14 10 2083 https://omeka.binghamton.edu/omeka/files/original/12d75fe17bef973cd91c5f37b4801c27.pdf 67bf9d1f684cecab9b314e6b4858258e 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 I T Y   O F   N E W  Y O R K u d w [4 D E P A R T M E N T Binghamton University Opera Wo rkshop p resents OPERA SCENES WITH SCENES FROM THE MARRIAGE OF FIGARO, Cosr FAN TUTTE, CARMEN, OF  MICE AND MEN, THE CRUCIBLE, Lakmé AND  TURANDOT Willie A nthony  Waters , Music Direct or/Con ductor John Isenberg, Assistant Music Director/ P ianist David Carl Toul son, Stage Director Thomas Goodheart, Stage Director, Lakme Matthew Samluk, Stage Manager Sunday, March 15, 2015 3:00  p.m. Phelps Mansion �so PROGRAM  oz  (casts in order of vocal appearance)  Léo Delibes:  LAKME QUINTET Act I, Scene 3 (1883)  Ellen Frédén’c . Stacey Geyer, soprano ..Max Rydqvist, baritone  .Cole Tomberg, tenor .Christina Santa Maria, soprano Miss Bentson .Karima Jibril, soprano Gérald. Rose . , l l . Two  British  officers  are  having  a picnic  with  two  British  girls  and  their governess.  The girls see jewelry left by Lakmé, the daughter of a   Hindu priest. They comment on her beauty, the beautiful surroundings, and they discuss the various customs and habits of “exotic” women, as opposed to British women. Pang Don Alfonso. Ferrando Guglielmo . Despina . Fiordiligi . Dorabella. . Nikolas Arden, baritone .Abigail Smith, soprano .. Stacey Geyer, soprano hide thefact that Cherubino, her page, had been in the room with the Countess  and her maid, Susanna ­ the Count is a jealous man and might react negat ively. There is a sudden noise from an adjoining room.  The Count hears the noise; the Countess lies and says Susanna is in the room and the door is locked.  The Count does not believe her and they get into a spat, which Susanna observes. T  RAND  T ­ A   II  cesne  1 1 9 2 6 ..CodyRay Caho, baritone . Cole Tomberg, tenor Ricky Nan, tenor Wolfgang Amadeus Mozart: COSI FA  TUTTE ­ Act I finale (1790) Wolfgang Amadeus Mozart:  LE NOZZE Dl FlGARO Act II, Scene 3 {1786} Count  Almaviva  approaches  his  wife ‘s  bedroom,  and finds  it  locked.  He comments that this is not her usual custom.  The Countess nervously tries to . Jenny Gac, soprano Jordan Schreiner, tenor The opening of Act 2 of Puccini ‘s final opera finds Turandot ’s three ministers, Ping,  Pang  and  Pong,  discussing  the  terrible  state  of  things  in  Peking  ­ T ttrandol has vowed she will never marry unless her suitor can answer three riddles.  If he fails, he will be executed (as many have been in the past).  The ministers are nostalgic about  their  homes in  the country far away from  the blood and violence of Peking. Jordan Schreiner, tenor . Jenny Gac, soprano Seville to find him, to bring him money and a kiss from his mother. Countess. Susanna C E  a n d M   EN,  , Act III, scene 1 (1970) Based  on  John  Steinbeck ‘s  classic  novel,  Carlisle  F o nd ‘s  music  drama  is considered a masterpiece.  This scene takes place in a barn on a farm.  Lennie Small, a slightly retarded man who doesn’t recognize his own strength, laments the fact that he has just killed his puppy (accidentally).  The head ranch hand ‘s wife (only known as (‘urley ‘s Wife) enters the barn, dressed up and carrying a suitcase  –she  is  tired  of  life  on  the  farm,  and  has  decided  to  leave  for Hollywood.  They both sing of their dreams ­  he wants to own a farm with lots of pets, and she wants a glamorous career as a movie star. Ping Pong. Don José has joined the army and is stationed in Seville after killing a man in his home town during a game of p  elota.  His girlfriend, Micaéla, travels to Count. Curley‘s Wife. Lennie iacom  Georges Bizet: CARMEN ­ Act 1 scene and duet (1875) Don Jose'. Micaéla. Cnrlisle Floyd  O F   i Josiah Davis, bass­baritone . Kevin Truax, tenor ..CodyRay Caho, baritone Rachel Young, soprano Jenny Gac, soprano .Lindsay Brown, mezzo­soprano Two  young  soldiers,  Ferrando  and  Guglielmo,  enter  into  a  wager  with  a cynical older man, Don Alfonso: he declares thal women cannot be trusted to be faithful, including the guys ' girlfriends, the sisters Dorabella and F iordiligi. Alfonso devises a  plan  to prove  his  point,  and enlists  the assistance of the girlfriends’ maid, Despina.  The guys agree to follow his instructions to the letter in order to make the plan work:  they will pretend to go away to war, and will return disguised as Albanian soldiers.  Upon their return, the ‘soldiers ’ are introduced to the sisters, who immediately order them to leave.  Despina enters �disguised as  a doctor.  The guys pretend to take poison  in  their despair at having been dismissed.  The sisters relent somewhat.  Despina, with the help of a giant  magnet, pretends to revive them.  The guys protest their love to the other’s girlfriend.  Despite the guy ‘s continued and ardent protestations, the Binghamton,  NY.  first  as  Accompanist,  then  additionally  as  Education  Outreach Coordinator  and  Chorus  Master.  As  part  of  Opera­GoRound  touring  program,  he accompanied  over  500  performances  throughout  New  York  State  and  northern Pennsylvania. John has played for WSKG radio broadcasts of several Operalogue preview women continue to rebuff their entreaties, and Alfonso sees signs that his plan is beginning to work. performances including Puccini’s Madama Butterfly. Donizetti’s Luc ia d i  Lammermoor 80  ABOUT THE DIRECTORS 08 currendy  (he  Organist/Pianist  and Choir Director at  Sarah Jane  Johnson Memorial United Methodist Church in  J ohnson City. Maestro  Willie  Anthony  Water!  is  formerly  General  and  Artistic  Director  of Connecticut Opera, and formerly Artistic Director and Principal Conductor of Florida Grand Opera.  He has been a guest conductor  for the Australian Opera (now Opera Australia), Boston Lyric  Opera, Cologne  Opera. Florida Grand Opera, Fort  Worth Opera. Michigan Opera Theatre, New York  City Opera, L’Opéra de Montreal. Opera Memphis, San Diego Opera. Vancouver Opera, Opera de Québec and opera companies and symphony orchestras in Cape Town, Pretoria, and Durban, South Africa. He has conducted concerts with the Hartford Symphony,  the Florida Philharmonic, Detroit David Carl Toulson,  rage director, relishes the process of taking a show from the score to the stage, leaving his mark on the grande  of art forms and is consistently praised for Symphony. Indianapolis Symphony as well as several European orchestras, including the Bavarian Radio Orchestra in Munich. He conducted two gala concerts (for Connecticut Opera  and Opera  Colorado) with  renowned  mezzosoprano  Denyce Graves.  In  May, 2005, he was awarded an honorary doctorate from the University of Hartford/Hie Ham School for his contributions to the musical life of the city of Hartford. Maestro Waters is a frequent guest  panelist on the quiz of the  Metropolitan Opera  broadcasts.  lu July, 3008, he made his debut at  the Deutsche Oper, Berlin, conducting the Cape  Town Opera production of Porgy and Bess. (He conducted the first­ever production of Porgy  in Cape Town in 1995).  From 2009 to 201 2, Mo. Waters was Adjunct lnsrnictor of Opera. and Music Director  of (he  Opera  Theater at  the University of Connecticut (Storrs). Since  2004,  he  has  been  music director of Prelude  to  Performance, a  summer  training program for young singer. sponsored by the Martina Arroyo Foundation in  New York City. lu January, 2011 Maestro Waters conducted the 31* annual Martin Luther  King Celebration  Concert  with  the  Cleveland  Orchestra.  Bernstein’s  Candide  for  the University of Connecticut’s Opera Theater, “A Night at the Opera” with the Hartford Symphony, and an evening of opera choruses with Concora, a fully­professional chorus in Hartford.  Among his most recent engagements are Tosca for Opera Memphis, The Grand  Duchess  of  Gérolstein,  for  the  Franco­American  Vocal  Academy  (France)  and University o f Connecticut Opera Theater, The Tales of Hoffmann for the Franco­American Vocal  Academy.  and  Die  Fledermaus  at  Northwestem  L’niversity.  He  has  recently conducted L’Elisir d’amore and I l  Barbiere dl Simghd for Prelude.  He w ill  conduct Madama Butterfly for Prelude this summer. John lsenberg. a native of Endicotr. NY. holds a Bachelor’s Degree in Music and a Master’s Degree in Italian Literature from Binghamton University. In addition to opera, he performs many musical genres  including musical theater.  traditional Scottish and various  styles  of  sacred  music.  John  formerly  worked  for  (he  TriCities  Opera  in and Mozart’s  The  Magic  Flute. He has worked with numerous  theater and  musical groups in the Binghamtou area, including SRO Productions, the Madrigal Choir of Binghamton, the Binghamton  Downtown Singers and the Summer Savoyards. John is his ability to transform opera characters into living breathing people and for his clarity in  storytelling.  h  is  these  attributes  that  allow  him  to  create  fresh  and  exciting productions that capture audiences. The new year contains several exciting projects for Mr. Toulson including a scenes program for Webster University in  St. Louis. a one­act opera based on the life of Muhammad Ali  for North Carolina Opera. his directorial debut with Tri­Cities Opera. and a return to Temple University in Philadelphia to direct a production of Mozart’s La  finta giardiniera. Thomas Goodheart, baritone, Assistant  Professor of Voice at Binghamton L’niversity BM, MM Manhattan School of Music, Voice faculty at Purchase College Conservatory of Music 1999­2010. Baritone Thomas Goodheart has performed over 40 leading roles in  opera  and  oratorio with  companies  throughout  the  United States  including The Opera  Theatre  of  St.  Louis,  Chautauqua  Opera,  New  York  City  Opera  National Company. Connecticut Opera. Opera Theatre of Pittsburgh. Des Moines Metro Opera, Artpark Opera and Tri­Cities Opera. Recent performances include the American stage premiere of the role of Bruno in James MacMillan’s opera Parthenogenesis. Leading roles include Marcello in La  Bohéme, Escamillo in Carmen, Germont in L a  Traci­am. Sharpless in  Madama  Butterfly,  Michele  in  ll Tribune  and  Enrico in  Lucia  di  lammermoor.  Mr. Goodheart has  appeared as  a guest soloist with symphony orch o (as  in  the United States and  South  America.  He  has  received  awards  from  the  Metropolitan  Opera National  Council,  the  New  York  State  Council  on  the  Arts,  the  Joy  in  Singing Competition, Bel  Canto Opera Foundation,  the  Ezio Pinza Counc il  for  American Singers, the Lincoln Center Institiute and the Tri­Cities Opera. Mr. Goodheart is the Director o f Vocal/Opera studies for the “Songe d’été en musique” Festival in  Quebec. Canada. Mr. Goodheart maintains a private voice studio in NYC and is on the voice faculty of The Westchester Summer  Vocal  Institute, the  Metropolitan  International Music Festival, New York City.  His students have gone on to graduate study at  the Juilliard  School,  Eastman  School  of  Music,  Mannes  College  of  Music,  Indiana University. Manhattan School of Music. Guild Hall (London, England) and the Opera Institute  of  Boston  University  among  others.  They  have  won  prestigious  voice competitions and are singing professionally throughout the United States and Europe �Matthew Samluk is a recent graduate of the Masters of Music program at Binghamton University. He has appeared on stage with  Tri­Cities Opera as Colline in La Boheme .Ferrando  in Il  Trovatore,  and  Frank  in Die Fledemnaus. On  the  concert  stage.  Mr. Samluk  has  been a  guest  artist  with  the  Schuylkill Valley  Symphony  (Brahms’ Ein Deuuclws  Requiem and  Faure’s Requiem),  Pottstown  Symphony (Handel’s Messiah). and Reading Choral Society (Vaughan Williams’ Fantasia on Christmas Comb). 80  ABOUT THE PERFORMERS 03 Soprano Stacey Geyer is a first­year master’s student in  Binghamton Unive .'ty’  M.M. Opera  Program,  studying  privately  with  Professor  Thomas  Goodheart.  A  four­time winner  of  the NATS vocal competition, she  travelled  to Verona, Italy,  to attend  the Opera Viva! Program, interned and performed with Opera Theater Pittsburgh and New England Consenatory. and was a featured soloist in Songe d’été en  musique Music School and Festival in Québec. While in her undergraduate studies at Susquehanna University. Ms. Geyer had the privilege of performing a diversity of major roles. including the title role in Suor Angelica, Adele in Die Flzdennaus, soprano soloist in Francis Poulenc  Gloria, as well as Cinderella in  law the Woods. Ms. Geyer hails from the small town of Halifax. Pennsylvania. Max Rydqvist, baritone, is currently in the chorus at Tri­Cities Opera. This is his second year at Binghamton University. H e  is  from Stockholm, Sweden and has sung with a boys choir in Oslo that has toured Europe. He has also sung the father in Hansel and Gretel and the roles of John the Baptist/Judas in the musical “Godspell” in high school and has been in all­state and all­county choirs. Max has received the John M. and Marcella M. Keeler Scholarship in  Music this semester.  Max attended the Westchester Summer Vocal Institute in New York this past summer, as w ell as Songe d’ete en Musique Quebec.  He is working towards a Bachelor o f Music Degree in  Vocal Perfonnance.  Max is a student o f Professor Thoma, Goodheart and coaches with Maestro Willie Waters. Cole Tornberg, tenor, is a junior in Binghamton’s Music Performance undergraduate degree program. Cole comes from the Villag e of Sea Cliff. His recent roles include an excerpt from Manon by Massenet as Le  Chevalier des Grieux, Lord Tolloler in lolanrhe, The Witch in Hansel and Gretel, and Marco  in The Gondoliets. He has  also been actively  singing  in  the  chorus  for  Tri­Cities  Opera  including  their  most  teccnt productions  of  Rigoletto,  La  Bahéme,  Carmen  and  Don  Giovanni.  Cole  studies  with Professor Mary Burgess. Christina Santa Maria, soprano, is a senior Bachelor of Music  student studying with Mary  Burgess.  Her  roles  include  both Gretel and Hansel in  BU’s  201 2  and  2013 productions of Humperdinck’s Hansel and Gretel, the soprano soloist in Bach’s Christmas Oratorio with the BU Symphony Orchestra and Chen  (2013) and several opera scenes with the Stage Techniques for the Singing Actor class. She is currently a member o f University Chorus and has performed in Tri­Ciries Opera Chorus from 2011­2014. She has performed at venues in Italy, Austria as well as Avery Fisher Hall, Carnegie Hall, Jazz at Lincoln Center, Madison Square Garden with Elton John and The Barclay Center with Barbra Streisand. Karima J ibril is a sophomore from Staten Island, New York and she is currently working towards  her  Bachelor  of  Music  Degree  in  Vocal  Performance.  Her  perfonnance experience includes Valerie Zeta in LaGuardia High School’s production of The Merry Widow  and  an  extensive  choral  background  performing  works  such  as  leonard Bernstein’s  Chichester  Psalms.  Her awards  include  the Polydor Music  Scholarship  for vocal, second place in the Richmond Choral Society vocal competition, and the Emily A. Nielsen and Orville F. Nielsen, MD  Music Scholarship  in honor  of Professor  Mary Burgess. Karima is a student of Professor Mary Burgess. Jordan Schreiner, tenor is a first year Masters student pursuing an M.M. in Opera in conjunction with Tri­Cities Opera’s Resident Artist Training Program and studying with Professor Mary Burgess.  Jordan received his Bachelor’s Degrees in Vocal Perfonnance and Music Business: Management at Mansfield University where he studied with Dr. Alissa Rose.  His recent performances include his Tri­Cities Opera debut as  Botsa in Verdi’s Rigoletto as well as appearances with the Mansfield University Opera Theatet as Frederic in Gilbert and Sullivan’s Pirates of Penzance and Martin in Aaron Copland’s The Tender  Land. This past spring Jordan was awarded first place in the Senior Men division at the Eastern Regional NATS competition at Hofstra University. Jenny Gac, soprano, is from Newark Valley, NY  and is concluding her master’s studies in opera at Binghamton University and Tri­Cities Opera. Previous roles include Countess Ceprano in Rigoletto, Sally in Die Fledermaus, Rosalinda in Die Fledermaus (scenes), Mother in Hansel  and  Gretel. First  Lady  in The  Magic  Flute (scenes).  Zerlina  in Don Gtomnnl (Scenes). and Nora in The Sailor­Boy and  the Falcon. She ha. also appeared as the soprano soloist in  Dvorak’s Te Deum. She has been awarded 1 st place in  the NA TS vocal competition a n d   is  the  recipient o f  a  Binghatnton University Graduate Assistantsh ip, Jewel Griffith Vocal Music Scholarship, New York State Retired Teachers Association Scholarship,  and  the  SL’NY  Potsdam  Adirondack  Mountain  Scholarship.  She  is  a student o f Prof. Mary Burgess. Nikola! Arden, baritone, recently moved from Chicago, lllinois to begin his Masters of Music in  Opera at Binghamton University. H e  completed a Bachelor of Arts degree in Vocal Performance with a theater minor from  Butler University and has done graduate work in vocal performance at Northwestern University. Mr. Arden is a graduate of the young artist programs of Cedar Rapids Opera Theatre and Opera Santa Barbara. His opera  credits  include  Melchoir  in  Amalil  and  the  Night  Visitors,  Scarpia  (cover)  and Sciarrone in Tosca, Tonio in Pagliacci, Count Almaviva in Le Nozze di Figaro, and Ford in Falsmff.  ln  addition  to opera  Nikolas’ concert  repertoire  includes  the  baritone/bass soloist in Dubois Les sept paroles du  Christ, Faure’s Requiem, Brahms’ Ein deutsches Requiem, �Handel’s Messiah, Mozart’s Requiem, and CPE Bach’s Magnificat. Mr. Arden currently studies  with  Thomas  Goodheart  and  coaches  with Diane  Richardson and  Stephen Crawford. Abigail Smith, soprano, is a first year masters student in the MM Opera program at Binghamton  University.  where  she  studies  with Mary  Burgess.  Abigail was  recently featured as a Dater in  Speed Dating Tonight with Tri­Cities Opera and as Alice Ford in scenes from Falstaff with Binghamton University. Ms. Smith recently graduated with her BM  in  Vocal  Performance  from  Boston  University  Abigail  was  featured  in  several mainstage productions with the Boston University Opera Institute. including the Boston premiere  of  Daniel  Catan’s Spanish  opera  Florencia  en  el Amazonas.  Abigail  was  a member of Boston University’s Opera Workshop program for 2 years and was awarded the  Boston University Departmental Award  for Opera by the Opera Institute. Favorite roles include Beatrice Mitchell in Three Decembers. Vitellia in La  clemenza di Tito, and Second Woman in Dido and Aeneas. In  the summer of 2012, Abigail was a Young Artist with the  International  Performing Arts  Institute  in  Bavaria,  where  she  performed  in scenes, masterclasses, and lieder concerts. This April, Abigail will perform in Faust with Tri­Cities Opera where she w ill s ing in  the chorus and cover the role of Marguerite. CodyRay  Caho  is  currently  studying  his  master’s  degree  in opera  performance  at Binghamton University under the direction of Thomas Goodheart. Mr. Caho holds a bachelor’s of Vocal Performance from SL’NY Fredonia. He has performed with Tri­Cities Opera, Greensboro Light Opera and Song, Westem New York  Chamber Orchestra, Hillman, Opera, SUNY Fredonia, and Crittenden Opera workshop. His roles include Marullo in Verdi’s Rigoletto, Giuseppe in  Gilbert and Sullivan’s The Gondoliers, Frank in Strauss’ Die Fledermaus, Alidoro in  R ossini’s La  Cenerentola, The Secret Police Agent in  Menotti’s The Consul, Marco in Puccini’s Gianni Schicchi, Pish­Tush in  Gilbert and Sullivan’s The Mikado among others. Ricky  Feng  Nan  (Fenton and Dr. Caius),  tenor,  is  an  international  student  from Guangzhou.  China.  He  is currently  pursuing  a  Bachelor  of  Arts  degree  in Vocal Performance at Binghamton University, where he is  in his final year of study. Ricky has sung in the chorus at Tri­Cities Opera in  both production of Orv­men. and Die fledmnaus, He won the first runner­up in  his division of the NATS Regional Conference in 2014, and second place in the 2014 Chinese American Singing Contest. Ricky is a student of Professor Thomas Goodheart and coaches with Professor William Lawson. Josiah Davis is a  twenty’three year old  bassbaritone  from Ossining, NY .   He recently completed his Bachelor o f Music  in Vocal Per formance  from the University o f  Mary Hardin­Baylor in Belton, TX, where he studied with George Hogan.  He is pursuing his Master of Music in  Opera from Binghamton University currently. where he studies with Tom Goodheart.  Josiah has performed as Dr. Falke in Johann Strauss’ Die Fledermaus, Guglielmo in Mozart’sCosi Fan Tutte, Gasparo in Donizetti’s Rita, Dr. Dulcamara in John Davies’ Pinocchio, Wolfgang Bigbad in John Davies’ The Three Pigs, and The Big Bad Wolf in  John Davies’ Little Red’s Most Umuual Day Tenor  Kevin  Truax,  a native  of  Pennsylvania,  is  currently  completing  his  Master of Music in Opera degree at Binghamton University and received his Bachelors of Music in  Vocal Performance at Susquehanna University. He has appeared on  stage with Tri­ Cities Opera in the ml  of El Remendado in Carmen, Don Ottavio in Don Giovanni, and Alfred in Die Fledermmo.  He has also performed the role of the  Witch in Hansel and Gretel as part of Binghamton University Opera Studio and will be performing the role of Bardolfo  in their  upcoming  performance  of Falstaff in  December. Kevin has  served locally as a  soloist with the SUNY Broome Orchestra and in  Binghamton University Choms’s performance of Bach’s Christmas Oratorio last year. He is a student of Thomas Goodheart. Rachel  Young, soprano, is a third year undergraduate voice student of Professor Mary Burgess  in  pursuit  of her  Bachelor’s  degree  in  vocal  performance  at Binghamton University.  At  BU, Ms.  Young  has  performed  the  role  of  Gretel  in  Engelbert Humperdinck’s  “Hansel  and  Gretel”  as  well  as scenes  from  Verdi’s  “Falstaff”  as Nanetta, scenes  from Mozart’s  “Cosi  fan  tutte”, “Le nozze di Figaro". and Donizetti’s “L’elisit  d’amore”.  Ms.  Young  recently performed  the  role  of  Kaylee  in  Michael Ching’s opera “Speed  Dating,  Tonight!”  with  Tri­Cities  Opera  company. Additionally“ with TCO, she sang in  the chorus of “Carmen” and. in  April. w ill sing in the chorus of  “Faust".  On April  35th she will  give  a free junior  recital at 7:30  PM  in Casadesus recital hall. She thanks her friends and family for their unending support and love. Lindsay Brown, mezzo­soprano  is a  first year Masters of Music  in Opera student at Binghamton  University.  Lindsay  received  her  undergraduate  degrees  in  Vocal Performance and Music Education at Mansfield University in December 2013. Lindsay made  her  professional debut with Tri­Cities Opera this past October as Giovanna  in Verdi’s  Rigoleno.  Performances with Mansfield  University Opera  Theater  include  Ma Moss in Copeland’s The  Tender Land,  The Duchess in Samuel Adler’s  The Outcasts of Poker  Flat, Third Lady  in Mozart’s The  Magic  Flute,  and  Marcellina  in The  Marriage of Figaro. Lindsay has also made appearances as a concert soloist. performing sections from Bach’s Missa Brevis in F, Haydn’s Mass in Time of War, Mozart’s Requiem in D Minor and Handel’s Messiah. Upcoming engagements for Lindsay include Marthe in Faust with Tri­ Cities Opera. Calli  Seigart (1st  Friend),  soprano,  from  Syracuse,  New  York  is  a  sophomore  at Binghamton  University  working  toward  a  Bachelor  of  Music  degree  in  Vocal Performance.  Ms.  Seigart  was  recently  seen  in  the  chorus  of Die Fledermaus and Carmen with Tri­Cities Opera. Over the summer she participated in  Songe d'été  en  Musique, a  music  program  in  Quebec.  She  is a  student  o f Prof.  Thomas Goodheart. Soprano  Carina Kahane  is a  freshman voice  student  in Mary  Burgess  studio.  She graduated from LaGuardia High School  for Performing Arts this past June, and is very happy to be a part o f Binghamton’s wonder ful music program. Carina was cast in  two fully staged opera productions at LaGuardia; The Merry Widow, and la Belle  Helene. �, . ­ .  . . . ' S l i t  a l s o  p e r f o r m e d  i n  s e v e r a l  o p e r a  s c e n e s  d u r i n g  l i c r  t i m e  a t  l a k i u n r t l m .  S o m e  o f  h e r   scene  roles  include  Zerlina  in  a scene  (mm  Mozart’s  Don  Giovanni, and  Lakmé  in  .I  B i n g h a m t o n  C 0 ’ n m u n n j ) O   r c h e s t r a   l  7. scene I’rnm Delibe’s l Lakmé.  l  2 3  l r i C i r m  Opera tlclmt in 20 1 3 as Zuniga/Carmen and since then has per formed the roles  of Lrporrllu/lhm Giovanni, Frosch/Die Fledermaus, and Count k‘i­pmno/Rigoletru. Critics  called  his Leporello “one o f  t h e  highlights o f  the evening...” a n d ,  “as  the  jailer  Frosch,  and  Tree/Armchair in  L’unfant et  les Smuleges (Bel Cantanti Opera), Antonio (cover)/Le Nozze di  Figaro, and Guccio, Betto (cover), Spinellocc io (cover)/Gianni Krlnt’tlu (Hubbard  Hall  Opera  Theater).  Stamatis  continues his  2014­1 5  SEASON  with  Tri­Cities Opera in   i l a   :  February  as  laxltlvo  in Ross n i ’ s   L ’ l t a l i a na  in   Al ger i .   W i t h  t h e   B i n g h a m t o n   l  m w r d n   Orchestra he has performed as the Bass soloist in Bach’s Ch ristmas Oratorio (part one). .  _  A  ’  and also performed a pair of  arias tmin Mozart’s Le  Nozze tli Figaro as a winner oi the  <  l  P r e s e n t i n g  Q u a l i t y  y ’ a k ‘ r M / fi f t fl l w f ” “    4  B a s s b a r i t o n e  J a k e  S t a ma t i s  i s  o n  t h e  c u s p  o f  a n  e x c i t ing  c a r ee r  i n  ope r a .  H e  m a d e  h i s   [Stamatis] never mug a note yet stole  the third act with  lns  hilarious delivery  of lines.”  Other  roles  from  his  2013–14 season  included Captain von  Trapp/The Sound  of  Music,  .  l  2 2 0 , + 2 0 , 5  g  l  .  _ i  g) :  . . . E B  , .  “ T h e  Nligh‘." H andful”  &  Saturday, November 2 ’  2014  ' ' e E “HOW S u i t e  I t  1 5!”  ]l  hf  lllJ Saturday. February 28­ 2015;  3  & .  .  “Romantic Spring”  '  x  L 1 o y a Saturday, May 9   201 5  Y s   l  L – I  E u  © t  . –   ’  I  2 Yeo) Welcoming back to the podium as conductor  ;  > , _  D r.  T imothy Per r y  2013­14 BU  Concerto &  Aria  Competition. Stamatis received  his  Bachelor’s Degree in  Vocal Performance at Susquehanna University where he studied with Jeffrey Fahnestock. He is currently pursuing .n  Master’s Degree in  Opera here at Binghamton University  in   :  3 I “d u C o n c e r t s  s t a rt  a t  7  p m   i  East Middle  school  1 6 7  E ast Frederick Street  conjunction  with  Tri–Cities  Opera Compam ’s  Resident  Artist  lrnlnina l‘rugmm.  H e   studies with  Thomas Goodheart.  : )  1  ii ¥  Binglutminnl 1 a Community } 1 ,   Orchestra l Binghamton, NY 13904  . Visit \\\\ “zBinglmmiunCummunityOrchesmorg for more information! I lRl­Cl’lll­N  E )  PERA  o J;   ­‘ :  >  l .  i  a  ‘  = A  t  , s :  _ l‘  \  *9 fi  A pr ilid 7,  8 pm April 1 9, 3pm m&\SO i  G ou n o d ’s  g l o r i o us feiss  lv  2 h , & )   '  ‘  ’ \  .  4  4  hi  f o   '  musicmeets Goethe’s   most famous  fable.  A h   The Forurp Theatre  =  Bear/£22222? RY  1  VTIX : 607.772.0400   <.1 m k — “ n — fl fi u — M h PSlllglllg l h e  PSZIlIllS '  Sunday,  M a y  1 7,  2 0 1 5, 3:00 p.m. .  Trinity M emorial Church 44 Mai n Street, B i nghcmio n tricitiesopera.com u ­ M M ‘ D Q v h h m n n — v — m n — u u m m m m — u – u u – q m .   c  B l u es t o l m h ©  M m h fl h l fl ­ M fi u m m fl fi m t — fl l [  The Madrigal Choir of Binghamton m m ” 2  01 3­2014  7 37th Season w w w . ma d n g a l c h o i r c o m   l  6 0 7  2 1 7   ” 0 » �Binghamton University  Department of Music Coming Events asbfibfisaecfiéemafibefibafiaem­fibofiawfib Thursday, March 19 – Mid­Day Concert­ 1: 20 p.m. – Casadesus Recital Hall – free Thursday. March 19 – Lontano Ensemle: Music Now! – 7:30 p.m. – Casadesus Recital Hall – $7 general public; $5 faculty/staff/seniors/alumni; Free for students Thursday, March 19­ Master Class BU Alumnus Lee Musiker, piano ­  6 ­  7:30 p.m. ­  Fine Arts 24 – free Friday, March 20 –  Master Class B U  Alumnus Ira Gitler, composer –  3:00 p.m. –  Casadesus Recital Hall ­ free Thursday, March 26 – Mid­Day Concert – 1:20 p.m. – Casadesus Recital Hall – free Friday, March 27 – Junior Recital: Jessica Biogiotti, flute – 7:30 p.m. – Casadesus Recital Hall – free Sunday, March 29 – Songs My Students Taught Me with Janey Choi, violin and Pej Reitz, piano (tentative) – 3 p.m. – Casadesus Recital Hall – $7 general public; $5 faculty/staff/seniors/alumni; Free for students Wednesday, April 1 – Harmony Club Fundraiser Concert – 7:30 p.m. – Casadesus Recital Hall – S 10 suggested donation Thursday. April 2 – Mid­Day Concert– 1:30 p.m. – Casadesus Recital Hall – free Thursday, April 16 – Mid­Day Concert– 1:20 p.m. ­  Fine Arts Building, Room 21 – free Thursday, April 16 – Faculty Recital: Zachary Sweet, cello and Michael Salmirs, piano ­  7:30 p.m.  –  Casadesus  Recital  Hall  –  $7  general  public;  $5  faculty/staff/seniors/alumni;  Free  for students Friday, April 17 ­  Joint Sophomore Recital: Skylar Buono, clarinet and Michelle Li, flute –  5 p.m. – Casadesus Recital Hall – free Friday, April 17 – Tri­Cities Opera presents Gounod’s Faust – 8 p.m. – The Forum Theater – call (607) 772­0400 for tickets o fi r b o fi w b fi b a fi a e fi b fi é e fi fi a fi é fi c fi b a fi w b For tickets or  to  be  added  to our email list, visit  anderson.binghamton.edu or  call (607)  777­ARTS. For  a complete list of our concerts call (607) 7 7 7­2 592, visit musrc.hinghamton.edu or become a fan on Facebook. [ = ] L   1 —  [ = ] ¢   0 ]   If  you  were  inspired  by  this  performance,  consider  supporting  the Department of  Music with a financial gift. Your support helps to continue the work  of students, faculty, and guest artists and their contributions  to our  community.  Please  make  your  donation  payable  to  the  Binghamton University  Music  Department,  and  send  your  check  to  BU  Music Department, P.O. Box 6000sss, Binghamton, 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 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 40:44:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74808">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74808</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 Binghamton University Opera Workshop presents Opera Scenes from The Marriage of Figaro, Cosi Fan Tutte, Carmen, Of Mice and Men, The Crucible, Lakme, and Turandot, March 15, 2015 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Bizet, Mozart, Floyd, Puccini. Held at 3:00 p.m., March 15, 2015, Phelps Mansion, Binghamton, New York. Creator An entity primarily responsible for making the resource Students of the Opera Workshop Waters, Willie Anthony Isenberg, John Toulson, David Carl Goodheart, Thomas Samluk, Matthew Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Bizet, Georges, 1838-1875 Mozart, Wolfgang Amadeus, 1756-1791 Floyd, Carlisle Puccini, Giacomo, 1858-1924 Date A point or period of time associated with an event in the lifecycle of the resource 3/15/15 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/27a7ecf6a9d427f5f7c17e3f3030cb59.pdf c309d2ea32d8c599df76e4865f803824 PDF Text Text BINGHAMTON U N I V E R S I T Y State University of  N ew York A t  “ \ [4 B . E B  P A R T M   E N T Binghamton University Orchestra Concerto & Aria Competition 2007­8 Casadesus Recital Hall 7:00 p.m. Sunday, November 18, 2007 �­  :  g  Bingha mton U niversit y Orchestra  C o nc e r t o  &  A r i a  Co m p etitio n  200 7 ­ 8   Sunday, November 18. 2007  Casadesus Recital Hall Division I W oodwinds, Brass & Percussion  Stephanie Lehman Ney Rosauro: Marimba Concerto, mvts. 2 &4 Matthew Hassell C.M. von Weber: Clarinet Concerto #2, mvt. 3  Diana Amari & Alexa Weinberg  P.H. Telemann : Suite in F Major for Two Horns  Mvts. 1,2 & 5 Erica Leo  Cecile Chaminade: Concertino for Flute  Division 3: Strings Eris Chang: Viadla Mozart: Concerto #3, G Major K. 216, m v t Elizabeth Sterling, Violin Lalo: Symphonie Espagnole, mvt 1 Sarah Sterling, Viola Hindemith: Trauermusik Griffin Sarg 8ent, Violin fi  De Beriot. Scene de Ballet Jennifer Chen, Cello Bruch: Kol Nidrei Nicole Hsien­Yu Hsu Division 4: K eyboards Chopin: Concerto #2 in F minor, mvt I R o bert  M u l ler   arisennuuu"ttun“t“tuna“uuutnuuunuuuuu Di visio n  2 V o c al   La Toya Lewis , Soprano  Bizet ’s ‘Carmen’:  Micaela ‘s aria “Je dis...”  Audience: Silence please – we are recording for the competitors. Enter and Leave the Hall  through the back  door.only between competitors. No talking or writing;  Please, Silence all electronics!! Jonathan M oots , Baritone  Thanks to our Judges, faculty and student participants. F.J. Haydn: Horn Concerto # I in D. mvt. 1 Mozart: “Alcandro lo confesso ’ K 51 2  ,  Sung Jin Park, Soprano  Donizetti/Don Pasquale: ‘Quel guardo il cavaliere ' Ariana Zbrzezny, Mezzo­soprano Rossini: ‘Cruda Sorte ’ Abigail Freeman, Soprano Mozart: Vorrei spiegarvi, O Dio. K. 418 Intermission  – ten minutes The Winners ’ Concert  with the University Orchestra will be Saturday evening, March 1%,  2008 at 8:00  m  p in the Osterhout Theater. e �Coming  “Crents Th u rsday, No vem ber 29 –  Mid­Day  Concert –  1 :20 p.m. – Casadesus Recital Hall – free Friday, N ovem ber 30 –  Flute Stud io Recital – 10:30 a.m. – Casadesus Recital Hall – free Satu rday, Decem ber 1 – Fl ute Ensem ble Recita l – 12 noo n – Casadesus Recital Hall – free Satu rday, Decem ber 1 – Reunion Recital :  Aa ron Nicho lson, baritone and  Todd  Robinson,  bass­ba ritone  – 8:00  p.m.  –  Anderson  Center Chamber Hall ­ $1 5 general public; $13 faculty/staff/seniors; $7 students Sunday, Decem ber 2 – U niversity O rchest ra : Sounds Behind the Celluloid – 3:00 p.m . ­ Anderson Center Concert Theater ­ $9 general public; $7 faculty/staff/seniors; free for students Tuesday, Decem ber 4 – Pe rcussion E nsemble – 8:00 p.m. ­ Anderson Center Chamber Hall – free Th u rsday, Decem ber 6 – M id­Day Co ncert – 1 :20 p.m. – Casadesus Recital Hall – free Thursday, Decem ber 6 – Ha rpu r Chorale and Wom en ’s Chorus – 8:00 p.m. – Trinity Memorial Ch urch, Binghamton – free Friday, December 7 – Singing Chinese – 7:00 p.m. – Casadesus Recital Hall – free Sunday, Decem ber 9 – W ind Sym phony – 7 :30 – 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: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 3 audio cassettes 3 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:14:00 57:47 45:08 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196886">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196886</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 Binghamton University Orchestra concerto and aria competition 2007-8, November 3, 2007 Recital Tape 11-18-2007 Description An account of the resource Held at 7:00 p.m., November 18, 2007, Casadesus Recital Hall. Works of Rosauro, Weber, Telemann, Chaminade, Haydn, Bizet, Mozart, Donizetti, Rossini, Lalo, Hindemith, Beriot, Bruch, Chopin. Creator An entity primarily responsible for making the resource Lehman, Stephanie Hassell, Matthew Amari, Diana Weinberg, Alexa Leo, Erica Muller, Rob Lewis, LaToya Moots, Jonathan Park, Sung-Jin Zbrzezny, Ariana Freeman, Abigail Chang, Erin Sterling, Elizabeth Sterling, Sarah Sargent, Griffin Chen, Jennifer Hsien-Yu Hsu, Nicole 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 2007-11-18 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 dfde5906-934f-4f59-8040-ee5438fe7a24 https://omeka.binghamton.edu/omeka/files/original/ccda20ab2acef041243495622b62d802.pdf 8b64dba5aa80c86053e737eb2547f59b PDF Text Text BINGHAMTON U N I V E R S I T Y E R S i v Y  O F  N E W  Y O R K dee D E P A R T M E N T Binghamton University Percussion Ensemble Fall Concert JULIE L ICATA , DIRECTOR Tuesday, December 4, 2012 8:00 p.m. Anderson Center Chamber Hall �PROGRAM NOTES PROGRAM Binghamton University Percussion Ensemble . Jeffrey Smith (b. 1974) Opening Remarks (2001)  The  University  of  Northern  Iowa  Percussion  Ensemble  premiered Opening  Remarks  (2001),  for  marimba  quartet  in November  2001. Initially, the title had little significance other than the fact that the piece could  be  used  as  an  opening  number.  However,  this  piece  also represents  one  of  the  composer‘s  first  explorations  in  writing  for Susan Powell Gilded Cage (1998) (b. 1971) Eric Sammut Rotation #4 (1997). (b. 1968) Devan Tracy, marimba percussion and therefore represents his “opening remarks”.  One of the biggest challenges in composing for marimba is the lack of inherent sustain. In Opening Remarks, Jeffrey Smith overcomes this challenge by overlapping  simple,  but  very  rhythmic,  individual  parts  together  to create what sounds like a thick, sustained texture.  Smith often creates interest in the melody by dividing one melodic line between the four players, and assigning melodic materials to different players throughout the piece.  The piece is written in a loose ABA form, with  a short coda. .John Cage Living Room Music (1976)  (1912 – 1992) To Begin Story (lyrics from Gertrude Stein’s “The World is Round,” 1939) Melody End Samuel Barber Adagio for Strings (1938) . ( 1 9 1 0 ­  1 981) Arr. Julie Licata (b. 1980) No Exit (1997).  .Lynn Glassock (b. 1946) Susan Powell is currently Associate Professor and Director of Percussion Studies in the Ohio State University School of Music.  Powell’s work, Gilded  Cage  (1998),  is  written  for  four  percussionists  with  similar instrumentation – toms, cymbals and brake  drums.  The  performer’s setup,  explicitly  drawn  out  by  the  composer,  creates  a  cage  of instruments  around  which  the  percussionists  stand. The  title  is  a combination of two separate sources; the 19%" century popular song The Girl in the Gilded Cage, and the 20” century percussion ensemble work Third Construction by John Cage.  There are numerous influences from Cage’s notable piece, including an early quote of the opening theme, here divided between  the four performers and played on tom­toms. The “cage” theme is further exhibited in the way the performers create a constantly evolving visual cage with their sticks. Performers: Emily Goetz, computer science (sophomore), Rohit Karki, undeclared (sophomore), Steve Olson, mechanical engineering (sophomore), Benjamin Ramos, computer science (senior), Alexander Rava, Spanish/political science (sophomore), Tyler Steere, general management (senior), Devan Tracy, mechanical engineering (senior), Alex Valera, computer science (sophomore), Andrew Williamson, accounting/music (senior), composer well known for his chance, or indeterminate music), on the centennial of his birth we are performing Living Room Music (1976). In so many  of Cage’s works, elements of  the performance  are left  to Soloist: Devan Tracy, mechanical engineering (senior) instrumentation up to the performers.  Cage states in the score that To  commemorate  the  pivotal  composer, John  Cage  (a  20” century happen on the concert stage, or to be determined by the performer. For Living Room Music, John Cage notated specific rhythms, but left the “any  household  objects  or  architectural  elements  may  be  used  as instruments: magazines, newspaper, cardboard, table or other wooden �BIOGRAPHIES furniture,  floor,  wall,  window  pane.  The  melody  [in  the  third movement] may be played on any suitable instrument: wind, string or keyboard (prepared or not).  Do not use conventional beaters.”  One of his intentions with this piece is to demonstrate to the audience that music can be found anywhere...if the listener is able to open their ears and minds.  Our interpretation of these directions has led us to perform each  movement  within  a different  setting  in  which  you  might  find yourself throughout the day.  The next time you find yourself in one of these settings, take a moment to listen to your surroundings and see if you can hear music in the seemingly random sounds. Adagio for Strings, a work by Samuel Barber, was originally composed as the second movement of his String Quartet, Op. 11.  In 1938, Barber solidified his international stature with his arrangement of the second movement of this quartet for string orchestra.  This work, among many others composed by Barber, is still widely performed today and can be found  in  arrangements  for  various  types  of  ensembles.  The  slow moving  lyricism  of  this  piece  is  easily  transferred  to  the  marimba quartet with the right choice of mallets and very sensitive playing.  In order to portray the sustaining ability of the original instrumentation, each  marimba  player  must  roll  continuously  throughout  the  piece, connecting every note with smooth transitions. Mr. Lynn Glassock received his Bachelor of Music and Master of Music from the  University  of  North Texas.  Glassock  has  received several awards  for  his  compositions  including  winner  of  the  Southwestern States  composition  contest  in  l973;  winner  of the  Festival  of New American Music sponsored by California State University, Sacramento in I987; and the Percussive Arts Society first place awards in 1994 for Five Songs for Voice and Marimba; 1998 for Between the Lines; 2000 for Concerto for Percussion and Wind Ensemble; and in 2004 for Wired. No Exit, the first prize winner of the Percussive Arts Society Composition Contest  in  1997,  is  an  aggressive,  rhythmic  percussion  ensemble composition for eight players.  The piece requires rhythmic precision and musicality on an energetic level from each performer. JULIE  UCATA has been  teaching  percussion  lessons  and  percussion  ensemble at Binghamton University since Fall 2012.  Julie also serves as Assistant Professor of Music at State University of New York, College at Oneonta. At Oneonta, Julie teaches ensembles and private lessons that span a wide range of percussion instruments and styles, and teaches a seminar course Music Cultures of the World.  Julie has received performance degrees  in percussion from  the  University  of North  Texas (D.M.A.), University of South Carolina (M.M.) and Capital University (B.M.). As an active performer and advocate of new music, Julie has developed relationships with many great composers, premiering and commissioning numerous works over the last ten years by composers such as Thomas Licata, Greg Dixon, Chapman Welch, Scott Comanzo,  Jude  Vaclavik,  Steve  Winstead  and  Brett  Masteller.  Significant  recent accomplishments include performances at the Society for Electro­Acoustic Music in the United States (SEAMUS), the International Computer Music Conference (ICMC), New Music Focus Week at SUNY Oneonta, New Genre Festival in Tulsa, Oklahoma, NOW Music Festival at Capital University and numerous performances at the Center for Experimental Music and Intermedia at the University of North Texas. In addition, Julie completed her D.M.A. from the University of North Texas in December 2009. Her dissertation, entitled “Physical Gesture, Spatialization, Form and Transformation in Watershed I/Ill, for Solo Percussion and Real­Time Computer Spatialization by Roger Reynolds” includes several analytical approaches demonstrated through embedded video excerpts of her performances of Watershed IV. In addition to contemporary music performance and research, Julie is also active in the field of ethnomusicology.  Julie spent the summer of 2008 performing, recording and transcribing traditional drumming of the Ewe people in the Volta Region of Ghana. She is currently planning a trip to Indonesia to study Balinese and Javanese gamelan, and a return to Ghana to continue her study of various regional music and dance styles, and specifically to study Ewe master drumming. DEVAN TRACY is a senior at Binghamton University, originally from Saratoga Springs, NY.  She is currently majoring in Mechanical Engineering with a minor in Sustainable Engineering.  She  plans  on  bicycling across  the country  and  getting  a job in the sustainable energy  or infrastructure industry after graduation.  Devan started  her music career in kindergarten on the piano, but soon gave up when she realized that the musical alphabet stopped at “G.”  Nonetheless, she is back in action and has participated in the BU Percussion Ensemble, Harpur Jazz Ensemble, and Nuporfke African Drumming Ensemble throughout college.  During the summer, she has been seen performing with the Ryan Jenson Band, and has been working on making a self­ titled CD of originals.  You might also find Devan running, hiking, motorcycling, slack lining, or doing yoga. �Our OPFRv‘tv’ D117, trrgtreerrter—  FaR e  .  ,  . Saint: a nd Sinner: .  ,  5’1‘1’1’13 r i ff  “ f 1   _  2012»  2 5 0 1 3  SEASON 21mm. 5 Octcbe: ‘A‘.  2 Z: l :  J (A : v  = f U n i t e d  P r   C h u r c h  5 : 5  t g ’ Chenargo St  Campus  —Orebrestre—  . Av. . 3 Satindor,  N ov e r s b e   16 . 3012.  n ox:  4 5 4 .  S choo  kench "  American Safute  [ e x o n z x n d C  a r o l .  for Christma: Saturday,  Noversber 2131312  7 0 ;  m Sunday,  \c\'v:ib<123  Z C I :  3:00pm. 7  Crreri m a x  1 Street B i n g 546 Progpec  moon.  : C e m u mv v  a n d  C elebradon for Twelfth N i g h t Tay, ebmiory  ” A u x ­ """°"“"“"‘“‘  “  Saturday.  January  l :  211.3  '  31“: 1 Annual STMTRA Concerto Competiton Winners  { m a g n u m . 3  30.3 3 0 0 ;  n: .  15612012  Febinnwl’610,ml  Apnllfi6211011 . Serve, Binghasmsoe,  . . A »  ,  al  t 10  Henry  . ve r,   2»  a h u m u s " ; VV’lhi r t 1  4 1 »  N T Sunday, A p n l  3013 3 0 c h  pe , A 3   £ 2 9 3 ,   7900  J  T r i n i M   e r o r :   0.5.2.  ( . v n y T l ’ r ff ’ e a ‘ i s .   Bungrar: 1131551";an  o  Thc‘ladnplfinorr 1  of Binghamton :1~1 3  “ 0 1 3   3 5 t h   oSeanz , _   www.madrigalchoir.com >oWT­IlT­IIIO The Forum Theatre ­ 236 Washington Street Binghamton, NY For rvrkets call 607­772­0400 or VISIt US o n l i n e  31  WWW tricitiesopera.com. ‘z‘t‘  r : . ( . . A , , 4 . m 4 . . . m . i . . _ . . . . ~ n . .v – n . — ­ . . . . . , v.v. . . . ‘ N W d e M n C m m m M M n ­ m ' General   l l l G N A m T O N   §  Trovatcrs i miems htnmm ‘ mmwB: m Cn oia l.*Enghs  Supmri 7 w w q § m ~ r m 1 t v f r v k 7 n c  Z w ­ b v l n ' fl ­ w v n – l n o a f v n u u ‘ n fi Jeeelib Novo  . a e , w m ~ n m v . r . n . ~ – w L  A M M — m h I – a i – m u u 9 p 3 0   ­eooiii me .  , .v u ir V171  rvnvngArr  ‘  center _  ‘f  \  3  2AEddIAe  eQA , . L  '  0 0 j  ‘1rj,.,;7A__? }  l ’   n” v  ( i e  5 . 3 1 1 ' ) nz ow  ­ {535,15 KEEP"? — vW  R T E  5 5 7 3 1 } 7  r — l i l fl l    j j b t o i e  L h r l S l m G S November 9 ­ 18, 2012  December 14 ­ 16, 2012 Community theater is GREAT for the community! E  y Music  Director i ¥  .   (  O ) ] 5  5451. 4 Sky  \  é ?  ?  ‘ .   5“ moonl‘aortmwnvfiholus  ‘wa’ Bendix­Balgiey,  violin  02.03.13  renown­d  “ y e “ ; y ‘ fi   t ? ’ Suing Quartet  122.  1 6 5 ‘ 1 1 5 Q H  I I  1 .  V e r d R   equiem  anice  R A v r i . v r r. y r.   sopranc  0 3 2 4 . 1 3   Tr i o  C avat i n a M " :   r’­  O‘; m u  PNILNARH‘IONIC Clumwaerles  ,.,\.,,,\.  M a n .  1‘s i n r  ;  tenor  . EPAC Repertory Company  [ Z I lie­entry    ETI]  m C l a s s i c a l  Series  Stacey DJ,  ,m  6 0 7 ­7  8 5 –8  9 0 3 — « Www.EndciotArts.com u 1  v  . <   Special Canter!  05.11.13  b u n ­ w t ”   {1.4  ' M 5­5.  g’ C o n c e r t : :  1 1 7 , 4 1 1 ”  .r  “ w a r t .   Chorus  M a g i c a l  M u s i c o u c t ‘  Brahms Third TTDITI “101 N’LVV u ; o  [ 1 . 3 5 ; ; .    vi  M a r t i n e z   Forteza,  ,  1 4  1 1 ­ 1 043 4 L  Shostakovich sum Pops Serles  1 :  c a  15  Holiday Brass r 5,­  3  ‘ l ’ a   guest A,  r v ,  Uassics,  gues t 7121’s“ r B o k“ sW  ‘ s.‘.,   R .V y   $85   A REE5?“  L510. ORDER TODAY! www.hingham mnphilhamtonicbrg  8077233931 �Binghamton University Music Department’s Coming Events W W W ­ 6 M Thursday, December 6 ­ Holiday Mid­Day Concert ­ 1:20 p.m. ­ Fine Arts Room 21 ­ free Friday, December 7 ­ Hansel and Gretel (school performance and civic groups) ­ 10:00 a.m. ­ Anderson Center Chamber Hall ­ call (607) 777­3004 for group reservations Saturday, December 8 ­ University City Orchestra ­ 3:00 p.m. ~ Osterhout Concert Theater ­ $6 general public; $3 faculty/staff/seniors; free for students Saturday, December 8 ­ Master’s Recital: Meghan Cakalli, soprano ­ 8:00 p.m. ­ Casadesus Recital Hall ­ free Sunday, December 9 ­ Hansel and Gretel ­ 1:00 p.m. ­ Anderson Center Chamber Hall ­ $9 general public; $6 faculty/staff/seniors; $3 students Sunday, December 9 ­ Hansel and Gretel ­ 4:00 p.m. ­ Anderson Center Chamber Hall ­ $9 general public; $6 faculty/staff/seniors; $3 students Sunday, December 9 ­ Senior Recital: Sungkyun Ryu, piano ­ 7:30 p.m. ­ Casadesus Recital Hall ­ free Thursday, December 13 ­ Harpur Chorale and Women’s Chorus ­ 8:00 p.m. ­ Trinity Memorial Church, Binghamton ­ a good will donation wil be collected at the door Friday, December 14 ­ Nukporfe African Drumming and Dance Ensemble ­ 7:00 p.m. ­ Watter’s Theater ­ $3 general admission Saturday, December 15 ­ Master’s Recital: Brister Hay IV, tenor ­ 3:00 p.m. ­ Casadesus Recital Hall ­ free Saturday, December 15 ­ Senior Graduation Recital: Matthew Gukowsky, tuba ­ 8:00 p.m. ­ Casadesus Recital Hall ­ free Sunday, December 16 ­ Master’s Recital: Robert Hee­Pyoung Oh, baritone ­ 7:30 p.m. ­ Casadesus Recital Hall ­ free —  i  For tickets or to be added to our email list, visit anderson.binghamton.edu or call (607) 777­ARTS. For a complete list of our concerts call (607) 777­2592, visit music.binghamton.edu or become a fan on Facebook. If you were inspired by this performance, consider supporting the Department of E  l  Music with a financial gift. Your support helps to continue the work of students, faculty, and guest artists and their contributions to our community. Please make your donation payable to the Binghamton University Music Department, and send your check to BU Music Department, P.0. Box 6000, Binghamton, 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.) 43 minutes :59 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE140931">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE140931</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 Binghamton University Percussion Ensemble fall concert, December 4, 2012 Description An account of the resource Works by Smith, Powell, Sammu, Cage, Barber. Glassock Held at 8:00 p.m., December 4, 2012, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Licata, Julie Tracy, Devan 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 12/4/12 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&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.) 01:06:36 16:02 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE189971">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE189971</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 Binghamton University String Program presents String fever May 6, 2008 Recital Tape 2008-5-6 Description An account of the resource Works of Bach, Schetky, Borodin, Haydn, Kreisler, Popper, Hindemith, Stalker, Matz, Brahms, Mozart.Held at 8:30 p.m., May 6, 2008, Casdesus Recital Hall. Creator An entity primarily responsible for making the resource Creo, Emily Joyce, Ryan Chang, Erin Vayshenker, Beth l Kerker, Dana Thorn, Shane Kuras, Sarah Reitz, Margaret Lewis-Clark, Eric Chen, Jennifer Maezawa, Akira Brooks, Stephen Casey, Rachel Dombert, Owen Hong, Adam Radzik, Stephanie Agar, Holly Lear, Alexis Lee, Gwang Soh, Dam Sargent, Griffin Mariani, John 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 2008-05-06 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 f2de9141-9ed7-4903-bb4c-3ba824e386ea https://omeka.binghamton.edu/omeka/files/original/1a77430cf80616aa5f73bf96ab378c45.pdf 7bb6c4f791e680448cd835f3ac6bf16f PDF Text Text BINGHAMTON U N I L V E R S L T 144/00 D E P A R T M E N T Binghamton University Symphony Orchestr a GEORGE MYERS, CONDUCTOR Saturday, December 8, 2012 3:00 p.m. Osterhout Concert Theater �PROGRAM Binghamton University Symphony Orchestra MUSICIANS VIOLIN I Gustav Holst (1874 – 1934) Jupiter from The Planets Three Dances from The Bartered Bride Bedfich Smetana (1824 – 1884) I.  Polka II.  Furiant III. Dance of the Comedians .e­INTERMISSION­e Symphony No. 7 in A Major II. Allegretto Finlandia . Ludwig van Beethoven (1770 – 1827) ...Jean Sibelius (1865 – 1957) Ella Serrano Rebeca Sgroi Ife Samms Emma Lecarie Nicholas Thompson Joseph Vanderpool Sara Sunshine Anna Li Christopher Rogers Karen Fu Cameron D’Auria Simon Benarie VIOLIN II Gabrielle Maire Natalie Bock Jaclyn Podd Jiwon Nam Emily Sui Olivia Rhines Sarah Kohtz Nathaniel Christman Eleanor Krasman Michael Tiongson Fanny Chu VIOLA Jillian Chen Mimi Nam Ethan Schaber Lindsay Covington Tiffany Williams Harrison Dulin VIOLONCELLO Eric Wuu CLARINET Jaclyn Adler Felicia Scalzetti Paul Watrobski Richard Reitz Xander Edwards Raeleen Bichler Andrew Card Deborah Mariottini Emily Mockler Skylar Orenstein Buono BASS Kristine Beckmann Gabriel Felix Robert Durante PICCOLO Alexander Baron FLUTE Jessica Biagiotti Lindsay Ralbovsky OBOE Allison Moskowitz Rebecca Marwin Hao Sun BASSOON Laura Earls Natalie Spitzer HORN Zachary Birnbaum Matt McAuliffe Natalie Rivera Kathryn Saturnino TRUMPET Kevin Hannon Junbo Yan TROMBONE Billy Marsiglia Drew Perotti Jacob Strohm BARITONE Ryan Shumaker TUBA Matthew Gukowsky TIMPANI Benjamin Rothschild PERCUSSION Steve Olson Andrew Williamson �BIOGRAPHY GEORGE  MYERS  was  director  of orchestras  at  Ithaca  High School for the past sixteen years, until his recent retirement. He began  his  performing  career  at  the  age  of  11,  performing  a concerto movement live on WNYC radio for the broadcast “Young America Plays.”  He holds  an MM in Viola Performance from  SUNY  Binghamton,  where  he studied  with  Toby  Appel.  As a member  of the Catskill  Chamber Players  (which  included  BU  professor Timothy Peny, as well as BU cellist Steven Stalker and 1 ] violinist Janet Brady) and the Catskill String Quartet, he performed a large body of 20th century works, giving premieres at Weill Hall at Carnegie Hall. Under grants from Meet the Composer, he had the opportunity to work  with such notable composers as Virgil Thompson, John Cage and Henry Cowell. The Catskill Quartet also performed many children’s concerts throughout upstate New  York, and for their service to education, the Catskill Conservatory,  i /­' s, .  » ­  %   p: umbrella for the Chamber Players, was a recipient of the New  York  State  Governor’s  Arts  Award.  He  was  on  the  faculty  of 3  Hamilton College for 15 years, teaching violin, viola and chamber music. During his time at Hamilton, he also wrote a number of arrangements for their jazz ensemble, as well as arranging and  performing with a ten piece jazz band in the area. He has also  served  on  the  faculty  of  both  Colgate  University  and  Ithaca  &  ’  College,  teaching  viola.  He  conducted  performances  for  the Mohawk Valley Arts Association, and has been guest conductor for  NYSSMA  festivals.  Mr.  Myers  was  a  member  of  the Glimmerglass  Opera  orchestra  for  15  years,  beginning  at  its inception. For 10 years, he was principal violist with the Utica Symphony, and served in that capacity with a number of upstate regional orchestras. H e  has twice toured as a soloist in Europe  with  the  Ostschweizer  Kammerorchester,  and  performed  a s   a  member of the Spoleto Festival Orchestra in Italy.  For 14 years,  as a member of the Aurora Quintet, he was in residence at Ithaca  College’s Summer Chamber Music Institute, where he conducted  the string chamber orchestra and coached quartets of talented  young  musicians  from  across  the  country.  He  is  currently  a  member of the core orchestra of the Cayuga Chamber Orchestra.  He is married  to Jennifer Reuning Myers,  a  prominent Suzuki  violin teacher and musician in the Ithaca area.  4  )  ‘  x '  . '   ,  '  ‘. ’*' p e t  1:2, s h ad classic children’s story, setto music by EngelbertHumperdincki‘sungln /  1  Englishi.PresentedbymeBinghamtonUniversiryOperaWcrkshopwimseiss :  .  costumesby Tri­Citiels Opera. 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A , . a a . . a m r . . v . » . u . – a  L . w m a . a . u . . ­ . . a t m v . . B *nghed  Supmctides  ola  E m C I E M u ­ m m a h ­ n t h m k ­ t n n w w w u m 7  e p d a C    7  7 1 7 . 1 4 7 . . . .   W atthe ROBERT ECKERT THEATRE  “ M a ~ 4.42 A  L E A S   RFAi d  d l e r   Tynow  314g” X 0 0   C O N C H Stole Christmas November 9 ­ 18,2012  December 14 ­ 16, 2012 Community theater is GREAT for the community! Classical Series  Chamber Series  10.06.12 Beethoven/Sibelus  Noah Bendix­Balgiey, violin  o : 0  1  r ;  New  Orford  Suing Quartet  r r  r r  r z  t i e ­ a  R e q u i e m   0 3 2 4 . 1 3   Tr i o  Cavatina  x’ 24mm  mezzo­soprano.  Math'JuL,L  tenor  «  Www.EndicottArts.com L>Q  DM1.NA M s c  Dire: Magical Music  Pops Serles  12.08.12 H o l i d ay  Brass  77  7 7 M  OX‘GIXMUHLdthEnb‘  Jeans  ‘n Classics, (L  311119. h o 4  , " 1  .  P a r    ’, 4: " W  “  4  A ,  oo.a­A  r  p  .rm.rr~m~r,.  il  n ” ,   ” N w  A % vJ i  S4 8,  tf OE  .  Concert:    eater Tied  cum:S A , « . pnt  SpeclaiConoer t  05.11.13  Disney  Binghamton University ‘mms  04.20.13 Shostakovich S i x t h   ONIC .  1­  Gustav Ar­‘im‘aswh bass  an  lz '»' Marti r < l l 1 e   P a scual   at, 1 1 4  c lcline  F   — . T“1.11: t.'­  . T Janice Chandler Eteme,  soprano  H W M MAW M J J J   6 0 7 ­ 7 8 5 ­ 8 9 0 3 . EPAC Repertory Company ,  [ELI iteurionl Bomllll  ‘ 7 P ( . B‘  i r g r a m o n .  ,‘­'.‘ The Madrigal Choir   o f Binghamton ‘Mv Spanish H aart  ,  ,  ’  , '   A  ‘  A : ‘ t  v o t Ys 4 “ ‘ ORES   “1G 3 1 © (  S Tg A 5   v E n g } !   TING E A M L  S I C . ORDER TODAY! wvm.binghamtonphilharmonic.org 607.723.3931 � 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.) 39 minutes :36 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141086">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141086</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 Binghamton University Symphony Orchestra, December 8, 2012 Description An account of the resource Works by Holst, Smetana, Beethoven, Sibelius Held at 3:00 p.m., December 8, 2012, Osterhout Concert Theater. Creator An entity primarily responsible for making the resource Myers, George 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 12/8/12 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/7c6278e0d5a4b993b84f136ab547e0e8.pdf 87f7eee3a08ad4be11c519bee067928d PDF Text Text BINGHAMTON U  N  1  V  E  R  s  1  T  Y S T A T E   U N I V E R S I T Y   O F  N E W   Y O R K 127924 D E P A R T M E N T fiz’rzglzamlon (Mammal? W i n d  Qfiymphany and the (3755141 C o m m u n i t y  $ 4 7 7 4 present ”d’wz £1736 a 6301151371 i n  [116  B a r k ” D AN IEL F ABR ICI U S & J E R R Y  NATOLI, CONDUCTO RS Sunday, March 8, 20 15 3:00 p.m. Anderson Center Osterhout Concert Theater �PR OG RA M Ve stal Community B and Jerry Natoli, Conductor LIBERTY BELL M A James Sw earingen NOVENA  IT HAD BETTER BE T NATIONAL E    Sousa n Philip (1854­1932) h o J H C R M O N B I G L T H e H E r n M E   ncini y Ma E Bagle y r ..........Arranged by Warren Barke .... .... .... .... .... .... .... .... D.. OO R M IN A MILLE o” e ” – “I’ve Go t 0  Gal in Kalamazo ad ren t Se ligh on Mo – “ d” oo “In the M t Last ” – “Anvil Chorus ” n Jug ” – “A “Serenade in Bl ue "–  “Li ttle Brow on ............................Meredith Wills N" MA IC  US  M HE  “T OM  FR NS SELECTIO   NTERMISSION " * "‘ * * * " " " * I �Binghamton University Wind Symphony Daniel Fabricius, Conductor AMERICAN SALUTE (1943)........................................................Morton Gould (1913­1996) Transcribed by Philip J. Lang COUNTRY GARDENS (1924).....................................Percy Aldridge Grainger (1882­1961) Arranged by John Philip Sousa POET AND PEASANT OVERTURE (1922)..............................Franz von Suppé (1819­1895) Arranged by Henry Fillmore SYMPHONIC HIGHLIGHTS FROM ”FROZEN".....Arranged by Stephen Bulla “Frozen Heart ” ­ “Let It G o ”– “Do You Want To Build a Snowman?” “For the First Time in Forever” – “Epilogue” BUGLER’S HOLIDAY (1954).....comsissstenssissssnssusisusminesassmssrssiens Anderson (1908­1975) Trumpet Trio: Brandon Young – Brandon Ashley ­ Jason Boniello ...George W  Warren GOD OF OUR FATHERS (1974)......................... ..  Arranged by Claude T. Smith (1932­1987) God of our fathers, whose almighty hand Leads forth in beauty all the starry band Of shining worlds in splendor through the skies, Our grateful songs before Thy throne arise. CLOWN A C T T ‘ h o m a   s Kahelin �UNIVERSITY WIND SYMPHONY Daniel Fabricius, Conductor PICCOLO Jennifer Bochicchio FLUTE Eleni Florakis Jacqueline Robins Cara Natale Shelby Smith Lydia Carolan Devin Kasinki OBOE Jenna Graff Rebecca Marwin CLARINET Erin Annis Allison Battaglia Alaina Mancini Jessica Siegal John Petersen Steven O’Connor Brittany Sheridan Katherine Fottrell Si Yoon Kwon BASS CLARINET Carl Closs BASSOON Bailey Thomas Diana Carter ALTO SAXOPHONE Julia Dunnigan Riley Monck­Rowley TENOR SAXOPHONE Crystal Fisher BARITONE SAXOPHONE Daniel Gross TRUMPET Brandon Young Brandon Ashley Chang Letitia Kar Hoo Jonathan Terner Jason Boniello David DeFazio Paul Barber Alice Xue FRENCH HORN Daniel Muller Christopher Patrizzio Denise Helms Brian Sternberg TROMBONE Christopher Beard Jacob Solon Joshua Yamuder EUPHONIUM Ryan Shumaker Michael Sugarman Austin Hassel TUBA Matthew Vegiard Patrick Jones Michael Burgner PERCUSSION Emily Goetz William Potts Alex Rava Robert Hopkins Daniel Kim Annabel Fair Joey Glowienka Kasha Pazdar David Indictor �CONDUCTORS Jerry Natoli has been a music educator, clinician, adjudicator, and performer in New York State since 1970. He has guest conducted bands in almost every New York county, and also regional and all state groups in Ohio, Pennsylvania, Texas, and Maryland.  Mr. Natoli was the NYSSMA Chairman of Bands while he was also the Director of Bands at Union­Endicott Schools. He has made his home for the past 31 years in Endicott, NY, with his wife, Cindy.  Currently, Jerry is the music director and conductor of the Vestal Community Band in Vestal, NY. When asked to share his greatest successes, Jerry is quick to tell us that for the last 12 years, even though he has never won, he has been notified by mail that he was a finalist in the Publisher’s Clearing House $1,000,000 Sweepstakes. Daniel Fabricius has been a member of the music faculty since 1992, serving as percussion instructor for twenty years before his appointment as conductor o f the Wind Symphony.  He holds degrees from Mansfield University and Ithaca College and has studied conducting with Donald Stanley (Mansfield University), Rodney Winther (Ithaca College), Stephen Peterson (Ithaca College), Col. Arnald Gabriel (US Air Force), and Mallory Thompson (Northwestern University).  In addition to his duties at BU he also serves as Director of Bands at Owego Free Academy where he has developed an outstanding instrumental music program. The bands at OFA have received plenty of praises and the OFA Jazz Band has been  honored  to  present  concert  performances  at  the  NYSSMA  Winter Conference in 2008 and 2013. He is highly regarded in the region as a conductor, as a percussion performer, and  as  a  music  educator.  He  has  been  a  member  of  the  Binghamton Philharmonic percussion section since 1982 but is also comfortable performing in  popular,  rock,  jazz,  and  other  styles.  He  has  played  as  a  free­lance percussionist, accompanying national touring artists such as Michael W. Smith, Tommy Tune, Jerry Vail, Lorrie Morgan, Ringling Brothers Circus, the Smothers Brothers, and Ella Fitzgerald. Professor Fabricius has served the New York State School Music Association as an All­State Percussion adjudicator for many years. He also serves NYSSMA as the Instrumental Jazz Reviews editor of The School Music News and is the Jazz Editor for the NYSSMA Manual.  In addition to his collegiate work at BU, he has also served Ithaca College as a consultant, as a member of the Summer Session faculty, and as a cooperating teacher for over 35 student teachers.  He has presented many clinics at music conventions and conferences and often serves as a guest conductor for honor band festivals. �Bi ng ha m to n C o mm rm itr  O rchestra ew 1  U ...1 pct­surfer; Quality  Orc hes tra l Experiences  for   f/rc  20 74 ­ 20 15  foam  “T he Might y H and ful ”  Saturday. November  22, 2014  i) 1— “a —J S ..­ “H ow  Su ite It I s!“   Saturday. February 28, 2015 f “  > _ \ T  = E y “R om ant ic S p r i ng”   3) Saturday. May 9. 201 5  = 1u Welcoming back to the podium as conductor  Dr.  Timothy Perry   Concerts start at 7 pm East Middle School 167 East Frederick Street Binghamton,  NY 1 3904  Visit \nfl\'.BinghauitoriCouuntmit30rche stra “J A “v >, p u 2 Bing§ham ion ' ,  _ Community .org for more information! '  Orrlresrru J ww w.m adr i g al cho ir. c om  T 607­21 7­41 10 ...&.<0 we sing Ho w can  I keep from singing Sun day, O cto ber  19, 201 4. 3 :00 p.m . Uni ted Pre sbyteri an Church, 42 C h e n a ng o St Lessons and Car ols for Christm reet. B ing hor nto n Saturd ay, No vember  29, 201 4, 7 :30 p.m as  . Sun day, N ove mb er 30, 2 01 4, 3 :00 p.m. Ch ur c h of th e H oly Trinity, 346 Pr osp ect  Street, Bi ngh om ton Psinging the  Psalms Sun day . M ay 17, 201 5, 3 :00 p.m. Trinity M emorial Ch urc h, 4 4 M ain  Street , Bingh amton The Ma dri gal  Ch oir of Bin gha mt on “ m “   201 3­2014 » 3 7th Se aso n l �B E S E T ]  2014­2015  SEASON  .“ B I N G H A m T O N   [ff/PHDLHARmON iC Jose­Luis Novo   ~ J  2  Music Director   311m (bifhfiflfl J WM  34.111__1,.1,‘ . (WiJJM’i­J  ‘. ’  1  607­723­3931 www.binghamtonphilharmonic.org = N  4:19  '  :1  { “.i.  Nn  &  N   i f )  i  ‘ E ­  \_  ..  A  K  . i  32 Gpauoti­‘s glorious  ­ “2   s y music meets Goethe most famous fable. 2‘ 2,‘ ”13  The Forum Theatre 236 Washington St. Binghamton, N Y T:IX 607. 772.0400  '  tric1t1esopera.com support.of Gunther Andrew  Criomo and the New  York State Legisiature. General Operating 5095 101116:  B/UESfOITTi provided tunKlucsDn–uunmmriu m ur mur­1n d of  the Bloom: County Arts Council. �( n g h a m t o n  Univ ers i ty M u s i c  D e pa rt me nt’s   C o m in g  Events 6 & 6 M é fl fl é b éwé fl u fi r ’ é fl fl é é fl 6 é fl Sunday, March 8 ­  Sophomore Recital: Ha nnah Watrobski, viola – 5 p.m. – Casadesus Recital Hall ­ free Thursday, March  12  ­  Opera Scenes  Mid­Day  Concert  (Thomas Goodheart)  ­  1:20  p.m.  ­ Anderson Center Chamber Hall ­ free Thursday, March 12 ­  Opera Scenes ­  7:30 p.m. ­ Anderson Center Chamber Hall ­  $10 general public; $7 faculty/staff/seniors/alumni; $5 for students Saturday, March 14 ­ Master’s Recital: Meroé K halia Adeeb, soprano – 4 p.m. ­ Casadesus Recita’ Hall ­ free Saturday, March 14  ­ University Symphony Orchestra: Dark Passions ­  7:30 p.m. = Osterhoui Concert Theater ­ $7 general public; $5 faculty/staff/seniors/alumni; Free for students Sunday, March  15  ­  Opera Scenes and Arias ­  3 p.m.  ­  Phelps  Mansion,  191  Court  Street Binghamton  ­  $10 general public;  BU  students free with  ID ­  For  reservations call  the  Phelps Mansion at (607) 722­4 873. This concert is co­sponsored by  the Binghamton University Musit Department and Phelps Mansion Museum. Thursday, March 19 ­ Mid­Day Concert ­  1: 20 p.m. ­ Casadesus Recital Hall ­ free Thursday, March 19 ­  Lontano Ensemle: Music Now! ­  7:30 p.m. ­  Casadesus Recital Hall ­ $1 general public; $5 faculty/staff/seniors/alumni; Free for students Thursday. March 26 ­ Mid­Day Concert ­ 1:20 p.m. ­ Casadesus Recital Hall ­ free Friday, March 27 ­ Jun ior Recital: Jessica Biogiotti, flute ­  7:30 p.m. ­  Casadesus Recital Hall ­ free  ' Wednesday, April 1 – H armony Club Fundrasier Concert ­  7:30 p.m. ­  Casadesus Recital Hall $10 suggested donation Thursday. April 2 ­ Mid­Day Concert ­ 1:20 p .m. ­ Casadesus Recital Hall ­ free c w w w w w w w w w w w o ­ For tickets or  to be  added to our email list, visit andersonbinghamtortedu or  call (607) 0 )   [ = ]   B   7 7 7­ARTS.  For  a  complete  list  of  owr  concerts  call  (607)  7 7 7­ 2592,  visit   =  [ = ]   micibinghanuoncduorlxconuafan on  Facebook. If you were inspired by  this performance, consider supporting the Department of Music with a financial gift. Your support helps to continue the work of  students,  faculty, and guest  artists  and  their contributions to our  community.  Please make your  donation payable to the Binghamton University Music Department, and send your check to B U Music Department, P.O. Box 6000, Binghamton, N Y 1  3902. � 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.) 41:48 56:16 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE128169">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE128169</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 Binghamton University Wind Symphony and the Vestal Community Band presents "Just Like a Concert in the Park," March 8, 2015 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Sousa, Swearingen, Mancini, Bagley, Wilson, Gould, Grainger, Suppé, Anderson, Warren, Kahelin. Held at 3:00 p.m., March 8, 2015, Anderson Center Osterhout Concert Theater. Creator An entity primarily responsible for making the resource University Wind Symphony Fabricius, Daniel Natoli, Jerry 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 2015-3-8 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/c279404119129e77cadd342972770f77.pdf 17167dd5f8536775dd20989316c2fae4 PDF Text Text INGHAMTON B U  N  1  v  E R  s  1 T  Y S T A T E  U N I V E RSlTV O F  N E W  Y ORK £172 24 D E P A R T M E N T CBinghamton Lbniversity CWM Qfiymphany [0735'me ‘CEomething @H  Qfiomo’l/Iirig’ (90m Qbomehtnig SBorowed , Obomehtnig Blue” D ANIEL F ABRICIUS , CONDUCTOR Sunday, December 2, 2012 3:00 p.m. Anderson Center Chamber Hall �UNIVERSITY WIND SYMPHONY PROGRAM Daniel Fabricius, Conductor .Jack Stamp (b. 1954) Fanfare for a New Era (1997)  Blue Lake, Overture for Concert Band (1971). John Barnes Chance (1932 — 1972) Suite of Old American Dances (1949) .Robert Russell Bennett (1849 — 1981) I.  II.  III.  IV.  V.  Cakewalk Schottische Western One Step Wallflower Waltz Rag Folk Dances (1979). PICCOLO ALTO SAXOPHONE TROMBONE I Cara Natale Stephi Verhage Christopher Beard Veronica A. Mantilia Daniel Gross Christopher Murdock TROMBONE II Ryan Meehan TENOR SAXOPHONE Kevin Clements TROMBONE III Neel Tarikeri FLUTE I Jackie Robins Nicole Safran FLUTE II Andrea Dewhirst Devan Kasinki Hagar Dayan BARITONE SAXOPHONE Philip H. Westcott OBOE Jenna Graff (+English Horn) TRUMPEI’I Jason Boniello Kimberly Muller Brandon Young Brittany Wilson .Dmitri Shostavovich (1906 — 1975) Transcribed by H. Roberts Reynolds . Elsa’s Procession to the Cathedral, from “Lohengrin” (1846­48)  Richard Wagner (1813 — 1883) Transcribed by Lucien Cailliet CLARINET I George Deutsch Mary McGahay TRUMPET II Joshua Golub Jared Biunno CLARINET II Sofia Schneiderman Stephanie Sheintul TRUMPET III Andrew Vaccaro Ray Futia CLARINET III David Mossissey JooWon Kim Erin Annis FRENCH HORN David Luther Molly O’Brien Haleigh Doetschman Lauren Corey BASS CLARINET Molly Rice Zach Stanco EUPHONIUM Ryan Shumaker Justin Canaday Andrew Kaufman TUBA Elliot Bowen Matthew Gukowsky Michael Burgner PERCUSSION Emily Goetz Benjamin Ramos Alexander Rava Wesley Roth Tyler P. Steere Alex Valera �CONDUCTOR PROGRAM NOTES Daniel Fabricius is the newly appointed conductor of the Binghamton University Wind Symphony.  Professor Fabricius has been a member of the music faculty since 1992, serving  as  percussion  instructor  for  twenty  years  before  accepting  this  new appointment.  He holds degrees from Mansfield University and Ithaca College and has studied  conducting  with  Donald  Stanley  (Mansfield  University),  Rodney  Winther (Ithaca College), Stephen Peterson (Ithaca College), Col. Arnald Gabriel (US Air Force), and Mallory Thompson (Northwestern University).  In addition to his duties at BU he SOMETHING NEW Fanfare for a New Era was written as a celebration of Lt. Col. Lowell E Graham’s appointment as Commander of the United States Air Force Band.  The composer states, “As I envisioned the piece, I knew that I heard something energetic and vibrant, highlighting the talents of this fine ensemble..." also serves as Director of Bands at Owego Free Academy where he has developed one of the finest instrumental music programs in the region.  He is highly regarded in the region as a conductor, as a percussion performer, and as a music educator. Professor Fabricius has been a member of the Binghamton Philharmonic percussion section since 1982 but is also comfortable performing in popular, rock, jazz, and other styles.  He has played as a free­lance percussionist, accompanying national touring artists such as Michael W. Smith, Tommy Tune, Jerry Vail, Lorrie Morgan, Ringling Brothers Circus, the Smothers Brothers, and Ella Fitzgerald.  He has served the New York State School Music Association as an All­State Percussion adjudicator for many years.  He also serves NYSSMA as the Instrumental Jazz Reviews editor of The School Music  News  and  is  the  Jazz  Editor  for  the NYSSMA  Manual.  In  addition  to  his collegiate work at BU, he has also served Ithaca College as a consultant, as a member of the Summer Session faculty, and as a cooperating  teacher for over 35 student teachers. He also serves the Summer Music Academy at Ithaca College as a percussion instructor and jazz ensemble conductor.  He has presented many clinics at music conventions and conferences and often serves as a guest conductor for honor band festivals. rrrgherrrrrorr—  –Cerrorrrnerribe– m “ retrestra— Am caneir S ahay A n m n—~ l–u»—­—n­»m   oo­u h u n fi t — l l ! )  ~ u fi u w madman­twin!” L e d “ n ­ _ « n ­ _ ­ _ n a g – t r u — n . . . — a—ahtmn “ L . egg–1616.” . . _. .. . ... Pong  erPade mOnrantn ~  .  .  ~  / ~ ­ Saints and Sinners C u r ­ u n O n c b a l L Z O ll  3 00pm z r:_ec’Pr­e;o_~ r a n Church of    Birghamson., Crenargo 5: L amp»: 42 Crenargo 5,701.13. g a m m a   N} I e  o n : a  nd Carols for Christal. Saturday. Novercher : l . 2  0m. 7 30  p.m Sunday. November  J .  1 01 1 3  0 0 ; t  : can, mamas Iv: S i o i m w t f r e e  Birghamsor. 3 7 C eremom and Celebra don for Tu elfth N ight Saturday. January  1 2, 2 01 3,  30pm inner. J anna­1 3.201 3, 3 00]; n: (fif‘fffiix‘ofifsz'rl: JOHmrj’f’ree; ééegitcm’or  T } Tm a n d h n g Sunday, A p r i l  2013  3:00 pre Trizzy  .l/mor:a'_{=:x:pa’ Church +3  Main Stree. Brgramon, 17 The Madrigal Choir of Binghamton 2012­2013  35th Seaon www.madrigalchoir.com  G ot  1’] f 1 1 1 0 The  work  derives  its  framework  from  the  opening  trumpet  motif.  The  motif  is expanded and developed through a  variety  of compositional  techniques  including choraIe, fugue, augmentation, polychordal usage, and minimalism. Dr. Jack  Stamp  is  Conductor of Bands  at  Indiana  University  of  Pennsylvania.  Dr. Stamp’s primary composition teachers have been Robert Washburn and Fisher TuII. Recent studies include work with noted American composers David Diamond and Joan Tower. He is  active as a guest conductor, clinician, adjudicator, and composer throughout North America and Great  Britain.  His  compositions have been commissioned and performed by leading military and university bands across the United States. He has won the praise of American composers David Diamond, Norman Dello Joio, Michael Torke, Samuel Adler, Robert Ward, Robert Washburn, Fisher Tull, Nancy Galbraith and Bruce Yurko for performances of their works. He is also a contributing author to the “Teaching Music Through Performance in Band” series.  In 2000, he was inducted into the prestigious American Bandmasters Association. SOMETHING BLUE Chance  wrote  Blue  Lake  Overture in  1971  for  the  Blue  Lake  Fine  Arts  Camp  in Michigan.  Beginning with a tempo marking of slancio ("with impetuosity”), the initial motive is heard in the horns. The outer sections of the piece feature rhythmic intensity brought about by  Chance’s free use of both three and two eighth note groupings within measures of 4/4. While this often produces a 3+3+2 pattern which matches the length of the 4/4 bar, more often the note groupings defy that meter  altogether, spilling  over  barlines  and  creating  moments  that  sound  like  5/8,  9/8,  and  even unknown hybrid meters.  The  middle  section settles into a  circus­like  waltz  with wandering tonality.  Every section of the band gets a soIi in this rhythmic thrill ride. The energy of the opening returns to carry the work to its finale. A Texas native, John Barnes Chance played percussion in high school before he began composing. He studied under Clifton Williams at the University of Texas and earned his bachelor’s and master’s degrees in music. After graduation he joined the Army service bands as a percussionist and arranger. After his discharge he received a grant from the Ford Foundation’s Young  Composers Project and  wrote seven pieces for school ensembles. He served on the faculty of the University of Kentucky from 1966 until his untimely death in 1972.  In August  1972, Chance was airing a tent in his garden when a metal pole contacted an electrified fence used to confine his dogs. Chance was accidentally electrocuted and died from cardiac arrest. �SOMETHING OLD..... Robert Russell Bennett (June 15, 1894 – August 18, 1981) was an American composer and arranger, best known for his orchestration of many well­known Broadway and Hollywood  musicals by  other  composers  such  as  Irving  Berlin,  George  Gershwin, Jerome  Kern, Cole Porter, and  Richard Rodgers.  As the composer explained, the catalyst for the creation of his Suite of Old America Dances was a rare indoor concert by the Goldman Band held at Carnegie Hall: When Edwin Franko Goldman arrived at his seventieth birthday it was celebrated by a concert sponsored by the League of  Composers. For the concert they engaged the Goldman Band of New York and asked Dr. Goldman to conduct his own band in honor of his own anniversary. [My wife} Louise and I went to that [3 January 1948] concert and I suddenly  thought of all the beautiful sounds  the  American concert band could make that it hadn’t yet made. That doesn‘t mean that the unmade sounds passed in review in my mind at all, but the sounds they made  were so new to me after all my years  with orchestra, dance bands and tiny “combos” that my pen was practically jumping out of my pocket begging me to give this great big instrument some more music to play. To satisfy this urging I found time to put a good­sized piece on paper. There was really no such thing as spare time for me at that time, but somehow I got a part done here and a part done there and one day there was this piece to show Dr. Edwin Franko Goldman to  see if he  was  interested in adding one more  idiom  to  his  great collection.  Dr. Goldman and his son Richard, also a doctor, became very warm friends indeed and gave the new piece a great send­off. It was published with the name Suite of Old American Dances. I had a nice name for it, but you know how publishers are—they know their customers, and we authors never seem to. My name for it was Electric Park. Electric Park in Kansas City was a place of magic to us kids. The tricks with big electric signs, the illuminated fountains, the big band concerts, the scenic railway and the big dance hall—all magic. In the dance hall all afternoon and evening you could hear the pieces the crowds danced to, and the five movements of my piece were samples of the dances of the day. " The Goldman Band premiered SOAD—with the composer conducting–in Central Park, New York, on June 19, 1949, and gave it several additional performances that summer. Robert Russell Bennett spent much of his career collaborating with the composers and lyricists for musical theater productions.  During the mid­20m century theater goers and record and radio listeners would know many of the most famous musicals in the era – such as Oklahoma, South Pacific, or The Sound of Music – by the “sound” of Bennett’s brilliant orchestrations.  Schooled by his mother to disdain popular music, Robert Russell Bennett found the dichotomy between his serious compositions and his arranging work to be a lifelong struggle. In spite of his prolific output, which included the opera Maria Malibran, more than seven symphonies, a large variety of chamber works, and at least five concertos, his reputation today as a classical composer rests primarily on two oft­recorded pieces, the Suite of Old American Dances and Symphonic Songs for Band. This may be  attributed both to the modesty so characteristic  of Bennett and to the Eastman Wind Ensemble recordings which popularized them. In his composing, Bennett brought to bear his considerable talent for orchestration as well as a gift for conceiving melodies and harmonic structure in his head; longtime Bennett copyist Adele Combattente (of Chappell Music) confirmed his ability to write parts in score order, as opposed to filling in leftover parts and doublings as he  completed primary melodic lines. He nearly always scored directly in ink, rather than pencil. The Tony A ward for orchestrations has only ex isted since 1997 ; Bennett w as  given a Special  Tony  Award  in  1957  and  again  in  2008  “in  recognition  of  his  historic contribution to American musical theatre in the field of orchestrations, as represented on Broadway this season by Rodgers & Hammerstein’s South Pacific.” Other honors have included his Oscar for the film Oklahoma!, a 1962 Emmy award, television’s Christopher Award in 1960, the City of New York’s Handel Medallion in 1967, Los Angeles’s honorary  Scroll  in  1979, and an honorary  doctorate  from Franklin and Marshall College in 1965. The dances Bennett chose to set to music were as follows. Cakewalk – The cakewalk dance originated on the southern plantations, where slaves often imitated their plantation owners.  The dance or “strut” was danced to  jig­like banjo/fiddle music, usually done by  couples who,  with  a backward sway, strutted in a medium high step or low kicking fashion.  Plantation owners would encourage their workers by presenting prizes for the best couples.  The prize was often a cake, usually  shared with the other participants.  The men would often dress in long coats with high collars and the women in frilly gowns, to mimic their white owners. Schottische – Although the  title  of  this  dance  suggests  that  its  roots  lie  in Scotland, the schottische is actually a German variant of several Bohemian dances that later developed into the polka.  The schottische features quick shifts from foot to foot and a striking of the heel.  These movements resemble the Scottish reel and may have inspired the name.  Because the polka was at one time called the  “Scottish  Waltz,”  it  is  also  possible  that  this  earlier  dance  inspired  its namesake.  Either way, the dance came to the United States by way of England when polka dancing became the rage among continental society in the 1840s. The music for the early schottische was usually written in 2/4 time, and many describe the dance as simply a slow polka. Western One Step – The Western One Step included in the Suite of Old American Dances is a somewhat misleading title.  As Frederick Fennell points out, “The composer informed me that this is also a dance known as the ‘Texas Tommy,’ an obviously bright­eyed tune with an equally bright­eyed tempo.”  Little is known about the Texas Tommy, one of the obsolete forms of the one­step.  This dance, from the early 20 ”  c entury, is believed to have originated in brothels and saloons, where ladies of the evening were known as “tommies.”  There is a record of the Texas  Tommy  appearing  in  the  New  York  Lafayette  Theatre  production  of Darktown Follies in 1913, Wallflower Waltz – Although the beginning of the 20 ”  century represented a new  cultural era, replete  with new  dance steps, the time honored waltz still reigned as king of the ballroom dance scene. �Rag – It seems fitting that Bennett chose to end his suite with a rag.  Although there is no one specific dance that can be associated with the rag style, Bennett’s choice  of  music  is representative  of the  era  as  a  whole.  The  ragtime  era coincided with the beginning of the century, and with a new generation which was harshly criticized by its elders for embracing novel ideas. THE WEDDING Elsa’s Procession to the Cathedral, with its medieval color and pageantry, prefaces her betrothal to Lohengrin, mystic Knight of the Holy Grail, who comes to deliver the people of Brabant (Antwerp) from the Hungarian invaders. SOMETHlNG BORROWED..... Composed in Shostakovich‘s light­hearted style, Folk Dances is a single­movement work is  filled with  the  joy  and exuberance of the Russian  people.  The many folk In the  operatic  presentation, a large  double  chorus  (representing  the  people  of Antwerp) adds its song of solemn praise to that of the orchestra. It is in this music, melodies are combined in a string so that musical energy abounds and the spirit of folk musical thoughts that w ere t o culminate in Tristan, The Ring, and Parsifal. Not quite dances can easily be imagined.  Folk Dances was originally the third movement of a suite  for  orchestra entitled Native Leningrad, Op. 63, first  published in 1942  and reissued in 1970 as Suite, My Native Country. This suite was assimilated from the incidental music to a theatrical production of the same opus entitled Motherland. Shostakovich  collected several native Russian dance tunes and carefully tied them together into this single composition. In the theatrical production, this set was called Youth Dance or Dance of the Sailors – a name, though not specifically noted, that held over to the orchestral suite. Marck Vakhutinskii arranged this suite for Russian band instrumentation (a greater percentage of brass parts than American instrumentation) in 1952 and was edited for America bands by H. Robert Reynolds in 1979. emancipated from the musical speech of his operatic contemporaries, one finds in the Lohengrin  score  those  unmistakable  flights  into  musico­dramatic  magnificence transcending all that preceded it in idiom and musical adventure. Dmitri Dmitriyevich Shostakovich (September 25, 1906 – August 9, 1975) was a Soviet Russian  composer  and  pianist  and  a  prominent  figure  of  20th  century  music. Shostakovich achieved fame in the Soviet Union under the patronage of Leon Trotsky’s chief of staff Mikhail Tukhachevsky, but later had a complex and difficult relationship with  the government. Nevertheless, he  received  accolades and  state awards  and served in the Supreme Soviet of the RSFSR (1947–1962) and the USSR (from 1962 until death). After a period influenced by Sergei Prokofiev and Igor Stravinsky, Shostakovich developed a hybrid style, as exemplified by Lady Macbeth of the Mtsensk District (1934). This single workjuxtaposed a wide variety of trends, including the neo­classical style  (showing  the  influence  of  Stravinsky)  and  post­Romanticism  (after  Gustav Mahler).  Sharp contrasts and elements of the grotesque characterize much of his music. Shostakovich‘s orchestral works include 15 symphonies and six concerti. His chamber output includes 15 string quartets, a piano quintet, two piano trios, and two pieces  for string octet. His piano works include two solo sonatas, an  early  set  of preludes, and a later set of 24 preludes and fugues. Other works include three operas, several song cycles, ballets, and a substantial quantity of film music. H.  Robert Reynolds is Principal Conductor of the Wind Ensemble at  the Thornton School of Music at the University of South California, where he holds the H. Robert Reynolds Professorship in Wind Conducting. This appointment followed his retirement after 26 years from the University of Michigan School of Music, where he served as the Henry F. Thurnau Professor of Music, Director of University of Bands, and Director of the Division of Instrumental Studies. In addition, he has also been conductor of the Detroit Chamber Winds and Strings for over 25 years. mystic yet powerful, that we find Wagner striking out with those new and intense In this transcription of Elsa’s Procession for symphony band, Lucien Cailliet, with his great  talent  for instrumentation, has  succeeded  in  building  into  the  instrumental framework of the modern band a true and delicate representation of all that Wagner so  eloquently  describes  with  orchestra  and  chorus.  In  the  present  score,  the instrumental solo voices of the original score are paralleled, the choral voices deftly absorbed in the rich instrumental texture and all the luxuriant Wagnerian color re­ created in terms of the instrumentation for the band. Richard Wagner (born May 22, 1813, in Leipzig; died February 13, 1883, in Venice), a German composer, was one of the most influential people who lived during the 19th Century. His most influential works were in the medium of opera. These compositions include  Der  Ring  des  Nibelungen,  Tristan  und  Isolde,  and  Die Meistersinger  von Narnberg. Even though he died more than a century ago, Wagner remains a divisive figure due to his personal views. Wagner first attended school in Dresden and eventually attended Leipzig University in 1831. At this time he studied briefly with Christian Gottlieb Muller and was heavily influenced by Beethoven. He gained his first position through help of his brother as the choirmaster at the theater in Wirzburg. Wagner composed operas at this time influenced  by  Weber  and  Bellini.  His  early  career  led  him  to  travel  throughout Germany with one company, hold a position in Berlin, and move to Paris in 1839. His first  large success  was  with the premiere  of Rienzi in  Dresden  in  1842. This  was followed  shortly  by  the  premiere  of  Der fliegende Hollidnder,  and then  Wagner’s appointment as assistant choirmaster for the court in Dresden. While in this position he presented the premiere of Tannhéuser. In 1848, after the revolutions in  Paris and Vienna, Wagner saw an opportunity to develop a German national theater and joined revolutionary minded people. When an attempt at revolution in Dresden failed, the composer was forced to flee because of his associations with the revolutionaries. He first stayed at the home of Liszt but then moved on to Zurich. Wagner spent much time writing in the 1850s and was able to secure living expenses from two women. Ideologically, he began to associate with the philosopher Arthur Schopenhauer. He conducted important works such as Tristan und Isolde and Die Meistersinger von Nu’rnberg but Wagner had also accumulated a lot of debt. �Our, I x: E PERA   D R , F Newson! In 1864, Ludwig II of Bavaria gave the composer money to pay his debt and also gave him an annual salary as well. This helped Wagner to move back to Germany and to develop his theater in Bayreuth. The composer also developed a relationship with Cosima, the daughter of Liszt and wife of Hans von Bulow, who he eventually married. In 1876 the complete Ring Cycle was performed for the first time. Wagner’s last major work, Parisfal, was premiered in Munich in 1882. He passed away from a heart attack shortly after moving with his family to Venice. 2 0 1 2 ­ 2013  SEASON Lucien  Cailliet  (May  22,  1891  ­  January  3,  1985)  was  an  American  composer, conductor, arranger a nd  clarinetist. Born at Dijon, in France, Cailliet studied at the Conservatory in his native city before migrating to the United States in 1918.  CaiIIiet worked as staff arranger for the Philadelphia Orchestra. During this time, he founded the Cherry Hill Wind Symphony, which would later become the Wind Symphony of Southern NewJersey. [I  rzsazsmrz  Februayr$  &10 ,2013 ] Apmzsamma Cailliet is well known among wind musicians for his faithful arrangements of orchestral music for wind ensemble. In particular, his arrangements of Elsa’s Procession to the Cathedral (from Wagner’s opera Lohengrin) and Finlandia (a symphonic poem by Jean Sibelius) have become staples of the wind ensemble repertory. Lucien Cailliet served as Associate Conductor of The Allentown Band (Pennsylvania) from 1934 until 1969. During that period, he conducted many of his arrangements on Allentown Band Concerts. The renowned composer and arranger studied at several French music conservatories before graduating from the Dijon Conservatory at age twenty­two. He also received a degree from the National Conservatory in Paris. He was a bandmaster in the French Army and, in 1915, he toured the United States with the French Army Band. In 1919, he joined the Philadelphia Orchestra as a clarinetist, saxophonist, and arranger, where he worked closely with Leopold Stokowski. In 1923, at age thirty­two, Cailliet became an American citizen and continued to play with the Philadelphia Orchestra while attending graduate school at  the Philadelphia Musical Academy. After receiving his Doctor of Music Degree in 1937, he moved to California to teach at the University of Southern California. After teaching there for seven years, he decided to devote his time to guest conducting and composing film scores. 8  p a a C ­ A fi w m u A dicot!    OBERT  ECKERT  EATRE at the  R  conter  8 0 7– 7 8 5 –8  9 0 o  w . .  iratArsW­ri 3 — EPAC Repertory Company  [PIE ITTITTHTTETH  F id l er   5.9),  atone La n S lm O S November 9 ­ 18,2012  December 14 ­ 16, 2012 Community theater is GREAT for the community! The Forum Theatre » 236 Washington Street Binghamton, NY For tickets call 607­772­0400 or visit us online atwwtricitresoperaxom.   n bv’n  NowYor’ 5 : c h arts–Am a t n c u c w . p rodurtions .   m m m e r v a w a ­ d m l m VofiSunL­yumr onur wwnwsmcncw­mwmmmu—acmurm   A I – T a m i  laErl­ame g u n m a n ­ p u r e ” q u a s a r ­ “ wM I fi m c e m m L ­ n  ley. Cavaliers fustizans Wormndtx Mertns Coline.  “Engh Suparises Sonya Freidman . ”1 . I l N G N A m T O N   Wdossiuh Novo  H l f r  ­ Musk:  Director  ChamberSories  10.06.12 Beethoven Sibelius. 02.02.13  New Orford  11.11.12 V a n s  R equiem Jarice Chandler Eteme,  soprano   ishol, mezzo­sopran: Stu,R Marco Panucdo,  tence Gustav Andreassen bass &inghamton University Chorus 0I10.U&ahmtmm Pascual ­.  Mantriez  Forteza, clarinet 0420.13 Shostakovich s m n Pops Series 12.08.12 Holiday Brass Boston Brass, guest artist 03.16.13 M u m  of the Eagles team n Classics, gum artist C E E W  DNILMARNONIC Classical Series Noah Bendix­Baigiey, viokn 2  ”E3, (11,  B Smg oulnl  0324.12  Ymc auma  © l  g ‘  ‘  ‘ é i w l fl f t 7  u l fi “ 5 1 1 “ ,   3  s gt», Special Concert 05.11.13  Dr s m y i n   Concert:  Magical Music  fromthe Manes  ,_  .  ,  $35  Xe;  S h s‘f, e SE RIES  3  a 9 V E  ‘Q‘ aL TING BEMUSIC. ORDER TODAY! wwwbingham tonphitharmonic.org  807.723.3931 � 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.) 35 minutes :36 seconds Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE140937">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE140937</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 Binghamton University Wind Symphony presents "Something Old, Something New, Something Borrowed, Something Blue," December 2, 2012 Description An account of the resource Held at 1:20 p.m., December 12, 2012. 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 12/6/12 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/a5c814853f0eb5596f9b408bbedd8756.pdf a2d15439b5f37378436a5254c22f06cf 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 I T Y   O F  N E W  Y O R K * D E P A R zedec T M E N T B i n g h a m t o n  (1311117575722? ­ CWM QSymphony pri  (353/15 ”Q9: W W W } ? 47161   05711 77112145 ~ A n  Oflymayfl in Mu sic” D ANIEL FABRICIUS , CONDUCTOR Sunday, November 23, 2014 3:00 p.m. Anderson Center Chamber Hall �PROGRAM HOMAGE ( 1 9 9 4 ) J a   n Van der R0 (b. 195 ELEGY FOR A YOUNG AMERICAN (1964)............................Ronald Lo Presti­ (b. 1961! . SCENES FROM “THE LOUVRE” (1966)..............................Norman Dello Joio (1913­2008) i  ' I. The Portals  II. Children’s Gallery III. The Kings of France IV. The Nativity Paintings V. Finale "’ * * "' * lNTERMlSS/ON * * "‘ "" * . SLAVA! (1977)....ccosssmmmsssssmsssanssssssssssssassassmssssanssssansessensassess Bernstei  . (1918­1990)? Transcribed by Clare Grundman MUSIC FOR PRAGUE 1968 (1968)..................................................Karel Husa. (b.1921¥­ I. Introduction and Fanfare II. Aria III. Interlude IV. Toccata and Chorale �24 ( RSITY WIND SYMPHONY Daniel Fabricius, Conductor ALTO SAXOPHONE Andrew Pfeiffer Nicholas Follett Julia Dunnigan ' ‘rsuo n SAXOPHONE Crystal Fisher BARITONE SAXOPHONE Daniel Gross ,  TRUMPET Brandon Young 371  Brandon Ashley Letitia Kar Hoo TROMBONE Jacob Solon Joshua Yamuder Daniel Romberger EUPHONIUM Ryan Shumaker TUBA Matthew Vegiard Patrick Jones PERCUSSION Emily Goetz William Potts Alex Rava Robert Hopkins 1 :  Masha Pazdar Wm», E r �CONDUCTOR Daniel Fab ricius h a s b  een a member of the music faculty since 1992, percussion i n s t r u c t O r  for twenty years before his appointment as con the Bingh amton UHlVersity Wind Symphony. He holds degrees from  ma University and I t h a c a  College and has studied conducting with Donal (Mansfield Univers ity)  Rodney  Winther (Ithaca College), Stephen  pe (Ithaca Co llege).  COI  Arnald Gabriel (US  Air Force), and Mallory Th (Northwestern  UniVErsi ty).  In addition to his duties at BU he also s” Director  of  B a n d s  at Owego  Free  Academy  where  he  has  develop outstanding lnStru mental music program.  The bands at OFA have r plenty of praises a n d  the OFA Jazz Band has been honored to present performances a t  t h e  NYSSMA Winter Conference in 2008 and 2013.  " He is highly r e g a r d e d  in the region as a conductor, as a percussion pe " and  as  a  m u s i c   educator.  He  has  been  a  member  of  the  Bingh Philharmonic p e rc u s s i o n  section since 1982 but is also comfortable perfor in  popular,  r o c k ,   Jazz,  and  other  styles.  He  has  played  as  a  freW percussionist, acco mpanyin g national touring artists such as Michael W § Tommy Tune, J e r r y  Vail, Lorrie Morgan, Ringling Brothers Circus, the S Brothers, and E l l a  Fitzgerald. Professor Fabricius has served the New Yo " Slil’lOOl Music ASSOC lation as an All­State Percussion adjudicator for many He also serves N Y S S M A  as the Instrumental Jazz Reviews editor of The Sc Music News a n d  i s t  h e  Jazz Editor for the NYSSMA Manual.  In additio,  t collegiate work a t  B U ,  he has also served Ithaca College as a consultan member of the S u m m e r  Session faculty, and as a cooperating teacherf 35 student t e a c h e r s ,   He also serves the Summer Music Academy atf"1 College  as a  p e r c u s s i o n  instructor  and  jazz  ensemble  conductor.  I Presented many C l i n i c s  at music conventions and conferences and often. as a guest CO PdUCtO”  for honor band festivals. � ”*  , 7 PROGRAM NOTES ost literal sense: a piece for an occasion. The actual occasion ns ’ s’t’wentieth anniversary as a conductor of the top Dutch brass Gloria”  (Leeuwarden).  To  mark  the  occasion,  the  band ii” “Belgian composer Jan Van der Roost to create a surprise owledge of the person being celebrated, a suitable source of ,  ­f­’ g;  ught for. After some thought the chorale­theme from Camille ' ‘ “ symphony was chosen, a piece with which Jan de Haan has a }ft from this chorale, Homage is also based on the names of m Jan de Haan’ and ‘Soli Deo Gloria’, resulting in the tone row: sments are combined together and form a grand climax towards e when the whole band unites in the Saint Saéns’ theme. ,  ‘  was born in Duffel, Belgium, in 1956. He studied trombone, ‘t ’and musical education at the Lemmensinstituut in Leuven m ,  tinued his studies at the Royal Conservatoires of Ghent and ihe qualified as a conductor and a composer. At present, he Wmensinstituut in Leuven (Belgium), is special guest professor itute of Music” in Tokyo, guest professor at the “Nagoya " and visiting professor at Senzoku Gakuen in Kawasaki (Japan). lific composer, he is very much in demand as an adjudicator, ' ‘ n ga  nd a  guest  conductor:  his  increasing  musical  activities ore than 40 different countries in 4 continents, whereas his being performed and recorded all over the world.  Many of ,  s have been broadcast on radio and TV in various countries  .­ have been recorded on CD by renowned performers all over _  7 ‘  der Roost exclusively composes commissioned works, till g Z « ' such countries like Belgium, Holland, Switzerland, Italy, the France, Singapore,  Austria,  Canada,  Norway,  Germany, M '  rg and Hungary. r. , g . A r  YOUNG AMERICAN – Elegy for a Young American was written in ' ~ .­.  ed to the memory of President John F. Kennedy. The many ' ing can be felt as the work unfolds. A quiet adagio sets a tone  dna fisoiemnity in the beginning. Feelings of shock and denial are he  dynamics and octave jumps in the melody. Anger and remorse files, but they are replaced with a resolution of the loss and an ‘  ‘ ion of the contributions of this great American. The maestoso s us  again of our loss. �Ronald LoPresti, clarinetist and composer, was born in 1933 in Williamstown, Massachusetts. After graduating from the Eastman School of Music he received many grants from the Ford Foundation and has also served as the Composer­in­ Residence for the Ford Foundation. LoPresti has taught at Texas Technical University, Indiana State College, and Arizona State University. His most popular work is Elegyfor a Young American, but he has also composed A Festive Music; Introduction, Chorale, and Jubilee; Pageant Overture; Suite for Winds; Tribute; and Tundra. SCENES FROM “THE LOUVRE” ­ Scenes from the Louvre comes from a 1964 television documentary produced by NBC News called A Golden Prison: The Louvre, for which Dello Joio provided the soundtrack. The documentary tells the history of the Louvre and its world­class collection of art, which is in many ways inseparable from the history of France. Dello  Joio  chose  to  use  the  music  of  Renaissance­era  composers  in  his soundtrack in order to match the historical depth of the film. He collected the highlights of this Emmy­winning score into a five­movement suite for band in 1965. The first movement, Portals, is the title music from the documentary, and it  consists entirely  of Dello Job’s original material, complete  with  strident rhythms and bold 20th­century harmony. The second movement, Children’s Gallery, never actually appears in  the film. It is a light­hearted theme and variations of Tielman Susato’s Ronde et Saltarelle. The stately third movement is based on themes by Louis XIV’s court composer, Jean Baptiste Lully, and is aptly titled The Kings of France. Movement four, The Nativity Paintings, uses the medieval theme In Dulci Jubilo. The Finale uses the Cestiliche Sonata of Vincenzo Albrici as its source material, to which Dello Job adds his own harmonic flavor, particularly in the final passages of the piece. The band work, commissioned by Baldwin­Wallace College for its symphonic band, was premiered in 1966 with the composer conducting. Norman Dello Joio was born in New York City to Italian immigrants and began his musical career as organist and choir director at the Star of the Sea Church on City Island in New York at age 14. His father was an organist, pianist, and vocal coach and coached many opera stars from the Metropolitan Opera. He taught Norman piano starting at the age of four. In his teens, Norman began studying organ with his godfather, Pietro Yon, who was the organist at Saint Patrick’s Cathedral. In 1939, he received a scholarship to the Juilliard School of Music, where he studied composition with Bernard Wagenaar. As a graduate student at Juilliard he arrived at the conclusion that he did not want to spend his life in a church choir loft, and composition began to become �his primary musical interest. In 1941, he began studies with Paul Hindemith, the man who profoundly influenced his compositional style. It was Hindemith who told Dello Joio, “Your music is lyrical by nature, don’t ever forget that.” A prolific composer, the partial list of Dello Joio’s compositions include over forty­five choral works, close to thirty works for orchestra and ten for band, approximately  twenty­five  pieces  for  solo  voice,  twenty  chamber  works, concertos for piano, flute, harp, a Concertante for Clarinet, and a Concertino for Harmonica. He has also written a number of pedagogical pieces for both two and four hands.  Dello Joio taught at Sarah Lawrence College, the Mannes College of Music, and was Professor of Music and Dean of the Fine and Applied Arts School of Boston University. From 1959 until 1973, he directed the Ford Foundation’s Contemporary Music Project. SLAVA! –  When  prominent  Soviet  cellist  and  conductor  Mstislav  ”Slava” Rostropovich invited his friend Leonard Bernstein to help launch his inaugural concert as Music Director of the National Symphony Orchestra, he also asked him to write a rousing opening piece for the festivities. The world premiere took place in 1977 at the Kennedy Center in Washington, DC. Slava! is filled with joyous tunes and contrasts. Theme one is a vaudevillian razz­ ma­tazz with slide­slipping modulations and glissing trombones. Theme two, which features the electric guitar and soprano saxophone, is a canon in 7/8 time. Near the end, the ubiquitous trombones quote from the ‘Coronation Scene’ of Mussorgsky’s opera Boris Godunov where the chorus sings ”slaval” (”gloryl”),  paying  homage  to  Rostropovich,  to  whom  the  work  is  fondly dedicated. Leonard Bernstein was an American composer, pianist, and conductor. He was born  to  Russian  immigrants  and  attended  Boston  Latin  School,  Harvard University, and the Curtis Institute of Music. His studied with composers Edward Burlingame Hill and Walter Piston as well as conducting with Fritz Reiner. In the summers of 1940 and 1941 he studied conducting at Tanglewood with Serge Koussevitzky along with Frederick Fennell, Lukas Foss, and Walter Hendl. He become assistant conductor of the New York Philharmonic in 1943 and it was in this role he became famous by filling in last minute for Bruno Walter for a national broadcast on 14 November 1943. His Symphony No. 1, “Jeremiah” was premiered by the Pittsburgh Symphony in January 1944 followed by Fancy Free and On the Town by the end of the year. These successes led to numerous opportunities overseas, including being the first American to conduct at La Scala. In 1951 he become the head of conducting at Tanglewood and seven years later became Music Director of the New York Philharmonic (1958­1969). �In this position he promoted new music, developed a series of Young People’s Concerts, and recorded the symphonies of Mahler but was limited in his time to compose. Bernstein was able to compose more in the 1970s. He wrote in many styles encompassing symphonic and orchestral music, ballet, film and theatre music, choral works, opera, chamber music and pieces for the piano. Many of his  works  are  regularly  performed  around  the  world,  although  none  has matched  the  tremendous  popular  and  commercial  success  of  his  musical theater masterpiece, West Side Story. MUSIC FOR PRAGUE 1968 – “It is not as beautiful a music as one always would like to hear. But we cannot always paint flowers, we cannot always speak in poetry about beautiful clouds, there are sometimes we would like to express the fight for freedom.” ­ Karel Husa Music for Prague 1968 was commissioned by the Ithaca College Concert Band. It was premiered by the commissioning ensemble in Washington, D.C., on 31 January  1969,  Dr. Kenneth  Snapp,  conductor,  at  a  concert  for the  Music Educators National Conference. Three main ideas bind the composition together. The first and most important is an old Hussite war song from the 15th century, “Ye Warriors of God and His Law,” a symbol of resistance and hope for hundreds of years, whenever fate lay heavy on the Czech nation. It has been utilized by many Czech composers, including  Smetana  in  My  Country.  The  beginning  of  this  religious  song  is announced very softly in the first movement by the timpani and concludes in a strong unison (Chorale). The song is never used in its entirety. The second idea is the sound of bells throughout; Prague, named also The City of “Hundreds of Towers,” has used its magnificently sounding church bells as calls of distress as well as of victory. The last idea is a motif of three chords first appearing very softly under the piccolo solo at the beginning of the piece, in flutes, clarinets, and horns. Later it reappears at extremely strong dynamic levels, for example, in the middle of the Aria. Different techniques of composing as well as orchestrating have been used in Musicfor Prague 1968 and some new sounds explored, such as the percussion section in the Interlude, the ending of the work, etc. Much symbolism also appears: in addition to the distress calls in the first movement (Fanfares), the unbroken hope of the Hussite song, sound of bells, or the tragedy (Aria), there �is also the bird call at the beginning (piccolo solo), symbol of liberty which the City of Prague has seen only for a few moments during its thousand years of existence. ­ Program Notes by Karel Husa At  the  time  of  the  composition,  Husa  was  an  exile  from  his  native Czechoslovakia because of his avant garde music.  He was contemplating the inspiration for a new work commissioned by the Ithaca College Concert Band. Through the first eight months of 1968, Czechoslovakia’s new Communist Party chief, Alexander Dubcek set in motion a series of sweeping reforms aimed at making Czech socialism more liberal and humane, now known as the ”Prague Spring".  The Soviet government apparently could not entertain the thought of this reformist movement succeeding so they ordered the combined armies of the Warsaw Pact nations to invade and seize control of the government on August  20,  1968.  The  tragic  events  that  followed  provided  Husa  with inspiration.  Listening to news of the event happening in his homeland, Husa was filled with the need to write a piece to honor the beauty of his native city and express the utter devastation and injury that he felt because of its great suffering. The piece is full of allusions to war, chaos, and destruction, but it also includes  the  theme  of a  15th  century  Hussite  war  song;  birdcalls,  which symbolize fleeting freedom; the use of brass to convey power; and the use of percussion to represent the bells of Prague. Within the next seven weeks, scoring at a high level of inspiration and incentive, Husa composed Music for Prague 1968 finishing the score in October. Twenty­five years ago with the astonishing fall of the Berlin Wall and the eventual “opening up” of Czechoslovakia, friends and admirers flooded Husa with expressions of support, knowing how deeply he felt his cultural heritage. In 1990 Husa was finally able to conduct the work in the city of Prague.  It was a poignant homecoming, marking not only the success and perseverance of an individual artist, but heralding a changing world – changing this time in favor of hope, new freedom, and new dignity. �Binghamton Community Orchestra  5 I Presenting Quality Orchestral Lgperiences for the  2074­2015  Season  “The Mighty Handful”  Saturday,  ‘oyember 22, 2014  I I I 5 . 5 l I “How Suite It Is!”  ! Saturday, February 28, 2015 ' “Romantic Spring”  Saturday, May 9, 2015  l 1 . . 1l I l l Welcoming back to the podium as conductor  1  >~, Dr. Timothy Perry  (I a s ) Concerts start at 7 pm  East Middle School  167 East Frederick Street  B i n g h a m t o n .  N Y  1 3 9 0 4   :  2! 1 H i 1) il p B inglmrrllml Tl A  Cirrrrrrlrmily I ,  1) Orchestra \, lsil my“:BinghamlonComlnunityOrchesIraorg for more information! : T i e  B i n g h a m t e n  X  “ h u r l s / 1 9 ”  ~ ” ” l ’ [ 1 u i r   D e p a r t m e n t p  r e s e n t s Act ‘1  ofVchIS comic opera “Falstaff based on Shakespeare’s “The Merry Wives of Wlndsor’ and a scene from Douglas Moore’s The Ballad of Baby Doc Sunday, December 7 at 1 p.m.  and 4 p.m.  In the Anderson Chamber Hall For tickets,  call (6071 777­ARTS or VISIl anderson binghamton edu �B I N G H A m T O N   r  PHILHARMO NlC José­Luis Nova  ( j  Music Director V A (ileum (W   luiafm­ ‘  ileum IVl usic! 4 4J”. 607­723­3931 www.binghamtonphilharmonic.org “35?!”  =  '  Nod A  S F. A S O N  O F ir‘.\fr;.\iGr2... REVEL RY... REDEMPTION! P A A u ;1   [RS  T R E Y  E Y E   REIN  A i w l i m u u w ’ r  E n g l i s h   S u p g r t i t i e l l   FebruaryB & 8, 2015  A .  . W ­ “s  '   spFRI­t 1] u Ze  ISs      PERA~ E C wes  @PBlueStor m Tri­Cities O p e ra  p ro d u   1s are m a d e  p ossible b y  the N e w  Vorh .­c...m.i..rn..­.u  wtih the   4; wernor Andrew  C u o m o  a n d  t he N e w  York S t a i r  Legislature.  G e n e ra l  O p e ra t i n g   Support us  provided to Tri­Cities Opera by a grant ‘ m m  t he United  Cultural Fund,  mngmmr". a,  r .  Magnum  . , _ \ E N \  ' Enolan p e n April17&1 9.201 ' 5 The Forum Theatre 236 Washington St, » Binghamton, NY 1  _  _ F o r  t i c k e t s  c a l l  607  772  0400 O f purchase online at tricitiesopera.com. �Bing ham ton U niver sity M usic Department’s C o m i n g E   vents 4&65–fififlflébflébfifiéfl6éflhfib­fiéfl Tuesday, Decem ber 2 ­  Percussi on Ensem ble Conc ert – 7:30 p.m. – Osterhout Concert Theat er ­ $7 general public; $ 5  faculty/staff/seniors/alumni; free for students 771ursday, D e c e m b e r 4  ­ M i d ­ D a y  C o n c e r t ­  1:20 p.m. ­  Fine Arts Building, Room 21 ­  free Friday, D e ce m b e r  5  ­  F l u t e  S t u d i o  a n d  F l u t e  C h a m b e r  C o n c e r t  ­  10:45 a.m. ­  Casadesu s Recital Hall ­ free Friday, December 5 ­ Holiday Organ Concert featuring jonathan Biggers – 7:30 p.m.  ­  United Presbyterian Church, 42 Cheango Street, Binghamton ­ $5 general public; free for students Saturday, December 6 – University Symphony Orchestra: From the New World ­  3:00 p.m. ­ Osterhout Concert Theater ­ $7 general  public; $5 faculty/staff/seniors/alumni; free  for students Saturday, Decem ber 6 ­  Italian D iction Cl ass Recital ­  7:30 p.m. ­  Casadesus Recital Hall ­  free Sunday,  Decemb er 7 ­  F i r st  A c t  o f  Verdi’s “ Falstafi" '­ lp.m &  4 p.m. ­  Anderson Center C hamber Hall ­  $10 general public; $7 faculty/staff/seniors/alumni; $5 for students Tuesday, Decem ber 9 ­ P i a n o  Ensemb le C o n ce r t –  7:30 p.m. ­  Casadesus Recital Hall – free Wednesd ay, Dece mber 1 0  ­  N u k p o r fe  African  Drummi ng,I a n d  D ance En semble ­  7:30 p.m . ­ Watters Theater ­ $5 general  admission at the door 77tursday, Decem ber 1 1  – Holida y Mid­Day  Concert  ­  1:20 p.m. ­  Casadesus Recital Hall ­  free Thursda y, Decem ber 1 1  ­  H a r p u r  Chorale  a n d  Women ’s C h o r u s  H o l i d a y  Concert  ­  7:30 p.m . ­ Trinity Memorial Church, Binghamton ­ a free donation will be collected at the door Friday, D ecembe r 12 ­  Chinese  Singing Class Re cital ­  7:30 p.m. ­  Casadesus Recital Hall ­ free 6 a f & 6 b e 6 b fi fi ­ M W fi M ­ fi b For tickets or to be  added to our email list, visit andersonbinghamtoncdu or call (607) [   = ]   777­ART S.  For  a  complete  list  of  our  concerts  call  (607)  777­2592.  visit —  music.binghamton.edu or become a fa n on Facebook. I f  you were inspired by  this performance, consider supporting the Department of M usic with a fin ancial gift. Your support helps to continue the work of students, fac ulty, and [ = ] ;   guest  artists  and  their  contributi ons  to  our comm unity.  Please  make you r donatio n payable to the Binghamton University Music Department, and send your check to B U Music Department, P. O .  Box 6000 , Binghamton, N Y  1 3902. � 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 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:05:13 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75070">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75070</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCoverContinuous Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Binghamton University Wind Symphony presents In Memory and in Tribute - An Homage in Music  Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Van der Roost, Lo Presti, Joio, Bernstein, Grundman, Husa. Held at 3:00 p.m., November 23, 2014, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource University Wind Symphony Fabricius, Daniel  Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Van der Roost, Jan Lo Presti, Ronald Dello Joio, Norman Bernstein, Leonard, 1918-1990 Grundman, Clare Husa, Karel Date A point or period of time associated with an event in the lifecycle of the resource 11/23/14 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/0b1e5f2ec66904608b829018173da6de.pdf 7b889c784e90d2dac4a7c1b8d739f70e PDF Text Text BINGHAMTON N I ER ITY STATE UNIVERSITY OF NEW YORK D E P A R T M E N T Binghamton University Wind Symphony presents Musicby Daniel Fabricius, conductor Saturday, M arch 15, 2014 8:00 p.m . Anderson Center Chamber Hall �PROGRAM UNIVERSITY WIND SYMPHONY Daniel Fabricius, Conductor SEVENS (2004) ... .. .. ..... ... .... ....... ............. ......... ........ .... ... .... ... ... .Samuel R. Hazo (b. 1966) FOUR SCOTTISH DANCES (1978) .................... ....... .... .......... .. Malcolm Arnold (1921-2006) Arranged by John P. Paynter PICCOLO BASS CLARINET TROMBONE Cara Natale Jamison Wezelis FLUTE BASSOON Daniel Romberger Alejandro Espinosa Patrick Jones Eleni Flo rakis Shelby Smith Devin Kasinki Brandy Greene Bailey Thomas EUPHONIUM ALTO SAXOPHONE Adam Sauer Chris Murdock QUINTOLOGY, The Science of Five (2010) ..................... .... ......... Gary D. Ziek (b. 1960) TRITTICO (1963) .... ............ ........................................... .... .... .Vaclave Nelhybel (1919-1996) FIRST SUITE IN E-FLAT (1909) .......... ..... ..... ... .. ... ...... .......... .... . Gustav Holst (1874-1934) TUBA Matthew Vegiard OBOE Allie Moskowitz Joe Kim Michael Sugarman TENOR SAXOPHONE Ju lia Dunnigan ENGLISH HORN BARITONE SAXOPHONE Jenna Graff Daniel Gross CLARINET TRUMPET Allison Battaglia Hector Mendez Sophia Schneiderman Stephanie Sheintul Diana Schwartz Jessica Siegal Brittany Sheridan Steven O'Connor Jason Boniello Brandon Young Brandon Ashley Jared Biunno Joshua Golub Bai Xue FRENCH HORN Abbey McMahon Christopher Patrizio Jeff Barker PERCUSSION Daniel Fabricius Joseph Glowienka Robert Hopkins Daniel Kim Alex Rava Char les A. Schmitz Ill Alex Valera KEYBOARD Benjamin Ca lhoun Dan iel Rosenau �PROGRAM NOTES CONDUCTOR Daniel Fabricius has been a member of the music faculty since 1992, serving as percussion instructor for twenty years before his appointment last year as conductor of the Binghamton University Wind Symphony . He holds degrees from Mansfield University and Ithaca College and has studied conducting with Donald Stanley (Mansfield University), Rodney Winther (Ithaca College), Stephen Peterson (Ithaca College), Col. Arnald Gabriel (US Air Force), and Mallory Thompson (Northwestern University) . In addition to his duties at BU, he also serves as Director of Bands at Owego Free Academy where he has developed an outstanding instrumental music program . The bands at OFA have received plenty of praises. The OFA Jazz Band was recently honored to present a concert performance at the 2013 NYSSMA Winter Conference. He is highly regarded in the region as a conductor, as a percussion performer, and as a music educator. He has been a member of the Binghamton Philharmonic percussion section since 1982 but is also comfortable performing in popular, rock, jazz, and other styles. He has played as a free -lance percussionist, accompanying national touring artists such as Michael W. Smith, Tommy Tune, Jerry Vail, Lorrie Morgan, Ringling Brothers Circus, the Smothers Brothers, and Ella Fitzgerald. Professor Fabricius has served the New York State School Music Association as an All-State Percussion adjudicator for many years. He also serves NYSSMA as the Instrumental Jazz Reviews editor of The School Music News and is the Jazz Editor for the NYSSMA Manual. In addition to his collegiate work at BU, he has also served Ithaca College as a consultant, as a member of the Summer Session faculty, and as a cooperating teacher for over 35 student teachers. He also serves the Summer Music Academy at Ithaca College as a percussion instructor and jazz ensemble conductor. He has presented many clinics at music conventions and conferences and often serves as a guest conductor for honor band festivals . SEVENS - was commiss ioned on behalf of South Caroli na's CBDNA members who contribute to the state' s Collegiate Honor Band . The world premiere was conducted by Colonel Lowell E. Graham, 0.M .A. (U.S. Air Force, Ret.). One moment in musical history, that I feel had a critical impact on modern ensemble music, was George Gershwin' s incorporation of jazz elements into the repertoire of orchestral music. Purists were appalled while listeners couldn't help but smile at these new sounds coming from a symphony orchestra . Gershwin' s j azz inspired orchestral compos ition Rhapsody in Blue was actual ly the brain chi ld of Band leader Paul Whiteman, who broached the idea to Gershwin in 1922 ( ... Figures it would be a band guy !). Whiteman wanted nothing more than to shake up the " highbrow" element that surrounded symphonic concert halls of that era. Rhapsody in Blue was written and performed in 1923. Its impact has proven to be timeless. Fast forward 81 years to 2004, the year of composition for "SEVENS" . Musical circles have grown to the point where the overlapping of musica l genres are, at the very least, acceptable and, more accurately, encouraged. When I got the ca ll from Les Hicken to write this piece, he mentioned to me that he would love it if the piece cou ld be a " barnburner." I hadn't written a piece that could be classified as a "barnburner" since I wrote a composition titled Ride. However, they are so much fun to do (even though they take forever to score), that I was happy to oblige . Shortly after Les called me, I was listening to one of my favorite musical groups, Gordon Goodwin' s Big Phat Band . I thought to myself that, at present, there' s no composit ion that I know of, that is just a straight ahead, in-your-face, Big Phat Band style composition for W ind Symphony; in other words, a true " barnburner." Perhaps a composition in that style would be j ust the right fit for this commiss ion . On ly one obstacle ... I have never written a jazz compos ition in my life. In an effort to write a modern day barnburner, as well as a tribute of appreciation to George Gershwin and Gordon Goodwin, I picked the concept that the " seventh" was the musical interval that Rhapsody in Blue kept so prominent. So, I based the entire compos it ion in sevens. Every part of this piece has a connection to the number seven. That connection could be the number of notes in the phrase, the time signature, the seventh-step chord that a phrase is based upon, etc ... Strangely enough, after I finished the entire compos ition, I discovered that my tribute to George Gershwin and Gordon Goodwin, titled Sevens, had one more symbolic turn. Both composers share the same initia ls: G.G.; coincidentally the seventh letter of the alphabet. (Notes from Samuel Hazo - www.SamuelRHazo.com) FOUR SCOTTISH DANCES - These dances were composed early in 1957 and were dedicated to the BBC Light Music Festival. They are all based on origina l melod ies, w ith the exception of one composed by Robert Burns. The first dance is in the style of a slow strathspey - a Scottish dance resembl ing, but slower than, the ree l. The dance is in 4/4 meter with many dotted notes, frequent ly in the inverted design of the "Scotch snap." The name was derived from the Strath Valley of the Spey River. The second, a lively ree l, begins in the key of E-flat and rises a semitone each time until performed by the bassoon in the key of G. The fina l statement of the dance is at the original tempo in the home key of E-flat. The third dance, in the style of a Hebridean Song, gives an impression of the sea and mounta in scenery on a ca lm summer day in the Hebrides. The last dance is a lively fling, which makes frequent use of the opening string pitches of the violin (performed by the saxophones in the band edition ). �Born in Northampton (UK) in 1921, Malcolm Arnold is one of the tower ing figures of the 20th century, with a remarkable catalogue of major concert works to his cred it, including nine symphonies, seven ba llets, two operas, one musical, over twenty concertos, two string quartets, and music for brass-band and wind-band. He also wrote one hundred thirty-two film scores . (Notes from Malcolm Arnold- www.MalcolmArnold.co.uk) QUINTOLOGY, The Science of Five - is a short concert piece for w inds and percussion . This piece explores the many possibilities of 5/4 t ime . The form of the piece is introduction, A, B, A. The A sections are built around the subdivisions of 3+3+2+2 . The B section utilizes mu ltip le layers of fives , superimposing ten quarter notes over five ha lf notes over twenty eighth notes. The piece drives to a conclusion, wh ich includes a short allusion to one of the great odd meter jazz composers, Don Ellis. Dr. Gary D. Ziek has served as Director of Bands and Professor of Trumpet at Emporia State University since 1995. He is the recipient of the Roe R. Cross Distinguished Professor Award for 2008-09. Dr. Ziek served from1982 to 1985 in the US Army and was a member of the Continental Army Band at Fort Monroe, Virginia. He taught in the Greater Latrobe School District in Pennsylvania from 1987 to 1992, and was the Associate Director of the Indiana University of Pennsylvan ia Marching Band in 1994. Dr. Ziek enjoys performing and conducting a wide variety of mus ic, from classical to jazz. He has performed and conducted in twenty states, as well as France, Germany, Switzerland, Italy, Austria and Canada . His compos itions and arrangements have been played throughout the United States, Belgium, The Netherlands, (Notes from conductor score) Japan, Singapore and Taiwan . TRITTICO - was composed in 1963 for Dr. Wi lliam D. Reve lli, who gave the first performance of the work in the Spring of 1964, in Ann Arbor, w ith the Symphonic Band of the University of Michigan . The fi rst and th ird movements are, in severa l ways, re lated to one another: the ir ma in character is brilliantly forward-moving and energetic; the main theme of the first movement reappears in the culm ination point of the third movement; and the instrumentation of the movements is identical (standard), with the individual instruments being used quite similarly. The second movement is a strongly contrast ing dramatic scene with turbulent recitatives and expressive woodwind solos, punctuated by low brass and percussion . The emphasis is on the woodwinds and the low brass; cornets and trumpets enter only at the very end w ith an extreme ly intense phrase to conclude the movement. The dramatic character is underlined by the strong use of percussion wh ich is extended by a second t impani player, piano, and ce lesta . (Notes from conductor score) Internationa lly renowned composer Vaclav Nelhybel was born on September 24, 1919, in Polanka, Czechoslovakia . He studied compos ition and conducting at the Conservatory of Music in Prague (1938-42) and musicology at Prague University and the University of Fribourg, Switzerland . After World War II , he was affiliated as composer and conductor with Swiss National Rad io and became lecturer at the University of Fribourg. In 1950, he became the first musical director of Radio Free Europe in Mun ich, Germany, a post he he ld until he imm igrated to the United States in 1957. Thereafter, he made his home in America , becoming an American citizen in 1962. After having lived for many years in New York City, he moved to Ridgefie ld and Newtown, Connecticut, and then, in 1994, to the Scranton area in Pennsylvania. During his long career in the United States, he worked as composer, conductor, teacher, and lecturer throughout the wor ld. At the t ime of his death on March 22, 1996, he was composer in residence at the University of Scranton. A prolific composer, Nelhybel left a rich body of works, among t hem concertos, operas, chamber music, and numerous compositions for symphony orchestra, symphonic band , chorus, and smaller ensembles. Over 400 of his works were published during his lifetime, and many of his over 200 unpublished compos itions are in the process of being published . (Nelhybel's passion for compos ing was all encompassing and left him little t ime for "marketing" his works; for th is reason, many of his compos it ions, though comm issioned and performed, rema ined unpublished .) Although Ne lhybel wrote the majority of his works for professional performers, he relished composing original, challenging pieces for student musicians and de lighted in ma king music with young players. Nelhybel was a synthesist and a superb craftsman who amalgamated the musical impulses of his t ime in his own expression, choos ing discri m inately from among existing systems and integrating them into his own concepts and methods. The most striking general characteristic of his music is its li near-modal orientation . His concern w ith the autonomy of melodic li ne leads to the second, and equally important characteristic, that of movement and pulsation, or rhythm and meter. The interplay between these dual aspects of motion and time, and the ir coordinated organization, resu lts in the vigorous drive so typica l of Nelhybel 's music. These elements are comp lemented in many of his works by the tension generated by accumulations of dissonance, the increasing of textura l densities, exploding dynam ics, and the massing of multi-hued sonic colors. Though frequently dissonant in texture, Nelhybel's music always gravitates toward tona l centers, which makes it so appeal ing to performers and listeners alike. (Notes from Vaclav Nelhybel Biography - www.scronton.edu ) FIRST SUITE IN E-FLAT - 2009 marked the 100th ann iversary of the First Suite in £-fla t by Gust av Hol st , now considered one of t he masterworks and cornerstones of the band literature. Although comp leted in 1909, t he su ite didn't rece ive its officia l premiere until 11 years later on June 23rd, 1920, by an ensemble of 165 musicians at the Royal M il itary School of Music at Kne ller Ha ll. However, the work w as originally conceived to be performed by ensembles significantly sma ller than the one at Kneller Hall. During th is ti me period, there was no standard ized instrumentation among the hundreds of British mil itary bands of the day, and as a result no sign ificant literature had been previously written for the band medium; most British bands up to then performed arrangements of popular orchestral pieces. In order to ensure the su ite would be accessible to as many bands as possible, Holst ingeniously scored the work so that it cou ld be played by a min imum of 19 musicians, w ith 16 add it iona l parts that cou ld be added or removed without comprom ising the integrity of the work. There are three movements in the su ite : Chaconne, Intermezzo, and March. Holst writes, "As each movement is founded on the same phrase, it is requested that the su ite be played right through w ithout a brea k." Indeed, the fi rst three notes of the Chaconne are Eb, F and C, and the fi rst three notes of t he melody when it fi rst appea rs in the Intermezzo are Eb, F, and C. In the th ird movement, March, Holst inverts the motive : The fi rst note heard in the brilliant open ing bras s med ley is an Eb, but instead of rising, it descends to a D, and then a G; the exact opposite of the fi rst t wo movements . The Chaconne begins w ith a ground bass rem iniscent of those w ritten by Henry Purcell or William Byrd . It is performed by tuba, euphonium and string bass and is repeated throughout th e ensemble sixteen fu ll t imes as vary ing inst rumenta l textures and variations of the theme are laye red w ith in it . Following a delicate ly scored chamber sett ing of the theme, the music steadi ly bu ilds to a brilliant Eb Major chord that concludes the movement. �The Intermezzo is light and brisk and features soloistic passages for the cornet, oboe and clarinet. Holst prominently displays the agility and sensitivity of the wind band through transparent textures and passages where the melody and accompaniment are woven into a variety of instrumental settings. The March begins suddenly. It consists of two themes, the first of which, performed by brass choir and percussion, is a march light in character. The second theme is dominated by the woodwinds and is composed of a long, lyrical line remin iscent of the original Chaconne melody. The movement concludes with both themes intertwining as the band crescendos to a climax. Gustav Holst, of Scandinavian ancestry on his father's side, was born in the English spa town of Cheltenham in 1874 and studied music at the Roya l College in London. A formidable trombonist, he spent time performing with the Scottish Symphony and various seaside bands. He later became director of music at St. Pau l's Girls' School, retaining this connection until the end of his life. Holst wrote a number of works for the theater, their subjects reflecting his varied interests, from Hindu mythology to Shakespeare and the medieval world of the Wandering Scholar. He also composed a considerable amount of choral music, accompanied and unaccompanied, including arrangements of folk songs, and a smaller number of solo songs. His most famous instrumental work is The Planets, but he is also fond ly remembered for his St. Paul's Suite for string orchestra, the two suites for military band, and Hammersmith, based on the district of London bearing the works name. (Notes from Esmail Kha lili - www.windrep.org). Binghamton University Department of Music Coming Events Wednesdav, March 19 pera cen s p.m. - Anderson gen ral public; 7 fac ulty/staff/seniors; $5 5 fo r students Thursday, M arch 20 - Mid-Day 10 n ere - I: 20 p. m. - Cas s adesus Re ital Hall - fr Thursday, March 27 - Mid-Day Concert - 1:20p.m. Friday, March 28 - Harpur nter Chamber Hall - VocalJazz - :00 p.m. - rurdav, March 29 - Junior Recital: baritone- 3:00 p.m. - Art Museum - free . sade sus Re ital Hall - free . sade sus R citalHall - free aitlin G rimer, oprano with Jake aturday, March 29 - Master's Recital: Matthew Recital Hall - free tamatis, bass amluk, baritone- 8:00 p.m. - Casadesus Thursday, April 3 - Mid-Day once rt - I :20 p.m. - Fine Arts Room 21 - free Friday, April 4 - pera n s - p.m. - Art Museum - 10 ge neral public; 7 fac ulty/staff/seniors; 5 fo r students For tickets or ro be a ded to our email list, visitanderson.binghamton.edu or call (607) 777-ARTS. For a complete list of our concerts call (607) 777-2592, visit music.binghamton. edu or become a fan on Fa ebook. If you were inspired by this performance,, consider supporting the Department of Music with a financial gift. Yoursupport helps to continue the work of students, faculty, and guest artists and their contributions to our community. Please make your donanon payable to the Binghamton UniversityMusic Department, and send your check to BL' Music Department, P.O. Box 6 0 , Binghamton,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. 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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.) 57:20:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75049">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75049</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 Binghamton University Wind Symphony presents Music by Numbers, March 15, 2014  Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Hazo, Arnold, Ziek, Nelhybel, Holst. Held at 8:00 p.m., March 15, 2014, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource University Wind Symphony Fabricius, Daniel   Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Hazo, Samuel R., (b. 1966) Arnold, Malcolm, (1921-2006) Ziek, Gary D., (b. 1960) Nelhybel, Vaclave, (1919-1996) Holst, Gustav, 1874-1934. Date A point or period of time associated with an event in the lifecycle of the resource 3/15/14 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/21835835ea708d3c23dee520d9157e2a.pdf f0d909c54be83e932450f229a32e3e81 PDF Text Text BINGHAMTO N U N I V E R S I T Y STATE U NI V E R S I T Y  O F  N E W   Y O R K ted/w Es D E P A R T M E N T O Binghamto n  (ZZIII’VBI’J’I’Q Wind Qfiymp/mny presents ”@naa Q fi p m a    C i m e ” D ANIEL F ABRICIU S , C ONDU CTOR Su nday, April 2 6, 2015 3 :00 p.m. Anderson Center Chamber Hal l �PROGRAM UNIVERSITY WI ND SYMPHO NY Daniel Fabricius, Conductor FATE OF THE GODS (2001)  THOUGHTS OF LOVE (1893).  Steven Reineke (b. 1970) Arthur Pryor (1870­1942) Arranged by Charles J. Roberts Christopher Beard, trombone GHOST TRAIN (1994). Eric Whitacre (b. 1970) I. Ghost Train Il. At the Station Ill. The Motive Revolution MARCH OF THE CUTE LITTLE WOOD SPRITES  .P.D.Q. Bach (1807­1742)? Charmingly edited by Professor Peter Schickele ‘  ‘  ‘  ‘  * INTERMISSION ’  0 0 ’   0 THE PHILOSOPHER’S STONE (2000).  MAZAMA, Legend of t h e P  acific Northwest (1984).  .Thomas C. Duffy (b. 1955) J a y  Chatta way PICCOLO Jennifer Bochicchio ALTO SAXOPHONE Julia Dunnigan Riley Monck­Rowley FLUTE Eleni Florakis Jacqueline Robins Cara Natale Shelby Smith Lydia Carolan Devin Kasinki TENOR SAXOPHONE Crystal Fisher TUBA Matthew Vegiard Patrick Jones Michael Burgner Chang Letitia Kar Hoo Jonathan Terner Jason Boniello POLKA AND FUGUE, from the opera, “Schwanda the Bogpiper “ (1927). Jaromir Weinberger (1896­1967) Transcribed by Glenn C. Bainum BASSOON Bailey Thomas Diana Carter Carl Closs EUPHONIUM Ryan Shumaker TRUMPET Rebecca Marwin B ASS C LARIN ET Jacob Solon Joshua Yamuder Michael Sugarman Brandon Young Brandon Ashley (b. 1946) Christopher Beard BARITONE SAXOPHONE Daniel Gross OBOE Jenna Graff CLARINET Erin Annis Allison Battaglia Alaina Mancini Jessica Siegal John Petersen Steven O’Connor Brittany Sheridan Katherine Fottrell Si Yoon Kwon TROMBONE David DeFazio Paul Barber Josh Golub FRENCH HORN Daniel Muller Christopher Patrizzio Jeffrey Barker Ma tt Mc Auliffe Brian Sternberg Austin Hassel PERCUSSION Emily Goetz William Potts Alex Rava Robert Hopkins Daniel Kim Annabel Fair Joey Glowienka Kasha Pazdar David lndictor ORGAN Daniel Rosenau �CONDUCTOR PROGRAM NOTES Daniel Fabricius has been a member of the music faculty since 1992, serving as percussion instructor for twenty years before his appointment as conductor of the Wind Symphony.  He holds degrees from Mansfield University and Ithaca College and has studied conducting with Donald Stanley (Mansfield University), Rodney Winther (Ithaca College), Stephen Peterson (Ithaca College), Col. Arnald Gabriel (US Air Force), and Mallory Thompson (Northwestern University).  In addition to his duties a t BU he also serves as Director of Bands a t Owego Free Academy where he has developed an outstanding instrumental music program. The bands at OFA have received plenty of praises and the OFA Jazz Band has been  honored  to present  concert  performances  at  the  NYSSMA  Winter Conference in 2008 and 2013. FATE OF THE GODS ­ a programmatic work for symphonic band, was inspired by tales of Nordic mythology. The programmatic piece tells the story of Ragnarok, also known as the Twilight of the Gods. An incredible war between forces of good and evil is fought, bringing about the end of the cosmos. After the destruction, a new and idyllic world will arise and this new earth will be filled only with joy and abundance.  The first section of the piece represents the creation of the primordial world in which forces of both good and evil are established. The second section is the development of the dark, devious hemes that symbolize the God Loki, the personification of all things evil. This theme gives way t o  the more soothing music tha t represents the God Balder, son of Odin. Blader personifies all that is good, pure and innocent. When evil ensues once again, Heimdall, the watchman of the Gods, sounds his horn, signaling the beginning of the end.  From all the corners of the world, gods, giants, dwarves, demons and elves will ride towards the huge plain where the last battle will be fought. This tremendous battle brings about the massive chaos and eventually the destruction of the world. All is destroyed save one tree, the tree of life, known as Yggdrasil. The tree gradually brings existence back to the world. This ­time it is on y forces of goodness which are created. Evil has destroyed itself and good has won over all. He is highly regarded in the region as a conductor, as a percussion performer, and  as  a  music  educator.  He  has  been  a  member  of  the  Binghamton Philharmonic percussion section since 1982 but is also comforta ble performing in  popular, rock,  jazz, and  other styles.  He  has  played  as  a  free­lance percussionist, accompanying national touring artists such as Michael W. Smith, Tommy Tune, J erry Vail, Lorrie Morgan, Ringling Brothers Circus, the Smothers Brothers, and Ella Fitzgerald. Professor Fabricius has served the New York State School Music Association as an All­State Percussion adjudicator for many years. He also serves NYSSMA as the Instrumental Jazz Reviews editor of The School Music News and is the Jazz Editor for the NYSSMA Manual.  In addition t o  his collegiate work at BU, he has also served Ithaca College as a consultant, as a member of the Summer Session faculty, and as a cooperating teacher for over 35 student teachers.  He has presented many clinics a t music conventions and conferences and often serves as a guest conductor for honor ba nd festivals. TROMBONE SOLOIST Christopher Beard is a junior from Kingston, N.Y., who is pursuing a dual degree in Computer Science and Mathematics. He has been playing the trombone since fourth grade, and currently studies with Donald Robertson here at Binghamton University. Chris also plays with Don’s Low Brass Studio Ensemble, and has previously performed with the University Symphony Orchestra, directed by Dr. Timothy Perry. In his free time, Chris enjoys programming, solving puzzles, and making multi­track trombone recordings of himself. Born in 1970 and raised in Tipp City, Ohio, Steven Reineke focused his youthful musical pursuits on learning to play the trumpet. At  age fifteen, he taught himself how to play the piano. He continued his trumpet studies at Miami University in Oxford, Ohio, receivin  two bachelor of music degrees with honors in both trumpet performance and music composition. Steven Reineke started his tenure as Music Director of The New York Pops in the 2009­ 2010 season. Mr. Reineke conducts the orchestra’s annual concert series at Carnegie Hall as well as tours, recordings, and nationwide telecasts, including the Macy’s 4 July Fireworks Spectacular on NBC Television. New York’s only permanent and professional symphonic pops orchestra, The Ne w York Pops is the largest independent pops orchestra in the United States. Reineke was appointed Principal Pops Conductor of the National Symphony Orchestra and began his first season in 2011/12. He also serves as Principal Pops Conductor of the Lon  Beach and Modesto Symphony Orchestras. Previously, he was Associate Conductor of the Cincinnati Pops Orchestra, where for fifteen years he served as a composer, arranger and conducting protégé of the late celebrkatled pops conductor Erich Kunzel. [Notes from conductor score ­ Steven Reine e �GHOST TRAIN ­ was a total fluke. In the fall of 1993, while an undergrad at the University of  Nevada, Las  Vegas, I  happened  to hear  the wind symphony rehearsing through closed doors. I snuck into the band room and sa t entranced for 50 minutes, transported by what was, hands down, the single loudest music I had ever heard. 6 percussionists! 8 trumpets! I was in love. After the rehearsal I approached Thomas Leslie, the conductor, and asked if I could write a piece for their group. He said (without hesitation), “sure, and if it turns out well we’ll play it at the CBDNA convention in the Spring.” Now, up to this point I had never written for instruments before, only singers, so I got all of my friends who were instrumentalists and took them  through their paces: “What pieces do you love to play? Which register is most comfortable? Which instrument sounds best when doubled with your instrument? etc.” I struggled with the work all through Christmas break (I wrote it in Las Vegas, Lake Tahoe, and Waco Texas) and presented Tom with the first movement when school resumed. He played it beautifully at the convention, and BOOM  the thing took o ff  like a shot. Band directors began calling me a t home, trying to buy it from me, and my formal career as ‘composer’ had begun.  I wrote the second and third movement a year later, and Tom premiered the whole thing in the Spring of 1995. I graduated two months later and headed for Juilliard. Ghost Train is dedicated to the man who brought it to life, Mr. Thomas G. Leslie. The legend of the Ghost Train, a supernatural machine tha t roars out of the night through forgotten towns and empty canyons, is deeply rooted in American folklore, and i t  was this spirit I worked to capture. The compositional challenge came in creating a larger three movement work from the first movement which was originally conceived and performed a s a single event. I felt tha t the use of trains as a source of sounds and inspirations was virtually inexhaustible, but I wanted to save the integrity of the original while using it as an architectural foundation.  At the Station (movement 2) is just that: the train comes to a roaring halt and the passengers depart.  In this movement I see countless images; friends and family reunited, the soaring architecture of the station itself, and the genuine sincerity and innocence of the era.  After a reflective pastiche the locomotive builds up steam and slowly departs, grand and graceful. The Motive Revolution (movement 3) is twofold in it’s implication.  The name refers to t he period between 1850 and 1870 when s team engines revolutionized transportation, and also describes the cyclical treatment of musical motive throughout the movement. The train blazes across the country side, moonlight glistening o ff  it’s dark  steel, and ends with a  fina l heroic tribute to these machines and the people who worked them. The first movement was written in the winter of 1993­94 and received its premier March 7, 1994.  Movements II and III were written in the winter of 1994­95, and the entire triptych received its premiere on March 14, 1995. Ghost Train was written for and dedicated to Thomas G. Leslie and the University of Nevada, Las Vegas Wind Symphony. Born in 1970, Eric Whitacre is quickly becoming one of the bright stars of the American  music  scene.  He  is  a  regularly  commissioned  and  published composer, and has received performances of his works throughout the world. Eric  has  received  awards  from  ASCAP,  the  American  Choral  Directors Association, the Barlow International Foundation and the Dale Warland Singers commissioning program.  As a conductor, Mr. Whitacre has served as principal conductor of the College Light Opera Company, chorus master of the Nevada Symphony Orchestra, and has appeared as a guest conductor with the Gregg Smith Singers and  the San  Francisco Symphony  Chorus.  Eric  has  studied composition with John Corigliano and David Diamond and holds the Master of Music degree from the Juilliard School of Music.  [Notes from conductor score – Eric Whitacre] THOUGHTS OF LOVE – was composed by trombone virtuoso, Arthur Pryor. In 1892, J ohn Philip Sousa ’s newly formed concert band made its first appearance in Plainfield, New Jersey. Tom Shannahan, who was one of many who left Gilmore tojoin the new Sousa Band, informed Sousa of Pryor’s ability, and Sousa invited Pryor to audition for the band. Settled with his work in the opera company. Pryor was at first reluctant to leave. But he decided to accept Sousa’s offer to see him in New York City, arriving there with his trombone and 35 cents. After spending a lonely night on a park bench in Union Square, he attended his first rehearsal. Even as he was warming up he made quite an impression, “We had  never  heard  such  tones come  out of a  trombone  before,  but fast!” trombonist Marc Lyons told Glenn Bridges years later. Lyons also recalled that a t tha t first rehearsal, Frank Holton, then first trombonist, asked Pryor  to play a difficult passage Holton had been having trouble with. A fter Pryor played it Sousa stopped the band and said, “Frank that is fine, and the first time you got it right. Frank stood up and said, “Mr. Sousa i t  wasn’t me playing but this young fellow Pryor.” Holton was ready to s tep down immediately, but Sousa asked him to stay on for a time, since “this young fellow may be just a flash.” Holton reluctantly agreed to stay but left the band in the fall of 1893, and Pryor became first chain (In later years, Pryor was to endorse the trombones made by the Holton Company.) Pryor was only 22 when he played his first solo with the Sousa Band durin  the World Columbian Exposition in Chicago in 1893. According to accounts o f the day, he played his own “Thoughts of Love to a crowd who just stood in awe, then cheered and threw their hats in the air. That was the first of some 10,000 solos tha t Pryor estimated he played during the 12 years he was with the Sousa Band.  [Notes  by  Daniel  F.  Frizane  and  Frederick  P.  Williams  ­  from www.wgpark.com,  a  site  dedicated  to Willow  Grove  Park, referred  to as America’s Summer Music Capital.) MARCH  OF  THE  CUTE  LITTLE  WOOD  SPRITES  –  P.D.Q.  Bach  spent  the considerable bulk of his creative life in the small southern German town of Wein­am­Rhein  a town npt noted for its high incidence of cultural activity. Nevertheless,  its  one  theater,  the  compact  and  charmingly  decrepit H owdvolkstheater, was usually kept busy, either with appearances by touring thespian  or  musical  groups,  or  with  compact  and  charmingly  decrepit productions put on by one of the local outfits.  It was here, for instance, that P.D.Q. first heard the popular string band for whom he Iater wrote the Bluegrass Cantata, Tommy Mann and his Magic Mountain Boys.  It would be natural to assume tha t the title of the march under consideration was simply another example of the naive programmaticism that was part and parcel of the German raly  Romantic  movement,  but  it  turns  out  that  the  piece  was  actually commissioned b  a band of cute little wood sprites, a travelling troupe  of extremely small  olk who played the Howdvolkstheater in April 1783, the Cute Little Wood Sprites, as they called themselves, asked P.D.Q. to write some entrance music for the beginning of their show, and they were so pleased with the result tha t a fter the first performance several members of the troupe, still wearing wigs and halos, climbed up on the top of the composers and did a jig, giving rise, incidentally, to the classic question, “How many angels can dance on a pinhead?”  The vocal passage in the eighth measure is based on the reaction of the audience to seeing the sprites come on stage; P.D.Q. was so pleased by the sound that he incorporated it into the score.  A large wind and percussion ensemble is called for, but how many players actually  show up is another matter. (Notes from conductor score ­ Professor Peter Schickele] �Binghamton Community Orchestra Ie  U Precentig Quality  Orchestral  Eporivnscs  for  the 2071­2075 S e a s “The Mighty Handful”  NRE  v  §  ._y  ..i  = 35  E r–  ,  i ‘ J   5 Saturday. February 28. 2015 I–  u  2  Welcoming back to the podium as conductor J}  #  ‘  BINGHAmTON  PHILHARMONIC Josi­Luisllow  ( D M  usnc Director 3 4  S '; = S S _ 0 DrJImottyPerry E  [43 C  oncerts sun at  7 pm East Middle School  wv e R ) A    Yeu, Crchesfha “ Romantic Spring” Saturday. May 9. 2015 167 585!  Frederick Street  .  BmglnmmNY13904  20142015 SEASON T~­;E “How Suite It Is!” Saturday. November 22. 2014  m  3 ae   \ E N S Binghamton  I ­ Commaity      &  1 i  607­723­3931 I  o e ay  T A ‘  l W  CY  rk  ‘ L   =  .  “1  & J  @  [ L i f   EE  FE  ‘  J ) “15   J ” , ­  A ’ S   ­ c —  _  p e   By  o 34  if...  '    E  4  G i f F 607­217­4110  6 ; g    5    #  , N   mton  \1'  .  — & ­ s 0   S I E   Lessons and Carolsf’or Chrimnns  Sunday, Ma y 1 7, 201 5, 3:00 p. m .  Trinity M emorial Church, 44 Main Street, Binghamton  .  3  ­  a  3..  r?v   1 1 1 ;  y  : 5 Down town S  tyr  , ­ Dvorak Requiem  wryy ­ O r. rchesrta 11,175.17.me  . 8 0  3, 3  J,“  A  ,  Y  .  o‘  FEC  ­. 3°“ M“ “m“ I“""’°" W Y .  AnnualHandel’SMmiah  Will; Orchestra and Soloists  December, 2015  .  ~ 3 '  ' m x x l x x — x x m x x m  r r o  e  1 B u y O   n eT   i c k e t  ­  G e t  O n e F   R E E   } a  a  n o ..1  .  . . 13 ? H M 1,1   5  M fl fi ‘ ” “ "  " " ’   " ” “ “""““"'““'  V  , .  ,  , y . ­  ,  Coupon redeemableon concere days only at nurmnccrrrsireboxotfice  ,  w . v ­  H a sc   m   D The M   a d r iga l  C hoir  of B i ngha mt on   201 3­ 2014  3 37th Sea son  7 2 : 1   “  D ,eva w i l l ­ 1 9 5 m m  (Admiral/r. o f .  Tm i oht .  _ ‘  E  ­ . . ” J oh n s oSarurd  n  Memorial M ENM   flhodi“ M a y  30, 2015 Sat u rday, Nove m ber 29, 2014, 7:30 p. m .  Sunday, November 30, 2014, 3:00 p.m.  Church of t he Holy Trinity, 346 Pr os pec t Street, Binghamton  =  M  r i n   Concer t 7 s e   A n n u a l spring fi,‘  Sunday, Octo ber 19, 2014. 3:00 p.m. ”  Uni e   b yterian Churc  ton  “I  d Pres i  h , 4 2 ChI e na n g o  Street , Blngham  Bi Psinging the Psalms  e H   A .  How can [ keep from singing  ( bd w w w . mad r l g a l c h o i n c o m ‘ .   3  e www.binghamtonphilharmonic.org J " ;   J Visit wwvt'BinghamtcanummityOrdxestraorg for more information! I An,  _  310Lvi\C7TT1151(J V a h d fi r a n y  2 0 1 5  D o w n t o w n  S i n g e r s1 . . .“ r u n / 1 m   i  X   www downtownsingers.org cancercsa smyrrcom­m7m50325‘  x h – – . – . . – . . – . – . – . n . " 1 “ . . . – 1 ‘ �B i n g h a m t o n Un iver s i t y M u s i c  D e pa r t me n t’s Co m i n g  E ve n ts M M f V M b M G G V E – M M Tuesday, April 28 ­  Percussion Ensemble ­  7:30 p.m. ­  Anderson Center Chamber Hall ­  $7 general public; $5 aculty/staff/seniors/alu mni; free for students Thursday, April 30 ­  Mid­Day Concert ­  1:20 p.m. ­  Casadesus Recital Hall ­  free Th ursday, April 30 ­  Piano Ensemble ­  7:30 p.m. ­  Casadesus Recital Hall ­  free Friday, May 1 ­  Flute Studio and  Flute Chamber Concert ­  10:15 a.m. ­  Casadesus Recital H a l l  – free F r i da y, M a y  1 ­  Bra s s R e c i t a l  – 4 p.m. – Ca sadesus Rec ita l H a l l  ­  free Saturday, May 2  – Senior  Recital: Daniel Malinovsky, piano –  12  noon  ­  Casadesus Rec ita l H a l l  ­  free Saturday, May 2 ­  Master’s Recital: Jenny Gac, soprano ­  3 p.m. ­  Casadesus Recital Hall ­  free Sunday.  May  3  ­  University  Chorus  and  Symphony  Orchestra:  Mendelssohn’s­ “Lobgesang”  ­  3:00  p.m.  Osterhout  Concert  Theater  ­  $7  general  public;  $5 fa c ul ty / s t a ff / se nior s / a lum n ni ;  free for  student s Sunday, May 3 ­  Joint Recital : J unior Max Rydqvist, baritone and Senior Ricky Nan, tenor – 7:30 p.m. ­  Casadesus Recital Hall ­  free Th ursday, May 7  ­  Student Recognition  Mid­Day Concert  ­  1:20  p.m.  ­  Casadesus Recital hall ­  free Th ursday, May 7 ­  Ha rp u r Chorale and Women’s Chorus Spring Concert ­  7:30 p.m. ­  A nderson Ce n t er  C ha m b er  H a l l  ­ $7 general public ; $5  fa culty/ staff/ seniors/ a lum ni ; free for students M M M M M ' fi M M M M M M b For  tickets or to  be  added  to our  email  list, nsit anderson.binghamton.edu or  call  (607) 777’ARTS. For a complete list of  our concerts call  (607) 777­2592. l’lSit music.binghamton.edu or  become a fan on Faceboolc. If you were inspired lw  this performance, consider supporting the Department —  »  [ = ]   — [ = ] of Music wi th a financial gift. Your support helps to continue the work of   students, faculty , and guest artists and their contributions to our community. Please make your donation payable to the Binghamton University M us ic   Department, and  send  your check to B U Music Department, P.O. Box 6000sss, Binghamton, N Y 1 3 902 * * * � 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 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:18:08 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74828">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74828</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 Binghamton University Wind Symphony presents Once Upon a Time  Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Reineke, Pryor, Whitacre, Bach, Duffy, Chattaway, Weinberger. Held at 3:00 p.m., April 26, 2015, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource University Wind Symphony Fabricius, Daniel  Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Reineke, Steven Pryor, Arthur Whitacre, Eric Bach, P. D. Q., 1742-1807 Duffy, Thomas C. Chattaway, Jay Weinberger, Jaromir Date A point or period of time associated with an event in the lifecycle of the resource 4/26/15 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound