3 10 23 https://finearts.uvic.ca/music/archive/files/original/7d0f097bcef4d6ef345b24fcfc4f076e.pdf e410201163c254d3325f0132a2c124bf PDF Text Text Orchestra UNIVERSITY OF VICTORIA Don Joy With Barry Tan, piano soloist UVic Concerto Competition Winner Ajtony Csaba, conductor Friday, January 31, 2014, 8:00 p.m. University Centre Farquhar Auditorium MacLaurin Building, University of Victoria Adults: $17.50 / Students & seniors: $13.50 �Program Wolfgang Amadeus Mozart Overture to Don Giovanni Richard Strauss Death and Transfiguration I: Largo II: Allegro molto agitato III: Meno mosso IV: Moderato I n t e r m i s s i o n Maurice Ravel Piano Concerto in G Major I: Allegramente II: Adagio assai III: Presto The University of Victoria Orchestra appreciates the support of the Learning Without Borders Curricular Fund. �p r o g ra m n ot e s Introduction We know from our own experiences that joy is never felt in a pure form; it is always influenced by other factors. The works on this program reflect the various directions in which joy may be tainted. Tonight we pit the material pleasures of a great Casanova and the gleefully rebellious sounds of Ravel’s piano writing against the purifying joy only felt by Strauss’ protagonist after enduring a struggle with death. Through this comparison we find a duality of physical, naïve joy versus spiritual pessimism—that the most fulfilling joy cannot be found in this life. With this in mind it becomes clear that we must remember to consider the profound while not hesitating to enjoy the profane. Overture to Don Giovanni (1787) Wolfgang Amadeus Mozart, 27 Jan 1756 – 5 Dec 1791 Mozart is known for his compositional process, driven by impulses seemingly inspired by otherworldly creative muses. The overture to Don Giovanni is no exception: legend has it that the piece was composed the night before the premiere of the opera—or the morning of, depending on who tells the story. Given the opera’s subject matter, it fits in with the composer’s preference for tales of material pleasures and dealings. The overture to this seminal tale of philandery and retribution outlines the two choices before its rakish title character: retribution or reconciliation. Scalar themes in the winds outline the steps he might take to heaven or hell, and the ever changing tonal quality reflects this duality. Yet for all this, it is almost a comedic work. Like Le nozze di Figaro, the success of which it followed, Don Giovanni concerns itself with baser topics than contemporary opera-goers were accustomed to. Its plot follows the escapades of a happygo-lucky aristocrat while his peers try haplessly to rein him in until finally an animated statue delivers Giovanni his just deserts. This playfulness is reflected in the overture’s energetic character, which can be taken as a musical portrait of the seducer. �Death and Transfiguration (1889) Richard Strauss, 11 June 1864 – 8 Sept 1949 In contrast to the earthly joy of our other works, Strauss’ Tod und Verklärung is profoundly pessimistic. This tone poem depicts the deathbed visions of an ailing being, culminating in a shimmering transfiguration of the spirit. This music was considered quite modern at the time of its composition, with its extravagant harmonies, occasionally jagged rhythms, and brusque energy. As with Strauss’ other tone poems though, Death and Transfiguration was well received. Unlike Strauss’ previous tone poems, the present work has no direct literary inspiration; however, elucidatory poetry by Alexander Ritter accompanies the published score. The dying man reminisces of tranquil childhood, Ritter’s text tells us, but waking, he finds himself in a struggle with death. His drive to live stalls the inevitable, but the battle exhausts him and he falls into a tense silence. With images of his life playing out before him, the subject recognises that his last honourable challenge is before him. Death’s hammer falls but crushes only the body, as the spirit is transformed. Piano Concerto in G Major (1932) Maurice Ravel, 7 March 1875 – 28 Dec 1937 Ravel’s Piano Concerto in G Major continues in the concern with dialogue found in his post-war pastiche-like works. Elements of jazz and classical music (the work is inspired by Mozart and Saint-Saëns) are the most prominent features of the first movement, but aspects of the music of Basque and Spain are also present. These flashbacks from Ravel’s youth give the work a worldly, metropolitan quality. This dialectical synthesis is reflected in the bitonal portions of the work, which simultaneously present contrasting key centres. While these features would seem to resonate with postmodern values, the Concerto was delivered in the aesthetic mode of late romanticism. For that reason, Ravel’s work was not well received by his colleagues such as Darius Milhaud and Francis Poulenc, who preferred classical clarity and simplicity. However, the Concerto was well received by European audiences. The work was composed over three years with the intention of being a vehicle to showcase Ravel’s own skills at the keyboard. However, his declining health made it impossible for him to perform, and well-known pianist Marguerite Long, to whom the piece is dedicated, gave the premiere with the composer at the podium. Despite the technical challenges of the first movement, Long described the listless, slow melody that begins the second as even more difficult. “That flowing phrase,” Ravel reportedly replied, “How I worked over it bar by bar! It nearly killed me!” �b i o g ra p h i e s Barry Tan Barry Tan began his piano studies at the age of five, and is in his final year at the University of Victoria, studying under Professor May Ling Kwok. Barry has been awarded the University of Victoria President’s Scholarship, Fine Arts Achievement Award, the Johann Strauss Study & Travel Scholarship, and more. He was the 2013 winner of the Mary Adamson Young Artist Piano Competition, the Madeline Till Competition, as well as the University of Victoria Concerto Competition. He has won numerous awards from the Greater Victoria Festival, including the Dr. Robin Wood Memorial Cup, the Concerto Plaque, and the Victoria Silver Medallion Tray. Barry has also won top prize at the Coquitlam BCRMTA (Teachers Association) Festival, for most outstanding performer. He has competed at the BC Performing Arts Competition National Class in 2011 and 2013, as well as the BC Young Artists Provincial Piano Competition in 2012. For the 2013 season, Barry was the Orchestral Pianist with the Greater Victoria Youth Orchestra, and he is currently the Rehearsal Pianist for the University Chamber Singers. Winner of the 2013 Johann Strauss Scholarship Competition, Barry attended summer studies at the Mozarteum Summer Academy in Salzburg, Austria and studied with Professor Andrzej Jasiński. 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 Symphony and teaches conducting. �O R C H E ST RA P E R S O N N E L VIOLIN 1 Aliayta Foon-Dancoes* Lindsey Herle Derrick Lee Natalie Dzbik Elena Bokova Jasper Meiklejohn Cecilia Li Gabriel Cayer VIOLIN 2 Jiten Beairsto* Raina Saunders Peter Weinkam Jilaine Orton Brittany Tsui Emily MacCallum Jessica d‘Oliveira VIOLA Sarah Tradewell* Matt Antal Fahlon Smith Josh Gomberoff Calvin Yang CELLO Maria Wang* Ella Hopwood Shiun Kim Alex Klassen Steven Jeon Paul Joo Natalia Stoney DOUBLE BASS Hudson Thorpe-Doubble* Brock Foerster Mackenzie Carroll Dylan Powell Blake Palm FLUTE Aleksandra Tremblay* Thomas Bauer Kelsey Dupuis TROMBONE Liam Caveney* Megan White Trevor Hoy PICCOLO Cooper Reed TUBA Alicia Sayell OBOE Allison Phillips* Diana Doublet Alexandra Pohran Dawkins ‡ Pierre Cayer § Timpani Brandon Chow CLARINET Paul Gilchrist* James Yi Kate Frobeen § Bass Clarinet Kylie Flower BASSOON Matthew Robertson* Eric Boulter Anne Power § HORN Samuel McNally* Georgina Davis Justin Malchow Collin Lloyd TRUMPET Matt Richard* Ian Cohen Ian VanGils PERCUSSION Aaron Mattock* William Exner Keenan Mittag-Degala Allyssa Haigh Harp Annabelle Stanley § Julia Cunningham § STAGE MANAGERS Alex Klassen Fahlon Smith LIBRARIAN David Foley assistant Dave Riedstra * Principal ‡ Faculty member § Community member �Upcoming Events Monday, February 3, 8:00 p.m. (Admission by donation) VIOLIN CLASS RECITAL Students from the studio of Sharon Stanis. Phillip T. Young Recital Hall Wednesday, February 5, 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 Thursday, February 6, 8:00 p.m. (Admission by donation) VIOLIN CLASS RECITAL Students from the studio of Ann Elliott-Goldschmid. Phillip T. Young Recital Hall Friday, February 7, 8:00 p.m. (Admission by donation) PIANO CLASS RECITAL Students from the studio of Michelle Mares. Phillip T. Young Recital Hall Friday, February 7, 8:00 p.m. ($14 & $12) UNIVERSITY OF VICTORIA WIND SYMPHONY Eugene Dowling, conductor The Naden Band, under the direction of Lieutenant (Navy) Matthew Clark joins the UVic Wind Symphony in a concert supporting the Naden Band Scholarship in Music Performance. Works include Symphony No. 8 by David Maslanka and Eric Ewazen Concerto for Bassoon with UVic alumna Petty Officer Second Class Robyn Jutras. University Centre Farquhar Auditorium 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/013114-Orchestra/013114-OrchestraConcert_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/013114-Orchestra/013114-OrchestraConcert_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/013114-Orchestra/013114-OrchestraConcert_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 Orchestra <em>- Don Joy</em> Creator An entity primarily responsible for making the resource Will MacLellan Date A point or period of time associated with an event in the lifecycle of the resource January 31, 2014 https://finearts.uvic.ca/music/archive/files/original/9f4050bf8ff8b9025c57e2cc778690c4.pdf f00a1eb6e164dffd428c88b4a9ac3980 PDF Text Text Chorus & UNIVERSITY OF VICTORIA Orchestra Meeresstille (Calm Sea) With Liam Caveney, trombone soloist UVic Concerto Competiton Winner Ajtony Csaba, conductor Susan Young, chorus director Saturday, November 30, 2013, 8:00 p.m. University Centre Farquhar Auditorium University of Victoria Adults: $17.50 / Students & seniors: $13.50 �Program Ludwig van Beethoven Egmont - Ouverture Ludwig van Beethoven Meeresstille und Glückliche Fahrt Launy Grøndahl Trombone Concerto Moderato assai Quasi una Leggenda Maestoso–Rondo Soloist (Concerto Winner): Liam Caveney, trombone Intermission Dmitry Shostakovich Festive Ouverture Olivier Messiaen Chant des Déportés Poulenc Gloria Gloria Laudamus T Domine Deus Domine Fili unigenite Domine Deus, Agnus Die Qui sedes ad dexteram Patris Soloist: Olivia Selig, soprano �P R O G RA M N OT E S Welcome The lens of the twenty-first century is one that is increasingly aware of oppression. This oppression, when it happens, does not discriminate–it affects all people, including musicians. The compositions featured on this program are written by those who chose to take a stand against their oppressors. With their valiant and occasionally clown-like revolt, these composers encourage and empower us, reminding us that there is always the strength to resist oppression and to overcome. Egmont Overture (1809-10) Ludwig van Beethoven, 17 Dec 1770 – 26 March 1827 Beethoven was commissioned by Joseph Härtel to write the score for a Vienna Hoftheater staging of Goethe’s Egmont in 1809. The play portrays the story of the Dutch count Egmont, who valiantly stands against Spanish occupation of the Netherlands. This narrative aligns with Beethoven’s frustration with Napoleon’s campaign of domination. Beethoven may have attempted to accentuate this suggestion by giving the Overture a victorious ending in direct contrast to that of the play, in which the would-be liberator perishes. Heroically subversive on multiple levels, this piece invites comparison with Eroica and has found itself associated with revolution to this day. Meeresstille und Glückliche Fahrt (1814-15) Shortly after completing Egmont, Beethoven found himself inspired again by Goethe, as did Schubert and Mendelssohn. Meeresstille is a bipartite text, the first portion depicting a calm sea and the second a powerful wind. This binary structure is apt for musical setting as it falls in line with the baroque ideal of dual form, apparent in other constructs such as praeludium and fugue and slow-fast movements. Similarly, the text’s natural imagery corresponds with other similarly-themed pieces such as Beethoven’s Sixth Symphony. The narrative of the text is one of progression from defeat to victory. While today still waters might be ideal travelling conditions, they had deadly consequences in the age of sailing. The terror of being stranded at sea is evinced by the quiet, sustained oscillations of Meeresstille’s waters and alleviated when in Glückliche Fahrt the winds of Aeolus return and carry the crew to their destination. It corresponds with other “nature-driven” movements, ie. Sixth Symphony, and the baroque ideal of dual form (praeludium and fugue, slow-fast). �Tiefe Stille herrscht im Wasser, Ohne Regung ruht das Meer, Und bekümmert sieht der Schiffer Glatte Fläche ringsumher. Keine Luft von keiner Seite! Todesstille fürchterlich! In der ungeheuern Weite Reget keine Welle sich. Deep stillness rules the water Without motion lies the sea, And sadly the sailor observes Smooth surfaces all around. No air from any side! Deathly, terrible stillness! In the immense distances not a single wave stirs. Die Nebel zerreißen, Der Himmel ist helle, Und Äolus löset Das ängstliche Band. Es säuseln die Winde, Es rührt sich der Schiffer. Geschwinde! Geschwinde! Es teilt sich die Welle, Es naht sich die Ferne; Schon seh ich das Land! The fog is torn, The sky is bright, And Aeolus releases The fearful bindings. The winds whisper, The sailor begins to move. Swiftly! Swiftly! The waves divide, The distance nears; Already, I see land! (Text by Johann Wolfgang von Goethe) Concerto for Trombone (1924) Launy Grøndahl, 30 June 1886 – 21 January 1960 Grøndahl was one of Denmark’s most eminent musical figures, rivaled primarily by his instructor, Carl Nielsen. A violinist from an early age, Grøndahl performed for years with the Casino Theatre Orchestra in Copenhagen. It is to the principal trombonist of this ensemble, Vilhelm Aarkrogh, that this work is dedicated. The three movements of this piece exhibit the hallmark qualities of romanticism that many have grown to love—the heroic, the dramatic, the lyric—while unhesitatingly drawing equally from both strongly tonal and strongly chromatic idioms. The work features a solo part that is no less challenging than it is artful. The piece features genuine allusions to Spanish folklore, which makes the popularity of the piece even more understandable. �Festive Overture (1954) Dmitry Shostakovich, ca. 25 Sept 1906 – 9 Aug 1975 The makings of the Festive Overture are a tale as fit for legend as that of Shostakovich’s relationship with the Soviet state. The Bolshoi Theatre was to hold a concert to commemorate the thirty-seventh anniversary of the October Revolution, but three days before the concert no fitting overture could be found. The coordinators contracted Shostakovich to compose one, and the piece was created at remarkable speed. In an interview with Elizabeth Wilson, Lev Lebedinsky paints an incredible image of the composer working on the piece and having jocular conversation while couriers ran pages wet with ink to copyists at the theatre. The lightness of this work belies its emblematic significance. In addition to being a valuable respite from the heavy topics with which Shostakovich usually concerned his music, the Overture is an example of Shostakovich’s inclination to satisfy commercial and political requirements. While this arrangement with the state was an ideological sacrifice for the composer and evoked harsh critiques from his colleagues, it demonstrated that Shostakovich was able to do what needed to be done in order to survive. Chant des Déportés (1945) Olivier Messiaen, 10 Dec 1908 –28 April 1992 Olivier Messiaen is noted for his synaesthesia, his instruction of pupils such as Pierre Boulez, and his surrealist religious transcendentalism. This latter aspect is apparent in Chant des Déportés. The piece was commissioned by Radio France in commemoration of French combatants in the Second World War and was written in two weeks in the fall of 1945. Premiered shortly after completion, the piece quickly gained national prominence. The score was promptly lost for almost fifty years until it was recovered by an archivist in 1991. The text for the piece is of Messiaen’s own writing and gives visceral images of drinking night sky, a groaning sun, sister France, and pain in the shape of a cross. The roaming woodwind chords underneath the otherwise chorale-style writing evokes the night sky through which the subject’s soul will traverse. �En marchant vers la mort, Plus haut, soleil qui gémit, Je trouverai mon ciel et ma nuit. Progressing towards death, Higher, groaning sun, I shall find my sky and my night. C’est en forme de croix ma souffrance, Baiser de l’étoule et de la nuit, Minute au matricule de souffrance, Ma part de ciel, ma part de nuit. My pain takes the form of a cross, The kiss of the star and of the night, A clipher on the register of pain, My portion of sky, my portion of night. Mon bel amour, ma soeur, ma France, Je m’en vais, soleil qui gémit. Vérité, construis ma délivrance, Pour boire en toi et mon ciel, et ma nuit. My fairest love, my sister, my France, I am going, groaning sun. Truth, accomplish my release, That I may drink my sky, my night from you. Tous les yeux s’en vont dans la nuit. Et la paix revient dans la nuit. All eyes disappear at night. And peace returns at night. Gloria (1959-60) Francis Poulenc, 7 Jan 1899 – 30 Jan 1963 Poulenc’s setting of the Latin Gloria was commissioned by the Koussevitzky foundation in honour of Sergei and Natalia Koussevitzky. The composition process was arduous, lasting over a year and requiring Poulenc to draw on the assistance of baritone Pierre Bernac, a longtime friend and collaborator. The completed piece pleased the composer, who saw it as a fitting return to his nineteen-thirties style after the success of Dialogues des Carmelites. Exhibiting the lush harmony and idiosyncratic dynamic changes typical of Poulenc and at times evoking the organ-like style of Messiaen, the Gloria’s unpretentious handling of its text makes its subject more tangible and also, a critical, wild and frivolous game with the traditional setting of the text, eccentric accents and fusion of gospel-style with counterpoint. Poulenc’s bright, genuine, and humanistic approach offers a reading independent from and inverse to any formal religious tradition. �Gloria in excélsis Deo Et in terra pax homínibus bonae voluntátis. Laudámus te. Benedícimus te. Adorámus te. Glorificámus te. Grátias ágimus tibi propter magnam glóriam tuam, Dómine Deus, Rex cæléstis, Deus Pater omnípotens. Dómine Fili unigénite, Jesu Christe. Dómine Deus, Agnus Dei, Fílius Patris. Qui tollis peccáta mundi, miserére nobis. Qui tollis peccáta mundi, súscipe deprecatiónem nostram. Qui sedes ad déxteram Patris, miserére nobis. Quóniam tu solus Sanctus. Tu solus Dóminus, Tu solus Altíssimus, Jesu Christe, Cum Sancto Spíritu in glória Dei Patris. Amen. Glory in the heights to God And on earth peace to men of good will. We praise You. We bless You. We adore You. We glorify You. We give You thanks for Your great Glory. Lord God, heavenly King, God the Father almighty. Lord the only-begotten Son, Jesus Christ. Lord God, Lamb of God, Son of the Father. You who take away the sins of the world, have mercy on us. You who take away the sins of the world, receive our prayer. You who sit at the right hand of the Father, have mercy on us. For You alone [are] the Holy One. You alone [are] the Lord. You alone [are the] Most High, Jesus Christ. With the Holy Spirit, in the glory of God the Father. Amen. Notes by Dave Riedstra B I O G RA P H I E S Liam Caveney, trombone Liam Caveney is currently pursuing his Bachelor of Music in Trombone Performance (estimated graduation 2015) at the University of Victoria under the guidance of Scott MacInnes. Liam has also studied with Ian McDougall and Thomas Eadie, as well as performing in master classes for Alain Trudel, Jesper Busk Sørensen and Michael Powell. Liam currently holds the positions of principal trombone in the UVic Orchestra and the Greater Victoria Youth Orchestra and enjoys performing with several chamber ensembles in Victoria. He has also participated in the Pacific Region International Summer Music Academy and the Domaine Forget International Music and Dance Academy. Liam has performed as a soloist with the Greater Victoria Youth Orchestra and the UVic Wind Symphony and is a winner of the 2013 UVic Concerto Competition. �Olivia Selig, soprano Olivia Selig is completing the final year of her undergraduate degree in Music Education at UVic. She currently studies voice with Anne Grimm. Years of experience as a soloist, as well as ensemble member, has contributed to her ongoing refinement of performance. So far, her most recognized performance opportunities have been performing as Soprano soloist in Vivaldi’s Gloria RV 589 with the Linden Singers and Ballet Victoria at the Royal Theatre, as well as soloing in the BC provincial premiere of Bob Chilcott’s Requiem. 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. �ORCHESTRA PERSONNEL VIOLIN 1 Aliayta Foon-Dancoes* Lindsey Herle* Derrick Lee Elena Bokova Jasper Meiklejohn Natalie Dzbik Rochelle Sumampong Peter Weinkam Cecilia Li Gabriel Cayer VIOLIN 2 Jiten Beairsto* Raina Saunders Jessica d‘Oliveira Emily MacCallum Brittany Tsui Jilaine Orton VIOLA Sarah Tradewell* Matt Antal Josh Gomberoff Calvin Yang Fahlon Smith CELLO Maria Wang* Ella Hopwood Shiun Kim Alex Klassen Steven Jeon Paul Joo Lauren Hodgins Natalia Stoney DOUBLE BASS Hudson Thorpe-Doubble* Brock Foerster Mackenzie Carroll Dylan Powell Blake Palm FLUTE Aleksandra Tremblay* Kelsey Dupuis PICCOLO Cooper Reed OBOE Allison Phillips* Diana Doublet TROMBONE Liam Caveney* Megan White Trevor Hoy TUBA Russel Larden TIMPANI Brendan Chow* Keenan Mittag-Degala CLARINET James Yi* Paul Gilchrist Erin Onyschtschuk PERCUSSION Allyssa Haigh* William Exner BASS CLARINET Kylie Flower PIANO Josh Herrett BASSOON Matthew Robertson* Eric Boulter HORN Samuel McNally* Georgina Davis Sam Brunton Colin Lloyd TRUMPET Matt Richard* Ian Cohen Ian VanGils STAGE MANAGERS Alex Klassen Fahlon Smith LIBRARIAN David Foley ASSISTANT Dave Riedstra * Principal �CHORUS PERSONNEL SOPRANO ALTO Keiko Alkire Frances Armstrong-Douglas Nalini Bissoon Amanda Cawley Vera Costain Kimberly Farris-Manning Aliayta Foon-Dancoes Laura Giffen Rita Haehnlein Seira Hayakashi Louise Hung Vanessa Lee Edwina Lin Jasmine Lo Emily MacCallum Heather Macleod Heather Noakes Anna Poon Cooper Reed Beverly Rippin Dominique Ryser Rebecca Thackray Audrey Webb Nancy Xu Lissa Zala Laura Altenmueller Faith Blackburn Jillian Broughten Carmen Brown Mackenzie Carroll Elizabeth Craig Sophie Cullen Jessica d’Olivera Kimberly Farris-Manning Micha Fortin Monica Green Gloria Grohovac Ava Hoegl Darleene Horricks Jane Hou Brittney Jette Gwyneth Kingham Donna Klazek Sarah Kopriva Zinna Kwon Kristina Lee Diane Leitch Bonnie Leung Joey Liao Jany Lu Beth Anne Masselink Joyce Masselink Elsie McMurphy Tamara Nemeth Gillian Newburn Jilaine Orton Jihyun Park Nataliya Pashchenko Heather Sander Kathleen Stanyer Sophia Stoney Sarah Tao Emily Tennant Koba ter Neuzen Season Wang Lyn Wray Stefani Yap Alvina Yee TENOR Joshua Amendt Monty Clements Spencer Davis Josh Herrett Aaron How Alex Klassen Tony Klazek Pierre Mackenzie Kyle Newman Thomas Nicholson Hart Parnell Joshua Poon Matthew Roberson Sonja Ruffell Jordan Shier Eric Showers Natthaphon Somsa-ard BASS Michael Chambers Solomon Cheung Simon Dawkins Harry Han Ben Hillier D J Lochead Collin Lloyd Drake Lovett Byron McIntosh Sam McNally Jasper Meikle’john Eric Ng Jonah Patriarche Drew Porter Eric Manning Bruce Kingham John Kaye Tristan Holleufer Emmett Robinson Smith Matthew Sabo 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, December 1, 2:30 p.m. ($12 advance / $15 at the door) UNIVERSITY OF VICTORIA PHILOMELA WOMEN’S CHOIR Susan Young, conductor St. Aidan’s United Church (3703 St. Aidan’s) Monday, December 2, 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 Monday, December 2, 8:00 p.m. (Admission by donation) UNIVERSITY OF VICTORIA CHAMBER SINGERS Christmas Narratives Garry Froese, conductor Phillip T. Young Recital Hall Tuesday, December 3, 8:00 p.m. (Admission by donation) MUS 421/532 CLASS RECITAL: Music & Protest Suzanne Snizek’s course culminates with a lecture-recital presented by the class. Phillip T. Young Recital Hall Thursday, December 5, 8:00 p.m. ($14 & $10) DON WRIGHT SYMPHONIC WINDS Dreams and Legacies Michael Keddy, conductor University Centre Farquhar Auditorium Sunday, December 8, 2:30 p.m. (Admission by donation) TUBACHRISTMAS 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/113013-Chorus&amp;Orchestra/113013-C&amp;O-01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/113013-Chorus&amp;Orchestra/113013-C&amp;O-02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/113013-Chorus&amp;Orchestra/113013-C&amp;O-03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/113013-Chorus&amp;Orchestra/113013-C&amp;O-04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/113013-Chorus&amp;Orchestra/113013-C&amp;O-05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/113013-Chorus&amp;Orchestra/113013-C&amp;O-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 Chorus &amp; Orchestra <em>- Meeresstille (Calm Sea)</em> Creator An entity primarily responsible for making the resource Jamie Bracke, Bryan Lilly Date A point or period of time associated with an event in the lifecycle of the resource November 30, 2013 https://finearts.uvic.ca/music/archive/files/original/4ed27e80c5c31f15ecd090ec3741ea67.pdf a835836cf40df3ed32b081203ebb13b3 PDF Text Text Orchestra UNIVERSITY OF VICTORIA Harmonious Saints With Josh Lovell, tenor soloist UVic Concerto Competition Winner Ajtony Csaba, conductor Friday, November 1, 2013, 8:00 p.m. University Centre Farquhar Auditorium MacLaurin Building, University of Victoria Adults: $17.50 / Students & seniors: $13.50 �Program Johann Christian Bach Sinfonia No. 2 in B-flat Allegro assai – Andante (solo: Allison Phillips) – Presto Heinrich Ignaz Biber Battalia Presto Die liederliche Gesellschaft allerly Humor (The dissolute society of all sorts) Presto II Der Mars (The March) solo: Aliayta Foon-Dancoes Presto III Aria Die Schlacht (The Battle) Lamento der verwundeten Musquetirer (Lament of the Wounded Musketeers) Giovanni Gabrieli Canzon XVII George Frederic Handel Look Down, Harmonious Saint, HWV 124 Giovanni Gabrieli Canzon VI I n t e r m i s s i o n Piotr Il’yich Tchaikovsky Symphony No. 2 in C minor, Op. 17 (“Little Russian”) I. Andante sostenuto – Allegro vivo II. Andantino marziale, quasi moderato III. Allegro molto vivace IV. Moderato assai – Allegro vivo – Presto The University of Victoria Orchestra appreciates the support of the Learning Without Borders Curricular Fund. �p r o g ra m n ot e s Welcome Harmonious Saints features works from a range of eras spanning almost three hundred years, each with vastly different musical practices. The music of the Baroque era, which spans the seventeenth and much of the eighteenth centuries and produced three of the pieces performed tonight, is characterized by a predominantly delicate touch and a preference for procedural ornamentation. This is evident in the music’s melodic figuration as much as it is in the florid architecture and social rites of the period. Whereas this musical zeitgeist is one of measured restraint, that of the Romantic era is anything but. Developments in technology resulted in instruments which could play a wider range (horn), faster (clarinet), and louder (tuba). Additionally, the want to express a range of emotions through music which began with the sturm und drang trend in the Classical era, came to vogue in the Romantic, and the expanded orchestra was now perfectly suited to the task. It has been our task over the past several weeks of rehearsals to study these performance practices with the aim of creating a faithful reproduction of these pieces as they would have sounded in their respective eras: as their composers and their contemporaries might have heard them­. Notably, we have had the fortune of working with a collection of Baroque-style bows, which produce a lighter, thinner sound than the bows we use today. The University of Victoria Symphony Orchestra appears tonight as a collection of many new players and some familiar faces. We have enjoyed learning the practices of these musics together and becoming united as an ensemble in the process. From the stately Canzoni through to Tchaikovsky’s bombastic orchestrations of Russian folk melodies, we hope that you will enjoy tonight’s palette of timbres as much as we do. Symphony No. 2 in B-flat, Overture to Lucio Silla(1775) Johann Christian Bach (5 Sept 1735 – 1 Jan 1782) J. C. Bach, eleventh son of the more well-known J. S. Bach, was a proponent of the galant style. Known as the “London Bach” due to the time he spent in that city, J. C. Bach was an important influence on the young Wolfgang Amadeus Mozart, whom he mentored in composition and performed with in England, undoubtedly influencing him toward the style. A forerunner of the Classical movement, galant music is characterized by simplicity, a clearly perceivable melody, and increased freedom in the treatment of dissonance—three features contrasting the strict counterpoint favoured in Baroque church music. Since the galant style was foremost about lighthearted expression of joy, some proposed that it would lead to the degeneracy of music, and a renewed interest in strict counterpoint came about in the late eighteenth century. Lucio Silla, the opera to which J. C. Bach’s Symphony No. 2 is an overture, was commissioned by Carl Theodor, Prince-Elector and Count of Bavaria. The work received its premiere in Mannheim on 5 November 1775 after a delay caused by the loss of a portion of the work’s manuscript. The influence of the galant movement is evident in the composition of the piece, especially notable in its privileging of melody and compositionally restrained harmony. Also telling is the way in which the composition employs its instrumental forces. Though the ensemble includes an ample woodwind �section, strings are dominant in both melodic and harmonic statements. In the former, ornamentation is at an absolute minimum. The playing style of this era, which though unwritten our players have been happy to duplicate, includes holdovers from the Baroque era. The most audible of these are a “yawning” attack at a note’s beginning (a result of the reduced tension on Baroque bow hair) and a decrescendo at phrase’s end—un sospiro. Look Down, Harmonious Saint (1736) George Frederic Handel (23 Feb 1685 – 14 April 1759) Whereas Lucio Silla was written after the galant style had developed to maturity, Handel’s Look Down, Harmonious Saint was written while the style was still young. This cantata was originally composed for Alexander’s Feast, an ode for the feast day of Saint Alexander, but was used instead in the intermission music, Cecilia, Volgi Un Sguardo, an ode for St. Cecilia’s Day. Handel, the master synthesist who integrated the styles of Italy, France, England, and his native Germany into his own writing, did so here with the emerging galant and the predominant Baroque. The former is represented in the melodic dominance and restrained harmonic writing, while the latter can be found in sections of occasional active harmonic figures and counterpoint. This piece also demonstrates the favoured orchestration of the period: heavily string based, the bowed instruments augmented by plucked instruments such as the harpsichord and lute. As with Alexander’s Feast, Look Down, Harmonious Saint is a celebration of music itself. RECITATIVE Look down, harmonious Saint, whilst we do celebrate thy art and thee! Of Music’s force the wonders show, the most of Heav’n we here can know. ARIA Sweet accents all your numbers grace, touch ev’ry trembling string; each note in justest order place, of Harmony we’ll sing. It charms the soul, delights the ear, to it all passions bow;it gives us hope, it conquers fear, and rules we know not how. (Lyrics by Newburgh Hamilton) Musick! that all-persuading art, which soothes our griefs, inspires our joys, soft love creates, stern rage destroys, and moulds at will each stubborn heart. Canzoni VI & XVII (from Canzoni e Sonate 1615) Giovanni Gabrieli (c. 1554 – Aug 1612) Gabrieli was a Venitian composer of German training. He served as an apprentice under Orlande de Lassus in Munich, then as organist and composer with his uncle at San Marco Basilica in Venice. These two instructors heavily influenced his writing, which was almost exclusively sacred. The set of Canzoni e Sonate (comprising seventeen songs and four sonatas), from which we have adopted numbers VI and XVII, was published posthumously. As was the practice in the period, Gabrieli did not specify orchestration for most of these pieces, and it would have been designated ad hoc depending on the constitution of the ensemble. The extent of his instrumentation for these pieces is the instruction “to be played on all sorts of instruments with organ bass”. Much of his music takes advantage of the spatial effects made possible by the acoustics of San Marco, specifically in dazzling antiphonal passages. �Battalia (1673) Heinrich Ignaz Franz von Biber (c. 12 Aug 1644 – 3 May 1704) One hundred years before Lucio Silla was first performed, Biber penned the Battalia, a piece of battle music for strings. A virtuosic violinist, Biber was known for writing string pieces which capitalized on his intimate knowledge of the instruments, and Battalia is no exception. The work makes use of many advanced techniques, such as battuto playing (striking the strings with the bow) and the weaving of paper through the strings. These techniques aptly portray the sounds of combat, placing the workwithin the tradition of battle music. However, Biber additionally calls for theatrical elements which would have been completely foreign to concertgoers’ conception of music. The piece enacts scenes from the battle, including a group of drunken soldiers literally swaggering and singing, and a deluge of gunshot. Written in 1673, it is likely this piece was meant to commemorate the Thirty Year War. Cinematic beyond its time, this piece was part of the musical avant-garde movement toward dramma per musica, a forerunner of opera seria. It is no surprise that Battalia carries a dedication to Bacchus, the god of (among other things) theatre. Symphony No. 2, “Little Russian” (1872) PyotrIl’yich Tchaikovsky (25 April 1840 – 25 Oct 1893) Our program closes with its most recent piece. Tchaikovsky was one of the earliest Russian composers to adopt the increasingly extensive and programmatic western European orchestration and mix it with folk melodies, leading to the grandiose patriotic character which has come to be associated with Russian orchestral music. “Little Russian”, originally written for piano four-hands in 1872 and revised in 1879, is emblematic of this style. It marks Tchaikovsky’s most pervasive use of folk music: three of the four movements are based on folk melodies. Of particular note is the finale, which comprises almost exclusively iterations of a Ukrainian tune known as “The Crane”. In fact, the only other melody heard in the movement is from a different folk song. This music would have entertained and unified concertgoers in nineteenth century Russia, as it does us today. Text by Dave Riedstra and Ajtony Csaba The Crane: �b i o g ra p h i e s Josh Lovell Since making his debut in the 2009 Victoria Symphony “Splash”, tenor Josh Lovell has been a familiar performer throughout Victoria and the Gulf Islands. Concert highlights include Mozart’s Requiem (Victoria Prima Choir), Haydn’s Die Schӧpfung (Salt Spring Chamber Orchestra), Handel’s Messiah (Civic Orchestra) and Bach’s St. John Passion (Victoria Baroque Players). Josh recently performed in Haydn’s Lord Nelson Mass (Victoria Choral Society) and will soon perform Handel’s Dixit Dominus (Victoria Baroque Players). This fall, Josh made his national operatic debut as Bardolfo in Verdi’s Falstaff with Pacific Opera Victoria. He is also a choral scholar at Christ Church Cathedral and is in his fourth year of voice studies at the University of Victoria studying with Benjamin Butterfield. In the spring, Josh will perform Schubert’s Die Schӧne Müllerin for his Bachelor’s Degree Graduation Recital. 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 Symphony and teaches conducting. �O R C H E ST RA P E R S O N N E L VIOLIN 1 Aliayta Foon-Dancoes* Lindsey Herle Rochelle Sumampong Derrick Lee Elena Bokova Jasper Meiklejohn Natalie Dzbik Peter Weinkam Cecilia Li Gabriel Cayer FLUTE Aleksandra Tremblay* Kelsey Dupuis PICCOLO Sierra Phosy OBOE Allison Phillips* Diana Doublet CLARINET Paul Gilchrist* James Yi Erin Onyschtschuk VIOLIN 2 Jiten Beairsto* Raina Saunders Jessica d‘Oliveira Emily MacCallum Brittany Tsui Jilaine Orton BASSOON Matthew Robertson* Eric Boulter VIOLA Sarah Tradewell* Matt Antal Josh Gomberoff Calvin Yang Fahlon Smith HORN Samuel McNally* Georgina Davis Sam Brunton Colin Lloyd TRUMPET Matt Richard* Ian Cohen Ian VanGils CELLO Maria Wang* Ella Hopwood Shiun Kim Alex Klassen Steven Jeon Paul Joo Lauren Hodgins Natalia Stoney TROMBONE Liam Caveney* Megan White Trevor Hoy TUBA Russel Larden Timpani Brendan Chow* PERCUSSION William Exner* Allyssa Haigh Harpsichord Josh Herrett STAGE MANAGERS Alex Klassen Fahlon Smith LIBRARIAN David Foley assistant Dave Riedstra * Principal DOUBLE BASS Hudson Thorpe-Doubble* Brock Foerster Mackenzie Carroll Dylan Powell Blake Palm We appreciate the support of our guest coaches, Soile Stratkauskas and Christi Meyers, as well as the dedication of our regular coaches Joanna Hood and Scott MacInnes. 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/110113-Orchestra/110113-OrchestraConcert_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110113-Orchestra/110113-OrchestraConcert_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110113-Orchestra/110113-OrchestraConcert_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110113-Orchestra/110113-OrchestraConcert_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110113-Orchestra/110113-OrchestraConcert_05.mp3">track5<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/110113-Orchestra/110113-OrchestraConcert_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 Orchestra <em>- Harmonious Saints</em> Creator An entity primarily responsible for making the resource Bryan Lilly, Will MacLellan Date A point or period of time associated with an event in the lifecycle of the resource November 1, 2013