85 10 1498 https://finearts.uvic.ca/music/archive/files/original/581647f91bb3216cc1c93157dacfa311.pdf 7f7d43beb6353afeabf69b0fa89b92da PDF Text Text School of Music fridaymusic Phillip T. Young Recital Hall, University of Victoria February 14, 2020 • 12:30 p.m. Featuring School of Music voice students Gute Nacht from Winterreise Kyron Basu, baritone and piano Franz Schubert (1797–1828) Letzte blätter, Op. 10 I. Zueignung III. Die Nacht Richard Strauss (1864–1949) Chelsea Kutyn, soprano Emily Markwart, piano Sonetto proemio dell’opera “Mercè di voi” Olivia Duffin, soprano Cassidy Stahr, soprano Chris Bork, guitar Barbara Strozzi (1619–1677) Pur di Cesti Lindsay Abbott, soprano Susan Young, piano Antonio Lotti (1667–1740) Vaga luna, che inargenti Katherine Allen, soprano Susan Young, piano Gabriel Fauré (1845–1924) En sourdine Andrew Wolf, tenor Susan Young, piano Twelve Poems of Emily Dickinson VI. Dear March, come in! Cassidy Stahr, mezzo-soprano Jorge Carrizales, piano Pur Ti Miro Jaime Kozak, soprano Kaylene Chan, mezzo-soprano Sarah Xu, piano Tornami a dir che m’ami Aaron Copland (1900–1990) Claudio Monteverdi (1567–1643) Jaime Kozak, soprano Sppencer Van Dellen, tenor Liz Huang, piano Cycle poème d’un jour III. Adieu Anton Sokalski, tenor Jono Devey, piano Vincenzo Bellini (1801–1835) Gaetano Donizetti (1797–1848) Gabriel Fauré (1845–1924) � Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/021420-FridayMusicVoice/021420-FridayMusicVoice_01_01.mp3">Track 1<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/021420-FridayMusicVoice/021420-FridayMusicVoice_01_02.mp3">Track 2<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/021420-FridayMusicVoice/021420-FridayMusicVoice_01_03.mp3">Track 3<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/021420-FridayMusicVoice/021420-FridayMusicVoice_01_04.mp3">Track 4<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/021420-FridayMusicVoice/021420-FridayMusicVoice_01_05.mp3">Track 5<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/021420-FridayMusicVoice/021420-FridayMusicVoice_01_06.mp3">Track 6<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/021420-FridayMusicVoice/021420-FridayMusicVoice_01_07.mp3">Track 7<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/021420-FridayMusicVoice/021420-FridayMusicVoice_01_08.mp3">Track 8<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/021420-FridayMusicVoice/021420-FridayMusicVoice_01_09.mp3">Track 9<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/021420-FridayMusicVoice/021420-FridayMusicVoice_01_10.mp3">Track 10<br /></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 Ila Zbarsky Date A point or period of time associated with an event in the lifecycle of the resource February 14, 2020 Contributor An entity responsible for making contributions to the resource Kyron Basu, baritone and piano Chelsea Kutyn, soprano Emily Markwart, piano Olivia Duffin, soprano Cassidy Stahr, soprano, mezzo-soprano Chris Bork, guitar Lindsay Abbott, soprano Susan Young, piano Katherine Allen, soprano Andrew Wolf, tenor Jorge Carrizales, piano Jaime Kozak, soprano Kaylene Chan, mezzo-soprano Sarah Xu, piano Jaime Kozak, soprano Sppencer Van Dellen, tenor Liz Huang, piano Anton Sokalski, tenor Jono Devey, piano Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/022220-JGordonRecital/022220-JGordon_01.mp3">Track 1<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/022220-JGordonRecital/022220-JGordon_02.mp3">Track 2<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/022220-JGordonRecital/022220-JGordon_03.mp3">Track 3<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/022220-JGordonRecital/022220-JGordon_04.mp3">Track 4<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/022220-JGordonRecital/022220-JGordon_05.mp3">Track 5<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/022220-JGordonRecital/022220-JGordon_06.mp3">Track 6<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/022220-JGordonRecital/022220-JGordon_07.mp3">Track 7<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/022220-JGordonRecital/022220-JGordon_08.mp3">Track 8<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/022220-JGordonRecital/022220-JGordon_09.mp3">Track 9<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/022220-JGordonRecital/022220-JGordon_10.mp3">Track 10<br /></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 J. Gordon 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 February 22, 2020 Contributor An entity responsible for making contributions to the resource J. Gordon https://finearts.uvic.ca/music/archive/files/original/bca9fc0d3fe26ce3e8c3e65be9f8d806.pdf 5c44538c44c7c4685413beaff5cf2883 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �SCHOOL OF MUSIC • UNIVERSITY OF VICTORIA GUEST CONCERT VIANO STRING QUARTET Featuring Lucy Wang violin Hou Zhou violin Aiden Kane viola Tate Zawadiuk cello Sunday, February 23, 2020 • 8 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation �PROGRAM 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. Franz Joseph Haydn (1732–1809) String Quartet Op. 74, No. 1 (1793) I. Allegro II. Andantino grazioso III. Menuetto: Allegro — Trio IV. Vivace Antonín Dvořák (1841–1904) String Quartet No. 14 in A-flat major, Op. 105 (1895) I. Adagio ma non troppo — Allegro appassionato II. Molto vivace III. Lento e molto cantabile IV. Allegro non tanto �VIANO STRING QUARTET Praised for their “huge range of dynamics, massive sound and spontaneity” (American Record Guide), the Viano String Quartet are joint first prize winners of the 2019 Banff International String Quartet Competition. Formed in 2015 at the Colburn Conservatory of Music in Los Angeles, where they are Ensemble in Residence through the 2020-21 season, the quartet has performed in venues such as Wigmore Hall, Segerstrom Center for the Arts, SOKA Performing Arts Center, and the Cerritos Center for Performing Arts. During the 2019-20 season, the Viano performs on three continents, making debuts in Beijing, Berlin, Brussels, New York City and Vancouver. The quartet also gives several performances in Los Angeles at Boston Court, the Music Guild, and Zipper Hall and records for the Canadian Broadcasting Corporation. The Viano String Quartet has performed with world class musicians such as pianists Emanuel Ax and Elisso Virsaladze, violist Paul Coletti, violinist Martin Beaver and vocalist Hila Plitmann. They have performed in Los Angeles for the South Bay Chamber Music Society and the Colburn Chamber Music Society; in Marquette, Michigan for the Siril Concert Series; and with NPR host Rob Kapilow on his “What Makes it Great?” Series. The quartet received the Grand Prize at the 2019 ENKOR International Music Competition and second prize at the 2019Yellow Springs Chamber Music Competition. At the 2018 Wigmore Hall International String Quartet Competition they received Third Prize, the Haydn Prize for the best performance of a Haydn quartet, and the Sidney Griller Award for the best performance of the compulsory work,Thomas Ades’ “The Four Quarters.” They received the Silver Medal at the 2018 Fischoff National Chamber Music Competition and Third Prize at the 9th Osaka International Chamber Music Competition in 2017. Committed to engaging with children and communities outside the concert hall, the Viano String Quartet has given presentations for school children and students of all ages through residencies at “Play it Forward”—a collaboration between the Bellingham Festival of Music and the Whatcom Symphony to reach school children in the northern Washington State area—Northern Michigan University, and the Santa Monica Conservatory. In 2019 they gave multiple performances of “Over the Top,” a Musical Encounter Interactive presentation they scripted, developed and performed at the Colburn School for inner city school children. The Quartet works primarily with Martin Beaver, as well as other members of the Colburn School faculty, including Scott St. John, Clive Greensmith, Paul Coletti and Fabio Bidini. They have received coachings from artists such as David Finckel, Gary Hoffman, Arnold Steinhardt, Jean-Yves Thibaudet, and members of the Emerson, Brentano, St. Lawrence and Calidore String Quartets. They have attended the St. Lawrence String Quartet Seminar, and the Norfolk and MISQA summer festivals. The name “Viano” was created to describe the four individual instruments in a string quartet interacting as one. Each of the four instruments begins with the letter “v”, and like a piano, all the strings working together as a string quartet, play both harmony and melody, creating a unified instrument, called the “Viano.” � Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/022320-VianoStringQuartet/022320-VianoStringQuartet_01_01.mp3">Track 1<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/guest/022320-VianoStringQuartet/022320-VianoStringQuartet_01_02.mp3">Track 2<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/guest/022320-VianoStringQuartet/022320-VianoStringQuartet_01_03.mp3">Track 3<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/guest/022320-VianoStringQuartet/022320-VianoStringQuartet_01_04.mp3">Track 4</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 Viano String Quartet 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 February 23, 2020 Contributor An entity responsible for making contributions to the resource Lucy Wang, violin Hou Zhou, violin Aiden Kane, viola Tate Zawadiuk, cello https://finearts.uvic.ca/music/archive/files/original/691b909959bbe8d395864b549bd86614.pdf 5b94c9e6bf7a9d7cab16b632da7ebc1d PDF Text Text CLARINET STUDIO RECITAL Students from the studio of Connie Gitlin TUESDAY, FEBRUARY 25, 2020 | 7:30 PM Phillip T. Young Recital Hall, MacLaurin Building Admission by donation PROGRAM Concerto No. 3 in B-flat I. Allegro Moderato Nishant Amatya, clarinet Carl Philipp Stamitz (1745–1801) Adagio Heinrich Baermann (1784–1847) Meghan Parker, clarinet Sonata No. 1 Johann Baptist Vanhal I. Allegro (1739–1813) Kyle Lancaster, clarinet Nancy Lin, piano Introduction, Theme and Variations Chensi Liu, clarinet Liz Huang, piano Concerto No. 1 in F II. Adagio non Troppo Katherine Forster, clarinet Nancy Lin, piano Church Sonatas I. Allegro II. Andante III. Allegro Alex Chernata, clarinet Liz Huang, piano Carl Maria von Weber (1786–1826) Carl Maria von Weber Wolfgang Amadeus Mozart (1756 –1791) W.A. Mozart Minuetto and Trio Traditional Londonderry Air Thomas Morley (1557–1602) Now is the Month of Maying La Cumparsita Tango UVic Clarinet Choir Gerardo Matos Rodriguez (1897–1948) 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. � Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/022520-ClarinetStudio/022520-ClarinetStudio_1.mp3">Track 1<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/022520-ClarinetStudio/022520-ClarinetStudio_2.mp3">Track 2<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/022520-ClarinetStudio/022520-ClarinetStudio_3.mp3">Track 3<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/022520-ClarinetStudio/022520-ClarinetStudio_4.mp3">Track 4<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/022520-ClarinetStudio/022520-ClarinetStudio_5.mp3">Track 5<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/022520-ClarinetStudio/022520-ClarinetStudio_6.mp3">Track 6<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/022520-ClarinetStudio/022520-ClarinetStudio_7.mp3">Track 7<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/022520-ClarinetStudio/022520-ClarinetStudio_8.mp3">Track 8<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/022520-ClarinetStudio/022520-ClarinetStudio_9.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 Clarinet Studio 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 February 25, 2020 Contributor An entity responsible for making contributions to the resource Nishant Amatya, clarinet Meghan Parker, clarinet Kyle Lancaster, clarinet Nancy Lin, piano Chensi Liu, clarinet Liz Huang, piano Katherine Forster, clarinet Alex Chernata, clarinet UVic Clarinet Choir https://finearts.uvic.ca/music/archive/files/original/c218eeeedb1b79c4167728b62086d2e7.pdf 06db22e35c4b5660e796256bffeb9762 PDF Text Text GRADUATE RECITAL Zin Cho, Piano Carl Fung, Violin 25, February, 2020, 12:30 PM Phillip T. Young Recital Hall, MacLaurin Building Free admission PROGRAM Préludes Livre 1 I. Danseuses de Delphes II. Voiles IV. Les sons et les parfums tournent dans l'air du soir V. Les collines d’Anacapri VIII. La fille aux cheveux de lin Vingt Regards sur l’enfant-Jésus XI. Première communion de la Vierge Violin Sonata No.2 in D Major, Op.94a I. Moderato II. Presto III. Andante IV. Allegro Con Brio Claude Debussy (1862–1918) Olivier Messiaen (1908–1992) Sergei Prokofiev (1891–1951) Carl Fung, Violin Zin Cho is from the class of Professor, Arthur Rowe This recital is presented in parIal fulfillment of the requirements for the Master of Music (Performance) program. 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/022520-JChoPianoRecital/022520-JChoPianoRecital_1.mp3">Track 1<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/022520-JChoPianoRecital/022520-JChoPianoRecital_2.mp3">Track 2<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/022520-JChoPianoRecital/022520-JChoPianoRecital_3.mp3">Track 3</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 Zin Cho Graduate 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 February 25, 2020 Contributor An entity responsible for making contributions to the resource Zin Cho, Piano Carl Fung, Violin https://finearts.uvic.ca/music/archive/files/original/25a347001aff182d8083d19f493d0df0.pdf 94c89bb920d5c874b0620a1694cd3a19 PDF Text Text Annual Solo Bach Competition Wednesday, February 26, 2020 • 6:30 p.m. Phillip T. Young Recital Hall, MacLaurin Building Admission by Donation Judges: Robert Skelton (violin), Christine Prince (viola) & Nathan Jacklin (cello) Competitors JULIEN HAYNES,VIOLIN JUDITH GASTON,VIOLA Violin Sonata No. 1 in G Minor, BWV 1001 Adagio Fuga: Allegro Siciliana Presto Suite No. 2 in D Minor, BWV 1008 Prélude Allemande Courante Sarabande Minuet I & II Gigue JALING KERSEN,VIOLA LIAM EPP, CELLO Suite No. 1 in G Major, BWV 1007 Prélude Allemande Courante Sarabande Menuet I & II Gigue Suite No. 2 in D Minor, BWV 1008 Prélude Allemande Courante Sarabande Minuet 1 & II Gigue BRYAN LIN, CELLO ALINE GILBERT-THÉVARD, CELLO Cello Suite No. 5 in C Minor, BWV 1011 Prélude Allemande Courante Sarabande Gavotte I & II Gigue Suite No. 3 in C Major, BWV 1009 Prélude Allemande Courante Sarabande Bourrée I & II Gigue CAST YOUR VOTE! Following this evening’s program, please step into the foyer for 5-10 minutes to cast your ballot and allow judges to confer. Ballots will be counted and results given to the judges. Audience will be invited back into the recital hall for the Presentation of Awards. The Audience Prize Winner will receive an honorarium in the amount collected from this evening’s donations. � Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/022620-SoloBachCompetition/022620-SoloBachCompetition_1.mp3">Track 1<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/022620-SoloBachCompetition/022620-SoloBachCompetition_2.mp3">Track 2<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/022620-SoloBachCompetition/022620-SoloBachCompetition_3.mp3">Track 3<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/022620-SoloBachCompetition/022620-SoloBachCompetition_4.mp3">Track 4<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/022620-SoloBachCompetition/022620-SoloBachCompetition_5.mp3">Track 5<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/022620-SoloBachCompetition/022620-SoloBachCompetition_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 Solo Bach Competition 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 February 26, 2020 Contributor An entity responsible for making contributions to the resource Julien Haynes, Violin Judith Gaston, Viola Jaling Kersen, Viola Liam Epp, Cello Bryan Lin, Cello Aline Gilbert-Thevard, Cello https://finearts.uvic.ca/music/archive/files/original/e94305d20c7c3a3a3bd6599f865702e8.pdf ba73e08c0acce0180898c6d50e2fa976 PDF Text Text School of Music fridaymusic Phillip T. Young Recital Hall, University of Victoria February 28, 2020 • 12:30 p.m. Featuring School of Music string students Suite No. 2 in D Minor, BWV 1008 Johann Sebastian Bach I. Prelude (1685–1750) IV. Sarabande Judith Gaston, viola Johann Sebastian Bach (1685–1750) Sonata No. 1 in G Minor, BWV 1001 II. Fuga (Allegro) Julien Haynes, violin String Quartet No. 1 in F Major, Op. 18 II. Adagio affettuoso ed appasionato Ludwig van Beethoven (1770–1827) Jas Schweitzer, violin Libby Wyse, violin Amanda Steinemann, viola Liam Epp, cello Sonata No. 2 in D Major, Op. 94 Segei Prokofiev IV. Allegro con brio - Poco meno mosso (1891–1953) Carl Fung, violin Jinyeong Cho, piano Requiem, Op. 66 Bryan Lin, cello Aline Gilbert-Thevard, cello Liam Epp, cello Michelle Hoskin, piano David Popper (1843–1913) UPCOMING AT THE SCHOOL OF MUSIC SATURDAY, FEBRUARY 29 | 8 PM (By donation) Faculty Concert Series: A Romantic Soirée Ann Elliott-Goldschmid, violin with guest Stephen Runge, piano This recital of romances and sonatas explores the close personal and artistic relationships between Robert Schumann, his wife Clara Schumann, and their protégé Johannes Brahms. Canadian composer, Jean Coulthard’s Duo Sonata, written 100 years after the Schumanns’ works, is similarly inspired by a partnership of love and music. Violinist Ann Elliott-Goldschmid is a founding member of the renowned Lafayette String Quartet. Artists-in-residence at UVic, they’ve performed all over North America and Europe for over 30 years. A dedicated teacher as well as performer, Elliott’s students grace major orchestras, string quartets and graduate schools. Praised for his sensitivity and versatility, pianist Stephen Runge (BMus ’01) has been heard from Victoria to Halifax as a soloist and collaborative artist. 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/022820-FridayMusicStrings/022820-FridayMusicStrings_1.mp3">Track 1<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/022820-FridayMusicStrings/022820-FridayMusicStrings_2.mp3">Track 2<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/022820-FridayMusicStrings/022820-FridayMusicStrings_3.mp3">Track 3<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/022820-FridayMusicStrings/022820-FridayMusicStrings_4.mp3">Track 4<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/student/022820-FridayMusicStrings/022820-FridayMusicStrings_5.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 Friday Music - Strings 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 February 28, 2020 Contributor An entity responsible for making contributions to the resource Judith Gaston, viola Julien Haynes, violin Jas Schweitzer, violin Libby Wyse, violin Amanda Steinemann, viola Liam Epp, cello Carl Fung, violin Jinyeong Cho, piano Bryan Lin, cello Aline Gilbert-Thevard, cello Michelle Hoskin, piano https://finearts.uvic.ca/music/archive/files/original/e02c7e8c411095086abf6c467e683421.pdf 8d7ebb6180b5c3004a8c2991453fceef PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �SCHOOL OF MUSIC • UNIVERSITY OF VICTORIA FACULTY CONCERT SERIES A Romantic Soirée ANN ELLIOTT-GOLDSCHMID VIOLIN UNIVERSITY OF VICTORIA & STEPHEN RUNGE PIANO MOUNT ALLISON UNIVERSITY 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. Saturday, February 29, 2020 • 8 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation �PROGRAM This recital of Romances and Sonatas explores the close personal and artistic relationships between Robert Schumann, his wife Clara Schumann, and their protégé Johannes Brahms. Jean Coulthard’s Duo Sonata, written 100 years after the Schumann’s works, is similarly inspired by a Canadian partnership of love and music. Romance in A Major, Op. 94, No. 2 Duo Sonata (1952) Grazioso, Allegro con brio Lento mesto Allegro, tempo giusto Sonata No. 1 in A Minor, Op. 105 (1851) Mit leidenschaftlichem Ausdruck Allegretto Lebhaft Robert Schumann (1810–1856) Jean Coulthard (1908–2000) Robert Schumann I NT E R M I S S I O N Concession open in the lounge Three Romances, Op. 22 (1853) Andante molto Allegretto. Mit zartem Vortrage Leidenschaftlich schnell Clara Schumann (1819–1896) Sonata No. 2 in A Major, Op. 100 (1886) Allegro amabile Andante tranquillo – Vivace Allegretto grazioso (quasi Andante) Johannes Brahms (1833–1897) �BIOGRAPHIES Violinist Ann Elliott-Goldschmid is a founding member of the renowned Lafayette String Quartet, quartet-in-residence at the University of Victoria. A native of New Brunswick, she was the winner of numerous competitions in her early years, and had the opportunity to work with many distinguished musicians including Victor Yampolsky, Eugene Lehner, Denes Zsigmondy, Donald Weilerstein, Gwen Thompson and Nathan Milstein. She has been praised for her “breathtaking changes of colour and character” and her ability to play with an “aching sweetness and sense of fulfillment that carrie(s) us universes beyond the printed notes” (Globe and Mail). Ann is a devoted violin teacher, chamber music coach and advocate for strings in Victoria’s public schools. She regularly adjudicates local, provincial and national festivals. Upcoming concerts with the Lafayette String Quartet include: Earth Day 2020 (April 22) Crucifixion of the Earth with famed Canadian poets Jan Zwicky and Robert Bringhurst; Quartet Fest West and the Victoria Summer Music Festival in July, the Complete Shostakovich Cycle at the Banff Centre in October, and Celebrating Beethoven’s 250th at UVic in December. Praised for his sensitivity and versatility, pianist and UVic School of Music alumnus (BMus ‘01) Stephen Runge has been heard from Victoria to Halifax as soloist and collaborative artist, receiving special recognition for his frequent performances of chamber music and art song. Stephen has been broadcast nationally on CBC Radio Two and La Chaîne Culturelle de Radio-Canada, and has recorded all the major works for solo piano by Robert Schumann. Holding a Doctorate of Music in Piano Performance from l’Université de Montréal, Stephen is in demand across the country as teacher, adjudicator, and clinician. Born and raised in Regina, Saskatchewan, Stephen is currently Head of the Department of Music at Mount Allison University in Sackville, New Brunswick, where he is also Associate Professor of Piano and Director of Mount Allison Local Centre Examinations in Music. He was awarded a Paul Paré Excellence Award in 2010 and the J.E.A. Crake Award for excellence in teaching in the Faculty of Arts at Mount Allison University in 2014. � Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/022920-EGoldschmidFaculty/022920-EGoldschmidFaculty_01.mp3">Track 1<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/022920-EGoldschmidFaculty/022920-EGoldschmidFaculty_02.mp3">Track 2<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/022920-EGoldschmidFaculty/022920-EGoldschmidFaculty_03.mp3">Track 3<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/022920-EGoldschmidFaculty/022920-EGoldschmidFaculty_04.mp3">Track 4<br /></a><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/022920-EGoldschmidFaculty/022920-EGoldschmidFaculty_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 Faculty Concert Series - A Romantic Soiree 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 February 29, 2020 Contributor An entity responsible for making contributions to the resource Ann Elliott-Goldshmid, Violin Stephen Runge, 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 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