10
10
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Com p os e rs
Co n c e rt
Featuring works by
School of Music Composition students
With
Students from the violin studio of
Ann Elliot-Goldschmid
P R O G R A M
Tohu wa-bohu
Jasper Meiklejohn, violin
Nolan Krell
Espejo >
Peter Weinkam, violin
Nalini Bissoon
Io
Michael Chambers
Brittany Tsui, violin
Prologue of an unfinished story
Thomas Law, flute
Maria Eduarda Martins
Intermission
Birth
Jilaine Orton, violin
Close and Far
Aliayta Foon-Dancoes, violin
Friday, February 28, 2014, 8:00 p.m.
Phillip T. Young Recital Hall
MacLaurin Building, University of Victoria
Admission by donation
www.finearts.uvic.ca/music/events/
Three Songs
Later (Wassily Kandinsky)
Rakkaus (Tommy Tabermann)
荒城の月 (Bansui Doi)
Matt Kelly
Liam Gibson
Alexander Simon Mackie
Kassandra Schantz, mezzo soprano
Zulfikar Nathoo, baritone
Thomas Bauer, alto flute
Paul Joo, cello
Allyssa Haigh, percussion
Ryan Hemphill, percussion
�PROGRAM NOTES
Prologue of an Unfinished Story
Maria Eduarda Martins
First Act
The piece begins with the Purple entity waking up. This entity feels cold and,
somewhat, painful. It simply exists in that place, having no wishes, having no
dreams, having no awareness of what its life meant, being just an alive creature apart from everything around.
The voice is already there, gradually appearing in this very first moment of
life, growing stronger and getting more present with the passing time. And
once the Purple entity perceives that voice, this entity’s body starts to react
to it. Its lungs feel the weight, its heart feels the tiredness, its mind feels the
whisper of that foreign presence trying to say something unrecognizable.
But the more vividly the Purple entity recognizes its internal voice, the more
tired this soft entity gets, always returning to that asleep state again.
Second Act
The Red entity was awake for a long time at that point. Differently from the
Purple one, this entity was alive. The words were brutal, the warnings were
yelling, the message was insistent. The Red entity apparently needed to say
something to someone. And more than this, the Red entity needed, desperately, to be heard by that foreign presence, the same voice, that even the Red
entity itself could not understand. Why was it so moveless? Why was it so
cold? If this presence was so distant, then why was it still there?
And at the same time that the apathy in the other voice made the Red entity
resignedly painful, it made, also, this entity tired of screaming that loud, fading itself away through moans with the passing time and giving up of being
heard.
Third Act
The Purple entity had never felt the voice that way before. It was screamingly
stunning in Purple entity’s interior, but almost invisible for whoever would try
to see it. Suddenly, this entity was not only awake, but it was also completely
lost among so many feelings happening at the same time inside it. Feelings
of sadness, of a frightened cry come, apparently, from nowhere, feelings of
anguish, where, suddenly, the Purple entity had to do something to move
on with that life that had been given to it, without really knowing how to do
it, echoes of that voice, moving frenetically inside the Purple entity’s being,
making it feel so...lost.
And the fear of that unknown and old sensation, the fear of that lost path
that was being built in front of the Purple entity, was so strong that all it could
try to do was to use all the strength in its body, which was so spectral, and
try to suppress that voice inside. But as the Purple entity did this, with time,
it realized that any effort to erase that internal voice would be useless. The
voice would be always there. Everything was just a big cycle, reflected on the
Purple entity’s breathings.
Fourth Act
And as it would naturally happen in a big cycle, the Red entity appeared
once again. This time this entity felt more secure. This time there was more
control in what that entity was saying. This time, the Red entity could sense
more clearly the life and presence of the voice, the purple entity, inside itself,
reproducing the other voice’s manifestations of pain and anguish.
Fifth Act
The Red entity was gone, once again, but its imprinting remained in the
Purple entity’s heart for ever. This time, all that anguish and all that coldness
that used to invade the Purple entity’s heart was transformed into a deep and
endless love. The Purple entity realized that this love has been what it always
felt, deep and truly inside. The Purple entity realized that this love was its
very essence. And now, the Purple entity would have to find a way to reach
its Red relative, because its heart was suddenly demanding to, and because it
realized that there would be no other options for what to do with its life. That
search was the meaning of that Purple entity’s life.
The first movements were slow and few, the Purple entity didn’t know how to
rise from the ground where it was. The way to find its Red relative was long.
It was a stair that the Purple entity would have to build with bricks that were,
sometimes, so delicate, almost spectral.
But with time, the Purple entity realized that the key to follow that path remained in the past. It was there all the time. It was natural and spontaneous.
The Purple entity just had to know who it really was.
�
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Composers Concert
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Bryan Lilly
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February 28, 2014
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Donors Concert
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Will MacLellan
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March 2, 2014
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4f4bb11fbdf609e6b9534310379d13b1
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Piano Class
Recital
Students from the class of
Eva Solar-Kinderman
Saturday, March 1, 2014, 2:30 p.m.
Phillip T. Young Recital Hall
MacLaurin Building, University of Victoria
Admission by donation
www.finearts.uvic.ca/music/events
�Program
The Art of Fugue
Contrapunctus I
J.S. Bach
(1865–1750)
Liam Gibson
Sonata in F Major KV. 332
Allegro
W.A. Mozart
(1756–1791)
Vanessa Lee
Sonata in F Major Op. 10, No. 2
Allegro
L. van Beethoven
(1770–1827)
Angie Lo
Variations in F Major Op. 34
L. van Beethoven
Aaron Pang
Scherzo in b minor Op. 20
Sophia Stoney
Concert Étude Un Sospiro
Harry Han
Prelude in g minor Op. 23, No. 5
Michael Lee
I NT E R M I S S I O N
F. Chopin
(1810–1849)
F. Liszt
(1811–1886)
S. Rachmaninoff
(1874–1943)
�Sonata No. 2
Bewegt
Karl A. Hartmann
(1905–1963)
Stefani Yap
In the Mists
Andante
L. Janáček
(1854–1928)
Amanda J. Cowley
La dance de Puck
C. Debussy
(1862–1918)
Kimberly Farris-Manning
Claire de Lune
C. Debussy
Louise Lu
Nocturne in c-sharp minor Op. 62, No. 1
F. Chopin
Allannah Montgomery
Prélude, Choral and Fugue
C. Franck
(1822–1890)
Erik Leisnger
�P R O G RA M N OT E S
One of his final pieces, Bach’s Art of the Fugue is a cycle consisting of fourteen fugues (the last of which was left unfinished), and four canons. The
entire piece is written in open score, with no specified instrumentation.
While this has left the door open for many interesting interpretations and
orchestrations, there is a good deal of evidence that the cycle was intended
to be played on harpsichord. Contrapunctus I, the first fugue, introduces the
main subject that persists throughout the cycle. The virtuosic figurations and
lively rhythms present in much of Bach’s earlier keyboard music are conspicuously absent in this piece. In their stead, there gradually unfolds a slow
but implacable examination of the myriad possibilities, both contrapuntal and
harmonic, inherent in the subject. This gives to the music the character of a
search or mediation; an invitation to dig deeper into the familiar in order to
approach the sublime.
Mozart’s twelfth piano sonata is the third and last from a collection of
sonatas published in 1784. The clarity and lightness of the piece is characteristic of the classical period in general, and of Mozart’s writing in particular.
The first movement opens in a cantabile style followed by a long answering
phrase with melodic ideas that reflect Haydn. A great amount of freedom is
involved in Mozart’s use of the sonata form, as he introduces a passage in D
minor and a modulation to C minor prior to the entry of the second subject.
Beethoven’s trilogy of Op.10 sonatas was composed in 1875 and published
three years later. In the opening Allegro of the second sonata in F major, the
most striking and unpredictable humor surfaces in an array of contrasting
gestures. It is as if Beethoven is trying to get the listener lost on purpose! The
innovative false recapitulation uses the quizzical opening figure to transition
back into the home key with a cheerful innocence.
Beethoven’s Variations in F Major, Op. 34, were written in 1802 and dedicated to Princess Barbara Odescalchi, one of Beethoven’s pupils and a very
capable pianist. This set of variations is innovative in that each of the six
variations is in a different key. The theme exhibits the typical Classical-era
rounded (ABA’) structure, although the central, contrasting melody is only
six measures in length. The simple theme is in Beethoven’s best “singing”
style, marked cantabile and with an overall arch; turns and trills add a light,
Mozartian delicacy to a relaxed atmosphere. Overall, this set is an excellent
example of the “improvisatory” side of Beethoven’s variation technique.
If a scherzo is a musical joke, then Chopin’s Scherzo No.1 is a very twisted,
malicious one. The piece begins with a strongly dissonant chord, followed by
another unresolved harmony; a surprising and non-traditional opening. In the
�ABA and coda form, the initial passages are repeated with building fury,
finally subsiding to into the contrasting B section. In this Molto Più Lento in B
major Chopin uses a traditional Polish Christmas carol to create a beautiful
lullaby; the only singable melody in the piece. The second A section ends with
a transition that leaves listeners expectant of the return of B. Instead, Chopin
launches into the coda for a terrifying finale.
Un Sospiro is the third etude of Liszt’s Three Concert Etudes. Composed
between 1845 and 1849, Liszt originally titled it as “Trois caprices poétiques.”
As the title suggests, Liszt would have intended the etudes not just to be
mere technical exercises, but to carry musical and poetic qualities as well. Un
Sospiro is translated as “sigh,” however it may be misleading to interpret the
piece as having the feeling of a sigh, as the title Un Sospiro was not in the first
edition, and it is likely that the name was added later by someone other than
the composer. Regardless, it is beautiful music. Its technical challenges include
frequent hand crossing, arpeggios, and voicing hidden melodies in the midst
of rapid notes. And last but not least, it requires a feeling of melancholy in
the performer’s heart.
Prelude in G minor, Op 23, No. 5 by Sergei Rachmaninoff was completed in
1901. It was included in his Opus 23 set of ten preludes, despite having been
written two years earlier than the other nine. The piece is written in ternary
form, consisting of an opening A section with punctuated sixteenth-note
chords (marked Alla marcia), a more lyrical and melancholy B section with
sweeping arpeggios in the left hand (marked Poco meno mosso), a transition
into the original tempo, and a recapitulation of the initial march. The Russian
pianist Emil Gilels played this prelude at the front during World War II to
support the Soviet forces. This prelude is one of the most performed and
recorded pieces of the op. 23 set.
Karl Amadeus Hartmann wrote music that incorporated both implicit and
explicit signs of protest against the Nazi Party, in addition to several pieces
that were based on his and other’s experiences during World War II. One of
these pieces was his second piano sonata, 27 April, 1945. Hartmann wrote
the piece after he had witnessed a train filled with 20,000 Jewish prisoners
being expelled from the Dachau concentration camp by the Nazis as the
war was coming to an end. He even wrote an inscription on the score that
reflected on this moment which reads: endless was the stream - endless the
misery - endless the sorrow. The somber atmosphere of the piece is combined with expressions of solidarity, sadness, and hope of salvation.
In the Mists is a piano cycle by Czech composer Leos Janáček. It was composed in 1912 shortly after he suffered the loss of his daughter. All four parts
of the cycle are written in keys with five or six flats to project a “misty”
�effect. This piece exemplifies Janáček’s individualistic style which is particularly
evident in his unorthodox chord spacing and structure, and his expanded
view of tonality.
Debussy’s Dance of Puck (from his first book of Préludes) is a whimsical
piece illustrating the temperamental and somewhat impulsive character of
Shakespeare’s ‘Robin Goodfellow’, commonly known as Puck. Fast-paced and
light, colorful melodies dance across the piano in contrasting and sometimes
deceptive, unpredictable phrases. Close your eyes and listen to this ethereal
piece, imagining that “you have but slumbered here, while these visions did
appear.”
Debussy composed the four movement Suite Bergamasque in 1890. The
most famous of the four, Claire de lune (meaning “Moonlight” in French), was
inspired by the poetry of Paul Verlaine. Originally titled “Promenade Sentimentale,” the piece was revised in 1905 and received its more well-known
title. The elegance of this piece conjures images of being in a small boat in a
calm ocean staring up at the shimmering moon.
Nocturne Op. 67 No.1 was written in 1846, during a period of struggle three
years before Chopin’s death. The melody begins almost naively, as if it is a
reflection. Chopin dedicated this Nocturne to Mademoiselle R. de Konneritz, who was one of his students; perhaps it is a reflection of her youth or
the remembrance of his own. The original melody recurs throughout the
piece and is ornamented more each time. The piece’s complexity lies in its
expression, and the concurrent lines that accompany the melody. The middle,
dance-like section is syncopated and more sparse in texture as the harmony
transitions into Ab major. This dance portion builds in intensity and slows to
a passage which seems to be drifting in and out of reality. It is out of this reverie that the melody reappears, highly ornamented and full of conviction. The
nocturne comes to rest - through a series of floating, chromatic melodies- as
if at peace at the end of a dream.
In 1884, sixty-two year old César Franck became suddenly preoccupied
with composing serious works for the piano. What resulted was his Prélude,
Chorale and Fugue, which takes the Baroque prélude and fugue form and
expands it to an ambitious size. The work chronicles a journey from darkness to light in three uninterrupted movements. The themes in the dreamlike
prelude and suffering chorale reference the subject of the fugue, and in the
final climactic cadenza the themes and textures of the three movements
are combined in complex counterpoint. Though the majority of the work
explores realms of despair, it emerges triumphant, as the same bells which
whispered darkly in the chorale proclaim victory in the final bars.
Notes written by the students and edited by Liam Gibson and Eva Solar-Kinderman
�UPCOMING EVENTS
Tuesday, March 4, 12:30 p.m. (Admission by donation)
TUESDAYMUSIC
Take an afternoon break to enjoy a concert of varied repertoire
and instruments featuring School of Music students.
Phillip T. Young Recital Hall
Wednesday, March 5 to Friday, March 7, 9:00 a.m. to 5:00 p.m. (Free admission)
BANDFEST 2014
A non-competitive festival for Concert Bands featuring thirty
Concert Bands from the Pacific Northwest.
University Centre Farquhar Auditorium
Friday, March 7, 12:30 p.m. (Admission by donation)
FRIDAYMUSIC
Featuring School of Music percussion students.
Phillip T. Young Recital Hall
Friday, March 7, 8:00 p.m. ($17.50 & $13.50)
UNIVERSITY OF VICTORIA ORCHESTRA
Modulations
Ajtony Csaba, conductor
Performing:
Berlioz – Le Carnival Romain Overture, Op. 9
Gérard Grisey – Modulations
Beethoven – Symphony No. 7 in A Major, Op. 92
University Centre Farquhar Auditorium
Saturday, March 8, 8:00 p.m. ($17.50 & $13.50)
FACULTY CONCERT SERIES
Bruce Vogt Plays Schubert
An all-Schubert solo recital featuring pianist Bruce Vogt.
Informal pre-concert talk at 7:30 p.m.
Phillip T. Young Recital Hall
Sunday, March 9, 2:30 p.m. (Admission by donation)
CELLO CLASS RECITAL
Featuring students from the studio of Pamela Highbaugh-Aloni.
Phillip T. Young Recital Hall
Tickets available at the UVic Ticket Centre (250-721-8480),
online (www.tickets.uvic.ca) and at the door.
To receive our On the Pulse brochure and
newsletter by email, contact: concert@uvic.ca
www.finearts.uvic.ca/music/events
�
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Class Recitals
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<a href="https://finearts.uvic.ca/music/archive/uploads/student/030114-PianoClassRecital/030114-PianoClassRecital_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030114-PianoClassRecital/030114-PianoClassRecital_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030114-PianoClassRecital/030114-PianoClassRecital_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030114-PianoClassRecital/030114-PianoClassRecital_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030114-PianoClassRecital/030114-PianoClassRecital_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030114-PianoClassRecital/030114-PianoClassRecital_06.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030114-PianoClassRecital/030114-PianoClassRecital_07.mp3">track7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030114-PianoClassRecital/030114-PianoClassRecital_08.mp3">track8</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030114-PianoClassRecital/030114-PianoClassRecital_09.mp3">track9</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030114-PianoClassRecital/030114-PianoClassRecital_10.mp3">track10</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030114-PianoClassRecital/030114-PianoClassRecital_11.mp3">track11</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030114-PianoClassRecital/030114-PianoClassRecital_12.mp3">track12</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030114-PianoClassRecital/030114-PianoClassRecital_13.mp3">track13</a>
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Piano Class Recital <em>- students from the class of Eva Solar-Kinderman</em>
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Will MacLellan
Date
A point or period of time associated with an event in the lifecycle of the resource
March 1, 2014
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b172bdc84b5ff2e9e68c4d479088049c
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UNIVERSITY OF VICTORIA
FACULTY
CONCERT SERIES
MAY LING KWOK, piano
P R O G RA M
Sonata in E flat, Hob. XVI/52
I. Allegro
II. Adagio
III. Presto
F. J. Haydn
(1732–1809)
Années de pèlerinage, deuxieme année: Italie
F. Liszt
VII. Après une Lecture de Dante:
(1811–1886)
Fantasia Quasi Sonata
Intermission
(Beverages and snacks available at the
concession located in the lounge)
Polonaise-Fantasie, Op. 61
F. Chopin
(1810–1849)
Variations and Fugue on a Theme by Handel, Op. 24 J. Brahms
(1833–1897)
Saturday, March 1, 2014 at 8:00 p.m.
Phillip T. Young Recital Hall
MacLaurin Building, University of Victoria
Adults: $17.50 / Students & seniors: $13.50
�UPCOMING EVENTS
Tuesday, March 4, 12:30 p.m. (Admission by donation)
TUESDAYMUSIC
Take an afternoon break to enjoy a concert of varied repertoire
and instruments featuring School of Music students.
Phillip T. Young Recital Hall
Wednesday, March 5 to Friday, March 7, 9:00 a.m. to 5:00 p.m. (Free admission)
BANDFEST 2014
A non-competitive festival for Concert Bands featuring thirty
Concert Bands from the Pacific Northwest.
University Centre Farquhar Auditorium
Friday, March 7, 12:30 p.m. (Admission by donation)
FRIDAYMUSIC
Featuring School of Music percussion students.
Phillip T. Young Recital Hall
Friday, March 7, 8:00 p.m. ($17.50 & $13.50)
UNIVERSITY OF VICTORIA ORCHESTRA
Modulations
Ajtony Csaba, conductor
Performing:
Berlioz – Le Carnival Romain Overture, Op. 9
Gérard Grisey – Modulations
Beethoven – Symphony No. 7 in A Major, Op. 92
University Centre Farquhar Auditorium
Saturday, March 8, 8:00 p.m. ($17.50 & $13.50)
FACULTY CONCERT SERIES
Bruce Vogt Plays Schubert
An all-Schubert solo recital featuring pianist Bruce Vogt.
Informal pre-concert talk at 7:30 p.m.
Phillip T. Young Recital Hall
Sunday, March 9, 2:30 p.m. (Admission by donation)
CELLO CLASS RECITAL
Featuring students from the studio of Pamela Highbaugh-Aloni.
Phillip T. Young Recital Hall
�
�
Tickets available at the UVic Ticket Centre (250-721-8480),
online (www.tickets.uvic.ca) and at the door.
To receive our On the Pulse brochure and
newsletter by email, contact: concert@uvic.ca
www.finearts.uvic.ca/music/events
�
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Faculty Concert Series
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<a href="https://finearts.uvic.ca/music/archive/uploads/faculty/030114-FacultyRecital/030114-FacultyRecital_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/030114-FacultyRecital/030114-FacultyRecital_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/030114-FacultyRecital/030114-FacultyRecital_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/030114-FacultyRecital/030114-FacultyRecital_04.mp3">track4</a>
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Faculty Concert Series - May Ling Kwok, piano
Creator
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Jamie Bracke
Date
A point or period of time associated with an event in the lifecycle of the resource
March 1, 2014
Contributor
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May Ling Kwok, piano
-
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Text
UNIVERSITY OF VICTORIA
FACULTY
CONCERT SERIES
BRUCE VOGT, piano
P R O G RA M
Franz Schubert (1797–1828)
Sonata No. 13 in A Major, D. 664, Op. 120 (1819)
i. Allegro moderato
ii. Andante
iii. Allegro
Four Impromptus D. 899, Op.90 (1827)
i. Allegro molto moderato: C minor
ii. Allegro: E-flat Major
iii. Andante: G-flat Major
iv. Allegretto: A-flat Major
Intermission
(Beverages and snacks available at the
concession located in the lounge)
This concert is part of IdeaFest 2014,
a UVic event celebrating research and creativity.
Saturday, March 8, 2014 at 8:00 p.m.
Pre-concert talk at 7:30 p.m.
Phillip T. Young Recital Hall
MacLaurin Building, University of Victoria
Adults: $17.50 / Students & seniors: $13.50
from Moments Musicaux, D. 780, Op.94 (c.1824)
No. 6: Allegretto in A-flat Major
Sonata No. 16 in A minor, D. 845, Op. 42 (1825)
i. Moderato
ii. Andante poco moto (theme and variations)
iii. Scherzo: Allegro vivace
iv. Rondo: Allegro vivace
�P R O G RA M N OT E S
“Schubert’s tonality is as wonderful as star clusters, and a verbal description of it
is as dull as a volume of astronomical tables.” (D. F. Tovey)
“I’ve discovered something which you may perhaps find valuable. I find myself
using quite spontaneously too a means of expression which I think is quite
unusual: namely silence. Now don’t laugh! It is perhaps the only way to give
the emotion of a phrase its full power.” (Claude Debussy in a letter to the
composer Ernest Chausson)
“The art of Music has here entombed a rich treasure but yet much fairer
hopes.” Those are the words inscribed on Schubert’s tombstone. And certainly we can think with regret of the many works that he surely would have
created had he had something like a normal life span.
Schubert, at the time of his death, was well known only to his own circle of
friends and even they knew him mostly as a song composer. His achievement
as a composer of instrumental music was not at all understood. How could
it be, when most of his instrumental works were not yet published? Many of
them would not be heard for decades. His 8 symphonies, 15 string quartets,
many other chamber works, 21 piano sonatas, masses, other choral works
and much, much more – these were almost all unknown. When these works
were finally being heard and pondered over, they were too often patronized
as formally flawed. Even fifty years ago it was not uncommon to hear many
of Schubert’s instrumental works described as undisciplined works. There
were a few champions of note. Liszt and Brahms both recognized the greatness of Schubert as an instrumental composer. And in 1894, Antonín Dvořák
wrote these words: “[He] is never at fault in his means of expression, while
mastery of form came to him spontaneously… Schubert’s musical individuality is unmistakable...”
The stature of Schubert’s piano sonatas took a particularly long time to be
recognized. It was long thought that it was only in shorter works – such
as the Impromptus and Moments Musicaux – that Schubert’s genius for
instrumental writing could thrive. His sonatas were seen as diffuse and overly
repetitive. It was not until the 1920s, especially with the advocacy of the
pianist Artur Schnabel, that some of the sonatas began to be established in
the repertoire. And it is only in the last few decades that competent editions
of his sonatas have appeared. 21 sonatas have survived in some form, 13 of
them complete. In his lifetime only three sonatas were published and yet at
least 10 of the 21 sonatas are major works.
The Sonata in A Major, D. 664 is Schubert’s first masterpiece in the genre
(through there are at least three earlier sonatas which very much deserve
to be in the active repertoire). It was almost certainly composed in 1819
but was not published until 1839 – eleven years after the composer’s death.
The autograph was promptly lost and so the first edition is all that we have.
Fortunately it appears to be fairly accurate.
Impromptus and Moments Musicaux were the kind of shorter “domestic”
works which publishers could sell. And yet it is typical of Schubert that
though these works are simpler in form – ternary in structure – they are
also works of variety and great originality. The Four Impromptus D. 899
were composed in 1827. Only the first two were published in Schubert’s
lifetime.
Schubert wrote dozens of works for chorus and some of them are major
works. The Impromptu in C minor begins as a kind of ballade with a solo
singer answered antiphonally by a mixed chorus. However the main body
of the work develops as a kind of variation-fantasy before an echo of the
antiphonal solo-chorus opening returns in the distance. The Impromptu in
E-flat Major exuberantly explores the visceral joy of scalic patterns, with a
middle section à l’Hongroise. The Impromptu in G-flat Major is essentially
a “Song Without Words”, a miracle of vocal evocation. When it finally was
published 29 years after Schubert’s death, the G-flat key was changed to G
Major and the time signature simplified. As well it suffered a banal change
in one of its most beautiful harmonic progressions. This is all too typical of
the disrespectful way Schubert’s instrumental works were treated for so
long. The Impromptu in A-flat Major can be linked to the flowing “watery”
accompaniments of many of his songs. The song “Auf dem Wasser zu
Singen (To be sung on the water) is in the same key, oscillates in a similar
fashion between the tonic minor and major and has a similar rippling effect.
However the tragic middle section of this Impromptu finds no reflection in
the song.
The Six Moments Musicaux were published in 1828. However, the Moment
Musical in A-flat had already been published in 1824 and given a fanciful
title by the publisher: “Les Plaintes d’un Troubadour”. Indeed it is a kind
�UPCOMING EVENTS
of lament, but surely more suitably seen as one of the many laments of
wanderers and other outcasts to be found in so many of Schubert’s songs.
Sunday, March 9, 2:30 p.m. (Admission by donation)
CELLO CLASS RECITAL
Featuring students from the studio of Pamela Highbaugh-Aloni.
Phillip T. Young Recital Hall
“My best greetings to [brother] Ferdinand…I am certain that he has been ill
77 times again, and fancied himself 9 times at least on the point of death – as
though dying were the worst evil we mortals had to face. If only he could see
these marvellous mountains and lakes, whose aspect threatens to crush us or
swallow us up, he would become less enamoured of the tiny span of human life,
and would be ready joyfully to give his body to the earth, to be quickened by
its incomprehensible forces into new life.” [Schubert, in a letter to his father,
1824)
Sunday, March 9, 8:00 p.m. ($20 & $18)
AVENTA presents: Strange News
Aventa Ensemble
Bill Linwood, conductor
With Arthur Kisenyi, actor and Rick Sacks, vibraphone
Norway’s leading composer Rolf Wallin and Ugandan actor Arthur Kisenyi
join Aventa in the presentation of Strange News, a work that confronts the
challenging issue of child soldiers, with video, live electronics, surround sound and
the participation of local media. Also featuring works by Victoria’s Christopher
Butterfield and Alberta/New York composer Zosha di Castri.
Tickets available at the door.
Phillip T Young Recital Hall
The Sonata in A minor D. 845 was published in 1825 as opus 42 and was
the first of Schubert’s sonatas to be published. In fact it is one of his only
large-scale instrumental works published in his lifetime. The sad fact was that
publishers were only somewhat willing to publish Schubert’s instrumental
works and then only his occasional or domestic works – dances and other
shorter piano solo and piano duets, rather than his more ambitious, largescale creations. (Of course some of these seemingly lighter works are also
works of genius).
Tuesday, March 11, 12:30 p.m. (Admission by donation)
TUESDAYMUSIC
Take an afternoon break to enjoy a concert of varied repertoire
and instruments featuring School of Music students.
Phillip T. Young Recital Hall
Friday, March 14, 12:30 p.m. (Admission by donation)
FRIDAYMUSIC
Featuring School of Music woodwind students.
Phillip T. Young Recital Hall
Once again, our only source for this sonata is the original edition. The
autograph and any sketches are lost. It is a more serious problem in this case,
because not only is this original publication filled with obvious errors but
there are four measures missing! The copyist must simply have skipped a line
of the autograph – this occurs in the first variation of the 2nd movement. Yet
it took the music world more than 130 years to notice the gaping hole in
this work (Paul Badura-Skoda pointed it out in an article published in 1958)!
Friday, March 14, 8:00 p.m. (Admission by donation)
GUITAR CLASS RECITAL
Featuring students from the studio of Dr. Alexander Dunn.
Phillip T. Young Recital Hall
Sunday, March 16, 2:00 p.m. (Admission by donation)
PIANO CLASS RECITAL
Featuring students from the studio of May Ling Kwok.
Phillip T. Young Recital Hall
Few of Schubert’s letters have survived but a letter to his father refers to his
own performance for some friends of the Andante movement of this sonata.
It tells us a great deal about what he valued in performance, in sound-making:
“What pleased me especially were the variations in my new sonata…which I
performed alone and not without merit, since several people assured me that
the keys become singing voices under my hands, which, if true, pleases me
greatly, since I cannot endure the accursed chopping in which even distinguished
pianists indulge, and which delights neither the ear nor the mind.”
Program notes by Bruce Vogt
�
To receive our On the Pulse brochure and
newsletter by email, contact: concert@uvic.ca
www.finearts.uvic.ca/music/events
�
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Faculty Concert Series - Bruce Vogt, piano
Creator
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Bryan Lilly
Date
A point or period of time associated with an event in the lifecycle of the resource
March 8, 2014
Contributor
An entity responsible for making contributions to the resource
Bruce Vogt, piano
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c40308587a499b24fa943e318de4c7c9
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Ariel
Boughen,
soprano
Kathleen
Stanyer,
piano
Anna
Cal,
piano
Abendempfindung
an
Laura
W.
A.
Mozart
(1756-‐1791)
Oiseaux,
si
tous
les
ans
Dans
un
bois
Ariel
Boughen
is
from
the
class
of
Professor
Benjamin
Butterfield
This
recital
is
presented
as
part
of
the
requirements
for
the
Bachelor
of
Music
in
Performance
program.
Reception
to
follow
in
the
Lounge.
Monday
March
3rd,
2014,
8:00
p.m.
P
r
o
g
r
a
m
Phillip
T.
Young
Recital
Hall
MacLaurin
Building,
University
of
Victoria
Free
Admission
Kathleen
Stanyer,
piano
Seven
Elizabethan
Lyrics
Roger
Quilter
1.
Weep
You
No
More
(1877-‐1953)
2.
My
Life’s
Delight
3.
Damask
Roses
4.
The
Faithless
Shepherdess
5.
Brown
is
my
Love
6.
By
a
Fountainside
7.
Fair
House
of
Joy
Kathleen
Stanyer,
piano
Tornami
a
vagheggiar
G.
F.
Handel
from
Alcina
(1685-‐1759)
Heart,
the
seat
of
soft
delight
from
Acis
and
Galatea
Kathleen
Stanyer,
piano
I
n
t
e
r
m
i
s
s
i
o
n
�Sieben
frühe
Lieder
1.
Nacht
2.
Schilflied
Alban
Berg
(1885-‐1935)
3.
Die
Nachtigall
4.
Traumgekrönt
5.
Im
Zimmer
6.
Liebesode
7.
Sommertage
Anna
Cal,
piano
Salve
Regina
Sole
e
Amore
Morire?
Donde
lieta
uscì
from
La
Bohème
Anna
Cal,
piano
Giacomo
Puccini
(1858-‐1924)
�
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Graduation Recitals
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<a href="https://finearts.uvic.ca/music/archive/uploads/student/030314-GradRecital/030314-GradRecital_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030314-GradRecital/030314-GradRecital_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030314-GradRecital/030314-GradRecital_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030314-GradRecital/030314-GradRecital_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030314-GradRecital/030314-GradRecital_05.mp3">track5</a>
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Graduation Recital - <em>Ariel Boughen, soprano</em>
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Will MacLellan
Date
A point or period of time associated with an event in the lifecycle of the resource
March 3, 2014
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Tuesdaymusic
Phillip T. Young Recital Hall • University of Victoria
March 4, 2014 - 12:30 pm
Un Sospiro, from 3 Concert Études, S. 144
Harry Han, piano
Franz Liszt
(1811–1886)
Partita No. 2 in C minor, BWV 826
Sinfonia
Jane Hou, piano
J. S. Bach
(1685–1750)
Adagio and Allegro in F minor, Op. 70
Robert Schumann
(1810–1856)
Paul Joo, cello
Kailey Cann, piano
Licorice-stick Suite
Bounce for Licorice Sticks
Going Steady
Dance
Gerald Sears
Dominic Thibault, Jynelle Grigg,
Mark Kim, William Constable, clarinets
Partita No. 2 in D minor, BWV 826
Ciaccona
J. S. Bach
Lindsey Herle, violin
Upcoming at the School of Music
Tuesday, March 4, 1:30 p.m. – 2:30 p.m. (Free admission)
IdeaFest 2014: CELLO MASTERCLASS
Get an inside look at how musicians make music as Pamela Highbaugh Aloni leads a masterclass on the cello.
This masterclass is part of IdeaFest 2014, a UVic event celebrating research and creativity.
Phillip T. Young Recital Hall
Wednesday, March 5 to Friday, March 7, 9:00 a.m. to 5:00 p.m. (Free admission)
BANDFEST 2014
A non-competitive festival for Concert Bands featuring thirty Concert Bands from the Pacific Northwest.
All participating bands will be adjudicated by well respected conductors/adjudicators and will receive an
on-stage clinic by one of the adjudicators after their performance.
University Centre Farquhar Auditorium
Wednesday, March 5, 12:30 p.m. (Free Admission)
GRADUATE RECITAL: Dominique Ryser, voice
Vocalist Dominique Ryser presents her first year graduate recital.
Phillip T. Young Recital Hall
Wednesday, March 5, 1:30 p.m. – 2:30 p.m. (Free admission)
IdeaFest 2014: CLARINET MASTERCLASS
Get an inside look at how musicians make music as Patricia Kostek leads a masterclass on the clarinet.
This masterclass is part of IdeaFest 2014, a UVic event celebrating research and creativity.
Phillip T. Young Recital Hall
�
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Tuesdaymusic
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Kirk McNally
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A point or period of time associated with an event in the lifecycle of the resource
March 4, 2014
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P
r
o
g
r
a
m
Dominique
Ryser,
Soprano
Shane
Beech,
piano
Dominique
Ryser
is
from
the
class
of
Professor,
Mr.
Benjamin
Butterfield
This
recital
is
presented
as
part
of
the
requirements
for
the
Master
of
Music
in
Performance
program.
Seven
Sacred
Solos
of
the
Early
English
School
Maurice
Greene
(1696-‐1755)
2.
O
Praise
the
Lord
3.
O
That
My
Ways
4.
The
Sun
Shall
be
no
More
Thy
Light
6.
Blessed
are
They
that
Dwell
in
Thy
House
7.
I
Will
Lay
Me
Down
in
Peace
Acht
Gedichte
aus
“Letzte
Blätter”,
Op.
10
2.
Nichts
8.
Allerseelen
1.
Zueignung
Vier
Lieder
für
eine
Singstimme,
Op.
27
Richard
Strauss
(1864-‐1949)
1.
Ruhe,
meine
Seele!
2.
Cäcilie
4.
Morgen!
Canciones
clásicas
españolas
Fernando
Obradors
(1897-‐1945)
La
mi
sola,
Laureola
Al
Amor
¿Corazón,
porqué
pasáis…?
El
majo
celoso
Con
amores,
la
mi
madre
Del
cabello
más
sutil
Chiquitita
la
novia
Wednesday,
March
5th,
2014
–
12:30pm
Phillip
T.
Young
Recital
Hall
MacLaurin
Building,
University
of
Victoria
Free
Admission
�
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Graduation Recitals
Hyperlink
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URL
<a href="https://finearts.uvic.ca/music/archive/uploads/student/030514-GradRecital_Ryser/030514-GradRecital_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030514-GradRecital_Ryser/030514-GradRecital_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030514-GradRecital_Ryser/030514-GradRecital_03.mp3">track3</a>
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Graduation Recital <em>- Dominique Ryser, Soprano</em>
Creator
An entity primarily responsible for making the resource
Kirk McNally
Date
A point or period of time associated with an event in the lifecycle of the resource
March 5, 2014
-
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56faa9b496f4b054359094d326096677
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Text
Ian
Cohen,
Trumpet
Gabriel
Lagos,
piano
How
the
West
Was
Won,
Brass
Quintet
P
r
o
g
r
a
m
Cavatina
for
Flugelhorn
and
Piano
Sonata
for
Trumpet
in
Bb
and
Piano
Ian
Cohen
is
from
the
class
of
Professor
Louis
Ranger
This
recital
is
presented
as
part
of
the
requirements
for
the
Bachelor
of
Music
in
Performance
program.
Reception
to
follow
in
the
Lounge.
Gabriel
Lagos,
piano
Concerto
for
Trumpet
and
Piano
I.
Andante
II.
Allegro
energico
III.
Meno
mosso
IV.
Allegro
Alexander
Arutunian
(1920
-‐
2012)
Gabriel
Lagos,
piano
Moment
for
Morricone
Ennio
Morricone
(b.
1928)
Arr.
Gomalan
Brass
Quintet
I.
Largo
II.
Alla
Marcia
III.
Andante
IV.
Adagio
V.
Maestoso
Wednesday,
March
5th,
2014
–
8:00
p.m.
Phillip
T.
Young
Recital
Hall
MacLaurin
Building,
University
of
Victoria
Free
Admission
I
n
t
e
r
m
i
s
s
i
o
n
Paul
Hindemith
(1895
–
1963)
I.
Mit
kraft
II.
Massig
bewegt
III.
Trauermusik.
Sehr
langsam
Ted
Hansen
(b.
1935)
Gabriel
Lagos,
piano
Ian
Cohen,
trumpet
Alfons
Fear,
trumpet
Sam
McNally,
horn
Liam
Caveney,
trombone
Alicia
Sayell,
tuba
How
the
West
Was
Won
Brass
Quintet
�Program
Notes
Dr.
Theodore
C.
Hansen
is
an
American
composer
and
Professor
of
Music
at
Texas
A&M
University.
Mr.
Hansen
has
premiered
performances
of
his
music
at
Carnegie
Hall,
the
Kennedy
Center,
by
the
Phoenix
Symphony,
the
Tulsa
Philharmonic
Orchestra,
and
on
National
Educational
Television.
His
Cavatina
for
Flugelhorn
and
Piano
was
one
of
his
earlier
compositions,
written
in
1975.
Its
warm
and
lyrical
qualities
lend
itself
freely
to
the
flugelhorn,
with
modern
jazz
influences
and
harmonic
curiosities.
Paul
Hindemith
was
a
German
composer,
violist,
violinist,
teacher,
and
conductor.
The
Nazi’s
deemed
his
Sonata
for
Trumpet
and
Piano,
written
right
before
he
was
expelled
from
Germany
in
1935,
“degenerate”
music.
Hindemith
wrote
Gebrauchsmusik
(Music
for
Use)—compositions
intended
to
have
a
social
or
political
purpose.
He
became
an
American
citizen
in 1946,
but
returned
to
Europe
in
1953,
living
in
Zürich
and
teaching
at
the
university
there.
Towards
the
end
of
his
life
he
began
to
conduct
more,
and
made
numerous
recordings,
mostly
of
his
own
music.
Alexander
Arutunian
was
an
Armenian
composer
and
pianist
who
was
awarded
the
State
Prize
of
Armenia
in
1970.
He
was
born
in
Yerevan,
Armenia,
and
graduated
from
the
music
conservatory
of
Yerevan
in
piano
and
composition
on
the
eve
of
WWII.
The
Trumpet
Concerto,
his
sixth
major
composition,
consists
of
three
main
movements,
finishing
with
an
extended
cadenza
made
famous
by
the
leading
Soviet
Russian
trumpeter
of
the
time,
Tomofei
Dokszhitzer.
The
concerto’s
introduction
and
first
recording
in
the
United
States
were
solely
due
to
Dokszhitzer.
The
melodic
and
rhythmic
characteristics
of
Armenian
folk
music
are
a
strong
influence
in
this
work.
Ennio
Morricone
is
an
Italian
composer,
orchestrator,
conductor,
and
former
trumpet
player.
He
has
written
music
for
more
than
500
motion
pictures
and
television
series,
as
well
as
contemporary
classical
works.
His
career
includes
a
wide
range
of
compositional
genres,
making
him
one
of
the
world's
most
versatile,
prolific,
and
influential
film
composers
of
all
time.
Morricone's
music
has
been
used
in
more
than
60
award-‐winning
films.
A
very
special
thank-‐you
to
all
involved
for
their
tireless
effort
and
dedication
in
helping
me
put
on
this
recital.
Without
them
it
would
not
have
been
possible.
I
especially
would
like
to
thank
Gabriel
Lagos
as
my
accompanist,
and
Alfons
Fear
for
his
wonderful
transcription
of
Moment
for
Morricone.
�
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Graduation Recitals
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<a href="https://finearts.uvic.ca/music/archive/uploads/student/030514-GradRecital_Cohen/030514-GradRecital_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030514-GradRecital_Cohen/030514-GradRecital_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030514-GradRecital_Cohen/030514-GradRecital_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030514-GradRecital_Cohen/030514-GradRecital_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030514-GradRecital_Cohen/030514-GradRecital_05.mp3">track5</a>
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Graduation Recital <em>- Ian Cohen, Trumpet</em>
Creator
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Jamie Bracke
Date
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March 5, 2014
-
https://finearts.uvic.ca/music/archive/files/original/015af9462b3318888dde256526f80ec8.pdf
330fcf3bc73f2863ba5643892c65b5ce
PDF Text
Text
fridaymusic
Phillip T. Young Recital Hall • University of Victoria
March 7, 2014 - 12:30 p.m.
Featuring School of Music percussion students
Il legno e la parola (2004)
Salvatore Sciarrino
(b. 1947)
Aaron Mattock, marimba
Rotation II from Four Rotations for Marimba (1995)
Eric Sammut
(b.1968)
Keenan Mittag-Degala, marimba
Rhythm Song (1984)
Paul Smadbeck
(b.1955)
Allyssa Haigh, marimba
Two Mexican Dances, mvt.1 (1974)
Camden McCallister, marimba
Gordon Stout
(b.1952)
Yellow After the Rain
Mitchell Peters
(b. 1935)
Erika Buerfeind, marimba
Discussion
Dale Rauschenberg
(b. 1938)
David Lochead, snare drum 1
Tamara Nemeth, snare drum 2
Erika Buerfeind, tom-toms and snare drum
Tristan Holleufer, timpani
Toccata (1942)
Carlos Chavez
(1899 - 1978)
Allyssa Haigh, Indian drum, glockenspiel, small Indian drum
Sky Kim, snare drum, xylophone, Indian drum, tenor drum
Camden McCallister, snare drum, suspended cymbal
Julia Albano-Crockford, tenor drum, chimes, claves, maracas, suspended cymbal
Keenan Mittag-Degala, timpani, small gong
WillIam Exner, bass drum, large gong
conductor - Brandon Chow
�
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Fridaymusic
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<a href="https://finearts.uvic.ca/music/archive/uploads/student/030714-Fridaymusic/030714-FridayMusic_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030714-Fridaymusic/030714-FridayMusic_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030714-Fridaymusic/030714-FridayMusic_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030714-Fridaymusic/030714-FridayMusic_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030714-Fridaymusic/030714-FridayMusic_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030714-Fridaymusic/030714-FridayMusic_06.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030714-Fridaymusic/030714-FridayMusic_07.mp3">track7</a>
Dublin Core
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Title
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Fridaymusic
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Sondra Moyls
Date
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March 7, 2014