5 10 42 https://finearts.uvic.ca/music/archive/files/original/a6c80d533fecb644f64f00d25db37fe0.pdf 38dcd3631b0aaa995241594f3e5f8570 PDF Text Text Guest Artist UNIVERSITY OF VICTORIA September 18-20, 2013 Abbie Conant Professor of Trombone at the Staatliche Hochschule für Musik in Trossingen Sponsored by the School of Music, Women’s Studies, and the Department of Theatre �Wednesday, September 18, 8:00 p.m. Phillip T. Young Recital Hall Free admission Distinguished Women Scholars Lecture series The Distinguished Women Scholars Lecture series was established by the Vice-President Academic and Provost to bring distinguished women scholars to the University of Victoria Alone among men: My relationship with the Munich Philharmonic From a young age, Abbie Conant won numerous honours and scholarships for her talent as a musician. In 1980, she won an audition for solo trombone with the Munich Philharmonic but was demoted to second trombone solely because of her gender following her probationary year. She fought her demotion and eventually triumphed in court. Since that time, the International Trombone Association Journal has featured Conant on its pages and described her as “in the first rank of world class trombonists.” She has been a soloist in over 155 North American and European cities. �Thursday, September 19, 8:00 p.m. Phillip T. Young Recital Hall Admission by donation (Proceeds will go to the Sandy Merriman House Emergency Shelter for Women) Music for the End of Time William Osborne I. A Door Was Opened In Heaven II. The Sea of Glass III. The Four Horsemen IV. As It Were of A Trumpet Talking V. The White Beast VI. A Woman Clothed With the Sun Abbie Conant, trombone Music for the End of Time for trombone and quadraphonic tape is a large work in six continuous movements based on the Book of Revelation. We were drawn to the Book of Revelation more by its rich imagery and symbolism than any sort of doctrinaire religious belief. The electronic music of the surround sound creates a sonic environment in which the trombone is the central figure. It explores all aspects of the trombone, ranging from expressions of “divine wrath,” to wild rhythmic unisons with the Four Horsemen of the Apocalypse, to the gentlest, meditative lyricism. These are the movements and the verses they are based upon: I. A Door Was Opened in Heaven After this I looked, and, behold, a door was opened in heaven: and the first voice which I heard was as it were of a trumpet talking with me; which said, Come up hither, and I will shew thee things which must be hereafter. (Rev. 4:1) II. The Sea of Glass And before the throne was a sea of glass like unto crystal: and in the midst of the throne, and round about the throne, were four beasts full of eyes before and behind. (Rev. 4.6) III. The Four Horsemen And thus I saw the horses in the vision, and them that sat on them, having breastplates of fire, and of jacinth, and brimstone: and the heads of the horses were as the heads of lions; and out of their mouths issued fire and smoke and brimstone. (Rev. 9:17) �IV. As It Were of A Trumpet Talking After this I looked, and, behold, a door was opened in heaven: and the first voice which I heard was as it were of a trumpet talking with me; which said, Come up hither, and I will shew thee things which must be hereafter. (Rev. 4:1) V. The White Beast And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him. And power was given unto them over the fourth part of the earth, to kill with sword, and hunger, and with death, and with the beasts of the earth. (Rev. 6:8) VI. A Woman Clothed With the Sun And there appeared a great wonder in heaven; a woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars. (Rev. 12:1) �Friday, September 20, 8:00 p.m. Phillip T. Young Recital Hall Admission by donation (Proceeds will go to the Sandy Merriman House Emergency Shelter for Women) Aletheia Abbie Conant, performance and text William Osborne, music, text, stage direction Aletheia is about an opera singer in a dressing room preparing to sing for a gala benefit but she can’t bring herself to go out and perform. The process explores conceptions of artistic authenticity and the relationship of the artist to society. The work alludes to the life of Theresa Duncan, a Detroit native, filmmaker, media artist, and cultural critic who died by suicide in July 2007 at the age of 43. Aletheia is set in Detroit – a bankrupt city that in real life has lost half of its population, and is currently bull-dozing 40 square miles of dilapidated, abandoned housing. Among other things, Aletheia interweaves these concerns with fears about her aging body, a sense that her relationship with her lover Jeremy is ending, concerns about artistic integrity in the face of such social problems, the misfortunes of the opera house for which she about to sing, and uncertainty about the patrons who support her art. In our chamber music theater we strive to give words, music, and theater equal artistic value in the service of substantial characters that develop. These difficulties are vastly compounded in a raw, exposed chamber music format without the trappings of opera to pad the work with lavish sets, deafening bel canto voices, massive orchestras, and cavernous houses. Since this performance is in a recital hall we will be without the forms of stage lighting we usually use for our work. An established genre of chamber music theater doesn’t exist in Western culture. As it develops, it will likely be decades before the architecture of halls suited for chamber music catch up. With such a difficult undertaking as chamber music theater, the risk of failure is great, but every artist has to sooner or later put him- or herself on the line and show the results of their efforts. We hope our work will contribute to the process of developing the uncharted genre of chamber music theater. It would be an important addition to Western culture’s forms of expression, and especially relevant to the social and economic conditions of the modern world. �BIOGRAPHIES Abbie Conant received her Bachelor’s Degree (cum Laude) from Temple University in1977. In 1976 she studied at Yale University, and in 1979 she received her Master’s Degree from the Juilliard School, followed by a Meister diploma from the Staatliche Hochschule für Musik in Cologne, Germany in 1984. From 1979 to1980 she was solo trombonist of the Royal Opera of Turin, Italy. From 1980 to 1993 she was solo trombonist of the Munich Philharmonic. The International Trombone Association Journal has featured Abbie Conant in a cover article and described her as “in the first rank of world class trombonists”. She has recorded a highly acclaimed CD of trombone and organ music and performs internationally as a concerto soloist, recitalist, improviser and performance artist. In 1992, the Baden-Württenburg State Ministry for Education, in recognition of her international reputation as a trombonist, named her Professor of Trombone at the Staatliche Hochschule für Musik in Trossingen, Germany – the first woman Prof. of trombone in Germany. She has been a featured soloist at the International Trombone Festivals in Detmold, Germany (1992), Las Vegas (1995), Nevada, and Utrecht, Holland (2000). She has been a jury member of several of the world’s most prominent trombone competitions including the Geneva Competition, the Porcia Competition, and the Rimsky-Korsokov Competition in St. Petersburg, Russia. In 1996 the International Trombone Association elected her as their President elect. Her experiences as a woman trombonist comprise the final chapter of Malcom Gladwell’s recent book Blink, which was on the NYT Bestseller list for 18 weeks. William Osborne studied with George Crumb in Philadelphia and with Franco Donatoni at the National Academy of Italy. Among his awards are two from the American Society of Authors, Composers, and Publishers, a Doctoral Fellowship to Columbia University, and a prize from the Munich Theater Commission. His works have been performed in over165 cities in North America and Europe. Mr. Osborne is also well-known for his activism for women in music. He has written numerous articles about the social and political influences of symphony orchestras. For more information visit: http://www.osborne-conant.org �Upcoming Events At the School of Music Thursday, September 26, 7:00-9:00 p.m. (Free Admission) 8th Annual Lafayette Health Awareness Forum Aging well:What you can do today! A free forum sponsored by the Lafayette String Quartet. To reserve a seat, contact lafayettehealth@shaw.ca David Lam Auditorium, Rm. A144, MacLaurin Building Friday, October 4, 8:00 p.m. ($14 & $12) University of Victoria Wind Symphony A Celebration of British Wind Music Eugene Dowling, conductor Works by Sir William Walton, Gustav Holst, Derek Bourgeois and others. University Centre Farquhar Auditorium Wednesday, October 16, 12:30 p.m. (Free Admission) Lieder at Lunch An exploration of the German Lied repertoire with Sharon and Harald Krebs—Songs about Windows. Bring your lunch! MacLaurin Building, B-wing, Rm. B037 Saturday, October 19, 8:00 p.m. ($17.50 & $13.50) Faculty Chamber Music Seires [Mostly] Off the Beaten Path Featuring twelve of the School of Music’s performance faculty in a mixed program of familiar and rarely performed works by Rachmaninoff, Hans Gál, Martinu, Copland, and others. 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 Guest Artist Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/092013-AbbieConant/092013-Abbie_Conant_01.mp3">track1</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 Guest Artist - Abbie Conant, trombone Creator An entity primarily responsible for making the resource Sondra Moyls Date A point or period of time associated with an event in the lifecycle of the resource September 20, 2013 https://finearts.uvic.ca/music/archive/files/original/089aeeb5e084da76dd793d991020c4f5.pdf 38dcd3631b0aaa995241594f3e5f8570 PDF Text Text Guest Artist UNIVERSITY OF VICTORIA September 18-20, 2013 Abbie Conant Professor of Trombone at the Staatliche Hochschule für Musik in Trossingen Sponsored by the School of Music, Women’s Studies, and the Department of Theatre �Wednesday, September 18, 8:00 p.m. Phillip T. Young Recital Hall Free admission Distinguished Women Scholars Lecture series The Distinguished Women Scholars Lecture series was established by the Vice-President Academic and Provost to bring distinguished women scholars to the University of Victoria Alone among men: My relationship with the Munich Philharmonic From a young age, Abbie Conant won numerous honours and scholarships for her talent as a musician. In 1980, she won an audition for solo trombone with the Munich Philharmonic but was demoted to second trombone solely because of her gender following her probationary year. She fought her demotion and eventually triumphed in court. Since that time, the International Trombone Association Journal has featured Conant on its pages and described her as “in the first rank of world class trombonists.” She has been a soloist in over 155 North American and European cities. �Thursday, September 19, 8:00 p.m. Phillip T. Young Recital Hall Admission by donation (Proceeds will go to the Sandy Merriman House Emergency Shelter for Women) Music for the End of Time William Osborne I. A Door Was Opened In Heaven II. The Sea of Glass III. The Four Horsemen IV. As It Were of A Trumpet Talking V. The White Beast VI. A Woman Clothed With the Sun Abbie Conant, trombone Music for the End of Time for trombone and quadraphonic tape is a large work in six continuous movements based on the Book of Revelation. We were drawn to the Book of Revelation more by its rich imagery and symbolism than any sort of doctrinaire religious belief. The electronic music of the surround sound creates a sonic environment in which the trombone is the central figure. It explores all aspects of the trombone, ranging from expressions of “divine wrath,” to wild rhythmic unisons with the Four Horsemen of the Apocalypse, to the gentlest, meditative lyricism. These are the movements and the verses they are based upon: I. A Door Was Opened in Heaven After this I looked, and, behold, a door was opened in heaven: and the first voice which I heard was as it were of a trumpet talking with me; which said, Come up hither, and I will shew thee things which must be hereafter. (Rev. 4:1) II. The Sea of Glass And before the throne was a sea of glass like unto crystal: and in the midst of the throne, and round about the throne, were four beasts full of eyes before and behind. (Rev. 4.6) III. The Four Horsemen And thus I saw the horses in the vision, and them that sat on them, having breastplates of fire, and of jacinth, and brimstone: and the heads of the horses were as the heads of lions; and out of their mouths issued fire and smoke and brimstone. (Rev. 9:17) �IV. As It Were of A Trumpet Talking After this I looked, and, behold, a door was opened in heaven: and the first voice which I heard was as it were of a trumpet talking with me; which said, Come up hither, and I will shew thee things which must be hereafter. (Rev. 4:1) V. The White Beast And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him. And power was given unto them over the fourth part of the earth, to kill with sword, and hunger, and with death, and with the beasts of the earth. (Rev. 6:8) VI. A Woman Clothed With the Sun And there appeared a great wonder in heaven; a woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars. (Rev. 12:1) �Friday, September 20, 8:00 p.m. Phillip T. Young Recital Hall Admission by donation (Proceeds will go to the Sandy Merriman House Emergency Shelter for Women) Aletheia Abbie Conant, performance and text William Osborne, music, text, stage direction Aletheia is about an opera singer in a dressing room preparing to sing for a gala benefit but she can’t bring herself to go out and perform. The process explores conceptions of artistic authenticity and the relationship of the artist to society. The work alludes to the life of Theresa Duncan, a Detroit native, filmmaker, media artist, and cultural critic who died by suicide in July 2007 at the age of 43. Aletheia is set in Detroit – a bankrupt city that in real life has lost half of its population, and is currently bull-dozing 40 square miles of dilapidated, abandoned housing. Among other things, Aletheia interweaves these concerns with fears about her aging body, a sense that her relationship with her lover Jeremy is ending, concerns about artistic integrity in the face of such social problems, the misfortunes of the opera house for which she about to sing, and uncertainty about the patrons who support her art. In our chamber music theater we strive to give words, music, and theater equal artistic value in the service of substantial characters that develop. These difficulties are vastly compounded in a raw, exposed chamber music format without the trappings of opera to pad the work with lavish sets, deafening bel canto voices, massive orchestras, and cavernous houses. Since this performance is in a recital hall we will be without the forms of stage lighting we usually use for our work. An established genre of chamber music theater doesn’t exist in Western culture. As it develops, it will likely be decades before the architecture of halls suited for chamber music catch up. With such a difficult undertaking as chamber music theater, the risk of failure is great, but every artist has to sooner or later put him- or herself on the line and show the results of their efforts. We hope our work will contribute to the process of developing the uncharted genre of chamber music theater. It would be an important addition to Western culture’s forms of expression, and especially relevant to the social and economic conditions of the modern world. �BIOGRAPHIES Abbie Conant received her Bachelor’s Degree (cum Laude) from Temple University in1977. In 1976 she studied at Yale University, and in 1979 she received her Master’s Degree from the Juilliard School, followed by a Meister diploma from the Staatliche Hochschule für Musik in Cologne, Germany in 1984. From 1979 to1980 she was solo trombonist of the Royal Opera of Turin, Italy. From 1980 to 1993 she was solo trombonist of the Munich Philharmonic. The International Trombone Association Journal has featured Abbie Conant in a cover article and described her as “in the first rank of world class trombonists”. She has recorded a highly acclaimed CD of trombone and organ music and performs internationally as a concerto soloist, recitalist, improviser and performance artist. In 1992, the Baden-Württenburg State Ministry for Education, in recognition of her international reputation as a trombonist, named her Professor of Trombone at the Staatliche Hochschule für Musik in Trossingen, Germany – the first woman Prof. of trombone in Germany. She has been a featured soloist at the International Trombone Festivals in Detmold, Germany (1992), Las Vegas (1995), Nevada, and Utrecht, Holland (2000). She has been a jury member of several of the world’s most prominent trombone competitions including the Geneva Competition, the Porcia Competition, and the Rimsky-Korsokov Competition in St. Petersburg, Russia. In 1996 the International Trombone Association elected her as their President elect. Her experiences as a woman trombonist comprise the final chapter of Malcom Gladwell’s recent book Blink, which was on the NYT Bestseller list for 18 weeks. William Osborne studied with George Crumb in Philadelphia and with Franco Donatoni at the National Academy of Italy. Among his awards are two from the American Society of Authors, Composers, and Publishers, a Doctoral Fellowship to Columbia University, and a prize from the Munich Theater Commission. His works have been performed in over165 cities in North America and Europe. Mr. Osborne is also well-known for his activism for women in music. He has written numerous articles about the social and political influences of symphony orchestras. For more information visit: http://www.osborne-conant.org �Upcoming Events At the School of Music Thursday, September 26, 7:00-9:00 p.m. (Free Admission) 8th Annual Lafayette Health Awareness Forum Aging well:What you can do today! A free forum sponsored by the Lafayette String Quartet. To reserve a seat, contact lafayettehealth@shaw.ca David Lam Auditorium, Rm. A144, MacLaurin Building Friday, October 4, 8:00 p.m. ($14 & $12) University of Victoria Wind Symphony A Celebration of British Wind Music Eugene Dowling, conductor Works by Sir William Walton, Gustav Holst, Derek Bourgeois and others. University Centre Farquhar Auditorium Wednesday, October 16, 12:30 p.m. (Free Admission) Lieder at Lunch An exploration of the German Lied repertoire with Sharon and Harald Krebs—Songs about Windows. Bring your lunch! MacLaurin Building, B-wing, Rm. B037 Saturday, October 19, 8:00 p.m. ($17.50 & $13.50) Faculty Chamber Music Seires [Mostly] Off the Beaten Path Featuring twelve of the School of Music’s performance faculty in a mixed program of familiar and rarely performed works by Rachmaninoff, Hans Gál, Martinu, Copland, and others. 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 Guest Artist Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/091913-AbbieConant/091913-Abbie_Conant_01.mp3">track1</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 Guest Artist - Abbie Conant, trombone Creator An entity primarily responsible for making the resource Sondra Moyls Date A point or period of time associated with an event in the lifecycle of the resource September 19, 2013