102 10 1498 https://finearts.uvic.ca/music/archive/files/original/94171ea3b0cba428ee2ef0ae211c0883.pdf ed883ce7d84536f84399c9f8358032cf PDF Text Text PIANO CLASS RECITAL Piano students from the studio of Arthur Rowe Sunday, February 26, 2017 | 2:30 p.m. Phillip T. Young Recital Hall, MacLaurin Building Admission by donation PROGRAM Prelude and Fugue in C-sharp major, BWV 848 Michelle Hoskin J.S. Bach (1685–1750) J. Brahms (1833–1897) F. Chopin (1810–1849) F. Chopin Rhapsody in G minor, Op. 118, No. 3 Mark Bigauskas Etude in E major, Op. 10, No 3 Vincy Ip Waltz in C-sharp minor, Op. 64 Wendy Feng Sonata in B minor, Op. 58 Allegro maestoso Zinna Kwon F. Chopin Nutcracker Suite Overture Miniature March Dance of the Sugar Plum Fairies Danse Russe P. Tchaikovsky (1840–1893) Vincy Xiong —INTERMISSION— �Canteyodjaya Thomas Nicholson O. Messiaen (1908–1992) F. Chopin F. Chopin F. Liszt (1811–1886) Zinna Kwon S. Prokofiev (1891–1953) Nocturne in C minor, Op. 48, No. 1 Emmett Robinson Smith Polonaise in A-flat major, Op. 53 Seira Hayakashi Etudes de Concert No. 3 (Un Sospiro) Maggie Xu Sonata No. 6 in A major, Op. 82 UPCOMING EVENTS SUNDAY, FEBRUARY 26 | 8 PM ($10-$20) Faculty Concert Series: Bruce Vogt, piano Celebrated pianist Bruce Vogt performs a self-created solo theatre piece titled Beethoven and Debussy: Purgatory Mates. This will be followed by a performance of Debussy’s Images: Book 2 as well as Beethoven's last sonata, No. 32, Op. 111. Phillip T. Young Recital Hall MONDAY, FEBRUARY 27 | 8 PM (Free admission) Graduating Recital: Emlyn Sheeley, voice Vocalist Emlyn Sheeley presents her Bachelor of Music graduating recital. Phillip T. Young Recital Hall TUESDAY, FEBRUARY 28 | 12:30 PM (By donation) Tuesdaymusic Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring UVic School of Music students. 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 & newsletter by email, contact: concert@uvic.ca � 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 Class Recitals Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/022617-PianoClassRecital_Rowe/022617_RoweClassRecital_01.mp3">Track01</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022617-PianoClassRecital_Rowe/022617_RoweClassRecital_02.mp3">Track02</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022617-PianoClassRecital_Rowe/022617_RoweClassRecital_03.mp3">Track03</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022617-PianoClassRecital_Rowe/022617_RoweClassRecital_04.mp3">Track04</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022617-PianoClassRecital_Rowe/022617_RoweClassRecital_05.mp3">Track05</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022617-PianoClassRecital_Rowe/022617_RoweClassRecital_06.mp3">Track06</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022617-PianoClassRecital_Rowe/022617_RoweClassRecital_07.mp3">Track07</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022617-PianoClassRecital_Rowe/022617_RoweClassRecital_08.mp3">Track08</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022617-PianoClassRecital_Rowe/022617_RoweClassRecital_09.mp3">Track09</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022617-PianoClassRecital_Rowe/022617_RoweClassRecital_10.mp3">Track10</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022617-PianoClassRecital_Rowe/022617_RoweClassRecital_11.mp3">Track11</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 Piano Class Recital - studio of Arthur Rowe Creator An entity primarily responsible for making the resource Kyle Newman Date A point or period of time associated with an event in the lifecycle of the resource February 26, 2017 https://finearts.uvic.ca/music/archive/files/original/b02fcb02f6908bfc45ef6f73f4c714d0.pdf fe7d8aebdf05c2ab14dc61f99e652a6e PDF Text Text fridaymusic Phillip T. Young Recital Hall, University of Victoria February 24, 2017 • 12:30 p.m. Featuring School of Music voice students Tarantelle Gabriel Fauré (1845 - 1924) Ai Horton, soprano Yumeka Hildreth, soprano Braden Young, piano Ici bas Gabriel Fauré (1845 - 1924) Gary Sun, countertenor Susan Young, piano Arnold Schoenberg (1874 - 1957) Erwartung Emlyn Sheeley, soprano Braden Young, piano Vier ernste Gesänge Johannes Brahms II. O Tod, O Tod (1833 - 1897) Xuguang Zhang, baritone Iris Hung, piano Wie bist du, meine Königin Jordan Rettich, baritone Emmett Robinson Smith, piano Das Fischermädchen Franz Schubert (1797 - 1828) Franz Schubert (1797 - 1828) Laura Kaario, soprano Jasper Graham, piano Auf dem Wasser zu singen Johannes Brahms (1833 - 1897) Margaret Lingas, soprano Thomas Nicholson, piano Der Zauberer, K. 472 Liederkreis, Op. 39 I. Im walde II. Frühlingsnacht Cassidy Stahr, mezzo-soprano Jasper Graham, piano Wolfgang Amadeus Mozart (1756 - 1791) Robert Schumann (1810 - 1856) Jessica Wagner, soprano Jannie Lo Burdetti, piano Three Songs to Poems by Edith Sitwell William Walton I. Daphne (1902 - 1983) Yumeka Hildreth, soprano Susan Young, piano Fear No More the Heat o’ the Sun Gerald Finzi (1901 - 1956) Kyron Basu, baritone Nicole Lavallée, piano “Armatae face et anguibus,” from Juditha Triumphans Alana Hayes, soprano Nicole Lavallée, piano Antonio Vivaldi (1678 - 1741) St. Matthew’s Passion Johann Sebastian Bach I. Am abend da es kühle var (1685 - 1750) II. Mache dich, meine Herze, rein Zander Felton, Jasper Graham, piano � 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 Fridaymusic Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/022417-Fridaymusic/022417-Fridaymusic_01.mp3">Track01</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022417-Fridaymusic/022417-Fridaymusic_02.mp3">Track02</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022417-Fridaymusic/022417-Fridaymusic_03.mp3">Track03</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022417-Fridaymusic/022417-Fridaymusic_04.mp3">Track04</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022417-Fridaymusic/022417-Fridaymusic_05.mp3">Track05</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022417-Fridaymusic/022417-Fridaymusic_06.mp3">Track06</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022417-Fridaymusic/022417-Fridaymusic_07.mp3">Track07</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022417-Fridaymusic/022417-Fridaymusic_08.mp3">Track08</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022417-Fridaymusic/022417-Fridaymusic_09.mp3">Track09</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022417-Fridaymusic/022417-Fridaymusic_10.mp3">Track10</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022417-Fridaymusic/022417-Fridaymusic_11.mp3">Track11</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022417-Fridaymusic/022417-Fridaymusic_12.mp3">Track12</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022417-Fridaymusic/022417-Fridaymusic_13.mp3">Track13</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 Fridaymusic 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 February 24, 2017 https://finearts.uvic.ca/music/archive/files/original/859d2d00b154c832c02f9397c06ccd82.pdf 124ca06562fcbbc67b59901fd631c825 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC ORION SERIES IN FINE ARTS presents KORNEL WOLAK CLARINET With ARTHUR ROWE PIANO Thursday, February 23, 2017 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free admission �PROGRAM J. S. Bach (1685–1750) Allegro from III Sonata for Solo Violin Prelude from I Suite for Solo Violoncello Preludio from III Partita for Solo Violin Johannes Brahms (1833–1897) Sonata in F Minor, Op. 120, No. 1 Allegro appassionato Andante un poco Adagio Allegretto grazioso Vivace I NT E R M I S S I O N Witold Lutoslawski (1913–1994) Dance Preludes Allegro molto Andantino Allegro giocoso Andante Allegro molto Robert Schumann (1819–1896) Phantasiestücke, Op. 73 Zart und mit Ausdruck (Tender and with expression) Lebhaft, leicht (Lively, light) Rasch und mit Feuer (Quick and with fire) Gioachino Rossini (1792–1868) Introduction, Theme and Variations Please tell us about your concert experience in this quick Audience Survey: https://finearts.uvic.ca/forms/music/audience/ �BIOGRAPHIES Clarinetist Kornel Wolak is highly acclaimed for his musical imagination and astonishing versatility. He is a winner of the Debut Atlantic Tour, Prairie Debut Tour, British Columbia Touring, Allied Concerts Tour (USA, 2016), the Royal Conservatory Concerto Competition and the Presser Music Award. Mr. Wolak performed with the renowned Quartetto Gelato from 2007-09. He continues to expand the clarinet repertoire by commissioning new pieces and regularly appears in recitals as a chamber musician and as a soloist with American and European orchestras. A “Fryderyk” nominee — Poland’s highest recording award — he is a regular fixture on the Canadian Broadcasting Corporation, Classical 96.3 FM, Public Radio International, and US National Public Radio. As a soloist/clarinet clinician, he has toured and taught master classes in Europe, Asia and both Americas. Since August 2015 he has been actively involved in research on the role of oral articulators in clarinet playing at the Speech-Language Pathology Department at the University of Toronto. Results of the preliminary studies are to be presented in the upcoming months. Dr. Wolak is a regularly published author of articles on clarinet-related issues in Your Muse, the largest music magazine in Poland, in which he is an editor and contributor of a section called “Clarinetist’s Vademecum”. Wolak is the founder of Music Mind Inc., an initiative that creates music education programs for schools and communities. Canadian pianist and Steinway Artist Arthur Rowe is a critically acclaimed recitalist, soloist with orchestra and chamber musician. A highly respected chamber musician, Mr. Rowe regularly collaborates with artists and chamber ensembles across North America. Recent performances include concerts with mezzo-soprano Krisztina Szabo, the Dover Quartet (winners of the recent Banff International string quartet competition), cellist Tsuyoshi Tsutsumi, Jonathan Crow, Concertmaster of The Toronto Symphony, and William Preucil, Concertmaster of The Cleveland Orchestra, with whom he has concertized for more than three decades. In 2004 The Harrington String Quartet joined forces with Arthur Rowe and William Preucil in New York for a performance of the Chausson Concerto for Violin, Piano and String Quartet, which was reviewed by Harris Goldsmith as a “reading that rivaled the benchmark recordings by Franzescatti/ Casadesus/Pascal, and Heifetz/Sanroma/New Arts”. Arthur Rowe has recorded with various artists for the Crystal, ebs, Innova, GM and Fanfare labels. In 2007, he released an all-Schubert recording on the Centaur label. Fanfare magazine’s review said, “Rowe’s reading (of the posthumous B-flat Sonata) is one of the most beautiful I have heard…the D. 899 Impromptus are equally impressive… his purling right-hand runs recall Schnabel’s velvety sound…. every harmonic change is underscored by a delicate nuance of color change. This kind of expression cannot be taught; it is in the bloodstream and the soul.” Having previously held positions at The University of Iowa and The University of Western Ontario, Arthur Rowe is Professor of Piano at The University of Victoria, having also served as the Associate Dean of Fine Arts, and Acting Director of the School of Music. He is also the Artistic Director of the Victoria Summer Music Festival. � 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 Orion Series in Fine Arts Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/022317-Orion_WolakRowe/022317-Orion_WolakRowe_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/022317-Orion_WolakRowe/022317-Orion_WolakRowe_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/022317-Orion_WolakRowe/022317-Orion_WolakRowe_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/022317-Orion_WolakRowe/022317-Orion_WolakRowe_04.mp3">Track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/022317-Orion_WolakRowe/022317-Orion_WolakRowe_05.mp3">Track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/022317-Orion_WolakRowe/022317-Orion_WolakRowe_06.mp3">Track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/022317-Orion_WolakRowe/022317-Orion_WolakRowe_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 Orion Series in Fine Arts - Kornel Wolak Creator An entity primarily responsible for making the resource Evan Hinshelwood Date A point or period of time associated with an event in the lifecycle of the resource February 23, 2017 Contributor An entity responsible for making contributions to the resource Kornel Wolak, clarinet Arthur Rowe, piano https://finearts.uvic.ca/music/archive/files/original/93b0958286c2a22e304b9f2eb41dd4dd.pdf 9b079c0f9c1779619c6cb1812a352194 PDF Text Text Acknowledgements   Cooper  Reed,  flute     I  would  like  to  take  this  opportunity  to  acknowledge  all  of   the  individuals  who  made  this  night  possible:   Maggie,  Emily  and  James:  Thank  you  for  sharing  the  stage   with  me  tonight.  It  has  been  a  privilege  to  work  on  and   perform  this  music  with  three  incredibly  talented  and   wonderful  musicians.  I  will  forever  be  grateful  for  your  hard   work  and  dedication.   To  all  my  teachers  at  the  School  of  Music:  I  have  learned  so   much  from  you  over  the  past  four  years.  My  experience  at   UVic  has  been  enriched  by  your  knowledge  and  love  for   music.  Thank  you  for  helping  me  become  the  musician  I  am   today.     To  my  teachers  in  Calgary,  particularly  Janet  Ward,  Deanna   MacGregor  and  Kathie  Van  Lare:  Thank  you  for  helping  me   develop  a  passion  for  playing  the  flute,  and  for  helping  me   realize  that  pursuing  music  was  the  best  decision.  I  know   you  are  here  in  spirit.   And  finally,  to  all  my  friends  and  family,  especially  Scott,   Anna  and  Jackson:  None  of  this  would  have  been  possible   without  your  love  and  support.  Thank  you  all  so  much,  and   I  cannot  wait  to  celebrate  with  you  after  the  concert!                     Graduating Recital   With  Maggie  Xu,  piano   Emily  Stewart,  soprano   James  Yi,  piano             Wednesday,  March  1st,  2017,  8:00  p.m.   Phillip  T.  Young  Recital  Hall,  MacLaurin  Building   Free  admission               �Program   Translations       J.S.  Bach                                                          Flute  Sonata  in  B  minor,  BWV  1030   (1685-­‐‑1750)     Andante       Largo  e  dolce       Presto   Maggie  Xu,  piano         Jan  Brandts  Buys                            Drei  Lieder  mit  Klavier  und  Flöte,  Op.20   (1868-­‐‑1933)     1.  Nachtruf  (Viktor  Heindl)   2.  Abendständchen  (Clemens  von   Brentano)   3.  Brautfahrt  (Viktor  Heindl)   Emily  Stewart,  soprano   James  Yi,  piano     Alfredo  Casella                                      Sicilienne  et  burlesque,  Op.  23   (1883-­‐‑1947)   James  Yi,  piano     -­‐‑  Intermission  -­‐‑     Toru  Takemitsu   (1930-­‐‑1996)     Carl  Reinecke   (1824-­‐‑1910)           Itinerant:  In  Memory  of  Isamu  Noguchi           Sonata  ‘Undine’,  Op.167     Allegro     Intermezzo.  Allegretto  vivace     Andante  tranquillo     Finale.  Allegro  molto  agitato  ed   appassionato,  quasi  Presto   Maggie  Xu,  piano   Cooper  is  from  the  class  of  Dr.  Suzanne  Snizek   This  recital  is  presented  in  partial  fulfillment  of  the  requirements    for  the  Bachelor  of  Music  (Performance)  program.   Reception  to  follow  in  the  lounge   Drei  Lieder  mit  Klavier  und  Flöte,  Op.  20     Nachtruf  (Night  Call)   Death  blows  upon  his  pipe  of  bone;     A  pale  shepherd  leaning  against  the  churchyard  wall,     He  guards  the  silent  flock;  quietly,  yearningly     Death  begins  his  lonely  song.     Moonlight  flows  over  the  broad  area,     Restively  the  meadow  suddenly  breaks  out,     Like  lamenting  tears  that  no  one  quiets;     Ah!  how  it  now  shrills  wildly  and  gruesomely,     Like  tortured  sighing  in  the  universe,     Like  the  wailing  of  a  soul  in  a  fevered  dream,     Thus  [now]1  the  dance  of  death  howls  and  rings  out!     Before  which  the  trees  bow  down  tremblingly,     Before  which  the  flowers  hide  their  faces,     Before  which  the  worm  withdraws  fearfully  into  the  soil.     Those  of  you  who  are  sleepless,  those  who  are  sick,  shut  your  ears   To  the  song  of  the  musician  by  the  gate  of  the  churchyard,     Your  heart  shall  die,  your  blood  shall  freeze,     You  wakeful  ones,  you  sick  ones,  beware!                   Translation  copyright  ©  by  Sharon  Krebs,  from  the  LiederNet  Archive  -­‐‑-­‐‑   http://www.lieder.net/   �Translations  (Continued)     Abendständchen  (Evening  Serenade)   Listen,  the  flute  laments  again   And  the  cool  springs  murmur;   Golden,  the  sounds  waft  down  -­‐‑   Be  still,  let  us  listen.   Lovely  supplication,  gentle  longing,   How  it  speaks  to  the  heart  so  sweetly!   Through  the  night  that  enfolds  me     Shines  the  light  of  the  music.   Translation  copyright  ©  by  Emily  Ezust,  from  the  LiederNet  Archive  -­‐‑-­‐‑   http://www.lieder.net/         Brautfahrt  (Wedding  Journey)     The  sounds  of  harps  and  flutes  must  ring  out,     Today  I  shall  win  a  jubilant  happiness,     A  very  young  miss  shall  become  my  bride,     You  have  never  seen  anyone  so  wondrously  pretty,     Red  as  a  pomegranate  blossom  and  white  as  snow,     As  delicate  as  the  flower  fairy  in  the  tale.     Her  eyes,  as  merry  and  clear  as  a  water-­‐‑spring,     Are  likely  already  looking  out  for  me;  only  make  haste,  ah  make   haste!     The  sounds  of  harps  and  flutes  must  ring  out,     Look  how  my  grey  horse  is  already  prancing  and  leaping,     How  its  ribbons  are  fluttering  rosy  red,     My  dear  horse  shall  be  fed  only  red  clover  today.     Today  is  a  festival,  a  festival  in  May,     Spring  and  sunshine  beckon  laughingly.     Harps  and  flutes,  arise  and  resound  before  me!     Grey  horse,  onward,  the  wedding  journey  commences!   Translation  copyright  ©  by  Sharon  Krebs,  from  the  LiederNet  Archive  -­‐‑-­‐‑   http://www.lieder.net/   � 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 Graduation Recitals Hyperlink A link, or reference, to another resource on the Internet. URL <p><a href="https://finearts.uvic.ca/music/archive/uploads/student/030117-DegreeRecital_Reed/030117-GradRecital_Reed_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030117-DegreeRecital_Reed/030117-GradRecital_Reed_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030117-DegreeRecital_Reed/030117-GradRecital_Reed_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030117-DegreeRecital_Reed/030117-GradRecital_Reed_04.mp3">Track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030117-DegreeRecital_Reed/030117-GradRecital_Reed_05.mp3">Track5</a></p> 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 Graduation Recital - Cooper Reed, flute Creator An entity primarily responsible for making the resource Adam Jasieniuk Date A point or period of time associated with an event in the lifecycle of the resource March 1, 2017 Contributor An entity responsible for making contributions to the resource Cooper Reed, flute Maggie Xu, piano Emily Stewart, soprano James Yi, piano https://finearts.uvic.ca/music/archive/files/original/2a733f1c8ce1f229ef8ae8b534babbe5.pdf e7b4b02ead340b5eab772139f8864aae PDF Text Text sam mcnally Degree Recital with Season Wang The UVic Branenburgers February 20, 2017, 8pm Phillip T. Young Recital Hall Free admission �PROGRAM Brandenburg Concerto No. 1 in F, BWV 1046 I. Allegro II. Adagio III. Allegro IV. Minuet - Trio - Polonaise J.S Bach (1685 - 1750) The UVic Brandenburgers Les Adieux (Romance) Franz Strauss (1822 - 1905) Season Wang, Piano — INTERMISSION — Concert Rondo in Eb Major, K371 W.A. Mozart (1756 - 1791) Season Wang, Piano Canto Serioso, CNW 67 Carl Nielsen (1865 - 1931) Season Wang, Piano En Forêt, Op. 40 Eugène Bozza (1905 - 1991) Season Wang, Piano �Brandenburg Concerto No. 1 in F major - J.S. Bach (1685 - 1750) J.S. Bach presented the Brandenburg Concertos, a collection of six instrumental works written “for several instruments,” to the Margrave of Brandenburg-Schwedt, Christian Ludwig, in 1721. The six concertos, true to their original title, featured various instruments in an array of configurations, with No. 1 in F major being the only one to feature the horn. The first movement is a joyous four minutes in which the horns can be heard making their first solo appearance in a concerto. However, they seem to be unwanted guests in this court, disturbing an otherwise carefully-balanced texture with their strident brassiness and incessant bellowing of hunting calls that go against the overall rhythm of the ensemble. The second movement, without the horns, features a melancholic melody that is traded in canon between the oboe and violino piccolo. Somewhat unusually, this melody even descends to the bass voices, breaking up their traditional role as accompaniment. In the third moment, the horns are back to join in the accompaniment of the violino piccolo in a fun and playful allegro broken up by a two bar adagio before returning to a frolicking finish. The fourth, and final, movement is a dance in which each instrument family gets a turn. The repeated minuet is punctuated by a trio played by the woodwinds, a polonaise by the strings and harpsichord, and a final trio by the oboes and horns. Les Adieux - Franz Strauss (1822 - 1905) Franz Strauss was a prominent horn player in the mid- to late-nineteenthcentury. In 1837, at the age of 15, he took up service in the court of Duke Maximilian of Bavaria as a guitarist, however it was not long before the horn became his principal instrument. He joined the Munich Royal Court Orchestra in 1847, a position he held until his retirement in 1889. Though considered to be a musical conservative, he was present in the pit of several of Richard Wagner’s opera premiers. Wagner is quoted to have said, "Strauss is an unbearable, curmudgeonly fellow, but when he plays his horn one can say nothing, for it is so beautiful.” His musicianship is without doubt remarkable and this comes through in the few compositions he wrote. Perhaps one of his lesser known works, Les Adieux is a deeply romantic piece for horn and piano. The piano begins with large broken chords and a turbulent theme before settling into a steady heartbeat-like pulse with which to support the horn. An otherwise melancholic and pensive melody is made bittersweet by glimpses of brighter harmonies, foreshadowing a seemingly happy second section. What would be assumed to be a return to the initial mood is instead replaced by a feeling of acceptance, illustrating nicely the very human nature of goodbyes. Concert Rondo in Eb major - W.A. Mozart (1756 - 1791) This fragmentary Rondo, numbered K371, actually predates Mozart’s other horn works. While his other concertos were written for his friend and prominent horn player Joseph Leutgeb, it is not exactly clear for whom Mozart 
 �was writing this early work. Nevertheless, Mozart’s relationship with Leutgeb paints an important picture of who the composer was. Throughout the original manuscripts, Mozart can be seen to have written things such as “Over to you, signor Ass,” “Take courage,” and “Thank God that’s over!” These taunts certainly give us a glimpse into the composer’s mind and I think this is important to consider about when playing any of his works. The piece opens with a simple and happy melody that, in good rondo fashion, returns frequently after each deviation. It is a lighthearted work that, like Mozart, is best to not be taken too seriously. Canto Serioso - Carl Nielsen (1865 - 1931) Carl Nielsen, from Denmark, is often grouped among the other Scandinavian composers, though his approach to music is really quite different. Drawing on inspirations from Mozart and Palestrina, rather than Brahms and Wanger, his music has a striking simplicity upon which he embraces newly emerging ideas of harmony. Canto Serioso, from 1913, was originally a test piece written for the Royal Danish Orchestra used to highlight the low range of 2nd and 4th horn hopefuls. Throughout the opening, the horn echoes a slow and calm melody set-up by the piano, before the introduction of a increasingly tense triplet motif. The climax of the piece continues with the triplets getting every louder until quickly dropping off back into a return to the opening. The piece ends with alternating allegro and andante moments in which again the horn and piano trade the theme. On the surface the piece seems to be of little consequence, but I have come to appreciate it as a soulful and satisfying work that exemplifies the horn’s various colours and ability to communicate. En Forêt - Eugène Bozza (1905 - 1991) Bozza was a prolific French composer who wrote many pieces for nearly every instrumentation. After a fruitful early career, including a time in Rome via his winning of the Prix de Rome, in 1950 he was appointed to the director of the École Nationale de Musique in Valenciennes, France. En Forêt was originally composed as a graduate test piece, designed to present the horn student with many of the challenges posed by the instrument, such as lip-trills, glissandi, and stopped-horn. As the title suggests, the piece concerns a forest and while this is certainly the case, it is not alway so clear and may require some imagination. The work opens with the piano striking several short chords before the horn enters with a declamatory first section. Next we are brought to a hunt in which “Bozza is quoting Respighi quoting” the St. Hubert hunting call. The calls ring out to be answered by stopped-horn echoes while the piano paints a simmering backdrop. In the next section there is a quasi-Gregorian chant theme that leads into a rowdy 6/8, wherein the hunters disturb the peace of the monks. Following this, there is a return to calm before the opening chords are stuck again. The piece ends as quickly as it began and accelerates to one final flourish.
 �The Uvic Brandenburgers
 Violino Piccolo Chloe Kim Double Bass Mackenzie Carroll First Violins Jessica d’Oliveira Jasmin Mather Oboes Berlin Janzen Anna Betuzzi Theresa Mothersill Second Violins Emily MacCallum Lucy Toews Bassoon Eric Boulter Viola Linda Donn Horns Sam McNally Justin Malchow Cellos Clair Dresselhuis Liam Epp Harpsichord Season Wang �Thank you so much for coming out and supporting me in this recital, it truly means the world. Please join me in the lounge after the show for a celebratory reception! Sam McNally is from the class of Professor Kurt Kellan. This recital is presented in partial fulfillment of the requirements for the Bachelor of Music (Performance) program. ��� 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 Graduation Recitals Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/022017-DegreeRecital_McNally/022017-SamMcNallyDegreeRecital_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022017-DegreeRecital_McNally/022017-SamMcNallyDegreeRecital_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022017-DegreeRecital_McNally/022017-SamMcNallyDegreeRecital_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022017-DegreeRecital_McNally/022017-SamMcNallyDegreeRecital_04.mp3">Track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022017-DegreeRecital_McNally/022017-SamMcNallyDegreeRecital_05.mp3">Track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022017-DegreeRecital_McNally/022017-SamMcNallyDegreeRecital_06.mp3">Track6</a> (encore) 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 Degree Recital - Sam McNally, horn Creator An entity primarily responsible for making the resource Evan Hinshelwood Date A point or period of time associated with an event in the lifecycle of the resource February 20, 2017 Contributor An entity responsible for making contributions to the resource Sam McNally, horn Season wang, piano The UVic Brandenburgers https://finearts.uvic.ca/music/archive/files/original/cd336e647a25138f7ea41ce8b5f76ff7.pdf aa6c7d7e3e638abcaaca6f08dbd88e51 PDF Text Text Tuesdaymusic Phillip T. Young Recital Hall, University of Victoria February 21, 2017 • 12:30 p.m. Andante in C Major Jamie Pambrun, flute Katie Lundin, piano Variations for Flute and Piano on Trockne Blumen I. Introduction II. Theme III. Variation I IV. Variation IV Jillian Broughton, flute Alanna Kazdan, piano Wolfgang Amadeus Mozart (1756 - 1791) Franz Schubert (1797 - 1828) An den Mond Emily Stewart, soprano Kimberley Farris-Manning, piano Franz Schubert (1797 - 1828) Clarinet Sonata, Op. 167 I. Allegretto Samuel He, clarinet Samuel Pan, piano Camille Saint-Saëns (1835 - 1921) Cooper Reed, flute Toru Takemitsu (1930 - 1996) Notturno für Flöte und Gitarre I. Menuetto Taya Haldane, flute Fraser Gibson, guitar Anton Diabelli (1781 - 1858) Tango Suite I. Deciso Simon Farintosh, guitar Isaiah Brabazon, guitar Astor Piazolla (1921 - 1992) Itinerant: In Memory of Isamu Noguchi UPCOMING AT THE SCHOOL OF MUSIC WEDNESDAY, FEBRUARY 22 TO THURSDAY, FEBRUARY 23 Orion Series in Fine Arts Kornel Wolak, clarinet Highly praised on two continents for his glorious tone, precise technical control and musical imagination, Kornel Wolak is well on his way to a major career as a soloist and chamber musician in both classical and crossover repertoire. WEDNESDAY, FEBRUARY 22 | 12:30–2 PM | Free admission MASTERCLASS Phillip T. Young Recital Hall THURSDAY, FEBRUARY 23 | 8 PM | Free admission CONCERT With Arthur Rowe, piano Performing: Rossini’s Introduction, Theme and Variations and Lutoslawski’s Dance Preludes Phillip T. Young Recital Hall � 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 Tuesdaymusic Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/022117-Tuesdaymusic/022117-Tuesdaymusic_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022117-Tuesdaymusic/022117-Tuesdaymusic_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022117-Tuesdaymusic/022117-Tuesdaymusic_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022117-Tuesdaymusic/022117-Tuesdaymusic_04.mp3">Track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022117-Tuesdaymusic/022117-Tuesdaymusic_05.mp3">Track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022117-Tuesdaymusic/022117-Tuesdaymusic_06.mp3">Track6</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 Tuesdaymusic Creator An entity primarily responsible for making the resource Adam Jasieniuk Date A point or period of time associated with an event in the lifecycle of the resource February 21, 2017 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 Fridaymusic Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/021017-Fridaymusic/021017-Fridaymusic_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/021017-Fridaymusic/021017-Fridaymusic_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/021017-Fridaymusic/021017-Fridaymusic_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/021017-Fridaymusic/021017-Fridaymusic_04.mp3">Track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/021017-Fridaymusic/021017-Fridaymusic_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 Fridaymusic Creator An entity primarily responsible for making the resource Trevor Naumann Date A point or period of time associated with an event in the lifecycle of the resource February 10, 2017 https://finearts.uvic.ca/music/archive/files/original/61b05a9249b5bbe715a5f03052d97d99.pdf 49aab5ffb745b7ef620d2af6d43a0222 PDF Text Text Tuesdaymusic Phillip T. Young Recital Hall, University of Victoria February 7, 2017 • 12:30 p.m. Moment for Morricone Ian Van Gils, trumpet Heather Richards, trumpet Sam McNally, horn Zach Power, trombone Florence Dayna Waller, tuba Ennio Morricone arr. Gomalan Brass Quintet Johann Sebastian Bach Partita in A Minor I. Allemande (1685 - 1750) Bailey Finley, flute Syrinx Jasmine Riseley, flute Claude Debussy (1862 - 1918) Requiem per flauto solo Kazuo Fukushima (b. 1930) Taya Haldane, flute Sarabande Claude Debussy (1862 - 1918) Jasmine Riseley, flute Ashley Whelpton, flute Taya Haldane, flute Jamie Pambrun, flute Violin Concerto, Op. 14 Samuel Barber I. Allegro (1910 - 1981) Emily MacCallum, violin Liam Pistor, piano Upcoming at the School of Music FEBRUARY 3–9 | Tickets $25 / 5 concert festival pass $100 Dmitri Shostakovich: The Complete String Quartets Featuring the Lafayette String Quartet The Lafayette Quartet celebrates its 30th anniversary with the complete cycle of Shostakovich’s 15 String Quartets. The cycle will be presented in 5 concerts along with pre-concert talks and lectures by visiting scholars. All concert programs and times available to view at https://finearts.uvic.ca/music/ Journey through Shostakovich’s life as experienced through his string quartets. With pre-concert talks and lectures by Michelle Assay (Université Paris-Sorbonne), David Fanning (University of Manchester), Judith Kuhn (University of Wisconsin-Milwaukee), and Patrick McCreless (Yale University). Phillip T. Young Recital Hall FRIDAY, FEBRUARY 10 | 12:30 PM | Admission by donation FRIDAYMUSIC Featuring UVic School of Music piano students in a concert of varied repertoire. Phillip T. Young Recital Hall � 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 Tuesdaymusic Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/020717-Tuesdaymusic/020717-Tuesdaymusic_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/020717-Tuesdaymusic/020717-Tuesdaymusic_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/020717-Tuesdaymusic/020717-Tuesdaymusic_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/020717-Tuesdaymusic/020717-Tuesdaymusic_04.mp3">Track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/020717-Tuesdaymusic/020717-Tuesdaymusic_05.mp3">Track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/020717-Tuesdaymusic/020717-Tuesdaymusic_06.mp3">Track6</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 Tuesdaymusic 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 February 7, 2017 https://finearts.uvic.ca/music/archive/files/original/95cf1e6148f46a729e7ea2ad3822d7c7.pdf 4e78f51a78f21435ca74aaeb41b9eb92 PDF Text Text Dmitri Shostakovich: The Complete String Quartets February 3–9, 2017 30th Anniversary Celebration Lafayette String Quartet Ann Elliott-Goldschmid, violin Sharon Stanis, violin Joanna Hood, viola Pamela Highbaugh Aloni, cello © School of Music Li ns Eva nda is Dav �30 Greetings from Ann, Sharon, Joanna and Pam We are so happy you are joining us as we celebrate our 30th year together with performances of all the Shostakovich Quartets. The works you will be hearing during these 5 nights connect us back to our earliest beginnings. Throughout our career together we have been blessed to have the guiding inspiration of our dear late mentor Rostislav Dubinsky, first violinist of the Borodin String Quartet, ever encouraging us to strive for excellence and to “Keep the Quartet”. And 30 years later — here we are — keeping the quartet far beyond what we might have imagined when we first sat down to play and coach Shostakovich’s 8th quartet together with Dubinsky. With memories, recordings and even scores and parts that he marked with his ideas, we have happily taken on learning all 15 of these remarkable quartets. We have often felt him with us in these months as we have been preparing for this cycle. We owe much to so many people for the ways in which we have been supported and inspired to grow as musicians. We recognize every day that these 30 years would not be possible without all of them or you, our devoted audience. We would like to thank the University community — past and present presidents, vice-presidents, deans, directors, colleagues, and staff for giving us a “home base” these last 25 years. We also are grateful to our students, past and present, whose flexibility and energy continually encourage us to grow. We extend special thanks to our colleagues who have been sharing our teaching load this year while we have taken on the extra work of preparing for the Cycle. We are also thankful for the greater Victoria community whose support of music, indeed all the arts, provides the stimulating artistic environment in which we live and work. Many have directly supported and worked tirelessly with us to help put on this Cycle. We extend warmest thanks to our visiting scholars who so kindly have agreed to share their passion for these works and add a most exciting dimension to the week. We are honored to have them here. And last, but not least, we want to thank our dear families and friends whose daily love and support allows us to stay on this amazing track of string quartet life. We are so glad we are all together. Cheers, Ann, Sharon, Joanna, and Pam �FESTIVAL SCHEDULE Pre-concert talks at 7 PM. All concerts at 8 PM. Phillip T. Young Recital Hall, B-Wing, MacLaurin Building, UVic Individual tickets $25 / 5 concert festival pass $100 CONCERT 1: FRIDAY, FEB. 3 Pre-concert talk with Judith Kuhn String Quartet No. 1 in C major, Op.49 String Quartet No. 2 in A major, Op. 68 String Quartet No. 3 in F major, Op. 73 CONCERT 2: SATURDAY, FEB. 4 Pre-concert talk with The Lafayette String Quartet String Quartet No. 4 in D major, Op. 83 String Quartet No. 5 in B-flat major, Op. 92 String Quartet No. 6 in G major, Op. 101 SHOSTAKOVICH SYMPOSIUM: SUNDAY, FEB. 5 9:30 AM – 12:30 PM Rm. A168, MacLaurin Bldg., A-Wing Free admission CONCERT 3: MONDAY, FEB. 6 Pre-concert talk with Michelle Assay and David Fanning String Quartet No. 7 in F-sharp minor, Op. 108 String Quartet No. 8 in C minor, Op. 110 String Quartet No. 9 in E-flat major, Op. 117 CONCERT 4: WEDNESDAY, FEB. 8 Pre-concert talk with Patrick McCreless String Quartet No. 10 in A-flat major, Op. 118 String Quartet No. 11 in F minor, Op.122 String Quartet No. 12 in D-flat major, Op. 133 String Quartet No. 13 in B-flat minor, Op. 138 CONCERT 5: THURSDAY, FEB. 9 Pre-concert talk with Judith Kuhn String Quartet No. 14 in F-sharp major, Op. 142 String Quartet No. 15 in E-flat minor, Op.144 �Message from the President It is a pleasure to extend my sincere congratulations to the Lafayette String Quartet as they celebrate their 30th Anniversary. The University of Victoria has had the privilege of hosting these four incredible women as Artists-in-Residence for 25 years. Our students, our campus and the wider community have benefitted from their dedication, enthusiasm and creativity. Nationally and internationally celebrated, the quartet has engaged in our community with passion and commitment: establishing Quartet Fest West; performing in the Galiano Ensemble; creating the Lafayette Health Awareness Forum to provide free expert health information to the public; and supporting teachers in the public schools. As outstanding educators and superb musicians, they have greatly enriched our Fine Arts program, providing mentorship, giving masterclasses, and helping to recruit some of the finest string players in Canada. In honour of their contributions, they were presented with UVic’s inaugural Craigdarroch Award for Excellence in Artistic Expression in 2010. This year, to honour this significant milestone, the quartet will perform the complete Shostakovich Cycle of String Quartets — an ambitious musical journey and a great delight for us all! Jamie Cassels, QC President and Vice-Chancellor �Letter from the Dean of Fine Arts I am delighted to welcome you as Dean of the Faculty of Fine Arts to Dmitri Shostakovich: The Complete String Quartets. The festival celebrates thirty years of the Lafayette String Quartet and honours the Quartet’s mentor, Russian violinist Rostislav Dubinsky, who first coached members of the LSQ as graduate students at Indiana University and continued to serve as an im- portant mentor for the ensemble. Shostakovich’s cycle of fifteen quartets documents the composer’s life and spans his artistic career from the late 1930s until his death in 1975. These are remarkably complex works. My thanks to Judith Kuhn, Michelle Assay, David Fanning, Patrick McCreless, and the LSQ for sharing their expertise in a series of pre-concert talks that inform our cultural and musical understanding of these works. The festival is a remarkable gift that exemplifies the vital impact of the School of Music in bringing quality performances and scholarship to the Victoria community. My sincere thanks to the Lafayette String Quartet — Ann Elliott-Goldschmid, Pamela Highbaugh-Aloni, Joanna Hood, and Sharon Stanis — for their artistic leadership and vision in bringing the Shostakovich string quartets to us. Congratulations to the Lafayette String Quartet on three decades of beautiful music and mentorship of our students and alumni. Welcome and enjoy the festival! Dr. Susan Lewis Dean, Faculty of Fine Arts �30 In July 1986, four young musicians, based in Detroit and just beginning their professional careers, performed together for the first time as the Lafayette String Quartet. Celebrating their 30th anniversary, the LSQ continues to flourish with its original personnel: violinists Ann Elliott-Goldschmid and Sharon Stanis, violist Joanna Hood, and cellist Pamela Highbaugh Aloni. For five years, the LSQ prospered in Detroit, where its members taught at the Center for Creative Studies/Institute of Music and Dance, and Oakland University. The LSQ itself received coaching from some of the world’s most esteemed quartets — the Amadeus, Alban Berg, and Cleveland — and from violinist Rostislav Dubinsky, of the legendary Borodin Quartet, who served as their “musical mentor” until his death in 1997. �The Quartet’s extraordinary musicianship was recognized early on. In their first years together they were ranked among Musical America’s “Young Artists to Watch,” won the Grand prize at the Fischoff National Chamber Music Competition and top prizes at the Portsmouth (now City of London) International String Quartet Competition, and the Chicago Discovery Competition. As winners of the 1988 Cleveland String Quartet Competition, the LSQ had the opportunity to study for two years with the Cleveland Quartet at the Eastman School of Music, in Rochester, New York. Artists-in-Residence at the University of Victoria’s School of Music since 1991, their dedication and skill has played a major role in building one of the finest music schools in Canada. In addition to quartet performances and collaborating with colleagues in the School of Music, members of the quartet teach individual lessons, coach chamber music groups, and give studio masterclasses on a weekly basis.They have been principal players of the Galiano Ensemble of Victoria since its inception and continue to serve the community promoting strings in the public schools through outreach programs and the strings mentoring course at UVic. In June, they offer Quartet Fest West, an intensive quartet seminar that brings together young musicians from all over the world. Their annual Health Awareness Forum, founded in 2006, offers timely insights from top health experts on a wide range of topics. They received honorary doctorates from University Canada West and were awarded the inaugural Craigdarroch Award for Excellence in Artistic Expression from the University of Victoria. Facing page (top left) Marktoberdorf, Germany, Summer 1986 (top right) Letter from Dubinsky, 1996 (bottom left) Detroit, MI, 1986 (bottom right) Rehearsal, Institute of Music and Dance, Southfield, MI, 1989 (left) Early promo photo, Donna Terek, Detroit News, 1988 (right) Thumbs up at Banff, 1992 �The LSQ has performed across Canada, the United States, Mexico and Europe, with concerts often allied with masterclasses and workshops. They had a close and lasting relationship with the University of Saskatchewan in Saskatoon while playing on the set of Amatis owned by the institution. The LSQ carries a large, wide-ranging repertoire, from the classical period to the present, and has commissioned and premiered music from numerous composers. Since 1990, the LSQ has released numerous CDs on the Dorian, Centrediscs, AdLar, CBC and other labels (including its own). They have been the subject of numerous articles and the book The Four and the One: In Praise of String Quartets by David Rounds, published in 1999. (top) Promo photo, Miles Lowry, 2015 The Lafayette Quartet is represented by Lydia Kasianchuk, artist manager 250.598.7492 / kasianchuk@shaw.ca Sunglasses promo photo, Barb McDougall, Fall 2000 (bottom) Quartet Fest West performance, K. Farkas, UVic, 2015 �The Victoria Chamber Orchestra congratulates the members of the Lafayette String Quartet as they celebrate 30 years of playing together. We are honoured to have such a close association with these marvelous musicians. 2017 VCO concerts Fri. Feb. 17 Beethoven Symphonies 2 & 5 Fri. April 21 & Sun. April 23 Wagner, Concerto Competition Winner, Britten www.victoriachamberorchestra.org 250-598-1966 Greater Victoria Youth Orchestra A Season of Symphonies Yariv Aloni MUSIC DIRECTOR All concerts Sundays 2:30pm University Centre Farquhar Auditorium TICKETS UVic Ticket Centre 250-721-8480 tickets.uvic.ca FEB 26 2017 APR 30 2017 Strauss The Gypsy Baron Overture Adaskin Saskatchewan Legend Brahms Symphony No. 4 Mendelssohn Symphony No. 3 (Scottish) Smetana Má Vlast: Vysehrad Falla The Three-Cornered Hat: Suite No. 2 SEASON SPONSOR Congratulations to the Lafayette String Quartet! Inspiring Victoria’s young musicians… 1611 Quadra St | Victoria BC V8W 2L5 | 250-360-1121 | gvyo@telus.net | www.gvyo.org Greater Victoria Youth Orchestra / February 2017 / greyscale LSQ Anniversary ad / 150 line screen / 4.95” x 3.937” �FRIDAY, FEBRUARY 3 Pre-concert talk with Judith Kuhn (University of Wisconsin-Milwaukee) String Quartet No. 1 in C major, Op. 49 (1938) Moderato Moderato Allegro molto Allegro String Quartet No. 2 in A major, Op. 68 (1944) Overture: Moderato con moto Recitative and Romance: Adagio Valse: Allegro Theme with Variations: Adagio – Moderato con moto I NT E R M I S S I O N Concession open in the lounge. String Quartet No. 3 in F major, Op. 73 (1946) Allegretto Moderato con moto Allegro non troppo Adagio Moderato �PROGRAM NOTES The quartets of Soviet composer Dmitri Shostakovich are often heard as an interrogation on Soviet society and the triumphalism of its socialist-realist aesthetic. The quartets’ engaging folk-like melodies are undermined by uneasy dissonances, distorted waltzes, and, especially in the Stalin-era quartets (1-5), by endings that seem more like questions than triumphs. Far more than political commentary, though, the quartets can also be heard as compassionate examinations of universal human trauma and tragedy that remain profound and relevant today. Shostakovich wrote his Quartet No. 1 in C major in 1938 after a stinging 1936 Pravda denunciation of his opera, Lady Macbeth of Mtsensk. Although the composer redeemed himself with his Fifth Symphony (1937), Stalin’s “Great Terror” purges in 1937-38 took relatives and friends close to Shostakovich; it was a fearsome time. After completing the constrained, four-movement Quartet, Shostakovich switched its first and last movements. In the final version, a wistful Allegro is followed by somber variations and a breathless scherzo, before the louder, more positive Moderato provides a heroic conclusion. It is interesting to imagine how different the Quartet would have sounded, had the wistful Allegro remained as its finale. Shostakovich’s wartime works reflected the devastation and trauma of that violent conflict. By 1944, when Shostakovich wrote his Quartet No. 2, news of the Holocaust had reached Moscow, and the composer included inflections of Jewish folk and liturgical music in the work, most obviously in its cantillation-like recitative. Shostakovich’s use of Jewish inflections gives his quartets an engaging “tang,” and is commonly heard as a protest, not only against the Holocaust, but also against official anti-Semitism in Russia. The Second Quartet’s four movements include a folk-like Allegretto, the recitative-like slow movement, and an ominous waltz. A slow prologue opens the finale, leading to a set of Russian-style changing-background variations, where the theme remains the same and the musical background varies. Here, however, the theme is embattled and struggles for survival. Following the war, in August, 1946, Shostakovich completed his Quartet No. 3. The work was described by both the composer and commentators as a narrative of war, moving from peaceful calm to violence and grief and in the finale, to remembrances of grief that disrupt attempts at recovery — an archetypal examination of trauma and its aftermath. As the quartet ends, the scars are evident, as the first violin is unable, despite repeated attempts, to restate the finale’s main theme, as the music dies away. Notes by Judith Kuhn �SATURDAY, FEBRUARY 4 Pre-concert talk with the Lafayette String Quartet. String Quartet No. 4 in D major, Op. 83 (1949) Allegretto Andantino Allegretto Allegretto String Quartet No. 5 in B-flat major, Op. 92 (1952) Allegro non troppo Andante – Andantino Moderato – Allegretto I NT E R M I S S I O N Concession open in the lounge. String Quartet No. 6 in G major, Op. 101 (1956) Allegretto Moderato con moto Lento Lento – Allegretto �PROGRAM NOTES At no time of his life was Shostakovich’s output of string quartets under more pressure than between the end of the ‘Great Patriotic War’ and the death of Stalin in 1953. At this time the organs of Soviet power, having had other priorities during wartime, returned to the business of keeping artists and intellectuals in line. Authors, film-makers, and finally composers, felt the lash. The crackdown on composers in early 1948 made it plain that Music for the People — such as cantatas, folklike songs and orchestral suites — was the order of the day, whereas high-flown symphonies, sonatas and chamber music were most certainly not. Shostakovich’s own Third String Quartet (1946) was placed on the list of works ‘not recommended for performance’, while his Cantata The Song of the Forests (1949), with its final ringing apotheosis to Stalin, showed how low he was prepared to bow the knee. Not that he stopped composing string quartets: No. 4 appeared in 1949, No. 5 in 1952. But both had to go into ‘the drawer’, awaiting more propitious times for their public exposure. That decision was surely wise. To have put as much Jewish-folk colouring as Shostakovich did into the finale of the Fourth Quartet was already bold enough when he was working on the piece; by the time he was finished, Stalin’s notorious ‘anti-cosmopolitan’ (read anti-Semitic) campaign was in full swing. As for the Fifth, its sheer complexity and emotional range would have been enough to bring down upon him the familiar accusations of ‘formalism’ (read Western-orientated elitism). At its most intense points the Fifth features quotations from the Piano Trio of Shostakovich’s pupil — and object of affection — Galina Ustvolskaya. A personal agenda is again not hard to detect in the Sixth Quartet. By then the unexpected death of his first wife had removed one of the mainstays of his troubled career, and in the summer of 1956 he met and impulsively married Margarita Kaynova, a Komsomol activist in her early thirties. The quartet was composed while the couple were on honeymoon, and the wanly smiling quality of its opening bars could be read as his nervous wish to believe in the possibility of domestic bliss. Or perhaps the ambivalent tone — straightforward simplicity, or a comment on longing for simplicity after periods of strife — is itself the message, more philosophical than anecdotal? Notes by David Fanning �SUNDAY, FEBRUARY 5 SHOSTAKOVICH SYMPOSIUM Rm. A168, MacLaurin Bldg., A-Wing Free admission SCHEDULE: 9:30 AM Patrick McCreless (Yale University) Musical Topics, Musical Gestures: Means to Ends in Shostakovich’s String Quartets 10:30 AM Michelle Assay (Université Paris-Sorbonne) David Fanning (University of Manchester) Shostakovich and Weinberg: a Musical Dialogue 11:30 AM Judith Kuhn (University of Wisconsin-Milwaukee) The Composer as ‘Spin Doctor:’ How Shostakovich Shaped the Reception of His Quartets BIOGRAPHIES Michelle Assay has a PhD from Université Paris Sorbonne and the University of Sheffield with a dissertation on the topic of ‘Hamlet in the Stalin era and Beyond’. Apart from publications in this area and on ‘Shakespeare and music’, she is founder and co-ordinator of an international research group on ‘Shakespeare in Central and Eastern Europe’. She is also collaborating with David Fanning on a comprehensive lifeand-works study of Mieczysław Weinberg. Born in Tehran, Michelle Assay (Eshghpour) studied in Kiev at the Tchaikovsky Academy, graduating with a ‘Magister’ degree in performance and musicology. She trained and worked as a theatre actor in Canada before returning to Europe to work with Carine Gutlerner at the Paris Conservatoire, where she obtained her Diplôme d’Etat and was laureate of piano competitions. She has performed as soloist and accompanist at various international venues and gives regular pre-concert talks, speeches and lectures. �David Fanning is Professor of Music at the University of Manchester and has a varied career as scholar, pianist and critic. Author and editor of books, articles and critical editions on Nielsen, Shostakovich, Weinberg and the 20th-century symphonic tradition, and editor of a five-volume performing edition of Russian operatic arias, his ongoing research projects include an expanded life-and-works study of Weinberg (in collaboration with his wife, Michelle Assay), a translation and edition of the Selected Letters of Carl Nielsen, an edited volume on Music under Nazi Occupation, and an article on ‘Nielsen and Shakespeare’. As a pianist he performed for 25 years as chamber-music partner of the Lindsay String Quartet, a role he now continues with the Lindsays’ successors as artists-in-residence at the University of Manchester, the Quatuor Danel. He is also critic for Gramophone and The Daily Telegraph. Judith Kuhn is lecturer emeritus in musicology at University of Wisconsin – Milwaukee and a recovering lawyer who earned her PhD from the University of Manchester in the United Kingdom. Her book, Shostakovich in Dialogue: Form, Imagery and Ideas in Quartets 1-7 (Ashgate, 2010), explored Shostakovich’s use of form and genre in his Stalin-era quartets, and was named one of the best music books of 2010 by Classic FM (UK). She has published articles in Music Analysis, Notes, Slavic Review, A Cambridge Companion to Shostakovich and other periodicals and collections. Patrick McCreless is Professor of Music, and Affiliate Faculty in German at Yale University. He chaired the Department of Music at Yale from 2001 to 2007, and was Acting Chair in the fall semester of 2016. Previously he taught at the Eastman School of Music and the University of Texas at Austin. His early work was on Wagner and the chromatic music of the later nineteenth century. In addition to his book, Wagner’s Siegfried: Its Drama, History, and Music, he has published essays on Götterdämmerung and Parsifal, and, with Adrian Daub of Stanford University, he wrote all the articles on the Ring in the Cambridge Wagner Encyclopedia (2013). He has also published on the history of music theory, rhetoric and music, performance and analysis, musical gesture, and the music of Shostakovich, Elgar, and Nielsen. He has served as President of the Society for Music Theory, and he currently is the Editor of the Journal of Music Theory. �MONDAY, FEBRUARY 6 Pre-concert talk with Michelle Assay (Université Paris-Sorbonne) and David Fanning (University of Manchester). String Quartet No. 7 in F-sharp minor, Op. 108 (1960) Allegretto Lento Allegro – Allegretto String Quartet No. 8 in C minor, Op. 110 (1960) Largo Allegro molto Allegretto Largo Largo I NT E R M I S S I O N Concession open in the lounge. String Quartet No. 9 in E-flat major, Op. 117 (1964) Moderato con moto Adagio Allegretto Adagio Allegro �PROGRAM NOTES While the Post-Stalin Thaw in Soviet society proceeded on its juddering but broadly positive path, Shostakovich’s personal fortunes mirrored it, but inversely. His first wife, Nina Varzar, died unexpectedly in 1954, to be followed shortly afterwards by his mother; his second marriage lasted only three years (1956-9); in 1958 he began to experience signs of a mysterious weakness of the limbs that would only much later be diagnosed as motor neuron disease (aka ALS, or Lou Gehrig’s disease); in the middle of 1960 began the process of his induction into Communist Party membership, which in his embattled state he felt unable to resist. Finally in November 1962, in effect stopping the rot, he married Irina Supinskaya, who provided a new bedrock for his life, and who continues to safeguard his legacy to this day. The dedications of Quartets 7 to 9 suggest that all those experiences provided a frame for his creativity, and several aspects of the quartets’ musical content may be read in the same way. The Seventh Quartet — at around 12 minutes the shortest of the cycle — was finished in March 1960. It carries a dedication to the memory of Nina Varzar, whose 50th birthday would have fallen the previous May. An autobiographical narrative of loss is readable in the frequent absence of one instrument or other from the quartet texture, and it is reinforced by what seem to be allusions to works associated with times of special importance during the years of Shostakovich’s marriage. Such vague allusions become explicit quotations in the Eighth Quartet, composed later in 1960, where they suggest flashbacks over a damaged life. Tying them together is the composer’s famous DSCH monogram — the notes D, E-flat, C, B-natural, enshrining his initials as expressed in German nomenclature (where E-flat is pronounced ‘S’ and B-natural is H). No wonder Shostakovich insisted that apart from the printed dedication ‘To the Memory of Victims of Fascism and War’ the piece was also a kind of requiem for himself. In this light it does not seem fanciful to attribute the new streak of determination marked by the colossal 719-bar finale of the Ninth Quartet to the stabilising force of his third wife, to whom the work is dedicated. The creative effort involved is also embodied in the overall Beethovenian trajectory of the work: from uncertainty, through doubt and sardonic grotesquerie, to eventual fist-brandishing energy. Notes by David Fanning �WEDNESDAY, FEBRUARY 8 Pre-concert talk with Patrick McCreless (Yale University). String Quartet No. 10 in A-flat major, Op. 118 (1964) Andante Allegretto furioso Adagio Allegretto String Quartet No. 11 in F minor, Op. 122 (1966) Introduction: Andantino Scherzo: Allegretto Recitative: Adagio Etude: Allegro Humoresque: Allegro Elegy: Adagio Finale: Moderato I NT E R M I S S I O N Concession open in the lounge. String Quartet No. 12 in D-flat major, Op. 133 (1968) Moderato – Allegretto Allegretto – Adagio – Moderato – Adagio – Moderato – Allegretto String Quartet No. 13 in B-flat minor, Op. 138 (1969) Adagio – Doppio movimento – Tempo primo �PROGRAM NOTES The Tenth Quartet marks a return, in Shostakovich’s quartet cycle, to a certain conventionality, after the autobiographical Eighth and the edgy Ninth. This generally conservative quartet returns to the traditional four-movement structure of the First, Second, Fourth, and Sixth (allegro—slow movement—dance/scherzo—finale), though with the scherzo and slow movement reversed. The emotional specificity of the tempo marking of the second movement, Allegretto furioso, is unique in the quartets; no other movement is so explicit about emotional character. With Quartets 11-13 we come to the first three of the five late quartets. Here the central issues are Shostakovich’s experimentation with musical form at the highest level — the level of the order and relation of movements — and his innovations on the musical surface. The Eleventh Quartet (1966), in F minor, has seven short movements, each with a generic title (Introduction, Scherzo, Recitative, etc.), and all interconnected — that is, with no inter-movement pauses. Like the other two minor-mode late quartets (the Thirteenth and the Fifteenth), it seems to deal directly with death. Its successor, the Twelfth (1968), which returns to the major mode (D-flat major), is one of the most ambitious works in the cycle. Shostakovich himself said of it, “It’s a symphony! It’s a symphony!” — and we can see why; its monumentality is well earned. Its division into movements is unique in all of Shostakovich’s oeuvre: a six-minute moderato followed by a massive, twenty-minute movement that starts out as a scherzo, then interjects an adagio and moderato of entirely different character, before recapitulating much of the first movement and part of the scherzo. With its introduction of the first twelvetone rows in the cycle (the first of which we hear in the cello at the very beginning of the first movement), its intricate musical argument, and its status as the most technically demanding of all the quartets, it poses challenges that demand the most from performers, critics, and analysts. Finally, the grim Thirteenth Quartet (1970), in B-flat minor, is Shostakovich’s only one-movement quartet. Like the Twelfth, it also opens with a twelve-tone row, and it continues to use eleven- and twelve-note rows as themes throughout. It is the work in which the composer’s innovations in the late quartets are most concentrated, and in which the musical language is the most obtuse and enigmatic. It features the most jarring contrasts of material, the widest range of possible textures, and the maximal exploitation of contemporary string techniques. Perhaps nothing in it is so strange as its ending: the viola ends its last soliloquy on a high B-flat, three octaves above middle C, pianissimo. A moment later, the second violin joins in on the same note, followed by the first violin, also pianissimo. Suddenly, in the penultimate measure, all three instruments crescendo to a quadruple forte on the same note, and, with a joint accent on the downbeat of the last measure, they together bring the work to a bizarre and violent end, high in the stratosphere. Notes by Patrick McCreless �THURSDAY, FEBRUARY 9 Pre-concert talk with Judith Kuhn (University of Wisconsin-Milwaukee). String Quartet No. 14 in F-sharp major, Op. 142 (1972–73) Allegretto Adagio Allegretto I NT E R M I S S I O N Concession open in the lounge. String Quartet No. 15 in E-flat minor, Op. 144 (1974) Elegy: Adagio Serenade: Adagio Intermezzo: Adagio Nocturne: Adagio Funeral March: Adagio molto Epilogue: Adagio Please join us for a reception in the lobby following the concert. �PROGRAM NOTES Shostakovich’s style became gradually more exploratory in his late years, as he was able to hear contemporary works from outside the USSR. In comparison to the early quartets, the later works seem more personal, eventually reflecting a preoccupation with love and death. The Fourteenth Quartet is the last of four (11-14) dedicated to the original members of The Beethoven Quartet, who had been the composer’s “quartet muses,” and had worked closely with him since 1938. In the mid-1960s, the ensemble began to lose its original members to illness and death and, by 1973, only two remained. This quartet seems to share the sadness of that loss. It begins, though, with a cheery dance for dedicatee Sergey Shirinsky, the Beethovens’ cellist. The slow movement features a tender duet for first violin and the cello — then the only two remaining players of the original Beethovens. Here, perhaps, we are eavesdropping on an intimate and affectionate conversation as the composer and his friends comfort one another. Shirinsky’s diminutive name, Seryozha, appears in code at the finale’s beginning, and most obviously as its centerpiece, where the cello quotes a love song, “Seryozha, My Darling,” from the composer’s Lady Macbeth of Mtsensk. Shostakovich wrote his Quartet No. 15 just over a year before his death, as he was struggling with illness and pain. Composed only of slow movements, it is nonetheless full of vitality and imagery. Death appears most obviously in the titles of the work’s Elegy and Funeral March, but we can hear its jagged edges in the sounds of other movements. Like the Eighth, the Fifteenth begins with a somber fugue, which opens into a Bruckner-like melody of pure C major. The bizarre second movement — ironically titled “Serenade” — echoes the title and key of one of Musorgsky’s Songs and Dances of Death, where Death “harvests” souls from a battlefield, and “serenades” them as they die. One can imagine the quartet’s movement as Death’s distorted idea of a serenade: first, an awful “singing,” and then a rude, strummed accompaniment. The third-movement “Intermezzo” is perhaps a furious distortion of the lovely recitative style used in the Second Quartet, and the Nocturne quotes a lament from Shostakovich’s song cycle From Jewish Folk Poetry (1949). In the spirit of remembrance that seems to characterize the work, the finale recalls themes from earlier movements, and ends without comfort — bleak and profoundly sad. Notes by Judith Kuhn �“ The Victoria Summer Music Festival was very excited to launch the 30th anniversary celebrations of the Lafayette String Quartet with their VSMF performance in July 2016. We look forward to the fabulous Shostakovich cycle and to further appearances at our Festival by this esteemed quartet! PROUD TO OFFER OUR CONTINUED SUPPORT TO THE LAFAYETTE STRING QUARTET ON THEIR 30TH ANNIVERSARY ” Arthur Rowe, Artistic Director Victoria Summer Music Festival VICTORIA, BC, CANADA PH. 250.661.3784 INFO@VITEKVIOLINS.COM WWW.VITEKVIOLINS.COM Victoria Summer Music Festival July 25 – August 9, 2017 / vsmf.org VSMF-LSQprogramad1701.indd 1 CONGRATULATIONS from the staff at Schell and Associates, CPA. It has been a wonderful experience to watch your success for the last 25 years. We are very proud of your accomplishments and being able to assist you in some small way along this path. We wish you many more years of filling the air and ears with the magic of your music. Schell & Associates  Chartered Professional Accountants  204‐2840 Nanaimo Street, Victoria BC V8T4W9 Tel. (250) 385‐0312 Fax: (250) 384‐2144  2017-01-25 10:43 AM �Rostislav Dubinsky (1923 ­– 1997) �Yariv Aloni, music directo r CONGRATULATIONS to the Lafayette String Quartet on the occasion of its 30th Anniversary The Galiano Ensemble is pleased to pay tribute to the Lafayette String Quartet. The members of the Quartet have been the principal players in the Galiano Ensemble since its inception and the Ensemble is proud of its long and close association with the Quartet. Congratulations on your 30 years of performing together and sharing an unwavering commitment to teaching, mentoring and supporting students at the University of Victoria. Best wishes to the Lafayette String Quartet for continued success in the future! Galiano Ensemble of Victoria www.galiano.ca � 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 LSQ: Shostakovich Cycle Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/021017-LafayetteStringQuartet/021017-LafayetteStringQuartet_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/021017-LafayetteStringQuartet/021017-LafayetteStringQuartet_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/021017-LafayetteStringQuartet/021017-LafayetteStringQuartet_03.mp3">Track3</a> (encore: arrangement of Shostakovich's first Prelude and Fugue) 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 Dmitri Shostakovich: The Complete String Quartets, part 5 Creator An entity primarily responsible for making the resource Robert Pond Date A point or period of time associated with an event in the lifecycle of the resource February 10, 2017 Contributor An entity responsible for making contributions to the resource Ann Elliott-Goldschmied, violin Sharon Stanis, violin Joanna Hood, viola Pamela Highbaugh Aloni, cello https://finearts.uvic.ca/music/archive/files/original/4696198918020f9c131e15c1379a14f6.pdf 4e78f51a78f21435ca74aaeb41b9eb92 PDF Text Text Dmitri Shostakovich: The Complete String Quartets February 3–9, 2017 30th Anniversary Celebration Lafayette String Quartet Ann Elliott-Goldschmid, violin Sharon Stanis, violin Joanna Hood, viola Pamela Highbaugh Aloni, cello © School of Music Li ns Eva nda is Dav �30 Greetings from Ann, Sharon, Joanna and Pam We are so happy you are joining us as we celebrate our 30th year together with performances of all the Shostakovich Quartets. The works you will be hearing during these 5 nights connect us back to our earliest beginnings. Throughout our career together we have been blessed to have the guiding inspiration of our dear late mentor Rostislav Dubinsky, first violinist of the Borodin String Quartet, ever encouraging us to strive for excellence and to “Keep the Quartet”. And 30 years later — here we are — keeping the quartet far beyond what we might have imagined when we first sat down to play and coach Shostakovich’s 8th quartet together with Dubinsky. With memories, recordings and even scores and parts that he marked with his ideas, we have happily taken on learning all 15 of these remarkable quartets. We have often felt him with us in these months as we have been preparing for this cycle. We owe much to so many people for the ways in which we have been supported and inspired to grow as musicians. We recognize every day that these 30 years would not be possible without all of them or you, our devoted audience. We would like to thank the University community — past and present presidents, vice-presidents, deans, directors, colleagues, and staff for giving us a “home base” these last 25 years. We also are grateful to our students, past and present, whose flexibility and energy continually encourage us to grow. We extend special thanks to our colleagues who have been sharing our teaching load this year while we have taken on the extra work of preparing for the Cycle. We are also thankful for the greater Victoria community whose support of music, indeed all the arts, provides the stimulating artistic environment in which we live and work. Many have directly supported and worked tirelessly with us to help put on this Cycle. We extend warmest thanks to our visiting scholars who so kindly have agreed to share their passion for these works and add a most exciting dimension to the week. We are honored to have them here. And last, but not least, we want to thank our dear families and friends whose daily love and support allows us to stay on this amazing track of string quartet life. We are so glad we are all together. Cheers, Ann, Sharon, Joanna, and Pam �FESTIVAL SCHEDULE Pre-concert talks at 7 PM. All concerts at 8 PM. Phillip T. Young Recital Hall, B-Wing, MacLaurin Building, UVic Individual tickets $25 / 5 concert festival pass $100 CONCERT 1: FRIDAY, FEB. 3 Pre-concert talk with Judith Kuhn String Quartet No. 1 in C major, Op.49 String Quartet No. 2 in A major, Op. 68 String Quartet No. 3 in F major, Op. 73 CONCERT 2: SATURDAY, FEB. 4 Pre-concert talk with The Lafayette String Quartet String Quartet No. 4 in D major, Op. 83 String Quartet No. 5 in B-flat major, Op. 92 String Quartet No. 6 in G major, Op. 101 SHOSTAKOVICH SYMPOSIUM: SUNDAY, FEB. 5 9:30 AM – 12:30 PM Rm. A168, MacLaurin Bldg., A-Wing Free admission CONCERT 3: MONDAY, FEB. 6 Pre-concert talk with Michelle Assay and David Fanning String Quartet No. 7 in F-sharp minor, Op. 108 String Quartet No. 8 in C minor, Op. 110 String Quartet No. 9 in E-flat major, Op. 117 CONCERT 4: WEDNESDAY, FEB. 8 Pre-concert talk with Patrick McCreless String Quartet No. 10 in A-flat major, Op. 118 String Quartet No. 11 in F minor, Op.122 String Quartet No. 12 in D-flat major, Op. 133 String Quartet No. 13 in B-flat minor, Op. 138 CONCERT 5: THURSDAY, FEB. 9 Pre-concert talk with Judith Kuhn String Quartet No. 14 in F-sharp major, Op. 142 String Quartet No. 15 in E-flat minor, Op.144 �Message from the President It is a pleasure to extend my sincere congratulations to the Lafayette String Quartet as they celebrate their 30th Anniversary. The University of Victoria has had the privilege of hosting these four incredible women as Artists-in-Residence for 25 years. Our students, our campus and the wider community have benefitted from their dedication, enthusiasm and creativity. Nationally and internationally celebrated, the quartet has engaged in our community with passion and commitment: establishing Quartet Fest West; performing in the Galiano Ensemble; creating the Lafayette Health Awareness Forum to provide free expert health information to the public; and supporting teachers in the public schools. As outstanding educators and superb musicians, they have greatly enriched our Fine Arts program, providing mentorship, giving masterclasses, and helping to recruit some of the finest string players in Canada. In honour of their contributions, they were presented with UVic’s inaugural Craigdarroch Award for Excellence in Artistic Expression in 2010. This year, to honour this significant milestone, the quartet will perform the complete Shostakovich Cycle of String Quartets — an ambitious musical journey and a great delight for us all! Jamie Cassels, QC President and Vice-Chancellor �Letter from the Dean of Fine Arts I am delighted to welcome you as Dean of the Faculty of Fine Arts to Dmitri Shostakovich: The Complete String Quartets. The festival celebrates thirty years of the Lafayette String Quartet and honours the Quartet’s mentor, Russian violinist Rostislav Dubinsky, who first coached members of the LSQ as graduate students at Indiana University and continued to serve as an im- portant mentor for the ensemble. Shostakovich’s cycle of fifteen quartets documents the composer’s life and spans his artistic career from the late 1930s until his death in 1975. These are remarkably complex works. My thanks to Judith Kuhn, Michelle Assay, David Fanning, Patrick McCreless, and the LSQ for sharing their expertise in a series of pre-concert talks that inform our cultural and musical understanding of these works. The festival is a remarkable gift that exemplifies the vital impact of the School of Music in bringing quality performances and scholarship to the Victoria community. My sincere thanks to the Lafayette String Quartet — Ann Elliott-Goldschmid, Pamela Highbaugh-Aloni, Joanna Hood, and Sharon Stanis — for their artistic leadership and vision in bringing the Shostakovich string quartets to us. Congratulations to the Lafayette String Quartet on three decades of beautiful music and mentorship of our students and alumni. Welcome and enjoy the festival! Dr. Susan Lewis Dean, Faculty of Fine Arts �30 In July 1986, four young musicians, based in Detroit and just beginning their professional careers, performed together for the first time as the Lafayette String Quartet. Celebrating their 30th anniversary, the LSQ continues to flourish with its original personnel: violinists Ann Elliott-Goldschmid and Sharon Stanis, violist Joanna Hood, and cellist Pamela Highbaugh Aloni. For five years, the LSQ prospered in Detroit, where its members taught at the Center for Creative Studies/Institute of Music and Dance, and Oakland University. The LSQ itself received coaching from some of the world’s most esteemed quartets — the Amadeus, Alban Berg, and Cleveland — and from violinist Rostislav Dubinsky, of the legendary Borodin Quartet, who served as their “musical mentor” until his death in 1997. �The Quartet’s extraordinary musicianship was recognized early on. In their first years together they were ranked among Musical America’s “Young Artists to Watch,” won the Grand prize at the Fischoff National Chamber Music Competition and top prizes at the Portsmouth (now City of London) International String Quartet Competition, and the Chicago Discovery Competition. As winners of the 1988 Cleveland String Quartet Competition, the LSQ had the opportunity to study for two years with the Cleveland Quartet at the Eastman School of Music, in Rochester, New York. Artists-in-Residence at the University of Victoria’s School of Music since 1991, their dedication and skill has played a major role in building one of the finest music schools in Canada. In addition to quartet performances and collaborating with colleagues in the School of Music, members of the quartet teach individual lessons, coach chamber music groups, and give studio masterclasses on a weekly basis.They have been principal players of the Galiano Ensemble of Victoria since its inception and continue to serve the community promoting strings in the public schools through outreach programs and the strings mentoring course at UVic. In June, they offer Quartet Fest West, an intensive quartet seminar that brings together young musicians from all over the world. Their annual Health Awareness Forum, founded in 2006, offers timely insights from top health experts on a wide range of topics. They received honorary doctorates from University Canada West and were awarded the inaugural Craigdarroch Award for Excellence in Artistic Expression from the University of Victoria. Facing page (top left) Marktoberdorf, Germany, Summer 1986 (top right) Letter from Dubinsky, 1996 (bottom left) Detroit, MI, 1986 (bottom right) Rehearsal, Institute of Music and Dance, Southfield, MI, 1989 (left) Early promo photo, Donna Terek, Detroit News, 1988 (right) Thumbs up at Banff, 1992 �The LSQ has performed across Canada, the United States, Mexico and Europe, with concerts often allied with masterclasses and workshops. They had a close and lasting relationship with the University of Saskatchewan in Saskatoon while playing on the set of Amatis owned by the institution. The LSQ carries a large, wide-ranging repertoire, from the classical period to the present, and has commissioned and premiered music from numerous composers. Since 1990, the LSQ has released numerous CDs on the Dorian, Centrediscs, AdLar, CBC and other labels (including its own). They have been the subject of numerous articles and the book The Four and the One: In Praise of String Quartets by David Rounds, published in 1999. (top) Promo photo, Miles Lowry, 2015 The Lafayette Quartet is represented by Lydia Kasianchuk, artist manager 250.598.7492 / kasianchuk@shaw.ca Sunglasses promo photo, Barb McDougall, Fall 2000 (bottom) Quartet Fest West performance, K. Farkas, UVic, 2015 �The Victoria Chamber Orchestra congratulates the members of the Lafayette String Quartet as they celebrate 30 years of playing together. We are honoured to have such a close association with these marvelous musicians. 2017 VCO concerts Fri. Feb. 17 Beethoven Symphonies 2 & 5 Fri. April 21 & Sun. April 23 Wagner, Concerto Competition Winner, Britten www.victoriachamberorchestra.org 250-598-1966 Greater Victoria Youth Orchestra A Season of Symphonies Yariv Aloni MUSIC DIRECTOR All concerts Sundays 2:30pm University Centre Farquhar Auditorium TICKETS UVic Ticket Centre 250-721-8480 tickets.uvic.ca FEB 26 2017 APR 30 2017 Strauss The Gypsy Baron Overture Adaskin Saskatchewan Legend Brahms Symphony No. 4 Mendelssohn Symphony No. 3 (Scottish) Smetana Má Vlast: Vysehrad Falla The Three-Cornered Hat: Suite No. 2 SEASON SPONSOR Congratulations to the Lafayette String Quartet! Inspiring Victoria’s young musicians… 1611 Quadra St | Victoria BC V8W 2L5 | 250-360-1121 | gvyo@telus.net | www.gvyo.org Greater Victoria Youth Orchestra / February 2017 / greyscale LSQ Anniversary ad / 150 line screen / 4.95” x 3.937” �FRIDAY, FEBRUARY 3 Pre-concert talk with Judith Kuhn (University of Wisconsin-Milwaukee) String Quartet No. 1 in C major, Op. 49 (1938) Moderato Moderato Allegro molto Allegro String Quartet No. 2 in A major, Op. 68 (1944) Overture: Moderato con moto Recitative and Romance: Adagio Valse: Allegro Theme with Variations: Adagio – Moderato con moto I NT E R M I S S I O N Concession open in the lounge. String Quartet No. 3 in F major, Op. 73 (1946) Allegretto Moderato con moto Allegro non troppo Adagio Moderato �PROGRAM NOTES The quartets of Soviet composer Dmitri Shostakovich are often heard as an interrogation on Soviet society and the triumphalism of its socialist-realist aesthetic. The quartets’ engaging folk-like melodies are undermined by uneasy dissonances, distorted waltzes, and, especially in the Stalin-era quartets (1-5), by endings that seem more like questions than triumphs. Far more than political commentary, though, the quartets can also be heard as compassionate examinations of universal human trauma and tragedy that remain profound and relevant today. Shostakovich wrote his Quartet No. 1 in C major in 1938 after a stinging 1936 Pravda denunciation of his opera, Lady Macbeth of Mtsensk. Although the composer redeemed himself with his Fifth Symphony (1937), Stalin’s “Great Terror” purges in 1937-38 took relatives and friends close to Shostakovich; it was a fearsome time. After completing the constrained, four-movement Quartet, Shostakovich switched its first and last movements. In the final version, a wistful Allegro is followed by somber variations and a breathless scherzo, before the louder, more positive Moderato provides a heroic conclusion. It is interesting to imagine how different the Quartet would have sounded, had the wistful Allegro remained as its finale. Shostakovich’s wartime works reflected the devastation and trauma of that violent conflict. By 1944, when Shostakovich wrote his Quartet No. 2, news of the Holocaust had reached Moscow, and the composer included inflections of Jewish folk and liturgical music in the work, most obviously in its cantillation-like recitative. Shostakovich’s use of Jewish inflections gives his quartets an engaging “tang,” and is commonly heard as a protest, not only against the Holocaust, but also against official anti-Semitism in Russia. The Second Quartet’s four movements include a folk-like Allegretto, the recitative-like slow movement, and an ominous waltz. A slow prologue opens the finale, leading to a set of Russian-style changing-background variations, where the theme remains the same and the musical background varies. Here, however, the theme is embattled and struggles for survival. Following the war, in August, 1946, Shostakovich completed his Quartet No. 3. The work was described by both the composer and commentators as a narrative of war, moving from peaceful calm to violence and grief and in the finale, to remembrances of grief that disrupt attempts at recovery — an archetypal examination of trauma and its aftermath. As the quartet ends, the scars are evident, as the first violin is unable, despite repeated attempts, to restate the finale’s main theme, as the music dies away. Notes by Judith Kuhn �SATURDAY, FEBRUARY 4 Pre-concert talk with the Lafayette String Quartet. String Quartet No. 4 in D major, Op. 83 (1949) Allegretto Andantino Allegretto Allegretto String Quartet No. 5 in B-flat major, Op. 92 (1952) Allegro non troppo Andante – Andantino Moderato – Allegretto I NT E R M I S S I O N Concession open in the lounge. String Quartet No. 6 in G major, Op. 101 (1956) Allegretto Moderato con moto Lento Lento – Allegretto �PROGRAM NOTES At no time of his life was Shostakovich’s output of string quartets under more pressure than between the end of the ‘Great Patriotic War’ and the death of Stalin in 1953. At this time the organs of Soviet power, having had other priorities during wartime, returned to the business of keeping artists and intellectuals in line. Authors, film-makers, and finally composers, felt the lash. The crackdown on composers in early 1948 made it plain that Music for the People — such as cantatas, folklike songs and orchestral suites — was the order of the day, whereas high-flown symphonies, sonatas and chamber music were most certainly not. Shostakovich’s own Third String Quartet (1946) was placed on the list of works ‘not recommended for performance’, while his Cantata The Song of the Forests (1949), with its final ringing apotheosis to Stalin, showed how low he was prepared to bow the knee. Not that he stopped composing string quartets: No. 4 appeared in 1949, No. 5 in 1952. But both had to go into ‘the drawer’, awaiting more propitious times for their public exposure. That decision was surely wise. To have put as much Jewish-folk colouring as Shostakovich did into the finale of the Fourth Quartet was already bold enough when he was working on the piece; by the time he was finished, Stalin’s notorious ‘anti-cosmopolitan’ (read anti-Semitic) campaign was in full swing. As for the Fifth, its sheer complexity and emotional range would have been enough to bring down upon him the familiar accusations of ‘formalism’ (read Western-orientated elitism). At its most intense points the Fifth features quotations from the Piano Trio of Shostakovich’s pupil — and object of affection — Galina Ustvolskaya. A personal agenda is again not hard to detect in the Sixth Quartet. By then the unexpected death of his first wife had removed one of the mainstays of his troubled career, and in the summer of 1956 he met and impulsively married Margarita Kaynova, a Komsomol activist in her early thirties. The quartet was composed while the couple were on honeymoon, and the wanly smiling quality of its opening bars could be read as his nervous wish to believe in the possibility of domestic bliss. Or perhaps the ambivalent tone — straightforward simplicity, or a comment on longing for simplicity after periods of strife — is itself the message, more philosophical than anecdotal? Notes by David Fanning �SUNDAY, FEBRUARY 5 SHOSTAKOVICH SYMPOSIUM Rm. A168, MacLaurin Bldg., A-Wing Free admission SCHEDULE: 9:30 AM Patrick McCreless (Yale University) Musical Topics, Musical Gestures: Means to Ends in Shostakovich’s String Quartets 10:30 AM Michelle Assay (Université Paris-Sorbonne) David Fanning (University of Manchester) Shostakovich and Weinberg: a Musical Dialogue 11:30 AM Judith Kuhn (University of Wisconsin-Milwaukee) The Composer as ‘Spin Doctor:’ How Shostakovich Shaped the Reception of His Quartets BIOGRAPHIES Michelle Assay has a PhD from Université Paris Sorbonne and the University of Sheffield with a dissertation on the topic of ‘Hamlet in the Stalin era and Beyond’. Apart from publications in this area and on ‘Shakespeare and music’, she is founder and co-ordinator of an international research group on ‘Shakespeare in Central and Eastern Europe’. She is also collaborating with David Fanning on a comprehensive lifeand-works study of Mieczysław Weinberg. Born in Tehran, Michelle Assay (Eshghpour) studied in Kiev at the Tchaikovsky Academy, graduating with a ‘Magister’ degree in performance and musicology. She trained and worked as a theatre actor in Canada before returning to Europe to work with Carine Gutlerner at the Paris Conservatoire, where she obtained her Diplôme d’Etat and was laureate of piano competitions. She has performed as soloist and accompanist at various international venues and gives regular pre-concert talks, speeches and lectures. �David Fanning is Professor of Music at the University of Manchester and has a varied career as scholar, pianist and critic. Author and editor of books, articles and critical editions on Nielsen, Shostakovich, Weinberg and the 20th-century symphonic tradition, and editor of a five-volume performing edition of Russian operatic arias, his ongoing research projects include an expanded life-and-works study of Weinberg (in collaboration with his wife, Michelle Assay), a translation and edition of the Selected Letters of Carl Nielsen, an edited volume on Music under Nazi Occupation, and an article on ‘Nielsen and Shakespeare’. As a pianist he performed for 25 years as chamber-music partner of the Lindsay String Quartet, a role he now continues with the Lindsays’ successors as artists-in-residence at the University of Manchester, the Quatuor Danel. He is also critic for Gramophone and The Daily Telegraph. Judith Kuhn is lecturer emeritus in musicology at University of Wisconsin – Milwaukee and a recovering lawyer who earned her PhD from the University of Manchester in the United Kingdom. Her book, Shostakovich in Dialogue: Form, Imagery and Ideas in Quartets 1-7 (Ashgate, 2010), explored Shostakovich’s use of form and genre in his Stalin-era quartets, and was named one of the best music books of 2010 by Classic FM (UK). She has published articles in Music Analysis, Notes, Slavic Review, A Cambridge Companion to Shostakovich and other periodicals and collections. Patrick McCreless is Professor of Music, and Affiliate Faculty in German at Yale University. He chaired the Department of Music at Yale from 2001 to 2007, and was Acting Chair in the fall semester of 2016. Previously he taught at the Eastman School of Music and the University of Texas at Austin. His early work was on Wagner and the chromatic music of the later nineteenth century. In addition to his book, Wagner’s Siegfried: Its Drama, History, and Music, he has published essays on Götterdämmerung and Parsifal, and, with Adrian Daub of Stanford University, he wrote all the articles on the Ring in the Cambridge Wagner Encyclopedia (2013). He has also published on the history of music theory, rhetoric and music, performance and analysis, musical gesture, and the music of Shostakovich, Elgar, and Nielsen. He has served as President of the Society for Music Theory, and he currently is the Editor of the Journal of Music Theory. �MONDAY, FEBRUARY 6 Pre-concert talk with Michelle Assay (Université Paris-Sorbonne) and David Fanning (University of Manchester). String Quartet No. 7 in F-sharp minor, Op. 108 (1960) Allegretto Lento Allegro – Allegretto String Quartet No. 8 in C minor, Op. 110 (1960) Largo Allegro molto Allegretto Largo Largo I NT E R M I S S I O N Concession open in the lounge. String Quartet No. 9 in E-flat major, Op. 117 (1964) Moderato con moto Adagio Allegretto Adagio Allegro �PROGRAM NOTES While the Post-Stalin Thaw in Soviet society proceeded on its juddering but broadly positive path, Shostakovich’s personal fortunes mirrored it, but inversely. His first wife, Nina Varzar, died unexpectedly in 1954, to be followed shortly afterwards by his mother; his second marriage lasted only three years (1956-9); in 1958 he began to experience signs of a mysterious weakness of the limbs that would only much later be diagnosed as motor neuron disease (aka ALS, or Lou Gehrig’s disease); in the middle of 1960 began the process of his induction into Communist Party membership, which in his embattled state he felt unable to resist. Finally in November 1962, in effect stopping the rot, he married Irina Supinskaya, who provided a new bedrock for his life, and who continues to safeguard his legacy to this day. The dedications of Quartets 7 to 9 suggest that all those experiences provided a frame for his creativity, and several aspects of the quartets’ musical content may be read in the same way. The Seventh Quartet — at around 12 minutes the shortest of the cycle — was finished in March 1960. It carries a dedication to the memory of Nina Varzar, whose 50th birthday would have fallen the previous May. An autobiographical narrative of loss is readable in the frequent absence of one instrument or other from the quartet texture, and it is reinforced by what seem to be allusions to works associated with times of special importance during the years of Shostakovich’s marriage. Such vague allusions become explicit quotations in the Eighth Quartet, composed later in 1960, where they suggest flashbacks over a damaged life. Tying them together is the composer’s famous DSCH monogram — the notes D, E-flat, C, B-natural, enshrining his initials as expressed in German nomenclature (where E-flat is pronounced ‘S’ and B-natural is H). No wonder Shostakovich insisted that apart from the printed dedication ‘To the Memory of Victims of Fascism and War’ the piece was also a kind of requiem for himself. In this light it does not seem fanciful to attribute the new streak of determination marked by the colossal 719-bar finale of the Ninth Quartet to the stabilising force of his third wife, to whom the work is dedicated. The creative effort involved is also embodied in the overall Beethovenian trajectory of the work: from uncertainty, through doubt and sardonic grotesquerie, to eventual fist-brandishing energy. Notes by David Fanning �WEDNESDAY, FEBRUARY 8 Pre-concert talk with Patrick McCreless (Yale University). String Quartet No. 10 in A-flat major, Op. 118 (1964) Andante Allegretto furioso Adagio Allegretto String Quartet No. 11 in F minor, Op. 122 (1966) Introduction: Andantino Scherzo: Allegretto Recitative: Adagio Etude: Allegro Humoresque: Allegro Elegy: Adagio Finale: Moderato I NT E R M I S S I O N Concession open in the lounge. String Quartet No. 12 in D-flat major, Op. 133 (1968) Moderato – Allegretto Allegretto – Adagio – Moderato – Adagio – Moderato – Allegretto String Quartet No. 13 in B-flat minor, Op. 138 (1969) Adagio – Doppio movimento – Tempo primo �PROGRAM NOTES The Tenth Quartet marks a return, in Shostakovich’s quartet cycle, to a certain conventionality, after the autobiographical Eighth and the edgy Ninth. This generally conservative quartet returns to the traditional four-movement structure of the First, Second, Fourth, and Sixth (allegro—slow movement—dance/scherzo—finale), though with the scherzo and slow movement reversed. The emotional specificity of the tempo marking of the second movement, Allegretto furioso, is unique in the quartets; no other movement is so explicit about emotional character. With Quartets 11-13 we come to the first three of the five late quartets. Here the central issues are Shostakovich’s experimentation with musical form at the highest level — the level of the order and relation of movements — and his innovations on the musical surface. The Eleventh Quartet (1966), in F minor, has seven short movements, each with a generic title (Introduction, Scherzo, Recitative, etc.), and all interconnected — that is, with no inter-movement pauses. Like the other two minor-mode late quartets (the Thirteenth and the Fifteenth), it seems to deal directly with death. Its successor, the Twelfth (1968), which returns to the major mode (D-flat major), is one of the most ambitious works in the cycle. Shostakovich himself said of it, “It’s a symphony! It’s a symphony!” — and we can see why; its monumentality is well earned. Its division into movements is unique in all of Shostakovich’s oeuvre: a six-minute moderato followed by a massive, twenty-minute movement that starts out as a scherzo, then interjects an adagio and moderato of entirely different character, before recapitulating much of the first movement and part of the scherzo. With its introduction of the first twelvetone rows in the cycle (the first of which we hear in the cello at the very beginning of the first movement), its intricate musical argument, and its status as the most technically demanding of all the quartets, it poses challenges that demand the most from performers, critics, and analysts. Finally, the grim Thirteenth Quartet (1970), in B-flat minor, is Shostakovich’s only one-movement quartet. Like the Twelfth, it also opens with a twelve-tone row, and it continues to use eleven- and twelve-note rows as themes throughout. It is the work in which the composer’s innovations in the late quartets are most concentrated, and in which the musical language is the most obtuse and enigmatic. It features the most jarring contrasts of material, the widest range of possible textures, and the maximal exploitation of contemporary string techniques. Perhaps nothing in it is so strange as its ending: the viola ends its last soliloquy on a high B-flat, three octaves above middle C, pianissimo. A moment later, the second violin joins in on the same note, followed by the first violin, also pianissimo. Suddenly, in the penultimate measure, all three instruments crescendo to a quadruple forte on the same note, and, with a joint accent on the downbeat of the last measure, they together bring the work to a bizarre and violent end, high in the stratosphere. Notes by Patrick McCreless �THURSDAY, FEBRUARY 9 Pre-concert talk with Judith Kuhn (University of Wisconsin-Milwaukee). String Quartet No. 14 in F-sharp major, Op. 142 (1972–73) Allegretto Adagio Allegretto I NT E R M I S S I O N Concession open in the lounge. String Quartet No. 15 in E-flat minor, Op. 144 (1974) Elegy: Adagio Serenade: Adagio Intermezzo: Adagio Nocturne: Adagio Funeral March: Adagio molto Epilogue: Adagio Please join us for a reception in the lobby following the concert. �PROGRAM NOTES Shostakovich’s style became gradually more exploratory in his late years, as he was able to hear contemporary works from outside the USSR. In comparison to the early quartets, the later works seem more personal, eventually reflecting a preoccupation with love and death. The Fourteenth Quartet is the last of four (11-14) dedicated to the original members of The Beethoven Quartet, who had been the composer’s “quartet muses,” and had worked closely with him since 1938. In the mid-1960s, the ensemble began to lose its original members to illness and death and, by 1973, only two remained. This quartet seems to share the sadness of that loss. It begins, though, with a cheery dance for dedicatee Sergey Shirinsky, the Beethovens’ cellist. The slow movement features a tender duet for first violin and the cello — then the only two remaining players of the original Beethovens. Here, perhaps, we are eavesdropping on an intimate and affectionate conversation as the composer and his friends comfort one another. Shirinsky’s diminutive name, Seryozha, appears in code at the finale’s beginning, and most obviously as its centerpiece, where the cello quotes a love song, “Seryozha, My Darling,” from the composer’s Lady Macbeth of Mtsensk. Shostakovich wrote his Quartet No. 15 just over a year before his death, as he was struggling with illness and pain. Composed only of slow movements, it is nonetheless full of vitality and imagery. Death appears most obviously in the titles of the work’s Elegy and Funeral March, but we can hear its jagged edges in the sounds of other movements. Like the Eighth, the Fifteenth begins with a somber fugue, which opens into a Bruckner-like melody of pure C major. The bizarre second movement — ironically titled “Serenade” — echoes the title and key of one of Musorgsky’s Songs and Dances of Death, where Death “harvests” souls from a battlefield, and “serenades” them as they die. One can imagine the quartet’s movement as Death’s distorted idea of a serenade: first, an awful “singing,” and then a rude, strummed accompaniment. The third-movement “Intermezzo” is perhaps a furious distortion of the lovely recitative style used in the Second Quartet, and the Nocturne quotes a lament from Shostakovich’s song cycle From Jewish Folk Poetry (1949). In the spirit of remembrance that seems to characterize the work, the finale recalls themes from earlier movements, and ends without comfort — bleak and profoundly sad. Notes by Judith Kuhn �“ The Victoria Summer Music Festival was very excited to launch the 30th anniversary celebrations of the Lafayette String Quartet with their VSMF performance in July 2016. We look forward to the fabulous Shostakovich cycle and to further appearances at our Festival by this esteemed quartet! PROUD TO OFFER OUR CONTINUED SUPPORT TO THE LAFAYETTE STRING QUARTET ON THEIR 30TH ANNIVERSARY ” Arthur Rowe, Artistic Director Victoria Summer Music Festival VICTORIA, BC, CANADA PH. 250.661.3784 INFO@VITEKVIOLINS.COM WWW.VITEKVIOLINS.COM Victoria Summer Music Festival July 25 – August 9, 2017 / vsmf.org VSMF-LSQprogramad1701.indd 1 CONGRATULATIONS from the staff at Schell and Associates, CPA. It has been a wonderful experience to watch your success for the last 25 years. We are very proud of your accomplishments and being able to assist you in some small way along this path. We wish you many more years of filling the air and ears with the magic of your music. Schell & Associates  Chartered Professional Accountants  204‐2840 Nanaimo Street, Victoria BC V8T4W9 Tel. (250) 385‐0312 Fax: (250) 384‐2144  2017-01-25 10:43 AM �Rostislav Dubinsky (1923 ­– 1997) �Yariv Aloni, music directo r CONGRATULATIONS to the Lafayette String Quartet on the occasion of its 30th Anniversary The Galiano Ensemble is pleased to pay tribute to the Lafayette String Quartet. The members of the Quartet have been the principal players in the Galiano Ensemble since its inception and the Ensemble is proud of its long and close association with the Quartet. Congratulations on your 30 years of performing together and sharing an unwavering commitment to teaching, mentoring and supporting students at the University of Victoria. Best wishes to the Lafayette String Quartet for continued success in the future! Galiano Ensemble of Victoria www.galiano.ca � 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 LSQ: Shostakovich Cycle Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/020917-LafayetteStringQuartet/020917-LafayetteStringQuartet_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/020917-LafayetteStringQuartet/020917-LafayetteStringQuartet_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/020917-LafayetteStringQuartet/020917-LafayetteStringQuartet_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/020917-LafayetteStringQuartet/020917-LafayetteStringQuartet_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 Dmitri Shostakovich: The Complete String Quartets, part 4 Creator An entity primarily responsible for making the resource Trevor Naumann Date A point or period of time associated with an event in the lifecycle of the resource February 9, 2017 Contributor An entity responsible for making contributions to the resource Ann Elliott-Goldschmied, violin Sharon Stanis, violin Joanna Hood, viola Pamela Highbaugh Aloni, cello