1 10 1498 https://finearts.uvic.ca/music/archive/files/original/b7783eabda9d6f159848eff8466e8728.pdf 2e5ce99a2e51f4e5299c7548717dbc05 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC FACULTY CONCERT SERIES The Lafayette String Quartet Ann Elliott-Goldschmid, violin Sharon Stanis, violin Joanna Hood, viola Pamela Highbaugh Aloni, cello With Patricia Kostek, clarinet Sunday, September 18, 2016 • 2:30 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission: $25 �PROGRAM Clarinet Quintet in B minor, Op. 115 Allegro Adagio Andantino Con moto Johannes Brahms (1833–1897) I NT E R M I S S I O N Quartet No. 7 in F-sharp minor, Op. 108 Allegretto Lento Allegro String Quartet No. 11 Composed in 2006 and commissioned by the Lafayette String Quartet for their 20th anniversary year. I. II. III. IV. V. Dmitri Shostakovich (1906–1975) R. Murray Schafer (b. 1933) �LAFAYETTE STRING QUARTET In July 1986, four young musicians based in Detroit and just beginning their professional careers, performed together for the first time as the Lafayette String Quartet. Celebrating their 30th anniversary, the LSQ continues to flourish with its original personnel: violinists Ann Elliott-Goldschmid and Sharon Stanis, violist Joanna Hood, and cellist Pamela Highbaugh Aloni. For five years, the LSQ prospered in Detroit, where its members taught at the Center for Creative Studies/Institute of Music and Dance and Oakland University. The LSQ itself received coaching from some of the world’s most esteemed quartets— the Amadeus and the Alban Berg, and Cleveland—and from the violinist Rostislav Dubinsky, of the legendary Borodin Quartet, who served as the women’s “musical mentor” until his death in 1997. The LSQ’s extraordinary musicianship was recognized early on. Already in 1988, it was ranked among the magazine Musical America’s “Young Artists to Watch,” and in its first years they won the Grand prize at the Fischoff National Chamber Music Competition and prizes at the Portsmouth (now City of London) International String Quartet Competition, and the Chicago Discovery Competition. As winners of the 1988 Cleveland String Quartet Competition, the LSQ had the opportunity to study for two years with the Cleveland Quartet at the Eastman School of Music, in Rochester, New York. Artists-in-Residence at the University of Victoria’s School of Music since 1991, their dedication and skill have played a major role in building
one of the finest music schools in Canada. In addition to quartet performances and collaborating with colleagues in the School of Music, members of the quartet teach individual lessons, coach chamber music groups, and give studio masterclasses on a weekly basis. They have been principal players of the Galiano Ensemble of Victoria since its inception and continue to serve the community promoting strings in the public schools through outreach programs and the strings mentoring course at UVic. In June, they offer Quartet Fest West, an intensive quartet seminar that brings together young musicians from all over the world. Their annual Health Awareness Forum, founded in 2006 offers timely insights from top health experts on a wide range of topics. They recieved honorary doctorates from University Canada West and were honored with the inaugural Craigdarroch Award for Excellence in Artistic Expression in 2010 from the University of Victoria. The LSQ has performed across Canada, the United States, Mexico and Europe, with concerts often allied with masterclasses and workshops; they had a close and lasting relationship with the University of Saskatchewan, in Saskatoon while playing on the set of Amatis owned by the institution. They have collaborated with distinguished colleagues including bassist Gary Karr; clarinetist James Campbell; flutist Eugenia Zukerman; violinists Andrew Dawes and Gary Levinson; violists James Dunham, Atar Arad, and Yariv Aloni; cellists Paul Katz, and the late Tanya Prochazka; and pianists Luba Edlina Dubinsky, Jane Coop, Robert Silverman, Ronald Turini, Alexander Tselyakov, Baya Kakouberi and Flavio Varani. They often collaborate with other string quartets including the Alcan, the New Zealand, the Penderecki, the Molinari, the Emily Carr, and the Quarteto Latinoamericano. �The four women also maintain separate careers as solo and chamber music performers, teachers, and adjudicators. The LSQ carries a large, wide-ranging repertoire, from the classical period to the present, and has commissioned music from (and in some cases collaborated closely with) composers including Murray Adaskin, John Burke, Justin Haynes, David Jaffe, R. Murray Schafer, Eugene Weigel, and Kelly Marie Murphy. They have performed the complete Beethoven cycle, during the 2000-2001 season, the quartets of the Second Viennese school with the Molinari Quartet in 2013, and in celebration of their thirty years together, will perform the string quartets of Dmitri Shostakovich. Since 1990, the LSQ has released CDs on the Dorian, Centrediscs, and other labels (including its own). Its discography includes major quartets by Borodin, Debussy, Grieg, Shostakovich, and Tchaikovsky; Dvořák’s piano quintets (with Antonin Kubalek); and four CDs of music by Adaskin, for his AdLar label. Its 2002 CBC Records disc Death and the Maiden, featuring music by Schubert, Fanny Mendelssohn-Hensel, and Rebecca Clarke, won the Western Canadian Music Award for Outstanding Classical Recording. It recorded Michael Longton’s Almost Nothing Like Purple Haze for the 2011 CD Jimi Hendrix Uncovered, and has recently released a CD together with Alexander Tselyakov of the quintets of Dmitri Shostakovich and the newly commissioned quintet Motion and Distance, by Canadian composer Kelly-Marie Murphy. The LSQ is the subject of David Rounds’ book The Four and the One: In Praise of String Quartets published in 1999. COMING UP! 11th Annual Lafayette Health Awareness Forum Personalized Medicine: Hype, hope and genuine progress THURSDAY, OCTOBER 6 | 7 PM Join the Lafayette String Quartet and their dynamic speakers for the 11th Annual Lafayette Health Awareness Forum as they explore the topic of personalized medicine — what it is and where it might take us. The evening will begin and end with a short music selection by the Quartet. This free forum brings health experts and community members together each year to discuss and learn about health issues that affect us all. Guest speakers include: Dr. Eike-Henner Kluge, Professor of Philosophy, UVic Dr. Patrick Macleod, Centre for Biomedical Research, UVic Dr. Brad Nelson, Director and Distinguished Scientist, Deeley Research Centre, BC Cancer Agency Dr. Scott Hofer, Director, Institute on Aging & Lifelong Health, UVic Free admission Reserve seats at lafayettestringquartet.ca David Lam Auditorium, Rm. A144, MacLaurin Building, A-Wing �PATRICIA KOSTEK Patricia Kostek is a versatile musician with a diverse and eclectic range of repertoire. Patricia has given recitals and masterclasses and served as a competition jury member in major cultural centers of Europe, Asia, Canada, the USA, Mexico and South America. She has adjudicated for international music competitions in Brazil, Belgium, Paris, Quebec City, Madrid and Buenos Aires. She has performed in many of the finest international concert halls and in noted international music festivals as well as with numerous orchestras in North America and Europe including the Chicago Symphony, Honolulu Symphony and Kansas City Symphony, the Orquestra Sinfonica de Teatro Colon de Buenos Aires (soloist) and Orquestra Sinfonica da Bahía (soloist). She has performed under the guidance of many eminent conductors such as Sir George Solti, James Levine, Simon Rattle, Edo de Waart. Patricia was a featured soloist at the Shanghai International Clarinet Festival and has performed at Encontro IV Brazilian National Clarinet Festival (Rio de Janeiro ), Buenos Aires International Festival and in October 2016 at Festival Internacional di Música Loja (Ecuador). Her love of chamber music has led her to collaborate with many artists and ensembles including the Purcell, ODEON and Lafayette String Quartets, the Kansas City and Windy City (Chicago) Wind Quintets, Trio Pardalote, Duo Patterson, Northwest Sinfonia, and pianists Bruce Vogt, Michelle Mares,, Arthur Rowe, Maria Inês Guimaraes among many others. The Usinger Anzeiger (Germany) spoke of “the perfection of her tone, unbelievably smooth and amazingly differentiated in its nuance”. The Kansas City Star wrote of “intelligent and intense musicianship”, “deft, imaginative playing”, “lilting grace” and of “her command of instrumental color and psychology”. The Bad Nauheim (Germany) Zeitung wrote “an exquisite evening of chamber music”. In the Pacific Northwest area Patricia has performed with Pacific Opera Victoria and the Victoria Symphony, among others. She serves as artistic director of Chamber Music San Juans and the Winds of Yarrow. An active studio musician, Patricia can be heard on the soundtracks of many movies and video games. Her principal teachers include Larry Combs and Robert Marcellus. Patricia is currently a Professor at the University of Victoria. �Dmitri Shostakovich: The Complete String Quartets February 3–9 The Lafayette String Quartet celebrates its 30th anniversary with the complete cycle of Shostakovich's 15 String Quartets presented over 5 evenings! Journey through Shostakovich’s life as experienced through his quartets — from the innocent optimism of the first to the desolation and hopelessness of his final quartet. This cycle documents Shostakovich’s creative life and spans his compositional career from the late 1930s until his death in 1975. The Lafayette String Quartet will share its special heritage with this music as received from their mentor Rostislav Dubinsky who knew and worked closely with Shostakovich. Gain further insight into these works in pre-concert talks and lectures by visiting scholars including Michelle Assay (Université Paris-Sorbonne), David Fanning (University of Manchester), Judith Kuhn (University of WisconsinMilwaukee), and Patrick McCreless (Yale University). Tickets $25 / 5 concert festival pass $100 Phillip T. Young Recital Hall All concerts at 8 PM FRI, FEB 3 Nos. 1, 2, 3 SAT, FEB 4 Nos. 4, 5, 6 MON, FEB 6 Nos. 7, 8, 9 WED, FEB 8 Nos. 10, 11, 12, 13 THU, FEB 9 Nos. 14, 15 �UPCOMING EVENTS SEPTEMBER 28–29 Orion Series in Fine Arts presents Paul Roe, clarinet & bass clarinet Free admission Paul Roe (PhD, York) is one of Dublin’s most distinguished musicians. An in-demand performer, he also works with a wide range of individuals as a coach and mentor. Clarinet Masterclass: WEDNESDAY, SEPTEMBER 28 | 12:30–2:20 PM Free admission Phillip T. Young Recital Hall Lecture: WEDNESDAY, SEPTEMBER 28 | 3:30 PM Coaching: A 21st Century Approach to Learning, Growth & Change Paul Roe discusses the fundamentals of coaching and how this approach can make your life more rewarding and fulfilling. Free admission Rm. B037, MacLaurin Building, B-Wing Concert: THURSDAY, SEPTEMBER 29 | 7:30 PM With Anne Grimm, soprano, Patricia Kostek, clarinet & Charlotte Hale, piano Performing music for solo bass clarinet and bass clarinet with electronics by contemporary and traditional Irish composers. Phillip T. Young Recital Hall SEPTEMBER 30 Orion Series in Fine Arts presents Paul Merkelo, trumpet Free admission Renowned as one of the finest trumpet players of his generation, Paul Merkelo has been principal trumpet with the Orchestre symphonique de Montréal since 1995. Concert: FRIDAY, SEPTEMBER 30 | 12:30 PM Phillip T. Young Recital Hall Trumpet Masterclass: FRIDAY, SEPTEMBER 30 | 1:30–5 PM Phillip T. Young Recital Hall / Rm. B037, MacLaurin Building, B-Wing � To receive our On the Pulse brochure and newsletter by email, contact: concert@uvic.ca www.finearts.uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Concert Series Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091816-FacultyConcert_LSQ/091816-FacultyConcert_LSQ_01.mp3">Track 1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091816-FacultyConcert_LSQ/091816-FacultyConcert_LSQ_02.mp3">Track 2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/091816-FacultyConcert_LSQ/091816-FacultyConcert_LSQ_03.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 Faculty Concert Series - The Lafayette String Quartet Creator An entity primarily responsible for making the resource Adam Jasieniuk Date A point or period of time associated with an event in the lifecycle of the resource September 18, 2016 Contributor An entity responsible for making contributions to the resource Ann Elliott-Goldschmid, violin Sharon Stanis, violin Joanna Hood, viola Pamela Highbaugh Aloni, cello Patricia Kostek, clarinet https://finearts.uvic.ca/music/archive/files/original/f4dc66d057c435d5abb81fc12c42c7be.pdf 79f1669abb050938397640b04263f050 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC FACULTY CONCERT SERIES CURTIS ANDREWS PATRICK BOYLE MRIDANGAM TRUMPET VIDYASAGAR VANKAYALA VOICE Friday, September 30, 2016 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $20 / Seniors: $15 / Students & UVic alumni: $10 �PROGRAM NOTE: There is no intermission. The entire program will last approximately 1 hour and 20 minutes. Sri Guruguha Composer: Muthuswami Dikshitar (1775-1835) Raga: Devakriya (C D F G A - C G F D C) Rupaka Tala (3 beat cycle) Language: Sanskrit Malabar Composer: Curtis Andrews Raga: Mayamalavagaula (C Db E F G Ab B C - C B Ab G F E Db C) Adi Tala (8 beat cycle) Ragam-Tanam-Pallavi Composer: Vidyasagar Vankayala Raga: Dharmavati (C D Eb F# G A B C - C B A G F# Eb D C) Adi Tala (Rendu Kalai: 16 beat cycle) Language: Sanskrit Thillana (Geethadhuniku) Composer: Swati Thirunal Raga: Dhanasri (C Eb F G Bb C - C Bb A G Eb D C) Adi Tala (8 beat cycle) Language: Hindi �PROGRAM NOTES From Patrick Boyle: Things haven’t been the same since 1997, when I got a gig playing bass in a new band and met the drummer, Curtis Andrews. Our musical life is seamlessly integrated into our relationship as “brothers from other mothers” specifically regarding trust, tolerance, acceptance, whimsy, and love. To me it represents the most liberating qualities of a musical life, where study, practice, performance, and camaraderie merge. My sincere gratitude goes to Vidyasagar, Curtis, and their respective families for sharing their music at UVic in this special concert. Carnatic Music: A Very Brief Primer The cultures of the Indian subcontinent have produced not one, but two “classical” (ie: art music) traditions: Hindusthani (originating in the Northern areas) and Carnatic (developed in the Southern reaches). While both have roots reaching back several thousand years, they contain many differences owing to linguistic, political, and religious diversity. Still, the common denominator of both is a remarkable dedication to and development of raga, tala and manodharma. Raga is best understood as a particular collection of pitches, treated uniquely and arranged in a manner to create a unique impression upon the listener. Tala refers to the general rhythmic aspect of musical expression, and specifically to defined rhythmic cycles in which compositions and improvisations occur. Manodharma is improvisation, which is utilized extensively in both traditions. Carnatic music is further defined by the immense body of compositions, most of which are spiritual and/or philosophical in thematic content, that form the basis of a performance. Dr. Patrick Boyle is Associate Professor of Jazz Studies at the University of Victoria School of Music. Among his three critically acclaimed albums is Rock Music: an album of duets with percussionist Curtis Andrews. In 2009, Patrick was featured at Carnegie Hall in a concert of North Indian Classical music with Zakir Hussain, Steve Smith, and Kala Ramnath. Curtis Andrews is a Canadian-based musician with global persuasions. An awardwinning percussionist/composer, he creates music that is informed by his many years of experience with West African, South Indian and jazz traditions yet transcends most categories. Vidyasagar Vankayala hails from a family of musicians in Andhra Pradesh, India. Steeped in Carnatic music since age 6, Vidyasagar continued his vocal training for 15 years, in a very formal, rigorous and highly demanding system of learning. Since moving to Vancouver in 1996, Vidyasagar has been active in promoting Carnatic music in the lower mainland, forming his own non-profit South Indian performing arts society (SaPaSa), leading a music and dance academy (Sangeetha Maruti Arts), and as a collaborator with a diverse collection of artists. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Concert Series Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/093016-FacultyConcert_Boyle/093016-FacultyConcert_Boyle_Talk1.mp3">Talk1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/093016-FacultyConcert_Boyle/093016-FacultyConcert_Boyle_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/093016-FacultyConcert_Boyle/093016-FacultyConcert_Boyle_Talk2.mp3">Talk2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/093016-FacultyConcert_Boyle/093016-FacultyConcert_Boyle_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/093016-FacultyConcert_Boyle/093016-FacultyConcert_Boyle_Talk3.mp3">Talk3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/093016-FacultyConcert_Boyle/093016-FacultyConcert_Boyle_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/093016-FacultyConcert_Boyle/093016-FacultyConcert_Boyle_Talk4.mp3">Talk4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/093016-FacultyConcert_Boyle/093016-FacultyConcert_Boyle_04.mp3">Track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/093016-FacultyConcert_Boyle/093016-FacultyConcert_Boyle_Talk5.mp3">Talk5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/093016-FacultyConcert_Boyle/093016-FacultyConcert_Boyle_05.mp3">Track5</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Concert Series - South Indian Classical Music Creator An entity primarily responsible for making the resource Adam Jasieniuk Contributor An entity responsible for making contributions to the resource Curtis Andrews, mridangam Patrick Boyle, trumpet Vidyasagar Vankayala, voice Date A point or period of time associated with an event in the lifecycle of the resource September 30, 2016 https://finearts.uvic.ca/music/archive/files/original/4c47368c53b7b45c9a73dd589c9d3900.pdf e48417d18918b446075e5a36eb2fdb28 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC Emerging Artists Alumni Series Tasha Meisami Farivar, voice Braden Young, piano Brian Desjarlais, guitar Please turn off all electronic devices during the performance and refrain from applauding during song cycles. Saturday, October 22, 2016 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation �PROGRAM “Seguidilla” Carmen’s aria from Carmen Georges Bizet (1838–1875) Alban Berg (1885–1935) Seben Frühe Lieder Nacht Schilflied Die Nachtigal Traumgekrönt Im Zimmer Liebesode Sommertage I NT E R M I S S I O N 3 Selections from Schwanengesang Ständchen Das Fischermädchen Aufenthalt Hungarian Fantasy Brian Desjarlais, guitar Franz Schubert (1797–1828) Arr. J. K. Mertz J. K. Mertz (1806–1856) Fêtes Galantes En Sourdin Fantoches Claire de Lune Claude Debussy (1862–1918) “Sein wir wieder gut” Composer’s Aria from Ariadne auf Naxos Johannes Strauss (1864–1949) Braden Young, piano �PROGRAM NOTES Georges Bizet In a career cut short by his early death, Georges Bizet achieved few successes before his final work, Carmen, became one of the most popular and frequently performed works in the entire opera repertory. He was recognised as an outstanding pianist, though he chose not to capitalise on this skill and rarely performed in public. Returning to Paris after almost three years in Italy, he found that the main Parisian opera theatres preferred the established classical repertoire to the works of newcomers. His keyboard and orchestral compositions were likewise largely ignored; as a result, his career stalled, and he earned his living mainly by arranging and transcribing the music of others. Alban Berg Alban Berg is an Austrian composer who wrote atonal and 12-tone compositions that remained true to late 19th-century Romanticism. He composed orchestral music (including Five Orchestral Songs, 1912), chamber music, songs, and two groundbreaking operas, Wozzeck (1925) and Lulu (1937). Encouraged by his father and older brother, Alban Berg began to compose music without benefit of formal instruction. During this period his output consisted of more than 100 songs and piano duets, most of which remain unpublished. Berg’s powerful and complex works draw from a broad range of musical resources but are chiefly shaped by a few central techniques: the use of a complex chromatic expressionism, which nearly obscures, yet actually remains within, the framework of traditional tonality; the recasting of classical musical forms with atonal content—i.e., abandoning traditional tonal structure dependent upon a centrally important tone; and a deft handling of the 12-tone approach developed by Schoenberg as a method of structuring atonal music. Franz Schubert Franz Schubert is considered the last of the classical composers and one of the first romantic ones. Schubert’s music is notable for its melody and harmony. Like the poets whose work he wrote his music around, Schubert was an unrivaled master of lyrical beauty. His vocal contributions, more than 500 in all, were written for male and female voices, as well as mixed voices. Schubert produced masterful works with rich harmonies and legendary melodies for a variety of genres, and his influence proved considerable with later composers like Robert Schumann, Johannes Brahms and Hugo Wolf. And for some musical historians, his much praised “Ninth Symphony” opened the way for other greats like Anton Bruckner and Gustav Mahler. Claude Debussy Along with Maurice Ravel, Claude Debussy was one of the most prominent figures associated with Impressionist music, though he himself intensely disliked the term when applied to his compositions. In France, he was made Chevalier of the Legion of Honour in 1903. A crucial figure in the transition to the modern era in Western music, he remains one of the most famous and influential of all composers. His music is noted for its sensory component and for not often forming around one key or pitch. Debussy’s work usually reflected the activities or turbulence in his own life. In French literary circles, the style of this period was known as symbolism, a movement that directly inspired Debussy both as a composer and as an active cultural participant. �Richard Strauss Richard Strauss was a leading German classical composer of the late Romantic and early modern eras best known for his operas Der Rosenkavalier and Salome, based on the play by Oscar Wilde. Hitler was a strong supporter of Strauss’ work and he was allowed to continue performing even while the works of Debussy, Mahler and Mendelssohn were being banned during the Nazi regime. Inspired initially by Berlioz and Brahms his first compositions were more classical in nature, before he moved in the direction of the more uninhibited romanticism of Liszt and Wagner. By his early twenties Strauss had composed a considerable amount of music, but it was with his first “Tone Poem” Don Juan in 1889 that his career was to take an upward turn. Having written several tone poems to major acclaim, Strauss turned first to writing operas, and then to conducting, his longest lasting post being with the Berlin Philharmonic for 12 years. During this time his compositional output declined to near zero, but then in later life a last spurt of creativity resulted in a number of mature works seeming in part to return to a more classical form. BIOGRAPHIES Tasha Meisami Farivar (B.Mus ‘14), a Victoria native, completed her degree at the University of Victoria with Benjamin Butterfield. In 2012, she participated in the Vancouver International Song Institute (VISI) summer program at the University of British Columbia, and performed in a fundraiser alumni concert with Benjamin Butterfield, Martha Guth, Tyler Duncan, Erika Switzer and Laura Lowen in January 2015. Tasha has also performed as an alto soloist in the Victoria Chamber Orchestra production of Mozart’s Requiem in 2011, and in West Vancouver with the Pacific Spirit Choir and Orchestra 2014. She performed in the Philomela Woman’s Choir production of Pergolesi’s Stabat Mater, University of Victoria Chorus and Orchestra productions of Mozart’s Vesperae Solennes de Confessorae in 2013, and Bruckner’s Mass in F minor and Via Choralis’ production of Handel’s Messiah in December 2014. She also performed as an alto soloist in Haydn’s Paukenmesse with the Sooke Philharmonic, Spring 2014. Tasha competed in the 2014 Greater Victoria Performing Arts Festival winning the Rose Bowl award and the Roberto and Mary Wood Scholarship, which led her to compete at the Performing Arts BC Provincials in the National category. Tasha was accepted into the Amalfi Coast Summer Opera program in 2015 where she played the role of Ciesca in Pucini’s Gianni Schichi in Naples, Italy, and the Amalfi Coast. In 2015, Tasha also performed with the Pacific Opera Victoria chorus in productions of Lucia di Lammermoor and Madama Butterfly and landed a leading role in Fear No Opera’s production of An Italian Girl in London, as Madama Brillante. Last year Tasha was an alto soloist in the Bach, Vivaldi, and CPE Bach Magnificat with Paul Colthorpe and the North Island Spirit choir. Tasha also performed in this year’s Sooke Philharmonic production of Mozart’s Vesperae Solennes de Confessorae. Currently Tasha is working with Pacific Opera again for their premier of Verdi’s Simone Boccanegra, in the role of Amelia’s maid, Angella as well as part of the Chorus. �Brian Desjarlais (M.Mus ‘13) is an accomplished Canadian classical guitarist based in Victoria, BC. Born in Windsor, Ontario, Brian began studying guitar at the age of 8. His first teacher guided Brian into the realm of classical guitar music and a lifelong passion was ignited. Brian holds a Bachelor’s of Music Performance from the University of Windsor, where he studied under acclaimed Michigan guitarist Steven Dearing. After spending a number of years teaching and performing throughout Southwestern Ontario, Brian relocated to the west coast of Canada to study with the internationally renowned guitarist Dr. Alexander Dunn at the University of Victoria. Brian completed his Masters of Music Performance degree in 2014. Throughout the years, Brian has performed in master classes with such guitar greats as Pepe Romero, Marcin Dylla and Kazuhito Yamashita. While at the University of Windsor, Brian twice won the Arlene Janzen Memorial Scholarship for excellence in performance. In 2008 he won the Ron Ianni Scholarship, awarded to the student recognized in competition as the top performer in the school. In 2012 Brian was granted a graduate fellowship award to study at the University of Victoria. Brian is an active performer, both as a soloist and as a member of numerous ensembles. He is a great supporter of new music, having performed in the Canadian premieres of works by David Jaffe and Tim Brady, as well as in a variety of student compositions during his time at the University of Victoria. Born in Grand Forks, BC, Braden Young began studying piano at the age of seven. He entered the Camosun College Piano Performance Diploma Program with Dr. Jamie Syer at age 16 and graduated two years later winning the prestigious Irving K. Barber Scholarship. He completed his undergraduate degree in Music Scholarship (Piano) at UBC in the studio of Dr. Corey Hamm. Braden has won many solo and collaborative piano awards including the JVPAF Lieder Accompanist award 2012 and the Erzsebet Gessler Memorial Scholarship 2010. He has also been the collaborative pianist for two recent winners of the Roberto and Mary Wood Scholarship (2012/2014). In the past several years, he has organized and participated in benefit concerts for the First Unitarian Church of Victoria, Cambodia Support Group, the MS Society and a collaborative concert to support his studies at the University of Toronto. Last summer, Braden had the privilege of attending the Centre for Opera Studies in Italy. He has been awarded the Women’s Musical Club of Toronto Foundation Graduate Fellowship (2014-2016), the Philcox Collaborative Piano Scholarship and a University Fellowship. Braden is completing his Master’s Degree in Collaborative Piano at the University of Toronto, in the studio of Steven Philcox. Upon completion of his degree, Braden will be relocating to Victoria, BC to begin his career. �TEXT & TRANSLATIONS Seguidille Près des remparts de Séville, Chez mon ami, Lillas Pastia J’irai danser la Séguedille Et boire du Manzanilla. J’irai chez mon ami Lillas Pastia. Oui, mais toute seule on s’ennuie, Et les vrais plaisirs sont à deux; Donc, pour me tenir compagnie, J’emmènerai mon amoureux! Mon amoureux, il est au diable, Je l’ai mis à la porte hier! Mon pauvre coeur très consolable, Mon coeur est libre comme l’air! J’ai les galants à la douzaine, Mais ils ne sont pas à mon gré. Voici la fin de la semaine; Qui veut m’aimer? Je l’aimerai! Qui veut mon âme? Elle est à prendre. Vous arrivez au bon moment! J’ai guère le temps d’attendre, Car avec mon nouvel amant, Près des remparts de Séville, Chez mon ami, Lillas Pastia! Near the ramparts of Seville At the place of my friend, Lillas Pastia I will go to dance the Seguedilla And to drink Manzanilla. I will go to the place of my friend, Lillas Pastia. Yes, but all alone, one gets bored, And the real pleasures are for two; So, to keep me company, I will take away my lover. My lover, he has gone to the devil, I put him out yesterday! My poor heart, very consolable, My heart is free, like the air! I have suiters by the dozen, But, they are not to my taste. Here it is the weekend; Who wants to love me? I will love him! Who wants my soul? It¹s for the taking. You’re arriving at the right time! I have hardly the time to wait, For with my new lover, Near the ramparts of Seville At the place of my friend, Lillas Pastia! Seben Frühe Lieder Nacht Dämmern Wolken über Nacht und Tal, Nebel schweben, Wasser rauschen sacht. Nun entschleiert sich’s mit einemmal: O gib Acht! Gib Acht! Weites Wunderland ist aufgetan. Silbern ragen Berge, traumhaft groß, Stille Pfade silberlicht talen Aus verborg’nem Schoß; Und die hehre Welt so traumhaft rein. Stummer Buchenbaum am Wege steht Schattenschwarz, ein Hauch vom fernen Hain Einsam leise weht. Und aus tiefen Grundes Düsterheit Blinken Lichter auf in stummer Nacht. Trinke Seele! Trinke Einsamkeit! O gib Acht! Gib Acht! Night    The clouds embrown the night and valley; the mists float above, the water rushing gently. Now all at once they unveil themselves: o listen! pay heed! A broad land of wonder has opened up. Silver mountains rise up, fantastically huge, silent paths lit with silver from the hidden lap of the valley; and the noble world is so dreamily pure. A mute beech stands by the path, black with shadows; a breeze from a distant, lonely grove wafts gently by. And from the deep darkness of the valley flash lights in the silent night. Drink, my soul! Drink in this solitude! O listen! pay heed! Schilflied  Auf geheimem Waldespfade Schleich’ ich gern im Abendschein An das öde Schilfgestade, Mädchen, und gedenke dein! Wenn sich dann der Busch verdüstert, Rauscht das Rohr geheimnisvoll, Und es klaget und es flüstert, Daß ich weinen, weinen soll. Und ich mein’, ich höre wehen Leise deiner Stimme Klang, Und im Weiher untergehen Deinen lieblichen Gesang. Reed Song Along a secret forest path I like to creep in the evening light; I go to the desolate, reedy banks, and think, my maiden, of you! As the bushes grow dark, the reeds hiss mysteriously, and lament and whisper, and thus I have to weep and weep. And I think that I hear wafting the gentle sound of your voice, and down into the pond sinks your lovely song. �Die Nachtigall Das macht, es hat die Nachtigall Die ganze Nacht gesungen; Da sind von ihrem süßen Schall, Da sind in Hall und Widerhall Die Rosen aufgesprungen. Sie war doch sonst ein wildes Blut, Nun geht sie tief in Sinnen, Trägt in der Hand den Sommerhut Und duldet still der Sonne Glut Und weiß nicht, was beginnen. The Nightingale  It happened because the nightingale sang the whole night long; from her sweet call, from the echo and re-echo, roses have sprung up. She was but recently a wild blossom, and now she walks, deep in thought; she carries her summer hat in her hand, enduring quietly the heat of the sun, knowing not what to begin. Traumgekrönt  Das war der Tag der weißen Chrysanthemem, Mir bangte fast vor seiner Pracht… Und dann, dann kamst du mir die Seele nehmen Tief in der Nacht. Mir war so bang, und du kamst lieb und leise, Ich hatte grad im Traum an dich gedacht. Du kamst, und leis’ wie eine Märchenweise Erklang die Nacht. Crowned in a dream  That was the day of the white chrysanthemums, I was almost intimidated by its glory… And then, then you came to take my soul deep in the night. I was so worried, and you came so lovingly and quietly, I had just thought of you in a dream. You came, and softly the night resounded like a fairy tale song. Im Zimmer Herbstsonnenschein. Der liebe Abend blickt so still herein. Ein Feuerlein rot Knistert im Ofenloch und loht. So, mein Kopf auf deinen Knie’n, So ist mir gut. Wenn mein Auge so in deinem ruht, Wie leise die Minuten zieh’n In the chamber Autumn sunlight. The lovely evening peers so quietly in. A little red fire crackles in the stove and flares up. And with my head upon your knee, I am contented. When my eyes rest in yours, how gently do the minutes pass! Liebesode Im Arm der Liebe schliefen wir selig ein, Am offnen Fenster lauschte der Sommerwind, Und unsrer Atemzüge Frieden trug er hinaus in die helle Mondnacht. Und aus dem Garten tastete zagend sich ein Rosenduft an unserer Liebe Bett Und gab uns wundervolle Träume, Träume des Rausches, so reich an Sehnsucht. Love Song In the arms of love we fell blissfully asleep; at the open window the summer wind listened and carried the peacefulness of our breath out into the bright, moonlit night. And out of the garden, feeling its way randomly, the scent of roses came to our bed of love and gave us wonderful dreams, dreams of intoxication, rich with yearning. Sommertage Nun ziehen Tage über die Welt, Gesandt aus blauer Ewigkeit, Im Sommerwind verweht die Zeit. Nun windet nächtens der Herr Sternenkränze mit seliger Hand Über Wander- und Wunderland. O Herz, was kann in diesen Tagen Dein hellstes Wanderlied denn sagen Von deiner tiefen, tiefen Lust: Im Wiesensang verstummt die Brust, Nun schweigt das Wort, wo Bild um Bild Zu dir zieht und dich ganz erfüllt. Summer days Now the days drag through the world, sent forth from blue eternity; time dissipates in the summer wind. Now at night the Lord weaves with blessed hand wreaths of stars above the wandering wonderland. In these days, o my heart, what can your brightest wanderer’s song then say about your deep, deep pleasure? In meadowsong the heart falls silent; now there are no words, and image upon image visits you and fills you entirely. �Selections from Schwanengesang: Ständchen Leise flehen meine Lieder Durch die Nacht zu dir; In den stillen Hain hernieder, Liebchen, komm zu mir! Serenade My songs beckon softly through the night to you; below in the quiet grove, Come to me, beloved! Flüsternd schlanke Wipfel rauschen In des Mondes Licht; Des Verräters feindlich Lauschen Fürchte, Holde, nicht. The rustle of slender leaf tips whispers in the moonlight; Do not fear the evil spying of the betrayer, my dear. Hörst die Nachtigallen schlagen? Ach! sie flehen dich, Mit der Töne süßen Klagen Flehen sie für mich. Do you hear the nightingales call? Ah, they beckon to you, With the sweet sound of theirsinging they beckon to you for me. Sie verstehn des Busens Sehnen, Kennen Liebesschmerz, Rühren mit den Silbertönen Jedes weiche Herz. They understand the heart’s longing, know the pain of love, They calm each tender heart with their silver tones. Laß auch dir die Brust bewegen, Liebchen, höre mich! Bebend harr’ ich dir entgegen! Komm, beglücke mich! Let them also stir within your breast, beloved, hear me! Trembling I wait for you, Come, please me! Das Fischermädchen Du schönes Fischermädchen, Treibe den Kahn ans Land; Komm zu [mir und setze]1 dich nieder, Wir kosen Hand in Hand. Beautiful Fishermaiden Pull your boat toward shore; Come to me and sit down, We will speak of love, hand in hand. Lay your little head on my heart, Leg an mein Herz dein Köpfchen Und fürchte dich nicht [zu]2 sehr; [Vertraust du dich]3 doch sorglos Täglich dem wilden Meer. And do not be too frightened; Indeed, you trust yourself fearlessly Daily to the wild sea! Mein Herz gleicht ganz dem Meere, Hat Sturm und Ebb’ und Flut, Und manche schöne Perle In seiner Tiefe ruht. My heart is just like the sea, Having storms and ebb and flow, And many beautiful pearls Rest in its depths. Aufenthalt Rauschender Strom, Brausender Wald, Starrender Fels Mein Aufenthalt. Dwelling Rushing torrent, Howling forest, Awesome crag, My dwelling. Wie sich die Welle An Welle reiht, Fließen die Tränen Mir ewig erneut. Just as each wave follows upon the last, My tears flow, Eternally renewed. Hoch in den Kronen Wogend sich’s regt, So unaufhörlich Mein Herze schlägt. High in the surging treetops’ sway My heart beats incessantly; Und wie des Felsen Uraltes Erz, Ewig derselbe Bleibet mein Schmerz. And, like the ore within the ancient stone, My pain remains unchanged forever. �Fêtes Galantes En Sourdain Calmes dans le demi-jour Que les branches hautes font, Pénétrons bien notre amour De ce silence profond. En Sourdain Calm in the half-day That the high branches make, Let us soak well our love In this profound silence. Fondons nos âmes, nos cœurs Et nos sens extasiés, Parmi les vagues langueurs Des pins et des arbousiers. Let us mingle our souls, our hearts And our ecstatic senses Among the vague langours Of the pines and the bushes. Ferme tes yeux à demi, Croise tes bras sur ton sein, Et de ton cœur endormi Chasse à jamais tout dessein. Close your eyes halfway, Cross your arms on your breast, And from your sleeping heart Chase away forever all plans. Laissons-nous persuader Au souffle berceur et doux Qui vient, à tes pieds, rider Les ondes des gazons roux. Let us abandon ourselves To the breeze, rocking and soft, Which comes to your feet to wrinkle The waves of auburn lawns. Et quand, solennel, le soir Des chênes noirs tombera Voix de notre désespoir, Le rossignol chantera. And when, solemnly, the evening From the black oaks falls, The voice of our despair, The nightingale, will sing. Fantoches Scaramouche et Pulcinella, Qu’un mauvais dessein rassembla, Gesticulent noirs sous la lune, Fantoches Scaramouche and Pulcinella, brought together by some evil scheme gesticulate, black beneath the moon. Cependant l’excellent docteur Bolonais Cueille avec lenteur des simples Parmi l’herbe brune. Meanwhile, the learned doctor from Bologna slowly gathers medicinal herbs in the brown grass. Lors sa fille, piquant minois, Sous la charmille, en tapinois, Se glisse demi-nue, Then his sassy-faced daughter sneaks underneath the arbor half-naked, in quest En quête de son beau pirate espagnol, Dont un langoureux rossignol Clame la détresse à tue-tête. Of her handsome Spanish pirate, whose distress a languorous nightingale deafeningly proclaims. Claire de Lune Votre âme est un paysage choisi Que vont charmant masques et bergamasques, Jouant du luth et dansant, et quasi Tristes sous leurs déguisements fantasques! Clair de Lune Your soul is a chosen landscape charmed by masquers and revellers playing the lute and dancing and almost sad beneath their fanciful disguises! Tout en chantant sur le mode mineur L’amour vainqueur et la vie opportune. Ils n’ont pas l’air de croire à leur bonheur, Et leur chanson se mêle au clair de lune, Even while singing, in a minor key, of victorious love and fortunate living they do not seem to believe in their happiness, and their song mingles with the moonlight, Au calme clair de lune triste et beau, Qui fait rêver, les oiseaux [dans]1 les arbres, Et sangloter d’extase les jets d’eau, Les grands jets d’eau sveltes parmi les marbres. The calm moonlight, sad and beautiful, which sets the birds in the trees dreaming, and makes the fountains sob with ecstasy, the tall slender fountains among the marble statues! �Composer’s Aria Sein wir wieder gut. Ich sehe jetzt alles mit anderen Augen! Die Tiefen des Daseins sind unermeßlich! Mein lieber Freund! Es gibt manches auf der Welt, Das läßt sich nicht sagen. Die Dichter unterlegen ja recht gute Worte, Jedoch Mut ist in mir, Mut Freund! Die Welt ist lieblich Und nicht fürchterlich dem Mutigen. Was ist denn Musik? Musik ist eine heilige Kunst zu versammeln Alle Arten von Mut wie Cherubim Um einen strahlenden Thron Und darum ist sie die heilige unter dem Künsten Die heilige Musik! Let us be reconciled! Now I see everything with different eyes! The profoundness of existence is immeasurable! My dear friend, there are many things in the world which cannot be expressed in speech. The poets put down very good words, and yet, and yet, and yet --! Courage is in me, friend. The world is lovely and not frightening to the courageous man. And what is music, then? Music is a sacred art, to gather all kinds of courage like cherubim before a shining throne! And therefore is music sacred among the arts! �UPCOMING EVENTS TUESDAY, OCTOBER 25 | 12:30 PM (Admission by donation) Tuesdaymusic Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring UVic School of Music students. Phillip T. Young Recital Hall WEDNESDAY OCTOBER 26 | 8 PM (Free Admission) Graduating Recital: David Gagnon, conducting David Gagnon presents his Masters of Music graduating recital in conducting. Phillip T. Young Recital Hall FRIDAY, OCTOBER 28 | 12:30 PM (Admission by donation) Fridaymusic Featuring UVic School of Music brass students in a concert of varied repertoire. This concert will be broadcast live at finearts.uvic.ca/music/events/live/ Phillip T. Young Recital Hall FRIDAY, OCTOBER 28 | 8 PM ($10-$20) UVic Orchestra: Nordic Light Ajtony Csaba, conductor Grieg – Piano Concerto in A minor, Op.16 featuring UVic Concerto Competition Winner, Muzi Xu Grieg – Peer Gynt Suites (selection) Grieg – Holberg Suite (selection) University Centre Farquhar Auditorium SATURDAY, OCTOBER 29 | 8 PM ($10-$20) Faculty Chamber Music Series Members of UVic’s Performance Faculty join on stage to present an evening of chamber music. The program will include many familiar faces as well as a brass quintet with our newest faculty member Merrie Klazek on trumpet. Performing music by Schubert, Ewald, Brahms, Piazzolla, and more! Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca) and at the door. � To receive our On the Pulse brochure and newsletter by email, contact: concert@uvic.ca finearts.uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emerging Artists Alumni Series Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/102216-EmergingArtists/102216-EmergingArtists_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/102216-EmergingArtists/102216-EmergingArtists_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/102216-EmergingArtists/102216-EmergingArtists_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/102216-EmergingArtists/102216-EmergingArtists_04.mp3">Track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/102216-EmergingArtists/102216-EmergingArtists_05.mp3">Track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/102216-EmergingArtists/102216-EmergingArtists_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 Emerging Artists Alumni Concert Creator An entity primarily responsible for making the resource Adam Jasieniuk Date A point or period of time associated with an event in the lifecycle of the resource October 22, 2016 Contributor An entity responsible for making contributions to the resource Tasha Meisami Farivar, voice Braden Young, piano Brian Desjarlais, guitar https://finearts.uvic.ca/music/archive/files/original/49a86039bece125711f5d004f76a60eb.pdf defdbe898c1830225dc2a1f60be834da PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC FACULTY CHAMBER MUSIC SERIES FEATURING: Merrie Klazek, trumpet Steven Donegan, trumpet Samuel McNally, horn Scott MacInnes, trombone Paul Beauchesne, tuba Susan Young, soprano Bridget MacRae, cello Bruce Vogt, piano Arthur Rowe, piano Saturday, October 29, 2016 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Adults: $20 / Seniors: $15 / Students & UVic alumni: $10 �PROGRAM Quintet No. 1, Op. 5 Moderato Adagio non troppo Allegro moderato Merrie Klazek & Steven Donegan, trumpets Samuel McNally, horn Scott MacInnes, trombone Paul Beauchesne, tuba Victor Ewald (1860–1935) Romanze Ganymed Rastlose Liebe Ständchen Susan Young, soprano Bruce Vogt, piano Franz Schubert (1797–1828) Queen of the Night Aria W.A. Mozart (1756–1791) J.S. Bach (1685–1750) Astor Piazzolla (1921–1992) Contrapunctus 1 Milonga del Angel Libertango Merrie Klazek & Steven Donegan, trumpets Samuel McNally, horn Scott MacInnes, trombone Paul Beauchesne, tuba I NT E R M I S S I O N Beverages and snacks available at the concession located in the lounge. Sonata in F major Op. 99 for Cello and Piano Johannes Brahms Allegro vivace (1833–1897) Adagio affettuoso Allegro passionato Allegro molto Bridget MacRae, cello Arthur Rowe, piano �TEXTS & TRANSLATIONS Romanze (Romance) Rastlose Liebe (Restless Love) The full moon shines on the mountain heights, How I have longed for you! Oh, my sweetheart, it is so sweet When true love kisses true. Breasting the snow The rain and the wind, In steaming gorges, Through haze of mists, Ever onward Without pause or rest. What avails the lovely grace of spring? You were my spring sunshine! Light of my night, oh, smile on me Once more in death! She entered into the moonlight, She gazed heavenward. “In life afar, in death I am yours” And softly, our hearts broke. Ganymed How in the morning radiance You glow around me, Spring beloved! With the thousandfold joys of love, My heart is enveloped By the blissful sensation Of your eternal warmth. O, infinite beauty! That I might clasp you in my arms! Ah, on your bosom I lie languishing, And your flowers, your grasses Press against my heart. You cool the burning Thirst of my bosom, Lovely morning breeze! While the nightingale calls to me From the misty vale. I come! I come! Whither, ah, whither? Upwards I am driven! The clouds float downwards, Bending down towards my yearning love. To me, upwards in your lap, upwards! Embracing and embraced, Upwards to thy bosom, All-loving father! I would rather struggle My way through sorrows Than bear so much joy in life, All that yearning From heart to heart... Oh how it engenders Its own suffering! What then? Shall I flee? Take to the forests? All, all would be in vain! Crown of existence, Bliss without rest Art thou, o love! Standchen (Serenade) Softly through the night my songs implore you, Come down to the quiet grove with me beloved. Slender treetops rustle, whisper in the moonlight, Fear not, sweet one, the betrayers eavesdropping. Hear the nightingales calling? Ah, they implore you With their music, they implore you for me, They understand the bosom’s yearning, love’s pangs. They touch every heart with their silvery tones, Let them know your heart also; beloved, hear me! Trembling I wait for you, give me happiness! �BIOGRAPHIES Paul Beauchesne, tuba Paul Beauchesne has been the principal tuba with the Victoria Symphony since 2004 and was selected in 2011 as the Distinguished Alumni Award recipient for the University of Victoria’s Faculty of Fine Arts. Paul is a founding member of the Beacon Hill Brass Quintet and a Yamaha Performing Artist and Clinician. Paul was born in Montreal, however grew up in BC, where he completed his Bachelor Degree in Music at UVic. He has also studied at the Banff Centre and completed his Masters at the University of New Mexico. He was a long time member of Calgary’s Foothills Brass Quintet, spent two years as principal tuba of the KwaZulu Natal Philharmonic Orchestra in Durban, South Africa, and has performed with the Boston Symphony, Sante Fe Symphony, New Mexico Symphony, Calgary Symphony, Vancouver Symphony, Vancouver Ballet Orchestra, Okanagan Symphony Orchestra, Tanglewood Music Center Orchestra as well the Naden Band, Calgary Jazz Festival Orchestra, the Wild Rose Jazz All Stars and the Band of the Ceremonial Guard. Paul has played on numerous recordings and is active as a clinician and adjudicator, in addition to being a member of the Victoria Conservatory of Music’s Winds & Brass Faculty Department and teaching tuba and euphonium at the UVic School of Music. Steven Donegan, trumpet Born in Thunder Bay, Ontario, Steve Donegan is currently based in Victoria BC and enjoys an active life as a performer and educator. Steve holds both an Honours Bachelor of Arts (Music) and Bachelor of Education degrees from Lakehead University where he studied with Merrie Klazek, and a Master of Music degree in Performance from Memorial University of Newfoundland (MUN) where he studied with Alan Klaus. Steve is currently a member of the Naden Band of the Royal Canadian Navy and has had the privilege of performing with many ensembles throughout the country including the Thunder Bay Symphony Orchestra, the Newfoundland Symphony Orchestra, the National Youth Orchestra of Canada (NYOC) and Ottawa’s Band of the Ceremonial Guard. In addition to his activities as a performer, Steve is also passionate about music education. Steve served as the band teacher at Terrace Bay Secondary School for two years, and in 2014 taught as a contract lecturer at Lakehead University’s Department of Music where he was nominated for a “Contribution to Teaching Award”. Steve has also served as a teaching assistant at Memorial University’s School of Music. Merrie Klazek, trumpet Canadian trumpeter Merrie Klazek is active as a performer, teacher and recording artist in orchestral, chamber, solo, traditional, and popular music. She holds a Bachelor of Music with distinction from her native Calgary, and a Master of Music, Pi Kappa Lamba from Northwestern University where she studied with the late Vincent Cichowicz. Her musical travels have taken her around the globe with performance highlights including the Spoleto Festival Italy, Musik Contemporaire Strasbourg France, Tokyo’s Bunka Kaikan hall, Stratford Festival, Hungary’s Niyrbator Festival, the International Trumpet Guild Conference, and the International Women’s Brass Conference. Ms. Klazek has appeared as a soloist with a variety of Canadian orchestras and ensembles. She has been the principal trumpet with the Thunder Bay Symphony since 1999 and has held the same �position with the Victoria Symphony (2005/06) and Orchestra London Canada (199699). She has performed in the trumpet sections of many of Canada’s top orchestras and spent 14 years on faculty at Lakehead University in Thunder Bay. In 2016 Ms. Klazek joined the faculty at the University of Victoria’s School of Music as professor of trumpet. She is a founding member of Brass Northwest in Thunder Bay and currently plays with Pinnacle Brass Quintet on the west coast. Ms. Klazek’s recording Songs to the Moon has been featured on TVO Studio 2 and on CBC Radio and is available at tonight’s performance or on iTunes. She is currently working on another recording which will feature the trumpet alongside renowned folk musicians in various world styles. Scott MacInnes, trombone Scott completed his University of Toronto undergraduate degree in Classical Music Performance and has played bass trombone with the Victoria Symphony since 2005. Throughout his career he has appeared with ensembles including the Toronto Symphony, Orchestra London, the Thunder Bay Symphony, the Niagara Symphony, and the Hannaford Street Silver Band. Scott has taken on many styles of music—from jazz to R&B, folk rock to big band. He has also performed for British and Dutch royalty, the Pope, the Dalai Lama, and other heads of state. Scott is the trombone instructor at the University of Victoria and Principal Bass Trombone with the Vancouver Island Symphony Orchestra. He also performs with The Midnights Rhythm and Blues Band. Bridget MacRae, cello Raised in Victoria, cellist Bridget MacRae leads an active international career as a soloist, chamber musician and teacher. Since 2003 she has been principal cellist of the Munich Chamber Orchestra. Bridget has performed chamber music alongside eminent artists such as Angela Hewitt, Thomas Zehetmair, Melvyn Tan, Tabea Zimmermann and JeanGuihen Queyras. She is a regular guest at international festivals such as Ernen, Rheingau, Musicalta and Prussia Cove. For many years she was the cellist of the Schidlof Quartet and the London Conchord Ensemble in the UK. Bridget has recorded CDs of chamber and solo music on the Linn, ASV, Black Box, Quartz, Hexagone, Neos and Radio-Canada labels. Bridget’s intense involvement with contemporary music has led her to work with prominent composers including Sofia Gubaidulina, Jörg Widmann, Agata Zubel, Nikolaus Brass, Gloria Coates and Oliver Knussen. She has performed at the Pharos Contemporary Music Festival, the Munich Biennale and the Days of Macedonian Music, collaborates regularly with Ensemble Resonanz in Hamburg and is part of an ongoing Morton Feldman project in Munich. Bridget led a cello class at the Hochschule für Musik in Karlsruhe from 2008-12 and is regularly invited to teach at courses and masterclasses in Canada, Germany, France and the UK. Thanks to the Orion Exchange Programme, Bridget will be teaching at UVic in 2016/17. After her initial training with James Hunter at the Victoria Conservatory of Music, Bridget studied with Aldo Parisot at Yale University, Joel Krosnick at the Juilliard School and Xenia Jankovic in Germany. She won prizes at the Canadian Music Competition and the Montreal Debut Competition, was awarded the Samuel Mayes Cello Prize at Tanglewood and was the recipient of numerous grants and scholarships from the Canada Council for the Arts, the Vancouver Foundation, Villa Musica and the European Mozart Foundation. �Samuel McNally, horn Sam McNally is a fourth year music student at UVic pursuing a Bachelor degree in Music Performance. From his native Calgary, he began playing horn at the age of 11 in his middle school band. A few years later he began to take lessons from Laurie Matiation, with whom he was able to win his age divisions in the Calgary and Alberta Provincial Kiwanis Festivals, partake in honour bands, and ultimately audition at the University of Victoria. Also in Calgary he was a member of both the Calgary Youth Orchestra and the Mount Royal Conservatory’s Academy of Music. Now at UVic, studying with Kurt Kellen, Sam enjoys having played in both the Orchestra and Wind Symphony along with various solo and chamber performance settings. Sam has been Principal Horn with the Kamloops Symphony Orchestra since fall 2015 and as a UVic Concerto Competition winner performed Strauss’s Horn Concerto No. 1, Op. 11 in January 2016 with the UVic Orchestra. Arthur Rowe, piano Canadian pianist and Steinway Artist Arthur Rowe is a critically acclaimed recitalist, soloist with orchestra and chamber musician. He has been heard regularly on radio broadcasts in Canada and the United States, and has recorded with various artists for the Crystal, ebs, Innova, GM and Fanfare labels. In 2007, he released an all Schubert recording on the Centaur label (available on iTunes). A highly respected chamber musician, Mr. Rowe regularly collaborates with artists and chamber ensembles across North America. He has been a guest artist at summer festivals in Blossom, Interlochen, Niagara, Santa Fe and Seattle, as well as in France, New Zealand, and Yugoslavia. While at Indiana University, he began his long association with violinist William Preucil, Concertmaster of The Cleveland Orchestra, with whom he has concertized for almost four decades. Mr. Rowe has recently performed with the Dover Quartet and the Cecilia Quartet. Upcoming performances in 2016/17 include recitals with William Preucil, Concertmaster of the Cleveland Orchestra, Vancouver’s Vetta Ensemble, and Toronto based mezzo-soprano, Krisztina Szabo. Arthur Rowe resides in Victoria, where he is Professor of Piano at the University of Victoria and the Artistic Director of the Victoria Summer Music Festival. Bruce Vogt, piano Bruce Vogt performs regularly in Canada and has also inspired audiences in England, the USA, Germany, France, Italy, Norway, Czechoslovakia, Bulgaria, and Japan. Bruce Vogt’s repertoire is immensely varied and encompasses music from the sixteenth century up to the present. He has consistently championed the music of contemporary composers, and has commissioned and premiered a number of new works. Born in Southern Ontario, Bruce Vogt completed his initial musical studies with Damjana Bratuz and Anton Kuerti. Later he studied in the United States, England, Switzerland, and Italy, working with a number of celebrated musicians including Gyorgy Sebok, Louis Kentner, Fou Ts’Ong and Dario de Rosa. He has taught at a number of Canadian universities and is currently Associate Professor at the University of Victoria, where he is co-head of the Piano Department. Susan Young, soprano Susan Young is a long-time member of the UVic School of Music as a teacher of voice and conductor of choirs. She has performed internationally, recorded for the CBC, produced three CDs, ​and ​enjoys adjudicating at festivals and acting as choral clinician. �UPCOMING EVENTS SUNDAY, OCTOBER 30 | 2:30 PM (Admission by donation) Emerging Artists Alumni Series Isaiah Bell, tenor (B.Mus ‘08) & Anna Cal, piano Tenor and composer Isaiah Bell performs an eclectic mix of music — folk songs, lieder, cabaret, 20s pop tunes, and his own compositions — that reflects the diverse inspirations for his most recent theatrical work, Mewsy the Adulteress. Phillip T. Young Recital Hall TUESDAY, NOVEMBER 1 | 12:30 PM (Admission by donation) Tuesdaymusic Take an afternoon break to enjoy a concert of varied repertoire and instruments featuring UVic School of Music students. Phillip T. Young Recital Hall THURSDAY, NOVEMBER 3 | 8 PM ($10–$20) Guest Concert: Alcan String Quartet Since its formation in 1989, the Alcan Quartet has forged a reputation for excellence across Canada and abroad. Performing Haydn’s String Quartet Op. 76, No. 2, Ginastera’s String Quartet No. 1, Op. 20 and Mendelssohn’s String Quartet Op. 44, No. 1. Phillip T. Young Recital Hall FRIDAY, NOVEMBER 4 | 12:30 PM (Admission by donation) Fridaymusic Featuring UVic School of Music woodwind students. Phillip T. Young Recital Hall FRIDAY, NOVEMBER 4 | 8 PM (Admission by donation) Student Composers Concert Featuring original compositions by students in the UVic School of Music Composition program. Phillip T. Young Recital Hall SATURDAY, NOVEMBER 5 | 2:30 PM (Admission by donation) UVic Chamber Singers Susan Young, director Featuring choral ensemble and solo works by German composers. Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca) and at the door. To receive our On the Pulse brochure & newsletter by email, contact: concert@uvic.ca finearts.uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Concert Series Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102916-FacultyChamberMusicSeries/102916-FacultyChamberSeries_intro.mp3">Intro</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102916-FacultyChamberMusicSeries/102916-FacultyChamberSeries_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102916-FacultyChamberMusicSeries/102916-FacultyChamberSeries_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102916-FacultyChamberMusicSeries/102916-FacultyChamberSeries_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102916-FacultyChamberMusicSeries/102916-FacultyChamberSeries_04.mp3">Track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102916-FacultyChamberMusicSeries/102916-FacultyChamberSeries_05.mp3">Track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102916-FacultyChamberMusicSeries/102916-FacultyChamberSeries_06.mp3">Track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/faculty/102916-FacultyChamberMusicSeries/102916-FacultyChamberSeries_07.mp3">Track7</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty Chamber Music Series Creator An entity primarily responsible for making the resource Adam Jasieniuk Date A point or period of time associated with an event in the lifecycle of the resource October 29, 2016 https://finearts.uvic.ca/music/archive/files/original/8ec88489f9d78b74454b2507756268f9.pdf e4e3c76b4879501ca04644ac906a6cc0 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC Emerging Artists Alumni Series Isaiah Bell, tenor (B.Mus ‘08) With Anna Cal, piano Sunday, October 30, 2016 • 2:30 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation �PROGRAM J’ai cueilli la belle rose Susannah’s Wedding Song Song of Black Max Nannas Lied I Ain’t That Kind of a Baby Dichterliebe, no. 1 – 5 The Laziest Gal in Town J’ai perdu mon amant Down by the Salley Gardens Traditional I. Bell text: Song of Solomon W. Bolcom (b. 1938) text: A. Weinstein (1927–2005) K. Weill (1900–1950) text: B. Brecht (1898–1956) S. Fain text: I. Kahal & A. Britt Robert Schumann (1810–1856) text: H. Heine (1797–1856) Cole Porter (1891–1964) Traditional Traditional, arr. B. Britten (1913–1976) text: W.B. Yeats (1865–1939) La Diva de l’Empire E. Satie (1866–1925) text: D. Bonnaud (1864–1943) & N. Blès (1871–1917) Winterreise, no. 6 & 7 F. Schubert (1797–1828) text: W. Müller (1794–1827) Is That All There Is? M. Stoller (b. 1933) text: J. Lieber (1933–2011) Doin’ the Raccoon J. F. Coots (1897–1985) text: R. W. Klages (1888–1947) Roman Summer My love is like a red, red rose I. Bell Traditional/R. Burns (1759–1796) �ISAIAH BELL The New York Times described Canadian-American tenor Isaiah Bell’s 2013 portrayal of the Madwoman in Britten’s Curlew River, directed by Mark Morris, as “a performance of haunting beauty, ideally depicting emotional distraction with ultimate economy and glowing vocal skill.” Isaiah returns to this production in March 2017, at the Brooklyn Academy of Music. Some of Isaiah’s recent engagements include Lysander in A Midsummer Night’s Dream at l’Opéra-Théâtre de Metz in France, Almaviva in Il barbiere di Siviglia at Opera Lyra Ottawa, Strauss’s Elektra at l’Opéra de Montréal under Yannick Nézét-Séguin, and Handel’s Ode for St. Cecilia’s Day and Messiah with Nicholas McGegan and the Philharmonia Baroque Orchestra in San Francisco. In the coming months he’ll sing Messiah and Weill’s Seven Deadly Sins with the Toronto Symphony, and the Celebrant in Bernstein’s MASS with the Bach Choir of Bethlehem. He also makes appearances with the Calgary Philharmonic, the Seattle Symphony, the Nashville Symphony, and the St. Paul Chamber Orchestra. In Victoria this season, he’ll sing tenor solos in Mozart’s Requiem and Handel’s Joshua with the Victoria Choral Society, and in Monteverdi’s Vespers with the Victoria Philharmonic Choir. Isaiah appears on the Decca recording of the Honegger/Ibert opera L’Aiglon with l’Orchestre symphonique de Montréal under Kent Nagano, and two discs of German baroque cantatas — including the Juno-nominated The Heart’s Refuge — with Daniel Taylor’s Theatre of Early Music. He is also active as a composer and librettist. In January 2017 his theatre-opera-dancedrag monstrosity Mewsy the Adulteress will premiere at the Buddies in Bad Times cabaret space in Toronto. Isaiah Bell is an alumnus of the University of Victoria School of Music where he studied voice with Alexandra Browning Moore and Benjamin Butterfield. He is also a graduate of the Calgary Opera Emerging Artist Program, l’Atelier lyrique de l’Opéra de Montréal, and the Tanglewood Music Centre. finearts.uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emerging Artists Alumni Series Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_01.mp3">Track01</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_Talk_01.mp3">Talk1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_02.mp3">Track02</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_03.mp3">Track03</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_Talk_02.mp3">Talk2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_04.mp3">Track04</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_Talk_03.mp3">Talk3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_05.mp3">Track05</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_06.mp3">Track06</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_Talk_04.mp3">Talk4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_07.mp3">Track07</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_Talk_05.mp3">Talk5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_08.mp3">Track08</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_Talk_06.mp3">Talk6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_09.mp3">Track09</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_10.mp3">Track10</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_Talk_07.mp3">Talk7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_11.mp3">Track11</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_Talk_08.mp3">Talk8</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_12.mp3">Track12</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_Talk_09.mp3">Talk9</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/103016-EmergingArtistsIsaiah/103016-EmergingArtistsIsaiah_13.mp3">Track13</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 Emerging Artists Alumni Series - Isaiah Bell Creator An entity primarily responsible for making the resource Adam Jasieniuk Date A point or period of time associated with an event in the lifecycle of the resource October 30, 2016 Contributor An entity responsible for making contributions to the resource Isaiah Bell, tenor Anna Cal, piano https://finearts.uvic.ca/music/archive/files/original/9550910362fae4c7c1d51f92fdd6eb16.pdf b885c64ae5dbc9edd37b5723a1f90602 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria . �Piano Class UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC Recital Featuring students from the studio of May Ling Kwok Sunday, November 20, 2016 • 2:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation finearts.uvic.ca/music/events �PROGRAM Concerto No. 19 in F major, K. 459 I. Allegro W. A. Mozart (1756–1791) Suite Bergamasque Claude Debussy Clair de lune (1862–1918) Carey Wang* Arabesque No. 2 Nicole Phanichpant* Claude Debussy Ballade Claude Debussy Sebastian Britneff Sonata No. 15 in F major, K. 533 I. Allegro W. A. Mozart Tiffany Cheung Sonata No. 16 in G major, Op. 31, No.1 I. Allegro vivace II. Adagio grazioso L. van Beethoven (1770–1827) Carmyn Slater* Concerto No. 3 in C minor, Op. 37 I. Allegro con brio Aimi Howden I NT E R M I S S I O N L. van Beethoven �Sonata No. 12 in A flat major, Op. 26 Andante con variazioni L. van Beethoven Joy Keeler Sonata in E minor, Op. 7 I. Allegro moderato II. Andante molto Edvard Grieg (1843–1907) Bella Zeng Sonata No. 2 in B flat minor, Op. 35 Grave. Doppio movimento Frédéric Chopin (1810–1949) Ya Ping Huang* Concerto in G major Allegramente Maurice Ravel (1875–1937) Iris Hung Ballade No. 1 in G minor, Op. 23 Frédéric Chopin Jany Lu *Students of the Victoria Conservatory of Music Please tell us about your concert experience in this quick Audience Survey: https://finearts.uvic.ca/forms/music/audience/ � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Class Recitals Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/112016-PianoClassRecital_Kwok/112016-PianoClassRecital_01.mp3">Track01</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112016-PianoClassRecital_Kwok/112016-PianoClassRecital_02.mp3">Track02</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112016-PianoClassRecital_Kwok/112016-PianoClassRecital_03.mp3">Track03</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112016-PianoClassRecital_Kwok/112016-PianoClassRecital_04.mp3">Track04</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112016-PianoClassRecital_Kwok/112016-PianoClassRecital_05.mp3">Track05</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112016-PianoClassRecital_Kwok/112016-PianoClassRecital_06.mp3">Track06</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112016-PianoClassRecital_Kwok/112016-PianoClassRecital_07.mp3">Track07</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112016-PianoClassRecital_Kwok/112016-PianoClassRecital_08.mp3">Track08</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112016-PianoClassRecital_Kwok/112016-PianoClassRecital_09.mp3">Track09</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112016-PianoClassRecital_Kwok/112016-PianoClassRecital_10.mp3">Track10</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112016-PianoClassRecital_Kwok/112016-PianoClassRecital_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 Piano Class Recital - from the studio of May Ling Kwok Creator An entity primarily responsible for making the resource Adam Jasieniuk Date A point or period of time associated with an event in the lifecycle of the resource November 20, 2016 https://finearts.uvic.ca/music/archive/files/original/17ce8e336e044eca9b3e367c5b6dedaa.pdf 3190016d9d3bf22a442a54e2f6d54249 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC ORION SERIES IN FINE ARTS presents Krisztina Szabó Mezzo-soprano & Arthur Rowe Piano Sunday, November 27, 2016 • 2:30 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Free admission finearts.uvic.ca/music �PROGRAM Zigeunerlieder J. Brahms He! Zigeuner (1833–1897) Hochgetürmte Rimaflut, wie bist so trüb Wisst ihr, wann mein Liebster am besten mir gefällt? Lieber Gott du weisst, wie oft in stiller Nacht Brauner Bursche führt zum Tanze Röslein dreie in der Reihe blühn so roth Kommt dir manchmal in den Sinn, mein süsses Lieb Rote Abendwolken ziehn am Firmament Az hól én elmegyek Z. Kodály A rossz feleség (1882–1967) Kitrákotty mese Magas kösziklának I NT E R M I S S I O N Beverages and snacks available at the concession located in the lounge. Siete Canciones Populares Españolas El paño moruno Seguidilla murciana Asturiana Jota Nana Canción Polo Manual de Falla (1876–1946) Countess Maritza: E. Kálmán Luck is a Golden Dream (1882–1953) Giuditta: F. Lehár Meine Lippen sie Küssen so Heiß (1870–1948) Carmen: G. Bizet Habañera (1838–1875) Seguidilla �TRANSLATIONS Brahms: Zigeunerlieder Translations by Martha Gerhart 1. Hey, gypsy, strike up on the strings! Play the song of the unfaithful girl! Let the strings weep and wail, sadly anxious, Until the hot tears moisten this cheek! 2. High flooding Rima tide, how turbid you are! On the bank, I cry out loud for you, my love! Waves are fleeing, waves are rushing, Roaring up to the shore to me. On the bank of the Rima let me Forever weep for her! 3. Do you know when my dear little child is loveliest of all? When her sweet little mouth jokes and laughs and kisses. Little girl, you are mine; fervently I kiss you. Kind heaven created you only just for me! Do you know when I like my lover best of all? When he holds me closely entwined in his arms. Sweetheart, you are mine; fervently I kiss you. Kind heaven created you only just for me! 4. Dear God, you know how often I have regretted that I once gave my beloved a little kiss. My heart bid that I must kiss him; I shall remember, as long as I live, that first. Kiss. Dear God, you know how often in the still of night I have, in pleasure and pain, thought of my darling. Love is sweet, though bitter also is remorse. My poor heart will remain forever, ever true to him. 5. A swarthy lad leads to the dance his blue-eyed, beautiful dear one. As he boldly clicks his spurs, a Czardas melody begins. He kisses and caresses his sweet little dove, whirls her, leads her, shouts and leaps, and throws three shiny silver guilders on the cimbalom, so that it resounds. 6. Three little roses in a row are blooming so red. For the lad to go visit his girl there is no forbidding! Dear God, if that were forbidden, the beautiful wide world would have ceased to exist long ago. Were it a sin to remain single! The loveliest town in Alföld is Kecskemét; there, there are a good many trim, nice girls. Friends, choose for yourselves there a little bride; woo her for her hand in marriage and establish your household; drink up cups of joy! �7. Do you sometimes recall, my sweet love, what you once, on sacred oath, vowed to me? Deceive me not, leave me not; you don’t know how much I love you. Do you love me as I, you; then God’s grace will pour down upon you! Kodaly (Translations by Krisztina Szabó) Wherever I roam Wherever I roam even the trees are weeping. From their weak branches, the leaves fall. Fall, leaves; hide me, for my sweetheart weepingly searches for me. The road weeps before me, The path grieves, And it says: May God bless you. May God bless you with all goodness, Like the violets in the garden, with their beautiful scents. The Cock-a-doodle Story To the market I went with a hapenny in my hand. A rooster I bought with a hay penny in my hand. My rooster says: Cock-ri-coo! Cock-a-doodle, my sweet rooster And still I have a haypenny in my hand! To the market I went with a haypenny in my hand. A chicken I bought with a haypenny in my hand. My chicken says: cheep, cheep, cheep, my rooster says: Cock-ri-coo! Cock-a-doodle, my sweet rooster And still I have a hay penny in my hand! To the market I went with a hay penny in my hand. A turkey I bought with a hay penny in my hand. My turkey says: Gobble, gobble My chicken says: cheep, cheep, cheep, My rooster says: Cock-ri-coo! Cock-a-doodle, my sweet rooster And still I have a hay penny in my hand! To the market I went with a hay penny in my hand. A lambkin I bought with a hay penny in my hand. My lambkin says: Baa-a, baa-a My turkey says: Gobble, gobble My chicken says: cheep, cheep, cheep, My rooster says: Cock-ri-coo! Cock-a-doodle, my sweet rooster And still I have a hay penny in my hand! To the market I went with hay penny in my hand. A piglet I bought with a hay penny in my hand. My piglet says: Oink, oink, oink My lambkin says: Baa-a, baa-a My turkey says: Gobble, gobble My chicken says: cheep, cheep, cheep, My rooster says: Cock-ri-coo! Cock-a-doodle, my sweet rooster And now, my hay penny is spent! �The Bad Wife “Come home, dearest mother. Father is very ill!” “Wait, my daughter, just a little while. Let me dance a while longer. Soon I will be coming! Just a turn or two more and I will soon be home!” “Come home, dearest mother. Father has had his last confession!” “Wait, my daughter, just a little while. Let me dance a while longer. Soon I will be coming! Just a turn or two more and I will soon be home!” “Come home, dearest mother. Father has died!” “Wait, my daughter, just a little while. Let me dance a while longer. Soon I will be coming! Just a turn or two more and I will soon be home!” “Come home, dearest mother. Father has been buried.” “Oh no! My best sheet! My beautiful, white sheet! Another husband I will get, but not so another good linen. I cannot sew, and a new sheet I cannot make!” High up in the mountains High up in the mountains, from the rocky mountainside grows an antidote to love’s pain. It heals my heart, my weak countenance, and always renews me. Whoever has not felt love Can only find it in dreams. Oh, how beautiful it is More sweet than anything; An unfading rose In whose shadow, in whose fragile shelter my head finds rest. But it departs from me, suddenly it fades -That which gives my life its greatest support. As long as I live, Always my love, will I love you. Though I leave you now, on my heart is written your sacred name. My heart will be in darkness, my soul will weep Until I see you again. May God punish whoever has dealt me such a blow as to tear me away from you. From God in the highest Heaven, may no blessing fall on him. But you, my dearest, may the fidelity of your heart keep you with me forever. De Falla: Siete Canciones Populares Españolas (Translations by Claudia Landivar Cody except “Jota” and “Cancion” by Anne Evans) El paño moruno: The Moorish Cloth On the fine cloth in the store a stain has fallen; It sells at a lesser price, because it has lost its value. Alas! Seguidilla Murciana Who has a roof of glass should not throw stones to their neighbor’s (roof). Let us be muleteers; It could be that on the road we will meet! For your great inconstancy I compare you to a [coin] that runs from hand to hand; which finally blurs, and, believing it false, no one accepts! �Asturiana To see whether it would console me, I drew near a green pine, To see whether it would console me. Seeing me weep, it wept; And the pine, being green, seeing me weep, wept. Jota They say we don’t love each other because they never see us talking But they only have to ask both your heart and mine. Now I bid you farewell your house and your window too and even ... your mother Farewell, my sweetheart until tomorrow. Nana Go to sleep, Child, sleep, Sleep, my soul, Go to sleep, little star Of the morning. Lulla-lullaby, Lulla-lullaby, Sleep, little star of the morning. Canción: Song Because your eyes are traitors I will hide from them You don’t know how painful it is to look at them. “Mother, I feel worthless, Mother.” They say they don’t love me and yet once they did love me “Love has been lost in the air Mother, all is lost It is lost, Mother.” Polo Ay! I keep a... (Ay!) I keep a... (Ay!) I keep a sorrow in my breast, I keep a sorrow in my breast Ay! that to no one will I tell. Wretched be love, wretched, Wretched be love, wretched, Ay! And he who gave me to understand it! Ay! Lehar: My lips, they kiss so hotly (Translation is by Linda Godry) I don’t understand myself, why they keep talking of love, if they come near me, if they look into my eyes and kiss my hand. I don’t understand myself, Why they talk of magic, you fight in vain, if you see me If you pass me by. But if the red light is on In the middle of the night And everybody listens to my song, Then it is plain to see: My lips, they give so fiery a kiss, My limbs, they are supple and white, It is written for me in the stars: Thou shalt kiss! Thou shalt love! My feet, they glide and float, My eyes, they lure and glow, And I dance as if entranced, ‘cause I know! My lips give so fiery a kiss! In my veins runs a dancer’s blood, Because my beautiful mother Was the Queen of dance in the gilded Alcazar1. She was so very beautifull, I often saw her in my dreams, If she beat the tamburine, to her beguiling dance All eyes were glowing admiringly! She reawakened in me, mine is the same lot. I dance like her at midnight And from deep within I feel: My lips, they give so fiery a kiss! My limbs, they are supple and white, It is written for me in the stars: Thou shalt kiss! Thou shalt love! My feet, they glide and float, My eyes, they lure and glow, And I dance as if entranced, ‘cause I know! My lips give so fiery a kiss! �BIOGRAPHIES KRISZTINA SZABÓ In 2016-17 Krisztina Szabó appears as soloist and actor in Canadian Stage/Necessary Angel Theatre’s All But Gone, an innovative new production featuring plays by Samuel Beckett and music by Kaija Saariaho and Garrett Sholdice; as soloist in Messiah with Tafelmusik; as the title role in Rossini’s Cenerentola with Edmonton Opera; as soloist for a world premiere of a work by Gary Kulesha with the NAC Orchestra, Ottawa; as soloist in Mahler’s Symphony No. 2 with Ottawa Symphony Orchestra; as soloist with Music of the Baroque, Chicago; as Sofiya in Tapestry New Opera’s Oksana G; and in recital and masterclass at the University of Victoria, University of Alberta and Mount Allison University. Last season highlights include appearances with the Canadian Opera Company in three leading roles (Thisbe/Arianna/Clorinda) in Pyramus and Thisbe and she reprised the role of Judith in Bartók’s Bluebeard’s Castle with Samuel Ramey for the Colorado Music Festival. In 2015, she was nominated twice for a Dora Award for Outstanding Female Performance for her work with the Canadian Opera Company and with Tapestry Opera. Ms. Szabó is a member of the Voice Faculty at the University of Toronto. ARTHUR ROWE Canadian pianist and Steinway Artist Arthur Rowe is a critically acclaimed recitalist, soloist with orchestra and chamber musician. He has recorded with various artists for the Crystal, ebs, Innova, GM and Fanfare labels. His Schubert recording on the Centaur label (available on iTunes), was reviewed by Fanfare magazine, which said, “Rowe’s reading (of the posthumous B flat Sonata) is one of the most beautiful I have heard… The D. 899 Impromptus are equally impressive…his purling right-hand runs recall Schnabel’s velvety sound…” A highly respected chamber musician, Mr. Rowe regularly collaborates with artists and chamber ensembles across North America. He has been a guest artist at summer festivals in Blossom, Interlochen, Niagara, Santa Fe and Seattle, as well as in France, New Zealand, and Yugoslavia. In 2004 The Harrington String Quartet joined forces with Arthur Rowe and William Preucil in New York for a performance of the Chausson Concerto for Violin, Piano and String Quartet, which was reviewed by Harris Goldsmith as a “reading that rivaled the benchmark recordings by Franzescatti/ Casadesus/Pascal, and Heifetz/Sanroma/New Arts”. 2016/17 performances include recitals with William Preucil, Concertmaster of the Cleveland Orchestra, Vancouver’s Vetta Ensemble, and the Dover and Cecilia Quartets, both past winners of the Banff International String Quartet competition. Having previously held positions at the University of Iowa and the University of Western Ontario, Arthur Rowe is Professor of Piano at the University of Victoria and the Artistic Director of the Victoria Summer Music Festival. Please tell us about your concert experience in this quick Audience Survey: https://finearts.uvic.ca/forms/music/audience/ � 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 Orion Series in Fine Arts Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/112716-Orion_Szabo/112716-OrionSzaboAndRowe_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/112716-Orion_Szabo/112716-OrionSzaboAndRowe_Talk_01.mp3">Talk1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/112716-Orion_Szabo/112716-OrionSzaboAndRowe_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/112716-Orion_Szabo/112716-OrionSzaboAndRowe_Talk_02.mp3">Talk2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/112716-Orion_Szabo/112716-OrionSzaboAndRowe_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/112716-Orion_Szabo/112716-OrionSzaboAndRowe_Talk_03.mp3">Talk3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/112716-Orion_Szabo/112716-OrionSzaboAndRowe_04.mp3">Track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/112716-Orion_Szabo/112716-OrionSzaboAndRowe_05.mp3">Track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/112716-Orion_Szabo/112716-OrionSzaboAndRowe_Talk_04.mp3">Talk4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/112716-Orion_Szabo/112716-OrionSzaboAndRowe_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 Orion Series - Krisztina Szabó Creator An entity primarily responsible for making the resource Adam Jasieniuk Date A point or period of time associated with an event in the lifecycle of the resource November 27, 2016 Contributor An entity responsible for making contributions to the resource Krisztina Szabó, mezzo-soprano Arthur Rowe, piano Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Class Recitals Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/120416-NewMusicRecital/120416-MUS462562_Talk_01.mp3">Talk1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/120416-NewMusicRecital/120416-MUS462562_1.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/120416-NewMusicRecital/120416-MUS462562_2.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/120416-NewMusicRecital/120416-MUS462562_3.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/120416-NewMusicRecital/120416-MUS462562_4.mp3">Track4</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/120416-NewMusicRecital/120416-MUS462562_5.mp3">Track5</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/120416-NewMusicRecital/120416-MUS462562_6.mp3">Track6</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/120416-NewMusicRecital/120416-MUS462562_7.mp3">Track7</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/120416-NewMusicRecital/120416-MUS462562_8.mp3">Track8</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/120416-NewMusicRecital/120416-MUS462562_9.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 New Music Class Recital Creator An entity primarily responsible for making the resource Adam Jasieniuk Date A point or period of time associated with an event in the lifecycle of the resource December 4, 2016 https://finearts.uvic.ca/music/archive/files/original/1ce77b121c59a79093938c40a700cf00.pdf 0f3dec7169d3e5ef10c9151006ab1f20 PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �Orchestra UNIVERSITY OF VICTORIA Fall Harmonies With UVic Concerto Competition Winners Samuel McNally, horn Sarah Mullane, horn Collin Lloyd, horn Justin Malchow, horn Students from the studio of Kurt Kellan Ajtony Csaba, Conductor Saturday, November 26, 2016 • 8:00 p.m. University Centre Farquhar Auditorium University of Victoria Adults: $20 / Seniors: $15 / Students & UVic alumni: $10 �PROGRAM Robert Schumann (1810–1856) Konzertstück für Vier Hörner und Orchester, Op. 86 (Concertpiece for Four Horns and Orchestra) I. Lebhaft - Sehr lebhaft II. Romance. Zienlich langsam, doch nicht schleppend III. Sehr lebhaft Horn soloists: Samuel McNally, Sarah Mullane, Collin Lloyd and Justin Malchow Sergei Prokofiev (1891–1953) Symphony No. 1, Op. 25 (“Classical”) I. Allegro II. Intermezzo. Larghetto III. Gavotte. Non troppo allegro IV. Finale. Molto vivace I NT E R M I S S I O N Felix Mendelssohn-Bartholdy (1809–1847) Symphony No. 4, Op. 90 (“Italian”) I. Allegro vivace II. Andante con moto III. Con moto moderato IV. Saltarello. Presto �BIOGRAPHIES SAM MCNALLY is a fourth year music student at UVic pursuing a Bachelors degree in Music Performance. From his native Calgary, he began playing horn at the age of 11 in his middle school band. A few years later he began to take lessons from Laurie Matiation, with whom he was able to win his age divisions in the Calgary and Alberta Provincial Kiwanis Festivals, partake in honour bands, and ultimately end up in auditioning at the University of Victoria. Also in Calgary he was a member in both the Calgary Youth Orchestra and the Mount Royal Conservatory’s Academy of Music. Now at UVic, studying with Kurt Kellan, Sam enjoys having played in both the UVic Orchestra and Wind Symphony along with various solo and chamber performance settings. In Fall 2015 he began his first season as Principle Horn of the Kamloops Symphony Orchestra. As a previous winner of the UVic Concerto Competition, Sam performed Strauss’s Horn Concerto No. 1, Op. 11 with the UVic Orchestra in January 2016. SARAH MULLANE is a second year music student at UVic. She started playing horn at age twelve in her hometown Calgary. In high school she was a member of an award winning wind ensemble that performed and competed internationally. She also took lessons with Laurie Matiation at the Mount Royal Conservatory, played in honor bands, and won her category in the Kiwanis Music Festival in 2015. Sarah is now pursuing a Bachelors degree in Music Performance studying with Kurt Kellan at the University of Victoria. She is thrilled to have been given the opportunity to perform Schumann’s Concertpiece in her first year of university and is grateful for the privilege of performing with the UVic Orchestra. COLLIN LLOYD is a fourth year music student at the University of Victoria pursuing a Bachelor degree in Music Performance. Born in Victoria and raised in Courtenay, BC, Collin was handed the horn by his seventh grade band teacher at the age of 13 because there were already enough trumpets. Collin got his start in orchestral performance with the community-based Strathcona Symphony Orchestra in 2011 and attended the Comox Valley Youth Music Centre for 3 years while in high school. Since beginning his studies at the University of Victoria while studying under Kurt Kellan, Collin has enjoyed performing with the UVic Wind Symphony and Orchestra as well as the Greater Victoria Youth Orchestra. For the past two summers Collin has successfully auditioned for the National Youth Orchestra of Canada, and was this past summer awarded with a 2016 Award of Excellence. JUSTIN MALCHOW has completed his Bachelor of Music Performance and is currently completing his second major in Germanic Studies at the University of Victoria. He began playing the horn at 14 in his high school band and later studied privately with Laurie Matiation of the Calgary Philharmonic Orchestra. Justin was also a member of the Mount Royal Conservatory’s Academy of Music as well as the Calgary Youth Orchestra, with which he travelled and performed internationally. Justin left his native Stavely Alberta to further his horn studies with Kurt Kellan at the University of Victoria. Here he has enjoyed the opportunity to play in a full range of both large and small ensembles. Currently Justin plays with the Meridiem Wind Ensemble, the Greater Victoria Youth Orchestra, and the UVic Orchestra. He is also a member of a newly founded woodwind quintet. �AJTONY CSABA, born in Cluj, Romania, began his studies on the cello and later pianoand composition in Budapest at the Academy of Music. He began studying conducting in Vienna and Budapest with Uroš Lajovic, Peter Eötvös, Zoltán Pesko, Zsolt Nagy, Lucas Vis and Antoni Wit. He was awarded many prizes as a conductor and composer and was a semi-finalist in the first competition for opera in Cluj, Romania. Csaba was the assistant conductor and tutor of the Academy Orchestra Budapest and in 2005 was invited to be the assistant conductor of the Hungarian National Philharmonic Orchestra with their contempo-rary program. He made his conducting debut in the Viennese Musikverein with the RSO (Radio-Symphonieorchester, Wien) in 2007. Since 2006 Csaba has served as the chief conductor of the Central European Chamber Orchestra and led the orchestra on a tour in China (performances including halls in Shenzhen, Lanzhou and in the Parliament in Beijing), with return engagements in 2007 and 2009. Ajtony Csaba has been the leader of the Vienna Jeunesse Choir since 2007. In 2008 he conducted at the Darmstadt Summer Courses for New Music and was assistant at the Salzburg Festspiele. In 2008 he conducted the EuroMed Youth Orchestra in Damaskus, Syria. In the past seasons Csaba conducted the hr-sinfonieorchester (Frankfurt Radio Orchestra), the Hungarian Symphony Orchestra, Ensemble Tsilumos at the Montreal New Music Festival and the Brazilian SiMN Festival in Curitiba, and the music theatre ensemble of the Darmstadt Festival for New Music’16. Csaba has served as music director of the University of Victoria Orchestra and Sonic Lab since 2010, where he also teaches conducting and the history of conducting. Your contribution makes a difference! The arts have always benefited from the generosity of its patrons, and a donation to the School of Music can make all the difference to the future of our students. A scholarship of just $500 a year can change a life forever. For more information about our giving initiatives, please contact Fine Arts Development Officer Samantha Krzywonos. 250.721.6305 | skrzywon@uvic.ca finearts.uvic.ca/music/donations �ORCHESTRA PERSONNEL VIOLIN 1 Chloe Kim* Aliayta Foon-Dancoes* Amy Toth* Jeanel Liang Jay Orten Jasmine Mather Linda Donn Isobel Glover Ross Ling Shijin Kim Francine Hsu VIOLIN 2 Aliayta Foon-Dancoes* Amy Toth* Chloe Kim* Michelle Hoskin Gary Sun Amanda Steinemann Lucy Toews Emilly MacCallum Jessica d’Oliveira Serena Jack VIOLA Josh Gomberoff* Jaling Kersen Natalie Dzbik Eric Mitchell CELLO Claire Dresselhuis* Shiun Kim § Olivia Brotzel Chloe Kersen Bryan Lin Liam Epp Tara Rajah DOUBLE BASS Lukas Peladeau* Mackenzie Carroll PICCOLO Rhiannon Jones FLUTE Gillian Newburn* Monica Mun* OBOE Berlin Janzen* Anna Betuzzi* CLARINET Liam Pistor* Mark Kim* BASSOON Heather Fisher* § Eric Boulter HORN Sam McNally* Emily Aford Justin Malchow James Waddell TRUMPET Ian VanGils* Heather Richardson TROMBONE Zachary Power* Erin Marsh Grace Timney TIMPANI Tristan Holleufer* Brandon Chow LIBRARIANS Betty Allison Monica Mun STAGE MANAGERS Tristan Holleufer James Waddell Liam Epp ASSISTANT Shabahang Saffari * Principal § Community member �Dmitri Shostakovich: The Complete String Quartets February 3–9 The Lafayette String Quartet celebrates its 30th anniversary with the complete cycle of Shostakovich's 15 String Quartets presented over 5 evenings! UVIC Journey through Shostakovich’s life as experienced through his quartets — from the optimism of the first to the desolation and hopelessness of his final quartet. This cycle documents Shostakovich’s creative life and spans his compositional career from the late 1930s until his death in 1975. The Lafayette String Quartet will share its special heritage with this music as received from their mentor Rostislav Dubinsky who knew and worked closely with Shostakovich. Gain further insight into these works in pre-concert talks and lectures by visiting scholars. FRI, FEB 3 Nos. 1, 2, 3 SAT, FEB 4 Nos. 4, 5, 6 MON, FEB 6 Nos. 7, 8, 9 WED, FEB 8 Nos. 10, 11, 12, 13 THU, FEB 9 Nos. 14, 15 Phillip T. Young Recital Hall, MacLaurin Building, B-Wing, University of Victoria All concerts at 8 PM Tickets: $25 / 5 concert festival pass: $100 available at the UVic Ticket Centre: BY PHONE: 250.721.8480 u ONLINE: tickets.uvic.ca u IN PERSON: Located in the University Centre | Mon–Fri, 9:30am–4pm finearts.uvic.ca/music �UPCOMING EVENTS SUNDAY, NOVEMBER 27 | 2:30 PM (Free admission) Orion Series in Fine Arts presents Krisztina Szabó, mezzo-soprano With Arthur Rowe, piano Hungarian-Canadian mezzo-soprano Krisztina Szabó has become highly sought after in both North America and Europe as an artist of supreme musicianship and stagecraft. UVic piano professor Arthur Rowe joins Szabó in a performance of Brahms’s Zigeunerlieder (Gypsy Songs) Op. 103 as well as music by Kodály, de Falla, Kálmán, Lehár and Bizet. Phillip T. Young Recital Hall MONDAY, NOVEMBER 28 | 8 PM (Admission by donation) Guitar Class Recital Featuring UVic School of Music guitar students from the studio of Dr. Alexander Dunn. Phillip T. Young Recital Hall TUESDAY, NOVEMBER 29 | 12:30 PM (Admission by donation) Tuesdaymusic A concert of varied repertoire and instruments featuring UVic School of Music students. Phillip T. Young Recital Hall TUESDAY, NOVEMBER 29 | 8 PM (Free admission) Orion Series in Fine Arts presents Chloe Meyers, baroque violin Alexander Weimann, harpsichord Bach and Before World renowned baroque violinist and concertmaster of the Pacific Baroque Orchestra, Chloe Myers will be joined by harpsichordist and conductor Alexander Weimann, in a special recital featuring music of the baroque era up until the time of Bach. Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480 / www.tickets.uvic.ca) & at the door. To receive our On the Pulse brochure & newsletter by email, contact: concert@uvic.ca Please tell us about your concert experience in this quick Audience Survey: https://finearts.uvic.ca/forms/music/audience/ finearts.uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orchestra Description An account of the resource Since its inception in 1969, the Orchestra has performed most of the standard repertoire, including all nine Beethoven symphonies, most of the later compositions of Haydn and Mozart, as well as major works of Brahms, Schubert, Stravinsky, Bruckner, Schoenberg, and others. Each year, members of the orchestra join with performance faculty to form the "Concerto Orchestra" to present the annual Concerto Concert, which features student soloists selected by competition. Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/student/112616-Orchestra/112616-Orchestra_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112616-Orchestra/112616-Orchestra_02.mp3">Track2</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112616-Orchestra/112616-Orchestra_03.mp3">Track3</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/student/112616-Orchestra/112616-Orchestra_04.mp3">Track4</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 Orchestra - Fall Harmonies Creator An entity primarily responsible for making the resource Adam Jasieniuk Date A point or period of time associated with an event in the lifecycle of the resource November 26, 2016 Contributor An entity responsible for making contributions to the resource Samuel McNally, horn Sarah Mullane, horn Collin Lloyd, horn Justin Malchow, horn Ajtony Csaba, conductor https://finearts.uvic.ca/music/archive/files/original/521e532416f4c0e3cdb645698205846a.pdf 3624284714edd36c0bc8d0cc18407e3c PDF Text Text School of Music MUS C Faculty of Fine Arts University of Victoria �UNIVERSITY OF VICTORIA • SCHOOL OF MUSIC Emerging Artists Alumni Series Featuring: Sydney Tetarenko, clarinet (B.Mus ‘13) Jiten Beairsto, violin (B.Mus ‘14) Emily Burton, cello (B.Mus ‘11) Natalie Lo, piano Saturday, January 7, 2017 • 8:00 p.m. Phillip T. Young Recital Hall MacLaurin Building, University of Victoria Admission by donation �PROGRAM Quatuor pour la Fin du Temps Olivier Messiaen I. Liturgie de cristal (1908–1992) II. Vocalise, pour l’Ange qui annonce la fin du Temps III. Abîme des oiseaux IV. Intermède V. Louange à l’Éternité de Jésus VI. Danse de la fureur, pour les sept trompettes VII. Fouillis d’arcs-en-ciel, pour l’Ange qui annonce la fin du Temps VIII. Louange à l’Immoralité de Jésus I NT E R M I S S I O N Contrasts, Sz. 111 Béla Bartók I. Verbunkos (Recruiting Dance) (1885–1945) II. Pihenö (Relaxation) III. Sebes (Fast Dance) �PROGRAM NOTES FOREWORD Today, music students are about as likely to encounter Messiaen and Bartók in a musicology textbook as a concert hall. Perhaps these composers deserve some of the blame: this is music that is often easier to analyze than to perform. Messiaen, especially early in his career, was exceptionally keen to explain his compositional systems, and Bartók was, for a while, held in higher esteem as an ethnomusicologist than as a composer. The similarities continue: both composers were fascinated by complex rhythms, symmetrical constructions, modal harmonies, and, most significantly, the music of non-Western European cultures. All of Bartók’s music finds its roots in the folk music of his native Hungary, while Messiaen absorbed influences from all across the globe. To take but one example, the complex rhythms found in the Quartet, which have perplexed a great many classically-trained musicians, are standard fare in Indian music. None of this adequately explains why so many performers — and audiences — do in fact choose to brave the difficulties and experience this music live. Nor, for that matter, does it explain how the two pieces programmed tonight are so spectacularly different in affect. Messiaen’s Quartet is most often ethereal and serene, with tempi oscillating between slow and impossibly slow. Its harmonies, while highly unusual, strike the listener as lush more than discordant. Its gaze is inevitably skyward — either towards birds, as in the clarinet movements (I. and III.) or towards God, as in the solo string movements (V. and VIII.). In those string movements especially, we can hear what sustains this piece most of all over the course of eight movements and fifty minutes: incredibly long, beautiful melodies and the love they represent. Bartók’s Contrasts, meanwhile, is driven by one quality the Quartet lacks: play. Play on the part of the composer, undoubtedly, but even more on the part of the performers. Despite all the academic fascinations held within, Contrasts is a fantastically fun way for players to show off their chops. The outer movements, both dances, are viscerally thrilling, if occasionally obnoxious. To my ears, it is a celebration of humanity, as earth-bound as the Quartet is otherworldly. There is, however, one other unifying thread that ties these two works together, one that offers what might be the most important way in for the listener: a common purpose. Both works were composed facing the spectre of war and Nazism, albeit much more literally in the case of Messiaen. In what is probably the most dramatic origin story of any piece of classical music, he composed and premiered the Quartet in 1940-41 while imprisoned in a prisoner-of-war camp in Germany. Contrasts was composed only a couple years earlier, shortly before Bartók, horrified at what he saw taking place in Europe, chose to flee to the United States and entered an extended period of compositional unproductivity. The music itself is of lasting power and importance, but so is the simple fact that two great artists, confronted with the worst of humanity, chose to continue making great art. — Jiten Beairsto �Quartet for the End of Time (1941) Olivier Messiaen (1908–1992) I. Crystal liturgy. Between three and four in the morning, the awakening of birds: a solo blackbird or nightingale improvises, surrounded by a shimmer of sound, by a halo of trills lost very high in the trees. Transpose this onto a religious plane and you have the harmonious silence of Heaven. II. Vocalise, for the Angel who announces the end of Time. The first and third parts (very short) evoke the power of this mighty angel, a rainbow upon his head and clothed with a cloud, who sets one foot on the sea and one foot on the earth. In the middle section are the impalpable harmonies of heaven. In the piano, sweet cascades of blue-orange chords, enclosing in their distant chimes the almost plainchant song of the violin and cello. III. Abyss of the birds. Clarinet solo. The abyss is Time with its sadness, its weariness. The birds are the opposite to Time; they are our desire for light, for stars, for rainbows, and for jubilant songs! IV. Interlude. Scherzo. Of a more outgoing character than the other movements but related to them, nonetheless, by various melodic references. V. Praise to the Eternity of Jesus. Jesus is considered here as the Word. A broad phrase, “infinitely slow,” on the cello, magnifies with love and reverence the eternity of the Word, powerful and gentle, “whose time never runs out.” The melody stretches majestically into a kind of gentle, regal distance. “In the beginning was the Word, and Word was with God, and the Word was God.” VI. Dance of fury, for the seven trumpets. Rhythmically, the most characteristic piece of the series. The four instruments in unison imitate gongs and trumpets (the first six trumpets of the Apocalypse followed by various disasters, the trumpet of the seventh angel announcing consummation of the mystery of God). Use of added values, of augmented or diminished rhythms, of non-retrogradable rhythms. Music of stone, formidable granite sound; irresistible movement of steel, huge blocks of purple rage, icy drunkenness. Hear especially the terrible fortissimo of the augmentation of the theme and the changes of register of its different notes, towards the end of the piece. VII. Cluster of rainbows, for the angel who announces the end of Time. Here certain passages from the second movement recur. The angel appears in full force, especially the rainbow that covers him (the rainbow, symbol of peace, wisdom, and all luminescent and sonorous vibration). – In my dreams, I hear and see ordered chords and melodies, known colors and shapes; then, after this transitional stage, I pass through the unreal and submit with ecstasy to a gyrating vortex of superhuman sounds and colours. These swords of fire, this blue-orange lava, these sudden stars: there is the tangle, there are the rainbows! VIII. Praise to the Immortality of Jesus. Large violin solo, counterpart to the violoncello solo of the 5th movement. Why this second eulogy? It is especially aimed at the second aspect of Jesus, Jesus the Man, the Word made flesh, immortally risen for our communication of his life. It is all love. Its slow ascent to the acutely extreme is the ascent of man to his god, the child of God to his Father, the being made divine towards Paradise. �And I repeat anew what I said above: “All this is mere striving and childish stammering if one compares it to the overwhelming grandeur of the subject!” Original descriptions by Olivier Messiaen, translation from https://en.wikipedia.org/wiki/Quatuor_pour_la_fin_du_temps Contrasts (1938) Béla Bartók (1881–1945) Though this work was officially commissioned by jazz clarinetist Benny Goodman, it was Hungarian violinist Joseph Szigeti who originated talk of a new work with Bartók. The original performance omitted the second movement and named the work “Rhapsody,” but following this premiere, Bartók retitled the piece and performed the full three movements alongside Goodman and Szigeti. This piece demonstrates the folk influences that are so much a part of Bartók’s unique compositional style. I. Verbunkos. This movement is composed in the style of a Recruiting Dance, used to recruit citizens to the army. Hence it has a steady, measured rhythm, and memorable melody, which is heavily embellished upon. Many characteristics of the music are derived from military marches. II. Pihenö. Titled relaxation, this movement is atmospheric and lacks a clear, steady pulse, in stark contrast to the surrounding material. III. Sebes. Notably featuring scordatura or “mistuned” violin to emulate the sound of a folk musician, this fast dance drives to the very end, making only a small detour into a more lyrical (but still forward moving) section with additive Bulgarian rhythms. — Sydney Tetarenko BIOGRAPHIES SYDNEY TETARENKO Sydney Tetarenko (B.Mus ‘13) is a clarinetist currently residing in Vancouver, British Columbia. She is a musician with great passion for both performing and educating. Sydney completed her Bachelor of Music with distinction, majoring in clarinet performance at the University of Victoria under the tutelage of Professor Patricia Kostek, and has a Masters in Orchestral Music Performance from the University of British Columbia, from the studio of Jenny Jonquil. Sydney has performed with the Vancouver Symphony Orchestra, Vancouver Metropolitan Orchestra, Vancouver Island Symphony Orchestra, Victoria Chamber Orchestra, and Chilliwack Symphony Orchestra, among many others. Sydney also plays in chamber groups of all sizes and instrumentation, most notably the Fireside Quintet, of which she is a core member. Sydney maintains a private clarinet studio and also teaches clinics at schools in the Victoria, Sooke and Calgary areas. She is currently the clarinet instructor at the Mozart School of Music. �JITEN BEAIRSTO Jiten Beairsto (B.Mus ‘14), a Vancouver native, is currently enrolled in the Master of Music program at the University of British Columbia under the instruction of David Gillham. At the University of Victoria he studied with Sharon Stanis and won the UVic Concerto Competition in 2012. He has participated in the National Youth Orchestra of Canada and has performed with ensembles such as the Victoria Symphony and the Galiano Ensemble. Jiten’s academic and professional interests extend far beyond classical music: he has completed a Bachelor’s degree in English and French literature and earns part of his living as a rope access technician. Like many classical musicians, Jiten enjoys performing a wide variety of genres, from symphonies to musical theatre, but none more so than chamber music, a passion he certainly attributes to his time spent studying with the Lafayette String Quartet. EMILY BURTON Emily Burton (B. Mus ‘11) grew up in Vernon, BC and attended the University of Victoria to earn degrees in both Cello Performance and Biochemistry. At UVic, she studied with Professor Pam Highbaugh-Aloni. Her musical studies have taken her to the Aspen Music Festival, Morningside Musicbridge in Shanghai, and the Quartet Program in New York. She has performed concertos with the Okanagan Symphony, Kamloops Symphony and UVic Orchestra. Emily is currently living in Vancouver and is in her 3rd year of pharmacy school at UBC. NATALIE LO Natalie Lo is a recent graduate of the University of British Columbia, where she has received her Bachelor Degree in Piano Performance, having studied with Dr. Corey Hamm. Upon graduation from UBC, she was awarded the Director’s Graduation Prize in Piano Performance. She has been highly successful in her competitive career including First and Top prizes at the Vancouver International Russian Music Festival, the Seattle International Piano Competition, the Canadian Music Competition, and the Stravinsky Awards Piano Competition of North America. Most recently, Natalie found success as a finalist at the Shean Competition, winning Fourth prize as well as the award for the Best Performance of the Test Piece. Natalie has been awarded the Youth Arts Award by the City of Richmond in recognition of her artistic achievements and her contributions to the cultural community. She has also been invited to perform at various showcases and charities, including the Vancouver 2010 Olympics. Natalie has performed concerti with various orchestras including the Vancouver Symphony Orchestra, the Vancouver Metropolitan Orchestra, the Seattle Symphony Orchestra, the Philharmonia Northwest of Seattle, and the UBC Symphony Orchestra. Natalie will be performing with the Vancouver Metropolitan Orchestra once again in their 2016/2017 concert season with Saint-Saëns’ second piano concerto. �UPCOMING EVENTS SUNDAY, JANUARY 8 | 2:30 PM ($10-$20) Faculty Concert Series: The Brass Menagerie Scott MacInnes, trombone & Paul Beauchesne, tuba Music by Vaughan-Williams, Pryor, Ewazen, Morricone and more. Proceeds will benefit the Eugene Dowling Scholarship for Tuba and Euphonium. Phillip T. Young Recital Hall WEDNESDAY, JANUARY 11 | 12:30 PM (Free Admission) First Year Graduate Recital: Betty Allison, soprano Soprano Betty Allison presents her first year Masters of Music graduate recital. Phillip T. Young Recital Hall FRIDAY, JANUARY 20 | 8 PM (Free admission) Orion Series in Fine Arts presents Melia Watras, viola & Michael Jinsoo Lim, violin Melia Watras is Professor of Viola and Chair of Strings at the University of Washington. Watras is also a composer and founding member of the Corigliano Quartet. She will be joined by Pacific Northwest Ballet Concertmaster and violinist of the Corigliano Quartet, Michael Jinsoo Lim, in a recital featuring works by Hindemith, Watras, and Mozart. Phillip T. Young Recital Hall SATURDAY, JANUARY 21 (Free admission) Orion Series in Fine Arts presents Masterclass (10:15 AM) and Concert (12 PM) Lorna McGhee, flute Scottish-born Lorna McGhee was appointed principal flute of the Pittsburgh Symphony Orchestra in 2012 and is principal flute of the Toronto Symphony Orchestra. Reception to follow Phillip T. Young Recital Hall SATURDAY, JANUARY 21 | 2:30 PM (Admission by donation) Saxophone Class Recital Featuring students from the studio of Wendell Clanton. Phillip T. Young Recital Hall Tickets available at the UVic Ticket Centre (250-721-8480), online (www.tickets.uvic.ca) and at the door. � To receive our On the Pulse brochure and newsletter by email, contact: concert@uvic.ca finearts.uvic.ca/music/events � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emerging Artists Alumni Series Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://finearts.uvic.ca/music/archive/uploads/guest/010717-EmergingArtists/010717-EmergingArtistsBeairsto_01.mp3">Track1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/010717-EmergingArtists/010717-EmergingArtistsBeairsto_Talk_01.mp3">Talk1</a><br /><a href="https://finearts.uvic.ca/music/archive/uploads/guest/010717-EmergingArtists/010717-EmergingArtistsBeairsto_02.mp3">Track2</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emerging Artists Alumni Series - Beairsto et al Creator An entity primarily responsible for making the resource Adam Jasieniuk Date A point or period of time associated with an event in the lifecycle of the resource January 7, 2017 Contributor An entity responsible for making contributions to the resource Sydney Tetarenko, clarinet Jiten Beairsto, violin Emily Burton, cello Natalie Lo, piano