3 10 27 https://finearts.uvic.ca/music/archive/files/original/964936d0a6dc626330b843f2bc098fb9.pdf e785e13beb8c46e0f5f5c8060012c643 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 BENNY SLUCHIN TROMBONE Tuesday, November 17, 2015 • 12:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free admission �PROGRAM Full Circle ANTHROPO Keith Hamel Paul Steenhuisen Benny Sluchin, trombone Benny Sluchin studied music at the conservatory of his native city, Tel Aviv, and in the Academy of Music in Jerusalem. Simultaneously, he studied mathematics and philosophy at the University of Tel Aviv and received his Master of Science degree. For two years, Sluchin played in the Israel Philharmonic Orchestra. For the following 4 years he was co-soloist in the Symphony Orchestra of Jerusalem (Radio Orchestra). A scholarship from the German government brought him to Cologne where he studied with Vinko Globokar, receiving his Artist’s diploma with distinction. Since 1976, he has been a member of the Ensemble InterContemporain (dir. Pierre Boulez), playing the most representative music of the present century and participating as soloist in premières of solo works by Iannis Xenakis, Vinko Globokar, Gérard Grisey, Pascal Dusapin, Frédéric Martin, Elliott Carter, Luca Francesconi, Marco Stroppa, and James Wood. Apart from this, he participates in various research projects in brass acoustics at IRCAM (Institut de Recherche et de Coordination Acoustique/ Musique, Paris). He finished his doctoral thesis and is the author of many articles and pedagogical books. The SACEM prize for pedagogical realisation was given in 1996 to his Introduction to contemporary trombone techniques and Singing and playing simultaneously on brass instruments (Éditions Musicales Européennes). Benny Sluchin took part in many recordings and completed Le Trombone Contemporain (Musidisc 243673), French Bel Canto Trombone (Musidisc 243662), and Xenakis – Keren (Erato 2292-45770-2). �PROGRAM NOTES Keith Hamel Keith Hamel is a Professor in the School of Music and Director of the Computer Music Studio at the University of British Columbia. He has written both acoustic and electroacoustic music and has been awarded many prizes in both media. His works have been performed by many of the finest soloists and ensembles both in Canada and abroad. He has received commissions from IRCAM (Paris), the Ensemble Intercontemporain, Vancouver Symphony Orchestra, Windsor Symphony Orchestra, Vancouver New Music Ensemble, the Elektra Women’s Choir, musica intima, New Music Concerts (Toronto), Hammerhead Consort, Standing Wave, Hard Rubber Orchestra, as well as from outstanding performers such as flutist Robert Cram, bassoonist Jesse Read, clarinetists Jean-Guy Boisvert and François Houle, saxophonist Julia Nolan, trombonists Jeremy Berkman and Benny Sluchin, and pianists Douglas Finch, Megumi Masaki, Jane Hayes and Corey Hamm. Many of his recent compositions focus on interaction between live performers and computercontrolled electronics. Full Circle Full Circle is a composition for trombone, interactive electronics and gesture tracking. The computer interacts with the live performer by processing the trombone’s sounds, triggering pre-recorded samples, and improvising using musical material recorded during the performance. A camera is located directly above the performer and tracks the movement of the trombone slide. At times, the motions of the slide cause electroacoustic sounds to be generated by the system and moved around the multichannel diffusion system. Samples used in Full Circle include trombone sounds, breath sounds, and bells. Full Circle was composed for trombonists Jeremy Berkman and Benny Sluchin. Special thanks to Martin Ritter, Yota Kobayashi and Naithan Bosse who all assisted in the development of the gesture-tracking system, and to Jeremy Berkman who helped in the preparation of the trombone samples and in the testing of the tracking system. Hamel’s research in interactive electroacoustic composition and gesture following is funded by the Social Sciences and Humanities Research Council. �Paul Steenhuisen Paul Steenhuisen (born Vancouver, Canada) is an independent composer working with acoustic and digital media. His concert music consists of orchestral, chamber, solo, and vocal music, and often includes live electronics and soundfiles. Additionally, he is the composer for the HYPOSURFACE installation project, based in Cambridge, Massachussetts. Raised by parents from The Netherlands and Curaçao, the confluence of his heritage and upbringing in North American culture has informed both his education and musical output. Initially, Steenhuisen worked with Keith Hamel (DMA, UBC), then simultaneously with Louis Andriessen at the Koninklijk Conservatorium in the Hague and Michael Finnissy in Hove, England, then later with Tristan Murail at IRCAM in Paris. During those years, he was laureate of more than a dozen national and international awards, including the Governor General of Canada Gold Medal as the outstanding student in all faculties (UBC), seven awards in the PROCAN/SOCAN Competition, and four in the CBC Young Composers Competition. He was a finalist in the Gaudeamus Music Week, and his piece WONDER was a “recommended” work at the International Rostrum of Composers (UNESCO, Paris). Subsequently, Steenhuisen was composer in residence with the Toronto Symphony Orchestra, and Assistant Professor of Composition at the University of Alberta. In 2011, he was awarded the Victor Martin Lynch-Staunton Award (Canada Council for the Arts) as the outstanding mid-career artist in music. He is also the author of ‘Sonic Mosaics: Conversations with Composers’, and host of the SOUNDLAB New Music Podcast (iTunes). His music has been called “Superb… the high point of the concert” (Neuzeit Graz, Austria), as well as “filth” (La Presse, Montréal), with a “freshness that bodes well for the future” (Paris Transatlantic). � �ANTHROPO TEXTS (in soundfiles or recited) Ma femme à la taille de loutre My wife to the size of otter entre les dents du tigre between the teeth of the tiger Ma femme à la bouche de cocarde My wife has the mouth of a roundel et de bouquet d’étoiles de dernière grandeur and rosette bouquet of stars latter grandeur Aux dents d’empreintes de souris Teeth imprints of white mice blanche sur la terre blanche White on the white earth L’union libre, André Breton Des loups viennent mordre le poignet (de l’homme) sans détente, et la main qui s’épuise. Les rats s’approchent, sautant sans bruit, sans bruit. Impuissance, puissance des autres. Wolves are biting the wrist of man (Rights) without relaxation, and the hand that runs out. Rats are approaching, jumping without noise Without noise. Impotence, power of others. Le singe se renverse et devient balai. La loutre se renverse et devient éponge. L’âne se renverse et devient un buffle et un REQUIN QUI S’ÉLANCE VERS VOUS LA GUEULE RENVERSÉE POUR HAPPER. The monkey is reversed and becomes broom. The otter is reversed and becomes sponge. The donkey is reversed and becomes a buffalo Devient and becomes a SHARK that rushes TO YOU AND REVERSES ITS MOUTH to snap. Animaux fantastiques, Henri Michaux Dedicated to Benny Sluchin First performance: December 11, 2014, Music Gallery, Toronto Benny Sluchin, trombone, presented by New Music Concerts ANTHROPO was written with the support of the Canada Council for the Arts �ORION SERIES IN FINE ARTS Each year we invite world-renowned guest artists to perform concerts and present masterclasses at the School of Music with generous support from the Orion Fund in Fine Arts. Events take place in the Phillip T. Young Recital Hall unless otherwise indicated. Admission to all events is free. LAURENCE KAYALEH, violin ELIZABETH DOLIN, cello Laurence Kayaleh (Montreal) is an international concert performer and professor at the University of Montreal. Elizabeth Dolin (Montreal) has earned a solid reputation as one of Canada’s finest cellists, in demand as a recitalist throughout Canada and the United States. STRING MASTERCLASSES: Tuesday, November 17, 12:30–2:30 p.m. Rm. B016, MacLaurin Building, B-Wing CONCERT: Wednesday, November 18, 12:30 p.m. Performing works for violin and cello by Kodaly and Ravel. RACHEL MERCER, cello Rachel Mercer (Ontario) is currently guest principal cellist for the National Arts Centre Orchestra and the Canadian Opera Company. CELLO MASTERCLASS: Monday, November 23, 8 p.m. �UPCOMING EVENTS Friday, November 20, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Featuring School of Music voice students in a concert of varied repertoire. Phillip T. Young Recital Hall Friday, November 20, 8:00 p.m. (Admission by donation) SONIC LAB: Workers Union Ajtony Csaba, conductor UVic’s contemporary music ensemble performs Louis Andriessen’s Workers Union and Hout, as well as Elliott Carter’s Flute Concerto. Phillip T. Young Recital Hall Saturday, November 21, 8:00 p.m. ($18 & $14) FACULTY CONCERT SERIES Alexander Dunn, guitar Performing his adaptations of lute and cello works by Bach, 12 Miniature Preludes by Allan Wilcocks, and Joaquin Turina’s Sonata. Phillip T. Young Recital Hall Sunday, November 22, 1:30 p.m. (Admission by donation) PIANO CLASS RECITAL Featuring students from the studio of May Ling Kwok. Phillip T. Young Recital Hall Sunday, November 22, 8:00 p.m. (Admission by donation) UVIC VOCAL JAZZ ENSEMBLE Fall Showcase:Too Hot To Sleep in Winter Wendell Clanton, director The UVic Vocal Jazz Ensemble performs original and inspiring arrangements in a fun-filled audience engaging evening. Phillip T. Young Recital Hall Tuesday, November 24, 12:30 p.m. (Admission by donation) TUESDAYMUSIC Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall 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/111715-Orion_Sluchin/111715-Orion_Sluchin_01.mp3">talk</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/111715-Orion_Sluchin/111715-Orion_Sluchin_02.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/111715-Orion_Sluchin/111715-Orion_Sluchin_03.mp3">talk</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/111715-Orion_Sluchin/111715-Orion_Sluchin_04.mp3">track2</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orion Series in Fine Arts - Benny Sluchin, trombone Creator An entity primarily responsible for making the resource Kirk McNally Date A point or period of time associated with an event in the lifecycle of the resource November 17, 2015 Contributor An entity responsible for making contributions to the resource Benny Sluchin, trombone https://finearts.uvic.ca/music/archive/files/original/9dffd17130be88fbc50c8d4a0f380f6a.pdf eae9675590eca9a8f7b24ceb9fc59f19 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 LAURENCE KAYALEH VIOLIN & ELIZABETH DOLIN CELLO Wednesday, November 18, 2015 • 12:30 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free admission �PROGRAM Sonate pour violon et violoncelle Maurice Ravel (1875–1937) Allegro Très vif Lent Vif avec entrain Duo for Violin and Cello, Op. 7 Allegro serioso, ma non troppo Zoltán Kodály (1882–1967) Adagio Maestoso e largemente, ma non troppo lento–Presto �BIOGRAPHIES Laurence Kayaleh, violin Laurence Kayaleh has performed as soloist in such prestigious centres as Paris, Brussels, Zürich, Tokyo, Washington, Cleveland, Saint Louis, Sofia, Montréal, Bern, Caracas, Moscow, Modena and Geneva. She has appeared with many distinguished orchestras, including the Zürich Tonhalle, the Russian National Orchestra, the National Symphony (Washington), Orchestre Lamoureux (Paris), Orchestre Symphonique de Montréal, and the major orchestras of Cleveland, Saint Louis, Caracas (Simon Bolivar), Basel and Mexico City, under such conductors as Slatkin, Pletnev, Dutoit, Kogan, Venzago, Nowak and Wakasugi. The world-renowned critic of Le Figaro, Pierre Petit, used the phrase “L’Archet Royal” to describe her golden tone. She has been a guest at major festivals including Lucerne, Blossom, Cervantino, Divonne, Ottawa, Parry Sound (Canada) and the Abbey Bach Festival in Oregon. Laurence Kayaleh is a professor of violin and chamber music at the Université de Montréal, Canada, and she has recorded the complete violin and piano works by composers N. Medtner and A. Honegger for NAXOS. She plays a 1742 Guarnerius which belonged to the famous violinist and pedagogue Carl Flesch. Elizabeth Dolin, cello Since her Carnegie Recital Hall debut in 1985, Elizabeth Dolin has earned a solid reputation as one of Canada’s finest cellists, in demand as a recitalist throughout Canada and the United States, and as soloist with major Canadian orchestras under such conductors as Mario Bernardi, Yannick Nezet-Séguin and Simon Streatfield. Referring to her Mendelssohn recording with Bernadene Blaha on the Analekta label, The Strad writes that she “performs these works with technical finesse and just the right level of delicacy that Mendelssohn...demands. Highly recommended” A founding member of several highly regarded ensembles (Les Cordes Romantiques, Duo Fouquet-Dolin, Reiner Trio), she has collaborated with such artists as Martin Beaver, Bernadene Blaha, Steven Isserlis and Pinchas Zuckerman. Her regular appearances at Festival of the Sound, the Ottawa Chamber Music Festival, the Orford Festival, Chamber Music Kincardine and the Fredericton Chamber Music Festival, among others, have been enthusiastically received. Highlights of note include a tour of Beethoven’s Triple Concerto with l’Orchestre Metropolitain and a performance of Schumann’s Concerto for Cello with the Victoria Symphony. Elizabeth Dolin’s large and varied discography includes works by Chopin, Coulthard, Debussy, Dolin, Franck, Mendelssohn, Mozart, Rachmaninoff and Vierne, for the Naxos, Analekta, ATMA, CBC-Musica Viva, Fonovox , Disques XX1, and Pélleas labels. Her recording of the Rachmaninoff and Debussy sonatas, as well as the complete works of Mendelssohn for cello and piano, both for Analekta, were nominated for Best Album of the Year by l’ADISQ in 2002 and 2004 and received rave reviews. In addition to being an active member of Montreal’s chamber music scene, Ms. Dolin is Assistant Professor of Cello at the Schulich School of Music, McGill University, as well as Professor of Cello and Chamber Music at the Conservatoire de musique de Montréal. � 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/111815-Orion_Dolin/111815-Orion_Dolin_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/111815-Orion_Dolin/111815-Orion_Dolin_02.mp3">track2</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orion Series in Fine Arts - Laurence Kayaleh, violin; Elizabeth Dolin, cello Creator An entity primarily responsible for making the resource Kirk McNally Date A point or period of time associated with an event in the lifecycle of the resource November 18, 2015 Contributor An entity responsible for making contributions to the resource Laurence Kayaleh, violin; Elizabeth Dolin, cello https://finearts.uvic.ca/music/archive/files/original/7ad76f666bb8eda8af37b388f26530d1.pdf 4e689c1278d112a21dd60d57576a45f2 PDF Text Text School of Music University of Victoria School of Music MUS C Faculty of Fine Arts University of Victoria �SCHOOL OF MUSIC • UNIVERSITY OF VICTORIA ORION SERIES IN FINE ARTS presents JORGE CABALLERO GUITAR Sunday, September 20, 2015 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free admission �PROGRAM Four Pieces Evocación (from “Iberia,” book I) El Puerto (from “Iberia,” book I) El Albaicín (from “Iberia,” book III) Málaga (from “Iberia,” book IV) Isaac Albéniz (1860–1909) Sonata in D major, K. 311 Wolfgang A. Mozart Allegro con Spirito (1756–1791) Andante con espressione Roundeau, allegro I NT E R M I S S I O N Pictures at an Exhibition* Modest P. Moussorgsky Promenade – Gnomus (1839–1881) Promenade – Il Vecchio Castello Promenade – Tuileries Bydło Promenade – Ballet of the Unhatched Chickens Samuel Goldenberg und Schmuÿle The Market at Limoges Catacombæ – Cum mortuis in lingua mortua The Hut on Fowl’s legs (Baba-Yaga) The Bogatyr Gates in Kiev All pieces on the program arranged by J. Caballero, except, * arranged by Kazuhito Yamashita �BIOGRAPHY Guitarist and composer Jorge Caballero is the youngest musician and the only guitarist to win the Naumburg International Competition Award, one of the most prestigious and coveted awards given to performers of any instrument. He is known for his dazzling virtuosity, his intense musicality and his spellbinding performances. Widely regarded as one of the finest guitarists of his generation, Allan Kozinn of the New York Times called him a “superb young guitarist” and praised his rare combination of “a deft, powerful technique and a soft-spoken interpretive persona.” His recital appearances include performances at New York’s Alice Tully Hall, the Library of Congress in Washington (in the historic Great Performers Series), the Metropolitan Museum of Art, the Palace of Fine Arts in San Francisco, the Da Camera Society in Los Angeles and other venues in the United States and internationally. Recent performances include recitals at the Santo Tirso Guitar Festival in Portugal, as well as concerts in Brazil, Paraguay, Bolivia, Peru and Mexico. A native of Lima, Peru, Mr. Caballero comes from a musical family. His mother is a well-known singer in Peru and as a child he spent many evenings sitting backstage at her concerts. He learned to play guitar from his father, but he had already absorbed much knowledge about the instrument from listening to his father give lessons. Growing up at a time when terrorists in Peru bombed electrical stations, he became an expert at practicing in the dark. Guitar Masterclass with Jorge Caballero Monday, September 21, 4:00 p.m. to 7:00 p.m. David Lam Auditorium, MacLaurin Building, A-Wing Jorge Caballero leads a masterclass with School of Music guitar students. Admission is free and all are welcome to attend! 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/092015-Orion_Caballero/092015-JorgeCaballero_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/092015-Orion_Caballero/092015-JorgeCaballero_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/092015-Orion_Caballero/092015-JorgeCaballero_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 - Jorge Cabellero, guitar Creator An entity primarily responsible for making the resource Allyssa Haigh Date A point or period of time associated with an event in the lifecycle of the resource September 20, 2015 Contributor An entity responsible for making contributions to the resource Jorge Cabellero, guitar https://finearts.uvic.ca/music/archive/files/original/0e4f1543c47e9b6993d20604413b3716.pdf fa93bc43633762ad87c80d806d60f1e2 PDF Text Text School of Music University of Victoria School of Music MUS C Faculty of Fine Arts University of Victoria �SCHOOL OF MUSIC • UNIVERSITY OF VICTORIA Orion Series in FIne Arts presents Gordon Wolfe trombone & Vanessa May-lok Lee piano Saturday, September 19, 2015 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free admission �PROGRAM Mystic with a Credit Card (1978) Mirror (2013) Michael Colgrass Gary Kulesha Sonatine pour Trombone et Piano (1957) 1. Allegro Vivo 2. Andante Sostenuto 3. Allegro Jacques Casterede I nt e r m i s s i o n Concertino for Trombone and Piano (2013) 1. Cherub vs. Imp 2. Guardian 3. Old Nick Ian McDougall Two Songs from The Poet and the War (2007) 1. From Here... 2. Sparrows Norbert Palej Sonata “Vox Gabrieli” (1973) Stjepan Sulek �Texts The Poet and the War From here… From here: the sky is huge like the sky of noon, which you have not crossed, will not cross. After the volleys of day set out as a target for the stars you’ll perish like cities left behind on the way. Overlooked, pierced through and through by the bullets of all wars you’ll die locked by a tiny echo like the echo of someone’s mouth, diminished by a room in the attic. Sparrows Day of sparrows and day of brightness! inside of little birds the world is suspended in love, unworried mercy. Earth, earth, by our hands murdered; through your birds, pure, pure, pray for us, pray for us! � �BIOGRAPHies Gordon Wolfe Hailing from Nelson, B.C., Gordon Wolfe (B.Mus ’93) has been a member of the Toronto Symphony Orchestra since 2001, taking over the role of Principal Trombone in 2006. He was previously a member of the Winnipeg and Victoria Symphony Orchestras, and has also had the privilege of performing with the Los Angeles Philharmonic, the Atlanta Symphony, the St. Paul Chamber Orchestra and the National Arts Centre Orchestra. Gordon studied with Canadian trombone icons Thomas Eadie, Ian McDougall and Peter Sullivan at the University of Victoria and McGill University while working through his Bachelor and Master’s degrees in music. An accomplished chamber musician, Gordon was a founding member of the Central Park Brass, a privately funded brass quintet that is dedicated to performing free concerts for young people in the playgrounds of Central Park, and working regularly with under privileged children in the Union Settlements of the Bronx. In Toronto, he performs frequent recitals with BATSO (Brass Artists of the Toronto Symphony Orchestra) as part of the Royal Conservatory of Music’s Great Artist Series, and has performed for thousands of young students across Ontario as an ambassador of the Toronto Symphony’s Preludes programme. In demand as a soloist, Gordon has recently been featured with the Toronto Symphony Orchestra, Orchestra Toronto, the Hannaford Street Silver Band and the Idaho State Wind Ensemble. As a highly respected educator, Gordon draws top students from across Canada to his trombone studio at the Royal Conservatory of Music’s Glenn Gould School. Gordon Wolfe is an S.E. Shires Artist. � �Vanessa May-lok Lee Having made her Carnegie Hall (Isaac Stern Auditorium) debut in June 2014, Vanessa May-lok Lee has performed throughout Canada, the USA, England, Wales and Mexico. Much sought after as a collaborative pianist, Ms. Lee released her debut CD, Bleu et Or, in August 2012 with internationally acclaimed flautist Miguel Ángel Villanueva (Mexico) and violist Elodie Guillot (France). Recorded on the Quindecim label, this CD features the works of Mexican, French and Canadian composers including the commissioned piece Prism by Canadian composer Erik Ross. Her latest CD, Reflections, with Gordon Wolfe, principal trombone of the Toronto Symphony Orchestra, was released in February 2015. Ms. Lee graduated with a Bachelor’s in Piano Performance from the University of Toronto where she studied with Marietta Orlov, and a Master’s in Music from the Royal Academy of Music in London, England with Michael Young. In May 2014, Ms. Lee completed pre-doctoral studies at the Manhattan School of Music with John Forconi through the generous support of the Canada Council for the Arts. Upcoming highlights include her Kennedy Center debut in Washington, DC in February 2015. Ms. Lee currently resides in NYC where she serves as a staff pianist at the Manhattan School of Music and is on the piano faculty at Third Street Music School. �Orion Series in Fine Arts Each year the faculty invites world-renowned guest artists to perform concerts and present masterclasses at the School of Music with generous support from the Orion Fund in Fine Arts. Events take place in the Phillip T. Young Recital Hall unless otherwise indicated. Admission to all events is free. Jorge Caballero, guitar Peruvian-born virtuoso, Jorge Caballero, is regarded as one of the true elite in the guitar world. CONCERT: Sunday, September 27, 8 p.m. GUITAR MASTERCLASS: Monday, September 28, 2:30–4:30 p.m. Ilya Poletaev, piano Ilya Poletaev, Assistant Professor at McGill’s Schulich School of Music, is quickly becoming recognized as one of today’s most original and compelling artists. CONCERT: Monday, October 5, 8 p.m. Performing music by Bach, J.K. Fischer, Carl Nielsen, Yevgeniy Sharlat and Franz Liszt. PIANO MASTERCLASS: Tuesday, October 6, 3:30–5:30 p.m. Benny Sluchin, trombone A member of the Ensemble InterContemporain (dir. Pierre Boulez) since 1976, Benny Sluchin specializes in brass acoustics and extended techniques. CONCERT: Tuesday, November 17, 12 p.m. Performing music for trombone and electronics by Paul Steenhuisen and Keith Hamel. TROMBONE MASTERCLASS: Tuesday, November 17, 2:30 p.m. Rm. B037, MacLaurin Building, B-Wing Laurence Kayaleh, violin & Elizabeth Dolin, cello Laurence Kayaleh (Montreal) is an international concert performer and professor at the University of Montreal. Elizabeth Dolin (Montreal) has earned a solid reputation as one of Canada’s finest cellists, in demand as a recitalist throughout Canada and the United States. STRING MASTERCLASSES: Tuesday, November 17, 12:30–2:30 p.m. Rm. B016, MacLaurin Building, B-Wing CONCERT: Wednesday, November 18, 12:30 p.m. Performing works for violin and cello by Glière, Kodaly and Ravel. Rachel Mercer, cello Rachel Mercer (Ontario) is currently guest principal cellist for the National Arts Centre Orchestra and the Canadian Opera Company. CELLO MASTERCLASS: Monday, November 23, 8 p.m. Joshua Peters, violin & Katherine Dowling, piano Winners of the 2015 Eckhardt-Gramatté National Music Competition CONCERT: Friday, November 27, 8 p.m. Performing music by Vivian Fung, Alfred Schnittke, John Estacio, Jordan Pal and Mieczyslaw Weinberg. �Upcoming Events Tuesday, September 22, 12:30 p.m. (Free admission) LIEDER AT LUNCH: On the Road An exploration of the German Lied repertoire with Sharon and Harald Krebs. Bring your lunch! Rm. B037, MacLaurin Building, B-Wing Friday, September 25, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall Friday, September 25, 8:00 p.m. (Free admission) GRADUATE RECITAL: Emily Armour, piano Pianist Emily Armour presents her first-year graduate recital. Phillip T. Young Recital Hall Tuesday, September 29, 5:00 p.m. to 6:30 p.m. (Free admission) GUEST MASTERCLASS: Colin Tilney, harpsichord Internationally acclaimed harpsichordist, Colin Tilney, shares his extensive and unparalleled knowledge of early music performance practice with School of Music masterclass participants. Phillip T. Young Recital Hall Tuesday, September 29, 8:00 p.m. ($18 & $14) FACULTY CONCERT SERIES Suzanne Snizek, flute Joanna Hood, viola Alexis Le, piano Performing Six Year Interlude by Nebojsa Macura, Maurice Duruflé’s Prelude, Recitatif et Variations Op. 3, Bohuslav Martinu’s Trio, and selections by Mieczyslaw Weinberg. 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/public/091915-Orion_Wolfe/091915-GordonWolfe_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/public/091915-Orion_Wolfe/091915-GordonWolfe_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/public/091915-Orion_Wolfe/091915-GordonWolfe_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/public/091915-Orion_Wolfe/091915-GordonWolfe_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/public/091915-Orion_Wolfe/091915-GordonWolfe_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/public/091915-Orion_Wolfe/091915-GordonWolfe_06.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/public/091915-Orion_Wolfe/091915-GordonWolfe_07.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 - Gordon Wolfe, trombone Creator An entity primarily responsible for making the resource Allyssa Haigh Date A point or period of time associated with an event in the lifecycle of the resource September 19, 2015 Contributor An entity responsible for making contributions to the resource Gordon Wolfe, trombone; Vanessa May-Lok Lee, piano https://finearts.uvic.ca/music/archive/files/original/7aff463166756162036878f23e7fd427.pdf 684a8bf9c4531b997bc3e8b1d2bd5d72 PDF Text Text School of Music University of Victoria School of Music MUS C Faculty of Fine Arts University of Victoria �SCHOOL OF MUSIC • UNIVERSITY OF VICTORIA ORION SERIES IN FINE ARTS presents MILTON SCHLOSSER PIANO Monday, February 2, 2015 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free admission �PROGRAM Blue Virgin/Vierge Bleue (2000) Sonata in E-Flat Major, Opus 7 (1796) Allegro molto e con brio Largo, con gran espressione Allegro-Minore Rondo—poco allegretto e grazioso Milton Schlosser (b. 1961) Ludwig van Beethoven (1770–1827) Intermission Which Side Are You On? from North American Ballads (1979) Études (1887-1894) C-sharp minor, Opus 2, No.1 D-sharp minor, Opus 8, No. 12 Estampes (1903) Pagodes La soirée dans Grenade Jardins sous la pluie Frederic Rzewski (b. 1938) Alexander Skryabin (1872–1915) Claude Debussy (1862–1918) �BIOGRAPHY Canadian pianist Milton Schlosser is an award-winning music professor at the University of Alberta. The Toronto Star’s review of Milton’s latest CD exemplifies the type of artistry he is known for, acclaiming his playing for its “emotionally expressive, powerfully intimate journeys through beautiful harmonies and counterpoint.” He has been the recipient of numerous awards, including a prestigious McCalla Professorship for his significant contributions to research, teaching, and learning at the university. Milton performs in live and broadcast performances as solo recitalist, collaborative pianist, and soloist with orchestra. In 2014, solo recital engagements took him to China, Ireland, and France, with other recent performances having occurred in Canada, Germany, the US, and Japan. He has released five recordings that feature him as a soloist and collaborative pianist performing pieces drawn from the nineteenth to twenty-first centuries. Two of the recordings highlight works by renowned American composer Frederic Rzewski, including one piece commissioned by Milton. He holds a Doctor of Music degree in piano performance from the University of Alberta, where his primary mentors were Robert Stangeland and Stéphane Lemelin. Alongside his activities as a performer, Milton is a published researcher and composer. Two recent publications serve to illustrate his diverse interests. “Music, the Liberal Arts, and Rural Identity: The Not-So-Straight-Road” appears in the book Roads Taken: The Professorial life, Scholarship in Place, and the Public Good (2014). The chapter traces Milton’s career and the distinctive, quality teaching that can occur on a smaller-sized liberal arts campus in a rural location. “Minding the music: Neuroscience, video recording, and the pianist” is found in the International Journal of Music Education (2011). The article offers best practices in the use of digital video equipment by pianists through the examination of intersections between neuroscience, contemplative studies, and sport psychology. � 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/020215-MiltonSchlosser/020215-MiltonSchlosser_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/020215-MiltonSchlosser/020215-MiltonSchlosser_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/020215-MiltonSchlosser/020215-MiltonSchlosser_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/020215-MiltonSchlosser/020215-MiltonSchlosser_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/020215-MiltonSchlosser/020215-MiltonSchlosser_05.mp3">track5</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orion Series in Fine Arts - Milton Schlosser, piano Creator An entity primarily responsible for making the resource Brennan MacKay, Noel Anstey Date A point or period of time associated with an event in the lifecycle of the resource February 2, 2015 Contributor An entity responsible for making contributions to the resource Milton Schlosser, piano https://finearts.uvic.ca/music/archive/files/original/1127d7996585e845aa91291b76722848.pdf 27124e8f4e042f521e26cb92d0299028 PDF Text Text University of Victoria, B.C., Canada March 18, 2014 Garrett Hudson, flute Erin Tsai, oboe Jack Marquardt, clarinet Tracy Jacobson, bassoon Anni Hochhalter, horn WOLFGANG AMADEUS MOZART (1756-1791) Fantasia in F minor, K. 608 (arr. WindSync) PAUL TAFFANEL (1844-1908) Wind Quintet Allegro con moto Andante Vivace MAURICE RAVEL (1875-1937) Boléro (arr. WindSync) ASTOR PIAZZOLLA (1921-1992) Histoire du Tango (arr. WindSync) Nightclub 1960 Cafe 1930 LEONARD BERNSTEIN (1918-1990) Overture to Candide (arr. WindSync) Program subject to change WindSync’s Pacific Northwest tour is made possible through the generous sponsorship of the Seattle Symphony WindSync is a winner of the 2012 Concert Artists Guild Competition and is represented by CONCERT ARTISTS GUILD 850 Seventh Avenue PH-A, New York, NY 10019 www.concertartists.org www.windsync.org Concert Artists Guild 850 Seventh Avenue, New York, NY 10019 § Tel.: (212) 333-5200 Fax: (212) 977-7149 § E-mail: sshaiman@concertartists.org § Internet: www.concertartists.org �Ensemble Bio: WindSync WindSync wind quintet Garrett Hudson, flute; Erin Tsai, oboe; Jack Marquardt, clarinet Tracy Jacobson, bassoon; Anni Hochhalter, horn Winner, 2012 Concert Artists Guild Victor Elmaleh Competition Winner, 2012 Sylvia Ann Hewlett Adventurous Artist Prize Hailed by the Houston Chronicle as “revolutionary chamber musicians,” WindSync — a winner of the 2012 Concert Artists Guild Victor Elmaleh International Competition — is a fresh and energetic wind quintet thrilling audiences nationwide with its unique approach to classical music. These five virtuoso players specialize in creative, engaging, and interactive concerts that inspire audiences of all ages. Critics and audiences alike rave about performances that expand the wind quintet repertoire to include newly commissioned works written for the group and a wide array of original arrangements of classical masterworks. Having appeared on Houston Public Radio’s “The Front Row” numerous times, KUHA-FM called WindSync “innovative…unconventional and exciting.” WindSync’s highly creative approach in concert and outreach performances is driven by the Quintet’s mission to inspire audiences of all ages through innovative, interactive chamber music. The ensemble is a pioneer in unconventional performance practices which are designed to further the members’ original musical concepts. Playing exclusively from memory, WindSync’s dramatic musical interpretations and stage presence immediately engage the audience, whose experience is further enhanced through the performers’ creative use of costumes, masks and choreography. Recognized for its adventurous programming, WindSync was selected by Concert Artists Guild for the 2012 Sylvia Ann Hewlett Adventurous Artist Prize, and also received numerous performance prizes from the CAG competition, including the ensemble’s New York debut at Weill Recital Hall at Carnegie Hall in November 2013. Other highlighted engagements of WindSync’s 2013-14 season include the Grand Teton Music Festival, Chautauqua Institution, Washington Performing Arts Society’s Music in the Country series, the Music in the Park Series of The Schubert Club (St. Paul, MN) and the Regina A. Quick Center for the Arts at St. Bonaventure University. Strongly committed to educational enrichment and promoting arts engagement, WindSync’s current featured educational presentations include the Seattle Symphony Orchestra (2013-14 and 2012-13), Rockport Chamber Music Festival, and Chamber Music Festival of Lexington (KY), among many others. The group’s latest initiative is The Play Different Project, a campaign against bullying, launched in spring 2013, which teaches tolerance and friendship through music and poetry. In 2011-12, the group was selected as Ensemble in Residence for the Da Camera of Houston Young Artist Program. WindSync also holds the position of Ensemble in Residence with the Grand Teton Music Festival, presenting programs inspired by ‘Music in Nature,’ and has just finished a second summer in 2013. Based in Houston, WindSync has performed for communities throughout North America since 2009. The Quintet has frequently performed in schools representing Young Audiences of Houston, an arts program which applauded WindSync for its "extraordinary ability to connect students, educators, administrators, and parents in a powerful and meaningful way." As the Music for Autism 2012 Spotlight Artist, WindSync has been presented in five U.S. cities featuring performances for audiences with special needs. Masterclasses and lecture recitals have been conducted at Drexel University, CSU Long Beach, and Stanford University, and at high schools such as Houston's High School for the Performing and Visual Arts and California's Idyllwild Arts Academy, which praised WindSync as "one of the most talented groups of young musicians on the scene today." www.windsync.org August 2013 Concert Artists Guild 850 Seventh Avenue, New York, NY 10019 § Tel.: (212) 333-5200 Fax: (212) 977-7149 § E-mail: sshaiman@concertartists.org § Internet: www.concertartists.org � 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/031814-WindSync/031814-WindSync_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/031814-WindSync/031814-WindSync_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/031814-WindSync/031814-WindSync_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/031814-WindSync/031814-WindSync_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/031814-WindSync/031814-WindSync_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/031814-WindSync/031814-WindSync_06.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/031814-WindSync/031814-WindSync_07.mp3">track7 (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 Wind Sync Creator An entity primarily responsible for making the resource Bryan Lilly Date A point or period of time associated with an event in the lifecycle of the resource March 18, 2014 Contributor An entity responsible for making contributions to the resource Garrett Hudson, flute; Erin Tsai, oboe; Jack Marquardt, clarinet; Tracy Jacobson, bassoon; Anni Hochhalter, horn https://finearts.uvic.ca/music/archive/files/original/fee44350046837fba832ead76e567bd1.jpg 258ff18b9954f58bcf9c04f2c52851c9 https://finearts.uvic.ca/music/archive/files/original/ce8646947b9d0c13628a3775329f7568.pdf e60ddd46bed57159c8fefde90f6eb5b0 PDF Text Text UNIVERSITY OF VICTORIA Orion Series in Fine Arts presents THE ALDEBURGH CONNECTION STEPHEN RALLS & BRUCE UBUKATA, piano A Britten Festival of Song: The Canticles WITH Daniel Taylor, counter-tenor &IRNEQMR�&YXXIV½IPH, tenor %PI\ERHIV�(SFWSR, baritone 9:MG�'LEQFIV�7MRKIVW, with Gary Froese, conductor Daniel Taylor and Alexander Dobson’s appearance is made possible through the generous support of Ray and Sheila Protti. 7EXYVHE]��3GXSFIV����������EX������T�Q� Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free admission �PROGRAM Henry Purcell (1659-1695), real. Britten 1YWMG�JSV�E�[LMPI (John Dryden) counter-tenor ˆ Benjamin Britten (1913-1976) Canticle I: 1]�&IPSZIH�MW�1MRI��3T��� (Francis Quarles) tenor ˆ Purcell, real. Britten 0SVH��[LEX�MW�QER#�(William Fuller) baritone ˆ Britten 'ERXMGPI�--��%FVELEQ�ERH�-WEEG��3T���(Chester Miracle Play) counter-tenor/tenor Intermission (Beverages and snacks available at the concession located in the lounge) Purcell, real. Britten ;LIR�1]VE�WMRKW (George Granville) tenor/baritone ˆ Britten 8LI�&EPPEH�SJ�0MXXPI�1YWKVEZI�ERH�0EH]�&EVREVH (anon.) choir ˆ Purcell, real. Britten )ZIRMRK�,]QR (William Fuller) counter-tenor ˆ anon. 1EKM�ZMHIRXIW�WXIPPEQ� choir ˆ Britten 'ERXMGPI�-:��.SYVRI]�SJ�XLI�1EKM��3T��� (T. S. Eliot) counter-tenor/tenor/baritone �THE ALDEBURGH CONNECTION Artistic Directors: STEPHEN RALLS and BRUCE UBUKATA &VMXXIR�MR�'EREHE���%�'SRXMRYMRK�'SRRIGXMSR “Canada is an extraordinary place. I am certain that N. America is the place of the future. I wish to goodness you would come across . . . Seriously, do think about it, and if I see anything at all possible I’ll let you know.” Thus Benjamin Britten wrote to his sister, Beth, on 25 June,1939 from Toronto. On 29 April, he and his partner, tenor Peter Pears, had set sail from Southampton on the Ausonia, following the example of their friends, the writers W. H. Auden and Christopher Isherwood, who for various reasons, both artistic and political, had PIJX�JSV�2I[�=SVO�E�JI[�QSRXLW�IEVPMIV���8LI�WLMT�GEPPIH�MR�FVMI¾]�EX�5YIFIG�'MX]�SR���1E]�� but the two men disembarked in Montreal on the 10th. They were welcomed by the music department of the CBC, who had intended to mark Britten’s arrival with a broadcast of the Variations on a Theme of Frank Bridge - “but the band wasn’t big or good enough & anyhow, the boat was late”. They spent four weeks in St. Jovite, north of Montreal in the Laurentians, where work was done on the composition of the Violin Concerto and the song-cycle, Les Illuminations. Then, on 7 June, they boarded the train for Toronto. Three weeks there, staying at the Alexandra Palace, Orde Street (on the site of the present Mount Sinai Hospital) were very productive. The performance of the Frank Bridge Variations ½REPP]�XSSO�TPEGI��TVIGIHIH�F]�[LEX�&VMXXIR�GEPPIH�E�±LSVVMFPI�MRXIVZMI[²���8LMW�[EW�FVSEHcast, as well as a recital in which Pears may have sung the cycle On This Island. The CBC was delighted with the concerts and commissioned a new piece from the composer. (This became Young Apollo, a concerto for piano, string quartet and string orchestra.) The composer wrote to Ralph Hawkes, his publisher: “Here is a continent just leaping ahead in the arts. Music means something here. Imagine English newpapers interviewing composers! Yet here I got a large amount of space in each of the three Toronto newpapers - & in 2 cases in the centre page!” On 23 June, Britten and Pears travelled to Bala (in “the Moskoka lakes”) where the singer had several lessons with Campbell McInnes, the English baritone who premiered Butterworth’s Shropshire Lad songs and several works by Vaughan Williams, and emigrated to Toronto in 1919. Finally, on 27 June, the two men travelled to New York. In the next few months, two [SVOW�[MXL�'EREHMER�GSRRIGXMSRW�[IVI�[VMXXIR��½VWXP]��Young Apollo, to perform the premiere of which Britten made a brief return visit to Toronto in August. Also, in December 1939 he completed an orchestral piece, Canadian Carnival (originally Kermesse Canadienne), based on folktunes he had heard while staying in Quebec. They spent the next three years in the USA - but on 16 March 1942 they boarded MS Axel Johnson, responding to the composer’s over[LIPQMRK�HIWMVI�XS�VIXYVR�XS�LMW�LSQIPERH���;LIR�XLI�WLMT�GEPPIH�MR�FVMI¾]�MR�,EPMJE\��&VMXXIR� picked up a volume of medieval poems in a bookshop. On the voyage, he set some of these as his Ceremony of Carols���E�½REP�'EREHMER�GSRXVMFYXMSR�SR�LMW�½VWX�2SVXL�%QIVMGER�WSNSYVR�� Seven years later, Britten’s career and reputation had taken a quantum leap forward with the success of the opera Peter Grimes�MR��������,MW�½VWX�TSWX[EV�ZMWMX�XS�'EREHE�[EW�MR�XLI�JEPP�SJ� 1949, when he and Pears gave recitals in Ottawa (October 31), Toronto (November 1) and Montreal (November 3). While in Toronto, they listened to a tape of a CBC performance of Peter Grimes - the Canadian premiere, broadcast on October 12. Conducted by Geoffrey Waddington, with William Morton in the title role, Frances James (Adaskin) as Ellen Orford ERH�+SVHSR�;V]�EW�&SF�&SPIW��XLI]�JSYRH�XLI�VIWYPX�³XVYP]�QEKRM½GIRX´���%PWS�MR�8SVSRXS��SR� November 2, Britten conducted his new cantata St Nicolas in Grace Church-on-the-Hill, a performance (also broadcast by CBC) which featured Pears as the saint. �In 1957, the Canadian premiere was of the opera The Turn of the Screw, given at the Stratford Festival in August and September by the English Opera Group. The cast was British, but the chamber orchestra was of Canadian musicians, some performances being conducted by the composer and some by Charles Mackerras. The clarinettist and orchestral manager was Ezra Schabas, later to become professor at the University of Toronto and principal of the Royal Conservatory of Music. The stage director was Basil Coleman, who was then living in Toronto. Pears and Britten also gave three recitals in the Festival. In his letters back home, Pears makes no secret of the boredom of a summer spent in rural Ontario. One weekend, however, they ��&VMXXIR��4IEVW�ERH�'SPIQER���IWGETIH�XS�&E]½IPH��±XS�E�0EOI�?,YVSRA������# �QMPIW�[MHI�XS� FEXLI��&IR�GSQTPEMRIH�XLEX�MX�[EWR´X�WEPX� �[EW�XSS�[EVQ��FYX�XLI�-RR�[LIVI�[I�WXE]IH�?XLI� 0MXXPI�-RRA�[EW�OMRHE�GYXI��ERH�KEZI�YW�PSXW�SJ�PSZIP]�JSSH�� �[I�LEH�7GSXGL�SYX�SJ�XSSXL�QYKW� up in our bedroom”. On Labour Day weekend, they made a mad Sunday morning dash on congested roads to visit the former partner of Campbell McInnes (now deceased), Tom Jackson, who was still living in Bala. “Our hosts overfed us grossly in the Transatlantic style on stuffed chickens & sweet corn & relishes & peach pie & old-fashioneds, & meatloaf (farm style) & squash & pickles & wine jelly & so-on . . .” On Monday, they enjoyed a tour “around the very lovely belaked & wooded country”. In the evening they had to drive down to Toronto to record a CBC recital. “But the thunder roared & the rain fell upon us in solid streams, & there were a million people going the same way . . .” However, the CBC waited and all went well. There were two Toronto sequels to the EOG’s visit. In December, an article was published in May Fair magazine by Naomi Adaskin (wife of John Adaskin, the CBC producer who had commissioned Young Apollo) entitled “Evenings with Benjamin Britten”; and on December 18, Basil Coleman directed a production of Britten’s Let’s Make an Opera at the Crest Theatre. On 15 March 1962, Pears and Britten undertook a crowded recital tour of Canada, with concerts in Ottawa, Winnipeg, Vancouver, Saskatoon, Toronto and Montreal, returning to London on 7 April. During their stay in Vancouver (the composer’s only visit to Western Canada), they took part in a CBC television recording showcasing the Nocturne, Op. 60, in rehearsal and performance (now available on DVD). In addition, Britten was interviewed by Peter Garvie for CBC’s Music Diary and he and Pears recorded four mini-recitals, later broadcast on CBC Wednesday Night as “An Anthology of English Songs”. The composer’s last visit to this country was in 1967. He and Pears were to give an extended VIGMXEP�XSYV�XLVSYKL�XLI�97%��1I\MGS�ERH�7SYXL�%QIVMGE��FYX�½VWX��XLI]�¾I[�XS�1SRXVIEP�SR� 9 September to be present at the EOG’s performances at Expo ’67, including Britten’s Curlew River, The Burning Fiery Furnace, A Midsummer Night’s Dream and The Beggar’s Opera. During his stay in Montreal, Britten gave a substantial interview for Opera Canada. Throughout the ’60s and ’70s, of course, Pears made a number of visits on his own for oratorio engagements and for recital appearances with harpist Osian Ellis when Britten was no longer well enough to accompany the singer. On 14 November 1976, they gave a Toronto recital in aid of the 'EREHMER�%PHIFYVKL�*SYRHEXMSR���8LI�RI\X�HE]��4IEVW�¾I[�XS�1SRXVIEP�XS�WMRK�St Nicolas, but had to return immediately to Aldeburgh to be present at Britten’s deathbed. The Canadian Aldeburgh Foundation, which continues to provide scholarships which enable young singers and instrumentalists to study at the Britten-Pears Young Artists’ Programme in %PHIFYVKL��LEW�FIIR�SRI�SJ�XLI�QSWX�FIRI½GMEP�ERH�PSRKPEWXMRK�VIWYPXW�SJ�XLI�GSQTSWIV´W�'Enadian connection. It was while attending the Britten-Pears School in 1977 on a scholarship from the CAF that Bruce Ubukata rapidly found himself taken on as accompanist and coach, and in the process made the acquaintance of another pianist working there, Stephen Ralls. The rest, as they say, is history . . . SR and BU �&)2.%1-2�&6-88)2��8,)�'%28-'0)7 ;MXLMR�XLI�®YZVI�SJ�&IRNEQMR�&VMXXIR��XLI�½ZI�Canticles comprise one of the most coherent single groups, rich in musical detail and emotional content. They provide a marvellous compendium of the composer’s vocal writing throughout the post-war period. Stylistic parallels can be traced, in each piece, with his song-writing and also with his operas; but there is always E�HIZSXMSREP�IPIQIRX�MR�XLI�XI\XW�[LMGL�½RHW�VIEH]�VI¾IGXMSR�MR�XLI�QYWMG��7SQI�SJ�&VMXXIR´W� most profound spiritual utterances are to be found here. We are presenting the three Canticles which require piano alone for their performance. (Canticle III includes horn obbligato and Canticle V, written after the composer/pianist was incapacitated by a stroke, has harp accompaniment.) This gives us the opportunity to include other music for voices and piano, notably several of the Purcell realisations which were crucial in forming Britten’s vocal style. Halfway through our programme, a secular Purcell duet, followed by the violent, not to say profane, excitement of The Ballad of Little Musgrave and Lady Barnard��XEOI�YW�E[E]�FVMI¾]�JVSQ�XLI�[SVPH�SJ�WTMVMXYEP�GSRXIQTPEXMSR� 1YWMG�JSV�E�[LMPI (John Dryden) Henry Purcell, realised by Benjamin Britten The earliest recitals which Britten performed with tenor Peter Pears - in Canada and the 97%�FIX[IIR������ERH���������VIKYPEVP]�JIEXYVIH�XLI�WSRKW�SJ�4YVGIPP��2SX�WEXMW½IH�[MXL� XLI�)H[EVHMER�WSYRHMRK�³VIEPMWEXMSRW´��½PPMRK�SYX�E�OI]FSEVH�EGGSQTERMQIRX �XLIR�EZEMPEFPI�� Britten started to make his own versions, a practise which continued when they were back in England. After the war, Boosey & Hawkes began their publication of these realisations, spurred on by the honouring in 1945 of the 250th anniversary of Purcell’s death. The preface which Pears and Britten wrote for these volumes contains a telling sentence: “It has been the constant endeavour of the arranger to apply to these realisations something of that mixture of clarity, brilliance, tenderness and strangeness which shines out in all Purcell’s music.” Music for a while Shall all your cares beguile; Wond’ring how your pains were eas’d, And disdaining to be pleas’d Till Alecto free the dead From their eternal band; Till the snakes drop from her head; And the whip from out her hand. 'ERXMGPI�-��1]�&IPSZIH�MW�1MRI��3T��� (Francis Quarles) Britten 8LI�MRMXMEP�MQTYPWI�JSV�XLI�½VWX�Canticle came from the composer’s love of the music of Purcell (as it had, a few years earlier, for Michael Tippett in the writing of his own cantata, Boyhood’s End). “A new invention in a sense, although modelled on the Purcell Divine Hymns,” was Britten’s own description of My Beloved is Mine��4IXIV�4IEVW�ERH�XLI�GSQTSWIV�KEZI�XLI�½VWX� performance in 1947 at a memorial concert for Dick Sheppard, the founder of the Peace Pledge Union. There are indeed similarities to the style of Purcell - the division of the piece into various sections of ‘recitative’ and ‘aria’, a vocal line frequently laden with coloratura, even GIVXEMR�VL]XLQMG�GLEVEGXIVMWXMGW��IWTIGMEPP]�XLI�HSXXIH�VL]XLQW�MR�XLI�½REP�WIGXMSR ���8LI�GLSMGI� of a 17th century text is also appropriate. �8LIVI�MW�RSXLMRK�XSS�Q]WXIVMSYW�EFSYX�&VMXXIR´W�½VWX�YWI�SJ�XLI�XIVQ�³GERXMGPI´��5YEVPIW´W�TSIQ�� from his Emblemes of 1635, is based on lines from the biblical Canticles (or Song of Solomon). In succeeding works, Britten broadened the meaning of ‘canticle’ to include settings of poetry in various styles but always with a spiritual content. In Canticle I, the soul speaks of its relationship with God in quasi-amorous terms (familiar from much 17th and 18th century writing and from the cantatas of J. S. Bach). Also, as Humphrey Carpenter says, “Canticle I seems to be, as no other work had yet been, a happy celebration of the composer’s relationship with Pears.” Ev’n like two little bank-divided brooks, Nor time, nor place, nor chance, nor death can bow That wash the pebbles with their wanton streams, My least desires unto the least remove. And having ranged and searched a thousand nooks ,I´W�½VQP]�QMRI�F]�SEXL��-�LMW�F]�ZS[� Meet both at length at silver-breasted Thames He’s mine by faith and I am his by love. Where in a greater current they conjoin. He’s mine by water, I am his by wine: So I my best beloved’s am; so he is mine! Thus I my best beloved’s am, thus he is mine. Ev’n so we met and after long pursuit Ev’n so we joined. We both became entire. No need for either to renew a suit, ��*SV�-�[EW�¾E\��ERH�LI�[EW�¾EQIW�SJ�½VI� ����3YV�½VQ�YRMXIH�WSYPW�HMH�QSVI�XLER�X[MRI� So I my best beloved’s am, so he is mine. He is my altar, I his holy place. I am his guest and he my living food. I’m his by penitence, he mine by grace. I’m his by purchase, he is mine by blood. He’s my supporting elm and I his vine: Thus I my best beloved’s am, thus he is mine. If all those glittering Monarchs, that command The servile quarters of this earthly ball Should tender in exchange their shares of land I would not change my fortunes for them all: Their wealth is but a counter to my coin: The world’s but theirs; but my beloved’s mine. He gives me wealth: I give him all my vows: I give him songs, he gives me length of days. With wreaths of grace he crowns my longing brows And I his temples with a crown of praise Which he accepts: an everlasting sign That I my best beloved’s am, that he is mine. 0SVH��[LEX�MW�QER# (William Fuller) Purcell, realised by Britten Most of Purcell’s devotional songs were originally published in his Harmonia sacra: or Divine Hymns and Dialogues. Britten arranged what he called Three Divine Hymns, published in 1947, of which Lord, what is man?�MW�XLI�½VWX��-X�[EW�TVIQMIVIH�F]�4IEVW�ERH�&VMXXIR�MR�XLI�;MKQSVI� Hall on 21 November, 1945 - the 250th anniversary of Purcell’s death. Lord, what is man, lost man, 8LEX�8LSY�WLSYPHWX�FI�WS�QMRHJYP�SJ�LMQ# That the Son of God forsook his glory, His abode, To become a poor, tormented man! The Deity was shrunk into a span, And that for me, O wond’rous love, for me. Reveal, ye glorious spirits, when ye knew The way the Son of God took to renew Lost man, your vacant places to supply; Blest spirits tell, Which did excel, Which was more prevalent, Your joy or your astonishment, That man should be assum’d into the Deity, That for a worm a God should die. Oh! for a quill, drawn from your wing To write the praises of eternal love; Oh! for a voice like yours to sing That anthem here, which once you sung above. Hallelujah! �'ERXMGPI�--��%FVELEQ�ERH�-WEEG��3T��� (Chester Miracle Play) Britten Canticle II, a setting of a scene from one of the medieval Chester Miracle Plays, was written early in 1952 for the touring concerts of Britten’s English Opera Group. Its premiere was given in Nottingham by Kathleen Ferrier, Pears and the composer. After Ferrier’s sadly early HIEXL�MR�������XLI�½VWX�VIGSVHMRK�XS�FI�MWWYIH�[EW�F]�4IEVW��&VMXXIR�ERH�E�FVMPPMERX�FS]�XVIFPI�� John Hahessy. This kind of casting, however, would always have balance problems in live conGIVXW���%W�JEV�EW�XLI�GSQTSWIV�[EW�GSRGIVRIH��XLI�³EYXLIRXMG´�TIVJSVQERGI�[EW�½REPP]�EGLMIZIH� by his discovery of the counter-tenor, James Bowman, who sang Oberon in A Midsummer Night’s Dream in 1967 and then Canticle II and Canticle IV (the latter being written for him see the second half of our concert). It is a masterly fusion of play, cantata and operatic scena. At the opening, the voice of God is depicted by two voices not quite in unison. (Tippett called this “one of the wonderful things MR�&IR´W�QYWMG²� �+SH�XIPPW�%FVELEQ�XS�WEGVM½GI�LMW�WSR���%W�JEXLIV�ERH�WSR�WIX�SYX�SR�XLIMV� journey, they sing a duet which Britten later used in his War Requiem (in the setting of Wilfred Owen’s bitter rewriting of the biblical story). Abraham is forced to admit what the boy must undergo; after Isaac’s tranquil acceptance of his fate, dramatic tension rises almost unbearably over a slow funeral march until God intervenes with a tremendous thunder crash. Because of Abraham’s piety, Isaac is reprieved; the two voices sing a joyful Envoi - “Such obedience grant us, O Lord.” ;LIR�1]VE�WMRKW�(George Granville) Purcell, realised by Britten Britten’s version of this duet, made for the concert at the 1971 Aldeburgh Festival which included Canticle IV, was sung on that occasion by Pears and John Shirley-Quirk. When Myra sings, we seek th’enchanting sound, And bless the notes which do so sweetly wound; What music needs must dwell upon that tongue ;LSWI�WTIIGL�MW�XYRIJYP�EW�ERSXLIV´W�WSRK# Such harmony, such wit, a face so fair, 7S�QER]�TSMRXIH�EVVS[W�[LS�GER�FIEV# 8LI�WPEZI�XLEX�JVSQ�LIV�[MX�SV�FIEYX]�¾MIW� If she but reach him with her voice, he dies. 8LI�&EPPEH�SJ�0MXXPI�1YWKVEZI�ERH�0EH]�&EVREVH�(anon.) Britten In November 1943, Britten wrote to a friend: “I am quickly scribbling a short choral work for a prison camp in Germany where some friends are.” The Ballad was written at the request of Richard Wood (whose sister Anne had been in the BBC Singers with Pears before the war) who was a prisoner of war at Eichstätt in Germany. There he organized and conducted a male-voice choir, who premiered the work as part of an ambitious music festival in February 1944. Britten found the words in the Oxford Book of Ballads. �As it fell on one holy-day, As many be in the year, When young men and maids together did go Their matins and mass to hear, By this, Lord Barnard came to his door And lighted a stone upon; And he’s pull’d out three silver keys, And open’d the doors each one. Little Musgrave came to the church door, The priest was at private mass &YX�LI�LEH�QSVI�QMRH�SJ�XLI�½RI�[SQIR Then he had of Our Lady’s grace. He lifted up the coverlet, He lifted up the sheet . . . The one of them was clad in green, Another was clad in pall, And then came in my Lord Barnard’s wife, The fairest amongst them all. Quoth she, ‘I’ve loved thee, Little Musgrave, Full long and many a day.’ ‘So have I lov’d you, my fair ladye, Yet never a word durst I say.’ ‘But I have a bower at Bucklesfordberry, Full daintily it is dight, If thou’lt wend thither, thou Little Musgrave, Thou’s lig in my arms all night.’ With that beheard a little tiny page, By his lady’s coach as he ran, Says, ‘Although I am my lady’s foot-page, Yet I am Lord Barnard’s man!’ Then he’s cast off his hose and cast off his shoon, Set down his feet and ran, And where the bridges were broken down He bent his bow and swam. ‘Awake! Awake! thou Lord Barnard, As thou art a man of life, Little Musgrave is at Bucklesfordberry Along with thine own wedded wife.’ He callèd up his merry men all: ‘Come saddle me my steed; This night must I to Bucklesfordb’ry , F’r I never had greater need.’ But some they whistled, and some they sang, And some they thus could say, Whenever Lord Barnard’s horn it blew: ‘Away, Musgrave, away!’ ‘Methinks I hear the threstle -cock, Methinks I hear the jay; Methinks I hear Lord Barnard’s horn, Away Musgrave! away!’ ‘Lie still, lie still, thou Little Musgrave, And huggle me from the cold; ’Tis nothing but a shepherd’s boy A-driving his sheep to the fold.’ ‘Arise, arise, thou Little Musgrave, And put thy clothès on; It shall ne’er be said in my country I’ve killed a naked man. I have two swords in one scabbard, They are both sharp and clear; Take you the best, and I the worst, We’ll end the matter here.’ 8LI�½VWX�WXVSOI�0MXXPI�1YWKVEZI�WXVYGO He hurt Lord Barnard sore; The next stroke that Lord Barnard struck Little Musgrave ne’er struck more. ‘Woe worth you, woe worth, my merry men all, You were ne’er born for my good! Why did you not offer to stay my hand ����;LIR�]SY�WE[�QI�[E\�WS�[SSH# For I’ve slain also the fairest ladye That ever wore woman’s weed, Soe I have slain the fairest ladye That ever did woman’s deed. A grave, a grave,’ Lord Barnard cried, ‘To put these lovers in! But lay my lady on the upper hand, For she comes of the nobler kin.’ �)ZIRMRK�,]QR�(William Fuller) Purcell, realised by Britten This is the third of Three Divine Hymns, Britten’s realisations published in 1947. It was premiered at a concert in the National Gallery on 23 November, 1945. The song was very popular in the 17th century and remains one of the best-loved in Purcell’s output. The increasingly rhapsodic vocal line is placed above one of Purcell’s favourite devices, a recurring ground bass. Now that the sun hath veil’d his light And bid the world goodnight, To the soft bed my body I dispose, &YX�[LIVI�WLEPP�Q]�WSYP�VITSWI# Dear God, even in Thy arms, and can there be Any so sweet security! Then to thy rest, O my soul! and singing, praise The mercy that prolongs thy days. Hallelujah! 1EKM�ZMHIRXIW�WXIPPEQ anon. 8LI�TPEMRWSRK�MW�XLI�%RXMTLSR�FIJSVI�XLI�1EKRM½GEX�EX�*MVWX�:IWTIVW�JSV�XLI�*IEWX�SJ�XLI� Epiphany. (It will be quoted in the piano in Canticle IV when the Magi reach the end of their journey.) Magi videntes stellam, dixerunt ad invicem: Hoc signum magni Regis est: Eamus, et inquiramus eum, et offeramus ei munera, aurum, thus et myrrham. The wise men, seeing the star, said one to another: This is a sign of the high King. Let us go and search for him and offer him gifts, gold, frankincense and myrrh. 'ERXMGPI�-:��.SYVRI]�SJ�XLI�1EKM��3T��� (T.S.Eliot) Britten James Bowman, Pears, John Shirley-Quirk and the composer premiered Canticle IV at the 1971 Aldeburgh Festival. During the poet’s lifetime, Britten had set nothing by T. S. Eliot. Perhaps it MW�WMKRM½GERX�XLEX�XLI�GSQTSWIV�LEH�FIIR�E[EVHIH�XLI�3VHIV�SJ�1IVMX�MR�������X[S�QSRXLW� after the death of Eliot, who had belonged to the Order (limited to 24 members at one time); he may have regarded himself as, in a sense, taking on the mantle of the older man. Journey of the Magi is suffused with doubt and equivocation in its depiction of the Three Kings’ journey to Bethlehem, the uneasy rocking of the piano introduction evoking the slow progress of three camels across the desert. The opening lines are taken from a sermon by the early 17th century divine, Lancelot Andrewes (a link back to the world of Canticle I). Later, we hear of the distractions and disillusionments that might have caused the Kings to abandon their quest. An exotic texture is created by the combination of the three voices, speaking as one voice, as it were, or completing one another’s sentences. When, against all expectations, they ½RH�XLI�'LMPH��EX�)PMSX´W�VIWSRERX�[SVH�³WEXMWJEGXSV]´��&VMXXIR�MRXVSHYGIW�MR�XLI�TMERS�XLI�TPEMRsong Magi videntes stellam - a sudden vision of divine grace. The Kings cannot recapture the radiance of that moment; indeed, they are altogether unsure of what they found at the end of XLIMV�NSYVRI]��&YX��[LIR�XLI]�LEZI�½RMWLIH�WMRKMRK��XLI�TMERS�TSWXPYHI�VEMWIW�XLI�TSWWMFMPMX]�SJ� hope. �‘A cold coming we had of it, Just the worst time of the year For a journey, and such a long journey: The ways deep and the weather sharp, The very dead of winter.’ And the camels galled, sore-footed, refractory, Lying down in the melting snow. There were times we regretted The summer palaces on slopes, the terraces, And the silken girls bringing sherbet. Then the camel men cursing and grumbling And running away, and wanting their liquor and women, %RH�XLI�RMKLX�½VIW�KSMRK�SYX��ERH�XLI�PEGO�SJ�WLIPXIVW� And the cities hostile and the towns unfriendly And the villages dirty, and charging high prices: A hard time we had of it. At the end we preferred to travel all night, Sleeping in snatches, With the voices singing in our ears, saying That this was all folly. Then at dawn we came down to a temperate valley, Wet, below the snow line, smelling of vegetation, With a running stream and a water-mill beating the darkness, And three trees on the low sky, And an old white horse galloped away in the meadow. Then we came to a tavern with vine-leaves over the lintel, Six hands at an open door dicing for pieces of silver, And feet kicking the empty wine-skins. But there was no information, and so we continued And arrived at evening, not a moment too soon Finding the place; it was (you may say) satisfactory. All this was a long time ago, I remember, And I would do it again, but set down This set down This: were we led all that way for &MVXL�SV�(IEXL#��8LIVI�[EW�E�&MVXL��GIVXEMRP]� We had evidence and no doubt. I have seen birth and death, But had thought they were different; this Birth was Hard and bitter agony for us, like Death, our death. We returned to our places, these Kingdoms, But no longer at ease here, in the old dispensation, With an alien people clutching their gods. I should be glad of another death. �THE ALDEBURGH CONNECTION CONCERT SOCIETY FOUNDING PATRON: Sir Peter Pears HONORARY PATRONS: Steuart Bedford, Christopher Newton, C.M., Catherine Robbin, O.C. EMERITUS DIRECTORS: Carol Anderson, R.L.T.Baillie (President), Christopher Bunting, Rosemary Dover, Michael Gough (President), John Lawson, Maja Lutkins, James MacDougall, James Norcop, Iain Scott, Janet Stubbs, Françoise Sutton BOARD OF DIRECTORS: Patsy Anderson, C. M. (Chair), Alice Adelkind, Suzanne Bradshaw, C.M., Sally Holton, Christopher Kelly, Che Anne Loewen, Justin Young %PHIFYVKL is the small town on the east coast of England where Benjamin Britten, Peter Pears ERH�)VMG�'VS^MIV�JSYRHIH�XLI�*IWXMZEP�SJ�1YWMG�[LMGL�¾SYVMWLIW�XS�XLMW�HE]���%VXMWXMG�(MVIGXSVW� 7XITLIR�6EPPW and &VYGI�9FYOEXE visited and worked there for many summers and a large number of the singers who appear with the Aldeburgh Connection have a similar link. B I O G RA P H I E S &)2.%1-2�&988)6*-)0( &IRNEQMR�&YXXIV½IPH´W�QSWX�VIGIRX�IRKEKIQIRXW�LEZI�MRGPYHI�&IIXLSZIR´W�9th Symphony with the North Carolina Symphony, the premiere of Jeffrey Ryan’s Afghanistan: Requiem for a Generation with the Calgary Philharmonic, Britten’s St. Nicholas with the Bach Choir of Bethlehem, Haydn’s Die Schöpfung with the Orchestra of St. Luke’s at Carnegie Hall, the Mozart Requiem with Alberta Ballet and Mozart arias and duets with the American Classical Orchestra at LinGSPR�'IRXIV��1V��&YXXIV½IPH�EPWS�VIGIRXP]�HIFYXIH�EX�'LMGEKS´W�+VERX�4EVO�*IWXMZEP�[MXL�'EVPSW� Kalmar in Haydn’s The Seasons and performed with the Washington Chorus in Mendelssohn’s Elijah at the Kennedy Center. Recent operatic engagements have included the role of Frère Massée in Messiaen’s St. François d’Assise with Kent Nagano and the Montreal Symphony as well as Grimoaldo in Rodelinda [MXL�4EGM½G�3TIVE�YRHIV�8MQSXL]�:IVRSR��,MKLPMKLXW�MR�XLI���������WIEWSR�MRGPYHIH�HIFYXW� with the Seattle and Eugene Symphonies, a return to Taipei with the Taiwan National Choir for Puccini’s Messa di Gloria under Agnes Grossmann as well as being featured in the world TVIQMIVI�SJ�'LVMWXSTLIV�&YXXIV½IPH´W�Contes pour enfants pas sages with Continuum ContemTSVEV]�1YWMG�MR�8SVSRXS��1V��&YXXIV½IPH´W�YTGSQMRK�IRKEKIQIRXW�MRGPYHI�Christmas Oratorio with the Victoria Symphony, On Wenlock Edge with the Lafayette String Quartet in Kelowna and Victoria, Janacek’s The diary of one who disappeared at the Nasher Sculpture Center in Dallas with pianist Arthur Rowe and Haydn’s Creation and Bach’s B minor Mass with the Bach Choir of Bethlehem. Of his more than thirty recordings, the Britten Serenade (CBC/ Streatfeild), Canticles (Marquis/ Aldeburgh Connection), Everlasting Light (CBC/ Adams) and Messiah Choruses (CBC/ Taurins) have been recognized by the Canadian Juno Awards while his recording of Psalm 80 by RousWIP��8MQTERM�8SZI] �[SR�E�(METEWSR�ERH�'PEWWMGE�E[EVH�MR�*VERGI��1V��&YXXIV½IPH�VIGIRXP]� recorded the St. John Passion for Analekta and the chamber version of Mahler’s Das Lied von der Erde for Yellow Barn in Vermont. �ALEXANDER DOBSON Alexander Dobson, British-Canadian baritone, has been praised for his musicality and dramatic awareness in a range of repertoire on both opera and concert stages. Opera highlights include his riveting portrayals of Wozzeck and Don Giovanni, both conducted by Yannick Nezet-Seguin, Papageno in�(MI�>EYFIV¾}XI with Opera Hamilton, Mercutio in Roméo et Juliette for l’Opéra de Montréal, Silvio in Opera Quebec’s Pagliacci, Marcello in La bohème for SasOEXSSR�3TIVE�ERH�4EGM½G�3TIVE�:MGXSVME��(I�6IX^�MR�&EVH�7YQQIVWGETI´W�TVSHYGXMSR�SJ�Les Huguenots and his Royal Opera, Covent Garden debut with The Midnight Court. A dedicated concert and recital artist, Alexander has appeared with the Orchestre Métropolitain for Mahler’s Songs of a Wayfayer; the National Arts Center Orchestra in Mahler’s Symphony No. 8, “Symphony of a Thousand”; Beethoven’s Mass in C with the Colorado Symphony; Messiah with the Edmonton Symphony; in recital withToronto’s Aldeburgh Connection; at the Vancouver New Music Festival, and as Aeneas in Purcell’s Dido and Aeneas with Montréal’s Theatre of Early Music. He has sung Schubert’s Winterreise to great acclaim in Canada, England, and France. Alexander graduated from the University of Toronto Opera Division and the Faculty of Music at the University of Western Ontario with Honours. He is also an alumnus of Music Academy of the West in Santa Barbara, the Steans Institute for Young Artists at Ravinia, and L’Atelier lyrique de l’Opera de Montréal. STEPHEN RALLS Stephen Ralls began his musical career in England with the English Opera Group who selected him as chief répétiteur for Britten’s last opera, Death in Venice. This led to recital appearances with Sir Peter Pears at the Aldeburgh Festival and on the BBC, and to Mr. Ralls’ joining the staff of the Britten-Pears School in Aldeburgh. In 1978, he was appointed to the Faculty of Music, University of Toronto, where he held the position of Musical Director of the Opera Division from 1996 to 2008. He has worked with the Canadian Opera Company, the Banff Centre and the National Arts Centre. His recordings include L’Invitation au voyage: songs of Henri Duparc (CBC Records), several releases with the Aldeburgh Connection, including Benjamin Britten: the Canticles, Schubert among friends and Our own songs, and the Juno award winning Songs of Travel with baritone, Gerald Finley. He and Bruce Ubukata founded the Aldeburgh Connection MR������ERH�XLI�&E]½IPH�*IWXMZEP�SJ�7SRK�MR�������-R�3GXSFIV�������XLI]�[IVI�NSMRX�VIGMTMIRXW� of an Opera Canada “Ruby” Award for their work in opera and with young Canadian singers; in December 2012, they were both appointed Members of the Order of Canada and recipients of the Queen’s Diamond Jubilee Medal. DANIEL TAYLOR Daniel Taylor appears on more than 100 recordings, including Bach cantatas / Gardiner (for Deutsche Grammophon Archiv and SDG), Renaissance duets with James Bowman / actor Ralph Fiennes /TEM (BIS), Handel’s Rinaldo with Bartoli / Hogwood (Decca), Sakamoto’s popopera “Life” with the Dalai Lama and Salman Rushdie (Sony), Bach Cantatas with Bach Collegium Japan (BIS), a Bach recital with the Theatre of Early Music and a recital of Shakespeare’s songs (Sony). New releases include Bach Cantatas with the Magdalena Consort / Chandos, Bach St. Matthew Passion with the Kammerchor Stuttgart / Bernius (Carus) and Messiah with the Handel & Haydn Society / Christophers (Coro). A new disc with the actor Jeremy Irons, cellist Matt Haimovitz and the mezzo Frederica von Stade has debuted at the top of the classical sales charts. �Daniel’s debut at Glyndebourne in Sellars’s staging of Handel’s Theodora followed his operatic debut in Jonathan Miller’s production of Handel’s Rodelinda (EMI). He took the title role in Gluck’s Orfeo at the Edinburgh Festival. His North American operatic debut was in Handel’s Cesare at the Metropolitan Opera. Other highlights of past engagements include Rinaldo at the Munich Opera House / Bickett; Bernstein’s Chichester Psalms/Philadelphia Orchestra / Dutoit; Handel’s Saul with Bachakademie Stuttgart/ Rilling (for Hänssler Classics) and Schnittke’s Faust Cantata with the Rotterdam Philharmonic / Gergiev. With the Monteverdi Choir/Gardiner, he appeared on the Bach Cantata Pilgrimage, joining in concerts and recordings across Europe and North America. In 2013, Daniel was awarded the Queen’s Medal for his work in Music and Charity. Daniel is Artistic Director and Conductor of the Choir and Orchestra of the Theatre of Early Music, which performs more than thirty concerts every year in concert halls all over the world. As a Conductor, he debuted recently with the Gabrieli Consort, the Kammerchor 7XYXXKEVX��(ERMIP�[EW�EPWS�XLI�½VWX�+YIWX�'SRHYGXSV�MR�XLI�LMWXSV]�SJ�XLI�8EPPMW�7GLSPEVW���8LI� University of Toronto recently appointed him to the position of Head of Historical Performance and Professor of Voice and Opera in the Faculty of Music. BRUCE UBUKATA Bruce Ubukata has established a reputation as one of Canada’s leading accompanists, working with singers such as Mary Lou Fallis in her successful one-woman shows. He has appeared in recital with mezzo Catherine Robbin across Canada and in France and has toured BC with Robbin and soprano Donna Brown. He had a long association with the Canadian Children’s Opera Chorus, has worked with the Toronto Symphony and the Canadian Opera Company, as well as for many years at the Britten-Pears School in Aldeburgh, England. He is also a noted organist (holding posts for many years at Toronto’s Grace-Church-on-the-Hill and the church of St. Simon the Apostle) and harpsichordist. His recordings include Liebeslieder and Folksongs for CBC Records, Benjamin Britten: the Canticles on the Marquis label and the Aldeburgh Connection’s most recent releases, Schubert among friends and Our own songs. He and Stephen 6EPPW�JSYRHIH�XLI�%PHIFYVKL�'SRRIGXMSR�MR������ERH�XLI�&E]½IPH�*IWXMZEP�SJ�7SRK�MR�������-R� October 2010, they were joint recipients of an Opera Canada “Ruby” Award for their work in opera and with young Canadian singers; in December 2012, they were both appointed Members of the Order of Canada and recipients of the Queen’s Diamond Jubilee Medal. UVIC CHAMBER SINGERS Under the direction of Garry Froese, the UVic Chamber Singers performs both standard and lesser-known choral repertoire from a wide spectrum of composers and styles. Formed in 1973 under the direction of Bruce More, the choir built a reputation for highly acclaimed performances in Victoria and also extensive concert tours. They performed in 140 cities and 30 countries on 6 continents. They have recorded for broadcast on the CBC, University of California Radio, N.C.R.V. Radio in Holland and the National Radios of China, Poland & Hungary. They have also been winners in the CBC choral competition and took part in a recording in 2000 which won a Juno award. �UNIVERSITY OF VICTORIA SCHOOL OF MUSIC LARGE  ENSEMBLE   SERIES FALL 2013 OCT 04 & NOV 22 WIND SYMPHONY University Centre Farquhar Auditorium | $14 & $12 OCT 20 (2:30 PM) & DEC 02 CHAMBER SINGERS Phillip T. Young Recital Hall | By donation NOV 01 ORCHESTRA NOV 08 University Centre Farquhar Auditorium | $17.5 & $13.5 JAZZ ORCHESTRA Phillip T. Young Recital Hall | $15 & $10 NOV 16 SONIC LAB Phillip T. Young Recital Hall | By donation NOV 30 CHORUS & ORCHESTRA NOV 24 VOCAL JAZZ Phillip T. Young Recital Hall | By donation University Centre Farquhar Auditorium | $17.5 & $13.5 Concerts start at 8 p.m. For concerts in the Farquhar Auditorium: FREE tickets are available for UVic students if reserved in advance, or $5 at the door. Tickets may be purchased at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca) and at the door. More information at: 250-721-8634 www.finearts.uvic.ca/music/events �UPCOMING EVENTS Sunday, October 27, 8:00 p.m. (Admission by donation) STUDENT COMPOSERS CONCERT Featuring original compositions by students in the School of Music Composition program. Phillip T. Young Recital Hall Friday, November 1, 8:00 p.m. ($17.50 & $13.50) UNIVERSITY OF VICTORIA ORCHESTRA Harmonious Saints Under the baton of Ajtony Csaba, the UVic Orchestra will perform J.C. Bach’s Symphony No. 2 MR�&�¾EX; Handel’s Look Down Harmonious Saint, with soloist and winner of the UVic Concerto Competition, Joshua Lovell (tenor); Tchaikovsky’s Symphony No. 2 (“Little Russian”); and more! University Centre Farquhar Auditorium Sunday, November 3, 2:30 p.m. (Admission by donation) VIOLIN CLASS RECITAL Students from the studio of Sharon Stanis. Phillip T. Young Recital Hall Tuesday, November 5 (Free Admission) +9)78�1%78)6'0%77��',%60)7�'%780)1%2��:-30-2 One of the world’s most active performer/pedagogue’s on the violin, Charlie Castleman, will lead masterclasses with School of Music string students. Open to the public. 1:30 p.m. – 3:30 p.m. Violin Masterclass, Phillip T. Young Recital Hall 5:30 p.m. – 7:00 p.m. String Chamber Music Masterclass, Rm. B037 MacLaurin B-Wing Wednesday, November 6, 8:00 p.m. (Free Admission) Orion Series in Fine Arts presents +9)78�0)'896)��(%:-(�%��.%**)�(California) 30th anniversary retrospective concert and lecture/discussion of the landmark electronic work, Silicon Valley Breakdown. Presented in the rarely-heard quadraphonic version, the work is the composer’s answer to the question “What would it sound PMOI�MJ�]SY�TPYGOIH�XLI�GEFPIW�SJ�XLI�+SPHIR�+EXI�&VMHKI#² Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca) and at the door. To receive our On the Pulse brochure and newsletter by email, contact: concert@uvic.ca [[[�½RIEVXW�YZMG�GE�QYWMG�IZIRXW � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orion Series in Fine Arts Hyperlink A link, or reference, to another resource on the Internet. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Aldeburgh Connection - <em>A Britten Festival of Song: The Canticles</em> Creator An entity primarily responsible for making the resource Bryan Lilly Date A point or period of time associated with an event in the lifecycle of the resource October 26, 2013 Contributor An entity responsible for making contributions to the resource Stephen Ralls, piano; Bruce Ubukata, piano; Daniel Taylor, counter-tenor; Benjamin Butterfield, tenor; Alexander Dobson, baritone; UVic Chamber Singers, with Gary Froese, conductor