3 10 1498 https://finearts.uvic.ca/music/archive/files/original/e8fc5403b37b3bfa60de7533df9dfd3c.pdf a0bb75bb3838c528bfd94622302efcc4 PDF Text Text fridaymusic 3KLOOLS�7��<RXQJ�5HFLWDO�+DOO�Õ�8QLYHUVLW\�RI�9LFWRULD October 18, 2013 -‐ 12:30 p.m. Phillip T. Young Recital Hall Featuring School of Music woodwind students WĂƌƟƚĂ�ŝŶ��ŵŝŶŽƌ͕��ts�ϭϬϭϯ� � � II. Corrente � � � � � ��:ŽŚĂŶŶ�^ĞďĂƐƟĂŶ��ĂĐŚ ;ϭϲϴϱ�Ͳ�ϭϳϱϬͿ � � � � � � � � dŚŽŵĂƐ��ĂƵĞƌ͕�ŇƵƚĞ Stefani Yap, piano � � ��'ĞŽƌŐĞ��ŶĞƐĐƵ � ��;ϭϴϴϭ�Ͳ�ϭϵϱϱͿ � � ��:ŽŚĂŶŶ�^ĞďĂƐƟĂŶ��ĂĐŚ � � ��/ƐĂĂĐ��ůďĠŶŝǌ � ��;ϭϴϲϬ�Ͳ�ϭϵϬϵͿ �ůĞŬƐĂŶĚƌĂ�dƌĞŵďůĂǇ͕�ŇƵƚĞ �ĂŶƚĂďŝůĞ�Ğƚ�WƌĞƐƚŽ�� ^ŽŶĂƚĂ�ŝŶ��ŇĂƚ�ŵĂũŽƌ͕��ts�ϭϬϯϭ� � I. Allegro moderato � � � �ŽŽƉĞƌ�ZĞĞĚ͕�ŇƵƚĞ Zinna Kwon, piano dƌŽŝƐ�ƉŝğĐĞƐ�ƉŽƵƌ�ƋƵĂƚŽƵƌ�ĚĞ�ƐĂǆŽƉŚŽŶĞƐ� � Chant d’amour � � � � � � � � � �ƵƐƟŶ�EŝĐŚŽůů͕�ƐŽƉƌĂŶŽ�ƐĂǆŽƉŚŽŶĞ ^ĞĂŶ�DĂǇŶĂƌĚ͕�ĂůƚŽ�ƐĂǆŽƉŚŽŶĞ >ĞĞ�tŚŝƚĞŚŽƌŶĞ͕�ƚĞŶŽƌ�ƐĂǆŽƉŚŽŶĞ ĂĐŚ�^ŵŝƚŚ͕�ďĂƌŝƚŽŶĞ�ƐĂǆŽƉŚŽŶĞ ^ŽŶĂƚĞ�ĞŶ�hƚ�η� � Noel � � � � � � � � ��&ĞƌŶĂŶĚĞ��ĞĐƌƵĐŬ ;ϭϴϵϲ�Ͳ�ϭϵϱϰͿ � � �ĂůŝƐƚƌĂ�EĂŝƌ͕�ƐĂǆŽƉŚŽŶĞ Laura Altenmueller, piano &ŽƵƌ�WŝĐƚƵƌĞƐ�ĨƌŽŵ�EĞǁ�zŽƌŬ� � IV. Broadway Night � � � � � � � � WĂƵů�^ƉĞůƚ͕�ĂůƚŽ�ƐĂǆŽƉŚŽŶĞ dŚŽŵĂƐ�EŝĐŚŽůƐŽŶ͕�ƉŝĂŶŽ � � � WĂƐĂĐĂŝůůĞ� � � � � � � � � � � � ^ŝĞƌƌĂ�WŚŽƐǇ͕�ŇƵƚĞ�� ŝĂŶĂ��ŽƵďůĞƚ͕�ŽďŽĞ Erin Onyschtschuk, clarinet Collin Lloyd, horn Kylie Flower, bass clarinet � � � � � � � � � � � ��ZŽďĞƌƚŽ�DŽůŝŶĞůůŝ ;ď͘�ϭϵϲϯͿ � � � � � ��ĚƌŝĞŶ��ĂƌƚŚĞ ��;ϭϴϮϴ�Ͳ�ϭϴϵϴͿ � 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/101813-Fridaymusic/101813-FridayMusic-01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/101813-Fridaymusic/101813-FridayMusic-02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/101813-Fridaymusic/101813-FridayMusic-03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/101813-Fridaymusic/101813-FridayMusic-04.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/101813-Fridaymusic/101813-FridayMusic-05.mp3">track5</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/101813-Fridaymusic/101813-FridayMusic-06.mp3">track6</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/101813-Fridaymusic/101813-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 Jamie Bracke Date A point or period of time associated with an event in the lifecycle of the resource October 18, 2013 https://finearts.uvic.ca/music/archive/files/original/554f2de89593a4b246095381cbc97a5b.pdf 3f28d002a22866a5a05cb4f3eb24d167 PDF Text Text UNIVERSITY OF VICTORIA Faculty Chamber music series [Mostly] Off the Beaten Path Featuring School of Music Performance Faculty: Suzanne Snizek, flute Patricia Kostek, clarinet Wendell Clanton, alto saxophone Louis Ranger, trumpet Ann Elliott-Goldschmid, violin Joanna Hood, viola Pamela Highbaugh Aloni, cello Ajtony Csaba, piano Michelle Mares, piano Arthur Rowe, piano Saturday, October 19, 2013 at 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $17.50 / Students & seniors: $13.50 PROGRAM Trio Serenade, for Flute,Violin and Cello, Op. 88 Hans Gál Allegro moderato (1890-1987) Andante - Allegretto Intermezzo scherzoso Rondo - Allegretto piacevole Suzanne Snizek, flute Ann Elliott-Goldschmid, violin Pamela Highbaugh Aloni, cello Quiet City (1940), chamber version Concert adaptation by Christopher Brellochs Patricia Kostek, clarinet Wendell Clanton, alto saxophone Louis Ranger, trumpet Arthur Rowe, piano Aaron Copland (1900-1990) Intermission (Beverages and snacks available at the concession located in the lounge) Sonata No. 1 for Viola and Piano (1955) Bohuslav Martinu Poco andante (1890-1959) Allegro non troppo Joanna Hood, viola Ajtony Csaba, piano Suite No. 2, Op. 17 for Two Pianos, Four Hands Sergei Rachmaninoff Introduction (1873-1943) Waltz Romance Tarantella Arthur Rowe, piano Michelle Mares, 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 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/101913-FacultyRecital/101913-FacultyRecital_01.mp3">talk</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/101913-FacultyRecital/101913-FacultyRecital_02.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/101913-FacultyRecital/101913-FacultyRecital_03.mp3">talk</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/101913-FacultyRecital/101913-FacultyRecital_04.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/101913-FacultyRecital/101913-FacultyRecital_05.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/101913-FacultyRecital/101913-FacultyRecital_06.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 Faculty Chamber Music Series [Mostly] Off the Beaten Path Creator An entity primarily responsible for making the resource Dylan Powell Date A point or period of time associated with an event in the lifecycle of the resource October 19, 2013 Contributor An entity responsible for making contributions to the resource Suzanne Snizek, flute; Patricia Kostek, clarinet; Wendell Clanton, alto saxophone; Louis Ranger, trumpet; Ann Elliott-Goldschmid, violin; Joanna hood, viola; Pamela highbaugh Aloni, cello; Ajtony Csaba, piano; Michelle mares, piano; Arthur Rowe, piano https://finearts.uvic.ca/music/archive/files/original/da301fb76005ae4e294da0c3d6b7ff17.pdf 6c32171aaeafb815428c790d34861781 PDF Text Text Chamber Singers Program UNIVERSITY OF VICTORIA Textura Sonora Dr. Garry Froese, conductor Barry Tan, accompanist Sunday, October 20, 2013, 2:30 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation Ubi Caritas Maurice Duruflé Requiem Mvt. I Introit & Kyrie Mvt. VI Thou knowest Lord Mvt. VII Lux aeterna Bob Chilcott Olivia Selig, soprano & Josh Lovell, tenor The Lamentations of Jeremiah, Op. 14 Alberto Ginastera I. O vos omnes II. Ego vir videns III. Recordare Domine Ballad of Little Musgrave and Lady Barnard Benjamin Britten Hope is the thing: An Emily Dickinson Suite Emma Lou Diemer 1. Hope is the Thing with Feathers 2. A Bird came down the Walk 3. My Life closed twice before its Close 4. If You were coming in the Fall 5. Some Things that fly there be Psalm 100 [Jauchzet dem Herren] Heinrich Schütz Amen John Corigliano Father William (from Alice in Wonderland) Irving Fine �Chamber Singers Personnel, Fall 2013 Soprano I Margaret Lingas Meaghan Miller Olivia Selig Dawn Ye Yuan Soprano II Natasha Penfield Lindsay Suddaby Alto I Claire Butterfield Jenna Grossman Kristina Misener Kassandra Schantz Alto II Julia Albano-Crockford Marlena Kurek Stephanie Taralson Tenor I Tristan Chalcraft Matt Ceaser Tenor II Cody Froese Sam Simons Baritone Nick Allen Kenji Lee Erik Leisinger Xuguang Zhang Zulfikar Natheo Bass Connor Ashton Sean Quicke 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 Chamber Singers Description An account of the resource This 24-member mixed ensemble performs both standard and lesser-known choral repertoire from a wide spectrum of composers and styles. Performing with the highest level of musicianship, choir members have extensive choral experience, strong sight-reading skills and a thirst for exploring and sharing their musical expertise. Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/102013-ChamberSingers/102013-ChamberSingers-01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/102013-ChamberSingers/102013-ChamberSingers-02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/102013-ChamberSingers/102013-ChamberSingers-03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/102013-ChamberSingers/102013-ChamberSingers-04.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/102013-ChamberSingers/102013-ChamberSingers-05.mp3">track5</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/102013-ChamberSingers/102013-ChamberSingers-06.mp3">track6</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/102013-ChamberSingers/102013-ChamberSingers-07.mp3">track7</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/102013-ChamberSingers/102013-ChamberSingers-08.mp3">track8</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 Chamber Singers - Textura Sonora Creator An entity primarily responsible for making the resource Jamie Bracke Date A point or period of time associated with an event in the lifecycle of the resource October 20, 2013 Contributor An entity responsible for making contributions to the resource Dr. Garry Froese, conductor; Barry Tan, accompanist https://finearts.uvic.ca/music/archive/files/original/6f6e92d3e3ef027a14981fa83d218016.pdf 8293a5742262b03de9dd7e6c29a2c773 PDF Text Text Tuesdaymusic October 22, 2013 - 12:30 p.m. Suite for Solo Clarinet Moderato, maestoso Paul Aitken Erin Onyschtschuk, clarinet Prelude and Fugue in D Major, BWV 874 Etude in f minor, Op. 10, No. 9 Johann Sebastian Bach (1685-1750) Frédéric Chopin (1810-1849) Louise Hung, piano Frédéric Chopin Frances Armstrong-Douglas, piano Passacaglia Heinrich Ignaz Franz Biber (1644-1704) Sarah Tradewell, viola UPCOMING EVENTS Thursday, October 24, 3:30-5:30 p.m. (Free Admission) Orion Series in Fine Arts presents GUEST MASTERCLASS: ALDEBURGH CONNECTION Featuring Stephen Ralls & Bruce Ubukata (piano duo) MacLaurin Building, B-Wing, Rm. B037 Friday, October 25, 12:30 p.m. (Admission by donation) FRIDAYMUSIC: Featuring School of Music string students Phillip T. Young Recital Hall Saturday, October 26, 8:00 p.m. (Free Admission) Orion Series In Fine Arts presents ALDEBURGH CONNECTION: A Britten Festival of Song - The Canticles Stephen Ralls & Bruce Ubukata (piano duo) & the UVic Chamber Singers, with Garry Froese, conductor Recently named Members of the Order of Canada and the recipients of a Ruby Award from Opera Canada, Connection in a concert that celebrates the 100th anniversary of the birth of Benjamin Britten. Phillip T. Young Recital Hall � Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/102213-Tuesdaymusic/102213-TuesdayMusic_01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/102213-Tuesdaymusic/102213-TuesdayMusic_01.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/102213-Tuesdaymusic/102213-TuesdayMusic_01.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/102213-Tuesdaymusic/102213-TuesdayMusic_01.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 Tuesdaymusic 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 22, 2013 https://finearts.uvic.ca/music/archive/files/original/b2b927b9b54ad681f852aab751c59bae.pdf 200e5054993f5fdc0cf0161ab168e111 PDF Text Text fridaymusic Phillip T. Young Recital Hall • University of Victoria Featuring School of Music String Students October 25, 2013 - 12:30 p.m. Suite No. 2 in D minor Johann Sebastian Bach I. Courante (1685- 1750) II. Sarabande Ella Hopwood, cello Sonata for Solo Violin III. Melodia Béla Bartók (1881 - 1945) Jiten Beairsto, violin Märchenbilder Robert Schumann I. Nicht schnell (1810 - 1856) II Lebhaft Sarah Tradewell. viola Spencer Davis, piano Perpetuum Mobile Aliayta Foon-Dancoes, violin Louise Hung, piano Ottokar Novácek (1866 - 1900) String Quartet No. 11 in F minor, Op. 95 Ludvig Van Beethoven I. Allegro con brio (1770 - 1827) Aliayta Foon-Dancoes, violin Raina Saunders, violin Matt Antal, viola Ella Hopwood, cello String Quartet No. 1 in D major, Op.11 Peter Ilyich Tchaikovsky I. Moderato e semplice (1840 - 1893) Lindsey Herle, violin Jiten Beairsto, violin Sarah Tradewll, viola Maria Wang, cello UPCOMING EVENTS Saturday, October 26, 8:00 p.m. (Free Admission) Orion Series In Fine Arts presents ALDEBURGH CONNECTION A Britten Festival of Song - The Canticles Stephen Ralls & Bruce Ubukata (piano duo) With Daniel Taylor (counter-tenor), Benjamin Butterfield (tenor), Alexander Dobson (Baritone) & the UVic Chamber Singers, with Garry Froese, conductor Recently named Members of the Order of Canada and the recipients of a Ruby Award from Opera Canada, the piano duo of Stephen Ralls and Bruce Ubukata make their first appearance in Victoria as the Aldeburgh Connection in a concert that celebrates the 100th anniversary of the birth of Benjamin Britten. Phillip T. Young Recital Hall Sunday, October 27, 8:00 p.m. (Admission by donation) STUDENT COMPOSERS CONCERT Featuring original compositions by students in the School of Music Composition program. Phillip T. Young Recital Hall � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fridaymusic Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/102513-Fridaymusic/102513-FridayMusic_01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/102513-Fridaymusic/102513-FridayMusic_02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/102513-Fridaymusic/102513-FridayMusic_03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/102513-Fridaymusic/102513-FridayMusic_04.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/102513-Fridaymusic/102513-FridayMusic_05.mp3">track5</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/102513-Fridaymusic/102513-FridayMusic_06.mp3">track6</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 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 25, 2013 https://finearts.uvic.ca/music/archive/files/original/fee44350046837fba832ead76e567bd1.jpg 258ff18b9954f58bcf9c04f2c52851c9 https://finearts.uvic.ca/music/archive/files/original/ce8646947b9d0c13628a3775329f7568.pdf e60ddd46bed57159c8fefde90f6eb5b0 PDF Text Text UNIVERSITY OF VICTORIA Orion Series in Fine Arts presents THE ALDEBURGH CONNECTION STEPHEN RALLS & BRUCE UBUKATA, piano A Britten Festival of Song: The Canticles WITH Daniel Taylor, counter-tenor &IRNEQMR�&YXXIV½IPH, tenor %PI\ERHIV�(SFWSR, baritone 9:MG�'LEQFIV�7MRKIVW, with Gary Froese, conductor Daniel Taylor and Alexander Dobson’s appearance is made possible through the generous support of Ray and Sheila Protti. 7EXYVHE]��3GXSFIV��EX��T�Q� Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free admission �PROGRAM Henry Purcell (1659-1695), real. Britten 1YWMG�JSV�E�[LMPI (John Dryden) counter-tenor Benjamin Britten (1913-1976) Canticle I: 1]�&IPSZIH�MW�1MRI��3T�� (Francis Quarles) tenor Purcell, real. Britten 0SVH��[LEX�MW�QER#�(William Fuller) baritone Britten 'ERXMGPI�--��%FVELEQ�ERH�-WEEG��3T��(Chester Miracle Play) counter-tenor/tenor Intermission (Beverages and snacks available at the concession located in the lounge) Purcell, real. Britten ;LIR�1]VE�WMRKW (George Granville) tenor/baritone Britten 8LI�&EPPEH�SJ�0MXXPI�1YWKVEZI�ERH�0EH]�&EVREVH (anon.) choir Purcell, real. Britten )ZIRMRK�,]QR (William Fuller) counter-tenor anon. 1EKM�ZMHIRXIW�WXIPPEQ� choir Britten 'ERXMGPI�-:��.SYVRI]�SJ�XLI�1EKM��3T�� (T. S. Eliot) counter-tenor/tenor/baritone �THE ALDEBURGH CONNECTION Artistic Directors: STEPHEN RALLS and BRUCE UBUKATA &VMXXIR�MR�'EREHE��%�'SRXMRYMRK�'SRRIGXMSR “Canada is an extraordinary place. I am certain that N. America is the place of the future. I wish to goodness you would come across . . . Seriously, do think about it, and if I see anything at all possible I’ll let you know.” Thus Benjamin Britten wrote to his sister, Beth, on 25 June,1939 from Toronto. On 29 April, he and his partner, tenor Peter Pears, had set sail from Southampton on the Ausonia, following the example of their friends, the writers W. H. Auden and Christopher Isherwood, who for various reasons, both artistic and political, had PIJX�JSV�2I[�=SVO�E�JI[�QSRXLW�IEVPMIV��8LI�WLMT�GEPPIH�MR�FVMI¾]�EX�5YIFIG�'MX]�SR��1E]�� but the two men disembarked in Montreal on the 10th. They were welcomed by the music department of the CBC, who had intended to mark Britten’s arrival with a broadcast of the Variations on a Theme of Frank Bridge - “but the band wasn’t big or good enough & anyhow, the boat was late”. They spent four weeks in St. Jovite, north of Montreal in the Laurentians, where work was done on the composition of the Violin Concerto and the song-cycle, Les Illuminations. Then, on 7 June, they boarded the train for Toronto. Three weeks there, staying at the Alexandra Palace, Orde Street (on the site of the present Mount Sinai Hospital) were very productive. The performance of the Frank Bridge Variations ½REPP]�XSSO�TPEGI��TVIGIHIH�F]�[LEX�&VMXXIR�GEPPIH�E�±LSVVMFPI�MRXIVZMI[²��8LMW�[EW�FVSEHcast, as well as a recital in which Pears may have sung the cycle On This Island. The CBC was delighted with the concerts and commissioned a new piece from the composer. (This became Young Apollo, a concerto for piano, string quartet and string orchestra.) The composer wrote to Ralph Hawkes, his publisher: “Here is a continent just leaping ahead in the arts. Music means something here. Imagine English newpapers interviewing composers! Yet here I got a large amount of space in each of the three Toronto newpapers - & in 2 cases in the centre page!” On 23 June, Britten and Pears travelled to Bala (in “the Moskoka lakes”) where the singer had several lessons with Campbell McInnes, the English baritone who premiered Butterworth’s Shropshire Lad songs and several works by Vaughan Williams, and emigrated to Toronto in 1919. Finally, on 27 June, the two men travelled to New York. In the next few months, two [SVOW�[MXL�'EREHMER�GSRRIGXMSRW�[IVI�[VMXXIR��½VWXP]��Young Apollo, to perform the premiere of which Britten made a brief return visit to Toronto in August. Also, in December 1939 he completed an orchestral piece, Canadian Carnival (originally Kermesse Canadienne), based on folktunes he had heard while staying in Quebec. They spent the next three years in the USA - but on 16 March 1942 they boarded MS Axel Johnson, responding to the composer’s over[LIPQMRK�HIWMVI�XS�VIXYVR�XS�LMW�LSQIPERH��;LIR�XLI�WLMT�GEPPIH�MR�FVMI¾]�MR�,EPMJE\��&VMXXIR� picked up a volume of medieval poems in a bookshop. On the voyage, he set some of these as his Ceremony of Carols��E�½REP�'EREHMER�GSRXVMFYXMSR�SR�LMW�½VWX�2SVXL�%QIVMGER�WSNSYVR�� Seven years later, Britten’s career and reputation had taken a quantum leap forward with the success of the opera Peter Grimes�MR��,MW�½VWX�TSWX[EV�ZMWMX�XS�'EREHE�[EW�MR�XLI�JEPP�SJ� 1949, when he and Pears gave recitals in Ottawa (October 31), Toronto (November 1) and Montreal (November 3). While in Toronto, they listened to a tape of a CBC performance of Peter Grimes - the Canadian premiere, broadcast on October 12. Conducted by Geoffrey Waddington, with William Morton in the title role, Frances James (Adaskin) as Ellen Orford ERH�+SVHSR�;V]�EW�&SF�&SPIW��XLI]�JSYRH�XLI�VIWYPX�³XVYP]�QEKRM½GIRX´��%PWS�MR�8SVSRXS��SR� November 2, Britten conducted his new cantata St Nicolas in Grace Church-on-the-Hill, a performance (also broadcast by CBC) which featured Pears as the saint. �In 1957, the Canadian premiere was of the opera The Turn of the Screw, given at the Stratford Festival in August and September by the English Opera Group. The cast was British, but the chamber orchestra was of Canadian musicians, some performances being conducted by the composer and some by Charles Mackerras. The clarinettist and orchestral manager was Ezra Schabas, later to become professor at the University of Toronto and principal of the Royal Conservatory of Music. The stage director was Basil Coleman, who was then living in Toronto. Pears and Britten also gave three recitals in the Festival. In his letters back home, Pears makes no secret of the boredom of a summer spent in rural Ontario. One weekend, however, they ��&VMXXIR��4IEVW�ERH�'SPIQER��IWGETIH�XS�&E]½IPH��±XS�E�0EOI�?,YVSRA��# �QMPIW�[MHI�XS� FEXLI��&IR�GSQTPEMRIH�XLEX�MX�[EWR´X�WEPX� �[EW�XSS�[EVQ��FYX�XLI�-RR�[LIVI�[I�WXE]IH�?XLI� 0MXXPI�-RRA�[EW�OMRHE�GYXI��ERH�KEZI�YW�PSXW�SJ�PSZIP]�JSSH�� [I�LEH�7GSXGL�SYX�SJ�XSSXL�QYKW� up in our bedroom”. On Labour Day weekend, they made a mad Sunday morning dash on congested roads to visit the former partner of Campbell McInnes (now deceased), Tom Jackson, who was still living in Bala. “Our hosts overfed us grossly in the Transatlantic style on stuffed chickens & sweet corn & relishes & peach pie & old-fashioneds, & meatloaf (farm style) & squash & pickles & wine jelly & so-on . . .” On Monday, they enjoyed a tour “around the very lovely belaked & wooded country”. In the evening they had to drive down to Toronto to record a CBC recital. “But the thunder roared & the rain fell upon us in solid streams, & there were a million people going the same way . . .” However, the CBC waited and all went well. There were two Toronto sequels to the EOG’s visit. In December, an article was published in May Fair magazine by Naomi Adaskin (wife of John Adaskin, the CBC producer who had commissioned Young Apollo) entitled “Evenings with Benjamin Britten”; and on December 18, Basil Coleman directed a production of Britten’s Let’s Make an Opera at the Crest Theatre. On 15 March 1962, Pears and Britten undertook a crowded recital tour of Canada, with concerts in Ottawa, Winnipeg, Vancouver, Saskatoon, Toronto and Montreal, returning to London on 7 April. During their stay in Vancouver (the composer’s only visit to Western Canada), they took part in a CBC television recording showcasing the Nocturne, Op. 60, in rehearsal and performance (now available on DVD). In addition, Britten was interviewed by Peter Garvie for CBC’s Music Diary and he and Pears recorded four mini-recitals, later broadcast on CBC Wednesday Night as “An Anthology of English Songs”. The composer’s last visit to this country was in 1967. He and Pears were to give an extended VIGMXEP�XSYV�XLVSYKL�XLI�97%��1I\MGS�ERH�7SYXL�%QIVMGE��FYX�½VWX��XLI]�¾I[�XS�1SRXVIEP�SR� 9 September to be present at the EOG’s performances at Expo ’67, including Britten’s Curlew River, The Burning Fiery Furnace, A Midsummer Night’s Dream and The Beggar’s Opera. During his stay in Montreal, Britten gave a substantial interview for Opera Canada. Throughout the ’60s and ’70s, of course, Pears made a number of visits on his own for oratorio engagements and for recital appearances with harpist Osian Ellis when Britten was no longer well enough to accompany the singer. On 14 November 1976, they gave a Toronto recital in aid of the 'EREHMER�%PHIFYVKL�*SYRHEXMSR��8LI�RI\X�HE]��4IEVW�¾I[�XS�1SRXVIEP�XS�WMRK�St Nicolas, but had to return immediately to Aldeburgh to be present at Britten’s deathbed. The Canadian Aldeburgh Foundation, which continues to provide scholarships which enable young singers and instrumentalists to study at the Britten-Pears Young Artists’ Programme in %PHIFYVKL��LEW�FIIR�SRI�SJ�XLI�QSWX�FIRI½GMEP�ERH�PSRKPEWXMRK�VIWYPXW�SJ�XLI�GSQTSWIV´W�'Enadian connection. It was while attending the Britten-Pears School in 1977 on a scholarship from the CAF that Bruce Ubukata rapidly found himself taken on as accompanist and coach, and in the process made the acquaintance of another pianist working there, Stephen Ralls. The rest, as they say, is history . . . SR and BU �&)2.%1-2�&6-88)2��8,)�'%28-'0)7 ;MXLMR�XLI�®YZVI�SJ�&IRNEQMR�&VMXXIR��XLI�½ZI�Canticles comprise one of the most coherent single groups, rich in musical detail and emotional content. They provide a marvellous compendium of the composer’s vocal writing throughout the post-war period. Stylistic parallels can be traced, in each piece, with his song-writing and also with his operas; but there is always E�HIZSXMSREP�IPIQIRX�MR�XLI�XI\XW�[LMGL�½RHW�VIEH]�VI¾IGXMSR�MR�XLI�QYWMG��7SQI�SJ�&VMXXIR´W� most profound spiritual utterances are to be found here. We are presenting the three Canticles which require piano alone for their performance. (Canticle III includes horn obbligato and Canticle V, written after the composer/pianist was incapacitated by a stroke, has harp accompaniment.) This gives us the opportunity to include other music for voices and piano, notably several of the Purcell realisations which were crucial in forming Britten’s vocal style. Halfway through our programme, a secular Purcell duet, followed by the violent, not to say profane, excitement of The Ballad of Little Musgrave and Lady Barnard��XEOI�YW�E[E]�FVMI¾]�JVSQ�XLI�[SVPH�SJ�WTMVMXYEP�GSRXIQTPEXMSR� 1YWMG�JSV�E�[LMPI (John Dryden) Henry Purcell, realised by Benjamin Britten The earliest recitals which Britten performed with tenor Peter Pears - in Canada and the 97%�FIX[IIR��ERH��VIKYPEVP]�JIEXYVIH�XLI�WSRKW�SJ�4YVGIPP��2SX�WEXMW½IH�[MXL� XLI�)H[EVHMER�WSYRHMRK�³VIEPMWEXMSRW´��½PPMRK�SYX�E�OI]FSEVH�EGGSQTERMQIRX �XLIR�EZEMPEFPI�� Britten started to make his own versions, a practise which continued when they were back in England. After the war, Boosey & Hawkes began their publication of these realisations, spurred on by the honouring in 1945 of the 250th anniversary of Purcell’s death. The preface which Pears and Britten wrote for these volumes contains a telling sentence: “It has been the constant endeavour of the arranger to apply to these realisations something of that mixture of clarity, brilliance, tenderness and strangeness which shines out in all Purcell’s music.” Music for a while Shall all your cares beguile; Wond’ring how your pains were eas’d, And disdaining to be pleas’d Till Alecto free the dead From their eternal band; Till the snakes drop from her head; And the whip from out her hand. 'ERXMGPI�-��1]�&IPSZIH�MW�1MRI��3T�� (Francis Quarles) Britten 8LI�MRMXMEP�MQTYPWI�JSV�XLI�½VWX�Canticle came from the composer’s love of the music of Purcell (as it had, a few years earlier, for Michael Tippett in the writing of his own cantata, Boyhood’s End). “A new invention in a sense, although modelled on the Purcell Divine Hymns,” was Britten’s own description of My Beloved is Mine��4IXIV�4IEVW�ERH�XLI�GSQTSWIV�KEZI�XLI�½VWX� performance in 1947 at a memorial concert for Dick Sheppard, the founder of the Peace Pledge Union. There are indeed similarities to the style of Purcell - the division of the piece into various sections of ‘recitative’ and ‘aria’, a vocal line frequently laden with coloratura, even GIVXEMR�VL]XLQMG�GLEVEGXIVMWXMGW��IWTIGMEPP]�XLI�HSXXIH�VL]XLQW�MR�XLI�½REP�WIGXMSR ��8LI�GLSMGI� of a 17th century text is also appropriate. �8LIVI�MW�RSXLMRK�XSS�Q]WXIVMSYW�EFSYX�&VMXXIR´W�½VWX�YWI�SJ�XLI�XIVQ�³GERXMGPI´��5YEVPIW´W�TSIQ�� from his Emblemes of 1635, is based on lines from the biblical Canticles (or Song of Solomon). In succeeding works, Britten broadened the meaning of ‘canticle’ to include settings of poetry in various styles but always with a spiritual content. In Canticle I, the soul speaks of its relationship with God in quasi-amorous terms (familiar from much 17th and 18th century writing and from the cantatas of J. S. Bach). Also, as Humphrey Carpenter says, “Canticle I seems to be, as no other work had yet been, a happy celebration of the composer’s relationship with Pears.” Ev’n like two little bank-divided brooks, Nor time, nor place, nor chance, nor death can bow That wash the pebbles with their wanton streams, My least desires unto the least remove. And having ranged and searched a thousand nooks ,I´W�½VQP]�QMRI�F]�SEXL��-�LMW�F]�ZS[� Meet both at length at silver-breasted Thames He’s mine by faith and I am his by love. Where in a greater current they conjoin. He’s mine by water, I am his by wine: So I my best beloved’s am; so he is mine! Thus I my best beloved’s am, thus he is mine. Ev’n so we met and after long pursuit Ev’n so we joined. We both became entire. No need for either to renew a suit, ��*SV�-�[EW�¾E\��ERH�LI�[EW�¾EQIW�SJ�½VI� ��3YV�½VQ�YRMXIH�WSYPW�HMH�QSVI�XLER�X[MRI� So I my best beloved’s am, so he is mine. He is my altar, I his holy place. I am his guest and he my living food. I’m his by penitence, he mine by grace. I’m his by purchase, he is mine by blood. He’s my supporting elm and I his vine: Thus I my best beloved’s am, thus he is mine. If all those glittering Monarchs, that command The servile quarters of this earthly ball Should tender in exchange their shares of land I would not change my fortunes for them all: Their wealth is but a counter to my coin: The world’s but theirs; but my beloved’s mine. He gives me wealth: I give him all my vows: I give him songs, he gives me length of days. With wreaths of grace he crowns my longing brows And I his temples with a crown of praise Which he accepts: an everlasting sign That I my best beloved’s am, that he is mine. 0SVH��[LEX�MW�QER# (William Fuller) Purcell, realised by Britten Most of Purcell’s devotional songs were originally published in his Harmonia sacra: or Divine Hymns and Dialogues. Britten arranged what he called Three Divine Hymns, published in 1947, of which Lord, what is man?�MW�XLI�½VWX��-X�[EW�TVIQMIVIH�F]�4IEVW�ERH�&VMXXIR�MR�XLI�;MKQSVI� Hall on 21 November, 1945 - the 250th anniversary of Purcell’s death. Lord, what is man, lost man, 8LEX�8LSY�WLSYPHWX�FI�WS�QMRHJYP�SJ�LMQ# That the Son of God forsook his glory, His abode, To become a poor, tormented man! The Deity was shrunk into a span, And that for me, O wond’rous love, for me. Reveal, ye glorious spirits, when ye knew The way the Son of God took to renew Lost man, your vacant places to supply; Blest spirits tell, Which did excel, Which was more prevalent, Your joy or your astonishment, That man should be assum’d into the Deity, That for a worm a God should die. Oh! for a quill, drawn from your wing To write the praises of eternal love; Oh! for a voice like yours to sing That anthem here, which once you sung above. Hallelujah! �'ERXMGPI�--��%FVELEQ�ERH�-WEEG��3T�� (Chester Miracle Play) Britten Canticle II, a setting of a scene from one of the medieval Chester Miracle Plays, was written early in 1952 for the touring concerts of Britten’s English Opera Group. Its premiere was given in Nottingham by Kathleen Ferrier, Pears and the composer. After Ferrier’s sadly early HIEXL�MR��XLI�½VWX�VIGSVHMRK�XS�FI�MWWYIH�[EW�F]�4IEVW��&VMXXIR�ERH�E�FVMPPMERX�FS]�XVIFPI�� John Hahessy. This kind of casting, however, would always have balance problems in live conGIVXW��%W�JEV�EW�XLI�GSQTSWIV�[EW�GSRGIVRIH��XLI�³EYXLIRXMG´�TIVJSVQERGI�[EW�½REPP]�EGLMIZIH� by his discovery of the counter-tenor, James Bowman, who sang Oberon in A Midsummer Night’s Dream in 1967 and then Canticle II and Canticle IV (the latter being written for him see the second half of our concert). It is a masterly fusion of play, cantata and operatic scena. At the opening, the voice of God is depicted by two voices not quite in unison. (Tippett called this “one of the wonderful things MR�&IR´W�QYWMG²� �+SH�XIPPW�%FVELEQ�XS�WEGVM½GI�LMW�WSR��%W�JEXLIV�ERH�WSR�WIX�SYX�SR�XLIMV� journey, they sing a duet which Britten later used in his War Requiem (in the setting of Wilfred Owen’s bitter rewriting of the biblical story). Abraham is forced to admit what the boy must undergo; after Isaac’s tranquil acceptance of his fate, dramatic tension rises almost unbearably over a slow funeral march until God intervenes with a tremendous thunder crash. Because of Abraham’s piety, Isaac is reprieved; the two voices sing a joyful Envoi - “Such obedience grant us, O Lord.” ;LIR�1]VE�WMRKW�(George Granville) Purcell, realised by Britten Britten’s version of this duet, made for the concert at the 1971 Aldeburgh Festival which included Canticle IV, was sung on that occasion by Pears and John Shirley-Quirk. When Myra sings, we seek th’enchanting sound, And bless the notes which do so sweetly wound; What music needs must dwell upon that tongue ;LSWI�WTIIGL�MW�XYRIJYP�EW�ERSXLIV´W�WSRK# Such harmony, such wit, a face so fair, 7S�QER]�TSMRXIH�EVVS[W�[LS�GER�FIEV# 8LI�WPEZI�XLEX�JVSQ�LIV�[MX�SV�FIEYX]�¾MIW� If she but reach him with her voice, he dies. 8LI�&EPPEH�SJ�0MXXPI�1YWKVEZI�ERH�0EH]�&EVREVH�(anon.) Britten In November 1943, Britten wrote to a friend: “I am quickly scribbling a short choral work for a prison camp in Germany where some friends are.” The Ballad was written at the request of Richard Wood (whose sister Anne had been in the BBC Singers with Pears before the war) who was a prisoner of war at Eichstätt in Germany. There he organized and conducted a male-voice choir, who premiered the work as part of an ambitious music festival in February 1944. Britten found the words in the Oxford Book of Ballads. �As it fell on one holy-day, As many be in the year, When young men and maids together did go Their matins and mass to hear, By this, Lord Barnard came to his door And lighted a stone upon; And he’s pull’d out three silver keys, And open’d the doors each one. Little Musgrave came to the church door, The priest was at private mass &YX�LI�LEH�QSVI�QMRH�SJ�XLI�½RI�[SQIR Then he had of Our Lady’s grace. He lifted up the coverlet, He lifted up the sheet . . . The one of them was clad in green, Another was clad in pall, And then came in my Lord Barnard’s wife, The fairest amongst them all. Quoth she, ‘I’ve loved thee, Little Musgrave, Full long and many a day.’ ‘So have I lov’d you, my fair ladye, Yet never a word durst I say.’ ‘But I have a bower at Bucklesfordberry, Full daintily it is dight, If thou’lt wend thither, thou Little Musgrave, Thou’s lig in my arms all night.’ With that beheard a little tiny page, By his lady’s coach as he ran, Says, ‘Although I am my lady’s foot-page, Yet I am Lord Barnard’s man!’ Then he’s cast off his hose and cast off his shoon, Set down his feet and ran, And where the bridges were broken down He bent his bow and swam. ‘Awake! Awake! thou Lord Barnard, As thou art a man of life, Little Musgrave is at Bucklesfordberry Along with thine own wedded wife.’ He callèd up his merry men all: ‘Come saddle me my steed; This night must I to Bucklesfordb’ry , F’r I never had greater need.’ But some they whistled, and some they sang, And some they thus could say, Whenever Lord Barnard’s horn it blew: ‘Away, Musgrave, away!’ ‘Methinks I hear the threstle -cock, Methinks I hear the jay; Methinks I hear Lord Barnard’s horn, Away Musgrave! away!’ ‘Lie still, lie still, thou Little Musgrave, And huggle me from the cold; ’Tis nothing but a shepherd’s boy A-driving his sheep to the fold.’ ‘Arise, arise, thou Little Musgrave, And put thy clothès on; It shall ne’er be said in my country I’ve killed a naked man. I have two swords in one scabbard, They are both sharp and clear; Take you the best, and I the worst, We’ll end the matter here.’ 8LI�½VWX�WXVSOI�0MXXPI�1YWKVEZI�WXVYGO He hurt Lord Barnard sore; The next stroke that Lord Barnard struck Little Musgrave ne’er struck more. ‘Woe worth you, woe worth, my merry men all, You were ne’er born for my good! Why did you not offer to stay my hand ��;LIR�]SY�WE[�QI�[E\�WS�[SSH# For I’ve slain also the fairest ladye That ever wore woman’s weed, Soe I have slain the fairest ladye That ever did woman’s deed. A grave, a grave,’ Lord Barnard cried, ‘To put these lovers in! But lay my lady on the upper hand, For she comes of the nobler kin.’ �)ZIRMRK�,]QR�(William Fuller) Purcell, realised by Britten This is the third of Three Divine Hymns, Britten’s realisations published in 1947. It was premiered at a concert in the National Gallery on 23 November, 1945. The song was very popular in the 17th century and remains one of the best-loved in Purcell’s output. The increasingly rhapsodic vocal line is placed above one of Purcell’s favourite devices, a recurring ground bass. Now that the sun hath veil’d his light And bid the world goodnight, To the soft bed my body I dispose, &YX�[LIVI�WLEPP�Q]�WSYP�VITSWI# Dear God, even in Thy arms, and can there be Any so sweet security! Then to thy rest, O my soul! and singing, praise The mercy that prolongs thy days. Hallelujah! 1EKM�ZMHIRXIW�WXIPPEQ anon. 8LI�TPEMRWSRK�MW�XLI�%RXMTLSR�FIJSVI�XLI�1EKRM½GEX�EX�*MVWX�:IWTIVW�JSV�XLI�*IEWX�SJ�XLI� Epiphany. (It will be quoted in the piano in Canticle IV when the Magi reach the end of their journey.) Magi videntes stellam, dixerunt ad invicem: Hoc signum magni Regis est: Eamus, et inquiramus eum, et offeramus ei munera, aurum, thus et myrrham. The wise men, seeing the star, said one to another: This is a sign of the high King. Let us go and search for him and offer him gifts, gold, frankincense and myrrh. 'ERXMGPI�-:��.SYVRI]�SJ�XLI�1EKM��3T�� (T.S.Eliot) Britten James Bowman, Pears, John Shirley-Quirk and the composer premiered Canticle IV at the 1971 Aldeburgh Festival. During the poet’s lifetime, Britten had set nothing by T. S. Eliot. Perhaps it MW�WMKRM½GERX�XLEX�XLI�GSQTSWIV�LEH�FIIR�E[EVHIH�XLI�3VHIV�SJ�1IVMX�MR��X[S�QSRXLW� after the death of Eliot, who had belonged to the Order (limited to 24 members at one time); he may have regarded himself as, in a sense, taking on the mantle of the older man. Journey of the Magi is suffused with doubt and equivocation in its depiction of the Three Kings’ journey to Bethlehem, the uneasy rocking of the piano introduction evoking the slow progress of three camels across the desert. The opening lines are taken from a sermon by the early 17th century divine, Lancelot Andrewes (a link back to the world of Canticle I). Later, we hear of the distractions and disillusionments that might have caused the Kings to abandon their quest. An exotic texture is created by the combination of the three voices, speaking as one voice, as it were, or completing one another’s sentences. When, against all expectations, they ½RH�XLI�'LMPH��EX�)PMSX´W�VIWSRERX�[SVH�³WEXMWJEGXSV]´��&VMXXIR�MRXVSHYGIW�MR�XLI�TMERS�XLI�TPEMRsong Magi videntes stellam - a sudden vision of divine grace. The Kings cannot recapture the radiance of that moment; indeed, they are altogether unsure of what they found at the end of XLIMV�NSYVRI]��&YX��[LIR�XLI]�LEZI�½RMWLIH�WMRKMRK��XLI�TMERS�TSWXPYHI�VEMWIW�XLI�TSWWMFMPMX]�SJ� hope. �‘A cold coming we had of it, Just the worst time of the year For a journey, and such a long journey: The ways deep and the weather sharp, The very dead of winter.’ And the camels galled, sore-footed, refractory, Lying down in the melting snow. There were times we regretted The summer palaces on slopes, the terraces, And the silken girls bringing sherbet. Then the camel men cursing and grumbling And running away, and wanting their liquor and women, %RH�XLI�RMKLX�½VIW�KSMRK�SYX��ERH�XLI�PEGO�SJ�WLIPXIVW� And the cities hostile and the towns unfriendly And the villages dirty, and charging high prices: A hard time we had of it. At the end we preferred to travel all night, Sleeping in snatches, With the voices singing in our ears, saying That this was all folly. Then at dawn we came down to a temperate valley, Wet, below the snow line, smelling of vegetation, With a running stream and a water-mill beating the darkness, And three trees on the low sky, And an old white horse galloped away in the meadow. Then we came to a tavern with vine-leaves over the lintel, Six hands at an open door dicing for pieces of silver, And feet kicking the empty wine-skins. But there was no information, and so we continued And arrived at evening, not a moment too soon Finding the place; it was (you may say) satisfactory. All this was a long time ago, I remember, And I would do it again, but set down This set down This: were we led all that way for &MVXL�SV�(IEXL#��8LIVI�[EW�E�&MVXL��GIVXEMRP]� We had evidence and no doubt. I have seen birth and death, But had thought they were different; this Birth was Hard and bitter agony for us, like Death, our death. We returned to our places, these Kingdoms, But no longer at ease here, in the old dispensation, With an alien people clutching their gods. I should be glad of another death. �THE ALDEBURGH CONNECTION CONCERT SOCIETY FOUNDING PATRON: Sir Peter Pears HONORARY PATRONS: Steuart Bedford, Christopher Newton, C.M., Catherine Robbin, O.C. EMERITUS DIRECTORS: Carol Anderson, R.L.T.Baillie (President), Christopher Bunting, Rosemary Dover, Michael Gough (President), John Lawson, Maja Lutkins, James MacDougall, James Norcop, Iain Scott, Janet Stubbs, Françoise Sutton BOARD OF DIRECTORS: Patsy Anderson, C. M. (Chair), Alice Adelkind, Suzanne Bradshaw, C.M., Sally Holton, Christopher Kelly, Che Anne Loewen, Justin Young %PHIFYVKL is the small town on the east coast of England where Benjamin Britten, Peter Pears ERH�)VMG�'VS^MIV�JSYRHIH�XLI�*IWXMZEP�SJ�1YWMG�[LMGL�¾SYVMWLIW�XS�XLMW�HE]��%VXMWXMG�(MVIGXSVW� 7XITLIR�6EPPW and &VYGI�9FYOEXE visited and worked there for many summers and a large number of the singers who appear with the Aldeburgh Connection have a similar link. B I O G RA P H I E S &)2.%1-2�&988)6*-)0( &IRNEQMR�&YXXIV½IPH´W�QSWX�VIGIRX�IRKEKIQIRXW�LEZI�MRGPYHI�&IIXLSZIR´W�9th Symphony with the North Carolina Symphony, the premiere of Jeffrey Ryan’s Afghanistan: Requiem for a Generation with the Calgary Philharmonic, Britten’s St. Nicholas with the Bach Choir of Bethlehem, Haydn’s Die Schöpfung with the Orchestra of St. Luke’s at Carnegie Hall, the Mozart Requiem with Alberta Ballet and Mozart arias and duets with the American Classical Orchestra at LinGSPR�'IRXIV��1V��&YXXIV½IPH�EPWS�VIGIRXP]�HIFYXIH�EX�'LMGEKS´W�+VERX�4EVO�*IWXMZEP�[MXL�'EVPSW� Kalmar in Haydn’s The Seasons and performed with the Washington Chorus in Mendelssohn’s Elijah at the Kennedy Center. Recent operatic engagements have included the role of Frère Massée in Messiaen’s St. François d’Assise with Kent Nagano and the Montreal Symphony as well as Grimoaldo in Rodelinda [MXL�4EGM½G�3TIVE�YRHIV�8MQSXL]�:IVRSR��,MKLPMKLXW�MR�XLI��WIEWSR�MRGPYHIH�HIFYXW� with the Seattle and Eugene Symphonies, a return to Taipei with the Taiwan National Choir for Puccini’s Messa di Gloria under Agnes Grossmann as well as being featured in the world TVIQMIVI�SJ�'LVMWXSTLIV�&YXXIV½IPH´W�Contes pour enfants pas sages with Continuum ContemTSVEV]�1YWMG�MR�8SVSRXS��1V��&YXXIV½IPH´W�YTGSQMRK�IRKEKIQIRXW�MRGPYHI�Christmas Oratorio with the Victoria Symphony, On Wenlock Edge with the Lafayette String Quartet in Kelowna and Victoria, Janacek’s The diary of one who disappeared at the Nasher Sculpture Center in Dallas with pianist Arthur Rowe and Haydn’s Creation and Bach’s B minor Mass with the Bach Choir of Bethlehem. Of his more than thirty recordings, the Britten Serenade (CBC/ Streatfeild), Canticles (Marquis/ Aldeburgh Connection), Everlasting Light (CBC/ Adams) and Messiah Choruses (CBC/ Taurins) have been recognized by the Canadian Juno Awards while his recording of Psalm 80 by RousWIP��8MQTERM�8SZI] �[SR�E�(METEWSR�ERH�'PEWWMGE�E[EVH�MR�*VERGI��1V��&YXXIV½IPH�VIGIRXP]� recorded the St. John Passion for Analekta and the chamber version of Mahler’s Das Lied von der Erde for Yellow Barn in Vermont. �ALEXANDER DOBSON Alexander Dobson, British-Canadian baritone, has been praised for his musicality and dramatic awareness in a range of repertoire on both opera and concert stages. Opera highlights include his riveting portrayals of Wozzeck and Don Giovanni, both conducted by Yannick Nezet-Seguin, Papageno in�(MI�>EYFIV¾}XI with Opera Hamilton, Mercutio in Roméo et Juliette for l’Opéra de Montréal, Silvio in Opera Quebec’s Pagliacci, Marcello in La bohème for SasOEXSSR�3TIVE�ERH�4EGM½G�3TIVE�:MGXSVME��(I�6IX^�MR�&EVH�7YQQIVWGETI´W�TVSHYGXMSR�SJ�Les Huguenots and his Royal Opera, Covent Garden debut with The Midnight Court. A dedicated concert and recital artist, Alexander has appeared with the Orchestre Métropolitain for Mahler’s Songs of a Wayfayer; the National Arts Center Orchestra in Mahler’s Symphony No. 8, “Symphony of a Thousand”; Beethoven’s Mass in C with the Colorado Symphony; Messiah with the Edmonton Symphony; in recital withToronto’s Aldeburgh Connection; at the Vancouver New Music Festival, and as Aeneas in Purcell’s Dido and Aeneas with Montréal’s Theatre of Early Music. He has sung Schubert’s Winterreise to great acclaim in Canada, England, and France. Alexander graduated from the University of Toronto Opera Division and the Faculty of Music at the University of Western Ontario with Honours. He is also an alumnus of Music Academy of the West in Santa Barbara, the Steans Institute for Young Artists at Ravinia, and L’Atelier lyrique de l’Opera de Montréal. STEPHEN RALLS Stephen Ralls began his musical career in England with the English Opera Group who selected him as chief répétiteur for Britten’s last opera, Death in Venice. This led to recital appearances with Sir Peter Pears at the Aldeburgh Festival and on the BBC, and to Mr. Ralls’ joining the staff of the Britten-Pears School in Aldeburgh. In 1978, he was appointed to the Faculty of Music, University of Toronto, where he held the position of Musical Director of the Opera Division from 1996 to 2008. He has worked with the Canadian Opera Company, the Banff Centre and the National Arts Centre. His recordings include L’Invitation au voyage: songs of Henri Duparc (CBC Records), several releases with the Aldeburgh Connection, including Benjamin Britten: the Canticles, Schubert among friends and Our own songs, and the Juno award winning Songs of Travel with baritone, Gerald Finley. He and Bruce Ubukata founded the Aldeburgh Connection MR��ERH�XLI�&E]½IPH�*IWXMZEP�SJ�7SRK�MR��-R�3GXSFIV��XLI]�[IVI�NSMRX�VIGMTMIRXW� of an Opera Canada “Ruby” Award for their work in opera and with young Canadian singers; in December 2012, they were both appointed Members of the Order of Canada and recipients of the Queen’s Diamond Jubilee Medal. DANIEL TAYLOR Daniel Taylor appears on more than 100 recordings, including Bach cantatas / Gardiner (for Deutsche Grammophon Archiv and SDG), Renaissance duets with James Bowman / actor Ralph Fiennes /TEM (BIS), Handel’s Rinaldo with Bartoli / Hogwood (Decca), Sakamoto’s popopera “Life” with the Dalai Lama and Salman Rushdie (Sony), Bach Cantatas with Bach Collegium Japan (BIS), a Bach recital with the Theatre of Early Music and a recital of Shakespeare’s songs (Sony). New releases include Bach Cantatas with the Magdalena Consort / Chandos, Bach St. Matthew Passion with the Kammerchor Stuttgart / Bernius (Carus) and Messiah with the Handel & Haydn Society / Christophers (Coro). A new disc with the actor Jeremy Irons, cellist Matt Haimovitz and the mezzo Frederica von Stade has debuted at the top of the classical sales charts. �Daniel’s debut at Glyndebourne in Sellars’s staging of Handel’s Theodora followed his operatic debut in Jonathan Miller’s production of Handel’s Rodelinda (EMI). He took the title role in Gluck’s Orfeo at the Edinburgh Festival. His North American operatic debut was in Handel’s Cesare at the Metropolitan Opera. Other highlights of past engagements include Rinaldo at the Munich Opera House / Bickett; Bernstein’s Chichester Psalms/Philadelphia Orchestra / Dutoit; Handel’s Saul with Bachakademie Stuttgart/ Rilling (for Hänssler Classics) and Schnittke’s Faust Cantata with the Rotterdam Philharmonic / Gergiev. With the Monteverdi Choir/Gardiner, he appeared on the Bach Cantata Pilgrimage, joining in concerts and recordings across Europe and North America. In 2013, Daniel was awarded the Queen’s Medal for his work in Music and Charity. Daniel is Artistic Director and Conductor of the Choir and Orchestra of the Theatre of Early Music, which performs more than thirty concerts every year in concert halls all over the world. As a Conductor, he debuted recently with the Gabrieli Consort, the Kammerchor 7XYXXKEVX��(ERMIP�[EW�EPWS�XLI�½VWX�+YIWX�'SRHYGXSV�MR�XLI�LMWXSV]�SJ�XLI�8EPPMW�7GLSPEVW��8LI� University of Toronto recently appointed him to the position of Head of Historical Performance and Professor of Voice and Opera in the Faculty of Music. BRUCE UBUKATA Bruce Ubukata has established a reputation as one of Canada’s leading accompanists, working with singers such as Mary Lou Fallis in her successful one-woman shows. He has appeared in recital with mezzo Catherine Robbin across Canada and in France and has toured BC with Robbin and soprano Donna Brown. He had a long association with the Canadian Children’s Opera Chorus, has worked with the Toronto Symphony and the Canadian Opera Company, as well as for many years at the Britten-Pears School in Aldeburgh, England. He is also a noted organist (holding posts for many years at Toronto’s Grace-Church-on-the-Hill and the church of St. Simon the Apostle) and harpsichordist. His recordings include Liebeslieder and Folksongs for CBC Records, Benjamin Britten: the Canticles on the Marquis label and the Aldeburgh Connection’s most recent releases, Schubert among friends and Our own songs. He and Stephen 6EPPW�JSYRHIH�XLI�%PHIFYVKL�'SRRIGXMSR�MR��ERH�XLI�&E]½IPH�*IWXMZEP�SJ�7SRK�MR��-R� October 2010, they were joint recipients of an Opera Canada “Ruby” Award for their work in opera and with young Canadian singers; in December 2012, they were both appointed Members of the Order of Canada and recipients of the Queen’s Diamond Jubilee Medal. UVIC CHAMBER SINGERS Under the direction of Garry Froese, the UVic Chamber Singers performs both standard and lesser-known choral repertoire from a wide spectrum of composers and styles. Formed in 1973 under the direction of Bruce More, the choir built a reputation for highly acclaimed performances in Victoria and also extensive concert tours. They performed in 140 cities and 30 countries on 6 continents. They have recorded for broadcast on the CBC, University of California Radio, N.C.R.V. Radio in Holland and the National Radios of China, Poland & Hungary. They have also been winners in the CBC choral competition and took part in a recording in 2000 which won a Juno award. �UNIVERSITY OF VICTORIA SCHOOL OF MUSIC LARGE ENSEMBLE SERIES FALL 2013 OCT 04 & NOV 22 WIND SYMPHONY University Centre Farquhar Auditorium | $14 & $12 OCT 20 (2:30 PM) & DEC 02 CHAMBER SINGERS Phillip T. Young Recital Hall | By donation NOV 01 ORCHESTRA NOV 08 University Centre Farquhar Auditorium | $17.5 & $13.5 JAZZ ORCHESTRA Phillip T. Young Recital Hall | $15 & $10 NOV 16 SONIC LAB Phillip T. Young Recital Hall | By donation NOV 30 CHORUS & ORCHESTRA NOV 24 VOCAL JAZZ Phillip T. Young Recital Hall | By donation University Centre Farquhar Auditorium | $17.5 & $13.5 Concerts start at 8 p.m. For concerts in the Farquhar Auditorium: FREE tickets are available for UVic students if reserved in advance, or $5 at the door. Tickets may be purchased at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca) and at the door. More information at: 250-721-8634 www.finearts.uvic.ca/music/events �UPCOMING EVENTS Sunday, October 27, 8:00 p.m. (Admission by donation) STUDENT COMPOSERS CONCERT Featuring original compositions by students in the School of Music Composition program. Phillip T. Young Recital Hall Friday, November 1, 8:00 p.m. ($17.50 & $13.50) UNIVERSITY OF VICTORIA ORCHESTRA Harmonious Saints Under the baton of Ajtony Csaba, the UVic Orchestra will perform J.C. Bach’s Symphony No. 2 MR�&�¾EX; Handel’s Look Down Harmonious Saint, with soloist and winner of the UVic Concerto Competition, Joshua Lovell (tenor); Tchaikovsky’s Symphony No. 2 (“Little Russian”); and more! University Centre Farquhar Auditorium Sunday, November 3, 2:30 p.m. (Admission by donation) VIOLIN CLASS RECITAL Students from the studio of Sharon Stanis. Phillip T. Young Recital Hall Tuesday, November 5 (Free Admission) +9)78�1%78)6'0%77��',%60)7�'%780)1%2��:-30-2 One of the world’s most active performer/pedagogue’s on the violin, Charlie Castleman, will lead masterclasses with School of Music string students. Open to the public. 1:30 p.m. – 3:30 p.m. Violin Masterclass, Phillip T. Young Recital Hall 5:30 p.m. – 7:00 p.m. String Chamber Music Masterclass, Rm. B037 MacLaurin B-Wing Wednesday, November 6, 8:00 p.m. (Free Admission) Orion Series in Fine Arts presents +9)78�0)'896)��(%:-(�%��.%**)�(California) 30th anniversary retrospective concert and lecture/discussion of the landmark electronic work, Silicon Valley Breakdown. Presented in the rarely-heard quadraphonic version, the work is the composer’s answer to the question “What would it sound PMOI�MJ�]SY�TPYGOIH�XLI�GEFPIW�SJ�XLI�+SPHIR�+EXI�&VMHKI#² 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 [[[�½RIEVXW�YZMG�GE�QYWMG�IZIRXW � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orion Series in Fine Arts Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-02-TALK.mp3">talk </a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-03.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-04-TALK.mp3">talk</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-05.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-06.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-07-TALK.mp3">talk</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-08.mp3">track5</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-09.mp3">track6</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-10-TALK.mp3">talk</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-11.mp3">track7</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-12-TALK.mp3">talk</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-13.mp3">track8</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-14.mp3">track9</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-15-Encore1.mp3">encore1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-16-encoreTALK.mp3">talk</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-17-Encore2.mp3">encore2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102613-OrionSeries/102613-Aldeburgh-01.mp3"> </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 The Aldeburgh Connection - A Britten Festival of Song: The Canticles 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 26, 2013 Contributor An entity responsible for making contributions to the resource Stephen Ralls, piano; Bruce Ubukata, piano; Daniel Taylor, counter-tenor; Benjamin Butterfield, tenor; Alexander Dobson, baritone; UVic Chamber Singers, with Gary Froese, conductor https://finearts.uvic.ca/music/archive/files/original/c730d37a57170b044142d2b34400ff26.pdf d523fa05baf15c8642a03f881bbb4aef PDF Text Text University of Victoria School of Music Three Poems by John Clare Student Composer’s Concert I. I am II. A Vision III. The Peasant Poet* *Dedicated to Anne Bennett Laura Altenmueller, piano Elizabeth Gerow, soprano Cody Froese, tenor Program Two Solitudes for Piano and Viola (2013) Elizabeth Gerow Simon Mackie I. farawaydistance* *Dedicated to Georges Dimitrov Elizabeth Clarke, piano Matt Antal, viola Maria Eduarda Mendes Martins Kyrie (2011) for two speakers If I loved even so much as that one single grape, I would also have to love God Matt Kaufhold Nalini Bissoon, voice Elizabeth Gerow, voice Nolan Krell, guitar Matt Kelly, trombone Three Solitudes for Piano and Viola (2009) I. Power Breeds Madness II. 2006* III.the dream-encrusted window *Dedicated to Marie Elizabeth Clarke, piano Matt Antal, viola Simon Mackie The Solitudes are a series of pieces about emotions, thoughts or feelings that can only be felt and experienced alone, inside oneself. farawaydistance is a kind of daydream-fantasie. Power Breeds Madness chronicles the slow descent into madness and how it spirals out of control. 2006 asks the question: what are the consequences of changing your life? the dream-encrusted window is all about what happens to ideas when you release them--listen to the before, the after and the in-between. Kyrie begins in an ethereal way, as if we woke up for a dream in a different and tranquil place. This atmosphere has, as a main goal, not to leave any clues about how the timbre of the main text (Kyrie Eleison) will sound like, once this text is part of an electroacoustic piece. The Kyrie has a character of constant oscillation. This oscillation varies between sensations of gentleness and piece to aggressiveness and fear, passing directly from one to the other. This image is closely connected to the registers used in the piece (either very low or very high) and symbolizes a constant passage between the heaven and the hell, where the man begs for mercy to Christ. Three Poems by John Clare - John Clare (1793-1864) obtained only enough schooling to enable him to read and write, but in 1820 his works attracted the leading writers of the day. However, his celebrity soon dimmed and financial failures and other disappointments led to his mind giving way. He lived in an asylum for almost the rest of his life, where he was well taken care of and encouraged to keep writing. His poetry is delicate and beautiful, a small window into the inner feelings of a peasant in love with nature and with God. (Paraphrased from the Norton Anthology of English Literature). Elizabeth Gerow is in her second year of Composition Studies with John Celona at the University of Victoria, and is also studying voice with Susan Young. Sunday, October 27, 2013, 8:00pm Phillip T. Young Recital Hall MacLaurin Building, University of Victoria admission by donation � 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/102713-ComposersConcert/102713-ComposersConcert_01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/102713-ComposersConcert/102713-ComposersConcert_02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/102713-ComposersConcert/102713-ComposersConcert_03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/102713-ComposersConcert/102713-ComposersConcert_04.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/102713-ComposersConcert/102713-ComposersConcert_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 Composers Concert Creator An entity primarily responsible for making the resource Dylan Powell Date A point or period of time associated with an event in the lifecycle of the resource October 27, 2013 https://finearts.uvic.ca/music/archive/files/original/a430f1cef7fdd0285ca5dcf28c384467.pdf 645bd8093737d7389b3113223c5f1a16 PDF Text Text Tuesdaymusic Phillip T. Young Recital Hall • University of Victoria October 29, 2013 - 12:30 p.m. Sonata for Cello and Piano in G minor, Op. 13 III) Andante Sergei Rachmaninoff (1873 - 1943) Maria Wang, cello Barry Tan, piano Sonata for Trumpet and Piano Eric Ewazen I) Lento, allegro molto ( b. 1954) Matt Richard, trumpet Kailey Cann, piano Piano Quartet in C minor, Op. 60 i) Allegro non troppo Johannes Brahms (1833 - 1897) Elizabeth Clark, piano Derrick Lee, violin Calvin Yang, viola Alex Klassen, cello Piano Sontata in D major, K. 284 Wolfgang Amadeus Mozart I) Allegro (1756 - 1791) II) Rondo and Polonaise (andante) III) Theme with variations Barry Tan, piano Upcoming Events Friday, November 1, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Featuring School of Music voice students Phillip T. Young Recital Hall Friday, November 1, 8:00 p.m. ($17.50 & $13.50) UNIVERSITY OF VICTORIA ORCHESTRA Harmonious Saints Ajtony Csaba, conductor Performing: Johann Christian Bach – Symphony No. 2 in B-flat Handel – Look Down Harmonious Saint, with soloist Joshua Lovell, winner of the UVic Concerto Competition H.I.F. Biber – Battalia G.B. Gabrieli – Canzoni e Sonate Tchaikovsky – Symphony No. 2 (“Little Russian”) University Centre Farquhar Auditorium Saturday, November 2, 1:00-6:00 p.m. (Workshop fee: $25) ENDANGERED INSTRUMENTS WORKSHOP: for oboe, horn & bassoon Presented by UVic performance faculty Alexandra Pohran Dawkins (oboe), Kurt Kellan (horn) and Jenny Gunter (bassoon), this workshop is designed to help high school level musicians develop their technique and musicianship. Includes masterclasses, ensemble playing and a final concert. Details at: www.finearts.uvic.ca/music/events/endangered/ MacLaurin Building (B Wing) � 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 Tuesdaymusic Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/102913-Tuesdaymusic/102913-Tuesdaymusic_01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/102913-Tuesdaymusic/102913-Tuesdaymusic_02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/102913-Tuesdaymusic/102913-Tuesdaymusic_03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/102913-Tuesdaymusic/102913-Tuesdaymusic_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 Tuesdaymusic 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 October 29, 2013 https://finearts.uvic.ca/music/archive/files/original/dd1df402f00b700c8a43608e4e2f0c43.pdf 28913099d16227982c4e2cc19ce4c984 PDF Text Text fridaymusic Phillip T. Young Recital Hall • University of Victoria Featuring School of Music Voice Students November 1, 2013 - 12:30 p.m. Per la gloria d’ adorarvi Giovanni Battista Bononcini (1672 - 1750) Tristan Chalcraft, tenor Ava Hoegl, piano Do Not Go, My Love Richard Hageman (1881 -1966) Dawn Yuan, soprano Susan Young, piano Widmung Robert Schumann (1810 - 1856) Elizabeth Gerow, soprano Harry Han, piano Geheimnis Johannes Brahms (1833 - 1897) Chelsey Ternes, soprano Jane Hou, piano Canciones para niños Xavier Montsalvatge I. Paisaje (1912 - 2002) 2. Caracola Lindsay Suddaby, soprano Allannah Montgomery, piano I spy Celia Henry Purcell (1659 - 1695) Cody Froese, tenor Kenji Lee, baritone Susan Young, piano Die Entführung aus dem Serail Ich baue ganz auf deine Stärke Adam Dyjach, tenor Charlotte Hale, piano Wolfgang Amadeus Mozart (1756 - 1791) Peter Grimes Embroidery Aria Benjamin Britten (1913 - 1976) Dominique Ryser, soprano Shane Beech, piano Rusalka Song to the Moon Antonín Dvorák (1841 - 1904) Olivia Selig, soprano Steph Taralson, piano The Mikado Alone and Yet Alive W. S. Gilbert and Arthur Sullivan (1836 - 1911 and 1842 - 1900) Marlena Kurek, mezzo soprano Susan Young, piano A Little Night Music Stephen Sondheim The Glamorous Life (b. 1930) Andrea Paddock, soprano Charlotte Hale, piano � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fridaymusic Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/110113-Fridaymusic/110113-FridayMusic-01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/110113-Fridaymusic/110113-FridayMusic-02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/110113-Fridaymusic/110113-FridayMusic-03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/110113-Fridaymusic/110113-FridayMusic-04.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/110113-Fridaymusic/110113-FridayMusic-05.mp3">track5</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/110113-Fridaymusic/110113-FridayMusic-06.mp3">track6</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/110113-Fridaymusic/110113-FridayMusic-07.mp3">track7</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/110113-Fridaymusic/110113-FridayMusic-08.mp3">track8</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/110113-Fridaymusic/110113-FridayMusic-09.mp3">track9</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/110113-Fridaymusic/110113-FridayMusic-10.mp3">track10</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/110113-Fridaymusic/110113-FridayMusic-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 Fridaymusic Creator An entity primarily responsible for making the resource Jamie Bracke Date A point or period of time associated with an event in the lifecycle of the resource November 1, 2013 https://finearts.uvic.ca/music/archive/files/original/083e9b4b16fa7c6df8bb63bf13f7ed7e.pdf c58d1f9ec8afa5509fb5fa5eadaedac6 PDF Text Text Violin Class Recit al Students from the studio of Sharon Stanis Program Sonata for Violin Solo Fuga Concerto in D Major, Op. 61 Allegro ma non troppo Lindsey Herle, violin Josh Herrett, piano Intermission Caprice 1 (Die Kranke und die Uhr) S.C. Eckhard-Gramatte (1899-1974) Derrick Lee, violin Partita No. 2 in D minor BWV 1004 Sarabanda Giga Raina Saunders, violin Bela Bartok (1881-1945) Jiten Beairsto, violin Romance for Violin and Piano in F Major, Op. 50 Ludwig van Beethoven (1770-1827) Natalie Dzbik, violin Seira Hayakashi, piano Melodie from Orfeo ed Euridice Gluck (1714-1787) transcribed for violin by F. Kreisler (1875-1962) Beethoven Johann Sebastian Bach (1685-1750) Violin Sonata in G Major, Op. 78 Johannes Brahms Vivace ma non troppo (1833-1897) Derrick Lee, violin Jany Lu, piano Violin Sonata in D minor, Op. 108 Allegro Johannes Brahms (1833-1897) Jiten Beairsto, violin Barry Tan, piano Emily MacCallum, violin Edwina Lin, piano Liebesleid Jessica d’Oliveira, violin Soloman Cheung, piano Fritz Kreisler (1875-1962) Sunday, November 3, 2013, 2:30 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation 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/students/110313-ViolinClassRecital/110313-ViolinClassRecital-01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/students/110313-ViolinClassRecital/110313-ViolinClassRecital-02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/students/110313-ViolinClassRecital/110313-ViolinClassRecital-03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/students/110313-ViolinClassRecital/110313-ViolinClassRecital-04.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/students/110313-ViolinClassRecital/110313-ViolinClassRecital-05.mp3">track5</a> <a href="https://finearts.uvic.ca/music/archive/uploads/students/110313-ViolinClassRecital/110313-ViolinClassRecital-06.mp3">track6</a> <a href="https://finearts.uvic.ca/music/archive/uploads/students/110313-ViolinClassRecital/110313-ViolinClassRecital-07.mp3">track7 </a> <a href="https://finearts.uvic.ca/music/archive/uploads/students/110313-ViolinClassRecital/110313-ViolinClassRecital-08.mp3">track8</a> <a href="https://finearts.uvic.ca/music/archive/uploads/students/110313-ViolinClassRecital/110313-ViolinClassRecital-09.mp3">track9</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Violin Class Recital - Students from the studio of Sharon Stanis Creator An entity primarily responsible for making the resource Dylan Powell Date A point or period of time associated with an event in the lifecycle of the resource November 3, 2011