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UNIV A L C
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BINGHAMSTON
I T Y
U N I V E R
State University of New York
“Go G h e F o r e l
1HhewUGEmdleuullhuufik3
O f Percy A .Grainger,
And h i s C o n b e mp o r a r i es.
nsemble
U n i v e r s i t y U i n d E
Gerald Cavemau gh. Cond uctor
I
Sunday, May 4, 2003
3:00p.m.
Anderson Center Chamber Hall
�Mock Morris
(RMTB 1) (1910)
Program
Percy A. Grainger
(18821961)
Handel in the Strand (Clog Dance)
(RTMB 2) (191112)
Margaret Reitz, Piano
Percy A. Grainger
a r r. R. F. Goldman
The Merry King
(BFMS 39) (190539)
Percy A. Grainger
ed. M. Rogers
Greg Cecere, French Horn
Margaret Reitz, Piano
Bellpiece (Now, O Now I Needs Must Part)
A Free Ramble on Lute Ayre b y John Dowland
(FMFS 6) ar r. 1953 wind band)
Edward Savo, tenor
a r r. Percy A. Grainger
ed. Duffy/ Ould
Margaret Rietz, Piano
Jody Schum, organ keyboard
Bronzissimo Bell Choir, Donna Halbert, director
Children’s March, Over the Hills and Far Away
(RMTB 4) (191618)
Margaret Reitz, Piano
Percy A. Grainger
rev. Frank Erickson
INTERMISSION
Retreat and Pumping Song (1995)
Pumping Song
Sarah Streb, offstage trumpet
David Stanhope
(1961 )
Illyrian Dances (1996)
II – Aubade
Ill Gigue
Guy Woolfenden
(1937 )
David Gillingham
Concertina for Four Percussion and Wind Ensemble
(1947 )
(1996)
Katie Haskins, xylophone
Matthew Lichstein, marimba
Matthew Green, timpani/ bass d r ums
Richard Milburn III, bells, bass drums
Margaret Reitz, Piano
Rolling Thunder
(1916)
Henry Fillmore
(1881 1956)
Gerald Cavanaugh’s performance a t today’s
concert is offered in partial complet ion of the
requirements for the Master of Mus ic degree
in Instrumental ( Conducting.
�Performance Notes
I. Mock Morris As you may notice in your program the pieces listed under
Grainger’s name have a parenthetical catalogue number included under its
title (FMFS 6, for instance). These listings stand for the collections of Folk
Song settings from which Grainger derived many of his transcriptions.
There are dozens of volumes of these FolkSong collections within the
Grainger catalogue. Our first piece, Mock Morris, is one such selection from
the “RoomMusicTitBits No.1.” collection of English folk dance music.
During the years between 1907 and 1911, we see five works conceived in a
particular order; Molly on the Shore, Country Gardens, Shepherd’s Hey.
Mock Morris, and Handel i n t he Strand. The extreme latter two have been
chosen to program as an example of the wealth of cultural information
Grainger discovered during his years as a folksong collector in England,
and Ireland. Part of this rich cultural information stemmed from various
types of dance music that Grainger uncovered during his travels. Mock
Morris, though different from the above listed works, maintains a rhythmic
cast like a Morris dance (hence the title “Mock"). but according to the
composer’s performance notes in the score, he states that while this work
has a semblance to many Morris dances he encountered in the northern
regions of England, that no actual folk material was used in the overall
construction. The inscription on the original manuscript reads as, “Birthday
Gift, Mother 3.7.10,” and was, like much of Grainger‘s original
arrangements, a piano work. Many other renditions exist on this piece,
including one for recorder and piano.
m l l . H r m ¢ l e I i n the Strand (Room MusicTitBits No.2) this work was
originally for piano. and was finished in 1911. Grainger had a slightly
different idea when it came to assigning a title to this work. Originally, he
wanted to call it simply “Clog Dance.” A Clog dance is fairly self
explanatory, in that the style of the dance involves heavy stamping on the
primary beats of the measure, due to the dancers wearing very heavy
wooden shoes. A friend of Grainger‘s, the banker William Gain Rathbone,
who had befriended Grainger while he lived in London, suggested re
naming the work “Handel in the Strand.” He felt the music ‘seemed to
reflect the styles of both Handel, and English Musical Comedy,‘ the home
of the latter being “the Strand” in London’s west end, is the British
equivalent to our Broadway. From what Grainger includes in his score, as
well as Rathbone’s suggestion, we can find fragments of musical matter
from variations he wrote on Handel’s “Harmonious Blacksmith tune.”
These partial and minute transcriptions are seen between measures 116 and
4760.
I
�4 lll. The Merry King (BFMS No.39) This work originated as part of the
collection for British FolkMusic Settings, noted down in August 1905 by
Grainger as he was traveling the English countryside’s. And in the program
notes left by Grainger we have these statements, “Mr. Alfred Hunt, who sang
me “The Merry King” 9at Wimbledon, London, England) was a working
man who hailed from Kirdford, West Sussex. England. The words of Mr.
Hunt ’s first verse ran as follows:
__It’s a merry king of Old England
I’II swim the wide ocean
That stole my love away;
All on my bare breast
And it’s I in Old England
For to find out my true love
1
}
No longer can’t stay.
Whom I do love best
The text of Mr. Hunts 6 verses, and notes on the song, may be consulted in
the Journal of the Folk Song Society, No.12 (London, 1908).”
This beautiful rendition of an old Sussex tune is in its root form from which
the concert, and easy, piano solo renditions (1936, 1939 respectively) were
“dishedup.” Sketched for chorus in 1905 or 1906, and later, for piano and
room music for small orchestra, was sketched July 1936; worked out late
A
19389.
“ 1– ‘lV. Bellpiece (Now, O Now I Needs Must Part) Q uite possibly one
of the most intriguing, and hard to obtain, works by Percy Grainger, this “free
ramble” based on an ayre (“Now, O Now I Needs Must Part") for lute and
voice, by John Dowland, was believed to be the most treasured work
Grainger ever composed. It is reported for the last 12 years of his life;
Grainger listened to a recording of the original ayre every night before retiring
to bed. Based partly on Grainger‘s piano solo transcription that appears as
No. 6 in his series of Free settings of Favorite Melodies. In turn, Grainger’s
transcription was based on another transcription by Sidney Beck, a well
known historian in ancient musics, as it appeared in a copy of The First Book
of Songs or A yres of foure parts with Tablature for the Lute, in the possession
of the Henry E. Huntington Library and Art Gallery, San Marino, California.
The word “ramble” describes much of what happens harmonically in this
piece, in that, the two original verses are extracted exactly from manuscript,
providing our melodic material, while later that same line “rambled” upon by
the ensemble. This is a truly lovely and lavish setting.
F
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.
V. Children’s March (Over the Hills and Far Away) This fun and
exciting march has become a true Grainger staple among wind band
compositions. The title is misleading, however, for it is actually a dedication
to Grainger’s “dear friend from behind the hills.” Its vibrant lilt and innocent
melodies will keep you humming for hours. This work also stems from
Grainger’s extensive experience playing and writing for military bands.
hl
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l
Piccolo
Amy Forgacs
University Win d Ensemble Pe rsonnel
$= local visiting artists
*= section leader A= English Horn
Baritone Saxop hone
Philip Belle
Flute
Jennifer Thomas*
Amber Beckley
Sarah King
Stephanie Juliano
Nicole Kalisz
Chung~Eun Kim
Oboe
Nancy Bayewitch*
Lesley McClelland” $
Bassoon
Sara Kurtzberg
Clarinet
Heather Boland
Caroline Bravo*
Jessica Diminich
Vanessa Finley
Lloyd Gewuerz
Michelle Grexer
Andrew Hsu
Hilary Salamack
Perter Snyder
Sherri Vishner
Yael Weitz
Dominique Zino
Bass Clarinet
Michael Cohn*
Robin Desantis $
Alto Saxophon e
Philip Wirsing*
Jay Gwak
Tenor Saxopho ne
Yuehtang (Felix) Chang
Trumpet
Phil Deitz
Derek Ersback
Michael Osa*
Sarah Streb
French Horn
Greg Cecere*
Jeremy Garlick
Maxwell Guido
William Stallsmith
Trombone
Ari Atkinson
David Henann*
Tenseng Guh
Robin Linaberry $
Euphonium
Eric Forti
Dennis Pettas*
Robert Szkotak
Tuba
Brian Belluci*
Dan Gallagher
Percussion
Matt Cosnett
Matt Green
Matt Lichstein $
Kati Haskins
Richaard Milburn*
Keyboard
\ Prof. Margaret Reitz
Jody Schum
Bronzissimo Bell Choir $
Donna Halbert, director $
�Grainger Biography
Born on July 8, 1862. Grainger began his musical study at the early age of six.
After the estrangement of his father, John Grainger in 1890. Percy and his mother
Rose, made a determination to survive on their own. By doing so, Rose took on a
daunting task as a single mother to raise, teach, musically guide, and companion
young Percy. Beginning piano lessons at age seven, Grainger’s talents were soon
quite evident to his mother, and soon caught the attention of many other
individuals around Melbourne. By age 10, Grainger took piano lessons from Louis
Pabst, and began concertizing throughout eastern Australia. Upon moving to
FrankfurtamMann in 1895, he studied piano and composition at the Hoch
Conservatory. While in Frankfurt, we see a lifelong friendship built between
Grainger and some of this fellow students: a lasting friendship that later became
known as “the Frankfurt Group.” Grainger’s lasting friendships with Cyril Scott,
Balfour Gardiner. Roger Quilter. and Herman Sandby, was a collaborate effort of
principle, musical creativity, and boundless adventures into revolutionary methods
of composition and artistic expression. _
From Frankfurt, Grainger and his mother moved to London in 1901. to pursue a
life of performance. The London audiences, a very hard people to please,
celebrated Grainger’s pianistic endeavors with instant adoration. Among the many
aspects of Grainger’s life that we could discuss at great lengths is the enormous
component of his biography dealing with life as a concert pianist. While taking
composition lessons from Busoni in London, Grainger also began teaching piano
lessons by 1910. Grainger established himself as one of the finest piano virtuosos
(persons with masterly skill or technique in the arts) of the 20* century. While in
London, Grainger’s pianistic performance achieved him two great professional
relationships, one with the great Norwegian nationalist composer, Edvard Grieg,
and the other’with impressionist composer, Frederick Delius. It was the connection
he made with Grieg. however, that proves to be one of the most successful. Grieg
was quoted in a Norwegian newspaper once saying; “Il have not heard one of my
own countrymen perform any of my music, or the music of my people, until this
young redhaired, blueeyed Australian came along. He understands exactly how
this music should sound. the Norwegian people should happily embrace Percy
Grainger.” Grieg indeed served as a surrogate father figure for Grainger, and his
famous A minor Piano Concerto was written specifically for Grainger to perform.
Since this historic event, there has not been another example in the 20* century,
of a major piano concerto, and its leading authority, keeping the living presence
of the composer‘s intent, for as long as Grainger. Grainger’s legacy as a pianist is
one that has lived on for generations.
Another important milestone in the Grainger’s life also occurred while he lived in
the UK. It was during this time that Grainger began to exercise his skills at
collecting, transcribing, and recording folksong materials from dozens of locations
throughout England, Scotland, Wales, and Ireland. Soon after this period (around
1912 to 1917) Grainger also extended his ethnomusicological boundaries to
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include areas of his homeland Australia, China, the Pacific Rim, and areas of
Scandinavia. His endeavors as an ethnomusicologist predate those of Bela Bartok
and Zoltan Kodaly in Hungary and Eastern Europe, by some ten years. We can say
that Grainger joins the ranks of pioneer ethnomusicologists, such as Cecil Sharpe,
in collecting folk music. and transcribing them for idioms that the public could
appreciate and familiarize. Strapping an Edison phonograph to his back, Grainger
would often trail the English and Irish countryside’s on foot, stopping from house
to house, or sitting outside of pubs and other community gathering establishments
and ask native inhabitants to sing their songs into his phonograph. This pioneering
accomplishment also aided in the success of his compositions that were direct
transcriptions of the folk songs he collected. One of the most famous of these
collections of folk materials actually adorns a title which adequately describes the
composition as a “bouquet of wildflowers in music:" Lincolnshire Posy.
In 1917. Grainger moved, with his mother Rose, to America where they settled in
New York State. Some five years later, Grainger and his mother bought a house at
17 Cromwell Place, in White Plains. To this day the house still stands and has been
preserved as a museum of some of the Grainger’s personal artifacts, memoirs,
documents, and manuscripts. Grainger became a United States citizen in 1918,
after he enlisted in the Army’s 9* Regiment Artillery Corps Band. He served with
that band from1917 to 1919. While serving as a saxophonist, Grainger learned a
wealth of information about writing music for military and brass bands. It was
during this experience Grainger also fell in love with the saxophone. He played
tenor saxophone for most of his time in the 9* regiment, and learned a great deal
about how to incorporate the sound of a saxophone choir into many of his wind
band compositions. Being a pianist, Grainger also scored much of his wind band
compositions with piano in mind, but inevitably rescored the parts to include
doublings in the woodwinds and brass.
Some of Grainger’s other timeless accomplishments have to do with his work as
an educator and conductor. During the 1950’s while Grainger served as
department chair for at NYU, he began a summer music camp. and later
performing arts high school, at Interlochen, Michigan. This contributory institution
to American music education, and the performance of band music. has continued
to be a major arts center today. Also, Grainger often found himself guest
conducting many orchestras and high school band festivals across the country
while enjoying still, a semiactive concert recital schedule. Grainger continued
playing piano recitals well into his seventies. After the tragic suicide of his mother,
Rose, in 1922, Grainger focused enormous amounts o f his energies on composing
and also finding true love: enter Ella Viola Strom. A Swedish pianist, Strom and
Grainger met on a Nordic cruise in 1926 and the two were married, in the spring
of 1928, at an extravagant concert at the Hollywood Bowl, California. From
there, the two lived a full and happy life in White Plains, until Grainger
underwent surgery for prostate cancer in 1953; from which he never fully
recovered. Ultimately, Grainger passed away on February 20. 1961, from physical
and mental complication of cancer. Upon his death, Ella wrote to their dear friend
�a publicist, Hans Meyer Petersen, saying, “Today, our beloved Percy has died, and
1 am afraid we shall all be lost without him.”
An amazing marvel, Grainger loved many things other than the music he wrote.
He was a “tinker” and experimented with inventing musical machines capable of
performing “Free Music” without the hindrance of human fallibility and
imperfections. These machines went through many phases before Grainger and a
physicistfriend Burnett Cross designed a final patent. Grainger’s concept of “Free
Music” involved passages in his music that went far beyond indeterminacy, but
instead, was a construct for music that should resemble how elements of nature
behave and move. “Music should be as free as a breeze in the wind, or the
rustling of leaves, or a limb that clambers as it falls to the ground,” according to
Grainger. To accomplish this technique, Grainger believed in using “gliding tones.”
or long glissandi that moved not only by half steps, but incorporated aspects of
microtones, or intervals smaller than a half step. Free rhythm was also a major
factor in his “Free Music.” Works such as Hill Songs Nos.1 & 2, The Song of
Salomon, and the famous, Lincolnshire Posy, all exhibit elements of “Free Music.”
As far as building was concerned, in 1935, Grainger erected a museum designed to
preserve his memorabilia, artifacts. music, and memoirs here, along with his body.
after his death, as part of the University of Melbourne, Melbourne. Australia. The
museum is a fully functioning research and preservation facility that is still manned
and operated today. Grainger was an avid enthusiast of the Norwegian sagas,
languages. and folklore. Over his lifetime he learned 11 different languages,
speaking many fluently. These talents among many others help us paint a vivid
and distinct portrait of a gifted and unique person that has made an indelible
mark on the face of the wind band genre both in America, and across the globe. I
wish to leave these remarks with two lasting quotes by Grainger that helps to
summate some of the personality of this remarkable fellow:
“ ...Every time I see a paper napkin l mourn for the woods that are being thoughtlessly wasted:
every time I see a bit of wroughtore (metal) I tremble for the men in the mines who are losing
their lives needlessly just because the world has gone mad about wroughtore. If all peoples felt as
l do they would never use a piece of wroughtore without first wondering whether its usefulness
outweighs against the mightbeness (possibility) of a man‘s death. Fancy an age in which men take
their children to watch men and women do liferisking acts on the trapeze or in the lion cages an
age in which prize fighting and wrestling are lawhallowed (sanctioned) while nakedness and
Iewdness (such guiltless mirth) are not!” December, 23rd 1950
“ Destroy Nothing, Forget Nothing.
Remember all, say all.
Trust life. trust mankind.
As long as the picture of truth is placed
In the right form (art, science, history)
It will offend none!” November. 13th 1936
i
3
�
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
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Concerts ; Instrumental music ; Live sound recordings
Description
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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. <br /><br />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.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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0:58:32
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"To the Fore!": the wind band music of Percy A. Grainger and his contemporaries, May 4, 2003
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Recital Tape 2003-5-4
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Works of Percy A. Grainger, David Stanhope, Guy Woolfenden, David Gillingham, Henry Fillmore. Held at 3:00 p.m., May 4, 2003, Anderson Center Chamber Hall.
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Cavanaugh, Gerald
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5/4/2003
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BINGHAMTON
U N I V E R S I T Y
State University of N ew York
'.r _' v A L C
wdec
‘
2009
’
D E P A R T M E N T
University Symphony Orchestra
“Top Talent”
Winners of the 20072008
Concerto & Aria Competition
Timothy Perry
Music Director and Conductor
Saturday, March I , 2008
8: 00 p.m.
Osterhout Concert Theater
�The Binghamton University Department of Music presents the
University Symphony Orchestra
Timothy Perry, Director and Conductor,
“Top Talent ”
Winners of the 20072008 Concerto & Aria Competition
Saturday, 8:00 P. M.
Osterhout Concert Theater
March 1, 2008
Binghamton University
Program
Concerto No. 2 in F minor, Op. 21 ....................... Frederick Chopin
1. Maestoso
(18101849)
Nicole Hsien Yu Hsu, Piano
Souvenir de Ballet, Op. 100
Griffin Sargent, Violin
I
Charles de Beriot
(18021870)
Concerto for Marimba and Strings.............. ................
Ney Rosauro
II. Lamento (Lament)
(b. 1952)
IV. Despedida (Farewell)
Stephanie Lehman, Marimba
INTERMISSION
Micaela ’s Aria “Je dis, que rien ne m ’epouvant
(Carmen, Act 111)
Georges Bizet
(18381873)
LaToya Lewis, Soprano
‘Russian Easter Festiva l’, Op. 36
Nicolai RimskyKorsakov
(18441908)
Thank you for attending today’s concert and supporting our student musicians. Please
join the University Orchestra. C horus and soloists on Sunday, A pril 1 3 ” as we conclude
the season with a performance of Haydn ‘s evocative oratorio ‘The Creation '.
�A bout th e Music
Chopin’s Concerto in F minor, though numbered second, was composed in
1829, a year before the ‘first’ concerto in E minor. Indeed, Chopin completed all
six of his composition for piano and orchestra by the age of twentyone (1831).
It is first and foremost a display piece for the soloist, the orchestra relegated to a
few stirring tutti passages and an occasional wind instrument soloist trading
themes with the p iano. The piano writing is, however, exquisite. These early
works stand at the boundary between Classical and Romantic musical
languages, the form more conventional, (although there is no cadenza) with the
harmonic scheme advanced for its time and quite daring. The marchlike theme
alternates between the robust masculinity of the orchestral tuttis and a dreamier
feminine side, especially in the second subject introduced by the oboe. In spite
of some unease with the orchestral m ilieu in which it finds itself, the concerto’s
opening movement delights with a mixture of bravura and introspection.
CharlesAuguste Bériot rose from hum ble origins to become one of Belgium ’s
most celebrated violinists and teachers. A renowned virtuoso, de Bériot worked
as violinist to the k ings of France and the Netherlands. H e concertized for m any
years with the celebrated soprano Maria Malabran (later his wife) and piano
superstar Sigismond Thalberg. Eventually, de Bériot succeeded his teacher as
Professor of Violin at the Brussels Conservatory. Numerous health problems led
to an early end of his performing career, but de Beriot continued work as a
composer for his instrument, completing ten concertos, numerous set of
variations and contributed much useful teaching material for his instrument.
The idiomatic Scene de Ballet, Op. 100 is one of the few works of the composer
in print. It brilliantly captures the conventions of ballet scenes of the period with
an astounding array of virtuoso bowstrokes and triplestop chords.
Since its 1986 prem iere, Ney Rosauro’s first Concerto for Marimba has become
the world’s mostperformed work for the instrument. Rosauro, himself a
virtuoso percussionist who now directs Percussion Studies at the University of
Miami, incorporates elements of the popular, classical and jazz music of his
native Brazil throughout the work, making full use of fourmallet technique
throughout the plaintive Lament, while utilizing both chordal and intricate
singlemallet passages throughout a recurring bar structure of 6/82/46/83/4 in
the jazz tinged final Farewell movement.
Micaela’s third act aria from Carmen “I say that nothing terrifies me” seems
to many modern o peragoers an impediment to the forward action of the
story of the soldier (Don José) gone astray for love of the wild virago who
is Carmen. It occu rs at the emotional tippingpoint whe re we see that Don
José will follow the seductive Carmen to the tragic end of their affair. In the
midst of what seem ed at the time a squalid cast of characters, the imposition
of this pure (one critic called her ‘goodygoody’) individual provided
Carmen with what must have seemed a needed moral and religious
counterweight to soothe the more socially upright members of Bizet’s
a
l
audience. Steadfast in her love and calling for divine courage and
protection, Micaela ’s pleas will be nonetheless rejected. Only the news of
his mother’s impending death (after the aria) suffices to move the doomed
corporal to return – albeit temporarily – to the land of the lawful.
Recitative
.4 tr
This is the smugglers usual refuge. He is here; I will see him,
And the duty which his mother imposed on me without trembling, I will accomplish it.
1 say, that nothing terrifies me, I say, alas, that I take care of myself,
But try as I might to be the brave girl, at the bottom of my heard, I’m dying of fright!
Alone in this wild place all alone, I am afraid,
l am wrong to be afraid ; you will give me courage, You will protect me, Lord!
l am going to see up close that woman whose accursed artifices
Have ended up making a criminal of him whom I loved long ago!
She is dangerous, she is beautiful, but 1 do not want to be afraid!
No, no, I don’t want to be afraid! I will speak loudly in front of her!
Ah, Lord, You will protect me!
Ah! I say, that nothing terrifies me, Protect me! Oh, Lord!
Give me courage!
(Translation by Lea Frey)
Nicolai RimskyKorsakov spent much of the year 1888 composing two works –
Scheherezade and the Russian Easter Overture in which he sought to celebrate
Russian and Eurasian themes and to escape the smothering influence of
‘creeping Wagnerism ’. The composer’s deep love for the music of the
Orthodox liturgy inspired the use of several resurrection canticles of the
‘Obikhod’ as themes for the composition. We hear “Let God Arise ” and “An
Angel Cried” in th e slow introduction and “Let them that hate Him flee before
Him” and “Christ is Risen” in the allegro section. In the center of the work the
composer sets for solo trombone the priest’s reading of the glad tidings of the
Evangelist. RimskyKorsakov was likewise intrigued by the ways in which the
ancient pagan rituals had merged with those of the church. He wrote, “This
legendary and heathen side of the Holiday, this transition from the gloomy and
mysterious evening of Passion Saturday to the unbridled paganreligious merry
making on the morn of Easter is what I was eager to reproduce in my Overture”.
Even so, the solemnity of the work leaves one in little doubt as to the sincerity
of the composer’s religious feelings. Here, in the brilliant orchestration that is
the hallmark of RimskyKorsakov’s genius, is the ‘bright holiday’ (the popular
Russian term for Easter) in all its glory, meant as one experiences it “ in the
cathedral, with people from every walk of life”
T. Perry
�A bout the Perform ers
Soprano, LA TOYA LEWIS, is in her second year of graduate study at
Binghamton University. She studies under the tutelage of Mary Burgess and
coaches with Diane Richardson. Ms. Lewis is also a Resident Artist with Tri
Cities Opera. The roles she has performed include Praskovia in The Merry
Widow, Donna Elvira in Don Giovanni and more recently Micaela in Carmen
under the baton of Maestro Duane Skrabalak. She also studies with Peter
Sicilian, Duane Skraba lak and Peyton Hibbitt.
In the sum mer of 200 7, Ms. Lewis performed with the Utah Festival Opera in
Logan, UT covering the role of C lara in Porgy and Bess. In her undergraduate
study at Purchase College, Ms. Lewis performed Barbarina in Le Nozze di
Figaro and Belinda in Dido and Aeneas. Previous com petitions in which Ms.
Lewis has placed include: The Jenny Lind Competition and the Second Annual
Charles A. Lynam Competition in 2006. Ms. Lewis has also been the soprano
soloist in Vivaldi’s Gloria and the Bach Bminor Mass.
NICOLE HSIENYU HSU, pianist, began her music education and piano
lessons at the age of 7. At the age of 15, Ms. Hsu enrolled at ZhongZheng
Music School where she studied piano performance with ShawYu Dong, San
Jin Pong, and PeiLei Chen. She has given various recitals and received her
Bachelor degree of Music in piano performance in Taiwan from ChiDu
College. Ms. Hsu gave her debut solo recital at the Taipei Cultural Center in
2005, and was the keyboard division’s winner of the Binghamton University
orchestra’s Solo Concerto and Aria Competition in 2007. She is currently
pursuing her Master of Music degree in piano performance under Ewa
MackiewiczWolfe at Binghamton University.
STEPHAN IE J I L L LEHMAN is now continuing her first year here at
Binghamton University as a graduate teaching assistant while pursuing her
Masters degree in percussion performance. She recently graduated from the
University of Delaware with a Bachelors degree in music education with a
concentration in percussion. While here in Binghamton, she is spending her
time teaching fellow students while practicing and performing percussion and
vocal jazz. She will soon be giving the first of two degree recitals on March 16”
at 3 p.m. In this recital, she will be performing Ney Rosauro’s famous
“Concerto for Marimba and Orchestra” in its entirety as well as several other
wonderful works of m usical art.
GRIFFIN SARGENT is a junior year at Binghamton University. Double
majoring in physics and mathematics, he has been playing the violin since he
was 8 years old. He has participated in numerous string festivals and regional
orchestras including SCMEA, NYSSMA, LlSFA, and NYSCAME. At BU, he
keeps a busy music schedule, participating in symphony orchestra, a string
quartet, and studio lessons. Apart from violin, he has studied music theory and
learned the guitar. After he graduates he plans to explore the lucrative industry
of risk analysis while continuing his favorite hobby of music.
University Sym phony O rchestra
Timothy Perry, Director
Flute/Piccolo
Erica Leo
Valerie Spiller
Missy Vold an
Oboe/English Horn
Maxwell Rosenberg
Marissa Ludwig
Clarinet
Matthew Hassell
Bethany Bonhoff
Gregg Ackerman
Bassoon
Daniel Bessel
Eleanor Sonley
French H orn
Diana Amari
Kristie Cum mings
Alexa Weinberg
Robert Muller
Matt Rek
Trumpet
Daniel Fein
Matthew Giglio
Trombone
Thomas Ignacio
Tuba
Katherine Winchell
Timpani
Caleb R. DeGroote
Percussio n
Amanda Jacobs
Lee Vilinsky
Violin I
Akira Maezawa
Jehwan Lee
Janet Kim
Hyobin Lee
Xiang He
Hyeyon Se o
Erin Chang
Elizabeth Sterling
Jenny Raphael
Rachel Jacobs
YeWon Kwak
Richard Goldman
Erika Chin
Violin ll
Eric Lewis Clark
Aileen Giselle Ra
Eileen Tam
Yang Hu
Boaz Tingson
Amy Honigsberg
Dana Kerker
Hemangi Shah
Beth Vayshenker
Kevin Acunto
Christina Laube
Andreana Ferro
Viola
Sarah Kuras
Shane Thorn
Sarah Sterling
Jeffrey Kohn
Joseph Giliberti
Janet levins
Alexandra Burkardt
Danielle Sofer
Kenneth Duge
Victoria Brown
Violoncello
Holly Agar
Gwang Yol Lee
Jennifer Chen
Dam Soh
Emily Creo
Stephanie Radzik
Ryan Joyce
Michael Lamb
Daniel Copel
Alexis Lear
Contrabass
Stephen Brooks
Rachel Casey
Owen Dombert
David Katz
Serena Murray
Keyboard
Karmi KnightWinnig
Special Thanks to O ur
Competition Judges
Prof. Bruce Borton
Prof. Paul Schleuse
Mr. Hakan Hromek
Orchestra Librarian
Emily Creo
The University Symphony
employs rotating seating.
SA Chartered 1966
�Sunday March 2 – South of the Border : Explorations (Lecture and
Concert) with guest artist Makoto Naku ra, marimba, and Binghamton
Philharmonic ComposerInResidence C arlos SanchezG utierrez –
3:00 p.m. – Anderson Center Chamber Hall – free. Cosponsored by the
Music Department and the Binghamton Philharmonic.
Th ursday, March 6 – MidDay Concert – 1 :20 p.m. – Casadesus Recital Hall
free
—
Saturday, March 8 – Hommage a Casadesus – 8:00 p.m. – Casadesus Recital
Hall $9 general pubic; $7 faculty/stafflsen iors; $1 students
Sunday, March 9 – Wind Symphony 3:00 p.m. – Anderson Center Chamber
Hall – free
Th ursday, March 1 3 – MidDay Concert – 1 :20 p.m. – Casadesus Recital
Hall – free
Saturday, March 1 5 – Senior Recital : Alexander Blitstein, tenor – 3:00
p.m. – Casadesus Recital Hall – free
Saturday March 15 – Music of the World : Latin America ( Harpur Chorale
and Women ’s Chorus) – 8:00 p.m. – Anderson Center Chamber Hall $9
general public; $7 faculty/staff/seniors; free for students
Sunday, March 1 6 – Master ’s Recital : Stephanie Leh man, percussion –
3:00 p.m. – Casadesus Recital Hall – free
Sunday, March 1 6 – International Contem porary Ensemble – 3:00 p.m. –
Anderson Center Chamber Hall $9.00 general public; $7 faculty/staff/seniors;
free for students
Th ursday, March 20 – MidDay Concert – 1 :20 p.m. – Casadesus Recital
Hall – free
Th ursday, April 3 – MidDay Concert – 1 :20 p.m. – Casadesus Recital Hall –
free
Friday, April 4 – Master ’s Recital : Heather Montana, soprano – 8:00 p.m.
– Casadesus Recital Hall – free
Saturday, April 5 – Clarinet Studio Reci tal – 3 :00 p.m. Casadesus Recital
Hall free
�
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
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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. <br /><br />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.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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42:16:00
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"Top Talent," winners of the 2007-2008 concerto & aria competition, March 1, 2008
Recital Tape 2008-3-1
Description
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Held at 8:00 p.m., March 1, 2008, Osterhout Concert Theater.
Creator
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Perry, Timothy
Hsien-Yu Hsu, Nicole
Sargent, Griffin
Lehman, Stephanie
Lewis, LaToya
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Binghamton University Libraries
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2008-03-01
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In copyright
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sound
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UUID
19c1a72a-a9f0-4b50-a97b-586bcbc354a9
-
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
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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. <br /><br />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.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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59:20:00
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"Winter lights", December 6, 2008
Recital Tape 2008-12-6
Description
An account of the resource
Works of Strauss, Vivaldi, Tschaikovsky, Williams, Anderson.Held at 8:00 p.m., December 6, 2008, Osterhout Concert Theater, Anderson Center for the Arts.
Creator
An entity primarily responsible for making the resource
Perry. Timothy
Borton, Bruce
Choi, Janey
LeFebvre, Timothy
Seletsky, Robin
Publisher
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Binghamton University Libraries
Date
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2008-12-06
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In copyright
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sound
IIIF Item Metadata
UUID
ef5ade62-8e1c-4f57-80de-22d71bb0569e
-
Dublin Core
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Coverage
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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. <br /><br />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.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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77 minutes : 27 seconds
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[Friedheim memorial lecture/recital series] ["The evolution of a lute solo"] November 6, 2012
Description
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Works by Freidheim Held at 8:00 p.m., November 6, 2012, Casadesus Recital Hall.
Creator
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Sweeny, Paul Morris
Kaufman, Barbara
Salasny, Christina
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Binghamton University Libraries
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11/6/12
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sound
-
https://omeka.binghamton.edu/omeka/files/original/3ee0487486b34c8b3c76ecab1fc22e4c.pdf
4d00a032d6ae84a2557fdda11403e6c7
PDF Text
Text
UNIV ARC
Recit al
tape
2005 The Binghamton University Department of Music presents
11-20
University Symphony Orchestra
SPEC COL
2005-7 Concerto and Aria Competition
Sunday November 20, 2005
7:00 PM Casadesus Hall
Keyboard Division
Sun Hat (Candice) Che, Piano
Saint-Saens: Concerto No.2 (1st mvt)
Vocal Division
Julia Ebner, Soprano
Gounod: Jewel Aria from Faust
11
I
6
Michaela Lisi, Soprano
6
Dvorak; Song to the Moon from Rusalka
Soon Young Park, Baritone
·
Rossini; 'Largo al factotum' from Barber of Seville
6
Instrumental Division
Melissa Lee, Viola
Bruch: Romanze, Op. 86
Akira Maezawa, Violin
Bartok: Concerto No 2 (1st mvt)
Theresa Perrone, Clarinet
Bassi; Rigoletto Fantasy
BU Saxophone Quartet
Dubois: Concertino
Alisa Selman, Violin
Saint-Saens: Havanaise
David Henann, Trombone
Guilmant: Morceau Symphonique
10
�
Dublin Core
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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. <br /><br />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.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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36:28 ; 52:12
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2005-7 concerto and aria competition, November 20, 2005
Description
An account of the resource
Works of Saint-Saëns, Gounod, Dvorak, Rossini, Bruch, Bartók, Bassi, Dubois, Guilmant. Held at 7:00 p.m., November 20, 2005, Casadesus Hall.
Creator
An entity primarily responsible for making the resource
Che, Candice
Ebner, Julia
Lisi, Michaela
Park, Soon Young
Lee, Melissa
Maezawa, Akira
Perrone, Theresa
Selman, Alisa
Henann, David
Publisher
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Binghamton University Libraries
Date
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2005-11-20
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-
https://omeka.binghamton.edu/omeka/files/original/06b3451d41ec1d81b0fa607868e89c55.pdf
3105dbb9cc9133ac8ec698f0ba328e58
PDF Text
Text
BINGHAMTON
U
N
I
V
E
R
S T A T E U N I V E R S I T Y O F N E W Y O R K
[4
P
E
Zed e C
T TT M A E N RT
A BACH CELEBRATION
T H E COMPL ETE OR GAN W ORKS
OF
JOHAN N SEBASTIAN E
(16851750)
A C H
PROGRAM V
JONAT HAN BI GGERS
ORGAN
6 September, 2009
4:00pm
First Presbyte rian Church
�ABOUT THE PERFORMER
P rogra m
Prelude and Fugue in Cmajor, BWV 547
From the Miscellaneous ChoralePreludes
Ach Gott und H err (per canonem), BWV 714
Allein Gott in der Hoh sei Ehr (ma nualiter, 3vv.), BWV 717
Allein Gott in der H o h sei Ehr (bicinium), BWV 711
Vater unser im Himmelreich, BWV 737
Wo soll ich fliehen hin, BWV 694
Prelude and Fugue in Dminor, BWV 549a
& INTERMISSION 8
Sonata VI in Gmajor, BWV 530
L.
II.
III.
Vivace
Lente
Allegro
T o c c a t a a n d F u g u e i n F m a j o r , BWV 540
GuilbaultThérien Organ, 1996
JONATHAN BIGGERS, hailed as “one of the most outstanding concert
organists in the United States,” maintains an active career as both a
professor of organ and harpsichord, and as a concert organist of the first
order. He holds the prestigious Edwin Link Endowed Professorship in
Organ and Harpsichord at Binghamton University (State University of
New York), and has presented hundreds of concerts in church and
university settings throughout the United States, Canada, and Europe.
He has appeared as a featured soloist with orchestras in both the United
States and Canada, including the Atlanta Symphony Orchestra and the
Calgary Philharmonic Orchestra, and has been featured frequently on
NPR (“Pipedreams”), the Canad ian Broadcast Corporation (CBC), and
on Radio and Television Suisse Romande broadcasts in Geneva,
Switzerland. Scott Cantrell, formerly classical critic of The Kansas City
Star, stated that Biggers’ performances demonstrate “authority and
eloquence”, and further stated “were there more performers like this, the
organ would be far less a minority interest".
Dr. Biggers studied with Russell Saunders (Eastman School of Music,
DMA); Lionel Rogg (Conservatory of Music, Geneva, Switzerland;
Fulbright study); J. Warren Hutton (The University of Alabama, MM
and BMus); and with Wallace Zimmerman (Atlanta, precollege); he has
also worked extensively with Harold Vogel (Bremen, Germany), and with
Arthur Poister (former Professor of Organ at Syracuse University). A
prizewinner of dozens of competitions, he was notably awarded a
unanimous first prize in the 1985 Geneva International Competition,
one of the most prestigious music competitions for organ in the world;
second prize in the 1982 American Guild of Organists National Organ
Playing Competition; and a unanimous first prize in the 1990 Calgary
International Organ Festival Co ncerto Competition, where he p resented,
with the Calgary Philharmonic Orchestra, the world premier
performance of Snowwalker: A Concerto for Organ and Orchestra by Pulitzer
prizewinning composer Michael Colgrass. A champion of new music for
the organ, he has premiered other works by notable 20th and 21st
century composers such as Richard Proulx (Chicago: Concerto for Organ
and Orchestra), Craig Phillips (Los Angeles: Suite for Organ, Brass and
Percussion), Persis Vehar (Buffalo: Soundpiece for Organ), and David
�Brackett, fo rm e r composition professor at Binghamton University
(Montréal: Nightworks for Organ solo).
Two highly acclaimed compact disc recordings of Dr. Biggers’
performances have been released by Calcante Recordings (Sleepers Wake!
A Reger Perspective, featuring five major organ works by Romantic
composer Max Reger; and Bach on the Fritts! , featuring major organ
works by Johann Sebastian Bach). Plans are also underway for the
production of several other CD releases in the future, including a
recording of the complete organ works of J.S. Bach.
At present, Dr. Biggers is beginning the second year of a fouryear
presentation of the complete organ works of Johann Sebastian Bach,
presented in a series of 16 concerts, four events per season. The four
scheduled concerts of the series “A Bach Celebration: The Complete
Organ Works of Johann Sebastian Bach” will be presented in two
different locales: September 6, 2009, and March 21, 2010 at First
Presbyterian Church in downtown Binghamton; and December 6, 2009,
and February 7, 2010 in the Binghamton University Fine Arts Building,
Room 21. This latter location features the new Hellmuth Wolff
mechanical action organ installed in Binghamton University d uring the
20082009 academic season.
Tickets for these future concerts are available from the Anderson Center
for the Arts Box Office at Binghamton University, telephone 777ARTS;
tickets for the concerts presented at First Presbyterian Church are also
available at the entrance to the church on the day of the performance.
We regret that we cannot guarantee ticket availability past 80 for the
performances held in Fine Arts Room 21, due to space restrictions in the
facility; thus, the concerts scheduled in this room will be presen ted twice
to accommodate all who wish to enjoy the event.
�
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
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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. <br /><br />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.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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1 sound disc
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1:09:43
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152696">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152696</a>
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A Bach Celebration! The complete organ works of Johann Sebastian Bach, September 6 , 2009
Recital Tape 2009-9-6
Description
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Held at 4:00 p.m., September 6, 2009, First Presbyterian Church.
Creator
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Biggers, Jonathan
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Binghamton University Libraries
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2009-09-06
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sound
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https://omeka.binghamton.edu/omeka/files/original/1d9c1b96adb54aca8ffe7a2c49a43d58.pdf
0da16c17c1ed196f9fc01ea2a3822d20
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STATE UNIVERSITY OF NEW YORK AT BINGHAMTON
HARPUR COLLEGE
THE DEPARTMENT OF MUSIC
with
THE DEPART MENT OF THEATE R
present
A BARBER-MENOTTI EVENING
by
Students from the Ope ra Workshop
March 25, 1970
8:15 p.m.
Studio Theat e r
�CHARACTERS
PROGRAM
Vanessa
Samuel Barber
(text by Gian Carlo Menotti)
Vanessa
Vanessa, a lady of great beauty, in her l ate thirties
Alida Stahl , soprano
Act III. Scene 2.
The action t akes place in the drawing room of Vanessa's
country house in a northern country about 1905.
Erika, her niece, a young girl of twenty
Linda Holgers, m 3zzo-soprano
The Old Baroness, Vanessa's mother and Erika ' s grandmother
Nancy Ca r lson, contralto
Samuel Barber
(text by Gian Carlo Menotti)
A Hand of Bridge
The scene is the living room of David and Geraldine's
apartment.
Anatol, a handsome young man in his early twenties
Charl es Seltzer , tenor
James Osborne , baritone
The Old Doctor
The time - the present.
A Hand of Bridge
Intermission
David, a florid businessman
Geraldine, his middle-aged wife
Bill, a lawyer
Sally, hi s wife
T erranc e Ho well , baritone
Phy lis Costanzo, sopr ano
Charl es Seltzer, tenor
Kathl een T yrrell , mezzo-soprano
The Medium
text and music by Gian Carlo Menotti
The Medium
Act II. Scene 11.
Donna Ribble , soprano
Alfred Wilson , mime
Monica, age 16
Toby, a mute, age 18
The scene is the parlor of Madame Flora.
Th e Consul
Linda Tra ver , soprano
Magda Sorel
text and music by Gian Carlo Menotti
The Consul
The T elephone
'Papers' Scene (Act II. Scene 2.)
The action takes place somewhere in Europe at a Consulate.
The time - the present.
text and music by Gian Carlo Menotti
Th e Telephone
or L'Amour
à Trois
The scene is Lucy's apartment .
The time - the present.
Lucy
Ben
Alida Stahl, sop rano
Jam es Osborn e , baritone
Roberta Schlo sse r, William Lewis
Musical Preparation
William Lewis
Director (' Barber ' scenes )
Alfr ed G. Brooks
Director ('Menotti' scenes )
Donna Hallen
Accompani st ('Barber' scenes)
Barbara Ga rges
Accompanist (' Menotti' scenes )
Donna Ha llen
Accompanis t and musical coach ('Barbe r' scenes)
Barbara Garges
Accompani st and musical coach (' Menott i' scenes)
�Technical Staff
Angelo Zuccolo
Richard Block
Rae McDowell
Lisbeth J. Roman
Stage Manager
Lighting
Costumes
Make-up
PROGRAM NOTES
Vanessa
Vanessa, a beautiful, wealthy woman in her mi.ct-forties, once had a
lover, Anatol. For twenty years she has been waiting in seclusion for
him to come back to her. She receives a letter announcing Anatol's coming, but the Anatol who arrives is not her lover but his twenty year old
son, also named Anatol. The younger Anatol seduces her niece, Erika,
on the first night of his visit but later decides to m9,rry Vanessa for her
wealth despite Erika's attempted suicide and the loss of his child. The
scene presented in tonight's performance occurs a month later; Anatol
and Vanessa are now married and preparing to leave for Paris to lead a
grand life.
A Hand of Bridge
"A Hand of Bridge" was first performed at the Festival of Two Worlds
in Spoleto, Italy in June of 1959. William Lewis, this evening's director,
sang the role of Bill.
The Medium
Monica, the 16 year old daughter of an alcoholic fake medium, a nd 18
year old Toby, a m ·1te who lives with them, are finding a bit of imaginary
glamour and gaiety in their drab lives throughplay-acting. "The Medium" and "The Telephone" were composed to be performed together and
were first presented in 1947.
The Consul
"The Consul" is an opera with great emotional impact for all people. It
concerns one woman's desperate attempt to get necessary cl earance to
leave a despotic country. She has been constantly harassed by a secret
policeman because of her husband's revolutionary activities. Her baby
had died of starvation and her mother-in-law is almost dead. In the scene
presented here, she is seeking help in the Consul's office for perhaps the
hundredth time. "The Consul" had its world premiere in March, 1950 at
the Schubert Theatre in Philadelphia.
The T elephone
"The Telephone" a short opera buffa, was composed as a curtainraiser for the longer opera, "The Medium." The two were first written
for the Ballet Society and presented in 1947 at the Heckscher Theater in
New York.
- Barbara Garges
�
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1960's - present
Title
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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. <br /><br />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.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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Original Format
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2 sound tape reels
Duration
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19:50
OHMS Object
URL
https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63201
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63201"> A Barber-Menotti Evening by Students from the Opera Workshop</a>
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Title
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A Barber-Menotti Evening by Students from the Opera Workshop
Subject
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Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Held at 8:15 pm, March 25, 1970 at Recital Hall
Publisher
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Binghamton University Libraries
Date
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1970-3-25
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sound
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39091020064774
39091020064238
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https://omeka.binghamton.edu/omeka/files/original/022b1355fa954ead21e6aa091c0e7db3.pdf
66e5b1977fb0c2097f51341bc25b2149
PDF Text
Text
K
\ . . i
BINGHAMTON
+ 1
\
a
10\"
U N I V E R S I T Y
State U n i v e r s i t y
o d e
[4
D E P A R T M E N T
A Benefit Conce rt
A Bach Ce lebration
Music of Johann Sebastian Bach (16851750)
with Faculty Artists
Jonathan Biggers, organ
Timothy LeFebvre, baritone
John Lathwell, oboe
Michael Salmirs, piano
Stephen Stalker, violoncello
and the
* University Chamber Orchestra
Timothy Perry, conductor
Sat urda y, October 1 5, 2005
8 :00 p. m .
A nderson Center C ha m be r Hall
�The Binghamton University Department of Music presents
a Benefit Concert
Cantata No. 82 “Ich habe genug,” BWV 82
A Bach Celebration
Nr. 3 Aria “Schlummert ein”
Music of Johann Sebastian Bach (16851750)
with Faculty Artists
Nr. 4 Recitative and Arioso
Nr. 5 Aria “Ich freue mich ”
Timothy LeFebvre, baritone
Jo h n Lathwell, oboe
Jonathan Biggers, organ
Timothy LeFebvre, baritone
John Lathwell, oboe
Michael Salmirs, piano
Stephen Stalker, violoncello
Sinfonia from Cantata No. 29, BWV 29
“Wir danken dir, Gott, wir danken dir”
a nd the
Jonathan Biggers, organ
University Chamber Orchestra
Timothy Perry, conductor
PROGRA M
Concerto in F minor, BWV 1056
Allegro
Largo
Presto
Michael Salmirs, piano
Suite in G Major for Violoncello Solo, BWV 1 007
Ld
Nr. 1 Aria “Ich habe genug ’
Nr. 2 Recitative and Arioso
Prelude
Allemande
Courante
Sarabande
Menuet I & I1
Gigue
Stephen Stal ker, violoncello
Passacaglia in C minor, BWV 582
Jonathan Biggers, organ
~I NTERMISSION~
fi t t t t t t t t t ‘ t t t t t t t i t t ‘ t t t ‘ t t t ‘ t t t t t t t t t t t t fi
Text Translation for Cantata No. 82
“lch habe genug ”
1. Aria
I have now enough,
I have now my Savior, the hope of the faithful
Within my desiring embrace now enfolded;
l have now enough!
On him have I gazed,
My faith now hath Jesus impressed on my
heart;
I would now, today yet, with gladness
Make hence my departure.
2. Recit.
l have now enough. =
My hope is this alone,
That Jesus might belong to me and I to him.
In faith I hold to him,
For I, too, see with Simeon
The gladness of that life beyond.
Let us in this man’s burden join!
Ah! Would that from the bondage of my body
The Lord might free me.
Ah! My departure, were it here,
With joy I’d say to thee, O world:
I have now enough.
3. Aria
Slumber now, ye eyes so weary,
Fall in soft and calm repose!
World, I dwell no longer here.
Since I have no share in thee
Which my soul could offer comfort.
Here I must with sorrow reckon,
But yet. there, there 1 shall witness
Sweet repose and quiet rest.
4. Recit.
My God! When comes that blessed “Now!”
When I in peace shall walk forever
Both in the sand o f earth’s own coolness
And there within thy bosom rest?
My parting is achieved.
O world, good night!
5. Aria
Rejoicing do I greet my death,
Ah, would that it had come already.
I’ll escape then all the woe
Which doth here in the world
confine me.
© Z Philip Ambrose, translator. Web pub/Icallon hllp u’ww uvm eduLclassics/faculry/bach
�ABOUT T H E MUSIC
“Not ‘brook ’ (Bach) but ‘sea ’ should he be called – because of his infinite,
inexhaustible rich ness in tonecombinations and harmonies "
Ludwig van Beethoven
written by Timothy Perry
No matter how many beautiful and profound works we encounter,
study or perform, all musicians stand in humility before t he achievements of
Johann Sebastian Bach. If the sheer staggering quantity and quality of his oeuvre
were not enough, Bach’s depth of passion, the balance of form and content, and
his ability to create a fullyformed microcosm of human emotions from any
instrument, ensemble, or voice these strike every m usician worthy of the name
into stunned awe. This evening’s musical celebration of Bach offers a diverse,
albeit tiny, handful from a treasurechest laden with inestimable gems.
I
_\
The fourteen concertos for harpsichord, strings and continuo all date
from the last period of Bach’s term as Director of the Collegium Musicum in
Leipzig (173540). All are now believed to be transcriptions from concerti
composed for other instruments, a lthough many of these original versions are
now lost to us. T he source of the o uter movements for tonight ’s Concerto in F
minor is a lost oboe concerto in g m inor. Although the shortest of the concerti, it
is the most popular today, owing to its transcendently beautiful Adagio middle
“We ‘re all plodders compared to him. " Robert Schumann
movement, w hose singing tone has ma d e it a favorite o f pianists since t he mid
nineteenth century. (The Adagio was further recycled as the openingmovement
Sinfonia to Canta ta 1 56 ‘I stand with o ne foot in the gra ve'). The first movement
is a taut, restless affair in which the rhythmic germ of the movement contends
between onbeat accentuation (in the bass) and offbeats (in treble). The
orchestral tuttis a re likewise played o ff a gainst the predom inant sextuplets o f the
solo part, doubtless reworked and elaborated by Bach from their original. The
finale employs a similarly subtle juxtaposition of offbeat accent and hemiola to
keep the music in a state of muscular imbalance which is only brought back into
its normal 3/8 accentuation at the point of cadence.
Cantata 82 is one of a mere handful of works for solo voice based on
ltalian models of Scarlatti and Handel. These few Bach himself titled ‘cantatas ’:
the others, when named at all, Bach called ‘concerti ’. The devotional text
derives from St. Luke ’s account of Simeon’s encounter with the baby Jesus as
Mary brings him to the temple. Th e meeting fulfills the promise of t he Holy
Spirit and frees Simeon for death in the famous nunc demittis “Lord, now lettest
thou thy servant depart in peace, according to thy word.” The sense of spiritual
fulfillment is echoed in the repetitions of text on “1 have now enough’ and ‘With
joy’ which bind the movements toget her. The obbligato oboe is here less a
moumful presenc e than one of warmth and comfort. The first two arias have
overtones o f lullaby rhythms, the first restless and yearning and the second
awaiting a peace ful departure from earthly life. The final movement, again in
minor but with strong dance overtones, emphasizes the believer’s joyous
cagerness for the blessed world which is soon to come.
Study Bach! There you will find everything! Johannes Brahms
>
The six suites for solo cello, like the more spectacularly written six
sonatapartitas for solo violin, date from Bach ’s tenure in Cothe n (around 1720).
This was a period in which many instrumental masterpieces like the
Brandenburg Concerti and the first Orchestral Suite were composed. Many
musicologists have remarked upon the relatively more spare, even ‘m inimalist’
texture of the cello suites as compared to the violin partitas. Whether this
stemmed from a conscious desire by Bach to write in a more succinct way, or
was driven by the need to accommodate the acoustics and/or playing techniques
of the cellos of the period is unclear ; the result, though, is spectacularly
effective. Bach employs the standard suite form of his day, namely a free
prelude followed by four dances (a llemande, courant, sarabande and gigue). In
each suite Bach i nserts a ‘new’ dance after the sarabande, in this case a pair of
Minuets. The magic of these works is how Bach manages to extract a balance of
melody, harmony and counterpoint from the musical thread o f single line.
Unlike many other genres, whose composition was confined to one or
another period of his residence and employment, the works for organ cover
virtually the entire gamut of Bach’s composing li fe. While the majority were
composed while Bach was court organist for Duke Wilhelm in Weimar between
1708 and 1717, the majestic Passacaglia and Fugue in c minor may date back to
Bach'’s earlier work in Arnstadt (1 7031707). The work shows the influence of
Danish organist Dietrich Buxtehude who himself composed a number of
noteworthy passacaglia and whose playing Bach walked 200 miles to hear in
concert in Liibeck. The thematic ground borrows from a passacaglia theme by a
French composer André Raison. Bach’s theme and the countersubject he
derived from it flower through so me twenty variations before the culminating
fugue, a compositional tour de force, weaving all the various thematic threads
into a stupendous climax worthy of Bach the greatest organ virtuoso of his age.
At last, this is som ething from which I can learn!
Wolfgang Amadeus Mozart
l
l
It is no surprise that Bach borrowed constantly from himself, recycling
works for other occasions in which he felt the y could do justice to the spirit of
the event. Thus the Sinfonia from Cantata 29, which premiered for the
inauguration of the Leipzig town council in 1731, made use of the opening
movement of the E major violin partita (BWV 1006). No one does ‘brilliant’
better than Bach, as he here further bumishcs the organ’s solo part with the
addition of three clarini and timpani. There are few more dazzling threeminute
cpisodes in all o f music. Enjoy!
�ABOUT THE PERFORMERS
JONATHAN BIGGERS, cited as “one of the most outstanding concert
organists in the United States,” maintains an active career as both a professor of
organ and as a concert organist of the first order. Presently Chair of the
Department of Music and Professor of Organ and Harpsichord at Binghamton
University in New York, Dr. Biggers has presented concerts in church and
university settings throughout the United States, Canada, and Europe. He has
also appeared with various orchestras in North America, and has been featured
on NPR, Canadian Broadcast Corporation, and Radio Suisse Romande
broadcasts. The Kansas City Star, in a review of a concert by Biggers, noted
that his performance demonstrated “authority and eloquence” and stated “were
there more players like this, the organ would be far less a minority interest.”
Dr. Biggers studied with Russell Saunders (Eastman School of Music), Lionel
Rogg (Conservatory of Music, Geneva, Switzerland), J. Warren Hutton (The
University of Alabama), Wallace Zimmerman (Atlanta), Harold Vogel (Bremen,
Germany), and has won numerous prizes in many different competitions. In
particular, he was awarded a unanimous first prize in the 1985 Geneva
International Competition, secondprize in the 1982 American Guild of
Organists National Organ Playing Competition, and unanimously won the 1990
Calgary International Organ Festival Concerto Competition. Two highly
acclaimed Compact Disc recordings of his work (“Sleepers, Wake! A Reger
Perspective” and “Bach on the Fritts!”) have been issued by Calcante
Recordings, and Dr. Biggers will be recording several other releases in the
future, to be issued by Loft Recordings.
Baritone TIMOTHY LEFEBVRE’S recent performances include Beethoven’s
9” Symphony with Syracuse Symphony, Sharpless in Madama Butterfly with
Syracuse Opera, a solo recital at Binghamton University and Messiah with
Pensacola Symphony. LeFebvre has appeared in concert with the 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 Marlboro Music Festival. He has also appeared in concert at
New York ’s Camegie Hall and Alice Tully Hall. LeFebvre ’s operatic
experience includes leading roles with San 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 Binghamton University
and Regional Finalist in several Metropolitan Opera Competitions. LeFebvre is
a graduate of Carnegie Mellon University and Binghamton University and is
currently on the faculty at Binghamton University. His 20052006 engagements
include appearances with the New Dominion Chorale in Brahms’ Requiem,
West Virginia Symphony in Mozart ’s Requiem, Jacksonville Symphony in
Bemstein’s Arias and Barcarolles and Central City Opera in Ballad o f Baby
Doe.
“
JOHN LATHWELL is the principal oboist of the Binghamton Philharmonic,
the TriCities Opera and the Cayuga Chamber Orchestra. He also performs
regularly with the North Eastern Pennsylvania Philharmonic, the Skaneateles
Festival and is active as a chamber musician throughout the central New York
area. In New York City, Mr. Lathwell has performed with the Orchestra of St.
Lukes, the New York Chamber Symphony, the American Composers Orchestra,
the Westchester Philharmonic and the Brooklyn Philharmonic among many
others. Mr. Lathwell is a member of the music faculty at both Binghamton
University and the Tennessee Governor’s School for the Arts. He has also taught
at Ithaca College. His primary teachers have been Joseph Robinson, principal
oboist of the New York Philharmonic and Richard Killmer, Professor of Oboe at
the Eastman School o f Music.
Pianist MICHAEL SALMIRS, a founding member and artistic director of the
Finger Lakes Chamber Ensemble, is well known as a recitalist and chamber
musician performing extensively throughout the region. He has appeared as
soloist with the Corning Philharmonic, Binghamton University Orchestra,
Cayuga Chamber Orchestra, and has been a featured pianist on their Sunday
chamber series. As a performer of contemporary musjc, 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 a faculty member at Binghamton University and an Affiliate Artist at
Cornell University. He maintains a private piano studio in Ithaca and enjoys
teaching students of all ages and levels. This season, Salmirs will perform
Poulenc’s Aubade with the Cayuga Chamber Orchestra.
STEPHEN STALKER, cellist, teaches cello and double bass at Binghamton
University. He formerly taught at Colgate University, Mansfield University,
Ithaca College, and in the Binghamton City Schools. He has performed
extensively with the Catskill Chamber Players of Oneonta, NY, the Finger
Lakes Chamber Ensemble, and in concerts at Binghamton University. He plays
with the Northeastern Pennsylvania Philharmonic and was the principal cellist of
the Cayuga Chamber Orchestra in Ithaca, NY.
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 of 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. Perry is widely known as a virtuoso
solo and chamber music clarinetist, touring Latin America and the 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.
�UNIVERSI TY CHAM BER ORCH ESTRA
Violin I
Alisa Selman
Marie Mizuno
Claire Bym e
Elizabeth Sterling
Viola
Melissa Lee
Sarah Sterli ng
Melissa Ma ttern
Beth Vayshenker
Violin II
Akira Maezawa
Alexander Wong
Anna Cardillo
Molly Ariotti
Cello
Heajung Kim
John Choi
Nicholas Ca pone
Clarini
William Gi lchrist
Bethany Bo nhoff
Gregg Acke rman
Bass
Elizabeth Bartlett
Timpani
Mark Turle y
* * t * * * * * * * * * * * * * * * * * * * * * * * * * * * *
COMI NG EVENT S
Th ursday, October 20 – MidDay Concert with faculty and student
performers – 1 :20 p.m. – Casadesus Recital Hall free
Sat urda y, October 2 2 – A n Evening of Rodgers a nd Hammerstein –
University Orchestra, Harpur Chorale and soloists – 8:00 p.m. –
Osterhout Concert Theater $18 general public; $16 fac ulty/staff/seniors;
$10 students ( A Benefit for the Music Department)
Th ursda y, October 27 – MidDay Concert with faculty and student
performers – 1 :20 p.m. – Casadesus Recital Hall free
F riday, Octobe r 28 – G uest Organist : Robert Poovey – 8:00 p.m. – First
Presbyterian Church, Chenango St., Binghamton $14 general public;
$ 12 faculty/staff/seniors; $6 st udents
Sunda y, October 30 – University Wind Ensemble – 3:00 p.m.
Anderson Center Chamber Hall – free
Th ursda y, November 3 – MidDay Concert with faculty and student
performers 1 :20 p.m. – Casadesus Recital Hall free
�
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1960's - present
Title
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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. <br /><br />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.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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2 audio discs
Duration
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40:56; 28:53
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243778&change_lng=en" title="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243778&change_lng=en">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243778&change_lng=en</a>
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Title
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A benefit concert, a Bach celebration: music of Johann Sebastian Bach (1685-1750), October 15, 2005
Description
An account of the resource
Works of Bach. Held at 8:00 p.m., October 15, 2005, Anderson Center Chamber Hall.
Creator
An entity primarily responsible for making the resource
Biggers, Jonathan
LeFebvre, Timothy
Lathwell, John
Salmirs, Michael
Stalker, Stephen
Perry, Timothy
Publisher
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Binghamton University Libraries
Date
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2005-10-15
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In copyright
-
https://omeka.binghamton.edu/omeka/files/original/b677d3a1eb3b3ec9fa4560df813821f7.pdf
612b2722ece1056e8eb5c2fc9b8d3305
PDF Text
Text
P E T E R M A R S H
W A L T E R P O N C E
ALL BRAHMS PROGRAM
Chamber Music Series
October 5, 1974
Don A. Watters Theater
8:15 PM
�A BRAHMS SONATA RECITAL
Peter Marsh, vi o l i n
Coming Events
Walter Ponce, piano
éhhhf****&*X~****J§*******************************
October 12
October 19
Conductor, composer and organist
IRWIN FISCHER comes to Harpur to
conduct his own music. Paul Jordan
at the organ. CASADESUS RECITAL
HALL. 8:15 PM. Free.
Sonata No. 1 i n G major, opus 78
Vivace ma non troppo
Adagio
Allegro molto moderato
Chamber Series Concert.
The Lenox Quartet. Watters Theater.
8 : 1 5 PM
October 27
Sonata No. 2 i n A major, opus 100
Allegro amabile
Andante t ra n qu i l l o Vivace
THE HARPUR WIND ENSEMBLE.
Sunday, Don A. Watters Theater.
Free.
October 31
Allegretto grazioso (quasi Andante)
THE HARPUR SYMPHONY ORCHESTRA,
directed by Alfred Clinton Morris.
Works by Beethoven and Sibelius.
Watters Theater, Thursday, 8:15 PM.
INTERMISSION
I
Sonata No. 3 i n D minor, opus 108
Allegro
Adagio
Un poco presto e con sentimento
Presto agitato
E — — —
E—
E
—
�THE 1974–75 CHAMBER MUSIC SERIES
Oct 5
Oct 19
Nov 9
Nov 24
Dec 13
Feb 2
Feb 22
Mar 16
Apr 3
Apr 13
Peter Marsh, violin
Walter Ponce, piano
Lenox Quartet
Paul Jordan,
organ and recorder
Christine Lindsay,
harpsichord
Walter Ponce, piano
Lenox Quartet
Lenox Quartet
Lenox Quartet
Donald McCall, cello
Walter Ponce, piano
Dorian Quintet
Lenox Quartet
�
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Coverage
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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. <br /><br />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.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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Original Format
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3 sound tape reels
Duration
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26:16
19:20
22:28
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243352">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243352</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Title
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A Brahms sonata recital, October 5, 1974
Recital tape 1974 10-5
Description
An account of the resource
Held at 8:15 pm, October 5, 1974
Creator
An entity primarily responsible for making the resource
Marsh, Peter
Ponce, Walter
Publisher
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Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
1974-10-05
Rights
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In copyright
Type
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sound
-
https://omeka.binghamton.edu/omeka/files/original/80f56faa64b5a6d355c7366a03d90db4.pdf
d65d0e53993b104fd20388e52ce05429
PDF Text
Text
STATE UNIVERSITY OF N EW YORK AT BINGHAMTO N
HARPUR COLLEGE
THE DEPARTMENT OF MU SIC
A CHRISTMAS CONCERT
DAVID BU TTO LPH, conductor
Wednesday, Decem ber 16, 1970
8 : 1 5 p. m .
Don A. Watters Theater
�PROGRAM
Music for Antiphonal B rass Choirs
Gabrieli , Bonelli , and Lasso
On festive or ceremonial occa sions m usic of this sor t was often hea rd in Italy of the
high Renaissance. St. Mark ’s cathedral in Venice witnesse d countless performances
of this jubilant holiday m usic , perfor med by choirs of brasses situated high in the
cathedral ’s choir lofts.
N un Lob’ Mein Seele Den H er ren
(from Cantata No. 28 , for the New Year)
Chorus and strings
Nun lob,” mein Seel ’ den Herren
was in mir ist den Namen sein!
Sein Wohltat thut er mehren,
vergiss es nicht o Herze m ein ;
Hat dir dein Sund ’ vergeben
und heilt dein ’ Schwachheit gross
errett ’t dein armes Leben
nim m t dich in seinen Schoss
m it neichem T rost beschiittet,
Verjungt dem Adler gleich
Der Klin ’g schafft Recht behiitet
die leiden in seinem Reich.
J. S. Bach
Now bless the Lord, my soul
bless thou His Holy Name;
The Lord, thy God , confess him ,
His benefits to thee acclaim,
who all thy sins forgiveth,
all thy diseases cures ;
through whom thy spirit liveth ,
who grace to thee assur es ;
Thy mouth with plenty fille th ,
with courage fir es thy breast.
The Lord is just and righteous
to all that are oppressed.
(H. S. Drinker)
A ve Maria
Serge Rac hmaninoff
Chorus a cappella
Jubilate Deo
Orlando di Lasso
Chorus
Maria Tryptichon
(United States Premie re)
Maria Dornya, soprano
Eric Lewis, violin
Orchestra
Frank Martin
Intermission
Maria Tryptichon
Part II (Magnificat)
What Cheer? Good Cheer!
Peter Warlock
(ar ranged by Bruce Mer ley)
Chorus and Brass
Welcom e Yule
Chorus and Jane Yule, piano
Wassail Song
E r ic G r itton
Ralph Vaughn Williams
Donna Ribble, soprano
Ira Miller and Luc iano La ma , guitars
Chorus
�T he Holly and the Ivy
a r ranged by G eoffra y Shaw
Chor us and Jane Yule , piano
Christmas Medley
Wind Ensem ble
Bruce Merley, condu c tor
Jack Martin
A Carol Festival
Hawley Ades
Chorus, Orchestra, W ind Ensemble, and Audience Participation
‘ I
A V E MARIA
Gegru’sset seist du , Hoch begnadete!
Der Herr ist m it dir .
Hail, thou tha t a r t highly favored!
T he Lord is with thee.
Fiirchte dich nicht, Maria!
du hast Gnade bei Gott gefunden.
Fea r not, Ma ry, for thou
hast found favor with God.
Siehe, du wirst schwangen w erden und
einer Sohn gebaren des Nam en sollst
du Jesus heissen.
And behold , thou shalt conceive in thy w om b,
and bring forth a son , and shall call
his name Jesus.
Der wird gross sein und ein Sohn
des HOchsten genannt werden
He shall be great and shall be called
the Son of the most high : and the
Und Gott d e r H e r r wird ih m den T h r on
seines Vaters, David geben und e r wird
ein Kfinig sein uber das Hau s Jakob
ewiglich und seines Reiches wird kein
Ende sein.
Lord God sha ll give unto hi m the th r one
of his fa the r David , and he shall r eign
over the house of Jacob for ever ; and
of his kingdom there shall be
no end.
II
MAGNIFICAT
Meine Seele e r hebt den He r rn
und mein Geist freuet sich
Gottes meines Heilandes.
Denn er hat die Niedrigkeit
seiner Magd angesehen.
My soul doth magnify the Lord,
and my spirit hath rejoiced
in God my Saviour.
For he hath looked upon the low estate
of his handmaid :
Siehe, von nun an werden mich selig preisen
alle Kindeskinder;
For behold , from henceforth all genera tions
shall call me blessed.
Denn e r hat G rosse Dinge an m ir getan
Der da machtig iot und des Name he ilig.
F or He that is mighty hath done to me
great thing; and holy is his name.
Sein Name ist heilig und sei ne
Ba r mher zigkeit
W ih r e t im m e r fiir and fiihr
bei denen die ihu fiirchten.
And his mercy is unto gener ations and
generations on them
that hear him.
Siehe, von nun an werden mich
selig preisen alle Kindeskinder
Sein Name ist heilig.
For behold , from henceforth
all generations shall call
me blessed.
E r iibet Gewa lt m i t Seinem A r m
und zerstreuet die hoffi r tig
sind in ihr es He r zens Sinn .
Er ubet Gewalt mit seinem Arm.
H e ha th showed str ength with his a r m ;
He hath scattered the proud
in the imagina tion of their hea r ts,
�E r sto’sset die Gewaltig en vom Thron
und erhebt die Niedrigen.
H e ha th put down the m igh ty from their th rones
and hath ex alted them of low deg ree.
Die Hungrigen fiillet e r mit Gutern
und lisst die Reichen leer.
T he hungr. y he ha th fil l ed with good things
and the r ich he ha th sen t em pty awa y.
Er ubet gewalt mit seinem Arm.
He hath showed streng th with his a r m .
Meine Seele erhebt den Herrn
und mein Geist freuet sich
Gottes meines Heiland es.
m y spir it ha th r e joiced in
G od m y Saviour .
E rdenket de r Ba r mher zig Keit
und hilft Seinem Diener Israel auf.
H e ha th helped his se r vant Israel
in remembrance of his m e rcy.
Wie e r ge r edet ha t unse rn Vatern ,
Abraha m und Seinem kinde rn ewiglich.
As h e spoke unto our fathe rs,
to Abraham and his seen forever.
My soul doth magnify the Lord and
III
STABAT MATER
Stabat mater dolorosa
jux ta c r uce m lac r y mosa ,
d u m pendebat fili us ,
Cu jus animam gementem
contr istanta m e t dolentem
pe r transivit gladius.
The grieving Mother
stood weeping by the c ross
where her Son was hanging.
Her spirit cried out,
mour ning and sor rowing ,
as if pierced with a sword.
O quam tristis et affli c ta
fuit illa benedicta
Ma te r unigeniti!
Oh , how gr ieved and str uck down
was that blessed woma n,
Quae maereba t e t doleba t,
Pia Ma te r dum videba t
Nati poenas inclyti.
How she mour ned a nd la m ented ,
Mother of the Son born of One!
this Holy Mother, seeing
he r Son hanging there in pain!
Qu is es t homo qui non fle r e t
Chr isti Matrem si videret
What man would not weep
to see Chr ist ’s Mothe r
in such humiliation?
Quis non posset contr ista r i
Christi Matrem contemplari
dolentem cum Filio?
Who would not suffe r with her,
seeing Christ ’s Mother
sorrowing for her Son?
P ro peccatic suae gentis
vidit Jesum in tormentis
e t flagell is subd itum .
For the sins of his people
she saw Jesus in tor ment,
bea ten down with whips.
Vidit suum dulcem Natum
moriendo desolatum,
dum emisit spiritum,
She saw her gentle Son
in tanto supplicio?
E ia , Mater , fons amoris,
m e sentire vim doloris
fac , ut tecum lugeam.
Fae, ut ardeat cor meym
_ m amando Christum Deum
‘ ut sibi somplaceam.
’
dying in desola tion ,
breathing out his Spirit.
Let me, Mother, font of love,
feel with thee thy grie f,
make me mourn with t hee.
Make my heart so bur n
for love of Christ my God
that it be safiSfied~
�The well known Swiss com pose r , F rank Ma r tin , was bor n in Geneva
in 1 890. His early studies were in Z uric h with Joseph Lauber but he late r
also studied in Rome and in Paris. Besides composing , F rank Martin has
also taught at the Institute JaquesDalc roze in Geneva and at the Con
servator y of Cologne. His early m usic shows the influenc e of Cesar F rank
and the F r enc h Im pr essionists. Soon , howeve r , he developeda distinc tive ,
personal style and later adopted a mod ified lZtone tec hnique, of whic h the
Maria T ryptichon is an ex ample.
Maria Dornya , well known A merican dramatic soprano, has sung ex
tensively in this countr y and in E urope. She has appea red with the New
Yor k Conce r t Opera Assn. , the New Yor k C ity C enter Opera , the P hila
delphia L yric Opera , the Houston G rand Opera and others, and has per
for med with man y well known A merican orc hestras. Cur rently she is a
mem ber of the Dusseldorf , Z uric h and Munic h Opera Houses.
Eric Lewis , violinist, began his ear ly studies at the Manhattan School
of Music with Rac hmael Weinstock. He received his Masters Deg ree f rom
Manha ttan , where he continued to wor k with Weinstock and studied cha m be r
m usic with L illian F ucks and Ar thur Ba lsa m . M r . L ewis won the Maste r
wor ks F ounda tion Young A r tists Awa rdin 1968, and has been fir s t
violinist with the Manahattan String Quartet since its inception in that
same year .
( C Z )
FU T URE EVEN TS
FR IDAY, JA NUA RY 8, 1970
8:15 p.m. Don A. Watters Theater
SUNDAY, JANUARY 10, 1970
3 : 00 p. m. Music Recital Hall
JEA N CASADESNS
Fall Chamber Music Series
TOM CLOSSER
Bassoon Recital
�CHORALE PER SONNEL
WO MEN’S CHORUS
1st SOP RANOS
2nd SOP RANOS
1st ALT OS
Susan Ball
Kvitka C isyk
Kathy C rowe
Carol Dickie
Ma ry Fenwick
Carol F la m m
Sher r y Kaye
Diane K rasinski
Beverly Penn
Donna R ibble
Ricky Stern
L inda Uhly
Joan Aronow
Joan Appleton
Ka thr yn Bassin
Wendy Bishop
Nancy C all man
Laura F inkelste in Ellen Holtzma n
Mar jorie Gr aber
E velyn K alish
Susan H offmeist er Debra Kanter
Karen Fung
Ann Ma rshland
Allison Ja meson
Janet St echer
Lee Murdock
Stac ie Willia ms
Nanc y Weeks
Kathe r ine Buttolph
Elaine G eorges
Janice M iller
Betsy R eisc h
Nanc y Sim pkins
Colleen Stalls
Lida Wagner
Barbara Wild
Susan Winnett
Carol W inslow
2nd ALTOS
ME N’S G L E E CLUB
1st TENORS
Bryan Burdick
Michael Kass
Charles Seltzer
Ji m Van Hart
Luciano Lama
2nd TENORS
Tony Brienza
Jose Co lon
Ken Goldberg
David K rongel b
F r itz Rath
Douglas Stewa rd
BARITONES
Douglas Dorph
Glenn Dorph
Ken Dorph
Leon F r ied
Keith G orha m
Robe r t Kenda ll
Max Lo pesCepero
Rona ld Sm i th
David Swanda
E rnie Ton g
Ji m Vivyan
Larry Z ukof
BASSES
Richard Axt
Ja m es E lnski
Tim Dungan
Paul Landlan d
Ga ry Levin e
Ira Mille r
Kenneth Morgan
John Niessen
Jon Reise r
Randy Seife r t
Vincent Vito
Jong Ke un You
�OR CHESTR A PERSONNEL
VIOLINS
CELLO
BASSOONS
Eric Lewis,
Concertmaster
Browning Cramer*
Toby Harris
Pa mela Severski
Ca rol Ga ra bedian
Betty Lou Agard
Arthur Mannis
Joanne Br eckenr idge
Martha Strassberger
Andrea And ros
Judy Glyde ,
Principal
Mir ia m Dia mond
Carol Shapiro
Joani Ludka
Jennifer Rae
CONTRABASSOON
Timothy Perry
Thomas C losse r
DOU BLE BASS
FRE NCH HORNS
Mic hael Sanders,
Principal
Rober t Ciringione
Anthony Preus
Janice De Wolfe
FLUTES
Thomas Sigler
Da vid H ibba rd
John McLeod,
Principal
K vitka C isyk
Paul F r iedman
Laura Boyd
Debra Tank low
Martin Goldman
Andrea Tabbat
Sa m uel Jacobs
Joan Tanenhaus
J eff F einsilve r
VIOLAS
And rew Berdahl,
Principal
Joyce Stelzl
Richard Brooks**
Peggy Acke r
Adele Tannenbaum
Jan Lubinsky
Zelman Bokser
Ca rolyn Loh man
*Personnel Manager
**L ibra r ian
Dana Schnipper
Carol Sevush
P h yl l is W iesentha l
T ho m as C losse r
Perri Levin
TRUMPETS
TROMBONE
OBOES
Kenneth Blair
Geoffrey Barron
Daniel C r oss
HARP
E NGL ISH HORN
Geoffrey Barron
CLARINETS
Wendy Osteyée
Sheldon Be r kowitz
Kathy Bundock
PIANO
Jane Yule
TIMPANI
Peter Buttolph
�WIND ENSEMBLE PERSONNEL
PICCOLO
CONTRAALTO CLARINET
CORNETS
Laura F inklestein
Willia m Moor e
John James
FLUTES
SOPRANO SAX
Carol Sevush
Dave Feinman
Robert Weinberger
OBOE
Stan Moshman
ALTO SAX
Sue Eilenberg
Martha Schad
BASSOON
TENOR SAX
Carol Shapiro
M i k e D ’ Eg id io
CLARINETS
BARITONE SAX
Wendy Osteyée
Char les Stein man
Daniel Blaze j
Jean Sc hab
Chr is Braudy
FRE NCH HORNS
Sheldon Berkowitz
JoAnn English
Mike F r isc h
Judi Fisc her
Alan Horowitz
James Rowan
Howard Barsky
BASS CLARINET
C l iffo r d Kasden
Janice DeWolfe
Caren Lieber man
Pat Dowden
Pat Young
Tom Sig ler
Dave Hibba rd
Alan Koenigsberg
George Be r ke
TRUMPETS
Robert Lindstrom
Gary Courtwright
TROMBONES
J i m Bu ttol ph
Ma r k Cly mer
Dave Beaudreau
T homas F leck
Kenneth Blair
Grant Sullivan
BARITONES
Steve Hershkowitz
Keith Gorham
Ha r r y Goldenberg
TUBA
F LEUGE L HORNS
K eith Balser
Da ve H ibba rd
Robert L indstrom
PERCUSSION
Nor man Barouch
Bruce Merley, graduate conductor
Robert Mirshky
Daniel Farina
Peter Buttolph
Stanley Epstein
�
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. <br /><br />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.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
3 sound tape reels
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
26:20:00
OHMS Object
URL
https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63367
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63367">A Christmas Concert</a>
Accessibility
Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
PDF Layout
This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous']
Options:
'Single' - Only the entire current page will be visible and Zoom will be set to page width.
'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width.
'Facing' - Up to two full pages will be visible and Zoom will be set to page height.
'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height.
'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.)
'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.)
FacingCoverContinuous
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
A Christmas Concert, December 16, 1970
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Bach, Rachmaninoff, Lasso, Martin, Warlock, Gritton, Vaughn Williams, and Ades. Held at 8:15 pm, December 16, 1970, Don A. Watters Theater
Creator
An entity primarily responsible for making the resource
State University of New York at Binghamton. Department of Music
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
1970-12-16
Rights
Information about rights held in and over the resource
In copyright
Contributor
An entity responsible for making contributions to the resource
Bach, Johann Sebastian, 1685-1750
Rachmaninoff, Sergei , 1873-1943
Lasso, Orlando di, 1532-1594
Martin, Frank, 1890-1974
Warlock, Peter, 1894-1930
Gritton, Eric
Vaughan Williams, Ralph, 1872-1958
Ades, Hawley
Type
The nature or genre of the resource
sound
Identifier
An unambiguous reference to the resource within a given context
39091020064899
39091020064840
39091020096396