106 10 1775 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 52 minutes :42 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142456">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142456</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource University Percussion Ensemble concert, May 10, 2012 Description An account of the resource Works by Fabricius, Laney, Whitacre, Abe, Crockarell, Arndt, Beck, Sousa Held at 8:00 p.m., May 10, 2012, Watters Theater, BU Fine Arts. Creator An entity primarily responsible for making the resource Fabricius, Daniel Goldenberg, Adam Goetz, Emily Steenstra, Rose Erdman, John Ramos, Benjamin Rava, Alexander Steere, Tyler Tracy, Devn Valera, Alex Williamson, Andrew Patterson, Ryan 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 5/10/12 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/837e4bd52343e93c0c4fa60ef87c6804.pdf 378609bd9932044f15fd28dfccce468a PDF Text Text BINGHAMTOT NY U N I V E R S I 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 M OZART CORONATION MASS (K.317) Christina San ta Maria, soprano Kimberly Tor res, mezzo soprano Jason Auman, tenor Daniel Romb erger, baritone Binghamton University Chamber C horus and Orchestra J ushin Choi, conductor In partial fulfillment of  the degree Master of Music Sunday, February 5, 2012 3:00 p.m. Trinity Memorial Episcopal Church Binghamton, New York �PROGRAM Wolfgang Amadeus Mozart (1 756–1 79 l ) Coronation Mass, K.317 1. Kyrie Lord have mercy. Chris! have mercy.  Lord have mercy. II. Gloria Glory to God in the highest. And on earth peace to all those of good will.  We praise thee, we bless thee, we worship thee, we glorify thee.  We give thanks to thee according to thy great glory.  Lord God, Heavenly King, God the Father almighty.  Lord Jesus Christ, the only begotten Son.  Lord God, Lamb of God, Son of the Father. Thou who takest away the sins of the world, have mercy upon us.  Thou who takest away the sins of the world, receive our prayer.  Thou who sittest at the right hand of the Father, have mercy upon us. For thou alone art  holy. Thou alone art the Lord. Thou alone art the most high, Jesus Christ.  With the Holy Spirit in the glory of God the Father.  Amen. III. Credo I believe in one God, the Father Almighty, maker of heaven and earth, and of all things visible and invisible.  And I believe in one Lord, Jesus Christ, the only begotten Son of God, born ofthe Father before all ages.  God from God, Light form Light, True God from true God.  Begotten not made. Who for us and for our salvation came down from Heaven. And was incarnate by the Holy Spirit of the Virgin Mary. And was made man.  Crucified also for us under Pontius Pilate, he suffered, and was buried.  And on the third day he rose again, according to the Scriptures.  He ascended into heaven and he sits at the right hand ofthe Father.  He shall come again with glory tojudge the living and the dead: and of his kingdom there will be no end.  And I believe in the Holy Spirit, the Lord and giver of life, who proceeds from the Father and the Son who together with the Father and the Son is adored and glorified, who spoke to us through the Prophets. IV. Sanctus Holy, Holy, Holy, Lord God of Hosts.  Heaven and earth are full of thy glory.  Hosanna in the highest. V. Benedictus Blessed is He who comes in the name of the Lord. Hosanna in the highest. VI. Agnus Dei Lamb of God, who takest away the sins of the world, have mercy upon us.  Lamb of God, who takest away the sins of the world, have mercy upon us.  Lamb of God, who takest away the sins of the world, grant us peace. �Chamber Chorus ABOUT THE PERFORMERS Christina Santa Maria. soprano. is a graduate of Fiorello H. LaGuardia HS for Music, Art and Performing Arts ‘1 1. She is currently working towards a BMus in Mary Burgess‘ Voice Studio at Binghamton University. She has participated in the Bel Canto Summer Institute in Florence, Italy and CityWide Youth Opera‘s Summer Intensive, broadening her repertoire and experience. This last spring she played the principal soprano in LaGuardia Opera Workshop’s production ofKismet under the direction of Paul Lincoln. She was also a semi­ finalist at the LA Convention ofClassieal Singer’s High School Competition. Christina is currently working with the Tri­Cities Opera as an ensemble member in Binghamton, NY. 6 Kimberly Torres has been a part of her church’s choir ever since she was in 3’  grade. Her love for music pushed her to apply for Fiorello H. LaGuardia High School of Arts. There she grew as a singer and performer. Along with singing solos in her freshman. sophomore, and junior choms. she also participated in her school’s annual talent show, Rising Stars and operetta, Naughty Marietta. During her senior year, she landed the role of Lalnme in her school‘s presentation of the operetta. Kismet. She also participated in the side­by­side program for New York City’s Collegiate Chorale. This chorus allowed her to perform at Carnegie Hall numerous times and taught her the discipline she needed to be a part of a choms. Now she is a freshman at Binghamton University and is heading toward becoming a Music Major. Although her journey at Binghamton has only begun, she has high hopes for the next three years. Originally from Wellsboro, PA. tenor Jason  Auman has been a resident of Binghamton for nine years. Jason received his undergraduate degree in music at Mansfield University. Previous choral engagements include Handel‘s Messiah and Haydn’s Creation. He also can be seen performing with the Madrigal Choir of Binghamton and here at Trinity Memorial Church. Daniel Romberger is a sophomore from Valley View, PA. He is a triple major in music. actuarial science. and economics. In his previous three semesters at Binghamton. Daniel has participated in University Chorus and Harpur Chorale as a bass and in Wind Symphony as a trombonist. He enjoys musical ensembles and has performed in and composed for the Explorchestra. where he also sings and plays trombone. Though Daniel is unsure what specific career he desires afier college. he hopes to use his affinity for math and economics to make the world a better place while keeping music in his life. Conductor Jushin Choi was born in South Korea.  He completed his undergradute work at the University of BAEKSEOK. where he majored piano. Choi arrived at Binghamton University in the fall of2010 where he is in his second year of study for a Master’s Degree in choral conducting.  This performance of Mozart’s Coronation Mass is in partial fulfillment of the requirements for the degree. William Lawson, rehearsal accompanist Soprano Teresa Almendros Ada­Osha Belleh Rose Ann Clough Susan MacLennan Cathie Makowka Susan Sarzynski Barbara Thamasett Faith Vis Deborah Vought Alto Marion K. Adams Kathryn Baine Sylvia Horowitz Theresa Hoysic Claudia Kachmarik Maggie Kirkaldy Greta L. Myers Sioux Petrow Joyce Printz Kelly Pueschel Pam Turrigiano Cheryl Jacobson Tenor Brad Bennett Martin Bidney H.B. King Judson Wallis Sherry Williamson Bass Ronald Beauchamp Bruce Borton Peter Cody J. Scott Husted Joseph E. Nelson William Clark Snyder Chamber Orchestra Violin 1 Doug Diegert Mary Diegert Peter Roseboom Violin 2 Lee Shepherd Tammy Nist Renee Hewett Viola Hyunsung Park Cello Emily Creo Julian Shepherd Oboe Kathy Karlsen Organ Peter Browne �B1 1&1 [=< h­ — v w .‘¢ =E] ‘..'ka'3;“’4­  i 1  . U C O — 0 O 1 2011­2012 Season 8 go » 5 5 e = P Y 8v1 £ At Qo i 2 F­ = ? . . . G) (QLER 2 s ? 1: €E u O h [a2]  )I “ n .   7 Pa in 5 agli October 21& 23, 2011  [ N I x ont nghiam B   FP/. CW...“ (hr‘rrllr’  1 .\    \ I  \1)\\ Il H I  ” IIE’RH  . LUCIA DI LAMMERMOOR  THE MAGIC I ’ l l T    Q Frbruar) 10&12, 2012  Apn12 T N 2Q  2012 1  1 at the FORUM THEATRE  in Binghamton Tirfi Info: 507­772­0100  » www.tricitiesopera.com w m — n a n — v — n m a n n n u fl G  o m e n c r w r y — g p a  d d e d  n u m u — “ m l h — n — n n ­ m a m ­ q . “  m e n u ­ a . . . ”  h t — l o — n i n e — 1 m   Fund . progem  n u n ­ n u n “  ovo uIktD­motr JosésLus i N BINGHAmTON  PHILHARMON IC REAL. LIVE.  MUSIC.  o s e Sara Bushman S ham mm mama mum” . g?  } 9   ChamW  berSerfs Mmswmlfls m m public service media for your community A I M th incantation; Veinna onsChu ei  e u Symphon WWJINGHAITOMPNILHAIUOMICJIG  Crqiue D \'.  \ \   fix  .' \ ‘   9 1   “ l “ :   &  © 5 1 4 5 — �Binghamton University Music Department’s MPOOMINC,‘ E V E N TS Mid­Da y concerts are held on Thursdays, 1 .'20 PM in Casadesus Recital Hall unless otherwise noted and are FREE Tuesday, February 7 — Friedheim  Memorial Lecture/Recital S eries: Mozart’s  “Sinfonia Concertante for V iolin and  Viola” (Timothy Perry, speaker, Janey Choi, violin, Roberta Cra wford, vio list and members  of the University Symphony Orchestra) — 8 p.m. — Casadesus Recital Hall –– $6  general public; $3 faculty/staff/seniors ; free for students Friday, February  10 — Tri­Cities  Opera presents “Lucia di Lammermoor” — 8 p.m. — The Forum Theatre — call (607) 772­0400 for tickets Sunday, February  12 – Tri­C ities Opera presents “Lucia  di Lammermoor” – 3 p.m. – The Forum Theatre – call (607) 772­0400 for tickets Thursday, March 1 — Mid­Day Concert — 1:20 p.m. — Casadesus Recital Hall — free Sunday, March 4 — Wind Symphony Concert: March Music — 3 p.m. — Anderson Center Chamber HaII — $6 general public; $3 faculty/stafflseniors ; free for students Tuesday, March 6 — NASM Mid­Day Concert (concert i s  c losed to the public) — 1:20 p.m. — Casadesus Recital Hall — free If y  ou enjoyed and were inspired by this performance, please consider supporting the Department of Music with a financial gift.  Your support helps to continue the  work of students, faculty, and guest artists and their contributions to our larger community.  Please  make  your  donation  payable  to  the Binghamton University Music Department, and send to P.O. Box 6000, Binghamton, NY 13902. For ticket information, please call the Anderson Center Box Office at 777­ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 32 minutes:55 seconds 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 Mozart's Coronation Mass, Jushin Choi, February 5, 2012 Description An account of the resource Works by Mozart. Held on February 5, 2012. Creator An entity primarily responsible for making the resource Choi, Jushin 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 2/5/12 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/3aaa1cfb89929adb4eb795985740665f.jpeg f20548b3d85d7e41a81ecbf6ac5f8723 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/. Format The file format, physical medium, or dimensions of the resource Audio interviews Title A name given to the resource McKiernan Interviews Description An account of the resource Stephen McKiernan's collection of interviews includes more than two hundred interviews with prominent figures of the 1960s, which were collected between the mid-1990s to 2023 The collection provides narratives of people who were actively involved in or witnessed events in the 1960s, an era which spurred profound cultural and political transformation in the twentieth century. Interviewees include politicians, artists, scholars, musicians, authors, and veterans who delve into the decade’s most prominent issues and events, including the civil rights movement, the free speech movement, the anti-war movement, women’s rights, gay rights, segregation, the Vietnam War, Woodstock, Hippies, Yippies, and individualism.<br /><br /> <h3>The McKiernan 22</h3> <div>Stephen McKiernan interviewed legends of the 1960s. When asked in 2021 where one should start when sifting through his vast collection, he provided the following list:</div> <ul> <li><a href="https://omeka.binghamton.edu/omeka/items/show/854">Julian Bond</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1866">Bobby Muller</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1175">Craig McNamara</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/910">Dr. Arthur Levine</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/837">Diane Carlson Evans</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/942">Dr. Ellen Schrecker</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/876">Dr. Lee Edwards</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/841">Peter Coyote</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1233">Dr. Roosevelt Johnson</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/899">Rennie Davis</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1222">Kim Phuc</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/917">George McGovern</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/833">Frank Schaeffer</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/840">Rev. Dr. Frank Forrester Church </a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1240">Dr. Marilyn Young</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/842">James Fallows</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/835">Joseph Lee Galloway</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/911">John Lewis</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/839">Paul Critchlow</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/888">Steve Gunderson</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1159">Charles Kaiser</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/2407">Joseph Lewis</a></li> </ul> Creator An entity primarily responsible for making the resource Stephen McKiernan Publisher An entity responsible for making the resource available Binghamton University Libraries Language A language of the resource English Rights Information about rights held in and over the resource In copyright. Template: Simple Audio Player (Amplitude.js) This template displays an audio player with the first attached image file as the 'cover image'. For its audio source, the template looks for the first attached audio file. If additional audio files exist, they should be combined using audio editing software, or a separate Omeka item should be made for each part. Date of Interview 2010-12-02 Interviewer The person(s) performing the interview Stephen McKiernan Interviewee The person(s) being interviewed Heather Booth Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 2:56:02 Language English Digital Publisher Binghamton University Libraries Digital Format audio/mp4 Original Format The type of object, such as painting, sculpture, paper, photo, and additional data MicroCassette Material Type Sound Interview Format Video or Audio Audio Keywords Baby boom generation; Civil Rights Movement; Women's Rights Movement; War protest; Suffragettes; Activism; University of Chicago; Freedom;&nbsp;School boycotts; Free Speech Movement; Biographical Text Heather Booth is a civil rights activist, feminist, and political strategist. Booth started organizing in the civil rights, anti-Vietnam war, and women's movements of the 1960s. She also started JANE, an underground abortion service in 1965. Booth was the founding Director and is now President of the Midwest Academy. She became the Director of the NAACP National Voter Fund, which helped to increase African American election turnout in 2000. She was directing the founding of the Campaign for Comprehensive Immigration Reform in 2005. Booth became the director of the Health Care Campaign for the AFL-CIO in 2008. In 2009, she directed the campaign passing President Obama’s first budget. She was strategic advisor to the Alliance for Citizenship and has been a consultant on many other issues and with other organizations. Booth has a Bachelor's degree in Social Sciences, then in 1970, a Master's degree in Educational Psychology, both from the University of Chicago. 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>. Rights Statement Many items in our digital collections are copyrighted. If you want to reuse any material in our collection you must seek permission, or decide if your purpose can qualify as fair use under the U.S. Copyright Law Section 107. If you think copyright or privacy has been violated, the University Libraries will investigate the issue. Please see our take down policy. If using any materials in this online digital collection for educational or research purposes, please cite accordingly. 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 Interview with Heather Booth https://omeka.binghamton.edu/omeka/files/original/9ed8e2e865385b5861b0556473679748.mp3 3812013610763e0c890413ce460f1cf9 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/. Format The file format, physical medium, or dimensions of the resource Oral Histories Title A name given to the resource Oral Histories from 1960s Binghamton Alumni Description An account of the resource In 2019, Binghamton University Libraries completed a mission to collect oral interviews from 1960s alumni as a means to preserve memories of campus life. The resulting 47 tales are a retrospective of social, professional and personal experiences with the commonality of Harpur College. Some stories tell of humble beginnings, others discuss the formation of friendships; each provides insight into a moment in our community's rich history. Creator An entity primarily responsible for making the resource Irene Gashurov 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 2017-2018 Relation A related resource <a href="https://omeka.binghamton.edu/omeka/items/browse?collection=18">McKiernan Interviews : 60's collection of Oral Histories</a> Rights Information about rights held in and over the resource In copyright. Template: Simple Audio Player (Amplitude.js) This template displays an audio player with the first attached image file as the 'cover image'. For its audio source, the template looks for the first attached audio file. If additional audio files exist, they should be combined using audio editing software, or a separate Omeka item should be made for each part. OHMS Object URL Nineteen sixties; Harpur College; Alumni and alumnae Date of Interview 2021-08-11 Interviewer The person(s) performing the interview Dr. Aynur de Rouen Interviewee The person(s) being interviewed Joseph Patrick Hoolihan Year of Graduation 1972 Biographical Text Joseph Patrick Hoolihan was born in 1950, in New York City, and moved with his family in 1960 to Chestertown, NY then to Granville, NY in 1964. His father was a TV repairman and his mother was a housewife. He attended Harpur College in 1968 and graduated in 1972 with a Bachelor's Degree in Applied Mathematics. After graduation, he joined the United States Navy and became an officer, serving for 10 years on active duty. He earned his Master's Degree in Computer Science from John Hopkins University while on active duty. He recently retired from a Computer Sevices Gov't contractor firm after 35 years. At the time of this interview he lived with his wife, a former Harpur Student, in Maryland. Interview Format Video or Audio Audio Keywords Harpur College – Seventies alumni; Harpur College – Alumni from New York State; Alumni in Applied Mathematics – Alumni living in Maryland 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>. Subject LCSH Harpur College – Seventies alumni; Harpur College – Alumni from New York State; Alumni in Applied Mathematics – Alumni living in Maryland Rights Statement Many items in our digital collections are copyrighted. If you want to reuse any material in our collection you must seek permission, or decide if your purpose can qualify as fair use under the U.S. Copyright Law Section 107. If you think copyright or privacy has been violated, the University Libraries will investigate the issue. Please see our take down policy. If using any materials in this online digital collection for educational or research purposes, please cite accordingly. 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 Interview with Joseph Patrick Hoolihan Contributor An entity responsible for making contributions to the resource Hoolihan, Joseph Patrick ; De Rouen, Aynur Format The file format, physical medium, or dimensions of the resource audio/mp3 Description An account of the resource Joseph Patrick Hoolihan was born in 1950, in New York City, and moved with his family in 1960 to Chestertown, NY then to Granville, NY in 1964. His father was a TV repairman and his mother was a housewife. He attended Harpur College in 1968 and graduated in 1972 with a Bachelor's Degree in Applied Mathematics. After graduation, he joined the United States Navy and became an officer, serving for 10 years on active duty. He earned his Master's Degree in Computer Science from John Hopkins University while on active duty. He recently retired from a Computer Sevices Gov't contractor firm after 35 years. At the time of this interview he lived with his wife, a former Harpur Student, in Maryland. 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 2021-08-11 Rights Information about rights held in and over the resource In Copyright Language A language of the resource eng Type The nature or genre of the resource Sound Identifier An unambiguous reference to the resource within a given context Joseph-Hoolihan.mp3 Is Part Of A related resource in which the described resource is physically or logically included. Oral Histories from 60's Binghamton Alumni Extent The size or duration of the resource. 63:12 minutes Subject The topic of the resource Harpur College – Seventies alumni; Harpur College – Alumni from New York State; Alumni in Applied Mathematics – Alumni living in Maryland https://omeka.binghamton.edu/omeka/files/original/34f6ab261be8488d88178b87440e9971.jpeg d5363dcaae99ebd65bedba6e84c102e1 https://omeka.binghamton.edu/omeka/files/original/3ac3a5b073ede5e18dc8a2ca03556e33.MP3 9b30cb2067565be013039b5d01a5188a 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/. Format The file format, physical medium, or dimensions of the resource Audio interviews Title A name given to the resource McKiernan Interviews Description An account of the resource Stephen McKiernan's collection of interviews includes more than two hundred interviews with prominent figures of the 1960s, which were collected between the mid-1990s to 2023 The collection provides narratives of people who were actively involved in or witnessed events in the 1960s, an era which spurred profound cultural and political transformation in the twentieth century. Interviewees include politicians, artists, scholars, musicians, authors, and veterans who delve into the decade’s most prominent issues and events, including the civil rights movement, the free speech movement, the anti-war movement, women’s rights, gay rights, segregation, the Vietnam War, Woodstock, Hippies, Yippies, and individualism.<br /><br /> <h3>The McKiernan 22</h3> <div>Stephen McKiernan interviewed legends of the 1960s. When asked in 2021 where one should start when sifting through his vast collection, he provided the following list:</div> <ul> <li><a href="https://omeka.binghamton.edu/omeka/items/show/854">Julian Bond</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1866">Bobby Muller</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1175">Craig McNamara</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/910">Dr. Arthur Levine</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/837">Diane Carlson Evans</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/942">Dr. Ellen Schrecker</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/876">Dr. Lee Edwards</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/841">Peter Coyote</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1233">Dr. Roosevelt Johnson</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/899">Rennie Davis</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1222">Kim Phuc</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/917">George McGovern</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/833">Frank Schaeffer</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/840">Rev. Dr. Frank Forrester Church </a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1240">Dr. Marilyn Young</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/842">James Fallows</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/835">Joseph Lee Galloway</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/911">John Lewis</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/839">Paul Critchlow</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/888">Steve Gunderson</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1159">Charles Kaiser</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/2407">Joseph Lewis</a></li> </ul> Creator An entity primarily responsible for making the resource Stephen McKiernan Publisher An entity responsible for making the resource available Binghamton University Libraries Language A language of the resource English Rights Information about rights held in and over the resource In copyright. Template: Simple Audio Player with Transcription This template displays an audio player by Amplitude.js with a scrollable transcription which is loaded from the "Transcription" metadata field. This template displays an audio player with the first attached image file as the 'cover image'. For its audio source, the template looks for the first attached audio file. If additional audio files exist, they should be combined using audio editing software, or a separate Omeka item should be made for each part. Date of Interview 2021-08-05 Interviewer The person(s) performing the interview Stephen McKiernan Interviewee The person(s) being interviewed Dr. Harriet Hyman Alonso Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:32:36 Language English Digital Publisher Binghamton University Libraries Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Digital file Material Type Sound Interview Format Video or Audio Audio Biographical Text Dr. Harriet Hyman Alonso has been Professor Emerita of History at the City College of New York and the CUNY Graduate Center since 2015. She has written extensively about peace history. Her books include the now-classic Peace as a Women’s Issue: A History of the U.S. Movement for World Peace and Women’s Rights and the award-winning, Growing Up Abolitionist: The Story of the Garrison Children. In the fall of 2012, Wesleyan University Press will publish her newest work, Something Sort of Grandish: Yip Harburg on Lyrics, Laughter, and Human Rights. She earned an M.A. in Women’s History from Sarah Lawrence College and a Ph.D. in History from Stony Brook University. Keywords Baby boom generation; 1960s; 1970s; Women's history; Women's Rights Movement; Abolition; Peace movement; Suffragettes; Peace Movement. Digital Format audio/mp4 Transcription Any written text transcribed from a sound, or alternative text from a visual medium McKiernan Interviews Interview with: Harriet Hyman Alonso Interviewed by: Stephen McKiernan Transcriber: Eden Lowinger Date of interview: 5 November 2021 -------------------------------------------------------------------------------------------------------------------- (Start of Interview) SM: 00:05 All right. Can you hear me okay? HHA: 00:07 Yep. Can hear you fine. SM: 00:09 Yeah. Okay, the first question I just want to ask you is if you could tell us a little bit about yourself, through your growing up years, your high school and your college experiences before you became a professor and very gifted writer. HHA: 00:21 Okay, well, I was born on July 31 (19)45. And in a family that was, how can I put it, that they were kind of conservative, but not vocal, a very quiet Jewish family. Very working class, my father was and was very poor as a child, and my mother, a little less poor. They lived in Brooklyn. And they, my father was in the army for a very brief period at the end of World War Two, which made him eligible for the GI Bill. So, they purchased a home in Paramus, New Jersey when I was in the fourth grade, and at the time they had together $125 to their name when they moved in. So, I went to school largely in Paramus, which I never liked [laughs] to this day. And never quite fit in, and so I was eager to leave. But the one thing about that growing up period, I will say, is that I became really interested in the theater. And that is because my parents always were and my father, as a child had, well, I guess a teenager and young man had built himself, you know, one of those scooters with the wooden platform. And he would push himself from Brooklyn into Manhattan, and go to any show he could afford. So, I was, and he had this incredible memory of theater information, and movie information. His friends used to like to come by and ask him all these obscure questions that he could always answer. So, I was raised with this love of theater, and of musical theater in particular. And when I was in high school, Robert Ludlum, you might know his name from spy novels. SM: 02:31 Yes. HHA: 02:32 Yeah. But he was the producer of an Actors Equity Theatre in New Jersey, that was originally called the North Jersey Playhouse and then became the Playhouse on the Mall in Paramus. And he had a program for apprentices of kids from local high schools, and I applied and I was accepted. And for three summers, I worked in that theater. And during the year, I ushered in that theater, and became like, really connected in an, especially in an emotional way, as well as learning so much. And so, I originally thought I would go, I would study theater somewhere. My parents, and I have two older sisters, nobody ever went to college. And so, when I said I wanted to go to college, my parents immediately thought I would go to a state college and become a teacher. And I said, I would never ever in my life, become a teacher. It is kind of ironic when you think about it, and [crosstalk] SM: 03:46 Now you are a great teacher. [laughter] HHA: 03:50 I want to study the theater. And so, I actually, my high school had not designated me as somebody who would follow the college path. And I applied, they did not really like counsel me in it. So, I applied to one school. I applied to NYU. At that time, the theater program was in the School of Education. Am I telling you too much? SM: 04:20 Oh-no, no, this is fine. Because, you know, the books that you have written, people want to know who you are, where you came from. HHA: 04:29 [laughs] Okay, so I-I applied to NYU and my-my mother said, "If you receive" and she gave me a dollar amount, I forget what it was like about $500. "If you receive that in financial aid, somehow I will figure out how you should go to college" and I got exactly that amount. And so, I went to NYU to where the theater program was in the School of Education. This was before the School of the Arts was even created. And I went there. I soon discovered I did not have the backbone to be in the theater. So, I switched to an English major. And I graduated from NYU in (19)67 with a Bachelor's in English and Dramatic Arts in the School of Education. And from there I actually, I had been very interested in the Peace Corps. And I had applied and been accepted and been trained to teach ESL. And, but I never did go to the Peace Corps. Because I met the man I married, and that I am still married to [laughs] and ended up teaching ESL for about 15 years. And during those years, because this was (19)67 on into about (19)80, let us say, or, let us say, six- I taught ESL from (19)67 to (19)82, but I started to make a transition before that. I would say that the-the changes that happened in the late (19)60s for me, were the political changes. SM: 06:21 Right. HHA: 06:22 And some of that had to do with being in Greenwich Village. And living in a dorm there and being exposed. Some of it was meeting my husband, who was kind of a beatnik hippie at the time, [laughs] and just learning stuff. And I ended up after I graduated, getting a job teaching ESL at a, it was one of the first community-controlled schools in New York City, up in Harlem, on 121st Street, IS 201. And I taught ESL there for a year when I was, was kind of lost, and appealed to a professor at NYU who taught ESL, and then he actually came to the school and advised me on what I was doing, and then recruited me into a special program at NYU, where I trained at the American Language Institute and taught ESL. So anyway, I taught ESL for 15 years, but that really- oh, that is English as a Second Language for [inaudible]. SM: 07:40 Right-right. HHA: 07:43 Door during those years, I became very involved in the-the early women's movement, second wave women's movement, I became involved in the antiwar movement too, mostly about the draft issue, the anti-draft movement, because I had a son in (19)71. And, you know, became very aware of that. So, I went to a lot of marches against the Vietnam War, became involved in the Cuba movement, and worked with a magazine called Cuba Times Magazine and made some journalistic trips to Cuba. SM: 08:29 Wow. HHA: 08:30 And so, I became politicized at that time, which was very opposite of what I was raised, or how I was raised to be. Like I said, my parents were not active in any way. They were [inaudible] kind of more timid people. I do not I do not know if that was an effect of World War Two, of what they knew about the Holocaust or whatever, like, I know now, I did not learn till I was 18 that almost my entire family was wiped out in the Holocaust. They never mentioned that [laughs] which and so they it was so they were, I became the black sheep of the family in effect. And but I journeyed on my way, and kind of one thing led to another and in around (19)79, I guess, or (19)80, I-I was not happy teaching ESL. I really loved the students, I learned a lot. But something, it was kind of was not meshing and I needed to make a change. And also, one part I forgot is I got, I got very involved in doing embroidery, especially needlepoint. And I started creating my own political, what I call political posters, because I love that art form. And those pieces, which are still with me, have now been acquired by the New York State Museum up in Albany. And some of them have gone there, and some will go there eventually, but are with me, and I still do those. But that, doing that art form led me to women's history. And I somehow wanted to pull together the political stuff, and the professional stuff in some way. And one day I was looking, you know, how the New York Times used to have ads in it- SM: 11:01 Yes. HHA: 11:01 -or educational ads, I was just looking through the paper, and I saw this ad for an open house at Sarah Lawrence College for the MA in women's history. And I said, "Oh, that sounds really interesting." And I went up to the school, and had what I would call a conversion experience. It was like, a bolt of lightning hit me, I attended classes taught by Gerda Lerner, and a couple of other professors there. And I just, I do not know what I could say, I just knew that I wanted to do that, and borrowed all kinds of money [laughs] to do that. And in fact, when I applied, you know, and Gerda Lerner interviewed me, and she said, "I do not know why you want to start this, you already have a profession." And why do you want to come back to school and learn this. And, you know, I told her how I felt and she-she was just leaving Sarah Lawrence for Wisconsin. And she said, to the, to her cohorts there, be sure to admit this woman into this program. So, I never got the chance to study with her. But she always considered me one of her students. And so, I-I did that. I had, when I first started, I had great trepidation about it because it was involving a lot of money, it was involving a lot of time. I was also teaching part time, adjuncting in many-many schools at that time. And but I went into that program. And when I went in, I thought I was going to do embroidery history, until my advisor there said, you will never get a job in the future if you do the history of embroidery. Says it is just not going to happen. And I said, "Well, how about the peace movement? Because I am interested in that, too." And she said she because she had written something about it. said, "Yeah, I think you should go in that direction." And little did she know, actually, it would have probably been easier for me to get a job teaching, you know, cultural stuff– SM: 11:39 Right. HHA: 11:48 -than it ended up being a peace historian. [laughs] SM: 13:49 Well, I would say everything seems to fall in place here. You know, you answered my first three questions I was going to ask was, I was going to find out how the (19)60s and early (19)70s influenced you and helped shape you, especially being around your peers. So, around the same age, and when you look at the youth of the (19)60s and early (19)70s. Do you see any differences in the youth during that period? We are, we are trying at Binghamton here to concentrate on that era, (19)60 to (19)75. And, of course, the women's movement is crucial here. But do you see that any difference of the students of the early (19)60s to those of the later (19)60s? HHA: 14:36 Well, in terms of the early (19)60s, I mean, the students that I knew, you know, in high school and in, at NYU at first were not- I mean, I did not hang out with the kids who identified say with the culture of Greenwich Village, who you know, the early hippies or the beatniks I was not in that crowd, was not in any crowd. So, the folks I knew, like, in the dorms or first in the drama department were just students. You know, I mean, I had to work a lot while I was in college, to, to [inaudible] would hold, you know, two jobs, part time jobs at one time. And some of them were in the university. But I just met general students, and I had at that time in the School of Education, every course was two credits. So, if you wanted to carry the say, even 16 credits, you were taking 8 courses. And if I had three or four literature courses let us say one semester, I had to read a book in each of them. So, I was not hanging out with anybody. But I was experiencing the village culture, you know, in kind of a distant way up until probably my last year. So, I cannot, I mean, I did not, the students I knew in both high school and college, were not political people. And they did not have a lot of interest in it. When I was in high school so let us say around six, the year (19)62 and (19)63 maybe, I became really interested in like foreign exchange students, and in the Peace Corps and things like that. But most-most of the people that I knew, were interested in, well, I am going to, you know, graduate from high school, and then I am going to go to college, you know, and the whole thing about, you know, the reason a woman would go to college would be to get her Mrs. SM: 16:57 Yes. [laughter] HHA: 16:57 So, there was a lot of that, and, and I did not actually, you know, I just thought I would find my way into the theater so I was going to college. But and the same thing when I was in college, because I was in the dorms at NYU, very, when I, when I started at NYU, I was living with my parents' friends, way, way out in Brooklyn. And it was very scary traveling at night. Being a theater student, I often traveled at night, and I went to ask a dean, what was there some way they could help me, and she put me in the dorms at no cost. And in fact, by the time I finished, at NYU, I was actually getting $50 A month cash as spending money plus my room and board and my tuition. And all I had to do was at that time, was to have a C average. I had a higher average than that. But that was the requirement because they were at that point trying to pull in more working-class students. So that was their thing in the school of Ed, I guess. So, I was living in the dorms, but I could say that, and that would be from like (19)64 to (19)67, I met many young women and men. They were they I-I did not see any of them being political. And that was not where I got the influence from. SM: 18:53 Well, it is interesting that the Greenwich the influence in Greenwich Village has on people. I am actually reading a book, right, finishing a book right now on Eleanor Roosevelt. It talked about her going there in (19)20 and how it just changed her life. HHA: 19:09 Yeah. SM: 19:10 It was the people, the-the activists that she met there that were kind of ahead of their time. And when I interviewed Richie Havens in this project, he talked about how he would always go into Greenwich Village and sit in in the clubs and listen to mu- other musicians, and then he would play there as well. So, it is like it is, it is a- it is an area where a lot of activism comes from, because of I guess the influence. The one question here, this is important one I think you have you have talked a little bit about it. When did when did you first know as an individual that your voice mattered for the first time? Did you feel that you had real power, did you feel empowered? The one of the things about the (19)60s and the (19)70s for the women's movement and other movements, is that people felt it is not about gaining power. It is about being empowered. HHA: 20:06 Yeah. SM: 20:06 Tom Hayden was used to always when he would come to college campuses. I know Tom, Tom would talk about to students. "Do you have, do you, are you empowered?" And they say, "Oh, we have power, we have." "No, I said, do you have empowerment?" And they did not quite understand it. When did you feel like your voice mattered? HHA: 20:26 Well, it was not when I was an undergraduate. I never felt that as an undergraduate at NYU. Let us see. After that, this is a good question. Probably more into the early- this is really a good question. I am trying to think back on that. I started, when I started teaching ESL through the American Language Institute, and then at IS 201. So that would have been in (19)68. I started to feel like I could do something, maybe to help, you know, people in a way. But I would not say I felt great, great empowerment, but I think it might have started to develop then. And for example, I still have a letter that I got. When I was teaching ESL, I had small classes and I still remember this one student whose name was Carmen, who was, who was sent up to East Harlem to live with relatives. She was from Puerto Rico, and her English was very, very poor. And she was very miserable. And she was bullied. I mean, in today's terms, we would say, you know, she was bullied. Back then, we would just say she was having a hard time or something, you know, kids did not seem to like her. And I wrote her parents a letter, and told them that she was very unhappy, and that she really should go home. And they wrote me a letter back. And that is the letter I still have where they thanked me for that. And they brought her back home where she went to school, and she was, she was much happier. So maybe that was the first time ever. I felt like I had done something that had an impact or working with that small group of students at IS 201 Because I was hired by a committee of, I guess, the schools, administrators and parents from the community. That was the experimental, there were three schools: one in Harlem, one in Ocean Hill, Brownsville, and one in Chinatown. That were the community, they call them the community control schools. SM: 23:13 Right. HHA: 23:14 And that may have been, that experience may have been the first time I ever felt like, oh, you know, I can, I can do something. Because remember, I was not particularly encouraged to do that. I mean, my parents were very encouraging and supportive the years I worked at the Playhouse, you know, but I was an apprentice, so I was not an oh, I also became prop manager for a year, a 16-year-old prop manager who had to, you know, furnish the stage and everything. So that may have been a time when I felt some empowerment. SM: 23:53 Well, I one of the things, I sense empowerment all throughout your books. I think you are a very good writer and you are able to express especially in the Yip Harburg book, I am this is kind of a follow up to the-the other question. Your writing centers on people and groups that challenge things as they are, not what they challenge things as they are not what they really should be in a democracy. Could you explain this? Because when you look at your books, and then not just Harburg Yip book but your book on the abolitionists, the one I am reading right now, women for peace, some of the other books, personalities during war and peace. Why is war and peace so important in your life, peace and justice is so important in your life as it was in Yip's? And, and then explain this other thing, you know, how your writings center on these issues? To me that is empowerment. HHA: 24:56 Okay, [laughs] that is good to know. So then when I, when I was working on Cuba Times magazine that must have started to develop, because that was a, you know, a nonprofit enterprise, very nonprofit. And that, and it included writing these articles, you know, which was really great. There was a collective, we had about eight people of us putting out this magazine. And so, there might have been some there, but it was, you know, it was during that period, like from I guess (19)67 on where, where I started to become very aware of the politics, and started to go to demonstrations. And in (19)71, well, in (19)70, (19)69, (19)70, I spent the year in San Francisco, where my husband was doing a Master's degree. And, and I was teaching in, for in for a while in an at what they called an adult high school in San Francisco. And when I was there, there was a particular bookstore in Berkeley, that we used to go to that had half a shelf of books on the, quote, Women's Liberation Movement. And I started to read those books. I mean, really, there were so few of them. And I-I think that, you know, I had already been a little aware of the women's movement, but not part of it. And I became more aware from reading these books. Then, after the year was up, we moved back to New York, to Brooklyn, and I became involved in a local group in what is now the Park Slope neighborhood, which is a very prosperous neighborhood now- I could not live there now [laughs]. But I became involved in a group that was called Half of Brooklyn. And it was a women's, a local women's liberation group, a grassroots group that had consciousness raising group- smaller groups, and then also did community activism. For example, having it was not quite a demonstration, but standing outside Methodist hospital, and giving out leaflets in various languages to women who go into the clinic, informing them that they had a-a right to choose a doctor. If they did not like a doctor, if a doctor did not speak their language, and there was no translator available to them, they could request somebody else. So that that was the kind of political action we did, having, you know, not quite bake sales, but a place where there was used clothing and things that people could pick up. And so, I was I was involved with that group for-for some time. And then I, there was a family daycare center right there, across the street. And I convinced the so talking about empowerment, I convinced the director of that program, to institute classes in ESL and high school equivalency for the women who were taking care of the children. There were there was a there was a family daycare center where women were [inaudible], were paid to do daycare in their homes. But then, through my program, we arranged for them to come to the center. We had a professional taking care of the children for, you know, an hour or two, while the mothers were in the classroom, and we did ESL and GED classes there. So, I think I forgot your question. SM: 29:39 No, you-you pretty much answered it, because you are evolving as not only a person but an activist. HHA: 29:48 Yeah. SM: 29:49 You are evolving just like Yip. Yip was an activist in the theater. HHA: 29:53 Yeah. SM: 29:54 And it is, it is how people evolve and you evolved during this timeframe. Step by step by step and empowerment. Tom, I just want to let you know that when Tom came to a former university I worked at, he met with the leaders of the student government and, and he basically said, "Do you get do students feel like you have power?" And he says, "Yeah, we control the budgets, we make decisions on who gets money and who does not." And Tom– HHA: 30:20 Yeah. SM: 30:20 -Tom was shaking his head. "That is not power." HHA: 3 0:23 Yeah. SM: 30:25 And then he asked him, "Have you ever heard of the term empower?" And they said, "No." And then, and then he kind of gave examples, and they were like, they had never heard of such a thing. It is like it was out in space. So, it is, uh, you know, and then it is a long story here, but-but it is the whole concept of feeling empowered, which is what students of the (19)60s or activists that were trying to do something to change things for the better felt, they felt empowered. HHA: 30:55 Yeah, and I think the whole thing, like in Half of Brooklyn, and the thing that I liked about it, is that it was not just that I was feeling like I was doing something, but that we were also helping other women feel that. If a woman then walked into the clinic at Methodist Hospital, and-and expressed that she was not happy with the doctor, she had the way he treated- and what was mostly "he" at the time- treated her, or could not communicate with her, then we had empowered her to also change something that would help her. So, I think that was part of the appeal to me. And it was the same thing with the Cuba Times Magazine, is that, you know, we wrote a lot of articles, it was generally what we were doing was putting out the magazine, we were not really out there, you know, talking to anybody, but the articles could inform people, and maybe change them. So, the writing became, you know, part of that. SM: 32:00 And the youth and activists of the (19)60s and early (19)70s were vocal about their desire to change the world for the better. There are a lot that, we are going to create a utopia almost in some sense. Did they did they, did they really become the, do those things? This is something I am always, you know, there are only 7 percent of the boomer generation, or the activists of the (19)60s and (19)70s, that really were involved in any sort of activism. So, it was not a large number, but the large, this group of people did have a tremendous influence on what was happening. I feel they played a very important role in ending the Vietnam War, for sure. HHA: 32:43 Yeah. SM: 32:44 And– HHA: 32:44 But I think, but I think the movement that had the most, has had the most change, has been the women's movement. SM: 32:52 Could you explain it in detail? In your own words. HHA: 32:56 Well, you know, it is it. First of all, like it, it crosses everybody. I mean, if we are 51 percent of the population, I am not sure what percentage we are now, as women, it is, it is crossing all lines: class, race, ethnicity, all sorts of lines are being crossed. So, I will give you the basic example I always give when I say this, this movement has had the most profound effect. In (19)71, when I became a mother, if you walked your child, let us say on the weekend, in your, in the stroller in Prospect Park, and you saw a man with a child by himself, you would know almost 100 percent that that guy was separated or divorced. Now, okay, that was not always true, because my husband would take our kid out. But it was very much true. If you did that same thing today, you would see loads of men with kids. And you see single men with kids and gay couples with kids. And I think, you know, that is just the simplest, most basic change. Who, who is washing the dishes, who is cooking the dinner, who is taking care of the home, who has jobs, and is supporting families? On that very, very basic level, across almost all of our lives, things have changed. So, you could take the like, you could take a racist, hateful family, let us say somewhere in this country. And I bet in some ways you would have found the balance and the gender balance has shifted from the (19)70s to now in some way. So, I think that that is why I say that, that-that movement has had the most profound changes. I mean, we can talk about Roe v. Wade, or, you know how many women are working or voting or wages and all those battles that are still being fought, you know, but that there are so many more people involved in fighting them. But-but so, you know, the civil rights movement, you know, or even, I mean, the one that seems to have the least success is the antiwar movement. SM: 35:35 You raise a good point here, because in a lot of the literature on the (19)60s, in the (19)70s, it talks about the fact that men were basically in the antiwar movement, it was run by men. Now, there were there were women who handed out leaflets, but they were not in positions of power and responsibility, like the men, however, and within the, that is one of the reasons why the woman's movement or the second wave may have gotten more powerful and successful because of that, moving into another area where women were in charge. And it you know, if you really study the civil rights movement, you know, how women were very important in that movement, both– HHA: 36:17 Right. SM: 36:17 -African American women and white women. HHA: 36:20 Right. SM: 36:22 So, it is when you when you look at the women for peace in the (19)60s and (19)70s. And of course, you are talking about in the book, the History of Women for Peace, what were the goals and the strategies, accomplishments or failures of, of that movement? HHA: 36:44 I think, you know, when I look at the, the peace movement, like the whole picture of it, and I look, mostly, I looked at this country, pretty exclusively, and that had to do with the fact that I could not travel to archives in other countries, and I could not, and I do not, you know, I have some language ability, and I could have developed more. But, you know, those things were hindrances to me. I mean, when I was doing this research from the very beginning, I had full time jobs. I had family, had, you know, children, I mean, I know that many women handled all of that. But in my particular circumstances, I could not handle all of that. So, my research was, basically, of the US movement. So that is, that is what I talk about. And when I looked at that movement, and I talked about this in Peace as a Women's Issue in particular, that there were specific issues that were addressed. And they did not just, they were not all diplomatic history, like, it is almost like diplomatic history, and physical wars. I mean, they were priorities, but there was an underlying priorities that were very, very important. And the first one was the issue of violence against women. And I looked at that a lot, that it seemed that almost every group I looked at, and the one group that existed for the whole period, and still exists, is the Women's International League for peace and freedom of wills. They were always concerned about and always talked about that wherever there was the presence of a military, did not even have to be in war, that was bad news for women. There was always violence against women, whether it was physical, whether it was emotional, psychological, economic, whatever it was, where there is a military presence, and or a war, there this will affect the female population dramatically. And in the early years, they would not use the word rape, you know, or talk about that, but they were very, very specific about it. Then they there was the issue of women's equality and the right to vote, or the right to have equality in a government. Equal say, equal representation, that is also like a running theme through throughout the years of, of these organizations. So, the-the women's peace organizations have a specifically feminist agenda. As you know, opposed to the general peace movement, you know, or a very specific peace movement like, you know the difference between a, an antiwar organization and say, a peace or a pacifist organization. And there was even a difference there. But that an antiwar organization like during the Vietnam War is specifically to end that war, and the issues of that war, and then you see at, towards the end of it, or even before the end of it, the movement kind of dissolves. Right, and, you hear- yeah, and you hear stories of the leaders who just, you know, just go live their lives. And that is the end of it. Whereas a peace organization is involved in a more universal effort to try to have people live together, resolve issues without killing each other, and to improve human rights and the human condition. So, when I first started writing about the women's peace movement, I talked about in terms of women's rights, you know, the, the issues of anti-war and peace and women's rights. But by the time I got to the book on Yip, I had recognized I am not, they are not just talking about women's rights, they are talking about human rights. SM: 40:30 Yes. Yeah. HHA: 41:25 And so, in a way while I was writing these books, I will, I was educating myself. And I think the term came probably with the third one, which was the Garrison book "Growing Up Abolitionist," because at first, I mean, when I wrote the first book on the women's peace union, that was one organization. It was so fascinating. I mean, this was the first thing I ever wrote about history. You know, and remember I am coming from an English and theatre background. And even before I could even start studying the women's history, Gerda Lerner has said she used to come into the program, but she has got to take, I think it was 10 credits of history. And I did it at Brooklyn College. And she actually approved the instructors. I had to send to her what the courses where I wanted to take, and who was teaching them. And she said, "Yes, I will accept those people." And so, I did those 10 credits, and I went into the women's history program and that program, I just have to tell you, because at that time, it was the only one that existed in MA and women's history. And then they started to blossom during that time, the early (19)80s around. I mean, that just so changed the way I saw everything and, and I mean, I had hated studying history in high school and as an undergraduate, I hated every history course. So, like, when people who know me then found out I became a historian, they thought that was just like, the wildest thing they had ever heard. How did that happen? And because it because, you know, if you went to high school, when, you know, in the early (19)60s When I did, the history teachers all talked about men and war. They did not talk about anything else. And I and that is what when I first went to Sarah Lawrence and heard Gerda Lerner tuck in her class, it was like, Oh, my God, this is amazing. And I had been reading some stuff beforehand, and I had done my embroideries, which were very political. But I had never heard like, I had never sat in a class where this information was-was coming to me and I, the other person was Judy [Judith] Papachristou, who was teaching a wom- a US Women's History course. And I just said, I mean, my mouth must have fell open. SM: 44:18 You talk, theater. It comes up in the book on Yip-Yip Harburg and, and some of the things I have read about you as well, and that is that it was the theater that would address issues like human rights and peace. Yip, I am going to ask questions about Yip so people who are listening to this will know who he is. But Yip would talk about when he has had those issues in Hollywood, that he can always go back to the theater in New York, and in his own subtle ways, be able to get messages into his lyrics and in the plays he was involved in, because he cared about human rights. HHA: 45:01 But when I, and I used to go to theater a lot in high school. I used to take my bus from Paramus, New Jersey and you know, and my parents were very liberal in that sense, you know, I would stand at the stage door and get autographs and do all that stuff. Always matinees, by the way, because I was only a teenager and working in the theater, but I was not, I was not aware of the politics at that time. So, I could be singing lots Yip songs in my head. But I did not know what the message was. I mean, maybe it was subliminal, maybe I was getting the messages. But most of the stuff on Broadway was not that way, you know, not the musicals, and that was where I was heading. And but when I was working, when I was writing this book, you can see like each, each bookstore, it goes in a different direction. Like I start with the women's peace movement and the organizations. When I get to the Garrison's I am looking at a family and the individuals and how they grew up, and how did you make your child into a radical, how would you do that. And then I moved to it back to the theater, it is like, like, all these different parts of my life have in some way kept evolving around, like, they keep coming around. And like even now, like when I retired, which was in (20)15, that is when I went back to doing embroidery. And the political, it took me a while to get back into the political statements in the embroidery. But then I realized, oh, my God, I am coming around again. Like back to the starting point. So-so, when I went to Sarah Lawrence, I mean, it was a very, was a very demanding and very, in a way, structured and unstructured program. But the writing and the historical research, were very centered on how organizations worked. And I started to talk about, you know, issues like burnout or other things for the women involved. But it-it that did not, that turn did not happen till I got to the Garrisons because I was curious. I mean, every time I was writing about a peace organization, I was finding a Garrison. And I said, "Wait a minute, who are these people?" And I did not know hardly anything about William Lloyd Garrison, you know, and I knew mostly about Fannie Garrison Villard, his daughter. So that is what-what took me to the second stage of okay, away from organizations, I was getting tired of petitions, and writing about how many how do you lobby Congress, and how do you get people to sign petitions, and how do you organize in a group. So, I was kind of, like, I am a restless person, I guess. So, I was kind of tired of them. And I said, but I want to know what makes these people tick. And, and that is when I got into the Garrisons. At first, I thought, okay, I am going to just look into William Lloyd Garrison. And I found myself in the archives constantly looking at the personal papers of the communication between the parents and the children and the children and the children and their spouses. And I thought, Oh, this is, this is just fascinating. And, you know, I mean, my husband and I had raised, I have a son and a stepson, and we had raised them in a political environment. And I said, I wonder how those people did that, and did it work? And that is what you were referring to when you said about looking at the personal. SM: 49:26 Yes. HHA: 49:27 You know, and not only how did it connect with, you know, their religious beliefs or their political beliefs or whatever, but how did the family dynamics work? How-how do you make a child or create a child or influence a child to adopt your beliefs because apparently, I had, my parents had not been so successful [laughs] with me. But they had, in some ways they had, but in general they had not. So how did that work? And then I really got fascinated with people. And the Robert Sherwood project came up and that was because of the theater, you know, and I said, "oh, I just love the theater." And I was looking through, like a listing of NEH summer seminars. I said "Would not it be nice if-if I could go to a seminar, I would be earning some money in the summer, and I would learn something new." And so, I applied to one, and that was given at Columbia University in American playwrights from what year did he start it like, (19)20 up or some, somewhere around there. And the professor who headed it, Howard Stein was-was very, very famous in the theater world as, as a professor, I did not know that. But he was also an old lefty. And when I went in, and we had to have a project, he said to me, I think you should look at Robert Sherwood. I think you would like him. And that is, that is how I got into it. And I was interested again, how did this man become? who he was, you know, working in the theater, writing plays, writing films, he was also around the same- he and Yip were born within a few days apart from each other. You know, how did they develop into who they were. And Yip, I had, I had always liked him. I had earlier thought about writing about him. But I could not get permission from his son, who gave me a blanket "no." And then, when Wesleyan University Press asked me to do this book, I told them, it would depend, depend on if I could win over Ernie Harburg and I, I had lunch with him one day, and, and was successful with certain provisions like he had to read everything as I was writing it. Though he did not, really, he made very few comments about it. But he, you know, was like something I had to agree to-to, to do it. SM: 52:36 Before we get into talking about Yip in more detail here, I would like just your thoughts on briefly the women that you were thought were the major figures of the (19)60s and the (19)70s. I just I just out of curiosity, I wrote down 10 names and they do not have to be your 10 names. But these are the, Betty Friedan, Pat Schroeder, Susan Brownmiller, Shirley Chisholm, Carol Hanisch, Phyllis Schlafly, Angela Davis, Kathleen Cleaver, Gloria Steinem and Jane Fonda. I just, these are names that just come up. These are like (19)60s, people (19)60s, early (19)70s. They do not have to be your names. But who do you feel were the most important women leaders, feminists of the period, (19)60 to (19)75? HHA: 53:34 Well, I was sure I agree with Gloria Steinem and Angela Davis, I thought she was really fantastic. And I still remember when she was arrested at the Women's House, she was in the Women's House of Detention in Greenwich Village for when it was standing there for a little bit. And I remember going down there and we would all wave to her, you know, from the sidewalk or wave to somebody we thought was her. Definitely her. Friedan was important. I definitely, you know, not my cup of tea, but she-she was important. Shirley Chisholm was, you know, being a New Yorker. Well, I would have would have included some more of the civil rights women. You know Fannie Lou Hamer's name was always presented, you know, like somebody that we could really admire. Since I was interested in what was happening between the US and Cuba, there were some Cuban women whose names would come up or this is where, you know, I told you that in my email to you, I tell you, I had a stroke about two years ago, well it is exactly two years ago. And the one thing that it affected mostly is parts of my memory. And so sometimes I have trouble bringing up names, SM: 55:19 Bella [crosstalk] Another one was Bella Abzug was on that list too. So. HHA: 55:25 Yeah, and these are, you know, very local, like, for me, there was a local thing about some of the women. But your list is, you know, I mean, Phyllis Schlafly, I would not want to see her on that list [laughs]. SM: 55:45 Yeah, well she was- HHA: 55:45 And I know what you are saying. Because but it was such a negative influence. SM: 55:50 Right. HHA: 55:51 You know, like, who wants to remember her or give her any sort of accolades? SM: 55:58 Before-before we talk about Yip. See here. I have lost my train of thought here. My golly, I did. I actually I really want to get into Yip. Because I just think this book that you have written is-is should be read by everybody. Anybody that cares about the (19)60s in the (19)70s, the boomer generation, may probably have not heard about Yip. And Yip, Yip to me, it really is a figure, especially when, when he was being interviewed, or young TV shows in the (19)70s. I mean, he is really a (19)60s guy even though he was in his (19)80s I, and I just, I am amazed at it. And I just like if you could say in your own words, who is Yip Harburg? HHA: 56:51 Okay, so first, what I just want to explain to you is that when I was asked to do the book, they explained to me that this was for a series on music and interviews. And they had some people who are just printing out interviews of people. And I said, "Well, how would you feel about if I try, if I use the interviews to have Yip tell his own story in a way, it is like, an autobiographical biography, you know, kind of a mix of that." And they said that was okay. So, you know, Yip well, almost everybody knows either "Brother, Can you Spare a Dime," but certainly "Over the Rainbow." Like, they are, I do not think there is a person, maybe in this world, but definitely not in this country who does not know the Wizard of Oz, the movie version, the musical movie version. And so there, there, he is a presence, who, like you say, is not a presence. Like people do know who he is. But they do not recognize his name. He does not have name recognition. And even sometimes, if I am listening to a radio program or something that is playing music, and they will play something and they will say, Okay, this was written by Harold Arlen, and I say, wait a minute, wait a minute. You are forgetting Yip Harburg wrote the lyrics. You know, and, and they will just, I do not know why, but kind of slide over him. To me, he-he was this extremely human, courageous writer. He had this tremendous joy in life, even though he came from a very poor background, who believed in social justice, in peace and human rights and somehow figured out how to get these messages across to people in an extremely entertaining way. You know, I mean, people hear his songs and sing his songs over and over and over again. But do not connect necessarily the songs with the man. Did that answer the question? Yeah. SM: 59:34 Yep, yes, it did. I, there is two quotes that I want to put in this interview that you wrote in your book and these are Yip, Harburg quotes. Let me get my glasses here. And I just want people, and you can comment on him as well: "I feel there is no such thing as right or left. There is forward and backward. Now in the evolution of man, he has to go forward, which means he has to make change, or else he would stay where he was when he was a Neanderthal. But every change involves a trauma. And we all take [inaudible] change, and we are all afraid to follow who wants a little more change." And then another little quote on him is, "The activist always wants to change, he feels there is something better, but you have got to do it politically too. If the system does not work and if there is bigotry, if there is racism, if there is injustice, if there is one guy with all the wealth in the world, and another guy, starving, and nobody does anything for this guy, you got to want to say, I want change. That is why I want to take care of the Lyric, get something better." I mean, those are, I mean, that is, that is a mentality of and when you think of the (19)60s and (19)70s, about doing changing the world for the better. And of course, this is wave of you know, he was thinking these thoughts many, many years earlier. It is just like, human rights. This is about human rights, justice, equality. And this, this is a man who really is for all time, not just, you know, the (19)60s. Right. Yeah. And with and, and definitely, I mean, "Brother, Can You Spare a Dime" was iconic at its time in it is time. So, it was not like he wrote this song, and then nobody listened to it. And then, you know, 30 years later, they discovered it. This was a song that people identified with at the time that he wrote it. And, and he just kept going. [buzzing] Yeah, but one of the things here, I brought up earlier about the theater. Yip always believed that the theater was the place where people had guts to speak up and say things. And, and you see it throughout, you know, and he did things in subtle ways. So that he, you know, he was such a gifted lyricist, that they would still hire him even though, you know, during the McCarthy era. And another time, people were always looking when he was having to say, because it corrects me if I am wrong, you know, the theater is about entertainment, but was with Yip, theater is about entertainment, plus, there is got to be a message. HHA: 1:02:23 Yeah. And when and when Hollywood turned his back on him, that was where he could go, he could go back to the theater, you know, and, and use and be productive there generally. I mean, I, it is interesting, because, you know, Finian's Rainbow is in some ways a problematic show to be done today. And because, you know, you, you, have you seen Finian's Rainbow? SM: 1:02:56 Yes, I have. HHA: 1:02:57 Okay, so you know the part where the racist white Senator, is changed through from by a wish into a Black person to so that he can, and then he can experience racism. But the question became, how do you do that then, on the stage now. Like, I saw a production at the Irish Rep in New York, that used like a paper mask. So-so when the character was when the senator was, his race was changed, the actor, held up like a paper mask. I saw it done on Broadway, where they changed the actor. A white actor played the white senator, a Black actor played the Black senator. But it presents a lot of problems for the show. I do not know if it, I do not know if it could be done today. You know, if we will ever see it done again. Though, I thought that that the last way that it was done was the most effective and most honest way. SM: 1:04:16 I would like your thoughts. Obviously, you are a lover of theater and when you went to the theater in the (19)60s and the (19)70s, and there were certain plays that were really apropos to that particular time, obviously Hair. Hair and then we had Jesus Christ Superstar. These were monumental plays that were on Broadway and all over the country. What, how would Yip, how would Yip respond to the play Hair and Jesus Christ Superstar, which are two of the big ones from that period, would they meet his criteria of the way plays should be and what are your thoughts? Were there, were there a lot more plays than I am even listing here that were involved with having a (19)60s mentality, but also with messages? HHA: 1:05:10 Well, there is all there is always some and I was just, there is a new magazine out. I do not know if you have seen it-it is called Encore. SM: 1:05:17 Yes, I have. HHA: 1:05:19 Yeah. And this new issue that came out has an article about the, from the Asian American community. And they mentioned a musical called Allegiance. Have you have a, do you know what, that musical? SM: 1:05:35 No, I do not. HHA: 1:05:36 Well, George Takei who was the actor who was in Star Trek. SM: 1:05:43 Yep. HHA: 1:05:44 Okay, so he this, this musical, which he was involved with, and-and was in was based on some of his experience as a child in a Japanese internment camp in the West, and a very effective musical, was really quite good. And it opened on Broadway, it did not have a long run. And the day that I went did not have a full house. You know, so they are still I mean, now everybody is wondering how the pandemic and the politics of the Black Lives Matter movement is going to change the way theater is. Now that it is coming back. From the list of shows that are reopening on Broadway, they are all almost all the shows that were there before. And I do not know if there have been casting changes or how you know, what is happening. But that does not reflect a huge change. However, I did read about a musical that had opened in California, that is supposed to come to Broadway, though I did not see it on the list anymore called, I think it is called Paradise Square, which is about the Five Points neighborhood of Manhattan during the draft riots of the Civil War. And the, it looks to be a very interracial cast. And the message would be very up to date, you could say. So, there is always that strain going through the theater. But those shows do not always last long. Because and some of that has to do, if we are only talking about Broadway, that has to do with the whole tourist, the use of Broadway as a tourist attraction, rather than as a theater hub, so to speak, you know, which does not stop me from going by the way. [crosstalk] But, you know, I find myself being more selective. But-but with Hair what-what Yep said, and I have some quotes from him in the book is that he could not tolerate the-the use of rock music and musical. SM: 1:08:02 Okay. HHA: 1:08:03 To him, almost like it hurt his ears. You know, that it was too loud that it will you could not understand the lyrics. And I find that sometimes, too, you know, so he likes [inaudible], he likes Fiddler on the Roof, but he was having trouble with the rock musical. So, I think with some of the musicals that have been done that are very loud and very modern, he would have trouble with, but it is more like a stylistic trouble problem than a message problem. But he would have preferred a different type of music for the message. So, we could say he was getting old. [laughs] You know, and that, you know, I have that same problem. SM: 1:08:57 Right. HHA: 1:08:57 Sometimes, if I go to the theater, and I used to love rock musicals, but now-now when I go, I find it hard on my ears or I cannot catch the lyrics. And that is, you know, it becomes entwined with the message. SM: 1:09:15 Well, I know that, that Yip liked musicals and he not-not always just straight acting with, but did he ever link up with Arthur Miller? Because as-as a whole concept of Willy Loman, I mean that, was there ever any collaboration between him are just talking? Did he like Miller's plays? HHA: 1:09:38 I do not remember that. And I am I cannot answer that. SM: 1:09:44 Yeah because Miller had a lot of messages in his plays as well. HHA: 1:09:48 Yeah. I mean, I am sure that he went to a lot of play- I should not say I am sure, how do I know. But I would assume he went to a lot of plays and that he would have enjoyed those, you know, appreciated those. The person that I knew, you know, better in terms of research, Robert Sherwood in terms of regular plays, he who also wrote political plays, did go to everything musical and dramatic plays and did have an appreciation and want to foster those. So, there were people out there, you know, who did. SM: 1:10:34 It, the thing is, with Yip, and I want to include this because this kind of links up to the-the (19)60s and the (19)70s, that in the (19)60s and (19)70s. In the latter part of your book, you talk about his involvement with things like the 10th annual recognition of Brown versus Board of Education. He was involved in a tribute to Benjamin Spock, linked to saying, he was involved in the anti-war movement. He loved going on college campuses and talking about a lot of these things. And, and then there is another quote here that you have in your book, "You, younger people, I hope, will have learned from the struggles, that if the goal was good, nothing will divide you." HHA: 1:11:20 Yeah. SM: 1:11:20 And he would, and so he was, so he was he was linking up with the generation in his commentaries. I-I, he was a man before his time. I mean, I, you again, I cannot just say it, I think you have done a tremendous job with this book. HHA: 1:11:37 [laughter] Thank you. I mean, I would, I would think that he would definitely be supportive of the Black Lives Matter movement, you know, or any of the movements right now to try to bring diversity to the theater. I mean, he was one of the first, who, who brought diversity to the theater, I mean, in the casting of Finian's Rainbow, and other thing of wanting to have the chorus be interracial. And the message is to embrace civil rights and human rights. So, you know, I, I would think that he would have always been that way. SM: 1:12:11 One of the questions that I have never asked, just this is the first time of asking this particular question, because I want to see a comparison here, when you compare what happened on the streets of America in the (19)60s and early (19)70s, particularly in (19)68, and compare it to what is happening in the streets of America in these last few years, (20)20, (20)20, (2021, even earlier? How do they compare, and how do they differ? And let me let me preface this by saying, I personally, and this is not about me, it is about you and your thoughts. But I feel they are not the same like many people do. They say it is a revival of the (19)60s. And I think [inaudible] to me, there is just, I am not sure if people feel empowered, and they do not ever use the term encounter, which was so important in the (19)60s. HHA: 1:13:03 Well, I think that now, first of all, they are much more diverse. I mean, the demonstrations have all sorts of people, all sorts of ages and races. So, in that way, I think there-there is a difference. In the in the (19)60s, many of the demonstrations in terms of the Vietnam War were white. And there were pock- you know, like, everybody kind of moved in a pocket of you know, you had a banner that said what your organization was. And the people marched, you usually marched with an organization and the same thing with the women's marches. So that if there was a Black presence or say, a Puerto Rican presence, it would be with that flag or that sign. I think with the demonstrations now, it is more of a mixture of people together. I mean, they may be holding banners, but they are not necessarily for specific organizations, and you march with that group. So, I think that there is a big difference there in that I think there were still in the, and in the, in the demonstrations let us see, in the (19)70s and the late (19)60s, I went to anti-war demonstrations, women's demonstrations, and there were a few Cuba demonstrations. They, in the women's demonstrations you would see like children, you know, in strollers or with their parents and you see children in these demonstrations today, though, I think at night if there is a threat of violence there is always fewer. You know, parents do not want to bring their kids to that. But I think that, I mean, I have been really like heartened by the demonstrations now, because they have been large. And they have had a lot of different kinds of people. And they have had human rights. Even though even if it is Black Lives Matter, it has got a broader perspective than that, as did the ones in the (19)60s as well, there would, but it was usually through organizations. So, say WILF had a contingent in an anti-war demonstration, they might be carrying banners about women's rights in there, but it would be in, in that group, you know, what I am saying? SM: 1:16:00 [agreement] HHA: 1:16:02 So, I think there is no difference what is, what is, all may be. I do not know, like, um, you know, the demonstrations I went to were in New York City, I should say that, so that I cannot talk about demonstrations all over the world. But the people on the sidelines, I mean, the people who have been violent, today are more violent than the people who were violent against the demonstrators in the (19)60s and (19)70s. I mean, I remember being in demonstrations, where, you know, people would yell things at you from the sidelines. But in most of those demonstrations, they did not cross the barriers. SM: 1:16:57 Right. HHA: 1:16:58 To attack you. However, I remember, there were demonstrations, particularly if they had to do with the blockade against Cuba, where the police would be there with the horses in that case, to protect the demonstrators, there was a little difference, because there were the anti-Castro Cubans on the sidelines- SM: 1:17:24 Right. HHA: 1:17:25 -threatening violence. In the women's demonstrations, and the anti-Vietnam War demonstrations, there were a lot of people shouting and yelling, and there were horses, but in that case, in those cases, I remember the demonstrators being more nervous about the horses. SM: 1:17:45 Right. HHA: 1:17:47 You know, and whenever you went to a demonstration, and the NYPD had the horses out, there was always like, just a little sense of, "be careful." SM: 1:17:58 I would like your thought, you know, kind of a push for a Yip again. Why do you, why do you think it would be important for people to understand the importance of Yip Harburg with respect to what took place in the (19)60s in the (19)70s? When you look at this, you study the history of that period, how can you place Yip, in there as well, even though he might have been an 80-year-old at the at the time, but just about his life's work, just for future generations, to show that, you know, he is linked to this era? HHA: 1:18:37 Well, I think, you know, that is exactly what you are saying is like he, I always I like to look at things as a continuum, that these movements and these people, it travels through time, you know, in the best sense of it. Like we were saying, you know, an anti-war movement can stop, but a peace movement keeps going. A women's movement keeps going, a human rights movement keeps going. And with that, it is nice if people understood that they did not create this, I mean it always, it really bothers me when people say, "Well, we created this movement, and we create, we are the first to demonstrate about this and we are the first to speak out for human rights." I say, "You know, come on, you know, put your ego aside- -and look a little bit in the past and you will see there is a continuum in the in this country even before the anti-slavery movement." But for me, it was that that mixed race, Civil Rights movement called the abolitionist movement or the Underground Railroad activity, that showed that people work together for these common goals. And they kept going, whether it was through generations of families which I tried to do in the Garrisons whether it was through creative work like Robert Sherwood and Yip Harburg, whether it was through organizations like WILF or that they, you have a history do you have people who shared your ideas before you were even born. And these people's ideas you can use, and their experiences you can use to move forward. SM: 1:19:26 Right. It is like- HHA: 1:20:32 You can build on them and grow on them. And you can sing, you know, you can look back at popular culture, you can cry with Robert Sherwood and you can sing with Yip Harburg and laugh with him and, and bring the-the movements forward. SM: 1:20:51 It, that was beautifully said. The first time I went to Seneca Falls, I went with my dad, and we visited Elizabeth Cady Stanton's home. And, and when you go in there-there is not a lot of furniture, but there is a sofa. And I can remember the person showing us the house said, "On that sofa at one time, this is the original sofa. Elizabeth Cady Stanton was on the left, Susan B. Anthony, was on the right and Frederick Douglass was in the middle," the connection between civil rights and women's rights, I mean, all the way back to eight- now that-that was she started in (18)48. But this is later on when Frederick Douglass was older. This is history. It is a continuum, just like you just check you mentioned. I am going to conclude here with just a couple thoughts, your just your thoughts on these things. How did the JFK assassination affect you personally, and how did you think affected the nation? And the second one is how did the killings at Kent State do the same? HHA: 1:21:56 I was in my first year of college when JFK was assassinated. And you know, it was, it was devastating. You know, I mean, it was, for me at that time he was like, you know, a young hero and the creator of the Peace Corps. Later, I kind of became, you know, questions more about his legacy, his politics and everything else. But it was, it was frightening at that period. Now I was only like 18 years old or something, so it was very personal, in a way. And my, one of my sisters was getting married the next day. And I remember thinking, Oh, this is really terrible, she should not, you know, why should she get married? JFK was just assassinated. You know, because it was that personal. And I was very young. I might see that differently, you know, today. And in terms of Kent State, it was, it shook, you know, it was like a, it shook me. What is going on in this country? Why are innocent people being killed? You know, and those questions still bother me. You know, what is going on in this country? I mean, ugly, hateful things are going on here. And, you know, what sometimes gets you down. You know, as you try to cope with it, SM: 1:23:43 You know, that whole year (19)68 was a downer. HHA: 1:23:47 Oh yeah. SM: 1:23:47 Because, you know, we lost Dr. King– HHA: 1:23:49 Yeah. SM: 1:23:49 -We lost a Bobby Kennedy. We lost– HHA: 1:23:53 Yep. SM: 1:23:53 -A few other people as well. And then of course, what happened in Chicago, we will never forget. HHA: 1:23:59 Yeah, I mean, my husband and I met on April 4 (19)67. And we were celebrating the first year of knowing each other on April 4, (19)68. And we had gone to a little club in the village where we heard BB King and Janis Joplin. SM: 1:24:20 Oh, wow. HHA: 1:24:21 And we came out and heard, you know, about Martin Luther King. SM: 1:24:29 Yeah that was– HHA: 1:24:31 So, it was like, you know, and then it just it was like, boom, boom, boom, one after another. You know, it is very, yeah, it was, [crosstalk] I do not know, a scary time to yet when you look back at all of these things, and then you look at today, you say, those were scary times. What about today? SM: 1:24:52 Oh, yeah, I, it is pretty scary today. HHA: 1:24:55 Yeah, yeah. Yeah. SM: 1:24:57 When you when-when you, when did the (19)60s begin in your point of view, and when did it end? HHA: 1:25:06 For-for me personally, it probably started around (19)67. Though, as a historian, of course, I know it started way before that. Well, I do not know. For me, it may actually have started before that. When I was in high school, I first became aware of Vietnam through a foreign exchange student. So, I was hearing the other side of the story, so to speak. Would have been around (19)62. So, maybe my first encounter with it might have been around (19)62. But then, you know, I lived in this New Jersey not knowing anything bubble. So, it would have been more like (19)67 For me, and you are saying, when did it end? SM: 1:25:54 Yes. HHA: 1:25:55 Oh, they have never ended. [laughter] SM: 1:25:58 Yeah, I remember, George saying, "It is over," and I do not think so. He called [crosstalk] he called he called the Vietnam War Syndrome is over. So. HHA: 1:26:09 Well you know, the spirit and the awarenesses, you know, that came from, you know, was not just the second wave of-of a women's movement. But, I mean, the Civil Rights Movement had been continuous. But you know of a wave that, you know, from the (19)50s or late (19)40s, that grows. So, between the Civil Rights wave and the women's movement wave, and probably, you know, the emergence of this specific antiwar movement, but maybe a peace movement wave, you know, those are still going. SM: 1:26:51 Well, what, to you, what is the watershed moment of your life? HHA: 1:26:57 I hope I have not reached it yet. No, I do not know [laughs]. Watershed moment, it was probably. Gosh, it was probably the spring of (19)67. Probably. SM: 1:27:18 And what was that? HHA: 1:27:19 Because that was the first time I ever went to a demonstration, and became really aware of Vietnam. And, you know, and yes, being in the village, and at that time, I had also moved to the East Village. So being aware of the, of hippies, and, you know, Flower Power. Yeah. So. SM: 1:27:46 My, my very last question has to deal with the issue of healing. You know, we talked today that the divide that took place, a lot of people, commentators who say that we are still divided as a nation, because we are dealing with the culture wars that began in the (19)60s, and they have never ended. So, and, and the question I have always asked a lot of the people if you have heard any of the interviews, is that how important to you know, we have not healed as a nation. And the Vietnam Wall was built by Jan Scruggs and others to try to heal the veterans themselves and their families in the war. But how, he wrote a book, "To Heal a Nation" And the question is, is this nation does, it has not healed at all, from the Vietnam War. And, and look at all the other issues, and a lot of people believe that the movements that were so crucial that defined the (19)60s and (19)70s are part of that culture wars, and that we are still fighting them today, you know, where you hear people saying we are taking two- one step forward and two steps backward when some people want us to go back rather than forward and some people do not want us to continue to go forward and forget the you know, what was happening back in the (19)60s and (19)70s. Just your final thoughts on, have we healed as a nation in your thoughts in any way? Or and we are, where are we heading? HHA: 1:29:17 Well, we were broken before the Vietnam War, certainly. And, I mean, it just seems to me at this at this moment, it has just gotten worse. It is- healing? I do not think so. I mean, I have part of my family lives in Missouri. I have always had a very hard time visiting them. My sister married somebody from Missouri. Very, very nice people, but they I cannot talk to them. And it is even worse you know, because at least they got vaccinated but people around them you know, in terms of the pandemic, and in terms of Black Lives Matter. I mean, I cannot. I cannot talk about politics with my family, and I am sure you have heard that, SM: 1:30:18 Well it is the same way, in some respects was mine as well. And you raise a very good point, because when I first started asking this question, in my very first interviews for this project, it was, it was concentrating on the Vietnam Memorial and the healing of the nation from the Vietnam War. And not and it has gotten to the point now that we, we cannot heal- we have, we have healing issues, in just about every movement we are talking about, and-and everything. HHA: 1:30:44 Yeah, I mean, we have not healed from the Civil War. So, you know [laughs]. SM: 1:30:49 Yeah, and in fact Edmund-Edmund, we asked Edmund Muskie that question on a leadership on the road trip, and, and when we asked that question to him, you know, healed since the Vietnam War, he all of a sudden, had a melodramatic pause. And he had tears coming down his eyes. And he had just gotten out of the hospital when we met him to meet with a group of students. And he said, we have not healed since the Civil War. HHA: 1:31:16 See? I am glad that I, that I have echoed him. SM: 1:31:22 Yep. Well, you-you hit you hit a very important point. Are there any other things you would like to say? Anything you thought I might ask you that I did not? HHA: 1:31:33 No, you have been very thorough. [laughs] Thank you. SM: 1:31:37 Well, thank you very much. Now, what I will do is when we are done here, we will get a copy and we will mail it to you. And then you will listen to it. And then if it is okay, then we will put it on site. HHA: 1:31:52 Okay, thank you. SM: 1:31:53 Yeah. And I just, if you could mail to my email address, your mailing address, and then we will, we will have it sent. HHA: 1:32:02 Okay, I will do that. SM: 1:32:03 And all I have to say is- it is an honor to talk to you. I just hope you keep writing more and more books. This is that I am a bibliophile, and I have read hundreds and hundreds of books. This is in my top 50 books of all time. HHA: 1:32:21 Oh, thank you. SM: 1:32:21 And-and, and I love it, just keep doing it. HHA: 1:32:26 Thank you. SM: 1:32:27 You have a great day. HHA: 1:32:28 You too. SM: 1:32:29 Take care. Bye now. HHA: 1:32:30 Bye. SM: 1:32:30 Bye. (End of Interview) Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. 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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 Interview with Dr. Harriet Hyman Alonso https://omeka.binghamton.edu/omeka/files/original/6b9a215787772298a00b368362aac624.pdf b9f8603ba41c62072c39daf7ee9b3598 PDF Text Text BINGHAMTON B E Y E  R S I T Y STATE  U N I V E R S I T Y   OF  NEW  Y OR K [4 217224 D E P A R T M E N T Masters ’ Recital Daniel Ibeling, tenor with Amanda Chmela, soprano and Pej Reitz, piano Saturday, February 27, 2 0 1 0 8: 00pm Casadesus Recital Hall �Handel debuted his opera Atalanta in 1736, wh ich was created specifically for the wedding celebration of Frederick, the Prince of Wales.  While popular in its day, the opera is rarely performed. Aminta sings Di ad Irene in the third act, furious over Irene’s decision to leave him for another man. PROGRAM Di ad Irene from Atalanta George Friderick Handel (1685­1759) O wuss! ich doch den weg zuriick Sonntag ..Johannes Brahms (1833­1897) Di ad Irene Di ad Irene, tiranna, Infedele, ria, Go tell Irene, the tyrant, Crudele d’un mostro peggjore, . Ah, no... Dille, dille piuttosto,   ic, Dille ch’un core qunl e i l m Piu trovar non potra. Unfaithful, wicked, The m lone iswone fl un u m onsl e r Ah, m.,.tzll Plummet, Tell her that a heart better than mine. She will  never find Dille, Barbara, dille Ma ché 7 Tell, the barbarous one, tell her ., But what? No, che basta No, it is enough For my pure faith, To see those serene eyes With the first indication of loving compasion Wie bist du, meine Konigin Alla pura mia (E, Di veder quei begli occhi serene Con la prima amorosa pieta Four Moravian Duets, Op. 20. I.  Promény While most musicians struggle to gain recognition, in 1853 Robert Schu man wrote an article claiming 20­year old Johannes Brahms was “destined to give ideal expression to the times.” Though this placed the burden of expectation on him, Brahms would live up to his billing. These three selections are wonderful examples of the Romantic period, filled with rich harmonies, and delicate word painting. II.  Rozlou¢eni III. Chudoba Antonin Dvol‘ék (1841­1904) I V .  Vufe sohaj, vuie O wit/It ich doch den Weg zuriick 0 w ut  ich doch den Weg zufllck, Den lichen Weg zum Kinderland! O warum sucht’ ich nach dcm Gluck wlNTERMISSION a Poéme d ‘unjour... I.  Rencontre II.  Toujours Ill.Adieu To Julia  .  .  . I.  The bracelet II.  The maiden blush III. To daisies IV. The night piece V .  Julia’s hair VI. Cherry ripe Und lleB der Mutter Hand? ....Gabriel Fauré (1845­1924) Roger Quilter (1877­1953) O wie mich sehnet auszuruhn, Von keinem Streben aufgeweckt, Oh, if I only knew the road back, The deer road to childhood’s land! Oh, why did I search for happiness And leave my mother’s hand? Oh, how I long wben tmt, Not to be awakened by  anything, Die moden A ugen zuzutun, To shut my weary eyes, With love gently surrounding! Und nichts zu forschm, nichts zu splhn, Und nur zu traumen leicht und Iind, Der Zeiten Wandel nicht zu sehn, Zum zweiten Mal ein Klnd’ Only dreams, sweet and mild; Not to notice the changes of time, To be once more a child! Von Liebe sanft bedeckt! O zeigt mir doch den Weg zuruck, Den lieben Weg zum Kmderland! Vergebens such ich nach dem Gluck, Ringsum ist oder Strand! Nothing to search for, nothing to beware of, Oh, do show me the road back, The dear road to childhood’s land! In vain I search for happiness, around me naught but deserted beach and sand! �Sonntag So hab’ ich dochdieynuWoche Mein feines Liebchen nicht geaeh‘n, lch sah es an einem Sonntag Wohl vor der Tare steh’n: Das tausendschone Jungfraulein, Das tausendschone Herzelein, Wollte Gott, wollte Gott, ieh war’ lueute bei ihr! So will mir doch die ganze Woche Das Lachen nicht vergeh’n, Ich sah as an einem Sonntag Wohl in die Kirche geh’n: Das tausendschone Jungfraulein, Das tausendschone Herzelein, Wollte Gott, wollte Gott, ich war’ heute bei ihr! Wie bist du, meine Konigin Thiswholeweeltlhavena Sealmydeliclttsweefiuelrt IuwhaonSu mlIy. Standirginfimtofthedoor: m fi m d n m b e o u fi f u l g irl, ‘l’iuatthnusand­liuumbeluait‘uihfltt WouId,God,IwaewithktodayI This whole week, my laughing Has not ceased, I saw her on Sunday, Going to church: ‘That thousand­times beautiful girl, WoudlG .od ,I werewhti h  erotday! That thousand­tm i es beautiful heart, Du  lachle nur, Lenzdifte wehn Durch mein Gemiute, wonnevoll! How blissful you are, my queen, When you are gentle and good! Merely smile, and spring fragrance waits Though my spirit blissfully! Frisch aufgeblihter Rosen Glanz, Vergleich ich ihn dem deinigen? Shallloompartittoyouus? Wie bist du, meine Konigin, Durch sanfte Gute wonnevoll! Ach, uba alles, was da blaht, Ist deine Blitte wonnevoll! Durch tote Wasten wandle hin, Und griine Schatten breiten sich, Ob  furchterliche Schwile dort Ohn Ende brute, wonnevoll! Lab mich vergehn in deitietn Arm! Es ist ihm ja selbst der Tod, Ob auch die herbste Todesqual Die Brust durduwnte, wonnevoll! The brightness offruhly blooming roses, Ahsoaring over all thlthoonu Isyourblonun, blissful! Wander through dead wastelands, And green shadows will be spreading, Even if fearful sultriness Broods there without end... blissfully! Let me die in your arms! It is in them that death itself, Even iftheshatpestpain Ragesin mybrelst .. is blissful! Antonin Dvofak composed his Moravian Duets in 1875­1876, for soprano (or alto), and tenor.  The texts for each of the four songs are drawn from traditional Czech folk songs.  The text isn’t a dialogue in a true sense, but rather unison thoughts shared between two narrators, the second piece being the exception. No.1 Promény No.1 Transformations Darmo se ty trapis, In vain you pine, Nenosim ja tebe, I don’t carry you, ma jmliy synetku, Nenosim v srdecku; A j l t voja nebudu ani jednu hodinu. copak sob! mysli3,  m a mail panauko, Dyt ’ sit ty  to moje Rozmilé srderuko; A ty  musifi byt ma Lebo mi t& Pan Buu‘ h da My dear sweetheart, I d on ’tun y you i n m y l m tt; And I won‘t be yours For even one hour. Whatever are you thinking, My dear girl, For you are my Darling sweetheart, And you must be mine, Orthel iordGodwiIlgi veyoutome No.2 Rodoud‘ent’ No.2Slylng Farewell A ja se ti nezato¢im, In a circle as a ‘good night’! And I won‘t twirl around you, I must go to the field. Zatot se mn!, galartecko, NA  dobro noc do kola! Ja muslm jlt do pola. Do polecka sireiuo, Nevidet tam Zadného. Jenom vtatka sokolitka, Pana Boha samého. Twirl around me, sweetheart, To the wide  little field, ‘Where no one is in sight; Only a little falcon And the Lord God himself Zao t € sa okoo l  mia, Jako vtagek Jarabagek okolo pita! Twirl, sweetheart, Twirl around me, Like a little hawk Around a tree trunk! Udelej koletko,moja, Make a little c ircle, Bude3 moja You will be mine, ZatoX sat ty, galanoékn, Moja, ylmecko. No.1 Chudoba Ach, co je to za stavicek. Co tak pekn!, p&kné zpiva? Ach, to je muj najmilejsi, Ze mne se vysmiva. Ty se ze mne ntvysmuvej. Circle, my sweetheart, No.1 Poverty Ah, what is that, like a nightingale, What so nicely, nicely sings? Ah, that is my  dearest, At me he mocks. Don’t mock me, Z chudobnej siroty, A poor orphan, Ani Zadne 3aty. Nor any clothes. Ty se ze mne névysmivej, Z chudobnej siroty, a poor orphan, Chot’ ja némam ladnych penéz, Chot’ ja némam Zadnych penéz, Ani b dne  3aty. Jenom ten vinek zeleny, Kery mam na hlavt, A tenjedau Suranedek, Kery mam na sob! For I don‘t have any money, Don’t mock me, For I don’t have any money, Not any clothes Only this wreath green, Which I have on my head, And this one dress, Which I have on myself. �No.4 Vure Sohaj, vufe (Der letzte wunsch) Vufe 3ohaj, vuie V zelenyin héhofe, Polihni konitka Po hedbévne Si‘ii’ihe. Ta smite hedbdvnk na pole strhan, nevel‘, mila, never, 3ak je laska plan’a Neveéf, milk, nevfi, A b k  nemas Itemo Suhajek falesné Pojcde na vojno. Debech mela koiia, Sama bech s heinjela, Aspon bech videla, Kde bech zahynula. A zahynu­li ja, the helm­alpha T (HNo.4 Hepbm,  he plows, t e Las t W s i h ) he beloved plows You ask me to be quiet, In green hiII, He drives little horse Et de me’n aller, solitaire, Sans me rappeler quij aimais! and to depart alone without thinking of the one whom I love! ‘l’hat rein o f silk Rips on the field, Don’t believe, dear, For his love is false. Demandez plutdt aux etoi a De tomber dans I’immensité, A la nuit de perdre ses voiles, Au jour de perdre sa clarté, Yaimightmoreeailyaskthestars to fall fiorntluslry, or the nightto li ft its veils, Don’t believe, dear, don’t believe For you shouldn’t believe A false boy Demandezllamaimmense who will go to the army. Ulpaisersasombramnyotsl Irid,wla=itluwindsaretagingdanentedly, askfltemmmlmtheirdisnal sobbing! Iflhadaliorse, lumuldgaalonewithhim, Atleastlwouldsee Mais n’asperea pas que rnon dme S’arrache 4 ses dpres douel urs eanuptootitssomrw With silk reins, Wliaelwoulddie. And i fl  will die, we will both die, Zahyneme voba, Jenorn nas palate Do jednoho hroba. Just put us in o   ne grave. Do jedneho hroba, Do jedne trohlice, Bodo vo nks plaltat Bestrrzke deyciee In one grave, In one coffin, The girls from Bystrc will weep for us. Fauré’s song cycle Poéme d ‘un jour (poem of a day) is a fine example of melodic.  The narrator, a poet himself, ventures from flirtatious playfulness in Rencontre, to anger over his lover’s rejection of him in Toujours, and, most interestingly, to an optimistic indifferent departure in Adieu. Rencontre J’etais triste et pensif quand je t’ai rencontrée, Je sens moins aujourd’hui mon obstine tourment; O dis­moi, serais­tu la femme iriaeperee, Et le réve ideal pouisuivi vainement’! 0,passanta qudouxyeiogseriis—tudonc I’amie Qui reiulrait le bonheur au poete isolé, Eles—mnyonnasnnsonanuafiamie, Comme Ie ciel natal sur un eoeur d’eltilé” Ta  tristesse sauvage, a la mienne pareille, Aime a voir Ie soleil décliner sur la mer! Devant I’immensité ton extase s’eveille, Etleclunnedassoiisktabelleirruest chm Une mysterieuse et douce sympathie Déja m’enchaine a toi comme un vivant lien, E t mon ame frémit, par l’amour envahie Et mon coeur te cherit saris te connaitre bien! Toujaurs Vous me demandez de ma taire, lwissadandpensivewhenlmelyou, 1 sense less today my persistent torment; Tellme,waeyouthegirl Imetbyehanoe, the ideal dream I have vainly sought.” A passer­by with gentle eyes, were you the friend who brought happiness to a lonely poet? Did you shine upon my vacant bean like the native sky on an exiled spirit? Your shy sadness, so like my own, la vatowatchthesinsaovett l usa! Your delight is awakened before its immensity, and the evenings spent with your lovely soul are dear to me. A mysterious and gentle sympathy already binds me to you like a living bond, My soul trembles with overpowering love, And my heart cherishes you, knowing you hardly at all De fuir loin de vous pourjamais, Dedassechersasvamsflots, El,quandlavaitssoraaidana\ce, Et se depouille de sa flamme Comme Ie printemps dc ses fleurs! Adieu Comme tout meurt vita, la rose Declose. Et les frais manteaux diapres Des PMS; Les longs soupirs, les bienaimeea, Fumées! On voit dans ce monde lager Changer. Plus vite que les flots dea gréves, Nos raves, Plus vite que Ie givre en fleurs, Nos coeurs! A vous l’on se croyait fiddle, Cruelle, Mais helas! les plus longs amours Son! courts! Eije dis en quittan! vos oharrnea, Sans Iarmes, Presqu’au moment da mon aveu, Adieu! to flee from you forever to a distant place, ort l’udaytorid itselfof’its brightness! Asktheiinmenseooean todryupiuvastwatets, Butdanothopethatmysoul anddouseitsflame asthesming­timeoansheditsflowas! Like everything that dies quickly, the blown rose, h te fresh multi­colored flowers on the meadows. Long sighs, those we love, gone like smoke. One sees in this frivolous world, Change. Quicker than the waves on the beach, Our dreams. Quicker than frost on the flowers, Our hearts. One believes oneself faithful to you, Cruel, But alas! the longest of love affairs Are short! And I say on quitting your charms, Without tears, Close to the moment ofrn y avowal, Adieu! �Though he did venture into other branches, Roger Quilter is chiefly remembered for his contribution to art song. Quilter didn‘t participate in the early 20” century music evolution, and instead composed music with rich harmonies, filled with the sound of romantic wistfulness, and lust for past memories. He adopted work from the 17” century poet Robert Herrick to create To Julia, a six part song cycle for tenor and piano, which debuted in 1905 . I. The Bracelet IV. The night piece Julia, this my silken twist; For what other reason is  ‘t, The shooting stars attend thee, And the elves also, Wh y  I tie a bout thy wrist, But to show thee how, in part, Thou my pretty captive art? But thy bondslave is my heart, ‘1’is but silk that bindeth thee, Knap the thread and thou art free: But ‘tis otherwise with me, I am bound, and fast bound, so That from thee I cannot go,   I f could, I would not so. 11. The maiden ‘s blush Like the sparks of fi re, befriend thee. So look the mornings when the sun Paints them with fresh vermillion. So cherries blush, and Kethem pears, And apricocks in  youthful years; So corrals look more lovely red, And rubies lately polished So purest diaper doth shine, Stain’d by the beams of claret wine. As Julia looks when she doth dress Her either cheek with bashfulness. IIL To daisies Shut not so soon, the dull­ey’d night Has not as yet begun To make a seizure on the light, Or to seal up the sun No marigolds yet closed are, No shadows great appear; Nor doth the early shepherd‘s star Shine like a spanglc here. Stay but till my Julia close Her life­begetting eye, And let the whole world then dispose ltsel fto live or die. Her eyes the glow­worm lend thee, Whose little eyes glow Like the sparks of fire, befriend thee. No Will­o’­th’­Wisp mislight thee, Nor snake or slow­worm bite thee; But on, on thy way, Not making a stay, Since ghost there’s none to affright thee Let not the dark thee cumber: What though the moon does slumber? The stars of the night Will lend thee their light Like tapers clear without number. Then, Julia, let me woo thee, Thus, thus to come unto me ; And when I shall meet Thy silv ’ry feet My soul l ‘ ll  pour into thee V . Julia ’s hair Dew sat on Julia’s hair And spangled too, Like leaves that laden are With trembling dew: Or glitter’d to my sight, As when the beams Have their reflected light Danc’d by the streams. VI. Cherry ripe Cherry­ripe, ripe, ripe, I cry, Full and fair ones; come and buy lfso be you ask me where They do grow, I answer  there, Where my Julia’s lips do smile ; There’s the land, or cherry­isle, Whose plantations fully show All the year where cherries grow flfiout the Performers: fDam’dIfieBng, tenor Dan Ibeling is from Roselle, Illinois, and is currently pursuing his Masters of Opera degree with Binghamton University under the direction of Profs. Skrabalak and  Sicilian,  and  is  also  a member of  the  Tri­Cities  Opera  Resident  Artist Training Program.  Over the last two seasons, he  has appeared as Borsa in Rigoletto, Kaspar in Amahl and the Night Visitors, Don Curzio in Le nozze di Figaro, and Spoleha in Tosca.  Upcoming performances include the title role in Honegger‘s King David with the Binghamton University Chorus and Orchestra, and Gherardo in Gianni Schicchi at TCO.  Dan has also been an apprentice with the Des  Metro Opera, and  spent a summer in Graz, Austria studying at  the American Institute of Musical Studies.  Dan received his B.A. in Music from the University of Nevada, Las Vegas. Amanda Chmela, soprano Originally  from Lindenhurst,  New  York,  Ms  Chmela  is  currently  pursuing  a Master‘s in Opera Performance under the direction of Mary Burgess.  She is also a member of the Tri­Cities Opera Resident Artist Training Program.  Roles with Tri­Cities include Gretel (Hansel and Gretel), Barbarina (Le Nozze di Figaro), Ms. Pinkerton (The Old Maid and the Thief), Page (Amahl and the Night Visitors), and Page (Rigoletto).  Upcoming performances include the role of Ciesca (Gianni Schicchi),  and  as  the  soprano  soloist  in  Honegger’s  King  David  with  the Binghamton University Chorus and Orchestra.  During the summer of 2009, she performed with the CRS Barn Studio as Edith (Pirates of Penzance) and with the Summer Savoyards as Josephine (H.M.S. Pinafore). Ms. Chmela received her undergraduate degree in Musical Theatre from SUNY Fredonia where she studied under Julie Newell.  She performed the roles of Ann (A Little Night Music), the Sandman (Hansel and Gretel), and Mrs. Cratchit (A Christmas Carol), in addition to several scenes programs, a commencement eve concert, and performance trips to both Italy (2008) and Japan (2006). Margaret Rfitz, pianist Ms. Reitz is a native of [he 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 Slates, in England, South America, Spain and al the American Institute of Musical Studies in Gra z, 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 Workshop for Singers and Pianisls held at Northwsslem University with Chicago Lyric Opera Faculty and Coaches. She was recently invited to the International Clarinet Conference to play a recital in Tokyo, Japan. She was a guest artist on the Cornell  Summer Series.  She was  an  official pianist  at  the International �Double Reed Competition and Convention in  2007  at Ithaca College and was invited to play the 2009 Convention in Birmingham, England with the Glickman Ensemble. She 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 summer 2008.  She was a Guest  Artist  playing two concerts in  Granada,  Spain  this  past  summer  and accompanied the Barcelona Song Festival in July.  She is the pianist for Theater Street  Productions  performing  concerts in  Lenox,  Mass  and  Newport  Rhode Island this fall. She is currently on the faculty at Binghamton University since 1991 and Ithaca College School of Music since 1999. She is on the Executive Board of the New York District MTNA organization.  She is President of the local District VII Music Teachers Association and is an active adjudicator for the National Piano Guild Organi zation. T ri­Cities O pera 2009­2010 Season (sy  d o n i z e l l i e R ev FRIEDHElM MEMORIAL Lecture/Recital  H U M A N N ROBE/2 T SC  MOBIUS ENSEMBLE Janey Choi, Violin Roberta Crawford, Viola Michael Salmirs, Piano Stephen Stalker, Cello o p r i l   3 0   8  m a y   2 , 2 0 1 0 Thursday, March 4, 2010 8:00 p. m. Casadesus Recital Hall �Binghamton University Music Department ’s   U P C O M I N G  E V E N7­5 s e s a m e ­ m a c a w Thursday, March 4°”  Mid­Da y Concert, 1.20 PM ­ FREE Casadesus Recital Hall Th ursda y,  M a r ch  4 ”  Friedheim Memorial Lecture/Recital Series: Schumann (Mobius), 8:00 PM, Casadesus Recital Hall, $$ (FREE for students, 100 maximum tickets) Satur da y,  M ar ch  6% University Symphony Orchestra: Concerto & Ana Concert, 8:00 PM, Osterhout Concert Theater, $$ (FREE for students) Sunday, March 7 ”  wind Symphony, 3:00 PM ­ FREE Anderson Center Chamber Hall   1”' Mid­Day Concert, 1 :20 PM ­ FREE Thursday, M ar ch 1 Casadesus Recital Hall   4 ”  Ewa Mackiewicz­ Wolfe: 1810 – 2010, A Chopin Su n da y,  M a r ch 1 Celebration, 3:00 PM, Anderson Center Chamber Hall, $$   8 ”  Mid­Day Concert, 1 :20 PM ­ FREE Thursday, M ar ch 1 Casadesus Recital Hall   8 ”  Harpur Chorale and Women s’  Chorus, Th ursda y, M a r ch 1 8:00 PM, Anderson Center Chamber Hall, FREE Sa t u r da y,  M a r ch  20° " Senior Honors Recital: Briana Sakamoto, soprano, 8:00 PM, Casadesus Recital Hall, FREE Su n da y,  M a r ch  21"t Senior Honors Recital: Marc Silvagni, percussion, 3:00 PM, Casadesus Recital Hall, FREE Thursday, M ar ch  25‘h Mid­Day Concert, 1 :20 PM ­ FREE Casadesus Recital Hall For ticket information, please call the Anderson Center Box O ff i ce  a t 777­ARTS To see all events, please visit music. b inghamton. 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 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 17:42 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154590">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154590</a>https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154590 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 Daniel Ibeling, tenor, master's recital, February 27, 2010 Recital Tape 2010-2-27 Description An account of the resource Works By Handel, Brahms, Dvorak, Faure, Quilter. Held at 8:00 p.m., February 27, 2010, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Ibeling, Daniel Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2010-02-27 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/8c4fde6e8ebdf5b35a2054f3eafac04a.pdf e256969310a423c24455ee214fe170d2 PDF Text Text BINGHAMTON U N E  V E R S I T Y STATE  U N I V E E S I T Y   O F  NEW  Y O R K v de o [4 D E P A R T M E N T Master ’s Kecit d flmancfa Chmela, soprano with Dan Ibeling, tenor and Margaret Reitz, piano Saturday, February 20, 2010 8:00 p.m. Casadesus Recital Hall �George  Frideric  Handel’s opera, Alciria, premiered in  London  at  the  new theatre at Covent Garden in 1735.  It ran for two seasons, but was not performed again until 1957, when  Franco Zeffirelli revived the work for Joan Sutherland.  Many arias from early Program Tornami a vagheggiar from Alcina.  .George Friderick Handel (1685­1759) Villanelle, Op. 7, no.1 ..  Sérénade .. Hector Berlioz (1803­1869) Victor Hugo Le Charme, Op.2, no.2. Extase . Four Moravian Duets, Op.20. I.  Promeny II.  Rozlouéeni III. Chudoba IV. Vufe sohaj, vuie (1802­1885) Ernest Chausson (1855­1899) ........Henri Duparc (1848­1933) .Antonin Dvordk (1841­1904) Selige Nacht . Six Elizabethan Songs . I.  Spring II.  Sleep III. Winter IV. Dirge V. Diaphenia VI. Hymn Tornami a vagheggiar  Tornami a vagheggiar Tornami a vagheggiar Te solo vuol ulnar Quest’ anima delel Caro mio bene  Return to me to look upon (me) with love My faithful soul wishes to love only you G i l t i donai il  mio cor Fido sara ‘I  mio amor Mai ti sard crudel Cara mia speme (Return to me to look upon w ith love) My dear beloved Already to you I gave my heart Faithful will be my love 1 will never be cruel to you My dear hope These French songs descri be love in four ways. “Villanelle” is from the larger work titled Les Nuits d'été (Summer Nights) with poetry by Théophile Gautier (181 1­1872).  Berlioz wrote this cycle between 1840­1841 for voice and piano.  While he wrote orchestration for one of the pieces in  1843, he  didn‘t begin orchestrating the remaining three until 1856.  “Sérénade” was composed by Gounod in 1857 with text by Victor Hugo (1802­ 1885). “Le Charme” is from Chausson’s Sept Melodies, Op.2 (7 melod ies for voice and piano), composed from 1879­1882, with the text for “Le Charme” written by Armand Silvestre (1837­1901).  “Extase” was composed by Duparc in  1874 with text by Jean Lahor (1840­1909).  Dupatc was extremely sel f­critical and destroyed many of his works before they were released to public.  Only 16 of his songs remain in circulation today, all of them composed between 1868 and 1884. Villanelle Quand viendra Ia saison nouvelle, Quand auront disparu les froids, Tous les deux nous irons, ma belle, wINTERMISSIONoa Nocturne.  operas are not integrated into the plot and thus can be moved around, exchanged, and even removed from a production without affecting the plot.  A director would assign arias based on a singer’s strengths.  “Tornami a vagheggiar” has been sung by both the title role, Alcina, and also by the character Morgana.  While the stories were important, more attention was given to the instrumentation. . Joseph Marx (1882­1964) Joseph Marx (1882­1964) .Dominick Argento (b. I 927) Pour cueillir le mugue aux bois Sous nos pieds égrénant les perles Qie I’on voit au matin trembler, Nous irons écouter lea merles siffler. Le printemps est venu, ma belle, C’ast le mois des amants beni. Et I’oiseau satinmt son aile, Dit sea vers au rebord du nid. Oh! Viens donc sur ce banc de mousse Pour parler de nos beaux a mours, et dismoi de la voix si deuce, toujours! Loin, bien loin égarant nos courses, Faisons fuir Ie lapin cache, Et le daim, au miroir dea sources Admirant son grand bois penche; Puis chez nous, tout heureux, tout aises, En panniers, en lacant nos doigts Revenons. rapportant des fraises des boisl Villanelle When comes the season new, Whai vanished the cold, We shall go together, my beautiful, To ytha the  lilies inthe woods. Our feet scattering pearls of dew That are seen at morning trembling, We shall go to hear the blackbirds warblmg The spring has come, my beautiful, I t  is the month otloveis blessed, And the bird preening its wing, Sings a refrain on the edge of the nest. OhI Come then to this bank ofmoss To talk of the delights of our love, And say to me in your sweet voice, forever! Far, very far, straying from our paths, Let us put to flight the hidden rabbit, And the deer, in the mirror ofthe springs Adminng its great bending antlers, Then towards home, quite happy, quite contented, With interlaced fingers for baskets Let us return, bringing the strawberries from the woods! �Sérénade Quand tu chantes bercee Le soir entre mas bras Entends­tu ma paisee Qui te repaid tout bas Ton doux chant me rappelle Les plus beaux de mesjours Ah! Chantez ma belle toujours! Quand tu ris sur ta boudte L’amour s’epnouit SWltalyousingu­iled érénade (Seernade) lntheevminginmylrm Doyouhearmythoudus Thatanswerywverysoftly Yoursweetsongranindsmeof “fliemostbeauiful ofmydays Ah! Singmybeautihilt‘weval When you laugh, on your lips The love blossoms Et soudain le farouche Soupgon s’evanouit Ah! Le rire fidéle Prouve un coeur sans detours Ah! Riez ma belle toujours! And suddenly the bitter Suspicion vanishes Ah! The laughter faithful Shows a heart without guile Ah! Laugh my beautiful forever! Quand tu dors calme et pure Duns I’ombre sous mes yeux Ton haleine murmure Des mots harmonieux Ton beau corps se révéle What you sleep, calm and pure In the shade beneath my gaze Your breath murmurs With words harmonious Your lovely body is revealed Without veil and without finery Ah! Sleep my beautiful forever! Le Charme Quand ton sourire me surprit, Je sentis frémir tout mon étre, Mais ce qui domptait mon esprit, Je ne puis d’abord Ie connaitre. Le Charme (T he Charm) Sans voile et sans atours Ah! Dormez ma belle toujours! Quand ton regard tombs sur moi, Je sentis mon ame se fondre, Mais ce que serait cet emoi, Je ne pus d’abord en repondre. Ce qui me vainquit d jamais, Ce fut un plus douloureux charme; Et je n’ai su queje  t’aimais, Qu’en voyant ta premiere lat­me Extase When your smile surprised me, 1 felt quiver all my being, But that which tamed my spirit, 1 could not at first recognize. When your glance fell on me, 1 felt my soul melt, But that which was this emotion. I could not at first reply. That which me vanquished forever, That was a more sorrowful charm; And I only knew that I loved you, When I saw your first tear. [Extase (Ecstasy) Sur un lys pale Mon coeur dort D’un sommeil doux Comme la mort On a lily pale My bean is sleeping In a sleep sweet As the death. .. Mort exquise Death exquisite, Mort parfumee Death perfumed Du  souffle de la bienaimée By the breath ofthewell loved Sur ton sein pale Onyoursweetbruslpale Myheartsleeps Mon coeur dort D’un sommeil doux Comme la mort lnasleepsweet Aslheduth Antonin Dvol‘ik‘s Moravian Duets, op. 20 was written during 1875­1876 for soprano (or alto), and tenor.  The texts for each of the four songs are drawn from traditional Czech folk songs. In each ofthese, the text is a dialogue between a boy and a girl but is sung as one continuing line of text by both singers, rather than exchanged as a dialogue. No.1 Promény Darmo se ty trapis, mfij mily synetku, Nenosim tebe, No.1 Transformations In vain you pine, My clear sweaheart, [don‘t carry you, A j i  tvoja nebudu ani jednu hodini. [don’t carry you in my heart; And I won’t beyours For even one hrmr. copak sobe mysli3, ma mila panenko, Whatevuareyouthinking Mydeargirl, Rozmilé srdenko; Darlingsweethfltt; Nenosim v srdeelru, Dyt ’ sit ty  to moje Foryouaremy A ty musi§ byt ma Lebo mi t& Pan Bah da Andyoumuflbemine, (khlordfiodwillgiveywtome No2 . Rozlouceni NaISvl­g Farewell Zatot‘. se mng, galanetko, Na dobro noc do kola! A ja se ti nezatotim, Ja musim j lt  do pola. Do poletka sireho, Nevidét tam Zidného. Jenom vtaeka sokolitka, Pana Boha sameho Zatoe sat ty, galanetko, Zatoc sa okolo miia, Jako vtatek larabuek okolo pha! Udéel j koel tko,moaj, Moaj, gaalnetko, Bude$ moja No.3 Chudoba Ach, co je to za slavitek, Co talr pelove, p&kné zpiva? Ach, to je muj najmilejsl, Ze mne se vysmiva. Ty se ze mne nevysmivej, Z chudobnej siroty. Twirl around me, sweahean. In a   circle as a ‘good night! And I won‘t twirl around you. I must go to the field. To the wide little field, Where no one is in sight; Only a little falcon And the Lord God himself. Twirl, sweetheart, Twirl around me, Like a little hawk Around a tree trunk! Make a little c ircle, Circle, my sweetheart, You will be mine No.3 Poverty Ah, what is that, like a nightingale, What so nicely, nicely sings? Ah, that is my  cleared, At me he mocks. Don’t mock me, Chot’ ja oer­rum hdnych pawl, Ani bdne Saty. A poor orphan, For I don’t have any money, Nor any clothes. Ty se ze mne nevysmivej, Z chudobnej siroty, Don‘t mock me, a poor orphan, Ani zadne Saty. Not any clothes. Jenom ten vinek zeleny, Kery mam na hlavé, Only this wreath green, Kery mam na sob! Which I have on myself. Chot‘ ja nernarn hdnych penéz, A etn jeden Suranedek, For I don’t have any money, Which I have on my head, And this one dress, �No.4 Vure Sohaj, vure Vule sahaj, vule V zelenym hohote, Pohani’ konieka Po hedbavne Knife No.4 H e  plows, the belavedplmvx (The Last Wish) He plows, the beloved plows In green hill, He drives little horse With silk reins. Ta snare hcdbavné na pole strhand, nevet, mila, nevel‘, sak je laska plana. That rein of silk Rips on the field, Don ’t believe, dear, For his love is  false Never, milé, never, Don’t believe, dear, don‘t believe For you shouldn‘t believe A false boy  who will go to the army. (Der letzte wunsch) A Sak nemas kerno Suhajek falesné Pojede na vojno. Debech mela kona, Sama bech s hemjela, Aspon bech vidéla, Kde bech zahynula.   ad a horse,  lrlh I would go alone with him, At least I would see Where I would die. A zahynu­li ja, Zahyneme vobé, Jenom nas poloite   ill die, And i fl w we will both die, Just put us in one grave. Do jedneho hroba, Do jedné trohlice, Bodé vo nas plakat In one grave, In one coffin, The girls from Bystrc will weep for us Do  jednoho hmbat Bestrcké devcice. Selige Nacht lm Arm der Liebe schliefen wir selig ein. Am offnen Fenster lauschte der Sommerwind, und uns’rer Atemzuge Frieden trug er hrnaus in die helle Mondnacht. Und aus dem Garten tasteie zagend sich ein Rosenduft an uns’rer Liebe Bett l l Sflfl duflende Lindenblnte in quellender Juninacht. Eme Wonne aus meinem Gemilite ist mir in Sinnen erwacht. Als klange vor meinen Ohren Spring, the sweet Spring, is the year’s pleasant king; Then blooms each thing, then maids dance in a ring. Cold, doth not sting, the pretty birds to sing, Cuckoo, jug­jug, pu­wee, to­wittz­woo’ The palm and may make country houses GAY, Lambs frisk and play,the shepherd pipes all Sweetly fragrant linden­blossoms In the flowing June­night. A feeling of delight in my heart Is  awakened in my consciousness als tone, die lange verloren, die Jugend leise mn’lck Sflfl duftende Lindenblilte in quellender luninacht Eine Wonne aus meinem Gemme ist mir zu Schmerzen erwacht Sweetly fragrant linden­blossoms In the flowing June­night. A feeling ofdelight in my heart Turns to pain within me day. And we hear ay birds tune this merry lay, Cuckoo,jug­jug, pu­wee, to­witta­woo! . i I Asleep we blissfully fell. At the open window Listened the summer wind, And out breaths Peacefulness carried it out Into the bright moon light. And out of the garden Crept cautiously A scent o f r oses To our love bed And gave us wonderful dreams. Dreams of intoxication So rich with yearning. Dominick Argento earned his Bachelor’s and Master’s degrees at Peabody Conservatory and went on to  fulfill a Ph.D. from the Eastman School of Music. In 1957, Nicholas DiVirgiIio, a friend and fellow student of Argento’s from Eastman, wrote Argento asking him to compose some songs for his graduation recital.  “I went to the bookstore...and from the limited number of volumes of English poetry they had, I  chose a group of six poems of the Elizabethan era to  set.  The Elizabethan Songs – the very first work I composed upon finishing graduate school – has turned out to be my most performed piece.  At present there are at least seven recordings (four American, one English, one German,  and  one  Australian),  several  of  them  done  with  the  baroque  ensemble arrangement (which I prefer) instead of the original piano accompaniment.” Thomas Nash (1567­1601) Nocturne   in my ears  As i f rang  softly the song cfhappiness,  echoing softly, the long lost song ofyouth  leise das Lied vorn G lick, Traume des Rausches So reich an Sehnsucht. 1. Spring By the time ofhis death at age 82, Joseph Marx had written 150 Lieder in addition to his many orchestral, chamber, choral, piano, and organ works.  Marx spent 43 years as a professor, during which he taught 1255 students composition, harmony and counterpoint. In an interview, Marx stated that he wrote lieder because “it was the fashionable thing to do.”  He wrote “Nocturne” in 1911 and “Selige Nacht” in 1912, both set to text by the German poet and dramatist, Otto Erich Hartleben (1 864­1 905). Nocturne und gab uris wundervolle Trnume Selige Nacht (Blessed Night) In the arm of love The fields breath sweet, the daisies kiss our feet Young lovers meet, old wives a­sunning sit, In  every street these tunes our ears do greet Cuckoo, ju­jug, pu­wee, To­witta­woo! Spring‘ the sweet Spring’ 11. Sleep Sam uel Daniel (1562­1691) From Delia Sonnet XLV. Care­charmer sleep, son of the sable Night, Brother to Death, In si ent darkness born, Relieve my anguish and restore thy light; With dark forgetting of my care return And let the day be time enough to morn, The shipwreck of my ill­adventured youth: Let waking eyes suffice to wail their scorn, Without the torment of the night’s untruth Cease, dreams, the images of day­desires, To model forth the passions of the morrow: Never let rising Stm approve you liars, To add more grief to aggravate my sorrow: Still let me sleep, embracing clouds in vain; And never wake to feel the day’s disdain. 111. Winter Wllliam Shakespeare (1568­1616) From “Love’i Labour’s Lost” When icicles hang by the wall, And Dick the shepherd blows his nail, And Tom bears logs into the hall, And milk comes frozen home in pail; When blood is nipt and ways be foul, Then nightly sings the starring owl, Tuwhitl Tuwhoo! A merry note! While greasy Joan Doth keel the pot When all aloud the wind doth blow, And coughing drowns the person’s saw, And birds sit brooding in the snow, And Marian’s nose looks red and raw, When roasted crabs hiss in the bowl, Then nightly sings the starring owl, Tuwhit! Tuwhool A merry note! While greasy Joan doth keel the pot �IV. Dirge ‘Wiliam Shakespeare (1568­1616) Come away, come away, Death Andin udcypvuslemebeln id; Fly away, Fly away, breath Iam slain by a fair cruel maid. My shroud ofwhite stuck all with yew, O prepare it! Mypcrtot’death,monesomie Did share it Not  a flower, not a flower sweet On my black coffin let there be strown; Not a friend, not a friend greet My poor corpse where by bones shall be thrown A thousand thousand sighs to save, Lay me, o where Sad true lovers never find my grave To weep there! V. Diaphenia Henry Constable (15552­16102) Diaphenia, like the dnffidown dilly, Whiteas lhesulL fairas Ihelily, Heigh ho, how do I love thee! I do love thee as my lambs Are beloved of their damns! How blest were I if thou would’st prove me! Dinpheniu like the spreading roses, That in thy sweets all sweets encloses, Fair sweet, how I do love thee! I do love thee as each flower loves the sun’s live­giving power, For dead, thy breath to  life might move me. Diaphenia like to all things blessed When all thy praises are expressed Dear joy, how I do love thee! As the birds do love the spring, Or the bees their careful king: Then in requite, sweet virgin, love me! Abou t the Performers: VI. Hymn Ben Joh nson (1572­1637) Queen and huntress, chaste and fair, Now the sun is laid to sleep, Seated in thy silver chair, State in wonted manner keep Hesperus entreats thy light, Goddess excellently bright Earth, let not thy envious shade Dare itself to interpose; Cynthia’s shining orb was made Heaven to clear when day did close Bless us than with wished sighL Goddess excellently bright. Lay thy bow of pearl apart, And thy crystal­shining quiver, Give unto the flying hart Space to breathe, how shun soever, Thou that mak’st a day ol’nighL Goddess excellently bright. flmanda Chmela, soprano Originally from  Lindenhurst. New York, Ms Chmela is  currently pursuing a Master’s in Opera Performance under the direction of Mary Burgess. She is also a member of the Tri­Cities Opera Resident Artist Training Program.  Roles with Tri­Cities include Gretel (Hansel and Gretel), Barbarina (Le Nozze di Figaro), Ms.  Pinkerton  (The  Old  Maid  and the  Thief), Page  (Amalfl  and the  Night Visitors), and  Page (Rigoletto).  Upcoming performances include the role of Ciesca (Gianni Schicchi), and as the soprano soloist in Honegger’s King David with the Binghamton University Chorus and Orchestra.  During the summer of 2009, she performed with the CRS Barn Studio as Edith (Pirates of Penzance) and with the Summer Savoyards as Josephine (H MS Pinafore). Ms. Chmela received her undergraduate degree in Musical Theatre from SUNY Fredonia where she stud ied under Julie Newell.  She performed the roles of Ann (A Little Night Music), the Sandman (Hansel and Gretel), and Mrs. Cratchit (A Christmas Carol), in addition to several scenes programs, a commence ment eve concert, and performance trips to both Italy (2008) and Japan (2006). Dankflfieling, tenor Dan Ibeling is from Roselle, Illinois, and is currently pursuing his Masters of Opera  degree  with  Binghamton  University  under  the  direction  of  Profs. Skrabalak and Sicilian, and is also a member of the Tri­Cities Opera Resident Artist Training Program . Over the last two seasons, he has appeared as Borsa in Rigaletta, Kaspar in Amahl and the Night Visitors, Don Curzio in  Le nozze di Figaro, and Spoletta in Tosca.  Upcoming performances include the title role in Honegger’s King David with the Binghamton University Chorus and Orchestra, and Gherardo in Gianni Schicchi at TCO.  Dan has also been an apprentice with the  Des Metro Opera, and spent a summer  in  Graz, Austria studying at  the American Institute of Musical Studies.  Dan received his B.A. in Music from the   evada, Las Vegas. University o fN Margaret Reitz, pianist Ms. Reitz 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 accom panist  for  the MTNA  State and Eastern  Divrsion Competition held at Ithaca College. She has bee n a guest chamber music artist in �Morges,  Switzerland.  She  also  was selected  to  attend  the  Accompanying Workshop  for  Singers  and  Pianists  held  at  Northwestern  University  with Chicago  Lyric  Opera  Faculty  and Coaches.  She  was  recently  invited  to  the International Clarinet Con ference to play a recital in Tok yo, Japan. She was  a guest artist on the Cornell Summer Series.  She was an official pianist at  the lntemational  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  was  selected  to  accompanying  at  the Interpretation o f  Spanish Music in  conjunction with University o f  Madrid in Grenada, Spain coached by  Teresa Berganza and at Marines School o f  Music summer 2008.  She was a Guest Artist playing two concerts in Granada, Spain this past summer and accom panied the Barcelona Song F estival in July.  She is the pianist for Theater Street Productions performing concerts in Lenox, Mass and Newport Rhode Island this fall. She is currently on the faculty at Binghamton University since 1991 and Ithaca College School of Music since 1999. She is on the Executive Board of the New York District MTNA organization,  She  is President of the  local District VII Music Teachers Association and is  an active adjudicator for the National Piano Guild Organization. Musica Nova Coordina ted by  Mary Burgess and Timothy LeFebvre w ith pianis ts  Margaret Reitz and  William J a mes  La w son N ew  Composto ins for Vocie Binghamton University Music Department ’s UPCOMING E V E N TS aS  D e a s Sunday, February 21” Mus/ca Nova: New Combos/hons for Voice ­ 3:00 PM, Anderson Center Chamber Hall, $$ Satur day, February 2 7 ”  Master’s Rec/[ah Daniel [be/lug, tenor, 8:00 PM, Casadesus Recital Hall, FREE Thursday, March 4 ”  Mid­Day Concert, 1 :20 PM  – FREE Casadesus Recital Hall Thursday, March 4 ”  Friedheim Memonla/ Lecture/Recital Series: Schumann (Mobius), 8:00 PM, Casadesus Recital Hall, $$ (FREE for students, 100 maximum tickets) Satur day, March 6 ”  University Symphony Orchestra: Concerto & Aria Concert, 8:00 PM, Osterhout Concert meater, $$ (FREE for students) Sunday, M arch 7 ” '  Wind Symphony, 3:00 PM ­ FREE Anderson Center Chamber Hall Thursday, March 11‘" Mid­De y Concert, 1 :20 PM  – FREE Casadesus Recital Hall Sunday, March 1 4 ”  Ewa Mackiewla­ Wolfe: 1810 – 2010, A Chop/n Celebration, 3:00 PM, Anderson Center Chamber Hall, $$ Thursday, March 1 8 ”  Mid­0a y Concert, 1:20 PM  FREE Casadesus Recital Hall 7  Thursday, March 1 8 ”  Harpur Chorale and Women s’  Chums, 8:00 PM, Anderson Center Chamber Hall, FREE Sun, Fepruarrill  y  at 30m BINGHAMTON  ” " ‘ " ‘ ‘ ‘ ‘ '  '  Anderson Center Chamber Hall For tickets. call (607) 777­ARTS.  S u a For ticket information, please call the Anderson Center Box Office at 777­ARTS To see all events, please visit music. binghamton. edu Become a fan on Facebook by visit/fig 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 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 55:19:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145162">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145162</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 Amanda Chmela, master's recital, February 20, 2010 Recital Tape 2010-2-20 Description An account of the resource Works by Handel, Berlioz, Hector, Hugo, Chausson, Duparc, Dvorak, Marx, Argento. Held at 8:00 p.m., February 20, 2010, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Chmela, Amanda 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 2010-02-20 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 52:17 1:04:20 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145165">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145165</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Friedheim, memorial lecture/recital, March 4, 2010 Recital Tape 2010-3-4 Description An account of the resource Held at 8:00 p.m., March 4, 2010, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Choi, Janey Crawford, Roberta Salmirs, Michael Stalker, 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 2010-03-04 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/93a351175bf204737b3a8dcf34b8a5f2.pdf edb5b76af2aef4689fb0c14c35b8859f PDF Text Text B INGHAMTON U  N  I  V E R S I  T  Y STATE U N IVE RS IT Y   OF NEW  YORK W ' 0 D E P A R T M E N T SENIOR HONORS R ECITAL MARC SILVAGNI, PERCUSSION nadir/ Waly D r e m w T  heater Journey To d d k r m d g r m Sunday, March/21, 2010 C W 3:00pm4 R W H M �PROGRAM PROGRAM NOTES Stubemic..  .  .  .  .  .  .  .  Mark Ford Caleb DeGroote, Adam Goldenberg ­ Marimba clean it up ­ ­ ­ please .. .Robin Engelman William L. Cahn Afrodditty. Solo Impressions for Four Timpani.  Vic Firth Pej Reitz ­ Piano ' Concertino para Marimba y Orquesta. Jorge Sarmientos l ­ Moderato Allegro Moderato II ­­ Andante Cantabile (Movimento Canzone India) III – Rondo Allegro Pej Reitz ­ Piano Erotomania.  .Joumey AFRODDITTY is a snare drum piece written by William Cahn.  Bill Cahn is also a member of the percussion quintet “Nexus”. Both this and “clean it up ­ ­ ­ please“ are parts of a set of snare drum pieces called the “Nexus Portfolio”.  Each member of Nexus wrote a snare drum piece to StoneinLove. . Keiko Abe” .  .  .  .  .  .  .  BilIMohIenoff I–Wsual Image II–Waltz King Marcus Lalli – Keyboard Sam Smith – Electric Bass Lee Vilinsky– Drum Set Richard Silvagni – Electric Guitar/Backing Vocals Marcus Lalli – Keyboard/Lead Vocals Sam Smith – Electric Bass Lee Vilinsky – Drum Set Rock Duo  Dan Fabricius ­'Drum’sér Bang on the Drum All Day. Dan Fabricius – Drum Set Marcus Lalli – Keyboard  Lee Vilinsky – Timpani  Caleb DeGroote – Vibraphone  Dan Fagen – Alto Sax  .  trio on one low A marimba in the style of the Latin American marimba bands.  Although he does  not  cite any  music  from Latin America  in Stubernic, he hoped to capture the spirit and energy of their music. The title Stubernic comes from the Stuber’s last name with the ‘Nic” coming from Nicaragua (which is where they spent most of their time that year). The piece is very fun and has a few fancy tricks thrown in.  Ford later wrote  a  sequel  piece  called  “Afta­Stuba”  (meaning  after  Stubernic), which shares a similar form. . Dream Theater Frogs – Etude for Four Mallets III – Mayflower IV – Wave Motion they  heard,  especially  in  Guatemala.  Ford  was  writing  a vibraphone/marimba duet at the time. However, he decided to make it a CLEAN IT UP ­ ­ ­ PLEASE is a rudimental snare drum piece written by Robin Engelman.  Robin’s inspiration for the piece came from Patrick Cooperman at his home in New York City in 1976.  Patrick was selling fifes and drums in his basement.  He had parts of drums lying around and assembled Robin his drum.  He then took him upstairs and played on a drum pad for an hour, showing Robin his style of drumming.  It was here where Robin developed his passion for drumming and fife music. The title of this piece is a reference to the cleaner playing of traditional drumming  over other  styles.  Robin  is also  a  member  of the great Toronto­based percussion quintet “Nexus”. wINTERMISSIONrs Music of the Day Suite. STUBERNIC is a marimba piece written for three marimba players on one marimba.  The piece is dedicated to Stefan and Mary K. Stuber. Mark Ford went to college with both of these individuals and they have been friends ever since. In 1988, the Stubers went to Guatemala and Nicaragua for a year for humanitarian aid purposes. When they returned, they told him stories of their adventures and the many marimba bands Murray Houllif Todd Rundgren Richard Silvagni – Electric Guitar Sam Smith – Electric Bass Adam Goldenberg – Marimba Pej Reitz – Piano Reese Taylor– Trombone Vocals ­ ???7 contribute to it.  “Afrodditty” is quite an interesting name.  The name is broken down in this way.  “Afro” – of African derivation.  “Aphrodite” – Greek goddess of love.  “Ditty” – a little song.  “Oddity” – something peculiar, eccentric, or strange.  Therefore, “Afrodditty’ – an eccentric, little,  song­like piece for snare drum by  William L. Cahn which uses rhythms of African derivation and which has a title that almost sounds like the name of the Greek goddess of love. SOLO IMPRESSIONS FOR FOUR TIMPANI is a timpani piece written by the great Vic Firth.  Firth wrote a solo impression for two, three, and four timpani.  Vic Firth  is  one  of  the  most  famous names  in all of percussion.  Most people know his name because of his company that makes drumsticks and mallets.  Most of my equipment is from Vic Firth. Firth was  the  youngest  member of the Boston Symphony  Orchestra �when  he joined  as principal timpanist in 1952.  In 1995, Firth was admitted into the Percussive Arts Society Hall of Fame.  He has written music for both  solo snare  drum and solo timpani.  His piece here incorporates many different styles into one piece.  The beginning starts out like a dirge before moving to a fast Latin­style groove.  The piece goes through many time changes over the same beat before retuming to the dirge at the end. This is a very unique piece for timpani. and uses the sustain of the vibraphone to create its atmosphere.  The fourth piece “Wave Motion” represents waves.  The piece is an odd time signature to represent the unevenness of waves. The piece incorporates two linear lines in each hand that create dissonance and consonance. The second piece “Waltz King” is my favorite of these four.  The piece is slow and beautiful and takes you away.  The fifth and sixth pieces “Music of the Day“ and “Precision“ have been cut due to time. CONCERTINO PARA MARIMBA Y ORQUESTA is the first marimba concerto ever written.  The original handwritten score by Jorge Alvaro Sarmientos  can  be  found  in  the Percussive Arts  Society  Museum. Marimbist Vida  Chenoweth  met  Guatemalan composer  Jorge Alvaro Sarrnientos  while  she  was  a  Fulbright  scholar  studying  indigenous marimbas there in 1957. He wrote his “Concertino” for Chenoweth during November and December of that year, and then entered it in a concerto composition contest that Chenoweth sponsored and financed in early 1958. This prize­winning concerto was first performed in Guatemala at an informal concert in early 1960,  with August Ardenois conducting, Sarmientos  playing  timpani,  and  Chenoweth  as  soloist.  The formal premiere occurred on September 16, 1960 as part of the celebrations of National Day (September 15), with Chenoweth as soloist and Jose Maria Gill conducting the Sinfonice Nacional. The United States premiere was presented with the Tulsa (Oklahoma) Philharmonic Orchestra in 1964. This piece is seldom performed because of its rarity and difficulty.  While looking for a concerto to perform, Marc stumbled upon it on YouTube with Keiko Abe playing the solo and Jorge Sarmientos conducting, and fell in love. He hopes you all do too. EROTOMANIA  is the fourth song on the album “Awake”  by Dream Theater.  The song is an instrumental and was written collectively as a band.  The song is the first in a set of three called “A Mind Beside Itself". Erotomania is a type of delusion in which the affected person believes that another person, usually a stranger, is in love with him or her. The illness  often  occurs  during  psychosis,  especially  in  patients  with schizophrenia or bipolar mania.  During an erotomanic psychosis, the patient believes that a “secret admirer” is declaring his or her affection to the patient, often by special glances, signals,  telepathy, or messages through  the  media.  Usually  the  patient  then  returns  the  perceived affection by means of letters, phone calls, gifts, and visits to the unwitting recipient.  In the guitar world, “Erotomania” is very well­known because of the  shred  solo near  the end.  Guitarist  John Petrucci shreds  in quintuplets over four. FROGS – ETUDE FOR FOUR MALLETS is a fun marimba etude.  The title frogs is apropos because it literally sounds like frogs hopping along. The middle section slows down and makes the listener a little nervous about the state of the frog.  When the original material returns, the listener can rest easy that the frog is safe.  Keiko Abe is one of the most important  names  in the mallet world  today.  She  was a  xylophone prodigy as a child, winning many competitions in Tokyo.  She helped develop the modern five­octave marimba, which most universities own at least one.  She has written many works for marimba that have become standard literature in the percussion world. MUSIC OF  THE DAY SUITE is a set of six vibraphone songs by Bill Mohlenoff.  The six songs are all stand­alone pieces and do not need to be  played  consecutively.  The third  piece  “Mayflower”  is  about  the Mayflower that the pilgrims rode to America.  The song starts with the ship leaving port in a slow feel.  The tempo then picks up and becomes more rhythmic.  This represents the ship traveling across the ocean. When the ship comes near America, the music returns to the slow tempo as the ship settles to port.  The first piece “Visual Image” represents any image one might have.  This piece implements more jazz like harmonies STONE IN LOVE is the second song on the album “Escape“ by Journey. The song was a rock staple in the eariy 1980s.  The song was composed by keyboardist Jonathan Cain, lead singer Steve Perry, and guitarist Neal Schon.  The “Escape” album went 9x platinum.  Other notable songs on the album are “Don‘t Stop Believin™, “Who‘s Crying Now?”, and “Open Arms".  The album  reached number 1  in 1981 when  it was released.  Journey is one of the most popular bands ever and is one of my all time favorites.  The guitar part will be shared by Richard and Marc Silvagni on guitar and vibraphone respectively.  This is their first public jam with Marc on vibes. ROCK  DUO is a  drum set duet.  This particular  version has  been arranged by Dan Fabricius and Marc Silvagni for added enjoyment and soloing.  Drum kits were first  developed due to financial and  space considerations in theaters  where the drummers  were encouraged to cover as many percussion parts as possible. Up until then, drums and cymbals were played separately in military and orchestral music settings. Initially, drummers played the bass and snare drums by hand, and then in the 1890s, they started experimenting with foot pedals to play the bass drum. William Ludwig made the bass drum pedal system workable in 1909, paving the way for the modern drum kit. BANG ON THE DRUM ALL DAY  is the seventh song on the album “The Ever Popular  Tortured Artist Effect”  by  Todd Rundgren.  The  lyrics describe in first person, the protagonist’s drive to  “bang the drum all day” �to the exclusion of everything else. All the instmments on this track are performed by Todd Rundgren.  The song became very popular for its simplicity and greatness.  All performers on the recital are playing and soloing on this song.  This song is Marc’s tribute to them and to all those who just feel like banging on drums once in a while. ABOUT THE PERFORMERS MARC SILVAGNI is a senior at Binghamton University.  He is currently double majoring in Music Performance – Percussion and Psychology. He plans on graduate school after Binghamton for a MSEd degree in Social  Studies at Hofstra.  He was born on December 25, 1988 in Flushing Hospital in Flushing, Queens, where he currently resides.  Marc started his music career relatively late in 7 ”  grade at I.S. 25 under band director and amazing jazz/blues drummer Marc Copell.  There he was assigned to play bellsth but later started in other percussion.  During the summers  following  7  and  8"’  grade,  Marc attended  the  Manhattan School of Music Summer Camp’and studied under percussionist Jeff Kraus who taught him about the entire world of percussion.  He then attended  St.  Francis  Preparatory  High  School  in  Fresh  Meadows, Queens,  and  studied  under  percussionist  Mark  Teofilo.  He  also performed with every music performance group the school had, including singing bass under voice teacher Fernando Sicilia. In the summer of his sophomore  year,  Marc  and  other  students,  under  teacher  David Kobayashi (Binghamton Alum), traveled to Australia and played with the Tallahassee Winds in the Sydney Opera House for the Eric Whitacre Festival.  He has never performed for NYSSMA.  Next, Marc began college at Binghamton University  under percussionist Dan Fabricius. Here he has had featured solos with the Percussion Ensemble and has played with the Harpur Jazz Ensemble, University Orchestra, Harpur Chorale, Women‘s Chorus, and the Commencement Wind Ensemble. He has  also played  at  the  Musica  Nova  concert  and  at  Stephanie Lehman’s Masters Recital.  Marc’s philosophy of music has always been that music should be more fun than serious. The playing of music should be respectable, but there should not be heavy pressure to perform.  Marc always performs with a smile, whether it is showing or not. DANIEL  FABRICIUS, Lecturer  of Music  in  Percussion,  has been  a member of the Binghamton University faculty since 1992.  He holds degrees from Mansfield University (BS) and Ithaca College (MM) where he studied percussion with Richard Talbot and Gordon Stout. In addition to his work at BU, he has served as Director of Bands at Owego Free Academy  since  1989.  He has been a  member  of the Binghamton Philharmonic  percussion  section  since  1982  but  is also  comfortable performing in popular, rock, jazz, and other styles.  He plays regularly on drums as a member of several musical organizations in the Southern Tier,  including  the  Mason Warrington  Orchestra  and  his  own band, Prism.  He  has  also  played  often  as  a  free­lance  percussionist, accompanying national touring artists such as Tommy Tune, Jerry Vail, Lorrie Morgan, Ringling Brothers Circus, the Smothers Brothers, and Ella Fitzgerald.  He is highly regarded in the region as a percussion soloist and  ensemble  player  and  has  played  and  collaborated  often  with organist  Jonathan Biggers  and  the Ithaca  Brass.  For many  years, Professor  Fabricius  has  served  the  New  York  State  School  Music Association as an All­State Percussion adjudicator.  In addition, he is the Instrumental Jazz Reviews editor of The School Music News and was the Jazz editor for the current NYSSMA Manual.  He serves on the faculty of the Binghamton High School Percussion Camp each summer and  over the years has  presented many  percussion  clinics at state conventions and conferences.  In addition, he often serves as a guest conductor for honor band festivals and has adjudicated Jazz Ensemble and Concert Band performances at music festivals throughout New York. “Dan deserves a raise.” ­ Marc MARCUS LALLI has been a Lecturer of Music at Binghamton University since 2004. He has a LA/AS from Broome Community College, a BA in Music  from Binghamton  University,  and  a  MM in Composition  from Binghamton University. Mr. Lalli has studied composition and arranging with David Brackett, Paul Goldstaub, and Michael Carbone, and private piano study with Douglas Beardsley. He has served as the president for the Harpur Jazz Project, and as principal pianist for the Harpur Jazz Ensemble.  appearing  with  many  nationally  recognized  jazz  artists including Rob McConnell, Rufus Reid, John McNeil, Houston Person, Jeff Jarvis, Bill Easley, and Dave Stryker. His compositions have been performed by the Binghamton University Harpur Jazz Ensemble and by graduate music students at Binghamton University. Mr. Lalli has worked as a professional vocalist and keyboardist both locally and regionally. He has been an owner and operator of a commercial recording facility for over a decade, and as an independent producer and songwriter, he has appeared  on  many  regionally  and  nationally  released  CD’s  on independent labels as a guest artist/musician, and producer. Mr. Lalli is also a faculty member at Broome Community College teaching Sound Engineering and Music Theory. “Marcus is the sickest keyboardist I have ever seen.” ­ Marc 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 has been on the faculty at Binghamton University since 1991 and Ithaca College School of Music since 1999. Ms. Reitz is on the Executive Board of the New York District MTNA organization and is President of the local District VII Music Teachers Association.  She is also an active adjudicator for the National Piano Guild Organization.  “Pej is the best accompanist ever...everyone should play with her...her energy is unmatched and contagious” ­ Marc RICHARD SILVAGNI, guitarist, is a senior at the Aaron Copland School of Music at CUNY  Queens majoring in Music (General).  Also from Flushing, Queens, he started playing guitar seriously at age 14.  He also played clarinet from 7'" grade through most of his college.  He and Marc are the guitarist and  drummer for a  local Queens  rock  band called Warped Vinyl (www.myspace.comlwarpedvinylny).  He also traveled to Australia for the Eric Whitacre Festival.  While at Binghamton University, he  played  clarinet  for  the  Harpur  Jazz  Ensemble  and  the  Wind Symphony.  He also studied under Dr. Timothy Perry.  He currently teaches swimming for Gateway Sports on weekends. He is also studying to become a paralegal.  “Nobody rocks harder than the Van himself!” ­ Marc ADAM GOLDENBERG, percussionist, is a sophomore Biochemistry and Psychobiology major with a minor in Music.  Adam is from Vestal, NY. He would like to announce that he will be holding auditions for the role of girlfriend/significant  female  other  over  the  course of the  rest of the semester.  Although there are no formal requirements for the role, it is assumed that applicants will be able to hold a conversation and form opinions of their own.  A basic enjoyment of music, the ability to enjoy Mr. Goldenberg‘s twisted sense of humor, and a predisposition towards smiling are preferred, but ultimately not required.  Although there is no immediate financial compensation for this role, there are various long­ term benefits including gifts, attention, and other acts and deeds, which are undoubtedly unprintable in this program, but would ultimately prove beneficial  to  both  parties. Callback  decisions will  be  made  by Mr. Goldenberg.  No timeframe has been set, and auditions will be on a first come first served basis. Any other questions should be directed towards Mr.  Goldenberg  immediately following  the performance,  and can  be further discussed over dinner tonight.  “Adam sits at the popular table in the dining hall.” ­ Marc CALEB DEGROOTE, percussionist, is a senior Political Science and Music double major with an Arabic minor. He comes from the great town of Vine Valley, NY.  He attended Marcus Whitman High School, where we  won  three  New  York  State  Percussion  Circuit  (NYSPC) championships (2003, 2005, 2006) and set the record for all­time highest scoring ensemble, along with a New York State Field Band (NYSFBC) championship in 2003. He was then hired as percussion staff at Naples High School his senior year and has taught there for the last five years. He co­founded  the  Midlakes  Percussion  Ensemble,  which  is  highly competitive in the NYSPC. In the fall of 2007, he became the caption head  of the Vestal High School Field Band,  which competes in the NYSFBC. During the summer of 2008, he marched timpani and  1st marimba with the DCA Rochester Crusaders, which made finals, placing 10th. During the summer of 2009, he marched with the Citations, winning a bronze medal in DCI Open Class. Currently, he is marching and on staff at the DCA Empire Statesmen, playing 1st marimba.  His classical experience  includes  four  semesters  with  the  Binghamton  University Symphony Orchestra as, one with the Binghamton University Percussion Ensemble, five with the Binghamton University Wind Ensemble, one with the Binghamton Community Orchestra  on timpani,  and one with the Southern Tier Concert Band. He has twice been a guest performer with the Binghamton University Chorus and the Binghamton University horn studio. “Caleb is the smoothest cat walkin’ ‘round town.” ­ Marc LEE VILINSKY, percussionist, is a senior Psychology and Music double major hailing from Centereach, New York.  At Binghamton University, he distributes  his  time  between  doing  research  involving  elementary cognition under the supervision of Dr. Ralph Miller, acting as a recording engineer for the music department, recording lectures and participating in the Evolutionary Studies (EvoS) program, carrying out activities with MOE,  and  performing  in  various  musical  groups,  including  the  BU orchestra, BU percussion ensemble, and Lady Skaga.  Lee has been actively involved in percussion since fourth grade, but discovered his passion in pop and rock music when first teaming drum set in ninth grade.  Lee is also interested in composing and arranging music, music theory, farming, bicycling, and adventuring.  After graduation, he plans to attend graduate school for experimental psychology to continue doing research involved in music cognition.  He also plans to become a rock star. “Lee needs to grow his hair back out.” ­ Marc SAM SMITH, bassist, is a sophomore dual majoring in Music and Math. He is from Warwick New York, in Orange County. Sam has been playing the bass guitar for 6 years, and has played in the Harpur Jazz Ensemble for the  past 4  semesters.  He currently takes  lessons with Stephen Brooks.  Sam has also had the pleasure of jamming with the son of the great bassist Jaco Pastorius.  He also played bass for Marc’s Junior Recital last spring on Cliffs of Dover. “Sam slaps da bass mon.” ­ Marc DAN FAGEN,  alto  sax,  is a  senior  from  Staten  Island,  NY double majoring in music and psychology.  Thankfully, Dan does not represent what most people think of when they hear Staten Island.  He began playing the clarinet when he was 9 years old and took up the saxophone when he was 13. In high school, he focused on studying jazz under Ray Scro and Chris Garone.  At Binghamton University, his main focus has continued to be jazz. Dan has been the lead alto sax of the Harpur Jazz Ensemble for the last three years while studying under Mike Carbone. �His skill does exceed the world of jazz though. He studies classical style and repertoire with Professor April Lucas and performed a Senior Recital last semester. “Dan’s range on the sax is limitless.” ­ Marc MO “REESE” TAYLOR, trombone. is a versatile multi­instrumentalist that can play many different styles of music. He hails from Binghamton NY. Mo “Reese” is the director of the Binghamton University Pep Band and is an Assistant with the Harpur Jazz Ensemble. He plays in many groups around the area including the 11 piece Funk  Horn Band “The Terry Walker Project.” “Reese’s stories are the best par t of jazz band.” – Marc ???? is a mysterious man who many might know.  His charm is  so contagious, vaccines were created for it. Every time he  goes for a swim, dolphins appear.  His reputation is expanding, faster than the universe. His hands feel like rich, brown suede.  His legend precedes him, the way lightning precedes thunder.  “I would comment, but...” ­ Marc MARK ROSSNAGEL is a sophomore double majoring in Arabic and Organ Performance.  Mark is proud (I do not know why) to come from the best (or worst) part of New York City, Staten Island.  He has been playing organ and piano for many years and studies here in Binghamton under Dr. Jonathan Biggers.  Today, he is recording this concert and deserves a special mention for being asked to do more than any other recording engineer has done.  “Mark’s passion for music is unmatched by any monal.” – Marc VICTOR  CALIGIURI is a  senior  Industrial  and  Systems  Engineering major from Flushing, Queens.  He has been pushing the play button for countless  years.  His  famous  play  button  pushing  occurred  in  his sophomore year against his former roommate Jonah Sperber.  “Nothing is more important than the man behind the scenes.“ – Marc Letter from the Performer Dear Audience, Thank you for attending my Senior Honors Recital. I hope you all have fun and rock out.  This recital has no rules.  Feel free to applaud whenever the moment strikes (even between movements).  Do not  worry  about  conventional  recital  procedures. WARNING: unexpected occurrences may occur, do not leave your seat, everything will be taken care of.  I f  the music gets too loud, rock harder.  Feel free to get up and dance at any moment; I will be dancing on stage anyway. But seriously, thank you for attending because the purpose of performing is to share music to a wide audience.  I feed off people’s energies, so the more interested the audience is, the more fun the whole experience will be.  The program I have selected is very eclectic and shows off many different types of playing.  I  hope  you  enjoy  and  remember  this experience. Thank you, Marc �Bin gha mto n Un ive rsit y Mu sic  D epa rtm ent ’s U P C O M I N G  E V E NT  S M M Thu rsda y, Mar ch 25"'  Mid­Day Concert, 1:20 PM —FREE   , Casadesus Recital Hall Thu rsda y, A p r i l  8 ‘” Jazz Mid­Day Concert, 1:20  PM – FREE Osterhout Concert Theater Thu rsda y, A p r i l  8 ” Harp   ur Jazz Ensemble Concert (co­sp onsored by the Harpur Jazz Ensemble and the Binghamton University Department of  Music), 8:00 PM, Osterhout Concert Theater, $$ (FREE for  students) Satu rday ,  A p r i l1  0 ” J  unior Recital: Jieun Jang, piano, 3:00 PM, Casadesus Rea‘ta/ Hall, FREE Satu rday, A p ri l 1   0 ” L ecture/Demonsbafion on Jacques Ibert’s Concertino da Camera: Origins, Ear/y Reception History, and Current Performance Considerations fo r Alto Saxophone and Orchestra by Professor Daniel Gordon, 11:00 AM, FA 111, FREE (co­sponsored by the Binghamton University Music  Series) Department and the Harpur College Dean’s Visiting Speaker Satu rday ,  A p r i l 1  0"ll Sweet Albion: The English Clarinet with clarinetist Timothy Perry and pianist Margaret Reitz, 8:00 PM, Anderson Center Chamber Hall, $$ Thu rsda y, Apr il 1 5‘” Mid­Day Concert; 1:20 PM —  FREE, FA 21 Fri d ay,  A p r i l  1 6m Master’s Recital: Stephen Brooks, double bass, 8:00 PM, Casadesus Recital Hall, FREE Satu rday , A p r i l 1   7 ” Gan’   net Studio Recital, 3:00 PM – FREE Casadesus Recital Hall Sa t u r d ay,  A p r i l 1  7°" University Chorus: Honegger’s KING DA VID, 8:00 PM, Osterhout Concert Theater, $$ (FREE for  students) For ticket information, please call the And erso n Cen ter Box  O ffice  a t 777­ARTS To see all events, please visit music. binghamt vn. e du Become a fan on Facebook by visiting Bing ham ton Univ ersi ty Mus ic D epa rtme nt � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:05:19 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154593">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154593</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 Marc Silvagni, percussion, senior honors recital: One meets his makers!, March 21, 2010 Recital Tape 2010-3-21 Description An account of the resource Works by Ford, Engelman, Cahn, Firth, Sarmientos, Abe, Mohlenoff, Houllif, Rundgren. Held at 3:00 p.m., March 21, 2010, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Silvagni, Marc Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2010-03-21 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/13366a9d0b25f58dcc5d83e049751eed.pdf adb854cb58c4d1e5a55cd77fc8ce7e46 PDF Text Text INGHAMTON B 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 o de [4 D E P A R T M E N T Crea tures , Grea t and  Small $2 024.  “2 yiorny ph nd i S W Robert G. Smith, Con ductor Sunday, March 7, 2010 3 :00 p.m. Anderson Center Chamber Ha ll �THE PERFORMERS PROGRAM Piccolo Rachel Serwetz Alfred Reed The Hounds of Spring (1980)  (1921­2005) Commissioned by the John L. Forster Secondary School Symphonic Band Windsor, Ontario, Canada Gerald A. N Brown, Director Roger Cichy Bugs (2000) 1. Prelude 2. Dragonfly 3. Praying Mantis 4. Black Widow Spider 5. Tiger Swallow Tail 6. Army Ants (b. 1956) Rachelle Haddad (Principal) Judy Kahn Kathleen Spelman Lindsay Ralbovsky ute IT FlKimberly Hom Rebecca Falik Raquel Goldsmith Christina Peregine David Morrissey Melissa Klepper Mark Norman Vanessa Kay Bas Clarniet Stephen Collins Brianna Palisi Conratbas Calnriet Zach Stanco   ASLTOAXOPHONEL Alex Horspool Commissioned by The University of St. Thomas Wind Ensemble Dr. Matthew George. Director of Bands . Karel Husa Cheetah (2007)  (b. 1921) Commissioned try The Division of Music Composition and Theory at the University of Louisville for the University of Louisville Wind Ensemble. Frederick Speck, Director. The Soaring Hawk (1990)  ECb l a rine t to  Saxophone Al   larinet C b B Tenor  Saxophone Kyle Doyle Kerry Goodacre Mark DelloStritto Trumpet Kristen Weiss Sarah Fenster (Principal)   larinet C b B Kristin Hohn Anthony Kwon Abby Cohen aJINTERMISSIONa! Timothy Mahr (b. 1956) Commissioned by the University of Iowa Symphony Band Dr. Myron Welch, Conductor Winner of the 1991 American Bandmaster‘s Association Ostwald Award Equus (2000) Elute b  l a rine t BC ....Eric Whitacre (b. 1970) Commissioned by the University of Miami Wind Ensemble Gary Green, Conductor Seonghek Kang Dean Papadopoulus Nick Polaoco (principal) Kevin Hannon Trumpet Nick Quackenbush Brian Lee Immmm Kimberly Metaxas (Graduate Student) EHornI Zack Bimbaum Hor n E  Natalie Rivera Trombone Jay Barfishevich Trombone Mogana Jayakumar Ian­luminous Anthony Frachionl honium Eup Damon Dye (Principal ma Graduate Student) Andrew Kaufman Tuba Matt Gukowsky Daniel Nevins Eemusslsm Tom Elefa rite Boya Gao Adam Goldenberg Ben Ramos Andrew Williamson Michael McManaman ROBERT G. SMITH  is  Music  Director and  Conductor of the  University  Wind  Symphony. Profi Smith also teaches advanced instrumental conducting and graduate wind conducting at BU. Smith has guest conducted all­county bands throughout New York State and has conducted the Goshen College (IND) Wind Ensemble and Orchestra, The United States Army Ground Forces Band  (GA), the  Southern  Tier Concert  Band  (NY), the  Vestal  Community  Band  (NY), The Maine Community Band and the Binghamton Area TubaChristmas.  An active performcr‘ he currently  plays principal  euphonium  with  the Southern  Tier Concert  Band and tuba  with  the Brass Nickel quintet and the Crown City Brass sextet.  Smith is the immediate past president of the  Broome  County  Music  Educators  Association  and  recipient  of  the  2005  BCMEA Distinguished Service Award. �Binghamton University Music Department ’s UPCOMING E V E N T S Thursday, March 11M Mid­Day Concert, 1:20 PM ­ FREE Casadesus Recital Hall Thursday, March 1 8 ”  Mid­Day Concert, 1:20 PM —  FREE Casadesus Recital Hall Thursday, March 1 8 ”  Harpur Chorale and Women? Chorus, 8:00 PM, Anderson Center Chamber Halll FREE Saturday, March 20‘7h Senior Honors Recital: Briana Sakamoto, soprano, 8:00 PM, Casadesus Redta/ Hall, FREE Sunday, March 21 ”  Senior Honors Redtal: Marc Si/vagnr, percussion, 3:00 PM, Casadesus Recital Hall, FREE Thursday, March 25dl Mid­Day Concert; 1:20 PM ­ FREE, FA  21 Thur sday, April 8°” Jazz Mid­Day Concert, 1 :20 PM – FREE Osterhout Concert Theater Thur sday, April 8m Harpur Jazz Ensemble Concert (co­sponsored by the Harpur Jazz Ensemble and the Binghamton University Department ofMus’c), 8:00 PM, Osterhout Concert Theater, $24“  (FREE for students) Saturday, April 1 00: Junior Recital: Jieun Jang, piano, 3:00 PM, Casadesus Recital Hall, FREE Saturday, April 1 0 ”  Sweet Albion: The English Clarinet with darinetist Timothy Perry and pianist Margaret Reitz, 8:00 PM, Anderson Center Chamber Hall, $$ For ticket information, please call the Anderson Center Box Office at 777­ARTS To see all events, please visit music.binghamton.edu 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.) 43:04 27:14 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154596">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154596</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 Creatures Great and Small, March 7, 2010 Recital Tape 2010-3-7 Description An account of the resource Works by Reed, Cichy, Husa, Mahr, Whitacre. Held at 3:00 p.m., March 7, 2010, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource University Wind Symphony Smith, Robert G 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 2010-03-07 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound