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                    <text>	&#13;  

Barry Tan, piano

Program
Sonata No. 6 in D Major, K. 284

Wolfgang Amadeus Mozart
(1770-1827)

I. Allegro
II. Rondo et Polonaise – Andante
III. Theme and Variations

Barry Tan is from the class of Professor May Ling Kwok.
This recital is presented as part of the requirements
for the Bachelor of Music in Performance program.
Reception to follow in the Lounge.

Sonata No. 2 in B-flat minor, Op. 35 “Funeral March”
Frederic Chopin
(1810-1849)
I. Grave – doppio movimento
II.Scherzo
III.Marche funebre (Lento)
IV.Finale (Presto)

Intermission
Études, L. 136 (1915)

Claude Debussy
(1862-1918)
I. pour les cinq doigts d'après Monsieur Czerny
V. pour les octaves

Goyescas, Op. 11 (Los majos enamorados)

Monday, March 31st, 2014, 8PM
Phillip T. Young Recital Hall
MacLaurin Building, University of Victoria
Free Admission

	&#13;  

Enrique Granados
(1867-1917)

Quejas, o la maja y el ruisenor
El Pelele: scena goyesca
Sonata No. 3 in A minor, Op. 28

Sergei Prokofiev
(1891-1953)

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                    <text>Programme

Matthew Richard, trumpet
Kailey Cann, piano
Ian Cohen, trumpet
Justin Malchow, horn
Liam Caveney, trombone
Alicia Sayell, tuba
Lindsey Herle and Raina Saunders, violins
Sarah Tradewell, viola
Yun-Hsuan Wang, cello

Sonata a Cinque, No. 1!
!
!
!
!

!

!

Giuseppe Torelli
(1651-1709)

!

!

Vincent Persichetti
(1915-1987)

!

Jacques Hétu
(1938-2010)

I.! Andante
II.! Allegro
III.!Grave
IV.!Allegro

Parable XIV, Op. 127!!

Concerto for Trumpet, Op. 43!
Matthew Richard is from the class of Professor Louis Ranger
This recital is presented as part of the requirements
for the Master of Music in Performance program.

!
!
!

Reception to follow in the Lounge.

I.! Allegro
II.! Lento
III.!Allegro vivace

Intermission

Quintet No. 1, Op. 5! !
!
!
!

March 26th, 2014 - 8:00pm
Phillip T. Young Recital Hall
MacLaurin Building, University of Victoria
Free Admission

!

!

Victor Ewald
(1860-1935)

!

!

Eric Ewazen
(b. 1954)

I.! Moderato
II.! Adagio non troppo lento
III.!Allegro moderato

Sonata for Trumpet and Piano!
!
!
!

!

I.! Lento - allegro molto
II.! Allegretto
III.!Allegro con fuoco

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                    <text>Darren Miller
and

Annette Brosin,
composers
Graduating Composers Recital

Darren Miller is from the class of
Dr. Dániel Péter Biró and his committee members are Professor
Christopher Butterfield, Dr. John Celona, and Dr. George Tzanetakis

Program
for chelsea (2012-2014)
Darren Miller
Alex Jang, conductor
Thomas Bauer, flute
Thomas Law, flute
Thomas Nicholson, piano
Stephanie Taralson, piano
Liam Gibson, celeste
Aaron Mattock, percussion
Keenan Mittag-Degala, percussion

Intermission

Annette Brosin is from the class of
Dr. Dániel Péter Biró and her committee members are Professor
Christopher Butterfield, Dr. Jonathan Goldman, and Dr. Allan Antliff

This recital is presented as part of the requirements
for the PhD in Music Composition program.

Sunday, March 23d, 2014 - 8pm
Phillip T. Young Recital Hall
MacLaurin Building, University of Victoria
Lekwungen and W̱ SÁNEĆ territories
Free Admission

#ffffff (2012-2014)
Annette Brosin
Alex Jang, conductor
Thomas Law, flute
Matt Kaufhold, clarinet
Aaron Mattock, percussion
Allyssa Haigh, percussion
Monika Zaborowski, piano
Elena Bokova, violine 1
Derrick Lee, violine 2
Sarah Tradewell, viola
Paul Joo, violoncello

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                    <text>	&#13;  

	&#13;  
	&#13;  
	&#13;  
	&#13;  
	&#13;  
	&#13;  
	&#13;  
With	&#13;  special	&#13;  thanks	&#13;  to:	&#13;  

Graeme	&#13;  Cruickshank,	&#13;  Guitar	&#13;  
	&#13;  

Josh	&#13;  Lovell,	&#13;  Voice	&#13;  	&#13;  
Brian	&#13;  Desjarlais,	&#13;  Guitar	&#13;  
	&#13;  
	&#13;  
	&#13;  
	&#13;  

	&#13;  
	&#13;  

	&#13;  
Graeme	&#13;  Cruickshank	&#13;  is	&#13;  from	&#13;  the	&#13;  class	&#13;  of	&#13;  Doctor	&#13;  Alexander	&#13;  Dunn	&#13;  
	&#13;  
Please	&#13;  remember	&#13;  to	&#13;  turn	&#13;  off	&#13;  all	&#13;  electronic	&#13;  devices	&#13;  during	&#13;  the	&#13;  performance,	&#13;  
and	&#13;  refrain	&#13;  from	&#13;  applauding	&#13;  during	&#13;  sets.	&#13;  
	&#13;  
	&#13;  
Reception	&#13;  to	&#13;  follow	&#13;  in	&#13;  the	&#13;  Lounge.	&#13;  
	&#13;  
	&#13;  

	&#13;  
Dr.	&#13;  Alexander	&#13;  Dunn	&#13;  
Brian	&#13;  Desjarlais	&#13;  
Josh	&#13;  Lovell	&#13;  	&#13;  
Andrea	&#13;  Paddock	&#13;  
Graeme	&#13;  Dufour	&#13;  
Carson	&#13;  Redden	&#13;  
The	&#13;  Uvic	&#13;  Guitar	&#13;  Studio	&#13;  
All	&#13;  my	&#13;  family	&#13;  and	&#13;  friends	&#13;  that	&#13;  have	&#13;  given	&#13;  me	&#13;  continuous	&#13;  support	&#13;  
throughout	&#13;  these	&#13;  last	&#13;  four	&#13;  years.	&#13;  	&#13;  
	&#13;  
Thank	&#13;  you	&#13;  for	&#13;  always	&#13;  being	&#13;  there	&#13;  to	&#13;  lend	&#13;  an	&#13;  ear,	&#13;  and	&#13;  for	&#13;  giving	&#13;  me	&#13;  the	&#13;  
motivation	&#13;  to	&#13;  constantly	&#13;  better	&#13;  myself	&#13;  as	&#13;  a	&#13;  musician.	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  

	&#13;  
	&#13;  
	&#13;  

	&#13;  
	&#13;  
	&#13;  

Monday,	&#13;  March	&#13;  17th,	&#13;  2014	&#13;  –	&#13;  8pm	&#13;  

	&#13;  

Phillip	&#13;  T.	&#13;  Young	&#13;  Recital	&#13;  Hall	&#13;  
MacLaurin	&#13;  Building,	&#13;  University	&#13;  of	&#13;  Victoria	&#13;  
Free	&#13;  Admission	&#13;  
	&#13;  
	&#13;  
	&#13;  

	&#13;  

	&#13;  
	&#13;  
	&#13;  
	&#13;  
	&#13;  
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�P	&#13;  r	&#13;  o	&#13;  g	&#13;  r	&#13;  a	&#13;  m	&#13;  
	&#13;  
	&#13;  
Mille	&#13;  Regretz	&#13;  –	&#13;  Canción	&#13;  Del	&#13;  Emperador	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  

Luis	&#13;  de	&#13;  Narváez	&#13;  	&#13;  
(c.	&#13;  1500	&#13;  -­‐	&#13;  c.	&#13;  1550)	&#13;  

Fantasía	&#13;  X	&#13;  
Alonso	&#13;  Mudarra	&#13;  
	&#13;  	&#13;  	&#13;  	&#13;  (c.	&#13;  1510	&#13;  -­‐	&#13;  c.1580)	&#13;  
	&#13;  
	&#13;  
	&#13;  
	&#13;  
Selections	&#13;  from	&#13;  Schwanengesang,	&#13;  	&#13;  
Arranged	&#13;  by	&#13;  J.K.	&#13;  Mertz	&#13;  
-­‐	&#13;  Liebesbothschaft	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  Franz	&#13;  Schubert	&#13;  
-­‐	&#13;  Aufenthalt	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  (1797	&#13;  -­‐1828)	&#13;  
-­‐	&#13;  Die	&#13;  Taubenpost	&#13;  
	&#13;  
Josh	&#13;  Lovell,	&#13;  Tenor	&#13;  

	&#13;  
	&#13;  

	&#13;  

Selections	&#13;  from	&#13;  Las	&#13;  Estaciones	&#13;  Porteñas	&#13;  
Transcribed	&#13;  by	&#13;  Sergio	&#13;  Assad	&#13;  
-­‐	&#13;  Otoño	&#13;  Porteño	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  Astor	&#13;  Piazzolla	&#13;  
-­‐	&#13;  Invierno	&#13;  Porteño	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  (1921	&#13;  -­‐	&#13;  1992)	&#13;  
	&#13;  
	&#13;  
	&#13;  
	&#13;  
	&#13;  
	&#13;  
-­‐ I	&#13;  n	&#13;  t	&#13;  e	&#13;  r	&#13;  m	&#13;  i	&#13;  s	&#13;  s	&#13;  i	&#13;  o	&#13;  n	&#13;  	&#13;  	&#13;  -­‐	&#13;  
	&#13;  

	&#13;  

	&#13;  
	&#13;  
	&#13;  
	&#13;  
Grave	&#13;  and	&#13;  Fuga	&#13;  in	&#13;  A	&#13;  minor,	&#13;  BWV	&#13;  1003	&#13;  	&#13;  
J.S.	&#13;  Bach	&#13;  
(1685	&#13;  -­‐	&#13;  1750)	&#13;  
	&#13;  
	&#13;  
	&#13;  
	&#13;  
	&#13;  
Selections	&#13;  from	&#13;  Les	&#13;  Guitares	&#13;  Bien	&#13;  Tempérées	&#13;  
-­‐	&#13;  Prélude	&#13;  and	&#13;  Fugue	&#13;  VII	&#13;  in	&#13;  C	&#13;  sharp	&#13;  minor	&#13;  	&#13;  	&#13;  
-­‐	&#13;  Prélude	&#13;  and	&#13;  Fugue	&#13;  X	&#13;  in	&#13;  B	&#13;  flat	&#13;  major	&#13;  
Mario	&#13;  Castelnuovo-­‐Tedesco	&#13;  
(1895	&#13;  -­‐	&#13;  1968)	&#13;  
	&#13;  
Brian	&#13;  Desjarlais,	&#13;  Guitar	&#13;  
	&#13;  
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Leyenda	&#13;  Guaraní	&#13;  
1. Introduccíon	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  Agustín	&#13;  Barrios	&#13;  
2. Andante	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;   	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  (1885	&#13;  -­‐	&#13;  1944)	&#13;  
3. Adagio	&#13;  
4. Allegro	&#13;  

	&#13;  

	&#13;  
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	&#13;  
	&#13;  
	&#13;  
	&#13;  

�</text>
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                    <text>Eve Richardson, Soprano
Charlotte Hale, piano &amp; organ
Elizabeth Clarke, piano
David Stratkauskas, harpsichord
Andrea Paddock, soprano
Martin Bonham, cello

Program
Usurpator tiranno

Giovanni Felice Sances
(ca.1600-1679)

Accenti queruli

David Stratkauskas, harpsichord
Martin Bonham, cello

Erhöre mich
Habe deine Lust an dem Herren
Eve Richardson is from the class of
Professor Benjamin Butterfield

Heinrich Schütz
(1585-1672)

Andrea Paddock, soprano
Charlotte Hale, organ

This recital is presented as part of the requirements
for the Master of Music in Performance program.
Reception to follow in the Lounge.

Fiançailles pour rire
I.
II.
III.
IV.
V.
VI.

Monday, March 10th 2014 – 8pm

Phillip T. Young Recital Hall
MacLaurin Building, University of Victoria
Free Admission

Francis Poulenc
(1899-1963)

La dame d'André
Dans l'herbe
Il vole
Mon cadavre est doux comme un gant
Violon
Fleurs
Charlotte Hale, piano
Intermission

�Stacey

John Beckwith
(b. 1927)
1.
2.
3.
4.
5.
6.

At the day of judgment…
Okay, God, say what you like…
Once it seemed almost violent, this music…
I don’t want anyone else bringing up my kids
Dear Lord and Father of mankind
I used to think there would be a blinding
flash…
Elizabeth Clarke, piano

Canciones Classica Espanolas
1.
2.
3.
4.
5.
6.
7.

Fernando Obradors
(1897-1945)

La mi sola, Laureola
Al Amor
¿Corazón, porqué pasáis…
El majo celoso
Con amores, la mi madre…
Del cabello más sutil
Chiquitita la novia
Charlotte Hale, piano

�</text>
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                <text>Bryan Lilly</text>
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                <text>March 10, 2014</text>
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                    <text>	&#13;  

Ian	&#13;  Cohen,	&#13;  Trumpet	&#13;  	&#13;  
	&#13;  
	&#13;  

Gabriel	&#13;  Lagos,	&#13;  piano	&#13;  
	&#13;  
How	&#13;  the	&#13;  West	&#13;  Was	&#13;  Won,	&#13;  Brass	&#13;  Quintet	&#13;  	&#13;  

P	&#13;  r	&#13;  o	&#13;  g	&#13;  r	&#13;  a	&#13;  m	&#13;  
	&#13;  

Cavatina	&#13;  for	&#13;  Flugelhorn	&#13;  and	&#13;  Piano	&#13;  

	&#13;  
Sonata	&#13;  for	&#13;  Trumpet	&#13;  in	&#13;  Bb	&#13;  and	&#13;  Piano	&#13;  

Ian	&#13;  Cohen	&#13;  is	&#13;  from	&#13;  the	&#13;  class	&#13;  of	&#13;  Professor	&#13;  Louis	&#13;  Ranger	&#13;  
	&#13;  
This	&#13;  recital	&#13;  is	&#13;  presented	&#13;  as	&#13;  part	&#13;  of	&#13;  the	&#13;  requirements	&#13;  
	&#13;  for	&#13;  the	&#13;  Bachelor	&#13;  of	&#13;  Music	&#13;  in	&#13;  Performance	&#13;  program.	&#13;  
	&#13;  
	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  Reception	&#13;  to	&#13;  follow	&#13;  in	&#13;  the	&#13;  Lounge.	&#13;  
	&#13;  
	&#13;  

	&#13;  

Gabriel	&#13;  Lagos,	&#13;  piano	&#13;   	&#13;  

	&#13;  

Concerto	&#13;  for	&#13;  Trumpet	&#13;  and	&#13;  Piano	&#13;  	&#13;  	&#13;  
	&#13;  	&#13;  	&#13;  
	&#13;  
	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  
I.	&#13;  Andante	&#13;  	&#13;  
II.	&#13;  Allegro	&#13;  energico	&#13;  
III.	&#13;  Meno	&#13;  mosso	&#13;  
IV.	&#13;  Allegro	&#13;  

	&#13;  

	&#13;  	&#13;  Alexander	&#13;  Arutunian
	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  (1920	&#13;  -­‐	&#13;  2012)	&#13;  

	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  

Gabriel	&#13;  Lagos,	&#13;  piano	&#13;  
	&#13;  
	&#13;  

Moment	&#13;  for	&#13;  Morricone	&#13;  	&#13;  

	&#13;  

	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  Ennio	&#13;  Morricone	&#13;  (b.	&#13;  1928)	&#13;  
Arr.	&#13;  Gomalan	&#13;  Brass	&#13;  Quintet	&#13;  

I.	&#13;  Largo	&#13;  
II.	&#13;  Alla	&#13;  Marcia	&#13;  
III.	&#13;  Andante	&#13;  
IV.	&#13;  Adagio	&#13;  
V.	&#13;  Maestoso	&#13;  

Wednesday,	&#13;  March	&#13;  5th,	&#13;  2014	&#13;  –	&#13;  8:00	&#13;  p.m.	&#13;  
Phillip	&#13;  T.	&#13;  Young	&#13;  Recital	&#13;  Hall	&#13;  
MacLaurin	&#13;  Building,	&#13;  University	&#13;  of	&#13;  Victoria	&#13;  
Free	&#13;  Admission	&#13;  

	&#13;  

I	&#13;  n	&#13;  t	&#13;  e	&#13;  r	&#13;  m	&#13;  i	&#13;  s	&#13;  s	&#13;  i	&#13;  o	&#13;  n	&#13;  
	&#13;  

	&#13;  
	&#13;  
	&#13;  
	&#13;  
	&#13;  
	&#13;  
	&#13;  
	&#13;  
	&#13;  

	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  Paul	&#13;  Hindemith	&#13;  	&#13;  
	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  (1895	&#13;  –	&#13;  1963)	&#13;  

I.	&#13;  Mit	&#13;  kraft	&#13;  
II.	&#13;  	&#13;  Massig	&#13;  bewegt	&#13;  
III.	&#13;  Trauermusik.	&#13;  Sehr	&#13;  langsam	&#13;  

	&#13;  
	&#13;  

	&#13;  
	&#13;  

	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  Ted	&#13;  Hansen	&#13;  	&#13;  
	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  (b.	&#13;  1935)	&#13;  

Gabriel	&#13;  Lagos,	&#13;  piano	&#13;  
	&#13;  

Ian	&#13;  Cohen,	&#13;  trumpet	&#13;  
Alfons	&#13;  Fear,	&#13;  trumpet	&#13;  
Sam	&#13;  McNally,	&#13;  horn	&#13;  
Liam	&#13;  Caveney,	&#13;  trombone	&#13;  
Alicia	&#13;  Sayell,	&#13;  tuba	&#13;  

	&#13;  
	&#13;  

	&#13;  

	&#13;  
How	&#13;  the	&#13;  West	&#13;  Was	&#13;  Won	&#13;  Brass	&#13;  Quintet	&#13;  

�Program	&#13;  Notes	&#13;  
	&#13;  
Dr.	&#13;  Theodore	&#13;  C.	&#13;  Hansen	&#13;  is	&#13;  an	&#13;  American	&#13;  composer	&#13;  and	&#13;  Professor	&#13;  of	&#13;  Music	&#13;  at	&#13;  
Texas	&#13;  A&amp;M	&#13;  University.	&#13;  Mr.	&#13;  Hansen	&#13;  has	&#13;  premiered	&#13;  performances	&#13;  of	&#13;  his	&#13;  music	&#13;  
at	&#13;  Carnegie	&#13;  Hall,	&#13;  the	&#13;  Kennedy	&#13;  Center,	&#13;  by	&#13;  the	&#13;  Phoenix	&#13;  Symphony,	&#13;  the	&#13;  Tulsa	&#13;  
Philharmonic	&#13;  Orchestra,	&#13;  and	&#13;  on	&#13;  National	&#13;  Educational	&#13;  Television.	&#13;  His	&#13;  Cavatina	&#13;  
for	&#13;  Flugelhorn	&#13;  and	&#13;  Piano	&#13;  was	&#13;  one	&#13;  of	&#13;  his	&#13;  earlier	&#13;  compositions,	&#13;  written	&#13;  in	&#13;  1975.	&#13;  
Its	&#13;  warm	&#13;  and	&#13;  lyrical	&#13;  qualities	&#13;  lend	&#13;  itself	&#13;  freely	&#13;  to	&#13;  the	&#13;  flugelhorn,	&#13;  with	&#13;  modern	&#13;  
jazz	&#13;  influences	&#13;  and	&#13;  harmonic	&#13;  curiosities.	&#13;  
	&#13;  
Paul	&#13;  Hindemith	&#13;  was	&#13;  a	&#13;  German	&#13;  composer,	&#13;  violist,	&#13;  violinist,	&#13;  teacher,	&#13;  and	&#13;  
conductor.	&#13;  The	&#13;  Nazi’s	&#13;  deemed	&#13;  his	&#13;  Sonata	&#13;  for	&#13;  Trumpet	&#13;  and	&#13;  Piano,	&#13;  written	&#13;  
right	&#13;  before	&#13;  he	&#13;  was	&#13;  expelled	&#13;  from	&#13;  Germany	&#13;  in	&#13;  1935,	&#13;  “degenerate”	&#13;  music.	&#13;  
Hindemith	&#13;  wrote	&#13;  Gebrauchsmusik	&#13;  (Music	&#13;  for	&#13;  Use)—compositions	&#13;  intended
to	&#13;  have	&#13;  a	&#13;  social	&#13;  or	&#13;  political	&#13;  purpose.	&#13;  He	&#13;  became	&#13;  an	&#13;  American	&#13;  citizen	&#13;  in 1946,
but	&#13;  returned	&#13;  to	&#13;  Europe	&#13;  in	&#13;  1953,	&#13;  living	&#13;  in	&#13;  Zürich	&#13;  and	&#13;  teaching	&#13;  at	&#13;  the	&#13;  university	&#13;  
there.	&#13;  Towards	&#13;  the	&#13;  end	&#13;  of	&#13;  his	&#13;  life	&#13;  he	&#13;  began	&#13;  to	&#13;  conduct	&#13;  more,	&#13;  and	&#13;  made	&#13;  
numerous	&#13;  recordings,	&#13;  mostly	&#13;  of	&#13;  his	&#13;  own	&#13;  music.	&#13;  
	&#13;  
Alexander	&#13;  Arutunian	&#13;  was	&#13;  an	&#13;  Armenian	&#13;  composer	&#13;  and	&#13;  pianist	&#13;  who	&#13;  was	&#13;  
awarded	&#13;  the	&#13;  State	&#13;  Prize	&#13;  of	&#13;  Armenia	&#13;  in	&#13;  1970.	&#13;  He	&#13;  was	&#13;  born	&#13;  in	&#13;  Yerevan,	&#13;  
Armenia,	&#13;  and	&#13;  graduated	&#13;  from	&#13;  the	&#13;  music	&#13;  conservatory	&#13;  of	&#13;  Yerevan	&#13;  in	&#13;  piano	&#13;  and	&#13;  
composition	&#13;  on	&#13;  the	&#13;  eve	&#13;  of	&#13;  WWII.	&#13;  The	&#13;  Trumpet	&#13;  Concerto,	&#13;  his	&#13;  sixth	&#13;  major	&#13;  
composition,	&#13;  consists	&#13;  of	&#13;  three	&#13;  main	&#13;  movements,	&#13;  finishing	&#13;  with	&#13;  an	&#13;  extended	&#13;  
cadenza	&#13;  made	&#13;  famous	&#13;  by	&#13;  the	&#13;  leading	&#13;  Soviet	&#13;  Russian	&#13;  trumpeter	&#13;  of	&#13;  the	&#13;  time,	&#13;  
Tomofei	&#13;  Dokszhitzer.	&#13;  The	&#13;  concerto’s	&#13;  introduction	&#13;  and	&#13;  first	&#13;  recording	&#13;  in	&#13;  the	&#13;  
United	&#13;  States	&#13;  were	&#13;  solely	&#13;  due	&#13;  to	&#13;  Dokszhitzer.	&#13;  The	&#13;  melodic	&#13;  and	&#13;  rhythmic	&#13;  
characteristics	&#13;  of	&#13;  Armenian	&#13;  folk	&#13;  music	&#13;  are	&#13;  a	&#13;  strong	&#13;  influence	&#13;  in	&#13;  this	&#13;  work.	&#13;  
	&#13;  
Ennio	&#13;  Morricone	&#13;  is	&#13;  an	&#13;  Italian	&#13;  composer,	&#13;  orchestrator,	&#13;  conductor,	&#13;  and	&#13;  former	&#13;  
trumpet	&#13;  player.	&#13;  He	&#13;  has	&#13;  written	&#13;  music	&#13;  for	&#13;  more	&#13;  than	&#13;  500	&#13;  motion	&#13;  pictures	&#13;  and	&#13;  
television	&#13;  series,	&#13;  as	&#13;  well	&#13;  as	&#13;  contemporary	&#13;  classical	&#13;  works.	&#13;  His	&#13;  career	&#13;  includes	&#13;  
a	&#13;  wide	&#13;  range	&#13;  of	&#13;  compositional	&#13;  genres,	&#13;  making	&#13;  him	&#13;  one	&#13;  of	&#13;  the	&#13;  world's	&#13;  most	&#13;  
versatile,	&#13;  prolific,	&#13;  and	&#13;  influential	&#13;  film	&#13;  composers	&#13;  of	&#13;  all	&#13;  time.	&#13;  Morricone's	&#13;  
music	&#13;  has	&#13;  been	&#13;  used	&#13;  in	&#13;  more	&#13;  than	&#13;  60	&#13;  award-­‐winning	&#13;  films.	&#13;  	&#13;  
	&#13;  
A	&#13;  very	&#13;  special	&#13;  thank-­‐you	&#13;  to	&#13;  all	&#13;  involved	&#13;  for	&#13;  their	&#13;  tireless	&#13;  effort	&#13;  and	&#13;  dedication	&#13;  
in	&#13;  helping	&#13;  me	&#13;  put	&#13;  on	&#13;  this	&#13;  recital.	&#13;  Without	&#13;  them	&#13;  it	&#13;  would	&#13;  not	&#13;  have	&#13;  been	&#13;  
possible.	&#13;  I	&#13;  especially	&#13;  would	&#13;  like	&#13;  to	&#13;  thank	&#13;  Gabriel	&#13;  Lagos	&#13;  as	&#13;  my	&#13;  accompanist,	&#13;  
and	&#13;  Alfons	&#13;  Fear	&#13;  for	&#13;  his	&#13;  wonderful	&#13;  transcription	&#13;  of	&#13;  Moment	&#13;  for	&#13;  Morricone.	&#13;  	&#13;  

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                    <text>P	&#13;  r	&#13;  o	&#13;  g	&#13;  r	&#13;  a	&#13;  m	&#13;  

Dominique	&#13;  Ryser,	&#13;  Soprano	&#13;  
	&#13;  

Shane	&#13;  Beech,	&#13;  piano	&#13;  	&#13;  
	&#13;  
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	&#13;  
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	&#13;  
Dominique	&#13;  Ryser	&#13;  is	&#13;  from	&#13;  the	&#13;  class	&#13;  of	&#13;  Professor,	&#13;  Mr.	&#13;  Benjamin	&#13;  Butterfield	&#13;  
	&#13;  
This	&#13;  recital	&#13;  is	&#13;  presented	&#13;  as	&#13;  part	&#13;  of	&#13;  the	&#13;  requirements	&#13;  
	&#13;  for	&#13;  the	&#13;  Master	&#13;  of	&#13;  Music	&#13;  in	&#13;  Performance	&#13;  program.	&#13;  
	&#13;  
	&#13;  
	&#13;  

	&#13;  
	&#13;  
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	&#13;  
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	&#13;  

Seven	&#13;  Sacred	&#13;  Solos	&#13;  of	&#13;  the	&#13;  Early	&#13;  English	&#13;  School	&#13;   	&#13;  Maurice	&#13;  Greene
	&#13;  
	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;   	&#13;  (1696-­‐1755)	&#13;  
2.	&#13;  	&#13;  O	&#13;  Praise	&#13;  the	&#13;  Lord	&#13;  
3.	&#13;  	&#13;  O	&#13;  That	&#13;  My	&#13;  Ways	&#13;  
4.	&#13;  	&#13;  The	&#13;  Sun	&#13;  Shall	&#13;  be	&#13;  no	&#13;  More	&#13;  Thy	&#13;  Light	&#13;  
6.	&#13;  	&#13;  Blessed	&#13;  are	&#13;  They	&#13;  that	&#13;  Dwell	&#13;  in	&#13;  Thy	&#13;  House	&#13;  
7.	&#13;  	&#13;  I	&#13;  Will	&#13;  Lay	&#13;  Me	&#13;  Down	&#13;  in	&#13;  Peace	&#13;  

Acht	&#13;  Gedichte	&#13;  aus	&#13;  “Letzte	&#13;  Blätter”,	&#13;  Op.	&#13;  10	&#13;  	&#13;  	&#13;  
2.	&#13;  	&#13;  Nichts	&#13;  
8.	&#13;  	&#13;  Allerseelen	&#13;  
1.	&#13;  	&#13;  Zueignung	&#13;  
	&#13;  
Vier	&#13;  Lieder	&#13;  für	&#13;  eine	&#13;  Singstimme,	&#13;  Op.	&#13;  27	&#13;   	&#13;  

	&#13;  

Richard	&#13;  Strauss	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  
(1864-­‐1949)	&#13;  

	&#13;  

	&#13;  

	&#13;  

	&#13;  
	&#13;  
	&#13;  
	&#13;  
	&#13;  
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	&#13;  

1.	&#13;  	&#13;  Ruhe,	&#13;  meine	&#13;  Seele!	&#13;  
2.	&#13;  	&#13;  Cäcilie	&#13;  
4.	&#13;  	&#13;  Morgen!	&#13;  

	&#13;  
	&#13;  
	&#13;  

	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  Canciones	&#13;  clásicas	&#13;  españolas	&#13;  	&#13;  
	&#13;  
Fernando	&#13;  Obradors
	&#13;  
	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  	&#13;  (1897-­‐1945)	&#13;  
La	&#13;  mi	&#13;  sola,	&#13;  Laureola	&#13;  
Al	&#13;  Amor	&#13;  
¿Corazón,	&#13;  porqué	&#13;  pasáis…?	&#13;  
El	&#13;  majo	&#13;  celoso	&#13;  
Con	&#13;  amores,	&#13;  la	&#13;  mi	&#13;  madre	&#13;  
Del	&#13;  cabello	&#13;  más	&#13;  sutil	&#13;  
Chiquitita	&#13;  la	&#13;  novia	&#13;  

Wednesday,	&#13;  March	&#13;  5th,	&#13;  2014	&#13;  –	&#13;  12:30pm	&#13;  
Phillip	&#13;  T.	&#13;  Young	&#13;  Recital	&#13;  Hall	&#13;  
MacLaurin	&#13;  Building,	&#13;  University	&#13;  of	&#13;  Victoria	&#13;  
Free	&#13;  Admission	&#13;  
	&#13;  
	&#13;  
	&#13;  

	&#13;  

	&#13;  

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