103 10 1775 https://omeka.binghamton.edu/omeka/files/original/c279404119129e77cadd342972770f77.pdf 17167dd5f8536775dd20989316c2fae4 PDF Text Text INGHAMTON B U  N  1  v  E R  s  1 T  Y S T A T E  U N I V E RSlTV O F  N E W  Y ORK £172 24 D E P A R T M E N T CBinghamton Lbniversity CWM Qfiymphany [0735'me ‘CEomething @H  Qfiomo’l/Iirig’ (90m Qbomehtnig SBorowed , Obomehtnig Blue” D ANIEL F ABRICIUS , CONDUCTOR Sunday, December 2, 2012 3:00 p.m. Anderson Center Chamber Hall �UNIVERSITY WIND SYMPHONY PROGRAM Daniel Fabricius, Conductor .Jack Stamp (b. 1954) Fanfare for a New Era (1997)  Blue Lake, Overture for Concert Band (1971). John Barnes Chance (1932 — 1972) Suite of Old American Dances (1949) .Robert Russell Bennett (1849 — 1981) I.  II.  III.  IV.  V.  Cakewalk Schottische Western One Step Wallflower Waltz Rag Folk Dances (1979). PICCOLO ALTO SAXOPHONE TROMBONE I Cara Natale Stephi Verhage Christopher Beard Veronica A. Mantilia Daniel Gross Christopher Murdock TROMBONE II Ryan Meehan TENOR SAXOPHONE Kevin Clements TROMBONE III Neel Tarikeri FLUTE I Jackie Robins Nicole Safran FLUTE II Andrea Dewhirst Devan Kasinki Hagar Dayan BARITONE SAXOPHONE Philip H. Westcott OBOE Jenna Graff (+English Horn) TRUMPEI’I Jason Boniello Kimberly Muller Brandon Young Brittany Wilson .Dmitri Shostavovich (1906 — 1975) Transcribed by H. Roberts Reynolds . Elsa’s Procession to the Cathedral, from “Lohengrin” (1846­48)  Richard Wagner (1813 — 1883) Transcribed by Lucien Cailliet CLARINET I George Deutsch Mary McGahay TRUMPET II Joshua Golub Jared Biunno CLARINET II Sofia Schneiderman Stephanie Sheintul TRUMPET III Andrew Vaccaro Ray Futia CLARINET III David Mossissey JooWon Kim Erin Annis FRENCH HORN David Luther Molly O’Brien Haleigh Doetschman Lauren Corey BASS CLARINET Molly Rice Zach Stanco EUPHONIUM Ryan Shumaker Justin Canaday Andrew Kaufman TUBA Elliot Bowen Matthew Gukowsky Michael Burgner PERCUSSION Emily Goetz Benjamin Ramos Alexander Rava Wesley Roth Tyler P. Steere Alex Valera �CONDUCTOR PROGRAM NOTES Daniel Fabricius is the newly appointed conductor of the Binghamton University Wind Symphony.  Professor Fabricius has been a member of the music faculty since 1992, serving  as  percussion  instructor  for  twenty  years  before  accepting  this  new appointment.  He holds degrees from Mansfield University and Ithaca College and has studied  conducting  with  Donald  Stanley  (Mansfield  University),  Rodney  Winther (Ithaca College), Stephen Peterson (Ithaca College), Col. Arnald Gabriel (US Air Force), and Mallory Thompson (Northwestern University).  In addition to his duties at BU he SOMETHING NEW Fanfare for a New Era was written as a celebration of Lt. Col. Lowell E Graham’s appointment as Commander of the United States Air Force Band.  The composer states, “As I envisioned the piece, I knew that I heard something energetic and vibrant, highlighting the talents of this fine ensemble..." also serves as Director of Bands at Owego Free Academy where he has developed one of the finest instrumental music programs in the region.  He is highly regarded in the region as a conductor, as a percussion performer, and as a music educator. Professor Fabricius has been a member of the Binghamton Philharmonic percussion section since 1982 but is also comfortable performing in popular, rock, jazz, and other styles.  He has played as a free­lance percussionist, accompanying national touring artists such as Michael W. Smith, Tommy Tune, Jerry Vail, Lorrie Morgan, Ringling Brothers Circus, the Smothers Brothers, and Ella Fitzgerald.  He has served the New York State School Music Association as an All­State Percussion adjudicator for many years.  He also serves NYSSMA as the Instrumental Jazz Reviews editor of The School Music  News  and  is  the  Jazz  Editor  for  the NYSSMA  Manual.  In  addition  to  his collegiate work at BU, he has also served Ithaca College as a consultant, as a member of the Summer Session faculty, and as a cooperating  teacher for over 35 student teachers. He also serves the Summer Music Academy at Ithaca College as a percussion instructor and jazz ensemble conductor.  He has presented many clinics at music conventions and conferences and often serves as a guest conductor for honor band festivals. rrrgherrrrrorr—  –Cerrorrrnerribe– m “ retrestra— Am caneir S ahay A n m n—~ l–u»—­—n­»m   oo­u h u n fi t — l l ! )  ~ u fi u w madman­twin!” L e d “ n ­ _ « n ­ _ ­ _ n a g – t r u — n . . . — a—ahtmn “ L . egg–1616.” . . _. .. . ... Pong  erPade mOnrantn ~  .  .  ~  / ~ ­ Saints and Sinners C u r ­ u n O n c b a l L Z O ll  3 00pm z r:_ec’Pr­e;o_~ r a n Church of    Birghamson., Crenargo 5: L amp»: 42 Crenargo 5,701.13. g a m m a   N} I e  o n : a  nd Carols for Christal. Saturday. Novercher : l . 2  0m. 7 30  p.m Sunday. November  J .  1 01 1 3  0 0 ; t  : can, mamas Iv: S i o i m w t f r e e  Birghamsor. 3 7 C eremom and Celebra don for Tu elfth N ight Saturday. January  1 2, 2 01 3,  30pm inner. J anna­1 3.201 3, 3 00]; n: (fif‘fffiix‘ofifsz'rl: JOHmrj’f’ree; ééegitcm’or  T } Tm a n d h n g Sunday, A p r i l  2013  3:00 pre Trizzy  .l/mor:a'_{=:x:pa’ Church +3  Main Stree. Brgramon, 17 The Madrigal Choir of Binghamton 2012­2013  35th Seaon www.madrigalchoir.com  G ot  1’] f 1 1 1 0 The  work  derives  its  framework  from  the  opening  trumpet  motif.  The  motif  is expanded and developed through a  variety  of compositional  techniques  including choraIe, fugue, augmentation, polychordal usage, and minimalism. Dr. Jack  Stamp  is  Conductor of Bands  at  Indiana  University  of  Pennsylvania.  Dr. Stamp’s primary composition teachers have been Robert Washburn and Fisher TuII. Recent studies include work with noted American composers David Diamond and Joan Tower. He is  active as a guest conductor, clinician, adjudicator, and composer throughout North America and Great  Britain.  His  compositions have been commissioned and performed by leading military and university bands across the United States. He has won the praise of American composers David Diamond, Norman Dello Joio, Michael Torke, Samuel Adler, Robert Ward, Robert Washburn, Fisher Tull, Nancy Galbraith and Bruce Yurko for performances of their works. He is also a contributing author to the “Teaching Music Through Performance in Band” series.  In 2000, he was inducted into the prestigious American Bandmasters Association. SOMETHING BLUE Chance  wrote  Blue  Lake  Overture in  1971  for  the  Blue  Lake  Fine  Arts  Camp  in Michigan.  Beginning with a tempo marking of slancio ("with impetuosity”), the initial motive is heard in the horns. The outer sections of the piece feature rhythmic intensity brought about by  Chance’s free use of both three and two eighth note groupings within measures of 4/4. While this often produces a 3+3+2 pattern which matches the length of the 4/4 bar, more often the note groupings defy that meter  altogether, spilling  over  barlines  and  creating  moments  that  sound  like  5/8,  9/8,  and  even unknown hybrid meters.  The  middle  section settles into a  circus­like  waltz  with wandering tonality.  Every section of the band gets a soIi in this rhythmic thrill ride. The energy of the opening returns to carry the work to its finale. A Texas native, John Barnes Chance played percussion in high school before he began composing. He studied under Clifton Williams at the University of Texas and earned his bachelor’s and master’s degrees in music. After graduation he joined the Army service bands as a percussionist and arranger. After his discharge he received a grant from the Ford Foundation’s Young  Composers Project and  wrote seven pieces for school ensembles. He served on the faculty of the University of Kentucky from 1966 until his untimely death in 1972.  In August  1972, Chance was airing a tent in his garden when a metal pole contacted an electrified fence used to confine his dogs. Chance was accidentally electrocuted and died from cardiac arrest. �SOMETHING OLD..... Robert Russell Bennett (June 15, 1894 – August 18, 1981) was an American composer and arranger, best known for his orchestration of many well­known Broadway and Hollywood  musicals by  other  composers  such  as  Irving  Berlin,  George  Gershwin, Jerome  Kern, Cole Porter, and  Richard Rodgers.  As the composer explained, the catalyst for the creation of his Suite of Old America Dances was a rare indoor concert by the Goldman Band held at Carnegie Hall: When Edwin Franko Goldman arrived at his seventieth birthday it was celebrated by a concert sponsored by the League of  Composers. For the concert they engaged the Goldman Band of New York and asked Dr. Goldman to conduct his own band in honor of his own anniversary. [My wife} Louise and I went to that [3 January 1948] concert and I suddenly  thought of all the beautiful sounds  the  American concert band could make that it hadn’t yet made. That doesn‘t mean that the unmade sounds passed in review in my mind at all, but the sounds they made  were so new to me after all my years  with orchestra, dance bands and tiny “combos” that my pen was practically jumping out of my pocket begging me to give this great big instrument some more music to play. To satisfy this urging I found time to put a good­sized piece on paper. There was really no such thing as spare time for me at that time, but somehow I got a part done here and a part done there and one day there was this piece to show Dr. Edwin Franko Goldman to  see if he  was  interested in adding one more  idiom  to  his  great collection.  Dr. Goldman and his son Richard, also a doctor, became very warm friends indeed and gave the new piece a great send­off. It was published with the name Suite of Old American Dances. I had a nice name for it, but you know how publishers are—they know their customers, and we authors never seem to. My name for it was Electric Park. Electric Park in Kansas City was a place of magic to us kids. The tricks with big electric signs, the illuminated fountains, the big band concerts, the scenic railway and the big dance hall—all magic. In the dance hall all afternoon and evening you could hear the pieces the crowds danced to, and the five movements of my piece were samples of the dances of the day. " The Goldman Band premiered SOAD—with the composer conducting–in Central Park, New York, on June 19, 1949, and gave it several additional performances that summer. Robert Russell Bennett spent much of his career collaborating with the composers and lyricists for musical theater productions.  During the mid­20m century theater goers and record and radio listeners would know many of the most famous musicals in the era – such as Oklahoma, South Pacific, or The Sound of Music – by the “sound” of Bennett’s brilliant orchestrations.  Schooled by his mother to disdain popular music, Robert Russell Bennett found the dichotomy between his serious compositions and his arranging work to be a lifelong struggle. In spite of his prolific output, which included the opera Maria Malibran, more than seven symphonies, a large variety of chamber works, and at least five concertos, his reputation today as a classical composer rests primarily on two oft­recorded pieces, the Suite of Old American Dances and Symphonic Songs for Band. This may be  attributed both to the modesty so characteristic  of Bennett and to the Eastman Wind Ensemble recordings which popularized them. In his composing, Bennett brought to bear his considerable talent for orchestration as well as a gift for conceiving melodies and harmonic structure in his head; longtime Bennett copyist Adele Combattente (of Chappell Music) confirmed his ability to write parts in score order, as opposed to filling in leftover parts and doublings as he  completed primary melodic lines. He nearly always scored directly in ink, rather than pencil. The Tony A ward for orchestrations has only ex isted since 1997 ; Bennett w as  given a Special  Tony  Award  in  1957  and  again  in  2008  “in  recognition  of  his  historic contribution to American musical theatre in the field of orchestrations, as represented on Broadway this season by Rodgers & Hammerstein’s South Pacific.” Other honors have included his Oscar for the film Oklahoma!, a 1962 Emmy award, television’s Christopher Award in 1960, the City of New York’s Handel Medallion in 1967, Los Angeles’s honorary  Scroll  in  1979, and an honorary  doctorate  from Franklin and Marshall College in 1965. The dances Bennett chose to set to music were as follows. Cakewalk – The cakewalk dance originated on the southern plantations, where slaves often imitated their plantation owners.  The dance or “strut” was danced to  jig­like banjo/fiddle music, usually done by  couples who,  with  a backward sway, strutted in a medium high step or low kicking fashion.  Plantation owners would encourage their workers by presenting prizes for the best couples.  The prize was often a cake, usually  shared with the other participants.  The men would often dress in long coats with high collars and the women in frilly gowns, to mimic their white owners. Schottische – Although the  title  of  this  dance  suggests  that  its  roots  lie  in Scotland, the schottische is actually a German variant of several Bohemian dances that later developed into the polka.  The schottische features quick shifts from foot to foot and a striking of the heel.  These movements resemble the Scottish reel and may have inspired the name.  Because the polka was at one time called the  “Scottish  Waltz,”  it  is  also  possible  that  this  earlier  dance  inspired  its namesake.  Either way, the dance came to the United States by way of England when polka dancing became the rage among continental society in the 1840s. The music for the early schottische was usually written in 2/4 time, and many describe the dance as simply a slow polka. Western One Step – The Western One Step included in the Suite of Old American Dances is a somewhat misleading title.  As Frederick Fennell points out, “The composer informed me that this is also a dance known as the ‘Texas Tommy,’ an obviously bright­eyed tune with an equally bright­eyed tempo.”  Little is known about the Texas Tommy, one of the obsolete forms of the one­step.  This dance, from the early 20 ”  c entury, is believed to have originated in brothels and saloons, where ladies of the evening were known as “tommies.”  There is a record of the Texas  Tommy  appearing  in  the  New  York  Lafayette  Theatre  production  of Darktown Follies in 1913, Wallflower Waltz – Although the beginning of the 20 ”  century represented a new  cultural era, replete  with new  dance steps, the time honored waltz still reigned as king of the ballroom dance scene. �Rag – It seems fitting that Bennett chose to end his suite with a rag.  Although there is no one specific dance that can be associated with the rag style, Bennett’s choice  of  music  is representative  of the  era  as  a  whole.  The  ragtime  era coincided with the beginning of the century, and with a new generation which was harshly criticized by its elders for embracing novel ideas. THE WEDDING Elsa’s Procession to the Cathedral, with its medieval color and pageantry, prefaces her betrothal to Lohengrin, mystic Knight of the Holy Grail, who comes to deliver the people of Brabant (Antwerp) from the Hungarian invaders. SOMETHlNG BORROWED..... Composed in Shostakovich‘s light­hearted style, Folk Dances is a single­movement work is  filled with  the  joy  and exuberance of the Russian  people.  The many folk In the  operatic  presentation, a large  double  chorus  (representing  the  people  of Antwerp) adds its song of solemn praise to that of the orchestra. It is in this music, melodies are combined in a string so that musical energy abounds and the spirit of folk musical thoughts that w ere t o culminate in Tristan, The Ring, and Parsifal. Not quite dances can easily be imagined.  Folk Dances was originally the third movement of a suite  for  orchestra entitled Native Leningrad, Op. 63, first  published in 1942  and reissued in 1970 as Suite, My Native Country. This suite was assimilated from the incidental music to a theatrical production of the same opus entitled Motherland. Shostakovich  collected several native Russian dance tunes and carefully tied them together into this single composition. In the theatrical production, this set was called Youth Dance or Dance of the Sailors – a name, though not specifically noted, that held over to the orchestral suite. Marck Vakhutinskii arranged this suite for Russian band instrumentation (a greater percentage of brass parts than American instrumentation) in 1952 and was edited for America bands by H. Robert Reynolds in 1979. emancipated from the musical speech of his operatic contemporaries, one finds in the Lohengrin  score  those  unmistakable  flights  into  musico­dramatic  magnificence transcending all that preceded it in idiom and musical adventure. Dmitri Dmitriyevich Shostakovich (September 25, 1906 – August 9, 1975) was a Soviet Russian  composer  and  pianist  and  a  prominent  figure  of  20th  century  music. Shostakovich achieved fame in the Soviet Union under the patronage of Leon Trotsky’s chief of staff Mikhail Tukhachevsky, but later had a complex and difficult relationship with  the government. Nevertheless, he  received  accolades and  state awards  and served in the Supreme Soviet of the RSFSR (1947–1962) and the USSR (from 1962 until death). After a period influenced by Sergei Prokofiev and Igor Stravinsky, Shostakovich developed a hybrid style, as exemplified by Lady Macbeth of the Mtsensk District (1934). This single workjuxtaposed a wide variety of trends, including the neo­classical style  (showing  the  influence  of  Stravinsky)  and  post­Romanticism  (after  Gustav Mahler).  Sharp contrasts and elements of the grotesque characterize much of his music. Shostakovich‘s orchestral works include 15 symphonies and six concerti. His chamber output includes 15 string quartets, a piano quintet, two piano trios, and two pieces  for string octet. His piano works include two solo sonatas, an  early  set  of preludes, and a later set of 24 preludes and fugues. Other works include three operas, several song cycles, ballets, and a substantial quantity of film music. H.  Robert Reynolds is Principal Conductor of the Wind Ensemble at  the Thornton School of Music at the University of South California, where he holds the H. Robert Reynolds Professorship in Wind Conducting. This appointment followed his retirement after 26 years from the University of Michigan School of Music, where he served as the Henry F. Thurnau Professor of Music, Director of University of Bands, and Director of the Division of Instrumental Studies. In addition, he has also been conductor of the Detroit Chamber Winds and Strings for over 25 years. mystic yet powerful, that we find Wagner striking out with those new and intense In this transcription of Elsa’s Procession for symphony band, Lucien Cailliet, with his great  talent  for instrumentation, has  succeeded  in  building  into  the  instrumental framework of the modern band a true and delicate representation of all that Wagner so  eloquently  describes  with  orchestra  and  chorus.  In  the  present  score,  the instrumental solo voices of the original score are paralleled, the choral voices deftly absorbed in the rich instrumental texture and all the luxuriant Wagnerian color re­ created in terms of the instrumentation for the band. Richard Wagner (born May 22, 1813, in Leipzig; died February 13, 1883, in Venice), a German composer, was one of the most influential people who lived during the 19th Century. His most influential works were in the medium of opera. These compositions include  Der  Ring  des  Nibelungen,  Tristan  und  Isolde,  and  Die Meistersinger  von Narnberg. Even though he died more than a century ago, Wagner remains a divisive figure due to his personal views. Wagner first attended school in Dresden and eventually attended Leipzig University in 1831. At this time he studied briefly with Christian Gottlieb Muller and was heavily influenced by Beethoven. He gained his first position through help of his brother as the choirmaster at the theater in Wirzburg. Wagner composed operas at this time influenced  by  Weber  and  Bellini.  His  early  career  led  him  to  travel  throughout Germany with one company, hold a position in Berlin, and move to Paris in 1839. His first  large success  was  with the premiere  of Rienzi in  Dresden  in  1842. This  was followed  shortly  by  the  premiere  of  Der fliegende Hollidnder,  and then  Wagner’s appointment as assistant choirmaster for the court in Dresden. While in this position he presented the premiere of Tannhéuser. In 1848, after the revolutions in  Paris and Vienna, Wagner saw an opportunity to develop a German national theater and joined revolutionary minded people. When an attempt at revolution in Dresden failed, the composer was forced to flee because of his associations with the revolutionaries. He first stayed at the home of Liszt but then moved on to Zurich. Wagner spent much time writing in the 1850s and was able to secure living expenses from two women. Ideologically, he began to associate with the philosopher Arthur Schopenhauer. He conducted important works such as Tristan und Isolde and Die Meistersinger von Nu’rnberg but Wagner had also accumulated a lot of debt. �Our, I x: E PERA   D R , F Newson! In 1864, Ludwig II of Bavaria gave the composer money to pay his debt and also gave him an annual salary as well. This helped Wagner to move back to Germany and to develop his theater in Bayreuth. The composer also developed a relationship with Cosima, the daughter of Liszt and wife of Hans von Bulow, who he eventually married. In 1876 the complete Ring Cycle was performed for the first time. Wagner’s last major work, Parisfal, was premiered in Munich in 1882. He passed away from a heart attack shortly after moving with his family to Venice. 2 0 1 2 ­ 2013  SEASON Lucien  Cailliet  (May  22,  1891  ­  January  3,  1985)  was  an  American  composer, conductor, arranger a nd  clarinetist. Born at Dijon, in France, Cailliet studied at the Conservatory in his native city before migrating to the United States in 1918.  CaiIIiet worked as staff arranger for the Philadelphia Orchestra. During this time, he founded the Cherry Hill Wind Symphony, which would later become the Wind Symphony of Southern NewJersey. [I  rzsazsmrz  Februayr$  &10 ,2013 ] Apmzsamma Cailliet is well known among wind musicians for his faithful arrangements of orchestral music for wind ensemble. In particular, his arrangements of Elsa’s Procession to the Cathedral (from Wagner’s opera Lohengrin) and Finlandia (a symphonic poem by Jean Sibelius) have become staples of the wind ensemble repertory. Lucien Cailliet served as Associate Conductor of The Allentown Band (Pennsylvania) from 1934 until 1969. During that period, he conducted many of his arrangements on Allentown Band Concerts. The renowned composer and arranger studied at several French music conservatories before graduating from the Dijon Conservatory at age twenty­two. He also received a degree from the National Conservatory in Paris. He was a bandmaster in the French Army and, in 1915, he toured the United States with the French Army Band. In 1919, he joined the Philadelphia Orchestra as a clarinetist, saxophonist, and arranger, where he worked closely with Leopold Stokowski. In 1923, at age thirty­two, Cailliet became an American citizen and continued to play with the Philadelphia Orchestra while attending graduate school at  the Philadelphia Musical Academy. After receiving his Doctor of Music Degree in 1937, he moved to California to teach at the University of Southern California. After teaching there for seven years, he decided to devote his time to guest conducting and composing film scores. 8  p a a C ­ A fi w m u A dicot!    OBERT  ECKERT  EATRE at the  R  conter  8 0 7– 7 8 5 –8  9 0 o  w . .  iratArsW­ri 3 — EPAC Repertory Company  [PIE ITTITTHTTETH  F id l er   5.9),  atone La n S lm O S November 9 ­ 18,2012  December 14 ­ 16, 2012 Community theater is GREAT for the community! The Forum Theatre » 236 Washington Street Binghamton, NY For tickets call 607­772­0400 or visit us online atwwtricitresoperaxom.   n bv’n  NowYor’ 5 : c h arts–Am a t n c u c w . p rodurtions .   m m m e r v a w a ­ d m l m VofiSunL­yumr onur wwnwsmcncw­mwmmmu—acmurm   A I – T a m i  laErl­ame g u n m a n ­ p u r e ” q u a s a r ­ “ wM I fi m c e m m L ­ n  ley. Cavaliers fustizans Wormndtx Mertns Coline.  “Engh Suparises Sonya Freidman . ”1 . I l N G N A m T O N   Wdossiuh Novo  H l f r  ­ Musk:  Director  ChamberSories  10.06.12 Beethoven Sibelius. 02.02.13  New Orford  11.11.12 V a n s  R equiem Jarice Chandler Eteme,  soprano   ishol, mezzo­sopran: Stu,R Marco Panucdo,  tence Gustav Andreassen bass &inghamton University Chorus 0I10.U&ahmtmm Pascual ­.  Mantriez  Forteza, clarinet 0420.13 Shostakovich s m n Pops Series 12.08.12 Holiday Brass Boston Brass, guest artist 03.16.13 M u m  of the Eagles team n Classics, gum artist C E E W  DNILMARNONIC Classical Series Noah Bendix­Baigiey, viokn 2  ”E3, (11,  B Smg oulnl  0324.12  Ymc auma  © l  g ‘  ‘  ‘ é i w l fl f t 7  u l fi “ 5 1 1 “ ,   3  s gt», Special Concert 05.11.13  Dr s m y i n   Concert:  Magical Music  fromthe Manes  ,_  .  ,  $35  Xe;  S h s‘f, e SE RIES  3  a 9 V E  ‘Q‘ aL TING BEMUSIC. ORDER TODAY! wwwbingham tonphitharmonic.org  807.723.3931 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 35 minutes :36 seconds Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE140937">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE140937</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Binghamton University Wind Symphony presents "Something Old, Something New, Something Borrowed, Something Blue," December 2, 2012 Description An account of the resource Held at 1:20 p.m., December 12, 2012. Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 12/6/12 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 54 minutes : 42 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141083">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141083</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Master's recital Meghan Cakalli, December 8, 2012 Description An account of the resource December 8. 2012 Creator An entity primarily responsible for making the resource Cakalli, Meghan Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 12/8/12 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/1a77430cf80616aa5f73bf96ab378c45.pdf 7bb6c4f791e680448cd835f3ac6bf16f PDF Text Text BINGHAMTON U N I L V E R S L T 144/00 D E P A R T M E N T Binghamton University Symphony Orchestr a GEORGE MYERS, CONDUCTOR Saturday, December 8, 2012 3:00 p.m. Osterhout Concert Theater �PROGRAM Binghamton University Symphony Orchestra MUSICIANS VIOLIN I Gustav Holst (1874 – 1934) Jupiter from The Planets Three Dances from The Bartered Bride Bedfich Smetana (1824 – 1884) I.  Polka II.  Furiant III. Dance of the Comedians .e­INTERMISSION­e Symphony No. 7 in A Major II. Allegretto Finlandia . Ludwig van Beethoven (1770 – 1827) ...Jean Sibelius (1865 – 1957) Ella Serrano Rebeca Sgroi Ife Samms Emma Lecarie Nicholas Thompson Joseph Vanderpool Sara Sunshine Anna Li Christopher Rogers Karen Fu Cameron D’Auria Simon Benarie VIOLIN II Gabrielle Maire Natalie Bock Jaclyn Podd Jiwon Nam Emily Sui Olivia Rhines Sarah Kohtz Nathaniel Christman Eleanor Krasman Michael Tiongson Fanny Chu VIOLA Jillian Chen Mimi Nam Ethan Schaber Lindsay Covington Tiffany Williams Harrison Dulin VIOLONCELLO Eric Wuu CLARINET Jaclyn Adler Felicia Scalzetti Paul Watrobski Richard Reitz Xander Edwards Raeleen Bichler Andrew Card Deborah Mariottini Emily Mockler Skylar Orenstein Buono BASS Kristine Beckmann Gabriel Felix Robert Durante PICCOLO Alexander Baron FLUTE Jessica Biagiotti Lindsay Ralbovsky OBOE Allison Moskowitz Rebecca Marwin Hao Sun BASSOON Laura Earls Natalie Spitzer HORN Zachary Birnbaum Matt McAuliffe Natalie Rivera Kathryn Saturnino TRUMPET Kevin Hannon Junbo Yan TROMBONE Billy Marsiglia Drew Perotti Jacob Strohm BARITONE Ryan Shumaker TUBA Matthew Gukowsky TIMPANI Benjamin Rothschild PERCUSSION Steve Olson Andrew Williamson �BIOGRAPHY GEORGE  MYERS  was  director  of orchestras  at  Ithaca  High School for the past sixteen years, until his recent retirement. He began  his  performing  career  at  the  age  of  11,  performing  a concerto movement live on WNYC radio for the broadcast “Young America Plays.”  He holds  an MM in Viola Performance from  SUNY  Binghamton,  where  he studied  with  Toby  Appel.  As a member  of the Catskill  Chamber Players  (which  included  BU  professor Timothy Peny, as well as BU cellist Steven Stalker and 1 ] violinist Janet Brady) and the Catskill String Quartet, he performed a large body of 20th century works, giving premieres at Weill Hall at Carnegie Hall. Under grants from Meet the Composer, he had the opportunity to work  with such notable composers as Virgil Thompson, John Cage and Henry Cowell. The Catskill Quartet also performed many children’s concerts throughout upstate New  York, and for their service to education, the Catskill Conservatory,  i /­' s, .  » ­  %   p: umbrella for the Chamber Players, was a recipient of the New  York  State  Governor’s  Arts  Award.  He  was  on  the  faculty  of 3  Hamilton College for 15 years, teaching violin, viola and chamber music. During his time at Hamilton, he also wrote a number of arrangements for their jazz ensemble, as well as arranging and  performing with a ten piece jazz band in the area. He has also  served  on  the  faculty  of  both  Colgate  University  and  Ithaca  &  ’  College,  teaching  viola.  He  conducted  performances  for  the Mohawk Valley Arts Association, and has been guest conductor for  NYSSMA  festivals.  Mr.  Myers  was  a  member  of  the Glimmerglass  Opera  orchestra  for  15  years,  beginning  at  its inception. For 10 years, he was principal violist with the Utica Symphony, and served in that capacity with a number of upstate regional orchestras. H e  has twice toured as a soloist in Europe  with  the  Ostschweizer  Kammerorchester,  and  performed  a s   a  member of the Spoleto Festival Orchestra in Italy.  For 14 years,  as a member of the Aurora Quintet, he was in residence at Ithaca  College’s Summer Chamber Music Institute, where he conducted  the string chamber orchestra and coached quartets of talented  young  musicians  from  across  the  country.  He  is  currently  a  member of the core orchestra of the Cayuga Chamber Orchestra.  He is married  to Jennifer Reuning Myers,  a  prominent Suzuki  violin teacher and musician in the Ithaca area.  4  )  ‘  x '  . 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A , . a a . . a m r . . v . » . u . – a  L . w m a . a . u . . ­ . . a t m v . . B *nghed  Supmctides  ola  E m C I E M u ­ m m a h ­ n t h m k ­ t n n w w w u m 7  e p d a C    7  7 1 7 . 1 4 7 . . . .   W atthe ROBERT ECKERT THEATRE  “ M a ~ 4.42 A  L E A S   RFAi d  d l e r   Tynow  314g” X 0 0   C O N C H Stole Christmas November 9 ­ 18,2012  December 14 ­ 16, 2012 Community theater is GREAT for the community! Classical Series  Chamber Series  10.06.12 Beethoven/Sibelus  Noah Bendix­Balgiey, violin  o : 0  1  r ;  New  Orford  Suing Quartet  r r  r r  r z  t i e ­ a  R e q u i e m   0 3 2 4 . 1 3   Tr i o  Cavatina  x’ 24mm  mezzo­soprano.  Math'JuL,L  tenor  «  Www.EndicottArts.com L>Q  DM1.NA M s c  Dire: Magical Music  Pops Serles  12.08.12 H o l i d ay  Brass  77  7 7 M  OX‘GIXMUHLdthEnb‘  Jeans  ‘n Classics, (L  311119. h o 4  , " 1  .  P a r    ’, 4: " W  “  4  A ,  oo.a­A  r  p  .rm.rr~m~r,.  il  n ” ,   ” N w  A % vJ i  S4 8,  tf OE  .  Concert:    eater Tied  cum:S A , « . pnt  SpeclaiConoer t  05.11.13  Disney  Binghamton University ‘mms  04.20.13 Shostakovich S i x t h   ONIC .  1­  Gustav Ar­‘im‘aswh bass  an  lz '»' Marti r < l l 1 e   P a scual   at, 1 1 4  c lcline  F   — . T“1.11: t.'­  . T Janice Chandler Eteme,  soprano  H W M MAW M J J J   6 0 7 ­ 7 8 5 ­ 8 9 0 3 . EPAC Repertory Company ,  [ELI iteurionl Bomllll  ‘ 7 P ( . B‘  i r g r a m o n .  ,‘­'.‘ The Madrigal Choir   o f Binghamton ‘Mv Spanish H aart  ,  ,  ’  , '   A  ‘  A : ‘ t  v o t Ys 4 “ ‘ ORES   “1G 3 1 © (  S Tg A 5   v E n g } !   TING E A M L  S I C . ORDER TODAY! wvm.binghamtonphilharmonic.org 607.723.3931 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 39 minutes :36 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141086">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141086</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Binghamton University Symphony Orchestra, December 8, 2012 Description An account of the resource Works by Holst, Smetana, Beethoven, Sibelius Held at 3:00 p.m., December 8, 2012, Osterhout Concert Theater. Creator An entity primarily responsible for making the resource Myers, George Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 12/8/12 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 54 minutes :05 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141089">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141089</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mid-day, December 13, 2012 Description An account of the resource Held at 1:20 p.m., December 13, 2012. Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 12/13/12 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/a8256c538388d780f01d25866ae8d6f0.pdf c016baf6a28da02c76af27ee6cc95ed4 PDF Text Text INGHAMTON B 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 rede D E P A R T M E N T T H E  N U K P O R F E A F R I C A N  D A N C E ­ D R U M MIN G  E N S E M B L E WARAARAARIAA RNAAAAAAAAAA F riday, D ecember  14, 2012 7:00 p. m. W a tter ’s  T hea ter �PROGRAM Tonight’s program presents a meeting between several folkloric dances from West Africa Entrance of Shango (Cuba). Shango was a former Yoruba king, who became a deified ancestor associated with lightening and divine punishment. He is also a powerful warrior, and wields a thunder axe. and the Caribbean, focusing on the similarities in their musical languages and oral traditions, while also celebrating their unique local expressions. This evening we will be focusing on traditional dance­drumming styles from Ghana and Cuba. Ghana is a country of immense cultural diversity, with over 10 major ethnic groups, each with their own unique music and dance forms. During the Trans­Atlantic slave trade, many of these forms were brought to Cuba, where they developed into their own distinct traditions. In particular, Afro­Cuban culture was heavily influenced by the cultural heritage of the Ewe­ VI. Solo dance flights from the dance Agbekor (Ghana). The following ten solo dance important cultural retentions in Cuba is the Yoruba pantheon of deities, known as Orisha. and the set of three bata drums used to call them to dance. which we will be featuring VII. Entrance ot Oya (Cuba). Oya is the goddess who guards the underworld, and is Fon people of Ghana and the Yoruba people of Benin and Nigeria. One of the most tonight. A performance of African traditional music is a multimedia event that includes singing, dancing, drumming, fashion design, and other forms of cultural expression. To simulate that experience  in an  academic setting has required the generous support of the Departments of Africana Studies. Music, and Theatre Dance. and represents collective work between the four classes: the Beginning and Advanced sections of African Dance (THEA 289J/389J;AFST 289J/389J) and the African Music Ensemble (MUS 143B/MUSP 257;AFST 188B). These courses are offered each semester through the Departments of Africana Studies, Music, and Theatre Dance. I.  Entrance of Eleggua (Cuba). In Yoruba mythology, Eleggua is the deity of the crossroads, who opens the channels of communication between human beings and the other gods. He is normally saluted at the beginning of every performance to ask for his blessings. Eleggua is often depicted as an old man who likes to play tricks on people– he can appear feeble and then surprise everyone by suddenly exhibiting the strength of a young man. Il.  Sohoun (Ghana). Following the theme of invocation, we present the dance Sohoun, an Ewe­Eon dance originally used to open ceremonies of the Yeve shrine. which also contains a pantheon of deities that are related to those of the neighboring  Yoruba, whose own  pantheon  inspired  the  Afro­Cuban  version presented above! III.  Entrance of Ogun (Cuba). Ogun is the deity of war, who is known for his rough countenance. and lack of social graces. In the new world, he is often depicted as a wild man from the bush, who is a fierce warrior and defender of the weak. IV.  Processional from the dance Agbekor (Ghana). Agbekor is a war dance of the Ewe people of Ghana. The opening song calls the warriors to battle against the European colonial powers. The second song memorializes the great warrior Kundo who led warriors into battle and has been killed. The movements of the dancers imitate moments of the battle, and follow the drum language of the lead drum, atsimevu. movements come from the climax of the Ewe Agbekor war dance introduced above. Each sequence is introduced by the lead drum, and is completed with a turning movement. also known as a warrior– she once grew a beard so that she could light with the men. She is also associated with tomadoes, earthquakes and other dangerous natural phenomena. In Nigeria she is the goddess of the river Niger, one of the most important rivers in West Africa. VIII. Togo  Atsid  (Togo,  Ghana). This  dance  piece  is  made  up  of  a  series  of choreographed dance sequences known as atsia. These sequences are cued by drum language phrases [vugbe] played by the lead drummer on atsimevu ­ the tall drum leaning on the stand ­ which are answered by the response drum kidi ­ the medium­sized drum. In the 19605, expert choreographers and drummers in the Ghana Dance Ensemble arranged this series of atisa movements into a performance piece, which they dubbed Togo Atsié. in recognition of their origin within Ewe groups in Togo. w  INTERMISSION c3 IX. Entrance of Oshun (Cuba). Oshun is the goddess of sensuality and beauty, which is tempered by an inner sadness due to the lack of love and caring in the world. She is revered as a divine mother. and also as the queen of the marketplace. In Nigeria, she is associated with the river Oshun, and is an important water spirit, Kpatsa (Ghana). This dance comes from a neighboring group of the Ewe, known as the Ga­Adangbe. They share many linguistic and cultural affinities with the Ewe. and these two groups have historically interacted with each other. The characteristic movement of Kpatsa is a limping gait that imitates the movements of dwarfs. a magical race of beings which inhabit rural areas in Ghana. These movements were embellished with dance combinations and eventually became a social and recreational dance known as Kpatsa, whose name is an onomatopoeic reference to the movement of dwarfs. Xl. Entrance of Yemaya (Cuba). Yemaya is the divine mother, who gave birth to many of the Orisha and also humanity; she is also the goddess of the ocean. Yemaya is the protector of all human beings, who are all her children. �XII.  Gahu (Ghana). Gahu is a neo­traditional dance that has been adopted and adapted by the Ewe people of Ghana. It is an offshoot of the Gome dance, a Pan­ Atlantic African dance form that emerged in the 19th century from the synthesis of European hymns and marches with West African musical sensibilities. The name Gahu  suggests  an  airplane,  and  represents  local  experiences  with  new technology and culture. The songs are often humorous and fun, suggesting themes of courtship and celebration. XIII.  Kinka (Ghana). Kinka is a relatively modem style of Ewe funeral music that became popular in the 1950s. It features a distinctive body of songs and drum language phrases that juxtapose images and themes from traditional Ewe culture with modern life. The choreography uses only one basic movement so tonight we would like to invite members of the audience to come up and join in the dancing! If y ou like the music please follow our Facebook page (Nukporfe African Dance­ Drumming Ensemble) for upcoming performances. We are also an SA Chartered group, and welcome students and faculty to join our group at:  http://paws.binghamton.edu/organization/Nukporfe. All of the music and dance that you see today is performed by students at Binghamton University who are taking a course in the Departments of Music, Africana Studies, and/or Theatre Dance. If you are interested in Ieaming the dancing please register for the Beginning (THEA 289J / AFST 289J) or Advanced (THEA389J / AFST389J) sections of African Dance. If you are interested in drumming and singing, register for the African Music Ensemble (MUS 143B / AFST 188B). Bing hamton U niversit y M usic Depart ment ’s Coming Events m m m m m e s b Saturday, Decem ber 15 – “The His tory and Tech nique of  Music i n Video Games ” w ith se n io r Matthew Guk owsky– 8:00 p.m. – Casadesus Recital Hall – free Sunday, Decem ber 16 – Master ’s Recital : Robert Hee­P young Oh, baritone – 7:30 p.m. – Casadesus Recital Hall – free m a s h ­ m a m m a r y E  O For  tickets  or  to  be  added  to  our  email  list,  visit anderson.binghamton.edu or call (607) 777­ARTS. For a com plete list of ­ =  [ m E ]   f   our concerts call (60 7 ) 777­2 592, v isit music.binghamto n.edu or become a f an on Facebook. If  you  were  inspired  by  this  performance,  consider  supporting  the Department of Music with a financial gif t. Your support helps to continue the work of  students, facult y, and guest artists and their contribution s to our communit y. Please make your donat ion payable t o the Binghamton University  Music  Department,  and  send  your  check  to  BU  Music Department, P.O. Box 6000, Binghamton, NY 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 73 minutes :55 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141256">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141256</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 The Nukporfe African Dance-Drumming Ensemble, December 14. 2012 Description An account of the resource Held at 7:00 p.m., December 14, 2012, Watter's Theater. Creator An entity primarily responsible for making the resource Nukporfe African Dance-Drumming Ensemble Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 12/14/12 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 45 minutes :46 seconds 52 minutes :39 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141259">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141259</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Singing Chinese December 14, 2012 Description An account of the resource Held at 7:00 p.m., December 14, 2012, Casadesus Recital Hall. Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 12/14/12 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 55 minutes :43 seconds 25minutes :1 second Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141263">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141263</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource History of video game music, December 15, 2012 Description An account of the resource Work by Gukowsky Held at 8:00 p.m., December 15, 2012, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Gukowsky, Matthew Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 12/15/12 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 55 minutes Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141267">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141267</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Master's recital, Robert Heepyoung Oh, December16, 2012 Description An account of the resource Work by Oh Held at 7:30 p.m., December 16, 2012, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Oh, Robert Heepyoung Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 12/16/12 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/78251da1aa44436267940f02a6c3f3db.pdf a95619a8e550eb2f63108ba1812680a1 PDF Text Text BINGHAMTON U  N  I  V  E  R  S  l  T  Y S T A T E   U N l V E R S I T Y   O F  NEW  Y O R K D E P A R T M E N T The Binghamton University Depart ment o f Musi c prese nts a MID­DAY CONCERT £2 Tuesda y, M a r c h 6, 20 12 1 :2 0 p. m. Casadesus Rec ital Ha ll �PROGRAM String Quartet # 14 in D minor, D.81 0  (“Death and the Maiden")  .Franz Schubert (1797–1828) l. Allegro Aria of Amina, “Come per me sereno Sovra iI sen,”  from La  Sonnambu/a  Christina Santa Maria, soprano William James Lawson, piano Quartet for Saxophones  lll .  Papillons  Gabriel Fauré (1845–1924) Natalie McCreary, fl ute Margaret Reitz, piano Sonata #23 in F minor, Op. 57,  “Appassionata”.  1. Allegro assai  .Ludwig van Beethoven (1770–1827) Sung­Kyun Ryu. piano Sonata in E­flat Major for V iola and Piano, Op. 1 20, No. 2.......Johannes Brahms 1. Allegro amabile  (1833–1897) Benjamin Pochily, viola Michael Salmirs, piano Concerto for Trombone and Orchestra .  ll. Andante grave (Quasi una leggende)  Launy Grendahl (1886–1960) William Marsiglia, trombone Margaret Reitz, piano The Lure of L ittle Voices Stephen Lias (b. 1966) Richard G. Leon berger, tenor U Lee, piano Neoromantic Preludes Nos. 1, 2, 3 .   Christian Martin, piano Vincenzo Bellini (1801–1835) Meghan Cakalli, soprano U Lee, piano Stefano Donaudy (1879­1925) Fantaisie for Flute and Piano (1898)  Gordon Stout (b. 1952) Adam Goldenberg, marimbo James Hsia and Gabrielle Maire, violins Benjamin Pochily, viola Xander Edwards, violoncello Amorosi miei giorni  Mexican Dance #1 for Marimba Solo.  . Christian Man in (b. l990) Tiger Rag .  Faustin JeanJean (1900–1979) Traditional, Arr. Bill Holcombe Dean Papadoupolos, soprano saxophone Zal Mirza, alto saxophone Raymond Hendricks. tenor saxophone Darin Mihalik, baritone saxophone Duet, “O Mimi, tu piii non torni” from La  Boheme  . Giacomo Puccini (1858–1924) Mario Eun Hwan Bae, renor (Rodolfo) Robert Hee­Pyoung Oh, baritone (Marcello) U Lee, piano James Hsia, Violin—is a second~year M.M. majoring in  V iolin Performance Gabrielle Maire. Fiolin—is a sophomore, major undeclared Benjamin Pochily, Hal o  is a sophomore majoring in Music and Comp.Science Xander Edwards, Violoncello—is a sophomore, major undeclared Christina Santa Maria. Soprano—is a freshman B.Mus majoring in Voice Natalie McCreary, Flute—is a junior majoring in Human Development Sung­Kyun Ryu. Piano—is a senior majoring in Mathematics William Marsiglia. Trombone­–is a junior majoring in  Biology and Music Richard G. Leonberger. Tenor—is a second­year M.M. majoring in Opera Christian Martin. Composer–is a senior B.A. Music major Adam Goldenberg. Marimba—is a senior majoring in Biochemistry/Music minor Meghan Clkalli. Soprano—is a second­year M.M. majoring in Opera Dean Papadoupolos, Soprano Saxophone—is a senior majoring in Accounting Zal Mirza. Alto Saxophone—is a sophomore majoring in Engineering Raymond Hendricks. Tenor Saxophone—is a senior majoring in Engineering Darin Mihalik. Baritone Saxophone—is a freshman majoring in Physics Mario EunHtvan Bae. Tenor—is a first­year M.M. majoring in Opera Robert Hee­Pyoung Oh. Baritone—is a first­year M.M. majoring in Opera �Binghamtan University Music Department’s U P C O M I N G .  E V E NT  S M M t b ' fi M t D ­ W fi w r b ’ Mid­Day concerts are held on Thursdays, 1:20 PM in Casadesus Recital Hall unless otherwise noted and are FREE Saturday, March 10 — Paul Taylor Dance Compa ny with the University Symphony Orchestra — 8 p.m. — Osterhout Concert Theater — $41 general public; $36 faculty/staff/seniors; $21 students Sunday, March 11 — Trombone Recital and Ma sterclass with guest art ist Timothy Smith — 7:30 p.m. — Casadesus Recital Hall — free Thursday, March 15 — Mid­Day Concert — 1:20 p.m. — Casadesus Recital Hall — free Thursday, March 15 — Harpur Chorale & Women ’s Chorus : O Canada — 8 p.m. — Anderson Center Chamber Hall — $6 general public; $3 faculty/staff/ seniors; free for students Saturday, March 17 — Organist Jona than Biggers presents “My Favorite Fantasies” — 4 p.m. — First Presbyterian Church — $10 general public; $6 faculty/staff/seniors ; $3 students Sunday, March 18 — Student Song Recital — 3:00 p.m. — Phelps Mansion Museum — $10 general public; BU students free with valid I.D. Thursday, March 22 — Mid­Day Concert — 1:20 p.m. — Casadesus Recital Hall — free Friday, March 23— Master’s Recit al : Kathleen Jasinkas, sopra no — 8:00 p.m. — Casadesus Recital Hall — free if y  ou enjoyed and were inspired by this performance, please 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 larger community.  Please  make  your  donation  payable  to  the Binghamton University Music Department, and send to P.O. Box 6000, Binghamton, NY 13902. For ticket information, please call the Anderson Center Box Office at 777­ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 77 minutes :58 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141270">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141270</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mid-day concert, March 6, 2012 Description An account of the resource Work by Schubert, Donaudy, Beethoven, Brahms, Grondahl, Lias, Martin, Stout, JeanJean, Puccini Held at 1:20 p.m., March 6, 2012, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Hsia, James Maire, Gabrielle Pochily, Benjamin Edwards, Xander Santa Maria, Christina Lawson, William James McCreary, Natalie Reitz, Margaret Ryu, Sungkyun Salmirs, Michael Marsiglia, William Leonberg, Richard Lee, U Martin, Christian Goldenberg, Adam Cakalli, Meghan Papadopoulos, Dean Mirzram Zal Hendricks, Raymond Mihalikm, Darin Bae, Eun Kwan Oh, Robert Heepyoung 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 3/6/12 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/b18e5ddb7950ef14fcb219d5a956ebe8.pdf 046a6ad545fd6863a88555beb7439404 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 wdec [4 D E P A R T M E N T RECITAL & MASTER CLASS Timothy Smith Tenor and Alto Trombone Pej Reitz Piano Sunday, March 11,  2012 7:30 p. m. Casadesus Recital Hall �PROGRAM ABOUT THE PERFORMERS Timothy Smith currently holds the chair of Second Trombone with the Buffalo Philharmonic Orchestra. a position he has had since 2009. Prior Concerto for Alto Trombone  Leopold Mozart (1719–1787) Heine Lieder from Schwanengesang . Franz Schubert (1797­1828) a )   BRIEFPAUSE  cz Basta for unaccompanied trombone .. Folke Rabe (1935­) Concerto for Trombone.  .  .  .  .  .  .  .  Launy Grandahl III Movement  (1886­1960) to joining the BPO, Tim served as Acting Principal Trombone of the San Diego Symphony and Opera during the 2008–2009 Season, and also served as Acting Second Trombone for the Jacksonville Symphony in 2007.  Mr.  Smith  frequently  substitutes  with  the  Chicago  Symphony Orchestra. and has also appeared  with the Lyric Opera  of Chicago, Grant Park Symphony, Baltimore Symphony, St. Paul Chamber Orches­ tra.  Cincinnati  Symphony  and  Opera,  Virginia  Symphony,  Chicago Philharmonic,  Ravinia  Festival  Orchestra.  Chicago’s  Music  of  the Baroque, Chicagoland Pops, and ma ny regional orchestras throughout greater Chicago. Internationally, Mr. Smith has performed in Germany, Ireland, Mexico, and the Dominican Republic with orchestras and chamber ensembles alike. In the chamber music realm, Tim was a founding member of the Second  City Brass  Quintet, as  well as  the CT3  Trombone Quartet, winners of the 2005 ITA  International Trombone Quartet Competition. Additionally, he has performed with the Bach Week of Evanston festival, International Contemporary Ensemble, and Buffalo Chamber Players. As a pedagogue. Mr. Smith has  served on the music faculty of San Diego State University, the British School of Chicago. and maintained a private  teaching studio while living in Chicago. He has  also been a featured clinician and recitalist, presenting programs at schools such as a )  INTERMISSION  cz MASTER CLASS BEGINS Baylor University, Ithaca College, San Diego State,  SUNY  Fredonia, University of San Diego, and the University of Central Arkansas. Tim can be heard on recordings  with the Buffalo Philharmonic, Music of the Baroque, Northwestern University’s Symphonic Wind Ensemble. and for Fisher­Price. Along with his duties as Second Trombone in Buffalo, Tim frequently plays alto and bass trombones in the orchestra. The trombone section is active as a chamber ensemble around Western New York, and will be premiering a triple trombone concerto, written for them by Eric Ewazen, with the Buffalo Philharmonic and Maestra JoAnn Falletta in the fall of 2012. Timothy  studied  with  Dr.  Harold  Reynolds  at  Ithaca  College,  and following graduation in 2003, went on to complete his Master’s studies with Michael Mulcahy and Charlie Vernon at Northwestern University. Some  of Mr.  Smith’s additional  teachers  include Nitzan Haroz,  Mark Fisher, Megumi Kanda, Royce Landon, James Miller, and Randy Hawes. Tim is an S. E. Shires Company Artist. �TEXT FOR SCHUBERT LIEDER 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 accompanying with Allen Rogers. She has accompanied throughout the  United  States,  in  England,  South  America,  Spain  and  at  the American Institute of Musical Studies in Graz. Austria. She was a winner of the Artistic Ambassadors Program by the United States Information Agency in partnership with the John F. Kennedy Center for the perform­ ing arts. Pej was an official accompanist for the MTNA State and Eastern Division Competition held at Ithaca College. She 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. She was in­ vited to the International Clarinet Conference to play a recital in Tokyo, Japan. She was a guest artist on the Cornell Summer Series. She was an official  pianist  at  the International  Double Reed Competition and Convention in 2007 at Ithaca College and was invited to play the 2009 Convention in Birmingham, England with the Glickman Ensemble. She recorded  a  CD  with  the  Glickman  Ensemble  again  this  summer  in Englewood, NJ. She was selected to accompanying a t the Interpretation of Spanish Music in conjunction with University of Madrid in Grenada, Spain coached by Teresa Berganza and at Mannes School of Music. She was a Guest Artist playing two concerts in Granada, Spain and accompanied the Barcelona Song Festival. She soloed with the Catskill Symphony at the Otesaga in Cooperstown. NY under the direction of Charles Schneider. This summer she will accompany and play chamber music  at  Musica  De Compostela  in  Spain.  She  will also  be in  the “Masterclass” play in Newport, Rhode Island at the Casino Theater in the role of the pianist. She is currently on the faculty at Binghamton Univer­ sity since 1991 and Ithaca College School of Music since 1999. Poems by Heinrich Heine (1797–1856) Der Atlas — Atlas l, wretched Atlas, a world The whole world of pain I must carry, I bear the unbearable, and my heart ls breaking in my body. You proud heart, you wanted it so! You wanted to be happy, eternally happy. Or eternally miserable, proud heart, And now you are in misery. Ihr Bild — Her Portrait I stood in dark dreams And stared at her image. And the beloved visage Quietly came to life. Upon her lips appeared A smile so wonderful, And as if from tears of sadness Her eyes sparkled. And my tears flowed as well Down from my cheeks And oh, I just can’t believe, That I have lost you! Das Fischennadchen –­ The Fisher Girl Beautiful fisher maiden, Come, steer your boat to land. Come here and sit down beside me, We’ll dally, hand in hand. Come, nestle your head on my heart now, And don’t be afraid of me; Just think of how bravely, daily You trust in the savage sea. My heart is like the water With storms and waves and tides, And many a pearl of beauty Upon its bed resides. Die Stadt — The Town On the distant horizon Appears like a cloud­image The town with its spires Shrouded in the gloom of evening. A damp breeze mffles The green surface of the water; In a moumful rhythm rows The boatman in my craft. The sun rises once again Glowing above the earth And shows me that spot Where I lost my beloved. Am Meer— At the Seashore The sea sparkled far and wide In the last glow of evening; We sat at the lonely fisherman’s hut, We sat silent and alone. The fog rose, the water surged. The gull flew back and forth, From your lovely eyes The tears dropped. I saw them fall upon your hand And fell on my knees; And from your white hand I drank away the tears. Since that time my body pines My soul is dying with yearning; The wretched woman Poisoned me with her tears. �. m  . m z i x ’ i Il ’o t sx ! And wrings his hands with the force of his pain; Der Doppelgfinger — The Ghostly Double  The night is quiet, the streets I’m horrified when I see his face — are silent.  My beloved lived in this house;  She left the town a long time ago,  But the house still stands in the  same place.  A man stands there. too, and  stares upward  The moon shows me  m y  o wn I likeness. You ghostly double. you pallid fellow! Why do you ape my lovesickness, That tormented me here So many nights long ago? 5 re  w – Aka  . . '     pc i P E x n S  P E R i ­ l tl l r X ] :o e5   1gi D I i  l ‘I Doe  }  ©  H H [ P 1 {   O E E 1 Q   § i I l i P E   ll o:    ,ll i 1  x  ! E  i[} ! o  ;  > \   ‘ H   P B i  m  , ii Il  l Bni ghamton  I{ l /, Commumyt  . I  .  i !  B I N G H A M T O N   Just­Luis Nove  Orchestra  ! P H I L H A R M O N IC Music Director REAL. LIVE. MUSIC.  M M ” Sara Davis Buechner Sha i Wosner Amit Peled Mayuko Kano Pops Series MOTOWN’S Greatest Hits SuzanneVeq: _  v  ‘¥­  ”  a  Chamber Series Soovh 10m Aron Quartatt public service media for your community   o n ce r t s S p e c i a lC Vei nna Boys Chori W W W . B I N G H A M T O N P H I L H A R M O N IC. O R G   Cirque De La Symphonie \\ \ n \  ,\\ skg Uri:­  &  O n a s — I �Binghamton  Univer sit y Music  Department ’s U P C O M I N G  E V E N T S Mid­Day concerts are held on Thursdays, 1:20 PM in Casadesus Recital Hall unless otherwise noted and are FREE Thursday, March 15 — Mid­Day Concert — 1:20 p.m. — Casadesus Recital Hall — free Thursday, March 15 — Harpur Chorale & Women’s Chorus — 8 p.m. — Anderson Center Chamber Hall — $6 general public; $3 faculty/staff/seniors; free for students Saturday, March 17 — Organist Jonathan Biggers presents “My Favorite Fantasies” — 4 p.m. — First Presbyterian Church — $10 general public; $6 faculty/staff/seniors; $3 students Sunday, March 18 — Musica Nova — 3 p.m. — Casadesus Recital Hall — Free Friday, March 23 — Master’s Recital : Kathleen Jasinkas, soprano — 8:00 p.m. — Casadesus Recital Hall — free Thursday, March 29 — Mid­Day Concert — 1:20 p.m. — Casadesus Recital Hall — free Thursday, April 12 — Mid­Day Concert — 1:20 p.m. — Casadesus Recital Hall — free Friday, April 13 — Senior Recital : Alexander Baron, recorder — 8:00 p.m. — Casadesus Recital Hall — free I f  you enjoyed and were inspired by this performance, please consider supporting the Department of Music with a financial gift.  Your  support helps to continue the work of students, faculty, and guest arh’sts and their contributions to our larger community.  Please  make  your  donation  payable  to  the Binghamton University Music Department, and send to  P.O. Box 6000, Binghamton, NY 13902. For ticket intbnhation, please call the Anderson Center Box Office at 777­ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 41 minutes: 24 seconds 69 minutes :37 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141762">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141762</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 Recital & master class, March 11, 2012 Description An account of the resource Works by Mozart, Schubert, Rabe, Grandhal Held at 7:30 p.m., March 11, 2012, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Reitz, Margaret 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 3/11/12 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound