15 10 972 https://omeka.binghamton.edu/omeka/files/original/83d21fc4339ae9f1b2b213e7b3b0e7db.pdf 35a2d09d92a8933a58868adb20a7385e PDF Text Text COMPOSITION SEMINAR STUDIO RECITAL Music from the Seminar original compositions by students of Christopher Morgan Loy Friday, December 3, 2010 8:00 p.m. Casadesus Recital Hall �i i SMmﬁfhmﬂkSmmwr W a m ﬁ j m g w m c q Shane T. Thorn E i I Saw I t On the beadihont eﬀects Shane T. Thorn Electricity: The Alphabet and You Shane T. Thorn D I O N T a n . V i : Christopher Morgan Loy, piano Kenrick Georges RR AN Thee S Steven Zank, piano David Gaita Meditations Shane Thorn, viola ; David Ga ita Meditations In Meditations, the enlightened one reaches an Indescribable state, which like a dream, Is forgotten upon waking. David Gaita How Sweet the Sound David Gaita, piano Shane T. Thorn Prelude for Viola Is essentially In the mold of any of the preludes one would ﬁnd at the beginning of a suite for violin or cello/viola by 1.S. Bach, the formal model for the piece. Tonally, however, the piece derives its content from the two whole tone modes, with slight alterations at points of cadence to create a sense of closure, though only on a momenttomoment basis, as there is no single tonal center to the work. I I Carroll Street at Dusk Lyndsey Meyer, alto saxophone James Mayr, clarinet David Galta, piano Maxim Pekarskiy Nuvoletta Kenrick Georges, trumpet David Galta, piano Kristine Beckmann, contrabass David Gaita Stan Burt, tenor sax David Galta, piano Kristine Beckmann, bass A B O U T Shane T. Thorn Air For Viola and Piano Is an arrangement of an orchestral piece I being In a more or composed several months ago. I t Is fairly straightforward, less neoromantic style, In the key of D ﬂat major. Shane T. Thorn Prelude for Viola Shane Thorn, viola l ctronci s/eﬀects Shane Thorn, voci e/ee ‘ Kenrick Georges The Image Of A Garden Laura MacAvoy, soprano Christopher Morgan Loy, piano Letting Go David Gaita Piano Duo David Gaita, piano Michael Salmirs, piano : 1 III ] i r PROGRAM lr For Viola and Piano A Shane Thorn, viola E ! l Kenrick Georges { David Gaita How Sweet the Sound A drunken man In moumlng sings “Amazing Grace” at the top of his lungs. Screeching and out of tune, i t i s beautiful. �Ma xim P ekarslriy usk Carroll Street a t D Carroll Street Is a street in downtown Brooklyn where I took my ﬁrst fencing lessons. I was fourteen, and my long trips up to the club were one of the ﬁrst things I really did all on my own. I would walk back to the train station a t dusk after an Intense practice and feel a sense of accomplishment, of internal peace. “Internal peace?“ you might ask, “what does a fourteen year old have to worry about?” I was proud to see my fencing come together with the hard work I put in, I was excited at the prospect of coming home almost at midnight, and being as the ﬁrst time I didn’t so In control of where I was and what I was doing. I t w feel like a child anymore. When I begin a piece of music, the ﬁrst thing I consider Is the mood, an atmosphere I’d like to convey. These long walks to the subway station through Carroll Street bring back memories of growing up I never want to let go. As a student composer, I am constantly trying to break out of the simple harmonic structure I am accustomed to. This jazzy trio was a great opportunity to step outside the usual tonal progressions that I work with and forget about what the underlying key Is. Moreover, I wrote i t c ompletely away from the computer another rare and rewarding experience. By their nature, 7, 11, and i ! 13 chords allowed me to change keys while retaining common notes between the as a great experience to be able chords. While the piece Is undoubtedly tonal, i t w to let go of worrying about every chord I’m working with and swim In this sea of smooth transitions and common tones. Though Initially, I expected to step out of my comfort zone while writing jazz since I have so little experience In this style, I actually discovered a whole another side of my composition in fusing calm, arpeggiated musical motifs with more traditional, syncopated jazzy harmonies. In the end, this piece is more intimate to me than a lot of my previous, harmonically constricted works. David Gaita Nuvoletta *..And into the river that had been a stream (for a thousand of tears had gone eon her and come on her and she was stout and struck on dancing and her muddled name was Missisliﬀi) there fell a tear, a singuit ean for those crylove fable fans who are ‘keen’ tear, the loveliest of tears ( I m on the prettypretty commonface sort of thing you meet by hopeharrods) for i t was a leaptear.” James Joyce, Flnnegans Wake David Gaita Piano Duo Computers chant and seas sings. The war between technology and nature never began and will always be. Shane T. Thorn n the Boadifront Is a prerecorded piece made entirely from my I Saw I t O voice, with studio alterations/eﬀects. The text is entirely improvised. Shane T. Thorn Electricity: The Alphabet and You Is a mostly prerecorded piece made using several sound generations and editing programs available to me, as well as text of my own composition. I t employs a microtonal system of harmony derived from a division of the octave into twentysix equal parts ; In other words, a twentysix tone equally tempered scale. The possibilities for this are wideranging Indeed... I J �A B O U T Shane Thorn Is a native of the Binghamton area, and attended Susquehanna Valley High School In Conklln, NY, before coming to BU. He Is now a Senior majoring In Music composition, which he has studied with Paul Goldstaub and Christopher Morgan Loy. He has played extensively In the University Orchestra In addition to chamber music groups on campus, has studied viola, voice and piano, and sings In the Canterbury Choir and University Chorus. He has also studied creative writing, piaywritlng, and * MIDI. His Interests as a creative artist extend beyond the boundaries of the concert hall, and he is currently exploring directions In performance art and literature. The world of dreams and the subconscious, as well as the most basic pattern recognitions of the brain and the lnstlnctuai associations we make through experience ls of great Importance. Da vid Ga ita Is a sophomore at Binghamton University, majoring In music and biology. He plans to pursue a career In medicine. He has been playing piano for twelve years, and composing for two. He currently studies piano with Professor Salmlrs. He Is also an artist and poet under the name Escobar Marzapan. Ma xim P eltaroldy ls currently a junior a t Binghamton University pursuing a double degree In music composition and ﬁnancial economics. A classically trained violist, Maxim’s early music training was spent playing the symphonies of the greats and lots (and lots) of Bach. A successful collaboration at the Interlochen Arts Festival In Michigan sparked Maxim’s Interest in ﬁlm music and opened up his musical horizons. He Is now writing as much jazz, rock, and ambient electronica as he does orchestral music. Maxim hopes to pursue a career In ﬁlm scoring. He has studied viola with Richard Spencer and Roberta Crawford, and composition with Paul Goldstaub and Christopher Morgan Loy. Outside of music, Maxim enjoys fencing, the study of decision making, and meeting people from faraway places. t � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:16:41 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE146579">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE146579</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. 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Title A name given to the resource Composition Seminar Recital, December 3, 2010 Recital Tape 2010-12-3 Description An account of the resource Works by Thorn, Georges, Gaita Creator An entity primarily responsible for making the resource Loy, Christopher Thorn, Shane Gaita, David Pekarskiy, Maxim Georges, Kenrick Zank, Stephen MacAvoy, Laura Meyer, Lindsay Beckmann, Kristine Burt, Stan Salmirs, Michael Mar, 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 2010-12-03 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 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 47 minutes :01 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142237">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142237</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 Composition seminar studio recital : music from the seminar, May 8, 2012 Description An account of the resource Works by Martin, Cody, Baine, Mayr Held at 8:30 p.m., May 8, 2012, Watters Auditorium. Creator An entity primarily responsible for making the resource Martin, Christian Lawson, William James Baron, Alexander Polacco, Nicholas Arenstein, Zachary Strohm, Jacob Gukowsky, Matthew Goldstaub, Paul Baine, Ilyssa Lathwell, John Perry, Timothy Micceri, Jennifer Adams-Toomey, Molly Sucha, Kathryn Rovou, Joshua Furrey, Thomas Harris, Jibron Berg, Alex Ford, Elizabeth Gonzolez, Crystal Kupfer, Nicole Levine, David Mayr, James Meyer, Lindsey Forzano, Michael Mones, Mike Romberger, Daniel Weinstein, Daniel Zhao, Jonatham Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 5/8/12 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/a0d8781df4bd3958fb12e8154f3a76e3.pdf c41a01e2ac806f992a5a26e50615f534 PDF Text Text i BINGHAMTON U N 1 V E R s 1 T Y , State University of New York 1 . U 1 N ” V W E 1 I N\4 {em 1 1 . . 4 n “ L ' prese nts a Conc . ert , for the” N E W YO R K STATE ASSOCIATION ' guD 1 _ , OF sbaF g COLLEGE MUSIC PRO GRA MS Saturday, September 9, 2006 11:00 a. m. eo 1 Anderson Center Chamber Hall , �PROGR AM ‘Mi chiamano M ini’ Gahu Dance of the Ewe People of Ghana Binghamton University African Music Ensemble James Burns, Director Three Shakespeare Songs, Op. 6 Come Away, Death O Mistress Mine , ’ Blow, Blow, Thou Winter Wind ' . Roger Quilter ' (18771953) : 5 Timothy LeFebvre, baritone Duane Skrabalak, piano , Sonata for Violin & Piano Allegro vivo ; Intermede: Fantasque et légér Finale: Trés animé .. Claude Debussy (18621918) _ Janey Choi, violin , Michael Salmirs, piano Si mes vers availent des ailes.... My verses would speed, sweet and frail, Fly towards your garden so fair, If my verses had wings, Like a bird! They would ﬂy, like sparks, To your smiling hearth, If my verses had wings Like the spirit... .Reynaldo Hahn (1 8741 947) ' Poet, Victor Hugo : (18021885) Act I – P aris, Latin Quarter, c. 1830; a garret apartment; Christmas Eve Giacomo Puccini © (18581924) Poet, Victor Hugo (18021885) Mimi, a seamstress, knocks on the door of a neighboring apartment because her, candle has blown out. Rodolfo, a young poet, answers the knock and his own candle ﬂame goes out. He pretends not to ﬁnd the key that Mimi drops in the darkness, and’introduces himself in a poetic discourse. Then he sits in the dark and listens to Mimi’s simple words about herself. * Yes, they call me ‘Mimi, but my name is Lucy. My story is brief: On cloth or on silk , I embroider at home’or outside... I am cahn and happy and it is my hobby to make lilies and roses. 4 ~ Those things give me pleasure; that have so much sweet magic, that speak of love, of springtimes, that speak of dreams and illusions, those things which‘have the name poetry. : You understand me? They call me Mirni. the why, I don’t know. Alone, I make my meals at home by myself. \ 8 I do not always go to mass but I pray often to the Lord. I live alone, all alone, there is a white little room; . I look over the rooftops and into the sky but when comes the thaw the ﬁrst sun is mine... the ﬁrst kissof April is mine! A rose blooms in a vase . petal by petal I observe it! ' So delicate, the perfume of a ﬂower! but the ﬂowers that I make alas! do not have a fragrance! f . I would not know how to tell you anything about me. I am your neighbor who comes at odd hours to bother you. Stefanie Sudduth, ‘soprano Margaret Reitz, piano Next to you, pure and faithful, They would run night and day, If my verseshad wings, Like love! I �Sh Story Hour. .. Philip Parker 1. The Memory Poem by Sara Henderson Hay 2. The Builders 3. The Grandmother 4. One of the Seven Has Somewhat to Say 5. Juvenile Court 6. The Grievance 7. Dr. S—Advises a Worried Mother 8. Death of H.D., a Prominent Citizen 9. The Formula ‘y . t Timothy Perry, clarinet Anne Brady, narrator Allerseelen...........................................i.'................... Richard Strauss (18641949) Largo al factotum della citta... .Giacomo Rossini ' ‘From Il Barbiere di Siviglia . (17921886) 2 ' ' Soon Young Park, baritone Margaret Reitz, piano / Danzas Argentinas... . ................Alberto E. Ginastera ' II. “Danza de la moza “dOnosa” (19161983) III. “Danza del gaucho matrero” Eva MackiewiczWolfe, piano A H b ABOUT T H E PERFORMERS JAMES BURNS is Assistant ‘Professor of Music (Ethnomusicology) at Binghamton University. He obtained a BA from the, University o f Texas, Austin, PhD School of Oriental and African Studies, London. Research Interests: Music, Languages, Religions, and Literatures of Africa and the Diaspora. Taught African music and culture at the School of Oriental and African Studies, African drumming at Goldsmiths College and City College of London. Conducted over 5. years of ongoing ﬁeldwork in Ghana, Togo, and Benin with EweFon, Akan, and Dagbamba (Dagomba) ethnic groups. Ethnomusicologist for Project 5: Transformations in African Music and Dance . at the AHRC Centre for CrossCultural Music and Dance’Performance based in the U.K. Publications: A CD of Ewe dancedrumming entitled EWE D R U M M I N G FROM G H A NA : the soup which is sweet draws the chairs in closer (2005 Topic Records), an article “My mother has a television, does yours? Transformation and secularization in an Ewe funeral drum tradition,” published in the journal Oral Tradition (October 2005); read papers at the ICTM 2003 World Conference and the SEM annual conference (2004, 2005). , Performing musician of African and Afro Caribbean traditional musics. i Baritone TIMOTHY LEFEBVRE just returned from his debut with Central City Opera singing in productions of The Ballad of Baby Doe and The Coronation of Poppea. LeFebvre has appeared in concert with the Jacksonville Symphony, Pensacola Symphony; West Virginia Symphony Orchestra, Vermont Symphony, Minnesota Symphony, Syracuse Symphony, American Symphony Orchestra, Pittsburgh Symphony, Spokane Symphony, Binghamton Philharmonic, Rochester Bach Festival, Berkshire Choral Festival, Williamsport Symphony, Syracuse Chamber Music Society, the Skaneateles Festival and with the prestigious M a r l Music b o Festival. r o — He has also appeared in concert at New York’s Carnegie Hall and Alice Tully Hall. LeFebvre’s operatic experience includes leading roles withSan Francisco Opera, TriCities Opera, Sarasota Opera, Chattanooga Symphony and Opera, Syracuse Opera, Indianapolis Opera, and Opera Theater of Pittsburgh. Mr. LeFebvre is a winner of the New York Liederkranz Vocal Competition, and other awards include the Richard F. Gold Career Grant, an Opera Fellowship at BinghamtonaUniversity and Regional Finalist in several Metropolitan Opera Competitions. ‘LeFebvre is a graduate of Carnegie Mellon University and Binghamton University and is currently Assistant Professor of Voice at Binghamton University. 20062007 engagements include appearances with the Chattanooga Symphony and Opera in Le nozze di Figaro and the Syracuse Symphony in Mozart’s Requiem. He will also appear in concert at Carnegie Hall in March. ; DUANE SKRABALAK is Artistic Director and resident Conductor of the Tri Cities Opera Program. Mr. Skrabalak was chosen years ago by CoFounders Carmen Savoca and Peyton Hibbitt to be the person to bring the company into its second half century and the new millennium.‘ In addition to his dutieS’as �Artistic Director of OperaGoRound (the touring educational program of TCO), he also serves as vocal coach for the Resident Artist Training Program and is ~ Adjunct Assistant Professor of the M.M./opera program at Binghamton University. Skrabalak joined TCO as a singer and pianist in 1970. He soon became the TCO choral director, and eventually crossed into conducting, coaching voice and language. He made his conducting debut in 1974 with Gounod’s Faust. Since then; he has conducted more than 60 productions, as well as numerous chamber productions and excerpt shows. Among his many credits, Skrabalak served as music director for the world premiere of Myron Fink’s Chinchilla, and serves as host of TCO’s Operalogues which are also broadcast on public radio. His conducting credits include appearances with the Atlanta Civic Opera, the Jerusalem Symphony for the Israel Festival, the Clemens Center and the Opera Theatre of Pittsburgh. As a soughtafter f e o . recital pianist, he has toured throughout the U.S. and abroad. Aﬀiliate Artist at Cornell University. He maintains a private piano studio in Ithaca and enjoys teaching students of all agesandllevels. This season, Salmirs will perform Poulenc’s Aubade with the Cayuga Chamber Orchestra. 1 Canadian born violinist JANEY CHOI gave her Carnegie Hall recital debut in 1997, presented by Artists International. Recipient of numerous awards including the Ontario Arts Councils Chalmers Performing Arts Training Grant, and First Prize in the National Finals of the’ Canadian Music Competition, she has participated in many festivals, such as Juilliard’s Focus Festival, 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 collaborator, she has performed with such artists as Bono, Elton John, JayZ, Kanye West, Lisa Loeb: and Sarah McLaclan in such venues as Live 8, SaturdayNight Live, Radio C i t y Hall, MTV, and Lilith Fair, London. In addition, she has performed numerous times with the Parsons Dance Co., most notably at the Kennedy Center in Washington, D.C., and at the New Victory Theater in Times Square, and is currently the Music Director of Thomas/Ortiz Dance, a collaboration recognized by the American Music Center with a Live Music for Dance Grant. Dr. Choi holds a DMA from Rutgers University and both a BM and MM from The Juilliard School with the Joseph Fuchs Prize in Violin. She is a Teaching Artist for the New York Philharmonic, Lincoln Center Chamber Music Society and has recently joined the faculty of S i g m a n U niversity as Adjunct Instructor of Violin. ’ 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. H e has appeared as . _ soloist with the Corning 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, 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 an Adjunct Instructor of Piano at Binghamton University and an STEFANIE SUDDUTH will graduate from SUNY Binghamton in December of 2006 with her Masters degree in Opera. She is beginning her third season as a Resident Artist for TriCities Opera. Her recent rolls with TCO include cover .‘for the title role i n Madama Butterﬂy, 1“ Lady in The Magic Flute, Mrs. Gobineau in The Medium, Flora Bervoix in La Traviata, The Mether in Hansel and Gretel, and 2?” Woman in Dido and Aeneas. She was also in the chorus of Lucia di’Lammefrnoor and La Filled u Regiment. With the Atlanta Opera she performed in the chorus of Madama Butterﬂy. Stefanie is originally from Texas. She holds a Bachelor of Arts degree in Performance from Texas Wesleyan University, and graduated Summa Cum Laude. While at TWU, Stefanie was awarded ﬁrst place in the American Music Competition sponsored by SAI, the Marjorie Murphy ‘Scholarship, and Division III a t N ATS. Some of her . performances include Songs for a New World, Sophie in St. Nicholas, The Bald Soprano, and chorus in Hair and Evita. MARGARET REITZ, pianist, is a native of the Binghamton Area. She ' received her Bachelor and Master. of Music degrees in piano performance with accompanying emphasis, and has attended Boston University, New England Conservatory and Binghamton University. She has studied piano with Jean Casadesus, Victor Rosenbaum, ySeymour Fink and Walter Ponce, and accompanying with Allen Rogers. She has accompanied throughout the United States, England, South America, and at the American Institute of Musical Studies in Graz, Austria. Reitz and Binghamton University faculty member Timothy Perry were winners of the 1997 Artistic Ambassadors Program by the United States Information Agency in partnership with the John F. Kennedy Center for the Performing Arts. During the summer of 2005, Reitz, clarinetist Timothy Perry and cellist Stephen Stalker were invited to perform at the International Clarinet Conference in Tokyo, Japan. Other notable performances include guest chamber music artist in Morges, Switzerland and guest soloist with the Binghamton University Orchestra. She was the oﬀicial accompanist at the MTNA State and Eastern. Division Competition at Ithaca College in 2001 and will be returning in 2006. In addition, she was. selected to attend the Accompanying Workshop for Singers and Pianists held at Northwestern University. During the summer of 2006, she composed the musical score for an * independent ﬁlm by MANDIS Production, to be released in February 2007. ! TIMOTHY PERRY, clarinetist, conductor and Professor of Music, joined the Binghamton University faculty in 1986 as director of the orchestral and wind ensemble programs and instructor o f studio conducting and clarinet. Perry holds \ D.M.A., M\M.A. and M.M. degree from the Yale School of Music and a B.’ Mus. degree from the Manhattan School of Music. Dr. Perry’s more than two hundred programs include ten seasons as Music Director of the Binghamton Community Orchestra and as guest conductor of both the Catskill Symphony and Binghamton Philharmonic orchestras. PeW is widely known as a virtuoso ] �solo and chamber music clarinetist, touring Latin America and t he Caribbean as a United States ‘Musical Ambassador and appearing at international festivals in ~ Europe and Asia. He presented his third artist recital at an International Clarinet Conference this past summer in Tokyo. SOON YOUNG PARK, baritone, is originally from Seoul, Korea. He is currently enrolled in the Master of Music in opera at Binghamton University and is’a Resident Artist at TriCities Opera Company. He also holds a teaching ~ a ssistantship’ Binghamton University. He earned bachelors’ degrees from Yonsei University (Voice) and Korea Christian University (Theology), and then came to the United States where he earned a Performance diploma from Indiana ~ University. While at Indiana University, he received the Merit Scholarship, and he also served as Music Director at Bethel Christian Church in Indianapolis ~ from 20002005. ‘ Park has performed in many operas, including Marcello in La Boheme, Scarpia i n Tosca, Ford in Falstaﬀ and Notary in Don Pasquale a t Indiana University Opera Theatre, Papageno in TriCities Opera’s production of ~ The Magic Flute, and most recently as Bonzo and Commissioner in Madame Butterﬂy. He also sang in the chorus for Peter Grimes at Indiana and Lucia d i Lammermoor at TriCities Opera. He will be performing again with the Tri Cities Opera this coming October as Marcello in La Boheme. EWA MACKIEW ICZWOLFE, the winner of the International Competition ' of Renaissance and Baroque Music, and the International Competition for Young Pianists in Warsaw, Poland, is also the recipient of awards in international music competitions in Budapest, Hungary and Dresden, Germany. MackiewiczWolfe received her bachelor’s and master’s degrees in piano performance with honors and high distinction from the Academy of Music in , Lidz, Poland where she continued as Assistant Professor and Master Lecturer in , music. Since 1984, she has been associated with the Binghamton University Music Department where she is currently engaged as Adunct Instructor of Piano. MackiewiczWolfe appeared in several music festivals such as the Festival of Karol Szymanowski, The Piano Festival of Vladslav Kedra, Poland, Chamber Music Festivals in Germany and Hungary. Her career as a piano soloist developed further as a result of concerts arranged by the Association of Polish Artists/Musicians, Government Art Agency (PAGART), the Karol Szymanowski Musical Society, the Lodz Philharmonic Society, and various music colleges. ; ’ ; \ i � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:09 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204294">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204294</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 Concert for the New York State Association of College Music Programs, September 9, 2006 Recital Tape 2006-9-9 Description An account of the resource Works of Quilter, Debussy, Hahn, Puccini, Parker, Strauss, Rossini, Ginastera. Held at 11:00 a.m., September 9, 2006, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Burns, James LeFebvre, Timothy Skrabalak, Duane Choi, Janey Salmirs, Michael Sudduth, Stefanie Reitz, Margaret Perry, Timothy Brady, Anne Park, Soon Young Mackiewicz-Wolfe, Ewa 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 2006-9-9 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 d36bec21-1e0e-4923-8cd1-09ba9f718564 https://omeka.binghamton.edu/omeka/files/original/e91f5c48af15378aac655df5aae5f15a.pdf e7437da07defe2edd8ac08600f4dac75 PDF Text Text S t a t e U n iv e r s i t y o f New Y or k a t B ing ham t on Har pur C o l l e g e The Dep a r t men t of Mus i c z T H E HARPUR CHORALE Sunday , Mar ch 2 7 , 19 7 7 8 : 15 P . M . Don Wa t t e r s Thea t er - — “mew o m �Verse III (chorus) Trotz dem alten Drachen, trotz dem Todesrachen, trotz der Furcht dazu! Tobe, Welt, und springe. ich stch hier und singe, in gar sicher Rul, Gottes Machs hilt mich in aciity Exd und Abgrund muss verstummen, O b sie noch so brummen, PROGRAM I JESU MEINE FREUDE J . S . Bach T h is work , composed by Bach sho r t ly a f t er he was ins t a l l ed as Can t or of t he Thomasschule , i s i n t he f orm of an una cc omp an i ed m o t e t f o r ﬁ v e – p a r t c ho r us . The t e x t i s based on s i x ver ses of a hymn wr i t t en by Johann Franck in t er sp er sed w i t h ﬁ v e verses of t he 8 t h Chap t er of Romans . The r esu l t i s a f us ion of t he ob j e c t iv e B i b l i c a l word s of S t . P a u l w i t h t he sub j ec t iv e and h i g h l y emo t i ona l hymnody pop u la r i n Bach ’s da y . Ther e a r e no ind ep end en t i ns t r um e n t a l p a r t s f o r t h e m o t e t, bu t f or t h i s per f ormance t he vo ic es ar e augment ed by s t r ing s i n keep ing w i t h t he p r a c t ic e i n Bach ’s t im e . Verse I (chorale) Jesu meine Freudc, meines Herzens Weide, Jesu meine Zier, Ach wie lang, ach lange ist dcm Herzen bange und verlangt nach dir! Gottes Lamm, mein Briutigam, ausscr dir soll mir auf Erden Nichts sonst Liebers wcrdcn. Jesus my joy, my heart ’s delight, Jesus my ornament, Oh how long, how long is my heart afraid and yearning for T hee! God’s lamb, my bridegroom, except for you nothing else on earth Shall be dearer. Chorus: Romans VIII. 1 Es ist nun nichts Verdammliches an dcncn, dic i n Christo Jesu sind, die nicht nach dem Fleische wandcln, sondern nach dem Geist, There is now nothing condenmable in those who are part of Christ, who do not live according to the ﬂesh, but according to the spirit. Verse II (chorale) Unter deinem Schirmen bin ich vor den Stiirmen aller Feinde frei, Lass den Satan wittern, lass den Feind erbittern, mir steht Jesus bei. . O b cs itzt gleich kracht und blitzt, ob gleich Siind und Holle schrekken: Jesus will mich dekken. Under your protection l am free be f ore ibe storms of all enemies. Let Satan thunder, let the enemy be angry, Jesus stands by wie. W hether it is thundering and lightening, whether sin and H ell threaten, J esus will protect me, Trio: Romans VIII, 2 Denn dns Gesete des Geistes, der da Iebendig machet in Christe Jesu, hat mich frci gemacht van dem Geseiz der Stinde und des Todes. For the law of the spirit, wirich has the power to give life in Jesus Christ has made mc free from the law of sin and death, Despite the old dragon, despite the open jaws of death, despite also , cer, Rage, world, and shake, i stand l er e and sing in complete tranquility, God‘s might kceps me protected; earth and abyss must become silent, N a matter how they grumble. ruguo chorus: Romans VI I. 9 Ihr aber seid nich ﬁeischlich, sondern geistiich, so anders Gottes Geist in euch wohnet, wer aber Christi Geist nicht hat, der ist nicht sein, But you are not mortal, but spivivual, however diﬀerently God lives within y al , but he who docs wot have Christ ’s spirit, he is not thine. Verse IV (chorale) Weg, mit allen Schiitzen! Du bist mein Lrgirzen, Jesu meine Lust! Weg, ihr citlen Ihren, ich mag cuch nicht hiren, bleibt mir unbewusst! Llend, Not, Kreuz, Schmach und Tod soll wich, ob ich viel muss leiden, Niche von Jesu scheiden. Away with all treasures! you ave my delight, Jesus my joy! Away, you vain glories, I do not want to hear of you, remain unknown to me Misery, need, trouble, humiliation, and deatly shall not separate wie From Christ, although 1 must suﬀer much. Trio: Romans VIII 10 So aber Christus in cuch ist, so ist der Leib zwar tot, um der Siinde willen; der Cuist aber ist das Leben um de Gerechrighkeit willen, But if Christ is in you, then the body is indeed dead, on account of the mortal sin; but the spirit is life for the sake of (His) justice, Verse V (Quartet – chorale) Gute Nacht, o wesen, das dic Wel t erlesen, mir geﬁllst du nicht. Gute Nacht, ihr S’inden, bleibet weit dahinten, komm t nicht mehr ans Licht! Gute Nacht, du Stolz und Prache, Dir sic gang, du Lasterleben, gute Nacht gegeben, Good night, oh creature which the world bas chosen, I am not pleased with you. G ood night, you sins, stay far behind we, come no longer into the light! Good night, you pride and splendor, to you life of wice, farcwell forever, Chorus: Romans VIIL 2 So aun der Geist des, der Jesum von den Toten auferwekket hat in euch wolinet, so wird auch der sclbige, de Christum von den Toten auferwekket hat cure sterblichen Leiber lebengdig machen : um des willen, dass scin Geist in cuch wohnet. �] If now the spirit o f him who has raised fesus frome the dead live in you T hen clso will the sa ne one whe has raised Christ front the dead put mew life into your mortal bodies, so that bis spirit live in you. Verse VI (chorale) Weichs, thr Trauergeister, dean mein Freuden meister, Jesus, tritt herein, Denen, dic Gott lichen, muss anch ihr Betriiben latter Freude sein, Duld ich schon heir Spots und Fob, dennech bieibst du auch im Leide, Jesu, meine Freunde, Yield, vou spirits of sorrow. for my lord of joy, Jesus, steps in. For those who love God, also their sorrow must become nothing but joy. Although I suﬀer bere derision and mockery, nevertheless you Romain also in my suﬀering, J esus m y joy. MUSIC FOR A MIDSUMMER NIGHT’S DREAM FAIR LOVE FAIRY SONG L ou ise U l r i c h , soprano Ron Lynch, t enor TITANIA THE HONEYBAGS Amy W i l l i am s , soprano R ichar d P easlee W i l l i a m Esses , gu i t a r N e i l Cona ty , bass D iane D ino , p er cuss ion Joe Pa z ienza , p er cuss ion \ IT MADRIGALS I N PRIDE OF MAY Thomas Weelkes I L S’EN VA TARD C lemen t Jannequ in (1575-16 23) (1485-1560) FAIR PHYLLIS I SAW John Farmer (1565-1605) Ma d r iga l Choir¥* The Four Quar t er s – Women ’s Barbershop Qua r t e t . Per cy Wenr ich / Jack Mahoney WHEN YOU WORE A.TULIP NEVER THROW A LIGHTED LAMP AT MOTHER G e oﬀr ey O ’Hara / John Bar t on Ar t hur F ie ld s / Wa l t er Donovan THE ABBA DABBA HONEYMOON VI INTERMI S S I O N ITI MY HEART PROCLAIMS HOW GREAT THE LORD (19 6 2 ) He inz Werner Z immerman (1930– ) The use of t he Ma g n i ﬁ c a t (Luke 1 : 46– 55) i n t he da i l y Vesper serv ic e of t he Ca t ho l i c l i t u r g y i s w e l l known, and a number of mus i ca l examp les have surv ived i n Eng l ish t r ans la t i on i n t he Ang l ican serv ic e . Z immerman ’s ver s ion d epar ts f r om c omp os i t iona l norms h i s t o r i c a l l y assoc ia t ed w i t h t h e m u s i c a l s e t t i n g o f t h i s f a m i l i a r t e x t and in t r od uc es t he ja zz–b lues s t y l e wh ich reached i t s z en i t h i n the l a t e 1930 ’s and ea r ly 1940 ’s . D iane D ino , V ibraphone Deborah Lemon , har ps ichor d N e i l C ona t y , ba ss M i c h e l l e Domser E l i zab e t h Sussman L isa G r i ﬀ i n Be th Ann Schoonmaker The Four B i t s ~ Men ’s Barbershop Qua r t e t SWING LOW, SWEET CHARIOT L ’ I L LIZA JANE YOU’RE THE FLOWER OF MY H E A R T (SWEET A D E L I N E ) THERE’LL BE A HOT TIME I N THE OLD TOWN THE BAND PLAYED ON YOU’RE A GRAND OLD FLAG R ich Wiebe Tom Gu ther z Ma t t Pass P e t e Horva t h VII THE SEASONINGS ( S, 1% t sp . ) P . D . Q . Bach (1847-1742 ) humb ly ed i t ed by Pr of essor P e t er Sch ickele �The S easonings i s , a s f a r a s we know, t h e on ly o r a t o r i o wr i t t e n by P . D . Q,Ba ch , and we mus t t hank God f o r sm a l l f avor s . The l a s t and l e a s t of t h e g r ea t J . S . Ba ch ’s twen t y odd ch i ld r en was no t on ly t he cd d es t b u t a l s o t he l e a s t und er s t ood s inc e ther e was so l i t t l e t o und er s tand . He l iv ed an exc ep t iona l ly p o in t l ess l i f e wh ich i s m ir r or ed w i t h ama z ing ﬁ d e l i t y i n h i s c omp os i t ions . The o r a t o r i o was wr i t t e n d ur ing t he l a s t of t h e composer ’s c r ea t iv e p er iod s ( C on t r i t i on ) , when he gave up many , though no t a l l , o f t he extravagances of t he Soused p er iod and t h e c ha r a c t e r i s t i c a l l y in c omp e t en t c ha r a c t e r i s t i c s of t he I n i t i a l P lung e . The work was ﬁ r s t pub l ished i n L iver p o o l by Jona than “Bo o zy’ Hawkes, who had been one of P . D . Q . ' s many d r ink ing companions i n Wein–am– Rhe in d ur ing t he Soused p er iod . S inc e t he o r i g ina l manus cr ip t (ms . ) has never been f ound , and t he ﬁ r s t pub l ished ed i t i o n was a lr eady i n Eng l ish w i t h no c r ed i t f or t he l i b r e t t o , we can on ly sp ecu la t e abou t t he _ 1 . au thor sh ip of t he t ex t ; or , of course , we can s imp l y no t t h ink abou t i t a t a l l . Harpur Chor a le takes p leasur e i n announc ing t ha t t on i g ht ’ s per f ormance of The S easonings w i l l be d ir ec t ed by Herr Pr of essor P f oh l D . Roh l , by sp e c ia l ar rangement w i t h Conduc t or s Un l im i t ed of New York , t he MUnich Ra thaus– am–see , and t he S . S . S . ( Soc ie t y of Sch ickel e Symp a t h i zer s ) . Chorus : “Tarragon of v i r t u e i s f u l l ” R e c i t a t iv e : “And ther e wer e i n t he same country” 3 Due t : “B id e t hy thyme” (Soprano and A l t o , w i t h S l i d e Wh is t l e , Windbr eaker , and Tromboon) 4 Fugue : Or ches tra 5 R e c i t a t iv e : “Then asked he” 6 Chora le : '"By the leeks of Babylon/ Ther e we s a t down , yea , we wep t ” 7 R e c i t a t iv e : “Then she gave in ” 8 Ar i a : '"Open sesame sced ” (Bass , w i t h Kazoos, Windbr eaker , and S l i d e Wh is t l e ) No . 1 No . 2 No . No . No . No . No . No . N o . 9 R e c i t a t iv e : ‘ S o sa y ing ” No . 10 D u e t : ”Summer i s a cum in seed ” (Soprano and A l t o , w i t h S l id e Wh is t l e and Shower Hose) No . 11 Chorus w i t h S o l o i s t s : ‘ T o cur r y f avor , . f avor cur r y ” SOLOISTS Kar en H a i g h t, sopr ano Susan G la ss , c on t r a l t o N i c ho la s O ’Donohoe , t enor Thomas Gu t her z , bass ORCHESTRA PERSONNEL V i o l i n : O l ev V ir o , Ross L ev inson , Geor ge Myer s , P a u l Tur co , Ro b er t Sa l e t s ky , E i l e en Pas t er nak V i o l a : Barbara Thompson , Ca r o l I saac son , Ca t hy E l i a s C e l l o : Ho l l y W i lson , Dav id Hoppe Ba ss : N e i l C ona t y Tr ump e t : S t eve Winans , Dave Bespa lk o Ka zoo : Ka t e Sudekum , P a u l Ke t choy ian S l id e Wh is t l e : N ick O ’Donohoe Penny Wh i s t l e : Howard Weinber g Shower Hose : Jay H i l ﬁ g e r Tr omboon : Sue Lawson T imp a n i : D iane D in o Windbr eaker : Dav id Denhard C on t inuo : Mar k Kr oss – or gan , of s o r t s H o l l y W i l son Sp ec ia l thanks t o P h i l l i p Kennedy f or L i g ht ing , L i z Roman f or “ c ouns e l ' . �HARPUR CHORALE Oﬀic er s P e t er Horva th , p r es id en t Em i l y Par ker , t r easur er Nancy Rop er , home a r e amana g er S t ua r t S i lverman , t o u r manager s R icha r d Wieb e , C yn t h ia Ca r t er , secr e tar y Sue Lawson , l i b r a r i a n Meg Sp er b er , p u b l i c i t y R icha r d Br ig g s , wardrobe Be th Schoonmaker , Sopranos : M i ch e l Domser , Ter esa Gr een , L isa G r i ﬀ i n , Ma r c ia Hausner , L o r i Knapp* Wendy Osborn , Nancy Roperf L ou ise U l r i c h C on t r a l t os : J i l l Benj am in ’ E l l en S m n s t e i n , C ind y Ca r t er , Jean Ca t a ld o , Susan G l a s s Em i l y Ha thorn , Sue Lawson , D o l l y Mur phy * Em i l y Par ker , Be th Schoonmaker” Meg Sp erber , E l i za b e t h Sussman Tenor s : M icha e l Duggan, Joshua F a r r e l l , S t even Lu tvak® Ma t t h ew P a s s ’ Rob er t Sar achan , S t ua r t S i lverman Basses : R ichar d Br ig gs , Mark Fr eeman , Thomas Gu ther z , P e t er Horva th# Dan i e l L o t t o , John ° Par ry? M icha e l P ier c e , Jason Surow, R ichar d W ieb e Harpur Chor a l e w i l l c ombin e w i t h t he Un iver s i t y Chorus and Or ches tra and Oneon ta C ommun i t y Chorus i n a p er f ormanc e o f Mo za r t ’ s Req u iem on A p r i l 16 a t 8 : 15 p . m . i n Wa t t er s Thea t er . �AS YOU MAY OR MAY NOT KNOW, THE HARPUR CHORALE REPRESENTED SUNY BINGHAMTON ON A CONCERT TOUR OF EASTERN AND WESTERN EUROPE OVER THIS PAST INTERCESSION. MANY PEOPLE CONTRIBUTED TO HELP US MEET THE EXPENSES WHICH, AS YOU MIGHT IMAGINE FOR A TOUR OF THIS SCOPE, WERE CONSIDERABLE. I N A VERY REAL SENSE WE CONTINUE TO PAY FOR OBLIGATIONS INCURRED . I T I S WITH THIS I N MIND THAT WE ASK YOUR SUPPORT TONIGHT I N THE FORM OF A VOLUNTARY CONTRIBUTION. OUR USHERS WILL STAND WITH RECEPTACLES NEAR THE EXITS FOR YOUR CONVENIENCE. WE THANK YOU FOR YOUR THOUGHTFULNESS AND GENEROSITY. HAVE A PLEASANT EVENING. ENJOY THE CONCERT AND � 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 audiotape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 37:42 47:10 21:47 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE333628">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE333628</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.) Continuous 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 Concert Harpur Chorale, March 27, 1977 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital tape 1977 3-27 Description An account of the resource Works of Bach, Zimmerman, Peaslee, and P.D.Q. Bach. Held at 8:15 pm, March 27, 1977, Watters Theater. Creator An entity primarily responsible for making the resource Harpur Chorale 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 1977-03-27 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/9ab4bcc6cf6ad22c50af0405ec6deae0.pdf b9cd1e163d7acfd2c329e40cf611a8c9 PDF Text Text The Junior League of Binghamton presents Bicentennial CELEBRATION IN SONG A Concert of American Works featuring the world premiere of Robert Starer’s “T he People, Yes” SUNY Binghamton’s University Chorus and Harpur Symphony Orchestra David Bu ttolph – Director Broome County Youth Chorus Be t ty Har tman – D irector Saturday, December 4, 1976 – 8 :00 P.M. The F orum ! — § a n App r ov ed Project AMERICAN REVOLUTION B I C E N T E N N I A L COMMISSION �BICENTENNIAL CONCERT COMMITEES The Junior League of Binghamton presents “Bicentennial Celebration in Song” Coordinator Jane Zuckerman Tickets and Box Oﬀice Susan Doolittle, Chairman Nancy Benza Christina Davis Ellen Donovan Roberta Dougherty Charlotte Gallacher Martha Gebler Linda Issac Publicity Anita Krissel, Chairman Edwina D’Amore Kathyrn Normile Jane Park Kathy Restino Ushers and Program Lana Rouﬀ, Chairman Nancy Brown Sydney Davis Lora Fletcher Charlotte Gallacher Sue Grady Mary Heﬀern Linda Issac PROGRAM Part 1 Melinda Mahan ' Janet Murdock Carol Pothier Joan Sprague Pam Steele Frannie Scoville Linda Silva Joan Sprague Karen Thompson Marilyn Jennings Melinda Mahan Janet Murdock Carol Pothier Judy Roche Joan Sprague Broome County Bicentennial Commission Michael J. Vanuga, CoChairman Shirley Hess, CoChairman “The People, Yes” by Robert Starer, with text from Carl Sandburg’s poem was commissioned for this event by The Junior League of Binghamton and the Broome County Bicentennial Commission. It will be performed by SUNY Binghamton’s University Chorus and Harpur Symphony Orchestra. Special thanks to David Buttolph and Betty Hartman whose persistence and dedication made this concert possible. Acknowledgments – SUNY Binghamton for providing rehearsal space for the Broome County Youth Chorus ; Bebe Landry, SUNY University Relations news director, for her guidance ; Meet The Composer, a statewide serv ice program of the New York State Council on the Ar ts, administered by the American Music Center, for their grant which brought Robert Starer to the community prior to the concert t o discuss his work ; WBNGTV; WICZTV; WBJATV; WS KGTV; WSKGFM; WNBF: the Evening and Sunday Press ; the SunBulletin and the Center Reporter. SOONAH W I L L BE DONE William L. Dawson FOUR CHRISTMAS CAROLS I Sing Of A Maiden Make We Merry O My Deir Hert God Bless The Master Of This House Antony Garlick ) (1928 (1898 ) Robert Ward HUSH’D BE THE CAMPS TODAY ) (1 91 7 (Poem by Walt Whitman) Vicky Gordon, Piano Geoﬀrey Brooks, Timpani Samuel Barber REINCARNATIONS Op. 16 ) (1 91 0 (Poems by James Stephens) Anthony O Daly The Coolin Aaron Copland STOMP YOUR FOOT ) (1900 from ”The Tender Land” Vicky Gordon, Karen Clute, Piano Charles E. lves THE CIRCUS BAND (1 87 4 1 954) for mixed Chorus and Orchestra BROOME COUNTY YOUTH CHORUS and HARPUR SYMPHONY ORCHESTRA – I N T E R M I S S I O N – Part I I Robert Starer THE PEOPLE, YES (192 4 for mixed Chorus and Orchestra set to excerpts from the poem The People, Yes by Carl Sandburg ) UNIVERSITY CHORUS and HARPUR SYMPHONY ORCHESTRA Part I I I SONG OF DEMOCRACY Op. 44 (Poem by Walt Whitman) Howard Hanson ) (1 896 UNIVERSITY CHORUS and BROOME CO UNTY YOUTH CHORUS HARPUR SYMPHON Y ORCHESTRA �UNIVERSITY CHORUS Director, David Buttolph Excerpts from Carl Sandburg’s THE PEOPLE, YES set to music by Robert Starer I The people, y es– Born with bones and heart fused in deep and violent secrets Mixed from a bowl of sky blue dreams and sea slime facts– A seething of saints and sinners, toilers, loafers, ox en, apes In a womb of superstition, faith, genius, crime, sacriﬁce– The one and only source of armies, navies, workgangs, The living ﬂowing breath of the history of nations, Of the little Family of Man hugging the little ball of Earth, And a long hall of mirrors, straight, convex and concave, Moving and endless with scrolls of the living, Shimmering with phantoms ﬂu ng from the past. Shot over with lights of babies to come, not y et here. II The sea moves always, the wind moves always. They want and want and there is no end to their wanting. What they sing is the song o f the people. Man will never arrive, man will be al ways on the way. I t is written he shall rest but never for long. The sea and the wind tell him he shall be lonely, meet love, be shaken with struggle, and go on wanting. III Wedlock is a padlock. The man hardly ever marries the women he jokes about; she often marries the man she laughs at. Keep your eyes open before marriage, halfshut afterward. Why repeat? I heard you the ﬁrst time. We all belong to the same big family and have the same smell. You can lead a horse to the water, if you’ve got the horse. Money is like manure – good only when spread around. You can fool all the people part of the time and part of the people all the time but you can’t fool al l the people al l o f t h e time. IV You can drum on immense drums the monotonous daily motions of the people taking from earth and air their morsels of bread and love, a carry over f rom y esterday into tomorrow. You can blow on great brass horns the awful clamors of war and revolution when swarming anonymous shadowshapes obliterate old names Big Names and cross out what was and oﬀer what is on a fresh blank page. 1 « wn V Oh angel, oh angel, I don’t want to be buried in the storm. Who’s going to close these dying eyes? Dig my grave with a golden spade. Lower me down with a silver chain. The coﬀin lid will screw me down. I don’t want to be buried in the storm. Who’s going to close these dying eyes? Oh angel, oh angel. VI The people will live on. The learning and blundering people will live on. They will be tricked and sold and again sold And go back to the nourishing earth for rootholds, The people so peculiar in renewal and comeback, You can’t laugh o ﬀ their capacity to take it. Once having marched Over the margins of animal necessity, Over the g rim line of sheer subsistence Then man came To the deeper rituals of his bones, To the lights lighter than any bones, To the time for thinking things over, To the dance, the song, the story, Or the hours given over to dreaming, Once having so marched. In the darkness with a great bundle of grief the people march. In the night, and overhead a shovel of stars for keeps, the people march : “Where to? what ne xt?"’ 3 SOPRANOS Beacham, Dorothy Cullen, Chrissy D’Angio, Liz Dixon, Elizabeth Elkin, Judy Fischthal, Lois Gittleman, Lisa Goodheim, Laurie Griﬀin, Lisa Gross, Roni Hausner, Marcia Hawkins, Janet Hogan, Terry Houghton, Grace Johnson, Harriet Klotz, Cathy Kovacic, Sue Lovejoy, Karen Lucas, April Monahan, Mary Ellen Petty, Susan Slechta, Janet Spota, Noreen Taggart, Barbara Trinka, Jill BASSES Aylesworth, Lynn Bolan, Peter D. Brooks, Lawrence Carmody, Richard A. Clark, Robert Connors, John Dashman, Carl Davis, Richard Florio, Jack Gelber, Richard Glow,, Leon Hanson, Dave Houghtaling, Mark Klein, Michael Lamphere, Tom Lubitz, Ben Mallinson, Richard Orinstein, Larry Pappenheimer, Ben Schonfeld, Mitch Seidman, Brian ALTOS Armer, Kinga Bilinkoﬀ, Robin Budin, Clara Burr, Phyllis Drucker, Nancy Elmore, Nancy Foley, Ruth Foodim, Stacey Ghertler, Louise Gilbert, Miriam Goetz, Rosemary Huzig, Gloria Horowitz, Sylvia Klein, Rhonda Klodowski, Janet Lawson, Sue Onofrio, Debra Pettersen, Astrid Rosenberg, Irene Sch mertz, Amy Schmidt, Doris Schoonmaker, Beth Ann Shear, Jane Starke, Margaret Townsley, Carole Tuman, Michelle Weston, Jill Yohai, Norma TENORS Gartenberg, Lee Holby, Frank Houghton, Edward Nytch, Thomas Sarachan, Robert Schappert, Ed Straight, Stephen Weiskopﬀ, Donald West, Floyd �BROOME COUNTY YOUTH CHORU S HARPUR SYMPHONY ORCHESTRA VIOLIN I George Myers, Concert Master Michael Smith Denis Cleveland Lisa Gutkin David Harrington Joan Weitzman Mark Helm Andy Stack VIOLIN I I Paul Turco, Principal Eileen Pasternak Nigel Allen Janet Brady Lee Ann Horbatuck Richard Balkan Eric Sadowitz Arlene Pines Sophie Horowitz VIOLAS Carol Isaacson, Principal Laura Stein Barbara Thompson Michael Jones Anne Ziegler Martha Colton CE L LOS David Hoppe, Principal Howie Cohen Holly Wilson C.T. Shaw Claire Liva Walter Graves Daniel Politi BASSES Neil Conaty, Principal David Weinsoﬀ FLUTES Nancy Becker Sue Passanante PICCOLO Tina Fine OBOES Elliot Friedman ° Janet Ziebur ENGLISH HORN Matt Kuhn Conductor Betty Hartman Accompanist : Vicky Gordon Karen Clute Vivienne Brooking S.U.N.Y. S.U.N.Y. Barnes, Anne Bouttele, Tracy Coe, Linda Cook, Lianne Edwards, Cindy Elderkin, Linda Fidurski, Lori Hickey, Kelly Jones, Diane Kulik, Natalie Opie, Tina Rogalavich, Julie Seton Catholic Central Vestal Union Endicott Union Endicott Union Endicott Binghamton North Chenango Valley High Johnson City Executive Director : Sopranos : CLARINETS Paul Ketchoyian Mark Zavatok BASSOON Lois Chantry Thomas Closser FRENCH HORNS Robert Taylor, Principal Ellen Berge, Assistant Tama Mann Ken Steiger Benjamin Levy Altos : Gee, Debbie Gurney, Sharon Hodgkins, Nancy Kolb, Betty Roberts, Valerie Seary, Mary Ellen Stein, Vivian Stratton, Karen Trattel, Debbie TRUMPETS Steve Winans Dan Benscher TROMBONES Steve Shear Eric Schwartz Jim Magacs Tenors: TIMPANI Geoﬀrey Brooks , PERCUSSION Diane Dino Joe Pazienza Pete Lowenthal CONCERT MANAGER Geoﬀrey Brooks Benedict, Reid _ Brooking, Simon Jensen, Roy Johns, Matthew Johnson, Peter Purdy, Scott Zdimal, Dennis TUBA Tom Wood HARP and CELESTE ChaiKyou Mallinson Athorn, Y vonne Bagg, Loa Bigelow, Roxeanna Fenning, Lucy Basses: Arneson, Chris Cook, Todd Darcie, Kent Dodge, Bill Frost, Andy Hooker, Kenn Kirch, Eric V. O’Buckley, Craig Preston, Mark Ranieri, Joseph Roper, Ted Stevenson, Matt Sturtevant, Jim Winans, Gary Union Endicott Johnson City Binghamton Central Chenango Valley High Susquehanna Valley Windsor Windsor Seton Catholic Central Union Endicott Chenango Valley High Johnson City Johnson City Johnson City Chenango Valley High Binghamton Central Johnson City Chenango Valley High Seton Catholic Central Chenango Valley High Susquehanna Valley Chenango Valley High Binghamton Central Binghamton Central " Binghamton Central Union Endicott Union Endicott Windsor Windsor Binghamton North Binghamton Central Johnson City Johnson City Chenango Valley High Binghamton Central Seton Catholic Central Johnson City Windsor �BIOGRAPHIES Composer Robert Sta rer ROBERT STARER was born in Vienna on January 8, 1924. He received his musical education at the State Academy in Vienna, the Palestine Conservatoire in Jerusalem, and the Julliard School. He has been living in New York City since 1947 and became an American citizen in 1 957. Among his awards are two Guggenhe im Fellowships and a Fulbright postdoctoral research grant. His commissi ons include ballets for CBS Television, National Educational Television, ‘‘the Dybbuk’ for Herbert Ross and ‘‘Secular Games,” ”Samson Agonistes” and ‘‘Phaedra,”” for Martha Graham. More than seventy of his compositions have been published and his symphonic works have been performed by major orchastras throughout the world, under such eminent conductors as Mitropoulos, Bernstein, Leinsd orf and Steinberg. Director University Chorus & DAVID BUTTOLPH, Associate Professor of Music, is director Orchestra SUNY of choral activities at State University o f New Yor k where he con Binghamton ducts the Harpur Chorale – an A Cappella Choir the University i David Buttolph Director, Broome County Youth Chorus Chorus – a choral masterwork ensemble organized in 1 971 , and holds classes in the Kodaly Approach to music training. Mr. Buttolph is a former timpanist with the New Orleans Phil harmonic Orchestra and from 1958 to 1965 he was a member of the conducting faculty at the Manhattan School of Music as well as music director for several college, community and professional activities in the New York Metropolitan area. He conducted the ﬁrs t concert performance of Alan Hovhaness ’ Triptych, and the ﬁrst New York performance of Opening the Wells by Martinu in 1959, The WORLD PREMIER E OF Let the Word Go Forth by Robert Ward in 1965 and the U.S. Premieres of Frank Martin ’s Maria Tryptichon and William Mathias’ Prelude, Aria and Finale, in 1970. Mr. Buttolph holds degrees from Yale University, and the Juilliard School of Music. He took post graduate work at the Paris Conservatory and received further training at Tanglewood, Mass., the Boston Symphony ’s summer home. BETTY H. HARTMAN received her BS degree in Music Educa tion from Mansﬁeld State Teachers College, a MS in Music Education from lthaca College and a MM degree in performance from SUN Y, Binghamton. She is the former director of Motet Singers, has been guest soloist in many area churches as well as wi th the Harpur Chorale, Choral Society and Binghamton Symphony Orchestra. Ms. Hartman has taugh t private voice instruction an d has bee n innovative with new music programs at the elementary and secondary levels in the public schools. She has participated in choral workshops under the direction of such notables as Gregg Smith, Don Craig and Jac k Boyd. Currently Ms. Hartman is Director of Choruses at Union Endicott High School. Betty Hartman � 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 audiotape reel Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 39:48:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE333560">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE333560</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.) Continuous 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 Concert of American Works, University Chorus and Harpur Symphony Orchestra, December 4, 1976 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital tape 1976 12-4 Description An account of the resource Works of Starer, Dawson, Ward, Barber, Copland, and Hanson. Held at 8:00 pm, December 4, 1976, The Forum. Creator An entity primarily responsible for making the resource University Chorus and Harpur Symphony Orchestra Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1976-12-04 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/c41337730972fa0cc912a1140d1008a8.pdf 0ec28a7d25d6040dbec8d561e83042da PDF Text Text $5! a). Q �b . . ‘ “ ‘ > ’ E T E ‘ M . » – , w . " f Concert of Rena issance Music by the ENSEMBLE CLAUDE GERVAISE of Montréal at the Art Gallery of the State Univers ity of New York at Binghamton presented i n con junction w ith the Fourth Annual Conference in Medieval Studies of the CENTER FOR MEDIEVAL AND EARLY RENAISSANCE STUDIES Saturday, May 2, 1970, 20:30 �CLAUDE GERVAISE was active as a musician in the 1550 era in Paris. He had some forty songs (15411557) and 3 books of Danceries (15501555) published by Attaignant and Du Chemin. The Ensemble considers him an author of charming dances reﬂect ing the enthusiastic spirit preva lent during the Renaissance. f A " ’ v P V » — ~ " " i , . = 1 . 2 ; ‘ _ , Q ~ — , » ' a E , ' ~ r r h E e os M — . ‘ z . �Aux Dépcns d’E $1 I s NN n R o o s it, Marchand Li. braire, qui vend la Muﬁque du Monde la plus cor re&e, acqui s’engage deladonner i meilleur mar ché que qui que ce foit , quand meme il de vroit la donner pour rien, �Ins t ruments of the Ens emb le Flutes a beg; soprani : 7 alt i : 10 sopran in i : : tenores : basses basse grave : 5 2 1 2 v i o les de gambe : 3 cornemus e f1dt e t ravers i ere t r i ang le : 3 tambouri ne b l o c + ba g uet t es c loches ép i net t e h arpe c e l t i que anches , éc ouv il lons 5 cromorne s ch alumeaux : 2 ch alemi e dulc i ane h autbois de Poi tou c or net a b ouqui n mus et t e piﬀaro bombarde h autb ois luth Ins t ruments de f o lk lore Indes : 1 f1dte 1 h autbois doub le Y oug os lavi a : l i j e r i c a g uz l i sw i n ala Amer i que du S ud : 3 ﬂl i t e s a b e e ( bambou ) p i k i n ds 1 kena P ales t i ne A J amai que : 1 ch alume au doub le A \ u 1 ﬂ u t e t ravers . i ere de bambo . A 1 ﬂ u t e t ravers i c re ( mat ér i aux modernes ) Ch i na : 1 f18te ‘a bec Jerus alem : 1 h autbois doub le 1 h autbois Cret e Europe ( XI Xe s i e c le ) 1 ﬁ f r e \ 2 p i c c o l i 2 ﬂl i t es t ravers i eres 1 c l ar i n e t t e �ENSEMBLE CLAUDE GERVAISE The Ens emb le i s a group o f mus i c i ans , s ingers as w e l l as i ns t rument al is ts , w e l l versed and t rai ned i n the st udy and int er~ pret at i on of the mus i c of the Renaissance . To ac complish i t s purpos es , a c o l le c t i on of ins t ruments of th e peri od , some authent i c , others reconst ruct ed , has been ass emb led and i s cons t ant ly be i ng enlarged . The members of the Ens emb le have s t udi ed the h is tory and evaluat i on of the inst ruments of t h i s c o l le c t i on , probably the most complet e i n Canada . Approx imat ely ei ghty ins t ruments have been c o l le c t ed , pr i n c ipal ly woodwinds and s t r i ngs ; the group are on ly begi nn i ng t o c o l le c t examples of brass inst ruments . The pr i n c ipal t exts o f theoret i c i ans of th e peri od , such as Gaf ur i us , Mersenne , Praetor i us , Arbeau, S al i n as , e t c . , as w e l l as numerous other h is t or i c al documents i n c ludi ng composers , ins t ruments and mus i c al t ext s , have been brought together and f orm the bas is of st udy . Furthermore , s everal members of th e Ens emb le have recei ved t rai n i ng i n the paleography of mus i c al t exts so as t o permi t them dire c t ac cess t o t h e manus c r ipt sourc es . The mus i c i ans , ei ght een i n number at the moment , are f or the most part recruit ed f rom the un i vers ity commun ity or f rom persons att ached i n some f ash i on t o the Un i vers ity of Mont re al . The Ens emb le has been per f orming on a regular bas is s ince 1967. Concerts , i n c ludi ng a f ew of an educ at i on al nat ure , have reg ularly been o ﬀ e r e d t o a vari ety of audi ences throughout Canada . �EN S EM B L E CL AUD E G ER V A I S E A DEMONSTR ATION OF MUSICAL INSTRUMENTS OF THE RENAISSANCE presented in c on junct ion w ith the Fourth Annual Conference in Medieval Studies of the CENTER FOR MEDIEVAL AND EARLY RENAI SSANCE STUD IES 1 . Recorders and German ﬂute petit jeu: Ga uote pour les Flustes douces grand jeu: Ai r de cour pour les Flustes d’Allemand 2. Chalumeaux Bransle d’Esc osse Henri le JEUNE Estienne du TERTRE 3. Hautbois de Poitou, shawn, dulcian Dit Ie bourguignon Gl i occhi tuoi ( villanesca) T. CIMELLO 4. Pastoral oboe (musette, piﬀaro and bombarde) Saltarello Cornet a bouquin Gaillarde Tielman SUSATO . Cornemuse dance . Sourdine dance Crumhorns Si je perdu mon amy Die Post Tielman SUSATO . Luth Kemp’s Jig 10. Spinet , I f love now re igned 11. Celtic harp, viols, etc. Henry VIII Hoboeckentanz Tielman SUSATO J O Fm I o 4r y o 4° �M US IC I ANS Director: Gi lles PLANTE Francois BARRE Colette CHEVALIER Michel DESROCHES Diane DUGUAY Matthieu DUGUAY Jean GAGNE Monique GRENIER Joseph GUILMETTE Louise LAGACE Yves MOUGEOT Alain NONAT Marcel OTIS Gilles PLANTE LéoPaul RODRIGUE Dujka SMOJE Guy SOUCIE Marie TRUDEL �P RO G R A M . Margaretha Erasmus WID M ANN i i , dulc ian, percuss hautbois de Poitou, corn : et a bouquin ion . Suite de danses courante recorder, ch alumeau, v iols, bells, percussion 1 34 157 216 Michael PRAETORIUS 15711612 ballet recorders, v iols, spinet volte recorders, v iols, chalumeau, dulc ian, percuss ion bourrées ll l recorders, v iols, crumhorn, cha lumeau, dulc ian, percuss ion . Cest grant pla is ir chanson voices transcription of the chan son b y Pierre ATT AINGNANT spinet tourdion recorders abeth’s Ga . . . Queen Elis i llard Iuth . Tant que v ivray voice, recorder, Iuth John DOWLA ND 75637626 Claud in de SERMISY c . 14901562 Text: Cléme nt Marat . Stat ein me sk in was junck ; [Residuum] hautbois de Poitou, shaw n, crumhorn , dulc ian . Le jour s ’endort : voice, recor der, celt , ic harp . Taunder na ken recorder, v iols, crumhorn, celt ic harp Guillaume DUFAY c. 14001474 Henry V III �. Green groweth the hol l y Henry V III voice, recorders 1 0. My Lady Carey’ s Dompe c. 1525 spinet 1 1 . Villancicos Lo que queda es lo seguro Paséisme aor’ a lla, serrana IO, a lto bien s in revés ...! hautbois de Poit ou, crumhorn, ch alumeau [Pedro de ESCOB AR] 1514 12. Pourquoy done ne fringuerons nous ronde recorders chanson voices 13. 0 amica mea recorders Tielman SUSATO 155 7 P ASSEREAU c. 1510 Thomas MORLEY 155 7 7603 14. Rompelt ier (Rumfeltiere) crumhorns, voices 1 5. Suite de danses Pavane d ‘Angleterre and Ga i llarde recorders, percussion ronde recorders, percussion Schafertanz and Nachtanz recorders, v iols, percussion ronde recorders , percuss ion Claude GERVAISE Hoboeckentanz recorders, hautbois de Poitou, crumhorn, v iols, chalumeau dulc ian, celtic harp, lut h, percussion 16. Vitrum nostrum g loriosum 1540 �S O U R CES . Musika/ischen Tugends piegel, 1613. . C. Terps ichore, Musarum Aoniarum Quinta, 1612. . Chanson and Transcript ion : Pierre ATTAINGNANT, D ixneuf chansons musica les reduictes en la tabulature des Orgues Espinettes Manic ordions, et telz semb lab les instrument z mus icaulx , Paris, 1530 (1 531). Tourdion : Pierre ATTAINGNANT, Second liure [de danceries) contenant trois Gail/ardes, trois Pavanes, v ingt trois Bran/es, Tant gays, Simples, Que dou b les, Douze basses dances, & Neuf tourdions, Paris, 1547.7. . Ottav iano dei PETRUCCI, Harmonice musices odhecat on A., Venice, 1501. . London, British Museum, Additional MS 31922, fol . 82v84. 9. London, British Museum, Additional MS 31922, fol . 37v38. 1 0. London, British Museum, Roy. App. 58. 1 1 . Cancionero Mus ical de Palacio cancionero Barbieri , Madrid, Bib l, del Pal. Real, 2.1.5. 12. Ronde : Tielman SUSATO, Het derde musyck, Antwerp, 1 551 . Chanson : ATTAINGNANT and GARDANE (editions from 1 5331 548). 13. Thomas MORLEY , A Plaine & Easie Intr oduct ion t o Pract ice// Mus ic ke, 1597. 1 4. Ottav iano dei PETRUCCI, Harmonice mus ices odhecat on A., Ven ice, 1501. 1 5. Pavane and Gai llarde : Pierre ATTAINGNANT, Troisieme livre de danceries, Paris, 1556. Ronde, Schafertanz and Nachtanz, ronde, Hoboeckentanz : Tielman SUSATO, Het derde musyck, Antwerp, 1 551 . 16. � 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.) 46:42:00 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63233 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63233">Concert of Renaissance Music by the Ensemble Claude Gervaise of Montreal</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 Concert of Renaissance Music by the Ensemble Claude Gervaise of Montreal Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Widmann, Praetorius, Dowland, Dufay. Held at 8:30 pm, May 2, 1970, Art Gallery, SUNY Binghamton Creator An entity primarily responsible for making the resource Ensemble Claude-Gervaise 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 1970-5-2 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Widmann, Erasmus, 1572-1634 Praetorius, Michael, 1571-1621 Dowland, John, 1563-1626 Dufay, Guillaume,1397-1474 Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091019606882 39091019606999 https://omeka.binghamton.edu/omeka/files/original/e687cf7e7fa43cd91092adea6a4643c0.pdf 3c65c2a52566182280b19932b01f59f1 PDF Text Text FANTAI IE C M OR J. S. BACH N E VARIATIO O A MINUET BY DUPORT MOZART 0 ATA OPU 13 ' PATHETIQ E ' Grave , Allegro di molto e con brio Adagio antabile Rond c - Allegro BEETHOVEN I TERMISS/0 THIRD OP O AT A FOR P IANO 44 Prestissimo L ento e Tristamente Rondo Giocoso ROBERT CASADESUS FOUR PIECE Impromru ous-Bois Idy lle La Bourrée Fancasque EMMANUEL CHABRIER �T HI S evening's program w ill op e n wi t h two rare ly perfor med wo r ks by two 18th-cen t ury mus ic a l gian t s. Bac h ' s sho rt fa nt asia in C mi nor I )us t ra t es many c ha r ac te r.i s t ic s of t his compose r ' s mor e well - kn o wn compositions , such as h is dr ama t ic in t ensi t v and propu lsive r hy t hmic drive. Moz art ' s va ri a ti ons on a minue t by Dupo rt is one of t he finest wo rks he c omposed in t his fo rm. Alt ho ugh t he va r ia t ion is trad it ionally a melod ic embe ll ishmen t of a g ive n theme, Moza rt so tr ans c ends D u port' s minuet th a_t his variations tend t o become more melodic t han the theme itself. C haracteristica l ly, to c reate a r o unded fo rm, Mozart composes a slow variati o n for t he next to last section , and t hen closes wi t h a faster finale . A R ECEPT!O hon oring Mr. Cas ade su s will be h eld in the Facult y Loung e immediat e ly follow in g th e conc ert. Th e audienc e is cordially in v il d lo attend. EVENTS CALENDAR A If pro ra ms ar al BEETHOVEN ' S ' Pa t he t ique ' sona t a is one of t he fi rs t works tha t shows thi s compose r clearl y breaking away fr om t he ref i ned C lassical s t yle of the la t e 18 t h ce nt ur y. From t he fi rs t c hord o ne senses su c h pe rsonal intensity t ha t one ca n o nl y wonder wha t ic mus e have sounded like t o th e audien c e tha t hea rd it for the firs t r ime. The slow introdu::cion no longe r ' introd uces ' t he fi rst movemen t a t all , but ac t s as an integral pa rt of the s truc t ure , drama t ically break in g in t o t he middle , coming back in broken fragments a t the end. The s e cond m ovement opens with one of Beethoven ' s most lyrical melodies , while t he th ird m ovemen c re t urns to the da r ke r movemen t of the fi rst. ALT HOUG H Robe rt Casadesus is c ertainly more well known as a pianis t th a n as a c ompo ser , t he numbe r and qual it y of his composio ions reveal an unques t ionable tale nt in t h i s a rea. H is t hird sonata is beau t ifully con ceived from the point of view of t he pianist although t he vi rt uoso ele men t s a re thoroughly integ ra t ed into the musical fab r ic. Inte restingly , all three moveme nt s utilize a diffe rent approa c h to a tr iple me t e r. In the fir s t movemen t the th ree - bear ,unit is speeded up t o bee ome a ve ry fas t triplet, while in t he se c ond it is s ubdivided int o a slowe r ' one -and - twoand-chre e -and ' bea t. The th ird movement provides unexpected accen t s in the form of a re c urr ing ' ONE -c wo- T HR EE - one -TWO- three ' pa t te rn. The harmonic s t yle of t he wor k is gently dissona nt , occas ionally reaching into po lytonal effects. JEAN Casadesus is the ideal artis t to i nt roduce t he music of Chabrie r t o Bingham t on s i nc e he has jus t c ompl e t ed a reco rd ing of all t he piano mu s ic of chis br il l iant F rench c ompose r. Al t hough Chab r ie r was a pass ionate adm ire r of Wagne r ( in it self a ra r i t y for mos t Fr en c h c cmpose rs) little evidence of this appears i n t he works on t onigh t' s prog ram. Ins tead o ne finds in this music a frequen t humor and a sure ligh t couch. An element of popula r sophis t ic a t io n app e a rs eve n in the early 'Impromptu ' a nd a s t rong lyr ic li ne in the loyely ' Squs - Bois ' . ' ldylle ' reveals a re markably de lie ace bu t comp lex musica I t ex t ure , while t he famous ' Boure e fantasqu e ' shows the composer at his mos t brilliant. The a t mosphe re of ne rvous exc icement prod uced by t he vivid rhy t hmic patte rn s dema nds e xc e ptiona l virtuosity from any pianis t . P r ogram Notes by P HILI P FR IED H E IM : 1 5 in the olleg T hea ter JA . 20- Thurs . CO LI ILSO , British Sci . Au d . philosopher, critic , an d novelist . L cture : 11 Beyond the Outsi der'' JA 2 1, 22 IBSE 1 s "ROSMERSHO L M 1 ' 23 - Fri. , Sat . , Colonial Players P r o duction Sun . directe d by Don atters . J A . 27 - Thurs . MERI CA U IVERS ITY CHOIR dire ct d by Geoffrey Simon , in a joint program with Harpur Choir . JA MUS IC FROM MAR L BORO, P ROGR T 0 Seldom -h ard chamber music p rformed by eight outstand i ng F stival artists . 28 - Fri. J A . 30-Sun . JOSE LI MO DA CE GROUP Twenty -two dancers in an unusual program with the College Choir FEB . 1-Tues. E UAL I TER ITZ , Curator, etropolitan Museum of Art in . Y . L ecture : '' L eonardo da Vinci as a Musician . " �STATE UNIVERSITY OF E Y ORK AT B GHAMTO DEPARTMEN T OF MUSIC presents JEAN CASADESUS Pianist in Residence COLLEGE THEATER 8:1 5 P.M. J a nuar y 16, 1966 � 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.) 32:03 12:54 9:36 21:45 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54356">Concert Reel</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.) 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 Concert Reel Recital Tape 1966-1-16 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Jean Casadesus, piano. Works of Bach, Mozart, Beethoven, Casadesus, Chabrier. Creator An entity primarily responsible for making the resource Casadesus, Jean, 1927-1972 Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Bach, Johann Sebastian, 1685-1750 Mozart, Wolfgang Amadeus, 1756-1791 Beethoven, Ludwig van, 1770-1827 Casadesus, Jean, 1927-1972 Chabrier, Emmanuel, 1841-1894 Date A point or period of time associated with an event in the lifecycle of the resource 1966-01-16 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context Concert Reel Recital Tape 1966-1-16.pdf https://omeka.binghamton.edu/omeka/files/original/39035bf59e0fa56260af6db1ae0ccc32.pdf bf21bb48931cf971f1f51164eabe0c1c PDF Text Text STATE UNIVERSITY OF NEW YORK AT BINGHAMTON HARPUR COLLEGE THE DEPARTMENT OF MUSIC University CHORUS David L . Buttolph, con ductor December 5 , 1974 8 : 1 5 PM Don A . Wat t e r s T h eat e r �BERENICE BRAMSON, SOPRANO PROGRAM NOTES MAGN IFICAT I N D , JOHANN SEBASTIAN BACH The ﬁ rs t Christmas at Leipzig gives a good idea of the creative fury that possessed Johann Sebastian Bach. On each of the three feast–days he not only oﬀered a new cantata, but also, in the vesper service, his new Magniﬁcat was performed Magniﬁcat is one of the few works that Bach composed on a Latin text, here using Mary ’s hymn from the Vulgate which ends with the familiar doxology, ‘Gloria Patri.‘ To this setting Bach added four independent pieces, based partly on German, partly on Latin texts he (Bach) found in a Christmas cantata by Johann Kuhnau, his predecessor in Leipzig. The ﬁrst, a four–part motet based on the Lutheran Christmas song, ‘Vom Himmel Hoch'; the second, ‘Freut Euch und Jubiliert’ (Rejoice and be glad) set for three–part women ’s voices and tenors ; the third employs the liturgical text “Gloria in excelsis Deo ’ and is set for ﬁve–part chorus ; and the fourth is a duet for Soprano and Bass soli, ‘Virga Jesse Floruit’ which speaks of the coming of our Lord in the likeness of man in vocal lines of unusually long and melismatic character. In 1730, Bach revised this version of Magniﬁcat and changed the key from E ﬂ a t to B, a more suitable transposition for trumpets. He also added ﬂutes and removed the four additional pieces. As a result, they are usually omitted from modern performances. However, because they are particularly imbued with the Christmas spirit and bring the monumental character of the main work into full relief, we take pleasure in including them in tonight’s performance. GLORTA, FRANCIS POULENC Francis Poulenc was a member of the renowned French group ‘Les Six’ who are Berenice Bramson was born in Omaha, Nebraska, where she began serious study of the piano with Enid Lindborg, a pupil of Ernest Hutcheson. She came east to continue her piano and academic studies at Hunter College, New York University and Columbia. The young planist’s voice was soon discovered and she began her vocal studies with Boris Voronovsky. She also studied and coached with such famous musical ﬁgures as Pierre Bernac, Estelle Liebling, Paul Ulanowsky and Fausto Cleva, acquiring her unparalleled repertoire of lieder, orchestra works, operatic roles and chamber music works Of her New York recital in March 1973, Peter Davis wrote in the Times: '"Very rarely does an unheralded singer appear in Carnegie Recital Hall who can stand comparison with international superstars. On the basis of her concert Sunday night, Berenice Bramson can match talents with any soprano recitalist before the public today.” c known for their violint reaction to the aesthetic ideals of the pre–war generation of composers. Choral music always had a great attraction for Poulenc and many of his compositions in this ﬁ eld are of a religious nature. Gloria, written in 1959, was commissioned by the Koussevitzky Foundation and ﬁ rst performed under Charles Munch in January, 1961. : Whether writing for orchestra or voices, the art of Francis Poulenc is pre– eminently vocal. He combines in his Gloria a sure instinct for grace and elegance with a profound understanding and rendering of the more serious undertones of his text. Program notes by Andrea Birnbaum 1 0 i v o �PROGRAM Freut euch und j u b i l i e r t GLORIA FRANCIS POULENC Et misericordia 1899 – 1963 Gloria Laudamus te Domine Deus ALMA PONCE, contralto KEVIN MCPERMOTT, tenor Domine ﬁ l i unigenite Fecit potentiam Domine Deus, Agnus Dei Qui sedes ad dexteram patris Gloria i n e x c el s i s Deo BERENICE BRAMSON, soprano Deposuit p ot e n t es RAYMOND LARZELERE, tenor INTERMISSION Esurientes i mp l evi t bonis ALMA PONCE, co n tra l to MAGNIFICAT IN D JOHANN SEBASTIAN BACH Virga Jesse ﬂ o r u i t 1685 – 1750 Magniﬁcat . Et e x u l t a v i ESTHER PETTENGILL, soprano LARRY ZUKOF, baritone His t s p i r i t u s meus Suscepit Israel ALICE WEINTRAUB, soprano VomHimmel hooh Steut locutus e s t ) . roi . Quia resp e x i t humilitatem Gloria patri . BEVERLY PENN, soprano Ommes generationes With th e par ticipation o f th e Harpur Chorale Quia f e c i t mihi magna GARY LEVINE, basso 3 4 = A �THE HARPUR CHORALE David Buttolph, Direc tor Richard Berent, Asst. Conductor PERSONNEL SOPRANO Judi Kahan Deborah Lemon Chris Scott Paula Vanco Amy Beech Lauren Fleischer Laurie Goodheim Karen Haight ALTO Karen Adler Leslie Green Susan Hitchens Joan Jurich Jeanette Murphy Barbara Savage Linda Shaw Joy Smucker Andrea Birnbaum Molly Cargile Cheryl Choy Karen Clute Susan Glass Tenor Amy Adams Lori Alcon Cathy Castiglia Mary Davis Shelley Drazen Judith Elkin Jeanne Falinski Lois Fischthal Rachel Gardner Isobel Gavin Ellen Goldstein Laurie Goodheim Denise Griﬀith Roni Gross Grace Houghton Bernadine Berock Kensinger Wendy Kleinman Danette Lipton Grace Mehl Nancy Roper Ruth Roper Andrea Birnbaum Georgina Bruce Clara Budin Molly Cargile Cheryl Choy Karen Clute Joan Ebblie Margo Gelber Miriam Gilbert Susan Goldfarb Bette Goldwert Zack Bowen Robert Frankel Lee Gartenberg Alan Hymowitz Ian Kirschner Mark Lanze Robert Lischetti Tom Nytch Richard Ossias Stuart Silverman Stephen Straight Jud Wallis Floyd West Christine Scott David Rosenman Rich Ossias Jeﬀrey Taxman Howard Weinberg Leslie Green Ilene Grueneberg Nancy Julius Rhonda Klein Tsu Ning Ko Sue Lawson Judy Levine Marilyn Milkman Helen Ottaway Regina Rosenberger Dinah Ross Jane Shear Judith Solheim Margaret Starke Amy Zelenetz OFFICERS – UNIVERSITY CHORUS 1974–75 Andrea Birnbaum Michael Lamberta Sue Lawson Laurie Goodheim Amy Zelenetz BASS David McKenas David Mose W. Gregory Nissen Russell Senti Barry Shpizner John Tuttle Richard Bartmon Richard Berent Richard Briggs Michael Lamberta Geoﬀrey Magee Kenneth Martin Alto Lisa Serradilla Jodi Silbiger Susan Smith Noreen Spota Louise Ulrich TENOR Roger Cruttenden Richard Kaskan Ian Kirschner Kevin McDermott Soprano President Vice–President & Librarian Secretary Treasurer Publicity Chai–Kyu Mallinson, accompanist Bass Lynn Aylesworth Richard Berent Peter Bolan Donald Borsh Ian Cain Douglas Charles Richard Davis David Hanson Mark Karpman Michael J. Lamberta Thomas Lamphere Michael Little Andrew McKim David R. Mose Roger Norton Malcom Ottaway Mark Perlin Michael Pierce Larry Roth Russell Senti Steve Smith Roger Stein John Vineall Richard Mallinson Special thanks are owed to the voice faculty and to Barbara Garges for assistance in preparation of soloists. 6 5 J �ORCHESTRA PERSONNEL Violins Cellos Horns Mary Reynolds, Concertmistress Masako Matsumoto, Principal second Andrea Andros Mary Barton Janet Brady Craig Weaver, Principal Howard Cohen Myra Greenstein Kris Gunn David Heiss Seth Jacobs Tom Shaw Tracy Slack Steven Stalker Holly Wilson Robin Jackman Ellen Loring Barbara Quick Kenneth Steiger Rosa Campa Paul Childs I l r“I l I n l Diane Feigin Gregory Fulkerson Oscar Maxyell Susan Mitchell Elmar Oliveira Rita‘orzelek Cheryl Page Norman Reid Robert Seletsky Dinah Voorhies A lexandra Werb i zky Lydia Werbizky Violas Bassoons Lois Chantry Marsha Pivarnik Contrabassoon Ed Wadin Basses Trumpets Richard Thomas Dominique Hyatt Brian King Allan Winans Steve Winans “Flutes Trombones Fran Shafer Susan Clarvit Merrell Weiss Dennis Martin Grant Sullivan James Magacs Ron Carbone, prineipal Larry Bradford Barbara Gorin Carol Hutter Carol Isaacson Janis Lubinsky Sandra Robbins Jeanne Woodruﬀ Geoﬀrey Brooks Piccolo Harp Merrell Weiss Barbara Irish Harpsichord Oboes Chai–kyu Mallinson Nancy Ranger Eliot Friedman Geoﬀrey Barron English Horn Geoﬀrey Barron lu M x{ Personnel Manager Clarinets Percussion Geoﬀrey Barron Wendy Osteyee Joyce Rose Martin Ricciardi Bass Clarinet Donald Naiolo 7 I [ Tuba Tom Wood � 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 tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 27:59:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243396">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243396</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.) Continuous 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 Concert, University Chorus, December 5, 1974 Recital tape 1974 12-5 Description An account of the resource Works of Poulenc and Bach. Held at 8:15 pm, December 5, 1974, Watters Theater. Creator An entity primarily responsible for making the resource University Chorus 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 1974-12-05 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/ed2e883f67959182a88b2050bdbc9294.pdf f4b3e67657538e501071e8d3a2c752b9 PDF Text Text • • Ha·r pur Coll,e ge Orchestra w I May 21, 1965 Note iS ----·- -, Vivaldi is remembered today chi,e fly fo,r his i.nstrumental works., ·b,u t he was a prolifi,c ,c ,o mposer in all genres. a brilliant violinist, and the p,rofessor of vio,l in and ma.estro dei co,ncerti. (fro:m 1.716) at the Ospitale della Pi,e ta in V•e nic,e (a ·conservatory fo,r foundling girls),.. It was in the latter capacity that he composed his numero·u s co,n certi gros.s i, concerti ripieni, an,d solo, concerto,s. (,o v,e r 40 0)·, for h,e had to, provide his students c,o ntinuously with fresh. material.. The C•o n.certo in E. Minor, found in manuscript in Turin,, demonstrates a. half-way point b,etween t.he c,o ncerto grosso with its-two o,p posing g .r oup,s and t .h.e opera_,o vertur,e or sinfonia,, for it has, neither solo parts n.o r introduces an opera. Thus it falls in a. category designated by Vivaldi as a. con,c erto ripieno•, in which the fo,u r string sections are ,e ,q ually bal.ance•d and poly·p ho:n ically used. The first an,d last movements, of this parti cular wor·k. a.re very contrapunt.a l, while th.e se,c ,o n.d mo,v e ment is lyric an.d..homophonic. A. proof of the individuality and. pro,v ,o cativ,e character o,J Vivaldi 1·s works lies in the fact th.at ,J . S. Bach later u,s ed many of them as raw material for his ,o·w n compositions . Vi va1di himself o,f ten us·e d his own them.e s mo,re than once and anoth.e :r concerto of .h is •o pens with a theme very similar to the first theme ,o f the first movement in this wo.r k. His themes are often characterize·d by repeated notes while· .hi.s gen,e ral style is ide:n tifiable by its rh.y thmi.c drive a.n d. vitality. 1 w ·ag.n ,e r composed the Siegfried Idyll in 1870 as a b,i rthday p:res.ent to his wife Cosima and it was perf',o r:m ed. as a ,s erenade by a sm.a ll or,c hestr.a on the stairway ,o,f their home. One of the few pi,e c,e s of 11 absolute" music Wagner-- wrote, it is 'b ased on two the.m es he had written ,e arlier in 1864 and had intended for a string quartet . The pie,c e is scored fo,r strings,. flut.e, oboe~ 'b,a soon, trumpet,, 2 clarinets, and 2 ho,rns,, and is delicately an.d intricately orche strated. Although. written i.11 one movem.e nt it has several .s ,e ctions ·p resenting a vart-ety of moo,ds an.d textures. One of the most prolific composers flourisl1ing ,d uring the first half of the eighteenth ce11tury, Georg Philipp Telemann (1681-1767), composed over 170 concertos, besides numerous other works ranging fr,o m. ope ras to fantasias for solo violin. His fame as a com.p ose.r and particularly .a ,s a ,c ontrapuntalist spread throughout E·urope, and twi,c e· he was given precedence over Bach in b,eing off,e r,e d positio,n s. (It was o.n ly after he and a second choice ha.d refused the coveted post of twon music dir,e ctor and cantor of the Thomassch.ule a.t L •e·ipzig th.a t Bach was offered this position . ) Telema.n.n . serv,e ,d a.t Ha.m.b,u.rg fr,o m 1721 until his ,d eath as town music di.rector, composing and directing operas) passionsJ cantatas., an,d. v.a rious ch.a mber ensembles. His w·orks reflect many diverse influences inclu.ding the orn.a te Italia.n opera 1 the French suite 1, tl1e polyphonic ,c oncert,o gro:s so, and the simpler, folk-like d.iv·e rtiment!:>. This c·o ncerto d:e rives its form from the B.a roque S·o nata da. cch i.esa o,r church sonata with four· mo·v ements of .a .lternating tempi , th,e first and third being ,s low, th.e fo,rmer in duple and th,e latter in. triple m ,e ter. It also ,c ontains elements of the concerto gro,ss,o , in wh.ich two groups of different siz•e are contrasted;: here the oboe takes the place of the smaller g·roup (con.c ertino,),, wh.i.ch is pitted against th·e main b,ody of strings (the ripieno),. Haydn co,m pose,ci the Symp,h ony No. 99 in 1793-94 ,d u.r in.g the inte.r im between his two t .r ips to Lon,d o.n . This wa.s the ,s eventh of the so-call ed. "London Symph.o,n ies 0 --Nos . 93-104- •-· written fo,r th.e imp,ressario Salomon, who had .a rrang,e d Haydn's visit to London an.d conducted his con.c ert series there. It is the first symph.o.n y in which H.a ydn used the clarinet altho·u gh 'h e ha,d used it pr,e viou.s ly in oth,e r works. Th·e first movement o,p,e ns with a slow ·introducti.,o n followed by an allegro in so,n .a ta :form... The ,s ec.on,d theme upon whic.h the development se ,c tion is based proves to b,e ,o f great,e r significance tha.n the ftrst theme,. and. th.e recapitulatto:n continu,e s to dev,e lop and expand this subj•e ct m .a tter. Th•e second. movement is cast in a de,e per, .m :o.r e meditative mo,o dt co,n trastin.g sharply with th,e gayj, folklike quality of the minuet . The contrapuntal ,c har.a cter of the last movement,, calling fo·r fugue -like ii.mitati,o n at breathless spe·ed. forms a fittin.g and joyful climax to the work. 1 STATE UNIVERSITY OF NEW YORK AT BINGHAMTON Harpur Co,I le ge· ***Th•e Ha.r pur Colleg·e Orchestra*** Fritz. Wa.llenberg, Condu,c tor F ril day,. Ma.y 21 8:15 P . M. Harpur Theater �• The Harpur Coll,e ge ,o rchestra ____P'ROGRAM ________ ___ _____ Violin I F ,e nimore, P 'a ula - Concerlma.s t,e r Is.ham., Patricia Prytula, Christine , , C ,o n ,c e rto in e •- min ,o r for strin.g ,s . . . . . . . . Ant onto Vival ,d i (1678 - 17',41) . ·R obb,ins, N:ancy 1 • Bas,s. Duroche., Leo, Flutes Jack.s on, :M argaret Wallenb,,e rg,, Marianne Walls, Anita Cohn, Debbi.e ,Q boe ' Allegr ,o, moderato Andante Allegro Siegfried Idyll. lil!f, •111 ll!llli i l o i ! 1 1 j j1 ll!l •ji; 1• 1 .. • 1111 1 19111 '• • ' I ., ,• • Richard Wa ,g ner (18,13 ... 188 .3 ) 1 Conc ,e rto for ·O boe and strings in •e -minor ... ,G eorge Philipp Telemann (16, 81 ... 1767) Andante Violin. II Blauser, Henry Duda,, G.r ances Gaylord, Anne Gothe lf, 1S arah Grup:s m.ith, ,Q,e,o rg,e Loewenstein., Fr'itz Pow·a.zek., Irene Viola Colto•n , .R usse 11 C•o lt,o n, Mart'h.a Sajor·, Laurie· - Cello, Battin, William Grub,er, Kathy Livings.tone .,, Christin':! Zimmerm.a n. Susan Allegr ,o m •o lt ,o, Largo Mohn, Abigail S,t olarc.y k, Ri cha.rd Clarinet - A--.; .rt _-' h ur A-._b rah_ams, Duncan,. Candy . - ~--: -- ··1,·· 1 _- --- -1, - B assoon Walk.e r, Stephen Eddy, Scott Fren.c h Hor.n Evansohn, Jo,h n McC,o o,1, Martha Trumpet Mayer, .J ack Backlund, Fr,e d Timp.a ni . lac.o v,a z z.i, F rar1k Alle ,g ro Continuio Ro•b bins,, Do,n ald Ha:r psicho•r d: Courtes,y of Do,n ald Robbins Solo•is.t: .L aila Storch INTERMISS,I ON Sym ·p hony No . 99 ., l ll e -flat m.a.jor. . t ; t , 1 1• • i . •• . Joseph Haydn (173 .2 - 18 09) 1 Adagio; Vivace assai Ad ago Me,nuetto Allegrett ,o Vivace • 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 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54398">Concert Recital Tape</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.) Continuous 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 Concert, 1965-05-21 Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Works by Vivaldi, Wagner, Telemann, and Haydn. Creator An entity primarily responsible for making the resource Harpur College Orchestra Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Vivaldi, Antonio, 1678-1741 ; Wagner, Richard, 1813-1883 ; Telemann, Georg Philipp, 1681-1767 ; Haydn, Joseph, 1732-1809 ; State University of New York at Binghamton. Department of Music Date A point or period of time associated with an event in the lifecycle of the resource 1965-05-21 Rights Information about rights held in and over the resource This digital recording may only be used for educational purposes. Please cite as: Binghamton University Music Department tape recordings, Special Collections, Binghamton University Libraries, Binghamton Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091019618952 ; 39091019619000 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 audiotape reel Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:26:26 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243681">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243681</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 Concert, Charles Munch, June 11, 1973 Recital Tape 1973-6-11 Creator An entity primarily responsible for making the resource Munch, Charles 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 6/11/73 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound