, Donald F. Cook Recital Hall M.O. Morgan Building SI Friday, 24 March 2006 at 8:00 p.m.

Black and White ... and Red All Over En blanc et noir . .. et toute colorie

Jane Leibel, Lisa Roy and Caroline Schiller sopranos Richard Boulanger and Tom Gordon . pianos

En blanc et noir pour deux pianos Claude Debussy A vec emportement Lent. Sombre Scherzando

Socrate; Drame symphonique en trois parties Erik Satie sur des dialogues de Platon traduits par Victor Cousin Portrait de Socrate (le banquet) Bards de l 'Jlissus (Phedre) Mort de Socrate (Phedon)

Intermission

L 'embarquement pour Cythere Francis Poulenc Valse-Musette pour deux pianos

Hotel Francis Poulenc Reine de mouettes

Les chemins de/ 'amour Francis Poulenc Violon

La Reine de coeurs Francis Poulenc Le chapelier Erik Satie La diva de I 'empire

Scaramouche; Suite pour deux pianos Darius Milhaud Vif Modere Brazileira

~..... ~ .~<:"::-<,.,, University of Newfoundland ' ,. "Nothing dearer to the poet than the gray song In which the vague and the precise meet. " - Paul Verlaine, Art poetique (1882)

Claude Debussy, En Blanc et noir pour deux pianos Debussy the symbolist was the most important composer to harken to Verlaine's injunction to eschew colour in preference to nuance. Across his works from the early L 'apres-midi d'une faune to his last songs and piano pieces, Debussy located his shimmering resonances in the infinite shades of gray. In the company of both the symbolist poets and the impressionist painters, he preferred nuanced monotone to bright primary colours. Nowhere is this more in evidence than in his final essay for piano En blanc et noir, completed in the summer of 1915. The title refers both to the black and white keys of the piano -- this score for two performers is quintessentially pianists -- as well as to the palette of the citation from symbolist poetry which prefaces each movement.

The first movement waltzes with abandon through a rush of motives and figures that are at once impelling and easily forgotten. A monochrome portrait of dancers, the musical image is as though it were cut into the pieces of a jigsaw puzzle and then reassembled out of order and yet the compulsive waltz rhythm never misses a step.

Qui reste a sa place Whoever remains seated Et ne danse pas And does not dance De quelque disgrace Makes a quiet confession Fair l'aveu tout bas Of some misfortune. J. Barbier & M Carre from Romeo et Juliette

From its opening marked "sombre" to the macabre superimpositions of the Luthern choral tune Einfeste Burg and snippets of the Reveille, the second movement is a kaleidoscope of musical images rich in symbolic association. Distant drumrolls, marching troops, the heroic climax locate this musical canvas at the centre of the First World War. Debussy's dedication to "Lieutenant Jacques Chariot, killed by the enemy, March the 3rd 1915" reveals the source of his intentions as does the citation from Fran9ois Villon's Ballade Against the Enemies ofFrance which prefaces the movement.

Prince, porte soit des serfs Eolus Prince, let Aeolus be borne by slaves En la forest ou domine Glaucus. To the forest where Glaucus rules Ou prive soit de paix et d'esperance Or be deprived of peace and hope Car digne n'est de posseder vertus Since those are not worthy to possess virtues Qui mal vouldroit au royaume de France. Who would wish ill of the kingdom of France. The third movement, an interrupted scherzo, is dedicated to Igor Stravinsky - perhaps the inspiration for the interruptions. Its motives are fleet, delicate and fragmentary: evocative of the "dancing snow" of an earlier Debussy opus - only somehow whiter. The citation comes from Charles d'Orleans.

Yver, vous n'este qu'un vilain ... Winter, you are but a rogue.

* * * * * Erik Satie, Socrate If Debussy's two piano sketches are in black and white, Erik Satie's most extended composition dating from the same period is "tout blanc ... et tout simple." Erik Satie's Socrate, a "symphonic drama" in three parts defies comfortable classification. Originally called Vie de Socrate, it was commissioned by Princess Edmond de Polignac in October 1916. The composition of the work was soon derailed as Satie waged legal battles with a Paris critic over an inflammatory volley of public insults. The Princess intervened with sufficient financial aid to end the squabble allowing Satie to return to composition, finishing Socrate in the spring of 1918.

It was the Princess de Polignac who had specified that female voices should be used. Her wish was that Satie would write incidental music to a performance where the Princess and her circle of lesbian friends would read aloud texts of the ancient Greek philosophers. Not drawn to melodrama and oblivious of the Princess's social circle, Satie set the texts to be sung. Nevertheless, he did adhere to the stipulation of female voices for these dialogues between Socrates and his disciples. Satie chose his text from the stiffly out-dated translation of Victor Cousin. It was in this version of the text that he found what he sought most: simplicity, clarity and beauty.

Satie described the music of Socrate as "pure white." Indeed while working on Socrate, he quipped to his friend Valentine Hugo "I only eat white foods" to remain in the right mood. His goal was to create music that was as white and pure as antiquity. Elsewhere he said "In writing this work I never wished to add anything to the beauty of the Platonic dialogues: this is only an act of admiration, only about the fantasy of the artist, only a modest homage." Its whiteness consists in an unsuspected static quality, often engaged by drawing snippets from the most banal popular music and employing them like tape loops. Notorious in his lifetime as the inventor of "furniture music" - music to inhabit a room like furniture - Satie dresses the stage for Plato's dialogues with music of unsurpassed neutrality which nonetheless attains a pure dignity in its bareness.

The three parts of the composition are: Portrait de Socrate ("Portrait of Socrates"), text taken from Plato's Symposium Les bards de l'llissus ("The banks of the Ilissus"), text taken from Plato's Phaedrus Mort de Socrate ("Death of Socrates"), text taken from Plato's Phaedo Part I - Portrait of Socrates Pars I - Portrait de Socrates (Le Banquet) [From Symposium, 32-33-35] [de Symposium, 32-33-35] Alcibiades: Alcibiade: And now, my boys, I shall praise Socrates in Or, mes chers amis, afin de louer Socrate, a figure which will appear to him to be a J'aurai besoin de comparaisons: Lui croira caricature, and yet I speak, not to make fun peut-etre que je veux plaisanter; mais rien of him, but only for the truth's sake. I say, n'est plus serieux, Je dis d'abord qu'il that he is exactly like the busts of Silenus, ressemble tout a fait aces Silenes qu'on voit which are set up in the statuaries' shops, exposes dans les ateliers des sculpteurs et holding pipes and flutes in their mouths; and que les artistes representent avec une flute they are made to open in the middle, and OU des pipeaux a la main, et dans l' interieur have images of gods inside them. I say also desquels quand on les ouvre, en separant les that he is like Marsyas the satyr. [ ... ] And are deux pieces dont ils se composent, on trouve you not a flute-player? That you are, and a renfermees des statues de divinites. Je perfarmer far more wonderful than Marsyas. pretends ensuite qu'il ressemble au satyre He indeed with instruments used to charm Marsyas ... Et n'es-tu pas aussi joueur de the souls of men by the power of his breath, flute? Oui sans doute, Et bien plus etonnant and the players of his music do so still: for que Marsyas. Ce lui-ci charmait les hommes the melodies of Olympus are derived from par les belles chaises que sa bouche tirait de Marsyas who taught them [ ... ] But you ses instruments et autant en fait aujourd-hui produce the same effect with your words quiconque repete ses airs; en effet ceux que only, and do not require the flute: that is the jouait Olympos, je les attribue a Marsyas son difference between you and him. [ ... ] And if maitre. La seule difference Socrate qu'il y I were not afraid that you would think me ait ici entre Marsyas et toi, c' est que sans hopelessly drunk, I would have sworn as instruments, avec de simples discours, tu well as spoken to the influence which they fais la meme chose ..... Pour moi, mes have always had and still have over me. For amis, n'etait la crainte de vous paraitre my heart leaps within me more than that of totalement ivre, je vous attesterais avec any Corybantian reveller, and my eyes rain serment l' effect extraordinaire que ses tears when I hear them. And I observe that discours m'ont fait et me font encore. En many others are affected in the same l'ecoutant, je sens palpiter mon coeur plus manner. ( ... ]And this is what I and many fortement que si j 'etais agite de la manie others have suffered from the flute-playing dansante des corybantes, ses paroles font of this satyr. couler mes larmes, et j 'en vois un grand nombre d'autres ressentir les memes emotions. Tels sont les prestiges qu'exerce et sur moi et sur bien d'autres la flute de ce satyre ....

Socrates Socrate: [... ]you praised me, and I in turn ought to Tu viends de faire mon eloge: c'est praise my neighbour on the right [ ... ] maintenant a moi de faire ce lui de mon voisin de droite .... Part II - On the banks of the Ilissus Pars II - Bords de l'llissus [From Phaedrus, 4-5] [de Phedre, 4-5]

Socrates: Socrate: Let us turn aside and go by the Ilissus; we Detoumons-nous un peu du chemin, et s'il te will sit down at some quiet spot. plait, descendons le long des bords de l'Illissus. La nous trouverons une place solitaire pour nous asseoir ou tu voudras.

Phaedrus: Phedre: I am fortunate in not having my sandals, and Je m'applaudis, en verite d'etre sorti as you never have any, I think that we may aujourd'hui sans chaussures car pour toi go along the brook and cool our feet in the c' est ton usage. Qui done empeche de water; this will be the easiest way, and at descendre dans le courant meme et de nous midday and in the summer is far from being baigner les pieds tout en marchant? Ce serait unpleasant. un vrai plaisir, surtout dans cette saison, et a cette heure du jour. Socrates: Lead on, and look out for a place in which Socrate: we can sit down. Je le veux bien; avance done et cherche en meme temps un lieu pour nous asseoir. Phaedrus: Do you see the tallest plane-tree in the Phedre: distance? Vois-tu ce platane eleve?

Socrates: Socrate: Yes. Eh bien?

Phaedrus: Phedre: There are shade and gentle breezes, and La nous trouverons de l' ombre, un air frais, grass on which we may either sit or lie et du gazon, qui nous servira de siege, ou down. meme de lit si nous voulons.

Socrates: Socrate: Move forward. Va, je te suis.

Phaedrus: Phedre: I should like to know, Socrates, whether the Dis-mois Socrate, n'est-ce pas ici quelque place is not somewhere here at which Boreas part sur les bords de l 'Illissus, que Boree is said to have carried off Orithyia from the enleva, dit-on, la jeune Orithye? banks of the Ilissus?

Socrates: Socrate: Such is the tradition. On le dit. Phaedrus: Phedre: And is this the exact spot? The little stream Mais ne serait-ce pas dans cet endroit is delightfully clear and bright; I can fancy meme? Car l' eau est si belle, si claire et si that there might be maidens playing near. limpide, que des jeunes filles ne pouvaient trouver un lieu plus propice a leur jeux.

Socrates: Socrate: I believe that the spot is not exactly here, but Ce n'est pourtant pas ici, mais deux ou trois about a quarter of a mile lower down, where stades plus bas, la ou l' on passe le fleuve. you cross to the temple of Artemis, and there On y voit meme un autel consacre aBoree. is, I think, some sort of an altar of Boreas at the place.

Phaedrus: Phedre: I have never noticed it; but I beseech you to Jene me le remets pas bien. Mais dis-moi, tell me, Socrates, do you believe this tale? de grace, crois-tu done a cette aventure fableuse? Socrates: The wise are doubtful, and I should not be Socrate: singular if, like them, I too doubted. I might Mais si j 'en doutais, comme les savants, je have a rational explanation that Orithyia was ne serais pas fort embarrasse; je pourrais playing with Pharmacia, when a northern subtilser et dire que le vent du nord la fit gust carried her over the neighbouring rocks; tomber d'une des roches voisines, quand elle and this being the manner of her death, she jouait avec Pharmacee, et que ce genre de was said to have been carried away by mort donna lieu de croire qu'elle avait ete Boreas. [ ... ] according to another version of ravie par Boree; ou bien je pourrais dire the story she was taken from Areopagus, and qu'elle tomba du rocher de l' Areopage, car not from this place. [ ... ] But let me ask you, c' est la que plusieurs transportent la scene .. friend: have we not reached the plane-tree to .. Mais apropos n'est-ce point la cet arbre which you were conducting us? ou tu nous conduis?

Phaedrus: Phedre: Yes, this is the tree. C'est lui meme.

Socrates: Socrate: By Here, a fair resting-place, full of summer Par Junon, le charmant lieu de repos! sounds and scents. Here is this lofty and Comme ce platane est large et eleve! Et cet spreading plane-tree, and the agnus castus agnus cactus avec ses rameaux elances et high and clustering, in the fullest blossom son bel ombrage, ne dirait-on pas qu'il est and the greatest fragrance; and the stream tout en fleur, pour embaumer l'air? Quoi de which flows beneath the plane-tree is plus gracieux, je te prie que cette source qui deliciously cold to the feet. Judging from the coule sous ce platane, et dont nos pieds ornaments and images, this must be a spot attestent la fraicheur? Ce lieu pourrait bien sacred to Achelous and the Nymphs. How etre consacre a quelque nymphe et au fleuve delightful is the breeze:--so very sweet; and Acheloiis a en juger parces figures et ces there is a sound in the air shrill and statues. Goute un peu l'air qu'on y respire: summerlike which makes answer to the est-il rien de plus suave et de si delicieux? chorus of the cicadae. But the greatest charm Le chant des cigales a quelque chose of all is the grass, like a pillow gently d' anime et qui sent l' ete. J' aime surtout cette sloping to the head. My dear Phaedrus, you herbe touffue qui nous permet de nous have been an admirable guide. etendre et de reposer mollement notre tete sur ce terrain legerement incline. Mon cher Phedre tu ne pouvais mieux me conduire.

Part III - Death of Socrates Pars III - Mort de Socrate [From Phaedo, 3-23-25-28-65-67] [de Phaedon, 3-23-25-28-65-67]

Phaedo: Phaedon: As [ ... ] Socrates lay in prison [ ... ] we had Depuis la condamnation de Socrate, nous ne been in the habit of assembling early in the manquions pas un seuljour d'aller le voir. morning at the court in which the trial took Comme la place publique ou le jugement place, and which is not far from the prison. avait ete rendu, etait tout pres de la prison, There we used to wait talking with one nous nous y rassemblions le matin, et la another until the opening of the doors (for nous attendions, en nous entretenant they were not opened very early); then we ensemble, que la prison fut ouverte et elle ne went in and generally passed the day with l' etait jamais de bonne heure .... Le geolier Socrates. [ ... ] On our arrival the jailer who qui nous introduisait ordinairement, vint au answered the door, instead of admitting us, devant de nous, et nous dit d'attendre et de came out and told us to stay until he called ne pas entrer avant qu'il nous appelat lui us. [ ... ] He soon returned and said that we meme. Quelques moments apres il revint et might come in. On entering we found nous ouvrit. En entrant, nous trouvames Socrates just released from chains, and Socrate qu'on venait de delivrer de ses fers, Xanthippe, whom you know, sitting by him, et Xantippe, tu la connais aupres de lui, et and holding his child in her arms. [ ... ] tenant un de ses enfants dans ses bras .... Socrates, sitting up on the couch, bent and Alors Socrate, se mettant sur son seant, plia rubbed his leg, saying, as he was rubbing: lajambe qu'on venait de degager, la frotta "How singular is the thing called pleasure, avec sa main, et nous dit .... L'etrange and how curiously related to pain, which chose, mes amis, que ce que les hommes might be thought to be the opposite of it; [ ... ] appellent plaisir, et comme ii a de Why, because each pleasure and pain is a merveilleux rapports avec la douleur que sort of nail which nails and rivets the soul to l' on pretend contraire ! .... N' est-ce pas the body[ ... ] I am not very likely to persuade dans la jouissance et la souffrance que le other men that I do not regard my present corps subjugue et enchaine l'ame? .... A situation as a misfortune, if I cannot even grand'peine persuaderais-je aux autres persuade you that I am no worse off now hommes que je ne prends point pour un than at any other time in my life. Will you malheur l'etat ouje me trouve, puisque je ne not allow that I have as much of the spirit of saurais vous le persuader a vous meme .... prophecy in me as the swans? For they, Vous me croyez done, ace qu'il parait, bien when they perceive that they must die, inferieur aux cygnes, pour ce qui regarde le having sung all their life long, do then sing pressentiment et la divination. Les cygnes, more lustily than ever, rejoicing in the quand ils sentent qu'ils vont mourir chantent thought that they are about to go away to the encore mieux ce jour-la qu'ils n'ont jamais god whose ministers they are." [ ... ] fait, dans la j oie d' all er trouver le

Often, [ ... ] I have wondered at Socrates, but Bien que j 'aie plusiers fois admire Socrate, never more than on that occasion. [ ... ] I was je ne le fis jamais autant que dans cette close to him on his right hand, seated on a circonstance .... J' etais assis a sa droite a sort of stool, and he on a couch which was a cote du lit sur un petit siege, et lui il etait good deal higher. He stroked my head, and assis plus haut que moi. Me passant la main pressed the hair upon my neck--he had a way sur la tete, et prenant mes cheveux, qui of playing with my hair; and then he said: tombaient sur mes epaules: ... Demain, 0 "To-morrow, Phaedo, I suppose that these Phedon, dit-il, tu feras couper ces beaux fair locks of yours will be severed." [ ... ] cheveux n'est-ce pas? ... II se leva et passa When he had spoken these words, he arose dans une chambre voisine pour y prendre le and went into a chamber to bathe; Crito bain; Criton l'y suivit et Socrate nous pria de followed him and told us to wait. [ ... ] When l' attendre .... En retrant, il s' assit sur son he came out, he sat down with us again after lit et n'eut pas le temps de nous dire grand his bath, but not much was said. Soon the chose: .... Car le serviteur des Onze entra jailer, who was the servant of the Eleven, presque en meme temps et s' approchant de entered and stood by him, saying: "To you, lui. Socrate, dit-il, j'espere que je n'aurai pas Socrates, whom I know to be the noblest and ate faire le meme reproche qu'aux autres: gentlest and best of all who ever came to this des que je viens les avertir par l' ordre des place, I will not impute the angry feelings of magistrats qu'il faut boire le poison, ils other men, who rage and swear at me, when, s' emportent contre moi, et me maudissent; in obedience to the authorities, I bid them mais pour toi, je t'ai toujours trouve le plus drink the poison--indeed, I am sure that you courageux, le plus doux et le meilleur de will not be angry with me; for others, as you ceux qui sont jamais venus dans cette prison, are aware, and not I, are to blame. And so et en ce moment je sais bien que je suis fare you well, and try to bear lightly what assure que tu n' es pas f ache contre moi mais must needs be--you know my errand." Then contre ceux qui sont la cause de ton malheur, bursting into tears he turned away and went et que tu connais bien. Maintenant, tu sais ce out. Socrates looked at him and said: "I que je viens t'annoncer: adieu, tache de return your good wishes, and will do as you supporter avec resignation ce qui est bid." Then turning to us, he said: "How inevitable. Et en meme temps il se detourna charming the man is: since I have been in en fondant en larmes et se retira. Socrate le prison he has always been coming to see me, regardant, lui dit: et toi aussi re9ois mes and at times he would talk to me, and was as adieux; je ferai ce que tu dis. Et se tournant good to me as could be, and now see how vers nous: voyez, nous dit-il quelle honnete generously he sorrows on my account. We dans cet homme: tout le temps que j 'ai ete must do as he says, Crito; and therefore let ici, il m'est venue voir souvent et s'est the cup be brought, if the poison is prepared: entretenu avec moi: c'etait le meilleur des if not, let the attendant prepare some." [ ... ] hommes et maintenant comme il me pleure de bon coeur! Mais allons, Criton; Crito made a sign to the servant, who was obeissons-lui de bonne grace et qu'on standing by; and he went out, and having apporte le poison, s' il est broye si non qu' il been absent for some time, returned with the le broie lui-meme .... jailer carrying the cup of poison. Socrates said: "You, my good friend, who are Criton fit signe a l' esclave qui se tenait experienced in these matters, shall give me aupres. L' esclave sortit, et apres etre sorti directions how I am to proceed." The man quelque temps, il revint avec celui qui devait answered: "You have only to walk about donner le poison qu'il portait tout broye until your legs are heavy, and then to lie dans une coupe. Aussitot que Socrate le vit: down, and the poison will act." At the same fort bien, mon ami lui dit-il mais que faut-il time he handed the cup to Socrates [ ... ] Then que je fasse? Car c'est a toi a me raising the cup to his lips, quite readily and l'apprendre. Pas autre chose, lui dit cet cheerfully he drank off the poison. And homme, que de te promener quand tu auras hitherto most of us had been able to control bu jusqu'a ce que tu sentes tes jambes our sorrow; but now when we saw him appesanties, et alors de te coucher sur ton lit, drinking, and saw too that he had finished le poison agira de lui-meme. Et en meme the draught, we could no longer forbear, and temps, il lui tendit la coupe .... Socrate in spite of myself my own tears were porta la coupe a ses levres et la but avec une flowing fast; so that I covered my face and tranqullite et une douceur merveilleuse. wept, not for him, but at the thought of my Jusque-la nous avions eu presque tous assez own calamity in having to part from such a de force pour retenir nos larmes; mais en le friend. [ ... ] and he walked about until, as he voyant boire et apres qu' il eut bu, nous n' en said, his legs began to fail, and then he lay fumes plus les maitres. Pour moi, malgre on his back, according to the directions, and to us mes efforts mes I armes s' echapperent the man who gave him the poison now and avec tant d'abondance que je me couvris de then looked at his feet and legs; and after a mon manteau pour pleurer sur moi-meme; while he pressed his foot hard, and asked car ce n'est pas le malheur de Socrate que je him if he could feel; and he said: "No"; and pleurais, mais le mien, en songeant quel ami then his leg, and so upwards and upwards, j 'allais perdre .... Cependant Socrate, qui and showed us that he was cold and stiff. se promenait dit qu'il sentait ses jambes And he felt them himself, and said: "When s'appesantir et il se coucha sur le dos the poison reaches the heart, that will be the comme l'homme l'avait ordonne. En meme end." He was beginning to grow cold about temps le meme homme qui lui avait donne le the groin, when he uncovered his face, for he poison s' approcha et apres avoir examine had covered himself up, and said--they were quelque temps ses pieds et ses jambes, il lui his last words--he said: "Crito, I owe a cock serra le pied fortement et lui demanda s'il le to Asclepius; will you remember to pay the sentait; il dit que non. II lui serra ensuite les debt?" [ ... ] in a minute or two a movement jambes; et portant ses mains plus haut, il was heard, and the attendants uncovered nous fit voir que le corps se gla9ait et se him; his eyes were set, and Crito closed his raidissait; et le touchant lui meme, ii nous eyes and mouth. Such was the end, dit que, des le froid gagnerait le coeur, alors Echecrates, of our friend; concerning whom Socrate nous quitterait .... Alors se I may truly say, that of all the men of his decouvrant, Socrate dit: Criton, nous devons time whom I have known, he was the wisest un coq a Esculape; n'oublie pas d'acquitter and justest and best. cette dette .... Un peu de temps apres ii fit This English translation ofthe libretto of un mouvement convulsif; alors l'homme de Socrate that follows is taken from Benjamin decouvrit tout a fait: ses regards etaient Jowett's translations ofPlato's dialogues fixes. Criton s' en etant aper9u, lui ferma la that can be found on the Gutenberg Project bouche et les yeux .... Voila, Echecrates, website, as reproduced at quelle fut la fin de notre ami ..... du plus http :lllVW1'V. answers. corn/topic/socrate . sage et du plus juste de tous les hommes.

* * * * * ... And Red All Over While Debussy's En blanc et noir and Satie's Socrate epitomize the monochromatic and austere classicism, the works on the second half of the program are "toutes colorees" - absolutely flamboyant in the vivid colours they draw. But far from being the polar opposite of the austere 'purisme', this collection of works - and a good many others from the same period - shares an essential trait with Socrate. They draw their essential material from popular music.

Poulenc's late 'valse-musette' L 'embarquement pour Cythere is a charming salon piece for two pianos that exudes the delicate charm of domestic dance music. The four Poulenc songs are drawn from several sources. Hotel is a meditation on the pleasures of smoking. Reine de mouettes a metaphorical litany of love. Violon evokes the gypsy violinist, while Les Chemins de I 'amour is a profession of love in the languorous style of the cabaret genre, the 'valse-chantee.' Satie's two cabaret songs are reminiscent of his stint as a pianist at the Chat-noir in Paris.

Darius Milhaud's suite for two pianos, Scaramouche, is a fond souvenir of his diplomatic posting in Brazil. Infused with the infectious and asymmetric rhythms of popular song and dance from South America, Scaramouche is a cheerful and virtuosic celebration of Latin rhythms and melodies. Biographies

Soprano Jane Leibel holds a Doctorate from the University of Michigan in Voice Performance, a Master's Degree from the University of North Texas State, an Opera Diploma from the University of Toronto and a Bachelor of Music from the University of Regina. As winner of the Eckhardt-Gramatte National.Competition for the performance of twentieth-century music, Jane performed a solo recital tour of Canada. Twice she has been a prizewinner in the Friedrich Schorr International Competition. She has performed operatic and concert roles with the Vancouver Opera, Vancouver Symphony, Opera Pacific, Regina Symphony, Winnipeg Opera, Opera Atelier, Opera in Concert, and the Toledo Opera. Jane joined the faculty of Memorial University of Newfoundland as an Assistant Professor in the Fall of 1999 where she teaches voice, vocal pedagogy and lyric diction. She is currently developing a music theatre piece in collaboration with: pianist, Tom Gordon and Artistic Directors: Jill Keiley and Robert Chafe on the career of nineteenth-century Newfoundland-born diva Georgina Stirling/ Marie Toulinget. Her debut CD: Songs and Sonnets was released, December 2005.

Soprano Lisa Roy, known for the intensity of her performances has appeared in the Atlantic Region, in Quebec and in Italy. She studied under S. Martine LeBlanc at Universite de Moncton and Louise Andre at Universite Laval. Since 1989, Ms. Roy teaches voice at l'Universite de Moncton where she also assumes the musical direction of the opera workshop. She was Artistic director of Opera NB's production of the opera "Carmen". During various trips to Europe and the USA she worked with masters such as Dalton Baldwin, Lorraine Nubar and Ian Partridge. Lisa Roy was invited as soloist with Opera N.B., Symphony N.B., Operafestival di Roma in Italy and with the Quatuor Arthur-LeBlanc. More recently, she's been performing with colleague Michel Deschenes in voice and percussion recitals.

Equally at home in opera and musical theatre, Caroline Schiller's roles span numerous styles ranging from Despina in the opera Casi fan tutte to her performances in the role of Christine in the original Toronto cast of Phantom ofthe Opera. Concert work includes performances with the Boston Symphony Chamber Players and the Montreal Symphony. She has been involved in the creation of contemporary theatre works at The Banff Centre and Dartington Summer Festival in England, performed at the Charlottetown Festival, Indian River Festival, and been a vocal fellow at the Tanglewood Music Center. Caroline Schiller is a professor of voice and director of the opera at Memorial University. She has a Doctor of Music in Voice Performance from Florida State University, a Master of Music in Voice Performance from New England Conservatory with a concentration in opera, and a Bachelor of Music degree from Mount Allison University. Upon completion of studies leading to three Prizes from the Montreal Conservatory of Music, under the tutelage of Yvonne Hubert, Richard Boulanger proceeded to further his musical training, first in Germany with pianist Karl Engel, then in Paris where he was to enjoy six years of advanced study under the tutelage of Nadia Boulanger. His published doctoral thesis, Les innovations de Domenico Scarlatti dans la technique du clavier, from the Sorbonne (D. Musicology) is devoted to the work of Domenico Scarlatti. Dr. Boulanger is currently active as a concert pianist and full professor of music history and piano at the Universite de Moncton in the province of New Brunswick. Fluent in both official languages, he is frequently requested to adjudicate music festivals across Canada. During his last sabbatical, in 1998-1999, he worked in Paris with Yvonne Loriod-Messiaen,, the widow of the famous composer, Olivier Messiaen. Dr Boulanger is the coordinator of the Ecole preparatoire de musique de l'Universite de Moncton since 2003 and head of the Music Department since 2004.

Tom Gordon is director of the School of Music at Memorial University of Newfoundland. A musicologist, Gordon is frequently heard at the piano as a Lieder accompanist. His performances have been broadcast by both the French and English networks of CBC in concerts from the "Music at Memorial" and "Musique chez nous" recital series, as well as with the Sherbrooke-based Ensemble Musica Nova which he co-founded in 1989. Gordon's musicological publications include studies on Stravinsky, Gabriel Faure and the French avant-garde of the early twentieth century. His current research centres on Moravian music in the Inuit communities of coastal Labrador. He is also developing a music theatre piece with soprano Jane Leibel on the career of nineteenth-century Newfoundland-born diva, Marie Toulinget.

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The School of Music, Memorial University of Newfoundland acknowledges the generous support of our partners in sustaining the Music at Memorial Concert Series:

0 CBC $ Radio-Canada ~ (6) Arts andCuit'lire °Centres rci Department ofTouri1m. Culture end Recruuon DELTA ST. JOHN'S llOnL AND C::OllFl... CI CINn! Upgrades to the D F Cook Recital Hall have been funded by the Department of Canadian Heritage's Cultural Spaces Canada Program with matching funds from Memorial University and from friends and benefactors of the School of Music.

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