Scholarship@Western

Baerg, Theodore

and Ramiro is only certain of the fact that 
Arminda still does not love him. 
Act 2
A hall in the home of the Podestá
Ramiro discovers Arminda and complains 
that she was his love but now refuses him. 
She refuses to listen, he departs, but prom-
ises revenge. Serpetta and Nardo meet but 
no matter how hard he tries, she spurns his 
advances.
A garden at the home of the Podestà. 
Belfiore enters in some distress, muttering 
that he has had no peace since he found 
Sandrina. Arminda confronts him and leaves. 
Sandrina encounters Belfiore, and asks why 
he stabbed and deserted her. Belfiore is sur-
prised by this outburst and once again sure 
that he has found his love. The Podestà inter-
rupts them, and after mistakenly taking the 
Podestà’s hand instead of Sandrina’s, Belfiore 
retreats in embarrassment. Ramiro arrives 
from Milan with the news that Count Belfiore 
is wanted for the murder of Marchioness Vio-
lante Onesti. Don Anchise summons Belfiore 
for questioning and the Count, thoroughly 
baffled, implicates himself. Sandrina says she 
is Violante and the proceedings break up in 
confusion. The Count approaches Sandrina 
but she again denies him. Serpetta arrives 
moments later to tell the Podestà, Nardo and 
Ramiro that Sandrina is gone (actually ab-
ducted and left in the forest). Everyone leaves 
to search for her.
A deserted, forested area
Abandoned in the forest, Sandrina is nearly 
frightened out of her wits. Small search 
parties composed of the Count and Nardo, 
Arminda, Serpetta, and the Podestà soon 
arrive. In the darkness the Podestà mistakes 
Arminda for Sandrina and she him for the 
Count, while the Count thinks Serpetta is 
Sandrina and she takes him for the Podestà. 
Nardo manages to find Sandrina by following 
her voice, and Ramiro then appears. As the 
embarrassed and mismatched pairs sepa-
rate, Belfiore and Sandrina find each other 
and lose their senses. They see themselves 
as the Greek gods Medusa and Alcides, and 
the astonished onlookers as forest nymphs. 
Oblivious of their surroundings, the two begin 
to dance. 
Act 3
The edge of the forest
Still believing they are gods from classical 
Greece, Sandrina and Belfiore pursue Nardo 
until he distracts them by pointing at the 
sky. They are entranced, and Nardo is able to 
make his escape. 
A garden at the home of the Podestà. 
Arminda and Ramiro enter with a harried 
Don Anchise. Arminda begs her uncle for 
permission to marry the Count, and Ramiro 
demands that the Podestà order Arminda to 
marry him. Don Anchise becomes confused 
and leaves. Ramiro furiously swears he will 
never love another and that he’ll die in misery, 
far from Arminda.
No longer delusional, the Count and Sandrina 
awaken in the garden. Belfiore makes a final 
appeal, to which Sandrina admits she is Vio-
lante but claims that she loves him no more. 
The Count is saddened but agrees to leave 
her. They begin to part, but falter in a matter 
of minutes and fall into each other’s arms. Ar-
minda returns to Ramiro, and Serpetta gives 
way to Nardo’s suit. Left alone, the Podestà 
accepts his fate philosophically. Perhaps, he 
says, he will find another Sandrina.
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 opera performances and student 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 to Karmen 
Ferraro, Alumni and Development Officer, Talbot College, Western University.
fintaprogram.indd   1 11/13/2019   2:08:17 PM
The Secret Gardener
(La Finta Giardiniera)
Music by W.A. MOZART 
Libretto by GIuSEPPE PETROSELLINI
CAST
OrCheSTrA
PrODUCTION TeAM
Director – Professor T. Baerg
Music Director – Simone Luti
Costume Coordinator – Julie McGill
Lighting Design – Bryan Hart
Set Arrangement – Theatre Staff &  
    Professor T. Baerg
Repetiteurs – Brian Cho, Michelle Kitsis,  
    Connor O’Kane, Heidi Wall
Stage Manager – Andrea Nolan
Assistant Stage Managers –  
    Leah Macdonald, Mabel Wonnacott
Surtitles – By the Cast, 
    created/coordinated by Jorge Trabanco
Theatre Manager – Louis D’Alton
Video and Audio Recording – Michael  
    Godwin, Wade Haan, Adam Pypstra, ITRC
Publicity – Rachel Condie
Development – Karmen Ferraro
Stage Crew – Stylian Michailidis,   
    Raymond Salgado-Tran, Yanxue Hu,  
    Ting Zhang
ACkNOwleDgeMeNTS
OPerA COOrDINATOr’S MeSSAge
Don Wright Faculty of Music would like to thank the Jackman Foundation, courtesy of 
reverend edward Jackman, for the continued generous and loyal support of the opera 
program, as well as Ilona Janoschek for her leadership gift to opera this year. Thank you 
to london Opera guild for their support of our opera students through scholarships. 
Welcome to a wonderful season of opera at Western. We open with La Finta Giardiniera 
by Mozart, composed while he was still a teenager. This is a truly wonderful opera that 
should be performed more frequently. Our winter offering will be a new and interesting 
take on the Gilbert and Sullivan classic, The Mikado. Finally March will see a terrific gala 
of opera and musical theatre favourites. Thank you for joining us this year! All of us really 
appreciate your support and presence!                                                          - Theodore Baerg
    Nov. 21/23  Nov. 22/24
Marchioness Violante   Skylar Cameron  Kaitlin Stenbeck
    Onesti (Sandrina)   
    disguised as a gardener
Serpetta the Podestà’s servant Hannah Pinhorn  Olivia Maldonado
Cavalier Ramiro   Hillary Tufford  Michal Aloni
Don Anchise, the Podestà (Mayor) Matthew Bermudez Matthew Bermudez
Roberto (Nardo)   Jordan DeSouza  Jorge Trabanco
    Violante’s servant/ 
    disguised as a gardener
Arminda niece of Don Anchise Katherine Trussler Natalie Nelson
Contino Belfiore   Robert Hutson  James Smith
understudy of Don Anchise Cameron Mazzei
Violin 1
Frangel Lopez Cesena
Kirit Mascarenhas
Jillian Yang
Paul Baek
Violin 2
Dorothy Lin 
Eun Jee Gloria Kim 
Melissa Mogrovejo 
Jeanny Jung 
 
 
Viola
Jeffrey Komar
Molly Burnett
Paige Bursey
Cello
Isaac Lee
Heather White
Matt Kwan
Bass
Andrew Kosty
Michael Ippolito
Flutes
Natalina Scarsellone
Oboes
Zihao Bob Wie 
Gabriel Munteanu
Horns
Lindsey Cook 
Josh Dunham 
Harpsichord
Connor O’Kane
PlOT SyNOPSIS
Prior to our story beginning
The Count Belfiore and the Marchioness Vio-
lante Onesti were lovers, but Belfiore stabbed 
Violante in a fit of rage and left her for dead.
The story begins with the revived Violante 
and her servant Roberto disguised as “Sand-
rina” and “Nardo,” and quietly working in the 
mansion of the town Podestà. 
Act 1
A garden at the home of the Podestà. 
The Podestà, Cavalier Ramiro and Serpetta 
enter as Sandrina and Nardo work in the 
garden. Together they praise the lovely day, 
but their happiness is feigned. Sandrina is 
wretched because Don Anchise, the Po-
destà, is in love with her. Nardo is frustrated 
by Serpetta, who teases him but refuses to 
respond to his affections. Ramiro is bitter 
after being spurned by Arminda, Serpetta is 
angry at Sandrina because she has amorous 
intentions for the Podestá. When they are left 
alone, the Podestá professes love to Sandri-
na. Sandrina refuses his advances as politely 
as possible and, when Serpetta rudely inter-
rupts, makes her escape. 
A hall in the home of the Podestá
Arminda’s betrothed, Count Belfiore, ar-
rives and is swept off his feet by her beauty. 
Arminda is quick to let him know that she is 
someone to be reckoned with, but the Count 
is not deterred. The Podestá responds with 
a mixture of awe and skepticism, not caring 
who this buffoon of a Count is as long as he 
marries his niece. 
A garden at the home of the Podestà. 
In the garden, Arminda sees Sandrina and 
mentions her engagement to Belfiore. 
Stunned, Sandrina faints. Arminda calls for 
help and the Count arrives, Arminda leaves 
him to watch over Sandrina and rushes off 
to fetch smelling salts. Belfiore is shocked to 
find that the gardener is none other than Vio-
lante whom he thought had died.  Arminda 
returns and is surprised to come face to face 
with Ramiro. Sandrina awakens and finds 
herself looking at Belfiore. The Podestà en-
ters and demands an explanation, but no one 
knows quite what to say. Sandrina wavers 
but decides not to reveal herself as Violante, 
while Arminda suspects that she’s being 
deceived. The Podestà blames everything 
on Serpetta, who in turn blames Sandrina, 
fintaprogram.indd   2 11/13/2019   2:08:17 PM


English

Western University Opera: The Secret Gardener (Mozart)

Wiebe, Thomas

 
CHAMBER MUSIC SHOWCASE 
CONCERT II 
Thursday, November 21, 2019 
12:30 p.m., von Kuster Hall 
Thomas Wiebe, co-ordinator	
 
 
 
PERCUSSION DUO 
Losa   Emmanuel Séjourné 
   (b. 1961) 
Quincy Doenges 
Andrew Busch 
 
 
Flute Quartet, Op.12 Anton Reicha 
I. Andante (1770-1836) 
II. Minuetto 
Natassia Stelatos 
Natalina Scarsellone 
Asta Coffey 
Jingwen Ding 
 
 
CLARINET TRIO 
Divertimento No. 2, K. 229 Wolfgang Amadeus Mozart 
I. Allegro (1756–1791) 
I. Larghetto   
II. Rondo 
Emma Shippey 
Enoch Tsang 
Minghao Liu 
 
 
Three American Miniatures John Rutter 
I. Fanfare and Proclamation (b. 1945) 
II. Blues 
III. Rag 
Joel Robertson, clarinet 
Winnie Ching Su, flute 
 
 
 
 
 
 
 
 
Contrapunctus V J. S. Bach 
   (1685-1750) 
Scherzo   John Cheetham 
   (b. 1939) 
Eric Tremblay, trumpet 
Alexa Brown, trumpet 
Josh Dunham, horn 
Luke Roussy, trombone 
Cameron Williams, tuba 
 
 
L'enfance du Christ, Op. 25. Trio des Jeunes Ismaëlites Hector Berlioz 
   (1803-1869) 
Sarah Williams, flute 
Tracey Kennedy, flute 
Nathan Nykor, piano 
 
 
Trilogy   Donald Coakley 
I.Canzone  (b.1934) 
II.Passacaglia   
III.Toccata 
Jazzmine VanVeld, trumpet 
Marianne Kitchen, horn 
Caroline Guo, piano 
 
 
JAZZ COMBO 
What Is This Thing Called Love Cole Porter 
   (1891-1964) 
Things Are Getting Better Julian (Cannonball) Adderley 
   (1928-1975) 
Josh Milligan, drums 
Henry Cobb Howes, piano 
Andrew Kosty, bass 
Devin Howe, saxophone 
 
 
 
The 2019-2020 Chamber Music Recital Series is now underway!  
Visit music.uwo.ca/events/chamber-music-recital-series.html for full schedule. 
 
 
 
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. 


Chamber Music Showcase Concert

Archibald, Jane

 
Jane Archibald Masterclass 
Saturday 10am-1pm, Nov. 16th, VKH 
 
 
 
1. Katherine Trussler (Digout) – Ah fuggi il traditor (Mozart) 
2. Leslie Higgins (Digout) – Batti, batti (Mozart) 
3. Andrea Nolan (Halim) – Quando me’n vo’ (Puccini) 
4. Josée Landry (Gouin) – Ach Ich Fühl’s (Mozart) 
5. Mark Pichkur (Cho) – O Du mein holder Abendstern (Wagner) 
6. Julia LoRusso (Cho) – Let the Bright Seraphim (Handel) 
7. Anne Jean (Cho) – Adieu, notre petite table (Massenet)  
8. Kaitlin Stenbeck (Tapia) – Geme la Tortorella (Mozart) 
 
 
Jane Archibald’s career trajectory 
has taken her from Canada to San 
Francisco to the Vienna State 
Opera and major opera houses 
on both continents. 
 
Her artistry has generated 
excitement across Europe and 
North America with recent 
engagements including Lucia and 
Konstanze in Zurich; Adele and 
Ophélie at the Met; Olympia, Zerbinetta and Cleopatra at the Opéra National de Paris; 
Sophie at La Scala Milan and in Berlin; Zerbinetta at Baden-Baden Festspielhaus, 
Covent Garden and in Munich; Donna Anna at Theater an der Wien as well as Semele 
at the Canadian Opera Company. 
 
After beginning her professional opera career in her native Canada, Jane was an Adler 
Fellow and Merola participant with the San Francisco Opera. She then moved to the 
Vienna State Opera as a member of the ensemble, debuting many coloratura roles. 
 
The 2018/19 season saw Jane performing le Feu/ la Princesse/ le Rossignol in L’enfant 
et les sortilèges at the BBC Proms and Lucerne Festival under the baton of Sir Simon 
Rattle; her role debut as Mathilde in Theater an der Wien’s production of William Tell; 
as Cunégonde in Candide with both the London Symphony Orchestra and the Israel 
Philharmonic Orchestra and as the title role in Oper Frankfurt’s Daphne. She also gave 
numerous concert performances including in Bach’s St. Matthew Passion with 
Orchestre National de Lyon; Mozart’s Great Mass in C minor with Symphony Nova 
Scotia, and Britten’s Les Illuminations and Grieg’s Peer Gynt with the Oregon 
Symphony. 
 
Recent additions to her repertoire have included Richard Strauss’s Zdenka and 
Ginevra (in Ariodante) with the Canadian Opera Company as well as revisiting Donna 
Anna for Theater an der Wien; Konstanze at the Théâtre du Capitole in Toulouse; 
Zerbinetta with the Bayerische Staatsoper; Angelica (Haydn’s Orlando Paladino) at the 
Zurich Opera House and finally Adele in a new production of Strauss’s Die 
Fledermaus with Santa Fe Opera.  


Jane Archibald Masterclass

Lanza, Joseph

 
EARLY MUSIC STUDIO 
Monday, November 11, 2019 
7:30 p.m., von Kuster Hall 
Joseph Lanza, Director 
Borys Medicky, Keyboard Consultant 
Johnathan Raine, Teaching Assistant 
 
 
 
Sonata Quarta      John Ravenscroft (1665-1697) 
 
Grave – Allegro – Largo – Allegro 
 
 
Sonata Nona     Isabella Leonarda (1620-1704) 
 
 
Balletto & Corrente Op.16 no.4     Giovanni Legrenzi (1626-1690) 
 
 
Balletto & Corrente Op.16 no.3     Giovanni Legrenzi (1626-1690) 
 
 
Concerto Grosso Op.6 no.6                             George Frideric Handel (1685-1759) 
 
Musette – Allegro – Allegro 
 
 
Instrumentalists 
Violins: Joseph Lanza, Darren Mak, Paul Baek, Melissa Mogrovejo,  
Michael Theriault, Lia Gronberg, Mary Rose 
Violas: Elizabeth Carla Van't Voort, Colman Wang 
Cellos: Isaac Lee, Heather Marie White, Ivan Fabara 
Bass: Andrew Kosty 
Theorbo: Rosalyn Bourne 
Keyboards: Lianna Grace, Leo Li, Gabriel Petric 
 
For more information about Western’s Early Music Studio,  
visit music.uwo.ca/ensembles/early-music-studio 
Please look forward to a future performance of the Early Music Studio in von Kuster Hall at 7:30 
p.m. on Monday, January 27, 2020. Visit music.uwo.ca/events to sign up for monthly electronic 
notices or request a printed concert brochure. 
 
 
 
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. 


Early Music Studio

Ison, Simon

Truong, Raymond

 
 
 
Wednesday, April 3rd, 2019 
6PM, MB242 
Simon Ison, Voice 
Raymond Truong, Piano 
 
 
 
Les Chemins De L’Amour                                   F. Poulenc 
             (1899-1963) 
Extase                       H. Duparc 
(1848-1933) 
 
Auf Flügeln des Gesanges                                          F. Mendelssohn 
(1809-1847) 
Abendempfindung            W.A. Mozart 
An Chloe            (1756-1791) 
 
 
Five Love Songs for Baritone            J. Coulthard 
The Lost Jewel          (1908-2000) 
Proof 
With a Flower 
Bequest 
When They Come Back, if Blossoms do 
 
Non Siate Ritrosi            W.A. Mozart 
From Così Fan Tutte                                                (1756-1791) 
Ho Capito, Signor Si! 
 From Don Giovanni 
O Del Mio Amato Ben                                     S. Donaudy 
(1879-1925) 
 
 
 
 
This recital is presented in partial fulfillment of the requirements 
for the Bachelor of Music (Performance) degree. 


Student Recital

Kim, Hanna

 
April 6, 2019  
4 p.m., von Kuster Hall  
  Hanna Kim, piano 
 
 
Fantasia and fugue in C minor, BWV 906        J.S. Bach 
                             (1685-1750) 
    
 
 
 
 
Piano Sonata no. 14 in C# minor                     L.V. Beethoven 
Adagio sostenuto             (1770-1827) 
Allegretto 
     Presto agitato 
      
 
 
 
Prelude in C# minor Op. 3, no. 2                  S. Rachmaninoff 
                 (1873-1943) 
        
 
 
 
 
Notturno                 O. Respighi  
From Sei pezzi                (1879-1936) 
       
         
 
 
 
 
Fantaisie-Impromptu in C# minor Op. posth. 66               F. Chopin 
               (1810-1849) 
 
 
This recital is presented in partial fulfillment of the requirements  
for the Music Performance Diploma (three year). 
 


Altenmueller, Laura

 
 
 
April 8th, 2019 
8PM, Von Kuster Hall 
Laura Altenmueller, piano 
 
 
 
Images, book 1             Claude Debussy 
 Reflets dans l’eau          (1862-1918) 
 Hommage à Rameau 
 Mouvement 
 
 
 
Piano Sonata No. 60 in C Major, HobXVI:50             Franz Joseph Haydn 
 I. Allegro           (1732-1809) 
 II. Adagio 
 III. Allegro molto 
 
 
– Intermission – 
 
Klavierstücke, Op. 119           Johannes Brahms 
 Adagio           (1833-1897) 
 Andantino un poco agitato 
 Grazioso e giocoso 
 Allegro risoluto 
 
 
 
 
 
 
 
 
 
 
 
 
 
This recital is presented in partial fulfillment of the requirements 
for the Doctor of Musical Arts degree. 
Biography 
Laura Altenmueller 
 
Laura Altenmueller is from Abbotsford, BC, where she began her piano studies at the age 
of 4. She completed her ARCT in Piano Performance at the age of 18, receiving first class 
honours with distinction. She completed her Bachelor of Music degree at the University of 
Victoria, where she studied with Michelle Mares. During her time at UVic, Laura performed in 
masterclasses for Angela Hewitt, Julian Bliss, Colin Tilney, and others. She was also active as a 
chorister, singing in Philomela Women’s Choir, UVic Chorus, and UVic Chamber Singers. She 
received many scholarships and awards, including the Musical Arts Scholarship, Betty and 
Gilbert Kennedy Scholarship in Music, and the 2015 Strauss Foundation Scholarship. In 2015, 
she spent four weeks studying piano in Salzburg, Austria at the Internationale Sommerakademie 
Mozarteum, with Frank Wibaut, Siegfried Mauser, and Robert D. Levin. After completing her 
BMus at UVic, Laura completed her Master of Music in Piano Performance at the University of 
Ottawa, studying with David Jalbert. In summer 2017, she received a full scholarship to 
participate in PianoFest in the Hamptons, a prestigious 4-week program, where she studied with 
Paul Schenly, Pierre van der Westhuizen, and David Jalbert. In spring 2018, she had the 
opportunity to perform Beethoven’s Piano Trio in D major, Op. 70 No. 1 at the National Arts 
Centre in Ottawa. Laura Altenmueller is in the first year of her DMA in Piano Performance at the 
University of Western Ontario, studying with Stéphan Sylvestre. 
 
 


Richardson, Colleen

WESTERN UNIVERSITY WIND ENSEMBLE
 EPISODES
Dr. Colleen Richardson, Music Director 
Tuesday, December 3, 2019 
12:30 p.m., Paul Davenport Theatre
PROGRAM
Down East Fanfare (2003)  Jack Stamp
(b. 1954)
Under the Butterfly’s Wing (2007)  Lindsay Stetner
(b. 1976)
Three Dance Episodes from  Aram Khachaturian
the Ballet Spartacus (1969) (1903-1978)
 Arr. Donald Hunsberger
 I. Dance of a Greek Slave;  (b. 1932) 
      Entrance of the Merchants; Dance of
     a Roman Courtesan; General Dance
 II. Dance of Phrygia; Dance of an Egyptian Girl 
      III. Sword Dance of the Young Thracians 
 
“Mars” from The Planets (1916)  Gustav Holst
(1874-1934)
Arr. George Smith
Blue Shades (1996) Frank Ticheli
(b. 1958)
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
Dr. Jack Stamp (b. 1954) is currently adjunct Professor of Music at 
the University of Wisconsin-River Falls where he teaches conducting. 
Previously he served as a Professor of Music and Director of Band 
Studies at Indiana University of Pennsylvania (IUP) for 25 years 
where he conducted the Wind Ensemble and Symphony Band and 
taught courses in conducting. Stamp studied composition with 
Robert Washburn and Fisher Tull, and he was strongly influenced 
by his music theory teachers at East Carolina University and 
IUP. He is an active guest conductor, clinician, adjudicator, and 
composer throughout North America and Great Britain. Stamp’s 
compositions have been commissioned and performed by leading 
military and university bands across the United States. 
Down East Fanfare is dedicated to the memory of Martin Mailman, 
longtime professor of composition at the University of North Texas, 
and a wonderful composer of band music. On Stamp’s frequent 
trips to Denton, Texas, he often met with Mailman. At one of their 
meetings Mailman told Stamp about a work he wrote for the UNT Wind 
Symphony entitled Secular Litanies. The motive for Down East Fanfare 
is taken from the opening measures of Secular Litanies. Down East 
Fanfare was Commissioned by the Maine Music Educators Association 
in celebration of the 50th Anniversary of the Maine All-State Band. 
       Notes from score 
Lindsay E. Stetner (b. 1976) is a composer, performer and educator 
in Regina, Saskatchewan. Before receiving her Bachelor of Education 
Stetner received both Bachelor and Master’s degrees in musical 
composition where she studied with Thomas Schudel, William Jordan, 
David Eagle, and Allan Gordon Bell. In January of 2011, she began 
working for Regina Public Schools. Stetner has a wide variety of works 
in a wide variety of genres, including: small ensembles, orchestral, 
choral, band, and on-site theatre productions. Over the years, her 
works have been played by the Regina Symphony Orchestra, and 
the Calgary Philharmonic Orchestra, as well as by university, high 
school and junior high school bands across Canada. The blending of 
composer and educator has allowed Stetner to ensure that students 
realize composers are not just a name on the top of a piece of music. 
Recently, she has begun to think more pedagogically about her writing 
for young bands by bringing in Canadian First Nations content into 
choral and band works.                                             
Under the Butterfly’s Wing was written for Stetner’s mother-
in-law as a birthday gift. Stetner said in the program notes 
for the piece, “her favourite decoration around her house is a 
UPCOMING PERFORMANCES
Western University Wind Ensemble
Paul Davenport Theatre, Talbot College
 
INTO THE SILENT LAND
Tuesday, February 11, 12:30 p.m. 
The Wind Ensemble’s first concert of the new year will feature 
Tracey Kennedy (flute), the Wind-Brass-Percussion Concerto 
Competition Winner. Other works include: Grainger’s Lincolnshire 
Posy, Jenkins’s American Overture, Nelson’s Rocky Point 
Holiday, and Steve Danyew’s Into the Silent Land, an emotional 
reflection on the tragedy at Sandy Hook Elementary.
LOVE, LOSS, AND LONGING
Friday, March 25, 7:30 p.m. 
Our final concert of the season includes Music for Prague 
1968, Karel Husa’s response to the Soviet Union’s invasion of 
Czechoslovakia, and features Soprano Shaelyn Archibald performing 
5 movements from Michael Daugherty’s Labyrinth of Love. Pieces 
by Press, Markowski and Serna round out the performance.
MUSIC.UWO.CA/ENSEMBLES/WIND-ENSEMBLE
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
butterfly and I was fascinated with the symmetry and colours as 
the beginnings of a piece for the lady that needs nothing.” The 
colours of the instruments and the harmonies reflect the feeling 
of watching a butterfly motionless on an object. Stetner says, 
“the harmonies should feel like a musical kaleidoscope.”  
Notes from score and lindsayestetnermusic.com
                                                  
Aram Khachaturian (1903-1978) was a Soviet Armenian composer and 
conductor, whose compositions became musical classics of the 20th 
century. He is best known for his Piano Concerto (1936) and his ballet 
Gayane which includes the popular, rhythmically stirring Sabre Dance. 
Khachaturian was trained at the Gnesin State Musical and Pedagogical 
Institute in Moscow and at the Moscow Conservatory and was a 
professor at both schools from 1951. As a young composer, he was 
influenced by contemporary Western music, particularly that of Maurice 
Ravel. In his Symphony No. 1 (1935) and later works, this influence was 
supplanted by a growing appreciation of folk traditions, not only those 
of his Armenian forebears but also those of Georgia, Russia, Turkey, 
and Azerbaijan. In 1948, along with Dmitry Shostakovich and Sergey 
Prokofiev, Khachaturian was accused by the Central Committee of the 
Communist Party of bourgeois tendencies in his music (i.e. his music 
was too advanced or difficult for the masses to enjoy). He admitted 
his guilt and was restored to prominence. After Stalin’s death in 1953, 
however, he publicly condemned the Central Committee’s accusation, 
which was formally rescinded in 1958. He was named the People’s Artist 
of the Soviet Union in 1954 and was awarded the Lenin Prize in 1959. 
Notes from britannica.com
Donald Hunsberger is conductor emeritus of the Eastman Wind 
Ensemble, having served as its music director from 1965 to 
2002. In addition to performing over 100 premiere performances, 
Hunsberger has been recognized in publications for his 
innovative scoring techniques for varying instrumentations of 
the contemporary wind band. He made numerous arrangements 
of popular orchestral works for wind band, including colourfully 
scored renditions of Rimsky-Korsakov’s Flight of the Bumblebee, 
Kabalevsky’s Colas Breugnon Overture, Shostakovich’s Festive 
Overture, and music from Khachaturian’s Spartacus. 
Notes from esm.rochester.edu and allmusic.com
Three Dance Episodes from the Ballet Spartacus is derived from 
Khachaturian’s ballet Spartacus which was written in 1953. Spartacus 
is known for its lively rhythms and strong energy. The program of 
Khachaturian’s ballet (libretto by Yuri Grigorovich) was derived from 
a book by Raffaello Giovagnolli that details events in a 1st-century-
Western University Wind Ensemble
Dr. Colleen Richardson, Music Director
Piccolo
Gillian Derer
Sarah Williams
Jamie Zhang
Flute
Jingwen Ding
Gillian Derer
Katie Kirkpatrick
Prasanna Mohile
Amber Proulx
Natassia Stelatos
Ching (Winnie) Su
Sarah Williams *
Jamie Zhang
Oboe
Tinson Lee *
Sabrina Turnpenny
Malcolm Scott
English Horn
Sabrina Turnpenny
Bassoon
Talia Caplan *
Joseph Smith
Eb Clarinet
Alice Campbell
Clarinet
Alycia Baxter
Alice Campbell
Andy Chiang
Samantha Johnston
Minghao (Kelvin) Liu
Katelyn McClelland
Joel Robertson
Emma Shippey *
Mian Wei
Alto Clarinet
Emma Shippey
Bass Clarinet
Orko Oyon
Contrabass Clarinet
Katelyn McClelland
 
Alto Saxophone
Devin Howe *
Colin Steinmetz
Alessandro Calicchia
 
Tenor Saxophone
Aeon Wang
Lexi Graham
 
Baritone Saxophone
Curtis Bihari
 
Horn
Josh Dunham *
Calvin Dvorsky
Marianne Kitchen
Tyler Nicholson Groves
Eugene Wong
Trumpet
Amanda Barrett
Alexa Brown
Jayden Christmas
Samantha Lanooy
Bradley Palmer
Eric Tremblay *
Matthias Tsoi
 
Trombone
Thomas Dewar
Tyler Kagan
Victoria Morrish *
 
Bass Trombone
Luke Roussy +
 
Euphonium
Andrew Hatanaka
Sarah Robertson
 
Tuba
Michael Bagnall
Cameron Williams *
 
Piano
Nicholas Busch
 
Percussion
Andrew Busch
Nicholas Busch
Quincy Doenges
Adela (Yanqi) Li
Roisin Miland
Josh Milligan
Andrew Robichaud *
Alexis Wright
String Bass
Eran Foster
*Section Leaders
+Concert Master
BC Roman slave revolt; its leader, Spartacus, was a Thracian warrior 
captured in battle. The rebellion’s high point was its seizure of Mount 
Vesuvius as a stronghold. After two years of unrest, the rebellion was 
finally put down by Marcus Licinius Crassus, and Spartacus fell in 
battle. The surviving rebels, numbering some 6,000, were crucified 
along the Appian Way. Spartacus was premiered by the Kirov Ballet 
in Leningrad (now St. Petersburg) in 1956, and its revised form was 
debuted in 1968 by the Bolshoi Ballet in Moscow. Khachaturian later 
adapted what would become his most famous ballet as a group of 
suites for orchestra, and, although the ballet remained a part of the 
Bolshoi’s repertoire, the suites provide the more familiar version. These 
suites were transcribed for Wind Ensemble by Donald Hunsberger. 
Notes from britannica.com
English composer Gustav Holst (1874-1934) is noted for the excellence 
of his orchestration. His music combines an international flavour 
based on the styles of Maurice Ravel, Igor Stravinsky, and others, with 
a continuation of English Romanticism. The son of a Swedish father 
and English mother, Holst studied at the Royal College of Music in 
London. His solo instrument was the trombone, and for some years 
after leaving the college he made his living as a trombone player in 
the Carl Rosa Opera Company and in various orchestras. He became 
music master at St. Paul’s Girls’ School in 1905, and director of music 
at Morley College in 1907. These were the most important of his 
teaching posts, and he retained both of them until the end of his life. 
His pioneering methods, which entailed a rediscovery of the English 
vocal and choral tradition (folk song, madrigals, and church music), 
were influential in musical education in many English schools. Holst’s 
First and Second Suites for Military Band are two of the foundational 
pieces of the wind band genre, but they did not make him famous. 
That distinction belongs to his massive orchestral suite, The Planets. 
Notes from britannica.com and windliterature.org
Written between 1914 and 1916, The Planets depicts the astrological 
character of each planet, only leaving out Earth and Pluto. Mars, 
the Bringer of War was complete in the composer’s mind in the 
summer of 1914, when the First World War was but an emerging 
threat. The work is dominated by a relentless hammering out of a 
5/4 rhythm which suggests the relentless destruction of war. The 
opposition of harmony and rhythm is skillfully used to produce a 
startling aural and emotional effect. The movement was transcribed 
for band by his student George Smith in 1924. It has been performed 
by world class wind ensembles including the Tokyo Kosei Wind 
Orchestra and “The President’s Own” U.S. Marine Band. 
Notes from windrep.org
Frank Ticheli’s music has been described as being “optimistic and 
thoughtful” (Los Angeles Times), “lean and muscular” (The New York 
Times), “brilliantly effective” (Miami Herald) and “powerful, deeply 
felt crafted with impressive flair and an ear for striking instrumental 
colors” (South Florida Sun-Sentinel). Ticheli (b. 1958) joined the 
faculty of the University of Southern California’s Thornton School 
of Music in 1991, where he is Professor of Composition. From 1991 
to 1998, Ticheli worked as Composer in Residence of the Pacific 
Symphony. Ticheli is well known for his works for concert band, many 
of which have become standards in the repertoire. In addition to 
composing, he has appeared as guest conductor of his own music 
at Carnegie Hall, at many American universities and music festivals, 
and in cities throughout the world. Ticheli was awarded national 
honorary membership to Phi Mu Alpha Sinfonia, “bestowed to 
individuals who have significantly contributed to the cause of music 
in America,” and the A. Austin Harding Award by the American School 
Band Directors Association, “given to individuals who have made 
exceptional contributions to the school band movement in America.” 
Notes from music.usc.edu/frank-ticheli
Blue Shades was inspired by another one of Ticheli’s works, Playing 
With Fire, which was a celebration of the traditional jazz music Ticheli 
heard growing up near New Orleans. Ticheli felt that Playing with Fire 
was dominated by traditional jazz influences and left little room for his 
own voice to come through, so he decided to compose another work 
that would combine his love of early jazz with his own musical style. 
Blue Shades features a jazz feeling, but is not literally a Blues piece. 
There is not a single 12-bar blues progression and the eighth notes are 
mostly not swung, however the work is heavily influenced by the blues. 
“Blues notes” (flatted 3rds, 5ths, and 7ths) are used constantly; Blues 
harmonies, rhythms, and melodic idioms pervade the work; and many 
“shades of blue” are depicted from bright blue to dark, to dirty, to hot 
blue. At times, Blue Shades burlesques some of the clichés from the Big 
Band era, not as a mockery of those conventions, but as a tribute. A slow 
and quiet middle section recalls the atmosphere of a dark, smoky blues 
haunt. An extended clarinet solo played near the end recalls Benny 
Goodman’s hot playing style, and ushers in a series of “wailing” brass 
chords recalling the train whistle effects commonly used during that 
era. Blue Shades was commissioned by a consortium of thirty university, 
community, and high school concert bands under the auspices of 
the Worldwide Concurrent Premieres and Commissioning Fund. 
Notes by the composer
Program notes by Samantha Johnston


Western University Wind Ensemble:  Episodes

Wrona, Christian

	
	
	
April 10th, 2019 
12 p.m., von Kuster Hall 
Christian Wrona, viola 
 
 
 
Suite	No.	1	in	G	Minor,	Op.	131d	 	 	 	 	 	 	 						Max	Reger	
Molto	Sostenuto	 	 	 	 	 	 	 	 		(1873-1916)	
Vivace	–	Andante	
Andante	Sostenuto	
Molto	Vivace	
	
Sonata	for	Viola	and	Piano,	Op	11.	No.	4	 	 	 	 																								Paul	Hindemith	
Phantasie	 	 	 	 	 	 	 	 	 		(1895-1963)	
Thema	mit	Variationen	
Finale	mit	Variationen	
	
						Megaria	Halim,	piano	
	
	
	
-					Intermission					-	
	
	
	
Viola	Sonata	No.	2	in	E-flat	Major,	Op.	120		 	 	 	 							Johannes	Brahms	
Allegro	Amabile	 	 	 	 	 	 	 	 		(1833-1897)	
Allegro	Appassionato	
Andante	con	moto		
	
																												Raymond	Truong,	piano	
 
 
 
 
 
 
 
This	recital	is	presented	in	partial	fulfillment	of	the	requirements	for	the		
Music	Performance	Diploma	(three-year).	
	
 
Special	thanks	to	Western	University’s	Don	Wright	Faculty	of	Music	String	Bank	for	the	
generous	loan	of	the	Hill	&	Sons	Viola	Bow	used	in	this	performance.	


DeMerchant, Emily

Fopoussi, Charmaine

	
April 23, 2019  
4 p.m., von Kuster Hall  
  Emily DeMerchant, voice  
  Charmaine Fopoussi, piano 
 
Gia	il	sole	dal	Gange	 	 	 	 	 	 	 	 																			A.	Scarlatti	
O	cessate	di	piagarmi	 	 	 	 	 	 	 															(1660-1725)	
	
	
Se	tu	m’ami		 	 	 	 	 	 	 	 									attr.	Giovanni	Pergolesi	
	 			 	 	 	 	 	 	 	 	 	 		(1710-1736)	
	
	
Per	la	Gloria	d’adorarvi	 	 	 	 	 	 	 											G.	B.	Bononcini	
	 	 	 	 	 	 	 	 	 	 	(1672-1748)	
	
	
Songs	with	texts	by	Victor	Hugo	(1802-1885)	 	 	 	 											Reynaldo	Hahn	
Si	mes	vers	avaient	des	ailes		 	 	 	 	 	 	 			(1874-1947)	
Puisque	j’ai	mis	ma	lèvre		 	 	 	 	 																		
Quand	la	nuit	n’est	pas	étoilée	
	
	
Frühlingsmorgen	 	 	 	 							 	 	 	 												Gustav	Mahler	
Um	schlimmer	Kinder	artig	zu	Machen	 	 	 		 					 	 		(1860-1911)	
Ich	ging	mit	Lust	durch	einen	grünen	Wald	
Hans	und	Grete	
	 	 					
	
The	Pilgrim’s	Progress	 	 	 	 	 	 							Ralph	Vaughan	Williams	
Watchful’s	Song	 	 	 	 	 	 	 	 	 		(1872-1958)	
The	Bird’s	Song	
The	Pilgrims	Psalm	
	
	
	
	
	
Soli	Deo	Gloria	
	
This	recital	is	presented	in	partial	fulfillment	of	the	requirements	for	the	Bachelor	of	Music	
(Performance)	degree.	
	


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