1 10 17 https://finearts.uvic.ca/music/archive/files/original/396e8b0668dad2623234f48fee6d2e53.pdf b6ada5691e36598c458b21d97ceb0695 PDF Text Text SCHOOL OF MUSIC • UNIVERSITY OF VICTORIA Emerging Artists Alumni Series Sarah Tradewell VIOLA (B.Mus ‘14) & Eden Oliver (B.Mus ‘08) Alex Rempel (B.Mus ‘12) Jeff Poynter (B.Mus ‘11) Nick Mintenko Sunday, September 21, 2014 • 7:30 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation �PROGRAM Sarah Tradewell, viola Suite No. 1 in G Major J. S. Bach (1685–1750) Sonata No. 3 for solo viola I. Adagio espressivo II. Fuga Enrico Polo (1869–1953) Sonata Op. 25 No. 1 I. Breit II. Sehr frisch und straff Elegie Paul Hindemith (1895–1963) Igor Stravinsky (1882–1971) The 3 G’s Kenji Bunch (b.1973) Intermission West My Friend Eden Oliver, guitar, vocals, flute Alex Rempel, mandolin, vocals Jeff Poynter, accordion, vocals Nick Mintenko, double bass, vocals This concert is made possible with generous support from the University of Victoria Alumni Association. �BIOGRAPHIES Sarah Tradewell (BMus ’14) studied with Joanna Hood of the Lafayette String Quartet at the University of Victoria. She has performed with the Victoria Symphony, the Galiano Ensemble of Victoria, the Vancouver Island Symphony, and the YouTube Symphony Orchestra 2011 at the Sydney Opera House in Australia. In June 2014, Sarah received the Victoria Medal in Fine Arts for top student in the UVic Faculty of Fine Arts. She was the winner of the 2013 University of Victoria Bach Competition with the Sixth Cello Suite, and was a finalist in the 2013 UVic Concerto Competition with Hindemith’s Der Schwanendreher. Sarah is an advocate of new music and has performed in the premiere of many new works, including a performance with the Lafayette String Quartet of The Space Between Us by American composer David Jaffe. In July, as part of the Pacific String Quartet, she performed a concert of new music by students and recent graduates of the UVic Composition program. In addition to her love of classical music, Sarah performs regularly as a fiddler and folk singer. Sarah will be playing in several concerts with the Victoria Symphony, teaching at the Victoria Conservatory of Music, and performing as often as possible. Since West My Friend was conceived in a Victoria café in 2009, they’ve emerged as a unique voice in the city’s music scene. Described as everything from indie-roots to chamber-folk, their acoustic blend of instruments and four-part harmonies challenges the conventions of popular music to create a performance that is both engaging and innovative. Songs are created through a collaborative process: well-crafted and clever lyrics, acrobatic mandolin riffs, flawless bass lines, and richly textured accordion combine as every member brings forward their own ideas and experiences. The wealth of musical experience and classical training in the group creates an interesting backdrop for their songwriting, allowing for levels of detail, intricacy, and counterpoint balanced with moments of simplicity. This sonically adventurous approach to music defines West My Friend as a key part of a growing movement of the new generation of grass-roots folk music taking place in Victoria, Vancouver and across British Columbia. West My Friend released their first full-length album Place in 2012, and it soon garnered multiple award nominations (including “Roots Album of the Year” and “Song of the Year” at the Vancouver Island Music Awards). Their second album, When The Ink Dries, was released in March 2014. It ranges in scope from intimate moments, featuring the four core musicians of the group, to rich orchestral arrangements that showcase the maturity, musicianship, and multi-instrumental abilities of each member. This is combined with guest musicians drawn from everywhere from the Victoria Symphony to Buena Vista Social Club. The record is a significant step forward for West My Friend; the group’s collaboration with Grammy award-winning producer Joby Baker (Alex Cuba, Cowboy Junkies) and Juno award-winner David TraversSmith (The Wailin’ Jennys, Oh Susannah) provides a strong underpinning of experience in folk-roots music for this promising young band. �Emerging Artists Alumni Series Calling all UVic School of Music alumni! (solo artists, bands, chamber groups, composers) We are now accepting proposals from School of Music alumni for our Emerging Artists Alumni Series. We know how hard it can be to finance a gig and are opening the Phillip T. Young Recital Hall doors for 1–2 concerts each semester dedicated to showcasing the talents of alumni in the early stages of their careers. Successful applicants will be provided with: • Access to the Phillip T. Young Recital Hall for a concert and rehearsal. • Event staff (ushers, stage manager, recording technician) • Recording of the concert • Event promotion in the School of Music brochure & on our website. Admission to concerts will be by donation and proceeds will be divided 50/50 between performer(s) and the School of Music. Apply to concert@uvic.ca with the following: • Proposed program and list of performers (minimum 60 minute program) • Bio of each alumni performer (250 words or less each) • High resolution photo(s) • Links to website, audio, video, social media pages (if available) • Willingness to appear in a short profile video for use on the School of Music website. Deadline for applications: For Spring 2015 (performance in Jan-Feb): October 15 For Fall 2015 (performance in Sept-Nov): June 1 ���Upcoming Events At the School of Music Friday, September 26, 12:30 p.m. (Admission by donation) FRIDAYMUSIC A concert of varied repertoire & instruments featuring School of Music students. Phillip T. Young Recital Hall Sunday, September 28, 2:30 p.m. ($18/$14) FACULTY CONCERT SERIES: Suzanne Snizek, flute With Bruce Vogt, piano and Anne Grimm, soprano Featuring music by Mel Bonis, Charles Koechlin, Kaija Saariaho and J.S. Bach as well as Yuko Uebayashi’s Sonata for flute and piano. Phillip T. Young Recital Hall Friday, October 3, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Featuring School of Music keyboard students Phillip T. Young Recital Hall Wednesday, October 8, 11:00 a.m. – 1:00 p.m. (Admission by donation) GUEST RECITAL & MASTERCLASS: Aaron Wilson, trombone Trombonist Aaron Wilson, Assistant Professor of Low Brass at the Brandon University School of Music, performs Fantasy for Trombone by Malcolm Arnold, An Unaccompanied Sonata by C.P.E. Bach/arr. Ralph Sauer, and Basta by Folke Rabe. A masterclass with School of Music trombone students will follow. Phillip T. Young Recital Hall Friday, October 10, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Featuring School of Music string 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 � 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 Emerging Artists Alumni Series Hyperlink A link, or reference, to another resource on the Internet. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emerging Artists Alumni Series - Sarah Tradewell, viola; West My Friend Creator An entity primarily responsible for making the resource Iain Emslie Date A point or period of time associated with an event in the lifecycle of the resource September 21, 2014 https://finearts.uvic.ca/music/archive/files/original/51eedf2d75efd17bd2a6faf8609cb4d0.pdf fbe41ed442ba65f906d2c6e4931fdf26 PDF Text Text School of Music University of Victoria School of Music MUS C Faculty of Fine Arts University of Victoria �SCHOOL OF MUSIC • UNIVERSITY OF VICTORIA Emerging Artists Alumni Series Trio Dolce Romantic Intuition With Shawn Earle (M.Mus ‘07), clarinet Laine Longton (B.Mus ‘10), cello Clare Yuan (B.Mus ‘06), piano Saturday, January 17, 2015 • 2:30 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation �PROGRAM Trio in B flat Major Op. 11 (1798) Ludwig van Beethoven (1770–1827) I. Allegro con brio II. Adagio III. Tema con Variazioni Trio for clarinet, cello, and piano (1973) I. Allegro II. Andante III. Allegrissimo Nino Rota (1911–1979) Intermission Trio in A minor, Op. 114 (1891) I. Allegro II. Adagio III. Andantino grazioso IV. Allegro Johannes Brahms (1833–1897) �BIOGRAPHIES Shawn Earle is a clarinetist, chamber musician, and music educator. He has performed throughout North America and Europe with various orchestras and chamber ensembles, as well as delivering solo recitals. Shawn’s repertoire ranges from traditional to contemporary and he is dedicated to the creation and performance of Canadian music. He completed his Master of Music at the University of Victoria with Patricia Kostek, and is presently working towards a Doctor of Musical Arts degree at the University of British Columbia. Shawn is also passionate about music education and has taught numerous clinics, master classes, and a private studio. Shawn has received several honours for his playing including a British Columbia Arts Council Grant, Canada Council Grant, Nova Scotia Talent Trust Award, and many academic accolades. Currently Shawn lives and works in Vancouver. Laine Longton has been playing the cello since age 5. Currently pursuing a Doctor of Musical Arts at the University of British Columbia under Eric Wilson, Laine holds a Master’s from the University of Illinois with Dmitry Kouzov and a BMus from the University of Victoria with Pamela Highbaugh-Aloni. Laine has also studied with Gail O’Riordan in Victoria and with Martin Rummel, Guido Schieffen, and violinist Denes Zsigmondy in Germany. Last summer Laine was a member of the National Academy Orchestra of Canada under the direction of Maestro Boris Brott. Laine is currently playing in Musical Theatre productions in Vancouver, is the Contemporary Players Teaching Assistant at UBC, and is an extra cellist with the Vancouver Symphony. A recent winner of the Vancouver Women’s Musical Society Bursary competition, pianist Chia-Hui Clare Yuan is currently a candidate for the Doctor of Musical Arts degree at the University of British Columbia under the guidance of world famous Canadian pianist, Professor Jane Coop. Upon winning numerous awards and scholarships, Clare received her Master of Music degree from Manhattan School of Music, New York, where she studied with Russian pianist Dr. Arkady Aronov and her Bachelor of Music degree from the University of Victoria under the guidance of pianist Eva Solar Kinderman. Clare was invited as a soloist to perform with the Metropolitan Philharmonic of New York Orchestra in 2009. She has been a frequent guest on FairChild Radio, as well as an adjudicator at local competitions. She is actively involved in music, and was recently invited as a guest conductor to Vancouver Orchestra Club’s 2013 winter season and 2014 spring season concert. �EMERGING ARTISTS ALUMNI SERIES Calling all UVic School of Music alumni! (solo artists, bands, chamber groups, composers) We are now accepting proposals from School of Music alumni for our Emerging Artists Alumni Series. We know how hard it can be to finance a gig and are opening the Phillip T. Young Recital Hall doors for 1–2 concerts each semester dedicated to showcasing the talents of alumni in the early stages of their careers. Successful applicants will be provided with: • Access to the Phillip T. Young Recital Hall for a concert and rehearsal. • Event staff (ushers, stage manager, recording technician) • Recording of the concert • Event promotion in the School of Music brochure & on our website. Admission to concerts will be by donation and proceeds will be divided 50/50 between performer(s) and the School of Music. Apply to concert@uvic.ca with the following: • Proposed program and list of performers (minimum 60 minute program) • Bio of each alumni performer (250 words or less each) • High resolution photo(s) • Links to website, audio, video, social media pages (if available) • Willingness to appear in a short profile video for use on the School of Music website. Deadline for applications: For Fall 2015 (performance in Sept-Nov): June 1 For Spring 2016 (performance in Jan-Feb): September 14 �UPCOMING EVENTS Tuesday, January 20, 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 Wednesday, January 21, 8:00 p.m. (Free Admission) GRADUATING RECITAL: Liam Caveney, trombone Trombonist Liam Caveney presents his Bachelor of Music graduating recital. Phillip T. Young Recital Hall Friday, January 23, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall Saturday, January 24, 12:30 p.m. (Admission by donation) SAXOPHONE CLASS RECITAL Students from the studio of Wendell Clanton. Phillip T. Young Recital Hall Saturday, January 24, 4:00 p.m. (Admission by donation) CLARINET CLASS RECITAL Students from the studio of Patricia Kostek. Phillip T. Young Recital Hall Saturday, January 24, 8:00 p.m. ($18 & $14) FACULTY CONCERT SERIES: Michelle Mares, piano With Mark Anderson (UBC), piano Brahms piano duos: Variations on a Theme by Haydn and Sonata in F minor. 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 � 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 Emerging Artists Alumni Series Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/public/011715-EmergingAlumni/011715-TrioDolce_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/public/011715-EmergingAlumni/011715-TrioDolce_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/public/011715-EmergingAlumni/011715-TrioDolce_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 Emerging Artists Alumni Series - Trio Dolce, <em>Romantic Intuition</em> 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 January 17, 2015 Contributor An entity responsible for making contributions to the resource Shawn Earle (M.Mus ‘07), clarinet; Laine Longton (B.Mus ‘10), cello; Clare Yuan (B.Mus ‘06), piano https://finearts.uvic.ca/music/archive/files/original/c26b4e30acae662b34b872e95006b068.pdf 90fa1b03aff1f94028b91eea4261ac13 PDF Text Text School of Music University of Victoria School of Music MUS C Faculty of Fine Arts University of Victoria �SCHOOL OF MUSIC • UNIVERSITY OF VICTORIA Emerging Artists Alumni Series Music by JUSTIN BOECHLER (M.Mus ‘13) Featuring: Anna Shill, soprano Sierra Phosy, flute Liam Gibson, piano Kimberley Manerikar, piano Tristan Holleufer, percussion Keenan Mittag-Degala, percussion With the Proteus Saxophone Quartet Tommy Davis Holly DeCaigny Mark Michalak Michael Morimoto Saturday, October 3, 2015 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation �PROGRAM Prelude and Rondo* (2015) Tommy Davis, tenor saxophone Keenan Mittag-Degala, percussion Tristan Holleufer, percussion Five Bagatelles* (2015) Sierra Phosy, flute Kimberley Manerikar, prepared piano Passacaglia (2015) The Proteus Saxophone Quartet: Michael Morimoto, sorano saxophone Mark Michalak, soprano saxophone Tommy Davis, tenor saxophone Holly DeCaigny, baritone saxophone Six Songs* (2015) Anna Shill, soprano Liam Gibson, piano *Denotes premiere performance �BIOGRAPHIES JUSTIN BOECHLER Justin Boechler completed studies in music composition at the University of Saskatchewan (B.Mus) and the University of Victoria (M.Mus). Formerly a resident of Saskatchewan, Justin is currently living in Victoria, BC. His works have been performed and recorded by a variety of Canadian ensembles including the University of Saskatchewan Wind Orchestra and Proteus Saxophone Quartet, with other notable performances occurring at the SALT contemporary music festival, North America Saxophone Alliance conference (Region 9), and the Strata New Music Festival. Boechler is also an active conductor of new music, having premiered works for ensemble by many emerging west coast composers. Selected conducting credits include Liza Lim’s Street of Crocodiles, George Crumb’s Quest, and the Canadian premiere of Elliot Carter’s Luimen. TOMMY DAVIS Tommy Davis regularly performs on six members of the saxophone family in collaborative, multidisciplinary and chamber music settings, where he explores the integration of theatre, movement, electronics, video and improvisation. He has performed throughout Canada, the United States, France and the United Kingdom as a soloist and chamber musician at Roulette (Brooklyn), the World Saxophone Congress, the North American Saxophone Alliance Conferences, Society for Composers Inc. (SCI) National Conference, US Navy Band International Saxophone Symposium, Opus Erasmus (Paris), Fête de la Cité (Paris) and the Strata New Music Festival. A strong proponent of new music, Tommy has premiered works by Canadian composers Justin Boechler, John Celona, Gordon Fitzell, Robert Lemay, Alex Loewen; by French composers Philippe Geiss, Denis Levaillant, Gregoire Lorieux, Etienne Rolin, Pedro Velasquez and by American composers Michael Lanci and Scott Rubin. He performs with the ensembles Proteus Saxophone Quartet and Duo d’Entre Deux, who are active in North America and Europe. In Montreal, he performs with chamber ensembles Ciao Rhino, Lou, Ensemble AKA, Volumes and in free improvisation settings. Tommy has performed as sopranino saxophone soloist with the Jean-Michel Goury and Friends Saxophone Ensemble for a tour of Southwest France. He has also appeared as soloist with the UofS Wind Orchestra, UofS Concert Band and l’Orchestre d’Harmonie de Boulogne-Billancourt. He has collaborated with Wild Space Dance (Milwaukee) for multidisciplinary site-specific productions. Tommy holds an M.Mus from the Université de Montréal, diplomas from the Conservatoire de Boulogne-Billancourt (Paris) and a B.Mus from the University of Saskatchewan. �HOLLY DECAIGNY Born and raised outside of Vancouver BC, Holly DeCaigny fell in love with the saxophone in high school and decided soon after that to pursue music in post secondary studies. She received a Bachelor of Music in saxophone performance at the University of British Columbia, under the tutelage of Julia Nolan, before moving to Calgary where she received a Masters degree in saxophone performance, studying with Dr. Jeremy Brown. She recently completed a Diplome d’Etudes Musicale and a Cycle d’Orientation Professionel diploma from the Conservatoire de Rayonnement Regionale in Boulogne-Billancourt, France, having studied under JeanMichel Goury. Holly has competed in many international competitions, such as the North American Saxophone Alliance competition in South Carolina, the International Adolphe Sax competition in Dinant, Belgium, and the Paris Duo competition. She has also performed internationally as a soloist, in a duo, and in quartets in Canada, the US, France, Belgium, Slovenia, and Thailand. She has performed with the Calgary Philharmonic Orchestra, Alberta Winds, the Calgary Saxophone Quartet, and Prairie Saxophone Quartet. Holly is also employed as a musician in the Canadian Forces and through this has had the opportunity to play in the “changing of the guard” on Parliament Hill, as well as in many different military tattoos. She has played for such dignitaries as Queen Elizabeth II, former Governor General Adrienne Clarkson, Prime Ministers Stephen Harper, Jean Chretien, Paul Martin, the Dalai Lama, and others. Currently, Holly maintains a busy schedule of private instruction. She is a member of several music ensembles, including the Proteus Saxophone Quartet, and is highly sought after as a clinician and performer. LIAM GIBSON Liam Gibson is a pianist, composer, and teacher based in Victoria, BC. As a performer he is dedicated to playing new works, particularly pieces by his colleagues in the Victoria Composers Collective. His current compositional work is primarily concerned with synthesizing various pre-18th century aesthetic currents, the formal and timbral innovations of the 20th century avant-garde, and influences from contemporary jazz and electronic music. A recent graduate of the composition and theory program at the University of Victoria School of Music, Gibson previously obtained a diploma in jazz piano at Vancouver Island University. In addition to performing in the western art music tradition, Gibson has had a long-standing presence in Vancouver Island’s underground music scene as a keyboard/synthesizer player in rock, metal, and electronic groups. These days, when not composing, Gibson makes music for people to dance to with the theatrical electro group, Top Men. �TRISTAN HOLLEUFER Tristan Holleufer is a third-year Performance major at the University of Victoria who plays percussion, likes bad puns, and is tall. Hailing from the wonderfully musical town of Terrace, BC, Tristan has had a long-standing relationship with percussion since high school, and his feelings toward it have continued to grow. Though completion of the Performance program is a tall order, Tristan is sure he can measure up to the challenge and has a long list of experience to support the weight of his ambition. This year, Tristan rose to the position of Timpanist for both the University of Victoria Orchestra and the Greater Victoria Youth Orchestra, a large role within both groups. But despite a heavy schedule, Tristan is still able to enjoy his spare time on the internet, eating good food, and relaxing with good friends. Oh, and being tall. He’s good at that. On top of that, he’s very excited to whack some heads tonight and also to perform in Justin’s concert! KIMBERLEY MANERIKAR Kimberley Manerikar holds a Bachelor of Music from the University of Victoria, where she studied composition with Christopher Butterfield and Dániel Péter Biró and piano with Eva Solar-Kinderman. A passionate advocate for new music, Kimberley has premiered over a dozen new works, and has performed in VCC’s I Heart Composers Concert, Victoria Symphony’s Gavin Bryars Festival, the New Currents Festival, SALT Festival, and UVic’s Sonic Lab. As a private teacher, Kimberley loves introducing her students to new music and encourages them to explore their own musical impulses through improvisation and composition. Kimberley has written commissions for Redshift Music Society, Open Space Arts Society and Celesta Piano studio. Her pieces have been performed in Victoria, Vancouver, Edmonton and Montreal. Her work tends to deal with fragmentation, displacement, and balance. She prefers to present her material simply, allowing all parts to remain in equal focus. MARK MICHALAK Mark Michalak was born and raised in Thunder Bay, ON where he attended St. Ignatius High School. He moved to London, ON to begin his university career at the University of Western Ontario. There he received his Honours Bachelor of Music and Bachelor of Education degrees. He then moved to Calgary, AB to pursue his Master of Music degree in Saxophone Performance, studying with Dr. Jeremy Brown. Mark is a member of the Canadian Forces Naval Reserve – Cadet Instructor Cadre, and instructs music to cadets during the summer months at Cadet Summer Training Centres. During the year he works with the Royal Canadian Sea Cadet Corps Undaunted as the Commanding Officer. From 2005 – 2009 he was the saxophone instructor at the University of Calgary and Mount Royal University in Calgary, Alberta. In 2012 Mark completed a performance diploma with Jean-Michel Goury at the Conservatoire Nationale de Region de Boulogne-Billancourt in Paris, France. Mark has competed in several international music competitions such as the North �American Saxophone Alliance saxophone quartet competition in South Carolina and the Paris, France Duo competition. He has also performed internationally in the US, France, Slovenia, and Thailand. In Canada, Mark has performed with the Calgary Philharmonic Orchestra, Alberta Winds, the Calgary Saxophone Quartet, and the Prairie Saxophone Quartet. Currently, he is a member of the Proteus Saxophone Quartet and is highly sought after as a performer, instructor, clinician, and conductor. 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 University of Victoria. MICHAEL MORIMOTO Born in Medicine Hat, Alberta, Michael Morimoto started his musical studies on piano, later switching to the saxophone. He began his saxophone studies at the Medicine Hat Conservatory of Music and Dance with Lyle Rebbeck. Michael received his Master of Music from University of British Columbia studying with Julia Nolan. He finished his second year of studies at the Conservatoire de Cergy-Pontoise with Jean-Yves Fourmeau receiving the Medaille D’or by an unanimous decision of the jury. He also studied at the Conservatory de Versailles with Vincent David in 2011–12 and with Marie-Bernadette Charrier at the Conservatoire de Bordeaux in 2009–10. Michael completed his Bachelor of Music, performance degree at the University of Alberta under the instruction of William Street and Po-Yuan Ku. In 2006, Michael placed 2nd in the University of Alberta Academy Strings Competition, 3rd at the 2007 National Music Festival of Canada, 1st in the University of Alberta Wind Ensemble Concerto Competition, 1st in the 2008 University of Alberta Symphony Orchestra Concerto Competition, 1st at the National Music Festival of Canada in 2009, and in 2013, placed 1st in the University of British Columbia Concerto Competition and was a semifinalist in the 2014 North American Saxophone Alliance Solo Competition. Michael has been featured as a soloist in many ensembles including the University of Alberta Symphonic Wind Ensemble, University of Alberta Saxophone Ensemble, University of Alberta Symphony Orchestra, and the University of British Columbia Symphony Orchestra. �ANNA SHILL ”[Possessing] a lovely voice, artistry in spades and a delightful stage presence”(Music in Victoria), soprano Anna Shill has been recognized for her work in concert and opera, performing repertoire from Bach to Boechler. Anna holds a Bachelor of Music from UBC Opera, a Master in Voice Performance from the University of Victoria, and is also an alumnus of Opera Nuova. Her oratorio work includes Handel’s Messiah and Haydn’s Creation (Via Choralis); Mozart’s Vesperae solennes de confessore, Bach’s Canata No. 4 and Schubert’s Shepherd on the Rock (Victoria Mendelssohn Choir); Mendelssohn’s Second Symphony and Gounod’s St. Cecilia Mass (Victoria Summer Choir); Vivaldi’s Gloria (Westcoast Consort) and Mozart’s Vesperae solennes de confessore (UVic Chorus and Orchestra). Anna has also performed a number of opera roles including premiering to great acclaim the principle role of The Young Night in Ithaca, a new opera by Justin Boechler. Other roles include Despina (Cosi fan tutte), Noémie (Cendrillon), Cis (Albert Herring), Papagena (The Magic Flute) and Second Woman (Dido and Aeneas). In July 2015 Anna will be performing the role of Hero in Fraser Lyric Opera’s production of Béatrice et Bénédict by Berlioz. In concert, Anna most recently performed the work of Canadian composer, Gordon V. Thompson with Dr. Laurel Parsons followed by a set of Josephine Lang songs in a recital with Dr. Harald Krebs celebrating the 200th birthday of Ms. Lang and other female composers of her generation. Most recently Anna received the Rose Bowl, the Greater Victoria Performing Arts Festival’s highest award for a vocalist and will represent the region in the provincial finals. 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 Emerging Artists Alumni Series Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/100315-EmergingArtist_Boechler/100315-EmergingArtist_Boechler_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/100315-EmergingArtist_Boechler/100315-EmergingArtist_Boechler_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/100315-EmergingArtist_Boechler/100315-EmergingArtist_Boechler_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/100315-EmergingArtist_Boechler/100315-EmergingArtist_Boechler_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 Emerging Artists Alumni Series: Music by Justin Boechler (M.Mus '13) 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 3, 2015 https://finearts.uvic.ca/music/archive/files/original/b135ae123ce053e51b0ebbfd7e07419b.pdf 75ce49da25d37413251a8b09de4c2427 PDF Text Text School of Music University of Victoria School of Music MUS C Faculty of Fine Arts University of Victoria �SCHOOL OF MUSIC • UNIVERSITY OF VICTORIA Emerging Artists Alumni Series Hale & Hearty RACHEL CAPON (B.Mus ‘07) cello and voice & ELI BENDER cello and voice Wednesday, October 14, 2015 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation �SET LIST Fifer in the Dark Eli Bender/Nate Bliton Dixon Time Rachel Capon Charleston No. 1/Take Me back to Georgia I’ve Endured Ola Belle Reed Chain Cotillion French traditional 250 to Vigo/Dot the Dragon’s Eyes Brothers French Balfolk Set Make me a pallet on the ground Road to Columbus/Saltspring Balluchon Pasture of Plenty Narmour&Smith/ traditional Old-Time Shooglenifty/ Hanneke Cassel Rachel Capon Traditional French dance music Mississippi John Hurt Kenny Baker/John Reischman Eli Bender Woody Guthrie �BIOGRAPHIES RACHEL CAPON A native of Gabriola Island, BC, Canadian multi-genre cellist Rachel Capon is currently based in Victoria, BC. At the University of Victoria, studying with cellists Pamela Highbaugh Aloni & Paula Kifner, Rachel excelled in both the jazz and classical ensembles. Since 2010, after relocating to Toronto, Rachel pushed her musical territory beyond the classical realm. In 2011, with the guidance of Yo-Yo Ma, Rachel traveled to New York City to study with avantgarde cellist Mike Block. Later that year, studying with celtic cellist Natalie Haas and five-string fiddle-star Lauren Rioux, Rachel found herself immersed in the world of North American fiddle styles and discovering new territories for the beloved cello. Today Rachel works on a wide range of musical projects — she has performed live with hip-hop artist k-os on MTV, toured as the solo cellist for Illusion Theatre’s production of My Antonia, and travelled to the Edmonton Fringe Festival with the Alchemical Opera Project, a one-man opera based on Die Winterreise for which she wrote and performed the solo cello score. Currently Rachel is working with her new ensemble The Sound Accord on an album—to be released in fall 2016—and is looking forward to their upcoming tours in Canada and the US. For the past four years, Rachel worked at the Dixon Hall Music School with a class of cellists as well as the string orchestra for inner-city Toronto youth. In the fall of 2014, Rachel and husband Eli Bender released their first full length album, Always We Rambled, as their cello duo Hale & Hearty. Having recently relocated to Victoria, Rachel is excited to reconnect with with old colleges within the industry and looks forward to meeting future collaborators. ELI BENDER Cellist, educator, and composer, Eli Bender has recently relocated to Victoria, BC, where he is the new music director at Selkirk Montessori School. Having completed his studies in Music Education at Michigan State University where his growth as a cellist was overseen by Suren Bagratuni, his work in the realm of creative musicianship led him to study with cello masters such as Mike Block, Natalie Haas, and Rushad Eggleston. This balance of classical pedagogy and creative musicianship has offered him opportunities to teach and perform with a variety of ensembles including the Marquette Symphony Orchestra, the band Gifts or Creatures, interning with the Fiddlers Restrung of Saline, and acting as Music Director for the Illusion Theater of Minneapolis. 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 Emerging Artists Alumni Series Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/101415-EmergingArtist_Capon/101415-EmergingArtist_Capon_01.mp3">track1</a> <br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/101415-EmergingArtist_Capon/101415-EmergingArtist_Capon_02.mp3">track2 </a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/101415-EmergingArtist_Capon/101415-EmergingArtist_Capon_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/101415-EmergingArtist_Capon/101415-EmergingArtist_Capon_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/101415-EmergingArtist_Capon/101415-EmergingArtist_Capon_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/101415-EmergingArtist_Capon/101415-EmergingArtist_Capon_06.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/101415-EmergingArtist_Capon/101415-EmergingArtist_Capon_07.mp3">track7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/101415-EmergingArtist_Capon/101415-EmergingArtist_Capon_08.mp3">track8</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/101415-EmergingArtist_Capon/101415-EmergingArtist_Capon_09.mp3">track9</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/101415-EmergingArtist_Capon/101415-EmergingArtist_Capon_10.mp3">track10</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/101415-EmergingArtist_Capon/101415-EmergingArtist_Capon_11.mp3">track11</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/101415-EmergingArtist_Capon/101415-EmergingArtist_Capon_12.mp3">track12</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emerging Artists Alumni Series - Hale & Hearty, Rachel Capon (B.Mus '07), cello & voice; Eli Bender, cello & voice Creator An entity primarily responsible for making the resource Pascale Mendes Date A point or period of time associated with an event in the lifecycle of the resource October 14, 2015 https://finearts.uvic.ca/music/archive/files/original/ca31759400204c63f2c6fb428c43ce5d.pdf e7191b5e0b9cce4ce2bf536d4bb8d101 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC Emerging Artists Alumni Series Lindsey Herle, violin (B.Mus ‘14) Lindsey Herle has been playing the violin since the age of eight and recently graduated with distinction from the University of Victoria with a Bachelor of Music in Performance. She has studied with violin teachers Linda Hudelson, Peter Ellis, Sharon Stanis, and is currently studying with William van der Sloot in the Advanced Performance Program at the Mount Royal Conservatory. She has played in masterclasses for artists such as Andrés Cárdines, Tong Weidong, Yehonatan Berick, Gerardo Ribeiro, Kai Gluesteen, Nikki Chooi, and Ian Swensen. Lindsey has served as concertmaster both in the Festival Orchestra of Lutheran Summer Music Academy and the University of Victoria Orchestra, as well as participating in the National Youth Orchestra of Canada in 2012 and 2013. In May of 2013, she was selected from numerous NYOC alumni to be a part of the Canada-India National Youth Orchestra in Bangalore. A chamber music enthusiast, Lindsey has also taken part in QuartetFest West where she worked with the Lafayette String Quartet, the Penderecki String Quartet, and the Alcan String Quartet. Friday, January 8, 2016 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation �PROGRAM Violin Concerto No. 3 in G major, K. 216 I. Allegro Elizabeth Clarke, piano W.A. Mozart (1756–1791) Nicolo Paganini (1782–1840) Caprice No. 17, Op. 1 Sonata No. 1 in G minor, BWV 1001 I. Adagio II. Fugue J.S. Bach (1685–1750) Recitative and Scherzo Fritz Kreisler (1875–1962) I NT E R M I S S I O N Violin Concerto in D minor, Op. 47 Allegro moderato Adagio di molto Allegro ma non tanto Elfi Gluesteen, piano J. Sibelius (1865–1957) �UPCOMING EVENTS Saturday, January 9, 8:00 p.m. (Adults $18 / Seniors, students & alumni $14) FACULTY CHAMBER MUSIC SERIES Featuring School of Music Performance Faculty performing mixed ensemble works from the early 20th-century, including compositions by Ralph Vaughan Williams, André Caplet, and Frank Martin. Phillip T. Young Recital Hall Sunday, January 10, 2:30 p.m. (Adults $18 / Seniors, students & alumni $14) FACULTY CONCERT SERIES: High Class Low Brass UVic low brass faculty and special guest the Pinnacle Brass Quintet. Performing Ralph Vaughan Williams’s Concerto for Tuba and Jacob ter Veldhuis’s I was like WOW! accompanied by a powerful video. Proceeds will benefit the Eugene Dowling Scholarship for Tuba and Euphonium. Phillip T. Young Recital Hall Wednesday, January 13, 8:00 p.m. (Free Admission) GRADUATING RECITAL: Raina Saunders, violin Violinist Raina Saunders presents her Bachelor of Music graduating recital. Phillip T. Young Recital Hall Friday, January 15, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall Saturday, January 16, 8:00 p.m. (Adults $18 / Seniors, students & alumni $14) FACULTY CONCERT SERIES: Home Grown: Jazz in Canada Patrick Boyle Quartet featuring: Patrick Boyle, trumpet Brent Jarvis, piano Sean Drabitt, double bass Hans Verhoeven, drums Victoria’s top flight jazz musicians perform original music and music by Canadian composers. 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 Emerging Artists Alumni Series Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/010816-LindseyHerle/010816-Lindseyherle_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/010816-LindseyHerle/010816-Lindseyherle_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/010816-LindseyHerle/010816-Lindseyherle_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/010816-LindseyHerle/010816-Lindseyherle_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/010816-LindseyHerle/010816-Lindseyherle_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 Emerging Artists Alumni Series Lindsey Herle, violin Creator An entity primarily responsible for making the resource Allyssa Haigh Date A point or period of time associated with an event in the lifecycle of the resource January 8, 2016 Contributor An entity responsible for making contributions to the resource Lindsey Herle, violin https://finearts.uvic.ca/music/archive/files/original/4c47368c53b7b45c9a73dd589c9d3900.pdf e48417d18918b446075e5a36eb2fdb28 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC Emerging Artists Alumni Series Tasha Meisami Farivar, voice Braden Young, piano Brian Desjarlais, guitar Please turn off all electronic devices during the performance and refrain from applauding during song cycles. Saturday, October 22, 2016 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation �PROGRAM “Seguidilla” Carmen’s aria from Carmen Georges Bizet (1838–1875) Alban Berg (1885–1935) Seben Frühe Lieder Nacht Schilflied Die Nachtigal Traumgekrönt Im Zimmer Liebesode Sommertage I NT E R M I S S I O N 3 Selections from Schwanengesang Ständchen Das Fischermädchen Aufenthalt Hungarian Fantasy Brian Desjarlais, guitar Franz Schubert (1797–1828) Arr. J. K. Mertz J. K. Mertz (1806–1856) Fêtes Galantes En Sourdin Fantoches Claire de Lune Claude Debussy (1862–1918) “Sein wir wieder gut” Composer’s Aria from Ariadne auf Naxos Johannes Strauss (1864–1949) Braden Young, piano �PROGRAM NOTES Georges Bizet In a career cut short by his early death, Georges Bizet achieved few successes before his final work, Carmen, became one of the most popular and frequently performed works in the entire opera repertory. He was recognised as an outstanding pianist, though he chose not to capitalise on this skill and rarely performed in public. Returning to Paris after almost three years in Italy, he found that the main Parisian opera theatres preferred the established classical repertoire to the works of newcomers. His keyboard and orchestral compositions were likewise largely ignored; as a result, his career stalled, and he earned his living mainly by arranging and transcribing the music of others. Alban Berg Alban Berg is an Austrian composer who wrote atonal and 12-tone compositions that remained true to late 19th-century Romanticism. He composed orchestral music (including Five Orchestral Songs, 1912), chamber music, songs, and two groundbreaking operas, Wozzeck (1925) and Lulu (1937). Encouraged by his father and older brother, Alban Berg began to compose music without benefit of formal instruction. During this period his output consisted of more than 100 songs and piano duets, most of which remain unpublished. Berg’s powerful and complex works draw from a broad range of musical resources but are chiefly shaped by a few central techniques: the use of a complex chromatic expressionism, which nearly obscures, yet actually remains within, the framework of traditional tonality; the recasting of classical musical forms with atonal content—i.e., abandoning traditional tonal structure dependent upon a centrally important tone; and a deft handling of the 12-tone approach developed by Schoenberg as a method of structuring atonal music. Franz Schubert Franz Schubert is considered the last of the classical composers and one of the first romantic ones. Schubert’s music is notable for its melody and harmony. Like the poets whose work he wrote his music around, Schubert was an unrivaled master of lyrical beauty. His vocal contributions, more than 500 in all, were written for male and female voices, as well as mixed voices. Schubert produced masterful works with rich harmonies and legendary melodies for a variety of genres, and his influence proved considerable with later composers like Robert Schumann, Johannes Brahms and Hugo Wolf. And for some musical historians, his much praised “Ninth Symphony” opened the way for other greats like Anton Bruckner and Gustav Mahler. Claude Debussy Along with Maurice Ravel, Claude Debussy was one of the most prominent figures associated with Impressionist music, though he himself intensely disliked the term when applied to his compositions. In France, he was made Chevalier of the Legion of Honour in 1903. A crucial figure in the transition to the modern era in Western music, he remains one of the most famous and influential of all composers. His music is noted for its sensory component and for not often forming around one key or pitch. Debussy’s work usually reflected the activities or turbulence in his own life. In French literary circles, the style of this period was known as symbolism, a movement that directly inspired Debussy both as a composer and as an active cultural participant. �Richard Strauss Richard Strauss was a leading German classical composer of the late Romantic and early modern eras best known for his operas Der Rosenkavalier and Salome, based on the play by Oscar Wilde. Hitler was a strong supporter of Strauss’ work and he was allowed to continue performing even while the works of Debussy, Mahler and Mendelssohn were being banned during the Nazi regime. Inspired initially by Berlioz and Brahms his first compositions were more classical in nature, before he moved in the direction of the more uninhibited romanticism of Liszt and Wagner. By his early twenties Strauss had composed a considerable amount of music, but it was with his first “Tone Poem” Don Juan in 1889 that his career was to take an upward turn. Having written several tone poems to major acclaim, Strauss turned first to writing operas, and then to conducting, his longest lasting post being with the Berlin Philharmonic for 12 years. During this time his compositional output declined to near zero, but then in later life a last spurt of creativity resulted in a number of mature works seeming in part to return to a more classical form. BIOGRAPHIES Tasha Meisami Farivar (B.Mus ‘14), a Victoria native, completed her degree at the University of Victoria with Benjamin Butterfield. In 2012, she participated in the Vancouver International Song Institute (VISI) summer program at the University of British Columbia, and performed in a fundraiser alumni concert with Benjamin Butterfield, Martha Guth, Tyler Duncan, Erika Switzer and Laura Lowen in January 2015. Tasha has also performed as an alto soloist in the Victoria Chamber Orchestra production of Mozart’s Requiem in 2011, and in West Vancouver with the Pacific Spirit Choir and Orchestra 2014. She performed in the Philomela Woman’s Choir production of Pergolesi’s Stabat Mater, University of Victoria Chorus and Orchestra productions of Mozart’s Vesperae Solennes de Confessorae in 2013, and Bruckner’s Mass in F minor and Via Choralis’ production of Handel’s Messiah in December 2014. She also performed as an alto soloist in Haydn’s Paukenmesse with the Sooke Philharmonic, Spring 2014. Tasha competed in the 2014 Greater Victoria Performing Arts Festival winning the Rose Bowl award and the Roberto and Mary Wood Scholarship, which led her to compete at the Performing Arts BC Provincials in the National category. Tasha was accepted into the Amalfi Coast Summer Opera program in 2015 where she played the role of Ciesca in Pucini’s Gianni Schichi in Naples, Italy, and the Amalfi Coast. In 2015, Tasha also performed with the Pacific Opera Victoria chorus in productions of Lucia di Lammermoor and Madama Butterfly and landed a leading role in Fear No Opera’s production of An Italian Girl in London, as Madama Brillante. Last year Tasha was an alto soloist in the Bach, Vivaldi, and CPE Bach Magnificat with Paul Colthorpe and the North Island Spirit choir. Tasha also performed in this year’s Sooke Philharmonic production of Mozart’s Vesperae Solennes de Confessorae. Currently Tasha is working with Pacific Opera again for their premier of Verdi’s Simone Boccanegra, in the role of Amelia’s maid, Angella as well as part of the Chorus. �Brian Desjarlais (M.Mus ‘13) is an accomplished Canadian classical guitarist based in Victoria, BC. Born in Windsor, Ontario, Brian began studying guitar at the age of 8. His first teacher guided Brian into the realm of classical guitar music and a lifelong passion was ignited. Brian holds a Bachelor’s of Music Performance from the University of Windsor, where he studied under acclaimed Michigan guitarist Steven Dearing. After spending a number of years teaching and performing throughout Southwestern Ontario, Brian relocated to the west coast of Canada to study with the internationally renowned guitarist Dr. Alexander Dunn at the University of Victoria. Brian completed his Masters of Music Performance degree in 2014. Throughout the years, Brian has performed in master classes with such guitar greats as Pepe Romero, Marcin Dylla and Kazuhito Yamashita. While at the University of Windsor, Brian twice won the Arlene Janzen Memorial Scholarship for excellence in performance. In 2008 he won the Ron Ianni Scholarship, awarded to the student recognized in competition as the top performer in the school. In 2012 Brian was granted a graduate fellowship award to study at the University of Victoria. Brian is an active performer, both as a soloist and as a member of numerous ensembles. He is a great supporter of new music, having performed in the Canadian premieres of works by David Jaffe and Tim Brady, as well as in a variety of student compositions during his time at the University of Victoria. Born in Grand Forks, BC, Braden Young began studying piano at the age of seven. He entered the Camosun College Piano Performance Diploma Program with Dr. Jamie Syer at age 16 and graduated two years later winning the prestigious Irving K. Barber Scholarship. He completed his undergraduate degree in Music Scholarship (Piano) at UBC in the studio of Dr. Corey Hamm. Braden has won many solo and collaborative piano awards including the JVPAF Lieder Accompanist award 2012 and the Erzsebet Gessler Memorial Scholarship 2010. He has also been the collaborative pianist for two recent winners of the Roberto and Mary Wood Scholarship (2012/2014). In the past several years, he has organized and participated in benefit concerts for the First Unitarian Church of Victoria, Cambodia Support Group, the MS Society and a collaborative concert to support his studies at the University of Toronto. Last summer, Braden had the privilege of attending the Centre for Opera Studies in Italy. He has been awarded the Women’s Musical Club of Toronto Foundation Graduate Fellowship (2014-2016), the Philcox Collaborative Piano Scholarship and a University Fellowship. Braden is completing his Master’s Degree in Collaborative Piano at the University of Toronto, in the studio of Steven Philcox. Upon completion of his degree, Braden will be relocating to Victoria, BC to begin his career. �TEXT & TRANSLATIONS Seguidille Près des remparts de Séville, Chez mon ami, Lillas Pastia J’irai danser la Séguedille Et boire du Manzanilla. J’irai chez mon ami Lillas Pastia. Oui, mais toute seule on s’ennuie, Et les vrais plaisirs sont à deux; Donc, pour me tenir compagnie, J’emmènerai mon amoureux! Mon amoureux, il est au diable, Je l’ai mis à la porte hier! Mon pauvre coeur très consolable, Mon coeur est libre comme l’air! J’ai les galants à la douzaine, Mais ils ne sont pas à mon gré. Voici la fin de la semaine; Qui veut m’aimer? Je l’aimerai! Qui veut mon âme? Elle est à prendre. Vous arrivez au bon moment! J’ai guère le temps d’attendre, Car avec mon nouvel amant, Près des remparts de Séville, Chez mon ami, Lillas Pastia! Near the ramparts of Seville At the place of my friend, Lillas Pastia I will go to dance the Seguedilla And to drink Manzanilla. I will go to the place of my friend, Lillas Pastia. Yes, but all alone, one gets bored, And the real pleasures are for two; So, to keep me company, I will take away my lover. My lover, he has gone to the devil, I put him out yesterday! My poor heart, very consolable, My heart is free, like the air! I have suiters by the dozen, But, they are not to my taste. Here it is the weekend; Who wants to love me? I will love him! Who wants my soul? It¹s for the taking. You’re arriving at the right time! I have hardly the time to wait, For with my new lover, Near the ramparts of Seville At the place of my friend, Lillas Pastia! Seben Frühe Lieder Nacht Dämmern Wolken über Nacht und Tal, Nebel schweben, Wasser rauschen sacht. Nun entschleiert sich’s mit einemmal: O gib Acht! Gib Acht! Weites Wunderland ist aufgetan. Silbern ragen Berge, traumhaft groß, Stille Pfade silberlicht talen Aus verborg’nem Schoß; Und die hehre Welt so traumhaft rein. Stummer Buchenbaum am Wege steht Schattenschwarz, ein Hauch vom fernen Hain Einsam leise weht. Und aus tiefen Grundes Düsterheit Blinken Lichter auf in stummer Nacht. Trinke Seele! Trinke Einsamkeit! O gib Acht! Gib Acht! Night    The clouds embrown the night and valley; the mists float above, the water rushing gently. Now all at once they unveil themselves: o listen! pay heed! A broad land of wonder has opened up. Silver mountains rise up, fantastically huge, silent paths lit with silver from the hidden lap of the valley; and the noble world is so dreamily pure. A mute beech stands by the path, black with shadows; a breeze from a distant, lonely grove wafts gently by. And from the deep darkness of the valley flash lights in the silent night. Drink, my soul! Drink in this solitude! O listen! pay heed! Schilflied  Auf geheimem Waldespfade Schleich’ ich gern im Abendschein An das öde Schilfgestade, Mädchen, und gedenke dein! Wenn sich dann der Busch verdüstert, Rauscht das Rohr geheimnisvoll, Und es klaget und es flüstert, Daß ich weinen, weinen soll. Und ich mein’, ich höre wehen Leise deiner Stimme Klang, Und im Weiher untergehen Deinen lieblichen Gesang. Reed Song Along a secret forest path I like to creep in the evening light; I go to the desolate, reedy banks, and think, my maiden, of you! As the bushes grow dark, the reeds hiss mysteriously, and lament and whisper, and thus I have to weep and weep. And I think that I hear wafting the gentle sound of your voice, and down into the pond sinks your lovely song. �Die Nachtigall Das macht, es hat die Nachtigall Die ganze Nacht gesungen; Da sind von ihrem süßen Schall, Da sind in Hall und Widerhall Die Rosen aufgesprungen. Sie war doch sonst ein wildes Blut, Nun geht sie tief in Sinnen, Trägt in der Hand den Sommerhut Und duldet still der Sonne Glut Und weiß nicht, was beginnen. The Nightingale  It happened because the nightingale sang the whole night long; from her sweet call, from the echo and re-echo, roses have sprung up. She was but recently a wild blossom, and now she walks, deep in thought; she carries her summer hat in her hand, enduring quietly the heat of the sun, knowing not what to begin. Traumgekrönt  Das war der Tag der weißen Chrysanthemem, Mir bangte fast vor seiner Pracht… Und dann, dann kamst du mir die Seele nehmen Tief in der Nacht. Mir war so bang, und du kamst lieb und leise, Ich hatte grad im Traum an dich gedacht. Du kamst, und leis’ wie eine Märchenweise Erklang die Nacht. Crowned in a dream  That was the day of the white chrysanthemums, I was almost intimidated by its glory… And then, then you came to take my soul deep in the night. I was so worried, and you came so lovingly and quietly, I had just thought of you in a dream. You came, and softly the night resounded like a fairy tale song. Im Zimmer Herbstsonnenschein. Der liebe Abend blickt so still herein. Ein Feuerlein rot Knistert im Ofenloch und loht. So, mein Kopf auf deinen Knie’n, So ist mir gut. Wenn mein Auge so in deinem ruht, Wie leise die Minuten zieh’n In the chamber Autumn sunlight. The lovely evening peers so quietly in. A little red fire crackles in the stove and flares up. And with my head upon your knee, I am contented. When my eyes rest in yours, how gently do the minutes pass! Liebesode Im Arm der Liebe schliefen wir selig ein, Am offnen Fenster lauschte der Sommerwind, Und unsrer Atemzüge Frieden trug er hinaus in die helle Mondnacht. Und aus dem Garten tastete zagend sich ein Rosenduft an unserer Liebe Bett Und gab uns wundervolle Träume, Träume des Rausches, so reich an Sehnsucht. Love Song In the arms of love we fell blissfully asleep; at the open window the summer wind listened and carried the peacefulness of our breath out into the bright, moonlit night. And out of the garden, feeling its way randomly, the scent of roses came to our bed of love and gave us wonderful dreams, dreams of intoxication, rich with yearning. Sommertage Nun ziehen Tage über die Welt, Gesandt aus blauer Ewigkeit, Im Sommerwind verweht die Zeit. Nun windet nächtens der Herr Sternenkränze mit seliger Hand Über Wander- und Wunderland. O Herz, was kann in diesen Tagen Dein hellstes Wanderlied denn sagen Von deiner tiefen, tiefen Lust: Im Wiesensang verstummt die Brust, Nun schweigt das Wort, wo Bild um Bild Zu dir zieht und dich ganz erfüllt. Summer days Now the days drag through the world, sent forth from blue eternity; time dissipates in the summer wind. Now at night the Lord weaves with blessed hand wreaths of stars above the wandering wonderland. In these days, o my heart, what can your brightest wanderer’s song then say about your deep, deep pleasure? In meadowsong the heart falls silent; now there are no words, and image upon image visits you and fills you entirely. �Selections from Schwanengesang: Ständchen Leise flehen meine Lieder Durch die Nacht zu dir; In den stillen Hain hernieder, Liebchen, komm zu mir! Serenade My songs beckon softly through the night to you; below in the quiet grove, Come to me, beloved! Flüsternd schlanke Wipfel rauschen In des Mondes Licht; Des Verräters feindlich Lauschen Fürchte, Holde, nicht. The rustle of slender leaf tips whispers in the moonlight; Do not fear the evil spying of the betrayer, my dear. Hörst die Nachtigallen schlagen? Ach! sie flehen dich, Mit der Töne süßen Klagen Flehen sie für mich. Do you hear the nightingales call? Ah, they beckon to you, With the sweet sound of theirsinging they beckon to you for me. Sie verstehn des Busens Sehnen, Kennen Liebesschmerz, Rühren mit den Silbertönen Jedes weiche Herz. They understand the heart’s longing, know the pain of love, They calm each tender heart with their silver tones. Laß auch dir die Brust bewegen, Liebchen, höre mich! Bebend harr’ ich dir entgegen! Komm, beglücke mich! Let them also stir within your breast, beloved, hear me! Trembling I wait for you, Come, please me! Das Fischermädchen Du schönes Fischermädchen, Treibe den Kahn ans Land; Komm zu [mir und setze]1 dich nieder, Wir kosen Hand in Hand. Beautiful Fishermaiden Pull your boat toward shore; Come to me and sit down, We will speak of love, hand in hand. Lay your little head on my heart, Leg an mein Herz dein Köpfchen Und fürchte dich nicht [zu]2 sehr; [Vertraust du dich]3 doch sorglos Täglich dem wilden Meer. And do not be too frightened; Indeed, you trust yourself fearlessly Daily to the wild sea! Mein Herz gleicht ganz dem Meere, Hat Sturm und Ebb’ und Flut, Und manche schöne Perle In seiner Tiefe ruht. My heart is just like the sea, Having storms and ebb and flow, And many beautiful pearls Rest in its depths. Aufenthalt Rauschender Strom, Brausender Wald, Starrender Fels Mein Aufenthalt. Dwelling Rushing torrent, Howling forest, Awesome crag, My dwelling. Wie sich die Welle An Welle reiht, Fließen die Tränen Mir ewig erneut. Just as each wave follows upon the last, My tears flow, Eternally renewed. Hoch in den Kronen Wogend sich’s regt, So unaufhörlich Mein Herze schlägt. High in the surging treetops’ sway My heart beats incessantly; Und wie des Felsen Uraltes Erz, Ewig derselbe Bleibet mein Schmerz. And, like the ore within the ancient stone, My pain remains unchanged forever. �Fêtes Galantes En Sourdain Calmes dans le demi-jour Que les branches hautes font, Pénétrons bien notre amour De ce silence profond. En Sourdain Calm in the half-day That the high branches make, Let us soak well our love In this profound silence. Fondons nos âmes, nos cœurs Et nos sens extasiés, Parmi les vagues langueurs Des pins et des arbousiers. Let us mingle our souls, our hearts And our ecstatic senses Among the vague langours Of the pines and the bushes. Ferme tes yeux à demi, Croise tes bras sur ton sein, Et de ton cœur endormi Chasse à jamais tout dessein. Close your eyes halfway, Cross your arms on your breast, And from your sleeping heart Chase away forever all plans. Laissons-nous persuader Au souffle berceur et doux Qui vient, à tes pieds, rider Les ondes des gazons roux. Let us abandon ourselves To the breeze, rocking and soft, Which comes to your feet to wrinkle The waves of auburn lawns. Et quand, solennel, le soir Des chênes noirs tombera Voix de notre désespoir, Le rossignol chantera. And when, solemnly, the evening From the black oaks falls, The voice of our despair, The nightingale, will sing. Fantoches Scaramouche et Pulcinella, Qu’un mauvais dessein rassembla, Gesticulent noirs sous la lune, Fantoches Scaramouche and Pulcinella, brought together by some evil scheme gesticulate, black beneath the moon. Cependant l’excellent docteur Bolonais Cueille avec lenteur des simples Parmi l’herbe brune. Meanwhile, the learned doctor from Bologna slowly gathers medicinal herbs in the brown grass. Lors sa fille, piquant minois, Sous la charmille, en tapinois, Se glisse demi-nue, Then his sassy-faced daughter sneaks underneath the arbor half-naked, in quest En quête de son beau pirate espagnol, Dont un langoureux rossignol Clame la détresse à tue-tête. Of her handsome Spanish pirate, whose distress a languorous nightingale deafeningly proclaims. Claire de Lune Votre âme est un paysage choisi Que vont charmant masques et bergamasques, Jouant du luth et dansant, et quasi Tristes sous leurs déguisements fantasques! Clair de Lune Your soul is a chosen landscape charmed by masquers and revellers playing the lute and dancing and almost sad beneath their fanciful disguises! Tout en chantant sur le mode mineur L’amour vainqueur et la vie opportune. Ils n’ont pas l’air de croire à leur bonheur, Et leur chanson se mêle au clair de lune, Even while singing, in a minor key, of victorious love and fortunate living they do not seem to believe in their happiness, and their song mingles with the moonlight, Au calme clair de lune triste et beau, Qui fait rêver, les oiseaux [dans]1 les arbres, Et sangloter d’extase les jets d’eau, Les grands jets d’eau sveltes parmi les marbres. The calm moonlight, sad and beautiful, which sets the birds in the trees dreaming, and makes the fountains sob with ecstasy, the tall slender fountains among the marble statues! �Composer’s Aria Sein wir wieder gut. Ich sehe jetzt alles mit anderen Augen! Die Tiefen des Daseins sind unermeßlich! Mein lieber Freund! Es gibt manches auf der Welt, Das läßt sich nicht sagen. Die Dichter unterlegen ja recht gute Worte, Jedoch Mut ist in mir, Mut Freund! Die Welt ist lieblich Und nicht fürchterlich dem Mutigen. Was ist denn Musik? Musik ist eine heilige Kunst zu versammeln Alle Arten von Mut wie Cherubim Um einen strahlenden Thron Und darum ist sie die heilige unter dem Künsten Die heilige Musik! Let us be reconciled! Now I see everything with different eyes! The profoundness of existence is immeasurable! My dear friend, there are many things in the world which cannot be expressed in speech. The poets put down very good words, and yet, and yet, and yet --! Courage is in me, friend. The world is lovely and not frightening to the courageous man. And what is music, then? Music is a sacred art, to gather all kinds of courage like cherubim before a shining throne! And therefore is music sacred among the arts! �UPCOMING EVENTS TUESDAY, OCTOBER 25 | 12:30 PM (Admission by donation) Tuesdaymusic Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring UVic School of Music students. Phillip T. Young Recital Hall WEDNESDAY OCTOBER 26 | 8 PM (Free Admission) Graduating Recital: David Gagnon, conducting David Gagnon presents his Masters of Music graduating recital in conducting. Phillip T. Young Recital Hall FRIDAY, OCTOBER 28 | 12:30 PM (Admission by donation) Fridaymusic Featuring UVic School of Music brass students in a concert of varied repertoire. This concert will be broadcast live at finearts.uvic.ca/music/events/live/ Phillip T. Young Recital Hall FRIDAY, OCTOBER 28 | 8 PM ($10-$20) UVic Orchestra: Nordic Light Ajtony Csaba, conductor Grieg – Piano Concerto in A minor, Op.16 featuring UVic Concerto Competition Winner, Muzi Xu Grieg – Peer Gynt Suites (selection) Grieg – Holberg Suite (selection) University Centre Farquhar Auditorium SATURDAY, OCTOBER 29 | 8 PM ($10-$20) Faculty Chamber Music Series Members of UVic’s Performance Faculty join on stage to present an evening of chamber music. The program will include many familiar faces as well as a brass quintet with our newest faculty member Merrie Klazek on trumpet. Performing music by Schubert, Ewald, Brahms, Piazzolla, and more! 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 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 Emerging Artists Alumni Series Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/102216-EmergingArtists/102216-EmergingArtists_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/102216-EmergingArtists/102216-EmergingArtists_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/102216-EmergingArtists/102216-EmergingArtists_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/102216-EmergingArtists/102216-EmergingArtists_04.mp3">Track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/102216-EmergingArtists/102216-EmergingArtists_05.mp3">Track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/102216-EmergingArtists/102216-EmergingArtists_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 Emerging Artists Alumni Concert Creator An entity primarily responsible for making the resource Adam Jasieniuk Date A point or period of time associated with an event in the lifecycle of the resource October 22, 2016 Contributor An entity responsible for making contributions to the resource Tasha Meisami Farivar, voice Braden Young, piano Brian Desjarlais, guitar https://finearts.uvic.ca/music/archive/files/original/8ec88489f9d78b74454b2507756268f9.pdf e4e3c76b4879501ca04644ac906a6cc0 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC Emerging Artists Alumni Series Isaiah Bell, tenor (B.Mus ‘08) With Anna Cal, piano Sunday, October 30, 2016 • 2:30 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation �PROGRAM J’ai cueilli la belle rose Susannah’s Wedding Song Song of Black Max Nannas Lied I Ain’t That Kind of a Baby Dichterliebe, no. 1 – 5 The Laziest Gal in Town J’ai perdu mon amant Down by the Salley Gardens Traditional I. Bell text: Song of Solomon W. Bolcom (b. 1938) text: A. Weinstein (1927–2005) K. Weill (1900–1950) text: B. Brecht (1898–1956) S. Fain text: I. Kahal & A. Britt Robert Schumann (1810–1856) text: H. Heine (1797–1856) Cole Porter (1891–1964) Traditional Traditional, arr. B. Britten (1913–1976) text: W.B. Yeats (1865–1939) La Diva de l’Empire E. Satie (1866–1925) text: D. Bonnaud (1864–1943) & N. Blès (1871–1917) Winterreise, no. 6 & 7 F. Schubert (1797–1828) text: W. Müller (1794–1827) Is That All There Is? M. Stoller (b. 1933) text: J. Lieber (1933–2011) Doin’ the Raccoon J. F. Coots (1897–1985) text: R. W. Klages (1888–1947) Roman Summer My love is like a red, red rose I. Bell Traditional/R. Burns (1759–1796) �ISAIAH BELL The New York Times described Canadian-American tenor Isaiah Bell’s 2013 portrayal of the Madwoman in Britten’s Curlew River, directed by Mark Morris, as “a performance of haunting beauty, ideally depicting emotional distraction with ultimate economy and glowing vocal skill.” Isaiah returns to this production in March 2017, at the Brooklyn Academy of Music. Some of Isaiah’s recent engagements include Lysander in A Midsummer Night’s Dream at l’Opéra-Théâtre de Metz in France, Almaviva in Il barbiere di Siviglia at Opera Lyra Ottawa, Strauss’s Elektra at l’Opéra de Montréal under Yannick Nézét-Séguin, and Handel’s Ode for St. Cecilia’s Day and Messiah with Nicholas McGegan and the Philharmonia Baroque Orchestra in San Francisco. In the coming months he’ll sing Messiah and Weill’s Seven Deadly Sins with the Toronto Symphony, and the Celebrant in Bernstein’s MASS with the Bach Choir of Bethlehem. He also makes appearances with the Calgary Philharmonic, the Seattle Symphony, the Nashville Symphony, and the St. Paul Chamber Orchestra. In Victoria this season, he’ll sing tenor solos in Mozart’s Requiem and Handel’s Joshua with the Victoria Choral Society, and in Monteverdi’s Vespers with the Victoria Philharmonic Choir. Isaiah appears on the Decca recording of the Honegger/Ibert opera L’Aiglon with l’Orchestre symphonique de Montréal under Kent Nagano, and two discs of German baroque cantatas — including the Juno-nominated The Heart’s Refuge — with Daniel Taylor’s Theatre of Early Music. He is also active as a composer and librettist. In January 2017 his theatre-opera-dancedrag monstrosity Mewsy the Adulteress will premiere at the Buddies in Bad Times cabaret space in Toronto. Isaiah Bell is an alumnus of the University of Victoria School of Music where he studied voice with Alexandra Browning Moore and Benjamin Butterfield. He is also a graduate of the Calgary Opera Emerging Artist Program, l’Atelier lyrique de l’Opéra de Montréal, and the Tanglewood Music Centre. 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 Emerging Artists Alumni Series Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_01.mp3">Track01</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_Talk_01.mp3">Talk1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_02.mp3">Track02</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_03.mp3">Track03</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_Talk_02.mp3">Talk2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_04.mp3">Track04</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_Talk_03.mp3">Talk3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_05.mp3">Track05</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_06.mp3">Track06</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_Talk_04.mp3">Talk4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_07.mp3">Track07</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_Talk_05.mp3">Talk5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_08.mp3">Track08</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_Talk_06.mp3">Talk6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_09.mp3">Track09</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_10.mp3">Track10</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_Talk_07.mp3">Talk7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_11.mp3">Track11</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_Talk_08.mp3">Talk8</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_12.mp3">Track12</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_Talk_09.mp3">Talk9</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_13.mp3">Track13</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 Emerging Artists Alumni Series - Isaiah Bell Creator An entity primarily responsible for making the resource Adam Jasieniuk Date A point or period of time associated with an event in the lifecycle of the resource October 30, 2016 Contributor An entity responsible for making contributions to the resource Isaiah Bell, tenor Anna Cal, piano https://finearts.uvic.ca/music/archive/files/original/521e532416f4c0e3cdb645698205846a.pdf 3624284714edd36c0bc8d0cc18407e3c PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC Emerging Artists Alumni Series Featuring: Sydney Tetarenko, clarinet (B.Mus ‘13) Jiten Beairsto, violin (B.Mus ‘14) Emily Burton, cello (B.Mus ‘11) Natalie Lo, piano Saturday, January 7, 2017 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation �PROGRAM Quatuor pour la Fin du Temps Olivier Messiaen I. Liturgie de cristal (1908–1992) II. Vocalise, pour l’Ange qui annonce la fin du Temps III. Abîme des oiseaux IV. Intermède V. Louange à l’Éternité de Jésus VI. Danse de la fureur, pour les sept trompettes VII. Fouillis d’arcs-en-ciel, pour l’Ange qui annonce la fin du Temps VIII. Louange à l’Immoralité de Jésus I NT E R M I S S I O N Contrasts, Sz. 111 Béla Bartók I. Verbunkos (Recruiting Dance) (1885–1945) II. Pihenö (Relaxation) III. Sebes (Fast Dance) �PROGRAM NOTES FOREWORD Today, music students are about as likely to encounter Messiaen and Bartók in a musicology textbook as a concert hall. Perhaps these composers deserve some of the blame: this is music that is often easier to analyze than to perform. Messiaen, especially early in his career, was exceptionally keen to explain his compositional systems, and Bartók was, for a while, held in higher esteem as an ethnomusicologist than as a composer. The similarities continue: both composers were fascinated by complex rhythms, symmetrical constructions, modal harmonies, and, most significantly, the music of non-Western European cultures. All of Bartók’s music finds its roots in the folk music of his native Hungary, while Messiaen absorbed influences from all across the globe. To take but one example, the complex rhythms found in the Quartet, which have perplexed a great many classically-trained musicians, are standard fare in Indian music. None of this adequately explains why so many performers — and audiences — do in fact choose to brave the difficulties and experience this music live. Nor, for that matter, does it explain how the two pieces programmed tonight are so spectacularly different in affect. Messiaen’s Quartet is most often ethereal and serene, with tempi oscillating between slow and impossibly slow. Its harmonies, while highly unusual, strike the listener as lush more than discordant. Its gaze is inevitably skyward — either towards birds, as in the clarinet movements (I. and III.) or towards God, as in the solo string movements (V. and VIII.). In those string movements especially, we can hear what sustains this piece most of all over the course of eight movements and fifty minutes: incredibly long, beautiful melodies and the love they represent. Bartók’s Contrasts, meanwhile, is driven by one quality the Quartet lacks: play. Play on the part of the composer, undoubtedly, but even more on the part of the performers. Despite all the academic fascinations held within, Contrasts is a fantastically fun way for players to show off their chops. The outer movements, both dances, are viscerally thrilling, if occasionally obnoxious. To my ears, it is a celebration of humanity, as earth-bound as the Quartet is otherworldly. There is, however, one other unifying thread that ties these two works together, one that offers what might be the most important way in for the listener: a common purpose. Both works were composed facing the spectre of war and Nazism, albeit much more literally in the case of Messiaen. In what is probably the most dramatic origin story of any piece of classical music, he composed and premiered the Quartet in 1940-41 while imprisoned in a prisoner-of-war camp in Germany. Contrasts was composed only a couple years earlier, shortly before Bartók, horrified at what he saw taking place in Europe, chose to flee to the United States and entered an extended period of compositional unproductivity. The music itself is of lasting power and importance, but so is the simple fact that two great artists, confronted with the worst of humanity, chose to continue making great art. — Jiten Beairsto �Quartet for the End of Time (1941) Olivier Messiaen (1908–1992) I. Crystal liturgy. Between three and four in the morning, the awakening of birds: a solo blackbird or nightingale improvises, surrounded by a shimmer of sound, by a halo of trills lost very high in the trees. Transpose this onto a religious plane and you have the harmonious silence of Heaven. II. Vocalise, for the Angel who announces the end of Time. The first and third parts (very short) evoke the power of this mighty angel, a rainbow upon his head and clothed with a cloud, who sets one foot on the sea and one foot on the earth. In the middle section are the impalpable harmonies of heaven. In the piano, sweet cascades of blue-orange chords, enclosing in their distant chimes the almost plainchant song of the violin and cello. III. Abyss of the birds. Clarinet solo. The abyss is Time with its sadness, its weariness. The birds are the opposite to Time; they are our desire for light, for stars, for rainbows, and for jubilant songs! IV. Interlude. Scherzo. Of a more outgoing character than the other movements but related to them, nonetheless, by various melodic references. V. Praise to the Eternity of Jesus. Jesus is considered here as the Word. A broad phrase, “infinitely slow,” on the cello, magnifies with love and reverence the eternity of the Word, powerful and gentle, “whose time never runs out.” The melody stretches majestically into a kind of gentle, regal distance. “In the beginning was the Word, and Word was with God, and the Word was God.” VI. Dance of fury, for the seven trumpets. Rhythmically, the most characteristic piece of the series. The four instruments in unison imitate gongs and trumpets (the first six trumpets of the Apocalypse followed by various disasters, the trumpet of the seventh angel announcing consummation of the mystery of God). Use of added values, of augmented or diminished rhythms, of non-retrogradable rhythms. Music of stone, formidable granite sound; irresistible movement of steel, huge blocks of purple rage, icy drunkenness. Hear especially the terrible fortissimo of the augmentation of the theme and the changes of register of its different notes, towards the end of the piece. VII. Cluster of rainbows, for the angel who announces the end of Time. Here certain passages from the second movement recur. The angel appears in full force, especially the rainbow that covers him (the rainbow, symbol of peace, wisdom, and all luminescent and sonorous vibration). – In my dreams, I hear and see ordered chords and melodies, known colors and shapes; then, after this transitional stage, I pass through the unreal and submit with ecstasy to a gyrating vortex of superhuman sounds and colours. These swords of fire, this blue-orange lava, these sudden stars: there is the tangle, there are the rainbows! VIII. Praise to the Immortality of Jesus. Large violin solo, counterpart to the violoncello solo of the 5th movement. Why this second eulogy? It is especially aimed at the second aspect of Jesus, Jesus the Man, the Word made flesh, immortally risen for our communication of his life. It is all love. Its slow ascent to the acutely extreme is the ascent of man to his god, the child of God to his Father, the being made divine towards Paradise. �And I repeat anew what I said above: “All this is mere striving and childish stammering if one compares it to the overwhelming grandeur of the subject!” Original descriptions by Olivier Messiaen, translation from https://en.wikipedia.org/wiki/Quatuor_pour_la_fin_du_temps Contrasts (1938) Béla Bartók (1881–1945) Though this work was officially commissioned by jazz clarinetist Benny Goodman, it was Hungarian violinist Joseph Szigeti who originated talk of a new work with Bartók. The original performance omitted the second movement and named the work “Rhapsody,” but following this premiere, Bartók retitled the piece and performed the full three movements alongside Goodman and Szigeti. This piece demonstrates the folk influences that are so much a part of Bartók’s unique compositional style. I. Verbunkos. This movement is composed in the style of a Recruiting Dance, used to recruit citizens to the army. Hence it has a steady, measured rhythm, and memorable melody, which is heavily embellished upon. Many characteristics of the music are derived from military marches. II. Pihenö. Titled relaxation, this movement is atmospheric and lacks a clear, steady pulse, in stark contrast to the surrounding material. III. Sebes. Notably featuring scordatura or “mistuned” violin to emulate the sound of a folk musician, this fast dance drives to the very end, making only a small detour into a more lyrical (but still forward moving) section with additive Bulgarian rhythms. — Sydney Tetarenko BIOGRAPHIES SYDNEY TETARENKO Sydney Tetarenko (B.Mus ‘13) is a clarinetist currently residing in Vancouver, British Columbia. She is a musician with great passion for both performing and educating. Sydney completed her Bachelor of Music with distinction, majoring in clarinet performance at the University of Victoria under the tutelage of Professor Patricia Kostek, and has a Masters in Orchestral Music Performance from the University of British Columbia, from the studio of Jenny Jonquil. Sydney has performed with the Vancouver Symphony Orchestra, Vancouver Metropolitan Orchestra, Vancouver Island Symphony Orchestra, Victoria Chamber Orchestra, and Chilliwack Symphony Orchestra, among many others. Sydney also plays in chamber groups of all sizes and instrumentation, most notably the Fireside Quintet, of which she is a core member. Sydney maintains a private clarinet studio and also teaches clinics at schools in the Victoria, Sooke and Calgary areas. She is currently the clarinet instructor at the Mozart School of Music. �JITEN BEAIRSTO Jiten Beairsto (B.Mus ‘14), a Vancouver native, is currently enrolled in the Master of Music program at the University of British Columbia under the instruction of David Gillham. At the University of Victoria he studied with Sharon Stanis and won the UVic Concerto Competition in 2012. He has participated in the National Youth Orchestra of Canada and has performed with ensembles such as the Victoria Symphony and the Galiano Ensemble. Jiten’s academic and professional interests extend far beyond classical music: he has completed a Bachelor’s degree in English and French literature and earns part of his living as a rope access technician. Like many classical musicians, Jiten enjoys performing a wide variety of genres, from symphonies to musical theatre, but none more so than chamber music, a passion he certainly attributes to his time spent studying with the Lafayette String Quartet. EMILY BURTON Emily Burton (B. Mus ‘11) grew up in Vernon, BC and attended the University of Victoria to earn degrees in both Cello Performance and Biochemistry. At UVic, she studied with Professor Pam Highbaugh-Aloni. Her musical studies have taken her to the Aspen Music Festival, Morningside Musicbridge in Shanghai, and the Quartet Program in New York. She has performed concertos with the Okanagan Symphony, Kamloops Symphony and UVic Orchestra. Emily is currently living in Vancouver and is in her 3rd year of pharmacy school at UBC. NATALIE LO Natalie Lo is a recent graduate of the University of British Columbia, where she has received her Bachelor Degree in Piano Performance, having studied with Dr. Corey Hamm. Upon graduation from UBC, she was awarded the Director’s Graduation Prize in Piano Performance. She has been highly successful in her competitive career including First and Top prizes at the Vancouver International Russian Music Festival, the Seattle International Piano Competition, the Canadian Music Competition, and the Stravinsky Awards Piano Competition of North America. Most recently, Natalie found success as a finalist at the Shean Competition, winning Fourth prize as well as the award for the Best Performance of the Test Piece. Natalie has been awarded the Youth Arts Award by the City of Richmond in recognition of her artistic achievements and her contributions to the cultural community. She has also been invited to perform at various showcases and charities, including the Vancouver 2010 Olympics. Natalie has performed concerti with various orchestras including the Vancouver Symphony Orchestra, the Vancouver Metropolitan Orchestra, the Seattle Symphony Orchestra, the Philharmonia Northwest of Seattle, and the UBC Symphony Orchestra. Natalie will be performing with the Vancouver Metropolitan Orchestra once again in their 2016/2017 concert season with Saint-Saëns’ second piano concerto. �UPCOMING EVENTS SUNDAY, JANUARY 8 | 2:30 PM ($10-$20) Faculty Concert Series: The Brass Menagerie Scott MacInnes, trombone & Paul Beauchesne, tuba Music by Vaughan-Williams, Pryor, Ewazen, Morricone and more. Proceeds will benefit the Eugene Dowling Scholarship for Tuba and Euphonium. Phillip T. Young Recital Hall WEDNESDAY, JANUARY 11 | 12:30 PM (Free Admission) First Year Graduate Recital: Betty Allison, soprano Soprano Betty Allison presents her first year Masters of Music graduate recital. Phillip T. Young Recital Hall FRIDAY, JANUARY 20 | 8 PM (Free admission) Orion Series in Fine Arts presents Melia Watras, viola & Michael Jinsoo Lim, violin Melia Watras is Professor of Viola and Chair of Strings at the University of Washington. Watras is also a composer and founding member of the Corigliano Quartet. She will be joined by Pacific Northwest Ballet Concertmaster and violinist of the Corigliano Quartet, Michael Jinsoo Lim, in a recital featuring works by Hindemith, Watras, and Mozart. Phillip T. Young Recital Hall SATURDAY, JANUARY 21 (Free admission) Orion Series in Fine Arts presents Masterclass (10:15 AM) and Concert (12 PM) Lorna McGhee, flute Scottish-born Lorna McGhee was appointed principal flute of the Pittsburgh Symphony Orchestra in 2012 and is principal flute of the Toronto Symphony Orchestra. Reception to follow Phillip T. Young Recital Hall SATURDAY, JANUARY 21 | 2:30 PM (Admission by donation) Saxophone Class Recital Featuring students from the studio of Wendell Clanton. 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 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 Emerging Artists Alumni Series Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/010717-EmergingArtists/010717-EmergingArtistsBeairsto_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/010717-EmergingArtists/010717-EmergingArtistsBeairsto_Talk_01.mp3">Talk1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/010717-EmergingArtists/010717-EmergingArtistsBeairsto_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 Emerging Artists Alumni Series - Beairsto et al Creator An entity primarily responsible for making the resource Adam Jasieniuk Date A point or period of time associated with an event in the lifecycle of the resource January 7, 2017 Contributor An entity responsible for making contributions to the resource Sydney Tetarenko, clarinet Jiten Beairsto, violin Emily Burton, cello Natalie Lo, piano https://finearts.uvic.ca/music/archive/files/original/4b6e28bea8b5dfad4f8b98dc9257454e.pdf 446d3490d93241e4994a021a62c6ced5 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC Emerging Artists Alumni Series English Music and Viola Encores Clayton Leung, viola & Lisa Tahara, piano We acknowledge that the land on which we gather is the traditional territory of the WSÁNEĆ (Saanich), Lkwungen (Songhees) and Wyomilth (Esquimalt) peoples of the Coast Salish Nation. Thursday, January 17, 2019 • 8 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation �PROGRAM Two Pieces for Viola and Piano (1908) 1. Allegro appassionato 2. Pensiero Romance (c. 1914) Frank Bridge (1879–1941) Ralph Vaughan Williams (1872–1958) Sonata for Viola and Piano (2016) 2nd Movement Stephen Brown (b. 1948) Sonata for Viola and Piano (1919) 1. Impetuoso 2. Vivace 3. Adagio Rebecca Clarke (1886–1979) I NT E R M I S S I O N Tango from Sarasateana (1984) Romanze Op. 85 (1911) Clair de lune (1905) Three Preludes (1926) 1. Allegro ben ritmato e deciso 2. Andante con moto 3. Agitato From My Heart (1993) Blue Tango (1995) Circus (1997) Efrem Zimbalist (1889–1985) Max Bruch (1838–1920) Claude Debussy (1862–1918) George Gershwin (1898–1937) Paul Coletti (b. 1959) �BIOGRAPHIES Born and raised in the Vancouver area, Clayton Leung began violin lessons at the age of three at the Langley Community Music School. He continued his studies at the University of Victoria and then pursued the viola at the Cleveland Institute of Music. Clayton was Principal Violist with the Newfoundland Symphony Orchestra, Ashland Symphony and the National Repertory Orchestra. He has also performed with the Victoria, Vancouver Island, New World Symphony and National Arts Centre Orchestras. As an avid chamber musician, he has performed in the Music at Memorial and the Atlantic String Quartet Recital series, and at the National Arts Centre, Toronto Summer Music Festival and the Vancouver Academy of Music. He has also been in residence at the Perlman Music Program, and the Orford and Banff Arts Centres. After joining the Edmonton Symphony Orchestra in 2013, Clayton has immersed himself in the local arts scene; making appearances at the Edmonton International Jazz Festival, Edmonton Recital Society, Early Music Alberta and Kent Sangster’s Obsessions Octet. He made his Edmonton Symphony Orchestra and Alberta Baroque Ensemble solo debut in February and March of 2016 respectively. In addition to performing he is also on faculty at the Grant MacEwan Conservatory of Music. Aside from playing violin and viola, Clayton is fond of playing the piano and ukulele, and in his free time he may be spotted around Edmonton sipping on lattes and lifting heavy weights in the gym. Dr. Lisa Tahara is a soloist, chamber musician, collaborative pianist and teacher currently living in Toronto, Ontario. Upon completion of her undergraduate degree from the University of Victoria, she moved to Toronto to begin her graduate studies. After receiving her Masters of Music, Lisa went on to pursue her Doctorate of Musical Arts degree, which she completed in 2015. Over the years, Lisa has won numerous prizes in festivals and competitions at the local, provincial and national level, including the Canadian Registered Music Teachers’ Association Competition, the Canadian Concerto Competition, the Canadian Music Competition, and the Shean Piano Competition. Since making her orchestral debut with the Burnaby Symphony Orchestra at fifteen, Lisa has performed with numerous orchestras across Canada, such as the Vancouver Symphony Orchestra, the Quebec Symphony Orchestra, the Georgian Bay Symphony Orchestra, and most recently, the Scarborough Philharmonic Orchestra. In addition to performing solo works, Lisa thoroughly enjoys playing chamber music and was invited to attend the Banff Collaborative Piano Internship in 2012 and 2014. She is also a founding member of the Amarok Ensemble. After their 2014 debut at Integral House, the Amarok Ensemble attended the 2015 St. Lawrence String Quartet Seminar in Stanford, California where they were featured in the International Showcase. In 2016, they performed a number of concerts at the Ottawa International Chamber Music Festival. � 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 Emerging Artists Alumni Series Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/011719-EmergingAlumniConcert/011719-EmergingAlumniConcert_1.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/011719-EmergingAlumniConcert/011719-EmergingAlumniConcert_2.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/011719-EmergingAlumniConcert/011719-EmergingAlumniConcert_3.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/011719-EmergingAlumniConcert/011719-EmergingAlumniConcert_4.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/011719-EmergingAlumniConcert/011719-EmergingAlumniConcert_5.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/011719-EmergingAlumniConcert/011719-EmergingAlumniConcert_6.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/011719-EmergingAlumniConcert/011719-EmergingAlumniConcert_7.mp3">track7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/011719-EmergingAlumniConcert/011719-EmergingAlumniConcert_8.mp3">track8</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/011719-EmergingAlumniConcert/011719-EmergingAlumniConcert_9.mp3">track9</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 Emerging Artists Alumni Series Creator An entity primarily responsible for making the resource Bezal Benny Date A point or period of time associated with an event in the lifecycle of the resource January 17, 2019 Contributor An entity responsible for making contributions to the resource Clayton Leung Lisa Tahara https://finearts.uvic.ca/music/archive/files/original/41d9ddd1c4257a22dbaa39c21bc1de22.pdf b8b8ca4bb905ffadd3630e3da77c35fc PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC ALUMNI CONCERT SERIES Liam Hockley bass clarinet Max Murray composition & tuba With Stephanie Bell flute Kristen Cooke oboe and English horn This concert is made possible with generous support from the University of Victoria Alumni Association. We acknowledge that the land on which we gather is the traditional territory of the WSÁNEĆ (Saanich), Lkwungen (Songhees) and Wyomilth (Esquimalt) peoples of the Coast Salish Nation. Tuesday, January 29, 2019 • 8 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation �PROGRAM Please hold your applause until the end of the program. Es ist genug Flute (bass), oboe (English horn), bass clarinet & tuba iv4 Flute (bass), oboe (English horn), bass clarinet & tuba Ad Marginem des Versuchs Bass clarinet & fixed media Kroó György in memoriam Solo bass clarinet J. S. Bach Mark Andre Max Murray György Kurtág Schatten Solo bass flute Hommage à Tristan English horn & bass clarinet For that which befalleth the sons of men befalleth beasts – as the one dieth, so dieth the other Max Murray Piccolo, English horn & fixed media Ballade No. 6 (“Doulz amis”) English horn & bass clarinet Versetto [apokrif organum] English horn & bass clarinet …in… Ajax Bass clarinet & electronics Piccolo & fixed media Guillaume de Machaut György Kurtág Mark Andre Max Murray �UVIC SCHOOL OF MUSIC UPCOMING EVENTS THURSDAY, JANUARY 31 | 8 PM (Free) Orion Series in Fine Arts Hildegard Westerkamp: Composer and sound ecologist Composer Hildegard Westerkamp presents a selection of 4-channel and stereo electroacoustic works, as well as Klavierklang for solo piano performed by Vancouver-based pianist, Rachel Kiyo Iwaasa. Free admission Phillip T. Young Recital Hall FRIDAY, FEBRUARY 1 | 12:30 PM (By donation) Fridaymusic A concert of varied repertoire featuring School of Music piano students. Phillip T. Young Recital Hall FRIDAY, FEBRUARY 1 | 8 PM ($10-$20) UVic Orchestra The UVic Orchestra, conducted by Ajtony Csaba, performs Mozart’s Symphony No. 35 in D Major, K. 385, “Haffner”, Haas’s e finisci già?, Dvořák’s Symphony No. 9 in E minor, “From the New World”, as well as the world premiere of Cântece by Max Murray. The Farquhar at UVic, SATURDAY, FEBRUARY 2 | 8 PM (By donation) Emerging Artists Alumni Series Fifth Street The Victoria-based vocal quintet, Fifth Street, combines the worlds of pop, jazz and R&B in perfect five-part harmony. You’ll enjoy their original a cappella arrangements of pop hits by Imogen Heap and Justin Timberlake as well as fresh takes on timeless classics including Georgia On My Mind and Cry Me A River. Phillip T. Young Recital Hall SUNDAY, FEBRUARY 3 | 7 PM (By donation) Piano Studio Recital Featuring students from the studio of Eva Solar-Kinderman. Phillip T. Young Recital Hall TUESDAY, FEBRUARY 5 | 12:30 PM (By donation) Tuesdaymusic A concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall To receive our season brochure & monthly newsletter by email, contact: concert@uvic.ca uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emerging Artists Alumni Series Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/012919-TuesdayMusic/012918-TuesdayMusic_1.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012919-TuesdayMusic/012918-TuesdayMusic_2.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012919-TuesdayMusic/012918-TuesdayMusic_3.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012919-TuesdayMusic/012918-TuesdayMusic_4.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012919-TuesdayMusic/012918-TuesdayMusic_5.mp3">track5<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/012919-TuesdayMusic/012918-TuesdayMusic_6.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 Alumni Concert Series Creator An entity primarily responsible for making the resource Bezal Benny Date A point or period of time associated with an event in the lifecycle of the resource January 29, 2019 Contributor An entity responsible for making contributions to the resource Liam Hockley Max Murray Stephanie Bell Kristen Cooke