38 10 1498 https://finearts.uvic.ca/music/archive/files/original/727081fbef37501714395d5e98974f71.pdf ed88dbce0d7345738e8ed7538c9b13c4 PDF Text Text CELLO CLASS RECITAL UVIC Students from the studio of Pamela Highbaugh Aloni SUNDAY, MARCH 12, 2023 | 2:30 PM Phillip T. Young Recital Hall, MacLaurin Building University of Victoria We acknowledge and respect the Lekwungen peoples on whose traditional territory the university stands and the Songhees, Esquimalt and WSÁNEĆ peoples whose historical relationships with the land continue to this day. PROGRAM Suite for unaccompanied Cello in C minor, BWV 1011 Gavotte I & II J. S. Bach (1685-1750) Liam McDonald-Horak, cello Concerto in B-flat Major, G. 482 Luigi Boccherini Allegro moderato (1743-1805) Jayda Thor, cello Jeannie Kim, piano Sonata for Cello and Piano in A major, Op. 69 Ludwig van Beethoven Allegro ma non tanto (1770-1827) Nicole Phanichphant, cello Easton Roy, piano Kay Kuang, piano I N T E R M I S S I O N Sonata for Cello and Piano in A minor, D. 821 “The Arpeggione” Franz Schubert Allegro moderato (1797-1840) Caitlyn Liu, cello Fantasia for Cello and Piano, Op. 52 Adagio Allegro con fuoco Mieczyslaw Weinberg (1919-1996) Tau Kaploykeo, cello Jany Lu, piano Sonata for Cello and Piano in G minor, Op. 65 Frédéric Chopin Scherzo (1810-1840) Largo Allegro Aline Thévard, cello Kinza Tyrell, piano � Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/03122023-CelloClassRecital/03122023-CelloClassRecital-01.mp3">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03122023-CelloClassRecital/03122023-CelloClassRecital-02.mp3">Track 2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03122023-CelloClassRecital/03122023-CelloClassRecital-03.mp3">Track 3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03122023-CelloClassRecital/03122023-CelloClassRecital-04.mp3">Track 4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03122023-CelloClassRecital/03122023-CelloClassRecital-05.mp3">Track 5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03122023-CelloClassRecital/03122023-CelloClassRecital-06.mp3">Track 6</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource CELLO CLASS RECITAL Creator An entity primarily responsible for making the resource Matheus Leite Date A point or period of time associated with an event in the lifecycle of the resource March 16th, 2023 Contributor An entity responsible for making contributions to the resource Liam McDonald-Horak, cello Jayda Thor, cello Jeannie Kim, piano Nicole Phanichphant, cello Easton Roy, piano Kay Kuang, piano Caitlyn Liu, cello Tau Kaploykeo, cello Jany Lu, piano Aline Thévard, cello Kinza Tyrell, piano Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/03112023-UvicBigBand.wav">Full Concert</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 UVic Big Band: Big Band, Big Sound Creator An entity primarily responsible for making the resource Matheus Leite Date A point or period of time associated with an event in the lifecycle of the resource March 16, 2023 Contributor An entity responsible for making contributions to the resource Uvic Big Band and Naden Band https://finearts.uvic.ca/music/archive/files/original/c4c58c596088ef8e51f80e8e7f0c90fb.pdf 185bf79f20449a04479464f1942fb45d PDF Text Text School of Music fridaymusic Phillip T. Young Recital Hall, University of Victoria MARCH 10, 2023 | 12:30 PM Featuring School of Music Woodwind students We acknowledge and respect the Lekwungen peoples on whose traditional territory the university stands and the Songhees, Esquimalt and WSÁNEĆ peoples whose historical relationships with the land continue to this day. Jindrich Feld (1925-2007) Quatre Pièces for solo flute I. Meditation II. Caprice Bella Nguyen, flute Shenanigans Holly Edquist, contra bassoon Devin Hawthorne, bassoon Eilish McAree, bassoon Elijah Lyons, bassoon Siobhan Golonka, bassoon Spain Ainsley Mercer, flute Emerson Jong, soprano saxophone Ryan Qu, piano Fragments for flute, clarinet and bassoon I. Waltz II. Solitude Sonata for flute and piano I. Lento Eclectic Trio I. Sarabande II. Tango languido Suite Hellenique I. Kalamatianos II. Funky Eilish McAree (b. 2003) Chick Corea (1941-2021) Arr. Russell Peterson Robert Muczynski (1929-2010) Hao Guo, flute Chensi Liu, clarinet Eilish McAree, bassoon Yuko Uebayashi (b.1954) Qinyue Zheng, flute Yousef Shadian, piano Catherine McMichael (b. 1954) Michelle Wolfenden, flute Luke Ongman, clarinet Kayleigh Francis, tenor saxophone Octet for Wind Instruments I. Sinfonia Pedro Iturralde (1929-2020) Sylvan Wilkinson, sopranosaxophone Madison Wang, alto saxophone Beth Tran, tenor saxophone Xavier Marican, baritone saxophone Igor Stravinsky (1882-1971) Natalie Zheng, flute Maeve Calhoun, clarinet Devin Hawthorne, bassoon Holly Edquist, bassoon Mark Barr, trumpet Claire McMahon, trumpet Tyler Schmidt, trombone Amaya Sydor, bass trombone � Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/03102023-FridayMusicWoodwind/03102023-FridayMusicWoodwinds_01.wav">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03102023-FridayMusicWoodwind/03102023-FridayMusicWoodwinds_02.wav">Track 2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03102023-FridayMusicWoodwind/03102023-FridayMusicWoodwinds_03.wav">Track 3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03102023-FridayMusicWoodwind/03102023-FridayMusicWoodwinds_04.wav">Track 4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03102023-FridayMusicWoodwind/03102023-FridayMusicWoodwinds_05.wav">Track 5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03102023-FridayMusicWoodwind/03102023-FridayMusicWoodwinds_06.wav">Track 6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03102023-FridayMusicWoodwind/03102023-FridayMusicWoodwinds_07.wav">Track 7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03102023-FridayMusicWoodwind/03102023-FridayMusicWoodwinds_08.wav">Track 8</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 Woodwind Creator An entity primarily responsible for making the resource Matheus Leite Date A point or period of time associated with an event in the lifecycle of the resource March 16th, 2023 Contributor An entity responsible for making contributions to the resource Bella Nguyen, flute Holly Edquist, contra bassoon Devin Hawthorne, bassoon Eilish McAree, bassoon Elijah Lyons, bassoon Siobhan Golonka, bassoon Ainsley Mercer, flute Emerson Jong, soprano saxophone Ryan Qu, piano Hao Guo, flute Chensi Liu, clarinet Eilish McAree, bassoon Qinyue Zheng, flute Yousef Shadian, piano Michelle Wolfenden, flute Luke Ongman, clarinet Kayleigh Francis, tenor saxophone Sylvan Wilkinson, sopranosaxophone Madison Wang, alto saxophone Beth Tran, tenor saxophone Xavier Marican, baritone saxophone Natalie Zheng, flute Maeve Calhoun, clarinet Devin Hawthorne, bassoon Holly Edquist, bassoon Mark Barr, trumpet Claire McMahon, trumpet Tyler Schmidt, trombone Amaya Sydor, bass trombone https://finearts.uvic.ca/music/archive/files/original/5d9f1c25f20e49e92cf7dbffd6f8226f.pdf c286fe73a8ebf9ce7de5981a76da4684 PDF Text Text DEGREE RECITAL Eva Bradávková, flute Yousef Shadian, piano collaboration Wednesday, March 8, 2023, 12:30 Phillip T. Young Recital Hall, MacLaurin Building Free admission PROGRAM Andante Appassionato Elisenda Fábregas (b. 1955) Poem Charles Tomlinson Griffes (1884 – 1920) Aria Op.27 Jacques Hétu (1938 – 2010) L’Aquila for flute solo Sebastiano Burelli (b. 1999) Sonata for flute and piano Op. 14. • • • • Allegro deciso Scherzo (Vivace) Andante Allegro con moto Eva Bradávková is from the class of Dr. Suzanne Snizek. This recital is presented in partial fulfillment of the requirements for the Master of Music (Performance) program. Robert Muczynski (1929 – 2010) � Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/Degree%20Recital_%20Bennett%20Chiu,%20violin%20(BMus)/Degree%20Recital_%20Bennett%20Chiu,%20violin%20(BMus)%20-1.wav">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/Degree%20Recital_%20Bennett%20Chiu,%20violin%20(BMus)/Degree%20Recital_%20Bennett%20Chiu,%20violin%20(BMus)%20-2.wav">Track 2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/Degree%20Recital_%20Bennett%20Chiu,%20violin%20(BMus)/Degree%20Recital_%20Bennett%20Chiu,%20violin%20(BMus)%20-3.wav">Track 3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/Degree%20Recital_%20Bennett%20Chiu,%20violin%20(BMus)/Degree%20Recital_%20Bennett%20Chiu,%20violin%20(BMus)%20-4.wav">Track 4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/Degree%20Recital_%20Bennett%20Chiu,%20violin%20(BMus)/Degree%20Recital_%20Bennett%20Chiu,%20violin%20(BMus)%20-5.wav">Track 5</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource DEGREE RECITAL Bennett Chiu, Violin Creator An entity primarily responsible for making the resource Matheus Leite Date A point or period of time associated with an event in the lifecycle of the resource March 9th, 2023 Contributor An entity responsible for making contributions to the resource Bennett Chiu, Violin Jany Lu, Piano Simi Luttrell, Piano https://finearts.uvic.ca/music/archive/files/original/343ed6383d7d00ba812ec24eb44a5b67.pdf c286fe73a8ebf9ce7de5981a76da4684 PDF Text Text DEGREE RECITAL Eva Bradávková, flute Yousef Shadian, piano collaboration Wednesday, March 8, 2023, 12:30 Phillip T. Young Recital Hall, MacLaurin Building Free admission PROGRAM Andante Appassionato Elisenda Fábregas (b. 1955) Poem Charles Tomlinson Griffes (1884 – 1920) Aria Op.27 Jacques Hétu (1938 – 2010) L’Aquila for flute solo Sebastiano Burelli (b. 1999) Sonata for flute and piano Op. 14. • • • • Allegro deciso Scherzo (Vivace) Andante Allegro con moto Eva Bradávková is from the class of Dr. Suzanne Snizek. This recital is presented in partial fulfillment of the requirements for the Master of Music (Performance) program. Robert Muczynski (1929 – 2010) � Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/03082023-FirstYearRecital-EvaBradavkovaFlute(MMus)/03082023-FirstYearRecital-EvaBradavkovaFlute(MMus)_01.wav">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03082023-FirstYearRecital-EvaBradavkovaFlute(MMus)/03082023-FirstYearRecital-EvaBradavkovaFlute(MMus)_02.wav">Track 2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03082023-FirstYearRecital-EvaBradavkovaFlute(MMus)/03082023-FirstYearRecital-EvaBradavkovaFlute(MMus)_03.wav">Track 3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03082023-FirstYearRecital-EvaBradavkovaFlute(MMus)/03082023-FirstYearRecital-EvaBradavkovaFlute(MMus)_04.wav">Track 4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03082023-FirstYearRecital-EvaBradavkovaFlute(MMus)/03082023-FirstYearRecital-EvaBradavkovaFlute(MMus)_05.wav">Track 5</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource DEGREE RECITAL Eva Bradávková, flute Creator An entity primarily responsible for making the resource Matheus Leite Date A point or period of time associated with an event in the lifecycle of the resource March 9th, 2023 Contributor An entity responsible for making contributions to the resource Eva Bradávková, flute Yousef Shadian, piano collaboration https://finearts.uvic.ca/music/archive/files/original/80f4f12d4a884697c267827aa651a0f3.pdf 1872988a6339c2624eddcff8f300249d PDF Text Text DEGREE RECITAL Brock Meades, Double Bass Michelle Hoskin, Piano Monday, March 6th, 2023, 8PM Phillip T. Young Recital Hall, MacLaurin Building Free admission PROGRAM Double Bass Concerto in D Major I. Allegro moderato II. Adagio II. Allegro Johann Baptist Vanhal (1739 - 1813) Michelle Hoskin, Piano Double Bass Concerto No.2 in B minor I. Allegro II. Andante III. Allegro Giovanni Bottesini (1821 - 1889) Michelle Hoskin, Piano — INTERMISSION — 12 Waltzes For Solo Double Bass I. Vivace II. Presto III. Vivace IV. Allegro V. Vivace VI. Vivace VII. Vivace VIII. Vivace IX. Vivace X. Allegretto XI. Vivace XII. Presto Brock Meades is from the class of Professor Alex Olson. This recital is presented in partial fulfillment of the requirements for the Master of Music (Performance) program. Domenico Dragonetti (1763 - 1846) � Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/03062023-Degree%20Recital%20Brock%20Meades,%20double%20bass%20(MMus)/03062023-Degree%20Recital%20Brock%20Meades,%20double%20bass%20(MMus)%20-1.wav">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03062023-Degree%20Recital%20Brock%20Meades,%20double%20bass%20(MMus)/03062023-Degree%20Recital%20Brock%20Meades,%20double%20bass%20(MMus)%20-2.wav">Track 2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03062023-Degree%20Recital%20Brock%20Meades,%20double%20bass%20(MMus)/03062023-Degree%20Recital%20Brock%20Meades,%20double%20bass%20(MMus)%20-3.wav">Track 3</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource DEGREE RECITAL Brock Meades, Double Bass Creator An entity primarily responsible for making the resource Matheus Leite Date A point or period of time associated with an event in the lifecycle of the resource March 9th, 2023 Contributor An entity responsible for making contributions to the resource Brock Meades, Double Bass Michelle Hoskin, Piano https://finearts.uvic.ca/music/archive/files/original/26582396623c868363340e3c8f3a7cbe.pdf d16c6d3715f9bd40a3b11cd6019661b9 PDF Text Text DEGREE RECITAL Isaac Earl, Zihan Zhao (Mia) Composition Master’s Recital Sunday, March 5th, 2023 | 8:00 - 9:30 PM Phillip T. Young Recital Hall, MacLaurin Building Free admission PROGRAM Sounds That I Remember (2023) Isaac Earl (b. 1998) Michelle Wolfenden, bass flute Tenzin Clegg, bass clarinet Marc Micu, flugel horn Tau Kaploykeo, cello Isaac Earl, electronics 4 Stands not Standing for Music (2023) The Graduate Composers Quartet Issac Earl, atlo axsphneo Roi L’houe, uigtr Zendi Mikpecze, murds Zanih Oazh, apion Improvisation with Sustained Thought (2022) Trio The Great Expectations Isaac Earl, alto saxophone Edwin Sheard, alto saxophone Deniz Pekmezci, drums Zihan Zhao, electronics Liminality (2023) Heather Byford, voice Isolde Roberts-Welby, voice Michelle Wolfenden, flute Sarah Carey, clarinet Kayleigh Francis, tenor saxophone Tristan Holleufer, percussion Marc Micu, percussion Deniz Pekmezci, percussion Noah Mellemstrand, violin Sophie Hillstrom, viola Tau Kaploykeo, cello Colwyn Lewis, double bass Cleo Yong, conductor Mia Zhao and Isaac Earl are from the class of Professor Christopher Butterfield This recital is presented in partial fulfillment of the requirements for the Master of Music (Composition) program Please silence all electronic devices. Zihan Zhao (b. 1996) � Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/03052023-DegreeRecitalComposers-MiaZhaoIsaacEarl-files/03052023-DegreeRecitalComposers-MiaZhaoIsaacEarl_01.wav">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03052023-DegreeRecitalComposers-MiaZhaoIsaacEarl-files/03052023-DegreeRecitalComposers-MiaZhaoIsaacEarl_02.wav">Track 2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03052023-DegreeRecitalComposers-MiaZhaoIsaacEarl-files/03052023-DegreeRecitalComposers-MiaZhaoIsaacEarl_03.wav">Track 3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03052023-DegreeRecitalComposers-MiaZhaoIsaacEarl-files/03052023-DegreeRecitalComposers-MiaZhaoIsaacEarl_04.wav">Track 4</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource DEGREE RECITAL Isaac Earl, Zihan Zhao (Mia) Creator An entity primarily responsible for making the resource Matheus Leite Date A point or period of time associated with an event in the lifecycle of the resource March 9th, 2023 Contributor An entity responsible for making contributions to the resource Michelle Wolfenden, bass flute Tenzin Clegg, bass clarinet Marc Micu, flugel horn Tau Kaploykeo, cello Isaac Earl, electronics Issac Earl, atlo axsphneo Roi L’houe, uigtr Zendi Mikpecze, murds Zanih Oazh, apion Isaac Earl, alto saxophone Edwin Sheard, alto saxophone Deniz Pekmezci, drums Zihan Zhao, electronics Heather Byford, voice Isolde Roberts-Welby, voice Michelle Wolfenden, flute Sarah Carey, clarinet Kayleigh Francis, tenor saxophone Tristan Holleufer, percussion Marc Micu, percussion Deniz Pekmezci, percussion Noah Mellemstrand, violin Sophie Hillstrom, viola Tau Kaploykeo, cello Colwyn Lewis, double bass Cleo Yong, conductor https://finearts.uvic.ca/music/archive/files/original/226733f758a728b6a1d735815fdb0cc8.pdf 6213568f60dd2cedbb1508ac294a8510 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �SCHOOL OF MUSIC • UNIVERSITY OF VICTORIA FACULTY CONCERT SERIES BRUCE VOGT PIANO HARALD KREBS PIANO ANNE GRIMM SOPRANO & BENJAMIN BUTTERFIELD TENOR Sunday, March 5, 2023 • 2:30 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria We acknowledge and respect the Lekwungen peoples on whose traditional territory the university stands and the Songhees, Esquimalt and WSÁNEĆ peoples whose historical relationships with the land continue to this day. �PROGRAM Sonata in B-flat Major, Op. 24, No. 2 (composed before 1781) Muzio Clementi i. Allegro con brio (cadenza entitled ‘Muzio’s Revenge) (1752-1832) ii. Andante iii. Rondo: Allegro assai 12 German Dances, D. 790 (1823) Three Mazurkas i. In A Minor, Op. 17, No. 4, ‘Lento, ma non troppo’ (1834) ii. In C Major, Op. 24, No. 2, ‘Allegro non troppo’ (1836) iii. In B-flat Minor, Op. 24, No. 4, ‘Moderato’ (1836) Three Mazurkas, Op. 50 (1842) i.In G Major, ‘Vivace’ ii. In A-flat Major, ‘Allegretto’ iii. In C-sharp Minor, ‘Moderato’ Franz Schubert (1797-1828) Frédéric Chopin (1810-1849) INTERVAL By Franz Schubert Mignon und der Harfner – ‘Nur wer die Sehnsucht kennt’ D. 877 (1826) (Mignon and the Harper – ‘Only he who knows longing’) With Anne Grimm and Benjamin Butterfield Rondo in A Major, D. 951 (1828) With Harald Krebs Sonata in C Major (‘Reliquie’) (1825) ii. Andante i. Moderato AFTERTHOUGHT Andante in A Major, D. 604 (ca.1818) Franz Schubert �PROGRAM NOTES A name in history of music does not always represent an impartial acknowledgement of a life in music. Historians need threads and dramatic contrasts to give a coherent narrative beyond chronology. Like symbolic episodes, they assign parts to each actor, they build constructs with lineages, influences, while leaving out what could blur the picture. Traditions get established upon which interpretations rely; reputations precede the encounter with the music itself. We seem to need, as a mediation, this simplification which general, accessible narratives provide. We need it to acquaint ourselves with works, to situate them within a context, to feel a familiarity that will give us the desire and the confidence to listen. And ultimately, we may well have forgotten that we have reached the works through this mediation. Now, when an interpretation returns and questions our habits for contextualizing and listening to a work, when we try and return to the original works without taking the path of traditions, narratives or past interpretations, we reopen a whole range of fresh listening. Sometimes, to our amazement, we may find utterly new elements of pieces we thought we knew. Sonata in B-flat Major, Op. 24, No. 2, by Muzio Clementi The name of Muzio Clementi has long been known to the history of music: it comes with a reputation and a very good story, which includes a memorable quip. It also comes with prejudice and the unfair neglect of many works. In a common narrative, Clementi is a secondary character in the play – a kind of stooge for the genius, Mozart, and precursor for the genius, Beethoven – owing his secondary place in the Pantheon to his influence on other composers along with his pedagogical compositions. Clementi composed over 100 piano sonatas as well as symphonies and other works. He is credited as the first musician to write truly idiomatically for the pianoforte. Why has tradition treated his works so badly, to the point of denying them transmission and conservation? Most of the symphonies have been lost, and the surviving ones make clear that this was not a deserved oblivion. Why do we talk so little about his sonatas? The best of them stand the comparison with those of Haydn and Mozart. Indeed, Beethoven admired Clementi’s sonatas for their wealth of melodic and harmonic invention and for their formal facility. But Clementi is also a master of texture. Many of his sonatas suggest elaborate and original orchestrations. Some of the later sonatas, with their powerful sense of drama and rhetoric, can be seen as a continuation of eighteenth-century Opera Seria after such works were long out of fashion. Myth has played its part in the neglect of Clementi’s musical works. First of all, there is the success of Clementi as a businessman. When, in later life, he became a successful piano manufacturer and music publisher, this did not align with the Romantic ideal of the Great Artist. His near contemporary, Mozart, was much better suited for the part of a single-minded and impractical personality, illuminated by art, defiant of the comforts of a peaceful life. Secondly, we pianists all were required to study at least a few of Clementi’s sonatinas during our early training. Despite the undeniable charm of these works, many of us have struggled to forgive him. But perhaps it was the constant comparison with Mozart which harmed Clementi’s reputation most grievously. In 1781, while in Vienna, Clementi was asked by Emperor Josef II to enter a musical playing contest with Mozart, for the amusement of the Emperor’s guests, the Grand Duke and Duchess of Russia. Even though the contest was declared a draw and the award of 100 ducats was evenly split, the two musicians left the stage with a very different prize. Clementi’s later accounts of this event were only respectful towards his younger rival. In contrast, in a letter to his father, Mozart was anything but respectful: �“Clementi plays well, as far as execution with the right hand goes. His greatest strength lies in his passages in thirds. Apart from that, he has not a penny’s worth of taste or feeling – in short he is a mere mechanicus.” In a subsequent letter he was more succinct: “Clementi is a charlatan, like all Italians.” Mozart’s letters are filled with playful and often spiteful opinions; it is an undeniable part of their charm. But these quips became an ongoing part of the lore surrounding Clementi’s reputation. We like them so much that we forget that they may have been inspired, at least in part, by the desire to put a rival in his place. The Sonata in B-flat Major, Op. 24, No. 2 is a relatively early work. We know that it was written before 1781 because it was one of the works that Clementi played in his contest with Mozart. Despite Mozart’s words of disdain, this work must have made an impression since the opening motive clearly is the basis for the fugue in Mozart’s Magic Flute Overture. Mozart never acknowledged this and the only sign of pique from Clementi came in his insistence, when the work was later republished, that it includes in the score a note confirming that the sonata was written a considerable time before Mozart’s Magic Flute. If this Sonata lacks the drama and daring of some of Clementi’s later masterpieces, it demonstrates a wide range of comic characterizations. Six Mazurkas, by Frédéric Chopin A mazurka is not a single dance but a collective name for a number of distinct Polish folk and urban dances. They display a wide range of character, but they do share some characteristics: all are in triple time and they share a tendency to stress the 2nd or the 3rd beat of the measure. With the latest of these Mazurkas – Op. 50, No. 3 – a rich contrapuntal texture is introduced. How to play them is a disputed question. We know the composer played these works with much rhythmic inflection. When Meyerbeer heard Chopin play his Op. 33, No. 2 mazurka, he insisted the work was in 2/4 time. The dispute escalated and the two ultimately parted in very bad humour. Other contemporary musicians were similarly perplexed. Perhaps this uncertainty partly explains why many pianists have been reluctant to perform the mazurkas. And yet the 45 Mazurkas published in Chopin’s lifetime, along with the 11 published posthumously, are – harmonically and in other ways – among the most original works of the nineteenth century. Franz Schubert “Schubert’s tonality is as wonderful as star clusters, and a verbal description of it is as dull as a volume of astronomical tables.” D. F. Tovey “The art of Music has here entombed a rich treasure but yet much fairer hopes.” Those are the words inscribed on Schubert’s tombstone. And certainly, we can think with regret of the many works that he surely would have created had he been given something like a normal life span. Yet his achievement in his brief span of active composing years is remarkable and needs no disclaimer. Such a musical “treasure” has been constantly (re-)discovered since Schubert’s early death in 1828. At that time, he was well known and recognized only by his own circle of friends and even they knew him mostly as a song composer. His achievement as a composer of instrumental music was still to be re-vealed and understood. How could it be, when most of his instrumental works were not yet published? Many of them would not be heard for decades. His 9 symphonies (7 complete), 15 String Quartets, many other chamber works, 21 piano sonatas (13 complete), masses, other choral works and more – these were mostly unknown. When these works were finally being heard and pondered over, they were too often patronized as formally flawed. �Even 50 years ago it was not uncommon to hear many of Schubert’s instrumental works characterized as undisciplined.There were a few champions of note. Liszt and Brahms both recognized the greatness of Schubert as an instrumental composer. And in 1894, Antonín Dvořák wrote these words: “[He] is never at fault in his means of expression, while mastery of form came to him spontaneously… Schubert’s musical individuality is unmistakable...” Still, for a long time, many of his works remained unpublished and seldom heard, as if, lacking the lustre and weight of prestigious genres, they had to rely on curious and sensitive interpreters to finally be recognized as “treasures”. Indeed, there were “fairer hopes” to come. Twelve German Dances, Op. posth. 171, D. 790 It was not an easy thing for Franz Schubert to find publishers for his more ambitious instrumental works: his chamber music, his symphonies and his piano sonatas. But his Waltzes and other dance collections were another matter: the middle class was hungry for lighter piano fare and his dances found a ready audience. An exception was this collection of German Dances which were only published 36 years after Schubert’s death. Why could Schubert not find a publisher for them? These are very unlike the simpler dances that make up his other collections. Instead, there is a powerful originality in the modulations, a great richness of texture, and a surprising range of emotion within this seemingly limiting form. Mignon und der Harfer There are about 630 Schubert Lieder that have come down to us. Both of Schubert’s song cycles involve a solitary youth who is alienated from society. And found among the rest of his songs are wanderers, or outcasts in great number. Mignon was introduced in Goethe’s novel from 1795, Wilhelm Meister’s Apprenticeship.The novel was extremely popular and influential in the nineteenth century, but Mignon and her poems (they are sung in the novel) had an even greater fascination for that century. Among the many composers who wrote settings are Beethoven, Schumann, Liszt,Tchaikovsky and Wolf. Schubert wrote settings of five Mignon poems, some of them a number of times.This particular poem he set a total of four times, three times for soprano and this one for soprano and tenor. In fact, this setting is the most true to the novel, for there, these bitter words are sung as a duet by Mignon and the Harper, a wandering musician who is, unknown to Mignon, her father. Only one who knows longing Knows what I suffer! Alone and cut off From all joy, I look into the firmament In that direction. Ah! he who loves and knows me Is far away. I am reeling, My entrails are burning. Only one who knows longing Knows what I suffer! �Rondo in A Major for Piano Duet In the early part of the nineteenth century, there was a rapidly growing demand by amateurs for piano duet music. It follows that much of this repertoire was written in a simpler, more popular style. And indeed, in the three large volumes that contain the collected duets of Schubert there are several works that fit this description – dances, marches, variations. However, a handful of his duet works are among his greatest works for piano including two beautiful sonatas and a remarkable Fantasy in F minor. The Rondo in A Major – written in Schubert’s last year – seems to belong to both types. It is ingratiating, immediately accessible and yet is filled with striking harmonic and melodic details. It is a reminder that Schubert’s music does not helpfully divide into two categories: ‘popular’ and ‘high art’. Every work of his has both popular elements and the presence of his rich harmonic and melodic language. Perhaps this explains how, almost uniquely, his music feels so very intimate to those who experience it. Sonata in C Major, D. 840 (‘Reliquie’) The stature of Schubert’s piano sonatas took a particularly long time to be established. It was long thought that it was only in shorter works – such as his Impromptus and Moments Musicaux – that his genius for instrumental writing could thrive. His sonatas were typically seen as diffuse and overly re-petitive. Only in the 1920s, especially with the advocacy of the Austrian pianist Artur Schnabel, were some of the sonatas accepted into the repertoire. And it is only in the last few decades that compe-tent editions of his sonatas have appeared. In his lifetime only three sonatas were published and yet at least 10 of the 21 sonatas are major works. There are a number of unfinished sonatas. Some of these lack only a recapitulation with the composer providing sufficient sketches to allow for a credible completion – perhaps he was awaiting an offer for publication which never came. However, the ‘Reliquie’ Sonata is unique in its incompletion.The first two movements are among the most original he composed and the autograph of these two movements is, in every essential way, complete. But with the fourth movement we have only a tantalizing few pages. Many have composed completions, and some of these are very clever. Collectively they illustrate how utterly inimitable was Schubert’s musical voice. Other performers have ended performance by playing the few pages we have of the two incomplete movements, thus allowing the listener to hear them dribble away into silence. I have chosen to perform the two complete movements in reverse order. This allows us to move from the tonic minor to the tonic major, from a darker andante to a triumphant allegro moderato. Andante in A Major This final work is a kind of afterthought. It is a piece I’ve loved for over 50 years and only now has it occurred to me to include it on a programme. It is an early work composed around 1818. It may well have been the intended slow movement for an unfinished F-sharp Minor sonata. An intimate work, and tenderly poetic. �UVIC SCHOOL OF MUSIC UPCOMING EVENTS FRIDAY, MARCH 10 | 12:30 PM (By donation) Fridaymusic: Woodwinds Take an afternoon break to enjoy a concert of varied repertoire featuring UVic School of Music woodwind students. Phillip T. Young Recital Hall SATURDAY, MARCH 11 | 2:30 PM (Free) Orion Series Concert: Quatuor Bozzini Quatuor Bozzini has been an original voice and strong advocate in new, experimental and classical music since 1999. Driving the hyper-creative Montréal scene and beyond, the quartet cultivates an ethos of risk-taking, experimentation, and collaboration, venturing boldly off the beaten track. Phillip T. Young Recital Hall SATURDAY, MARCH 11 | 7:30 PM (By donation) UVic Big Band: Big Band, Big Sound Get ready to swing into the rhythm of jazz with the UVic Big Band. Lead by Scott MacInnes, this ensemble of talented UVic School of Music students brings you an evening of big band sounds, delivering powerful solos, soaring brass and driving rhythms. Phillip T. Young Recital Hal SATURDAY, MARCH 11 | 8 PM ($20-$28) UVic Voice Ensemble and Victoria Baroque: Acteon The UVic Voice Ensemble and Victoria Baroque present a creative semi-staging of Marc-Antoine Charpentier’s gorgeous miniature drama-in-music, Actéon. Pacific Opera Victoria and Baumann Centre, 925 Balmoral Rd., Victoria To receive monthly updates about School of Music events by email, contact concert@uvic.ca. More information at uvic.ca/finearts/music Full schedule of concerts & events. www � Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/03052023-FacultyConcertBruceVogt_01.wav">Full concert</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 Creator An entity primarily responsible for making the resource Matheus Leite Date A point or period of time associated with an event in the lifecycle of the resource March 9th, 2023 Contributor An entity responsible for making contributions to the resource BRUCE VOGT PIANO HARALD KREBS PIANO ANNE GRIMM SOPRANO & BENJAMIN BUTTERFIELD TENOR https://finearts.uvic.ca/music/archive/files/original/5c6503957903bb7ac12c8c686beeb2ee.pdf da0562a766d0b389b881d2457740af34 PDF Text Text UNIVERSITY OF VICTORIA SCHOOL OF MUSIC | PHILLIP T. YOUNG RECITAL HALL SAXOPHONE CLASS ENSEMBLE RECITAL 8pm SATURDAY, MARCH 4, 2023 | Admission by Donation uy' skweyl We are grateful for the opportunity to perform in the Phillip T. Young Recital Hall situated on the traditional lands of the lək ̓ ʷəŋən peoples. Quatuor d’Or Kayleigh Francis of the Graduate Class, Soprano Hannah Stanwood of the 3rd Year Class, Tenor Cole Davis of the 4th Year Class, Alto Emerson Jong of the 4th Year Class, Baritone 1. Montevideo from Ciudades by Guillermo Lago 2. Raguinho from Saxteto (2007) by Victor E. Márquez-Barrios Quatuor de Papillons Jolis Meghan Pimm of the 3rd Year Class, Soprano Sovenance Statham of the 1st Year Class, Tenor Caiden Meyer of the 2nd Year Class, Alto Connor Baumann of the 1st Year Class, Baritone 1. An American In Paris by George Gershwin/Cappuccio 2. Presto by Felix Mendelssohn/Teal 3. Gaguenardise from Petit Quatuor by Jean Françaix – Intermission — Le Trio de la Belle Forêt Eclectic Trio by Catherine McMichael 1. Sarabande 2. Tango Languido Michelle Wolfenden, Flute Kayleigh Francis, Saxophone Luke Ongman, Clarinet Quatuor Violet Sylvan Wilkinson of the 3rd Year Class, Soprano Bethanie Tran of the 3rd Year Class, Tenor Madison Wang of the 3d Year Class, Alto Xavier Marican of the 2nd Year Class, Baritone 3. Valse and 4. Kristis from Suite Hellenique by Pedro Iturralde (1929 – 2020) Introduction et Variations sur une ronde populaire pour Quatuor de Saxophones (1936) by Gabriel Pierné (1863 – 1937) Wendell A. Clanton Assistant Teaching Professor of Saxophone GRADUATING RECITALS IN PERFORMANCE Kayleigh Francis – 8:00 PM Monday, March 20th Cole Davis – 8:00 PM Thursday, April 13th � Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/03042023-Saxphone%20Class%20Ensemble%20Recital-files/03042023-Saxphone%20Class%20Ensemble%20Recital%20-1.wav">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03042023-Saxphone%20Class%20Ensemble%20Recital-files/03042023-Saxphone%20Class%20Ensemble%20Recital%20-2.wav">Track 2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03042023-Saxphone%20Class%20Ensemble%20Recital-files/03042023-Saxphone%20Class%20Ensemble%20Recital%20-3.wav">Track 3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03042023-Saxphone%20Class%20Ensemble%20Recital-files/03042023-Saxphone%20Class%20Ensemble%20Recital%20-4.wav">Track 4</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource SAXOPHONE CLASS ENSEMBLE RECITAL Creator An entity primarily responsible for making the resource Matheus Leite Date A point or period of time associated with an event in the lifecycle of the resource March 9th, 2023 Contributor An entity responsible for making contributions to the resource Kayleigh Francis of the Graduate Class, Soprano Cole Davis of the 4th Year Class, Alto Hannah Stanwood of the 3rd Year Class, Tenor Emerson Jong of the 4th Year Class, Baritone Meghan Pimm of the 3rd Year Class, Soprano Caiden Meyer of the 2nd Year Class, Alto Sovenance Statham of the 1st Year Class, Tenor Connor Baumann of the 1st Year Class, Baritone Eclectic Trio by Catherine McMichael Sylvan Wilkinson of the 3rd Year Class, Soprano Madison Wang of the 3d Year Class, Alto Bethanie Tran of the 3rd Year Class, Tenor Xavier Marican of the 2nd Year Class, Baritone Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/03042023-DegreeRecitalJosephMGarcia(MMus)-files/03042023-DegreeRecitalJosephMGarcia(MMus)_01.wav">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03042023-DegreeRecitalJosephMGarcia(MMus)-files/03042023-DegreeRecitalJosephMGarcia(MMus)_02.wav">Track 2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03042023-DegreeRecitalJosephMGarcia(MMus)-files/03042023-DegreeRecitalJosephMGarcia(MMus)_03.wav">Track 3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03042023-DegreeRecitalJosephMGarcia(MMus)-files/03042023-DegreeRecitalJosephMGarcia(MMus)_04.wav">Track 4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03042023-DegreeRecitalJosephMGarcia(MMus)-files/03042023-DegreeRecitalJosephMGarcia(MMus)_05.wav">Track 5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03042023-DegreeRecitalJosephMGarcia(MMus)-files/03042023-DegreeRecitalJosephMGarcia(MMus)_06.wav">Track 6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03042023-DegreeRecitalJosephMGarcia(MMus)-files/03042023-DegreeRecitalJosephMGarcia(MMus)_07.wav">Track 7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03042023-DegreeRecitalJosephMGarcia(MMus)-files/03042023-DegreeRecitalJosephMGarcia(MMus)_08.wav">Track 8</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/03042023-DegreeRecitalJosephMGarcia(MMus)-files/03042023-DegreeRecitalJosephMGarcia(MMus)_09.wav">Track 9</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Degree Recital: Joseph M. Garcia Creator An entity primarily responsible for making the resource Matheus Leite Date A point or period of time associated with an event in the lifecycle of the resource March 9th, 2023 Contributor An entity responsible for making contributions to the resource Joseph M. Garcia, Tenor Dr. Kinza Tyrell, Piano Grace Budoloski, Soprano Cleo Yong, Violin Natalie Ciurysek, Horn