3 10 972 https://omeka.binghamton.edu/omeka/files/original/22ae05dc1571f5cfb7ed77dac17002dc.pdf af2a979db6c92f88707054b83a9bb5c8 PDF Text Text �lch esse mit Freuden mein weniges Brot from BWV 84, /ch bin vergnugt mit meinem Glücke Ich bin vergnügt in meinem Leiden from BWV 58, Ach Cott, wie meines Herzeleid Auch mit gedampfen, schwachen Stimmen from BWV 36, Schwingt freudich euch empor Johann Sebastian Bach (1685-17 SO) Heather Montana, soprano Elizabeth Sterling, violin Emily Creo, cello Sar-Shalom Strong, harpsichord La Rega ta Veneziana from Les soirees musicales 1. Anzoleta avanti la regata 2. Anzoleta co passa la regata 3. Anzoleta dopo la regata Gioacchino Rossini (1792-1868) Heather Montana, soprano, Sar-Shalom Strong, piano Intermission Try Me, Good King (2001) 1. Katherine of Aragon 2. Anne Boleyn 3. Jane Seymour 4. Anne of Cleves 5. Katherine Howard Libby Larsen (b. 1950) Four Recipes 1. Plum Pudding 2. Queues de Boeuf 3. Tavouk Gueunksis 4. Civet â Toute Vitesse Leonard Bernstein (1918-1990) Heather Montana, soprano Sar-Shalom Strong, piano You are invited to attend a reception in FA 111 following the performance. Please turn off all cell phones. Casadesus Hall is a smoke-free facility. �About the Music Bach wrote about 300 cantatas while he was employed as cantor at the Thomasschule in Leipzig, comprising five cycl es of cantatas to be used for the church year. As cantor, Bach was responsible for the music of th e four primary Leipzig churches, all Lutheran, as well as any other music supplied by the town council. The arias that begin th e recital are from the third cycle of cantatas, composed between 1725 and 1728. In th e church s ervice, th e performance of the cantata would follow the gospel r eading, and usually contain ed text from th e gospel for the Sunday for which it was writte n. The cantatas Bach wrote usually r equired about 16 singers and 18 instrumentalists, and lasted no more than 30 minutes, in order not to elongate th e usual 3-hour Sunday s ervice. "lch esse mit Freuden mein weniges Brot" is from /ch bin vergniigt mit meinem G/iicke ( Iam pleased with my happiness, BWV 84), a solo cantata compose d for Septuagesima Sunday. Septuagesima is th e third from th e last Sunday before Lent, and the p eriod from this Sunday through Shrove Tues day (the day be fore Ash Wednesday) is meant as a preparation for Lent. The text, des cribing the joys of receiving communion, is supported by the lively tripl e-meter melody. "lch bin vergntigt in meinem Leiden" is from Ach Gott, wie manches Herzeleid (Ah God, how many a heartbreak, BWV 58), first perform ed for the first Sunday of the New Year in 1727. The conflict betwee n happiness and des pair is heard in th e main th em e, with its initi a l ascending perfect fourth a nd its final descending ha lf-step. "Auch mit gedampfen, schwachen Stirn men" is from Schwingt freudig euch empor (You swing brightly up, BWV 36), a church canta ta whose text was a da pted from a secular can ta ta of th e same nam e. Th e secular cantata was written as a congratul atory pi ece for a professor at th e Thomasschule wh ere Bach taught Th e A section of this da capo a ri a has a lilting, qui et ch a rac ter as it speaks of the hushed adoration of God, a nd a sonorous ca ll-and-res ponse betwee n th e violin a nd voice as it speaks of t he ringing out of th e s pirit Rossin i's La Rega ta Veneziana is a part of his Soirees Musicales, a se ri es of chamb er works he wrote afte r his retire me nt from opera. Ross ini wrote them in France, wh er e he w as settling legal issues conce rning a n annuity Ch a rl es X ha d guarantee d him. Originally written in a Veneti a n dial ect, the songs a re perform ed her e in sta nd a rd Ita lian . Th ey te ll th e story of a gondola race from th e point of vi ew ofa Ve netian girl, Anzol eta. She encourages he r boyfri end Momolo be for e th e race, s piritedly ch ee rs him o n during the ra ce, a nd showers him with pra ise a nd love afterwa rds. Th e first song, "Anzoleta avanti la regatta," juxtapos es the sultry fr ee dom of Anzol eta's mu s ic with he r m ess age to Momolo not to hesi ta te, but to fly in his gondola. Th e op ening ba rs of "Anzoleta co passa la regatta" portray th e flowing w a ter through whi ch th e gondoli ers a re rowing. As th e race progresses, Anzol eta b ecom es more a nd more excite d, a nd he r m elody becom es high er a nd more intervallic. In "Anzoleta dopo la regatta," Momolo has won th e race, s o Anzol eta offers him kiss after ki ss, h er coloratura passa ges s howing he r a ttra ction to th e lo ca l rowing cha mpion. Libby Larsen is an Am e rican compose r who studi ed with Dominic Arge nto a t th e Univers ity of Minn es ota . He r advocacy of wom e n in mus ic a nd a ffinity for vocal mu s ic combin e in Try Me, Good King to bring the last words of fiv e wives of Henry VIII to life. Henry's ma rri age to Kath erin e of Aragon las ted twe nty-four years, but he w a nted a n a nnulm ent because s he had not provid ed him with a ma le he ir. Though th e pop e deni ed his requ est, Henry had th e archbishop of Cante rbury grant th e a nnulm e nt in 1533, breaking from th e Ca tholic Church and laying the groundwork for a se parate Church of England. Kath erin e was se parated from her da ughte r, and died from illness three years later, never admitting th e loss of he r royal titl e. In Katherine of Aragon, Lars en quotes John Dowland's "In Darkn ess Let Me Dwell," a song renouncing the joys of life in favor of death. Henry becam e enamored with his second wife, Ann e Bol eyn, �when she was one of Katherine of Aragon's ladies-in-waiting. His passion for Anne can be read in his many love letters to her, one of which is quoted in Larsen's song. Anne's pregnancy in 1532 drove Henry to marry her secretly, and she was crowned after Henry's marriage to Katherine was annulled. Anne was not popular at court, and when she failed to produce a male heir her enemies convinced the king to investigate her alleged adultery. Anne was condemned, primarily on false confessions, and was beheaded May 19, 1536. Anne Boleyn quotes John Dowland's "If my complaints," which states, "I was more true to Love than Love to me." Before Anne's death, Henry had become involved with Jane Seymour, who had waited on both Queen Katherine and Queen Anne. He married her May 30, 1536, less than two weeks after Anne's execution. Jane died from complications from childbirth two weeks after her son Edward was born in October 1537. She was the only one of Henry's wives to produce a male heir, and the only one to be buried with her husband. Henry waited two years before marrying again. In Jane Seymour, Larsen quotes Michael Praetorius' setting of "Lo, how a Rose e'er blooming," a hymn celebrating the birth of Christ. Prince Edward's birth saved Jane from Henry's wrath, and in this sense he was her savior. Part of the text is the anonymously written "Tudor Rose," a poem celebrating the new prince. In 1540 Henry married Anne of Cleves as a way of allying England with France. He apparently did not find her attractive, and the alliance became risky, so he sought an annulment. Knowing what lay ahead if she opposed, Anne accepted the honorary title "King's Sister" and lived away from court until her death at Anne Boleyn's former residence. Quoted in Anne of Cleves is "I Care Not for These Ladies," a song by Thomas Campion that disparages courting proper ladies and celebrates the country girl who is unafraid of a roll in the hay. Katherine Howard, Anne Boleyn's cousin, came to court as a lady-in-waiting to Anne of Cleves. Henry married her six days after his annulment from Anne was final, and rumors of her infidelity began almost immediately. Henry was 49 at the time, and Katherine was not older than 19. When Henry was informed of Katherine's affairs, she was executed . Katherine Howard includes a restatement of John Dowland's "In darkness let me dwell," first heard in Katherine of Aragon's song. Henry's sixth wife - Katherine Parr not included in the song cycle, outlived him by a year. Her mother had been a lady-in-waiting to Katherine of Aragon, and named her after the former queen. Henry's sixth wife was named after his first. Closing the recital is Leonard Bernstein's la Bonne Cuisine, the original text of which is taken from "La Bonne Cuisine Française" by Émile Dumont, a well-known French cookbook. The English text was written by Bernstein himself, but takes some liberties with translation in favor of creating liveliness and character. The first song, Plum Pudding, is little more than a recitation of ingredients. Sudden jumps highlight the more flavorful items, like Concord grapes and lemon . The hesitation of the descending chromatic introduction to Queues de Boeuf mimics the perceived hesitation to serve ox-tails, a dish this song defends. The defense is not passionate, the first positive quality stated being its necessary presence in an "acceptable" beef stew. The possible spiciness of the sauce that can be served with breaded, fried ox-tails is heard in the hemiola effect created by the change from six-eight to three-four meter near the end of the piece. Bernstein marks the tempo of Tavouk Gueunksis's middle section Allegretto al/a Turca ("Quickly and Turkish''). The accompaniment certainly dresses up this originally Turkish recipe, which is merely boiled and shredded chicken. Civet à Toute Vitesse sets the recipe for a quick stew at quite a fast pace, mimicking the frenetic pace of the recipe, pausing only to relish the scent of a fine red wine. �Texts and Translations lch esse mit Freuden mein weniges Brot I eat with joy my little Bread lch esse mit Freuden mein weniges Brot Und gönne dem Nachsten von Herzen das Seine. Ein ruhig Gewissen, ein frohlicher Geist, Ein dankbares Herze, das lobet und preist, vermehret den Se gen, verzuckert die Not. I eat with joy my little bread And begrudge it not from his heart. A calm conscience, a merrier spirit, A grateful heart, many praises, increased blessing, sweet need. lch bin vergnügt in meinem Leiden I am jovial in my suffering lch bin vergni.igt in meinem Leiden, Denn Gott ist meine Zuversicht. Ich habe sichern Brief und Siegel, Und dieses ist der feste Riegel, Den bricht die Hölle selber nicht I am jovial in my suffering, Thus is God my assurance. I have ensured letter and seal, And this is the solid lock, Which hell cannot break. Auch mit gedämpfen, schwachen Stimmen Also with hushed, quiet voice Auch mit gedampften, schwachen Stimmen Wird Gottes Majestat verehrt. Drum schallet nur der Geist darbei, So ist ihm solches ein Geschrei, Das er im Himmel selber hört. Also with hush ed, quiet voice, Will God's majesty be adored, But the spirit rings out, So it is thus a crying out That is heard in heaven. La Regata Veneziana The Venetian Regatta Anzoleta avanti la regata Anzoleta before the regatta Sul palco sventola la gran bandiera, guarda, sl guardala, valla a pigliar. Hai a recarm ela prima di sera, o più tra gli uomini non ti mostrar. In poppa, Momolo, non indugi ar. Va voga, spingila la gondoletta, né ii primo prèmio tl può mancar, va la, ricordati la tua diletta che in ansia trepida ti sta a guardar. In poppa, Momolo, non indugiar, In poppa, Momolo, corri a volar! On the stage is the large flag, look, you see it, go for it! You must come back with it tonight, or you can't show yourself to the other men. On ce in the boat, Momolo, don't dally! Row the gondola with heart and soul, then you can't help but win first prize, go, remember your delight who waits here so nervously! On ce in the boat, Momolo, don't dally! On ce in the boat, Momolo, fly! 1 �Anzoleta co passa la regata Anzoleta during the regatta Sano qua, sono qua, non vedi? curvi stanno in sovra al remo, ahi la meta, è ancor lontana, gira ii vento a tramontana, poveretti, io tutta tremo, la corrente è in lor favor. lo mio Momolo, l'hai visto? or lo scorgo, egli è secondo. Ah! Che smania! mi confondo, ahi! balzar mi sento ii car. Su coraggio, voga, pria di giumger all meta spiega tutta a tua foga, e nessun ti vincera. Caro, par ch'ei voli, Ii ha passati tutti quanti, mezza barca sta davanti, ah comprendo, ei mi guardo. I am here, I am here, don't you see? they are bent over to oars, oh, the destination is still far, the wind blows from the north, poor ones, I'm shaking all over, the current is in their favor. My sweetheart, have you seen him? I see him now, he is in second place, Ah! What tension! I'm confused, ah! I feel my heart leaping. Row with courage, before you reach the destination show your dedication to everyone, and no one will beat you. My goodness, how he's flying, He has passed all of them, he is ahead by half a boat, ah, I understand, he looked at me! Anzoleta dopo la regatta Anzoleta after the regatta Prendi un bacio, un altro ancora, caro Momolo, di car; su riposati che è ora, ch'io t'asciughi quell sudor. Ah t'ho visto, m'hai guardata, sul poggiolo nel passar e pensai racconsolata: un bel premio ei de' pigliar sì un bel premio è la bandiera, quando è rossa di color; non un sol, Venezia intera ti proclama vincitor. Prendi un bacio, benedetto, non hai pari nel vogar, per famiglia, per traghetto, niun a petto ti può star. Take one kiss, and another again, dear beloved of my heart; you rest now, while I dry your sweat. Ah, I saw, you looked at me, on the balcony as you passed and you thought to yourself: a beautiful prize is there to be taken yes the flag is a very good prize, the one that is red in color; not a sun, all of Venice proclaims you the winner. Take a kiss, blessed one, you have no equal in rowing, for the family, for your ferrying, now you can lie on my breast. �La Bonne Cuisine (Four Recipes) Good Cooking Plum Pudding Deux cents cinquante grammes de raisins de Malaga, deux cents cinquante gramm' de raisins de Corinthe; Deux cents cinquante gramm' de graisse de rognon de boeuf, et cent vingt-cinq gramm' de mie de pain émitettée; Soixante gramm' de sucr'en poudre ou de cassonade; un verr' de lait; un demi verr' de rhum ou d'eau-de-vie; trios oeufs; un citron! Muscade, gingembre, canell'en poudre melanges (en tout la moitié d'une cuillere â café) sel fin la la moitié d'une cuillere â café. Plum Pudding Two hundred fifty grams of grapes from Malaga, two hundred fifty grams of grapes from Corinth; Two hundred fifty grams of beef kidney fat and one hundred twenty-five grams of soft bread, crumbled; Sixty grams of powdered sugar or brown sugar; a glass of milk; a half-glass of rum or brandy; three eggs, a lemon! Nutmeg, ginger, powdered cinnamon (all mixed making a half teaspoon); at the end a half teaspoon of salt. Queues de Boeuf La queue de boeuf n'est pas un mets à dedaigner. D'abord avec assez de queues de bœuf on peut fair' un pot-au-feu passable. Les queues qui ont servi à faire le pot-au-feu peuv'nt être mangees, panees, et grillees, et servies avec une sauce piquante out tomate. La queues de bœuf n'est pas un mets à dedaigner. Ox-Tails Ox-tails is not a dish to disdain. First of all, with enough ox-tails one is able to make a perfectly acceptable beef stew. The tails that are served to make the beef stew are able to be eaten, coated with crumbs, and grilled, and served with a spicy or tomato sauce. Ox-tails is not a dish to despise. Tavouk Gueunksis Tavouk Gueunksis, poitrine de poule; Fait' bouillir une poul', dont vous prendrez Jes blancs; vous les pilerez de façon à cequ'ils se mett' en charpie. Puis meles-lez avec une bouillie, comme celle cidessus du Mahallebi. Tavouk Gueunksis, poitrine de poule. Tavouk Gueunksis Tavouk Gueunksis, breast of chicken; boil a chicken, from which you take the white meat; crush it in such a way as to shred it. Then boil it with a paste as described above with Mahlab. Tavouk Gueunksis, breast of chicken. Civet àToute Vitesse Lorsqu'on sera très presse, voici un' maniere de confectioner un civet de lièvre que je recommande! Depecez le lièvre comme pour le civet ordinaire: Mettez-le dans une casserole ou un chaudron avec son sang et son foie écrasé! Un' demi-livre de poitrine de pore (coupée en morceaux); une vingtaine de petits oignons (un peu de sel et poivr'); un litre et demi de vin rouge. Fait' bouillir à tout vitesse. Au bout de quinze minutes environ, lorsque la sauce est reduite de moitie, approchez un papier enflamme, de maniere à mettre le feu au ragout. Lorsqu'il sera éteint, liez la sauce avec un' demilivre de beurre manié de farine ... Servez. Quick Stew When one is in a hurry, here is a manner of preparing a hare stew that I recommend. Take apart the hare as for an ordinary stew. Put it in a saucepan or a cauldron with its blood and its liver, crushed. A half pound of pork breast (cut into small pieces); about twenty little onions (with a little salt and pepper); a bottle and a half of red wine. Boil it, wasting no time. At just the end of fifteen minutes, when the sauce has been reduced by half, bring a flaming paper close to it, for the purposes of putting fire to the stew. When it is burned out, add a half pound of butter to the sauce, thickened with flour .. .Serve. �Soprano Heather Montana hails from Utica, NY, where her warm, fresh voice has been pleasing audiences for years. Ms. Montana, a cum laude graduate of Hamilton College, will graduate in May with her Masters of Music degree in Vocal Performance from Binghamton University, where she studies voice with Timothy LeFebvre. She has most recently appeared as Buttercup in H.M.S. Pinafore (Earlville Opera House, Earlville NY), and as Kate in Kiss Me, Kate! (Hamilton College, Clinton NY). Ms. Montana has also been heard as Bazzard in Drood: The Mystery of Edwin Drood and as Fiametta in The Gondoliers at Hamilton College, where she was also a member of the Hamilton College Choir, College Hill Singers (elite choral group) and Oratorio Society. A performing member of the 8# Musical Club of Utica, she has recently appeared as a recital soloist for Utica Monday Night's Classical Performance series at the Stanley Theater. Winner of first prize at the Central New York/ Finger Lakes Regional National Association of Teachers of Singing Competition and at the 8# Musical Club scholarship competition, Ms. Mon tana was also the soprano soloist in Messiah in Rome, NY. Pianist Sar-Shalom Strong has achieved widespread recognition for sensitive performances of solo and co ll aborative repertoire spanning five centuries. Locally, Mr. Strong can often be heard performing in concert with the Society for New Music, Civic Morning Musicals, and in collaboration with many outstanding area musicians. He has also appeared as soloist in concerti with the Utica Symphony Orchestra and the Hamilton College Orchestra. Highlights of the 2008-09 season include concerts with Peter and Kathleen Vandegraaf performing music of Robert and Clara Schumann, Hamilton College recitals with Janet Brown and Gregory Wood, and performance s of Bach's Brandenburg Concerti #4 and 5 with personnel from the Syracuse Symphony Orchestra, as well as performance s of new music for clarinet and saxophone with Ronald Caravan, and concerts with bassbaritone David Neal. Mr. Strong holds degrees from Knox College and Syracuse University, and is Lecturer in Piano and Coordinator of Staff Pianists for Hamilton College. From 1998-2007 he also served as keyboardist for the Syracuse Symphony Orchestra. Violinist Elizabeth Sterling, a student of Janey Choi, is completing her senior year at Binghamton University with a double major in Music and Anthropology. She has performed with various chamber ensembles and orchestral groups, including the Saratoga Springs Youth Orchestra, Empire State Repertory Orchestra, and Binghamton University Symphony Orchestra. Her other musical interests include piano and vocal studies. She is currently a member of Harpur Chorale and the Jazz Ensemble and studies voice with Mary Burgess. She has also studied with Sue Nazzaro, Pattie Sunwoo (violin), Patte Hadfield, Chai-Kyou Mallinson (piano), Jeffrey Vredenburg, Elizabeth Duhr, and Heather Montana (voice). This spring, she is planning a Senior Honors Recital featuring violin and vocal works by Claude Debussy. Cellist Emily J. Creo comp leted her master's degree in Music History and Literature at Binghamton in May of 2008. She actively performs with the BU chamber music program. Emily currently works in accounting and administratio n for the Binghamton Senators Hockey Team. �Sunday, March 15th Guest Fortepiano Concert: Stefania Neonato, Casadesus Recital Hall, 3:00 PM, $$ Sunday, March 15th Master's Recital: Sibongile Boyd, soprano, Casadesus Recital Hall, 7:30 PM, FREE Monday, March1 6th Master Class with Guest Fortepiano Artist Stefania Neonato, 7:30 - 8:45 PM, Casadesus Recital Hall, FREE Wednesday, March 18th Master Class with Jazz saxophonist Maceo Parker, 4:00 PM, Osterhout Concert Theater (Co-sponsored by the Music Department and the Harpur Jazz Project) Wednesday, March 18thJazz saxophonist: Maceo Parker - Osterhout Concert Theater, 8:00 PM, $$, (Co-sp onsored by the Music Department and the Harpur Jazz Proj ect) Thursday, March 19th Mid-Day Concert, 1:20 PM - FREE, Casadesus Recital Hall Thursday, March 1 9th 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 (cosponsored by the United States Air Force Band and the Binghamton University Department of Music) Saturday, March 21 st Master's Recital: Stephen Brooks, bass, Casadesus Recital Hall, 8:00 PM, FREE Saturday, March 21 st Organist Jonathan Biggers - A Bach Celebration'! Series, First Presbyterian Church, Binghamton, 8:00 PM, $$ Thursday, March 26th Mid-Day Concert, 1:20 PM - FREE, University Art Museum, Celebrating Women's History Month Saturday, March 28th Master's Recital: Jonathan Moots, baritone, Fine Arts Room 21, 3:00 PM, FREE Saturday, March 28th 1993 Reunion Recital: Todd Geer tenor, Allison Swensen-Mitchell, mezzo-soprano, and J. J. Penna, piano, Anderson Center Chamber Hall, 8:00 PM, $$ (co-sponsored by the Music Department and the Alumni Association) Sunday, March 29th Junior Recital: Marc Silvagni, percussion, Casadesus Recital Hall, 3:00 PM, FREE Thursday, April 2nd Mid-Day Concert, 1:20 PM - FREE, Casadesus Recital Hall Thursday, April 1 6th Mid-Day Concert: 1:20 PM - FREE, Casadesus Recital Hall Saturday, April 18th Clarinet Studio Recital, 3:00 PM - FREE, Casadesus Recital Hall Saturday, April 18th Brahms' REQUIEM with the Binghamton Philharmonic Orchestra and the University Chorus, 8:00 PM, Osterhout Concert Theater; for tickets, call the Binghamton Philharmonic at 723-3931 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;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:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 39:43 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149623">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149623</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A graduate recital in music, Heather Montana, soprano, March 14, 2009 Recital Tape 2009-3-14 Description An account of the resource Works of Bach, Rossini, Larsen, Bernstein. Held at 8:00 p.m., March 14, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Strong, Sar-Shalom Sterling, Elizabeth Creo, Emily Montana, Heather Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-03-14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/a23021ed7ccee9f028189ae45fa55c48.pdf 8df43fcc17c89d5c38d29f57f5df0ee6 PDF Text Text ARQC   1‘  V  N U Becika) tape  ‘ N T V E R S I T Y 2 00 4  D =   Wee  ¢ ol  V’s–r  dop t ww   OG BI N G HA MT O State University of  New York Depa rt ment  of M usic Facu lty R ecita l A P ano ply  of Pip ework s! Jon ath an Biggers, organist Assisted By Ste phe n Stalk er, cello 1 Sunda y, Fe b rua ry 8, 2004 4 :00 p.m . First P resbyterian C hurch �PROGRAM ABOUT T H E  P ERFORMERS Fantasia and Fugue in G­minor, BWV 542............................J.S.  Bach (1685­1750) J O N A T H A N   BIGGERS,  cited  as  “One  o f  the  most  outstanding  concert organists in the United States”, maintains an active career as both a professor o f organ and as a concert organist of the first order.  Presently Professor of Organ at  Binghamton  University  in New  York,  Biggers  has  presented  concerts  in church  and  university  settings  throughout  the  United  States,  Canada,  and Europe, has 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.” Tribute: A Lullaby for Organ...  .. Craig Phillips (b. 1961) Song without Words (2001)  . Craig Phillips Biggers studied with Russell Saunders (Eastman School o f Music), Lionel Rogg (Conservatory  o f  Music,  Geneva,  Switzerland),  J.  Warren  H utton  (The University o f Alabama), Wallace Zimmerman (Atlanta), Harold Vogel ( Bremen, Stephen Stalker, cello 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 Biggers will be recording several other releases in the futu re, to be issued by Loft Recordings. STEPHEN STALKER, cellist, has performed in  chamber groups throughout the  United  States  and  Europe.  As  a  member  of  the  Madison  Quartet,  he performed in the U.S., France, Germany and Switzerland, recorded for the Orion and  Musical  Heritage Society labels, was a finalist in the Evian  International String Quartet Competition  and the Naumberg Chamber  Music  Competition, and  was  an  Artist­in­Residence  at  Colgate  University.  Since  1980,  he  has played  in  the  Catskill  Chamber  Players,  performing  and  premiering  many compositions by prominent American composers, including the world premiere of the late string quartets of Henry Bryant, “Four Score,” at the Weill Recital Hall in New York City.  He has performed the complete Beethoven Trio cycle with  colleagues at  Binghamton  University.  He  performed  with  Solisti  New York on their Alaskan cruise of the Inner Passage from Vancouver to Juneau and toured Greece with the Schenectady Philharmonic.  He teaches cello and double bass at Binghamton University. Prélude et Fugue sur le nom d ’Alain, Op. 7.............Maurice Duruflé (1902­1986) ­­Intermission­­ I P racludium in D­minor, BuxWV 140  Dietrich Buxtchude (1637­1 707) Chorale­Prelude: ..  Dietrich Buxtehude Wie schon leuchtet der Morgenstern, Bux WV 223 Fantasic und Fugue iiber den Choral ..  Wie schon leucht ’ uns der Morgenstern, op. 40  ­Guilbault­Thérien Organ, 1996­ .Max Reger (1893­1 916) �PROGRAM NOTES The Fantasia and Fugue in G­minor (BWV 542) is associated with J.S. Bach’s audition for the prominent position of organist at the Jacobikirche in Hamburg. Even though the position was never offered to Bach, it resulted in this celebrated and famous work.  It is characterized by complete craftsmanship of form and counterpoint, as well as an astound ing sense of proportion.  The fantasia is free in form, composed of alternating sections of free improvisational development and short fugato sections.  It grows in harmonic intensity unt il a final series of flourishes in both the manuals and pedal signal its conclusion.  The fugue, based on an old Dutch folksong, moto perpetuo (“perpetual motion”) in style, is highly rhythmic, which adds to the excitement and interest of the work. f followed by a dramatic toccata, th e fugue is actually a double fugue :  the two Craig Phillips, one of the finest young composers writing for organ, is Music Associate at All­Saints Episcopal  Church, Beverly Hills, California, where he also serves as composer/artist­in­residence for the active music program of that parish.  Tribute:  A Lullaby for Organ was commissioned by concert organist David Craighead to honor Karen McFarlane, his manager, on the occasion of a celebration of her career in conce rt management.  It is a lovely, gentle work, melodic in every way, featuring the clarinet stop on the organ. subjects are combined during the course of a gradual crescendo which brings the work to a thrilling conclusion. Duruflé's  music  remains  a  testimony  to  artistic  inspiration,  and  is  included among the finest works o f the French repertoire.  It is unfortunate that Duruflé published so little of his music, for the great mastery of detail and control of the musical elements that he exercised in  his writings evince a profound spiritual and musical inspiration that is rare in contemporary musical composit ion. Song without Words, written in 2002 as an elegy by Phillips “to the memory of my beloved  brother  Brooks Phillips” who died suddenly in  December of the previous  year,  articulates  what  the  poet  William  Wordsworth  once  termed “thoughts  that  do  often  lie  too  deep  for  tears”.  In  this  work,  Phillips  has produced  a  work  of  great  intensity,  soulfulness  and  expression,  set  for  the unusual combination of organ and violoncello.  Although both compositions are brief examples among  Phillip’s  many compositions, the essence of humanity and of “remembering” shines forth in both. The works of Maurice Durufl¢, tho ugh few in number (his complete o pus listing contains only thirteen works), are distinguished by their compositional quality and musical intensity.  Duruflé's works for organ are amo ng the most important 20th­century contributions to the l iterature o f the instrument, as his Requiem is one of the most important choral works o f the century.  Duruflé's organ music is distinguished by both melodic  charm and dramatic  intent, and though  these works contain many technical difficulties for the performer, they also evidence a great resourcefulness of color and melodic manipulation that often results in an immediate  appeal  for  the  listener.  Various  prominent  figures  in  French composition influenced Duruflé, including Paul Dukas, Louis Viern e, Charles Toumemire, and especially Claude Debussy, as evidenced in his conception o f ‘musical color'. Duruflé, organist of the Church of St.­Etienne­du­Mont in Paris, wrote only six organ works, four of which are large in scope.  Prelude and Fugue on the name of  “Alain  op.7, is the last of the four major o rgan works written by Duruflé.  It was written in 1943 in memory of the French composer Jehan Alain, Duruflé’s friend and  fellow student who was killed  in  World War II.  The work  pays tribute to Alain by both theme and quotation;  although on the “A’s” in Alain’s name exist in standard notation, Du ruflé arrived at musical equivalents for the L, I and N by extending the alphabetical scale beyond H (the German B­natural). Thus,  “Alain”  becomes  the  musical  theme  ADAAF,  which  is  used  as  the principal motive of both the prelude and fugue.  The last section of the prelude quotes the theme of Alain’s most famous organ work, Litanies.  The fugue, one of the finest efforts in the 20th­cen tury organ literature, is a masterful display of Duruflé’s  contrapuntal  skill.  Set  in  two sections, a  more  somber  first  part Dietrich  Buxtehude  was the  foremost  composer of the  North  German  organ tradition which, in stylistic terms, directly preceded J.S. Bach ’s compositional style.  That Bach walked more than 200 miles and spent four months in 1705 to study  Buxtehude’s  music,  as  well  as  to  observe  the  music­making  in Buxtehude’s  church,  the  vast  Marienkirche  in  Liibeck,  is  testimony  to Buxtehude’s fame at that time..  Buxtehude’s compositions are known for their drama and virtuosity, displaying the colorful tonal contrasts found in the North German instruments of that time, as well as demonstrating the full pedal range of the northern­style organ of the Baroque period. The Praeludium in D­minor was w ritten in the late 1 7th century by Buxtehude in  typical  praeludium  style :  an  alternation  of  free  passages  emphasizing virtuosity that  interlock  with  short fugal sections  in  a  more strict  style;  the 1) inclusion  of  a  section  set  in  the  popular  Italian  durezze  et  ligature  style, featuring  strong  suspensions  and  dissonances;  and  a  general  emphasis  on virtuoso pedal  writing.  The total effect is that of a stunning balance between dramatic content, musical substance, and virtuosity.  In  this work, and in many other works by Buxtehude, North German organ music reached the apotheosis of organ style in the mid­Baroque period. �Buxtehude’s chorale­fantasia on  “How  Brightly Shines the  Morning Star” is based  upon  a  popular  chorale  of the day, sung during the  Epiphany season following Christmas.  In this particular work, Buxtehude uses different phrases of the chorale tune in successive sections, creating a succession of contrasting styles  and  textures  –  a  virtual  sampler  of  fantasia­style  composition.  The element of contrast is  further heightened by featuring different divisions and » I ¥I sounds within the instrument in opposition, thus heightening the effect created by the werkprinzip instruments built during the Baroque period, in which each division of the organ was contained in a separate section of the organ case.  The tune of Wie schon is well known, and remains a staple in hymnbooks of our day. The chorale text follows: styles into one.  As a result o f his admiration for the music of J.S. Bach, Reger sought to also  include complex counterpoint, as demonstrated in his skillfully written  fugues.  As  a  result  of these  factors,  his  music  tends  to  be  multi­ How bright  appears the Morning Star,  with  mercy beaming from afar; the host of heaven rejoices; O righteous Branch, O Jesse ’s Rod!  Thou Son of Man and Son of God! we, too, will lift our voices: Jesus, Jesus!  Holy, holy, yet most lowly, draw thou near us; Great Emmanuel, come and hear us. sectional, highly chromatic, and exceedingly dramatic. The  Chorale­Fantasy  and Fugue  on  Wie schon  leucht ’ uns  der  Morgenstern (“How  Brightly  Shines the  Morning  Star”)  belongs  to  a set  of two chorale­ fantasies (Opus 40) published in  1900.  This particular chorale­fantasy consists of a lengthy free introductory section ("fantasy") followed by a lengthy fugue using both a contrapuntal subject and the Wie schon chorale theme as the main sources of compositional material.  It is reported that Reger wrote many of his larger works as a result of a bet he made with the great German organ virtuoso, Karl Straube, to see if each successive work Reger wrote would be so difficult that Straube would be unable to play it.  As a result of their unending wager, Reger  produced  many  highly  virtuosic  works.  Needless  to  say,  Straube evidently  won  each  challenge,  for  most of Reger’s compositions still  remain Though  circled  by  the hosts  on  high,  he  deigned  to  cast  a pitying eye upon his helpless creature; the  whole  creation ’s  Head  and  Lord,  by  highest  seraphim adored, assumed our very nature; prominent in the late­Romantic organ repertoire. Jesus, grant us , through thy merit, to inherit, thy salvation ; ­­J. Biggers hear, O hear our supplication. Rejoice, ye heavens; thou earth, reply; with praise, ye sinners, fill the sky, for this his Incarnation. Incarnate God,  put forth  thy power, ride on,  ride on, great Conqueror, till all know thy salvation. Amen, amen!  Alleluia, Alleluia, Praise be given evermore, by earth and heaven. German  Romanticism  in  organ  music  achieved  a high  point  in  the numerous works of Max  Reger.  For Reger, unlike Liszt or Brahms, organ music was his chief  compositional  area.  His  entire  organ  output  includes  more  than  220 compositions:  approximately  70  small  chorale­preludes,  many  free  works including two sonatas, several preludes and fugues, suites, several variations and fugue sets, several introductions and passacaglias, and seven enormous chorale­ fantasies, including the great Wie schon setting.  In the chorale­fantasies, Reger merged the virtuoso symphonic style so popular at the end of the Romantic era with the great German chorale tradition, thus incorporating two highly distinct ~ \ ! �Coming Events Tuesday,  Fe b ruary  1 0  –  Messiaen  P review  –  A  film  and  faculty/student performances – 8:00 p.m. – Casadesus Recital Hall – free Thursday, Fe b rua ry 1 2 –  Musica  Nova  Lecture/Recital : Q ua rtet for the E nd of the Time – Lecture by Paul Goldstaub with faculty performers – 8:00 p.m. – Casadesus Recital  Hall  ­ $8 general  public; $6  faculty/staff/seniors; free for students Satu rday, Fe b rua ry 2 1 –  A  Russian  Fantasy for Two  Pianos –  featuring Michael Salmirs and Ewa Mackiewicz­Wolfe – 8:00 p.m. – Anderson Center Chamber Hall ­ $14 general public; $12 faculty/staff/seniors; $6 students Th u rsd ay,  Fe b r ua ry  26  –  Mid­Day  Con ce rt  with  faculty  and  student performers – 1 :20 p.m. – Casadesus Recital Hall – free Saturday, Feb ruary 28 ­­  University  Symphony Orchestra  Concerto and A ria Concert – Timothy Perry, conductor ­ 8:00 p.m. – Anderson Center Concert Theater ­ $8 general public; $6 faculty/staff/seniors; free for students Thursday, March 4 ­ Mid­Day Concert with faculty and student performers – 1 :20 p.m. – Casadesus Recital Hall ­ free Satu rday, Ma rch 5  –  A  T ribute to Ez ra  Lade rma n –  Pianist  Chai­Kyou Mallinson,  flutist  Georgetta  Maiolo,  dancer  Marlon  Torres  and  singers perform works by Laderman – 8:00 p.m. – Anderson Center Chamber Hall ­ $14 general public; $12 faculty/staff/seniors; $6 for students Saturday, March 6  –  Du ke  Ellington  Orchestra ­­ 8:00  p.m. –  Anderson Center Concert Theater ­ $25 general public; $20 faculty/staff/seniors; $10 students (co­sponsored by the Harpur Jazz Project) Sunday, March 7 – University Wind Ensemble ­­ “Cinematic Signatures II – Music by John Williams” – 3:00 .m. – Anderson Center Concert Theater – free Thursday, March 1 8  – Mid­Day Concert with Faculty and student performers – 1 :20 p.m. – Casadesus Recital Hall – free Saturday, March 20 – Ha rpu r Chorale and Women ’s Chorus – 8:00 p.m. – Anderson Center Chamber Hall ­ free � 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;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:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:10:11 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE251420&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE251420&amp;change_lng=en&amp;select_viewer=metsViewer</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Panoply of Pipeworks!: faculty recital, February 8, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004-2-8 Description An account of the resource Works of Bach, Phillips, Duruflé, Buxtehude, Reger. Held at 4:00 p.m., February 8, 2003, First Presbyterian Church. Creator An entity primarily responsible for making the resource Biggers, Jonathan Stalker, Stephen 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 2/8/2004 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/2b6abcab0a1a7d525af7600e1bfe4cb9.pdf 85b8eff5b2cdd84b2bffa2dd494c7750 PDF Text Text STATE UNIVERSITY OF NEW YORK AT BINGHAMTON Harpur College Department of Music March 15, 1975 8:15 PM Casadesus Recital Hall �PROGRAM SEQUENZA V for solo trombone SONATA DA CHIESA for flute and organ FRANK MARTIN Harry Lincoln, flute Paul Jordan, organ SONATA NO. 2 (1955) LUCIANO BERIO Donald Robertson, trombone BLACK ANGELS (1970) Thirteen images from the dark land GEORGE CRUMB I. DEPARTURE EZRA LADERMAN 1. (Tutti) Threnody I: Night of the Electric Insects 2. (Trio) Sounds of Bones and Flutes 3. (Duo) Lost Bells 4. (Solo: Cadenza accompagnata) Devil-music 5. (Duo) Dance Macabre Adagietto - Molto Allegro Adagietto - Romanza Scherzo furioso • Adagio espressivo - Allegro assai Walter Ponce, piano II. ABSENCE INTERMIS SION FÜNF CANONS ANTON WEBERN 1. Christus factus est 2. Dormi, Jesu 3. Crux fide lis 4. Asperges me 5. Crucem tuam Mary Ann Ferraiolo, soprano Wendy Osteyee, clarinet Albert Hamme, bass clarinet 6. (Trio) Pavana Lachrymae (Solo obbligato: Insect Songs) ?. (Tutti) Threnody II: BLACK ANGELS! 8. (Trio) Sarabanda de la Muerte Oscura (Solo obbligato: Insect Sounds) 9. (Duo) Lost Bells ( Echo) (Duo alternativo: Sounds of Bones and Flutes) III. RETURN 10. 11. 12. 13. (Solo: Aria accorrrpagnata) God-music (Duo) Ancient Voices (Trio) Ancient Voices (Echo) (Tutti) Threnody III: Night of the Electric Insects THE AMICI STRING QUARTET Bruce Berg, violin John Dexter, viola Cordula Rosow, violin Dan McIntosh, cello �We welcome as our guests for this evening's concert the members of the New York State Chapter of the American Musicological Society. The Amici String Quartet is teaching in residence at Hamilton and Colgate Colleges. Albert Hamme conducts the Wind Ensemb le and the Jazz Ensemble. Mary Ann Ferraiolo recently completed her BA in this department, and is now studying for the MM degree in voice. Paul Jordan teaches organ, harpsichord and recorder and conducts the Collegium Musicum. Ezra Laderman is Composer-in-Residence .. Harry B. Lincoln is Chairman of the Department of Music. Wendy Osteyee completed her BA in the department and is studying for the MA degree in music theory. Walter Ponce teaches piano and is well known as a concert artist. Donald Robertson is a candidate for the Master of Music degree in trombone. � 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;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:&nbsp;<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.) 40:21 5:48 34:28 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243434">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243434</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Program of Twentieth Century Music, March 15, 1975 Recital tape 1975-3-15 Description An account of the resource Works of Martin, Laderman, Webern, Berio, and Crumb. Held at 8:15 pm, March 15, 1975, Casadesus Recital Hall. 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 1975-3-15 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Creator An entity primarily responsible for making the resource State University of New York at Binghamton Dept. of Music 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;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:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 46:42:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE190120">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE190120</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A recital of the clarinet studio, April 5, 2008 Recital Tape 2008-4-5 Description An account of the resource Works of Poulenc, Hindemith, Williams, Mozart, Finzi, Lockhart.Held at 3:00 p.m., April 5, 2008, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Chandler, Sarah Reitz, Margaret Ackerman, Gregg Hassell, Matthew Fenster, Sarah Cohen, Abby Doyle, Kyle DelloStritto, Mark Palisi, Brianna Bonhoff, Bethany Lee, Andrei Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2008-04-05 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 98848067-c094-4936-8ecc-c549c3a3f652 https://omeka.binghamton.edu/omeka/files/original/ee783803f57cd521f3d67db844aca30e.pdf f0d9433c8d9ee1fdc225cbcc773993ce PDF Text Text BINGHAMTON U  N  I  V  E  R  S  I  T  Y State University of  New York U N T V  f B.  Y  C .   \ Y D E P A R T M E N T T > R <   200k G~\0 PeccoL A REUNION IN R ECITAL Judy Berry, soprano Timothy LeFe bvre, baritone Duane Skraba lak, piano Saturday, September 16, 2006 8:00 p.m. Anderson Center Ch amber Hall �PROGR AM WDINTERMISSION®3 “Sound the TriBpPEE “My Dearest, my Fairest” Henry Purcell (1659­1695) “It’s a Grand Night for Singing,” State Fair...........Richard Rodgers (1902­1979) “If I Loved You,” Carousel Oscar Hammerstein II (1895­1960) “Some Enchanted Evening,” South Pacific Ms. Berry & Mr. LeFebvre n “The Last Rose of  Summer” ...cccccceeeeeeeeeeeeenn.«eer...  Thomas Moore old Irish Folk Air (1779­1852) Sir John Stevenson (1761­1833) Ms. Berry Ms. Berry & Mr. LeFebvre / “Strahlender Mond,” from Das Vetter aus Dingsda From Liederkreis.........................................weeeee...  RObETt  Schumann In der Fremde (1810­1856) Intermezzo Waldesgesprach ....Eduard Kiinneke (1885­1953) Ms. Berry “Song to the Moon” from Rusalka Mr. LeFebvre Antonin Dvorak (1841­1904) Ms. Berry “Du sollst der Kaiser meiner Seele sein”  from Der Favorit  Robert Stolz (1880­19 75) “Di provenza,” from La Traviata....................... Ms. Berry Mr. LeFebvre “Herbstlied”  Ms. Berry & Mr. LeFebvre From I Pagliacci “Ballatella” “Silvio! A quest’ora” Ms. Berry Fehx Mendelssohn (1809­1847) Ruggiero Leoncavallo (1857­1919) Ms. Berry & Mr. LeFebvre l “Pura siccome un angelo,”.........cociveiaciicisonnas from La Traviata Ms. Berry & Mr. LeFebvre Giuseppe Verdi (1813­1901) Giuseppe Verdi (1813­1901) �Translations Sound the Trumpet Sound the trumpet till around You make the listening shores rebound. On the sprightly hautboy play. All the instruments of joy That skillful numbers can employ To celebrate the glory of this day. My Dearest, my Fairest My dearest, my fairest, I languish for you. Thy kindness has won me. Thy charm has undone me. I ne’er, no ne’er shall be free. I faint with the pleasure I fain would repeat. Ah, why are love’s raptures so short and so sweet? Thus pressing, and kissing, fresh joys we’ll pursue, And ever be happy, and ever be true. But alas! Should you change, ah tell me not so! No, never, my dearest. No, never, my fairest. No, my dearest, no! The Last Rose of Summer ‘Tis the last rose of summer, Left blooming all alone, All her lovely companions Are faded and gone. No flower of her kindred, No rose bud is nigh, To reflect back her blushes, Or give sigh for sigh is the last rose of summer, Left blooming alone; I’ll not leave thee, thou lone one, To pine on the stem; Since the lovely are sleeping, Go sleep thou with them; ‘Thus kindly I scatter Thy leaves o’er the bed Where thy mates of the garden Lie scentless and dead. So soon may I follow When friendships decay, And from love’s shining circle The gems drop away! When true hearts lie withered And fond ones are flown Oh! who would inhabit This bleak world alone? In der Fremde From my home beyond the lightning’s flash, The clouds drift over me. But father and mother are long since dead, And no one there remembers me anymore. How soon, how soon comes the quiet time When I too shall rest; and over me Will rustle the lovely, lonely forest.  : And no one will remember me anymore even here. Intermezzo Your blessed image I keep deep in my heart; So gay and happy, it looks At me all the time. My heart sings softly to itself An old, beautiful song That soars into the air And hastens to you. ”4 ] : { 1 J ! [ 4 l l Waldesgesprach It is already late, it is growing cold; Why do you ride alone through the wood? The forest is vast, you are alone; Beautiful bride!  I will see you home! Great are the deceit and the cunning of men; My heart is wracked with pain; The sound of the horn is all around us. Begone! You do not know who I am. So richly adorned are both horse and lady, So enchanting is your young body — Now I know you – God be with me! You are the sorceress Lorelei. You know me well – from a high cliff My castle looks silently deep into the Rhine. It is already late, it is growing cold. Nevermore shall you leave this wood! Du sollst der Kaiser meiner Seele sein I know a land without boundaries I know an empire, wherein entwine a thousand tender thoughts about my love, Rosenpfad. That is the land, in where I live, that is the empire I give to you on whose throne I lift you in the free land of my heart. Refrain: You, you, you should be the emperor of my heart. You, you, you should wear the purple, all alone. You, you, you should wield the scepter only you are allowed to rule there, you aspire to be a Conquerer there. If you love me, you have as payment in my heart your crown, and do as you will upon the golden throne which my love has built for you. You are the Emperor, whom I choose, and your Wishes are orders. You’ll be obeyed by my soul, which I entirely entrust to you. Herbstlied Oh, how soon the cycle ends, Spring turns into wintertime! Oh how soon all happiness Turns to sad silence! The last sounds soon fade! The last songbirds are soon flown! The last green is soon gone! They all want to return home! Oh, how soon the cycle ends, Merriness turns to longing sorrow. Were you a dream, you thoughts of love? Sweet as spring and fast disappearing? �Only one thing will never wane: The longing that never goes. Ah, how soon the cycle ends! Oh how soon all happiness Turns to sad silence! Ballatella Screeching up in the sky, And they go the ways of the sky. Let it wander in the atmosphere this thirsting for azure and for splendor; the way we follow a dream or a chimera, and they go after the golden clouds. Let the wind chase and the storm bark, with open wings it heals all challenges; the rain, the lightning, nothing ever stops it and they go over abysses and the sea. They go down there towards a strange land Which perhaps dreams and which goes But the bohemians of the sky follow the arcane power which it urges...and go..and they go! Silvio! A quest ’ora In the duet, Nedda and Silvio tell of their love for each other. At first, from feelings of duty, Nedda refuses to leave her husband’s troup and run away with Silvio. But when Silvio accuses her of no longer loving him she states her readiness to flee with him. It ’s a Grand Night for Singing It’s a grand night for singing, The moon is flying high, And somewhere a bird Who is bound he’ll be heard, Is throwing his heart at the sky! It’s a grand night for singing, The stars are bright above. The earth is a­glow And, to add to the show, I think I am falling in love! Falling, falling in love! Maybe it’s more than the moon, Maybe it is more than the sight of the night, Maybe it’s more than the earth, Shiny and silvery blue, Maybe the reason I’m feeling this way Has something to do with you! If I Loved You If I loved you, Time and again I would try  to say All I’d want you to know. If I loved you, Words wouldn’t come in an easy way Round in circles I’d go! Longin’ to tell you, But afraid and shy, I’d let my golden chances pass me by! Soon you’d leave me, Off you would go in the mist of day, Never, never to know how I loved you If I loved you. Some Enchanted Evening Some enchanted evening You may see a stranger, you may see a stranger Across a crowded room And somehow you know, You know even then That somewhere you’ll see her Again and again. Some enchanted evening Someone may be laughing, You may hear her laughing Across a crowded room And night after night, As strange as it seems The sound of her laughter Will sing in your dreams. Who can explain it? Who can tell you why? Fools give you reasons, Wiseman never try. Some enchanted evening When you find your true love, When you feel her call you Across a crowded room, Then fly to her side, And make her your own For all through your life you May dream all alone. Once you have found her, Never let her go. Once you have found her, Never let her go! Strahlender  Mond Shining moon, who crowns heaven’s canopy, My songs ascend to you nightly. Shining moon, who crowns heaven’s canopy, Repeat, oh repeat them to my beloved. Be my ambassador, my confidant! Carry my songs to my far away beloved. Shining moon, who crowns heaven’s canopy, Be my ambassador, my confidant! Be my ambassador for sweet thoughts which stir in my heart And which I cannot tell him Ah, all my wishes, my longing, my love, Yes, to you only’I entrust them! Shining moon, who crowns heaven’s canopy, My songs ascend to you nightly. Shining moon, who crowns heaven’s canopy, Repeat, oh repeat them to my beloved. Be my ambassador, my confidant! Carry my songs to my far away beloved. Shining moon, who crowns heaven’ Song to the Moon Silvery moon in the great dark sky, Your beams see farther than we do. Over the world goest wandering, In many a window art looking. Oh, moon! Do stay a while, stay with me, Tell me, oh where is my loved one? Tell him, oh silvery moon sailing by, that in my arms I enfold him. Tell him in dreams to think of me, even if only for awhile. May he, though far away, know my thoughts. Tell him, oh tell him, I am here waiting. If of me a human soul is dreaming, May my thoughts rouse him from sleep. Moon, moon, oh don’t go in! �ABOUT T HE PERFORMERS Di Provenza The sea and soil of Provence— who has erased them from your heart? From your native, brilliant sun— what destiny stole you away? Oh, remember in your sorrow that joy glowed on you, and that only there peace can yet shine upon you. God guided me! Ah, your old father— You don ’t know how much he has suffered! With you far away, with misery has his house become full. But if in  the end I find you again, hope did not fail within me, if the voice of honor didn’t become silenced in you, God listened to me. t Pura siccome un angelo Violetta is visited by Giorgio Germont, Alfredo’s father, who tries to persuade her to end her love affair with Alfredo. Alfredo’s life with a JUDY BERRY returns to Greater Binghamton afier establishing an internation al opera career. Graduate of both TCO’s RATP  and BU ’s MM  in Opera progr am, local audiences fondly remember her for her portrayals of “Gilda”, the “Queen  of the Night”, “Olympia”, “Juliette”, and “Adina”, as well as the title roles in Luc ia di Lammermoor and Lakmé. She garnered top honors in  numerous majo r vocal competitions including the Baltimore Opera Competition, the Enrico Caruso Vo ice Competition USA, the Liederkranz Foundation, the New York Grand Opera, the Queens Opera, the New Jersey State Opera, The Musicians Emergency Fund, a nd the Loren L. Zachary  Society  for the  Performing Arts.  With the Peter  Sellars production of Nixon in China, she sang the world premiere with Houston Gr and Opera, and toured to the Edinburgh Festival, Amsterdam, Los Angeles, BAM,  the Kennedy  Center,  Paris  and  Frankfurt.  From  1993­2001, she  was  engaged   in Germany with the Wuppertal Opera and appears regularly on numerous Europea n stages,  including  Leipzig,  Mannheim,  Diisseldorf,  Niirnberg,  Wiesbad en, Dortmund, Bremen, Osnabriick, Mainz and the Eutiner Festspiele.  She has also performed with the Baltimore Opera, Knoxville Opera, Virginia Opera, Pittsburgh Opera Theater, at Carnegie Hall and Lincoln Center, as well as with the Edmonto n Opera in Canada, Teatro de la Opera in Puerto Rico, and the Festival of Perth in Australia. Her  extensive repertoire of over fifty roles includes “Violetta” in  La Traviata, “Marguerite” in Faust, “Fiordiligi” in Cosi  fan tutte, “Sophie” in  Der Rosenkavalier, “Giulietta” in Capuleti e i Montecchi, and the title roles in T he Ballad of Baby Doe and Alban Berg’s Lulu. A much sought after interpreter  of modern music, oratorio, and  concert  repertoire, Ms. Berry  has recorded on  the Orfeo label. Grateful  and appreciative of her  invaluable training, Ms. Berry  is proud to be a part of the TCO and BU continuum by serving the next generation o f rising stars; in  the capacities o f Assistant Stage Director and  German coach  at TCO, and  in the years 2003 and  2006, as a member of  the voice  faculty  of Binghamton University. near­prostitute is creating scandal, and his sister risks to be left by her future husband (Pura siccome un angelo). Violetta is moved, and promises to Germont that his request will be satisfied (Dite alla giovine). T Baritone TIMOTHY LEFEBVRE just returned from his debut  with Central City  Opera  singing  in  productions  of  The  Ballad  of  Baby  Doe  and  The Coronation of Poppea . LeFebvre has appeared in concert with the Jacksonvi lle Symphony, Pensacola Symphony, West Virginia Symphony Orchestra, Vermo nt Symphony, Minnesota  Symphony, Syracuse  Symphony, American Symphon y Orchestra,  Pittsburgh  Symphony,  Spokane  Symphony,  Bingham ton 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  Carnegie  Hall  and Alice Tully Hall.  LeFebvre’s operatic  experien ce includes  leading  roles  with  San  Francisco  Opera,  Tri­Cities  Opera,  Sarasota Opera, Chattanooga Symphony and Opera, Syracuse Opera, Indianapolis Oper a, 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 Assistant Professor of Voice at Binghamton University. 2006­2007 engagements include appearances with the Chattanooga Symphony and Opera in Le nozze di Figaro and the Syracuse Symphony in Mozart ’s Requiem. He will also appear in concert at Carnegie Hall in March. DUANE SKRABALAK is Artistic Director and resident Conductor of Tri­Cities Opera.  Mr. Skrabalak was chosen years ago by Co­Founders Carmen Savoca and Peyton Hibbitt to be the person to bring the company into its second half century and the new millennium.  In addition to his duties as Artistic Director of Opera­Go­Round (the touring educational program of TCO), he also serves as vocal coach for the Resident Artist Training Program and is Adjunct Assistant Professor  of the  M.M./opera  program  at  Binghamton University.  Skrabalak joined TCO as a singer and pianist in 1970.  He soon became the TCO choral director, and eventually crossed into conducting, coaching voice and language. He made his conducting debut in 1974 with Gounod’s Faust.  Since then, he has conducted more than 70 productions, as well as numerous chamber productions and excerpt shows.  Among his many credits, Skrabalak served as music director for the world premiere of Myron Fink’s Chinchilla, and serves as host of TCO ’s Operalogues which are also broadcast on public radio.  His conducting credits include appearances with the Atlanta Civic Opera, the Jerusalem Symphony for the Israel Festival, the Clemens Center and the Opera Theatre of Pittsburgh.  As a sought­after vocal recital pianist, he has toured throughout the U.S. and abroad. 1 � 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;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:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:19:58 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204300">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204300</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A reunion in recital, September 16, 2006 Recital Tape 2006-9-16 Description An account of the resource Works of Purcell, Moore, Schumann, Stolz, Mendelssohn, Leoncavallo, Rodgers, Künnecke, Dvořák, Verdi. Translation of works included in accompanying program. Held at 8:00 p.m., September 16, 2006, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Berry, Judy LeFebvre, Timorthy Skrabalak, Duane Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2006-9-16 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 58768d19-f699-4641-b8e5-4b8fb4c47f67 https://omeka.binghamton.edu/omeka/files/original/b34cadb64f3d5a1c58d4f50dc4f99c6d.pdf a47abd759ab6a0cf2724cf6a9306030f PDF Text Text . é'  V» (1, f E U . ii; 3  E BINGHAMTON Rac  U N I V E R S I T Y ED  \ 1 7 4  \ PNY  ‘n’  \   GS State University of  New York Departme nt of Musi c   TT \ ©  T E E A Russ ian Fan tasy for Two Pianos with Ewa Ma ckiewicz­Wolfe Michael Salmirs 3 ] Sat u rd a y, Feb r u a ry 2 1, 2004 8 :00 p.m. A nderson Cente r C ha m be r Hall �Progra m Sergei Rachmaninoff (1873­1943) ’ i Suite No. 1 for Two Pianos, Op.5 (Fantasie Tablcaux) I.  11.  III.  IV.  Barcarolle: Allegretto A Night for Love : Adagio sostenuto Tears: Largo di molto Easter: Allegro maestoso Symphonic Dances, Op. 45 l I.  II.  III.  Non Allegro—Lento—Tempo 1 Andante con moto (Tempo di valse) Lento assai––Allegro vivace ­­I ntermission­­ l Suite No. 2 for Two Pianos, Op. 17 I G I.  II.  111.  IV.  Introduction: Alla marcia Valse: Presto Romance: Andantino Tarantelle: Presto Il ! l �P rogra m Notes Rachmanioff’s two­piano suites and symphonic dances arc among the composer ’s major works.  Rachmaninoff was only 20 when the Suite  No.  1  “Fantaisic  –  ta blea ux ”  Op.  5  was  published. Dedicated  to  Tchaikovsky,  it  shows  a  very  strong  link  to  that composer’s lyrical art.  The Suite consists of four brief movements which  arc  preceded  in  the  score  by  quotations  from Rachmaninoff’s  favorite  poets:  Lermontov,  Byron, Tyutchev and Khomyakov. The first movement, the G minor Barcarolle: Allegretto, captures not  only the serenity of Lermontov ’s lines but also something of their restrained pathos. Gondola Song O cool evening wave Lap gently under the oars of the gondola ...that song again! and again the sound of the guitar! ...in the distance, now melancholy, now happy, Was heard the sound of the old barcarolle: “The  gondola  glides  through  the  water,  and  time  flies through love; The waters become smooth again and passion will  rise no more.” Mikhail Lermontov (1814­1841) The  second  movement, La  mit...L’ amour:  Adagio sostenuto (A Night  For  Love),  inspired  by  Byron ’s  lines,  is  an  extended dialogue which begins with suggestions of bird song, then rises to a  central  climax  and  retu rns  to  the  tranquility  from  which  it emerged. Night.....Love It is the hour when from the boughs The nightingale’s high note is heard; i It  is the hour when lover’s vows Seem sweet in every whisper’d word; And gentle winds, and waters near, Make music to the lonely ear. Lord Byron (1 788­1824) The  next,  Les  larmes  (Tears),  is  the  most  characteristic  and forward­looking movement of agonized melancholy. Tea rs Human tears, O human tears! You flow both early and late – You flow unknown, you flow unseen Inexhaustible, innumerable, ­ You flow like torrents of rain In the depths o f an autumn night. Fyodr Tyutchev (1803­1873) The finale, Paques: Allegro maestoso (Russian Easter) is entirely outgoing and theatrical, with the Kremlin bells tolling exuberantly from the opening bar to the last. Easter The mighty peal rang out over the earth, And all the air, moaning, shuddered and groaned. Melodious, silver thunderings Told the news of the holy triumph Alexei Khomyakov (1804­1860) The Suite No. 2, Op. 1 7, composed years later, was performed by the  composer  and  his  friend  Alexander  Siloti  in  Moscow  in November  1901.  The Suite’s first movement, Introduction:  Alla Marcia, is full of energy and confidence, a tour de force in rhythm �Coming Events Th u rsday,  Feb r ua ry  26  –  Mid­Day  Concert  with  faculty  and  student performers – 1 :20 p.m. – Casadesus Recital Hal l – free Satu rday, Feb ruary 28 –  University Symphony O rchestra  Concerto and Aria  Concert – Timothy Perry, cond uctor ­ 8:00 p.m. – Anderson  Center Concert Theater ­ $8 general public; $6 faculty/staff/seniors; free for students Th u rsday, March 4 ­ Mid­Day Con cert with faculty and student per formers – 1 :20 p.m. – Casadesus Recital Hall ­ free F riday,  March  5  –  A  T ribute  to  Ezra  Laderman  –  Pianist  Chai­Kyou Mallinson,  flutist  Georgetta  Maiolo,  dancer  Marlon  Torres  and  singers perform works by Laderman – 8 :00 p.m. – Anderson Center Cha mber Hall ­ $14 general public; $12 faculty/staff/seniors; $6 for students Satu rday, Ma rch  6  –  Du ke  Ellington  O rchestra  –  8:00  p.m.  –  Anderson Center Concert Theater ­ $25 general  public; $20  faculty/staff/seniors; $1 0 students (co­sponsored by the Ha rpur Jazz Project) Sunday, Ma rch 7 – University Wind Ensem ble – “Cinematic Signatures ll – Music by John Williams” – 3:00 .m. – Anderson Center Concert Theater – free Th u rsday, Ma rc h 1 8  – Mid­Day Concert with Faculty and student performers – 1 :20 p.m. – Casadesus Recital Hall – free Satu rday, March 20 – Ha r pu r Chorale and Women ’s Chor us – 8:00 p.m. – Anderson Center Chamber Hall – free Sunday, Ma rch 2 1 – Moza rt Lectu re/Recital – Lecture by Alice Mitchell with faculty artists performing – 3:00 p.m. – Casadesus Recital  Hall ­ $8 general public; $6 faculty/staff/seniors; free for students Th u rsday, Ma rch 25 – Ha r pu r T rumpet Ensemble Concert – 8 :00 p.m. – Casadesus Recital Hall – free Satu rday,  Ma rch  27  –  Songs  My  Teachers  Ta ught  Me  –  Soprano  Mary Burgess  and  Friends  – 8:00  p.m.  –  Anderson  Center  Chamber  Hall  ­ $14 general public; $12 faculty/staff/seniors; $6 students � 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;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:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:03:16 26:54 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE251423&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE251423&amp;change_lng=en&amp;select_viewer=metsViewer</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Russian fantasy for two pianos, February 21, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004-2-21 Description An account of the resource Works of Rachmaninoff. Held at 8:00 p.m., February 21, 2004, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Rachamaninoff, Sergei Mackiewicz-Wolfe, Ewa Salmirs, Michael Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2/21/2004 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/6e7e0e47c2a0cf1ce6520e065ee49696.pdf fdb357c05b54f02e1d7620b1e6734a5c PDF Text Text The Music Faculty of  Harpur College presents a short recital Harpur  College Theatre 4:30 P.M. Monday, August 26, 1963  Frederick  Crane – Bass Philip Friedheim ­ Piano Patricia Isham  ­ Violin 1. 0  m O v e r  t h e  F i e l d s   O . . . . " . . . . . . I O U C D D O O D O C O O U U O O O O 0 0 . 0 . . . O i ‘ t i l .   J o h n  D u k e Luke Havergal l   the  S1dense  of  Might  ............................  Sergei  Rachmaninef? S 1  The  Coming  of  Spring a — Sonata for  violin and  plano in B  fl a t  K. 454  ..................  Largo ­ Allegro Andante Allegretto Hosart Mrs. Isham  and Mr. Friedheim i al 3. BO Aria  “Italia, Italia” from L’Amore dei tre  Re  ..........  Italo  Montemezzi Mr.  Crane  and Mr,  Friedheim bh. as Sonata no. 1 for violin and  plano  .......................  Darius Milhaud Lent  et robuste  = Anime Tres  lent Tres rhythmé,  joyeux Mrs. Isham and  Mr. Friedheim ]A 1 Mr,  Crane  and Mr,  Friedheim 2. { � 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;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:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound tape reel Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 32:39 36:22 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54011">A Short Recital Music Faculty of Harpur College</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Short Recital Music Faculty of Harpur College, August 26, 1963 Recital Tape 1963-8-26 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource A Short Recital by the Music Faculty of Harpur College. Works of John Duke, Sergei Rachmaninoff, Mozart, Italo Montemessi and Darius Milhaud performed by Frederick Crane, Philip Friedheim, and Patricia Isham. Held at Harpur College Theatre. Creator An entity primarily responsible for making the resource Crane, Frederick Friedheim, Philip Isham, Patricia Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Duke, John, 1899-1984 Rachmaninoff, Sergei Mozart, Wolfgang Amadeus, 1756-1791 Montemezzi, Italo Milhaud, Darius Date A point or period of time associated with an event in the lifecycle of the resource 1963-08-26 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091019619232 https://omeka.binghamton.edu/omeka/files/original/722c1f7368d92e748f7169c623ce6a41.pdf 9837aa31d1cf3f36a4e911bd2d38e91a PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E   U N I V E R S IT Y   O F   N E W   YORK D E P A R T M E N T UNIVERSITY SYMPHONY ORCHESTRA T i mo th y  Perry, music director and conductor ‘A Symphonic Smorgasbo rd” Th e  S ympho n y  i n  the  Early T w en tie th  C entury S a turda y, May 3, 2014 3:00 p. m. O s terhout  C oncer t  Thea ter �lc­ABOUT  T H E  MUSIC~s ~PROGRAM~ S ymphon y  N o. 2 i n D    Ma j or , Op. 4 3 (1902 )  1. Allegretto  “ N ew  E ngland  H olida ys ”  S ymphon y   ll. Decoration Day (c. 1912)  .. J ean S ibelius (1865­1957) . Charles Ives (1874­1954) Svmphonv No. 2 “London ” ( 1912­1920)  Ralph Vaughan Williams I11. Scherzo­N octurne  (187 2­1958) JEAN SIBELIUS completed  his Second Symphony in 1902, during a period when he created some of his most enduring and popular compositions: Finlandia (1899), the First Symphony (1899), and the Violin Concerto (1903). The Second Symphony received both extravagant praise and savage criticism in its day, demonstrating the degree to which Sibelius  confused  his  contemporaries  with  his  simultaneously  avant­garde  and conservative treatment of symphonic form, orchestration, and philosophy of musical content. Careful analysis reveals a degree of structural logic that, like the works of Brahms, carries the immense weight of Beethoven’s legacy but transforms the equations used to organize the musical material. The Second Symphony exhibits an undeniably pastoral character in the references to folk dances and songs, which are wedded  to several hallmarks of the composer’s  style that came ­ for better  or worse – to define the ‘Finnish’ sound: an expansive lyricism marked by relatively spare orchestral textures (including lengthy sections of choral homophony and passages for solo instruments); relatively slow­moving, even  static, harmonic change; and a tonally based key structure that nevertheless is rich with temporary dissonances of the tritone, seventh, and ninth. Furthermore,  this  opening movement of  the  Second Symphony is viewed as  the beginning of the composer’s expression of a new type of sonata form, in which the atomic structure of its thematic material (here, a scalar melodic third) is introduced at the outset.  but  the  various  motives  derived  from  this  germinal  idea  are  presented sequentially and assembled  only during the recapitula tion as a culminating form of resolution. S v mphon v  N o. 5 i n  D m i n or ,  O p. 4 7 (1937).....Dmitri Sh osta kovich IV. (Finale) Allegro non troppo  ( 1900­1975) Perhaps the most independent and iconoclastic of American composers, CHARLES IVES worked successfully in  the insurance industry while quietly creating a large body of (long unper formed) music that anticipated almost every musical innovation of the next half century: pclytcnality, polyrhythms, atonality, tone clusters, chance music, and much more. His father. a Civil War bandmaster. had imbued the young Charles with a taste for ­ and a keen sensitivity to­ all manner of natural and mechanical sounds, as well as the prodigious ability to set them  into a musical score. Ives’s music, like America of the early 1900’s, is filled with independence and strength. Ubiquitous borrowings from America’s Than k You for attend ing today’s concert in su pport of our ouumndmg student­musicians. We t hank and congratulate our grruluating seniors, and bam­dance medleys, and  any type of sound that might attend a local, regional, or national holiday or celebration. His music is always rich, usually complex, and ­ as with today’s work ­  simultaneously abstract and narrative. Decoration Day (the holiday now called Memorial Day) was written in 1912 (but not published until 1989) and eventually jorned three other pieces that were issued as A Symphony: New England Holidays. These works share only their subject and were never intended by the composer to be a set. much less a symphony in the traditional sense. Decoration Day begins with an extended meditative section, mostly for strings, symbolizing morning and “the awakening of memory.” The music slowly unfolds, dreamlike, from an English horn theme that is invite you to  join us next season for m ore exciting orchestral music! For informat i on on  u pcom ing per formances,  visit us at music.binghamton.edu or scan here – )   [ E l y E E cultural past and present include hymn­tunes, military marches, camp­meeting songs, probably a setting of the words “Decoration Day.” Separated from the orchestra, one instrument (keyboard) plays  a ghostly “shadow line” a semitone off from the violins. The theme sufiuses the first half of the work in a mix of major and minor keys, as citizens gather flowers to decorate the graves. Ives then begins to incorporate his own memories of Decoration Day into the piece by transforming “Marching through Georgia” into the moumful “Tenting on the Old Campground.” �At this point in the cbservances. his father’s marching band stops in the cemetery. Distant  church  bells ring,  and  the  hymn  ‘Adeste  Fideles”  in  an  eerie minor  key underscores what would have been the religious service, as mourners recall bits of tunes from the lifetimes of the departed. As a boy Ives had played “Taps” for the service, and he writes the fanfare into the score, coupled with a shivering rendition of “Nearer, My God, to Thee“ played by the strings. On the last note of “Taps,” the music begins to surge into a drumbeat that crescendos and then suddenly cuts to the pealing melody of the “Second Connecticut Regimental March”, which marks the end of the services and the celebrants’ return to town. Ives follows this jubilation with a brief coda recapitulating the reflective music from the beginning of the piece. According to Ives, “In the silence of the shadow of the early moming a flower­song rises over the Town, and the sunset behind the West Mountain breathes its benediction.” in 1913, RALPH  VAUGHAN  WILLIAMS  finished his  Second  Symphony,  subtitled “London.” Although it was received as a programmatic work, the piece was instead meant to reflect the composer’s impressions of a day in the life of the capital city. By this time,  Vaughan  Williams had  achieved  fame  through his  First  Symphony  ( A  Sea Symphony) and the Fantasia on a Theme of Thomas Tel/is, both from 1910. Like Grieg, Holst, Kodaly,  and Bartok, Vaughan  Wiliams discovered his  compositional calling through his direct involvement in collecting native folk­tunes during an era when localized folk­music was rapidly disappearing. However, each of his nine symphonies is endowed with  strong  structural  bones  and  addresses  larger  musical  issues  in  a  highly individualistic manner. The third movement of the “London” Symphony is designated as both a scherzo and a noctume, an odd pairing whose second title seems to reference the time of action ­  early evening into night ­  rather than designate its musical form, The movement bounces merrily along, with intermittent interruptions by snatches of folk­tunes and possible allusions (from the trombones) to the stately River Thames flowing through the core of the city. Whatever the time of day, there is abundant action throughout, and the composer employs constantly shifting phrase­lengths to highlight the chaotic mix of people going about their business. The ear does not lack for a change of aural scenery; we are treated to bell­ringing, an accordion, and a street­per former’s tune. The music of the  scherzo  seems not  so much  descriptive  in its  own right  as  supportive and ‘environmental’ ­  evoking the air, the river, and the bustle of the city with its countless inhabitants. The darkening timbre of the coda was characterized by Eric Coates as the “evening fog” moving out from the river into the town, gradually obscuring the views as we are left to observe a few last individuals making their way home for the night. DMITRI  SHOSTAKOVICH’S  Fifth  Symphony  is probably  the single most politically charged and problematic work among the composer’s fifteen examples of the form, coming as it did after Stalin’s denunciation of Shostakovich’s opera Lady Macbeth (although reviews had initially praised the work as “the result of the general success of Socialist construction, of the correct policy of the Party”) and the subsequent suppression of his Fourth Symphony as Stalin’s “Great  Terror” reached its most horrific stage. Shostakovich, having withdrawn the Fourth S ymphony, produced his Fifth Symphony between April and July of 1937. It was an immediate success with the public and the official critics, the latter perhaps pleased by a statement attributed to the composer that described the work as “a Soviet artist’s creative response to justified criticism.” However, from the first, there was disagreement about whether this piece represented genuine revisionism or an elaborate parody in the manner of Mahler’s Fourth Symphony. The final movement includes potentially inflammatory quotations from a Shostakovich song “Vozrozhdenije” (“Rebirth”), Op.  46, No. 1, on a text by Pushkin that speaks of “A Barbarian Painter” who “blackens the painting of a genius.“ Is this a reference to Stalin and Shostakovich, respectively? Even more problematic, a statement in Shostakovich’s Testimony memoirs seems to reject the straightforwardly triumphant interpretations of most modern conductors, beginning with the highly popular 1959 recording by Leonard Bernstein. Shostakovich’s artificially slow tempo  written in the score for the final fanfare was described by the composer thus: The rejoicing is forced, created under threat, as in Bone Godunov. It’s as if someone were beefing you  with  a stick  and  saying,  Y “ our business is rejoicing, your business is rejoicing, ' and you rise, shaky, and  go  marching  ofi‘,  muttering,  O “ ur  business is rejoicing,  our business is rejoicing.” One problem with such an interpretation is that the accuracy ­and even the authenticity­ of the Testimony has been doubted, stimulating one of the most heated musicological disputes of recent decades. Another major per formance problem has been posed by the tempi (twelve different markings are stipulated) of the finale, Shostakovich admitted that his metronome had been somewhat dysfunctional for many years, but in  the forty years between the premiere of his Fifth Symphony and his death, he never disavowed his original tempi. Thus,  two  opposing  camps  exist  on  the  parodistic  intent  of  the  composer. Not surprisingly,  the  musical  results  differ  considerably  depending  upon  whether  the composer’s metronome marks are observed (a ttempted in recordings only in the past twenty years).  Today  we play  the work as  notated by  Shostakovich, with slight adjustments to the tempo markings, but adhering closely to the original. The effect, as you shall hear, is at once brilliant and ‘not quite right,” particularly at the ending fanfare. Given the gift for parody that the composer demonstrated in many other works, it is, in my opinion, more likely that he intended a searing comment on Soviet brutalism than that he wrote in a flawed manner, or kowtowed to official artistic orthodoxy. Like many challenges presented in other symphonies of the past century, questions linger. What seems clear is that the modern listener. like the artists, must now fully participate in the great issues of our times. We  hope that today’s work not only delight and entertain, but enlighten and challenge the mind and spirit. ­T. Perry, April 2014 �&UNIVERSITY SYMPHONY O R C H E S T R A T i mo th y  P erry, conductor FLUTE Jessica Bingiorri Kohar Bedonian Michelle Li Christina Dinella TROMBONE V I O L I N  1 1 ( CON TINUED) C hristopher Beard J a cob  S tro hm * J oshua Ya mu der Karen  Fu * B rian Phung A n na  L i E I I I I I I R  L E C A R I E TUBA Piccoro Christina Dinella Carter Mc Gri ff TIMP ANI Ben ja min  R othschild* OBOE Rebecca Marwin Taylor Morgen PERCUSSION EF LAT CLARINET Steve O lson Da n  M alinovsky Justin Kim KEYBO ARD CLARINET Da n  M alinovsky Natasha Talu k dar Justin Kim Mary McGahay Skylar O.  Buono BASSOON Bailey Thomas John Voigt Natalie Spitzer* FRENCH  HORN Abbie McMahon Chris Patrizio Daniel Muller David Lurher Mart McAuliffe* TRUMPET Anne Taylor Junbo Yan Thomas Parker V lol A H a nna h  W nrrohsk i jusrin La fond Max S tein D l niel  R odaba ugh* Alex Stigerhy H arrison  D u lin L indsa y  C c mngton jillinn C hen* Sharon  G raziano Mimi Nam* Jaya Rao V i o u n 1 Bass/CONTRA CLARINET J a m i s o n  W e z e l i s Alan  Thi E mily S ui Ca meron  D ’ A uria A le x io  C hang I f e  S amms+ K ieran  M urphy Na ta lie  B ock * Gabrielle Maire+ Ben Posrhill E leanor Krasner Ahlrnrne G unupara n Sara Kohtz Ma ya Orlofsky S i m o n  Benarie * V i o u N I  I Rebecca  Seroi* J ose ph V a nderpool jody Bach Pnul Mc H ugh Nnre C hristman VIOLONCELLO X a nder  E dwards+ Pa ul Watrobski+ Mary  S pencer Ala n  W ang+ Deborah Mario ttini Charlie M iller E mily Mockler Kelly Mercer R yan H oga n CUN TRABASS R obert Durante Nicholas H oyos Special Thanks to our ‘  4­year l USO  mem bers * 3qear USO mem bers Y u R l b ’ I  D u * The University Symphony Orchestra employs muumx searing. Woodwinds,  Brass. and Percussion rotate by eomposuinn and are listed alpha bet ically . Strings rotate l’ry concert unul rue listed by searing Its­ABOUT THE ORCHESTRA­m The  Binghamton  University  Symphony  Orchestra  has  been  an integral  part  of  Binghamton  University since  small  instrumental ensembles of a half­dozen string players were organized in the  late 1950’s  under  the  direction  of Professor  Harry Lincoln  to support the performance of works for small orchestra and chorus. After the U niversity mo ved  from  E ndicott  t o  its  present Vestal  ca mpus, the orchestra saw rapid growth as a student club and became a member organization  of  the  Student  Association  in  1965.  The  orchestra coun ts  a mong  the  lis t  o f i ts  past resident  M usic D irectors  Professors H arry  L incol n, David Buttolph, a nd  Pa ul J ordan, as well  as ad junct Protessors  S tefan  Ba uer­Mengelberg,  Charles  Sch neider,  J u dith Somogyi. and Marietta Cheng. Since September 1986, the orchestra has been  directed by  Dr. T imothy  Perry, under  whose ba ton the ensemble  has re presented the  De partment o f  M usic i n  U niversity­ wide  cultural  festivals on  Northern  Ireland, Scotland  and  Greece, work ing  wi th  the B ritish C ouncil, composers James MacMillan a nd Edward  McGuire,  members  of  the  Royal  Scottish  Ballet,  and outstanding  soloists i n v  iolin,  piano  a nd  voice selected b y  the Greek M inistry o f C   ulture. I n  colla bora tion  wi th  the  Thea ter De partment ofD   UOC (U niversidad Catolica ) i n  S an Carlos de Apo quindo  a nd Escuela ‘ProJazz”  in  Santiago,  the  orchestra  collaborated  in  2006 a nd   2008  wi th   the   De partment  o f  Thea ter  for   B i­ national productions  o f  West Side Story a nd  The  Three­Penny O pera produced i n  bo th  B ingha m ton  a nd  S antiago .  Most recently,  i n  2009 a nd 2012 Dr. Perry a nd  the  BUSO beca me  only  the  second  U niversity ensemble to be selected to perform live with New York’s legendary Pa ul Ta ylor Dance C ompany. Toda y  the  orchestra continues  to  see k t o  present  a  wide   a nd  educa tiona lly   balanced  range  o f  events inclu ding  children’s concerts, work s  w i th  chorus, holida y  concerts, its  biennia l  S tu dent  C oncerto  a nd  A ria   progra m,  a nd  concerts spa nning  the  history  o f  orchestral re pertoire. Its  membership ,  80­ 90%  o f  wh o m  do  n o t  ma j or i n  music  ( in a n  average  year,  2 1 different majors are re presented), are drawn  from  talented students from  across  the  U niversity  who  are  selected  each  fa ll  i n  o pen compe titive  a u ditions, rehearse twice  wee k ly, a nd  present  a season o f  four  ma j or concerts per  a cademic year. �Binghamton University M usic Department ’s Coming Events G m fl fi w é fl fi é b fi b é é fl fi b m w b fi b Saturday,  May  3  –  Senior  Recital :  Xander  Edwards,  cello  ­  8:00  p.m.  ­ Casadesus Recital Hall ­  free Sunday, May 4 – Tri­C ities Opera presents Strauss’ Die Flederma us ­  3:00 p.m. ­  The Forum Theatre ­ call (607) 772­0400 for rickets Monday, May 5 – Mas ter’s Recital : Denise Bassen, organ  ­  8 p.m. ­  FAZI  ­  free Tuesday, May 6 ­  Percussion Ensemble Concert ­  8:00 p.m. ­  Anderson Center Chamber Hall ­  $7 general public; $5 faculty/ s taff/ seniors; free for students Wednesday, May 7 – N ukporfe African Drum ming and Dance Ensemble ­  7:00 p.m. ­  Watters Theater ­  $5 general admission a t the door Thursday, May 8 – Student Recognition M id­Day Concert (Burns) ­  1:20 p.m. ­  Casadesus Recital Hall ­  free Thursday, May 8 ­  Ha rpu r Chorale and Wome n’s Chorus Spring Concert  ­ 8:00  p.m.  ­  Anderson  Center  Chamber  Hall  ­  $7  general  public;  $5 fa culty / s ta ff / seniors ;  free  for  stu dents Friday, May 9 – String Orchestra Concert ­  4:00 p.m. ­  Grand Corridor ­  free Friday, May 9 ­  Brass Ensemble Concert ­  5:00 p.m. ­  Casadesus Recital Hall ­ free Sunday,  May  1 1   –  G ram my­Awa rd  Win ning  vocal  guest  a rtist  J acqueline Horner­Kwiatek ­  3:00 p.m. ­  Casadesus Recital Hall ­ $5 general public; free for students Wednesday, May 1 4  –  German Diction Class Recital ­  8:00 p.m. ­  Casadesus Recital Hall ­  free M M For tickets or  to be added  to  our email list, visit  anderson.binghamton.edu or call (607)  777­ ARTS  For a complete list O f our concerts call (6071 777­2 502, t lSll music.binghamton.edu or become a f an on Facebook. E —   [ s u ]   I f  you  w ere  inspired  by  this  performanc e,  consider  su p port ing  the Department  of  Mustc  with  a  financial  gift.  Your  support  helps  to c on t in u e  t he  w o r k  o f   stu dents,  f a c u l t y,  a n d   gu est  a rt ists  a n d   t he i r c on t r i but i ons to  o ur  co m m uni t y . Please m a ke  y o ur d on at i on  pay a b le to t he B ingha mt on U ni wrsu j r  M u si c  De pa r t me n t , and  send y o ur c hec k to BU  M usic Depart ment , P.O. Box 6000, Bingha mton, NY 13902. � 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;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:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:10:46 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75012">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75012</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Symphonic Smörgåsbord: The symphony in the early twentieth century Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Sibelius, Ives, Williams, Shostakovich. Held at 3:00 p.m., May 3, 2014, Osterhout Concert Theater. Creator An entity primarily responsible for making the resource University Symphony Orchestra Perry, Timothy B   Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Sibelius, Jean, 1865-1957 Ives, Charles, 1874-1954 Vaughan Williams, Ralph, 1872-1958 Shostakovich, Dmitriĭ Dmitrievich, 1906-1975 Date A point or period of time associated with an event in the lifecycle of the resource 5/3/14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/eda90bda91a09ad2ead303fda6ced6d2.pdf f7399522e718b36a1257f6940764c113 PDF Text Text BINGHAMTON U N I V E R S I T Y State University of  New York wdec [3 D E P A R T M E N T 11,7  _ . LINK ORGAN S ERIES A TANGO F O R  TWO featuring G uest Organists : An nette Richard s David Yearsle y Sunday, February 17, 2008 4:00 p.m. First Presbyterian Church �PROGRAM A Fanc y for two to pla y  pressing Art 8 :  S oul of th e  S outhern Tier a new weekly series featuring art and artists of the local region. T h u r s d a y s a  o i n W  S r K G T  V t S  p   m e ––    LL  ppP U BAL I C  BROADCASTING  P U B L I C  BROADCASTING I. Thomas Tomki ns (1572­1656) A Verse – In N omine  N1colas Carleton Canon Two in One  Benjamin Cook e (1734­1793) (c.1 570­1656) II. ........ Michele Gaggia  Regium........... us super Thema Canon Perpetu (b. 1965) in Contrapunto alla Q uarta  Canon a 4 (super Thema Regi um) from .......Johann Sebastian Bach (1685­1750) A Musical Offering, BWV 1 079  ...Johann Sebastian Bach Sei Lob und Preis mit Ehren..   BWV 51 From Jauchzet Got! in allen Landeri    a v i e r e  F uga a 72, Cl Fuga a 4, a 2 Claviere, i in alio modo, from The Art of Fugue, BWV 1 080 E Concierto para  dos organos  Andante  Allegro 4  Allegretto  . . .   From Sonat a 117A  Op. 18  III. Johann Sebastian Bach Antonio Soler (1 729­1 783) Johann Christian Bach (1 735­1 782) .. Wolfgang Am adeus Mozart .  Allegro molto. .  (1756­1791) From Symphony No. 40 in G M inor  IV. Overture to Wi lliam Tell.........ccccccceevevvvvvvnnnnne.....Gloacchino Rossini (1792­1868) �PROGRAM  NOTES The contrapunta l  works in section two of tonight’s  program  represent abstract music well suited for performan ce by two organ ists.  The two four­vo ice fugues from  Die Kunst  der Fuge (The  Art  of Fugue), in  particular, cann ot be played intelligibly  by  only  one  keyboard  player.  These  are  works  of  astounding The  organ  is  both  the  largest  and  the  loneliest  of musical  instruments.  The organist often plays her instrum ent from a distant gallery high above the churc h floor; often the separate division of the organ  called the Ruckpositiv hides th e player completely from view. A lthough listeners far removed from the console often turn to look up at the organ, not much if anything can  be seen of human music  making.  The  glittering  facade  looks  down  impassively,  if  no  less magnificently, at those in its aural and visual thrall below. The  vast majority o f the  repertoire  for  the  organ  is  made  up  of  solo  works,  and  although  the accompaniment  of  choirs  or  congregations  constitutes  a  rich  part  of  the instrument’s historic and living tradition, a sense of isolation  can occasionall y overtake an organist, alone in a cold and dark church, cut off from listeners and other  musicians.  For at  least  half a  millennium  — and  probably  longer  — organists have played duets, not only to augment what two hands and two feet can do, but because company is a good thing, even at a sometime  keyboard of only four­octaves.  Beyond  the  surviving  duets that  perhaps  document  attempts  to escape this solitary existence, a vast corpus of instrumental and vocal works of all periods are just waiting for two lonely organists willing to arran ge them for their mutual enjoyment and for the pleasure of those who care to listen from close or far. Tonight’s  program  begins  with  two  duets  by  Thomas  Tomkins  and  Nicolas Carleton, close friends and neighbors in renaissance Worcestershire.  These two contrapuntal works, written in the learned style of vocal polyp hony, survive in a manuscript once owned by Tom kins and likely conceived as a pair for the two to play together.  We offer two registrational possibilities for the performance of this type of piece: th e first work is h eard on the plenum, a full registration employing the full range of pitch levels; for the second we draw a single stop, a principal o f singing  quality,  which  recalls  the  vocal  origins  of the  genre.  The  moving grandeur of these two works stands in  contrast  to  the shim mering,  if  flimsy, contrapuntal facade of Cooke’s fi'ivolous Canon. Duets for the keyboard became popular in the 1 8th century, as composers sought to  capitalize  on  the  growing  demand  of  bourgeois  consumers  for  domestic musical recreation.  J.C. Bach’s Allegretto  was composed in London, where such works were part icularly fashionable.  The piece was originally intended for piano or harpsichord,  but  its sweet  elegance sings  through the  flutes of this organ. According to the title page of Soler’s double organ concertos, the composer wrote the works to please the young Prince Gabriel, for performance by him and Soler in a small palace built on the Escorial grounds between 1768 and  1772.  This double  organ  was  a  single  instrument  with  two  separate  keyboards;  their placement is uncertain but sources relate that the organists could see one another. On an organ with two or more manuals, the players have space for their individual parts of this now  lush, now virtuosic music, thou gh they sit next to each other on a single bench rather than at separate consoles. ingenuity, aside from their considerable technical demands on the players.  Both pieces use the same subject and are “counter­fugues,” in  which the successive ­ entries  of  the  theme  alternate  between  the  right­side­up  and  upside­down versions.  Thus on the small scale the fugal subjects mirror each other within each piece,  and  on  a  larger  scale  the  two  fugues are  inverted  images.  We  have included both a canon from Bach’s other late collection of learned counterpoint, 4 Musical Offering, and a modern setting of Frederick the Great’s royal theme by the phenomenal contrapuntist, the Italian composer and organist —and our friend —  Michele  Gaggia,  whose  mastery of Bach’s strictest  style  has inspired  the genius of his late 20™­century students. Bach  himself viewed  the organ as ideal  for transcriptions, and he set  his own concerted vocal works for organ in a printed collection popularly known as the Schubler  chorales.  Our  version  of an aria  from  his  Cantata  51  is  a sort  of Schubler chorale for four hands and two feet, in which the two right hands play the violin parts, a left hand is the bass­line, and the feet are responsible for th e chorale melody, a line sung by a soprano in the cantata. We  conclude  tonight’s  recital  with  our  own  arrangements  of  two  famous orchestral works: the  first movement  of Mozart’s Symphony  in G  Minor, and Rossini ’s Overture to William Tell.  In the first of th ese we have tried to imitate the nature of the 18™­century orchestra with its wind section (called the Harmonie in German): the clarinets, flutes and bassoons were placed distinctly behind the main orchestra and their timbre was used both to enrich the overall texture and to provide an often piquant contrast to the  strings. We hope that our arrangement preserves  the  brilliance  of  Mozart’s subtle  yet  electrifying  writing,  or  even, perhaps, presents this aspect of his genius in a slightly new light. It was Mozart who is said to  have dubbed th e organ the “Queen of Instrume nts”, and we  feel sure he would have approved o f its union with his orchestral masterpiece. The mighty color machine that is the organ is also up to the task of capturing the rich expressive  spectrum  of  Rossini’s  best­known  overture,  from  the  brooding Romanticism of its opening, through the humid electric bluster of its storm to the verdant flutings that follow —and the vivid breathless gallop of the finale. ­David Yearsley �ABOU T T H E  PERFO RMER S Her scholarly ach ievements are no less impressive; she was a Fellow at the Getty Center for the H istory of Art and the Humanities in Santa Monica, Californ ia in Active as  a performer on organ, clavichord, harpsichord, and fortepiano in North America and Europe, DA VID YE ARSLE Y was ed ucated at Harvard  College and Stanford University, whe re he received his Ph.D.  in Musicology in  1994. That same year he became the only musician in the history of the Bruges Early Music Festival  to  win all  its major prizes. His organ  recordings include: Music of a Father and Son: The Organ Works of Delphin and Nicolaus Adam Strungk heard on the A rp Schni tger organ in No rden, G e rmany a nd The Great Contest: Bach, Scarlatti, Handel; and, with Robe rt Bates, In Dialogue, featuring 1 7“­ and  18“ century  music  arranged  for  antiphonal  organs.  His  musical  partnersh ip  with violinist  Martin  Davids  has  yielded  most  recently  the  CD,  All  Your  Cares Beguile: Songs and Sonatas from Baroque London. Energetically engaged with the historical context for his music making, Mr. Yearsley has written numerous articles on European musical culture in the 1 7” and 18™  centuries, and his work has appeared in leading scholarly journals such as the Journal of the American Musicological Society, Music & L etters,  Early Music  and Eighteenth­Century Music.  His  widely­praised  book,  Bach  and  the  Meanings  of  Counterpoint appeared in 2002  from Cambridge University Press. Mr. Yearsley h as been  an Alexander von  Humboldt  Fellow at the  Humboldt  University  in  Berlin  and a Wenner­Gren Foundation Fellow at the Un iversity o f Gothen burg in Sweden. For more than a decade he has been m usic critic for the infamous country weekly, the Anderson Valley A dvertiser . A mem ber of th e pionee ring synthesizer trio, Mother Mallard’s Portab le Maste rpiece Company, he is Associate Professor of Music at Cornell  University, in Ithaca, New York, where he lives with his wife, Annette Richards, the Cornell Un iversity Organist and Professor of Music, and their two daughters. 1994­95, and at th e Society for the H umanities at Cornell in 1998­9. He r scholar ly work  is  marked  by  its  interdisc iplinarity, and  has focused  on  late­eighteenth­ century music and its relationship with the visual  and literary arts. Along with dance historian Mark Franco she edited a volume of essays entitled Acting on the Past:  Historical  Perform ance  Across  the  Disciplines  (which  appeared  from Wesleyan  University  Press  in 2000); her book,  The  Free Fantasia  and the Musical  Picturesque, wh ich explores the  intersect ions between musical fantasy and the landscape garden in late 18™­century Germ an music culture, came out in 2001  from Cambridge University Press.  Ms. Ric hards is  the editor of C. P. E. Bach Studies (Cambridge University Press, 2006) as well as the com plete organ 0 music of C. P. E. Bach for the new Complete Edition of C. P. E. Bach ’s works. In  2003­5  she  took  a  two­year  sabbatical  in  Berlin,  supported  by  a  Mellon Foundation New Directions Fellowship, and a fellowship from the Alexander von Humboldt foundation. She is currently writing a book on the role of the visual arts in  German and English  music around  1800; th is promises to  be a provocative exploration into  the dark hermeneutics of musical  life  in the age of European enlightenment  and  revolution.  She  is  also  preparing  a  CD  recording  of  the complete organ m usic of C. P. E. Bach. Annette Richards is Professor of Music, and University Organist at Cornell University. ANNET TE  RICHA RDS divides  her  time  between  musical  scholarship  and performance. Born in London, Ms. Richards holds a bachelors degree in  English from Corpus Christi College, Oxford where she served as organ scholar. In  1991, she rece ived the prestigious  Performe r ’s Degre e  in  Organ  from the Sweelinck Conservatorium,  Amsterdam and  four years later,  a Ph.D.  in  musicology  from Stanford University (Cali fornia). A specialist in m usic of the Italian and North Germ an Baroq ue, Ms. Richards has concertized on numerous historic and modern instruments in the Netherlands, England,  Ireland,  Spain,  Germany  and  the  United  States.  She  also  regularly performs music from the virtuosic 19th­ an d 20th­century repertories, and prizes she has won at international festivals and competitions incl ude third prize at the 1992 Dublin International Organ Competition and, in 1994 first prize with David Yearsley at the fa mous Bruges Early Music Festival in the competition for organ duo. Her CD recording  “Melchior Schildt and the North G erman Organ  Art", recorded on the h istoric organ at Roskilde Cathderal, Denmark, will be released this spring from Loft Recordings (Seattle). 0 �F riday, F e b ruary 22 – Maste r ’s Recital :  LaToya Lewis, so prano – 8:00  p.m. ­­ Casadesus Recital Hall – free Sunday, Fe bruary 24 – Musica Nova – 3:00 p.m. – Anderson Center Chamber Hall ­ $9 general public; $7 faculty/staff/seniors; $1 students Saturday, March  1 – University O rchestra : Top Talent (Concerto Competition Winners) –  8:00  p.m.  –  Osterhout  Concert  Theater  ­ $9  general  public;  $7 faculty/staff/seniors; free for students Sunday March 2 – South of the Border: Explorations (Lecture and C oncert) with guest artist  Makoto Nak ura, marim ba, an d Binghamton Ph il harmonic Composer­In­Res idence  Carlos 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 Conc ert – 1 :20 p.m. – Casadesus Recital Hall ~ free Saturday, March  8 – Hom mage a Casadesus – 8:00 p.m. – Casadesus Recital Hall ­ $9 general pubic; $7 faculty/staff/seniors; $1 stude nts Sunday, March 9 – Wind Sympho ny – 3:00 p.m. – Anderson Center C hamber Hall ­ free Th ursday, March 1 3 – Mid­Day Con cert – 1:20 p.m. – Casadesus Recital Hall – free Saturday, March  1 5 – Senior Recita l :  Alexander Blitste in, tenor – 3:00 p.m. – Casadesus Recital Hall – free Saturday March  1 5 – Music of the  World : Latin America  ( Harp ur Chorale an d 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 Le h 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 Conc ert – 1:20 p.m. – Casadesus Recital Hall – free � 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;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:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:07:41 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE190108">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE190108</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Tango for Two, February 17, 2008 Recital Tape 2008-2-17 Description An account of the resource Works of Tomkins, Carleton, Cooke, Gaggia, Bach, Soler, Mozart, Rossini.Held at 4:00 p.m., February 17, 2008, First Presbyterian Church. Creator An entity primarily responsible for making the resource Richards, Annette Yearsley, David Gaynor Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2008-02-17 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 02268d70-73b2-4bf8-a14a-3f14880a173a https://omeka.binghamton.edu/omeka/files/original/fb7a484c8d70c51d40835d1ef32598e5.pdf 699a96021a45575bf852a1227af0ec71 PDF Text Text BINGHAMTON U N I V E R S I T Y S TA T E   UN I V ER S I T Y  O F   NEW  Y O R K d e [4 e D E P A R T M E N T A TRIBUTE CONCERT IN MEMORY OF P A U L  GOLDSTAU B Martin Bidney, narrator Diane Birr,  piano Bruce Barton, conductor Daniel  Fabricius, percussion jenny Gag, soprano Stacey Geyer, soprano Emily  Goetz, percussion W ill iam La wson, p i a no Timothy LeFebvre, baritone Stephanie Lehman, percussion Georgetta Maiolo, flu te Timothy Perry, clarinet Margaret Reitz, piano Harold  Reynolds, trombone Michael Salmirs, piano J oel  S males, percussion Abigail Smith, soprano University Chamber Chorus Sa tu rday, J a n ua ry 31, 2015 7:30 p. m. Anderson Center Ch am ber Hall �as­  PROG RAM   «s 1.  Six Slick Stix Click Licks (fugue for fun for 3 snare drums)  Every Evening (excerpts) Your Heart and Mine L ll b Daniel Fabricius, Stephanie Lehman, Joel Smales  1 Though t that B a Every Evening Lago di Como, Italia  ll.  {  Lehman,   on;i ­ M r t ’   Bid  ,  tonM  tRe’z ,’ man bereyspom.  arin,  BC Iheh  Tags  PREEERi  ci)  piano Timothy Perry, clarinet; Margaret Reitz, piano  III.  Stephanie Lehman, marimba; M argaret Reitz, piano Adagio (Rothko: Med itating on Color) Toccata (Pollock : Line and Color)   VIIL 1  J  [  i  Aria and Chase  VIL Mallet Palette Portraits (exce rpts)  Prelude (Mond rian: Lines and Colors) Michael Salmirs, piano  Timothy Perry, conductor;  Timothy LeFebure, baritone; Jenny Gac, soprano; Stacey Geyer, so prano; Abigail Smith, soprano;  Daniel Fabricius, Stephanie Harold  Reynolds, trombone; Diane Birr, piano Shakespeare M ix If Music Be the Food of Love University Chamber Chorus; Bruce Barton, conductor Daniel Fabricius, Emily Goetz, Stephanie Lehman, Joel Smales, percussion William Lawson, piano;  Margaret Reitz, piano blnte rm ission b­ V  Pastorale II for Flute and digital delay Georget ta Maiolo, flute ‘  All proceeds from this concert will benefit new music initiatives for Binghamton University Music students. CDs of  Paul Goldsmub’s worlu are available in the lobby for purchase. �PROGRAM NOTES Paul Goldstaub (1947­2014) was professor emeritus of music composition and theory at Binghamton University, retiring in 2012.  His compositions have  received  multiple performances in  such  diverse venues  as  Lincoln Center, Carnegie Hall, off­off Broadway, the G uthrie Theater, Minnesota Opera, Cincinnati Opera and  the Society for New Music, as well as in Canada, Great Britain, German y, Italy, Russia a nd Japan. He was the recipient of grants from the National Endowment for the Arts. the National E ndowment for  the Humanities. Meet the Com poser, the Minnesota State  Arts Board and the  American Society of Composers, Authors and Publishers (ASCAP). He  presented  lectures,  papers  and  workshops  at  the  Chautauqua Institution, Oberlin Conservatory, Syracuse U niversity, St. Olaf College, Wells  College  and  St.  Thomas  University  Institute  of  Contem porary Music  Education,  among  others,  as  well  as  national  meetings  of  the College Music Society, the National Association of Schools of Music and the New York State School Music Association. Prior to coming to Binghamton in 1998, he held teaching positions at the Ithaca College School of Music, the College­Conservatory of M usic of the University  of  Cincinnati,  Mankato  (Minnesota)  State  University  and Eastern Michigan University. He earned a bachelor of music degree from the Ithaca College School of Music, studying under Karel Husa and Warren Benson, and master of music and doctor of musical arts degrees from the Eastman School of Music,  in  the  studio  of  Samuel  Adler.  Schenkerian Analysis with Charles Burkhart. He  com pleted  studies  in His  music  is published  by  Keyboard  Percussion  Publications/Marimba Productions,  Inc.,  Roger  Dean  Publishing  Com pany,  the  International Trombone Press/Southem Music, Ken Dom Publications, Transcontinental Music Publications and Lawson­Gould Music Publishers, Inc. I Six Slick Stix Click L icks ( fugue for fun for 3 snare drums) This snare dmm trio, premiered  in 1991 by the I thaca College School of Music Percussion Ensemble under the direction of Gordon Stout, remains one of Paul’s most performed works.  The indioations in the score include exact placement of the “stix” on the ‘normal” playing position of the head, or the rim of the snare drum, as well as indications to  play silent strokes in  the air,  to  play with  the fingertips, to clap, or to make spoken sounds, The Binghamton University Percussion Ensemble, under the direction of Daniel Fabricius,  performed  the  work  in  1999,  followed by  tonight’s  special  guest percussionist,  alumna  Stephanie  Lehman’s  performance  with  members of  the Binghamton University Percussion Studio in  2008. Six Slick Stix Click Licks has also been perform ed throughout the U.S. as well as in Russia, Japan, Slovenia and the Philippines. 1L Lago di Como, I talia This is program  music, describing  the  serene quality of Lake Como in Italy. Located about 40 miles north of Milan, near the foothills of the Alps, the lake has a special beauty and calmness.  Paul wrote:  “In this composition, 1 reflected on the moods of this lake in Northe rn Italy,  It had a unique serenity that engaged my imagination to ponder the beauties of nature, wherever they are.  There was a special excitement  in  such  calmness.  1 invite listeners to visualize places from their own travels as they hear this music.” Originally  composed  for  saxophonist,  Jamal  Rossi  and  premiered  at  Ithaca College  in  1990  with  Paul  at  the  piano, versions were  created later  for  cello, bassoon or clarinet including performances by Binghamton University  faculty members Stephen Stalker (cello) and Timothy Perry (clarinet) both accompanied by Margaret Reitz (piano). III. Portraits (excerpts) Portraits  is a suite of six short pieces  for  solo piano.  It  was  composed  for Binghamton University faculty me mber Michael Salmirs and premie red in 2008. Paul wrote the following program notes at that time : “For some years, I have been exploring the idea that in a collection of pieces, each can have its own  complete identity and yet still be  part of the larger structure or context in which  it a ppears...Originally, each movemen t had just a musical title, such as “Prelude ” or “Scherzo", and most of the work was done with those titles in mind.  However, late in the process, I became aware of certain analogies to the �VL visual arts, and then to specific artists but not to specific works. Thus, there are two titles for each of the six sections.  The images seen here are meant to remind us of the general style of these artists.  It has been a special delight to compose for Michael Salmirs.  We spoke of the pieces often during the composition phase, and  many of the sketches were shared as the work was in progress.  I hope all composers could have the chance to work so closely with their performers”. IV. Aria and Chase This brief, two­part work was premiered at the Ithaca College School of Music in 2008.  lt was composed for this evening’s guest artists from the Ithaca College School of Music, Harold (Hal) Reynolds, Professor of Trombone and Associate Chair, Performance Studies and Diane Brrr, Professor of Piano and Associate Chair, Performance Studies. Every Evening (excerpts) This work  in  nine  movements, which  Paul  referred  to as. “a sort  of  dialogue between individuals in a relationship”, was inspired by poems first shared with him  in  2005 by Martin Bidney, Professor Emeritus of  English at Binghamton University.  The poems, a series of Spanish folk lyrics, had been translated into Russian by Konstantin Balmont about a century ago, and translated from Russian into English by  Professor  Bidney.  The  composition was  premiered at  the Binghamton University Musica Nova concert in 2009. ll. Your Heart and Mine Your heart and mine Took counsel together And both have decided They can’t live apart. Your eyes are azure, An  opening chord announces a basic sonority,  which  is  used  throughout  the introduction.  A series of short cadenza phrases leads to the song­like first section, featuring rolling chords in the piano and a lyrical melody in the solo trombone. At the climax of this aria, the music dives into the “Chase” section, with both instruments in  pursuit until the end. V. Pastorale II for Flute and digital delay At the premier of Pastorale II  for Flute in  2005 Paul wrote: “Pastorale II  for  Flute, dedicated  to  Binghamton  University faculty member Georgetta Maiolo, begins with a short, introspective phrase that unifies the piece.  The Pitches (C#­G#) and the rhythm (dotted eighth, sixteenth, eighth  in compound time) recur in  many forms as the piece grows to its highpoint and then returns to its origins.” Georgetta  Maiolo  provides some  background:  “Pastorale for  Flute  Alone”  was written in 1984.  Paul and I were assistant professors in the Ithaca College School of Music, at the time.  Paul showed the work to me and we collaborated on  the various tone colors, techniqum, and sound e ffects of the flute.  In 1990, it was performed as a world premiere on my faculty flute recital at Ithaca College.  In 1998, Paul and I  reunited as faculty members in  the  Depart ment of Music at Binghamton University.  We decided to revisit the work. but to add a digital delay or  sort  of  “electronic  reverb”  to the original.  I  premiered  this version,  now entitled Pastorale l l  for Flute on m y  faculty flute recital in 2005, with a subsequen t performance  on  the  Musica  Nova  Concert  in  2007,  and  as  a lecture/demonstration at SUNY Oneonta in 2007.” Your eyes are blessed. My own look and pray And they ask for your mercy. You are the pink of April And you the rose of May, The moon of January, And I beneath your spell. You’re brighter than the sun so bright, More white than whitest snow, You are the Alexandrian rose That blooms the year around. IV. Lullaby Sleep, my little baby, You are barely seen, Sleep, my little star Shining before the dawn. The rose falls asleep, Gleaming with dew. Night’s coming o Sleep, my child. VIL I Thought that Love 1 thought that love Was but a toy, But now I see You go through death. �I can ’t see in the window now The things I saw before. The window I am looking through Opens on loneliness. 1 live without life, To live such a life. Alive, I am not l iving. Living, I die. contribute to the intensity and forward movemen t.  His careful planning of both the accompaniment  and  melody ­  roles which are  shared  by each instrument throughout ­  results in a simultaneously harmonious and combative relationship between both players.  At one moment, a player may introduce the motive and pass it off to the other player who  continues develo pment.  Later, the motive  may be restated only as a fragment before being intercepted by the other player and further developed. Do not kill me, do not kill, Let me live, let me live. Let me pass, let me pass Through the achings of this world. The  harmonies are  not always stacked  but  are  at  times interlocked creating a blended mixture of sound one might not expect to hear from two instruments belonging to the same orchestral family. During the faster sections of the piece, his spacing of these instruments in  regards to register exploits the full range and unique timbre of each.  This piece ends where it began, only as Paul said, “with a finishing touch". IX. Every Evening Every evening I know I will feel your eyes shine, And I’ll know every evening that you will feel mine. And so, truly the moon, in the neamess of night, Will be mirror for us, in oblivion’s light! With this project, Paul decided  to challenge  himself by trying something quite different from his more typical approach to a new work.  “I drew a picture of how I wanted the overall piece to sound.  Usually, I go with a more intuitive approach. I decided in this case to do as much pre­compositional planning and structuring as possible.  ...l decided to take a more architectural approach.  That means that I spent time asking myself a lot of quiet questions.  Now that l have my blueprint, the intuition kicks in.”  Eventually, it became clear to Paul that the work would be written for a baritone soloist, pianist, two percussionists and a chorus of three sopranos.  The  baritone  soloist  at  the  premiere  was  former  Binghamton University faculty member Timothy LeFebvre.  Tim, currently Associate Professor of Singing at the Oberlin Conservatory of Music, has  returned  to perform the work again this evening. VIL Mallet Palette This work for marimba and  piano was composed in  2012 and was Paul’s final com position.  It was premiered at the Musica N ova concert that same year. Composer Christian Martin, a former student  in  Paul’s composition studio at Binghamton University, contributed the following program note: Paul’s taste for consonance and dissonance is evidenced by his playful bantering between pentatonic, chromatic, minor and major.  Agogic and dynamic accents enhance colorful pops of dissonance that permeate the otherwise tonal realm and Shakerpeare Mix (excerpt) Text from Twelfth Night (mostly) This threemovement work for chorus, two pianos and four percussionists, with text  from  Shakespeare’s comedy,  Twelfth  Night,  was  written  in  2002  for  the Binghamton University Chorus under the direction of Bruce Berton, Associate Professor of Music and Director of Choral Studies, and was last performed at the University Chorus concert in the spring of 2014.  The first movement, performed here, is an upbeat introduction.  The second is the lyrical core of the piece, featuring  the  chorus  and  vibraphone,  and  the  last  movement  is  the  most extensive, with two percussion interludes. Shakespeare’s plays fascinated and inspired Paul ever since he began his graduate studies at  the Eastman School of Music  and composed  incidental music  for productions of The Tempest,  Twelfth Night, Two Gentlemen of Verona and Richard H at the Rochester Shakespeare Theater. Later, he composed song cycles, orchestral pieces and choral works based on those plaw. Paul  loved  music, above all else, and  he  wanted  to communicate  that love  of music, the joy of living and pure  fun with this first movement from his often­ performed choral work, Shakespeare Mix. Enjoy! 1. lf Music Be the Food ofbove l f music    be the food of love, play on. Oh, spirit of love, how quick and how fresh thou art! Oh, give me excess of it. (Thanks to William Shakespeare for the  words that g o  w i th  this tune!) �I can ’t see in the window now The things I saw before. The window I am looking through Opens on loneliness. 1 live without life, To live such a life. Alive, I am not l iving. Living, I die. contribute to the intensity and forward movemen t.  His careful planning of both the accompaniment  and  melody ­  roles which are  shared  by each instrument throughout ­  results in a simultaneously harmonious and combative relationship between both players.  At one moment, a player may introduce the motive and pass it off to the other player who  continues develo pment.  Later, the motive  may be restated only as a fragment before being intercepted by the other player and further developed. Do not kill me, do not kill, Let me live, let me live. Let me pass, let me pass Through the achings of this world. The  harmonies are  not always stacked  but  are  at  times interlocked creating a blended mixture of sound one might not expect to hear from two instruments belonging to the same orchestral family. During the faster sections of the piece, his spacing of these instruments in  regards to register exploits the full range and unique timbre of each.  This piece ends where it began, only as Paul said, “with a finishing touch". IX. Every Evening Every evening l know l will feel your eyes shine, And l’ll know every evening that you will feel mine. And so, truly the moon, in the neamess of night, Will be mirror for us, in oblivion’s light! With this project, Paul decided  to challenge  himself by trying something quite different from his more typical approach to a new work.  “I drew a picture of how I wanted the overall piece to sound.  Usually, I go with a more intuitive approach. I decided in this case to do as much pre­compositional planning and structuring as possible.  ...l decided to take a more architectural approach.  That means that I spent time asking myself a lot of quiet questions.  Now that l have my blueprint, the intuition kicks in.”  Eventually, it became clear to Paul that the work would be written for a baritone soloist, pianist, two percussionists and a chorus of three sopranos.  The  baritone  soloist  at  the  premiere  was  former  Binghamton University faculty member Timothy LeFebvre.  Tim, currently Associate Professor of Singing at the Oberlin Conservatory of Music, has  returned  to perform the work again this evening. Vll. Mallet Palette This work for marimba and  piano was composed in  2012 and was Paul’s final com position.  It was premiered at the Musica N ova concert that same year. Composer Christian Martin, a former student  in  Paul’s composition studio at Binghamton University, contributed the following program note: Paul’s taste for consonance and dissonance is evidenced by his playful bantering between pentatonic, chromatic, minor and major.  Agogic and dynamic accents enhance colorful pops of dissonance that permeate the otherwise tonal realm and Shakespeare Mix (excerpt) Text from Twelfth Night (mostly) This threemovement work for chorus, two pianos and four percussionists, with text  from  Shakespeare’s comedy,  Twelfth  Night,  was  written  in  2002  for  the Binghamton University Chorus under the direction of Bruce Berton, Associate Professor of Music and Director of Choral Studies, and was last performed at the University Chorus concert in the spring of 2014.  The first movement, performed here, is an upbeat introduction.  The second is the lyrical core of the piece, featuring  the  chorus  and  vibraphone,  and  the  last  movement  is  the  most extensive, with two percussion interludes. Shakespeare’s plays fascinated and inspired Paul ever since he began his graduate studies at  the Eastman School of Music  and composed  incidental music  for productions of The Tempest,  Twelfth Night, Two Gentlemen of Verona and Richard H at the Rochester Shakespeare Theater. Later, he composed song cycles, orchestral pieces and choral works based on those plaw. Paul  loved  music, above all else, and  he  wanted  to communicate  that love  of music, the joy of living and pure  fun with this first movement from his often­ performed choral work, Shakespeare Mix. Enjoy! 1. lf Music Be the Food of  Love. l f music    be the food of love, play on. Oh, spirit of love, how quick and how fresh thou art! Oh, give me excess of it. (Thanks to William Shakespeare for the  words that g o  w i th  this tune!) �CHRONOLOGICAL LIST OF  COMPOSITIONS BY PAUL R.  GOLDSTAUB EARTHSHINE (1968), musical score and orchestrations for origin al musical (A) WANDERING ARAMEAN WAS MY FATHER (1969), full­length  musical theatre piece PINK IS FOR GIRLS, score  for musical (1970) THE BIG SHOW (1972), score and arrangements for musical FABLES HERE AND THEN (1973), score for musical ONE FLEW OVER THE CUCKOO’S NEST (1973), electronic music score for the play RICHARD II (1973), incidental music for the play (THE) TAMING OF THE SHREW (1973), incidental music for the play TWO GENTLEMEN OF VERONA (1973), incidental music for the p lay (THE) SIGNIFVING MONKEY AND OTHER TALES (1974), score  for full ­length  musical (THE) TEMPEST (1974), incidental music for the play TEMPEST SONGS (1974), for soprano and piano GRAPHIC IV (1975), for alto saxophone and celeste, published by K en Dorn Publications SERENADE FOR FLUTE AND HARP (1975) SIX LADINO SONGS (1975), for soprano, flute and harp MAY THE WORDS OF MY MOUTH (1976) for solo voice and choru s (a cappella with optional keyboard) published by Transcontinental Music Publica tions, 2008 SACRED SERVICE FOR WELCOMING THE SABBATH (1976), doctoral  dissertation (A) COMMON FEEUNG (1978), score for full ­length  musical CONCERTINO FOR FLUTE AND STRINGS (1978) FANTASIA ON ‘ANGELS WE HAVE HEARD ON HIGH’ (1978), for ch orus, orchestra, brass ensemble, percussion ensemble and organ (THE) MARRIAGE PROPOSAL (1978), chamber opera FESTIVAL PRELUDE (1980), for orchestra (second version for win d ensemble) (THE) STARS S ING A MUSIC (1981), chamber opera FROM ‘THE SONG OF SOLOMON’ (1982), for chorus SONATA FOR SAXOPHONE (1982) CHAMBER MUSIC (1983), for chorus, published by Lawson­Gould M usic Publishers, 1984 (A) CHAMBER SYMPHONY (1983) PEER GYNT (1983), incidental music for the  play GOD IS OUR SHELTER (1984), for contralto and organ PASTORALE (1984), for flute (THE) SILVER SWAN (1984), for chorus, published by Lawson­Goul d Music Publishers, 1984 THREE SISTERS (1984), incidental music for the play VARIATION SONATA: JOURNEY THROUGH PRISMS (1984), for pi ano (THE) TROJAN WOMEN (1985), chamber opera I AM PROSPERO (1986), for chamber orchestra LOVE’S VOICES (1986), for tenor and piano (THE) MOVIE IN MY HEAD (1986), for six instruments ON THE RAZZLE (1986), incidental music for the play COLUMBUS (1987), a theatre piece SONATA FOR FIVE TRUMPETS (1987) PETRUCHIO! (1988), an overture for chamber orchestra CHOOS ING TO BE (1989), for orchestra VENETIAN ECHOES (1989), for trombone ensemble, published by I TA Press, 2004 LAGO dl COMO, ITALIA (1990), for alto saxophone and piano (later  versions for cello and bassoon) SCHERZO (1990), for women’s voices  and piano, published by Roger  Dean Publications, 1997 SIX SLICK STIX CUCK UCKS (1990), for percussion trio, published  by Marimba Productions, Inc., 2001 DRIVING IN MANHATTAN (1992), for brass quintet REVERSE THUNDER (1992), incidental music for the  play by Diane  Ackerman CLAP! TAP! SNAP! (1993), for soprano, guitar, cello, harp and piano (THE) JOURNEY (1994), for harpsichord and nine instruments SCHERZO (1992), for woodwind quintet FOUR VOCAUSES (1995), for soprano, guitar, harp and double bass (A) TIME FOR WONDERING (1995), for chorus, brass and percus sion HALGORHYTHMS (1997), for trombone and percussion ensemb les QUARTET FOR STRINGS (1997) CADENZA (1998), for solo violin PRELUDE AND ALLEGRO (1998), for clarinet and piano SILVER SONG (1998), for flute, percussion and keyboards SIX (1998), a dance score for pianos and percussion THREE PIECES FOR PIANO (1999) TRIPLE ANTIPHONAL SESQUICENTENNIAL OVERTURE (1999), for  brass and percussion CHANUKAH VARIATIONS (2000), for horn ensemble LORD, MAKE ME AN INSTRUMENT OF THY PEACE (2000), for ch orus, trombone and organ MICHELANGELO (2000), film score OUT THERE (2000), song cycle for voice and piano COUNT! (2001), for bassoon  ensemble OPPOS ITES ATTRACT (2001), for saxophone trio REMEMBRANCE AND REFLECTION (2001), for trombone ensemble SHAKESPEARE MIX (2002), for chorus, pianos and percussionists TOCCATA (2004), for organ ARIA AND CHASE, (2005), for trombone and piano FOUR PRELUDES FOR PIANO (2005) PASTORALE II  (2005), for flute and digital delay MUSIC FOR STRINGS (2006), for orchestra YOU CAN HEAR IT (2006), for three choruses, piano and brass PORTRAITS (2007), for piano EVERY EVENING (2008), for baritone, sopranos, percussionists a nd piano (THE) SILVER SWAN (2008) for solo quarte t and chorus DOUBTFUL SOUND (2011) for flute MALLET PALETTE (2012), for marimba and piano, to be  publishe d by Keyboard Percussion Publications/Marimba Productions, Inc. �B ingha m to n  U n iversi ty   m m w De pa rt m e n t of M usic Com ing Even ts m w w t é é n fi b Friday, February 6  ­  Tr i­C ities O pe ra pr 8:00 p.m. ­  The Forum Th eater ­ c esents  R ossini ’s  The Ital all  (607) 772­0400 for ticke ts ian  G irl  i n  Algiers ­ Sa turday, Fe brua ry 7 ­ G uest Artis t : P ian ist G leb Iv anov ­  7:30 p.m . ­  Ande Chamber H all  ­ $20 gene rson Cen ter ral public; $15 faculty/sta ff/seniors/alumni; $10 for  students Sunday, February 8 ­  Tr i­C ities O pe ra  prese nts R ossini ’s  8:00 p.m. ­  The Forum Th The Italian  G irl  in  Algie eater ­ call  (607) 772­0400  rs – for tickets Th ursday, Fe brua ry 26 ­ M id­Day Conce rt ­  1:20 ­  p. m.  – Casadesus Reci tal  Hall  ­ free Th ursday,  Fe brua ry  26  ­  Tri­C ities  Opera   presen ts  Michael  Ching’s  “S pee To night! ” – 8:00 p. m.  ­  d  Da ting Opera  Ce nte r, 315 Clin ton  Stree t, Bingha m ton , N 772­0400 for tickets Y  ­ Call  607­ Friday,  Fe brua ry  27  ­  Tri­C ities  Opera   presen ts  Michael  Ching’s  “S To night! ” – 8:00  p. m.  ­  peed  Da ting Opera  Ce nte r, 315 Clin ton  Stree t, Bingha m ton , N 772­0400 for tickets Y  ­  Call 607­ Sa turday,  Februa ry  28  ­  Joint Ju nior  Recital: Bran don  Young,  tru m pe t  an Beard , trom bone ­  3:00 p d  Chris .m . ­  Casadesus Reci tal H all ­  free Sa turday,  Fe brua ry  28  ­  Tri­C ities  Opera   presen ts  Michael  Ching’s  “S pee To night! ” ­ 8:00 p. m.  ­  d  Da ting Opera  Ce nte r, 315 Clin ton  Stree t, Bingha t mo n, N Y  – Call 607­ 7720400 for tickets. Su nday, March 1 – Sona ta Maste rpieces for  cello  and  pia no with  Stephe Ste phen Za nk  – 3:00 p. n Stal ke r a nd m.  ­  Ande rson Cen ter C ha mber  Hall ­ $10 general p fac ulty/staff /se niors/ alu ublic ; $7 m ni;  $5 fo r stu de nts Th ursday, Ma rch  5 ­ M id­ Day Conce rt ­  1:20 p . m.  ­  Casadesus Reci tal  Hall  ­  free Friday, Ma rch  6 ­  Maste r’s Reci tal : N icholas Foll ett, saxophone ­  7:30 p . Recital Hall ­ free m.  ­  Casadesus é fi é é fl u é b ­ fi m ­ G M W I V M For  tickets  or  to  be  added  to  our  email  list ,  visit anderson.binghamton .edu or  call (60 7) 777­A RT S. For a complete list  of  our  concerts  «cal  (60 7)  77 7­2 59 2,  visit music.binghamlon.edu or b ecome a fan on Facebook. If  you were  inspired by  this   performance, consider suppo rting  the De partment of Music with  a financial gift. Your sup port helps to continue  the work of stude nts, faculty,  and guest artist s and  their contributions  to  our  com munity,  Please  make  you r  donation payable to  the Binghamton  University Music Departm ent , and send  your  check  to  BU   Music  Department,  P.O .  Box 6000,Bin ghamton, NY  13902 . � 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;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:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:04:21 15:34 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74875">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74875</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A tribute concert in memory of Paul Goldstaub Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Held at 7:30 p.m., January 31, 2015, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Goldstaub, Paul R Bidney, Martin Birr, Diane Borton, Bruce Fabricius, Daniel Gac, Jenny Geyer, Stacey Goetz, Emily Lawson, James, William LeFebvre, Timothy Lehman, Stephanie Maiolo, Georgetta Perry, Timothy B Reitz, Margaret A Reynolds, Harold A Salmirs, Michael Smales, Joel Smith, Abigail Publisher An entity responsible for making the resource available Binghamton University Libraries Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound