63 10 1498 https://finearts.uvic.ca/music/archive/files/original/f37c37b96e6e2b91e5ab87a589947669.pdf 598f25cd4095a7685210af41dfa49308 PDF Text Text Tuesdaymusic Phillip T. Young Recital Hall, University of Victoria March 13, 2018 • 12:30 p.m. Fantasia No. 6 in D Minor I. Dolce II. Allegro III. Spirituoso Jamie Pambrun, flute Georg Philipp Telemann (1681 - 1767) Pulcinella Eugene Bozza (1905 - 1991) Todd Morgan, alto saxophone Emily Markwart, piano Fantasía para un gentilhombre Juaqin Roderigo I. Villano y ricerar (1901 - 1999) II. Espanoleta y fanfarria de la caballería de Nápoles III. Danza de las hachas IV. Canario Josh Hu, guitar Yanyun Yang, piano Sonata for Two Pianos in D Major, K. 448 I. Allegro con spirituo Aya Robertson, piano Ethan Hill, piano UPCOMING AT THE SCHOOL OF MUSIC WEDNESDAY, MARCH 14 | 12:30 PM | Free Admission First Year Graduate Recital: Felix Alanis, viola Violist Felix Alanis presents his first year Masters of Music graduate recital. Phillip T. Young Recital Hall WEDNESDAY, MARCH 14 | 8 PM | Free Admission Graduating Recital: Zander Felton, voice Vocalist Zander Felton presents his Bachelor of Music graduating recital. Phillip T. Young Recital Hall FRIDAY, MARCH 16 | 12:30 PM | Admission by donation Fridaymusic Featuring UVic School of Music string students in a concert of varied repertoire. Phillip T. Young Recital Hall FRIDAY, MARCH 16 | 8 PM | Regular $20 / Seniors $15 / Students & UVic Alumni $10 UVic Jazz Ensemble: Dizzy and Monk 101 Dr. Patrick Boyle, director 2018 marks the 101st anniversary of the births of jazz innovators Dizzy Gillespie and Thelonious Monk. The UVic Jazz Ensemble celebrates these masters with their bestknown works alongside some of their hidden gems. Phillip T. Young Recital Hall W. A. Mozart (1778 - 1839) � 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/031318-TuesdayMusic/TuesdayMusic-031318_1.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031318-TuesdayMusic/TuesdayMusic-031318_2.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031318-TuesdayMusic/TuesdayMusic-031318_3.mp3">track3</a><br /><br /> 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 Hector Perez Date A point or period of time associated with an event in the lifecycle of the resource March 13, 2018 https://finearts.uvic.ca/music/archive/files/original/d5cdff61edcbdbe000b689f2496172da.pdf 7c9c8dd28b8d221980919e82d07307a2 PDF Text Text D​ EGREE ​ RE ​CITAL    Alana Hayes, mezzo‐soprano   Csinszka Rédai, piano & harpsichord  Alexander Klassen, cello  Jessica Wagner, soprano     Monday, March 12th, 2018, 8:00 pm  Phillip T. Young Recital Hall, MacLaurin Building  Free admission      PROGRAM    A Mad Song                                                                                                                    John Blow                                                                                                                    (1649–1708)  Csinszka Rédai, ​ harpsichord  Alexander Klassen,​  cello    Let us wander                                                                                                               Henry Purcell  My dearest, my fairest                     (1659–1695)  Two daughters of this aged stream  Jessica Wagner, ​ soprano  Csinszka Rédai, ​ harpsichord  Alexander Klassen,​  cello    "Awake, Saturnia… Iris, hence away"  Georg Friderich Handel  from ​ Semele        (1685–1759)  "Smanie implacabili"         Wolfgang Amadeus Mozart  from ​ Cosí fan tutte       (​ 1756–1791)  Lady Macbeth Joseph Horovitz  (b. 1926)  Csinszka Rédai, ​ piano      — INTERMISSION —    Premiers transports que nul n'oublie Roméo et Juliette       Hector Berlioz       (​ 1803–1869)  Csinszka Rédai, ​ piano  Alexander Klassen,​  cello    From ​ Des Knaben Wunderhorn                                                                                            Gustav Mahler  Wo die schönen Trompeten blasen                                                                                         (​ 1860–1911)  Das irdische Leben  Des Antonius von Padua Fischpredigt  Ablösung im Sommer  Csinszka Rédai, ​ piano    Les cigales                                                                                     Emmanuel Chabrier  Villanelle des petits canards                                                                                              (​ 1841–1894)  Chanson pour Jeanne  L'île heureuse   Csinszka Rédai, ​ piano        Alana Hayes is from the class of Ms. Anne Grimm    This recital is presented in partial fulfillment of the requirements   for the Bachelor of Music (Performance) program.    Reception to follow in the Lounge.  Please turn off all cell phones.    � 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. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Degree Recital - Alana Hayes, mezzo-soprano Creator An entity primarily responsible for making the resource Christian Knowles Date A point or period of time associated with an event in the lifecycle of the resource March12, 2018 Contributor An entity responsible for making contributions to the resource Alana Hayes https://finearts.uvic.ca/music/archive/files/original/beeff74855a1433549eb128f64f5dc57.pdf 2a61aea5619af4fc2dd1a9d98eb97275 PDF Text Text 50 PIANO STUDIO RECITAL YEARS Students from the studio of May Ling Kwok SUNDAY, MARCH 11, 2018 | 2:00 PM Phillip T. Young Recital Hall, MacLaurin Building Admission by donation PROGRAM Sonata in D Major, K. 284 1. Allegro Bella Zeng* Clair de Lune Aufschwung from Fantasiestücke, Op.12 Irene Wang Italian Concerto, BWV 971 I. Allegro Prelude Op. 38, No. 24 Boyana Makedonska* W. A. Mozart (1756–1791) Claude Debussy (1862–1918) Robert Schumann (1810–1856) J. S. Bach (1685–1750) Dmitry Kabalevsky (1904–1987) Johannes Brahms (1833–1897) Rhapsody in G Minor, Op. 79, No. 2 Sonata in E-flat, Op. 31, No. 3 I. Allegro Joy Keeler* Scherzo No. 4 in E Major, Op. 54 Iris Hung* I NT E R M I S S I O N Ludwig van Beethoven (1770–1827) Frédéric Chopin (1810–1849) �J. S. Bach Prelude and Fugue in A-flat Major, BWV 862 Autumn Nancy Lin* Cécile Louise Chaminade (1857–1944) Piano Sonata No. 11 in B-flat Major, Op. 22 1. Allegro con brio 2. Adagio con molto espressione Ryan Qu L. van Beethoven Piano Concerto in C Major, Op. 15 II. Largo III. Rondo, Allegro scherzando L. van Beethoven Carey Wang Sonata in E-flat Major, Hob. XVI/52 II. Adagio Piano Concerto in E-flat Major I. Allegro maestoso Ya Ping Huang* Prelude and Fugue in C-sharp Major, BWV 872 Mephisto Waltz No. 1, S. 514 Aimi Howden* * Students from the School of Music, University of Victoria We acknowledge that the land on which we gather is the traditional territory of the WSÁNEĆ (Saanich), Lkwungen (Songhees) and Wyomilth (Esquimalt) peoples of the Coast Salish Nation. Joseph Haydn (1832–1809) Franz Liszt (1811–1886) J. S. Bach Franz Liszt � 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/031118-PianoStudioRecital/031118-PianoClassRecital_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031118-PianoStudioRecital/031118-PianoClassRecital_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031118-PianoStudioRecital/031118-PianoClassRecital_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031118-PianoStudioRecital/031118-PianoClassRecital_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031118-PianoStudioRecital/031118-PianoClassRecital_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031118-PianoStudioRecital/031118-PianoClassRecital_06.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031118-PianoStudioRecital/031118-PianoClassRecital_07.mp3">track7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031118-PianoStudioRecital/031118-PianoClassRecital_08.mp3">track8</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031118-PianoStudioRecital/031118-PianoClassRecital_09.mp3">track9</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031118-PianoStudioRecital/031118-PianoClassRecital_10.mp3">track10</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031118-PianoStudioRecital/031118-PianoClassRecital_11.mp3">track11</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031118-PianoStudioRecital/031118-PianoClassRecital_12.mp3">track12</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031118-PianoStudioRecital/031118-PianoClassRecital_13.mp3">track13</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031118-PianoStudioRecital/031118-PianoClassRecital_14.mp3">track14</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Piano Studio Recital Creator An entity primarily responsible for making the resource Christian Knowles Date A point or period of time associated with an event in the lifecycle of the resource March 11, 2018 https://finearts.uvic.ca/music/archive/files/original/5be8b60bec0fcc4ec07d48fc5d8f5a2b.pdf 256e8664d7d3488cb0b38ebc81025128 PDF Text Text School of Music 50 YEARS MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC FACULTY CONCERT SERIES “Hurling a Lance Into the Future” The Spiritual Vision of Franz Liszt (1811-1886) BRUCE VOGT PIANO We respectfully acknowledge that the land on which we gather is the traditional territory of the WS’ANEC’ (Saanich), Lkwungen (Songhees) and Wyomilth (Esquimalt) peoples of the Coast Salish Nation. Saturday, March 10, 2018 • 8 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $25 / Seniors: $20 / Students & UVic alumni: $10 �PROGRAM i. Religious Iconography “St. François d’Assise: la prédication aux oiseaux” from Deux légendes (St. Francis of Assisi: Preaching to the Birds) (c.1863) ii. Aspects of Love i. “Sonetto 47 del Petrarca” (Sonnet by Petrarch) from Années de pèlerinage, Deuxième année: Italie (1858) ii. Widmung (Dedication) Robert Schumann / Arr. Liszt (1848) iii. “Ricordanza” (Remembrance) from Études d’exécution transcendante (1851) iii. Hungarian Resonances Hungarian Rhapsody No. 13 in A Minor (c. 1845) Historical Hungarian Portraits No. 4 Eötvös József (1885) No. 6 Petõfi Sándor 1877-85) No. 7 Mosonyi Mihály (1870-77) I NT E R M I S S I O N Concession open in the lounge iv. Darker Visions of Eternity i. Valse oubliée No. 1 (Forgotten Waltz) (c. 1881) ii. Mephisto Waltz No. 4: Bagatelle sans tonalité (1883-85) iii. Schlaflos! Frage und Antwort (Sleepless: Question and Answer) (1883) iv. Aux cyprès de la Villa d’Este No. 1: Thrénodie (Among the Cypresses of the Villa d’Este) from Années de pèlerinage, Troisième année (c. 1877) v. Transcendental Vision Bénédiction de Dieu dans la solitude (Blessing of God in Solitude) from Harmonies poétiques et religieuses (1847-52) vi. Postlude Elegie: Die Zelle in Nonnenwerth (The Cell on Nonnenweth) (1880) �PROGRAM NOTES i. Religious Iconography Sometime in 1863, Liszt completed Two Legends from Catholic tradition of the lives of Saints. The first of these is based upon the story of St. Francis Preaching to the Birds: ...And as he went on his way, with great fervour, St. Francis lifted up his eyes, and saw on some trees by the wayside a great multitude of birds; and being much surprised, he said to his companions, “Wait for me here by the way, whilst I go and preach to my little sisters the birds”; and entering into the field, he began to preach to the birds which were on the ground, and suddenly all those also on the trees came round him, and all listened while St. Francis preached to them, and did not fly away until he had given them his blessing... Liszt knew perfectly well that this legend was ultimately mythological. And yet it contains much truth in the way it speaks of the beauty to be found in sympathy and sensitivity to all living things. As a friend of the poor who was loved by God’s creatures, Saint Francis invited all of creation—animals, plants, natural forces, even Brother Sun and Sister Moon—to give honor and praise to the Lord. The poor man of Assisi gives us striking witness that when we are at peace with God we are better able to devote ourselves to building up that peace with all creation which is inseparable from peace among all peoples. (Pope John Paul II, 1990) ii. Aspects of Love Liszt’s Franciscan Catholicism was a profound inspiration throughout his life, although some have seen an amusing contradiction in the zest with which he lived his secular life. But for Liszt there was no such contradiction: his religious feelings exerted a powerful influence over all his strivings. Indeed, his polemics on behalf of art and other artists—as well as his love letters—were expressed in language of religious fervour and conviction. The first two of these Aspects of Love were originally for voice and piano but were transcribed by Liszt with great skill and imagination so that the piano versions became separate works of art. With great subtlety the composer captures the sentiment of the poems which inspired the original songs. In Sonnet No. 47 by Petrarch­—the first of three piano settings of his own vocal settings of Petrarch Sonnets—Liszt took a very free approach to transcription. The material has been elaborated considerably, resulting in what is perhaps a more vivid illustration of the varying moods of Petrarch’s Sonnet. �Sonnet 47 Francesco Petrarca (1304–1374) Blest be the year, the month, the hour, the day, The season and the time, the point of space, And blest the beauteous country and the place Where first of two bright eyes I felt the sway: Blest the sweet pain of which I was the prey, When newly doomed Love’s sovereign law to embrace, And blest the bow and shaft to which I trace The wound that to my inmost breast found way: Blest be the ceaseless accents of my tongue, Unwearied breathing my loved lady’s name: Blest my fond wishes, sighs, and tears, and pains: That on all sides acquired to her fair fame; And blest my thoughts! for o’er them all she reigns. From his first encounter with Robert Schumann as a young man until the end of his life, Liszt remained a great supporter of Schumann’s compositions.This transcription of Schumann’s Lied, Widmung, was an elaboration on an earlier and more literal version. With this final version, composed in 1848, Liszt created perhaps his greatest song transcription, which so very beautifully suggests an ecstatic vision of fulfilled love. Yet in the end, it fundamentally changes the nature of the song. In Schumann’s original setting, the contrasting middle section (“You are my repose...”) is followed by a quite literal return to the opening music. Liszt, however, transforms this return into something more ecstatic before moving to a final verse in which the pulsating “peaceful” triplets of the middle section become yet a further transfiguration of the opening melody. Widmung (Dedication) Friedrich Rückert (1788-1866) You are my soul, my heart, my ecstasy and pain; You are my world in which I live, My heaven into which I am suspended, My grave into which I have laid forever my sorrow. You are my repose and my peace, You are bestowed to me from heaven; That you love me makes me of worth, Your gaze transfigures me, Lovingly you raise me above myself, My good spirit, my better self. Ricordanza (Memorial) is not a transcription of a song: it originated as one of twelve relatively simple Czerny-like studies Liszt wrote when he was 15. However, it was completely recomposed in 1837, and then again in 1852, as No. 9 of his 12 Études d’exécution transcendante (Transcendental Studies). Its sentiment was memorably described by Ferruccio Busoni as evoking “a bundle of faded love letters” iii. Hungarian Resonances Liszt’s Hungarian Rhapsody No. 13 was completed, along with the first fifteen Rhapsodies, in his middle years between 1846 and 1853, with four more added in the last four years of his life. It was Liszt’s belief that the melodies he used for these works were genuine Hungarian folk melodies—a wilful belief, since the evidence certainly existed at the time to show that these were actually melodies composed by members of the Hungarian middle class and nobility. But Liszt valued his Hungarian roots, and his belief in the folk source of these melodies allowed him to imaginatively express an important part of his own musical lineage.The Rhapsodies came from his reminiscence �of the melodies he heard in Gypsy camps as a child, which he valued for their emotional directness, their generosity of spirit, their humour, and their improvisatory brilliance. Many decades after Liszt’s death, Béla Bartók gently took him to task for misrepresenting these melodies but then argued for another kind of authenticity, in these and in all of Liszt’s so-called borrowings: “...whatever Liszt touched he so stamped and so transformed with his own individuality that it became like something of his own...We can say he was eclectic in the best sense of the word: one who took from all foreign sources but gave still more from himself.” Liszt spoke Hungarian only haltingly: nevertheless he strongly identified with his Hungarian roots. In his last years a great deal of his music is coloured by Hungarian elements. Not only are there a number of works based on Hungarian themes or forms, but certain characteristic musical elements are found in many non-Hungarian works: pentatonic and whole tone scales, and the use of the so-called “Gypsy” scale with its augmented seconds and flattened fourths. The Seven Hungarian Historical Portraits, composed between 1870 and 1885, were compiled in 1885, a year before the composer’s death. However, astonishingly, they were not published until 1956.These works commemorate Hungarian statesmen, patriots and artists whom Liszt had known. Jozsef Eötvös (1813-1871) was a writer and statesmen who was for a time minister of education and religious affairs in 1848, and again in 1867. He also was a passionate advocate of Jewish emancipation. Sandor Petöfi (1822-1849) was a celebrated poet who was killed while taking part in the revolution of 1848-1849. Mihály Mosonyi (1815-1870) was a composer whose music was admired by Liszt. Indeed Liszt wrote a piano fantasy on Mosonyi’s opera Szép Ilonka. iv. Darker Visions of Eternity Liszt’s last years were spent teaching and composing. He did nothing to make his compositions known and even discouraged his students from playing them. In 1873 he wrote to Mosonyi: “Yet there still remain several things for me to say, irrespective as to whether they may be quickly understood or recognized. Sometime when I am no longer of this earth, the rest will find itself. I can calmly await the event while I go on working, and meanwhile composedly expiate my virtuoso reputation with the disapproval my compositions have excited.” And so it was. It was not until the enthusiastic advocacy of Bartók, Busoni and others, that these late works were recognized for what they are—a most astounding anticipation of major new paths which music was to follow. In their radical simplicity, obsessive rhythms and strange harmonies, they take the listener to the very brink of tonality. But if their anticipation of the future were their only distinction, they would be little more than curiosities. With art and artists, it’s not who does things first that matters but who does them best. Ultimately it is the uniqueness and power of their vision that makes these works so significant. Liszt’s biographer Alan Walker focusses on their expression of depression and despair. I think they are more truly an extension of Liszt’s life-long spiritual strivings, a courageous and unrelenting gaze into the abyss. He finds much terror there but also much beauty. �We live our lives in full knowledge of our mortality. We know we must die and everything that we value—those we love, the things that resonate throughout our lives— will disappear, often painfully and in a protracted way. The preciousness of the things we value will not change this reality. The gap between the meaningfulness, the preciousness of life and its fleeting grain-of-sand nature cannot be closed by thought or by argument. Nor can it be ignored by what D. H. Lawrence refers to as: “the dead vanity of knowing better…the blank/cold comfort of superiority, [the] silly/conceit of being immune.“ It is a privilege of great art that it can hint at a way of closing—or at least lessening—the gap. Liszt wrote three Valses oubliées, or “forgotten waltzes,” between 1881 and 1885; a fourth was left almost completed. All of them share a kind of other-worldly strangeness.The first, the most familiar of the three, has the giddiness of the waltz—yet something sinister is perhaps suggested. For the middle section Liszt instructs the performer to play in an “elegiac mood”. The publishing history of the Fourth Mephisto Waltz: Bagatelle sans tonalité demonstrates both the incomprehension with which these late works were received and the composer’s listless indifference to their fate. Written sometime between 1883 and 1885, it remained unknown until 1956 when it was finally published in Budapest. Schlaflos! Frage und Antwort (Sleepless! Question and Answer) was inspired by a poem by Toni Raab which is now lost. Liszt spent a good part of each year from 1864 onward in the Villa d’Este—a 16th century castle in a park in Tivoli near Rome. It is famous for its elaborate fountains, but it is also renowned for its ancient cypresses, which became the inspiration for two Thrénodies, Aux cyprès de la Villa d’Este (Among the Cypresses of the Villa d’Este), two ruminations on the ephemeral nature of existence. “For three whole days, in September 1877, Liszt spent every hour of sunlight and as much of night as was made visible by the moon, in admiration of the cypresses.They obsessed his thoughts to the exclusion of all else.” (Sacheverell Sitwell) v. Transcendental Vision Liszt’s greatest religious composition is his Bénédiction de Dieu: Blessing of God in Solitude—based on a poem by Lamartine. Surely this is one of his most moving masterpieces, but also one of the few religious works of the 19th century that is not suffused with a kind of stained-glass sentimentality. It describes a mystical experience, bringing a sense of harmony with the universe, a freedom from doubt and despair. One does not need to share Liszt’s religious convictions—or indeed, any religious conviction—in order to feel the power of this vision. Such moments of clarity seem to be found in all religions, and even among those who would call themselves atheists. Perhaps, �as Carol Shields suggests, we all have some intimation of these moments in time: “… those…rare transcendental moments when you suddenly feel everything makes sense and you perceive the pattern of the universe. I think we all get a few of these minutes.” Blessing of God in Solitude Whence does it come to me, O my God! this peace which floods over me? Whence comes this faith with which my heart overflows? To me, who so recently was uncertain, restless, and tossed about on the waves of doubt, Searching for the good, for the truth, in the dreams of sages, And for peace in hearts resounding with turmoil. It is but a few days that have slipped by, Yet it seems that a century and a world have passed away; And that, separated from all of that by an immense abyss, A new man within me is reborn and begins again. (Alphonse de Lamartine) vi. Postlude Die Zelle in Nonnenwerth originated as a song composed in 1843. Nonnenwerth is an island on the Rhine which was the site of a ruined monastery and a chapel. Liszt used this island as a retreat during the summers of the early 1840s. The poem refers to love abandoned, with the monastery (Die Zelle) a symbol of loss and death. Liszt subsequently wrote four versions of this song for solo piano, and the metamorphosis over the years is extreme. In this last version, written in 1880, little is left of love, abandoned or otherwise; instead, there remains a sense of profound resignation, with echoes of ghostly chanting and the sound of distant bells from the long-deserted monastery. — Bruce Vogt BIOGRAPHY Canadian pianist Bruce Vogt was born in Southern Ontario but for the past 36 years has lived and worked in Victoria, BC and taught at the University of Victoria as Professor of Piano. As a soloist he has appeared regularly in concerts within Canada and he tours yearly in many countries throughout Europe and Asia. His repertoire encompasses music from the sixteenth century to the present. In addition to having a special affinity for the music of Franz Liszt, he has both performed on period instruments and commissioned and premiered a number of new works. � 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/031018-FacultyConcert_Vogt/031018-FacultyBruceVogtPiano_1.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/031018-FacultyConcert_Vogt/031018-FacultyBruceVogtPiano_2.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/031018-FacultyConcert_Vogt/031018-FacultyBruceVogtPiano_3.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/031018-FacultyConcert_Vogt/031018-FacultyBruceVogtPiano_4.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/031018-FacultyConcert_Vogt/031018-FacultyBruceVogtPiano_5.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/031018-FacultyConcert_Vogt/031018-FacultyBruceVogtPiano_6.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 Concert Series - Bruce Vogt, Piano Creator An entity primarily responsible for making the resource Hector Perez Date A point or period of time associated with an event in the lifecycle of the resource March 10, 2018 Contributor An entity responsible for making contributions to the resource Bruce Vogt https://finearts.uvic.ca/music/archive/files/original/fa5005e0bcca42d3c2c853c28ac9a8b2.pdf 5896a8f6bbed097b1b56b42f1db8aaf3 PDF Text Text 50 YEARS CELLO STUDIO RECITAL Students from the studio of Pamela Highbaugh Aloni SATURDAY, MARCH 10, 2018 | 12:30 PM Phillip T. Young Recital Hall, MacLaurin Building Admission by donation PROGRAM Sonata for Cello and Piano in D Minor Prologue: Lent, sostenuto e molto risoluto Sérénade: Modérément animé Finale: Animé, léger et nerveux Claire Dresselhuis, cello Abigail Takenaka, piano Sonata No. 1 in E Minor for Cello and Piano, Op. 38 Allegro non troppo Claude Debussy (1862-1918) Johannes Brahms (1833-1897) Liam Epp, cello Michelle Hoskins, piano Allegro Manuel Cruz, cello Michelle Hoskins, piano I NT E R M I S S I O N Sonata No. 2 in F Major for Cello and Piano, Op. 99 Allegro vivace Adagio Affetuoso Johannes Brahms Shiun Kim, cello Aimi Howden, piano Suite No. 1 in G Major, BWV 1007 for Unaccompanied Cello Prelude Allemande Courante Johann Sebastian Bach (1685-1750) Chloe Kersen, cello Concerto in B-flat Major Adagio Luigi Boccherini (1743-1805) Tara Rajah, cello Carol Zhang, piano Sonata No. 3, Op. 69 in A Major for Violoncello and Piano Allegro ma non tanto Ludwig van Beethoven (1770-1827) Bryan Lin, cello Bella Zeng, piano We acknowledge that the land on which we gather is the traditional territory of the WSÁNEĆ (Saanich), Lkwungen (Songhees) and Wyomilth (Esquimalt) peoples of the Coast Salish Nation. � 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/031018-CelloStudioRecital/031018-CelloStudio_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031018-CelloStudioRecital/031018-CelloStudio_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031018-CelloStudioRecital/031018-CelloStudio_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031018-CelloStudioRecital/031018-CelloStudio_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031018-CelloStudioRecital/031018-CelloStudio_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031018-CelloStudioRecital/031018-CelloStudio_06.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/031018-CelloStudioRecital/031018-CelloStudio_07.mp3">track7</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cello Studio Recital Creator An entity primarily responsible for making the resource Sean Kiley Date A point or period of time associated with an event in the lifecycle of the resource March 10, 2018 https://finearts.uvic.ca/music/archive/files/original/0d8cadc2ae55a40704903b62a023996f.pdf d4af437f3ca2697e25526c873a48075f PDF Text Text fridaymusic Phillip T. Young Recital Hall, University of Victoria March 9, 2018 • 12:30 p.m. Featuring School of Music brass students Fugue “For all the Gentiles” from Saint Paul Felix Mendelssohn (arr. Michael Moore) Merrie Klazek, conductor Trumpet: Erika Richards Jamey Meyer, Tark Kim, Ryan Lau, Izzy Spencer, Jordan Smale Carnival of the Animals Camille Saint-Saëns I. The March of the Lion (arr. Brian Lynn) II. Tortoises III. Fossils Scott MacInnes, conductor Trombone: Heidi Worrall, Owen Worby, Erin Marsh, Adam Bosse, Trevor Rutherford, Silvan Wood, Will Quinn, Ben Pakosz, Zachary Power, Grace Timney Girl with the Flaxen Hair Claude Debussy (arr. Dave Sabourin) Die Bankelsangerlieder Trumpet: Tark Kim, Ryan Lau; Horn: Sarah Mullane Trombone: Heidi Worrall; Tuba: Florence Waller Newfoundland Sketch Anonymous (c. 1550) Howard Cable (1920 - 2016) Trumpet: Jordan Smale, Izzy Spencer; Horn: Allie Bertholm; Trombone: Erin Marsh; Bass Trombone: Zach Power Three Pieces I. Muy Linda II. Pavane III. Galliard Trumpet: Jamey Meyer, Wes Curtis; Horn: Tyrell Loster; Trombone: Ben Pakosz, Tuba: Aidan Fentiman Anthony Holborne (arr. John Glasel) Sonata Saint Mark Tomaso Albinoni I. Grave (arr. David Hickman) II. Allegro III. Andante IV. Vivace Trumpet: Emily McDermid, Erika Richards; Horn: Emily Axford; Trombone: Will Quinn; Euphonium: Jason Gordon Passacaglia and Fugue in C Minor Scott MacInnes, conductor Trumpet: Jordan Smale, Izzy Spencer, Jamey Meyer, Erika Richards Horn: Allie Bertholm, Sarah Mullane, Emily Axford Trombone: Erin Marsh, Heidi Worrall, Will Quinn, Zachary Power Euphonium: Jason Gordon; Tuba: Aidan Fentiman Johann Sebastian Bach (arr. Matthew McCrae) � 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/030918-Fridaymusic/030918-FridayMusic_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030918-Fridaymusic/030918-FridayMusic_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030918-Fridaymusic/030918-FridayMusic_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030918-Fridaymusic/030918-FridayMusic_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030918-Fridaymusic/030918-FridayMusic_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030918-Fridaymusic/030918-FridayMusic_06.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030918-Fridaymusic/030918-FridayMusic_07.mp3">track7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030918-Fridaymusic/030918-FridayMusic_08.mp3">track8</a><br /><br /> 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 Christian Knowles Date A point or period of time associated with an event in the lifecycle of the resource March 9, 2018 https://finearts.uvic.ca/music/archive/files/original/a0ca2bd6bab7c2f1e2db703b507e7435.pdf b0640c3c0a683afe6201df3847944b0d PDF Text Text GRADUATE RECITAL Taylor Fawcett, tenor Holly Melville, soprano Abigail Takenaka, piano Robert Holliston, piano, harpsichord, celeste Wednesday, March 7, 2018 | 12:30pm Phillip T. Young Recital Hall, MacLaurin Building Free admission PROGRAM Mass in B minor (BWV 232) Johann Sebastian Bach Domine Deus (1685-1750) Holly Melville, soprano Robert Holliston, piano Liederkreis, op.24 Robert Schumann (1810-1856) 1. Morgens steh’ ich auf und frage 2. Es treibt mich hin 3. Ich wandelte unter den Bäumen 4. Ich wandelte unter den Bäumen 5. Schöne Wiege meiner Leiden 6. Warte, warte, wilder Schiffmann 7. Berg und Burgen schaun herunter 8. Anfangs wollt' ich fast verzagen 9. Mit Myrten und Rosen Abigail Takenaka, piano Avowals John Beckwith (b. 1927) Robert Holliston, piano, harpsichord, celeste Taylor Fawcett is from the class of Professor, Mr. Benjamin Butterfield This recital is presented in partial fulfillment of the requirements for the Master of Music (Performance) program. Reception to follow in the Lounge. Please silence all electronic devices. � 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/030718-FawcettGradRecital/030718-TaylorFawcettRecital_1.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030718-FawcettGradRecital/030718-TaylorFawcettRecital_2.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030718-FawcettGradRecital/030718-TaylorFawcettRecital_3.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 Graduate Recital - T. Fawcett, tenor Creator An entity primarily responsible for making the resource Hector Perez Date A point or period of time associated with an event in the lifecycle of the resource March 7, 2018 Contributor An entity responsible for making contributions to the resource Taylor Fawcett https://finearts.uvic.ca/music/archive/files/original/d30a9e8b5e7f4cedabeedddb60a39936.pdf f14a8fea50f54b93e9fc852a1ba85d58 PDF Text Text Tuesdaymusic Phillip T. Young Recital Hall, University of Victoria March 6, 2018 • 12:30 p.m. Préludes, Livre I VI. Des pas sur la neige VIII. La fille aux cheveux de lin Janelle Cavezza, piano Claude Debussy (1862 - 1918) Concerto in D Major, Op. 35 Pyotr Ilyich Tchaikovsky I. Allegro Moderato (1840 - 1893) II. Conzonetta Jeanel Liang, violin Jonathan Li, piano Histoire du Tango Astor Piazolla II. Café 1930 (1921 - 1992) Kayla Izon, soprano saxophone Katie Lundin, piano Grand Solo, Op. 14 I. Intro II. Allegro Josh Hu, guitar Fernando Sor (1778 - 1839) UPCOMING AT THE SCHOOL OF MUSIC WEDNESDAY, MARCH 7 | 12:30 PM | Free Admission First Year Graduate Recital:Taylor Fawcett, voice Vocalist Taylor Fawcett presents his first year Masters of Music graduate recital. Phillip T. Young Recital Hall FRIDAY, MARCH 9 | 12:30 PM | Admission by donation Fridaymusic Featuring UVic School of Music brass students in a concert of varied repertoire. Phillip T. Young Recital Hall FRIDAY, MARCH 9 | 8 PM | Regular $20 / Seniors $15 / Students & alumni $10 UVic Orchestra: Polite and Heroic Ajtony Csaba, conductor Program includes Maurice Ravel: Piano Concerto in G major, featuring UVic Concerto Competition winner, Iris Hung. Ludwig van Beethoven: Symphony No. 8 in F major, Op. 93. Plus movements from the Bach family University Centre Farquhar Auditorium SATURDAY, MARCH 10 | 12:30 PM | Admission by donation Cello Studio Recital Featuring UVic School of Music cello students from the studio of Pamela Highbaugh Aloni. Phillip T. Young Recital Hall SATURDAY, MARCH 10 | 2:30 PM | Admission by donation UVic Voice Department presents: Fa una canzona! UVic School of Music voice students sing songs from the early music repertoire by Monteverdi, Scarlatti, Handel and others. Program Directors: Benjamin Butterfield and Kinza Tyrrell (piano) Chapel of the New Jerusalem, Christ Church Cathedral (Quadra St. at Rockland Ave.) � 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/030618-Tuesdaymusic/030618-TuesdayMusic_1.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030618-Tuesdaymusic/030618-TuesdayMusic_2.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030618-Tuesdaymusic/030618-TuesdayMusic_3.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 TuesdayMusic Creator An entity primarily responsible for making the resource Hector Perez Date A point or period of time associated with an event in the lifecycle of the resource March 6, 2018 https://finearts.uvic.ca/music/archive/files/original/ed4f527c05590058efac0b10e8c62b46.pdf e100a2fad4a7c8336a75f7b05227e233 PDF Text Text DEGREE RECITAL 
 Emily Stewart, soprano
 Ethan Hill, piano & harpsichord Aya Robertson, piano Chelsea Kutyn, Sarah Kirker, Sophia Friesen, Olivia Duffin, voice 
 Monday, March 5th, 2018, 8:00 PM Phillip T. Young Recital Hall, MacLaurin Building
 Free admission ! PROGRAM Весной (In Spring), op. 43 Nikolai Rimsky-Korsakov (1844-1908) I. Звонче жаворонка пенье (The lark sings louder) II. Не ветер вея с высоты (It was not the wind) III. Свеж и душист твой роскошный венок (Cool and fragrant is your beautiful wreath) IV. То было раннею весной (It was in the early spring) Ethan Hill, piano Deux épigrammes de Clément Marot Maurice Ravel (1875–1937) I. D'Anne qui me jecta de la neige II. D'Anne jouant de l'espinette Ethan Hill, piano Sieben Frühe Lieder I. II. III. IV. V. VI. VII. Alban Berg (1885–1945) Nacht Schilflied Die Nachtigall Traumgekrönt Im Zimmer Liebesode Sommertage Ethan Hill, piano INTERMISSION 
 Please turn off all cell phones and electronic devices. �“Christe eleison” From Mass in B minor, BWV 232 Johann Sebastian Bach (1685–1750) Chelsea Kutyn, soprano Ethan Hill, harpsichord “Bald prangt, den Morgen zu verkünden” From Die Zauberflöte, K. 620 Wolfgang Amadeus Mozart (1756–1791) Sarah Kirker, First Spirit Olivia Duffin, Second Spirit Sophia Friesen, Third Spirit Aya Robertson, piano Terra e mare E l’uccellino “Chi il bel sogno di Doretta” From La rondine, SC. 83 Giacomo Puccini (1858–1924) Ethan Hill, piano Stacey John Beckwith (b. 1927) I. At the day of judgement… II. Okay, God, say what you like… III. Once it seemed almost violent, this music… IV. I don’t want anyone else bringing up my kids V. Dear Lord and Father of mankind… VI. I used to think there would be a blinding flash... Ethan Hill, piano ! Emily is from the class of Anne Grimm.
 This recital is presented in partial fulfillment of the requirements for the Bachelor of Music (Performance) program. Reception to follow in the Lounge. ! 
 Special thanks to: 
 Ethan Hill, Aya Robertson, Chelsea Kutyn, Sarah Kirker, Olivia Duffin & Sophia Friesen. Anne Grimm, Benjamin Butterfield, Kinza Tyrell and David Stratkauskas.
 Kim, Kees, and my family.
 � 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/030518-E.StewartDegreeRecital/030518-DegreeRecitalEmilyStewart_1.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030518-E.StewartDegreeRecital/030518-DegreeRecitalEmilyStewart_2.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030518-E.StewartDegreeRecital/030518-DegreeRecitalEmilyStewart_3.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030518-E.StewartDegreeRecital/030518-DegreeRecitalEmilyStewart_4.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030518-E.StewartDegreeRecital/030518-DegreeRecitalEmilyStewart_5.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030518-E.StewartDegreeRecital/030518-DegreeRecitalEmilyStewart_6.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030518-E.StewartDegreeRecital/030518-DegreeRecitalEmilyStewart_7.mp3">track7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030518-E.StewartDegreeRecital/030518-DegreeRecitalEmilyStewart_8.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 Degree Recital - E. Stewart, soprano Creator An entity primarily responsible for making the resource Hector Perez Date A point or period of time associated with an event in the lifecycle of the resource March 5, 2018 Contributor An entity responsible for making contributions to the resource Emily Stewart https://finearts.uvic.ca/music/archive/files/original/2377f8c6240d632ad7b44e2aea5427d1.pdf 09a0f7e8be9a445e3a1837ea65cbef6a PDF Text Text The Students Baylie Adams, Jay Beaton, Tessa Belhomme-Orders, Karsten Brewka Skye Eriksen, Matthew Fichter, Kayla Izon, Michelle Melnicky Todd Morgan, Syssilia Reid, Connor Stairs & Michael Vielguth — of the — University of Victoria Saxophone Studio — proudly present — A Concert of Works for Saxophone Ensemble SATURDAY, MARCH 3RD @ 2:30PM PHILLIP T. YOUNG RECITAL HALL, UNIVERSITY OF VICTORIA SCHOOL OF MUSIC Admission by cash donation or non-perishable food item. In addition to their performances in Wind Symphony, Symphonic Winds and Jazz Orchestra this academic year, September 2017 to March 2018, students of the Saxophone Class have performed on several occasions: ★ Reynolds Senior Secondary School (February 2018): Quartets and Orchestra ★ featured ensemble for the Graduation Ceremonies of the University of Victoria (Fall Convocation 2017): Quartet Blue ★ Music Discoveries ’18: Quartet Green ★ Saint Cecilia Day Concert, Christ Church Cathedral (11/18/17): Quartet Blue ★ Oak Bay Senior Secondary School: Quartet Blue ★ UVic School of Music 50th Anniversary Open House weekend (12/1/17) ★ West Coast Student Composers Symposium (1/26/18) ★ Saxophone Class Solo Recital (1/21/18) with School of Music pianists We acknowledge that several UVic Saxophonists will be performing in the quartet and solo categories in the 2018 Greater Victoria Performing Arts Festival. We celebrate the accomplishments of our distinguished graduating colleagues: Skye Eriksen and Connor Stairs. �I. University of Victoria Saxophone Orchestra Tico Tico (1917) by Zequinha de Abreu, arr. by Chris McClymont (Alumnus, 2004) Now Is The Month of Maying (1595) by Thomas Morley (d. 1602), arr. by W. Clanton (2018) II. Quartet Green Introduction et variations sur une ronde populaire (1934) by Gabriel Pierné (1863 - 1937) Soprano Alto Tenor Baritone Syssilia H.E. Reid Baylie Adams Tessa Belhomme-Orders Kayla Izon 2nd Yr 1st Year 1st Year 3rd Year Composition Performance Track Education Track Education III. Michael Vielguth & Michelle Melnicky Introduction & Samba (1950) by Maurice Whitney (1909 - 1984) IV. Quartet Red String Quartet No. 12 Op. 96, American, 1896 by Antonio Dvorak (1841 - 1904) transcribed by Connor Stairs Soprano Alto Tenor Baritone Connor Stairs Skye Eriksen Jay Beaton Michael Vielguth 4th Year 4th Year 3rd year 3rd year Education Education Musical Arts Composition — Intermission — V. Syssilia H.E. Reid & Baylie Adams Fantasie for Soprano Saxophone & Piano, op. 102 (1864) by J.B. Singelée (1812-1875) VI. Quartet Blue Quatuor (1956) by Pierre-Max Dubois (1930 - 1995) Soprano Alto Tenor Baritone VII. Michelle Melnicky Matthew Fichter Todd Morgan Karsten Brewka 3rd Year 3rd Year 2nd Year 2nd Year Education Education Education Performance Track University of Victoria Saxophone Orchestra Bohemian Rhapsody (1975) by Freddy Mercury (1946 to 1991) arranged (2017) by W. Clanton Photographs t Reception to follow at Original Joe’s, Tuscany Village. � 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/030318-SaxophoneStudioRecital/030318-SaxophoneEnsemble_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030318-SaxophoneStudioRecital/030318-SaxophoneEnsemble_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030318-SaxophoneStudioRecital/030318-SaxophoneEnsemble_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030318-SaxophoneStudioRecital/030318-SaxophoneEnsemble_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030318-SaxophoneStudioRecital/030318-SaxophoneEnsemble_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030318-SaxophoneStudioRecital/030318-SaxophoneEnsemble_06.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030318-SaxophoneStudioRecital/030318-SaxophoneEnsemble_07.mp3">track7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030318-SaxophoneStudioRecital/030318-SaxophoneEnsemble_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 Saxophone Studio Recital Creator An entity primarily responsible for making the resource Hector Perez Date A point or period of time associated with an event in the lifecycle of the resource March 3, 2018