108 10 1775 https://omeka.binghamton.edu/omeka/files/original/ff6722efdcdb9f8ad987c015bf6790fd.pdf 9eeae81cde13900bce5585004bbabed8 PDF Text Text BINGHAMTON U N I V E ..RS . I TY STATE UNIVERSITY OF NEW YORK UNIV ARC Recit c' l CD 009 4 2 SP C C THURSDAY MID-DAYCONCERT Thursday, April 2, 2009 1:20 p.m. Fine Arts Room 21 �Stoplist Wolff & Associes, opus VI (1972/2008) Grand Orgue (58 notes) 8' 8' 4' 4' 2'/IV 8' Montre Flûte à cheminee Prestant Flûte à fuseau f Doublette/F ourniture Trompette metal metal metal metal metal metal Récit (expressive) (58 notes) 8' 4' 2' 1 1/3' II 8' Bourdon Flûte à cheminee Doublette Larigot Nazard/Tierce Cromorne Tremblant wood metal metal metal metal metal Pédale (30 notes) 16' 8' 4' 16' 8' Bourdon Flûte ouverte . Prestant Trombone Trompette (extension of 16') wood metal metal wood metal �PROGRAM Prelude, Fuga and Ciacona in C major ... ...... .. .. ..Dietrich Buxtehude BuxWV 137 ( 1637-1707) Mark Rossnagel, organ Shepherds of Provence .............. ... ... ..... ... ....... ... ... ... Eugene Bozza ( 1905-1991) Maxwell Rosenberg, English horn John Lathwe/1, oboe Suite No. 1 in G major ... ...... ... ..... ...... .... ...... ... ..... .. ... ..... .. J. S. Bach BWV 1007 (1685-1750) Prelude Allemande Courante Sarah Sterling, viola Prelude and Fugue in C minor .. ... ... .... ... .... ....... ............... J. S. Bach BWV 549 (1685-1750) Prelude in G major.... .... ..... ...... .. ... ... ..... ..... ......... Felix Mendelssohn (1809-1847) Jieun Jang, organ Green Finch and Linnet Bird ........ .. .. ...... ..... .... ... Stephen Sondheim . from "Sweeney Todd" (b. 1930) Take Me to the World from "Evening Primrose" On the Steps of the Palace from "Into the Woods" Briana Sakamoto, soprano William James Lawson, piano Fantasia and Fugue in C minor. ... .. .. ......... ..... .. ........... .. .. . J. S. Bach BWV 537 (1685-1750) Jonathan Biggers, organ �Binghamton University Music Department's UPCOMING EVENTS Thursday, April 1 6th Mid-Day Concert: 1 :20 PM - FREE Casadesus Recital Hall Saturday, April 18th Clarinet Studio Recital, 3:00 PM - FREE Casadesus Recital Hall Saturday, April 18thBrahms'REQUIEM with the Binghamton Phi/harmonic Orchestra and the University Chorus, 8:00 PM, Osterhout Concert Theater; for tickets, call the Binghamton Phi/harmonic at 723-3931 Sunday, April 19th Master's Recital: Stephanie Lehman,percussion, Casadesus Recital Hall, 3:00 PM, FREE Sunday, April 19th For Slava: A concert remembering the great Russian cellist, Rostropovich (Stephen Stalker & friends), 7:30 PM, $$, Casadesus Recital Hall Tuesday, April 21st String Department Recital, 8:30 PM - FREE, Casadesus Recital Hall Thursday, April 23rd Jazz Mid-Day Concert with Sherrie Maricle, 1 :20 PM - FREE, Osterhout Concert Theater Thursday, April 23rd Harpur Jazz Ensemble Concert with Guest Artist, Sherrie Maricle, 8:00 PM, $$, Osterhout Concert Theater Saturday, April 25th Honor's Recital: Elizabeth Sterling, violin and voice, Casadesus Recital Hall, 3:00 PM, FREE Saturday, April 25th Junior Recital: Briana Sakamoto, soprano, Casadesus Recital Hall, 7:00 PM, FREE For ticket information, please call the Anderson Center Box Office at 777-ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 47:55 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149069">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149069</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 Thursday mid-day concert, April 2, 2009 Recital Tape 2009-4-2 Description An account of the resource Works of Buxtehude, Bozza, Bach, Mendelssohn, Sondheim. Held at 1:20 p.m., April 2, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Rossnagel, Mark Rosenberg, Maxwell Lathwell, John Sterling, Sarah Jang, Jieun Sakamoto, Briana Lawson, William James Biggers, Jonathan Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-04-02 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/024c718f38e9405207a4795497277454.pdf 5c18c6c3daa0e9edbc154fd769587104 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 o d e [4 D E P A R T M E N T T HURSDAY M I D ­ D AY C   ONCERT —  — &  A Y Se  ge T h u r s d a y, A   p r i l 1  6 .  2 0 0 9 1 : 2 0  p .1In. Casadesus D e c i t a l  H a l l �PROGRAM PROGRAM TRANSLATIONS Concerto for Vibraphone and Orchestra....................Ney Rosauro (b. 1952) Movement 1 Stephanie Lehman, vibraphone Margaret Reitz, piano Arabesque No. 1  Claude Debussy (1862­1918) arr. Gaston Choisnel (1857­1921) Valse (La plus que lente)  Claude Debussy (1862­1918) arr. Léon Roques (1839­1923) Elizabeth Sterling, violin from Long Pond Revisited.................... poems by C.G.R. Shepard 1. I Looked for Reasons 2. The Pond Seems Smaller Lori Laitrnan (b. 1955) Timothy LeFebvre, baritone Stephen Stalker, cello Mandoline, Op. 58, No. 1...  . Au bord de l’eau, Op. 8, No. 1 Les berceaux, Op. 23, No. 1 Chanson d’amour, Op. 27, No. 1 . Gabriel Fauré (1845­1924) Mandoline Text: Paul Verlaine (1844­1896) The givers of serenades And the lovely listeners Exchange insipid words Under the singing branches. There’s Thyrsis and there’s Amyntas, And there’s the eternal Clytander, And there’s Damis who, for many a Cruel woman, wrote many a tender verse. Their short coats of silk, Their long dresses with trains, Their elegance, theirjoy And their soft blue shadows Whirl in the ecstasy Of a moon pink and grey, And the mandolin prattles Among the shivers of the breeze. Au bord de I’eau Text: René Francois Armand Sully­ Prudhomme (1839­1907) Briana Sakamoto, soprano William James Lawson, piano Nuit d’étoiles.. Les cloches Romance Beau Soir C’est I’extase langoureuse L’ombre des arbres Mandoline Claude Debussy (1862­1918) To sit, us two, at the edge of the stream that passes to watch it pass; Us two, if a cloud glides by in the sky, to watch it glide; On the horizon, if a thatched roof smokes, to watch it smoke; Around us, if a flower imbues the air, to be imbued; Elizabeth Sterling, soprano Chai­Kyou Mallinson, piano Suite No. 1 in G Major, BWV 1007.. Sarabande Menuet I and I I Gigue .Johann Sebastian Bach (1685­1750) Sarah Sterling, viola To  hear, at the foot of the willow where the water murmurs, the water murmuring; Not to feel, as long as this dream lasts, The passage of time; But, bringing no deep passion but to adore one another, With no worry of the world’s quarrels, to ignore them; And alone, us two, before all that causes weariness, without wearing, To  feel love (before all things that pass away) not passing away! Les berceaux (The cradles) Text: Sully­Prudhomme All along the port, the big ships That the swell sways in silence, Pay no regard to the cradles That the hands of women rock. But it will come, the day of goodbyes, As it is necessary that women weep, And that curious men Try the horizons that lure them! And that day, the big vessels, Fleeing the vanishing port, Feel their bulk held back By the soul of the distant cradles. Chanson d’amour (Song o f  love) Text: Paul Armand Silvestre (1837­1901) I love your eyes, I love your forehead, O my rebel, o my fierce one, I love your eyes, I love your mouth Where my kisses will exhaust themselves. I love your voice, I love the strange Grace of all that you say, O my rebel, 0 my dear angel, My hell and my paradise! I love all that makes you beautiful, From your feet to your hair, O you, toward whom my wishes rise, O my fierce one, o my rebel! �Gomi  vents S a t u r d a y,  A p r i l 1  8 ” C   larinet Studio Recital, 3:00 PM – FREE Casadesus Recital Hall Satu rday,  A p r i l 1  8 ”  Brahms’REQUIEM with the Binghamton Philharmonic Orchestra and the University Chorus, 8:00 PM, Osterhout Concert Theater; for tickets, call the Binghamton Philharmonic at 723­3931 Sunday, A p r i l 1  9°" Master’s Recital: Stephanie Lehman, percussion, Casadesus Recital Hall, 3:00 PM, FREE Sunday, A p r i l 1  9°" For S/a va: A concert remembering the great Russian cellist, Rostropovich (Stephen Stalker & friends), 7:30 PM, $$, Casadesus Recital Hall Tuesday, A p r i l  21% String Department Recital, 8:30 PM —  FREE, Casadesus Recital Hall Th u r s d ay,  A p r i l  2 3 ” J azz Mid­Da y Concert with Sherrie Maricle, 1:20 PM – FREE, Osterhout Concert Theater Th u rs day,  A p r i l  23™ Harpur Jazz Ensemble Concert with Guest Artist, Sherrie Maricle, 8:00 PM, $$, Osterhout Concert Theater Sa tu r d ay,  A p r i l  2 5 ”  Honor’s Recital: Elizabeth Sterling, violin and voice, Casadesus Recital Hall, 3:00 PM, FREE Sa tu r d ay,  A p r i l  25%" Junior Recital: Briana Sakamoto, soprano, Casadesus Recital Hall, 7:00 PM, FREE S u n d ay,  A p r i l  2 6 ”  University Wind Symphony, 3:00 PM, FREE Anderson Center Chamber Hall S u n d ay,  A p r i l  2 6 ”  Master’s Recital: Susan Amisano, soprano, Casadesus Recital Hall, 3:00 PM, FREE S u n d ay,  A p r i l  2 6 ”  Honor’s Recital: Sarah Sterling, viola, Casadesus Recital Hall, 7:30 PM, FREE For ticket information, please call the Anderson Center B ox  O ffice at 7 77­ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 56:44 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149063">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149063</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thursday mid-day concert, April 16, 2009 Recital Tape 2009-4-16 Description An account of the resource Works of Rosauro, Debussy, Laitman, Fauré, Bach. Held at 1:20 p.m., April 16, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Lehman, Stephanie Reitz, Margaret Sterling, Elizabeth LeFebvre, Timothy Stalker, Stephen Sakamoto, Briana Lawson, William James Mallinson, Chai-Kyou Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-04-16 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/5d15880ece312474a9b984cdcc5e2d6e.pdf 22d6a4d9cd614c09214525febae4e2e2 PDF Text Text BINGHAMTON U N I V E R S I T Y State University of  New York d e c [4 E P C L A R I N E T  STUDIO S P R I N G  RECITAL with Margaret Reitz, pia no Saturday, April 18, 2009 3:00 p.m. Casadesus Recital Hall A �PROGRAM Divertimento  “Don Giovanni,”  Wolfgang Amade us Mozart KV 527..  .....................................(1756­1791) Aria “Madamina, il catalogo e questo Duettino “La ci darem la mano” Sarah Fenster, clarinet Kyle Doyle, clarinet Brianna Palisi, bass clarinet II. Vivo e giocoso  7 M 1 k l ..  Wolfgang Amade us Mozart from Serenade for Wind Instruments, K. 361  (1756­1791) Roy Douglas, arr. Mark DelloStritto, clari net Margaret Reitz, piano Quartett “Ri posate vezzose ragazze” Sonatina, Op. 2 Minuet and Trio  Concerto No. 1  II. Adagio ma non troppo  o s Rozsa   (1907­1995) cessseenennsens  Carl Maria von Weber (1786­1826) James Wu, clarinet Margaret Reitz, piano Gregg Ackerman, clarinet Menuett... .. Friedrich Kuhlau (1786­1832) Forrest L. Buchtel, arr. Stephen Collins, clarinet Margaret Reitz, piano Andante  .. Charles Bochsa from Quartet No. 1 for clarinet and string trio  (1789­1856) Jin Kim, clarinet Margaret Reitz, piano Variations on “Ah, Vous  ..  .. Wolfgang Amadeus Mozart “Dirai­je, Maman, ” KV 265 (300e)  (1756­1791) Roger Garrett, arr. Sarah Fenster, clarinet Kyle Doyle, clarinet Abby Cohen, clarinet Brianna Palisi, bass clarinet Concert Piece No. 2 in D Minor, Op. 114  I.  Presto  II.  Andante III. Allegretto grazioso Gregg Ackerman, clarinet James Wu, clarinet Margaret Reitz, piano Felix Mendelssohn (1809­1847) �ABOUT THE PERFORMERS Sarah  Fenster,  Kyle  Doyle,  Brianna  Palisi,  Jin  Kim,  James  Wu, Gregg  Ackerman,  Stephen  Collins,  Mark  DelloStritto,  and  Abby Cohen  are  clarinet  students  under  current  study  with  SARAH CHANDLER,  clarinetist,  with  the  Department  of  Music  at Binghamton University. MARGARET (PEJ) REITZ, pianist, is a native of the Binghamton Area.  She received her Bachelor and Master of Music degrees in piano  performance  with  accompanying  emphasis.  She  attended Boston  University,  New  England  Conservatory  and  Binghamton University.  Pej  has  studied  piano  with  Jean  Casadesus,  Victor Rosenbaum,  Seymour  Fink  and  Walter  Ponce  and accompanying with  Allen  Rogers.  She  has accompanied  throughout  the  United States, in England, South America, and at the American Institute of Musical Studies in Graz, Austria.  She and Binghamton University faculty  mem ber  Timothy  Perry  were  winners  of  the  Artistic Ambassadors Program by the United States Information Agency in partnership  with  the  John  F.  Kennedy  Center  for the  performing arts. Pej has been on the  faculty at Binghamton University since  1991 and Ithaca College  School of Music since  1999.  She maintains a private piano studio in Vestal, New York.  She is on the Executive Board  of the  New  York  District  MTNA organization, and  she  is President of the local District VII Music Teachers Association and is an active adjudicator for the National Piano Guild Organization. � 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.) 41:43 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE151159">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE151159</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 Clarinet studio spring recital: with Margaret Reitz, April 18, 2009 Recital Tape 2009-4-18 Description An account of the resource Works of Mozart, Rózsa, Kuhlau, von Weber, Mendelssohn. Held at 3:00 p.m., April 18, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Reitz, Margaret Fenster, Sarah Doyle, Kyle Palisi, Brianna Ackerman, Gregg Collins, Stephen DelloStritto, Mark Wu, James Cohen, Abby Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-04-18 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/cde746a66fe1c4e55bd6cd9fd705aeac.pdf 6d7b7f033d4ea7d50f903f2478a0982a PDF Text Text BINGHAMTON B N I  Y 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  yC dee [4 D  E  P  A  R  T  M  E  N  T F o r  Slava: Remembering th e G reat Russian Cellist, Mstislav Rostropovich (1927­2007) Stephen Stal ker, cello Michael Salmirs, piano Ma ry Burgess, soprano Patricia Sunwoo, violin Sunday, April 19, 2009 7:30 PM Casadesus Recital Hall �ABOUT T H E  PERFORMERS STEPHEN STALKER, cellist, teaches at Binghamton  University. He formerly  taught  at  Colgate  University,  Mansfield  University,  Ithaca College and the Binghamton City School District. He was the principal cellist  of  the  Cayuga  Chamber  Orchestra  in  Ithaca,  NY,  and  has PROGRAM Suite for Cello, Op. 72 for solo cello Canto Primo:  Sostenuto e largamente Fuga:  Andante moderato Lamento:  Lento rubato Canto secondo:  Sostenuto Serenata:  Allegretto (pizzicato) Marcia:  Alla  marcia moderato Canto terzo:  Sostenuto Bordone :  Moderato quasi recitativo ..Benjamin Britten (1913­1976) 5 l Moto pepetuo e Canto q uarto :  Presto Seven Poems of Alexander Blok................ for soprano, violin, cello and piano Ophelia ’s Song Hamayun, the Prophetic Bird We Were Together l Dmitry  Shostakovich (1906­1975) l l The City is Asleep The Storm Secret Signs Music WINTERMISSION3 Sonata in C Major for cello and piano Andante Grave,  Moderato animato Moderato,  Andante dolce Allegretto ma non troppo,  Andantino v Sergey Prokofiev (1891­1953) performed extensively  with  the Catskill  Chamber  Players  of Oneonta, NY,  and  in  concerts at  Binghamton  University.  Performing  with  the Catskill Chamber Players he has presented Meet the Composer concerts with  prominent  American  composers  including  John  Cage,  Virgil Thomson,  Lou  Harrison  and  George  Crumb.  The  Chamber  Players appeared at  Weill Recital Hall,  premiering a set of four string quartets by Henry Brant. With violinist, Janet Brady, and pianist, Walter Ponce, he performed the complete Beethoven Trio cycle at SUNY­Binghamton. He performed with Solisti New York on their Alaskan cruise of the Inner Passage from Vancouver to Juneau. As a member of the Madison String Quartet, he was a finalist in th e Naumberg Chamber Music Competition in  New  York  City  and  the  Evian  International  String  Quartet Competition  in  Evian,  France.  He  has  performed  in  many  recital appearances with  pianist, Michael Salmirs. He  performs regularly with the Trio Amici, Trilogy, Baroque  ‘n Blue, Early On and in concerts at Binghamton University.  He is a past president of the New York State Chapter of the American String Teachers: Association and was Strings Chair for the New York State School Music Association.  He is a founder of the Southern Tier Music Teachers Association and the  Binghamton Cello  Festival. He is a graduate of the Manhattan School  of Music in New York City. Pianist MICHAEL SALMIR S, a founding member and artistic director of the Finger Lakes Chamber Ensemble, is well known as a recitalist and chamber  musician.  He  has  appeared  as  soloist  with  the  Corning Philharmonic,  Binghamton  University  Orchestra,  Cayuga  Chamber Orchestra, and is frequently a featured pianist on their Sunday Chamber Series. In  addition  to performing most of the standard  chamber music repertoire  for strings and  piano, he has  premiered  numerous solo and chamber works, and recently gave the world premieres of David Liptak ’s and  Marek  Harris’  Piano  Quintets.  He  has  also  participated  in  such contemporary music  series as Binghamton  University’s  Musica  Nova, Cornell  University’s Ensemble X, Ch iron, and has toured and recorded for the Syracuse Society for New Music. MARY BURGESS, soprano, a graduate of the Curtis Institute of Music, has been a member of the Binghamton University voice facu lty for over twenty years.  Ms. Burgess made her U. S. operatic debut with New �PROGRAM NOTES York  City  Opera  while  still  a  student  at  the  Curtis  Institute,  and subsequently appeared with  Santa Fe Opera, Washington Opera, New Orleans  Opera,  Nevada  Opera,  and  many  other  regional  companies including Tri­Cities Opera in Binghamton.  Her European operatic debut was at the Holland Festival in Amsterdam; she has also performed at the Spoleto  Festival  in  Italy,  at  the  Theatre  Royale  de  la  Monnaie  in Brussels, and with Dublin Grand Opera.  Burgess has appeared as soloist with  more  than  two  dozen  U.  S.  orchestras,  including  the  Boston Symphony (with Seiji Ozawa), Cleveland Orchestra (with Lorin Maazel, Eduardo Mata), Chicago Symphony (Sir Simon Rattle), and Cincinnati Symphony (Klaus Tennstedt, James Conlon).  She has been a frequent guest  at  such  prestigious  festivals as  Marlboro,  Monadnock,  Ravinia, Aspen, Blossom, Casals, Chautauqua, and the Cincinnati  May Festival. Her repertory of forty roles in  five languages ranges from  Monteverdi and  Cavalli  to  Britten  and  Virgil  Thomson.  Her  performances  of Britten’s  Les  Illuminations  and  Mahler ’s  Symphony  No.  2  with  the Omaha Symphony were filmed for broadcast by Nebraska ETV.  She has recorded for Columbia, Masterworks, CRI, Sony Classical, and Telarc. PATRICIA SUN WOO, violinist, winner of the 1998 Naumburg Award as a member of the Whitman String Quartet, has performed across the United States and Europe to critical acclaim.  For five years she was on faculty at Binghamton University.  Ms. Sunwoo currently tours with the Bard  Festival  String  Quartet,  and  is  a  member  of  the  Rochester Philharmonic Orchestra and the Finger Lakes Chamber Ensemble.  She also directs the Chamber Music Connection  program at the  Hochstein School of Music and Dance.  She spends the rest of her days with  her husband  David  Brickman, and enjoying her daughters Claire (12) and Lillian (2). oS  én Mstislav  Rostropovich  (1927­2007),  known  as  Slava  to  a  wide circle  of friends, is widely regarded as the greatest cellist of the twentieth century.  His fame rests not just on his musicianship and his  association  with  major  composers  (he  commissioned  and premiered over one hundred works) but for his championship of human freedom.  His support of Alexander Solzhenitsyn won him the 1974 award from the International League of Human Rights ­ a stance  which  propelled  him  into  exile.  He  later  wrote  “When Leonid Brezhnev stripped us of our citizenship in 1978, we were obliterated.  My  wife  [the  Bolshoi  Opera  soprano  Galina Vishnevskaa]  and  I  were  cut  out  of  photographs  and  history books.”  His citizenship was restored in  1990,  long after he had become an American citizen.  Born in Baku in the Soviet Republic of Azerbaijan in 1927, he came from a musical family.  His father and  grandfather  were  eminent  cellists.  A  gifted  youngster,  he entered  the  Moscow  Conservatory  at  the  age  of  16.  He  soon embarked on a long and highly successful career as a performer, teacher, and from 1 977 to 1994, the Music Director of the National Symphony in Washington, D.C.  In addition to being a great cellist and a conductor, Rostropovich was also a fine pianist who often accompanied his wife in recitals.  He had an astonishing memory. In  whatever  medium  he  performed­­­soloist,  conductor, accompanist­­­he never used a score. This evening’s recital presents important works from three famous com posers o f the twentieth century : two were Russian and one was British.  The circumstance that brought together composer and performer was different for each work as is noted in our brief description  of each  composition.  Each  situation  resulted  in  a major addition to the cello repertory and a new level of enjoyment for the modern audience.  The composer, knowing he is writing for one o f the century’s great virtuosos, creates a  work that displays the virtuoso’s abilities­­­flatters him, indeed!­­­and the new piece becomes  a  challenge  attainable  by  only  the  most  capable performers. In  the  early  1940s,  the  young  student  Rostropovich  had been lucky enough to gain a much­coveted place in Shostakovich’s orchestration class, thus beginning a lifetime association between the famous composer and his talented student.  The Seven Verses �of Aleksander Blok grew out of a request in  1968 from Mstislav and Galina  for a set of vocalizes for voice and cello.  The first verse, “Ophelia’s Song ” is indeed for voice  and cello.  “You see, Slava, I tried to satisfy your request, but whe n I started writing the second movement with a whacking pizzicato in the cello, I realized I  didn’t  have  enough  instruments.”  ­  with  that  comment  the composer explains his reason for adding violin  and piano to the ensemble.  The  verses  of  the  symbolist  poet  Alexander  Blok (1880­1921)  concern  troubled  nights,  sleep,  a  storm,  and  the importance of music.  The first three verses are for voice and one instrument, verses fou r and five use two in struments, and verses six and seven call for the full ensemble.  The first five songs are intimate  and  pensive;  the  last  two  are  powerful,  indeed  almost strident. In  December  1948,  Rostropovich  gave  the  first performance  of a  new sonata  for  cello  by  Myaskovsky.  The composer came backstage with his friend, Sergei Prokofiev (1891­ 1953), who  told Rostropovich  “I want to write a sonata for you.” As soon as he had finished the work, the Cello Sonata, op. 119,  he invited the young cellist to his dacha near Moscow.  Rostropovich later recounted this experience: I had prepared the sonata well and had also learned the piano part from memory.  By now Prokofiev no longer played the piano so well, and when we read through the sonata I was amazed that he had managed to forget his own music so quickly.  He played as if he was sight­ reading!  I went so far as to  correct  him  when  he  played  some  wrong  notes.  At  this  he turned to me: “Young man, who wrote this work, you or me?”  He suggested that I play t he sonata with [the gr eat pianist] Sviatoslav Richter,  thereby  giving  his  blessing  to  the  start  of  my  duo relationship with ‘Teofilovich"‘ The sonata, equally  demanding  for  cellist  and  pianist,  is cheerful and tuneful, with a decided change in the third movement which  has a more somber undertone.  One  reviewer succinctly described  the  work  as  sensuous  in  the  first  movement,  full  of mischief and mirth in  the second movement, and enigmatic in the closing  movement.  The  premier  performance  took  place  in Moscow in 1949,  played by Rostropovich and Richter. Benjamin  Britten  (1913­1976)  was  introduced  to Rostropovich  by Shostakovich at the Edinburgh Festival in 1960. Britten  said  he’d  never  heard  such  cello  playing.  A  warm friendship  developed.  Britten, a formidable  pianist, was also  a violist  who  knew  how  to write  for  strings.  His  first work  for Rostropovich, a sonata, greatly impressed t he cellist.  In  1964, a series  o f  am using  events  for  com pose r  a n d  pe rform e r,  too complicated  to  be  described  in  these  brief notes, culminated  in Britten’s  signing a  mock  contract on the  corner o f a  restaurant menu in which he prom ised to write six suites for cello.  Obviously. the  promised  composition  was also  to  be  an  homage  to  Bach’s great six suites for unaccompanied cello.  The composer lived only long enough to complete three of the suites.  Rostropovich argued that no other com pose r understood th e nature o f  string playing so well.  The three suites for cello display innovations in instrumental writing such as presenting two separate melodic  lines in  double­ stops.  Each suite includes a fugue. a tribute to the fu gue writing in  Bach’s  Well­Tempered  Clavier.  In  fact,  there  is  a  clear similarity  between  Britten’s  fugue  in  the  first  Suite  and  the  C major fugue in Volume One of the Bach work. The Bach cello suite consists of a Prelude followed by five baroque Dances.  Britten’s suite structure has six basic movem ents framed  by  a  Canto  which  appears  three  times  among  the movements  and  again  at  the  close.  Within  the  Canto there  is emphasis on an ascend ing scale pattern (E F sharp G A B) which is heard  in  many  guises  throughout  the  work.  Britten  notated dynamics and  phrasing  precisely  and  yet,  because  much  of the music  is  non­metrical (bar len gths vary), the performance yields the spontaneity of an  improvisation.  The  Suite  no. 1,  op. 72, written  in  1964, was  first  performed  by  Rostropovich  at the Aldeburgh Festival in June of 1965. Harry B. Lincoln �Coming ‘Crents Saturda y, A p r i l  2 5% Honor’s Recital: Elizabeth Sterling, violin and voice, Casadesus Recital Hall, 3:00 PM, FREE Saturda y, April 2 5 ” J unior Recital: Briana Sakamoto, soprano, Casadesus Recital Hall, 7:00 PM, FREE ) i t   niversity Wind Symphony, 3:00 PM, FREE Sunday,  April 2 6 ” U Anderson Center Chamber Hall ecital: Susan Amisano, soprano,   Sunday,  A p r i l  2 6 ” Master’s R Casadesus Recital Hall, 3:00 PM, FREE cital: Sarah Sterling, viola,   S u n d a y,  A p r i l 2  6 ” Honor’s Re Casadesus Recital Hall, 7:30 PM, FREE Tuesday, April 2 8 ” F n‘edheim Memorial Lecture/Recital: Audible Processes – Minimalism and Beyond, Casadesus Recital Hall, 8:00 PM, $ $ Thursda y, April 30°" Mid­Day Concert, 1:20 PM ­ FREE Casadesus Recital Hall Friday, May 1°" Flute Studio and Flute Chamber Concert; 10:15 AM, Casadesus Recital Hall, FREE Recital: Griffin Sargent. violin,   Friday, May 1 ° Student  Casadesus Recital Hall, 8:00 PM, FREE Saturda y, May 2  Master’s Recital: Sung Jin Park, soprano, Casadesus Recital Hall, 3:00 PM, FREE Saturda y, May 2  Student Recital: Laura MacAvoy and Chelsea Pace, sopranos, Casadesus Recital Hall, 8:00 PM, FREE   niversity Symphony Orchestra “Fantastique!” Saturda y, M a y  2 ™ U Osterhout Concert Theater, 8:00 PM, $$ For ticket information, please call the Anderson Center  B ox O ffice at 777­ART S. i l � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:14:32 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE151156">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE151156</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 For Slava: remembering the great Russian cellist, Mstislav Rostropovich, April 19, 2009 Recital Tape 2009-4-19b Description An account of the resource Held at 7:30 p.m., April 19, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Stalker, Stephen Salmirs, Michael Burgess, Mary Sunwoo, Patricia Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-04-19 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/c44efcf3d8116fec38fe73ef197aa264.pdf 881b5a92509872628b2f5a6215843e55 PDF Text Text BINGHAMTON UNIVERSI TY STATE UNIVERSITY OF NEW YORK featuring Sherrie Maricle, Drum Set Jennifer Leitham, Bass with Mike Carbone, §axophone and Flute Bill Carter, Piano CamilleThurman, Tenor Saxophone Al Hamme,Alto Saxophone Thursday,April23, 2009 I :20 p.m. Osterhout Concert Theater Co-sponsored by the Department of Music and the Harpur .Jazz Ensemble �PROGRAM The program today will be selected from the following and announc ed from the stage: All Bets Are Off.... ... ........... ... ... .. ... .... .... .. ...... .. ..... ..... . Bill Carter Beat the Meatles .... ..... ..... ........ ... ... ................. Jennifer Leitham Room 777 ........ .......... .. .. .................... ........ .... ..... Sherrie Maricle Take Ten ....................... .......... ........ ...... .............. Paul Desmond arr. by Bill Carter Take Your Pick .. .. .. ..... .. ................ ...... ....... ...... . by Hank Mobley arr. by Don Sickler The Preacher .. .. .......... .. ................. .. .. ............. .. .... Horace Silver arr. by Al Hamme Sherr ie Maricle: drum set Jenni fer Leitha m: bass Bill Carter: piano Al Hamme : alto saxophone Mike Carbone: saxophones & flute Camille Thurman: tenor saxophone �•·ABOUT THE PERFORM ERS SHERRIE MARICLE is not only a jazz artist and composer, but a teacher and music director as well. From the drum set, Maricle leads her big band The DIVA Jazz Orchestra and her quintet AVE PLAY. From carnegie Hall, she performs with The New York Pops and is also the orchestra's Director of Education. As a music director, Maricle works with acclaimed Broadway star Maurice Hines. As a teacher she runs a private drum set and percussion studio and is also a conductor for The New York Summer Festival. She is also a busy freelance performer and a published composer/arranger in both the classical and jazz mediums. With The DIVA Jazz Orchestra and FIVE PLAY she has performed at many of the world's most acclaimed music venues including: carnegie Hall, Lincoln Center, Tanglewood, the Kennedy Center, the Hollywood Bowl, and major jazz festivals throughout the United States and abroad. DIVA has been featured on CBS Sunday Morning with Charles Osgood, as well as numerous times on CNN Arts Break, and it was highlighted on The 25th Anniversary of the Kennedy Center Television Special and the NHK (Japan) Network's New York Jazz. Most recently DIVA is prominently featured in a documentary film entitled The Girls in the Band, scheduled for a 2009 premier. JENNIFER JANE LEITHAM has been referred to by noted jazz critic Leonard Feather as the "left-handed virtuoso of the upright bass." In addition to her successful performance career, Leitham has appeared on over 100 recordings with some of the giants of jazz music. In addition, she has recorded 7 highly acclaimed CDs of her own. Leitham is best known for her decade long stints with both Mel Torme and Doc Severinsen. She has appeared with many distinguished artists including Woody Herman, George Shearing, Gerry Mulligan, Peggy Lee, Joe Pass, Cleo Laine, Louie Bellson, Pete Rugolo, Bill Watrous, and numerous others. She has also been a member of the Tonight Show All-Stars, The Woody Herman Thundering Herd, Benny carter Quintet, Bob Cooper Quartet, DIVA, and more. A highly regarded educator, she is enthusiastically received as a presenter of workshops and clinics at schools and colleges around the country, and has joined the faculty at California State University Long Beach as a Studio Artist. MICHAEL J. CARBONE, director, is a native of Utica, New York. He moved to the Binghamton area in 1981 and is an instrumental music teacher in the Johnson City School district where he is Director of Concert Band and Jazz Ensemble at the middle school. He joined the Binghamton University music faculty in 1997 and serves as the Director of the Jazz Studies Program and a Director of the Harpur Jazz Ensemble. He holds a B.M.E. from the Crane School of Music and a M.M. from Binghamton University. Carbone has performed with many well-known artists including Al Marino, Natalie Cole, Tommy Tune, Mel Torme, The Jimmy Dorsey Orchestra, Danny D1mperio's Big Band Bloviation, the Central New York Jazz Orchestra, and The Temptations. �THE HARPUR JAZZ ENSEMBLE The Harpur Jazz Ensemble studies and performs big-band repertoire and appears frequently on and off campus. Guests who have appeared in concert with this popular ensemble indude, among others, Clark Terry, "Slam" Stewart, Manny Albam, Urbie Green, Frank Wess, Phil Woods, Jimmy Owens, Marian McPartland, Steve Brown, Mel Lewis, Slide Hampton, Peter Appleyard, John Faddis, Rufus Reid, Houston Person and Walter White. Binghamton University Music Department's UPCOMING EVENTS Saturday, April 25th Honors Recital: Elizabeth Sterling, violin and voice, casadesus Recital Hall, 3:00 PM, FREE Saturday, April 25th Junior Recital: Briana Sakamoto, soprano, casadesus Recital Hall, 7:00 PM, FREE Sunday, April 26thUniversity Wind Symphony, 3:00 PM, FREE Anderson Center Chamber Hall Sunday, April 26thHonors Recital: Sarah Sterling, viola, casadesus Recital Hall, 7:30 PM, FREE Tuesday, April 28th Friedheim Memorial Lecture/Recital: Audible Processes - Minimalism and Beyond, Casadesus Recital Hall, 8:00 PM, $$ Thursday, April 30thMid-Day Concert, 1 :2Q PM - FREE casadesus Recital Hall Friday, May 1stFlute Studio and Flute Chamber Concert, 10:15 AM, casadesus Recital Hall, FREE Saturday, May 2ndMasters Recital: Susan Amisano, soprano, casadesus Recital Hall, 8:00 PM, FREE For ticket information, please call the Anderson Center Box Office at 777-ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 45:29 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152254">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152254</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 Harpur Jazz Ensemble featuring Sherrie Maricle and Jennifer Leitham, April 23, 2009 Recital Tape 2009-4-23 Description An account of the resource Works of Carter, Leitham, Maricle, Desmond, Mobley, Silver, Pediford. Held at 1:20 p.m., April 23, 2009, Osterhout Concert Theater. Creator An entity primarily responsible for making the resource Carbone, Mike Carter, Bill Thurman, Camille Hamme, Al Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-04-23 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/9d6d02a52616a0b155cf56545cd9c0fc.pdf a9a00871db5eeecbf67149087bbde54f PDF Text Text BINGHAMTON U NI VE R SITY STATE UNIVERSITY OF NEW YORK usi DEPARTMENT HARPUR JAZZ ENSEM BLE MICHAELCARBONE, DIRECTOR featuring Sherrie Maricle, Drum Set Jennifer Leitharn. Bass Thursday, April23, 2009 8:00 p.m. Osterhout Concert Theater Co-sponsored by the Department of Music and the Harpur Jazz Ensemble �PROGRAM Put It Right Here ..................................................... Louis Be/Ison arr. by Sammy Nestico The Jody Grind ....................................................... Horace Silver arr. by John Clayton Don't Know Why ..................................................... Jessie Harris arr. by Paul Murtha Mosaic............................................ ........................... Bob Mintzer I Said No ........................................... Frank Laesser & Julie Styne Transcribed by Jon Harpin Goodbye Pork Pie Hat........................................... Charles Mingus arr. by Sy Johnson John Brown's Other Body. ............................................John Oddo INTERMISSION The second half of the program will be selected from the following compositions. All selections feature guest artist Sherrie Maricle on percussion and Jennifer Leitham on bass. Caravan ....................................................................... Juan Tizol arr. by Michael Abene Ding Dong .............................................. arr. by Tommy Newsom Lefty Leaps In .................................................... Jennifer Leitham arr. by Scott Whitfield Put A Little Love In Your Heart. ...................... arr. by John Martino Slambo ............................................................... Peter Appleyard arr. by Sherrie Maricle Stick It In Your Ear ............................................ Jennifer Leitham arr. by Scott Whitfield �ABOUTTHEPERFORMERS SHERRIE MARICLE is not only a jazz artist and composer, but a teacher and music director as well. From the drum set, Maricle leads her big band The DIVA Jazz Orchestra and her quintet FIVE PLAY. From Carnegie Hall, she performs with The New York Pops and is also the orchestra's Director of Education . As a music director, Maricle works with acclaimed Broadway star Maurice Hines. As a teacher she runs a private drum set and percussion studio and is also a conductor for The New York Summer Festival. She is also a busy freelance performer and a published composer/arranger in both the classical and jazz mediums. With The DIVA Jazz Orchestra and FIVE PLAY she has performed at many of the world's most acclaimed music venues including: Carnegie Hall, Lincoln Center, Tanglewood, the Kennedy Center, the Hollywood Bowl, and major jazz festivals throughout the United States and abroad. DIVA has been featured on CBS Sunday Morning with Charles Osgood, as well as numerous times on CNN Arts Break, and it was highlighted on The 25th Anniversary of the Kennedy Center Television Special and the NHK (Japan) Network's New York Jazz. Most recently DIVA is prominently featured in a documentary film entitled The Girls in the Band, scheduled for a 2009 premier. JENNIFER JANE LEITHAM has been referred to by noted jazz critic Leonard Feather as the "left-handed virtuoso of the upright bass." In addition to her successful performance career, Leitham has appeared on over 100 recordings with some of the giants of jazz music. In addition, she has recorded 7 highly acclaimed CDs of her own. Leitham is best known for her decade long stints with both Mel Torme and Doc Severinsen. She has appeared with many distinguished artists including Woody Herman, George Shearing, Gerry Mulligan, Peggy Lee, Joe Pass, Cleo Laine, Louie Bellson, Pete Rugolo, Bill Watrous, and numerous others. She has also been a member of the Tonight Show All-Stars, The Woody Herman Thundering Herd, Benny Carter Quintet, Bob Cooper Quartet, DIVA, and more. A highly regarded educator, she is enthusiastically received as a presenter of workshops and clinics at schools and colleges around the country, and has joined the faculty at California State University Long Beach as a Studio Artist. He moved to the Binghamton area in 1981 and is an instrumental music teacher in the Johnson City School district where he is Director of Concert Band and Jazz Ensemble at the middle school. He joined the Binghamton University music faculty in 1997 and serves as the Director of the Jazz Studies Program and a Director of the Harpur Jazz Ensemble. He holds a B.M.E. from the Crane School of Music and a M.M. from Binghamton University. Carbone has performed with many well-known artists including Al Marino, Natalie Cole, Tommy Tune, Mel Torme, The Jimmy Dorsey Orchestra, Danny D'Imperio's Big Band Bloviation, the Central New York Jazz Orchestra, and The Temptations. MICHAEL J. CARBONE, director, is a native of Utica, New York. �THE HARPUR JAZZ ENSEMBLE The Harpur Jazz Ensemble studies and performs big-band repertoire and appears frequently on and off campus. Guests who have appeared in concert with this popular ensemble include, among others, Clark Terry, "Slam" Stewart, Manny Albam, Urbie Green, Frank Wess, Phil Woods, Jimmy Owens, Marian McPartland, Steve Brown, Mel Lewis, Slide Hampton, Peter Appleyard, John Faddis, Rufus Reid, Houston Person and Walter White. The 2009 Spring semester includes the following ensemble personnel: BASS SAXOPHONES st Sam Smith Tyler Vallet Dan Fagen (1 alto) Nathan Rose (2 nd alto) Camille Thurman (1 st tenor) Jeremy Gold (2 nd tenor) Margaret Hager (Baritone Sax) Joseph Frasca Kevin Greer TRUMPETS DRUM SET Tomasz Falkowski Laura Kinne Drew Hanessian Kim Metaxas Alex Weiser Alex Gregorio GUITAR VIBRAPHONE & PERCUSSION Marc Silvagni PERCUSSION TROMBONES Nicholas Carter Reese Taylor Adrienne Victor Kevin Pinkel Stephanie Lehman FLUTE Stefanie DeVito CLARINET PIANO David Sa rd one Matt Austen Gabriel Luce VOCALISTS Liz Sterling Allie Metcalfe � 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.) 57:19 54:55 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152709">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152709</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 Harpur Jazz Ensemble, April 23, 2009 Recital Tape 2009-4-23b Description An account of the resource Works of Bellson, Silver, Harris, Mintzer, Loesser & Styne, Mingus, Oddo, Tizol, Newsom, Leitham, Martino, Appleyard, Leitham. Held at 8:00 p.m., April 23, 2009, Osterhout Concert Theater. Creator An entity primarily responsible for making the resource Carbone, Michael Maricle, Sherrie Leitham, Jennifer Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-04-23 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/4303848b30a5c5d04f39bef4bc6faa03.pdf 3bfcc4211e3ddc10e79215a08a63142d PDF Text Text BINGHAMTON U N I V E R S I .T Y usi DEPARTMENT BRIANA SAKAMOTO, SOPRANO JUNIOR RECIT AL WILLIAMJAMES LAWSON, PIANIST SATURDAY,APRIL 25, 2009 7/ P. . M. CASADESUS HALL �I. Selections from 26 Arie di Stile Antico ........................... Stefano Donaudy (1879-1925) l 1. Venuto èl'Aprile 2. Luoghi sereni e cari 3. Quando ti rivedrò 4. Ognun ripicchia e nicchia II. Selected lieder .......................................................................... Franz Schubert (1797-1828) 1. An die Musik, op. 88 no. 4 2. Auf dem Wasser zu singen, op. 72 3. Friihlingsglaube, op. 20 no. 2 III. Selected lieder.....:············································· Fanny Mendelssohn Hensel (1805-1847) 1. Verlust, op. 9 no. 10 2. Sehnsucht, op. 9 no. 7 3. Italien, op. 8 no 3 Intermission IV. HalfMinute Songs ......................................................... Carrie Jacobs Bond (1862-1946) 1. Making the Best of It 2. First Ask Yourself 3. To Understand 4. How to Find Success 5. The Pleasure of Giving 6. Answer the First Rap 7. A Good Exercise 8. A Present from Yourself 9. Now and Then 10. When They Say the Un-kind Things 11. Keep Awake 12. Doan' Yo' Lis'n V. Selected melodies ....................................................................... Gabriel Fauré (1845-1924) 1. Mandoline 2. Au bord de l' eau 3. Les berceaux 4. Chanson d'amour VI. Selected songs ................................................................... Stephen Sondheim (b. 1930) Green Finch and Linnet Bird (from Sweeney Todd) Take Me to the World (from Evening Primrose) On the Steps of the Palace (from Into the Woods) �Stefano Donaudy aspired to be a great opera composer, finding popular success in the genre from ·the age of 14. His composition teacher said he had an "effortless melodic spirit." Donaudy's operas did not endure at a time when the works of Verdi and Puccini dominated the operatic landscape, but his Arie di Stile Antico are now quite popular for recitalists. These pieces are in the traditional vein for which Donaudy is best known. Biographical material on the composer is strangely limited. We can only guess at the origins of the passionate intensity of his songs (giving some credit to Donaudy's Sicilian roots!), but, for whatever reason, they convey a tells of budding love l great generosity of heart and soul. Venuto è l'Aprile between mythical nymphs and wood spirits. The voice begins alone, followed by the piano in the same sprightly melody, and they seem to chase each other and dance, like the song's characters. Bittersweetly, Luoghi sereni e cari recalls youth and the pain of a first heartbreak. The accompaniment is at times wistful and music-box-like, and at other times swelling with more mature colors. A deeper, unresolved loss is mourned in the operatic Quando ti rivedro. The speaker asks when she will see her unfaithful lover again, but the music tells us that she knows he will not return. Ending the set with lighter fare, Ognun ripicchia e nicchia tells the familiar story of a promising date gone awry. When Franz Schubert was eight, he studied with organist Michael Holzer, who reportedly said, with tears in his eyes, ''Whenever I wished to impart something new to him, he always knew it already." Schubert is perhaps the Giant of German lieder. With astonishing speed he wrote hundreds of songs in addition to a myriad of other compositions in his short life. Everything in the gamut of emotional experience has probably been expressed in a Schubert song. Additionally, these musical gems evoke images and sensations of water, breezes, sunset, and the like. Schubert's idealism comes through in music that elevates the human experience. "The important elements of Schubert's character were a love of truth, and a marked hatred of jealousy, tenderness with firmness, sincerity and affection ... " These qualities are exemplified in An die Musik. This song is like a duet between the voice and the piano's melodic bass-line. Schubert wrote the last two songs in this set while struggling with illness and depression. Equivocation between minor and major in Auf dem Wasser zu singen expresses awe, sadness and ultimately joy in the face of life's ephemeral beauty and the speaker's own mortality. The speaker of Friihlingsglaube comforts her own "poor heart" and welcomes the promise of spring heralded by "gentle breezes." One supposes that the composition of such songs must have helped Schubert cope with his illness. After he died, his tomb was given Grillparzer's famous epitaph: "The art of music has entombed here a rich treasure but even fairer hopes." �Though Fanny Mendelssohn-Hensel displayed prodigious talent early on, her family strongly discouraged her pursuit of a musical career. She transferred much of her creative energy into advising her brother, Felix. Nonetheless, she composed prolifically, developing a distinct musical voice. In 1846, she summoned the courage to publish, announcing it in an apologetic letter to her brother, "I hope you won't think badly of me ... if the pieces are well liked and I receive additional offers ... it will be a great stimulus to me, something I've always needed in order to create ... " She died soon after. Today, the majority of her works remain in family archives, unavailable to performers and listeners. These three songs represent some of her great emotional range, and ability to create richness through relatively simple, clean melodies with novel twists. An ironic major-minor conflict, and rhythmically crowded phrases embody the broken-hearted turmoil of Verlust. Sehnsucht begins on a long note that fades away like the distant "dance tune" it describes. Its melody moves primarily in descending scales, but at times rises and holds our expectation, mirroring the speaker's unfed yearning. Evoking the brilliance of nineteenth century Italian opera, ltalien soars, dance-like, in an outburst of pure, triumphant joy. About a month before Hensel died, she wrote of such bliss in her diary. Perhaps beginning to share her work with the world gave her a new freedom and lightness of heart. "Yesterday the first breath of spring was in the air. It has been a long winter ... indeed a winter full of suffering ... My inmost heart is ... full of thankfulness.... I am quite overcome with my own happiness." Carrie Jacobs-Bond was a piano prodigy, but did not pursue music professionally until after the death of her second husband, when she lost nearly everything. She fought poverty for years, .providing for herself and her son by writing, selling and performing songs "unpretentious as a wild rose." She suffered stage fright, and was criticized for being "plain and angular." An untrained vocalist, she courageously sang and played her songs on her own at first because she could not find anyone else to do it. Ultimately she became quite famous and successful for her music and earnest performances. Upon hearing her most famous song, At the End of a Perfect Day, in concert, a Viennese composer visiting the United States stood up, thinking it was the national anthem, so revered and beloved it was. It is easy to imagine Jacobs-Bond delivering these pearls of wisdom, the HalfMinute Songs. They are infused with her uprightness, forthrightness, and most of all, her consciousness that in making music, she was giving a muchneeded gift: "I wonder what the world would be like if there were nobody to do the simple things!" Bond wrote, "I wonder how folks would get along without snappers, and hooks and eyes, and pins. Nothing could be much commoner than they are, but they fill a very much-needed place. You see, lots of folks can get along without a point lace collar, but I should hate to see folks try to get along without the other commodities I've spoken of. And sometimes songs (simple songs) like pins keep folks together." �Gabriel Fauré was reportedly very charming and seductive, like so many of his melodies. He was quite busy as a teacher and organist, and could not devote the majority of his time to composition. Fauré's life spanned the musical developments of greats like Berlioz, Berg, and Shostakovich, and he was educated with a wide range of musical voices from an early age, giving him an extensive palette. The musical language he created out of all that he absorbed was one of the most modern of its time. Mandoline is an excellent example. Its melody seems to begin simply, as does the picture of the archetypal lovers it describes, but falls into a colorful and amorous reverie, destabilizing our sense of the key. Au bard de l'eau describes the infinite richness of the moments two people can share when they live and love in the present. Les berceaux juxtaposes the rocking of large ships in a harbor with the rocking of cradles. Both are represented in the music: long phrases stretch over a shorter constant rocking figure in the piano's right hand. The set closes with the breathless Chanson d'amour. In it, the poet ecstatically enumerates everything he loves about his fiery lover, from head to feet. One of our greatest living composers, Stephen Sondheim is a lover of words, internal process, and impeccability of speech and expression. Through his songs we enter vast emotional and intellectual landscapes, each rich and unique; but no matter how smart, novel, or dark, they are simply human at the core. Sondheim trained with Oscar Hammerstein, and followed in his footsteps to earn a place in the Pantheon of musical theatre composers. In Sondheim's work one hears the influence of opera (Puccini in his crowd scenes) and musical theatre (Hammerstein in his love songs). Additionally, there is an incredibly current, vernacular and bitingly intellectual use of language. The composer has an uncanny ability to tap into a character's soul and mind, often through the musicality of natural speech patterns: An extended rest may be a moment of clarity, a dotted rhythm a hesitation, and so on. These three songs are full of such telling moments. They present three young women coming of age, seeking freedom. Johanna, from Sweeney Todd, is in the care of an oppressive and lascivious ward, kept in her room all day, listening to the songs of the caged birds outside her window. She sings back to them in Green Finch and Linnet Bird Johanna sings a tuneful and light melody, yet a persistent, somewhat dissonant, beat in the piano belies her growing dissatisfaction. The second selection is from an episode of ABC's "Studio 67 ," Evening Primrose, that tells the story of a group of people who have decided to separate from society by living in a department store. Ellen was brought to the store by her mother when she was very young, and has always wished to leave. When a disillusioned poet comes to stay in the store, Ellen and he fall in love. She pleads him to escape with her in Take Me to the World The melody evokes classic musical theatre, but the accompaniment is ominous and harmonically "crunchy." The last character is Cinderella, from Into the Woods, who tells how she really came to leave her glass slipper On the Steps of the Palace. �In selecting this program, I noticed that the pieces I was drawn to shared common threads such as nature, dance, water, flowers, birds, positive existentialism, idyllic settings and awakenings. Such themes and motifs are hardly surprising to find in art songs and musical theatre pieces. However, I want to highlight them in celebration of Spring and all it represents. If I titled this evening, I might borrow from Schubert and Uhland and call it Frühlingsglaube (Spring-Faith). I wish you all the best in the new season and forward ... Finally, in the words of Bek David Campbell, "Please enjoy." Sources: Gabriel Fauré, Jessica Duchen. London: Phaidon, 2000. GroveMusic Online, Oxford University Press, 2007-2009. The Mendelssohns; three generations ofgenius. New York, C. Scribner's Sons, 1972. The Roads ofMelody, Carrie Jacobs Bond. Ayer Publishing, 1980. Sondheim, Martin Gottfried. New York; London: Harry N. Abrams, 2000. Stefano Donaudy's 'La Fiamminga,'' aperformanceproject, Samuel Taylor Savage, DMA 2002. UMI Dissertation Services. From ProQuest. Women and Music,A History, 2nded. Ed. Karin Pendle. Bloomington: Indiana University Press, 2001. Briana Sakamoto is pursuing a Bachelor of Music degree in Vocal Performance at SUNY Binghamton under the direction of Professor Mary Burgess. She also studies with Professor Tim LeFebvre, Judy Berry and Peyton Hibbitt, here in Binghamton, and with dramatic soprano Carol Yahr, in Manhattan. She has performed with the Taconic Opera Company and the Binghamton University Chorus and is currently a member of BU's Harpur Chorale. She has a long background in theatre, earning AEA membership and SAG/ AFTRA eligibility' in 2005, and studies acting between semesters at the Larry Singer Studios in Manhattan. "Many thanks to my family, friends and teachers! Peace!" William James Lawson coaches and accompanies singers at Binghamton University. As a coach, he specializes in English diction for American and English art songs and the sacred 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. This past July, he conducted the Summer Savoyards production of Princess Ida. �I. Venuto è l' Aprile Text: Alberto Donaudy (1880-1941) April has come Venuto è l'Aprile tessendo ghirlande, E ninfee silvani sulprato raunando. A ccordan gli ontani i loro strumenti E ai primi concenti de/ vento Fra i rami comincia la danza. Prima un fauno s'avanza... La sua ninja lo mira... S ospira... E volano insiem! April has come, weaving garlands, And nymphs and sylvans are gathering on the meadow. The alder trees are tuning their instruments And at the first harmony of the wind Among the branches, the dance begins. First a faun advances .. . His nymph looks at him .. . Sighs .. . And they fly away together! Folleggian le coppie tra ifonti e le rive, E poi nelle selve scompaion furtive ... Ma Clori, che intanto gelosa è di Nice, Aspetta infelicee so/a, nelpianto, Che cessi la danza. The couples frolic among the fountains and streams, And then into the forest disappear furtively . .. But Clori, who meanwhile is jealous of Nice, Waits unhappily and alone, in tears, For the dance to stop. Maun pastore s'avanza... E già Clori lo mira... S ospira... E volano insiem! But a shepherd advances . . . And Clori looks at him .. . Sighs . .. And they fly away together! Luoghi sereni e cari Text: Alberto Donaudy Places serene and dear Luoghi sereni e cari, io vi ritrovo Quali ai bei dì lasciai digiovinezza! Gli stessi amati aspetti Ovunque iipasso io muovo... Sol non mi punge ancor Che l'amarezza dei mesti giorni In cui i tormenti d'un triste inganno Insegnato m'hanno pei primicosa Al mondo è dolor! Places serene and dear, I find you again Just as beautiful as I left you in the days of my youth! The same beloved sights Wherever I tum my step ... Only now do I not sting with The bitterness of mournful days During which the torments of a sad deception Taught me for the first time what In the world is griefl Lungi da voi fuggitoal/or Cercai di trovar pace al mio tradito core. Andaifin oltre mare, ed altre donne amai... Ma nu/la può /enire quel do/ore Ch'è piaga viva in ogni core d'amante Che nell'amore aveva ugualfade Che pregando ii Signor! Having fled far from you, then Trying to find peace for my betrayed heart. I went beyond the sea, and loved other women ... But nothing can lessen that pain Which is a living wound in every lover's heart Who had as much faith in love As in praying to the Lord! �Quando ti rivedrò Text: Alberto Donaudy When shall I see you again Quando ti rivedrò, Infida amante che mifosti si cara? T ante !agrime ho piante Or che a/trui ci separa, Che temo sia fuggita ogni gioia Per sempre di mia vita. Eppur più mi dispero, Più ritorno a sperare. Più t'odio ne/pensiero, E più ancora l'anima mia ti torna ad amar. When shall I see you again, Unfaithful lover who was so dear to me? So many tears have I wept Now that another separates us, That I fear every joy will be gone Forever from my life. And yet the more I despair, The more I return to hoping. The more I despise you in my thoughts, Then once again my soul turns to loving you. Quando ti rivedrò, Infida amante che mifosti cara cosi? When will I see you again, Unfaithful lover who was dear to me like that? Ognun ripicchia e nicchia Text: Alberto Donaudy Ognun ripicchia e nicchia ognor Su un caso strano a dir. Ma perchè, ma cos'è, Che tanto amor dovea cosifinir? Orio voglio la mia storia raccontar T anto bujfa ell'è: Me ne givo un di con Monna Lapa insiem, Che si cara m'era al cor, Peri campi a raccoglier.ftor. .. Ma la storia comincia qui. Everyone repeats and hesitates each time Over a case strange to tell. But why, but how is it, That so much love must end this way? Now I want to tell my story So funny it is: I was walking one day with my lady Lapa, Who was so dear to my heart, Through the fields to pick flowers ... But the story begins here. U'! cos'è quel ch'io veggo là? Un grillo o un rusignuol? Più be! ve'! Più be! ve'! La mia beltà sedette su un poggiuol. Lei sperava di poter cosi Coder ii divin cantor, Ma al trillar de/ grillo E al pronto suo balzar Diede un grido, e nelfuggir, Sù ove prima seggea cascò.... E la storia.ftnisce Ii. Ooh! What is that I see there? A cricket or a nightingale? Look- more beautiful! Look- more beautiful! My beauty sat on a little hill. That way she hoped to be able To enjoy the divine singer, But at the trill of the cricket And his quick leap She gave a shriek, and as she fled, I fell on the place where she had sat, And the story ends there . �II. An die Musik Text: Franz von Schober (1797-1828) Du ho/de Kunst, in wievielgrauen Stunden, Wo mich des Lebens wilder Kreis umstrickt, Hast du mein Herz zu warmer Lieb' entzunden, Hast mich in eine beßre Welt entrückt! To Music Oft hat ein Seufzer, deiner Harf'entjlossen, Bin süßer, heiliger Akkord von dir Den Himmel beßrer Zeiten mir erschlossen, Du ho/de Kunst, ich danke dir dafür! Often has a sigh, flowing from your harp, A sweet, holy chord from you Unlocked the heaven of better times for me, You dear art, I thank you for that! Auf dem Wasser zu singen Text: Graf zu Stollberg (17 48-1821) To be sung on the water Mitten im S chimmer der spiegelnden Wellen Gleitet, wie S chwäne, der wankende Kahn; Ach, auf der Freude sanjtschimmernden Wellen Gleitet die S eele dahin wie der Kahn; Denn von dem Himmel herab auj die Weflen Tanzet das Abendrot rund um den Kahn. Amid the shimmer of the mirroring waves Glides, as swans do, the wobbling little boat; Ah, on joy's soft-shimmering waves, Glides the soul there like the boat; Then from the heavens down on the waves Dances the evening's red glow around the boat, Ober den Wipftln des westlichen Haines Winket uns.freund!ich der rötliche Schein; Unter den Zweigen des ostlichen Haines Säuselt der Kalmus im rötlichen Schein; Freude des Himme!s und Ruhe des Haines Atmet die Seel im erriitenden Schein. Over the treetops of the westerly wood The red glow winks to us friendily, Under the boughs of the easterly wood Rustle the reeds in the reddish shine; Joy of the heavens and peace of the woods Breathes the soul, in the reddening shine. Ach, es entschwindet mit tauigem Flügel Mir auf den wiegenden Wellen die Zeit. Morgen entschwinde mit schimmerndem Flügel Wieder wie gestern und heute die Zeit, Bis ich auf höherem strah!enden Flügel Seiber entschwinde der wechselnden Zeit. Ah, with dewy wings, time vanishes From me, on the rocking waves. Tomorrow, time flies on shimmering wings, Again, like yesterday and today, Until I, on higher sparkling wings Myself will vanish in the changing time. Friihlingsglaube Text: Ludwig Uhland (1787-1862) Spring-faith Die linden Lüfte sind erwacht, Sie säuseln und wehen Tag unt Nacht, Sie scha.ffen an a/fen Enden. Duft, o neuer Klang! 0 frischer Nun, armes Herze, sei nicht Bang! Nun muss such al/es, al/es wenden. The gentle breezes are awake, They rustle and waft day and night, They are at work everywhere. 0 fresh scent, o new sound! Now, poor heart, be not afraid! Now must everything, everything change. Die Weft wird schöner mitjedem Tag, Man weiss nicht, was noch werden mag, Das Blühen will nicht enden; Es blüht das ftrnste, tieftte ta!, Nun, armes Herz, vergiss der Qua!! Nun muss sich al/es, alles wenden. The world grows lovelier with every day, One does not know what yet may come to be, The flowering will not end; The farthest, deepest valley blooms, Now, poor heart, forget your pain! Now must everything, everything change. III. Verlust Text Heinrich Heine (1787-1856) Loss Und wüßten's die Blumen, die kfeinen, Wie tief verwundet mein Herz, Sie wßrden mit mir weinen, Zu heilen meinen Schmerz. And if they knew, the flowers, the little ones, How deeply wounded my heart is, They would weep with me, To heal my pain. You dear art, in how many gray hours, Where I was ensnared in life's wild circle, Have you kindled warm love in my heart, Have you moved me to a better world! �Und wüßten's die Nachtigallen, Wie ich so traurig und krank, Sie ließen fröhlich erschallen Erquickenden Gesang. And if the nightingales knew, How I am so sad and sick, They would happily let ring out Refreshing song. Und wüßten sie mein Wehe, Die goldnen Sternelein, Sie kämen aus ihrer Höhe, Und sprächen Trost mir ein. And if they knew my pain, The golden little stars, They would come from their height, And speak consolation to me. Die a/le können's nicht wissen, Nur Einer kennt meinen Schmerz; Er hatja selbst zerrissen, Zerrissen mir das Herz. They all cannot know it, Only one knows my pain; He has, yes, himself ripped apart, Ripped apart my heart. Sehnsucht Text: Johann Gustav Droysen (1809-1884) Longing Fern undferner schallt der Reigen. Wohl mir! um mich her ist S chweigen a Flur. Aufder Zu dem vol/en Herzen nur Will nicht Ruh' sich neigen. Far and farther sounds the round dance. Well to me! around me here is silence On the land. Only to my full heart Will rest not come. Horeb! die Nacht schwebt durch die Riiume. Ihr Gewand durchrauscht die Bäume Lispelnd leis'. Ach, so schweifen liebeheiß Meine Wiinsch' und Träume. Hark! The night soars through the space. I ts robe rushes through the trees Murmuring softly Ah, thus roam, love-hot, My wishes and dreams. Italien Text: Franz Grillparzer (1791-1872) Italy Schöner und schöner schmiickt sich der Plan, S chmeichelnde Lüfte wehen mich an! Fort aus der Prosa Lasten und Müh' Zich' ich zum Lande der Poesie. Fairer and fairer the plain decks itself, As coaxing breezes blow me along! Away from the burden and trouble of prose Drawing me toward the land of poetry. Gold'ner die Sonne, blauer die Luft, Grüner die Grüne, würz'ger der Duft! Dort an dem Maishalm, schwellend von Saft, Sträubt sich der Aloe störrische Kraft; More golden the sun, bluer the air, Greener the green, more fragrant the scent! There by the cornstalk, swelling with sap, Struggles the aloe's obstinate strength; Olbaum, Cypresse, blond du, du braun, Nickt ihr wie zjerliche, grüßende Frau'n? Was glänzt im Laube,funkelnd wie Gold? Hal Pomeranze, birgst du dich hold? Olive tree, cypress, one blond, and one brown, Don't you nod like dainty, greeting ladies? What gleams in the foliage, sparkling like gold? Ah! Oranges, are you lovelies hiding there? Trotz'ger Poseidon, wärest du dies, Der unten scherzt und murmelt so süß? Und dies, halb Wiese, halbAther zu schau'n, Es wär des Meeres furchtbares Grau'n? Defiant Poseidon, were you the same one, Who below now jokes and murmurs so sweetly? And this, half meadow, half ether, it seems, Was the sea's fearsome horror? Hier will ich wohnen, Göttliche du: Bringst du, Parthenope, Wogen zur Ruh'? Nun denn versuch' es, Eden der Lust, Eb'ne die Wogen auch dieser Brust. Here I would live! Godlike one: Can you Parthenope bring the waves to rest? Now then, try it, Eden of Joy, And ease also, the waves in this breast. �V. Mandoline Text: Paul Verlaine (1844-1896) Les donneurs de sérénades Et !es belles écouteuses Echangent des propos fades Sous !es ramures chanteuses. The givers of serenades And the lovely listeners Exchange vapid words Under the singing branches. C'est Tircis et c'est Aminte, Et c'est l'éternel Clitandre, Et c'est Damis qui pour mainte Cruelle [fait]* maint vers tendre. There's Thyrsis and there's Amyntas, And there's the eternal Clytander, And there's Damis who, for many a Cruel woman, wrote many a tender verse. Leurs courtes vestes de soie, Leurs longues robes àqueues, Leur élégance, leurJoie Et leurs molles ombres bleues Their short coats of silk, Their long dresses with trains, Their elegance, their joy And their soft blue shadows Tourbillonent dans l'extase D'une lune rose et grise, Et la mandolineJase Parmi !es frissons de brise. Whirl in the ecstasy Of a moon pink and grey, And the mandoline prattles Among the shivers of the breeze. *originally "fit" Au bord de l'eau Text: Sully-Prudhomme (1839-1907) S 'asseoir taus deux au bard du flat qui passe, Le voirpasser; Taus deux, s'ilglisse un nuage en l'espace, Le voir glisser; À /'horizon s'ilfume un toit de chaume, Le voirfumer; Aux alentours si quelqueJleur embaume, S 'en embaumer; At the edge of the water Entendre au pied du saule ou l'eau murmure L 'eau murmurer; Ne pas sentir tant que ce rêve dure, Le temps durer; To hear, at the foot of the willow where the water murmurs, the water murmuring; Not to feel, as long as this dream lasts, The passage of time; Mais, n 'apportent de passion profonde, Qu 'à s 'adorer, Sans nu! souci des querelles du monde, Les ignorer; But, bringing no deep passion, Except to adore one another, With no worry of the world's quarrels, To ignore them; Et seul taus deux devant tout ce qui lasse, Sans se lasser, S entir !'amour devant tout ce qui passé, Ne point passer! And alone, us two, before all that causes weariness, Without wearing, To feel love, faced with all things that pass away, Not passing away! To sit, us two, at the edge of the stream that passes, To watch it pass; Us two, if a cloud glides in the sky, To watch it glide; On the horizon, if a thatched roof smokes, To watch it smoke; Around us, if a flower imbues the air, To be imbued; �Les berceaux Text: Sully Prudhomme The cradles Le long du quai, !es grands vaisseaux, Que la houle incline en silence, Ne prennent pas garde aux berceaux, Que la main des.femmes balance. All along the port, the big vessels, · That the swell sways in silence, Pay no regard to the cradles That the hands of women rock. Mais viendra le jour des adieux, Car iifaut que !es femmes pleurent, Et que !es homes curieux, Tentent !es horizons qui leurrent! But it will come, the day of goodbyes, As it is necessary that women weep, And that curious men Attempt the horizons that lure them! Et ce jour-là !es grands vaisseaux, Fuyant le port qui diminue, Sentent leur masse retenue Par l•âmedes lointains berceaux. And that day, the big vessels, Fleeing the vanishing port, Feel their bulk held back By the soul of the distant cradles. Chanson d'amour Text: Paul-Armand Silvestre (1937-1901) Song of love J'aime tesy eux,j'aime ton front, 0 ma re belle, ôma farouche, J'aime tesy eux,j'aime ta bouche Où mes baisers s 'épuiseront. J 'aime ta voix,j'aime l'étrange Grâce de tout ce que tu dis, 0 ma rebelle, ômon cher ange, Mon en.fer et mon paradis! I love your eyes, I love your forehead, 0 my rebel, o my fierce one, I love your eyes, I love your mouth Where my kisses will exhaust themselves. I love your voice, I love the strange Grace of all that you say, 0 my rebel, o my dear angel, My hell and my paradise! J'aime tout ce qui te fait belle, t cheveux, De tes pieds jusqu 'àtest 0 toi vers qui montent mes vœux, rebe rebelle! ma 0 ma farouche, ôma I love all that makes you beautiful, From your feet to your hair, 0 you, toward whom my wishes rise, 0 my fierce one, o my rebel! � 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.) 49:06 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149632">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149632</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 Briana Sakamoto, soprano, junior recital, April 25, 2009 Recital Tape 2009-4-25b Description An account of the resource Works of Donaudy, Schubert, Hensel, Bond, Fauré, Sondheim. Held at 7:00 p.m., April 25, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Lawson, William James Sakamoto, Briana Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-04-25 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.) 46:09 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE150501">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE150501</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 An afternoon with Debussy : a senior honors recital, April 25, 2009 Recital Tape 2009-4-25 Description An account of the resource Works of Debussy. Held at 3:00 p.m., April 25 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Mallinson, Chai-Kyou Reitz, Margaret Sterling, Elizabeth Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-04-25 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/0e385ccfb00bec9cb122b5b65e612fac.pdf 13c04ea6e980427276f1fb4250a01862 PDF Text Text BINGHAMTON UNIVERSITY State University of New York ,, D E P A A T M E N T SENIOR HONORS RECITAL Sarah Sterling, viola with Margaret Reitz, piano Emily Creo, cello Alicia Koepke, violin Elizabeth Sterling, violin Sunday, April 26, 2009 7:30 p.m. Casadesus Recital Hall �PROGRAM Passacaglia on an Old English Tune (1943) ............. Rebecca Clarke ( 1886-1979) Margaret Reitz, piano Suite No. 1 in G Major, BWV 1007 ............... . Johann Sebastian Bach (1685-1750) Prelude Allemande Courante Sarabande Minuett I/II Gigue Fantasie, Op. 94 ....................................... Johann Nepomuk Hummel (1778-1837) Margaret Reitz, piano INTERMISSION Sonata for Viola and Piano ....... Mikhail Glinka (ed. V. Borisovsky) (1804-1857) Allegro moderato Larghetto ma non troppo Margaret Reitz, piano h String Quartet No. 1 in E minor, "From my Life" .. þÿBedYicSmetana ( 1824-1884) Allegro vivo appassionato Emily Creo, cello Alicia Keopke, violin Elizabeth Sterling, violin �ABOUT THE PERFORMERS SARAH STERLING, violist, is a senior at Binghamton University, double-majoring in Music and Psychobiology. She has studied the viola for thirteen years under various teachers, including Roberta Crawford, Sue Nazzaro, Melinda Daetsch, and Nathan Frantz. Sarah has also studied piano and is an active vocalist. Her musical activities at Binghamton include participation in the University Symphony Orchestra and Harpur Chorale, as well as various chamber ensembles. She was a finalist in the 2007 Binghamton University Concerto Competition and is a recipient of the John M. and Marcella M. Keeler Scholarship in Music. She has also participated in the Luzerne Music Center Summer Program and was a member of the NYSSMA All State Symphony and Empire State Youth Orchestra. Sarah plans to go on to graduate school following her graduation in May. MARGARET (PEJ) REITZ, pianist, is a native of the Binghamton Area. She received her Bachelor and Mater of Music degrees in piano performance with accompanying emphasis. She attended Boston University, New England Conservatory and Binghamton University. She has studied · piano with Jean Casadesus, Victor Rosenbaum, Seymour Fink and Walter Ponce. She has studied accompanying with Allen Rogers. She has accompanied throughout the United States, in England, South America, and at the American Institute for Musical Studies in Graz, Austria. She and Binghamton University faculty member Timothy Perry were winners of the Artistic Ambassadors Program by the United States Information Agency in partnership with the John F. Kennedy Center for the performing arts. Pej has been a guest chamber music artist in Morges, Switzerland. She also was selected to attend the Accompanying Workshop for Singers and Pianists held at Northwestern University with Chicago Lyric Opera Faculty and Coaches. Pej was recently invited to the International Clarinet Conference to play a recital in Tokyo, Japan. She was a guest artist on the Cornell Summer Series this past summer, and she was an official pianist at the International Double Reed Competition and Convention in 2007 at Ithaca College. She was selected to accompany at the Interpretation of Spanish Music in conjunction with University of Madrid in Grenada, Spain in July 2007, coached by Teresa Berganza, and at Mannes School of Music in the summer 2008. Pej will be in �residence at the Barcelona Festival of Song this summer in Spain as coach/accompanist, and has been asked to play a concert this summer with the Glickman Trio in the United Kingdom at the IDRS Convention. Pej has been on the faculty at Binghamton University since 1991 and Ithaca College School of Music since 1999. She maintains a private piano studio in Vestal, New York. She is on the Executive Board of the New York District MTNA organization, is President of the local District VII Music Teachers Association, and is an active adjudicator for the National Piano Guild Organization. EMILY J. CREO, cellist, completed her master's degree in Music History and Literature at Binghamton in May of 2008. She also obtained her bachelor's degree from Binghamton with a major in Music and a minor in Medieval Studies. While at Binghamton, Emily performed as a cellist in the University Orchestra as well as in the chamber program, and as a vocalist in the Harpur Chorale. She is currently active performing in the Southern Tier, and this season will mark her tenth year playing for the Summer Savoyards annual Gilbert and Sullivan production . Though still a musician on nights and weekends, Emily works in accounting and administration for the Binghamton Senators Hockey Team by day to afford rosin and sheet music. ALICIA KOEPKE, violinist, is a sophomore at Binghamton University with a goal of obtaining a bachelor's degree in Music. She has studied with the late Joan Williams, Fritz Valenches, Roberta Crawford, and Janey Choi. For 7 years Alicia had been active in the Sinfonia Youth Orchestra, and, as a member of the Scranton/Wilkes-Barre Community Orchestra, has performed in professional settings including the Clay Aiken Magical Holiday Tour 2007. She has also played i n various weddings and has given private lessons. Alicia is currently a member of the Binghamton Univesity Orchestra and chamber music program. As of right now, she is unsure of her post-graduation plans. ELIZABETH STERLING, violinist, a student of Janey Choi, is completing her senior year at Binghamton University with a double major in Music and Anthropology. She has performed with various chamber ensembles and orchestral groups, including the Saratoga Springs Youth Orchestra, Empire State Repertory Orchestra, and Binghamton University Symphony Orchestra. Her other musical interests �include piano and vocal studies. She is currently a member of Harpur Chorale and the Jazz Ensemble and studies voice with Mary Burgess. She has also studied with Sue Nazzaro, Pattie Sunwoo (violin), Patte Hadfield, Chai-Kyou Mallinson (piano), Jeffrey Vredenburg, Elizabeth Duhr, and Heather Montana (voice). Elizabeth plans to pursue a master's degree in Music Education following her graduation in May. ABOUT THE MUSIC Passacaglia on an Old English Tune • Rebecca Clarke was born and educated in Britain, but spent most of her life in the United States. She wrote close to 100 works in her lifetime, though by the time of her death in 1979, even the 20 that had previously been published were out of print. Since then, scholarship and interest in her work has revived. Clarke's style combines elements of impressionism, post-romanticism, and neo-classicism to create a powerful musical statement. She wrote the "Passacaglia on an Old English Tune" and performed its premiere herself in 1941. The work is based on a theme by Thomas Tallis. Clarke transforms the simple melody into something much more potent and full of emotion. The piece was dedicated "To BB," which could either refer to Clarke's niece Magdalen, or to Benjamin Britten. (The latter would make sense as Britten had organized a funeral for Frank Bridge, an influential composer and friend of Clarke's, that same year. The Passacaglia creates feelings of grief and nostalgia that could easily have accompanied such a loss.) Suite No. 1 in G major, BWV 1007 • Johann Sebastian Bach wrote his six Cello Suites during his time as music director at Cothen, probably around 1720. In this position, he had no church musical responsibilities and so was able to compose mostly secular music for domestic and pedagogical use. The suites were at first believed to be etudes, and for many years were paid little attention. Today, however, they have become an essential part of the repertoire for the cello and a plethora of other instruments, including the viola. Because Bach left no manuscript and little or no markings indicating tempi, dynamics and other aspects of performance, much has been inferred from other copies of his manuscript, especially those written by Bach's second wife, Anna Magdalena. The suites each showcase the various technical possibilities of the instrument, and are comprised of six movements: an improvisatory prelude followed by five variously styled dance movements. Perhaps the �best-known movement of the G major Suite, the Prelude, consists primarily of arpeggiated chords. The dance movements that follow cover the entire stylistic spectrum, alternately poised, exuberant, contemplative, carefree, and full of joy. Though the concept seems almost too simple, Bach's innovative combination of contrapuntal, harmonic, and rhythmic techniques makes the work sophisticated and whole even without accompaniment. Fantasie, Op. 94 • The Fantasie was composed in 1820 in the context of a larger work, Potpourri for Viola and Orchestra. Hummel's Potpourri was made up of eight distinctive sections containing music from the operas of Mozart and Rossini, as well as improvisatory and fugal elements. In its shortened form, it has become a staple of the viola repertoire. Editions have been published for other instruments as well, including violin, cello, and even string quartet. A gravely emotional G minor beginning sets the tone for the Fantasie. The piece then switches gears with a florid Andante section in B flat major, based on the aria "II mio tesoro" from Mozart's Don Giovanni. A rollicking Allegro ma non troppo in D major carries the piece to a triumphant finish. Sonata for Viola and Piano • The Sonata for Viola and Piano was written between 1825 and 1828. In his Memoirs, Glinka describes it as "cleaner" than his other compositions of this early period. The first movement was composed in 1825 while he was living in St. Petersburg as a sort of transition from academic composition to "real" music. Glinka composed the second movement while visiting Moscow in 1828. Though he started work on the third movement, it was ultimately never realized. (The Rondo theme originally intended for the third movement was later incorporated in a polka for children.) Thus, the second movement concludes the sonata. (Most of the work done by Vadim Borisovsky to complete the piece consisted of elaborating the piano part.) In the end, Glinka was pleased with the sonata's "clever counterpoint" and saw it as one of his most successful compositions. The piece has a certain frank sincerity that, combined with a distinctly Russian flavor and dramatic mood, makes it both exciting and accessible for listeners. String Quartet No. 1 in E minor, "From My Life" • Smetana's String Quartet No. 1 in E minor "From My Life" was written in 1876, two years after its composer tragically lost his hearing. Its title reveals the quartet's autobiographical nature. In an 1878 letter to Josef Srb, Smetana explains, �"I wanted to depict in music the course of my life ... the composition is almost only a private one and so purposely written for four instruments which, as in a small circle of friends, talk among themselves about what has oppressed me so significantly." Indeed, the work is made up of separate musical ideas that can be said to represent its composer's state of mind at significant points in his life. At the time the piece was composed, such programmatic works were for the most part reserved for the symphony, rather than the string quartet. This makes "From My Life" somewhat unique as a chamber work. The quartet was initially rejected by the Prague Chamber Music Association for its "dubious orchestral style," as well as for what were then considered instances of technical impossibility. It was finally performed in the Konvikt Hall of Prague on March 29, 1879. The first movement is a depiction of Smetana's youth - his love of music and a desire for something indescribable. It ends with a moment of foreshadowing in the first violin, a premonition of deafness, ultimately signified in the final movement by a long-held high E. �Binghamton University Music Department's UPCOMING EVENTS Tuesday, April 28th Friedheim Memorial Lecture/Recital: Audible Processes - Minimalism and Beyond, Casadesus Recital Hall, 8:00 PM, $$ Thursday, April 30thMid-Day Concert, 1:20 PM - FREE Casadesus Recital Hall Friday, May 1stFlute Studio and Flute Chamber Concert, 10:15 AM, Casadesus Recital Hall,FREE Recital: Sung Jin Park, soprano, Casadesus d Saturday, May 2 nMasters Recital Hall,3:00 PM, FREE dasters Recital: Susan Amisano, soprano, Casadesus Saturday, May 2 nM Recital Hall, 8:00 PM, FREE Symphony Orchestra "Fantastique!" d Saturday, May 2 nUniversity Osterhout Concert Theater, 8:00 PM, $$ Masters Recital: Jenean Truax, soprano, Sunday, May 3rd Casadesus Recital Hall, 3:00 PM, FREE Tuesday, May 5th Percussion Ensemble, 8:00 PM, FREE Anderson Center Chamber Hall Thursday, May 7thStudent Recognition Mid-Day Concert, Casadesus Recital Hall,1 :20 PM, FREE Thursday, May 7thHarpur Chorale and Women's Chorus, Anderson Center Chamber Hall,8:00 PM, FREE Friday, May 8th Binghamton University African Music Ensemble, Casadesus Recital Hall,8:00 PM, FREE Saturday, May 9th Hindustani (North Indian) Classical: Tomek Regulski, CasadesusRecital Hall, 8:00 PM, FREE For ticket information, please call the Anderson Center Box Office at 777-ARTS. -I � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:02:32 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149629">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149629</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 Senior honors recital, Sarah Sterling, April 16, 2009 Recital Tape 2009-4-26b Description An account of the resource Works of Clarke, Bach, Hummel, Glinka, Smetana. Held at 7:30 p.m., April 26, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Reitz, Margaret Creo, Emily Koepke, Alicia Sterling, Elizabeth Sterling, Sarah Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-04-26 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/c96969260c10fcaeab1cd8e1f4697cd6.pdf d3969a4076a34ef00799cf1b028a84cd PDF Text Text BINGHAMTON U N I V E R S I T Y ST A TE UN I VERSITY O F NEW YORK UNI V A \'.(, Recita CD \ D E P A A T M E N T 2009 4-26 ''THREE REVELATIONS T SPC COL F ROM HE LOTUS SUTRA'' Kimberly Metaxas Associate Conductor Robert G. Smith Music Director and Conductor Sunday, April 26, 2009 3:00 p.m. Anderson Center Chamber Hall �PROGR AM Conducted by Ms. Metaxas A Musical Toast (1980) ................................................... Leonard Bernstein (1910-1990) arr. Clare Grundman Fantasia in G Major (circa 1703) ........................... Johann Sebastian Bach (1685-1750) arr. Richard Franko Goldman English Folk Song Suite (1924) ............................. Ralph Vaughn Williams (1872-1958) I. March-"Seventeen Come Sunday" II. Intermezzo-"My Bonny Boy" III. March-"Folk Songs from Somerset" Variations On A Korean Folksong (1966) ................... John Barnes Chance (1932-1972) I. Con Moto II. Vivace III. Larghetto IV. Allegro Con Brio V. Sostenuto VI. Con Islancio National Emblem (1906) .......................................................... E. E. Bagley (1857-1922) ed. Frederick Fennell INTERMISSION Conducted by Professor Smith Three Revelations from the Lotus Sutra ................................... Alfred Reed (1921-2005) I. Awakening (To Awaken in The Light of the Universe) IL Contemplation (To Contemplate the Depths of the Soul) III. Rejoicing (To Rejoice in the Beauty ofPeace) �ABOUT THE MUSIC Leonard Bernstein (1910-1990) was born in Lawrence, Massachusetts and was the first American-born conductor to direct the New York Philharmonic Orchestra. Bernstein studied composition at Harvard, conducting at the Curtis Institute, and conducting at the Tanglewood Music Festival with Serge Koussevitzky, former conductor of the Boston Symphony Orchestra. Well known for his symphonies, vocal music, and the Broadway musical "West Side Story," Bernstein was also passionate about music education. During his post as director of the New York Philharmonic brchestra (1958-1969), Bernstein conducted free outdoor concerts in the parks of New York City, and televised his "Young People's Concerts," an educational series that educated the public about different composers, genres, and characteristics of music. Bernstein also broke gender and racial barriers when he appointed to the orchestra the first two female instrumentalists and the first African-American instrumentalist. A Musical Toast (1980) was devoted to the memory of Andre Kostelanetz (1901-1980), a Russian born American conductor for the CBS radio network, known for popularizing classical music and influencing the film music of his time. In his last Will and Testament, Kostelanetz left this message: "If there is contemplated a gathering of my family, friends and associates in New York City, or elsewhere, I direct that such a gathering shall be a cheerful get-together." Upon this request, Bernstein wrote this musical tribute as a bright and energetic composition. Predominately in the meter of seven-eight, the musical phrase created just so happened to fit nicely with the rhythmic flow of the remembered friend's name. Johann Sebastian Bach (1685-1750), born in Eisenach in Germany, was a virtuosic organist and composer influenced by Pachelbel, Frescobaldi, and Buxtehude. Bach acquired compositional skills through copying and arranging the music of other composers including Vivaldi and Telemann. He was one of the most prolific composers of fugues, chorales, cantatas, toccatas, fantasias, and other styles of the Baroque era. Bach's music career included appointed positions as church organist, court musician and Kapellmeister (music director). From 1723-1739, Bach held one of the most prestigious positions in Germany as the Cantor of St. Thomas School in combination with civic director of music where he composed and directed music for the church, the school, and town ceremonies. Fantasia in G Major was composed early in Bach's career during residence in Arnstadt between 1703 and 1707. Fantasia in G Major, composed in a freely improvisatory style of the Baroque era, was categorized as one of the grandest of all Bach's compositions written for the organ. This selection also fits the description associated with many of his early works and considered to be too full of "wonderful variations and foreign tones." The rich harmonies of this five-part polyphonic composition contain frequent suspensions, dissonances, and modulations of the key. Ralph Vaughan Williams (1872-1958), born in England, studied piano, organ, violin, viola, and theory and harmony at an early age, and earned degrees in music and history from Trinity College in Cambridge. After studying composition abroad in Germany and Paris, Vaughan Williams refocused his interest toward folksongs from his native country of England. He was well known for his collections of folk songs and his involvement -with the English Folk Dance and Song Society, as well as incorporating folk songs into �compositions. Throughout his life, he also served as the director of music for the First Army of the British Expeditionary Force, and flourished as a lecturer, writer, and conductor. English Folk Song Suite was written for British Military Band in 1924, and was comprised with arrangements of several different English folk songs. Movement I. March-"Seventeen Come Sunday" begins with the song "Seventeen Come Sunday," then "Pretty Caroline" was used in a lyrical style featuring a clarinet and trumpet duet, followed by a heavy section based on the song "Dives and Lazarus." Movement II. Intermezzo-"My Bonny Boy" opens with the oboist playing the melody of the folk song "My Bonny Boy." The lyrics to this folk song portray a devoted girlfriend whose boyfriend leaves her for another. "Green Bushes," which interrupts "My Bonny Boy," depicts a boy suffering heartbreak when he finds that his girl has left him for another boy. Movement III. March-"Folk Songs from Somerset" presents "Blow Away the Morning Dew" with solo trumpet, followed by "High Germany," "The Tree so High" in six-eight time featuring the upper woodwind section, and the "John Barleycorn" featuring the rugged melody in the low woodwind and brass sections. John Barnes Chance (1932-1972) was born in Beaumont, Texas and earned degrees in music from the University of Texas at Austin where he studied composition with Clifton Williams. Chance's early musical accomplishments included playing timpani for the Austin Symphony orchestra, as well as conducting and arranging for the Fourth and Eighth United States Army Bands. He served as the composer in residence at the Ford Foundation Young Composers Project held in North Carolina from 1960-1962, and as a professor of music at the University of Kentucky until his tragic accidental death caused by electrocution at the age of forty. Variations on a Korean Folk Song, which Chance won the American Bandmasters Association Ostwald Award for in 1966, was inspired and based on the Korean folk song "Arirang," which Chance heard while serving in Seoul, Korea with the Eighth United States Army Band during the 1950s. Although, the word arirang does not possess a modem translation, in the ancient Korean language, arirang may have been translated as beautiful or lovely dear. Versions of the lyrics tell the story of a person expressing sadness at the departure of a loved one. The piece begins with the statement of the pentatonic melody in its regular form followed by sections consisting of variations of that melody. The first variation includes a fast pace motion of sixteenth notes interrupted by the second part of the melody. The Larghetto section is played in a slower tempo with the melody inverted from its original form first played by the oboe, then the flutes, alto saxophones and horns, and finally the trumpet. Next, the melody returns in the style of a march, followed by an augmentation ohime in which the melodic material has been stretched out. Finally, the piece ends in a fast tempo beginning with percussion, followed by the vibraphonist and woodwinds presenting the second half of the melody as a round while the brass abruptly enters with the first half of the melody played as a hemiola, written in triple meter, however, felt in duple meter. Edwin Eugene Bagley (1857-1922), born in Craftsbury, Vermont, began his performing career at age nine as a vocalist and comedian touring the United States with the Leavitt's Then, he played cornet with the Swiss Bellringers and the Blaisdell's Bellringers. �Orchestra of Concord, New Hampshire. In 1880, Bagley moved to Boston and continued to perform on cornet, as well as the trombone, with several ensembles including the Boston Symphony Orchestra. National Emblem (1906) has been described as "one of the most 'perfect' marches." After an explosive introduction, Bagley opens the march with the first twelve notes of The Star Spangled Banner arranged in duple rather than triple time. The trio section contains one of the most memorable melodies introduced by the robust sound of the low brass section and followed by the high winds. Frederick Fennell, former conductor of the Eastman School of Music Wind Ensemble, described what this march has meant to him: "This marvelous march .never fails to lift my spirit to the loftiest heights of inner joy, outer physical exhilaration, and ultimate personal fulfillment. On some occasions I have felt that knowing it, loving it-being able to listen to it any time being played by the band in my head-was my whole reason to be alive. It is a march for marching; sit-down performances of it should continue to march, for that is its heritage-music for the feet, not for the head-and it is unmistakably music for the spirit!" Notes by K. Metaxas Alfred Reed (1921-2005) is one of America's most frequently performed composers with over 250 published works for concert band, wind ensemble, orchestra, chorus, chamber groups. His music career began in the New York School of Music and he was later offered a scholarship to study composition with Paul Y artin. Reed wrote many compositions and arrangements for band during his service with the Army Air Corps in World War IL When composer Roy Harris and Reed's commanding officer both ordered him to produce a work for radio broadcast honoring the friendship between the Russian and American people they gave him a two week deadline. In eleven days, Reed produced Russian Christmas Music the work that launched his career as a composer of music for winds. Following the war, he studied with Vittorio Giannini at Julliard but left to work as a staff composer and arranger at both NBC and ABC. Bernard Kalban of Charles H. Hansen Music Corporation asked Reed to write music for young wind players thus beginning his long association with the school band movement. In 1953, Reed accepted a position as conductor of the Baylor University Orchestra and while there he completed his bachelor' s and a master' s degree. In 1956, he returned to work at Hansen. In 1966, he took a position at the University of Miami in order to have time to devote to his writing. Over the next 27 years he composed most of his well-known works for band including: The Hounds ofSpring, Othello, Music for 'Hamlet, and Armenian Dances (part I and 11). In 1981, he was invited to Japan by Sony's Toshio Akiyama to conduct and record with the Tokyo Kosei Wind Orchestra. This led to a long association with TKWO and other Japanese music organizations. His work took him to 49 states and 18 countries. t1 \ Three Revelations from the Lotus Sutra (1982-84) is an attempt to realize in music three different states of man's soul in his quest for ultimate perfection. The first movement, Awakening (To Awaken in the Light of the Universe) portrays the vastness and richness of the experience of the human mind on expanding its field of view from the narrow confines of daily life to the contemplation of, and merging with, the entire universe. The second movement, Contemplation,(To Contemplate the Depths of the Soul), represents a turning away of the mind from the 'outer' to the 'inner' universe .. . the attempt to fathom the limitless possibilities of the human consciousness in its quest for identity, to answer the eternal questions beginning with the word "Why?" The third and final movement, Rejoicing, (Rejoicing in the Beauty of Peace), depicts the realization that, while on earth, peace is not merely the absence of war, destruction , pain and suffering, buit a thing of beauty in and of itself . . . and an occasion for heartfelt rejoicing on the part of all men, everywhere , who share the same eternal quest as true brothers. �The suite was commissioned by, and is reverently dedicated to, Rissho Kosei-kai on the occasion of the 77th birthday of its founder and president, the Reverend Nikkyo Niwano. Rissho Kosei-kai, sponsor of the world-famous Tokyo Kasei Wind Orchestra, is an organization of Buddhist laymen devoted to the effort of perfecting man's personality on the basis of the true meaning of Buddhism. Central to the purpose of this movement is the body of doctrine assembled from the teachings of Buddha, called the Lotus Sutra, the Absolute Truth, termed the "Wonderful Law." The third movement was premiered by the TKWO in 1982 at Reverend Niwano's birthday celebration with the composer conducting. The complete work was first performed in 1984 by TKWO under Frederick Fennell. Score notes by the composer ABOUT THE PERFORMERS KIMBERL Y METAXAS, a native of Vestal, NY, is a graduate student of conducting at Binghamton University studying with Professor Robert Smith. Ms. Metaxas holds Bachelor' s degrees from Michigan State University in Music Therapy, and from SUNY Fredonia in Music Education. She taught music for special education students during BOCES 2008 summer school program. She is currently an instructor for the marching bands at Susquehanna Valley and Union-Endicott high schools. Ms. Metaxas has been a member of Binghamton University's Wind Symphony and Jazz Ensemble, BCC Jazz Band, Vestal Community Band, and the Empire Statesmen Drum and Bugle Corps. Ms. Metaxas' performance today is in partial satisfaction of the thesis requirements for the Master of Music degree in Wind Conducting. ROBERT G. SMITH is Music Director and Conductor of the Binghamton University Wind Symphony. Professor Smith holds degrees from Hartwick College, Binghamton University and is a candidate for the Doctor of Musical Arts in Music Education from Boston University. Prof. Smith also teaches advanced instrumental conducting and graduate wind conducting at BU. His career includes 32 years as a public school music educator. He conducts the annual Triple Cities TubaChristmas and is former conductor of the Maine Community Band, the oldest band of its kind in the United States. He has guest conducted all-county bands throughout New York State including the 2007 Ulster County Senior High School All-County Band. In March of 2009 Prof. Smith will guest conduct in Sullivan County, NY. Among other ensembles Smith has conducted are the Goshen College (IND) Wind Ensemble and Orchestra, The United States Army Ground Forces Band (GA), the Southern Tier Concert Band (NY) and the Vestal Community Band (NY). An active performer, he currently plays principal euphonium with the Southern Tier Concert Band and tuba with the Brass Nickel quintet and the Crown City Brass sextet. Smith is the immediate past president of the Broome County Music Educators Association and recipient of the 2005 BCMEA Distinguished Service Award. Professional memberships include The Broome County Music Educators Association, the New York State School Music Association, the Music Educators National Conference, The National Band Association, The Association of Concert Bands, The Conductors Guild, The World Association of Symphonic Bands and Ensembles, The College Band Directors National Association and the International Tuba and Euphonium Association. �Wind Symphony Musicians Stephanie Lehman-Percussion Graduate Assistant Piccolo Melanie Adler Beth Wieman Flute I Melanie Adler Rachelle Haddad Emily Morris (principal) Kathleen Spelman Beth Wieman Flute II Rebecca Falik Kimberly Hom Judy Kahn George Lourentzatos Oboe Kyle LaGrutta Bassoon I Kristen Grennan Bassoon II Katherine Navarette Eb Clarinet Jon Envid s· Bb Clarinet I Kyle Doyle Sarah Fenster (principal) Anthony Kwon Bb Clarinet II Abby Cohen Mark Dellostritto Woo Jin Kim Mellissa Klepper Victoria Serigano Bb Clarinet 111 Stephen Collins Gregory Norman Mark Norman Javier Rodriguez Trombone I Daniel Weinstein Bass Clarinet Brianna Palisi Daniel Zaccarini Trombone Ill Magana Jayakumar Bb Contrabass Clarinet Kristen Weiss Alto Saxophone Dean Papadopoulus John Tanzi (principal) Tenor Saxophone Bradley Alder Baritone Saxophone Benjamin Kane Cornet I Nick Polacco (principal) Kevin Hannon Cornet II.Ill Nick Quackenbush Dan Schain Trumpet I.Cornet Ill Max Beasley F Horn I Leanna Varderese F Horn II Glenn Parker Trombone II Christina Donaldson Euphonium Damon Dye Anthony Legnetto Tomek Regulski (principal) Tuba Daniel Nevins David Parnes (principal) Daniel Ryan Percussion Caleb DeGroote Thomas Elefante Soya Gao Adam Goldenberg Stephanie Lehman (principal) Wayne Papke Kelly Tufo �Sunday, April 26th Honors Recital: Sarah Sterling, viola, Casadesus Recital Hall, 7:30 PM, FREE Tuesday, April 28th Friedheim Memorial Lecture/Recital: Audible Processes - Minimalism and Beyond, Casadesus Recital Hall, 8:00 PM, $$ Thursday, April 30thMid-Day Concert, 1:20 PM - FREE Casadesus Recital Hall Friday, May 1st Flute Studio and Flute Chamber Concert, 10:15 AM, Casadesus Recital Hall, FREE Friday, May 1stStudent Recital: Griffin Sargent, violin, Casadesus Recital Hall, 8:00 PM, FREE Saturday, May .z1d Masters Recital: Sung Jin Park, soprano, Casadesus Recital Hall, 3:00 PM, FREE Saturday, May .z1d University Symphony Orchestra ''Fantastique!" Osterhout Concert Theater, 8:00 PM, $$ Sunday, May 3rdMasters Recital: Jenean Truax, soprano, Casadesus Recital Hall, 3:00 PM, FREE Tuesday, May 5th Percussion Ensemble, 8:00 PM, FREE Anderson Center Chamber Hall Thursday, May 7th Student Recognition Mid-Day Concert, Casadesus Recital Hall, 1:20 PM, FREE Thursday, May 7th Harpur Chorale and Women's Chorus, Anderson Center Chamber Hall, 8:00 PM, FREE Friday, May 8th Binghamton University African Music Ensemble, casadesus Recital Hall, 8:00 PM, FREE For ticket information, please call the Anderson Center Box Office at 777-ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 3:14 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152703">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152703</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 Three revelations from the Lotus Sutra, April 26, 2009 Recital Tape 2009-4-26 Description An account of the resource Works of Bernstein, Bach, Williams, Chance, Bagley, Reed. Held at 3:00 p.m., April 26, 2009, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource University Wind Symphony Metaxas, Kimberly Smith, Robert G. Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-04-26 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound