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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 &lt;a href="mailto:orb@binghamton.edu"&gt;orb@binghamton.edu&lt;/a&gt;.</description>
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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 &lt;a href="mailto:orb@binghamton.edu"&gt;orb@binghamton.edu&lt;/a&gt;.</description>
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              <text>&lt;a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59474"&gt;Community Symphony Society Concert&lt;/a&gt;</text>
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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 &lt;a href="mailto:orb@binghamton.edu"&gt;orb@binghamton.edu&lt;/a&gt;.</description>
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                    <text>STATE UNIVERSITY OF N E W YORK  AT BING HAMTON

HARPUR COLLEGE
TH E DEPARTMENT OF MUSIC
PRESENTS

COMPOSER’S CONCERT
ST UDENTS  OF  KA R L  KORTE

Sunday, March 16,  8:15 p. m. 

Recital Hall
P ROGRA M

Introduction  for  Piano  ­  (1968) 
Pe rfor med by the com pose r

Opus 1 7 /8 ­  (1968) 

Chai­K you Kim

Monte Joﬀee

Monte Joﬀee
Clarinet ­ Dale Kleps

The  Dark  Hills  ­  (1966) 
Terry Howell, Tenor
Donna Hallen, Piano
P relude  for Piano ­  (1967) 
Barbara Garges, Piano

Loren Broc

Christian G ranger

Every  Day I Will P raise Thee,  (Psalm 145)  ­  (1968) 
Soprano  Ca rol yn Kimble Hill
Al ida Stahl
Alto  Phylis Costanzo
Elizabeth Lee

Barry Liesch

Tenor  Greg Mathews
Bar ry Liesch
Bass  James Dunn
Terry Howell
Barbara Garges, Piano
Dust  ­  (1964) 

Nancy Carlson, Mezzo Soprano
Donna Hallen, Piano

T rio  f or  Recorders ~
 ­ (1968) 
Alto, Tenor Recorder, Susan Cooper
Alto Recorder, Barbara Hull
Bass Recorder, Wilburn Newcomb

G reg Mathews

James Dunn

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                    <text>BINGHAMTON
UN I VE R S IT Y
STATE U

IVE

SITY OF NEW

YO R K

usi

D E P A R T M E N T

COMPOSERS AT THE
CONFLUENCE:
WA R AND CON SEQ UEN CE
Featu ring work s b y:

Evan Flury
Jame Budi nich
Richa rd Hugu n in

Sunda y,Fehru ary, 15th, 2015
2 p .m .

Phelp s M an ion Muu um

�PROGRAM

ABOUT THE COMPOSERS

Phrases ..... ... .. ............ ............... .. ........... .. .. ......... .. .......... . Jame B ud ini h

I. fo r a mo ment

(l99 )

Elean o r Kra ner, violin

Brothers ... .. ... ...... ............... .... ............ ...... ... ....... .. .... .. .... .. Jam

Budini h
(l990}

Alexio C hang, i.olin
Elea no r Kra ner, io lin

Grim conscience .... .. .. ... ...... ... ............. ........ .... ...... ... ... ..... . Jame Budinich
( l 990)

CodyRay Caho, bari ton e
Michael Lewis, piano

Piano Sonata

11. Adag io

o. 1, Op. 17 .. ... ..... .... .. .... ... ........... .. ... Richard Hugunine
( 1953)

Ill. Vivace - Ro ndo
tep hen Zank, piano

Jam Budinich (b. l990, orthport,
grew up urrounded by a mix of Croatian folk
music, Jaz z pianis , uch as Thelonious Monk and Bill Evans, and the driving rock guitar
o groups Like Led Zeppelin. After a few years of playing in rock bands out of friends'
garage , he went o to college, where he d iscovered the world of Classical Music. James is
currently working cowards h.is Master of Music in Composition at Binghamton
ni er ity, cudying with Daniel Thomas Davis. He has previously srudied with Jared
Miller,
and also with Chri Arrell and Osvaldo Golijov a the College of the Holy Cross,
where he completed hi BA. Throughout college he also studied classical guitar, with
Rober ullivan and Mateo Arnáiz. His work ha been performed by the Momenta
uartet, and upcoming e ents include perfo rmances by Loncano Ensemble, and ew
ore Code.
Evan Flury (b . 1992) ound his love of music in high school in Buffalo,
in his early
cudies with Kevin Moehringer, Greg Piontek and Craig Farrey in Jazz and Electric Bass.
Through college, he played in variou rock and jazz bands before beginning to srudy
mu ic om
ition with Daniel Thomas Davis. Upcoming events include a piece for
m/wire a well a performing in Bingham on University's production of Black Orpheus.
R.icba.rd Hugunine (b. l 95 ) began hi profe ional music career in h.is teens as a church
. From 1972 to 19 4 he provided improvi atory piano music for ballet classes a ional cademy of Dance in Champaign, Illinois, as clas pianist and personal
iani t or Patricia
ilde at Ame rican Ballet Theatre, as Music Di rector and Composer
in R idence at Ballet Bingham on, as lead cla s pianist at the ational chool of Ballet
in W hing on, D.C., and a on-call balle pianist at the Kennedy Center for the
Performing Ar in a hing on, D.C.
Folio ing a 20- ear care r as a con ulcant in the automation of corporate administrative
roce e, r. Hugunine reru med o Binghamton Univer sity in 2011 to complete his BA
in comp ition, cudying horal arranging with Or. Bruce Borton, and graduating Magna
a 20 l 2. He i cu rrently working on hi Mast er of Music degree in
Binghamton niver i under the direction of Daniel Thomas Davis.

INTERMI 10

War and Consequence ........ .............. .. ........ ..... .... ... ..... ...... .... .. E an Flu
it:,,t&gt;(J,

(l 992)

Da ni el Ro mbe rger, co nd u to r
Chri tina anta Maria, oprano
Daniella Rivera mezzo- oprano
Cole T ornbero, teno r
Jake ta mati , bas -ba ri t n
teph anie Verh age axop ho n
Raelee n Bi hler, violonc ell
Robe rt D urante, co n rraba
Alex Ra a, pe rcu io n

PROGRAM

OTE

Ph.ras
moment: for a momentis the fir t piece in a series of works for solo
in struments.
er reading The Rubaiyat of Omar
yyam, I was drawn to the beauty of
ertain ph r es, which might not cand ou o a reader on their own. A reader might
ea ily a b the e instances and no notice Khayyam 's word choices. for a moment
lor a sing! musical idea, the in erval of a second, ju ta a reader could explore the
ily as
b hra es of Omar Khayyam' Rubaiyat.
(tum over)

�ou r
B rother : Having grown up with a brother l always wanted to write a piece based on
relations hip. In this work I attempt ed to portray ou r bond on two levels, using related,
the individu al instrum ents clash against
but contrast ing, material in the two violins.
each other, they represen t the pranks and fights chat have occurred between my brother
the
and me over the years. Anothe r le el shows the unique qualities of each violin line;
two pares are able co complem ent each ocher, just like my relation ship with my brother.
er,
Grim coo cieoce: Ta en from an l 90 i ue of The Sun, a ew York based newspap
Grim conscience depicts a narrator recalling an unforrun ace acciden t involving a beggar.
before
The narrator brings the listener back to the moment s leading up co the inciden t,
as we
reflecting back on the event. The music follows the changes in the narrator's psyche
hear his story un old.
form.
Piano ooata o. 1, Opus 17 is Mr. Huguni ne's earliest foray into the sonata
and
Begun in Occober, 20l3, it was compl ted in early March 20l 4. Only the second
third moveme nt are pre enced o n chis program .
tona
Il. Adagio: The moveme nt opens with planed 7th chords which establish the
u nd
gramma r of the moveme nt. An o tinato line in the middle regi cer provides backgro
the
fo r two indepen dent melodi lines involved in a dialogue. Another voice joins in and
in
gesrures
with
whole evolves into an emotion al stateme nt, resolving much like it began
this
the piano's highest register. The broad ope of the regisce involved required
hand
moveme nt to be cored o n three caves. The perform er is required to choo e which
structure
hand
er's
to utilize co play note on the middle staff, dependi ng on the perform
and span.
again
ID. i ace - R ondo: cored in a lively 6/ , the principl e heme rerurns again and
in various treatments of range, conalicy and expression.
W ar and on equence: The idea o r t ar and Consequence began sitting in Phelps
the experien ce
Mans ion listening to a BU MM Opera rudenc inging. I loo ely follo
ar fo llowing the WW I Christm as
of a namele soldier's bru h with the concept
but
rmistice. I wanted to not only celebrat e the ntennial celebration of the Armistice,
was
to also look at the reaction s and implicat ion o w r through out history. Text, then,
s
clipping
aken from a number of cure includin g the Iliad and both poems and news
of
from W orld ar One and Two. The oprano and mezzo-soprano are p r onificat ion
ely.
the respon es to war by the private, home life and the public, political life, respectiv
a
of
study
a
Though not critical o all war by design, Warand Consequence became
ace of
somewh at ine capable, rimele ace through the lens of he la uncoord inated
eace between armies in a rime o war.

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                    <text>STATE UNIVERSITY OF NEW YORK AT BINGHAMTON
HARPUR COLLEGE
THE DEPARTMENT OF MUSIC

s

COMPOSERS
CONCERT

0

.

THURSDAY, MAY 5, 1977
8:15 P. M.
CASADESUS RECITAL HALL

�PROGRAM

Kyrie: Gloria fram Missa Pro Meo Patri
David McKenas
for 4-part chorus, oboe, and cello
Madrigal group fram Harpur Chorale
Eliot Friedman, oboe
Holly Wilson, cello

Seven Songs
Howard Weinberg
set to poems by Theodore Roethke
Karen Haight, soprano
Vicky Gordon, piano

Fusion
Andante con moto
Perpetual Motion
Allegro Vivace
Amy Lipton, ﬂute
Debbie Neu, clarinet
Ross Levinson, violin
George Myers, viola
David Hoppe, cello
Geoﬀ Brooks, marimba

Amy Mereson

Three Pieces for Chamber OrchestraBob Halliday
Flauntoushe
Myxtypodip

Piece for Violin and Piano
Pat McGrady
Robert Seletsky, violin
Bill Lawson, piano

Dragons Live Forever...
David Denhard
Karen Tax, ﬂute
Jay Hilﬁger, horn
George Myers, violin
David Hoppe, cello
Cindy Peterson, piano
Marty Ricciardi, vibraphone
Geoﬀ Brooks and Joseph Pazienza, percussion
INTERMISSION

Brounk

The third movement is dedicated to the memory of
Louis Kennell (1890–1969), a ﬁne young man, a
jolly old fellow ...
_
... s hdbonskie

�ENSEMBLE FOR THREE PIECES FOR CHAMBER ORCHESTRA
First Violins
Olev Viro
George Meyers
Neil Blachman
Joan Weitzman

Flute
Nancy Becker

Second Violins
Bob Seletsky
Andy Stack
Eric Sadowitz
Nigel Allen

Clarinet
Augie Venturini

Violas
Carol Isaacson
Barbara Thomson
Laura Stein

Cellos

Holly Wilson
David Hoppe
Claire Liva
Caleb Davison

Basses
Neil Conaty
David Weinsoﬀ

Oboe

Debbie Vatcher

Trumpet
Steve Winans

Trombone
:
Richard Gower

Percussién

Geoﬀ Brooks

�</text>
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                    <text>STATE UNIVERSITY OF NEW YORK AT BINGHAMTON

HARPUR COLLEGE

THE DEPARTMENT OF MUSIC

COMPOSERS
CONCERT
.
.

.

.

TUESDAY

MARCH 22, 1977

8 :15 P.M.
CASADESUS RECITAL HALL

�\

+

PROGRAM
kkkkkkk

Piano Sonata........................Asher Raboy
Allegro
Scherzo – Molto Allegro
Andante
Asher Raboy, piano
Duet for

Piece for Alto Recorder and Guitar.Robert Clark
Sue Lawson, alto recorder
Paul Sweeny, guitar

nt Augustine
nd Bassoon.....
itdman, oboe
E1TT
ank Holden, basso

String Trio,Number 1l............Grant Augustine
Carol Isaacson, viola
David Hoppe, cello
Holly Wilson, cello

4

=

A”

v

Regrets.,...,.......................Paul Reiser
-Sue Lawson, alto recorder
Holly Skinner, piano

Piece for Violin and Piano..........Pat McGrady
Robert Seletsky, violin
William Lawson, piano
“Kyrie"..........................David McKennas
from Missa pro meo Patri
SATB chorus, oboe and cello obligato
Karen Haight, soprano
Jackie Forbes, alto
Rich Ossias, tenor
David McKennas, bass

Four Songs for Alto.................Karen Clute S e
based on Japanese Haiku
Kate Sudekum, alto
Vicky Gordon, piano
Suite for Piano.....................Judy Tenant
Prelude
Musical Moment
Dance
Aria
Toccata
Judy Tenant, piano

Elliot Friedman, oboe
Holly Wilson, cello

Sonata for Soprano Saxophone and Piano.........
Paul Reiser
Adagio Mysterioso
Andante Cantabile
:
Presto
Al Hamme, soprano saxophone
Paul Reiser, piano

{-

�COMING EVENTS
khkkkkkkkkkkkk

Thursday, March 24 at 8 :15
Daphne Kallas, Eric Kaminsky
Saturday, March 26 at 3 :00
Jan Lauridsen
Saturday, March 26 at 8 :15
Vicky Gordon

Sunday, March 27 at 8 :15
University Chorus, Orchestra

Tuesday, March 29 at 8 :15
Concert Series : Clatworthy
Wednesday, April 13 at 8 :15
Wind Ensemble
Thursday, April 14 at 8 :15
Catskill woodwind Quintet
Saturday, April 16 at 8 :15
Harpur Chorale
Sunday, April 17 at 3 :00
Jazz Ensemble

Sunday, April 17 at 8 :15
Concert Series : Ponce
Saturday, April 23 at 8 :15
Irene Rosenberg

Sunday, April 24 at 8 :15
David Hoppe

�</text>
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                    <text>STATE UNIVERSITY OF NEW YORK AT BINGHAMTON
HARPUR COLLEGE
DEPARTMENT OF MUSIC

PRESENTS

COMPOSERS STRING

QUARTET

SATURDAY, SEPTEMBER 17, 1977

8:15 P.M.
DON WATTERS THEATER

�COMPOSERS STRING QUARTET

JEAN DANE, VIOLA

MATTHEW RAIMONDI, VIOLIN

ANAHID AJEMIAN, VIOLIN

MARK SHUMAN, CELLO
PROGRAM

Haydn : String Quartet in D Minor
Opus 76, No. 2 “Quinten”

I. Allegro
II. Allegro a piu tosto allegretto
ITI. Menuetto – Allegro ma non troppo
IV. Vivace assai

Ezra Laderman : String Quartet No. 5 (1976)

I. Prelude: Allegro
II. First Themes
Listless
(d = 112) ( 4 d
Minuet: Allegretto
( d = 72) ( d =
Andante
Double: Vivo
Second Themes
Andante cO N moto
(d=60) (d=
( d = 52) ( d =
Loure and Sarabande: Andante - Andantino
" Moderato
Development
Gigue – Toccata : Presto
Return
Adagietto
III. Variations
Theme
Var. 1 ~ d = 60
Var. 2
Impassioned
Forceful
Var. 3
Var. 4 Waltz
Var. 5
Frenzied
Var. 6
Almost beyond control
Var. 7 Canons
Var. 8
Finale
Epilogue
Var. 9
kkkkkk

INTERMISSION
Kkkkkk

Mozart: String Quartet in C Major
No. 19, K. 465 “Dissonant”

I. Adagio; Allegro
II. Andante cantabile
ITI. Menuetto
IV. Allegro molto

88)

94)

56)
64)

�kkkkkkhkhkhkkk

*

*

COMING EVENTS

25

Tuesday, October ¥1
MEET THE COMPOSER - LEO KRAFT
Thursday, October 13
GUARNERI STRING QUARTET

Sunday, October 23
PAUL JORDAN, ORGAN
*
*
Kdekk kdkkdedk kk kkk

�</text>
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                    <text>©  U N T Y   R R C

Rec va)
i Ot 3

Joa
5

SPEC Colo

Composi tion  331
Class Co ncer t
of
Stud ent Com posi tion s
Monday, May 7, 2007

Fine Arts 111
Binghamton University

�“Hold You In My Smile” (Text by Ernestine
 Northover)
Composed by Maria Roccisano

Sweet moment, stay with me,
and pray do not ﬂee so soon,
Let me enjoy the bliss o f that
ﬁrst kiss beneath the moon.
I wish to cradle this feeling,
that has only just been found,
A feeling that has unexpectedly
turned my world around.
Do not depart, Oh please remain
within my heart awhile,
So that I can savour you once more,
and hold you in my smile.

M M M ﬂ u n m
Did I Ever Tell You How Lucky You Are? (
Text by Dr. Seuss)
Composed by Patrick Deeney

When I was quite young and quite small f
or my size, I met  and old
man in the Desert of Drize.  He sang me
 a so
ng I will never forget.
At least, well, I haven ’t forgotten it yet.
He sat in a terribly prickly place, but he sang w
ith a sunny sweet
smile on his face :

When you think things are bad, when you fe
el sour and blue, when
you start to get mad you should do w
hat I do!
Just tell yourself, Duckie, you’re really q
 lucky! Some people are
much more...oh, ever so much more...oh,uite
 mu
chly much­much more
unlucky than you!
Thank goodness for all the things you are not
.  Thank goodness
you ’re not something someone forgot, and le
ft al
l alone in some
punkerish place like a rusty tin coat hanger 
hanging in space.
That ’s why I say, ‘Duckie! Don ’t grumble! 
Don ’t stew!  Some critters
are much­much oh, ever so much­much,
 so m
uchly much­much more
unlucky than you!’

“ I m m a d w m m

Since feeling is ﬁrst (Text by e.e. cummings) 
Composed by Ion

Ho

Since feeling is ﬁrst
who pays any attention
to the syntax of things
will never wholly kiss you ;

wholly to be a fool
while Spring is in the world
my blood approves,
and kisses are a better fate
than wisdom
lady i swear by all ﬂowers. Don’t cry
­ the best g esture of my brain is less than
your eyelids’ ﬂutter which says
we are for each other ; then
laugh, leaning back in my arms
for life’s not a paragraph

And death i think is no parenthesis

ﬂ h ­ M ‘ M M H
Lines (Text by Martha Collins) Composed b
y Scott Goldhaber

Draw a line. Write a line. There.
Stay in line, hold the line, a glance
between the lines is ﬁne but don ’t
turn corners, cross, cut in, go over
or out, between two points of no
retum’s a line of ﬂight, between
two  points of view’s a line of vision.
But a line of thought is rarely
straight, an open line’s no party
line, however ﬁne your point.
A line of ﬁre communicates, but drop
your weapons and drop your line,
consider the shortest distance from x
to y, let  x be me, let y be you.

Scot  Gow
l haber ,v o c a l i s t

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