2 10 23 https://finearts.uvic.ca/music/archive/files/original/f9b414517b4b68c219ee3fd99dc2f9be.pdf a5142140a0cb6b64adba4ed7b3a87270 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �Chorus & UNIVERSITY OF VICTORIA Orchestra Supplication Ajtony Csaba, conductor Dr. Adam Jonathan Con, Chorus director Soloists: Kelsey Wheatley, mezzo-soprano Xuguang Zhang, baritone Saturday, March 5, 2016 • 8:00 p.m. University Centre Farquhar Auditorium University of Victoria Adults: $15 / Students & seniors: $10 �PROGRAM Dmitri Shostakovich Symphony No. 5 in D minor, Op. 47 (1937) Moderato — Allegro non troppo Allegretto Largo Allegro non troppo I NT E R M I S S I O N Maurice Duruflé Requiem (1947) I. Introït (Requiem aeternam) – Chorus and Orchestra II. Kyrie eleison – Chorus and Orchestra III. Domine Jesu – Baryton solo, Chorus and Orchestra IV. Sanctus – Chorus and Orchestra V. Pie Jesu – Soprano solo, Chorus and Orchestra VI. Agnus Dei – Chorus and Orchestra VII. Lux Aeterna – Chorus and Orchestra VIII. Libera me – Baryton solo, Chorus and Orchestra IX. In Paradisum – Chorus and Orchestra Soloists: Kelsey Wheatley, mezzo-soprano Xuguang Zhang, baritone �BIOGRAPHIES Kelsey Wheatley, mezzo-soprano Although Kelsey’s roots are in the theatrical and movement realms, she has found her true passion in classical singing. She has achieved numerous credentials including a theater arts diploma from Grant MacEwan University, a diploma in classical music from the Victoria Conservatory of Music joint with Camosun College, and currently studies with Anne Grimm in her final year of a bachelors degree in music at UVic. In her “free time” Kelsey enjoys directing the children’s choir at First Metropolitan United Church, where she is also a choral scholar, and has performed as the ghost women in Lucia di Lammermoor, and most recently, Bianca in Otello with Pacific Opera Victoria. Xuguang Zhang, baritone Xuguang Zhang was born in Daqing, China. He studied music at the Central Conservatory of Music in Beijing and since 2013 has been studying at UVic with Benjamin Butterfield. Xu competed in many singing competitions in China achieving outstanding awards. In Victoria he has performed the role of Aeneas in Dido and Aeneas with the Victoria Chamber Orchestra under Yariv Aloni, Messiah with the Civic Orchestra and The Armed Man: a mass for peace with Naden Band under Peter Butterfield. Xu also participated at the Amalfi Coast Music Festival where he sang the role of the Notary in Puccini’s Gianni Schicchi under Greg Ritchie performing in Naples, Scala, Cave de’ Terreni, Minori and Maiori. Ajtony Csaba, conductor 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. �Csaba recently appeared in Toronto, at the Montreal New Music Festival, at the Brazilian SiMN Festival in Curitiba and in the subscription series of 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. Dr. Adam Jonathan Con, Chorus director Dr. Adam Jonathan Con is Assistant Professor of Music at University of Victoria School of Music. Conductor of the UVic Chorus, he also teaches Secondary Choral Rehearsal Techniques and Literature, Middle and Elementary School choir methods, Elementary Music Methods, Music Education Foundation, Choral Conducting, and supervises music education students. He previously served as Director of Choral Activities, Chair of Music Education 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. A native of Vancouver, he earned his Bachelor’s and Master Degree in Music Education 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 a Tai Chi Chuan and Alexander Technique practitioner. In high demand in the United States and Canada both as a guest conductor and choral conducting teacher, Dr. Con has been invited to present and conduct at prestigious events such as the National American Orff-Schulwerk Conference, the 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, the 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 in British Columbia 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 choirs, concert bands, and 36 years as a church choir director and organist. He currently serves as Director of Music at St. Barnabas Anglican Church, Victoria. University of Victoria Chorus The UVic Chorus was founded in 1969 and has performed many of the masterworks for chorus, orchestra, and soloists, including Bach’s Mass in B, Verdi’s Requiem, Mendelssohn’s Elijah, Haydn’s Creation, Carmina Burana by Carl Orff, the War Requiem of Benjamin Britten, and Mahler’s Symphony of a Thousand. The chorus is open to all UVic students, faculty, alumni, and staff, as well as the Greater Victoria community. First rehearsals for the new season begin the first Tuesday after Labour Day in September. For more information, contact the conductor, Dr. Adam Jonathan Con at acon@uvic.ca. �UNIVERSITY OF VICTORIA ORCHESTRA VIOLIN Aliayta Foon-Dancoes** Chloe Kim** Matthew Logan Linda Dann Jilaine Orton Ross Ling Raina Saunders* Jasmine Mather Amy-Lynne Toth* Shijin Kim* Jessica d’Oliveira Brittany Tsui Serena Jack Michele Hoskin Emily MacCallum Francine Hsu Sari Alesh § VIOLA Josh Gomberoff* Sarah de Nieverville* Fahlon Smith Evan Hesketh Calvin Yang Melissa Toth Eric Mitchell CELLO Ella Hopwood* Shiun Kim* Clare Dresselhuis Chloe Kersen Olivia Brotzell Alex Klassen Bryan Lin Tara Rajah DOUBLE BASS Brock Foerster* Blake Palm Carroll Mackenzie * Principal ** Concert master § Community member/ sessional FLUTE Cooper Reed* Bailey Finley Jillian Broughton TROMBONE Megan White* Liam Caveney Trevor Hoy PICCOLO Jillian Broughton* Bailey Finley TUBA Dayna Waller* OBOE Gillian Newburn* Patrick Conley ENGLISH HORN Patrick Conley CLARINET Marcella Barz* Sunny Chu* Dominic Thibault ORGAN Thomas Nicholson* PIANO Thomas Nicholson* CELESTE Thomas Nicholson* Adam Jaseniuk HARP Annabelle Stanley § PICCOLO CLARINET Erin Onyschtschuk* TIMPANI Tristan Holleufer BASS CLARINET Yu Fang Liang PERCUSSION Julia Albano-Crockford Hans Verhoeven Kyle MacLean BASSOON Eric Boulter* Heather Fischer § CONTRABASSOON Lee Whitehorn HORN Sam MacNally* Sarah Mullane Justin Malchow James Waddell TRUMPET Ian VanGils* John Hamblett Justin Bury Alex Reese STAGE MANAGERS Paul Joo Tristan Holleufer LIBRARIANS Betty Allison Bahar M. Harandi ASSISTANT Evan Hesketh SECTION COACHES Joanna Hood Dr. Suzanne Snizek Keith MacLeod § Paul Beauchesne § �UNIVERSITY OF VICTORIA CHORUS Keiko Alkire Betty Allison (Chorus Assistant) Mann Amelia Myles Anderson Mueller Anita Frances Armstrong-Douglas Mary-Louise Aro Mark Bigauskas Breanna Bokstrom Isaiah Brabazon Morgan Buxton Jasmine Carbery Alex Cheung Tiffany Cheung Arianna Cheveldave Erik Chu Vera Costain Elizabeth Craig Steven Cramaro (Section Leader) Amanda Cross Rebecca Dhillon Amara Digout Brandon Duncan Natalie Dzbik Margaret Dzbik Skye Eriksen David Eupen Angela Faber Simon Farintosh Wendy Feng Matt Fichter YiCong Gao Jasper Graham Adar Guy Rita Haehnlein Rudolf Haehnlein Harry Han Seira Hayakashi Darleene Horricks Ai Horton Aimi Howden Haotian Hu Louise Hung Iris Hung Sarah Hunsberger Yuko Imai Vincy Ip Kayla Izon Parkhill Jason Steven Jeon Paul Joo Joy Keeler Nicola Kent Kathryn Kerr Simon Kightley Brian Kim Zinna Kwon Angelina Lagunzad Chris Lam Cuong Le Jakob Leben Esther Lee Vanessa Lee Flora Leigh Diane Leitch Bonnie Leung Iona Lister Mandy Liu Laura Liu Emily Liu Jany Lu Polson Luke Katie Lundin Kelsey MacGillivray Irma MacKay Pierre MacKenzie Charlie Mah Emily Mahbobi Erin Marsh Beth Anne Masselink Joyce Masselink Chandler McCorkindale Elsie McMurphy Rowan Mcwilliams Michelle Melnicky Bahar Mohaghegh Harandi Colin Mooney Jessica Morgan-Lang Monica Mun Patricia Murray Natasha Nahirnick Heather Noakes Andrea Nychay Sophie Oliveau-Moore Meagan Pal Samuel Pan Hart Parnell Hadley Parsons Nataliya Pashchenko Drew Porter Anthony Quas Sean Quicke (Section Leader) Shayan Rahimabadi Torrey Randolph Briar Rose Redchurch Jordan Rettich Beverley Rippin Aya Robertson Elizabeth Robertson Emmett Robinson Smith Sonja Ruffell Matthew Sabo Heather Sander Helen Sanders Eryn Sharpe Fu-hsien Shen Jaskaran Singh Cassidy Starh Megan Steffens Sarah Stephens Penny Stevenson Natalia Stoney Ross Sutherland Sarah Tao Koba ter Neuzen Nick Tsang Jackson Tseng William Van den Broek Jonah Van Driesum Sylvie Vigneux Frank Waelti Season Wang Olivia Wheeler Jane Whiteley Lauren Wilson Muzi Xu Lissa Zala Bella Zeng Carol Zhang James Zhang REHEARSAL ACCOMPANIST Tony Booker �UPCOMING EVENTS Sunday, March 6 & 13, 7:00 p.m. (Regular $18 / $15 for Castle members) CRAIGDARROCH CASTLE IN SONG Celebrating the history of Craigdarroch Castle though the music of Schumann, Barber, Wolf and Ravel. Featuring School of Music students. Tickets available at: https://thecastle.ca/events Craigdarroch Castle (1050 Joan Crescent) Tuesday, March 8, 11:00 a.m. to 2:30 p.m. (Free admission) A DAY IN THE LIFE OF THE LAFAYETTE STRING QUARTET: Working with UVic’s Artists-in-Residence Experience a day in the life of one of the most renowned string quartets in North America. Sessions include an open rehearsal, discussion with string students, and a masterclass. More info at: finearts.uvic.ca/music/events Tuesday, March 8, 12:30 p.m. (Admission by donation) TUESDAYMUSIC Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall Friday, March 11, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Featuring School of Music string students in a concert of varied repertoire. Phillip T. Young Recital Hall Friday, March 11, 8:00 p.m. (Admission by donation) CELLO CLASS RECITAL Featuring students from the studio of Pamela Highbaugh Aloni. Phillip T. Young Recital Hall Saturday, March 12, 2:30 p.m. (Admission by donation) PIANO CLASS RECITAL Featuring students from the studio of May-Ling Kwok. 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/030516-Chorus&amp;Orchestra/030516-Chorus&amp;Orchestra_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030516-Chorus&amp;Orchestra/030516-Chorus&amp;Orchestra_02.mp3">track2</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource University of Victoria Chorus and Orchestra - Supplication Creator An entity primarily responsible for making the resource Allyssa Haigh Date A point or period of time associated with an event in the lifecycle of the resource March 5, 2015 Contributor An entity responsible for making contributions to the resource Ajtony Csaba, conductor; Dr. Adam Jonathan Con, chorus director; Kelsey Wheatley, mezzo-soprano; Xuguang Zhang, baritone https://finearts.uvic.ca/music/archive/files/original/56ce92ccb7dd2cb93f5ce22ba564c3f8.pdf c7ea9203667b2652fd12f36b13219f6b PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �Orchestra UNIVERSITY OF VICTORIA Ch’io mi scordi di te? With Samuel McNally, horn soloist UVic Concerto Competition Winner Class of Kurt Kellan Kelsey Wheatley, mezzo-soprano soloist UVic Concerto Competition Winner Class of Anne Grimm And Emily Armour, piano obligato Ajtony Csaba, Conductor Evan Hesketh, Graduate Conductor Friday, January 29, 2015 • 8:00 p.m. University Centre Farquhar Auditorium University of Victoria Adults: $15 / Students & seniors: $10 �PROGRAM Richard Strauss (1864–1949) Concerto for Waldhorn and Orchestra No. 1, Op. 11 Samuel McNally, horn W.A. Mozart (1756–1791) Ch’io mi scordi di te? (Concert aria K. 505) Kelsey Whitley, mezzo–soprano Emily Armour, piano obligato Evan Hesketh, graduate conductor I NT E R M I S S I O N Ludwig van Beethoven (1770–1827) Symphony No. 6 in F Major 1. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande (Awakening of cheerful feelings upon arrival in the countryside): Allegro ma non troppo 2. Szene am Bach (Scene by the brook): Andante molto mosso 3. Lustiges Zusammensein der Landleute (Merry gathering of country folk): Allegro 4. Gewitter, Sturm (Thunder. Storm): Allegro 5. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm (Shepherd’s song; cheerful and thankful feelings after the storm): Allegretto �PROGRAM NOTES Strauss: Concerto for Waldhorn and Orchestra No. 1, Op. 11 Richard Strauss’ Horn Concerto No. 1 is an early work, written when the composer was just 18 years old. While the horn may seem an unusual choice of instrument for a young composer to cast as the soloist in a concerto, for Strauss it was completely natural – his father, Franz Strauss, was a revered horn player. The first movement begins with just a single chord played by the orchestra before the horn launches the concerto with a spirited, dotted-rhythm fanfare. The orchestra latches onto this motive, extending it to form the first theme. The horn’s next entrance showcases the instrument’s lyricism and nobility with a second theme that is gently accompanied by the strings. A development section juxtaposes these fanfare and lyrical themes but instead of culminating in a traditional recapitulation, the first theme instead returns in the dominant key before slowly relinquishing its energetic drive and seamlessly flowing into the dark, A-flat minor second movement. A contrasting middle section in E major provides some brightness, but the movement ends as it began. The nervous energy of the orchestra quickly dispels this somber atmosphere at the beginning of the third movement, and steadily builds toward a buoyant, rondo finale. Even though this finale features wonderfully lyrical passages for the horn, the orchestra always seems to be percolating. In a final maestoso, the horn briefly pulls back on the reigns before launching into a brilliant coda that brings the concerto to an emphatic conclusion. Mozart: Ch’io mi scordi di te? (Concert aria K. 505) Mozart composed this aria for the character Idamante in a 1786 revival of his opera, Idomeneo. A year later, he adapted it as a concert aria for the soprano Nancy Storace by adding a new recitative and replacing the original violin obligato with piano, which Mozart performed at Storace’s farewell concert. Mozart’s mastery of form and melody is reflected in his genius as an opera composer and his ability to set a text for maximum emotional impact is remarkable. This concert aria is a prime example of these strengths and is made even more unique by the inclusion of the piano. The work’s opening recitative with string accompaniment reveals two emotional extremes: questioning trepidation and defiant resolve. In the two-part rondò that follows, the singer valiantly tries to put on a brave face as she laments her inability to be with her beloved. Beethoven: Symphony No. 6 in F Major Beethoven himself provided the subtitle ‘Pastoral’ for his Symphony No. 6, but stopped short of calling the work programmatic. Although there are concrete allusions to nature, such as specific birdcalls, Beethoven maintained that the symphony was inspired by his feeling of being in nature and was not a sound painting of the natural world. Despite the lack of a specific program, each movement has a title describing its source of inspiration. The first movement begins in an unusual way. Normally we might expect a slow introduction or a call to attention. In the beginning of the Sixth Symphony, the violins play a four bar melodic fragment that ends with a pause and seems to be asking a question. It isn’t until 37 bars into the movement that the frag- �ment is finally fleshed out in an orchestral tutti. This hesitant opening and delayed exuberance perfectly reflects the movement’s title – Awakening of Happy Feelings on getting out into the Country. In the second movement – By the Brook-Side – gentle triplets and flowing sixteenth notes evoke the running water of a tranquil stream. A remarkable feature of this movement is that these triplets and sixteenths not only support the melody as one might expect – often, they are the melody. The end of the second movement provides the opportunity for some bird watching. Beethoven notes in the score that different instruments represent a specific bird: nightingale (flute), quail (oboe), and cuckoo (clarinets). The third movement – Merry Gathering of the Country Folk – features a rustic middle section framed by a spritely scherzo. Suddenly, the distant rumbling of a thunderstorm interrupts the party as the fourth movement begins attacca. At the movement’s end, the storm peters out as the thunder in the cellos and double basses fades away, leading directly to the last movement – Happy and Thankful Feelings after the Storm. BIOGRAPHIES Emily Armour Emily Armour was born and raised on the West Coast, beginning studies in Classical piano at age 15 in the Cowichan Valley. She studied with professor Bruce Vogt and Michelle Mares at the University of Victoria School of Music where she earned her Bachelor of Music in 2012. Emily is currently enrolled in the Masters program for Piano Performance studying with Bruce Vogt. She teaches piano at Queen Margaret’s School, Brentwood College, privately in Victoria, and at her home studio in the Cowichan Valley. Sam McNally Sam McNally is a third year music student at UVic and is 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. This past fall he began his first season as Principle Horn of the Kamloops Symphony Orchestra. Sam is grateful for the opportunity to perform with the UVic Orchestra this season and is looking forward to more adventures to come! Kelsey Wheatley Although Kelsey’s roots are in the theatrical and movement realms, she has found her true passion in classical singing. She has achieved numerous credentials including a theater arts diploma from Grant MacEwan University, a diploma in classical music from the Victoria Conservatory of Music joint with Camosun College, and currently studies with Anne Grimm in her final year of a bachelors degree in music at UVic. In her “free time” Kelsey enjoys directing the children’s choir at First Metropolitan United Church, where she is also a choral scholar, and has performed as the ghost women in Lucia di Lammermoor, and most recently, Bianca in Otello with Pacific Opera Victoria. �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 season Csaba conducted the Toronto Symphony Orchestra, Ensemble Tsilumos at the Montreal New Music Festival and the Brazilian SiMN Festival in Curitiba. Upcoming concerts include subscription concerts with the Hungarian Symphony Orchestra and Danubia Orchestra. 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 Chloe Kim* Aliayta Foon-Dancoes* Matthew Logan Linda Donn Jilaine Orton Ross Ling Shijin Kim Jasmine Mather CELLO Shiun Kim* Clare Dresselhuis Chloe Kersen Olivia Brotzell Ella Hopwood* Bryan Lin Alex Klassen Tara Rajah VIOLIN 2 Amy-Lynne Toth* Raina Saunders Jessica d’Oliveira Brittany Tsui Serena Jack Michele Hoskin Emily MacCallum Francine Hsu DOUBLE BASS Brock Foerster* Blake Palm Carroll Mackenzie VIOLA Josh Gomberoff* Sarah de Niverville* Fahlon Smith Calvin Yang Melissa Toth Eric Mitchell PICCOLO Jillian Broughton FLUTE Cooper Reed* Bailey Finley OBOE Jillian Broughton* Patrick Conley CLARINET Erin Onyschtschuk* Sunny Chu BASSOON Eric Boulter* Wilson Kyne HORN Samuel McNally* Sarah Mullane Justin Malchow TRUMPET Ian VanGils* John Hamblett TROMBONE Megan White* Trevor Hoy TIMPANI Tristan Holleufer LIBRARIANS Betty Allison Bahar M. Harandi STAGE MANAGERS Tristan Holleufer Paul Joo ASSISTANT Evan Hesketh * Principal �UPCOMING EVENTS Saturday, January 30, 7:00 p.m. (Admission by donation) FLUTE CLASS RECITAL Featuring students from the studio of Dr. Suzanne Snizek. Phillip T. Young Recital Hall Sunday, January 31, 8:00 p.m. (Admission by donation) VOICE DEPARTMENT SHOWCASE Featuring students from the studios of Benjamin Butterfield, Susan Young, and Anne Grimm. Phillip T. Young Recital Hall Tuesday, February 2, 12:30 p.m. (Admission by donation) TUESDAYMUSIC Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall Tuesday, February 2, 8:00 p.m. (Free Admission) Orion Series in Fine Arts DAVID STEWART, violin & JANE AUSTIN COOP, piano Performing works by Eugène Ysaÿe and Edvard Grieg inspired by a visit Ysaÿe paid to Grieg in 1882. David Stewart is concertmaster of the Bergen Philharmonic. Jane Austin Coop is an internationally recognized concert pianist and has appeared as a recitalist and as a soloist with major symphony orchestras throughout the world. Wednesday, February 3, 6:00 p.m. (Admission by donation) ANNUAL SOLO BACH COMPETITION Featuring the solo suites and sonatas by J.S. Bach performed by UVic string students. The jury will elect three prizewinners, and the audience has the opportunity to vote for the Audience Prize. Phillip T. Young Recital Hall 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/012916-Orchestra/012916-Orchestra_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012916-Orchestra/012916-Orchestra_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012916-Orchestra/012916-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 - Ch'io mi scordi di te? Creator An entity primarily responsible for making the resource Allyssa Haigh Date A point or period of time associated with an event in the lifecycle of the resource January 29, 2016 Contributor An entity responsible for making contributions to the resource Ajtony Csaba, conductor; Evan Hesketh, graduate conductor; Emily Armour, piano obligato; Samuel McNally, horn soloist; Kelsey Wheatley, mezzo-soprano soloist https://finearts.uvic.ca/music/archive/files/original/def453cf6c3cc10f1a2ce998e294e4c1.pdf 81e7fd6a418e606c7a3d9ce419609725 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �Orchestra UNIVERSITY OF VICTORIA Two Giants With Louise Hung, piano soloist UVic Concerto Competition Winner Class of May Ling Kwok Ajtony Csaba, Conductor Evan Hesketh, Graduate Conductor Sunday, December 6, 2015 • 2:00 p.m. University Centre Farquhar Auditorium University of Victoria Adults: $15 / Students & seniors: $10 �PROGRAM Pyotr Ilyich Tchaikovsky (1840–1893) Symphony No. 5, Op. 64 I. Andante—Allegro con anima II. Andante cantabile con alcuna licenza III. Valse. Allegro moderato IV. Finale. Andante maestoso—Allegro vivace I NT E R M I S S I O N Ludwig van Beethoven (1770–1827) Piano Concerto No. 4, Op. 58 I. Allegro moderato II. Andante con moto III. Rondo. Vivace Louise Hung, piano �BIOGRAPHIES Louise Hung Louise Hung’s first introduction to Classical music was hearing a rendition of Für Elise playing through the speakers of garbage trucks in Taiwan as a baby. Years later, Louise has realized that a commanding, affecting performance at the piano can evoke a simple persuasion for someone to slow down and simply listen, like the way she had marvelled at a garbage truck. Louise Hung has been awarded Conservatory Canada Medals of Excellence for piano studies, theory studies, history studies, and the Conservatory Canada Lynda Rehder Kennedy Medal of Excellence for the top exam marks in Canada. Growing up in Coquitlam, BC and now studying in Victoria, she has won numerous scholarships and awards from festivals, competitions, and the BCRMTA. While studying with Marjory Purdy, she received her Associate Performer ACCM and taught at Place des Arts Music and Fine arts school. She has played in masterclasses for Colin Tilney, Corey Hamm, Eve Egoyan, Walter Prossnitz, Kinza Tyrrell, Milton Schlosser, and Miranda Wong and has also studied with Jimmy Brière, Kenneth Broadway and Ralph Markham. Currently, she is completing a Music major in Piano Performance at the University of Victoria on a full scholarship under the tutelage of May Ling Kwok. 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 season Csaba conducted the Toronto Symphony Orchestra, Ensemble Tsilumos at the Montreal New Music Festival and the Brazilian SiMN Festival in Curitiba. Upcoming concerts include subscription concerts with the Hungarian Symphony Orchestra and Danubia Orchestra. 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. �PROGRAM NOTES TCHAIKOVSKY By the time Tchaikovsky composed his Symphony No. 5 in 1888, he had established a solid international reputation as a composer and his music was being performed in Europe and America. In Russia, his position as a director of the Russian Musical Society, along with his conducting activities, further advanced his reputation leading to significant awards and recognition from the Tsar. The Fifth Symphony is unified by what is often referred to as the “fate” motto, played at the outset by the two clarinets with the strings providing a hushed, E minor harmonization. When the allegro con anima begins, the motto is transformed, strongly influencing the melodic shape of the first theme and informing its rhythmic vitality. The second movement picks up where the first movement ends with a mournful progression in the strings, but quietly settles on D major as the accompaniment for a lyrical horn melody. Although tranquil to begin, the second theme builds in intensity and reaches a passionate peak before yielding to a different world, introduced by solo clarinet. This section becomes increasingly agitated as instruments are added and rhythms accelerated before being suddenly interrupted by the motto, which brings the movement to a grinding halt. Although the violins restore the tranquility of the opening, a similar process of intensification repeats before the movement quietly concludes. In the third movement, a nostalgic waltz bookends a middle section that is both playful and melancholic. Before the movement’s conclusion, the motto theme quietly appears in the clarinet and bassoon but is quickly brushed aside. In the opening of the fourth movement, the motto is suddenly transformed, played nobly by the strings and now in E major. After this maestoso introduction, the movement launches into a rhythmically relentless finale. Toward the end of the movement, the motto returns a final time, again in E major before the work emphatically concludes with a blazing recollection of the opening movement, now also in major. Much discussion of the Fifth Symphony has centered on whether there is an explicit program. Although Tchaikovsky did not provide one, the pervasiveness of the motto and its transformation from minor to major over the course of the work make the possibility of an extra-musical program attractive. Scholars have determined that the motto rhythm closely corresponds to the Orthodox Easter hymn, ‘Christ is risen’, but Tchaikovsky left no clues as to whether this was intentional or significant. BEETHOVEN Beethoven composed the Piano Concerto No. 4 between 1804–1807 along with other important works of his middle period, including the ‘Razumovsky’ Quartets, the ‘Appassionata’ Sonata, the Violin Concerto, and the Fourth Symphony. The piano concerto was given its Viennese premiere with Beethoven performing the solo as part of an incredible concert that also included premieres of the Fifth and Sixth �Symphonies, and the Choral Fantasy. The familiar short-short-short-long motive of the Fifth Symphony (and other works of this period) also figures prominently in the Fourth Piano Concerto. Typically, one would expect a concerto in this time period to begin with an orchestral introduction that presents the main material of the movement. In this case, the piano begins alone with a quiet five bar statement of the first motive, trailing off into a silence. When the orchestra enters in the sixth measure to fulfill its typical role it is not in the home key as expected but in the distant key of B major. The movement features an extensive amount of florid figuration in the piano, often in triplet rhythms providing a sense of flow that contrasts with the more angular main motive. The second movement evokes an operatic scene in which the orchestra (without winds) plays an emphatic, baroque gesture that alternates with a chorale-like response by the piano. As the short movement progresses, the orchestral part becomes progressively less assertive, while the piano builds to a brief florid outburst before the movement’s resigned conclusion. The third movement rondo that immediately follows quickly clears the air with its rhythmic vitality and playfulness. For the first time in the concerto, the trumpets and timpani join the orchestra adding to movement’s brightness. Notes by Evan Hesketh UPCOMING EVENTS Saturday, December 12, 1:00 to 3:00 p.m. Admission by donation TUBA CHRISTMAS Paul Beauchesne, conductor 70 tubas and euphoniums playing your Christmas favourites. Donations accepted for the Times Colonist Christmas Fund. Market Square (560 Johnson Street) Sunday, December 13, 8:00 p.m. (Admission by donation) TUBA CHRISTMAS REPRISE Paul Beauchesne, conductor Featuring soloists and ensembles from the class of Paul Beauchesne. Money raised will benefit local tuba and euphonium projects. Phillip T. Young Recital Hall � To receive our On the Pulse brochure and newsletter by email, contact: concert@uvic.ca �ORCHESTRA PERSONNEL VIOLIN 1 Chloe Kim* Aliayta Foon-Dancoes Linda Dann Ross Ling Jasmine Mather (Tchaikovsky) Jilaine Orton Amy-Lynne Toth (Beethoven) Lena Ruiz Nanau Loewen Brittany Tsui VIOLIN 2 Amy-Lynne Toth* (Tchaikovsky) Jasmine Mather* (Beethoven) Matthew Logan Shijin Kim Jessica d’Oliveira Raina Saunders Michele Hoskin Emily MacCallum Francine Hsu Serena Jack VIOLA Sarah de Nieverville* Fahlon Smith Calvin Yang Evan Hesketh Josh Gomberoff Eric Mitchell CELLO Ella Hopwood* Clare Dresselhuis Chloe Kersen Olivia Brotzell Shiun Kim Alex Klassen Bryan Lin Tara Rajah HORN Samuel McNally* Sarah Mullane Justin Malchow James Waddell DOUBLE BASS Brock Foerster* Blake Palm Carroll Mackenzie TROMBONE Megan White* Liam Caveney Trevor Hoy PICCOLO/FLUTE Jillian Broughton TUBA Dayna Waller FLUTE Cooper Reed* Bailey Finley TIMPANI Tristan Holleufer OBOE Patrick Conley LIBRARIANS Betty Allison Bahar M. Harandi CLARINET Erin Onyschtschuk* Sunny Chu BASSOON Eric Boulter* Wilson Kyne TRUMPET Ian VanGils* John Hamblett STAGE MANAGERS Tristan Holleufer Paul Joo ASSISTANT Evan Hesketh * Principal 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/120615-Orchestra/120615-Orchestra_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/120615-Orchestra/120615-Orchestra_02.mp3">track2</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource University of Victoria Orchestra - Ajtony Csaba, conductor; Evan Hesketh, graduate conductor with Louise Hung, piano soloist Creator An entity primarily responsible for making the resource Allyssa Haigh Date A point or period of time associated with an event in the lifecycle of the resource December 6, 2015 Contributor An entity responsible for making contributions to the resource Ajtony Csaba, conductor https://finearts.uvic.ca/music/archive/files/original/8e60ab3267d8030dbddd9a4be78d3b6a.pdf e3cbdc446f299fffe9937c4178cd8d7b PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �Orchestra UNIVERSITY OF VICTORIA White Heat With Aliayta Foon-Dancoes, violin soloist UVic Concerto Competition Winner Class of Ann Elliott-Goldschmid Ajtony Csaba, Conductor Evan Hesketh, Graduate Conductor Friday, October 30, 2015 • 8:00 p.m. University Centre Farquhar Auditorium University of Victoria Adults: $15 / Students & seniors: $10 �PROGRAM Paul Dukas Fanfare pour précéder “La Péri” Jean Sibelius Valse Triste, Op. 47 Jean Sibelius Violin Concerto, Op. 47 I. Allegro moderato – Largamente – Allegro molto vivace II. Adagio di molto III. Allegro, ma non tanto Aliayta Foon-Dancoes, violin I NT E R M I S S I O N Felix Mendelssohn-Bartholdy The Hebrides Overture (Fingal’s Cave) Evan Hesketh, Graduate Conductor Aaron Copland Four Dance Episodes from Rodeo 1. Buckaroo Holiday 2. Corral Nocturne 3. Saturday Night Waltz 4. Hoe-Down �BIOGRAPHIES Aliayta Foon-Dancoes Aliayta Foon-Dancoes’s violin studies began when she was four with Alison Sloan, continued with Dr. Walter Mony and Andrew Dawes and is now in her third year studying with Ann Elliott-Goldschmid at the University of Victoria. She is a two-time winner of the Vancouver Youth Symphony’s Concerto Competition; won the 2011 Shields Scholarship in the Vancouver Academy of Music’s Senior Secondary Competition and has been awarded scholarships to attend the Orford, Tafelmusik, Astona Music Academies and Morningside Music Bridge. A keen chamber musician, Aliayta was a member of Robert Rozek’s Stradivari Ensemble and played with a quartet that won first prize in the 2010 Friends of Chamber Music Senior Competition. She has played with professional ensembles including the Victoria Symphony, the Sydney Concert Orchestra and the Galliano Ensemble. Aliayta won first prize in UVic’s 2014 Bach Competition. 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 season Csaba conducted the Toronto Symphony Orchestra, Ensemble Tsilumos at the Montreal New Music Festival and the Brazilian SiMN Festival in Curitiba. Upcoming concerts include subscription concerts with the Hungarian Symphony Orchestra and Danubia Orchestra. 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 Chloe Kim* Aliayta Foon-Dancoes Jilaine Orton Jasmin Mather Ross Ling Linda Donn Nanau Loewen Lena Ruiz Brittany Tsui PICCOLO Jillian Broughton TIMPANI Tristan Holleufer FLUTE Cooper Reed* Bailey Finley PERCUSSION Hans Verhoeven Julia Albano-Crockford Alyssa Haigh VIOLIN 2 Raina Saunders* Amy-Lynne Toth Matthew Logan Jessica d’Oliveira Shijin Kim Michelle Hoskin Emily MacCallum Francine Hsu Serena Jack CLARINET Erin Onyschtschuk* Sunny Chu VIOLA Sarah de Niverville Fahlon Smith Calvin Yang Josh Gomberoff Melissa Toth Eric Mitchell BASSOON Eric Boulter* Wilson Kyne CELLO Ella Hopwood* Clare Dresselhuis Chloe Kersen Olivia Brotzell Shiun Kim Alex Klassen Bryan Lin Tara Rajah DOUBLE BASS Brock Foerster* Blake Palm Carroll Mackenzie OBOE Kathrina Bligh ‡ Patrick Conley BASS CLARINET Dominic Thibault PIANO Thomas Nicholson LIBRARIANS Betty Allison Bahar M. Harandi ASSISTANT Evan Hesketh SAXOPHONE Adam Jaseniuk* Allan Nichols HORN Samuel McNally Sarah Mullane Justin Malchow James Waddell TRUMPET Ian VanGils John Hamblett Justin Bury TROMBONE Megan White Eric Showers Trevor Hoy TUBA Dayna Waller Kory Major * Principal ‡ Community member ��UPCOMING EVENTS Monday, November 2, 8:00 p.m. (Free admission) GRADUATING RECITAL: Elizabeth Clarke, piano Pianist Elizabeth Clarke presents her Masters of Music graduating recital. Phillip T. Young Recital Hall Tuesday, November 3, 12:30 p.m. (Admission by donation) TUESDAYMUSIC Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall Thursday, November 5, 8:00 p.m. ($18 & $14) FACULTY CONCERT SERIES Music by Czech Composers Featuring Suzanne Snizek, flute With guest Alexandria Li, piano Performing works by Martinu, Janáček and Feld. Phillip T. Young Recital Hall Friday, November 6, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Eternal Light: A Requiem Featuring the University of Victoria Chamber Singers Phillip T. Young Recital Hall Friday, November 13, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Featuring School of Music woodwind students in a concert of varied repertoire. Phillip T. Young Recital Hall Saturday, November 14, 2:00 p.m. (Admission by donation) TROMBONE CLASS RECITAL Featuring students from the studio of Scott MacInnes. Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca) and at the door. � To receive our On the Pulse brochure and newsletter by email, contact: concert@uvic.ca www.finearts.uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 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/103015-Orchestra/103015-Orchestra_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/103015-Orchestra/103015-Orchestra_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/103015-Orchestra/103015-Orchestra_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/103015-Orchestra/103015-Orchestra_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/103015-Orchestra/103015-Orchestra_05.mp3">track5</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UVic Orchestra 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 October 30, 2015 Contributor An entity responsible for making contributions to the resource Ajtony Csaba, conductor; Evan Hesketh, graduate conductor; Aliayta Foon-Dancoes, violin https://finearts.uvic.ca/music/archive/files/original/0a0ce05f60f151a3f76714e8f01ff911.pdf 4b9640fdb39eb37d74b350263e420331 PDF Text Text School of Music University of Victoria School of Music MUS C Faculty of Fine Arts University of Victoria �Chorus & UNIVERSITY OF VICTORIA Orchestra Dear Strangers Ajtony Csaba, conductor Dr. Adam Jonathan Con, Chorus director Soloists: Margaret Lingas, soprano Kelsey Wheatley, mezzo soprano Tristan Chalcraft, tenor Xuguang Zhang, baritone Saturday, March 28, 2015 • 8:00 p.m. University Centre Farquhar Auditorium University of Victoria Adults: $15 / Students & seniors: $10 �Program George Gershwin An American in Paris (1929) I NT E R M I S S I O N Franz Joseph Haydn Missa in Angustiis (Nelson Mass) (1798) Kyrie eleison – Christe eleison – Kyrie eleison Gloria – Qui Tollis peccata mundi – Quoniam tu solus Credo – Et incarnatus est – Et resurrexit Sanctus – Benedictus – Osanna in excelsis Agnus Dei – Dona nobis pacem Soloists: Margaret Lingas Kelsey Wheatley Tristan Chalcraft Xuguang Zhang The University of Victoria Chorus & Orchestra are grateful for the support of the faculty and staff of the UVic School of Music, whose joint efforts create the foundation for choral and orchestral concerts. �PROGRAM NOTES Franz Joseph Haydn (1732–1809) commonly referred to as “Papa Haydn” is often credited with the title, “father of the symphony and string quartet”. Although he originated neither genres, his fifty-four years of development and expansion of the symphony and string quartet established an important contribution to the development of Western music. Haydn also composed keyboard music, orchestral concerti, trios, and miscellaneous concert pieces. In the vocal genre, he wrote solos and partsongs, folksong arrangements, canons, music for plays, eight oratorios/cantatas, fourteen operas and fourteen masses. The Mass in D was composed in the summer of 1798. Although Haydn was dismissed in 1790 as Kapellmeister at the court of the noble Hungarian Esterhazy family, he was given a small pension which required him to compose and direct a new mass to honour the name-day of Princess Marie Esterhazy. The Mass in D is the third of six total name-day masses. Haydn titled the Mass in D, Missa in Angustiis, (Mass for times of distress), but how it became known as the (Lord) Nelson Mass is not clear. It has been speculated that the work was performed for Admiral Lord Nelson and Lady Hamilton when they visited Prince Esterhazy at Eisenstadt Castle in September of 1800. However, whether Nelson ever attended a performance of the work has never been substantiated. The only two major historical events that might shed some insight into the title include the Battle of the Nile on August 1, 1798 when Nelson defeated Napolean in Egypt at the same period when Haydn finished the Mass in D Minor. The other event was after the Battle of Trafalgar on October 21, 1805 when the mass shortly became known as the Nelson Mass. The Mass has also been titled in some editions as the “Coronation” or “Imperial” mass which may simply be due to historical error and misidentification of the masses. Although written in the key of D minor to reflect a time of war and stress, the purpose of the composition was to celebrate the name-day of Princess Esterhazy. Hence, writing a sorrowful mass would have been inappropriate. Haydn ends the mass uplifting the spirit in D major. Throughout the work, there is a sense of excitement, triumph, victory and joy. The soprano solo work throughout is often referred to as “fireworks” which add to the celebratory nature of the mass. The universal theme in the Nelson Mass of fear and anxiety transforming to hopefulness and joy is an appropriate choice for the 2015 UVic choral/orchestral work to reflect our societal struggle for peace. Notes by Dr. Adam Jonathan Con �TEXT & TRANSLATIONS Kyrie - Chor and S Solo Kyrie eleison. Christe eleison. Kyrie eleison. Kyrie - Chorus and S Solo Lord, have mercy. Christ, have mercy. Lord, have mercy. Gloria - Chor, SATB solo Gloria in excelsis Deo, Et in terra pax hominibus bonae voluntatis. Laudamus te, benedicimus te, Adoramus te, glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex coelestis, Deus Pater omnipotens. Domine Fili unigenite, Jesu Christe. Domine Deus, Agnus Dei, Filius Patris. Gloria - Chorus, SATB solo Glory to God in the highest, And peace on earth to men of good will. We praise You, we bless You, We worship You, we glorify You. We give You thanks for Your great glory. Lord God, King of Heaven, God the Father Almighty. Lord only-begotten Son, Jesus Christ. Lord God, Lamb of God, Son of the Father. Qui tollis peccata mundi, Miserere nobis. Qui tollis peccata mundi, Suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis. You who take away the sin of the world, Have mercy on us. You who take away the sin of the world, Hear our prayer. You who sit at the right hand of the Father, have mercy on us. Quoniam tu solus sanctus, tu solus Dominus, Tu solus altissimus, Jesu Christe. Cum Sancto Spiritu in gloria Dei Patris, Amen. For You alone are holy, You alone are Lord, You alone are the Most High, Jesus Christ. With the Holy Spirit in the glory of God the Father, Amen. Credo - Chor, SATB solo Credo in unum Deum, Patrem omnipotentem, factorem coeli et terrae, visibilium omnium et invisibilium. Et in unum Dominum Jesum Christum, Filium Dei unigenitum, et ex patre natum ante omnia saecula, Deum de Deo, lumen de lumine, Deum verum de Deo vero. Genitum non factum, consubstantialem Patri; per quem omnia facta sunt. Qui propter nos homines et propter nostram salutem descendit de coelis. Credo - Chorus, SATB solo I believe in one God, the Father, the Almighty, maker of heaven and earth, of all that is, seen and unseen. And in one Lord Jesus Christ, the only Son of God, eternally begotten of the Father, God from God, light from light, true God from true God, begotten, not made, of one being with the Father; through Him all things were made. For us and for our salvation He came down from heaven. Et incarnatus est de Spiritu Sancto, ex Maria virgine; et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est. He became incarnate from the Virgin Mary by the power of the Holy Spirit, and was made man. For our sake He was crucified under Pontius Pilate; He suffered death and was buried. �Et resurrexit tertia die secundum Scripturas, et ascendit in coelum, sedet ad dexteram Patris, et iterum venturus est cum gloria, judicare vivos et mortuos, cujus regni non erit finis. Et in Spiritum Sanctum Dominum, et vivificantem, qui ex Patre Filioque procedit, qui cum Patre et Filio simul adoratur, et conglorificatur, qui locutus est per Prophetas. Et unam sanctam catholicam et apolstolicam Eccelsiam. Confiteor unum baptisma in remissionem peccatorum, et expecto resurectionem mortuorum, et vitam venturi saeculi. Amen. He rose again on the third day in accordance with the Scriptures; He ascended into heaven, and is seated at the right hand of the Father; He will come again in glory to judge the living and the dead, and His kingdom will have no end. And I believe in the Holy Spirit, the Lord, the giver of Life, who proceeds from the Father and the Son; with the Father and the Son He is worshipped and glorified. He has spoken through the prophets. I believe in one holy catholic and apolstolic Church; I acknowledge one baptism for the forgiveness of sins; I look for the resurrection of the dead, and the life of the world to come. Amen. Sanctus - Chor Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Osanna in excelsis. Sanctus - Chorus Holy, holy, holy, Lord God of Hosts. Heaven and earth are full of your glory, Hosannah in the highest. Benedictus - Chor, SATB solo Benedictus qui venit in nomine Domini. Osanna in excelsis. Benedictus - Chorus, SATB solo Blessed is He who comes in the name of the Lord, Hosannah in the highest. Agnus Dei - Chor, SATB Solo Agnus Dei qui tollis peccata mundi, miserere nobis. Agnus Dei qui tollis peccata mundi, miserere nobis. Agnus Dei qui tollis peccata mundi, dona nobis pacem. Agnus Dei - Chorus, SATB Solo Lamb of God, who takes away the sin of the world, have mercy on us. Lamb of God, who takes away the sin of the world, have mercy on us. Lamb of God, who takes away the sin of the world, grant us peace. Your contribution makes a difference! The arts have always been dependent on 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 Karen Walker at 250-721-6305 or via email at kmwalker@uvic.ca. �BIOGRAPHIES Margaret Lingas, soprano Margaret Lingas was born in Cyprus, raised in Oxfordshire, and is in her second year at UVic, where she studies voice with Benjamin Butterfield. Margaret’s formal training began when she joined Oxford Girls’ Choir, under Richard Vendome and Rory McCleery. As well as being a regular concert soloist, she sang several roles in OGC’s operas — notably Belinda (Dido and Aeneas) and Apollo (Il Ritratto dell’ Eroe). In Victoria, Margaret continues to enjoy both solo and choral opportunities. She is a choral scholar at Christ Church Cathedral, a member of this year’s POV chorus, and soprano section leader of both the UVic Chamber Singers and UVic Vocal Jazz. She made her solo debut last November in Capriccio’s Fauré Requiem. Further afield, Margaret has performed with Schola Pietatis Antonio Vivaldi, Cantores in Ecclesia, and Cappella Romana, with whom she recently recorded the world premiere of Maximilian Steinberg’s Passion Week. Kelsey Wheatley, mezzo soprano Kelsey is delighted to be in the School of Music’s Voice Department at the University of Victoria where she studies with Anne Grimm. Outside of school she can be found directing the children’s ensemble at the First Metropolitan United Church and singing in the choir. She has also been involved in performances at the University of Victoria and with Pacific Opera Victoria. Prior to her studies at UVic, Kelsey earned a Theatre Arts Diploma from Grant MacEwan University, a Music Foundations Certificate from the Victoria Conservatory of Music and a Classical Music Diploma from Camosun College. Tristan Chalcraft, tenor Born in White Rock, BC, tenor, Tristan Chalcraft began his vocal studies at Capilano University in 2010. In addition to his studies in voice, he is a classically trained pianist and organist having received instruction at both Capilano and UVic. He has sung with numerous choral ensembles such as Laudate Singers, Vox Humana, and Vancouver Chamber Choir. At present, he is a choral scholar at Christ Church Cathedral and First Metropolitan. He is currently in his fourth year of the voice program at the University of Victoria, studying under the instruction of Benjamin Butterfield. �Xuguang Zhang, baritone Xuguang Zhang was born in Daqing, China. He studied music at the Central Conservatory of Music in Beijing and since 2013 has been studying voice at UVic with Benjamin Butterfield. Xu competed in many singing competitions in China, achieving outstanding awards. In Victoria he has performed the role of Aeneas in Dido and Aeneas with the Victoria Chamber Orchestra under Yariv Aloni and Messiah with the Civic Orchestra under Peter Butterfield. Xu also participated at the Amalfi Coast Music Festival where he sang the role of the Notary in Puccini’s Gianni Schicchi under Greg Ritchie performing in Naples, Scala, Cave de’ Terreni, Minori and Maiori. Ajtony Csaba, conductor 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 simultaneously with Tamás Gál, András Ligeti, Uroš Lajovic, Peter Eötvös, Istvan Dénes and Zoltán Pesko. 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 Symphonic Orchestra, and Danube Symphonic 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 to Peter Eötvös at the Salzburg Festspiele. In 2008 he conducted the EuroMed Youth Orchestra in Damaskus, Syria. In the current season Csaba conducted the Toronto Symphony Orchestra, Ensemble Tsilumos at Montreal New Music Festival and the Brazilian SiMN Festival in Curitiba. Csaba has served as Assistant Professor at the University of Victoria since 2010. Conductor of the UVic Symphony and the UVic Sonic Lab, he also teaches Conducting and the history of conducting course, Great Conductors. �Dr. Adam Jonathan Con, Chorus director Dr. Adam Jonathan Con is Assistant Professor of Music at University of Victoria School of Music. Conductor of the UVic Chorus, he also teaches Secondary Choral Rehearsal Techniques and Literature, Middle and Elementary School choir methods, Elementary Music Methods, Music Education Foundation, Choral Conducting, and supervises music education students. He previously served as Director of Choral Activities, Chair of Music Education 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. A native of Vancouver, he earned his Bachelor’s and Master Degree in Music Education 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 a Tai Chi Chuan and Alexander Technique practitioner. In high demand in the United States and Canada both as a guest conductor and choral conducting teacher, Dr. Con has been invited to present and conduct at prestigious events such as the National American Orff-Schulwerk Conference, the 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, the 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 in British Columbia 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 choirs, concert bands, and 36 years as a church choir director and organist. He currently serves as Director of Music at St. Barnabas Anglican Church, Victoria. University of Victoria Chorus The UVic Chorus was founded in 1969 and has performed many of the masterworks for chorus, orchestra, and soloists, including Bach’s Mass in B, Verdi’s Requiem, Mendelssohn’s Elijah, Haydn’s Creation, Carmina Burana by Carl Orff, the War Requiem of Benjamin Britten, and Mahler’s Symphony of a Thousand. The chorus is open to all UVic students, faculty, alumni, and staff, as well as the Greater Victoria community. First rehearsals for the new season begin the first Tuesday after Labour Day in September. For more information, contact the conductor, Dr. Adam Jonathan Con at acon@uvic.ca. �UNIVERSITY OF VICTORIA ORCHESTRA VIOLIN 1 Aliayta Foon-Dancoes* Chloe Kim* Raina Saunders Gabriel Cayer Peter Weinkam Jessica d’Oliveira Shijin Kim Jasmine Mather VIOLIN 2 Nathalie Dzbik* Emily MacCallum Linda Donn Lena Ruiz Nanau Loewen Matthew Logan Brittany Tsui VIOLA Matt Antal* Joshua Gomberoff* Sarah de Niverville Calvin Yang Fahlon Smith Evan Hesketh CELLO Ella Hopwood* Shiun Kim* Steven Jeon Olivia Brotzell Paul Joo Nathalia Stoney Tara Rajah Liangyuan Zhao DOUBLE BASS Brock Foerster* Blake Palm Carroll Mackenzie FLUTE Thomas Bauer* Gillian Newburn* Kelsey Dupuis TROMBONE Liam Caveney* Megan White Trevor Hoy OBOE Teigan Cosgrove* Patrick Conley TUBA Dayna Waller CLARINET Erin Onyschtschuk* Dominic Thibault BASS CLARINET Nathan Friedman § BASSOON Matthew Robertson* Eric Boulter SAXOPHONE Adam Jasieniuk (Alto) Lee Whitehorne (Tenor) Zachary Smith (Baritone) HORN Colin Lloyd* Justin Malchow Duane Kirkpatrick James Waddell TRUMPET Ian Cohen* Ian VanGils Justin Bury TIMPANI Brendan Chow* Camden McAllister PERCUSSION Camden McAllister* Will Exner Alyssa Haigh Brandon Chow Keenan Mittag-Degala CELESTE AND ORGAN Louise Hung STAGE MANAGERS Liam Caveney Paul Joo LIBRARIANS Sarah de Niverville Matt Antal ASSISTANT Evan Hesketh * Principal § Alumni �UNIVERSITY OF VICTORIA CHORUS Keiko Alkire Moksh Amin Myles Anderson Mary-Louise Aro Faye Blackburn Breanna Bokstrom Isaiah Brabazon Lisa Cadeau Solomon Cheung Alex Cheung Tiffany Cheung Peter Constabel Vera Costain Jodie Cox Elizabeth Craig Sophie Cullen Linda Donn Margaret Dzbik Skye Eriksen Simon Farintosh Dominic Ferreira Lucas Fultz-Zentner Yicong Gao Rita Haehnlein Harry Han Seira Hayakashi Ava Hoegl Darlene Horricks Michelle Hoskin Aimi Howden Yiwen Hu Iris Hung Yuko Imai Britt Jette Joy Keeler Shijin Kim Chloe Kim Bruce Kingham Maxwell Kristen Zinna Kwon Rachele Laride Cuong Le Vanessa Lee Michael Lee Flora Leigh Diane Leitch Bonnie Leung Alina Liang Joey Liao Kelsey Livingstone Jasmine Lo Angie Lo Nanau Loewen Jany Lu Irma MacKay Joyce Masselink Beth Anne Masselink Sarah Massey Jasmine Mather Byron McIntosh Elsie McMurphy Sarah Meyer Theresa Mothersill Monica Mun Eric Ng Thomas Nicholson Heather Noakes Hehley Park Jihyun Park Hart Parnell Natasha Pashchenko Drew Porter Anthony Quas Tara Rajah Nicholas Renaud Beverley Rippin Aya Robertson Emmett Robinson Smith Sheila Ruffell Sonja Ruffell Lena Ruiz Matthew Sabo Eugene Sander Heather Sander Alison Saunders Patrick Schjelderup Erin Sharpe Emlyn Sheeley Eric Showers Jordan Smale Corey Spetifore Connor Stairs Penny Stevenson Natalia Stoney Sophia Stoney Sarah Tao Koba ter Neuzen Jackson Tseng Frank Waelti Dayna Waller Season Wang Antonia Whelan Susan Winmill Pearse Wolfe Liblong Owen Worby Nancy Xu Diane Yuan Tim Zacharias Lissa Zala James Zhang Carol Zhang REHEARSAL ACCOMPANIST Tony Booker �UPCOMING EVENTS Sunday, March 29, 2:30 p.m. ($15 & $10) UNIVERSITY OF VICTORIA PHILOMELA WOMEN’S CHOIR To Sing in the Spring! Singing songs of Spring and the Easter season. With Susan Young, Director Phillip T. Young Recital Hall Sunday, March 29, 8:00 p.m. (Admission by donation) VOCAL JAZZ SPRING SHOWCASE: Blossoms and Bop Wendell Clanton, Director A concert of non-stop show-stoppers that just won’t quit. Phillip T. Young Recital Hall Tuesday, March 31, 8:00 p.m. (Admission by donation) STRING CHAMBER CONCERT Students from the studios of the Lafayette String Quartet. Lutheran Church of the Cross (3787 Cedar Hill Road) Thursday, April 2, 8:00 p.m. ($15 & $10) DON WRIGHT SYMPHONIC WINDS 10 Years of The Don Wright Symphonic Winds Dr. Michael Keddy, Conductor A selection of musical favourites from the first 10 years of the Don Wright Symphonic Winds. University Centre Farquhar Auditorium Thursday, April 9, 8:00 p.m. ($18 & $14) ALUMNI CONCERT SERIES Twin Kennedy: It’s A Love Thing CD Release Tour Carli and Julie Kennedy (B.Mus ’08) return as country music duo Twin Kennedy to present a CD Release concert that blends their classical training with their country roots. Twinkennedy.com 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/032715-Chorus&amp;Orchestra/032715-Chorus&amp;Orchestra_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032715-Chorus&amp;Orchestra/032715-Chorus&amp;Orchestra_02.mp3">track2</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UVic Chorus & Orchestra - Dear Strangers Creator An entity primarily responsible for making the resource Kimberlee Graham-Knight Date A point or period of time associated with an event in the lifecycle of the resource March 27, 2015 Contributor An entity responsible for making contributions to the resource Ajtony Csaba, conductor; Dr. Adam Jonathan Con, Chorus director; Margaret Lingas, soprano; Kelsey Wheatley, mezzo soprano; Tristan Chalcraft, tenor; Xuguang Zhang, baritone https://finearts.uvic.ca/music/archive/files/original/e142bee5b0fba75a0dc569775d735ae0.pdf a689b2ca69b36786e6008fd2a61c4050 PDF Text Text School of Music University of Victoria School of Music MUS C Faculty of Fine Arts University of Victoria �Orchestra UNIVERSITY OF VICTORIA A Symphonic Ornithology Ajtony Csaba, Conductor Evan Hesketh, Graduate Conductor Welcome to our Spring concert! Tonight we play compositions with and about birds from all over the world. Cuckoos, blackbirds and doves sing about the forests of Bohemia and Vienna; imaginary birds from Italian and Russian mythology share the stage with the 19th-century version of Batman, die Fledermaus. Friday, March 6, 2015 • 8:00 p.m. University Centre Farquhar Auditorium MacLaurin Building, University of Victoria Adults: $15 / Students & seniors: $10 �Program Ouverture from Die Fledermaus (The Bat) Johann Strauss The Wild Dove, Op. 110 Antonin Dvorak Andante, Marcia Funebre – Weeping and sobbing, a young widow follows the coffin, accompanied by cooing of a wild dove. Allegro. Andante – A young lad meets her and persuades her to cease her mourning and marry him. Molto Vivace – The young widow soon stops her grieving and celebrates a merry and mirthful wedding with the young lad. Andate – The grave of her first husband, whom she had poisoned, is covered with grass, above his head an oak tree grows up and from its branches the mournful cooing of the wild dove resounds through the country. The grieving sound penetrates to the heart of the treacherous woman, who, driven by the pangs of conscience to madness, finds death in the waves. Andante, Tempo I. (Epilog) Im Krapfenwald’l, Op. 336 Johann Strauss (In the Donut-Forest—Cuckoo—Polka) I n t e r m i s s i o n The Cuckoo in the Depths of the Woods from Carnival of the Animals Camille Saint-Saëns Ouverture from La gazza ladra (The Thieving Magpie) Gioacchino Rossini Evan Hesketh, Graduate Conductor L’oiseau de feu (The Firebird) Suite (version from 1919) Introduction Igor Stravinsky L’oiseau de feu et sa dance (Dance of the Firebird) Ronde de princesse (Dance of the Princess) Danse infernale du roi Kastcheï (Infernal Dance of King Chastchei) Berceuse (Lullaby) Final �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 simultaneously with Tamás Gál, András Ligeti, Uroš Lajovic, Peter Eötvös, Istvan Dénes and Zoltán Pesko. He was awarded many prizes as a conductor and composer, and was a semi-finalist in the first competition for opera in Cluj, Romania. He has had numerous concerts in Hungary and Austria with orchestras including UMZE, Sinfonietta Baden, Webern Sinfonietta, Savaria Symphonic Orchestra, and Danube Symphonic 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 he 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 to Peter Eötvös at the Salzburg Festspiele. In 2008 he conducted the EuroMed Youth Orchestra in Damaskus, Syria. In 2010 he was appointed as Assistant Professor at the University of Victoria, British Columbia where he conducts the UVic Orchestra and teaches conducting. Your contribution makes a difference! The arts have always been dependent on 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 Karen Walker at 250-721-6305 or via email at kmwalker @uvic.ca. �ORCHESTRA PERSONNEL VIOLIN 1 Aliayta Foon-Dancoes* Chloe Kim* Raina Saunders Gabriel Cayer Peter Weinkam Jessica d’Oliveira Shijin Kim Jasmine Mather FLUTE Gillian Newburn* Thomas Bauer* Kelsey Dupuis TIMPANI Brandon Chow Camden McAllister Keenan Mittag-Degala OBOE Teigan Cosgrove* Patrick Conley Alexandra Pohran-Dawkins‡ PERCUSSION Camden McAllister* Will Exner Alyssa Haigh Keenan Mittag-Degala VIOLIN 2 Nathalie Dzbik* Emily MacCallum Linda Donn Lena Ruiz Nanau Loewen Matthew Logan Brittany Tsui CLARINET Erin Onyschtschuk* Dominic Thibault VIOLA Matt Antal* Joshua Gomberoff* Sarah de Niverville Calvin Yang Fahlon Smith Evan Hesketh CELLO Ella Hopwood* Shiun Kim* Steven Jeon Alex Klassen Olivia Brotzell Paul Joo Nathalia Stoney Tara Rajah Liangyuan Zhao DOUBLE BASS Brock Foerster* Blake Palm Carroll Mackenzie BASS CLARINET Nathan Friedman** BASSOON Matthew Robertson* Eric Boulter HORN Colin Lloyd* Justin Malchow Duane Kirkpatrick James Waddell HARP Josh Layne** PIANO & CELESTE Louise Hung Josh Herrett LIBRARIANS Sarah de Niverville Matt Antal STAGE MANAGERS Liam Caveney Paul Joo TRUMPET Ian Cohen* Ian VanGils Justin Bury ASSISTANT Evan Hesketh TROMBONE Liam Caveney* Megan White Trevor Hoy * Principal ‡ School of Music faculty ** Community member TUBA Dayna Waller ��UPCOMING EVENTS Saturday, March 7, 8:00 p.m. (Admission by donation) VOICE DEPARTMENT SHOWCASE: The Art of Art Song Theater Voice students from the studios of Benjamin Butterfield, Susan Young and Anne Grimm. Phillip T. Young Recital Hall Sunday, March 8, 1:30 p.m. (Admission by donation) PIANO CLASS RECITAL Students from the studio of May Ling Kwok. Phillip T. Young Recital Hall Sunday, March 8 & 15, 7:00 p.m. ($15) CRAIGDARROCH CASTLE IN SONG Through the auspices of Craigdarroch Castle and the Vancouver International Song Institute (VISI), the School of Music, University of Victoria presents a concert in celebration of the story of Craigdarroch Castle and Victoria’s heritage. Craigdarroch Castle (1050 Joan Cresc.) Friday, March 13, 8:00 p.m. ($18 & $14) FACULTY CONCERT SERIES Guitarworks: Baroque Edition Alexander Dunn, baroque guitar With Douglas Hensley, theorbo, soprano Anne Grimm, Soile Stratkauskas, baroque flute, Ann Fraser, baroque violin, and Martin Bonham, baroque cello. Performing music by Handel, Scarlatti, Vivaldi, and Monteverdi. Phillip T. Young Recital Hall Saturday, March 14, 8:00 p.m. ($15 & $10) UVIC JAZZ ENSEMBLE Dr. Patrick Boyle, Director An eclectic evening of contemporary works for jazz ensemble, including a rare performance of the Ebony Concerto by Igor Stravinsky. 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/030615-Orchestra/030615-Orchestra_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030615-Orchestra/030615-Orchestra_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030615-Orchestra/030615-Orchestra_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030615-Orchestra/030615-Orchestra_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030615-Orchestra/030615-Orchestra_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030615-Orchestra/030615-Orchestra_06.mp3">track6</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UVic Orchestra - A Symphonic Ornithology Creator An entity primarily responsible for making the resource Noel Anstey Date A point or period of time associated with an event in the lifecycle of the resource March 6, 2015 Contributor An entity responsible for making contributions to the resource Ajtony Csaba, Conductor; Evan Hesketh, Graduate Conductor https://finearts.uvic.ca/music/archive/files/original/ea57ea858f01e8935235a1d204ae939c.pdf e36c552f807f21b82f49bf5f3f5208c6 PDF Text Text School of Music University of Victoria School of Music MUS C Faculty of Fine Arts University of Victoria �Orchestra UNIVERSITY OF VICTORIA Dancy Academics With Keenan Mittag-Degala, marimba soloist UVic Concerto Competition Winner Studio of Bill Linwood Ajtony Csaba, conductor Evan Hesketh, graduate conductor Friday, January 30, 2015 • 8:00 p.m. University Centre Farquhar Auditorium MacLaurin Building, University of Victoria Adults: $15 / Students & seniors: $10 �Program Johannes Brahms Academic Festival Overture Op. 80 Ney Rosauro Concerto for Marimba and Orchestra Saudação (Greetings) Lamento (Lament) Dança (Dance) Despedida (Farewell) Keenan Mittag-Degala, marimba Jean Sibelius Finlandia, Op. 26 Evan Hesketh, graduate conductor I n t e r m i s s i o n Ludwig van Beethoven Symphony No. 2 in D major, Op. 36 Allegro con brio Larghetto Scherzo, Allegro Allegro molto �BIOGRAPHIES Keenan Mittag-Degala Keenan Mittag-Degala, born in Seattle, Washington, began his studies on the drums under Jim Smith in Danville, California. He is trained in a large variety of musical styles on multiple instruments, from jazz drums, to folk guitar, and classical piano and percussion. He plays in multiple bands, jazz combos, and experimental projects all based in Victoria, B.C. When not performing, he composes, paints, song-writes, and records/produces an array of musical styles. He is currently studying percussion under Bill Linwood at the School of Music, University of Victoria in Victoria, B.C. 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 simultaneously with Tamás Gál, András Ligeti, Uroš Lajovic, Peter Eötvös, Istvan Dénes and Zoltán Pesko. He was awarded many prizes as a conductor and composer, and was a semi-finalist in the first competition for opera in Cluj, Romania. He has had numerous concerts in Hungary and Austria with orchestras including UMZE, Sinfonietta Baden, Webern Sinfonietta, Savaria Symphonic Orchestra, and Danube Symphonic 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 he 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 to Peter Eötvös at the Salzburg Festspiele. In 2008 he conducted the EuroMed Youth Orchestra in Damaskus, Syria. In 2010 he was appointed as Assistant Professor at the University of Victoria, British Columbia where he conducts the UVic Orchestra and teaches conducting. �PROGRAM NOTES Johannes Brahms: Academic Festival Overture Op. 80 Brahms gave folk tunes considerable attention during his life. Besides countless vocal and choral arrangements, the Academic Festival Overture is one of the very few instrumental arrangements he wrote. In 1879, Brahms accepted the honorary doctorate offered by the University of Breslau (today Wrocław, Poland). He wrote this overture as a sign of his appreciation in 1880 and conducted the first performance in the presence of dignitaries from Breslau in 1881. A musical joke is hiding behind the supercilious title, a medley of four folk tune-like student songs, popular among students at explicitly nonacademic occasions such as parties or rituals. The overture quotes the melodies with minor adjustments, as main themes of a skilfully crafted sonata form. The song Wir hatten gebauet ein stattliches Haus (“We have built a stately house”) delivers the thematic material for the introduction. Themes of the main sonata form quote two further songs originally used in student rituals: Landesvater (student bonding rite song) and the Was kommt dort von der Höh? (freshman hazing ritual song). Festive ceremonies often conclude with the joyous hymn Gaudeamus igitur, which was originally sung in student taverns celebrating rather profane pleasures. In the Coda, Brahms counterpoints the traditionally festive melody with an elaborate baseline, ornamented by the obligato line of the violins that reminds us of occasional hiccups and the staggering of the over-joyous gathering. The Academic Overture has the largest instrumentation Brahms ever used, and possibly his only piece based on the idea of provocation, sly intellectual humour and unrestrained merriment. Ajtony Csaba �Ney Rosauro: Concerto for Marimba and Orchestra The Concerto for Marimba and Orchestra was written in June and July of 1986 in Brasília and is dedicated to the composer’s son Marcelo. The work was originally written for marimba and string orchestra and was premiered in the USA the same year with the Manitowoc Symphony Orchestra in Wisconsin under the direction of Manuel Prestamo. The Wind Ensemble version is arranged by Dr. Thomas McCutchen. With the commercial success of a 1990 CD and video by Scottish percussionist Evelyn Glennie and the London Symphony Orchestra, the Concerto rapidly came to be regarded as part of the standard literature for percussion. It is considered to be the most popular marimba concerto today, and has been performed by more than eight hundred orchestras worldwide. The concerto contains four movements—unusual for the concerto form—which follow the fast-slow-fast pattern, with the medium tempo third movement inserted before the vigorous finale. Some Brazilian motifs and jazz elements are used throughout the piece, which contains strong rhythmic patterns and catchy melodies. The marimba leads the thematic material throughout much the piece, and as a result, the marimba part of certain movements can be performed solo, without orchestral accompaniment. The solo part explores the many possibilities of modern four-mallet technique, and according to reviews from Percussive Notes magazine “the concerto is superbly written for the unique timbre and virtuoso technical qualities of the marimba.” www.neyrosauro.com Jean Sibelius: Finlandia, Op. 26 Throughout its history, Finland has suffered as a result of its geographic location between what is now Sweden and Russia. Whether ruled by the Swedish Empire or Russian Empire, the Nordic country didn’t become an independent nation until 1917. In 1899, the year that Finlandia was composed, Finland was under Russia’s control and had been for 90 years. �At the time, 34-year-old Sibelius was regarded as Finland’s leading composer but was relatively unknown internationally. He was asked to write music for a series of patriotic scenes that would be presented during a protest against censorship of the press. The finale of the suite was entitled Finland Awakes and the movement resonated deeply with its audience. One year later in 1900, Sibelius reworked the movement into a self-contained symphonic poem and changed the title to Finlandia. When the Helsinki Philharmonic played the work on its debut European tour in 1900, it was immensely popular and Sibelius became an international household name. The work opens with ominous chords in the brass that are in turn taken up by the winds and strings. After culminating in a statement of defiance, the music launches into a faster tempo, with crisp brass outbursts and churning lower strings. This turbulent section suddenly dissipates and is replaced by a jubilant march. Before the work’s exciting and triumphant conclusion, a hymn-like melody emerges, first played by the winds with a shimmering string accompaniment and then echoed more strongly by the strings. This stirring melody was reworked into a stand-alone piece by Sibelius and given lyrics in 1941 – it is one of the most important Finnish national songs. Evan Hesketh Beethoven: Symphony No. 2 in D major, Op. 36 Symphony No. 2 in D major, Op.36 was elaborated in the summer of 1802 in Heilligenstadt when Beethoven was fighting to get control over his life. In this period he will write his famous letter to his brothers known under the name of The Heilligenstadt Testament expressing the two attitudes so often found in the composer’s work: resignation in the face of death which he feels is so close and the revolt of a man who loved people in general, who was passionate about art and who was ambitious and eager to succeed. But even so, few instances betray the composer’s horrible turmoil. The themes of Part I are of an incredible vigor simulating a “joyful fanfare aria” , and the mirthfulness of the finale stand as proof of the vigor he had despite everything. It was performed in first audition with the composer himself as the conductor in Vienna on April 5th 1803, and can be justly considered “a touching addition to the Heilligenstadt Testament.” �The symphony starts with a slow introduction—Adagio molto—made up of three sections which representing the junction of thematic elements, dramatic and lyrical ones. Part I – Allegro con brio: is constructed in the shape of a sonata with a thematic material of great simplicity “leaving the impression of dignity, mature and serious vision of life, of destiny.” Part II – Larghetto: can be considered one of the high points of Beethoven ‘s creation. The themes are of great beauty and serenity expressing noble ideas sprung from a great deal of sorrow. Through a short Coda of just 16 bars this sonata-like segment ends under the auspices of joy and bliss. Part III – Scherzo, Allegro: is a very dynamic segment irrigated by life. For the first time in the structure of the symphony, a new movement appears, different from the minuet in expression and at the same time allowing the composer to fully express his vision and his feelings. Part IV – Allegro molto: is of great depth, musical and harmonic complexity. Prod’Homme was quoting a critic who saw this segment of the symphony as “a dragon ran through by a spear, not wanting to die and drained of blood wagging his tail around him.” www.all-about-beethoven.com Your contribution makes a difference! The arts have always been dependent on 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 Karen Walker at 250-721-6305 or via email at kmwalker @uvic.ca. �ORCHESTRA PERSONNEL VIOLIN 1 Aliayta Foon-Dancoes* Chloe Kim* Raina Saunders Gabriel Cayer Peter Weinkam Jessica d’Oliveira Shijin Kim Jasmine Mather Ceilidh Briscoe ‡ VIOLIN 2 Nathalie Dzbik* Emily MacCallum Linda Donn Lena Ruiz Nanau Loewen Matthew Logan Brittany Tsui Andrew Montgomery ‡ VIOLA Matt Antal* Sarah de Niverville Joshua Gomberoff* Calvin Yang Fahlon Smith Evan Hesketh CELLO Ella Hopwood* Shiun Kim* Steven Jeon Alex Klassen Olivia Brotzell Paul Joo Nathalia Stoney Tara Rajah Liangyuan Zhao DOUBLE BASS Brock Foerster* Blake Palm Carroll Mackenzie FLUTE/PICCOLO Gillian Newburn* Thomas Bauer* Kelsey Dupuis OBOE Teigan Cosgrove* Patrick Conley CLARINET Erin Onyschtschuk* Dominic Thibault BASSOON Matthew Robertson* Eric Boulter CONTRABASSOON Lee Whitehorn HORN Colin Lloyd* Gina Davis Justin Malchow Duane Kirkpatrick James Waddell TRUMPET Ian Cohen* Ian VanGils Justin Bury TROMBONE Liam Caveney* Megan White Trevor Hoy TUBA Dayna Waller TIMPANI Brandon Chow PERCUSSION Camden McAllister* Will Exner Alyssa Haigh LIBRARIAN Sarah de Niverville Matt Antal STAGE MANAGERS Liam Caveney Paul Joo ASSISTANT Evan Hesketh * Principal ‡ Student of the Victoria Conservatory of Music ��UPCOMING EVENTS Sunday, February 1, 2:30 p.m. (Admission by donation) FLUTE CLASS RECITAL Students from the studio of Dr. Suzanne Snizek. Phillip T. Young Recital Hall Monday, February 2, 8:00 p.m. (Free admission) Orion Series in Fine Arts presents GUEST CONCERT: MILTON SCHLOSSER, PIANO (U of A) Noted pianist and award-winning music professor, Milton Schlosser, performs works by Beethoven, Debussy, Rzewski, Schlosser, and Skryabin. Phillip T. Young Recital Hall Tuesday, February 3, 8:00 p.m. (Admission by donation) LECTURE-RECITAL Red Cross Nell and Khaki Jim:The WWI Songs of Gordon V.Thompson Gordon V. Thompson was one of Canada’s most successful music publishers, but he was also a songwriter whose hit WWI songs bring to life how everyday Canadians at home experienced the progress of the war. Join Dr. Laurel Parsons, UVic music theory instructor and Thompson’s granddaughter, soprano Anna Shill, and friends for this lively lecture-recital. Phillip T. Young Recital Hall Wednesday, February 4, 7:00 p.m. (Admission by donation) ANNUAL SOLO BACH COMPETITION Featuring the solo suites and sonatas by J.S. Bach performed by UVic string students. The jury will elect three prizewinners and the audience has the opportunity to vote for the Audience Prize. Phillip T. Young Recital Hall Friday, February 6, 12:00 to 4:00 p.m. (Free admission) WEST COAST STUDENT COMPOSERS SYMPOSIUM An annual meeting of student composers from UBC, SFU, and UVic. Three concerts showcase composers and performers from each institution. 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/013015-Orchestra/013015-Orchestraconcert_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/013015-Orchestra/013015-Orchestraconcert_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/013015-Orchestra/013015-Orchestraconcert_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/013015-Orchestra/013015-Orchestraconcert_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 - Dancy Academics with UVic Concerto Competition Winner Keenan Mittag-Degala, marimba Creator An entity primarily responsible for making the resource Bryan Lilly Date A point or period of time associated with an event in the lifecycle of the resource January 30, 2015 Contributor An entity responsible for making contributions to the resource Ajtony Csaba, conductor; Evan Hesketh, graduate conductor; Keenan Mittag-Degala, marimba https://finearts.uvic.ca/music/archive/files/original/5d4d43f465fcd3c24dc0130e52680abb.pdf 972f1d7e13ab97fce39266f0bd4f2e29 PDF Text Text School of Music University of Victoria School of Music MUS C Faculty of Fine Arts University of Victoria �Orchestra UNIVERSITY OF VICTORIA Ways of Passion With Elizabeth Clarke, piano soloist UVic Concerto Competition Winner Studio of Arthur Rowe Ajtony Csaba, conductor Evan Hesketh, graduate conductor Bradley Pickard, encore conductor Saturday, November 29, 2014 • 8:00 p.m. University Centre Farquhar Auditorium MacLaurin Building, University of Victoria Adults: $15 / Students & seniors: $10 �Program Johannes Brahms Piano Concerto No. 1 in D minor Op. 15 Maestoso: Poco più moderato—Tempo I. poco più animato Adagio Rondo: Allegro non troppo—Meno mosso—Tempo I Elizabeth Clarke, piano I n t e r m i s s i o n Richard Strauss Don Juan Op. 20 Sergei Prokofiev Romeo and Juliet, Op. 64 Montagues and Capulets Dance Romeo and Juliet Masks Romeo at the Grave of Juliet E.W. Elgar Pomp and Circumstance March No. 2, Op. 39 �B I O G RA P H I E S Elizabeth Clarke Originally from Fort McMurray, Alberta, Elizabeth Clarke is currently completing her MMus in piano performance at the University of Victoria under the direction of Professor Arthur Rowe. She completed her undergraduate studies with Dr. Milton Schlosser at the University of Alberta, Augustana Campus in 2013, and upon graduating received both the Augustana Medal and a Governor General’s Silver Medal from the University of Alberta for top academic achievement. In 2013 Elizabeth was the recipient of a Johann Strauss Scholarship from the University of Alberta’s Wirth Institute which funded summer study at the Wiener Meisterkurse in Vienna, Austria. She has also participated in summer study programs at the Tuckamore chamber music festival in Newfoundland, the Orford Arts Centre in Québec, and the Nice International Summer Music Academy in France. She is the recipient of a graduate scholarship from the Social Sciences and Humanities Research Council of Canada and her resulting research paper, “The Piano Quartet in Canada”, has been published on the website of the Canadian Music Centre. 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 simultaneously with Tamás Gál, András Ligeti, Uroš Lajovic, Peter Eötvös, Istvan Dénes and Zoltán Pesko. He was awarded many prizes as a conductor and composer, and was a semi-finalist in the first competition for opera in Cluj, Romania. He has had numerous concerts in Hungary and Austria with orchestras including UMZE, Sinfonietta Baden, Webern Sinfonietta, Savaria Symphonic Orchestra, and Danube Symphonic 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 he 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 to Peter Eötvös at the Salzburg Festspiele. In 2008 he conducted the EuroMed Youth Orchestra in Damaskus, Syria. In 2010 he was appointed as Assistant Professor at the University of Victoria, British Columbia where he conducts the UVic Orchestra and teaches conducting. �O R C H E ST RA P E R S O N N E L VIOLIN 1 Aliayta Foon-Dancoes* Chloe Kim* Rayna Saunders Gabriel Cayer Peter Weinkam Jessica d’Oliveira Shijin Kim Jasmine Mather Lina Pamart VIOLIN 2 Nathalie Dzbik* Jilaine Orten Emily MacCallum Linda Donn Lena Ruiz Nanau Loewen Matthew Logan Brittany Tsui VIOLA Matt Antal* Sarah de Niverville Joshua Gomberoff Calvin Yang Fehlon Smith Thomas Nicholson Evan Hesketh CELLO Ella Hopwood* Shiun Kim Steven Jeon Alex Klassen Olivia Brotzell Paul Joo Nathalia Stoney Tara Rajah DOUBLE BASS Brock Foerster* Hudson Thorpe-Doubble Blake Palm Mackenzie Carroll FLUTE/PICCOLO Thomas Bauer* Gillian Newburn* Kelsey Dupuis TROMBONE Liam Caveney* Megan White Trevor Hoy OBOE Pierre Cayer ; Patrick Conley TUBA Tim Keels ; ENGLISH HORN Alexandra Pohran Dawkins ‡ TIMPANI Kennan Mittag-Degala Brandon Chow CLARINET Erin Onyschtschuk* Dominic Thibault PERCUSSION Camden McAllister William Exner BASS CLARINET Nathan Friedman § PIANO/CELESTE Louise Hung SAXOPHONE Austin Nicholl HARP Josh Layne ; BASSOON Matthew Robertson* Eric Boulter CONTRABASSOON Lee Whitehorn HORN Colin Lloyd* Gina Davis Samuel McNally Justin Malchow Duane Kirkpatrick James Waddell TRUMPET Ian Cohen* Ian VanGils Justin Bury LIBRARIAN Sarah de Niverville Matt Antal STAGE MANAGERS Liam Caveney Paul Joo ASSISTANT Evan Hesketh * Principal ‡ Faculty member § Alumni ; Community member �UNIVERSITY OF VICTORIA ORCHESTRA UPCOMING PERFORMANCES University Centre Farquhar Auditorium Tickets: $5-$15 Friday, January 30, 8:00 p.m. UNIVERSITY OF VICTORIA ORCHESTRA Ajtony Csaba, conductor With Keenan Mittag-Degala, marimba (UVic Concerto Competition winner) Ludwig van Beethoven – Symphony No. 2 in D Ney Rosauro – Concerto for Marimba and Strings Jean Sibelius – Finlandia Johannes Brahms – Academic Festival Ouverture Friday, March 6, 8:00 p.m. UNIVERSITY OF VICTORIA ORCHESTRA A Symphonic Ornithology Ajtony Csaba, conductor Johann Strauss – Die Fledermaus: Ouverture Gioachino Rossini – La Gazza Ladra: Sinfonia Antonín Dvořák – The Wild Dove Igor Stravinsky – Firebird-Suite and excerpts from works by Saint-Saëns, Parker and Mozart. Saturday, March 28, 8:00 p.m. UNIVERSITY OF VICTORIA CHORUS & ORCHESTRA Ajtony Csaba, conductor Adam Con, chorus director George Gershwin – An American in Paris Joseph Haydn – Mass in D Major Hob. II:11 (Nelson-Mass) Your contribution makes a difference! The arts have always been dependent on 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 Karen Walker at 250-721-6305 or via email at kmwalker @uvic.ca. �UPCOMING EVENTS Monday, December 1, 10:30 a.m. (Admission by donation) AFRICAN PERCUSSION CONCERT The thirty-member percussion ensemble from MUS 208 African Hand Drumming perform a repertoire of rhythms on djembe, balafon and dundun. Phillip T. Young Recital Hall Tuesday, December 2, 12:30 p.m. (Admission by donation) TUESDAYMUSIC A concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall Thursday, December 4, 8:00 p.m. ($15/$10/$5) DON WRIGHT SYMPHONIC WINDS: Colours! Michael Keddy, conductor University Centre Farquhar Auditorium Friday, December 5, 8:00 p.m. (Admission by donation) UNIVERSITY OF VICTORIA CHOIRS: Heralding the Season! The UVic Chorus, Chamber Singers, Vocal Jazz Ensemble, and Philomela Women’s Choir perform music of the season with organ and brass. Christ Church Cathedral (Quadra at Rockland) Saturday, December 13, 1:00 – 3:00 p.m. (Admission by donation) TUBA CHRISTMAS Eugene Dowling & Paul Beauchesne, conductors 70 tubas and euphoniums playing your Christmas favourites. Donations accepted for the Times Colonist Christmas Fund. Market Square (560 Johnson Street) Sunday, December 14, 2:30 p.m. (Admission by donation) TUBA CHRISTMAS REPRISE Featuring soloists and ensembles from the class of Eugene Dowling. Money raised will benefit local tuba and euphonium projects. 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/112914-Orchestra/112914-Orchestra_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112914-Orchestra/112914-Orchestra_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112914-Orchestra/112914-Orchestra_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112914-Orchestra/112914-Orchestra_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112914-Orchestra/112914-Orchestra_05.mp3">track5</a><br /><br /> 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 - Ways of Passion Creator An entity primarily responsible for making the resource Bryan Lilly Date A point or period of time associated with an event in the lifecycle of the resource November 29, 2014 Contributor An entity responsible for making contributions to the resource Ajtony Csaba, conductor https://finearts.uvic.ca/music/archive/files/original/76ef0dba9790ba847eaa124354a75d35.pdf 26c6655859ace3e688f233113200b98a PDF Text Text School of Music University of Victoria School of Music MUS C Faculty of Fine Arts University of Victoria �Orchestra UNIVERSITY OF VICTORIA 500 Miles With Ella Hopwood, cello soloist UVic Concerto Competition Winner Class of Pamela Highbaugh Aloni Ajtony Csaba, conductor Evan Hesketh, graduate conductor Friday, October 31, 2014 • 8:00 p.m. University Centre Farquhar Auditorium MacLaurin Building, University of Victoria Adults: $15 / Students & seniors: $10 �Program Wolfgang Amadeus Mozart Symphony No. 31 in D Major (Paris), K.297/300a Camille Saint-Saëns Cello Concerto No. 1 in A minor, Op. 33 Ella Hopwood, cello ***** Edward Elgar Pomp and Circumstance March No. 1 in D Major Johann Strauss II Tritsch-Tratsch Polka Evan Hesketh, conductor I n t e r m i s s i o n Johannes Brahms Symphony No. 1 in C minor, Op. 68 �P R O G RA M N OT E S Introduction 500 miles—a short journey today, but a much longer one 135 years ago. It happens to be the distance between the two cities that play a role in tonight’s program: Paris, where our Mozart and Saint-Saëns works had their premieres, and Karlsruhe, where Brahms’ first symphony was premiered. Finished within three years of each other, Brahms’ symphony (influenced by the tradition of Beethoven) and Saint-Saëns’ cello concerto (influenced by the concertos of Liszt) are stylistically miles apart. Symphony No. 31 in D Major (Paris), K.297/300a Wolfgang Amadeus Mozart In 1777, after being dismissed from his post as a court composer in Salzburg, Mozart travelled with his mother to Munich and then Mannheim with the hope of finding a patron. Failing to secure employment, the pair continued to Paris, arriving in 1778. Mozart was engaged to compose a symphony for the Concert Spirituel, one of the earliest public concert series that was founded in 1725. The Parisian orchestra was the largest group for which Mozart had composed a symphonic work up to this point. The ‘Paris’ symphony was premiered on June 18, 1778, and by Mozart’s own account, the work was well received by the audience. The three-movement symphony begins with the premier coup d’archet, where every instrument begins loudly together. This type of opening was very popular with the Parisian audience and Mozart chose to begin this way simply to please the French “donkeys,” as he wrote in a letter to his father. Mozart however, couldn’t see what all the fuss was about with the premier coup d’archet: “I don’t see any difference – they begin together – as they do in other places. It’s ridiculous.” The slow movement presented in tonight’s concert is the original one that was performed at the premiere. However, the director of the Concert Spirituel disliked this movement and asked Mozart to write a different slow movement for performance at a future concert. Although the music for both movements is available, performances of this symphony generally feature the original slow movement, as the evidence suggests that Mozart preferred his first version. �The final movement begins with a sneaky passage for the first and second violins alone, something that Mozart felt would shock the audience and cause a stir when they realized that the finale had started without a rousing beginning, as was customary. A particularly clever moment in this movement occurs in the middle, where Mozart showcases his skill at counterpoint by including a short fugato section. Cello Concerto No. 1 in A minor, Op. 33 Camille Saint-Saëns Saint-Saëns composed his A minor cello concerto for Auguste Tolbecque, a cello professor at the Marseilles Conservatoire, who performed the concerto at its premiere with the Conservatoire orchestra in Paris in 1873. This was an important break-through for contemporary French composers, as the Conservatoire orchestra was generally conservative in its programming – it presented comparatively little French music, and very rarely premiered a contemporary work by a French composer. The concerto illustrates the desire of composers in the late 19th century to find innovative ways of re-imagining established forms. Traditionally, an instrumental concerto was comprised of three distinct movements. Saint-Saëns’ A minor cello concerto however, is through-composed – there is no formal division of movements, and the music is continuous from start to finish. Despite the lack of distinct movements, the work is clearly divided into three sections that roughly correspond to a traditional three-movement concerto form. Framed by two outer fast and turbulent sections, the calm middle section is a charming minuet (that opens with muted strings) instead of the more traditional slow movement one would expect in a concerto. SaintSaëns creates a sense of continuity and connection in what could become an unwieldy work by bringing back material from the opening section in the final section of the concerto. �Symphony No. 1 in C minor, Op. 68 Johannes Brahms In 1853, Robert Schumann wrote an article that propelled a 20-year-old Brahms into the spotlight by placing on him the lofty expectation that he would be “the one…chosen to express the most exalted spirit of the times in an ideal manner.” To live up to this proclamation, Brahms would have to master the most highly regarded large-scale form, the symphony, but it took him over 20 years to do so. Brahms had incredibly high standards for himself and felt burdened by the legacy of Beethoven, reportedly remarking, “you have no idea what it’s like to hear the footsteps of a giant like that behind you.” We know that Brahms had started composing his C minor symphony at least by 1862, the year he shared an early version of the first movement with close friends, including Clara Schumann. What Brahms finally produced was lauded by the conductor Hans von Bülow as “Beethoven’s Tenth.” Indeed, Brahms seeming pays homage to Beethoven through prominent use of the rhythm of fate motive from Beethoven’s fifth symphony. Additionally, the main theme in the last movement of the Brahms resembles the ode to joy melody in Beethoven’s ninth symphony. The first movement opens with a slow introduction that features a continuous, churning, eighth note pedal in the timpani, double basses, and contrabassoon. The intensity and relentlessness of the introduction pervades the entire movement, which eventually winds its way to a calm close. The second movement is a beautiful slow movement that begins serenely but includes outbursts of passion and intensity. Later in the movement, solo violin and horn share a sublime duet. The third movement has a dance-like feel that combines charm, grace, and stateliness. Like the first movement, the finale begins with an ominous slow introduction, but after some violent outbursts, progresses to a section that recalls the calm ending of the first movement, and paves the way for the main, joyous theme of the finale. Despite the struggles that crop up throughout the last movement, the symphony ends with a jubilant coda full of verve. ~ Evan Hesketh �B I O G RA P H I E S Ella Hopwood Ella Hopwood was born in Ottawa, Ontario, into a musical family. By four years old, she had decided she needed a cello, and asked her parents insistently for months before they realized she was serious. For Ella’s fifth birthday, she was given a quarter-sized cello, and so began her love of music. While Ella enjoyed her musical studies throughout her school years, she didn’t see herself pursuing them in her future. However, at the encouragement of her cello teacher, she auditioned for the program at the University of Victoria, and it was in her first year of study that she realized the depth of the joy it brought her. Ella is currently in the third year of her Performance degree at UVic, studying under Pamela Highbaugh Aloni. She is so grateful for this incredible environment in which she gets to learn, and is enthusiastically looking forward to the future. 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 simultaneously with Tamás Gál, András Ligeti, Uroš Lajovic, Peter Eötvös, Istvan Dénes and Zoltán Pesko. He was awarded many prizes as a conductor and composer, and was a semi-finalist in the first competition for opera in Cluj, Romania. He has had numerous concerts in Hungary and Austria with orchestras including UMZE, Sinfonietta Baden, Webern Sinfonietta, Savaria Symphonic Orchestra, and Danube Symphonic 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 he 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 to Peter Eötvös at the Salzburg Festspiele. In 2008 he conducted the EuroMed Youth Orchestra in Damaskus, Syria. In 2010 he was appointed as Assistant Professor at the University of Victoria, British Columbia where he conducts the UVic Orchestra and teaches conducting. �O R C H E ST RA P E R S O N N E L VIOLIN 1 Aliayta Foon-Dancoes* Chloe Kim Raina Saunders Gabriel Cayer Peter Weinkam Jessica d’Oliveira Shijin Kim Jasmine Mather Lina Pamart VIOLIN 2 Nathalie Dzbik* Jilaine Orten Emily MacCallum Linda Donn Lena Ruiz Nanau Loewen Matthew Logan Brittany Tsui VIOLA Matt Antal* Sarah de Niverville Joshua Gomberoff Calvin Yang Fahlon Smith Evan Hesketh CELLO Shiun Kim* Steven Jeon Alex Klassen Olivia Brotzell Paul Joo Nathalia Stoney Tara Rajah Ella Hopwood DOUBLE BASS Brock Foerster* Hudson Thorpe-Doubble Blake Palm Mackenzie Carroll FLUTE Thomas Bauer* Gillian Newburn* Kelsey Dupuis OBOE Alexandra Pohran Dawkins ‡ Patrick Conley CLARINET Erin Onyschtschuk* Dominic Thibault TIMPANI Kennan Mittag-Degala Brandon Chow PERCUSSION Camden McAllister William Exner PIANO Louise Hung BASSOON Matthew Robertson* Eric Boulter STAGE MANAGERS Liam Caveney Paul Joo CONTRABASSOON Lee Whitehorn ASSISTANT Evan Hesketh HORN Colin Lloyd* Justin Malchow Duane Kirkpatrick James Waddell * Principal ‡ Faculty member TRUMPET Ian Cohen* Ian VanGils TROMBONE Liam Caveney* Megan White Trevor Hoy �UNIVERSITY OF VICTORIA ORCHESTRA UPCOMING PERFORMANCES University Centre Farquhar Auditorium Tickets: $5-$15 Saturday, November 29, 8:00 p.m. UNIVERSITY OF VICTORIA ORCHESTRA Ways of Passion Ajtony Csaba, conductor With Elizabeth Clarke, piano (UVic Concerto Competition winner) Brahms – Piano Concerto No. 1 in D minor, Op. 15 Strauss – Don Juan Op. 20 Prokofiev – selections from Romeo and Juliet Friday, January 30, 8:00 p.m. UNIVERSITY OF VICTORIA ORCHESTRA Ajtony Csaba, conductor With Keenan Mittag-Degala, marimba (UVic Concerto Competition winner) Friday, March 6, 8:00 p.m. UNIVERSITY OF VICTORIA ORCHESTRA A Symphonic Ornithology Ajtony Csaba, conductor A celebration of spring including Firebird from Stravinsky, The Bat from J. Strauss and many more imaginary and singing birds. Saturday, March 28, 8:00 p.m. UNIVERSITY OF VICTORIA CHORUS & ORCHESTRA Ajtony Csaba, conductor Adam Con, chorus director An American in Paris and J. Haydn Nelson Mass �Card A discount & bonus card for frequent School of Music concert goers. Purchase a Crescendo Card for our 2014-15 concert season and you will receive: • Admission to any five School of Music concerts in the Phillip T. Young Recital Hall or University Centre Farquhar Auditorium* (up to $90 value) • One Bring a Friend voucher for a School of Music concert in the Farquhar Auditorium listed in our On the Pulse brochure or online calendar (up to $15 value) • Complimentary coffee or tea at The Lounge concession for concerts in the Phillip T. Young Recital Hall. *Excludes admission to Lafayette String Quartet concerts on November 7, 2014 and February 7, 2015. Cost: $65: Regular | $45: Seniors, students & UVic alumni (with valid ID) For more information: 250-721-8480 • http://finearts.uvic.ca/music/events/tickets/ Your contribution makes a difference! The arts have always been dependent on 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 Karen Walker at 250-721-6305 or via email at kmwalker @uvic.ca. �UPCOMING EVENTS Saturday, November 1, 8:00 p.m. ($18/$14) FACULTY CHAMBER MUSIC SERIES School of Music faculty performers come together in a concert for winds, voice, piano, and strings. Performing works by Schumann, Bach, Ginastera, and others. Phillip T. Young Recital Hall Sunday, November 2, 2:30 p.m. ($15/$8) UNIVERSITY OF VICTORIA CHOIRS: United in Song Adam Con, Garry Froese, & Susan Young, conductors A joint concert featuring the UVic Chorus, Chamber Singers, and Philomela Women’s Choir. Tickets available at the door. To make a reservation, email: findsyoung@gmail.com St. Mary the Virgin Anglican Church (1701 Elgin Road, Oak Bay) Tuesday, November 4, 12:30 p.m. (Admission by donation) TUESDAYMUSIC A concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall Friday, November 7, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Featuring School of Music woodwind students Phillip T. Young Recital Hall Friday, November 7, 8:00 p.m. ($25) FACULTY CONCERT SERIES: Lafayette String Quartet UVic’s esteemed quartet-in-residence performs string quartets by Haydn, Shostakovich and Ravel. Phillip T. Young Recital Hall Friday, November 14, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Featuring School of Music voice students. Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca) and at the door. � To receive our On the Pulse brochure and newsletter by email, contact: concert@uvic.ca www.finearts.uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 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 **note: concert order differs from program**<br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/103114-Orchestra/103114-Orchestra_01.mp3">track1</a> <br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/103114-Orchestra/103114-Orchestra_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/103114-Orchestra/103114-Orchestra_03.mp3">track3</a> (Strauss - Tritsch Tratsch Polka)<br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/103114-Orchestra/103114-Orchestra_04.mp3">track4</a> (Brahms - Symphony No.1)<br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/103114-Orchestra/103114-Orchestra_05.mp3">track5</a> (Elgar - Pomp and Circumstance March No.1) 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 - 500 miles Creator An entity primarily responsible for making the resource Allyssa Haigh Date A point or period of time associated with an event in the lifecycle of the resource October 31, 2014 Contributor An entity responsible for making contributions to the resource Ajtony Csaba, conductor; Evan Hesketh, graduate conductor; Ella Hopwood, cello https://finearts.uvic.ca/music/archive/files/original/45792d1b933de69943e8ed3f10e851d9.pdf 998d3c16004584482ad07272fd3729bf PDF Text Text Chorus & UNIVERSITY OF VICTORIA Orchestra Bees Ajtony Csaba, conductor Susan Young, chorus director Soloists: Ariel Boughen, Tasha Farivar, Josh Lovell, Nicholas Allen Saturday, April 5, 2014, 8:00 p.m. University Centre Farquhar Auditorium University of Victoria Adults: $17.50 / Students & seniors: $13.50 �Program Hector Berlioz Symphonie Fantastique Op. 14 1. Rêveries – Passions (Daydreams – Passions) 2. Un bal (A ball) 3. Scène aux champs (Scene in the Country) 4. Marche au supplice (March to the Scaffold) 5. Songe d’une nuit de sabbat (Dream of a Witches’ Sabbath) Intermission Anton Bruckner Mass No. 3 in F minor, WAB 28 1. Kyrie 2. Gloria 3. Credo 4. Sanctus 5. Benedictus 6. Agnus Dei Soloists: Ariel Boughen, Tasha Farivar, Josh Lovell, Nicholas Allen �P R O G RA M N OT E S Welcome Western Europe of the nineteenth century can be characterized as having an obsession with the anomalous and the liminal. During this century, mysterious or unexplained phenomena came under examination as never before: Freud published the Interpretation of Dreams, citizens flocked to the international expositions to witness scientific and cultural advances near and far, and the romanticization of unusual lifestyles such as the hedonistic artist and the eclectic genius took hold. The topic of the otherworldly was of course under the purview of this cultural curiosity, which is evident in the two works on our program tonight. Both reflect a wondrous extra-human power and mythos which surely attracted audiences at the times of their premieres. The works have opposing subjects—a the former an opium-fueled dream of a witches Sabbath and the latter the setting of the Catholic mass—yet in their simultaneously grandiose and personal expression of the otherworldly, these works make ready complements. On behalf of the University of Victoria Orchestra, we’d like to thank you for your support this year. We have enjoyed performing a wide repertoire of music together, and are honoured to capitulate our season with you. Hector Berlioz’s Program Notes: The composer’s intention has been to develop various episodes in the life of an artist, in so far as they lend themselves to musical treatment. As the work cannot rely on the assistance of speech, the plan of the instrumental drama needs to be set out in advance. The following programme1 must therefore be considered as the spoken text of an opera, which serves to introduce musical movements and to motivate their character and expression. Part one
Daydreams, passions The author imagines that a young musician, afflicted by the sickness of spirit which a famous writer has called the vagueness of passions (le vague des passions), sees for the first time a woman who unites all the charms of the ideal person his imagination was dreaming of, and falls desperately in love with her. This programme should be distributed to the audience at concerts where this symphony is included, as it is indispensable for a complete understanding of the dramatic plan of the work. [HB] 1 �By a strange anomaly, the beloved image never presents itself to the artist’s mind without being associated with a musical idea, in which he recognises a certain quality of passion, but endowed with the nobility and shyness which he credits to the object of his love. This melodic image and its model keep haunting him ceaselessly like a double idée fixe. This explains the constant recurrence in all the movements of the symphony of the melody which launches the first allegro. The transitions from this state of dreamy melancholy, interrupted by occasional upsurges of aimless joy, to delirious passion, with its outbursts of fury and jealousy, its returns of tenderness, its tears, its religious consolations – all this forms the subject of the first movement. Part two
A ball The artist finds himself in the most diverse situations in life, in the tumult of a festive party, in the peaceful contemplation of the beautiful sights of nature, yet everywhere, whether in town or in the countryside, the beloved image keeps haunting him and throws his spirit into confusion. Part three
Scene in the countryside One evening in the countryside he hears two shepherds in the distance dialoguing with their ‘ranz des vaches’; this pastoral duet, the setting, the gentle rustling of the trees in the wind, some causes for hope that he has recently conceived, all conspire to restore to his heart an unaccustomed feeling of calm and to give to his thoughts a happier colouring. He broods on his loneliness, and hopes that soon he will no longer be on his own… But what if she betrayed him!… This mingled hope and fear, these ideas of happiness, disturbed by dark premonitions, form the subject of the adagio. At the end one of the shepherds resumes his ‘ranz des vaches’; the other one no longer answers. Distant sound of thunder… solitude… silence… Part four
March to the scaffold Convinced that his love is spurned, the artist poisons himself with opium. The dose of narcotic, while too weak to cause his death, plunges him into a heavy sleep accompanied by the strangest of visions. He dreams that he has killed his beloved, that he is condemned, led to the scaffold and is witnessing his own execution. The procession advances to the sound of a march that is sometimes sombre and wild, and sometimes brilliant and solemn, in which a dull sound of heavy footsteps follows without transition the loudest outbursts. At the end of the march, the first four bars of the idée fixe reappear like a final thought of love interrupted by the fatal blow. �Part five
Dream of a witches’ sabbath He sees himself at a witches’ sabbath, in the midst of a hideous gathering of shades, sorcerers and monsters of every kind who have come together for his funeral. Strange sounds, groans, outbursts of laughter; distant shouts which seem to be answered by more shouts. The beloved melody appears once more, but has now lost its noble and shy character; it is now no more than a vulgar dance tune, trivial and grotesque: it is she who is coming to the sabbath… Roar of delight at her arrival… She joins the diabolical orgy… The funeral knell tolls, burlesque parody of the Dies irae2, the dance of the witches. The dance of the witches combined with the Dies irae. (b) 1855 version Symphonie Fantastique, Op. 14 (1830) Hector Berlioz, 11 Dec 1803 – 8 March 1869 The Symphonie Fantastique is known for expanding the boundaries of the symphonic medium, and its importance in that respect cannot be understated. In many ways it is an avant-garde work: its use of syncopation, loud dynamics, and percussive effects were unprecedented and displeased many of its first listeners, and earned Berlioz the criticism of being an artless, brash composer. Additionally, its unusual five-movement form, integral narrative, and use of thematic and onomatopoeic melodic content broke the norms for absolute orchestral music, grafting on qualities of opera. These features were taken up by composers such as Wagner, Strauss, and Stravinsky. Yet for all of its gigantisms, the work is extraordinarily personal. Berlioz, an archetypal Romantic, was primarily concerned with individual expression and perceived of his art as an extension of personal communication. Symphonie Fantastique is particularly autobiographical, chronicling the composer’s adoration for the actress Harriet Smithson. This symphony’s programmatic tale of its subject’s obsession with his muse is well loved. According to it, the first movement portrays the rapturous joys and sorrows of love that haunt the subject. The subject retreats to a ball and then a pastoral scene in the second and third movements, but finds no respite from the image of his beloved. Depressed at the thought of his love being spurned, the artist falls into an opium-induced sleep, wherein he dreams he witnesses his own execution. Finally, grotesque supernatural beings gather on a witches’ Sabbath for the artists’ funeral, and are joined by the beloved. 2 **A hymn sung in funeral ceremonies in the Catholic Church. [HB] �Her melodic theme, the idée fixe which has tormented the artist, is distorted into a diabolical dance, and the funeral devolves into an orgy accompanied by the Dies Irae. The funeral bell tolls. Mass No. 3 in F minor, WAB 28 (1867-68) Anton Bruckner, 4 Sept 1824 – 11 Oct 1896 The first three masses composed by Bruckner represent a self-defined point of change in Bruckner’s career. While he had written many masses while studying under Otto Kinzler, he regarded these earlier works as studies, and the D, E, and F minor masses as demonstrative of his personal style. The present work, a commission from the Vienna court chapel, represents a synthesis between the Classicism found in the composer’s prior vocal works and expressive use of unusual and adventurous harmonies inspired by a mounting interest in Wagner and Liszt. Additionally, the F minor mass is an early instance of Bruckner’s intentional use of meaningful durational proportions in both smaller phrases and larger structures. Finally, the work was started shortly after a three-month sanatorium treatment following a nervous breakdown. Bruckner is known for fastidiously revising his work throughout his life, and the F minor mass is no exception. This process was mostly fine-tuning of orchestration and harmonic shading, easing of demands on performers, and perfection of durational proportions, though much of the 1877 revision was inspired by his in-depth study of Mozart’s requiem. Scholars note that the choral parts did not change after the first revision, and can thus be seen as a structural skeleton. Intriguing connections can be drawn between this work and Symphonie Fantastique. Where Berlioz’s work is harmonically simple and complex in orchestration, the F minor mass is the inverse, relying on form and shifts in harmonic colour for interest in a timbrally conventional context. Both pieces, however, display a respect for classical musical values and a meaningful use of motive. Interestingly, while Berlioz was an extrovert given to passions, Bruckner was a solitary, pragmatic, and godly man. Both composers had obvious obsessions and neuroses which affected their music. – Dave Riedstra �b i o g ra p h i e s Ajtony Csaba, conductor 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 simultaneously with Tamás Gál, András Ligeti, Uroš Lajovic, Peter Eötvös, Istvan Dénes and Zoltán Pesko. He was awarded many prizes as a conductor and composer, and was a semi-finalist in the first competition for opera in Cluj, Romania. He has had numerous concerts in Hungary and Austria with orchestras including UMZE, Sinfonietta Baden, Webern Sinfonietta, Savaria Symphonic Orchestra, and Danube Symphonic 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 he 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 to Peter Eötvös at the Salzburg Festspiele. In 2008 he conducted the EuroMed Youth Orchestra in Damaskus, Syria. In 2010 he was appointed as Assistant Professor at the University of Victoria, British Columbia where he conducts the UVic Symphony and teaches conducting. Susan Young, chorus director Canadian soprano Susan Young is a faculty member of the University of Victoria School of Music. In addition to her teaching duties, she maintains a demanding performance schedule. She has performed in Canada, the United States, Spain, France and Austria. Educated as both pianist (B.Mus Brigham Young University) and singer (MMus University of Calgary), she is known for the diversity of her skills, and though her first and enduring love is the art song, she is equally at home singing Bach cantatas, Verdi’s Requiem, Schoenberg’s Pierrot Lunaire, or more recent chamber works by Canadian composers such as Christopher Butterfield or Douglas Schmidt. She is sought after as a choral conductor, clinician and adjudicator and loves nothing more than to be involved in the performance of good music. �West QUARTETFEST Summer 201 4 West June 9-20 2014 QUARTETFEST PHOTO: LIAM ALONI TUITION $750 Tuition includes: 201 4and masterclasses DailySummer Quartet coaching sessions Dedicated rehearsal rooms Rehearsals and Performance in the Philip T.Young Recital Hall (student performance Friday, June 20th) Admission to faculty concert In-depth study of the string quartet literature Private audience dress rehearsal (Alcan String Quartet) with world-renowned Lafayette String Quartet Group trip to Butchart Gardens (or comparable) Chamber music reading parties with Faculty onPrivate the beautiful of the lessons (bycampus arrangement with instructors) Recording of techniques University Victoriaseminar in British Columbia, Canada Feldenkrais worshop ESL available upon request (extra fee) GUEST ARTISTS ACCOMMODATION AND FOOD Andrew Dawes, violinSERVICES can Alcan be arranged by contacting University of Victoria Residences String Quartet at http://housing.uvic.ca/visitor/summervisitorlistings.php All fees are payable in Canadian dollars. June 9-20 2014 Open to individuals and pre-formed groups For more information, and to register for QFW visit www.lafayettestringquartet.ca VIOLIN VIOLA CELLO Ann Elliott-Goldschmid Sharon Stanis Laura Andriani Nathalie Camus Joanna Hood Luc Beauchemin Pamela Highbaugh Aloni David Ellis GUEST FACULTY Andrew Dawes, violin Alcan String Quartet Your contribution makes a difference! The arts have always been dependent on the generosity of its patrons, and a donation to the School of Music can make all the Artists in Residence,ofUniversity of Victoria difference to the future of our students. A scholarship just www.lafayettestringquartet.ca $500 a year can change a life forever. For more information about our giving initiatives, please contact Fine Arts Development Officer Karen Walker at 250-721-6305 or via email at kmwalker @uvic.ca. �ORCHESTRA PERSONNEL VIOLIN 1 Aliayta Foon-Dancoes* Lindsey Herle* Derrick Lee Elena Bokova Natalie Dzbik Peter Weinkam Raina Saunders Cecilia Li Gabriel Cayer VIOLIN 2 Jiten Beairsto* Jessica d‘Oliveira Brittany Tsui Jilaine Orton Emily MacCallum Anna Stylianides VIOLA Sarah Tradewell* Matt Antal Fahlon Smith Josh Gomberoff Calvin Yang Evan Hesketh § CELLO Maria Wang* Shiun Kim Ella Hopwood Alex Klassen Steven Jeon Natalia Stoney Paul Joo DOUBLE BASS Hudson Thorpe-Doubble* Brock Foerster Mackenzie Carroll Blake Palm FLUTE Aleksandra Tremblay* Thomas Bauer Cooper Reed TROMBONE Liam Caveney* Megan White Trevor Hoy PICCOLO Thomas Bauer TUBA Alicia Sayell* Paul Beauchesne § OBOE Allison Phillips* Diana Doublet Oboe (outside) Teigan Cosgrove English Horn Diana Doublet CLARINET Paul Gilchrist* James Yi Timpani Brendan Chow* Keenan Mittag-Degala PERCUSSION Keenan Mittag-Degala William Exner Allyssa Haigh Julia Albano-Crockford Harp Annabelle Stanley § Julia Cunningham § E-flat Clarinet Erin Onyschtschuk BASSOON Matthew Robertson* Eric Boulter Lee Whitehorn HORN Samuel McNally* Simon Dawkins Justin Malchow Collin Lloyd TRUMPET Matt Richard* Ian Cohen Ian VanGils Alfons Fear STAGE MANAGERS Alex Klassen Fahlon Smith LIBRARIAN David Foley assistant Dave Riedstra * Principal § Community member �Chorus Personnel Soprano Alto Keiko Alkire Frances Armstrong-Douglas Nalini Bissoon Judith Carder Vera Costain Lesley Christy Kimberly Farris-Manning Aliayta Foon-Dancoes Laura Giffen Rita Haehnlein Seira Hayakashi Darleene Horricks Vanessa Lee Edwina Lin Jasmine Lo Emily MacCallum Margaret MacIntyre Irma MacKay Heather Macleod Heather Noakes Anna Poon Cooper Reed Beverly Rippin Dominique Ryser Melissa Smith Rebecca Thackray Audrey Webb Nancy Xu Lissa Zala Faith Blackburn Jillian Broughten Mackenzie Carroll Elizabeth Craig Sophie Cullen Jessica d’Olivera Kimberly Farris-Manning Elissa Fenton Micha Fortin Monica Green Gloria Grohovac Jane Hou Brittney Jette Gwyneth Kingham Sarah Kopriva Zinna Kwon Kristina Lee Flora Leigh Diane Leitch Bonnie Leung Joey Liao Jany Lu Beth Anne Masselink Joyce Masselink Irma MacKay Elsie McMurphy Tamara Nemeth Gillian Newburn Jilaine Orton Jihyun Park Nataliya Pashchenko Heather Sander Sarah Tao Koba ter Neuzen Anita Walper Season Wang Lyn Wray Stefani Yap Alvina Yee Monika Zabrowski Tenor Joshua Amendt Monty Clements Spencer Davis Aaron How Chris Hsu DJ Lochead Robbie MacIntyre Pierre Mackenzie Kyle Newman Thomas Nicholson Joshua Poon Matthew Roberson Sheila Ruffell Sonja Ruffell Jordan Shier James Zhang Bass Michael Chambers Solomon Cheung Peter Constabel Simon Dawkins Harry Han Ben Hillier Tristan Holleufer John Kaye Bruce Kingham Collin Lloyd Drake Lovett Eric Manning Byron McIntosh Sam McNally Jasper Meiklejohn Eric Ng Hart Parnell Drew Porter Anthony Quas Emmett Robinson Smith Matthew Sabo Eugene Sander Corey Spetifore John Sterk Ian Van Gils Frank Waelti Calvin Yang Josh Yates Terence Young Chorus Director Susan Young Rehearsal Accompanist Tony Booker �Upcoming Events Sunday, April 6, 2:30 p.m. ($12 advance / $15 at the door) PHILOMELA WOMEN’S CHOIR: A Potpourri for Spring Mary Kennedy, director Phillip T. Young Recital Hall Monday, April 7, 8:00 p.m. (Admission by donation) NEW MUSIC CONCERT The New Music Performance class presents new pieces by UVic composition students written for UVic performance students as well as important works from the 20th/21st century. Phillip T. Young Recital Hall Tuesday, April 8, 8:00 p.m. (Free Admission) LISTENING TO THE 20TH CENTURY Lectures and performances by students from Suzanne Snizek’s History in Contemporary Music class. Phillip T. Young Recital Hall Wednesday, April 9, 8:00 p.m. (Free Admission) GRADUATING RECITAL: Maria Wang, cello Cellist Maria Wang presents her Masters of Music graduating recital. Phillip T. Young Recital Hall Monday, April 14, 8:00 p.m. (Free Admission) GRADUATING RECITAL: Andrea Paddock, voice Vocalist Andrea Paddock presents her Masters of Music graduating recital. Phillip T. Young Recital Hall Wednesday, April 16, 8:00 p.m. (Free Admission) GRADUATING RECITAL: Lindsey Herle, violin Violinist Lindsey Herle presents her Bachelor of Music graduating recital. 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/040514-Chorus&amp;Orchestra/040514-OrchestraChorus_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/040514-Chorus&amp;Orchestra/040514-OrchestraChorus_02.mp3">track2</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chorus &amp; Orchestra <em>- Bees</em> Creator An entity primarily responsible for making the resource Bryan Lilly Date A point or period of time associated with an event in the lifecycle of the resource April 5, 2014 Contributor An entity responsible for making contributions to the resource Ajtony Csaba, conductor; Susan Young, chorus director; Ariel Boughen; Tasha Farivar; Josh Lovell; Nicholas Allen