19 10 2083 https://omeka.binghamton.edu/omeka/files/original/1eb3a0ccd18fb17b2bed5120d93a6b3e.pdf 40b6a5f3bf940f9a5afa19ba52f3fdd2 PDF Text Text U n i v  hfe © APD 2004 Y Z JrELC  BINGHAMTON EEN  E V E R  S   4 0 State University of  New York D e pa rtm e n t  of M usi c I . Charles Ives Remem bered A n  Af ternoon of Song and Chamber Music Timothy LeFebvre, baritone Michael Salmirs, piano Margaret Reitz, piano Timothy Perry, clarinet a n d  conductor Patricia Sunwoo, violin Ste phen Stalker, cello Ben Aldridge, trumpet and The Rod Serling Dance Compan y at Binghamton High School Karen Koyanagi, director with commentary by Paul Goldstaub, composer Sunday, November 21, 2004 3:00 p.m. Anderson Center Chamber Hall i �Program The Alcotts from Sonata #2, “Concord, Massachusetts, 1840­60”  , (composed 1902­1919) Michael Salmirs, piano In The Alley (text by Ives, composed 1896) Memories (text by Ives, composed 1897) The Greatest Man (text by Anne Collins, composed 1921) The Housatonic a t  Stockbridge (text by Robert Underwood Johnson, composed 1908) They Are There! (text by Ives, composed 1917) Timothy LeFebvre, baritione Margaret Reitz, piano In The Barn from Sonata #2 for Violin and Piano (composed 1908) Timothy Perry, clarinet Margaret Reitz, piano ­­Intermission–– from The All­Enduring Timothy LeFebvre, baritone Margaret Reitz, piano �Trio (composed 1904­07, revised 1914­15) Movement III:  moderato con moto Patricia Sunwoo, violin Stephen Stalker, cello Michael Salmirs, piano Four Songs for Brass Qu intet (arranged by Kenneth Singleton) On The Counter (text by Ives, composed 1920) The Slide Show (text by Pat Rooney, Sr., composed 1886) Slow March (text by L. Brewster, with additions by Ives family members) Tarrant Moss (text by Rudyard Kipling, composed 1902­03) 1 1i Timothy LeFebvre, baritone Margaret Reitz, piano Erinn Hibbard, Stephen Boel, trumpets Patrick Lokken, horn David Henann, trombone Daniel Gallagher, tuba The Unanswered Question (composed 1908) Binghamton University Orchestra Timothy Perry, conductor Stephen Boel, assistant con ductor Ben Aldridge, trumpet Rod Serling Dancers at Binghamton High School Cornelia Horne, Lisa Bettencourt, Karen Koyanagi Choreography by Karen Koyanagi Visit our Charles Ives Website, designed by graduate stud ent Christian Ritter, at. bingweb.binghamton.edu/~musinova/ �About the Performers Baritone TIMOTHY LEFEB VRE recently made his debut with Syracuse Opera singing the  role  of Germont  in  La  Traviata  to  rave  reviews.  LeFebvre’s other operatic  experience  includes  leading  roles  with  San  Francisco Opera, Tri­Cities Opera, Sarasota Opera, Chattanooga Symphony and Opera, Indianapolis Opera, and Opera  Theater  of Pittsburgh.  Also  a  frequent  concert  singer,  he  recently  sang performances of the Beethoven  9th  Symphony with  Chattanooga Symphony and Opera, Magnificat and the Easter Oratorio with the Rochester Bach Festival, the Brahms Requiem with the Susquehanna Valley Choral Society and The Bells by Rachmaninoff with the Binghamton Philharmonic.  LeFebvre has also appeared in concert with the Vermont Symphony, Minnesota Symphony, Syracuse Symphony, American  Symphony  Orchestra,  Pittsburgh  Symphony,  Spokane  Symphony, Berkshire  Choral  Festival,  Williamsport  Symphony,  Syracuse  Chamber  Music Society, the Skaneateles Festival and with the prestigious Marlboro Music Festival. He has appeared in concert at New York ’s Carnegie Hall and Alice Tully Hall. LeFebvre is a winner of the N ew York Liederkranz Vocal Competition, and other awards  include  the  Richard  F.  Gold  Career  Grant,  an  Opera  Fellowship  at Binghamton  University  and  Regional  Finalist  in  several  Metropolitan  Opera Competitions.  LeFebvre  is  a  graduate  of  Carnegie  Mellon  University  and Binghamton University and is currently an adjunct lecturer in voice at Binghamton University and  is also on  the  faculty of the  Berkshire  Choral  Festival.  Future engagements  include  a  solo  recital  at  Binghamton  University  in  February, Beethoven 9th Symphony with Syracuse Symphony in April, Sharpless in Madama Butterfly with Syracuse Opera in late­April, and the Count in Le Nozze di Figaro with Waco Opera in May. Pianist  MICHAEL SALMIRS, a  founding member  and  artistic director of the Finger  Lakes  Chamber  Ensemble,  is  well  known  as  a  recitalist  and  chamber musician performing extensively throughout the region. He has appeared as soloist with  the  Corning  Philharmonic,  Binghamton  University  Orchestra,  Cayuga Chamber Orchestra, and has been a featured pianist on their Sunday chamber series. As  a  performer  of  contemporary  music,  he  has  participated  in  such  series  as Binghamton University’s Musica Nova, Cornell University ’s Ensemble X, and has toured and recorded for the Syracuse Society for New Music. Salmirs studied at the New  England  Conservatory  and  Eastman  School  of  Music;  his  teachers  have included pianists Leonard Sh ure and Rebecca Penneys and composer Karel Husa. Salmirs has taught at  the  Syracuse  University School  of Music and  Hobart and William  Smith  Colleges.  He  is  a  faculty member at  Binghamton  University and Affiliate Artist at Cornell University. He maintains a private piano studio in  Ithaca and enjoys teaching students o f all ages and levels. 1 l " r �] 1 MARGARET  A.  REITZ,  pianist,  is  a  native  of  the  Binghamton  area.  She received her Bachelor and Master of Music degrees in piano performance with accompanying  emphasis.  She  attended  Boston  University,  New  England Conservatory  and  Binghamton  University.  She  has  studied  piano  with  Jean Casadesus,  Victor  Rosenbaum,  Seymour  Fink  and  Walter  Ponce  and accompanying with Allen  Rogers. She has accompanied throughout the United States,  in  England,  South  America,  and  at  the  American  Institute  of  Musical Studies in Graz, Austria. She and Binghamton University faculty member Timothy Perry were winners  of the  1997  Artistic  Ambassadors Program  by the United States Information Agency in partnership with the John F. Kennedy Center for the performing arts. They bot h were invited to present a  recital at the International Clarinet Conference in Paris summer 1996 and were invited back to perform in Belgium  in  1999.  She  recently  was  a  guest  soloist  with  the  Binghamton Community Orchestra performing “Africa” by C. Saint­Saens.  She was an official accompanist for the MTNA State and Eastern Division Competition held at Ithaca College in 2001. This past summer (2003) she was a guest chamber music artist in Morges, Switzerland. She has been on the faculty at Binghamton University since 1991  and Ithaca College School of Music since  1999. She  maintains a private piano studio in Vestal, New York. She is on the Executive Board of the New York District  MTNA  organization.  She  is  past  President  of the  local  Southern  Tier Music Teachers Association and is an active adjudicator for the National Piano Guild Organization. TIMOTHY PERRY is a  Professor of Music at Binghamton University, where since 1986 he has served as Director of the University Orchestra, Conductor of the University Wind Ensemble, and Professor of Studio Clarinet and Conducting.  He recently stepped down after his tenth season as Music Director of the Binghamton Community Orchestra. Perry holds degrees from the Manhattan and Yale Schools of Music, where he earned numerous honors as a double­major student of Otto­ Werner  Mueller,  John  Mauceri,  Arthur  Weisbergand,  Szymon  Goldberg  (in conducting) and Leon Russianoff and Keith Wilson (in clarinet).  Perry is widely known  as a virtuoso solo and  chamber music  clarinetist  with  pianist  Margaret Reitz, twice appearing as a featured artist at the International Clarinet Conferences ll in  Belgium  and  France, and  touring  Latin  America and  the Caribbean  for  the Department of State as a United States Musical Ambassador.  He appeared as solo clarinetist at festivals in Thy, Denmark (1998) and Vinalhaven, Maine (1999) and with  the  Binghamton  Philharmonic  in  2001.  He  has  recorded  the complete  18 Etudes de Perfectionnemen t of Paul Jeanjean and prem iered his reconstruction of The Hour of Hosts by the Romantic Munich virtuoso Karl Baermann in 2003. �Canadian­born  violinist  PATRICIA SUNWOO made  her  New  York orchestral debut in 1995, performing Alban Berg’s Violin Concerto at Alice Tully Hall, and has since been active as a recitalist and chamber musician throughout the United States.  She  has  won  prizes  from  the  Canadian  Music  Competitions,  Montreal Symphony Orchestra Competition, and CIBC Festival of Music.  As a member of the Whitman String Quartet, winner of the 1998 Walter W. Naumburg Award, she performed to critical acclaim across the United States, France and South America, recorded  works  of  Artur  Schnabel  and  Michael  Whalen  for  labels  CP2  and Arabesque  Recordings,  and  was  aired  by  NPR  and  Japan’s  NHK.  Recent engagements  include  appearances  at  the  Carnegie  Hall’s  Weill  Recital  Hall, Corcoran Gallery in Washington, D.C., Bard College, Meadowmount School and L’Espace Pierre Cardin in Paris.  She has worked with composers John Corigliano, Joan Tower and George Crumb, and given premieres with the Whitman Quartet, Metamorphosen Chamber Orchestra and new music ensembles.  Sunwoo is also an active advocate of music education, and has been a teaching artist for the Midori Foundation, Da Camera Society of Los Angeles and Carnegie Hall.  In 2001, she joined  the  faculty at Binghamton  University.  Her  major  teachers include  John Loban in Vancouver, the Juilliard String Quartet, and Sally Thomas at the Juilliard School, where she received her doctorate. v¥ 1 STEPHEN STALKER, cello, has performed in chamber groups throughout the United States and Europe.  As a member of the Madison Quartet, he performed in the U.S., France, Germany and Switzerland, recorded for the Orion and Musical Heritage Society labels, was a  finalist  in  the Evian International  String Quartet Competition and the Naumburg Chamber Music Competition, and was an Artist­in­ Residence  at  Colgate  University.  Since  1980,  he  has  played  in  the  Catskill Chamber  Players,  performing  and  premiering  many  compositions  by  prominent American composers, including the world premiere of the late string quartets of Henry Bryant, “Four Score,” at the Weill Recital Hall in New York City.  He has performed  the  complete  Beethoven  Trio  cycle  with  colleagues  at  Binghamton University.  He performed with Solisti New York on their Alaskan cruise of the Inner Passage from Vancouver to Juneau and toured Greece with the Schenectady Philharmonic.  He teaches cello and double bass at Binghamton University. BEN  ALDRIDGE  holds  both  Bachelor’s  and  Master’s  degrees  from  Yale University,  and  began  teaching  trumpet  at  Binghamton  University  in  1976. Aldridge  has  directed  both  trumpet  and  mixed  brass  ensembles  throughout  his tenure at  BU,  has  performed  both  solo  and  chamber  repertoire, and  has  taught theory as well.  Aldridge  is  a member of the  Binghamton  Philharmonic and  the Utica and Catskill Symphonies, as well as the Glimmerglass Opera Orchestra.  He also performs with and arranges for the Catskill Brass Quintet. Aldridge is a charter member of the International Trumpet Guild, and has been recorded on Columbia and Redwood records. [4 ‘ �PAUL GOLDSTAUB is associate professor of music theory and composition at Binghamton University.  His works have been performed by the Guthrie Theater, the Minnesota Opera and the Cincinnati Opera; at Lincoln Center and Carnegie ­ Hall; and in Canada, Great Britain, Japan, Germany and Italy.  His comic opera, The  Marriage  Proposal, based on Chekhov, was produced off­off­Broadway. Binghamton  University  faculty, including Bruce Borton, the  late  Janet Brady, Mary  Burgess,  Mike  Carbone,  Dan  Fabricius,  Al  Hamme, April  Lucas,  Ewa Mackiewicz­Wolfe,  Georgetta  Maiolo,  Chai­Kyou  Mallinson,  Timothy  Perry, Margaret  Reitz, Stephen  Stalker and Brian Sternberg, have given many of his works their local or world premieres.  A national finalist in the St. Paul Chamber Orchestra’s American Composer Competition, he has been awarded grants by the National Endowment for the Arts, the National Endowment for the Humanities, Meet the Composer and the Minnesota State Arts Board.  He is also an annual ASCAP  award  recipient.  A  compact  disc  of  instrumental  compositions  was released in  1998. He is a frequent guest lecturer at the Chautauqua Institution, and has presented papers and conducted workshops at the Oberlin Conservatory, Syracuse  University,  St.  Olaf College,  the  Crane  School  of Music  at  SUNY Potsdam, and national and regional meetings of the College Music Society and the National Association of Schools of Music. KAREN KOYANAGI was trained in Canada. Koyanagi has a BFA (Honors) in Dance from York University (Toronto) and a BSC in Marine Biology from the University of British Columbia. Before moving to Binghamton, she danced in Toronto,  Vancouver  and  San  Francisco.  While  primarily  working  in  modern dance, she has choreographed musicals, been involved in music and performance videos and collaborated with innovative high tech performance artists. She has taught  for organizations such as  Binghamton  University, Whitney Center  for Dance,  171  Cedar Arts, Inc., the Southern Tier Institute, and the Imagination Celebration. Koyanagi is a frequent performer with the American Dance Asylum and a member of the B.F. Harridans Women’s Morris. Presently, Koyanagi is Task Force Chair working with the New York State Department of Education to develop a statewide Regents exam  for dance. She teaches at the Rod Serling School  of Fine  Arts  at  Binghamton  City  Schools, New  York  and  is  artistic director of the Rod Serling Dance Company. Special thanks to Timothy Rolls, Audio Production , Steve Machlin, Technical Director, Anderson Center, and Dan Sonnen, Assistant Technical Director, Anderson Center �[las University Orchestra Violin Akira Maezawa Micah Banner­Baine Corinne Paull Tamara Potapova Jennifer Paull Emily Peterson Jungsun Oh James Leddy Tiffany Chang Karen A. Krause Richard Goldman Mark Liu Christina Wan Samuel Wang Sarah Baird Viola  _ Melissa Mattern Leah Robinowitz Kerry Conway Christopher Fiore Janet Ievins Cello Alex Wiesendanger Nicholas Capone Emily Creo Yi­Eun Park Heajung Kim Katy Walker Bass Andrew Eiche Chris Zavala Flute Megan Pulver Joanna Hunt Caitlynn MacMullin Erin Lahm * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Coming Events Thursday,  December  2  –  Mid­Day  Concert  with  faculty  and  student performers – 1 :20 p.m. – Casadesus Recital Hall – free for students Thursday, December 2  – Student Performance of  Elizabethan Madrigal Dinner – 6:30 p.m. – Mandela Room of University Union – $16 Friday, December 3 – Flute Studio Recital ­­  10:30 a.m. – Fine Arts Room 1 1 l – free Friday, December 3 – Elizabethan Madrigal Dinner – 6:30 p.m. – Mandela Room of the University Union ­ $35 Saturday, December 4 ­ Elizabethan Madrigal Dinner – 6:30 p.m. – Mandela Room of the University Union ­ $35 1 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 36:32 46:17 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253362&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253362&amp;change_lng=en&amp;select_viewer=metsViewer</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 Charles Ives remembered: an afternoon of song and chamber music, November 21, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004-11-21 Description An account of the resource Works of Ives. Held at 3:00 p.m., November 21, 2004, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource LeFebvre, TImothy Salmirs, Michael Reitz, Margaret Perry, Timothy Sunwoo, Patricia Stalker, Stephen Aldridge, Benjamin Goldstaub, Paul Koyanagi, Karen 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 11/21/2004 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/790e48d1d8b5c4a6cf321e11776a311c.pdf 4c37910a621265c95cb4e12e04ac6194 PDF Text Text D w T e    D(Le Y ;   (‘>('\r_e\ C v j;  of.) i­ O71 Cou  The Binghamton University Music Department, Time­Warner Cable, and the SS  Discovery Center are proud to present  [4 Z e  E C D E P A R T M E N T Children’s Concert: MAKING MOVIE MUSIC University Symphony Orchestra Timothy Perry, Director The Percussion Family:  Drums, Mallet Instruments, Unpitched Percussion Auburn Run­Out  Ernest Muzquiz The Brass Family:  Trumpet, French Horn, Trombone, Tuba Fanfare for the Play ‘La Peri’  Paul Dukas The Woodwind Family:  Flute & Piccolo, Oboe & English Horn, Clarinet & Brass Clarinet, Bassoon Noble Harold Noble  Mayer’s Dance from Buntingford..............occceeeveevevervensenienenesesssiesieseeseesessessessessessenenneen.  The String Family: Violin, Viola, Violoncello, Contrabass, Piano, Harp Holst Gustav Holst  The Dargason, from St. Paul ’s SUite.............coveevevienenesesineseniesiesnesesresesscssesensenenneenne.  Making Movie Music ­ Setting:  The When and Where The Polar Express Suite ..  Believe, The Polar Express  When Christmas Comes to Town, Spirit of the Season Alan Silvestri and Glen Ballard arr. Jerry Brubaker Character:  The Who Suite from Beauty and the Beast.........  B e l l e  Be Our Guest – Beauty and the Beast  ..Music by Alan Menken arr. Danny Troob Action:  The What Selections from Pirates of the CaribBean............uueeeeeeeeecreeeeeeieeireeeeeeieeecseesee Badelt arr. Ted Ricketts “Disney’s Beauty and the Beast Orchestral Suite”  Arranged by Danny Troob  Music by Alan Menken © 1992 Wonderland Music Co., Inc. (BMI) 1 1  U N I   R S I T i   of New York  ]  State University E    E N R A W C A T H E  P O W E R  O F  Y O U EDiscovery C aA e  H L  lllllmIl T    ID B L E �The Binghamton University Symphony Orchestra Timothy Perry, Director Flute/Piccolo Erica L e o Missy Voldan Valerie Spiller Oboe/English Horn Marissa Ludwig Maxwell Rosenberg Clarinet Percussion Ai Karasawa ' Caleb De Groote Khristine Jackson Mark Turley Keyboard Stefano Pena Harp Alexander Vincenzi Bethany B onhoff Gregg Ackerman Heather Boland Leigh Collins Mary Schappert Bassoon Micah Banner­Baine Yang Hu Jennifer Paull Liz Baker Griffin Sargent Erika Chin Akira Maezawa Dan Goldberg Elizabeth Sterling Kevin Acunto Alexander Wong Alexandra K. Brutus Eileen Tam Mayra Rodriguez David Weinberg Eleanor Sonley French Horn Alexa Weinberg Diana Amari Matt Rek Robert Muller William Stallsmith Trumpet William Gilchrest Trombone Daniel J. Brisk Hikiru Naito Richard Mokan Tuba Katherine Winchell Violin I Yiolin II Marie Mizuno Hyobin Lee Janet Kim Christina Laube Molly Ariotti Jennifer Liebman Richard Goldman Amy Honigsberg Johnny Pang Juliann Taylor Emily Krecko Suji Lim Rachel Jacobs Adrienne Martian Viola Danielle So fer Christopher Fiore Melissa Le e Joseph Gili berti Sarah Sterling Ted Gramiak Abigail Fabro Jeffrey Ko hn Beth Vayshenker Macia Gravelding Kerry Conway Janet Ievins Violoncello Daniel Copel Ryan Joyce Emily Creo C. MacKenzie Wen John Choi Jim Glasgow Nicholas Capone Jennifer Aracena Contrabass Serena Murray Julian Goetz Andrew Eiche David Katz � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:02:30 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204945">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204945</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 Children's concert: Making Movie Music, October 13, 2006 Recital Tape 2006-10-13 Description An account of the resource Works of Muzquiz, Dukas, Noble, Holst, Sylvestri/Ballard, Menken, Badelt. Creator An entity primarily responsible for making the resource Perry, Timothy Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2006-10-13 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 0f5e4c34-5686-4afb-9d1b-36a5e67e49f9 https://omeka.binghamton.edu/omeka/files/original/7c94298a83756fba29a5cd92574458d5.pdf 173a76a58f8107b869c6dfbc05f9ad1a PDF Text Text C C H 0 O .N R C A E L R T MAY 25, 1966 8: 15 P.M. College Theater �Toward State University of New York at Binghamton HARPUR COLLEGE The Department of Music presents THE HARPUR COLLEGE CHOIR Directed by David Buttolph PROGRAM THE UNKNOWN REGION ............... . Ralph Vaughan Williams from "Whispers of Heavenly Death" by Walt Whitman Brass Ensemble: Horns : George Papastrat", Dale Whitney, David Banner, Sylvia Seehausen Trumpets: Peter Boor, David Hurd, Craig Jacobson Trombones: Allen Thompson, John Baldon, Roger Keagle" Tuba: Steven Leiden Piano: Cynthia Stone Vaughan \Villiams had an early and pronounced interest in the works of the American poet Walt Whitman, as evidenced by the setting in the Symphony #1 ( the "Sea Symphony") for chorus, soloists and orchestra, and by this choral setting written in 1905 and revised in 1918. Although most of his pieces have a parhcularly "British" flavor, using English folk melodies and modal harmonies, Vaughan Williams has chosen to set this Walt Whitman poem in a late romantic style. \Vhitman's exuberance and breadth of expression are excellently coupled to the complex chromaticism and rich texture of Vaughan \Villiams. The song for chorus and orchestra is in three distinct, though connected parts. The first reflects in short, hushed phrases and wandering tonality the mystery of the journey toward the unknown. The second section moves forward witl1 increasing intensity to a climactic uni on high note which ushers in a concluding march-like section in F major based on a melody reminsicent of the composer's well-known, Sine Nomine ( 1905 ). ASPECTS OF LOVE.................................................. .............. .... Karl Korte ( world premiere) RISE UP MY LOVE Song of Solomon ( Full Chorus) Rise up my love, my fair one, and come away. For, lo, the winter is past; The rain is over and gone; The flowers appear on the earth; The time of the singing of bird is come, And the voice of the turtle-dove is heard in our land SHALL I? Sappho (Women's Voices) I do not know what to do. At first I say yes, and then I say no! I WILL MAKE YOU BROOCHES Robert Louis Stevenson ( Full Chorus) I will make you brooches and toys for your delight Of bird- ong at morning and tar- hine at night. I will make a palace fit for you and me, Of green days in forests and blue days at sea. I will make my kitchen, and you shall keep your room, Where white flows the river and bright blows the broom, And you shall wash your linen and keep your body white In rainfall at morning and dewfall at night. And this shall be for music when no one else is near, The fine song for singing, the rare song to hear! That only I remember, that only you admire, Of the broad road that stretches and the roadside £re. Ralph Waldo Emerson ( Full Chorus) Is not marriage an open question, when it has been alleged from the beginning of the world, that such as are in the institution wish to get out, and such as out wish to get in. WI E OF THE GRAPE Li T'ai Po (Tang Dynasty ) Paul Dieke, Tenor Solo Wine of the grape In a goblet of gold, And a fifteen-year-old Maiden of Wu. She came on a gentle palfrey, Her eyebrows painted a deep blue-black, Her slippers of red brocade. She did not use the purest speech, But how divinely he could sing! We dined together-a banquet for twoThen she drank and got drunk in my arms. Behind the curtains, all lotus-embroidereedHow could I help what did befall? BITTER IS MY LOT Shao Ch'ang Heng (Ch'ing) ( Men's Voices) Canon Bitter, bitter is my fate. Last year I old my cow and plow, And this year I have pawned my wife and son. My home is empty, and my tears pour forth in streams. Bitter, bitter is my lot! JE Y K.ISS'D ME James Henry Leigh Hunt (Men's Voices) Jenny kiss'd me when we met, Jumping from the chair she sat in; Time, you thief, who love to get Sweets into your list, put that inl Say I'm weary, say I'm sad, Say that healtl1 and wealth have miss'd me, Say I'm growing old, but add, Jenny kiss'd me. William Blake MY SILKS AN D FI E ARRAY ( Full Chorus) His face is fair as heav'n, My silks and fine array, My smiles and languish'd air, When springing buds unfold; 0 why to him was't giv'n, By love are driv'n away; Whose heart is wintry cold? And moumful lean Despair Brings me yew to deck my grave: His breast is love's all worship'd tomb, Where all loves pilgrims come. Such end true lovers have. Bring me an axe and spade, Bring me a windind sheet; When I my grave have made, Let winds and tempests beat: Then down I'll lie as cold as clay. True love doth pass away! MARRIAGE Ir. Korte, Harpur's composer-in-residence, began this composition during the pring semester of 1965, and completed it at Yaddo, a summer colony for creative artists. The texts for the cycle cover a literary span of three thousand years, and present a variety of attitudes toward the relationship between the sexe . The composer has captured the special atmosphere and approach of each poem while maintaining an appealing lyricism and grace throughout. Three longer settings for full chorus ( os. I, 3, and 8) form the backbone �HARPUR COLLEGE CHOIR First Sopranos Virginia Baker Malita Frogate Rosemary Gruss Alice Hayes Chrystyna Prytula Elizabeth Robbins Jessica Roth Linda Snodgrass Alida Stahl Kathy Zaslovsky Second Sopranos Carol Anthony Joanne Grizzanto Sue Jurkowski Caryl Morris Mary Morrison Cynthia Stone First Altos Elaine Bolton Judith Elterman Linda Lewis Christine Livingston Marcy Walter Eleanor Winston Second Altos Emoke Berecz Linda Fishkin Karen Grant Margaret Jackson Jane Kaplan Ellen Leinwand Pamela Starr T enors Ben Erlitz Alan Hardy Terry Howell Zane Kalter Steve Walker Basses James Baldwin David Crowe Daniel Dushrnan Jay Ellenbogen Stephen Foulk Russell F uller Alan Metrick Harry Waterston Keith Willcox Chinese poems from "A Garden of Peonies" - Translations by Henry H . Hart. Permission of Stanford University Press. Program notes by Pamela Starr Cover design by Stanton Miller Ushering courtesy of Alpha Phi Omega and Gamma Sigma Sigma of the cycle, and contras t in texture and style with th e shorter and more p iquant settings fo r various arrangements of voice , including a tenor solo ( "Wine F rom the Grape" by Li T' ai). Although the harmo nic idiom is primarily tonal, the composer stre es that the piece ar "on," rather th an "in" a given tonality. One of the mo t chara cteri tic sounds is th e cad nee on an open fifth, which is especially effective at the nd of "My Silks and Fine Array." I TERMISSIO AVE MARIA ...................................................................... Giuseppe Verdi At the age of eighty, aft er a long and eminently uccessful areer as an operatic composer, Verdi turned to the sacred litu rgy for his final work. The e four short choral p ieces display a marked hange in tyl from his first attempt at sacred compo ition, the well known Requiem. Thi arlier work, written directly after Aida ref! cts an uruni takcably op ratic idiom . His last choral works are smaller in cale and l s theatrical . T he Ave Maria rep resents a ynthesis of Verd i' w 11-loved lyri i m and th ubd ued motet style. It is in a cappella tting of an extraordinary melodic pat- tern, called by Verdi an "enigmatic scale." Thi cale : C, D , E, F#, G#, A#, B, C appears once in each voice, urround d by a shifting and hi ghly expressive harmonic fr amewo rk in the other voic . MISSA o . 14 ( Kronunge-M esse ), K. 317 ........ Wo lfgang A. Mozart Helen Boatright, Soprano Dori Mayes, Contralto Paul Dieke, T enor Kenneth McDavit, Bariton Kyrie Gloria Credo Sanctus Beneclictus Agnus Dei In the spring of 1779, Mozart was erving as Court Orga nist to th Archbishop of Salzburg. He probably compo ed the Ma in C Major fo r an annual outdoor religious service. In respon e to the Archbi hop's requirement , Mozart produced a concise but fes ti v settin g, calling fo r choru , oloi t , and full festival orches tra. Thus restricted in cope, 1ozart utilizes th e mo t telling economy in musical expression, as in the flee ting inflection to th minor which sets off the single phrase 'Chris te Eleison' as a separ at s ction . Unity achieved by the recurrence of thematic material. The lovely solo line in th Kyrie, for example, returns briefly in th e oboes to close th e movement. Th theme receives furth er treatment in th e 'Dona • obi Pac m,' wh re it fun ctions as a link between the first and last movements. Mozart mak use of the "concerted style," in which tutti and olo quartet fun ction a th e ripieno and concertante of the concerto grosso . The chorus materi al i fundam entally homophonic and declamatory, in contrast to the more relaxed and lyri cal olo pas ages . In general, the quartet material i co ntrapuntal, with th e ingle exception of the highly expressive 'et incarnatus st! HARPUR REPERTOIRE ORCHESTRA Violins Celli 0 Patricia Isham 0 Ru th Brown 0 David Einfeldt 0 Donal O'Buckley 0 Alan Sopper Becky O'Connor Dia ne Phelps Robert Giblin David Rajnes Basses Kay C. Roberts 0 Gerald Bruce Ruth Riley Daphne Randa ll 0 Russell Colton °William Bailey Oboe Sally Shafer 0 cott Eddy Irene \ Vetzelberg Kathy Cox Bassoon Ruth Kerker Tom Arnold °Member of th e Binghamton Civic Symphony H oms 0 Geo rge Papastrat Dale W hitney Trombones Allen Thompso n John Baldo n 0 Roger Keagle Trumpets David Hurd Craig Jacobso n Ti mpani Lanny L vine � 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 2 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 31:55 34:52 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54366">Choral Concert Harpur College Choir Recital</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 Choral Concert Harpur College Choir Recital Tape 1966-5-25 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Ralph Vaughan Williams, Karle Korte. Creator An entity primarily responsible for making the resource Harpur College Choir Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Vaughan Williams, Ralph, 1872-1958 Korte, Karl State University of New York at Binghamton. Department of Music Date A point or period of time associated with an event in the lifecycle of the resource 1966-05-25 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context Choral Concert Harpur College Choir Recital Tape 1966-5-25.pdf 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 3 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 39:24 34:01 30:13 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59372 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59372"> Choral Institute '68 Concert</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. 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 Choral Institute '68 Concert Subject The topic of the resource Concerts Description An account of the resource Held at 8:15 pm, August 4, 1968, Harpur College Theater. The Creation by Joseph Hayden. Creator An entity primarily responsible for making the resource Choral Institute '68 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 1968-08-04 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Haydn, Joseph, 1732-1809 State University of New York at Binghamton. Department of Music. Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020094540 39091020094599 39091020094649 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 3 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 18:10 37:19 40:30 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59365 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59365"> Choral Institute '68 Concert</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. 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 Choral Institute '68 Concert Subject The topic of the resource Concerts Description An account of the resource Held 8:15 pm, August 10, 1968, Harpur College Theater. L'Enfance du Christ by Berlioz. Creator An entity primarily responsible for making the resource Choral Institute '68 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 1968-08-10 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Berlioz, Hector, 1803-1869 State University of New York at Binghamton. Department of Music. Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020094284 39091020094490 39091020094334 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 3 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 20:31 12:56 25:01 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59355 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59355"> Choral Institute '68 Rehearsal</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 Choral Institute '68 Rehearsal Subject The topic of the resource Concerts Description An account of the resource Held at 8:15 pm. August 24, 1968, Harpur College Theater. Works of Stravinsky, Hindemith and Webern. Creator An entity primarily responsible for making the resource Choral Institute '68 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 1968-08-24 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Stravinsky, Igor, 1882-1971 Hindemith, Paul, 1895-1963 Webern, Anton, 1883-1945 State University of New York at Binghamton. Department of Music. Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020094532 39091020094581 39091020094631 https://omeka.binghamton.edu/omeka/files/original/a25571b00c0f2d947d912a355d9ea26a.pdf cc8174347c130aa8a0026fb62503f108 PDF Text Text BINGHAMTON U N I V E R  S L E Y STATE  U N I V E R S I T Y  O F   N E W   Y O R K D E P A R T M E N T CHORAL  TREASURES OF THE BRITISH ISLES THE WOMEN’S CHORUS Bruce Borton, conductor Assisted by William J. Lawson, piano and organ THE  HARPUR CHORALE Peter Browne, conductor Assisted by Natasha Talukdar, piano Saturday, March 7, 2015 7:30 p.m. Anderson Center Chamber Hall �PROG RAM On the  Morrow . Yorkshire Folk Song Arranged by Samuel Gaines I .  T H E  WOMEN’S Cnonus Sound the Trumpet.  (1869­1945) Henry Purcell [1659­1695] Three Elizabethan Madrigals Tan Ta Ra Ran Tan Tant Ballad of Green Broome, op.4 7, No.5  Thomas Weelk es 1 Go Before my Darling . Thomas Morley (1553­1603) Missa Brevis  Kyrie  Benjamin Britten (1913­1976) Gloria Blow the Wind Southerly.  Traditional English Arr. John Clements Sigh No More Ladies  Ralph Vaughan Williams (From S ir John  in  Love)  (1872­1958) (1913­1976) WOME N’S C h o r us (1575­1623) john Dowland (1557­1603) Flow Not so Fast Ye Fountains.. Benjamin Britten [from Five Flower  Songs)   Bruce Barton, conductor Willia m ]. Lawson, accom pan i st Soprano l  Caroline Brickley  Kailyn Giaccone  Alto Tamar Ashdot Lauren Bass Rachel Zielinsk i  Erica Levy Kimberly Torres Julie G regg  Kalie Fioranza Soprano IT Abby Arnold Kaitlin Biagion i Courtney Densmore Jamila Gordon Shaniee Hodge Georgia  Kasow l l .  T HE HA RPUR CHO RALE Fire, Fire! My Heart.  Ave Verum Corpus William Byrd (1543­1623) Praise Ye the Lord  lohn Rutter Alex Castonguay, baritone (b.194 5) Set Me as a Seal Upon thine Heart. William Walton (1902­1983) Colin Roth, ten or and Carina Kahane, soprano Just as the Tide was Turning . HARPUR CHORALE Peter Browne, conductor Natasha Talukdar, accompanist Thomas Morley (1557­1603) .Ralph Vaughan Williams (1872­1958) Sopranos  Janine Alto  Deanna Feuerbach  Rachel Graham  Carina Kahane  Audrey  Russo  Christina Santa Maria Altos  Alexa D icken  Inez Nelson  Kate Sherwood  Joanna Wallace  Tenors Dallas Marsh Tho m “  Parker Matthew Pedersen Colin Roth Jonah Steue Basses Alex Castonguay E van Flury Ten­Young Guh Jibron Harris John Rosser �M Bing hamton U niversity  Depa rtme nt of Music Com ing Events M M M M fi M M M M M fi M S u n ¢ 1 w March  8  ­  Universi ty  Wind  Symphony: Just  Like a Concert  in  the  Park  ­  3 p.m.  ­ Osterhout Concer t  Theater ­  $7  general public; $5  faculty/staff/seniors/alumn i; Free for students Sunday,  March 8 ­  Sophomore Recital: Han nah Watrobski, viola ­  5 p.m. ­  Casadesus Recital H all ­  free Thursday. March  12  ­  Opera Scenes Mid­Day Concert ­  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/s talf/seniors/alumn  $5 for students Satu rday.  March  14  ­  Master’s  Recital:  Meroé  Khalia  Adeeb,  soprano  –  4  p.m.  – ( l sadesus R   ecital Hall ­  free Saturday,  March  14  ­  Universi ty Symphony Orchestra: Dark Passions  ­  7:30 p.m.  ­ Ostcrliout Concer t Theater ­  $7  general public; $5  faculty/staff/seniors/alumn i; Free  for students Sunday,  March  15  ­  Opera Scenes an d Arias  ­  3 p.m.  ­  Phelps Mansion.  191  Court Street. Binghamton – $10 general public; B U  students (tee with I D  – For reservations call the Phelps Mansion at (607) 722­48 73.  This concert  is co—sponsored by the Binghamton Universi ty Music Department and Phelps Mansion Museum. Thursday, March 19 – Mid­Day Concert– 1:  20 p.m. ­ ( '  sadesus Recital Ha ll ­  free Thursday , March  19  ­  Lontano  Ensemle : Music Now! ­  7:30 p.m . ­  Casadesus Recital Hall ­ $7 general public; $5 faculty/ staff/sen iors/alumni; Free for students Th u rsday, March  19­ Mast er Class  BU Al u m n us Lee M usike r. piano  ­  6 ­  7:30  p.m.  ­ Fine Arts 24 ­  free M M M M M ­ fi w w w é fl é w w b For tickets or  to be added to our email list, visit anderson.bingha mton.edu or call ( 60 7 ) 7 7 7­AR TS. For a complete list of our conc erts  call ( 60 7 ) 7 7 7 ­ 2 5 9 2 ,  visit  music.binghamton.ed u  or  become a fan on Facebook. —  [ = ]   M  — E 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.  Bltlgllllmwtl, 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.) 42:06:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74856">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74856</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 Choral Treasures of the British Isles, March 7, 2015 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Purcell, Weelkes, Dowland, Morley, Britten, William, Byrd, Rutter, Walton Held at 7:30 p.m., March 7, 2015, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Women's Chorus Harpur Chorale Castonguay, Alex Colin Roth Carina Kahane Lawson, William J. Browne, Peter Talukdar, Natasha Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Purcell, Henry, 1659-1695 Weelkes, Thomas, approximately 1575-1623 Dowland, John, 1563?-1626 Morley, Thomas, 1557-1603 Britten, Benjamin, 1913-1976 Vaughan Williams, Ralph, 1872-1958 Byrd, William, 1539 or 1540-1623 Rutter, John, 1945- Walton, William, 1902-1983 Date A point or period of time associated with an event in the lifecycle of the resource 3/7/15 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/4cf52b29a4fe57185fbe44e31389c82e.pdf e92fcb7fcd4b1af2f71a9d4b56e39a46 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 zed ec D  E  P  A  R  T  M  E  N  T SEN IOR HONOR S REC I T AL CHRISTINA S ANTA M ARIA , SOPRANO M I C HA E L  LEWIS, PIANo HANNAH WATROBSKI, VIOLA Sa turday, Apr i l 18, 2015 7:30 p.m. Casadesus Rec i tal Ha l l �iaoPROGRAMéo I. Amor dormiglione  Barbara Strozzi (1619­1677) Sposa son disprezzata from Bajazet............................Antonio Vivaldi (1678­1741) II. Liebeszauber..............................................................Clara Schumann (1819­1896) Warum sind den die Rosen so blaB  Die Liebende schreibt  Fanny Mendelssohn (1805­1847) .....Felix Mendelssohn (1809­1847) Widmung  Robert Schumann (1810­1856) wINTFRMISSIOMz III. A m  I in Your Light? From Doctor Atomic.......  Hannah Watrobski, viola Montparnasse  IV. Hyde Park  Hotel Les Chemins de l’amour ....John Adams (b.1947) Francis Poulenc (1899­1963) Cuatro Madrigales Amatorios.......................................Joaquin Rodrigo LCon qué la lavaré? Vos me matasteis [JDe donde venis, amore? De los alamos vengo, madre �TRANSLATIONS & PROGRAM NOTES 1 A m or dormlglione (Cupid the sleepyhead) Cupid, sleep no longer! Arise now, wake up, for wh ile you are asleep My pleasures sleep, too, and my troubles are awake! Don’t be a good­for­nothing, Cupid! Arrows, arrows, fire, fire! Arise, sleep no longer! Wake up now, Cupid, arise! Ah, you lazy creature, you slowpoke, You have no common sense. Stupid Cupid! Cowardly Cupid! Ah, while I remain filled with ardor, You sleep on, Cupid. That I really don’t need! Barbara  Strozzi  (1619­1677)  was  an  Italian  Baroque  singer  and composer. She studied with opera composer Francesco Cavalli and was an active performer of vocal and instrumental m usic. However, her talent in composition  was what distinguished he r as  “the most prolific composer~man or woman~of printed secular vocal music in Venice in the middle of the 1 7* century,” according to Beth Glixon. Amor dormiglione is a playful da capo aria that was originally composed for soprano and harpsichord or lute (in this performance transcribed for piano by Pietro Floridia). The singer’s impatience for Cupid to wake  up  is  realized  through  wonderful  word  painting  and  the repetitions of words such as “su” and  “svegliati”, which translate to “get up! awake now!”. Sposa son disprezzata (I a m wife and I a m scorned) from Bajazet I am wife and I am scorned, I am faithful and I’m outraged. Heavens, what have I done? And yet he is my heart. my husband, my love, my hope. �I love him, but he is unfaithful, I hope, but he is cruel, will he let me die? O God, valor is missing, valor and constancy. ,  Antonio Vivaldi (1678­1741) was an Italian Baroque composer and violinist.  He  is  known as one of the greatest and  most influential composers of the Baroque period and recognized for his instrumental concertos and many operas. S posa son disprezzata is from his operatic pasticcio,  Bajazet.  However,  the  music  for  this  aria  was  actually composed by another composer, Geminiano Giacomelli (1692­1740) and was originally called Sposa, non mi  conosci. Vivaldi changed the poetry to fit the character of Irene, a villain personality who has been betrayed by her betrothed. This da capo aria exhibits the complexity of love and the contradicting emotions that accompany the revelation of unfaithfulness. II. '  Liebeszauber (Love’s Magic) Now Love once like a nightingale in rosebush perched and sang; with sweetest wonder flew the sound along the woodland green. I  And as it rang, there rose a scent from ring of thousand buds, and all the treetops rustled soft, and softer blew the air; i  the brooklets’ silences, scarcely come by splashing from the heights, the fawns stood as if in dream and listened to the tone. And bright and ever brighter flowed the sunbeams down inside, �‘round blossoms, wood and gorge it gushed with golden red su nshine. I walked along that path tha t day and also heard that sound. Alas! What ever since I’ve su ng was just its echo faint. Warum sind denn die Rose n so blass (Why are the roses so pale) Why are the roses so pale? o speak, my love, why? Why in the green grass are the blue violets so silent? Why with such a lamenting voice does the lark sing in the sky? Why from the balsam weed does there rise the scent of wilting blossoms? Why does the sun shine down on the meadow, so coldly and morosely? Why is the earth so gray and desolate like a grave? 7 Why am I myself so ill and d ull.  My lovely darling speak, O speak, my heart’s most beloved love, why have you abandoned me? Die Liebende schreibt (The loving woman writes) One look from your eyes into mine, One kiss from your lips on my lips, Can one who has certain knowledge of these, as I, Take pleasure in anything else? �Far from you, separated from my loved ones, ' I let my thoughts roam constantly, And always they alight upon that one Single hour: and I begin to weep. Suddenly my tears are dried: He loves indeed, I reflect, here in this stillness, Oh, should you not reach out to me in the far distance? Hear these whispered words of love My sole happiness on earth is your goodwill to me; Give me a sign! Widmung You my soul, you my heart, you my bliss, o you my pain, you the world in which I live; you my heaven, in which I float, 0 you my grave, into which I eternally cast my grief. You are rest, you are peace, you are bestowed upon me from heaven. That you love me makes me worthy of you; your gaze transfigures me; you raise me lovingly above myself, my good spirit, my better selfl The four songs in this set are composed by four of the most influential musicians of German Romanticism: husband and wife, Robert and Clara Schumann and siblings, Felix and Fa nny Mendelssohn. I like to think of this set as a single narrative of a woman experiencing the different stages of love. The first two songs represent love found and love lost. Liebeszauber embodies the all­encompassing nature of love. In the song, the “tune” of  love  makes  everything  in  nature stop  and  pay attention  to  its sound. In  the following song, Wamm sind den die  Rosen so blafl, the lack of love has made nature sad and pale from abandonment. The �last two songs represent longing and celebration of love, respectively. In Die Liebende schreibt, a woman writes to her lover who is far away (whether this is far in location or emotionally is u nclear). She waits for the hour that he will return and gaze upon her lovingly. Robert Schumann composed Widmung as a wedding presen t to Clara. It is a celebration  of  their  love  and  recounts  all  the  things  that  Clara embodies to him (she is his “soul, heart, bliss and pa in”). It is a deeply emotional peace and one of Schumann’s most beloved songs in the repertoire. I L A m I I n  You r Light? from D oc tor A tom ic Am I in your light? No, go on reading (the hackneyed light of evening quarrelling with the bulbs; the book’s rent rectangle, solid on your knees) only my fingers in your ha ir, only my eyes splitting the skull to tickle your brain with love in a slow caress blurring the mind, kissing your mouth awake, op’ning the body’s mouth, stopping the words. This light is thick with birds, and evening warns us, Warns us beautif’lly of death. Slowly I bend over you, Slowly your breath runs r hythms through my blood As if I said I love you and you should raise your head, I love you. Listening, speaking into t he covert night: Did someone say somethi ng? Love, am I in your light? See how love alters the living face, Go spin the immortal coi n through time, Watch the thing flip through space, Tick tick, tick tick... �Doctor Atomic is a contemporary opera by John Adams (b. 1947) tha t premiered in 2005 at the San Francisco Opera. The opera focuses on the  lives  of the scientists  involved  in the Manhattan Project~the historical experimentation of the atomic bomb in  the early 1940’s lead  by  physicist  J.  Robert  Oppenheimer.  Am  I  In  Your  Light?  is Robert’s wife, Kitty Oppenheimer’s aria from Act I scene two. In this scene, Kitty is trying to distract Robert from reading in bed and to initiate romance. In the opera, Kitty represents love/peace and offers sanctuary from the evils of destruction and war that are overcoming Robert’s being. The poetry is  partially based on a Muriel Rukeyser poem  “Three Sides of a Coin” published  in 1935. The text seems more conversational than lyrical and, when superimposed above the suspended  quality  of  the  accompaniment,  can  feel  rhythmically uneasy. It seems as if Kitty is in a daydream, saying whatever comes to mind, in order to steal the attention of her husband. Iv. Montparnasse Oh hotel door, with your two green plants which will never bear any flowers, 7 Where am I planting myself? say: Where are my fruits’  Hotel door, an angel stands outside you handing out leaflets (virtue has never been so well defendedl). Give me in perpetuity a room at the weekly rate. Oh bearded angel, you are really a lyric poet from Germany who wants to get acquainted with Paris. You know that between its paving­stones there are lines which one must not step on. And you dream of spending Sunday at a mansion out of town. The weather is a bit oppressive and your hair is long; oh good little poet, you’re rather stupid and too blond. Your eyes look so much like those two big balloons floating off in the pure air wherever chance takes them... �Hyde Park The makers of religion preached in the fog The shadows we passed by Played blind man’s bluff At seventy years of age Fresh cheeks of little children Come, come Eleonor And what else do I know Watch the cyclops come The pipes flew away But fly away unrepentant gazes and Europe Europe Sacred gazes Enamoured hands And the lovers loved each other For as long as preachers preached. Hotel My room has the form of a cage. The sun reaches its arm in through the window. But I want to smoke and make shapes in the air, and so I light my cigarette on the sun’s fire. I don’t want to work, I wan t to smoke. Les Chemins de l’amour ( The path of love) The paths that go to the ocean protect our crossing, flowers losing their leaves and the echo under the trees, Our two bright laughs. Alas, from days of happiness radiant joys take flight, I journey without recovering your traces In my heart. �Paths of my love I try to find you always lost paths, you don’t exist anymore, And your echoes have been muffled. Paths of despair, Paths of memory, Paths of first love, Divine pathways of love. This I am duty­bound to forget one day the way that life obliterates all things. I want in my heart that a memory will rest More strongly than another love. The memory of paths Where trembling and completely passionate, a day l have felt above myself to burn and be consumed by your hands. Francis Poulenc (1899­1963) was a  French  composer  and  pianist known for his beautiful melodies, operas and solo  piano works. His compositions are in the neo­classical style, which stays in the sphere of diatonicism but also employs many of the newer d issonances of the 20™  century to create a lush and elegant tonal atmosphe re. Poulenc’s art songs are often thought to more appropriate for the music hall than the concert hall, but yet they remain in the recital repertory and are considered as some of the greatest treasures in French mélodie. Montparnasse  and  Hyde  Park  are  two  melodies  on  Guillaume Apollinaire poems that recall the poets’ first impressions of these two locations in Paris and London, respectively. It took Poulenc four years to complete Montparnasse (194 1­1945) and he regarded it as “probably one of [his] best songs”. The “bearded angel” represents a young and naive Apollinaire taking in the sights of Paris. This colorful, pensive piece  shows  Poulenc’s  lyricism  and  his  penchant  for  tasteful dissonances. Hyde Park is a quirky little piece that describes the crazy little things that Apollinaire saw while walking through Hyde Park in the early 2 0” century (i.e., the lit butts of cigarettes in  the fog that made people look like cyclops). The quick grace notes and staccato accompaniment add momentum and humor to the speech­like vocal melody. �Hotel d raws in the listener from the first chord. The lush chromatic harmonies create  a  lethargic  atmosphere,  lending  perfectly  to  the laments of the poet who just wants to be lazy and smoke her cigarettes instead of work. Les  C be m i ns  d e I ’amourwas composed for French nightclub singer, Yvonne  Printemps. The verses recall  memories of a  past love  in a nostalgic waltz. The chorus is also in the waltz rhythm, but it evokes a different mood. Instead of reminiscing on lost love, the chorus is about accepting the past and moving forward. V. Cuatro Madrigales Amatorios (Four Love Madrigals) ;Con qué la lavaré? (With What Shall I Wash?) With what shall I wash the skin of my face? With what shall I wash That I live badly punished? They wash the married women with water from lemons. I wash myself, anguished, with grief and sorrow. Vos me matasteis (You Killed Me) You killed me, girl with your hair, you have killed me. At the river’s edge, I saw a virgin, girl wi th the hair, you have killed me. zDe donde venis, amore? (From where do you come, love?) From where do you come, love? I know well from where. From where do you come, friend? Ah! I have been a witness. De los alamos vengo, madre (From the poplars I come, mother) From the poplars I come, mother, to see how they move in the air. From the poplars of Seville, to see my pretty girlfriend. �Joaquin Rodrigo (1902­1999) was a Spanish composer and virtuoso pianist, best known for his guitar concerto compositions. Rodrigo lost his sight at the age of three but was able to study music through his youth and wrote his compositions in Braille. His Cuatro Madrigales Amatorios was composed in 1947 and was based on chant melodies and  texts from Juan  Vasquez’s sixteenth  century  poetry collection titled Recopilacion de sonetos y sonetos y villancios a quarto y a cinco. The Baroque  influence  is  clear,  especially  in  the  first  three  songs,  as evident in the step­wise motion of the melodies, parallel fifth motion and  the kinds of cadences used. However, it is hard  to ignore the traditional  Spanish  flair,  especially  in  the  piano  accompaniment, which adds a unique flavor to the set. Each song represents different components of love: despair, lust, passion and delight. k h k k h k k k h h k h k h h k h k h k h k d d ix h k r h h h k h d h d d i i k ix x k x �ABOUT THE PE RFORME R S Soprano Christina Santa Maria is originally from Brooklyn, NY and will be receiving her Bachelors of Music in Voice Performance this upcoming May. While at Binghamton University she has performed as the soprano soloist in Mozart’s Coronation Mass (2012), in the roles of both Gretel (201 2) and Hansel  (2013) in  Humperdinck’s  Hansel and  Gretel, and  as  the soprano soloist in Bach’s Christimas Oratorio (201 3). As a part of the Binghamton Opera Scenes program she has sung the pa rtial roles of Rose in Lakme. Meg Page in Falstaff, Zerlina in Don Giovanni, and Susanna in Le Nozze di Figaro. She has performed with Tri­Cities Opera as a member of the opera chorus (2011­14) and as ‘Billie’ in  the one­act comic opera Speed  Dating Tonight (2015). She placed 3™  for Senior Women at the 2015 Eastern Conference of  NATS (National Association of Teachers of Singing) at  Westminster Choir  College  and  is  a  recipient  of  the  John  and  Marcella  Keeler Scholarship of the Arts, as well as the Harry and Betty Lincoln Scholarship for  Achievement  in  Music  History. She  is  a  student  of  Professor  Mary Burgess. Michael Lewis, Adjunct Lecturer at BU and Assistant Music Director at Tri­ Cities Opera, earned his undergraduate degree in Vocal Performance from Ithaca  College  in  May  2013.  He has  had  coaching experience with  the International Vocal Arts Institute, Mill City Summer Opera, CoOPE RAtive program  and  Ithaca  College  School  of  Music. While  at  Ithaca  College, Michael was involved with the  inaugural season of the  first student­run opera company at IC, Ithaca College Light Opera, in which he served as Assistant Music Director and Vocal Coach. He went on to lead the group in their second season as Music Director.  The opera company continues to perform one one­act opera each semester. As  a  vocalist,  he  has  performed  a  variety  of  roles  in  Ithaca  College’s mainstage productions. In  his final year at Ithaca, he had the opportunity to play the title role in Gianni Schicchi. This production was paired with Suor Angelica, for which  Michael  served  as  opera  chorus  master.  In  the  past decade, Michael has been actively developing his style as a composer. His current works which focus on the voice a nd  piano have been performed throughout the United States and Australia. �Hannah  Watrobski  is  a sophomore  at  Binghamton  University  double majoring  in  Human  Development  and  music.  She  has  been  a  part  of Binghamton’s music department for two years studying viola with Professor Roberta Crawford with whom she studied in  high school for two years in Ithaca,  NY.  Hannah  is  originally  from  Penfield, NY where she started playing violin at the age of three with the addition of viola in third grade. She also sings and composes music.  Hannah has had the opportunity to travel  to  various  countries  to  attend  music camps and  perform  benefit concerts for their communities.  She has been a member in both MCSMA and  NYSSMA Area­ All State orchestras elementary school through high school.  Hannah was also selected to attend Conference All­State both her junior and senior years of high school.  Outside of school and music she enjoys reading, cooking, photography, working with animals, and  hiking. She hopes to one day be a practicing nurse or work in social service and find a way to incorporate her love of music. Dedica tion: I would like to thank my family and friends for supporting me and attending my recital, whether it meant traveling 5 hours or 5 minutes. Thank you to all the professors who have helped me on this journey and inspired a love of learning. Thank you, Richard Hugunine, for arranging the viola part for the Adams aria. Thank you to all the coaches (Maestro Willie Waters, Diane Richardson, William  Lawson)  that  have worked  to  help  me  perfect  my diction and style over these last four years. Thank you to my pianist, Michael Lewis, for your beautiful playing. I hope we can collaborate again  in  the future.  Most  importantly,  I would  like  to thank my  voice  teacher  Mary Burgess for believing in  me and teaching me  how to sing freely and  in a healthy fashion. I am excited to start the next stage of my life and no matter where I am, I know that music will keep be grounded. �B i n ghamton Univers i ty M usic Depar tment’s Com i ng  E vents 6 M 6 M M M M M M ¢ V Sunday,  A pril 19 – Tri­C ities Opera presents Gounod’s Faust – 3 p.m. – The Forum Theater ­  call (607) 772­0400 for tickets Sunday, April 19 ­  Guest Artist: Organist Craig Philips ­  4 p.m. ­  United  Presbyterian Church – $10 general public; 57 faculty/staff/seniors/alumni; $5 for students Tuesday, April 21 ­  String Fever (String Classes and Studio String Recital) ­  7:30 p.m. ­ Casadesus Recital Hall ­  Free Thursday, April 23 ­  Jazz Mid­Day Concert with saxophonist Camille Th urma n ­  1:20 p.m. ­  Osterhout Concert Theater ­  free Thursday, April 23 ­  Harpur Jazz Ensemble Concert with saxophonist Camille Thurman ­  7 :30  p.m.  –  Osterhout  Concert  Theater  ­  $7  general  public;  $5 Faculty/staff/scniors/alumni; Free for students Friday, April 24 – Master’s Recital: J ake Stamatis, baritone ­  7:30 p.m. ­ Casadesus Recital Hall ­  free Saturday, April 2 5 – Master’s Recital : Kevi n T ra ux, tenor ­  3 p.m. – Casadesus Recital Hall ­  free Saturday, April 25 – J unior Recital : Rachel You ng – 7 :30 p.m. ­  Casadesus Recital Hall – free Sunday, April 26 ­ University Wind Symphony: Once Upon a Time ­  3 p.m. ­ Anderson Center Chamber Hall ­ $7 general public; 5 5  faculty/staff/seniors/alumni; Free for students Tuesday, A pril 28 ­ Percussion Ensemble ­  7 :30 p.m. ­  Anderson Center Chamber Hall ­ 57 general public; $5 faculty/staff/seniors/alumni; Free for students M M M M M G fi M M M é ­ é w w é fl For tickets or to be added to our email list, visit andersonbingluimtonfdu or call (607) 7 7 7 ­ARTS. For a complete list of our concerts call (607 ) 7 7 7­2 59 2, visit musicbingftamtonedu or become a fan on Facebook. lfyou were inspired by  this performance, consider supporting the Department ofMusic with a financial gift. Your support helps to M  — [ = ]   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. B ox 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.) 45m 18s Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74991">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74991</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 Christina Santa Maria, senior honors recital, April 18, 2015 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Strozzi, Vivaldi, Schumann, Mendelssohen, Mendelssohn-Bartholdy, Schumann, Adams, Poulenc, Rodrigo. Held at 7:30 p.m., April 18, 2015, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Santa Maria, Christina Lewis, Micahel Watrobski, Hannah  Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Strozzi, Barbara, 1619-1677 Vivaldi, Antonio, 1678-1741 Schumann, Clara, 1819-1896 Mendelssohn, Fanny, 1805-1847 Mendelssohn-Bartholdy, Felix Schumann, Robert, 1810-1856 Adams, John Poulenc, Francis, 1899-1963 Rodrigo, Joaquín Date A point or period of time associated with an event in the lifecycle of the resource 4/18/15 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 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 39:35 32:12 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59337 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59337"> Christine Lindsay Recital</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 Christine Lindsay Recital Description An account of the resource Held at 8:15 pm, October 20, 1968, Harpur College Theater. Works of Quantz, Piston, Francaix, Milhaud, and Telemann. Creator An entity primarily responsible for making the resource Lindsay, Christine 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 1968-10-20 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Quantz, Johann Joachim, 1697-1773 Piston, Walter, 1894-1976 Françaix, Jean, 1912-1997 Milhaud, Darius, 1892-1974 Telemann, Georg Philipp, 1681-1767 State University of New York at Binghamton. Department of Music. Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020094573 39091020094623 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 3 sound tape reels: Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 31:49 15:28 29:00 Streaming Video HTML For video https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59852 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59852 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59852">Christmas Choral Concert with the Harpur Chorale &amp; Orchestra</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 Christmas Choral Concert with the Harpur Chorale & Orchestra Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works of Korte, Kodaly, Buttolph, Praetorius, Bach. Held at 8:15 pm, December 17, 1969, Don A. Watters. Creator An entity primarily responsible for making the resource Harpur Chorale & Orchestra Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-12-17 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Korte, Karl, 1928- Kodály, Zoltán, 1882-1967 Buttolph, David L., 1924 -2013 Praetorius, Michael, 1571-1621 Bach, Johann Sebastian, 1685-1750 State University of New York at Binghamton. Department of Music. Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020058008 39091020057950 39091020057901