Scholarship@Western

Thaivalappil, Shantanu

Luti, Simone

 
 
 May 10, 2019 
8 p.m., von Kuster Hall  
Shantanu Thaivalappil, basso  
Simone Luti, piano 
 
 
 
 
Dichterliebe, Op. 48              Robert Schumann 
  (1810-1856) 
i. Im wunderschönen Monat Mai  
ii. Aus meinen Tränen sprießen  
iii. Die Rose, die Lilie  
iv. Wenn ich in deine Augen seh'  
v. Ich will meine Seele tauchen  
vi. Im Rhein, im heiligen Strome  
vii. Ich grolle nicht  
viii. Und wüssten's die Blumen  
ix. Das ist ein Flöten und Geigen  
x. Hör' ich das Liedchen klingen  
xi. Ein Jüngling liebt ein Mädchen  
xii. Am leuchtenden Sommermorgen  
xiii. Ich hab' im Traum geweinet  
xiv. Allnächtlich im Traume  
xv. Aus alten Märchen winkt es  
xvi. Die alten, bösen Lieder  
 
 
 
 
 
 
 
-Intermission- 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Per questa bella mano, K. 612        Wolfgang A. Mozart 
             (1756-1791) 
 
 
 
 
Traditional Finnish Folk songs from South Ostrobothnian and more     Toivo Kuula 
             (1883-1918) 
Tule armaani (Op.29, no.1) 
Niin kauan minä tramppaan(Op.17b, no.1) 
Tuuli se taivutti koivun larvan (Op.17b, no.9) 
Tällaaselle poijalle  
 
 
 
 
North American Potpourri  
 
Sylvia                 Oley Speaks  
  (1874-1948) 
 
Danny Boy                 arr. Jeff Smallman 
          (b.1965) 
 
Shenandoah          arr. Richard R. Terry 
             (1865-1938) 
 
Home on the range               arr. David W. Guion 
             (1892-1981) 
 
 
 
 
 
 
This recital is presented in partial fulfillment of the requirements for the  
Master of Music (Voice Performance & Literature) degree. 


German

Student Recital

Bernal, Margie

Bratishko, Olena

McFadden, Carol

STUDIO RECITALWestern
Music
Don Wright Faculty of Music
Saturday November 30, 2019 
12:00 pm, Studio 242 
Voice Studio of Margie Bernal 
Olena Bratishko, Carol McFadden, piano
Che fiero costume from Eteocle Giovanni Legrenzi (1626-1690)
Clare Tremain, mezzo-soprano, 1st year BMus
Sento nel core Alessandro Scarlatti (1660-1725)
Mary Paige St. Onge, soprano, 4th year BMus (A)
Intorno all'idol mio from Orontea Antonio Cesti (1623-1669)
Claire Collins, mezzo-soprano, 1st year BMus
Vittoria Mio Core Giacomo Carissimi (1605-1674)
Charlotte Gregory, soprano, 1st year BMus
Il mio bel foco...Quella fiamma che m’accende Benedetto Marcello (1686-1739)
Rebbeca Crane, mezzo-soprano, 1st year BMus
La Rondinella Amante from Griselda Antonio Vivaldi (1678-1741)
Alyssa Bartholomew, soprano, 1st year BMus
From Orfeo Christoph Willibald Gluck (1714-1787)
Chiamo il mio ben così
Rowan Buratti, mezzo-soprano, 4th year BMus (A)
Ahimè! dove tra scorsi?... Che faro senza Euridice?
Chiara Siraco, mezzo-soprano, 3rd year BMus (P)
Voi, che sapete from Le Nozze di Figaro Wolfgang Amadeus Mozart (1756-1791)
Mackenzie Steer, mezzo-soprano, 4th year BMus (T)
O war ich schon mit dir vereint from Fidelio Ludwig van Beethoven (1770-1827)
Kathleen Mukhtarian, soprano, 4th year BMus (P)
Mein Herr Marquis from Die Fledermaus Johann Strauss II (1825-1899)
Mihika Jog, soprano, 3rd year Voice Elective, 3rd year BMSc
Frére voyez! ... Du gai soleil from Werther Jules Massenet (1842-1912)
Victoria Stortini-Snider, Art. Dip
Sous le dôme épais from Lakmé Léo Delibes (1836-1891)
Mihika Jog, soprano and Rebbeca Crane, mezzo-soprano
INTERMISSION
STUDIO RECITALWestern
Music
Don Wright Faculty of Music
From Giulio Cesare 
Svegliatevi nel core
V’adoro, pupille
George Fredric Handel (1685-1759) 
Mackenzie Steer, mezzo-soprano 
Mary Paige St. Onge, soprano
Alma mia from Fiondante
Clare Tremain, mezzo-soprano
Non lo dirò col labbro from Tolomeo
Claire Collins, mezzo-soprano
Bel Piacere from Agrippina
Charlotte Gregory, soprano
Thy Hand, Belinda...When I am Laid Henry Purcell (1659-1695)
from Dido and Aeneas
Rebbeca Crane, mezzo-soprano
O del mio dolce ardor from Paride ed Elena Christoph Willibald Gluck (1714-1787)
Rowan Buratti, mezzo-soprano
Via, via, non è gran mal...Vedrai, carino Wolfgang Amadeus Mozart (1756-1791)
from Don Giovanni
Alyssa Bartholomew, soprano
Sul fil d’un soffio etesio from Falstaff Guiseppe Verdi (1813-1901)
Victoria Stortini-Snider, soprano
Lullaby from The Consul
Chiara Siraco, mezzo-soprano 
The Black Swan from The Medium
Gian Carlo Menotti (1911-2007)
Mihika Jog, soprano
Joy beyond measure, Mother! from Little Women Mark Adamo (b.1962)
Kathleen Mukhtarian, soprano
Barcarolle from Les Contes d’Hoffmann Jacques Offenbach (1819-1880)
Full studio


English

Studio Recital

Poulin, Brigitte

Marchand, Jean

	
FRIDAYS @ 12:30 SERIES 
Friday, February 1, 2019 
12:30 p.m., von Kuster Hall 
Br                                                                                               Brigitte Poulin & Jean Marchand, piano	
	
	
	
 
Shock Waves: From Russia to America 
Close collaborators for many years, the duo pianists scan the horizon of the last century 
and share powerful impressions engraved in their memory: those of contagious rhythms, 
ritual dances and intimate poetry. 
 
   Poulin and Marchand’s Compelling mix of heart and intellect… 
   Curtis Perry- www.icareifyoulisten.com 
 
	
 
 
Work for Two Pianists (1958) Morton Feldman 
    (1926-1987) 
 
 
Orpheus Over and Under for Two Pianos (1989) David Lang 
(b.1936) 
 
 
Hey, Hiromi for Two Pianos (2017) Paul Frehner 
 an homage to Japanese jazz-fusion pianist, Hiromi Uehara  (b. 1970) 
 
 
Scenes from Ballet Petrushka for Piano, Four Hands (1910-11, rev. 1947) Igor Stravinksy 
 First Tableau  (1882-1971) 
 The Shrovetide Fair 
 The Magic Trick 
 Russian Dance 
 Second Tableau 
 Petrushka’s Room 
 Dance of the Ballerina 
 Waltz 
 Fourth Tableau 
 Shrovetide Fair (Toward Evening) 
 The Wet-Nurse’s Dance 
 Danse des Nourrices 
 A Peasant with a Bear 
 Dance of the Coachmen and the Grooms 
 The Mummers 
 
Montreal pianists Brigitte Poulin and Jean Marchand have been close 
friends, colleagues, mutual coaches and collaborators for over 20 
years. Since their first duo concert in 2010, a CBC radio broadcast 
devoted to Schumann and Brahms in which “technical brilliance 
competes with beauty of phrasing…,” they have imagined unique 
programs embracing romantic, impressionistic and expressionistic as 
well as avant-garde repertoire. They have performed in Montreal for 
the Arte Musica Foundation of the Museum of Fine Arts, the SMCQ, 
Innovation en concert and the Chapelle historique du Bon-Pasteur, in Quebec City at Palais Montcalm 
and in Ottawa at the Music & Beyond Festival. 
As his close friend John Cage, Morton Feldman was proud to be American as he felt it gave him the 
freedom to compose unfettered by tradition. When asked why he preferred soft dynamics, he replied: 
“Because when it’s loud, you can’t hear the sound. You hear the attack and only the decay of sound.” 
His piano music, which is at the heart of his work, deals chiefly with the exploration of touch in very 
soft dynamics. We thank the Feldman Estate which provided us with a copy of the manuscript of Work 
for 2 pianists and allowed us to perform it. 
David Lang, one of the three founding composers of New York-based Bang on a Can, comes a 
generation after Riley, Reich, Glass and other minimalists. Written in memory of his mother, Orpheus 
Over and Under (1989) refers to the horizon above and below ground where Orpheus loses Euridice. 
As in many of Lang's works, this expansive piece explores one obsessive musical gesture made up of 
repeated notes (seconds, thirds, fourths, fifths and sixths), thus producing subtle and ever changing 
harmonies. The work is in two parts: Aria and Choral. 
Paul Frehner’s initial musical experiences came from playing guitar in several rock and folk music 
groups throughout his teenage years. He then studied composition at McGill University, eventually 
completing his doctoral degree in 2004. Frehner’s compositions have been performed and broadcast 
both in Canada and abroad by leading professional soloists, ensembles and orchestras. His works 
have received numerous national and international awards. In 2007 his work Lila was awarded the 
Claude Vivier National Award at the Montreal Symphony Orchestra’s International Composition 
Competition. In 2012 he was awarded the K.M. Hunter Artist Award by the Ontario Arts Council. Paul 
Frehner is on the Don Wright Faculty of Music of Western University where he teaches composition, 
electroacoustic music and co-directs the contemporary music ensemble. 
Hey, Hiromi is an homage to Japanese jazz-fusion pianist Hiromi Uehara, whose playing is both 
inspired and inspirational. While there are no direct quotes of her music in the piece there are perhaps 
a few stylistic and rhythmic allusions that might be audible. Finally, as many composers before have 
hidden words or names in the notes and rhythms of their music, this piece spells out the name 
“Hiromi” quite a few times. It’s my way of saying cheers to her and thanking her for her music. 
Igor Stravinsky was a composer, pianist and conductor. He is widely considered one of the most 
influential composers of the 20th century. Stravinsky's compositional career was notable for its 
stylistic diversity. He first achieved international fame with three ballets commissioned by the 
impresario Sergei Diaghilev for the Ballets Russes: The Firebird (1910), Petrushka (1911) and The Rite 
of Spring (1913). The last of these transformed the way in which subsequent composers considered 
rhythmic structure and was largely responsible for Stravinsky's enduring reputation as a musical 
revolutionary. Composed in 1910–11 and based upon a libretto by Alexandre Benois and Stravinsky, 
Petrushka is a ballet burlesque in four scenes. It tells the story of the love and jealousy of three 
puppets, brought to life by the charlatan during the Shrovetide Fair in St-Petersburg. Petrushka loves 
the Ballerina but she rejects him, preferring the Moor. Petrushka is angry and hurt and challenges the 
Moor who kills him with his sword. Petrushka's ghost rises above the puppet theatre as night falls. He 
threatens the charlatan with his fist, then dies a final time. Stravinsky himself transcribed the work for 
piano four hands. 


Fridays @ 12:30 Series:  Shock Waves: From Russia to America

Don Wright Faculty of Music

 
FRIDAYS @ 12:30 SERIES 
Friday, September, 20 2019 
12:30 p.m., von Kuster Hall 
 
 
 
 
 
 
The White Cat Blues Leslie Uyeda 
The Colour Blue (b. 1954) 
Jennifer Cyr, soprano 
Simone Luti, piano 
 
 
Glad I'm Not a Tenor Ben Moor 
   (b. 1960) 
Chad Louwerse, bass-baritone 
John Hess, piano 
 
 
Trois mélodies Olivier Messiaen 
Pourquoi? (1908-1992) 
La Sourire  
La Fiancée perdue  
Patricia Green, mezzo-soprano 
John Hess, piano 
 
 
Meditation    Jules Massenet 
Selection from Thaïs (1842-1912) 
Mel Martin, violin 
John Hess, piano 
 
 
Bunte Blätter, Op. 99 Robert Schumann 
Stücke I  (1810-1856) 
Stücke II  
Stücke III  
Stéphan Sylvestre, piano 
 
 
Siete Canciones Populares Españolas Manuel De Falla 
I. El paño moruno (1876-1946) 
II. Seguidilla murciana 
III. Asturiana 
IV. Jota 
V. Nana 
VI. Canción 
VII. Polo 
Aaron Hodgson, trumpet 
Yolanda Tapia, piano 
MESSAGE FROM THE DEAN 
 
 
Welcome to the Don Wright Faculty of Music. Our students are among 650 of the brightest and 
most talented young artist scholars, who come to study in one of the many undergraduate and 
graduate programs offered by the Faculty. With the faculty and staff, they are committed to 
excellence in creative and scholarly work. I invite you to consider joining our community, one 
that encourages students to imagine, explore, and take risks.   
 
Our goals at Western Music (1) providing the highest quality of creative and scholarly 
experiences for students in all undergraduate and graduate programs, (2) providing 
interactions with artists and scholars known nationally and internationally, and (3) making 
public that which we do through artistic and scholarly performances, recordings, publications, 
lectures, and presentations. The faculty, who collectively are recognized nationally and 
internationally through their scholarly publications and papers, CDs, and performances, 
continue to serve as role models for our students and showcase their commitment to artistic 
and scholarly excellence. Finally, nationally and internationally renowned guest artists grace 
our stages and contribute to the musical culture we expect at the Faculty of Music. 
 
The Don Wright Faculty of Music is situated in a research-intensive university on a campus 
that is inviting and striking. It situates the Faculty of Music in an environment that enables 
students to grow artistically and academically. Thank you for attending today’s concert! 
 
Betty Anne Younker, Dean      
Professor of Music Education  
Don Wright Faculty of Music 
 
 
 
 
Please visit music.uwo.ca/faculty for performers’ biographies 
 
 
 
 
 
 
 
Music changes lives. So do our donors. 
Charitable gifts from music lovers, like you, provide critical support for the Don Wright Faculty of Music’s 
performances and educational programming. To help us to continue to enrich our community through the 
power of music, donations can be made by phone at (519) 661-2111 x85695 online at music.uwo.ca, or  
by mail c/o Karmen Ferraro, Alumni and Development Officer, Talbot College,  
Western University, London, Ontario N6A 3K7. 
 


Fridays @ 12:30 Series

Staveva, Petya

STUDENT RECITALWestern
Music
Don Wright Faculty of Music
February 25, 2019 
4 p.m., von Kuster Hall 
Petya Staveva, piano, 
From the studio of Leslie Kinton
Etude-Tableau in C minor, op. 33 no. 3 S. Rachmaninov
(1873-1943)
J. Haydn 
(1732-1809)
R. Schumann 
(1810-1856)
Etude 1 (Variation 1): Un poco piu vivo 
Etude 2 (Variation 2): Marcato il canto 
Etude 3*: Vivace 
Etude 4 (Variation 3)
Etude 5 (Variation 4): Scherzando 
Variation 2, Posthumous 
Variation 5, Posthumous 
Etude 6 (Variation 5): Agitato 
Etude 7 (Variation 6): Allegro molto 
Etude 8 (Variation 7): Sempre marcatissimo 
Etude 10 (Variation 8): Sempre con energia 
Etude 11 (Variation 9): Con espressione 
Etude 12 (Finale): Allegro brilliante
Sonata in B minor, Hob. XVI:32 
Allegro moderato 
Menuet 
Presto
Symphonic Etudes, op. 13 
Theme: Andante
*This etude was originally removed in the second edition of the work, however will be performed. Subsequently 
Etude 9, which was also removed from the second edition, will not be performed.
This recital is presented in partial fulfillment o f the requirements for the 
Doctor o f Musical Arts degree.
STUDENT RECITALWestern
Music
Don Wright Faculty of Music
Biography
Praised for expressing "ultra-sensitive and highly refined pianism" (Quinte Society for Chamber Music), Petya 
Stavreva is working on her DMA at Western with Prof. Leslie Kinton. She finished her Master's Degree with 
Prof. Anton Nel at the University of Texas at Austin, where she received full scholarship and grant support 
from Canada Arts Council and the Webb Trust Fund from the Glenn Gould School. Before that, she was an 
artist-in-residence at the Banff Centre for ten weeks. At Western, she is a three-time recipient of the Ontario 
Graduate Scholarship, as well as the Don Wright Graduate Entrance scholarship, and the Sherwood Fox Music 
scholarship.
Petya has been an active solo and collaborative pianist in Toronto over the last decade. As an educator, Petya 
has been an adjudicator for the Kiwanis Festival in Toronto, the Pickering GTA Music Festival, the Brant 
Music Festival in as well as the Ontario Music Festival Association in Hamilton, and has been invited to 
adjudicate the Kiwanis Festival in Ottawa in 2019. She will soon be joining the Royal Conservatory College of 
Examiners, and currently maintains an active teaching studio in both London and Toronto/Mississauga.
Petya has been a prize winner of numerous competitions in Canada and Europe, and has performed concertos 
with the Toronto Sinfonietta Orchestra. She recently played at the Aeolian Hall in London, as part of the 
Emerging Classical Artist Series. Her upcoming projects include various performances in the GTA, Stirling 
(Quinte Society for Chamber Music) and London, including a recital with Canadian baritone Peter 
McGillivray. She also recently formed Duo Avante with pianist Todd Yaniw, and the duo is expecting to 
complete a recording project by 2020.
She finished her Artist Diploma with James Anagnoson at the Glenn Gould School on full scholarship, and 
obtained a Bachelor's degree at the University of Toronto with James Parker and Marietta Orlov. She also 
attended the Taylor Performance Academy in Toronto with full scholarship, studying with Arshalouis 
Nersessian. She has played in masterclasses for artists such as Vadym Kholodenko, John Perry, Mark 
Steinberg, Christian Tetzlaff, Andre Laplante and Jon Kimura Parker, among others. Past festivals include 
Bowdoin Music Festival as a collaborative Fellow, Young Artist Program in Ottawa, the Banff Chamber and 
Solo Residencies, Nice Academy in France, and Toronto Summer Music Festival.


Wall, Heidi

STUDENT RECITALWestern
Music
Don Wright Faculty of Music
March 12 2018
8:00 PM., von Kuster Hall 
Heidi Wall, piano 
Marcus Scholtes, violin 
Miriam Stewart-Kroeker, cello
Piano Trio No. 1 in B Major, Op. 8, Revised Version 
Allegro con brio 
Scherzo: Allegro molto 
Adagio
Finale: Allegro
-  Intermission -
Piano Trio No. 2 in E minor, Op. 67 Dmitri Shostakovich
Andante (1906-1975)
Allegro con brio
Largo
Allegretto
Johannes Brahms 
(1833-1897)
This recital is presented in partial fulfillment of the requirements for the 
Doctor of Musical Arts in Performance degree.
Heidi Wall performs piano solo repertoire, chamber music, and concertos both locally and abroad. 
While studying with Anya Alexeyev at Wilfrid Laurier University for her Bachelor of Music in piano 
performance, Heidi placed first in the concerto competition, was awarded the gold medal for music and 
won two gold medals in the Canadian Music Competition. She then completed three residencies at the 
Banff Centre, one of which resulted in a recording of Schoenberg's Pierrot Lunaire with the Gruppo 
Montebello which was released on the Etcetera label in Europe. Wall completed a Masters in Music in 
Performance and Literature at Western University under Stephan Sylvestre in 2017. During that time, 
she placed first in the Maritsa Brookes Concerto Competition and was honoured with the prestigious 
Artistic Performance OGS Award. She is currently a DMA student at Western University. Heidi 
coordinates the Kitchener-Waterloo Kiwanis Music Festival and teaches privately. Heidi Wall resides in 
Kitchener-Waterloo, Ontario.
Canadian violinist Marcus Willem Scholtes recently graduated with a Doctor of Music degree in Violin 
Performance at Indiana University where he studied with renowned pedagogue Mimi Zweig. During his 
years there, he was an Associate Instructor of Violin and completed academic minors in Music Education 
and Conducting. Studying with Yehonatan Berick, he holds a Master of Music degree in Violin 
Performance from the University of Michigan, Ann Arbor, and an Honours Bachelor of Music degree 
from McGill University, Montreal, where he studied with Richard Roberts. Dr. Scholtes currently teaches 
at the Wilfrid Laurier University String Academy and has also been professor of String Pedagogy.
Miriam Stewart-Kroeker is an emerging cellist based in Kitchener-Waterloo, and recent graduate of 
McGill University with a Master's degree in cello performance under the direction of Matt Haimovitz. 
Highlights of this season include performances with the Kitchener-Waterloo Symphony, Eviole Ensemble 
and her piano trio with violinist Marcus Scholtes and pianist Heidi Wall.


Rodnick, Sarah

Masschelein, James

Western
Music
Don Wright Faculty of Music
STUDENT RECITAL
March 29, 2019 
8:00 p.m., MB 242 
Sarah Rodnick, horn 
James Masschelein, piano
“Les Adieux” Franz StraussRomance for Horn and Piano (1822-1905)
Horn Concerto No. 4 in E Flat, K. 495 Wolfgang Amadeus Mozart
Allegro maestoso (1756-1791)
Romance: Andante cantabile 
Rondo: Allegro vivace
-Intermission-
Remembrances for Horn and Piano, Op. 130 Michael Conway Baker (b. 1937)
Horn Concerto No. 1, Op. 11 Richard Strauss
Allegro (1864-1949)
Andante 
Allegro
This recital is presented in partial fulfillment of the requirements for the Bachelor of Music
(Performance) degree.


O\u27Kane, Connor

 
April 5, 2019  
6 pm, von Kuster Hall  
    Connor O’Kane, piano 
 
 
 
 
Four Ballades, Op. 10 Johannes Brahms 
 No. 1 in D minor (1833-1897) 
 No. 2 in D Major 
 No. 3 in B minor: Intermezzo 
 No. 4 in B Major 
 
 
 
Pour le piano Claude Debussy 
 Prelude (1862-1918) 
 Sarabande 
 Toccata 
 
 
 
-Intermission- 
 
 
 
 
Six Pieces for Piano from Cinderella, Op. 102 Sergei Prokofiev 
 Waltz: Cinderella and Prince (1891-1953) 
 Cinderella’s Dance 
 The Quarrel 
 Waltz: Going to the Ball 
 Pas de Châle 
 Amoroso 
                 J. Brahms 
 
 
 
 
 
 
This recital is presented in partial fulfillment of the requirements for the  
Doctor of Musical Arts in Performance degree. 
Connor O’Kane made his debut as soloist with the Kitchener-Waterloo Symphony in 
2014, performing the Grieg Piano Concerto under the baton of Daniel Bartholomew-Poyser. 
Since then, he has given performances in Lyon (Amphithéâtre Malraux), Vermont (First 
Congregational Church of Burlington), and at Ottawa’s Chamberfest, where he won the 2018 
Rising Stars Scholarship. An avid collaborative musician, Connor premiered seven new chamber 
works at the KW Chamber Music Society in 2016. In recent years, Connor has worked as 
répétiteur with Maestros Alain Trudel, Laurence Ewashko, Tyrone Paterson, and Simone Luti. In 
June 2018, Connor was called in last-minute to attend the Piano Trio workshop at the Orford 
Music Academy, learning Dvořák’s Dumky Trio with three days’ notice.  
Connor is currently studying with Stéphan Sylvestre in the Doctor of Musical Arts (Solo 
Performance) program at Western University. His monograph research focuses on the ballet-
piano transcriptions of Sergei Prokofiev. Connor previously studied with David Jalbert at the 
University of Ottawa, where he was a recipient of the Canada Graduate Scholarship (SSHRC) 
for his research on transcriptions. Connor also studied with Heather Taves at Wilfrid Laurier 
University and with Manuel Schweizer at the Conservatoire de Lyon.  


Richardson, Colleen

WESTERN UNIVERSITY SYMPHONIC BAND 
SYMPHONIC EXCURSIONS
Dr. Colleen Richardson, Music Director 
Shawn Chabot, Graduate Conducting Associate
Wednesday, December 4, 2019 
12:30 p.m., Paul Davenport Theatre
PROGRAM
Appalachian Overture James Barnes
(b. 1949)
Amazing Grace  Frank Ticheli
         (b. 1958)
Rikudim (Four Israeli Folk Dances for Band)    Jan Van der Roost
 I.  Andante moderato   (b. 1956)
 II.  Allegretto con eleganza
 III.  Andante con dolcezza
 IV.  Con moto e follemento 
Marching Song Gustav Holst
   (1874-1934)
Jinx    Ryan George
 (b. 1978)
On your way out, please consider recycling your program cover  
using the boxes provided at each exit. Thank you!
music.uwo.ca
• A variety of music and dance courses 
are also available as electives 
for non-music students.
Did you play in your 
high school band or 
sing in a choir?
For all event details, visit:
music.uwo.ca/events
For information on courses and ensembles, 
including audition excerpts and dates, visit: 
music.uwo.ca/ensembles
Want to continue 
playing or singing?
Did you know...?
The Don Wright Faculty of Music 
hosts 350+ public concerts & 
special events annually. 
• Non-music students are encouraged to 
audition for Large Ensembles in September. 
(e.g. orchestra, choirs, bands, jazz) 
Music at
Western
All Western students, 
regardless of major, are able to 
audition for ensembles at the 
Don Wright Faculty of Music.
Program Notes
James Barnes was born on September 9, 1949 in Hobart, Oklahoma 
and learned how to play the trombone, baritone, and tuba at an early 
age. He developed a keen interest for performance and composition 
after attending summer music camps held at the University of 
Kansas. Recognizing his potential, the university awarded him 
a compositional scholarship in 1967 when Barnes began his 
undergraduate studies. After completing his bachelor’s degree in 
1974 and master’s degree in 1975, he took private conducting lessons 
with Zuohuang Chen. He then returned to the  University of Kansas, 
where from 1977-2015, he taught courses in composition, arranging, 
wind history and repertoire knowledge, and directed one of its many 
wind orchestras. An accomplished tuba player, Barnes also toured 
with several well-known American orchestras. He was twice awarded 
the Ostwald Award for Outstanding Contemporary Wind Orchestra 
Music for his pieces Symphony, op. 35 (1978) and Visions Macabre 
(1981). His works have been performed and recorded by world-class 
ensembles including the Tokyo Kosei Wind Orchestra and five of the 
major military bands in Washington, D.C. He is currently a member 
of the American Society of Composers, Authors, and Publishers 
(ASCAP), and the American Bandmasters Association. 
Composers on Composing for Band, Vol. 3, 2007
https://www.rundel.de/en/james_barnes/p-196/76
Appalachian Overture (1983) was written at the request of 
composer Claude T. Smith to celebrate the 25th anniversary of 
the Wingert and Jones Music Company; a Kansas-based publisher 
that was widely popular in Mid-America at the time. Ironically, it 
became the only work by Barnes that was published by the firm. 
Written using standard ABA form, this piece opens with an exciting 
overture, slows as it moves to a soloistic middle section, and 
concludes with an exhilarating coda, where woodwind flourishes 
embellish the restatement of two intertwined themes. The themes, 
while original, are meant to resemble the folk-like melodies of the 
American southeast where the Appalachian Mountains exist.
https://www.rundel.de/en/appalachian_overture/a-1/2758
Born in 1958, American-born composer Frank Ticheli earned his 
undergraduate degree at Southern Methodist University in 1981, 
followed by masters and doctoral degrees from the University of 
UPCOMING PERFORMANCES:
Western University Symphonic Band
Paul Davenport Theatre, Talbot College
 
SOMETHING BORROWED
Wednesday, February 12, 12:30 p.m. 
The Symphonic Band starts the new calendar year with works 
inspired by folk song, poetry, jazz, and Mozart.
SHADOWS
Wednesday, March 25, 7:30 p.m. 
We end as we begin, with an all American roster of composers, 
including Boysen, Daehn, Grundman, Stone, and Reed. Each 
composer has created a shadow or a reflection of the melody, 
form, style, or poetry from which they were inspired. 
MUSIC.UWO.CA/ENSEMBLES/SYMPHONIC-BAND
Young Winds Program  
(January - April 2020)
Instruction for concert band instrumental students in grades 6-9
Western’s Young Winds Program provides students from the local 
community with instrumental music education supplementary to 
that provided by the students’ school bands. The program focuses 
on small group lessons as well as a full band experience. Primary 
teachers are a select group of students from the Western University 
instrumental music teacher program.
More information and online registration available online. 2020 
program begins on Saturday, January 18.
music.uwo.ca/youngwinds
Michigan. In 1991, he became a Professor of Composition at the 
University of Southern California’s Thornton School of Music and 
from 1991-1998, served as Composer in Residence of the Pacific 
Symphony Orchestra in Orange County, California. During the 
first three decades of his career, he mainly composed music for 
concert band and symphony orchestra. His works for concert 
band have been recognized with several awards, including three 
awards from the American Academy of Arts and Letters. In 2018, 
he was inducted into the University of Michigan Alumni Society’s 
Hall of Fame and also holds national honorary membership to 
Phi Mu Alpha Sinfonia. Ticheli has also written several successful 
choral works including There Will Be Rest (2004), and Earth Song 
(2009) followed by The Shore (2013), a work for chorus and 
orchestra commissioned by choral director John Alexander. 
Composers on Composing for Band, Vol. 1, 2002 
 https://music.usc.edu/cd-celebrates-the-choral-works-of-frank-ticheli/
Amazing Grace is a popular American spiritual originally penned by 
slave ship captain John Newton in 1772 and published in 1835. The 
inspiration for Newton’s words came when, after years of transporting 
slaves into America, he “suddenly saw through divine grace the 
evilness of his acts.” This setting by Ticheli was commissioned in 1994 
to honour the late father of John Whitwell who was the conductor 
and band director at Michigan State at the time. In his setting, 
Ticheli’s goal was to “reflect the powerful simplicity of the words and 
melody.” He achieves this by introducing the melody in the solo alto 
saxophone; isolating the perfect fourth interval in the development 
section; and concluding with a complete restatement of the melody 
supported by harmonic suspensions and thick orchestration.
Notes from Score
https://www.biography.com/news/amazing-grace-story-john-newton
Jan Van der Roost was born in Belgium in 1956 and earned a 
triple laureate diploma in trombone performance, music history, 
and composition from the Royal Conservatoires of Ghent and 
Antwerp in 1979. In addition to wind band music, he also composes 
music for brass quintet, choir, piano, guitar, string orchestra, 
solo instruments and symphony orchestra. His commissioned 
music has been recorded around the world by several renowned 
ensembles, including the Vancouver Symphony Orchestra (Canada) 
and the Simon Bolivar Symphony Orchestra (Venezuela). He 
Western University Symphonic Band
Dr. Colleen Richardson, Music Director 
Shawn Chabot, Graduate Conducting Associate 
Piccolo
Sofia Stocco
Flute
Caedwyn Boyd
Sydney Dobson
Justine Elliot *+
Grace Flaherty
Cathryn Franklin
Mark Ho
Makiya Hughes
Emily LaButte
Paige MacDonald
Klara McNaught
Olivia Schnekenburger
Sofia Stocco
Anna Versluis
Adam Wilkinson
Rachel Wilson
Oboe
Scott Ho *
Lauren Jarman
Charlotte Lilley
Kaitlyn Pooley
English Horn
Charlotte Lilley
Bassoon
Ben Vandenberg
Clarinet
Alyxia Bonnett
Laine Harris *+
Seung Jae Lee
Scotia Matheson
Lisa Shin
Clarisse Smith
Hyejune Song
Caleb Wei
Justin Zhou
Bass Clarinet
Jessica May
Alto Saxophone
Royal Cheung
Benjamin Luelo
Emily Mackwood
Curtis McDonald
Tamla Mendita *
Seth Spry *
Enya Xue
Tenor Saxophone
Jordyn Goins
Olivia Houle
Nicholas Ploughman
Baritone Saxophone
Samuel Ahn
Kevin Cacorovski
Horn
Kathryn Allington
Lela Burt *
Emily Devito
April Pinch
Theresa Post
Maitland Tossos
Trumpet
Nick Burger *
Jasmine Bustard-
Johnson
Ethan Desbiens
Alexander Drozd
Emma Dyck
Nicholas Estrada
Reece Martin
Santina Pope
Claire Simpson
Samuel Sloan
Jacob Stasiewicz
Trombones
Jacob McFarlane
Mattia Mihajlovic
Ryland Moon *
Ashlyn Olson
Euphoniums
Timothy Nunes
Tubas
Miguel Demonteverde
Marissa Faiella *
Percussion:
Jonathan Bowen
Samuel D’Eon
Roisin Miland *
Sofia Pompe
Jessalyn Shein
*Section leader
+Concert master
currently teaches in Belgium at the Lemmensinstituut. He is in 
high demand as an adjudicator and clinician, and as a visiting 
professor at several universities in Tokyo and Kawasaki, Japan.
https://www.janvanderroost.com/en/biography/
Rikudim, meaning “Dances” in Hebrew, is a four-movement 
collection of folk-like dances written in 1986. Van der Roost 
uses irregular tempi, multiple meters, and memorable melodic 
themes to emulate the style of Israeli folk dances. In keeping with 
his approach to orchestration, every part is written with intent 
and Van Der Roost avoids the use of compositional clichés to 
make his music more interesting. The prominent use of double 
reeds, tambourine and colourful harmonies help to underscore 
both the festive and pensive nature of these Jewish dances.
Notes from Score
Composers on Composing for Band, Vol. 3, 2007
Born in Cheltenham, Gloucestershire in 1874, Gustav Holst was an 
English composer best known for his orchestral masterwork, The 
Planets (1914-1916). The son of musical parents, he played piano 
and violin and began composing at the age of twelve. Due to a nerve 
disorder which affected movement in his right hand, he took up the 
study of the trombone during his teen years. In 1895, he studied 
music at the esteemed Royal College of Music in London under 
the guidance of Charles V. Stanford. It was at the college where he 
formed a lifelong friendship with Ralph Vaughan Williams, another 
prolific English composer. Following his compositional studies, Holst 
first earned a living as a trombone player in the Carl Rosa Opera 
Company and the Scottish Orchestra and eventually made enough 
income from his compositions and teaching positions to leave those 
posts. By 1907, Holst was the Director of Music at both Morley College 
and the St. Paul’s Girls’ School in Hammersmith, London. These 
settings inspired two of his better-known compositions St. Paul’s 
Suite (1912-13) and Hammersmith (1930). His early compositional 
influences included Wagner and Strauss, followed by Schoenberg 
and Stravinsky. In his later years, Holst’s demanding workload 
began to negatively affect his health, eventually leading to his death 
in 1934 following complications arising from stomach surgery.
http://www.gustavholst.info/biography/index.php?chapter=1
https://www.britannica.com/biography/Gustav-Theodore-Holst
Originally written in 1906, Marching Song is a military band 
adaptation of the second movement of Holst’s orchestral work, 2 
Songs without Words. Holst rescored it for small band in 1929-1930. 
Dedicated to Ralph Vaughan Williams for his years of friendship and 
comradery, this work features Holst’s signature use of simple folk-like 
melodies accompanied by moving bass lines; similar idioms that are 
also found in the First Suite in Eb (1909) and Second Suite in F (1911) 
for wind band that followed. This march, although slower and played 
in a more relaxed style compared to typical American marches, 
contains some of the traditional formal elements found in marches, 
such as thematic strains, a trio-like section and terraced dynamics.
Notes from Score
Ryan George (b. 1978) is an active arranger and composer from 
Austin, Texas. He earned his degree at the University of Kentucky 
and belongs to several organizations including the American Society 
of Composers, Authors and Publishers (ASCAP) and the American 
Composer’s Forum. Known best for writing music for marching 
ensembles at the state, regional, and national levels, he currently 
composes and arranges brass music for the Boston Crusaders 
Drum and Bugle Corps in Boston, Massachusetts. His concert 
band works have been performed by professional ensembles 
including The “President’s Own” United States Marine Band and 
The United States Air Force Band and have been featured at notable 
conferences such as the American Bandmasters Association 
Convention and the Midwest Band and Orchestra Clinic in Chicago.
http://www.forninemusic.com/about/bio
Commissioned by the Fillmore Wind Band for their performance 
at the Midwest Clinic in 2017, Jinx is a short programmatic work 
meant to portray the “superstitious notion that if one’s good luck 
has run out then they must have been cursed, or jinxed.” The use 
of sporadic and dissonant motifs, rhythmic displacement, the 
creative use of rests, and unique percussion timbres effectively 
captures the sinister nature of this high-energy work.
Notes from Score


Western University Symphonic Band:  Symphonic Excursions

Rouleau, Caroline

Cho, Brian

April 10, 2019  
6 p.m., MB 242  
  Caroline Rouleau, violin  
  Brian Cho, piano 
Sonata in A major K.305                  W.A. Mozart 
 I. Allegro di molto          (1756-1791) 
 II. Tema con variazioni. Andante grazioso 
Cleopatra                            F. Say 
                       (b.1970) 
Sonata no. 8 in G major op.30            L.van Beethoven 
    I. Allegro Assai       (1770-1827) 
 II. Tempo di minuetto, ma molto moderato y grazioso  
 III. Allegro vivace     
     
  
        
              -Intermission- 
      
Sonata in E minor op.82                  E. Elgar 
I. Allegro. Risoluto            (1857-1934) 
II. Romance: Andante 
     III. Allegro non troppo 
This recital is presented in partial fulfillment of the requirements for the  
Master of Music Performance (Literature & Performance) degree. 


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