1 10 23 https://finearts.uvic.ca/music/archive/files/original/4f84a1c738d01717118893461500dddc.pdf 43ba395f283c437b9809b4a84dcc486a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orchestra Description An account of the resource Since its inception in 1969, the Orchestra has performed most of the standard repertoire, including all nine Beethoven symphonies, most of the later compositions of Haydn and Mozart, as well as major works of Brahms, Schubert, Stravinsky, Bruckner, Schoenberg, and others. Each year, members of the orchestra join with performance faculty to form the "Concerto Orchestra" to present the annual Concerto Concert, which features student soloists selected by competition. Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/public/02132025UVicSymphonyOrchestraJubilation/02132025UVicSymphonyOrchestraJubilation-001.wav">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/public/02132025UVicSymphonyOrchestraJubilation/02132025UVicSymphonyOrchestraJubilation-002.wav">Track 2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/public/02132025UVicSymphonyOrchestraJubilation/02132025UVicSymphonyOrchestraJubilation-003.wav">Track 3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/public/02132025UVicSymphonyOrchestraJubilation/02132025UVicSymphonyOrchestraJubilation-004.wav">Track 4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/public/02132025UVicSymphonyOrchestraJubilation/02132025UVicSymphonyOrchestraJubilation-005.wav">Track 5</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UVic Symphony Orchestra: Jubilation Subject The topic of the resource Ajtony Csaba, conductor Arturo García Cuéllar, graduate conductor Olivia Hancinsky-Charette, soprano (2024 UVic Concerto Competition Winner) Description An account of the resource Experience a celebration of musical joy with the UVic Symphony Orchestra’s concert, “Jubilation.” This performance explores the vibrant expressions of jubilation in music, spanning different eras and styles. Highlighting the talents of the next generation, the concert features UVic’s 2024 Concerto Competition Winner, Olivia Hancinsky-Charette, singing Mozart’s uplifting “Exsultate, jubilate.” The concert also showcases Arturo García Cuéllar’s Master of Music graduation project as he conducts Carlos Chavez’s Sinfonía india — a piece that weaves together indigenous Mexican themes in a powerful symphonic tapestry. You’ll also enjoy the revolutionary first movement of Beethoven’s “Eroica” symphony, the energetic thrill of John Adams’ Short Ride in a Fast Machine, and Mendelssohn’s evocative The Hebrides, a musical depiction of the Scottish seascape with it sweeping melodies and evocative harmonies. Creator An entity primarily responsible for making the resource Megan Harton Date A point or period of time associated with an event in the lifecycle of the resource February 13 2025 https://finearts.uvic.ca/music/archive/files/original/6bfc162252ef564a7ee8cac1b88874af.pdf d0271961bb7c03013f2a4f7f0a787b6c PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �Orchestra UNIVERSITY OF VICTORIA Ajtony Csaba, conductor With the UVic Voice Ensemble Pre-concert music by Sobremesa Saxophone Quartet Program: Rika Ishige – Three Short Tales of the Sea Eugene Bozza – Andante et Scherzo David Maslanka – Mountain Roads We respectfully acknowledge that the land on which we gather is the traditional territory of the WSÁNEĆ (Saanich), Lkwungen (Songhees) and Wyomilth (Esquimalt) peoples of the Coast Salish Nation. Friday, April 4, 2019 • 8 p.m. The Farquhar at UVic University of Victoria Adults: $20 / Seniors: $15 / Students & UVic alumni: $10 �PROGRAM George Gershwin (1898–1937) Cuban Overture Arturo Márquez (b. 1950) Danzón No. 2 Francis Poulenc (1899–1963) Interlude and Finale from the opera Dialogues des Carmélites UVic Voice Ensemble Staging concept: Benjamin Butterfield & Kinza Tyrrell Orchestral arrangement in collaboration with the MUS 350B Orchestration class I NT E R M I S S I O N Leonard Bernstein (1918–1990) Symphonic Dances from West Side Story Prologue (Allegro moderato) The growing rivalry between two teenage gangs the Jets and the Sharks. Somewhere (Adagio) In a dream ballet, the two gangs are united in friendship. Scherzo (Vivace e leggiero) In the same dream, the gangs break away from the city walls, suddenly finding themselves in a playful world of space, air, and sun. Mambo (Meno Presto) In the real world again, the competitive dance at the gym between the gangs. Cha-cha (Andantino con grazia) The star-crossed lovers Tony and Maria see each other for the first time; they dance together. Meeting Scene (Meno mosso) Music accompanies their first words spoken to one another. Cool Fugue (Allegretto) An elaborate dance sequence in which Riff leads the Jets in harnessing their impulsive hostility, figuratively “cooling their jets.” Rumble (Molto allegro) Climactic gang battle; the two gang leaders, Riff and Bernardo, are killed. Finale (Adagio) Maria’s I Have a Love develops into a procession, which recalls the vision of Somewhere. �PROGRAM NOTES Gershwin: Cuban Overture As a composer, George Gershwin straddled the worlds of Hollywood, Broadway, popular song, and the concert hall better than any other. In February 1932, he had just finished composing a new Broadway show, Of Thee I Sing, which opened in December 1931, and had just completed his first film score. He headed to Cuba for a vacation with some of his friends, which he described as “two hysterical weeks in Havana, where no sleep was to be had, but the quality and quantity of fun made up for that.” While vacationing in Havana, Gershwin developed a fascination for Cuban dance music, including its intricate rhythms, instrumentation, and exotic harmonies. Gershwin was especially interested in the percussion instruments that gave this music its distinctive flavour, such as the maracas, bongos, claves (two hardwood sticks struck together), and the guiro (a serrated gourd scraped with a wooden stick). On returning home to Manhattan, Gershwin brought with him an assortment of these instruments and the inspiration for his work, Cuban Overture. Cuban Overture is inspired by the Cuban dance, the rumba.The work was premiered on August 16, 1932, as part of an all-Gershwin programme held by the New York Philharmonic under the title Rumba. The concert was a huge success, with Gershwin stating that “17,845 people paid to get in and just about 5,000 were at the closed gate trying to fight their way in – unsuccessfully.” Gershwin renamed the work as the Cuban Overture three months later at a benefit concert conducted by Gershwin at the Metropolitan Opera, to avoid the audience thinking it was a piece for dance band. In his notes for the premiere, Gershwin wrote “In my composition I have endeavored to combine the Cuban rhythms with my own thematic material. The result is a symphonic overture which embodies the essence of the Cuban dance.” The overture is written in three-part, or ABA form, with the outer fast sections featuring dance rhythms and hints of Latin popular tunes while highlighting the percussion section, which includes the native instruments that Gershwin had brought home. The B section is a slower, melancholy mood, which is approached by a solo clarinet cadenza. The work ends with a coda, featuring the Cuban percussion instruments. Poulenc: Dialogues des Carmélites Dialogues des Carmélites (1956) is an opera in three acts that tells a fictionalized version of the story of the Martyrs of Compègne. The Martyrs were a group of sixteen Carmelite nuns who were guillotined on July 17, 1794, at the height of Maximilien Robespierre’s “Reign of Terror” (1793-1794) for refusing to renounce their vocation. Poulenc wrote the libretto in addition to the music, writing the libretto after the play Dialogues des Carmélites by Georges Bernanos. In the finale of Dialogues des Carmélites, Poulenc employs several compositional techniques to make the nuns’ march to the guillotine terrifying. Poulenc uses the full �force of his orchestra, which is supported by a march-like ostinato of a minor third in the lower strings. Over top, the nuns sing the ‘Salve Regina’ prayer in a chant-like rhythm. During the finale, each of the nuns are executed by the guillotine, which can be heard in the music. At the premiere of the opera in 1957 in La Scala, the orchestra used an actual replica guillotine, but it is now typically a sound effect.The guillotine sounds at unpredictable times, creating a sense of tension in the finale, until only one nun is left, who ends the prayer solo. Márquez: Danzón No. 2 The danzón is a refined salon dance for couples that originated in Cuba. It became popular in Mexico immediately after its development, especially in the port city of Veracruz, which is situated on the Gulf of Mexico. The dance is derived from the 19th century French contradanse, which came to Cuba in the 1890s via French settlers who had left Haiti during the Haitian Revolution, and the Cuban habanera. The danzón is typically in rondo form and features instrumental soloists. Danzón No. 2 was commissioned by Mexico’s National Autonomous University in 1994. Márquez stated that the inspiration from the piece came in 1993, when he travelled to Malinalco with the painter Andrés Fonseca and the dancer Irene Martínez. Both were experts in salon dances and were particularly passionate about the danzón. From this experience and later trips to Veracruz and Mexico City, Márquez became very familiar with the danzón’s rhythms, forms, and melodic outlines. He described the piece as “a tribute to the environment that nourishes the genre” and continues by saying “it endeavors to get as close as possible to the dance, to its nostalgic melodies, to its wild rhythms.” Danzón No. 2 is built on the traditional rondo form as well as on a theme stated by the clarinet, with solos by the oboe, piano, trumpet, flute, and piccolo. Bernstein: Symphonic Dances from West Side Story Bernstein’s Symphonic Dances from West Side Story ties together nine episodes from his popular musical. Bernstein supervised the arrangement of the concert suite in the winter of 1960-61 in preparation for a fundraising gala to be held on February 13, 1961 by the New York Philharmonic. Bernstein’s colleagues Sid Ramin and Irwin Kostal, who had recently completed orchestrating the film version of West Side Story, assisted with both the movement selections and the orchestration. The main motive of the suite appears in the opening notes of “Maria” (C-F#-G), which is based on the interval of the tritone. Bernstein described this motive as the kernel of the entire score, stating “The three notes pervade the whole piece, inverted, done backwards.” Jack Gottlieb, who was Bernstein’s assistant for several years provided the following summary of the suite in relation to the musical. Program notes by Christina Kempenaar �BIOGRAPHIES Ajtony Csaba, UVic Orchestra conductor Ajtony Csaba is music director of the UVic Orchestra and conductor of the Central-European Chamber Orchestra (mikamo) in Vienna. Recently, he worked with the Frankfurt Radio Orchestra (hr-sinfonieorchester), the Hungarian Radio Orchestra, the Transparent Sound Festival in Budapest, and members of the Ensemble Intercontemporain in Paris. Past years have seen him conducting most major Hungarian orchestras, Radio-Symphonieorchester Vienna, Wroclaw Philharmonic Orchestra, as well as reoccurring engagements at the Darmstadt New Music Festival, SiMN (Curitiba - BR) and Wien Modern. He is co-founder of the SALT Festival in Victoria. Csaba started off by winning prizes as a composer in Hungary, Austria and later in Germany. His opera conducting debut was for the Hungarian première of Shostakovich’s Cheryomoushki. He graduated from the University of Music Vienna with distinction and worked as Kapellmeister at the Studiobühne Wein. As conductor of the multimedia concert cycles Hermes and recycled in 2008–2010, he directed the Central European Chamber Orchestra in the prime concert halls of Bratislava, Prague, Cracow, Bucharest, Budapest, the Konzerthaus, and Austrian Broadcast in Vienna as well as concert tours in China. His research on conducting gestures has been featured at conferences of the Oxford Conducting Institute and ISGS 7th International Conference in Paris. Csaba has recently completed the recording of orchestral compositions by Canadian composer Istvan Anhalt with the SALT Festival Orchestra and the Hungarian Radio Symphony Orchestra, for the label Centrediscs. Sobremesa Saxophone Quartet Formed in 2017, the Sobremesa Quartet is an award-winning saxophone ensemble that promotes conversation in music. The name of the group, derived from the Spanish term sobremesa, refers to a relaxing and enjoyable conversation that occurs after a meal.The group’s goal is to combine their instrumental voices and create vibrant and meaningful music. The members of the Quartet — Michelle Melnicky (soprano), Matt Fichter (alto), Todd Morgan (tenor) and Karsten Brewka (baritone) — are from Vancouver, BC, Kamloops, BC, St. Catharines, ON, and Victoria, BC, and are students of Wendell Clanton at the University of Victoria School of Music. The Quartet has won the Greater Victoria Performing Arts Festival, the British Columbia Performing Arts Festival, and has qualified for the National Music Festival in New Brunswick. Sombresa has been active in the local community, having performed at the annual Saint Cecilia’s Day Concert, the Lenten Recital Series, and has been the featured ensemble performing for the University of Victoria Fall Convocation for the past two years. �UVIC ORCHESTRA VIOLIN Amy-Lynne Toth Chloe Kneedler Claire Sparrow-Clarke Cleo Yong Dana Wenzel Emma Dunbar Iryna Peleshchyshyn Jas Schweitzer Jeanel Liang* Julian Haynes* Leonardo Maekawa Lucy Toews Michelle Hoskin Noah Mellemstrand Ross Ling* Serena Bodi Talia Sinclair* VIOLA Amanda Steinemann Judith Gladstone* Logan McNeil Maki Yamagata* Seth McMillan CELLO Bryan Lin Chloe Kersen Claire Dresselhuis* Liam Epp Shiun Kim* DOUBLE BASS Jody Johnson* Patricia Horwood Rachel Burtman* FLUTE Ada Qian* Jasmine Riseley Jamie Pambrun* TROMBONE William Quinn* Erin Marsh Benjamin Pakosz PICCOLO Jasmine Riseley TUBA Aidan Fentiman OBOE Anna Betuzzi* Janie Sinn Theresa Mothersill TIMPANI Brandon Bronson* ENGLISH HORN Theresa Mothersill CLARINET Alexander Chernata* Channing Mar Samuel He BASS CLARINET Alina Liang ALTO SAXOPHONE Todd Morgan BASSOON Rio Lagos Davison* Mia Erickson§ CONTRABASSOON Lee Whitehorn* HORN Christine Beattie* Gillian Ramage Emily Axford Tyrell Loster Peitzsche TRUMPET Ben Parker* Tark Kim Evan Overman Jordan Smale PERCUSSION Cashton McGillvray* Simeon Weststijn§ Wendy Feng Matthew Sabo Taya Haldane Simon Dawkins§ PIANO/CELESTE Michelle Hoskin HARP Annabelle Stanley§ LATIN PERCUSSION CONSULTANT Simon Dawkins MUSIC LIBRARIANS Nolan Kehler Emily Morse STAGE MANAGERS Liam Epp Noah Mellemstrand CONCERT MANAGER Kristy Farkas ASSISTANT Christina Kempenaar * Principal § Community member �UVIC VOICE ENSEMBLE Abigail Schuliger Ai Horton Alana Hayes Carson Moore Cassidy Stahr Chelsea Kutyn Desirée Hall Grady Forsberg Gwen jamieson Holly Melville Ian Culling Irina Kim Jaime kozak Jordan Rettich Katherine Allen Kaylene Chan Kieran Foss Kyla Fradette Kyron Basu Laura Giffen Natasha Gosling Nolan Kehler Rowan McWilliams Sophia Friesen Victoria Zielke Xuguang Zhang Accompanist Aya Robertson ORCHESTRAL ARRANGEMENT (POULENC) MUS 350B Class Alexander Chernata Matthew Sabo Taya Haldane Wendy Feng YiCong Gao � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orchestra Description An account of the resource Since its inception in 1969, the Orchestra has performed most of the standard repertoire, including all nine Beethoven symphonies, most of the later compositions of Haydn and Mozart, as well as major works of Brahms, Schubert, Stravinsky, Bruckner, Schoenberg, and others. Each year, members of the orchestra join with performance faculty to form the "Concerto Orchestra" to present the annual Concerto Concert, which features student soloists selected by competition. Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/040519-Orchestra/040519-Orchestra_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/040519-Orchestra/040519-Orchestra_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/040519-Orchestra/040519-Orchestra_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/040519-Orchestra/040519-Orchestra_04.mp3">track4</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orchestra Creator An entity primarily responsible for making the resource Bezal Benny Date A point or period of time associated with an event in the lifecycle of the resource April 4, 2019 Contributor An entity responsible for making contributions to the resource Ajtony Csaba UVic Voice Ensemble https://finearts.uvic.ca/music/archive/files/original/1d9c545936e35a12f4981044443c02b2.pdf 46e850e2261004beca9c9714ce4ebb25 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �Orchestra UNIVERSITY OF VICTORIA Ajtony Csaba, conductor Pre-concert talk at 7PM with Professor Gregor Kokorz and composer Max Murray. This concert is supported in part by the Austrian Cultural Forum. We respectfully acknowledge that the land on which we gather is the traditional territory of the WS’ANEC’ (Saanich), Lkwungen (Songhees) and Wyomilth (Esquimalt) peoples of the Coast Salish Nation. Friday, February 1, 2019 • 8 p.m. The Farquhar at UVic University of Victoria Adults: $20 / Seniors: $15 / Students & UVic alumni: $10 �PROGRAM W. A. Mozart (1756–1791) Symphony No. 35 in D Major, K. 385 (Haffner) Allegro con spirito Andante Menuetto Presto Georg Friedrich Haas (b. 1953) …e finisci già? Max Murray Cântece (World premiere) I NT E R M I S S I O N Antonín Dvořák (1841–1904) Symphony No. 9 in E minor, “From the New World” Adagio – Allegro molto Largo Scherzo: Molto vivace – Poco sostenuto Allegro con fuoco �PROGRAM NOTES Mozart: Symphony No. 35 in D Major, K. 385 (Haffner) Mozart’s Haffner Symphony began as a serenade, commissioned as background music by the Haffners, a prominent Salzburg family, for the ennoblement of Sigmund Haffner in 1782. The commission came through Mozart’s father, as Mozart had moved to Vienna in 1781. At the time of the commission, Mozart was “up to his eyeballs with work,” but took the commission anyway, sending the serenade back to his father movement by movement and quickly forgetting about them. As Mozart was overextended with both other musical projects and preparing to marry Constanze Weber, it is likely that he did not meet the deadline, and it is unknown when the serenade was first performed. In December 1782, Mozart asked his father to send him a copy of the serenade so that he could perform it in an upcoming concert. Upon receiving the score, Mozart was amazed at the quality of the work, having forgotten most of what he had written. He proceeded to convert the serenade into a symphony by cutting the opening march and one of the minuets. He also expanded the orchestration by adding two flutes and two clarinets to the first and last movements. The Symphony as we know it today premiered on 23 March 1783 in Vienna, with the emperor in attendance. The performance was a huge success. It was reported that the emperor stayed for the whole concert, which was unusual for him, and even joined in the applause. —Christina Kempenaar Haas: …e finisci già? This orchestral work by Georg Friedrich Haas was inspired by Mozart’s fragment for the Horn Concerto No. 1, K. 412, which Haas considers an impressive personal document. “At the beginning of the concerto movement, Mozart places the D-major chord exactly in the position of the overtone chord,” Haas says. “This overtone chord is the centre of my short piece, out of which the beginning of the movement unfolds, as written by Mozart—in four different temporal elongations and contractions simultaneously.” —Georg Friedrich Haas Manuscript excerpt from the Rondo of Mozart’s K. 412 Horn Concerto. The composer’s annotation of the solo part is unusually informal, teasing the soloist rather than instructing. “Is that all [you’ve got]? (e finisci già? – it.)” �Murray: Cântece In Mozart’s horn concerti, the inevitable turns to the minor mode, amidst a sense of ease and a brightness of palette verging on the ironic, encapsulate for me one of the essential wisdoms imparted by the composer: the evocation and sustain of dramatic precariousness amidst textural transparency. Performing these works was a part of my earliest experiences of music: pursuing across their surfaces the abyss which looms out of each shift of tonality, and exists beyond them. Here in Cântece, the perspective of the soloist from which I originally gathered this experience withdraws towards the empty center of an ensemble whose behavior is, in the Mozartian sense, equally incidental, quotidian, monumental, horrifying. —Max Murray Dvořák: Symphony No. 9 “From the New World” Dvořák wrote his famous ninth symphony in 1893 while he was the director of the National Conservatory of Music in New York. While living in America, Dvořák became interested in African-American spirituals and plantation songs of the American South. He thought that the future of American art music lay in the beautiful and varied themes of these songs and urged composers to turn to them when writing music. Further, Dvořák was fascinated by Native American tradition. According to the composer, the second movement was inspired by The Song of Hiawatha, a poem by Henry Wadsworth Longfellow, and stated that the dance-like passage in the third movement evokes the Native wedding feast, where the members of the community dance. Musically, Dvořák’s ninth symphony is a synthesis of many musical traditions.The composer integrated the“spirit” of African-American and Native-American music into his composition through his use of the pentatonic scale, flattened seventh, and syncopated rhythms. While Dvořák largely avoided direct quotation in his symphony, musicologists have argued that the final theme of the first movement is inspired by Swing Low, Sweet Chariot.The work also includes various elements of European music. For example, the third movement is reminiscent of his earlier Slavonic Dances, Op. 46, which was inspired by Bohemian folk music. Further, the symphony is written in cyclic form, a form wherein the movements are motivically or thematically linked, which was popular amongst European composers, such as Beethoven, in the 19th century. Ultimately, Dvořák’s Symphony “From the New World” was a fusion of both the Old World and the New, contributing to intercontinental appeal. —Christina Kempenaar �BIOGRAPHIES Ajtony Csaba is music director of the UVic Orchestra and conductor of the Central-European Chamber Orchestra (mikamo) in Vienna. Recently, he worked with the Frankfurt Radio Orchestra (hr-sinfonieorchester), the Hungarian Radio Orchestra, the Transparent Sound Festival in Budapest, and members of the Ensemble Intercontemporain in Paris. Past years have seen him conducting most major Hungarian orchestras, Radio-Symphonieorchester Vienna, Wroclaw Philharmonic Orchestra, as well as reoccurring engagements at the Darmstadt New Music Festival, SiMN (Curitiba - BR) and Wien Modern. He is co-founder of the SALT Festival in Victoria. Csaba started off by winning prizes as a composer in Hungary, Austria and later in Germany. His opera conducting debut was for the Hungarian première of Shostakovich’s Cheryomoushki. He graduated from the University of Music Vienna with distinction and worked as Kapellmeister at the Studiobühne Wein. As conductor of the multimedia concert cycles Hermes and recycled in 2008–2010, he directed the Central European Chamber Orchestra in the prime concert halls of Bratislava, Prague, Cracow, Bucharest, Budapest, the Konzerthaus, and Austrian Broadcast in Vienna as well as concert tours in China. His research on conducting gestures has been featured at conferences of the Oxford Conducting Institute and ISGS 7th International Conference in Paris. Gregor Kokorz is an Austrian musicologist based at the University of Innsbruck. He is the OeAD Visiting Associate Professor at the University of Alberta. His research covers questions of cultural transfer, as well as music and identity in Central Europe. His present research focuses on music traditions in the city of Trieste in the 19th century. He received his PhD in musicology from the University of Graz with a dissertation on the history of ethnomusicology. He has been a member of the interdisciplinary research project Modernity. Additional positions include Vienna and Central Europe around 1900 at the University of Graz (1996-2004), research assistant at the Wirth Institute for Austrian and Central European Studies of the University of Alberta (2004-2005), a Mellon Visiting Professor at the University of Chicago (2012), and serving on the board of the Austrian musicological society (2014-2017). Following his studies at UVic (BMus ’10), Max Murray completed parallel graduate degrees in performance and composition at the Berlin Hochschule für Musik ‘Hanns Eisler’, and the Leipzig Hochschule für Musik und Theater ‘Felix Mendelssohn Bartholdy.’ As a tubist he has worked across classical and contemporary repertoire, appearing in festivals including Märzmusik, Borealis, and Musica Nova, and receiving invitations for residencies as an interpreter in the composition departments of Stanford, and Huddersfield Universities. In 2014/15 Max Murray was a visiting fellow in the music department of Harvard University, where he is currently a PhD candidate in music composition. As a composer he has collaborated with musicians and ensembles including Noa Frenkel, Annie Gårlid+Matthew Conley+Nathan Plante, Kevin McFarland, RAGE THORMBONES, Liam Hockley, and Madison Greenstone, among others, with works appearing in contexts such as the Gare du Nord «Dialog», Klangwerkstatt, and HaTeiva. Since 2016 he has been conductor of Harvard University’s Graduate School of Arts and Sciences’ Symphony Orchestra. �ORCHESTRA PERSONNEL VIOLIN Amy-Lynne Toth* Chloe Kneedler Claire Sparrow-Clarke Cleo Yong Dana Wenzel Emma Dunbar Iryna Peleshchyshyn Jas Schweitzer Jeanel Liang* Julian Haynes Linda Donn Leonardo Maekawa Lucy Toews Michelle Hoskin Noah Mellemstrand Ross Ling Serena Bodi Talia Sinclair* FLUTE Ada Qian* Jasmine Riseley Jame Pambrun* VIOLA Amanda Steinemann Gary Sun Judith Gladstone Logan McNeil Maki Yamagata* Seth McMillan* HORN Christine Beattie* Emily Axford Gillian Ramage Tyrell Loster Peitzsche CELLO Bryan Lin Chloe Kersen Claire Dresselhuis* Liam Epp Shiun Kim* Tara Rajah DOUBLE BASS Jody Johnson* Patricia Horwood Rachel Burtman TRUMPET Ben Parker* Tark Kim OBOE Anna Betuzzi* Theresa Mothersill TROMBONE William Quinn* Erin Marsh Benjamin Pakosz ENGLISH HORN Anna Betuzzi TUBA Aidan Fentiman CLARINET Alexander Chernata* Channing Mar TIMPANI Brandon Bronson* BASSOON Rio Lagos Davison* Mia Erickson§ PERCUSSION Cashton McGillvray* LIBRARIANS Nolan Kehler Emily Morse STAGE MANAGERS Liam Epp Noah Mellemstrand ASSISTANT Christina Kempenaar * Principal § Community member �UVIC SCHOOL OF MUSIC UPCOMING EVENTS SATURDAY, FEBRUARY 2 | 8 PM (By donation) Emerging Artists Alumni Series Fifth Street The Victoria-based vocal quintet, Fifth Street, combines the worlds of pop, jazz and R&B in perfect five-part harmony. You’ll enjoy their original a cappella arrangements of pop hits by Imogen Heap and Justin Timberlake as well as fresh takes on timeless classics including Georgia On My Mind and Cry Me A River. Phillip T. Young Recital Hall SUNDAY, FEBRUARY 3 | 7 PM (By donation) Piano Studio Recital Featuring students from the studio of Eva Solar-Kinderman. Phillip T. Young Recital Hall TUESDAY, FEBRUARY 5 | 12:30 PM (By donation) Tuesdaymusic A concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall FRIDAY, FEBRUARY 8 | 12:30 PM (By donation) Fridaymusic A concert of varied repertoire featuring School of Music brass students. Phillip T. Young Recital Hall FRIDAY, FEBRUARY 8 | 8 PM (Pre-concert talk at 7 PM) ($10-$20) UVic Wind Symphony & the Naden Band of the Royal Canadian Navy Something Old, Something New... Steven Capaldo, CPO 2 Brayden Wise & PO 1 Ben Van Slyke, conductors This concert presents a modern twist on the traditional approach to concert programming of an overture, a symphony, a march and a concerto. Featuring new and classic works by Copland, Persichetti, Jager and Bryant, as well as UVic student Jason Gordon playing Gillingham’s Concerto for Euphonium, Winds & Percussion. The Farquhar at UVic SATURDAY, FEBRUARY 9 | 2:30 PM (By donation) Saxophone Ensemble Recital Featuring students from the studio of Wendell Clanton. Phillip T. Young Recital Hall To receive our season brochure & monthly newsletter by email, contact: concert@uvic.ca uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orchestra Description An account of the resource Since its inception in 1969, the Orchestra has performed most of the standard repertoire, including all nine Beethoven symphonies, most of the later compositions of Haydn and Mozart, as well as major works of Brahms, Schubert, Stravinsky, Bruckner, Schoenberg, and others. Each year, members of the orchestra join with performance faculty to form the "Concerto Orchestra" to present the annual Concerto Concert, which features student soloists selected by competition. Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/020119-Orchestra/C_02.wav">track1</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orchestra Creator An entity primarily responsible for making the resource Bezal Benny Date A point or period of time associated with an event in the lifecycle of the resource February 1, 2019 Contributor An entity responsible for making contributions to the resource Ajtony Csaba Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orchestra Description An account of the resource Since its inception in 1969, the Orchestra has performed most of the standard repertoire, including all nine Beethoven symphonies, most of the later compositions of Haydn and Mozart, as well as major works of Brahms, Schubert, Stravinsky, Bruckner, Schoenberg, and others. Each year, members of the orchestra join with performance faculty to form the "Concerto Orchestra" to present the annual Concerto Concert, which features student soloists selected by competition. Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/120217-50thAnniversaryGala/120217-50thAnniversaryGala_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/120217-50thAnniversaryGala/120217-50thAnniversaryGala_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/120217-50thAnniversaryGala/120217-50thAnniversaryGala_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/120217-50thAnniversaryGala/120217-50thAnniversaryGala_04.mp3">Track4</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 50th Anniversary Gala Concert Creator An entity primarily responsible for making the resource Hector Perez Date A point or period of time associated with an event in the lifecycle of the resource December 2, 2017 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orchestra Description An account of the resource Since its inception in 1969, the Orchestra has performed most of the standard repertoire, including all nine Beethoven symphonies, most of the later compositions of Haydn and Mozart, as well as major works of Brahms, Schubert, Stravinsky, Bruckner, Schoenberg, and others. Each year, members of the orchestra join with performance faculty to form the "Concerto Orchestra" to present the annual Concerto Concert, which features student soloists selected by competition. Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/102717-Orchestra/102717-Orchestra_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/102717-Orchestra/102717-Orchestra_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/102717-Orchestra/102717-Orchestra_03.mp3">Track3</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UVic Orchestra - A Tribute To Maureen Forrester Creator An entity primarily responsible for making the resource Christian Knowles Date A point or period of time associated with an event in the lifecycle of the resource October 27, 2017 Contributor An entity responsible for making contributions to the resource Noa Frankel, contralto Benjamin Butterfield, tenor Ajtony Csaba, conductor https://finearts.uvic.ca/music/archive/files/original/2b10a8e5caef52eb96263d27508c7ab7.pdf ed52bc04ebbd1a8cb3eed5e30c9fedc6 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �Chorus & UNIVERSITY OF VICTORIA Orchestra Soloists: Betty Allison, soprano Andrea Rodall, soprano Joé Lampron-Dandonneau, tenor Kyron Basu, bass Dr. Adam Jonathan Con, conductor Saturday, March 11, 2017 • 2:30 p.m. University Centre Farquhar Auditorium University of Victoria Adults: $20 / Seniors: $15 / Students & UVic alumni: $10 �PROGRAM Wolfgang Amadeus Mozart (1756–1791) Great Mass in C minor, K.427 (1782–1783) I. KYRIE (Andante moderato: Chorus and Andrea Rodall, soprano) II. GLORIA Gloria in excelsis Deo (Allegro vivace: Chorus) Laudamus te (Allegro aperto: Betty Allison, soprano) Gratias agimus tibi (Adagio: Chorus) Domine Deus (Allegro moderato: Andrea Rodall, Betty Allison, sopranos) Qui tollis (Largo: Double choir) Quoniam tu solus (Allegro: Andrea Rodall, Betty Allison, sopranos and Joé Lampron-Dandonneau, tenor) Jesu Christe (Adagio: Chorus) — Cum Sancto Spiritu (Chorus) III. CREDO Credo in unum Deum (Allegro maestoso: Chorus) Et incarnatus est (Andante: Andrea Rodall, soprano) IV. SANCTUS (Largo: Double choir) V. BENEDICTUS (Allegro comodo: Andrea Rodall, Betty Allison, sopranos, Joé Lampron-Dandonneau, tenor and Kyron Basu, baritone with Double chorus) Please tell us about your concert experience in this quick Audience Survey: https://finearts.uvic.ca/forms/music/audience/ �BIOGRAPHIES Andrea Rodall, soprano Soprano Andrea Rodall received her Bachelor of Music in vocal performance with distinction from the University of Calgary and is currently in her final semester of the Masters program in vocal performance at UVic, where she is studying with Anne Grimm. Past engagements have included Handel’s Messiah, Haydn’s Creation, Mendelssohn’s Elijah, and Bach’s Christmas Oratorio. Opera roles include Adele in Die Fledermaus, Flora in La Traviata, Maria in the Sound of Music and Sarah Brown in Guys and Dolls. She has also sung in the Pacific Opera Victoria Chorus and the Vancouver Island Opera Chorus. Residing in Duncan, Andrea runs her own music studio, Joy of Music, where she is in high demand as a voice and piano teacher for both children and adults. Betty Allison, soprano “[A performer with] great theatrical presence and vocal sophistication,” she is “gifted with a commanding dramatic soprano voice.” Betty Allison is known to Victoria audiences for her performances with Pacific Opera Victoria in The Magic Flute, A Midsummer Night’s Dream and Das Rheingold as well as for the role of Mary in the world premier of Mary’s Wedding. Betty is an alumnus of UVic where she completed her Bachelor of Music and Bachelor of Education degrees before joining the Canadian Opera Company Ensemble. She is now completing her Masters in Voice Performance at UVic with Benjamin Butterfield. Past performance highlights have included the title role in Floyd’s Susannah with Florentine Opera, Alice in Verdi’s Falstaff with L’Opèra Thèâtre de Metz Metropole as well as Rosalinde in Die Fledermaus and First Lady in Die Zauberflöte with Edmonton Opera. Other roles have included Elizabeth in Britten’s Gloriana, Fiordiligi in Cosi fan tutte and Donna Anna in Don Giovanni. Equally comfortable on the concert stage, Betty has also performed in Mahler’s Symphony of a Thousand, Brahms’ Requiem and Gubaidulia’s Galgenlieder A 3. Joé Lampron-Dandonneau, tenor Born in the Eastern Townships of Québec, tenor Joé Lampron-Dandonneau completed his Bachelor of Music in Voice Performance at the University of Montréal, where he studied with John Fanning. He is currently finishing his first year of his Masters Degree at the University of Victoria with Benjamin Butterfield. Past operatic performances have included Father Grenville in Dead Man Walking and Tebaldo in I Capuletti e Montechi at Opera Nuova in Edmonton as well as Don Basilio in Le Nozze di Figaro. Upcoming engagements include the St. John Passion with the Victoria Baroque Players and with the Victoria Symphony singing the music of Tobin Stokes in their Explorations No. 2 series. �Kyron Basu, baritone Kyron Basu is currently in his third year at the University of Victoria, in the studio of Benjamin Butterfield. He began his vocal training with Iris Cooke-Chislett in 2014. Kyron earned his Diploma in Music from the Victoria Conservatory of Music in 2016, where he studied with Ingrid Attrot. An enthusiastic performer, Kyron sings regularly in the Victoria area. As a soloist, he has appeared with groups such as Fretwork, the Victoria Baroque Players, Victoria Children’s Choir, and the Victoria Philharmonic Choir (Bach and Pergolesi’s Magnificat settings). He has sung in three productions of the Victoria Conservatory of Music’s Opera Studio program, and performed solos in the Conservatory’s Summer Oratorio program (Handel’s Judas Maccabaeus) of 2016. Kyron’s ensemble engagements have included two productions with the Pacific Opera Victoria chorus (Verdi’s Otello and Simon Boccanegra), as well as singing Handel’s Messiah with Vox Humana and Friends. He is a choral scholar at Christ Church Cathedral where he sings with the St. Christopher Singers. This season, Kyron will be performing in the choruses of Bach’s St. John Passion with the Victoria Baroque Players and Monteverdi’s Vespers with the Victoria Philharmonic Choir. Dr. Adam Jonathan Con, Conductor and UVic Chorus director Dr. Con is Associate Professor of Music at University of Victoria School of Music. His duties include teaching Elementary Music Methods, Music Education Foundations, Choral Conducting, Choral Organization, Rehearsal Techniques and Literature, Middle and Elementary School choir methods, conducting the UVic Chorus and supervising music education students. He served in similar capacities at the Bob Cole Conservatory of Music, California State University, Long Beach, at Wittenberg University in Springfield, Ohio and at Georgia Southern University in Statesboro, Georgia. Dr. Con earned a Bachelor’s Degree in Music Education (Secondary Instrumental and Choral) and a Master’s Degree in Music Education (Elementary) from the University of British Columbia. At Florida State University, he earned a Doctorate of Philosophy in Music Education (Choral Conducting Emphasis) studying with Rodney Eichenberger, Andre Thomas, Clifford Madsen and Judy Bowers. In addition, Dr. Con is a certified Orff Schulwerk specialist and has extensive study experience as an Alexander Technique practitioner. Dr. Con has presented and conducted at prestigious events such as the National American Orff-Schulwerk Conference, Podium: Canadian National Choral Conducting Symposium, the Canadian National GALA Conference, the National Canadian Orff-Schulwerk Conference, the Alberta Provincial Music Educator’s Conference, the British Columbia Provincial Music Educator’s Conference, the British Columbia Choral Federation Chorfest and Youth Choir, the Unitarian Universalist Musicians’ United States National Conference, Ohio State Music Educator’s Conference, the Georgia State American Choral Directors Association Conference, and the Georgia Music Educator’s Conference. His talent and ability to work with all levels of musical experience is grounded in 15 years of diverse K-12 public school music teaching which includes Orff, Kodály, and Dalcroze based general music, French immersion music, middle and secondary school choral, vocal jazz, concert band and jazz band. His professional conducting experiences include numerous All-State and honor choirs, civic orchestras, professional musical theatre, community and professional choirs, concert bands, and 38 years as a church choir director and organist. Currently, he serves as the University of Victoria convocation organist. �UNIVERSITY OF VICTORIA ORCHESTRA VIOLIN I Chloe Kim* Aliayta Foon-Dancoes Jeanel Liang Jilaine Orton Jasmine Mather Linda Donn Isobel Glover Ross Ling Shijin Kim Francine Hsu FLUTE Monica Mun VIOLIN II Amy Toth* Julien Haynes Emilly MacCallum Jessica d’Oliveira Michelle Hoskin Gary Sun Amanda Steinemann Lucy Toews Serena Jack HORN Emily Axford Sarah Mullane VIOLA Josh Gomberoff* Jaling Kersen Nathalie Dzbik Eric Mitchell Jing Yang CELLO Claire Dresselhuis* Olivia Brotzell Chloe Kersen Shiun Kim Bryan Lin Liam Epp Tara Rajah DOUBLE BASS Mackenzie Carroll OBOE Berlin Janzen* Anna Betuzzi BASSOON Eric Boulter* Lee Whitehorne Rio Davison § TRUMPET Ian VanGils* Heather Richardson TROMBONE Zachary Power* Erin Marsh Grace Timney ORGAN Ethan Hill TIMPANI Tristan Holleufer LIBRARIANS Betty Allison Monica Mun STAGE MANAGERS Tristan Holleufer James Waddell Liam Epp ASSISTANT Shabahang Saffari * Principal § Community member �UNIVERSITY OF VICTORIA CHORUS SOPRANO Keiko Alkire Arianna Cheveldave Vera Costain Sarah Ebert Angela Faber Kate Fairley Alysha Flipse Rita Haehnlein Haley Greenhalgh Abby Hartman Darleene Horricks Cassandra Husband Naseem Jamomend Nicola Kent Vanessa Lee Flora Leigh Iona Lister Kelby Lyall Irma MacKay Holly Melville Sophie Oliveau-Moore Paige Murphy Heather Noakes Hehley Park Natasha Pashchenko Victoria Pereversoff Torrey Randolph Andrea Rodall Elora Sheres Melissa Smith Megan Steffens Sarah Stephens Penny Stevenson Emily Stewart Shauna Tierny Jessica Vincent Jessica Wagner Alex Walsh Season Wang Chloe Wiesenthal ALTO Dara Barrow-Precious Breanna Bokstrom Coco Chen Tiffany Cheung Maureen Chow Elizabeth Craig Lara Falkiner Wendy Feng Taya Haldane Kate Harder Seira Hayakashi Aimi Howden Iris Hung Vincy Ip Kayla Izon Emily Jackson Joyce Jin Joy Keeler Nahoko Kempster Shiun Kim Esther Lee Bonnie Leung Laura Liu Mandy Liu Katie Lundin Emily Markwart Beth Anne Masselink Joyce Masselink Emily Maunder Elsie McMurphy Sarah Meyer Patricia Murray Tu Nguyen Meagan Pal Jamie Pambrun Amelia Petch Aya Robertson Erin Sharpe Cassidy Stahr Sarah Tao Abigail Takenaka Koba ter Nuezen Dree Thomson-Diamond Angela Wang Gerlinde Weimer Stuckmann Jane Whiteley Nancy Xu Bella Zeng Carol Zhang TENOR Tony Bae Ben DeCicco Mark Guebert Rudolf Haehnlein Calvin Jones Ryan Kim Cuong Le Pierre MacKenzie Charlie Mah, cantor Eric Mitchell Todd Morgan Andrew Rose Sheila Ruffell Sonja Ruffell Leif Saba Ian Sirias Luc Steele Robert Tulip William Van den Broek Eric Yvorchuk James Zhang BASS Dante Andre-Kahan Yanick Belanger-Mckoy Mark Bigauskas Isaiah Brabazon Dalton Braun Sebastian Britneff Alex Cheung Peter Constabel Sivert Das Alec Erickson David Eupen Simon Farintosh Jasper Graham Haotian Hu Simon Kightley Héctor Perez Drew Porter David Powell Anthony Quas Arden Reimer Emmett Robinson Smith Patrick Schjelderup Jeff Shatford Hayden Shenher Ghendun Suzuki Jackson Tseng Frank Waelti Dawson Woroniec �UPCOMING EVENTS SUNDAY, MARCH 12 | 2:30 PM (Free admission) Thank-You Concert The School of Music says Thank-You to our concertgoers, the community, and supporters with a wonderful afternoon of music featuring School of Music Scholarship recipients. Phillip T. Young Recital Hall SUNDAY, MARCH 12 | 7 PM ($18 & $12) Serenade to Music Harmonious voices fill Victoria’s historic Craigdarroch Castle with music performed by UVic School of Music voice students. Hear Vaughan Williams’ Serenade to Music, Schumann’s Spanish love songs, and more! Voice Ensemble directors Benjamin Butterfield and Kinza Tyrrell. Tickets: https://thecastle.ca/events/ Craigdarroch Castle (1050 Joan Crescent) MONDAY, MARCH 13 | 8 PM (Free admission) Graduating Recital: Margaret Lingas, voice Vocalist Margaret Lingas presents her Bachelor of Music graduating recital. Phillip T. Young Recital Hall TUESDAY, MARCH 14 | 12:30 PM (By donation) Tuesdaymusic Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring UVic School of Music students. Phillip T. Young Recital Hall WEDNESDAY, MARCH 15 | 12:30 PM (By donation) Trumpet Class Recital Featuring UVic School of Music students from the class of Merrie Klazek. Phillip T. Young Recital Hall FRIDAY, MARCH 17 | 12:30 PM (By donation) Fridaymusic Featuring new music by UVic School of Music composition students. Phillip T. Young Recital Hall � To receive our On the Pulse brochure and newsletter by email, contact: concert@uvic.ca www.finearts.uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orchestra Description An account of the resource Since its inception in 1969, the Orchestra has performed most of the standard repertoire, including all nine Beethoven symphonies, most of the later compositions of Haydn and Mozart, as well as major works of Brahms, Schubert, Stravinsky, Bruckner, Schoenberg, and others. Each year, members of the orchestra join with performance faculty to form the "Concerto Orchestra" to present the annual Concerto Concert, which features student soloists selected by competition. Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/031117-ChorusOrchestra/031117-ChorusOrchestra_01.mp3">Track01</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031117-ChorusOrchestra/031117-ChorusOrchestra_02.mp3">Track02</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031117-ChorusOrchestra/031117-ChorusOrchestra_03.mp3">Track03</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031117-ChorusOrchestra/031117-ChorusOrchestra_04.mp3">Track04</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031117-ChorusOrchestra/031117-ChorusOrchestra_05.mp3">Track05</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031117-ChorusOrchestra/031117-ChorusOrchestra_06.mp3">Track06</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031117-ChorusOrchestra/031117-ChorusOrchestra_07.mp3">Track07</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031117-ChorusOrchestra/031117-ChorusOrchestra_08.mp3">Track08</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031117-ChorusOrchestra/031117-ChorusOrchestra_09.mp3">Track09</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031117-ChorusOrchestra/031117-ChorusOrchestra_10.mp3">Track10</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031117-ChorusOrchestra/031117-ChorusOrchestra_11.mp3">Track11</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031117-ChorusOrchestra/031117-ChorusOrchestra_12.mp3">Track12</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chorus & Orchestra Creator An entity primarily responsible for making the resource Adam Jasieniuk Date A point or period of time associated with an event in the lifecycle of the resource March 11, 2017 Contributor An entity responsible for making contributions to the resource Betty Allison, soprano Andrea Rodall, soprano Joé Lampron-Dandonneau, tenor Kyron Basu, bass Dr. Adam Jonathan Con, conductor https://finearts.uvic.ca/music/archive/files/original/b9f61c219b557401175d0d53dabd9797.pdf 09a846d43f60d8be5d43da568aafcdd2 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �Orchestra UNIVERSITY OF VICTORIA Featuring Margaret Lingas, soprano UVic Concerto Competition Winner Studio of Benjamin Butterfield Zsolt Nagy, Guest Conductor Friday, January 27, 2017 • 8:00 p.m. University Centre Farquhar Auditorium University of Victoria Adults: $20 / Seniors: $15 / Students & UVic alumni: $10 �PROGRAM Antonín Dvořák (1841–1904) Carnival Overture, Op. 92 Samuel Barber (1910–1981) Knoxville: Summer of 1915, Op. 24 Margaret Lingas, soprano soloist UVic Concerto Competition Winner I NT E R M I S S I O N Julio Lopezhiler (b. 1993) Water, stanzas (Premiere performance, Winner of the 2016 UVic Composers’ Competition) Ernst von Dohnányi (1877–1960) Symphonic Minutes, Op. 36 Capriccio Rapsodia Scherzo Tema Con Variazioni Rondo Please tell us about your concert experience in this quick Audience Survey: https://finearts.uvic.ca/forms/music/audience/ �BIOGRAPHIES MARGARET LINGAS, soprano, was born in Cyprus, raised in Oxfordshire, and is in her final year at the University of Victoria, where she studies with Benjamin Butterfield. Though she had a musical childhood, her serious training began when she joined Oxford Girls’ Choir in 2006. Under the direction of Richard Vendome and Rory McCleery, Margaret made her way from senior to chamber choir, becoming Head Girl in her final year. As well as being a regular concert soloist, she sang several roles in the choir’s operas — notably Belinda in Dido and Aeneas and Apollo in the modern premiere of Giovanni Porta’s Il Ritratto dell ’Eroe. Here in Canada, Margaret continues to enjoy both solo and choral opportunities. She holds a choral scholarship at Christ Church Cathedral, sings with the St. John and St. Christopher Singers, and has been in a number of Pacific Opera Victoria productions, including the 2015 Mary’s Wedding school tour. She has performed as a soloist with various groups, including Fretwork, the Pacific Baroque Festival Ensemble, the UVic Chorus and Orchestra (Haydn’s Nelsonmesse), Capriccio Vocal Ensemble (Fauré Requiem), the Sooke Philharmonic (Bach’s Magnificat and Christmas Oratorio), and Christ Church Cathedral Choir (Mozart Requiem). Further afield, she sang in Cappella Romana’s world premiere recording of Steinberg’s Passion Week, and joined Cantores in Ecclesia for the 2014 Byrd Festival with Mark Williams. She has sung with Schola Pietatis Antonio Vivaldi since 2010, most recently in a BBC 3 broadcast with the Orchestra of the Age of Enlightenment, at the 2015 London Festival of Baroque Music. Upcoming engagements include Vivaldi’s Gloria with Via Choralis, and Bach’s St. John Passion with the Victoria Baroque Players. Margaret’s graduating recital will be on March 13th. JULIO LOPEZHILER (b. 1993) is a creative musician currently living on Coast Salish territory (Victoria, BC) and is pursuing a Master of Music degree in composition at the University of Victoria. Water, Stanzas consists of a tuned moment, repeated. As a listener I am fascinated by the way physical landscapes and soundscapes interact with the more interior spaces of the mind and heart. I am very grateful for the chance to work with the University of Victoria Symphony on this piece. �ZSOLT NAGY was born in Gyula, Hungary, in 1957. He began his musical career as a coach and conductor at the City Theatre of Békécsaba (1976/79). At the age of 23 he took up conducting studies with István Párkai at the Academy of Music in Budapest (diploma in 1984). He was thrice awarded a Soros Foundation Scholarship for studies in Milan and Paris (1988, 1989, 1990). He participated in the seminars given by Péter Eötvös during the Bartók Festivals (1985-89) and subsequently worked as Eötvös’s assistant in the Institute of New Music at the Karlsruhe Academy of Music (1990-95). In 1995-97 he served as Music Director of the Institute of Music Theatre. He was a guest lecturer at the International Eötvös Institute in Stuttgart (1995), Cologne (1997), Edenkoben (1998, 2006, 2009) and Budapest (2015) Since 1999 he has held the post of Chief Conductor and Artistic Adviser of the Israel Contemporary Players. In 2002 he was appointed professor of conducting at the Paris Conservatory. He was Artistic Director of the masterclasses for conductors organized by the Janáček Philharmonic Orchestra in Ostrava and of the Masterclass for Young Conductors for New Music (held at the Music Centre in Jerusalem). Zsolt Nagy has worked with many orchestras and ensembles including the BBC SO, BBC Singers, the BBC SSO, the Buenos Aires Philharmonic (Teatro Colón), The Brno Philharmonic and Choir, the National Hungarian SO, the RIAS of Berlin, the Berliner Sinfonie Orchester, the Orchestra di Santa Cecilia in Rome, the Radio Philharmonic Orchestra in Hilversum, the Jerusalem SO, the Geidai PO and the New Japan Philharmonic in Tokyo, the Finnish Radio SO, the Radio Orchestras in Stuttgart, BadenBaden and Cologne, the RAI orchestras in Milan and Turin, the London Sinfonietta, the Ensemble InterContemporain, the Ensemble Contrechamps in Geneva, Ensemble Recherche, Klangforum Wien, Musikfabrik NRW, UMZE in Budapest, Collegium Novum of Zurich, Ictus in Brussels, and many others. He has over 800 first performances to his credit, as well as numerous radio recordings and CDs. He received a special award for the promotion of new Israeli music and the “Victor Tevah Award” as the best conductor of the “2007 International Season” of the Symphony Orchestra of Chile. Your contribution makes a difference! The arts have always benefited from the generosity of its patrons, and a donation to the School of Music can make all the difference to the future of our students. A scholarship of just $500 a year can change a life forever. For more information about our giving initiatives, please contact Fine Arts Development Officer Samantha Krzywonos. 250.721.6305 | skrzywon@uvic.ca finearts.uvic.ca/music/donations �ORCHESTRA PERSONNEL VIOLIN 1 Amy Toth* Chloe Kim* Jeanel Liang Jilaine Orton Jasmine Mather Linda Donn Isobel Glover Ross Ling Shijin Kim Francine Hsu FLUTE Gillian Newburn* Monica Mun* Rhiannon Jones VIOLIN 2 Aliayta Foon-Dancoes Julien Haynes Emilly MacCallum Jessica d’Oliveira Michelle Hoskin Gary Sun Amanda Steinemann Lucy Toews Serena Jack CLARINET Liam Pistor* Mark Kim* VIOLA Josh Gomberoff* Jaling Kersen Nathalie Dzbik Eric Mitchell HORN Sam McNally* Emily Aford Sarah Mullane James Waddell CELLO Shiun Kim* Claire Dresselhuis* Olivia Brotzel Chloe Kersen Bryan Lin Liam Epp Tara Rajah TRUMPET Ian VanGils* Heather Richardson DOUBLE BASS Mackenzie Carroll* Richard Watters § TUBA Dayna Waller OBOE Berlin Janzen* Anna Betuzzi * ENGLISH HORN Anna Betuzzi BASS CLARINET Alina Liang BASSOON Eric Boulter* Rio Davison § TROMBONE Zachary Power* Erin Marsh Grace Timney PIANO/CELESTE: Ethan Hill HARP: Annabelle Stanley § TIMPANI: Tristan Holleufer PERCUSSION: Kyle MacLean Josh Mulingbayan Hans Verhoeven LIBRARIANS Betty Allison Monica Mun STAGE MANAGERS Tristan Holleufer James Waddell Liam Epp ASSISTANT Shabahang Saffari * Principal § Community member �Dmitri Shostakovich: The Complete String Quartets February 3–9, 2017 The Lafayette String Quartet celebrates its 30th anniversary with the complete cycle of Shostakovich’s 15 String Quartets. FRIDAY, FEBRUARY 3 Nos. 1, 2, 3 SATURDAY, FEBRUARY 4 Nos. 4, 5, 6 MONDAY, FEBRUARY 6 Nos. 7, 8, 9 WEDNESDAY, FEBRUARY 8 Nos. 10, 11, 12, 13 THURSDAY, FEBRUARY 9 Nos. 14, 15 © L a ind ns Eva All concerts at 8 PM 7 PM Pre-concert talks by visiting scholars Phillip T. Young Recital Hall, MacLaurin Building, B-Wing, University of Victoria UVIC ORDER YOUR TICKETS TODAY! Single tickets: $25 / 5 concert festival pass: $100 UVic Ticket Centre: 250.721.8480 / tickets.uvic.ca finearts.uvic.ca/music is Dav �UPCOMING EVENTS TUESDAY, JANUARY 31 | 12:30 PM (By donation) Tuesdaymusic Varied repertoire and instruments featuring UVic School of Music students. Phillip T. Young Recital Hall WEDNESDAY, FEBRUARY 1 | 6:30 PM (By donation) Annual Solo Bach Competition Featuring the solo suites and sonatas by J.S. Bach performed by UVic string students. The jury will elect three prizewinners and the audience has the opportunity to vote for the Audience Prize. Come and vote for your favourite! Phillip T. Young Recital Hall FRIDAY, FEBRUARY 3 | 12:30 PM (By donation) Fridaymusic Featuring string students in a concert of varied repertoire. Phillip T. Young Recital Hall SUNDAY, FEBRUARY 5 | 2:30 PM (By donation) Clarinet Class Recital Featuring clarinet students from the studio of Patricia Kostek. Phillip T. Young Recital Hall TUESDAY, FEBRUARY 7 | 12:30 PM (By donation) Tuesdaymusic Varied repertoire and instruments featuring UVic School of Music students. Phillip T. Young Recital Hall FRIDAY, FEBRUARY 10 | 12:30 PM (By donation) Fridaymusic Featuring piano students in a concert of varied repertoire. Phillip T. Young Recital Hall FRIDAY, FEBRUARY 10 | 8 PM ($10-$20) UVic Wind Symphony & The Naden Band of the Royal Canadian Navy Changing Currents—Building Community Dr. Gerald King & SLt Vincent Roy, conductors This is the fourth annual collaboration of these two outstanding ensembles! University Centre Farquhar Auditorium Tickets available at the UVic Ticket Centre (250-721-8480 / www.tickets.uvic.ca) & at the door. To receive our On the Pulse brochure & newsletter by email, contact: concert@uvic.ca finearts.uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orchestra Description An account of the resource Since its inception in 1969, the Orchestra has performed most of the standard repertoire, including all nine Beethoven symphonies, most of the later compositions of Haydn and Mozart, as well as major works of Brahms, Schubert, Stravinsky, Bruckner, Schoenberg, and others. Each year, members of the orchestra join with performance faculty to form the "Concerto Orchestra" to present the annual Concerto Concert, which features student soloists selected by competition. Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/012717-Orchestra/012717-Orchestra_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012717-Orchestra/012717-Orchestra_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012717-Orchestra/012717-Orchestra_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012717-Orchestra/012717-Orchestra_04.mp3">Track4</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UVic Orchestra Date A point or period of time associated with an event in the lifecycle of the resource January 27, 2017 Contributor An entity responsible for making contributions to the resource Margaret Lingas, soprano Zsolt Nagy, guest conductor https://finearts.uvic.ca/music/archive/files/original/1ce77b121c59a79093938c40a700cf00.pdf 0f3dec7169d3e5ef10c9151006ab1f20 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �Orchestra UNIVERSITY OF VICTORIA Fall Harmonies With UVic Concerto Competition Winners Samuel McNally, horn Sarah Mullane, horn Collin Lloyd, horn Justin Malchow, horn Students from the studio of Kurt Kellan Ajtony Csaba, Conductor Saturday, November 26, 2016 • 8:00 p.m. University Centre Farquhar Auditorium University of Victoria Adults: $20 / Seniors: $15 / Students & UVic alumni: $10 �PROGRAM Robert Schumann (1810–1856) Konzertstück für Vier Hörner und Orchester, Op. 86 (Concertpiece for Four Horns and Orchestra) I. Lebhaft - Sehr lebhaft II. Romance. Zienlich langsam, doch nicht schleppend III. Sehr lebhaft Horn soloists: Samuel McNally, Sarah Mullane, Collin Lloyd and Justin Malchow Sergei Prokofiev (1891–1953) Symphony No. 1, Op. 25 (“Classical”) I. Allegro II. Intermezzo. Larghetto III. Gavotte. Non troppo allegro IV. Finale. Molto vivace I NT E R M I S S I O N Felix Mendelssohn-Bartholdy (1809–1847) Symphony No. 4, Op. 90 (“Italian”) I. Allegro vivace II. Andante con moto III. Con moto moderato IV. Saltarello. Presto �BIOGRAPHIES SAM MCNALLY is a fourth year music student at UVic pursuing a Bachelors degree in Music Performance. From his native Calgary, he began playing horn at the age of 11 in his middle school band. A few years later he began to take lessons from Laurie Matiation, with whom he was able to win his age divisions in the Calgary and Alberta Provincial Kiwanis Festivals, partake in honour bands, and ultimately end up in auditioning at the University of Victoria. Also in Calgary he was a member in both the Calgary Youth Orchestra and the Mount Royal Conservatory’s Academy of Music. Now at UVic, studying with Kurt Kellan, Sam enjoys having played in both the UVic Orchestra and Wind Symphony along with various solo and chamber performance settings. In Fall 2015 he began his first season as Principle Horn of the Kamloops Symphony Orchestra. As a previous winner of the UVic Concerto Competition, Sam performed Strauss’s Horn Concerto No. 1, Op. 11 with the UVic Orchestra in January 2016. SARAH MULLANE is a second year music student at UVic. She started playing horn at age twelve in her hometown Calgary. In high school she was a member of an award winning wind ensemble that performed and competed internationally. She also took lessons with Laurie Matiation at the Mount Royal Conservatory, played in honor bands, and won her category in the Kiwanis Music Festival in 2015. Sarah is now pursuing a Bachelors degree in Music Performance studying with Kurt Kellan at the University of Victoria. She is thrilled to have been given the opportunity to perform Schumann’s Concertpiece in her first year of university and is grateful for the privilege of performing with the UVic Orchestra. COLLIN LLOYD is a fourth year music student at the University of Victoria pursuing a Bachelor degree in Music Performance. Born in Victoria and raised in Courtenay, BC, Collin was handed the horn by his seventh grade band teacher at the age of 13 because there were already enough trumpets. Collin got his start in orchestral performance with the community-based Strathcona Symphony Orchestra in 2011 and attended the Comox Valley Youth Music Centre for 3 years while in high school. Since beginning his studies at the University of Victoria while studying under Kurt Kellan, Collin has enjoyed performing with the UVic Wind Symphony and Orchestra as well as the Greater Victoria Youth Orchestra. For the past two summers Collin has successfully auditioned for the National Youth Orchestra of Canada, and was this past summer awarded with a 2016 Award of Excellence. JUSTIN MALCHOW has completed his Bachelor of Music Performance and is currently completing his second major in Germanic Studies at the University of Victoria. He began playing the horn at 14 in his high school band and later studied privately with Laurie Matiation of the Calgary Philharmonic Orchestra. Justin was also a member of the Mount Royal Conservatory’s Academy of Music as well as the Calgary Youth Orchestra, with which he travelled and performed internationally. Justin left his native Stavely Alberta to further his horn studies with Kurt Kellan at the University of Victoria. Here he has enjoyed the opportunity to play in a full range of both large and small ensembles. Currently Justin plays with the Meridiem Wind Ensemble, the Greater Victoria Youth Orchestra, and the UVic Orchestra. He is also a member of a newly founded woodwind quintet. �AJTONY CSABA, born in Cluj, Romania, began his studies on the cello and later pianoand composition in Budapest at the Academy of Music. He began studying conducting in Vienna and Budapest with Uroš Lajovic, Peter Eötvös, Zoltán Pesko, Zsolt Nagy, Lucas Vis and Antoni Wit. He was awarded many prizes as a conductor and composer and was a semi-finalist in the first competition for opera in Cluj, Romania. Csaba was the assistant conductor and tutor of the Academy Orchestra Budapest and in 2005 was invited to be the assistant conductor of the Hungarian National Philharmonic Orchestra with their contempo-rary program. He made his conducting debut in the Viennese Musikverein with the RSO (Radio-Symphonieorchester, Wien) in 2007. Since 2006 Csaba has served as the chief conductor of the Central European Chamber Orchestra and led the orchestra on a tour in China (performances including halls in Shenzhen, Lanzhou and in the Parliament in Beijing), with return engagements in 2007 and 2009. Ajtony Csaba has been the leader of the Vienna Jeunesse Choir since 2007. In 2008 he conducted at the Darmstadt Summer Courses for New Music and was assistant at the Salzburg Festspiele. In 2008 he conducted the EuroMed Youth Orchestra in Damaskus, Syria. In the past seasons Csaba conducted the hr-sinfonieorchester (Frankfurt Radio Orchestra), the Hungarian Symphony Orchestra, Ensemble Tsilumos at the Montreal New Music Festival and the Brazilian SiMN Festival in Curitiba, and the music theatre ensemble of the Darmstadt Festival for New Music’16. Csaba has served as music director of the University of Victoria Orchestra and Sonic Lab since 2010, where he also teaches conducting and the history of conducting. Your contribution makes a difference! The arts have always benefited from the generosity of its patrons, and a donation to the School of Music can make all the difference to the future of our students. A scholarship of just $500 a year can change a life forever. For more information about our giving initiatives, please contact Fine Arts Development Officer Samantha Krzywonos. 250.721.6305 | skrzywon@uvic.ca finearts.uvic.ca/music/donations �ORCHESTRA PERSONNEL VIOLIN 1 Chloe Kim* Aliayta Foon-Dancoes* Amy Toth* Jeanel Liang Jay Orten Jasmine Mather Linda Donn Isobel Glover Ross Ling Shijin Kim Francine Hsu VIOLIN 2 Aliayta Foon-Dancoes* Amy Toth* Chloe Kim* Michelle Hoskin Gary Sun Amanda Steinemann Lucy Toews Emilly MacCallum Jessica d’Oliveira Serena Jack VIOLA Josh Gomberoff* Jaling Kersen Natalie Dzbik Eric Mitchell CELLO Claire Dresselhuis* Shiun Kim § Olivia Brotzel Chloe Kersen Bryan Lin Liam Epp Tara Rajah DOUBLE BASS Lukas Peladeau* Mackenzie Carroll PICCOLO Rhiannon Jones FLUTE Gillian Newburn* Monica Mun* OBOE Berlin Janzen* Anna Betuzzi* CLARINET Liam Pistor* Mark Kim* BASSOON Heather Fisher* § Eric Boulter HORN Sam McNally* Emily Aford Justin Malchow James Waddell TRUMPET Ian VanGils* Heather Richardson TROMBONE Zachary Power* Erin Marsh Grace Timney TIMPANI Tristan Holleufer* Brandon Chow LIBRARIANS Betty Allison Monica Mun STAGE MANAGERS Tristan Holleufer James Waddell Liam Epp ASSISTANT Shabahang Saffari * Principal § Community member �Dmitri Shostakovich: The Complete String Quartets February 3–9 The Lafayette String Quartet celebrates its 30th anniversary with the complete cycle of Shostakovich's 15 String Quartets presented over 5 evenings! UVIC Journey through Shostakovich’s life as experienced through his quartets — from the optimism of the first to the desolation and hopelessness of his final quartet. This cycle documents Shostakovich’s creative life and spans his compositional career from the late 1930s until his death in 1975. The Lafayette String Quartet will share its special heritage with this music as received from their mentor Rostislav Dubinsky who knew and worked closely with Shostakovich. Gain further insight into these works in pre-concert talks and lectures by visiting scholars. FRI, FEB 3 Nos. 1, 2, 3 SAT, FEB 4 Nos. 4, 5, 6 MON, FEB 6 Nos. 7, 8, 9 WED, FEB 8 Nos. 10, 11, 12, 13 THU, FEB 9 Nos. 14, 15 Phillip T. Young Recital Hall, MacLaurin Building, B-Wing, University of Victoria All concerts at 8 PM Tickets: $25 / 5 concert festival pass: $100 available at the UVic Ticket Centre: BY PHONE: 250.721.8480 u ONLINE: tickets.uvic.ca u IN PERSON: Located in the University Centre | Mon–Fri, 9:30am–4pm finearts.uvic.ca/music �UPCOMING EVENTS SUNDAY, NOVEMBER 27 | 2:30 PM (Free admission) Orion Series in Fine Arts presents Krisztina Szabó, mezzo-soprano With Arthur Rowe, piano Hungarian-Canadian mezzo-soprano Krisztina Szabó has become highly sought after in both North America and Europe as an artist of supreme musicianship and stagecraft. UVic piano professor Arthur Rowe joins Szabó in a performance of Brahms’s Zigeunerlieder (Gypsy Songs) Op. 103 as well as music by Kodály, de Falla, Kálmán, Lehár and Bizet. Phillip T. Young Recital Hall MONDAY, NOVEMBER 28 | 8 PM (Admission by donation) Guitar Class Recital Featuring UVic School of Music guitar students from the studio of Dr. Alexander Dunn. Phillip T. Young Recital Hall TUESDAY, NOVEMBER 29 | 12:30 PM (Admission by donation) Tuesdaymusic A concert of varied repertoire and instruments featuring UVic School of Music students. Phillip T. Young Recital Hall TUESDAY, NOVEMBER 29 | 8 PM (Free admission) Orion Series in Fine Arts presents Chloe Meyers, baroque violin Alexander Weimann, harpsichord Bach and Before World renowned baroque violinist and concertmaster of the Pacific Baroque Orchestra, Chloe Myers will be joined by harpsichordist and conductor Alexander Weimann, in a special recital featuring music of the baroque era up until the time of Bach. Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480 / www.tickets.uvic.ca) & at the door. To receive our On the Pulse brochure & newsletter by email, contact: concert@uvic.ca Please tell us about your concert experience in this quick Audience Survey: https://finearts.uvic.ca/forms/music/audience/ finearts.uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orchestra Description An account of the resource Since its inception in 1969, the Orchestra has performed most of the standard repertoire, including all nine Beethoven symphonies, most of the later compositions of Haydn and Mozart, as well as major works of Brahms, Schubert, Stravinsky, Bruckner, Schoenberg, and others. Each year, members of the orchestra join with performance faculty to form the "Concerto Orchestra" to present the annual Concerto Concert, which features student soloists selected by competition. Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/112616-Orchestra/112616-Orchestra_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112616-Orchestra/112616-Orchestra_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112616-Orchestra/112616-Orchestra_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112616-Orchestra/112616-Orchestra_04.mp3">Track4</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UVic Orchestra - Fall Harmonies Creator An entity primarily responsible for making the resource Adam Jasieniuk Date A point or period of time associated with an event in the lifecycle of the resource November 26, 2016 Contributor An entity responsible for making contributions to the resource Samuel McNally, horn Sarah Mullane, horn Collin Lloyd, horn Justin Malchow, horn Ajtony Csaba, conductor https://finearts.uvic.ca/music/archive/files/original/05e71e5bd19576bd514627c923e5b463.pdf 80001562a974c4c5fb4487fec4e8e05d PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �Orchestra UNIVERSITY OF VICTORIA Nordic Light With Muzi Xu, piano soloist UVic Concerto Competition Winner Studio of Arthur Rowe Ajtony Csaba, Conductor Friday, October 28, 2016 • 8:00 p.m. University Centre Farquhar Auditorium University of Victoria Adults: $20 / Seniors: $15 / Students & UVic alumni: $10 �PROGRAM From Holberg’s Time “Suite in olden style” Op. 40 Edvard Grieg Introduction (1843–1907) Matthew Sabo, Undergraduate conductor Air Rigaudon Carl Maria von Weber (1786–1826) Oberon Overture Piano Concerto in A minor, Op. 16 Edvard Grieg Allegro molto moderato Adagio Allegro moderato molto e marcato—Quasi presto— Andante maestoso Soloist: Muzi Xu, piano I NT E R M I S S I O N Serenade for Winds, Op. 7 Richard Strauss (1864–1949) Peer Gynt Suites No. 2, Op. 55 i. Der Brautraub No. 1, Op. 46 i. Morning Mood iv. In the Hall of the Mountain King Edvard Grieg Symphonic Dances, Op. 64 Allegro Moderato e marcato Allegretto grazioso—Più mosso Allegro giocoso Andante­­—Allegro molto e risoluto Edvard Grieg �BIOGRAPHIES Muzi Xu, piano At the young age of 3, Muzi Xu started to play the piano and instantly enjoyed performing in front of others. Coupled with the full support of her family, she gradually developed a keen interest in music. Now, music is an integral part of her life and she has continued playing the piano on a daily basis for nearly 15 years. Muzi has participated in various piano competitions and music festivals and was first-prize winner of the Yamaha Piano Competition when she was in elementary school. With a passion for piano, Muzi pursued undergraduate studies in Music (Piano) Performance at Xinghai Conservatory of Music. One of the leading schools of music in the southeastern region of China, Xinghai Conservatory was named after the famous musician, Xian Xinghai, composer of Yellow River Cantata. At Xinghai Conservatory of Music Muzi studied under the guidance of Dr. Chair Chiu. Influenced and encouraged by Dr. Chiu, she decided to continue her studies at the graduate level hoping to gain a deeper understanding of piano performance. Muzi is currently pursuing a Masters Degree in Piano Performance at the University of Victoria with instructor Arthur Rowe. Having a defined target, Muzi eagerly throws herself into the sea of music. Aside from seriously studying specialized courses for laying a solid foundation for her future study, she also takes an active part in various musical activities. She once participated in the closing ceremonies of the Xinghai Chorus Festival in which she played the piano with other players from more than 50 countries. The flawless performance gained great appraisal from audience members and teachers. In summer 2016 she attended the VCU Global Summer Institute of Music where she spent 10 days with incredible musicians from different countries. There she participated in a public master class with Nelita True, who has been described in Clavier Companion as “One of the world’s most sought-after and beloved pianist-teachers.” Muzi received many positive comments from Ms. True on her performance. �Ajtony Csaba Ajtony Csaba, born in Cluj, Romania, began his studies on the cello and later piano and composition in Budapest at the Academy of Music. He began studying conducting in Vienna and Budapest with Uroš Lajovic, Peter Eötvös, Zoltán Pesko, Zsolt Nagy, Lucas Vis and Antoni Wit. He was awarded many prizes as a conductor and composer and was a semi-finalist in the first competition for opera in Cluj, Romania. Csaba was the assistant conductor and tutor of the Academy Orchestra Budapest and in 2005 was invited to be the assistant conductor of the Hungarian National Philharmonic Orchestra with their contempo-rary program. He made his conducting debut in the Viennese Musikverein with the RSO (Radio-Symphonieorchester, Wien) in 2007. Since 2006 Csaba has served as the chief conductor of the Central European Chamber Orchestra and led the orchestra on a tour in China (performances including halls in Shenzhen, Lanzhou and in the Parliament in Beijing), with return engagements in 2007 and 2009. Ajtony Csaba has been the leader of the Vienna Jeunesse Choir since 2007. In 2008 he conducted at the Darmstadt Summer Courses for New Music and was assistant at the Salzburg Festspiele. In 2008 he conducted the EuroMed Youth Orchestra in Damaskus, Syria. In the past seasons Csaba conducted the hr-sinfonieorchester (Frankfurt Radio Orchestra), the Hungarian Symphony Orchestra, Ensemble Tsilumos at the Montreal New Music Festival and the Brazilian SiMN Festival in Curitiba, and the music theatre ensemble of the Darmstadt Festival for New Music’16. Csaba has served as music director of the University of Victoria Orchestra and Sonic Lab since 2010, where he also teaches conducting and the history of conducting. Your contribution makes a difference! The arts have always benefited from the generosity of its patrons, and a donation to the School of Music can make all the difference to the future of our students. A scholarship of just $500 a year can change a life forever. For more information about our giving initiatives, please contact Fine Arts Development Officer Samantha Krzywonos. 250.721.6305 | skrzywon@uvic.ca finearts.uvic.ca/music/donations �ORCHESTRA PERSONNEL VIOLIN 1 Amy Toth* Aliayta Foon-Dancoes Jeanel Liang Jay Orten Jasmine Mather Linda Donn Isobel Glover Ross Ling Shijin Kim Francine Hsu VIOLIN 2 Chloe Kim* Julien Haynes Michelle Hoskin Gary Sun Amanda Steinemann Lucy Toews Emilly MacCallum Jessica d’Oliveira Serena Jack VIOLA Josh Gomberoff* Jaling Kersen Natalie Dzbik Eric Mitchell CELLO Claire Dresselhuis* Olivia Brotzel Chloe Kersen Shiun Kim § Bryan Lin Liam Epp Tara Rajah DOUBLE BASS Lukas Peladeau* Carroll Mackenzie Richard Watters § PICCOLO Rhiannon Jones PIANO/CELESTE Ethan Hill FLUTE Gillian Newburn* Monica Mun* TIMPANI Tristan Holleufer OBOE Berlin Janzen* Anna Betuzzi* PERCUSSION Brandon Chow Hans Verhoeven CLARINET Liam Pistor Mark Kim LIBRARIANS Betty Allison Monica Mun BASSOON Wilson Kyne Eric Boulter STAGE MANAGERS Tristan Holleufer James Waddell Liam Epp HORN Sam McNally* Emily Axford Justin Malchow James Waddell TRUMPET Ian VanGils* Heather Richardson TROMBONE Zachary Power* Erin Marsh Grace Timney TUBA Dayna Waller ASSISTANT Shabahang Saffari * Principal § Community member �Dmitri Shostakovich: The Complete String Quartets February 3–9 The Lafayette String Quartet celebrates its 30th anniversary with the complete cycle of Shostakovich's 15 String Quartets presented over 5 evenings! Journey through Shostakovich’s life as experienced through his quartets — from the optimism of the first to the desolation and hopelessness of his final quartet. This cycle documents Shostakovich’s creative life and spans his compositional career from the late 1930s until his death in 1975. The Lafayette String Quartet will share its special heritage with this music as received from their mentor Rostislav Dubinsky who knew and worked closely with Shostakovich. Gain further insight into these works in pre-concert talks and lectures by visiting scholars. FRI, FEB 3 Nos. 1, 2, 3 SAT, FEB 4 Nos. 4, 5, 6 MON, FEB 6 Nos. 7, 8, 9 WED, FEB 8 Nos. 10, 11, 12, 13 THU, FEB 9 Nos. 14, 15 Phillip T. Young Recital Hall, MacLaurin Building, B-Wing, University of Victoria All concerts at 8 PM Tickets: $25 / 5 concert festival pass: $100 available at the UVic Ticket Centre: BY PHONE: 250.721.8480 u ONLINE: tickets.uvic.ca u IN PERSON: Located in the University Centre | Mon–Fri, 9:30am–4pm finearts.uvic.ca/music �UPCOMING EVENTS SATURDAY, OCTOBER 29 | 8 PM ($10–$20) Faculty Chamber Music Series Members of UVic’s Performance Faculty present an evening of chamber music by Schubert, Ewald, Brahms, Piazzolla & more! Featuring familiar faces as well as a brass quintet with our newest faculty member Merrie Klazek on trumpet. Phillip T. Young Recital Hall SUNDAY, OCTOBER 30 | 2:30 PM (Admission by donation) Emerging Artists Alumni Series Isaiah Bell, tenor (B.Mus ‘08) & Anna Cal, piano Tenor and composer Isaiah Bell performs an eclectic mix of music — folk songs, lieder, cabaret, 20s pop tunes, and his own compositions — that reflects the diverse inspirations for his most recent theatrical work, Mewsy the Adulteress. Phillip T. Young Recital Hall TUESDAY, NOVEMBER 1 | 12:30 PM (Admission by donation) Tuesdaymusic Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring UVic School of Music students. Phillip T. Young Recital Hall THURSDAY, NOVEMBER 3 | 8 PM ($10–$20) Guest Concert: Alcan String Quartet The Alcan Quartet has forged a reputation for excellence across Canada and abroad. Performing Haydn’s String Quartet Op. 76, No. 2, Ginastera’s String Quartet No. 1, Op. 20 and Mendelssohn’s String Quartet Op. 44, No. 1. Phillip T. Young Recital Hall FRIDAY, NOVEMBER 4 | 12:30 PM (Admission by donation) Fridaymusic Featuring UVic School of Music woodwind students. Phillip T. Young Recital Hall FRIDAY, NOVEMBER 4 | 8 PM (Admission by donation) Student Composers Concert Featuring original compositions by students in the Composition program. Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca) and at the door. � To receive our On the Pulse brochure and newsletter by email, contact: concert@uvic.ca www.finearts.uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orchestra Description An account of the resource Since its inception in 1969, the Orchestra has performed most of the standard repertoire, including all nine Beethoven symphonies, most of the later compositions of Haydn and Mozart, as well as major works of Brahms, Schubert, Stravinsky, Bruckner, Schoenberg, and others. Each year, members of the orchestra join with performance faculty to form the "Concerto Orchestra" to present the annual Concerto Concert, which features student soloists selected by competition. Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/102816-Orchestra/102816-Orchestra_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/102816-Orchestra/102816-Orchestra_talk1.mp3">Talk1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/102816-Orchestra/102816-Orchestra_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/102816-Orchestra/102816-Orchestra_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/102816-Orchestra/102816-Orchestra_04.mp3">Track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/102816-Orchestra/102816-Orchestra_talk1.mp3">Talk2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/102816-Orchestra/102816-Orchestra_05.mp3">Track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/102816-Orchestra/102816-Orchestra_06.mp3">Track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/102816-Orchestra/102816-Orchestra_07.mp3">Track7</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orchestra - Nordic Light Creator An entity primarily responsible for making the resource Adam Jasieniuk, Josh Calder Date A point or period of time associated with an event in the lifecycle of the resource October 28, 2016 Contributor An entity responsible for making contributions to the resource Ajtony Csaba, conductor Muzi Xu, piano soloist https://finearts.uvic.ca/music/archive/files/original/1004a706d09caf2eb7d18011d53e42a7.pdf 6b7f00f340a5ce9227b5c6c7dfc0dc7c PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �Orchestra UNIVERSITY OF VICTORIA Mythological Zoo Ajtony Csaba, Conductor Evan Hesketh, Graduate Conductor Saturday, April 2, 2016 • 8:00 p.m. University Centre Farquhar Auditorium University of Victoria Adults: $15 / Students & seniors: $10 �PROGRAM Béla Bartók (1881–1945) Dance Suite, Sz. 77 I. Moderato II. Allegro molto III. Allegro vivace IV. Molto tranquillo V. Comodo VI. Finale. Allegro I NT E R M I S S I O N Claude Debussy (1862–1918) Prélude à L’après-midi d’un faune * Cooper Reed, flute solo Pyotr Ilyich Tchaikovsky (1840–1893) Romeo and Juliet (Fantasy-Overture) * *Conducted by Evan Hesketh in partial fulfillment of the requirements for the Master of Music degree in Conducting Performance. �PROGRAM NOTES Béla Bartók: Dance Suite, Sz. 77 Dance Suite was composed for a festival concert held in November 1923 to commemorate the 50th anniversary of the merging of the two cities, Buda and Pest, into one metropol: Budapest. Two other leading composers of the time were commissioned to write for the same occasion, Zoltán Kodály delivered Psalmus Hungaricus and Ernő Dohnányi wrote Festival Ouverture, performed by the orchestra of Budapest Philharmonic Society under the baton of Dohnanyi. The premiere was not particularly well received, however the overwhelming success of a second performance in 1925 with the Czech Philharmonic Orchestra in Prague secured a place in the international concert repertoire for both the orchestral and solo piano version of the Dance Suite. Since 1905 Bartók had collected and transcribed several hundred traditional melodies from Hungary to Turkey. The Dance Suite revives the baroque concept of the suite, using dance tune-like pseudo-quotations that paraphrase tunes from the Romanian (Wallachian), gipsy, Hungarian and Arabic folklore. The 2/4, 4/4 and psalmodizing melodic structures sound original, however they are all Bartók’s own invention. A brief melodic Ritornell (an Interlude that remains unchanged) frames the entire composition, appearing at the end of the first, second and fourth movements, and in the Finale. The development of motives is remarkably consequent through the movements. The first movement is based on minor and major seconds, featuring the idea of the Giouco delle coppie from the Concerto for Orchestra 20 years later, the second movement begins with a theme ‘riding’ a minor third, and the bagpipe-like melody in the third movement reaches the perfect fourth. The fourth movement refers to the Bartókian archetype “music of the night”, and is organized around pentatonic scales reaching perfect fifths. The first, second and the ‘chase’ of the Finale strongly allude to The Miraculous Mandarin that was finished in1924. The Dance Suite is a virtuoso composition that showcases in a wildly aphorismatic, humorous and playfully grotesque manner elements and ideas that later unfold in Bartók’s large-scale works. – Ajtony Csaba Claude Debussy: Prélude à L’après-midi d’un faune After attending the Paris Conservatoire and deciding to pursue composition rather than an unlikely career as a concert pianist, Debussy’s music was still largely unknown in the late 1800s. Although initially influenced by Wagner, fin de siècle Paris provided new inspiration for the composer. Discoveries such as the Javanese gamelan at the Universal Exposition of 1889 and contact with important Symbolist writers spurred Debussy to explore new timbres and forms. The inspiration for Debussy’s Prélude is Stéphane Mallarmé’s symbolist poem, L’après midi d’un faune. Unlike traditional programmatic works, Debussy’s composition is not a strict sonic depiction of specific events from the poem; rather, it is an impression of the sensual reminiscences of the faun. Premiered in 1894, this enigmatic work was so enthusiastically received by its Parisian audience that the conductor, Gustave Doret, later recounted: “I had no hesitation in breaking the rule forbidding encores.” In the Prélude, Debussy eschews conventional musical form and employs elusive tonality to capture the fluid nature of time and narrative in Mallarmé’s poem. For example, the opening flute solo – a reference to the reed pipe-playing faun – is at first presented without accompaniment and thus denied a harmonic context; the same motive is �subsequently imposed over shifting harmonies, lending it an ephemeral quality. Debussy also uses a feeling interruption to create a sense of spontaneity. While most of the music unfolds with a seamless, organic ease, occasional sparkling bursts of energy appear from nowhere, perhaps alluding to the spirited nymphs that arouse the passion of Mallarmé’s faun. Despite its brevity – the work is only around 10 minutes in length – the Prélude à l’après midi d’un faune is one of Debussy’s most well known compositions and considered by many to be a seminal work of the early modern period. In the words of Pierre Boulez: “The flute of the Faun brought new breath to the art of music; what was overthrown was not so much the art of development, as the very concept of form itself.” – Evan Hesketh Pyotr Ilyich Tchaikovsky: Romeo and Juliet (Fantasy-Overture) Tchaikovsky’s Fantasy-Overture on Romeo and Juliet, considered to be his first masterpiece, is a compact and evocative representation of an immensely popular source of musical inspiration. While living in Moscow and struggling to find his voice, Tchaikovsky began corresponding with fellow Russian composer, Mily Balakirev. In 1869, Balakirev suggested Shakespeare’s tragedy as the subject for a concert overture; his advice was extensive, including a proposal of keys for the overture’s themes and an explanation of how to incorporate elements of the play into a sonata–allegro framework. Such prescriptiveness might not normally be conducive to inspired composition, but Tchaikovsky took well to the proposal and composed a work that shows a mature command of form, harmony, melody, and drama. While the original version that premiered in 1870 was unsuccessful, several revisions over the next decade resulted in the 1880 version that we know today. The work opens with a solemn chorale that begins a substantial introduction. Imbued with a sense of inescapable fate, the length and overall slow pace of the opening conveys a feeling of timelessness or universality, echoing the prologue to Shakespeare’s play. The main body of the overture has two distinct themes. The first hot-blooded allegro giusto depicts the fight between the Montagues and Capulets with fast moving notes, rapid dialogue between winds and strings, and abrupt interjections that evoke the clanging of swords. As this first theme recedes into the distance, the love theme emerges with a tender solo for viola and English horn in the lush key of D-flat major. After a gently rocking closing section that peacefully fades away, the development begins with quiet agitation. Here, Tchaikovsky intertwines elements of the first theme with the chorale from the introduction, deftly increasing the tension using repetition coupled with chromatically rising key areas. A final, desperate statement of the chorale by the trumpets leads directly into the recapitulation, where Tchaikovsky saves the most extensively orchestrated and passionate version of the love theme for its return. As this theme seems poised to repeat, the Montague-Capulet feud interrupts and drives the work toward a sombre coda. Despite the tragic ending of the story, a final statement of the overture’s opening chorale emerges in B major, and the work concludes with the feeling that above all, love triumphs. – Evan Hesketh �BIOGRAPHIES Evan Hesketh Evan Hesketh began studying violin at age seven with Yasuko Eastman, who also introduced him to the viola a few years later. He holds a Bachelor of Music degree from the University of Victoria, where he studied violin with Ann Elliott-Goldschmid and viola with Joanna Hood and Yariv Aloni. Further studies led to a Master of Music degree at the Cleveland Institute of Music under the tutelage of Robert Vernon, Jeffrey Irvine, and Kirsten Docter. Evan has played in masterclasses for Pinchas Zukerman, James Dunham, Roger Tapping, Atar Arad, and Steven Dann. An award-winning chamber musician, Evan was a member of the Ariadne String Quartet, prizewinners at the 2012 Fischoff Competition, and the 2012 Coleman Competition. Quartet studies have been with members of the Lafayette, Cleveland, Cavani, Miro, Juilliard, Brentano, and Schoenberg quartets. Currently, Evan studies conducting at the University of Victoria on a full scholarship with Ajtony Csaba. He has conducted the UVic Orchestra, Victoria Civic Orchestra, and festival orchestras in Maine and New Hampshire. Ajtony Csaba Ajtony Csaba, born in Cluj, Romania, began his studies on the cello and later piano and composition in Budapest at the Academy of Music. He began studying conducting in Vienna and Budapest with Uroš Lajovic, Peter Eötvös, Zoltán Pesko, Zsolt Nagy, Lucas Vis and Antoni Wit. He was awarded many prizes as a conductor and composer, and was a semi-finalist in the first competition for opera in Cluj, Romania. Csaba has had numerous concerts in Hungary and Austria with orchestras including UMZE, Sinfonietta Baden, Webern Sinfonietta, Savaria Symphony Orchestra, and Danubia Orchestra. In the 2003/04 season he was the assistant conductor and tutor of the Academy Orchestra Budapest and in 2005 was invited to be the assistant conductor of the Hungarian National Philharmonic Orchestra with their contemporary program. He made his conducting debut in the Viennese Musikverein with the RSO (Radio-Symphonieorchester, Wien) in 2007. Since 2006 Csaba has served as the chief conductor of the Central European Chamber Orchestra, and led the orchestra on a tour in China (performances including halls in Shenzhen, Lanzhou and in the Parliament in Beijing), with return engagements in 2007 and 2009. Ajtony Csaba has been the leader of the Vienna Jeunesse Choir since 2007. In 2008 he conducted at the Darmstadt Summer Courses for New Music and was assistant at the Salzburg Festspiele. In 2008 he conducted the EuroMed Youth Orchestra in Damaskus, Syria. In the past seasons Csaba conducted the Toronto Symphony Orchestra, Ensemble Tsilumos at the Montreal New Music Festival and the Brazilian SiMN Festival in Curitiba, and the Hungarian Symphony Orchestra Miskolc. Csaba has served as music director of the University of Victoria Orchestra and Sonic Lab since 2010, where he also teaches conducting and the history of conducting. �ORCHESTRA PERSONNEL VIOLIN 1 Aliyata Foon-Dancoes* Chloe Kim* Matthew Logan Linda Dann Jilaine Orton Ross Ling Shijin Kim Jasmine Mather VIOLIN 2 Raina Saunders* Amy-Lynne Toth* Jessica d’Oliveira Brittany Tsui Serena Jack Michele Hoskin Emily MacCallum Francine Hsu VIOLA Josh Gomberoff* Fahlon Smith Calvin Yang Sarah de Nieverville* Melissa Toth Eric Mitchell CELLO Ella Hopwood* Shiun Kim Chloe Kersen Olivia Brotzell Claire Dresselhuis* Bryan Lin Alex Klassen Tara Rajah DOUBLE BASS Brock Foerster* Blake Palm Carroll Mackenzie PICCOLO Jillian Broughton FLUTE Cooper Reed* Bailey Finley Jillian Broughton OBOE Katrina Bligh*+ Patrick Conley ENGLISH HORN Patrick Conley CLARINET Erin Onyschtschuk* Sunny Chu BASS CLARINET Dominc Thibault BASSOON Eric Boulter* Wilson Kyne Lee Whitehorn DOUBLE BASSOON Lee Whitehorn HORN Sam MacNally* Sarah Mullane Justin Malchow James Waddell TRUMPET Ian VanGils* John Hamblett TROMBONE Megan White* Heidi Worrall Trevor Hoy TUBA Dayna Waller PIANO/CELESTE Thomas Nicholson Laura Altenmueller HARP Josh Layne+ TIMPANI Tristan Holleufer PERCUSSION Julia Albano-Crockford Hans Verhoeven Kyle MacLean LIBRARIANS Betty Allison Bahar M. Harandi STAGE MANAGERS Tristan Holleufer Paul Joo ASSISTANT Evan Hesketh * Principal + Community Member �UPCOMING EVENTS Sunday, April 3, 8:00 p.m. (Admission by donation) UVIC VOCAL JAZZ ENSEMBLE: Spring Showcase: Dreams I Left Behind 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 Monday, April 4, 12:00 p.m. (Admission by donation) AFRICAN PERCUSSION CONCERT The thirty-member percussion ensemble from MUS 108 African Hand Drumming perform a repertoire of rhythms on djembe, balafon and dundun. Phillip T. Young Recital Hall Monday, April 4, 7:30 p.m. (Admission by donation) UVIC CHAMBER SINGERS: B3, In Love & Praise Featuring all eighteen Ländler (folk dance) style compositions from Brahms’ Liebeslieder Waltzes, Op. 52, Bach’s Lobet den Herrn, BWV 230 and two unaccompanied sacred Bruckner motets — Ave Maria, WAB 6 and Vexilla Regis, WAB 51. With School of Music pianists Thomas Nicholson and Ethan Hill and cellist Ella Hopwood. Centennial United Church (612 David Street at Gorge Road E.) Monday, April 4, 8:00 p.m. (Free Admission) GRADUATING RECITAL: Louise Hung, piano Pianist Louise Hung presents her Bachelor of Music graduating recital. Phillip T. Young Recital Hall Tuesday, April 5, 12:30 p.m. (Admission by donation) VIOLIN CLASS RECITAL Featuring students from the studio of Sharon Stanis. Phillip T. Young Recital Hall Tuesday, April 5, 4:30 p.m. (Free Admission) GRADUATING RECITAL: Shelley Shen, voice Vocalist Shelley Shen presents her Masters of Music graduating recital. Phillip T. Young Recital Hall � To receive our On the Pulse brochure and newsletter by email, contact: concert@uvic.ca finearts.uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orchestra Description An account of the resource Since its inception in 1969, the Orchestra has performed most of the standard repertoire, including all nine Beethoven symphonies, most of the later compositions of Haydn and Mozart, as well as major works of Brahms, Schubert, Stravinsky, Bruckner, Schoenberg, and others. Each year, members of the orchestra join with performance faculty to form the "Concerto Orchestra" to present the annual Concerto Concert, which features student soloists selected by competition. Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/040216-Orchestra/040216-Orchestra_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/040216-Orchestra/040216-Orchestra_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/040216-Orchestra/040216-Orchestra_03.mp3">track3</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource University of Victoria Orchestra - Mythological Zoo Creator An entity primarily responsible for making the resource Adar Guy Date A point or period of time associated with an event in the lifecycle of the resource April 2, 2016 Contributor An entity responsible for making contributions to the resource Ajtony Csaba, Conductor; Evan Hesketh, Graduate Conductor