65 10 1498 Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/031020-TuesdayMusic/031020-TuesdayMusic_01.mp3">Track 1<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/031020-TuesdayMusic/031020-TuesdayMusic_02.mp3">Track 2<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/031020-TuesdayMusic/031020-TuesdayMusic_03.mp3">Track 3<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/031020-TuesdayMusic/031020-TuesdayMusic_04.mp3">Track 4<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/031020-TuesdayMusic/031020-TuesdayMusic_05.mp3">Track 5<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/031020-TuesdayMusic/031020-TuesdayMusic_06.mp3">Track 6<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/031020-TuesdayMusic/031020-TuesdayMusic_07.mp3">Track 7</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 Tuesday Music Creator An entity primarily responsible for making the resource Ila Zbarsky Date A point or period of time associated with an event in the lifecycle of the resource March 10, 2020 Contributor An entity responsible for making contributions to the resource Ekaterina Della Vedova, trumpet Abha-Marie Parmar, trumpet Joshua Ward, horn Tyler Schmit, tromobone Ben Pakosz, bass trombone Rhiannon Jones, Lisa Matsugu Huaqian Zeng, Jessica Shaw, flutes Chensi Liu, clarinet Alice Bi, piano Janie Sinn, oboe Leon Fei, piano Jorge Flores Carrizales, piano Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/030920-KBasuVoice/030920-KBasuVoice_1.mp3">Track 1<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030920-KBasuVoice/030920-KBasuVoice_2.mp3">Track 2<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030920-KBasuVoice/030920-KBasuVoice_3.mp3">Track 3<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030920-KBasuVoice/030920-KBasuVoice_4.mp3">Track 4<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030920-KBasuVoice/030920-KBasuVoice_5.mp3">Track 5<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030920-KBasuVoice/030920-KBasuVoice_6.mp3">Track 6</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kyron Basu - Voice Recital Creator An entity primarily responsible for making the resource Ila Zbarsky Date A point or period of time associated with an event in the lifecycle of the resource March 9, 2020 Contributor An entity responsible for making contributions to the resource Kyron Basu, Voice https://finearts.uvic.ca/music/archive/files/original/091c4fbf225c66d492cb4dee60f83356.pdf f61361ca59e341a44a30faab9491e3c7 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �SCHOOL OF MUSIC • UNIVERSITY OF VICTORIA Thank-you Concert This concert is presented in appreciation of our concert-goers, the community and those who support School of Music scholarships and bursaries. - - - - - - Please join us for a reception in the lobby following the concert. We acknowledge with respect the Lekwungen peoples on whose traditional territory the university stands and the Songhees, Esquimalt and WSÁNEĆ peoples whose historical relationships with the land continue to this day. Sunday, March 8, 2020 • 2:30 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free Admission �Program La cheminée du roi René Op. 205 III. Jongleurs (Jugglers) IV. La maousinglade V. Joutes sur l’Arc (Jousts on the Arc) VII. Madrigal nocturne Darius Milhaud (1892–1974) Ada Qian, flute Anna Betuzzi, oboe Alex Chernata, clarinet Allie Bertholm, horn Wilson Kyne, bassoon Suite No. 1 in G Major, BWV 1007 Prelude Josh Amendt-Moylan, guitar J.S. Bach (1685–1750) Sonata in E-flat Major, Hob. XVI/52, L. 62 Allegro Joseph Haydn (1732–1809) Amber Dayton, piano Church Sonata No. 1 in E-flat Major, K.67 Church Sonata No. 15 in C Major, K. 336 W.A. Mozart (1756–1791) Alex Chernata, clarinet Jany Lu, piano String Quartet in B Minor, Op. 11 Molto allegro appassionato Jeanel Liang, violin Talia Sinclair, violin Danielle Tsao, viola Bryan Lin, cello Samuel Barber (1910–1981) �Wintereisse, D. 911 Gute Nacht Der Lindenbaum Franz Schubert (1797–1828) Kyron Basu, baritone and piano Sonata for Flute and Piano Allegretto malincolico Francis Poulenc (1899–1963) Keren Xu, flute Lois Park, piano Muros Verdes José Pablo Moncayo (1912–1958) Jorge Carrizales, piano Quintet No. 3 in D-flat Major, Op. 7 Victor Ewald Andante (1860–1935) Vivo Ben Parker, trumpet Sidney Hoffman, trumpet Emily Axford, horn Will Quinn, trombone Scott Gordon, tuba � Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/030820-ThankYouConcert/030820-ThankYouConcert_01.mp3">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/030820-ThankYouConcert/030820-ThankYouConcert_02.mp3">Track 2<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030820-ThankYouConcert/030820-ThankYouConcert_03.mp3">Track 3<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030820-ThankYouConcert/030820-ThankYouConcert_04.mp3">Track 4<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030820-ThankYouConcert/030820-ThankYouConcert_05.mp3">Track 5<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030820-ThankYouConcert/030820-ThankYouConcert_06.mp3">Track 6<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030820-ThankYouConcert/030820-ThankYouConcert_07.mp3">Track 7<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030820-ThankYouConcert/030820-ThankYouConcert_08.mp3">Track 8<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030820-ThankYouConcert/030820-ThankYouConcert_09.mp3">Track 9</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thank You Concert Creator An entity primarily responsible for making the resource Ila Zbarsky Date A point or period of time associated with an event in the lifecycle of the resource March 8, 2020 Contributor An entity responsible for making contributions to the resource Ada Qian, flute Anna Betuzzi, oboe Alex Chernata, clarinet Allie Bertholm, horn Wilson Kyne, bassoon Josh Amendt-Moylan, guitar Amber Dayton, piano Jany Lu, piano Jeanel Liang, violin Talia Sinclair, violin Danielle Tsao, viola Bryan Lin, cello Kyron Basu, baritone and piano Keren Xu, flute Lois Park, piano Jorge Carrizales, piano Ben Parker, trumpet Sidney Hoffman, trumpet Emily Axford, horn Will Quinn, trombone Scott Gordon, tuba Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/030720-GuestConcertColemanAndMonahan/GuestConcertColemanAndMonahan_01_Audio%201-St.mp3">Track 1</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 Guest Concert - Coleman and Monahan Creator An entity primarily responsible for making the resource Ila Zbarsky Date A point or period of time associated with an event in the lifecycle of the resource March 7, 2020 https://finearts.uvic.ca/music/archive/files/original/f7b708a4d1d9686f52079fa7f75627d1.pdf 7e72c126b7fdf8e2ae7a62ee6ca561ac PDF Text Text 2020 School of Music, University of Victoria presents Steinway & UVic Celebrating 12 years as an all-Steinway school Featuring MARK ANDERSON PIANO Thursday, March 5, 2020 | 8 PM Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation UVIC �PROGRAM Sonata in E-flat Major, K. 382 Adagio Menuetto I / Menuetto II Allegro Sonata in B-flat Major, D. 960 Molto moderato Andante sostenuto Scherzo – Allegro vivace e delicatezza – Trio Finale – Allegro ma non troppo W. A. Mozart (1756–1791) Franz Schubert (1797–1828) I NT E R M I S S I O N Concession open in the lounge Sonata in C-sharp Minor (1928) (Canadian Premiere) Sonata No. 3 in F Minor, Op. 5 Allegro maestoso Andante espressivo Scherzo – Allegro energico – Trio Intermezzo “Rückblick” – Andante molto Finale – Allegro moderato ma rubato Julius Röntgen (1855–1932) Johannes Brahms (1833–1897) This concert is generously sponsored by Tom Lee Music. We acknowledge with respect the Lekwungen peoples on whose traditional territory the university stands and the Songhees, Esquimalt and WSÁNEĆ peoples whose historical relationships with the land continue to this day. �BIOGRAPHY A native of the San Francisco Bay Area, pianist Mark Anderson’s recordings and performances have been met with widespread critical acclaim over the past several decades. Since his successes at the 1993 Leeds (U.K.) and 1994 William Kapell (U.S.) International Piano Competitions, Anderson has appeared frequently as recitalist, soloist and chamber musician. He has performed in Japan, throughout much of Europe and Great Britain, Ireland and North America. Anderson has collaborated with conductors such as Sir Simon Rattle, Nicholas McCegan, William Boughton, George Cleve, and Adam Fischer. In recital, he has appeared at New York’s Alice Tully Hall and Weill Hall, the Kennedy Center and the Phillips Gallery in Washington D.C., London’s Wigmore Hall and Zurich’s Tonhalle and elsewhere throughout Europe and North America. His solo and concerto performances are complimented by chamber music work, most recently with the newly formed Röntgen Piano Trio. The trio is committed to illuminating the darker corners of the piano trio literature while giving fresh interpretations of the masterworks in that genre. Anderson also enjoys performing two-piano repertoire with pianist Michelle Mares. �Steinway & UVic UPCOMING EVENTS 12 MAR HIGH-TECH MEETS TRADITION 2:30-6:30 PM Drop by the Phillip T. Young Recital Hall for masterclasses and demonstrations of Steinway’s SPIRIO|r, the world’s finest highresolution player piano capable of live performance capture and playback. A display of parts from a deconstructed piano plus guided virtual reality tours of the New York Steinway factory will take place in the lobby. 12 MAR EMERGING STEINWAY STARS 8 PM Join us for a concert showcasing some of the brightest piano students from the School of Music performing on the SPIRIO|r. Pre-concert SPIRIO|r demonstration at 7:30 PM 15 MAR FACULTY CONCERT: BRUCE VOGT 2:30 PM School of Music professor Bruce Vogt performs a dynamic solo program of piano works by Chopin and Liszt. Pre-concert talk at 1:30 PM: Bruce Vogt will discuss two titans of the piano—Chopin and Liszt—and their very different paths. Admission by donation Phillip T. Young Recital Hall, University of Victoria All proceeds will benefit our Steinway Legacy Fund, dedicated to the enhancement and expansion of our instruments. Online donations may be made at: https://extrweb.uvic.ca/donation-forms/faculty-of-fine-arts School of Music � Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/030520-MAndersonGuest/030520-MAndersonGuest_01.mp3">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/030520-MAndersonGuest/030520-MAndersonGuest_02.mp3">Track 2<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/guest/030520-MAndersonGuest/030520-MAndersonGuest_03.mp3">Track 3<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/guest/030520-MAndersonGuest/030520-MAndersonGuest_04.mp3">Track 4<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/guest/030520-MAndersonGuest/030520-MAndersonGuest_05.mp3">Track 5</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Steinway & UVic - Mark Anderson Creator An entity primarily responsible for making the resource Ila Zbarsky Date A point or period of time associated with an event in the lifecycle of the resource March 5, 2020 Contributor An entity responsible for making contributions to the resource Mark Anderson, piano https://finearts.uvic.ca/music/archive/files/original/27e8ce76f9db4131991fe6cdf9c0e725.pdf 03b280c2d6e03cd3406cb52001911757 PDF Text Text DEGREE RECITAL Taylor Fawcett, tenor Grisha Krivchenia, piano March 4, 8:00pm Phillip T. Young Recital Hall, MacLaurin Building Free admission PROGRAM Mass in B minor, BWV 232 20. Benedictus Johann Sebastian Bach (1685-1750) Emily Morse, flute Sechs Gedichte und Requiem 1. Lied eines Schmiedes 2. Meine Rose 3. Kommen und Scheiden 6. Der Schwere Abend Robert Schumann (1810-1856) Trois Mélodies 1. La statue de bronze 2. Daphénéo 3. Le chapelier Erik Satie (1866-1925) Canticle IV: "The Journey of the Magi", Op. 86 Carson Moore, countertenor Louis Dillon, baritone Benjamin Britten (1913-1976) — INTERMISSION — Farewell to Arms Gerald Finzi (1901-1956) Don Giovanni Act I: Ma qual mai s’offre, oh Dei…..Fuggi, crudele, fuggi! Wolfgang Amadeus Mozart (1756-1791) Chelsea Kutyn, soprano Cinco Canciones Populares Argentinas 1. Chacarera 2. Triste 3. Zamba 4. Arrorró 5. Gato Alberto Ginastera (1916-1983) 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 turn off all cell phones. � Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/030420-TFawcettVoice/030420-TFawcettVoice_1.mp3">Track 1<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030420-TFawcettVoice/030420-TFawcettVoice_2.mp3">Track 2<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030420-TFawcettVoice/030420-TFawcettVoice_3.mp3">Track 3<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030420-TFawcettVoice/030420-TFawcettVoice_4.mp3">Track 4<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030420-TFawcettVoice/030420-TFawcettVoice_5.mp3">Track 5<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030420-TFawcettVoice/030420-TFawcettVoice_6.mp3">Track 6<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030420-TFawcettVoice/030420-TFawcettVoice_7.mp3">Track 7</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 Taylor Fawcet - Degree Recital Creator An entity primarily responsible for making the resource Ila Zbarsky Date A point or period of time associated with an event in the lifecycle of the resource March 4, 2020 Contributor An entity responsible for making contributions to the resource Taylor Fawcet, tenor Grisha Krivchenia, piano Emily Morse, flute Carson Moore, countertenor Louis Dillon, baritone Chelsea Kutyn, soprano Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/030420-C.FungViolinRecital/030420-C.FungViolinRecital_01.mp3">Track 1<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030420-C.FungViolinRecital/030420-C.FungViolinRecital_02.mp3">Track 2</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 Carl Fung Violin Recital Creator An entity primarily responsible for making the resource Ila Zbarsky Date A point or period of time associated with an event in the lifecycle of the resource March 4, 2020 Contributor An entity responsible for making contributions to the resource Carl Fung, Violin https://finearts.uvic.ca/music/archive/files/original/78c7acbe960c7156b7ebf8e75e44a729.pdf f9ed37d4261716e09f5b0a7b9cb3ce41 PDF Text Text School of Music Tuesdaymusic Phillip T. Young Recital Hall, University of Victoria March 3, 2020 • 12:30 p.m. Beverley for solo flute Connie Goetz, flute Ian Clarke (b.1964) Rapid Fire Rhiannon Jones, flute Jennifer Higdon (b.1962) Partita No. 2 in D minor, BWV 1004 I. Allemande IV. Giga Dante André-Kahan, guitar Johann Sebastian Bach (1685–1750) Vals No. 4, Op. 8 Nima Kolmohammadi, guitar Augustin Barrios Mangoré (1885–1944) Paisajes La fuente y la campana El largo Carros de galicia Jorge Carrizales, piano Oboe Sonata in A minor, TWV 41:a3 II. Spirituoso III. Andante Kiara Hosie, oboe Chapmann Wong, piano Frederic Mompou (1892–1987) Georg Philipp Telemann (1681–1767) UPCOMING AT THE SCHOOL OF MUSIC WEDNESDAY, MARCH 4 | 12:30 PM (Free admission) First-Year Recital: Carl Fung, violin (MMus) Carl Fung presents his Master of Music first-year recital for violin performance. Phillip T. Young Recital Hall WEDNESDAY, MARCH 4 | 12:30 - 2:20 PM (Free admission) Ideafest: Where are the women composers? Suzanne Snizek, Associate Professor, School of Music and Sikata Banerjee, Professor, Gender Studies With School of Music flute students Emily Morse, Lisa Matsugu, Charlie Mason, and Rhiannon Jones Music is widely perceived as the most abstract art form. It might be surprising to learn that, even in 2020, there are significant challenges and barriers to women who are composing music. Until very recently we accepted a patriarchal conception of art music that routinely ignored both the historical contributions by women and also the achievements and contributions of women in the contemporary classical music industry. Through performances of four solo flute works by female composers as well as a discussion with the performers and scholars, this Ideafest session will explore the reasons why female composers have been excluded, ignored or sidelined.The Farquhar at Phillip T. Young Recital Hall � Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/030320-TuesdayMusic/030320-TuesdayMusic_01.mp3">Track 1<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030320-TuesdayMusic/030320-TuesdayMusic_02.mp3">Track 2<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030320-TuesdayMusic/030320-TuesdayMusic_03.mp3">Track 3<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030320-TuesdayMusic/030320-TuesdayMusic_04.mp3">Track 4<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030320-TuesdayMusic/030320-TuesdayMusic_05.mp3">Track 5<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030320-TuesdayMusic/030320-TuesdayMusic_06.mp3">Track 6</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tuesday Music Creator An entity primarily responsible for making the resource Ila Zbarsky Date A point or period of time associated with an event in the lifecycle of the resource March 3, 2020 Contributor An entity responsible for making contributions to the resource Connie Goetz, flute Rhiannon Jones, flute Dante André-Kahan, guitar Nima Kolmohammadi, guitar Jorge Carrizales, piano Kiara Hosie, oboe Chapmann Wong, piano https://finearts.uvic.ca/music/archive/files/original/091dc2f3a0f5eb3d9dff61ea65fd4e4a.pdf 7ae1aaf08f28e1211611e642240167c6 PDF Text Text DEGREE RECITAL Cassidy Stahr, mezzo-soprano 2 March 2020, 20:00 Phillip T. Young Recital Hall, MacLaurin Building Free admission �Program Sonetto proemio dell’opera: Mercé di voi Barbara Strozzi (1619 – 1677) Olivia Duffin, soprano I Chris Bork, guitar Fünf Lieder, IAM 2 I. II. III. IV. V. Alma Mahler (1879 – 1964) Die stille Stadt In meines Vaters Garten Laue Sommernacht Bei dir ist es traut Ich wandle unter Blumen Sandra Fletcher, piano Tres poemas de Ítaca I. II. III. Trey Daugherty (b. 1988) El orden Fiesta La espera Lea Fetterman, violin Amanda Steinemann, viola Aline Gilbert-Thévard, cello ~ INTERMISSION ~ Twelve Poems of Emily Dickinson I. II. III. IV. V. VI. VII. VIII. IX. X. XI. XII. Nature, the gentlest mother There came a wind like a bugle Why do they shut me out of Heaven? The world feels dusty Heart, we will forget him Dear March, come in! Sleep is supposed to be When they come back I felt a funeral in my brain I’ve heard an organ talk sometimes Going to Heaven! The Chariot Jorge Carrizales, piano Aaron Copland (1900 – 1990) �Translations Sonetto proemio dell’opera – Strozzi “Introduction sonnet” I give thanks to you, my star of good fortune, With Pindar’s* flight among blessed choirs And crowned with immortal laurels Perhaps I will be called the new Sappho. ** And so, it is a difficult and beautiful task To be happy in song and in love; When our voices unite, our hearts Can never be separated by a rebellious desire. Oh! Such a pleasant and soft harmony To create two loving and faithful souls, So that one wishes for the desires of the other. To rejoice in happiness, laughter upon laughter, Never sighing, unless the sigh comes From a death that heals and does not kill. Italian text: Giulio Strozzi Translation: C. Stahr * Pindar (d. 438 BCE) was a Greek poet who is considered one of the greatest poets of his time. He wrote about classic Greek folklore in the form of odes, most commonly referred to as “victory odes.” These poems would begin with an invocation to a Greek deity. ** Sappho (d. 550 BCE) was also a Greek poet. She wrote erotic lyric poetry intended to be sung and accompanied by a lyre. Fünf Lieder, IAM 2 – Mahler Five Songs I. Die stille Stadt “The silent town” A town lies in the valley; A pallid day fades. It will not be long now Before neither moon nor stars But only night will be seen in the heavens. From all the mountains Fog presses down upon the town; �No roof may be discerned, no yard nor house, No sound penetrates through the smoke, Barely even a tower or a bridge. But as the traveler became filled with dread A little light shone out, And through smoke and fog A song of praise began, Sung by children. German text: Richard Dehmel Translation: © 2015 Sharon Krebs, used with permission II. In meines Vaters Garten “In my father’s garden” In my father's garden -Bloom, my heart, bloom forth! -In my father's garden Stands a leafy apple tree -Sweet dream -Stands a leafy apple tree. Three blonde King’s daughter’s – Bloom, my heart, bloom forth – Three wondrous maidens Slept under the apple tree – Sweet dream – Slept under the apple tree. The youngest of the fine ladies -Bloom, my heart, bloom forth! -The youngest of the fine ladies Blinked but did not awake -Sweet dream -Blinked but did not awake. The second moved a hand over her hair -Bloom, my heart, bloom forth! -Saw the red morning's dream-Sweet dream -She spoke: Did you not hear the drum? Bloom, my heart, bloom forth! -Sweet dream -Clearly through the twilight space. My beloved joins me on the battlefield -Bloom, my heart, bloom forth -My beloved joins me on the battlefield, Kisses me as the victor on the hem of my uniform -Sweet dream -Kisses me on the hem of my uniform. �The third spoke -- and spoke so softly -Bloom, my heart, bloom forth! -The third spoke -- and spoke so softly -I kiss the hem of my beloved's uniform. Sweet dream -I kiss the hem of my beloved's uniform. In my father's garden -Bloom, my heart, bloom forth! -In my father's garden Stands a sunny apple tree -Sweet dream -Stands a sunny apple tree. German text: Otto Hartleben Translation: Emily Ezust, from the LiederNet Archive, https://www.lieder.net/, ed. Stahr III. Laue Sommernacht “Mild summer night” Mild summer night, in the sky There are no stars; in the wide woods We searched deep in the darkness And we found ourselves. We found ourselves in the wide woods, In the night, the starless night; We held ourselves in wonder in each other's arms In the dark night. Was not our entire life Simply groping, simply searching? There, into its darkness Tumbled your light, Love. German text: Otto Bierbaum Translation: Emily Ezust IV. Bei dir ist es traut “I am at ease with you” I am at ease with you, faint clocks strike as from olden days, Come, tell your love to me, But not too loud! Somewhere a gate moves Outside in the drifting blossoms, Evening listens in at the window panes, Let us stay quiet, So no one knows of us! �German text: Rainer Maria Rilke Translation: Knut W. Barde V. Ich wandle unter Blumen “I wander among the flowers” I wander among the flowers And blossom myself along with them; I wander as if in a dream And sway with every step. Oh, hold me tightly, my beloved! Or, drunk with love, I will collapse at your feet; And the garden is full of people! German text: Heinrich Heine Translation: Emily Ezust Tres Poemas de Ítaca – Daugherty Three Poems of Ithaca Spanish text: Francisca Aguirre Translations: Ana Valverde Osan I. El orden “Orderliness” We should do something other than dying, but often death happens upon us so quietly that only after a certain time do we know we are inhabiting our own corpse. Had we been warned, if only a gesture had indicated the decay that inhabited us, perhaps we might have fought against the slow enemy. But there was a silence like orderliness, retreating only to return later, like the flow of a moderate tide. No one wished to give us the bad news, no one wished to warn us about the disaster. �Perhaps because death started turning me strange, and the old words did not suffice, and it was only possible to look, to look at how death moves forward. And now, from the other side of silence, I also examine that look, that gaze that does not ask but gives, that future without a future and I start crying about life telling myself: Penelope, we should do something other than dying. II. Fiesta “The Party” Sunday falls over me, it falls with the slow pace of things final, always with the disintegration of things without cause, of what lives without a reason, of what begins on something that closes; it falls like a soft rain from a cloudless sky: it rains on Sunday for no one, like a refuted event, like a corpse that might have a fever; it falls and I fall, too, and perhaps the world also falls, and everything falls I know not where, and, like a river, it keeps on falling, or it falls simply like a Sunday, like an abandoned number that lost its meaning when we opened our hand so that the white page could fall from the palm of our hand to the ground. III. La espera “The Wait” The best thing we can do is not get scared. I know it is very difficult to grip fear. But fear also binds. It is a matter of knowing it and not underestimating that wisdom. Patience, a lot of patience, �in the midst of terror one can also have patience; I would almost say it is essential. One must move carefully, figure out movements well: a step in the wrong direction can mean destruction. Fear, of course. A lot of fear: no one wants to disintegrate. But fear also integrates. One must not forget it. Take it for granted: this task is no fun, but in instances such as the present one the best thing to do is look at things with realism. Nothing helps as much as reality. The best we can do is look affectionately at consolation; when one is afraid, words of comfort should not be turned down. Anyone may die, but to die alone takes longer. And if fear keeps growing, one must lean one’s back against another’s. It is soothing. It inspires a certain sense of security while the wait lasts, Telemachus, my son. Poetry in the 12 Poems of Emily Dickinson – Copland I. Nature, the gentlest mother Nature, the gentlest mother Impatient of no child, The feeblest or the waywardest, Her admonition mild. In forest and the hill By traveller is heard, Restraining rampant squirrel Or too impetuous bird. How fair her conversation, A summer afternoon, Her household, her assembly; And when the sun goes down Her voice among the aisles Incites the timid prayer Of the minutest cricket, The most unworthy flower. When all the children sleep �She turns as long away As will suffice to light her lamps; Then, bending from the sky, With infinite affection And infiniter care, Her golden finger on her lip, Wills silence everywhere. II. There came a wind like a bugle There came a wind like a bugle; It quivered through the grass, And a green chill upon the heat So ominous did pass. We barred the windows and the doors As from an emerald ghost; The doom’s electric moccasin That very instant passed. On a strange mob of panting trees, And fences fled away, And rivers where the houses ran The living looked—that Day— The bell within the steeple wild The flying tidings whirled. How much can come And much can go, And yet abide the world! III. Why do they shut me out of Heaven? Why do they shut me out of Heaven? Did I sing too loud? But I can sing a little minor, timid as a bird. Wouldn’t the angels try me just once more, Just see if I troubled them? But don’t shut the door. Oh, if I were the gentlemen in the white robes And they were the little hand that knocked… Could I forbid? Why do they shut me out of Heaven? Did I sing too loud? IV. The world feels dusty The world feels dusty when we stop to die. We want the dew then; honors taste dry. Flags vex a dying face, but the least fan Stirred by a friend’s hand cools like the rain. Mine be the ministry when thy thirst comes. Dews of thyself to fetch, and holy balms. �V. Heart, we will forget him Heart, we will forget him. You and I, tonight. You may forget the warmth he gave, I will forget the light. When you have done, pray, tell me, That I my thoughts may dim; Haste, lest while you’re lagging, I may remember him. VI. Dear March, come in! Dear March, come in! How glad I am, I looked for you before! Put down your hat; you must have walked. How out of breath you are! Dear March, how are you… and the rest? Did you leave Nature well? Oh, March, come right upstairs with me, I have so much to tell! I got your letter, and the bird’s. The maples never knew that you were coming. I declare, how red their faces grew! But March, forgive me, And all those hills you left for me to hue. There was no purple suitable; You took it all with you. Who knocks? That April? Lock the door! I will not be pursued. He stayed away a year To call when I am occupied. But trifles look so trivial As soon as you have come. And blame is just as dear as praise, And praise as mere as blame. VII. Sleep is supposed to be Sleep is supposed to be – By souls of sanity – The shutting of the eye. Sleep is the station grand. By which on either hand The hosts of witness stand. Morn is supposed to be – By people of degree – The breaking of the day. �Morning has not occurred! That shall aurora be East of Eternity; One with the banner gay, One in the red array, That is the break of day. VIII. When they come back When they come back, if blossoms do, I always feel a doubt If blossoms can be born again When once the art is out. When they begin, if robins do, I always had a fear I did not tell, it was their last experiment Last year. When it is May, if May return, Has nobody a pang That on a face so beautiful We might not look again? If I am there, One does not know What party one may be Tomorrow, but if I am there I take back all I say. IX. I felt a funeral in my brain I felt a funeral in my brain, And mourners to and fro, Kept treading, treading, till it seemed That sense was breaking through. And when they all were seated A service like a drum Kept beating, beating, till I thought My mind was going numb. And then I heard them lift a box, And creak across my soul With those same boots of lead, again. Then space began to toll As all the heavens were a bell, And being but an ear, And I and silence, some strange race, Wrecked, solitary, here. X. I’ve heard an organ talk sometimes I’ve heard an organ talk, sometimes In a cathedral aisle, �And understood no word it said, Yet held my breath, the while. And risen up and gone away, A more Bernardine girl And know not what was done to me In that old hallowed aisle. XI. Going to Heaven! Going to Heaven! I don’t know when, Pray do not ask me how, – Indeed I’m too astonished To think of answering you! Going to Heaven! – How dim it sounds! And yet it will be done As sure as flocks go home at night Unto the shepherd’s arm! Perhaps you’re going too! Who knows? If you should get there first Save just a little place for me Close to the two I lost! The smallest “robe” will fit me, And just a bit of “crown”; For you know we do not mind our dress When we are going home. Going to Heaven! I’m glad I don’t believe it For it would stop my breath, And I’d like to look a little more At such a curious earth! I am glad they did believe it Whom I have never found Since the mighty autumn afternoon I left them in the ground. XII. The Chariot Because I would not stop for Death — He kindly stopped for me — The carriage held but just ourselves — and Immortality. We slowly drove — he knew no haste, And I had put away My labour, and my leisure too For His Civility — We passed the school, where children played, Their lessons scarcely done. �We passed the fields of gazing grain, We passed the setting sun. We paused before a house that seemed a swelling of the ground; The roof was scarcely visible, The cornice but a mound. Since then ’tis centuries; but each Feels shorter than the day I first surmised the horses’ heads Were toward eternity. Bios Trey Daugherty (b. 1988) is an American composer living in Tennessee where he is active as an organist and voice instructor. His works include the ballet "Appalachian Winter", "Overture for St. Cecilia Day" for Organ and Orchestra, the cantatas "For He Was King" and "Requiem from the Highlands", and several works for chamber groups. Most recently he attended the Composing for Choirs summer course at Oxford University, England. Francisca Aguirre (1930 – 2019), poet of the Tres Poemas song set, was born in Alicante, Spain. When she was fifteen, she joined the workforce as a secretary, and later became an editor of literary texts, a translator, and a writer of encyclopedias. Like many other contemporary poets, she started to publish late in life. Ithaca, which is a collection of poems reimagining Homer’s Odyssey from the perspective of Odysseus’ wife, Penelope, was Aguirre’s first published book, and it earned her the Leopoldo Panero award in 1971. Program Notes This program encapsulates fragments of life; it is a collection which begins with joyful and bittersweet memories and, as the evening progresses, time becomes fleeting, and the concept of a finite end – of joy and of existence – permeates in the speaker’s mind. An exploration begins: how does one prepare to leave the Earth? What are the emotional journeys one takes to come to accept that life is a cycle that must end with death? I selected the works for this evening on the basis of these themes, but I was also programming on a principle of gender equality, an issue in which, as a woman, I strongly believe. I accounted for composers as well as writers and poets. Notably, Twelve Poems composer Aaron Copland wondered aloud if “there [was] a mysterious element in the nature of musical creativity that runs counter to the nature of the feminine mind,” and I assure you that the compositions I have chosen tonight prove him wrong. I have been fascinated by Greek mythology since I was little, and my program happens to reflect my fascination, incorporating a handful of references to Ancient Greece. Following the reference to famed poets Pindar and Sappho in the text of Strozzi’s Mercé di voi, the most poignant �example is in Trey Daugherty’s Tres Poemas de Ítaca, which uses text from Francisca Aguirre’s epic poem; it tells the story of Homer’s Odyssey from the perspective of Penelope. She stays, alone, on the island of Ithaca with her son, Telemachus, desperate for a sign that Odysseus will return to keep her suitors at bay. Her sanity is unraveling, yet she is contemplative in her confinement, and her realizations are universally relatable. Trey and I were introduced to one another in Oxford last year at the summer program he mentioned in his bio. He and I were fast friends, and I became interested in his style of composition after having studied some of his choral works while we were both attending the college. He composed Tres Poemas for this occasion, and I chose the text. Although I don’t speak Spanish fluently, I enjoy the beauty of the language, and I have hardly given myself much opportunity to sing it. I spent hours sitting in the McPherson Library reading (translated) works of female Spanish poets before deciding to select excerpts from Aguirre’s Odyssey-themed collection. Her entire poem is available in paperback format with intermixed English translations by Dr. Ana Osan, and I have brought my own copy of it to the Music Lounge. It will be available to browse during intermission and after the show. Whereas Mahler’s Fünf Lieder is comprised of tableaux in five different literary voices, Copland’s Twelve Poems of Emily Dickinson is more streamlined, in my interpretation, because every poem is central to the character of its author. Dickinson lived a private, secluded life throughout adulthood, and at 14 years old she had her first close encounter with Death: she was profoundly affected by the loss of her second cousin, so much so that she had to take time away from her educational institute and move back in with her family. None of the Twelve Poems performed tonight were intended for the public; Dickinson’s younger sister found her collection and published it after her death. She wrote for an audience of only herself, and that is why these poems tend to portray such intense emotions. “I had no intention of composing a song cycle,” wrote Copland. His interest in the Dickinson poems began with The Chariot and he gradually added others. The cycle is Copland’s longest work for solo voice. He explained, “Each song is meant to be complete in itself, but I prefer them to be sung as a cycle. They seem to have a cumulative effect.” The Chariot is the only song that does not derive from the first line of the poem. It was this Dickinson poem that sparked Copland’s interest in her writings. He wrote, “The first lines absolutely threw me: Because I could not stop for Death, he kindly stopped for me; the carriage held but just ourselves and immortality.” - Vivian Perlis �Cassidy is from the class of Prof. Susan Young This recital is presented in partial fulfillment of the requirements for the Bachelor of Music (Performance) program. � Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/030220-CStahrVoice/030220-CStahrVoice_1.mp3">Track 1<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030220-CStahrVoice/030220-CStahrVoice_2.mp3">Track 2<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030220-CStahrVoice/030220-CStahrVoice_3.mp3">Track 3<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030220-CStahrVoice/030220-CStahrVoice_4.mp3">Track 4<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030220-CStahrVoice/030220-CStahrVoice_01_05.mp3">Track 5</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cassidy Stahr - Degree Recital Creator An entity primarily responsible for making the resource Ila Zbarsky Date A point or period of time associated with an event in the lifecycle of the resource March 2, 2020 Contributor An entity responsible for making contributions to the resource Cassidy Stahr, Mezzo-Soprano Olivia Duffin, soprano I Chris Bork, guitar Sandra Fletcher, piano Lea Fetterman, violin Amanda Steinemann, viola Aline Gilbert-Thévard, cello Jorge Carrizales, piano https://finearts.uvic.ca/music/archive/files/original/75b21ce2a1b66d89f6177035f56f38ce.pdf 99684840f1d598517166c76fb5b8fe2d PDF Text Text PIANO STUDIO RECITAL Students from the studio of May Ling Kwok SUNDAY, MARCH 2, 2020 | 2 PM Phillip T. Young Recital Hall, MacLaurin Building Admission by donation PROGRAM Scherzo in E Major, Op. 54 Carey Wang “Golliwogg’s Cakewalk” from Children’s Corner Jack Wang Concerto No. 2 in B-flat Major, Op. 19 I. Allegro con brio Taya Lee Frédéric Chopin (1810–1849) Claude Debussy (1862–1918) Ludwig van Beethoven (1770–1827) French Suite in G Major, BWV 816 I. Allemande II. Courante J. S. Bach (1685–1750) Holberg Suite, Op. 40 I. Praeludium Jizelle Balae* Edvard Grieg (1843-1907) Piano Sonata No. 13 in B-flat Major, K. 333 I. Allegro Ryan Qu* W. A. Mozart Fantasiestücke Op. 12 I. Des Abends Robert Schumann (1810–1856) Feux d’artifice Claude Debussy Nancy Lin* Faschingsschwank aus wien, Op. 26 II. Romanze III. Scherziono IV. Intermezzo Boyana Makedonska* I NT E R M I S S I O N Robert Schumann �J. S. Bach Partita in C Minor, BWV 826 I. Sinfornia II. Allemende IV. Sarabande Lucas Hung “The Lark” from A Farewell to Saint Petersburg by Glinka Mikhail Glinka (1837–1910) Transcribed by Mily Balakirev (1837–1910) Felina Yang Sonata in C Minor, Op. 13 (“Pathetique”) I. Grave – Allegro di molto e con brio Jasmine Zhang L. van Beethoven Robert Schumann Papillons, Op. 2 Bonnie Lu Valses nobles et sentimentales Johnathan Devey* Estampes I. Pagodes III. Jardins sous la pluie Rebecca Toews* *Students from the School of Music, University of Victoria We acknowledge with respect the Lekwungen peoples on whose traditional territory the university stands and the Songhees, Esquimalt and WSÁNEĆ peoples whose historical relationships with the land continue to this day. Maurice Ravel (1875–1937) Claude Debussy � Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/030120-PianoStudioRecitalKwok/0301200-PianoStudioRecitalKwok_1.mp3">Track 1<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030120-PianoStudioRecitalKwok/0301200-PianoStudioRecitalKwok_2.mp3">Track 2<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030120-PianoStudioRecitalKwok/0301200-PianoStudioRecitalKwok_3.mp3">Track 3<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030120-PianoStudioRecitalKwok/0301200-PianoStudioRecitalKwok_4.mp3">Track 4<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030120-PianoStudioRecitalKwok/0301200-PianoStudioRecitalKwok_5.mp3">Track 5<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030120-PianoStudioRecitalKwok/0301200-PianoStudioRecitalKwok_6.mp3">Track 6<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030120-PianoStudioRecitalKwok/0301200-PianoStudioRecitalKwok_7.mp3">Track 7<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030120-PianoStudioRecitalKwok/0301200-PianoStudioRecitalKwok_8.mp3">Track 8<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030120-PianoStudioRecitalKwok/0301200-PianoStudioRecitalKwok_9.mp3">Track 9<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030120-PianoStudioRecitalKwok/0301200-PianoStudioRecitalKwok_10.mp3">Track 10<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030120-PianoStudioRecitalKwok/0301200-PianoStudioRecitalKwok_11.mp3">Track 11<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030120-PianoStudioRecitalKwok/0301200-PianoStudioRecitalKwok_12.mp3">Track 12<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030120-PianoStudioRecitalKwok/0301200-PianoStudioRecitalKwok_13.mp3">Track 13<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030120-PianoStudioRecitalKwok/0301200-PianoStudioRecitalKwok_14.mp3">Track 14<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/030120-PianoStudioRecitalKwok/0301200-PianoStudioRecitalKwok_15.mp3">Track 15</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 - Piano Students of May Ling Kwok Creator An entity primarily responsible for making the resource Ila Zbarsky Date A point or period of time associated with an event in the lifecycle of the resource March 2, 2020 Contributor An entity responsible for making contributions to the resource Carey Wang Jack Wang Taya Lee Jizelle Balae Ryan Qu Nancy Lin Boyana Makedonska Lucas Hung Felina Yang Jasmine Zhang Bonnie Lu Johnathan Devey Rebecca Toews