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Acknowledgements
Cooper Reed, flute
I would like to take this opportunity to acknowledge all of
the individuals who made this night possible:
Maggie, Emily and James: Thank you for sharing the stage
with me tonight. It has been a privilege to work on and
perform this music with three incredibly talented and
wonderful musicians. I will forever be grateful for your hard
work and dedication.
To all my teachers at the School of Music: I have learned so
much from you over the past four years. My experience at
UVic has been enriched by your knowledge and love for
music. Thank you for helping me become the musician I am
today.
To my teachers in Calgary, particularly Janet Ward, Deanna
MacGregor and Kathie Van Lare: Thank you for helping me
develop a passion for playing the flute, and for helping me
realize that pursuing music was the best decision. I know
you are here in spirit.
And finally, to all my friends and family, especially Scott,
Anna and Jackson: None of this would have been possible
without your love and support. Thank you all so much, and
I cannot wait to celebrate with you after the concert!
Graduating Recital
With Maggie Xu, piano
Emily Stewart, soprano
James Yi, piano
Wednesday, March 1st, 2017, 8:00 p.m.
Phillip T. Young Recital Hall, MacLaurin Building
Free admission
�Program
Translations
J.S. Bach Flute Sonata in B minor, BWV 1030
(1685-‐‑1750)
Andante
Largo e dolce
Presto
Maggie Xu, piano
Jan Brandts Buys Drei Lieder mit Klavier und Flöte, Op.20
(1868-‐‑1933)
1. Nachtruf (Viktor Heindl)
2. Abendständchen (Clemens von
Brentano)
3. Brautfahrt (Viktor Heindl)
Emily Stewart, soprano
James Yi, piano
Alfredo Casella Sicilienne et burlesque, Op. 23
(1883-‐‑1947)
James Yi, piano
-‐‑ Intermission -‐‑
Toru Takemitsu
(1930-‐‑1996)
Carl Reinecke
(1824-‐‑1910)
Itinerant: In Memory of Isamu Noguchi
Sonata ‘Undine’, Op.167
Allegro
Intermezzo. Allegretto vivace
Andante tranquillo
Finale. Allegro molto agitato ed
appassionato, quasi Presto
Maggie Xu, piano
Cooper is from the class of Dr. Suzanne Snizek
This recital is presented in partial fulfillment of the requirements
for the Bachelor of Music (Performance) program.
Reception to follow in the lounge
Drei Lieder mit Klavier und Flöte, Op. 20
Nachtruf (Night Call)
Death blows upon his pipe of bone;
A pale shepherd leaning against the churchyard wall,
He guards the silent flock; quietly, yearningly
Death begins his lonely song.
Moonlight flows over the broad area,
Restively the meadow suddenly breaks out,
Like lamenting tears that no one quiets;
Ah! how it now shrills wildly and gruesomely,
Like tortured sighing in the universe,
Like the wailing of a soul in a fevered dream,
Thus [now]1 the dance of death howls and rings out!
Before which the trees bow down tremblingly,
Before which the flowers hide their faces,
Before which the worm withdraws fearfully into the soil.
Those of you who are sleepless, those who are sick, shut your ears
To the song of the musician by the gate of the churchyard,
Your heart shall die, your blood shall freeze,
You wakeful ones, you sick ones, beware!
Translation copyright © by Sharon Krebs, from the LiederNet Archive -‐‑-‐‑
http://www.lieder.net/
�Translations (Continued)
Abendständchen (Evening Serenade)
Listen, the flute laments again
And the cool springs murmur;
Golden, the sounds waft down -‐‑
Be still, let us listen.
Lovely supplication, gentle longing,
How it speaks to the heart so sweetly!
Through the night that enfolds me
Shines the light of the music.
Translation copyright © by Emily Ezust, from the LiederNet Archive -‐‑-‐‑
http://www.lieder.net/
Brautfahrt (Wedding Journey)
The sounds of harps and flutes must ring out,
Today I shall win a jubilant happiness,
A very young miss shall become my bride,
You have never seen anyone so wondrously pretty,
Red as a pomegranate blossom and white as snow,
As delicate as the flower fairy in the tale.
Her eyes, as merry and clear as a water-‐‑spring,
Are likely already looking out for me; only make haste, ah make
haste!
The sounds of harps and flutes must ring out,
Look how my grey horse is already prancing and leaping,
How its ribbons are fluttering rosy red,
My dear horse shall be fed only red clover today.
Today is a festival, a festival in May,
Spring and sunshine beckon laughingly.
Harps and flutes, arise and resound before me!
Grey horse, onward, the wedding journey commences!
Translation copyright © by Sharon Krebs, from the LiederNet Archive -‐‑-‐‑
http://www.lieder.net/
�
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<p><a href="https://finearts.uvic.ca/music/archive/uploads/student/030117-DegreeRecital_Reed/030117-GradRecital_Reed_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030117-DegreeRecital_Reed/030117-GradRecital_Reed_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030117-DegreeRecital_Reed/030117-GradRecital_Reed_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030117-DegreeRecital_Reed/030117-GradRecital_Reed_04.mp3">Track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030117-DegreeRecital_Reed/030117-GradRecital_Reed_05.mp3">Track5</a></p>
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Graduation Recital - Cooper Reed, flute
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Adam Jasieniuk
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March 1, 2017
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Cooper Reed, flute
Maggie Xu, piano
Emily Stewart, soprano
James Yi, piano
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sam mcnally
Degree Recital
with
Season Wang
The UVic Branenburgers
February 20, 2017, 8pm
Phillip T. Young Recital Hall
Free admission
�PROGRAM
Brandenburg Concerto No. 1 in F, BWV 1046
I. Allegro
II. Adagio
III. Allegro
IV. Minuet - Trio - Polonaise
J.S Bach
(1685 - 1750)
The UVic Brandenburgers
Les Adieux (Romance)
Franz Strauss
(1822 - 1905)
Season Wang, Piano
— INTERMISSION —
Concert Rondo in Eb Major, K371
W.A.
Mozart
(1756 - 1791)
Season Wang, Piano
Canto Serioso, CNW 67
Carl Nielsen
(1865 - 1931)
Season Wang, Piano
En Forêt, Op. 40
Eugène Bozza
(1905 - 1991)
Season Wang, Piano
�Brandenburg Concerto No. 1 in F major - J.S. Bach (1685 - 1750)
J.S. Bach presented the Brandenburg Concertos, a collection of six
instrumental works written “for several instruments,” to the Margrave of
Brandenburg-Schwedt, Christian Ludwig, in 1721. The six concertos, true to
their original title, featured various instruments in an array of configurations,
with No. 1 in F major being the only one to feature the horn. The first
movement is a joyous four minutes in which the horns can be heard making
their first solo appearance in a concerto. However, they seem to be unwanted
guests in this court, disturbing an otherwise carefully-balanced texture with
their strident brassiness and incessant bellowing of hunting calls that go against
the overall rhythm of the ensemble. The second movement, without the horns,
features a melancholic melody that is traded in canon between the oboe and
violino piccolo. Somewhat unusually, this melody even descends to the bass
voices, breaking up their traditional role as accompaniment. In the third
moment, the horns are back to join in the accompaniment of the violino piccolo
in a fun and playful allegro broken up by a two bar adagio before returning to
a frolicking finish. The fourth, and final, movement is a dance in which each
instrument family gets a turn. The repeated minuet is punctuated by a trio
played by the woodwinds, a polonaise by the strings and harpsichord, and a
final trio by the oboes and horns.
Les Adieux - Franz Strauss (1822 - 1905)
Franz Strauss was a prominent horn player in the mid- to late-nineteenthcentury. In 1837, at the age of 15, he took up service in the court of Duke
Maximilian of Bavaria as a guitarist, however it was not long before the horn
became his principal instrument. He joined the Munich Royal Court Orchestra
in 1847, a position he held until his retirement in 1889. Though considered to
be a musical conservative, he was present in the pit of several of Richard
Wagner’s opera premiers. Wagner is quoted to have said, "Strauss is an
unbearable, curmudgeonly fellow, but when he plays his horn one can say
nothing, for it is so beautiful.” His musicianship is without doubt remarkable
and this comes through in the few compositions he wrote. Perhaps one of his
lesser known works, Les Adieux is a deeply romantic piece for horn and piano.
The piano begins with large broken chords and a turbulent theme before
settling into a steady heartbeat-like pulse with which to support the horn. An
otherwise melancholic and pensive melody is made bittersweet by glimpses of
brighter harmonies, foreshadowing a seemingly happy second section. What
would be assumed to be a return to the initial mood is instead replaced by a
feeling of acceptance, illustrating nicely the very human nature of goodbyes.
Concert Rondo in Eb major - W.A. Mozart (1756 - 1791)
This fragmentary Rondo, numbered K371, actually predates Mozart’s
other horn works. While his other concertos were written for his friend and
prominent horn player Joseph Leutgeb, it is not exactly clear for whom Mozart
�was writing this early work. Nevertheless, Mozart’s relationship with Leutgeb
paints an important picture of who the composer was. Throughout the original
manuscripts, Mozart can be seen to have written things such as “Over to you,
signor Ass,” “Take courage,” and “Thank God that’s over!” These taunts
certainly give us a glimpse into the composer’s mind and I think this is
important to consider about when playing any of his works. The piece opens
with a simple and happy melody that, in good rondo fashion, returns
frequently after each deviation. It is a lighthearted work that, like Mozart, is
best to not be taken too seriously.
Canto Serioso - Carl Nielsen (1865 - 1931)
Carl Nielsen, from Denmark, is often grouped among the other
Scandinavian composers, though his approach to music is really quite different.
Drawing on inspirations from Mozart and Palestrina, rather than Brahms and
Wanger, his music has a striking simplicity upon which he embraces newly
emerging ideas of harmony. Canto Serioso, from 1913, was originally a test
piece written for the Royal Danish Orchestra used to highlight the low range of
2nd and 4th horn hopefuls. Throughout the opening, the horn echoes a slow
and calm melody set-up by the piano, before the introduction of a increasingly
tense triplet motif. The climax of the piece continues with the triplets getting
every louder until quickly dropping off back into a return to the opening. The
piece ends with alternating allegro and andante moments in which again the
horn and piano trade the theme. On the surface the piece seems to be of little
consequence, but I have come to appreciate it as a soulful and satisfying work
that exemplifies the horn’s various colours and ability to communicate.
En Forêt - Eugène Bozza (1905 - 1991)
Bozza was a prolific French composer who wrote many pieces for nearly
every instrumentation. After a fruitful early career, including a time in Rome via
his winning of the Prix de Rome, in 1950 he was appointed to the director of
the École Nationale de Musique in Valenciennes, France. En Forêt was
originally composed as a graduate test piece, designed to present the horn
student with many of the challenges posed by the instrument, such as lip-trills,
glissandi, and stopped-horn. As the title suggests, the piece concerns a forest
and while this is certainly the case, it is not alway so clear and may require
some imagination. The work opens with the piano striking several short chords
before the horn enters with a declamatory first section. Next we are brought to
a hunt in which “Bozza is quoting Respighi quoting” the St. Hubert hunting
call. The calls ring out to be answered by stopped-horn echoes while the piano
paints a simmering backdrop. In the next section there is a quasi-Gregorian
chant theme that leads into a rowdy 6/8, wherein the hunters disturb the peace
of the monks. Following this, there is a return to calm before the opening
chords are stuck again. The piece ends as quickly as it began and accelerates
to one final flourish.
�The Uvic Brandenburgers
Violino Piccolo
Chloe Kim
Double Bass
Mackenzie Carroll
First Violins
Jessica d’Oliveira
Jasmin Mather
Oboes
Berlin Janzen
Anna Betuzzi
Theresa Mothersill
Second Violins
Emily MacCallum
Lucy Toews
Bassoon
Eric Boulter
Viola
Linda Donn
Horns
Sam McNally
Justin Malchow
Cellos
Clair Dresselhuis
Liam Epp
Harpsichord
Season Wang
�Thank you so much for coming out and supporting
me in this recital, it truly means the world.
Please join me in the lounge after the show for a
celebratory reception!
Sam McNally is from the class of
Professor Kurt Kellan.
This recital is presented in partial fulfillment
of the requirements for the
Bachelor of Music (Performance) program.
���
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<a href="https://finearts.uvic.ca/music/archive/uploads/student/022017-DegreeRecital_McNally/022017-SamMcNallyDegreeRecital_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022017-DegreeRecital_McNally/022017-SamMcNallyDegreeRecital_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022017-DegreeRecital_McNally/022017-SamMcNallyDegreeRecital_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022017-DegreeRecital_McNally/022017-SamMcNallyDegreeRecital_04.mp3">Track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022017-DegreeRecital_McNally/022017-SamMcNallyDegreeRecital_05.mp3">Track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022017-DegreeRecital_McNally/022017-SamMcNallyDegreeRecital_06.mp3">Track6</a> (encore)
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Degree Recital - Sam McNally, horn
Creator
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Evan Hinshelwood
Date
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February 20, 2017
Contributor
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Sam McNally, horn
Season wang, piano
The UVic Brandenburgers
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DEGREE RECITAL
Betty Allison, voice
Frances Armstrong-Douglas, piano
Aliayta Foon-Dancoes, violin
Shiun Kim, cello
11, 1, 2017, 12:30
Phillip T. Young Recital Hall, MacLaurin Building
Free admission
PROGRAM
La Bonne Chanson, Op. 61
Une sainte en son auréole
Puisque l’aube grandit
La lune blanche luit dans les bois
J’allais par des chemins perfides
J’ai presque peur, en vérité
Avant que tu ne t’en ailles
Donc, ce sera par un clair jour d’été
N’est-ce pas?
L’hiver a cessé
Gabriel Fauré
(1845-1924)
Frances Armstong-Douglas, piano
Seven Tableaux from the Song of Songs
Srul Irving Glick
(1934-2002)
O, let him kiss me (I:1-3)
I am dark but lovely (I:5-6)
King Solomon’s wedding procession (III:6, 9-11)
How beautiful you are my love (I:16-17)
The little foxes (II:15)
He took me to the wine garden (II:4-7)
Set me as a seal upon your heart (VIII:6-7)
Frances Armstrong- Douglas, piano
Aliayta Foon- Dancoes, violin
Shiun Kim, cello
Betty Allison is from the class of Professor, Benjamin Butterfield
This recital is presented in partial fulfillment of the requirements
for the Master of Music (Performance) program.
Please turn off all cell phones.
�
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<a href="https://finearts.uvic.ca/music/archive/uploads/student/011117-GradRecital_Allison/011117-BettyAllison_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/011117-GradRecital_Allison/011117-BettyAllison_02.mp3">Track2</a>
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Degree Recital - Betty Allison, voice
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Adar Guy
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January 11, 2017
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<a href="https://finearts.uvic.ca/music/archive/uploads/student/112516-GradRecital_Armour/112516_EmilyArmour_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112516-GradRecital_Armour/112516_EmilyArmour_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112516-GradRecital_Armour/112516_EmilyArmour_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112516-GradRecital_Armour/112516_EmilyArmour_04.mp3">Track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112516-GradRecital_Armour/112516_EmilyArmour_05.mp3">Track5</a>
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Degree Recital - Emily Armour
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Alex Klassen
Date
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November 25, 2016
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Emily Armour, piano
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DEGREE RECITAL
Collin Lloyd, Horn
Jany Lu, Season Wang, piano
Aliayta Foon-Dancoes, violin
Sam McNally, Sarah Mullane, Jus>n Malchow, horn
Monday, November 21st, 2016, 8PM
Phillip T. Young Recital Hall, MacLaurin Building
Free admission
PROGRAM
Parable VII for Solo Horn
Vincent PersicheI
(1915-1987)
Concerto, Op. 495
Wolfgang Amadeus Mozart
I. Allegro Moderato (1756-1791)
Jany Lu, piano
Rêverie, Op. 24
Alexander Glazunov
(1865-1936)
Season Wang, piano
— INTERMISSION —
Overture to The Magic Flute
Wolfgang Amadeus Mozart
(1756-1791)
Sam McNally, Sarah Mullane, Jus>n Malchow, horn
Trio, Op. 40 Johannes Brahms
III. Adagio Mesto
(1833-1897)
IV. Allegro con Brio
Aliayta Foon-Dancoes, violin
Jany Lu, piano
Collin Lloyd is from the class of Professor Kurt Kellan.
This recital is presented in parAal fulfillment of the requirements
for the Bachelor of Music (Performance) program.
RecepAon to follow in the Lounge.
Please turn off all cell phones.
�
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<a href="https://finearts.uvic.ca/music/archive/uploads/student/112116-DegreeRecital_Lloyd/112116_CollinGradRecital_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112116-DegreeRecital_Lloyd/112116_CollinGradRecital_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112116-DegreeRecital_Lloyd/112116_CollinGradRecital_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112116-DegreeRecital_Lloyd/112116_CollinGradRecital_04.mp3">Track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112116-DegreeRecital_Lloyd/112116_CollinGradRecital_05.mp3">Track5</a>
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Degree Recital - Collin Lloyd
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Seán Maynard
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November 21, 2016
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Collin Lloyd, horn
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DEGREE RECITAL
Aliayta Foon-Dancoes, violin
Frances Armstrong, piano
Wednesday, November 23, 2016, 8pm
Phillip T. Young Recital Hall, MacLaurin Building
Free admission
PROGRAM
Sonata No.2 in A minor, BWV 1003
Johann Sebastian Bach
Andante, Allegro (1685-1750)
city + city
Liam Gibson
(b. 1990)
Violin Concerto in D major, Op. 35
Pyotr Ilyich Tchaikovsky
Allegro moderato (1840-1893)
Frances Armstrong, piano
— INTERMISSION —
Four Pieces
Anton Webern
1. Sehr Langsam (1883-1945)
2. Rasch
3. Sehr Langsam
4. Bewegt
Frances Armstrong, piano
Sonata No. 1 in A Major, Op. 13 Gabriel Fauré
1. Allegro molto (1845-1924)
2. Andante
3. Allegro vivo
4. Allegro quasi presto
Frances Armstrong, piano
Aliayta Foon-Dancoes is from the class of Professor, Ann Elliott-Goldschmid
This recital is presented in partial fulfillment of the requirements
for the Bachelor of Music Performance program.
Reception to follow at 4012 Loyola!
�
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<a href="https://finearts.uvic.ca/music/archive/uploads/student/112316-GradRecital_FoonDancoes/112316-AliaytaGradRecital_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112316-GradRecital_FoonDancoes/112316-AliaytaGradRecital_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112316-GradRecital_FoonDancoes/112316-AliaytaGradRecital_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112316-GradRecital_FoonDancoes/112316-AliaytaGradRecital_04.mp3">Track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112316-GradRecital_FoonDancoes/112316-AliaytaGradRecital_05.mp3">Track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112316-GradRecital_FoonDancoes/112316-AliaytaGradRecital_Talk1.mp3">Talk</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112316-GradRecital_FoonDancoes/112316-AliaytaGradRecital_06.mp3">Track6</a>
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Degree Recital - Aliayta Foon-Dancoes
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Kirk McNally
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November 23, 2016
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Aliayta Foon-Dancoes, violin
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�Bridging Time
Chamber Winds Recital
Special Thanks
Conductor, David P. Gagnon
—
Solo Alto Saxophone, Austin Nicholl
Solo Bb Clarinet, Rebecca Hissen
to Dr Gerald King, for your guidance
to the Naden Band, for your support
to Daniella Pilossof, for the amazing design of the poster
to the soloists of the evening, Rebecca Hissen and Austin Nicholl
and especially to the performers for your efforts, musicality & friendship
David P. Gagnon is from the class of Professor, Dr. Gerald King.
This recital is presented in partial fulfillment of the requirements for the
Master of Music in Performance (Conducting).
Reception to follow in the lounge.
Please turn off all cell phone, camera, laptop, and audio & video recording devices.
Their use is strictly prohibited during events.
�Program
Performers
Concerto for Alto Saxophone and Chamber Wind Ensemble
by Zachary Smith
Solo Alto Saxophone, Austin Nicholl
Conductor, David P. Gagnon
Little Threepenny Music (for Wind Ensemble)
by Kurt Weill
1. Overture
2. The Moritat Of Mack The Knife
3. The Instead-of Song
4. The Ballad Of The Easy Life
5. Polly’s Song
5a. Tango-Ballad
6. Cannon Song
7. Threepenny Finale
FLUTE - PICCOLO
Michelle Cox
Gillian Newburn
CLARINET
Rebecca Hissen
Mélanie Paré
William Constable
Marielle Audet
BASS CLARINET
Kylie Flower
Lee Whitehorne
BASSOON
Robyn Jutras
Lee Whitehorne
SOPRANO SAXOPHONE
Barrie Sorensen
INTERMISSION
Ebony Concerto
by Igor Stravinsky
Solo Clarinet, Rebecca Hissen
ALTO SAXOPHONE
Barrie Sorensen
Seán Maynard
TENOR SAXOPHONE
Roy Styffe
Robyn Jutras
Lee Whitehorne
BARITONE SAXOPHONE
Zachary Smith
Prelude, Fugue and Riffs
by Leonard Bernstein
Solo Clarinet, Rebecca Hissen
FRENCH HORN
Collin Lloyd
TRUMPET
Alastair Chaplin
Steve Donegan
Miguel Valdes De La Hoz
Merrie Klazek
John Ellis
TROMBONE
Alon Soraya
Shawn Wright
Marcus Hissen
Robert McNally
EUPHONIUM
Robert Fearnley
TUBA
Paul Beauchesne
ACCORDION
Marielle Audet
PIANO
Olivier Néron-Bilodeau
James Jinkyu
GUITAR
Steve MacDonald
STRING BASS
Ross Macdonald
PERCUSSION
Richard Lang
DJ Lochead
�Program Notes
Program Notes
Concerto for Alto Saxophone and Chamber Wind Ensemble
Ebony Concerto
The score notes indicate that Igor Stravinsky composed this work out of
admiration for Woody Herman’s Big Band and wanted to write for the
ensemble. A different account of the origin of the piece is presented by
the Chicago Tribune which says that a member of Herman’s band met
Stravinsky, had him listen to music from the jazz band and was so
amazed that he wanted to write for it. In the end, a story probably
closer to the reality has Stravinsky’s and Herman’s mutual publisher
arrange for a commission for the composer who was in a difficult
financial situation.
was composed last year by Zachary Smith, then studying composition at
the University of Victoria. The work is divided into four movements
leading into each other in seamless transitions. Different characters are
presented; a flamboyant opening, full of energy and subtleties, lush
melodies over marked gestures surprising the listener; moving into an
almost mechanical feel, very short rhythms, Stravinsky-esque melodic
lines; bringing us into a distant texture, a reflective movement with a
free-flowing melody; followed by a re-exposition and combination of the
material of the first movement, bringing airy ambiences and effects and
ending sparsely, but still hinting at the uneasiness felt previously. For
this performance you will be hearing the saxophonist for which the
concerto was composed, Austin Nicholl.
Little Threepenny Music (for Wind Ensemble)
was rearranged by Kurt Weill on a request from Otto Klemperer, then
conductor of the Kroll Opera in Berlin and soon to become musical
director of the LA Philharmonic. He asked him to create a concert suite
in the tradition of opera suites for winds from Mozart’s day, all being
based on the famous work "Die Dreigroschenoper" (The Threepenny
Opera). The opera is portraying and in a certain way celebrating the
crooks, the vilain, the criminals of the era. Weill composed the music in
1928 to words by Bertolt Brecht. This wind ensemble arrangement
came only one year after the premiere of the original. For the occasion,
Weill did not limit himself to reorchestration. He took the opportunity to
bring in some musical material which he had sketched but proven to be
too hard to sing by the actors of the play. He also modified the order of
the movements.
Over the years, music from "The Threepenny Opera" has become part
of the American popular music culture. One of the most recognizable
theme is "The Moritat Of Mack The Knife", which has been recorded
countless times by many greats as Ella Fitzgerald, Frank Sinatra, Louis
Armstrong and more lately, Sting.
Irrespective of the origin of this work, Stravinsky’s intent was to
compose a jazz-based version of a Concerto Grosso, adding some
instruments not traditionally used in a Big Band. A common
misconception is that the title refers to the solo instrument of the
piece, the clarinet, but the composer’s opinion is different on this
subject. Jazz and blues meant African culture to him and made the title
of the piece reflect this affinity between the musical genre and the
people. The premiere was performed by the Woody Herman Big Band
under the direction of Walter Hendl on March 25, 1946 in Carnegie Hall.
Prelude, Fugue and Riffs
by Leonard Bernstein was commissioned by Woody Herman in 1949.
Unfortunately, the ensemble dissolved before the work was even
finished. The first time the piece was heard was on CBS’ television show
Omnibus on October 16, 1955, where Bernstein was explaining jazz to
the audience. The renowned Benny Goodman performed the solo
clarinet part.
Bernstein introduces a driving brass section in the Prelude, then moves
to the intense and intricate Fugue for saxophones to finally end with the
solo clarinet Riffs, who is then joined by the full ensemble. We can hear
the Bernstein sounds from "West Side Story" and the Stravinsky
influences throughout.
�
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<a href="https://finearts.uvic.ca/music/archive/uploads/student/102616-GradRecital_Gagnon/102616-GradRecital_Gagnon_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/102616-GradRecital_Gagnon/102616-GradRecital_Gagnon_Talk01.mp3">Talk1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/102616-GradRecital_Gagnon/102616-GradRecital_Gagnon_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/102616-GradRecital_Gagnon/102616-GradRecital_Gagnon_Talk02.mp3">Talk2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/102616-GradRecital_Gagnon/102616-GradRecital_Gagnon_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/102616-GradRecital_Gagnon/102616-GradRecital_Gagnon_Talk03.mp3">Talk3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/102616-GradRecital_Gagnon/102616-GradRecital_Gagnon_04.mp3">Track4</a>
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Bridging Time - Chamber Winds Recital
Creator
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Kyle Newman
Date
A point or period of time associated with an event in the lifecycle of the resource
October 26, 2016
Contributor
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David P. Gagnon, conductor
Austin Nicholl, alto sax
Rebecca Hissen, clarinet
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DEGREE RECITAL
Laura Altenmueller, piano
Wednesday, March 30th, 2016, 8 PM
Phillip T. Young Recital Hall, MacLaurin Building
Free admission
PROGRAM
Étude pour les quatres
Játékok
C. Debussy
(1862-1918)
Hommage á Domenico Scarlatti
Hommage á Kabelevski
Bluebell
Devil’s Jump
(bunny rabbit in the grass...)
Perpetuum mobile
(... And Once More: Flowers We Are ...)
Sonata in B-flat Major, Op. 22
Allegro con brio
Adagio con molto espressione
Minuetto
Allegretto
L. van Beethoven
(1770-1827)
— INTERMISSION —
Please turn off all cell phones.
György Kurtág
(b. 1926)
�
English Suite No. 1 in A major, BWV806
Prelude
Allemande
Courante I
Courante II
Double I
Double II
Sarabande
Bourrée I
Bourrée II
Gigue
J.S. Bach
(1685-1750)
J. Brahms
(1833-1897)
Variations on a Theme of Schumann, Op. 9
Laura Altenmueller is from the class of Professor Michelle Mares.
This recital is presented in partial fulfillment of the requirements
for the Bachelor of Music (Performance) program.
Reception to follow in the Lounge.
Please turn off all cell phones.
�
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<a href="https://finearts.uvic.ca/music/archive/uploads/student/033016-GradRecital_Altenmueller/033016-LauraAltenmueller_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/033016-GradRecital_Altenmueller/033016-LauraAltenmueller_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/033016-GradRecital_Altenmueller/033016-LauraAltenmueller_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/033016-GradRecital_Altenmueller/033016-LauraAltenmueller_04.mp3">Track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/033016-GradRecital_Altenmueller/033016-LauraAltenmueller_05.mp3">Track5</a>
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Degree Recital - Laura Altenmueller
Creator
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Adar Guy
Date
A point or period of time associated with an event in the lifecycle of the resource
March 30, 2016
Contributor
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Laura Altenmueller, piano
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GRADUATE RECITAL
Jessica McLaughlin, saxophone
Josh Herrett, piano
Adam Jasieniuk, soprano saxophone
Zach Smith, tenor saxophone
Matt Bell, baritone saxophone
March 30, 2016, 12:30pm
Phillip T. Young Recital Hall, MacLaurin Building
Free admission
PROGRAM
Sonata (Op. 19)
Paul Creston
1. With Vigor (1906-1985)
2. With Tranquility
3. With Gaiety
Josh Herrett, piano
Mai
Ryo Noda
(1948-)
Histoire Du Tango (arr. Claude Voirpy) Astor Piazzolla
Café 1930 (1921-1992)
Adam Jasieniuk, soprano saxophone
Zach Smith, tenor saxophone
Matt Bell, baritone saxophone
Concerto (Op. 109) Alexander Glazunov
(1865-1936)
Josh Herrett, piano
Jessica McLaughlin is from the class of Professor, Mr. Wendell Clanton
This recital is presented in partial fulfillment of the requirements
for the Master of Music (Performance) program.
Please turn off all cell phones.
�
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<a href="https://finearts.uvic.ca/music/archive/uploads/student/033016-GradRecital_McLaughlin/033016-GradRecital_McLaughlin_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/033016-GradRecital_McLaughlin/033016-GradRecital_McLaughlin_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/033016-GradRecital_McLaughlin/033016-GradRecital_McLaughlin_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/033016-GradRecital_McLaughlin/033016-GradRecital_McLaughlin_04.mp3">Track4</a>
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Graduate Recital - Jessica McLaughlin
Creator
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Kirk McNally
Date
A point or period of time associated with an event in the lifecycle of the resource
March 30, 2016
Contributor
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Jessica McLaughlin, saxophone
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DEGREE RECITAL
Sophia Stoney, piano
Monday, March 21, 2016, 8:00 PM
Phillip T. Young Recital Hall, MacLaurin Building
Free admission
PROGRAM
English Suite No. 2 in A minor, BWV 807
J.S. Bach
Prelude (1685-1750)
Allemande
Courante
Sarabande
Bourrée I
Bourrée II
Gigue
Sonata No. 26 in E flat major, Op. 81a “Les Adieux” L. van Beethoven
I. Das Lebewohl, Adagio (1770-1827)
II. Abwesenheit, Andante espressivo
III. Das Wiedersehen, Vivacissimamente
— INTERMISSION —
Étude in C major, Op. 10, No. 1
Frédéric Chopin
(1810-1849)
Danzas Argentinas, Op. 2 Alberto Ginastera
I. Danza del viejo boyero
(1916-1983)
II. Danza de la moza donosa
III. Danza del gaucho matrero
Fantasy in F minor, Op. 49
Frédéric Chopin
Sophia Stoney is from the class of Ms. Eva Solar-Kinderman
This recital is presented in partial fulfillment of the requirements
for the Bachelor of Music (Performance) program.
Reception to follow in the Lounge.
Please turn off all cell phones.
�
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Graduation Recitals
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<a href="https://finearts.uvic.ca/music/archive/uploads/student/032116-GradRecital_SStoney/032116-SophiaStoney_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032116-GradRecital_SStoney/032116-SophiaStoney_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032116-GradRecital_SStoney/032116-SophiaStoney_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032116-GradRecital_SStoney/032116-SophiaStoney_04.mp3">Track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032116-GradRecital_SStoney/032116-SophiaStoney_05.mp3">Track5</a>
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Degree Recital - Sophia Stoney
Creator
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Adar Guy
Date
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March 21, 2016
Contributor
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Sophia Stoney, piano