35 10 1498 Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/020316-BachCompetition/020316-BachComp_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/020316-BachCompetition/020316-BachComp_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/020316-BachCompetition/020316-BachComp_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/020316-BachCompetition/020316-BachComp_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/020316-BachCompetition/020316-BachComp_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 Annual Solo Bach Competition and Concert Creator An entity primarily responsible for making the resource Adar Guy Date A point or period of time associated with an event in the lifecycle of the resource February 3, 2016 https://finearts.uvic.ca/music/archive/files/original/56ce92ccb7dd2cb93f5ce22ba564c3f8.pdf c7ea9203667b2652fd12f36b13219f6b PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �Orchestra UNIVERSITY OF VICTORIA Ch’io mi scordi di te? With Samuel McNally, horn soloist UVic Concerto Competition Winner Class of Kurt Kellan Kelsey Wheatley, mezzo-soprano soloist UVic Concerto Competition Winner Class of Anne Grimm And Emily Armour, piano obligato Ajtony Csaba, Conductor Evan Hesketh, Graduate Conductor Friday, January 29, 2015 • 8:00 p.m. University Centre Farquhar Auditorium University of Victoria Adults: $15 / Students & seniors: $10 �PROGRAM Richard Strauss (1864–1949) Concerto for Waldhorn and Orchestra No. 1, Op. 11 Samuel McNally, horn W.A. Mozart (1756–1791) Ch’io mi scordi di te? (Concert aria K. 505) Kelsey Whitley, mezzo–soprano Emily Armour, piano obligato Evan Hesketh, graduate conductor I NT E R M I S S I O N Ludwig van Beethoven (1770–1827) Symphony No. 6 in F Major 1. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande (Awakening of cheerful feelings upon arrival in the countryside): Allegro ma non troppo 2. Szene am Bach (Scene by the brook): Andante molto mosso 3. Lustiges Zusammensein der Landleute (Merry gathering of country folk): Allegro 4. Gewitter, Sturm (Thunder. Storm): Allegro 5. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm (Shepherd’s song; cheerful and thankful feelings after the storm): Allegretto �PROGRAM NOTES Strauss: Concerto for Waldhorn and Orchestra No. 1, Op. 11 Richard Strauss’ Horn Concerto No. 1 is an early work, written when the composer was just 18 years old. While the horn may seem an unusual choice of instrument for a young composer to cast as the soloist in a concerto, for Strauss it was completely natural – his father, Franz Strauss, was a revered horn player. The first movement begins with just a single chord played by the orchestra before the horn launches the concerto with a spirited, dotted-rhythm fanfare. The orchestra latches onto this motive, extending it to form the first theme. The horn’s next entrance showcases the instrument’s lyricism and nobility with a second theme that is gently accompanied by the strings. A development section juxtaposes these fanfare and lyrical themes but instead of culminating in a traditional recapitulation, the first theme instead returns in the dominant key before slowly relinquishing its energetic drive and seamlessly flowing into the dark, A-flat minor second movement. A contrasting middle section in E major provides some brightness, but the movement ends as it began. The nervous energy of the orchestra quickly dispels this somber atmosphere at the beginning of the third movement, and steadily builds toward a buoyant, rondo finale. Even though this finale features wonderfully lyrical passages for the horn, the orchestra always seems to be percolating. In a final maestoso, the horn briefly pulls back on the reigns before launching into a brilliant coda that brings the concerto to an emphatic conclusion. Mozart: Ch’io mi scordi di te? (Concert aria K. 505) Mozart composed this aria for the character Idamante in a 1786 revival of his opera, Idomeneo. A year later, he adapted it as a concert aria for the soprano Nancy Storace by adding a new recitative and replacing the original violin obligato with piano, which Mozart performed at Storace’s farewell concert. Mozart’s mastery of form and melody is reflected in his genius as an opera composer and his ability to set a text for maximum emotional impact is remarkable. This concert aria is a prime example of these strengths and is made even more unique by the inclusion of the piano. The work’s opening recitative with string accompaniment reveals two emotional extremes: questioning trepidation and defiant resolve. In the two-part rondò that follows, the singer valiantly tries to put on a brave face as she laments her inability to be with her beloved. Beethoven: Symphony No. 6 in F Major Beethoven himself provided the subtitle ‘Pastoral’ for his Symphony No. 6, but stopped short of calling the work programmatic. Although there are concrete allusions to nature, such as specific birdcalls, Beethoven maintained that the symphony was inspired by his feeling of being in nature and was not a sound painting of the natural world. Despite the lack of a specific program, each movement has a title describing its source of inspiration. The first movement begins in an unusual way. Normally we might expect a slow introduction or a call to attention. In the beginning of the Sixth Symphony, the violins play a four bar melodic fragment that ends with a pause and seems to be asking a question. It isn’t until 37 bars into the movement that the frag- �ment is finally fleshed out in an orchestral tutti. This hesitant opening and delayed exuberance perfectly reflects the movement’s title – Awakening of Happy Feelings on getting out into the Country. In the second movement – By the Brook-Side – gentle triplets and flowing sixteenth notes evoke the running water of a tranquil stream. A remarkable feature of this movement is that these triplets and sixteenths not only support the melody as one might expect – often, they are the melody. The end of the second movement provides the opportunity for some bird watching. Beethoven notes in the score that different instruments represent a specific bird: nightingale (flute), quail (oboe), and cuckoo (clarinets). The third movement – Merry Gathering of the Country Folk – features a rustic middle section framed by a spritely scherzo. Suddenly, the distant rumbling of a thunderstorm interrupts the party as the fourth movement begins attacca. At the movement’s end, the storm peters out as the thunder in the cellos and double basses fades away, leading directly to the last movement – Happy and Thankful Feelings after the Storm. BIOGRAPHIES Emily Armour Emily Armour was born and raised on the West Coast, beginning studies in Classical piano at age 15 in the Cowichan Valley. She studied with professor Bruce Vogt and Michelle Mares at the University of Victoria School of Music where she earned her Bachelor of Music in 2012. Emily is currently enrolled in the Masters program for Piano Performance studying with Bruce Vogt. She teaches piano at Queen Margaret’s School, Brentwood College, privately in Victoria, and at her home studio in the Cowichan Valley. Sam McNally Sam McNally is a third year music student at UVic and is pursuing a Bachelors degree in Music Performance. From his native Calgary, he began playing horn at the age of 11 in his middle school band. A few years later he began to take lessons from Laurie Matiation, with whom he was able to win his age divisions in the Calgary and Alberta Provincial Kiwanis Festivals, partake in honour bands, and ultimately end up in auditioning at the University of Victoria. Also in Calgary he was a member in both the Calgary Youth Orchestra and the Mount Royal Conservatory’s Academy of Music. Now at UVic, studying with Kurt Kellan, Sam enjoys having played in both the UVic Orchestra and Wind Symphony along with various solo and chamber performance settings. This past fall he began his first season as Principle Horn of the Kamloops Symphony Orchestra. Sam is grateful for the opportunity to perform with the UVic Orchestra this season and is looking forward to more adventures to come! Kelsey Wheatley Although Kelsey’s roots are in the theatrical and movement realms, she has found her true passion in classical singing. She has achieved numerous credentials including a theater arts diploma from Grant MacEwan University, a diploma in classical music from the Victoria Conservatory of Music joint with Camosun College, and currently studies with Anne Grimm in her final year of a bachelors degree in music at UVic. In her “free time” Kelsey enjoys directing the children’s choir at First Metropolitan United Church, where she is also a choral scholar, and has performed as the ghost women in Lucia di Lammermoor, and most recently, Bianca in Otello with Pacific Opera Victoria. �Evan Hesketh Evan Hesketh began studying violin at age seven with Yasuko Eastman, who also introduced him to the viola a few years later. He holds a Bachelor of Music degree from the University of Victoria, where he studied violin with Ann Elliott-Goldschmid and viola with Joanna Hood and Yariv Aloni. Further studies led to a Master of Music degree at the Cleveland Institute of Music under the tutelage of Robert Vernon, Jeffrey Irvine, and Kirsten Docter. Evan has played in masterclasses for Pinchas Zukerman, James Dunham, Roger Tapping, Atar Arad, and Steven Dann. An award-winning chamber musician, Evan was a member of the Ariadne String Quartet, prizewinners at the 2012 Fischoff Competition, and the 2012 Coleman Competition. Quartet studies have been with members of the Lafayette, Cleveland, Cavani, Miro, Juilliard, Brentano, and Schoenberg quartets. Currently, Evan studies conducting at the University of Victoria on a full scholarship with Ajtony Csaba. He has conducted the UVic Orchestra, Victoria Civic Orchestra, and festival orchestras in Maine and New Hampshire. Ajtony Csaba Ajtony Csaba, born in Cluj, Romania, began his studies on the cello and later piano and composition in Budapest at the Academy of Music. He began studying conducting in Vienna and Budapest with Uroš Lajovic, Peter Eötvös, Zoltán Pesko, Zsolt Nagy, Lucas Vis and Antoni Wit. He was awarded many prizes as a conductor and composer, and was a semi-finalist in the first competition for opera in Cluj, Romania. Csaba has had numerous concerts in Hungary and Austria with orchestras including UMZE, Sinfonietta Baden, Webern Sinfonietta, Savaria Symphony Orchestra, and Danubia Orchestra. In the 2003/04 season he was the assistant conductor and tutor of the Academy Orchestra Budapest and in 2005 was invited to be the assistant conductor of the Hungarian National Philharmonic Orchestra with their contemporary program. He made his conducting debut in the Viennese Musikverein with the RSO (Radio-Symphonieorchester, Wien) in 2007. Since 2006 Csaba has served as the chief conductor of the Central European Chamber Orchestra, and led the orchestra on a tour in China (performances including halls in Shenzhen, Lanzhou and in the Parliament in Beijing), with return engagements in 2007 and 2009. Ajtony Csaba has been the leader of the Vienna Jeunesse Choir since 2007. In 2008 he conducted at the Darmstadt Summer Courses for New Music and was assistant at the Salzburg Festspiele. In 2008 he conducted the EuroMed Youth Orchestra in Damaskus, Syria. In the past season Csaba conducted the Toronto Symphony Orchestra, Ensemble Tsilumos at the Montreal New Music Festival and the Brazilian SiMN Festival in Curitiba. Upcoming concerts include subscription concerts with the Hungarian Symphony Orchestra and Danubia Orchestra. Csaba has served as music director of the University of Victoria Orchestra and Sonic Lab since 2010, where he also teaches conducting and the history of conducting. �ORCHESTRA PERSONNEL VIOLIN 1 Chloe Kim* Aliayta Foon-Dancoes* Matthew Logan Linda Donn Jilaine Orton Ross Ling Shijin Kim Jasmine Mather CELLO Shiun Kim* Clare Dresselhuis Chloe Kersen Olivia Brotzell Ella Hopwood* Bryan Lin Alex Klassen Tara Rajah VIOLIN 2 Amy-Lynne Toth* Raina Saunders Jessica d’Oliveira Brittany Tsui Serena Jack Michele Hoskin Emily MacCallum Francine Hsu DOUBLE BASS Brock Foerster* Blake Palm Carroll Mackenzie VIOLA Josh Gomberoff* Sarah de Niverville* Fahlon Smith Calvin Yang Melissa Toth Eric Mitchell PICCOLO Jillian Broughton FLUTE Cooper Reed* Bailey Finley OBOE Jillian Broughton* Patrick Conley CLARINET Erin Onyschtschuk* Sunny Chu BASSOON Eric Boulter* Wilson Kyne HORN Samuel McNally* Sarah Mullane Justin Malchow TRUMPET Ian VanGils* John Hamblett TROMBONE Megan White* Trevor Hoy TIMPANI Tristan Holleufer LIBRARIANS Betty Allison Bahar M. Harandi STAGE MANAGERS Tristan Holleufer Paul Joo ASSISTANT Evan Hesketh * Principal �UPCOMING EVENTS Saturday, January 30, 7:00 p.m. (Admission by donation) FLUTE CLASS RECITAL Featuring students from the studio of Dr. Suzanne Snizek. Phillip T. Young Recital Hall Sunday, January 31, 8:00 p.m. (Admission by donation) VOICE DEPARTMENT SHOWCASE Featuring students from the studios of Benjamin Butterfield, Susan Young, and Anne Grimm. Phillip T. Young Recital Hall Tuesday, February 2, 12:30 p.m. (Admission by donation) TUESDAYMUSIC Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall Tuesday, February 2, 8:00 p.m. (Free Admission) Orion Series in Fine Arts DAVID STEWART, violin & JANE AUSTIN COOP, piano Performing works by Eugène Ysaÿe and Edvard Grieg inspired by a visit Ysaÿe paid to Grieg in 1882. David Stewart is concertmaster of the Bergen Philharmonic. Jane Austin Coop is an internationally recognized concert pianist and has appeared as a recitalist and as a soloist with major symphony orchestras throughout the world. Wednesday, February 3, 6:00 p.m. (Admission by donation) ANNUAL SOLO BACH COMPETITION Featuring the solo suites and sonatas by J.S. Bach performed by UVic string students. The jury will elect three prizewinners, and the audience has the opportunity to vote for the Audience Prize. Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca) and at the door. � To receive our On the Pulse brochure and newsletter by email, contact: concert@uvic.ca www.finearts.uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orchestra Description An account of the resource Since its inception in 1969, the Orchestra has performed most of the standard repertoire, including all nine Beethoven symphonies, most of the later compositions of Haydn and Mozart, as well as major works of Brahms, Schubert, Stravinsky, Bruckner, Schoenberg, and others. Each year, members of the orchestra join with performance faculty to form the "Concerto Orchestra" to present the annual Concerto Concert, which features student soloists selected by competition. Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/012916-Orchestra/012916-Orchestra_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012916-Orchestra/012916-Orchestra_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/012916-Orchestra/012916-Orchestra_03.mp3">track3</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource University of Victoria Orchestra - Ch'io mi scordi di te? Creator An entity primarily responsible for making the resource Allyssa Haigh Date A point or period of time associated with an event in the lifecycle of the resource January 29, 2016 Contributor An entity responsible for making contributions to the resource Ajtony Csaba, conductor; Evan Hesketh, graduate conductor; Emily Armour, piano obligato; Samuel McNally, horn soloist; Kelsey Wheatley, mezzo-soprano soloist https://finearts.uvic.ca/music/archive/files/original/4a3a86c4ce2ed2ac1c19af57e62bb217.pdf 76df151c8ad7f57911bda8de31abca4c PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �Wind Symphony UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC Winds of Change Dr. Gerald King, Conductor David P. Gagnon, Graduate Assistant Conductor With The Naden Band of the Royal Canadian Navy Director of Music and Commanding Officer Lieutenant (Navy) Matthew Clark Friday, February 5, 2016 • 8:00 p.m. University Centre Farquhar Auditorium University of Victoria Adults: $15 / Students & Seniors: $10 �PROGRAM Wind Fanfare Joseph T. Spaniola David P. Gagnon, conductor Symphony No. IV: Bookmarks from Japan I. Fuji-san Julie Giroux II. Nihonbashi III. The Great Wave off Kanagawa IV. Kinryuzan Temple in Asakusa V. Evening Snow at Kambara Soloists: Karen Shields, alto flute (Naden) Gillian Newburn, flute (UVic) VI. Hakone Dr. Gerald King, conductor Festival Variations Claude T. Smith Dr. Gerald King, conductor I NT E R M I S S I O N Pictures at an Exhibition Mussorgsky/Ravel/Lavender (Canadian Premiere of Paul Lavender’s unpublished transcription) Promenade I. The Gnome Promenade II. The Old Castle Promenade III.Tuileries (Children Quarreling After Play) Promenade IV. Bydlo (Cattle) Promenade V. Ballet of the Unhatched Chicks VI. Samuel Goldenberg and Schmuyle VII. The Market Place (Important News) VIII. Catacombs (A Roman Sepulchre) Promenade (With the Dead in a Dead Language) IX. The Hut on Hen’s Legs (Baba-Yaga) X. The Great Gate of Kiev Lt. Matthew Clark, conductor �BIOGRAPHIES Dr. Gerald King Dr. King is Professor of Music at the University of Victoria where he serves as the conductor of the UVic Wind Symphony and is the Head of Music Education. Internationally recognized as one of Canada’s most respected conductors, adjudicators, educators and keynote speakers, Dr. King is the recipient of many prestigious honors and awards. In 2003 he was elected into the prestigious American Bandmasters’ Association, when he served as Guest Conductor of The United States Army Band (Pershing’s Own), in Washington, DC. In 2012 he was appointed as Principal Guest Conductor of the internationally recognized Pacific Symphonic Wind Ensemble in celebration of the ensemble’s 30th anniversary. As well, he received the BC Music Educators’ Association Honorary Life Award and was also inducted into Phi Beta Mu (International Fraternity for Wind Band Conductors). In March 2014 he was chosen to conduct the Ostwald/Sousa award winning composition, Pale Blue on Deep by American composer Aaron Perrine, with the University of South Carolina Wind Ensemble. Also, in 2014, Dr. King was appointed as the International Member of the Western International Band Clinic University Collegiate Advisory Board. In September 2015 Dr. King was inducted as an Honorary Member of the Naden Band of the Royal Canadian Navy. A former student of internationally renowned conductor, Maestro Kazuyoshi Akiyama, Dr. King’s professional career has taken him throughout Canada, the United States, Great Britain, Denmark, Sweden, Holland, Germany, Italy, France, Spain, Japan, Mexico, Hong Kong, Australia, and Switzerland. Dr. King’s conducting appearances with regional, national, international honor, and professional ensembles have been praised for performance quality, artistry, and creativity. Throughout his career he has been a champion of new music, premiering over 30 compositions. Dr. King is also widely recognized as an expert for his ability to link theory and practice in the field of teaching and learning. Among his many recordings and publications is a chapter in the book, Creativity and Music Education, written by seventeen authors from the United States, Canada, Israel, Australia, Great Britain, Spain, and Scotland. The book includes a forward by noted author on creativity, Mihalyi Csikszentmihalyi. In addition, Dr. King has completed a well-received DVD—The Craft of Conducting. Dr. King is a Yamaha Artist Educator/Conductor. Lieutenant (Navy) Matthew Clark, CD Commanding Officer / Director of Music In his appointment as Commanding Officer of the Naden Band of the Royal Canadian Navy, Lieutenant (Navy) Matthew Clark is responsible to the Commander of Maritime Forces Pacific and Joint Task Force Pacific for the performance and leadership of the Naden Band. His principal duty is to support the Royal Canadian Navy and the Canadian Armed Forces through ceremonial functions and the operational requirements of the service. The band also serves a very important role in the community as a means of bringing the Navy to Canadians, a function that the band performs with distinction. Since assuming command of the Naden Band in October 2011, Lt(N) Matthew Clark’s artistic vision, coupled with his passion for symphonic wind music and deep regard for military music tradition, has inspired several innovative collaborations with Government House, the Victoria Symphony, the Royal and McPherson Theatres Society, the University of Victoria Wind Symphony, Ian Tyson with Heritage Canada, the �Royal British Columbia Museum, the Victoria Film Festival, the Esquimalt Township Community Arts Council, Royal Roads University, the University of British Columbia, and the Victoria Philharmonic Choir. Lt(N) Clark and the Naden Band also enjoy ongoing and meaningful relationships with the Military Family Resource Centre and the Salvation Army, two organisations that provide so much to our community. His keen sense of professional development has led to the production of five highly successful recordings with the Naden Band and the creation of new and exciting wind ensemble music with outstanding Canadian composers Robert Buckley and Ian MacDougall. Besides establishing an effective and rewarding chamber concert series Lt(N) Clark and the Naden Band have also hosted two excellent performances of the International Military Band Concert marking the first and second time that this annual event has been held on Canadian soil. Lt(N) Clark also believes in youth development and volunteers his time with the British Columbia Cadet Honour Band and the Youth Mentorship Program being developed by the Esquimalt Township Community Arts Council. He has also served as a clinician and adjudicator for several Kiwanis Music Festivals, The Cantando Music Festival and is looking forward to working with the Con Brio Festival in April of 2016. Lt(N) Clark also sat on the 2015 selection board for the “Sing Me A Song” program sponsored by the Lieutenant Governor of British Columbia. A graduate of the University of Toronto, Lt(N) Clark studied conducting and wind ensemble repertoire principally with Dr. Gillian MacKay. He has also worked with such distinguished wind ensemble specialists as Eugene Corporon, and Gerald King. Before his posting to Victoria, Lieutenant Clark has proudly served the Canadian Armed Forces in Edmonton, Alberta with The Royal Canadian Artillery Band; in Ottawa, Ontario with the Band of the Ceremonial Guard; and the Directorate of History and Heritage – Music and in Borden, Ontario with the Canadian Forces Logistics Training Centre Music Division. An equally gifted euphonium soloist, Lt(N) Clark’s 2007 solo recording for the Arktos Label, entitled EUPHONIUM, has been featured on CBC Radio and in the British Bandsman, the longest-running international publication of brass bands. David P. Gagnon Born in Quebec, David P. Gagnon studied saxophone and recording at the College de Sherbrooke before graduating from McGill University in Music with Honors in Music Technology. He joined the Canadian Forces Reserve in Sherbrooke in 2003 where he played and eventually conducted until 2012 when he was accepted as a Regular Force member with the Naden Band of the Royal Canadian Navy and moved to Victoria. Since then apart from playing saxophone in the ensemble and as a soloist, you can see him as the Drum Major in front of the Band on parade or in the recording studio when needed. Mr. Gagnon has also helped produce all of the latest recordings of the Naden Band: Snapshots of Excellence, Portraits of Excellence, and soon to be released Undercurrents, which features the music of Robert Buckley. In Quebec, David performed with his saxophone quartet and a variety of big bands and concert bands. He taught saxophone, flute and clarinet and conducted elementary to high school level bands. He also toured Quebec with the well-known singer Dan Bigras conducting his big band and performing at the Montreal Jazz Festival. Mr. Gagnon is in the second year of his Master of Music Degree in Conducting under the supervision of Dr. Gerald King. David has had the opportunity to conduct the UVic Wind Symphony as well as saxophone and trombone ensembles. He will also serve as conductor for composer Zachary Smith’s latest composition, Concerto for Alto Saxophone, which will premiere in March 2016. �UVIC WIND SYMPHONY PERSONNEL Conductor Dr. Gerald King PICCOLO Sierra Phosy FLUTE Gillian Newburn* Monica Mun Kelsey Dupuis Jasmine Riseley OBOE Theresa Mothersill Hunter Gillis E-FLAT CLARINET Erin Onyschtschuk CLARINET Marcella Barz* Samuel He Mark Kim Alyshia Joinson Dominic Thibault Alina Liang Channing Mar BASS CLARINET Kylie Flower ‡ CONTRA BASS CLARINET Austin Nicholl BASSOON Lee Whitehorne ALTO SAXOPHONE Zach Smith* Connor Stairs TUBA Kory Major* Dayna Waller TENOR SAXOPHONE Adam Jasieniuk PERCUSSION DJ Lochead* Tamara Nemeth Arielle Parsons Kyle MacLean Josh Mulingbayan Allyssa Haigh BARITONE SAXOPHONE Jessica McLaughlin TRUMPET Alex Rees* Emily McDermid Jordan Smale Tark Kim Isabelle Spencer FRENCH HORN Collin Lloyd* Allie Bertholm Sarah Mullane Emily Axford Samuel McNally Drake Lovett Justin Malchow TROMBONE Heidi Worrall* Owen Worby Zachary Power TIMPANI Allyssa Haigh PIANO James Yi ‡ LIBRARIAN Kory Major POSTER DESIGN Emily McDermid * Principal ‡ School of Music Alumni EUPHONIUM Liam Caveney ‡ Special thanks to Emily McDermid (trumpet/music education major) for her wonderful artistic work preparing the Concert Poster for tonight’s concert. Special thanks to Dewey Wright from Spencer Middle School for the loan of the two Taiko drums. �NADEN BAND PERSONNEL Director of Music and Commanding Officer Lieutenant (N) Matthew Clark FLUTE/PICCOLO PO1 Marie-Perle Broadley PO1 Karen Shields TROMBONE PO2 Alon Soraya PO2 Shawn Wright OBOE / HAUTBOIS PO2 Katrina Bligh BASS TROMBONE PO2 Robert McNally BASSOON PO2 Robyn Jutras EUPHONIUM PO2 André Cossette PO2 Bob Fearnley CLARINET PO1 Edith Eaton PO1 Raymona Sutton PO2 Rebecca Hissen PO2 Mélanie Paré BASS CLARINET PO2 Marielle Audet SAXOPHONE PO2 Ken Gibson PO2 David P. Gagnon LS Barrie Sorensen LS Roy Styffe FRENCH HORN PO2 Paul Darling TRUMPET PO1 Mike Broadley PO2 Greg Sly PO2 Miguel Valdes De La Hoz LS Alistair Chaplin LS Steve Donegan TUBA PO2 Tim Keels PO2 Mike Savich BASS CPO2 Brayden Wise PO2 Ross Macdonald PERCUSSION PO2 Darren Gordon PO2 Richard Lang PO2 Stephen MacDonald PO2 Robert Stevens KEYBOARDS PO2 Olivier Néron-Bilodeau �UPCOMING EVENTS Monday, February 15, 8:00 p.m. (Free Admission) Orion Series in Fine Arts GUEST CONCERT: Music that Speaks Robyn Driedger-Klassen, soprano & Terence Dawson, piano Pianist Terence Dawson (UBC) has earned a reputation as one of Vancouver’s most respected musicians. Seen on many Canadian opera stages, soprano Robyn Driedger-Klassen’s roles span from Baroque to contemporary music. Performing Frederic Rzewski’s De Profundis, At the Statue of Venus by Jake Heggie, and Listen by Kevin Morse. Phillip T. Young Recital Hall Tuesday, February 16, 12:30 p.m. (Admission by donation) TUESDAYMUSIC Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall Friday, February 19, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Featuring School of Music woodwind students in a concert of varied repertoire. Phillip T. Young Recital Hall Friday, February 19, 8:00 p.m. (Adults $18 / Seniors, students & alumni $14) FACULTY CONCERT SERIES: Bruce Vogt, piano Internationally celebrated pianist, Bruce Vogt, performs the late sonatas of Ludwig van Beethoven. Phillip T. Young Recital Hall Saturday, February 20, 2:30 p.m. (Admission by donation) PIANO CLASS RECITAL Featuring students from the studio of Arthur Rowe. Phillip T. Young Recital Hall Saturday, February 20, 8:00 p.m. (Admission by donation) PIANO CLASS RECITAL Featuring students from the studio of Eva Solar-Kinderman. Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca) and at the door. To receive our On the Pulse brochure and newsletter by email, contact: concert@uvic.ca www.finearts.uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wind Symphony Description An account of the resource UVic's Wind Symphony is recognized as one of the premiere performing wind ensembles in the Pacific Northwest. The ensemble is in constant demand to perform at festivals and conferences. Recently, the Wind Symphony represented Canada at the Annual WesternInternational Band Conference in Seattle in November, 2002. As well, the Wind Symphony has been a featured guest ensemble at the B.C. Music Educators' Conference. The Wind Symphony provides opportunities for all wind and percussion players in the School. Its repertoire includes transcriptions of orchestral works, concerti, chamber ensembles, large symphonic band works and new music for the concert band. The Wind Symphony regularly features student, faculty and guest solo artists, and has given numerous Canadian and world premieres of contemporary works. Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/020516-WindSymphony/020516-WindSymphony_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/020516-WindSymphony/020516-WindSymphony_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/020516-WindSymphony/020516-WindSymphony_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/020516-WindSymphony/020516-WindSymphony_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 Wind Symphony - Winds of Change with The Naden Band of the Royal Canadian Navy Creator An entity primarily responsible for making the resource Adar Guy Date A point or period of time associated with an event in the lifecycle of the resource February 5, 2016 Contributor An entity responsible for making contributions to the resource Dr. Gerald King, Conductor; David P. Gagnon, Graduate Assistant Conductor; Lieutenant Matthew Clark, Director of Music and Commanding Officer https://finearts.uvic.ca/music/archive/files/original/e48ddb51a62e5fc7d369368bca8a6f4c.pdf 82f7c31e47b417ba04daf73cc3c27c0f PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC ORION SERIES IN FINE ARTS presents A Visit to Bergen David Stewart, violin & Jane Coop, piano Tuesday, February 2, 2016 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free admission �PROGRAM Sonata No.1 in F Major, Op. 8 Allegro con brio Allegretto quasi Andantino Allegro molto vivace Edvard Grieg (1843–1907) Légende Norvégienne Eugène Ysaÿe (1858–1931) (dedicated to Alexandre Bull, composed in April 1882, re-discovered in 2012) Lyric Pieces for Piano Brooklet Scherzo On the Mountains Grieg I NT E R M I S S I O N Violin Sonata in D minor, Op. 27, No. 3 ‘Ballade’ Ysaÿe Sonata No. 2 in G Major, Op.13 Lento doloroso-Allegro vivace Allegretto tranquillo Allegro animato Grieg Rêve d’Enfant, Op. 14 Ysaÿe �BIOGRAPHIES David Stewart is concertmaster of the Bergen Philharmonic Orchestra in Norway, a position he returned to in 2011 after 20 years as violin professor at the Universities of Manitoba and Ottawa. He has enjoyed a diverse career as a professional musician, having performed most of the chamber music, orchestra and solo repertoire. Engagements have taken him to much of Europe and North America. He has had the pleasure to tour mainland China 14 times, as recitalist and professor. Mr. Stewart is a founding member of Bit-20, Norway’s premier contemporary music ensemble, the Agassiz music festival, in Winnipeg, and Quatuor Lumière, a string quartet using historical performance practices. He has taken a special interest in the training of young orchestral musicians and has been coach or conductor of youth orchestras in Finland, Norway, Germany, China and Canada. He now divides his time between Canada and Norway, giving masterclasses at universities and conservatories and as a guest concertmaster in various European orchestras. Pianist Jane Coop, one of Canada’s most distinguished artists, has toured extensively throughout North America, Asia and Europe, performing in such halls as Lincoln Center, Wigmore Hall, the Kennedy Center, Roy Thomson Hall, Salle Gaveau, the Singapore Cultural Center, and the Bolshoi Zal of St. Petersburg. She has collaborated with the principal orchestras of Canada, as well as the Royal Philharmonic Orchestra of London, the Seattle and Portland Symphonies, the Hong Kong Symphony, and the Radio Orchestras of Bavaria and Holland, in some forty concerti. Her commitment to teaching is centred around her long time position at the University of British Columbia’s School of Music in Vancouver, where she was a senior professor and Head of the Piano Division. In 2003 she was designated Distinguished University Scholar by the university’s president, and in 2007 she received a Killam Teaching Award. In 1992 she was the founding Artistic Director of the Young Artists’ Experience – a summer chamber music program for students from the age of 14 to 18 which originally took place in Whistler, BC., and is now held at UBC each summer. Coop’s reputation has inspired international competition organizers to invite her to judge their events over the past fifteen years: the Kapell (Maryland), Dublin AXA, Washington (DC), Hilton Head, Honens (Calgary) and the New York Piano Competition. She has also been a jury member for the Governer General’s Performing Arts Awards, the Glenn Gould Prize, the Hnatyshyn Foundation Developing Artists Grants and various Canada Council grant awards. Her sixteen recordings, three of which have been nominated for Juno awards, have garnered glowing reviews and have been heard on classical radio programs in many countries. In December 2012, Jane Coop was appointed to the Order of Canada, our country’s highest honour for lifetime achievement. � 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. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orion Series in Fine Arts - A Visit to Bergen 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 February 2, 2016 Contributor An entity responsible for making contributions to the resource David Stewart, violin; Jane Coop, piano https://finearts.uvic.ca/music/archive/files/original/8007df544a4aed3c47aa2fb76ac462f7.pdf fc4d9b5b8fa00890c9517c84c6b8ab0c PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC ORION SERIES IN FINE ARTS presents Schubert’s Winterreise Daniel Lichti, baritone Sandra Mogensen, piano Thursday, February 4, 2016 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free admission �PROGRAM Winterreise (Op. 89, D 911) Franz Schubert (1797–1828) Texts by Wilhelm Müller (1794–1827) 1. Gute Nacht 2. Die Wetterfahne 3. Gefrorne Tränen 4. Erstarrung 5. Der Lindenbaum 6. Wasserflut 7. Auf dem Flusse 8. Rückblick 9. Irrlicht 10. Rast 11. Frühlingstraum 12. Einsamkeit 13. Die Post 14. Der greise Kopf 15. Die Krähe 16. Letzte Hoffnung 17. Im Dorfe 18. Der stürmische Morgen 19. Täuschung 20. Der Wegweiser 21. Das Wirtshaus 22. Mut! 23. Die Nebensonnen 24. Der Leiermann �TEXT & TRANSLATIONS Translation by Celia Sgroi 1. Gute Nacht Fremd bin ich eingezogen, Fremd zieh’ ich wieder aus. Der Mai war mir gewogen Mit manchem Blumenstrauß. 1. Good Night I came here a stranger, As a stranger I depart. May favored me With many a bunch of flowers. Das Mädchen sprach von Liebe, Die Mutter gar von Eh’, Nun ist die Welt so trübe, Der Weg gehüllt in Schnee. The girl spoke of love, Her mother even of marriage Now the world is so gloomy, The road shrouded in snow. Ich kann zu meiner Reisen Nicht wählen mit der Zeit, Muß selbst den Weg mir weisen In dieser Dunkelheit. I cannot choose the time To begin my journey, Must find my own way In this darkness. Es zieht ein Mondenschatten Als mein Gefährte mit, Und auf den weißen Matten Such’ ich des Wildes Tritt. A shadow of the moon travels With me as my companion, And upon the white fields I seek the deer’s track. Was soll ich länger weilen, Daß man mich trieb hinaus ? Laß irre Hunde heulen Vor ihres Herren Haus; Why should I stay here any longer So that people can drive me away ? Let stray dogs howl In front of their master’s house; Die Liebe liebt das Wandern Gott hat sie so gemacht Von einem zu dem andern. Fein Liebchen, gute Nacht ! Love loves to wander God made it that way From one to the other, My dearest, good night ! Will dich im Traum nicht stören, Wär schad’ um deine Ruh’. Sollst meinen Tritt nicht hören Sacht, sacht die Türe zu ! I don’t want to disturb your dreaming, It would be a shame to wake you. You won’t hear my step, Softly, softly the door closes ! Schreib im Vorübergehen Ans Tor dir: Gute Nacht, Damit du mögest sehen, An dich hab’ ich gedacht. I write in passing On your gate: Good night, So that you may see That I thought of you. 2. Die Wetterfahne Der Wind spielt mit der Wetterfahne Auf meines schönen Liebchens Haus. Da dacht’ ich schon in meinem Wahne, Sie pfiff den armen Flüchtling aus. 2. The Weathervane The wind plays with the weathervane On my lovely darling’s house. And I thought in my delusion, That it mocked the poor fugitive. Er hätt’ es eher bemerken sollen, Des Hauses aufgestecktes Schild, So hätt’ er nimmer suchen wollen Im Haus ein treues Frauenbild. He should have noticed sooner The symbol displayed on the house, So he wouldn’t ever have expected To find a faithful woman within. Der Wind spielt drinnen mit den Herzen Wie auf dem Dach, nur nicht so laut. Was fragen sie nach meinen Schmerzen ? Ihr Kind ist eine reiche Braut. The wind plays with the hearts inside As it does on the roof, only not so loudly. Why should they care about my grief ? Their child is a rich bride. �3. Gefror’ne Tränen Gefrorne Tropfen fallen Von meinen Wangen ab: Ob es mir denn entgangen, Daß ich geweinet hab’ ? 3. Frozen Tears Frozen drops are falling Down from my cheeks. How could I have not noticed That I have been weeping ? Ei Tränen, meine Tränen, Und seid ihr gar so lau, Daß ihr erstarrt zu Eise Wie kühler Morgentau ? Ah tears, my tears, And are you so tepid That you freeze to ice Like cool morning dew ? Und dringt doch aus der Quelle Der Brust so glühend heiß, Als wolltet ihr zerschmelzen Des ganzen Winters Eis ! Yet you burst from the wellspring Of my heart so burning hot, As if you wanted to melt The entire winter’s ice ! 4. Erstarrung Ich such’ im Schnee vergebens Nach ihrer Tritte Spur, Wo sie an meinem Arme Durchstrich die grüne Flur. 4. Numbness I search the snow in vain For the trace of her steps. Where she, arm in arm with me, Crossed the green meadow. Ich will den Boden küssen, Durchdringen Eis und Schnee Mit meinen heißen Tränen, Bis ich die Erde seh’. I want to kiss the ground, Penetrate ice and snow With my hot tears, Until I see the soil. Wo find’ ich eine Blüte, Wo find’ ich grünes Gras ? Die Blumen sind erstorben, Der Rasen sieht so blaß. Where will I find a blossom, Where will I find green grass ? The flowers are all dead, The turf is so pale. Soll denn kein Angedenken Ich nehmen mit von hier ? Wenn meine Schmerzen schweigen, Wer sagt mir dann von ihr ? Shall then no memento Accompany me from here ? When my pains cease, Who will tell me of her then ? Mein Herz ist wie erstorben, Kalt starrt ihr Bild darin; Schmilzt je das Herz mir wieder, Fließt auch ihr Bild dahin ! My heart is as if dead, Her image frozen cold within; If my heart ever thaws again, Her image will melt away, too ! 5. Der Lindenbaum Am Brunnen vor dem Tore Da steht ein Lindenbaum; Ich träumt’ in seinem Schatten So manchen süßen Traum. 5. The Linden Tree At the well by the gate There stands a linden tree; I dreamed in its shadow Many a sweet dream. Ich schnitt in seine Rinde So manches liebe Wort; Es zog in Freud’ und Leide Zu ihm mich immer fort. I carved in its bark Many a word of love; In joy and in sorrow I was always drawn to it. Ich mußt’ auch heute wandern Vorbei in tiefer Nacht, Da hab’ ich noch im Dunkeln Die Augen zugemacht. Again today I had to travel Past it in the depths of night. There even in the darkness I closed my eyes. Und seine Zweige rauschten, Als riefen sie mir zu: Komm her zu mir, Geselle, Hier find’st du deine Ruh’ ! And its branches rustled, As if they called to me: Come here to me, friend, Here you’ll find peace ! �Die kalten Winde bliesen Mir grad’ ins Angesicht; Der Hut flog mir vom Kopfe, Ich wendete mich nicht. The cold winds blew Right into my face; The hat flew off my head, I didn’t turn around. Nun bin ich manche Stunde Entfernt von jenem Ort, Und immer hör’ ich’s rauschen: Du fändest Ruhe dort ! Now I am many hours Distant from that place, And I still hear it whispering: You’d find peace here ! 6. Wasserflut Manche Trän’ aus meinen Augen Ist gefallen in den Schnee; Seine kalten Flocken saugen Durstig ein das heiße Weh. 6. Flood Water Many a tear from my eyes Has fallen in the snow; Its cold flakes absorb Thirstily the burning woe. Wenn die Gräser sprossen wollen Weht daher ein lauer Wind, Und das Eis zerspringt in Schollen Und der weiche Schnee zerrinnt. When it’s time for the grass to sprout There blows a mild wind, And the ice will break apart And the soft snow melt away. Schnee, du weißt von meinem Sehnen, Sag’, wohin doch geht dein Lauf ? Folge nach nur meinen Tränen, Nimmt dich bald das Bächlein auf. Snow, you know about my longing, Tell me, where does your course lead ? If you just follow my tears, The brook will soon receive you. Wirst mit ihm die Stadt durchziehen, Muntre Straßen ein und aus; Fühlst du meine Tränen glühen, Da ist meiner Liebsten Haus. You will flow through the town with it, In and out of the busy streets; When you feel my tears burning, There is my sweetheart’s house. 7. Auf dem Fluße Der du so lustig rauschtest, Du heller, wilder Fluß, Wie still bist du geworden, Gibst keinen Scheidegruß. 7. On the River You who thundered so cheerfully, You clear, untamed river, How quiet you have become, Give no word of farewell. Mit harter, starrer Rinde Hast du dich überdeckt, Liegst kalt und unbeweglich Im Sande ausgestreckt. In deine Decke grab’ ich Mit einem spitzen Stein Den Namen meiner Liebsten Und Stund’ und Tag hinein: Den Tag des ersten Grußes, Den Tag, an dem ich ging; Um Nam’ und Zahlen windet Sich ein zerbroch’ner Ring. Mein Herz, in diesem Bache Erkennst du nun dein Bild ? Ob’s unter seiner Rinde Wohl auch so reißend schwillt ? With a hard stiff crust You have covered yourself, Lie cold and unmoving, Outstretched in the sand. In your covering I inscribe With a sharp stone The name of my sweetheart And the hour and day, as well. The day of the first greeting, The day on which I left; Around name and figures winds A broken ring. My heart, in this stream Do you now recognize your image ? And under its crust Is there also a raging torrent ? 8. Rückblick Es brennt mir unter beiden Sohlen, Tret’ ich auch schon auf Eis und Schnee, Ich möcht’ nicht wieder Atem holen, Bis ich nicht mehr die Türme seh’. 8. A Look Backward It’s burning under both my feet, Even though I walk on ice and snow; I don’t want to catch my breath Until I can no longer see the spires. Hab’ mich an jedem Stein gestoßen, So eilt’ ich zu der Stadt hinaus; I tripped on every stone, As I hurried out of the town; �Die Krähen warfen Bäll’ und Schloßen Auf meinen Hut von jedem Haus. The crows hurled chunks of snow and ice On my hat from every house. Wie anders hast du mich empfangen, Du Stadt der Unbeständigkeit ! An deinen blanken Fenstern sangen Die Lerch’ und Nachtigall im Streit. How differently you received me, You town of inconstancy ! At your sparkling windows sang The lark and nightingale in competition. Die runden Lindenbäume blühten, Die klaren Rinnen rauschten hell, Und ach, zwei Mädchenaugen glühten. Da war’s gescheh’n um dich, Gesell ! The bushy linden trees bloomed, The clear streams murmured brightly, And, oh, two maiden’s eyes glowed Your fate was sealed, my boy ! Kommt mir der Tag in die gedanken, Möcht’ ich noch einmal rückwärts seh’n. Möcht’ ich zurücke wieder wanken, Vor ihrem Hause stille steh’n. Whenever that day enters my thoughts, I want to look back once more, I want to turn back again And stand still before her house. 9. Irrlicht In die tiefsten Felsengründe Lockte mich ein Irrlicht hin; Wie ich einen Ausgang finde, Liegt nicht schwer mir in dem Sinn. 9. Will o’ the Wisp Into the deepest mountain chasms A will o’ the wisp lured me; How to find a way out Doesn’t worry me much. Bin gewohnt das Irregehen, ‘s führt ja jeder Weg zum Ziel; Uns’re Freuden, uns’re Wehen, Alles eines Irrlichts Spiel ! I’m used to going astray, And every way leads to the goal. Our joys, our sorrows, Are all a will o’ the wisp’s game ! Durch des Bergstroms trockne Rinnen Wind’ ich ruhig mich hinab, Jeder Strom wird’s Meer gewinnen, Jedes Leiden auch sein Grab. Through the mountain stream’s dry channel I wend my way calmly downward. Every river finds its way to the ocean, And every sorrow to its grave. 10. Rast Nun merk’ ich erst wie müd’ ich bin, Da ich zur Ruh’ mich lege; Das Wandern hielt mich munter hin Auf unwirtbarem Wege. 10. Rest Now I first notice how tired I am As I lay myself down to rest; Walking kept me going strong On the inhospitable road. Die Füße frugen nicht nach Rast, Es war zu kalt zum Stehen; Der Rücken fühlte keine Last, Der Sturm half fort mich wehen. In eines Köhlers engem Haus Hab’ Obdach ich gefunden. Doch meine Glieder ruh’n nicht aus: So brennen ihre Wunden. My feet didn’t ask for rest, It was too cold to stand still, My back felt no burden, The storm helped to blow me onward. In a charcoal-burner’s tiny house I have found shelter; But my limbs won’t relax, Their hurts burn so much. Auch du, mein Herz, in Kampf und Sturm So wild und so verwegen, Fühlst in der Still’ erst deinen Wurm Mit heißem Stich sich regen ! You, too, my heart, in strife and storm So wild and so bold, Feel first in the silence your serpent Stir with burning sting ! 11. Frühlingstraum Ich träumte von bunten Blumen, So wie sie wohl blühen im Mai; Ich träumte von grünen Wiesen, Von lustigem Vogelgeschrei. 11. Dream of Spring I dreamed of many-colored flowers, The way they bloom in May; I dreamed of green meadows, Of merry bird calls. Und als die Hähne krähten, Da ward mein Auge wach; Da war es kalt und finster, Es schrien die Raben vom Dach. And when the roosters crowed, My eye awakened; It was cold and dark, The ravens shrieked on the roof. �Doch an den Fensterscheiben, Wer malte die Blätter da ? Ihr lacht wohl über den Träumer, Der Blumen im Winter sah ? But on the window panes Who painted the leaves there ? I suppose you’ll laugh at the dreamer Who saw flowers in winter ? Ich träumte von Lieb um Liebe, Von einer schönen Maid, Von Herzen und von Küssen, Von Wonne und Seligkeit. I dreamed of love reciprocated, Of a beautiful maiden, Of embracing and kissing, Of joy and delight. Und als die Hähne krähten, Da ward mein Herze wach; Nun sitz’ ich hier alleine Und denke dem Traume nach. And when the roosters crowed, My heart awakened; Now I sit here alone And reflect on the dream. Die Augen schließ’ ich wieder, Noch schlägt das herz so warm. Wann grünt ihr Blätter am Fenster ? Wann halt’ ich mein Liebchen im Arm ? I close my eyes again, My heart still beats so warmly. When will you leaves on the window turn green ? When will I hold my love in my arms ? 12. Einsamkeit Wie eine trübe Wolke Durch heit’re Lüfte geht, Wenn in der Tanne Wipfel Ein mattes Lüftchen weht: 12. Solitude As a dreary cloud Moves through the clear sky, When in the crown of the fir tree A faint breeze blows, So zieh ich meine Straße Dahin mit trägem Fuß, Durch helles, frohes Leben Einsam und ohne Gruß. So I travel my road Onward with sluggish feet, Through bright, happy life, Lonely and unrecognized. Ach, daß die Luft so ruhig ! Ach, daß die Welt so licht ! Als noch die Stürme tobten, War ich so elend nicht. Oh, that the air should be so still ! Oh, that the world should be so light ! When the storms still raged, I was not so miserable. 13. Die Post Von der Straße her ein Posthorn klingt. Was hat es, daß es so hoch aufspringt, Mein Herz ? 13. The Post From the highroad a posthorn sounds. Why do you leap so high, My heart ? Die Post bringt keinen Brief für dich. Was drängst du denn so wunderlich, Mein Herz ? Nun ja, die Post kommt aus der Stadt, Wo ich ein liebes Liebchen hat, Mein Herz ! Willst wohl einmal hinüberseh’n Und fragen, wie es dort mag geh’n, Mein Herz ? 14. Der greise Kopf Der Reif hatt’ einen weißen Schein Mir übers Haar gestreuet; Da glaubt’ ich schon ein Greis zu sein Und hab’ mich sehr gefreuet. Doch bald ist er hinweggetaut, Hab’ wieder schwarze Haare, Daß mir’s vor meiner Jugend graut Wie weit noch bis zur Bahre ! The post does not bring a letter for you, Why the strange compulsion, My heart ? Of course, the post comes from the town, Where I once had a dear sweetheart, My heart ! Would you like to take a look over there, And ask how things are going, My heart ? 14. The Old-Man’s Head The frost has spread a white sheen All over my hair; I thought I had become an old man And was very pleased about it. But soon it melted away, And now I have black hair again So that I am horrified by my youth How long still to the grave ! �Vom Abendrot zum Morgenlicht Ward mancher Kopf zum Greise. Wer glaubt’s ? und meiner ward es nicht Auf dieser ganzen Reise ! From the sunset to the dawn Many a head turns white. Who can believe it ? And mine Has not on this whole journey ! 15. Die Krähe Eine Krähe war mit mir Aus der Stadt gezogen, Ist bis heute für und für Um mein Haupt geflogen. 15. The Crow A crow has accompanied me Since I left the town, Until today, as ever, It has circled over my head. Krähe, wunderliches Tier, Willst mich nicht verlassen ? Meinst wohl, bald als Beute hier Meinen Leib zu fassen ? Crow, you strange creature, Won’t you ever leave me ? Do you plan soon as booty To have my carcase ? Nun, es wird nicht weit mehr geh’n An dem Wanderstabe. Krähe, laß mich endlich seh’n Treue bis zum Grabe ! Well, I won’t be much longer Wandering on the road. Crow, let me finally see Loyalty unto the grave ! 16. Letzte Hoffnung Hie und da ist an den Bäumen Manches bunte Blatt zu seh’n, Und ich bleibe vor den Bäumen Oftmals in Gedanken steh’n. 16. Last Hope Here and there on the trees There’s a colored leaf to be seen. And I stop in front of the trees Often, lost in thought. Schaue nach dem einen Blatte, Hänge meine Hoffnung dran; Spielt der Wind mit meinem Blatte, Zittr’ ich, was ich zittern kann. I watch a particular leaf And pin my hopes on it; If the wind plays with my leaf I tremble from head to foot. Ach, und fällt das Blatt zu Boden, Fällt mit ihm die Hoffnung ab; Fall’ ich selber mit zu Boden, Wein’ auf meiner Hoffnung Grab. Oh, and if the leaf falls to earth, My hopes fall along with it. I fall to earth as well And weep on the grave of my hopes. 17. Im Dorfe Es bellen die Hunde, es rasseln die Ketten; Es schlafen die Menschen in ihren Betten, Träumen sich manches, was sie nicht haben, Tun sich im Guten und Argen erlaben; 17. In the Village The dogs are barking, the chains are rattling; The people are sleeping in their beds, Dreaming of things they don’t have, Refreshing themselves in good and bad. Und morgen früh ist alles zerflossen. Je nun, sie haben ihr Teil genossen Und hoffen, was sie noch übrig ließen, Doch wieder zu finden auf ihren Kissen. And in the morning all will have vanished. Oh well, they had their share of pleasure And hope that what they missed Can be found again on their pillows. Bellt mich nur fort, ihr wachen Hunde, Laßt mich nicht ruh’n in der Schlummerstunde ! Ich bin zu Ende mit allen Träumen. Was will ich unter den Schläfern säumen ? Drive me out with your barking, you vigilant dogs, Don’t let me rest when it’s time for slumber. I am finished with all my dreams. Why should I linger among the sleepers ? �18. Der stürmische Morgen Wie hat der Sturm zerrissen Des Himmels graues Kleid ! Die Wolkenfetzen flattern Umher im matten Streit. 18. The Stormy Morning How the storm has torn asunder The heavens’ grey cover ! The cloud tatters flutter Around in weary strife. Und rote Feuerflammen Zieh’n zwischen ihnen hin; Das nenn’ ich einen Morgen So recht nach meinem Sinn ! And fiery red flames Dart around among them; That’s what I call a morning That really fits my mood ! Mein Herz sieht an dem Himmel Gemalt sein eig’nes Bild Es ist nichts als der Winter, Der Winter kalt und wild ! My heart sees in the heavens Its own image painted It’s nothing but the winter, Winter cold and wild ! 19. Täuschung Ein Licht tanzt freundlich vor mir her, Ich folg’ ihm nach die Kreuz und Quer; Ich folg’ ihm gern und seh’s ihm an, Daß es verlockt den Wandersmann. 19. Illusion A light does a friendly dance before me, I follow it here and there; I like to follow it and watch The way it lures the wanderer. Ach ! wer wie ich so elend ist, Gibt gern sich hin der bunten List, Die hinter Eis und Nacht und Graus, Ihm weist ein helles, warmes Haus. Ah, a man as wretched as I am Is glad to fall for the merry trick That, beyond ice and night and fear, Shows him a bright, warm house. Und eine liebe Seele drin. Nur Täuschung ist für mich Gewinn ! And a loving soul within Only illusion lets me win ! 20. Der Wegweiser Was vermeid’ ich denn die Wege, Wo die ander’n Wand’rer geh’n, Suche mir versteckte Stege, Durch verschneite Felsenhöh’n ? 20. The Sign Post Why then do I avoid the highways Where the other travelers go, Search out the hidden pathways Through the snowy mountain tops ? Habe ja doch nichts begangen, Daß ich Menschen sollte scheu’n, Welch ein törichtes Verlangen Treibt mich in die Wüstenei’n ? I’ve committed no crime That I should hide from other men What is the foolish compulsion That drives me into desolation ? Weiser stehen auf den Straßen, Weisen auf die Städte zu. Und ich wandre sonder Maßen Ohne Ruh’ und suche Ruh’. Signposts stand along the highways Pointing to the cities, And I wander ever further Without rest and look for rest. Einen Weiser seh’ ich stehen Unverrückt vor meinem Blick; Eine Straße muß ich gehen, Die noch keiner ging zurück. Before me I see a signpost standing Fixed before my gaze. I must travel a road From which no one ever returned. 21. Das Wirtshaus Auf einen Totenacker Hat mich mein Weg gebracht; Allhier will ich einkehren, Hab ich bei mir gedacht. 21. The Inn My way has led me To a graveyard; Here I’ll stop, I told myself. Ihr grünen Totenkränze Könnt wohl die Zeichen sein, Die müde Wand’rer laden Ins kühle Wirtshaus ein. You green mourning garlands Must be the sign That invites weary travelers Into the cool inn. �Sind denn in diesem Hause Die Kammern all’ besetzt ? Bin matt zum Niedersinken, Bin tödlich schwer verletzt. What, all the rooms In this house are full? I’m tired enough to drop, Have taken mortal hurt. O unbarmherz’ge Schenke, Doch weisest du mich ab ? Nun weiter denn, nur weiter, Mein treuer Wanderstab ! Oh, merciless inn, You turn me away? Well, onward then, still further, My loyal walking staff! 22. Mut Fliegt der Schnee mir ins Gesicht, Schüttl’ ich ihn herunter. Wenn mein Herz im Busen spricht, Sing’ ich hell und munter. 22. Courage If the snow flies in my face, I shake it off again. When my heart speaks in my breast, I sing loudly and gaily. Höre nicht, was es mir sagt, Habe keine Ohren; Fühle nicht, was es mir klagt, Klagen ist für Toren. I don’t hear what it says to me, I have no ears to listen; I don’t feel when it laments, Complaining is for fools. Lustig in die Welt hinein Gegen Wind und Wetter ! Will kein Gott auf Erden sein, Sind wir selber Götter ! Happy through the world along Facing wind and weather ! If there’s no God upon the earth, Then we ourselves are Gods ! 23. Die Nebensonnen Drei Sonnen sah ich am Himmel steh’n, Hab’ lang und fest sie angeseh’n; Und sie auch standen da so stier, Als wollten sie nicht weg von mir. 23. The False Suns I saw three suns in the sky, Stared at them hard for a long time; And they stayed there so stubbornly That it seemed they didn’t want to leave me. Ach, meine Sonnen seid ihr nicht ! Schaut ander’n doch ins Angesicht ! Ja, neulich hatt’ ich auch wohl drei; Nun sind hinab die besten zwei. Ah, you are not my suns ! Go, look into someone else’s face ! Yes, recently I, too, had three But now the best two have gone down. Ging nur die dritt’ erst hinterdrein ! Im Dunkel wird mir wohler sein. If only the third would also set ! I will feel better in the dark. 24. Der Leiermann Drüben hinterm Dorfe Steht ein Leiermann Und mit starren Fingern Dreht er was er kann. 24. The Hurdy-Gurdy Man Over there beyond the village Stands an organ-grinder, And with numb fingers He plays as best he can. Barfuß auf dem Eise Wankt er hin und her Und sein kleiner Teller Bleibt ihm immer leer. Barefoot on the ice, He totters here and there, And his little plate Is always empty. Keiner mag ihn hören, Keiner sieht ihn an, Und die Hunde knurren Um den alten Mann. No one listens to him, No one notices him, And the dogs growl Around the old man. Und er läßt es gehen, Alles wie es will, Dreht, und seine Leier Steht ihm nimmer still. And he just lets it happen, As it will, Plays, and his hurdy-gurdy Is never still. Wunderlicher Alter ! Soll ich mit dir geh’n ? Willst zu meinen Liedern Deine Leier dreh’n ? Strange old man, Shall I go with you ? Will you play your organ To my songs ? �BIOGRAPHIES DANIEL LICHTI Since his operatic debut at the 1974 Stratford Festival, Daniel Lichti has established himself as one of Canada’s finest bass-baritones, performing with many of North America’s finest orchestras (both modern and baroque) and with most of its choral organizations. He has achieved renown at major Bach and summer Festivals, performed oratorio and opera internationally, gained acclaim as a recitalist and recording artist, and taken the stage with many of Canada’s leading opera companies. In 2014-15, he celebrated 40 years of singing for audiences around the world, and ongoing critical commentary indicates that his artistry continues to inspire admiration for the beauty, warmth and richness of his voice, and respect for the dignity and sincerity of his interpretations. Mr. Lichti, Associate Professor of Voice for the Faculty of Music at Wilfrid Laurier University since 1998, is frequently invited to teach and conduct masterclasses internationally. Recently he gave a masterclass at Baldwin-Wallace University Conservatory, at Tapei’s University for the Arts, and for the Music Department at Tunghai University in Taiwan. This summer he returned to teach and perform at the 2015 Académie de Fourvière in Lyon, France, where he has been a guest artist/ teacher for the past three years. Performance highlights of the coming season include the title role in Elijah with the Grand Philharmonic Choir and Kitchener-Waterloo Symphony Orchestra and Schubert’s epic Winterreise in Hagen, Germany with pianist Roland Pröll, and in Winnipeg, for Prairie Performances, with his colleague, pianist Leslie De’Ath. May 2016 will mark yet another of his many guest appearances at the Bethlehem Bach Festival in Pennsylvania. SANDRA MOGENSEN Canadian pianist Sandra Mogensen is equally at home performing as soloist and with singers in recital; and also works as a vocal coach. She has performed in Canada, the United States, Denmark, Latvia, Norway, Iceland, and Austria. Sandra studied at University of Western Ontario, in Salzburg, in Copenhagen, and at Westminster Choir College in Princeton, where her teachers were J.J.Penna and Dalton Baldwin. Sandra has recorded three albums of Grieg piano music on the CHM label, and an independent release of Schubert’s Winterreise with Germany-based Canadian bass, Paul Sketris. Since 2006, Sandra has specialized in the music of Edvard Grieg. She was awarded grants from the Royal Norwegian Embassy in Canada, the Association for the Advancement of Scandinavian Studies in Canada, and the Ontario Arts Council, for a 2014 research trip in to study Norwegian diction and Grieg’s songs for voice and piano. She returned to Norway to take part in the Grieg Song Workshop and presented a paper at the “Edvard Grieg and the human voice” conference in Bergen in May 2015. In October 2015, Ms. Mogensen gave a series of concerts of Grieg’s songs throughout Ontario, with Norwegian soprano, Hilde Haraldsen Sveen. Sandra Mogensen is currently based in Toronto. Upcoming: soloist in Mozart Piano Concerto No. 23 with the Stratford Symphony Orchestra. � 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/guest/020416-Orion_Lichti_Mogensen/020416-Orion_Lichti_Mogensen_01.mp3">track1</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orion Series in Fine Arts - Schubert's Winterreise Creator An entity primarily responsible for making the resource Adar Guy Date A point or period of time associated with an event in the lifecycle of the resource February 4, 2016 Contributor An entity responsible for making contributions to the resource Daniel Lichti, baritone; Sandra Mogensen, piano https://finearts.uvic.ca/music/archive/files/original/adb98061260f53782fb5f61b0bd1d5ab.pdf c8a32209b368da17047579ec86940308 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC ORION SERIES IN FINE ARTS presents Music That Speaks Robyn Driedger-Klassen, soprano & Terence Dawson, piano Monday, February 15, 2016 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free admission �PROGRAM Listen (2013/2014) Kevin Morse (b. 1980) De Profundis (1992) Frederic Rzewski (b. 1938) Terence Dawson, piano I NT E R M I S S I O N At the Statue of Venus (2005) Jake Heggie (b. 1961) Text: Terrence McNally (b. 1938) Robyn Driedger-Klassen, soprano Terence Dawson, piano �PROGRAM NOTES Listen is dedicated to Mr. Lowell Wood, an extremely skilled piano technician who, for over 40 years, maintained the pianos in the Department of Music at Mount Allison University, NB. Lowell took care of concert, school and home instruments all over the Maritime provinces for the length of his remarkable career. Beginning with a series of repeated notes, the composition evokes the recognition of the procedure a technician adopts while listening to the temperament and sonority of various notes during a tuning. The listener is drawn into this repetition and expansion of pitch class, gradually focusing more on the emerging melodic and harmonic content. In choosing this piece, my hope is that it will prepare you for a kind of deep listening that will enhance your experience of the more extended work that follows: Frederic Rzewski’s De Profundis. De Profundis has been described as a ‘melodramatic oratorio’, in which the pianist recites text consisting of portions of Oscar Wilde’s letter (De Profundis) to Lord Alfred Douglas (‘Bosie’), which was written during the author’s imprisonment in Reading Gaol. There, Wilde served a two-year sentence of hard labour in solitary confinement. Eight sections of rhythmically notated recitation are preceded by eight preludes, with the pianist directed to perform simultaneously as speaker, singer, whistler, and percussionist. The composer says of De Profundis: “The music demands a combination of virtuoso technique and a total lack of inhibition on stage, thus virtually guaranteeing that no mediocre or conventional performer will dare to go near it.” Frederic Rzewski has taught throughout North America and Europe, including The Liège Conservatory in Belgium, The Conservatory of Den Haag, and The Yale School of Music. Many of Rzewski’s compositions contain an underlying political commentary, and give musical expression to relevant social issues. T. Dawson At The Statue of Venus was inspired by the great concert scenes of Haydn, Mozart, Beethoven, and Britten. An attractive woman waits in a museum by a statue of the Goddess of Love to meet a man she has never seen. Her thoughts and emotions are a jumble of hope, uncertainty and self-doubt. Will he like her? Will she like him? Why did she — a proudly successful �modern woman, probably divorced — allow her friends to convince her that they found a Mister Right for her? We all know that Mr. Right doesn’t exist ­— or does he? Nothing ventured, nothing gained. To be willing to be judged by another person — does anything make us more vulnerable but human, too? We identified with Rose. We hope you will too. J. Heggie and T. McNally BIOGRAPHIES Terence Dawson, piano British-born, Canadian pianist Terence Dawson has firmly established himself as one of British Columbia’s most respected and versatile musicians. His reputation has resulted in repeat engagements from coast to coast across Canada, as well as in the USA, England and Asia. His many performances have garnered critical acclaim: “lucid” (Globe and Mail), “stunning” (Vancouver Sun), and possessing “trademark elegance and technical flair” (Georgia Straight). He has appeared as concerto soloist with the Vancouver Symphony Orchestra, National Arts Centre Orchestra, CBC Curio Ensemble, and is the pianist of choice for numerous artists and ensembles. He has performed for the Ottawa Chamber Music Society, Vetta Chamber Music, The Coast Recital Society, Music on Main, The VSO Chamber Players, The Vancouver Chamber Choir, Phoenix Chamber Choir, and as a touring duo with both the Reside/ Dawson Duo and soprano Robyn Driedger-Klassen. His performances this season will include a series of solo recitals which feature Rzewski’s De Profundis at universities and colleges from Vancouver Island to New Brunswick. A dedicated teacher, Dr. Dawson has been invited to lecture, adjudicate and conduct master classes at many educational institutions, National Conferences of The Canadian Federation of Music Teachers and for their affiliated branches, The Canadian Music Competition and the Canada Council. He is a founding faculty member of the Vancouver International Song Institute and was in residence at the inaugural VSO Summer Institute at Whistler in 2015. His graduate piano studies were with the lauded Canadian pianist, Jane Coop. Since 1991, he has taught piano and chamber music at the University of British Columbia, and in 2011 was appointed Chair of the Keyboard Division, succeeding his principal teacher. �Robyn Driedger-Klassen, soprano Robyn Driedger-Klassen has a passion for the performance of contemporary vocal repertoire. Some of her favourite living composers whose works she has performed include Leslie Uyeda, David McIntyre, Jeffrey Ryan, Jocelyn Morlock, Jake Heggie, Tom Cipullo, Kaaija Saariaho, Libby Larsen, Brian Current and Ana Sokolovic. This is an exciting time to be working with North American composers and Robyn is thrilled to make their songs come alive. Recently, The Georgia Straight said of her performance at the Modulus Festival of Kaija Saariaho’s Lonh: Robyn Driedger-Klassen also excelled on the duet for soprano and electronics. We knew she was a powerhouse singer, but her nakedly emotional and unadorned reading of 12th-century poet Jaufré Rudel’s Occitan text revealed another and arguably lovelier dimension to her voice. However, she will always make time to sing Mozart, Schubert, Britten or Richard Strauss! Robyn is the Head of Voice at the Vancouver Academy of Music and is on the core faculty of the Vancouver International Song Institute. Robyn loves books, geraniums, hikes, canoes, cups of tea and a clean house. Robyn lives with her husband and two vocal critics under the age of five. She can bake a wicked loaf of bread and in recent times has learned a considerable amount about monster trucks, fast cars and dinosaurs. ��UPCOMING EVENTS Tuesday, February 16, 12:30 p.m. (Admission by donation) TUESDAYMUSIC Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall Friday, February 19, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Featuring School of Music woodwind students in a concert of varied repertoire. Phillip T. Young Recital Hall Friday, February 19, 8:00 p.m. (Adults $18 / Seniors, students & alumni $14) FACULTY CONCERT SERIES: Bruce Vogt, piano Internationally celebrated pianist Bruce Vogt performs the late sonatas of Ludwig van Beethoven. Phillip T. Young Recital Hall Saturday, February 20, 2:30 p.m. (Admission by donation) PIANO CLASS RECITAL Featuring students from the studio of Arthur Rowe. Phillip T. Young Recital Hall Saturday, February 20, 8:00 p.m. (Admission by donation) PIANO CLASS RECITAL Featuring students from the studio of Eva Solar-Kinderman. Phillip T. Young Recital Hall Sunday, February 21, 2:00 p.m. (Admission by donation) CLARINET CLASS RECITAL Featuring students from the studio of Patricia Kostek accompanied by members of the piano class. Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca) and at the door. � To receive our On the Pulse brochure and newsletter by email, contact: concert@uvic.ca www.finearts.uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 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/guest/021516-Orion_Dawson_Klassen/021516-Orion_Dawson_Klassen_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/021516-Orion_Dawson_Klassen/021516-Orion_Dawson_Klassen_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/021516-Orion_Dawson_Klassen/021516-Orion_Dawson_Klassen_03.mp3">track3</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orion Series in Fine Arts - Music That Speaks Creator An entity primarily responsible for making the resource James Gray Date A point or period of time associated with an event in the lifecycle of the resource February 15, 2016 Contributor An entity responsible for making contributions to the resource Robyn Driedger-Klassen, soprano; Terence Dawson, piano https://finearts.uvic.ca/music/archive/files/original/ff227461acd8476fc5d863220d032bf7.pdf 3da3492d8503d06668a68011449c67ce PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC FACULTY CONCERT SERIES BRUCE VOGT PIANO Friday, February 19, 2016 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $18 / Students, seniors, alumni: $14 �PROGRAM Sonata in A flat Major, Hob. XVI:46 (1767–70) Joseph Haydn i. Allegro moderato (1732–1809) ii. Adagio iii. Finale: Presto Sonata in D Major, Op. 10, No. 3 (1797-98) i. Presto ii. Largo e mesto iii. Menuetto: Allegro iv. Rondo: Allegro Ludwig van Beethoven (1770–1827) I NT E R M I S S I O N Beverages and snacks available at the concession located in the lounge. Sonata in C minor, Hob. XVI:20 (1771) i. Moderato ii. Andante con moto iii. Allegro Haydn Sonata in A flat Major, Op. 110 (1822) Beethoven i. Moderato cantabile molto espressivo ii. Allegro molto iii. [Arioso] Adagio ma non troppo iv. Fuga: Allegro ma non troppo v. [Arioso] L’istesso tempo di Arioso: Perdendo le forze, dolente (losing strength, sorrowfully) vi. L’istesso tempo della Fuga: poi a poi di nuovo vivente (gradually coming to life) �UPCOMING EVENTS Saturday, February 20, 2:30 p.m. (Admission by donation) PIANO CLASS RECITAL Featuring students from the studio of Arthur Rowe. Phillip T. Young Recital Hall Saturday, February 20, 8:00 p.m. (Admission by donation) PIANO CLASS RECITAL Featuring students from the studio of Eva Solar-Kinderman. Phillip T. Young Recital Hall Sunday, February 21, 2:00 p.m. (Admission by donation) CLARINET CLASS RECITAL Featuring students from the studio of Patricia Kostek. Phillip T. Young Recital Hall Monday, February 22, 8:00 p.m. (Free Admission) GRADUATING RECITAL: Kassandra Schantz, voice Vocalist Kassandra Schantz presents her Bachelor of Music graduating recital. Phillip T. Young Recital Hall Tuesday, February 23, 12:30 p.m. (Admission by donation) TUESDAYMUSIC Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall Wednesday, February 24, 8:00 p.m. (Admission by donation) VIOLA CLASS RECITAL: Viola Madness Viola students from the studio of Joanna Hood performing works by Bach, Brahms, Kurtág, and more! Phillip T. Young Recital Hall Thursday, February 25, 12:00 p.m. (Admission by donation) FACULTY CONCERT SERIES: Beautiful Music by an Unknown Composer Suzanne Snizek, flute, and Harald Krebs, piano With guests Sharon Krebs, soprano, and Kathryn Whitney, mezzo-soprano Featuring chamber music and vocal duets by Richard Rößler (1880–1962). 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 & newsletter by email, contact: concert@uvic.ca www.finearts.uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Concert Series Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/public/021916-FacultyRecital/021916-Vogt_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/public/021916-FacultyRecital/021916-Vogt_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/public/021916-FacultyRecital/021916-Vogt_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/public/021916-FacultyRecital/021916-Vogt_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/public/021916-FacultyRecital/021916-Vogt_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 Faculty Concert Series - Bruce Vogt, piano Creator An entity primarily responsible for making the resource Adar Guy Date A point or period of time associated with an event in the lifecycle of the resource February 19, 2016 Contributor An entity responsible for making contributions to the resource Bruce Vogt, piano https://finearts.uvic.ca/music/archive/files/original/1ab69d85f8d7a9091226c8009f46ae27.pdf 09a62f4c8e38a2f0f1b6d6941b6b5194 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC Composers Concert Featuring works by School of Music Composition students Friday, February 26, 2016 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation �PROGRAM On Agnes Martin Kimberley Manerikar Nathan Friedman, clarinet Julio Lopezhiler, violin Julio Lopezhiler solstice, tomatillo Lynne Penhale, voice Bailey Finley, flute Sarah de Niverville, viola Alexander Klassen, cello Dark was that night Natalie Dzbik Natalie Dzbik, viola This room is full of distance Nolan Krell Adam Jasieniuk, saxophone lake or fog Alex Jang Natalie Dzbik, violin Alexander Klassen, cello Seán Maynard you don’t make rails out of glass for a reason Matthew Bell, baritone saxophone Lee Whitehorne, contrabassoon Dayna Waller, tuba Tristan Holleufer, snare drum Julia Albano-Crockford, bass drum Dave Riedstra, electric bass I NT E R M I S S I O N Servicemaster Thomas Nicholson Thomas Nicholson, video/audio Kim Farris-Manning, artwork (our homes are not the kinds of places you could own.) Nolan Krell, tape Nolan Krell �UPCOMING EVENTS Saturday, February 27, 8:00 p.m. ($25) FACULTY CONCERT SERIES Lafayette String Quartet & Arthur Rowe, piano Performing Fanfare by Murray Adaskin, Dmitri Shostakovich’s String Quartet No. 9, Op. 117, and Antonín Dvořák’s Piano Quintet in A Major, Op. 81. Phillip T. Young Recital Hall Sunday, February 28, 2:30 p.m. (Adults $18 / Seniors, students & alumni $14) FACULTY CONCERT SERIES: May Ling Kwok, piano Esteemed performer, recording artist and instructor, May Ling Kwok performs works by Mozart and Schumann. Phillip T. Young Recital Hall Sunday, February 28, 5:00 p.m. to 7:00 p.m. (Free admission) GUEST MASTERCLASS: Torrey Kaminski, flute A sought-after flute instructor and performing artist, Torrey Kaminski is also a certified yoga teacher. In this masterclass Kaminski will present ideas on how to incorporate yoga into daily practice as well as give a short performance including Ferroud’s Trios Pièces pour flûte seule, Fantasy on Syrinx by Bacchus, and Piazzolla’s Tango Etude No. 3. Phillip T. Young Recital Hall Monday, February 29, 8:00 p.m. (Free Admission) GRADUATING RECITAL: Ella Hopwood, cello Cellist Ella Hopwood presents her Bachelor of Music graduating recital. Phillip T. Young Recital Hall Tuesday, March 1, 12:30 p.m. (Admission by donation) TUESDAYMUSIC Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring School of Music students. Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca) and at the door. � To receive our On the Pulse brochure and newsletter by email, contact: concert@uvic.ca www.finearts.uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Class Recitals Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/022616-ComposersConcert/022616-ComposersConcert_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022616-ComposersConcert/022616-ComposersConcert_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022616-ComposersConcert/022616-ComposersConcert_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022616-ComposersConcert/022616-ComposersConcert_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022616-ComposersConcert/022616-ComposersConcert_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022616-ComposersConcert/022616-ComposersConcert_06.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022616-ComposersConcert/022616-ComposersConcert_07.mp3">track7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022616-ComposersConcert/022616-ComposersConcert_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 Composers Concert Creator An entity primarily responsible for making the resource Adar Guy Date A point or period of time associated with an event in the lifecycle of the resource February 26, 2016 https://finearts.uvic.ca/music/archive/files/original/296645227b8e524e286a088b67f2ce66.pdf 66cfcd819fa890c193f28e2392780522 PDF Text Text DEGREE RECITAL Megan Rees, Trombone Featuring: Josh Herrett, Piano James Yi, Piano Alex Rees, Trumpet UVic Trombone choir: Heidi Worrall Erin Marsh Will Quinn Zach Power Owen Worby Liam Caveney Kory Major Wednesday, March 9th 2016, 8pm Phillip T. Young Recital Hall, MacLaurin Building Free admission PROGRAM Sonata for Trombone and Piano (“Vox Gabrieli”) Stjepan Šulek (1914-1986) Josh Herrett, piano Fantasie in A minor G.P Telemann, trans. Alan Raph I.A tempo giusto (1681-1767) II.Presto III.Moderato Liebst du um Schoenheit Gustav Mahler, arr. David Rahbee (1860-1911) Trombone Choir Please turn off all cell phone, camera, laptop, and audio & video recording devices. Their use is strictly prohibited during events. �- INTERMISSION - The Rivals Richard Shuebruk (1854-1933) Alex Rees, trumpet James Yi, piano NEWF Ryan Purchase I. At the Time (1977-) II. “Forty-nine”; “Fourth of March” III. “Experience is Everything” IV. “Ah, well, it’s goin’ great now”; “Why stop in n’ see you?” Thoughts of Love Arthur Pryor (1870-1942) Josh Herrett, piano Megan Rees is from the class of Professor Scott MacInnes This recital is presented in partial fulfillment of the requirements for the Bachelor of Music (Performance) program. Reception to follow in the Lounge. Please turn off all cell phone, camera, laptop, and audio & video recording devices. Their use is strictly prohibited during 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 Graduation Recitals Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/030916-GradRecital_Rees/030916-MeganRees_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030916-GradRecital_Rees/030916-MeganRees_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030916-GradRecital_Rees/030916-MeganRees_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030916-GradRecital_Rees/030916-MeganRees_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030916-GradRecital_Rees/030916-MeganRees_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 Degree Recital - Megan Rees, trombone Creator An entity primarily responsible for making the resource Adar Guy Date A point or period of time associated with an event in the lifecycle of the resource March 9, 2016 Contributor An entity responsible for making contributions to the resource Megan Rees, trombone https://finearts.uvic.ca/music/archive/files/original/a0eef101105bb8b2207dcfd03a968cdd.pdf 9f267b1d69d2b9e420f95872f609f87b PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria . �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC Piano Class Recital Featuring students from the studio of Eva Solar-Kinderman Saturday, February 20, 2016 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation �PROGRAM Johann Sebastian Bach (1685–1750) Prelude and fugue in B minor BWV 893 from The Well Tempered Clavier Book II Mandy Liu Wolfgang Amadeus Mozart (1756–1791) Sonata in D Major, K. 311 I. Allegro con spirito Laura Liu W. A. Mozart Sonata in A minor, K. 310 I. Allegro maestoso Vanessa Lee Frédéric Chopin (1810–1849) Nocturne in C sharp minor, Op. posth. Emily Liu Johannes Brahms (1833–1897) Intermezzo in A Major, Op.118 Katelyn Lundin Frédéric Chopin Fantaisie–Impromptu, Op. 66 Esther Lee Chaconne from Partita in D minor BWV 1004 J.S. Bach / Ferruccio Busoni (1866–1924) Yuko Imai I NT E R M I S S I O N �Ava Hoegl (b. 1990) Enfolded and apart Based on the poem Night by Lucy Montgomery Kim Farris-Manning Claude Debussy (1862–1918) Arabesque No. 1 in E Major Vincy Ip Prelude in G minor, Op. 23, No. 5 Angie Lo Sergei Rachmaninoff (1873–1943) Hungarian Rhapsody No. 2 in C sharp minor Michael Lee Franz Liszt (1811–1896) Frédéric Chopin Fantasy in F minor, Op. 49 Sophia Stoney www.finearts.uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Class Recitals Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/022016-ClassRecital_Solar-Kinderman/022016-ClassRecitalESK.01_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022016-ClassRecital_Solar-Kinderman/022016-ClassRecitalESK.01_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022016-ClassRecital_Solar-Kinderman/022016-ClassRecitalESK.01_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022016-ClassRecital_Solar-Kinderman/022016-ClassRecitalESK.01_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022016-ClassRecital_Solar-Kinderman/022016-ClassRecitalESK.01_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022016-ClassRecital_Solar-Kinderman/022016-ClassRecitalESK.01_06.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022016-ClassRecital_Solar-Kinderman/022016-ClassRecitalESK.01_07.mp3">track7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022016-ClassRecital_Solar-Kinderman/022016-ClassRecitalESK.01_08.mp3">track8</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022016-ClassRecital_Solar-Kinderman/022016-ClassRecitalESK.01_09.mp3">track9</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022016-ClassRecital_Solar-Kinderman/022016-ClassRecitalESK.01_10.mp3">track10</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022016-ClassRecital_Solar-Kinderman/022016-ClassRecitalESK.01_11.mp3">track11</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/022016-ClassRecital_Solar-Kinderman/022016-ClassRecitalESK.01_12.mp3">track12</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Piano Class Recital - Students from the studio of Eva Solar-Kinderman Creator An entity primarily responsible for making the resource Adar Guy Date A point or period of time associated with an event in the lifecycle of the resource February 20, 2016