1 10 42 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 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/cf20ec8a2650cf7a3aed81062ac5dced.pdf 5db1994ae2a34205fad722c457b5ae47 PDF Text Text Canyon Epitaph UNIVERSITY OF VICTORIA Orion Series in Fine Arts presents TALEA ENSEMBLE Innominabiles David Foley Adam Dyjach, tenor Nolan Krell, guitar Brandon Chow, percussion (New York) With students from MUS 462/562 New Music Concert, Part 2 Thomas Law, flute Matt Kelly, trombone Nolan Krell, guitar Matthew Kaufhold Sole meunière Janet Sit Adam Dyjach, tenor Sara Page, flute Matt Kelly, trombone I nt e r m i s s i o n PROGRAM Deuce (2012) Suite for Flute, Clarinet, and Percussion I. Prelude II. Courante III. Sarabande Thomas Law, flute Matthew Kaufhold, clarinet Sky Kim, percussion Logos, Beit Lahm Liam Gibson Becoming (1979) Jonathan Harvey Studie (2011) Beat Furrer Sapphire Brickwork (2013) *World Premiere Robert Hansler Matthew Kaufhold, clarinet Alfons Fear, trumpet SarahTradewell, viola Stefan Maier, guitar Aaron Herzog, piano Stephen Fong, conductor Sleeping Beauty Awakes Heather Harker, voice Thomas Law, flute Bob Hansler, piano Jay Schreiber, percussion Vito Zuraj Dániel Péter Biró Talea Ensemble Rane Moore, clarinet Elizabeth Weisser, viola Steven Beck, piano Alex Lipowski, percussion Ajtony Csaba, conductor Sara Page Friday, April 12, 2013, 7:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free Admission www.finearts.uvic.ca/music/events �TALEA ENSEMBLE “Championing works like these, and playing them with a compelling lucidity, are precisely what Talea Ensemble does best.” - New York Times The Talea Ensemble has been labeled “...a crucial part the New York cultural ecosphere” by the New York Times and has given many important world and US premieres of new works by composers including Pierre Boulez, Tristan Murail, James Dillon, Pierluigi Billone, Hans Abrahamsen, Stefano Gervasoni, Marco Stroppa, and Fausto Romitelli. As an active collaborator of new music Talea has joined forces with the Austrian Cultural Forum, Consulate General of Denmark, Korean Cultural Service NY, Italian Cultural Institute, and the Ukrainian Institute. Assuming an ongoing role in supporting and collaborating with student composers, Talea has served as ensemble in residence at Harvard University, Columbia University, Stanford University, Ithaca College, Cornell University and New York University. Talea has recorded works on the Living Artists Label, Gravina Musica, Tzadik, and a forthcoming release on New World Records. Recently commissioned composers include Anthony Cheung, Christopher Trapani, and Georges Aperghis. For more information, please visit www.taleaensemble.org 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/student/041213-TaleaEnsemble/041213-TaleaEnsemble_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/041213-TaleaEnsemble/041213-TaleaEnsemble_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/041213-TaleaEnsemble/041213-TaleaEnsemble_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/041213-TaleaEnsemble/041213-TaleaEnsemble_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/041213-TaleaEnsemble/041213-TaleaEnsemble_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/041213-TaleaEnsemble/041213-TaleaEnsemble_06.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/041213-TaleaEnsemble/041213-TaleaEnsemble_07.mp3">track7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/041213-TaleaEnsemble/041213-TaleaEnsemble_08.mp3">track8</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/041213-TaleaEnsemble/041213-TaleaEnsemble_09.mp3">track9</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/041213-TaleaEnsemble/041213-TaleaEnsemble_10.mp3">track10</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 Talea Ensemble Creator An entity primarily responsible for making the resource Kirk McNally Date A point or period of time associated with an event in the lifecycle of the resource April 12, 2013 Contributor An entity responsible for making contributions to the resource Rane Moore, clarinet; Elizabeth Weisser, viola; Steven Beck, piano; Alex Lipowski, percussion; Ajtony Csaba, conductor 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/101613-BruceGremo/101613-BruceGremo_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/101613-BruceGremo/101613-BruceGremo_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/101613-BruceGremo/101613-BruceGremo_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/101613-BruceGremo/101613-BruceGremo_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 Bruce Gremo 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 October 16, 2013 Contributor An entity responsible for making contributions to the resource Bruce Gremo https://finearts.uvic.ca/music/archive/files/original/2e7c467ca99d7d0825ffd891310eff20.pdf 5d60f8d7317c1b688c1a3f36b4fa751a 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 GUEST CONCERT Kate Prestia-Schaub, piccolo Martin Kennedy, piano Sunday, March 1, 2015 Masterclass: 3:15 – 5:00 p.m. Concert: 5:30 – 6:30 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation �PROGRAM Piccolo Concerto in C major, RV 443 Rosignol en Amour Piccolo Sonata Antonio Vivaldi Francois Couperin Mike Mower Penseri .. Dialogi Alessandro Cavicci Desplazamiento Martin Kennedy Timeless Eurythmionics Kenneth Benshoof Steve Kujala This concert is sponsored by Verne Q. Powell Flutes and Long & McQuade Musical Instruments. �UPCOMING EVENTS Tuesday, March 3, 12:30 p.m. (Admission by donation) TUESDAYMUSIC Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall Wednesday, March 4, 8:00 p.m. (Admission by donation) VIOLIN CLASS RECITAL: Students from the studio of Ann Elliott-Goldschmid. Phillip T. Young Recital Hall Thursday, March 5, 4:00 p.m. to 5:30 p.m. (Free admission) GUEST ARTIST: GERALD BARRY Internationally celebrated Irish composer Gerald Barry, the featured composer of this year’s Victoria Symphony New Music Festival, speaks about his music. Rm. A168, MacLaurin Building, A-Wing Thursday, March 5, 8:00 p.m. (Admission by donation) SONIC LAB: Current Exchange Rate of Sixpenny-concepts Ajtony Csaba, Conductor UVic’s contemporary music ensemble performs works by Gerald Barry, Anton Webern and Karlheinz Stockhausen. In cooperation with the New Music Festival of the Victoria Symphony dedicated to the work of Gerald Barry. Phillip T. Young Recital Hall Friday, March 6, 12:30 p.m. (Admission by donation) FRIDAYMUSIC : Featuring School of Music brass students. Phillip T. Young Recital Hall Friday, March 6, 8:00 p.m. ($15 & $10) UNIVERSITY OF VICTORIA ORCHESTRA: A Symphonic Ornithology Ajtony Csaba, Conductor Performing Die Fledermaus: Ouverture by Strauss, Rossini’s La Gazza Ladra: Sinfonia Dvořák’s The Wild Dove, Firebird-Suite by Stravinsky, and excerpts from works by Saint-Saëns, Parker and W.A. Mozart. University Centre Farquhar Auditorium Tickets available at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca) and at the door. To receive our On the Pulse brochure and newsletter by email, contact: concert@uvic.ca www.finearts.uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Guest Artist Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/030115-Prestia_Schaub/030115-Guestfluterecital_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/030115-Prestia_Schaub/030115-Guestfluterecital_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/030115-Prestia_Schaub/030115-Guestfluterecital_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/030115-Prestia_Schaub/030115-Guestfluterecital_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/030115-Prestia_Schaub/030115-Guestfluterecital_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/030115-Prestia_Schaub/030115-Guestfluterecital_06.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/030115-Prestia_Schaub/030115-Guestfluterecital_07.mp3">track7</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 Concert - Kate Prestia-Schaub, piccolo 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 March 1, 2015 Contributor An entity responsible for making contributions to the resource Kate Prestia-Schaub, piccolo; Martin Kennedy, piano https://finearts.uvic.ca/music/archive/files/original/aff071256337f7bd6094e5406650e322.pdf 750dccdd156c6146458eefc50bee3489 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC GUEST CONCERT Eckhardt-Gramatté National Music Competition 2015 Winner’s Tour JOSHUA PETERS VIOLIN & KATHERINE DOWLING PIANO Friday, November 27, 2015 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free admission �PROGRAM Birdsong (2012) Vivian Fung* (b. 1975) Sonata for Violin and Piano No. 2 “Quasi una Sonata” (1967-68) Alfred Schnittke (1934–1998) Shades of a Romance (1996) John Estacio* (b. 1966) I NT E R M I S S I O N Beverages and snacks available at the concession located in the lounge. Into the Ether ‡ Violin Sonata No. 5, Op. 53 (1953) Jordan Pal* (b. 1983) Mieczyslaw Weinberg (1919-1996) * Canadian works ‡ 2015 E-Gré Commissioned Composition The E-Gré Competition acknowledges the support of the Canada Council for the Arts, which last year invested $157 million to bring thearts to Canadians throughout the country. Le Concours E-Gré remercie le Conseil des arts du Canada de sonsoutien. L’an dernier, le Conseil a investi 157 millions de dollars pourmettre de l’art dans la vie des Canadiennes et des Canadiens de tout le pays. The 2016 Eckhardt-Gramatté National Music Competition May 6-8, 2016 is open to pianists. (See http://e-gre.ca for details.) The firstplace winner will receive a cash prize of $10,000 and a Canadian tour (recital fees ca. $5,000 for the Winner and pianist each). �BIOGRAPHIES Joshua Peters, violin Born and raised in Winnipeg, Manitoba, Joshua Peters began his violin studies at the age of four as a student of Gwen Hoebig and Karl Stobbe. He continued his studies at McGill University with Jonathan Crow, Denise Lupien, and Axel Strauss, and at the San Francisco Conservatory of Music as a student of Ian Swensen. Particularly drawn to the performance of chamber music, Peters has collaborated with many renowned musicians including Menahem Pressler, Kim Kashkashian, André LaPlante, Steven Dann, and members of the Emerson, Concord, St. Lawrence, and Pacifica quartets. He has also studied chamber music with members of the Alban Berg, Guarneri, Cleveland, Juilliard, Kronos, Miró, and Takács String Quartets. He has appeared as a soloist on numerous occasions with the Winnipeg Symphony Orchestra, as concertmaster of the McGill Symphony Orchestra, and as a member of the Montreal Symphony Orchestra. Peters is the First Prize Winner of the 2015 Eckhardt-Gramatté Music Competition, the First Prize Winner of the 2014 WMC Doris McClellan Competition, and also wishes to acknowledge the support of the Sylva Gelber Foundation and the Manitoba Arts Council. Katherine Dowling, piano Praised by the New York Times for her “crystalline performances, gestural expressiveness, and careful attention to color,” pianist Katherine Dowling has performed across North America and the United Kingdom. Following two seasons as a fellow of the Tanglewood Music Center, Katherine was awarded the Henri Kohn Memorial Prize and appointed to the contemporary ensemble-in-residence of the center, the New Fromm Players. She joined Gruppo Montebello in 2011, an all-star chamber ensemble directed by Henk Guittart, whose recordings appear on the Etcetera label. Katherine is further familiar to audiences through her association with The Banff Centre, where she has held numerous solo and collaborative residencies. She has enjoyed working with esteemed artists including the Jupiter String Quartet, Shauna Rolston, Joel Sachs, Marc Destrubé, composers John Harbison, Anthony Cheung, Marco Stroppa, and David Lang, and visual artist Andrea Büttner. Katherine credits her teacher, Gil Kalish, as the major influence in her musical life. �PROGRAM NOTES Birdsong - Vivian Fung Birdsong for violin and piano (2012), commissioned by the Delaware Chamber Music Festival through funding from the DeRosa Family Fund, is written in memoriam Julian Rodescu. The work, written for Kristin Lee, violinist, and Conor Hanick, pianist, showcases the virtuosity of both piano and violin, with quick runs, intense rhythmic passages, and exploration of improvisational moments. The title refers to the birdcalls of the opening and closing, as well as the general rhapsodic nature of the violin in this piece. – Program notes by the composer Sonata for Violin and Piano No. 2 “Quasi una Sonata” - Alfred Schnittke Schnittke’s second sonata for violin and piano was written in 1967–1968 for his friend, the violinist Mark Lubotsky. It is the first example of polystylism in Schnittke’s career, the style of music for which he is most well-known. In this piece, Schnittke weaves a complex fabric of styles together, with references to the Baroque period, total serialism, jazz, and graphic notation. The subtitle, “Quasi una Sonata” means “like a sonata” or “in the manner of a sonata.” This description of the piece being “like a sonata” is explained by Schnittke as a “sort of borderline case of sonata form (...) the form is called into question; it seems not to be achieved - and then the sonata is already over.” Schnittke continues: “suddenly I had to write this piece, without rules of construction. It was, so to speak, a mutiny against everything else.” The piece stops and starts, punctuated by uncomfortably long silences. Just as the music feels like it’s going somewhere, it cuts off abruptly. Schnittke also uses interesting markings to describe the tempo of certain sections: some sections are “senza tempo” or “without tempo”, and he also draws the distinction between “quasi cadenza” and “cadenza”. Despite the lack of traditional form, the piece carries a great deal of compositional continuity and emotional weight, equivalent to that of a sonata in a traditional form. The main way Schnittke does this is by developing the relationship of the first two chords of the piece: a loud G-minor triad in the piano, followed by a dissonant chord in the violin about six seconds later. This relationship is explored throughout the work, most notably at the climax of the piece, which is the quasirecapitulation of the opening material. In this section, the pianist plays the opening g-minor chord repeatedly at triple-forte, at one point, twenty-eight times in a row. During the g-minor chords, the violinist refuses to compete, and remains silent. �Shades of a Romance - John Estacio Shades of a Romance (1996) was commissioned by the CBC, specifically for Gwen Hoebig and David Moroz. While writing the piece, I knew it was going to be premiered by a husband and wife team so I endeavoured to make the relationship between the two instruments quite intimate and personal. While writing the piece, I drew upon my own personal experiences. Keeping in mind the notion that romances can lead to lifelong relationships, or end in flames, the piece is cast in two sections; the first section of the piece is lyrical and passionate, while the second part is fiery, raw, rhythmical and tempestuous. It’s up to the listener’s imagination to determine if the romance, as depicted in the performance, concludes with the lovers going their separate ways, or lighting up a cigarette. – Program notes by the composer Into the Ether - Jordan Pal 2015 E-Gré Commissioned Composition At the edge of the known, past cloudless skies and the light of a mil-lion miles. Go forth. Towards the darkness. Into the ether, towards the unknown. Cast in a single movement, Into the Ether takes us into the infinite. From the treacherously stratospheric but sublimely ethereal, through to the hypersonic and darkly mercurial, the music goes deeper, reaches higher, and pushes faster into the immeasurable unknown. Opening long lines suspend over a kaleidoscope of thirty-second notes. Hauntingly delicate refractions stream forth with ever-increasing intensity. The music ‘breaks,’ and 32nds become 16th triplets. Fiercely animated and decidedly capricious, interspersions of the long lines and reinterpretations of the opening piano accompaniment build to a varied return of the introduction. ‘Breaking off ’ again, the piece surges to the work’s electric close, vanishing into the ether. Designed to highlight the player’s technical prowess and expressive range, Into the Ether is a dramatic showpiece that centers on the violin soloist. Dramatic gestures, elaborate string techniques, and the dynamic interaction between the piano and stringed instrument, combine to produce a work that forces the player to engage with it in a very physical way. Through its unceasing musical flow and extreme technical demands, Into the Ether challenges the musician to reach into the infinite. – Program notes by the composer �Violin Sonata No. 5, Op. 53 - Mieczyslaw Weinberg Mieczyslaw Weinberg’s music has recently been gaining recognition outside of Eastern Europe as some of the most important and original music to have been composed in Russia during the 20th century. Weinberg was born in Poland and fled to Russia during the Second World after his family was killed in the Holocaust. In 1953, Weinberg was arrested for the crime of “Jewish Bourgeois Nationalism” and spent nine months in the infamous Lubyanka prison. If it weren’t for the death of Stalin in 1953, Weinberg probably would have died in prison. The Fifth Violin Sonata (1953) is the first piece Weinberg wrote after being released and is dedicated to Dmitri Shostakovich. Weinberg and Shostakovich were neighbors and had a very close friendship. They would show each other their works as they were writing and would frequently quote one another in their own music. When Weinberg was arrested, Shostakovich took power of attorney over Weinberg’s children and would have adopted them in the event that Weinberg’s wife was also arrested. One can imagine that this Violin Sonata is Weinberg’s way of showing his appreciation to Shostakovich for his kindness and support of Weinberg’s family during his time in prison. It is one of his most beautiful works and perfectly represents his compositional voice. The work begins quietly with a haunting theme played by the piano, which is the only theme that appears in the first movement. The second movement is vigorous, fast and occasionally violent in character. The third movement is a Scherzo with its main theme played in double-stops by the violin. The last movement begins with one of most beautiful wind-like effects in the entire violin repertoire, and gradually transforms into a lyrical Allegretto. The Allegretto theme gains intensity and culminates in a brilliantly composed fugal passage in the piano at the climax of the work. �UPCOMING EVENTS Saturday, November 28, 8:00 p.m. ($15 & $10) UVIC JAZZ ENSEMBLE Mostly Monk: Celebrating Thelonious Monk Dr. Patrick Boyle, director Phillip T. Young Recital Hall Tuesday, December 1, 12:30 p.m. (Admission by donation) TUESDAYMUSIC Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall Thursday, December 3, 10:30 a.m. (Admission by donation) AFRICAN PERCUSSION CONCERT The thirty-member percussion ensemble from the African Hand Drumming class perform a repertoire of rhythms on djembe, balafon and dundun. Phillip T. Young Recital Hall Thursday, December 3, 8:00 p.m. ($15 & $10) DON WRIGHT SYMPHONIC WINDS Dr. Michael Keddy, conductor Featuring student musicians from across the UVic campus. University Centre Farquhar Auditorium Friday, December 4, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Featuring new music by School of Music composition students. Phillip T. Young Recital Hall Friday, December 4, 8:00 p.m. (Admission by donation) UNIVERSITY OF VICTORIA CHOIRS: Sing, Choirs of Angels! The UVic Choirs return by popular demand to present a gift of choral music to the Greater Victoria community in their second annual joint concert. Featuring the UVic Chorus, Chamber Singers, Women’s Choir and Vocal Jazz Ensemble. Christ Church Cathedral (Quadra St. at Rockland Ave.) 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/112715-Peters_Dowling/112715-GuestRecital_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/112715-Peters_Dowling/112715-GuestRecital_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/112715-Peters_Dowling/112715-GuestRecital_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/112715-Peters_Dowling/112715-GuestRecital_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/112715-Peters_Dowling/112715-GuestRecital_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 Eckhardt-Gramatté National Music Competition 2015 Winner’s Tour: Joshua Peters, violin; Katherine Dowling, piano Creator An entity primarily responsible for making the resource Alex Klassen Date A point or period of time associated with an event in the lifecycle of the resource November 27, 2015 Contributor An entity responsible for making contributions to the resource Joshua Peters, violin; Katherine Dowling, piano https://finearts.uvic.ca/music/archive/files/original/911956190203a0f27f0f2f9900da9a4d.pdf c6fc9df860f8d19a4a6950422425f03e PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC GUEST RECITAL DEREK JONES FLUTE Derek Jones has enjoyed an extensive performing career throughout Australia, Europe, USA, and Asia. His performing career includes solo performances with the Melbourne Symphony, The Australian Philharmonic Orchestra, Orchestra Victoria and the Sydney Symphony Orchestra, the latter involving solo appearances in Carnegie Hall, New York. Derek has toured Europe and Asia with recital performances in London, Manchester, Dublin, Hong Kong, Taiwan, Italy and in 2016 is performing in Canada. He has also performed as soloist for ABC Radio in live broadcasts and has recorded recitals for ABC Classic FM. Derek released his CD Sun Down Moon Up in 2008, a collection of his own compositions and improvisations. He has also released CDs with the Australian recording label MOVE, including the 2015 release of Flute Perspectives, a collection of solo Australian contemporary works. His career includes principal flute positions with the Sydney Symphony Orchestra, Tasmanian Symphony Orchestra, the Australian Philharmonic Orchestra & Orchestra Victoria. Derek has also been invited to audition for principal flute positions in Europe. He has made guest teaching appearances at the Paris Conservatoire, the Royal College of Music, London, Geneva Conservatoire, Kunstuniversität Graz, Austria, Trento Conservatorie, Italy, the Royal Northern College of Music, Manchester the Royal Irish Academy of Music, Dublin, Boston University, the Hong Kong Academy of Performing Arts, and the Taiwan Flute School. Derek is currently the Head of Performance and Head of Woodwind at the Melbourne Conservatorium of Music, University of Melbourne, Australia. �PROGRAM Brian Brown Lily’s Garden (2000) Ross Edwards Yanada and Ulpirra (1993–1998) Derek Jones Stillness (2008) Mark Pollard Under Simple Stars (1989) Wednesday, March 16, 2016 • 1:30 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free Admission �UPCOMING EVENTS Wednesday, March 16, 8:00 p.m. (Free Admission) GRADUATING RECITAL: Kelsey Wheatley, voice Vocalist Kelsey Wheatley presents her Bachelor of Music graduating recital. Phillip T. Young Recital Hall Friday, March 18, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Featuring new music by School of Music composition students. Phillip T. Young Recital Hall Friday, March 18, 8:00 p.m. (Adults $15 / Seniors & Alumni $10 / Students $5) UNIVERSITY OF VICTORIA WIND SYMPHONY:Year End Spectacular! Dr. Gerald King, conductor Repertoire to include Lincolnshire Posy by Percy A. Grainger, Saxophobia for Saxophone Quartet and Wind Ensemble by Rudy Wiedoeft (Woodis/Hammer) and more. University Centre Farquhar Auditorium Saturday, March 19, 8:00 p.m. (Admission by donation) SONIC LAB Evan Hesketh, graduate conductor & Ajtony Csaba, conductor UVic’s contemporary music ensemble performs: György Kurtág – …quasi una fantasia… (Soloist: Thomas Nicholson) Alec Hall – Hyperwarp Anton von Webern – Quartet Op. 22 Soundpainting This concert represents the graduation recital for conductor Evan Hesketh. Phillip T. Young Recital Hall Sunday, March 20, 2:30 p.m. (Free Admission) GRADUATING RECITAL: Sunny Chu, clarinet Clarinetist Sunny Chu presents her Bachelor of Music graduating recital. Phillip T. Young Recital Hall Sunday, March 20, 8:00 p.m. (Admission by donation) GRADUATING RECITAL: Student Composers Composition students Nolan Krell and Matt Kelly present their graduating recital. Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca) and at the door. To receive our On the Pulse brochure and newsletter by email, contact: concert@uvic.ca www.finearts.uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Guest Artist Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/031616-DerekJones/031616-GuestArtist_Talk1.mp3">Talk1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/031616-DerekJones/031616-GuestArtist_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/031616-DerekJones/031616-GuestArtist_Talk2.mp3">Talk2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/031616-DerekJones/031616-GuestArtist_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/031616-DerekJones/031616-GuestArtist_Talk3.mp3">Talk3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/031616-DerekJones/031616-GuestArtist_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/031616-DerekJones/031616-GuestArtist_Talk4.mp3">Talk4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/031616-DerekJones/031616-GuestArtist_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 Guest Recital - Derek Jones Creator An entity primarily responsible for making the resource Kirk McNally Date A point or period of time associated with an event in the lifecycle of the resource March 16, 2016 Contributor An entity responsible for making contributions to the resource Derek Jones, flute https://finearts.uvic.ca/music/archive/files/original/9ba5631ec18bcc73dcf997f3b2bd6931.pdf db03ea2acaec50568c0ac69ee3d5e072 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC Guest Concert Alcan String Quartet Laura Andriani, violin Nathalie Camus, violin Luc Beauchemin, viola David Ellis, cello Thursday, November 3, 2016 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $20 / Seniors: $15 / Students & UVic alumni: $10 �PROGRAM String Quartet in D minor, Op. 76, No. 2 (1796) “Fifths” Allegro Andante o più tosto allegretto Menuetto: Allegro ma non troppo Finale: Vivace assai Joseph Haydn (1732–1809) String Quartet No.1, Op. 20 (1948) Alberto Ginastera Allegro violento ed agitato (1916–1983) Vivacissimo Calmo e poetico Allegramente rustico I NT E R M I S S I O N Beverages and snacks available at the concession located in the lounge. String Quartet in D Major, Op. 44, No.1 (1838) Félix Mendelssohn Molto allegro vivace (1809–1847) Menuetto: Un poco Allegretto Andante espressivo ma con moto Presto con brio �ALCAN STRING QUARTET The Alcan Quartet — violinists Laura Andriani and Nathalie Camus, violist Luc Beauchemin, and cellist David Ellis — has developed a reputation for excellence throughout Canada and internationally since its formation over twenty years ago. The quartets originality, contagious enthusiasm, unique sonority, and remarkable cohesion have all contributed to its long term success. Critics agree that both on stage and in the recording studio the Alcan Quartet possesses the qualities that characterize the best ensembles of its kind: a recognizable personality, a homogeneous sound, and elegant style. The ensemble’s list of accomplishments is impressive: close to 1000 concerts; over 100 live radio broadcasts (Radio Canada, the Canadian Broadcasting Corporation, National Public Radio in the USA, and Radio France); numerous television appearances; tours throughout North America, Europe, and Asia; and a number of commissioned pieces and first performances. The quartet’s discography includes major works from the string quartet repertoire including Haydn, Mozart, Schubert, Dvorak, Debussy, Borodin, and others. These recordings have received adulatory reviews in the United States, Canada, and Europe. The quartet won the “Prix Opus, recording of the year” for its CD of Schubert Quartets. In addition to its performing career, the quartet is regularly invited to give master classes at universities, conservatories, and summer chamber music institutes. The Alcan Quartet is based in Chicoutimi, Québec where it receives the unconditional support of the Orchestre symphonique du Saguenay— Lac-Saint-Jean. The quartet takes its name from its principal patron, the multinational aluminum company Alcan. The quartet also receives support from the Conseil des arts et des lettres du Québec, and the Canada Council for the Arts. 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/110316-AlcanQuartet/110316-AlcanQuartet_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110316-AlcanQuartet/110316-AlcanQuartet_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110316-AlcanQuartet/110316-AlcanQuartet_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 Guest Concert - Alcan String Quartet Creator An entity primarily responsible for making the resource Adar Guy Date A point or period of time associated with an event in the lifecycle of the resource November 3, 2016 https://finearts.uvic.ca/music/archive/files/original/4ba46cd687a10a9bb1b78c71e7e1cce4.pdf 5de0ee604a902fea60d7f514620a34a6 PDF Text Text School of Music 50 YEARS MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC GUEST CONCERT PLAY LIKE A GIRL LUANNA WARNER KATZ PERCUSSION & VOICE & PAULA KIFFNER VIOLINCELLO This concert is presented on the traditional territory of the WS’ANEC’ (Saanich), Lkwungen (Songhees) and Wyomilth (Esquimalt) peoples of the Coast Salish Nation. Wednesday, November 1, 2017 • 8 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation �PROGRAM Electric Counterpoint Fast—Slow—Fast Steve Reich (b. 1936) Marimba, vibraphone and pre-recorded tracks Circles (Percussion interlude with spoken text) Cinnabar Heart Chinary Ung (b.1942) Solo marimba Frederic Rzewski (b. 1938) To the Earth Speaking percussionist and four flowerpots Gada Yina African (traditional Lobi) Arr. Jack Brody Marimba, percussion, violincello Mariel Osvaldo Golijov (b. 1960) Violincello and marimba Why Can’t I Fly? (Percussion interlude) Paul McCartney / Arr. Ed Smith Blackbird Solo vibraphone Kaval Sviri (traditional, Bulgaria) Video of Bulgarian State Women’s Chorus Play Like a Girl Three variations – Fast—Slow—Fast Eve Beglarian (b. 1958) Marimba, vibraphone and pre-recorded tracks �UPCOMING EVENTS FRIDAY, NOVEMBER 3 | 12:30 PM (By donation) Fridaymusic Featuring UVic School of Music brass students in a concert of varied repertoire. Phillip T. Young Recital Hall SATURDAY, NOVEMBER 4 | 3-5 PM (Free) World New Music Days Live Stream: New Vistas Choral Concert Featuring Vancouver Chamber Choir, musica intima & Elektra Women’s Choir Watch the exclusive live broadcast from Vancouver’s Christ Church Cathedral where the city’s finest choirs will perform music from around the world. Light refreshments will be served. This concert is part of the ISCM World New Music Days taking place in Vancouver from November 2-8. B037, MacLaurin Building, B-WIng SATURDAY, NOVEMBER 4 | 8 PM ($10-$25) Faculty Concert Series: Lafayette String Quartet After wowing audiences with their 30th anniversary performance of the Shostakovich cycle last season, Victoria’s beloved string quartet enters a new decade with music by Schubert, Shostakovich and Beethoven. Phillip T. Young Recital Hall THURSDAY, NOVEMBER 9 | 8PM (By donation) Guest Concert: Grit + Grace 2017 Recital Tour Sopranos Tracy Dahl and Monica Huisman, cellist Minna Chung and pianist Laura Loewen roll up their sleeves and deliver a powerful program of ‘Grit and Grace’. The quartet will evoke sadness, make you laugh, empower and transform you. If you miss this, you will never know who was whom? You decide. Performing music by Bach, Debussy, Dvorak, Greer, Mozart, Previn, Puccini, Strauss, Tchaikovsky, and Villa-Lobos. Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480), online (tickets.uvic.ca) and at the door. To receive our On the Pulse brochure & newsletter by email, contact: concert@uvic.ca finearts.uvic.ca/music/events Donate Now 50 For 50 years the UVic School of Music has been nurturing musicians with the richest musical experience on the West Coast. This could not have been possible without the generous contributions from our loyal patrons and the incredible support of our community. Support the 50th anniversary season with a donation and be a part of our legacy. Let’s ensure that this anniversary season delights audiences and students for decades to come. To make a donation online, visit finearts.uvic.ca/music/calendar/50thsupport/ � 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/110117-GuestConcert_KatzKiffner/110117-GuestConcert_KatzKiffner_01.mp3">Track01</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110117-GuestConcert_KatzKiffner/110117-GuestConcert_KatzKiffner_02.mp3">Track02</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110117-GuestConcert_KatzKiffner/110117-GuestConcert_KatzKiffner_03.mp3">Track03</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110117-GuestConcert_KatzKiffner/110117-GuestConcert_KatzKiffner_04.mp3">Track04</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110117-GuestConcert_KatzKiffner/110117-GuestConcert_KatzKiffner_05.mp3">Track05</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110117-GuestConcert_KatzKiffner/110117-GuestConcert_KatzKiffner_06.mp3">Track06</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110117-GuestConcert_KatzKiffner/110117-GuestConcert_KatzKiffner_07.mp3">Track07</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110117-GuestConcert_KatzKiffner/110117-GuestConcert_KatzKiffner_08.mp3">Track08</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110117-GuestConcert_KatzKiffner/110117-GuestConcert_KatzKiffner_09.mp3">Track09</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110117-GuestConcert_KatzKiffner/110117-GuestConcert_KatzKiffner_10.mp3">Track10</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 Concert - Play Like a Girl Creator An entity primarily responsible for making the resource Nils Mikkelsen Date A point or period of time associated with an event in the lifecycle of the resource November 1, 2017 Contributor An entity responsible for making contributions to the resource Luanna Warner Katz, percussion & voice Paula Kiffner, violincello https://finearts.uvic.ca/music/archive/files/original/2fa86d14fab2d363f8e285fa5e1a514a.pdf b0114ff55cc79cbb16aa362b622411b9 PDF Text Text School of Music 50 YEARS MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC GUEST CONCERT GRIT + GRACE Tracy Dahl, soprano Monica Huisman, soprano Minna Rose Chung, cello Laura Loewen, piano This concert is presented on the traditional territory of the WS’ANEC’ (Saanich), Lkwungen (Songhees) and Wyomilth (Esquimalt) peoples of the Coast Salish Nation. Thursday, November 9, 2017 • 8 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation �PROGRAM G. F. Handel (1685–1759) Credete al mio dolore Come Scoglio from Così fan tutte W. A. Mozart (1756–1791) J. S. Bach (1685–1750) Prelude No. 1 Ständchen Ich wollt’ ein Sträußlein binden Allerseelen Säusle, liebe Mirte! Zueignung Richard Strauss (1864–1949) Aria Antonín Dvořák (1841–1904) Gypsy Songs Nos. 1, 2, 3, 4 and 7 I NT E R M I S S I O N Bacchianas No. 5 Heitor Villa-Lobos (1887–1959) Pantomime Pierrot Il pleure dans mon coeur Green Claude Debussy (1862–1918) Heitor Villa-Lobos Black Swan Four Songs II. Stones III. Shelter André Previn (b. 1929) Vocalise I’ve got Faust Hi, Sooky, Ho, Sooky John Greer (b. 1954) O mio babbino caro from Gianni Schicchi Je veux vivre Sull’aria from Le Nozze di Figaro Giacomo Puccini (1858–1924) Charles-François Gounod (1818–1893) W. A. Mozart �BIOGRAPHIES Canada’s premiere coloratura soprano Tracy Dahl has appeared throughout her career with such opera houses as Teatro alla Scala (Milan), Théâtre du Châtelet (Paris), the Metropolitan Opera (NY), San Francisco Opera, Houston Grand Opera, Santa Fe Opera, Canadian Opera Company, Calgary Opera and her native Manitoba Opera. She is frequently heard in concert with leading orchestras at home and around the world and also enjoys the more intimate setting of art song recitals. Frequent and favourite roles are Lucia in Lucia di Lammermoor, Marie in the Daughter of the Regiment, Cunegonde in Candide, Adele in Die Fledermaus, Norina in Don Pasquale and Madame Mao in Nixon in China, the last of these roles having been recorded on the Naxos label. In 2017, she was awarded the Order of Canada for her performing career and for her work mentoring as a teacher to the next generation of singers. Dutch-Canadian soprano, Monica Huisman has delighted audiences from Amsterdam’s Concertgebouw to Guatemala City and has soared on the stages of Vancouver Opera, Calgary Opera, Edmonton Opera, Pacific Opera Victoria, The Netherlands Opera, Manitoba Opera, Opera Ontario and Saskatoon Opera in productions of Carmen, Marriage of Figaro, Cosi Fan Tutte, Falstaff, Don Giovanni, Cunning Little Vixen, La Bohème, Magic Flute, Hansel und Gretel and Lakmé. Equally at home in concert repertoire Ms. Huisman has thrilled audiences with the National Arts Centre Orchestra, Toronto Symphony, Vancouver Symphony, Winnipeg Symphony Orchestra, Saskatoon Symphony, among others. Most recently, she returned to the Vancouver Symphony for Beethoven’s Symphony No. 9 with Bramwell Tovey—as well as with the Regina Symphony—and Messiah with the WSO. She is currently on the vocal faculty at the University of Manitoba’s Marcel A. Desautels Faculty of Music. Korean-American cellist Minna Rose Chung is Associate Professor at the University of Manitoba- Desautels Faculty of Music and performs internationally as recitalist and cellist of the Desautels Piano Trio. In 2014 Dr. Chung was awarded the University of Manitoba’s Rh Award for Outstanding Contributions to Scholarship and Research in the Creative Works. For the past four years Dr. Chung has been immersed in co-authoring a critical pedagogy method book entitled CelloMind published through Ovation Press, Chicago. Skilled in both orchestral and chamber repertoire, Minna regularly performs as a member of the Munich Symphony Orchestra and is a core member of the Manitoba Chamber Orchestra. Minna Rose is also a returning guest artist, teacher, and chamber musician to several international music festivals, including the historic Meadowmount School of Music in New York. Dr. Chung earned her Bachelor of Music in Cello Performance at Oberlin Conservatory, Masters of Music at Northwestern University, and Doctor of Musical Arts at SUNY Stony Brook University. Winnipeg collaborative pianist Laura Loewen has appeared in concerts throughout North America and in Europe, Asia and South America. She is a professor of Collaborative Piano and the Vocal Coach at the University of Manitoba’s Marcel A. Desautels Faculty of Music and is on the faculties of the NUOVA opera training program in Edmonton, Alberta and VISI. Dr. Loewen has performed extensively with singers, instrumentalists and chamber ensembles and has appeared in concert with artists such as Charles Castleman, Wendy Nielsen, Kimberly Barber, Jasper Wood, Eugene Rousseau, and William Bennett. Loewen and duo partner, saxophonist Allen Harrington, have been performing together for the last seven years throughout North America and in Europe, Asia, and South America. Ms. Loewen holds a Doctorate of Musical Arts degree in Accompanying/Coaching from the University of Minnesota and spent two summers at the Music Academy of the West studying vocal accompanying with Warren Jones, and worked with Martin Katz and Graham Johnson at SongFest ’98. � 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 Notes: Ständchen was not performed. The other four Strauss songs were split into separate tracks (4-7). The Debussy songs (tr. 11) were performed in reverse order from the program.<br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110917-GritAndGrace/11092017-GritAndGrace_01.mp3">Track01</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110917-GritAndGrace/11092017-GritAndGrace_02.mp3">Track02</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110917-GritAndGrace/11092017-GritAndGrace_03.mp3">Track03</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110917-GritAndGrace/11092017-GritAndGrace_04.mp3">Track04</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110917-GritAndGrace/11092017-GritAndGrace_05.mp3">Track05</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110917-GritAndGrace/11092017-GritAndGrace_06.mp3">Track06</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110917-GritAndGrace/11092017-GritAndGrace_07.mp3">Track07</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110917-GritAndGrace/11092017-GritAndGrace_08.mp3">Track08</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110917-GritAndGrace/11092017-GritAndGrace_09.mp3">Track09</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110917-GritAndGrace/11092017-GritAndGrace_10.mp3">Track10</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110917-GritAndGrace/11092017-GritAndGrace_11.mp3">Track11</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110917-GritAndGrace/11092017-GritAndGrace_12.mp3">Track12</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110917-GritAndGrace/11092017-GritAndGrace_13.mp3">Track13</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110917-GritAndGrace/11092017-GritAndGrace_14.mp3">Track14</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110917-GritAndGrace/11092017-GritAndGrace_15.mp3">Track15</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110917-GritAndGrace/11092017-GritAndGrace_16.mp3">Track16</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110917-GritAndGrace/11092017-GritAndGrace_17.mp3">Track17</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110917-GritAndGrace/11092017-GritAndGrace_18.mp3">Track18</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/110917-GritAndGrace/11092017-GritAndGrace_19.mp3">Track19</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 50th Anniversary Guest Concert- Grit and Grace Creator An entity primarily responsible for making the resource Kaitie Sly Date A point or period of time associated with an event in the lifecycle of the resource November 9, 2017 Contributor An entity responsible for making contributions to the resource Tracy Dahl, soprano Monica Huisman, soprano Minna Rose Chung, cello Laura Loewen, piano