5 10 1498 https://finearts.uvic.ca/music/archive/files/original/fe6c7d23abd8d477f4aa30a87cb4a3e4.pdf 48e3a8c95edb3ace3a0fee7194b7898f PDF Text Text fridaymusic Phillip T. Young Recital Hall • University of Victoria November 22, 2013 - 12:30 p.m. Sonate Op. 25, No. 5 Muzio Clementi I) Piùttosto allegro con espressione (1752 - 1832) Kathleen Stanyer, piano Sonata for Alto Saxophone i) Allegro Lawson Lunde (b. 1935) Matthew Bell, alto saxophone Frances Armstrong-Douglas, piano Suite for Three Brass Instruments II) Burlesque IV) Sarabande V) Spanish Dance Bryan Kelly (b. 1934) Matt Richard, trumpet Jackie Kreke, euphonium Matthew Blockberger, euphonium Piano Trio No. 1 in D minor, Op. 49 Felix Mendelssohn I) Molto allegro ed agitato (1809 - 1847) Natalie Dzbik, violin Paul Joo, cello Faith Blackburn, piano Sonata in C minor, D. 958 Franz Schubert II) Adagio (1797 - 1828) Elizabeth Clarke, piano Sonata Pintoresca Joaquin Turína I) En la torre del castillo (1882 - 1949) Frances Armstrong-Douglas, piano Upcoming Events 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. Composers represented include 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 Sunday, November 24, 1:00 p.m. (Admission by donation) PIANO CLASS RECITAL Students from the studio of May Ling Kwok Phillip T. Young Recital Hall � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fridaymusic Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/112213-Fridaymusic/112213-FridayMusic_01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/112213-Fridaymusic/112213-FridayMusic_02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/112213-Fridaymusic/112213-FridayMusic_03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/112213-Fridaymusic/112213-FridayMusic_04.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/112213-Fridaymusic/112213-FridayMusic_05.mp3">track5</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/112213-Fridaymusic/112213-FridayMusic_06.mp3">track6</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fridaymusic Creator An entity primarily responsible for making the resource Sondra Moyls Date A point or period of time associated with an event in the lifecycle of the resource November 22, 2013 https://finearts.uvic.ca/music/archive/files/original/a0c0e73e2ec8a0b113dfb6c98e2992a9.pdf 57db403a59f3fcba3728fb20ee0a8e3a PDF Text Text UNIVERSITY OF VICTORIA Faculty Concert series A BrittenCelebration Music by Benjamin Britten (1913–1976), commemorating the centenary of his birth. Alexander Dunn guitar with Kathyrn Whitney mezzo-soprano Roger Buksa & Anna Cal piano duo Guyonne Le Louarn viola Anne Grimm soprano Robert Holliston piano Paula Kiffner cello Saturday, November 23, 2013, 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $17.50 / Students & seniors: $13.50 �Program Orpheus Britannicus (ca. 1700) Henry Purcell (1659–1695) Fairest Isle arranged by Britten ca.1947 Mad Bess Sweeter than Roses Nocturnal after John Dowland, Op. 70 (1963) Musingly Dreaming Very agitated Restless Uneasy March-like Gently rocking Passacaglia Slow and quiet Introduction and Rondo Burlesca, Op. 23, No.1 (1941) Intermission (Beverages and snacks available at the concession located in the lounge) Lachrymae, reflections on a song of Dowland, Op. 48 (1950) Lento Appassionato Allegretto, andante molto Animato Tranquillo Allegro con moto Largamente Alla valse moderato Allegro marcia Lento L’istesso tempo Songs from the Chinese, Op. 58 (1957) The Big Chariot The Old Lute The Autumn Wind The Herd-Boy Depression Dance Song Sonata for Cello and Piano in C, Op.65 (1961) Dialogo Scherzo - pizzicato Elegia: Marcia  Moto perpetuo �P r o g ra m N ot e s Benjamin Britten’s centenary (November 22, 1913–2013) is coincidentally conjoined with two of Britain’s greatest composers: Henry Purcell (1659-1695), who died one day 300 years before Britten was born, and the 450th anniversary of Elizabethan master lutenist and composer John Dowland (1563–1626). The works on tonight’s program reflect aspects of Britten persona: the dream world, a fascination with music of the past, and heady instrumental virtuosity. Britten’s instrumental music traverses a wide range of emotion, and his expert vocal writing explores text painting and colors with a unique compositional voice – certainly one of England’s and the early twentieth centuries most important composers. S o n g T e xt s Orpheus Britannicus 1. Fairest Isle John Dryden (1631-1700) Fairest isle, all isles excelling, Seat of pleasure and of love Venus here will choose her dwelling, And forsake her Cyprian grove. Cupid from his fav’rite nation Care and envy will remove; Jealousy, that poisons passion, And despair, that dies for love. Gentle murmurs, sweet complaining, Sighs that blow the fire of love Soft repulses, kind disdaining, Shall be all the pains you prove. Ev’ry swain shall pay his duty, Grateful ev’ry nymph shall prove; And as these excel in beauty, Those shall be renown’d for love. 2. Mad Bess (authorship unknown) From silent shades and the Elysian groves Where sad departed spirits mourn their loves From crystal streams and from that country where Jove crowns the fields with flowers all the year, Poor senseless Bess, cloth’d in her rags and folly, Is come to cure her lovesick melancholy. �“Bright Cynthia kept her revels late While Mab, the Fairy Queen, did dance, And Oberon did sit in state When Mars at Venus ran his lance. In yonder cowslip lies my dear, Entomb’d in liquid gems of dew; Each day I’ll water it with a tear, Its fading blossom to renew. For since my love is dead and all my joys are gone, Poor Bess for his sake A garland will make, My music shall be a groan. I’ll lay me down and die within some hollow tree, The rav’n and cat, The owl and bat Shall warble forth my elegy. Did you not see my love as he pass’d by you? His two flaming eyes, if he comes nigh you, They will scorch up your hearts: Ladies beware ye, Les he should dart a glance that may ensnare ye! Hark! Hark! I hear old Charon bawl, His boat he will no longer stay, And furies lash their whips and call: Come, come away, come, come away. Poor Bess will return to the place whence she came, Since the world is so mad she can hope for no cure. For love’s grown a bubble, a shadow, a name, Which fools do admire and wise men endure. Cold and hungry am I grown. Ambrosia will I feed upon, Drink Nectar still and sing.” Who is content, Does all sorrow prevent? And Bess in her straw, Whilst free from the law, In her thoughts is as great, great as a king. 3. Sweeter than Roses (authorship unknown) Sweeter than roses, or cool evening breeze On a warm flowery shore, was the dear kiss, First trembling made me freeze, Then shot like fire all o’er. What magic has victorious love! For all I touch or see since that dear kiss, I hourly prove, all is love to me. �Songs From the Chinese 1. The Big Chariot (The Book of Songs) Don’t help on the big chariot You will only make yourself dusty Don’t think about the sorrows of the world  You will only make yourself wretched. Don’t help on the big chariot   You won’t be able to see for dust. Don’t think about the sorrows of the world   Or you will never escape from your despair. Don’t help on the big chariot You’ll be stifled with dust, be stifled with dust  Don’t think about the sorrows of the world   You will only load yourself with care 2. The Old Lute (Po-Chu-i) Of cord and cassia- wood is the lute compounded Within lie extremely ancient melodies Ancient melodies weak and savourless, Not appealing to present men’s taste Light and colour are faded from its jade stops Dust has covered its rose-red strings Decay and ruin came to it long ago But the sound that is left is still cold and clear I do not refuse to play If you want me to But even if I play people will not listen How did it come to be neglected so? Because of the Ch’iang flute and the zithern of Ch’in 3. The Autumn Wind (Wu-ti) Autumn wind rises White clouds fly Grass and trees wither; Geese go south... Orchids all in bloom, Chrysanthemums smell sweet… I think of my lovely lady I never can forget Floating pagoda boat Crosses Fen River Across the midstream White waves rise �Flute and drum keep time To sound of rowers’ song Amidst revel and feasting Sad thoughts come Youth’s years how few, Age, how sure! Age, how sure, Age, how… sure! 4. The Herd-Boy (Lu Yu) In the southern village, the boy who minds the ox, With his naked feet stands on the ox’s back Through the hole in his coat The river wind blows Through his broken hat The mountain rain pours On the long dyke He seemed to be far away, In the narrow lane Suddenly we were face to face The boy is home And the ox is back in its stall, And a dark smoke oozes Through the thatched roof 5. Depression (Po Chu-i) Turned to jade Are the boy’s rosy cheeks To his sick temples The frost of winter clings   Do not wonder That my body sinks to decay  Though my limbs are old, My heart is older, Older, yet 6. Dance Song (The Book of Songs) The unicorn’s hoofs! The duke’s sons throng Alas for the unicorn! The unicorn’s brow! The duke’s kingsmen throng Alas for the unicorn! The unicorn’s horn! The duke’s clansmen throng Alas for the unicorn! Alas! �Britten’s realizations of the accompaniment for Orpheus Britannicus (1698-1702) of Purcell make the collection available for different voice ranges with piano accompaniment, as well as function as a vehicle for Britten to apply coloristic and word painting ideas to Purcell’s fine songs. One of Britten’s lesser-known works, Songs From the Chinese (1957) is nevertheless an outstanding addition to the repertory of songs for voice and guitar. It seems to reflect changes in Britten’s life, especially his realization that, at nearly 45, he had become middleaged. He and tenor Peter Pears had traveled around the world recently, especially enjoying various East Asian cultures. Britten had not written any music involving tenor solo since 1954, and his next big stage work for the Aldeburgh Festival, Noye’s Fludde, would be the only Britten opera without a tenor part. Pears had recently begun a recital partnership with a brilliant young guitarist, Julian Bream. Thus, it was natural for Britten to choose the guitar to accompany the tenor. Pears and Bream premiered Songs From the Chinese at the 1958 Aldeburgh Festival. The song cycle is comprised of six songs with texts from Arthur Waley’s translations of classic verses published in 1946, under the title Chinese Poems. The writing is remarkably condensed and terse, with the spareness of the texture of the guitar writing seeming to reflect something of the spirit of Chinese lute or koto aesthetic. Nevertheless, there are no overt orientalisms in the music. The songs all can be interpreted as reflecting aspects of Britten’s own life, as if he were using them to ponder his middle age. “The Big Chariot,” the first song, is metaphor for acquisition of fame, which will “only make yourself dusty.” It also admonishes the listener not to take on the sorrows of the world, but at the end Britten repeats that line, reminding the listener that he could never manage to do that. The second song, “The Old Lute,” reflects on the fickle changing of public taste; the lute has been superceded by flute and zithern. “The Autumn Wind” is an obvious image of encroaching age. Then the music turns lilting for “The HerdBoy.” The tenderness of the setting reflects Britten’s feelings, which are especially awakened by the fact that the boy is exploited, ill-clothed, and unshod, living in poverty. “Depression” features spooky glissandi on the guitar as the words ponder the body’s decay. The deceptively named “Dance Song” is about a hunt for a unicorn by the retainers of a duke. Britten seems reminded that a unicorn traditionally represents chastity. The capture of the unicorn causes Britten to dwell on the word “Alas!” ending the work with his recurrent theme of destruction of innocence. [Joseph Stevenson] In 1949, while Britten was on tour in the United States, he met the outstanding viola virtuoso William Primrose, who agreed to come to the 1950 edition of Britten’s own Aldeburgh Festival, which, after two successful editions in 1948 and 1949, was already established as one of England’s major summer musical events. As the Festival approached, he composed the Lachrymae - a major set of variations on a theme by late Renaissance English composer John Dowland for Primrose, “to reward him for coming to the Festival.” Primrose played it in the 1950 Festival in a recital in which Britten himself accompanied at the keyboard. Dowland (1563 - 1626) was one of the great composers of lute songs. Although contemporary accounts show that socially he was engaging and positive in mood and outlook, his music is known for its sadness, particularly for sadness at rejection or inconstancy by a lovely lady. Perhaps joking at his own image, he punned on his name by writing “Semper Dowland, Semper Dolens” (Always Dowland, Always Sorrowful”). Britten’s title for this composition reflects the general classical listening audience’s image of Dowland by its title, which means “Tears.” Among musicians, however, Dowland has been particularly admired for his subtle command of harmony. It is this aspect of the work with which Britten primarily concerns himself in constructing this set of ten variations. The work begins to quote the song “If my complaints could passion move” in a mood-setting slow introduction, with Dowland’s melody in the low part of the accompaniment. However, Dowland’s original theme breaks off at the end of its first part, as the harmonies of the song begin to generate Britten’s variations. Fragments of the melody are also heard, though Britten’s concern with the harmonies leads him to recreate something like Dowland’s sensitivity to harmonic progression and devices in twentiethcentury terms. �The first five variations are marked Allegretto, andante molto; Animato; Tranquillo; Allegro con moto; and Largamente. Britten’s variations throughout the piece tend to be concise: only the opening and closing sections of the composition and the Animato and Tranquillo movements are more than a minute long. In the sixth variation, marked Appassionato, Britten quotes another well-known Dowland song, “Flow my Tears.” Then he continues working with the opening strain of the main Dowland song, in variations marked Alla valse moderato; Allegro Marcia; and Lento. For the final variation, Britten remains in Lento tempo and, in an expansive ending, quotes the entire Dowland song from beginning to end, for the first time in this composition, with Dowland’s original harmonies, although spaced differently for piano and viola. The text of Dowland’s ‘If My Complaints’: If my complaints could passions move,  Or make Love see wherein I suffer wrong:  My passions were enough to prove,  That my despairs had governed me too long.  O Love, I live and die in thee,  Thy grief in my deep sighs still speaks:  Thy wounds do freshly bleed in me,  My heart for thy unkindness breaks:  Yet thou dost hope when I despair,  And when I hope, thou mak’st me hope in vain.  Thou say’s thou canst my harms repair,  Yet for redress, thou let’st me still complain. No. 4, Firste Booke of Songes, 1597 Britten wrote the Nocturnal, after John Dowland for guitarist Julian Bream, who had received high praise for his collaborations with tenor Peter Pears in the songs of John Dowland. The Nocturnal consists of nine movements, with a theme taken from Dowland’s song, Come heavy sleep, presented in the opening panel, titled “Musingly,” followed by eight variants. The first movement is dreamy and ethereal, having that typically Britten-esque fantasy-like character. The two succeeding panels, titled “Very agitated” and “Restless,” respectively, are lively and tense, with the latter less energetic, less driven, but more ominous and threatening. The fourth movement, “Uneasy,” maintains the nervous, dark mood with ponderous music that lurches ahead at times and stalls at others. The middle panel, “March-like,” despite its title, also brims with tension, but Britten adds a touch of humor in the quirky pacing and oafish character of the melodic material. Dreaming ensues, for once seeming to offer a break from the agitated manner of the previous variants. But it, too, gradually divulges a restless spirit, despite its slow pacing and ethereal character. The seventh movement, “Gently rocking,” brims with energy in descending repeating notes that seem nervously in search of something. The ensuing Passacaglia, at nearly five minutes, is the longest movement. It is also, not surprisingly, the most multifaceted, but again the sense of restiveness dominates. The closing panel, “Slow and quiet,” continues without pause and at last presents a serene and tranquil mood. Here the spirit of Dowland is most evident in the simpler writing and songful character of the music. The variations, presented in reverse order, range through a series of dream states before the tortured Passacaglia, finally quoting the Dowland song - an invitation to the dream world. The first quatrain of Dowland’s song: Come, heavy sleep, the image of true death; And close up these my weary weeping eyes: Whose spring of tears doth stop my vital breath, And tears my heart with sorrow’s sigh-swoll’n cries: Come and possess my tired thoughtworn soul That living dies, till thou on me be stole. No. 20, Firste Booke of Songes, 1597 �Upcoming Events Sunday, November 24, 1:00 p.m. (Admission by donation) PIANO CLASS RECITAL Students from the studio of May Ling Kwok Phillip T. Young Recital Hall Sunday, November 24, 8:00 p.m. (Admission by donation) VOCAL JAZZ FALL SHOWCASE Fall Back Wendell Clanton, director In early November clocks “fall back.” The time shift can catch us slightly off guard. Join for an evening of switch hits that might cause the audience to fall forward out of sheer joy. Phillip T. Young Recital Hall Sunday, November 24, 2:30 p.m. ($30) Jewish Arts 2013 presents Grand Finale celebration of Congregation Emanu-El’s 150th anniversary Lafayette String Quartet With Arthur Rowe, piano & Benjamin Butterfield, tenor Performing works by Britten, Vaughan Williams, Schubert and others. For tickets: phone 250-382-0615 or email info@congregationemanu-el.ca. Visit lafayettestringquartet.ca for more details. Congregation Emanu-El Synagogue (1461 Blanshard Street, corner of Pandora and Blanshard) Monday, November 25, 8:00 p.m. ($17.50 & $13.50) FACULTY CONCERT SERIES Michelle Mares, piano Performing the complete sets of Chopin Études Op.10 and Op. 25 Phillip T. Young Recital Hall Wednesday, November 27, 12:30 p.m. (Admission by donation) TROMBONE CLASS RECITAL Students from the studio of Scott MacInnes 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/112313-FacultyRecital/112313-BrittenFacultyConcert-01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/112313-FacultyRecital/112313-BrittenFacultyConcert-02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/112313-FacultyRecital/112313-BrittenFacultyConcert-03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/112313-FacultyRecital/112313-BrittenFacultyConcert-04.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/112313-FacultyRecital/112313-BrittenFacultyConcert-05.mp3">track5</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/112313-FacultyRecital/112313-BrittenFacultyConcert-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 Faculty Recital - A Britten Celebration 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 23, 2013 Contributor An entity responsible for making contributions to the resource Alexander Dunn, guitar; Kathyrn Whitney, mezzo-soprano; Roger Buksa & Anna Cal, piano; Guyonne le Louarn, viola; Anne Grimm, soprano; Robert Holliston, piano; Paula Kiffner, cello https://finearts.uvic.ca/music/archive/files/original/05dd21ad3e655e50c519b4fc8a71e587.pdf c8290a2e4a189162c556756b9cf36e47 PDF Text Text Piano Class Recital Elegie, Op. 3, No. 1 Sergei Rachmaninoff (1873-1943) Emilie Bremaud Préludes, Livre I V. Les collines d’Anacapri Ivy Fu Claude Debussy (1862-1918) Sonata No. 27 in E minor, Op. 90 L. van Beethoven I. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck (With liveliness and with feeling and expression throughout) Eric Ng* Students from the studio of May Ling Kwok Estampes I. Pagodes Mitchell Anderson* P r o g r a m Scherzo in Bb minor, Op. 31 No. 2 F. Chopin Keaton Ollech I n t e r m i s s i o n Sonata in F Major, K. 332 Wolfgang Amadeus Mozart I. Allegro (1756-1791) Nicole Lavallee Sonata in E minor, Hob. XVI/34 I. Presto Joseph Haydn (1732-1809) Nocturne No. 20 in C# minor, Op. posth. Frederic Chopin (1810-1849) Grant Pan Sonata in C minor, Op. 10 No. 1 Ludwig van Beethoven I. Allegro molto e con brio (1770-1827) Carmyn Slater C. Debussy Troix études de concert, S. 144 III. Un sospiro Jany Lu* Berceuse, Op. 57 Jane Hou* Hungarian Rhapsody in A minor, S. 244/11 Louise Hung* Franz Liszt (1811-1886) F. Chopin F. Liszt �Nocturne in B Major, Op. 32 No. 2 Stephanie Taralson* Gabriel Fauré (1845-1924) Sonata No. 1 Op. 22 Alberto Ginastera I. Allegro marcato (1916-1983) Ava Hoegl* Abegg Variations, Op. 1 Robert Schumann (1810-1856) Ya Ping Huang Jeux d’eau Maurice Ravel (1875-1937) Concert Etude in Bb Major, Op. 40 No. 6 (Pastorale) Nikolai Kapustin (b.1937) Masahiro Miyauchi Sonata in Bb minor, Op. 35 No. 2 (Funeral March) I. Grave – Doppio movimento F. Chopin Barry Tan* * Students of the School of Music, University of Victoria Sunday, November 24, 2013, 1:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation www.finearts.uvic.ca/music/events LL � 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. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Piano Class Recital - Kwok 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 24, 2013 https://finearts.uvic.ca/music/archive/files/original/4de90359715773f0e43b278cfc4977a8.pdf b79363f138eb46a55be865d7423e190e PDF Text Text �� 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 Vocal Jazz Hyperlink A link, or reference, to another resource on the Internet. 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Title A name given to the resource Vocal Jazz - Fall Back 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 24, 2013 https://finearts.uvic.ca/music/archive/files/original/9f4050bf8ff8b9025c57e2cc778690c4.pdf f00a1eb6e164dffd428c88b4a9ac3980 PDF Text Text Chorus & UNIVERSITY OF VICTORIA Orchestra Meeresstille (Calm Sea) With Liam Caveney, trombone soloist UVic Concerto Competiton Winner Ajtony Csaba, conductor Susan Young, chorus director Saturday, November 30, 2013, 8:00 p.m. University Centre Farquhar Auditorium University of Victoria Adults: $17.50 / Students & seniors: $13.50 �Program Ludwig van Beethoven Egmont - Ouverture Ludwig van Beethoven Meeresstille und Glückliche Fahrt Launy Grøndahl Trombone Concerto Moderato assai Quasi una Leggenda Maestoso–Rondo Soloist (Concerto Winner): Liam Caveney, trombone Intermission Dmitry Shostakovich Festive Ouverture Olivier Messiaen Chant des Déportés Poulenc Gloria Gloria Laudamus T Domine Deus Domine Fili unigenite Domine Deus, Agnus Die Qui sedes ad dexteram Patris Soloist: Olivia Selig, soprano �P R O G RA M N OT E S Welcome The lens of the twenty-first century is one that is increasingly aware of oppression. This oppression, when it happens, does not discriminate–it affects all people, including musicians. The compositions featured on this program are written by those who chose to take a stand against their oppressors. With their valiant and occasionally clown-like revolt, these composers encourage and empower us, reminding us that there is always the strength to resist oppression and to overcome. Egmont Overture (1809-10) Ludwig van Beethoven, 17 Dec 1770 – 26 March 1827 Beethoven was commissioned by Joseph Härtel to write the score for a Vienna Hoftheater staging of Goethe’s Egmont in 1809. The play portrays the story of the Dutch count Egmont, who valiantly stands against Spanish occupation of the Netherlands. This narrative aligns with Beethoven’s frustration with Napoleon’s campaign of domination. Beethoven may have attempted to accentuate this suggestion by giving the Overture a victorious ending in direct contrast to that of the play, in which the would-be liberator perishes. Heroically subversive on multiple levels, this piece invites comparison with Eroica and has found itself associated with revolution to this day. Meeresstille und Glückliche Fahrt (1814-15) Shortly after completing Egmont, Beethoven found himself inspired again by Goethe, as did Schubert and Mendelssohn. Meeresstille is a bipartite text, the first portion depicting a calm sea and the second a powerful wind. This binary structure is apt for musical setting as it falls in line with the baroque ideal of dual form, apparent in other constructs such as praeludium and fugue and slow-fast movements. Similarly, the text’s natural imagery corresponds with other similarly-themed pieces such as Beethoven’s Sixth Symphony. The narrative of the text is one of progression from defeat to victory. While today still waters might be ideal travelling conditions, they had deadly consequences in the age of sailing. The terror of being stranded at sea is evinced by the quiet, sustained oscillations of Meeresstille’s waters and alleviated when in Glückliche Fahrt the winds of Aeolus return and carry the crew to their destination. It corresponds with other “nature-driven” movements, ie. Sixth Symphony, and the baroque ideal of dual form (praeludium and fugue, slow-fast). �Tiefe Stille herrscht im Wasser, Ohne Regung ruht das Meer, Und bekümmert sieht der Schiffer Glatte Fläche ringsumher. Keine Luft von keiner Seite! Todesstille fürchterlich! In der ungeheuern Weite Reget keine Welle sich. Deep stillness rules the water Without motion lies the sea, And sadly the sailor observes Smooth surfaces all around. No air from any side! Deathly, terrible stillness! In the immense distances not a single wave stirs. Die Nebel zerreißen, Der Himmel ist helle, Und Äolus löset Das ängstliche Band. Es säuseln die Winde, Es rührt sich der Schiffer. Geschwinde! Geschwinde! Es teilt sich die Welle, Es naht sich die Ferne; Schon seh ich das Land! The fog is torn, The sky is bright, And Aeolus releases The fearful bindings. The winds whisper, The sailor begins to move. Swiftly! Swiftly! The waves divide, The distance nears; Already, I see land! (Text by Johann Wolfgang von Goethe) Concerto for Trombone (1924) Launy Grøndahl, 30 June 1886 – 21 January 1960 Grøndahl was one of Denmark’s most eminent musical figures, rivaled primarily by his instructor, Carl Nielsen. A violinist from an early age, Grøndahl performed for years with the Casino Theatre Orchestra in Copenhagen. It is to the principal trombonist of this ensemble, Vilhelm Aarkrogh, that this work is dedicated. The three movements of this piece exhibit the hallmark qualities of romanticism that many have grown to love—the heroic, the dramatic, the lyric—while unhesitatingly drawing equally from both strongly tonal and strongly chromatic idioms. The work features a solo part that is no less challenging than it is artful. The piece features genuine allusions to Spanish folklore, which makes the popularity of the piece even more understandable. �Festive Overture (1954) Dmitry Shostakovich, ca. 25 Sept 1906 – 9 Aug 1975 The makings of the Festive Overture are a tale as fit for legend as that of Shostakovich’s relationship with the Soviet state. The Bolshoi Theatre was to hold a concert to commemorate the thirty-seventh anniversary of the October Revolution, but three days before the concert no fitting overture could be found. The coordinators contracted Shostakovich to compose one, and the piece was created at remarkable speed. In an interview with Elizabeth Wilson, Lev Lebedinsky paints an incredible image of the composer working on the piece and having jocular conversation while couriers ran pages wet with ink to copyists at the theatre. The lightness of this work belies its emblematic significance. In addition to being a valuable respite from the heavy topics with which Shostakovich usually concerned his music, the Overture is an example of Shostakovich’s inclination to satisfy commercial and political requirements. While this arrangement with the state was an ideological sacrifice for the composer and evoked harsh critiques from his colleagues, it demonstrated that Shostakovich was able to do what needed to be done in order to survive. Chant des Déportés (1945) Olivier Messiaen, 10 Dec 1908 –28 April 1992 Olivier Messiaen is noted for his synaesthesia, his instruction of pupils such as Pierre Boulez, and his surrealist religious transcendentalism. This latter aspect is apparent in Chant des Déportés. The piece was commissioned by Radio France in commemoration of French combatants in the Second World War and was written in two weeks in the fall of 1945. Premiered shortly after completion, the piece quickly gained national prominence. The score was promptly lost for almost fifty years until it was recovered by an archivist in 1991. The text for the piece is of Messiaen’s own writing and gives visceral images of drinking night sky, a groaning sun, sister France, and pain in the shape of a cross. The roaming woodwind chords underneath the otherwise chorale-style writing evokes the night sky through which the subject’s soul will traverse. �En marchant vers la mort, Plus haut, soleil qui gémit, Je trouverai mon ciel et ma nuit. Progressing towards death, Higher, groaning sun, I shall find my sky and my night. C’est en forme de croix ma souffrance, Baiser de l’étoule et de la nuit, Minute au matricule de souffrance, Ma part de ciel, ma part de nuit. My pain takes the form of a cross, The kiss of the star and of the night, A clipher on the register of pain, My portion of sky, my portion of night. Mon bel amour, ma soeur, ma France, Je m’en vais, soleil qui gémit. Vérité, construis ma délivrance, Pour boire en toi et mon ciel, et ma nuit. My fairest love, my sister, my France, I am going, groaning sun. Truth, accomplish my release, That I may drink my sky, my night from you. Tous les yeux s’en vont dans la nuit. Et la paix revient dans la nuit. All eyes disappear at night. And peace returns at night. Gloria (1959-60) Francis Poulenc, 7 Jan 1899 – 30 Jan 1963 Poulenc’s setting of the Latin Gloria was commissioned by the Koussevitzky foundation in honour of Sergei and Natalia Koussevitzky. The composition process was arduous, lasting over a year and requiring Poulenc to draw on the assistance of baritone Pierre Bernac, a longtime friend and collaborator. The completed piece pleased the composer, who saw it as a fitting return to his nineteen-thirties style after the success of Dialogues des Carmelites. Exhibiting the lush harmony and idiosyncratic dynamic changes typical of Poulenc and at times evoking the organ-like style of Messiaen, the Gloria’s unpretentious handling of its text makes its subject more tangible and also, a critical, wild and frivolous game with the traditional setting of the text, eccentric accents and fusion of gospel-style with counterpoint. Poulenc’s bright, genuine, and humanistic approach offers a reading independent from and inverse to any formal religious tradition. �Gloria in excélsis Deo Et in terra pax homínibus bonae voluntátis. Laudámus te. Benedícimus te. Adorámus te. Glorificámus te. Grátias ágimus tibi propter magnam glóriam tuam, Dómine Deus, Rex cæléstis, Deus Pater omnípotens. Dómine Fili unigénite, Jesu Christe. Dómine Deus, Agnus Dei, Fílius Patris. Qui tollis peccáta mundi, miserére nobis. Qui tollis peccáta mundi, súscipe deprecatiónem nostram. Qui sedes ad déxteram Patris, miserére nobis. Quóniam tu solus Sanctus. Tu solus Dóminus, Tu solus Altíssimus, Jesu Christe, Cum Sancto Spíritu in glória Dei Patris. Amen. Glory in the heights to God And on earth peace to men of good will. We praise You. We bless You. We adore You. We glorify You. We give You thanks for Your great Glory. Lord God, heavenly King, God the Father almighty. Lord the only-begotten Son, Jesus Christ. Lord God, Lamb of God, Son of the Father. You who take away the sins of the world, have mercy on us. You who take away the sins of the world, receive our prayer. You who sit at the right hand of the Father, have mercy on us. For You alone [are] the Holy One. You alone [are] the Lord. You alone [are the] Most High, Jesus Christ. With the Holy Spirit, in the glory of God the Father. Amen. Notes by Dave Riedstra B I O G RA P H I E S Liam Caveney, trombone Liam Caveney is currently pursuing his Bachelor of Music in Trombone Performance (estimated graduation 2015) at the University of Victoria under the guidance of Scott MacInnes. Liam has also studied with Ian McDougall and Thomas Eadie, as well as performing in master classes for Alain Trudel, Jesper Busk Sørensen and Michael Powell. Liam currently holds the positions of principal trombone in the UVic Orchestra and the Greater Victoria Youth Orchestra and enjoys performing with several chamber ensembles in Victoria. He has also participated in the Pacific Region International Summer Music Academy and the Domaine Forget International Music and Dance Academy. Liam has performed as a soloist with the Greater Victoria Youth Orchestra and the UVic Wind Symphony and is a winner of the 2013 UVic Concerto Competition. �Olivia Selig, soprano Olivia Selig is completing the final year of her undergraduate degree in Music Education at UVic. She currently studies voice with Anne Grimm. Years of experience as a soloist, as well as ensemble member, has contributed to her ongoing refinement of performance. So far, her most recognized performance opportunities have been performing as Soprano soloist in Vivaldi’s Gloria RV 589 with the Linden Singers and Ballet Victoria at the Royal Theatre, as well as soloing in the BC provincial premiere of Bob Chilcott’s Requiem. Ajtony Csaba, conductor 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. Susan Young, chorus director Canadian soprano Susan Young is a faculty member of the University of Victoria School of Music. In addition to her teaching duties, she maintains a demanding performance schedule. She has performed in Canada, the United States, Spain, France and Austria. Educated as both pianist (B.Mus Brigham Young University) and singer (MMus University of Calgary), she is known for the diversity of her skills, and though her first and enduring love is the art song, she is equally at home singing Bach cantatas, Verdi’s Requiem, Schoenberg’s Pierrot Lunaire, or more recent chamber works by Canadian composers such as Christopher Butterfield or Douglas Schmidt. She is sought after as a choral conductor, clinician and adjudicator and loves nothing more than to be involved in the performance of good music. �ORCHESTRA PERSONNEL VIOLIN 1 Aliayta Foon-Dancoes* Lindsey Herle* Derrick Lee Elena Bokova Jasper Meiklejohn Natalie Dzbik Rochelle Sumampong Peter Weinkam Cecilia Li Gabriel Cayer VIOLIN 2 Jiten Beairsto* Raina Saunders Jessica d‘Oliveira Emily MacCallum Brittany Tsui Jilaine Orton VIOLA Sarah Tradewell* Matt Antal Josh Gomberoff Calvin Yang Fahlon Smith CELLO Maria Wang* Ella Hopwood Shiun Kim Alex Klassen Steven Jeon Paul Joo Lauren Hodgins Natalia Stoney DOUBLE BASS Hudson Thorpe-Doubble* Brock Foerster Mackenzie Carroll Dylan Powell Blake Palm FLUTE Aleksandra Tremblay* Kelsey Dupuis PICCOLO Cooper Reed OBOE Allison Phillips* Diana Doublet TROMBONE Liam Caveney* Megan White Trevor Hoy TUBA Russel Larden TIMPANI Brendan Chow* Keenan Mittag-Degala CLARINET James Yi* Paul Gilchrist Erin Onyschtschuk PERCUSSION Allyssa Haigh* William Exner BASS CLARINET Kylie Flower PIANO Josh Herrett BASSOON Matthew Robertson* Eric Boulter HORN Samuel McNally* Georgina Davis Sam Brunton Colin Lloyd TRUMPET Matt Richard* Ian Cohen Ian VanGils STAGE MANAGERS Alex Klassen Fahlon Smith LIBRARIAN David Foley ASSISTANT Dave Riedstra * Principal �CHORUS PERSONNEL SOPRANO ALTO Keiko Alkire Frances Armstrong-Douglas Nalini Bissoon Amanda Cawley Vera Costain Kimberly Farris-Manning Aliayta Foon-Dancoes Laura Giffen Rita Haehnlein Seira Hayakashi Louise Hung Vanessa Lee Edwina Lin Jasmine Lo Emily MacCallum Heather Macleod Heather Noakes Anna Poon Cooper Reed Beverly Rippin Dominique Ryser Rebecca Thackray Audrey Webb Nancy Xu Lissa Zala Laura Altenmueller Faith Blackburn Jillian Broughten Carmen Brown Mackenzie Carroll Elizabeth Craig Sophie Cullen Jessica d’Olivera Kimberly Farris-Manning Micha Fortin Monica Green Gloria Grohovac Ava Hoegl Darleene Horricks Jane Hou Brittney Jette Gwyneth Kingham Donna Klazek Sarah Kopriva Zinna Kwon Kristina Lee Diane Leitch Bonnie Leung Joey Liao Jany Lu Beth Anne Masselink Joyce Masselink Elsie McMurphy Tamara Nemeth Gillian Newburn Jilaine Orton Jihyun Park Nataliya Pashchenko Heather Sander Kathleen Stanyer Sophia Stoney Sarah Tao Emily Tennant Koba ter Neuzen Season Wang Lyn Wray Stefani Yap Alvina Yee TENOR Joshua Amendt Monty Clements Spencer Davis Josh Herrett Aaron How Alex Klassen Tony Klazek Pierre Mackenzie Kyle Newman Thomas Nicholson Hart Parnell Joshua Poon Matthew Roberson Sonja Ruffell Jordan Shier Eric Showers Natthaphon Somsa-ard BASS Michael Chambers Solomon Cheung Simon Dawkins Harry Han Ben Hillier D J Lochead Collin Lloyd Drake Lovett Byron McIntosh Sam McNally Jasper Meikle’john Eric Ng Jonah Patriarche Drew Porter Eric Manning Bruce Kingham John Kaye Tristan Holleufer Emmett Robinson Smith Matthew Sabo Corey Spetifore John Sterk Ian Van Gils Frank Waelti Calvin Yang Josh Yates Terence Young CHORUS DIRECTOR Susan Young REHEARSAL ACCOMPANIST Tony Booker �UPCOMING EVENTS Sunday, December 1, 2:30 p.m. ($12 advance / $15 at the door) UNIVERSITY OF VICTORIA PHILOMELA WOMEN’S CHOIR Susan Young, conductor St. Aidan’s United Church (3703 St. Aidan’s) Monday, December 2, 10:30 a.m. (Admission by donation) AFRICAN PERCUSSION CONCERT The thirty-member percussion ensemble from MUS 208 African Hand Drumming perform a repertoire of rhythms on djembe, balafon and dundun. Phillip T. Young Recital Hall Monday, December 2, 8:00 p.m. (Admission by donation) UNIVERSITY OF VICTORIA CHAMBER SINGERS Christmas Narratives Garry Froese, conductor Phillip T. Young Recital Hall Tuesday, December 3, 8:00 p.m. (Admission by donation) MUS 421/532 CLASS RECITAL: Music & Protest Suzanne Snizek’s course culminates with a lecture-recital presented by the class. Phillip T. Young Recital Hall Thursday, December 5, 8:00 p.m. ($14 & $10) DON WRIGHT SYMPHONIC WINDS Dreams and Legacies Michael Keddy, conductor University Centre Farquhar Auditorium Sunday, December 8, 2:30 p.m. (Admission by donation) TUBACHRISTMAS REPRISE Featuring soloists and ensembles from the class of Eugene Dowling. Money raised will benefit local tuba and euphonium projects. Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca) and at the door. To receive our On the Pulse brochure and newsletter by email, contact: concert@uvic.ca www.finearts.uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orchestra Description An account of the resource Since its inception in 1969, the Orchestra has performed most of the standard repertoire, including all nine Beethoven symphonies, most of the later compositions of Haydn and Mozart, as well as major works of Brahms, Schubert, Stravinsky, Bruckner, Schoenberg, and others. Each year, members of the orchestra join with performance faculty to form the "Concerto Orchestra" to present the annual Concerto Concert, which features student soloists selected by competition. Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/113013-Chorus&Orchestra/113013-C&O-01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/113013-Chorus&Orchestra/113013-C&O-02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/113013-Chorus&Orchestra/113013-C&O-03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/113013-Chorus&Orchestra/113013-C&O-04.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/113013-Chorus&Orchestra/113013-C&O-05.mp3">track5</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/113013-Chorus&Orchestra/113013-C&O-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 Chorus & Orchestra - Meeresstille (Calm Sea) Creator An entity primarily responsible for making the resource Jamie Bracke, Bryan Lilly Date A point or period of time associated with an event in the lifecycle of the resource November 30, 2013 https://finearts.uvic.ca/music/archive/files/original/45ffefb81d380060e29cbb89290dda04.pdf 98f98f0357419f17e0473d3f0ef72aa3 PDF Text Text Wind Symphony UNIVERSITY OF VICTORIA In Remembrance Eugene Dowling, conductor With guests Mount Douglas Secondary School Concert Choir Mr. Doug Awai, director Friday, November 22, 2013, 8:00 p.m. University Centre Farquhar Auditorium University of Victoria Adults $14 / Students & Seniors $12 �Program Firestorm Stephen Bulla (b.1953) With Each Sunset (Comes the Promise of a New Day) Richard L. Saucedo (b.1947) Hymn to the Fallen (from Saving Private Ryan) John Williams (b.1932) Arr. Michael Sweeney Intermission Do Not Go Gentle Into That Good Night Elliot del Borgo (1938–2013) Symphony No. 1 (In Memoriam, Dresden, 1945) Daniel Bukvich (b.1954) Nimrod (from Enigma Variations) Edward Elgar (1857–1934) arr. Alfred Reed �P r o g ra m N ot e s “Music has always been used as a way of expressing emotions or as an antidote to certain painful life encounters,” writes composer, Richard L. Saucedo. Tonight, we perform music of war and remembrance in what we hope will be a poignant and reflective concert, a journey through a variety of emotions as wide ranging as the music itself. Bulla’s Firestorm, commissioned by a military band after the first Gulf War, attempts to convey the colors, tension, and events of the war, including airborne bombing raids set against the lively hustle and bustle of a Baghdad marketplace and the unspoiled beauty of the Iraqi countryside before the siege. Saucedo composed With Each Sunset (Comes the Promise of a New Day) in memory of an American construction worker in Iraq who was kidnapped and executed by terrorists in 2004. In Hymn to the Fallen, John Williams created a powerful and emotional melody for the end of the film Saving Private Ryan, evoking feelings of hope and strength amid an overall tone of reverence. We are delighted to welcome the Mount Douglas Secondary School Concert Choir under the direction of UVic alumnus Mr. Doug Awai to perform with us tonight. Elliot del Borgo attempted to recreate the essence of the Dylan Thomas poem Do Not Go Gentle into That Good Night in sound. Influenced by American composer Charles Ives, del Borgo used sound layers – in the form of polytonal hymns – calling to mind the struggles and persistence of the human spirit. Symphony No. 1 (In Memoriam Dresden, 1945) was composed by Daniel Bukvich to depict the fierce Allied bombing attacks on Dresden, Germany, on February 13–14, 1945. It will be immediately followed by Nimrod, one of the movements from Sir Edward Elgar’s Enigma Variations, which since its composition in 1899 has taken on an elegiac character and played at funerals, memorial services, and other solemn occasions in Great Britain and around the world. It is a fitting close to tonight’s concert. Eugene Dowling �UPCOMING WIND SYMPHONY CONCERTS Friday, February 7, 8:00 p.m. A joint concert featuring The Naden Band & UVic Wind Symphony Eugene Dowling, conductor The Naden Band, under the direction of Lieutenant (Navy) Matthew Clark joins the Wind Symphony in a fundraising concert to support the Naden Band Scholarship in Music Performance for School of Music wind students. Featured works include Symphony No. 8 by David Maslanka and Eric Ewazen Concerto for Bassoon with UVic alumna Petty Officer Second Class Robyn Jutras. Friday, March 28, 8:00 p.m. Mexican Winds Eugene Dowling, conductor Music for winds by Mexican composers and composers inspired by Mexico. Featuring music by Arturo Márquez, Silvestre Revueltas, and Carlos Chávez. Concerts take place at the University Centre Farquhar Auditorium. Admission is $14 (regular) and $12 (students, seniors, and alumni)are available at the UVic Ticket Centre (250-721-8480), online (http://www.tickets.uvic.ca/) and at the door. SPECIAL TICKET OFFERS: * Tickets are complimentary for UVic students with valid ID, if reserved up to 48 hours in advance. Tickets are $5 for UVic students at the door. * $5.00 tickets are available for students in grade 12 or under if reserved up to 48 hours in advance. Accompanying parents & guardians also qualify for $5 pricing. �Wind Symphony Personnel, Fall 2013 Piccolo Cooper Reed Flute I Thomas Bauer* Gillian Newburn II Jane Wong Jillian Broughton Oboe I Teigan Cosgrove* II Georgia Dowgert english Horn Georgia Dowgert Clarinet I Marcella Barz* Erin Onyschtschuk II Samuel He Sunny Chu Dominic Thibault III William Constable Mark Kim Jynelle Grigg Bass Clarinet Kylie Flower Contra Bass Clarinet Adam Jasieniuk Bassoon Lee Whitehorne French Horn I Justin Malchow* Sam Brunton (assistant principal) II Simon Dawkins III Norbert Ziegler** IV Drake Lovett Josh Yates Cornet I Matthew MacLean* Justin Bury (assistant principal) II John Hamblett III Laura Tesarowski Trumpet I Emily McDermid II Victoria-Rose Hunt Trombone I Matthew Kelly* II Eric Showers Bass Zoe McLaren Euphonium Jaclyn Kreke* Matthew Blockberger Tuba Russell Larden* Kory Major** Double Bass Blake Palm Tenor Saxophone Zach Smith Percussion Sky Kim* Erika Buerfeind Tristan Holleufer David Lochead Julia Albano-Crockford Tamara Nemeth Baritone Saxophone Paul Spelt Timpani Camden McAllister* Alto Saxophone I Sean Maynard* II Calistra Nair * Principal ** Alumni �Mount Douglas Secondary School Concert Choir Elizabeth Barrett Jessica Burdge Sally Chen Geena Choo Andrew Cunningham Hannah Curran Basma Eddiani Nava Friedmann Maddie Gaucher Emily Groseth Aidan Guerreiro Hannah Hale Matthew Haussmann Rachel Heath David Henrich Kelsey Hoi Ricky Huang Bailey Johnson Megan Low Lynden Miller Maximilliano Montero Flores Aoi Nishino Spencer Ranson Alixsei Sajko Sofia Shamkina Grace Shin Arutchaporn Trongsiriwat Melody Tsai April Wang Genevieve Welle Gahwi Woo The University of Victoria School of Music presents MahlerWeek January 7-11, 2014 Tuesday, January 7, 12:30 p.m.: Faculty Lecture Gustav Mahler’s Das Lied von der Erde: Synthesis of Song and Symphony Dr. Harald Krebs, presents a lecture providing the context of this major work of Mahler’s in his own oeuvre and in musical and cultural history. Friday, January 10, 12:30 p.m.: Open Rehearsal of Das Lied von der Erde Saturday, January 11, 8:00 p.m.: Faculty Chamber Music Series The highlight of MahlerWeek features UVic faculty, alumni and guests in what promises to be an unforgettable performance of the Schoenberg/Riehn chamber arrangement of Mahler’s masterpiece, Das Lied von der Erde. More details coming soon at: www.finearts.uvic.ca/music/events �Upcoming Events 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 Sunday, November 24, 1:00 p.m. (Admission by donation) PIANO CLASS RECITAL Students from the studio of May Ling Kwok Phillip T. Young Recital Hall Sunday, November 24, 8:00 p.m. (Admission by donation) VOCAL JAZZ FALL SHOWCASE Fall Back Wendell Clanton, director In early November clocks “fall back.” The time shift can catch us slightly off guard. Join for an evening of switch hits that might cause the audience to fall forward out of sheer joy. Phillip T. Young Recital Hall Sunday, November 24, 2:30 p.m. ($30) Jewish Arts 2013 presents Grand Finale celebration of Congregation Emanu-El’s 150th anniversary Lafayette String Quartet With Arthur Rowe, piano & Benjamin Butterfield, tenor Performing works by Britten, Vaughan Williams, Schubert and others. For tickets: phone 250-382-0615 or email info@congregationemanu-el.ca. Visit lafayettestringquartet.ca for more details. Congregation Emanu-El Synagogue (1461 Blanshard Street) Monday, November 25, 8:00 p.m. ($17.50 & $13.50) FACULTY CONCERT SERIES Michelle Mares, piano Performing the complete sets of Chopin Études Op.10 and Op. 25 Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca) and at the door. To receive our On the Pulse brochure and newsletter by email, contact: concert@uvic.ca � www.finearts.uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wind Symphony Description An account of the resource UVic's Wind Symphony is recognized as one of the premiere performing wind ensembles in the Pacific Northwest. The ensemble is in constant demand to perform at festivals and conferences. Recently, the Wind Symphony represented Canada at the Annual WesternInternational Band Conference in Seattle in November, 2002. As well, the Wind Symphony has been a featured guest ensemble at the B.C. Music Educators' Conference. The Wind Symphony provides opportunities for all wind and percussion players in the School. Its repertoire includes transcriptions of orchestral works, concerti, chamber ensembles, large symphonic band works and new music for the concert band. The Wind Symphony regularly features student, faculty and guest solo artists, and has given numerous Canadian and world premieres of contemporary works. Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/112213-WindSymphony/112213-WindSymphony_01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/112213-WindSymphony/112213-WindSymphony_02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/112213-WindSymphony/112213-WindSymphony_03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/112213-WindSymphony/112213-WindSymphony_04.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/112213-WindSymphony/112213-WindSymphony_05.mp3">track5</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/112213-WindSymphony/112213-WindSymphony_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 Wind Symphony - In Remembrance 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 22, 2013 https://finearts.uvic.ca/music/archive/files/original/b8a6320ed37d018365592229ec43d7cf.pdf b0ec8cab37f153dc6b5f7f4a577206d7 PDF Text Text P R O G RA M UNIVERSITY OF VICTORIA Faculty Concert series Études, Op. 10 Michelle Mares, piano Performing the complete sets of Chopin Études, Opus 10 & 25 Frédéric Chopin (1810 -1849) No. 1 in C major No. 2 in A minor No. 3 in E major No. 4 in C-sharp minor No. 5 in G-flat major No. 6 in E-flat minor No. 7 in C major No. 8 in F major No. 9 in F minor No. 10 in A-flat major No. 11 in E-flat major No. 12 in C minor (Revolutionary) Intermission (Beverages and snacks available at the concession located in the lounge) Études, Op. 25 Monday, November 25, 2013 at 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $17.50 / Students & seniors: $13.50 No. 1 in A-flat major No. 2 in F minor No. 3 in F major No. 4 in A minor No. 5 in E minor No. 6 in G-sharp minor No. 7 in C-sharp minor No. 8 in D-flat major No. 9 in G-flat major No. 10 in B minor No. 11 in A minor No. 12 in C minor �Upcoming Events Wednesday, November 27, 12:30 p.m. (Admission by donation) TROMBONE CLASS RECITAL Students from the studio of Scott MacInnes Phillip T. Young Recital Hall Wednesday, November 27, 8:00 p.m. (Admission by donation) STRING CHAMBER CONCERT Students from the studios of the Lafayette String Quartet Phillip T. Young Recital Hall Friday, November 29, 12:30 p.m. (Admission by donation) FRIDAYMUSIC Featuring School of Music composition students. Phillip T. Young Recital Hall Saturday, November 30, 8:00 p.m. ($17.50 & $13.50) UNIVERSITY OF VICTORIA CHORUS & ORCHESTRA Meeresstille (Calm Sea) Ajtony Csaba, conductor & Susan Young, chorus director Performin Beethoven’s Egmont-Ouverture and Meeresstille und Glückliche Fahrt; Grondahl’s Concerto for Trombone, featuring soloist Liam Caveney, winner of the UVic Concerto Competition; Shostakovich’s Festive Ouverture; Chant du Deportes by Messiaen; and Poulenc’s Gloria. University Centre Farquhar Auditorium Sunday, December 1, 2:30 p.m. ($12 advance / $15 at the door) UNIVERSITY OF VICTORIA PHILOMELA WOMEN’S CHOIR Susan Young, conductor St. Aidan’s United Church (3703 St. Aidan’s) � Monday, December 2, 8:00 p.m. (Admission by donation) UNIVERSITY OF VICTORIA CHAMBER SINGERS Christmas Narratives Garry Froese, conductor 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/112513-FacultyRecital/112513-FacultyRecital_01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/112513-FacultyRecital/112513-FacultyRecital_02.mp3">track2</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 Recital - Michelle Mares, piano Creator An entity primarily responsible for making the resource Sondra Moyls Date A point or period of time associated with an event in the lifecycle of the resource November 25, 2013 Contributor An entity responsible for making contributions to the resource Michelle Mares, piano Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tuesdaymusic Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/112613-Tuesdaymusic/112613-TuesdayMusic-01.mp3">track1</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/112613-Tuesdaymusic/112613-TuesdayMusic-02.mp3">track2</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/112613-Tuesdaymusic/112613-TuesdayMusic-03.mp3">track3</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/112613-Tuesdaymusic/112613-TuesdayMusic-04.mp3">track4</a> <a href="https://finearts.uvic.ca/music/archive/uploads/student/112613-Tuesdaymusic/112613-TuesdayMusic-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 Tuesdaymusic 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 26, 2013 https://finearts.uvic.ca/music/archive/files/original/40e12482a2f7adbc19b572954070ee5d.pdf 78d9c1917445dafaa85eacc35e76691e PDF Text Text String Chamber Music Students from the classes of the Lafayette String Quartet Intermission Piano Quartet No. 3 in C minor, Op. 60 I. Allegro non troppo (III. Andante) Johannes Brahms (1833-1897) Derrick Lee, violin; Calvin Yang, viola Alex Klassen, cello; Elizabeth Clarke, piano Wolfgang Amadeus Mozart (1756-1791) Emily MacCallum, violin; Jillaine Orton, violin Peter Weinkam, viola; Lauren Hodgins, cello Piano Trio No.1 in B major, Op. 8 I. Allegro con brio Johannes Brahms (1833-1897) Margaret Dzbik, violin Steven Jeon, cello Frances Armstrong-Douglas, piano Franz Joseph Haydn (1732-1809) Jessica d'Oliveira, violin; Brittany Tsui, violin Fahlon Smith, viola; Natalia Stoney, cello String Quartet No. 2 in A minor, Op.13 I. Adagio – Allegro Vivace Pyotr Ilyich Tchaikovsky (1840-1893) Lindsey Herle, violin; Jiten Beairsto, violin Sarah Tradewell, viola; Maria Wang, cello String Quartet No. 15 in D minor K. 421 I. Allegro moderato P r o g r a m String Quartet Op. 20 No. 2 II. Cappricio III. Minuet – Trio String Quartet No. 1 in D major, Op. 11 IV. Finale: Allegro giusto – Allegro vivace Felix Mendelssohn (1778-1862) Elena Bokova, violin; Jasper Meiklejohn, violin Joshua Gomberoff, viola; Shiun Kim, cello Piano Trio No. 1 in D minor, Op. 49 I. Molto allegro agitato Natalie Dzbik, violin Paul Joo, cello Faith Blackburn, piano Felix Mendelssohn (1809-1847) String Quartet No.11 in F minor, Op. 95 Ludwig van Beethoven I. Allegro con brio (1770-1827) IV. Larghetto espressivo – Allegretto agitato – Allegro Aliayta Foon-Dancoes, violin; Raina Saunders, violin Matt Antal, viola; Ella Hopwood, cello Wednesday, November 27, 2013, 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation www.finearts.uvic.ca/music/events � Hyperlink A link, or reference, to another resource on the Internet. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource String Chamber Music - Students from the classes of the Lafayette String Quartet 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 27, 2013 https://finearts.uvic.ca/music/archive/files/original/b6a8aaadadf67902b8e61a1f65edd7e1.pdf 879d9070f61190c5628e9663ab89eba4 PDF Text Text Trombone Class Recital Program Fantasy for Trombone Elizabeth Raum Carmen McDowell, trombone Allannah Montgomery, piano Sonata Breve for unaccompanied bass trombone Walter Hartley Trevor Hoy, bass trombone Students from the studio of Scott MacInnes Reflective Mood Sammy Nestico Megan White, trombone Chris Hsu, piano Four Sketches for Trombone III. Valley II. Ghost Train David Uber Brandon Chaplin, trombone Crystal-Anne Howell, piano Piece for Trombone Solo Giacinto Scelsi Matt Kelly, trombone Sonata for Tuba Wednesday, November 27, 2013, 12:30 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation www.finearts.uvic.ca/music/events Paul Hindemith Zoe McLaren, bass trombone Frances Armstrong, piano Concerto for Trombone Liam Caveney, trombone Harry Han, piano Henri Tomasi � 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. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Trombone 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 27, 2013