76 10 1498 https://finearts.uvic.ca/music/archive/files/original/271f827de60f9cdfbffdf5304c0f5b94.pdf de0b518d572221510f315e4aac765656 PDF Text Text School of Music fridaymusic Phillip T. Young Recital Hall, University of Victoria March 22, 2019 • 12:30 p.m. Featuring School of Music woodwind students Der Hirt auf dem Felsen Franz Schubert I. Andantino-Allegretto (1797–1828) Ai Horton, soprano Channing Mar, clarinet Emily Markwart, piano Anton Reicha (1770–1836) Sinfonico for Four Flutes II. Andante Connie Goetz, Jessica Shaw, Charlie Mason, Jasmine Riseley, flutes Three Romances for oboe and piano I. Nicht Schnell Janie Sinn, oboe Jerry Xiong, piano Robert Schumann (1810–1856) Carl Nielsen (1865–1931) Wind Quintet Op. 43 II. Andante Jamie Crystal, flute Anna Betuzzi, oboe Chaning Mar, clarinet Rio Lagos Davidson, bassoon Sarah Mullane, horn Chelsea Bridge Michael Vielguth, soprano saxophone Connor Stairs, alto saxophone Skye Eriksen, tenor saxophone Kayla Izon, baritone saxophone Sextuor II. Divertissement: Andantino Emily Morse, flute Janie Sinn, oboe Alec Kan, clarinet Wilson Kyne, bassoon Allie Bertholm, horn Jorge Carrizales, piano Billy Strayhorn (arr. Billy Kerr) (1915–1967) Francis Poulenc (1899–1963) UPCOMING AT THE SCHOOL OF MUSIC TUESDAY, OCTOBER 9 | 12:30 PM (By donation) Faculty Concert Series Suzanne Snizek, flute & Yoomi Kim, piano A concert of music by composers whose creative works were hindered or suppressed by political regimes, including Russian “nonconformist” Edison Denisov, Korean composer Isang Yun, and German composer Günter Raphael. Phillip T. Young Recital Hall FRIDAY, OCTOBER 12 | 8 PM ($10-$20) UVic Wind Symphony: Now and Then Dr. Steven Capaldo, conductor Join the UVic Wind Symphony conducted by Dr. Steven Capaldo for the opening concert of their 2018/19 series. The Farquhar at UVic, University Centre SATURDAY, OCTOBER 13 | 8 PM ($10-$25) � 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. 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Title A name given to the resource Friday Music Creator An entity primarily responsible for making the resource Bezal Benny Date A point or period of time associated with an event in the lifecycle of the resource March 22, 2019 Contributor An entity responsible for making contributions to the resource Featuring School of Music woodwind students https://finearts.uvic.ca/music/archive/files/original/3e0675df0fc262ad4770180636493494.pdf 82193b4ae620369c0d261dfbb26f85a2 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC S ON I C L A B Directed by Anna Höstman and Richard Charter We respectfully 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. Friday, March 22, 2019 • 8 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation �PROGRAM Zwölftonspiele (1957) Taya Haldane, flute Rhiannon Jones, flute Brian Mony, accordion Emily Markwart, piano primo Ethan Hill, piano secondo Natalie Dzbik, violin Rachel Burtman, double bass Modré Kvety (2018) Anna Betuzzi, oboe Liam Epp, cello Liam Pistor, piano Walk (1976) Ada Qian, flute Ethan Hill, piano Lamento (2010) Julien Haynes, violin Serena Bodi, violin I NT E R M I S S I O N Josef Matthias Hauer (1883–1959) Adrian Demoč (b. 1985) Jo Kondo (b. 1947) Linda Catlin Smith (b. 1957) �Festina Lente (1990) Peter Hatch (b. 1957) Alex Chernata, clarinet Alec Kay, clarinet Channing Mar, clarinet For 1, 2 or 3 People (1964) VII & VIII Christian Wolff (b. 1934) Rhiannon Jones, flute Taya Haldane, flute Alina Liang, clarinet Laconisme de L’Aile (1982) Emily Morse, flute Richard Charter, live electronics Damage Transactualiser (2018) I. Cooling Component II. Impact Component III. Corrobeo Kaija Saariaho (b. 1952) Cashton McGillivray (b. 1995) Brandon Bronson, keyboard 1 (marimba) Cashton McGillivray, keyboard 2 (glockenspiel, xylophone, piano) Lachlan Barry, percussion 1 (cymbals, tambourine, conga) Colin Malloy, percussion 2 (suspended cymbal, bass drum, woodblock, tom toms, triangle, vibraphone) With thanks to Sean Kiley, Adrian Demoč, Christopher Butterfield, Peter Hatch, Cashton McGillivray and Bill Linwood for your assistance. And special appreciation to all the Sonic Lab performers for your wonderful musicality and dedication! � Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/032219-SonicLab/032219-SonicLab_1.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032219-SonicLab/032219-SonicLab_2.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032219-SonicLab/032219-SonicLab_3.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032219-SonicLab/032219-SonicLab_4.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032219-SonicLab/032219-SonicLab_5.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032219-SonicLab/032219-SonicLab_6.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032219-SonicLab/032219-SonicLab_7.mp3">track7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032219-SonicLab/032219-SonicLab_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 Sonic Lab Creator An entity primarily responsible for making the resource Bezal Benny Date A point or period of time associated with an event in the lifecycle of the resource March 22, 2019 Contributor An entity responsible for making contributions to the resource Anna Höstman and Richard Charter https://finearts.uvic.ca/music/archive/files/original/d50707387b2f58e4b43684c14a21b726.pdf 881fab5fcb2dd5d5eab04f6b9a22a92e PDF Text Text DEGREE RECITAL sean kiley Saturday, March 23, 2019 20:00 Phillip T. Young Recital Hall, MacLaurin Building Free admission program Reed Richards sean kiley colin malloy, steel pan and electronics morning bells eventide dawn rising sean kiley sean Kiley, saxophone ancient cascades sean kiley timo pehkonen, pianoforte natalie dzbik, violin alexander klassen, violoncello richard charter, electric guitar — brief INTERMISSION — kyi sean kiley plane I plane II alex jang, conductor cashton mcgillivray, vibraphone colin malloy, vibraphone nicole lavallée, pianoforte rachel burtman, electric bass natalie dzbik, violin hollas longton, violin seth mcmillan, viola tara rajah, violoncello taya franson-haldane, alto flute seán maynard, tenor saxophone brodie keating, electric guitar alligator char christopher burns tbd Sean Kiley is from the class of Professor Annette Brosin This recital is presented in partial fulfillment of the requirements for the Master of Music (Composition) program. �program notes ‘reed richards’ the steel pan is being recorded in small intervals of time and is then subjected to processing in ‘real time’. colin is using the foot pedal board to trigger the recording function and the playback. he also controls the speed at which the recording is played back; almost all sounds are played back slowed down with an audio processing patch. in this way, colin is playing a duet with himself. ‘morning bells’ this is an electro-acoustic piece. the speakers play a carefully curated balance of improvised loops, synth lines, string arrangements, field recordings of church bells, and auxiliary percussion. I play saxophone and try to relate to the three phases in the piece. ‘ancient cascades’ the score is open for any instruments that can glissando + piano. players have a set of instructions and all have the same single page of music; they choose where to start and are also given optional pathways to move through the piece. ‘kyi’ there are three groups: I. vibraphone, piano, bass II. violin, violin, viola, cello III. alto flute, tenor sax, guitar listen for the relationships between the groups as well as the degree of predictability or ‘pre-audibility’. the structure is based off an exploration of psychological ideas in understanding music and a natural development thereof. ‘alligator char’ essentially all the musicians pick a sequence of cards, which include vaguely written ideas about what kind of sounds to play. nothing except for the cards and their performed order is predetermined. � 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/032319-CompositionGradRecital_S.Kiley/032319-CompositionGradRecital_S.Kiley_1.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032319-CompositionGradRecital_S.Kiley/032319-CompositionGradRecital_S.Kiley_2.mp3">track2</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Degree Recital Creator An entity primarily responsible for making the resource Bezal Benny Date A point or period of time associated with an event in the lifecycle of the resource March 23, 2019 Contributor An entity responsible for making contributions to the resource Sean Kiley https://finearts.uvic.ca/music/archive/files/original/c245e29576760345dbe46f47d9f13376.pdf fdf2f14983cd64dead3d8443e016347e PDF Text Text UVic Vocal Jazz Spring Showcase 7pm Sunday 24MARCH2019 Phillip T. Young Recital Hall A Nightingale Sang in Berkeley Square Lyric: Eric Maschwitz; Music: Manning Sherwin Featuring: Laura Smith, Addie Vasant and Katherine Allen Java Jazz with Michelle Melnicky Brian Tate I'm a Train Words and Music by Albert Hammond and Mike Hazelwod Arranged by Peter Knight Killing Me Softly With His Song Charles Fox with lyrics by Norman Gimbel; arranged by Pete Taylor Featuring Addie Vasant My Romance Featuring Katherine Allen Orange Colored Sky Featuring Addie Vasant Centerpiece John Hendriks, arranged by Waldo King Intermission When She Loved Me Randy Newman; arranged by The Idea Of North Changes David Bowie; arranged by Kelly Kunz and Amanda Kunz Featuring Emily For All We Know Sam. M. Lewis & J. Fred Coots; arranged by Peter Eldridge and Darmon Meader Virtual Insanity Jason Kay & Toby Smith; arranged by Kerry Marsh Featuring Emily, Claire & Cassidy �University of Victoria Vocal Jazz Ensemble Wendell Clanton, Director UVic Show Choir Addie Vasant Arianna Loy Sonja Skagestad Charis Tazumi Sandra Zhou Laura Schack Hana Mason Katherine Allen Matisse Edgar-Yoshihara Kaylene Chan Jo Spry Laura Smith Olivia Wheeler* Brittnie Spriel Maddie Meech Connie “Colleen” Goetz Lindsay Gilroy Isabelle Burnip-Gerhardt Carter Doyle Anderson Wang Evan Chorney John Siewert Liam Nelson Adam Swartz Patrick Schjelderup Robert Chamberland Elliot Rosin Ghendun Suzuki Robert Geislinger Vocal Jazz Studio Group Jaime Emily Axford Clay Dowdell Chris Wright Lindsey Bellmen Allie Bertholm* Ken Kosmick Ross Sutherland Cassidy Stahr Claire Dresselhuis Benedict Mendes Jordan Rettich Spice Train Katherine Allen Arianna Loy Brittnie Spriel Evan Chorney Robert Chamberland Kaylene Chan Clayton Dowdel Liam Nelson Rhythm Section Michelle Melnicky, piano Clay Dowdell, bass Will Lynch, piano Lachlan Barry, drum � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UVic Vocal Jazz Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/032419-VocalJazz/032419-VocalJazz_1.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032419-VocalJazz/032419-VocalJazz_2.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032419-VocalJazz/032419-VocalJazz_3.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032419-VocalJazz/032419-VocalJazz_4.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032419-VocalJazz/032419-VocalJazz_5.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032419-VocalJazz/032419-VocalJazz_6.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032419-VocalJazz/032419-VocalJazz_7.mp3">track7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032419-VocalJazz/032419-VocalJazz_8.mp3">track8</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032419-VocalJazz/032419-VocalJazz_9.mp3">track9</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032419-VocalJazz/032419-VocalJazz_10.mp3">track10</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032419-VocalJazz/032419-VocalJazz_11.mp3">track11</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UVic Vocal Jazz Spring Showcase Creator An entity primarily responsible for making the resource Bezal Benny Date A point or period of time associated with an event in the lifecycle of the resource March 24, 2019 https://finearts.uvic.ca/music/archive/files/original/7b9d71b2e2dd19543477aac8207ac188.pdf 741d9417d85d9f8be66fda6c2d13d2fc PDF Text Text fridaymusic School of Music Phillip T. Young Recital Hall, University of Victoria March 29, 2019 • 12:30 p.m. Featuring the UVic Chamber Singers Susan Young, conductor Breena Sulz, piano Rheann Armes, Alica Belakova, Ian Culling, Ian Dives, Olivia Duffin, Grady Forsberg Sophia Friesen, Natasha Gosling, Desiree Hall, Liz Huang, Gwen Jamieson, Jaime Kozak Emily Mahbobi, Rowan McWilliams, Benedict Mendes, Carson Moore, Emmanuel Moore, Jordan Rettich, Annika Sauser, Cassidy Stahr, Spencer van Dellen, Xuguang Zhang O Quam Gloriosum My Spirit Sang All Day The Bluebird Thomas Luis de Victoria (1548–1611) Gerald Finzi (1901–1956) Charles Villiers Stanford (1852–1924) Kieran Foss Zigeunderleben Op. 29, No. 2 Robert Schumann (1810–1856) When David Heard Kokiriko Bushi The Olive Tree Xuguang Zhang, conductor Christ the Lord is Risen Again Ave Verum Corpus Japanese Folk Song arr. W. B. Stuart Chinese Folk Song John Rutter (b. 1945) Imant K. Raminsh (b. 1943) UPCOMING AT THE SCHOOL OF MUSIC FRIDAY, MARCH 29 | 8 PM ($10, $15, $20) UVic Wind Symphony: Something Borrowed, Something Blue Jens Lindemann & Merrie Klazek, trumets, Wendell Clanton, saxophone, members of UVic Jazz Ensemble, and Steven Capaldo, conductor The second of a two-part concert series and the final performance of the UVic Wind Symphony for their 2018/19 season, this eclectic program features works that have borrowed from other composers or are inspired by jazz and Latin music. With special guest soloists Merrie Klazek (trumpet) and trumpet great Jens Lindemann, the concert finale includes a concerto for wind symphony and jazz quartet featuring Wendell Clanton on alto saxophone. The Farquhar at UVic, University Centre � 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 Chamber Singers Description An account of the resource This 24-member mixed ensemble performs both standard and lesser-known choral repertoire from a wide spectrum of composers and styles. Performing with the highest level of musicianship, choir members have extensive choral experience, strong sight-reading skills and a thirst for exploring and sharing their musical expertise. Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/032919-FridayMusic/032919-FridayMusic_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032919-FridayMusic/032919-FridayMusic_01.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032919-FridayMusic/032919-FridayMusic_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032919-FridayMusic/032919-FridayMusic_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032919-FridayMusic/032919-FridayMusic_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032919-FridayMusic/032919-FridayMusic_06.mp3">track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032919-FridayMusic/032919-FridayMusic_07.mp3">track7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032919-FridayMusic/032919-FridayMusic_08.mp3">track8</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/032919-FridayMusic/032919-FridayMusic_09.mp3">track9</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Friday Music Creator An entity primarily responsible for making the resource Bezal Benny Date A point or period of time associated with an event in the lifecycle of the resource March 29, 2019 Contributor An entity responsible for making contributions to the resource Featuring the UVic Chamber Singers https://finearts.uvic.ca/music/archive/files/original/eab3a3c6124b160346395ce369732b82.pdf bd8b440f5cac57be5e4d4e8bb1dc3fb7 PDF Text Text School of Music UVIC MUS C Faculty of Fine Arts University of Victoria �Wind Symphony UNIVERSITY OF VICTORIA Something Borrowed, Something Blue Steven Capaldo, conductor With Merrie Klazek & Jens Lindemann, trumpets & Wendell Clanton, alto saxophone 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. Friday, March 29, 2019 • 8 p.m. The Farquhar at UVic Adults: $20 / Seniors: $15 / Students & UVic alumni: $10 �PROGRAM Festive Overture, Op. 96 Dmitri Shostakovich (1906-1975) Transcribed by Donald Hunsberger Hymn to a Blue Hour John Mackey (b. 1973) “March” from Symphonic Metamorphosis Paul Hindemith on Themes of Carl Maria von Weber (1895-1963) Transcribed by Keith Wilson Julian Glover Temper* Concerto for Two Trumpets III. Eric Morales (b. 1966) Merrie Klazek & Jens Lindemann, trumpets I NT E R M I S S I O N An American in Paris George Gershwin (1898-1937) Transcribed & arranged by Jerry Brubaker The Open Cage* Deborah Baynes Four Flew Over the Hornet’s Nest Nathan Tanouye (b. 1974) Wendell Clanton, alto saxophone William Lynch, piano Rachel Burtman, bass guitar Lachlan Barry, drum kit *World premiere commissioned by the UVic Wind Symphony �PROGRAM NOTES Festive Overture, Op. 96 (1954) Dmitri Shostakovich Festive Overture was composed in 1954, in the period between Symphony No. 10 and the Violin Concerto. Its American premiere was given by Maurice Abravanel and the Utah Symphony Orchestra on November 16, 1955. In 1956, the New York Philharmonic under Dmitri Mitropoulos presented the overture in Carnegie Hall. A Russian band version of the overture was released in 1958 and utilized the standard instrumentation of the Russian military band, i.e., a complete orchestral wind, brass and percussion section plus a full family of saxhorns, ranging from the B-flat soprano down through the B-flat contrabass saxhorn. This new edition has been scored for the instrumentation of the American symphonic band. Festive Overture is an excellent curtain raiser and contains one of Shostakovich’s greatest attributes — the ability write a long sustained melodic line combined with a pulsating rhythmic drive. In addition to the flowing melodic passages, there are also examples of staccato rhythmic sections which set off the flowing line and the variant fanfares. It is truly a “festive overture.” © Donald Hunsberger Hymn to a Blue Hour (2010) John Mackey The blue hour is an oft-poeticized moment of the day — a lingering twilight that halos the sky after sundown but before complete darkness sets in. It is a time of day known for its romantic, spiritual, and ethereal connotations, and this magical moment has frequently inspired artists to attempt to capture its remarkable essence. This is the same essence that inhabits the sonic world of John Mackey’s Hymn to a Blue Hour. © Jake Wallace �“March” from Symphonic Metamorphosis on Themes of Carl Maria von Weber (1943) Paul Hindemith The Symphonic Metamorphosis on Themes of Carl Maria von Weber came into being in 1943, while Hindemith was living in America. He was first invited to arrange the music for a ballet on Weber’s themes. That project fell through when it became clear that he and the choreographer, Leonide Massine, did not see eye to eye.This left Hindemith free to take Weber’s source material in the direction he pleased. He used themes from Weber’s little-known piano duets and from his incidental music for the play Turandot, which had also inspired Puccini’s famous opera. Hindemith casts the Symphonic Metamorphosis in four movements. The final “March” made its way into the band repertoire in 1950 when the director of bands at Yale, Keith Wilson, completed this transcription. © Andy Pease Temper (2019) Julian Glover As the youngest of three strong-minded siblings, I have been well acquainted with the character of temperament in its many shapes. Using the theme of Something Blue, I chose to write this piece about anger. Temper focuses on anger and its related emotions, how it is not always the fiery blaze that we often think it is. Temper explores the melancholy, the frustration, the restlessness of anger — a temper tantrum if you will. You will hear two main themes which begin morose and develop throughout the piece. The themes become mixed with a syncopated rhythmic figure, conveying restlessness. Interspersing the themes are sections of chaos; you might see where the form builds to full rage and calms into melancholy. © Julian Glover �Concerto for Two Trumpets (2013) Eric Morales This three-movement work can be best described as a celebration of all that is great about the trumpet. In keeping with my philosophy of the importance of melody, each movement is carefully crafted to entertain and engage the listener. The piece was designed specifically for two Bflat trumpets. My goal was to have the two soloists as “equals,” so there are several passages where both soloists are playing in unison.This fortifies the melodic passages with a deep, full sounding chorus effect. Each soloist has an opportunity to shine. © Eric Morales An American in Paris (1928) George Gershwin Gershwin was best known as a writer of music for the entertainment market, but he did make several excursions into the realm of art music. One of these was the result of a brief visit to Paris in 1926 (from which he returned with a French taxicab horn and the sketch of a melody) and a longer stay in 1928. He made use of both the horn and the melody while writing this piece during his second visit. He called the work a “rhapsodic ballet.” His description follows: “I have not endeavored to present any definite scenes in this music. The rhapsody is programmatic in a general impressionistic sort of way, so that the individual listener can read into the music such episodes as his imagination pictures for him. The opening section is followed by a rich ‘blues’ with a strong rhythmic undercurrent. Our American friend, perhaps after strolling into a cafe, has suddenly succumbed to a spasm of homesickness.The blues rises to a climax followed by a coda in which the spirit of the music returns to the vivacity and bubbling exuberance of the opening part with its impressions of Paris.” © Program notes for band �The Open Cage (2019) Deborah Baynes The Open Cage was inspired by my wall clock with 12 different bird songs. For years I imagined how I would make this into a symphony. Most of my pieces have humor in them and this piece especially does. The title is a mockery of John Cage and there are several little bits to listen for: the Colonel Bogey March by FJ Ricketts, The Lark by Balakiev, Notturno by Grieg and ‘the Duck’ from Peter and the Wolf by Prokofiev. The piano part is meant to sound like a broken music box and the organ acts as a drone. The lower brass and wind instruments play an important role — they are the waves of sound giving the piece a pulsating momentum that gradually moves upwards toward the sky.There are 28 different birds played by the higher wind instruments and percussion. It begins with “Silence” then doves start cooing, the “Cage Opens” and the birds come out to sing. This piece was written for Project Ignite and I am so grateful to Dr. Capaldo and the UVic Wind Symphony for this opportunity. © Deborah Baynes Four Flew Over the Hornet’s Nest (2006) Nathan Tanouye This piece was commissioned by the UNLV Wind Orchestra and recorded on the Klavier Label. Because of its innovative use of jazz rhythms and harmonies melded together with contemporary classical themes, this work is one of the few authentic cross-over pieces for wind orchestra and jazz combo. Written in three contrasting movements without a break, the work features the jazz quartet and explores unique colours and blends between the featured soloists and the ensemble. © Nathan Tanouye and Steven Capaldo �UVIC WIND SYMPHONY PICCOLO/FLUTE Jessica Shaw FLUTE Charlie Mason* Taya Haldane Breanna Morrissette Connie Goetz OBOE Janie Sinn* Theresa Mothersill ENGLISH HORN Theresa Mothersill BASSOON Wilson Kyne* Lee Whitehorne CLARINET Alec Kan* Melissa Goodchild § Kyle Lancaster Meghan Parker Katherine Forster Samuel He BASS CLARINET Alina Liang CONTRABASS CLARINET Zachary Smith ALTO SAXOPHONE Matt Fichter* Karsten Brewka TENOR SAXOPHONE Ayari Kasukawa BARITONE SAXOPHONE Michelle Melnicky FRENCH HORN Sarah Mullane* Drake Lovett Allie Bertholm Emily Axford Brooke Clansey Gillian Ramage TRUMPET Marianne Ing* Ryan Lau Jordan Smale Ekaterina Della Vedova Izzy Spencer Abha-Marie Parmar Wayland Shepard TROMBONE Will Quinn* Heidi Worrall Erin Marsh Ben Pakosz EUPHONIUM Jason Gordon* Liam Mulligan TUBA Jacob Tkachuk* Aidan Fentiman Scott Gordon PERCUSSION Lachlan Barry* Jesse Johnson Simeon Weststeijn § Colin Malloy § Jordan Cowan § Sean Kiley ORGAN Sean Kiley ASSISTANT Sean Kiley LIBRARIAN Nima Kolmohammadi * Principal § Community member �BIOGRAPHIES Dr. Steven J. Capaldo, conductor Steven Capaldo has distinguished himself as one of the most respected music educators, wind conductors and conductor educators in Australia, earning academic and musical recognition internationally. Currently the Wind Symphony Conductor and Conducting & Music Education Visiting Professor at the UVic, Dr. Capaldo has previously held positions in Music Education at the University of Wollongong, was a member of the Conducting Faculty at the Sydney Conservatorium of Music as Conductor of the Sydney University Wind Orchestra, the Conductor of the UNSW Wind Symphony, and was formerly a Music Education & Conducting Professor at the University of Victoria. Completing DMA and Master of Performance degrees in conducting and an undergraduate degree in music education, Dr. Capaldo has established a longstanding history supporting, mentoring and engaging in community music and music education settings. An active writer, Dr. Capaldo composes, arranges and transcribes music for wind orchestras, symphony orchestras, festivals and concerts and his works have been performed by groups in Australia, Canada, Japan and the United States, and recorded on Klavier records (US). Dr. Capaldo has been an Assistant Producer for eight Klavier Records, became a full voting member for the US Grammy Awards in 2010 and was Chair of the Australian Jury Panel for the 2017 Eurovision Song Contest. Dr. Capaldo is highly-active and in-demand as a conductor, clinician and adjudicator having worked at local, state/provincial, national and international levels. Committed to providing professional learning opportunities for music educators and conductors, Dr. Capaldo has been a conducting clinician at the 2016 & 2018 Australian National Band and Orchestra Conference, the Chief Conducting Clinician for the 2017 Queensland Conducting Camp and an Associate Instructor for the New South Wales Conducting School. �Wendell Clanton, alto saxophone Wendell A. Clanton, student of the legendary saxophonist Frederick L. Hemke, is well known for innovative teaching strategies and for creating original collaborative performance games that foster literacy, expression and collaboration. His students are his pride and joy. He is Assistant Teaching Professor of Saxophone and Director of the Vocal Jazz Mainstream and Improvisational Ensemble at the University of Victoria School of Music Wendell is known across Canada for his performance and pedagogical contributions as a concert saxophonist and mentor of emergent musicians. He has performed extensively with professional and community orchestras, and has premiered several important works for the saxophone. As a soloist, he has performed extensively on radio and television and in venues ranging from major concert halls to music festivals and concert series in small rural communities. Among his many favourite music encounters, he has performed with The Supremes, with Pete Christlieb of the Tonight Show Orchestra, and as soloist with the National Conservatory of Bordeaux Saxophone Ensemble under the baton of Jean-Marie Londeix. Wendell is currently the tenor saxophonist with the internationally acclaimed R&B group The Midnights. Merrie Klazek, trumpet Merrie Klazek is a versatile and respected trumpet artist in the world of performance and education. Fluent in orchestral, chamber, solo, traditional, and popular music, Merrie joined the full-time faculty at the University of Victoria’s School of Music in 2016. Merrie holds a BMus from her native Calgary and an MMus from Northwestern University where she studied with the late Vincent Cichowicz. Her musical travels have taken her around the globe with performance highlights including Spoleto Festival Italy, Musik Contemporaire Strasbourg France, Tokyo’s Bunka Kaikan hall, Stratford Festival, Hungary’s Niyrbator Festival, and many solo appearances with Canadian orchestras. Merrie’s solo recording “Songs to the Moon” has been featured on TVO Studio 2 and CBC Radio and she is currently working on a recording to highlight the trumpet in settings of world music. Merrie has appeared as a presenter and adjudicator at the International Trumpet Guild Conference and the International Women’s Brass Conference. Principal trumpet with the Thunder Bay Symphony from 1999-2018, Merrie has held the same position with the Victoria Symphony and Orchestra London Canada. Merrie is an endorsing artist for Wedge Mouthpieces and is a Bach trumpet artist for Selmer-Conn. �Jens Lindemann, trumpet As the first classical brass soloist to ever receive the Order of Canada, Jens Lindemann is hailed as one of the most celebrated artists in his instrument’s history and was recently named “International Brass Personality of the Year” (Brass Herald). Jens has played both jazz and classical in every major concert venue in the world: from the Philharmonics of New York, Los Angeles, London, Berlin, Moscow and Tokyo to Carnegie Hall and even the Great Wall of China. His career has ranged from appearing internationally as an orchestral soloist, being featured at the 2010 Olympics for an audience of 2 billion people, national anthems at the Rose Bowl and for the San Francisco Giants on Memorial Day, performing at London’s ‘Last Night of the Proms’, recording with the Mormon Tabernacle Choir, to playing lead trumpet with the renowned Canadian Brass and a solo Command Performance for Her Majesty Queen Elizabeth II. Jens has also won major awards ranging from Grammy and Juno nominations to winning the prestigious Echo Klassik in Germany, British Bandsman 2011 Solo CD of the Year, as well as receiving several honorary doctorates. Classically trained at the Juilliard School in New York and McGill University in Montreal, Jens’ proven ability to perform as a diverse artist places him at the front of a new generation of musicians. He has performed as soloist and recording artist with classical stars such as Sir Neville Marriner, Sir Angel Romero, Pinchas Zukerman, Doc Severinsen, Charles Dutoit, Gerard Schwarz, Eiji Oue, Bramwell Tovey, Kent Nagano, Lior Shambadal, Boris Brott and Jukka Pekka Saraste. Having recorded for BMG, EMI, CBC and the BBC, Jens is helping to redefine the idea of the concert artist by transcending stylistic genres and the very stereotype of his instrument by performing with “impeccable attacks, agility and amazing smoothness” (The Clarin, Buenos Aires). Based in Los Angeles as Professor with High Distinction at UCLA, Jens is also director of the summer brass program at the Banff Centre in Canada. Jens is an international Yamaha artist playing exclusively on 24K gold plated instruments. �UPCOMING EVENTS SATURDAY, MARCH 30 | 2:30 PM (By donation) String Chamber Concert Featuring students from the chamber music classes of the Lafayette String Quartet. Phillip T. Young Recital Hall SATURDAY, MARCH 30 | 8 PM ($10-$25) Faculty Concert Series Alexander Dunn, guitar With Susan Young, soprano Guitar virtuoso Alexander Dunn performs the Canadian premiere of some beautiful guitar works by Rudolf Leberl, songs by Ferdinand Rebay with soprano Susan Young, and the magnificent 20 Variations et Fugue sur la Folia by Manual Ponce. Phillip T. Young Recital Hall THURSDAY, APRIL 4 | 8 PM ($10-$20) Don Wright Symphonic Winds: Earthdance Michael Keddy, conductor An evening of concert band repertoire inspired by the natural world, performed by student musicians from all across the UVic campus. The Farquhar at UVic FRIDAY, APRIL 5 | 12:30 PM (By donation) Fridaymusic A concert of varied repertoire featuring the UVic Percussion Ensembledirected by Bill Linwood. Phillip T. Young Recital Hall FRIDAY, APRIL 5 | 8 PM ($10-$20) UVic Orchestra Ajtony Csaba, conductor George Gershwin – Cuban Overture | Arturo Marquez – Danzón No. 2 Leonard Bernstein – Symphonic Dances from “West Side Story” Poulenc – Finale from “Dialogues des Carmelites”, featuring the UVic Voice Ensemble The Farquhar at UVic, SATURDAY, APRIL 6 | 4:30 PM (By donation) Music for Trombone & Organ A concert featuring UVic School of Music trombone students from the studio of Scott MacInnes, with Christ Church Cathedral Music Director and organist Donald Hunt. Christ Church Cathedral (Quadra St. at Rockland Ave.) To receive monthly updates about School of Music events by email, contact: concert@uvic.ca uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wind Symphony Description An account of the resource UVic's Wind Symphony is recognized as one of the premiere performing wind ensembles in the Pacific Northwest. The ensemble is in constant demand to perform at festivals and conferences. Recently, the Wind Symphony represented Canada at the Annual WesternInternational Band Conference in Seattle in November, 2002. As well, the Wind Symphony has been a featured guest ensemble at the B.C. Music Educators' Conference. The Wind Symphony provides opportunities for all wind and percussion players in the School. Its repertoire includes transcriptions of orchestral works, concerti, chamber ensembles, large symphonic band works and new music for the concert band. The Wind Symphony regularly features student, faculty and guest solo artists, and has given numerous Canadian and world premieres of contemporary works. Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/032919-WindSymphony_/032919-WindSymphony.wav">track1</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wind Symphony Creator An entity primarily responsible for making the resource Bezal Benny Date A point or period of time associated with an event in the lifecycle of the resource March 29, 2019 Contributor An entity responsible for making contributions to the resource Steven Capaldo Merrie Klazek Jens Lindemann Wendell Clanton https://finearts.uvic.ca/music/archive/files/original/861bf21f4595ab97e83de68b870c9458.pdf 92cc4863c021f2e4302de9321488e42e PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC FACULTY CONCERT SERIES ALEXANDER DUNN GUITAR With SUSAN YOUNG SOPRANO 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. Saturday, March 30, 2019 • 8 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $25 / Seniors: $20 / Students & UVic alumni: $10 �PROGRAM from Der Kleine Rosengarten (text by Hermann Löns) 1. Der Rosengarten (The Rose Garden) 2. Das Bittersüsse Lied (The Bittersweet Song) 3. Der Abschiedsstrauss (The Farewell Bouquet) Ferdinand Rebay (1880–1953) 12 Impressionistic Sketches (1932) Andrew Allan Willcocks 1. Dialogue (1869–1956) 2. Cielo (Sky) 3. Luminous Hills 4. Der Mond is aufgegangen? (The Moon has risen?) 5. In the Meadows 6. Sentimental Memories 7. Squalls 8. Une personne mystérieuse (A mysterious person) 9. Sarabandesque 10. Mischievous Cakewalks 11. Jeau d’eau douce (Gentle Water Games) 12. Cheeky, Jaunty, Canny Stücke für Gitarre 1. Praludium Op. 46, No. 8 (Prelude) 2. Sinnen Op. 46, No. 4 (Muse) 3. Andante No. 1, Op. 48 4. Romance No. 9, Op. 48 5. Andante Op. 48, No. 3 6. Unruhe Op. 48, No. 2 (Unrest) 7. Praludium Op. 48, No. 4 8. Allegretto Op. 48, No. 5 9. Nachtstuck Op. 46, No. 7 (Night Piece) 10. Bange Stunde Op. 48, No. 1 (Anxious Hour) 11. Allegretto Op. 48, No. 3 12. Fantasiestück Op. 48, No. 8 (Fantasy Piece) I NT E R M I S S I O N Concession open in the lounge Rudolph Leberl (1884–1952) �from Der Kleine Rosengarten 4. Das Irrlicht (The will-o’-the-wisp) 5. Wilde Rosen (Wild Roses) 6. Abendlied (Evening Song) Ferdinand Rebay Variations sur Folia de España et Fugue (1928) Preludio Tema 1. Poco vivo 2. Allegretto mosso 3. Lento 4. Un po’ agitato 5. Andantino 6. Allegretto espressivo 7. Andante 8. Moderato 9. Andantino affettuoso 10. Presto 11. Andantino 12. Animato 13. Sostenuto 14. Allegro non troppo 15. Allegro moderato, energico 16. Moderato 17. Allegro ma non troppo 18. Allegro scherzando 19. Vivo e marcato 20. Andante Fuga Manuel Ponce (1882–1948) Guitar by Glenn Canin, San Francisco, 2016 �SONG TEXTS from Der Kleine Rosengarten The Rose Garden I know a garden pretty and fine, there blooms a red rosary; And hence a garden fence, Green in summer, in winter, brown. And whomever wants to break the rosary, Must come silent, must come still; Must come in the dreaming night, When neither moon nor starlets wake. I wanted to confide my happiness, Climbing secretly over the garden fence; But the red rosebud was broken, Another had picked it. The garden is now bare and empty, The red rosebud no longer blooms; Sadly, I must stand from afar And search for the rose garden. The Bittersweet Song In the greening bush the greening bush Sings the nightingale all night; Sings with loud sound, sings with loud sound, That I am awakened from sleep. It sings much too sweet, sings much too sweet, Nightingale, before my chamber; Singing so bittersweet, singing so bittersweet For a maiden that must be alone. When the sun shines, when the sun shines, Can you sing always - constantly; But at night, but at night Your song steals all rest. The Farewell Bouquet Red clover, white clover, heart’s sorrow pains love; Beauty’s maiden, My fine darling, When I go from you. Forget-me-not, you noble ornament, I travel forth and you stay here; Beauty’s maiden, My fine darling, No beauty here for you. White lilies so beautiful, Now I must go into exile; Beauty’s maiden, My fine darling, And I cannot see you. The rose petals are blown, The morning star stands in Heaven; Beauty’s maiden, My fine darling, Who knows how we go. �Wild roses The roses in the garden Are lovely to behold; The wild dog roses Are again as nice. One day on the road Do not you look towards me; It takes no man to know That I am your love. The day, that has passed, The night, which is falling; In the very last house, There is a bright light. I call to the owl, The light goes back and forth; The window, it is dark, The owl no longer calls. The love everyone knows Do not many joys make; As if one cuts the roses In great secrecy. The will-o’-the-wisp Here and there, here and there Is a light and that is blue, Far and near, far and near twilight in the dew; Margarete, Margarete, You have spurned love, Your poor, poor soul After looking for love goes. Back and forth, back and forth, Where the white roses stand, Criss-cross, criss-cross Must go the flame; Margarete, Margarete, The wind that blows, Your poor, poor soul After looking for love goes. Without rest, without rest Goes up and down the flame, All the time, all the time About her grave; (The will-o’-the-wisp con’t) Margarete, Margarete, Now it is too late, Your poor, poor soul After looking for love goes. Still and silent, still and silent If the flame goes cold and blue Round and round, round and round Morning in the dew; Margarete, Margrete, The rooster and the crows, Your poor, poor soul After looking for love goes. Evening song Rose Marie, Rose Marie, Seven years my heart cried out for you, Rose Marie, Rose Marie, But you never heard it. Each night, any night, your image laughs with me in a dream Then came the day, then came the day, Again alone I was. Now I am old, now I am old, But my heart is still not cold, Sleep well soon, probably asleep soon, But even now it still resonates: Rose Marie, Rose Marie, Seven years my heart cried out for you, Rose Marie, Rose Marie, But you never heard it. �PROGRAM NOTES The music on tonight’s program proffers two trends of distinctly different music from the 1920’s on — the impressionist style of the French as articulated by an Englishman and a Mexican, and the German Romantic style by an Austrian and Bohemian composer, written well after the style had flourished. Andrew Allan Willcocks’ set of short character pieces, 12 Impressionistic Sketches, are the briefest of his output. The large 12 Concert Etudes and 12 Miniature Preludes explore English Impressionism at its fullest and richest, as French proclivities toward color and subtlety made its way across the channel. In his Sketches, the composer only hints at or suggests intimate scenarios — always informed by poetry or art of the continental impressionists. Dialogue is a short interaction between an upward sweeping arpeggio and its mirroring downward gesture. After a short exchange, it relaxes into its lowest register. Cielo is a study in harmonics — light, bell-like sounds produced by engaging the string at a nodal point. Luminous Hills has gently rolling harmonies — with sometimes darker, sometimes brighter hues that eventually vanish. Der Mond is aufgegangen? is a quizzical, rapid study in repeated notes where, at its center, a short melody emerges, only to be obscured again by running passages. In the Meadows is expansive and earnest. A middle section explores a playful figure, only to be forgotten when the prevailing mood of breadth returns. Sentimental Memories intones a melancholic melody in octaves, giving way to a brief episode of harp-like sounds. A kind of disgruntled cadence brings the melody back into awareness, then re-answered by arpeggios, gently fading away into bell sounds. Squalls is an irksome shower of chords — nearing peril — but a sudden clearing and bright light disperses any concerns. Une personne mystériuese is a series of languid melodic statements — dark, breathy whole-tone scales are replied by short, mysterious phrases. No clearly defined character emerges, and its gentle final cadence places a question mark. Sarabandesque suggests the character of the stately sarabande dance, but changes pulse and intent, ruminating in a darker, lower register. Mischievous Cakewalks alludes to Debussy with its jaunty, snappy figures and fluid sonorities — always tonguein-cheek. Jeux d’eau douce plays with subtlety and pastel colors rising and abating. The final Cheeky, Jaunty, Canny is a clever but undecided series of irreverent fragments, summarily dismissed at its closure. �Stücke für Gitarre represents the work of the nearly unknown composer and musicologist Rudolph Leberl, whose works were not in keeping with the progressive composers of the 1920’s. A tireless worker and pedagogue, his output — mostly unpublished — includes works for the instruments he mastered: piano, organ violin, viola and guitar. His father was a choir director and he received training in piano and composition, later acquiring a teaching post in southern Bohemia. By 1918, the end of the war had a devastating effect on the family: German inhabitants became Czech citizens and Leberl’s wife was forced to move.The Second World War brought further difficulties when they were expelled from Czechoslovakia. Modesty and shyness, avoidance of public performance, and a firm dedication to his students prevented his works from becoming better known. In those works, a great shadow of Brahms looms, but a Bohemian character, a certain longing, and Germanic romanticism suffuse his works with a true nineteenth century spirit. Fedinand Rebay, like Leberl, eschewed modernist tendencies, and wrote neoRomantic works heavily influenced by Brahms, but with some impressionist touches. His cycle Der Kleine Rosengarten (The Little Rose Garden) of 1937 harken back to the spirit of Schubert and Wolf. The thiry-plus songs in the cycle are but a fraction of Rebay’s entire guitar output which includes songs for all voice types with guitar, solo works and sonatas, chamber music for many combinations, duos with piano, and sets of variations. Manuel Maria Ponce penned his monumental Variations et Fugue sur la Folia in 1929 following a request by the Spanish virtuoso Andres Segovia. The work ensues with a prelude, then stating the folia harmonic progression — a kind of template chord sequence in use since the 17th century — followed by twenty variations, culminating in a commanding fugue. It stands as Ponce’s largest guitar work and a testament to his craft in developing the folia chord progression into an impressive work of beauty and power. � 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. 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Title A name given to the resource Faculty Concert Series Creator An entity primarily responsible for making the resource Bezal Benny Date A point or period of time associated with an event in the lifecycle of the resource March 30, 2019 Contributor An entity responsible for making contributions to the resource Alexander Dunn Susan Young https://finearts.uvic.ca/music/archive/files/original/79efdc883c888f80fd5e65eea1bbd64c.pdf 11fb633db45e1cc07c8693220d5ac8f9 PDF Text Text STRING CHAMBER CONCERT Students from the studios of the Lafayette String Quartet SATURDAY, MARCH 30, 2019 | 2:30 PM Phillip T. Young Recital Hall, MacLaurin Building Admission by donation PROGRAM String Trio No. 5 in C Minor, Op. 9, No. 3 i. Allegro con spirit Ludwig van Beethoven (1770–1827) Julian Haynes, violin Jaling Kersen, viola Bryan lin, cello Ludwig van Beethoven String Quartet No. 4 in C Minor, Op. 18 i. Allegro ma non tanto Iryna Peleshchyshyn, violin Noah Mellemstrand, violin Logan Mcneil, viola Liam Epp, cello Le Carnaval de Venise, Fantasie for four violins, Op. 119 Charles Dancla (1817–1907) Jas Schweitzer, violin Cleo Yong, violin Leonardo Maekawa, violin Claire Sparrow-Clarke, violin String Quartet No. 13 in A minor, D. 804 i. Allegro ma non troppo ii. Andante Emma Dunbar, violin Serena Bodi, violin Judith Gaston, viola Rachel Burtman, bass I NT E R M I S S I O N Franz Schubert (1797–1828) � String Quartet No. 6 in G Major, Op. 101 i. Allegretto ii. Moderato con moto Dmitri Shostakovich (1906–1975) Ross Ling, violin Lucy Toews, violin Gary Sun, viola Chloe Kersen, cello Ludwig van Beethoven String Quartet No. 11 in F Minor, Op. 95 iii. Allegro assai vivace ma serioso iv. Larghetto espressivo–Allegretto agitato Bennett Chiu, violin Dana Wenzel, violin Amanda Steinemann, viola Tara Rajah, cello Dmitri Shostakovich String Quartet No. 10 in A-flat Minor, Op. 118 iv. Allegretto–Andante Wisteria String Quartet Amy-Lynne Toth, violin Jasmine Mather, violin Maki Yamagata, viola Claire Dresselhuis, cello String Quartet Op. 51, No. 2 in A Minor iv. Finale: Allegro non assai Johannes Brahms (1833–1897) Jeanel Liang, violin Talia Sinclair, violin Seth McMillan, viola Shiun Kim, cello 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. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource STRING CHAMBER CONCERT Creator An entity primarily responsible for making the resource Bezal Benny Date A point or period of time associated with an event in the lifecycle of the resource March 30, 2019 Contributor An entity responsible for making contributions to the resource Students from the studios of the Lafayette String Quartet https://finearts.uvic.ca/music/archive/files/original/0ade22c8a01ee7f0981d6bb466ff84b1.pdf 79b84d9bfc117b9c64710cc9f454466b PDF Text Text DEGREE RECITAL Liam Pistor Monday April 1st, 2019, 8PM Phillip T. Young Recital Hall, MacLaurin Building Free admission PROGRAM Prelude and Fugue in C-Sharp Major, BWV 848 JS Bach (1685-1750) Piano Sonata, Op. 1 Alban Berg (1885-1935) Piano Sonata No. 28 in A Major, Op. 101 I. Etwas lebhaft und mit der innigsten Empfindung, Allegretto, ma non troppo II. Lebhaft. Marschmäβig Vivace alla Marcia III. Langsam und sehnsuchtvoll Adagio, ma non troppo, con affetto IV. Geschwinde, doch nicht zu sehr, und mit Entscholossenheit Allegro Ludwig van Beethoven (1770-1827) — INTERMISSION — Barcarolle No. 6 in E-Flat Major, Op. 70 Gabriel Fauré (1845-1924) Valses nobles et sentimentales I. Modéré—très franc II. Assez lent—avec une expression intense III. Modéré IV. Assez animé V. Presque lent—dans un sentiment intime VI. Vif VII. Moins vif VIII. Épilogue: lent Variations sérieuses, Op. 54 Maurice Ravel (1875-1937) Felix Mendelssohn (1809-1847) Liam Pistor is from the class of Professor Arthur Rowe. 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. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/040119-GradLPistor/040119-GradLPistor_1.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/040119-GradLPistor/040119-GradLPistor_2.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/040119-GradLPistor/040119-GradLPistor_3.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/040119-GradLPistor/040119-GradLPistor_4.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/040119-GradLPistor/040119-GradLPistor_5.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/040119-GradLPistor/040119-GradLPistor_6.mp3">track6</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 Degree Recital Creator An entity primarily responsible for making the resource Liam Pistor Date A point or period of time associated with an event in the lifecycle of the resource April 1, 2019 Contributor An entity responsible for making contributions to the resource Liam Pistor https://finearts.uvic.ca/music/archive/files/original/9c712855e7929d26220ac6a032cab405.pdf 4214c40d7e5adb931da904bd9cb4bb47 PDF Text Text School of Music Tuesdaymusic Phillip T. Young Recital Hall, University of Victoria April 2, 2019 • 12:30 p.m. Prelude and Fugue for solo flute, C major Jan Novák (1921–1984) Ada Qian, flute Pierre Max Dubois (1930–1995) Ian Clarke (b. 1964) Concerto for alto saxophone I. Lento espressivo - Allegro Karsten Brewka, saxophone Jonathan Li, piano Curves I. Magical & Woven Jessica Shaw, Jasmine Riseley, Charlotte Mason, flutes Connie Goetz, piano Trio No. II Allegretto Meghan Parker, Katherine Forster, clarinets Paige Thompson, flute James Hook (1746–1827) Bachianas Brasileiras No. 6 Heitor Villa-Lobos Ária (chôro) (1887-1959) Jamie Crystal, flute Wilson Kyne, bassoon Caprice en Forme de Valse Paul Bonneau (1918-1995) Todd Morgan, saxophone UPCOMING AT THE SCHOOL OF MUSIC TUESDAY, APRIL 2 | 7 PM (Free admission) Degree Recital: Xuguang Zhang, voice (MMus) Xuguang Zhang presents his Masters of Music graduating recital for voice performance. St. George’s Anglican Church WEDNESDAY, APRIL 3 | 12:30 PM (Free admission) First-Year Recital: Nima Kolmohammadi, guitar (MMus) Nima Kolmohammadi presents his first-year Masters of Music recital for guitar performance. Phillip T. Young Recital Hall WEDNESDAY, APRIL 3 | 8 PM (Free admission) Degree Recital: Chroma Quartet (MMus) The Chroma Quartet presents the second of two graduating recitals as part of the degree requirements for the Masters of Music: Emphasis String Quartet program. Phillip T. Young Recital Hall THURSDAY, APRIL 4 | 8 PM (By donation) Guitar Studio Recital Featuring UVic School of Music guitar students from the studio of Alexander Dunn. Phillip T. Young Recital Hall � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tuesdaymusic Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/040219-TuesdayMusic/040219-TuesdayMusic_01.mp3">track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/040219-TuesdayMusic/040219-TuesdayMusic_02.mp3">track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/040219-TuesdayMusic/040219-TuesdayMusic_03.mp3">track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/040219-TuesdayMusic/040219-TuesdayMusic_04.mp3">track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/040219-TuesdayMusic/040219-TuesdayMusic_05.mp3">track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/040219-TuesdayMusic/040219-TuesdayMusic_06.mp3">track6</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tuesday Music Creator An entity primarily responsible for making the resource Bezal Benny Date A point or period of time associated with an event in the lifecycle of the resource April 2, 2019