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                    <text>Piano Class
Recital

P r o g r a m
Partita No. 2 in C minor, BWV 826		
Johann Sebastian Bach
	
I. Sinfonia					
(1685-1750)
Jane Hou*

Sonata No. 25 in G major, Op. 79 		
Ludwig van Beethoven
	
I. Presto alla tedesca				
(1770-1827)
Grant Pan

Students from the studio of May Ling Kwok

Deux arabesques, L. 66		
		
Claude Debussy
	
II. Allegretto scherzando			
(1862-1918)
Carmyn Slater
Scherzo			
						
Ivy Fu

Oskar Morawetz
(1917-2007)

Andante spianato et grande polonaise		
brilliante, Op. 22
	
II. Grande polonaise brilliante	

Frédéric Chopin
(1810-1849)

Mitchell Anderson*
Nocturne in E-flat minor, Op. 33 No. 1		
							
Nicole Lavallee

Gabriel Fauré
(1845-1924)

Widmung (Liebeslied)
Robert Schumann/trans. Franz Liszt
						 (1810-1856)/ 1811-1886)

Sunday, March 16, 2014, 2:00 p.m.
Phillip T. Young Recital Hall
MacLaurin Building, University of Victoria
Admission by donation

www.finearts.uvic.ca/music/events

Eric Ng*

Sonata in D major, Op. 10 No. 3	
	
I. Presto

Keaton Ollech

I n t e r m i s s i o n

L. van Beethoven

�Fra Holberg’s Tid, Op. 40				
	
I. Prelude					
	
II. Sarabande
	
III. Gavotte
Stephanie Taralson*

Edvard Grieg
(1843-1907)

Miroirs						
	
IV. Alborada del gracioso			

Maurice Ravel
(1875-1937)

Ya Ping Huang
Nocturne in D-flat major, Op. 27 No. 2	

	

F. Chopin

Jany Lu*
Excursions, Op. 20					
	
I. Un poco allegro				
	
II. In slow blues tempo

Samuel Barber
(1910-1981)

Louise Hung*
Fantaisie in F minor, Op. 49	 			

F. Chopin

Masahiro Miyauchi
Études, L. 136						
	
I. pour les cinq doigts d’après Monsieur Czerny	
	
V. pour les octaves
Barry Tan*
* Students of the School of Music, University of Victoria

LL

C. Debussy
(1891-1953)

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                    <text>Cello Class
Recit
al
Students from the studio of
Pamela Highbaugh Aloni

Concerto in D major, Hob.VIIb:2
	
Allegro moderato

Franz Joseph Haydn
(1732–1809)

Shiun Kim, cello
Stephanie Yap, piano
I NT E R M I S S I O N

Suite No. 1 for cello, Op. 72
	
iii. Serenata
	
iv. Marcia
	
vi. Moto Perpetuo e Canto Quarto

Benjamin Britten
(1913–1976)

Maria Wang, cello
Sonata in C major for cello and piano, Op. 102, No. 1
	
Andante–Allegro vivace

Ludwig van Beethoven
(1770–1827)

Alex Klassen, cello
Eric Ng, piano

Program
Sonata in A major for cello and piano, Op. 69
Adagio cantabile
	
Allegro vivace

Concerto No. 1 in A minor, Op. 33
	
Allegro non troppo–Allegretto con moto
Ella Hopwood, cello
Erik Leisinger, piano
Ludwig van Beethoven
(1770–1827)

Natalia Stoney, cello
Kailey Cann, piano
Malinconia for cello and piano, Op. 20
	
Adagio pesante
Steven Jeon, cello
Syd Bulman-Fleming, piano

Camille Saint-Saëns
(1835–1921)

Adagio and Allegro, Op. 70 for cello and piano
	
Langsam, mit innigem Ausdruck
	
Rasch und feurig

Robert Schumann
(1810–1856)

Paul Joo, cello
Kailey Cann, piano
Jean Sibelius
(1865–1957)

Sunday, March 9, 2014, 2:30 p.m.
Phillip T. Young Recital Hall
MacLaurin Building, University of Victoria
Admission by donation
www.finearts.uvic.ca/music/events

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                    <text>Piano Class
Recital
Students from the class of
Eva Solar-Kinderman

Saturday, March 1, 2014, 2:30 p.m.

Phillip T. Young Recital Hall
MacLaurin Building, University of Victoria
Admission by donation
www.finearts.uvic.ca/music/events

�Program
The Art of Fugue
	
Contrapunctus I

J.S. Bach
(1865–1750)
Liam Gibson

Sonata in F Major KV. 332
	
Allegro

W.A. Mozart
(1756–1791)
Vanessa Lee

Sonata in F Major Op. 10, No. 2
	
Allegro

L. van Beethoven 	
(1770–1827)
Angie Lo

Variations in F Major Op. 34

L. van Beethoven
Aaron Pang

Scherzo in b minor Op. 20
Sophia Stoney
Concert Étude Un Sospiro
Harry Han
Prelude in g minor Op. 23, No. 5
Michael Lee

I NT E R M I S S I O N

F. Chopin
(1810–1849)

F. Liszt
(1811–1886)

S. Rachmaninoff
(1874–1943)

�Sonata No. 2
	
Bewegt

Karl A. Hartmann
(1905–1963)
Stefani Yap

In the Mists
	Andante

L. Janáček
(1854–1928)
Amanda J. Cowley

La dance de Puck

C. Debussy
(1862–1918)
Kimberly Farris-Manning

Claire de Lune

C. Debussy
Louise Lu

Nocturne in c-sharp minor Op. 62, No. 1

F. Chopin

Allannah Montgomery
Prélude, Choral and Fugue

C. Franck
(1822–1890)
Erik Leisnger

�P R O G RA M N OT E S
One of his final pieces, Bach’s Art of the Fugue is a cycle consisting of fourteen fugues (the last of which was left unfinished), and four canons. The
entire piece is written in open score, with no specified instrumentation.
While this has left the door open for many interesting interpretations and
orchestrations, there is a good deal of evidence that the cycle was intended
to be played on harpsichord. Contrapunctus I, the first fugue, introduces the
main subject that persists throughout the cycle. The virtuosic figurations and
lively rhythms present in much of Bach’s earlier keyboard music are conspicuously absent in this piece. In their stead, there gradually unfolds a slow
but implacable examination of the myriad possibilities, both contrapuntal and
harmonic, inherent in the subject. This gives to the music the character of a
search or mediation; an invitation to dig deeper into the familiar in order to
approach the sublime.
Mozart’s twelfth piano sonata is the third and last from a collection of
sonatas published in 1784. The clarity and lightness of the piece is characteristic of the classical period in general, and of Mozart’s writing in particular.
The first movement opens in a cantabile style followed by a long answering
phrase with melodic ideas that reflect Haydn. A great amount of freedom is
involved in Mozart’s use of the sonata form, as he introduces a passage in D
minor and a modulation to C minor prior to the entry of the second subject.
Beethoven’s trilogy of Op.10 sonatas was composed in 1875 and published
three years later. In the opening Allegro of the second sonata in F major, the
most striking and unpredictable humor surfaces in an array of contrasting
gestures. It is as if Beethoven is trying to get the listener lost on purpose! The
innovative false recapitulation uses the quizzical opening figure to transition
back into the home key with a cheerful innocence.
Beethoven’s Variations in F Major, Op. 34, were written in 1802 and dedicated to Princess Barbara Odescalchi, one of Beethoven’s pupils and a very
capable pianist. This set of variations is innovative in that each of the six
variations is in a different key. The theme exhibits the typical Classical-era
rounded (ABA’) structure, although the central, contrasting melody is only
six measures in length. The simple theme is in Beethoven’s best “singing”
style, marked cantabile and with an overall arch; turns and trills add a light,
Mozartian delicacy to a relaxed atmosphere. Overall, this set is an excellent
example of the “improvisatory” side of Beethoven’s variation technique.
If a scherzo is a musical joke, then Chopin’s Scherzo No.1 is a very twisted,
malicious one. The piece begins with a strongly dissonant chord, followed by
another unresolved harmony; a surprising and non-traditional opening. In the

�ABA and coda form, the initial passages are repeated with building fury,
finally subsiding to into the contrasting B section. In this Molto Più Lento in B
major Chopin uses a traditional Polish Christmas carol to create a beautiful
lullaby; the only singable melody in the piece. The second A section ends with
a transition that leaves listeners expectant of the return of B. Instead, Chopin
launches into the coda for a terrifying finale.
Un Sospiro is the third etude of Liszt’s Three Concert Etudes. Composed
between 1845 and 1849, Liszt originally titled it as “Trois caprices poétiques.”
As the title suggests, Liszt would have intended the etudes not just to be
mere technical exercises, but to carry musical and poetic qualities as well. Un
Sospiro is translated as “sigh,” however it may be misleading to interpret the
piece as having the feeling of a sigh, as the title Un Sospiro was not in the first
edition, and it is likely that the name was added later by someone other than
the composer. Regardless, it is beautiful music. Its technical challenges include
frequent hand crossing, arpeggios, and voicing hidden melodies in the midst
of rapid notes. And last but not least, it requires a feeling of melancholy in
the performer’s heart.
Prelude in G minor, Op 23, No. 5 by Sergei Rachmaninoff was completed in
1901. It was included in his Opus 23 set of ten preludes, despite having been
written two years earlier than the other nine. The piece is written in ternary
form, consisting of an opening A section with punctuated sixteenth-note
chords (marked Alla marcia), a more lyrical and melancholy B section with
sweeping arpeggios in the left hand (marked Poco meno mosso), a transition
into the original tempo, and a recapitulation of the initial march. The Russian
pianist Emil Gilels played this prelude at the front during World War II to
support the Soviet forces. This prelude is one of the most performed and
recorded pieces of the op. 23 set.
Karl Amadeus Hartmann wrote music that incorporated both implicit and
explicit signs of protest against the Nazi Party, in addition to several pieces
that were based on his and other’s experiences during World War II. One of
these pieces was his second piano sonata, 27 April, 1945. Hartmann wrote
the piece after he had witnessed a train filled with 20,000 Jewish prisoners
being expelled from the Dachau concentration camp by the Nazis as the
war was coming to an end. He even wrote an inscription on the score that
reflected on this moment which reads: endless was the stream - endless the
misery - endless the sorrow. The somber atmosphere of the piece is combined with expressions of solidarity, sadness, and hope of salvation.
In the Mists is a piano cycle by Czech composer Leos Janáček. It was composed in 1912 shortly after he suffered the loss of his daughter. All four parts
of the cycle are written in keys with five or six flats to project a “misty”

�effect. This piece exemplifies Janáček’s individualistic style which is particularly
evident in his unorthodox chord spacing and structure, and his expanded
view of tonality.
Debussy’s Dance of Puck (from his first book of Préludes) is a whimsical
piece illustrating the temperamental and somewhat impulsive character of
Shakespeare’s ‘Robin Goodfellow’, commonly known as Puck. Fast-paced and
light, colorful melodies dance across the piano in contrasting and sometimes
deceptive, unpredictable phrases. Close your eyes and listen to this ethereal
piece, imagining that “you have but slumbered here, while these visions did
appear.”
Debussy composed the four movement Suite Bergamasque in 1890. The
most famous of the four, Claire de lune (meaning “Moonlight” in French), was
inspired by the poetry of Paul Verlaine. Originally titled “Promenade Sentimentale,” the piece was revised in 1905 and received its more well-known
title. The elegance of this piece conjures images of being in a small boat in a
calm ocean staring up at the shimmering moon.
Nocturne Op. 67 No.1 was written in 1846, during a period of struggle three
years before Chopin’s death. The melody begins almost naively, as if it is a
reflection. Chopin dedicated this Nocturne to Mademoiselle R. de Konneritz, who was one of his students; perhaps it is a reflection of her youth or
the remembrance of his own. The original melody recurs throughout the
piece and is ornamented more each time. The piece’s complexity lies in its
expression, and the concurrent lines that accompany the melody. The middle,
dance-like section is syncopated and more sparse in texture as the harmony
transitions into Ab major. This dance portion builds in intensity and slows to
a passage which seems to be drifting in and out of reality. It is out of this reverie that the melody reappears, highly ornamented and full of conviction. The
nocturne comes to rest - through a series of floating, chromatic melodies- as
if at peace at the end of a dream.
In 1884, sixty-two year old César Franck became suddenly preoccupied
with composing serious works for the piano. What resulted was his Prélude,
Chorale and Fugue, which takes the Baroque prélude and fugue form and
expands it to an ambitious size. The work chronicles a journey from darkness to light in three uninterrupted movements. The themes in the dreamlike
prelude and suffering chorale reference the subject of the fugue, and in the
final climactic cadenza the themes and textures of the three movements
are combined in complex counterpoint. Though the majority of the work
explores realms of despair, it emerges triumphant, as the same bells which
whispered darkly in the chorale proclaim victory in the final bars.
Notes written by the students and edited by Liam Gibson and Eva Solar-Kinderman

�UPCOMING EVENTS
Tuesday, March 4, 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 5 to Friday, March 7, 9:00 a.m. to 5:00 p.m. (Free admission)
BANDFEST 2014
A non-competitive festival for Concert Bands featuring thirty
Concert Bands from the Pacific Northwest.
University Centre Farquhar Auditorium
Friday, March 7, 12:30 p.m. (Admission by donation)
FRIDAYMUSIC
Featuring School of Music percussion students.
Phillip T. Young Recital Hall
Friday, March 7, 8:00 p.m. ($17.50 &amp; $13.50)
UNIVERSITY OF VICTORIA ORCHESTRA
Modulations
Ajtony Csaba, conductor
Performing:
Berlioz – Le Carnival Romain Overture, Op. 9
Gérard Grisey – Modulations
Beethoven – Symphony No. 7 in A Major, Op. 92
University Centre Farquhar Auditorium
Saturday, March 8, 8:00 p.m. ($17.50 &amp; $13.50)
FACULTY CONCERT SERIES
Bruce Vogt Plays Schubert
An all-Schubert solo recital featuring pianist Bruce Vogt.
Informal pre-concert talk at 7:30 p.m.
Phillip T. Young Recital Hall
Sunday, March 9, 2:30 p.m. (Admission by donation)
CELLO CLASS RECITAL
Featuring students from the studio of Pamela Highbaugh-Aloni.
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

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                    <text>Trumpet
Class Recital
Students from the studio of
Louis Ranger

Concert Etude				 Alexander Goedicke
Emily McDermid, trumpet
Zinna Kwon, piano
Triptyque for Trumpet and Piano		
	
1. Scherzo
	
2. Largo
	
3. Saltarelle

Henri Tomasi

Matthew MacLean, trumpet
Gabriel Lagos, piano
Concert Fantasie					 Gustav Cords
Justin Bury, trumpet
Eric Manning, piano

Program
Concerto for Trumpet, Op. 43			
	
I. Allegro
	
Matthew Richard, trumpet
Kailey Cann, piano
Concertpiece No.1, Op. 11 			

Jacques Hétu
(1938–2010)

Vassily Brandt

Alfons Fear, trumpet
Aaron Pang, piano
Conversation Piece for Trumpet			

James Riley

Trumpet Concerto				 Alexander Arutunian
	
Meno mosso/Tempo Primo
		
Ian Cohen, trumpet
Gabriel Lagos, piano
Pièce de Concours	 			
Guillaume Balay
		
Victoria-Rose Hunt, trumpet
Kyle Newman, piano
Trio for Trumpet, Piano, and Violin	 		
	
1. Andante
	
2. Allegro Molto

Eric Ewazen

Ian VanGils, trumpet
Aliayta Foon-Dancoes, violin
Louise Hung, piano

Cameron Kenis, trumpet
Andante and Allegro				
John Hamblett, trumpet
Eric Ng, piano

Guy Ropartz

Tuesday, February 25, 2014, 8:00 p.m.
Phillip T. Young Recital Hall
MacLaurin Building, University of Victoria
Admission by donation
www.finearts.uvic.ca/music/events

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                    <text>Piano Class
Recital
Students from the studio of
Arthur Rowe

Program
Sonata in G major Hob. XVI: 39
	
Allegro con brio
	Adagio
	Prestissimo
Elizabeth Clarke
Sonata in D minor, Op. 31, No.2
	Allegretto
James Zhang
Rhapsody in G minor, Op. 79, No. 2
Chris Hsu
Suite Bergamasque
	Prelude

Alvina Lee

Allegro Barbaro
Solomon Cheung
Preludes:
	
Op. 32, No. 5, in G Major
	
Op. 23, No. 2, in B flat Major

Sunday, February 23, 2014, 7:30 p.m.
Phillip T. Young Recital Hall
MacLaurin Building, University of Victoria
Admission by donation
www.finearts.uvic.ca/music/events

Faye Blackburn

I NT E R M I S S I O N

J. Haydn
(1732–1809)

L. v. Beethoven
(1770–1827)

J. Brahms
(1833–1897)

C. Debussy
(1862–1918)

B. Bartók
(1881–1945)

S. Rachmaninoff
(1873–1943)

�Partita No. 2 in C minor, BWV 826
	
Sinfonia
Etude Op. 10, No.12 (Revolutionary)
Zinna Kwon

J. S. Bach
(1685–1750)
F. Chopin
(1810–1849)

Etude Op. 15, No. 9					
							
Sarah Tao

S. Bortkiewicz
(1877–1952)

Visions Fugitives, Op. 22, Nos. 1,2,3,4,6,5

S. Prokofiev
(1891–1953)

Joey Liao
Variations Op. 40
Gloria Grohovac
Sonata in C minor D. 958
	Allegro

Elizabeth Clarke

Prelude Op. 11, No. 9
Prelude No. 1
Seira Hayakashi
Sonata
	
Allegro moderato
	
Sostenuto e pesante
	
Allegro molto

D. Kabalevsky
(1904–1987)

F. Schubert
(1797–1828)

A. Scriabin
(1872–1915)
G. Gershwin
(1898–1937)

B. Bartók
(1881–1945)

Thomas Nicholson

Tawrin Denoni, Jihyun Park, Maya Schenk, &amp; Emmett Robinson Smith,
were unfortunately unavailable to play today.

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                    <text>Piano Class
Recital

Program
Sonata in G Major Op. 40, No.1
	
i. Allegro molto vivace

Muzio Clementi

Crystal-Anne Howell
Prelude in C Major (WTC 2)

J. S. Bach

Helen Krauch

Students from the studio of
Michelle Mares

Sonata in A Major K. 331
	
i. Andante grazioso

W. A. Mozart
Eric Manning

Preludes No. 2 and 4

Violet Archer
Kyle Newman

Polonaise in f sharp minor, Op. 44

Frédéric Chopin

Armand Saberi
Nocturne in e flat minor, Op. 33, No.1

Gabriel Fauré

Laura Altenmueller

Friday, February 7, 2014, 8:00 p.m.
Phillip T. Young Recital Hall
MacLaurin Building, University of Victoria
Admission by donation
www.finearts.uvic.ca/music/events

Prelude and Fugue in d minor, Op. 87, No. 24
Josh Herrett

Dimitri Shostakovich

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                    <text>String Class
Recital
Students from the studio of
Ann Elliott-Goldschmid

Program
	

Concerto in G Major
I. Allegro Moderato

Joseph Haydn

Jilaine Orton, violin
Romaine Gehring, piano
Concerto No. 5 in A Major “Turkish,” K. 219
	
II. Adagio
Jasper Meiklejohn, violin
Armand Saberi, piano
Partita No. 3 in E Major BWV 1006
	
Gavotte en Rondeau
	
Menuet I, Menuet II
	Bourrée
	Giga
Elena Bokova, violin

W. A. Mozart

Johann Sebastian Bach

Concerto No. 1 in G minor, Op. 26
	
II. Adagio

Max Bruch

Peter Weinkam, violin
Armand Saberi, piano
Sonata in G Major K. 301
	
II. Allegro
Brittany Tsui, violin
Sophia Stoney, piano

Thursday, February 6, 2014, 8:00 p.m.
Phillip T. Young Recital Hall
MacLaurin Building, University of Victoria
Admission by donation
www.finearts.uvic.ca/music/events

String Quartet in F Major
	
I. Allegro moderato
Raina Saunders, violin
Aliayta Foon-Dancoes, violin
Matt Antal, viola
Ella Hopwood, cello

Intermission

W. A. Mozart

Maurice Ravel

�Zigeunerweisen

P. Sarasate
Margaret Dzbik, violin
Sydney Bulman-Fleming, piano

Violin Concerto in D Major Op. 35
	
II. Andante

P. I. Tchaikovsky

Brittany Tsui, violin
Sophia Stoney, piano
Sonata No. 3
	
III. Largo
	
IV. Allegro assai

J. S. Bach

Aliayta Foon-Dancoes, violin
Sonata No. 5 in F Major “Spring,” Op. 24
	
I. Allegro

L. van Beethoven

Jasper Meiklejohn, violin
Jany Lu, piano

Your contribution makes a difference!
The arts have always been dependent on the generosity of its patrons, and a donation to the
School of Music can make all the difference to the future of our students. A scholarship of just
$500 a year can change a life forever.
For more information about our giving initiatives, please contact Fine Arts Development Officer
Karen Walker at 250-721-6305 or via email at kmwalker@uvic.ca.

�</text>
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                <text>Sondra Moyls</text>
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                    <text>Violin Class
Recit
al

Program
Sonata in D minor, BWV 1004	
	
Courante

	

J. S. Bach
(1685–1750)

Raina Saunders, violin

Partita in D minor, BWV 1004
	Ciaccona

J.S. Bach

Lindsey Herle, violin

Students from the studio of Sharon Stanis
Sonata in E minor, KV 304
	Allegro

Wolfgang Amadeus Mozart
(1756–1791)

Emily MacCallum, violin
Edwina Lin, piano

Romance in G Major, Op. 40
Natalie Dzbik, violin
Siera Hayakashi, piano

Sonata in E minor op. 82
	
Allegro: Risoluto

Monday, February 3, 2014, 8:00 p.m.
Phillip T. Young Recital Hall
MacLaurin Building, University of Victoria
Admission by donation
www.finearts.uvic.ca/music/events

 Ludwig van Beethoven
(1770–1827)

Edward Elgar
(1857–1934)
Derrick Lee, violin
Jany Lu, piano

Intermission

�Sonata for Violin Solo
	
Tempo di Ciaccona

Béla Bartók
(1881–1945)

Jiten Beairsto, violin

Vocalise Op. 34, No. 14

Sergei Rachmaninoff
(1873–1943)

Jessica d’Oliveira, violin
Soloman Cheung, piano

C’est Bon D’aimer

R. Denoncin-M. Dabadie/G. Gomez
Arr. Martin Norgaard

Le Tango Select

L. Corchia-R. Grolier
Arr. Martin Norgaard
Emily MacCallum, violin
Edwina Lin, piano

Sonata No. 3 in C minor
	
Allegro molto ed appassionato

Edvard Grieg
(1843–1907)

Lindsey Herle, violin
Josh Herrett, piano

Violin Sonata in D minor, Op. 108
	
Un poco presto e con sentimento
	
Presto agitato
Jiten Beairsto, violin
Barry Tan, piano

Johannes Brahms
(1833–1897)

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                    <text>Clarinet

Class Recital

P r o g r a m
Solo de Concours (1899)
James Yi, clarinet
Seira Hayakashi, piano
Suite for Solo Clarinet (1965)
	
1. Adagio–Allegro–Adagio
	
2. Adagio
	
3. Moderato, maestoso

Students from the studio of
Patricia Kostek

André Messager
(1853–1929)

Hugh Aitken
(1924–2012)

Erin Onyschtschuk, clarinet
Romanze

Marie Elisabeth von Sachsen-Meiningen
(1853–1923)
Samuel He, clarinet
Sarah Tsao, piano

Clarinet Sonata (1939)
	
1. Mäßig bewegt

Paul Hindemith
(1895–1963)
Marcella Barz, clarinet
Eric Manning, piano

Hommage à Manuel de Falla
Mark Kim, clarinet

Sunday, January 26, 2014, 1:00 p.m.

Phillip T. Young Recital Hall
MacLaurin Building, University of Victoria
Admission by donation
www.finearts.uvic.ca/music/events

Three Pieces for Solo Clarinet
	
I. Sempre e molto tranquillo
Kylie Flower, bass clarinet
	
III. Sempre forte
Matthew Kaufman, clarinet

Béla Kovács
(b. 1937)

Igor Stravinsky
(1882–1971)

�Dance Preludes for clarinet and piano
	
I. Allegro molto
	
IV. Andante
	
V. Allego molto
Sunny Chu, clarinet
Louise Hung, piano

Witold Lutoslawski
(1913–1994)

Sonata Op. 167 for Clarinet and Piano (1921)
	
I. Allegretto

Camille Saint-Saëns
(1835–1921)

William Constable, clarinet
Liam Gibson, piano
Sarabande et Allegro (1929)
Jynelle Grigg, clarinet
Gloria Grohovac, piano
Sonata for Clarinet and Piano (1962)
	
I. AllegroTristament

Gabriel Grovlez
(1879–1944)

Francis Poulenc
(1899–1963)

Paul Gilchrist, clarinet
Laura Altenmueller, piano
Five Bagatelles, Op. 23 for Clarinet and Piano (1945)
	
I. Prelude
Dominic Thibault, clarinet
James Yi, piano

Gerald Finzi
(1901–1956)

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                    <text>Voice
Showcase

Program

University of Victoria Voice Department presents

Broadway and . . .
What?

Fugue for Tin Horns, from Guys and Dolls

Frank Loesser

Josh Lovell, Cody Froese &amp; Tristan Chalcraft
Louise Hung, piano
Vanilla Ice Cream, from She loves me!

Harnick/Bock

Sophie Cullen
Thomas Nicholson, piano
			
Sull’aria, from Le nozze di Figaro	
	

W. A. Mozart

	

Lindsay Suddaby &amp; Elizabeth Gerow
Allannah Montgomery, piano

Underneath the abject willow		

Featuring voice students
from the studios of Benjamin Butterfield,
Anne Grimm &amp; Susan Young

Benjamin Britten

Margaret Lingas &amp; Natasha Penfield
Louise Hung, piano

		
Vary the song, from The rakes progress	

Igor Stravinsky

Adam Dyjach
Frances Armstrong, piano

	
Embroidery Aria, from Peter Grimes	

Benjamin Britten

Dominique Ryser
Shane Beech, piano
Les Roses d’Ispahan	 	

Saturday, January 25, 2014, 2:30 p.m.
Phillip T. Young Recital Hall
MacLaurin Building, University of Victoria
Admission by Donation
www.finearts.uvic.ca/music/events

Chelsey Ternes

Do not go my love			
Dawn Yuan
		
Fleur jetee				
Marlena Kurek
		

Susan Young, piano

Intermission

Gabriel Fauré
Richard Hageman
Gabriel Fauré

�Housatonic at Stockbridge		

		
Finding peace	 		

Charles Ives

Nick Allen
Josh Herret, piano
Zach Smith

Zach Smith, Kenji Lee,
Kassandra Schantz &amp; Brittney Jette

		
Habe deine Lust an dem Herren	
from Kleine geistliche Konzerte

		

Heinrich Schütz

Andrea Paddock &amp; Eve Richardson
Charlotte Hale, piano

Oh quante volte from I Capuleti e i Montecchi

Vincenzo Bellini

Olivia Selig
Stephanie Taralson, piano

Light in the Piazza, from Light in the Piazza		

Adam Guettel

Rebecca Thackray
Frances Armstrong, piano

	
When did I fall in love, from Fiorello! 	

Harnick/Bock

Heather MacLeod
Braden Young, piano

	
Some things are meant to be
from Little Women

	
		
�

Dickstein/Howland

Christina Dennehy &amp; Ariel Boughen
Frances Armstrong, piano

�</text>
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