UQ Winds is directed by Dr Warwick Potter and runs a variety of guises: from flute choir to brass ensemble, from traditional wind octet to large mixed ensembles. The ensemble performs music by a broad scope of composers, including works commissioned from UQ student composers. This lunchtime performance will consist of works from Strauss, Mendelssohn and Rodrigo. 

Guest conductors

Tamara Gillard – Mendelssohn

Elisabeth Balarezo – Strauss

Caleb Salizzo – Rodrigo

 

Program notes

Serenade, Opus 7 – Richard Strauss

Although the Serenade has the same number of instruments as the well-known Mozart Gran Partita the structure and the scoring are quite different. The work is a single movement in sonata form. Strauss uses two each of flutes, oboes, clarinets and bassoons, with four horns and a contrabassoon or bass tuba – a more conventionally orchestral scoring than Mozart's use of bassett horns. Like Mozart, however, Strauss relishes the range of timbres that different combinations of the instruments can produce: each phrase in the first 24 bars uses a different set of instruments before they all combine for the first time at bar 24. A particularly distinctive scoring occurs where the oboe's opening theme (illustrated) is presented at the recapitulation by the four horns, with bassoons providing the bass.

 Overture for Winds, Opus 32 – Mendelssohn

Felix Mendelssohn's Overture for Winds has a long and somewhat problematic history in wind band music. Mendelssohn scored the piece for harmoniemusik (wind octet) plus flute, trumpet, and an English bass horn. However, Mendelssohn lost the score to the eleven-instrument version and submitted for publication a revised version for twenty three instruments plus percussion. The autograph of the original has since been recovered and both versions are considered viable in the wind band medium. There have also been several versions of the twenty three-instrument version of the piece to reflect more modern instrumentation

Adagio for Winds – Rodrigo

For the American Wind Symphony’s 1966 concert season, Robert Boudreau, their conductor, commissioned Rodrigo to write Adagio for Winds. Like most of Rodrigo’s works, it creates a Spanish ambiance – evocative harmonies and fanciful tunes that instill in the listener the flair and melancholy inherent in Spanish folk music. The Adagio consists of two primary sections. The first, slower section contains a plaintive tune in minor mode, unaccompanied at first, later with a descending harmonic progression. The following faster section combines an accented dance-like rhythm with a fanfare motive. These two sections alternate before the piece comes to a restful close.

 

Biographies

Tamara Gillard grew up on the Gold Coast where she developed an early love for music through participation in school music programs and the encouragement of her grandmother. She learnt piano and violin before taking up the clarinet in high school.

Tamara was accepted into the Bachelor of Music (Honours) program at The University of Queensland, commencing in 2016. Studying clarinet under Irit Silver, she has played in The University of Queensland Symphony Orchestra and Wind Ensemble. In 2017, she transferred into the Bachelor of Arts and Education with an extended major in music. She hopes to be an instrumental music teacher in rural Queensland when she graduates at the end of 2019.

Tamara regularly performs as a reed doubler in community and school musical/opera productions. She loves musical theatre and aspires to be the musical director of a production in the future. Tamara has completed a choral and instrumental conducting course whilst at UQ, and has studies conducting with Mr Graeme Morton and Dr Warwick Potter respectively. Today’s performance is her conducting debut.

Elisabeth Balarezo is actively involved in community music projects around Brisbane and overseas.  Since 2016, she has been Artistic Director of a Christian Youth Choir based in Ormeau, mentored by Mr. Graeme Moreton.  Elisabeth travelled to South Africa for a community music project in December 2016. During her time there she formed and conducted string chamber ensembles and a youth choir that performed in a concert series.

In 2017, Elisabeth completed a conducting internship as part of her studies with Dr. Warwick Potter, after which she served as Artistic Director in a two-week music camp in New South Wales. This involved conducting an adult and children’s choir for a community performance and recording.  Elisabeth is currently in her final year of a Bachelor of Music (Honours) at The University of Queensland. Her Honours project involves conducting UQ Winds researching the process and challenges that an undergraduate conductor faces when directing a tertiary wind ensemble playing Strauss’ masterpiece.

Caleb Salizzo is currently in his third year at The University of Queensland, studying piano performance with Dr Anna Grinberg. Beginning piano lessons aged eleven, he was awarded his LMusA before completing his secondary studies. Caleb made his concerto debut at the age of 14, playing Beethoven’s Third Piano Concerto with the Gold Coast Youth Orchestra. He recently featured in master classes conducted by Sergio Tiempo, the 2018 Queensland Symphony Orchestra Artist-in-Residence.

Caleb’s musical interests extend far beyond piano. During his Year 12 stuidies, he received his AMusA in Euphonium and was Principal Euphonium in the Griffith Conservatorium’s “SHEP” program, from 2013-2015. He was also Principal Percussionist of the Gold Coast Youth Orchestra in 2014 and 2015. He also has a strong passion for conducting symphonic works and is currently receiving tutorage in orchestral conducting from Dr Warwick Potter at The University of Queensland. Caleb has conducted many ensembles in both rehearsal and concert, including The University of Queensland’s Symphony Orchestra, UQ Winds and the Gold Coast Youth Orchestra.

Upon graduating, Caleb aspires to lead a portfolio career, including solo work, chamber music, and conducting engagements. He also intends to go overseas to pursue a master’s degree in conducting.

Venue

Zelman Cowen Building, UQ St Lucia
Room: 
The Nickson Room

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