102 10 1775 https://omeka.binghamton.edu/omeka/files/original/40f766ed4f3f30998f899f8721f5be77.pdf 1611fea3a53607f6428cd026b593758d PDF Text Text BINGHAMTON U N I V E R S I T Y STATE U N I V E R S I T Y OF NEW Y O R K r ed e D E P A R T M E N T JUNIOR RECITAL Alexio Cha ng, violin with Margaret Reitz, p iano and Kieran Murphy, violin Hannah Watrobski, viola Ma ry Spencer, cello Sunday, November 16, 2014 3:00 p.m. Casadesus Recital Hall �® PROGRAM (8 artet, No. 4, Op. 18 in C minor Ludwig van Beethoven Alexio Chang, Kieran Murphy, violins Hannah Watrobski, viola Mary Spencer, cello (17701827) N o. 2 in D minor for solo violin ........ Johann Sebastian Bach (16851750) 1004 Chaconne Alexio Chang, violin Margaret Reitz, piano ;‘ ncerto in D major, K. 218 Wolfgang Amadeus Mozart (17561791) Allegro Andante Rondeau (Andante grazioso Allegro ma non troppo) Alexio Chang, violin Margaret Reitz, piano � t ’s m ton Un iversi ty Music De part men B i ngha Comi n g Even ts 5 E 0 0 5 »6 Mf a n a é i a n – ﬁ w b ﬂ é r ’ b ’ Monday, Nove mber 1 7 Momenta Quartet Master Class 8:15 – 1 0 :00 p.m. – Casadesus Recital Hall Tuesday, November 1 8 Momenta Quartet: Music Now! 7 :3 0 p.m. Camdesus Recital Hall $ 1 0 general pubic; $5 faculty/staﬀ/seniors/alumni; free for students tockham, trumpet and Mik e Thursday, November 20 ~ jazz Mid Day Con cert with J e ﬀ S Dubaniewicz, saxophon e 1 :20 p.m. Osterhout Concert Theater – free Thursday, Nove mber 2 0 – Harp ur jazz Ense mb le Con cert with guest arti st – 7 :3 0 p.m. ~ Oxterhout Concert Theater $ 7 general public; $5 faculty/staﬀ/ seniors; free for students emory and I n Tribute – An Sunday, November 23 Universi ty Wind Sympyhony: I n M Ho ma ge in Music – 3 :00 p.m. Andersn Center Chamber Hall $7 general public; $5faculty/staﬀ/seniors/alumni; free for students Tuesday, Dece mberZ – Percussion Ensemble c on cer t 7 :3 0 p.m. Osterhout Concert Theater $7 general public; $5 famlty/staﬀ/seniors/alumni; free for studetns Thursday, Deoem ber4 MidDay Conc er t– 1 :20 p.m. – Fine Arts Building, Room 21 free * ‘ ' ~ ‘ F a a a n o ec e m b e ﬁ – Flute Studio and Flute Chamber Conoert– 10:45 a.m. ~ Casadesus Recital Hall free Friday, Dece mber5 – Holiday Organ Concert {canningjonathan Biggers 7 :3 0 p.m. United Presbyterian Church, 42 Cheango Street, Binghamton $ 5 general public; free for students Saturday, December 6 – Universi ty Symphony Orchestra: From the Ne w World 3 :00 p.m. – Osterhout Concert Theater $7 general public; $5 faculty/staﬀ/seniors/alumni; free for students Saturday, December 6 Ita lian Dic tion Class Recita l 7:30 p.m. ~ Casadesus Recital Hall – free Sunday, December 7 First Act o f Verdi ’s “Fa lstaﬀ” 1p.m 6! 4 p.m. Anderson Center Chamber Hall – $ 1 0 general public; 57 faculty/staﬀ/seniors/alumni ; $5 for students aﬁiéﬂﬁébﬁéibﬂéibﬂﬁbﬂééﬂébﬂéibﬂﬁéﬂééﬂﬁﬁﬂéé‘ E — 1 — [ = ] E 0 For tickets or to be added to our email list, vim anderson.binghamton.edu or 7 7ARTS. For a complete list of our concerts call (60 7) 7 7 72 592, call (607) 7 visit muncbinghamtonedu 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 to our community. Please make your donation payable to the Binghamton University Music Department, and send your check to B U Music Department, P.O. Box 6000, Binghamton, N Y 1 3902 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&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.) 44m 15s Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75043">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75043</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 Junior recital with Alexio Chang with Margaret Reitz, Kieran Murphy, Hannah Watrobski, and Mary Spencer, November 16, 2014 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Beethoven, Bach, Mozart. Held at 3:00 p.m., November 16, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Chang, Alexio Reitz, Margaret Murphy, Kieran Watrobski, Hannah Spencer, Mary Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Beethoven, Ludwig van, 1770-1827 Bach, Johann Sebastian, 1685-1750 Mozart, Wolfgang Amadeus, 1756-1791 Date A point or period of time associated with an event in the lifecycle of the resource 11/16/14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/4778ae87dc9b2a796acf8a793f32ac79.pdf 25ecb6e930a7dee0ffc51af4d4487b69 PDF Text Text BINGHAMTON U N I V E R S I T Y STATE U N I V E R S I T Y OF NEW Y O R K W Ld 0 D E P A R T M E N T JUNIOR RECITAL: C HRI STI NA SANTAMARIA, S O PRAN O COLE TORNBERG, TENOR William J. Lawson, piano Saturday, April 5, 2014 8:00 p.m. Casadesus Recital Hall �®» PROGRAM (93 Sound the Trumpet. Let us wander 8:3 TRANSLATIONS 03 .Henry Purcell (16591695) La Serenata. Gioacchino Rossini (17921868) ( Christina Santa Maria, soprano; Cole Tornberg, tenor L’invito Amore e morte ll Barcaiolo II. Christina Santa Maria , soprano III, Dalla sua pace, from “Don Giovanni” Cole Tornberg, tenor Gioacchino Rossini ( 17 9 L1868) Gaetano Donizetti (17971848) Christina Santa Maria, soprano The Ash Grove. Proud Songstets V. The Salley Gardens Oliver Cromwell No one w ill know but Love. . Wolfgang A. Mozart (17561791) Come Ruggiero, Your Eloisa cannot stay separaned from you: You’ve already responded to my tears, Come and grant my request. Come, beautiful angel, come, my delight, Pietro Mascagni (18631945) Here on my bosom come to rest! Feel my throbbing heart, when love invites you. Come my life, come, make me die! “Amore e morte” (Love and Death) Benjamin Britten (1913–1976) Robert Schumann (18101856) Tanzlied, Op. 78, No. 1 Christina Santa Maria, soprano; Cole Tornberg. tenor “ ll B areliolo” (“The boannln") Row, row, the wind has stilled, the waves are clear, the sky serene, it seems that only a peaceful breeze stirs the sky and sea: row, row, o boatman. Now that everything smiles on us at this tender moment, I wish to abandon our souls to a joyful ecstasy, row, row, o boatman. Row, row, the wind has stilled, etc... IL Cole Tornberg, tenor VIL Liebhabers Stindchen, Op. 34, No.2 . Er und Sie, Op. 78, No. 2 In d er Nacht, Op. 74, No. 4 Come, through that dark shadow, come, don’t make a sound, come, come, be reassured, “L’irrvito” (The Invitation) 80 INTERMISSION ©8 IV. Son pochi ﬁori, from “L’amico Fritz”. L “La Serenata” See, the pale moon hides behind a beautiful veil, come to the dark wood, come, the heavens are smiling upon us, Come, come. Hear the last words Of a man who is dying. I leave you this faded ﬂower, Elvira, as a gift. You well know how precious it is, On the day that you were mine I stole it from your breast. A symbol then of aﬀection, now a token of grief. This faded ﬂower returns To rest in your breast. And you will have engraved on your heart, if your heart is not hardened, how it was stolen from you and how it returns to you. For if the tempest roars and both of us are dragged down to death, my fate will be a happy one, for by your side I wish to die: row, row, o boaunanr lll. “Dalla sua pace” How should I ever believe a gentleman capable of such a heinous 7 crirnei Ah, to discover the truth may every means be sought. I hear within my breast of both husband and friend the duty tha t speaks to me : 1 will disabuse her, or avenge her! My peace depends on hers. That which pleases her gives rne life; that which displeases her kills me If she sighs, I sigh too. Tha trage is mine; that mourning is mine, and I do not have joy if she doesn’t . �IV. “Son pochi ﬁori” from Act 1 of L’Amioo Fritz Just a few ﬂowers, humble violets, they are the breath of April wldi their tender fragrance; And for you l have snatched dlern from the sunshine Less danger than the sweet ﬂattery of men Causes a young and ruddy girl. He: lfyou don’t grant me such a favor, my If they could speak love, We are timid and shy daughters of spring And you alone, yes, you alone You would hear them say: We are your friends; We shall die this evening, but we are happy to wish you, who love the unfortunate. may heaven grant you all the good things that it is possible to hope for. and in my heart adds a modest but sincere word: May your life, which brings comfort to others be eternal spring... Ab, desire to accept All that I can oﬀer! VL “Liebhabers Stindchen ” He: Areyoustillawake,mylove?l(issesand Impatience will be the end of me, Will b e the cause of my early death. She: No, no, no, no, 1 shall not let you in! The little bird that sings and ﬂies, When he falls prey to the fowler’s wiles, Andisﬁnallyn’apped inh’uevilsnaree, cries: Appearances are deceptive! He: O let me in for just one night She: No, no, no, I shall not open up “Er und Sie” Your lover draws near in the pouring rain. Love has bound him hand and foot, He longs to be with his sweetheart. He: I f gaze into the quierva lley Where beneath rhe sun Flowers gleam without number, I see but one alone. She: However stormy it is outside, I know how cunning young men are. Go back, go back to where you came, Ah! Her blue eyes now Are also gazing at the meadows; I can see them ln the dewdrenched forgetmenots. greetings! 1 shall not let you in. He: Listen to the weather~vanes! Look how the stars are vanishing! Don’rlet mestandhereindierain. Let me into your little room. She: Stomis that threaten in the night Cause wanderers who have lost their wv She: lﬂleanourofmylitdewindow At the hour when stars are shining, Though all of them be fairer, 1 see but one alon There at dusk he gazes Gently up to heaven, For a dear image ls mirrored there. “In der Nacht” Aﬂhavegonemrhe hrugoheart, All are sleeping, all but you. For hopeless grief Frightens slumber away from your bed. And your thoughts wander in silent Sorrow to their love. “ﬂushed” She: Hey! how the ribbons ﬂutter on the wreath! Come dance with me, my dear! Let’s swing, Let’s leap quickly into the middle of this delightful brilliance! Come dance with me, my dear! H 4 Woe, how my heart pounds! Tell me, what jest is this? Let me embrace you, Let me melt away, Resting in blissful pain. Tell me, what jest is this! She: Eia, the waltz is starting: Couple upon couple are swaying, Maidens and lads, Rogues and sweethearts! Quick, let’s jump in where the crowd is thick. Couple upon couple are swaying! H 4 Woe!myarmhasdroppedin the middle of the jubilant crowd. See how they touch each other! l turn pale...Perhaps I will be hurt in the middle of the iubilant crowd. She: Eia, how the ribbons ﬂutter on the wreath Today, for everyone who is dancing: Swirling about today, Tomorrow gone; Tomorrow, o sweetheart, yours completely, Today, for everyone who is dancing! �20 ABOUT THE PERFORMERS 03 Christina Santa Maria, soprano, is a junior working towards her Bachelor of Music in Voice Performance. Her roles include both Gretel and Hansel in Binghamton University’s 2012 and 2013 productions of Humperdinck’s Hansel and Gretel and Marsinah in the operetta Kismet. She has performed as the soprano soloist in the Bach Christmas Oratorio with the Bingha mton University Sym phony Orchestra, in Mozart’s Coronation Mass with the Binghamton University Chamber Orchestra and in Handel’s Messiah at LaGuardia High School for the Performing Arts in New York City. She has been a mem ber of TriCities Opera chorus since 2011 and will continue this season in Strauss’ Die Fledermaus. She has performed at venues in Italy, Austria, and most notably at Avery Fisher Hall, Carnegie Hall, Jazz at Lincoln Center, Madison Square Garden with Elton John and The Barclay Center with Barbra Streisand. Christina is a student of Professor Mary Burgess. Cole Tornberg, tenor, is a junior pursuing his BMus degree. His recent roles include The Witch in Binghamton University’s 2013 production of Hansel and Gretel and Marco in The Summer Savoyards production of The Gondoliers. He has also been a member of TriCities Opera Chorus including their upcoming production of Die Flederrnaus and their productions of La Boheme, Carmen and Don Giovanni. Cole is a student of Professor Mary Burgess. �Bingha m ton University Depart ment of Music Coming Events ﬁ w w w a M M M M M b é b Sunday, April 6 – Faculty Recital: Michael Salmirs, piano – 3 :00 p.m. – Anderson Center Chamber Hall $ 1 0 general public; $ 7 faculty/staﬀ/seniors; $5 students Tuesday, Apri l 8 – String Fever (String Classes and Studio String Reci tal) – 8:00 p.m. Casadesus Recital Hall – free Thursday, April 10 – jazz MidDay Concert with guest artist – 1 :20 p.m. – Osterhout Concert Theater – free Thursday, April 1 0 Harpur j azz Ensemble Concert with guest artis t M arko Marcinlto 8:00 p.m. – Osterhout Concert Theater – $7 general public; $5 faculty/staﬀ/ seniors; free for students Thursday, April 24, MidDay Concert– 1:20 p.m. – Casadesus Recital Hall — free Saturday, April 2 6 Senior R ecital: Kerianna Krebushevski, soprano – 8:00 p.m. – Casadesus Recital Hall – free Sunday, April 2 7 – Senior Recital: Paul Wistrobslci, cello – 1:00 p..m. – Casadesus Recital Hall free Sunday, April 2 7 – University Chorus and Wind Symphony Concert: An American Music Celebration – 3 :00 p.m. – Osterhout Concert Theater $10 general public; $ 7 faculty/ staﬀ/ seniors; $5 for students Sunday, April 2 7 – Master ’s Recital: SeonghyangKim , piano – 7:30 pm. – Casadesus Recital Hall free é [ = ] w w w a M M M M M b é b For tickets or to be added to our email list, visit anderson.binghamton.edu or = u ] call (607) 777ARTS. For a complete list of our concerts call. (607) 777 2592, visit music.binghamton.edu or become a fan on Facebook. lf you were inspired by this performance, consider supporting the Department E ‘ of Music with a ﬁnancial gift. Your support helps to continue the work of students, faculty, and guest artists and their contributions to our community. Please make your donation payable to the Binghamton University Music Department, and send your check to B U Music Department, P.O. Box 6000, Binghamton, 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.) 49m 3 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75034">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75034</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 Junior recital with Christina Santa-Maria and Cole Tornberg Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Purcell, Rossini, Donizetti, Mozart, Mascagni, Britten, Schumann. Held at 8:00 p.m., April 5, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Santa Maria, Christina Tornberg, Cole Harrison Lawson, William James Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Purcell, Henry, 1659-1695 Rossini, Gioachino, 1792-1868 Donizetti, Gaetano, 1797-1848 Mozart, Wolfgang Amadeus Mascagni, Pietro, 1863-1945 Britten, Benjamin, 1913-1976 Schumann, Robert, 1810-1856 Date A point or period of time associated with an event in the lifecycle of the resource 4/5/14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/8a41c90566bc2f8a63682d9e166575f4.pdf a07fe75bdb556e17fa3b8ee9a7cc75ff 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 zldeC D E P A R T M E N T JU N IOR R ECI TAL Dan iel Rosenau organ (Studio of D r . Jona than Biggers) November 8, 2014 4:00 p.m. Fine Arts 2 1 �80 ABOU T THE PERFORMER (93 80 PRO G RA M (98 A native of the Binghamton area, Daniel Rosenau is completin g his Praeludiu m in Earninor. . Nikolaus Bruhns (16651697) B.Mus, degree in organ performance at Binghamton University, and plans to gradua te in May, 2015. He presently serves as organ ist of Ves tal Methodist Church. k a n i t n k A a n o n l ’ a t t t t t a x a n t x t t t ﬁ i ﬂ ﬁ 8 0 P r og r a m N o tes 0 8 2 ChoralePreludes Vater unset im himmelreich.. Ein feste Burg ist unser Gott, BuxWV184 iGeorg Bohm (16611733) Dieterich Buxtehude (16371707) 2 ChoralePreludes Allein Ga n in der hoh sei Ehr, BWV663 Johann Sebastian Bach (16851750) O Mensch, bewein dein Sande gross, BWV627 J. S . Bach Prelude and Fugue in Dmajor, RWVSBZ. ® Organ by H ellmuth W olﬀ « 8 The Pmeludium in Eminor by Nikolaus Bruhns is one of four “pra eludia ” modeled after those of his famous teacher, Dieterich Buxtehude. Bruhns studied composition and organ with Buxtehude durin g his musical education in Lubeck, Germany, and subsequently assumed the position of organist of the Stadtkirch in Husum (Northern Germany). Only ﬁve organ works by Bruhns have survived the ravages of time. The Praeludium . in Eminor is set in a multisection format com mencing with a brilliant opening toccata, followed by a fugue ; sections follow that alterna te free ' ‘writing with con trapuntal fugal tex tures. ‘ _Georg Bohm served as organist of the Johanniskirche in Liineburg for 35 ' ‘yents, and is one of the ﬁgures that inﬂuenced the young Joha nn _ bastian Bach when Bach was enrolled in the school of the Church of St. ' ichael in 1700. Although there is no direct evidence to support that studied with Bohm , the style of Bohm’s music certainly impacted ' Bach’s compositional style, as clea rly seen in the choralepreludes and le partitas that Bohm wrote. The choraleprelude on Vater unser im Himmelreich (“Our Father who art in Heaven") is a substa ntial composition featuring the melody of the chorale in a highly embellished form, set t a simple ac companiment fea turing a repeated ﬁguration in the _ \ “ best source of information about the birthplace of Dieterich 3 v tide is an obituary which appeared in a monthly literary journal for er ltic Sea area in the su mmer of 1707, which included the statement (over) �that “he lived for about 70 years". Buxtehude was best known as the organist at the Marienkirche in the North German city of Liibeck, and is regarded as the principal composer of his generation. The 47 chorale preludes of Buxtehude were doubtless composed in the context of his duties as church organist, and would have served as hymn introduction for congregational singing. Ein fest Burg ist unser Gott (“A Migh ty Fortress is our God”) is among the more popular of Buxtehude’s chorale settings. lohann Sebastian Bach is the principal Baroque composer for the organ, and wrote in all forms popular during his time, including preludes and fugues, choralepreludes, choralepartitas, trio sonatas, etc. Allein Gott in der Hoh sei Her (“All Glory be to God on High") is an example of a highly embellished treatment of the chorale melody so popular during Bach’s time; in this case, the melody appears in the tenor, performed on a reed _ ' stop (Cromorne), which adds color to highlight the highly stylized melody. O Mensch, babein dein Sande grass (“O man, bewail thy grievous sin”) is one ' of the most ﬂorid, beautiful chorale setting that Bach composed in his entire life. The melody is set in the soprano, highly embellished to the point that the original melody is diﬀicult to ascertain. This chorale prelude is included in Bach’s Orgelbﬁchlein (“Little Organ Book”), and is the most elaborate and lengthy composition in the set. Although written when Bach was relatively young, the highly expressive manner in which Bach orna ments the chorale melody places it among his most personal and beautiful works. The Prelude and Fugue in Dmajor is an earlier work of Bach, written during his service as court organist at Weimar (17081717). The work is a unique combination of two virtuoso pieces which contain stunning displays of both pedal and manual technique. Bach’s compositions during this period tend to be highly dramatic, virtuoso works that emphasize th e technical skill of the performer. Program notes by Jonathan Biggers � 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.) 40:33:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75086">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75086</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 Junior recital with Daniel Rosenau Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Bruhns, Buxtehude, Bach. Held at 4:00 p.m., November 8, 2014, Fine Arts Building, Room 21. Creator An entity primarily responsible for making the resource Rosenau, Daniel Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Bruhns, Nicolaus, 1665-1697 Buxtehude, Dieterich Bach, Johann Sebastian, 1685-1750 Date A point or period of time associated with an event in the lifecycle of the resource 11/8/14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/c9b9383957ef038d1d7bbd08b37dc9a4.pdf b0215f5e458982541ec3735b198df4c6 PDF Text Text BINGHA MTON U N I V E R S 1 T Y STA TE U N I V E R S I Y Y OF NEW Y O R K D E P A R T M E N T JUNIOR RECITAL RACHEL B. YOUNG, SOPRANO ELEANOR KRASNER, VIOLIN JOHN ISENBERG, PIANO Sa tur day , A p r i l 2 5, 2015 7:30 p. m. Casadesus R ecital Hall �iaoPROGRAMies Freschi luoghi, prati aulenti. O del mio amato ben Spirate pur, spirate An die Musik. Friihlingsglaube TR AN S L A T IO N S Stefano Donaudy (18791925) II. Franz Schubert (17971828) Clair de lune . Gabriel Fauré (l845l924) Chanson d’amour lll. NINTERMISSIOMLK . Max Bruch (18381920) V. Larghetto Rondo Ludwig van Beethoven (17701827) O del mio amato ben Oh lost enchantment of my dearly beloved, You are far from my eyes, Who was my glory pride. Now through silent rooms 1 always seek and call him with a hopeful heart. But I seek in vain, I call in vain. And the weeping is now dear to me. With weeping alone I nourish my heart. Also do not be deceived by such brief prosperity. It seems to me without him, there is sadness everywhere. Day seems like night, ﬁre seems cold to me. lf at times I ﬁnd hope of being cured, One thought alone torments me. But without him, what do l do? To me, life seems a vain thing without my beloved. I want, one day, to be reﬂected with him in your clearness. When at last he will show he understands my languishing. And you also, clear brooks, Spirate pur, spirate Breathe, still breathe around my beloved. little breezes. And ﬁnd out if he holds me in his heart. And you also. clear brooks, which are already running to the sea, Do not be miserly with your waters in the late season of the year. 1V. Violin Concerto in D major, Op. 61 I want one day to roam with him among such green sweetness. When at last he will show he understands my languishing. Cool places, fragrant meadows, remain always in ﬂower. Let not one season take away from you such magical splendor. Aria of Despina.. Wolfgang Amadeus Mozart “ln uomini, in soldati?” from Casi fan tutte (17561791) Kol Nidrei, Op. 47 l. Freschi luoghi Cool places, fragrant meadows, remain always in ﬂower. Let not summer till you, Let not autumn carry you away. Let not the dead season take away such magical splendor. which are already running to the sea, Do not be deceived by such brief prosperity. Find out, blessed breezes. Breezes s light and blessed. �II. An die Musik You noble art, in these gray hours, When life’s wild sphere has ensnared me, Have you my heart to warmly kindle with love? Have me transported into a better world. Often has a sigh ﬂowed from your harp. A sweet, heavenly chord from you. Better skies have been opened up for me. You noble art, I thank you for that. You noble art, I thank you. Frﬁhlingsglaube The gentle winds are awakened, They murmur and waft day and night, They create in every corner. Oh fresh scent, oh new sound! Now poor heart, fear not! Now everything, everything must change. The world becomes more beautiful with each day, One does not know what may yet happen. The blooming does not want to end. The farthest, deepest valley blooms. Now, poor heart, forget the pain! Now everything, everything must change. Clair de lune Your soul is a chosen landscape charmed by masks and bergamasks, Sad beneath their fanciful disguises. While singing in a minor mode, of love the conqueror and of favorable life, They do not seem to believe in their happiness and their song mingles with the moonlight. Oh calm moonlight, sad and beautiful, which makes the birds dream in the trees. And makes the fountains sob with ecstasy, The tall, slim fountains among the marble statues. Chanson d’amour I love your eyes, I love your forehead. Oh my rebellious, oh my ﬁerce one. I love your eyes, I love your mouth On which my kisses will tire themselves out. I love your voice, I love the strange gracefulness of all that you say. Oh my rebel, oh my dear angel, my hell and my paradise. 1 love your eyes, I love your forehead. Oh my rebellious, oh my ﬁerce one. [ love your eyes, I love your mouth On which my kisses will tire themselves out. I love all that makes you beautiful, from your feet to your hair. Oh you to whom my hopeful pleas ascend, oh my ﬁerce one, oh my rebel. 1 love your eyes, I love your forehead. Oh my rebellious, oh my ﬁerce one. 1 love your eyes, I love your mouth On which my kisses will tire themselves out. III. Aria of Despina, “I n uomini? 7 In soldiers? 7 You hope In men. for faithfulness? Don’t let anyone hear you, for pity’s sake! C ut from the same cloth, every one of them, The leaves, furniture, and ﬁckle breezes are more stable than men! False tears, deceptive looks, Misleading voices, charming lies are their primary qualities! In that we dislike their pleasure, Then they despise us, and deny us aﬀection. I t is pointless to ask the barbarians for pity! Let us females, pay them back with equal money. This evil, indiscreet race. Let us love for convenience, for vanity! �ABOUT T HE P E R F O R M E R S Rachel Young, soprano, is a third year undergraduate voice student of Professor Mary Burgess in pursuit of her Bachelor’s degree in vocal performance at Binghamton University. At BU, Ms. Young had performed the roles of Gretel in Engelbert Humperdinck’s “Hansel and Gretel” as well as scenes from Verdi’s “Falstaﬀ” as Nannetta, scenes from Mozart’s “Cosi fan tutte", “Le nozze di Figaro", and Donizetti’s “L’Elisir d’Amore". Ms. Young recently performed the role of Kaylee in Michael Ching’s opera “Speed Dating, Tonight!” with Tri Cities Opera company. Additionally with TCO, she sang in the chorus of “Carmen” and “Faust". She thanks her friends and family for their unending support and love. Ellie Krasner is a junior at Binghamton University pursuing degrees in both English literature and music. Having played violin for 1 5 years, Ellie previously studied with Dr. Lee Wilkins and Wilfredo Deglans in Rochester, and is currently studying with Janey Choi. Before coming to Binghamton, Ellie received her diploma in advanced studies of violin through the Eastman Community Music School, and was a member of the Rochester Philharmonic Youth Orchestra for four years. ln addition, she completed all levels of NYSSMA auditions and participated in numerous AllCounty and Area AllState festivals beginning in elementary school. Last summer, Ellie attended the Eastern Music Festival in North Carolina, a ﬁve week intensive training program for advanced music students. She frequently performs in more casual settings as well, such as nursing homes and churches throughout Rochester and Binghamton. Ellie has taken part in BU’s Chamber Music Program for two years, and has led the Symphony Orchest as Concertmistress. She is currently memher of Mu Phi Epsilon, Binghamton’s coed music fraternity. Ellie attributes much of her vitality and happiness to her passion for violin. John Isenberg, a native of Endicott, NY, holds Bachelor of Arts degrees in Music and Italian, as well as a Master’s Degree in Italian Literature from Binghamton University. He performs many diﬀerent musical genres ranging from Opera and Musical Theater to traditional Scottish and various styles of sacred music. From 2001 20 1 2, John worked for the TriCities Opera in Binghamton, NY. ﬁrst as Accompanist, then additionally as Education Outreach Coordinator and Chorus Master. During that time, he accompanied over 500 outreach performances in schools throughout New York State and northern Pennsylvania. He has performed for WSKG public radio broadcasts of opera preview performances including Puccini’s Madama Butterﬂy, Verdi s La traviata and Mozart’s The Magic Flute. An active church musician since childhood, John is currently the Organist/Pianist and Choir Director at Sarah Jane Johnson Methodist Church in Johnson City. He has served as Pianist/Choir Director for the high holy days of Rosh Hashanah at Temple Concord in Binghamton. For the past two summers, John has also participated in the Songe d’été Music Festival in Lambton, Quebec (Canada). �B i ngba m t o n Un ivers i ty M us i c D e pa r t m e nt ’s Co m i n g Eve n ts 6 b 6 b 6 b 6 6 ‘ 6 6 ’ 6 é ’ 6 é ’ 6 é ’ 6 6 ‘ Sunday, Ap ril 2 6 – U niversity W ind Sym phony: On ce U pon a Time 3 p.m. Anderson Center Chamber Hall $7 general public ; $5 faculty/staﬀ/seniors/alumni ; free for students Tuesday, A pril 28 – Pe rc ussion Ensemble 7:30 p.m. Anderson Center Chamber Hall $7 general public ; $5 aculty/staﬀ/seniors/alumni; free for students Th ursday, Ap ril 30 – Mi dDay Con cert 1:20 p.m. Casadesus Recital Hall free Th ursday, Ap ril 30 – Pia no Ensemble 7:30 p.m. Casadesus Recital Hall free Friday, Ma y 1 Flute Studio and Flute Chamber Concert 10: I5 a.m. Casadesus Recital Hall free Friday, May 1 – Brass Recital 4 p.m. Casadesus Recital Hall free Saturday, M ay 2 – Senior Recital: Daniel Ma linovsky, p iano – 12 n oon – Casadesus Recital Hall free Sunday, May 3 – U niversity Chorus and Sym phony Orchestra : Mendelssoh n’s “Lobgesang” 3:00 p.m . Osterhout Concert Thea ter $7 general public ; $5 faculty/staﬀ/seniors/alumni ; free for students ﬁééﬂﬁbﬁéﬂﬁéﬂééﬂééﬂeﬁwmwwb 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 ofour concerts call (607) 7772592, visit music.binghamton.edu or become a fan on Facebook. I f you were inspired by this pt’rforniance. consider supporti ng the — M Department of Music u’i(h a ﬁnancial gift. Your support helps to = continue the work ofs tuderits, faculty , and guest artists and their contrilmtions to our community. Please make your donation payable to the Binghamton University Music Department, and send your [ = ] check to B U M us ic Department, P.O. Box 6000sss, Binghamt on, 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.) 54:12 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 Junior recital with Rachel B. Young, Eleanor Krasner, and John Isenberg, April 25, 2015 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Donauy, Schubert, Frure, Mozart, Bruch, Beethoven. Held at 7:30 p.m., April 25, 2015, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Young, Rachel B. Krasner, Eleanor 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 2015-4-25 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/32a18446d2ee13cedf3b68e53800a15e.pdf 975620caa2b23d689d058e5943c68501 PDF Text Text BINGHAMTON L» N l \~ i ; R S I T Y State University of New York UNIV ARS Rect. tape 1 A S p a» y D E P A R T M E N T X T d r 4 p J UNIOR R ECITAL J ANA K UCERA , SOPRANO A LEXANDER BLITSTEIN, TENOR with ChaiKyou Mallinson, P iano Also with The Men of the H arp u r Chorale i l Saturday, April 14, 2007 8:00 p.m. C asadesus Recital Hall �PROGRAM V. L Jana Kucera an d Alexander Blitstein ( 1 6591 695) By a Fountainside Fair House of Joy A lexander Blitstein l II. O bellissimi capelli . Andrea Falconieri Lungi dal caro bene ....... Antonio Secchi (17611833 Alessandro Scarlatti ( 16591725) ( 1 5851 656) Cara, cara e dolce Se Florindo e fedele Jana Kucera . Franz Schubert ( 1 7971 828) Das Wandern Wohin? Halt! Danksagung an den Bach Am Feierabend Der Neugierige Ungeduld Claude Debussy (18621918) ...Gabriel F auré (18451924) Claude Debussy Romance l En Priére .. Mandolme VI. III. From: Die schohe Mallerin, Op. 25 .. .......Roger Quilter (18771953) Weep You No More . The Faithless Shepherdess Henry Purcell Sound the Trumpet... From: The Mikado, or The Town of Titipu A Wand ’ring Minstrel l The sun whose rays are all ablaze Were you not to KoKo plighted ............Sir William Gilbert & J an e K ucera an d A lexander Blitstein Alexander Blitstein IV. Schon ist das Fest des Lenzes. Op. 37. No. 7 Wiegenlied, Op. 78, no. 4 Unterm Fenster, Op. 34, No. 3 J ana K ucera an d A lexander Blitstein INTERMISSION ...Robert Schumann ( 1 81 01 856) Sir Arthur Sullivan (18421900) �TRANSLATION S IL O Bellissimi Capelli O beautiful tresses, 0 my sweet delights, loving little snakes, twisted in ringlets. that cascade on rosy dewy cheeks. Shady locks, where hides the winged archer (Cupid) in ambush to wound! Fair hair must yield place to your beautiful dark tresses, Which, playing around your face, are the night, And your eyes are the day. Lungi Dal Caro Bene Far from my dear beloved, I cannot live; I am in a sea of pain; Far from my dear beloved, [ feel my heart give way. May a sweet last sleep, If I may not see her, Close my eyes for always. Cara, Cara e Dolce Dear, dear and sweet freedom. dear. sweet freedom, you console my soul. It lives no longer in servitude As my heart. set loose, goes its way. Fly, ﬂee then, then from me, ﬂy, ﬂee then from me, Quivered God of L ove! My heart is already free, As its feet are no longer ensnared. Se F lorindo e fedele If Florindo is faithful., I’ll fall in love with him If he’s faithful, I’ll fall in love with him. Cupid can well draw his bow, But I’ll know how to defend myself from a ﬂattering glance. Please, tears and laments I will not listen to. But if he will be faithful, , I shall fall in love! IIL Die schdne Miillerin (The fair millermaid) 1. Das Wandern ( Wandering) Wandering is the miller’s joy, Wandering! He must be a miserable miller. Who never likes to wander. Wandering! We’ve learned this from the water. From the water! It does not rest by day or night, It’s always thinking of its journey, The water. We see this also with the wheels. W ith the wheels! They don’t like to stand still. And turn all day without tiring. The wheels. The stones themselves, heavy though they are, The stones! They join in the cheerful dance, And want to go yet faster. The stones! Oh. wandering. wandering. my joy. Oh, wandering! Oh. Master and Mistress, Let me continue in peace, And wander! 2. Wohin? ( Where to?) I hear a brooklet rushing Right out of the rock’s spring, Down there to the valley it rushes, So fresh and wondrously bright. l I know not how I felt this, Nor did I know who gave me advice: I must go down With my wanderer’s staﬀ. Down and always farther, And always the brook follows after; And always rushing crisply, And always bright is the brook. ls this then my road? O, brooklet, speak! where to? You have with your rushing Entirely intoxicated my senses. But why do I speak of rushing? That can’t really be rushing: Perhaps the waternymphs are singing rounds down there in the deep. Let it sing, m y friend, let it rush, And wander joyously after! Millwheels turn In each clear brook. 3. Halt! (Stop!) I see a mill looking Out from the alders; through the roaring and singing Bursts the clatter of wheels. Hey, welcome, welcome! Sweet millsong! And the house, so comfortable! And the windows, how clean! And the sun, how brightly it shines from Heaven! Hey, brooklet, dear brook, Was this, then, what you meant? 4. Danksagung an den Bach (Giving t hanks to the brook) Was this, then, what you meant, My rushing friend? Your singing and your ringing? Was this what you meant? To the Millermaid! it seems to say... Have I understood? To the Millermaid! Has she sent you? Or am 1 deluding myself? 1 would like to know, Whether she has sent you. Now, however it may be, I commit myself! What I sought, I have found. However it may be. After work I ask, Now have I enough for my hands and my heart? Completely enough! 5. Am Feierabend (On the Restful Evening) If only I had a thousand arms to move! I could loudly drive the wheels! I could blow through all the groves! I could turn All the stones! If only the beautiful Millermaid Would notice my faithful thoughts! �Ah. why is my arm so weak? What I lift, what I carry, What I cut, what I beat, Every lad does itjust as well as I do. And there I sit in the great gathering, In the quiet, cool hour of rest, And the master speaks to us all: Your work has pleased me; And the lovely maiden says “Good night” to everyone. 6. Der Neugierige (Curiosity) [ ask no ﬂower, I ask no star: None of them can tell me. What I so eagerly want to know. [ am surely not a gardener. The stars stand too high; My brooklet will I ask, Whether my heart has lied to me. I would like to sow it upon each fresh ﬂowerbed With watercress seeds, which it would quickly disclose; Upon each white piece of paper would I write: Yours is my heart and so shall it remain forever. IV. Schon ist das Fest des Lenzes. (Beautiful is the Festival of Spring) Beautiful is the festival of Spring But it lasts only three days: If you have a love, crown it with roses, before the roses wither! I would like to raise a young starling, If you have a glass, present it, O Bartender. and sing along with me: Until he speaks to me in words pure and clear, Until he speaks to me with my mouth’s sound. With my heart’s full, warm urge; Then he would sing brightly through her windowpanes: Yours is my heart and so shall it remain forever! I would like to breathe it into the One little word again and again. morning breezes. I would like to whisper it through the active grove: Oh. if only it would shine from each ﬂowerstar! Would it only carry the scent to her The one little word is “Yes"; The other is “No", Both these little words Make up the entire world to me. Yours is my heart. and so shall it remain forever. O brooklet of my love, Why are you so quiet today? I want to kn ow just one thing O brooklet of my love, Why are you so strange? I’ll surely not repeat it; Tell me, o brooklet. does she love me? 7. Ungeduld (Impatience) I would carve it fondly in the bark of trees. I would chisel it eagerly into each pebble, from near and far! You waves, could you nothing but wheels drive? I thought, it must be visible in my eyes, On my cheeks it must be seen that it burns; It must be readable on my mute lips, Every breath would make it loudly known to her. And yet she notices nothing of all my yearning feelings. Yours is my heart, and so shall it remain forever. Beautiful is the festival of Spring, But it lasts only three days! Wiegenlied (Cradlesong) Sleep, little child, sleep! As you sleep, so good you’ll be. Outside red in the midday sun There glows one of the ﬁnest cherries. When you awaken, we shall go. And my ﬁnger will pluck it for you. Sleep. little child, sleep! As you sleep, so good you are. Sleep, little child. sleep! As you sleep, so you’ll be good. Ever sweeter the sun ripens Your cherry, for your delight; Sleep, then little child, lightly covered, Until your appetite for it awakens you! Sleep, little child, sleep! As you sleep, you’ll be good. Unterm Fenster (Under the Window) Who is at my bedroom door? It is I, it is I! Go. be o ﬀ w ith you, what do you want here? Something really sweet! You come in the dark like a thief. So catch me! Do you have a little love for me? With all my heart! And if I opened the door as you wish? O open it! That would be the end of sleep an d peace! Let them be! Are you a dove in a dovecote? With my little dove! Will you coo until dawn? Very possibly! No, I will never let you in! You must nonetheless! You’ll likely appear here every day? With pleasure! How chee ky you are and how dare you! So may 1? As long as you tell not a soul! Of course not! V. Romance (Romance) The vanishing and suﬀering soul, The sweet soul, the fragrant soul Of divine lilies that I have picked In the garden of your thoughts, Where, then, have the winds chased It, This charming soul of the lilies? Is there no longer a perfume that remains Of the celestial sweetness Of the days when you enveloped me In a supernatural haze, Made of hope, of faithful love, Of bliss and of peace? �ABOUT THE M USIC En priére (In Prayer) If the voice of a child c an reach You, O my Father, Listen to the prayer of Jesus, on his knees before You! If You have chosen me to teach your laws on earth, I will know how to serve You, noble King of kings, Die schione Miillerin There are twenty songs in the cycle, written by poet Wilhelm Muller. Each song tells a diﬀerent part of a story, with varying Their short silk coats, Their long dresses with trains, Their elegance, their joy And their soft blue shadows, Whirl around in the ecstasy O fa pink and grey moon, And the mandolin prattles Among the shivers from the breeze. i O Light! On my lips, Lord. place the salutary truth, In order that he who doubts should with humility revere You! Do not abandon me, give me the necessary gentleness, To ease suﬀering, to relieve the sorrow, the misery! Reveal Yourself to me, Lord, in whom I believe and hope: For You I wish to suﬀe r and to die on the cross, at Calvary! Mandoline (Mandolin) The givers of serenades And the lovely women who listen Exchange insipid words Under the singing branches. There is Thyrsis and A myntas And there’s the eternal Clytander, And there’s Damis who, for many a Heartless woman, wrote many a tender verse. 41 emotions. Emotions cycle through optimism to despair and tragedy. A t the beginning of the cycle, a young man wanders happily through the countryside. He comes upon a brook, which he follows to a mill. He falls in love with a beautiful girl, the miller ’s daughter, the “beautiful millgirl” (Die schone Miillerin) of the title. He tries to impress her, but her response seems quite cool, leading to sadness and frustration on his part. The Mikado Leading gentlemen of the Japanese town of Titipu gather for an impending celebration A wandering musician, NankiPoo, enters and introduces himself ("A wand’ring minstrel I"). He has come to search for the maiden YumYum, with whom he has fallen in love. Alas, YumYum is to marry her guard ian KoKo, a forme r tailor but now the Lord High Executioner of Titipu. YumYum appears with two of her friends. NankiPoo reveals his secret to YumYum: he’s actually the son an d heir of the Mikado, ruler of Japan, b ut has ﬂed the court due to the amorous advances of the Lady Katisha. KoKo arrives and introduces himself and rejoices in his upcoming marriage. His enthusiasm is cut short by receiving news that the Mikado will soon be arriving for a visit; as KoKo is behind on his quota of executions (never having performed any at all!), this means someone must be executed at once. The others look to KoKo himself as the perfect subject. KoKo discovers NankiPoo, in despair over losing YumYum, is preparing to commit suicide. After realizing that he cannot change NankiPoo’s mind, KoKo makes a bargain with him: NankiPoo may marry YumYum for one month, if at the end of that time he allows himself to be exec uted. This happy arrangement is nearly spoiled by Katisha, who arrives and tries to claim NankiPoo. However, she makes such a bad impression on the people of Titipu that her words are drowned out by the shouting of the crowd. But tho ugh all seems happily settled, Katisha makes it clear that she intends to return. YumY um is being prepared by her friends for her wedd ing, after which she is left to muse on her own beauty ( "The sun whose rays"). �ABOUT T H E PERFORMERS JANA NICHOLE KUCERA is a native of Binghamton, New York where she graduated from Chenango Valley High School in 2004. While at CVHS she was an honor student and participated in Theatre Guild, Chorus, Concert and Jazz Band as well as Odyssey of the Mind. Jana is currently a BMus candidate studying vocal performance with Professor Mary Burgess. As a student at BU, she was recently named to the Harpur College Dean’s List, and is honored to be a two time recipient of the Music Department’s Neilson Scholarship in honor of Mary Burgess. She is a member of Women’s Chorus and is a past member of the Harpur Wind Ensemble. She is currently a member of the TriCities Opera Chorus where she has performed more than 15 choral roles over the past 7 years. In addition to TCO, Jana has performed numerous lead and supporting roles in a variety of local theater productions and recently performed the role of Elsie Maynard in Yeoman of the Guard (Summer Savoyards). She would like to thank her friends, family, and teachers for all of their love and support. ALEXANDER BLITS TEIN was raised in Chappaqua New York, where he graduated from Horace Greeley High School. He is currently a BMus candidate in vocal performance studying with Professor Timothy LeFe bvre. As a student at B U, he has served as the President of the student organization Music Groups, as well as a member of the Undergraduate Music Advisory Committee. He has also participated in Harpur Chorale under the direction of Peter Browne. In 2005 he was the recipient of the John and Marcella Keeler Scholarship. He has appeared as a soloist with the Binghamton University Chorus and African Drumming Ensemble, and he would like to thank all that helped him get to this point, speciﬁcally including his grandparents. CHAIKYOU MALLINSON, currently on the faculty of the Department of Music at Binghamton University, received a B.M. degree in Piano from Juilliard, Licence d’Enseignement from Ecole Normale de Musique de Paris, France and a M.A. degree from Binghamton University, where she studied with Jean Casadesus. A prize winner in the Korean National Music Competition, she was awarded the French Government Scholarship, Tanglewood Summer Music School Full Scholarship and the Fontainebleau American Conservatory Full Scholarship. She gave a debut recital in Carnegie Recital Hall and has been active as a recitalist, vocal accompanist and coach, and chamber music performer, as well as an active adjudicator of piano auditions and competitions. She appeared in a performance with the Seoul Philharmonic Orchestra, which Eumag Choonchu, one of Korea‘s most respected music magazines, described as “of rare quality, moving and lyrical. ” T H E H A R P U R C H O R A L E . directed by Adjunct Lecturer Peter Browne, is a select chamber choir whose mem bers are chosen on the basis of voice quality and sightreading ability. The Chorale performs frequently thro ughout the year, singing outstanding choral works of every historical period and style in several languages. The group has toured throughout the eastern United States. Particpating Mem bers Bass John Paap Adam Hess David Parisi Tenor Ross Matthei Douglas Schwartz �Coming ‘Curent Sunday, A pril 1 5 – University C horus and Orchestra : Bach B Minor Mass – 3 :00 p.m. – Osterhout Concert Theater $9 general public; $7 faculty/staﬀ/seniors; free for students Tuesday, A pril 1 7 – St udent Rec ital : Melissa Le e, viola – 7 :30 p.m. – Casadesus Recital Hall – free Th ursday, A pril 19 – M idDay Co ncert – 1:2 0 p.m. – Casadesus Recital Hall free Sat urday, Ap ril 2 1 – Master ’s Recital : Katrina C ox, sop rano – 8:00 p.m. – Casadesus Recital Hall ~ free Sunday, A pril 22 – Master ’s Recital : Elizabet h D u hr, mezzosoprano – 3 :00 p.m. – Casadesus Rec ital Hall – free Sunday A pril 22 – M aster ’s Recital : Soon Yo ung Park, baritone – 8:00 p.m. – Casadesus Recital Hall – free Th ursday, A pril 26 – Jazz Mid Day Conc ert – 1 :20 p.m. – Osterhout Concert Theater – Free Th ursday, A pril 26 – J azz Ensem ble with g uest art ist – 8:00 p.m. – Osterhout Concert Theater $9 general public; $7 faculty/staﬀ/seniors; free for students Sat urday, April 28 – Master ’s Recital : Nicole Hsu, piano – 8:00 p.m. – Casadesus Recital Hall – free Sunday, A pril 29 – U niversity W ind Ensem ble an d the So ut hern Tier Concert Band – 7:3 0 p.m. – Osterhout C oncert Theater – free Tuesday, May I – University Percussion Ensemble – 8:00 p.m. ~ Anderson Center Chamber Hall – free Th ursday, M ay 3 – Mid Day Conc ert – 1 :20 p.m. – Casadesus Recital Hall – free Friday, M ay 4 – Flute Studio Recital – 10 :15 a.m. – Casadesus Recital Hall – free Sat urday, Ma y 5 – Flute E nsem ble Recita l – 10:15 a.m. – Casadesus Recital Hall free — Sunday, M ay 6 – St udent Rec ital : Rosa Nam, pian o – 3:00 p.m. Casadesus Recital Hall – free � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&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 / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:01:15 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196795">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196795</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 Junior recital, Jana Kucera, soprano, Alexander Blitstein, tenor, April 14, 2007 Recital Tape 4-14b-2007 Description An account of the resource Held at 8:00 p.m., Apr. 14, 2007, Casadesus Recital Hall. Works of Purcell, Falconieri, Secchi, Scarlatti, Schubert, Schumann, Quilter, Debussy, Fauré, Gilbert & Sullivan. Creator An entity primarily responsible for making the resource Blitstein, Alexander Mallinson, Chai-Kyou Kucera, Jana Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2007-04-14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 3adb7e69-5ce4-4a7b-a5b6-4f3152b4a12c https://omeka.binghamton.edu/omeka/files/original/b20589993596463c9d34165ff6c0394d.pdf 6db78dbe01d6d729d77eac1ba464aa38 PDF Text Text BINGHAM TON U N 1 V E RrS L 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 e [23 D E P A R T M E N T J U N I O R R E C I TA L Marc Silvagni, Percussion Margaret Reitz, Piano Sam Smith, Electric Bass Alex Gregorio, Drum Set Sunday, March 29, 2009 3:00 PM Casadesus Hall �PROGRAM PROGRAM NOTES A meric an Suite : For Unaccompanied Snare Drum ......Guy G . G authreaux II American Suite : F o r Unaccompanie d S nare D rum (1989) is a ﬁvemovement work based primarily on a short rhythmic motive. Each movement oﬀers unique challenges utilizing many aspects associated with snare drumming in America, including jazz, rudimental, ethnic, orchestral, marching, contemporary, and so forth. The ﬁrst movem ent serves to ﬁrm ly introduce the rhythmic motive with only an occasional use of unrelated material. The second moveme nt is a combination of the old rudimental style of drumming with a more contemporary marching application. The third movement, written entirely for brushes, makes extensive use of handtohand independence while maintaining the rhythmic I Introduction II Rudimental III – Jazz IV – Latin V Contemporary Fantasy on Japanese Wood Prints, Op. 2 1 1 Alan Hovhaness (191 1 – 2000) Margaret Reitz, Piano motive in a jazz style. The fourth move ment, written in a Latin style, uses numerous playing arias and special techniques. The last movement is mo re contemporary in nature and c ontains new and INTERMISSION Etude op. 6, No 8 ... Etude in C Major Op. 6, No” 1 0 ..Clair Omar Musser (19011998) Three Episodes for Timpani............ccocssscsscssesssssnssssessse.JONN Beck IL onga II Andante III Marcato CHIR o f D o v e r E r i c Johnson (b. 1954) Arr. Marc Silvagni and Richard Silvagni (b. 1988) (b. 1987) Sam Smith, Electric Bass Alex Gregorio, Drum Set previously stated motivic variations. This piece was selected as 1* place winner in the 1989 Percussive Arts Society Composition Contest. Fantasy on Japanese Wood prints, Op. 2 1 1 (1965) is a concerto in one movement written for xylophone and orchestra by American composer Alan Hovhaness. He wrote it while studying Oriental musical styles in Japan during his career. Much of the 15minute work contains many themes of modal Japanese m usic, especially the last 3 minutes. Due to the richer and fuller sound, many soloists opt to play the solo part on marimba rather than xylophone. The piece begins with a series of cadenzas for the soloist, all in free time (senza misura). Under each cade nza, the accompaniment holds a soft chord containing many fourths and halfsteps, and the bass line is given a series of notes to improvise with until a cutoﬀ. In between each cadenza, the accompaniment plays a dissonant glissando patte rn all in free time until another cutoﬀ. The concerto develops into an eerie slow adagio, with shimmering chords in the string section and ending with another cadenza. A dark section in 6/8 ensues, with the xylophonist taking over and playing an extended solo completely in 32 nd notes before the accompanim ent comes in with another free time cadenza. The �piece then launches into a marchlike tempo, and the theme is completely stated by xylophone and accompaniment, with a repeated rhythm that occurs on a diﬀerent beat every time. A 6/8 dance comes back, and the n a cadenza in time occurs with the accompaniment playing the melody over the soloist. A series of and the melody progress through the pedaling of the tim pani. This creates a very trippy sound. The last movement is a standard sounding timpani piece that is quick, very loud, and shows oﬀ speed. loud crescendos and climaxes in free time bring the soloist into the ﬁnal cadenza before a fast 3/4 comes in, with a ﬁerce tai ko rhythm and buildup until the end. The version featured here is an orchestra reduction played o n piano. ] l Etude Op. 6, No. 8 and Etude in C Ma jor Op. 6, No. 1 0 are two etudes written by the great Clair Omar Musser. Musser was a pioneer for solo percussion music. He invented t he prototype to the fourmallet grip that most percussionists use today. Also, most marimbas used are made by his company LudwigMusser (Ludwig the drum company). Musser wrote etudes in every key and in almost every scale. The ﬁrst etude, no. 8, is in wholetone. The piece never settles around a tonal center nor has a real melody. Though the piece is slow, the diﬀiculty within it is the ability to maintain its ﬂow. When done correctly, the ring of the marimba ﬁlls the room with beautiful harmony. The Etude in C Major acts as an antithesis to the wholetone sound when played right after it. The piece is very fast, very major sounding, and always intense. This piece is short (about 2 :00), but is probably the most taxing to play. Aﬁer the opening line, the piece does not stay in C Major, but rather bounces between diﬀerent keys and has an interesting progression leading to a ﬁnal C Major chord. Three Episodes for Timpa ni was written by the famous timpanist John Beck who taught at the Eastman School of Music for many years. The piece is in three very distinctive movements. The ﬁrst movement uses a piano with the pedal held down so the strings constantly ring. There are cues written to play the width of one’s hand on the piano. Also sometim es in the piece, the drums are muﬀled quickly to allow the piano ringing to be in the foreground of the music. The second movement is very 60s sounding. It uses three timpani mallets at once so the left hand can play a perfect 5 ostinato while the right hand plays melody. The movement is slow H Cliﬀs of Dover is a guitar, bass, and d rum trio piece written by Eric Johnson in 1990. The piece is ﬁ rmly in G Major and includes intro and end ing solo cade nzas. It is in a swing style throughout with the melody always in the guitar. There is a middle section where the song goes into halftime. It goes back to a tempo in A Major brieﬂy before return ing to G Major. The piece is featured on Johnson’s album Ah Via Musicom, which reached #67 on Billboard’s Top 200 in 1990 . “Cliﬀs of Dover” was voted number 17 in Guitar World magazine’s list of 1 00 Greatest Guitar Solos, placing it between 16, “Heartbreaker ” by Led Zeppelin, and 18 “Little Wing” by The Jimi Hendrix Experience. In 1991, “Cliﬀs of Dover” won a Grammy award for Best Rock Instrumental Performance, beating the Allman Brothers Band ("Kind of Bird"), Danny Gatton ("Elmira Street Boogie"), Rush ("Where’s My Thing?"), and Yes ("Masquerade"). It is also featured in the video game Guitar Hero III: Legends of Rock on the ﬁnal tier. The ending in this arrangement has been changed and modulates to F Major. This leads to an open solo section for all the instruments ending with another song: “Universal Mind” by Liquid Tension Experiment, a progressive band side project of the famous progressive band Dream Theater. 2 sS> �PERFORMERS MARC SILVAGNI is a junior at Binghamton University. He is currently double majoring in Music Performance (Percussion) and Psychology. He plans on attending graduate school after Binghamton for an MSW degree. He was born on December 25, 1988 in Flushing Hospital in Flushing, Queens. He currently resides in Flushing, Queens.. Marc started his music career relatively late in 7 ” grade at 1.S. 25 under band director and amazing jazz drummer, Marc Copell. There he was assigned to play bells, but later started in other percussion. During the summers following 7 ” and 8™ grade, Marc attended the Man hattan School of Music Summer Camp and studied under percussionist Jeﬀ Kraus who taught him about the entire world of percussion. He then attended St. Francis Preparatory High School in Fresh Meadows, Queens, and studied under percussionist Mark Teoﬁlo. He also performed with every music performance group the school had, including singing bass under voice teacher Fernando Sicilia. In the summer of his sophom ore year, Marc and other students, under teacher David Kobayashi (Binghamton Alum), traveled to Australia and played with the Tallahassee Winds in the Sydney Opera House for the Eric Whitacre Festival. He has never performed for NYSSMA. Next, Marc began college at Binghamton University under percussionist Dan Fabricius. Here he has enjoyed featured solos with the Percussion Ensemble and has played with the Harpur Jazz Ensemble, University Orchestra, Harpur Chorale, Women’s Chorus, and the Commencement Wind Ensemble. He has also played at the Musica Nova concert and at Stephanie Lehman’s Masters Recital. Marc’s philosophy of music has always been that music should be more fun than serious. The playing of music should be respectable, but there should not be heavy pressure to perform. Marc always performs with a smile, whether it is showing or not. MARGARET (PEJ) REITZ, pianist, is a native of the Binghamton Area. She received her Bachelor and Master of Music degrees in piano performance with accompanying emphasis. She attended Boston University, New England Conservatory and Binghamton University. She has studied piano with Jean Casadesus, Victor Rosenbaum, Seymour Fink and Walter Ponce, and has studied accompanying with Allen Rogers. She has accompanied “throughout the ‘United States, in England, South America, and at the American Institute of Musical Studies in Graz, Austria. She and Binghamton University faculty member Timothy Perry were winners of the Artistic Ambassadors Program by the United States Information Agency in partnership with the John F. Kennedy Center for the performing arts. Pej has been a guest chamber music artist in Morges, Switzerland. She also was selected to attend the Accompanying Workshop for Singers and Pianists held at Northwestern University with Chicago Lyric Opera Faculty and Coaches. Pej was recently invited to the International Clarinet Conference to play a recital in Tokyo, Japan. She was a guest artist on the Cornell Summer Series this past summer, and she was an oﬀicial pianist at the International Double Reed Competition and Convention in 2007 at Ithaca College. She was selected to accompany at the Interpretation of Spanish Music in conjunction with the University of Madrid in Grenada, Spain in July 2007, coached by Teresa Berganza, and at the Mannes School of Music in the summer 2008. Pej will be in residence at the Barcelona Festival of Song this summer in Spain as coach/accompanist, and has been asked to play a concert this summer with the Glickman Trio in the United Kingdom at the IDRS Convention.. Pej is currently on the faculty at Binghamton University since 1991 and Ithaca College School of Music since 1999. She maintains a private piano studio in Vestal, New York. She is on the Executive Board of the New York District MTNA organization, and she is President of the local District VII Music Teachers Association and is an active adjudicator for the National Piano Guild Organization. SAM SMITH and ALEX GREGORIO are freshmen at Binghamton University. Sam is majoring in Music and Economics while Alex is majoring in Mechanical Engineering. They are both from the town of Warwick in Orange County, NY. They have been playing music together for as long as they can remember. They hang out with the son of the late bass legend Jaco Pastorius and jam. Sam and Alex both play in the Harpur Jazz Ensemble. �Thursday, April 2 MidDay Concert, 1:20 PM FREE Casadesus Recital Hall FREE 1:20 PM — Thursday, April 1 6 MidDay Concert: Casadesus Recital Hall FREE Saturday, April 1 8 ” Clarinet Studio Recital, 3:00 PM — Casadesus Recital Hall Saturday, April 1 8 ” Brahms’REQUIEM with the Binghamton Philharmonic Orchestra and the University Chorus, 8:00 PM, Osterhout Concert Theater; for tickets, call the Binghamton Philharmonic at 7233931 Sunday, April 1 9 ” Master’s Recital: Stephanie Lehman, percussion, Casadesus Recital Hall, 3:00 PM, FREE S u n d a y, A p r i l 1 9°" For Slava: A concert remembering the great Russian cellist, Rostropovich (Stephen Stalker & friends), 7:30 PM, $$, Casadesus Recital Hall FREE, Tuesday, April 21% String Department Recital, 8:30 PM — Casadesus Recital Hall Thursday, A p r i l 2 3 ™ Jazz MidDay Concert with Sherrie Maricle, 1:20 PM – FREE, Osterhout Concert 7heater Thursday, April 2 3™ Harpur Jazz Ensemble Concert with Guest Artist, Sherrie Maricle, 8:00 PM, $$, Osterhout Concert Theater Saturday, April 2 5 ” Honor’s Recital: Elizabeth Sterling, violin and voice, Casadesus Reaital Hall, 3:00 PM, FREE Saturday, April 2 5 ”1 Junior Recital: Briana Sakamoto, soprano, Casadesus Recital Hall, 7:00 PM, FREE For ticket information, please call the Anderson Center B ox O ﬀice at 7 77ARTS. � 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 / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:04:11 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152239">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152239</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 Junior recital, Marc Silvagni, March 29, 2009 Recital Tape 2009-3-29 Description An account of the resource Works of Gauthreaux II, Hovhaness, Musser, Beck, Johnson. Held at 3:00 p.m., March 29, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Reitz, Margaret Smith, Sam Gregorio, Alex Silvagni, Marc Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-03-29 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/11d929be13403ec1dd8cbd102176f157.pdf 177e45e4774426440cb7033efa96382e PDF Text Text U NI V A R C RECit al\ l ape 2003 3 - 22 SPEC COL BINGHA!\1TON U N I \' E R S I T Y State University of New York Department of Music Junior Recital Jody Schum, piano Samantha LaDue, soprano with Chai-Kyou Mallinson, piano Saturday, March 22, 2003 8:00 p.m. Casadesus Recital Hall ��Program I. .. Sonata in E-flat major, Op. 27, No. l ................................ Ludwig van Beethoven (Sonata quasi una Fantasia) (1770-1827) Andante Allegro molto e vivace Adagio con espressione Allegro vivace Sonetto 104 del Petrarca .......................................................... Franz Liszt ( 1819-1886) (from Années de pelerinage: deuxième année, Italie) Two Preludes ................. :...................................................... Sergei Rachmaninoff I. E-flat major, Op. 23, No. 6 (1873-1943) II. G minor, Op. 23, No. 5 L' isle Joyeuse ............................................................................... Claude Debussy (1862-19 l 8) Jody Schum, piano II. En Prière ........................................................................................... Gabriel Fauré Mai (1845-1924) Notre Amour From Hermit Songs: St Ita's Vision, Op. 29, No. 3 ....................................................... Samuel Barber The Crucifixion, Op. 29, No. 5 (1910-1981) The Monk and His Cat, Op. 29, No. 8 Malinconia, Ninfa gentile ............................................................ Vincenzo Bellini Per pieta, bell 'idol mio ( 1801- 1835) From La Sonnambula Aria & Rondo: Ah non credea mirati - Ah, non giunge ............. Vincenzo Bellini (1801-1835) Samantha LaDue, soprano Chai-Kyou Mallinson, piano �Translations En Prière (In Prayer) If the voice of a child can reach You 0 my Father, Listen to the prayer of Jesus on His knees before You. If You have chosen me to teach Your laws on the earth, I will know how to serve You, holy King of Kings. 0 Light! Place on my lips, o Lord, The salutary truth, So that whomever doubts should, with humility, revere You! Do not abandon me, give me the gentleness so necessary to relieve the suffering, to alleviate pains, The misery! Reveal yoursel f to me, Lord, in whom I have faith and hope, I want to suffer for you, and to die on the cross At Calvary! Mai (May) As May, all in flower, calls us to the meadows, Come, do not cease to bring close to your heart The countryside, the woods, the charming shades, The vast reflections of the moon over the shores of sleepy rivers, The path that ends where the road begins And the air, the Spring and the immense horizon The horizon, modest and cheerful, which the world places as a lip at the bottom of the gown of the skies. Come and let the gaze of the chaste stars, Falling on earth though so many veils, The tree, imbued with perfumes and songs, The warm wind of the south in the fields, And the shadow, and the sun, and the tide and the greenery, And the radiance of all nature, Let them brighten, like a twofold flower, The beauty of our face, and the love in your heart! Notre Amour (Our Love) Our love is a light thing Like the perfumes which the wind Lifts from the top of the fem To be inhaled in dreaming. Our love is a light thing. Our love is a thing with charm, Like the songs of the Mom, With no expression of regret, In which vibrates an uncertain hope .. . Our love is a charming thing! Our love is a sacred thing Like the mysteries of a forest, Where a strange soul is trembling, Where stillness has a voice; Our love is an infinite thing, Like the paths of sunsets, Where the sea united with the skies, Slumbers under declining suns; Our love is an eternal thing Like all things that Almighty God Has touched with the fire of his wing, Like all that comes from the heart; Our love is an eternal thing! Malinconia, Ninfa gentile Melancholy, gentle Nymph, My life I consecrate to you. Whoever considers your pleasures slight �Is not born to true pleasures. Rivers and hills I asked of the gods. They heard me at last, I shall live satisfied. Not ever shall I cross that river with my desires, Not ever cross that mountain. Not ever shall I cross, no, no, never. Per pietà, bell'idol mio For pity's sake, my beautiful idol, Do not tell me that I am ungrateful! Heaven is making me unhappy And unfortunate enough. If I am faithful to you If I am consumed by your beautiful eyes, Love knows it, the gods know it, My heart and yours know it Yes, they know it. Ah, non credea mirarti Oh, I never thought to see you die so soon, sweet flowers! You faded like love itself, Which lasted but for a day. Perhaps my tears will revive you, But my tears cannot Revive love, alas! Ah, non giunge l Ah! Beyond all human thought Is the joy that fills me now. I can hardly believe my senses: You trust me, my treasure! Ah, embrace me, and together for always, United in a single hope, We will make of the world we live in A paradise of love! �About the Performers Jody Schum is in his junior year at Binghamton University pursuing a Bachelor of Music Degree in piano performance. Schum began studying piano at the age of seven under the instruction of Lael Bagg. He currently studies with Michael Salmirs. In May of 2002, Jody was awarded the John M. and Marcella M. Keeler Scholarship in Music in recognition of his work. Besides solo piano, Schum also studies/enjoys vocal accompanying, chamber music, and voice. Since October of 200 I, Schum has served as resident organist and pianist at the First United Methodist Church of Endicott, N.Y. Schum would like to thank his professors, his scholarship donors, and his family and friends for their continued support. Samantha LaDue is a junior at Binghamton University, pursuing a Bachelor of Music degree as a student of Professor Mary Burgess. Other teachers in her seven years of study whom she would like to recognize and thank for their contributions are Patricia Blankenship-Mortier, Pamela-Jill Gardner, Timothy Lefebvre, Jake Gardner, Mary Burgess and this past semester, with Judy Berry. LaDue has achieved several awards; Endwell Community Chorus Scholarship, Whitney Point Rotary Community Service Scholarship, National Foundation for Advancement in the Arts merit award, first place in the Ithaca College Young Artists Vocal Competition; and the Keeler Scholarship at Binghamton. She has attended the Tanglewood Institute Young Artists Vocal Program, and has been a member of honor choirs, including the ACDA first All National High School Honor Choir. A native of Whitney Point, NY, LaDue has been seen on many area stages. Most recently, she was a member of the Downtown Singers, TriCities Opera chorus, the Narrator in Joseph and the Amazing Technicolor Dreamcoat, the Soprano in the Cider Mill production of Berlin to Broadway, Peep-ho in Summer Savoyard's Mikado, Cousin Hebe in the Summer Savoyard's production of HMS Pinafore, and in the Theatre Department's mainstage production of The Rocky Horror Show. LaDue would like to thank her friends and family for their love and support. Chai-Kyou Mallinson, a faculty member in the Department of Music at Binghamton University, received a Bachelor of Music degree from Juilliard, Licence d 'Enseignment from Ecole Normale de Paris, and a Master of Arts degree from Binghamton University, where she studied with Jean Casadesus. A prize winner in the Korean National Music Competition, she was awarded the French Government Scholarship and the Fountainebleau American Conservatory Full Scholarship. She gave a debut recital at Carnegie Recital Hall, and has been active as a recitalist, vocal accompanist and coach, and chamber music performer, -as well as an adjunct adjudicator of piano auditions and competitions. She has performed with the Seoul Philharmonic Orchestra. ��Coming Events (Subject to Change) Thursday, March 27 - Mid-Day Concert with faculty and student performers - I :20 P.M. - Casadesus Recital Hall - free Thursday, April 3 - Mid-Day Concert with faculty and student performers I :20 P.M. - Casadesus Recital Hall - free Thursday, April 3 - Brass Studio and Ensemble Concert by students of Ben Aldridge and Brian Sternberg- 8:00 p.m. - Casadesus Recital Hall - free Friday, April 4-An Evening of Piano Music with Ewa Mackiewicz-Wolfe 8:00 p.m. - Anderson Center Chamber Hall - $14 general public; $12 faculty/staff/seniors; $6 students Thursday, April 10- Mid-Day Concert with faculty .and student performers 1:20 P.M. - Casadesus Recital Hall - free Saturday, April 12 - Student Saxophone Quartet Recital - 3 p.m. Casadesus Recital Hall - free Saturday, April 12 - University Chorus and Orchestra, Timothy Perry conducting, Timothy LeFebvre and Mary Burgess, soloists - 8:00 p.m. Anderson Center Concert Theater - $8 general public; $6 faculty/staff/seniors; free for students Thursday, April 24 - Mid-Day Concert with faculty and student performers 1:20 P.M. - Casadesus Recital Hall - free Sunday, April 27 - Guest Organist: Todd Wilson - 4:00 p.m. - First Presbyterian Church, Chenango Street, Binghamton - $14 general public; $12 faculty/staff/seniors; $6 students Tuesday, April 29 - Piano Recital by students of Michael Salmirs - 8:00 p.m. - Casadesus Recital Hall - free Thursday, May 1 - Jazz Mid-Day Concert with guitarist Dave Stryker - l :20 p.m. - Watters Theater - free Thursday, May 1 - Harpur Jazz Ensemble with guitarist Dave Stryker - 8:00 p.m. - Watters Theater - $8 general public; $6 faculty/staff/seniors; free for students Friday, May 2 - Flute Studio Recital by students of Georgetta Maiolo l 0:00 a.m. - Casadesus Recital Hall - free { I � 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 / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:15:32 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253418&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253418&change_lng=en&select_viewer=metsViewer</a> PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover 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 Junior Recital, March 22, 2003 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2003-3-22b Description An account of the resource Works by Beethoven, Liszt, Rachmaninoff, Debussy, Fauré, Barber, Bellini. Accompanying program contains translations. Creator An entity primarily responsible for making the resource Schum, Jody LaDue, Samantha Mallinson, Chai-Kyou Date A point or period of time associated with an event in the lifecycle of the resource 3/22/2003 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/c55fbb53f257c9da0cbd81555dc24087.pdf e2370a6497c03f59081b46de31a56298 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 l T Y O F N E W Y O R K [4 247928 D E P A R T M E N T J U N I O R R E C I TA L M a r k R oss nag el O rgan (student in the class of D r . J o na th a n B iggers) A pril 2, 201 1 3 :00 p. m. F irst Pr es byte rian C h u rc h , B in g ha m to n , N e w Y o rk �Notes on the Progra m PROG RAM Sonata III in Amajor 1. 2. Felix Mendelssohn (18091847) Con mo to maes toso Andante tranqui llo from El even ChoralePreludes.. ........... .......weereer... Johannes Brahms I. (18331897) Mein Jesu, der du mich (“My Jes us Leadeth Me”) III. O Welt, ich muss dich lassen (1% version) (“O World, I now m ust leave Thee”) X. Herzlich tut mich verlangen (“My Hea rt is ﬁlled with long ing") XI. O Welt, ich muss dich lassen ( 2 version) (*O World, I now m ust leave Thee”) Tocca ta a nd F ugue in D mino r ( “D orian”), BWV 538. Variations on Mein Ju nges L eben h at ein E nd .J.S. Bach (16851750) JanPieterzoon Sweelinck ChoraleVariations on Veni Creator, op.4... . (15621621) . Maurice Duruﬂé Guilba ultThérien Organ, 1996 Felix Mendelssohn (18091847) w rote his “Six Sonatas for the Organ” (Op. 65) in response to a commission from the English publishing ﬁ rm Coventry & Hollier. The composer made several visits to London over the course of his short life, conducting and performing as both a pianist and an organist, and was greatly respected and admired there. Composed between 1844 and 1845, these works are not “sonatas” in a strict sense, but are rather groupings of character pieces, with elements of the Bachian counterpoint that Mendelssohn so admixed set against the composer ’s own lyrical, Romantic style. The Sonata in Amajor is a conﬂuence of the abovementioned elements, incorporating magisterial, almost orchestral writing in the grand statement that opens and closes the ﬁrst movement, as well as a double fugue employing the Lutheran chorale melody Aus tiefer Not schrei ich zu Dir ( “Out of deep distress I cry to you”) as the cantus ﬁrmus. The second and ﬁnal movement, a simple Andante tranquillo , rounds out the to rtured ma terial o f the prev ious mov ement wi th its gen lilting melodies and tender cadences. tle, The 11 Chorale Preludes, op. 122 by Johannes Brahms (18331897) are his last completed works, and as s uch are concerned with death and the Chris tian hope for redemption. Four are featured on this p rogram – two from the beginning of the set (Nos. 1 and 3), and two from the end (Nos. 10 and 11). No. 1 is a collection of short fugues, each one built on a phrase of the chorale Mein Jesu, der du mich, culminating in a wonderful resolution marked by fascinating harmonic progressions and intense suspensions, suggesting a “longing ” for life eternal. No. 10 is a setting of the Lenten chorale Herzlich tut mich verlangen, which American ch urchgoers know today by the title “O Sacred Head, now w o und ed It is the darkest and most brooding of the four works presented today; the repea ted eighth notes in the bass voice suggest the slow plodding walk towards death. Nos. 3 and 1 1 are both settings of the chorale O Welt, ich muss dich lassen; No. 1 1 l is espec ially nota ble for its peaceful nature and meditative repetitions of each phrase of the chorale. It is the very last piece of m usic that Brahms wrote. The organ music of Johann Sebastian Bach (16851750) is, like so much of the Leipzig Master’s work, unparalleled in form, content, and its ability to elicit powerful emotions in the listener – features tha t abound in the mighty Toccata and Fugue in D minor, BWV 538 (“Dorian”). The material for the Toccata springs almost entirely from its opening motive – rising 16 ” notes tha t lend a motoric, obsessive quality to the music. The fugue that follows is a work of c ontrapuntal genius that sets it apart e ven from other Bach fugues ; the basic compositional style employ ed in this movement is stile antico (“antique s tyle”), a type of contrapuntal w riting observed in the masters of the Rena issance period. Bach‘s employment of this older style of fugal composition pays homage to the more Palestrinalike, severe style of contra puntal w riting, but in many ways, Bach exceeds the style of the older masters by crea ting a fugue that is unparalleled in intensity and majesty, making it one of the ﬁnest w orks written by Bach that utilize this mode o f composition. Bach was greatly inﬂuenced by past North Eu ropean masters, one of whom was Jan Pieterzsoon Sweelinc k (1562–1621), the socalled “Orpheus of Amsterda m”. Sweelinc k held the position of chief organist at the Oude Kerk (“Old Ch urch”) in �Amsterdam from the age of 1 5 until his death, and was kno wn both in his native city and across Europe as a maste r improviser and teacher. He wrote numerous keyboard toccatas, fantasies and variations, and the set of six variations on Mein Junges Leben hat ein End (“My young life hath an end ”) is one of his most popula r and widely performed works. One could almost follow a person’s progression from childhood to maturity and adulthood and ﬁnally to old age, then a “second childhood”, in the course of these remarkable, jewellike variations. Staying in the genre of themeandvariations, but skipping ahead by almost four centuries, we come to the ﬁnal piece on this program: the Chorale Variations from Maurice Duruﬂé’s Prelude, A dagio et Choral Varié sur le théme du ”Veni Creator”, op.4 (1930). An obsessive perfectionist, Dumﬂé published very little, instead destroying works he had written but regarded as “inferior”, but the pieces he did release for publication have all become staples of the organ repertoire. Beca use of his Catholic faith, he was highly inﬂuenced by Gregorian chant, w hich is featured prominently in many of his works, as evidenced here in the theme and four variations on Veni, Creator Spiritus (“Come, Creator Spirit”), which are themselves the last “movement” of a much larger work, the Prelude, Adagio et Choral Varié sur “Veni Creator”. Duruﬂé ex plores several interesting sonic environments in these variations, ranging from light ﬂutes to w a rm s trings to magniﬁcent fortissimo combinations. The ﬁnal variation, a brilliant toccata, features the chorale theme in canon and ends on full organ w ith blazing harmonies outlinin g the ﬁnal chords. Binghamton University Music D epartment’s U P C O M I N G E V E N T S ﬁ t s “ M t b ' ﬁ w t b ﬂ ﬁ t h ﬂ ﬁ t b ' ﬁ Sunday, April 3 – Organist Jonathan Biggers – A Bach Celebratio n!! Series – 4.00 p.m. – First Presbyterian Churc h, Binghamton – $10 general public; $5 faculty/staﬀ/seniors; $2 students Thursday, April 7 – MidDay C o n c e r t 1:20 p.m. – Casadesus Recital Hall – free Friday, April 8 University String Orchest ra – 4:00 p.m. – Grand Corrid or free Saturday, April 9 – Binghamton University F lute Tr i o Concert (Natalie McCreary, Emily Morris, Mark Zhuang) – 12 noon – Fin e Arts Room 21 free Saturday, April 9 – Master’s Recital: Victoria Cannizzo, soprano – 2:00 p.m. – Casadesus Recital Hall – free Saturday, April 9 Pianist Michael Salmirs: Fo r the Love o f M usic – 8:00 p.m. – Anderson Center Chamber Hall – $15 general public; $10 faculty/staﬀ/seniors; $5 students Sunday, April 10 – Senior Recital: Laura M acAvoy, soprano – 3:00 p.m. – Casadesus Recital Hall – free For ticket information, please call the ﬀ i c e a t 777A R T5. Anderson Center B o x O � 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 / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 49:36:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145461">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145461</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 Junior recital, Mark Rossnagel, organ, April 2, 2011 Recital Tape 2011-4-2 Description An account of the resource Held at 3:00 p.m., April 2, 2011, First Presbyterian Church, Binghamton, New York. Creator An entity primarily responsible for making the resource Rossnagel, Mark 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 2011-04-02 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/56ff7109501be1b45549658e50f9a39d.jpg a0f5478ff7ff87857205a2be95dc0627 https://omeka.binghamton.edu/omeka/files/original/7e17cf532ce76cf224d1c3f207058950.jpg 20b1baff341d4802c00fd3ceed7099b2 https://omeka.binghamton.edu/omeka/files/original/23b56e168553897e60c21bfb0cd19db2.jpg 83862799244a06801f29b3e9fcc01839 https://omeka.binghamton.edu/omeka/files/original/4b11967971cb8669148e7044eba1051f.jpg 1264a97d32936850093669ffed46f3af https://omeka.binghamton.edu/omeka/files/original/3a0d3ec983fc0203b45cd41b525558e7.jpg c662a44ed87972b10a59a4b4aef739fb https://omeka.binghamton.edu/omeka/files/original/0a74affb82338cf263ac0ee29ba3a85d.jpg 70387be11e0b776d26c01013177241e8 https://omeka.binghamton.edu/omeka/files/original/58eb0ef96c879de1ecd5d91bbb70d648.jpg 71c02898884b03093223620ac1f1c8ff https://omeka.binghamton.edu/omeka/files/original/8893f35fb8f31cbaf6a91e4c7a2e5730.jpg 4507167f46554db3bebb9da632b7e546 https://omeka.binghamton.edu/omeka/files/original/b33afef07bffca37c22f6f7f7eb708a6.jpg 7ec940f550bab7d4ab772565cab55dfb https://omeka.binghamton.edu/omeka/files/original/107cb3a0c181852830e3c74c688bc242.jpg 4a42da80af7fbccd3df5fe2445476053 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 Reinhardt Promptbooks Description An account of the resource Who is Max Reinhardt? The celebrated Austrian theater director <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt</a>, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. What is a prompt book? The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. Why are his important? Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. Acknowledgements Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale. Relation A related resource <a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a> <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt Archives and Library</a> <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&tab=DigitalCollections&search_scope=DigitalCollections&vid=01SUNY_BIN:01SUNY_BIN&offset=0">Max Reinhardt Collection Photographs</a> <a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a> <a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a> Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Jean Green,  Binghamton University Students: Madelynn Cullings Kashawn Hernandez Aanyah Jhonson-Whyte Marisa Joseph Bethany Maloney Ashleigh Marie Sherman Thomas Tegtmeier Joseph Vitale Promptbook Description Cast list included. Markings in purple pen, pink pencil, orange pencil, red pencil, black pencil, and blue pencil. Play starts on page 9, but Reinhardt chooses not to start play until page 13. Page 9-13 are crossed out. Notes throughout in all inks. Most notes correspond to specific points in the text. Also found throughout are extensive sketches on stage movements, staging drawings, sketches, etc. A promptbook annotated by Max Reinhardt. Collection Max Reinhardt Promptbooks Dimensions Physical dimensions of item Pages 1-104 28cm x 17.5cm Earlier version Earlier version (dcterms:isVersion Of) The Apple Cart Notes Located in Binghamton University Libraries Special Collections PT2635.E548P75 v.123 Production(s) September 1929, Salzburg October 19, 1929, Berlin -Supporting materials: Box 7 Folder 16-18: Photographs; scene designs and characters. scenes, scenes and artwork Oversized mounted 9 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 Kaiser von Amerika [promptbook] Subject The topic of the resource Shaw, Bernard, 1856-1950. Apple Cart -- Translations into German Promptbooks Stage directions Creator An entity primarily responsible for making the resource Shaw, Bernard, 1856-1950 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 1900s Contributor An entity responsible for making contributions to the resource Reinhardt, Max, 1873-1943 Language A language of the resource German Identifier An unambiguous reference to the resource within a given context R 3216 Rights Information about rights held in and over the resource Copyright undetermined. This image is provided for educational and research purposes only as is stipulated by U.S. and international copyright law. For more information, please contact speccoll@binghamton.edu. https://omeka.binghamton.edu/omeka/files/original/6977d43e6d928414e6f354bdb2323892.pdf 58cde290417c1bc3b42f940a3ffcbaf1 PDF Text Text �THE HARPUR CHORALE PROGRAM Fred Thayer, Director Glory to God in.the Highest PERSONNEL Randall Thompson (1899) Alla Riva Del Tebro G. P. da Palestrina (1526-1594) ranos Abendlied Zu Gott Robyn Friedman Laurie Kieﬀer Diane Krasinski Karen Madsen Valarie Overton Susan Ball Maria Bartolotta Amy Beech K a t h y Denmark Victoria Devany Doryce Penn Jody Silbiger F. Joseph Haydn (1732-1809) Ma r t i n K a s s , accompanist Sherri Strichman Carol Weir Sara Whitmore ENSEMBLE Ri cha rd Tou lson , director Altos Sing We and Chant It Marla Frazer Karen Fung Leslie Green Deborah Hamilton Susan Hamilton Susan Hoﬀmeister Karen Adler Maria Belva Wendy Bishop Jill Borenstein Jeanne Falinski Lori Finkelstein Allison Jameson Marjorie Millan Evelyn Pellicane Barbara Savage Barbara Wild Stacie Williams Song for Chorus and Piano Richard Berent R i c h a r d B e r e n t , accompanist “Cum Sancto Spiritu” _ from Petite Messe Solennelle Tenors Richard Berent Marc Berman Greg Gibbs Ian Kirschner Thomas Morley (1557-1602) (1954~ Gioacchino Rossini (1792—1868) Jill Borenstein, Glen Lyons Craig Russell Kevin McDermott Mitch Mendelson David Roseman Richard Toulson Jay Tran Philip Wu Barbara Savage , accompanistas INTERMISSION Psalm 90 Charles Ives (1874-1954) Basses R i c h a r d Brehm Robert Halliday Martin Kass Gary Levine Ross Levinson Kenneth Martin T i m Dungan James Elniski Ke i t h Go rhan J ay Gronachan President Vincent Vito A l l is o n Jameson Ri cha rd Tou lson J eanne F a l i ns k i G re g G ib b s S t ac i e W i l l i a ms Home Area Manager Tour Manager Secretary Treasunen Librarian R us s e l l S e n t i P h i l i p Wu She r r i S t r i ch man Men’s Wardrobe Women’s Wardrobe _2_ Publicity Sara Whitmore, orga R o b e r t H a l l i d a y , B a r b a r a S ava g e, R i c h a r d To u l s o n , Barbara W i l d , percusgion Laurie Kieﬀer , Philip Wu, soloists Andrew Rosing Bruce Sabacek Russell Senti David Swanda OFFICERS Gary Levine ) Reincarnations Mary Hynes Anthony O ’Daly The Coolin Samuel Barber (1910~ ) Great Day Arr. Warren Martin Susan Ba l l , Ri cha rd Brehm , Ke i t h Go rham , Ga ry Le v i ne , Jul Don A . W a t t e r s T h e a t e r 4 8 December 1 1 , 1972 �ACKNOWLEDGEMENTS We wish to thank our friends who have helped us this fall, and a special thanks to the following: Mr. Seymour Fink U.S.C. Representatives (particularly Mr. Fric Frank and Mr. Peter Knapp) Mr. A1 Hackling Mrs. Leatha Houck Mrs. Helen Donovan Mrs. Irene Sabacek Mr. Albert Hamme Mr. Philip Ccnole Mr. Chris Granger Mr. Alfred G. Brooks Mr. Harry Lincoln Mrs. Barbara Maxwell T r. Philip Friedhei m Miss Pam Fentv Mr. James Elnisl:i was the designer of the poster and the program cover. Miss Linda Uhley and Mrs. Patricia Thayer contributed their sewing skills. Especial thanks to Mr. Philip Wu and his friends in Taiwan for their contribution to the Chorale. � 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 / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audiotape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 19:24 53:22 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243541">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243541</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 Kaleidoscope in Sound, Harpur Chorale, December 11, 1972 Recital tape 1972-12-11 Description An account of the resource Works of Thompson, Haydn, Morley, Rossini, Ives and Barber. Held on December 11, 1972, Watters Theater. Creator An entity primarily responsible for making the resource Harpur Chorale 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 1972-12-11 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound