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Areas of research and creative activity

Suzanne Snizek has performed extensively as a flutist throughout North America, Europe and Asia, including at Verizon Hall (Philadelphia), Cambridge University (UK), L'École Militaire (Paris), the International Chutzpah! Festival (Vancouver), Kennedy Centre (DC), Music by the Sea Festival (Bamfield, BC), Chiang Kai Shek Memorial Hall (Taipei), and Forum Voix Étoufées (Berlin).

Dr. Snizek’s ground breaking research on Music in WWII British internment has been published by Böhlau Verlag-Vienna, Routledge-New York, the Council of Europe, Berghann-New York, Armand Colin-Paris, as well as online at the World ORT website.

Courses

MUS 140/145-440/445 (Flute instruction)
MUS 181-481 (Chamber Music) 
MUS 116 (Listening to Music)
MUS 391 (Issues in Suppressed Music)
MUS 332 (Woodwind methods)
MUS 421/545 (Music and Protest)

Brief biography

A former winner in the national “Flute Talk” Magazine Competition, the UArts Concerto Competition, the New York Flute Club Competition and the Mid-South Young Artist Flute Competition, Dr. Snizek performed with the ESO (National Orchestra of Taiwan) and was an active freelance orchestral and chamber musician in the Philadelphia region before receiving her DMA at UBC (Vancouver) in 2011. Her teachers include Maralyn Prestia-Schaub, Carol Wincenc, Peter Lloyd, Julius Baker, David Cramer and Lorna McGhee.

Currently an Associate Professor at the ·¬ÇÑÉçÇø, Dr. Snizek joined the UVic faculty as a visiting assistant professor in 2011. In 2016 Dr. Snizek released her critically acclaimed CD entitled “Chamber Music (Re)Discoveries,” and subsequently received the 2017 REACH award for "Excellence in Creative Expression" from the University of Victoria.

Dr. Snizek will be a guest artist at the Loja Festival in Ecuador and a guest scholar and artist at Suzhou University in China during the 2018-19 academic year.

Selected publications

• “Petr Eben and Drei stille Lieder: A World in Miniature.” In Année Zéro Musique et politique culturelle sous le Nazisime et le Stalinisme: divergence et les similitudes, edited by Philippe Olivier and Amaury du Closel. Paris: Council of Europe (forthcoming).
• “The Abyss and The Berries.” In The Impact of Nazism on the Development of Twentieth Century Music, edited by Erik Levi. Wien: Böhlau Verlag (2014).
• “Spiritual Vitamins: Music in Huyton and Central Internment Camps May 1940– January 1941.” In Creativity behind barbed wire: the tangible and intangible heritage of prisoners of war, edited by Gilly Carr and Harold Mytum. New York: Routledge (2012).
• “‘The trio is growing like an asparagus’: Hans Gál and the Huyton Suite trio.” In Captivité de guerre au XXe siècle: des archives, des histoires, des mémoires, edited by Fabien Théofilakis. Paris: Armand Colin (2012).

Selected recordings

• by Leo Smit
• by Petr Eben
• by Jan van Gilse
• by Boris Blacher
• Mieczyslaw Weinberg

Links

Please visit the UVic flute blog for and for .