2 10 1498 https://finearts.uvic.ca/music/archive/files/original/089aeeb5e084da76dd793d991020c4f5.pdf 38dcd3631b0aaa995241594f3e5f8570 PDF Text Text Guest Artist UNIVERSITY OF VICTORIA September 18-20, 2013 Abbie Conant Professor of Trombone at the Staatliche Hochschule für Musik in Trossingen Sponsored by the School of Music, Women’s Studies, and the Department of Theatre �Wednesday, September 18, 8:00 p.m. Phillip T. Young Recital Hall Free admission Distinguished Women Scholars Lecture series The Distinguished Women Scholars Lecture series was established by the Vice-President Academic and Provost to bring distinguished women scholars to the University of Victoria Alone among men: My relationship with the Munich Philharmonic From a young age, Abbie Conant won numerous honours and scholarships for her talent as a musician. In 1980, she won an audition for solo trombone with the Munich Philharmonic but was demoted to second trombone solely because of her gender following her probationary year. She fought her demotion and eventually triumphed in court. Since that time, the International Trombone Association Journal has featured Conant on its pages and described her as “in the first rank of world class trombonists.” She has been a soloist in over 155 North American and European cities. �Thursday, September 19, 8:00 p.m. Phillip T. Young Recital Hall Admission by donation (Proceeds will go to the Sandy Merriman House Emergency Shelter for Women) Music for the End of Time William Osborne I. A Door Was Opened In Heaven II. The Sea of Glass III. The Four Horsemen IV. As It Were of A Trumpet Talking V. The White Beast VI. A Woman Clothed With the Sun Abbie Conant, trombone Music for the End of Time for trombone and quadraphonic tape is a large work in six continuous movements based on the Book of Revelation. We were drawn to the Book of Revelation more by its rich imagery and symbolism than any sort of doctrinaire religious belief. The electronic music of the surround sound creates a sonic environment in which the trombone is the central figure. It explores all aspects of the trombone, ranging from expressions of “divine wrath,” to wild rhythmic unisons with the Four Horsemen of the Apocalypse, to the gentlest, meditative lyricism. These are the movements and the verses they are based upon: I. A Door Was Opened in Heaven After this I looked, and, behold, a door was opened in heaven: and the first voice which I heard was as it were of a trumpet talking with me; which said, Come up hither, and I will shew thee things which must be hereafter. (Rev. 4:1) II. The Sea of Glass And before the throne was a sea of glass like unto crystal: and in the midst of the throne, and round about the throne, were four beasts full of eyes before and behind. (Rev. 4.6) III. The Four Horsemen And thus I saw the horses in the vision, and them that sat on them, having breastplates of fire, and of jacinth, and brimstone: and the heads of the horses were as the heads of lions; and out of their mouths issued fire and smoke and brimstone. (Rev. 9:17) �IV. As It Were of A Trumpet Talking After this I looked, and, behold, a door was opened in heaven: and the first voice which I heard was as it were of a trumpet talking with me; which said, Come up hither, and I will shew thee things which must be hereafter. (Rev. 4:1) V. The White Beast And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him. And power was given unto them over the fourth part of the earth, to kill with sword, and hunger, and with death, and with the beasts of the earth. (Rev. 6:8) VI. A Woman Clothed With the Sun And there appeared a great wonder in heaven; a woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars. (Rev. 12:1) �Friday, September 20, 8:00 p.m. Phillip T. Young Recital Hall Admission by donation (Proceeds will go to the Sandy Merriman House Emergency Shelter for Women) Aletheia Abbie Conant, performance and text William Osborne, music, text, stage direction Aletheia is about an opera singer in a dressing room preparing to sing for a gala benefit but she can’t bring herself to go out and perform. The process explores conceptions of artistic authenticity and the relationship of the artist to society. The work alludes to the life of Theresa Duncan, a Detroit native, filmmaker, media artist, and cultural critic who died by suicide in July 2007 at the age of 43. Aletheia is set in Detroit – a bankrupt city that in real life has lost half of its population, and is currently bull-dozing 40 square miles of dilapidated, abandoned housing. Among other things, Aletheia interweaves these concerns with fears about her aging body, a sense that her relationship with her lover Jeremy is ending, concerns about artistic integrity in the face of such social problems, the misfortunes of the opera house for which she about to sing, and uncertainty about the patrons who support her art. In our chamber music theater we strive to give words, music, and theater equal artistic value in the service of substantial characters that develop. These difficulties are vastly compounded in a raw, exposed chamber music format without the trappings of opera to pad the work with lavish sets, deafening bel canto voices, massive orchestras, and cavernous houses. Since this performance is in a recital hall we will be without the forms of stage lighting we usually use for our work. An established genre of chamber music theater doesn’t exist in Western culture. As it develops, it will likely be decades before the architecture of halls suited for chamber music catch up. With such a difficult undertaking as chamber music theater, the risk of failure is great, but every artist has to sooner or later put him- or herself on the line and show the results of their efforts. We hope our work will contribute to the process of developing the uncharted genre of chamber music theater. It would be an important addition to Western culture’s forms of expression, and especially relevant to the social and economic conditions of the modern world. �BIOGRAPHIES Abbie Conant received her Bachelor’s Degree (cum Laude) from Temple University in1977. In 1976 she studied at Yale University, and in 1979 she received her Master’s Degree from the Juilliard School, followed by a Meister diploma from the Staatliche Hochschule für Musik in Cologne, Germany in 1984. From 1979 to1980 she was solo trombonist of the Royal Opera of Turin, Italy. From 1980 to 1993 she was solo trombonist of the Munich Philharmonic. The International Trombone Association Journal has featured Abbie Conant in a cover article and described her as “in the first rank of world class trombonists”. She has recorded a highly acclaimed CD of trombone and organ music and performs internationally as a concerto soloist, recitalist, improviser and performance artist. In 1992, the Baden-Württenburg State Ministry for Education, in recognition of her international reputation as a trombonist, named her Professor of Trombone at the Staatliche Hochschule für Musik in Trossingen, Germany – the first woman Prof. of trombone in Germany. She has been a featured soloist at the International Trombone Festivals in Detmold, Germany (1992), Las Vegas (1995), Nevada, and Utrecht, Holland (2000). She has been a jury member of several of the world’s most prominent trombone competitions including the Geneva Competition, the Porcia Competition, and the Rimsky-Korsokov Competition in St. Petersburg, Russia. In 1996 the International Trombone Association elected her as their President elect. Her experiences as a woman trombonist comprise the final chapter of Malcom Gladwell’s recent book Blink, which was on the NYT Bestseller list for 18 weeks. William Osborne studied with George Crumb in Philadelphia and with Franco Donatoni at the National Academy of Italy. Among his awards are two from the American Society of Authors, Composers, and Publishers, a Doctoral Fellowship to Columbia University, and a prize from the Munich Theater Commission. His works have been performed in over165 cities in North America and Europe. Mr. Osborne is also well-known for his activism for women in music. He has written numerous articles about the social and political influences of symphony orchestras. For more information visit: http://www.osborne-conant.org �Upcoming Events At the School of Music Thursday, September 26, 7:00-9:00 p.m. (Free Admission) 8th Annual Lafayette Health Awareness Forum Aging well:What you can do today! A free forum sponsored by the Lafayette String Quartet. To reserve a seat, contact lafayettehealth@shaw.ca David Lam Auditorium, Rm. A144, MacLaurin Building Friday, October 4, 8:00 p.m. ($14 & $12) University of Victoria Wind Symphony A Celebration of British Wind Music Eugene Dowling, conductor Works by Sir William Walton, Gustav Holst, Derek Bourgeois and others. University Centre Farquhar Auditorium Wednesday, October 16, 12:30 p.m. (Free Admission) Lieder at Lunch An exploration of the German Lied repertoire with Sharon and Harald Krebs—Songs about Windows. Bring your lunch! MacLaurin Building, B-wing, Rm. B037 Saturday, October 19, 8:00 p.m. ($17.50 & $13.50) Faculty Chamber Music Seires [Mostly] Off the Beaten Path Featuring twelve of the School of Music’s performance faculty in a mixed program of familiar and rarely performed works by Rachmaninoff, Hans Gál, Martinu, Copland, and others. 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 Guest Artist Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/091913-AbbieConant/091913-Abbie_Conant_01.mp3">track1</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Guest Artist - Abbie Conant, trombone 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 September 19, 2013 https://finearts.uvic.ca/music/archive/files/original/a6c80d533fecb644f64f00d25db37fe0.pdf 38dcd3631b0aaa995241594f3e5f8570 PDF Text Text Guest Artist UNIVERSITY OF VICTORIA September 18-20, 2013 Abbie Conant Professor of Trombone at the Staatliche Hochschule für Musik in Trossingen Sponsored by the School of Music, Women’s Studies, and the Department of Theatre �Wednesday, September 18, 8:00 p.m. Phillip T. Young Recital Hall Free admission Distinguished Women Scholars Lecture series The Distinguished Women Scholars Lecture series was established by the Vice-President Academic and Provost to bring distinguished women scholars to the University of Victoria Alone among men: My relationship with the Munich Philharmonic From a young age, Abbie Conant won numerous honours and scholarships for her talent as a musician. In 1980, she won an audition for solo trombone with the Munich Philharmonic but was demoted to second trombone solely because of her gender following her probationary year. She fought her demotion and eventually triumphed in court. Since that time, the International Trombone Association Journal has featured Conant on its pages and described her as “in the first rank of world class trombonists.” She has been a soloist in over 155 North American and European cities. �Thursday, September 19, 8:00 p.m. Phillip T. Young Recital Hall Admission by donation (Proceeds will go to the Sandy Merriman House Emergency Shelter for Women) Music for the End of Time William Osborne I. A Door Was Opened In Heaven II. The Sea of Glass III. The Four Horsemen IV. As It Were of A Trumpet Talking V. The White Beast VI. A Woman Clothed With the Sun Abbie Conant, trombone Music for the End of Time for trombone and quadraphonic tape is a large work in six continuous movements based on the Book of Revelation. We were drawn to the Book of Revelation more by its rich imagery and symbolism than any sort of doctrinaire religious belief. The electronic music of the surround sound creates a sonic environment in which the trombone is the central figure. It explores all aspects of the trombone, ranging from expressions of “divine wrath,” to wild rhythmic unisons with the Four Horsemen of the Apocalypse, to the gentlest, meditative lyricism. These are the movements and the verses they are based upon: I. A Door Was Opened in Heaven After this I looked, and, behold, a door was opened in heaven: and the first voice which I heard was as it were of a trumpet talking with me; which said, Come up hither, and I will shew thee things which must be hereafter. (Rev. 4:1) II. The Sea of Glass And before the throne was a sea of glass like unto crystal: and in the midst of the throne, and round about the throne, were four beasts full of eyes before and behind. (Rev. 4.6) III. The Four Horsemen And thus I saw the horses in the vision, and them that sat on them, having breastplates of fire, and of jacinth, and brimstone: and the heads of the horses were as the heads of lions; and out of their mouths issued fire and smoke and brimstone. (Rev. 9:17) �IV. As It Were of A Trumpet Talking After this I looked, and, behold, a door was opened in heaven: and the first voice which I heard was as it were of a trumpet talking with me; which said, Come up hither, and I will shew thee things which must be hereafter. (Rev. 4:1) V. The White Beast And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him. And power was given unto them over the fourth part of the earth, to kill with sword, and hunger, and with death, and with the beasts of the earth. (Rev. 6:8) VI. A Woman Clothed With the Sun And there appeared a great wonder in heaven; a woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars. (Rev. 12:1) �Friday, September 20, 8:00 p.m. Phillip T. Young Recital Hall Admission by donation (Proceeds will go to the Sandy Merriman House Emergency Shelter for Women) Aletheia Abbie Conant, performance and text William Osborne, music, text, stage direction Aletheia is about an opera singer in a dressing room preparing to sing for a gala benefit but she can’t bring herself to go out and perform. The process explores conceptions of artistic authenticity and the relationship of the artist to society. The work alludes to the life of Theresa Duncan, a Detroit native, filmmaker, media artist, and cultural critic who died by suicide in July 2007 at the age of 43. Aletheia is set in Detroit – a bankrupt city that in real life has lost half of its population, and is currently bull-dozing 40 square miles of dilapidated, abandoned housing. Among other things, Aletheia interweaves these concerns with fears about her aging body, a sense that her relationship with her lover Jeremy is ending, concerns about artistic integrity in the face of such social problems, the misfortunes of the opera house for which she about to sing, and uncertainty about the patrons who support her art. In our chamber music theater we strive to give words, music, and theater equal artistic value in the service of substantial characters that develop. These difficulties are vastly compounded in a raw, exposed chamber music format without the trappings of opera to pad the work with lavish sets, deafening bel canto voices, massive orchestras, and cavernous houses. Since this performance is in a recital hall we will be without the forms of stage lighting we usually use for our work. An established genre of chamber music theater doesn’t exist in Western culture. As it develops, it will likely be decades before the architecture of halls suited for chamber music catch up. With such a difficult undertaking as chamber music theater, the risk of failure is great, but every artist has to sooner or later put him- or herself on the line and show the results of their efforts. We hope our work will contribute to the process of developing the uncharted genre of chamber music theater. It would be an important addition to Western culture’s forms of expression, and especially relevant to the social and economic conditions of the modern world. �BIOGRAPHIES Abbie Conant received her Bachelor’s Degree (cum Laude) from Temple University in1977. In 1976 she studied at Yale University, and in 1979 she received her Master’s Degree from the Juilliard School, followed by a Meister diploma from the Staatliche Hochschule für Musik in Cologne, Germany in 1984. From 1979 to1980 she was solo trombonist of the Royal Opera of Turin, Italy. From 1980 to 1993 she was solo trombonist of the Munich Philharmonic. The International Trombone Association Journal has featured Abbie Conant in a cover article and described her as “in the first rank of world class trombonists”. She has recorded a highly acclaimed CD of trombone and organ music and performs internationally as a concerto soloist, recitalist, improviser and performance artist. In 1992, the Baden-Württenburg State Ministry for Education, in recognition of her international reputation as a trombonist, named her Professor of Trombone at the Staatliche Hochschule für Musik in Trossingen, Germany – the first woman Prof. of trombone in Germany. She has been a featured soloist at the International Trombone Festivals in Detmold, Germany (1992), Las Vegas (1995), Nevada, and Utrecht, Holland (2000). She has been a jury member of several of the world’s most prominent trombone competitions including the Geneva Competition, the Porcia Competition, and the Rimsky-Korsokov Competition in St. Petersburg, Russia. In 1996 the International Trombone Association elected her as their President elect. Her experiences as a woman trombonist comprise the final chapter of Malcom Gladwell’s recent book Blink, which was on the NYT Bestseller list for 18 weeks. William Osborne studied with George Crumb in Philadelphia and with Franco Donatoni at the National Academy of Italy. Among his awards are two from the American Society of Authors, Composers, and Publishers, a Doctoral Fellowship to Columbia University, and a prize from the Munich Theater Commission. His works have been performed in over165 cities in North America and Europe. Mr. Osborne is also well-known for his activism for women in music. He has written numerous articles about the social and political influences of symphony orchestras. For more information visit: http://www.osborne-conant.org �Upcoming Events At the School of Music Thursday, September 26, 7:00-9:00 p.m. (Free Admission) 8th Annual Lafayette Health Awareness Forum Aging well:What you can do today! A free forum sponsored by the Lafayette String Quartet. To reserve a seat, contact lafayettehealth@shaw.ca David Lam Auditorium, Rm. A144, MacLaurin Building Friday, October 4, 8:00 p.m. ($14 & $12) University of Victoria Wind Symphony A Celebration of British Wind Music Eugene Dowling, conductor Works by Sir William Walton, Gustav Holst, Derek Bourgeois and others. University Centre Farquhar Auditorium Wednesday, October 16, 12:30 p.m. (Free Admission) Lieder at Lunch An exploration of the German Lied repertoire with Sharon and Harald Krebs—Songs about Windows. Bring your lunch! MacLaurin Building, B-wing, Rm. B037 Saturday, October 19, 8:00 p.m. ($17.50 & $13.50) Faculty Chamber Music Seires [Mostly] Off the Beaten Path Featuring twelve of the School of Music’s performance faculty in a mixed program of familiar and rarely performed works by Rachmaninoff, Hans Gál, Martinu, Copland, and others. 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 Guest Artist Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/092013-AbbieConant/092013-Abbie_Conant_01.mp3">track1</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Guest Artist - Abbie Conant, trombone 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 September 20, 2013 https://finearts.uvic.ca/music/archive/files/original/bf8c0eb614d34cb2d98f28551bdd743a.pdf 9a71e2a877a5fcc6ac26550dc80c9230 PDF Text Text fridaymusic Phillip T. Young Recital Hall • University of Victoria September 27, 2013 - 12:30 p.m. Phillip T. Young Recital Hall Die Schöne Müllerin (excerpts) Das Wandern Wohin? Franz Schubert (1797-1828) Josh Lovell, voice Spencer Davis, piano Sonata for Trumpet and Piano Allegretto Matt Richard, trumpet Kailey Caan, piano Sonata Op. 1 Thomas Nicholson, piano Piano Sonata No. 7 Op. 83 Bb major Allegro inquieto Andante caloroso Precipitato Eric Ewazen (b. 1954) Alban Berg (1885-1935) Sergei Prokofiev (1891-1953) Eileen Liu, piano Upcoming Events Graduating Recital Eileen Liu, piano, presents her Bachelor of Music Graduating Recital Monday, September 30, 8:00 pm Free Admission Fridaymusic Featuring School of Music keyboard students Friday, October 4, 12:30 pm Admission by Donation Wind Symphony A Celebration of British Wind Music Eugene Dowling, conductor Performing works by Sir William Walton, Gustav Holst, Derek Bourgeois and others. Friday, October 4, 8:00 pm University Centre Farquhar Auditorium Tickets $14 & $12 available through the UVic Ticket Office, University Centre, Monday-Friday 9:30 am-4:00 pm. Brahms, Bubbly & Brunch featuring the Lafayette String Quartet, renowned cellist Paul Katz and violist Yariv Aloni. Sunday, October 6, 11:00 am The Inn at Laurel Point Fundraising event for the newly established Masters degree program in String Quartet Performance. For ticket information go to: https://extrweb.uvic.ca/lafayette-quartet-fundraising-event � 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/092713-Fridaymusic/092713-FridayMusic-01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/092713-Fridaymusic/092713-FridayMusic-02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/092713-Fridaymusic/092713-FridayMusic-03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/092713-Fridaymusic/092713-FridayMusic-04.mp3">track4</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fridaymusic Creator An entity primarily responsible for making the resource Bryan Lilly, Jamie Bracke Date A point or period of time associated with an event in the lifecycle of the resource September 27, 2013 https://finearts.uvic.ca/music/archive/files/original/be3d84cf495cfc576378f04f5ea3d787.pdf e4534588cd8f1ea5c3f01120d9e0391f PDF Text Text October 4, 2013 -‐ 12:30 p.m. Phillip T. Young Recital Hall Prelude Choral and Fugue Prelude Erik Leisinger, piano Sonata No. 2 in B ŇĂƚ minor, Op. 35 Grave -‐ Doppio movimento César Franck (1822 -‐ 1890) Frédéric Chopin (1810 -‐ 1849) Barry Tan, piano Gaspard de la nuit Le gibet Maurice Ravel (1875 -‐ 1937) Thomas Nicholson, piano �ŶĚĂŶƚĞ�ƐƉŝĂŶĂƚŽ�ĂŶĚ�'ƌĂŶĚ�WŽůŽŶĂŝƐĞ��ƌŝůůĂŶƚĞ�ŝŶ��ŇĂƚ�ŵĂũŽƌ͕�KƉ͘�ϮϮ� � � ��&ƌĠĚĠƌŝĐ��ŚŽƉŝŶ Carol Zhang, piano Upcoming Events Friday, October 4, 8:00 p.m. ($14 & $12) UNIVERSITY OF VICTORIA WIND SYMPHONY ��ĞůĞďƌĂƟŽŶ�ŽĨ��ƌŝƟƐŚ�tŝŶĚ�DƵƐŝĐ Eugene Dowling, conductor Works by Sir William Walton, Gustav Holst, Derek Bourgeois and others. University Centre Farquhar Auditorium DŽŶĚĂǇ͕�KĐƚŽďĞƌ�ϳ͕�ϳ͗ϬϬƉŵ�Ͳ�ϴ͗ϯϬƉŵ��;�ĚŵŝƐƐŝŽŶ�ďǇ�ĚŽŶĂƟŽŶͿ 'ƵĞƐƚ�WƌĞƐĞŶƚĂƟŽŶ͗�d��,/E'�d,��>>K�/E�d,��ϮϭƐƚ��EdhZz �ĞůůŝƐƚ�WĂƵů�<Ăƚǌ�ŽŶ�dĞĂĐŚŝŶŐ�ƚŚĞ��ĞůůŽ�ŝŶ�ƚŚĞ�ϮϭƐƚ��ĞŶƚƵƌǇ͗�>ŽŽŬŝŶŐ�Ăƚ�ǁŚĂƚ�ŚĂƐŶ͛ƚ�ĐŚĂŶŐĞĚ�ĂŶĚ�ǁŚĂƚ�ŝƐ�ŶĞǁ� WĂƵů�<Ăƚǌ͕�ĐĞůůŝƐƚ�ǁŝƚŚ�ƚŚĞ��ůĞǀĞůĂŶĚ�^ƚƌŝŶŐ�YƵĂƌƚĞƚ�ĨŽƌ�ǁĞůů�ŽǀĞƌ�Ă�ƋƵĂƌƚĞƌ�ŽĨ�Ă�ĐĞŶƚƵƌǇ͕�ŚĂƐ�ƚĂƵŐŚƚ�Ăƚ�ƚŚĞ��ĂƐƚŵĂŶ�^ĐŚŽŽů͕� ZŝĐĞ�hŶŝǀĞƌƐŝƚǇ͕�ĂŶĚ�ŶŽǁ�EĞǁ��ŶŐůĂŶĚ��ŽŶƐĞƌǀĂƚŽƌǇ͘�,Ğ�ŚĂƐ�ĚĞǀĞůŽƉĞĚ�ŝŶ�ƚŚĞ�ƉĂƐƚ�ĨĞǁ�ǇĞĂƌƐ�ŽŶĞ�ŽĨ�ƚŚĞ�ŵŽƐƚ�ĐŽŵƉƌĞ-‐ ŚĞŶƐŝǀĞ�ŽŶͲůŝŶĞ�ƌĞƐŽƵƌĐĞƐ�ĨŽƌ�ƚŚĞ�ĐĞůůŽ�;ŚƩƉ͗ͬͬĐĞůůŽďĞůůŽ͘ĐŽŵͬͿ�ǁŚŝĐŚ�ŝŶĐůƵĚĞƐ�ĂƌĐŚŝǀĂů�ĨŽŽƚĂŐĞ�ŽĨ�ĂƌƟƐƚƐ͕�ďůŽŐƐ�ŽĨ�ŵĂŶǇ� ĐŽŶƚĞŵƉŽƌĂƌǇ�ĐĞůůŝƐƚƐ͕�ĂŶĚ�ŚŽƵƌƐ�ŽĨ�ǀĞƌǇ�ŝŶĨŽƌŵĂƟǀĞ�ůĞƐƐŽŶƐ͘��ĂĐŚ�ǁĞĞŬ�ŚĞ�ŚŽƐƚƐ�Ă�ƉŽƉƵůĂƌ��ĞůůŽ��ŚĂƚ�ƚŚƌŽƵŐŚ�ƚŚŝƐ� website. Come share in this marvelous opportunity to discuss with Paul and other teachers in the community the various ĂƐƉĞĐƚƐ�ŽĨ�ƚĞĂĐŚŝŶŐ�;ƐƉĞĐŝĮĐĂůůǇ�ĐĞůůŽ͕�ďƵƚ�ǁŚŝĐŚ�ĐĂŶ�ďĞ�ĂƉƉůŝĞĚ�ƚŽ�ŵĂŶǇ�ŝŶƐƚƌƵŵĞŶƚƐͿ�ĂŶĚ�ǁĂǇƐ�ŝŶ�ǁŚŝĐŚ�ǁĞ�ĐĂŶ�ƵƟůŝǌĞ� ƚŽĚĂǇ͛Ɛ�ƚĞĐŚŶŽůŽŐǇ�ƚŽ�ďĞƩĞƌ�ĞŶŚĂŶĐĞ�ƚŚĞ�ƐƵƉƉŽƌƚ�ŽĨ�ŵƵƐŝĐĂů�ĂƌƟƐƚƌǇ�ĂŶĚ�ƉĞĚĂŐŽŐǇ͘ &ƌŝĚĂǇ͕�KĐƚŽďĞƌ�ϭϭ͕�ϭϮ͗ϯϬ�Ɖ͘ŵ͘�;�ĚŵŝƐƐŝŽŶ�ďǇ�ĚŽŶĂƟŽŶͿ FRIDAYMUSIC &ĞĂƚƵƌŝŶŐ�^ĐŚŽŽů�ŽĨ�DƵƐŝĐ�ŐƵŝƚĂƌ�ƐƚƵĚĞŶƚƐ Phillip T. Young Recital Hall Wednesday, October 16, 12:30 p.m. (Free Admission) >/��Z��d�>hE�, �Ŷ�ĞǆƉůŽƌĂƟŽŶ�ŽĨ�ƚŚĞ�'ĞƌŵĂŶ�>ŝĞĚ�ƌĞƉĞƌƚŽŝƌĞ�ǁŝƚŚ�^ŚĂƌŽŶ�ĂŶĚ�,ĂƌĂůĚ�<ƌĞďƐͶ^ŽŶŐƐ�ĂďŽƵƚ�tŝŶĚŽǁƐ͘� Bring your lunch! DĂĐ>ĂƵƌŝŶ��ƵŝůĚŝŶŐ͕��ͲǁŝŶŐ͕�Zŵ͘��Ϭϯϳ � 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/100413-Fridaymusic/100413_FridayMusic-01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/100413-Fridaymusic/100413_FridayMusic-02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/100413-Fridaymusic/100413_FridayMusic-03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/100413-Fridaymusic/100413_FridayMusic-04.mp3">track4</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 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 October 4, 2013 https://finearts.uvic.ca/music/archive/files/original/2fe243a5284e4281cf93501891430cd7.pdf d9a31f47c81fd27ef788f31741394eae PDF Text Text Wind Symphony Program UNIVERSITY OF VICTORIA A Celebration of British Wind Music Crown Imperial Sir William Walton (1902–1983) A Moorside Suite Scherzo Nocturne March Gustav Holst (1874–1934) Serenade Eugene Dowling, conductor Intermission Orient Express Friday, October 4, 2013, 8:00 p.m. University Centre Farquhar Auditorium University of Victoria Adults $14 / Students & Seniors $12 Derek Bourgeois (b. 1941) An Original Suite March Intermezzo Finale Phillip Sparke (b. 1951) Gordon Jacob (1895–1984) �Wind Symphony Personnel, Fall 2013 Piccolo Cooper Reed Flute I Thomas Bauer* Gillian Newburn II Jane Wong Jillian Broughton Oboe I Teigan Cosgrove* II Georgia Dowgert english horn Teigan Cosgrove Clarinet I Marcella Barz* Erin Onyschtschuk II Samuel He Sunny Chu Dominic Thibault III William Constable Mark Kim Jynelle Grigg Bass Clarinet Kylie Flower Contra Bass Clarinet Adam Jasieniuk Bassoon Lee Whitehorne Alto Saxophone I Sean Maynard* II Calistra Nair Tenor Saxophone Zach Smith Baritone Saxophone Paul Spelt French Horn I Justin Malchow* II Simon Dawkins III Norbert Ziegler** IV Drake Lovett Josh Yates Cornet I Matthew MacLean* Justin Bury (assistant principal) II John Hamblett III Laura Tesarowski Trumpet I Emily McDermid II Victoria-Rose Hunt Trombone I Matthew Kelly* II Eric Showers Bass Zoe McLaren Euphonium Jaclyn Kreke* Matthew Blockberger Tuba Russell Larden* Kory Major** Double Bass Blake Palm Percussion Sky Kim* Erika Buerfeind Tristan Holleufer David Lochead Julia Albano-Crockford Tamara Nemeth Timpani Camden McCallister* * Principal ** Alumni 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 Wind Symphony Description An account of the resource UVic's Wind Symphony is recognized as one of the premiere performing wind ensembles in the Pacific Northwest. The ensemble is in constant demand to perform at festivals and conferences. Recently, the Wind Symphony represented Canada at the Annual WesternInternational Band Conference in Seattle in November, 2002. As well, the Wind Symphony has been a featured guest ensemble at the B.C. Music Educators' Conference. The Wind Symphony provides opportunities for all wind and percussion players in the School. Its repertoire includes transcriptions of orchestral works, concerti, chamber ensembles, large symphonic band works and new music for the concert band. The Wind Symphony regularly features student, faculty and guest solo artists, and has given numerous Canadian and world premieres of contemporary works. Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/100413-WindSymphony/100413-WindSymphony_01.mp3">track1 </a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/100413-WindSymphony/100413-WindSymphony_02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/100413-WindSymphony/100413-WindSymphony_03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/100413-WindSymphony/100413-WindSymphony_04.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/100413-WindSymphony/100413-WindSymphony_05.mp3">track5</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wind Symphony A Celebration of British Wind Music Creator An entity primarily responsible for making the resource Sondra Moyls, Dylan Powell Date A point or period of time associated with an event in the lifecycle of the resource October 4, 2013 Contributor An entity responsible for making contributions to the resource Eugene Dowling, conductor https://finearts.uvic.ca/music/archive/files/original/cf20ec8a2650cf7a3aed81062ac5dced.pdf 5db1994ae2a34205fad722c457b5ae47 PDF Text Text Canyon Epitaph UNIVERSITY OF VICTORIA Orion Series in Fine Arts presents TALEA ENSEMBLE Innominabiles David Foley Adam Dyjach, tenor Nolan Krell, guitar Brandon Chow, percussion (New York) With students from MUS 462/562 New Music Concert, Part 2 Thomas Law, flute Matt Kelly, trombone Nolan Krell, guitar Matthew Kaufhold Sole meunière Janet Sit Adam Dyjach, tenor Sara Page, flute Matt Kelly, trombone I nt e r m i s s i o n PROGRAM Deuce (2012) Suite for Flute, Clarinet, and Percussion I. Prelude II. Courante III. Sarabande Thomas Law, flute Matthew Kaufhold, clarinet Sky Kim, percussion Logos, Beit Lahm Liam Gibson Becoming (1979) Jonathan Harvey Studie (2011) Beat Furrer Sapphire Brickwork (2013) *World Premiere Robert Hansler Matthew Kaufhold, clarinet Alfons Fear, trumpet SarahTradewell, viola Stefan Maier, guitar Aaron Herzog, piano Stephen Fong, conductor Sleeping Beauty Awakes Heather Harker, voice Thomas Law, flute Bob Hansler, piano Jay Schreiber, percussion Vito Zuraj Dániel Péter Biró Talea Ensemble Rane Moore, clarinet Elizabeth Weisser, viola Steven Beck, piano Alex Lipowski, percussion Ajtony Csaba, conductor Sara Page Friday, April 12, 2013, 7:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free Admission www.finearts.uvic.ca/music/events �TALEA ENSEMBLE “Championing works like these, and playing them with a compelling lucidity, are precisely what Talea Ensemble does best.” - New York Times The Talea Ensemble has been labeled “...a crucial part the New York cultural ecosphere” by the New York Times and has given many important world and US premieres of new works by composers including Pierre Boulez, Tristan Murail, James Dillon, Pierluigi Billone, Hans Abrahamsen, Stefano Gervasoni, Marco Stroppa, and Fausto Romitelli. As an active collaborator of new music Talea has joined forces with the Austrian Cultural Forum, Consulate General of Denmark, Korean Cultural Service NY, Italian Cultural Institute, and the Ukrainian Institute. Assuming an ongoing role in supporting and collaborating with student composers, Talea has served as ensemble in residence at Harvard University, Columbia University, Stanford University, Ithaca College, Cornell University and New York University. Talea has recorded works on the Living Artists Label, Gravina Musica, Tzadik, and a forthcoming release on New World Records. Recently commissioned composers include Anthony Cheung, Christopher Trapani, and Georges Aperghis. For more information, please visit www.taleaensemble.org 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 Guest Artist Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/041213-TaleaEnsemble/041213-TaleaEnsemble_01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/041213-TaleaEnsemble/041213-TaleaEnsemble_02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/041213-TaleaEnsemble/041213-TaleaEnsemble_03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/041213-TaleaEnsemble/041213-TaleaEnsemble_04.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/041213-TaleaEnsemble/041213-TaleaEnsemble_05.mp3">track5</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/041213-TaleaEnsemble/041213-TaleaEnsemble_06.mp3">track6</a> <a href="https://finearts.uvic.ca/music/archive/uploads/guest/041213-TaleaEnsemble/041213-TaleaEnsemble_07.mp3">track7</a> <a href="https://finearts.uvic.ca/music/archive/uploads/guest/041213-TaleaEnsemble/041213-TaleaEnsemble_08.mp3">track8</a> <a href="https://finearts.uvic.ca/music/archive/uploads/guest/041213-TaleaEnsemble/041213-TaleaEnsemble_09.mp3">track9</a> <a href="https://finearts.uvic.ca/music/archive/uploads/guest/041213-TaleaEnsemble/041213-TaleaEnsemble_10.mp3">track10</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Talea Ensemble 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 12, 2013 Contributor An entity responsible for making contributions to the resource Rane Moore, clarinet; Elizabeth Weisser, viola; Steven Beck, piano; Alex Lipowski, percussion; Ajtony Csaba, conductor https://finearts.uvic.ca/music/archive/files/original/8fea3d255caafb4e9a6e5e436fa9eb90.pdf 26544e3ed408ef2f63422505d66fb985 PDF Text Text Piano Class Recital Students from the studio of Eva Solar-Kinderman Program Sonata no. 16 in A minor, D. 845 I. Moderato Stefani Yap Abegg Variations, Op. 1 Harry Han Estampes Jardins sous la pluie Erik Leisinger Cinq Morceaux de Fantaisie, Op. 3 IV. Polichinelle Aaron Pang Sonata no. 14 in A minor, D. 784 I. Allegro giusto Allannah Montgomery Franz Schubert (1797-1828) Robert Schumann (1810-1856) Claude Debussy (1862-1918) Sergei Rachmaninov (1873-1943) Franz Schubert �Intermission Sonata in D major, K. 311 I. Allegro con spirito Sophia Stoney Sonata no. 21 in C major, Op. 53 I. Allegro con brio Brian Lee Sonata no. 21 in B-flat major, D. 960 II. Andante sostenuto Laura How Nocturne, Op.33 Michael Lee Douze Notations (I – V, VII – IX, XI, XII) Liam Gibson Prelude No. 1 Allegro ben ritmato e deciso Wolfgang Amadeus Mozart (1756-1791) Ludwig van Beethoven (1770-1827) Franz Schubert Samuel Barber (1910-1981) Pierre Boulez (b. 1925) George Gershwin (1898-1937) Louise Lu Saturday, March 2, 2013, 2:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation www.finearts.uvic.ca/music/events �P R O G RA M N OT E S Schubert’s piano sonata D. 845, composed in 1825, is the last out of three sonatas that he wrote in the key of A minor. It is also one of only three piano sonatas, the others being the G major sonata, D. 894 and the D major sonata, D. 850, that Schubert saw published during his lifetime. Before the publication of these sonatas, Schubert was known almost exclusively as a composer of lieder since those were the most popular works that his publishers chose to purchase. This changed when Schubert released the three sonatas; they became hugely popular, leading his critics and fellow musicians to consider him as Beethoven’s successor. The first movement of this sonata can be distinguished by its contrasts of intense and ethereal qualities. The Abegg Variations is one of Schumann’s early pieces, and his first published work, composed between 1829 and 1830. Schumann had recently left between the law studies for which he had little enthusiasm, devoting himself to his passions for composition and piano, which he had recently begun to study under Friedrich Wieck, whose daughter Clara he would fall in love with and eventually marry. Dedicated to his imaginary friend Meta Abegg, the theme begins with the notes A-Bb-E-G-G. This would be the first of many ciphers that Schumann would use throughout his works. The theme is subjected to several character changes, including a retrograde as the melody descends in octaves in the order G-G-E-Bb-A. Estampes, written 1903, is one of Debussy’s earlier piano works, and one in which he fully indulges in the images and colors of exotic places. The exception is Jardins sous la pluie (Gardens under the rain), which instead paints a scene in Debussy’s native France and draws upon French folk melodies. In full Debussy fashion, we are treated to an ever-morphing kaleidoscope of colors and textures, as a violent rainstorm is depicted in the most meticulous detail. Evoked is the percussive rain pounding against the ground, swirling and heaving winds, and, finally, a flash of lightning and a burst of sunlight through the clouds. �Rachmaninov’s Polichinelle, in F-sharp minor, is the fourth in the Cinq Morceaux de Fantaisie written in 1892 and dedicated to Anton Arensky, with whom the composer studied harmony at the Moscow Conservatory. It is a character piece, based on Pulcinella, one of the stock characters from the tradition of commedia dell’arte, a genre of Italian theatre popular during the 16th and early 17th centuries. Polichinelle is in ternary form (ABA), beginning and ending with a lightning fast devilish section that gives way to a slower, lyrical melodious passage in the middle. Schubert wrote his fourteenth sonata in 1823, around the time that he contracted syphilis. This movement highlights a struggle between despair and triumph, a contrast shown through transparent harmonies and unison passages. Each harmonic change sheds a new light on the composer’s struggle. The second movement is quiet and calming, leading into a turbulent third movement, which resolves the composer’s turmoil and leaves him at peace. Mozart’s ninth piano sonata is perhaps one of his finest. He composed this sonata in Mannheim, in 1777, for a concert in Paris. The sonata as a whole showcases elements of the Mannheim style such as sharp dynamic contrast and the use of the sonata form in the Allegro, and a modified slow-movement sonata form in the Andante con espressione. Mozart’s orchestral style is wonderfully presented throughout, notably in the Allegro and Rondeau: Allegro. The Allegro begins with a display of this orchestral style. With characteristic innovation, Mozart deviates from the standard sonata form with the clever use of an inverted recapitulation at the end of this movement. Composed in 1804 and dedicated to Beethoven’s patron Count Ferdinand von Waldstein, the Waldstein has become one of the composer’s best-known piano works. In this first movement, Beethoven overthrows the conventions of sonata-allegro form; the famous agitated opening modulates not to the expected dominant but to E major for a chordal second theme. After a dramatic development, a passage through A major to A minor and then the home key proves the solution to Beethoven’s harmonic riddle. �Schubert’s last piano sonata, written the year he died, is a work of both reflection and abandon, challenging the dimensions of the form in length and harmonic architecture. The second movement, subverting the tonic B-flat major with the distant key of C-sharp minor, is a deeply introspective one that explores multiple tonalities in a troubled search for peace. The music emerges into a glorious but transient A major, yet remains fraught with harmonic insinuations of the pain of the Andante sostenuto. A return to C-sharp minor, coloured by the lingering rhythmic pulse of the A major, is resolved in a long-sought deliverance to C-sharp major. This nocturne, written in 1959 by Samuel Barber, is subtitled “Homage to John Field”, in acknowledgement of the composer credited with conceiving the nocturne as we know it today. This homage is not a blind imitation, but rather a new piece of music based on the old ideas of Field and Chopin, written in an evolving style appropriate of its time. A taste of this American composer’s unique musical language, this nocturne is both a highly chromatic and lyrical work. Completed in 1945, Notations is Boulez’s first published work. Written when he was only 20 years old, the set of 12 miniatures for piano already contains many of the characteristic elements that appear again and again in music from throughout his long career. Perhaps the most fundamental and striking of these elements is the masterful juxtaposition of sensuous beauty and extreme violence. As with other works of the post-war period, the pitch content of the piece is governed by a serial ordering of the twelve chromatic pitches. This serves both to avoid traditional tonality, and to give structural unity to the disparate movements. While the other parameters are not organized as rigorously, symmetrical rhythmic structures are apparent, in several movements, showing the influence of Anton Webern. �George Gershwin’s three preludes are jazz influenced pieces that were written in 1926. They became very popular and well known during the 20th century. Gershwin originally intended to write twentyfour preludes. The actualized trio have been arranged for solo instruments, small ensembles and piano. The first prelude, in B flat major, is stylistically the closest to jazz. From the start of the piece, it is highly syncopated. The powerful and uplifting first prelude will make you want to listen for more! - Program notes by the class �Upcoming Events Sunday, March 3, 2:30 p.m. (Free Admission) Donors Concert A special program given in appreciation of those who support School of Music scholarships and bursaries. Featured performers are award-winning students from the 2011-12 academic year. Phillip T. Young Recital Hall Friday, March 8, 8:00 p.m. Sonic Lab Adventures in the interior of a major chord - and “hausmusik” Ajtony Csaba, director Performing works by Gérard Grisey, Gordon Mumma, Pierluigi Billone, as well as some “Soundpainting.” Phillip T. Young Recital Hall (Admission by donation) Saturday, March 9, 1:00 p.m. Clarinet Class Recital Students from the studio of Patricia Kostek Phillip T. Young Recital Hall (Admission by donation) Sunday, March 10, 2:00 p.m. Piano Class Recital Students from the studio of May Ling Kwok Phillip T. Young Recital Hall (Admission by donation) Sunday, March 10, 8:00 p.m. Faculty Concert Series Scott MacInnes, trombone With guest, Kelly Charlton, piano Performing works by Camille Saint-Saens, Alexandre Guilmant and Jacob TV Phillip T. Young Recital Hall ($17.50 & $13.50) Tickets available at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca/tickets) 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 Class Recitals Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/030213-PianoClassRecital/030213-PianoClassRecital_01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/030213-PianoClassRecital/030213-PianoClassRecital_02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/030213-PianoClassRecital/030213-PianoClassRecital_03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/030213-PianoClassRecital/030213-PianoClassRecital_04.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/030213-PianoClassRecital/030213-PianoClassRecital_05.mp3">track5</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/030213-PianoClassRecital/030213-PianoClassRecital_06.mp3">track6</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/030213-PianoClassRecital/030213-PianoClassRecital_07.mp3">track7</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/030213-PianoClassRecital/030213-PianoClassRecital_08.mp3">track8</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/030213-PianoClassRecital/030213-PianoClassRecital_09.mp3">track9</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/030213-PianoClassRecital/030213-PianoClassRecital_10.mp3">track10</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/030213-PianoClassRecital/030213-PianoClassRecital_11.mp3">track11</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Piano Class Recital - Eva Solar-Kinderman 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 2, 2013 https://finearts.uvic.ca/music/archive/files/original/0b16457aa1a33abacfe023e9ecdfd20a.pdf 805159960bec945397e1873c9738c931 PDF Text Text Clarinet Class Recital P r o g r a m Four Pieces for clarinet and piano (1913) I. Mässsig II. Sehr Langsam Paul Gilchrist, clarinet Josh Herrett, piano Sonata for clarinet and piano, Op.167 I. Allegretto Brian Chou, clarinet* James Yi, piano Alban Berg (1885-1935) Camille Saint-Säens (1835-1921) *Student at St. Andrew’s High School Students from the studio of Patricia Kostek Five Bagatelles for clarinet and piano, Op. 23 V. Fughetta Erin Onyschtschuk, clarinet Laura Altenmueller, piano Gerald Finzi (1901-1956) Búsuló Juhász (Woeful Shepherd) Cantabile doloroso Leó Weiner (1885-1960) Elizabeth Anderson, clarinet Aaron Pang, piano Sonata for clarinet and piano (1962) II. Romanza Marcella Barz,clarinet Helen Krauch, piano Saturday, March 9, 2013, 1:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation www.finearts.uvic.ca/music/events Francis Poulenc (1899-1963) Romanian Folk Dances for clarinet and piano (1917) Béla Bartók Joc cu bâtă (Stick Dance) (1881-1945) Brâul (Sash Dance) Pê–loc (In One Spot) Buciumeana (Dance from Bucsum) Poarga Românească (Romanian Polka) Măruntel (Fast Dance) Sunny Chu, clarinet Louise Hung, piano �I n t e r m i s s i o n Fantasy Pieces for clarinet and piano, Op.73 Robert Schumann I. Zart und mit Ausdruck (1810-1856) Mark Kim, clarinet Harry Han, piano Quartet in C minor, Op. 4 Menuetto: Trio Caitlin Miller, clarinet Clair Huang, piano Scene and Air from Luisa di Montfort, op.82 William Constable, clarinet Liam Gibson, piano Fantaisie variée sur un vieil air champêtre pour clarinette et piano James Yi, clarinet Yvonne Fawcett, piano 5 Pieces for Clarinet Alone (1959) IV. Singing I. Vigorous Sydney Tetarenko, clarinet Bernhard Crusell (1775-1838) Michał Bergson (1820-1898) Louis Cahuzac (1880-1960) William O. Smith (b.1926) Visions for clarinet and piano Paul Harris II. Adagio, molto cantabile III. Allegro ma non tropo, poco maestoso Dominic Thibault, clarinet Gloria Grohovac, piano Sonatina for clarinet and piano, Op. 29 (1951) Malcolm Arnold II. Andantino (1921-2006) III. Furioso Emma Litzcke, clarinet Yvonne Fawcett, 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 Class Recitals Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/030913-ClarinetClassRecital/030913-ClarinetClassRecital_01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/030913-ClarinetClassRecital/030913-ClarinetClassRecital_02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/030913-ClarinetClassRecital/030913-ClarinetClassRecital_03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/030913-ClarinetClassRecital/030913-ClarinetClassRecital_04.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/030913-ClarinetClassRecital/030913-ClarinetClassRecital_05.mp3">track5</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/030913-ClarinetClassRecital/030913-ClarinetClassRecital_06.mp3">track6</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/030913-ClarinetClassRecital/030913-ClarinetClassRecital_07.mp3">track7</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/030913-ClarinetClassRecital/030913-ClarinetClassRecital_08.mp3">track8</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/030913-ClarinetClassRecital/030913-ClarinetClassRecital_09.mp3">track9</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/030913-ClarinetClassRecital/030913-ClarinetClassRecital_10.mp3">track10</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/030913-ClarinetClassRecital/030913-ClarinetClassRecital_11.mp3">track11</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/030913-ClarinetClassRecital/030913-ClarinetClassRecital_12.mp3">track12</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/030913-ClarinetClassRecital/030913-ClarinetClassRecital_13.mp3">track13</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Clarinet Class Recital - Patricia Kostek 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 9, 2013 https://finearts.uvic.ca/music/archive/files/original/aa58997afd73eb0e3bf7ef362b496aae.pdf f9b0ce3d627aa1498c34b6bd1fd4b4c9 PDF Text Text fridaymusic Phillip T. Young Recital Hall • University of Victoria October 11, 2013 Phillip T. Young Recital Hall Featuring guitar students from the class of Dr. Alexander Dunn Suite BWV 1009 Johann Sebastian Bach Prelude (1685 - 1750) Allemande Courante Natasha Pashchenko Two Pieces: Equinox Toru Takemitsu (1930 - 1996) Michael Chambers Suite BWV 1008 Prelude Johann Sebastian Bach Joshua Amendt-Moylan Divertimento III Andante Jordan Charette François de Fossa (1775 - 1849) Two Pieces: L’Addio a Trachis II Nolan Krell Salvatore Sciarrino (b. 1947) Forlorn Hope Fantasy Byron McIntosh John Dowland (1563 - 1626) Leyenda Guaraní Introducción Andante Adagio Allegro Agustín Barrios (1885 - 1944) Graeme Cruickshank � 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/101113-Fridaymusic/101113-FridayMusic_01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/101113-Fridaymusic/101113-FridayMusic_02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/101113-Fridaymusic/101113-FridayMusic_03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/101113-Fridaymusic/101113-FridayMusic_04.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/101113-Fridaymusic/101113-FridayMusic_05.mp3">track5</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/101113-Fridaymusic/101113-FridayMusic_06.mp3">track6</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/101113-Fridaymusic/101113-FridayMusic_07.mp3">track7</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fridaymusic 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 October 11, 2013 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 Guest Artist Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/101613-BruceGremo/101613-BruceGremo_01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/guest/101613-BruceGremo/101613-BruceGremo_02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/guest/101613-BruceGremo/101613-BruceGremo_03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/guest/101613-BruceGremo/101613-BruceGremo_04.mp3">track4</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bruce Gremo 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 October 16, 2013 Contributor An entity responsible for making contributions to the resource Bruce Gremo