1 10 23 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 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/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/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 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/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/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/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/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/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