27 10 1498 https://finearts.uvic.ca/music/archive/files/original/ce6d7b6b52911f45cd634fa4805c7377.pdf bb6e8c613126bed58ddc0abc4a7d70ce PDF Text Text GRADUATE RECITAL Moming Zhang, Piano Arthur Rowe, Piano 6th March, 2024, 8 pm Phillip T. Young Recital Hall, MacLaurin Building Free admission PROGRAM Romeo & Juliet suite Op. 75 I. Folk Dance II. Scene III. Minuet IV. Young Juliet V. Masks VI. Montagues and Capulets VII. Friar Laurence VIII. Mercutio IX. Dance of the Girls and Lilies X. Romeo and Juliet Before Parting S. Prokofiev (1891-1953) — INTERMISSION — Sonata No. 23 in f minor Op. 57 I. Allegro Assai II. Andante con moto III. Allegro ma non troppo Andante Spianato and Grande Polonaise Brillante Op.23 Moming Zhang is from the class of Professor Arthur Rowe. This recital is presented in partial fulfillment of the requirements for the Master of Music (Performance) program. L. Beethoven (1770-1827) F. Chopin (1810-1849) � 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/03062024-MomingZhangPianoRecital/03062024-MomingZhangPianoRecital_01.wav">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03062024-MomingZhangPianoRecital/03062024-MomingZhangPianoRecital_02.wav">Track 2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03062024-MomingZhangPianoRecital/03062024-MomingZhangPianoRecital_03.wav">Track 3</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 Degree Recital: Moming Zhang, piano (MMus) Creator An entity primarily responsible for making the resource Megan Harton Date A point or period of time associated with an event in the lifecycle of the resource March 6 2024 Contributor An entity responsible for making contributions to the resource Moming Zhang, Piano Arthur Rowe, Piano https://finearts.uvic.ca/music/archive/files/original/d63cc47bb7841e2447b285ee7a87c1ff.pdf 1eb1acea941f4934d1556a2e82fc9255 PDF Text Text DEGREE RECITAL Grace Vermette, Mezzo-Soprano Lucas Hung, piano Yvonne Usseni, soprano Monday, March 4th, 2024: 8:00pm Phillip T. Young Recital Hall, MacLaurin Building Free admission PROGRAM Vedrò con mio diletto (from Il Giustino) Antonio Vivaldi (1678 - 1741) Voi avete un cor Fedele, K. 217 Wolfgang Amadeus Mozart (1756 - 1791) Ariettes oubliées, Aquarelle V. Green VI. Spleen Claude Debussy (1862 - 1918) Le Bestiaire VI. La carpe La Courte Paille II. Quelle aventure! Francis Poulenc (1899 - 1963) ‘Letzte Blätter’ Op. 10, III. Die Nacht VIII. Allerseelen Richard Strauss (1864 - 1949) — INTERMISSION — Three Duets on Texts by Heinrich Heine I. Wenn ich in deine Augen sehe Fanny Hensel (1805 - 1847) Yvonne Usseni, soprano In weite Ferne Josephine Lang (1815 - 1880) Sea Pictures, op. 37 I. Sea Slumber Song II. In Haven III. Sabbath Morning at Sea IV. Where Corals Lie V. The Swimmer Grace Vermette is from the class of Professor Benjamin Butterfield. This recital is presented in partial fulfillment of the requirements for the Bachelor of Music Performance program. Sir Edward Elgar (1857 - 1934) �Vedrò con mio diletto I’ll see to my delight Vedrò con mio diletto L'alma dell'alma mia Il core del mio cor Pien di contento I’ll see to my delight The soul of my soul The heart of my heart Full of happiness Vedrò con mio diletto L'alma dell'alma mia Il core di questo cor Pien di contento I’ll see to my delight The soul of my soul The heart of this heart Full of happiness E se dal caro oggetto Lungi convien che sia Sospirerò penando ogni momento And if from my dear one I must be parted I will sigh and suffer every moment Voi avete un cor Fedele You have a heart faithful Voi avete un cor fedele, Come amante appassionato: Ma mio sposo dichiarato, Che farete? Cangerete? Dite, allora che sarà? Manterrete fedeltà? Ah! non credo. Già prevedo, Mi potreste corbellar. Non ancora, Non per ora, Non mi vuò di voi fidar. You have a heart faithful Like a passionate lover: But my avowed groom, What will you do? Will you change? Say then, so what will it be? Will you remain faithful? Ah! I do not think so. I already predict, You will make a fool of me. Not yet, Not for now, I don’t want to trust you. Green Green Voici des fruits, des fleurs, des feuilles et des branches Et puis voici mon cœur qui ne bat que pour vous. Ne le déchirez pas avec vos deux mains blanches Et qu’à vos yeux si beaux l’humble présent soit doux. Here are fruits, flowers, leaves, and branches And here is my heart that beats only for you Do not tear it up with your two white hands And may your beautiful eyes find the humble gift sweet. J’arrive tout couvert encore de rosée Que le vent du matin vient glacer à mon front. Souffrez que ma fatigue à vos pieds repose Rêve des chers instants qui la délasseront. I come all covered still with dew That the morning breeze has frozen to my brow. Let my weariness find rest at your feet Dreaming of dear moments that will soothe it. Sur votre jeune sein laissez rouler ma tête Toute sonore encore de vos derniers baisers; Laissez-la s’apaiser de la bonne tempête, Et que je dorme un peu puisque vous reposez. To your young breast let my head go Still full of the sound of your last kisses; Let it calm down from the good tempest, And let me sleep a little, since you rest. Spleen Spleen Les roses étaient toutes rouges Et les lierres étaient tout noirs. Chère, pour peu que tu te bouges, Renaissent tous mes désespoirs. The roses were all red And the ivies were all black Dear, as soon as you move All of my despairs are reborn Le ciel était trop bleu, trop tendre, La mer trop verte et l’air trop doux. Je crains toujours,—ce qu’est d’attendre!— Quelque fuite atroce de vous. The sky was too blue, too tender The sea too green and the air too sweet. I am still afraid, --What it is to await!-Some excruciating flight from you. Du houx à la feuille vernie Et du luisant buis je suis las, Et de la campagne infinite Et de tout, fors de vous, hélas! Of the holly and the glossy leaves And of the shining boxwood I am weary, And of the endless countryside And of all but you, alas! �La Carpe The Carp Dans vos viviers, dans vos étangs Carpes, que vous vives longtemps! Est-ce que la mort vous oublie, Poissons de la mélancolie. In your pools, in your ponds Carp, what a long life you live! Could it be that death forgot you, Fish of melancholy? Quelle aventure! What an adventure! Une puce, dans sa voiture, Tirait un petit éléphant En regardant les devantures Où scintillaient les diamants. Mon Dieu! Mon dieu! Quelle aventure! Qui va me croire, s’il m’entend? A flea, in his carriage, Was pulling a little elephant along Watching the store fronts Where diamonds were sparkling My goodness! My goodness! What an adventure! Who will believe it if they hear me? L’ éléphanteau, d’un air Absent, Suçait un pot de confiture. Mais la puce n’en avait cure, Elle tirait en souriant. Mon Dieu! Mon Dieu! Que ce la dure Et je vais me croire dement! The elephant, of an absent air, Sucked on a pot of jam. But the flea did not take notice, She was pulling and smiling. My goodness! My goodness! If this goes on, I will believe I’m mad! Soudain, le long d’une clôture, La puce fondit dans le vent Et je vis le jeune éléphant Se sauver en fendant les murs. Mon Dieu! Mon Dieu! La chose est sure, Mais comment le dire à maman? Suddenly, along a fence The flea flew off in the wind And I saw the the young elephant Dash off, splitting the walls. My goodness! My goodness! It is true, But how will I tell mama? Die Nacht The Night Aus dem Walde tritt die Nacht, Aus dem Baümen schleicht sie leise, Schaut sich um in weitem Kreise, Nun gib Acht! Out of the wood treads the night, Out of the trees she creeps softly, Gazes around in a wide circle, Now beware! Alle Lichter dieser Welt, Alle Blumen, alle Farben Löscht sie aus und stielht die Garben Weg vom Feld. All the lights of the world, All flowers, all colours She erases them and steals the sheaves Away from the field. Alles nimmt sie, was nur hold, Nimmt das Silber weg des Stroms Nimmt vom Kupferdach des Doms Weg das Gold. She takes everything that is dear, Takes the silver away from the streams Takes from the copper roof of the cathedral Away the gold. Ausgeplündert steht der Strauch: Rücke näher, Seel’ an Seele O die Nacht, mir bangt, sie stehle Dich mir auch. The shrub stands plundered: Come closer, soul to soul Oh the night, I fear, she will steal You from me too. �Allerseelen All Souls Day Stell auf den Tisch die duftenden Reseden, Die letzten roten Astern trag herbei, Und laß uns wieder von der Liebe reden, Wie einst im Mai. Put on the table the fragrant reseda, Bring the last red asters here, And let us speak of love again, As once in May. Gib mir die Hand, daß ich sie heimlich drücke, Und wenn man’s sieht, mir ist es einerlei, Gib mir nur einen deiner süßen Blicke, Wie einst im Mai. Give me your hand, that I may secretly press it, And if people see it, I do not mind, Give me but one of your sweet glances As once in May. Es blüht und duftet heut auf jedem Grabe, Ein Tag im Jahr ist ja den Toten frei, Komm am mein Herz, daß ich dich wieder habe, Wie einst im Mai. It blooms and is fragrant today on every grave, One day a year is free for the dead, Come to my heart, that I may have you again, As once in May. Wenn ich in deine Augen sehe When I look into your eyes Wenn ich in deine Augen seh’, So schwindet all’ mein Leid und Weh’; Doch wenn ich küsse deinen Mund, So werd’ ich ganz und gar gesund. When I look into your eyes, So vanishes all my sorrow and pain; But when I kiss your lips, I am wholly and fully healed. Wenn ich mich lehn’ an deine Brust, Kommt’s über mich wie Himmelslust; Doch wenn du sprichst: ich liebe dich! So muss ich weinen bitterlich. When I lean against your breast, Heavenly delight comes upon me; But when you say: I love you! So must I weep bitterly. In weite Ferne Far Away In weite Ferne will ich träumen, Da, wo Du weilst! Wo aus den schneeig hellen Räumen Die Bäche in die Seen schäumen! Da, wo Du weilst! I want to dream into the far distance, There, where you tarry! Where from the snowy bright spaces The streams foam into the lakes! There, where you tarry! Will mit Dir durch die Berge streifen Da, wo Du weilst! Wo auf dem Eisfeld Gemsen schweifen, Im warmen Thale Feigen reifen Da, wo Du weilst! I want to roam the mountains with you There where you tarry! Where the goats roam on the glaciers, Figs ripen in the warm valley! There where you tarry! Und Heimlich will ich weiter lieben, Wenn Du heimkehrst! Es soll die Zeit mich nicht betrüben, Wir sind dieselben noch geblieben! Wenn Du heimkehrst! And secretly I wish to continue loving, When you return home! Time shall not grieve me, We are still the same! When you return home! � 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/03042024-DegreeRecitalGraceVermetteVoice/03042024-DegreeRecitalGraceVermetteVoice-001.wav">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03042024-DegreeRecitalGraceVermetteVoice/03042024-DegreeRecitalGraceVermetteVoice-002.wav">Track 2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03042024-DegreeRecitalGraceVermetteVoice/03042024-DegreeRecitalGraceVermetteVoice-003.wav">Track 3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03042024-DegreeRecitalGraceVermetteVoice/03042024-DegreeRecitalGraceVermetteVoice-004.wav">Track 4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03042024-DegreeRecitalGraceVermetteVoice/03042024-DegreeRecitalGraceVermetteVoice-005.wav">Track 5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03042024-DegreeRecitalGraceVermetteVoice/03042024-DegreeRecitalGraceVermetteVoice-006.wav">Track 6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03042024-DegreeRecitalGraceVermetteVoice/03042024-DegreeRecitalGraceVermetteVoice-007.wav">Track 7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03042024-DegreeRecitalGraceVermetteVoice/03042024-DegreeRecitalGraceVermetteVoice-008.wav">Track 8</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03042024-DegreeRecitalGraceVermetteVoice/03042024-DegreeRecitalGraceVermetteVoice-009.wav">Track 9</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 Degree Recital: Grace Vermette, voice (BMus) Creator An entity primarily responsible for making the resource Megan Harton Date A point or period of time associated with an event in the lifecycle of the resource March 4 2024 Contributor An entity responsible for making contributions to the resource Grace Vermette, Mezzo-Soprano Lucas Hung, piano Y vonne Usseni, soprano https://finearts.uvic.ca/music/archive/files/original/46d14006ccbeee69cd8b5d3c713d0469.pdf d5c450d113f87385e232d83b8adbf929 PDF Text Text DEGREE RECITAL Composition Graduation Recital Sunday, March 3rd, 2024, 7:30 Phillip T. Young Recital Hall, MacLaurin Building Free admission PROGRAM or somethiNg Liam McDonald-Horak Eóghan Bostock – piano, Sophie Hillstrom – viola, Matteo Toyata – Cello Systématique Nicholas Selig I. La poursuite de l’émotion II. Expression de l’individualitè Michelle Wolfenden – flute, Max Niiranen – french horn, Jayda Thor – cello, Bailey Lehman – piano liiiving,,, imiiitating,,, reiiimagining ruuuby iriiis kœœœp ruuuby iriiis kœœœp Please silence all electronic devices. �Trilogía Naomi Sehn I. Detente Sombra II. Quejase de la suerte II. La luz pura Abby Corpus - Voice, Madison Blackman - Voice, Akina Kishiyama - Voice, Julianna Reid - Voice, Bella Kershaw - Voice, Olivia Jackson - Voice, Bree Anne Bartle-Clar - Voice, Olivia Pryce-Digby - Voice Firmament Alex Matterson Faith Fehr – Bass, Colwyn Lewis – bass, Alex Matterson – electronics Thunderphone Nathaniel Ritter Cell Phones - Audience Alex, Ruby, Liam, Naomi, Nick, and Nathaniel are from the classes of Ajtony Csaba, Dr. Anthony Tan, and Dr. Patrick Boyle. This recital is presented in partial fulfillment of the requirements for the Bachelor of Music (Composition) program. Please silence all electronic devices. � 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/03032024-DegreeRecital;CompositionGraduationRecital/03032024-DegreeRecital;CompositionGraduationRecital-001.wav">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03032024-DegreeRecital;CompositionGraduationRecital/03032024-DegreeRecital;CompositionGraduationRecital-002.wav">Track 2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03032024-DegreeRecital;CompositionGraduationRecital/03032024-DegreeRecital;CompositionGraduationRecital-003.wav">Track 3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03032024-DegreeRecital;CompositionGraduationRecital/03032024-DegreeRecital;CompositionGraduationRecital-004.wav">Track 4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03032024-DegreeRecital;CompositionGraduationRecital/03032024-DegreeRecital;CompositionGraduationRecital-005.wav">Track 5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03032024-DegreeRecital;CompositionGraduationRecital/03032024-DegreeRecital;CompositionGraduationRecital-006.wav">Track 6</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 Degree Recital: Student Composers Description An account of the resource Naomi Sehn, Nathaniel Ritter, Ruby Koep, Alex Matterson, Nick Selig, and Liam M. Horak present their Bachelor of Music recital for composition. Contributor An entity responsible for making contributions to the resource Eóghan Bostock – piano, Sophie Hillstrom – viola, Matteo Toyata – Cello Michelle Wolfenden – flute, Max Niiranen – french horn, Jayda Thor – cello, Bailey Lehman – piano ruuuby iriiis kœœœp Abby Corpus - Voice, Madison Blackman - Voice, Akina Kishiyama - Voice, Julianna Reid - Voice, Bella Kershaw - Voice, Olivia Jackson - Voice, Bree Anne Bartle-Clar - Voice, Olivia Pryce-Digby - Voice Faith Fehr – Bass, Colwyn Lewis – bass, Alex Matterson – electronics Creator An entity primarily responsible for making the resource Megan Harton https://finearts.uvic.ca/music/archive/files/original/c05823c837359cf3b02c8788480f4595.pdf 5a8ad4027e478f25d55093feb1723256 PDF Text Text SCHOOL OF MUSIC • UNIVERSITY OF VICTORIA FACULTY CONCERT SERIES LEBEWOHL. A FINAL RECITAL BRUCE VOGT PIANO WITH SPECIAL GUEST JAN ZWICKY SATURDAY, MARCH 2, 2024 | 8 PM Phillip T. Young Recital Hall MacLaurin Building, University of Victoria �PROGRAM We acknowledge and respect the Lekwungen peoples on whose traditional territory the university stands and the Songhees, Esquimalt and WSÁNEĆ peoples whose historical relationships with the land continue to this day. Goe From My Window John Munday (1555–1630) Sonata in D Major Hob XVI:42 (1784) i. Andante con espressione ii. Vivace assai Joseph Haydn (1732–1809) i. Les Cyclopes from Suite in D Major (1706) Jean-Phillipe Rameau ii. L’enharmonique from Suite in G minor (1729-30) (1683-1784) Two Meditations: Andante in A Major, D. 604 (c. 1817) Nocturne in B Major, Opus 62, No. 1 (1846) Franz Schubert (1797–1828) Frédéric Chopin (1810–1849) I NT E R M I S S I O N The late vision of Franz Liszt (1811–1886) Valses oublieé No. 1 (1881) Bagatelle sans tonalité (1885) Aux cyprès de la Villa d’Este: Threnodie (1877) — Reading by Jan Zwicky — Schaflos! Frage und Antwort (1883) Resignazione (1881) Transcendence Bénédiction de Dieu dans la solitude (Hymn to God in My Solitude) (1851) All are welcome to join for a reception in the lounge. �PROGRAM NOTES Munday: Goe From My Window I have loved the music of the Elizabethan virginalists since first being introduced to it as an undergrad student, but I have never attempted a performance. Now seems to be the time. Many composers wrote sets of variations on the popular song ‘Goe From My Window’ but the song itself is now lost. The identity of the composer of this set remains a bit of a mystery. It is ascribed to two different composers in the Fitzwilliam Virginal Book, which is the most important collection of English keyboard music from the Elizabethan and post-Elizabethan period. The first version has seven variations with the composer listed as Thomas Morley. But later, in the same collection, the composition appears again, this time with an added eighth variation and with the composer listed as John Mundy (or Jhon Munday — the Elizabethans evidently couldn’t spell). Did this Munday/ Mundy simply purloin the first seven variations and add another, claiming sole authorship? Perhaps the two composers reached an agreement over a flagon of ale. Certainly, the additional variation concludes the composition much more satisfyingly. But rather than getting too involved in this mystery, we can instead simply ascribe the authorship to Francis Bacon. Haydn: Sonata in D Major Hob XVI:42 Haydn often included in his sonatas a variation movement, with alternating tonic major and minor variations. This two-movement sonata begins wistfully with such a movement. The second vivace movement takes a very long time to make up its mind that it truly is in D Major. The wit, along with the full-hearted humanity of this composer, remain for us a great gift. Two pieces by Rameau: Les Cyclopes The solitude, strength and clumsiness of Cyclops were at that time a frequent theme on the stage, here rendered with style and continuous invention. And even after the many pianistic developments in the 19th century, Les Cyclopes retains the ability to astonish both the performer and the listener. Here, Rameau the theorist, is also a man of the theatre. He wished the “pleasure of the eyes” to be matched with the “pleasure of the ears”. And to support this show of virtuosity, he indicated directly on the score when to rotate the thumb or where to cross hands with little circles and precise fingerings — dramatic movements that challenge the performer and catch the eye of the observer. �L’Enharmonique At a time when keyboard music was increasingly free from a dependence on basso continuo, Rameau imagined that L’Enharmonique would baffle a contemporary audience with its extreme chromatism and striking harmonic progressions. In the present day, these qualities gently disorient and charm the listener, while they somehow anticipate the romantic tradition of 19th century piano music. We are perhaps no longer confused by its harmonic audacity, but the sustained uncertainty has a role in surrendering us to its emotion. Two Meditations: Schubert: Andante “Schubert’s tonality is as wonderful as star clusters, and a verbal description of it is as dull as a volume of astronomical tables.” [D. F. Tovey] At the time of Schubert’s death, only his own circle of friends was familiar with his music — and even they knew him mostly as a song composer. Most of his instrumental music had not yet been published. Many of these works would not be heard for decades. His 9 symphonies (7 complete), 15 string quartets, many other chamber works, 21 piano sonatas (13 complete), masses, other choral works and many more — were almost all unknown then. And when these works were finally being heard and pondered over, too often they were patronized as structurally flawed. Even 50 years ago it was not uncommon to hear that many of Schubert’s instrumental works were undisciplined. There were, however, a few champions of note. Liszt and Brahms were among the first to recognize Schubert’s achievement as an instrumental composer. And in 1894, Antonín Dvořák wrote: “[He] is never at fault in his means of expression, while mastery of form came to him spontaneously… Schubert’s musical individuality is unmistakable...” Of course, his audience long ago grew far beyond a small circle of friends, and yet the sense of intimacy with Schubert’s music remains. It can feel as if each work has been written for us personally, moving us all the more profoundly. That has been very much my experience: Schubert’s music has been a constant companion throughout my musical life. This seemingly unprepossessing Andante brings to this programme the enduring depth of his presence. It is an early work, likely unmoored from an unfinished sonata. Thus, it reflects the fate of much of his music: to be discovered late and understood intimately later still. Chopin: Nocturne, Opus 62, No. 1 The Irish composer and pianist John Field (1782–1837) may have been the first to use the title “Nocturne” for a single solo piano work. The genre was young and free when Chopin took from Field the characteristic device of creating, with the left hand, a web-like accompaniment by means of intricate broken chord figurations, which sup- �ports and enriches an aria-like melody above. And all of this unified with the use of the sustaining pedal. To this, Chopin added his own original harmonic language and his command of long sustained lyricism. The two Nocturnes, opus 62, were written very near the end of his compositional life and three years before his death. In this first of the pair, one scarcely notices the contrapuntal richness which is unobtrusively everywhere, yet discreetly absorbed into the ongoing vocal texture. The Late Vision of Franz Liszt In his last years, Liszt spent his time teaching and composing, he did nothing to make these late compositions known and even discouraged his students from playing them. The works I chose for this program were all written in those later years, works surrounded by silence, and addressed to an uncertain future. They represent a radical break from his earlier compositions, and he expected no success for them in his lifetime. Composing them was a means — in his words — of ‘hurling a lance into the future’. In 1873, he wrote to his friend, the Hungarian composer Mosonyi, about his continued dedication to composing, despite contemporary indifference: “Yet there still remain several things for me to say, irrespective as to whether they may be quickly understood or recognized. Sometime when I am no longer of this earth, the rest will find itself. I can calmly await the event while I go on working, and meanwhile composedly expiate my virtuoso reputation with the disapproval my compositions have excited.” And so it was. Not until the enthusiastic advocacy of Bartók, Busoni and others, were these late works recognized for what they are — a most astounding anticipation of major new paths which Western music was to follow. In their radical simplicity, obsessive rhythms, and strange harmonies, they take the listener to the very brink of tonality. But these works are more than anticipations of the future, curiosities for music historians, or the ruminations from the composer’s last years. Liszt’s biographer, Alan Walker, focuses on their expression of depression and despair — and Liszt did describe his last years as a time when “exuberance of heart turned to bitterness of heart.” But I hear in these late works an extension of Liszt’s life-long spiritual inquiries, a courageous and unrelenting gaze into the abyss. He finds much terror there but also much beauty. They represent the achievement and the sum of a life devoted to music and spiritual questioning. For me, these are works which meditate on the human condition.To live our lives fully and truly is to face, at every turn, our own mortality: how we must die and how everything that we hold dear — those we love, the things that resonate throughout our lives — will disappear, often painfully and in a protracted way. The preciousness of the things we value will not change this reality. The gap between the meaningfulness, the preciousness of life and its fleeting grain-of-sand nature cannot be closed by thought or by argument. Nor can it be put aside by what D. H. Lawrence calls “the dead vanity of knowing better …the blank / cold comfort of superiority, [the] silly / conceit of being immune.” �Surely, it is a privilege of art that it can hint at a way of closing — or at least lessening — the gap. Liszt wrote three Valses oubliées, or “forgotten waltzes,” between 1881 and 1885; a fourth was left almost completed. All of them share a kind of other-worldly strangeness. The first, the most familiar of the three, has the giddiness of the waltz — yet something sinister is perhaps suggested. It seems to come from afar, and to be vaguely out of tune, unattainable. The Fourth Mephisto Waltz: Bagatelle sans tonalité was written sometime between 1883 and 1885. It remained unknown until 1956, when it was finally published in Budapest. This publishing history demonstrates both the incomprehension with which these late works were received and the composer’s listless indifference to their fate. Now, more than a century later, this work fascinates us for the very reasons that made it incomprehensible in the 1880s. Liszt spent a good part of each year from 1864 onward in the Villa d’Este — a 16th century castle in a park in Tivoli near Rome. It is famous for its elaborate fountains, but it is also renowned for its ancient cypresses, which became the inspiration for two Threnodies. The two Aux Cyprès de la Villa d’Este (Among the Cypresses of the Villa d’Este) are ruminations on the ephemeral nature of existence. “For three whole days, in September 1877, Liszt spent every hour of sunlight and as much of night as was made visible by the moon, in admiration of the cypresses. They obsessed his thoughts to the exclusion of all else” — words of one of Liszt’s biographers, Sacheverell Sitwell. Schlaflos! Frage und Antwort (Sleepless! Question and Answer) was inspired by a poem by Toni Raab, which is now lost.The distinguished poet and philosopher, Jan Zwicky, has generously agreed to reverse the original process: instead of a composition inspired by a poem, she is giving us a poem inspired by the composition. As is the case with so many of Liszt’s late works, nothing is known of the origin of the simple and touching Resignazione. Transcendental Vision The greatest of Liszt’s many religious compositions is Bénédiction de Dieu: Blessing of God in Solitude — based on a poem by Lamartine. Surely this is one of Liszt’s most moving masterpieces, but also one of the few religious works of the 19th century that is not suffused with a kind of stained-glass sentimentality. It describes a mystical experience, bringing a sense of harmony with the universe, a freedom from doubt and despair. One does not need to share Liszt’s religious convictions — or indeed, any religious conviction — to feel the power of this vision. Such moments of clarity seem to be found in all religions, and even among those who would call themselves atheists. Perhaps, as Carol Shields suggests, we all have some intimation of these moments in time: “…those… rare transcendental moments when you suddenly feel everything makes �sense and you perceive the pattern of the universe. I think we all get a few of these minutes.” My brother Gordon, who died more than 40 years ago, once told me of his own such mystical experience: I had gone for a walk in the autumn heat, through the vibrant air of the woods. As I was returning from the woods, my head filled with fresh air, I watched the slanting beams of the setting sun turning the grey brush gold where the light had managed to penetrate the trees, and I felt drawn to get as close to the sun as I possibly could before it disappeared across the lake. I picked my way down as close to the edge of the water as I could and still stand comfortably. I am not a religious man. But balancing there, the dry scent of dead leaves and the heady essence of pine and cedar in my nostrils, and with the dying sun of the dying year still warm on my face, l had as close to a religious experience as I am capable of imagining. As I stood there, eyes closed, I felt my arms slowly lift’ from my sides until they were slightly above shoulder level, my palms open to the sun, fingers yawning. I don’t know how long I maintained that position, but I know that when I felt the sun’s last beams cool on my forehead I felt utterly and strangely full. I have no idea why but I suddenly found myself sobbing uncontrollably, my whole being full of an indescribable feeling of joy. Blessing of God in Solitude Whence does it come to me, O my God! this peace which floods over me? Whence comes this faith with which my heart overflows? To me, who so recently was uncertain, restless, and tossed about on the waves of doubt, Searching for the good, for the truth, in the dreams of sages, And for peace in hearts resounding with turmoil. It is but a few days that have slipped by, Yet it seems that a century and a world have passed away; And that, separated from all of that by an immense abyss, A new man within me is reborn and begins again. (Alphonse de Lamartine) �BIOGRAPHIES Bruce Vogt is a Canadian pianist and teacher who has received praise internationally for his mesmerizing performances, inspiring audiences across Canada and abroad. He has given recitals across Europe, as a soloist and with chamber ensembles, in such major centres as London, Paris and Prague, as well as in venues in Germany, Italy, Slovenia, Bulgaria and Romania. His upcoming visit to Japan in May of 2024 will be his sixteenth Japanese tour. He has also performed and taught in China. Vogt grew up in Southern Ontario where he studied with Damjana Bratuz and Anton Kuerti. Later, he studied in the U.S. and Europe with Gyorgy Sebok, Louis Kentner, Fou Ts’Ong, Dario de Rosa and other notable musicians. In addition to his career as a soloist and chamber musician, Vogt is Professor at the University of Victoria. Because he sees teaching and working with young pianists and teachers as an important commitment, he leads masterclasses and workshops and adjudicates for festivals. In recent years, he has received many invitations in Canada and abroad to indulge another of his passions — improvising accompaniments to great films of the silent era. He has played for and lectured on films by Chaplin, Keaton, Lloyd, Griffith, Murnau, Sjöström, Lubitsch and others. Jan Zwicky is the author of over twenty books of poetry and prose including Songs for Relinquishing the Earth, Wisdom & Metaphor and, with co-author Robert Bringhurst, Learning to Die: Wisdom in the Age of Climate Crisis. She was educated at the Universities of Calgary and Toronto and, in the 80s and 90s, developed the first courses in environmental studies at several Canadian universities. Her poetry has been published in translation in several European languages, and she has read and lectured widely in North America and Europe. Zwicky grew up in the northwest corner of the Great Central Plain on Treaty 6 territory and currently lives on Quadra Island, unceded territory with a complex history including Coast Salish and Kwakwalan influences. She is a serious gardener, a musician, and an amateur naturalist. Full schedule of School of Music concerts & events. www � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Concert Series Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/%20https://finearts.uvic.ca/music/archive/uploads/faculty/03022024-LebewohlBruceVogt/03022024-LebewohlBruceVogt_01.wav">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/%20https://finearts.uvic.ca/music/archive/uploads/faculty/03022024-LebewohlBruceVogt/03022024-LebewohlBruceVogt_02.wav">Track 2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/%20https://finearts.uvic.ca/music/archive/uploads/faculty/03022024-LebewohlBruceVogt/03022024-LebewohlBruceVogt_03.wav">Track 3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/%20https://finearts.uvic.ca/music/archive/uploads/faculty/03022024-LebewohlBruceVogt/03022024-LebewohlBruceVogt_04.wav">Track 4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/%20https://finearts.uvic.ca/music/archive/uploads/faculty/03022024-LebewohlBruceVogt/03022024-LebewohlBruceVogt_05.wav">Track 5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/%20https://finearts.uvic.ca/music/archive/uploads/faculty/03022024-LebewohlBruceVogt/03022024-LebewohlBruceVogt_06.wav">Track 6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/%20https://finearts.uvic.ca/music/archive/uploads/faculty/03022024-LebewohlBruceVogt/03022024-LebewohlBruceVogt_07.wav">Track 7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/%20https://finearts.uvic.ca/music/archive/uploads/faculty/03022024-LebewohlBruceVogt/03022024-LebewohlBruceVogt_08.wav">Track 8</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/%20https://finearts.uvic.ca/music/archive/uploads/faculty/03022024-LebewohlBruceVogt/03022024-LebewohlBruceVogt_09.wav">Track 9</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/%20https://finearts.uvic.ca/music/archive/uploads/faculty/03022024-LebewohlBruceVogt/03022024-LebewohlBruceVogt_10.wav">Track 10</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/%20https://finearts.uvic.ca/music/archive/uploads/faculty/03022024-LebewohlBruceVogt/03022024-LebewohlBruceVogt_11.wav">Track 11</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/%20https://finearts.uvic.ca/music/archive/uploads/faculty/03022024-LebewohlBruceVogt/03022024-LebewohlBruceVogt_12.wav">Track 12</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/%20https://finearts.uvic.ca/music/archive/uploads/faculty/03022024-LebewohlBruceVogt/03022024-LebewohlBruceVogt_13.wav">Track 13</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 Faculty Concert: Lebewohl. A Final Recital by Bruce Vogt, piano Description An account of the resource Bruce Vogt has been Professor of Piano at the UVic School of Music since 1980 and will retire this June. Join us for Vogt’s final performance at the School of Music with captivating piano works by Haydn, Rameau, Schubert, Chopin and Liszt. Creator An entity primarily responsible for making the resource Megan Harton Date A point or period of time associated with an event in the lifecycle of the resource March 2 2024 Contributor An entity responsible for making contributions to the resource Bruce Vogt Jan Zwicky https://finearts.uvic.ca/music/archive/files/original/29392ccea08265a49929c8d2ef4511a0.pdf 7617fec1fc59eb0ed9a0160e0ff335b5 PDF Text Text fridaymusic School of Music Phillip T. Young Recital Hall, University of Victoria MARCH 1, 2024 | 12:30 PM Featuring School of Music Woodwind students We acknowledge and respect the Lekwungen peoples on whose traditional territory the university stands and the Songhees, Esquimalt and WSÁNEĆ peoples whose historical relationships with the land continue to this day. Sonata in C Major, Op. 6, No. 1 Joseph Bodin de Boismortier I. Rondement (1689–1755) II. Sicilienne III. Gavotte I & II Kerry Graham, bassoon Yousef Shadian, harpsichord La cheminée du roi René I. Cortège II. Aubade III. Jongleurs IV. La Maousinglade V. Joutes sur l’Arc VI. Chasse à Valabre VII. Madrigal Nocturne Darius Milhaud (1892–1974) Isabella Nguyen, flute Dominic Calderer, oboe Carlos Santos, clarinet Sam McNally, horn Spencer Leong Cowie, bassoon Oiseaux d’argent Eva Bradávková Ainsley Mercer Michelle Wolfenden Crickets Xavier Marican, alto saxophone Sylvan Wilkinson, alto saxophone Wind Quintet in A-flat, Op. 14 I. Allegro Moderato Lauren Debeljak, flute Kiara Hosie, oboe Chensi Liu, clarinet Shanna DeForest, French horn Eli Lyons, bassoon Rhapsodish Sylvan Wilkinson, soprano saxophone Madison Wang, alto saxophone Caiden Meyer, tenor saxophone Xavier Marican, baritone saxophone Klaus Huber (1924–2017) Jordan Reed (b. 1986) Gustav Holst (1874–1934) Alexis Ciesla (b. 1967) � 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/03012024-FridayMusic-Woodwinds/03012024-FridayMusic-Woodwinds-001.wav">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03012024-FridayMusic-Woodwinds/03012024-FridayMusic-Woodwinds-002.wav">Track 2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03012024-FridayMusic-Woodwinds/03012024-FridayMusic-Woodwinds-003.wav">Track 3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03012024-FridayMusic-Woodwinds/03012024-FridayMusic-Woodwinds-004.wav">Track 4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03012024-FridayMusic-Woodwinds/03012024-FridayMusic-Woodwinds-005.wav">Track 5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03012024-FridayMusic-Woodwinds/03012024-FridayMusic-Woodwinds-006.wav">Track 6</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: Woodwinds Creator An entity primarily responsible for making the resource Megan Harton Date A point or period of time associated with an event in the lifecycle of the resource March 1 2024 Contributor An entity responsible for making contributions to the resource Kerry Graham, bassoon Yousef Shadian, harpsichord Isabella Nguyen, flute Dominic Calderer, oboe Carlos Santos, clarinet Sam McNally, horn Spencer Leong Cowie, bassoon Eva Bradávková Ainsley Mercer Michelle Wolfenden Xavier Marican, alto saxophone Sylvan Wilkinson, alto saxophone auren Debeljak, flute Kiara Hosie, oboe Chensi Liu, clarinet Shanna DeForest, French horn Eli Lyons, bassoon Sylvan Wilkinson, soprano saxophone Madison Wang, alto saxophone Caiden Meyer, tenor saxophone Xavier Marican, baritone saxophone https://finearts.uvic.ca/music/archive/files/original/5029263baef5dae4b3c1f88dfd097172.pdf 6bafc4dfcaf1aa42c583a0159d3a9225 PDF Text Text GRADUATE RECITAL Chensi Liu, clarinet Jany Lu, piano Wednesday, February 28th, 2024 | 8 PM Phillip T. Young Recital Hall, MacLaurin Building Free admission PROGRAM Soliloquies Leslie Bassett 1923 –2016 I. Fast, aggressive, driving, dramatic II. Flowing, singing III. Fast, abrasive, contentious IV. Slow, Lyrical, expressive Clarinet Sonata op. 167 Camille Saint-Saens 1835-1921 I. Allegretto II. Allegro animato III. Lento IV. Molto allegro Jany Lu, piano — INTERMISSION — Drei Romanzen op.94 Robert Schumann 1810 –1856 I. Nicht schnell II. Einfach, innig III. Nicht schnell Jany Lu, piano Fantasia on the Opera La Traviata Ronato Lovreglio 1841 –1901 Jany Lu, piano Chensi Liu is from the class of Professor David Boutin-Bourque. This recital is presented in partial fulfillment of the requirements for the Master of Music (Performance) program. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Graduation Recitals Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/02282024-GraduateRecitalChensiLiu/02282024-GraduateRecitalChensiLiu-001.wav">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/02282024-GraduateRecitalChensiLiu/02282024-GraduateRecitalChensiLiu-002.wav">Track 2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/02282024-GraduateRecitalChensiLiu/02282024-GraduateRecitalChensiLiu-003.wav">Track 3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/02282024-GraduateRecitalChensiLiu/02282024-GraduateRecitalChensiLiu-004.wav">Track 4</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 Degree Recital: Chensi Liu, clarinet (MMus) Creator An entity primarily responsible for making the resource Megan Harton Date A point or period of time associated with an event in the lifecycle of the resource February 28 2024 Contributor An entity responsible for making contributions to the resource Chensi Liu, clarinet Jany Lu, piano https://finearts.uvic.ca/music/archive/files/original/08cd9f88f2c36dfa2559cd44f454f0a1.pdf 88a5f54ca3b15fa9dbf1448d35c6ec48 PDF Text Text ANNUAL SOLO BACH COMPETITION UVIC TUESDAY, FEBRUARY 27, 2024 | 6:30 PM Phillip T. Young Recital Hall, MacLaurin Building, University of Victoria Admission by donation We acknowledge and respect the Lekwungen peoples on whose traditional territory the university stands and the Songhees, Esquimalt and WSÁNEĆ peoples whose historical relationships with the land continue to this day. PROGRAM Johann Sebastian Bach (1685–1750) For fairness, the order of the program is determined by a draw just prior to the competition. Violin Sonata No. 1 in G Minor, BWV 1001 II. Fuga Jade Chu, violin Cello Suite No. 1 in G Major, BWV 1007 I. Prélude II. Allemande III. Courante IV. Sarabande V. Minuet 1 & 2 VI. Gigue Andrew Loe, viola Sonata No. 1 in G Minor, BWV 1001 I. Adagio II. Fuga Allegro III. Siciliana IV. Presto Cello Suite No. 3 in C Major, BWV 1009 I. Prélude II. Allemande III. Courante IV. Sarabande V. Bouree I & II VI. Gigue Sophie Hillstrom, viola Cello Suite No. 1 in G Major, BMV 1007 I. Prélude II. Allemande III. Courante IV. Sarabande V. Minuets 1 & 2 VI. Gigue Jayda Thor, cello Megan Bibby, violin CAST YOUR VOTE! Following the program, please cast a ballot for the Audience Prize while the judges confer (5-10 minutes). Ballots are available by the Recital Hall entrance and will be counted once all ballots are received. We ask that only audience members who have listened to all performances cast a vote. The audience is invited to stay for the Presentation of Awards. The Audience Prize winner will receive an honorarium in the amount collected from this evening’s donations. In the event of a tie, the jury will decide how to proceed. ADJUDICATORS: Jeremy Potts (violin), Jennifer MacLeod (viola), Maria Wang (cello) Three possible prize categories: Unacccompanied Suite (viola or cello) Unaccompanied Sonata or Partita (violin or viola) Partial Sonata or Partita (violin or viola) � Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/02272024-BachCompetition/02272024-SoloBachCompetition-001.wav">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/02272024-BachCompetition/02272024-SoloBachCompetition-002.wav">Track 2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/02272024-BachCompetition/02272024-SoloBachCompetition-003.wav">Track 3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/02272024-BachCompetition/02272024-SoloBachCompetition-004.wav">Track 4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/02272024-BachCompetition/02272024-SoloBachCompetition-005.wav">Track 5</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 Annual Solo Bach Competition Creator An entity primarily responsible for making the resource Megan Harton Date A point or period of time associated with an event in the lifecycle of the resource February 27 2024 Contributor An entity responsible for making contributions to the resource Jade Chu, violin Jayda Thor, cello Andrew Loe, viola Sophie Hillstrom, viola Megan Bibby, violin 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/02232024-IlanaWaniuk/02232024-IlanaWaniuk_001.wav">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/02232024-IlanaWaniuk/02232024-IlanaWaniuk_002.wav">Track 2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/02232024-IlanaWaniuk/02232024-IlanaWaniuk_003.wav">Track 3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/02232024-IlanaWaniuk/02232024-IlanaWaniuk_004.wav">Track 4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/02232024-IlanaWaniuk/02232024-IlanaWaniuk_005.wav">Track 5</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 Concert: Filaments // Ilana Waniuk, violin Description An account of the resource Filaments is a collaborative concert project featuring works for violin and electronics by artists/composers from across Canada. Each piece explores what happens when electroacoustic, multi-media, or improvisational elements stretch the boundaries of what it means to compose/perform/create works for ‘solo’ violin. Filaments features works by Róisín Adams, Ben Wylie, Julia Mermelstein with world premieres by Fjóla Evans and UVic School of Music Assistant Professor Anthony Tan. Creator An entity primarily responsible for making the resource Megan Harton Date A point or period of time associated with an event in the lifecycle of the resource February 23 2024 https://finearts.uvic.ca/music/archive/files/original/4c606c35f7a7b0bd062dd795f4481498.pdf 1d0d3bc76523df310a0ad15ca132045e PDF Text Text PIANO STUDIO RECITAL UVIC Students from the studio of Arthur Rowe SATURDAY, FEBRUARY 3, 2024 | 2 PM Phillip T. Young Recital Hall, MacLaurin Building University of Victoria We acknowledge and respect the Lekwungen peoples on whose traditional territory the university stands and the Songhees, Esquimalt and WSÁNEĆ peoples whose historical relationships with the land continue to this day. PROGRAM Sonata in F# major, Op. 78 Adagio cantabile – Allegro ma non troppo Sonata in Bb major, Op. 24, no. 2 Rondo: Allegro assa Anna Medwenitsch M. Clementi (1732-1852) Shirley Sun Variations in F minor, Hob. XVII:6 Quin Lang Polonaise No. 1 in C# minor, Op. 26 Bolero, Op. 19 L. Beethoven (1770-1827) Kayla Nguyen Theo Kim J. Haydn (1732-1809) F. Chopin (1810-1849) F. Chopin Prelude in C# minor, Op. 3 Lucia Chan S. Rachmaninoff (1873-1943) Prelude in G major, Op. 32, no. 5 Teslyn Bates S. Rachmaninoff Hungarian Dance no. 5 for piano 4 hands Teslyn Bates, Anna Medwenitsch INTERMISSION Concerto no. 1 in D minor, Op. 15 Adagio Gloria Miao Ballade no. 4 in F minor, Op. 52 J. Brahms (1833-1897) J. Brahms F. Chopin Jeannie Kim Sonata, Op. 1 A. Berg (1885-1935) Bailey Lehmann Sonata in Ab major, Op. 110 L. Beethoven Adagio ma non troppo – Fuga: Allegro ma non troppo Kay Kuang Romeo and Juliet, Op. 75 Minuet, The Young Juliet, Masks, The Montagues and Capulets Moming Zhang S. Prokofiev (1891-1953) � 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/02032024_PianoStudioRecital/02032024_PianoStudioRecital_001.wav">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/02032024_PianoStudioRecital/02032024_PianoStudioRecital_002.wav">Track 2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/02032024_PianoStudioRecital/02032024_PianoStudioRecital_003.wav">Track 3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/02032024_PianoStudioRecital/02032024_PianoStudioRecital_004.wav">Track 4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/02032024_PianoStudioRecital/02032024_PianoStudioRecital_005.wav">Track 5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/02032024_PianoStudioRecital/02032024_PianoStudioRecital_006.wav">Track 6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/02032024_PianoStudioRecital/02032024_PianoStudioRecital_007.wav">Track 7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/02032024_PianoStudioRecital/02032024_PianoStudioRecital_008.wav">Track 8</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/02032024_PianoStudioRecital/02032024_PianoStudioRecital_009.wav">Track 9</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/02032024_PianoStudioRecital/02032024_PianoStudioRecital_010.wav">Track 10</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Piano Studio Recital Subject The topic of the resource Students from the studio of Arthur Rowe Contributor An entity responsible for making contributions to the resource Shirley Sun Quin Lang Kayla Nguyen Theo Kim Lucia Chan Teslyn Bates Bailey Lehmann Kay Kuang Moming Zhang Creator An entity primarily responsible for making the resource Megan Harton Date A point or period of time associated with an event in the lifecycle of the resource February 3 2024 https://finearts.uvic.ca/music/archive/files/original/880478f86a0bcad95b9736d1f33afa1f.pdf c1462fd17c514ecc57dc168e0cac444e PDF Text Text UVIC FRIDAY, FEBRUARY 16, 2024 | 8 PM Phillip T. Young Recital Hall, MacLaurin Building University of Victoria FACULTY & GUEST CONCERT DINA MARIA NEGLIA VIOLIN PAMELA HIGHBAUGH ALONI CELLO GRIGOR KHACHATRYAN PIANO We acknowledge and respect the Lekwungen peoples on whose traditional territory the university stands and the Songhees, Esquimalt and WSÁNEĆ peoples whose historical relationships with the land continue to this day. PROGRAM Sonata for Violin and Piano in A minor, Op. 105 I. Mit leidenschaftlichem Ausdruck II. Allegretto III. Lebhaft Robert Schumann (1810–1856) Frédéric Chopin (1810–1849) Études Op. 25 Étude No. 1 in A-flat major, Allegro sostenuto Étude No. 2 in F minor, Presto Étude No. 5 in E minor, Vivace. Piú lento Étude No. 7 in C-sharp minor, Lento Étude No. 11 in A minor, Lento: Allegro con brio Étude No. 12 in C minor, Allegro molto con fuoco I NT E R M I S S I O N Sonata for Cello and Piano in G minor, Op. 65 I. Allegro moderato II. Scherzo III. Largo IV. Finale. Allegro Frédéric Chopin �BIOGRAPHIES DINA MARIA NEGLIA Violinist Dr. Dina Maria Neglia enjoys a multifaceted musical career dedicated equally to teaching, performance, and scholarship. Dr. Neglia has served as violin and viola faculty at Indiana University’s Jacobs School of Music, Vincennes University, North Dakota State University, and Concordia College. Her university teaching expertise includes violin and viola lessons, chamber music, as well as tonal and atonal theory classes. Additionally, she has served as an orchestral ensemble director and is a sought-out faculty member of notable music festivals regionally and nationally. As a performer, Dr. Neglia has concertized extensively as a soloist and chamber musician. She has appeared nationally and internationally in numerous concerts with her husband, pianist Dr. Grigor Khachatryan. She has been featured on MPR Classical Radio and has been honored to perform by invitation for U.S. Presidents and other public figures. Her first love is the orchestra, where she has served as concertmaster for many orchestras in both the United States and Europe. Within the lens of scholarship, Dr. Neglia’s dissertation on the subject of Schumann’s neglected violin concerto and its theoretical analysis was the first of its kind to be published in the English language worldwide. Dr. Neglia earned her Doctorate in Violin Performance at Indiana University’s Jacobs School of Music, where she also obtained an academic minor in Music History and Literature. She received her graduate degree in Violin Performance from The University of Michigan, and her undergraduate degree from Baylor University in Violin Performance along with concentrations in Vocal Performance and Italian Literature. Her principal teachers include Maria Neglia, Bruce Berg,Yehonatan Berick, and Kevork Mardirossian. PAMELA HIGHBAUGH ALONI Praised for her “meltingly beautiful solos” (The Detroit News) and performances of “depth and insight” (Times Colonist), cellist Pamela Highbaugh Aloni is a founding member of the prize-winning Lafayette String Quartet. She is an Associate Professor at the University of Victoria where she has been teaching cello, chamber music and string pedagogy since 1991. The Lafayette Quartet celebrated over 37 years of musical life together with the same four members and took their final bow in August 2023. Highlights of their years include a celebration in 2000 performing all sixteen of Beethoven’s string quartets, a 30th anniversary Shostakovich Cycle, a Second Viennese School project, the commissioning of five new quartets by women composers, and the initiation of the Lafayette Health Awareness Forum. Their CBC recording “Death and the Maiden” was awarded “Outstanding Classical Recording of the Year” by the Western Canada Music Awards. An enthusiastic and devoted teacher, Ms. Highbaugh Aloni served for ten years on the faculty at the Courtenay Youth Music School and Festival and has been the coach for the Greater Victoria Youth Orchestra cello section since 2004. She performs both as a soloist and recitalist and has been a guest artist with the Vetta Ensemble of Vancouver, Victoria Chamber Orchestra, Victoria Summer Festival, Sooke Philharmonic, Eine Kleine Summer Music, Chamber Music San Juan, and served as principal cellist with the Galiano Ensemble from 2000-2018. Pamela plays on a George Craske cello made in England, 1850. GRIGOR KHACHATRYAN The cover artist of the prestigious International Piano magazine, Dr. Grigor Khachatryan is recognized worldwide as one of the most preeminent pianists of his generation. His CD set published by Albany Records titled “Spirit of Freedom”, featuring his own two large-scale virtuosic piano sonatas, has garnered instant rave reviews from numerous internationally reputable music critics and has earned the CD the cover spot of Fanfare magazine. Born in Yerevan, Armenia, Dr. Grigor Khachatryan began his musical studies at Barsej Kanachyan’s Music School of Yerevan, where he studied under the passionate guidance of Nina Khachatryan. At the age of fifteen, he moved to the United States and continued his musical development at the esteemed Jacobs School of Music at Indiana University under the tutelage of distinguished professor of piano, Luba Edlina-Dubinsky, where he earned his Bachelor, Master and Performer Diploma degrees in Piano Performance. In addition, Khachatryan holds a doctorate degree in Piano Performance, and academic minors in Composition and Music Theory from the Jacobs School of Music, where he also served as Junior Faculty of Piano during his graduate studies. Khachatryan’s repertoire is populated with the brightest gems of the concert piano repertoire. Khachatryan made his debut in Carnegie Hall by special invitation from the Armenian General Benevolent Union of New York City. Khachatryan holds the position of Associate Professor of Piano at Concordia College where he also serves as the Chair of the Keyboard Area and the director of the annual Concordia Piano Festival. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Guest Artist Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/02162024-KhachatryanAndAloniPlayChopinAndSchumann/02162024-KhachatryanAndAloniPlayChopinAndSchumann-001.wav">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/02162024-KhachatryanAndAloniPlayChopinAndSchumann/02162024-KhachatryanAndAloniPlayChopinAndSchumann-002.wav">Track 2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/02162024-KhachatryanAndAloniPlayChopinAndSchumann/02162024-KhachatryanAndAloniPlayChopinAndSchumann-003.wav">Track 3</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 Khachatryan and Aloni Play Chopin and Schumann Creator An entity primarily responsible for making the resource Megan Harton Date A point or period of time associated with an event in the lifecycle of the resource February 16 2024 Contributor An entity responsible for making contributions to the resource Grigor Khachatryan, piano Dina Neglia-Khachatryan, violin with Pamela Highbaugh Aloni, cello