roe_Talk1.mp3">Talk1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/092916-Orion_Roe/092916-Orion_Roe_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/092916-Orion_Roe/092916-Orion_Roe_Talk2.mp3">Talk2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/092916-Orion_Roe/092916-Orion_Roe_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/092916-Orion_Roe/092916-Orion_Roe_Talk3.mp3">Talk3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/092916-Orion_Roe/092916-Orion_Roe_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/092916-Orion_Roe/092916-Orion_Roe_Talk4.mp3">Talk4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/092916-Orion_Roe/092916-Orion_Roe_04.mp3">Track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/092916-Orion_Roe/092916-Orion_Roe_Talk5.mp3">Talk5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/092916-Orion_Roe/092916-Orion_Roe_05.mp3">Track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/092916-Orion_Roe/092916-Orion_Roe_Talk6.mp3">Talk6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/092916-Orion_Roe/092916-Orion_Roe_06.mp3">Track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/092916-Orion_Roe/092916-Orion_Roe_Talk7.mp3">Talk7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/092916-Orion_Roe/092916-Orion_Roe_07.mp3">Track7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/092916-Orion_Roe/092916-Orion_Roe_08.mp3">Track8</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orion Series in Fine Arts - Paul Roe Creator An entity primarily responsible for making the resource Adelyn Chaw Trevor Naumann Contributor An entity responsible for making contributions to the resource Paul Roe, clarinet & bass clarinet Anne Grimm, soprano Patricia Kostek, clarinet Charlotte Hale, piano https://finearts.uvic.ca/music/archive/files/original/adb98061260f53782fb5f61b0bd1d5ab.pdf c8a32209b368da17047579ec86940308 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC ORION SERIES IN FINE ARTS presents Music That Speaks Robyn Driedger-Klassen, soprano & Terence Dawson, piano Monday, February 15, 2016 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free admission �PROGRAM Listen (2013/2014) Kevin Morse (b. 1980) De Profundis (1992) Frederic Rzewski (b. 1938) Terence Dawson, piano I NT E R M I S S I O N At the Statue of Venus (2005) Jake Heggie (b. 1961) Text: Terrence McNally (b. 1938) Robyn Driedger-Klassen, soprano Terence Dawson, piano �PROGRAM NOTES Listen is dedicated to Mr. Lowell Wood, an extremely skilled piano technician who, for over 40 years, maintained the pianos in the Department of Music at Mount Allison University, NB. Lowell took care of concert, school and home instruments all over the Maritime provinces for the length of his remarkable career. Beginning with a series of repeated notes, the composition evokes the recognition of the procedure a technician adopts while listening to the temperament and sonority of various notes during a tuning. The listener is drawn into this repetition and expansion of pitch class, gradually focusing more on the emerging melodic and harmonic content. In choosing this piece, my hope is that it will prepare you for a kind of deep listening that will enhance your experience of the more extended work that follows: Frederic Rzewski’s De Profundis. De Profundis has been described as a ‘melodramatic oratorio’, in which the pianist recites text consisting of portions of Oscar Wilde’s letter (De Profundis) to Lord Alfred Douglas (‘Bosie’), which was written during the author’s imprisonment in Reading Gaol. There, Wilde served a two-year sentence of hard labour in solitary confinement. Eight sections of rhythmically notated recitation are preceded by eight preludes, with the pianist directed to perform simultaneously as speaker, singer, whistler, and percussionist. The composer says of De Profundis: “The music demands a combination of virtuoso technique and a total lack of inhibition on stage, thus virtually guaranteeing that no mediocre or conventional performer will dare to go near it.” Frederic Rzewski has taught throughout North America and Europe, including The Liège Conservatory in Belgium, The Conservatory of Den Haag, and The Yale School of Music. Many of Rzewski’s compositions contain an underlying political commentary, and give musical expression to relevant social issues. T. Dawson At The Statue of Venus was inspired by the great concert scenes of Haydn, Mozart, Beethoven, and Britten. An attractive woman waits in a museum by a statue of the Goddess of Love to meet a man she has never seen. Her thoughts and emotions are a jumble of hope, uncertainty and self-doubt. Will he like her? Will she like him? Why did she — a proudly successful �modern woman, probably divorced — allow her friends to convince her that they found a Mister Right for her? We all know that Mr. Right doesn’t exist ­— or does he? Nothing ventured, nothing gained. To be willing to be judged by another person — does anything make us more vulnerable but human, too? We identified with Rose. We hope you will too. J. Heggie and T. McNally BIOGRAPHIES Terence Dawson, piano British-born, Canadian pianist Terence Dawson has firmly established himself as one of British Columbia’s most respected and versatile musicians. His reputation has resulted in repeat engagements from coast to coast across Canada, as well as in the USA, England and Asia. His many performances have garnered critical acclaim: “lucid” (Globe and Mail), “stunning” (Vancouver Sun), and possessing “trademark elegance and technical flair” (Georgia Straight). He has appeared as concerto soloist with the Vancouver Symphony Orchestra, National Arts Centre Orchestra, CBC Curio Ensemble, and is the pianist of choice for numerous artists and ensembles. He has performed for the Ottawa Chamber Music Society, Vetta Chamber Music, The Coast Recital Society, Music on Main, The VSO Chamber Players, The Vancouver Chamber Choir, Phoenix Chamber Choir, and as a touring duo with both the Reside/ Dawson Duo and soprano Robyn Driedger-Klassen. His performances this season will include a series of solo recitals which feature Rzewski’s De Profundis at universities and colleges from Vancouver Island to New Brunswick. A dedicated teacher, Dr. Dawson has been invited to lecture, adjudicate and conduct master classes at many educational institutions, National Conferences of The Canadian Federation of Music Teachers and for their affiliated branches, The Canadian Music Competition and the Canada Council. He is a founding faculty member of the Vancouver International Song Institute and was in residence at the inaugural VSO Summer Institute at Whistler in 2015. His graduate piano studies were with the lauded Canadian pianist, Jane Coop. Since 1991, he has taught piano and chamber music at the University of British Columbia, and in 2011 was appointed Chair of the Keyboard Division, succeeding his principal teacher. �Robyn Driedger-Klassen, soprano Robyn Driedger-Klassen has a passion for the performance of contemporary vocal repertoire. Some of her favourite living composers whose works she has performed include Leslie Uyeda, David McIntyre, Jeffrey Ryan, Jocelyn Morlock, Jake Heggie, Tom Cipullo, Kaaija Saariaho, Libby Larsen, Brian Current and Ana Sokolovic. This is an exciting time to be working with North American composers and Robyn is thrilled to make their songs come alive. Recently, The Georgia Straight said of her performance at the Modulus Festival of Kaija Saariaho’s Lonh: Robyn Driedger-Klassen also excelled on the duet for soprano and electronics. We knew she was a powerhouse singer, but her nakedly emotional and unadorned reading of 12th-century poet Jaufré Rudel’s Occitan text revealed another and arguably lovelier dimension to her voice. However, she will always make time to sing Mozart, Schubert, Britten or Richard Strauss! Robyn is the Head of Voice at the Vancouver Academy of Music and is on the core faculty of the Vancouver International Song Institute. Robyn loves books, geraniums, hikes, canoes, cups of tea and a clean house. Robyn lives with her husband and two vocal critics under the age of five. She can bake a wicked loaf of bread and in recent times has learned a considerable amount about monster trucks, fast cars and dinosaurs. ��UPCOMING EVENTS Tuesday, February 16, 12:30 p.m. (Admission by donation) TUESDAYMUSIC Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall Friday, February 19, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Featuring School of Music woodwind students in a concert of varied repertoire. Phillip T. Young Recital Hall Friday, February 19, 8:00 p.m. (Adults $18 / Seniors, students & alumni $14) FACULTY CONCERT SERIES: Bruce Vogt, piano Internationally celebrated pianist Bruce Vogt performs the late sonatas of Ludwig van Beethoven. Phillip T. Young Recital Hall Saturday, February 20, 2:30 p.m. (Admission by donation) PIANO CLASS RECITAL Featuring students from the studio of Arthur Rowe. Phillip T. Young Recital Hall Saturday, February 20, 8:00 p.m. (Admission by donation) PIANO CLASS RECITAL Featuring students from the studio of Eva Solar-Kinderman. Phillip T. Young Recital Hall Sunday, February 21, 2:00 p.m. (Admission by donation) CLARINET CLASS RECITAL Featuring students from the studio of Patricia Kostek accompanied by members of the piano class. 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 Orion Series in Fine Arts Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/021516-Orion_Dawson_Klassen/021516-Orion_Dawson_Klassen_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/021516-Orion_Dawson_Klassen/021516-Orion_Dawson_Klassen_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/021516-Orion_Dawson_Klassen/021516-Orion_Dawson_Klassen_03.mp3">track3</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orion Series in Fine Arts - Music That Speaks Creator An entity primarily responsible for making the resource James Gray Date A point or period of time associated with an event in the lifecycle of the resource February 15, 2016 Contributor An entity responsible for making contributions to the resource Robyn Driedger-Klassen, soprano; Terence Dawson, piano https://finearts.uvic.ca/music/archive/files/original/8007df544a4aed3c47aa2fb76ac462f7.pdf fc4d9b5b8fa00890c9517c84c6b8ab0c PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC ORION SERIES IN FINE ARTS presents Schubert’s Winterreise Daniel Lichti, baritone Sandra Mogensen, piano Thursday, February 4, 2016 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free admission �PROGRAM Winterreise (Op. 89, D 911) Franz Schubert (1797–1828) Texts by Wilhelm Müller (1794–1827) 1. Gute Nacht 2. Die Wetterfahne 3. Gefrorne Tränen 4. Erstarrung 5. Der Lindenbaum 6. Wasserflut 7. Auf dem Flusse 8. Rückblick 9. Irrlicht 10. Rast 11. Frühlingstraum 12. Einsamkeit 13. Die Post 14. Der greise Kopf 15. Die Krähe 16. Letzte Hoffnung 17. Im Dorfe 18. Der stürmische Morgen 19. Täuschung 20. Der Wegweiser 21. Das Wirtshaus 22. Mut! 23. Die Nebensonnen 24. Der Leiermann �TEXT & TRANSLATIONS Translation by Celia Sgroi 1. Gute Nacht Fremd bin ich eingezogen, Fremd zieh’ ich wieder aus. Der Mai war mir gewogen Mit manchem Blumenstrauß. 1. Good Night I came here a stranger, As a stranger I depart. May favored me With many a bunch of flowers. Das Mädchen sprach von Liebe, Die Mutter gar von Eh’, Nun ist die Welt so trübe, Der Weg gehüllt in Schnee. The girl spoke of love, Her mother even of marriage Now the world is so gloomy, The road shrouded in snow. Ich kann zu meiner Reisen Nicht wählen mit der Zeit, Muß selbst den Weg mir weisen In dieser Dunkelheit. I cannot choose the time To begin my journey, Must find my own way In this darkness. Es zieht ein Mondenschatten Als mein Gefährte mit, Und auf den weißen Matten Such’ ich des Wildes Tritt. A shadow of the moon travels With me as my companion, And upon the white fields I seek the deer’s track. Was soll ich länger weilen, Daß man mich trieb hinaus ? Laß irre Hunde heulen Vor ihres Herren Haus; Why should I stay here any longer So that people can drive me away ? Let stray dogs howl In front of their master’s house; Die Liebe liebt das Wandern Gott hat sie so gemacht Von einem zu dem andern. Fein Liebchen, gute Nacht ! Love loves to wander God made it that way From one to the other, My dearest, good night ! Will dich im Traum nicht stören, Wär schad’ um deine Ruh’. Sollst meinen Tritt nicht hören Sacht, sacht die Türe zu ! I don’t want to disturb your dreaming, It would be a shame to wake you. You won’t hear my step, Softly, softly the door closes ! Schreib im Vorübergehen Ans Tor dir: Gute Nacht, Damit du mögest sehen, An dich hab’ ich gedacht. I write in passing On your gate: Good night, So that you may see That I thought of you. 2. Die Wetterfahne Der Wind spielt mit der Wetterfahne Auf meines schönen Liebchens Haus. Da dacht’ ich schon in meinem Wahne, Sie pfiff den armen Flüchtling aus. 2. The Weathervane The wind plays with the weathervane On my lovely darling’s house. And I thought in my delusion, That it mocked the poor fugitive. Er hätt’ es eher bemerken sollen, Des Hauses aufgestecktes Schild, So hätt’ er nimmer suchen wollen Im Haus ein treues Frauenbild. He should have noticed sooner The symbol displayed on the house, So he wouldn’t ever have expected To find a faithful woman within. Der Wind spielt drinnen mit den Herzen Wie auf dem Dach, nur nicht so laut. Was fragen sie nach meinen Schmerzen ? Ihr Kind ist eine reiche Braut. The wind plays with the hearts inside As it does on the roof, only not so loudly. Why should they care about my grief ? Their child is a rich bride. �3. Gefror’ne Tränen Gefrorne Tropfen fallen Von meinen Wangen ab: Ob es mir denn entgangen, Daß ich geweinet hab’ ? 3. Frozen Tears Frozen drops are falling Down from my cheeks. How could I have not noticed That I have been weeping ? Ei Tränen, meine Tränen, Und seid ihr gar so lau, Daß ihr erstarrt zu Eise Wie kühler Morgentau ? Ah tears, my tears, And are you so tepid That you freeze to ice Like cool morning dew ? Und dringt doch aus der Quelle Der Brust so glühend heiß, Als wolltet ihr zerschmelzen Des ganzen Winters Eis ! Yet you burst from the wellspring Of my heart so burning hot, As if you wanted to melt The entire winter’s ice ! 4. Erstarrung Ich such’ im Schnee vergebens Nach ihrer Tritte Spur, Wo sie an meinem Arme Durchstrich die grüne Flur. 4. Numbness I search the snow in vain For the trace of her steps. Where she, arm in arm with me, Crossed the green meadow. Ich will den Boden küssen, Durchdringen Eis und Schnee Mit meinen heißen Tränen, Bis ich die Erde seh’. I want to kiss the ground, Penetrate ice and snow With my hot tears, Until I see the soil. Wo find’ ich eine Blüte, Wo find’ ich grünes Gras ? Die Blumen sind erstorben, Der Rasen sieht so blaß. Where will I find a blossom, Where will I find green grass ? The flowers are all dead, The turf is so pale. Soll denn kein Angedenken Ich nehmen mit von hier ? Wenn meine Schmerzen schweigen, Wer sagt mir dann von ihr ? Shall then no memento Accompany me from here ? When my pains cease, Who will tell me of her then ? Mein Herz ist wie erstorben, Kalt starrt ihr Bild darin; Schmilzt je das Herz mir wieder, Fließt auch ihr Bild dahin ! My heart is as if dead, Her image frozen cold within; If my heart ever thaws again, Her image will melt away, too ! 5. Der Lindenbaum Am Brunnen vor dem Tore Da steht ein Lindenbaum; Ich träumt’ in seinem Schatten So manchen süßen Traum. 5. The Linden Tree At the well by the gate There stands a linden tree; I dreamed in its shadow Many a sweet dream. Ich schnitt in seine Rinde So manches liebe Wort; Es zog in Freud’ und Leide Zu ihm mich immer fort. I carved in its bark Many a word of love; In joy and in sorrow I was always drawn to it. Ich mußt’ auch heute wandern Vorbei in tiefer Nacht, Da hab’ ich noch im Dunkeln Die Augen zugemacht. Again today I had to travel Past it in the depths of night. There even in the darkness I closed my eyes. Und seine Zweige rauschten, Als riefen sie mir zu: Komm her zu mir, Geselle, Hier find’st du deine Ruh’ ! And its branches rustled, As if they called to me: Come here to me, friend, Here you’ll find peace ! �Die kalten Winde bliesen Mir grad’ ins Angesicht; Der Hut flog mir vom Kopfe, Ich wendete mich nicht. The cold winds blew Right into my face; The hat flew off my head, I didn’t turn around. Nun bin ich manche Stunde Entfernt von jenem Ort, Und immer hör’ ich’s rauschen: Du fändest Ruhe dort ! Now I am many hours Distant from that place, And I still hear it whispering: You’d find peace here ! 6. Wasserflut Manche Trän’ aus meinen Augen Ist gefallen in den Schnee; Seine kalten Flocken saugen Durstig ein das heiße Weh. 6. Flood Water Many a tear from my eyes Has fallen in the snow; Its cold flakes absorb Thirstily the burning woe. Wenn die Gräser sprossen wollen Weht daher ein lauer Wind, Und das Eis zerspringt in Schollen Und der weiche Schnee zerrinnt. When it’s time for the grass to sprout There blows a mild wind, And the ice will break apart And the soft snow melt away. Schnee, du weißt von meinem Sehnen, Sag’, wohin doch geht dein Lauf ? Folge nach nur meinen Tränen, Nimmt dich bald das Bächlein auf. Snow, you know about my longing, Tell me, where does your course lead ? If you just follow my tears, The brook will soon receive you. Wirst mit ihm die Stadt durchziehen, Muntre Straßen ein und aus; Fühlst du meine Tränen glühen, Da ist meiner Liebsten Haus. You will flow through the town with it, In and out of the busy streets; When you feel my tears burning, There is my sweetheart’s house. 7. Auf dem Fluße Der du so lustig rauschtest, Du heller, wilder Fluß, Wie still bist du geworden, Gibst keinen Scheidegruß. 7. On the River You who thundered so cheerfully, You clear, untamed river, How quiet you have become, Give no word of farewell. Mit harter, starrer Rinde Hast du dich überdeckt, Liegst kalt und unbeweglich Im Sande ausgestreckt. In deine Decke grab’ ich Mit einem spitzen Stein Den Namen meiner Liebsten Und Stund’ und Tag hinein: Den Tag des ersten Grußes, Den Tag, an dem ich ging; Um Nam’ und Zahlen windet Sich ein zerbroch’ner Ring. Mein Herz, in diesem Bache Erkennst du nun dein Bild ? Ob’s unter seiner Rinde Wohl auch so reißend schwillt ? With a hard stiff crust You have covered yourself, Lie cold and unmoving, Outstretched in the sand. In your covering I inscribe With a sharp stone The name of my sweetheart And the hour and day, as well. The day of the first greeting, The day on which I left; Around name and figures winds A broken ring. My heart, in this stream Do you now recognize your image ? And under its crust Is there also a raging torrent ? 8. Rückblick Es brennt mir unter beiden Sohlen, Tret’ ich auch schon auf Eis und Schnee, Ich möcht’ nicht wieder Atem holen, Bis ich nicht mehr die Türme seh’. 8. A Look Backward It’s burning under both my feet, Even though I walk on ice and snow; I don’t want to catch my breath Until I can no longer see the spires. Hab’ mich an jedem Stein gestoßen, So eilt’ ich zu der Stadt hinaus; I tripped on every stone, As I hurried out of the town; �Die Krähen warfen Bäll’ und Schloßen Auf meinen Hut von jedem Haus. The crows hurled chunks of snow and ice On my hat from every house. Wie anders hast du mich empfangen, Du Stadt der Unbeständigkeit ! An deinen blanken Fenstern sangen Die Lerch’ und Nachtigall im Streit. How differently you received me, You town of inconstancy ! At your sparkling windows sang The lark and nightingale in competition. Die runden Lindenbäume blühten, Die klaren Rinnen rauschten hell, Und ach, zwei Mädchenaugen glühten. Da war’s gescheh’n um dich, Gesell ! The bushy linden trees bloomed, The clear streams murmured brightly, And, oh, two maiden’s eyes glowed Your fate was sealed, my boy ! Kommt mir der Tag in die gedanken, Möcht’ ich noch einmal rückwärts seh’n. Möcht’ ich zurücke wieder wanken, Vor ihrem Hause stille steh’n. Whenever that day enters my thoughts, I want to look back once more, I want to turn back again And stand still before her house. 9. Irrlicht In die tiefsten Felsengründe Lockte mich ein Irrlicht hin; Wie ich einen Ausgang finde, Liegt nicht schwer mir in dem Sinn. 9. Will o’ the Wisp Into the deepest mountain chasms A will o’ the wisp lured me; How to find a way out Doesn’t worry me much. Bin gewohnt das Irregehen, ‘s führt ja jeder Weg zum Ziel; Uns’re Freuden, uns’re Wehen, Alles eines Irrlichts Spiel ! I’m used to going astray, And every way leads to the goal. Our joys, our sorrows, Are all a will o’ the wisp’s game ! Durch des Bergstroms trockne Rinnen Wind’ ich ruhig mich hinab, Jeder Strom wird’s Meer gewinnen, Jedes Leiden auch sein Grab. Through the mountain stream’s dry channel I wend my way calmly downward. Every river finds its way to the ocean, And every sorrow to its grave. 10. Rast Nun merk’ ich erst wie müd’ ich bin, Da ich zur Ruh’ mich lege; Das Wandern hielt mich munter hin Auf unwirtbarem Wege. 10. Rest Now I first notice how tired I am As I lay myself down to rest; Walking kept me going strong On the inhospitable road. Die Füße frugen nicht nach Rast, Es war zu kalt zum Stehen; Der Rücken fühlte keine Last, Der Sturm half fort mich wehen. In eines Köhlers engem Haus Hab’ Obdach ich gefunden. Doch meine Glieder ruh’n nicht aus: So brennen ihre Wunden. My feet didn’t ask for rest, It was too cold to stand still, My back felt no burden, The storm helped to blow me onward. In a charcoal-burner’s tiny house I have found shelter; But my limbs won’t relax, Their hurts burn so much. Auch du, mein Herz, in Kampf und Sturm So wild und so verwegen, Fühlst in der Still’ erst deinen Wurm Mit heißem Stich sich regen ! You, too, my heart, in strife and storm So wild and so bold, Feel first in the silence your serpent Stir with burning sting ! 11. Frühlingstraum Ich träumte von bunten Blumen, So wie sie wohl blühen im Mai; Ich träumte von grünen Wiesen, Von lustigem Vogelgeschrei. 11. Dream of Spring I dreamed of many-colored flowers, The way they bloom in May; I dreamed of green meadows, Of merry bird calls. Und als die Hähne krähten, Da ward mein Auge wach; Da war es kalt und finster, Es schrien die Raben vom Dach. And when the roosters crowed, My eye awakened; It was cold and dark, The ravens shrieked on the roof. �Doch an den Fensterscheiben, Wer malte die Blätter da ? Ihr lacht wohl über den Träumer, Der Blumen im Winter sah ? But on the window panes Who painted the leaves there ? I suppose you’ll laugh at the dreamer Who saw flowers in winter ? Ich träumte von Lieb um Liebe, Von einer schönen Maid, Von Herzen und von Küssen, Von Wonne und Seligkeit. I dreamed of love reciprocated, Of a beautiful maiden, Of embracing and kissing, Of joy and delight. Und als die Hähne krähten, Da ward mein Herze wach; Nun sitz’ ich hier alleine Und denke dem Traume nach. And when the roosters crowed, My heart awakened; Now I sit here alone And reflect on the dream. Die Augen schließ’ ich wieder, Noch schlägt das herz so warm. Wann grünt ihr Blätter am Fenster ? Wann halt’ ich mein Liebchen im Arm ? I close my eyes again, My heart still beats so warmly. When will you leaves on the window turn green ? When will I hold my love in my arms ? 12. Einsamkeit Wie eine trübe Wolke Durch heit’re Lüfte geht, Wenn in der Tanne Wipfel Ein mattes Lüftchen weht: 12. Solitude As a dreary cloud Moves through the clear sky, When in the crown of the fir tree A faint breeze blows, So zieh ich meine Straße Dahin mit trägem Fuß, Durch helles, frohes Leben Einsam und ohne Gruß. So I travel my road Onward with sluggish feet, Through bright, happy life, Lonely and unrecognized. Ach, daß die Luft so ruhig ! Ach, daß die Welt so licht ! Als noch die Stürme tobten, War ich so elend nicht. Oh, that the air should be so still ! Oh, that the world should be so light ! When the storms still raged, I was not so miserable. 13. Die Post Von der Straße her ein Posthorn klingt. Was hat es, daß es so hoch aufspringt, Mein Herz ? 13. The Post From the highroad a posthorn sounds. Why do you leap so high, My heart ? Die Post bringt keinen Brief für dich. Was drängst du denn so wunderlich, Mein Herz ? Nun ja, die Post kommt aus der Stadt, Wo ich ein liebes Liebchen hat, Mein Herz ! Willst wohl einmal hinüberseh’n Und fragen, wie es dort mag geh’n, Mein Herz ? 14. Der greise Kopf Der Reif hatt’ einen weißen Schein Mir übers Haar gestreuet; Da glaubt’ ich schon ein Greis zu sein Und hab’ mich sehr gefreuet. Doch bald ist er hinweggetaut, Hab’ wieder schwarze Haare, Daß mir’s vor meiner Jugend graut Wie weit noch bis zur Bahre ! The post does not bring a letter for you, Why the strange compulsion, My heart ? Of course, the post comes from the town, Where I once had a dear sweetheart, My heart ! Would you like to take a look over there, And ask how things are going, My heart ? 14. The Old-Man’s Head The frost has spread a white sheen All over my hair; I thought I had become an old man And was very pleased about it. But soon it melted away, And now I have black hair again So that I am horrified by my youth How long still to the grave ! �Vom Abendrot zum Morgenlicht Ward mancher Kopf zum Greise. Wer glaubt’s ? und meiner ward es nicht Auf dieser ganzen Reise ! From the sunset to the dawn Many a head turns white. Who can believe it ? And mine Has not on this whole journey ! 15. Die Krähe Eine Krähe war mit mir Aus der Stadt gezogen, Ist bis heute für und für Um mein Haupt geflogen. 15. The Crow A crow has accompanied me Since I left the town, Until today, as ever, It has circled over my head. Krähe, wunderliches Tier, Willst mich nicht verlassen ? Meinst wohl, bald als Beute hier Meinen Leib zu fassen ? Crow, you strange creature, Won’t you ever leave me ? Do you plan soon as booty To have my carcase ? Nun, es wird nicht weit mehr geh’n An dem Wanderstabe. Krähe, laß mich endlich seh’n Treue bis zum Grabe ! Well, I won’t be much longer Wandering on the road. Crow, let me finally see Loyalty unto the grave ! 16. Letzte Hoffnung Hie und da ist an den Bäumen Manches bunte Blatt zu seh’n, Und ich bleibe vor den Bäumen Oftmals in Gedanken steh’n. 16. Last Hope Here and there on the trees There’s a colored leaf to be seen. And I stop in front of the trees Often, lost in thought. Schaue nach dem einen Blatte, Hänge meine Hoffnung dran; Spielt der Wind mit meinem Blatte, Zittr’ ich, was ich zittern kann. I watch a particular leaf And pin my hopes on it; If the wind plays with my leaf I tremble from head to foot. Ach, und fällt das Blatt zu Boden, Fällt mit ihm die Hoffnung ab; Fall’ ich selber mit zu Boden, Wein’ auf meiner Hoffnung Grab. Oh, and if the leaf falls to earth, My hopes fall along with it. I fall to earth as well And weep on the grave of my hopes. 17. Im Dorfe Es bellen die Hunde, es rasseln die Ketten; Es schlafen die Menschen in ihren Betten, Träumen sich manches, was sie nicht haben, Tun sich im Guten und Argen erlaben; 17. In the Village The dogs are barking, the chains are rattling; The people are sleeping in their beds, Dreaming of things they don’t have, Refreshing themselves in good and bad. Und morgen früh ist alles zerflossen. Je nun, sie haben ihr Teil genossen Und hoffen, was sie noch übrig ließen, Doch wieder zu finden auf ihren Kissen. And in the morning all will have vanished. Oh well, they had their share of pleasure And hope that what they missed Can be found again on their pillows. Bellt mich nur fort, ihr wachen Hunde, Laßt mich nicht ruh’n in der Schlummerstunde ! Ich bin zu Ende mit allen Träumen. Was will ich unter den Schläfern säumen ? Drive me out with your barking, you vigilant dogs, Don’t let me rest when it’s time for slumber. I am finished with all my dreams. Why should I linger among the sleepers ? �18. Der stürmische Morgen Wie hat der Sturm zerrissen Des Himmels graues Kleid ! Die Wolkenfetzen flattern Umher im matten Streit. 18. The Stormy Morning How the storm has torn asunder The heavens’ grey cover ! The cloud tatters flutter Around in weary strife. Und rote Feuerflammen Zieh’n zwischen ihnen hin; Das nenn’ ich einen Morgen So recht nach meinem Sinn ! And fiery red flames Dart around among them; That’s what I call a morning That really fits my mood ! Mein Herz sieht an dem Himmel Gemalt sein eig’nes Bild Es ist nichts als der Winter, Der Winter kalt und wild ! My heart sees in the heavens Its own image painted It’s nothing but the winter, Winter cold and wild ! 19. Täuschung Ein Licht tanzt freundlich vor mir her, Ich folg’ ihm nach die Kreuz und Quer; Ich folg’ ihm gern und seh’s ihm an, Daß es verlockt den Wandersmann. 19. Illusion A light does a friendly dance before me, I follow it here and there; I like to follow it and watch The way it lures the wanderer. Ach ! wer wie ich so elend ist, Gibt gern sich hin der bunten List, Die hinter Eis und Nacht und Graus, Ihm weist ein helles, warmes Haus. Ah, a man as wretched as I am Is glad to fall for the merry trick That, beyond ice and night and fear, Shows him a bright, warm house. Und eine liebe Seele drin. Nur Täuschung ist für mich Gewinn ! And a loving soul within Only illusion lets me win ! 20. Der Wegweiser Was vermeid’ ich denn die Wege, Wo die ander’n Wand’rer geh’n, Suche mir versteckte Stege, Durch verschneite Felsenhöh’n ? 20. The Sign Post Why then do I avoid the highways Where the other travelers go, Search out the hidden pathways Through the snowy mountain tops ? Habe ja doch nichts begangen, Daß ich Menschen sollte scheu’n, Welch ein törichtes Verlangen Treibt mich in die Wüstenei’n ? I’ve committed no crime That I should hide from other men What is the foolish compulsion That drives me into desolation ? Weiser stehen auf den Straßen, Weisen auf die Städte zu. Und ich wandre sonder Maßen Ohne Ruh’ und suche Ruh’. Signposts stand along the highways Pointing to the cities, And I wander ever further Without rest and look for rest. Einen Weiser seh’ ich stehen Unverrückt vor meinem Blick; Eine Straße muß ich gehen, Die noch keiner ging zurück. Before me I see a signpost standing Fixed before my gaze. I must travel a road From which no one ever returned. 21. Das Wirtshaus Auf einen Totenacker Hat mich mein Weg gebracht; Allhier will ich einkehren, Hab ich bei mir gedacht. 21. The Inn My way has led me To a graveyard; Here I’ll stop, I told myself. Ihr grünen Totenkränze Könnt wohl die Zeichen sein, Die müde Wand’rer laden Ins kühle Wirtshaus ein. You green mourning garlands Must be the sign That invites weary travelers Into the cool inn. �Sind denn in diesem Hause Die Kammern all’ besetzt ? Bin matt zum Niedersinken, Bin tödlich schwer verletzt. What, all the rooms In this house are full? I’m tired enough to drop, Have taken mortal hurt. O unbarmherz’ge Schenke, Doch weisest du mich ab ? Nun weiter denn, nur weiter, Mein treuer Wanderstab ! Oh, merciless inn, You turn me away? Well, onward then, still further, My loyal walking staff! 22. Mut Fliegt der Schnee mir ins Gesicht, Schüttl’ ich ihn herunter. Wenn mein Herz im Busen spricht, Sing’ ich hell und munter. 22. Courage If the snow flies in my face, I shake it off again. When my heart speaks in my breast, I sing loudly and gaily. Höre nicht, was es mir sagt, Habe keine Ohren; Fühle nicht, was es mir klagt, Klagen ist für Toren. I don’t hear what it says to me, I have no ears to listen; I don’t feel when it laments, Complaining is for fools. Lustig in die Welt hinein Gegen Wind und Wetter ! Will kein Gott auf Erden sein, Sind wir selber Götter ! Happy through the world along Facing wind and weather ! If there’s no God upon the earth, Then we ourselves are Gods ! 23. Die Nebensonnen Drei Sonnen sah ich am Himmel steh’n, Hab’ lang und fest sie angeseh’n; Und sie auch standen da so stier, Als wollten sie nicht weg von mir. 23. The False Suns I saw three suns in the sky, Stared at them hard for a long time; And they stayed there so stubbornly That it seemed they didn’t want to leave me. Ach, meine Sonnen seid ihr nicht ! Schaut ander’n doch ins Angesicht ! Ja, neulich hatt’ ich auch wohl drei; Nun sind hinab die besten zwei. Ah, you are not my suns ! Go, look into someone else’s face ! Yes, recently I, too, had three But now the best two have gone down. Ging nur die dritt’ erst hinterdrein ! Im Dunkel wird mir wohler sein. If only the third would also set ! I will feel better in the dark. 24. Der Leiermann Drüben hinterm Dorfe Steht ein Leiermann Und mit starren Fingern Dreht er was er kann. 24. The Hurdy-Gurdy Man Over there beyond the village Stands an organ-grinder, And with numb fingers He plays as best he can. Barfuß auf dem Eise Wankt er hin und her Und sein kleiner Teller Bleibt ihm immer leer. Barefoot on the ice, He totters here and there, And his little plate Is always empty. Keiner mag ihn hören, Keiner sieht ihn an, Und die Hunde knurren Um den alten Mann. No one listens to him, No one notices him, And the dogs growl Around the old man. Und er läßt es gehen, Alles wie es will, Dreht, und seine Leier Steht ihm nimmer still. And he just lets it happen, As it will, Plays, and his hurdy-gurdy Is never still. Wunderlicher Alter ! Soll ich mit dir geh’n ? Willst zu meinen Liedern Deine Leier dreh’n ? Strange old man, Shall I go with you ? Will you play your organ To my songs ? �BIOGRAPHIES DANIEL LICHTI Since his operatic debut at the 1974 Stratford Festival, Daniel Lichti has established himself as one of Canada’s finest bass-baritones, performing with many of North America’s finest orchestras (both modern and baroque) and with most of its choral organizations. He has achieved renown at major Bach and summer Festivals, performed oratorio and opera internationally, gained acclaim as a recitalist and recording artist, and taken the stage with many of Canada’s leading opera companies. In 2014-15, he celebrated 40 years of singing for audiences around the world, and ongoing critical commentary indicates that his artistry continues to inspire admiration for the beauty, warmth and richness of his voice, and respect for the dignity and sincerity of his interpretations. Mr. Lichti, Associate Professor of Voice for the Faculty of Music at Wilfrid Laurier University since 1998, is frequently invited to teach and conduct masterclasses internationally. Recently he gave a masterclass at Baldwin-Wallace University Conservatory, at Tapei’s University for the Arts, and for the Music Department at Tunghai University in Taiwan. This summer he returned to teach and perform at the 2015 Académie de Fourvière in Lyon, France, where he has been a guest artist/ teacher for the past three years. Performance highlights of the coming season include the title role in Elijah with the Grand Philharmonic Choir and Kitchener-Waterloo Symphony Orchestra and Schubert’s epic Winterreise in Hagen, Germany with pianist Roland Pröll, and in Winnipeg, for Prairie Performances, with his colleague, pianist Leslie De’Ath. May 2016 will mark yet another of his many guest appearances at the Bethlehem Bach Festival in Pennsylvania. SANDRA MOGENSEN Canadian pianist Sandra Mogensen is equally at home performing as soloist and with singers in recital; and also works as a vocal coach. She has performed in Canada, the United States, Denmark, Latvia, Norway, Iceland, and Austria. Sandra studied at University of Western Ontario, in Salzburg, in Copenhagen, and at Westminster Choir College in Princeton, where her teachers were J.J.Penna and Dalton Baldwin. Sandra has recorded three albums of Grieg piano music on the CHM label, and an independent release of Schubert’s Winterreise with Germany-based Canadian bass, Paul Sketris. Since 2006, Sandra has specialized in the music of Edvard Grieg. She was awarded grants from the Royal Norwegian Embassy in Canada, the Association for the Advancement of Scandinavian Studies in Canada, and the Ontario Arts Council, for a 2014 research trip in to study Norwegian diction and Grieg’s songs for voice and piano. She returned to Norway to take part in the Grieg Song Workshop and presented a paper at the “Edvard Grieg and the human voice” conference in Bergen in May 2015. In October 2015, Ms. Mogensen gave a series of concerts of Grieg’s songs throughout Ontario, with Norwegian soprano, Hilde Haraldsen Sveen. Sandra Mogensen is currently based in Toronto. Upcoming: soloist in Mozart Piano Concerto No. 23 with the Stratford Symphony Orchestra. � 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 Orion Series in Fine Arts Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/020416-Orion_Lichti_Mogensen/020416-Orion_Lichti_Mogensen_01.mp3">track1</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orion Series in Fine Arts - Schubert's Winterreise Creator An entity primarily responsible for making the resource Adar Guy Date A point or period of time associated with an event in the lifecycle of the resource February 4, 2016 Contributor An entity responsible for making contributions to the resource Daniel Lichti, baritone; Sandra Mogensen, piano https://finearts.uvic.ca/music/archive/files/original/e48ddb51a62e5fc7d369368bca8a6f4c.pdf 82f7c31e47b417ba04daf73cc3c27c0f PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC ORION SERIES IN FINE ARTS presents A Visit to Bergen David Stewart, violin & Jane Coop, piano Tuesday, February 2, 2016 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free admission �PROGRAM Sonata No.1 in F Major, Op. 8 Allegro con brio Allegretto quasi Andantino Allegro molto vivace Edvard Grieg (1843–1907) Légende Norvégienne Eugène Ysaÿe (1858–1931) (dedicated to Alexandre Bull, composed in April 1882, re-discovered in 2012) Lyric Pieces for Piano Brooklet Scherzo On the Mountains Grieg I NT E R M I S S I O N Violin Sonata in D minor, Op. 27, No. 3 ‘Ballade’ Ysaÿe Sonata No. 2 in G Major, Op.13 Lento doloroso-Allegro vivace Allegretto tranquillo Allegro animato Grieg Rêve d’Enfant, Op. 14 Ysaÿe �BIOGRAPHIES David Stewart is concertmaster of the Bergen Philharmonic Orchestra in Norway, a position he returned to in 2011 after 20 years as violin professor at the Universities of Manitoba and Ottawa. He has enjoyed a diverse career as a professional musician, having performed most of the chamber music, orchestra and solo repertoire. Engagements have taken him to much of Europe and North America. He has had the pleasure to tour mainland China 14 times, as recitalist and professor. Mr. Stewart is a founding member of Bit-20, Norway’s premier contemporary music ensemble, the Agassiz music festival, in Winnipeg, and Quatuor Lumière, a string quartet using historical performance practices. He has taken a special interest in the training of young orchestral musicians and has been coach or conductor of youth orchestras in Finland, Norway, Germany, China and Canada. He now divides his time between Canada and Norway, giving masterclasses at universities and conservatories and as a guest concertmaster in various European orchestras. Pianist Jane Coop, one of Canada’s most distinguished artists, has toured extensively throughout North America, Asia and Europe, performing in such halls as Lincoln Center, Wigmore Hall, the Kennedy Center, Roy Thomson Hall, Salle Gaveau, the Singapore Cultural Center, and the Bolshoi Zal of St. Petersburg. She has collaborated with the principal orchestras of Canada, as well as the Royal Philharmonic Orchestra of London, the Seattle and Portland Symphonies, the Hong Kong Symphony, and the Radio Orchestras of Bavaria and Holland, in some forty concerti. Her commitment to teaching is centred around her long time position at the University of British Columbia’s School of Music in Vancouver, where she was a senior professor and Head of the Piano Division. In 2003 she was designated Distinguished University Scholar by the university’s president, and in 2007 she received a Killam Teaching Award. In 1992 she was the founding Artistic Director of the Young Artists’ Experience – a summer chamber music program for students from the age of 14 to 18 which originally took place in Whistler, BC., and is now held at UBC each summer. Coop’s reputation has inspired international competition organizers to invite her to judge their events over the past fifteen years: the Kapell (Maryland), Dublin AXA, Washington (DC), Hilton Head, Honens (Calgary) and the New York Piano Competition. She has also been a jury member for the Governer General’s Performing Arts Awards, the Glenn Gould Prize, the Hnatyshyn Foundation Developing Artists Grants and various Canada Council grant awards. Her sixteen recordings, three of which have been nominated for Juno awards, have garnered glowing reviews and have been heard on classical radio programs in many countries. In December 2012, Jane Coop was appointed to the Order of Canada, our country’s highest honour for lifetime achievement. � 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 Orion Series in Fine Arts Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/020216-Orion_Stewart_Coop/020216-Orion_Stewart_Coop_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/020216-Orion_Stewart_Coop/020216-Orion_Stewart_Coop_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/020216-Orion_Stewart_Coop/020216-Orion_Stewart_Coop_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/020216-Orion_Stewart_Coop/020216-Orion_Stewart_Coop_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/020216-Orion_Stewart_Coop/020216-Orion_Stewart_Coop_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/020216-Orion_Stewart_Coop/020216-Orion_Stewart_Coop_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 Orion Series in Fine Arts - A Visit to Bergen 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 2, 2016 Contributor An entity responsible for making contributions to the resource David Stewart, violin; Jane Coop, piano