14 10 1498 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Class Recitals Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/040314-ClassRecital/040314-ClassRecital407_01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040314-ClassRecital/040314-ClassRecital407_02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040314-ClassRecital/040314-ClassRecital407_03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040314-ClassRecital/040314-ClassRecital407_04.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040314-ClassRecital/040314-ClassRecital407_05.mp3">track5</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040314-ClassRecital/040314-ClassRecital407_06.mp3">track6</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040314-ClassRecital/040314-ClassRecital407_07.mp3">track7</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040314-ClassRecital/040314-ClassRecital407_08.mp3">track8</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040314-ClassRecital/040314-ClassRecital407_09.mp3">track9</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 Class Recital - MUS407/507 Creator An entity primarily responsible for making the resource Sondra Moyls Date A point or period of time associated with an event in the lifecycle of the resource April 03, 2014 https://finearts.uvic.ca/music/archive/files/original/cdcc6afa76079eba37698cc7fc8b1884.pdf 4502965f845da7b30480aaa2ee5074b9 PDF Text Text fridaymusic Phillip T. Young Recital Hall • University of Victoria April 4, 2014 - 12:30 p.m. Sonata No. 18 in D major, K. 576 I) Allegro Wolfgang Amadeus Mozart (1756 - 1791) Sarah Tao, piano Sonata No. 18 in E flat major, Op. 31, No. 3 I) Allegro II) Allegretto vivace Ludwig van Beethoven (1770 - 1827) Sophia Stoney, piano Nocturne No.1 in B major, Op. 62 Frédéric Chopin (1810 - 1849) Allannah Montgomery, piano Sonata No. 1, Op. 102 I) Andante - Allegro vivace Ludwig van Beethoven Alex Klassen, cello Eric Ng, piano Divertimento I) II) Austin Nicholl, soprano saxophone Alice Maundrell, alto saxophone Steven Cramaro,tenor saxophone Matthew Bell, baritone saxophone Upcoming Events Saturday, April 5, 8:00 p.m. ($17.50 & $13.50) UNIVERSITY OF VICTORIA CHORUS & ORCHESTRA Bees Ajtony Csaba, conductor Susan Young, chorus director Berlioz – Symphonie Fantastique, Op. 14 Bruckner – Mass No.3 in F minor, WAB 28 University Centre Farquhar Auditorium Sunday, April 6, 2:30 p.m. ($12 advance / $15 at the door) PHILOMELA WOMEN’S CHOIR A Potpourri for Spring Mary Kennedy, director Phillip T. Young Recital Hall Monday, April 7, 8:00 p.m. (Admission by donation) NEW MUSIC CONCERT The New Music Performance class presents new pieces by UVic composition students written for UVic performance students as well as important works from the 20th/21st century. Phillip T. Young Recital Hall Violet Archer (1913 - 2000) � 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/040414-Fridaymusic/040414-FridayMusic_01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040414-Fridaymusic/040414-FridayMusic_02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040414-Fridaymusic/040414-FridayMusic_03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040414-Fridaymusic/040414-FridayMusic_04.mp3">track4</a> <div style="text-align:left;">***note: Chopin, Nocturne No1 - Allannah Montgomery, piano, was not performed***</div> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fridaymusic Creator An entity primarily responsible for making the resource Bryan Lilly Date A point or period of time associated with an event in the lifecycle of the resource April 4, 2012 https://finearts.uvic.ca/music/archive/files/original/45792d1b933de69943e8ed3f10e851d9.pdf 998d3c16004584482ad07272fd3729bf PDF Text Text Chorus & UNIVERSITY OF VICTORIA Orchestra Bees Ajtony Csaba, conductor Susan Young, chorus director Soloists: Ariel Boughen, Tasha Farivar, Josh Lovell, Nicholas Allen Saturday, April 5, 2014, 8:00 p.m. University Centre Farquhar Auditorium University of Victoria Adults: $17.50 / Students & seniors: $13.50 �Program Hector Berlioz Symphonie Fantastique Op. 14 1. Rêveries – Passions (Daydreams – Passions) 2. Un bal (A ball) 3. Scène aux champs (Scene in the Country) 4. Marche au supplice (March to the Scaffold) 5. Songe d’une nuit de sabbat (Dream of a Witches’ Sabbath) Intermission Anton Bruckner Mass No. 3 in F minor, WAB 28 1. Kyrie 2. Gloria 3. Credo 4. Sanctus 5. Benedictus 6. Agnus Dei Soloists: Ariel Boughen, Tasha Farivar, Josh Lovell, Nicholas Allen �P R O G RA M N OT E S Welcome Western Europe of the nineteenth century can be characterized as having an obsession with the anomalous and the liminal. During this century, mysterious or unexplained phenomena came under examination as never before: Freud published the Interpretation of Dreams, citizens flocked to the international expositions to witness scientific and cultural advances near and far, and the romanticization of unusual lifestyles such as the hedonistic artist and the eclectic genius took hold. The topic of the otherworldly was of course under the purview of this cultural curiosity, which is evident in the two works on our program tonight. Both reflect a wondrous extra-human power and mythos which surely attracted audiences at the times of their premieres. The works have opposing subjects—a the former an opium-fueled dream of a witches Sabbath and the latter the setting of the Catholic mass—yet in their simultaneously grandiose and personal expression of the otherworldly, these works make ready complements. On behalf of the University of Victoria Orchestra, we’d like to thank you for your support this year. We have enjoyed performing a wide repertoire of music together, and are honoured to capitulate our season with you. Hector Berlioz’s Program Notes: The composer’s intention has been to develop various episodes in the life of an artist, in so far as they lend themselves to musical treatment. As the work cannot rely on the assistance of speech, the plan of the instrumental drama needs to be set out in advance. The following programme1 must therefore be considered as the spoken text of an opera, which serves to introduce musical movements and to motivate their character and expression. Part one Daydreams, passions The author imagines that a young musician, afflicted by the sickness of spirit which a famous writer has called the vagueness of passions (le vague des passions), sees for the first time a woman who unites all the charms of the ideal person his imagination was dreaming of, and falls desperately in love with her. This programme should be distributed to the audience at concerts where this symphony is included, as it is indispensable for a complete understanding of the dramatic plan of the work. [HB] 1 �By a strange anomaly, the beloved image never presents itself to the artist’s mind without being associated with a musical idea, in which he recognises a certain quality of passion, but endowed with the nobility and shyness which he credits to the object of his love. This melodic image and its model keep haunting him ceaselessly like a double idée fixe. This explains the constant recurrence in all the movements of the symphony of the melody which launches the first allegro. The transitions from this state of dreamy melancholy, interrupted by occasional upsurges of aimless joy, to delirious passion, with its outbursts of fury and jealousy, its returns of tenderness, its tears, its religious consolations – all this forms the subject of the first movement. Part two A ball The artist finds himself in the most diverse situations in life, in the tumult of a festive party, in the peaceful contemplation of the beautiful sights of nature, yet everywhere, whether in town or in the countryside, the beloved image keeps haunting him and throws his spirit into confusion. Part three Scene in the countryside One evening in the countryside he hears two shepherds in the distance dialoguing with their ‘ranz des vaches’; this pastoral duet, the setting, the gentle rustling of the trees in the wind, some causes for hope that he has recently conceived, all conspire to restore to his heart an unaccustomed feeling of calm and to give to his thoughts a happier colouring. He broods on his loneliness, and hopes that soon he will no longer be on his own… But what if she betrayed him!… This mingled hope and fear, these ideas of happiness, disturbed by dark premonitions, form the subject of the adagio. At the end one of the shepherds resumes his ‘ranz des vaches’; the other one no longer answers. Distant sound of thunder… solitude… silence… Part four March to the scaffold Convinced that his love is spurned, the artist poisons himself with opium. The dose of narcotic, while too weak to cause his death, plunges him into a heavy sleep accompanied by the strangest of visions. He dreams that he has killed his beloved, that he is condemned, led to the scaffold and is witnessing his own execution. The procession advances to the sound of a march that is sometimes sombre and wild, and sometimes brilliant and solemn, in which a dull sound of heavy footsteps follows without transition the loudest outbursts. At the end of the march, the first four bars of the idée fixe reappear like a final thought of love interrupted by the fatal blow. �Part five Dream of a witches’ sabbath He sees himself at a witches’ sabbath, in the midst of a hideous gathering of shades, sorcerers and monsters of every kind who have come together for his funeral. Strange sounds, groans, outbursts of laughter; distant shouts which seem to be answered by more shouts. The beloved melody appears once more, but has now lost its noble and shy character; it is now no more than a vulgar dance tune, trivial and grotesque: it is she who is coming to the sabbath… Roar of delight at her arrival… She joins the diabolical orgy… The funeral knell tolls, burlesque parody of the Dies irae2, the dance of the witches. The dance of the witches combined with the Dies irae. (b) 1855 version Symphonie Fantastique, Op. 14 (1830) Hector Berlioz, 11 Dec 1803 – 8 March 1869 The Symphonie Fantastique is known for expanding the boundaries of the symphonic medium, and its importance in that respect cannot be understated. In many ways it is an avant-garde work: its use of syncopation, loud dynamics, and percussive effects were unprecedented and displeased many of its first listeners, and earned Berlioz the criticism of being an artless, brash composer. Additionally, its unusual five-movement form, integral narrative, and use of thematic and onomatopoeic melodic content broke the norms for absolute orchestral music, grafting on qualities of opera. These features were taken up by composers such as Wagner, Strauss, and Stravinsky. Yet for all of its gigantisms, the work is extraordinarily personal. Berlioz, an archetypal Romantic, was primarily concerned with individual expression and perceived of his art as an extension of personal communication. Symphonie Fantastique is particularly autobiographical, chronicling the composer’s adoration for the actress Harriet Smithson. This symphony’s programmatic tale of its subject’s obsession with his muse is well loved. According to it, the first movement portrays the rapturous joys and sorrows of love that haunt the subject. The subject retreats to a ball and then a pastoral scene in the second and third movements, but finds no respite from the image of his beloved. Depressed at the thought of his love being spurned, the artist falls into an opium-induced sleep, wherein he dreams he witnesses his own execution. Finally, grotesque supernatural beings gather on a witches’ Sabbath for the artists’ funeral, and are joined by the beloved. 2 **A hymn sung in funeral ceremonies in the Catholic Church. [HB] �Her melodic theme, the idée fixe which has tormented the artist, is distorted into a diabolical dance, and the funeral devolves into an orgy accompanied by the Dies Irae. The funeral bell tolls. Mass No. 3 in F minor, WAB 28 (1867-68) Anton Bruckner, 4 Sept 1824 – 11 Oct 1896 The first three masses composed by Bruckner represent a self-defined point of change in Bruckner’s career. While he had written many masses while studying under Otto Kinzler, he regarded these earlier works as studies, and the D, E, and F minor masses as demonstrative of his personal style. The present work, a commission from the Vienna court chapel, represents a synthesis between the Classicism found in the composer’s prior vocal works and expressive use of unusual and adventurous harmonies inspired by a mounting interest in Wagner and Liszt. Additionally, the F minor mass is an early instance of Bruckner’s intentional use of meaningful durational proportions in both smaller phrases and larger structures. Finally, the work was started shortly after a three-month sanatorium treatment following a nervous breakdown. Bruckner is known for fastidiously revising his work throughout his life, and the F minor mass is no exception. This process was mostly fine-tuning of orchestration and harmonic shading, easing of demands on performers, and perfection of durational proportions, though much of the 1877 revision was inspired by his in-depth study of Mozart’s requiem. Scholars note that the choral parts did not change after the first revision, and can thus be seen as a structural skeleton. Intriguing connections can be drawn between this work and Symphonie Fantastique. Where Berlioz’s work is harmonically simple and complex in orchestration, the F minor mass is the inverse, relying on form and shifts in harmonic colour for interest in a timbrally conventional context. Both pieces, however, display a respect for classical musical values and a meaningful use of motive. Interestingly, while Berlioz was an extrovert given to passions, Bruckner was a solitary, pragmatic, and godly man. Both composers had obvious obsessions and neuroses which affected their music. – Dave Riedstra �b i o g ra p h i e s Ajtony Csaba, conductor Ajtony Csaba, born in Cluj, Romania, began his studies on the cello and later piano and composition in Budapest at the Academy of Music. He began studying conducting in Vienna and Budapest simultaneously with Tamás Gál, András Ligeti, Uroš Lajovic, Peter Eötvös, Istvan Dénes and Zoltán Pesko. He was awarded many prizes as a conductor and composer, and was a semi-finalist in the first competition for opera in Cluj, Romania. He has had numerous concerts in Hungary and Austria with orchestras including UMZE, Sinfonietta Baden, Webern Sinfonietta, Savaria Symphonic Orchestra, and Danube Symphonic Orchestra. In the 2003/04 season he was the assistant conductor and tutor of the Academy Orchestra Budapest and in 2005 was invited to be the assistant conductor of the Hungarian National Philharmonic Orchestra with their contemporary program. He made his conducting debut in the Viennese Musikverein with the RSO (Radio-Symphonieorchester, Wien) in 2007. Since 2006 he has served as the chief conductor of the Central European Chamber Orchestra, and led the orchestra on a tour in China (performances including halls in Shenzhen, Lanzhou and in the Parliament in Beijing), with return engagements in 2007 and 2009. Ajtony Csaba has been the leader of the Vienna Jeunesse Choir since 2007. In 2008 he conducted at the Darmstadt Summer Courses for New Music and was assistant to Peter Eötvös at the Salzburg Festspiele. In 2008 he conducted the EuroMed Youth Orchestra in Damaskus, Syria. In 2010 he was appointed as Assistant Professor at the University of Victoria, British Columbia where he conducts the UVic Symphony and teaches conducting. Susan Young, chorus director Canadian soprano Susan Young is a faculty member of the University of Victoria School of Music. In addition to her teaching duties, she maintains a demanding performance schedule. She has performed in Canada, the United States, Spain, France and Austria. Educated as both pianist (B.Mus Brigham Young University) and singer (MMus University of Calgary), she is known for the diversity of her skills, and though her first and enduring love is the art song, she is equally at home singing Bach cantatas, Verdi’s Requiem, Schoenberg’s Pierrot Lunaire, or more recent chamber works by Canadian composers such as Christopher Butterfield or Douglas Schmidt. She is sought after as a choral conductor, clinician and adjudicator and loves nothing more than to be involved in the performance of good music. �West QUARTETFEST Summer 201 4 West June 9-20 2014 QUARTETFEST PHOTO: LIAM ALONI TUITION $750 Tuition includes: 201 4and masterclasses DailySummer Quartet coaching sessions Dedicated rehearsal rooms Rehearsals and Performance in the Philip T.Young Recital Hall (student performance Friday, June 20th) Admission to faculty concert In-depth study of the string quartet literature Private audience dress rehearsal (Alcan String Quartet) with world-renowned Lafayette String Quartet Group trip to Butchart Gardens (or comparable) Chamber music reading parties with Faculty onPrivate the beautiful of the lessons (bycampus arrangement with instructors) Recording of techniques University Victoriaseminar in British Columbia, Canada Feldenkrais worshop ESL available upon request (extra fee) GUEST ARTISTS ACCOMMODATION AND FOOD Andrew Dawes, violinSERVICES can Alcan be arranged by contacting University of Victoria Residences String Quartet at http://housing.uvic.ca/visitor/summervisitorlistings.php All fees are payable in Canadian dollars. June 9-20 2014 Open to individuals and pre-formed groups For more information, and to register for QFW visit www.lafayettestringquartet.ca VIOLIN VIOLA CELLO Ann Elliott-Goldschmid Sharon Stanis Laura Andriani Nathalie Camus Joanna Hood Luc Beauchemin Pamela Highbaugh Aloni David Ellis GUEST FACULTY Andrew Dawes, violin Alcan String Quartet Your contribution makes a difference! The arts have always been dependent on the generosity of its patrons, and a donation to the School of Music can make all the Artists in Residence,ofUniversity of Victoria difference to the future of our students. A scholarship just www.lafayettestringquartet.ca $500 a year can change a life forever. For more information about our giving initiatives, please contact Fine Arts Development Officer Karen Walker at 250-721-6305 or via email at kmwalker @uvic.ca. �ORCHESTRA PERSONNEL VIOLIN 1 Aliayta Foon-Dancoes* Lindsey Herle* Derrick Lee Elena Bokova Natalie Dzbik Peter Weinkam Raina Saunders Cecilia Li Gabriel Cayer VIOLIN 2 Jiten Beairsto* Jessica d‘Oliveira Brittany Tsui Jilaine Orton Emily MacCallum Anna Stylianides VIOLA Sarah Tradewell* Matt Antal Fahlon Smith Josh Gomberoff Calvin Yang Evan Hesketh § CELLO Maria Wang* Shiun Kim Ella Hopwood Alex Klassen Steven Jeon Natalia Stoney Paul Joo DOUBLE BASS Hudson Thorpe-Doubble* Brock Foerster Mackenzie Carroll Blake Palm FLUTE Aleksandra Tremblay* Thomas Bauer Cooper Reed TROMBONE Liam Caveney* Megan White Trevor Hoy PICCOLO Thomas Bauer TUBA Alicia Sayell* Paul Beauchesne § OBOE Allison Phillips* Diana Doublet Oboe (outside) Teigan Cosgrove English Horn Diana Doublet CLARINET Paul Gilchrist* James Yi Timpani Brendan Chow* Keenan Mittag-Degala PERCUSSION Keenan Mittag-Degala William Exner Allyssa Haigh Julia Albano-Crockford Harp Annabelle Stanley § Julia Cunningham § E-flat Clarinet Erin Onyschtschuk BASSOON Matthew Robertson* Eric Boulter Lee Whitehorn HORN Samuel McNally* Simon Dawkins Justin Malchow Collin Lloyd TRUMPET Matt Richard* Ian Cohen Ian VanGils Alfons Fear STAGE MANAGERS Alex Klassen Fahlon Smith LIBRARIAN David Foley assistant Dave Riedstra * Principal § Community member �Chorus Personnel Soprano Alto Keiko Alkire Frances Armstrong-Douglas Nalini Bissoon Judith Carder Vera Costain Lesley Christy Kimberly Farris-Manning Aliayta Foon-Dancoes Laura Giffen Rita Haehnlein Seira Hayakashi Darleene Horricks Vanessa Lee Edwina Lin Jasmine Lo Emily MacCallum Margaret MacIntyre Irma MacKay Heather Macleod Heather Noakes Anna Poon Cooper Reed Beverly Rippin Dominique Ryser Melissa Smith Rebecca Thackray Audrey Webb Nancy Xu Lissa Zala Faith Blackburn Jillian Broughten Mackenzie Carroll Elizabeth Craig Sophie Cullen Jessica d’Olivera Kimberly Farris-Manning Elissa Fenton Micha Fortin Monica Green Gloria Grohovac Jane Hou Brittney Jette Gwyneth Kingham Sarah Kopriva Zinna Kwon Kristina Lee Flora Leigh Diane Leitch Bonnie Leung Joey Liao Jany Lu Beth Anne Masselink Joyce Masselink Irma MacKay Elsie McMurphy Tamara Nemeth Gillian Newburn Jilaine Orton Jihyun Park Nataliya Pashchenko Heather Sander Sarah Tao Koba ter Neuzen Anita Walper Season Wang Lyn Wray Stefani Yap Alvina Yee Monika Zabrowski Tenor Joshua Amendt Monty Clements Spencer Davis Aaron How Chris Hsu DJ Lochead Robbie MacIntyre Pierre Mackenzie Kyle Newman Thomas Nicholson Joshua Poon Matthew Roberson Sheila Ruffell Sonja Ruffell Jordan Shier James Zhang Bass Michael Chambers Solomon Cheung Peter Constabel Simon Dawkins Harry Han Ben Hillier Tristan Holleufer John Kaye Bruce Kingham Collin Lloyd Drake Lovett Eric Manning Byron McIntosh Sam McNally Jasper Meiklejohn Eric Ng Hart Parnell Drew Porter Anthony Quas Emmett Robinson Smith Matthew Sabo Eugene Sander Corey Spetifore John Sterk Ian Van Gils Frank Waelti Calvin Yang Josh Yates Terence Young Chorus Director Susan Young Rehearsal Accompanist Tony Booker �Upcoming Events Sunday, April 6, 2:30 p.m. ($12 advance / $15 at the door) PHILOMELA WOMEN’S CHOIR: A Potpourri for Spring Mary Kennedy, director Phillip T. Young Recital Hall Monday, April 7, 8:00 p.m. (Admission by donation) NEW MUSIC CONCERT The New Music Performance class presents new pieces by UVic composition students written for UVic performance students as well as important works from the 20th/21st century. Phillip T. Young Recital Hall Tuesday, April 8, 8:00 p.m. (Free Admission) LISTENING TO THE 20TH CENTURY Lectures and performances by students from Suzanne Snizek’s History in Contemporary Music class. Phillip T. Young Recital Hall Wednesday, April 9, 8:00 p.m. (Free Admission) GRADUATING RECITAL: Maria Wang, cello Cellist Maria Wang presents her Masters of Music graduating recital. Phillip T. Young Recital Hall Monday, April 14, 8:00 p.m. (Free Admission) GRADUATING RECITAL: Andrea Paddock, voice Vocalist Andrea Paddock presents her Masters of Music graduating recital. Phillip T. Young Recital Hall Wednesday, April 16, 8:00 p.m. (Free Admission) GRADUATING RECITAL: Lindsey Herle, violin Violinist Lindsey Herle presents her Bachelor of Music graduating recital. Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca) and at the door. To receive our On the Pulse brochure and newsletter by email, contact: concert@uvic.ca www.finearts.uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 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/student/040514-Chorus&Orchestra/040514-OrchestraChorus_01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040514-Chorus&Orchestra/040514-OrchestraChorus_02.mp3">track2</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 Chorus & Orchestra - Bees Creator An entity primarily responsible for making the resource Bryan Lilly Date A point or period of time associated with an event in the lifecycle of the resource April 5, 2014 Contributor An entity responsible for making contributions to the resource Ajtony Csaba, conductor; Susan Young, chorus director; Ariel Boughen; Tasha Farivar; Josh Lovell; Nicholas Allen https://finearts.uvic.ca/music/archive/files/original/aa39bd553bf6875a806fe7b327da166f.pdf c8cff1ee1784f3565cdc693b77cf49a3 PDF Text Text Philomela Women’s Choir UNIVERSITY OF VICTORIA A Potpourri for Spring Dr. Mary Kennedy, director Julian Greenwood, accompanist Sunday, April 6, 2013, 2:30 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission: $15 / $12 (advance) �P R O G RA M M E Entrance: Auf der Wanderung Fanny Mendelssohn-Hensel SACRED Ave verum corpus Imant Raminsh Wie lieblich sind deine Wohnungen Josef Rheinberger Josh Layne, harp Lux Aurumque Eric Whitacre ROMANTIC Vier Gesänge Johannes Brahms 1. Es tönt ein voller Harfenklang 2. Lied von Shakespeare 3. Der Gärtner 4. Gesang aus Fingal Josh Layne, harp Simon Dawkins & Sam McNally, horn CANADIANA Klee Wyck Michael Keddy & Gina Davis, percussion Brian Tate Regisoro Kimberley Farris-Manning Lake Isle of Innisfree Eleanor Daley Canzonatta spirituale sopra alla Nanna Benjamin Bolden Josh Layne, harp J’entends le Moulin arr. Donald Patriquin Michael Keddy & Gina Davis, percussion I nt e r m i s s i o n Beverages and snacks available at the concession located in the lounge. Choir CDs and BCCF raffle tickets for sale in the lobby. �AROUND THE WORLD Reel a’ bouche Minoi, minoi Las Amarillas Nigra sum Mouth music Fr. Can. arr. Malcolm Dalglish Samoan arr. Chirstopher Marshall Mexican arr. Stephen Hatfield Pablo Casals Scottish sung by Keane/Faulkner Michael Keddy, bodhran Presentation of Graduation Roses Announcement of Philomela Scholarship Alumnae join the choir in Though Philomela lost her love Acknowledgements Kristy Farkas, poster design and publicity Anne Grimm, vocal coach Donna Armstrong, volunteer seamstress Romaine Gehring, German coach Christina Drake, Spanish coach Crystal Anne-Howell & Astrid Sidaway-Wolff, choir assistants A special thanks to all those persons and organizations who have supported Philomela Choir over the last nine years and allowed us to conduct two international tours. On behalf of the singers, I can say that it has been a life-changing experience for all of us. �P R O G RA M N OT E S As I planned this program, I wanted it to be a potpourri of old and new repertoire for the singers as well as being a balance of Canadian and foreign selections. I also wanted to program a balance of genres: sacred and secular, art song and folk song. As we worked our way through the repertoire, I realized that this program was also a potpourri of languages. The singers have had to learn to sing in Latin, German, French, Italian, Spanish, and Samoan as well as English. If learning several languages gives our brains a work out, then this program certainly has. A few notes on the selections follow. Please see the separate handout with all the translations. We open the program with Auf der Wanderung, by Felix Mendelssohn’s sister, Fanny Hensel. Fanny was a fine composer in her own right. She is known for art songs as well as piano pieces. The words by Ludwig Tieck are taken from a play he wrote. They come from a scene in Act V of the play where a young lover sings of his beloved. Ave verum corpus is an example of the large opus of BC composer Imant Raminish. While interviewing him for my masters’ thesis, he told me that, to his mind, the voice was the most wonderful of instruments. Wie lieblich sind deine Wohnungen by Josef Rheinberger is a setting of the first four verses of Psalm 84. The words begin with the familiar “how lovely are thy dwellings.” We are reprising this choir favourite. We are also reprising Eric Whitacre’s Lux Arumque as the choir loves this piece and secondly as last time we performed it there was a malfunction on the recording and this piece was missed. Cross your fingers this time! Brahms’ Vier Gesänge for women’s voices, two horns and harp is a favourite of mine and I wanted to make certain that the Philomela singers had the opportunity to experience this work before I retired. I am an unabashedly patriotic Canadian and I feel strongly that singers should become familiar with a variety of the rich choral heritage that is ours. Klee Wyck, by Vancouver composer Brian Tate, is a homage to the great West Coast painter, Emily Carr. Klee Wyck means “Laughing One” and is the name given to Carr by the First Peoples of the BC �Coastal communities where she lived and worked. Regisoro is an award-winning composition written by first-year School of Music student and Philomela Chorister, Kristina Farris-Manning. We are thrilled to be performing her composition. Lake Isle of Innisfree is another choir favourite by Ontario composer Eleanor Daley. Set to words by W.B. Yeats, the work is evocative of Yeats’ longing for his homeland in Ireland. Former UVic music education professor Dr. Benjamin Bolden is an accomplished composer and we have sung several of his choral works as well as commissioned a Nursery Rhyme set which we performed on the England tour. Canzonatta spiritual sopra all Nanna, set to words of Terquinio Merula, is reminiscent of the works of Britten and very soparific. We will make certain to wake you up with Donald Patriquin’s setting of French Canadian folk song, J’entends le Moulin. Patriquin is an accomplished pianist and has a propensity for setting folk songs with virtuosic piano parts. Fortunately, we have Julian Greenwood as our accompanist! Our around the world set is a bit of a misnomer. Reel a’ bouche is a French Canadian lilting song and so could have been placed with the Canadiana set. The setting of Samoan folk song Minoi, minoi, however, belongs fare and square in a world music set. Las Amarillas, while being based on a traditional Mexican song, is arranged by Canadian Stephen Hatfield. Nigra sum, by Spaniard and world famous cellist Pablo Casals, could just as easily be placed with the sacred music set. We end the program though with a truly Scots-Irish Celtic rendering of Dolores Keane and John Faulkner’s Mouth music. This is music for dancing and so, if you feel like swaying, moving, or tapping your feet, do so and enjoy! Though Philomela lost her love has become the unofficial anthem for the choir and so I invited alumnae who were able to come and join with this year’s singers to say goodbye. It has been a wonderful nine years. �PHILOMELA CHOIR PERSONNEL, 2013-14 Soprano 1 Zoe Benson-Potter Anthea Gaunt Christina Hyun-ji Lee Laura Lavallee Talise Lindenbach Paige Murphy Katy Nelson Bernadette Richard Astrid Sidaway-Wolff Erica Van Dyk Lynne Young Soprano 2 Laura Altenmueller Carmen Brown Amanda Cawley Christina Drake Kimberley Farris-Manning Romaine Gehring Elizabeth Gerow Kristina Lee Tara McMillan Nancy Xu Melissa Young* Alto 1 Jacquie Cable* Lina Guo Crystal-Anne Howell Beth May Kate May Carmen McDowell* Mary Meldrum Sophia Stoney Carolyn Taylor Bronwyn von Niessen Alto 2 Carmen Craig Lisa Grewar Peg Harris Lauren Hodgins Louise Hung Caitlin Miller* Simone Mollard * Graduating student �Upcoming Events Monday, April 7, 8:00 p.m. (Admission by donation) NEW MUSIC CONCERT The New Music Performance class presents new pieces by UVic composition students written for UVic performance students as well as important works from the 20th/21st century. Phillip T. Young Recital Hall Tuesday, April 8, 8:00 p.m. (Free Admission) LISTENING TO THE 20TH CENTURY Lectures and performances by students from Suzanne Snizek’s History in Contemporary Music class. Phillip T. Young Recital Hall Wednesday, April 9, 8:00 p.m. (Free Admission) GRADUATING RECITAL: Maria Wang, cello Cellist Maria Wang presents her Masters of Music graduating recital. Phillip T. Young Recital Hall Monday, April 14, 8:00 p.m. (Free Admission) GRADUATING RECITAL: Andrea Paddock, voice Vocalist Andrea Paddock presents her Masters of Music graduating recital. Phillip T. Young Recital Hall Wednesday, April 16, 8:00 p.m. (Free Admission) GRADUATING RECITAL: Lindsey Herle, violin Violinist Lindsey Herle presents her Bachelor of Music graduating recital. Phillip T. Young Recital Hall � Monday, April 28, 8:00 p.m. (Free Admission) GRADUATING RECITAL: Armand Saberi, piano Pianist Armand Saberi presents his Bachelor of Music graduating recital. Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca) and at the door. � To receive our On the Pulse brochure and newsletter by email, contact: concert@uvic.ca www.finearts.uvic.ca/music/events � Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/040614-PhilomelaWomen'sChoir/040614-PhilomelaWomen'sChoir_01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040614-PhilomelaWomen'sChoir/040614-PhilomelaWomen'sChoir_02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040614-PhilomelaWomen'sChoir/040614-PhilomelaWomen'sChoir_03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040614-PhilomelaWomen'sChoir/040614-PhilomelaWomen'sChoir_04.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040614-PhilomelaWomen'sChoir/040614-PhilomelaWomen'sChoir_05.mp3">track5</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040614-PhilomelaWomen'sChoir/040614-PhilomelaWomen'sChoir_06.mp3">track6</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040614-PhilomelaWomen'sChoir/040614-PhilomelaWomen'sChoir_07.mp3">track7</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040614-PhilomelaWomen'sChoir/040614-PhilomelaWomen'sChoir_08.mp3">track8</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040614-PhilomelaWomen'sChoir/040614-PhilomelaWomen'sChoir_09.mp3">track9</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040614-PhilomelaWomen'sChoir/040614-PhilomelaWomen'sChoir_10.mp3">track10</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040614-PhilomelaWomen'sChoir/040614-PhilomelaWomen'sChoir_11.mp3">track11</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040614-PhilomelaWomen'sChoir/040614-PhilomelaWomen'sChoir_12.mp3">track12</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040614-PhilomelaWomen'sChoir/040614-PhilomelaWomen'sChoir_13.mp3">track13</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040614-PhilomelaWomen'sChoir/040614-PhilomelaWomen'sChoir_14.mp3">track14</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040614-PhilomelaWomen'sChoir/040614-PhilomelaWomen'sChoir_15.mp3">track15</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040614-PhilomelaWomen'sChoir/040614-PhilomelaWomen'sChoir_16.mp3">track16</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040614-PhilomelaWomen'sChoir/040614-PhilomelaWomen'sChoir_17.mp3">encore</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 Philomela Women's Choir - A Potpourri for Spring Creator An entity primarily responsible for making the resource Sondra Moyls Date A point or period of time associated with an event in the lifecycle of the resource April 6, 2014 Contributor An entity responsible for making contributions to the resource Dr. Mary Kennedy, director; Julian Greenwood, accompanist https://finearts.uvic.ca/music/archive/files/original/9ddf7f69b0b642f8a2a2659f955e85f3.pdf 6faab55ebb44c309a91a9f7c7c236fc1 PDF Text Text P R O G RA M MUS 390/490/590 New Music Concert son(a)tina, for piano 4-hands Liam Gibson Stefani Yap & Maria Eduarda Mendes Martins, piano Prologue, for solo viola Sarah Tradewell, viola Bottom Feeder Gérard Grisey (b. 1946) Dave Riedstra Marlena Kurek, voice Adam Jasieniuk, alto saxophone Seán Maynard, tenor saxophone Dániel Péter Biró & Joanna Hood, Instructors Metastasis for saxophone quartet and live electronics Adam Jasieniuk Adam Jasieniuk, soprano saxophone Seán Maynard, alto saxophone Lee Whitehorne, tenor saxophone Matthew Bell, baritone saxophone Jordie Shier, electronics Cent Idées Monday, April 7, 2014, 8:00 p.m. Phillip T. Young Recital Hall MacLauren Building, University of Victoria Free Admission www.finearts.uvic.ca/music/events Seán Maynard Adam Jasieniuk, soprano saxophone Seán Maynard, alto saxophone Lee Whitehorne, tenor saxophone Matt Bell, baritone saxophone Liam Gibson, conductor I NT E R M I S S I O N �iv6, for muted solo trumpet (Canadian premiere) Mark Andre (b. 1964) Ian Cohen, trumpet You can't draw blood from a stone Nolan Krell Adam Jasienuik, contrabass clarinet Lee Whitehorn, bassoon Stefani Yap, harpsichord Dave Riedstra, contrabass Symbiosis Maria Eduarda Mendes Martins Marlena Kurek, voice Ian Cohen, trumpet Seán Maynard, alto saxophone Matt Bell, baritone saxiphone Nataliya Pashenko, guitar Liam Gibson, piano Approximate Dave Riedstra Elena Bokova, violin  Sarah Tradewell, viola  Paul Joo, violoncello  Stefani Yap, piano  Nolan Krell, electric guitar Maria Eduarda Mendes Martins, conductor � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Class Recitals Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/040714-ClassRecital/040714-NewMusicConcert_01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040714-ClassRecital/040714-NewMusicConcert_02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040714-ClassRecital/040714-NewMusicConcert_03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040714-ClassRecital/040714-NewMusicConcert_04.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040714-ClassRecital/040714-NewMusicConcert_05.mp3">track5</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040714-ClassRecital/040714-NewMusicConcert_06.mp3">track6</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040714-ClassRecital/040714-NewMusicConcert_07.mp3">track7</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040714-ClassRecital/040714-NewMusicConcert_08.mp3">track8</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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Title A name given to the resource Class Recital - New Music Concert: MUS390/490/590 Creator An entity primarily responsible for making the resource Will MacLellan Date A point or period of time associated with an event in the lifecycle of the resource April 7, 2014 https://finearts.uvic.ca/music/archive/files/original/7fc50bd8cb7330eb2c669d9bc46233dd.pdf 3c235c3c4c4fe768c759e19faced8805 PDF Text Text MUS 220 CLASS LECTURE-RECITAL: Listening to the 20th Century Students from the class of Suzanne Snizek P R O G RA M Bachianas Brasileras No. 5 Ária Michael Chambers, guitar Kassandra Schantz, soprano Julia Albano-Crockford, lecturer Sonata for viola and piano, Op. 147 (1975) Hector Villa-Lobos Dmitri Shostakovich Calvin Yang, viola Sophia Stoney, piano Joey Cutajar, lecturer Syrinx Kelsey Malette-Dupuis, flute Alex White, lecturer 7 Sonnets of Michelangelo, Op. 22 XXXVIII: Rendete a Gil Occhi Miei O Fonte, O Fiume Claude Debussy Benjamin Britten Cody Froese, tenor Harry Han, piano Steven Jeon, lecturer Trio for violine, viola d’amore (or viola) and violoncello, Op.104 (1971) Hans Gál Joshua Gomberoff, viola Kelsey Malette-Dupuis, flute (originally scored for violin, adapted for flute) Ella Hopwood, cello John Millsip, lecturer Tuesday, April 8, 2014, 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free admission www.finearts.uvic.ca/music/events In C Hart Parnell, guitar Joshua Amendt-Moylan, guitar Shiun Kim cello, perf. Faye Blackburn, piano Lee Whitehorn, saxophone Alvina Yee, piano Georgia Dowgert and Justin Malchow, lecturers Terry Riley �I NT E R M I S S I O N Four Pieces for clarinet and piano, Op. 5 Alban Berg Sunny Chu, clarinet Michael Lee, piano Brandon Chow, lecturer Piano Trio No. 2 in E minor, Op. 67 Dmitri Shostakovich Laura Altenmueller, piano Natalia Stoney, cello Brittany Tsui, violin John Hamblett, lecturer Suite for oboe and piano, Op. 17 Pavel Haas Dominic Thibault, lecturer Density 21.5 Edgard Varèse Sierra Phosy, flute Hudson Thorpe-Doubble, lecturer Sonata for clarinet and piano Mieczslaw Weinberg Marcella Barz, clarinet Louise Hung, piano Steven Cramaro, lecturer Take the A Train It Don’t Mean a Thing Blake Palm, bass Megan White, trombone Josh Amendt-Moylan, guitar Keenan Mittag-Degala, percussion Zach Smith, saxophone Kristina Misener and Chelsea Ternes, lecturers Duke Ellington � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Class Recitals Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/040814-ClassRecital/040814_mus220_track_1.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040814-ClassRecital/040814_mus220_track_2.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040814-ClassRecital/040814_mus220_track_3.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040814-ClassRecital/040814_mus220_track_4.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040814-ClassRecital/040814_mus220_track_5.mp3">track5</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040814-ClassRecital/040814_mus220_track_6.mp3">track6</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040814-ClassRecital/040814_mus220_track_7.mp3">track7</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040814-ClassRecital/040814_mus220_track_8.mp3">track8</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040814-ClassRecital/040814_mus220_track_9.mp3">track9</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040814-ClassRecital/040814_mus220_track_10.mp3">track10</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040814-ClassRecital/040814_mus220_track_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 Class Lecture-Recital - MUS220: Listening to the 20th Century Creator An entity primarily responsible for making the resource Dylan Powell Date A point or period of time associated with an event in the lifecycle of the resource April 8, 2014 https://finearts.uvic.ca/music/archive/files/original/db7e8cba73715eb96a8d8d3f859d9157.pdf a56f2edb88f43b775a68a4b8449f1d87 PDF Text Text Maria (Yun-‐Hsuan) Wang, Cello Barry Tan, piano Maria Wang is from the class of Professor Pamela Highbaugh Aloni This recital is presented as part of the requirements for the Master of Music in Performance program. Reception to follow in the Lounge. Wednesday, April 9th, 2014 – 8:00pm Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free Admission P r o g r a m Sonata in A Major for Arpeggione and Piano (Transcribed for Cello and Piano) Allegro moderato Adagio Allegretto Barry Tan, piano Cello Suite No. 1, Op. 72 F. Schubert (1797-‐1828) B. Britten (1913-‐1976) Canto primo Fuga Lamento Canto Secondo Serenata Marcia Canto terzo Bordone Moto perpetuo e Canto quarto I n t e r m i s s i o n Sonata in G Minor for Cello and Piano, Op. 19 S. Rachmaninoff (1873-‐1943) Lento – Allegro moderato Allegro scherzando Andante Allegro mosso Barry Tan, 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 Graduation Recitals Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/040914-GradRecital/040914-MWangGradRecital_01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040914-GradRecital/040914-MWangGradRecital_02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/040914-GradRecital/040914-MWangGradRecital_03.mp3">track3</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Graduation Recital - Maria (Yun-‐Hsuan) Wang, Cello Creator An entity primarily responsible for making the resource Bryan Lilly Date A point or period of time associated with an event in the lifecycle of the resource April 9, 2014 https://finearts.uvic.ca/music/archive/files/original/380f19ba1916165fc4eb6b4baab54a28.pdf 48f27621a2b39c62f86ccc65f255a387 PDF Text Text Andrea Paddock, Soprano Charlotte Hale, piano Eve Richardson, soprano Sarah Tao, piano Brian Desjarlais, guitar Program 4 Duets, Op.61 (1852-1874) J. Brahms (1833-1897) Die Schwestern Klosterfräulein Phänomen Die Boten der Liebe Charlotte Hale, piano Eve Richardson, soprano Andrea Paddock is from the studio of Professor Benjamin Butterfield This recital is presented as part of the requirements for the Master of Music in Performance program. Please remember to turn off all electric devices for the duration of the performance and please refrain from applause until the end of each set. Monday, April 14th, 2014 – 8:00 pm Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free Admission 5 Neue Kinderlieder (1915) M. Reger (1873-1916) Wiegenlied Schwalbenmütterlein Maria am Rosenstrauch Klein-Evelinde Bitte Black Anemones (1980) J. Schwantner (b. 1943) Sarah Tao, piano “La Folie” from Platée (1745) ~ Intermission ~ J.P Rameau (1683-1784) �Letters from Composers (1968) D. Argento (b. 1927) Frédéric Chopin (to a friend) Wolfgang Amadeus Mozart (to his father) Franz Schubert (to a friend) Johann Sebastian Bach (to the Town Council) Claude Debussy (to a friend) Giacomo Puccini (to a friend) Robert Schumann (to his fiancée) Brian Desjarlais, Guitar Cuatro madrigales amatorios (1947) ¿ Con qué la lavaré? Vos me matásteis ¿De dónde venís, amore? De los álamos vengo, madre Charlotte Hale, piano J. Rodrigo (1901-1999) � � � 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/041414-GradRecital/040414-AndreaPaddock-01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/041414-GradRecital/040414-AndreaPaddock-02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/041414-GradRecital/040414-AndreaPaddock-03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/041414-GradRecital/040414-AndreaPaddock-04.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/041414-GradRecital/040414-AndreaPaddock-05.mp3">track5</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/041414-GradRecital/040414-AndreaPaddock-06.mp3">track6</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/041414-GradRecital/040414-AndreaPaddock-07.mp3">encore</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 Graduation Recital - Andrea Paddock, soprano Creator An entity primarily responsible for making the resource Kirk McNally Date A point or period of time associated with an event in the lifecycle of the resource April 14, 2014 Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/public/062014-QuartetFestWest/062014-ParticipantsofQuartetFestWest_01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/public/062014-QuartetFestWest/062014-ParticipantsofQuartetFestWest_02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/public/062014-QuartetFestWest/062014-ParticipantsofQuartetFestWest_03.mp3">track3</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Quartet Fest West Creator An entity primarily responsible for making the resource Sondra Moyls Date A point or period of time associated with an event in the lifecycle of the resource June 20, 2014 Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/061814-LSQ_QuartetFestWest/061814-LaFayetteStringQuartet_01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/061814-LSQ_QuartetFestWest/061814-LaFayetteStringQuartet_02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/061814-LSQ_QuartetFestWest/061814-LaFayetteStringQuartet_03.mp3">track3</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lafayette String Quartet - Quartet Fest West Creator An entity primarily responsible for making the resource Sondra Moyls Date A point or period of time associated with an event in the lifecycle of the resource June 18, 2014