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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
Benjamin Britten (1913-1976)
Canticle I: 1]�&IPSZIH�MW�1MRI��3T��� (Francis Quarles)
tenor
Purcell, real. Britten
0SVH��[LEX�MW�QER#�(William Fuller)
baritone
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
Britten
8LI�&EPPEH�SJ�0MXXPI�1YWKVEZI�ERH�0EH]�&EVREVH (anon.)
choir
Purcell, real. Britten
)ZIRMRK�,]QR (William Fuller)
counter-tenor
anon.
1EKM�ZMHIRXIW�WXIPPEQ�
choir
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
�
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Orion Series in Fine Arts
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<a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-02-TALK.mp3">talk </a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-03.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-04-TALK.mp3">talk</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-05.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-06.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-07-TALK.mp3">talk</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-08.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-09.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-10-TALK.mp3">talk</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-11.mp3">track7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-12-TALK.mp3">talk</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-13.mp3">track8</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-14.mp3">track9</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-15-Encore1.mp3">encore1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-16-encoreTALK.mp3">talk</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-17-Encore2.mp3">encore2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-01.mp3"><br /></a>
Dublin Core
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Title
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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
-
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
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Title
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Orion Series in Fine Arts
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<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>
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Wind Sync
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Bryan Lilly
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March 18, 2014
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Garrett Hudson, flute; Erin Tsai, oboe; Jack Marquardt, clarinet; Tracy Jacobson, bassoon; Anni Hochhalter, horn
-
https://finearts.uvic.ca/music/archive/files/original/7aff463166756162036878f23e7fd427.pdf
684a8bf9c4531b997bc3e8b1d2bd5d72
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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
�
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Orion Series in Fine Arts
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<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>
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Orion Series in Fine Arts - Milton Schlosser, piano
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Brennan MacKay, Noel Anstey
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February 2, 2015
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Milton Schlosser, piano
-
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fa93bc43633762ad87c80d806d60f1e2
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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
�
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Orion Series in Fine Arts
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<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>
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Orion Series In Fine Arts - Gordon Wolfe, trombone
Creator
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Allyssa Haigh
Date
A point or period of time associated with an event in the lifecycle of the resource
September 19, 2015
Contributor
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Gordon Wolfe, trombone; Vanessa May-Lok Lee, piano
-
https://finearts.uvic.ca/music/archive/files/original/7ad76f666bb8eda8af37b388f26530d1.pdf
4e689c1278d112a21dd60d57576a45f2
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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
�
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Orion Series in Fine Arts
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<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>
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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
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Jorge Cabellero, guitar
-
https://finearts.uvic.ca/music/archive/files/original/9dffd17130be88fbc50c8d4a0f380f6a.pdf
eae9675590eca9a8f7b24ceb9fc59f19
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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.
�
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Orion Series in Fine Arts
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<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>
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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
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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
�
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Orion Series in Fine Arts - Benny Sluchin, trombone
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Kirk McNally
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November 17, 2015
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Benny Sluchin, trombone
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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.
�
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Orion Series in Fine Arts - A Visit to Bergen
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Kirk McNally
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February 2, 2016
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David Stewart, violin; Jane Coop, piano
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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.
�
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Orion Series in Fine Arts - Schubert's Winterreise
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Adar Guy
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February 4, 2016
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Daniel Lichti, baritone; Sandra Mogensen, piano
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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
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Title
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Orion Series in Fine Arts
Hyperlink
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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
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Orion Series in Fine Arts - Music That Speaks
Creator
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James Gray
Date
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February 15, 2016
Contributor
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Robyn Driedger-Klassen, soprano; Terence Dawson, piano