107 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 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 47:57 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE150498">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE150498</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 "Echoes of the East" : orchestral orientalism, 1783-1933, March 7, 2009 Recital Tape 2009-3-7 Description An account of the resource Works of Mozart, Tschaikovsky, Saint-Saens, Borodin, Ravel, McPhee. Held at 8:00 p.m., March 7, 2009, Osterhout Concert Theater. Creator An entity primarily responsible for making the resource University Symphony Orchestra Perry, Timothy Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-03-07 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/108e8865e51ce951de73adaeab49569d.pdf e40435174e852164abf912ca53fad1bc PDF Text Text BINGHAMTON U N I V E R S I T Y S TAT E   U N I V E R S I T Y   O F   N E W   Y O R K I N V   ’  h [4 D E P A R T M E N T T HURSDAY M I D ­ D AY C   ONCERT S R N   i  a m G } – e _ — t n\   e w T h u r s d a y, M   a r c h 1  2 .  2 0 0 9 1 : 2 0  p . 1 n . Casadesus D e c i t a l  r a n �PROGRAM TRANSLATIONS FanlaS/e  FANIDDR CRUDE (1879­1941) Sarah Fenster, clarinet Margaret Reitz, piano Sonata 1963...........  I. Slow and Peaceful  II. Moderate 4­Swing III. Molto Adagio .. Frank Proto (b. 1941) IV. Allegro energico Stephen Brooks, double bass Margaret Reitz, piano (1685­1750) ......... Frederic Chopin (1810­1849) Mengru Zeng, piano . Johannes Brahms (1833­1897) Stephen Kong, piano An die MUS/k Auf dem Wasserzu singen Friihlingsglaube Franz Schubert (1797­1828) Franz Schubert (1797­1828) MONINBERAL  R O D E S  c h u m a n n (1810­1856) N AV Y  ccc n i n e s o r s s s s s i n m n s s s o p p m m n p  Kapralove (1915­1940) Nocs Byla Kra’sna’. . .. Josef Suk (1874­1935) Sibongile Boyd, soprano Margaret Reitz, piano Nacht und Traume (Night and Dreams) ­ by David Gordon Holy night, you sink down; Dreams, too, drift down Like moonlight through space, Through the quiet hearts of men; Often has a sigh. flowing from your harp, A sweet, holy chord from you Unlocked to me the heaven of better times, You dear art, I thank you for that! They listen with delight Calling out when day awakens: Return, holy night! Fair dreams, return! Auf d em Wasser z u  s ingen (To be sung on the water) Mondnacht (Moonlight Night) Glides, as swans do, the wobbling little boat; Ah. on the soft­shimmering waves of joy, Glides the soul there like the boat; Then from the heavens down on the waves Dances the evening’s red glow around the boat, Over the treetops of the westerly wood The red glow winks to us friendily, Under the boughs of the easterly wood rustle the reeds in the reddish shine; Joy of the heavens and peace of the woods Breathes the soul, in the reddening shine. Ah, with dewy wings, time vanishes From me, on the rocking waves. Tomorrow, time flies on shimmering wings, Again, like yesterday and today, Until I, on higher sparkling wings Myself will vanish in the changing time. Frtihlingsglaube (Spring­faith) Briana Sakamoto, soprano William James Lawson, piano NACHE ITE Traume  Have you kindled warm love in my heart, Have you moved me to a better world! Text: Graf zu Stollberg Amid the shimmer of the mirroring waves Prelude and Fugue in C­minor (WTC I)....... ...........uuue...... Bach Rhapsodie (Op. 79 No. 1 )   Text: Franz von Schober You dear art, in how many gray hours, Where I was ensnared in life’s wild circle, SR­  Etude (Op. 1 0  No. 5) An die Musik (To Music) ­ by Edith Braun and Waldo Lyman It seemed as if the sky Had silently kissed the earth, That she in the shimmer of blossoms Could only dream of him. The breeze blew over the fields, The grain stalks gently surged, The forests rustled softly, So starbright was the night. And my soul unfolded its pinions so wide, Flew over the silent lands, As if it were flying home. Navdzy (Forever) ­ by Timothy Cheek Wild geese fly south Some will leave and will return again Some will leave and will never return. I don’t know if somewhere sky is more Beautiful than with us. But you would not count more stars anywhere When the night is clear. Text: Ludwig Uhland The gentle breezes are awake, They rustle and waft day and night, They are at work everywhere. Nocs Byla Krasna (The Night Was Beautiful) Now, poor heart, be not afraid! Transparent as if to see the heavens. That song, that fragrance, and that humming Charmed the heart in a magical way. O pity that you are not present, You would have heard with me O fresh scent, o new sound! Now must everything, everything change. The world grows Iovelier with every day, One does not know what yet may come to be, The flowering will not end; The farthest. deepest valley blooms, Now, poor heart, forget your pain! Now must everything, everything change. ­ by Timothy Cheek The night was beautiful, How everything, everything around Narrates such gentle speech. How the whole universe in one song Which streams from the breast How weak is the voice that flows Only from the human heart. �Saturday, M arc h 1 4 ”  Student Recital: Gregg Ackerman, clarinet, Casadesus Recital Hall, 3:00 PM, FREE S a t u r d ay,  M a r c h 1  4 ”  Master’s Recital: Heather Montana, soprano, Casadesus Recital Hall, 8:00 PM, FREE Sunday, Marc h 1 5% Guest Fortepiano Concert: Stefania Neonato, Casadesus Recital Hall, 3:00 PM, $$ Sunday, Marc h 1 5 ”  Master’s Recital: Sibongi/e Boyd; soprano, Casadesus Recital Hall, 7:30 PM, FREE M o n d ay,  M a r c h 1  6 ”  Master Class with Guest Fortepiano Artist Stefania Neonato, 7:30 – 8:45 PM, Casadesus Recital Hall, FREE Wednesday, M a rc h 1  8 ”  Master Class with Jazz saxophonist Maceo Parker, 4:00 PM, Osterhout Concert Theater (Co­sponsored by the Music Department and the Harpur Jazz Project) Wednesday, March 1 8 ”  Jazz saxophonist: Maceo Parker ­ Osterhout Concert Theater, 8:00 PM, $$, (Co­sponsored the Music Department and the Harpur Jazz Project) Thursday, March 1 9 ”  Mid­Day Concert, 1:20 PM ­ FREE Casadesus Recital Hall Thursday, M a rc h 1  9 ”  Harpur Chorale and Women is Chorus: A Mediterranean Choral Cruise, Anderson Center Chamber Hall, 8:00 PM, FREE Fr i d ay,  M a r c h  2 0 ”  Percussion Duo: Mike Correa and Gene Koshiniski, Casadesus Recital Hall, 8:00 PM, FREE (co­sponsored by the United States Air Force Band and the Binghamton University Department o f  Music) S a t u r d ay,  M a r c h  2 1 °  Master’s Recital: Stephen Brooks, bass, Casadesus Recital Hall, 8:00 PM, FREE For ticket information, please call the Anderson Center Box Ofl‘ice at 7 77­ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 39:43 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149060">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149060</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thursday Mid-day Concert, March 12, 2009 Recital Tape 2009-3-12 Description An account of the resource Works of Gaubert, Proto, Bach, Chopin, Brahms, Schubert, Shumann, KapraÌ€lovaÌ€, Suk. Held at 1:20 p.m., March 12, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Fenster, Sarah Reitz, Margaret Zeng, Mengru Kong, Stephen Sakamoto, Briana Lawson, James, William Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-03-12 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/22ae05dc1571f5cfb7ed77dac17002dc.pdf af2a979db6c92f88707054b83a9bb5c8 PDF Text Text �lch esse mit Freuden mein weniges Brot from BWV 84, /ch bin vergnugt mit meinem Glücke Ich bin vergnügt in meinem Leiden from BWV 58, Ach Cott, wie meines Herzeleid Auch mit gedampfen, schwachen Stimmen from BWV 36, Schwingt freudich euch empor Johann Sebastian Bach (1685-17 SO) Heather Montana, soprano Elizabeth Sterling, violin Emily Creo, cello Sar-Shalom Strong, harpsichord La Rega ta Veneziana from Les soirees musicales 1. Anzoleta avanti la regata 2. Anzoleta co passa la regata 3. Anzoleta dopo la regata Gioacchino Rossini (1792-1868) Heather Montana, soprano, Sar-Shalom Strong, piano Intermission Try Me, Good King (2001) 1. Katherine of Aragon 2. Anne Boleyn 3. Jane Seymour 4. Anne of Cleves 5. Katherine Howard Libby Larsen (b. 1950) Four Recipes 1. Plum Pudding 2. Queues de Boeuf 3. Tavouk Gueunksis 4. Civet â Toute Vitesse Leonard Bernstein (1918-1990) Heather Montana, soprano Sar-Shalom Strong, piano You are invited to attend a reception in FA 111 following the performance. Please turn off all cell phones. Casadesus Hall is a smoke-free facility. �About the Music Bach wrote about 300 cantatas while he was employed as cantor at the Thomasschule in Leipzig, comprising five cycl es of cantatas to be used for the church year. As cantor, Bach was responsible for the music of th e four primary Leipzig churches, all Lutheran, as well as any other music supplied by the town council. The arias that begin th e recital are from the third cycle of cantatas, composed between 1725 and 1728. In th e church s ervice, th e performance of the cantata would follow the gospel r eading, and usually contain ed text from th e gospel for the Sunday for which it was writte n. The cantatas Bach wrote usually r equired about 16 singers and 18 instrumentalists, and lasted no more than 30 minutes, in order not to elongate th e usual 3-hour Sunday s ervice. "lch esse mit Freuden mein weniges Brot" is from /ch bin vergniigt mit meinem G/iicke ( Iam pleased with my happiness, BWV 84), a solo cantata compose d for Septuagesima Sunday. Septuagesima is th e third from th e last Sunday before Lent, and the p eriod from this Sunday through Shrove Tues day (the day be fore Ash Wednesday) is meant as a preparation for Lent. The text, des cribing the joys of receiving communion, is supported by the lively tripl e-meter melody. "lch bin vergntigt in meinem Leiden" is from Ach Gott, wie manches Herzeleid (Ah God, how many a heartbreak, BWV 58), first perform ed for the first Sunday of the New Year in 1727. The conflict betwee n happiness and des pair is heard in th e main th em e, with its initi a l ascending perfect fourth a nd its final descending ha lf-step. "Auch mit gedampfen, schwachen Stirn men" is from Schwingt freudig euch empor (You swing brightly up, BWV 36), a church canta ta whose text was a da pted from a secular can ta ta of th e same nam e. Th e secular cantata was written as a congratul atory pi ece for a professor at th e Thomasschule wh ere Bach taught Th e A section of this da capo a ri a has a lilting, qui et ch a rac ter as it speaks of the hushed adoration of God, a nd a sonorous ca ll-and-res ponse betwee n th e violin a nd voice as it speaks of t he ringing out of th e s pirit Rossin i's La Rega ta Veneziana is a part of his Soirees Musicales, a se ri es of chamb er works he wrote afte r his retire me nt from opera. Ross ini wrote them in France, wh er e he w as settling legal issues conce rning a n annuity Ch a rl es X ha d guarantee d him. Originally written in a Veneti a n dial ect, the songs a re perform ed her e in sta nd a rd Ita lian . Th ey te ll th e story of a gondola race from th e point of vi ew ofa Ve netian girl, Anzol eta. She encourages he r boyfri end Momolo be for e th e race, s piritedly ch ee rs him o n during the ra ce, a nd showers him with pra ise a nd love afterwa rds. Th e first song, "Anzoleta avanti la regatta," juxtapos es the sultry fr ee dom of Anzol eta's mu s ic with he r m ess age to Momolo not to hesi ta te, but to fly in his gondola. Th e op ening ba rs of "Anzoleta co passa la regatta" portray th e flowing w a ter through whi ch th e gondoli ers a re rowing. As th e race progresses, Anzol eta b ecom es more a nd more excite d, a nd he r m elody becom es high er a nd more intervallic. In "Anzoleta dopo la regatta," Momolo has won th e race, s o Anzol eta offers him kiss after ki ss, h er coloratura passa ges s howing he r a ttra ction to th e lo ca l rowing cha mpion. Libby Larsen is an Am e rican compose r who studi ed with Dominic Arge nto a t th e Univers ity of Minn es ota . He r advocacy of wom e n in mus ic a nd a ffinity for vocal mu s ic combin e in Try Me, Good King to bring the last words of fiv e wives of Henry VIII to life. Henry's ma rri age to Kath erin e of Aragon las ted twe nty-four years, but he w a nted a n a nnulm ent because s he had not provid ed him with a ma le he ir. Though th e pop e deni ed his requ est, Henry had th e archbishop of Cante rbury grant th e a nnulm e nt in 1533, breaking from th e Ca tholic Church and laying the groundwork for a se parate Church of England. Kath erin e was se parated from her da ughte r, and died from illness three years later, never admitting th e loss of he r royal titl e. In Katherine of Aragon, Lars en quotes John Dowland's "In Darkn ess Let Me Dwell," a song renouncing the joys of life in favor of death. Henry becam e enamored with his second wife, Ann e Bol eyn, �when she was one of Katherine of Aragon's ladies-in-waiting. His passion for Anne can be read in his many love letters to her, one of which is quoted in Larsen's song. Anne's pregnancy in 1532 drove Henry to marry her secretly, and she was crowned after Henry's marriage to Katherine was annulled. Anne was not popular at court, and when she failed to produce a male heir her enemies convinced the king to investigate her alleged adultery. Anne was condemned, primarily on false confessions, and was beheaded May 19, 1536. Anne Boleyn quotes John Dowland's "If my complaints," which states, "I was more true to Love than Love to me." Before Anne's death, Henry had become involved with Jane Seymour, who had waited on both Queen Katherine and Queen Anne. He married her May 30, 1536, less than two weeks after Anne's execution. Jane died from complications from childbirth two weeks after her son Edward was born in October 1537. She was the only one of Henry's wives to produce a male heir, and the only one to be buried with her husband. Henry waited two years before marrying again. In Jane Seymour, Larsen quotes Michael Praetorius' setting of "Lo, how a Rose e'er blooming," a hymn celebrating the birth of Christ. Prince Edward's birth saved Jane from Henry's wrath, and in this sense he was her savior. Part of the text is the anonymously written "Tudor Rose," a poem celebrating the new prince. In 1540 Henry married Anne of Cleves as a way of allying England with France. He apparently did not find her attractive, and the alliance became risky, so he sought an annulment. Knowing what lay ahead if she opposed, Anne accepted the honorary title "King's Sister" and lived away from court until her death at Anne Boleyn's former residence. Quoted in Anne of Cleves is "I Care Not for These Ladies," a song by Thomas Campion that disparages courting proper ladies and celebrates the country girl who is unafraid of a roll in the hay. Katherine Howard, Anne Boleyn's cousin, came to court as a lady-in-waiting to Anne of Cleves. Henry married her six days after his annulment from Anne was final, and rumors of her infidelity began almost immediately. Henry was 49 at the time, and Katherine was not older than 19. When Henry was informed of Katherine's affairs, she was executed . Katherine Howard includes a restatement of John Dowland's "In darkness let me dwell," first heard in Katherine of Aragon's song. Henry's sixth wife - Katherine Parr not included in the song cycle, outlived him by a year. Her mother had been a lady-in-waiting to Katherine of Aragon, and named her after the former queen. Henry's sixth wife was named after his first. Closing the recital is Leonard Bernstein's la Bonne Cuisine, the original text of which is taken from "La Bonne Cuisine Française" by Émile Dumont, a well-known French cookbook. The English text was written by Bernstein himself, but takes some liberties with translation in favor of creating liveliness and character. The first song, Plum Pudding, is little more than a recitation of ingredients. Sudden jumps highlight the more flavorful items, like Concord grapes and lemon . The hesitation of the descending chromatic introduction to Queues de Boeuf mimics the perceived hesitation to serve ox-tails, a dish this song defends. The defense is not passionate, the first positive quality stated being its necessary presence in an "acceptable" beef stew. The possible spiciness of the sauce that can be served with breaded, fried ox-tails is heard in the hemiola effect created by the change from six-eight to three-four meter near the end of the piece. Bernstein marks the tempo of Tavouk Gueunksis's middle section Allegretto al/a Turca ("Quickly and Turkish''). The accompaniment certainly dresses up this originally Turkish recipe, which is merely boiled and shredded chicken. Civet à Toute Vitesse sets the recipe for a quick stew at quite a fast pace, mimicking the frenetic pace of the recipe, pausing only to relish the scent of a fine red wine. �Texts and Translations lch esse mit Freuden mein weniges Brot I eat with joy my little Bread lch esse mit Freuden mein weniges Brot Und gönne dem Nachsten von Herzen das Seine. Ein ruhig Gewissen, ein frohlicher Geist, Ein dankbares Herze, das lobet und preist, vermehret den Se gen, verzuckert die Not. I eat with joy my little bread And begrudge it not from his heart. A calm conscience, a merrier spirit, A grateful heart, many praises, increased blessing, sweet need. lch bin vergnügt in meinem Leiden I am jovial in my suffering lch bin vergni.igt in meinem Leiden, Denn Gott ist meine Zuversicht. Ich habe sichern Brief und Siegel, Und dieses ist der feste Riegel, Den bricht die Hölle selber nicht I am jovial in my suffering, Thus is God my assurance. I have ensured letter and seal, And this is the solid lock, Which hell cannot break. Auch mit gedämpfen, schwachen Stimmen Also with hushed, quiet voice Auch mit gedampften, schwachen Stimmen Wird Gottes Majestat verehrt. Drum schallet nur der Geist darbei, So ist ihm solches ein Geschrei, Das er im Himmel selber hört. Also with hush ed, quiet voice, Will God's majesty be adored, But the spirit rings out, So it is thus a crying out That is heard in heaven. La Regata Veneziana The Venetian Regatta Anzoleta avanti la regata Anzoleta before the regatta Sul palco sventola la gran bandiera, guarda, sl guardala, valla a pigliar. Hai a recarm ela prima di sera, o più tra gli uomini non ti mostrar. In poppa, Momolo, non indugi ar. Va voga, spingila la gondoletta, né ii primo prèmio tl può mancar, va la, ricordati la tua diletta che in ansia trepida ti sta a guardar. In poppa, Momolo, non indugiar, In poppa, Momolo, corri a volar! On the stage is the large flag, look, you see it, go for it! You must come back with it tonight, or you can't show yourself to the other men. On ce in the boat, Momolo, don't dally! Row the gondola with heart and soul, then you can't help but win first prize, go, remember your delight who waits here so nervously! On ce in the boat, Momolo, don't dally! On ce in the boat, Momolo, fly! 1 �Anzoleta co passa la regata Anzoleta during the regatta Sano qua, sono qua, non vedi? curvi stanno in sovra al remo, ahi la meta, è ancor lontana, gira ii vento a tramontana, poveretti, io tutta tremo, la corrente è in lor favor. lo mio Momolo, l'hai visto? or lo scorgo, egli è secondo. Ah! Che smania! mi confondo, ahi! balzar mi sento ii car. Su coraggio, voga, pria di giumger all meta spiega tutta a tua foga, e nessun ti vincera. Caro, par ch'ei voli, Ii ha passati tutti quanti, mezza barca sta davanti, ah comprendo, ei mi guardo. I am here, I am here, don't you see? they are bent over to oars, oh, the destination is still far, the wind blows from the north, poor ones, I'm shaking all over, the current is in their favor. My sweetheart, have you seen him? I see him now, he is in second place, Ah! What tension! I'm confused, ah! I feel my heart leaping. Row with courage, before you reach the destination show your dedication to everyone, and no one will beat you. My goodness, how he's flying, He has passed all of them, he is ahead by half a boat, ah, I understand, he looked at me! Anzoleta dopo la regatta Anzoleta after the regatta Prendi un bacio, un altro ancora, caro Momolo, di car; su riposati che è ora, ch'io t'asciughi quell sudor. Ah t'ho visto, m'hai guardata, sul poggiolo nel passar e pensai racconsolata: un bel premio ei de' pigliar sì un bel premio è la bandiera, quando è rossa di color; non un sol, Venezia intera ti proclama vincitor. Prendi un bacio, benedetto, non hai pari nel vogar, per famiglia, per traghetto, niun a petto ti può star. Take one kiss, and another again, dear beloved of my heart; you rest now, while I dry your sweat. Ah, I saw, you looked at me, on the balcony as you passed and you thought to yourself: a beautiful prize is there to be taken yes the flag is a very good prize, the one that is red in color; not a sun, all of Venice proclaims you the winner. Take a kiss, blessed one, you have no equal in rowing, for the family, for your ferrying, now you can lie on my breast. �La Bonne Cuisine (Four Recipes) Good Cooking Plum Pudding Deux cents cinquante grammes de raisins de Malaga, deux cents cinquante gramm' de raisins de Corinthe; Deux cents cinquante gramm' de graisse de rognon de boeuf, et cent vingt-cinq gramm' de mie de pain émitettée; Soixante gramm' de sucr'en poudre ou de cassonade; un verr' de lait; un demi verr' de rhum ou d'eau-de-vie; trios oeufs; un citron! Muscade, gingembre, canell'en poudre melanges (en tout la moitié d'une cuillere â café) sel fin la la moitié d'une cuillere â café. Plum Pudding Two hundred fifty grams of grapes from Malaga, two hundred fifty grams of grapes from Corinth; Two hundred fifty grams of beef kidney fat and one hundred twenty-five grams of soft bread, crumbled; Sixty grams of powdered sugar or brown sugar; a glass of milk; a half-glass of rum or brandy; three eggs, a lemon! Nutmeg, ginger, powdered cinnamon (all mixed making a half teaspoon); at the end a half teaspoon of salt. Queues de Boeuf La queue de boeuf n'est pas un mets à dedaigner. D'abord avec assez de queues de bœuf on peut fair' un pot-au-feu passable. Les queues qui ont servi à faire le pot-au-feu peuv'nt être mangees, panees, et grillees, et servies avec une sauce piquante out tomate. La queues de bœuf n'est pas un mets à dedaigner. Ox-Tails Ox-tails is not a dish to disdain. First of all, with enough ox-tails one is able to make a perfectly acceptable beef stew. The tails that are served to make the beef stew are able to be eaten, coated with crumbs, and grilled, and served with a spicy or tomato sauce. Ox-tails is not a dish to despise. Tavouk Gueunksis Tavouk Gueunksis, poitrine de poule; Fait' bouillir une poul', dont vous prendrez Jes blancs; vous les pilerez de façon à cequ'ils se mett' en charpie. Puis meles-lez avec une bouillie, comme celle cidessus du Mahallebi. Tavouk Gueunksis, poitrine de poule. Tavouk Gueunksis Tavouk Gueunksis, breast of chicken; boil a chicken, from which you take the white meat; crush it in such a way as to shred it. Then boil it with a paste as described above with Mahlab. Tavouk Gueunksis, breast of chicken. Civet àToute Vitesse Lorsqu'on sera très presse, voici un' maniere de confectioner un civet de lièvre que je recommande! Depecez le lièvre comme pour le civet ordinaire: Mettez-le dans une casserole ou un chaudron avec son sang et son foie écrasé! Un' demi-livre de poitrine de pore (coupée en morceaux); une vingtaine de petits oignons (un peu de sel et poivr'); un litre et demi de vin rouge. Fait' bouillir à tout vitesse. Au bout de quinze minutes environ, lorsque la sauce est reduite de moitie, approchez un papier enflamme, de maniere à mettre le feu au ragout. Lorsqu'il sera éteint, liez la sauce avec un' demilivre de beurre manié de farine ... Servez. Quick Stew When one is in a hurry, here is a manner of preparing a hare stew that I recommend. Take apart the hare as for an ordinary stew. Put it in a saucepan or a cauldron with its blood and its liver, crushed. A half pound of pork breast (cut into small pieces); about twenty little onions (with a little salt and pepper); a bottle and a half of red wine. Boil it, wasting no time. At just the end of fifteen minutes, when the sauce has been reduced by half, bring a flaming paper close to it, for the purposes of putting fire to the stew. When it is burned out, add a half pound of butter to the sauce, thickened with flour .. .Serve. �Soprano Heather Montana hails from Utica, NY, where her warm, fresh voice has been pleasing audiences for years. Ms. Montana, a cum laude graduate of Hamilton College, will graduate in May with her Masters of Music degree in Vocal Performance from Binghamton University, where she studies voice with Timothy LeFebvre. She has most recently appeared as Buttercup in H.M.S. Pinafore (Earlville Opera House, Earlville NY), and as Kate in Kiss Me, Kate! (Hamilton College, Clinton NY). Ms. Montana has also been heard as Bazzard in Drood: The Mystery of Edwin Drood and as Fiametta in The Gondoliers at Hamilton College, where she was also a member of the Hamilton College Choir, College Hill Singers (elite choral group) and Oratorio Society. A performing member of the 8# Musical Club of Utica, she has recently appeared as a recital soloist for Utica Monday Night's Classical Performance series at the Stanley Theater. Winner of first prize at the Central New York/ Finger Lakes Regional National Association of Teachers of Singing Competition and at the 8# Musical Club scholarship competition, Ms. Mon tana was also the soprano soloist in Messiah in Rome, NY. Pianist Sar-Shalom Strong has achieved widespread recognition for sensitive performances of solo and co ll aborative repertoire spanning five centuries. Locally, Mr. Strong can often be heard performing in concert with the Society for New Music, Civic Morning Musicals, and in collaboration with many outstanding area musicians. He has also appeared as soloist in concerti with the Utica Symphony Orchestra and the Hamilton College Orchestra. Highlights of the 2008-09 season include concerts with Peter and Kathleen Vandegraaf performing music of Robert and Clara Schumann, Hamilton College recitals with Janet Brown and Gregory Wood, and performance s of Bach's Brandenburg Concerti #4 and 5 with personnel from the Syracuse Symphony Orchestra, as well as performance s of new music for clarinet and saxophone with Ronald Caravan, and concerts with bassbaritone David Neal. Mr. Strong holds degrees from Knox College and Syracuse University, and is Lecturer in Piano and Coordinator of Staff Pianists for Hamilton College. From 1998-2007 he also served as keyboardist for the Syracuse Symphony Orchestra. Violinist Elizabeth Sterling, a student of Janey Choi, is completing her senior year at Binghamton University with a double major in Music and Anthropology. She has performed with various chamber ensembles and orchestral groups, including the Saratoga Springs Youth Orchestra, Empire State Repertory Orchestra, and Binghamton University Symphony Orchestra. Her other musical interests include piano and vocal studies. She is currently a member of Harpur Chorale and the Jazz Ensemble and studies voice with Mary Burgess. She has also studied with Sue Nazzaro, Pattie Sunwoo (violin), Patte Hadfield, Chai-Kyou Mallinson (piano), Jeffrey Vredenburg, Elizabeth Duhr, and Heather Montana (voice). This spring, she is planning a Senior Honors Recital featuring violin and vocal works by Claude Debussy. Cellist Emily J. Creo comp leted her master's degree in Music History and Literature at Binghamton in May of 2008. She actively performs with the BU chamber music program. Emily currently works in accounting and administratio n for the Binghamton Senators Hockey Team. �Sunday, March 15th Guest Fortepiano Concert: Stefania Neonato, Casadesus Recital Hall, 3:00 PM, $$ Sunday, March 15th Master's Recital: Sibongile Boyd, soprano, Casadesus Recital Hall, 7:30 PM, FREE Monday, March1 6th Master Class with Guest Fortepiano Artist Stefania Neonato, 7:30 - 8:45 PM, Casadesus Recital Hall, FREE Wednesday, March 18th Master Class with Jazz saxophonist Maceo Parker, 4:00 PM, Osterhout Concert Theater (Co-sponsored by the Music Department and the Harpur Jazz Project) Wednesday, March 18thJazz saxophonist: Maceo Parker - Osterhout Concert Theater, 8:00 PM, $$, (Co-sp onsored by the Music Department and the Harpur Jazz Proj ect) Thursday, March 19th Mid-Day Concert, 1:20 PM - FREE, Casadesus Recital Hall Thursday, March 1 9th Harpur Chorale and Women 's Chorus: A Mediterranean Choral Cruise, Anderson Center Chamber Hall, 8:00 PM, FREE Friday, March 20thPercussion Duo: Mike Correa and Gene Koshiniski, Casadesus Recital Hall, 8:00 PM, FREE (cosponsored by the United States Air Force Band and the Binghamton University Department of Music) Saturday, March 21 st Master's Recital: Stephen Brooks, bass, Casadesus Recital Hall, 8:00 PM, FREE Saturday, March 21 st Organist Jonathan Biggers - A Bach Celebration'! Series, First Presbyterian Church, Binghamton, 8:00 PM, $$ Thursday, March 26th Mid-Day Concert, 1:20 PM - FREE, University Art Museum, Celebrating Women's History Month Saturday, March 28th Master's Recital: Jonathan Moots, baritone, Fine Arts Room 21, 3:00 PM, FREE Saturday, March 28th 1993 Reunion Recital: Todd Geer tenor, Allison Swensen-Mitchell, mezzo-soprano, and J. J. Penna, piano, Anderson Center Chamber Hall, 8:00 PM, $$ (co-sponsored by the Music Department and the Alumni Association) Sunday, March 29th Junior Recital: Marc Silvagni, percussion, Casadesus Recital Hall, 3:00 PM, FREE Thursday, April 2nd Mid-Day Concert, 1:20 PM - FREE, Casadesus Recital Hall Thursday, April 1 6th Mid-Day Concert: 1:20 PM - FREE, Casadesus Recital Hall Saturday, April 18th Clarinet Studio Recital, 3:00 PM - FREE, Casadesus Recital Hall Saturday, April 18th Brahms' REQUIEM with the Binghamton Philharmonic Orchestra and the University Chorus, 8:00 PM, Osterhout Concert Theater; for tickets, call the Binghamton Philharmonic at 723-3931 For ticket information, please call the Anderson Center Box Office at 777-ARTS. � 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.) 39:43 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149623">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149623</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 A graduate recital in music, Heather Montana, soprano, March 14, 2009 Recital Tape 2009-3-14 Description An account of the resource Works of Bach, Rossini, Larsen, Bernstein. Held at 8:00 p.m., March 14, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Strong, Sar-Shalom Sterling, Elizabeth Creo, Emily Montana, Heather Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-03-14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/b7932404f0a2a2a4e83be3a963a026bc.pdf ef389067f07ff2e3484561a414121265 PDF Text Text BINGHAMTON UNIVERSITY S TATE UNIVERSITY OF NEW YORK usi D E P A R T M E N T GREGG ACKERMAN CLARINET with Pej Reitz, piano Sibongile Boyd, soprano James Wu, clarinet 14, March, 2009 3:00 p.m. Casadesus Recital Hall ��PROGRAM ini Concertzno ................. ...................... .... ..... .. .......... .... Gi1useppe T art1n1 I. Grave II. Allegro Molto III. Allegro Risoluto (1692-1770) Sonatina .............................. .. ........................................ Miklos R6zsa Terna con variozioni (1907-1995) Der Hift auf dem Felsen, op.129 .................................Franz Schubert (Shepherd On The Rock) (1797-1828) Andantino Allegretto INTERMISSION Preludes for Piano .................................................. George Gershwin I. Allegro ben ritmato e deciso (1898-193 7) II. Andante con moto e poco rubato III. Allegro ben ritmato e deciso Concertipiece No. 2, Op.114 ................................ Felix Mendelssohn Presto ( 1809-184 7) Andante Allegretto Grazioso �PROGRAM NOTES Giuseppe Tartini (1692-1770) Concertino Concertino is Gordon Jacob's free arrangement of two of Giuseppe Tartini's Sonatas for Violin for Clarinet and String Orchestra or Piano. Miklos Rózsa (1907-1995) Sonatina Hungarian-American composer Miklos R6zsa is best known for his film scores. (Three have won Oscars.) His Sonatina was composed in 1957 and dedicated to the Polish-American song writer and film score composer Bronislaw Kaper. Franz Schubert (1797-1828) Der Hirt auf dem Felsen, D 965 Text after Wilhelm Miiller's poem "The mountain shepherd" Translation: Lionel Salter Wenn auf dem hochsten Fels ich steh, ins tiefe Thal herneider seh, und singe, und singe, fern aus dem tiefen, dunkeln Thal schwingt sich empor der Wiederhall, der Wiederhall der Klilfte. When on the highest cliff I stand, gaze down into the deep valley and sing, the echo from the ravines floats upwards from the dark valley far away. Je weiter meine Stimme dringt, Je heller sie mir wiederklingt, von unten, von unten. Mein Liebchen wohnt so weit von The further my voice travels, the clearer it returns to me from below. So far from me does my love dwell that I yearn for her more ardently over there. mir, drum sehn ich mich so heiB nach ihr hinüber, hiniiber. In tiefem Gram verzehr' ich mich, mir ist die Freude hin, aufErden mir die Hoffnung wich, ich hier so einsam bin, icR hier so einsam bin. With deep grief Iam consumed, my joy is at an end; all hope on earth has left me; I am so lonely here, I am so lonely here. �PROGRAM NOTES continued So sehnend klang im Wald <las Lied, so sehnend klang es <lurch die Nacht, die Herzen es zum Himmel zieht mit wunderbarer Macht. So longingly sounded the song in the wood, so longingly it sounded through the night, drawing hearts heavenwards with wondrous power. Der Fruhling will kommen, der Frühling meine Freud, nun mach ich mich fertig zum Wandern bereit. Spring is coming, Spring, my joy; now I will make ready to go journeying. George Gershwin (1898-1937) Preludes for Piano Preludes for Piano have been arranged for clarinet and piano by James Cohn. They demonstrate Gershwin's talent for interweaving jazz and classical elements. Felix Mendelssohn (1809-1847) Concert Piece No. 2 in D Minor (Op. 114) Felix Mendelssohn wrote two concert pieces for clarinet, basset horn and piano in 1832. Both were inspired by virtuoso clarinetist Heinrich Baermann. The pieces have been arranged for numerous instrumental combinations, including clarinet, bassoon and orchestra/piano, and two clarinets and orchestra/piano. --Sarah Chandler �ABOUT THE PERFORMERS GREGG ACKERMAN, from Great Neck, New York, is an accounting major and will be graduating this May. Gregg has been playing clarinet for thirteen years, including his four years in the University Orchestra. Before college, he played in many ensembles including the Children's Orchestra Society, the Band of Long Island, and the Great Neck Rotary Band. He also performed in the NYSSMA All-County Band and Orchestra and the All-State Wind Ensemble. During his time at Binghamton University, he has studied under Timothy Perry and Sarah Chandler. He would like to thank both of them for their lessons and guidance. Gregg also thanks his family for always encouraging his musical pursuits. Hailed for her "lyrical and warm singing voice," Brooklyn native SIBONGILE BOYD, a cum laude graduate of Harvard University, made her operatic debut with Harvard's Dunster House Opera as Yvette in Puccini's La Rondine and later appeared as Barbarina in Mozart's Le Nozze di Figaro. After graduating from Harvard, Ms. Boyd continued her vocal pursuits through opera and performance workshops and was featured in vocal recitals at numerous churches and concert venues in New York City and Washington DC. She performed opera roles with the Shaker Mountain Performing Arts Festival, Natchez Festival of Music, Cantiamo Opera, and the Opera Company of Brooklyn. Ms. Boyd has given recital and chamber performances at the Brooklyn Museum of Art, the Sumner Museum (Washington DC), and the Merck Concert Series (appearing with the Manchester String Quartet). In the 2007-08 ·season, Ms. Boyd was a Resident Artist with Tri-Cities Opera, where she sang the role of Beauty in Giannini's Beauty and the Beast. Ms. Boyd is in her second year in the Masters of Music program at Binghamton University, where she recently performed the roles of Gabriel and Eve in Haydn's The Creation. She recently performed the role of Zerlina in Delaware Valley Op.era's production of Don Giovanni and appeared in recital at Bargemusic (Brooklyn) and the Dweck Performing Center for Contemporary Culture (Brooklyn Public Library). JAMES WU is a first year student enrolled in Binghamton University's Harpur College of Arts and Science. Before college, he was enrolled in the Manhattan School of Music's Precollege program, where he received formal music training. He also played in many ensembles including the Manhattan School of Music's Philharmonic Orchestra, various chamber groups, and his high school band. �The fourth and final concert of this season will be performed Saturday, March 21st at 8 pm Presbyterian Church, _42 Chenango S . Series will be continued in 2 0 NNGHAMTON VE R S I T y IIV E R ·OF NEW YORK For tickets, call (607) 777-ARTS. For more_ ]nformation, visit the Binghamton University Mus sic Department's website at music.binghamton.edu· �Saturday, March 14th Master's Recital: Heather Montana, soprano, Casadesus Recital Hall, 8:00 PM, FREE Sunday, March 15thGuest Fortepiano Concert: Stefania Neonato, Casadesus Recital Hall, 3:00 PM, $$ Sunday, March 15'11 Master's Recital: Sibongile Boyd, soprano, Casadesus Recital Hall, 7:30 PM, FREE Monday, March 1 6th Master Class with Guest Fortepiano Artist Stefania Neonato, 7:30 - 8:45 PM, Casadesus Recital Hall, FREE Wednesday, March 18th Master Class with Jazz saxophonist Maceo Parker, 4:00 PM, Osterhout Concert Theater (Co-sponsored by the Music Department and the Harpur Jazz Project) Wednesday, March 18thJazz saxophonist: Maceo Parker Osterhout Concert Theater, 8:00 PM, $$, (Co-sponsored by the Music Department and the Harpur Jazz Project) Thursday, March 19thMid-Day Concert, 1:20 PM - FREE Casadesus Recital Hall Thursday, March 19th Harpur Chorale and Women's Chorus: A Mediterranean Choral Cruise, Anderson Center Chamber Hall, 8:00 PM, FREE Friday, March 20thPercussion Duo: Mike Correa and Gene Koshiniski, Casadesus Recital Hall, 8:00 PM, FREE (co-sponsored by the United States Air Force Band and the Binghamton University Department of Music) Saturday, March 21st Master's Recital: Stephen Brooks, bass, Casadesus Recital Hall, 8:00 PM, FREE Saturday, March 21st Organist Jonathan Biggers -A Bach Celebration!! Series, First Presbyterian Church, Binghamton,8:00 PM, $$ For ticket information,please call the Anderson Center Box Office at 777-ARTS. � 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.) 45:22 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149635">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149635</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.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gregg Ackerman, March 14, 2009 Recital Tape 2009-3-14b Description An account of the resource Works of Tartini, Rózsa, Schubert, Gershwin, Mendelssohn. Held at 3:00 p.m., March 14, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Reitz, Margaret Boyd, Sibongile Wu, James Ackerman, Gregg. Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-03-14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/6db16424f65650cd3e68e85d6afa495e.pdf c40da46d87c434df5e56acabdf2cc3f2 PDF Text Text BINGHAMTON UNI VERSITY STATE UNI VE RSITY O F NE W YOR K usi D E P A R T M E N T MOZART vs. CLEMENTI Stefania Neonato, fortepiano Sunday, March 15, 2009 3:00p.m. Casadesus Recital Hall �PROGRAM MOZART (1756-1791) Capriccio C major KV 395 Fantasy and Fugue C major KV 394 Variations on Salve tu Domine by Paisiello KV 398 PAUSE CLEMENTI (1752-1832) Toccata Bb major op.11 Sonata Bb major op.24 n°2 This performance is partly funded by an anonymous gift to the Department of Music. �ABOUT THE PERFORMER Born in Trento, Italy, Stefania Neonato graduated from her home town conservatory and earned a Master in Fortepiano Performance Practice at the International Piano Academy "Incontri col Maestro" (Imola, Bologna). While pursui.ng a BA degree in Foreign Languages and Literatures from the University of Trento, she came to Binghamton University for her thesis research. She attended many master-dasses around the world (among them. at the Mozarteum in Salzburg), and she was the recipient of scholarships from the Interlachen Arts Camp (Michigan) and from the School of Music of Miami University. She earned a Doctorate in Musical Arts in Historical Performance Practice with Malcolm Bilson at Cornell University, where she served as piano teaching assistant from 2006 to 2008. Ms. Neonato studied under Riccardo Zadra, Leonid Margarius and Aldo Ciccolini, and her interest in historical instruments grew and developed when she met the pianist, Alexander Lonquich. Active as a chambermusician and fine lieder-accompanist, she is committed to musicological issues. In addition to performing, Ms. Neonato writes articles and essays for music journals and conferences focusing on piano aesthetics. In 2004, Ms. Neonato was invited to give a seminar on historical performance practice at Trento Conservatory, and in 2005, her first recording was released. Her second CD has just been released and presents music of Clementi and Beethoven on a valuable 1822 Clementi grand piano. Ms. Neonato's collection of instruments includes a -circa 1819 Conrad Graf, a replica of a Walter u.Sohne (1803) by Paul McNulty (2008), an 1820 Daniel Dörr, an 1853 Pleyel and Erard, and a 1919 Steinway & Sons. �Sunday, March 15th Master's Recital: Sibongile Boyd, soprano, Casadesus Recital Hall, 6:30 PM, FREE Monday, March 16th Master Class with Guest Fortepiano Artist Stefania Neonato, 7:30 - 8:45 PM, Casadesus Recital Hall, FREE Wednesday, March 18thMaster Class with Jazz saxophonist Maceo Parker, 4:00 PM, Osterhout Concert Theater (Co-sponsored by the Music Department and the Harpur Jazz Project) Wednesday, March 18thJazz saxophonist: Maceo ParkerOsterhoutConcert Theater, 8:00 PM, $$, (Co-sponsored by the Music Department and the Harpur Jazz Project) Thursday, March 19thMid-Day Concert, 1:20 PM - FREE Casadesus Recital Hall Thursday, March 19thHarpur Chorale and Women's Chorus: A Mediterranean Choral Cruise, Anderson Center Chamber Hall, 8:00 PM, FREE Friday, March 20thPercussion Duo: Mike Correa and Gene Koshiniski, Casadesus Recital Hall, 8:00 PM, FREE (co-sponsored by the United States Air Force Band and the Binghamton University Department of Music) Saturday, March 21st Master's Recital: Stephen Brooks, bass, Casadesus Recital Hall, 8:00 PM, FREE Saturday, March 21st Organist Jonathan Biggers - A Bach Celebration!! Series, Rrst Presbyterian Church, Binghamton, 8:00 PM, $$ Thursday, March 26th Mid-Day Concert, 1:20 PM -- FREE University Art Museum, Celebrating Women's History Month Saturday, March 28th Master's Recital.· Jonathan Moots, baritone, Fine ArtsRoom 21, 3,·oo PM, FREE For ticket information, please call the Anderson Center Box Office at 777-ARTS. � 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.) 57:45 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149626">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149626</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.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mozart vs. Clementi, March 15, 2009 Recital Tape 2009-3-15 Description An account of the resource Works of Mozart, Clementi. Held at 3:00 p.m., March 15, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Neonato, Stefania Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-03-15 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 42:28 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE148806">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE148806</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 Thursday mid-day concert, March 19, 2009 Recital Tape 2009-3-19 Description An account of the resource Works of Britten, Rosauro, Hummel, Donaudy. Held at 1:20 p.m., March 19, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Stalker, Stephen Lehman, Stephanie Reitz, Margaret Sakamoto, Briana Lawson, James, William Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-03-19 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/cbca950ae47d1123e0f04c7538c33627.pdf c8884ad5f645441933a27a964b087428 PDF Text Text UNIV  ARC — Ke c fl 2\ co  1  ­ ­   LAN 4  p \ L “  < 1 Phe  a  N N® g y Q U . S .  A I R F  O R C E BAN D O F  L I B E R T Y www.bandofliberty.af.mil America’s Air Force Integrity— Service—Excellence and University of Minnes ota Dul uth present SOU NDIN GS OMXR SrA Michael A. Correa and Prof. Gene Koshinski �Senior Airman Michael A. Correa is a percussionist with The United States Air Force Band of Liberty, Hanscom Air Force Base, MA.  He is the principal percussionist for the Concert Band, percussionist for the Colonial Brass and also performs with the Ceremonial Band, and the Show Band. He has been a featured soloist with the Concert Band and Colonial Brass.  SrA Correa earned a Bachelor of Music Performance and Music Education from the Ithaca College School of Music in 1998. (MM) and  is  currently completing a doctoral degree (DMA) at the Hartt School. His debut recording, Klung, is carried by the Equilibrium record label and his method book and compositions are distributed internationally by The Percussion Source. In  2000, he graduated from the Cincinnati  College­Conservatory of Music with a Master of Music degree in Performance.  Following post­ graduate  work  at  the  Eastman  School of Music  SrA  Correa held positions  as  music  director  for  the  Tilton  School  in  NH,  and Band/Orchestra Director for the St. Stephens & St. Agnes School in Alexandria, VA.  SrA Correa also served as the director of Percussion studies and music theory instructor at the Performing Arts Institute in PA from 1998­2006. He is currently a DMA candidate at the Cincinnati College­Conservatory of Music as well as being a member of the Air Astor Piazzolla (1921­1992) Nightclub 1960 from The History of the Tango CaDance 4 2  Andy Pape (b.1955) I’m Your Pal  Steve Swallow (b.1940) arr. Gary Burton trans. Errol Rackipov Force Band of Liberty.  His teachers include Joel Smales, Gordon Stout, Ted Rounds, Jon Beck, Allen Otte, Rusty Burge and James Culley. Gene Koshlnski has received international acclaim as a percussionist and composer (ASCAP) and is currently director of percussion at the University  of Minnesota Duluth.  He  is  in constant  demand  as  a performer and most recently completed tours in Jordan, Germany, Austria, Slovenia, Canada, and the US. In 2002, Mr. Koshinski won the National MTNA Collegiate Artist Percussion Competition in Cincinnati, OH  and in August  2004  finished 3rd in the prestigious Universal Marimba Duo Competition in Belgium. He is active as a performer and freelance percussionist, having worked with organizations and artists including NFL Films, Late Show with David Letterman, Mary Wilson (the Supremes), David Samuels, Wycliffe Gordon, Philadelphia Boys Choir, The Lettermen, Lehigh Valley Choral Arts, Minnesota Ballet, and is currently section percussionist for the Duluth Superior Symphony Orchestra  and  a  member  a  Nebojsa  Zivkovic’s Jovan  Perkussion Projekt. For his work with NFL Films, he can be heard on the Emmy award­winning soundtrack A Century of NFL. Performances have also been heard on the CBS, PBS, EPSN television networks as well as NPR (National  Public  Radio). He  has also commissioned and  premiered works  by  renowned  composers  including  Stuart  Saunders  Smith, David Macbride, Dave Hollinden, and Alejandro Vifiao. Mr. Koshinski holds degrees from West Chester University (BA), The Ha rtt School And So The Wind Blows... *  Kaskada  The Hummingbird  * World Premiere Gene Koshinski (b.1980) Eckhard Kopetzki (b.1956) George Hamilton Green (1893­1970) �This con cert is sp onsored by the U SAF Ban d of Libe rty a nd the U niversity of Minneso ta Dulut h. Gene Koshinski is endorsed by Ko rogi Mar imbas, Innovative Percussion, Sa bian Cym bals, and Remo. The Air Force is a values­based o rganization guided by ou r core values: Integrity, Service Befo re Self, a nd Excellence In All We D o. As an Expeditionary Aerospace Fo rce, our people stand rea dy to de ploy com bat power around the globe a t a m om e nt ’s notice  t o p ro tect America ’s interes ts. U L S :A   R F  O R C E For information regarding Air Force opportunities, contact the Air Force via your local recruiter, www.airforce.com, or dial 1­800­423­USAF � 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.) 1:00:09 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152251">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152251</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 U.S. Air Force Band of Liberty and University of Minnesota Duluth present Soundings, March 20, 2009 Recital Tape 2009-3-20 Description An account of the resource Works of Piazzola, Pape, Swallow, Koshinksi, Kopetzki, Green. Held at 8:00 p.m., March 20, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Correa, Michael A. Koshinski, Gene Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-03-20 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/6ec79c9f61249f4c575b9deb3877d96f.pdf ef60bc931bdbee7956a0c3d2e835aef1 PDF Text Text BINGHAMTON UNI V ERSI T Y S T A T E   U N I V E R S I T Y   O F  N E W  Y O R K U n i v f   A R C { s c  % \  ' P  w x B e E P IT F M EA N RT  %  4 0  ¥ MA STER’SR   ECITAL S T E P H E N B  R O O K S D O U B L E B  A S S WITH M A R G A R E T R  E I T Z , P  I A N O S a t u r d a y ,  M a r e h  2 1 ,  2 0 0 9 £ 0 0 p  . m . casadesus Recital Hall   �PROGRAM ABOUT THE PERFORMERS SONGLA 192  G TNLNOY cusncviissrssssssassinnensn Eccles STEPHEN BROOKS graduated from SUNY Oneonta in 2007 with a B. A. in Music, during which time he studied the double bass under the instruction of Professor  Rich Mollin.  While at SUNY (1670­1742) I. Largo II. Allegro con spirito III. Adagio IV. Vivace Romance and RONAO... ...................  Franz Keyper I. Romance II. Rondo (1756­1815) ®  I N T E R M I S S I O N J O U T  U B E S  s os n m i i v m i i i m n n n i s K   i N E S S E V i L Z R Y I. A n d a n t e II. Valse Miniature SOMBEE 1953 1. Slow a n d P   eaceful II. Moderate 4­Swing III. Molto Adagio IV. Allegro energico (1874­1951) Frank Proto ( b. 1941) Oneonta, Mr. Brooks studied jazz as well as other modern musical styles.  For the past two years, he has been studying with cellist Stephen Stalker, pursuing an M. M. in Performance at Binghamton University, focusing his studies on classical music.  Mr. Brooks has performed with the Catskill Symphony and can frequently be seen playing with any number of jazz groups at the Otesaga Resort in Cooperstown.  He also collaborates with pianist Gabriel Luce in a trio that recently  opened for  jazz piano legend Junior Mance. Upon  his  graduation  from  Binghamton  University,  Mr.  Brooks plans to continue to study and perform a wide variety of musical styles to satisfy his eclectic tastes. MARGARET (PEJ) REITZ, pianist, is a native of the Binghamton Area.  She received her Bachelor and Master of Music degrees in piano  performance  with  accompanying  emphasis.  Ms.  Reitz 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. Ms. Reitz has accompanied throughout the United States, in England, South America, and at the American Institute of Musical Studies in Graz, Austria.  She and Binghamton University faculty member Timothy Perry were winners of the Artistic Ambassadors Program by the United States Information  Agency  in  partnership  with  the  John  F.  Kennedy Center for the performing arts. Ms.  Reitz  is  currently  on the faculty at Binghamton  University since 1991 and Ithaca College School of Music since 1999.  She maintains a private piano studio in Vestal, New York and serves on  the  Executive  Board  of  the  New  York  District  MTNA organization.  Ms. Reitz is President of the local District V II  Music Teachers Association and is an active adjudicator for the National Piano Guild Organization. �  id­Day Concert, 1:20 PM ­ FREE Thursday, March 2 6 ” M University Art Museum, Celebrating Women’s History Month   aster’s Recital: Jonathan Moots, baritone, Saturday, March  2 8 ” M Fine Arts Room 21, 3:00 PM, FREE tenor,   Saturday, March  2 8 ” 1993 Reunion Redtal: Todd Geer  Allison Swensen­Mitchell, mezzo­soprano, a n d  J. Penna, piano, Anderson Center Chamber Hall, 8:00 PM, $$ (co­sponsored by the Music Department and the Alumni Association) Sunday, March  2 9 ” J unior Recital: Marc Silvagni, percussion, Casadesus Recital Hall, 3:00 PM, FREE   id­Day Concert, 1:20 PM – FREE Thursday, A pril 2 ™ M Casadesus Recital Hall Thursday, A pril 1 6  Mid­Da y Concert: 1 :20 PM ­ FREE Casadesus Recital Hall FREE   larinet Studio Recital, 3:00 PM —  Saturday, April 1 8 ” C Casadesus Recital Hall   rahms’REQUIEM with the Binghamton Saturday, April 1 8 ” B Philharmonic Orchestra and the University Chorus, 8:00 PM, Osterhout Concert Theater; for tickets, call the Binghamton Philharmonic at 723­3931 Sunday, April 19th Master’s Recital: Stephanie Lehman, percussion, Casadesus Recital Hall, 3:00 PM, FREE Sunday, April 19°" For Slava: A concert remembering the great Russian cellist, Rostropovich (Stephen Stalker & friends), 7:30 PM, $$, Casadesus Recital Hall Tuesday, April 21% String Department Recital, 8:30 PM – FREE, Casadesus Recital Hall For ticket information, please call the Anderson Center Box O ffice 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 audiocassette 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 43:38 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152245">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152245</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Master's recital, Stephen Brooks, March 21, 2009 Recital Tape 2009-3-21 Description An account of the resource Held at 8:00 p.m., March 21, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Reitz, Margaret Brooks, 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 2009-03-21 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/895bd90d4db884b2b57b942b29600085.pdf ceef9c844b00c9ce514f127246b20ea6 PDF Text Text BINGHAMTON U N. I V E R S I T Y STATE UNIVERSITY OF N'EW YORK usi DEPARTMENT THURSDAY MID-DAYCONCERT COUNTERPOINT CELEBRATING WOMEN IN THEARTS Thursday, March 26, 2009 1:20 p.m. University ArtMuseum �PROGRAM Divertimento for Solo Flute.: ......................... ................ . Edith Borroff (written for Georgetta Maiolo) (b. 1925) Andante Allegretto (Siciliano) Largo Allegro Presto e guisto Georgetta Maiolo, flute Selected Songs from Sechs Lieder, Op. 13 ........... Clara Schumann Liebeszauber, No. 3 (1819-1896) Der Mond kommt still gegangen, No. 4 Sung-Jin Park, soprano Chai-Kyou Mallinson, piano Concerto for Vibraphone and Orchestra ...................... Ney Rosauro Acalanto (Lullaby) (b. 1952) Stephanie Lehman, vibraphone Margaret Reitz, piano Passacaglia on an Old English Tune (1943) ........... Rebecca Clarke (1886-1979) Sarah Sterling, viola Margaret Reitz, piano Bucking Bronco, from Cowboy Songs ................ . Heather Montana, soprano Chai-Kyou Mallinson, piano ••••••••• Libby Larsen (b. 1950) �Siciliene ..........•............•... . •••••••••••••••••••••• Marie Therese von Paradis (1759-1824) Stephen Stalker, cello Margaret Reitz, piano Selected Songs .................................... Fanny Mendelssohn Hensel Sehnsucht, Op. 9, No. 7 Verlust, Op. 9, No. 10 ltalien, Op. 8, No. 3 The Half-Minute Songs (1805-1847) Carrie Jacobs Bond (1862-1946) . Briana Sakamoto, soprano William James Lawson, piano Sonata for Clarinet Solo, 1957......................... Germaine Tailleferre Allegro tranquillo Andanti no espressivo Allegro brioso (1892-1983) Timothy Perry, clarinet Nocturne Lili Boulanger (1893-1918) Timothy Perry, clarinet Margaret Reitz, piano �PROGRAM TEXTS Liebeszauber (Love's magic) Now Love once like a nightingale in rosebush perched and sang; with sweetest wonder flew the sound along the woodland green. And as it rang, there rose a scent from ring of thousand buds, and all the treetops rustled soft, and softer blew the air; The brooklets silenced, scarcely come by splashing from the heights, the fawns stood still as if in dream and listened to the tone . And bright and ever brighter flowed the sunbeams down inside, 'round blossoms, wood and gorge it gushed with golden red sunshine. I walked along the path that day and also heard that sound. Alas! What ever since I've sung was just its echo faint. how I am so1sad and sick, . they would happily let ring out refreshing song. And if they knew my pain , the golden little stars, they would come down from their height, and speak consolation to me. They all cannot know it, only one knows my pain; He, indeed, he himself has ripped, ripped apart my heart. Sehnsucht (Longing) Text: Johann Gustav Droysen (1809-1884) Distant and more distant sounds the round dance. Well to me! Around me here is silence on the land. To my full heart only will rest not come. Hark! The night soars through the space. Its robe rushes through the trees, murmuring softly. Ah, thus roam, love-hot, my wishes and dreams. ltalien (Italy) Der Mond kommt still gegangen (The moon is stilly creeping) The moon is stilly creeping, Her silv'ry lustre grows, weary the earth is sleeping in beauteous calm repose . In dreams the trees are sighing, the brooklet trips afar; Angels are singing and flying round ev'ry tender star; And through the distance hover a thousand fancies dear, from soul of friend and lover unto the sleepers here. Below in the valley are sparkling the lights of my dear one's home; Yet wander I in the darkling, far in the world to roam . Verlust (Loss) Text: Heinrich Heine (1797-1856) And if they knew, the flowers, the little ones, how deeply wounded my heart is, they would weep with me, To heal my pain. . , ·_ • •. . . , I; : And if the nightingalesknew; Text: Franz Grillparzer (1791-1872) Fairer and fairer the plain decks itself, As coaxing breezes blow me along, Away from the burden and trouble of prose, drawing me toward the land of poetry. More golden the sun, bluer the air, greener the green , more fragrant the scent! There by the cornstalk, swelling with sap, struggles the aloe 's obstinate strength. Olive tree, cypress, one blond, and one brown, are you nodding like dainty, greeting ladies? What gleams in the foliage, sparkling like gold? Ah! Oranges, are you lovelies hiding there? Defiant Poseidon, were you the same one, who below now jokes and murmurs so sweetly? And this, half meadow, half ether, it seems, was the sea's fearsome horror? Here I would live! Godlike one: Can you, Parthenope, bring the waves to rest? Now then , try it, Eden of Joy, ease also, the waves in this breast. �WOMEN IN THE ARTS EDITH BORROFF (b. 1925) Edith Borroff was Professor of Music at Binghamton University (SUNY Binghamton) from 1973 to1992. Divertimento for Solo Flute (1980) was written for Georgetta Maiolo. Ms. Maiolo premiered this work in a performance for the "Flute Workshop for High School Students" in July 1981 at Binghamton University. An observation from the SUNY-Binghamton Inside newspaper (July 2, 1981 Volume 2, Number 21), written by staff writer, Judy Toll, noted, "Edith Borroff admitted that writing a piece for flute alone is 'a terribly difficult task. There's no piano, no harmony, no underpinning ... The flute is on cloud nine all by itself. The composition is in five movements and each movement has its own characteristics'." Edith Borroff was pleased to write music for the flute, an instrument she said she has always loved. "The flute has the glorious capacity to sing . It also has different personalities and different textures. The mouth is a natural reed and the mouth of the flute player is a part of the instrument naturally," she said. "I wanted to reveal certain capacities of this instrument, including its tremendous lyricism and I went about it from that point of view." Borroffs goal is to establish a relationship "between the technical potential of the instrument and the effect of the instrument." CLARA SCHUMANN (1819-1896) One of the outstanding pianists of the nineteenth century, Clara Schumann's significant contributions have only in recent years begun to be fully appreciated. As Clara Wieck, a famous young virtuosa touring Europe with her teacher/father Carl Wieck, she stunned audiences with her effortless technique, tonal power and depth of musicianship. The romantic and tragic circumstances of her courtship and marriage to Robert Schumann are well known . She was not only his soul-mate, but also a professional partner and colleague who vigorously championed her husband's works. The proceeds from her concert tours were a major financial support to her growing family, especially once Robert fell victim to mental illness and was hospitalized. Her concert career spanned over sixty years and she was a highly respected teacher, the only women of her time to hold a position at the Hoch Conservatory in Frankfort. Despite the incredible burden of caring for her family, she found time to maintain an extensive correspondence with some of the great musicians of her day. She acted as advisor and colleague throughout her life to her close friend, Johannes Brahms and collaborated with many of the celebrated musicians of her time. She was deeply involved in preparing a complete edition of Robert Schumann's works for publication after his death, and she herself composed a significant body of piano works, songs and chamber music which are now being performed and receiving well-deserved attention. EVELYN GLENNIE (b. 1965) The famous Scottish percussionist, Evelyn Glennie, has thoroughly impressed the world with her magnificent talent, overcoming deafness since the childhood. Glennie, however, likes to maintain that her major focus is music that she makes, not the hearing she has lost. Upon listening to a recording or a performance of her virtuostic playing, one would never imagine that she is unable to hear. The only thing that might make people think otherwise would be seeing one of her many "barefoot" performances. Glennie likes to be connected to her instruments. By playing barefoot and feeling the vibrations, Glennie creates a new way of hearing . It was Glennie's famous performances that really helped Ney Rosaura make his first marimba concerto as famous as it is. Because of this, Rosaura decided to dedicate this vibraphone concerto to this inspirational woman . In addition to his dedication to Glennie, Ney Rosauro makes a point of putting his Brazilian culture into his work . For example, in the second movement, "Lullaby", Rosaura points out the use of the mallet handle on the instrument's keys, sounding like music box, singing the children to sleep with traditional folk-like melodies. When I play any piece of music, I try to make a connection with it, be it the same as the composer or one of my own. I fell in love with the jazzy feel contrasted with the beautiful heartfelt motion in the second movement. It's clear that I had immediately found my own strong connection with this piece within its mix of deep emotion and rejoicing, and I am truly excited to share it with you today. - Stephanie Lehman REBECCA CLARKE (1886-1979) Rebecca Clarke, born near London, was an outstanding violist and one of the first women admitted to London orchestras in the early twentieth century. She was a member of the renowned English Ensemble, an all-woman piano quartet which toured throughout the world . Admired as a chamber musician, Clarke often read and performed chamber music with many great artists of the time including Myra Hess, Pablo Casals, and Arthur Rubinstein . Clarke wrote and premiered the Passacaglia on an Old English Tune in 1941. The work is based on a theme by Thomas Tallis and, as is typical of passacaglias, is quite somber in mood. It was dedicated to "BB," which could either refer to Clarke's niece Magdalen, or to Benjamin Britten. The latter would make sense as Britten had organized a funeral for Frank Bridge, an influential composer and friend of Clarke's, that same year. The Passacaglia creates feelings of grief and nostalgia that could easily have accompanied such a loss. �LIBBY LARSEN (b. 1950) Libby Larsen is an American composer who studied with Dominic Argento, among others, at the University of Minnesota. She was one of the first female composers to be commissioned by a major American orchestra, and possesses a feminism and an intuitive understanding of the voice that influence her compositions. Her song cycles for female voice also include Try Me, Good King (settings of the final words of five wives of Henry VIII of England), and By a Departing Light (settings of the poetry of Emily Dickinson). MARIE THERESE VON PARADIS (1759-1824) Maria Theresa von Paradis was a Viennese pianist/composer/singer, blinded at an early age by an unfortunate accident. Her father was a Councilor to Empress Maria Theresa, and her family did much to encourage the prodigious musical talent of the young girl by making certain she had the best instructors available. At the age of fifteen, von Paradis was already performing to great acclaim, and in an epoch replete with great geniuses, she was famous for her artistry and phenomenal memory. Following successful concert tours that included France and England as well as Germany, von Paradis became increasingly drawn to composition. She also took a great interest in education, taught throughout her later years and established a music school for talented young girls as well as a school for the blind. FANNY MENDELSSOHN HENSEL (1805-1847) Though from youth Fanny Mendelssohn-Hensel displayed at least as much talent as her brother, Felix, her family strongly discouraged her pursuit of a musical career, expecting her to be content as a housewife. Nonetheless, she composed prolifically and developed a distinct musical voice. Tragically, the majority of her works remain stored in family archives, unavailable to performers and listeners, for Hensel began to publish only about a year before she died. These three songs are representative of her ability to create rich musical and emotional textures through forthright, clean melodies with some novel twists . . CARRIE JACOBS-BOND (1862-1946) Carrie Jacobs-Bond wrote for her life. She fought poverty for years and provided for herself and her son primarily through composing, selling and performing her own songs, songs "unpretentious as a wild rose." It is easy to imagine the composer speaking and singing the texts of these Half-Minute Songs her pearls of wisdom and advice. For her there was no question that talent was to be used, and she fought to share her gifts with the world. "I wonder what the world would be like if there were nobody to do the simple things!" Jacobs wrote, "And sometimes songs (simple songs) like pins, keep folks together." GERMAINE TAILLEFERRE (1892-1983) Born Marcelle Taillefesse, Germaine Tailleferre changed her last name as a young woman to "Tailleferre" to spite her father who had refused to support her musical studies. She studied piano with her mother at home, composing short works of her own and then began studying at the Paris Conservatory where she met Louis Durey, Francis Poulenc, Darius Milhaud, Georges Auric and Arthur Honegger. With her new friends, she soon was associating with the artistic crowd where the initial idea for Groupe des Six (Les Six) began. The publication of Jean Cocteau's manifest Le Coq et l'Arlequin led to instant fame for the group. She was the only female member of the Groupe des Six. The group published an album of piano pieces together (the famous Album des Six) . Tailleferre wrote many of her most important works during the 1920s, as well as several pioneering film scores. The 1930s was even more fruitful, and her work in film music included Le Petit Chose by Maurice Cloche and a series of documentaries. At the outbreak of World War II, Tailleferre escaped across Spain to Portugal, and found passage on a boat that brought her to America where she lived the war years in Philadelphia, Pennsylvania. After the war, in 1946, she returned to her home in France where she composed orchestral and chamber music, plus numerous other works including ballets, operas, and an impressive number of film and television scores. The majority of this music was not published until after her death. LILI BOULANGER (1893-1918) Lili Boulanger was a French composer, the younger sister of the noted composer and composition teacher Nadia Boulanger. Boulanger's parents were musicians themselves and encouraged their daughter's musical education. Her mother, Raissa Myshetskaya, was a Russian princess, who married her Paris Conservatoire teacher, Ernest Boulanger. Her grandfather had been a noted cellist, and her grandmother had been a singer. Boulanger, a child prodigy, accompanied her ten-year-old sister to classes at the Paris Conservatoire before she was five , shortly thereafter sitting in on classes on music theory and studying organ with Louis Vierne; she also sang and played piano, violin, cello, and harp. In 1913, at the age of 19, she won the Prix de Rome for her Faust et Hélène, becoming the first woman composer to win the prize. Her work was noted for its colorful harmony and instrumentation and skillful text setting; aspects of Fauré and Claude Debussy can be seen in her compositions, and Arthur Honegger was one composer influenced by her innovative work. Jazz pianist Herbie Hancock has said she is one of his favorite composers. Her life and work were troubled by chronic illness which cut short her life at age 24. � 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.) 50:22 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149345">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149345</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.) FacingContinuous Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thursday mid-day concert : Counterpoint : Celebrating woment in the arts, March 26, 2009 Recital Tape 2009-3-26 Description An account of the resource Works of Borroff, Schumann, Rosauro, Clarke, Larsen, von Paradis, Hensel, Bond, Tailleferre, Boulanger. Held at 1:20 p.m., March 26, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Maiolo, Georgetta Park, Sung-Jin Mallinson, Chai-Kyou Lehman, Stephanie Sterling, Sarah Reitz, Margaret Montana, Heather Stalker, Stephen Sakamoto, Briana Lawson, William James Perry, Timothy Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-03-26 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/b20589993596463c9d34165ff6c0394d.pdf 6db78dbe01d6d729d77eac1ba464aa38 PDF Text Text BINGHAM TON U  N 1  V E RrS L T  Y S T A T E  U N I V E R S I T Y   O F  N E W  Y O R K d e e [23 D E P A R T M E N T J U N I O R  R E C I TA L Marc Silvagni, Percussion Margaret Reitz, Piano Sam Smith, Electric Bass Alex Gregorio, Drum Set Sunday, March 29, 2009 3:00 PM Casadesus Hall �PROGRAM PROGRAM NOTES A meric an Suite : For Unaccompanied Snare Drum  ......Guy G .  G authreaux II American Suite : F o r  Unaccompanie d S nare D rum (1989) is a five­movement work based primarily on a short rhythmic motive. Each  movement offers unique challenges utilizing many aspects associated  with  snare  drumming  in  America,  including  jazz, rudimental,  ethnic,  orchestral,  marching,  contemporary,  and  so forth.  The first movem ent serves to firm ly introduce the rhythmic motive  with  only an  occasional  use of unrelated material.  The second moveme nt is a combination of the old rudimental style of drumming with a more contemporary marching application.  The third movement, written entirely for brushes, makes extensive use of  hand­to­hand  independence  while  maintaining  the  rhythmic I ­ Introduction II ­ Rudimental III –­ Jazz IV – Latin V ­ Contemporary Fantasy on Japanese Wood Prints, Op. 2 1 1 Alan Hovhaness (191 1 – 2000) Margaret Reitz, Piano motive in a jazz  style.  The fourth move ment, written in  a Latin style, uses numerous playing arias and special techniques.  The last movement is mo re contemporary  in nature and c ontains new and INTERMISSION Etude op. 6, No  8 ...  Etude in C Major Op. 6, No” 1 0   ..Clair Omar Musser (1901­1998) Three Episodes for Timpani............ccocssscsscssesssssnssssessse.JONN Beck I­L   onga II ­ Andante III ­ Marcato CHIR o f D o v e r E r i c Johnson   (b. 1954) Arr. Marc Silvagni and Richard Silvagni (b. 1988)  (b. 1987) Sam Smith, Electric Bass Alex Gregorio, Drum Set previously stated motivic variations.  This piece was selected as 1* place  winner  in  the  1989  Percussive  Arts Society  Composition Contest. Fantasy on Japanese Wood prints, Op. 2 1 1 (1965) is a concerto in one movement written for xylophone and orchestra by American composer Alan  Hovhaness.  He wrote it while studying Oriental musical styles in Japan during his career.  Much of the 15­minute work contains many themes of modal Japanese m usic, especially the  last  3  minutes.  Due  to the  richer  and  fuller  sound,  many soloists  opt  to  play  the  solo  part  on  marimba  rather  than xylophone.  The piece  begins with a series of cadenzas for the soloist, all in free time (senza misura).  Under each cade nza, the accompaniment  holds a soft  chord containing many fourths and half­steps, and the bass line is given a series of notes to improvise with until a cutoff.  In between each cadenza, the accompaniment plays a dissonant glissando patte rn all  in free time until another cutoff.  The  concerto  develops  into  an  eerie  slow  adagio, with shimmering chords in the string section and ending with another cadenza.  A dark section in 6/8 ensues, with the xylophonist taking over and playing an extended solo completely in 32 nd notes before the accompanim ent comes in with another free time cadenza.  The �piece  then  launches  into a  march­like  tempo, and  the  theme  is completely  stated  by  xylophone  and  accompaniment,  with  a repeated rhythm that occurs on a different beat every time.  A 6/8 dance comes  back, and the n a  cadenza  in  time occurs with  the accompaniment playing the melody over the soloist.  A series of and the melody progress through the pedaling of the tim pani.  This creates a  very trippy sound.  The  last  movement  is a  standard sounding timpani  piece  that  is  quick, very loud, and shows off speed. loud crescendos and climaxes in free time bring the soloist into the final cadenza before a fast 3/4 comes in, with a fierce tai ko rhythm and  build­up  until  the  end.  The  version  featured  here  is  an orchestra reduction played o n piano. ] l Etude Op. 6, No. 8 and Etude in C Ma jor Op. 6, No. 1 0 are two etudes written  by  the great Clair  Omar Musser.  Musser was a pioneer for solo percussion music.  He invented t he prototype  to the four­mallet grip that most percussionists use today.  Also, most marimbas used are made by his company Ludwig­Musser (Ludwig the drum  company).  Musser wrote  etudes in  every key and  in almost every scale.  The first etude, no. 8, is in whole­tone.  The piece never settles around  a tonal center nor has a real  melody. Though the piece is slow, the difficulty within it  is the ability  to maintain its flow.  When done correctly, the ring of the marimba fills the room with beautiful harmony.  The Etude in C Major acts as an antithesis to the whole­tone sound when played right after it. The piece is very fast, very major sounding, and always intense. This piece is short (about 2 :00), but is probably the most taxing to play.  Afier the opening line, the piece does not stay in C Major, but rather bounces between different keys and has an  interesting progression leading to a final C Major chord. Three Episodes for Timpa ni was written by the famous timpanist John Beck who taught at the Eastman School of Music for many years.  The piece is in three very distinctive movements.  The first movement uses a piano with the pedal  held down so the strings constantly ring.  There are cues written to play the width of one’s hand on the piano.  Also sometim es in the piece, the drums are muffled quickly to allow the piano ringing to be in the foreground of the music.  The second movement is very 60s sounding.  It uses three timpani mallets at once so the left hand can play a perfect 5 ostinato while the right hand plays melody.  The movement is slow H Cliffs of Dover is a guitar, bass, and d rum trio piece written by Eric Johnson in 1990.  The piece is fi rmly in G Major and includes intro and end ing solo cade nzas.  It is in a swing style throughout with the melody always in  the guitar.  There is a middle section where the song goes into half­time.  It goes back to a tempo in A Major briefly before return ing to G Major.  The piece is featured on  Johnson’s  album  Ah  Via  Musicom, which  reached  #67  on Billboard’s Top 200 in 1990 .  “Cliffs of Dover” was voted number 17 in Guitar  World magazine’s list of 1 00 Greatest Guitar Solos, placing  it  between  16,  “Heartbreaker ”  by  Led  Zeppelin, and  18 “Little Wing” by The Jimi Hendrix Experience.  In 1991, “Cliffs of Dover”  won  a  Grammy  award  for  Best  Rock  Instrumental Performance, beating the Allman Brothers Band ("Kind of Bird"), Danny  Gatton  ("Elmira  Street  Boogie"),  Rush  ("Where’s  My Thing?"), and Yes ("Masquerade").  It is also featured in the video game Guitar  Hero  III:  Legends of Rock on the  final  tier.  The ending in this arrangement has been changed and modulates to F Major.  This leads to an open solo section for all the instruments ending with another song:  “Universal Mind” by  Liquid  Tension Experiment,  a  progressive  band  side  project  of  the  famous progressive band Dream Theater. 2  sS> �PERFORMERS MARC SILVAGNI is a junior at Binghamton University.  He is currently double majoring in Music Performance (Percussion) and Psychology.  He  plans  on  attending  graduate  school  after Binghamton for an MSW degree.  He was born on December 25, 1988  in  Flushing  Hospital  in  Flushing,  Queens.  He  currently resides  in  Flushing,  Queens..  Marc  started  his  music  career relatively  late  in  7 ”  grade  at  1.S.  25  under  band  director  and amazing jazz drummer, Marc Copell.  There he was assigned to play  bells,  but  later  started  in  other  percussion.  During  the summers following 7 ”  and 8™  grade, Marc attended the Man hattan School of Music Summer Camp and studied  under percussionist Jeff Kraus who taught him about the entire world of percussion. He  then  attended  St.  Francis Preparatory  High  School  in  Fresh Meadows, Queens, and studied under percussionist Mark Teofilo. He also performed with every music performance group the school had, including singing bass under voice teacher Fernando Sicilia. In the summer of his sophom ore year, Marc and other students, under teacher David Kobayashi (Binghamton Alum), traveled  to Australia and played  with the Tallahassee  Winds in  the  Sydney Opera  House  for  the  Eric  Whitacre  Festival.  He  has  never performed  for  NYSSMA.  Next,  Marc  began  college  at Binghamton University under percussionist Dan Fabricius.  Here he has enjoyed featured solos with the Percussion Ensemble and has played with the Harpur Jazz Ensemble, University Orchestra, Harpur Chorale, Women’s Chorus, and the Commencement Wind Ensemble.  He has also played at the Musica Nova concert and at Stephanie Lehman’s Masters Recital.  Marc’s philosophy of music has always been that music should be more fun than serious.  The playing of music should  be respectable, but there should  not  be heavy pressure to perform.  Marc always performs with a smile, whether it is showing or not. MARGARET  (PEJ)  REITZ,  pianist,  is  a  native  of  the Binghamton Area.  She received her Bachelor and Master of Music degrees in piano performance with accompanying emphasis.  She attended  Boston  University,  New  England  Conservatory  and Binghamton  University.  She  has  studied  piano  with  Jean Casadesus, Victor Rosenbaum, Seymour Fink and Walter Ponce, and  has  studied  accompanying  with  Allen  Rogers.  She  has accompanied “throughout  the ‘United  States,  in  England,  South America, and at the American Institute of Musical Studies in Graz, Austria.  She and Binghamton University faculty member Timothy Perry were winners of the Artistic Ambassadors Program  by the United States Information Agency in partnership with the John F. Kennedy Center for the performing arts. Pej has been a guest chamber music artist in Morges, Switzerland. She also was selected to attend the Accompanying Workshop for Singers and Pianists held at Northwestern University with Chicago Lyric Opera Faculty and Coaches. Pej was recently invited to the International Clarinet Conference to play a recital in Tokyo, Japan. She  was  a  guest  artist  on  the  Cornell  Summer  Series this past summer, and she was an official pianist at the International Double Reed Competition and Convention in 2007 at Ithaca College. She was selected to accompany at the Interpretation of Spanish Music in conjunction with the University of Madrid in Grenada, Spain in July 2007, coached by Teresa Berganza, and at the Mannes School of Music  in  the  summer 2008.  Pej  will  be in residence  at  the Barcelona  Festival  of  Song  this  summer  in  Spain  as coach/accompanist,  and  has  been  asked  to  play  a  concert  this summer  with  the  Glickman  Trio  in  the  United  Kingdom  at  the IDRS Convention.. Pej is currently on the faculty at Binghamton University since 1991 and Ithaca College School of Music since 1999.  She maintains a private piano studio in Vestal, New York.  She is on the Executive Board of the New York District MTNA organization, and she is President of the local District VII Music Teachers Association and is an active adjudicator for the National Piano Guild Organization. SAM  SMITH  and  ALEX  GREGORIO  are  freshmen  at Binghamton University.  Sam is majoring in Music and Economics while Alex is majoring in Mechanical Engineering.  They are both from the town of Warwick  in  Orange County, NY.  They have been playing music together  for as long as they can  remember. They hang out with the son of the late bass legend Jaco Pastorius and jam.  Sam and Alex both play in the Harpur Jazz Ensemble. �Thursday, April 2  Mid­Day Concert, 1:20 PM ­ FREE Casadesus Recital Hall FREE 1:20 PM —    Thursday, April 1 6 Mid­Day Concert:  Casadesus Recital Hall FREE   Saturday, April 1 8 ” Clarinet Studio Recital, 3:00 PM —  Casadesus Recital Hall   Saturday, April 1 8 ” Brahms’REQUIEM with the Binghamton Philharmonic Orchestra and the University Chorus, 8:00 PM, Osterhout Concert Theater; for tickets, call the Binghamton Philharmonic at 723­3931   Sunday, April 1 9 ” Master’s Recital: Stephanie Lehman, percussion, Casadesus Recital Hall, 3:00 PM, FREE S u n d a y,  A p r i l 1  9°" For Slava: A concert remembering the great Russian cellist, Rostropovich (Stephen Stalker & friends), 7:30 PM, $$, Casadesus Recital Hall FREE, Tuesday, April 21% String Department Recital, 8:30 PM —  Casadesus Recital Hall Thursday, A p r i l 2  3 ™  Jazz Mid­Day Concert with Sherrie Maricle, 1:20 PM – FREE, Osterhout Concert 7heater Thursday, April 2 3™ Harpur Jazz Ensemble Concert with Guest Artist, Sherrie Maricle, 8:00 PM, $$, Osterhout Concert Theater   Saturday, April 2 5 ” Honor’s Recital: Elizabeth Sterling, violin and voice, Casadesus Reaital Hall, 3:00 PM, FREE Saturday, April 2 5 ”1  Junior Recital: Briana Sakamoto, soprano, Casadesus Recital Hall, 7:00 PM, FREE For ticket information, please call the Anderson Center B ox  O ffice at 7 77­ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&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.) 1:04:11 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152239">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152239</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Junior recital, Marc Silvagni, March 29, 2009 Recital Tape 2009-3-29 Description An account of the resource Works of Gauthreaux II, Hovhaness, Musser, Beck, Johnson. Held at 3:00 p.m., March 29, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Reitz, Margaret Smith, Sam Gregorio, Alex Silvagni, Marc Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-03-29 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound