4 10 1498 https://finearts.uvic.ca/music/archive/files/original/4ed27e80c5c31f15ecd090ec3741ea67.pdf a835836cf40df3ed32b081203ebb13b3 PDF Text Text Orchestra UNIVERSITY OF VICTORIA Harmonious Saints With Josh Lovell, tenor soloist UVic Concerto Competition Winner Ajtony Csaba, conductor Friday, November 1, 2013, 8:00 p.m. University Centre Farquhar Auditorium MacLaurin Building, University of Victoria Adults: $17.50 / Students & seniors: $13.50 �Program Johann Christian Bach Sinfonia No. 2 in B-flat Allegro assai – Andante (solo: Allison Phillips) – Presto Heinrich Ignaz Biber Battalia Presto Die liederliche Gesellschaft allerly Humor (The dissolute society of all sorts) Presto II Der Mars (The March) solo: Aliayta Foon-Dancoes Presto III Aria Die Schlacht (The Battle) Lamento der verwundeten Musquetirer (Lament of the Wounded Musketeers) Giovanni Gabrieli Canzon XVII George Frederic Handel Look Down, Harmonious Saint, HWV 124 Giovanni Gabrieli Canzon VI I n t e r m i s s i o n Piotr Il’yich Tchaikovsky Symphony No. 2 in C minor, Op. 17 (“Little Russian”) I. Andante sostenuto – Allegro vivo II. Andantino marziale, quasi moderato III. Allegro molto vivace IV. Moderato assai – Allegro vivo – Presto The University of Victoria Orchestra appreciates the support of the Learning Without Borders Curricular Fund. �p r o g ra m n ot e s Welcome Harmonious Saints features works from a range of eras spanning almost three hundred years, each with vastly different musical practices. The music of the Baroque era, which spans the seventeenth and much of the eighteenth centuries and produced three of the pieces performed tonight, is characterized by a predominantly delicate touch and a preference for procedural ornamentation. This is evident in the music’s melodic figuration as much as it is in the florid architecture and social rites of the period. Whereas this musical zeitgeist is one of measured restraint, that of the Romantic era is anything but. Developments in technology resulted in instruments which could play a wider range (horn), faster (clarinet), and louder (tuba). Additionally, the want to express a range of emotions through music which began with the sturm und drang trend in the Classical era, came to vogue in the Romantic, and the expanded orchestra was now perfectly suited to the task. It has been our task over the past several weeks of rehearsals to study these performance practices with the aim of creating a faithful reproduction of these pieces as they would have sounded in their respective eras: as their composers and their contemporaries might have heard them­. Notably, we have had the fortune of working with a collection of Baroque-style bows, which produce a lighter, thinner sound than the bows we use today. The University of Victoria Symphony Orchestra appears tonight as a collection of many new players and some familiar faces. We have enjoyed learning the practices of these musics together and becoming united as an ensemble in the process. From the stately Canzoni through to Tchaikovsky’s bombastic orchestrations of Russian folk melodies, we hope that you will enjoy tonight’s palette of timbres as much as we do. Symphony No. 2 in B-flat, Overture to Lucio Silla(1775) Johann Christian Bach (5 Sept 1735 – 1 Jan 1782) J. C. Bach, eleventh son of the more well-known J. S. Bach, was a proponent of the galant style. Known as the “London Bach” due to the time he spent in that city, J. C. Bach was an important influence on the young Wolfgang Amadeus Mozart, whom he mentored in composition and performed with in England, undoubtedly influencing him toward the style. A forerunner of the Classical movement, galant music is characterized by simplicity, a clearly perceivable melody, and increased freedom in the treatment of dissonance—three features contrasting the strict counterpoint favoured in Baroque church music. Since the galant style was foremost about lighthearted expression of joy, some proposed that it would lead to the degeneracy of music, and a renewed interest in strict counterpoint came about in the late eighteenth century. Lucio Silla, the opera to which J. C. Bach’s Symphony No. 2 is an overture, was commissioned by Carl Theodor, Prince-Elector and Count of Bavaria. The work received its premiere in Mannheim on 5 November 1775 after a delay caused by the loss of a portion of the work’s manuscript. The influence of the galant movement is evident in the composition of the piece, especially notable in its privileging of melody and compositionally restrained harmony. Also telling is the way in which the composition employs its instrumental forces. Though the ensemble includes an ample woodwind �section, strings are dominant in both melodic and harmonic statements. In the former, ornamentation is at an absolute minimum. The playing style of this era, which though unwritten our players have been happy to duplicate, includes holdovers from the Baroque era. The most audible of these are a “yawning” attack at a note’s beginning (a result of the reduced tension on Baroque bow hair) and a decrescendo at phrase’s end—un sospiro. Look Down, Harmonious Saint (1736) George Frederic Handel (23 Feb 1685 – 14 April 1759) Whereas Lucio Silla was written after the galant style had developed to maturity, Handel’s Look Down, Harmonious Saint was written while the style was still young. This cantata was originally composed for Alexander’s Feast, an ode for the feast day of Saint Alexander, but was used instead in the intermission music, Cecilia, Volgi Un Sguardo, an ode for St. Cecilia’s Day. Handel, the master synthesist who integrated the styles of Italy, France, England, and his native Germany into his own writing, did so here with the emerging galant and the predominant Baroque. The former is represented in the melodic dominance and restrained harmonic writing, while the latter can be found in sections of occasional active harmonic figures and counterpoint. This piece also demonstrates the favoured orchestration of the period: heavily string based, the bowed instruments augmented by plucked instruments such as the harpsichord and lute. As with Alexander’s Feast, Look Down, Harmonious Saint is a celebration of music itself. RECITATIVE Look down, harmonious Saint, whilst we do celebrate thy art and thee! Of Music’s force the wonders show, the most of Heav’n we here can know. ARIA Sweet accents all your numbers grace, touch ev’ry trembling string; each note in justest order place, of Harmony we’ll sing. It charms the soul, delights the ear, to it all passions bow;it gives us hope, it conquers fear, and rules we know not how. (Lyrics by Newburgh Hamilton) Musick! that all-persuading art, which soothes our griefs, inspires our joys, soft love creates, stern rage destroys, and moulds at will each stubborn heart. Canzoni VI & XVII (from Canzoni e Sonate 1615) Giovanni Gabrieli (c. 1554 – Aug 1612) Gabrieli was a Venitian composer of German training. He served as an apprentice under Orlande de Lassus in Munich, then as organist and composer with his uncle at San Marco Basilica in Venice. These two instructors heavily influenced his writing, which was almost exclusively sacred. The set of Canzoni e Sonate (comprising seventeen songs and four sonatas), from which we have adopted numbers VI and XVII, was published posthumously. As was the practice in the period, Gabrieli did not specify orchestration for most of these pieces, and it would have been designated ad hoc depending on the constitution of the ensemble. The extent of his instrumentation for these pieces is the instruction “to be played on all sorts of instruments with organ bass”. Much of his music takes advantage of the spatial effects made possible by the acoustics of San Marco, specifically in dazzling antiphonal passages. �Battalia (1673) Heinrich Ignaz Franz von Biber (c. 12 Aug 1644 – 3 May 1704) One hundred years before Lucio Silla was first performed, Biber penned the Battalia, a piece of battle music for strings. A virtuosic violinist, Biber was known for writing string pieces which capitalized on his intimate knowledge of the instruments, and Battalia is no exception. The work makes use of many advanced techniques, such as battuto playing (striking the strings with the bow) and the weaving of paper through the strings. These techniques aptly portray the sounds of combat, placing the workwithin the tradition of battle music. However, Biber additionally calls for theatrical elements which would have been completely foreign to concertgoers’ conception of music. The piece enacts scenes from the battle, including a group of drunken soldiers literally swaggering and singing, and a deluge of gunshot. Written in 1673, it is likely this piece was meant to commemorate the Thirty Year War. Cinematic beyond its time, this piece was part of the musical avant-garde movement toward dramma per musica, a forerunner of opera seria. It is no surprise that Battalia carries a dedication to Bacchus, the god of (among other things) theatre. Symphony No. 2, “Little Russian” (1872) PyotrIl’yich Tchaikovsky (25 April 1840 – 25 Oct 1893) Our program closes with its most recent piece. Tchaikovsky was one of the earliest Russian composers to adopt the increasingly extensive and programmatic western European orchestration and mix it with folk melodies, leading to the grandiose patriotic character which has come to be associated with Russian orchestral music. “Little Russian”, originally written for piano four-hands in 1872 and revised in 1879, is emblematic of this style. It marks Tchaikovsky’s most pervasive use of folk music: three of the four movements are based on folk melodies. Of particular note is the finale, which comprises almost exclusively iterations of a Ukrainian tune known as “The Crane”. In fact, the only other melody heard in the movement is from a different folk song. This music would have entertained and unified concertgoers in nineteenth century Russia, as it does us today. Text by Dave Riedstra and Ajtony Csaba The Crane: �b i o g ra p h i e s Josh Lovell Since making his debut in the 2009 Victoria Symphony “Splash”, tenor Josh Lovell has been a familiar performer throughout Victoria and the Gulf Islands. Concert highlights include Mozart’s Requiem (Victoria Prima Choir), Haydn’s Die Schӧpfung (Salt Spring Chamber Orchestra), Handel’s Messiah (Civic Orchestra) and Bach’s St. John Passion (Victoria Baroque Players). Josh recently performed in Haydn’s Lord Nelson Mass (Victoria Choral Society) and will soon perform Handel’s Dixit Dominus (Victoria Baroque Players). This fall, Josh made his national operatic debut as Bardolfo in Verdi’s Falstaff with Pacific Opera Victoria. He is also a choral scholar at Christ Church Cathedral and is in his fourth year of voice studies at the University of Victoria studying with Benjamin Butterfield. In the spring, Josh will perform Schubert’s Die Schӧne Müllerin for his Bachelor’s Degree Graduation Recital. 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 simultaneously with Tamás Gál, András Ligeti, Uroš Lajovic, Peter Eötvös, Istvan Dénes and Zoltán Pesko. He was awarded many prizes as a conductor and composer, and was a semi-finalist in the first competition for opera in Cluj, Romania. He has had numerous concerts in Hungary and Austria with orchestras including UMZE, Sinfonietta Baden, Webern Sinfonietta, Savaria Symphonic Orchestra, and Danube Symphonic 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 he 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 to Peter Eötvös at the Salzburg Festspiele. In 2008 he conducted the EuroMed Youth Orchestra in Damaskus, Syria. In 2010 he was appointed as Assistant Professor at the University of Victoria, British Columbia where he conducts the UVic Symphony and teaches conducting. �O R C H E ST RA P E R S O N N E L VIOLIN 1 Aliayta Foon-Dancoes* Lindsey Herle Rochelle Sumampong Derrick Lee Elena Bokova Jasper Meiklejohn Natalie Dzbik Peter Weinkam Cecilia Li Gabriel Cayer FLUTE Aleksandra Tremblay* Kelsey Dupuis PICCOLO Sierra Phosy OBOE Allison Phillips* Diana Doublet CLARINET Paul Gilchrist* James Yi Erin Onyschtschuk VIOLIN 2 Jiten Beairsto* Raina Saunders Jessica d‘Oliveira Emily MacCallum Brittany Tsui Jilaine Orton BASSOON Matthew Robertson* Eric Boulter VIOLA Sarah Tradewell* Matt Antal Josh Gomberoff Calvin Yang Fahlon Smith HORN Samuel McNally* Georgina Davis Sam Brunton Colin Lloyd TRUMPET Matt Richard* Ian Cohen Ian VanGils CELLO Maria Wang* Ella Hopwood Shiun Kim Alex Klassen Steven Jeon Paul Joo Lauren Hodgins Natalia Stoney TROMBONE Liam Caveney* Megan White Trevor Hoy TUBA Russel Larden Timpani Brendan Chow* PERCUSSION William Exner* Allyssa Haigh Harpsichord Josh Herrett STAGE MANAGERS Alex Klassen Fahlon Smith LIBRARIAN David Foley assistant Dave Riedstra * Principal DOUBLE BASS Hudson Thorpe-Doubble* Brock Foerster Mackenzie Carroll Dylan Powell Blake Palm We appreciate the support of our guest coaches, Soile Stratkauskas and Christi Meyers, as well as the dedication of our regular coaches Joanna Hood and Scott MacInnes. 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/110113-Orchestra/110113-OrchestraConcert_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110113-Orchestra/110113-OrchestraConcert_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110113-Orchestra/110113-OrchestraConcert_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110113-Orchestra/110113-OrchestraConcert_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110113-Orchestra/110113-OrchestraConcert_05.mp3">track5<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/110113-Orchestra/110113-OrchestraConcert_06.mp3">track6</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orchestra <em>- Harmonious Saints</em> Creator An entity primarily responsible for making the resource Bryan Lilly, Will MacLellan Date A point or period of time associated with an event in the lifecycle of the resource November 1, 2013 https://finearts.uvic.ca/music/archive/files/original/918dd9a55020ab98280ef5fcbf65079b.pdf ef0f5961c2f59d9fc9977719425c1c15 PDF Text Text Tuesdaymusic Phillip T. Young Recital Hall • University of Victoria November 5, 2013 - 12:30 p.m. Rhapsodie espagnole, S.254 Franz Liszt (1811 - 1886) Barry Tan, piano Nocturne in E flat minor, Op. 33, No. 1 Gabriel Fauré (1845 - 1924) Jane Hou, piano Nocturne in B major, Op. 33, No. 2 Gabriel Fauré Stephanie Taralson, piano Variationen über “La ci darem la mano” aus “Don Giovanni” Ludwig van Beethoven von W.A. Mozart WoO 28 (1770 - 1827) Thema Variation 4 Variation 1 Variation 6 Variation 2 Variation 7 Variation 3 Coda James Yi, clarinet Samuel He, clarinet Teigan Cosgrove, English horn Upcoming Events Wednesday, November 6, 8:00 p.m. (Free Admission) Orion Series in Fine Arts presents GUEST LECTURE: DAVID A. JAFFE (California) 30th anniversary retrospective concert and lecture/discussion of the landmark maximalist electronic work, Silicon Valley Breakdown. Presented in the rarely-heard quadraphonic version, newly restored, the work is the composer’s answer to the question “What would it sound like if you plucked the cables of the Golden Gate Bridge?” Phillip T. Young Recital Hall Thursday, November 7, 3:30 p.m. (Free admission) GUEST LECTURE: LARRY GROUPE Film Music: An in-depth look and discussion on the current state of composing in Hollywood today Three time Emmy® nominee and twice winning composer Larry Groupé will discuss his feature film and television projects, including his latest award winning score Straw Dogs, directed by Rod Lurie. As a working Hollywood composer Groupé brings to light all the requirements - be they technical, creative, and political - to be a successful film and television composer today. Rm. A169, MacLaurin Building, A-Wing Friday, November 8, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Featuring School of Music brass students Phillip T. Young Recital Hall � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tuesdaymusic Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/110513-Tuesdaymusic/110513-TuesdayMusic-01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110513-Tuesdaymusic/110513-TuesdayMusic-02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110513-Tuesdaymusic/110513-TuesdayMusic-03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110513-Tuesdaymusic/110513-TuesdayMusic-04.mp3">track4</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tuesdaymusic Creator An entity primarily responsible for making the resource Dylan Powell Date A point or period of time associated with an event in the lifecycle of the resource November 5, 2013 https://finearts.uvic.ca/music/archive/files/original/39a501c573d7ba823bee348a8c3f5efe.pdf c7cce744499816eaf6e0cf255f7544d1 PDF Text Text fridaymusic Phillip T. Young Recital Hall • University of Victoria Featuring School of Music brass students November 8, 2013 - 12:30 pm Lo Que Hemos Perdidos (somos También) (world premiere) Matthew MacLean b. 1987 Matthew MacLean, Alfons Fear, trumpets Matthew Kelly, trombone Sam McNally, horn Alicia Sayell, tuba Three Pieces Ludwig Maurer Andante con moto ed. Robert Nagel Allegro grazioso (1789-1878) John Hamblett, Laura Tesarowski, trumpets Josh Yates, horn Brandon Chaplin, trombone Eric Showers, bass trombone Descent Into Flatland David A. Jaffe b. 1955 Matt Richard, Ian Cohen, trumpets Sam Brunton, horn Liam Caveney, tenor trombone Zoe McLaren, bass trombone Porgy and Bess George Gershwin It Ain’t Necessarily So (1898-1937) Bess You Is My Woman Summertime Oh Lawd, I’m On My Way Ian VanGils, Justin Bury, trumpets Simon Dawkins, horn Megan Rees, trombone Trevor Hoy, bass trombone Beasts of Legend The Unicorn Since the Dragon Went Away The Centaur Ed Solomon b. 1960 Victoria-Rose Hunt, Emily McDermid, trumpets Drake Lovell, horn Carmen McDowell, trombone Jackie Kreke, euphonium Symphony for Brass and Timpani Herbert Haufrecht Dona Nobis Pacem (1910-1998) Jubilation UVic Brass Choir Louis Ranger, director Trumpets: Matthew McLean, Cameron Kenis, Ian Cohen Horns: Sam Brunton, Sam McNally, Justin Malchow, Colin Lloyd Trombones: Liam Caveney, Matthew Kelly, Zoe McLaren Tuba: Russell Larden Timpani: Keenan Mittag-Degala � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fridaymusic Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/110813-Fridaymusic/110813-FridayMusic_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110813-Fridaymusic/110813-FridayMusic_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110813-Fridaymusic/110813-FridayMusic_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110813-Fridaymusic/110813-FridayMusic_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110813-Fridaymusic/110813-FridayMusic_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110813-Fridaymusic/110813-FridayMusic_06.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110813-Fridaymusic/110813-FridayMusic_07.mp3">track7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110813-Fridaymusic/110813-FridayMusic_08.mp3">track8</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110813-Fridaymusic/110813-FridayMusic_09.mp3">track9</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110813-Fridaymusic/110813-FridayMusic_10.mp3">track10</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110813-Fridaymusic/110813-FridayMusic_11.mp3">track11</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110813-Fridaymusic/110813-FridayMusic_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 Fridaymusic Creator An entity primarily responsible for making the resource Will MacLellan Date A point or period of time associated with an event in the lifecycle of the resource November 8, 2013 https://finearts.uvic.ca/music/archive/files/original/6a32f91f17ea0695349d05436d17a021.pdf 77c3cba9b60eba1db2e069c400f2726c PDF Text Text UNIVERSITY OF VICTORIA Faculty Concert series GuitarWorks The Music of David A. Jaffe GuitarWorks Players: Alexander Dunn guitar David A. Jaffe mandolin, 5-string banjo, electronics Alexei Paish conductor Susan Young soprano Guyonne Le Louarn viola Alex Jang mandolin Douglas Hensley guitar Josh Herrett harpsichord UVic Guitars Brian Desjarlais, Michael Chambers, Natasha Pashchenko, Graeme Cruickshank, Nolan Krell, Jordan Charette, Byron McIntosh, Joshua Amendt-Moylan Saturday, November 9, 2013, 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $17.50 / Students & seniors: $13.50 �PROGRAM City Life for 5-string banjo, mandolin, guitar, & harpsichord A Little Kid Sees a Skyscraper for two guitars tuned a quarter-tone apart Grass Valley Fire, 1988 for two mandolins & two guitars Intermission (Beverages and snacks available at the concession located in the lounge) Three Musicians for viola and guitar Fanfare for the First Musician Philadelphia Version (with Dog) Fanfare for the Second Musician New York Version (without Dog) Fanfare for the Third Musician and Dog May All Your Children Be Acrobats for soprano, electronics, & eight guitars �Program Notes David Jaffe’s music is at once familiar and erudite, drawing on recognizable folk, jazz and popular idioms, filtered through a prism of modernism. From direct quote to multi-layering, these styles are blended or compounded into a global language where recognition and obscurity form a dual basis for Jaffe’s musical persona. Sometimes the comfort of a known style will be affirmed, only to give way to different ideas sounding simultaneously. Other times, discordant clusters will be pronounced with the same rhythmic gestures. In dense textures, snippets from a folk or jazz idiom will be buried underneath or within, creating a kind of cultural clutter or musical Tower of Babel. Furthermore, a sense of wryness provides a sheen over starkness. Jaffe often juxtaposes antiquity with modernity - with a unique ability to write well for instruments combined with a sense of larger structures – manifests itself in a music both engaging and demanding. - Alexander Dunn City Life is based on the idioms of the five-string banjo. The piece expresses something of the frenetic pace of modern life. While the banjo is the protagonist, harpsichord, mandolin and guitar provide supporting texture and color in this unorthodox quartet. A Little Kid Sees a Skyscraper is based on daring and death-defying expeditions on the island of Manhattan taken by the composer and his father long ago. It is scored for two guitars, one tuned a quarter-tone below the other. Between the two, all twenty-four tones of the quarter-tone scale are available, opening a fresh, rich harmonic domain. The first and third movements explore quarter-tone harmony, while the second is primarily polyphonic. Three Musicians (after the Picasso paintings) was inspired by the two paintings by that name, one hanging in the Museum of Modern Art in New York and the other in the Philadelphia Museum of Art. One of these paintings includes a dog. The piece is in five movements, each incorporating elements of a particular style of American folk music, although these styles are often abstracted to a bizarre extent. The styles are: old-time fiddle style, blues, bluegrass style, jazz and country music style. Grass Valley Fire, 1988 for mandolin quartet commemorates the 1988 fire that burned 49 square miles around Grass Valley, California, including the home of the composer’s sister. The piece’s three continuous sections loosely follow the progress of the fire---the opening suggests the pastoral quality of the grasslands before the fire, the middle evokes the fire as it takes hold in earnest and the conclusion is a stark desolate reworking of the opening, depicting the charred remains the fire left behind. The fire itself is represented as an intensity of rhythm, derived from the composer’s experience playing Afro-Cuban charranga music on the violin. This piece, written for the Modern Mandolin Quartet, was the first original piece in their repertoire that was designed expressly for their instrumentation. The Quartet gave the premier performance in 1989 at Merkin Concert Hall in New York and have toured the work extensively. The work also exists in a version for string quartet, which was premiered in Buenos Aires by the Quartet of Argentina in 1991. For this program, a new version for two mandolins and two guitars was prepared by the composer and Alexander Dunn. �May All Your Children Be Acrobats for mezzo-soprano, eight guitars and computergenerated sound is a celebration of folk wisdom, as well as folly. It is based on a text excerpted from ‘The People, Yes” by Carl Sandburg and consists entirely of proverbs, sayings and anecdotes from the rich and varied backgrounds of immigrants, natives, fools and others. Complementing this text is a heterogeneous music that draws on such styles as bluegrass, Irish, Jewish and African-American music, as well as American popular and European classical styles. The computer part was created at Stanford University Center for Computer Research in Music and Acoustics. It is entirely synthesized, yet often resembles voices and plucked strings, using techniques pioneered by the composer and others at Stanford University. The People,Yes by Carl Sandburg (1878-1967) Excerpted and assembled by David A. Jaffe I. The People, YES! They have their proverbs, old and new. II. We’ll see what we’ll see. Time is a great teacher. Today me and tomorrow maybe you. Even if your stomach be strong, eat as few cockroaches as possible. III. What is bred in the bone will tell. Between the inbreeds and the crossroads the argument goes on. You can breed them up as easy as you can down. “I don’t know who my ancestors were”, said a mongrel, “but we’ve been descending for a long time.” “My ancestors”, said the Cherokee-blooded Oklahoman, “didn’t come over on the Mayflower but were there to meet the boat!” “Why,” said the Denver Irish policeman as he arrested a Pawnee Indian I.W.W. soap-boxer, “why don’t you go back to where you came from?!” IV. Wedlock is padlock. We all belong to one big family and have the same smell. A wife is not a guitar you hang on the wall after playing it. Take a good look at the mother before getting tied with the daughter. Let a mother be ever so bad she wishes her daughter to be good. The man hardly ever marries the woman he jokes about: she often marries the man she laughs at. Keep your eyes open before marriage, half-shut afterwards. �V. Blue eyes say love me or I’ll die. Black eyes say love me or I’ll kill you. Wash a dog, comb a dog, still a dog. VI. You don’t know enough to come in when it rains. You don’t know beans when the bag is open. You don’t know enough to pound sound into a rat hole. The white man drew a small circle in the sand And told the red man, “This is what the Indian knows,” and drawing a big circle around the small one, “This is what the white man knows.” The Indian took the stick and swept an immense circle around both circles: “This is where the white man and the red man know nothing.” All I know is what I hear. All I know is what I read in the papers. All I know you can put in a thimble. All I know I keep forgetting. VII. We have to eat, don’t’ we? You can eat promises, can you? You can’t eat the Constitution, can you? I can eat crow, but I don’t hanker after it. VIII. Out of the roots of the earth, Out of dirt, barns, workshops, timetables, Out of lumberjack payday jamborees, Out of joybells and headaches the day after, Out of births, weddings, accidents, Out of wars, laws promises, betrayals, Out of mists of the lost and anonymous, Out of plain living, early rising and spare belongings: YES! They… An expert is only a damn fool a long way from home. You’re either a thoroughbred, a scrub, or an in-between. Speed is born with the foal-sometimes. �They have … Always some dark horse never heard of before is coming under the wire a winner. A thoroughbred always wins against a scrub, even though you never know for sure: even thoroughbreds have their off days: new blood tells: the worn out thorough breds lose to the fast young scrubs. They have their … The big fish eat the little fish, the little fish eat shrimps and the shrimps eat mud. proverbs old and new! IX. The best preacher is the heart. The best teacher is the time. The best book is the world. The best friend is… [God]. GuitarWorks issues 1000 huge thank-you’s to the amazing talent of the musicians who gave of their time and energy to realize this project. I love you Man. �Upcoming Events Friday, November 15, 8:00 p.m. (Admission by donation) GUITAR CLASS RECITAL Students from the studio of Dr. Alexander Dunn Phillip T. Young Recital Hall Saturday, November 16, 8:00 p.m. (Admission by donation) SONIC LAB: Vertical Concert Ajtony Csaba, conductor UVic’s new music ensemble performs Pierluigi Billone’s Verticale Muto, Dérive I by Pierre Boulez and Elliott Carter’s A Mirror on Which to Dwell. Phillip T. Young Recital Hall Wednesday, November 20, 7:00 p.m. (Admission by donation) FLUTE CLASS RECITAL Students from the studio of Suzanne Snizek Phillip T. Young Recital Hall Friday, November 22, 8:00 p.m. ($14 & $12) UNIVERSITY OF VICTORIA WIND SYMPHONY In Remembrance Eugene Dowling, conductor Performing music of war and music of remembrance, include works by John Williams, Daniel Bukvich, Sir Edward Elgar, Elliot del Borgo and Stephen Bulla. University Centre Farquhar Auditorium Saturday, November 23, 8:00 p.m. ($17.50 & $13.50) FACULTY CONCERT SERIES: A Britten Celebration Alexander Dunn (guitar) and guests Solo, ensemble and vocal works of the eminent British composer, Benjamin Britten, commemorating the centenary of his birth. 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 Faculty Concert Series Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/110913-FacultyRecital/110913-FacultyRecital-01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/110913-FacultyRecital/110913-FacultyRecital-02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/110913-FacultyRecital/110913-FacultyRecital-03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/110913-FacultyRecital/110913-FacultyRecital-04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110913-FacultyRecital/110913-FacultyRecital-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 - <em>Guitar Works, The Music of David A. Jaffe</em> Creator An entity primarily responsible for making the resource Jamie Bracke Date A point or period of time associated with an event in the lifecycle of the resource November 9, 2013 Contributor An entity responsible for making contributions to the resource Alexander Dunn, guitar; David A. Jaffe, mandolin, 5-string banjo, electronics; Alexei Paish, conductor; Susan Young, soprano; Guyonne le Louarn, viola; Alex Jang, mandolin; Douglas Hensley, Guitar; Josh Herrett, harpsichord; UVic Guitars: Brian Desjarlais, Michael Chambers, Natasha Pashchenko, Graeme Cruickshank, Nolan Krell, Jordan Charette, Byron McIntosh, Joshua Amendt-Moylan https://finearts.uvic.ca/music/archive/files/original/0407f20a29256c92cfb669cbe0133179.pdf ad8a654a2d8de061a1bf4c6e196ac8e9 PDF Text Text UNIVERSITY OF VICTORIA Jazz Orchestra Anita Bonkowski director program John Brown’s Other Body John Oddo Why Musicians Can’t Dance Bill Liston Samba Nautica Toshio Mashima My One and Only Love Guy Wood Arr. Mark Taylor Time Stream Sammy Nestico Hit the Ground Running Gordon Goodwin Intermission (Beverages and snacks available at the concession located in the lounge) Barnburner Glidin’ In Stride FRIDAY, November 8, 2013, 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults $15 / Students & Seniors $10 Les Hooper Pete Coulman I Hear A Rhapsody Bob Mintzer Samba De Los Gatos Mike Steinel Count Bubba’s Revenge Gordon Goodwin Arr. Ralph Ford Back In Blue Orleans Les Hooper �UVic Jazz Orchestra 2013-14 Saxophone Julian Malinowski Adam Jasieniuk Zach Smith Paul Spelt Lee Whitehorne Elisa Hunter (clarinet) Trumpet Alfons Fear Noah Faust-Robinson Peter van Bodegom Tyler Onyschtschuk John Hamblett Tony Shackell Trombone James Holtman Zoe McLaren Trevor Hoy Mark Wilson** RHYTHM SECTION BASS Blake Palm DRUMS Sky Kim Keenan Mittag-Degala PIANO Aaron Pang Allanah Montgomery William Lynch GUITAR Daniel Favell Nick Miskey ** Special guest To receive our On the Pulse brochure and newsletter by email, contact: concert@uvic.ca www.finearts.uvic.ca/music/events � Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/110813-JazzOrchestra/110813-JazzConcert_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110813-JazzOrchestra/110813-JazzConcert_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110813-JazzOrchestra/110813-JazzConcert_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110813-JazzOrchestra/110813-JazzConcert_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110813-JazzOrchestra/110813-JazzConcert_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110813-JazzOrchestra/110813-JazzConcert_06.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110813-JazzOrchestra/110813-JazzConcert_07.mp3">track7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110813-JazzOrchestra/110813-JazzConcert_08.mp3">track8</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110813-JazzOrchestra/110813-JazzConcert_09.mp3">track9</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110813-JazzOrchestra/110813-JazzConcert_10.mp3">track10</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110813-JazzOrchestra/110813-JazzConcert_11.mp3">track11</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/110813-JazzOrchestra/110813-JazzConcert_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 Jazz Orchestra Creator An entity primarily responsible for making the resource Will MacLellan Date A point or period of time associated with an event in the lifecycle of the resource November 8, 2013 https://finearts.uvic.ca/music/archive/files/original/b2a35aa0e5370755b58a2cb0b2353b95.pdf 7b69eb42305e58ef4f9ab11dc9882dcd PDF Text Text UNIVERSITY OF VICTORIA Son ic Lab Sound Derivatives Ajtony Csaba, director Lindsay Sudabby voice Dominique Ryser voice Lindsey Herle violin Matt Antal viola Alex Klassen cello Thomas Bauer flutes Diana Doublet oboe Matt Kaufhold clarinets Sydney Tetarenko clarinet Matt Kelly trombone Keenan Mittag-Degala percussion Alexei Paish percussion Nolan Krell electric guitar Dave Riedstra bass guitar Connor Ashton piano PROGRAM ElliotT Carter A Mirror on Which to Dwell 1. Anaphora 3. Sandpiper 4. Insomnia 5. View of the Capitol from the Library of Congress Pierre Boulez Derive I. Sonic Lab Soundpainting Saturday, November 16, 2013, 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation www.finearts.uvic.ca/music/events �Text from A Mirror on Which to Dwell By Elizabeth Bishop Anaphora Sandpiper Each day with so much ceremony begins, with birds, with bells, with whistles from a factory; such white-gold skies our eyes first open on, such brilliant walls that for a moment we wonder ‘Where is the music coming from, the energy? The day was meant for what ineffable creature we must have missed? ‘ Oh promptly he appears and takes his earthly nature instantly, instantly falls victim of long intrigue, assuming memory and mortal mortal fatigue. The roaring alongside he takes for granted, and that every so often the world is bound to shake. He runs, he runs to the south, finical, awkward, in a state of controlled panic, a student of Blake. More slowly falling into sight and showering into stippled faces, darkening, condensing all his light; in spite of all the dreaming squandered upon him with that look, suffers our uses and abuses, sinks through the drift of bodies, sinks through the drift of classes to evening to the beggar in the park who, weary, without lamp or book prepares stupendous studies: the fiery event of every day in endless endless assent. The world is a mist. And then the world is minute and vast and clear. The tide is higher or lower. He couldn’t tell you which. His beak is focussed; he is preoccupied, The beach hisses like fat. On his left, a sheet of interrupting water comes and goes and glazes over his dark and brittle feet. He runs, he runs straight through it, watching his toes. - Watching, rather, the spaces of sand between them where (no detail too small) the Atlantic drains rapidly backwards and downwards. As he runs, he stares at the dragging grains. looking for something, something, something. Poor bird, he is obsessed! The millions of grains are black, white, tan, and gray mixed with quartz grains, rose and amethyst. �Insomnia View of the Capitol from the Library of Congress The moon in the bureau mirror looks out a million miles (and perhaps with pride, at herself, but she never, never smiles) far and away beyond sleep, or perhaps she’s a daytime sleeper. Moving from left to left, the light is heavy on the Dome, and coarse. One small lunette turns it aside and blankly stares off to the side like a big white old wall-eyed horse. By the Universe deserted, she’d tell it to go to hell, and she’d find a body of water, or a mirror, on which to dwell. So wrap up care in a cobweb and drop it down the well into that world inverted where left is always right, where the shadows are really the body, where we stay awake all night, where the heavens are shallow as the sea is now deep, and you love me. On the east steps the Air Force Band in uniforms of Air Force blue is playing hard and loud, but - queer the music doesn’t quite come through. It comes in snatches, dim then keen, then mute, and yet there is no breeze. The giant trees stand in between. I think the trees must intervene, catching the music in their leaves like gold-dust, till each big leaf sags. Unceasingly the little flags feed their limp stripes into the air, and the band’s efforts vanish there. Great shades, edge over, give the music room. The gathered brasses want to bo boom - boom. Source: www.poemhunter.com � Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/111613-SonicLab/111613-SonicLab-01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/111613-SonicLab/111613-SonicLab-02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/111613-SonicLab/111613-SonicLab-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 Sonic Lab <em>- Sound Derivatives</em> Creator An entity primarily responsible for making the resource Jamie Bracke Date A point or period of time associated with an event in the lifecycle of the resource November 16, 2013 https://finearts.uvic.ca/music/archive/files/original/de00aca67cf60e3c2066ac42f13a78f6.pdf 51843687fc2fb26652f9147321dda4d2 PDF Text Text Guitar Class Recital Students from the studio of Dr. Alexander Dunn Louis Spohr (1784-1859) Nocturnal after John Dowland, Op. 70 Musingly Very agitated Restless Uneasy March-like Dreaming Gently rocking Passacaglia Slow and quiet Nolan Krell, guitar Igor Stravinsky (1882-1971) Tim Zacharias, Jordan Charette, guitars Hika, in memorium Toru Takemitsu Michael Chambers, guitar Byron McIntosh, guitar J. S. Bach (1685-1750) Benjamin Britten (1913-1976) Joaquin Rodrigo (1685-1750) Natasha Pashchenko, guitar Eva Hoegl, piano Forlorn Hope Fantasy Elizabeth Gerow, soprano Natasha Pashchenko, guitar Suite BWV1008 Prelude Courante Gigue Joshua Amendt-Moylan, guitar Fantasia para un Gentilhombre Villano y Ricercar Españoleta y Fanfara de la Caballería de Napoles Les Cinq Doigts Andantino Allegretto Larghetto Moderato Lento Vivo Program An Mignon Lied aus Aslauga’s Ritter Erste Küss Intermission Equinox Michael Chambers, guitar Leo Brouwer (b. 1939) John Dowland (1563-1526) Toru Takemitsu (1930-1996) Leyenda Guaraní (1912) Agustin Barrios Introducción (1885-1944) Andante Adagio Allegro Graeme Cruickshank, guitar Friday, November 15, 2013, 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation www.finearts.uvic.ca/music/events �TEXT AND TRANSLATIONS An Mignon – To Mignon (Johann Wolfgang von Goethe) Über Tal und Fluß getragen, Ziehet rein der Sonne Wagen. Ach, sie regt in ihrem Lauf, So wie deine, meine Schmerzen, Tief im Herzen, Immer morgens wieder auf. Crossing over vale and river the sun chariot passes cleanly. Ah, it stirs in its course my agonies, much like yours, deep in the heart, always fresh each morning. Kaum will mir die Nacht noch frommen, Denn die Träume selber kommen Nun in trauriger Gestalt, Und ich fühle dieser Schmerzen, Still im Herzen Heimlich bildende Gewalt. Hardly does the night help me, for my dreams themselves come now in mournful aspect, and I feel these pains quietly in my heart, a secretly-forming power. Schon seit manchen schönen Jahren Seh ich unten Schiffe fahren, Jedes kommt an seinen Ort; Aber ach, die steten Schmerzen, Fest im Herzen, Schwimmen nicht im Strome fort. I must appear in fine clothing taken from the wardrobe because today is a holiday; no one suspects the agony that in my heart of hearts is tearing grimly at me. Schön in Kleidern muß ich kommen, Aus dem Schrank sind sie genommen, Weil es heute Festtag ist; Niemand ahnet, daß von Schmerzen Herz im Herzen Grimmig mir zerrissen ist. Already, for many fair years have I seen ships sailing below, each going to its place, but ah! the constant agonies, firm in my heart, do not float away in the river. Heimlich muß ich immer weinen, Aber freundlich kann ich scheinen Und sogar gesund und rot; Wären tödlich diese Schmerzen Meinem Herzen, Ach, schon lange wär ich tot. In secret I must weep, but I can seem cheerful, even healthy and flushed; were these agonies fatal to my heart, ah, I would long since have died. �Lied aus Aslauga's Ritter - Song of Aslauga's Knight (De la Motte Fouqué) Ach, wär' ich nur ein Vögelein! das darf die Flur durchklingen fein, gar mannigfalt mit allem, mit allem, was in ihm schallt! Ach, möcht' ich blühn als Blume rein! die darf das Grün durchhauchen fein, so fromm und mild mit allem, mit allem, was in ihr quillt! So bin ich nur ein Rittersmann auf hoher Spur in Acht und Bann und nehm' hinab mein alles, mein alles verstummt ins Grab. Oh, if I were only a little bird! this may sound fine through the hallway, even magnificent with all, with all that which resounds in it! Oh, I should like to bloom as a flower! which may breathe through the green, so pious and mild with all, with all that which swells in it! I'm just a knight on high track outlawed and'll take down my everything, my everything silent in the grave. Der Erste Kuss – The First Kiss (Moritz Kartscher) Die Lippe brennt, die Wange glüht, Verlangen sprüht das düstere Auge in Thränen; wer kühlt die Gluth, wer stillt das Blut, wo endet das endlose Sehnen? The lip is burning, the cheek glows, The longing says my eyes are sprayed with tears; Who cools the glowing, who calms the blood, where does the endless longing end? Das Wort erstirbt, die Seele bebt, verzagend hebt das Herz sich in hoffender Liebe, wer hemmt die Fluth, wer stärkt den Muth, wer hellet die nächtliche Trübe? The word dies, the soul trembles, despondently the heart rises in hopeful love, Who inhibits the tide, who strengthens courage, who betters the nightly troubles? Das Leben blüht, es ruft die Lust! an Liebchens Brust wohnt selige Ruhe hinieden; der Liebe Gruß, der erste Kuß bringt kosend den himmlischen Frieden. Life blooms, it calls the pleasure! to my sweetheart's chest lives here, below, blissful peace; of Love, the first kiss brings, caressing, the heavenly peace. � 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/111513-GuitarClassRecital/111513-GuitarClassRecital-01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/111513-GuitarClassRecital/111513-GuitarClassRecital-02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/111513-GuitarClassRecital/111513-GuitarClassRecital-03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/111513-GuitarClassRecital/111513-GuitarClassRecital-04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/111513-GuitarClassRecital/111513-GuitarClassRecital-05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/111513-GuitarClassRecital/111513-GuitarClassRecital-06.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/111513-GuitarClassRecital/111513-GuitarClassRecital-07.mp3">track7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/111513-GuitarClassRecital/111513-GuitarClassRecital-08.mp3">track8</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/111513-GuitarClassRecital/111513-GuitarClassRecital-09.mp3">track9</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Guitar Class Recital Creator An entity primarily responsible for making the resource Bryan Lilly Date A point or period of time associated with an event in the lifecycle of the resource November 15, 2013 https://finearts.uvic.ca/music/archive/files/original/5848537d48e0529b3742f502736f412e.pdf 4c9972f6d8a8ff0f8c133ef48ad500b3 PDF Text Text Aaron Mattock Percussion Corey Rae, Percussion Program Prim (1984) Áskell Másson (b.1953) Il legno e la parola (2004) Salvatore Sciarrino (b.1947) The Connection (2001) James Rolfe (b. 1961) Intermission Twine (1995) Rolf Wallin (b. 1957) Corey Rae, Xylophone Zyklus No. 9 (1959) Aaron Mattock is from the class of Professor William Linwood This recital is presented as part of the requirements for the Bachelor of Music in Performance program. Karlheinz Stockhausen (1928-2007) Reception to follow in the Lounge. Thursday, April 18th 2013 - 8pm Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free Admission Aaron would like to thank everyone for coming out, but special thanks to my parents, William Linwood, Corey Rae, Alexei Paish, Rob Phillips, Jay Schreiber and the rest of the percussion studio; CJ Colville, Alexis Ramsdale, David Clenman, James Yi, Sydney Tetarenko, the Canadian Scottish Pipe Band and everyone who have kept me on track for the past 4 years. � 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/041813-GradRecital/041813-AaronMattockRecital_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/041813-GradRecital/041813-AaronMattockRecital_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/041813-GradRecital/041813-AaronMattockRecital_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/041813-GradRecital/041813-AaronMattockRecital_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/041813-GradRecital/041813-AaronMattockRecital_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/041813-GradRecital/041813-AaronMattockRecital_06.mp3">track6</a> - encore 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 Recital <em>- Aaron Mattock, percussion</em> Creator An entity primarily responsible for making the resource Kirk McNally Date A point or period of time associated with an event in the lifecycle of the resource April 18, 2013 https://finearts.uvic.ca/music/archive/files/original/e65609cdcdc0faa0fbba8c4d87b743b4.pdf b4c917690d0d84d2483814d714036828 PDF Text Text Tuesdaymusic Phillip T. Young Recital Hall • University of Victoria November 19, 2013 - 12:30 p.m. String Quartet No. 11 in F minor, Op. 95 “Serioso” i) Larghetto espressivo - Allegretto agitato - Allegro Ludwig van Beethoven (1770 - 1827) Aliayta Foon-Dancoes, violin Raina Saunders, violin Matt Antal, viola Ella Hopwood, cello Partita a 3 Jindrich Feld i) Burlesca (1925 - 2007) ii) Lamentoso iii) Capriccio Gillian Newburn, flute Cooper Reed, flute Jillian Broughton, flute Suite de Trois Morceaux i) Allegretto Benjamin Goddard (1849 - 1895) Sierra Phosy, flute Maya Schenk, piano Johann Sebastian Bach Sonata in E major i) Adagio ma non tanto (1685 - 1750) ii) Allegro Gillian Newburn, flute Kim Farris-Manning, piano Romance Adolphe Blanc (1828 - 1885) Georgia Dowgert, oboe Sunny Chu, clarinet Gloria Grohovac, piano Tim Buckley (1947 - 1975) Song to the Siren arr. by M. Kurek Meaghan Miller, soprano I Stephanie Taralson, soprano II Marlena Kurek, alto Three Preludes for Unaccompanied Flute, Op. 18 Robert Muczynski i) Allegro (1929 - 2010) ii) Andante molto iii) Allegro molto Cooper Reed, flute Slawischer Tänz Antonín Dvorák (1841 - 1904) arr. Terry Kenny i) No. 2 ii) No. 10 iii) No. 6 William Constable, clarinet Dominic Thibault, clarinet Mark Kim, clarinet Jynelle Grigg, clarinet � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tuesdaymusic Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/111913-Tuesdaymusic/111913-TuesdayMusic_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/111913-Tuesdaymusic/111913-TuesdayMusic_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/111913-Tuesdaymusic/111913-TuesdayMusic_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/111913-Tuesdaymusic/111913-TuesdayMusic_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/111913-Tuesdaymusic/111913-TuesdayMusic_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/111913-Tuesdaymusic/111913-TuesdayMusic_06.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/111913-Tuesdaymusic/111913-TuesdayMusic_07.mp3">track7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/111913-Tuesdaymusic/111913-TuesdayMusic_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 Tuesdaymusic Creator An entity primarily responsible for making the resource Will MacLellan Date A point or period of time associated with an event in the lifecycle of the resource November 19, 2013 https://finearts.uvic.ca/music/archive/files/original/90866cf31f992470910f2f9ea5a1c9c6.pdf 9a27218b3594dd280e97a1c5221ee769 PDF Text Text Flute Class Recital P r o g r a m Sonata in E flat major Siciliana Allegro Suite de Trois Morceaux Allegretto Idylle J. S. Bach (1685-1750) Cooper Reed, flute Zinna Kwon, piano Benjamin Godard (1849-1895) Sierra Phosy, flute Maya Schenk, piano Density 21.5 Students from the studio of Suzanne Snizek Gillian Newburn, flute Reverie Jane Wong, flute Jane Hou, piano Twelve Miniatures Nocturne Waltz Sonata ii. Cantilena Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation www.finearts.uvic.ca/music/events Jillian Broughton, flute Amanda Cawley, piano Kelsey Dupuis, flute Joey Liao, piano Thomas Bauer, flute Stefani Yap, piano Partita Courante Sarabande André Caplet (1878-1925) Mieczslaw Weinberg (1919-1996) Hypnosis Wednesday, November 20, 2013, 7:00 p.m. Edgar Varèse (1883-1965) Francis Poulenc (1899-1963) Ian Clarke (b.1964) J. S. Bach Aleksandra Tremblay, flute � 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/112013-FluteClassRecital/112013-FluteRecital_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112013-FluteClassRecital/112013-FluteRecital_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112013-FluteClassRecital/112013-FluteRecital_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112013-FluteClassRecital/112013-FluteRecital_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112013-FluteClassRecital/112013-FluteRecital_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112013-FluteClassRecital/112013-FluteRecital_06.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112013-FluteClassRecital/112013-FluteRecital_07.mp3">track7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112013-FluteClassRecital/112013-FluteRecital_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 Flute Class Recital Creator An entity primarily responsible for making the resource Dylan Powell Date A point or period of time associated with an event in the lifecycle of the resource November 20, 2013