1 10 972 https://omeka.binghamton.edu/omeka/files/original/2cdaedb5747d3d04d030c9cfd767d9f9.pdf 10abfbb7f93a377fae9333e0dfd7a989 PDF Text Text DONALD C April 16, 1971 McCALL e 1 1 i S 8:15 PM t Music Recital Hall �P RO GRAM Sonata in C Major, Opus 102 MEMBERS OF THE ORCHESTRA Vio l ins : Eric Lewis John McLeod Browning Cramer Martha Str.assberger Andrea Andros Arthur Mannis Violas: Andrew Berdahl Zelman Bokser Cellos: Judith Glyde Timothy Perry Beethoven Andante - Allegro vivace Adagio - Allegro vivace Sonata in D Major, Opus 102 Beethoven Allegro con brio Adagio con molto sentiment d'affetto Allegro fugato . Continua: Charles Brewer Paul Hersh, pianist FUTURE EVENTS i n t e r m i s s i o n Concerto in C Major Moderato Adagio Allegro molto (Cadenza by Mr. McCall) Saturday, April 17th 8:15 PM Music Recital Hall Steve Zank, pianist Visiting student from Boston Conservatory. Sunday, April 18th 8:15 PM Don A. Watters Theater The Harpur Chorale, David Buttolph, conductor "Folk to Folk" concert Thursday, April 22nd 4:10 PM Music Recital Hall Student Recital Saturday, April 24th 8:15 PM Music Recital Hall Aristid von Wurtzler and the New York Harp Ensemble in concert. Haydn � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 32:26:00 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63414 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63414"> Donald McCall, Cellist, Recital</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Donald McCall, Cellist, Recital, April 16, 1971 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Beethoven and Haydn. Held at 8:15 pm, April 16, 1971, Music Recital Hall. Creator An entity primarily responsible for making the resource McCall, Donald Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1971-4-16 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Beethoven, Ludwig van, 1770-1827 Haydn, Joseph, 1732-1809 Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020069773 39091020069724 39091020069674 https://omeka.binghamton.edu/omeka/files/original/24e087b9ea87e1ceefe4491586af1883.pdf 4d4e1d594cdad0dec7031ae3b76298c5 PDF Text Text N TO M A H G IN B AT K OR Y W E N OF Y SIT ER IV STAT E UN HARP UR COLLEGE T H E DE PART M EN T OF M USIC T H E H AR P U R ORC H ESTRA wi th TH E HARP ER C HORA LE an d TH E MOTET SIN GE RS Solo ists : M ic ha el T ree Sa m C hi an is DA VID BUTTOLPH , Conductor Sunday , M ay 11, 1969, 8 :1 5 p . m. Th e Don A. Wa tte rs Th eat e r �PR O GR AM Walli ngf ord R iegge r New Danc e The Harpur Orchestra Zoltén K odaly Ha ry Jﬁnos Su ite Prelude Viennese M usical C loc k Sons The Battle and Defeat of Napolean Intermezzo Entrance of the E mperor and His Court Soloist : Sam Chianis, Cimbalom Interm iss ion Ralph Vaughan Williams Flos Campi Soloist : Michael Tree, Viola wi th The Motet Singers Canticle of Freedom The Harpur Chorale and Orchest ra Aaron Copland wi th The Motet Singers Ushe ring cou rtesy of A lpha P hi Omega and Gamma Sigma Sigma �PROGRAM NOTES ~ Wallingford R iegger NEW DANCE = Wallingford Riegger, one of the innovating forces in American music in the ﬁrst half of the twentieth century. has been unjustly neglected by many. His styles of writing can probably be grouped into three categories: 1) conservative academic style pieces, 2) pieces employing twe lvetone procedure, 3) pieces composed for modern dance groups. into which class New Dance falls. The orchestral setting of New Dance is taken f rom the ﬁnale of the dance score written in 1935 for the HumphryWeidman dance group and was originally for piano (four hands) and percussion. It is a study in rhythm based primarily on a recurring latin ﬁgure. most aptly described as being midway between a rhumba and a conga. The basic material goes through sundry timbre variations while at the same time exploiting the dynamic resources of the orchestra. HARY JANOS SUIT E Zoltan Kodély Hungarianborn Zoltan Kodaly might best be described as a “triple threat man” in the ﬁeld of music, having achieved International status as compose r. ethnomusicologist, and pedagogue. Along with Bela Bartok he explored and uncovered many areas of Hungarian folk music. This intimate acquaintance with the folk music of Hungary, Bukowina, and T ransylvania proved to be the prepon derant inﬂuence on his late r works. The Hdry Jdnos Suite is based on the opera of the same name. It describes the purported adventures of a reminiscing old veteran who somewhat resembles the legendary Baron von Munchausen in his fantastic deeds. Hary’s fanciful hallucinations are reﬂected in the various movements of the suite, The time of the story is the era of the Napoleonic wars, and the locale is imperial Vienna and the battlef ront. 1) Prelude — According to a Hungarian legend, a sneeze before a story begins attests to its veracity. Consequently the piece opens with a huge orchestral sneeze. The rest of the prelude serves to set the stage for Hary’s adventu res. 2) Viennese Musical Clock – This movement depicts the famous clock surrounded by a parade of miniature wooden soldiers. 3) song – Hiry and his sweetheart, who have come to Vienna, experience a longing for home. The music is lyrical and employs a Hungarian folk song. Kodaly introduces the cimbalom, an instrument common to central Europe in this movement. 4) The Battle and Defeat of Napoleon – In his description of Hary’s encounter with the French army, Kodaly makes interesting use of glissandi and tone clusters in the brass. 5) Intermezzo — This piece is a Czardis, a nineteenth centu ry revival of an old folk dance performed by soldiers in full unifor m. No new adventures are advanced in this section. 6) Entrance of the Em peror and His Court – The music conveys Hary’s exag gerated ideas concerning the pomp and splendor of the Viennese court. His meeting with the Emperor F ranz marks the zenith of his career. �FLOS CAMPI – Ralph Vaughan Williams Flos Campi (ﬂower of the ﬁeld), inspired by the Song of Solomon was composed in 1925 and dedicated to the great English violist, Lionel Tertis. This composi– tion is one of Vaughan Williams’ most sensuously beautiful works. The f ree rhapsodic ﬂow of the solo viola throughout evokes the voice of the ancient poet, chanting, meditative, and expostulatory. ina remarkable creation of modal poly phonic lines and harmonies often approaching polytonality Although the music is continuous in ﬂow and wordless, there are six divisions, and the composer has appended a quotation f rom the Song of Solomon over each. I. Lento – As the lily is among thorns so is my love among the daughters . . . stay me with ﬂagons, comfort me with apples, for I am sick of love. II. Andante con motto — (with viola cadenza as transition to the next section) For lo, the winter is past — the rain is over and gone — the ﬂowers appear on the earth, the time of the singing of birds is come, and the voice of the turtle is heard in our land. Ill. Lento Allegro moderato — I sought him whom my soul loveth, but I found him not . . . “I charge you, oh daughters of Jerusalem, if ye ﬁnd my beloved, tell him that I am sick of love” . . . Whither is thy beloved gone, O thou fairest among women? IV. Moderato atta marcia – Behold his bed which is Solomon’s: three score valiant men are about it . . . They all hold swords, being expert in war. V. Andante quasi lento (Largamento ) — (viola cadenza as transition to the next section) Return, return oh Shulamite! Return that we may look upon thee . . . How beautiful are thy feet with shoes, O prince’s daughter. VI. Moderato tranquito – Set me as a seal upon thine heart. CANTICLE OF FREEDOM Aaron Copland Canticle of Freedom was commissioned by the Massachusetts Institute of Technology for the dedication of its newly built (1955) Kresge Auditorium in Cambridge, Massachusetts. The composer began work on the Canticle in Decem ber, 1954, in Caracas, Venezuela, during a visit to that city, and completed the original version in March, 1955. It was ﬁrst performed at the dedication cere monies on May 8, 1955. As text, the composer chose an excerpt f rom a famous fourteenth century Scottish poem extolling the idea of freedom. John Barbour (132071395) wrote his “Bruce” around 1375, in the language of the Midde Scots. The words of the poem are here give in equivalent modern English as follows: Freedom is a noble thing! Freedom makes man to have liking ; Freedom all solace to man gives, He lives at ease that freely lives. �A noble heart may have no ease, Nor aught beside that may him please If Freedom fail. For f ree liking is yearned for over all other thing, Nor he that aye have lived f ree May know well the mise ry, The anger. and the wretched doom That is coupled to foul thralldom ; But if he have essayed it Then throughout al l he should it wit ; And should think f reedom more to prize Than all the gold in world that is. In 1967 the composer prepared for publication the present rev ised version. The Choral Finale of the Canticle was left untouched . but the orchestral introduc tion was somewhat shortened. This deﬁnitive version was ﬁrst given by the Atlanta Symphony Orchestra and Chorus conducted by Robert Shaw in Atlanta, Georgia, in October, 1967. HAR PUR C HOR A L E PERSONNEL SOP RANOS Audrey Adler Elvi ra Chiccarelli Nora Freeman Joann Grizzanto Bettsie Park Donna Ri bble Regina Sablauskas Nancy Simpkins Alida Stahl Ricky Stern Terry Tedesc hi Linda Traver Carol Tu bbs Kath y Ty rrell Linda Uh ly Nadene V redenburgh Jacobi Weste rhuis Virginia Weth erbe e Nancy Zucker ALTOS Gail Arnold Sally Baron Nancy Carlson Nanc y Conklin Helen Cooney Alona Cunningham Joyce Ellenson Laura Finkelstein Caro l Gil l Debo rah Kanter Barbara Maggs Penn Moulton Shir ley N ewbe rry Susan Paisley Simone P elzman Lynne Rudwick Reva Weiskopf TENORS Ken Davis Bill Hopson Donna Hallen Accompanist Michael Kass Bob Kendall Dick Mic halak Doug Steward Char les Seltze r Jim Vanhart Michael Weingarte n BARITON ES AND BASSES Max Cepero David Clark Doug las Dorph James D unn Jon Erlitz Jeﬀ Feinsilver Leon Fried David Fry Terry Howell Steve Kotrch David Marcus Ira M iller Steve Mi llheiser John Niessen Jim Osborne Alan Sanders Doug las Shadwick Dick Squ iers Ernie Tong Keith Wi llcox �HAR PUR ORC HEST RA PERSONN EL VIOLIN *Ralph Wade, Concertmaster *Mar ianne Wallenbe rg Phyllis Costanzo *John Mayorchak Danie l Mowrey Toby Har ris Martha St rassberger *Pamela Seversky *Edward Pettengill, Principal Virginia Pantalone Debby Davidson Karen Voight Sally Shaf er *Sophie Horowitz Douglas Diegert Jeﬀrey Feinsi lver VIOLA *Russell Colton, Principal Joyce Ste lzl *Kenneth Hollister *Ann Ziegler *Margaret Seward Ira M iller CEL LO *Rut h Brown, Principal *Joseph Brin *Jane Whitmo re *Thomas Riis CONTRABASS *James Hills *Donal O’Buck ley *Anthony P reus HARP Dulcie Barlow PICCOLO Marsha Kadleck FLUT E Marsha Kadleck Bruce Merley Caroline Glaiber OBOE Geoﬀrey Barron Francis Krauss ENGLISH HORN *Scott Eddy C LARINET David Marcus Jean Schab Eb CLARINET Danie l Birenbaum BASS CLARINET Ralph Daino CONTRAALTO C LARINET Susan Gregory ALTO SAXOP HON E Susan Eilenberg BASSOON Linda Crane Louise Belsky Douglas Epstein HORN Matthew Goldstein Stu Reeve Rosalind Powe ll Phil Salki n TRUMPET *John Wi lliams Tom Sigler Barbara Coye CORNET *Delbert Cobleigh Jack Senf t Peter Dodge TROMBONE *John Baldon Tom Demilio Grant Sul livan TUBA Robe rt Wilson TIMP AN I William Clark PERCUSSION Peter Buttolph Rick Com pton Tim Craig Ferris Lebous Robe rt M irsky PIANO Chai Kyou Kim CEL ESTA Donna Hallen PER SONN E L MAN AGER Edward Pettengill MOT ET SING ERS PERSONN EL SOPR ANOS Harriet Johnson Marian M itche ll Janic e Ulangca Phyllis LaBelle Janet Slec hta Judith Stickney Louise Ulrich CON TRA LTOS BASSES TENORS Mild red Bowman John Dav idge Philip Bailey Kathe rine Read Davis Fie lds Kenneth Hollister Ada Mae Saxton Thomas Nytch Fenwick Horn Alma Sternberg Edward Sc happert Ray Hull Beverly Wess Donald Weiskopﬀ Roge r Norton Jill Weston Blaine Stickney Abraham Ulangca * Bingham ton Symphony m embe rs � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 3 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 35:29 23:36 19:27 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE60296 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE60296">Harpur College Orchestra Concert</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harpur College Orchestra Concert, May 11, 1969 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Riegger, Kodály, Copland. Held at 8:15 pm, May 11, 1969, Don A. Watters Theater. Creator An entity primarily responsible for making the resource Harpur College Orchestra Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-05-11 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Riegger, Wallingford, 1885-1961 Kodály, Zoltán, 1882-1967 Copland, Aaron, 1900-1990 State University of New York at Binghamton. Department of Music Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020095661 39091020095711 39091020095877 https://omeka.binghamton.edu/omeka/files/original/f88d0852675cd9777498bb5fbbd7959f.pdf 69d63cf3b23cfee541c9f5054f6bdcf2 PDF Text Text STATE UNIVERSITY OF NEW YORK AT BINGHAMTON DEPARTMENT OF MUSIC presents ****** **** * **** ** * ** * *** * * THE HARPUR COLLEGE SYMPHONY ORCHESTRA * * conducted by * * Stefan Bauer-Mengelberg * * * * * * * * * * * * * * * * * * * * * * * * * * 7:00 and 9:00 p.m. February 24, 1972 * * * * * * * * Social Room Student Center �* * * * * * * * * * * * * * * ** * * LUDWIG VAN BEETHOVEN * * * * (1770 -1827 ) * * * * ************** * 7:00 p.m. Publi c Dress Rehea rsal 9:00 p.m. Perfor mance Symphony No. 3, in E-fla t major , Op. 55 ("Ero ica") Alleg ro con brio Marci a funeb re: Adagi o assai Scher zo: Alleg ro vivac e Final e: Alleg ro molto - Paco andan te - Prest o �THE HARPUR COLLEGE SYMPHONY ORCHESTRA VIOLIN Eric Lewis, Concertmaster John McLeod, Principal, Second Violins David Agard Andrea Andros Mary Barton Alice Click Browning Cramer Terie Crumbliss Diane Feigin Paul Friedman Paul Goodman Joanne Jenner Andrew Jennings Arthur Mannis Oscar Maxwell Daniel Mowrey Robert Rozek Mark Sokol Martha Strassberger Michael Sturm Joan Tanenhaus Debra Tanklow Lydia Werbizky Jeff Wheeler VIOLA Andrew Berdahl, Principal Peggy Acker Zelman Bokser Pat Foley John Kochanowsky Carolyn Lohmann Joyce Stelzl CELLO Judith Rachel Miriam Norman CELLO (continued) Carolyn McIntosh Timothy Perry Fred Raime BASS Robert Taffet, Principal Robert Ciringione Robert Keith Kolber Michael Sanders FLUTE Betsy Ross Phyllis Wiesenthal Valerie Vastola OBOE Stan Moshman Nancy Ranger Dorian J. Schwartz CLARINET Wendy Os teyée Sheldon Berkowitz BASSOON Carol Shapiro Douglas Epstein FRENCH HORN Janice DeWolf Cindy Weldon Brett Brockman TRUMPET Robert Lindstrom Wendy Natter Glyde, Principal Abbey Diamond Fisher TIMPANI Joseph Roma Or chestra Manager: Browning Cramer � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 38:53:00 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63594 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63594"> Harpur College Symphony Orchestra Concert</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harpur College Symphony Orchestra Concert, February 24, 1972 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Held at 7:00 pm, February 24, 1972, Social Room, Student Center. Creator An entity primarily responsible for making the resource Harpur College Symphony Orchestra Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1972-2-24 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Beethoven, Ludwig van, 1770-1827 Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020096024 39091020096073 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 4 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 22:23 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63588 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63588"> Klenz Quartet Recital</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Klenz Quartet Recital Subject The topic of the resource Concerts Instrumental music Live sound recordings Creator An entity primarily responsible for making the resource Klenz Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1972-1-13 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020096289 https://omeka.binghamton.edu/omeka/files/original/1023aa79dc0df4c09d11de17cf03ddc4.pdf f12c905dc990fe4ebd58ad3dc8495686 PDF Text Text STATE UNIVE RSlTY OF N E W YORK AT BIN GHAM TON HARPUR COLLEGE TH E DEP ARTM ENT OF MUSIC with the support o f the New York State (fouru‘il on the .I rls THE NEW YORK WOODWIND QUINTE’I‘ in residence David Glazer, clarinet Samuel Baron, ﬂu te A rthur We isberg, bassoon Ronald R oseman, oboe Ralph Froelich. F rench horn Sunday, A pril 2 7, 196 9, 3 :0 0 p. m. The Don A . Watters Theate r �PROGRAM Divertimento in B Flat Major Haydn Allegro con brio Andante Menuet Rondo, Allegro Eight Etudes and a Fantasy for Woodwind Quartet Elliot Carter Interm iss ion Variations on a Folk Song Bachianas Brasileiras No. 6, for ﬂute and bassoon Pentagram Jan Sweelinck VillaLobos Ernst Krenek Presto Andante Allegretto Moderato, Allegro Ushering courtesy of Alpha Phi Omega and Gamma Sigma Sigma �PROGRAM NOTES DIVERTIMENTO IN B FLAT MAJOR Haydn The divertimento is a musical form Haydn often turned to for functional music of the court. Unlike its predecessor (the dance suite) it is prevailingly homo phonic. Probably the most noticeable connection between the two forms is their rather optional number of movements. Originally scored for two oboes, two clarinets, three bassoons, and serpent, the second movement will be recognized as the famous St. Anthony Chorale used by Brahms in his Variations on Theme by Haydn , op. 56. EIGHT ETUDES AND A FANTASY FOR WOODWIND QUARTET – Elliot Carter Certainly one of the most supreme intellects who contributes infrequent but nonetheless monumental works to the current musical world, Elliot Carter is a leading exponent in American music of the instrumental genre; perhaps the leading force in new but soluable directions of comprehensibility, (at least it is apparent that he is dedicated to an art form still concerned with a commu nicative importance.) Although his most recent works are of a highly complex and esoteric nature, the Etudes, written in 1950, not only displays prophetic utilization of his mature craftsmanship and profundity of thought, but they have also left a legacy of certain performance and compositional techniques which are exploited fully by todays “Avant Garde. " After hearing the piece, a question may be raised as to whether the title “ETUDES” refers to the actual virtuosity of performance spectaculars, (as in the classical sense) or whether M r. Carter really had in m i ndat ype of Com positional etude, Etude #1 has the type of harmonic vocabulary more common to his Piano Sonata – 1945, or The Minotaur (1947). It is somewhat alienated f rom the vocabulary of, say, the Double Concerto or his most recent Piano Concerto. Polychordal implications of pyrmading intervals, especially thirds and sixths are prevalent, A thinning out of texture occurs in Etude #2, where long solo legato lines are combined at various immitative time spans. Etude #3 is an interesting orchestration as well as ensemble study (in terms of intonation and balance). A simple D major triad provides a rather vast amount of source material for each of the woodwind colors, particularly when these colors are redistributed among the root, third and ﬁfth members of the chord. A f ractured, scattered mosaic compiled entirely of a twonote cell (which is found at every place in each instrumental range) comprises Etude #4, Etude #5 also makes use of extreme range, but in a more lyric manner. High oboe and bassoon parts are combined with low ﬂute and low clarinet parts. Etude #6 contains a foreshadowing of sounds used in some of the most recent twentieth century compositions. There is an interesting use of artic ulation as a structural reference, and many rhythmic complexities are subtly combined with brilliant instrumental eﬀects as well as harmonic niceties. The note G in Etude #7 is similarly used as in Etude #4. The diﬀerence in the two etudes is that in using only one tone, M r. Carter can successfully experiment in combining only the pure and individual colors of each instrument, using a basic controlling device of dynamic change. �The last Etude is of a Passacaglia type, except that as the melodic lines go ﬂeeting by, various individual tones of the Passacaglia are shot out of the texture on either end of eac h instrument’ s own extreme range. In the Fantasy, a long theme is fugally and cannonically treated in con junction with every technique previously heard in the Etudes. This Finale is an amazing contrapuntal “tour de force, ” as well as a testament of justiﬁ cation for the esthetic behi nd the entire work. VARIA TIONS ON A FOLK SONG – Jan Sweelinck Jan Sweelinck was the most f amous organist of the 17th centu ry. A Neth erlands composer, he was a prophet of the f reer contrapuntal style, and a constant developer of the theme and va riation form. This form was undoubtedly one of the most popular forms in the 17th centu ry. Ernst Lubin, a contemporary composer living in New York City, trans cribed this organ variation for the quintet, with the thought of emulating the baroque organ, retaini ng the characteristics of its stops, and then transfer ring these sounds to their corresponding woodwind colors. BACHIANIS BRASIL EIRAS, NO. 6 FOR FLUTE AND BASSOON — VillaLobos Contemporary musicologist and author of the book Introduction to Can tem porary Music , Joseph Machlis sums up this VillaLobos piece very nic ely. “VillaLobos was much preoccupied with what he called SINCRETISMO— the fusion of native with outside inﬂuences. In his Bachianis Brasilerias he created a form intended to forge a link between the a rt of his homeland and the Western tradition. There is very little true counterpoint in these nine suites that were written ‘in homage to the great genius of J. S. Bach.” But their easy tunefulness has recommended them to a wide public.ll PENTAGRA M – E rnest K renek Mr. Krenek is a composer who has certainly gone th rough a numbe r of “periods” and transitions; f rom jazz and post romanticism. to 12 tone pro cedures and beyond. He has an immense output (over two hundred works) and is well known and admired among his colleagues. Pentagram is a very ac cessible work, even upon ﬁrst hearing. Although it is dodecaphonic in assem blage, serialization is often abandonedaseach movement progresses, causing the entire content to be more reﬂective of tonal orientation than it really is. Its four short movements evoke a wide range of emotional responses: f rom humor and charm to an ultimate awa reness of its extreme organizational neat ness. and f rom a type of introspective wandering, to bristling complexity, particularly in the last movement. The New York Woodwind Quintet, in residence at State U niversity of N ew York (Harpu r College) Binghamton, will leave on May 12 for a two– month tour of LatinAmerican countries under the auspices of the Cultural Presentations Progra m of the United States State Depart ment. The countries to be visited will be Mexico. Nicaragua, Curacao. Guyana, Surinam, Venezuela, Brazil, Paraguay, Chile, and Columbia. This will be the third State Department tou r for this group, which visited South America in 1956 and East Asia in 1962, Besides presenting recitals in the major cities, the quintet will pe rform with some orchestras and present semina rs and workshops in univers ities and music schools. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 32:08 33:46 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59428">New York Woodwind Quintet Recital</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New York Woodwind Quintet Recital, April 27, 1969 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Haydn, Sweelinck, Villa-Lobos, Krenek. Held at 8:15 pm, April 27, 1969, Don Watters Theater. Creator An entity primarily responsible for making the resource New York Woodwind Quintet Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-04-27 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Haydn, Joseph, 1732-1809 Sweelinck, Jan, 1562-1621 Villa-Lobos, Heitor, 1887-1959 Krenek, Ernst, 1900-1991 State University of New York at Binghamton. Department of Music Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020095620 39091020095679 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 40:57:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE191451">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE191451</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Abendmusik", May 7, 2008 Recital Tape 2008-5-7 Description An account of the resource Translation of songs included in accompanying program.At head of title: Works of Schumann, Brahms, Schubert, Strauss, Wolf, Franz, Mendelssohn, Flotow, Mozart.Held at 8:00 p.m., May 7, 2008, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Berry, Judy Lawson, William James Isenberg, John Freeman, Abigail Lewis, LaToya Boyd, Sibongile McCormick-Knox, Danielle Festa, Jessica Montana, Heather Truax, Jenean Zbrzezny, Ariana Park, Sung-Jin Moots, Jonathan Bentley, Ian Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2008-05-07 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 26f5c10c-7531-4b89-8c52-f50356d61b85 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 53:17:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE191445">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE191445</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Danza sinfonica", May 4, 2008 Recital Tape 2008-5-4 Description An account of the resource Works of Stamp, Barnes, Bernstein, Skalkottas, Host.Held at 3:00 p.m., May 4, 2008, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Metaxas, Kimberly Smith, Robert Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2008-05-04 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID c2dfb21a-924e-4372-afff-a5760ee5a17b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 47:57 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE150498">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE150498</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Echoes of the East" : orchestral orientalism, 1783-1933, March 7, 2009 Recital Tape 2009-3-7 Description An account of the resource Works of Mozart, Tschaikovsky, Saint-Saens, Borodin, Ravel, McPhee. Held at 8:00 p.m., March 7, 2009, Osterhout Concert Theater. Creator An entity primarily responsible for making the resource University Symphony Orchestra Perry, Timothy Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-03-07 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/f99c43f9e07e3e9e08b55cfb22cfc4f8.pdf 455ed61fe4ca303b8e626b587419b017 PDF Text Text \ 1 < ;‘ C N U N I V hRC 1 R e c , \' 1, E‘ . "\ l B INGHAMTON LT N I V E R S I T ~ . 17.511, State University of New York Department of Music “Maestro Mayhem!” Conductors Johanna Blackstone Eva George Al J acobsen Vitaliy Maystru k Talitha Phillips John Resser Jody Schum I rene Strong Sarah Williams Emily Yanisko Undergraduate Conducting Students of Timothy P e rry and Bruce Borton Featuring the University Symphony O rchestra & University Chamber Chorus Jennifer Lucia, soprano Dennis Leipold, tenor Christopher Waterstraat, bass Thursday, May 8, 2003 8:00 p.m. Anderson Center Chamber Hall �Program L University Symphony O rchestra The Montagues and Capulets........................................................Serge Prokoﬁev (18911953) From Romeo and Juliet, op. 64 Arr. Edmund J. Siennicki Johanna Blackstone, conductor Edvard Grieg ( l 843 l 907) Lyric Suite, op. 54........ II. Ganger/Norwegian Rustic March IV. Troldtog/March of the Dwarfs Jody Schum, conductor Camille SaintSaéns (18351921) Bacchanale From Samson and Delilah, op. 47 Arr. Merle J. Isaac Al Jacobsen, conductor II. University Chamber Chorus Homeward B O U N Sarah Williams, conductor C E B O A T S (b. 1939) Ain’a That Good News ...........................................AfroAmerican Spiritual Irene Strong, conductor Arr. William L. Dawson �Plovi Barko ...Croatian Folk Song Arranged by Talitha Phillips Talitha Phillips, conductor 1 1 III. University Chamber Chorus Strings of the University Symphony O rchestra Jennifer Lucia, soprano Dennis Leipold, tenor Christopher Waterstraat, bass l Mass No.2 in G major, D.J61........ccoi0iikdummnsnmriaabnanz Peter Schubert (17971828) I. Kyrie II. Gloria Emily Yanisko, conductor III. Credo Eva George, conductor IV. Sanctus V. Benedictus Vitaliy Maystruk, conductor VI. Agnus Dei John Reeser, conductor �Program Notes The ballet Romeo and Juliet premiered at the Kirov Theatre in Leningrad on January 1 1, 1940. It was written for the Kirov Ballet troupe in 1935. Prokoﬁev, Lavrosky (choreographer), Ulanova (prima ballerina), and the orchestra had some diﬀiculty agreeing on how Prokoﬁev’s “strange” music should be envisioned and performed. However, it is clear that Prokoﬁev created a spectacular work full of lush harmony and unforgettable melodies. Tonight’s selection portrays the feud between the Montagues and Capulets. Johanna Blackstone Edvard Grieg, a Norwegian born composer, is best known for his incidental music to Peer Gynt. He was also an accomplished composer in lyric pieces for piano, his many songs, and the wellknown Piano Concerto in A minor. His Lyric Suite is an orchestrated version of his ﬁfth set of Lyrische S tucke (Lyric Pieces) for piano, of which he composed ten sets. Selfregarded as a Romantic nationalist composer, G rieg incorporated Norwegian folk tunes into many of his works, which is evident in the title of the second movement of the Lyric Suite: Norwegian Rustic March. Jody Schum SaintSaens’ grand opera, Samson and Delilah, premiered on December 2, 1877 at the Hofttheartre in Weimar, Germany. As operas based on biblical settings were not popular at this time, it would take a couple decades for its premiere in Paris, after which it would become SaintSaéns’ most performed operatic work. The selection heard tonight is from the third act after Samson has been deceived by Delilah and captured by the Philistines. In celebration of his capture, the Philistines hold a drunken celebration and dance the lively and exotic Bacchanale. In depicting the middleeastern setting of the opera, SaintSaéns employs minor and augmented seconds in the seductive second subject of the dance. Finally, the full force of the percussion and brass enter bringing the piece to an exhilarating conclusion. Al Iacobsen Carl Strommen was born in 1939 and was graduated from the City College of New York. He lives on Long Island and works as a professor of Theory and Composition at the C.W. Post campus of Long Island University. This strophic song, as indicated by the title Homeward Bound, conveys the feelings of a man as he is going home to be with his loved ones. Sarah Williams �A in 'a That Good News, published in 1937, is an AfroAmerican spiritual arranged by William L. Dawson. This version was dedicated “To my friend Dr. Robert Russa Moton, President Emeritus, Tuskegee Institute.” A second version was published in 1 940 with added music, speciﬁcally in the middle section. This is a strophic piece with three versus. Irene Strong Plovi Barko is a Croatian fol k song from the Adriatic Coast. Though the author of the text is unknown, Mary Cay Brass was the ﬁrst to arrange the song for a cappela chorus. The arrangement heard tonight is by its conductor, Talitha Phillips, which is based on the original Brass version. Talitha Phillips The Mass No.2, G major was composed in 1815 when F . Schubert taught in his father’s school. That year, Schubert composed more music than in any other year of his life. Among those works are two masses, two symphonies, a piano sonata, numerous dances for piano, a string quartet, much choral music and some 145 songs. The G major Mass is the shortest o f all Schubert’s masses. The fact that it took him six days to write is reﬂected in both brevity and its simplicity, but also in its scoring for an orchestra composed of only strings and organ. The Kyrie at once sets the tone with its easy ﬂu ency, the almost Mozartian naturalness with which the phrases and cadences go past. It is in the spirited D major Gloria that one ﬁrst becomes awar e that habits o f instrumental structure seem to drive the i nvention, the text being ﬁtted as best it can. In the Credo, the ‘Cruciﬁxus’ is marked by long notes in unison as the orchestra stamps on, now in B minor. There is a turn to bright D major for an ‘Et resurrexit’ that adapts the opening theme. The Sanctus is imposing but brief, ‘Osanna’ being a separate section, fugally initiated, that matches the ‘Sanctus’ itself exactly in length. For the Benedictus, Schubert interestingly revives the scheme that had served him well in the Mass in F. Conciseness and expressiveness are reconciled in another neat and compact plan for the Agnus Dei. Accordingly, he casts the movement in three segments, using the same music for each but in diﬀerent keys. By a series of carefully planned modulations within and between segments, a close’is reached in G major, the frame key of the work. Schubert used some counterpoint in his Mass. Much of the writing is homophonic, but he supplied the traditional fugal endings where expected. In Schubert’s masses, the apparent omission of portions of the standard liturgical text are not an indication of his personal beliefs; undoubtedly, he set the text with which he was familiar. Vitaliy Maystruk �Student Conductors Johanna Blackstone, from Binghamton, is a junior, double majoring in music/theatre with a concentration in voice performance. She participates in Harpur Chorale, TriCities Opera Chorus, and Repertory Company. She is studying voice with Mary Burgess. She cowrote and performed the music for the main stage production of Hamlet, and coorganized Italian Night. Eva George is a senior graduating in May with a BA in music. Her primary interests are conducting and vocal pedagogy. She performs at the TiAhwaga Performing Arts Center where she is the Assistant Musical Director for Grease. Eva started and directs the children’s choir at St. Patrick’s Church in Owego, NY. Her aspiration is to teach music in the near future and pursue her master’s degree. A1 Jacobsen, a resident of New City, NY, is a junior, where he is a double major seeking a BA in music and BS in business management. He is a section French horn member of the BU. Orchestra and studies horn with Brian Sternberg. He is also the founder and music director of the BU Sinfonia. Vitaliy Maystru k is a voice major studying with Eapen Leubner. He was born in Kiev, Ukraine and graduated from the Ukrainian Culture College with a degree in choral conducting and management of leisure activities. He came to the U.S. in 1997 as a student at the Bible College at Cincinnati, Ohio. He is a junior at BU and plans to pursue a master’s degree in conducting. Talitha Given Phillips is a sophomore BMus candidate from New York City. She studies double bass under the direction of Michael Carbone and Steve the of treasurer the as serves She Stalker. Harpur Jazz Project, plays in the Harpur Jazz Ensemble, and often plays electric bass at Intervarsity Christian Fellowship. John Reeser is a junior and is originally from New Berlin, NY. He is pursuing a BA in music with a concentration in conducting. His musical activities include(d): Harpur Jazz Ensemble, University Chorus, Harpur Chorale, and is a charter member of the BU Sinfonia. His career plans include composing music for the video game industry. Jody Schum is a junior and is pursuing a BMus in piano performance. He studies with Michael Salmirs. In May 2002, Schum was awarded the John M. and Marcella M. Keeler Scholarship in Music in recognition of his work. Schum also studies/enjoys vocal accompanying, chamber music, and voice. Since October 2001, Schum has served as resident organist and pianist at the First United Methodist Church of Endicott, NY. ) ) �Q Q I rene Strong, from Owego, NY, is a junior and music major with a concentration in voice and conducting. She is studying voice with Hilerie Klein (TriCities Opera Co.). She has participated in University Chorus and Women’s Chorus, the Binghamton Madrigal Choir, and is a member of the BU Sinfonia. She teaches beginning voice lessons and directs the youth choir at the Lounsberry Methodist Church. Sarah Williams is a senior and a native of Oxford, NY. She is pursuing her BA in music and minoring in History. She sings in the Harpur Chorale and is the music director for the Harpur Harpeggios. After graduating, she hopes to receive her Master’s in Music Education and a chorus teacher. Emily Yanisko, from Olney, MD, is a ﬁfthyear music and computer science double major with a minor in math. She studies choral singing with Peter Browne. She has participated in University Chorus, Women’s Chorus, and Harpur Choral. Next year, she will enter a Master’s of Education/Teacher Certiﬁcation program at the University of Maryland. Soloists Jennifer Lucia, soprano, is a junior at Binghamton University pursuing a BMus in voice. She studies voice with Mary Burgess and has also studied with Judy Berry and Rachel von Hindman. In February, she performed a trio recital with Johanna Blackston and Samantha LaDue and on May 1 1, will give her junior recital. She is also a member of the Harpur Chorale. Dennis Leipold, tenor, is a graduate of SUNY Fredonia, and has done graduate work at Ithaca College and the Peabody Conservatory. A member of the University Chorus for more than twenty years, he is active both as a vocalist and an instrumentalist. He has also performed as a recorder soloist with the Binghamton Community Orchestra. A former Lecturer in Music at the University, Leipold has for the past twentynine years been a member of the music faculty in the UnionEndicott Central School District. i Christopher N. Waterstraat, bass, is pursuing his MM degrees in both vocal performance and conducting at Binghamton University. Waterstraat studies voice I { with Professor Mary Burgess and Judy Berry. He obtained an undergraduate degree in Music Education from Syracuse University. While at SU, he was involved in the opera workshop and in the chorus for Syracuse Opera. Waterstraat is in the Resident Artist Training Program for TriCities Opera in Binghamton, and has participated in the TCO chorus since Fall 2001. �Translations Plovi Barko, Croa tian Folk Song Sail, ship! The sea is deep In the ship is Anka Your eyes are as deep as the sea (refrain) Anka, dear Anka, My heart and soul! Mass No. 2 in G M ajor, Schubert KYRIE (sung in Greek) Lord have mercy. Christ have mercy. Lord have mercy. G L O R I A (sung in Latin) Glory be to God on high, and on Earth peace to men of good will. We praise thee, we bless thee, we adore thee, we glorify thee, We give thee thanks for thy great glory, O Lord God, King of heaven, God the Father Almighty. O Lord, the only begotten Son, Jesus Christ. O Lord God, Lamb of God, Son of the Father. Thou who takest away the sins of the world, have mercy on us. Thou who takest away the sins of the world, receive our prayer. Thou who sittest at the right hand of the Father, have mercy on us. For thou art holy, Thou only art Lord. Thou only art most high, O Jesus Christ, With the Holy Ghost, in the glory of God the Father. Amen. CREDO (sung in Latin) I believe in one God, Father Almighty, maker of heaven and earth and of all things visible and invisible. And in one Lord Jesus Christ, the onlybegotten Son of God, born of the Father before all ages. God of God, light of light, true God of true God, being of one substance with the Father, by whom all things were made. Who for us men and for our salvation came down from heaven. And was made incarnate by the Holy Ghost of the Virgin Mary, and was made man. And was cruciﬁed for us under Pontius Pilate. He suﬀered and was buried. And the third day, He rose again according to the Scriptures. And ascended into heaven, and sitteth on the right hand o f the Father. And He shall come again with glory to judge the quick and the dead; of whose kingdom there shall be no end. And in the Holy Ghost, Lord and giver. of life, who proceedeth from the Father and the Son. Who, together with Father and the Son, is worshiped and gloriﬁed; who spoke through the prophets. I acknowledge on baptism for the remission of the sins of the dead, and the life of the world to come. Amen. v l . SANCTUS (sung in Latin) Holy, holy, holy, Lord God of Hosts. The heavens and earth are full of thy glory. Hosanna in the highest. BENEDICTUS (sung in Latin) Blessed is he who comes in the name of the Lord. Hosanna in the highest. AGNUS DEI (sung in Latin) Lamb of God, who takest away the sins of the world, have mercy on us. Lamb of God, who takest away the sins of the world, have mercy on us. Lamb of God, who takest away the sins of the world, give us peace l l l �Unive rsity Symphony O rchest ra Violin I Alicia F usani, ‘ coconcert mistress Sarah Steiding, coconcert mistress Christine Wan Jean Gaﬀney Sheri Zola Rosemary Gaeta Jennifer Paull Gloria Chen Julia Kim Lauren Moscowitch Lucy Sun Julie Cserhalmi Violin II Morgan Kim Tamara Potapova Meghan O’Loughlin ' Samara Cohen Claude Pal Heather Sheiman Shauna Buckman Miriam Reznik Sarah Park Viola Suzanna Chhim Brian Fang 1 . Kenneth Perschke Victoria Leung Melissa Mattern Leah Robinowitz Janet Ievins Alice Scimia Cello Alex W iesendanger Emily Creo Andrea Rico JeongSun Oh Alex Kim Angela Wynne John Yu Andrew Lavery Alexis Witek Tanya Brescia Katy Walker Matthew Woolever Bass Noah Lauzon Adam Schechter Flute a n d Piccolo Crystal Allard Kelsey Bauer Caitlynn McMullen Kira Slocum Oboe Anya Stockburger Danielle Furey Clarine t Jordan Pasternak Lauren Hughes Bass Cl arinet Michae l Cohn Bassoo n Kimberly Meeker Stephanie Eisenberg Horn Sarah Berloe Patrick Lokken Thomas Mellin Trump et Erinn Hibbard Michael McKeon Tromb one Sean Kassof Stephen Sorscher Bass Tu ba Brad Davis Timpa ni Matthew Chedister �i �University Chamb er Chorus Soprano Elizabeth Ellis Maybelle Golis Margaret Hays Barbara Heme Donna Lundy Susan MacLennan Paula Mitra Sue Petrow Kelly Pueschel Marilyn Ross Sue Sarzynski Jane Shear Faith Vis Alto Lois Bare Barbara Bamo Sarah Craig Jeanne Fenzel Janet Frederick Anna Nicholas Theresa Lee Whiting Nancy McGee Ethel Molessa Joyce Printz Colleen Reardon Shirley Zhou Tenor H.B. King Dennis Leipold Ed Schappert Matthew C. Varghese Floyd West Sherry Williamson Bass Frank Ammirata Ronald Beauchamp Bruce Borton Peter Browne Harry Frederick David Hanson J. Scott Husted David L. Schriber l k I �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 0:56:48 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253382&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253382&change_lng=en&select_viewer=metsViewer</a> PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Maestro May-hem!", May 8, 2003 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2003-5-8b Description An account of the resource Works of Prokofiev, Grieg, Saint-Saëns, Strommen, an Africo-American spiritual, a Croatian folk song, Schubert. Accompanying program includes translations of some works. Held at 8:00 p.m., May 8, 2003, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Blackstone, Johanna George, Eva Jacobsen, Alfred Maystruck, Vitaliy Philips, Talitha Schum, Jody Strong, Irene Williams, Sarah Yanisko, Emily Perry, Timothy Borton, Bruce Lucia, Jennifer Leipold, Dennis Waterstraat, Christopher Resser, John Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 5/8/2003 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/7fd3eee4e13be0d04be3a8e05be45c8d.pdf 07a03d7add71f892737c0501e64b41f5 PDF Text Text BINGHAMTON ' N l \ l1 R N l T \ State University of New York de c [4 D E P A R T M E N T 20072008 C H A M B E R S E R I E S “ T H E ORIENT EXPRESS” T I M O T H Y PERRY, C L A R I N E T M ARGARET REITZ, P IANO Assisted by Janey Cho i, Violin Stephen Stalker, Violoncello Ivy Gaibel, MezzoSo prano Saturday Evening at 8:00 September 8, 2007 A nderson Cent er Chamber Hall �l PROGRAM Solo de Concours (1899) . . . . . . . .+ . . André Messager (18531929) Aria: ‘Parto, ma tu ben m io’ (Clemenza di Tito). . . . W.A. Mozart (1 7561 7 91 ) Ivy Gaibel, MezzoSoprano Adagio from Violin Concerto. . . . . . .J. Brahms, arr. Langenus (18331897) Contrasts for Violin, Clarinet and P ia no . . . . . . . Bela Bartok I. Verbunkos II. Piheno 111. Sebes (1881 1945) Janey C hoi, Violin WINTERMISSIO N®3 Marko Tajcevic Seven Balkan Da nces . . . I Con moto II. Rustico IV Sostenuto e cantabile V. Allegro ritmico VI. Allegretto III. Vivo VII. Allegro, quasi pesante ( 1 9001 984) This evening’s program is a travelogue in sound, tracing the route of that most famous of luxury trains, the Orient Express, which ran – at least in its earlier years – from Paris through Vienna and Budapest into the Balkans and ended in Constantinople (presentday Istanbul). This theme appealed to me bec ause i t i s also a route that runs to the outer reaches o f the world of the clarinet, before it gives way to doublereed instruments such as the Turkish zurna and the Indian shehnai. You will, I think, be able to follow the changes in this son ic scenery as well – how melody, harmony, rhythm and form transmute as West becomes East. We open with a c lassic solo de concours (contest solo) by the Parisian composer Andre Messager (18531929). Messager studied for a time with SaintSaens and held the important post as organist of St. Sulpice, but excelled in ballets and operatic works. A highly respected conductor, he directed the orchestra o f the Conservatoire d u Musique, and appeared on the podium o f the Opera Comique in Paris as wel l as Covent Garden in London. Messager’s Solo de Concours, while adhering to the formula stipulated for these examination pieces, is one o f the best o f its kind. I t begins with a principal theme quickly dissolving into virtuoso passagework ; a singing slow section in the clarinet ’s diﬀicult ‘throat tones’ leads to a dramatic and ﬂorid cadenza; and a return o f the main theme concludes in an eﬀervescent coda which might have served as a ﬁnale to one of the composer’s ballets. Like Paris, Vienna was an imperial capital ci ty whose vast resources brought the best composers to test their skill in the most demanding of musical communities. Unlike the French, the German clarinetist and composer has always been concerned ﬁrst with beauty of timbre and subtlety of phrasing, with virtuoso technical possibilities a distinct second. First, we present M ozart ’s aria ‘Parto, m a t u ben m i o ’ for basset clarinet Stephen Stalker, Violoncello and soprano from his ﬁnal stage work, L a Clemenza di Tito. In his ﬁnal months of life, com pleting the Clarinet Concerto aside th e opera, Mozart Per egiV er b u n k......................L eoWeiner (1885196 0) Hristiankova Kop anitsa . . . . . . . . About the Music Ivo Papasov, arr. Perry (b. 1952) seems to fully disc over the clarinet a s the truest dramat ic substitute for and partner to the female voice. The aria’s several moods, from revenge to compassion to selfsacriﬁce, are brilliantly distributed from voice to instrument, making full use of the basset clarinet’s extended low range to provide lines of enormous sweep and power. �For our second Viennese work we jump forward almost a century for the rarely heard transcription of the Adagio from Brahms’ Violin Concerto by the Belgian/American clarinetist G ustave Langenus. Langenus was to clarinet transcription what Fritz Kreisler was to works for violin – a master player and teacher whose complete knowledge of his instrument brings out new and wonderful levels of beauty from the originals. The movement is one of Brahms® most pure and profound. Of course the composer, ever selfdeprecating, described it as ‘feeble’, and Sarasate refused to play it because he didn’t want to “stand around while the oboe played the only melody in the piece.” No problem here – Langenus lets the clarinet do both. Bartok, here we hear the individual melodies retained as miniatures, a set o f several verses with short interludes that get their interest from the constant variation o f orchestration. Each movement thus retains its 1 1 Just as the Rhine separates French from German sound, the Danube moving east towards Budapest marks a new soundscape, one ﬁrmly in the Slavic orbit. Formal traditions give way to folk inﬂuence ever more strongly now, with the clarinet (and violin) as folk melodists par excellence. Harmonies simplify, but rhythms become ever more complex. We close the ﬁrst half with Bela Bartok ’s great Contrasts for Violin, Clarinet and Piano. This incredible potpourri of Hungarian folk tunes (with some Rumanian and Bulgarian inﬂuences) opens with a Verbunkos dance whose marchlike theme betrays its use for recruiting soldiers who have had a bit too much to drink. One might imagine the unhappy new recruit awaking during the clarinet’s closing cadenza. The second movement, entitled Pihené (relaxation) seems nearly motionless by In the music of Leo Weiner we ﬁnd again the attempt to blend the folk (here, Magyar ‘Gypsy’) tradition with a bit more formal rigor, no doubt inﬂuenced by Weiner’s position as a Professor of Theory in Budapest. This Peregi Verbunk is true to Magyar form and style with its linked slow and fast sections, and the writing for both clarinet and piano is superbly crafted. Diﬀicult, yes, but Weiner’s music is always interesting and represents a ﬁne marriage of classical and folkbased traditions. Music reﬂects our world, and sometimes as the world changes new and exciting musics are developed. On the outer frontier of the European clarinet comes the source for our last piece, a bit of Bulgarian Svatbarska muzika, or “wedding music,” This existed in a tamer traditional form until the 1970’s when increasingly antiauthoritarian sentiments brought western jazz and rock elements into the mix. Mixed with native Gypsy, Magyar, Bulgarian and Turkish melodic elements, Balkan musicians produced an electric new genre that exploded worldwide with Ivo Papasov and Yuri Yunakov ’s 1991 CD Balkanology. We ﬁnish our musical journey, in an insanely fast meter of 11/8 (2+2+3+2+2) with a short example of this manic musical cry for joy and freedom, Hristiankova Kopanitsa. N.B. As none of us are as yet experts, we perform a transcribed version of the improvised solos. Actually, you may get some improvisation anyway. Welcome to the East, and have a pleasant trip home! com parison, but with all the m ystery and tension we come to expect from Bartok’s other pieces of “night music ’. The set ﬁnishes with a Sebes (fast dance) whose folk credentials are assured by the use of a violin “mistuned’ (scordatura) in folk style for the opening bars. This is highenergy dance music, and a break is provided in the middle with a slower section in (8+5)/8, or thirteeneight time (!) Once rested, however, the manic pace resumes and runs to the end. One diﬀiculty of performing music from beyond Vienna and Prague is the relative paucity of published materials as we move increasingly to unwritten folk performance. A ll of Eastern Europe has undiscovered treasures which are only slowly coming to light for western players. Marko Tajcevic ’s Seven Balkan Dances, originally composed for solo piano in 1927 and later arranged for Clarinet, Cello and Piano. are an excellent case in point. Tajcevic draws upon the songs and dances of his native Serbia, but rather than building a complex formal structure as does character, and we can better appreciate their shifting meters and increasingly oriental timbres. Timothy Perry Aug 2007 or �ABOUT T H E PERFORMERS TIMOTHY PERRY, conductor and clarinetist, is Professor of Music and currently Chair of the Department of Music for Binghamton University. A graduate of the Manhattan and Yale Schools of Music, Dr. Perry joined the Binghamton University faculty in 1986, becoming Professor of Music in 2002 and receiving the Chancellor’s Award for Creative Activities in 2005. As Conductor Dr. Perry has directed the University Orchestra since 1986, directed the University Wind Ensemble from 19862005 and led the Binghamton Community Orchestra from 19942004. In MayJune 2007 he conducted the joint Music/Theater production of West Side Story in Santiago, Chile. Widely known as a clarinetist in virtuoso solo and chamber music, he toured Latin America and the Caribbean as a United States Musical Ambassador and has presented recitals at three world conferences of the International Clarinet Association. His recent clarinet appearances include a July program at Cornell University, an upcoming appearance at Ithaca College, and a week of both Clarinet and Conducting Master Classes at the Universidad Nacional de Columbia (Bogota) in October 2007. MARGARET REITZ, pianist, is a native of the Binghamton area. She received her Bachelor and Master of Music degrees in piano performance with Seymour Fink and Walter Ponce and accompanying emphasis, studying piano with Jean Casadesus, Victor Rosenbaum, Seymour Fink and Walter Ponce and accompanying with Allen Rogers. She has accompanied throughout the United States, Europe and South America: she was an oﬀicial accompanist for the MTNA State and Eastern Division Competition held at Ithaca College in 2001 and 2006, has been a guest chamber music artist in Morges, Switzerland, attended the Northwestern Workshop with Chicago Lyric Opera Faculty and Coaches, was an oﬀicial pianist at the International Double Reed Competition and Convention in June 2007 at Ithaca College and was selected to accompany at the Interpretation of Spanish Music Festival in Grenada, Spain in July 2007, where she performed at several concerts and masterclasses coached by Teresa Berganza. A guest artist on the Cornell Summer Series this past summer, she will perform Beethoven’s Triple Concerto with Binghamton Community Orchestra and is nominated for the Heart of the Arts Award sponsored by the BC Arts Council. Ms. Reitz is currently on the faculty at Binghamton University and Ithaca College School of Music. She is on the Executive Board of the New York District MTNA organization, is past President of the local Southern Tier Music Teachers Association and is an active adjudicator for the National Piano Guild Organization. Canadianborn violinist J A N E Y CHOI joined the faculty of Binghamton University in 2006. Dr. Choi attained her Doctor of Musical Arts degree at Rutgers University, studying with Arnold Steinhardt, and holds her Bachelor and Masters degrees from The Juilliard School where her major teachers were Joseph Fuchs and Joel Smirnoﬀ. She gave her Carnegie Hall recital debut in 1997 as a winner of the Artists International Auditions and continues a n active perform ing career as a recitalist, chamber, and orchestral musician throughout the country and abroad. She has participated in such festivals as Mostly Mozart, Juilliard’s Focus Festival, Norfolk, Taos, the Spoleto Festivals, Festival Musical de Santo Domingo, the Santa 7 Fe Opera and the Sarasota Opera. An avid interarts and crossgenre collaborator, she is the Music Director of Thomas/Ortiz Dance, and has performed numerous times with the Parsons Dance Co. at the Kennedy Center in Washington, D.C. She has recorded and appeared with such mainstream performers as Bono and Quincy Jones, Enya, Elton John, Sarah McLachlan, Lisa Loeb, Kanye West, JayZ and Beyoncé. Ms. Choi is a Teaching Artist for the New York Philharmonic, Lincoln Center Institute, Chamber Music Society of Lincoln Center and the Bloomingdale School of Music in New York City. l 5 STEPHEN STALKER, cellist, joined the faculty of Binghamton University in 1982. He is a graduate of the Manhattan School of Music in New York City. He formerly taught at Colgate University, Mansﬁeld University, Ithaca College and for the Binghamton City School District. He was the principal cellist of the Cayuga Chamber Orchestra in Ithaca, NY, and has performed extensively with the Catskill Chamber Players of Oneonta, NY, where he has presented Meet the Composer concerts with prominent American composers including John Cage, Virgil Thomson, Lou Harrison and George Crumb and premiered a set of four string quartets by Henry Brant at Weil Recital Hall. He performs regularly with the Trio Amici, Trilogy, Baroque ‘n Blue, Early On and performed the complete Beethoven Trio cycle with violinist Janet Brady and pianist Walter Ponce. He performed with Solisti New York, and as a member of the Madison String Quartet was a ﬁnalist in the Naumberg Chamber Music Competition in New York City and the Evian International String Quartet Competition in Evian, France. A past president of the New York State Chapter of the American String Teachers Association, Mr. Stalker is a founder of the Southern Tier Music Teachers Association and the Binghamton Cello Festival and was past Strings Chair for the New York State School Music Association. IVY GAIBEL, mezzosoprano most recently performed at the Spoleto, USA festival in Chartleston, SC in Kurt Weill’s The Rise and Fall of the City of Mahagonny. Ms. Gaibel is a graduate of the TriCities Opera Resident Artist Training Program, where she performed numerous roles including her “precocious” Cherubino in Le Nozze di Figaro and Nicklausse in Les Contes D’Hoﬀmann. Her TCO performance of Dido in Dido and Aeneas was noted as “beautifully performed with exquisite phrasing.” Ms. Gaibel made her debut at Syracuse Opera in 2004 and was awarded Artist of the Year in a supporting role. Since then she has been an active performer on the main stage as well as the ensemble, including her role as Mercedes in Syracuse Opera’s 2007 production of Carmen. Performance Awards include First Place,National Association of the Teachers of Singing, 2001 and the George L. Hinman Award from TriCities Opera 2004. In the Summer of 2006 Ms. Gaibel was a member of Des Moines Metro Opera’s Apprentice Artist Program. She has appeared with many regional orchestras including the Binghamton Philharmonic and the Orchestra of the Southern Finger lakes. This year Ms. Gaibel will be Assistant Professor of Voice at Ithaca College. She has upcoming engagements with the Binghamton Baroque Ensemble and numerous recital appearances in the area. �P art o, m a t u be n m io : Translation: I leave but you, my beloved , will ret urn to me in peace ; I will be what most pleases you; what you want, I’ll do. Look at me and I’ll forget everything, and I’ll rush to avenge you ; Give only a glance and the deed by me will be done. Ah, what power, oh Gods did you bestow on Beauty! * # * * * * t t i t ﬁ ttttttt l ttt i tt ﬁ tt i tttttt $ tttt ﬁ tttttt ﬁ # # * * * # * * * * * * * * * # * Comin g Musi c Events Sunday, Septem ber 9 – A Sonic Blast : Thrilling Works for Organ, Brass and Percussion – 4:00 p.m. – Frist Presbyterian Church, Binghamton $15 general public ; $13 fac ulty/staﬀ/seniors; $7 students Sunday, Septem ber 30 – Romanti cism Unleashed : A facu lty recital by cellist St ephen Stalker – 3 :00 p.m. – Casadesus Recital Hall $9 general public; $ 7 faculty/staﬀ/sen iors; $1 students Th ursday, October 4 – MidDay Conc ert 1 :20 p.m. – Casadesus Recital Hall – free Th ursday, October 1 1 – MidDay Concert – 1 :20 p.m. – Casadesus Recital Hall – free Sunday, October 1 4 – University Or chestra : Suite D iversions – 3 :00 p.m. – Anderson Center Concert Theater $9 general public; $7 faculty/staﬀ/senio rs; free fo r student s Th ursday, October 1 8 – MidDay Concert – 1 :20 p.m. – Casadesus Recital Hall – free F riday, October 1 9 – Sunday, Octobe r 21 – New York State Music Teachers Association (NY SMTA) – Anderson Center Chamber Hall and Casadesus – free Sunday, Octobe r 20 – Family W eekend C oncert – 3:00 p.m. – Osterhout Concert Theater – free Th ursday, Octo ber 2 5 – MidDay Concert – 1 :20 p.m. – Casadesus Recital Hall – free Th ursday, October 2 5 – Jazz Scholarship Con cert (In memor of Ro bert Terrell) – 8:00 p.m. – Osterhout Concert Theater $1 8 general public ; $16 faculty/staﬀ/seniors; $ 10 students � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:00:02 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196856">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196856</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "The Orient Express," September 8, 2007 Recital Tape 9-8-2007 Description An account of the resource Held at 8:00 p.m., September 8, 2007, Anderson Center Chamber Hall. Works of Messager, Mozart, Brahms, Bartok, Tajcevic, Weiner, Papaosv. Creator An entity primarily responsible for making the resource Perry, Timothy Reitz, Margaret Choi, Janey Stalker, Stephen Gaibel, Ivy Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2007-08-09 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID c59dce28-dbe5-41cc-9c93-9af2d32865ef