107 10 1775 https://omeka.binghamton.edu/omeka/files/original/222d394ad597db5eb7960bc60d09d428.pdf dca797d5d08be3da30abc1694841f339 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 zedec D E P A R T M E N T 71304504 Y MID ­DAY CONCERT  1 Thursday, March 25: 2010 £ 2 0 p  . m . Casadesus Recital Hall �PROGRAM performed by members of Mu Phi Epsilon .Klaus Badelt Theme from “Pirates of the Caribbean“  (b. 1967) .Percy Fletcher Folk Tube & Fiddle Dance  (1879­1932) Binghamton University String Orchestra Heather Worden, Conductor Robert Schumann Lorenzo’s Monologue.  (1820­1869) from Shakespeare‘s The Merchant of Venice“  Kinderszenen, Op. 15:  Von fremden Landern und Menschen Prelude and Carol of the Bells... arr. George Winston and Caleb DeGroote Caleb DeGroote, Vibraphone Kirstie Cummings and Alexa Weinberg, Horn Mark Rossnagel, Piano Federico Mompou Caleb DeGroote, Marimba and Vibraphone Fanfare, Aria and Echo 1 ”  m ovement  I c h  grolle nicht  (1893­1987) .Daniel Pinkham   ovement 2 ”m Kirstie Cummings and Alexa Weinberg, Horn Caleb DeGroote, Timpani (1923­2006) Robert Schumann Dichtefliebe, Op. 48  Adam Hess, Baritone Molly Adams­Toomey, Piano arr. for clarinet by Timothy Perry Horn Concerto No. 1 in E flat major, Op. 11  Allegro  . Johannes Brahms (1833­1897) Robert Muller, Horn Margaret Reitz, Piano “Pa, pa, pa, Papageno!”  Duet from “The Magic Flute”  Richard Strauss (1864­1949) W. A. Mozart (1756­1791) Eliza Espinosa­Thomas, Soprano Mark Rossnagel, Baritone William James Lawson, Piano Kristina Dowling Mark Rossnagel, Piano Cancién No. 6  Timothy Perry, Clarinet Mark Rossnagel, Piano Edward Elgar (1857­1934) Variations on an Original Theme, Op. 36  Variation IX (Adagio) “Nimrod”  I. Folk Tune  Violin Sonata No. 3 in D minor, Op. 108  Adagio  (1820­1869) Calling You.  from “Baghdad Café”  Jaclyn Wallach, Soprano Mark Rossnagel, Piano .Bob Telson (b. 1949) The Creed of Mu Phi Epsilon Words by Ruth Jane Kirby, Omega Chapter arr. Dewey Fleszar, Lambda Chapter Performed by members of the Zeta Eta Chapter, Binghamton University �BINGHAMTON UNIVERSITY STRING ORCHESTRA Heather Worden, Conductor Violins  Chantal Berendsen  Alex Spadaro  Elan Ashendorf Elizabeth Magowan  Lifan Hsu  Fanny Chu  Elana Streim  Edwin­Nikko Kabagting Jin Park  Allison Jaekle  Gozda Yildiz  Violas Victoria Brown Erica Koslowsky Cellos Ben Peak Taylor Reitmeier Meaghan Petix Basses Rachel Casey Sam Smith Binghamton University M usic D epartment’s U P C O M I N G  E V E NT  S W W W ­ a Thursday, A p ri l  8°" Jazz Mid­Day Concert, 1:20 PM – FREE Osterhout Concert Theater w Th u r s d ay,  A p r i l  8 % Harpur Jazz Ensemble Concert (co­sponsored by the Harpur Jazz Project and the Binghamton University Department of Music), 8:00 PM, Osterhout Concert 7heater, $$ (FREE for students) Satu rday,  A p r i l 1  0 ”  Junior Recital: Jieun Jang, piano, 3:00 PM, FREE Casadesus Redta/ Hall Sa t u r d ay,  A p r i l 1  0 ”  Sweet Albion: The English Clarinet with darfneast Timothy Perry and pianist Margaret Reitz, 8:00 PM, $$ Anderson Center Chamber Hall Thursday, A p ri l 1  5 ‘ ”  Mid­Day Concert, 1:20 PM – FREE, FA 21 Friday, A p ri l  1 6 ” M   aster’s Rental: Stephen Brooks, double bass, 8:00 PM, Casadesus Rea‘ta/ Hall, FREE For ticket information, please call the Anderson C enter Box O ffice a t  7 77­AR T 5 To see all events, please visit music. b inghamton. e du Become a fan on Facebook by visiting Binghamton University Music D epartment � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 53:00:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145169">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145169</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mid-day concert, March 25, 2010 Recital Tape 2010-3-25 Description An account of the resource Works by Badelt, Elgar, Fletcher, Winston, De Groote, Mompou, Pinkham, Schumann, Brahms, Strauss, Mozart, Telson. Held at 1:20 p.m., March 25, 2010, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Dowling, Kristina Rossnagel, Mark Adams-Toomey, Molly Lawson, William James DeGroote, Caleb Cumming, Kirstie Weinberg, Alexa Muller, Robert Hess, Adam Perry, Timothy B. Espinosa-Thomas, Eliza Worden, 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 2010-03-25 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/4232f363b93a4ebc6079c399092cb850.pdf 401388ac933473371ed4166ef940eb30 PDF Text Text BINGHAMTON U  N  I  V  E  R  S  I  T  Y S T A T E  U N I V E R S I T Y  O F  N E W  Y O R K 2LdeC D E P A R T M E N T THURSDAY Mfg—04 Y 001175557  1 Thursday, Mama Id: 2 0 1 0 1 : 20 p m . Casadasus Ream! Hal! �PROGRAM Voi che sapete..  from Le  n ozze di Figaro  .Wolfgang Amadeus Mozart (1756­1791) .Samuel Barber (1910­1981) Must the Winter Come so Soon  from Vanessa  Jacques Offenbach La Griserie.  (1819­1880) from La  Périchole  Cabiria Jacobsen, mezzo­soprano Margaret Reitz, piano Alvin Etler (1913­1973) Sonata for Bassoon.  Movement IV  Daniel Bessel, bassoon Margaret Reitz, piano Thea Musgrave (b. 1928) Timothy Perry, clarinet Margaret Reitz, piano Concertino para Marimba y Orquesta Il – Movimento Canzone India I – Allegro .Jorge Sannientos Marc Silvagni, marimba Margaret Reitz, piano Liebst du um Schonheit  Fruhlingsmorgen  Erinnerung Scheiden und Meiden . Gustav Mahler (1860­1911) Jennifer Lee Groves, soprano Margaret Reitz, piano Sergey Prokefiev (1891­1953) Sonata No. 3, Op. 28..  Allegro tempestoso  Jieun Jang, piano �TRANSLATIONS Voi, che sagete LaG   riserie You, who know what love is Ladies, look and see if I have it in my heart. Ah! What a dinner I’ve just come from having. And what an extraordinary wine! The things I’m trying, I will tell you again It’s new for me! I don’t understand it. I drank so much of it, And so, so much, That I do believe that now... I feel a stirring, full of desire, One moment it‘s delightful, I am a little bit tipsy, But shhhh! I freeze and feel my soul on fire, If my words are a little bit vague, I f  I zigzag when I walk, And if my eye is a little bit crossed, You musn’t worry, because... The next, it’s torture. And in a moment, I turn to ice. I search for beauty outside of myself, I don’t know what it holds, I don‘t know what it is. I sigh and groan, without wanting to; I quiver and tremble without knowing it, I find no peace, night or day, And yet, how it pleases me to languish like this... You who know what love is, Ladies, look and see if I have it in my heart. Must the Winter Come s o  S oon You musn’t tell. I am a little bit tipsy, But shhhh! You musn’t tell. Llebst du um Schénheit If you love for beauty, Oh, do not love me! Love the sun, She has golden hair! If you love for youth, Oh, do not love me! Love the spring; It is young every year! If you love for treasure, Oh, do not love me! Must the winter come so soon? Night after night, I hear the hungry deer Love the mermaid; She has many clear pearls! If you love for love, Oh yes, do love me! Love me ever, I’ll love you evennore! And from his house of brittle bark hoots the frozen owl Frtlhllngsmorgen wander weeping in the woods. Must the winter come so soon? Here in this forest, neither dawn nor sunset  marks the passing of the days.  It is a long winter here.  Must the winter come so soon? The linden tree taps at the window Branches heavy with blooms; Get up! Get up! Why do you lie dreaming? The sun is overhead! Get up! Get up! The lark is up, the bushes blow! The bees buzz, and the beetles! Get up! Get up! And I’ve already seen your jolly lover Get up, sleepyhead! Sleepyhead, get up! Get up! Get up! �Sweet fllbion Erinnerung My love wakens the songs ever anew! My songs waken my love ever anew! My lips which dream of your fervent kisses, 6 \ " : § “A  _ ’ / ­ / o r i‘ n g z l i E  y  &  pianist Margarel R eitz In song and melody they have to chant of you! And if m y thoughts would like to dismiss love, Then my songs come to me with love’s lament! Thus I am held a captive by these two forever! The song will waken love! icmcd bg soprano [udu Berry Y d pril 1 0 at  p m And love wakens the songs! Scheiden und Meiden Three horsemen ride out through the gate! Farewell! Farewell! A beloved looks out of the window! Farewell! Farewell! And if we must be parted, Then give me your little golden ring! Farewell! Farewell! Yes, parting and separation bring woe, bring woe! Yes, parting and separation bring woe, bring woe! Farewell! Farewell! with clerinatisi Timothg Pong tindzracrn Center Chamber Ilull Call (800) “fir­1112151, for tekgts. BI NGHAMTON n u n ­ u r n , UDCOMING C ONCERTS?! 7”  s o n s U J   The child is left in the cradle! Farewell! Farewell! When will my beloved be mine? Farewell! Farewell! And if it were not tomorrow, that it would be today! It would bring us both such greatjoy! Farewell! Farewell! Yes, parting and separation bring woe, bring woe! Yes, parting and separation bring woe, bring woe! Farewell! Farewell! ENSEMPI] ! . < , < I 1 1 ’ 1 1 4 WHth  11111131 1111151. =   H7 :  MIKE DAVIS ­  Till..E,FJIJ’11EE‘(1!JIT!“11![I’ll 11V!!!) \ \ ,   APRIL smug­m FE ’i w  ­”_"  M a j   C  ­  Fortrckets caiiraonrrmtms n s o r a d  by  th e  Depar tment o f  M u s i c  and th e  H a r u r  J  Proje �Binghamton University M usic D epartment’s MPOOMl/VC,‘ E V E N T S aGSeDeasd Thursday, March 1 8 ”  Harpur Chorale and Women’s Chorus, 8:00 PM, Anderson Center Chamber Hall, FREE Satu rd ay,  M a r c h  20"' Senior Honors Recital: Briana Sakamoto, soprano, 8:00 PM, Casadesus Recital Hall, FREE S u n day,  M a r c h  2 1 ”  Senior Honors Redtal: Marc Silvagnr, percussio 3:00 PM, Casadesus Recital Hall, FREE Thursday, March 25°” Mid­Day Concert, 1:20 PM ­ FREE, Casadesus Rectal Hall Thursday, A p r i l  8 ” '  Jazz Mid­Day Concert, 1:20 PM – FREE Osterhout Concert Theater Jazz Ensemble Concert (co­sponsored by the   Thursday, A p r i l  8 ” Harpur  Harpur Jazz Project and the Binghamton University Department of Mus’c), 8:00 PM, Osterhout Concert Theater; $$ (FREE for students) Satu rd ay,  A p r i l 1  0th Junior Recital: Jieun Jang, piano, 3:00 PM, Casadesus Rectal Hall, FREE Satu rd ay,  A p r i l 1  0 m  Sweet Albion: The English Clarinet with clarinetist Timothy Perry and pianist Margaret Reitz, 8:00 PM, Anderson Center Chamber Hall, $$ Thursday, A p r i l 1  5th Mid­Day Concert, 1:20 PM – FREE, FA 21   aster’s Redtal: Stephen Brooks, double bass, Friday, A p r i l 1  6 ” M 8:00 PM, Casadesus Recital Hall, FREE For ticket information, please call the Anderson Center Box O ffice a t 7 77­AR TS To see all events, please visit music.binghamton.edu Become a fan on Facebook by visiting Binghamton University Music D epartment � 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.) 50:34:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145172">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145172</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mid-day concert, March 18, 2010 Recital Tape 2010-3-18 Description An account of the resource Works by Ford, Engelman, Cahn, Firth, Sarmientos, Abe, Mohlenoff, Houliff, Rundgren. Held at 1:20 p.m., March 18, 2010, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Jacobsen, Cabiria Bessel, Daniel Perry, Timothy B Silvagni, Marc Groves, Jennifer Lee Reitz, Margaret A Jang, Jieun Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2010-03-18 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/d08b9497f15d95ff617984b8898864dc.pdf e491464aef0d2da2ed7ba8a715c28264 PDF Text Text BINGHAMT ON ,. U N I V E R S I T Y State University of New York 0 m D E P A R T M E N T THURSDAY /I/l/D ­ DAVCONCEK’Z’ 17, 207 0 Uharsday, Mare k  1220/0 0. Cosedesus  Reoni! Hol �PROGRAM Toccata in E Minor, BWV 914  .J. S. Bach (1685­1750) Iieun Iang, Piano diab­Ob­dcbqfibfibdmdhb­qfio­qfio­ The rest of today’s concert is given over to some of Binghamton University’s student­run music groups.  These organizations are not formally part of the Music Department, but many of the students in them particpate in department ensembles and other activities.  These groups contribute greatly to the musical life of the university. . originally recorded by Soul to Squeeze.  The Red Hot Chili Peppers arranged by Megan Westfall originally recorded by Norah lones, arranged by lared Steinklein Don’t Know Why  The Binghamtonics Strike Up the Band  ..George Gershwin (1898­1937) .The Crosbys Pretty Girls  Something About You.  The Binghamton Crosbys ...The Crosbys �Binghamton University Music D epartment’s UPCOMING EVENTS «fiebflfiebflfiebflfitbfldefifldhbflfiéflfiebflfieb Thursday, March 25% Mid­Day Concert, 1 :20 PM ­ FREE Casadesus Recital Hall Th ursday, A p ril 8til Jazz Mid­Day Concert, 1 :20 PM ­ FREE Osterhout Concert Theater Th urs day, A p ril 8th Harpur Jazz Ensemble Concert [co­sponsored by the Harpur Jazz Ensemble and the Binghamton University Department of M   usic), 8:00 PM, Osterhout Concert Theater, SS (FREE for students) S atu r d ay, A p ril 1 0 %  Junior Recital: Jieun Jang, piano, 3 :00 PM, Casadesus Recital Hall, FREE S atur day, A p ril 1 0 %  Lecture/Demonstration on Jacques Ibert’s Concertino da Camera: Origins, Early Reception History, and Current Performance Considerations for Alto Saxophone and Orchestra by Professor Daniel Gordon, 11:00 AM, FA 1 11  , FREE (co­sponsored by the Binghamton University Music Department and the Harpur College Dean’s Visiting Speaker Series) S atur day, A p ril 1 0 %  Sweet Albion: The English Clarinet with clarinetist Timothy Perry and pianist Margaret Reitz, 8:00 PM, Anderson Center Chamber Hall, $$ Th ursday, A p ril 1 5% Mid­Day Concert, 1 :20 PM ­ FREE, FA 21 Friday, A p ril 16ch Master’s Recital: Stephen Brooks, double bass, 8:00 PM, Casadesus Recital Hall, FREE For ticket information, please call the Anderson Center Box Office at 7 7 7­ARTS To see all events, please visit musicbinghamtonedu Become a fan on Facebook by visiting Binghamton University Music D epartment � 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.) 01:00:57 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145175">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145175</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mid-day concert, March 11, 2010 Recital Tape 2010-3-11 Description An account of the resource Works by Bach, Red Hot Chili Peppers, Westfall, Jones, Steinklein, Gershwin, The Crosbys. Held at 1:20 p.m., March 11, 2010, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Jang, Jieun Binghamtonics (Musical group) Binghamton Crosbys (Musical group) Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2010-03-11 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/2bd7c1e1ae48d6a50d78534cbf81c50f.pdf 5227e5d933350ff97431d81b5ceb5dc0 PDF Text Text BINGHAMTON U  N  I  V  E  R  S  l  T  Y S T A T E   U N I V E R S I T Y  O F   NE W  Y O R K E S   ”4/50 D E P A R T M E N T B r i a n a  Salcamolo, s o p ra n o S e n i o r  HOHOI‘S Decital with William James Lawson, planlsl Salunlag, March 20, 2010 at 8 pm Casadesus H a l l �P rog r a m rm  Earyl ltalian Slug. and  Airs, VJ!  o Selections f L  l  Rontani)  1. Se bel rio (Raffaeo 2. Selve, wi che le speranze (attributed to Salvator Rosa) m Honda. a revrrsens h (1860­1932) 4. Apra il ma  verde lean (Paolo Quagliati) i ns lrom Myrthen [Myetles), Op. 25  l cto IL. See reesrrmmsrssmonsoness Robert Schumann 1. Widmung, nix­l  (1810­1856) 2 .  Jemand, no. 4   ie  Lotosblume, na. 7 3.D 4 .  N iemand, no. 2 2 l en Rosen . no .25 n oscith e 5 . Aus d 6. Zum Schluss, an. 26 .  eis . old td me III. Selce al (Trois Pocmes de Louise de Vilmorin, no . }2 1 . Au­de 9. Cimetiere ( (Ging Poemes de Max Jacob, no. 2) elnc .. Francis Pou (1899­1963) 3. Hotel ( Banalités, no. 2) e  l’amour i s d 4. Les chemn trmsisoin Ine m...    alaried longs .  .  iv. S 1. Slugging a Vampire  2. Canon l Clinics Ives (1874­1954) 3 .  Serenilg   wo Little Flowers (and dedicated lb them) 4.T 5. A4  Parting rl) v  Free Wod te Peopels’ Ne tig lo: h r (Fgihn r  Thee 6 .lug Ae V. Salaried songs    m — _ – ~ — _ m _ — _ — _ S h p l l m FMl’zr 1.  A L! May the red rose live alway!  2 .Gonna  urn  al ngiht (or Ill: Campolwn Races) (1826– 1864) �About the Music Around the turn o f  the 20th century, Pietro Floridia realized the figured  bass accompaniments a t several 17% century Early Italian Art Songs and Airs.  Flocidia felt that these songs exemplified “the fluidity and harmonious character of the Italian language,” but suffered from “melodic decadence” and outmoded accompaniments.  He took grmt creative license with several arrangements, shedding a romantic light upon the original melodies.  Flosidia revered the original composers, though he felt they fell victim to the conventions of their times.  He hoped for his versions of their songs to be seen as collaborations, not appropriations.  Some latcr musicologists and critics called Floridia’s work extreme and florid, even “licentious.”  Presently, most o f  Floridia’s music has fallen by the wayside, due in large part  to the disdain o f  current editors and scholars.  But Floridia said that he strove to please his own sensibilities, unconcemed with “musical erudition.”  Though his songs are perhaps musicologically  “incorrect,”  we  find  them  very  winning.  Tonight’s  selections  progress  from Floridia’s simpler style to his more infamous expansiveness.  Se bel rio, with its broad melodic line, playful  meter  changes  and  quirky  rhythmic  energy,  shows  the  “modem  sense”  o f   melodic expressivity,  “bold...rlaring spirit” with  “a  touch of humor”  that  Floridia  admired  in  Rontani’s compositions.  This song dedares that the world “smiles” by making beautiful things in  nature, and yet the beauty o f  all the smiling world cannot compare with the most gracious smile o f  the speaker’s beloved.  In Selve, voi c h e  le speranze, the poet seeks solace in the woods, as though they are “rooms” full o f  h ope.  The melancholy yet hopeful melody is supported by a simple accompaniment that evokes both the quiet comfort o t  “blessed hours” in the woods, and the speaker’s pensiveness. The speaker ol’A morire is Mary Stuart, Queen of Scots. Brought up in France. where her artistic and academic talents flourished, Mary developed little political savvy.  Her first husband died, and her  second  and  third  betrayed  her.  Many  Catholics  believed  Mary  was  the  true  sovereign  of Elizabeth I’s throne.  Mary became part of three plots to assassinate Elizabeth 1, her cousin, who in turn, put Mary in captivity for nearly twenty years until  finally having her beheaded  for treason. Reportedly, Mary made the most a t  her unpnsosuncnt, and faced her excruciating death with great dignity.  Here she laments that her crown can no longer protrct her, but she takes consolation in the fact that she lived for her ideals, despite her mistakes.  Carissimi’s original cantata has a much longer text, and  showcases  florid vocalism over sparse  sccosuparnmcut.  Floridia expands upon a small excerpt of the original cantata. With a considerably slower tempo, and a weightier, more complex accompaniment, he delves deeper into this particular dramatic moment.  Aprn il nun verde s e n o celebrates  dawn, spring,  and  the  hyacinth  flower  (a  symbol  of both  playfulness  and  sorrowful nostalgia).  Floridia’s accompaniment creates musical tableaus to conjure the images of each verse: The first tall chiming chords evoke the freshness o f  spring fields and n ew  flowers, like the emerging rose.  The second verse’s undulating arpeggios emulate the fl ow  o f  water and breezes.  The trllls and rolled chords of the third verse mimic birds singing and fluttering.  In the spirit o f  the arranger, l have taken liberty in my interpretation o f  these songs, imagining Mary Smart as the speaker of each piece – first, as a young girl studying arts and letters, falling in love, then in captivity, wishing for freedom and hope, then facing death, and finally, unnsfigured after life into a spirit of the spring. Many of Robert Schumann’s songs were inspired by the love of his life, Clara Wieck Schumatul, a musiml genius in her own light.  Her father, Friedrich Wieck, was Robert’s teacher, and though fond of his pupil, obiected strongly to Clara and Robert’s relationship.  Wieck made their courtship as difficult as possible and, in a lengthy legal battle, tried to prevent their marriage.  Robert’s Opus 25, Mjyrthen,  was  a  wedding gift  for Clara,  much  o f  it  written  while  the  couple awaited  the  court’s permission tor the marriage.  The eponymous myrtles are bunches of star shaped flowers that srgntu love and peace.  Indeed, the songs are like a bouquet tor the bride, some dark, some light, some grand, some simple, all given with devotion.  Some seem to be directly written from Robert to Clara, while others depict scenes ot‘ imagined characters singing of their beloveds.  Probably Schumann’s facility for creating characters, as in his famous “Davidsbund” (a group o f  imaginary music critics, all representative  of different  sides  of Schumann’s  own  opinions),  his  ability  to  envision  himself partitioned into  many different people contributed  to his  creativity and  to his  madness.  Yet  in Myrthen  it  only helps  to show the many colors of his great  love  for his wife.  Our group is  a microcosm of the cycle, following the order a t  the opus.  The first and last pieces of the opus, the “Lieder der Braut” (“bride’s songs"), are the first and last o f  rhis group, beginning with Widmung, a “Dedication” t o  the speakers love, his everything, “soul... heart... ecstasy... pant,” etc. A n  example o f Schumann’s masterful ability to marry musical and textual poetry: when the speaker calls his love “a grave” for his “sorrows,” the music alliannonically transforms into a lower key, ready for the text that describes  the beloved as “rest” and “peace.” At the very moment  the speaker says  that his beloved raises him above himself, the music rises back to the original key.  Jemand is based on a Scots dialect Robert Burns poem.! It is the sort of song an ebullient young girl would sing about her secret “crush.”  (Perhaps the character for this song was modeled after young Clara, who was sixteen when her romance with  Robert began.)  Her heart is, as Burns wrote, “sair,” o r  sore as though wounded by cupid’s arrow:  Gerhardt’s choice o f  the German word “betriibt,” for “sair,” cmmotes cloudiness, storminess in  the heart.  The speaker declares her love for “someone” she cannot name, and revels in her secret.  The erratic nature of the love­struck heart manifests in quick changes in key, meter and tempo.  Suddenly serious, the speaker sends good wishes to her love from afar, then, inst as suddenly, returns t o  gleeful celebration o f  h er secret.  T h e  sensual D i e  L otosblume descnhes the lotus tlower and the moon as lovers who meet when night falls.  The tender unfolding of the text mirrors the unfolding of the lotus in her lover’s light.  The speaker o f  Nier’nartdz (the companion to “Jemand”) is a gruff and “jolly card” who defies the world, not to be bothered, es  ‘  y in his marriage.  One imagines that Schumann felt especially close to the speaker of Aus den ballichcn Rosen, who sends good wishes to his love from afar, greetings like the “fragrance of roses” and “spring’s caress.”  This poem, like “Jemand,” speaks of the heart’s storms, but those of a “joyless man” who hopes the darkness in his heart will not “touch” his beloved “ungainly.”  Z u m  schluss dislills the same basic chord structure and melodic ideas of “Widmuug.”  If the opening of the opus is an ecstatic declaration of love, the conclusion is a solemn vow of love, the quiet devotion that lay a t  the root o f  all  o f  love’s other expressions.  The speaker says that in this flawed world he has “woven an imperfect wreath” for his bride, the best he can do, and promises that when he and she are  received  in  heaven, love  itself  will  weave  them a  “perfect  wreath,” a sentiment made  more poignant in retrospect, as Robert died forty years before Clara.  Schumann wrote to his bride, “While 1 was composing [these songs] I was quite lost in thoughts o f  you. If  I were not engaged t o  such a girl I could not write such music.” At an eady age, Francis Pmllenc was struck by the beauty o f  German lieder, a genre that would have a profound influence upon his hundreds of mélodies.  H e  knew from his early teens that he was a composer,  but  his  father discouraged  him  from  pursuing a  music  career, insisting he  focus o n academics.  l’oulenc developed his musical talents o n  his ow n  until later i n  his life, when he received formal  training in  conlposifioth  The “rough edges” (such as  “wrong­note” dissonances)  of his ‘ “My heart is sa i”   2“Naebody™ My  heart is sair, 1 daurna tell, 1 hae a wife o’ m y  a m. For the sake o’ somebody. I’l gie Cuckold to naebody. ­ My heart ts saic for somebody, I could wake a wmtsr’r night, O h ,  h on!  for somebody! 1 could range the world around For the sake o’ somebody. Ye powers that smile o n  victuous love,  Oh! sweetly smile on somebody; Ftsr ilka danger keep him free, And send me safe my somebody. Oh, hon!  for somebody! l wad dae what wad l no? For the sake o’ s omebody. I’ll partake wi’ mebody; ru tak Cuckold fae nane, I hae a penay to spend, There, thanks to nacbody; 1 hac nacthing to lend, I’ll borrow frae naebody. ­ l am nacbody’s lord, I ’ ll  be slsrr to nacbody; 1 hae a gude braid sword, I’ll  take dunts frac nacbody. ­ I’l be merry and free, I’ll b e  sad for nacbody; Naebody cates for me, l cate for usebody. ­ �music, perhaps attributable in part to his self­taught style, brought criticism and admiration.  Eady on, some critics suggested that Poulenc’s accessible, even catchy, music did not befit  a “serious composer,” as though accessibility and sophistication are mutually exclusive qualities!  It seems, on the  contrary,  that  some  o f  Poulenc’s  greatest  genius  lay  in  his  ability  to  mix  complexity  and intelligence with a vernacular, popular flair.  The content of Poulenc’s music was informed by a lite full o f  contradictions.  Poulenc was openly homosexual from his early twenties, yet he remained a pious Catholic, had romantic relationships with several women, and had a daughter.  He spent much of his life touring, living in hotels.  He greatly enioyed his work, especially his collaborations with singers, yet he was so lonely in this vagabond existence.  All his life he suffered manic­depressive cycles.  Appropnately, Poulenc’s music takes o n  dramatically different characters and atmospheres, portraying  extreme  moods,  ranging  between  grave  seriousness  and  terrific  flights  of whimsy. Tonight’ s group samples some of the many sides of this composer.  Most of Poulenc’s songs, and all those on tonight’s program, were dedicated to singers and friends with whom he worked, written with particular voices and personalities in mind.  The enigmatic text o f  Au­dela concerns the act of “choosing in the hour of pleasure,” and says that, “to choose is not to betray,” in a romantic game so fragile it could be destroyed by “a breath.”  These things considered, it is easy to think of Poulenc’s own sexual  ambiguity,  yet  the  piece  approaches  the  topic  in  a saucy,  lighthearted  manner.  A constant, speedy pulsation underlies a melody that runs into and out of the home key, evoking the lusty fluctuations of the game described.  The text suggests the vitalness of play, which we might surmise was especially immediate tor Poulenc, considering the intensity of his inner lite.  The song was written to Marie­Blanche de Polignac, who premiered many of Poulenc’s songs in her home, and in whom Poulenc confided his difficulty coping with soliulde and anxiety. Cimetiére (dedicated to Madeleine  Vhita)  is  full  of wistful  romance.  It  speaks  o f  innocence,  yet  laments  the  loss  of innocence.  It is hopeful yet foreboding, slipping between major and minor keys.  The first motive the piano plays on its own is a hopeful, major, ascending phrase.  This is restated at the end of the piece, in a strange minor, as if questioning its earlier optimism, with the added troubling presence of two dry staccato tones near the lowest end of the keyboard.  Hétel (dedicated to Marthe Bosredon) contains similar contradictions.  The first line compares the hotel room to “a cage,” reiniu  '  one of  Poulenc’s  depression.  Yet,  the  song  is  to  be  sung “lazily,”  and  passes  as  fleetingly  and nonclnalanlly as a puff of smoke from the speaker’s cigarette.  The opening chords, radiant, vastly­ spaced  blocks  of tone, evoke the sun’s “arms” stretching through  the window panes.  The last chords, suddenly settled, suggest the pleasure of taking a much­desired mouthful o f  s moke to escape dreary mundanity and work.  Perhaps the song allows us to glimpse a t private moment in the life of the composer.  Les Chemins tie I’ A mour was written for Yvonne Printemps, a glamorous stadet o f operetta  and  film, named  for her  perennially bright disposition.  Printetups  performed  into  her sixties, and lived a lavish, sexually adventurous life.  The song is fittingly optimistic despite some of its text, full of longing for the past, as in “Cimitiére.”  It finds icy in nostalgia, even in sorrow, and celebrates the experience of love, even love that has “flown.”  Poulenc took special care to consider the intrinsic music of texts.  H e  would pore over a poem before setting it, and o n  November 7, 1939, wrote “ I f I  were a singing teacher I would insist on my pupils reading the poems attentively before working at songs.”  Yet, “Above all,” he said, “d o  not analyze my music­ Love it!” Charles E. Ives grew up in a middle­class Connecticut town.  His father, George Ives, was Chades’ first music teacher and mentor in composition, encouraging and inspiring Ives’ remarkably modem ear and sonic experimentalism, though he discouraged his son fi'orn attempting to support himself solely with a  career  in  music.  In addition  t o  composing  prolifically,  Ives  became a  successful insurance salesman.  Though he produced revolutionary and now highly revered music, Ives gained no fame as a composer until after his death.  He grew up loving the music o f  ordinary  people in church or in town hands, “They didn’t always play right and together and it was as good either way.” His music is sometimes deliberately unpolished. For a short time, Ives took singing lessons with a teacher who had him practice speaking the lyrics of songs, and then sing them according to spoken inflection.  This greatly  informed  Ives’ voml writing, illuminating  the  ties  between  speech  and melody.  Ives’ songs incorporate modernism (on par with that of Stravinsky’s ilk) with the influence o f  traditional American music (like that o f  Stephen Foster).  Ives merges the fiercely intellectual with the spontaneous and visceral, the sublime with the everyday.  Slugging a Vampire is an abstruse iab at yellow iout’nalism, a great example o f  Ives’ intensity and sense of humor.  Its odd intervals and rhythms capture the raucous fisttight it describes.  Ives wrote that it should be performed “as fast and hard as possible.”  Canon I is, indeed, a canon between voice and  piano, with  the melody starting in the voice. and echoed in the piano.  The sprightly triple time, animated melody, and sharp contrasts of legato and staccato articulation show the speaker’s effusive, effulgent admiration for his beloved.  The “unison  chant,”  Serenity, harkens  back  to some of Ives’ earliest  compositional experiments,  church  music  with  untraditional  accompaniments  and  voice  leadings.  Switching between meters and divisions o f  the beat into twos and threes, the voice seems to float freely over the steady piano part.  The accompaniment rocks back and forth between two mysteriously serene tall tertiau chords, and on the final phrases ofllie chant’s two sections becomes suddenly traditional, quoting a Samuel Sebastian Wesley hymn setting, until the last word of each section, where it returns to the two­chord alternation.  The vocal part of Tw o  Little Flowers floats in a similarway.  The text is  set in  four, while  the phrases o f  the piano drift in and out of the meter, achieving a dreamy interplay between singer and accompanist.  The “two little flowers” that surpass all the others are Ives’ daughter, Edith, and her friend Susanna.  The poem is by Ives himself and his wife, Hammny, who wrote many song texts for her husband.  The folksy verse of At Parting frames a more urgent, operatic middle section.  In valedirtion, the speaker confides that the rose shegives to her beloved represents all herlove, that the toseis not iust a msqbutherveryhurl.  ThcyAreTheteisaprime example of Ives’ rough, text­driven style.  It is a wild patchwork quilt o f  quotations from patriotic songs such as “Tenting Tonight” and “The Bartle Cry of Freedom,” that parodies patriotism while espousing a radically patriotic ideal oft’reedom.  Ives said, it “is not a song for pretty voices—ifthe words are  yelled out, regardless—so much the better.”  He recorded himself singing  the  song, accompanying himself o n  piano, indeed, yelling out the words, disregarding many notes and rhythms he so specifically notated, intrriecting extemporaneous exclamations. Forty­eight years betore Ives came into the world, Stephen Foster was born to another middle­class American  family, in  Lawrenceville, Pennsylvania  (now  part  of Pittsburgh).  Though  Foster was always  musically  inclined,  his  father  pressured  him  to go into  a  more  financially stable  career. Stephen attended, detested, and dropped out of several schools before entering the family business. He eventually received formal training in composition.  Ultimately deciding to devote his life entirely to music, he composed over 200 published songs over the course of about 20 years, many of which are now mistaken for folk songs.  Foster’s idiom, so quintessentially American, brilliantly simple and earnest, had a  profound influence o n  later  American  composers like  Ives, Copland  and Rorem. Foster also paved the way for the likes of the Guthsies, Dylan and Baez, with socially conscious, folk­style songs like, “Hard Times Come Again N o  More,”  Perhaps a subtler example o f  the same category, Ahl May the Red Rose Live Alwayl meditates upon beauty and innocence, lamenting their ephemerality and vulnerability, and wishing they could endure.  It seems an especially poignant piece considering the cotltposer’s short, tragic life:  Foster had a tumultuous, unhappy marriage and became an alcoholic (like his father), falling deep into debt, his success waning, though he continued composing all his life.  He died in a New York City boarding house, possessing less than forty cents, and a scrap o f  paper on which he had written, “Dear friends and gentle hearts” and nothing more. We’ll end in happier commemoration o f  Foster’s great spirit with The Camptown Races, one of many songs he wrote for minstrel singers.  Though one might never guess it, Fosters lofty aim in such  songs  was  to gain  sympathy  for  slaves,  endeavoring  to give  them  less  crass  lyrics  than traditionally written for them, and music that would move the audience to compassion, even through humor.  While “The Camptown Races” was originally written in a minstrel dialect (as printed in the Texts and Translations section), we’ll perform it i n  standard contemporary English. As I  studied the music  o f  tonight’s program, I  was struck  by the different  forms o f  subversion contained in each group:  Floridia’s assumption of the right to collaborate with dead composers, Schumann’s ode to his forbidden love, Poulenc’s defiance against categorization, Ives’ simultaneous homage to and upending o f  established musical forms and associations, Foster’s hope to transcend societal  “givens”  through  the  use  of popular  music.  I  also  became interested  in  the  rose  as  a  gni at  least  once  in  each  group,  signifying  similar  ideas  throughout  the recurrent  motif,  aj  program, especially cycles of love, hope, loss and rebirth.  As I selected this repertory it seemed to emerge as the emblem of the evening.  I also like the idea of giving songs, like roses, to an audience as a simple yet deeply felt gesture of love.  So.  l hope you like it!  Peace! �Texts and Translalions L 1 .  Se bel rio Text: Anonymous   be l rio, she/MM. Iml’rrhrta S e Salmfinmmnmnderw Sedifiorinpmtllelhtifi bello, i  n i r fi n h m n ’ r k h l m Srgibmmfmumfigflflfiug‘ gfi l’mel’aflu un  aureo velo, Emnkfiqyfimminsim, Noitfidaudenfltildrh If a fair brook I i a  fair brook, iia t’airbteeze. Should murmur this morning; It’a meadow adorns itself in flowers, Then we say: the earth is laughing. If ever upon scarlet flowers, if upon lilies The dawn places golden veils, And whirls on her wheel ot’sappltixey Then we say that the sky is laughing. Fa r t ­ 1 1 1 m m . l e, voi, che le speranze 2. Sev Forests, you who hold Selve, voi, live le speranzy Al gioir liete serbate Bil/timer siete le stanze, The hope of rejoicing gladly, You are rooms of pleasure Text: Anonymous Oleparmrdeg‘ia I’m! beate. Forests, you who hold Where I must g o  t o  pass blessed hours. 3. A morire Terr. Anonymous Todie A nor­ire. n morire! Per Mbarg’mfiqa ¢ fede, pis non valgon [e corone T o d  ie, to die! To preserve justice and faith, crowns have no more value, Yet, even though I remain powerless my constancy pours out elixir Over my heart! To  die, to die! Che sebbene in resto esangue tnza al moi cor l consa a mesce elisire! .4 morire, a morire! 4. Apna il suo Verde seno Tex  Anonymous April il suo verde seno Ogni brlpmm ameno, Lieta ¢ vexzosa Esce la rosa, Spiri ogm'fiar! Aure d’amore, A salutare accinto Nova Ninfa di­lnor, Nam Giacinto. l in: raghi 1pm“ augelli, You, pretty little dappled birds, Nel verde prato I age ed adorno, In the green meadow With winged song You awaken the beautiful day And adonl it, Novella Aumm. The new nymph of love The new dawn. Ae urodoraet, Orv’amwdak It’s really true; when it is happy, the world laughs, Heaven laughs when it is joyous; It’s really true: but they don’t  know, as you do, How to smile so dearly. Benénnqmbigimudaridr i/mdo. Mildrlqwnda ? gioioso; Befllmr mawflwpoimmwi. NmXiqbdb­lmr Etadall’n­dt. From the highest mountains Flow clear and crystal fountains, Fragrant breezes, Now join With the munnuring Of the clear waters, Now that, mid flowers and willows A new nymph of love Rises from the waves. Cam­dvgfiuln’mfi Cbhinimlfitfonfi. Open your green heart Open your green heart Every pretty, serene meadow, Happy and charming The rose emerges, Every flower exhales Breezes of love, To send welcome around A new nymph ot’love, The new hyacinth flower. Col  mormorare Drll’atqurbiar, r che  trufim’tfimdr  O Amorosetti ¢ snells, C a l c anto alato Destate il goirno Ordrgid spam/mm NORA  Ninfa 414mm Amorously charming and agile, NOW  that already springs forth �ll. 1. Widmung Text: Friedrich Rficken Dedication DHmcineSetle,dlt~ailHfl§ D in ­ r i m  W m l a m n e i n j m Du meine Welt, inlet/kt“! N i k k i ­ [ M I A M M M OhmebJ­vdutb'nab m u m m y You my soul, you my heart, You my ecstasy, oh you my pain, You my wodd, in which I live, My heaven you, through which 1 soar, Oh you my grave, down into which I have forever buried my sorrows! Dnbifldl’eRflbldrbfitdtrFfidu. Dnl’irfml'finuluirbacbkdm. You are rest, you are peace, You have been granted to me from heaven; anB/ itkbatuidmruiru’flfif, Dfihbdm’dfiebfldflbrrnicb, illdnmrcebh m’nbwmkb! Your gaze has transfigured me  in my  own eyes, Dnudnfnlc. J a m i ­ [ m  (etc) You my soul, yoru my heart, (etc.) 2. Jemand Adapted text: Wilhelm Gerhard Someone Mein Herz, ist BETRIIBT, ich sq’m NCI HT,   Jemand; m Mein Her, ist behfilli u [lb keimnte wachen dei lingste Nacht,   U r i e l / m m ” wnjzmnd O Wonne wajmmi’ o Himmel  mnjmmnd’ Durchstreifen kinnt’ id) dei ganze Welt, Aus Lilie zu Jemand. Tbr Michte, die ilmier Lid» hold,  uf Jemand, 0 lichelt  rfeundcilh a That you love me, gives me self­worth, You have, by loving, raised me above myself, My good spidt, my better sell! My heart is distressed, I dare not say why. My heart is distressed over someone; 1 could stay awake the longest night, And ever dream o f  someone. Oh ecstasy o f  someone! Oh heaven of someone! I could roam the whole world, Out of love for someone, You powers, you who protect love, Oh smile friendily on someone, Protect him, where danger threatens him, Give safe passage to someone; Oh ecstasy for someone, oh heaven for someone, 4. Niemand Adapted text: Wilhelm Gerhardt Ich hab’ meni W’n’b allein, Und teil es, traun, mit niemand; f  sein, b NICHT Habnre wil o Zum  Habnrei mach’ id; niemand. Ein Sackehen Goldi'flnm’n. obody I have my wife, I alone, And swear it, share with nobody; No  cuckold will I be, And I will make a cuckold of nobody. thtwab’kbamh‘bu. A little sack OI’GDld is mine, But for it 1 thank nobody; I have both] lg to lend, l i t h ' nd c b l m de e m [ fl / " W M “ And subservient to nobody; w m m ’ n m m U nd b r ‘ g n n l I – i r l ‘ m a nd And  I borrow from nobody. I a m  n o t  anyone’s master, MM–kbnrm’e–ud But my blade stabs sharply, 1 fear nobody. Kauz, bin  id. IH  mti niemand: RC ANGES KEOiPnFHl ust’ger  Mopy  whti nobody; So scher’ ich mich um niemand. So, then, 1 care about nobody. 5 . Aus den 8stlichen Rosen From the easterly rose MuduKli­gemlbl‘ Schiert  niemand sich um  mich, Tex: Friedrich Riicken Ich sende einen Gnu: wei  Duft  der  Rosen, lab send’ ibn an  ein  Rosenangesicht. Ich sende einen Gruss wti  Friiblingskosen, Ich send’ [bu an ein Aug’ voll Friiblingslicht. A iolly card am I, If nobody cares about me, I send a greeting like the scent o f  t he rose, I send it to a msy face. I send a greeting like spring’s caress, I send it to an eye full of spu’ng’s light. Am  Schmerzenstirmen, dei meni  Hug durchtosen, Out of the painful longing storming through my heart, Sud‘kb den Hauch, dich unsanft mbr’ern‘ttd Wenn  daydukal an  den  Freudelosen, J a M h H M m N W I M I send this breath, may it not touch you ungently! W’henyoudtinltupondmisioylessmnn, It makes the heavens light u p  my night. Iwould,lmxld,wlutwouldlnotdo 6. Zum Schluss In conclusion 3. Die Lotosblume Text: Heinrich Heine The Lotus Blossom Hier i n d iesen erdbelelommmen Liz/Pu. Here in  this earth­oppressed air, Dkumbhumgm‘gr Sich m der I o u m t b r The lotus flower is anxious Before the sun’s splendor Hflb’irb dirdu u nvolllommnen Kmq‘gg/bd’m. Schwester Braut! For you I have woven an imperfect E m m l r i l fl fl u m d d ie N a t b l . She dreamingly awaits the night. Beschirmet Eb».  no Gefabren drub’n; G a m m a “Je mand.   O I r m a – f w d . oHi­pmldmjmnd Teh  wale), id: wolte, was  wal’ ich ncih? Fir meinen Jemand! uunitgmuka­Innpn Er  weckt  sie mit seinem Licht, For my someone! And with lowered head The moon, who is her lover, H e  wakes her with his light, Uud ibu entschlesert xitfizmdficb lmengesciht, r rofmmes  Bu b  T And to him she sweetly unveils Her devoted flower face, Sie HAW und glibt und leuchtet She blooms and glows and shines And gazes silently upward; Und starret stumm in  die HJII'; Sit duftet und weinet und  zittert 1 ‘w Deb: und  Liebesweb. She emits fragrance and weeps and trembles For love and love’s pain Text: Friedrich Ruckert   die Webmuth thud. o w fenommen, rben aug Wenn uns, do tegen schant, Gottes Sonn’  eng Win! die Liebe, den rolllommnen Kranz, uns  flechten, Schwester Braut! where melancholy drops like dew, garland, sister bride! When we are welcomed above, God‘s sun shining upon us, Love will weave a perfect garland for us, sister bride! �IIL 1. Au­dela To beyond I i i – d r u i d  Au­dela! Water of life! T o  beyond! Ala­"am Choisir [ubatircdmlfl jeaboirirmlm­b’ grandam/am rire, D’tm doigt  de­<i, de­la, Canmujiu’tpwritfim QMm/w’lpaun’rfin, IImpar­aLM­fi. quflj'ouldidiu: j’m’flbknujmfi jammy­«u a’u  derni su Juq Qfl'lr’mfi'fdhfifl'fl Jflqflhww At the hour of pleasure, To  choose is not to betray, I choose that one. 1 choose that one, Who knows how to make me laugh, W’tth a finger here and there, As one does to write. Asonedoestowrite, Hegoes daismy, that way, Widaommeduingto u y t o  him: Ireallylikelhisgame. I really like this game, That but a breath could end, Up until the last breath 1 choose this g a me . Eau de  vie!  Au­dela! (et.) Water of  lite!  To  beyond! (etc.) 2. Cimetiére Cemetery Simmdflwulwbamz wdmtiénmumm mnblandxanw rouge. If you chase away my sailor, in the cemetery you will put me, white rose and red rose. m u n / w i t h ,  m agenbhm‘x. ltdbluwblmirrg, like a garden, red and white, On Sundays you will go, 34a tombe, elle es t comme  un  jardin, V a n i s h ­ { m u m My grave, it is like a garden, Yo u  will g o a  nd take walks, 3. Hotel Hotel Aladmfihtflhfivmd’mnmy My room has the shape of a cage The sun reaches his arm through the window but I who want to smoke   L a w / m m bmparhjmim muqumfim M f u i nd u – i l q u j h l l n m n a fi nd u fi fl r m t g m m jimmvpnflmi/lfrjtmmfnm To make mirages, 1 light my cigarette on the sun’s fire I d o n’t  wa n t  t o  w o rk  – I wa n t  t o  s moke. 4. Les chemins de l’amour The paths of love L a rb f n i u q d w n rd h m The padts that go to the sea Have kept from our passage Defoliated flowers and the echo under their trees ot’our two clear laughs. Alas! O f  the days ol’happiness, Ont‘gmic’dtmpam‘p Dnflumqfilallfir diMm/wfia’l’m dcwdmrrimdairr Hi h d t k t j on nd f b w b e u jfm’unummm­r Immdan­tmrwlr. Chemins de mon amour Je  vous dmrbl toujours C b m u p n d u  vous 1 Warp/w sont sounds   E t vos echos  The radiant joy­s stolen, 1 go without finding any trace [ot’tl­iem] in m y h m Paths o f  my love I search for you always Lost paths, you are no more And your echoes are deaf Chemins du  désespoir Chemins du  souvenir nis du  premier/oar Chem Divins chemins d’amour. Paths of mentiory Paths of the first day Divine paths of love. Si]: dealt/bublkrmjbur   gr­gunned» Lam jimdammmr If I must forget it one day Life caning everything I want in my heart q n’ m v m l l i r n p u : Paths of despair fo r  o n e  memor y t o  remain white rose and white lily, Aunt Yvonne at All­Saints” Day a wreath of painted iron she brings from her garden ofpainttd iron with pends of satin. Ois tremblante ” M W Un fi n r j ‘d m l i m i n i lmilnmmiu . stronger than that other love The memory ot’the path Where trembling and totally lost, One d ay I felt upon me burning, your hands. Jimmmrmum’kr I f  G od wants to resurrect me Chemins de mon amour (etc) Paths of my love (etc.) Si mon marin revenait, rose rouge ef rose blanche, I f  m y sailor should come back, wblauhdblawm Tank Y m a ‘ h T ­ « u n b r t m m m u fi r p d n t zflqapomdrmjmlin mferpeinlamdupahdlmlifir   PARADIS  monterai, A U se  blanche, ninl’tdm’, rorwtbhfldvdblammgml.   tombe il vient anpris, a sur m rose blanche e t blanc muguet. ruse  balnche, Jaukumidtmeq‘m, qmduupkfiurnrbqni mnbbndndbhntm to paradise 1 u‘fll rise, white rose, with a golden halo, white rose and white lily. red rose and white rose, t o  my g rave he will come near white rose and white lily. Remember our childlwod, white rose, when we used to play on the docks, white rose and white lily. Ph i / N i gh t  l’autre amour bmnirdurhnin �IV. 6. They Are There (Fighting tor the People’s New Free World) Text: Charles E . I ves I. Slugging a Vampire Text: Chades Ives 1 closed and drew but not a gun, the refuge of the weak, I swung on the left and I swung on the fight then I landed on his beak; He started to pull the same old stuff, But I closed in hard and called his bluff, Yet his face is still a­sliclrin‘ in the yellow sheet And on the billboard adown the street. 4. Two  Little Flowers (and dedicated to them) Text: Chades Ives, Harmony Twitchell On sunny days in our backyard, Two little flowers are seen,   rightest pink One dressed, at times, in b and one in green. The marigold is radiant, the rose passing fair; Not only in my lady’s eyes The violet is ever dear, the orchid ever rare; Theres loveliness in wild flow’rs o f  field or wide savannah, But fairest, rarest of them all are Edith and Susanna. All the lore that poets prize Is garnered in her mind. 5. At Parting Text: Frederic Peterson She is the soul ornu I sing, For though to me belong The pipe, the shell, the string, Aud she h e r s el f  the song. The sweetest flow’r that blows, 1 give you as we pat’t‘ For you it is a rose, tor me it is my heart, 2. Canon Text: Unknown author D o  I her beauty tind, There is no wisdom in my word, N o  m usic in my lay, Save what I’ve sweetly heard My lady sing or say. 3. Serenity Text: john Greenleaf Whittier O ,  Sabbath rest of Galilee! O ,  calm of h ills above, Where jesus knelt to share with Thee, the silence of eternity Interpreted by  love. Drop thy still dews ot’quietness. Till all our strivings cease: Take from our souls the strain and stress, and let our ordered lives confess, The beauty of thy peace. To  you it is a rose, t o  m e  it is my  heart. The tragrance it exhales, Ah! If you but only knew, where but in dying fails it is my love for you. T h e  sweetest flow’s that blows, I give you as we part, You think it but a rose, Ah! me it is my heart, You think it but a rose, Ah! me n is my heart. When we’re through this cursed war, All started by a sneaking gouger, Making slaves of men, Then let all the people rise and stand together in brave, Kind Humanity There’s admeinnnnyalife, Most wars are made by small Wlit’sdothoughfacingdeadlandoutsoldier stupid selfish bossing groups boyswilldo tlteirparlthal peoplecanlive while the people have no say lnawoddwhereallllrillhaveasayl But there’ll come a day Hip hip Hooray They’re conscious always of their country’s aim when they’ll smash all dictators to the wall. wlnch is liberty for all. Hip hip hooray you’ll hear them say as they g o  t o  the fighting front. Then it’s build a people’s world nation, Hooray Ev’ry honest country free to live its own native lite T‘lleyll’illslandrbrdlerigllgbmifitcomestomigbt, Theyarethere, theymthue‘ dleyalelllere, Then diePCOPlfimtiuttpoliMns, Brave boysarenowinarlion leyaredxere,dteywillhelptofieethewodd Theyarefig’hting tor the right willnlletheirowulandsmdlives, Butwbeuitcomesmmigl‘ll. Then you’llhflnhewholeunivelse Theyaretllete,tlteyarethere,dleyarel:here, sboufingdlebsrtlecryofFreedom, As rlleAlliet bmtupnlltllevsrllogs. TmfingmancwumpgtomflTe­lfingtouight, Tbelloys’llbetllaefighlinglnrdandthen tmdngonanewcampgtound. the woddwillshoutdtebatdeu'yomealonL Fotit’l mllymundtlle flag Tenting on a new camp ground. oflhepeople’s new free world Shouting the battle cry of Freedom. v. 1. Ah!  May the red rose live alway! Ah! may the red rose live alway, T o s mile upon earth and sky! Why should the beautiful ever weep? Why should the beautiful die? Lending a charm t o  ev’ry ray That falls on her cheeks ol’light, Giving the zephyr kiss for kiss, And nursing the dew drop bright. Long may the daisies dance the field, Froliclting far and near! Why should the innocent hide their heads? Why should the innocent fear? Spreading their petals in mute delight When mom in its radiance breaks, Keeping a floral festival Til night­loving primrose wakes. Lulled be the dirge in the cypress bough, That tells of deparled flowers! Ah!  that the butterfly’s gilded wing 2. Camptown Races De Camptown ladies sing dis song Doo dah!  doo dah! De Camptown race track five miles long Oh! doo dah day! 1 come down dah wid my hat caved in Doo dah!  doo dah! lgobackhomewidapodnetfillloffin Oh! doo dah day! Gwine to run all night! Gwine to run all day! I’ll bet my money on de bobtail nag Somebody bet on de bay. De long tail filly and de big black hoss Dey fly de track and dey both cut across D e  blind hoss sticken in a big mud hole Can’t touch bottom wid a ten foot pole Oldmuleynowoomeontodetrark Debobtailllingheroberhisbzck Fluttered in evergreen bowels! Sad is my heart for the blighted plants Dentlyalonglikearailmadcar They bloom at the young year’s joyful call, And fade with the autumn leaf, Seedemllyinonalenmileheat Rmndder xemrhdenrepeat Ill­in my moneyondebub tail nag Ikeepmy money in an old tow bag Its pleasures are aye as brief Rllrlninalacewidashootin’star �Ahoul the P erformers Briana Sa k a m oto  has been a frequent recitalist i n Binghamton and Westcheste r over the past few years.  She is a member of the Tri­Cities Opera chorus, and recently covered the role o f  Barbarina in Le nozze di Figaro.  She has also sung with BU’s Harpur Chorale, the Binghamton University Chorus and the Taconic Opera Company.  Performing in forums and fundraisers at BU, Briana has lent her voice to such causes as “Voices Against Violence,” and the fight against the genocide in Darfur.  She is  pursuing a Bachelor of Music  degree in  Vocal  Performance  at SUNY Binghamton  under  the direction o f  P rofessor Mary Burgess.  She also studies with T C O  artistic director Peyton Hibbitt, a nd in  Manhattan with soprano Carol Yahr.  A  proud member of AEA and SAG, Briana  has a long background in dramatic performance and musical theatre, and studies acting between semesters at the Larry Singer Studios in Manhattan. William J a m e s  Lawson coaches and accompanies singers at Binghamton University.  As a coach, he specializes in English diction for the American and English art song, sacred music, and classical theater repertoires.  He studied at Binghamton University (B.A. 1980), where his teachers included Seymour  Fink  and  Patricia  Hanson in piano, M. Searle  Wright  in church  music, and Stevenson Barrett in vocal coaching.  He holds an M.A. from New York University (1984) and was one of the first  graduates  o f   New  York  University’s  innovative  Department  of  Performance  Studies,  an intetrlisciplinary program in the  performing arts. Binghamlon University Music Department Upcoming Evenls Sundng.Mnmh?l.Scnlor Recital: Mm Silvagni, percussion 3mensodemsRedl¢lHnle££ Bach Birthday Bash Sunday , Macrh 21 .Organist Jonathan Bgigers ,A  4 pan. Firs! Presbyterian Church, Binghamton, s s Thursday. March 25, Mid­Day Concert 1:20 pm. Casadesus Radial Hall, FREE i ­Day Concert with guest artist ll :  rsdag, April8  , Jazz Md 1:20 pl... Osterhout Concert lltealer. FREE Thursday. April 8. Harpur Juz Ensemble Concert with guest artist 8 p.m. Otherhonl Concerl Thacher. SS l TT­ARTS  T For ticket information, please uflldc Anderson Center Box Office A Io see allevenb. please rid! music.binghamton.edu   a n  o n F a c e b o o k  Ag visiting B in g h a m t on  Un i v e u fl y  M u s i c  D e p a r t me n t B e c o m e 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/. 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.) 31:23:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145178">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145178</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 Briana Sakamoto, senior honors recital, March 3, 2010 Recital Tape 2010-3-20 Description An account of the resource Works by Floridia, Schumann, Poulenc, Ives, Foster. Held at 8:00 p.m., March 20, 2010, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Sakamoto, Briana Lawson, William James Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2010-03-20 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/f4b03fd0cb14dc1067fb5058a8e82a9d.pdf 3ead3e8e44aa112f2eed672bc98ca92d PDF Text Text BINGHAMTON UNIVERSI TY MASTER'S RECITAL JULIAN WHITLEY , BA RITONE with Fr(a{;:yl, M ay 7, 2 o1 o 8:00 p.m. Casadesu s Recital Hall �PROGRAM Alexander's Feast. .............................. Georg Friedrich Händel Revenge, Timotheus cries!... behold a ghastly band ........ (1685-1759) from Liederkreis, Op. 39 .................. ...... Robert Schumann In der Fremde (1810-1856) Intermezzo Waldesgesprach Don Quichotte à Dulcinee .................................. Maurice Ravel . ·chanson romanesque (1875-1937) Chanson épique Chanson à boire - INTERMISSION - Three Songs ..... ..................................... Francesco Paolo Tosti Aprile (1858-1922) ldeale La Serenata A Shropshire Lad .................. ............ George Butterworth Loveliest of trees (1885-1916) When I was one and twenty Look not in my eyes Think no more, lad The lads in their hundreds Is my team ploughing? �PROGRAM Handel's choral piece was adapted by John Dryden's poem Alexander's Feast, or The Power of Music, written in 1697, which was in honor of St. Celilia, the patron saint of music, and allegedly the inventor of the pipe organ. Alexander's Feast received its premiere at the Covent Garden Theatre, London in February of 1736, just a month after it was composed . The work depicts a banquet given by Alexander the Great as a celebration for the capturing of the Persian city of Persepolis. The musician Timotheus, singing and playing his lyre for the banquet, is incited to burn the city to the ground in revenge for the slaying of his Greek soldiers. "Revenge, Timotheus cries!... Behold a ghastly band" Revenge, Timotheus Cries! See the furies arise! See the snakes that they rear, How they hiss in their hair! And the sparkles that flash in their eyes, Behold a ghastly band, Each a torch in his hand! These are Grecian ghosts, that in battle were slain, And unburied remain, inglorious on the plain! Schumann wrote his second Liederkreis cycle, Op. 39, a collection of 12 songs, based on a collection of poems by Romantic German poet and novelist, Joseph Freiherr von Eichendorff called "Intermezzo." Written in 1840, which is well documented as the "year of song" because of the outpouring of literature Schumann wrote in that year, Liederkreis does not follow a continuous story line in the vain of Schubert's "Die Schone M0llerin" or Schumann's own "Dichterliebe." Instead, they were tied together through their atmospheric descriptions of nature - a theme extremely close to German Romantic composers. "In der Fremde" (In the foreign land) From my homeland, behind the red lightning, the clouds come drifting in But father and mother are long since dead, Now one remembers me there. How soon, ah, how soon until the quiet time when I will also rest? And above me will rustle the lovely, lonely wood, And no one will remember me here. "Intermezzo" Your wonderfully blessed image, I have it in the depths of my heart, Gazing so joyously at me always. My heart silently sings within itself A beautiful, old song that soars into the air And quickly flies to you. �"Wa/desgespriich (Conversation in the woods) "It is already late, it is already cold, Why do you ride alone in the woods? The woods are large and you are alone, You beautiful bride! I will lead you here! 'The deceit and cunning of men is great, My heart is broken from pain There strays the forest horn here and there, Oh flee! Oh flee! You don't know who I am.' So richly adorned is horse and lady, So wondrously beautiful is the young body; Now I know you, God stand with me! You are witch, Loreley! You have recognized me from the high cliffs, My castle gazes silently deep into the Rhine. It is already late, it has become cold, You will never again come out of this forest! Don Quichotte à Dulcinee, written in 1932-33, was Maurice Ravel's last work before his death. It was originally written _with orchestra for a film based on the life of Miguel de Cervantes, the author of "Don Quixote", but was scrapped at the last minute for a setting of songs by Jacques lbert. The songs depict the Don's continued obsession and longing for his true love, Dulcinea, the woman he claims to be the purest and most beautiful in the world - and who also happens to be a figment of his imagination. In each song, the listener can see a vastly different image of the Don …but which is consistently tied to his obsession to his "lover." "Chanson romanesque" (Romanesque Song) If you were to tell me that the earth by its turning offended you, Speedily I would dispatch Panza: and you would see it motionless and silent. If you were to tell me that you are weary of the stars adorned in the sky, destroying the divine order, With one blow I would sweep them from the night. If you were to tell me that space, thus made empty, does not please you, God-like knight, lance in hand, I would stud the passing wind with stars. But, if you told me that my blood belongs more to me than to you, my Lady, I would pale beneath the reproach arid I would die, blessing you, 0 Dulcinea. "Chanson épique" (Epic Song) Good Saint Michael.who gives me liberty to see my lady and hear her, Good Saint Michael, who deigns to elect me to please her and protect her, Good Saint Michael, I pray you descend with Saint George upon the alter Of the Madonna of the blue mantel. With a beam from Heaven,· bless my sword and its equal in purity, and his equal in purity and his equal in piety as in modesty and chastity: my Lady. 0 great Saint George and Saint Michael, the angel that guides my watch.MY Sweet Lady, so much resembling you, Madonna of the blue mantel, Amen . �"Chanson à boire {Drinking song) A fig for the bastard, illustrious Lady! Who, to shame me in your sweet eyes Tells me that love and old wine Will bring misery to my heart, my soul! I drink to joy! Pleasure is the only aim, To which I go straight... When I am drunk! A fig for the jealous fool, dark-haired mistress Who moans, who cries and vows Ever to be this pallid lover, Who waters the wine of his intoxication! I drink to joy! F. Paolo Tosti, who studied music at the Conservatory of Naples in 1858, soon became one of the most prolific voice teachers in Italy and throughout Europe, teaching at the Conservatory until 1869. After moving to Rome, he was appointed the personal singing instructor for Queen Margherita of Italy and finally settled in London where he became the personal singing instructor for the royal family. He was knighted for these services in 1908. He composed many songs to English , Italian and French texts, and they became known as "parlor songs" for their charming nature and sweet texts. His songs became immensely popular with the greatest singers of his day and later generations. "ldeale" {Ideal) I followed you like a rainbow of peace Along the paths of the sky; I followed you like a friendly torch In the veil of the night. And I sensed you in the light, in the air In the perfume of the flowers And my lonely room was full of you and your beauty. Entranced by you and by the sound of your voice, I dreamed for a long time, And all earthly worry and torment I forgot in that dream, I forgot that day. Return, my ideal, come back for a moment And smile upon me again, And in your face, will shine for me, a new dawn. �"Aprile" (April) Do you not smell in the air the perfume of spring? Do you not hear in your soul the sound of a new flattering voice? It is April! It is the season of love! Ah, come, my dearest to the flowering meadow! Your feet will tread among violets, On your breast will rest roses and bluebells, And the snow-white butterflies with flutter about your black hair. It is April! It is the season of love! Ah, come, my dearest to the flowering meadow. It is April! "La Serenata" (Serenade) Fly, oh serenade! My beloved is alone, And with her lovely head lying back, is resting between her sheets, Oh, serenade, fly to her! The moon shines clearly, silence spreads its wings, And behind the veils of the dark alcove, the lamp is lit. Fly, oh serenade! Fly! Ah! Fly, oh serenade, my beloved is alone, But smiling and still half-asleep She returns between her sheets: Oh, serenade, fly to her! The wave dreams on the shore , and the wind in the branches, And my fair blonde lady still denies my kisses. The wave dreams on the shore, Fly, oh serenade, fly to her! Ah! George Butterworth's settings of these six songs, composed in 1911, were inspired by a cycle of 53 poems, also titled "A Shropshire Lad," by English poet A.E. Housman, whose poetry gained popularity a mong English · composers during the Second Boer War (1899-1902), between the British Empire and the two independent Boer republics (Dutch for farmer) of the South African Republic and the Orange Free State. The themes of transient youth, beauty, mortality and the parallels to nature made them strong candidates for song settings. Butterworth was a close friend of Ralph Vaughan Williams, who once claimed him to be the greatest English composer. He was killed at a young age during World War I and his "Shropshire Lad" has since been viewed as a strong reaction to young English men losing their lives to the horrors of warfare . "Loveliest of trees" Loveliest of trees, the cherry now, Is hung with bloom along the bow, And stands about the woodland ride, Wearing white for Eastertide. Now of my threescore years and ten, Twenty will not come again, And take from seventy springs a score, It only leaves me fifty more. And since to look at things in bloom, Fifty springs are little room , About the woodlands I will go To see the cherry hung with snow. �"When I was one-and-twenty" When I was one-and-twenty, I heard a wise man say, "Give crowns and pounds and guineas But not your heart away; Give pearls away and rubies, But keep your fancy free" But I was one-and-twenty, No use to talk to me. When I was one-and-twenty, I heard him say again, "The heart out of the bosom Was never given in vain; 'Tis paid with sighs a plenty And sold for endless rue ." And I am two-and-twenty, And oh, 'tis true, 'tis true. "Look not in my eyes" Look not in my eyes for fear, They mirror true the sight I see, And there you find your face too clear, And love it and be lost like me. One the long nights through must lie, Spent in star-defeated sighs, But why should you as well as I Perish? Gaze not in my eyes. A Grecian lad, as I hear tell, One that many loved in vain, Looked into a forest well, And never looked away again: There, when the turf in spring-time flowers, With downward eye and gazes sad , Stands amid the glancing showers, A jonquil, not a Grecian lad. "Think no more, lad" Think no more, lad; laugh, be jolly: Why should men make haste to die? Empty heads and tongues a-talking Make the rough road easy walking, And the feather pate of folly Bears the falling sky. Oh, 'tis jesting, dancing, drinking Spins the heavy world around. If young hearts were not so clever, Oh, they would be young for ever: Think no more; 'tis only thinking Lays lads underground. �"The lads in their hundreds" The lads in their hundreds to Ludlow come in for the fair, There's men from the barn and the forge and the mill and the fold, The lads for the girls and the lads for the liquor are there, And there with the rest are the lads that will never be old. There's chaps from town and the field and the till and the cart, And many to count are the stalwart, and many the brave, And many the handsome of face and the handsome of heart, , And few thatwill carry their looks or their truth to the grave. I wish one could know them I wish there were tokens to tell The fortunate fellows that now you can never discern; And then one could talk with them friendly and wish them farewell And watch them depart on the way that they will not return. But now you may stare as you like and there's nothing to scan And brushing your elbow unguessed-at and not to be told They carry back bright to the coiner the mintage of man, The lads that will die in their glory and never be old. �"Is my team ploughing?" "Is my team ploughing, That I was used to drive And hear the harness jingle, When I was man alive?" Ay, the horses trample, The harness jingles now; No change though you lie under The land you used to plough . "Is football playing Along the river shore, With lads to chase the leather, Now I stand up no more?" Ay, the ball is flying, The lads play heart and soul ; The goal stands up; the keeper Stands up to keep the goal. "Is my girl happy That I thought hard to leave, And has she tired of weeping As she lies down at eve?" Ay, she lies down lightly, She lies down not to weep: Your girl is well contented , Be still , my lad, and sleep. "Is my friend hearty, Now I am thin and pine And has he found to sleep in A better bed than mine?" Yes, lad, I lie easy, I lie as lads would choose; I cheer a dead man's sweetheart, Never ask me whose. �ABOUT THE PERFORMERS Julian Whitley, baritone, a native of Briarcliff Manor, NY, is pursuing his Master's degree in Opera from Binghamton University. He was most recently seen as Belcore in Tri-Cities Opera's production of L'Elisir d'amore and Marco in Gianni Schicchi. Mr. Whitley received his bachelors degree cum laude from the Purchase Conservatory of Music where he sang Stephano (Lee Hoiby's The Tempest), Seneca (L'incoranzione di Poppea), Bartolo (Le nozze di Figaro) and Balthazaar (Amahl and the Night Visitors) . Other recent credits from Tri-Cities Opera this past season include Sciarrone (Tosca), the Father (Hansel and Gretel) and Antonio (Le nozze di Figaro). Last season, Mr. Whitley sang Bob in The Old Maid and the Thief, Wagner (Faust), Melchior (Amahl and the Night Visitors) and Marullo (Rigoletto), all with TCO. Previous summer credits also include Morales (Carmen) and Marchese d'Obigny (La Traviata) with Opera of the Hamptons as well as his debut at the renowned Berkshire Theatre Festival, where he sang over fifty performances of the title role in Bernstein's Candide last summer. He has also appeared with the Eastman Opera Theatre as Elder Ott (Floyd's Susannah). Mr.Whitley sang on the premiere recording of Lee Hoiby's The Tempest, released last winter on Albany Records, and was praised for his "colorful characterization and clarion singing" (Opera News). He will be making his debuts with the Hubbard Hall Opera Theatre and the Dell'arte Opera Ensemble this summer, singing the Father in Hansel and Gretel and covering the Count in Le Nozze di Figaro, respectively. Mr. Whitley is a student of Timothy LeFebvre. William James Lawson coaches and accompanies singers at Binghamton University. As a coach, he specializes in English diction for the American and English art song, sacred music, and classical theater' repertoires. He studied at Binghamton University (B.A. 1980), where his teachers included Seymour Fink and Patricia Hanson in piano, M. Searle Wright in church music, and Stevenson Barrett in vocal coaching. He holds an M.A. from New York University (1984) and was one of the first graduates of New York University's innovative Department of Performance Studies, an interdisciplinary program in the performing arts. �UNIVERSITY KG Public Broadcasting �Binghamton University Music Department's UPCOMI NG EVENTS The Binghamton University Department of Music is proud to ·present its 2010-2011 season concerts. The Department of Music presents over 100 concerts (most of which are free) from solo recitals to orchestra concerts to jazz presentations which include a variety of performances by guest, faculty and student artists. For a complete list of our concerts and more, visit us at music.binghamton.edu. AUGUST2010 Summer Youth Musical Theater Workshop presents Titanic SEPTEMBER 2010 Jonathan Biggers, organ OCTOBER 2010 Reunion Recital with Marietta Simpson, mezzo-soprano University Symphony Orchestra's Children's Concert: All Creatures Viola Plus with Roberta Crawford Guest Organists: Michael Bauer & Marie Rubis f NOVEMBER 2010 University Chorus Jonathan Biggers, organ Czech Vocal Music: Mary Burgess, soprano, Timothy LeFebvre, baritone, and guest artist Timothy Cheek, piano DECEMBER 2010 University Symphony Orchestra: All-American Program Harpur Jazz Ensemble with guest artist FEBRUARY 2011 Faculty Recital: Timothy LeFebvre, baritone and Michael Salmirs, piano University Symphony Orchestra Jonathan Biggers, organ APRIL 2011 Harpur Jazz Ensemble with guest artist Jonathan Biggers, organ Pianist Michael Salmirs presents a Chopin & ,Schumann 200th Birthday Celebration MAY2011 University Chorus with the University Symphony Orchestra present Choral Masterworks: Roman Maciejewski: Requiem, Book 1; Poulenc: Gloria � 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. 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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.) 47:48:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145181">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145181</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 Master's recital, Julian Whitley, baritone, May 7, 2010 Recital Tape 2010-5-7 Description An account of the resource Works by Händel, Schumann, Ravel, Tosti, Paolo, Butterworth. Held at 8:00 p.m., May 7, 2010, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Whitley, Julian Lawson, William James Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2010-05-07 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/a3814b2da16e5070ed24456fc80a875e.pdf 35ee5fcaef4e9decae1af3433f8df176 PDF Text Text BINGHAMTON U N I V E R S I T Y I  K  S I T Y   O F  N E W   Y O R K eta/0b D E P A R T M E N T CONDUCTOR’S CONCERT GLORIA ANTONIO V I V A L  D I fe a t u rin g t  h e 3inghamt‘0w U niversity S t r i n g O   rchestra B i n g h a m t o nU   n v e r s i t y  C h a m b e r  Chara/8 Wednesday,  May 5, 2010 8:00 p . m   A ndergon/Cent’er Chamber Halb �PROGRAM VII.Domine Fili Unigenite I.Gloria in E xcelsis Domine fili unigenite Jesu Christa, Lord Jesus Christ the only­begotten Son Conducted by Molly Adams­Toomey Gloria in excelsis deo Glory to God in the highest Conducted by Jieun Jang VII/Domine Deus, Agnus Dei II. Et in Terra Paxr Domino Deus,agnus Dei, Filius parris, Lord God. Lamb of  God, Son of  the Father, Conducted by Shane Thorn Cabiria Jacobson. mezzo soprano Et in tone pax hominibus bonae voluntatis And on earth peace to people of  good will. Conducted by Adam Hess lll.Laudamus Te Laudamus te, benedicimus te, adoramus te, glorificamus te. We praise thee, we bless thee,  We worship thee, we glorify thee. Conducted by Briana Sakamoto Samantha Banton, soprano Raquel Rozner, soprano IV.GRATIAS Agimus Tib IX. Q ui Tollis Qui tollis pascala mundi,  Suscipe deprecationem nosfrarn Thou who takest away the sins of  the world. Hear our prayer. Conducted by Krystiana Resto X.Qui Sedes ad Dexteram Qui sedes ad dexteram par/is,  Miserere nobis. Grarias agimus tibi We thank thee Conducted by Ya Tzu Chen V. Proprer Magnam Gloriam Propter magnam gloriam ruam,, For Thy great glory, Conducted by Ya Tzu Chen VI.Domine Deus Domine Deus, rex coelestis, Deus pater omnipotens Lord God, Heavenly King, Almighty God and Father, Conducted by Laura MacAvoy Raquel Rozner. soprano Who sittest on the right hand of  the Father, Have pity upon us. Conducted by Krystiana Resto Cabiria Jacobsen, mezzo soprano XI.Quoniam t u Solus Sanct us Quoniam tu  solus sanctus, Tu solus Dominus,  Tu solus altissimus, Jesu Christa, For thou alone an holy, Thou alone art the Lord, Thou alone an the Highest. Jesus Christ, Conducted by Jennifer Easley XlI.Com Sancfo Spiritu Cum sancto spiriru, in gloria Dei palris, Amen. With the Holy Spirit, in the glory of  God the Father, Amen. Conducted by Tahnee Fallis �PROGRAM NOTES Though  Antonio  Vivaldi  was one  of the  most  influential  composers  of  his generation, he died a poor pauper and his music was neglected for many years after  his  death.  He  was  gradually  “rediscovered”  amidst  a  surge  of  Bach scholarship, Bach having been a great admirer of Vivaldi’s work.  Vivaldi did not entirely receive due credit  for his great contribution  to the western canon until the mid 20” century.  The Gloria (RV 589) was almost entirely lost, and due to the lag between its composition and popular revival, it is difficult to find a definitive edition of the work.  For a large part of his life the composer lived comfortably, employed by the Pio Ospedali della Pieta in  Venice, one of four all­girls quasi orphanage­conservatories of its kind,  Vivaldi acted as teacher, violin virtuoso, composer and priest, his red hair earning him the nickname “il Prete Rosso,” the Red Priest.  Because  Vivaldi was writing primarily  for his students at the Ospedali, some scholars have gone so  far as to theorize that, originally, Gloria may have been performed without men, the tenor and bass parts sung by low­voiced females or transposed, a fascinating notion, however incredible  it  may be.  Vivaldi’s  fondness  for  the  violin and his roots  in  the Corelli model are evident in the kind of melodic interest in  the violin part and the structure w e  see in  movements such as  G lori a in  e xc elsis D eo  the rousing opening movement.  Et in terra pax hominibu: is a radical change of gears with its slow ebb and flow of evocative chromaticism.  Such stylistic contrasts appear throughout  Gloria.  Laudamus  te  celebrates  especially  the  female  voice, alternating  between  imitative  declamations  of  sparsely  yet  vibrantly accompanied soloists and  fuller orchestral ritornelli.  Following this, Gratias agimus  tibi,  creates  a  striking  effect,  being  entirely  homophonic  and  highly sustained.  It acts as a partner to the next movement, the percussive Propter magnam gloriam, which develops its opening melody in expanding segments, in a similar manner to  that  of the third movement, though it is a much shorter episode.  Domine  Deus  features singer, oboe  obbligato and  continuo  in  the softest  o f   the  twelve  movements,  functioning  like  a  delicately  transparent interlude between the first and second half of the piece.  Domine Fili Unigente brings back a similarly full­bodied texture as that of the opening movement, and very much bears Vivaldi ’s stamp in its use of t h e s trings, imitation and rhythmic energy.  Domine  Deus,  Agnus  Dei,  in  solemn  contrast  to  the  preceding movement, starts  with  entrances  o f entirely  solitary  human and  instrumental voices into silence, slowly joined by continuo.  Then choral echoes interj ect into this  texture,  looming  and  growing  throughout  the  movement.  This  scgucs seamlessly  into  the  entirely  choral Qui tollis  peccata  mundi.  which seems to flesh  out  the fragmented  choral statements  introduced  in  Domine  Deus.  Qui sedes ad dexteram features the last vocal solo of the piece, a humble yet urgent r e qu e st   f o r   “ m e r c y ”   b e fo r e   t h e   u l t i m at e   exa l l at i o n   o f  t h e   last  m ove m e n t s . Quoniam tu solus sanct us is a brie f reprise of the music of Gloria in  excelsis Deo, a retum to the invigorating opening motive, the fast octave leap.  Finally, the triumphant Cum Sancto Spiritu draws upon many elements of the rest of the piece, imitation, quick modal fluctuations, textural changes, including a striking disappearance of the  orchestral  “floor” beneath  the  chorus, and  so forth.  (It would seem that Vivaldi adapted this final movement from an older Ruggieri composition on  the same text, and used  it in another mass after  Gloria, a not uncommon practice in his oeuvre.)  The connections between movements across the work, such as from the first to penultimate, or from Gratias agimus tibi to Qui  tollis  peccata  mundi, contribute  to the  dramatic  arch and  sense  of unity about a world of textures and emotions contained within this half hour of music. T onight ’s per formance is the culminat ing proj ect for the students o f M U S 428, Conducting I I  For two semesters, the members of t h e c  lass have worked to gain a  fundamental  understanding  of  conducting  mechanics,  the  study  and interpretation of a score and the manner in which one communicates a musical vision to and through an  ensemble,  Additionally, the students were responsible for  the  logistics  of this  concert,  in  a  practical  study  of the conductor‘s  non­ musical responsibilities.  Each specializing in different instruments and musical genres, and pursuing a variety of degrees in  addition to music, we’ve learned a great  deal  from  each  other’s  perspectives.  We  hope  you  will  enjoy  our collectively eclectic approach to the Vivaldi Gloria. Sources: Michael Talbot  Tenors and Basses at the Venetian “Uspedah. " Acta Mustcologtca, Vol  66, Fasc  2, pp  123­138.  International Mustcological Society http //www istor org/stable/932767 1  Peter  Burkholder  A  History  of  Western  Music,  7 ”  edition.  New  York  W . W .   Norton  and Company, 2006 Michael  Talbot  Vivaldi.  Antonio  Grove Music  Online  Ox ford Music  Onltne  28  Apr  2010 http //wvwv oxfordmustconline com/subscribcr/amcldyovelmustdw120 �ABOUT THE PERFORMERS Molly Adams­Toomey is a Junior majoring in Music and minoring in Theater. She is a member of the Women’s Chorus, studies voice under Timothy Le febvre and piano under Michael Salrnirs, and is a member of Mu Phi Epsilon. She has written  and  performed  the  music  for  the  Binghamton  University  Theater Department’s spring production of Henry V, as well as writing and arranging the music for the Studio production of White Liars. Ya Tzu Chen is a Music major from Taiwan studying for her Masters in Piano with Michael Salmirs.  In  Taiwan, she studied piano with Hsin­l Chen.  She received  her  Bachelor’s  degree  in  Physics  from  National  Taiwan  Normal University. Jennifer  Easley  is  currently  enrolled  in  her  final  semester  at  Binghamton University, pursuing a Master of Music in Choral Conducting.  She earned a Bachelor  of  Music  in  Music  Education  with  a  concentration  in  voice  from Gordon College.  She is a full­time music teacher at Binghamton High School, where she gives classes in piano, guitar and special­education general music. Ms. Easley is v ery interested in  teaching music overseas and w i ll  be  traveling to Thailand this coming July.  She and her husband, Timothy, reside in  Windsor with their two lovely daughters, Naomi (2 1/2) and Sophia (1). Tnhnee Fallis is a first year Choral Conducting graduate student at Binghamton University. Earlier in the  semester she led the  women’s  chorus in a concert comprised of music from East Asia and will continue to conduct many choruses in  the  coming year  in  Binghamton. Miss  Fallis  graduated  in  2009  from  The College of St. Rose in Albany with a bachelor’s degree in Music Education and hopes to continue on to get her doctorate to teach music in a college setting. A dam  Hess  is a  Senior Electrical Engineering and Music  major. Next  year Adam will receive a Masters in  Electrical  Engineering with a specialization  in Communication Systems and Signal Processing. After this he plans to work on a PhD in  either composition, musicology or  choral conducting. In  his free time, Adam  is  an active member  of MOE  spreading  love, kindness  and sincerity through philanthropic activities through the power of music. Jieun  Jang  is  a  Junior  Music  major  from  South  Korea.  At  Binghamton University, she is studying piano with Michael Salmirs. She has performed with university  ensembles  such  as  University  Symphony  Orchestra  and  Wind Symphony. Recently she performed with the University Symphony Orchestra as a solo pianist, and she also held a junior rec ital in  April. Laura  MacAvoy  is  a  Bachelor  of  Music  in  Vocal  Performance  student, currently finishing her junior year.  Originally from  Saratoga Springs NY, Ms. MacAvoy has been performing musically since the age of six.  At Binghamton University, she has  sung  with the University  Chorus, Women’s Chorus, Tri­ Cities Opera Chorus and in solo performances.  She studies with Mary Burgess. Michael  Mechmnnn  is a Senior  Music major studying composition.  He  is  a member of the Harpur Chorale, and has  played in the  Theater  Orchestra  for Binghamton University musical productions. Krystiana Resto is a Senior Music Major from Poughkeepsie, New York. She is currently a member and President of the Harpur Chorale, and has also sung in the University  Chorus. She  i s  the President o f  Mu  Phi Epsilon Pro fessional Music  Fraternity,  which  was  founded  at  Binghamton  in  the Fall  o f  2008.  In addition, Krystiana is the Musical Director of the University’s only all­female a cappella group, the Harpur Harpeggios. Briana Sakamoto is a Senior Music major pursuing a Bachelor of Music degree in vocal performance.  She is a member of the Tri Cities Opera chorus and this season covered the roles of Barbarina in  “Le nozze di Figaro” and  Gianetta in “L’elisir d’amore.”  She is also a BU Scholar. Shane Thorn is a Junior majoring in  Music composition, which he has studied with Paul Goldstaub and Christopher Loy. He plays in the University Orchestra, and has studied viola, voice and piano, in addition to singing in the independent Canterbury  Choir. He also  organizes  and directs the  Avant­garde  Troupe, a small group o f artists, actors and musicians who engage in partly­improvised performance art events in public areas. Mezzo­soprano Cabiria Jaeobsen recently performed the roles of Chcrubino in Mozart’s Le nozze di Figaro, Hansel in Humperdink’s Hansel and Gretel, and La Ciesca in Puccini’s Gianni  Schicchi,  all with Tri­Cities Opera.  Other credits include  Idamante  (/domeneo/OperaHub);  Annina (Der  Rosenkavalier/Iowel/ House Opera); and Mauyra (Riders to the  Sea/Northwestern University Opera Theater).  She received  her  BM. in  Voice and  her  B.A. in  Drama (Literature and Critic ism) from Northwestern University. R aq ue l  R ozner i s  currently a  freshman at Binghamton University, wher e she studies biochemistry and music. Raquel has studied voice extensively for seven years  and  has  been  involved  with  many  summer  programs  and  vocal opportunities since entering high school. R aquel was chosen to sing in the 2007 and 2008 New  York  All­State Mixed Chorus, in which she  was the soprano soloist in 2008. She was also chosen to  sing in the 2009  All­Eastern Honors Mixed Chorus. Raquel has accumulated many vocal honors and awards, but she is  most  proud  to  have  been  accepted  into  the  2008  Boston  University Tanglewood Institute Young Artists Vocal  Program  in  which she studied with Phyllis Hoffman and attended a master clas s with Renee Fleming. Soprano Samantha  Banton  is a  Junior  majoring  in  Music.  She  has  recently appeared in the Music Department Mid­day Concert series and the Composition Seminar composer’s concert. �BINGHAMTON UNIVERSITY STRING ORCHE STRA Chantal Berendsen Alex Spadaro Violas Victoria Brown Erica Koslowsky Max Pekarskiy Li fan Hsu Fanny Chu Elana Streim Cellos Ben Peak Taylor Reitmeier Violins E lan A shendor f Elizabeth Magowan Edwin­Nikk o K abigting  Meaghan Petix Jin Park Allison Jaekle Gozda Y ildiz Basses Rachel Casey Sam Smith C larinets Heather Worden Timothy Perry Basso­continuo Chai­Kyou Mallinson BINGHAMTON UNIVERSITY CHAMBER CHORUS Soprano Jennifer Easley Cathie Makowka Sioux Petrow K elly Pueschel Megan L. Roppolo Ligita Roznere Christine Ryder Susan Sarzynski Siobhan Sculley Faith Vis Jennifer Walsh Lois Wilston Alto Kathryn Baine Lois Bare Maria Luisa Cook Michelle Doherty Tahnee Fallis Jean Fenzel Diane A. Ferraccioli Sylvia Horowitz Grace Houghton Cheryl Jacobson Pat Labzentis Ethel Molessa Anna Nicholas Joyce Printz Constanze Schonermark Jane Shear Danielle Sisson Susan Szczotka Tenor Martin Bidney Kevin Doherty H.B. King Dennis Leipold Sherry Williamson Bass Eric Bare Ronald Beauchamp Bruce Borton Carl Bugaiski Emanuele Delucchi Joseph E. Nelson Edward Orosz David Schriber � 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.) 52:59:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145274">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145274</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 Conductor's concert: Vivaldi's Gloria, March 25, 2010 Recital Tape 2010-3-25 Description An account of the resource Works by Vivaldi. Held at 1:20 p.m., March 25, 2010, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Banton, Samantha Rozner, Raquel Jacobsen, Cabiria Jang, Jieun Hess, Adam Sakamoto, Briana Chen, Ya Tzu MacAvoy, Laura Adams-Toomey, Molly Thorn, Shane Rest, Krystiana Easley, Jennifer Fallis, Tahnee Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2010-03-25 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/e84b35b727327e96de274ea313cc0dc8.pdf dc5b5483ba1d661c0851864cc2e8f29a PDF Text Text BINGHAMTON U N I V E R S I T Y STATE  U N I V E R S I T Y   O F  N E W   Y O R K vwdee D E P A R T M E N T [4 Melodienstrauld A Spriné Bouquet of German Lieder, fitters?) Ensembles German Lyric Diction Finsl Concert Judy ‘Berry. Instructor Tlvfllbm Lawson. plmo “\<{/’ s e x y / K £  63/93/53 13, 2010 Casadests Recrtzrl Hell �PROGRAM Der Frtlhling (Spring) Fruhlingsmorgen, Gustav Mahler (1860­1911) Jennifer Groves, soprano 898980 INTERMISSION  cscscs Der Tod (Death) Der Tod und das Madchen, Franz Schubert (1797–1828) Tahnee Fallis, mezzo soprano Das Veilchen, Clara Wieck­Schumann (1819­1896) Jana Kucera. soprano Anakreons Grab, Hugo Wolf (1860 –1903) Wie Melodien, Johannes Brahms (1833­1897) Cabiria Jacobsen, mezzo soprano Loreley, Clara Wieck­Schumann (1819­1896) Jana Kucera, soprano Die Traume (Dreams) Nacht und Traume. Franz Schubert (1797–1828) Laura MacAvoy, soprano “Himmel und Erde” (Heaven & Earth) Ich harrete des Herrn (Psalm 40), Felix Mendelssohn­Bartholdy (1809­ 1847) Briana Sakamoto, soprano & Cabiria  Jacobsen, mezzo soprano Traum durch die Dammerung, Richard Strauss (1864–1949) Briana Sakamoto, soprano Traume, Richard Wagner (1813­1883) Julie Williams, soprano Das Wald (Woods ) Waldseligkeit, Joseph Marx (1882­1964) Amanda Chmela, soprano Waldesgeprach, from Liederkreis Op. 39, Robert Alexander Schumann (1810­1856) Julian Whitley, baritone Die Manner (Men!) “Kommt ein schlanker Bursch gegangen’ from Der Freischiitz by Carl Maria von Weber (1786 – 1826) Briana Sakamoto, soprano Die Manner sind méchant, Franz Schubert (1797–1828) Samantha Banton, soprano Das verlassene Magdlein, Hugo Wolf (1860 –1903) Victoria Cannizzo, soprano Der Leiermann, Franz Peter Schubert (1797­1828) Heather Worden, mezzo soprano Der Herbst (Autumn) Herbstlied, op. 63, no. 4, Felix Mendelssohn­Bartholdy (1809­1847), Jana Kucera, soprano & Briana Sakamoto, soprano Julian Whitley, baritone Seligkeit, Franz Schubert (1797–1828) Samantha Banton, soprano Die Liebe (Love) “Dein ist mein ganzes Herz” from Das Land des Lachelns by Franz Lehar (1870 –1948) Dan Ibeling, tenor Widmung, Robert Alexander Schumann (1810­1856) Julie Williams, soprano Lachen und Weinen, Franz Schubert (1797–1828) Laura MacAvoy, soprano Unbewegte laue Luft, Johannes Brahms (1833­1897) Cabiria Jacobsen, mezzo soprano Zueignung, Richard Strauss (1864­1949) Jennifer Groves, soprano Von ewiger Liebe, Johannes Brahms (1833­1897) Victoria Cannizzo, soprano Hat dich die Liebe beruhrt, Joseph Marx (1882­1964) Amanda Chmela, soprano Zu guter Letzt (Finale) “Wohl mir, dass ich Jesum habe” chorale from Herz und Mund und Tat und Leben, BWV 147, Johann Seba stian Bach (1685 –1750) entire class, conducted by Heather Worden �PROGRAM TEXTS Friihlingsmorgen (Sprlng Morning) There taps at the window the linden tree With branches, blossomladen: Arise! Arise! Why do you lie in a dream? The sun has come up! Arise! Arise! And what is more, I saw your merry sweetheart already. Arise, you sleepyhead! Sleepyhead, arise! Arise! Arise! Das Veilchen (The Violet) A little violet Stood on the meadow Bent over itself, And unknown Along came a shepherdess With light step and air, And sang “Ah!” (Thought the little violet) “Were I the most beautiful bloom of nature­ Ah! If she were to press me to her bosom for just a quarter hour!” Ah! The maiden came! And paid no attention To the little violet It sank and withered But rejoiced For even though he died, He died at herfeet Wie Melodien (Like Melodies) Like melodies it moves, Gently through my mind ; Like spring flowers it blooms, And wafts away like fragrance. Then comes language and grasps it, And draws it before my eyes, Like a gray mist it pales, And disappears like a breath. And yet, remaining in poetry There hides a fragrance still, Which mildly from the quiet bud My moist eyes call forth. Nacht und Traume (Night and Dreams) Hallowed night, you sink down! Downward float also the dreams, like your moonlight, through space, through the silent bosom of men. They listen to you with pleasure­ cry out, when the day breaks: Come back, hallowed night; lovely dreams, come ba ck. Traum durch die Dammerung (Dream through the twilight) Wide meadows in the twilight’s gray; The sun is sunk, the stars are moving, Now I go there to the loveliest women, Far over meadows in the twilight’s gray, Deep into bushes of jasmine. Through the twilight’s gray in love’s land; I do not go quickly, I do not hurry. I am drawn by a soft, velvet band Through the twilight’s gray in Iove’s land, Into a blue, mild light. Trauma (Dreams) Tell me, what kind of wondrous dreams Are embracing my senses, That have not, like sea­foam, Vanished into desolate Nothingness? Dreams, that with each passing houn Each passing day, bloom fairer, And with their heavenly tidings Roam blissfully through my heart! Dreams which, like holy rays of light Sink into the soul, There to paint an eternal image: Forgetting all, remembering. Dreams which, when the Spring sun Kisses the blossoms from the Oh flee! Oh flee! You don‘t know who I am.’ So richly adorned is horse and lady, So wondrously beautiful is the young body; Now I know you, God stand with me! You are witch, Loreley! You have recognized me from the high cliffs, My castle gazes silently deep into the Rhine. It is already late, it has become cold, snow, You will never again come out of this forest! So that they grow, so that they bloom, and dreaming, bestow their fragrance, These dreams gently glow and fade on your breast, And then sink into the grave. Kommt ein schlanker Bursch gegangen (When a slim guy comes along) When a slim guy comes along, Blond haired or brown, Bright eyed, rosy­cheeked, Yeah, one can take a good look at him! Sure, one drops her eyes towards her bodice, In the bashful maiden’s manner; But stealthily lifts one’s eyes, When the little man is not looking Should your glances find each So that into unsuspected bliss They greet the new day, Weldseligkelt (Forest Bliss) The forest begins to rustle, night descends upon the trees as if they blissfully eavesdrop, gently touching each other. And under their branches here I am completely alone, here I am completely myself, yet completely yours. Waldgesprach (Conversation in  the woods) “It is already late, it is already cold, Why do you ride alone in the woods? The woods are large and you are alone, You beautiful bride! I will lead you here! ‘The deceit and cunning of men is great, My heart is broken from pain There strays the forest horn here and there, other, Now, where’s the harm in that? No one‘s going to turn blind on the spot, Even if someone turns a little red. A little glance here and a little glance there, Till the mouth becomes just as bold! He sighs: Beautiful! She says: Lovey! Soon they’re called bride and groom. Come closer, dear little people! Do you want to see me with a bridal wreath, Well, isn’t that a nice little bride, And the guy no less beautiful? �Die Manner sind méchant O would it were gone again! leave. Men are faithless, you told me, mother: He’s a young rascal! I wouldn’t believe you Until I had tormented myself sick. Yes, now I know he really is, I’d simply misjudged him. You told me, mother. Der Leiermann (The hurdy­gurdy men) There, behind the village, stands a hurdy­gurdy­man, And with numb fingers he plays the best he can. Der Tod und das Madchen (Death and the Maiden) (Das Madchen) Vomber, ach, vorliber! Geh, wilder Knochenmann Ich bin noch jung, geh. Lieber! Und rithre mich nicht an. (Men are naughty) ‘Men are faithless!‘ Yesterday, as dusk fell silently, In the grove outside the village I heard a whispered ‘Good evening!‘ And a whispered ‘Many thanks!‘ I crept up and listened, Stood there as if transfixed: It was he, with another ­ ‘Men are faithless!‘ O mother, what torture! It must be said, it must! It didn’t just stop at whispering, It didn’t just stop at greetings! From greetings it went to kisses. From kisses to holding hands, From holding hands . . . ah, dear mother, ‘Men are faithless!‘ Das verlassene Mégdlein (The forsaken maiden) Early, when the cock crows, before the stars disappear. I must stand at the hearth; I must light the fire. Beautiful is the blaze of the flames; the sparks fly. I gaze into the fire, sunk in grief. Suddenlyl it  comes to  me, Barefoot on the ice, he staggers back and forth, And his little plate remains ever empty. No one wants to hear him, no one looks at him, And the hounds snarl at the old man. And he lets it all go by, everything as it will, He plays, and his hurdy­gurdy is never still. Strange old man, shall I go with you? Will you play your hurdy­gurdy to my songs? Herbstlied (Autumn song) Ah, how so soon the cycle ends, Spring turns into wintertime! Oh how so soon into moumful Silence All happiness turns as well! Soon the last sounds have faded! Soon the last songbirds have flown! Soon the last green is gone away! All of them want to return home! Ah, how so soon the cycle ends, Happiness turns into yearning pain. unfaithful boy, that last night I dreamed of you. Were you a dream, you thoughts of love? Sweet as spring and fast Tears upon tears then pour down; So the day comes ­ One, only one thing will never waver: It is the yearning that will never vanishing? (Der Tod) Gib deine Hand, du schon und zart Gebild! Bin Freund und komme nicht zu strafen. Sel gutes Muts! ich bin nicht wild, Sollst sanft in meinen Armen schlafen! Anakreons Grab (Anakreon’s Grave) Here, where the rose still blooms, Where the vines and laurel entwine, Where the turtledove coos, Where the grasshopper rejoices, What grave is here, which all the gods have adorned with beautiful living plants? It is Anakreon’s resting place. Spring, Summer and Autumn were enjoyed by the happy poet, And he was shielded from the Winter by the hills. Loreley (Loreley) I don’t know what it means, Why I feel so sad; An old tale, Won’t leave my mind. The air is cool and dark And Rein flows peacefully The top of the rocks Sparkle in the evening sunshine The most beautiful maiden sits Atop it, sorrowfully; Her golden jewels twinkle; She combs her golden hair, She combs it with a golden comb, And sings a song It has a wondrous, powerful melody A sailor in a little ship, Is seized with wild pain He doesn’t see the rocky reef, He looks up at her in the end I think the waves swallow And kill the sailor and his boat And that, with her singing, The Loreley has done Ioh harrete des Herrn (I waited for the Lord) I waited for the Lord, And he leaned down to me And heard my prayer. Blessed are they who put their hope in the Lord! Blessed are they who put their hope in Him! Seligkeit (Bliss) Joys without number bloom in heaven’s hall of angels and transfigured beings, just as ourfathers taught us. 0 ,  there I would like to be and rejoice forever! Upon everyone dearly smiles a heavenly bride; harp and psalter resound, and everyone dances and sings. 0,  there I would like to be and rejoice forever! But I‘d rather remain here i f  L aura would smile a t  m e with one glance that said I should end my lamenting. Blissfully then with her, I would stay here forever! �Dein ist mein ganzes Herz {My heart is yours alone) My heart is yours alone! I cannot be without you. Like a flower that wilts when unkissed by the sun! My most beautiful song is yours, for it is created out of love. Tell me once more, my one and only. oh tell me once more: I love you! Wherever I am I feel you are near. I want to drink your breath and kneel adoringly at your feet, yours, yours alone! How wonderful your shining hair is! Dreamy and full of longing is your radiant gaze Full of dreams and ancient longing When I hear your voice, it is like music My whole heart is yours. Wldmung (Dedication) You my soul, you my heart. You my bliss. o you my pain, You the world in which I live; You my heaven. in which I float, O you my grave. into which I eternally cast my grief. You are rest, you are peace, You are bestowed upon me from heaven. That you love me makes me worthy of you; Your gaze transfigures me before you; You raise me lovingly above myself, My good spirit, my better self! Lachen und Weinen (Laughing and weeping) Laughing and weeping, at whatever hour, are based, in the case of love. on so many different reasons. Every morning I laughed for joy; and why I now weep in the evening’s glow is even to myself unknown. Weeping and laughing, at whatever hour, are based, in the case of love. on so many different reasons. Evenings I have wept for sorrow; and how can you wake up in the morning with laughing. must I ask you. oh heart. Unbewegte Iaue Luft (Motionless. warm air) Motionless, warm air, Deep rest of nature; Through the still garden­night Only the fountain splashes. But in my heart there surges Hot desires, But in my veins swells Life. and a longing for life. Should not also your breast Lift itself to longing wishes? Should not the call of my soul Reverberate deeply in yours? Softly, with ethereal steps. Do not tarry to float to me! Come, oh come, so that we might Give each other heavenly satisfaction! Zueignung (Dedication) Yes, you know it, dearest soul, How I suffer far from you, Love makes the heart sick. Have thanks. Once I, drinker of freedom. Held high the amethyst beaker, And you blessed the drink, Have thanks. And you exorcised the evils in it. Until I, as I had never been before. Blessed, blessed sank upon your heart, Have thanks. Iron and steel can be recast by the Von ewiger Liebe ( Of eternal love) Dark, how dark it is in the forest But who would transform our love? Iron and steel can melt; Our love, our love will have to last and field! Night has fallen; the world now is silent. Nowhere a light and nowhere smoke. Yes, now even the lark is silent. From yonder village there comes the young lad, Taking his beloved home. He leads her past the willow bushes, Talking so much, and of so many things: “If you suffer shame and if you grieve. If you suffer disgrace before others because of me, Then our love shall be ended ever so fast As fast as we once came together; It shall go with the rain and go with the wind, As fast as we once came together.” Then says the maiden, the maiden says: “Our love shall never end! Steel is firm and iron is firm, Yet our love is firmer still. smith forever!” Hat dich die Llebe bertlhrt (If love has touched you) If love has touched you, quietly amidst the noisy crowds, you will walk on a golden cloud, safely guided by God. As if lost, you let you glances wander, allowing others to enjoy their pleasures while you have only one desire. Timidly repressing your ecstasy, you attempt, in vain, to deny that the crown of life now radiantly adorns your brow. “Wohl mir, dass ich Jesum habe” (Happy am I, to have my Jesus) Happy am I, to have my Jesus, oh how firmly I hold on to him so that he may refresh my heart when I am sick and sorrowful, I have Jesus, who loves me and gives himself to me. Ah therefore I shall not abandon Jesus even if my heart breaks. �Binghamton University Music Departm ent ’s U P C O M I N G  E V E N T S ‘WSKG Public Broadcasting m m   vb­ The Binghamton University Department of Music is proud to present its 2010­2011 season concerts. The Department of Music presents over 100 concerts (most of which are free) from  solo recitals to orchestra concerts to jazz presentations which include a variety of performances by guest, faculty and student artists. For a complete list of our concerts and more, visit us at music.binghamton.edu. I ’ _I I _  I _ i = _ fll  l – A R I R.­,  FR I  N gut­"555355! imenifp C E E o  m   x v e t AUGUST 2010 Summer Youth Musical Theater Workshop presents Titanic  S r e e SEPTEMBER 2010 Jonathan Biggers, organ OCTOBER 2010 Reunion Recital with Marietta Simpson, mezzo­soprano University Symphony Orchestra’s Children’s Concert: All Creatures Viola Plus with Roberta Crawford Guest Organists: Michael Bauer & Marie Rubis visit­s atwskgorg WeKE MERCH  ane w.   a % t“;  “  «" magi); “%  ,   vq 3 %  [AVES 35  3.79  (SQ.  We would like to take this opportunity to thank you for your support of the Binghamton University Music Department and we look forward to entertaining you in our 2010­ 2011 Concert Season! " § $  “odajy W  NANBRR a ” 5 1.115th  . M 0 ? S  G R A C I A S !  T h a n k  1 7021!)  ( 7 q(figus   NOVEMBER 2010 University Chorus Jonathan Biggers, organ Czech Vocal Music: Mary Burgess, soprano, Timothy LeFebvre, baritone, and guest artist Timothy Cheek, piano DECEMBER 2010 University Symphony Orchestra: All­American Program Harpur Jazz Ensemble with guest artist FEBRUARY 2011 Faculty Recital: Timothy LeFebvre, baritone and Michael Salmirs, piano University Symphony Orchestra Jonathan Biggers, organ APRIL 201 1 Harpur Jazz Ensemble with guest artist Jonathan Biggers, organ Pianist Michael Salmirs presents a Chopin & Schumann 200th Birthday Celebration MAY2011 University Chorus with the University Symphony Orchestra present Choral Masterworks: Roman Maciejewskl : Requiem, Book 1; Poulenc: Gloria � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 37:50 39:56 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145196">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145196</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 Melodienstrauß, a spring bouquet of German lieder, arias and ensembles : German Lyric Diction final concert, May 13, 2010 Recital Tape 2010-5-13 Description An account of the resource Works by Brahms, Strauss, Wagner, Marx, Schumann, Von Weber, Schubert, Wolf, Mendelssohn, Wieck-Schumann, Lehar, Strauss, Bach. Held on May 13, 2010, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Berry, Judy Lawson, 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 2010-05-13 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/9c89c83a01d0b6d567f6299d225df0bd.pdf 5095b843e70e6ef84888b4f3c6f207d0 PDF Text Text BINGHAMTON U  N  I  V  E  R  S  I  T  Y S T A T E   U N I V E R S I T Y  O F  N E W  Y O R K zedec Swpfiwfifidaammv D E P A R T M E N T MID­DAY C O N C E R T Thursday, MW 6, 20/0 1:20p.m. Casadesus 2661631 17311 �PROGRAM Sonata In G­mlnor  Largo  PROGRAM . Henry Eccles (1670­1742) Corrente Stephen Brooks, double bass Margaret Reitz, piano Introduced by Stephen Stalker Aprile  Paolo Tosti Dan Ibeling, tenor Introduced by Duane Skrabaiak Fantasy on Japanese Woodprints  (1846­1916) .Alan Hovhaness It is A pril! It’s the season of love! Come! o my love, into the blooming fields! (1911­2000) Nocturne Sweetly fragrant linden­blossoms Introduced by  Dan Fabricius Nocturne.  In  the flowing June­night. Joseph Marx (1882­1964) Amanda Chmela, soprano Margaret Reitz, piano Introduced by  Mary Burgess .Charles Ives (18741954) Briana Sakamoto, soprano William James Lawson, piano Introduced by Mary Burgess Cello Concerto Op. 85 .  Edward Elgar Moderato  (1857­1934) Margaret Reitz, piano Introduced by  Stephen Stalker A s  if rang in my ears softly the song of happiness, echoing softly. Jleun Jang, piano Introduced by  Michael Salmirs Two Little Flowers (and dedicated to them).  A feeling of delight in my heart Is awakened in my consciousness. the long lost song of youth. .Sergei Sergeyevich Prokofiev (1891­1953) Jen Chen, cello Your paths are  strewn with violets, you will dress with roses and bluebelis, and pure white butterflies will dance lightly around your hair. Marc Silvagni, manmba Margaret Reitz, piano Etude, Op. 52  Aprile Do you not smell on  the air the wafting perfume of Spring? Do you not hear in your soul the tunes of a new coaxing voice? It is April – the season of love: Come! Come, my love, to blooming fields... Sweetly fragrant linden­blossoms In  the flowing June–night. A feeling of delight in  my heart Turns to pain within me. �The Binghamton University Department of Music is proud to present its 2010­2011 season concerts. The Department of Music presents over 100 concerts (most of which are free) from solo recitals to orchestra concerts to jazz presentations which include a variety of performances by guest, faculty and student artists. For a complete list of our concerts and more, visit us at music.binghamton.edu Summer Youth Musical Theater Workshop presents Titanic August 14 & 15 , Jonathan Biggers, organ September 26, November 19, February 17, April 3 Reunion Recital with Marietta Simpson, mezzo­soprano October 9 University Symphony Orchestra’s Children’s Concert: All Creatures October 15 and 16 Viola Plus: Roberta Crawford presents Chamber Works of the 20th and 21st Centuries October 17 Guest Organists: Michael Bauer & Man’e Rubis October 24 University Chorus November 14 Czech Vocal Music: Mary Burgess, soprano, Timothy LeFebvre, baritone, and guest artist Timothy Cheek, piano November 21 University Symphony Orchestra: All­American Program December 4 Harpur Jazz Ensemble with guest artist December 9 Faculty Recital: Timothy LeFebvre, baritone and Michael Salmirs, piano February 20 University Symphony Orchestra February 26 Pianist Michael Salmirs presents a Chopin & Schumann 200th Birthday Celebration April 9 Harpur Jazz Ensemble with guest artist April 14 University Chorus with the University Symphony Orchestra present Choral Masterworks: Roman Maciejewski and Requiem: Poulenc Gloria May 8 � 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.) 27:55:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145258">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145258</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Student recognition mid-day concert, May 6, 2010 Recital Tape 2010-5-6 Description An account of the resource Works by Eccles, Tosti, Hovhaness, Marx, Prokofiev, Elgar. Held at 1:20 p.m., May 6, 2010, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Brooks, Stephen Reitz, Margaret A Jang, Jieun Lawson, William James Ibeling, Dan Silvagni, Marc Chmela, Amanda Sakamoto, Briana Chen, Jen Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2010-05-06 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.) 44:14:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145261">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145261</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mid-day concert, April 15, 2010 Recital Tape 2010-4-15 Description An account of the resource Works by Bach, Hindemith, Rossini, Liszt, Wagner, Previn, Puccini. Held at 1:20 p.m., April 15, 2010, Fine Arts room 21. Creator An entity primarily responsible for making the resource Eng, Kevin Lawson, William James Rossnagel, Mark Wu, James Goodacre, Kerry Marsiglia, William Reitz, Margaret A. Cannizzo, Victoria Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2010-04-15 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/25c72c397b3fed1ee47dc29aef92f323.pdf 25988f4e78ceb762f5731e34aea7aa97 PDF Text Text BINGHAMTON  U N I V E R S I T Y   W ­  : STATE  UNIVERSITY  OF NEW  YORK zelda D E P A R T M E N T THURSDAY MID­DAY CONCERT  1 Thursday, Apzal 2 2 ,  2000 1.20 p.m. Céasadesus Recital Hall �PROGRAM PROGRAM TRANSLATION ‘Vani sono ilamenti...&1sgliafevinel core,”.... George Frederic Handel “In uomini, in soldati ” from Cosi fan tutte (K. 588) Cabiria Jacobsen, mezzo–soprano Margaret Reitz, piano “In men, in soldiers ” from Giulio Cesare  Turkish March, from Sonata K. 331  (1685­1759) .Wolfgang Amadeus Mozart (1756­1787) Steven Collazos, piano Franz Schubert (1797­1828) An die Laute, Op. 81, no. 2  Die Manner sind méchanf, Op. 95, no. 3....  Die Forelle, Op. 32 Franz Schubert Samantha Ng, piano Aria of Despina, “In uomini, in soldati,".  from Cosi Fan Tutte  Fétes Galentes  Infldelifé  Quand je fus pris au pavillon Paysage ­  (1797­1828) Wolfgang Amadeus Mozart Briana Sakamoto, soprano \Mlliam James Lawson, piano .  (1756­1787) Reynaldo Hahn (1875­1947) Loveliest of Trees  When I was One and Twenty Look Not in my Eyes Think No More, Lad The Lads in their Hundreds Is my Team Ploughing? George Butterworth (1885­1916) William James Lawson, piano Chanson ds la Marisa  La­bas, vers le’ glise Quel galant m‘esf oonparabls Chanson des cueilleuses da lantisques Tout gei! Jennifer Groves, soprano Margaret Reitz, piano They are all made of the same pasta­ False tears, deceiving glances, Beguiling voices, flattering lies, Are their primary qualifies! They only love us for delight, Then they scorn us and deny us affection. It’s not worth asking the barbarians for pity! Pay them back, oh ladies, in their own coin, This malevolent, indiscreet race Let’s love for convenience, for vanity! molloam a d a ggifiéfilfi seal­5” nenivn 5d hed   e e  — Julian Whitley, baritone Cinq Melodies Populaires Grecques.  Don‘t let anyone hear you say that, For pity’s sake! Public Broadcasting Jana Kucera, soprano Chai­Kyou Mallinson, piano A Shropshire Lad  Get out! Long gone are the times When we’d spin such tables to babies! In men, in soldiers, You hope for fidelity? Windblown leaves and inconstant breezes Are more reliable than men! Raquel Rozner, soprano Chat­Kyou Mallinson, piano Impromptu, Op. 142, no. 2. W.A. Mozart (1756­1791) .Maurice Ravel (1575­11937) In set ­ loll �Bing’ha’mtan University Music Department’s U P C O M I N G  E V E N T S Friday, A pr il 2 3 ” J unior Recital: Mengru Zeng, piano, 8:00 PM, Casadesus Recital Hall, FREE Satur day, A pr il 2 4 ”  Master’s Rectal: Robert Muller, French hom, 3:00 PM, Casadesus Recital Hall, FREE Satur day, A pr il 2 4 ”  Master’s Recital: Julie Williams, soprano, 8:00 PM, Casadesus Rectal Hall, FREE Sunday, A pr il 25°” Wind Symphony, 3:00 PM —  FREE Anderson Center Chamber Hall Sunday, A pr il 2 5 ?  Piano Evtravaganm from the studio of Michael Salmirs, 7 :30 PM, Casadesus Redtal Hall, FREE Tuesday, Apr il 2 7 ”  Percussion Ensemble, 8:00 PM —  FREE Anderson Center Chamber Hall T hursday, A pr il 2 9 ”  Mid­bay Concert, 1 :20 PM —  FREE Casadesus Recital Hall T hursday, Apr il 2 9 ” '  Brass Studio Rectal, 8:00 PM —  FREE Casadesus Recital Hall Fr iday, A pr il 30°” Flute Studio and Flute Chamber Concert, 10:15AM, Casadesus Recital Hall, FREE Fr iday, A pr il 3 0 ”  Saxophone Studio Rectal, 4:00 PM – FREE Casadesus Recital Hall For ticket information, please call the Anderson Center Box Office at 777­ARTS To see all events, please visit music.binghamton.edu Became a fan on Facebook by visiting B“  ghamton University Music Department � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 53:25:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145264">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145264</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mid-day concert, April 22, 2010 Recital Tape 2010-4-22 Description An account of the resource Works by Handel, Mozart, Schubert, Hahn, Butterworth, Ravel. Held at 1:20 p.m., April 22, 2010, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Jacobsen, Cabiria Rozner, Raquel Sakamoto, Briana Kucera, Jana Groves, Jennifer Whitley, Julian Reitz, Margaret A. Collazos, Steven Mallinson, Chai-Kyou Lawson, William James Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2010-04-22 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound