10 10 972 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.) 50:04:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE191454">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE191454</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 Binghamton Vocal Consort & Schola Cantorum: music of the English Renaissance, May 5, 2008 Recital Tape 2008-5-5 Description An account of the resource Texts and translations of songs included in accompanying program.At head of title: Dunstaple, Anonymous (late 15th century), Wilbye, Byrd.Held at 8:00 p.m., May 5, 2008, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Salasny, Christina Schleuse, Paul Crawford, Roberta Walkling, Andrew Paull, Corinne Blitstein, Alexander Treminski, Theodore 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 2008-05-05 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 a77012f5-ba33-4ae8-a53e-cc0ffa46e22c https://omeka.binghamton.edu/omeka/files/original/0eb88300e7cdb61b25e44de97b486cb5.pdf b4859993af5734ea4048bec4f9ebf764 PDF Text Text (, UNIV ecital tape 00 4-.. 1 CO BINGHAMTON U N I \' E R S I T Y State University of New York Department of Music Presents Brahms Tragic Overture Op. 81 Mozart Requiem K. 626 Leslie Hochman, soprano Lara Longsworth, mezzo soprano Timothy Fallon, tenor Richard Galyon, baritone The University Chorus The University Symphony Orchestra Timothy Perry and Bruce Borton, conductors Saturday, April 17, 2004 8:00 p.rn. Osterhout Concert Theater �Program Tragic Overture (Op. 81) ..................................... Johannes Brahms ( 1833-1897) University Symphony Orchestra Timothy Perry, conductor Requiem .............................................. Wolfgang Amadeus Mozart (17 56-1791 ) 1. Requiem/Kyrie 2. Dies irae 3. Tuba mirum 4. Rex tremendae 5. Recordare 6. Confutatis 7. Lacrymosa 8. Domine Jesu 9. Hostias 10. Sanctus 11. Benedictus 12. Agnus Dei/Lux aeterna Leslie Hochman, soprano; Lara Longsworth, mezzo soprano Timothy Fallon, tenor; Richard Galyon, baritone The University Chorus University Symphony Orchestra Bruce Borton, conductor �Program Notes Brahms Tragic Overture The Tragic Overture, Op. 81 is Brahms' contribution to the genre of "absolute" concert overture - that is, a work not tied to any specific dramatic or operatic production. Brahms himself never so much as hinted at any extra-musical associations for the overture. Issued with its companion overture, the Academic Festival Overture Op. 80 (a fantasy on student drinking-songs) perhaps Brahms wished to "keep faith" with wearing the mantle of Beethoven's successor. The work is in any case magnificent in its compressed power, mastery of variation technique and brilliance of orchestration. The thematic material, all laid out in the first ten bars, is I) the interval of a fourth, either open (as at the outset) or filled in melodically and 2) two intervals of a third which span the octave between them. The work's central section consists of a curious funeral march cum fugato which presages similar episodes in Mahler's symphonies by a dozen years. With the balanced outer sections, Brahms thus creates a broad (ABA) sonata form. As to the specifics of the tragedy - desolation, depression, anger and rage in the first thematic area; hope, happiness or the remembrance of better times in the second theme (in the major key) area; the crumbling of great empires, or the ravages of fate - each listener has ample room to discover the tragic story for himor herself. --T.Perry Mozart Requiem The decade leading up to 1791 saw the creation of most of Mozart's most important compositions in all genres including chamber music, operas, symphonies, and keyboard works. It was not until 1791, however, that the composer returned, after a decade of inactivity, to the composition of choral music. The summer and early autumn months were filled with first the composition and rehearsals of his opera La clemenza di Tito, composed for the coronation of the Emperor in Prague and then the completion and rehearsals for The Magic Flute in Vienna. In the midst of this intense activity, Mozart managed to compose his Masonic Cantata, the exquisite motet Ave verum corpus, and began work on his final composition, Requiem. The historical circumstances surrounding the commission and composition of the Requiem have become clouded with 200 years of inaccuracies and theatrical fiction. The truth is perhaps less colorful but interesting nonetheless. In the spring of 1791, Mozart was approached �by a messenger with a letter from an anonymous patron who wished to commission a memorial Requiem in honor of his recently deceased wife. It was not until 1963 that music scholars discovered the true identity of this patron as Herr Franz, Count von Walsegg, a wealthy nobleman and amateur musician and composer who may, in fact, have hoped to pass off the Requiem as his own composition. Mozart set to work, only to be interrupted by his journey to Prague and the final preparations for The Magic Flute. When he finally was able to return to the choral work in the Fall , he was beginning to show signs of his final illness. In spite of his progressively weakening condition, the composer worked intensively, and was able to complete the first movement, Requiem and Kyrie, and sketch the vocal parts and orchestral accompaniment of the movements through Hostias. Of the final movements, Sanctus, Benedictus, Agnus Dei, no trace survives in Mozart's hand. Mozart died in December of 1791 leaving the work incomplete, and the commission unfilled. Mozart' s widow, Constanze, approached several individuals with the proposal to complete the work , finally persuading Mozart's pupil, Franz Xaver Stissmayr, to undertake the task. The question of how much of the Requiem's completion is attributable to Mozart and how much is original to Stissmayr remains an open debate. Contemporary accounts, including reports of Constanze and her sister, describe Mozart in his final days singing parts of the unfinished work with Stissmayr at his bedside, presumably receiving instructions as to how to complete the work. Scholars have pointed out a number of flaws in Stissmayr' s work, and several other "completions., have been published in recent years. Perceived flaws notwithstanding, the Requiem represents the pinnacle of achievement in choral composition for the composer, and lovers of choral music can only lament the fact that Mozart's early death came at the very moment that he seemed poised to return to choral composition. His dramatic approach to the setting of this text set the stage for later romantic era settings of Berlioz, Verdi , and other nineteenth century composers. In particular, these later composers seemed drawn to the colorful and dramatic possibilities of the Dies irae poem which forms the heart of the Requiem liturgy. The Mozart Requiem takes the genre clearly out of its traditional religious setting and into the realm of true concert music. -- Bruce Borton �Requiem, K.626 (1791) I. Requiem and Kyrie Chorus and Soprano Solo Rest eternal grant to them, 0 Lord, and let perpetual light shine upon them. A hymn befits thee, 0 God in Zion, and to thee a vow shall be fulfilled in Jerusalem. Hear my prayer, for unto thee all flesh shall come. Lord have mercy. Christ have mercy. Lord have mercy. 2. Dies irae Chorus Day of wrath, that day shall dissolve the world into embers, as David prophesied with the Sybil. How great the trembling will be, when the Judge shall come, the rigorous investigator of all things! 3. Tuba mirum Soloists The trumpet, spreading its wondrous sound through the tombs of every land, will summon all before the throne. Death will be stunned, likewise nature, when all creation shall rise again to answer the One judging. A written book will be brought forth, in which all shall be contained, and from which the world shall he judged. When therefore the Judge is seated, whatever lies hidden shall be revealed, no wrong shall remain unpunished. What then am I, a poor wretch, going to say? Which protector shall I ask for, when even the just are scarcely secure? 4. Rex tremendae Chorus King of terrifying majesty, who freely saves the saved: Save me, fount of pity. 5. Record are Soloists Remember, merciful Jesus, that I am the cause of your sojourn; do not cast me out on that day. Seeking me, you sat down weary: havingsuffered the Cross, you redeemed me. May such great labor not be in vain. Just Judge of vengeance, grant the gift of remission before the day of reckoning. I groan. like one who is guilty; my face blushes with guilt. Spare your supplicant, 0 God. You who absolved Mary (Magdalene). and heeded the thief, have also given hope to me. My prayers arc not worthy, but Thou, good one, kindly grant that I not burn in the everlasting fires . (irant me a favored place among thy sheep, and separate me from the goats, placing me at thy right hand. �6. Confutatis Chorus When the accursed are confounded, consigned to the fierce flames, call me to be with the blessed. I pray, suppliant and kneeling, my heart contrite as if it were ashes: protect me in my final hour. 7. Lacrymosa Chorus 0 how tearful that day, on which the guilty shall rise from the embers to be judged. Spare them then, 0 God. Merciful Lord Jesus, grant them rest. 8. Domine Jesu Chorus and Soloists Lord Jesus Christ, King of glory, liberate the souls of all the faithful departed from the pains of hell and from the deep pit; deliver them from the lion's mouth; let not hell swallow them up, let them not fall into darkness: but let Michael, the holy standard-bearer, bring them into the holy light, which once thou promised to Abraham and to his seed. 9. Hostias Chorus Sacrifices and prayers of praise, 0 Lord, we offer to thee. Receive them, Lord, on behalf of those souls we commemorate this day. Grant them, 0 Lord, to pass from death unto life, which once thou promised to Abraham and to his seed. I 0. Sanctus Chorus Holy, Holy, Holy, Lord God of Hosts. Heaven and earth are full of thy glory. Hosanna in the highest. 11. Benedictus Soloists Blessed is he who comes in the name of the Lord. Hosanna in the highest. 12. Agnus Dei Chorus and Soprano Solo Lamb of God, who takest away the sins of the world, grant them rest. Lamb of God, who takest away the sins of the world, grant them rest. Lamb of God, who takest away the sins of the world, grant them rest everlasting. Light eternal shine on them, 0 Lord, with Thy saints forever. because Thou art merciful. Eternal rest give unto them. 0 Lord. and let perpetual light shine on them. �About the Performers Leslie Hochman is a native of Austin, Texas and is currently pursuing a Master of Music in Opera Degree at Binghamton University. She received a Bachelor of Music from the University of Texas, where she performed the roles of Olympia in Les Contes d 'Hoffmann, Gretel in Hansel and Gretel, Servilia in La Clemenza di Tito, Mme. Silbertonen in Der Schauspieldirektor, and The Friend in Amelia goes to the Ball. Other opera credits include Adele in Die Fledermaus with the Austin Singers' Circle and Blondchen in Die Entfuhrung aus dem Serail with the AustrianAmerican Mozart Academy. Oratorio credits include Handel's Messiah at the St. Louis Catholic Church of Austin and Mozart's Litanaie Lauretanae in churches across Austria. Leslie is currently a resident artist at the Tri-Cities Opera. She was recently seen as Mrs. Gobineau in Menotti's The Medium and will make her mainstage debut this month as Suor Genovieffa in Suor Angelica. Lara Longsworth is a mezzo-soprano from Richmond, VA . She is a member of Tri-Cities Opera Resident Artist Training Program and a candidate for a Master of Music in Opera at Binghamton University. She is a graduate of VA Commomwea lth University where she performed the roles of Cenerentola in Rossini ' s La Cenerentola, Prince Orlofsky in Strauss' Die Fledermaus , and Fidalma in Cimarosa's fl Matrimonio Segreto. She made her TCO debut as the Mother in Menotti's Amahl and the Night Visitors. Other roles with TCO include: Giovanna in Verdi's Rigoletto, the Voice of the Mother in Offenbach ' s Les Contes d 'Hoffmann, and Marcellina in Mozart ' s Le Nozze di Figaro. She will sing the roles of the Monitor and the Mistress of the Novices in TCO's upcoming performance of Puccini ' s Suor Angelica. She made her concert debut with the Richmond Symphony Orchestra in 1997 as Carmen in a concert performance, George Manahan conducting. Longsworth's honors include First Place at the SE Regional and VA State National Association of Teachers of Singing Competition. �Tim othy Fall on , tenor, is a native of Binghamton New York : This is his first season with the Tri-Cities Opera as a Master of Mus ic student. He recently performed his first role with the company as Spalazani in Les Contes d' Hoffman. He also performed the role of Basilio in Mozart's The Marriage of Figaro. Last summer, he performed in the Spoleto Festival USA in Charleston, SC, with the Westminster Choir and sang at the Music Academy of the Wes t in Santa Barbara, CA under the tutelage of Marilyn Horne. Fallon holds a B.A. degree from Westminster Choir College, Princeton , NJ. Richard Galyon, baritone, is in his first season with the Tri-C ities Opera's Resident Artist Training Program. He was seen most recently as Mr. Gobineau in Menotti's The Medium, following performances of Count Almaviva in Moz art's Le Nozze di Figa ro and Hermann and Schlemil in Offenbach's Les Contes d"Hoffmann, all this season at TCO. He is covering the role of Silvio in Leoncavallo's Pagliacci this spring. Last year,Galyon studied in the Opera Performance program at The University of Texas at Austin. During his short stay there, he played Mr. Gobineau in Menotti's The Medium and also was seen as Master Spinelloccio and Pinellino in Puccini's Gianni Schicchi. He was the featured baritone soloist for a concert performing Herbert Howells' Requiem, among other pieces, with UT's Chamber Singers, under the direction of James Morrow. He has studied voice with David Small, Burt Rosevear and Gregory Oaten. �University Symphony Orchestra Timothy Perry, conductor Flute Kelsey Bauer* Caitlynn McMullen Kira Slocum Karen Krause Mark Liu JungSun Oh Aman da Dumo nt Oboe Lana Banne r Rebec ca Rodbart* Violin II Christina Wan James Leddy Shaun a Buckm an Lindsey Krecko Tama ra Potap ova Jennifer Paull Jah-yu (Lulu) Chen Claud ia Fathi Sheri Zola Karen Tang Stephanie Mawh irt Sarah Baird Clari net Caroline Bravo Jordan Paster nak• Bassoon Robin Kindig Kimberly Meeker* French Horn Ernie Epelman Alfred Jacobsen* Patrick Lokken Greg Cecere Trum pet Erinn Hibbard* Glen Widjeskog Trom bone David Hennan* Jonathan Ludwin Timpani/Percussion Matthew Chidester* Violin I Morgan Kim Sarah Steiding Alicia Fusani Marie Mizuno Julia Kim Micah Banner-Baine Meggie Knapp Yoh-Seung Chiu Youlee Choi Viola Melissa Mattern Kenneth Perschke Melissa Lee Christopher Fiore Kerry Conw ay Leah Rabinowitz Christopher Trow Cassandra Aikman Janet levins Cello Ben James Tanya Brescia Nicholas Capon e Emily Creo Matthew Woolever Michael Day Katy Walker Shelley Levin Angela Wynne Yi-Eun Park Contrabass Beth Bartlett Andrew Eiche �The University Chorus Bruce Borton, conductor Corry Shimer, Emily Burr, and Jennifer James, assistant cpnductors Peter Browne, accompanist Soprano 1 Susan Bachman Rebekah Baker Nanette Borton Martha Jane Bralla Emily Burr Priscilla Clark Asali Daniel Alison Dura Lorrina Fuentes MayBelle Golis Margaret Hays Barbara Heme Jennifer James Donna Lundy Susan MacLennan Cathie Makowka Joyce Merwin S. Joselle Orlando Mary Joan Ragard Marilyn Ross Diane Ruocco Gloria Salameda Corry Shimer Jennifer Stahl-Perkins Barbara Thamasett Faith Vis Soprano 2 Cari Begeal Patricia Caldwell Heather Jean Chin Hyun Choi Joanne Corey Sandra Czelusniak Vadhya Elivert Joyce Haber Nancy Jeavons Tiffany Jetter Soyeo Jung Natalie KhalatovKrimnus Monica Lee JoAnne Maniago Juliana Maslen Mary Peg Mathis Katherine L. McCrink Elaine McGuinness Donna Miller Sioux Petrow Susan Sarzynski Lois Wilston April Witkes Alto 1 Jee Yun Ahn Melanie Andrejev Jue Ting Chen Maria Luisa Cook Randi N. Cook Barbara DeShane Rachel Franz Janet Frederick Danielle Furey Elaine Hilton Grace Houghton Claire Labbe Theresa Lee-Whiting Margit Mayberry Anna Nicholas Allison Pfiefer Molly Polin Dorothy Powell Joyce Printz Ruth Rajkumar Richel Ruivivar Jane Shear Patricia Souder Susan Szczotka Katie Wolff Linda M. Wolff Erica Yamamoto Alto 2 Amy Au Yeung Kathryn Baine Barbara Barno Kate Bouman Jean Bruce Phyllis S. Burr Jeanne Fenzel Mary Beth Gamba Sandra Haining Carol Hammond Ida Amelia Jones Flo Koniski Beverly Kresge Cheryl Labban Ethel F. Molessa Shirley Rodgers Lee Shepherd Hae Lee H. Shin Nadia Zarembo �The University Chorus Tenor David Andrus Roy Bergstraser Joseph Boccio David Clark Araoye lbitoye H.B. King Carl Kinne Dennis Leipold Anne Linn Hanbyoel Park Ed Schappert Floyd R. West Paul White Sherry Williamson Bass 1 Toby Anderson Ryan Bagg Eric Bare Ronald Bauchamp Anthony Biconish Sthephen M. Boel Robert Bruce Daniel Uan Chan Robert Christie Michael Darfler Richard Dutko Remington Gregg James Hilton Michael Jabo, J .D. Bohyun Jo Brian Jones Daniel Keller Tom Lamphere Chris Longano Edward J. Orosz Don Powell Alex Pullman Brian Scott Sanderson Richard F. Schwartz Myron F. Shlatz Gerry Turock Timothy Wetherbee Bass2 Chris Benjamin Lance Dunning Mark Epstein Harry Frederick David Hanson Hu Huang J. Scott Husted Darren Klein Michael A., Little Ario H. Meeker Phil Millspaugh Christian Ritter David L. Schriber Donald Lee Stanley Bob Sullivan �Coming Events Sunday, April 18 - The King of the Instruments: Guest Organist David Heller - 4:00 p.m. - First Presbyterian Church, Chenango Street, Binghamton - $14 general public; $12 faculty/staff/seniors; $6 students Thursday, April 22 - Jazz Mid-Day Concert with guest artist Houston Person, saxophone - l :20 p.m. - Osterhout Concert Theater - free Thursday, April 22 - Harpur Jazz Ensemble with guest artist Houston Person, saxophone - Michael Carbone, conductor - 8:00 p.m. - Osterhout Concert Theater - $8 general public; $6 faculty/staff/seniors; free for students Sunday, April 25 - University Wind Ensemble: New Dances - Timothy Perry, Stephen Boel, conductors - 3:00 p.m. - Anderson Center Chamber Hall - free Tuesday, April 27 - University Percussion Ensemble - 8:00 - Anderson Center Chamber Hall - Free Friday, April 30 - Flute Studio Recital - I 0: 15 a.m. - Casadesus Recital Hall - free Wednesday, May 5 - An Evening of German Songs featuring graduate and undergraduate voice and opera students - 8:00 p.m. - Casadesus Recital Hall -free Thursday, May 6 - Student Recognition Mid-Day Concert - l :20 p.m. Casadesus Recital Hall - free Thursday, May 6 - Harpur Chorale and Women's Chorus - Peter Browne and Emily Burr, conductors - 8:00 p.m. - Anderson Center Chamber Hall free 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 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 50:26 13:51 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253439&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253439&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 Brahms, Tragic Overture, Op. 81, Mozart, Requiem, K. 626, April 17, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004-4-17 Description An account of the resource Tape 1. Brahms, Tragic overture -- tape 2. Mozart, Requiem. Creator An entity primarily responsible for making the resource Hochman, Leslie Longsworth, Lara Fallon, Timothy Galyom, Richard Perry, Timothy Borton, Bruce Brahms, Johannes Mozart, Wolfgang Amadeus Date A point or period of time associated with an event in the lifecycle of the resource 4/17/2004 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/bbd865544a59163f5f3276b4aae32c6a.pdf 4b329e2c3fbef393591f3f233815b0e4 PDF Text Text BINGHAMTON U N I V E R S I T Y S TAT E U N I V E R S I T Y OF N E W Y O R K wdee [4 D E P A R T M E N T BRAHMs’s “REGENLIEDER” EVOLUTlON FROM SONG TO SONATA Janey Choi, violinist & lecturer Michael Salmirs, piano Mary Burgess, soprano Tuesday, April 24, 2012 8 p.m. Casadesus Recital Hall �PROGRAM ABOUT THE PERFORMERS Lecture: Regenlieder— The Evolution from Songs to Sonata «8 AINTERMISSION # «5 Regenlied, op.59 no. 3. .Johannes Brahms Nachklang, op.59 no. 4 (18331897) Violin Sonata No. 1 in G, op. 7 8 . Vivace ma non troppo Adagio – Piu Andante – Adagio Allegro molto moderato Johannes Brahms Canadian violinist, Janey Choi gave her Carnegie Hall recital debut in 1997 as a winner of the Artists International Auditions and continues an active career performing on recital and chamber series, on Broadway, and with such groups as the Ardelia Trio, Ensemble X, New York City Ballet, and the Teaching Artists Ensemble of the New York Philharmonic. The recipient of numerous awards including the Chalmers Performing Arts Grant from the Ontario Arts Council (Canada) and National First Prize in the Canadian Music Competition, she has participated in such festivals as Mostly Mozart, Norfolk, Taos, the Spoleto Festivals in the U.S. and Italy, Festival Musical de Santo Domingo, the Santa 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., most notably at the Kennedy Center in Washington, DC, and at the New Victory Theater in Times Square. She also initiated a collaboration with the Paul Taylor Dance Company and the Binghamton University Music Department. Her other interests have taken her to the visual arts world, developing and presenting an annual “Music + Art” show commissioning artwork based on chamber works. She has recorded and appeared with such mainstream performers as Bono (U2) and Quincy Jones, Adele, Beyoncé, Aretha Franklin, Enya, Elton John, JayZ, Sarah McLachlan, Lenny Kravitz, and Kanye West, on the Grammys, MTV, Saturday Night Live, the Today Show, at Live 8, Radio City Music Hall and Royal Albert Hall in London, England. Dr. Choi holds the distinction of being the youngest, and only Pre College student ever accepted by her late mentor, Joseph Fuchs at The Juilliard School, where she graduated from the accelerated BM/MM program with the Joseph Fuchs Graduation Prize. Her other major teachers include Joel Smirnoﬀ, Victor Danchenko, Harvey Shapiro, and Arnold Steinhardt. She attained her Doctor �of Musical Arts degree at Rutgers University with full scholarship and was the recipient of the Graduate Fellowship Award. Strongly committed to education, she has been on the faculty of Binghamton University since 2006 and is a Teaching Artist for the New York Philharmonic and Chamber Music Society of Lincoln Center. She has presented educational workshops for the College Music Society National Conference, Tokyo College of Music and Lincoln Center Institute. In her free time, she enjoys marathon and triathlon training, playing soccer and ice hockey. Mary Burgess, soprano, a graduate of the Curtis Institute of Music, has been a member of the Binghamton University voice faculty for over twenty years. Ms. Burgess made her US operatic debut with New York City Opera while still a student at the Curtis Institute, and subsequently appeared with Santa Fe Opera, Washington Opera, New Orleans Opera, Nevada Opera, and many other regional companies including TriCities Opera in Binghamton. Her European operatic debut was at the Holland Festival in Amsterdam; she has also performed at the Spoleto Festival in Italy, at the Theatre Royale de la Monnaie in Brussels, and with Dublin Grand Opera. Ms. Burgess has appeared as soloist with more than two dozen US orchestras, including the Boston Symphony (with Seiji Ozawa), Cleveland Orchestra (with Lorin Maazel, Eduardo Mata), Chicago Symphony (Sir Simon Rattle), and Cincinnati Symphony (Klaus Tennstedt, James Conlon). She has been a frequent guest at such prestigious festivals as Marlboro, Monadnock, Ravinia, Aspen, Blossom, Casals, Chautauqua, and the Cincinnati May Festival. Her repertory of forty roles in ﬁve languages ranges from Monteverdi and Cavalli to Britten and Virgil Thomson. Her performances of Britten’s Les Illuminations and Mahler’s Symphony No. 2 with the Omaha Symphony were ﬁlmed for broadcast by Nebraska ETV. She has recorded for Columbia, Masterworks, CRI, Sony Classical, and Telarc. Pianist Michael Salmirs, a founding member and artistic director of the Finger Lakes Chamber Ensemble, is well known as a recitalist and chamber musician performing extensively throughout the region. He has appeared as soloist with the Coming Philharmonic, Binghamton University Orchestra, Cayuga Chamber Orchestra, and has been a featured pianist on their Sunday chamber series. As a performer of contemporary music, he has participated in such series as Binghamton University’s Musica Nova, Cornell University’s Ensemble X, Chiron, and has toured and recorded for the Syracuse Society for New Music. Salmirs studied at the New England Conservatory and Eastman School of Music; his teachers have included pianists Leonard Shure and Rebecca Penneys and composer Karel Husa. Salmirs has taught at the Syracuse University School of Music and Hobart and William Smith Colleges. He is currently a faculty member at Binghamton University and an Aﬀiliate Artist at Cornell University. He maintains a private piano studio in Ithaca and enjoys teaching students of all ages and levels. �TRANSLATIONS ABOUT THE SERIES The Friedheim Memorial Series honors the memory o f Professor REGENLIED (Rain Song; text by Groth) Pour, pour down, rain; reawaken in me the dreams that I dreamt in childhood when the moisture foamed in the sand! When the weary summer sultriness fought indolently against the fresh coolness, and the gleaming leaves dripped dew, and the ﬁelds of grain took on a deeper blue, the ﬁelds of grain took on a deeper blue. What bliss to stand in the downpour at such times with bare feet, to brush against the grass and reach out and touch the foam, or else to catch cool drops on one’s ﬂushed face and to open one’s childlike heart to the newly awakened scents, to open one’s childlike heart! Like the calyxes that were dripping there, one’s soul was wide open and breathing, like the ﬂowers intoxicated with fragrances, sunk in the heavenly dew. Each drop gave a thrill of pleasure and cooled you down to your beating heart, and the holy weaving of Creation penetrated the hidden sources of life, penetrated the hidden sources of life. Pour, pour down, rain; awaken my old songs, which we sang in the doorway when the drops fell noisily outside! I would like to listen to them again, to their sweet moist murmuring; I would like to bedew my soul gently with that holy childlike awe, that holy childlike awe. Nachklang (Lingering Sound; text by Groth) Raindrops are falling from the trees into the green grass; tears from my dulled eyes are moistening my cheeks. When the sun shines again, the lawn becomes twice as green: my hot tears will burn twice as ﬁercely on my cheeks, my hot tears will burn. Philip Friedheim (1930–1986) whose remarkable tenure at Binghamton University featured many memorable lecturerecitals with faculty and guest artistperformers on major works of the classical music tradition. We seek to recreate Phil’s special combination of scholarship and performance that served to deepen our understanding for — and love of — great works of musical art. All proceeds of the series will go towards the undergraduate scholarship funds of the Department of Music. The 2009–2010 series opened in September 2009 with Professor Emeritus Harry Lincoln’s remarks on J. S. Bach’s Sonata in b minor featuring Georgetta Maiolo on ﬂute and Jonathan Biggers on harpsichord. Today’s performance in the series will highlight Brahms’s Regenlieder. Please join us as we explore Brahms’ “Regenlied & Nachklang for voice & piano, Op.59 No.3” and “Violin Sonata No. 1 in G Major, Op.78". The favorite of his three violin sonatas, Johannes Brahms’ “Regenlieder” (Rain Song) Sonata used thematic material from a set of songs, the Regenlieder, composed six years earlier. Both were presented to Clara Schumann in diﬀicult times and seemed to communicate beyond words, his desire to comfort her with their melancholy beauty and enduring spirit. Lecturer and violinist Janey Choi will bring these works to life with pianist Michael Salmirs and soprano Mary Burgess. �Bingh amton Unive rsity Music Department’s M POO/Vt w q E V E NT s MidDay concerts are held on Thursdays, 1:20 PM in Casadesus Recital Hall unless otherwise noted and are FREE Thursday, April 26 – MidDay Conc ert – 1:20 p.m. – Casadesus Recital Hall — free Thursday, April 26 –Brass Studio Recital – 8 p.m. – Casadesus Recital Hall — free Friday, A pril 27 – TriCitie s Opera presents “The Magic Flute ” – 8 p.m. – The Forum Theatre – call (607) 7720400 for tickets Saturday, April 28 – University Sy mphony Orchest ra: The Three B’s (Bach, B rahms a nd Beethoven) with faculty v iolinist Janey Ch oi and oboist J ohn Lathwel l – 3 p.m. – Osterhout Concert Theater – $10 general public; $6 faculty/staﬀ/seniors; $3 students Sunday, April 29 – Harpu r Chorale and Wo men’s C horus: S ing into S pring – 3 p.m. – Anderson Center Chamber Hall – $6 general public; $3 faculty/staﬀ/seniors; free fo r students Sunday, April 29 – TriCit ies Opera presen ts “The M agic Flut e” – 3 p.m. – The Forum Theatre – call (607) 7720400 for tickets Tuesday, May 1 – Strin g Departm ent Reci tal: Strin g Fever – 8:30 p.m. – Casadesus Recital Hall – free Thursday, May 3 – Jazz MidDay Concert w ith guest ar tist Mark Buselli, trumpet – 1:20 p.m. – Osterhout Concert Theater – free Thursday, May 3 – Harpu r Jazz Ensemb le Conce rt with guest ar tist Mark Buselli, trumpet – 8 p.m. – Osterhout Concert Theater – $10 general public; $6 faculty/staﬀ/seniors; $3 students Friday, M ay 4 – Fl ute Stud io and Flute Chamber Concert – 10:15 a.m. – FA21 – free Saturday, May 5 – Wind S ymphony Concert celebrates Cin co de Mayo – 3 p.m. – Anderson Center Chamber Hall – $6 general public; $3 faculty/staﬀ/seniors; free for students For ticket information, please call the Anders on C enter B ox O ﬀice a t 7 77ART 5. � 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 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 38 minutes :15 seconds 27 minutes :7 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142200">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142200</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 Brahms's "Regenlieder," Evolution from song to sonata, April 24, 2012 Description An account of the resource Works by Brahms Held at 8:00 p.m., April 24, 2012, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Choi, Janey Burgess, Mary 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 4/24/12 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound 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 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 29:14 8:25 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE189726">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE189726</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 Brass rep. class recital, March 14, 2008 Recital Tape 2008-3-14 Description An account of the resource Works of Adams, Arutunian, Sparke, Clark, Balay, Strauss, Haydn, Charlier, McCarty, Sacchini, mixed composers.Held on November 14, 2008, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Ignacio, Thomas Winchell, Katherine Fein, Daniel Meddaugh, Paul Regulski, Tomek Parnes, David Grech, Paul Weinberg, Alexa Cummings, Katie Tracy, Michael 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 2008-03-14 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 b895f034-27e5-41ee-9d23-2def211b7bff https://omeka.binghamton.edu/omeka/files/original/ba213711bf93e266df5e0b152f5cbc27.pdf 17aec939106f8957bca009ece9e77b8f PDF Text Text N O T M A H G N I B VERSITY U N I F STAT E UN I V E R S I T Y O N E W YO R K [4 M E N T T R A P D E L A T I C E R O I BRASS S T U D ' ”A/ilIf” W: �PROGRAM .............Arthur Honegger : (18921955) Daniel Fein, trumpet Intrada Concerto in Eﬂat................... Allegro con Spirito .............Johann Nepmuk Hummel (17781837) Nicholas Polacco, trumpet His Majesty the Tuba R o b e r Matthew Gukowsky, tuba Legend G e o r g Kevin Hannon, trumpet Bouﬀonnerie. Allegro con Spirito : t Dowling (19422006) e Enesco a (b. 1942) n Trios for H f a r o Finale from F e a u s t Robert Muller, French horn I See a Huntsman......................................... Friedrich Handel Zachary Arenstein, French horn (16851759) Charles Gounod ' (18181893) (18351921) r o m v r s r o n Wolkenschatten, Op. 136 Tranquillo (17561791) (b. 1923) Adagio from Symphony No. 3............................ Camille SaintSaens ..........Pierre DeGenne (b. 1941) Daniel Pinkham n............Various r (18811955) Horn Concerto No. 4...............................Wolfgang Amadeus Mozart ®INTERMISSIONcs Aria and F T Samuel Weintraub, trumpet 1 * movement: Allegro .. Nicholas Perrini Festival Fanfare Oh, Dem Golden Slippers.........ccccceeeeererecnennnen. Gordon W. Bowie (b. 1938) ............Jan Koetsier (19112006) James A. Bland (18541911) �PERFORMERS Accompanist Margaret Reitz Trumpets Daniel Fein – Kevin Hannon – Ryan Levitan Nicholas Polacco – Samu el Weintraub Horns Diana Amari – Zachary A renstein Zachary Birnbaum – Kirstie Cummings – Robert Muller – Natalie Rivera – Alexa Weinberg Trombones Jay Bartishevich – Mogana Jayakumar – William Marsiglia Robert Menard – Kevin Pinkel Euphoniums Damon Dye – Andrew Kaufman Tuba Matthew Gukowsky Timpani Caleb DeGroote Binghamton Uni versity Music Department’s U PC O M I N G E V E N T S ﬁ f M M M M M M b ﬁ m For ticket information, please call the Anderson Center Box Oﬀice at 777ARTS To see all events, please visit music.binghamton.edu Become a fan on Facebook by visiting Binghamton University Music Department � 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 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:02:26 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145280">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145280</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 Brass studio recital, April 29, 2010 Recital Tape 2010-4-29 Description An account of the resource Works by Honegger, Hummel, Enesco, Mozart, Handel, Perrini, Pinkham, Gounod, Saint-Saëns, Bowie, Bland. Held at 8:00 p.m., April 29, 2010, Casdesus Recital Hall. Creator An entity primarily responsible for making the resource Reitz, Margaret DeGroote, Caleb 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 2010-04-29 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/715be7be4d64190a554d5be9780be165.pdf 808e33a82c7b32d905e56d65f0b02257 PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E U N I V E R S I T Y O F N E W Y O R K d e 4 e D E P A R T M E N T BRASS STUDIO RECITAL Don Robertson, Director Ben Aldridge, Director Brian Sternberg , Director Margaret Reitz, piano Friday, May9, 2014 5:00 PM Casadesus Recital H all �ne PROGRAM «6 .Eugene Bozza Rustiques (19051991) Anne Taylor, trumpet . Vincent Pesichetti The Hollow Men.. (19151987) Brandon Young, trumpet Concerto for Trumpet . Movement 2 Andante Bai Xue, trumpet . Franz Josef Haydn (17321809) ..Sammy Nestico Portrait of a Trumpet. (b. 1924) Thomas Parker, trumpet Sonata No. 3.. Largo Daniel Remberger, trombone CINQ lmpromptus, Op. 55 .. 2. Allegro Molto .. Jan Koetsier (19112006) When the Saints Go Marching In... ..Traditional arr. Jack Gale Trombones Christopher Beard, Alejandro Espinosa, Daniel Romberger, Jacob Strohm Bass Trombones Patrick Jones .. Antonio Vivaldi (16781741) Euphonium Michael Sugarman (17021775) Christopher Beard, trombone ...Allesandro Besozzi Sonate B Dur.. Allegretto .. Anton Bruckner arr. David Sabourin Locus lste. ...Allesandro Besozzi Sonate B Dur. Andante The Binghamton University Low Brass Ensemble Alejandro Espinosa, trombone (17021775) Philip Sparke Song for Ina Michael Sugarman, euphonium Concert for Trombone and Piano... II. Quasi una Leggenda Jacob Strohm, trombone (B. 1951) Launy Grondahl (18861960) The Binghamton University Horn Ensemble Selected Horn Tries (to be announced) David Luther, Abbey McMahon, Daniel Muller Selected Quarters (to be announced) Zach Bimbaum, David Luther, Matt McAuliﬀe, Kathryn Saturnino Festival Fanfare The Ensemble �Bingham ton University Department of Music Coming Events Sunday, May 11 Grammy Award Winning vocal guest artis t jacqueline H o mer K ma te k – 3 :00 p.m. – Casadesus Recital Hall $5 general public; free for students Wednesda y, Ma y 14 Germa n Dict ion Class Reci tal – 8:00 p.m. – Casadesus Recital Hall free o w es a w w b a M M o a w w a é b — E [ = ] E n — E For tickets or to be added to our email list, visit andersortbinghamtonedu or call (607 ) 7 7 7A R TS. For a complete list of our concerts call (60 7) 7 7 72592, visit musicbinghamtonedu or become a fan on Faceboolc If you were inspired by this performance, consider supporting the Department of Music with a ﬁnancial gift. Your su pport helps to continue the work of students, faculty, and guest artists and their contributions to our community. Please make your donation payable to the Binghamton University Music Department, and send your check to BU Music Department, P.O. Box 6000, Binghamton, N Y 1 3902. � 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.) 109:55:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74940">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74940</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 Brass Studio recital, May 9, 2014 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Bozza, Pesichetti, Haydn, Nestico, Vivaldi, Besozzi, Grondahl, Bruckner, Koetsier. Held at 5:00 p.m., May 9, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Binghamton University Horn Ensemble Binghamton University Low Brass Ensemble Robertson, Don Aldridge, Ben Sternberg, Brian Reitz, Margaret Taylor, Anne Young, Brandon Xue, Bai Parker, Thomas Romberger, Daniel Beard, Christopher Espinosa, Alejandro Sugarman, Michael Strohm, Jacob Jones, Patrick Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Bozza, Eugene Pesichetti, Vincent Haydn, Joseph, 1732-1809 Nestico, Sammy Vivaldi, Antonio, 1678-1741 Besozzi, Allesandro Grondahl, Launy Bruckner, Anton Koetsier, Jan Date A point or period of time associated with an event in the lifecycle of the resource 5/9/14 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/2bd7c1e1ae48d6a50d78534cbf81c50f.pdf 5227e5d933350ff97431d81b5ceb5dc0 PDF Text Text BINGHAMTON U N I V E R S l T Y S T A T E U N I V E R S I T Y O F NE W Y O R K E S ”4/50 D E P A R T M E N T B r i a n a Salcamolo, s o p ra n o S e n i o r HOHOI‘S Decital with William James Lawson, planlsl Salunlag, March 20, 2010 at 8 pm Casadesus H a l l �P rog r a m rm Earyl ltalian Slug. and Airs, VJ! o Selections f L l Rontani) 1. Se bel rio (Raﬀaeo 2. Selve, wi che le speranze (attributed to Salvator Rosa) m Honda. a revrrsens h (18601932) 4. Apra il ma verde lean (Paolo Quagliati) i ns lrom Myrthen [Myetles), Op. 25 l cto IL. See reesrrmmsrssmonsoness Robert Schumann 1. Widmung, nixl (18101856) 2 . Jemand, no. 4 ie Lotosblume, na. 7 3.D 4 . N iemand, no. 2 2 l en Rosen . no .25 n oscith e 5 . Aus d 6. Zum Schluss, an. 26 . eis . old td me III. Selce al (Trois Pocmes de Louise de Vilmorin, no . }2 1 . Aude 9. Cimetiere ( (Ging Poemes de Max Jacob, no. 2) elnc .. Francis Pou (18991963) 3. Hotel ( Banalités, no. 2) e l’amour i s d 4. Les chemn trmsisoin Ine m... alaried longs . . iv. S 1. Slugging a Vampire 2. Canon l Clinics Ives (18741954) 3 . Serenilg wo Little Flowers (and dedicated lb them) 4.T 5. A4 Parting rl) v Free Wod te Peopels’ Ne tig lo: h r (Fgihn r Thee 6 .lug Ae V. Salaried songs m — _ – ~ — _ m _ — _ — _ S h p l l m FMl’zr 1. A L! May the red rose live alway! 2 .Gonna urn al ngiht (or Ill: Campolwn Races) (1826– 1864) �About the Music Around the turn o f the 20th century, Pietro Floridia realized the ﬁgured bass accompaniments a t several 17% century Early Italian Art Songs and Airs. Flocidia felt that these songs exempliﬁed “the ﬂuidity and harmonious character of the Italian language,” but suﬀered from “melodic decadence” and outmoded accompaniments. He took grmt creative license with several arrangements, shedding a romantic light upon the original melodies. Flosidia revered the original composers, though he felt they fell victim to the conventions of their times. He hoped for his versions of their songs to be seen as collaborations, not appropriations. Some latcr musicologists and critics called Floridia’s work extreme and ﬂorid, even “licentious.” Presently, most o f Floridia’s music has fallen by the wayside, due in large part to the disdain o f current editors and scholars. But Floridia said that he strove to please his own sensibilities, unconcemed with “musical erudition.” Though his songs are perhaps musicologically “incorrect,” we ﬁnd them very winning. Tonight’s selections progress from Floridia’s simpler style to his more infamous expansiveness. Se bel rio, with its broad melodic line, playful meter changes and quirky rhythmic energy, shows the “modem sense” o f melodic expressivity, “bold...rlaring spirit” with “a touch of humor” that Floridia admired in Rontani’s compositions. This song dedares that the world “smiles” by making beautiful things in nature, and yet the beauty o f all the smiling world cannot compare with the most gracious smile o f the speaker’s beloved. In Selve, voi c h e le speranze, the poet seeks solace in the woods, as though they are “rooms” full o f h ope. The melancholy yet hopeful melody is supported by a simple accompaniment that evokes both the quiet comfort o t “blessed hours” in the woods, and the speaker’s pensiveness. The speaker ol’A morire is Mary Stuart, Queen of Scots. Brought up in France. where her artistic and academic talents ﬂourished, Mary developed little political savvy. Her ﬁrst husband died, and her second and third betrayed her. Many Catholics believed Mary was the true sovereign of Elizabeth I’s throne. Mary became part of three plots to assassinate Elizabeth 1, her cousin, who in turn, put Mary in captivity for nearly twenty years until ﬁnally having her beheaded for treason. Reportedly, Mary made the most a t her unpnsosuncnt, and faced her excruciating death with great dignity. Here she laments that her crown can no longer protrct her, but she takes consolation in the fact that she lived for her ideals, despite her mistakes. Carissimi’s original cantata has a much longer text, and showcases ﬂorid vocalism over sparse sccosuparnmcut. Floridia expands upon a small excerpt of the original cantata. With a considerably slower tempo, and a weightier, more complex accompaniment, he delves deeper into this particular dramatic moment. Aprn il nun verde s e n o celebrates dawn, spring, and the hyacinth ﬂower (a symbol of both playfulness and sorrowful nostalgia). Floridia’s accompaniment creates musical tableaus to conjure the images of each verse: The ﬁrst tall chiming chords evoke the freshness o f spring ﬁelds and n ew ﬂowers, like the emerging rose. The second verse’s undulating arpeggios emulate the ﬂ ow o f water and breezes. The trllls and rolled chords of the third verse mimic birds singing and ﬂuttering. In the spirit o f the arranger, l have taken liberty in my interpretation o f these songs, imagining Mary Smart as the speaker of each piece – ﬁrst, as a young girl studying arts and letters, falling in love, then in captivity, wishing for freedom and hope, then facing death, and ﬁnally, unnsﬁgured after life into a spirit of the spring. Many of Robert Schumann’s songs were inspired by the love of his life, Clara Wieck Schumatul, a musiml genius in her own light. Her father, Friedrich Wieck, was Robert’s teacher, and though fond of his pupil, obiected strongly to Clara and Robert’s relationship. Wieck made their courtship as diﬀicult as possible and, in a lengthy legal battle, tried to prevent their marriage. Robert’s Opus 25, Mjyrthen, was a wedding gift for Clara, much o f it written while the couple awaited the court’s permission tor the marriage. The eponymous myrtles are bunches of star shaped ﬂowers that srgntu love and peace. Indeed, the songs are like a bouquet tor the bride, some dark, some light, some grand, some simple, all given with devotion. Some seem to be directly written from Robert to Clara, while others depict scenes ot‘ imagined characters singing of their beloveds. Probably Schumann’s facility for creating characters, as in his famous “Davidsbund” (a group o f imaginary music critics, all representative of diﬀerent sides of Schumann’s own opinions), his ability to envision himself partitioned into many diﬀerent people contributed to his creativity and to his madness. Yet in Myrthen it only helps to show the many colors of his great love for his wife. Our group is a microcosm of the cycle, following the order a t the opus. The ﬁrst and last pieces of the opus, the “Lieder der Braut” (“bride’s songs"), are the ﬁrst and last o f rhis group, beginning with Widmung, a “Dedication” t o the speakers love, his everything, “soul... heart... ecstasy... pant,” etc. A n example o f Schumann’s masterful ability to marry musical and textual poetry: when the speaker calls his love “a grave” for his “sorrows,” the music alliannonically transforms into a lower key, ready for the text that describes the beloved as “rest” and “peace.” At the very moment the speaker says that his beloved raises him above himself, the music rises back to the original key. Jemand is based on a Scots dialect Robert Burns poem.! It is the sort of song an ebullient young girl would sing about her secret “crush.” (Perhaps the character for this song was modeled after young Clara, who was sixteen when her romance with Robert began.) Her heart is, as Burns wrote, “sair,” o r sore as though wounded by cupid’s arrow: Gerhardt’s choice o f the German word “betriibt,” for “sair,” cmmotes cloudiness, storminess in the heart. The speaker declares her love for “someone” she cannot name, and revels in her secret. The erratic nature of the lovestruck heart manifests in quick changes in key, meter and tempo. Suddenly serious, the speaker sends good wishes to her love from afar, then, inst as suddenly, returns t o gleeful celebration o f h er secret. T h e sensual D i e L otosblume descnhes the lotus tlower and the moon as lovers who meet when night falls. The tender unfolding of the text mirrors the unfolding of the lotus in her lover’s light. The speaker o f Nier’nartdz (the companion to “Jemand”) is a gruﬀ and “jolly card” who deﬁes the world, not to be bothered, es ‘ y in his marriage. One imagines that Schumann felt especially close to the speaker of Aus den ballichcn Rosen, who sends good wishes to his love from afar, greetings like the “fragrance of roses” and “spring’s caress.” This poem, like “Jemand,” speaks of the heart’s storms, but those of a “joyless man” who hopes the darkness in his heart will not “touch” his beloved “ungainly.” Z u m schluss dislills the same basic chord structure and melodic ideas of “Widmuug.” If the opening of the opus is an ecstatic declaration of love, the conclusion is a solemn vow of love, the quiet devotion that lay a t the root o f all o f love’s other expressions. The speaker says that in this ﬂawed world he has “woven an imperfect wreath” for his bride, the best he can do, and promises that when he and she are received in heaven, love itself will weave them a “perfect wreath,” a sentiment made more poignant in retrospect, as Robert died forty years before Clara. Schumann wrote to his bride, “While 1 was composing [these songs] I was quite lost in thoughts o f you. If I were not engaged t o such a girl I could not write such music.” At an eady age, Francis Pmllenc was struck by the beauty o f German lieder, a genre that would have a profound inﬂuence upon his hundreds of mélodies. H e knew from his early teens that he was a composer, but his father discouraged him from pursuing a music career, insisting he focus o n academics. l’oulenc developed his musical talents o n his ow n until later i n his life, when he received formal training in conlposiﬁoth The “rough edges” (such as “wrongnote” dissonances) of his ‘ “My heart is sa i” 2“Naebody™ My heart is sair, 1 daurna tell, 1 hae a wife o’ m y a m. For the sake o’ somebody. I’l gie Cuckold to naebody. My heart ts saic for somebody, I could wake a wmtsr’r night, O h , h on! for somebody! 1 could range the world around For the sake o’ somebody. Ye powers that smile o n victuous love, Oh! sweetly smile on somebody; Ftsr ilka danger keep him free, And send me safe my somebody. Oh, hon! for somebody! l wad dae what wad l no? For the sake o’ s omebody. I’ll partake wi’ mebody; ru tak Cuckold fae nane, I hae a penay to spend, There, thanks to nacbody; 1 hac nacthing to lend, I’ll borrow frae naebody. l am nacbody’s lord, I ’ ll be slsrr to nacbody; 1 hae a gude braid sword, I’ll take dunts frac nacbody. I’l be merry and free, I’ll b e sad for nacbody; Naebody cates for me, l cate for usebody. �music, perhaps attributable in part to his selftaught style, brought criticism and admiration. Eady on, some critics suggested that Poulenc’s accessible, even catchy, music did not beﬁt a “serious composer,” as though accessibility and sophistication are mutually exclusive qualities! It seems, on the contrary, that some o f Poulenc’s greatest genius lay in his ability to mix complexity and intelligence with a vernacular, popular ﬂair. The content of Poulenc’s music was informed by a lite full o f contradictions. Poulenc was openly homosexual from his early twenties, yet he remained a pious Catholic, had romantic relationships with several women, and had a daughter. He spent much of his life touring, living in hotels. He greatly enioyed his work, especially his collaborations with singers, yet he was so lonely in this vagabond existence. All his life he suﬀered manicdepressive cycles. Appropnately, Poulenc’s music takes o n dramatically diﬀerent characters and atmospheres, portraying extreme moods, ranging between grave seriousness and terriﬁc ﬂights of whimsy. Tonight’ s group samples some of the many sides of this composer. Most of Poulenc’s songs, and all those on tonight’s program, were dedicated to singers and friends with whom he worked, written with particular voices and personalities in mind. The enigmatic text o f Audela concerns the act of “choosing in the hour of pleasure,” and says that, “to choose is not to betray,” in a romantic game so fragile it could be destroyed by “a breath.” These things considered, it is easy to think of Poulenc’s own sexual ambiguity, yet the piece approaches the topic in a saucy, lighthearted manner. A constant, speedy pulsation underlies a melody that runs into and out of the home key, evoking the lusty ﬂuctuations of the game described. The text suggests the vitalness of play, which we might surmise was especially immediate tor Poulenc, considering the intensity of his inner lite. The song was written to MarieBlanche de Polignac, who premiered many of Poulenc’s songs in her home, and in whom Poulenc conﬁded his diﬀiculty coping with soliulde and anxiety. Cimetiére (dedicated to Madeleine Vhita) is full of wistful romance. It speaks o f innocence, yet laments the loss of innocence. It is hopeful yet foreboding, slipping between major and minor keys. The ﬁrst motive the piano plays on its own is a hopeful, major, ascending phrase. This is restated at the end of the piece, in a strange minor, as if questioning its earlier optimism, with the added troubling presence of two dry staccato tones near the lowest end of the keyboard. Hétel (dedicated to Marthe Bosredon) contains similar contradictions. The ﬁrst line compares the hotel room to “a cage,” reiniu ' one of Poulenc’s depression. Yet, the song is to be sung “lazily,” and passes as ﬂeetingly and nonclnalanlly as a puﬀ of smoke from the speaker’s cigarette. The opening chords, radiant, vastly spaced blocks of tone, evoke the sun’s “arms” stretching through the window panes. The last chords, suddenly settled, suggest the pleasure of taking a muchdesired mouthful o f s moke to escape dreary mundanity and work. Perhaps the song allows us to glimpse a t private moment in the life of the composer. Les Chemins tie I’ A mour was written for Yvonne Printemps, a glamorous stadet o f operetta and ﬁlm, named for her perennially bright disposition. Printetups performed into her sixties, and lived a lavish, sexually adventurous life. The song is ﬁttingly optimistic despite some of its text, full of longing for the past, as in “Cimitiére.” It ﬁnds icy in nostalgia, even in sorrow, and celebrates the experience of love, even love that has “ﬂown.” Poulenc took special care to consider the intrinsic music of texts. H e would pore over a poem before setting it, and o n November 7, 1939, wrote “ I f I were a singing teacher I would insist on my pupils reading the poems attentively before working at songs.” Yet, “Above all,” he said, “d o not analyze my music Love it!” Charles E. Ives grew up in a middleclass Connecticut town. His father, George Ives, was Chades’ ﬁrst music teacher and mentor in composition, encouraging and inspiring Ives’ remarkably modem ear and sonic experimentalism, though he discouraged his son ﬁ'orn attempting to support himself solely with a career in music. In addition t o composing proliﬁcally, Ives became a successful insurance salesman. Though he produced revolutionary and now highly revered music, Ives gained no fame as a composer until after his death. He grew up loving the music o f ordinary people in church or in town hands, “They didn’t always play right and together and it was as good either way.” His music is sometimes deliberately unpolished. For a short time, Ives took singing lessons with a teacher who had him practice speaking the lyrics of songs, and then sing them according to spoken inﬂection. This greatly informed Ives’ voml writing, illuminating the ties between speech and melody. Ives’ songs incorporate modernism (on par with that of Stravinsky’s ilk) with the inﬂuence o f traditional American music (like that o f Stephen Foster). Ives merges the ﬁercely intellectual with the spontaneous and visceral, the sublime with the everyday. Slugging a Vampire is an abstruse iab at yellow iout’nalism, a great example o f Ives’ intensity and sense of humor. Its odd intervals and rhythms capture the raucous ﬁsttight it describes. Ives wrote that it should be performed “as fast and hard as possible.” Canon I is, indeed, a canon between voice and piano, with the melody starting in the voice. and echoed in the piano. The sprightly triple time, animated melody, and sharp contrasts of legato and staccato articulation show the speaker’s eﬀusive, eﬀulgent admiration for his beloved. The “unison chant,” Serenity, harkens back to some of Ives’ earliest compositional experiments, church music with untraditional accompaniments and voice leadings. Switching between meters and divisions o f the beat into twos and threes, the voice seems to ﬂoat freely over the steady piano part. The accompaniment rocks back and forth between two mysteriously serene tall tertiau chords, and on the ﬁnal phrases oﬂlie chant’s two sections becomes suddenly traditional, quoting a Samuel Sebastian Wesley hymn setting, until the last word of each section, where it returns to the twochord alternation. The vocal part of Tw o Little Flowers ﬂoats in a similarway. The text is set in four, while the phrases o f the piano drift in and out of the meter, achieving a dreamy interplay between singer and accompanist. The “two little ﬂowers” that surpass all the others are Ives’ daughter, Edith, and her friend Susanna. The poem is by Ives himself and his wife, Hammny, who wrote many song texts for her husband. The folksy verse of At Parting frames a more urgent, operatic middle section. In valedirtion, the speaker conﬁdes that the rose shegives to her beloved represents all herlove, that the toseis not iust a msqbutherveryhurl. ThcyAreTheteisaprime example of Ives’ rough, textdriven style. It is a wild patchwork quilt o f quotations from patriotic songs such as “Tenting Tonight” and “The Bartle Cry of Freedom,” that parodies patriotism while espousing a radically patriotic ideal oft’reedom. Ives said, it “is not a song for pretty voices—ifthe words are yelled out, regardless—so much the better.” He recorded himself singing the song, accompanying himself o n piano, indeed, yelling out the words, disregarding many notes and rhythms he so speciﬁcally notated, intrriecting extemporaneous exclamations. Fortyeight years betore Ives came into the world, Stephen Foster was born to another middleclass American family, in Lawrenceville, Pennsylvania (now part of Pittsburgh). Though Foster was always musically inclined, his father pressured him to go into a more ﬁnancially stable career. Stephen attended, detested, and dropped out of several schools before entering the family business. He eventually received formal training in composition. Ultimately deciding to devote his life entirely to music, he composed over 200 published songs over the course of about 20 years, many of which are now mistaken for folk songs. Foster’s idiom, so quintessentially American, brilliantly simple and earnest, had a profound inﬂuence o n later American composers like Ives, Copland and Rorem. Foster also paved the way for the likes of the Guthsies, Dylan and Baez, with socially conscious, folkstyle songs like, “Hard Times Come Again N o More,” Perhaps a subtler example o f the same category, Ahl May the Red Rose Live Alwayl meditates upon beauty and innocence, lamenting their ephemerality and vulnerability, and wishing they could endure. It seems an especially poignant piece considering the cotltposer’s short, tragic life: Foster had a tumultuous, unhappy marriage and became an alcoholic (like his father), falling deep into debt, his success waning, though he continued composing all his life. He died in a New York City boarding house, possessing less than forty cents, and a scrap o f paper on which he had written, “Dear friends and gentle hearts” and nothing more. We’ll end in happier commemoration o f Foster’s great spirit with The Camptown Races, one of many songs he wrote for minstrel singers. Though one might never guess it, Fosters lofty aim in such songs was to gain sympathy for slaves, endeavoring to give them less crass lyrics than traditionally written for them, and music that would move the audience to compassion, even through humor. While “The Camptown Races” was originally written in a minstrel dialect (as printed in the Texts and Translations section), we’ll perform it i n standard contemporary English. As I studied the music o f tonight’s program, I was struck by the diﬀerent forms o f subversion contained in each group: Floridia’s assumption of the right to collaborate with dead composers, Schumann’s ode to his forbidden love, Poulenc’s deﬁance against categorization, Ives’ simultaneous homage to and upending o f established musical forms and associations, Foster’s hope to transcend societal “givens” through the use of popular music. I also became interested in the rose as a gni at least once in each group, signifying similar ideas throughout the recurrent motif, aj program, especially cycles of love, hope, loss and rebirth. As I selected this repertory it seemed to emerge as the emblem of the evening. I also like the idea of giving songs, like roses, to an audience as a simple yet deeply felt gesture of love. So. l hope you like it! Peace! �Texts and Translalions L 1 . Se bel rio Text: Anonymous be l rio, she/MM. Iml’rrhrta S e Salmﬁnmmnmnderw Sediﬁorinpmtllelhtiﬁ bello, i n i r ﬁ n h m n ’ r k h l m Srgibmmfmumﬁgﬂﬂﬁug‘ gﬁ l’mel’aﬂu un aureo velo, Emnkﬁqyﬁmminsim, Noitﬁdaudenﬂtildrh If a fair brook I i a fair brook, iia t’airbteeze. Should murmur this morning; It’a meadow adorns itself in ﬂowers, Then we say: the earth is laughing. If ever upon scarlet ﬂowers, if upon lilies The dawn places golden veils, And whirls on her wheel ot’sappltixey Then we say that the sky is laughing. Fa r t 1 1 1 m m . l e, voi, che le speranze 2. Sev Forests, you who hold Selve, voi, live le speranzy Al gioir liete serbate Bil/timer siete le stanze, The hope of rejoicing gladly, You are rooms of pleasure Text: Anonymous Oleparmrdeg‘ia I’m! beate. Forests, you who hold Where I must g o t o pass blessed hours. 3. A morire Terr. Anonymous Todie A norire. n morire! Per Mbarg’mﬁqa ¢ fede, pis non valgon [e corone T o d ie, to die! To preserve justice and faith, crowns have no more value, Yet, even though I remain powerless my constancy pours out elixir Over my heart! To die, to die! Che sebbene in resto esangue tnza al moi cor l consa a mesce elisire! .4 morire, a morire! 4. Apna il suo Verde seno Tex Anonymous April il suo verde seno Ogni brlpmm ameno, Lieta ¢ vexzosa Esce la rosa, Spiri ogm'ﬁar! Aure d’amore, A salutare accinto Nova Ninfa dilnor, Nam Giacinto. l in: raghi 1pm“ augelli, You, pretty little dappled birds, Nel verde prato I age ed adorno, In the green meadow With winged song You awaken the beautiful day And adonl it, Novella Aumm. The new nymph of love The new dawn. Ae urodoraet, Orv’amwdak It’s really true; when it is happy, the world laughs, Heaven laughs when it is joyous; It’s really true: but they don’t know, as you do, How to smile so dearly. Benénnqmbigimudaridr i/mdo. Mildrlqwnda ? gioioso; Beﬂlmr mawﬂwpoimmwi. NmXiqbdblmr Etadall’ndt. From the highest mountains Flow clear and crystal fountains, Fragrant breezes, Now join With the munnuring Of the clear waters, Now that, mid ﬂowers and willows A new nymph of love Rises from the waves. Camdvgﬁuln’mﬁ Cbhinimlﬁtfonﬁ. Open your green heart Open your green heart Every pretty, serene meadow, Happy and charming The rose emerges, Every ﬂower exhales Breezes of love, To send welcome around A new nymph ot’love, The new hyacinth ﬂower. Col mormorare Drll’atqurbiar, r che truﬁm’tﬁmdr O Amorosetti ¢ snells, C a l c anto alato Destate il goirno Ordrgid spam/mm NORA Ninfa 414mm Amorously charming and agile, NOW that already springs forth �ll. 1. Widmung Text: Friedrich Rﬁcken Dedication DHmcineSetle,dlt~ailHﬂ§ D in r i m W m l a m n e i n j m Du meine Welt, inlet/kt“! N i k k i [ M I A M M M OhmebJvdutb'nab m u m m y You my soul, you my heart, You my ecstasy, oh you my pain, You my wodd, in which I live, My heaven you, through which 1 soar, Oh you my grave, down into which I have forever buried my sorrows! Dnbiﬂdl’eRﬂbldrbﬁtdtrFﬁdu. Dnl’irfml'ﬁnuluirbacbkdm. You are rest, you are peace, You have been granted to me from heaven; anB/ itkbatuidmruiru’ﬂﬁf, Dﬁhbdm’dﬁebﬂdﬂbrrnicb, illdnmrcebh m’nbwmkb! Your gaze has transﬁgured me in my own eyes, Dnudnfnlc. J a m i [ m (etc) You my soul, yoru my heart, (etc.) 2. Jemand Adapted text: Wilhelm Gerhard Someone Mein Herz, ist BETRIIBT, ich sq’m NCI HT, Jemand; m Mein Her, ist behﬁlli u [lb keimnte wachen dei lingste Nacht, U r i e l / m m ” wnjzmnd O Wonne wajmmi’ o Himmel mnjmmnd’ Durchstreifen kinnt’ id) dei ganze Welt, Aus Lilie zu Jemand. Tbr Michte, die ilmier Lid» hold, uf Jemand, 0 lichelt rfeundcilh a That you love me, gives me selfworth, You have, by loving, raised me above myself, My good spidt, my better sell! My heart is distressed, I dare not say why. My heart is distressed over someone; 1 could stay awake the longest night, And ever dream o f someone. Oh ecstasy o f someone! Oh heaven of someone! I could roam the whole world, Out of love for someone, You powers, you who protect love, Oh smile friendily on someone, Protect him, where danger threatens him, Give safe passage to someone; Oh ecstasy for someone, oh heaven for someone, 4. Niemand Adapted text: Wilhelm Gerhardt Ich hab’ meni W’n’b allein, Und teil es, traun, mit niemand; f sein, b NICHT Habnre wil o Zum Habnrei mach’ id; niemand. Ein Sackehen Goldi'ﬂnm’n. obody I have my wife, I alone, And swear it, share with nobody; No cuckold will I be, And I will make a cuckold of nobody. thtwab’kbamh‘bu. A little sack OI’GDld is mine, But for it 1 thank nobody; I have both] lg to lend, l i t h ' nd c b l m de e m [ ﬂ / " W M “ And subservient to nobody; w m m ’ n m m U nd b r ‘ g n n l I – i r l ‘ m a nd And I borrow from nobody. I a m n o t anyone’s master, MM–kbnrm’e–ud But my blade stabs sharply, 1 fear nobody. Kauz, bin id. IH mti niemand: RC ANGES KEOiPnFHl ust’ger Mopy whti nobody; So scher’ ich mich um niemand. So, then, 1 care about nobody. 5 . Aus den 8stlichen Rosen From the easterly rose MuduKligemlbl‘ Schiert niemand sich um mich, Tex: Friedrich Riicken Ich sende einen Gnu: wei Duft der Rosen, lab send’ ibn an ein Rosenangesicht. Ich sende einen Gruss wti Friiblingskosen, Ich send’ [bu an ein Aug’ voll Friiblingslicht. A iolly card am I, If nobody cares about me, I send a greeting like the scent o f t he rose, I send it to a msy face. I send a greeting like spring’s caress, I send it to an eye full of spu’ng’s light. Am Schmerzenstirmen, dei meni Hug durchtosen, Out of the painful longing storming through my heart, Sud‘kb den Hauch, dich unsanft mbr’ern‘ttd Wenn daydukal an den Freudelosen, J a M h H M m N W I M I send this breath, may it not touch you ungently! W’henyoudtinltupondmisioylessmnn, It makes the heavens light u p my night. Iwould,lmxld,wlutwouldlnotdo 6. Zum Schluss In conclusion 3. Die Lotosblume Text: Heinrich Heine The Lotus Blossom Hier i n d iesen erdbelelommmen Liz/Pu. Here in this earthoppressed air, Dkumbhumgm‘gr Sich m der I o u m t b r The lotus ﬂower is anxious Before the sun’s splendor Hﬂb’irb dirdu u nvolllommnen Kmq‘gg/bd’m. Schwester Braut! For you I have woven an imperfect E m m l r i l ﬂ ﬂ u m d d ie N a t b l . She dreamingly awaits the night. Beschirmet Eb». no Gefabren drub’n; G a m m a “Je mand. O I r m a – f w d . oHipmldmjmnd Teh wale), id: wolte, was wal’ ich ncih? Fir meinen Jemand! uunitgmukaInnpn Er weckt sie mit seinem Licht, For my someone! And with lowered head The moon, who is her lover, H e wakes her with his light, Uud ibu entschlesert xitﬁzmdﬁcb lmengesciht, r rofmmes Bu b T And to him she sweetly unveils Her devoted ﬂower face, Sie HAW und glibt und leuchtet She blooms and glows and shines And gazes silently upward; Und starret stumm in die HJII'; Sit duftet und weinet und zittert 1 ‘w Deb: und Liebesweb. She emits fragrance and weeps and trembles For love and love’s pain Text: Friedrich Ruckert die Webmuth thud. o w fenommen, rben aug Wenn uns, do tegen schant, Gottes Sonn’ eng Win! die Liebe, den rolllommnen Kranz, uns ﬂechten, Schwester Braut! where melancholy drops like dew, garland, sister bride! When we are welcomed above, God‘s sun shining upon us, Love will weave a perfect garland for us, sister bride! �IIL 1. Audela To beyond I i i – d r u i d Audela! Water of life! T o beyond! Ala"am Choisir [ubatircdmlﬂ jeaboirirmlmb’ grandam/am rire, D’tm doigt de<i, dela, Canmujiu’tpwritﬁm QMm/w’lpaun’rﬁn, IImparaLMﬁ. quﬂj'ouldidiu: j’m’ﬂbknujmﬁ jammy«u a’u derni su Juq Qﬂ'lr’mﬁ'fdhﬁﬂ'ﬂ Jﬂqﬂhww At the hour of pleasure, To choose is not to betray, I choose that one. 1 choose that one, Who knows how to make me laugh, W’tth a ﬁnger here and there, As one does to write. Asonedoestowrite, Hegoes daismy, that way, Widaommeduingto u y t o him: Ireallylikelhisgame. I really like this game, That but a breath could end, Up until the last breath 1 choose this g a me . Eau de vie! Audela! (et.) Water of lite! To beyond! (etc.) 2. Cimetiére Cemetery Simmdﬂwulwbamz wdmtiénmumm mnblandxanw rouge. If you chase away my sailor, in the cemetery you will put me, white rose and red rose. m u n / w i t h , m agenbhm‘x. ltdbluwblmirrg, like a garden, red and white, On Sundays you will go, 34a tombe, elle es t comme un jardin, V a n i s h { m u m My grave, it is like a garden, Yo u will g o a nd take walks, 3. Hotel Hotel Aladmﬁhtﬂhﬁvmd’mnmy My room has the shape of a cage The sun reaches his arm through the window but I who want to smoke L a w / m m bmparhjmim muqumﬁm M f u i nd u – i l q u j h l l n m n a ﬁ nd u ﬁ ﬂ r m t g m m jimmvpnﬂmi/lfrjtmmfnm To make mirages, 1 light my cigarette on the sun’s ﬁre I d o n’t wa n t t o w o rk – I wa n t t o s moke. 4. Les chemins de l’amour The paths of love L a rb f n i u q d w n rd h m The padts that go to the sea Have kept from our passage Defoliated ﬂowers and the echo under their trees ot’our two clear laughs. Alas! O f the days ol’happiness, Ont‘gmic’dtmpam‘p Dnﬂumqﬁlallﬁr diMm/wﬁa’l’m dcwdmrrimdairr Hi h d t k t j on nd f b w b e u jfm’unummmr Immdantmrwlr. Chemins de mon amour Je vous dmrbl toujours C b m u p n d u vous 1 Warp/w sont sounds E t vos echos The radiant joys stolen, 1 go without ﬁnding any trace [ot’tliem] in m y h m Paths o f my love I search for you always Lost paths, you are no more And your echoes are deaf Chemins du désespoir Chemins du souvenir nis du premier/oar Chem Divins chemins d’amour. Paths of mentiory Paths of the ﬁrst day Divine paths of love. Si]: dealt/bublkrmjbur grgunned» Lam jimdammmr If I must forget it one day Life caning everything I want in my heart q n’ m v m l l i r n p u : Paths of despair fo r o n e memor y t o remain white rose and white lily, Aunt Yvonne at AllSaints” Day a wreath of painted iron she brings from her garden ofpainttd iron with pends of satin. Ois tremblante ” M W Un ﬁ n r j ‘d m l i m i n i lmilnmmiu . stronger than that other love The memory ot’the path Where trembling and totally lost, One d ay I felt upon me burning, your hands. Jimmmrmum’kr I f G od wants to resurrect me Chemins de mon amour (etc) Paths of my love (etc.) Si mon marin revenait, rose rouge ef rose blanche, I f m y sailor should come back, wblauhdblawm Tank Y m a ‘ h T « u n b r t m m m u ﬁ r p d n t zﬂqapomdrmjmlin mferpeinlamdupahdlmliﬁr PARADIS monterai, A U se blanche, ninl’tdm’, rorwtbhﬂdvdblammgml. tombe il vient anpris, a sur m rose blanche e t blanc muguet. ruse balnche, Jaukumidtmeq‘m, qmduupkﬁurnrbqni mnbbndndbhntm to paradise 1 u‘ﬂl rise, white rose, with a golden halo, white rose and white lily. red rose and white rose, t o my g rave he will come near white rose and white lily. Remember our childlwod, white rose, when we used to play on the docks, white rose and white lily. Ph i / N i gh t l’autre amour bmnirdurhnin �IV. 6. They Are There (Fighting tor the People’s New Free World) Text: Charles E . I ves I. Slugging a Vampire Text: Chades Ives 1 closed and drew but not a gun, the refuge of the weak, I swung on the left and I swung on the ﬁght then I landed on his beak; He started to pull the same old stuﬀ, But I closed in hard and called his bluﬀ, Yet his face is still asliclrin‘ in the yellow sheet And on the billboard adown the street. 4. Two Little Flowers (and dedicated to them) Text: Chades Ives, Harmony Twitchell On sunny days in our backyard, Two little ﬂowers are seen, rightest pink One dressed, at times, in b and one in green. The marigold is radiant, the rose passing fair; Not only in my lady’s eyes The violet is ever dear, the orchid ever rare; Theres loveliness in wild ﬂow’rs o f ﬁeld or wide savannah, But fairest, rarest of them all are Edith and Susanna. All the lore that poets prize Is garnered in her mind. 5. At Parting Text: Frederic Peterson She is the soul ornu I sing, For though to me belong The pipe, the shell, the string, Aud she h e r s el f the song. The sweetest ﬂow’r that blows, 1 give you as we pat’t‘ For you it is a rose, tor me it is my heart, 2. Canon Text: Unknown author D o I her beauty tind, There is no wisdom in my word, N o m usic in my lay, Save what I’ve sweetly heard My lady sing or say. 3. Serenity Text: john Greenleaf Whittier O , Sabbath rest of Galilee! O , calm of h ills above, Where jesus knelt to share with Thee, the silence of eternity Interpreted by love. Drop thy still dews ot’quietness. Till all our strivings cease: Take from our souls the strain and stress, and let our ordered lives confess, The beauty of thy peace. To you it is a rose, t o m e it is my heart. The tragrance it exhales, Ah! If you but only knew, where but in dying fails it is my love for you. T h e sweetest ﬂow’s that blows, I give you as we part, You think it but a rose, Ah! me it is my heart, You think it but a rose, Ah! me n is my heart. When we’re through this cursed war, All started by a sneaking gouger, Making slaves of men, Then let all the people rise and stand together in brave, Kind Humanity There’s admeinnnnyalife, Most wars are made by small Wlit’sdothoughfacingdeadlandoutsoldier stupid selﬁsh bossing groups boyswilldo tlteirparlthal peoplecanlive while the people have no say lnawoddwhereallllrillhaveasayl But there’ll come a day Hip hip Hooray They’re conscious always of their country’s aim when they’ll smash all dictators to the wall. wlnch is liberty for all. Hip hip hooray you’ll hear them say as they g o t o the ﬁghting front. Then it’s build a people’s world nation, Hooray Ev’ry honest country free to live its own native lite T‘lleyll’illslandrbrdlerigllgbmiﬁtcomestomigbt, Theyarethere, theymthue‘ dleyalelllere, Then diePCOPlﬁmtiuttpoliMns, Brave boysarenowinarlion leyaredxere,dteywillhelptoﬁeethewodd Theyareﬁg’hting tor the right willnlletheirowulandsmdlives, Butwbeuitcomesmmigl‘ll. Then you’llhﬂnhewholeunivelse Theyaretllete,tlteyarethere,dleyarel:here, sbouﬁngdlebsrtlecryofFreedom, As rlleAlliet bmtupnlltllevsrllogs. TmﬁngmancwumpgtomﬂTelﬁngtouight, Tbelloys’llbetllaeﬁghlinglnrdandthen tmdngonanewcampgtound. the woddwillshoutdtebatdeu'yomealonL Fotit’l mllymundtlle ﬂag Tenting on a new camp ground. oﬂhepeople’s new free world Shouting the battle cry of Freedom. v. 1. Ah! May the red rose live alway! Ah! may the red rose live alway, T o s mile upon earth and sky! Why should the beautiful ever weep? Why should the beautiful die? Lending a charm t o ev’ry ray That falls on her cheeks ol’light, Giving the zephyr kiss for kiss, And nursing the dew drop bright. Long may the daisies dance the ﬁeld, Froliclting far and near! Why should the innocent hide their heads? Why should the innocent fear? Spreading their petals in mute delight When mom in its radiance breaks, Keeping a ﬂoral festival Til nightloving primrose wakes. Lulled be the dirge in the cypress bough, That tells of deparled ﬂowers! Ah! that the butterﬂy’s gilded wing 2. Camptown Races De Camptown ladies sing dis song Doo dah! doo dah! De Camptown race track ﬁve miles long Oh! doo dah day! 1 come down dah wid my hat caved in Doo dah! doo dah! lgobackhomewidapodnetﬁllloﬀin Oh! doo dah day! Gwine to run all night! Gwine to run all day! I’ll bet my money on de bobtail nag Somebody bet on de bay. De long tail ﬁlly and de big black hoss Dey ﬂy de track and dey both cut across D e blind hoss sticken in a big mud hole Can’t touch bottom wid a ten foot pole Oldmuleynowoomeontodetrark Debobtailllingheroberhisbzck Fluttered in evergreen bowels! Sad is my heart for the blighted plants Dentlyalonglikearailmadcar They bloom at the young year’s joyful call, And fade with the autumn leaf, Seedemllyinonalenmileheat Rmndder xemrhdenrepeat Illin my moneyondebub tail nag Ikeepmy money in an old tow bag Its pleasures are aye as brief Rllrlninalacewidashootin’star �Ahoul the P erformers Briana Sa k a m oto has been a frequent recitalist i n Binghamton and Westcheste r over the past few years. She is a member of the TriCities Opera chorus, and recently covered the role o f Barbarina in Le nozze di Figaro. She has also sung with BU’s Harpur Chorale, the Binghamton University Chorus and the Taconic Opera Company. Performing in forums and fundraisers at BU, Briana has lent her voice to such causes as “Voices Against Violence,” and the ﬁght against the genocide in Darfur. She is pursuing a Bachelor of Music degree in Vocal Performance at SUNY Binghamton under the direction o f P rofessor Mary Burgess. She also studies with T C O artistic director Peyton Hibbitt, a nd in Manhattan with soprano Carol Yahr. A proud member of AEA and SAG, Briana has a long background in dramatic performance and musical theatre, and studies acting between semesters at the Larry Singer Studios in Manhattan. William J a m e s Lawson coaches and accompanies singers at Binghamton University. As a coach, he specializes in English diction for the American and English art song, sacred music, and classical theater repertoires. He studied at Binghamton University (B.A. 1980), where his teachers included Seymour Fink and Patricia Hanson in piano, M. Searle Wright in church music, and Stevenson Barrett in vocal coaching. He holds an M.A. from New York University (1984) and was one of the ﬁrst graduates o f New York University’s innovative Department of Performance Studies, an intetrlisciplinary program in the performing arts. Binghamlon University Music Department Upcoming Evenls Sundng.Mnmh?l.Scnlor Recital: Mm Silvagni, percussion 3mensodemsRedl¢lHnle££ Bach Birthday Bash Sunday , Macrh 21 .Organist Jonathan Bgigers ,A 4 pan. Firs! Presbyterian Church, Binghamton, s s Thursday. March 25, MidDay Concert 1:20 pm. Casadesus Radial Hall, FREE i Day Concert with guest artist ll : rsdag, April8 , Jazz Md 1:20 pl... Osterhout Concert lltealer. FREE Thursday. April 8. Harpur Juz Ensemble Concert with guest artist 8 p.m. Otherhonl Concerl Thacher. SS l TTARTS T For ticket information, please uﬂldc Anderson Center Box Oﬀice A Io see allevenb. please rid! music.binghamton.edu a n o n F a c e b o o k Ag visiting B in g h a m t on Un i v e u ﬂ y M u s i c D e p a r t me n t B e c o m e 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/. 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 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 31:23:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145178">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145178</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 Briana Sakamoto, senior honors recital, March 3, 2010 Recital Tape 2010-3-20 Description An account of the resource Works by Floridia, Schumann, Poulenc, Ives, Foster. Held at 8:00 p.m., March 20, 2010, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Sakamoto, Briana Lawson, William James 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 2010-03-20 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/4303848b30a5c5d04f39bef4bc6faa03.pdf 3bfcc4211e3ddc10e79215a08a63142d PDF Text Text BINGHAMTON U N I V E R S I .T Y usi DEPARTMENT BRIANA SAKAMOTO, SOPRANO JUNIOR RECIT AL WILLIAMJAMES LAWSON, PIANIST SATURDAY,APRIL 25, 2009 7/ P. . M. CASADESUS HALL �I. Selections from 26 Arie di Stile Antico ........................... Stefano Donaudy (1879-1925) l 1. Venuto èl'Aprile 2. Luoghi sereni e cari 3. Quando ti rivedrò 4. Ognun ripicchia e nicchia II. Selected lieder .......................................................................... Franz Schubert (1797-1828) 1. An die Musik, op. 88 no. 4 2. Auf dem Wasser zu singen, op. 72 3. Friihlingsglaube, op. 20 no. 2 III. Selected lieder.....:············································· Fanny Mendelssohn Hensel (1805-1847) 1. Verlust, op. 9 no. 10 2. Sehnsucht, op. 9 no. 7 3. Italien, op. 8 no 3 Intermission IV. HalfMinute Songs ......................................................... Carrie Jacobs Bond (1862-1946) 1. Making the Best of It 2. First Ask Yourself 3. To Understand 4. How to Find Success 5. The Pleasure of Giving 6. Answer the First Rap 7. A Good Exercise 8. A Present from Yourself 9. Now and Then 10. When They Say the Un-kind Things 11. Keep Awake 12. Doan' Yo' Lis'n V. Selected melodies ....................................................................... Gabriel Fauré (1845-1924) 1. Mandoline 2. Au bord de l' eau 3. Les berceaux 4. Chanson d'amour VI. Selected songs ................................................................... Stephen Sondheim (b. 1930) Green Finch and Linnet Bird (from Sweeney Todd) Take Me to the World (from Evening Primrose) On the Steps of the Palace (from Into the Woods) �Stefano Donaudy aspired to be a great opera composer, finding popular success in the genre from ·the age of 14. His composition teacher said he had an "effortless melodic spirit." Donaudy's operas did not endure at a time when the works of Verdi and Puccini dominated the operatic landscape, but his Arie di Stile Antico are now quite popular for recitalists. These pieces are in the traditional vein for which Donaudy is best known. Biographical material on the composer is strangely limited. We can only guess at the origins of the passionate intensity of his songs (giving some credit to Donaudy's Sicilian roots!), but, for whatever reason, they convey a tells of budding love l great generosity of heart and soul. Venuto è l'Aprile between mythical nymphs and wood spirits. The voice begins alone, followed by the piano in the same sprightly melody, and they seem to chase each other and dance, like the song's characters. Bittersweetly, Luoghi sereni e cari recalls youth and the pain of a first heartbreak. The accompaniment is at times wistful and music-box-like, and at other times swelling with more mature colors. A deeper, unresolved loss is mourned in the operatic Quando ti rivedro. The speaker asks when she will see her unfaithful lover again, but the music tells us that she knows he will not return. Ending the set with lighter fare, Ognun ripicchia e nicchia tells the familiar story of a promising date gone awry. When Franz Schubert was eight, he studied with organist Michael Holzer, who reportedly said, with tears in his eyes, ''Whenever I wished to impart something new to him, he always knew it already." Schubert is perhaps the Giant of German lieder. With astonishing speed he wrote hundreds of songs in addition to a myriad of other compositions in his short life. Everything in the gamut of emotional experience has probably been expressed in a Schubert song. Additionally, these musical gems evoke images and sensations of water, breezes, sunset, and the like. Schubert's idealism comes through in music that elevates the human experience. "The important elements of Schubert's character were a love of truth, and a marked hatred of jealousy, tenderness with firmness, sincerity and affection ... " These qualities are exemplified in An die Musik. This song is like a duet between the voice and the piano's melodic bass-line. Schubert wrote the last two songs in this set while struggling with illness and depression. Equivocation between minor and major in Auf dem Wasser zu singen expresses awe, sadness and ultimately joy in the face of life's ephemeral beauty and the speaker's own mortality. The speaker of Friihlingsglaube comforts her own "poor heart" and welcomes the promise of spring heralded by "gentle breezes." One supposes that the composition of such songs must have helped Schubert cope with his illness. After he died, his tomb was given Grillparzer's famous epitaph: "The art of music has entombed here a rich treasure but even fairer hopes." �Though Fanny Mendelssohn-Hensel displayed prodigious talent early on, her family strongly discouraged her pursuit of a musical career. She transferred much of her creative energy into advising her brother, Felix. Nonetheless, she composed prolifically, developing a distinct musical voice. In 1846, she summoned the courage to publish, announcing it in an apologetic letter to her brother, "I hope you won't think badly of me ... if the pieces are well liked and I receive additional offers ... it will be a great stimulus to me, something I've always needed in order to create ... " She died soon after. Today, the majority of her works remain in family archives, unavailable to performers and listeners. These three songs represent some of her great emotional range, and ability to create richness through relatively simple, clean melodies with novel twists. An ironic major-minor conflict, and rhythmically crowded phrases embody the broken-hearted turmoil of Verlust. Sehnsucht begins on a long note that fades away like the distant "dance tune" it describes. Its melody moves primarily in descending scales, but at times rises and holds our expectation, mirroring the speaker's unfed yearning. Evoking the brilliance of nineteenth century Italian opera, ltalien soars, dance-like, in an outburst of pure, triumphant joy. About a month before Hensel died, she wrote of such bliss in her diary. Perhaps beginning to share her work with the world gave her a new freedom and lightness of heart. "Yesterday the first breath of spring was in the air. It has been a long winter ... indeed a winter full of suffering ... My inmost heart is ... full of thankfulness.... I am quite overcome with my own happiness." Carrie Jacobs-Bond was a piano prodigy, but did not pursue music professionally until after the death of her second husband, when she lost nearly everything. She fought poverty for years, .providing for herself and her son by writing, selling and performing songs "unpretentious as a wild rose." She suffered stage fright, and was criticized for being "plain and angular." An untrained vocalist, she courageously sang and played her songs on her own at first because she could not find anyone else to do it. Ultimately she became quite famous and successful for her music and earnest performances. Upon hearing her most famous song, At the End of a Perfect Day, in concert, a Viennese composer visiting the United States stood up, thinking it was the national anthem, so revered and beloved it was. It is easy to imagine Jacobs-Bond delivering these pearls of wisdom, the HalfMinute Songs. They are infused with her uprightness, forthrightness, and most of all, her consciousness that in making music, she was giving a muchneeded gift: "I wonder what the world would be like if there were nobody to do the simple things!" Bond wrote, "I wonder how folks would get along without snappers, and hooks and eyes, and pins. Nothing could be much commoner than they are, but they fill a very much-needed place. You see, lots of folks can get along without a point lace collar, but I should hate to see folks try to get along without the other commodities I've spoken of. And sometimes songs (simple songs) like pins keep folks together." �Gabriel Fauré was reportedly very charming and seductive, like so many of his melodies. He was quite busy as a teacher and organist, and could not devote the majority of his time to composition. Fauré's life spanned the musical developments of greats like Berlioz, Berg, and Shostakovich, and he was educated with a wide range of musical voices from an early age, giving him an extensive palette. The musical language he created out of all that he absorbed was one of the most modern of its time. Mandoline is an excellent example. Its melody seems to begin simply, as does the picture of the archetypal lovers it describes, but falls into a colorful and amorous reverie, destabilizing our sense of the key. Au bard de l'eau describes the infinite richness of the moments two people can share when they live and love in the present. Les berceaux juxtaposes the rocking of large ships in a harbor with the rocking of cradles. Both are represented in the music: long phrases stretch over a shorter constant rocking figure in the piano's right hand. The set closes with the breathless Chanson d'amour. In it, the poet ecstatically enumerates everything he loves about his fiery lover, from head to feet. One of our greatest living composers, Stephen Sondheim is a lover of words, internal process, and impeccability of speech and expression. Through his songs we enter vast emotional and intellectual landscapes, each rich and unique; but no matter how smart, novel, or dark, they are simply human at the core. Sondheim trained with Oscar Hammerstein, and followed in his footsteps to earn a place in the Pantheon of musical theatre composers. In Sondheim's work one hears the influence of opera (Puccini in his crowd scenes) and musical theatre (Hammerstein in his love songs). Additionally, there is an incredibly current, vernacular and bitingly intellectual use of language. The composer has an uncanny ability to tap into a character's soul and mind, often through the musicality of natural speech patterns: An extended rest may be a moment of clarity, a dotted rhythm a hesitation, and so on. These three songs are full of such telling moments. They present three young women coming of age, seeking freedom. Johanna, from Sweeney Todd, is in the care of an oppressive and lascivious ward, kept in her room all day, listening to the songs of the caged birds outside her window. She sings back to them in Green Finch and Linnet Bird Johanna sings a tuneful and light melody, yet a persistent, somewhat dissonant, beat in the piano belies her growing dissatisfaction. The second selection is from an episode of ABC's "Studio 67 ," Evening Primrose, that tells the story of a group of people who have decided to separate from society by living in a department store. Ellen was brought to the store by her mother when she was very young, and has always wished to leave. When a disillusioned poet comes to stay in the store, Ellen and he fall in love. She pleads him to escape with her in Take Me to the World The melody evokes classic musical theatre, but the accompaniment is ominous and harmonically "crunchy." The last character is Cinderella, from Into the Woods, who tells how she really came to leave her glass slipper On the Steps of the Palace. �In selecting this program, I noticed that the pieces I was drawn to shared common threads such as nature, dance, water, flowers, birds, positive existentialism, idyllic settings and awakenings. Such themes and motifs are hardly surprising to find in art songs and musical theatre pieces. However, I want to highlight them in celebration of Spring and all it represents. If I titled this evening, I might borrow from Schubert and Uhland and call it Frühlingsglaube (Spring-Faith). I wish you all the best in the new season and forward ... Finally, in the words of Bek David Campbell, "Please enjoy." Sources: Gabriel Fauré, Jessica Duchen. London: Phaidon, 2000. GroveMusic Online, Oxford University Press, 2007-2009. The Mendelssohns; three generations ofgenius. New York, C. Scribner's Sons, 1972. The Roads ofMelody, Carrie Jacobs Bond. Ayer Publishing, 1980. Sondheim, Martin Gottfried. New York; London: Harry N. Abrams, 2000. Stefano Donaudy's 'La Fiamminga,'' aperformanceproject, Samuel Taylor Savage, DMA 2002. UMI Dissertation Services. From ProQuest. Women and Music,A History, 2nded. Ed. Karin Pendle. Bloomington: Indiana University Press, 2001. Briana Sakamoto is pursuing a Bachelor of Music degree in Vocal Performance at SUNY Binghamton under the direction of Professor Mary Burgess. She also studies with Professor Tim LeFebvre, Judy Berry and Peyton Hibbitt, here in Binghamton, and with dramatic soprano Carol Yahr, in Manhattan. She has performed with the Taconic Opera Company and the Binghamton University Chorus and is currently a member of BU's Harpur Chorale. She has a long background in theatre, earning AEA membership and SAG/ AFTRA eligibility' in 2005, and studies acting between semesters at the Larry Singer Studios in Manhattan. "Many thanks to my family, friends and teachers! Peace!" William James Lawson coaches and accompanies singers at Binghamton University. As a coach, he specializes in English diction for American and English art songs and the sacred and classical theater repertoires. He studied at Binghamton University (B.A. 1980), where his teachers included Seymour Fink and Patricia Hanson in piano, M. Searle Wright in church music, and Stevenson Barrett in vocal coaching. He holds an M.A. from New York University (1984) and was one of the first graduates of New York University's innovative Department of Performance Studies, an interdisciplinary program in the performing arts. This past July, he conducted the Summer Savoyards production of Princess Ida. �I. Venuto è l' Aprile Text: Alberto Donaudy (1880-1941) April has come Venuto è l'Aprile tessendo ghirlande, E ninfee silvani sulprato raunando. A ccordan gli ontani i loro strumenti E ai primi concenti de/ vento Fra i rami comincia la danza. Prima un fauno s'avanza... La sua ninja lo mira... S ospira... E volano insiem! April has come, weaving garlands, And nymphs and sylvans are gathering on the meadow. The alder trees are tuning their instruments And at the first harmony of the wind Among the branches, the dance begins. First a faun advances .. . His nymph looks at him .. . Sighs .. . And they fly away together! Folleggian le coppie tra ifonti e le rive, E poi nelle selve scompaion furtive ... Ma Clori, che intanto gelosa è di Nice, Aspetta infelicee so/a, nelpianto, Che cessi la danza. The couples frolic among the fountains and streams, And then into the forest disappear furtively . .. But Clori, who meanwhile is jealous of Nice, Waits unhappily and alone, in tears, For the dance to stop. Maun pastore s'avanza... E già Clori lo mira... S ospira... E volano insiem! But a shepherd advances . . . And Clori looks at him .. . Sighs . .. And they fly away together! Luoghi sereni e cari Text: Alberto Donaudy Places serene and dear Luoghi sereni e cari, io vi ritrovo Quali ai bei dì lasciai digiovinezza! Gli stessi amati aspetti Ovunque iipasso io muovo... Sol non mi punge ancor Che l'amarezza dei mesti giorni In cui i tormenti d'un triste inganno Insegnato m'hanno pei primicosa Al mondo è dolor! Places serene and dear, I find you again Just as beautiful as I left you in the days of my youth! The same beloved sights Wherever I tum my step ... Only now do I not sting with The bitterness of mournful days During which the torments of a sad deception Taught me for the first time what In the world is griefl Lungi da voi fuggitoal/or Cercai di trovar pace al mio tradito core. Andaifin oltre mare, ed altre donne amai... Ma nu/la può /enire quel do/ore Ch'è piaga viva in ogni core d'amante Che nell'amore aveva ugualfade Che pregando ii Signor! Having fled far from you, then Trying to find peace for my betrayed heart. I went beyond the sea, and loved other women ... But nothing can lessen that pain Which is a living wound in every lover's heart Who had as much faith in love As in praying to the Lord! �Quando ti rivedrò Text: Alberto Donaudy When shall I see you again Quando ti rivedrò, Infida amante che mifosti si cara? T ante !agrime ho piante Or che a/trui ci separa, Che temo sia fuggita ogni gioia Per sempre di mia vita. Eppur più mi dispero, Più ritorno a sperare. Più t'odio ne/pensiero, E più ancora l'anima mia ti torna ad amar. When shall I see you again, Unfaithful lover who was so dear to me? So many tears have I wept Now that another separates us, That I fear every joy will be gone Forever from my life. And yet the more I despair, The more I return to hoping. The more I despise you in my thoughts, Then once again my soul turns to loving you. Quando ti rivedrò, Infida amante che mifosti cara cosi? When will I see you again, Unfaithful lover who was dear to me like that? Ognun ripicchia e nicchia Text: Alberto Donaudy Ognun ripicchia e nicchia ognor Su un caso strano a dir. Ma perchè, ma cos'è, Che tanto amor dovea cosifinir? Orio voglio la mia storia raccontar T anto bujfa ell'è: Me ne givo un di con Monna Lapa insiem, Che si cara m'era al cor, Peri campi a raccoglier.ftor. .. Ma la storia comincia qui. Everyone repeats and hesitates each time Over a case strange to tell. But why, but how is it, That so much love must end this way? Now I want to tell my story So funny it is: I was walking one day with my lady Lapa, Who was so dear to my heart, Through the fields to pick flowers ... But the story begins here. U'! cos'è quel ch'io veggo là? Un grillo o un rusignuol? Più be! ve'! Più be! ve'! La mia beltà sedette su un poggiuol. Lei sperava di poter cosi Coder ii divin cantor, Ma al trillar de/ grillo E al pronto suo balzar Diede un grido, e nelfuggir, Sù ove prima seggea cascò.... E la storia.ftnisce Ii. Ooh! What is that I see there? A cricket or a nightingale? Look- more beautiful! Look- more beautiful! My beauty sat on a little hill. That way she hoped to be able To enjoy the divine singer, But at the trill of the cricket And his quick leap She gave a shriek, and as she fled, I fell on the place where she had sat, And the story ends there . �II. An die Musik Text: Franz von Schober (1797-1828) Du ho/de Kunst, in wievielgrauen Stunden, Wo mich des Lebens wilder Kreis umstrickt, Hast du mein Herz zu warmer Lieb' entzunden, Hast mich in eine beßre Welt entrückt! To Music Oft hat ein Seufzer, deiner Harf'entjlossen, Bin süßer, heiliger Akkord von dir Den Himmel beßrer Zeiten mir erschlossen, Du ho/de Kunst, ich danke dir dafür! Often has a sigh, flowing from your harp, A sweet, holy chord from you Unlocked the heaven of better times for me, You dear art, I thank you for that! Auf dem Wasser zu singen Text: Graf zu Stollberg (17 48-1821) To be sung on the water Mitten im S chimmer der spiegelnden Wellen Gleitet, wie S chwäne, der wankende Kahn; Ach, auf der Freude sanjtschimmernden Wellen Gleitet die S eele dahin wie der Kahn; Denn von dem Himmel herab auj die Weflen Tanzet das Abendrot rund um den Kahn. Amid the shimmer of the mirroring waves Glides, as swans do, the wobbling little boat; Ah, on joy's soft-shimmering waves, Glides the soul there like the boat; Then from the heavens down on the waves Dances the evening's red glow around the boat, Ober den Wipftln des westlichen Haines Winket uns.freund!ich der rötliche Schein; Unter den Zweigen des ostlichen Haines Säuselt der Kalmus im rötlichen Schein; Freude des Himme!s und Ruhe des Haines Atmet die Seel im erriitenden Schein. Over the treetops of the westerly wood The red glow winks to us friendily, Under the boughs of the easterly wood Rustle the reeds in the reddish shine; Joy of the heavens and peace of the woods Breathes the soul, in the reddening shine. Ach, es entschwindet mit tauigem Flügel Mir auf den wiegenden Wellen die Zeit. Morgen entschwinde mit schimmerndem Flügel Wieder wie gestern und heute die Zeit, Bis ich auf höherem strah!enden Flügel Seiber entschwinde der wechselnden Zeit. Ah, with dewy wings, time vanishes From me, on the rocking waves. Tomorrow, time flies on shimmering wings, Again, like yesterday and today, Until I, on higher sparkling wings Myself will vanish in the changing time. Friihlingsglaube Text: Ludwig Uhland (1787-1862) Spring-faith Die linden Lüfte sind erwacht, Sie säuseln und wehen Tag unt Nacht, Sie scha.ffen an a/fen Enden. Duft, o neuer Klang! 0 frischer Nun, armes Herze, sei nicht Bang! Nun muss such al/es, al/es wenden. The gentle breezes are awake, They rustle and waft day and night, They are at work everywhere. 0 fresh scent, o new sound! Now, poor heart, be not afraid! Now must everything, everything change. Die Weft wird schöner mitjedem Tag, Man weiss nicht, was noch werden mag, Das Blühen will nicht enden; Es blüht das ftrnste, tieftte ta!, Nun, armes Herz, vergiss der Qua!! Nun muss sich al/es, alles wenden. The world grows lovelier with every day, One does not know what yet may come to be, The flowering will not end; The farthest, deepest valley blooms, Now, poor heart, forget your pain! Now must everything, everything change. III. Verlust Text Heinrich Heine (1787-1856) Loss Und wüßten's die Blumen, die kfeinen, Wie tief verwundet mein Herz, Sie wßrden mit mir weinen, Zu heilen meinen Schmerz. And if they knew, the flowers, the little ones, How deeply wounded my heart is, They would weep with me, To heal my pain. You dear art, in how many gray hours, Where I was ensnared in life's wild circle, Have you kindled warm love in my heart, Have you moved me to a better world! �Und wüßten's die Nachtigallen, Wie ich so traurig und krank, Sie ließen fröhlich erschallen Erquickenden Gesang. And if the nightingales knew, How I am so sad and sick, They would happily let ring out Refreshing song. Und wüßten sie mein Wehe, Die goldnen Sternelein, Sie kämen aus ihrer Höhe, Und sprächen Trost mir ein. And if they knew my pain, The golden little stars, They would come from their height, And speak consolation to me. Die a/le können's nicht wissen, Nur Einer kennt meinen Schmerz; Er hatja selbst zerrissen, Zerrissen mir das Herz. They all cannot know it, Only one knows my pain; He has, yes, himself ripped apart, Ripped apart my heart. Sehnsucht Text: Johann Gustav Droysen (1809-1884) Longing Fern undferner schallt der Reigen. Wohl mir! um mich her ist S chweigen a Flur. Aufder Zu dem vol/en Herzen nur Will nicht Ruh' sich neigen. Far and farther sounds the round dance. Well to me! around me here is silence On the land. Only to my full heart Will rest not come. Horeb! die Nacht schwebt durch die Riiume. Ihr Gewand durchrauscht die Bäume Lispelnd leis'. Ach, so schweifen liebeheiß Meine Wiinsch' und Träume. Hark! The night soars through the space. I ts robe rushes through the trees Murmuring softly Ah, thus roam, love-hot, My wishes and dreams. Italien Text: Franz Grillparzer (1791-1872) Italy Schöner und schöner schmiickt sich der Plan, S chmeichelnde Lüfte wehen mich an! Fort aus der Prosa Lasten und Müh' Zich' ich zum Lande der Poesie. Fairer and fairer the plain decks itself, As coaxing breezes blow me along! Away from the burden and trouble of prose Drawing me toward the land of poetry. Gold'ner die Sonne, blauer die Luft, Grüner die Grüne, würz'ger der Duft! Dort an dem Maishalm, schwellend von Saft, Sträubt sich der Aloe störrische Kraft; More golden the sun, bluer the air, Greener the green, more fragrant the scent! There by the cornstalk, swelling with sap, Struggles the aloe's obstinate strength; Olbaum, Cypresse, blond du, du braun, Nickt ihr wie zjerliche, grüßende Frau'n? Was glänzt im Laube,funkelnd wie Gold? Hal Pomeranze, birgst du dich hold? Olive tree, cypress, one blond, and one brown, Don't you nod like dainty, greeting ladies? What gleams in the foliage, sparkling like gold? Ah! Oranges, are you lovelies hiding there? Trotz'ger Poseidon, wärest du dies, Der unten scherzt und murmelt so süß? Und dies, halb Wiese, halbAther zu schau'n, Es wär des Meeres furchtbares Grau'n? Defiant Poseidon, were you the same one, Who below now jokes and murmurs so sweetly? And this, half meadow, half ether, it seems, Was the sea's fearsome horror? Hier will ich wohnen, Göttliche du: Bringst du, Parthenope, Wogen zur Ruh'? Nun denn versuch' es, Eden der Lust, Eb'ne die Wogen auch dieser Brust. Here I would live! Godlike one: Can you Parthenope bring the waves to rest? Now then, try it, Eden of Joy, And ease also, the waves in this breast. �V. Mandoline Text: Paul Verlaine (1844-1896) Les donneurs de sérénades Et !es belles écouteuses Echangent des propos fades Sous !es ramures chanteuses. The givers of serenades And the lovely listeners Exchange vapid words Under the singing branches. C'est Tircis et c'est Aminte, Et c'est l'éternel Clitandre, Et c'est Damis qui pour mainte Cruelle [fait]* maint vers tendre. There's Thyrsis and there's Amyntas, And there's the eternal Clytander, And there's Damis who, for many a Cruel woman, wrote many a tender verse. Leurs courtes vestes de soie, Leurs longues robes àqueues, Leur élégance, leurJoie Et leurs molles ombres bleues Their short coats of silk, Their long dresses with trains, Their elegance, their joy And their soft blue shadows Tourbillonent dans l'extase D'une lune rose et grise, Et la mandolineJase Parmi !es frissons de brise. Whirl in the ecstasy Of a moon pink and grey, And the mandoline prattles Among the shivers of the breeze. *originally "fit" Au bord de l'eau Text: Sully-Prudhomme (1839-1907) S 'asseoir taus deux au bard du flat qui passe, Le voirpasser; Taus deux, s'ilglisse un nuage en l'espace, Le voir glisser; À /'horizon s'ilfume un toit de chaume, Le voirfumer; Aux alentours si quelqueJleur embaume, S 'en embaumer; At the edge of the water Entendre au pied du saule ou l'eau murmure L 'eau murmurer; Ne pas sentir tant que ce rêve dure, Le temps durer; To hear, at the foot of the willow where the water murmurs, the water murmuring; Not to feel, as long as this dream lasts, The passage of time; Mais, n 'apportent de passion profonde, Qu 'à s 'adorer, Sans nu! souci des querelles du monde, Les ignorer; But, bringing no deep passion, Except to adore one another, With no worry of the world's quarrels, To ignore them; Et seul taus deux devant tout ce qui lasse, Sans se lasser, S entir !'amour devant tout ce qui passé, Ne point passer! And alone, us two, before all that causes weariness, Without wearing, To feel love, faced with all things that pass away, Not passing away! To sit, us two, at the edge of the stream that passes, To watch it pass; Us two, if a cloud glides in the sky, To watch it glide; On the horizon, if a thatched roof smokes, To watch it smoke; Around us, if a flower imbues the air, To be imbued; �Les berceaux Text: Sully Prudhomme The cradles Le long du quai, !es grands vaisseaux, Que la houle incline en silence, Ne prennent pas garde aux berceaux, Que la main des.femmes balance. All along the port, the big vessels, · That the swell sways in silence, Pay no regard to the cradles That the hands of women rock. Mais viendra le jour des adieux, Car iifaut que !es femmes pleurent, Et que !es homes curieux, Tentent !es horizons qui leurrent! But it will come, the day of goodbyes, As it is necessary that women weep, And that curious men Attempt the horizons that lure them! Et ce jour-là !es grands vaisseaux, Fuyant le port qui diminue, Sentent leur masse retenue Par l•âmedes lointains berceaux. And that day, the big vessels, Fleeing the vanishing port, Feel their bulk held back By the soul of the distant cradles. Chanson d'amour Text: Paul-Armand Silvestre (1937-1901) Song of love J'aime tesy eux,j'aime ton front, 0 ma re belle, ôma farouche, J'aime tesy eux,j'aime ta bouche Où mes baisers s 'épuiseront. J 'aime ta voix,j'aime l'étrange Grâce de tout ce que tu dis, 0 ma rebelle, ômon cher ange, Mon en.fer et mon paradis! I love your eyes, I love your forehead, 0 my rebel, o my fierce one, I love your eyes, I love your mouth Where my kisses will exhaust themselves. I love your voice, I love the strange Grace of all that you say, 0 my rebel, o my dear angel, My hell and my paradise! J'aime tout ce qui te fait belle, t cheveux, De tes pieds jusqu 'àtest 0 toi vers qui montent mes vœux, rebe rebelle! ma 0 ma farouche, ôma I love all that makes you beautiful, From your feet to your hair, 0 you, toward whom my wishes rise, 0 my fierce one, o my rebel! � 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 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 49:06 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149632">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149632</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 Briana Sakamoto, soprano, junior recital, April 25, 2009 Recital Tape 2009-4-25b Description An account of the resource Works of Donaudy, Schubert, Hensel, Bond, Fauré, Sondheim. Held at 7:00 p.m., April 25, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Lawson, William James Sakamoto, Briana 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 2009-04-25 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/68b61795e6d3c2c7093bdd51678e33b4.pdf d46a3191f4aaa775e1bd79fd52c27362 PDF Text Text B y Binghamton Symphonette FRITZ WALLENBERG, Conductor presents a Concert with JEAN CASADESUS, Guest Soloist SUNDAY, J ANUARY 12th, 1969, 8 :15 P.M. HARPUR THEATER �PROGRAM Sinfonietta, Op. 1 Poco presto ed agitato Variations : Andante lento Tarantella: Presto vivace B. Britten (1913 ) The Sinfonietta was written in 1932 and is the earliest published composition by England’s leading composer. It is a rather complex wor based on short the matic motives which are heard in the olpening measures and then ref erred to i n various contexts throughout the piece. his resourceful manipulation of tiny me lodic cells continues in the slow movement, titled “Variations. ' A short viola pas sage leads into the fast Tarantella, a moto perpetwo, in which the various mo tives of the whole work are summarized. Piano Concerto in Cma jor K. 467 Allegro maestoso . W . A. Mozart (numu) Andante Allegro vivace assai Finale; Presto This symphony is one of six written by Hadyn on a commission from a Parisian concert organization. It was nicknamed La Reine because Marie Antoi nette is said to have ressed a special fondness for it. In its second movement une Lisette.” The lym Haydn makes use of m a c h folk song, “La Gentille et Je phon is a cheerful work combining references to popular styles, humor, and classical grace with the most sophisticated technical writing. Program notes by Harry Lmeo’ la MEMBERS OF THE ORCHESTR A Violins : Ralph Wade Marianne Wallenberg Mozart devoted much eﬀort to his twenty piano concerti and they represen for many critics, the highest achievement amon his instrumental works. Th e Major Concerto was completed in March 1785. The structure of the work is quite complex, including motivic relations between the movements. The ﬁrst move ment is introduced by a rather solemn, marchlike theme in the orchestra, a n atmosphere which soon gives way to the prevailing brilliance of the piano solo. In the slow movement, one of the most famous in the entire piano concert literature, a beautiful and haunting melody is heard in a wide range of keys and colors. A jovial mood returns in the ﬁnale, a rondo based on a chromatic theme. IN TERMISSION Capriccio for Piano and String Orchestra op. 49 . Allegro con fuoco Vivace scherzando Adagio ; Allegro molto . R. Casadesus (1899 ) In addition to a long and distinguished career as a pianist, Robert Casadesus has composed a number of attractive works for piano. As its title implies, the Cappriccio, although for piano and orchestra, is a lighter. work than a formal concerto. It was written in 1953 in Paris and ﬁrst performed in New York in 1954. The style has elements of both classic and modern and in a sense is a French counterpart of the neoclassic piano music of Prokoﬁef. .The. four movements have traditional structures and display a brilliant pianistic idiom. The scherzo, with its emphasis on high register writing for the piano and eﬀective cross rh ythms between piano and orchestra, is especially interesting. .. J. Haydn (17321809) Symphony No. 85 (La Reine) .. Adagio; Vivace Allegretto Menuetto Melba Sandberg Nancy Robbins Edward Pettenglll Judith Niles Betty Lou Agnrd Richard Leavitt Holes: R ll Colto Martha Gotten Fritz Loewenstein Cellos: Ruth Brown Robert Knight David Howard Bass: Richard Thomas Flute: . 1 u. Georgetta Maiolo . Obggtt Ed d “ W m ” J u d i ” Clarinet: Vincent Smith Bassoons: Donald Robbins Edward Wadin war oel French Home: Brian Sternberg George Papastrat Trumpets: Delbert Cobleigh Richard Hamlen Timpani John Engtron ~ P a s iManager: an Burwasser Concert Chairman ' Edward Pettenglll g . Librarian: Edward Pettengill , , Pub’mﬂl‘ Lillian Burwasser The Friends of the Symphony cordially invite you for a reception to meet with the artists in the Green oom immediately following the concert. We wish to extend our thanks to the Harpur Colle Music Dﬁgzartmentkto the EveniniPress. the Sun Bulletin, to WINR, WNBF ENE, W M, WSKGTV, Studio ook Shop, Kent Drug Stores, Marvin Kelley, and to all other f riends whose support has made this concert possible. BINGHAMTON SYMPHONY NEXT CONCERTS Sunda Feb. 23 7:30 2: m., Binﬁhamton West Junior High School. M o n ti , Feb. ree Academy. Works by Barber, Lalo and Shostakovich. .m., Owe 24 8 Soloist : AKAKO ISHIZAKI, violin. � 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 4 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 19:50 16:48 27:37 19:42 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59298 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59298">Britten, Mozart, and Casadesus 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 Britten, Mozart, and Casadesus Concert, January 12, 1969 Description An account of the resource Held at 8:15 pm, January 12, 1969, Harpur Theater. Works of Britten, Mozart, and Casadesus. Creator An entity primarily responsible for making the resource Binghamton Symphonette Casadesus, Jean, 1927-1972 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 1969-01-12 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Britten, Benjamin, 1913-1976 Mozart, Wolfgang Amadeus, 1756-1791 Casadesus, Jean, 1927-1972 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 Britten, Mozart, and Casadesus Concert, January 12, 1969.pdf https://omeka.binghamton.edu/omeka/files/original/a0a8843b7615e556e9b298c55bac6e02.pdf 4b300e784cf426d74bc58e1da11c5084 PDF Text Text �A SALUTE TO WORLD MUSIC AND FRIENDSHIP The Brno Academic Choir comes to us thanks to the cooperation of Lincoln Center For The Performing Arts which is sponsoring the Third Internati onal University Choral F estival at Philharmonic Hall April 23 through 30, 1972. Th e Mu sic Department wishes to ex press its apprec iati on for th e great interes t and supp ort shown by so many mem bers of the surroundin g co mmunit y with out wh ose joint e fforts this sponsorship wo uld hardly have bee n possible. T ogeth er we welco me th e Brno Academic Ch oir on th is first sto p of th eir tour whi ch , with th e oth er fifteen participating choru ses, will coll ectively to tal 125 performances at un iversities in twentytwo states before th e F estival Concerts begin. 1 �BRNO ACADEMI C C HO IR (Czechoslovakia) Translations and Notes Lubomír Mátl, Co ndu cto r EUGEN SU HON (b . 190 ) CZE H M D IEVAL HORA LE (early 12 th ce ntur y) ANO N. ( 15th ce ntur y ) BOH US LAV MATEJ CERNOH RSKY ( 1684 - 1742 ) JA C BU GAL LU (1550 -1591 ) NIN D V RAK ( 184 1-1904 ) AN T (b . 1929 ) PETR EBE VZ - N ZAMEC ÍK (b . 1939 ) I H DM ITRI IMI R WE R ER (b . 19 37 ) VLA I LA D D I LA ( I 32- 159 4 ) F lk Arr. P TR Na li piva staréh þÿd("In N:,1urc" ) V þÿpYío n o ngs Fill ed My Heart") Napadly þÿ p í s (" þÿVeerní lcs ("When Evening omes") þÿVybhla bri, a ("U p p ran g a Birch Tree ") Id en Harvest") Zitné po le ( " Ubi caritas et a mo r (" Wh ere L ve IK LAL T Odsouzeným (''To Th sc Bonj ur 111 0 11 coe u r (" Hell M y Heart") M. 1 n a. mi a a r. ("Dear Maid. My L ve" ) ng ho K k lo þÿHradiaa (" Round the T o wn o Hradiste") Trávnice Bo•il cký mo tek ("The Liu l Brid e ( 17 7 -1 5 1) d r i ekLittlle þÿ ` e ("Th (b . 19 11 ) wallow " ) Pro ri þÿ v t r u(''A ainst the Wind ' ') nám (" Th e Wo rld Bel n s þÿvt þÿpatYí ndrá• P ETR þÿXEZ þÿÍEK (b . 193 J f Bas il e " ) So lo ,,' c m Zalyetn m ightingale") ( '' Fl cc1in J A þÿ Á E K( I 54 -19 28 ) LE e n1 c n ed" ) Milostné madrigaly ( "'Mad riga ls of Love" ) : Te n p1a í z pev ("The Birds Singing") Ani to nc bc (" ot ven 1h c Heaven") win the M rning" ) Videl j sc m zrána ("I LAV JE™EK( 1906 -1942 ) JAR S 1O ngs: Z þÿI þÿXE: VI xists") Impro m ptu s Arr . KAR EL H RAD IL ALEXA D R AL IAIJI Id Bee r" ) lmpr pcria ("' Lamenta ti o ns" ) Harmoniae morales (''Moral Melodies" ) : di, tibi si qua pios , Fortuna p te ns LAV K FRO Arr. JA R (" Pou r o ut Ptajó sc. ptajó I I j cd cn gajdo•! (" nc e Th e re Was a Fidd ler'' ) EFB ART E K (b . 19 1 ) songs of weeping and woe? Now with the moonligh t on the dew , gone are You Are the songs which sadden or console How beautiful you are, my native me. Now as I'm waiting for another that s land . Lovely are th e mountain , I'm hoping they'll again 611 dawn sky the lovelier and , you surround over those fine mountain s . I bless you , my soul. When Evening Comes: Wh en evening welcome you , while my eyes shed , chimes fill the forest, from comes grateful tears. all the birds beneath their cover. MEDIEV AL CHORAL E: Lord, Be Cuckoos are calling here and yonder; Merciful With Us the nightingal e addresses his love . This chorale is probably the oldest Branches are sprinkled there in the Czech folk spiritual preserved until forest with songs of Iove for al.I who th e prese nt time , on the text: "Lord , listen . Big silver moon shines in the take mercy on us; Jesus Christus, heavens , with silver threads that take mercy on us! Saviour of all th e glow and glisten, carrying dreams wo rld , redeem us ! Listen, Lord , to with ev'ry fiber: dreams full of our voices, give all of us life and myst'ry now are dancing. Only a peace in the co untry . Kyri e eleison. lonely deer is watching, and gaily and quietly prancing. Now all is still ANON.: Pour out Old Beer within the forest. Now every bird is A Czech medieval drunkard 's song , soundly sleeping-. Cuckoos are muted , in th e form of a three -voice canon. nightingal es hushed , while in dreamJACOBU S GALLUS : Harm on iae land their silence they kee p. Even the Morales deer is now reposing, and till th e Di, tibi si qua pios: This madrigal admorning no one will stir. Night has vi ses us to admire th e young, bea uti drawn her velvet curt ain , and all of ful, and happ y girl. The tex t is from th e world is in slumber. Virgil. Up Sprang a Birch Tree: Up spran g 0 , Fo rtuna poten.s: Here th e poet a birch tree ove rni ght , like a lamb celeb rates, and also curses , inconwh o dashes from sight o ut to the stant happin ess. pasture gree n an d cl ear, telling the th at Spring is here. Way up to world ature : In K Á X O ANTONI N þÿ D V heave n sprang th e tree , so th at all the Songs Filled My Heart: Songs filled forest wo uld see his gracefu l fo rm my hea rt o ne lovely day. How co uld st like a toy - - and all the fo rest Ju was l kn ow they wo uld be calling? for joy. Then as th e time of never jumped dew hill· the n o up dew e th like Spring begins, air has the sound of warn s us before falling . Nature is violins. Air dipped in perfume travels sparkling heavenl y , just as a child is if ow kn l n our wa y, and all th e wo rld is young ca How . happy, glowi ng and gay. Soon ev'ry tree dresses in th ese are songs of joy , or merely EUGEN SUCHON : How Beautiful Fu ga T E RMI V I H (b . 1906 ) TAK Aká si mi krásná ( " How Beautiful Yo u Are" ) Hos p din e, po mi lju ny (" L rd, Ile Merci fu l With Us ") I Us" ) 2 3 �In Nature (cont.) þÿDVOXÁK: green: each is a splendid king or queen. And al l th e bran ch es, gay with birds, happily c hat ter with new words. J o inin g th e merry sprin gtime feast, travel each bird and ev' ry beast, from ev'ry corner, far a nd near, telling the world that Spring is here. Golden Harvest: Gold n harves t , go lde n h arves t : corn is growing merrily, merrily , merrily. Blades resemble gay musicians swingin g, way ing, every wh ere, everyw here, every wh e re. J oyfu l breezes dance around so ra pidly , whirlin g, twirling, rapidly , rapidl y, rap idl y. Sun shin e covers all, ki ss in g a nd cm bracing bl ades and bl o s ms gro win g up , growing up , growi ng up. Quai ls and cric kets in th e cornfields li e o n rid ges whi perin g, whi speri ng, whi peri ng. Bees and butterflies in the flowers whisper: wh o i hiding th ere, hiding there , hidin g th ere? Golden harve t: th e field ripen , corn i growing merrily, merrily merr il y . Now my o ul i like a ha rvc t. Song are gro win g ev ' ry wh ere ev' rywh ere , ev' ry wh ere. (En gli sh ver io n by Peggy im on ) PETR EBE : Where Love Ex ists DMITRI SHOSTAKOVICH: To Those Sentenced In a da rk cell wh e re it is hard to brea th e, t wo prisoners lived through their last days. Priso ners, bro th ers, wh o will come in here afte r o ur dea th , remember us when you see two dark shado ws flash be twee n these wall s . Rccoll ect th ose who sacrificed their lives. VLADIMIR WERNER: Madrigals f Love The e ·ttin gs of Czech tran slatio ns of th e lo ve poe t ry of the l tali an Rena issan ce p et M. M. Boiardo are by a yo un g Brno co mp ose r. The madri gals sin g of th e beau t y o f the beloved woman: her ap pearance, her love, a nd her love lin e s. Hell o my he ar t , hell o my swee t li fe , hell o li ght of my eye, hell o my wect friend; eh , hell o my turtl e do ve, my da inti ne , hell o my plea ur e, my love, my fre h pring, my oft new fl wer. My weet ple a ure , my soft yo un g dove, my sparro w , m y graceful turtle d ov , h ll o my ge ntl e re bel. 0: Mato na, mia cara Dear maid , I'm your boy , and want to in g yo u a s ng und er th wind ow. Do n don d o n diri-diri -d n. Plea hear h w we ll ] an sing. l li k you and wan t t bey ur swee th eart . Do n , d o n d n diri -diri-do n. Se nd me o ut t o hunt with th e fal on. l U brin g yo u a snipe as fat as a kidn ey . Do n d o n , d o n , diri -diri -don . If I can sing no be tte r, le t me tell you that 1 do n 't kn o w Pe trarch or the Helicon . Do n , d o n do n diri-diri-don. l f you EVZEN ZÁME þÿNÍK: I mpromptu s þÿ Z á m e n í ka, yo ung Brno o mp se r, makes use he re of th e vowels and conso nants of th e zech language in an untraditional way. 4 heart; the youth quivers in th e wind as a blade o f grass ; winter fre ezes the face a nd the sun burn s it. Like a wave in a storm , joy ru shes by ; e ven all beloved of hi s so ul is un faithful. ORLANDO DI LASSO: Echo Song Hola 1 Hea r that fine ech o ! Call ! he will give an answer! Ha, ha , ha , ha , ha ! Will give an ans we r! Our good co mpa ni o n! No w har ke n! We wan t to have you sin g us gay ly a ballad! Wh erefore? We say yes! I say no 1 Beca use I will no t! But why not, pray ? lt is not my pl ea ur e ! Ho ld yo ur tong ue, th e n! Hold your to ngue ! Yo u laggard lo ut! We sco rn you! We try no mo re! We leave you! Goodbye, fine ec h o! Res t in quiet ! Quiet! Quiet I No w be sil c n t ! Now be il e nt ! iJent ! NIKOLA LEONTOVIC: The Little Swallow A littl e swall o w calls o n th e peasa nt and a ks him to go and see after his sheep, for they have go ne as tray . JAROSLAV JEZEK: Against the Wind and Th e World Belongs to Us Th ese are th e th eme so ngs fr o m the tw o socia ll y-e ngaged films o f th e . a me na mes of th e 30' . ln the first, th e auth o rs Vo kovec a nd Weri ch ay th a t progre s in society is achieved through th e fight aga in st things which ha ve bee n o utlived ; in th e second , th ey sin g a bo ut youth and o ptimism , to whi ch th e wo rld b elo ngs . ORLANDO DI LA . 0 : Bonjour mon coeur ORLA DO DI LA This wo rk , by the mo t ac kn owledged re pre e ntat ive of th e co n temp rary midd le-age d ge nera rio n f z ch com po er , i a etting of th e c horale anti fony: ' Wh ere I ve e i ts the Lo rd tays too. The Lord love lin k all of us." love me, I won 't act ungrac iou sly , and shall ki ss you all night long and dance in wild joy. Don , do n , don , diri -diri -don . FOLK SONGS LEOS JANACEK: Ondrás PETR REZNICEK : Round the Town of Hradiste The titl e i a Chri stian na me. T he o ng dea l with a young rebel, a ort of Czech R bin Hood , wh o took from th e rich a nd di tributed their pro pe rty to th e poor. A girl lame nts for a los t love. : Trávnice JARO LAV þÿ K O F R O G Hay m akin g gi rl s sing ove r th e vall ey. KAREL HR.ADIL : The Little Bridge of Bosilec þÿXEZ se, ptajó : Ptajó þÿ Í E K PETR The title is a fo lk expression. A lad leave his house for the war, a nd his girl pe rsuade him n t to go and not to di e. A j oll y fo lk o ng re minding girl no t to believe any promi ses ma de by yo un g me n. ALEXANDER ALIABIEV: Fleeting ightingale JOSEF BÁRTEK: Once There Was a Fiddler Yo uth has vani hed like a fleeting ni ghtingale, th e go lde n age that wa has disappeared· young strength has wa ted with th e body. Sad thoughts have co ngealed th e bl ood in his A so ng ab o ut a fiddler wh o , although he was very poor, never los t hi s good tempe r whiJ e wand erin g fr o m o ne village to anot h er. 5 �Lubo mír MÁTL, Conduc tor -+-tiet BRIEF BAC KGR O UN DS iait-- LUB OMI R o Acad e Choi r since 1963 , was born ni Brn cond uctor of the Brno Acad emic as a mem ber of was born in Brno . His first chora l expe rienc e was ed organ at th e the well-know n Brno Child ren 's Choi r. He studi th e cting und Brno Conse rv atory and holds two degrees fr om uctin g unde r Ac adem y of Mu sic in Brno , wh ere he studied cond nic Choi r. Jose f Vese lka, cond uctor of th e Pragu e Philh armo so wo rks with Mr. þÿ á e lkectures at th e and with Ac ade my. He al . Oper a in Brno and with Czec hosl ovak ian R adi o th e Ten o r So pr a n o Sta nislav BARÁK J a reslav CACE K R.ad e k KRUL þÿ Z d e n kLAUDÁT J a n MAR KVAR T F ra ntisek þÿ P O L Á E K STUDENÍK þÿJiYí Pe tr —KA ROHL ÍD Stanislav þÿTESAX Pavel VEJN AR Ire na BURI ANOV Á J armil a þÿ H A N Á K O V Á Ga bri ela J ELE NO V Eva þÿ K U B Í K O V Ma ri e AXOVÁ Ly di e ÁTEOVÁ J irina þÿPEG ÁZOV Á O Mary la ra R þÿ U } I K D rah em ira LÍKOVÁ Ba rb e ra TRHL ÍKOV Á Ba s A lt o BRNO ACADEMIC CHOIR mem be rs fr om Brno Acad emic Choi r , form ed in 1950 , draws its e Brno all depa rtme nts of th e Univ ersity o f Brn o and th Lib use TU—KOVÁ l va na BA OV KO V Hana CINK O VA Jirin a G RUE NWA L DO V Tec hni cal Colle ge. poly phon y and The Ch oir's reper to ire ranges fro m R enaissance is noted for its baroq ue mu sic to co ntem p orary work s. Th e group mu sic. interp re tati ons of Bo hemi an an d Mo ravia n fo lk rm s th ro ugho ut perfo , est fin ia's Th e Cho ir , one o f Czec ho lovak ati onal E urope an d has wo n pri zes at a numb er o f intern ces with rman perfo many rches tra and brT he gr oup h as given orchestra and broa dcas ts regul arl y. J a na ADERO J ana MADE RO VA Na d a MA RK ESO V ÍKOVÁ a þÿDaHþÿOVA Eva PL AN ETO V Pavla POLOVÁ AL COLLEGE UNIVERSITY OF BRNO AND BRNO TECHNIC nd larges t city, was T he Unive rsity of Brn o in Czec hoslovak ia's s co Czec h o I vaki an fo und din 1919 foll owin g th e crea ti o n f th e new law.p hil osoR publi c. It co n it of facu lties f m di c in e, ci-nc ph y and ed ucati o n. ti n betw een Brno Tech n ical C li ege th re ult fa n amalgama ) and th e Cz ch th e Ge rman Tech ni al Facul t 99 u ncled in 1849 var ie ty f Tech ni cal Fac ult (fo un d din 1899 ) ffe r a wide cour es in engi nee rin g and t ch ni cal su bjec ts. vakia n highe r T he two in stitut i o ns play lea din g rol in Czec hoslo Brn o as th e ce nter edu ca ti n and co ntrib ut to th e im porta nce of of Mora via n cultu ral li fe and ac tivity. 6 Š J an þÿBEZDÍEK Jaromír HEGE R Behu slav KLÍMA AN K þÿYíKOCI Vl as timil KOCM AN Lib e r MAR KE S Ludvík PRO SEK J arosla v RÁBL Petr SOBO TKA Hanu• —AM ÁNEK E V IadimLr STEF L - Journey Manager h r Mary Blah a Dia ne Bla ha Lin da Ki ely Carol Ke pi all y Kri zka An as t az ia Le ay La uri e MerraJJ Re na ta Ozve ld Dia ne Te pe ncik 7 �Host Commi ttee for BRNO ACADEMIC CHOIR Host Chairman . ...... . . ..... . . . ... David Buttolp h Accom modati ons . ...... ...... ..... Mildred Valenta Special Arrang emen ts ... . .. . .... .. . William Merrall Musical Enterta inment ( The Interna tionals) . ...... ..... George Kotrch Tickets . . ...... . ..... . ..... . ..... Fred Thayer Ushers ...... ...... .... . ...... ... Olga Blaha Publici ty . ...... . . ..... . . ...... .. Helen Landry Poster Display .. ... .. ...... .. . .... Lillian Babicek House Manager . . ..... ...... .. .. ... Dan Farina Perform ance Facility ...... ...... .. David Hender son (SUNY Men's Gym) Host Institutions (Community) Czechoslovak Society of Americ a, Lodge Endico tt Miss Mildred Valenta , preside nt Czecho slovak Society of America, Lodge Twin City Star Mr. Steven Valusek , Secreta ry-Trea surer The Moravian Club Mr. Stanley Blaha preside nt Sokol Women 's Lodge 15 Mrs. Roxane Misata, preside nt Sokol Lodge 36 Mr. Frank Ch etko , preside nt HOSTS FOR THE BRNO CHOIR Mr. and Mrs. Joseph N. Antal Mr. and Mrs. John Blaha Mr. and Mrs. Frank Chetko Mr. and Mrs. Milton Hasak Mr. and Mrs. Louis Kizale Mr. and Mrs. Domini c Kolodz ej Mr. and Mrs. Frank Koncak Mr. and Mrs. Peter Kotasek Mr. and Mrs. Joseph Kotrc Mr. and Mrs. Mr. and Mrs. George Kotrch Mr. and Mrs. Frank Lesay Mrs. Mary Padyku la Mr. and Mrs. Fred A. Sabace k Mr. and Mrs. Joseph Svobod a Mr. and Mrs. William R . Tomece k Mr. and Mrs. Paul Topenc ik Mr. and Mrs. Paul A. Topenc ik Mr. and Mrs. Steven J. Valusek Frank Vanek 8 � 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.) 35:21:00 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63632 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63632">Brno Academic Choir Concert</a><a></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 Brno Academic Choir Concert, April 7, 1972 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Suchoň, Černohorský, Gallus, Eben, Shostakovich, Janáček, and Dvořák. Held at 8:15 pm, April 7, 1972 Creator An entity primarily responsible for making the resource Brno Academic Choir. 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 1972-4-7 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Suchoň, Eugen, 1908-1993 Černohorský, Bohuslav, 1684-1742 Gallus, Jacobus, 1550-1591 Dvořák, Antonín, 1841-1904 Eben, Petr Shostakovich, Dmitri, 1906-1975 Lasso, Orlando di, 1532-1594 Janáček, Leoš, 1854-1928. Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020108043 39091020108209 39091020109850