79 10 1498 https://finearts.uvic.ca/music/archive/files/original/6febb9af37f0ba126fb3d324ccfb1b01.pdf bab88bd46d413c7ad266e7c45e541c74 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC Emerging Artists Alumni Series Fifth Street Featuring Natasha Penfield (BMus ’18) Jilaine Orton (BMus ’17) Ryan Narciso (BMus ’17) Kenji Lee (BMus ’18) Taylor Caswell (BFA ’18) With guests DJ Lockhead, drums Micha Fortin, alto voice We acknowledge that the land on which we gather is the traditional territory of the WSÁNEĆ (Saanich), Lkwungen (Songhees) and Wyomilth (Esquimalt) peoples of the Coast Salish Nation. Saturday, February 2, 2019 • 8 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation �PROGRAM Brian Burton and Thomas Callaway Crazy Chris Stapleton, Elliot L. Ives, Eric Hudson, et. al Morning Light Arthur Hamilton Cry Me A River Kim Possible (Theme Song) Cory Lerios and George Gabriel Ryan Narciso Everything You Are Pinky and the Brain (Theme Song) Richard Stone and Tom Ruegger Georgia On My Mind Hoagy Carmichael and Stuart Gorrell Arr. Jacob Collier Adapted for Fifth Street by Kenji Lee The Middle Jordan Johnson, Anton Zaslavski et. al Got to Get You Into My Life John Lennon and Paul McCartney As performed by Earth, Wind & Fire Featuring Micha Fortin I NT E R M I S S I O N 1612 Best Part Featuring DJ Lochead Daniel Caesar, Matthew Burnett, and Jordan Evans That’s So Raven (Theme Song) Hide and Seek May I Have This Dance Danny Phantom Figures Hey Arnold Suspect Fascinating Rhythm Jack Stratton John Coda Imogen Heap Starlite Guy Moon and Butch Hartman Jessie Reyez Jim Lang Ryan Narciso and Taylor Caswell George and Ira Gershwin Arranged by Jacob Collier Adapted for Fifth Street by Cody Froese �BIOGRAPHIES Fifth Street is a vocal quintet based in Victoria, BC. Its five members—Natasha Penfield, Jilaine Orton, Ryan Narciso, Kenji Lee and Taylor Caswell—met at the University of Victoria’s School of Music and formed the group out of a desire to make music together and continue growing as artists. Inspired by a cappella powerhouses such as Pentatonix, The Real Group and M-Pact, Fifth Street combines the worlds of pop, jazz and R&B in perfect five-part harmony. Natasha Penfield has a passion for any kind of music—especially jazz, pop, and funk. Natasha’s studies with Anne Grimm at the University of Victoria (BMus ‘18) have helped her to grow as a performer and develop vocal techniques that she now uses across all genres. When she isn’t singing with Fifth Street, you can often find Natasha belting musical theatre tunes or performing with Pacific Opera Victoria. Trained as singer and a violinist from a young age, Jilaine Orton began pursuing her Bachelor of Music at the University of Victoria in 2013. During this time at university, she developed her skills in a variety of musical areas simultaneously: studying classical violin under Ann Elliott Goldschmid, singing in UVic’s Vocal Jazz Ensemble, and training in the Music Education program. Since completing her music degree in 2017, Jilaine is pursuing careers in both voice and education, singing as Fifth Street’s alto while working as a certified educator specializing in music. A singer and multi-instrumentalist, Ryan Narciso began posting original songs and covers on YouTube as a creative outlet in 2008. Today, his videos have garnered millions of views and provided him with opportunities to perform in New York, Vancouver and the Philippines with the likes of Grammy-nominated artist Tori Kelly and World Championship of Performing Arts winner Jed Madela. Having received a Bachelor of Music from the University of Victoria, Ryan continues to live musically as a performer, music director, and voice teacher while working as a tenor, arranger, and producer for Fifth Street. Kenji Lee is the baritone and beatboxer for Fifth Street. One of the group’s primary arrangers—with past credits including Fifth Street’s renditions of Vulfpeck’s 1612 and Jessie Reyez’ Figures—he finds inspiration in fusing current popular music with both jazz and electronic dance stylings. Kenji studied voice at the University of Victoria and graduated with a Bachelors of Music and a Minor in Business in 2018. Born into a family of professional musicians, Taylor Caswell was trained as a vocalist, pianist and bassist from childhood and now sings as Fifth Street’s bass. He received his Bachelor of Fine Arts in Theatre and a Minor in Business at the University of Victoria, where he was a member of the UVic’s Vocal Jazz Ensemble from 2011-2016. While his degree may be in another artistic stream, music remains Taylor’s first love; he began experimenting as a songwriter early in his university career and sometimes arranges and composes for the group. � 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 Emerging Artists Alumni Series Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/020219-EmergingAlumni_FifthStreet/020219-EmergingAlumni_FifthStreet_1.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/020219-EmergingAlumni_FifthStreet/020219-EmergingAlumni_FifthStreet_2.mp3">track2</a><br /><br /> 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 Emerging Artists Alumni Series Creator An entity primarily responsible for making the resource Bezal Benny Date A point or period of time associated with an event in the lifecycle of the resource February 2, 2019 Contributor An entity responsible for making contributions to the resource Natasha Penfield Jilaine Orton Ryan Narciso Kenji Lee Taylor Caswell DJ Lockhead Micha Fortin https://finearts.uvic.ca/music/archive/files/original/1d9c545936e35a12f4981044443c02b2.pdf 46e850e2261004beca9c9714ce4ebb25 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �Orchestra UNIVERSITY OF VICTORIA Ajtony Csaba, conductor Pre-concert talk at 7PM with Professor Gregor Kokorz and composer Max Murray. This concert is supported in part by the Austrian Cultural Forum. We respectfully acknowledge that the land on which we gather is the traditional territory of the WS’ANEC’ (Saanich), Lkwungen (Songhees) and Wyomilth (Esquimalt) peoples of the Coast Salish Nation. Friday, February 1, 2019 • 8 p.m. The Farquhar at UVic University of Victoria Adults: $20 / Seniors: $15 / Students & UVic alumni: $10 �PROGRAM W. A. Mozart (1756–1791) Symphony No. 35 in D Major, K. 385 (Haffner) Allegro con spirito Andante Menuetto Presto Georg Friedrich Haas (b. 1953) …e finisci già? Max Murray Cântece (World premiere) I NT E R M I S S I O N Antonín Dvořák (1841–1904) Symphony No. 9 in E minor, “From the New World” Adagio – Allegro molto Largo Scherzo: Molto vivace – Poco sostenuto Allegro con fuoco �PROGRAM NOTES Mozart: Symphony No. 35 in D Major, K. 385 (Haffner) Mozart’s Haffner Symphony began as a serenade, commissioned as background music by the Haffners, a prominent Salzburg family, for the ennoblement of Sigmund Haffner in 1782. The commission came through Mozart’s father, as Mozart had moved to Vienna in 1781. At the time of the commission, Mozart was “up to his eyeballs with work,” but took the commission anyway, sending the serenade back to his father movement by movement and quickly forgetting about them. As Mozart was overextended with both other musical projects and preparing to marry Constanze Weber, it is likely that he did not meet the deadline, and it is unknown when the serenade was first performed. In December 1782, Mozart asked his father to send him a copy of the serenade so that he could perform it in an upcoming concert. Upon receiving the score, Mozart was amazed at the quality of the work, having forgotten most of what he had written. He proceeded to convert the serenade into a symphony by cutting the opening march and one of the minuets. He also expanded the orchestration by adding two flutes and two clarinets to the first and last movements. The Symphony as we know it today premiered on 23 March 1783 in Vienna, with the emperor in attendance. The performance was a huge success. It was reported that the emperor stayed for the whole concert, which was unusual for him, and even joined in the applause. —Christina Kempenaar Haas: …e finisci già? This orchestral work by Georg Friedrich Haas was inspired by Mozart’s fragment for the Horn Concerto No. 1, K. 412, which Haas considers an impressive personal document. “At the beginning of the concerto movement, Mozart places the D-major chord exactly in the position of the overtone chord,” Haas says. “This overtone chord is the centre of my short piece, out of which the beginning of the movement unfolds, as written by Mozart—in four different temporal elongations and contractions simultaneously.” —Georg Friedrich Haas Manuscript excerpt from the Rondo of Mozart’s K. 412 Horn Concerto. The composer’s annotation of the solo part is unusually informal, teasing the soloist rather than instructing. “Is that all [you’ve got]? (e finisci già? – it.)” �Murray: Cântece In Mozart’s horn concerti, the inevitable turns to the minor mode, amidst a sense of ease and a brightness of palette verging on the ironic, encapsulate for me one of the essential wisdoms imparted by the composer: the evocation and sustain of dramatic precariousness amidst textural transparency. Performing these works was a part of my earliest experiences of music: pursuing across their surfaces the abyss which looms out of each shift of tonality, and exists beyond them. Here in Cântece, the perspective of the soloist from which I originally gathered this experience withdraws towards the empty center of an ensemble whose behavior is, in the Mozartian sense, equally incidental, quotidian, monumental, horrifying. —Max Murray Dvořák: Symphony No. 9 “From the New World” Dvořák wrote his famous ninth symphony in 1893 while he was the director of the National Conservatory of Music in New York. While living in America, Dvořák became interested in African-American spirituals and plantation songs of the American South. He thought that the future of American art music lay in the beautiful and varied themes of these songs and urged composers to turn to them when writing music. Further, Dvořák was fascinated by Native American tradition. According to the composer, the second movement was inspired by The Song of Hiawatha, a poem by Henry Wadsworth Longfellow, and stated that the dance-like passage in the third movement evokes the Native wedding feast, where the members of the community dance. Musically, Dvořák’s ninth symphony is a synthesis of many musical traditions.The composer integrated the“spirit” of African-American and Native-American music into his composition through his use of the pentatonic scale, flattened seventh, and syncopated rhythms. While Dvořák largely avoided direct quotation in his symphony, musicologists have argued that the final theme of the first movement is inspired by Swing Low, Sweet Chariot.The work also includes various elements of European music. For example, the third movement is reminiscent of his earlier Slavonic Dances, Op. 46, which was inspired by Bohemian folk music. Further, the symphony is written in cyclic form, a form wherein the movements are motivically or thematically linked, which was popular amongst European composers, such as Beethoven, in the 19th century. Ultimately, Dvořák’s Symphony “From the New World” was a fusion of both the Old World and the New, contributing to intercontinental appeal. —Christina Kempenaar �BIOGRAPHIES Ajtony Csaba is music director of the UVic Orchestra and conductor of the Central-European Chamber Orchestra (mikamo) in Vienna. Recently, he worked with the Frankfurt Radio Orchestra (hr-sinfonieorchester), the Hungarian Radio Orchestra, the Transparent Sound Festival in Budapest, and members of the Ensemble Intercontemporain in Paris. Past years have seen him conducting most major Hungarian orchestras, Radio-Symphonieorchester Vienna, Wroclaw Philharmonic Orchestra, as well as reoccurring engagements at the Darmstadt New Music Festival, SiMN (Curitiba - BR) and Wien Modern. He is co-founder of the SALT Festival in Victoria. Csaba started off by winning prizes as a composer in Hungary, Austria and later in Germany. His opera conducting debut was for the Hungarian première of Shostakovich’s Cheryomoushki. He graduated from the University of Music Vienna with distinction and worked as Kapellmeister at the Studiobühne Wein. As conductor of the multimedia concert cycles Hermes and recycled in 2008–2010, he directed the Central European Chamber Orchestra in the prime concert halls of Bratislava, Prague, Cracow, Bucharest, Budapest, the Konzerthaus, and Austrian Broadcast in Vienna as well as concert tours in China. His research on conducting gestures has been featured at conferences of the Oxford Conducting Institute and ISGS 7th International Conference in Paris. Gregor Kokorz is an Austrian musicologist based at the University of Innsbruck. He is the OeAD Visiting Associate Professor at the University of Alberta. His research covers questions of cultural transfer, as well as music and identity in Central Europe. His present research focuses on music traditions in the city of Trieste in the 19th century. He received his PhD in musicology from the University of Graz with a dissertation on the history of ethnomusicology. He has been a member of the interdisciplinary research project Modernity. Additional positions include Vienna and Central Europe around 1900 at the University of Graz (1996-2004), research assistant at the Wirth Institute for Austrian and Central European Studies of the University of Alberta (2004-2005), a Mellon Visiting Professor at the University of Chicago (2012), and serving on the board of the Austrian musicological society (2014-2017). Following his studies at UVic (BMus ’10), Max Murray completed parallel graduate degrees in performance and composition at the Berlin Hochschule für Musik ‘Hanns Eisler’, and the Leipzig Hochschule für Musik und Theater ‘Felix Mendelssohn Bartholdy.’ As a tubist he has worked across classical and contemporary repertoire, appearing in festivals including Märzmusik, Borealis, and Musica Nova, and receiving invitations for residencies as an interpreter in the composition departments of Stanford, and Huddersfield Universities. In 2014/15 Max Murray was a visiting fellow in the music department of Harvard University, where he is currently a PhD candidate in music composition. As a composer he has collaborated with musicians and ensembles including Noa Frenkel, Annie Gårlid+Matthew Conley+Nathan Plante, Kevin McFarland, RAGE THORMBONES, Liam Hockley, and Madison Greenstone, among others, with works appearing in contexts such as the Gare du Nord «Dialog», Klangwerkstatt, and HaTeiva. Since 2016 he has been conductor of Harvard University’s Graduate School of Arts and Sciences’ Symphony Orchestra. �ORCHESTRA PERSONNEL VIOLIN Amy-Lynne Toth* Chloe Kneedler Claire Sparrow-Clarke Cleo Yong Dana Wenzel Emma Dunbar Iryna Peleshchyshyn Jas Schweitzer Jeanel Liang* Julian Haynes Linda Donn Leonardo Maekawa Lucy Toews Michelle Hoskin Noah Mellemstrand Ross Ling Serena Bodi Talia Sinclair* FLUTE Ada Qian* Jasmine Riseley Jame Pambrun* VIOLA Amanda Steinemann Gary Sun Judith Gladstone Logan McNeil Maki Yamagata* Seth McMillan* HORN Christine Beattie* Emily Axford Gillian Ramage Tyrell Loster Peitzsche CELLO Bryan Lin Chloe Kersen Claire Dresselhuis* Liam Epp Shiun Kim* Tara Rajah DOUBLE BASS Jody Johnson* Patricia Horwood Rachel Burtman TRUMPET Ben Parker* Tark Kim OBOE Anna Betuzzi* Theresa Mothersill TROMBONE William Quinn* Erin Marsh Benjamin Pakosz ENGLISH HORN Anna Betuzzi TUBA Aidan Fentiman CLARINET Alexander Chernata* Channing Mar TIMPANI Brandon Bronson* BASSOON Rio Lagos Davison* Mia Erickson§ PERCUSSION Cashton McGillvray* LIBRARIANS Nolan Kehler Emily Morse STAGE MANAGERS Liam Epp Noah Mellemstrand ASSISTANT Christina Kempenaar * Principal § Community member �UVIC SCHOOL OF MUSIC UPCOMING EVENTS SATURDAY, FEBRUARY 2 | 8 PM (By donation) Emerging Artists Alumni Series Fifth Street The Victoria-based vocal quintet, Fifth Street, combines the worlds of pop, jazz and R&B in perfect five-part harmony. You’ll enjoy their original a cappella arrangements of pop hits by Imogen Heap and Justin Timberlake as well as fresh takes on timeless classics including Georgia On My Mind and Cry Me A River. Phillip T. Young Recital Hall SUNDAY, FEBRUARY 3 | 7 PM (By donation) Piano Studio Recital Featuring students from the studio of Eva Solar-Kinderman. Phillip T. Young Recital Hall TUESDAY, FEBRUARY 5 | 12:30 PM (By donation) Tuesdaymusic A concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall FRIDAY, FEBRUARY 8 | 12:30 PM (By donation) Fridaymusic A concert of varied repertoire featuring School of Music brass students. Phillip T. Young Recital Hall FRIDAY, FEBRUARY 8 | 8 PM (Pre-concert talk at 7 PM) ($10-$20) UVic Wind Symphony & the Naden Band of the Royal Canadian Navy Something Old, Something New... Steven Capaldo, CPO 2 Brayden Wise & PO 1 Ben Van Slyke, conductors This concert presents a modern twist on the traditional approach to concert programming of an overture, a symphony, a march and a concerto. Featuring new and classic works by Copland, Persichetti, Jager and Bryant, as well as UVic student Jason Gordon playing Gillingham’s Concerto for Euphonium, Winds & Percussion. The Farquhar at UVic SATURDAY, FEBRUARY 9 | 2:30 PM (By donation) Saxophone Ensemble Recital Featuring students from the studio of Wendell Clanton. Phillip T. Young Recital Hall To receive our season brochure & monthly newsletter by email, contact: concert@uvic.ca uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orchestra Description An account of the resource Since its inception in 1969, the Orchestra has performed most of the standard repertoire, including all nine Beethoven symphonies, most of the later compositions of Haydn and Mozart, as well as major works of Brahms, Schubert, Stravinsky, Bruckner, Schoenberg, and others. Each year, members of the orchestra join with performance faculty to form the "Concerto Orchestra" to present the annual Concerto Concert, which features student soloists selected by competition. Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/020119-Orchestra/C_02.wav">track1</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orchestra Creator An entity primarily responsible for making the resource Bezal Benny Date A point or period of time associated with an event in the lifecycle of the resource February 1, 2019 Contributor An entity responsible for making contributions to the resource Ajtony Csaba https://finearts.uvic.ca/music/archive/files/original/8ef5239b07ee6527589aa185a18ac22a.pdf ea79c72d15602d56696b97d7b0f34791 PDF Text Text School of Music fridaymusic Phillip T. Young Recital Hall, University of Victoria February 1, 2019 • 12:30 p.m. Featuring School of Music piano students Prelude and Fugue BWV 846 in C Major Johann Sebastian Bach (1685–1750) Christopher Dlouhy, piano Prelude and Fugue BWV 872 in C-sharp Major Johann Sebastian Bach (1685–1750) Piano Sonata Op. 81a, No. 26 in E-flat Major (Les Adieux) Ludwig van Beethoven (1770–1827) Ya Ping Huang, piano Fantasie in C Major Op. 15 (Wanderer Fantasy) IV. Allegro Jonathan Li, piano Franz Schubert (1797–1828) Klavierstücke Op. 118, No 2 II. Intermezzo Andante teneramente Johannes Brahms (1833–1897) Emily Markwart, piano Scènes d’enfants I. Cris dan la rue II. Jeux sur la Plage III. Jeux II IV. Jeux III V. Jeunes Filles au Jardin Jorge Carrizales, piano Frederic Mompou (1893–1987) UPCOMING AT THE SCHOOL OF MUSIC FRIDAY, FEBRUARY 1 | 8 PM ($10-20) UVic Orchestra: Ajtony Csaba, conductor This concert is inspired by Dvořák’s “From the New World” symphony, by turning towards the future in presenting new and recently discovered musical “worlds” and landscapes. Mozart’s D Major Symphony is the musical point of reference of the first half. Haas, one of the few living composers who has achieved world star status before the age of 65, composed …è finisci già? paraphrasing another Mozart composition in D Major, the unfinished Horn Concerto K. 412 in D Major. The title quotes one of Mozart’s many provocative annotations in the score that reveals an exuberantly funny communication protocol between composer and soloist. Recent Harvard graduate Max Murray’s (UVic BMus’10) new composition entitled Cântece — written for the UVic Orchestra — reflects on the “essential wisdoms imparted by [Mozart]: the evocation and sustain of dramatic precariousness amidst textural transparency.” Join for a pre-concert talk at 6:45PM with Professor Gregor Kokorz (Wirth Institute, University of Alberta), Max Murray and Ajtony Csaba. (Clearihue Rm. C110). The Farquhar at UVic, University Center SATURDAY, FEBRUARY 2 | 8 PM (By donation) Fifth Street Emerging Artists Alumni Series The Victoria-based vocal quintet, Fifth Street, combines the worlds of pop, jazz and R&B in perfect five-part harmony. The sublime voices of Natasha Penfield (BMus ’18), Jilaine Orton (BMus ’17), Ryan Narciso (BMus ’17), Kenji Lee (BMus ’18) and Taylor Caswell (BFA ’18) found a groove together while students at UVic and as members of the UVic Vocal Jazz Ensemble. You’ll enjoy their original a cappella arrangements of pop hits such as Imogen Heap’s Hide and Seek and Morning Light by Justin Timberlake as well as fresh takes on timeless classics including Georgia On My Mind and What Are You Doing New Year’s Eve. Barnes’ Divertissement, Op. 50 for brass quintet, Partita in G by Sweete, and songs by Randy Newman. 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 Fridaymusic Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/020119-FridayMusic/020119-FridayMusic_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/020119-FridayMusic/020119-FridayMusic_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/020119-FridayMusic/020119-FridayMusic_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/020119-FridayMusic/020119-FridayMusic_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/020119-FridayMusic/020119-FridayMusic_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/020119-FridayMusic/020119-FridayMusic_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 Friday Music Creator An entity primarily responsible for making the resource Bezal Benny Date A point or period of time associated with an event in the lifecycle of the resource February 1, 2019 https://finearts.uvic.ca/music/archive/files/original/8a932cd338f640e6951809c7f5e55c35.pdf 98e11b04cd933b77b04600813464dd9c 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 Inside the Soundscape An evening of compositions by Hildegard Westerkamp With Rachel Kiyo Iwaasa piano We acknowledge that the land on which we gather is the traditional territory of the WSÁNEĆ (Saanich), Lkwungen (Songhees) and Wyomilth (Esquimalt) peoples of the Coast Salish Nation. Thursday, January 31, 2019 • 8 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free admission �PROGRAM Talking Rain (1997) Harbour Symphony (1986) Attending to Sacred Matters (2002) I NT E R M I S S I O N Concession open in the lounge. Fantasie for Horns I (1978) Breaking News (2002) Cricket Voice (1987) Klavierklang (2017) Text and music by Hildegard Westerkamp Rachel Iwaasa, piano and spoken voice David Bloom, director �PROGRAM NOTES Talking Rain (1997) Rainsounds from the West Coast of British Columbia are the basic compositional materials for Talking Rain. In this piece, the ear travels into the sonic formations of rain, into the insides of this lush and green place, as well as outside to the watery, liquid language of animals, forests and human habitations, all of which are nourished by the rain. Talking Rain was commissioned by CBC Radio for Westcoast Performance. Most rain recordings for this piece were made by myself in and around Vancouver. Thanks to Norbert Ruebsaat for his recordings of ravens, eagles and frogs from Haida Gwaii and also for finding the right title for the piece, magically. Other rain recordings came from the World Soundscape Project’s environmental tape collection at Simon Fraser University. Thanks also to the late David Grierson for his light footsteps and receptive ears during the recording of our rainy forest soundwalk in Lighthouse Park near Vancouver. Talking Rain is dedicated to my long-time partner and friend Peter Grant. Before he passed away in 2014, we used to love taking rain walks together. Harbour Symphony (1986) On May 2nd, 1986, nearly 150 boats of all sizes and shapes gathered in Vancouver Harbour around Canada Place to perform the first-ever Vancouver Harbour Symphony for boathoarns. The piece was composed on commission from the Canada Pavilion for its Expo 86 opening. It is probably the largest environmental music event ever to be mounted in Vancouver. In tonight’s concert you are hearing a mix of recordings made of the performance from different parts of the harbour, plus the radio communication before the piece begins and after the conclusion of the event, when the many boats are directed to leave the harbour in a coordinated fashion. Harbour Symphony was composed in memory of my brother, Helmut Westerkamp, who, as a cadet sailor on the German training ship “Pamir,” went down in a hurricane in the mid-Atlantic on September 21, 1957. Attending to Sacred Matters (2002) This composition is one in a series of pieces based on the sounds of India. Here I am working specifically with the sounds of the many religious and spiritual practices that I encountered and recorded in this country. What do we consider to be sacred in our lives and how do we attend to it? This question, my travels in India and my longstanding environmental concerns formed the impetus for this composition and are somehow brought together here. �You will hear the voices of Swami Brahmananda, Rishikesh, Pracharya Padmanabha Sharma, Delhi, Vandana Shiva, speaking at the International Water Conference in Vancouver, Canada, in July 2001, Situ Singh-Bühler, Delhi, Hindu chanting in Rishikesh and Pushkar, Muezzins in Nizamuddin, Delhi and Kollam, Kerala, OM singer during morning ceremony in Janakpuri District Park, Delhi, Sikh chant: Golden Temple, Amritsar, Single child at the Ganges in Rishikesh, women chanting in Brahma Temple in Pushkar. Attending to Sacred Matters is dedicated to my friend Veena Sharma who took me to many holy places in India, including the Ganges at Rishikesh. Attending to Sacred Matters was commissioned by the Association of Canadian Women Composers with the assistance of the Canada Council. Fantasie For Horns I (1978) The sound sources for this piece are Canadian trainhorns, foghorns from both the Pacific and Atlantic coasts of Canada, factory and boathorns from Vancouver and surroundings—horns that Canadians heard in daily life at the time this composition was created. Since the 1980s however, with the gradual automation of lighthouses, many of the foghorns heard in this piece have disappeared from the coastal Canadian soundscapes. Additional sound sources are an alphorn and a creek. Most of the material was taken from the World Soundscape Project’s collection of environmental sound recordings at Simon Fraser University, some of it was recorded by myself. Each horn acquires its unique sound from the landscape it inhabits. Horn sounds are interesting for another reason—they rise above any ambience, even that of large cities. They are soundmarks that give a place its character and give us, often subliminally, a “sense of place.” Fantasie for Horns I received an honourable mention at the 1979 International Competition of Electroacoustic Music in Bourges, France. Breaking News (2002) For Caleb. My first grandson was born two and a half months after so-called 9/11. September 11, 2001 brought terrible news of death and destruction for us. Within less than 24 hours of the terror attacks in New York, many TV stations had created a visual logo, a headline and theme music to announce this breaking news with additional drama. Suddenly the terror attacks were being produced for TV, as if they were a movie. This piece, Breaking News, is an attempt at a tiny balancing act by bringing into the forefront the sounds of new life—an embryo’s heartbeat, breathing, breastfeeding, a young baby’s voice, etc. These are sounds that we rarely hear in the media and yet they represent a most important driving force in our lives.They speak with energy and resilience, they tell us of vulnerability and how fragile life really is. Breaking News is also a media production, with a title and a dramatized soundscape— but this time around the sounds of new life. It also wants to stir and unsettle the listener with its sounds, change the pace of regular radio broadcasting. But it refuses to transmit feelings of helplessness and powerlessness. Instead it wants to energize, revitalize and celebrate new life, love, human warmth and energy. �Many thanks to Sonja Ruebsaat and Luke Martin for recording their son Caleb and for generously allowing me to include his sound makings in this piece. Breaking News was commissioned by CBC Radio for its September 11 special programming on the day’s first anniversary. Cricket Voice (1987) Cricket Voice is a musical exploration of a cricket, whose song I recorded in the stillness of a Mexican desert region called the “Zone of Silence”. The quiet of the desert allowed for such acoustic clarity that this cricket’s night song—sung coincidentally very near my microphone—became the ideal “sound object” for this soundscape composition. Slowed down, it sounds like the heartbeat of the desert, in its original speed it sings of the stars. The quiet of the desert also encouraged soundmaking.The percussive sounds in Cricket Voice were created by “playing” on desert plants: on the spikes of various cacti, on dried up roots and palm leaves, and by exploring the resonances in the ruins of an old water reservoir. Cricket Voice was completed with the financial assistance of the Canada Council. The composition is dedicated to Norbert Ruebsaat, who wrote: It’s hard to be a night in the desert without the crickets. You make it with stars. You make it with the skin of the desert night. You stitch those two together sky and earth. You find it with your cricket voice. Klavierklang (2017) Klavierklang is a sonic-musical journey into the complexities of piano playing. During the past few years Rachel Iwaasa and I often reflected on the challenging and traumatic, but also inspiring experiences we have had with piano teachers, the roles our mothers’ ears played in our musical development and how much the piano has been both a sanctuary for sonic explorations and soundmaking, and a site of trauma and discouragement. Ultimately, Klavierklang is a journey towards the piano playing we have always loved, into the magic of its sound. Klavierklang was commissioned by Rachel Iwaasa and was created with the financial assistance of the Canada Council and the BC Arts Council. Many thanks go to David Bloom, who directed Rachel in the dramaturgical aspects of her live performance. The piece was premiered on Nov. 8, 2017 at the ISCM World Music Days in Vancouver. �BIOGRAPHIES Hildegard Westerkamp was born in Osnabrück, Germany in 1946 and emigrated to Canada in 1968. After completing her music studies at UBC in the early seventies, she joined the World Soundscape Project under the direction of R. Murray Schafer at Simon Fraser University (SFU). Her involvement with this project not only activated deep concerns about noise and the general state of the acoustic environment in her, but it also changed her ways of thinking about music, listening and soundmaking. Vancouver Co-operative Radio—founded during the same time—provided an invaluable opportunity to learn about broadcasting, and ultimately enabled her to produce and host her weekly program Soundwalking (1978/79). While completing her Master’s thesis in the 1980s, entitled Listening and Soundmaking: A Study of Music-as-Environment, she also taught acoustic communications courses until 1990 in the School of Communication at SFU together with colleague Barry Truax. Since then she has written numerous articles and texts addressing issues of the soundscape, acoustic ecology and listening, has travelled widely, giving lectures and conducting soundscape workshops internationally. In 1993 she was instrumental in helping found the World Forum for Acoustic Ecology (www.wfae.net), an international network of affiliated organizations and individuals who share a common concern for the state of the world’s soundscapes. She was chief editor of its journal, Soundscape, between 2000 and 2012. In 2003, Vancouver New Music (VNM) invited her to coordinate and lead public soundwalks as part of its yearly concert season. This in turn inspired the creation of The Vancouver Soundwalk Collective, whose members are continuing the work on a regular basis. For some years now, she has mentored younger composers, sound designers, soundwalk leaders and people pursuing careers in soundscape studies and acoustic ecology. Hildegard’s compositions have been performed and broadcast in many parts of the world. She has composed film soundtracks, sound documents for radio and has produced and hosted radio programs such as Soundwalking, and Musica Nova on Vancouver Co-operative Radio. More recently she involved her two grandsons in the creation of her work Once Upon a Time, collaborated with composer/recorder player Terri Hron on Beads of Time Sounding, and with pianist Rachel Iwaasa on Klavierklang. Some of Westerkamp’s compositional work appears in US filmmaker Gus van Sant’s Elephant and Last Days. �Rachel Kiyo Iwaasa is recognized among Canada’s foremost contemporary music pianists. She has been hailed in the press as a “keyboard virtuoso and avant-garde muse” (Georgia Straight) with the “emotional intensity” to take a piece “from notes on a page to a stunning work of art” (Victoria Times Colonist). Selected to close the ISCM World New Music Days 2017 in Vancouver, Rachel has performed in the Netherlands, Germany, US and across Canada, with engagements including Muziekweek Gaudeamus, Music TORONTO, Music on Main,Vancouver New Music, Redshift, Western Front, Vancouver Symphony, Victoria Symphony, the Aventa Ensemble (Victoria), CONTACT contemporary music (Toronto), New Works Calgary, Groundswell New Music (Winnipeg), and Vancouver Pro Musica. Rachel has commissioned or premiered works by many of Canada’s most eminent composers, such as Hildegard Westerkamp, Rodney Sharman, Jocelyn Morlock, Nicole Lizée, Jordan Nobles, Jeffrey Ryan, Farshid Samandari, Marci Rabe, and Emily Doolittle. One half of the acclaimed contemporary flute/piano duo Tiresias, with Mark Takeshi McGregor, Rachel has also collaborated with Yannick Nézet-Séguin, Judith Forst, Heather Pawsey, the Bozzini Quartet, Pulitzer Prize-winning composer Caroline Shaw, and Richard Reed Parry of Arcade Fire. Her interdisciplinary adventures have led to work with photo-based artist SD Holman, playwright/director David Bloom, choreographer Tara Cheyenne Friedenberg, and multi-media provocateur Paul Wong. Rachel’s debut CD, Cosmophony, has been praised as “brilliant” and “unforgettable” (Vancouver Sun) and for “the passion, intensity and the nuanced playing she’s acclaimed for... she manages to instill a sense of dynamic tension and pull to every note” (The Province). Rachel was a co-founder of the Queer Arts Festival in Vancouver, recognized as one of the top 5 festivals of its kind worldwide. UPCOMING EVENTS FRIDAY, FEBRUARY 1 | 12:30 PM (By donation) Fridaymusic A concert of varied repertoire featuring School of Music piano students. Phillip T. Young Recital Hall FRIDAY, FEBRUARY 1 | 8 PM ($10-$20) UVic Orchestra The UVic Orchestra, conducted by Ajtony Csaba, performs Mozart’s Symphony No. 35 in D Major, K. 385, “Haffner”, Haas’s e finisci già?, Dvořák’s Symphony No. 9 in E minor, “From the New World”, as well as the world premiere of Cântece by Max Murray. The Farquhar at UVic To receive our season brochure & monthly newsletter by email, contact: concert@uvic.ca uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 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/admin/uploads/guest/013119-Orion_Westerkamp/013118-Orion_Westerkamp_01.mp3">track1</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orion Series In Fine Arts Creator An entity primarily responsible for making the resource Bezal Benny Date A point or period of time associated with an event in the lifecycle of the resource January 31, 2019 Contributor An entity responsible for making contributions to the resource Hildegard Westerkamp Rachel Kiyo Iwaasa https://finearts.uvic.ca/music/archive/files/original/41d9ddd1c4257a22dbaa39c21bc1de22.pdf b8b8ca4bb905ffadd3630e3da77c35fc PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC ALUMNI CONCERT SERIES Liam Hockley bass clarinet Max Murray composition & tuba With Stephanie Bell flute Kristen Cooke oboe and English horn This concert is made possible with generous support from the University of Victoria Alumni Association. We acknowledge that the land on which we gather is the traditional territory of the WSÁNEĆ (Saanich), Lkwungen (Songhees) and Wyomilth (Esquimalt) peoples of the Coast Salish Nation. Tuesday, January 29, 2019 • 8 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation �PROGRAM Please hold your applause until the end of the program. Es ist genug Flute (bass), oboe (English horn), bass clarinet & tuba iv4 Flute (bass), oboe (English horn), bass clarinet & tuba Ad Marginem des Versuchs Bass clarinet & fixed media Kroó György in memoriam Solo bass clarinet J. S. Bach Mark Andre Max Murray György Kurtág Schatten Solo bass flute Hommage à Tristan English horn & bass clarinet For that which befalleth the sons of men befalleth beasts – as the one dieth, so dieth the other Max Murray Piccolo, English horn & fixed media Ballade No. 6 (“Doulz amis”) English horn & bass clarinet Versetto [apokrif organum] English horn & bass clarinet …in… Ajax Bass clarinet & electronics Piccolo & fixed media Guillaume de Machaut György Kurtág Mark Andre Max Murray �UVIC SCHOOL OF MUSIC UPCOMING EVENTS THURSDAY, JANUARY 31 | 8 PM (Free) Orion Series in Fine Arts Hildegard Westerkamp: Composer and sound ecologist Composer Hildegard Westerkamp presents a selection of 4-channel and stereo electroacoustic works, as well as Klavierklang for solo piano performed by Vancouver-based pianist, Rachel Kiyo Iwaasa. Free admission Phillip T. Young Recital Hall FRIDAY, FEBRUARY 1 | 12:30 PM (By donation) Fridaymusic A concert of varied repertoire featuring School of Music piano students. Phillip T. Young Recital Hall FRIDAY, FEBRUARY 1 | 8 PM ($10-$20) UVic Orchestra The UVic Orchestra, conducted by Ajtony Csaba, performs Mozart’s Symphony No. 35 in D Major, K. 385, “Haffner”, Haas’s e finisci già?, Dvořák’s Symphony No. 9 in E minor, “From the New World”, as well as the world premiere of Cântece by Max Murray. The Farquhar at UVic, SATURDAY, FEBRUARY 2 | 8 PM (By donation) Emerging Artists Alumni Series Fifth Street The Victoria-based vocal quintet, Fifth Street, combines the worlds of pop, jazz and R&B in perfect five-part harmony. You’ll enjoy their original a cappella arrangements of pop hits by Imogen Heap and Justin Timberlake as well as fresh takes on timeless classics including Georgia On My Mind and Cry Me A River. Phillip T. Young Recital Hall SUNDAY, FEBRUARY 3 | 7 PM (By donation) Piano Studio Recital Featuring students from the studio of Eva Solar-Kinderman. Phillip T. Young Recital Hall TUESDAY, FEBRUARY 5 | 12:30 PM (By donation) Tuesdaymusic A concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall To receive our season brochure & monthly newsletter by email, contact: concert@uvic.ca uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emerging Artists Alumni Series Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/012919-TuesdayMusic/012918-TuesdayMusic_1.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012919-TuesdayMusic/012918-TuesdayMusic_2.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012919-TuesdayMusic/012918-TuesdayMusic_3.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012919-TuesdayMusic/012918-TuesdayMusic_4.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012919-TuesdayMusic/012918-TuesdayMusic_5.mp3">track5<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/012919-TuesdayMusic/012918-TuesdayMusic_6.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 Alumni Concert Series Creator An entity primarily responsible for making the resource Bezal Benny Date A point or period of time associated with an event in the lifecycle of the resource January 29, 2019 Contributor An entity responsible for making contributions to the resource Liam Hockley Max Murray Stephanie Bell Kristen Cooke https://finearts.uvic.ca/music/archive/files/original/fac335d7372cca855857ba3f23d63b5a.pdf e6466f9a324004204ff1744fa362e43c PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC FACULTY CONCERT SERIES Music for Cello, Soprano & Piano Featuring Pamela Highbaugh-Aloni cello Anne Grimm soprano Bruce Vogt piano We acknowledge that the land on which we gather is the traditional territory of the WSÁNEĆ (Saanich), Lkwungen (Songhees) and Wyomilth (Esquimalt) peoples of the Coast Salish Nation. Sunday, January 27, 2019 • 8 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $25 / Seniors: $20 / Students & UVic alumni: $10 �PROGRAM Two Mosaics for Voice and Cello (Words by Barbara D. Holender) i. Jocebed, mother of Moses ii. Miriam at the Red Sea Leila Lustig (b. 1944) Sonata in E Minor for cello and piano, Op. 38 (1865) Johannes Brahms i. Allegro non troppo ii. Allegretto quasi Menuetto iii. Allegro (Fugue) Spiegel im Spiegel (1978) (1833–1897) Arvo Pärt (b. 1935) I NT E R M I S S I O N Concession open in the lounge. Sonata in A Major (1886) i. Allegretto moderato ii. Allegro iii. Recitativo–Fantasia (Moderato) iv. Allegretto poco mosso César Franck (1822–1890) �UVIC SCHOOL OF MUSIC UPCOMING EVENTS TUESDAY, JANUARY 29 | 8 PM (By donation) Alumni Concert Liam Hockley, bass clarinet Max Murray, composition & tuba With Stephanie Bell, flute & Kristen Cooke, oboe and English horn This program pairs contemporary repertoire with Early and Baroque Music including works by Max Murray, György Kurtág, Mark Andre, J. S. Bach and Guillaume de Machaut. Phillip T. Young Recital Hall THURSDAY, JANUARY 31 | 8 PM (Free) Orion Series in Fine Arts Hildegard Westerkamp: Composer and sound ecologist Composer Hildegard Westerkamp presents a selection of 4-channel and stereo electroacoustic works, as well as Klavierklang for solo piano performed by Vancouver-based pianist, Rachel Kiyo Iwaasa. Phillip T. Young Recital Hall FRIDAY, FEBRUARY 1 | 12:30 PM (By donation) Fridaymusic A concert of varied repertoire featuring School of Music piano students. Phillip T. Young Recital Hall FRIDAY, FEBRUARY 1 | 8 PM ($10-$20) UVic Orchestra The UVic Orchestra, conducted by Ajtony Csaba, performs Mozart’s Symphony No. 35 in D Major, K. 385, “Haffner”, Haas’s e finisci già?, Dvořák’s Symphony No. 9 in E minor, “From the New World”, as well as the world premiere of Cântece by Max Murray. The Farquhar at UVic SATURDAY, FEBRUARY 2 | 8 PM (By donation) Emerging Artists Alumni Series Fifth Street The Victoria-based vocal quintet, Fifth Street, combines the worlds of pop, jazz and R&B in perfect five-part harmony. You’ll enjoy their original a cappella arrangements of pop hits by Imogen Heap and Justin Timberlake as well as fresh takes on timeless classics including Georgia On My Mind and Cry Me A River. Phillip T. Young Recital Hall To receive our season brochure & monthly newsletter by email, contact: concert@uvic.ca uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Concert Series Hyperlink A link, or reference, to another resource on the Internet. 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Title A name given to the resource Faculty Concert Series Creator An entity primarily responsible for making the resource Bezal Benny Date A point or period of time associated with an event in the lifecycle of the resource January 27, 2019 Contributor An entity responsible for making contributions to the resource Pamela Highbaugh-Aloni Anne Grimm Bruce Vogt https://finearts.uvic.ca/music/archive/files/original/27ee100626a4b3a90672637467c78cf9.pdf ea6d93465842aaf4bfc73ae30a28b44f PDF Text Text School of Music fridaymusic Phillip T. Young Recital Hall, University of Victoria January 25, 2019 • 12:30 p.m. Featuring School of Music students Klavierstück D946, No. 2 in E-flat Major II. Allegretto Franz Schubert (1797–1828) Liz Huang, piano String Quartet Op. 101, No. 6 in G Major I. Allegretto Dmitri Shostakovich II. Moderato con Moto (1906–1975) Chroma Quartet Ilya Gotchev, violin Carlos Quijano, violin Felix Alanis, viola Manuel Cruz, cello String Quartet Op. 13, No. 2 in A minor I. Adagio - Allegro Vivace Felix Mendelssohn (1809–1847) Wisteria String Quartet Amy-Lynne Toth, violin Jasmine Mather, violin Maki Yamagata, viola Claire Dresselhuis, Cello Cello Suite BWV 1012, No. 6 in D Major I. Prelude Johann Sebastian Bach II. Allemande (1685-1750) Maki Yamagata, viola Piano Sonata K. 331, No. 11 in A Major I. Andante Grazioso Wolfgang Amadeus Mozart (1756–1791) Jerry Xiong, 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/012519-FridayMusic/012519-FridayMusic_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012519-FridayMusic/012519-FridayMusic_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012519-FridayMusic/012519-FridayMusic_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012519-FridayMusic/012519-FridayMusic_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012519-FridayMusic/012519-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 Friday Music Creator An entity primarily responsible for making the resource Bezal Benny Date A point or period of time associated with an event in the lifecycle of the resource January 25, 2019 https://finearts.uvic.ca/music/archive/files/original/1ebc2c6dc61d788aaa0fe335f7093dd3.pdf d92d1258c30ec18df64e109349ffbc4e PDF Text Text University of Victoria Saxophone Class Recital 2pm, January 20, 2019 • Phillip T. Young Recital Hall Students from the Class of Wendell Clanton Assisted by Piano and Percussion Students from the School of Music and Greater Victoria Admission by Donation • Donations are greatly appreciated. 1 Ayari Kasukawa with Ryan Qu Concerto in Eb Opus 109 by Alexander Glazunov 2 Michael Vielguth with Ana Makedonska San Antonio Sonata for Alto Saxophone and Piano by John Harbison 3 Kayla Izon and Brandon Bronson 1. Song for Davy and 2. Lost from Songbook for Alto Saxophone and Marimba 4 Baylie Adams with Sarah Su Fantaisie sur un thème original by Jules Demersseman 5 Benedict Mendes with Michelle Melnicky Grace from Light of Sothis by Amy Quate 6 Matt Fichter with Joy Keeler Run Bird from Fuzzy Bird Sonata by Takashi Yoshimatsu INTERMISSION 7 Michelle Melnicky with James Yi I. Vif from Sonata for Alto Saxophone and Piano by Paul Creston 8 Alex Tiller with Emily Liu Chanson et Passepied Opus 16 by Jeanine Rueff 9 Todd Morgan with Emily Markwart Tallahatchie Concerto by Jacob ter Veldhuis �10 The Devil’s Rag by Jean Matitia Karsten Brewka with Yousef Shadian Acknowledgements The University of Victoria Saxophone Class acknowledges with great appreciation the contributions of our able partners from the piano classes of: May Ling Kwok, Eva Solar-Kinderman, Arthur Rowe and Bruce Vogt; community pianist James Yi; pianist Michelle Melnicky; and percussionist Brandon Bronson from the studio of Mr. William Linwood. Visit us at uvicsaxophone.blogspot.com Ayari Kasukawa Candidate, Performance 1st Year Alex Tiller Candidate, Music Education 1st Year Benedict Mendes Candidate, Performance 1st Year Baylie Adams Candidate, Performance 2nd Year Karsten Brewka Performance 3rd Year Todd Morgan Performance 3rd Year Kayla Izon Music Education 4th Year Matt Fichter Music Education 4th Year Michelle Melnicky Music Education 4th Year Michael Vielguth Composition 4th Year � Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/012019-SaxStudioRecital/012019-SaxStudioRecital_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012019-SaxStudioRecital/012019-SaxStudioRecital_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012019-SaxStudioRecital/012019-SaxStudioRecital_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012019-SaxStudioRecital/012019-SaxStudioRecital_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012019-SaxStudioRecital/012019-SaxStudioRecital_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012019-SaxStudioRecital/012019-SaxStudioRecital_06.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012019-SaxStudioRecital/012019-SaxStudioRecital_07.mp3">track7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012019-SaxStudioRecital/012019-SaxStudioRecital_08.mp3">track8</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012019-SaxStudioRecital/012019-SaxStudioRecital_09.mp3">track9</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012019-SaxStudioRecital/012019-SaxStudioRecital_10.mp3">track10</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saxophone Class Recital Creator An entity primarily responsible for making the resource Bezal Benny Date A point or period of time associated with an event in the lifecycle of the resource January 20, 2019 https://finearts.uvic.ca/music/archive/files/original/e4014045957fa80db2eb22c6671f3c0e.pdf 65425572e51124783e1c319d35667028 PDF Text Text PIANO STUDIO RECITAL Students from the studio of Bruce Vogt. SUNDAY, JANUARY 20, 2019 | 7 PM Phillip T. Young Recital Hall, MacLaurin Building Admission by donation PROGRAM Sonata in F-sharp Minor, Op. 25, No. 5 (c. 1790) i. Allegro con espressione Muzio Clementi (1752–1832) Sarah Xu Nocturne in B-flat Minor, Op. 9, No. 1 (1832) Frédéric Chopin (1810–1849) Sebastian Britneff Les sons et les parfums tournent dans l’air du soir, from Preludes, Book 1 (1910) Claude Debussy (1862–1918) Janelle Cavezza Klavierstück in E-flat Major, D. 946, No. 2 (1828) Franz Schubert (1797–1828) Liz Huang Sonata in A Major, K. 331 (1783) i. Andante grazioso W. A. Mozart (1756–1791) Jerry Xiong Sonata in A Minor, D. 784 (1823) i. Allegro giusto Franz Schubert Justin Qin INTERMISSION Impromptu in A-flat Major, D. 935, No. 2 (1827) Shine No. 3 (2017) Vera Li Deborah Baynes Étude in D-flat Major, No. 3, “Un Sospiro” (1849) Sonata No. 7 in D Major, Op. 10, No. 3 (1798) i. Presto iv. Rondo: Allegro Ballade No. 3 in A-flat Major, Op. 47 (1841) Franz Schubert Deborah Baynes Franz Liszt (1811–1886) Gigi Li Ludwig van Beethoven Matthew Sabo Ethan Hill Frédéric Chopin We acknowledge that the land on which we gather is the traditional territory of the WSÁNEĆ (Saanich), Lkwungen (Songhees) and Wyomilth (Esquimalt) peoples of the Coast Salish Nation. � 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/012019-PianoStudioRecital/012018-PianoStudioRecital_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012019-PianoStudioRecital/012018-PianoStudioRecital_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012019-PianoStudioRecital/012018-PianoStudioRecital_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012019-PianoStudioRecital/012018-PianoStudioRecital_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012019-PianoStudioRecital/012018-PianoStudioRecital_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012019-PianoStudioRecital/012018-PianoStudioRecital_06.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012019-PianoStudioRecital/012018-PianoStudioRecital_07.mp3">track7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012019-PianoStudioRecital/012018-PianoStudioRecital_08.mp3">track8</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012019-PianoStudioRecital/012018-PianoStudioRecital_09.mp3">track9</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012019-PianoStudioRecital/012018-PianoStudioRecital_10.mp3">track10</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012019-PianoStudioRecital/012018-PianoStudioRecital_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 Studio Recital Creator An entity primarily responsible for making the resource Bezal Benny Date A point or period of time associated with an event in the lifecycle of the resource January 20, 2019 https://finearts.uvic.ca/music/archive/files/original/12bbe24e3d94965572423a98a0733c44.pdf 0ee620f8def3f2854effccab580567f4 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC FACULTY CONCERT SERIES Almost Blue: Chet Baker at 90 Patrick Boyle, trumpet With Tom Vickery, piano Don Cox, double bass Morgan Childs, drums & Karsten Brewka, baritone saxophone We acknowledge that the land on which we gather is the traditional territory of the WSÁNEĆ (Saanich), Lkwungen (Songhees) and Wyomilth (Esquimalt) peoples of the Coast Salish Nation. Friday, January 18, 2019 • 8 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $25 / Seniors: $20 / Students & UVic alumni: $10 �This concert has two 45-minute sets with a brief intermission. Selections will be announced from the stage. BIOGRAPHIES Patrick Boyle, Associate Professor of Jazz Studies at UVic, is a fearless sonic explorer driven by discovery. His frontiers are in performance (trumpet and guitar), improvisation, composition and education. Originally from Newfoundland, Dr. Boyle appears on over 50 commercial releases and 3 acclaimed solo albums. CBC Radio has called him a “trumpet personality” and “one of Canada’s top jazz musicians.” Tom Vickery is a leading figure on the West Coast jazz scene. Equally talented on both trumpet and piano, in 1993 he participated in a national tour of Canada with the Canadian Forces Jazz Quintet for the Department of National Defense. For the past 10 years he has played with the awardwinning Dixieland Express Jazz Band, and the Tom Vickery Trio has been the house band at Hermann’s Jazz Club for more than 14 years. Don Cox plays tuba, double bass, and electric bass. He is one of the most in-demand musicians in Victoria, BC. Don is an integral member of the Capital City Syncopators: a modern take on prohibition-era jazz and country swing. Don’s tuba lays down the foundation of this eccentric 5-piece playing hot jazz, novelty songs, and hits from the 1980’s. Toronto-based drummer Morgan Childs has built an international career as a performer and educator with some of the world’s finest musicians. Morgan is highly regarded among his peers for his deep swing feel, sensitivity, versatility and musicality, as well as his reverence for jazz history and wide-ranging musical vocabulary. Showing enviable versatility, Morgan is also a noted composer and bandleader. �UVIC SCHOOL OF MUSIC UPCOMING EVENTS SUNDAY, JANUARY 20 | 2 PM (By donation) Saxophone Studio Recital Featuring saxophone students from the studio of Wendell Clanton. Phillip T. Young Recital Hall SUNDAY, JANUARY 20 | 7 PM (By donation) Piano Studio Recital Featuring piano students from the studio of Bruce Vogt. Phillip T. Young Recital Hall FRIDAY, JANUARY 25 | 12:30 PM (By donation) Fridaymusic Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring UVic School of Music students. Phillip T. Young Recital Hall SUNDAY, JANUARY 27 | 8 PM ($10-$25) Faculty Concert Series: Music for Cello, Soprano and Piano Pamela Highbaugh Aloni, cello Bruce Vogt, piano Susan Young, soprano A concert of works by César Franck, Johannes Brahms and Leila Lustig. Phillip T. Young Recital Hall TUESDAY, JANUARY 29 | 12:30 PM (By donation) Tuesdaymusic Enjoy a concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall TUESDAY, JANUARY 29 | 8 PM (By donation) Alumni Concert Liam Hockley, bass clarinet Max Murray, composition & tuba Stephanie Bell, flute Kristen Cooke, oboe and English horn This program pairs contemporary repertoire with Early and Baroque Music including works by Max Murray, György Kurtág, Mark Andre, J.S. Bach and Guillaume de Machaut. Phillip T. Young Recital Hall FRIDAY, FEBRUARY 1 | 12:30 PM (By donation) Fridaymusic A concert of varied repertoire featuring UVic School of Music piano students. Phillip T. Young Recital Hall To receive our On the Pulse brochure & newsletter by email, contact: concert@uvic.ca uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Concert Series Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011819-Faculty_Concert_Boyle/011819-Faculty_Concert_Boyle_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/011819-Faculty_Concert_Boyle/011819-Faculty_Concert_Boyle_02.mp3">track2</a><br /><br /> 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 Faculty Concert Series Creator An entity primarily responsible for making the resource Bezal Benny Date A point or period of time associated with an event in the lifecycle of the resource January 18, 2019 Contributor An entity responsible for making contributions to the resource Patrick Boyle Tom Vickery Don Cox Morgan Childs Karsten Brewka