27
10
972
-
https://omeka.binghamton.edu/omeka/files/original/2971dbea17976f3fb33d3607d72ae4d5.pdf
63bb8ecdfdc49b35d6dd5bd64ba05a9c
PDF Text
Text
STATE UNIVERSITY OF NEW YORK AT BINGHAMTON
HARPUR COLLEGE
THE DEPARTMENT OF MUSIC
with
THE DEPARTMENT OF THEATER
present
ME N O T T I ' S
THE OLD MAID AND THE THIEF
by
Students from the Opera Workshop
Thursday, April 29, 1971
Friday, April 30, 1971
8: 15 p.m.
Studio I
�THE OLD MAID AND THE THIEF
A Grotesque Opera in 14 Scenes
Libretto and Music by
GIAN CARLO MENOTTI
- Overture
- Scene 1 -- Miss Todd's Parlor: Miss Todd, Miss
Pinkerton, Leatitia, Bob.
- Scenes 2 and 3 -- The Kitchen of Miss Todd's House;
Bob's Bedroom: Miss Todd, Laetitia, Bob.
- Scene 4
The Street: Miss Pinkerton, Miss Todd.
- Scene 5
Miss Todd's Parlor: Miss Todd, Laetitia,
Bob.
- Scene 6
The Kitchen of Miss Todd's House: Laetitia.
- Scene 7
The Porch of Miss Todd's House: Miss Todd
Miss Pinkerton.
- Scenes 8 and 9 -- Bob's Bedroom; Miss Todd's Parlor:
Bob, Laetitia, Miss Todd.
- Scene 10 -- In Front of the Liquor Store: Laetitia,
Miss Todd.
- Scene 11 -- Miss Todd's Parlor: Miss Pinkerton, Miss
Todd, Laetitia.
- Scene 12 -- Bob's Bedroom: Miss Todd, Laetitia, Bob.
-Scenes 13 and 14 -- Bob's Bedroom, Miss Todd's
Parlor: Bob, Laetitia, Miss Todd.
Characters
Miss Todd
Laetitia
Miss Pinkerton
Bob
Mezzo-soprano
Soprano
Soprano
Baritone
Michele Milligan
Margaret Koty lo
Donna Ribble
James Osborne
The Action takes place in a Small Town somewhere
in the United States.
Time:
The Present
Musical Preparation and Conductor - -- Roberta Schlosser
Dramatic Director
-- Charles Dietrich
Coach and Accompanist
-- Barbara Garges
Liquor Store Proprietor
-- Martin Kass
Assistant Stage Director
-- John Sturman
Lighting
-- Dennis Crozier
Properties
-- Claire Witlin, Janet Randall
Sound
-- Sherry Teitelbaum
Photography
-- Herman Paikoff
Right of performance granted by Belwin
Publishing Corporation.
Mills
Notes by Gian Carlo Menotti
In his middle age, an artist is apt to look back at his
youthful works with much embarrassment. Later in life,
more often than not, the embarrassment turns to sentimental affection. On listening to The Old Maid and the
Thief, I no longer smile at what for a time seemed
utter
naivete, but, rather, admire the courage of the young man .
who wrote it.
Still in my twenties, with only one other opera to
my credit (Amelia Goes to the Ball), I was connnissioned
by NBC to write an opera especially conceived for radio.
It turned out, as far as I know, to be the very first opera
written for this medium, just as, years later, Arnahl and
the Night Visitors inaugurated a long series of operas
written for TV.
I had already lived in America for a few years, but
my knowledge of the English language was yet rather primitive to say the least. Still, the sound of it fascinated
me. I thought that because of its greater sharpness and
greater variety of sounds, it offered to the musician
much greater rhythmic possibilities than Italian. After
studying Elizabethan madrigals, I became quite convinced
of this. Only the arrogance of youth, however, could convince me that I was ready to supply myself with an English
libretto. I thought, perhaps, that I could not do much
worse for myself than some of Verdi's and Donizett's librettists had done for their composers.
As for the subject, youthful arrogance, again, encouraged me to tackle what I considered, then, a very
American plot. I was living in America, why not write
about the American scene?
At the time, I was in the habit of often visiting the
family of my Curtis Institute fellow-student, Samuel Barber,
�in West Chester, Pennsylvania, which was then still a very
little sleepy town of quiet oak-lined streets. Coming as I
did from a noisy Italian family of ten children, the
Barber household, with its quiet Presbyterian background
and its subdued dignity, was quite a change for me. In
fact, I was incredibly charmed by what seemed to me the exotic quaintness of that little American town. I sound found
out, however, from the quiet gossip overheardduring tea and
Bridge parties in Mrs. Barber's and her friends' parlors,
that behind those innocent 18th century wooden facades all
sorts of secret dramas took place; some grim, some comic and
all of them, of course, "scandalous." And so, it was the
deceptive innocence of West Chester, Pennsylvania which inspired the subject for my second opera.
Should I write such an opera today, I'd probably be
much more sympathetic and charitable towards Miss Todd and
more critical of Laetitia's happy-go-lucky synicism. After
A Street Car Named Desire, it is difficult to contemplate
frustrated sexual desires with anything but compassion. (I
myself, an old bachelor, should know!) But then I was a
devoted admirer of comrnedia dell'arte: old unmarried people
had to be grotesquely funny, young "servette" had to be
sparkling, witty and the handsome hero had to get what he
wanted.
In spite of the cynical turn of the plot (a man cannot help becoming what people want him to be), and its
gentle touch of misogynism, the opera is more or les_s stock
commedia dell'arte. As for the music, what can I say? If,
as I believe, the true artist is he who is able to reveal
his inner self with both precision and spontaneity, I cannot but envy the young man who wrote The Old Maid and the
Thief. It is now with gnawing self-doubt that I try to capture my real face beneath the layers of masks that little
by little life imposes on me. What seemed so easy then has
become unbearably difficult. If The Old Maid has any merits
the main one is that it faithfully reveals the young man
I was. But, of course, not all young men are charming or
amusing. Besides, in art, youth in itself has little value
unless it is able to capture, as Bizet did in his "Symphony
in C" the very essence of youth. Be it far from me to claim
the same for "The Old Maid" but as long as its youthfulness
can still make people smile, I am glad that the ever-ready
undertakers have not yet succeeded in burying her.
*
Notes taken from Mercury phonograph record number SR9O521.
�
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Coverage
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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 sound tape reels
Duration
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26:42:00
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63440">Gian Carlo Menotti's Old Maid and the Thief by Students of the Opera Workshop</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
A name given to the resource
Gian Carlo Menotti's Old Maid and the Thief by Students of the Opera Workshop, April 29, 1971
Subject
The topic of the resource
Concerts
Live sound recordings
Description
An account of the resource
Works of Gian Carlo Menotti. Presented at 1:00 pm, April 29, 1971, Recital Hall.
Creator
An entity primarily responsible for making the resource
Students of the Opera Workshop
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
1971-4-29
Contributor
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Menotti, Gian Carlo, 1911-2007
Identifier
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39091020069906
39091020069856
-
https://omeka.binghamton.edu/omeka/files/original/bbbdfeb29ecde4a2d49bd45463f52eb8.pdf
63bb8ecdfdc49b35d6dd5bd64ba05a9c
PDF Text
Text
STATE UNIVERSITY OF NEW YORK AT BINGHAMTON
HARPUR COLLEGE
THE DEPARTMENT OF MUSIC
with
THE DEPARTMENT OF THEATER
present
ME N O T T I ' S
THE OLD MAID AND THE THIEF
by
Students from the Opera Workshop
Thursday, April 29, 1971
Friday, April 30, 1971
8: 15 p.m.
Studio I
�THE OLD MAID AND THE THIEF
A Grotesque Opera in 14 Scenes
Libretto and Music by
GIAN CARLO MENOTTI
- Overture
- Scene 1 -- Miss Todd's Parlor: Miss Todd, Miss
Pinkerton, Leatitia, Bob.
- Scenes 2 and 3 -- The Kitchen of Miss Todd's House;
Bob's Bedroom: Miss Todd, Laetitia, Bob.
- Scene 4
The Street: Miss Pinkerton, Miss Todd.
- Scene 5
Miss Todd's Parlor: Miss Todd, Laetitia,
Bob.
- Scene 6
The Kitchen of Miss Todd's House: Laetitia.
- Scene 7
The Porch of Miss Todd's House: Miss Todd
Miss Pinkerton.
- Scenes 8 and 9 -- Bob's Bedroom; Miss Todd's Parlor:
Bob, Laetitia, Miss Todd.
- Scene 10 -- In Front of the Liquor Store: Laetitia,
Miss Todd.
- Scene 11 -- Miss Todd's Parlor: Miss Pinkerton, Miss
Todd, Laetitia.
- Scene 12 -- Bob's Bedroom: Miss Todd, Laetitia, Bob.
-Scenes 13 and 14 -- Bob's Bedroom, Miss Todd's
Parlor: Bob, Laetitia, Miss Todd.
Characters
Miss Todd
Laetitia
Miss Pinkerton
Bob
Mezzo-soprano
Soprano
Soprano
Baritone
Michele Milligan
Margaret Koty lo
Donna Ribble
James Osborne
The Action takes place in a Small Town somewhere
in the United States.
Time:
The Present
Musical Preparation and Conductor - -- Roberta Schlosser
Dramatic Director
-- Charles Dietrich
Coach and Accompanist
-- Barbara Garges
Liquor Store Proprietor
-- Martin Kass
Assistant Stage Director
-- John Sturman
Lighting
-- Dennis Crozier
Properties
-- Claire Witlin, Janet Randall
Sound
-- Sherry Teitelbaum
Photography
-- Herman Paikoff
Right of performance granted by Belwin
Publishing Corporation.
Mills
Notes by Gian Carlo Menotti
In his middle age, an artist is apt to look back at his
youthful works with much embarrassment. Later in life,
more often than not, the embarrassment turns to sentimental affection. On listening to The Old Maid and the
Thief, I no longer smile at what for a time seemed
utter
naivete, but, rather, admire the courage of the young man .
who wrote it.
Still in my twenties, with only one other opera to
my credit (Amelia Goes to the Ball), I was connnissioned
by NBC to write an opera especially conceived for radio.
It turned out, as far as I know, to be the very first opera
written for this medium, just as, years later, Arnahl and
the Night Visitors inaugurated a long series of operas
written for TV.
I had already lived in America for a few years, but
my knowledge of the English language was yet rather primitive to say the least. Still, the sound of it fascinated
me. I thought that because of its greater sharpness and
greater variety of sounds, it offered to the musician
much greater rhythmic possibilities than Italian. After
studying Elizabethan madrigals, I became quite convinced
of this. Only the arrogance of youth, however, could convince me that I was ready to supply myself with an English
libretto. I thought, perhaps, that I could not do much
worse for myself than some of Verdi's and Donizett's librettists had done for their composers.
As for the subject, youthful arrogance, again, encouraged me to tackle what I considered, then, a very
American plot. I was living in America, why not write
about the American scene?
At the time, I was in the habit of often visiting the
family of my Curtis Institute fellow-student, Samuel Barber,
�in West Chester, Pennsylvania, which was then still a very
little sleepy town of quiet oak-lined streets. Coming as I
did from a noisy Italian family of ten children, the
Barber household, with its quiet Presbyterian background
and its subdued dignity, was quite a change for me. In
fact, I was incredibly charmed by what seemed to me the exotic quaintness of that little American town. I sound found
out, however, from the quiet gossip overheardduring tea and
Bridge parties in Mrs. Barber's and her friends' parlors,
that behind those innocent 18th century wooden facades all
sorts of secret dramas took place; some grim, some comic and
all of them, of course, "scandalous." And so, it was the
deceptive innocence of West Chester, Pennsylvania which inspired the subject for my second opera.
Should I write such an opera today, I'd probably be
much more sympathetic and charitable towards Miss Todd and
more critical of Laetitia's happy-go-lucky synicism. After
A Street Car Named Desire, it is difficult to contemplate
frustrated sexual desires with anything but compassion. (I
myself, an old bachelor, should know!) But then I was a
devoted admirer of comrnedia dell'arte: old unmarried people
had to be grotesquely funny, young "servette" had to be
sparkling, witty and the handsome hero had to get what he
wanted.
In spite of the cynical turn of the plot (a man cannot help becoming what people want him to be), and its
gentle touch of misogynism, the opera is more or les_s stock
commedia dell'arte. As for the music, what can I say? If,
as I believe, the true artist is he who is able to reveal
his inner self with both precision and spontaneity, I cannot but envy the young man who wrote The Old Maid and the
Thief. It is now with gnawing self-doubt that I try to capture my real face beneath the layers of masks that little
by little life imposes on me. What seemed so easy then has
become unbearably difficult. If The Old Maid has any merits
the main one is that it faithfully reveals the young man
I was. But, of course, not all young men are charming or
amusing. Besides, in art, youth in itself has little value
unless it is able to capture, as Bizet did in his "Symphony
in C" the very essence of youth. Be it far from me to claim
the same for "The Old Maid" but as long as its youthfulness
can still make people smile, I am glad that the ever-ready
undertakers have not yet succeeded in burying her.
*
Notes taken from Mercury phonograph record number SR9O521.
�
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.)
22:59
OHMS Object
URL
https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63440
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63440">Gian Carlo Menotti's Old Maid and the Thief by Students of the Opera Workshop </a><a> </a>
Accessibility
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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>.
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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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
Gian Carlo Menotti's Old Maid and the Thief by Students of the Opera Workshop, April 30, 1971
Subject
The topic of the resource
Concerts
Live sound recordings
Description
An account of the resource
Works of Gian Carlo Menotti. Held at 8:15 pm, April 30, 1971, Studio I.
Creator
An entity primarily responsible for making the resource
Students of the Opera Workshop
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
1971-4-30
Rights
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This digital recording may only be used for educational purposes. Please cite as: Binghamton University Music Department tape recordings, Special Collections, Binghamton University Libraries, Binghamton University.
Contributor
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Menotti, Gian Carlo, 1911-2007
Type
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sound
Identifier
An unambiguous reference to the resource within a given context
39091020069781
39091020069732
-
https://omeka.binghamton.edu/omeka/files/original/b459f9a4e80d3d7e917a340b02c416bc.pdf
76056a6ec82435f7408e47c9697a92c6
PDF Text
Text
BING HAMTON
U N I V E R S I T Y
S T A I E U N I V E R S I T Y O F NEW Y O R K
d
e
Ld
c
D E P A R T M E N T
GLEB IVANOV
PIA NO
Sat urday, February 7, 20 15
7:30 p.m .
Anderson Cen ter Cha m ber Hal l
�About the Performer
0 PROGRAM 0
Sonata in A major, D. 664, O p. 120.
Allegro nwderato
Andante
Allegro
Sonata in A major, D. 784, Op. 120.
Allegra giusto
Andante
. Franz Sc hubert
(17971828)
. Franz Sch ubert
(17971828)
Allegro vivace
&I n termissi ond®s
Consolations, S. 1 72.
No. I : Andante con moto
No. 2 : Poco piu mosso
. Franz Liszt
(1 8 1 11 886)
Sonata in B Minor, S. 178”
. Franz Liszt
(18111886)
A soughta fter conce rto soloist, GLEB IVANOV pe rforms a wide range of
concerto repertoire, from Mozart to Rac hmaninoff and has a ppeared with
orchestras including the Symphony Orchestras of Missouri, Johnstown,
West Michigan, Eastern Connecticut, South Bend, Westmoreland,
Southwest Florida, Peoria, Knoxville, Dearborn, Las Cruces, Grand
Rapids, Springfield and Napa Valley, the Indianapolis Chamber Orchestra
and the Colorado Springs Philharmonic. Adored in Paris, he has been re
engaged four times by the Louvre Museum for specially requested all
Schubert and allChopin concerts. Mr. Ivanov has also been frequently re
engaged by Princeton University, The Paramount Theater in Vermont, the
Isabella Stewart Gardner Museum in Boston, “Pianofest ” in East
Hampton, Bargemusic in New York City, and at Fishers Island Concerts.
Highlights of this season include appearances as soloist with orchestras in
Illinois and Georgia, and in recital at the Lied Center of Kansas and the
Morgan Library and Museum in New York. He also performs with the
Taos Chamber Music Group.
In recognition of impressive career achievement, Ivanov was awarded the
Michaels Award of Young Concert Artists, which brought his Lincoln
Center recital debut at Alice Tully Hall and a rave review in The New
York Times. His program of Russian repertoire included works by
Prokofiev and the Rachmaninoff Cello Sonata with New York
Philharmonic principal cellist Carter Brey (YCA Almnus) as his guest. At a
young age in Russia, Ivanov was a protege of Mstislav Rostropovich,
appearing as soloist under the famous maestro with the Nizhny Novgorod
Philharmonic. He also performed with the Moscow State Orchestra, wirh
the Kremlin Orchestra, and at the Pushkin, Glinka, and Scriabin
Museums in Moscow. Mr. Ivanov won First Prizes at the 1994 and 1996
International “Classical Legacy” Competition, and the prize for Best
*there are no movement markings for the Liszt Sonata in B Minor
Performance of a Beethoven Sonata at the First Vladimir Horowitz
Competition in Kiev. Months after arriving in the United States, Mr.
Ivanov won First Prize in the 2005 Young Concert Artists International
Auditions. He received an award from the Jack Romann Special Artists
Fund of YCA and made his New York debut in 2006 at Carnegie’s Zankel
Hall and his Washington, D C debut at the Kennedy Center, to rave
critical acclaim. Musical Studies Grants from the Bagby Foundation.
�Bi ngha mton U niversity De pa rtmen t of M usi
c
Co mi ng Even ts
6 & 6 é 6 fi 6 b w m w
fi
Saturday, February 7 Guest Art ist: Pianist Gle
b Ivanov
Chamber H all $20 general public ; $15 faculty/s
taff/
n fi b é b
7:30 p.m. Anderson Center
seniors/alumni; $10 for students
Sunday, February 8 – Tr iCit ies O pera presents
Ross i ni’s The Italia n Gi rl i n A lgier s –
8:00 p.m. The Forum Theater call (607) 7720400
for tickets
Sunday, February 1 5 Com pose rs at the Conflu
ence: Wa r and Consequ ence 2:00 p.m.
Phelps Mansion Museum $ 10 general public; f
ree for BU students with ID (Call 607
722487 3 for reservations)
Thu rsday. Feb ruary 26– MidDay Con cert – 1:2
0 p.m. – Casadesus Recital Hall free
Thu rsday, February 26 – TriCities Ope ra
prese nts Michael Ching’s “Speed Dati ng
Ton ight!” – 8:00 p.m. – Ope ra Ce nter, 315 Clin
ton Street, Bingham ton, NY – Cal l 607
7720400 for t
ickets
Friday, February 27 – TriCities Ope ra prese
nts Michael Ching’s “Speed Dating
Ton ight!” – 8:00 p.m. – Ope ra Cente r, 31 5 Cl
inton Street, Binghamton, NY Call 607
7720400 for tickets
Satu rday, February 28 – Join t Junior Reci
tal: Brandon You ng, trum pet and Chris
Beard, trombone 3:00 p.m . Casadesus Recital
Hall free
Satu rday. February 28 TriCities Ope ra
prese nts Michael Ching’s “Speed Dati ng
Ton ight!” 8:00 p.m. Ope ra Cente r, 31 5 Cl
inton Street, Binghatmon, NY Call 607
7720400 for ticke ts.
Sunday, March 1 – Sonata Masterp ieces for
cello and piano wi th Stephen Stalke r and
Stephen Zank – 3:00 p.m . – Anderson Cen ter C
ham ber Hall $10 ge neral pu blic; $7
facu lty/staff/seniors/al um ni; $ 5 for students
Thu rsday, Ma rch 5 – M idDay Conce rt 1:20
p.m . Casadesus Recital Hall – free
Friday, March 6 – Master’s Reci tal: N icholas F
ollett, saxophone – 7:30 p.m . Casadesus
Reci tal Hall free
fi s h fi fi n w é w fi u fi b é fi M
fi M fi ' fi fi fl fi fi
=
[ = ]
E
'
.
For tickets or to be added to our emai
l list, visit
anderson. binghamton.edu or call (60 7) 777ART‘S. F
or a complete
list of our concerts call (607) 7772
592. visit
music.binghamton.edu or become a fan on Facebook.
If you were inspired by this perfornulnce. conside
r supporting the
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support helps to
conti nue the work of students, faculty. and guest a
rtists and their
contributions to our community. Please make
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Binghamton University Music Department Tape Recordings
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Gleb Ivanov recital, February 7, 2015
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Works by Schubert, Liszt. Held at 7:30 p.m., February 7, 2015, Year, Anderson Center Chamber Hall.
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Ivanov, Gleb
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Liszt, Franz, 1811-1866
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Glimmerglass Opera, Cooperstown, New York presents its young American artists in concert the world of Offenbach
Recital Tape 5-9-2007
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Held at 8:00 p.m., May 9, 2007, Casadesus Recital Hall. Works of Offenbach.
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MacLeod, Michael
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331763b8-317b-4104-b53b-1392bd77c9ab
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Binghamton University Music Department Tape Recordings
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Graduate recital, May 10, 2009
Recital Tape 2009-5-10
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Works of Rameau, Rossini, Thomas, Strauss, Ives. Held at 7:30 p.m., May 10, 2009, Fine Arts Room 21.
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Moots, Jonathan
Schum, Jody
Lundy,Barbara
Tayga-Hromek, Hakan
Moots, Jonathan
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BINGHAMTON
U N I V E R S 1 T Y
STATE U N I V E R S I T Y O F N E W Y O R K
cad/ob
D E P A R T W E N T
G RADUATE T HESIS
R ECITAL
K ATHLEEN JASINSKAS,
SOPRANO
with
U Lee, Piano
Charles Hyland, Baritone
Frida y, M arch 23, 2012
8:00 p.m.
Casadesus Recital Hall
�PROGRAM
..Mozart
Laudamus Te .
from Great Mass in Cminor
Five Poems of An na Akhmatova (Op. 27)..
1. Sunshine has filled the room
II. True tenderness
III. Memories of sunlight
IV. Greetings
V. The greyeyed King
Selections from Italienisches Liederbuch.
with Charles Hyland, Barito ne
(1756–1791)
.. P ro kofiev
(1891–1953)
.Wolf
(1860–1903)
Ihr seid die Allerschonste
Auch kleine Dinge
Ein Standchen Euch zu bringen
Und willst du deinen Liebsten sterben sehen
Mein Liebster singt a m Haus
Wie soll ich frohlich sein
O wiisstest du, wie viel ich deinetwegen
Schweig’ einmal still
Ich hab’in Penna einen Liebsten wohnen
u ) INTERMISSION «3
Knoxville: Summer of 1915...
...Barber
(19101981)
PROGRAM NOTES
Moza rt was living in Vienna in the winter of 1782 when he
began composition of the Great Mass in cminor (K. 427) as a
gift for his fiancée, soprano Constanze Weber. The mass
setting was a n impressively la rge underta king, scored for
four soloists (SSTB), double chorus and orchestra. Despite
protestations from his father, Mozart and Constanze were
ma rried in the summer of 1782 and they premiered several
movements of the work at St. Peter’s in Salzburg in October
of 1783. By all accounts, the performance was quite
successful, but for unknown reasons Wolfgang and
Constanze left Salzburg permanently the day after the
premiere and the score joins the famous Requiem as a
stunning but incomplete work. The Laudamus Te is the
second of seven sections tha t form the Gloria movement of
the Mass, and its message to praise and glorify God is
highlighted by a sunny key transition to FMajor and no
shortage of vocal and orchestral pyrotechnics.
After the completion of his opera The Gambler in 1916, Se rgei
Prokofiev is said to have told friends that he wanted to relax
and compose a few short, in timate pieces. No stranger to
vocal chamber music, his first several song cycles employed
the poetry of ”socalled Golden Age [poets] such as Push kin
and Lermontov.” This time, however, Prokofiev sought out
the work of upandcoming poet Anna Akhmatova (1889–
1966), enchanted by the “deliberately straightforward and
concrete imagery [used] to convey the sometimes morbid
sensations of a society woma n.” The cycle was completed in
only four days and was a huge success at its premiere at a
Concert of Modern Music i n Moscow on February 18, 1917,
which featured soprano Zinaida Artyomova and the
composer at the piano. Critic Yuly Engel raved that
�Prokofiev had found a new type of lyricism : “One hardly
expects to find tenderness, warmth, emotion or, in short,
lyrical charm in Prokofiev’s music. Some say that the young
Sa muel Ba rber began work on Knoxville: Su mmer of1915 in
1947 in response to a request for a large symphonic work for
Akhmatova’s words, it is difficult to agree with this.” The
composer himself agreed that these compact songs did
indeed represent a tu rn toward more lyric wri ting that
would follow him to the end of his career.
composition: “... my musical response was immed iate and
intense... The summer evening he describes reminded me
so much of similar evenings when I was a child a t home.”
Indeed, Agee and Barber had much in common: both grew
up in the South in the ea rly pa rt of the Twentieth Centu ry,
and both lost their fathers within a year of their works’
completion. The piece is narrated prima rily by a child,
though she seems a t times to transcend into adulthood and
reminisce on the idyllic summer scene. Barber described the
finished product as a ”ly ric rhapsody,” featuring a full
spectrum of orchestral colors, from the serene lilt of the
opening harp and oboe to the full blast of french h orns as the
child drops to her knees in prayer. It was premiered by
American soprano Eleanor Steber and the Boston Symphony
Orchestra in 1948 and has become a beloved staple of the
com pose r has none of it. Bu t after h ea ring the songs set to
Hugo Wolf was one of the most prolific Lieder com posers of
the late 19th Century, producing more than two hundred
songs between 1888 and 1897. The Italienisches Liederbuch
contains fortysix miniatures in two volumes from 1892 and
1896, while Wolf was living and working in Aust ria. The
poems a re traditional 15th Centu ry Tuscan rispetti translated
into German by Paul Heyse. Though the translations are
beautifully done and reta in much of the poetry’s o riginal
flavor, the poems lose the standard structu re of eight 11
syllable lines, which adds to their Italian cha rm. The subject
is love, ranging in expression from sublime to ridi culous
(and the nine selections we have chosen certainly follow that
order!). Each song is a pa instakingly refined snapshot,
ranging in style from a si mple Schubertian serena de to
complex Wagnerian chromaticism, with the occasional hint
of Italian bel canto opera . Though there are no instructions
for how the works are to be performed, they are typically
divided between a male and female voice based on poetry
and musical range, and have been recorded by several
incredible teams, including Elisabeth Schwarzkopf and
Dietrich FischerDieskau.
voice and orchestra by conductor Serge Koussevitzky. He
found himself d ra wn to James Agee’s poem, reca lling post
modern symphonic repertory.
�ABOUT THE PERFORMERS
Soprano Kathleen Jasinskas is currently a Resident
Artist with TriCities Opera and a Master of Music candidate
at Binghamton University, where she studies voice with
Professor Tom Goodhea rt. She was hailed as “a joy to watch”
singing Despina in TCO’s Cosi fan tutte (2010), and has also
been featured as Stella in Les contes d Hoffman (2011) and
Kate Pinkerton in Madama Butterfly (2011) at TCO.
Kathleen made her professional debut in 2009 singing
Antonia in Man of La Mancha with Shreveport Opera, where
she was a member of the Shreveport Opera eXpress Resident
A rtist program. She has been seen as a Studio A rtist at Opera
New Jersey (2009), covering YumYum in The Mikado and as
an Apprentice A rtist at Des Moines Metro Opera (2008),
covering the role of Oscar in Un ballo in maschera.
Kathleen received her Bachelor’s Degree from The
Juilliard School in 2008, where her notable performance
credits included the New York premiere of Ned Rorem’s Our
Town and the American premiere of Cavalli’s La Doriclea. She
made her Alice Tully Hall debut in the Spring of 2007
singing Poulenc’s l a Courte Paille and has presented several
recitals in New York City and her hometown, Kansas City,
KS.
This spring, Kathleen will sing the role of Papagena in
TCO’s Die Zauberflote (April 27 & 29).
An extraordina ry a rtist, Ms. U Lee is a vi rtuoso singer
as well as a pianist and conductor. As a singer, Ms. Lee has
performed many roles, including Giulietta, La voix humaine,
Judith, Suzuki, Mere Ma rie, Idamante, Dorabella, Glenda,
Annio, and more in houses from Taiwan and Malaysia to the
United States and Canada. In April, Ms. Lee will perform the
Second Lady in TriCities Opera’s Die Zaubeflite. As a
pianist/coach, Ms. Lee has worked for Manhattan School of
Music, Dolora Zajick’s Institute for Young Dramatic Voices,
Yard Opera, Grandview Opera, Experimental Theater
(Taipei), and is no w with the M usic Depa rtmen t of
Binghamton University. She has also conducted works by
Debussy, Ravel, Puccini, Mozart and Rossini. Not restricted
to the vocal studio or concert stage, Ms. Lee also made her
appearance on the catwalk for designers Dolita and Stayres,
played cello in Melanie Fiona’s music video (It kills me), and
her a rt work is currently being exhibited in New York.
Charles Hyland, Baritone, is a resident a rtist at the TriCities
Opera and is currently in the Master of Music program at
Binghamton University. He sang the role of Yamadori and
covered the role of Sharpless in the TCO production of
Madama Butterfly, and will be singing Papageno for their
production of Die Zauberflo’te in April. Other previous roles
include Melchior in Amahl and the Night V isitors (Binghamton
University), Masetto in Don Giovanni (Prelude to
Performance, Ma rtina Arroyo Foundation), Figaro in Le
Nozze di Figaro (Catholic University of America), Dr. Falke in
Die Fledermaus (CUA), Schaunard in La Boheme (CUA), Haly
in L’ltaliana in Algeri (Bel Cantanti Opera), and Lorenzo in I
Capuleti e i Montecchi (BCO).
�B nghamton University Music Department ’s
U P C O M I N G EVENTS
Thursday, March 29 — MidDay Concert — 1:20 p.m. — Casadesus
Recital Hall — free
Thursday, April 12 — MidDa y Concert — 1:20 p.m. — Casadesus
Recital Hall — free
Friday, April 13 –– Senior Recital: Alexander Baron, recorder —
8:00 p.m. — Casadesus Recital Hall — free
Saturday, April 14 — Masterclass with organist Carla Edwards — 10
a.m. — 12 noon — First Presbyterian Church, Binghamton — free
Saturday, April 14 — Robert Smith, euphonium, presents “El
Bombardino” with Margaret Reitz, piano — 3 p.m. — Casadesus
Recital Hall — $6 general public; $3 faculty/staff/seniors; free for
students
Sunday, April 15 — Africanaise: An evening of African Inspired
Compositions — 3 p.m. — Anderson Center Chamber Hall — $10
general public; $6 faculty/staff/seniors; $3 students
Sunday, April 15 — Guest Organist Carla Edwards — 4 p.m. — First
Presbyterian Church, Binghamton — $10 general public; $6 fa culty/
staff/seniors; $3 students
Thursday, April 19 — MidDay Concert — 1:20 p.m. — Casadesus
Recital Hall — free
Friday, April 20 — University String Orchestra — 4:00 p.m. — Grand
Corridor — free
I f you enjoyed and were inspired by this performance, please
consider supporting the Department of Music with a financial
gift. Your support helps to continue the work of students,
faculty, and guest artists and their contnbutions to our larger
community. Please make your donation payable to the
Binghamton University Music Department, and send to P.O.
Box 5000, Binghamton, NY 13902.
For ticket information, please call the
Anderson Center Box Ofi'ice at 777ART5.
�
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Coverage
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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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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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Graduate thesis recital, Kathleen Jasinskas, March 23, 2012
Description
An account of the resource
Works by Te, Mozart, Wolf, Barber. Held at 8:00 p.m., March 23, 2012, Casadesus Recital Hall.
Creator
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Lee, Ü
Hyland, Charles
Jasinskas, Kathleen
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Binghamton University Libraries
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3/23/12
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0a6fdb34f1a612e278767935930588d8
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
o
y
S T A T E U N I V E R S I T Y OF N E W Y O R K
t t h e
R
T
M
E
N
T
Graduation Recital
Briana Sakamoto, soprano
William James Lawson, plarust
Pej Reitz, plarust
Saturd ay, Ma y 7, 2011 at 8 pm
Casadesus H a l l
�p t o g a m
I. Selections from Tonadillas al estilo antiguo, 191011, H. 136 .
1. El majo timido, no. 5
2. El mirar de la maia, no. 6
3. El tra la la y el punteado, no. 7
4. El majo discreto, no. 3
11. Selected songs.
1. V tak mnohém srdci mrtvo iest
from Pisne milosme, 1888, op. 83, no. 2
2. Ten ptaéek, ten se nazpiva
from Veéemi’ pisné, 1876, op. 31, no. 5
3. Kdy2 mne stara matka
from Ciginské melodie, 1885, op. 55, no. 4
Enrique G ranados
18671916
Antonin Dvofak
18411904
.. George Frideric Handel
16851759
III. 11 primo ardor..
from the opera Ariodante, 1735, HWV 33
Intermission
IV. Selected songs of Spanish composers late 19% to mid 20* C
1. La zagala alegre.
...
from Seis canciones, no. 1” 1940
2. Después que te conoci
from Seis canciones, no. 6
..
3. Como quieres que adivine..
from Seis canciones castellanas, no. 5, 1939
4. Mananita de San Juan
from Seis canciones castellanas, no. 6, 1939
4. Cantare:
from Poema en forma de cancioncs, no. 3, 1917
V. Settings of English poetry
1. Loveliest of Trees
2. Now sleeps the crimson petal...
3. The Floral Dance.
wwerneene Eduard T o l d
18951962
C E Guridi
18861961
.Joaquin Turina
18821949
lohn Duke
18991984
Roger Quilter
18771953
.Kate Emily Barley Moss
18811947
�loitns
Thansa
a
d
Texst n
I . Selections from Tonad illac al entilo antiguo’
Little songs in an old style
1
dmido
1. El ma jo’
The timid ma jo
Uegaamire ia y memira
porlanoche unmaio
que, en cuanto me ve y suspira,
se va calle abajo.
lAy qué n’o mas tardiol
[Si asi se pasa la vida
estoy divertidal
every night – a majo
who, after looking at me and sighing,
continues down the stree t.
Ay! What a slowpoke!
If this is how life is going to go
I will be amused!
Texts: Ferna ndo Periquet, 18731940
He appears at my window and stares at me
Si hoy tambien pasa y me mira
y no se entusiasma
pucs después de ese saludo
[Adios Don Fantasmal
jAy que tic mas tardio!
Por estar enamorado
l f today he comes again and stares
and makes no effort
Las reias calladas.
Goodbye Mr. Ghost!
Ayl What a slowpoke!
For being so in love
He stays quiet!
2. El mirar de la maja
The gaze oft he ma ja
¢Por qué es en mis ojos
Why do my eyes
have such a deep look?
In order to hide
tan hondo el rnirar?
Que a fin de cortar
desdenes y enojos
los suelo entornar.
Qué fuego dentro llcvaran
que si acaso con calor
los clavo en mi amor
sonroio me dan
Por eso el chispem”
a quien mi alma di
al verse ante mi
me tira el sombrero
y diceme asi:
“Mi maia, no me mires mas
que tus oios rayos son
y ardiendo en passion
la muerte me dan.”
and then after this greeti ng it’s
disdain and anger
l lower my lids
So much fire is inside them
that if by chance, with their passion,
they look piercingly at my lover,
they make me blush.
3. El tra la Byel p u n teado
Es en balde, majo mio,
que sigas hablando
porque hay cosas que contesto
yo siempre cantando:
Themlalaandtheguit arstnrm
It is useless, majo of mine,
to keep talking
Por mas que preguntes tanto
because there are things I will answer
every time only singing:
Tra la la...
The more you ask
ni yo he de salir de mi canto.
or make me end my song.
4. El majo diocrem
The discree t ma jo
Dicen que mi maio es feo ;
Es posible q ue si que lo sea,
They say that my maio is ugly;
It is possible that indeed he is,
Because love is desire that blinds and takes over.
Tra la la...
i no causas quebranto
En m
que amor es deseo que ciega y marea.
I la tiempo que sé que quien ama no ve.
You won’t d istress me
I’ve had time to learn: she who kives cannot see.
Mas si no es mi maio un hombre
que por lindo descuelle y asombre,
en cambio es discreto y guarda un secreto
que yo posé en él sabiendo quc es fiel.
But if my maio is not a man
who shines and impresses with good looks,
he is, on the other hand, discreet and keeps a secret
which I told him, knowing he is trustworth y.
+Cuil es el secrcto que el majo gu ard ?
Seria indiscreto contarlo yo.
No poco trabajo costara saber
secretos dc un majo con una muicr.
What is the secret that the main kept?
It would be indiscreet i f s aid it!
Nacio en Lavapiés®.
{Eh, lehl il is un majo, un majo esl
He was born in Lavapiés.
Ha! Ha! He’s a majo, a majo he is l
Not a bit of effort is need ed to figure out
woman.
the secrets o f maio with a
Therefore, t his fine gangster
to whom I gave my soul
when he faces me
he pulls his hat down
and says to me:
“My maial Do not look at me anymo re
because you r eyes are lig htning bolts
and, burning with passion,
they kill me.”
s in the opus are
1
A “tonadilla ” is a dimin utive form o f “tona,” song, so it means “little song.” All the song
that of 18th
quite short, and tell of the romances be tween majos and majas in Madrid. The “old style” is
y
century /onadilla, a theatrical song based on the vernacular, and on folk music.
r class
2
“Maio” has no English equivalent, t hough it is a bit like “dude.” Originally it described spunky lowe
mean, roughly,
folk, especially in Madrid, who dressed in an exaggera tedly traditional manner. It came to
“good looking.” Recently it connotes friendlin
form.
In these tex ts, earlier meanings apply. “Maja” is t he female
acho,
“Chispero” is also difficult to transla te. It is something like “gangster” or “rogue” and refers to a m
gun.
ug, lighter or
ans spark pl
fiery, handsome man. It literally me
3
of person
* Lavapies is a barrio, a neighborhood, of Madrid . Keeping wit h the early d efinition of majo, a type
from Madrid, the speaker means that since her man was born t here, he is a legitimate majol
�II . Selected songs of Dvofik
1. V tak mnohém ardci mrtvo jest
I n so man y hearts everyt hing in dead
V tak mnohém srdci mrtvo jest,
jak v temné pustiné,
v ném na Zalost a na bolest,
In so many hearts everything is dead,
like in a dark wasteland,
ln it, pain and suffering,
are the only things that fit.
from Pisne milostne “Love songs™
Text: Gustav PflegerMoravsky, 18331875
ba, mista iediné.
Tu klamy lasky horouci
v to srdce vstup uje,
Here deceptions of passionate love
enter into the heart,
A srdce Zalem prahnouci,
to mni he miluje.
And the heart, weeping with hunger,
is aware that it loves.
A v tomto sladk ém domnéni
se jeste jednou v raj
To srdce mrtvé proméni
a zpiva starou bail
And in that swee t illusion
once more like a paradise
The dead heart revives
and sings an old tale!
2. Ten ptaéek, ten se nazpiva
from Veéemi’ pisné – “Evening songs»
Tha t little bird, who sings so much
Ten ptaéek, ten se nazpiva,
iak by byl pisefi ziva;
Ba kdo v svém srdci lasku ma,
nedivte se, i e zpival
That little bird, who sings so much,
as if he were song incarnate
But whoever has a heart with love in it,
do not be surprised that he sings!
A ptacek, ten tak od srdce
a k srdci mluvit umi,
And the little bird, that in this way, knows
how to speak from the heart to the heart,
Text: Vitézslav H alek, 18351874
Ze div by ¢lovek neplakal,
kdyZ srdcem porozumi.
Ba Casto mné to ptipada.
i e jsem mu druhem v lk ini,
neb i ty moje pisné isou
ien iemné nafikani.
3. KdyZ mne stard madta‘
from Ciganské melodie “Gypsy songs»
Text: Adolf Heyduk, 18351923
When my old mother
KdyZ mne stara matka zpivat ucivala,
podivno, i e éasto slzivala.
A ted’ také plaéem snédé lice muéim,
KdyZ ciganské déti hrat a zpivat uéiml
When my old mother taught me to sing,
it’s strange that often she cried.
And now 1 too, crying, torment my swarthy face,
when I teach gypsy children to play and to sing!
III. 11 primo ardor’
The first flame of love
ll primo ardor
é cosi caro a questo cor,
che stinguerlo non vuol,
quest’alma aman te.
The first flame of love
is so dear to this heart,
this heart will not extinguish it,
this loving soul.
lo son fedel,
ne mai crudel
e sempre a lui sara
il cor costante.
I am faithful,
never cruel,
and for him always
my heart will be constant.
Text: Anonymous
that a man can barely keep from crying,
when with his own heart he understands.
But often, to me it seems,
that I am his friend in sorrows,
for even these songs of mine
are only gentle laments.
6
$
Dvofak’s first attempt at song w riting was a cycle called “The Cyp resses,” which h e composed in 1 865, at the
age of 24. He earned a small living playing viola in the orchestra of Bedfich Smetana, and teaching piano. Two
of his students were Josefina Cermikova and her younger sister, Anna. He was in love with J osefina, but she
did not return his affections, and he later fell for Anna. Some say “The Cypresses” were written for one of the
two sisters, but it is unclear as to w hich sister the composer had in mind. In 1873, Dvofak and Anna married.
They had a long marriage, and nine children. the first three of which died in infancy. “The Cypresses,” like
Dvol’ak’s first pursuit of love, was not much of a success, but the ideas and poetry remained dear to the
composer. Twentythree years after that firs t try, a grown and betterpaid ma n, Dvol‘ak revised the group, and
it became the “Love Songs.”
The “G ypsy songs” were composed on a set of poems w ritten in German and Czech. The German version
was set first, for the work’s premier in Vienna. “KdyZ mne stara matka” is the most popular of the group, the
most popular o f all Dvofak’ songs for that matter, and is often sung in German (“Als die alte Mutter”) and
English (“Songs my mother taught me”).
7
This aria is sung by the character of Dalinda in Handel’s opera, Ariodante. Dalinda is an attendant to
G inerva, who is betrothed to Prince Ariodante. Lurcanio, Ariodante‘s brother, is in love with Dalinda.
Dalinda is in love with Polinesso, a duke, but Polinesso is in love with Ginerva. Scheming to win Ginerva from
Ariodante, Polinesso exploits Dalinda’s affections, using her as a pawn in a plot to make Ariodan te think that
G inerva and Polinesso are having an affair. The plot works. Ariodante goes to the woods to attempt suicide.
Ginerva is disowned by her father. Polinesso tries to have Dalinda killed as a coverup, but while run ning away
from the assassins, she meets Ariodante in the woods, his suicide attempt having failed. Ariodante saves
Dalinda from the assassins. Dalinda assures Ariodante of Ginerva’s fidelity. They return, Polinesso confesses
and dies, and all is well. Ginerva marries Ariodante. Dalinda marries Lurcanio. Near the end of the first act,
when none of this has yet been revealed, and Dalinda is still in love with Polinesso, she sings “Il primo ardor”
to Lurcanio, spu rning him, and affirming her faith fulness to the ma n she believes is her one true love.
�IV. Selected songs of Spanish composers – late 19% to early 20% C
1. La zagala alegre®
The happy maiden
A una donosa zagala su vieja madre refia,
cuando pasaba las horas alegres, entretenida;
y ella, su amor disculpando, con elocuencia sencilla,
cantando al son del pandero, asi mil veces decia:
Ahora que soy nina, madre, ahora que soy nina,
déieme gozar ahora, sin que asi me rina.
A happy maiden is scolded by her old mother,
as she spends happy hours, entertaining herself;
and she, excusing her love, with simple eloquence,
singing with her tambor”, says this a thousand times:
Now that 1 am a girl, mother, now that 1 am a girl,
Let me enioy myself now, without scolding me.
{Que mal nos hace Salicio si cuando pasa me mira,
y me tira de la saya o en el brazo me pellizca?
. . .No piense, madre, que busca mi deshonra;
no lo diga.
Mi gusto solo, y su gusto, queriéndome asi codicia.
Ahora que soy nina, madrc...
Text: Pablo de Jérica, 17811841
3. Cé6mo quieres que adivine
Text: Folk
How can I guess
Cémo quieres que adivine si estas despierta o dormienda, How can I guess if you are awake or asleep
when no angel of heaven will come down to tell me!
[como no baje del cielo un angel y me lo digal
How can I guess?
¢Como quieres que adivine?
hermosa paloma cuando seras mia,
cuando seras mia, [cuando vas a ser,
Joy and more ioy,
pretty dove when you’ll be mine,
when you are mine, when that comes to be,
pretty dove, laurel branch!
What harm is Salicio if he walks by and looks at me,
and tugs my skirt hem, or pinches my arm?
...don’t think, mother, that he wants to dishonor me,
don’t say it.
It’s only fun to me, and him, and he desires my love.
Now that I am a girl, mother...
Cuando voy por lena al monte
olé ya mi nifia y me meto en la espesura,
y veo la nieve blanca, ole ya mi nina,
me acuerdo de tu hermosura.
When I go to get wood on the mountain,
oh my girl, and I find myself in the thicket,
and I see the white snow, oh my girl,
I remember your beauty.
Cuando casada me vea, hecha muicr de farnilia,
me sobraran mil cuidados, me faltara mi alegria.
Por eso quisiera, madre, pasar alegres los dias
que me restan de soltera en bailes, iuegos y risas.
Ahora que soy nifia, madre...
When you see me married, the mother of a family,
I’ll have a thousand worries, I’ll miss my happiness.
Therefore, mother, I want to be happy in these days
when I’m still single, with dances, games and laughs.
Now that I am a girl, mother...
Quisiera ser por un rato anillo de tu pendiente,
para decirte al oido lo que mi corazon siente.
Quisiera ser por un rato...
I would like to be, just once, an earring you wear,
so I can tell your ear what my heart feels.
I would like to be, just once...
Las estrellas voy contando, ole ya mi nifia,
por ver la que me persigue.
Me persigue un lucerito, olé ya mi nina,
I count the stars, oh my girl,
to look at the one that follows me.
A little star is following me, oh my girl,
2. Despuéa q ue te conoci
After meeting you
Alegari y mas alegna..
Joy and more joy...
Después que te conoci,
todas las cosas me sobra
el sol para tener dia,
abril para tener rosas.
After meeting you
I don’t need all these things:
the sun in order to have day,
4. Maflanita de Sarrjtranm
Text: Folk
Moming on St. John’s day
Mananita de San Juan,
Por mi bien pueden tomar
otro oficio las auroras,
que yo conozco una luz
que sabe amanecer sombras
As far as I’m concemcd. there might as well be
another iob for the dawn,
because I know a light
that knows how to brighten shadows
In the morning on St. John’s day,
wake up early
and in the window you will see
Bien puede buscar la noche
quien sus estrellas conozca,
que para mi astrologia
ya son escuras y pocas.
It is better to search the night
as someone who can see her stars,
but in my astrology
the stars are faint and few.
Despues que te conoci...
After meeting you...
Ya no importunan mis ruegos
a los cielos por la gloria,
que mi bienaventuranza
tiene jornada mas corta.
And my prayers don’t plead
the heavens for glory,
Text: Francisco Gomez de Quevedo, 15801645
Bien puede la margarita
guardar sus perlas en conchas,
que buzano de una risa
las pesco yo en una boca.
pril in order to have roses.
because my own heavenly blis
is a much shorter trip away.
The oyster can just as well
keep her pearls in her shells,
because, when 1 fish for a laugh
I find them in a mouth.
" Toldra was especially influenced by traditional Catalan dances. Much of the musical and poetic form of “La
zagala alegre” bears resemblance to that of the jota, a lively, wal tzlike dance known throughout Spain.
9
A “pandero” (“tabret,” u tambor” or “timbrel") is an ancestor of the modern tambourine.
Alegria y mas alegria,
hermosa paloma, ramito laurel!
pequenito pero firme,
levantate tempranito
y en la ventana vera’s
de hierbabuena un poquito.
Aquclla paloma blanm
que pica en el arcipiés,
que por donde la cogenia,
que por donde la cogeré;
si la coio por el pico
se me escapa por los pics.
Coge nino la enramada,
que la noche esta serena
y la musica resuena
en lo profundo del mar.
it is small, but strong,
a little bit of mint.
That white dove
who picks at its leaves
how can I catch it
how can 1 get i ;
if I catch it by the beak
it will escape with its feet.
Go, boy, to the arbor,
because the night is serene
and the music resounds
in the depths of the sea.
5. Cantares
Songs
Mas cerca de mi te siento
Cuanto mas huyo de ti
Closer to me I feel you
The more I try to flee you
For your image is in me
Shadow of my mind.
Text: Ramon de Campoamor y Campoosorio, 18171901
Pues tu imagen es en mi
Sombra de mi pensamiento.
Vuélvemelo a decir
l’ucs embelesada ayer
Te escuchaba sin oir
Y te miraba sin ver.
Say it to me again
Because spellbound yesterday
I listened to you without hearing
And I looked at you without seeing.
'" In Spain it is traditional to celebrate the summer solstice on St. John’s night, June 23, using bonfires and
fireworks to ward o ff evil spirits, and bathing in the sea for purification.
�V. Settings of English poetry
1. Loveliest of Trees
Text: Alfred Ed ward Housman, 18561 936
Loveliest of trees, the cherry now
Is hung with bloom along the bough,
And stands about the woodland ride
Wearing white for Eastertide.
Now, o f my th reescore years and ten,“
Twenty will not come again,
And take from seventy springs a score,
It only leaves me fifty more.
And since to look at t hings in bloom
Fifty sp rings are little room,
About the woodlands I will go
To see the cherry hung with snow.
2. Now sleeps t he crimson pe tal?
Text: Lord Alfred Tennyson, 18091892
Now sleeps the crimson petal. now the white ;
Nor waves the cypress in the palace walk;
Nor winks the gold fin in the porphy ry font:
The firefly wakens: waken thou with me.
Now folds the lily all her sweetness up,
And slips into t he bosom of the lake:
So fold thyself, my dearest, thou, and slip
Into my bosom and be lost in me.
” This refers to Psalm 90:10, w hich states that
“T he days o f our years are three score years and
ten,” in other words, that we’ve seventy years to
live.
12 From the blank verse narrative poem, “The
Princess,” the story w hich inspired G il bert and
Sullivan‘s “Princess Ida.” This excerpt, in form
and imagery, is based on the ghazal, a type
Persian love poem.
3. The Floral Dance ”
Text: Kate Emily Barkley ("Ka tie") Moss (1881
1947)
As I walked home on a Summe r night,
When stars in Heav’n were shining bright,
Far away from the footlight’s glare
Into the sweet and scen ted air
Of a quaint old Cornis h town,
Borne from afar on the gentle breeze,
Joining the mu rmur of the summer seas,
Distant tones of an old world dance,
Played by the village band perchance,
On the calm air came floating down.
I thought I could hear the curious tone
Of the comet, clarinet and big trombone,
Fiddle, ‘cello, big bass drum,
Bassoon, flute and euphonium.
Far away, as in a trance,
I heard the sou nd of the Floral Dance.
And soon I heard such a bustling and prancing
And then I saw the whole village was dancing
In and out of the houses they came,
Old fol k, young folk, all the same
In that quaint old Cornish town.
Every boy took a girl ‘round the waist
And hu rried her o ff in tremendous haste
Whether they k new one another I care not,
Whether they cared at all, I know not,
But they kissed as they danced along.
And the re was t he band with that curio us tone
Of the cornet, clarinet and big trombone,
Fiddle, ‘cello, big bass drum,
Bassoon, flute and eu phonium.
Each one making the most of his chance,
All toge ther in the Flo ral Dance.
l felt so lonely standing there
And 1 could only stand and stare,
For I had no boy with me,
Lonely I should have to be,
In that quaint old Cornish town.
When suddenly hast’ning down the la ne
A figure I knew I saw q uite plain,
With outstretched hands he came along
And carried me into t hat merry throng
And fiddle and all went dancing down.
We dan ced to t he band with the curious tone
Of the cornet, clarine t and big trombone,
Fiddle, ‘cello, big bass drum,
Bassoon, flute and euphonium,
Each one making the most of his chance,
Altoget her in t he Floral Dance.
Dancing here, prancing there,
Jigging, jogging ev’ryw here,
Up and down, and ro und the town
Hurrah! For the Cornis h Floral Dance!
“ Th e poem is a story that actually ha ppened to
Moss, a t a Furry (or Flora) Dance in Cornwall.
About the Performers
Briana Sakamoto is pursuing a Bachelor of Music d egree in
Vocal Performance at SUNY Binghamton under
the direction o f Professor Mary Burgess. She also studie
s with TCO founder Peyton Hibbitt. Over the past
five years, Briana has been a frequent recitalist at Binghamto
n and in Westchester, near her home. This January
she organized and sang in a chamber concert in Briarcliff,
NY, w hich raised money for Partners in Health’s
Haiti relief efforts. She has been a membe r of the
Tri Cities Opera chorus, BU’s Harpur Chorale, the
Binghamton University Chorus and t he Taconic Ope ra Cho
rus. Singing in fund raisers and forums at BU, she
has lent her voice to such causes as “Voices Against [dome
stic] Violence,” and the fight against the genocide in
Sudan. A member of AEA, SAG and AFTRA, she has a lo
ng background in dramatic performance, and
between semesters, studies acting at t he Larry Singer Studio
s in Manhattan. She graduates this month, and will
return home to continue working towards a full time career as
an opera singer...
www.you tube .com / user/ einekleinesopran
William Jame s Lawson coaches and accompanies singers
at Binghamton University. As a coach, he
specializes in English diction for American and English
art songs and the sacred and classical theater
repertoires. He stud ied at Binghamton University (B.A. 1
980), where his teachers included Seymour Fink and
Patricia Hanson in piano, M. Searle Wright in church mus
ic, and Stevenson Barrett in vocal coaching. He
holds an M.A. from N ew York U niversity (1984) and w
as one of the first grad uates o f New York University ’s
innovative Departmen t of Performance Stud ies, an interdis
ciplinary program in t he performing arts. In 2008,
he cond ucted the Summer Savoyards p roductio n of Pri
ncess Ida.
Pe j R eitz pianist, is a native of t he Binghamton Area.
She received her Bachelor and Master of Music degrees
in piano performance with accompanying emphasis.
She attended Boston University, New England
Conservatory and Binghamton University. She has stu
died piano with Jean Casadesus, Victor Rosenbaum,
Seymour Fink and Walter Ponce and accompanying with A
llen Rogers. She has accompanied throughout the
U nited States, in England, South America, Spain and at
the American Institute of M usical Studies in G raz,
Austria. She was a win ner of the Artistic Am bassado
rs P rogram by the U nited States I n formation Agency in
partnership with the J ohn . Kennedy Cen ter for the per
forming arts. She was an official accompanist for t he
MTNA State and Iias tem Division Competi tion held at It
haca College and played for the event again J anuary
2010. She has been a guest chamber music artist in Morges
, Switzerland. She also was selected to attend the
Accompanying Workshop for Singers and P ianists held at
Northwestern U niversity with Chicago Lyric Opera
Faculty and Coaches. She was recently invited to the
lntema tional Clarinet Con ference to play a recital in
Tokyo, Japan. She was a guest artist o n the Cornell
Summe r Series. She was an official pianist at the
International Double Reed Competition and Convention in 2
007 at Ithaca College and was invited to play the
2009 Convention in Birming ham, E ngland with the Glick
man Ensemble She will work on a CD project with
the Glickman Ensemble again this summer in Englew
ood, NJ. She was selected to accompany at the
Interpretation of Spanish Music in coniunction with U niversit
y of Madrid in G renada, Spain coached by Teresa
Berganza and at Mannes School of M usic su mmer 2
008. She was a Guest Artist playing two concerts
in
G ranada, Spain t his past summer and accompanied the Barcelo
na Song Festival in July. This past summer she
soloed with the Catskill Symphony at the Otesaga
in Cooperstown, NY under the direction of Charles
Schneider. This coming summer she will accompany and tea
ch at The In ternational Spanish M usic Festival in
Madrid, Spain.
�Coming Events
Sunday, May 8 – Senior Voice Recital: Samantha Banton and Molly AdamsToomey
1:00 p.m. – Casadesus Recital Hall – FREE
Sunday, May 8 – University Chorus with the University Symphony Orchestra: Mass Masterworks
3:00 p.m. – Osterhout Concert Theater – $5, FREE for students
Sunday, May 8 – Senior Honors Recital: Jieun Jang, piano
7:30 p.m. – Casadesus Recital Hall – FREE
Tuesday, May 10 – Percussion Ensemble
8 p.m. – Anderson Center Chamber Hall – FREE
Wednesday, May 11 – Composition Seminar Concert (Loy)
7 p.m. – Casadesus Recital Hall – FREE
Thursday. May 12 – Student Recognition MidDay Concert
1:20 p.m. – Casadesus Recital Hall – FREE
Friday, May 13 – Chinese Music Ensemble Class Concert
5:00 p.m. – Casadesus Recital Hall – FREE
Wednesday, May 18 – Voice Class Recital (MUS143 Chmela)
11 a.m. – Casadesus Recital Hall – FREE
For ticket information, please call the Anderson Center Box Ojfitr at 777ARTS.
�
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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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In copyright.
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1 audio disc
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40:03:00
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145467">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145467</a>
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Graduation recital, Briana Sakamoto, May 7, 2011
Recital Tape 2011-5-7
Description
An account of the resource
Held at 8:00 p.m., May 7, 2011, Casadesus Recital Hall.
Creator
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Sakamoto, Briana
Lawson, William James
Reitz, Margaret
Publisher
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Binghamton University Libraries
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2011-05-07
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sound
-
https://omeka.binghamton.edu/omeka/files/original/b7932404f0a2a2a4e83be3a963a026bc.pdf
ef389067f07ff2e3484561a414121265
PDF Text
Text
BINGHAMTON
UNIVERSITY
S TATE UNIVERSITY OF NEW YORK
usi
D E P A R T M E N T
GREGG ACKERMAN
CLARINET
with
Pej Reitz, piano
Sibongile Boyd, soprano
James Wu, clarinet
14, March, 2009
3:00 p.m.
Casadesus Recital Hall
��PROGRAM
ini
Concertzno ................. ...................... .... ..... .. .......... .... Gi1useppe T art1n1
I. Grave
II. Allegro Molto
III. Allegro Risoluto
(1692-1770)
Sonatina .............................. .. ........................................ Miklos R6zsa
Terna con variozioni
(1907-1995)
Der Hift auf dem Felsen, op.129 .................................Franz Schubert
(Shepherd On The Rock)
(1797-1828)
Andantino
Allegretto
INTERMISSION
Preludes for Piano .................................................. George Gershwin
I. Allegro ben ritmato e deciso
(1898-193 7)
II. Andante con moto e poco rubato
III. Allegro ben ritmato e deciso
Concertipiece No. 2, Op.114 ................................ Felix Mendelssohn
Presto
( 1809-184 7)
Andante
Allegretto Grazioso
�PROGRAM NOTES
Giuseppe Tartini (1692-1770)
Concertino
Concertino is Gordon Jacob's free arrangement of two of Giuseppe
Tartini's Sonatas for Violin for Clarinet and String Orchestra or Piano.
Miklos Rózsa (1907-1995)
Sonatina
Hungarian-American composer Miklos R6zsa is best known for his film
scores. (Three have won Oscars.) His Sonatina was composed in 1957
and dedicated to the Polish-American song writer and film score
composer Bronislaw Kaper.
Franz Schubert (1797-1828)
Der Hirt auf dem Felsen, D 965
Text after Wilhelm Miiller's poem
"The mountain shepherd"
Translation: Lionel Salter
Wenn auf dem hochsten Fels ich steh,
ins tiefe Thal herneider seh,
und singe, und singe,
fern aus dem tiefen, dunkeln Thal
schwingt sich empor der Wiederhall,
der Wiederhall der Klilfte.
When on the highest cliff I stand,
gaze down into the deep valley
and sing,
the echo from the ravines
floats upwards from the dark valley far
away.
Je weiter meine Stimme dringt,
Je heller sie mir wiederklingt,
von unten, von unten.
Mein Liebchen wohnt so weit von
The further my voice travels,
the clearer it returns to me
from below.
So far from me does my love dwell
that I yearn for her more ardently
over there.
mir,
drum sehn ich mich so heiB nach ihr
hinüber, hiniiber.
In tiefem Gram verzehr' ich mich,
mir ist die Freude hin,
aufErden mir die Hoffnung wich,
ich hier so einsam bin,
icR hier so einsam bin.
With deep grief Iam consumed,
my joy is at an end;
all hope on earth has left me;
I am so lonely here,
I am so lonely here.
�PROGRAM NOTES continued
So sehnend klang im Wald <las Lied,
so sehnend klang es <lurch die Nacht,
die Herzen es zum Himmel zieht
mit wunderbarer Macht.
So longingly sounded the song in the wood,
so longingly it sounded through the night,
drawing hearts heavenwards
with wondrous power.
Der Fruhling will kommen,
der Frühling meine Freud,
nun mach ich mich fertig zum
Wandern bereit.
Spring is coming,
Spring, my joy;
now I will make ready to go
journeying.
George Gershwin (1898-1937)
Preludes for Piano
Preludes for Piano have been arranged for clarinet and piano by James
Cohn. They demonstrate Gershwin's talent for interweaving jazz and
classical elements.
Felix Mendelssohn (1809-1847)
Concert Piece No. 2 in D Minor (Op. 114)
Felix Mendelssohn wrote two concert pieces for clarinet, basset horn and
piano in 1832. Both were inspired by virtuoso clarinetist Heinrich
Baermann. The pieces have been arranged for numerous instrumental
combinations, including clarinet, bassoon and orchestra/piano, and two
clarinets and orchestra/piano.
--Sarah Chandler
�ABOUT THE PERFORMERS
GREGG ACKERMAN, from Great Neck, New York, is an accounting
major and will be graduating this May. Gregg has been playing clarinet
for thirteen years, including his four years in the University Orchestra.
Before college, he played in many ensembles including the Children's
Orchestra Society, the Band of Long Island, and the Great Neck Rotary
Band. He also performed in the NYSSMA All-County Band and
Orchestra and the All-State Wind Ensemble. During his time at
Binghamton University, he has studied under Timothy Perry and Sarah
Chandler. He would like to thank both of them for their lessons and
guidance. Gregg also thanks his family for always encouraging his
musical pursuits.
Hailed for her "lyrical and warm singing voice," Brooklyn native
SIBONGILE BOYD, a cum laude graduate of Harvard University,
made her operatic debut with Harvard's Dunster House Opera as Yvette
in Puccini's La Rondine and later appeared as Barbarina in Mozart's Le
Nozze di Figaro. After graduating from Harvard, Ms. Boyd continued
her vocal pursuits through opera and performance workshops and was
featured in vocal recitals at numerous churches and concert venues in
New York City and Washington DC. She performed opera roles with the
Shaker Mountain Performing Arts Festival, Natchez Festival of Music,
Cantiamo Opera, and the Opera Company of Brooklyn. Ms. Boyd has
given recital and chamber performances at the Brooklyn Museum of Art,
the Sumner Museum (Washington DC), and the Merck Concert Series
(appearing with the Manchester String Quartet). In the 2007-08 ·season,
Ms. Boyd was a Resident Artist with Tri-Cities Opera, where she sang
the role of Beauty in Giannini's Beauty and the Beast. Ms. Boyd is in
her second year in the Masters of Music program at Binghamton
University, where she recently performed the roles of Gabriel and Eve in
Haydn's The Creation. She recently performed the role of Zerlina in
Delaware Valley Op.era's production of Don Giovanni and appeared in
recital at Bargemusic (Brooklyn) and the Dweck Performing Center for
Contemporary Culture (Brooklyn Public Library).
JAMES WU is a first year student enrolled in Binghamton University's
Harpur College of Arts and Science. Before college, he was enrolled in
the Manhattan School of Music's Precollege program, where he received
formal music training. He also played in many ensembles including the
Manhattan School of Music's Philharmonic Orchestra, various chamber
groups, and his high school band.
�The fourth and final concert of this season will be performed
Saturday, March 21st at 8 pm
Presbyterian Church, _42 Chenango S
.
Series will be continued in 2 0
NNGHAMTON
VE R S I T y
IIV E R
·OF NEW YORK
For tickets, call (607) 777-ARTS. For more_
]nformation, visit the Binghamton University Mus
sic
Department's
website at music.binghamton.edu·
�Saturday, March 14th Master's Recital: Heather Montana, soprano,
Casadesus Recital Hall, 8:00 PM, FREE
Sunday, March 15thGuest Fortepiano Concert: Stefania Neonato,
Casadesus Recital Hall, 3:00 PM, $$
Sunday, March 15'11 Master's Recital: Sibongile Boyd, soprano,
Casadesus Recital Hall, 7:30 PM, FREE
Monday, March 1 6th Master Class with Guest Fortepiano Artist
Stefania Neonato, 7:30 - 8:45 PM, Casadesus Recital Hall, FREE
Wednesday, March 18th Master Class with Jazz saxophonist
Maceo Parker, 4:00 PM, Osterhout Concert Theater (Co-sponsored by the
Music Department and the Harpur Jazz Project)
Wednesday, March 18thJazz saxophonist: Maceo Parker Osterhout Concert Theater, 8:00 PM, $$, (Co-sponsored by the Music
Department and the Harpur Jazz Project)
Thursday, March 19thMid-Day Concert, 1:20 PM - FREE
Casadesus Recital Hall
Thursday, March 19th Harpur Chorale and Women's Chorus: A
Mediterranean Choral Cruise, Anderson Center Chamber Hall, 8:00 PM,
FREE
Friday, March 20thPercussion Duo: Mike Correa and Gene
Koshiniski, Casadesus Recital Hall, 8:00 PM, FREE (co-sponsored by the United
States Air Force Band and the Binghamton University Department of Music)
Saturday, March 21st Master's Recital: Stephen Brooks, bass,
Casadesus Recital Hall, 8:00 PM, FREE
Saturday, March 21st Organist Jonathan Biggers -A Bach
Celebration!! Series, First Presbyterian Church, Binghamton,8:00 PM, $$
For ticket information,please call the
Anderson Center Box Office at 777-ARTS.
�
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>
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In copyright.
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Original Format
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1 audio disc
Duration
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45:22
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149635">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149635</a>
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Title
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Gregg Ackerman, March 14, 2009
Recital Tape 2009-3-14b
Description
An account of the resource
Works of Tartini, Rózsa, Schubert, Gershwin, Mendelssohn. Held at 3:00 p.m., March 14, 2009, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Reitz, Margaret
Boyd, Sibongile
Wu, James
Ackerman, Gregg.
Publisher
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Binghamton University Libraries
Date
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2009-03-14
Rights
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In copyright
Type
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sound
-
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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In copyright.
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2 sound tape reels
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33:03
09:18
OHMS Object
URL
https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE60307
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE60307">Guarneri Quartet Recital</a>
Accessibility
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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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Guarneri Quartet Recital
Subject
The topic of the resource
Concerts
Description
An account of the resource
Held Nov. 6, 1967.
Creator
An entity primarily responsible for making the resource
Guarneri Quartet
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
1967-11-06
Rights
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In copyright
Contributor
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State University of New York at Binghamton. Department of Music.
Type
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sound
Identifier
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3.9091E+13
-
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>
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3 sound tape reels
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32:41
33:19
23:12
OHMS Object
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https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63053
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63053"> Guarneri Quartet Recital</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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Guarneri Quartet Recital
Subject
The topic of the resource
Concerts
Description
An account of the resource
Held 8:15 pm, March 20, 1968, College Theater. Works of Beethoven and Brahms.
Creator
An entity primarily responsible for making the resource
Guarneri Quartet
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
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1968-03-20
Rights
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In copyright
Contributor
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Beethoven, Ludwig van, 1770-1827
Brahms, Johannes, 1833-1897
State University of New York at Binghamton. Department of Music.
Type
The nature or genre of the resource
sound
Identifier
An unambiguous reference to the resource within a given context
39091020058602
39091020058651
39091020058701