100 10 1775 https://omeka.binghamton.edu/omeka/files/original/3530b797edc756f5df63ee2c3b02dceb.pdf 0435f4c7d34a7f8b9f45755fbbf63e47 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 W [4 0 D E P A R T M E N T S TUDEN T RECI TAL SUNGKYUN RYU, PIANO Saturday, April 20, 2013 8:00 p.m. Casadesus Recital Hall �PROGRAM ..J.S. Bach (16851750) Prelude and Fugue in C. BUl/V848............ from Well Tempered Clavier Bo ok 1 Etude in C. Op. 10, no. I.. Nocturne in Dﬂat, Op. 27, no. 2 Ballade in F, Op. 38 Piano Sonata in F minor, Op. 57.. “Appassionata” .. Frédéric Chopin (18101849) .. Ludwig v an Beethoven Allegro as sai Andante con moto Allegro ma non troppo Presto (17701827) ~–Please do not applause in between pieceses From the studio of Michael Salmirs �Binghamton University Music Department? Coming Events ﬁrﬁ–ﬁrbﬁﬁrbﬁranéraeﬁéﬁﬁéeﬁéoﬁrae Saturday, April 20 –Senior Redtal: Sungkyun Ryu, piano – 8:00 p.m. Casadesus Recital H all – free Sunday, April 21 – Mu Phi Epsilon Concert – 3:00 p.m. Casadesus Recital Hall – free Thursday, April 25 – Jazz MidDay Concert with jazz pianist Larry Ham 1:20 p.m. – Osterhout Concert Theater – free Thursday, April 25 – Harpur Jazz Ensemble Concert with jazz pianist Larry Ham – 8:00 p.m. – Osterhout Concert Theater – $6 general public: $3 faculty/staft/seniors; free for students Friday, April 26 – Flute Studio and Flute Chamber Concert – 10:15 a.m. – Casadesus Recital Hall free medy” – Friday, April 26 – Wind Symphony Concert: “The Divine Co 8:00 p.m. – Anderson Center Chamber Hall – $6 general public; $3 faculty/staﬀ/seniors; free for students Friday, April 26 – TriCities Opera presents Mascagn i ’s “CA VALLERIA I " – 8:00 p.m. – The Forum RUST ICANA " and Leoncavallo’s “PA GL IA CC Theatre – call (607) 7720400 for tickets Saturday. April 27 – Master’s Recital: Brister Hay IV, tenor – 3:00 p.m. – Casadesus Recital Hall – free Saturday, April 27 – Faculty Recital: Christopher Morgan Loy – 8:00 p.m. – Casadesus Recital Hall – $6 general public; $3 faculty/staft/seniors; free for students 666r36f3’mc3’6r36Mr56r3’ For tickets or to be added to our email list, visit anderson.binghamton.edu or call (607) 777ARTS. For a complete list of our concerts call (607) 7772592, visit music. binghamton. edu or become a fan on Facebook. _ ] [ = = [wm] 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 6000. Binghamton. NY 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF 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.) 41:43 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE129102">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE129102</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 Sungkyun Ryu, student recital, April 20, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Bach, Chopin, Beethoven. Held at 8:00 p.m., April 20, 2013, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Ryu, Sungkyun 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 2013-4-20 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/f6928e1fcddf8cd9705d065436684c2c.pdf 5e9881dc5baa2fc4e9165289fb429893 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 [4 D E P v w dee A R T M JAZZ ENSEMBLE CONCERT with jazz pianist Larry Ham Thursday, April 25, 201 3 8 p.m. Osterhout Concert Thea ter E N T �PROGRAM Second Half with guest a rtist L a r r y H a m First Half Program selected from the following: Program selected from the following: I Gotta Right to Sing the Blues. Black Orpheus. . Harold Arlen arr. by Sammy Nestico Blues in the Closet . In the Mood .. . Joe Garland arr. by Jeﬀ Tyzik Carmelo’s by the Freeway. Luiz Bonfa arr. by Eric Richards Oscar Pertiford arr. by Mark Taylor . Bob Florence J e ﬀ J arvis Jordu.. Li ’l Darlin ’ .Neal Hefti Maiden Voyage. Herbie Hancock arr. by Erik Morales Stolen Moments. . Oliver Nelson arr. by Paul Jennings Sister Sadie This I Dig of You. Duke Jordan arr. by Mark Taylor . Horace Silver arr. by Michael Abenc .Hank Moblcy arr, Mike Tomaro �Abou t the Guest Artist Pianist, composer, and arranger La rry Ha m has long been a noted New York sideman, performing, touring, and recording with many great jazz artists. More recently he has received international critical acclaim for his trio CD “Carousel” featuring his own compositions and arrangements, and a second solo piano release “Just Me, Just You " on Arbors Jazz Records. Both are available on the “CDs” page. David Dupont of Cadence Jazz Magazine writes, “He glides over the keys with each note articulated cleanly...his playing is masterful.” And Mike Neely in All About Jazz calls him "...a pianist well on his way to becoming a master.” La rry began his professional career in the Lionel Hampton Orchestra in the late ‘80’s. He was pianist in the Illinois Jacquet Big Band 199095 and has worked extensively with countless other jazz legends, including the late Junior Cook and Dakota Staton. He has appeared at jazz festivals, concerts and nightclubs throughout the United States, Europe, West Africa, and Japan. His recent New York appearances include Jazz at Lincoln Center, Carnegie Hall, Iridium, The Village Vanguard, Small’s, The Kitano Hotel, and Harlem’s historic Lenox Lounge. His jazz festival performances include the Grande Parade du Jazz in Nice, France, the North Sea Festival in The Hague, Holland, the Pori Jazz Festival in Finland, Jazz Yatra in Bombay, India, The Charlie Parker Festival in New York, the Ottawa Jazz Festival, and at the Kennedy Center in Washington DC. He also performed at the White Hou for President Reagan and for President Clinton ’s 1992 Inaugural Ball. La rry appeared in the jazz ﬁlm “Texas Tenor” and has been a guest on TV programs including “The Today Show” (NBC) “Breakfast Time” (FX) and has been featured on NPR programs such as “Jazz Set with Dee Dee Bridgewater” and on Judy Carmichael’s “Jazz I nspired.” As a United States Department of State Jazz Ambassador, Larry toured eleven West African nations in 200102 in a cultural exchange program, performing in concert, and conducting workshops on the art of playing jazz. From 200205 he was pianist and musical director for the New York Tapdance Festival, also touring the United States and Russia, Greece and Italy. During the past few years he hat toured extensively in the US, and performed in Japan, Canada, Germany, Poland, England, Switzerland, Austria and France. In 2007, he appeared at the Kennedy Center and a t Zankel Hall (Carnegie Hall) with Catherine Russell, and in Prague, in the Czech Republic. Recent festival appearances include The Montreal Jazz Festival, The Rochester Jazz Festival, The Cape Cod Jazz Festival, the New Jersey Jazz Fest, and a performance for The West Texas Jazz Society. Larry earned a BA in Musical Studies from the Crane School of Music at SUNY Potsdam, a nd an MA in Jazz Performance from the Aaron Copland School of Music at Queens College in New York City. He is currently an Adjunct Professor at Dutche.. Community College in Poughkeepsie, NY, teaching Jazz Piano, Jazz History, and I mprovisation. �Harpur Jazz Ensemble Sgring 2013 SAXOPHONE Stephi Verhage Darin Mihalik Ray Hendricks Chris Angyal Danielle Stoner Bob Pompi 1 “ a lto 2 ” alto 1 ” tenor 2 ” tenor Baritone Baritone TRUM PETS M a r k Adler Brandon Young Ryan Ginsburg Richard Ba rley Timothy Clement T ROM BONES Mo “ Reese ” Taylor Ryan Meehan Patrick McGrath Andrew Rosenberger 1 GUITAR Rya n Kelly Trenton Staﬀord 1 ‘ PIANO William Sa nders [ / BASS J Lucas Hennessey 1 J e re my Raphael E DRUM SET n A nd res Castillo F LUT E Weijie Zhao ' 1 C LARINET E M arcella Green [ �Binghamt on University M usic Department ’s Co m i ng E ven t s Friday, April 26 Flute Studio and Flute Chamber Concert – 10:15 a.m. Casadesus Recital Hall free Friday, April 26 – Wind Symphony Concert: “The Divine Comedy ” – 8:00 p. m. – Anderson Center Chamber Hall – S 6 general public; $3 faculty/staft/seniors; free for students Friday, April 26 – TriCities Opera presents Mascagni’s “CA VALLER/A :00 p.m. – The Forum / " 8 RUS77CANA " and Leoncavallo'’s “PAGLIA CC Theatre – call (607) 7720400 for tickets Saturday, April 27 – Master’s Rea’tal: 8r7’ster Hay IV, tenor 3:00 p. m. C asadesus Recital Hall – free Saturday, April 27 – Faculty Recital: Christopher Morgan Loy – 8:00 p.m. – C asadesus Recital Hall – S 6 general public: $3 faculty/staft/seniors; free for students Sunday, April 28 – Senior Recital: David Gaita, piano – 7:30 p. m. – C asadesus Recital Hall – free Sunday, April 28 – TriCities Opera presents Mascagni’s “ CA V ALLERIA / " 3 :00 p.m. – The Forum RUST ICANA " and leonca val/o ‘s “PA Gl/A CC Theatre – call (607) 7720400 for tickets Tuesday. April 30 – Percussion Ensemble Concert 8:00 p.m. Anderson Center Chamber Hall – $6 general public: $3 faculty/staﬀ/seniors; free for students Wednesday. May I – Percussion Rea’tal: Devan Tracy and Andres Castillo – 8:00 p. m. – C asadesus Recital Hall – free m m m m m m For tickets or to be added to our email list, visit anderson.binghamton.edu or call (60 7) 7 7 7ARTS. For a complete list of our concerts call (60 7) 7772592, visit music.binghamton.edu or become a fan on Facebook. _ E I f you were inspired by this performance, consider supporting the Department of Music with a ﬁnancial gi ft. Your support helps to continue the work of students, faculty, and guest artists and their contributions to our community. Please make your donation payable to the Binghamton University Music Department, and send your check to B U Music Department, P.O. Box 6 000, Binghamton, N Y 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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF 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.) 1:02:01 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE129371">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE129371</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 Mid-day concert featuring jazz pianist Larry Ham, April 25, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Ham, Young, Greer, Romberg, Hammerstein. Held at 1:20 p.m., April 25, 2013, Osterhout Concert Theater. Creator An entity primarily responsible for making the resource Ham, Larry Hamme, Al Carbone, Mike Marino, Tony Roma, Joe 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 2013-4-25 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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:10:45 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE129374">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE129374</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 Joint voice recital with Ricky Nan and Max Rydqvist, May 3, 2014 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Schumann, Tosti, Mozart, Schönberg, Rota, Williams, Yi, Liu, Xu. Held at 7:30 p.m., May 3, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Nan, Ricky Isenberg, John Rydqvist, Max 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 2014-5-3 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/e50dedc0459dd6d601a6532c84984b32.pdf 84f5d9db8ece66469e66f2a328cb0c03 PDF Text Text BINGHAMTON U N I V E R S I T Y S TA T E U N l V E R S I ’ Y O F N E W Y O R K d e [4 e D E P A R T M E N T B i n g h a m t o n U niver sit y W i n d S ymphony presents TH E D EVEN E CQMEDY DANIEL FABRICIUS, CONDUCTOR Friday, April 26, 2013 8:00 p.m. Anderson Center Chamber Hall �UNIVERSITY WIND SYMPHONY PROGRAM Daniel Fabricius, Conductor PICCOLO A LT O SAXOPHONE TROMBONE Andrea Dewhirst Devan Kasinki Veronica A. Mantilla : Christopher Murdock TENOR SAXOPHONE Kevin Clements Eric Seaman Neel Tarikeri © Daniel Romberger EUPHONIUM H a g ” Dayan OBOE Brittany Wilson J e r e Gran CLARINET George Deutsch Mary McGahay Erin Annis BARITONE SAXOPHONE Philip H. Westcott Toni Bruno TRUMPET I Jason Boniello Brandon Young Joshua Golub Jared Biunno TUBA Elliot Bowen Michael Burgner PERCUSSION Emily Goetz Benjamin Ramos Alexander Rava Wesley Roth Cara Natale SATIRIC DANCES (1975). .. Norman Dell Joio (1913 – 2008) Vaclav Nelhybel (1919 – 1996) CORSICAN LITANY (1976) .. SALVATION IS CREATED (1912) Pavel Tschesnokoﬀ (1882 – 1961 ) Arranged by Bruce H. Houseknecht GALOP, from the musical comedy, Moscow, Cheremushky (1958) Dmitri Shostakovich (1906 – 1975) Transcribed by Donald Hunsburger FLUTE o b s ‘Sickie R Nicole Safran Stephanie Sheintul David Mossissey JooWon Kim Dii ' n ana S h rfz C wa BASS CLARINET Molly Rice Stephi Verhage Robert Barley FRENCH HORN David Luther Lauren Corey Molly O’Brien Jeﬀrey Barker Christopher Beard Ryan Shumaker Justin Canaday Tyler P. Steere Devan Tracy Alex Valera CONDUCTOR DANIEL FABRICIUS is the newly appointed conductor of the Binghamton University Wind Symphony. Professor Fabricius has been a member of the music faculty since 1992, serving as percussion instructor for twenty years before accepting this new ro’INTERMISSIONé SYMPHONY NO. 1, The Divine Comedy (1995) .. Robert W. Smith (b. 1958) 1. The Inferno 2. Purgatorio 3. The Ascension 4. Paradiso appointment. H e holds degrees from Mansﬁeld University and Ithaca College and has studied conducting with Donald Stanley (Mansﬁeld University), Rodney Winther (Ithaca College), Stephen Peterson (Ithaca College), Col. Arnald Gabriel (US Air Force), and Mallory Thompson (Northwestern University). In addition to his duties at BU he also serves as Director of Bands at Owego Free Academy where he has developed an outstanding instrumental music program that features a concert band, two jazz bands, and various chamber music ensembles. He is highly regarded in the region as a conductor. as a percussion performer, and as a music educator. He has been a member of the Binghamton Philharmonic percussion section since 1982 but is also comfortable performing in popular, rock, jazz, and other styles. He has played as a free lance percussionist, accompanying national touring artists such as Michael W. Smith, Tommy Tune, Jerry Vail, Lorrie Morgan, Ringling Brothers Circus, the Smothers Brothers, and Ella Fitzgerald. Professor Fabricius has served the New York State School Music Association as an AllState Percussion adjudicator for many years. He also serves NYSSMA as the Instrumental Jazz Reviews editor of The School Music News and is the Jazz Editor for the NYSSMA Manual. In addition to his collegiate work at BU, he has also served Ithaca College as a consultant, as a member of the Summer Session faculty, and as a cooperating teacher for over 30 student teachers. He also serves the Summer Music Academy at Ithaca College as a percussion instructor and jazz ensemble conductor. He has presented many clinics at music conventions and conferences and often serves as a guest conductor for honor band festivals. �Vaclav Nelhybel (1919 ~ 1996) was born the youngest of ﬁve children in Polanka. Czechoslovakia. He studied at Prague University, the University of Frlbourg in Switzerland and at the Prague Conservatory, beginning his career in 1939 as conductor at Radio Prague. In 1950, PROGRAM NOTES SATIRIC DANCES The Town of Concord, Massachusetts wished to make a tangible recognition of the Bicentennial of April 19, 1775. The commission of Satiric Dances was funded by the Town of Concord and assistance was given by the Eastern National Park and Monument Association in cooperation with the National Park Service. Once the band had decided on a composer,theycouldonlyhopehewouldagreetowriteanewworkforthesmallfeetheyhad available to pay. Norman Dello Joio accepted the commission and took a special interest in the project and even attended band rehearsals to oﬀer suggestions on the perfonnance. After the scheduled performance was rained out, Satiric Dances was premiered on July 17, 1975 at Minuteman National Park with Norman Dello Joio and his family in attendance. Satiric Dances was published shortly after the premier. Featuring Mediterranean folk dance inﬂuences it has been one of the bestselling and most performed pieces of the wind band repertoire. Dello Joio agreed to do the commission but stipulated it would be a piece he had used as background music fora comedy by Aristophanes. The most famous comic dramatist of ancient Greece, Anstophanes was born an Athenian citizen about 445 BC. His plays commented on the political and social issues of ﬁfth century Athens and frequently employed satire. The ﬁrst dance movement is annotated as allegro pesante. The brass entry signiﬁes the importance of the work, but the brisk tempo keeps the simplicity of “peasantry” from being ponderous. Taking a much slower adagio mesto tempo, the second dance begins with a melancholy tune from the ﬂutes and low brass. The movement has light and delicate features that are quite exposed. Its central theme might evoke thoughts of a dance in a meadow that eventually reverts into a more solemn theme. Without a break in the music, the ﬁnal movement is introduced by the percussion section. The tempo is indicated as allegro spumante and is the fastest of the composition. The quick tums and dynamics evoke images of the objects that were the titles of Aristophanes’ plays: Clouds, Wasps, and Birds. CORSICAN LITANY Music has often been used to express emotion. A strong sense of sorrow and vengeance is evident in Nelhybel’s Corsican Litany, composed in 1976. The composer has provided some background upon which this work is based: “In many parts of the world it was once common practice during burial ceremonies to have professional mourners dramatize the grief of the bereaved by means of loud and emotional lamentations, repeated endlessly like a chant. In some places, notably the Meditenanean countries, these laments were actually sung, usually by women who were skilled in this macabre art and could command pay for their services.“ “Corsican laments, like Corsican deaths, were divided into two types: the ordinary lamento for death from natural causes, and the vocero if the moumed had been murdered. The latter then became a song of grief so intense, so ﬁlled with pain, that it could only be assuaged by an act of direst vengeance. The murderer was accused and identiﬁed by name, and the singer solemnly swore to see to it that he who had murdered would pay for it with his life.” “Corsican Litany is based on a vocero ﬁrst known to have been sung in 1775 at the funeral of a country doctor named Matju who had been murdered by his own patient, one Natale. The melody is introduced mournfully, but grows steadily in passionate intensity until an astonishing climax is reached in the ﬁnal menacing oath of vengeance.” he became the ﬁrst musical director of Radio Free Europe in Munich, Germany. Nelhybel l immigrated to the United States in 1957, and became a citizen ﬁve years later. He taught at several schools, including the University of Massachusetts Lowell and the University of Scranton (PA). where he was composer in residence at the time of his death. The creation of music was a driving force in Nelhybel’s life. He wrote over 600 compositions, which included orchestral works, operas, and works for solo, small, and full concert wind ensembles. Nelhybel described European bands as “just functional marching units.“ In 1962, he received his ﬁrst exposure to a concertband.Hewrote:'Theﬁrstband I heardplayedapiecebyPersichetti.anditwassogood Iiustcaugttﬁre. I wasfascinatedwiththepoasibilitiesolmatyoucandowithhalfanacreot clarineb,halfanacreoﬀlutes,andhalfanacreofpercussionﬁolsaidmrhynottryit?ldid,and itseemedtoopennewueativechannelsin mymind.‘ Itwastheenthusiasrnotthestudentsthat truly inspired him to compose. His music is complex and exciting; it employs linear counterpoint. freely dissonant harmonic textures, and forceful rhythms. Notable works for concert band include Trittico, symphonic Movement. and Processron to the End of Time. SALVATION IS CREATED Salvation Is Created was one of the very last sacred works composed by Pavel Tschesnokoﬀ before the oppressive Soviet regime forced him to tum to secular arts. In 1917, the peasants of Russia started a revolution and ovenhrew the reign of the tsars. The new form of government that took over established communism. Among the many changes that resulted was the shutting down of the Russian Orthodox Church. The government held a great deal of control over the type of music composers could write, and music for the church was discouraged. Composers wrote sacred music at the risk of being killed or having their families taken. Tschesnokoﬀ opted to save his family and himself and never wrote another piece of sacred music. Years after his death communism fell, the Berlin Wall came down and the Russian Orthodox Church opened its doors again. Salvation Is Created became the unoﬀicial anthem of the church. Tschesnokoﬂ never heard the piece performed. but his children were ﬁnally able to hear it years later. This piece was originally written as vocal music. The English translation is: “Salvation is created, in the midst of the earth, 0 God, 0 our God. Alleluia.” GALOP Admirers of Shostakovich’s dramatic symphonies and concertos are likely to be unaware that the composer also wrote a very substantial quantity of lighter music as well, never scorning the possibility of creating a hit song. In his early days he composed incidental music and songs for many plays and even created a fullﬂedged operetta in the 1930s. He composed ﬁlm music throughout his career as well, for both tragic and comic tales. In 1958 Shostakovich returned to the operetta for a fullscale threeact work. Moskva, Cheryomushki (the title refers to a region in the city of Moscow), which opened on January 24, 1959, to substantial success. Dmitri Shostakovich (1906 1975) studied at the Leningrad Conservatory under Glazunov, among others. Intemational fame came to Shostakovich at the age of nineteen when his powerful and mature First Symphony was performed in Leningrad, and later in Moscow. Following this success, his next works were disappointing and attacked by the Soviet press as a product of “bourgeois decadence.” Like many Soviet composers, Shostakovioh found himself constantly under pressure from restrictions imposed by the Soviet musical world with its concem for the moral and social. rather than the purely aesthetic aspects of music. The musical style of Shoslakovich remains unbalanced with works containing crude parodies, programmatic devices. and conventional simplicity countered by works of originality, distinction, and signiﬁcance. �THE DIVINE COMEDY Based on Dante Alighieri‘s literary classic of the same name, The Divine Comedy is the subtitle for Flobert W. Smith’s Symphony No. 1. The story of Dante’s “The Ascension' The movement begins with Dante on the Mountain of Purgatory. Having been instructed and puriﬁed in Purgatory, he is prepared for his journey to Paradise. Beatrice, his Paradise and attains a glimpse of the face of God. to discover wonderful music, the music of the spheres, surrounding them. Swifter than thought, their ﬂight of incredible speed begins. Dante and Beatrice, accompanied by sounds of wondrous beauty and intensity, ascend to the Sphere of Fire. trilogy is basic: One day Dante ﬁnds himself lost in a dark wood. Virgil, a character based on a revered Roman poet, appears and rescues him. Virgil guides Dante to a contemplation of Hell and Purgatory. Dante, having confessed his faults, and with Beatrice as his guide, is lead into “The Infemo” Dante’s vision of Hell consists of nine concentric circles divided into four categories of sin. The principal theme behind the literary work is the concept of symbolic retribution. In other words, man’s eternal damnation in Hell is directly correlated to the character and weight of his sins on earth. Like Dante’s Inferno, the movement is divided into four sections. The opening melodic statement in the oboe represents the sins of “incontinence.” As Dante ﬁnishes his relatively short journey through the sections of “The Inferno,” he is confronted with the Wall of Dis (the gate of Hell). The next section is structured around the sins of “violence” with its incredibly intense storms and ﬁery sands. The crimes of “ordinary fraud” follow the violent sinners. The composer used the sin of hypocrisy as visual imagery in the formation of this section of the musical work. Dante describes the hypocrites as they ﬁle endlessly in a circle. clothed in coats of lead, which represent the weight of the hypocrisy on earth. The ﬁnal section of “The Inferno” features the sins of “treacherous fraud.” As Dante enters this circle of Hell, he hears the dreadful blast of a bugle. “Not even Roland’s horn, which followed on the sad defeat of Charlemagne had lost his holy army, was as dread as this.” Dante and Virgil are lowered into the last section of Hell by giants who are constantly pelted with bolts of thunder. As their journey nears the end, they are confronted with the sight of Dis (Lucifer), whose three mouths are eternally reading Judas, Brutus. and Cassius. Dante and lﬁrgil climb down the ﬂanks of Lucifer, exiting to the other hemisphere and leaving the ﬁery world of “T he Inferno” behind. “Purgatorio" Dante, having completed his journey the “The Inferno,” is brought by Virgil to the shores of the island Mountain of Purgatory in the midst of the southern ocean. The mountain is comprised of seven terraces, each representing one of the “seven deadly sins.” In each terrace, sinners are given an appropriate penance which is symbolically tied to their transgressions on earth. The suﬀering endured is accepted voluntarily by the spirits in atonement for their sins. The composer has woven together musical elements which depict each of the sins of the seven terraces. For example, the sin of the ﬁrst terrace is “pride.” The souls plod slowly around the mountain, bowed double by huge rocks on their backs. As the composition develops, the sounds of lamenting souls, dragging their heavy loads, can be heard against the haunting melody line. The souls of Purgatory are often musical beings: they express their sensations in songs, hymns, and psalms. Purgatory is the realm of hope, where the proud, envious, wrathful, slothful, prodigal (avaricious), gluttonous, and lustful make atone for their sins on earth. As Dante and Virgil continue up the mountain, they feel a violent quaking at which all of the spirits proclaim “Gloria in Excelsis Deo!” (Glory to God in the Highest). Dante teams that the quaking signals the completion of one soul‘s penance, for which all other souls give thanks. The completion of the penance allows the soul to ascend to “Paradiso” (heaven), taking his or her rightful position in relation to God. guide, lifts her eyes toward the sun. Following her example, Dante looks to the sun and is at that moment transformed (“transhumanized") in preparation for his great adventure. He is surprised “Paradiso” – Dante has ascended at an incredible speed from the top of the Mountain of Purgatory to the ﬁrst sphere of the heavens. He is enamored with the sight of light, growing brighter and more intense with each sphere of his journey. The composer has called upon mallet percussion instruments to represent those beams of light. Beginning with a single tone (beam), the intensity grows with each entrance until we are surrounded by sights of multiple colors and complexities. As the light engulfs the listener, we are presented with the sounds of joy, peace, love, and hope...growing ever brighter as the journey through the spheres progresses. As the listener arrives at the Empyrean (the region of pure light), the “Music of the Spheres,” ﬁrst introduced in The Ascension (Movement Ill), is restated in brilliant fashion by the brass section. The light continues to intensify as the woodwind colors swirl around the brass ﬁgures. The sights and sounds grow even brighter as Dante sees a river of light which transforms into a great rose at whose center is the wonderful source of the lights. Upon the petals are seated the saints, clad in the whitest of robes. Angels ﬂy, like swarms of bees, up from the heart of the rose petals, their faces of living ﬂame, their wings of gold, and their bodies white as the purest snow. Dante looks to the highest tier, where Mary sits enthroned, surrounded by a thousand angels. Mary is surrounded by heroines of the Old Testament: Eve, Rachel, Sarah, Rebecca, Judith, and Ruth. On Mary’s opposite side are the male ﬁgures of the Christian era: John the Baptist, St. Francis, St. Benedict, and St. Augustine, as well as Adam, Peter, Moses and John the Apostle. The lower tiers of the rose are ﬁlled with thousands of infants, puriﬁed in their glorious innocence. With a gracious smile from the Virgin Mary, Dante is permitted the Beatiﬁc Vision. He lifts his eyes toward the heart of the rose. With one blinding light, he recognizes three separate lights in the form of interlocking circles (a symbol of the Trinity). Within one circle he perceived the dim image of a human face, a reminder that God, through Christ, lived and still lives as man on earth. �Binghamton University Music Department’s Coming Events M M Saturday, April 27 – Master’s Recital: Brister Hay IV, tenor – 3:00 p.m. – Casadesus Recital Hall – f ree Saturday, Apri127 – Faculty Recital: Christopher Morgan Loy – 8:00 p.m. – Casadesus Recital Hall – $6 general public; $3 faculty/staﬀ/seniors; free for students Sunday, Apri128 – Senior Recital: David Gaita, piano – 7:30 p.m. – Casadesus Recital Hall – free Sunday, April 28 – TriCities Opera presents Mascagni’s ”CA VALLERIA RUSTICANA” and Leoncavallo’s “PAGLIACCI”– 3:00 p.m. – The Forum Theatre – call (607) 7720400 for tickets Tuesday, April 30 – Percussion Ensemble Concert – 8:00 p.m. – Anderson Center Chamber Hall – $6 general public; $3 faculty/staﬀ/seniors; free fo r students Wednesday, May 1 – Percussion Recital: Devan Tracy and Andres Castillo – 8:00 p.m. – Casadesus Recital Hall – free Thursday, May 2 – Opera Scenes – 8:00 p.m. –Anderson Center Chamber Hall – 56 general public; $3 faculty/staﬀ/seniors; free for students Friday, May 3 – Music fr o m the Seminar (Christopher Loy’s Class) – 8:00 p.m. – Casadesus Recital Hall – f ree Saturday, May 4 – Master’s Recital: Molly AdamsToomey, mezzosoprano – 8:00 p.m. – Casadesus Recital Hall – free Sunday, May 5 –University Symphony Orchestra and Chorus: Schubert’s “Unﬁnished Symphony” & Duruﬂé’s ”Requiem” – 3:00 p.m. – Osterhout Concert Theater – 56 general public; $3 faculty/staﬀ/seniors; f ree fo r students Wednesday, May 8 – Nukporfe African DanceDrumming Ensemble – 7:00 p.m. – Watter’s Theater – $3 general admission a t the door m – l — m For tickets or to be added to our email list, visit anderson.binghamton.edu or call (607) 777ARTS. For a complete list of our concerts call (607) 7772592, visit music.binghamton.edu or become a fan on Facebook. If you were inspired by this performance, consider supporting the Department of Music with a ﬁnancial gift. Your support helps to continue the work of students, faculty, and guest artists and their contributions t o our community. Please make your donation payable to the Binghamton University Music Department, and send your check to BU Music Department, P.O. Box 6000, Binghamton, NY 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. 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Creator An entity primarily responsible for making the resource University Wind Symphony Fabricius, Daniel Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2013-4-26 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/f6c4dd06a41fdccfde53e25c4efaa38d.pdf 52723d91fae2d1c518ab4eb0422d8169 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 [4 wdee D E P A R T M E N T MASTER’S RECITAL Brister Hay IV, tenor John Isenberg, piano Saturday. April 27. 2013 3:00 p.m. Casadesus Recital Hall �PROGRAM Per la Gloria d’adorarvi. .Giovanni Bononcini (16701747) Alessandro Scarlatti Le Violette (16601725) Alma del core. . Antonio Caldara Caro mio Ben. . Giussepe Giordani (17511798) Gia iI sole dal Gange Alessandro Scarlatti (16601725) (16701736) Die Schone Mullerin excerpts . Das Wandern Wohin? Halt! Danksagung An den Bach Der Neugierige . Franz Schubert (17971828) mlNTERMlSSIONw . Lee Hoiby I have a dream. (19262011) Drink to me only with thine eyes. Where the music comes from. You‘ll never walk alone Because. .. Roger Quilter (18771953) Lee Hoiby (19262011) . Richard Rogers (19021979) and Oscar Hammerstein Jr. (18951960) Guy d’Hardelot (18581936) �TRANSLATIONS ABOUT THE PERFORMERS BRISTER HAY IV. tenor. was a recipient of the Clark fellowship while pursuing his MM degree at SUNY Binghamton University. JOHN ISENBERG. a native of Endicott, NY, holds a Bachelor’s Per Ia glorIa d’adorarvi voglio amarvi. o luci care. Amando penero, ma sempre v’amero. si. sl, nel mio penare, For the glory of adoring you I want to love you. oh dear eyes. In love I will suﬀer, yet always I will love you, Yes, in my suﬀering penero, I will suﬀer. I will love you, dear. dear eyes. Senza speme di diletto v’amero. radio broadcasts of numerous Opera/ogue preview performances Iuci care! Without a hope of pleasure It is vain aﬀection to sigh. Yet your sweet glance Who can ever admire them, No, and not love you? I will suﬀer. I will love you, with various other groups in the Binghamton area, including the Le Vlolette Rugiadose Odorose Dewy Scented Degree in Music and a Master’s Degree in Italian Literature from Binghamton University. He performs many diﬀerent musical genres including Opera, Gilbert and Sullivan, classical Art Song. Broadway, Celtic. Rock. and many styles of sacred music. For 11 years, John worked for the TriCities Opera in Binghamton. NY, ﬁrst as Accompanist, then later as Education Outreach Coordinator and Chorus Master. As part of OperaGoRound touring program, he organized over 300 performances and accompanied over 500 performances throughout New York State and northern Pennsylvania. John has played for WSKG including Puccini’s Madama Butterﬂy. Donizetti’s Lucia a’i Lammermoor and Mozart’s The Ma gic Flute. He has worked Madrigal Choir of Binghamton. the Binghamton Downtown Singers and SRO Productions. John is also the Organist/Pianist and Choir Director at Sarah Jane Johnson Memorial United Methodist Church in Johnson City. v’amero, luci care. vano aﬀetto é sospirare, ma i vostri dolci rai chi vagheggiar pud mai e non, e non v’amare? penero, Violette graziose, Voi vi state Vergognose, Mezzo ascose Fra Ie foglie, dear, dear eyes. Pretty violets, You are standing Shy. Half hidden Among the leaves, E sgridate And you scold My desires, That are too ambitious. Alma del core, Spirto dell’alma, Soul of my heart, Spirit of my soul, Always contantly will I adore you! I will be contented In my torment If only I could kiss that beautiful lip. Le mie voglie. Che son troppo ambiziose. Sempre costante t’adorero! Saro contento NeI mio tormento Se quel bel labbro baciar potro. �Caro mio ben. credimi almen. senza di te Ianguisce il cor. My dear beloved. believe me at least, without you my heart languishes. ll tuo fedel sospira ognor. Cessa, crudel. tanto rigor Your faithful one always sighs: Gia il sole dal Gange Already. from over the Ganges, the sun Sparkles more brightly And dries every drop of the dawn, which weeps. Piu chiaro sfavilla, E terge ogni stilla Dell’alba che piange. Col raggio dorato Ingemma ogni stello. E gli astri del cielo Dipinge nel prato. Das Wandern ist des Muller; Lust. Das Wandern! Das mull ein schlechter Muller sein. Dem niemals ﬁel das Wandern cease, cruel one. so much punishment! With the gilded ray It adorns each blade of grass: And the stars of the sky It paints in the ﬁeld. Das sehn wir auch den Rédern ab. Den Radern! Die gar nicht gerne stille stehn, Die sich mein Tag nicht mude drehn. Die Rader. Und wollen gar noche schneller sein, Die Steine. O Wandern. Wandern, meine Lust, O Wandern! Herr Meister und Frau Meisterin, LaBt mich in Frieden weiterziehn Und wandern. Wohln? Ich hort ’ ein Bachlein rauschen Wohl aus dem Felsenquell. Hinab zum Tale rauschen So frisch und wunderhell. The stones! Oh, wandering. wandering. my joy. Oh. wandering! Oh. Master and Mistress. Let me continue in peace, And wander! I hear a brooklet rushing Right out of the rock’s spring. Down there to the valley it rushes, So fresh and wondrously bright.. I know not, how I felt this, Nor did I know who gave me advice: I must go down With my wanderer’s staﬀ. Hinunter und immer weiter Und immer dem Bache nach. Und immer frischer rauschte Und immer heller der Bach. Down and always farther, And always the brook follows after; And always rushing crisply, And always bright is the brook. It‘s always thinking of its Ist das denn meine Straﬁe? O Béchlein, sprich, wohin? Du hast mit deinem Rauschen Mir ganz berauscht den Sinn. Is this then my road? 7 O, brooklet, speak! where to? You have with your rushing Entirely intoxicated my senses. We see this also with the wheels, With the wheels! Was sag ich denn von Rauschen? Das kann kein Rauschen sein: Es singen wohl die Nixen Dort unten ihren Reihn. But why do I speak of rushing? That can’t really be rushing: Perhaps the waternymphs are singing rounds down there in the deep. He must be a miserable miller. Who never likes to wander. Wandering! Das Wandern. Das Wasser. Die Steine! Sie tanzen mit den muntern The stones themselves, heavy though they are. The stones! They join in the cheerful dance, And want to go yet faster. Nicht, wer den Rat mir gab, Ich muBte gleich hinunter Wandering is the miller’s joy, Wandering! ein. Vom Wasser haben wir’s gelernt, Vom Wasser! Das hat nicht Rast bei Tag und Nacht. lst stets auf Wanderschaft bedacht. Die Steine selbst, so schwer sie sind. We’ve learned this from the water. From the water! It does not rest by day or night. journey, The water. They don’t like to stand still. And turn all day without tiring. With the wheels. Ich weiB nicht, wie mir wurde. Mit meinem Wanderstab. �Let it sing, my friend. let it rush. And wander joyously after! Der Neugierlge Ich frage keine Blume, I ask no ﬂower, 1 ask no star: In each clear brook. Sie kénnen mir nicht sagen, Was ich erﬀihr so gern. know. Eine Muhle seh ich blicken Aus den Erlen heraus, Durch Rauschen und Singe Bricht Radergebraus. I see a mill looking Out from the alder s: Through the roaring and singing Bursts the cla tter of wheels. Ich bin ja auch kein Gartner. Ei willkommen. ei willkommen. Stiller Muhlengesang! Und das Haus. wie so traulich! Und die Fenster. wie blank! Hey, welcome. welcome! Sweet millsong! Und die Sonne. wie helle Von Himmel sie scheint! Ei. Bachlein. Iiebes Bachlein, War es also gemeint? And the sun, how brightly it shines from Heaven! Hey, brooklet, dear brook, Was this, then. what you meant? Danksagung an den Bach War es also gemeint, Was this, then, what you meant. My rushing friend? Your singing and your ringing? LaB singen. Gesell, laB rauschen Und wandre frohlich nach! Es gehn ja Muhlenrader In jedem klaren Bach. Halt! Mein rauschender Freund? Dein Singen. dein Klingen. War es al so gemeint? Zur Mullerin hin! So Iautet der Sinn. Gelt. hab’ ich’s verstanden? Zur Mullerin hin! Hat sie dich geschickt? Oder hast mich bertickt? Das mocht ich noch wissen. Ob sie dich geschickt. Nun wie’s auch mag sein. Ich gebe mich drein Was ich such’, ist gefunden, Wie’s immer mag sein. Nach Arbeit ich frug. Nun hab ich genug Far die Hande, furs Herze Vollauf genug! Millwheels turn And the house, so comfortable! And the windows, how clean! Was this what you meant? To the Millermaid! it seems t o say... Have I understood? To the Millermaid! Has she sent you? Or am I deluding myself? I would like to know, Whether she has sent you. Now. however it may be, I commit myself! What I sought. l have found. However it may be. After work I ask. Now have I enough for my hands and my heart? Completely enough! Ids frage keinen Stern. None of them can tell me, What I so eagerly w ant to I am surely not a gardener, Die Sterne stehn zu hoch: Mein Bachlein will ich fragen. The stars stand too high: My brooklet will I ask, Whether my heart has lied to me. O Bachlein meiner Liebe, Wie bist du heut so stumm? Will ja nur eines wissen, Ein Wortchen um und um. O brooklet of my love, Why are you so quiet today? Ja heith das eine Wortchen, Das andre heiBet Nein, Die beiden Wortchen SchlieBen die ganze Welt m ir ein. The one little word is “Yes": The other is “No", Both these little words Make up the entire world to me. O Bachlein meiner Liebe. Was bist du wunderlich! Will‘s ja nicht weitersagen, Sag, Bachlein, liebt sie mich? O brooklet of my love, Why are you so strange? I’ll surely not repeat it: Tell me, o brooklet, does she love me Ob mich mein Herz belog. I want to know just one thing One little word again and again. �I Have A Dream I have a dream that one day this nation will rise up. and live out the true meaning of its creed. We hold these truths to be selfevident, that all men are created equal. I have a dream, that one day on the redhills of Georgia, sons of former slaves and sons of former slave owners will be able to sit down together at the table of brotherhood. I have a dream. I have a dream. that one day, even the state of Mississippi. a state sweltering with the heat of oppression will be transformed into an oasis of freedom and justice. I have a dream. That my four little children will one day live in a nation where they will not be judged by the color of their skin, but by the content of their character. I have a dream. I have a dream. That one day right down in Alabama little black boys and black girls will be able to join hands with little white boys and white girls as sister’s and brother’s, I have a dream today. That every valley shall be exalted. and every mountain and hill shall be made low. the rough places will be made plain and the crooked places will be made straight and the will of the lord shall be revealed and all ﬂesh shall see it together. This is our hope. this is our faith. and with this faith we will transform the jangling discord of our nation. into a beautiful symphony of brotherhood. with this faith we will be able to work together. pray together. struggle together. go to jail together. stand up for freedom together. knowing that we will be free one day the day that all God’s children, will be able to sing. with new meaning. My country tis of thee sweet land of liberty of thee I sing, land where my fathers died. land of the pilgrim’s pride, from every mountain side, let freedom ring! Let freedom ring! From the prodigious hilltops of New Hampshire let freedom ring. from the mighty mountains of New York. let freedom ring! From the high Alleghenies of Pennsylvania let freedom ring. from the snow capped rockies of Colorado. let freedom ring! From the curvaceous slopes of California, let freedom ring. Not only that! Let freedom ring from Iookout mountains of Tennessee, let freedom ring from every hill and mole hill of Mississippi. from every mountain side, let freedom ring! When we let freedom ring. when we let it ring from every village. and every hamlet. from every state and every city, we will speed up that day. when black men and white men. jews and gentiles, protestants and catholics, will be able to join hands and sing! Free at last! Free at last! Thank God almighty! We‘re Free At LAST!!! Drink to me only with thine eyes and I will pledge with mine. Or leave a kiss within the cup and I’ll not ask for wine. The thirst that from the soul doth rise, and ask the drink divine, but might I of Jove‘s nectar sup, I would not change for thine. I sent thee late a rosy wreath, not so much honouring thee As giving it a hope that there it could not wither be. but thou there on dids‘st only breathe. and senst it back to me. Since when it grows, and smells, I swear. Not of itself but thee. Where the Music comes from I want to be where the music comes from where the clock stops where its now. I want to be with the friends around me who have found me. who show me how. I want to sing to the early morning see the sunlight melt the snow, and Oh, I want to grow. I want to wake to the living spirit. here inside me. where it lies. i want to listen till I can hear it. let it guide me. and realize. that I can go with the ﬂow unending that is bending that is real. and oh. I want to feel. I want to walk in the earthly garden far from cities far from fear. I want to talk to the growing garden. to the devas. to the deer. and to be one with the breezes blowing. rivers ﬂowing. skies above. And oh. I want to love. You’ll never walk alone When you walk through a storm. keep your chin up high. and don‘t be afraid of the dark. at the end of the storm is a golden sky, and the sweet silver song of a lark. Walk on through the wind walk on through the rain, though your dreams be tossed and blown. walk on. walk on. with hope in your heart. and you’ll never walk alone. you’ll never walk alone. Because Because you come to me. with naught say love. and hold my hands and lift mine eyes above, a wider world of hope and joy I see, because you come to me. Because you speak to me in accent sweet. I ﬁnd the roses quaking round my feet, and I am led through tears and joy to be. because you speak to me. Because God made thee mine. I’ll cherish thee through light and darkness through all time to be. and pray his love. may make our love divine. Because, God made Thee minell �Binghamton University Music Department’s Coming Events Saturday, April 27 – Faculty Recital: Christopher Morgan Loy – 8:00 p.m. – Casadesus Recital Hall $6 general public; $3 faculty/staﬀ/seniors; free for students Sunday, April 28 – Senior Recital: David Gaita, piano – 7:30 p.m. – Casadesus Recital Hall – free Sunday, April 28 – TriCltles Opera presents Mascagni’s “CA VALLERlA RUSTICANA” and Lacncavallo’s ‘PAGLIACCI" 3:00 p.m. – The Forum Theatre – call (607) 7720400 for tickets Tuesday, April 30 – Percussion Ensemble Concert – 8:00 p.m. – Anderson Center Chamber Hall – $6 general public; $3 iaculty/stali/seniors; free for students Wednesday, May 1 – Percussion Recital: Devan Tracy and Andres Castillo – 8:00 p.m. – Casadesus Recital Hall – free Thursday, May 2 – MidDay Concert– 1:20 p.m. – Anderson Center Chamber Hall free Thursday, May 2 – Opera Scenes – 8:00 p.m. – Anderson Center Chamber Hall – $6 general public ; $3 laculty/stali/seniors : free for students Friday, May 3 – Music from the Seminar (Christopher Lay’s Class) –7 p.m. – Casadesus Recital Hall – free Saturday, May 4 – Master‘s Recital: Molly AdamsToomey, mezzosoprano – 8 p.m. – Casadesus Recital Hall – free Sunday, May 5 – University Symphony Orchestra and Chorus: Schubert’s “Unﬁnished Symphony” & Dumﬂé's “Raqulom"– 3:00 p.m. – Osterhout Concert Theater – $6 general public; $3 faculty/staﬀ/seniors; free for students Wednesday, May 8 – Nukporfe A frican Drumming and Dance Ensemble – 7:00 p.m. – Walter’s Theater – $3 general admission at the door M M For tickets or to be added to our email list, visit anderson.binghamton.edu or call (607) 777ARTSt For a complete list of our concerts call (607) 7772592, visit music.binghamton.edu or become a fan on Facebook. E O _ f If you were inspired by this performance, c onsider supporting [ = ] the Depart ment 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 6000. Binghamton, NY 73902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF 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.) 52:55 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE130160">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE130160</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 Master's recital with Brister Hay IV and John Isenberg, April 27, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Bononcini, Scarlatti, Caldara, Giordani, Schubert, Hoiby, Quilter, Rodgers, Hammerstein, d'Hardelot. Held at 3:00 p.m., April 27, 2013, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Hay, Brister Isenberg, John Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2013-4-27 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/57ad13f8329371f802fd5e4298e22960.pdf 72506a8d56673d489954fa92b4f82329 PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E U N I V E R S I T Y O F N E W Y O R K D E P A R T M E N T C HRISTOPHER M ORGAN L O Y COMPOSER/ PIANIST S a t ur d a y , A p ri l 2.7, 2.016 8 : 00 pm. ( a sa des us R ec i t a l H a l l �FROGKAM Sonatina #3 in g minor D408 . . Allegro guisto Andante Menuetto Allegro moderato Selected Songs F. Schubert Two Songs on Poems of Walt Whitman How sweet the silent backward tracings . . . . . C .M. Loy Af ter the Dazzle of Day William Hurley, vi olin Christopher Morgan Loy, piano W.A. Mozart Three Songs.. . Das Veilchen Als Luise die Brief e Ridente la calma Selected Piano Works Voices of the Woods, Op. 13, no. 5 ln Memorium : Jamie Cannon, O p. 56, no. 6 Kerianna Krebushevski, soprano C.M. Loy, piano C.M. Loy Homage to Steven Stucky, Op. 56, no. 7 Inner Lights (Sona ta for Violin and Piano)", Op. 58 ......C M. Loy C.M. Loy, piano Lento reﬂective, Allegro assai, Allegro Flowingly Allegro G. Faure Selected Songs Chanson d ’amore Apres un réve Kerianna Krebushevski, soprano C.M. Loy, piano ®INTERMISSIONe3 William Hurley, vi olin C.M. Loy, piano *Premiere performance �NOTES ON THE MUSIC Sonatina in G Minor Franz Schubert composed three violin works commonly called the “sonatinas” during the spring of 1816 when he was 19 years of age. Schubert called these works sonatas, and they remained in manuscript form during his lifetime. When Anton Diabelli published them in 1836, he named them sonatinas in order t o a cquire the amateur market. These works are straightforward, beautiful and elegant and have remained a favorite with violinists and pianists since Schubert and his friends ﬁrst performed them. The Sonatina in G Minor is dramatic and lyrical and the dialogue between the violin and piano is fun. Voices of the Woods Felix FernandezMadrid, a friend and colleague who has a great love for usic, commissioned Seven Piano Pieces in 1984. He wanted a set of piano pieces for his musical interests and enjoyment. “Voices of the Woods”, the ﬁfth piece of the set, conveys the restlessness and sometimes forbidding nature of a mysterious forest. Homages and Fantasies is a set of eight piano pieces premiered in Ithaca on November 19, 2011. The following two works are extracted from this set. In Memoriam: Jamie Cannon Jamie Cannon was a great friend. We were roommates when I lived in downtown Detroit. He was an exceptional artist and craftsman, and with my compositional work and Jamie’s artwork, producti vity in the apartment was signiﬁcant. When I received the news of his passing, I sa t down i n sorrow to remember him and to pay homage to him. This piece came forth. Throughout the composition there are moments of reﬂection and remembrance interrupted by sudden bursts of anguish. In Memoriam. ends with the main theme modulated up a step and continuing upward to an enigmatic resolution. Homage to Steven Stucky In this homage to one of the foremost American composers, I set out to honor his vibrant palette of harmonic coloration, while main taining my own musical energy. The piec e is i n a standard ternary form. The ﬁ rs t part exhibits extended triadic harmony, which is one of Stucky’s hallmarks, and the middle sec tion displays a musical portrai t of Steven Stucky’s name. I have had the pleasure of working with Steven Stucky and felt this set of Homages and Fantasies wouldn’t be complete without honoring him. Inner Lights l composed Inner Lights (Sonata for Violin and Piano) in 2012. It portrays the act of revealing the Light within us. The following quote served as inspiration: “The Light that is begotten of the Life which has been begotten of Love, is a radiance: i t is the radiance within with a soul. Light is the eﬀect of magnetic action; i t is a manifestation of magnetic power.” Life ’s Mysteries Unveiled by John Todd Ferrier Lento reﬂectivo, Allegro assai, Allegro The opening theme stated by the violin, represents the dual motion (ascending and descending) of Light from the Divine, as well as a call to the Light within each of us. When the piano joins the call, harmony ensues. The fast, jagged rhythms signal a transition t o daytoday activities that interrupt harmony. The contra sting music that follows in 5/4 time is lyrical and hopeful, encouraging continued eﬀort on the path of spiritual initiation. After a return to the theme of ra pid music, the movement ends with a quote of the original opening theme. Flowing This movement begins with an intricate passage by the piano, which provides the sound palette for the high ﬂoating melody of the violin. The melodic stream i s contemplative and serene. An agitated middle section suspends the medita tive a ttributes of this movement, but the music soon returns to the ﬂowing lines of the beginning. Allegro The ﬁnal movement is a celebration of joy and grati tude. The violin ’s ﬁrs t theme has the feeling of exuberance, and the highspirited energy is maintained throughout the movement ’s several connected thema tic sections. ABOUT THE PERFORMERS KERIANNA KREBUSHEVSKI is a Junior at Binghamton University pursuing a Bachelor of Music Degree in Voice. During her time here in Binghamton, Kerianna has performed the role of the ﬁrs t spirit in Tri Cities Opera Company’s production of Mozart ’s Die Zaubeﬂcite, and in the chorus for their productions of Puccini’s La Boheme and Verdi’s Il Trovatore. She is currently in the chorus for Cavalleria Rusticana and Pagliacci (Mascagni/Leoncavallo). Last semester, Kerianna also performed the role of Gretel in Humperdinck’s Hansel and Gretel, performed by the University’s Opera Workshop class. Currently she is preparing for her Junior Recital, which will take place on May 10, 2013 a t Casadesus Recital Hall in the Fine Arts building a t Binghamton University. This summer Kerianna will be traveling to ltaly for the month of June to study voice and the Italia n language with the “Si parla, si Canta” program, organized by Benton Hess. She is very excited to see Italy for the ﬁrs t time and to further her studies. �ABOUT THE PERFORMERS (CONT.) Violinist WILLIAM HURLEY is an Ithacaba sed performer and teacher. In tha t capacity, he frequently ﬁnds himself a t the Community Sc hool of Music and Arts, Cornell University, The Binghamton Philharmonic, The TriCities Opera Orchestra, and somewha t less frequently with the Cayuga Chamber Orchestra, and The Orchestra o f the Southern Finger Lakes. He has found himself, in the pas t, wi th orches tras and chamber ensembles in GA, SC , WV, MD, PA, and AK. Serendipity has landed him with a ﬁne group of students and a lovely and talented crowd of colleagues with whom to collaborate. In the chamber arena, he is a member of DO (violin duo), Three (piano trio), The Amity String Quartet, various New Violin Family incarnations, Music ’s Recrea tion, partners guitarist Matthew Ocone, and fondly remembers the DeVere String Quartet, The Archus S tring Trio, and various and sundry other collabora tions. New things are always i n the works, and ideas are welcome. Otherwise, he is an apprentice with Luthier Robert Spear, serves on the board of Music ’s Recrea tion, plays Irish ﬁddle, gardens voracious ly, and a lternately helps, confuses, a nd frightens the local string community in his capacity as “the string guy” a t Hickey’s Music, where he has worked for some considerable time. He lives and meanders in the Danby area. CHRISTOPHER MORGAN LOY has presented annual recita ls in Ithaca featuring his new works since 1989. His compositions include works for piano, chamber ensembles, chamber orchestra , full orchestra, and chorus. He has received more than 25 commissions from individuals and organizations since the 1980’s. Loy’s music has been premiered in Cleveland, Detroit, Houston, New York, San Francisco, San Antonio and Ithaca. He earned the Doctorate of Musical Arts degree from Cornell University in 1993. He has received grants from New York State’s M eet the Composer fund, the Gund Foundation, and the Cornell Council on the Creative Arts. In 1998, 2001 and 2008, he received the New York State Council on the Arts Decentraliza tion Program Grant to compose his Serenade, a work for soprano, violin, bassoon and harpsichord, his String Qu artet #1 and Poet ic Rejuvenations, a largescale work for ﬁve players and poet/narrator. Loy serves as Professor of Theory and Compositi on a t Binghamton University and teaches piano and compositi on a t the Community Sc hool of Music and Arts (CSMA). He is organist/ pianist a t the First Baptist Church in Ithaca. TRANSLATIONS Fauré Chanson d ’nmore I love your eyes, I love your face, 0 my rebellious, o my ﬁerce one, I love your eyes, I love your lips Where my kisses will exhaust themselves. I love your voice, I love the strange Gracefulness of everything that you say, 0 my rebellious one, o my dear angel, My inferno and my paradise! I love your eyes, I love your face, I love everything that makes you beautiful, From your feet to your hair, 0 you, to whom ascend a ll my desires! Aprés un réve In a slumber charmed by your image I dreamed of happiness, ardent mirage; Your eyes were more tender, your voice pure and clear. You were radiant like a sky brightened by sunrise ; You were c alling me, and I left the earth To ﬂee wit h you towards the light ; The skies opened their clouds for us, Splendors unknown, glimpses of divine ligh t. . . Alas! Alas sad awakening from dreams! I call to you, oh night, give me back your illusions; Return, return with your radiance, Return, oh mysterious night! Loy Two Songs on poetry of Walt Whitman is the ﬁrst set of songs I composed. Iwas moved by the simplicity of the poems and set them accor dingly. How Sweet the Silent Backward Tracings How sweet the silent backward tracings! The wanderings as in dreams the meditation of old times resumed ~ Their loves, joys, persons, voyages. Af ter the Da zzle of Day After the dazzle of day is gone Only the dark, dark night shows to my eyes the stars After the clangor of organ majestic, or chorus, or perfect band Silent athwart my soul, moves the symphony true. Mozart Das Veilchen A violet grew in the meadow, bent over and unrecognized, It was a lovable violet . A young shepherdess came by with a light step and cheerful mood, through the meadow, and she sang. The violet thought, “Ah, i f only I were the prettiest ﬂower in all of Nature, just for a li ttle while, until that darling would pick me and press me ﬂa t on her bosom, ah, just for a quarter hour. ” But a h, the girl came and did not notice the violet. She trampled the poor violet! It sank down and died, and yet it was happy : “If I must die, at least I am killed by her feet . ” The poor violet! It was a lovable violet. �But alas, the man who wrote you, Als Luise die Briefe may perhaps burn for a long time yet Born of a ﬁery imagination, brought into the world in an hour in my heart. o f r apture, go t o destruction, you children of melancholy! You owe your existence to ﬂames ; Ridente Ia calma Calmness is smiling in my soul; no trace of anger or fear remains. now I give you back to ﬂames along with all of the adoring songs, because, alas he did not sing only You will arrive at any moment, my dear, to tie the bonds of marriage tha t are so welcome to my heart. to me. You catch ﬁre, and soon, you dear ones, there will be no trace of you. Binghamton University Music Department ’s Coming Events M M M M M M t b M é é Sunday, April 28 – Senior Recital : David Gaita, piano – 7:30 p.m. – Casadesus Recital Hall – free Sunday, April 28 – TriCities Opera presents Mascagni ’s “CAVALLERIA RUSTICANA” and Leoncavallo’s “PAGLIACCI™ 3:00 p.m. – The Forum Theatre – call (607) 7720400 for tickets Tuesday, A pril 30 – Per cussion Ensemble Concert – 8:00 p.m. – Anderson Center Chamber Hall – $6 general public; $3 faculty/staﬀ/seniors; free for students Wednesday, May 1 – Percussion Recital : Devan Tracy and Andres Castillo – 8:00 p.m. – Casadesus Recital Hall – free Thursday, May 2 – MidDay Concert – 1:20 p.m. – Anderson Center Chamber Hall – free Thursday, May 2 – Opera Scenes – 8:00 p.m. – Anderson Center Chamber Hall – $6 general public; $3 faculty/staﬀ/seniors; free for students Friday, May 3 – Music from the Seminar (Christopher Loy ’s Class) – 7 p.m. – Casadesus Recital Hall – free Saturday, May 4 – Master’s Recital : Molly AdamsToomey, mezzosoprano – 8 p.m. – Casadesus Recital Hall – free M M M ﬁ M M b M ﬁ n r b ‘ For tickets or to be added to our email list, visit anderson.binghamton.edu or call (607) 777ARTS. For a complete list of our concerts call (607) 7772592, visit music.binghamton.edu or become a fan on Facebook. if you were inspired by this performance, consider supporting _ . ' E the Department of Music with a ﬁnancial gilt. Your support helps E 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 E : Department, and send your check to BU Music Department, P.O. Box 6000, Binghamton, NY 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF 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.) 1:06:05 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE130163">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE130163</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 Christopher Morgan Loy, recital, April 27, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Schubert, Loy, Faure, Mozart. Held at 8:00 p.m., April 27, 2013, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Loy, Christopher Morgan Hurley, William Krebushevski, Kerianna 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 2013-4-27 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/797b382db2520c210610dbcbaf308f46.pdf 820c4ec06f9f83c2cef0f6652558d598 PDF Text Text BINGHAMTON E R S I T Y P M I V S T A T E U N I V E R S I T Y O F N E W Y O R K W 0 [4 D E P A R T M E N T OPERA SCENES Thursday, May 2, 2013 8:00 p.m. Anderson Center Chamber Hall �Che gelida manina . from La Bohéme PROGRAM The pianist for this evening‘s program is John Isenberg Si pub? from I Pagliacci .Ruggiero Leoncavallo (1 857 1919) Robert HeePyoung Oh (T onio) Cinque, dieci. venti. trenta . from Le Nozze di Figaro Matthew Samluk (Figaro) Caitlin Gotimer (Countess) Elizabeth Keyes (Susanna) La ci darem la mano from Don Giovanni Charles Hyland (Don Giovanni) Christina Santa Maria (Zerlina) Hana R yu. director W. A. Mozart (1 756 1 791) Soave sia il vento from Cosi fan Tutte W. A. Mozart (1 756 1791) Gaetano Donizetti in guerra ed in amore. (1797 1848) from L’Elisir d’amore Michael Celentano. (Belcore) Kerianna Krebushevski (Adina) Hana Ryu (Nemorino) Charles Hyland, director aIN TERM [55 ION FI Leonard Bernstein (1918 1990) Emily Geller. director Mr. Snow from Carousel Rodgers and Hammerstein Il (1902 1970) (1895 1960) Elizabeth Keyes (Carrie) Caitlin Gotimer (Julie) Thomas Goodheart. director Ricky Nan (T ony) Christina Santa Maria (Maria) W . A. Mozart (1756 1791) Michael Celentano. director Rachel Young (Fiordiligi) Daniela Rivera (Dorabella) Matthew Samluk (A lfonso) Robert HeePyoung Oh, director Charles Hyland (Sam) Molly AdamsToomey (Dinah) Tonight . from West Side Story Michael Celentano, director Sull’ aria . from Le Nozze di Figaro Umbrella Duet. from Trouble in Tahiti W. A. Mozart (1 756 1791) Rachel Young (Susanna) EunHwan Bae (Rodolfo) Giacomo Puccini (1 858 1924) Leonard Bernstein (1918 1990) Thomas Goodheart, director Golden Days from The Student Prince Michael Celentano (Engel) Cole Tomberg (The Prince) Matthew Samluk, director Je dis que rien ne m'épouvante.. from Carmen Kerianna Krebushevski (Micaela) Card Scene . from Carmen Christina Santa Maria (Frasquita) Daniela Rivera (Mercedes) Molly AdamsToomey, director Finale . from Die Fledermaus Hana Ryu (Alfred) Caitlin Gotimer (Rosalinda) Michael Celentano (Frank) Emily Geller, director Sigmund Romberg (1 887 1951) . Georges Bizet (1838 1875) .Georges Bizet (1838 1875) Johann Strauss (1819 1880) Special thanks to TriCities Opera for providing the set pieces and props for this evening’s performance. �STAGE TECHN IQUES DIRECTOR’S NOTES Welcome to our second annual Spring Opera Scenes concert. This concert is in partial fulﬁllment of the course requirements for the Stage Techniques for Singing Actor class. Students are aﬀorded the opportunity to hone their skills through performances which include our Fall production of Hansel and Gretel. University MidDay Concerts. The Phelps Mansion Recital Series and TriCities Opera productions. This class integrates undergraduate and graduate students and provides a unique opportunity for younger students to observe and leam from more experienced singers. To add more depth to their knowledge of stage techniques. graduate student s have taken on the role of stage director for this performance. We would like to give special thanks to John lsenberg. for his tireless eﬀorts as our class accompanist during the semester and for his supportive. orchestral playing. A thank you as well to Michael Celentano. who in addition to singing and directing, has added the role of lighting designer to his responsibilities. Thank you for your support of our singers and we look forward to see ing you in our audience next year. Thomas Goodheart Binghamton University Music Department’s Coming Events Lao S Y S P o E p o r May 3 – Music from the Semlnar (Christopher Lay’s Class) – 7 p. m. – Casadesus Recital Hall – free Saturday. May 4 – Master’s Recital: Molly AdamsToomey, mezzosoprano – 8 p.m. Casadesus Recital Hall – free Sunday, May 5 – University Symphony Orchestra and Chorus: Schubert’s “Unﬁnished Symphony ” & Dunlﬂé's “Requiem” – 3:00 p.m. – Osterhout Concert Theater – $6 general public: $3 faculty/staﬀ/seniors; free for students Wednaday. May 8 – Nukporfe African Drumming and Dance Ensemble 7:00 p. m. Watter‘s Theater – $3 general admission at the door Thursday. May 9 – Student Recognition MidDay Concert – 1:20 p. m. – C asadesus Recital Hall ~ free Thursday. May 9 – Recital/Masterclass: GuestArtLrt Victor Chavez ./r., clarinet 4:30 – 6 p. m. – Casadesus Recital Hall – free Thursday. May 9 – Harpur Chorale and Women ‘ s Chorus – 8:00 p.m. – Anderson Center Chamber Hall – $6 general public; $3 faculty/staﬀ/seniors; free for students Friday, May 10 – Junior Recital: Kerianna Krebushevski, soprano – 8:00 p.m. – Casadesus Redtal Hall – free M m m ﬁ w b ﬁ ﬁ For tickets or to be added to our email list. visit anderson.binghamton.edu or call (607) 777 S. For a complete list of our concerts call (607) 7772592. visit music.binghamton.edu or A RT become a fan on Facebook. If you were inspired by this performance, consider supporting the . E 5 [ of Music with a ﬁnancial gift. Your support helps to Department $ I continue the work of students, faculty, and guest artists and their contributions to our community. Plea se make your donation payable to the Binghamton University Music Department. and send your check to BU Music Depa n ment. P.O. Box 6000. Binghamton. N Y 13902. E 2 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 49:58 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE85323">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE85323</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 Opera scenes, May 2, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Mozart, Donizetti, Puccini, Rodgers, Hammerstein, Romberg, Bizet, Strauss. Held at 8:00 p.m., May 2, 2013, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Isenberg, John Oh Robert, Heepyoung Samluk, Matthew Young, Rachel Celentano, Michael Gotimer Keyes, Elizabeth Hyland, Charles Santa Maria, Christina Ryu, Hana Rivera, Daniela Krebushevski Hwan Bae, Eun Adams-Toomey Geller, Emily Goodheart, Thomas Nan, Ricky Tornberg, Cole 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 2013-5-2 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/1bf711143cfaa0393371d8cf12f7d6a9.pdf af8359c8a1475017b4ca06b91c233940 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 NEW Y O R K vdeo [4 D E P A R T M E N T ( [ ) ) A , o n'. _ : t y I \ $ l N o “ 3 , l l ; ’ QP) u rE 1 . 1 1 ” A; % f ! w k” E?“ é ' ﬂ f ‘ t s S Y , " MIDDAY 2 4 3 ) '. A F T ﬂ " CONCERT Thursday, May 2, 2013 1:20 p.m. Anderson Center Chamber Hall �PROGRAM Left Hand Nocturne . Op. 9, No. 2 Melanie Laguerre. piano . Alexander Scriabin (1872 1915) Song Cycle 1 in D Major, Op. 1 3 . l. Spring Awakening Il. On My Mind Ill. Serenade Joseph S. Keller (b. 1993) Joseph S. Keller, baritone William James Lawson, piano The pianist for the following scenes will be John lsenberg Giacomo Puccini Che gelida manina (1858 1924) from La Boheme Mario Eun Hwan Bae (Rodolfo) Cinque, dieci, venti, trenta. from Le Nozze di Figaro Matthew Samluk (Figaro) Rachel Young (Susanna) Michael Celentano, director . W. A. Mozart (1756 1791) Sull’ aria.. from Le Nozze di Figaro Caitlin Gotimer (Countess) Elizabeth Keyes (Susanna) Michael Celentano. director . W. A. Mozart (1756 1791) Card Scene. from Carmen Christina Santa Maria (Frasquita) Daniela Rivera (Mercedes) Molly AdamsToomey. director Act 1 Finale from Die Fledermaus Hana Ryu (Alfred) Caitlin Gotimer (Rosalinda) Michael Celentano (Frank) Emily Geller, director Georges Bizet (1838 1875) Johann Strauss (1819 1 880) �Binghamton University Music Department’s Coming Events m m é M M M M é M Thursday, May 2 – Opera Scenes – 8:00 p.m. ~ Anderson Center Chamber Hall – $6 general public; $3 faculty/staft/seniors; free for students Friday, May 3 – Music from the Seminar (Christopher Loy’s Class) – 7 p.m. – Casadesus Recital Hall – free Saturday. May 4 – Master’s Redtal: Molly AdamsToomey, mezzo soprano – 8 p.m. – Casadesus Recital Hall – free Sunday, May 5 University Symphony Orchestra and Chorus: Schubert’s “Unﬁnished Symphony” & Duruﬂé’s “Requiem” – 3:00 p.m. ~ Osterhout Concert Theater – $6 general p ublic: $3 faculty/staﬀ/seniors; free for students Wednesday, May 8 Nukporfe African Drumming and Dance Ensemble – 7:00 p.m. – Watter’s Theater – $3 general admission at the door Thursday, May 9 – Student Recognition MidDay Concert – 1:20 p.m. – Casadesus Recital Hall – free Thursday, May 9 – RecitaVMasterdass: Guest Artist Victor Chavez Jr., clarinet 4:30 – 6 p.m. – Casadesus Recital Hall – free Thursday, May 9 – Harpur Chorale and Women’s Chorus – 8:00 p.m. – Anderson Center Chamber Hall ~ $6 general p ublic: $3 faculty/staﬀ/seniors; free for students Friday, May 10 – Junior Recital: Kerianna Krebushevski, soprano – 8:00 p.m. – Casadesus Recital Hall – free m w b m w w w b ﬁ ﬁ b For tickets or to be added to our email list, visit anderson.binghamton.edu or call (607) 777AR TS. For a complete list of our concerts call (607) 7772592, visit mu;ic.binghamton.edu or become a fan on Facebook. If you were inspired by this performance. consider supporting the Department of Music with a ﬁnancial = aL = [ = ] gift. Your support helps to continue the work of E students. faculty. and guest artists and their contributions to our community. Please make your donation payable to the Binghamton University Music E Department, and send your check to BU Music E Department, P.O. Box 6000, Binghamton, NY 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF 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 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE85320">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE85320</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 Mid-day concert, Thursday, May 2, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Scrabin, Keller, Puccini, Mozart, Bizet, Strauss. Held at 1:20 p.m., May 2, 2013, Anderson center Chamber Hall. Creator An entity primarily responsible for making the resource Laguerre, Melanie Keller, Joseph Lawson, William James Isenberg, John Eun Hwan Bae, Mario Samluk, Matthew Young, Rachel Celentano, Michael Gotimer, Caitlin Keyes, Elizabeth Santa Maria, Christina Rivera, Daniela Adams-Toomey, Molly Ryu, Hana Geller, Emily 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 2013-5-2 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/e7c39f0fad67af194b26fce1715e026f.pdf 46e265a43e60ba73b1e18c711becf1c8 PDF Text Text BINGHAMTON 5 F e ) U N I V E R S I T Y S T A T E U N I V E R S I T Y O F N E W Y O R K D E P A R T M E N T D AVID GAITA: MUSIC B Y THE PIANIST & COMPOSER Sunday, April, 28, 2013 7:30 p.m. Casadesus Recital Hall �PROGRAM Introduction by Shane Thorn J.S. Bach (16851750) Goldberg Variations. Aria .. .composed by Shane Thorn and David Gaita La Bicicletta .. There is music by one composer and there is music by another. There is also music by both, neither, and most interestingly, from anywhere in between. Shane Thorn, vocals David Gaita, piano J.S. Bach (16851750) WTC Book I, Prelude in E major . . poetry by Mario Moroni composed by Dav id Gaita Recitare le Ceneri . Mario Moroni, reciter Briana Sakamoto, soprano David Gaita, piano R) INTERMISSIONC’J W TC Book 1. Prelude in Eb minor . Veteran’s Day Parade (video recording). .J.S. Bach (16851750) .David Gaita Daniel Salinas. vio lin I, Carmen JohnsonPéjaro, violin II, Benjamin Pochily, viola, Laura Andrade, cello Piano Sonata No. 5 Goldberg Variations. Aria da Capo .. .Alexander Scriabin (18721915) .J.S. Bach (16851750) �Binghamton University Music Department ’s Coming Events M b w m b m w b é b Sunday, April 28 —T riCities Opera presents Mascagnr’s “CA VALLERIA RUST/CANA " and :00 p.m. – The Forum Theatre – call (607) 7720400 for / " 3 Leoncava/lo’s “PAGUACC tickets Tue’day, April 30 – Percussion Ensemble Concert – 8:00 p.m. – Anderson C en fer Chamber Hall – $6 gen eral public: $3 faculty/staﬀ/seniors: free for students Wednesday. May I – Percussion Recital: Devan Tracy and Andres Castillo – 8:00 p. m. Casadesus Recital Hall ~ free Thursday. May2 – MidDay Concert – 1:20 p.m. – Anderson Center Chamber Hall – free Thursday, May2 – Opera Scenes – 8:00 p.m. – Anderson Center Chamber Hall – $6 general public: $3 faculty/staf/seniors; free for students Friday. May 3 Music from the Seminar (Christopher Loy’s Class) – 7 p.m. Casadesus Recital Hall – free Saturday, May 4 – Master’s Recital: Molly AdanaToomey, mezzosoprano – 8 p.m. – Casadesus Recital Hall – free S unday. May 5 – University Symphony Orchestra and Chorus: Schubert’s “Unﬁnished Symphony ” & Duruﬂé's “Requiem " – 3:00 p.m. – Osterhout Concert Theater – $6 general public: $3 faculty/staﬀ/seniors; free for students Wednesday. May 8 – Nukporfe African Drumming and Dance Ensemble – 7:00 p.m. – Watter’s Theater – $3 general admission at the door Thursday. May 9 – Student Recognition MidDay Concert – 1:20 p.m. – Casadesus Recital Hall – free Thursday. May 9 – Recital/Masterclass: Guest Artist Victor Chavez Jr.. clarinet 4:30 – 6 p.m. – Casadesus Recital Hall – free Thursday. May 9 – Harpur Chorale and Wbmen ‘s Chorus – 8:00 p.m. – Anderson C en fer Chamber Hall – $6 gen eral public; $3 faculty/staﬀ/seniors; free for students Friday. May 10 – Junior Recital: Kerianna Krebushewki. soprano – 8:00 p.m. – Casadesus Recital Hall – free Saturday, May 11 – Sophomore Recital: Daniel Rosenau. organ – 4:00 p.m. – Trinity Memorial Church free M é ﬁ w m wia ﬂ a ﬁ w é ﬂ a ﬁ b For tickets or to be added to our email list. visit anderson.binghamton.edu or call (607) 777ARTS. For a complete list of our concerts call (607) 7772592, visit music . binghamfon.edu or become a_ fan on Facebook. – E If you were inspired by this performance. consider p = [ = ] 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. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF 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.) 1:03:02 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE131574">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE131574</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 David Gaita: Music by the pianist and composer, April 28, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Bach, Gaita, Scriabin. Held at 7:30 p.m., April 28, 2013, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Gaita, David 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 2013-4-28 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/cac9fe661ed93688d1d7c0e2281a9048.pdf b0cd44446104fb1bfda12cdc305f7322 PDF Text Text . BINGHAMTON U N I V E R S I T Y S T A T E U NIVERSITY O F NEW Y O R K D E P A R T M E N TRANSATLANTIC JOURNEYS: A M EETING OF MUSIC A ND DANCE traditions FROM WEST AFRICA AND THE CARlBBEAN presented by: The Nukporfe African DanceDrumming Ensemble directed by: James Burns and Marcel March featuring guest artist: Elikem Nymuame Wednesday, May 8, 2013 7 :00 p.m. Watters Theater T �io PROGRAM aé‘s Tonight’s program presents a meeting between several folkloric dances from West Africa and the Caribbean, focusing on the similarities in their musical languages and oral traditions, while also celebrating their unique local expressions. This evening we will be focusing on traditional dancedrumming styles from Ghana and Cuba. Ghana is a country of immense cultural diversity, with over 10 major ethnic groups, each with their own unique music and dance forms. During the TransAtlantic slave trade, many of these forms were brought to Cuba, where they developed into their own distinct traditions. I. Agbekor (Ghana). Agbekor is a war dance of the Ewe people of Ghana. The dance movements imitate moments from battle, and follow the drum language of the lead drum, atsimevu. i. Processional. As the drummers and dancers proceed to the stage in traditional fashion, they sing a war song that calls the warrior. to battle against the European colonial powers. The second song memorializes the great warrior Kundo who led warriors into battle and has been killed. ii. Preludes. These short dance interludes introduce the solo dance section that follows. iii. Solo dance ﬂights. These solo dance movements are among the most technically demanding works in traditional African music. The accompanying music is played in a sharp presto tempo between 190200 bea ts per minute, and the musicians must maintain their highly syncopated musical lines that tend to fall between the beats. The communication between the lead drummer and dancers is absolute every note cues a movement or gesture. Each sequence is introduced by the lead drum, and is completed with a turning movement. II. Dance of Eleggua (Cuba). In Yoruba mythology Eleggua is the deity of the crossroads, who opens the channels of communication between human beings and the other gods. He is normally saluted at the beginning of every performance to ask for his blessings. Eleggua is often depicted as an old man who likes to play tricks on people– he can appear feeble and then surprise everyone by suddenly exhibiting the strength of a young man. I I I . Galiu (Ghana). Gahu is a neotraditional dance that has been adopted and adapted by the Ewe people of Ghana. It is an oﬀshoot of the Gome dance, a PanAtlan tic African dance form that emerged in the 19th century from the synthesis of European hymns and marches with West African musical sensibilities. The name Gahu suggests an airplane, and represents local experiences with new technology and culture. The songs are often humorous and fun, suggesting themes of courtship and celebration. IV. Dance of Oshun (Cuba). Oshun is the goddess of sensuality and beauty, which is tem pered by an inner sadness due to the lack of love and caring in t he world. She is revered as a divine mother, and also as the queen of the marketplace. In Nigeria is associated with the river Oshun, and is an important water spirit. Solwun (Ghana). Sohoun is an EweFon sacred dance used to open a ceremony of the Yeve shrine. The original movements danced at the shrine inspired the choreography for this folkloric version, created by Dr. Opoku for the Ghana Dance Ensemble. VI. Kpatsa (Ghana). Th is dance comes from a neighboring grou p of the Ewe, known as the GaAdangbe. They share many lingu istic and cultural aﬀinities with the Ewe, and these two groups have historically interacted with each other. The characteristic movement of Kpatsa is a limping gait that imitates the movements of dwarfs, a magical race of being. that inhabit rural areas in Ghana. These movements were embellished with dance combinations and eventually became a social and recreational dance known as Kpatsa, whose name is an onomatopoeic reference to the movement of dwarfs. �ia INTERMISSION « 5 VII. Dance of Oya (Cuba). Oya is the goddess who guards the underworld, and is also known as a warrior– she once grew a beard so that she could ﬁght with the men. She is also associated with tornadoes, earthquakes and other dangerous natural phenomena. In Nigeria she is the goddess of the river Niger, one of the most important rivers in West Africa . VIII. Gota (Benin/Ghana). This is a popular funeral and recreational dance of the EweFon people of Ghana, Togo, and Benin. IX . Kinka (Ghana). Kinka is a relatively modern style of Ewe funeral music that became popular in the 1950s. It features a distinctive body of songs and drum language phrases that juxtapose images and themes from traditional Ewe culture with modern life, Dance of Ogun (Cuba). Ogun is the deity o f war, who is known for his rough countenance, and lack of social graces. In the new world, he is often depicted as a wild man from the bush, who is a ﬁerce warrior and defender of the weak. XI. Kpanlogo (Ghana). Kpanlogo is also a new form of traditional music that was created by the Ga people, who reside in and around the capital of Ghana, Accra. It uses a distinct rhythmic background that is found throughout the Black Atlantic region in musics like Samba, Calypso and Rumba. XII. Fumefume (Ghana). Fumefume is another new form of traditional music among the Ga people. Mustapha Tettey Addey, a renowned Ga drummer, is credited for having created Fumefume out of earlier sacred dances that were performed during traditional ritual events and ceremonies. This dance drumming is now performed during life cycle events such as birth, naming, initiation, marriage/wedding and funerals among others. ia PERFORMERS 6 Dances Directed a nd Choreographed by Elikem Nyamuame, Departments o f M usic & Theatre Dance BEGINNING DANCECLASS Assisted by Gieun Lee & Mikal Padellan Olukemi Akinde, Tamar GaﬀinCahn, Janice Henry, Kwang Hwang, Dongha Kim, Jessinta Oseni, Soyeon Ro, Shangbin Wu, Natalie Zolotareva, Elizabeth Acheampong, Seongmi An, Jeﬀery Appeagyei, Toni Ann Black, Andy Chan, Salma Chaouqi, Jiahao Chen, Yu Cheng, Dominique Descorbeth, Yan Fong, Shennell G riﬀiths, Hilary Hernandez, Ariel Hunt, Ayaia Kalman, Sooyeon Kang, Bukola Kayode, Annabel Kim, Joo Hyun Kim, Juhwi Lee, Kit Liu, Briana Renios, Julia Rivera, Carly Rubenfeld, Whitney Seabrooks, Amenzesiofo Uzamera, Jo Wang, Claudia Wright, Yixiang Wu, Ebony Green. ADVANCED DANCE—CLASS Nana Agyenim, Dan Kansiime, VargarLeone Fredmary, Rahilou Diallo, Dionnace Campbell, Junghee Kim, Sunglee Kim, Jinchul Park NUKPORFE DANCERS Joyce Ajagbe, Carolyn Carate, Seabright Chen, Sadora Joanis, Gieun Lee, Natasha Madison, Nana NkansahSiriboe, Allison Nyamuame, Stella Ogunleye, Uchenna Okpalor, Mikal Padellan, Michaela Pinnock, Lin Qiao, Itoro Udo, Marlande Valentin, Fei Yan. Drumming directed and arranged by James Burns, Departments o f M usic a nd Africana Studies NUKPORFE MUSICIANS Lakim Desir, Yaw Duah, Sunny Kim, Xiaolu Lin, Melissa Marquez, Keaton Rood, Josh Schultz, Brett Settles, Yanyan Shen, Gavin Webb. If you liked this concert, follow us on Facebook (Nukporfe African DanceDrumming Ensemble) for upcoming performances. �We are also an SA Chartered group, and welcome students . nd facu l ty to jo in o u r gr o u p a t : usie. Blnghamton University Department of h ttp://paw’ hinghamton.edu/organi” tion/Nultporfe All of the music and dance that you see today is performed by students at Binghamton L’niversity. who are taking one of the following cours in the Departments of Music, Africana Studi and Theatre Dance: If you are interested in learning the dancing please register for the Beginning (THEA 289V AFST 289]) or Advanced ( the a 3 8 9] / AFST389J) section of African Dance. W IND S YMPHONY CONCEWf 441". ~ ‘ sa! I f you are interested in the drumming and singing, register for the Beginning African Drumming class (ML’S 143B/AFST 188B). wal maweRus ' \ acomsa J” WEDNESDAYS wrczngrrgn‘B, ; , moon? [ZANE t eornmﬂ / u — h o _/ .... { v.....‘_,,, \ a. u r ' ” [ r ~ S e a sm x 1 x5"? S r ( Nomea H a rp u r Cher. l éiWomgn’é. ﬂ_,,. " " o» Ethnic Groups of Ghana , mab we ﬁa ~ L . ,. 3g» rhursaagm, % ., , Decem be ri12a t8 L__" T rinity M e m a i ( e h e : FCC E y , Ion �Bingham ton U niversity Depa rtment of M usic Coming Events m m m m m m m m m ﬁ b w a ﬁ a Wednesday, December 11 – Wind Symphony Concert: Larger than Life, Ep ic Fright! – 8:00 p.m. – Anderson Center Chamber Hall – $7 general public; $5 faculty/staﬀ/seniors; free for students Thursday, December 12 – Holiday MidDay Concert – 1:20 p.m. – Casadesus Recital Hall – free Thursday, December 12 – Har pur Chorale and Women ’s Chorus Ho l i da y Co nc ert – 8:00 p.m. – Trinity Memorial Church, Binghamton – a good will donation will be collected at the door Saturday, December 14 – Singing Chinese Class Recital – 7:00 p.m. – Casadesus Recital Hall – free Saturday, February 1 – University Chamber Chorus – 8:00 p.m. – Trinity Memorial Church, Binghamton – a good will donation will be collected at the door Monday, February 2 – Mobious Concert – 3 :00 pl.m. – Watters Theater $10 general public; $7 faculty staﬀ/seniors; $5 for students Friday, February 7 – TriCities Opera presents Mozart’s Don Giovanni 8:00 p.m. The Forum Theatre call (607) 7 7 20400 for tickets Sunday, Februa ry 9 – TriCities Opera presents Mozart’s Don Giovanni 3:00 p.m. The Forum Theatre call (607) 7720400 for tickets Sunday, Februa ry 16 – Master’s Recital: Thom Baker, tenor (tentative) 3:00 p.m. Casadesus Recital Hall free Saturday, March 1 – U niversity Symphony Orchestra: Student Concerto and Aria Winners 3:00 p.m. Osterhout Concert Theater $7 general public; $5 faculty/staﬀ/seniors; free for students « ﬁ f e – M M M M M M – ﬁ é ﬂ w a ﬁ é n é b n ﬁ é ﬂ E a — f For tickets or to be added to our email list, visit anderson.binghamton.edu or [ 1 ] call (607) 7 7 7ARTS. For a complete list of our concerts call (607) 777: 2592, visit music.binghamton.edu or become a fan on Facebook. If you were inspired try this per formance, consider su pporting the Department of Music with a ﬁnancial gi ft. Your su pport helps to continue the work o fstudents, 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 6000, Binghamton, NY 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 49:6 31:06 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE131577">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE131577</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. 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Creator An entity primarily responsible for making the resource Nukporfe African Dance-Drumming Ensemble Burns, James March, Marcel Ny[a]muame, Elikem 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 2013-05-08 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound