104 10 1775 https://omeka.binghamton.edu/omeka/files/original/130e0b6a82e385dcffdf7c095921802d.pdf b85f9c752d6e73123b4c9638656691ac 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   ANADA O,C Choral Music by Canad ian Composers, F olksongs, an d  Songs of F irst Nations People Women ’s Chorus Molly Adams­Toomey, conductor H arp ur  Chorale Peter Browne, conductor Assisted by Jushin Choi, pianist Nicholas Polacco, trumpet Emily Goetz, percussion Thursday, March 15, 2012 8:00 p.m. Anderson Center Chamber Hall �PROGRAM Combined Choirs .....Lydia Adams Mi’kmag Honour Song .  The Mi’maq Honour Song is a chant dedicated to and in jonour of the Creator.  The employment of nature sounds and the call of the human voice honours this tradition of the Mi’kmaq peoples. The sounds are not in any particular language, but are perhaps a derivation of a text handed down through the ages. Harpur Chorale .Traditional Salish Song (from Six Canadian Folk Songs)  Arr. Derek Healey Women’s Chorus Missa Brevis .. . Nancy Telfer Kyrie Gloria Rise Up My Love  Harpur Chorale .  a Healey Willan Rise up, my love, my fair one, and come away; for lo, the winter is past, the rain is over and gone; the flowers ap pear upon the earth; the time of the singing ofbrrds is come. ­­Song of Solomon Women’s Chorus Cantate Domino  .  .  .  .  .  .  .  .  .  .  Ruth Watson Henderson Kaitlyn Mulligan and Christina Santa Maria, Megan Orcutt, Susan Rosenberg, soloists Nicholas Polacco, trumpet Cantate Domino canticum novum  Sing to the Lord a new song. Cantate Dominum omnis terra  Sing to the Lord all the earth. 0 sing to the Lord a new song, sing to the Lord all the earth. 0 sing to the Lord, and bless his name: proclaim his salvation from day to day. Declare his glory among the nations, his wonders among all people. For the Lord is great and gently to be praised; He is to be feared above all Gods. Clap your hands all peoples! Sing to God with loud songs  ofjoy! God has gone up with a shout, the Lord with the sound of the trumpet. Sing praises to the Lord, with the lyre, with the sound of melody, With trumpets, with the sound of the horn. Praise his name with dancing, with the timbrel and harp. ­­adapted from Psalms 47, 96, 98, I49 �Psalm 23 ..  Imant Raminsh The Lord is my shepherd; I shall not want. He Maketh me to lie down in green pastures he leadeth me beside the still waters. He  restoreth my soulr He leadeth me in the paths of righteousness for his name’s sake. Yea, though I walk through the valley of the shadow of death, 1 will fear no evil. For thou art with me, they rod and thy staff they comfort me. Thou preparest a table before me in the presence of mine enemies: Thou anointest my head with oil, my cup it runneth over. Surely goodness and mercy shall follow me all the days of my lif And I will dwell in the house of the Lord forever. Harpur Chorale Onokenoga.  Deep were the crashing waves that tore our whaler’s mast away, And dark are these sunless days waiting for the ice to break.(refrain) Strange is the whaler’s fate to be saved from the raging waves, only to waste away in this lonely grave. (refrain) ­­James Gordon l‘se the b‘y that builds the boat, and l’es the b’y that sails her! I’se the b’y that catches the fish and takes ‘em home to Lizer, ­­Psalm 23 .  .  .  .  .. Mark Sirett Onokenoga is a soundscape that portrays an ancient Mohawk legend.  The setting is Lake on the Mountain. known to the Mohawk First  Nation people as Onokenoga (Lake ofthe Gods). The legend tells the story of two lovers from rival villages, who late one night meet on the shores of the lake and vow their undying love for each other. The young warrior departs  for his village on the  far  shore, but a sudden Hip yer partner, Sally Tibbo’! Hip yer partner, Sally Brown! Fogo, Twillingate, Mor’tons Harbour, All around the circle! Sods and rinds to cover your flake, cake and tea for supper, Codfish in the spring o’ the year fried in maggoty butter. 1 don ’t want your maggoty fish, that ’s no good  for winter; 1 could buy as good as that down in Bonavisteri 1 took Lizer to a dance, and faith, but she could travel! Ev’ry step that she did take was up to her knees in gravel! Susan White, she’s out of sight, her petticoat wants a border, Old Sam Oliver, in the dark, He kisses her in the corner. ­­Newfoundland Folk Song violent storm causes his canoe to capsize and he drowns.  Legend has it that the spirit of the young girl continues to wander the shores seeking her lost love in vain. Grandmother Moon  she looks into and beyond my soul the lacy cedar boughs creating her shadows . Eleanor Daley cedar ones weave design of midnight canvas she looks into and beyond my soul she a powerful sacred hoop of full light Stephen Chatman Text by Robert E. Swanson (1905­94) Stephen Chatman The song of star to star, but there are sounds, More deep than human joy and human tears, That Nature uses in her common rounds: Traditional The fall of streams, the cry of winds that strain The oak, the roaring of the sea’ surge, might Of thunder breaking afar off, or rain That falls by minutes in the summer night. These are the voices of t h e s ecret soul, from which she came. To him who hears them grief beyond control, joy without a name, Wakes in his heart thoughts bedded there, impearled, Before the birth and making of the world. Arr. Donald Patriquin O dance my monk, dance. don’t you hear the dance'. , Ah! If my monk would like to dance :  1 would gi ve a cap.  I would give him a sash. l would give him a rosary, l would gi vc him a homespun coat. If  he had not made a vow ofpoverty, I would gi ve him other things as well. ­­Quebec folksong We have not heard the music ofthe spheres, 7  F robisher Bay Harpur Chorale We have not heard the music of the spheres, quiet powers speak out in her name we’lalin (welcome) ­­Mary Louise Martin (Mi’kmaq) Ah! Si mon moine voulait danser  Seattle Red  Voices of Earth . .  .  t  .  ,  .  .  .  .  .  .  .  simplicity against the ebony blues and blacks of night sky land and crystal star people she looks into and beyond my soul her round face of translucent beauty and light Women’s Chorus ..Traditional Arr. John E. Govedas 1’se theB’y. James Gordon Arr. Tamarack Cold is the Arctic Sea. Far are your arms from me, Long will this winter be, frozen in Frobisher Bay. “One more whale!” our captain cried. “One more whale then we‘ll beat the ice.” But the winter star was in the sky, the seas were rough, the winds were high.(refrain) The song of star to star, but there are sounds. ­­Archibald Larnpman (1861­1899) 0 ,  Canada  Combined Choirs Canadian National Anthem Original French Text by A.B. Routhier English version by RA  Stanley Weir . . C. LaVallée Arr. Bruce Borton �WOMEN’S CHORUS Molly Adams­Toomey, conductor Jushin Choi, accompanist Soprano Michaela Andriatch Alida Cooke Alto Amy Conway Ashley Grumman Caitlin Gotimer Jennifer Micceri Kaitlyn Mulligan Megan Orcutt Jessica Pyne Christina Santa Maria Ariel Schlesinger Fangling Zeng Maggie Pictor Susan Rosenberg Joanna Wallace C rystal Gonzalez Erika N oach Nm F A ” 3 q ­ w  New Beginnings Beginnings Back to our Roots ‘ . . \ I u ( h l l . 20 l 2 . ~ t 1 l ) p. m .   01 1. 4:00 p.m. Sunday, October i s . 2 SL  Parrick’s Catholic Church Sunday,  9 Leroy Street. Binghamton, N Y Tnmrv Memorial Church 44 Main Street. Binghamton, NY Lessons and Carols  for  Christ ma s Crossroads Sunda y, N o vember 2  . 20 1  1 .  4 :00 p.m. Tabernacle United Methodm Church sarurdav. November 26.201 1.­.­to p.m. & Sunda y, J unc 3, 2012, 4 :00 p. m 8351.1... Street, Binghamton, N Y Y 346  Prospect Street, Bmghamrm N C hn n h  of the Holy Tnmt'; For Tickers: wnnsmadsigalchoir.com u.41/60'­'.‘°4’6’ D ( HARPUR CHO RALE  2012  34th  Season The Madrigal L Cholr of B i n gh a m t o n Peter Browne. conductor Soprano Michelle Goldrich Kerianna Krebushevski Stephanie Nam Sabrina Scull Katherine Sucha Samantha van Adelsberg Hollie VanDerHeide Alto Denise Aquino llyssa Baine Carrie Buck Suzanne Greene Shoshana May Tenor Ari Hausman Ricky Nan Joshua Rovou David Schwartz Brandon Seabrook Bass David Clark Thomas J. F urey Pak Lok Pio Lau Christian Martin Daniel Romberger David Stern ~ ­ 2011­2012 Season Oris '  c fi r ) MADAME BUTTERFLY]  LUCIA DI LAMMERMOOR  October 21& 23, 2011  F ebruary 1 0& 12,2012  . .   . a .   I  T H E  MAGIC FLUTE April 2 7  “ 9  2012 1.  . .   ...­  “ l o m : .  M a e  ­ . .  I u ‘ T Q ’ v ­ rl n ­ w...­ e..­.  ,.  wind ehiI/lA’H­ll 31 the FORUM THEATRE ia Binghamioa Til & 1­10: BIN­77241110  « www.tricitiesopera.com Katherine Moscowitch m m — m w n n — w h n m n — — h M ‘ m d — – Q n — m m D  u n — u — n — ‘ u — n n — fi — n   n — u – t – u —  g m a n — “ m m – m m �Binghamton Univer sity Music D epartment’ s UPCOM ING E V E N7 15 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 Thursday, March 22 – Mid­Day Concert – 1:20 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, March 29 – Nukporfe African Drumming and Dance Ensemble – 8 p.m. – Anderson Center Chamber Hall – $5 per person (tickets will be sold at the door) 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 Saturday, April 14 – Masterclass  with organist Carla Edwards – 10 a.m. – 12 noon – First Presbyterian Church, Binghamton – free Saturday, April 14 – Robert Smith, euphonium, presents “El Bombardino” with Margaret Reitz, p iano – 3 p.m. – Casadesus Recital Hall – $6 general public; $3 faculty/ staff/seniors; free for students Sunday, April 15 – Africanaise : An evening of African Inspired Compositions – 3 p.m. – Anderson Center Chamber Hall – $10 general public; $6 faculty/staff/seniors; $3 students For ticket information, please call the Anderson Cen ter Box Office at 777­ARTS. .For more information, please call (607) 777­2592, visit music. blnghamton. edu or become a fan on Faceboolr. � 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.) 63 minutes :13 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141813">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141813</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 O, Canada: Choral music by Canadian composers, folksongs, and songs of First Nations people, March 15, 2012 Description An account of the resource Held at 8:00 p.m., March 15, 2012, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Adams-Toomet, Molly Browne, Peter Choi, Justin Polacco, Nicholas Goetz, Emily Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 3/15/12 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/4f74b7ec6e7d4ee36a551b646177695a.pdf f347860c76691fec474497c45caeb753 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 wdee [4 D E P A R T M E N T   AVORITE M YF FANTASIES Jonathan Biggers organ Saturday, March 17, 2012 4:00 p.m. United Presbyterian C hurch Binghamton,  N e w  Y o rk �ABOUT THE PERFORMER PROGRAM J o n a t h a n  Biggers, hailed as “one of the most outstanding concert organists  in  the  United  States,” maintains an  active career as  both  a ..].S. Bach Fantasia and Fugue in G­minor, BWV 542  (1685­1750) Deuxiéme Fantasie . Jehan Alain (1911­1940) Fantasia Ut,Re,Mi,Fa,Sal,La ..  ..Jan Pieterzoon Sweelinck (1562­1621) Two Chorale­Preludes Prelude on Slane (“Be Thou My Vision”)  .. Craig Phillips Prelude on Brother Iames’ Air.  ..Searle Wright (b.1961) (1918­2004) Hymn: St. Patrick’s Breastplate (see insert) Fantasy in F­minor, K.608 .. .. Wolfgang Amadeus Mozart + Guilbault­Thérien Organ, 1996 « (1756­1791) professor of organ and harpsichord, and as a concert organist of the first order.  He  holds the prestigious Edwin Link Endowed Professorship in Organ and Harpsichord  at Binghamton University (State University of New  York),  and  has  presented  hundreds  of  concerts  in  church  and university settings throughout  the  United  States, Canada, and  Europe. Most  recently,  he  presented  the  opening  concert  for  the  National Convention of the American Guild of Organists held in  July 2010 in Washington D.C., performing for over 1600 organists.  He has appeared as  a  featured  soloist  with  orchestras  in  both  the  United  States  and Canada,  including  the  Atlanta  Symphony  Orchestra  and  the  Calgary Philharmonic  Orchestra,  and  has  been  featured  frequently  on  NPR (“Pipedreams”),  the  Canadian  Broadcast  Corporation  (CBC),  and  on Radio  and  Television  Suisse  Romande  broadcasts  in  Geneva, Switzerland.  Scott Cantrell, classical music critic of The Dallas News, stated  that  Biggers‘  performances  demonstrate  “authority  and eloquence”, and further stated “were there more performers like this, the organ would be far less a minority interest”. Dr. Biggers studied with Russell Saunders (Eastman School of Music; DMA);  Lionel  Rogg (Conservatory  of Music,  Geneva,  Switzerland; Fulbright study);  J. Warren Hutton (The University of Alabama;  MM and BMus);  and with Wallace Zimmerman (Atlanta; pre­college);  he has also worked extensively with Harold Vogel (Bremen, Germany), and with Arthur Poister (former Professor of Organ at Syracuse University). A prizewinner of dozens of competitions,  he  was notably awarded a unanimous first prize in the 1985 Geneva International Competition, one of the most prestigious music competitions in the world;  second prize in the  1982  American  Guild  of  Organists  National  Organ  Playing Competition;  and  a  unanimous  first  prize  in  the  1990  Calgary lntemational Organ Festival Concerto Competition, where he presented, with  the  Calgary  Philharmonic  Orchestra,  the  world  premier performance of Snowwalker:  A Concerto for Organ and Orchestra by Pulitzer prize­winning composer Michael Colgrass.  A champion of new �music for the organ, he has premiered other works by notable 20th and MUSIC NOTES 21st century composers such as Richard Proulx (Chicago: Concerto for Organ  and Orchestra), Craig Phillips (Los Angeles:  Suite for Organ, Brass and Percussion), Persis Vehar (Buffalo:  Soundpiece for Organ), and David Brackett (Montréal:  Nightworks for Organ solo). Two  highly  acclaimed  compact  disc  recordings  of  Dr.  Biggers’ performances  have  been  released  by  Calcante  Recordings  (Sleepers Wake!  A  Reger  Perspective,  featuring  five  major  organ  works  by Romantic  composer  Max  Reger;  and  Bach  on  the Fritts!  ,  featuring major organ works by Johann Sebastian Bach). Plans are also underway for the production of several other CD releases in the future, including a recording of the complete organ works of J.S. Bach, and a recording of organ music by Craig Phillips. Saint Patrick’s Breastplate is a Christian hymn whose original Old Irish lyrics were traditionally attributed to Saint Patrick during his Irish ministry in the 5th century;  however, it was probably actually written later, in the 8th century.  It is written in the style of a druidic incantation for protection on a ioumey. It is part of the Liber Hymnorum, a collection of hymns found in two manuscripts kept in Dublin. The words were translated into English verse by Cecil Frances Alexander in 1889 and set to two traditional Irish tunes, St. Patrick and Deirdre. The hymn, also known by its opening line “I bind unto myself today". is currently included in the English Hymnal, the Irish Church Hymnal and The Hymnal (1982) of the U.S . Episcopal Church. It is often sung during the celebration of the Feast of Saint Patrick on or near March 17, as well as on Trinity Sunday. In  many churches it is unique among standard hymns because the variations in length and metre of verses m ea n  t hat at  least three different tunes must b e  used ­ different i n  the melody sung by the congregation. The prayer known as “Faeth Fiada", or the “Lorica of St. Patrick” (St. Patrick’s Breast­Plate) was first edite d by Petrie in his “History of Tara". Scripture references may include Ephesians 6:10­17:   is  mighty power. (11) Put  on (10) Finally, be strong i n  the Lord  and i n h   od, so that you can take your stand against die devil’s the full a  rmor of G schemes. (12) For our snug/e i s  not against flesh and blood, but against the rulers, against the authorities, against the powers of this dark world and against the spiritual forces of e  vil i n  the heavenly realms. (13) Therefore put on the full a  rmor of God, so that when the day of e vil comes, you may be able to stand your ground, and after you have done everything, to stand. (14) Stand fi rm  then, with the belt o f  truth buckled   lace, (15) around y our waist, with  the breastplate o f  r ighteousness i n p and with your feet fi tted with the readiness that comes from the gospel   ddition to all t his, take up the shield o f  faith, with   eace. (16) I n a of p which you can extinguish all t he flaming arrows of the evil  one. (17) Take the helmet of s alvation and the sword o f the Spirit, which is  the word of God. �God’s way to lie before me, Lyrics of Druidic Incantation 1 arise today Through a mighty strength, the invocation of the Trin ity, Through the belief in the threeness, Through confession of the oneness Of the Creator of Creation. 1 arise today Through the strength of Christ’s birth with his baptism, Through the strength of his crucifixion with his burial, Through the strength of his resurrection with his ascension, Through the strength of his descent for the judgment of Doom. 1 arise today Through the strength of the love of Cherubim, In obedience of angels, In the service of archangels, In hope of resurrection to meet with reward,   rayers of patriarchs, In p In predictions of prophets, In preaching of apostles, In faith of confessors, In innocence of holy virgins, In deeds of righteous men. I arise today Through the strength of heaven: Light of sun. Radiance of moon, Splendor of fire. Speed of lightning, Swiftness of wind, Depth of sea, Stability of earth, Firrnness of rock. 1 arise today Through God’s strength to pilot me: God’s might to uphold me, God’s wisdom to guide me, God’s eye to look before me, God’s ear to hear me, God’s word to speak for me. God’s hand to guard me. God’s shield to protect me, God’s host to save me From snares of devils. From temptations of vices, From everyone who shall wish me ill, Afar and anear, Alone and in multitude. I summon today all these powers between me and those evils, Against every cruel merciless power that may oppose my body and soul, Against incantations of false prophets, Against black laws of pagandom Against false laws of heretics, Against craft of idolatry, Against spells of witches and smiths and wizards, Against every knowledge that corrupts man’s body and soul. Christ to shield me today Against poison, against burning, Against drowning, against wounding, So that there may come to me abundance of reward. Christ with me, Christ before me, Christ behind me, Christ in me, Christ beneath me, Christ above me. Christ on my right, Christ on my left, Christ when I lie down, Christ when I sit down, Christ when I arise, Christ in the heart of every man who thinks of me, Christ in the mouth of everyone who speaks of me, Christ in every eye that sees me. Christ in every ear that hears me. I arise today Through a mighty strength, the invocation of the Trinity, Through belief in the threeness, Through confession of the oneness, Of the Creator of Creation. �Music Department’s UPCOMING EVENTS Sunday, March 18 – Musica Nova – 3 p.m. – Casadesus Recital Hall – Free Thursday, March 22 ­ Mid­Day Concert– 1:20 p.m. – Casadesus  Recital Hall ­  free Friday, March 23 ­ Master’s R ecital: Kathleen jasinkas, soprano ­ 8:00 p.m. ­ Casadesus Recital Hall – free Thursday, March 29 ­ Mid­Day Concert– 1:20  pm. ­ Casadesus  Recital Hall – free Thursday, March 29 ­ Nukporfe African Drumming and Dance Ensemble ­ 8 p.m. ­ Anderson Center Chamber Hall – $5 per  person (tickets will be sold at the door) Thursday, Apri l 12 ­ Mid­Day Con cert­ 1:20 p.m. – Casadesus Recital Hall – free   3 ­  Senior Recital: A lexander Baron, recorder– 8:00 p.m. – Casadesus Friday, April 1 Recital Hall – free   4 ­ Masterclass  with organist Carla Edwards – 10  a.m. – 12  noon ­­ First Saturday, April 1 Presbyterian Church, Binghamton – free   4 ­ Robert Smith, euphonium, presents “El B ombardino” with Saturday, April 1 Margaret Reitz, piano ­ 3 p.m. ­­ Casadesus Recital Hall ­  $6 general public; $3 faculty/staff/seniors; free  for students Sunday, April 1 5 ­ Ah­icanaise: A n  evening ofAfrican Inspired Compositions ­ 3 p.m. – Anderson Center Chamber Hall  – $10 general public; $6  faculty/staff/seniors; $3 students Sunday, April 15 ­ Guest Organist Carla Edwards – 4 p.m. – First  Presbyterian Church, Binghamton ­  $10 general public; $6  faculty/staff/seniors; $3 students If  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  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 Cen ter Box  O ffice at 7 7 7’AR T S � 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 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 74 minutes: 45 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141816">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141816</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 My Favorite Fantasies, March 17, 2012 Description An account of the resource Works by Bach, Sweelinck, Philips, Wright, Mozart Held at 4:00 p.m., March 17, 2012, United Prebyterinan Church, Binghamton, New York. Creator An entity primarily responsible for making the resource Biggers, Jonathan 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 3/17/12 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/9fbd6167b8887b6349453541d722db84.pdf 559ad7b4e0dfd3e082e34d18bc3fb32d PDF Text Text BINGHAMTON UNIVERSITY S T A T E   UN I V E R S I T Y   O F  N E W  Y O R K e d e [4 D E P A R T M E N T M u sica  N o va Janey Choi, violin Adam Goldenberg, marim ba Georgetta Maiolo, flute Christian Ma rtin, piano and composer Margaret Reitz, piano Stephen Stal ker, cello Anna Tonna, mezzo­sopra no Stephen Zan k, piano and Paul Goldsta ub, composer Sunday, Ma rch 18, 2012 3 :00 p.m. Casadesus Recital Hall �PR O G R A M Leonard Bernstein Three Meditations from “MASS"......  (1918­1990) Stephen Stalker, piano Margaret Reitz, piano . Paul  Goldstaub Doubtful S o und  (pre miere) . (b. 1947 ) Georgetta Maiolo, flute ..............Mohammed Fairouz JederMensch... ...........  (b. 1985) The  E ternal Source  trange S   Today I Realized Something Very The  Celebration o f  the Spirit Anna  T onna, mezzo­so prano Margaret Reitz, piano Christian Martin Three Neo­Romantic Preludes  (b. 1984 ) Christian Martin, piano ..............Richard Cam’ck Lo flow (b. 1971) Janey Choi, violin Claws!  Bagatelle  for  violin  a nd  p iano   .Theodore W iprud (b. 1958) Janey Choi, violin Stephen Zank, piano Mallet Palette ( pre miere).  Paul Goldstaub A da m  Goldenberg, marimba Margaret Reitz, piano �PROGRAM N OTES Leonard Bemstein’s Mass was commissioned by Jacqueline Kennedy for the opening of the II. Today I Realized Something Very Strange “Today I realized something very strange. I am not happy–and not unhappy. It came to me suddenly that I am living what only appears to be a life. I hold so much inside of me, I am not The first Meditation yearns desperately for faith and an answer from God. The cello statement begins forts and with intensity and ends triple pianissimo. The piano now enters pianissima dolce free–l suffer–but I don’t know why or what for. My ship is in the harbor, but it has sprung a leak.” III. The Celebration of the Spirit “Gustav Mahler–from the struggles of abstraction, Oskar Kokoschka, the genius, Walter Gropius, the improviser of cultures and wills–And Joseph Fraenkel, the genial improviser From Walter I want children–from Oskar, works–from Fraenkel, the celebration of the spirit that he never offered me. I wish that Fraenkel had moved into my house to live the rest of his life with me.” – from the Correspondence and Diaries ofAlma Mahler Thesecond Meditationisa setofvariationsand acodabasedonatheme from the finaleol Beethoven’s Ninth Symphony. Bernstein avoids the formal character normally associated with the variation form by changing the length of each variation. This gives a rhapsodic nature to the movement. “Preludes. inspired by the songs of birds outside a brightly sunlit den in an apartment in Chandler, AZ. these first three preludes, first began in 2009 and have just recently been completed. The birdsong which created the melody for Prelude No. 1 is the trichord 0 2 7, first introduced in measure one as E­D­(E)­A and developed throughout the piece. The birdsong for Prelude No. 2 is the tri­chord 0 3 5, first introduced in measure one as C#­D#­A#­(C#). Prelude No. 3 was not based on birdsong, but is rather a pattern of unresolved seventh chords, with the exception of the ending cadence, which create mysterious, relaxing harmonies reminiscent to those of Debussy or Ravel. John F Kennedy Center for the Performing Arts in Washington, DC. It was first performed on September 8, 1971. Two of the instrumental sections, Meditations 1 and 2, were later arranged for cello and piano. The third Meditation was newly composed from different ideas taken from the Mass. and repeats the cello’s statement. The second idea is marked tranquillo. It opens with the cello, which falls chromatically until the idea is picked up by the piano. The next section rises chromatically, in answer to the first section. The motive moves between the two instruments as it rises fortissimo to the high point of the movement. Meditation 3 begins with an ostinato rhythm which mixes 3/4 and 3/8 time signatures. After a cello statement the two instruments pass the idea back and forth. The cello then enters with a new theme, this time a dance­like dotted rhythm. The playful character of the movement is internipted by a thoughtful slow section. The quicker tempo soon returns, however, and the movement ends with pizzicato outbursts on the cello. In the three Meditations Bernstein expresses the many aspects of the religious experience from the meditative to the joy of living. (Peter Cody and Wan Kim, first­year graduate students for Composition) Three years ago, my wife and I went to New Zealand and it was wonderful. There were exciting cities to explore, of course, but nature– the lakes, fiords and the ocean–fonned the most memorable part of the trip. No houses, no stereos, just exotic birds, playful seals and stunning waterfalls. Despite its name, “Doubtful Sound” is a fjord, surrounded by beautiful, majestic mountains. We arrived by boat and, as we approached one particularly pristine cove, passengers fell silent in the glorious sunshine and unusually dry weather, to listen to the distinctive, repetitive song of a lone bird. I think about Doubtful Sound just about every day. A quiet, peaceful place. ‘Jeder Mensch was commissioned for, inspired by, and dedicated to my friend, Kate Lindsay.” Jeder Mensch Texts I. The Eternal Source “Today I know the elemal source of all strength. It is in nature, in the earth, in people who don‘t hesitate to cast away their existence for the sake of an idea. They are the ones who can love. I go on living with my face lifted high, but with my feet on the ground–where they belong.” ‘in flow,” the opening work of my hour long Flow Cycle for Strings, explores gradual shifts in color and expressivity in a constantly moving and evolving musical thread. The music contains an equal emphasis on both long, evolving gestures and the local push­pull of motifs. This piece was written for Andrea Schultz, to whom it is dedicated, on April 7, 2006. The Flow Cycle is influenced by Islamic Mosaics, Gnawa music of Morocco, Albert Camus’ L’Etranger, and the Flow concept of Mihaly Csrkszentmihalyi. While the first work “in flow” for solo violin uses an expansive linear approach to compose “flow“ of unrelated materials, each subsequent work (Shadow Flow for viola, Moroccan Flow (unfolding from unit y) for ‘cello, Duo Flow for violin and ‘cello, and “a cause du soleiT Flow Trio for String Trio) uses a sectional approach to create a mosaic­like experience of flow that is reflected in each of the works, which can be performed separately. “Claws!” attempts to evoke a sensation of dangerous attraction – a combination of silky seduction with horror­movie dread. “Mallet Palette” is a new piece for the Musica Nova concert. The marimba and the piano begin as equal players, with long notes for the marimba and quick notes in the piano. Soon the tempo gets faster, in g minor most of the time, and there are rhythms of 5/8, 6/8, 9/8 and of course, 4/4. Finally, at the end, the first section comes back, with a finishing touch. Throughout the composition, both the marimba and the piano use staccato. legato, accents, and a wide range of dynamics. �BIOGRAPHIES Richard Carrick, born in Paris of French­Algerian and British decent, is a composer whose music has been performed intematicnally by the New York Philharmonic (Ensemble Series), Vienna’s Konzerthaus, ISCM World Music Days­Switzerland, Darmstadt Summer Festival, Tokyo lntemational House, Merkin Hall, Nieuw Ensemble, JACK Quartet, Nouvel Ensemble Moderne, soloists Magnus Andersson, Carin Levine, Rohan de Saram, David Shively and others. Recent awards include a Fromm Foundation Commission from Harvard University for his second string quartet, and recent works include the hour­long Flow Cycle for Strings (released on New World Records in 2011), Adagios for Strings, and Find the Devil’s Lead for large ensemble. He also writes large­scale multi­media works including the “operatioally ambitious” (The Village Voice) Cosmioomics, based on stories by Italo Calvino and combining video, electronics and live musicians. Carrick is currently Visiting Professor of Composition at Columbia University and Adjunct Professor at New York University. Carrick is founder/oo­artistic director of the New York based contemporary ensemble Either/Or. His music is published by Project Schott New York. Canadian violinist, Janey Choi gave her Camegie Hall recital debut in 1997 as a winner of the Artists International Auditions and continues an active career performing on recital and chamber series, on Broadway, and with such groups as the New York City Ballet, Ardelia Trio, and the Teaching Artists Ensemble of the New York Philharmonic. The recipient of numerous awards including the Chalmers Performing Arts Grant from the Ontario Arts Council (Canada) and National First Prize in the Canadian Music Competition, she has participated in such festivals as Mostly Mozart, Norfolk, Taos, the Spoleto Festivals in the US and Italy, Festival Musical de Santc Domingo, the Santa Fe Opera and the Sarasota Opera. An avid inter­arts and cross­genre collaborator, she is the Music Director of Thomas/Ortiz Dance, and has performed numerous times with the Parsons Dance Co., most notably at the Kennedy Center in Washington, DC, and at the New Victory Theater in Times Square. She also initiated an inter­departmental collaboration with the Paul Taylor Dance Company, and the Binghamton University Music and Dance Departments. Her other interests have taken her to the visual arts world. developing and presenting an annual “Music + Art” show commissioning artwork based on chamber works. She has recorded and appeared with such mainstream performers as Bono (U2) and Quincy Jones, Adele, Beyoncé, Aretha Franklin, Enya, Elton John, Jay­Z, Sarah McLachlan, Lenny Kravitz, and Kanye West, on the Grammys, MTV, Saturday Night Live, the Today Show, at Live 8, Radio City Music Hall and Royal Albert Hall in London, England. Dr. Choi holds the distinction of being the youngest. and only Pre­College student ever accepted by her late mentor, Joseph Fuchs at The Juilliard School, where she graduated from the accelerated BM/MM program with the Joseph Fuchs Graduation Prize. Her other major teachers include Joel Smimoff, Victor Danchenko, Harvey Shapiro. and Arnold Steinhardt. She attained her Doctor of Musical Arts degree at Rutgers University with full scholarship and was the recipient of the Graduate Fellowship Award. Strongly committed to education. she has been on the faculty of Binghamton University since 2006 and is a Teaching Artist for the New York Philharmonic and Chamber Music Society of Lincoln Center. She has presented educational workshops for the College Music Society National Conference, Tokyo College of Music and Lincoln Center Institute. In her free time, she enjoys marathon and triathlon training, playing soccer and ice hockey. Straddling Eastern and Western idioms, Mohammed Fairouz, one of the most frequently performed composers of his generation, has emerged as a force on the musical scene. Praised by the New York Times as “warmly sympathetic” and “brilliantly handled,” his music has been received at venues such as Camegie Hall, Boston’s Symphony Hall, the Kennedy Center and intemationally throughout the United States, Europe, the Middle East and Australia. He has received commissions from Musicians for Harmony, Northeastem University, the Imani Winds (Legacy Commission), the Cygnus Ensemble, Counter)induction, Alea lII (Boston University), Alwan for the Arts and the Second Instrumental Unit among others. His music has been championed by some of the foremost performers such as the Borromeo and Lydian String Quartets, the lmani Winds, The Knights Chamber Orchestra, members of the Boston Symphony Orchestra, the violinists Rachel Barton Pine and James Buswell, the clarinettist David Krakauer as well as the conductors Gunther Schuller, Fawzi Haimor and Yoon Jae Lee. Among the eminent singers that have promoted his wealth of vocal music are Kate Lindsey. Sasha Cooke, D’Anna Fortunato, David Kravitz and Randall Scarlata. Fairouz has been recognized as an “expert in vocal writing” by the New Yorker and as a “post millenial Schubert” by Gramophone Magazine. He has been invited to lecture and lead residencies across the country at institutions such as Columbia University, Brown University, Chestnut Hill College, Grinnell College, Northeastern University (Boston), Humbolt State University and the University of Western Michigan. Fairouz’s teachers in composition included Gyorgy Ligeti in Vienna as well as John Heiss, Gunther Schuller, Halim EI­Dabh and Richard Danielpourwith studies at the Curtis Institute and New England Conservatory. Recordings of his music are available on the Sono Luminus, Albany and GM labels. An upcoming recording featuring Rachel Barton Pine, the Borromeo String Quartet, Imani Winds and David Krakauer is slated for release on the Naxos Label in the 2012­13 season. The music of Mohammed Fairouz is published by Peermusic Classical. Adam Goldenberg is a senior biochemistry major and music minor. Mr. Goldenberg studies with Professor Daniel Fabricius, and regularly performs with the University Wind Ensemble and Percussion Ensemble. in 2011, Mr. Goldenberg was a featured soloist in Terry Gillingham’s “Concertino for Percussion and Wind Ensemble” and in Paul Creston’s Concertino for Marimba and Wind Ensemble. In spring of 2012, Mr. Goldenberg will be performing Keiko Abe’s “The Wave” Concertino for Marimba and Percussion Ensemble on May 10th at the spring percussion ensemble concert. Paul Goldstaub, Professor of Music Theory and Composition, Coordinator for Music Theory and director of Musica Nova concerts. BM, Ithaca College, MM and DMA, Eastman School of Music. Composition studies with Karel Husa, Samuel Adler and Warren Benson. Studies in Schenkenan Analysis with Dr. Charles Burkhart. Teaching positions at Ithaca College, College­Conservatory of Music of University of Cincinnati, Mankato (Minnesota) State University, and Eastern Michigan University. Guest lectures at Oberlin Conservatory, Syracuse University, Wells College, St. Olaf College, the Chautauqua Institution, and the institute for Contemporary Music Education at St. Thomas University. Papers and workshops presented at national meetings of College Music Society. the National Association of Schools of Music, New York State School Music Association, �New York State Music Teachers Association, and many colleges and universities. Articles published in the Music Educators Journal and the Encyclopedia of American Literature of the Christian Martin is a senior at Binghamton University in Binghamton, New York and he plans to pursue both Master’s and Doctorate degrees in music theory and composition upon graduation. Michigan University. Compositions performed at Lincoln Center, Camegie Hall, off­off Broadway, and in Canada, Great Britain, Germany, Japan, Russia and Italy. performed with the Temple University Singers, Arizona State Choml Union, and the Binghamton University Chorus. Other recent compositions include “Nine Lives,” for clarinet and piano (2010); “Walls of Glass,” for accompanied SSAATTBB (Second Prize in Edwin Fissinger Choral Sea and the Great Lakes. Guest performer at Syracuse University, regional meeting of the American Guild of Organists, and as pianist/composer for the dance program at Eastern Awarded grants from the National Endowment for the Arts, the National Endowment for the Humanities, Meet the Composer, and the Minnesota State Arts Board. Annual awards from the American Society of Composers, Authors and Publishers (ASCAP). National finalist in the St.Paul Chamber Orchestra’s American Composer Competition. Works performed by the St. Paul Chamber Orchestra, Guthrie Theater, Minnesota Opera, Society for New Music, Cincinnati Opera and in many on­campus concerts with other faculty. Music published by Lawson­Gould, Roger Dean Publishing Company, Ken Dom Publications and International Trombone Press/Southem Music. Member of the music faculty since 1998. Georgetta Maiolo is a member of the faculty of Binghamton University and Broome Community College, teaching Flute and directing Flute Ensembles. From 1977 to 1996, she held the position of Assistant Professor of Flute at Ithaca College, Ithaca, New York. She also taught Flute at Hartwick College, Oneonta, New York and West Virginia University, Morgantown, West Virginia. Mrs. Maiolo is a graduate of Duquesne University, Pittsburgh, Pennsyivania and attended graduate school at West Virginia University, Morgantown, West Virginia. She studied with Bernard Goldberg, principal llutist of the Pittsburgh Symphony, Marcel Moyse at Marlboro School of Music, and Victor Saudek. At the age of 15, she made her solo debut with the Pittsburgh Symphony. Mrs. Maiolo is the recipient of numerous honors, including the Very Reverend Thomas J. Quigley Award, the NCMEA National music award, the Pittsburgh Tuesday Musical Club, the Enola M. Lewis Scholarship and the Mu Phi Epsilon Sterling Achievement Award. Mrs. Maiolo is the principal flutist of the Binghamton Philharmonic Orchestra, Tri­Cities Opera Orchestra, and Downtown Singers Orchestra. In addition to her playing positions. she concertizes as a soloist, recitalist and chamber musician. Mrs. Maiolo has been recognized for the breadth of her contributions to performance and music education. She has premiered compositions for flute by Jack Martin, Dan Locklair, Edith Borroff, Malcolm Lewis, Richard Herman, Jeffrey Nitch, Timothy Rolls and Paul Goldstaub. In 1985, Mrs. Maiolo was honored to conduct the NYSSMA All­State Flute Choir. From 1981 to 2001, she served as the flute chairperson for the NYSSMA Manual. Mrs. Maiolo is chapter advisor for Mu Phi Epsilon, Zeta Eta Chapter at Binghamton University. She is a “clinician” for the Selmer Company. She is a member of the National Flute Association, and has recorded for Crest Records and NPR. Her performances have earned her lavish praise: “Georgetta Maiolo provided some exquisite musical moments in her flute solos,” wrote Alice Mitchell in a review in The Press & Sun­Bulletin in Binghamton, New York. “Georgetla Maiolo should be singled out for praise in her work with Soprano Louise Wohlafka in the ‘Mad Scene’ in Lucia. Her tone was like another lovely voice in the cadenza... Ms. Maiolo’s wonderful tone and musicianship were in evidence here and through the entire opera,” commented a critic for WSKG­FM radio. In the August 1999 Opera News review of Tri­Cities Opera production of Die Zauberflote, William W. West stated “...with some lovely flute playing from Georgetta Maiolo.” Prior to college, he attended Arizona School for the Arts, was a member of the Phoenix Boys Choir, and performed in the All­Regionals and All­State high school choirs. Christian has also Composition Competit‘on, 2011); Purple and Pearl, for accompanied SSAATTBB (2011), and placed in the San Jose Choral Productions Composition Competition; Echoes. for Horn. Bassoon and Piano, and Our Beautiful Nation, for String Quartet. Margaret Reltz, 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 Performing Arts. She 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 Worlshop for Singers and Pianists held at Northwestern University with Chicago Lyric Opera Faculty and Coaches. She was invited to the international Clarinet Conference to play a recital in Tokyo, Japan. She was a guest artist on the Comell Summer Series. She was an official pianist at the Intemational 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 at 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 Festval . She soloed with the Catskill Symphony at the Otesaga in Cooperstown, NY under the direction of Charles Schneider . This coming 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 also invited to play a recital with the Glickman Ensemble at the IDRS Convention in July. She is currently on the faculty at Binghamton University since 1991 and Ithaca College School of Music since 1999. She is Treasurer of the local District VII Music Teachers Association and is an active adjudicator for the National Piano Guild Organization. Stephen Stalker. cellist, teaches at Binghamton University. He formerly taught at Colgate University, Mansfield University, Ithaca College and the Binghamton City School District. He was the principal cellist of the Cayuga Chamber Orchestra in Ithaca, NY, and has performed extensively with the Catskill Chamber Players of Oneonta, NY, and in concerts at Binghamton University. Performing with the Catskill Chamber Players he has presented Meet the Composer concerts with prominent American composers including John Cage, Virgil Thomson, Lou Harrison and George Crumb. The Chamber Players appeared at Weill Recital Hall, premiering a �set of four string quartets by Henry Brant. With violinist, Janet Brady, and pianist, Walter Ponce, he performed the complete Beethoven Trio cycle at SUNY­Binghamton. He performed with Solisti New Yorkon their Alaskan cruise ofthe Inner Passage from Vancouverto Juneau. As a member of the Madison String Quartet, he was a finalist in the Naumberg Chamber Music Competition in New York City and the Evian International String Quartet Competition in Evian, France. He has performed in many recital appearances with pianist, Michael Salmirs. He performs regularly with the Trio Amici. Trilogy, Baroque ‘n Blue, Early On and in concerts at Binghamton University. He is a past president of the New York State Chapter of the American String Teachers Association and was Strings Chair for the New York State School Music Association. He is a founder of the Southem Tier Music Teachers Association and the Binghamton Cello Festival. He is a graduate of the Manhattan School of Music in New York City. Fulbright scholar to Spain, mezzo soprano Anna Tonna combines a distinguished career as an operatic mezzo with a dedication to the music of Spain and Latin American composers ­ a natural consequence of her roots and her affinity for Hispanic culture and language. She has appeared at the Leo Baeck Institute, Goethe Haus and Weill Recital under Elysium Between Two Continents. Joy in Singing, the Connecticut Schubert Club, the Pacific Music Festivalin Japanwhereshewasafellowmndhasbeenateaturedrecinlistwith Musicade Camara in NYC. She appeared in New York’s Town Hall in a concert with orchestra celebrating the composers from Dominican Republic, as well as being featured in the zarzuela’s as Cecilia Valdes and Luisa Fernanda. She was seen in the title role of Maria de Buenos Aires (Piazzolla) with the Connecticut Grand Opera, and has been a guest with Los Amigos de la Zarzuela, Association of Dominican Classical Artists, The Interpretation of Spanish Song Festival in Granada, the Festival Iberoamericano de Bellas Artes in San Juan, Puerto Rico, the Otor’io Cultural Iberoamericano in Huelva (Spain), as well as appearing as guest lecturer and recitalist on the subiect 20” century Spanish art song at the University of California in Riverside and La Universidad de La Rioja (Spain). Anna made an auspicious debut at The Festival Casals de Puerto Rico in March 012009 in a solo recital of art songs by the classical composers of Puerto Rico. 2010 found Anna singing the role of Olympia in Albeniz’s The Magic Opal in the Auditorio Nacional de Madrid, the title role in Bizet’s Carmen. Adalgisa in Bellini’s Norma both in Madrid (Spain) and Medellin (Colombia) as well as the zarzuela EI  Barbero de Seville at the Teatro Fernén Gémez in Madrid. In May of 2011 she bowed at New York’s Lincoln Center in the North American premiere of Giordano’s f/ Re in the role of La  Astrologa with Teatro Grattacielo. Among her appearances in 2012 will be as Rosina in The Barber of Seville in Barcelona (Spain), a recital of songs by Latin American composers with North South Consonance in Manhattan, and a lecture recital with the Asociacion Rioja Lirica in Logrofo (Spain) as well as guest recitalist at symposium of music by the classical composers of Puerto Rico at SUNY Albany. After winning the voice prize in the summer of 2011, she retums to the festival Musica en Compostela in Santiago de Compostela (Spain) for a concerts of chamber music by composers of Spain. Hispanic Society of America in New York City will feature her in concert for voice. guitar and dance about the life of the Duchess of Alba of Goya in the winter of 2012. In July of2011, her disc “The songs of Julio Gomez‘ debuted under the discographic label Verso with Spanish pianist Jorge Robaina. Born in 1958 in Washington, DC and currently residing in New York, Theodore Wiprud is a composer who also plays important roles as concert presenter, educator, and music executive. His compositions are known for the impact they make on performers and audiences, reflecting his constant interaction with both adult and young musicians and listeners from the New York Philharmonic. where he currently serves as Director of Education. to classrooms and community venues. Wiprud’s music frequently deals with spiritual experience: orchestral music (such as Hosannas of the Second Heaven) and chamber music (String Quartet No. 1, Refining Fire and String Quartet No. 2, Intimations and Incarnations) responding to Dante’s Divine Comedy and similar works; choral music on texts from diverse religious traditions (Three Mystical Choruses); and percussion scores like Anima and Dark Love. Other pieces involve American literature. including American Journal, based on Robert Hayden’s poem, and A Georgia Song, a setting of Maya Angelou. His Saxophone Quartet has been described as “a work of substance, rewarding to perform. and warmly received by audiences.” Wiprud earned his bachelor’s degree in biochemistry at Harvard and his master’s in theory and composition at Boston University, where he worked with David Del Tredici. He was a Visiting ScholaratCambridge UniversityasastudentofFlobh Holloway, and acornposition tellowatlhe Aspen Music School studying with Jacob Druckman and Bemard Rands. Stephen hnkbegan studying piano,theoryandcompositionattheageoffrve. Hehasheld previous full­time appointments at several major universities in the Midwest, Southwest and Northeast, including SUNY­Binghamton and the University of Rochester. �Bin gha m ton U niv ersit y M usic  D epart m en t ’s U P C O M I N G  E V E NT  5 Thursday, March 22 – Mid­Day Concert – 1 :20 p.m. – Casadesus Recital Hall – free Frida y,  M arch  23 – M aster ’s R ecital : Kathleen Jasinkas, soprano  – 8 :00 p.m. – Casadesus Recital Hall – free Thurs day, March  29 – M id ­Day Concert  – 1:20 p.m. – Casadesus Recital Hall –free Thurs day, March  2 9 – N u k porfe A frican  D rum m ing  a nd  D ance Ensem ble  – 8 p.m. – Anderson Center Chamber  Hall – $5 per person (tickets will be  sold at the door ) Thurs day, A pril  1 2  – M id ­Day Concert  – 1:20 p.m. – Casadesus Recital Hall – free Frida y,  A pril  1 3 – Senior  R ecital : Ale x ander  Baron,  r ecorder  – 8:00 p.m. – Casadesus Recital Hall – free Saturda y,  A pril  14 – M asterclass  wi th  o rganist  Carla  E dwards – 10 a. m. – 12  noon – First Presbyterian Church, Binghamton – free Saturda y,  A pril  14 – R obert  S mith, e uphonium,  presents  “ El Bom bardino ”  wi th  M argaret  R eitz, piano  – 3 p.m. – Casadesus Recital Hall – $6 general public ; $3 faculty/staff/seniors ; free for students Sunda y,  A pril  1 5  – A fricanaise :  A n e  vening  o f  A frican Inspired  Com positions  – 3 p.m. – Anderson  Center Chamber Hall – $ 10 general public ; $6 faculty/staff/seniors ; $3 students For ticket infor mation, please call the A nderson Cen ter B ox Office a t 777­ART5. � 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.) 60 minutes :15 secondss Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141868">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141868</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 Musica Nova, March 18, 2012 Description An account of the resource Works by Bernstein, Goldstaub, Fairouz, Martin, Carrick, Wiprud Held at 3:00 p.m., March 18, 2012, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Choi, Janey Goldenberg, Adam Maiolo, Georgetta Martin, Christian Reitz, Margaret A. Stalker, Stephen Tonna, Anna Zank, Stephen 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 3/18/12 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/643331a2dc2e9564415ee3fd31b9d7da.pdf 71b62445392f287f63bebdf0c13b2cce PDF Text Text BINGHAMTON U  N  I  V  E R  S l  T  Y  f  F F ) S TAT E   UNIVERSITY  OF  N E W  Y O R K D E P A R T M E N T Tnuusmv Hub­D AV CONCERT MARCH 22, 2012 1:20 P.M. CASADESUS RECITAL HALL �PROGRAM ..Fred Godfrey, aka Llewellyn Williams Lucy Long...  (1880–1952) .. Antonin Dvorak tr. T.  Perry  (1841­1904) Timothy Perry, clarinet Margaret Reitz, piano John Isenberg, piano Duet, ”Ah guarda, sorella”  Wolfgang Amadeus Mozart Dorabella: Caitlyn Gotimer, mezzo­soprano John Isenberg, piano (1756–1791) (Pamina’s suicide scene, from DIE ZAUBERFLOTE, Act II) Pamina: Kathleen Jasinskas, soprano First Spirit: Kerianna Krebushevski, soprano Second Spirit: Caitlyn Gotimer, mezzo­soprano Third Spirit: Molly Adams­Toomey, mezzo­soprano John Isenberg, piano Evening Prayer .  from HANSEL und GRETEL  (1813­1901) (1756–1791) (from COSI FAN TUTTE, Act I)  Fiordiligi: Kerianna Krebushevski, soprano “Bald prangt, den Morgen...,...  ..Wolfgang Amadeus Mozart zu verkL’inden”  from Act I, RIGOLETTO  .. Giuseppe Verdi Gilda: Christina Kompar, soprano Giovanna  Molly Adams­Toomey, mezzo­soprano Duke of Mantua: Mario Eun Hwan Bae, tenor Paige Elliott, bassoon Margaret Reitz, piano Romance in f minor, Op. 11 .  Scene, duet, and aria “Caro nome“.4.....  . Engelbert Humperdinck (1854–1921) Sandman: Richard G. Leonberger, tenor Hansel: Michelle Goldrich, mezzo­soprano Gretel: Christina Santa Maria, soprano John Isenberg, piano Wolfgang Amadeus Mozart Trio, “Soave sia il vento”......  (1756­1791) (from COSI FAN TUTTE, Act I)  Fiordiligi: Kerianna Krebushevski, soprano Dorabella: Michelle Goldrich, mezzo­soprano Don Alfonso: Daniel Romberger, bass­baritone John Isenberg, piano “Pronta io son"....  from DON PASQUALE, Act I  .. Gaetano Donizetti (1797­1848) Norina: Meghan Cakalli, soprano Malatesta: Charlie Hyland, baritone John Isenberg, piano �Binghamton University Music D epartment’s U P C O M I N G  E V E NT  s Friday, March 23 — Master’s Recital: Kathleen Jasinkas, so prano — 8:00 p.m. — Casadesus Recital Hall — free Thursday, March 29 — Mid­Day Con cert — 1:20 p.m. — Casadesus Recital Hall — free Thursday, March 29 — Nukporfe Afr ican Drumming and Dance Ensemble — 8 p.m. — Anderson Center Chamber Hall — $5 per person (tickets will be sold at the door) 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 Saturday, April 14 — Masterclass with or ganist Carla Edwards — 10 a.m. — 12 noon — First Presbyterian Church, Binghamton — free Saturday, April 14 — Robert Smith, euphonium, presents “ El Bombardino” with Margaret Reitz, piano — 3 p.m. — Casadesus Recital Hall — $6 general public; $3 faculty/staff/seniors; free for students Sunday, April 15 — Africa naise: A n  e vening o f  A frican Inspired Compositions — 3 p.m. — Anderson Center Chamber Hall — $10 general public; $6 faculty/staff/seniors; $3 students Sunday, April 15 — Guest Organist Carla Edwards — 4 p.m. — First Presbyterian Church, Binghamton — $10 general public; $6 faculty/ staff/seniors; $3 students For ticket information, please call the Anderson Center B ox  O ffice a t  7 77­ARTS To see all events, please visit music. b inghamton. e du Become a fan on Facebook by visiting Binghamton University Music D epar tment � 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.) 55 minutes :43 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141871">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141871</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 Thursday mid-day concert, March 22, 2012 Description An account of the resource Works by Long, Godfrey, Dvořák, Mozart, Humperdinck, Verdi, Donizetti Held at 1:20 p.m., March 22, 2012, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Elliot, Paige Reitz, Margaret Jasinskas, Kathleen Krebushevski, Kerianna Gotimer, Caitlin Adams-Toomey, Molly Isenberg, John Leonberger, Richard G. Goldrich, Michelle Santa Maria, Christina Kompar, Christina Bae, Eun Hwan Romberger, Daniel Cakalli, Meghan Hyland, Charles 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 3/22/12 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/1329271217eecd3130dcbb1e3eb9c5a7.pdf 80b7eaf3f1af7664869299c6a538c803 PDF Text Text BINGHAMTON U  N  I  V  E  R  S 1 T  Y STATE  U N I V E R S I T Y   O F  N E W   Y O R K cad/ob D E P A R T  W E N T G RADUATE T HESIS R ECITAL K ATHLEEN JASINSKAS, SOPRANO with U Lee, Piano Charles Hyland, Baritone Frida y, M arch 23, 2012 8:00 p.m. Casadesus Recital Hall �PROGRAM ..Mozart Laudamus Te .  from Great Mass in C­minor  Five Poems of An na Akhmatova (Op. 27)..  1. Sunshine has filled the room  II. True tenderness III. Memories of sunlight IV. Greetings V. The grey­eyed King Selections from Italienisches Liederbuch.  with Charles Hyland, Barito ne  (1756–1791) .. P ro kofiev (1891–1953) .Wolf (1860–1903) Ihr seid die Allerschonste Auch kleine Dinge Ein Standchen Euch zu bringen Und willst du deinen Liebsten sterben sehen Mein Liebster singt a m Haus Wie soll ich frohlich sein O wiisstest du, wie viel ich deinetwegen Schweig’ einmal still Ich hab’in Penna einen Liebsten wohnen u )   INTERMISSION  «3 Knoxville: Summer of 1915...  ...Barber (1910­1981) PROGRAM NOTES Moza rt was living in Vienna in the winter of 1782 when he began composition of the Great Mass in c­minor (K. 427) as a gift for his fiancée, soprano Constanze Weber. The mass setting was a n impressively la rge underta king, scored for four soloists (SSTB), double chorus and orchestra. Despite protestations from his father, Mozart and Constanze were ma rried in the summer of 1782 and they premiered several movements of the work at St. Peter’s in Salzburg in October of 1783. By all accounts, the performance was quite successful, but for unknown reasons Wolfgang and Constanze left Salzburg permanently the day after the premiere and the score joins the famous Requiem as a stunning but incomplete work. The Laudamus Te is the second of seven sections tha t form the Gloria movement of the Mass, and its message to praise and glorify God is highlighted by a sunny key transition to F­Major and no shortage of vocal and orchestral pyrotechnics. After the completion of his opera The Gambler in 1916, Se rgei Prokofiev is said to have told friends that he wanted to relax and compose a few short, in timate pieces. No stranger to vocal chamber music, his first several song cycles employed the poetry of ”so­called Golden Age [poets] such as Push kin and Lermontov.” This time, however, Prokofiev sought out the work of up­and­coming poet Anna Akhmatova (1889– 1966), enchanted by the “deliberately straightforward and concrete imagery [used] to convey the sometimes morbid sensations of a society woma n.” The cycle was completed in only four days and was a huge success at its premiere at a Concert of Modern Music i n  Moscow on February 18, 1917, which featured soprano Zinaida Artyomova and the composer at the piano. Critic Yuly Engel raved that �Prokofiev had found a new type of lyricism : “One hardly expects to find tenderness, warmth, emotion or, in  short, lyrical charm in Prokofiev’s music. Some say that the young Sa muel Ba rber began work on Knoxville: Su mmer of1915 in 1947 in response to a request for a large symphonic work for Akhmatova’s words, it is difficult to agree with this.” The composer himself agreed that these compact songs did indeed represent a tu rn toward more lyric wri ting that would follow him to the end of his career. composition: “... my musical response was immed iate and intense... The summer evening he describes  reminded me so much of similar evenings when I was a child a t home.” Indeed, Agee and Barber had much in common: both grew up in the South in the ea rly pa rt of the Twentieth Centu ry, and both lost their fathers within a year of their works’ completion. The piece is narrated prima rily by a child, though she seems a t times to transcend into adulthood and reminisce on the idyllic summer scene. Barber described the finished product as a ”ly ric rhapsody,” featuring a full spectrum of orchestral colors, from the serene lilt of the opening harp and oboe to the full blast of french h orns as the child drops to her knees in prayer. It was premiered by American soprano Eleanor Steber and the Boston Symphony Orchestra in 1948 and has become a beloved staple of the com pose r has none of  it. Bu t after h ea ring the songs set to Hugo Wolf was one of the most prolific Lieder com posers of the late 19th Century, producing more than two hundred songs between 1888 and 1897. The Italienisches Liederbuch contains forty­six miniatures in two volumes from 1892 and 1896, while Wolf was living and working in Aust ria. The poems a re traditional 15th Centu ry Tuscan rispetti translated into German by Paul Heyse. Though the translations are beautifully done and reta in much of the poetry’s o riginal flavor, the poems lose the standard structu re of eight 11­ syllable lines, which adds to their Italian cha rm. The subject is love, ranging in expression from sublime to ridi culous (and the nine selections we have chosen certainly follow that order!). Each song is a pa instakingly refined snapshot, ranging in style from a si mple Schubertian serena de to complex Wagnerian chromaticism, with the occasional hint of Italian bel canto opera . Though there are no instructions for how the works are to be performed, they are typically divided between a male and female voice based on poetry and musical range, and have been recorded by several incredible teams, including Elisabeth Schwarzkopf and Dietrich Fischer­Dieskau. voice and orchestra by conductor Serge Koussevitzky. He found himself d ra wn to James Agee’s poem, reca lling post­ modern symphonic repertory. �ABOUT THE PERFORMERS Soprano Kathleen Jasinskas is currently a Resident Artist with Tri­Cities Opera and a Master of Music candidate at Binghamton University, where she studies voice with Professor Tom Goodhea rt. She was hailed as “a joy to watch” singing Despina in TCO’s Cosi fan tutte (2010), and has also been featured as Stella in Les contes d Hoffman (2011) and Kate Pinkerton in Madama Butterfly (2011) at TCO. Kathleen made her professional debut in 2009 singing Antonia in Man of La Mancha with Shreveport Opera, where she was a member of the Shreveport Opera eXpress Resident A rtist program. She has been seen as a Studio A rtist at Opera New Jersey (2009), covering Yum­Yum in The Mikado and as an Apprentice A rtist at Des Moines Metro Opera (2008), covering the role of Oscar in Un ballo in maschera. Kathleen received her Bachelor’s Degree from The Juilliard School in 2008, where her notable performance credits included the New York premiere of Ned Rorem’s Our Town and the American premiere of Cavalli’s La Doriclea. She made her Alice Tully Hall debut in the Spring of 2007 singing Poulenc’s l a  Courte Paille and has presented several recitals in New York City and her hometown, Kansas City, KS. This spring, Kathleen will sing the role of Papagena in TCO’s Die Zauberflote (April 27 & 29). An extraordina ry a rtist, Ms. U Lee is a vi rtuoso singer as well as a pianist and conductor. As a singer, Ms. Lee has performed many roles, including Giulietta, La voix humaine, Judith, Suzuki, Mere Ma rie, Idamante, Dorabella, Glenda, Annio, and more in houses from Taiwan and Malaysia to the United States and Canada. In April, Ms. Lee will perform the Second Lady in Tri­Cities Opera’s Die Zaubeflite. As a pianist/coach, Ms. Lee has worked for Manhattan School of Music, Dolora Zajick’s Institute for Young Dramatic Voices, Yard Opera, Grandview Opera, Experimental Theater (Taipei), and is no w with the M usic Depa rtmen t of Binghamton University. She has also conducted works by Debussy, Ravel, Puccini, Mozart and Rossini. Not restricted to the vocal studio or concert stage, Ms. Lee also made her appearance on the catwalk for designers Dolita and Stayres, played cello in Melanie Fiona’s music video (It kills me), and her a rt work is currently being exhibited in New York. Charles Hyland, Baritone, is a resident a rtist at the Tri­Cities Opera and is currently in the Master of Music program at Binghamton University. He sang the role of Yamadori and covered the role of Sharpless in the TCO production of Madama Butterfly, and will be singing Papageno for their production of Die Zauberflo’te in April. Other previous roles include Melchior in Amahl and the Night V isitors (Binghamton University), Masetto in Don Giovanni (Prelude to Performance, Ma rtina Arroyo Foundation), Figaro in Le Nozze di Figaro (Catholic University of America), Dr. Falke in Die Fledermaus (CUA), Schaunard in La Boheme (CUA), Haly in L’ltaliana in Algeri (Bel Cantanti Opera), and Lorenzo in I Capuleti e i Montecchi (BCO). �B nghamton University Music Department ’s U P C O M I N G  EVENTS Thursday, March 29 — Mid­Day Concert — 1:20 p.m. — Casadesus Recital Hall — free Thursday, April 12 — Mid­Da y 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 Saturday, April 14 — Masterclass with organist Carla Edwards — 10 a.m. — 12 noon — First Presbyterian Church, Binghamton — free Saturday, April 14 — Robert Smith, euphonium, presents “El Bombardino” with Margaret Reitz, piano — 3 p.m. — Casadesus Recital Hall — $6 general public; $3 faculty/staff/seniors; free for students Sunday, April 15 — Africanaise: An evening of African Inspired Compositions — 3 p.m. — Anderson Center Chamber Hall — $10 general public; $6 faculty/staff/seniors; $3 students Sunday, April 15 — Guest Organist Carla Edwards — 4 p.m. — First Presbyterian Church, Binghamton — $10 general public; $6 fa culty/ staff/seniors; $3 students Thursday, April 19 — Mid­Day Concert — 1:20 p.m. — Casadesus Recital Hall — free Friday, April 20 — University String Orchestra — 4:00 p.m. — Grand Corridor — 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 artists and their contnbutions to our larger community.  Please  make  your  donation  payable  to  the Binghamton University Music Department, and send to P.O. Box 5000, Binghamton, NY 13902. For ticket information, please call the Anderson Center Box Ofi'ice at  777­ART5. � 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 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 48 minutes:52 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142048">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142048</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 Graduate thesis recital, Kathleen Jasinskas, March 23, 2012 Description An account of the resource Works by Te, Mozart, Wolf, Barber. Held at 8:00 p.m., March 23, 2012, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Lee, Ü Hyland, Charles Jasinskas, Kathleen 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 3/23/12 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/cee04d5941d675046e37d71167d019d2.pdf 29b83382c882fa0791fce91f53f90b71 PDF Text Text BINGHAMTON U N I V E R S I T Y STATE  U N I V E R S I T Y   O F   N E W   Y O R K D E P A R T M E N T THURSDAY Mib­DaY Conan­r _­, j' / / , 0 '   X e S MARCH 29, 2012 1:20 B.M. CASADESUS RECITAL HALL �Springtime Blues PROGRAM Morceau de Concours. WeiJie Zhao, flute .Gabriel Fauré (1845–1924) .James Mayr Crystal Gonzalez, piano James Mayor, piano I know what I want to say and I will say it I know the odds to weigh and I’ll weigh them but when I drift off to sleep and dream that I am complete, the rain is pitter pattering, the thunder claps the scattering and I am all alone How I remember in December daydreaming of you now that we’re through my mind can’t get enough of you, now that we’re through but last Spring when you held me in your arms Felicia C. Scalzetti, cello Maxim Pekarskiy . Christopher Morgan Loy Two Selections from Homages and Fantasies, op. 56 Petals from Igor’s Rose (A Fantasy) In Memoriam: Jamie Cannon C. M. Loy, piano Whenever I’m crazy or hazy or lazy or right in between I think to myself it really could help if I just fled the scene Chorus .Maxim Pekarskiy Fine Arts in the Afternoon . John Lathwell, oboe One by one and two by two my eyes, they rest on something new, on A few, seconds linger as they touch the air and I stare and I stare but no one’s there Ilyssa Baine, guitar Maxim Pekarskiy, viola Hunters’ Caper  Chorus: It’s what you do, follow my clue, all I can take, all I can take when you walk through the door you .Ilyssa Baine Springtime Blues.  Haven’t you heard my only call my only cry I don’t know why when Spring has sprung you sprung by When I feel lonely and stinky and homely I look for a clue of mystic persistence but when cataclysmic, sparks something new Pak Lok Pio Lau, piano Home  The straw that breaks your camel’s back broke mine instead The mystery, topsy turvy inside my head Chorus �Binghamton University M usic Department’s UPCOMING E V E N TS fi t fi M fi M W M fi ­ fi w fi w Thursday, March 29 – Nukporfe African Drumming and Dance Ensemble – 8 p.m. ­­ Anderson Center Chamber Hall – $5 per person (tickets will be sold a t the door) 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 Saturday, April 14 – Masterclass with organist Carla Edwards – 10 a.m. – 12 noon – Fine Arts 21 – free Saturday, April 14 – Robert Smith, euphonium, presents “El Bombardino” with Margaret Reitz, piano – 3 p.m. – Casadesus Recital Hall – $6 general public; $3 faculty/staff/seniors; free for students Sunday, April 15 – Africanaise : An afternoon of African Inspired Compositions – 3 p.m. – Anderson Center Chamber Hall – $10 general public; $6 faculty/staff/seniors; $3 students Sunday,ApriI15 – Guest Organist Carla Edwards – 4 p.m. – United Presbyterian Church, Binghamton – $10 general public; $6 faculty/ staff/seniors; $3 students   Thursday, April 19 – Mid­Day Concert – 1 :20 p.m. – Casadesus Recital Hall – free Friday, April 20 – University S tring Orchestra – 4:00 p.m. – Grand Corridor – free Saturday, April 21 – Junior Recital : Matthew Gukowsky, tuba – 8:00 p.m. – Casadesus Recital Hall – free For ticket information, please call the Anderson Center Box Office at 777­ARTS To see all events, please visit music. binghamton . e du Become a fan on Facebook by visiting Binghamton University M usic Department � 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 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 34 minutes :38 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142051">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142051</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 Thursday mid-day concert, March 29, 2012 Description An account of the resource Works by Faure, Mayr, Baine, Pekarkskiy, Loy Held at 1:20 p.m., March 29, 2012, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Zhao, WieJie Lau, Pak Lok Pio Gonzalez, Crystal Mayor, James Baine, Ilyssa Pekarskiy, Maxim Scalzetti, Felicia Lathwell, John Loy, Christopher Morgan 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 3/29/12 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/f0d9f48c2d3c4563ce2177b58598dd0b.pdf e34d21e12495b86e92f5684f5ed799b6 PDF Text Text BINGHAMTON U  N 1 v  E R s  1 T  Y STATE  U N I V E R S I T Y   O F  N E W   YORK wdee D E P A R T M E N T SPRING CONCERT The Nukporfe African Dance­Drumming Ensemble of Binghamton University Thursday, March 29, 2012 8:00 p.m. Anderson Center Chamber Hal l �between the lead drummer and dancers is absolute –~ every note cues a movement or gesture. PROGRAM Tonight we will present a selection of traditional dance­drumming pieces from  southern  Ghana.  These  ensembles  are  the  collective  work  the Beginning and Advanced sections of African Dance (THEA 289J/389J; AFST 289J/389J) and the African Music Ensemble (MUS 143B/MUSP IV.  tomime  to  dramatize  battlefield  events such  as  firing  a gun, hiding in the brush, pursuing the enemy, and so on. Each story sequence is introduced by the lead drum, and is completed with a 257; AFST 188B). These courses are offered each semester through the Departments of Africana Studies, Music, and Theatre Dance. Students who complete one of these courses can audition into Nukporfe, which is a touring, professional dance company based at Binghamton University. Nukporfe provides drumming and singing for all of the dance classes at Binghamton University, and gives workshops in African music through­ out the Northeastern United States. turning movement by the dancers. Beginning African Dance Class/Nukporfe African Music Ensemble V.  Advanced African Dance Class/Nukporfe African Music Ensemble I.  Vulolo [Processional from the dance Agbekor]. These first four pieces  present  the  dance  Agbekor,  a  war  dance  of  the  Ewe people of Ghana. Tonight we are attempting to recreate the way this sequence  of dances  would  occur  in  an  Ewe  village,  be­ ginning with the vulalo, which serves to draw the community to the performance grounds. As the drummers and dancers proceed to the stage in traditional fashion, they sing a war song that 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 imitate experiences  of  the  warriors  in  battle,  and  follow  the  drum language of the lead drum, atsimevu. II.  III.  Banyinyi [Asking the ancestors to bless the occasion]. After the village has gathered to the performance space, it is customary for the  group  elders  to  pour  libation,  and  then  to  lead  a  short sequence of the Afa dance, an important ritual dance, in order to obtain a favorable outcome for the performance. Adzotsotso [Preludes]. These short dance interludes introduce the solo dance section that follows. Both of these pieces are among the  most  technically  demanding  works  in  traditional  African music.  The  accompanying  music  is  played  in  a sharp  presto tempo between 190­200 beats per minute, and  the musicians must  maintain  several  highly syncopated  musical  lines whose strokes  tend  to  fall  between  the  beats.  The  communication Vutsotsoe [Solo dance  flights].  The  following  ten  solo dance movements each  tell a story using symbolic gestures and pan­ Gahu. 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 Pan­Atlantic 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. Advanced African Dance Class/Nukporfe African Music Ensemble VI.  Sohaun.  Sohoun  is an  Ewe­Fon sacred  dance  used  to  open  a ceremony of the Yeve shrine. The original movements danced at the shrine inspired the choreography for this folkloric version, created by Dr. Opoku for the Ghana Dance Ensemble. Nukporfe African Music Ensemble VII.  Agbadza. Agbadza is a common funeral dance in  Eweland that encourages community participation by restricting the choreog­ raphy to a single movement sequence that can be quickly learned and  personalized  by anyone.  In  our  version  we  have tried  to evoke this sense of inclusiveness by featuring several first time dancers (who thought  they only signed up to drum!) intermixed with experienced dancers from the group. As is customary in the village,  it  is perfectly acceptable to cheer them  on  when  they come out to dance! �Beginning African Dance Class/Nukporfe African Music Ensemble VIII.  Kparsa. 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 his­ torically interacted with each other. The characteristic movement of Kpatsa  is  a  limping  gait  that  imitates  the  movements  of dwarfs, a magical race that is believed to inhabit rural areas in Ghana. This movement was combined with dance combinations Alexandra  Abel, Abena  Afful,  Solip  Ahn, Alexandra  Bloom, Tiffany Campbell,  Elissa  Connors,  Afua  Donkor,  Alexandra  Escalante,  Lydia Gyampoh, Alexandria  Hall,  Mirim  Han,  Kimberly  Hoffman, Ataveria participants. A DVA N C E D  DANCE­CLASS Togo Atsia. This dance piece is made up  of a series of choreo­ graphed dance sequences known as atsia. These sequences are cued  by  drum  language  phrases  [vugbe]  played  by  the  lead drummer on aisimevu — the tall drum leaning on the stand — which are answered by the response drum kidi — the medium– sized drum. In the 1960s, expert choreographers and drummers Joannie Almonte, Yae Sl Bae, Elizabeth Brown, Tanesha Brown, Megan Buah, Hanna Chang, Imji Choi, Jin Choi, Kimberly Cruz, Jessica Davis, Jennifer  Etienne, Jieun Gang, Zeinah  Issah,  Mujiberehman  Kamil, Na Hyun Kim, Soo Yun Kim, SunWoo Kim, Gabriella Layne, Fedia Louis, Shannon  McKenzie,  Monica  Morales,  Kaitlyn  Orr,  Sasha  Powell, Elizabeth  Song,  ltoro­Chloe  Udo,  Leslie  Vargas, Shaloma  Wagstaffe, Suycon Yu. NUKPORFE  DANCERS in  the  Ghana  Dance  Ensemble  arranged  this  series  of  atisa movements into a performance piece, which they dubbed Togo Atsia, in recognition of their origin within Ewe groups in Togo that had migrated to the Ghanaian capital of Accra. Cynthia  Amoah,  Vanessa Ayivi,  Sarah  Kuras,  Mildred  Ngminebayihi, Camille Adolphe, Brianna  Padilla, Amy Merke, Aisatou Toure, Jacky Tibbett, Christelle Dossous, Mildred Ngminebayihi, Michaela  Pinnock. Kinka. Kinka is a relatively modern style of Ewe funeral music that became popular in the 1950s. It  features a distinctive body of songs and drum language phrases that juxtapose images and themes from traditional Ewe culture with modern life. Like the Agbadza dance presented above, the original choreography uses Drumming directed and arranged by James Burns, Departments of Music and Africana Studies Again, we feature several first time dancers intermixed with ex­ perienced dancers from the group. As is customary in the village, it is perfectly acceptable to cheer them on when they come out to dance! Yan Ding, Carolyn  Fann, Ki Yoon Jeong, Wangjin Lee, Yuqiao Shi, Max Aaronson, Jobin Arikurmel, Dennis Asante, Bingye Chen, Chun Chen, Evan Flury, Donovan Hotz, Alexander  Irwin, Yea Jee  Lim, Nathan  Schmaling, Evan Schulz, Fangling Zeng Gota. Gota  is another Ewe dance that  was adapted  from  their linguistic cousins the Fon of Benin. For this piece we would like to invite members of the audience to come up and join in  the dancing! NUKPORFE  DRUMMERS only  one  basic  movement  so  that  everyone  can  participate. XI.  B E G I N N I N G  DANCE­CLASS Johnson, Ramzi Kakish, Jessica Katon, Yooji Kim, Amanda Kohn, Ann Kossachev,  Sungjae  Lim, Nina  Marinara,  Jasmin  Martinez,  Jenelle Murling,  Melanie  Rivkin,  Sarit  Sandowski,  Victoria  Scalzo,  Alyssa Starrantino, Priscilla Tong, Kancheng Wang, Jessica Wu. Nukporfe African Music Ensemble X.  Assisted by Ambre Avery, Seth Awotwi. Brianna Padilla, Karin Tifa drawn from the Dipo rites, an  Adangbe  female coming­of­age ceremony where young women are presented to the community as  being  mature  and  suitable  for  marriage.  The  Dipo  dances feature movements that emphasize the beauty and talents of the IX.  Dances Directed and Choreographed by Marcel March, Department of Theatre Dance Assisted by Maritza Rodriguez, Wayne Papke, Devon Tracy, David Sharwell BEGINNING DRUMMERS Jeffery  Appeagyei,  Chen  Chen,  Junxin  Chen,  Seon  Ho  Choe,  David Donaphin, Asuanana Etuk, Hyunkyung Kim, Helena Levi, Dan  Lee, Barry Jackson,  Juan  Restrepo,  Eliana  Rodriguez,  Devan  Tracy,  Christopher Tristano, SangEun Yoon. �I f  you like the music please follow our Facebook page (Nukporfe African Dance­Drumming Ensemble) for upcoming performances. e E VV ? } N   We are also an SA Chartered group, and welcome students and faculty to join our group at: http://paws.binghamton.edu/organization/Nukporfe Ne w Beginnings All of the music and dance that you see today is performed by students at Binghamton University, who are taking one of the following courses in the Departments of Music, Africana Studies, and Theatre Dance: B a c k  t o  o u r  R o o t s Sunday,  ucwbe11s.2011.~1m p.m. ST. Patrick’s Catholic Church Beginnings B’ 9 Leroy Street, Binghammn.NY   . Sunday,  \1m1.11.20u. 4 : 0 0 m Trinity Memorial Church 44 Main Street, Binghamtnn. NY Lessons and Carols for Christmas Crossroads C h u n k  ot‘thc Holy Trinity Tabernacle United Methodist Church 83 Main Street. Burglummn NY if  you  are  interested  in  learning  the  dancing  please  register  for  the Beginning  (THEA  289J/AFST  289])  or  Advanced  (THEA389J/ AFST389J) sections of African Dance. Saturday, November 26, 2011 ‘  . Sunday,  N o r e m b e t l ' .  2 011,  0 0 9 m . 146 Prospect Srieerlanghamzon. NY _ Q ~ _ c , \ s _ — 1  .  “ \ S i s A u  ‘  — _ — / ur “ ll / 6 0 – ­  1 0 4 . 6 – l  ~N\ Fm Tickers: wicwsmadvigalchoir.com if  you  are  interested  in  the  drumming  and  singing,  register  for  the African Music Ensemble (MUS 143B/AFST 188B). . Sunday, June 3, 2012, 4:00 p.m. [ e 5 5  5  2011–2012  H u m e The Madrigal L’hoir rifillngharnrnn U; MAMPARUS!  1  x im – m c  c a?” 13 9 < ,.4  19° { DAGOMEA  i(  f (  \. w ,~  ~ i551)  — A   \ i  G o m a   ’  IGUAN)  /  !  _4\  A & \   11 Ea  ­’737’03.W e”  . va i1  1 \  n\ ,­/EC.;~\ J e  i  \ Ethnic Groups  h  of Ghana  w  U !  m x en ) enoups/ o n   " " '   7.1.— — m  ,~‘/ l b . »   7.1:   N a A , a” oy “ewe N ;  “U: 3"be “1ff H __:C:  h ”   Coo­1  public service media for vour community am­ °  — ­ _ ~ . _ L J — ~ — P  v n o t u b m u w w \ \  u  ~.\  . \ \  9 1 , 1 5 3 . 1 5   &  © 1 1 5 5 ­ �Binghamton University Music Department’s U P C O M I N G  E V EN TS l a m b ­ M M Mid­Day concerts are held on Thursdays, 1:20 PM in Casadesus Recital Hall unless otherwise noted and are 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 Saturday, April 14 – Masterc lass with organist Carla Edwards – 10 a.m. – 12 noon – First Presbyterian Church, Binghamton – free Saturday, April 14 – Robert Smith, euphonium, presents “El Bombardino” with Margaret Reitz, piano – 3 p.m. – Casadesus Recital Hall – $6 general public; $3 faculty/staff/seniors; free for students Sunday, April 15 – Africanaise : An evening of African Inspired Compositions – 3 p.m. – Anderson Center Chamber Hall – $10 general public; $6 faculty/staff/seniors; $3 students Sunday, April 15 – Guest Organist Carla Edwards – 4 p.m. – First Presbyterian Church, Binghamton ­­ $10 general public ; $6 faculty/staff/seniors; $3 students Thursday, April 19 – Mid­Day Concert – 1:20 p.m. – Casadesus Recital Hall free —  Friday, April 20 – University String Orchestra – 4:00 p.m. – Grand Corridor – . free  Saturday, April 21 – Junior Recital : Matthew Gukowsky, tuba – 8:00 p.m. – Casadesus Recital Hall – free Sunday, April 22 – University Chorus – 3 p.m. – Osterhout Concert Theater – $10 general public; $6 faculty/staff/seniors; $3 students 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 2 sound discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 75 minutes :1 second 8 minutes :38 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142084">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142084</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 Spring concert: The Nukporfe African Dance-Drumming Ensemble of Binghamton University, March 29, 2012 Description An account of the resource Held at 8:00 p.m., March 29, 2012, Anderson Center Chamber Hall. 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 3/29/12 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/d99c448886aa3ce7b73c1dde13774461.pdf a6e3d9dbd1c1d49810e2223d54aaf9ff PDF Text Text BINGHAMTON U  N  T V  E  R  S  T T  Y S T A T E   U N I V E R S I T Y   O F  N E W  Y O R K zed e C D E P A R T M E N T STUDENT R ECI TAL ALEXANDER BARO N , RECORDER with Pes  Reitz;  Harpsichord Ad am Goldenberg, Peycussconv Friday, Aprib13, 2012 8:00 p. W C W R W M H M �PROGRAM Sonata in f minor  Triste  Allegro ABOUT THE PERFORMERS .  .  .  .  .. George Philipp Telemann (1681–1767) Andante Vivace Bravade.  Modo 1  '  '  Modo 2 Modo 3 '  '  '  '  '  '  '  '  La Luna.  Meditation..  Sonata Seconda.  Wayfaring Stranger  .Jacob van Eyck (c.1590–1657) Alexander Baron has performed with the Binghemton Baroque. Manhattan Recorder Orchestra, and Adirondack Recorder Guild, at Binghamton University Mid­day Concerts, and at various private events and nursing homes. He attended the Indiana Recorder Academy in 2006–2009. and  the Amherst Early Music Festival in 2011. He was the winner of the 2011 American Recorder Society President’s Scholarship. Previous studies have been mainly with Eva Legene and Michael McCraw. Current studies are with Rachel Begley, Daphna Mor, and Pete Rose. Alexander has interests in both early and modern music. He plays both the recorder and native American flute. He is scheduled to play selections from the GP Telemann Concerto for Recorder, Flute, Strings, and Basso Continuo with the University String Orchestra and flutist Georgetta Maiol o later this April. .. Christiane Mar tini Ryohei Hirose (1930–2008) Dario Castello ­(c.1590­c.1 658) Pete Rose (b.1942) Improvisation .  . Alexander B aron (b. 1989) Sonata in g minor  Vivace  jimi  l  gdin  Allabreve Largo Allegro ma non Presto . Antonio Vivaldi '  (1678–1741) 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 performing arts. She is currently on the faculty at  Binghamton University since 1991 and Ithaca College School of Music since 1999.  She is Treasurer of the local District VII Music Teachers Association and is an active adjudicator for the National  Piano Guild Organization. Adam Goldenberg is a senior biochemistry major and music minor. Mr. Goldenberg studies with Professor Daniel Fabricius, and regularly performs with the University Wind Ensemble and Percussion Ensemble. In 2011, Mr. Goldenberg was a featured soloist in Terry Gillingham’s “Concertino for Percussion and W ind Ensemble” a nd in Paul Creston’s Concertina for Marimba and Wind Ensemble. In spring of 2012, Mr. Goldenberg will be performing Keiko Abe’s “The Wave” Concertino for Marimba and Percussion Ensemble on May 10th at the spring percussion ensemble concert. �Bingha mton Univer sity Music D epartm ent’s U P C O M I N G  E V E N 7  3 S a  eDoas M’s­mesme­ Saturday, April 14 – Mas terclass with organist  Carla Edwards  – 10 a.m. – 12 noon – First Presbyterian Church, Binghamton – free Saturday, April 14 – Rob ert Smith, e uphoniu m, prese nts “ E l  Bombard ino” with  Margare t Reitz, pi ano – 3 p.m. – Casadesus Recital Hall – $6  general public; $3 faculty/staff/seniors; free for students Sunday,  April 15 – Afri canaise:  A n  e vening o f  A frican Inspired  Compos itions – 3 p.m. – Anderson Center Chamber Hall – $10 general public; $ 6 faculty/staff/seniors; $3 students Sunday,  April 15 – Gue st Organ ist Carla Edwards  – 4 p.m. – First Presbyterian Church, Binghamton – $10 general public; $6  faculty/stafflseniors; $3 students Thursda y, April 19 – Mid­Day Conce rt – 1:20 p.m. – Casadesus Recital Hall – free Friday, A pril 20 – Universi ty String  Orchest ra – 4:00 p.m. – Grand Corridor – free Saturday, April 21 – Junior  Recital: Matthew  Gukows ky, tuba – 8:00 p.m. – Casadesus Recital Hall – free Sunday,  April 22 – Univer sity Cho rus: Hay dn’s “Lo rd Nelson Mass” – 3 p.m. – Osterhout Concert Theater – $10 general public; $6 faculty/staff/seniors; $3 students For ticket information, please call the Anderson  Center B ox  O ffice a t 777­ART S � 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.) 53 minutes :17 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142099">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142099</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 Student recital, Alexander Baron, April 13, 2012 Description An account of the resource Works by Telemann, Eyck, Martini, Hirose, Castello, Rose, Baron Held at 8:00 p.m., April 13, 2012, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Baron, Alexander Reitz, Margaret Goldenberg, Adam 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 4/13/12 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/aeb0e8a8627abc9afca2883df48a006e.pdf 18697a17abe83b84a07adf155832744e PDF Text Text BINGHAMTON OU  N I V E R S E K 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 oide e [4 D E P A R T M E N T GUEST ORGAN CONCERT CARLA EDWARDS Co­Sponsored by the Bin ghamton  Chapter of the A merican G uild of O rganists Su nday, Ap ril 15, 20 12 4:00 p.m . Un ited Pres byterian Church Bingham ton, New York �PROGRAM ABOUT THE PER FORMER Festive Proclamation .  .Samuel Adler (b. 1928) Chorale­Prelude :  .. Jo han n Sebastian Bach Wachet au f, raft uns die S timme, BW’V 64 5  (1685­1750) Chorale­Partita on.  Wachet auf, ruft uns die Stimme, op.8, no.2  Hugo Distler (1908–1942) I.  Toccata II.  Bicinium III.  Fugue C a r l a  E d w a r d s  is Professor of Organ and  Harpsichord  at De Pauw University in Greencastle, Indiana.  She received her Bachelor o f M   usic degree with highest distinction from The University of Kansas, a Master of Music  degree  from  the  University of Alabama, and  her  Doctor of Musical  Arts degree  from  Indiana University.  She  has  studied with Larry Smith, Delores Bruch, James Moeser, Catharine Crozier, Robert Noehren, Michael Schneider, and J. Warren Hutton. Passacaglia quasi Toccata na tema EACH ..  ..Milos Sokola (1913­1976) &  INTERMISSION a s A Triptych of Fugues  ...Gerald Near (l). 1942) I.  Lively, with dash II.  Slowly, expressively III.  Broadly Choralvorspiele fur Orgel, op.67..  . Max Reger (1873­1916) Wie schon leucht ’t uns der Morgenstern Jesus, meine Zuversicht Herzlich tut mich verlangen Meinen Jesum lass ich nicht Vom Himmel hoch, da komm ich her Prélude et Fugue sur le nom d’Alain, op.7. .Maurice Duruflé (1902­1986) + G uilbault­Thérien Organ, 1996 * Dr. Edwards has been featured several times on the nationally syndicated radio program Pipedreams, and she has performed in England, Italy, and Finland.  Nationally, she  was a  featured artist at the  1994 American Guild of Organists National Convention held in Dallas; the 1997 AGO Region V Convention held in Evansville, Indiana; the 2001 AGO Region V  convention  held  in  Ft.  Wayne,  Indiana;  and  at  the  2007  Organ Historical Society National Convention held in Indianapolis.  She has performed as a concerto soloist with the  Virginia Symphony, and has recently  presented  a  solo  organ  concert  at  the  2008  AGO  National Convention  held  in  Minneapolis,  Minnesota.  Most  recently,  she presented a solo organ concert at the Region V AGO Convention, held in June 2011 in Lexington, Kentucky. Dr. Edwards has recorded two CDs on the Calcante Recordings label, two  CDs  with  the  Del’auw  University  Band,  one  CD  of  works  for soprano/organ with Professor Caroline Smith (vocal faculty at DePauw University). and has recently recorded a solo organ CD on the Hellmuth Wolff organ at DePauw University. �gbam tan University Music Departm en t’s Bin  UPCOMING E V E N T S a5»  {3­64 5­64 5­6t3’6t5’ Mid­Day concerts are held on Thursdays, 1:20 PM  in Casadesus Recital Hall unless otherwise noted and are FRE E Saturday, April 14 – Robert Smith, e uphonium, presents “El Bombardino” with Margaret Re itz, piano –  3 p.m. – Casadesus Recital Hall – $6 general public; $3 faculty/staff/seniors; free for students Sunday, April 15 – Africanaise: An even ing of African Inspired Compositions — 3 p.m. – Anderson Center Chamber Hall – $10 genera public; $6 faculty/staff/seniors; $3 studen ts Sunday, April 15 – G uest Organist Carla Edwards – 4 p.m. –  First Presbyterian Church, Binghamton – $10 general public; $6 faculty/staff, seniors; $3 students Thursday, April 19 — M id­Day Concert –  1:20 p.m. – Casadesus Recita Hall – free Friday, April 20 — U n ive rsity St ring Orchest ra — 4 :00 p.m. – G rand Corridor – free Saturday, April 21 — J unior Recital: Matthew G ukowsky, tuba — 8:00 p.m. – Casadesus Recital Hall – free Sunday, April 22 – Un ive rsity Chorus: Haydn’s “Lord Nelson Mass” – 3 p.m. – Osterhout Concert Theater – $10 general public; $6 faculty/ staff/seniors; $3 students For ticket information, please call the A nd ama n  Can t er  Box Offi ce at 7 7 7 ­AR T S To see all events, please visit mus i c.bi ngbamtan.e du Become a fan on Facebook by visiting Binghamton University Music Department � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 32 minutes :34 seconds. 44 minutes :17 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142102">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142102</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 Guest organ concert, Carla Edwards, April 15, 2012 Description An account of the resource Works by Adler, Bach, Distler, Sokola, Near, Reger Held at 4:00 p.m., April 15, 2012, United Presbyterian Church. Creator An entity primarily responsible for making the resource Edwards, Carla 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 4/15/12 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/0deb5ae1fd6c2c34272b201c05849f03.pdf 7741498ebb721bf6de3d9c305ab9c2dd PDF Text Text BINGHAMTON U  N  I  V  E  R  S  I  T  Y S TAT E   U N l V E R S I T V   O F  N E W  Y O R K ede D E P A R T M E N T THURSDAY MID­DAY CONCERT x %­  1; A N \  ­ 4 , > O .   a APRIL 19, 2012 1:20 P.M. FA 21 �PROGRAM Core ’ngrato .. ..Salvatore Cardillo Mario Eun­Hwan Bae, Tenor Chai­Kyou Mallinson, Piano (1874–1947) .... Giovanni Legrenzi (1626–1680) What PowerArt Thou..  from King Arthur  .. Ryohei Hirose (1930–2008) Meditation......  Che fiero costume .. Fantasia 8 in g minor.. .. Georg Phillipp Telemann (1681–1767) Alexander Baron, Recorder Joseph Keller, Baritone William Lawson, Piano Passacaglia and Fugue in C­minor.... Johann Sebastian Bach (1685–1 750) Jonathan Biggers, Organ .. Santino DeAngelo (b. 1990) Christina Santa Maria, Soprano William Lawson, Piano Claire de Lune... ..Johann Sebastain Bach Chorale­Prelude on  (1685–1750) Schmucke dich, o liebe See/e  “Deck thyself, my Soul, with gladness” Master Tallis’ Testament Mark Rossnagel, Organ Herbert Howells (1892–1983) . Henry Purcell (1659–1695) �Binghamton University Music D epartment’s U P C O M I N G  E V E N T  5 6 & M M 1 3 0 Saturday, April 21 – Junior Recital: Matthew Gukowsky, tuba – 8:00 p.m. – Casadesus Recital Hall – free Sunday, April 22 – University Ch orus – 3 p.m. – Osterhout Concert Theater – $10 general public; $6 faculty/staff/seniors; $3 students Tuesday, April 24 – Friedheim M emorial Lecture/Recital Series: Brahms “Regenlieder” from Song to  Sonata (lecturer Janey Choi, pianist Michael Salmirs and sop rano Mary Burgess) – 8 p.m. – Casadesus Recital Hall – $6 general public; $3 faculty/staff/seniors; free for students Thursday, April 26 – Mid­Day Co ncert – 1:20 p.m. – Casadesus Recital Hall – free Thursday, April 26 – Brass Stud io Recital — 8 p.m. Casadesus Recital Hall – free Friday, April 27 – Tri­Cities Opera presents “The Magic Flute” – 8 p.m. – The Forum Theatre – call (607) 772­0400 for tickets Saturday, April 28 – University S ymphony Orchestra: The Three B’s (Bach, Brahms and Beethoven)  with faculty violinist Janey Cho i and oboist John Lathwell – 3 p.m. – Osterhout Concert Theater – $10 general public; $6 faculty/staff/seniors; $3 students Sunday, April 29 – Harpur Chora le and Women’s Chorus: Sing in to Spring – 3 p.m. – Anderson Center Chamber Hall – $6 general public; $3 faculty/staff/seniors; free for students Sunday, April 29 – Tri­Cities Opera presents “The Magic Flute” – 3 p.m. – The Forum Theatre – call (607) 772­0400 for tickets Tuesday, May 1 – String Department Recital: String Fever – 8:30 p.m. – Casadesus Recital Hall – free For ticket information, please call the Anderson Center Box Office at 7 77­ART5. For more information, please call (607) 777­2592, visit music. binghamton. edu or become a fan on Facebook. To see all events, please visit mus ic. b inghamton. e du � 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 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 66 minutes :15 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142150">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142150</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 Thursday mid-day concert, April 19, 2012 Description An account of the resource Works by Cardillo, Hirose, Telemann, DeAngelo, Bach, Howells, Legrenzi, Purcell Held at 1:20 p.m., April 19, FA 21. Creator An entity primarily responsible for making the resource Bae, Eun hwan Mallinson, Chai-Kyou Baron, Alexander Santa Maria, Christina Lawson, William James Rossnagel, Mark Keller, Joseph Biggers, Jonathan 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 4/19/12 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound