109
10
1775
-
https://omeka.binghamton.edu/omeka/files/original/5ffdd5f20db514a040a9f8d9b22f702d.pdf
d6237f5b9db6c9df2865c80f954f1150
PDF Text
Text
BINGHAMTON
U
N
L
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
vwdze
&
D.& P
A
R
JUNIOR RECITAL
MENGRU (IVY) ZENG
PIANO
with
Joanne Danzhou Li, piano
Mélanie Laguerre, piano
Friday, April 23, 2010
8:00 p.m.
Casadesus Recital Hal
T
�PROGRAM
ABOUT THE PERFORM ERS
Prelude and Fugue in C Minor, BWV847.............. Johann Sebastian Bach
WellTempered Clavier, Book 1
(16851750)
Ten Recess
Prelude in C Major, Op.12 Ne 7
Se re ] Prokofiev
(18911953)
Piano Sonata in A Major, K.331
I. Theme and Variations: Andante grazioso
Wolfgang Mozart
(17561791)
Piano Trio in A Major for six hands, one piano......... Sergei Rachmanivoff
II. Romance
(18731943)
Joanne Danzhou Li, piano
Mélanie Laguerre, piano
® INT ERMISSION 8
Nocturne for the left hand in Dflat Major, Op.9 Ne 2 AlexanderScriabin
(18721975)
Etude in Gflat Major, O p . 5
Etude in F Major, Op.10N9 8
Fryderyk Chopin
(18101849)
The Nutcracker Suite, Op. 71a ............................Peter Ilyich Tschaikowsky
V. Arabian Dance
(18401893)
Arranged by Eduard Langer
for four hands, one piano
III. Dance of the SugarPlum Fai ry
IV. Russian Dance (Trepak)
VIII. Waltz of the Flowers
Arranged by Nicolas Economou
for four hands, two pianos
Joanne Danzhou Li, piano
MENGRU (IVY) ZENG, pianist, is a junior majoring in
Accounting in the School of Management at Binghamton
University. She began studying piano at the age of four with one
of the best piano teachers in her hom etown city, Dalian, China. At
the age of seven, she won the citywide Piano Competition of
Youth and Children, which was also the first award of many
competition prizes she has earned. In 1998, Zeng started studying
piano with Lai Yuanpei at the Central Conservatory of Music in
Beijing, China. She took part in the National Piano Grade
Examination held by the Association of Chinese Musicians in 1999
and received the highest Level10 ce rtificate. In 2004, Zeng was
invited by the live show “Good Times This Weekend” of Dalian
TV Station to perform a piano solo piece, “The Nightingale,” by
Mikhail Glinka.
Zeng moved to the United States in Ju ne 2004. She is currently
taking piano lessons with Professor Ewa MackiewiczWolfe at
Binghamton University. Even though Zeng is not pursuing a
professional career as a pianist, music will always be a significant
part of her life.
Joanne Danzhou Li, pianist, is a senior at Binghamton
University, majoring in Bioengineering. She was born in Harbin,
China, and immigrated to the United States in 2003. In 2002, she
won the national Organization Committee for Musical Trials of
Chinese Youngsters in Xiamen, China and the National Musical
Instrument Competition (Piano Group, Age 1 216) in Beijing,
China, and is also the recipient of the Gold Medal in the Local
Piano Competition in Harbin, China. Li received the certificate of
the highest Level10 in the Chinese National Piano Grade
Examination in 2000. She has also been the pianist for the
Binghamton Chinese Christian Churc h (Chinese division of Twin
Orchard Baptist Church) for three yea rs. She is now studying with
Professor Ewa MackiewiczWolfe at Binghamton University.
Mélanie Laguerre has been studying with Professor Ewa
MackiewiczWolfe since her freshman year at Binghamton
University. Now a sophomore, Laguerre is a predental student,
with a major in biology and minor in music.
�Binghamton University Music Department’s. .
U P C O M I N G E V E N T S
e
Deas D
Muller, French horn,
Saturday, A p r i l 2 4 ” Master’s Recital: Robert
3:00 PM, Casadesus Recital Hall, FREE
,
Saturday, A p r i l 2 4 ” Master’s Recital: Julie Williams, soprano
8:00 PM, Casadesus Recital Hall, FREE
Sunday, April 2 5% Wind Symphony, 3:00 PM – FREE
Anderson Center Chamber Hall
Sunday, A p r i l 2 5 Piano Extravaganza from the studio of
Michael Salmirs, 7:30 PM, Casadesus Recital Hall, FREE
Tuesday, A p r i l 27°" Percussion Ensemble, 8:00 PM – FREE
Anderson Center Chamber Hall
idDay Concert, 1:20 PM FREE
Thursday, A p r i l 2 9 ” M
Casadesus Recital Hall
Thursday, A p r i l 2 9 ” Brass Studio Recital, 8:00 PM – FREE
Casadesus Recital Hall
Flute Chamber Concert, 10:15 AM,
Friday, A p r i l 3 0 ” Flute Studio and
Casadesus Recital Hall, FREE
Friday, A p r i l 3 0°" Saxophone Studio Recital, 4:00 PM – FREE
Casadesus Recital Hall
Saturday, M a y 1 % Composition Seminar Studio Recital, 3:00 PM,
Casadesus Recital Hall, FREE
Saturday, May 1 % University Symphony Orchestra: Spring
Centennials, 8:00 PM, Osterhout Concert Theater, $$ ( FREE for students)
For ticket information, please call the
Anderson Center B o x O ffice at 777ARTS
To see all events, please visit music. binghamton. e du
Become a ran on Facebook by visiting
Binghamton University Music Department
�
Dublin Core
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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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&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: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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1 audio disc
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53:03:00
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145286">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145286</a>
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Title
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Mengru (Ivy) Zeng, piano, junior recital, April 23, 2010
Recital Tape 2010-4-23
Description
An account of the resource
Works by Bach, Prokofiev, Mozart, Rachmaninoff, Scriabin, Chopin, Tchaikovsky. Held at 8:00 p.m., April 23, 2010, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Li, Joanne Danzhou
Laguerre, Mélanie
Zeng, Mengru Ivy
Publisher
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Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
2010-04-23
Rights
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In copyright
Type
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sound
-
https://omeka.binghamton.edu/omeka/files/original/ba213711bf93e266df5e0b152f5cbc27.pdf
17aec939106f8957bca009ece9e77b8f
PDF Text
Text
N
O
T
M
A
H
G
N
I
B VERSITY
U N I
F
STAT E UN I V E R S I T Y O
N E W YO R K
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A
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I
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BRASS S T U D
' ”A/ilIf” W:
�PROGRAM
.............Arthur Honegger
:
(18921955)
Daniel Fein, trumpet
Intrada
Concerto in Eflat...................
Allegro con Spirito
.............Johann Nepmuk Hummel
(17781837)
Nicholas Polacco, trumpet
His Majesty the Tuba R
o
b
e
r
Matthew Gukowsky, tuba
Legend G
e
o
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g
Kevin Hannon, trumpet
Bouffonnerie.
Allegro con Spirito
:
t Dowling
(19422006)
e Enesco
a
(b. 1942)
n
Trios for H
f
a
r
o
Finale from F
e
a
u
s
t
Robert Muller, French horn
I See a Huntsman......................................... Friedrich Handel
Zachary Arenstein, French horn
(16851759)
Charles Gounod '
(18181893)
(18351921)
r
o
m
v
r
s
r
o
n
Wolkenschatten, Op. 136
Tranquillo
(17561791)
(b. 1923)
Adagio from Symphony No. 3............................ Camille SaintSaens
..........Pierre DeGenne
(b. 1941)
Daniel Pinkham
n............Various
r
(18811955)
Horn Concerto No. 4...............................Wolfgang Amadeus Mozart
®INTERMISSIONcs
Aria and F
T
Samuel Weintraub, trumpet
1 * movement: Allegro
.. Nicholas Perrini
Festival Fanfare
Oh, Dem Golden Slippers.........ccccceeeeererecnennnen.
Gordon W. Bowie
(b. 1938)
............Jan Koetsier
(19112006)
James A. Bland
(18541911)
�PERFORMERS
Accompanist
Margaret Reitz
Trumpets
Daniel Fein – Kevin Hannon – Ryan Levitan
Nicholas Polacco – Samu el Weintraub
Horns
Diana Amari – Zachary A renstein Zachary Birnbaum –
Kirstie Cummings – Robert Muller – Natalie Rivera – Alexa Weinberg
Trombones
Jay Bartishevich – Mogana Jayakumar – William Marsiglia
Robert Menard – Kevin Pinkel
Euphoniums
Damon Dye – Andrew Kaufman
Tuba
Matthew Gukowsky
Timpani
Caleb DeGroote
Binghamton Uni versity Music Department’s
U PC O M I N G E V E N T S
fi
f
M
M
M
M
M
M
b
fi
m
For ticket information, please call the
Anderson Center Box Office at 777ARTS
To see all events, please visit music.binghamton.edu
Become a fan on Facebook by visiting
Binghamton University Music Department
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&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: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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1 sound disc
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01:02:26
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145280">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145280</a>
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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>.
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Brass studio recital, April 29, 2010
Recital Tape 2010-4-29
Description
An account of the resource
Works by Honegger, Hummel, Enesco, Mozart, Handel, Perrini, Pinkham, Gounod, Saint-Saëns, Bowie, Bland. Held at 8:00 p.m., April 29, 2010, Casdesus Recital Hall.
Creator
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Reitz, Margaret
DeGroote, Caleb
Publisher
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Binghamton University Libraries
Date
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2010-04-29
Rights
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In copyright
Type
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sound
-
Dublin Core
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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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&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: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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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>.
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Title
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Laura Macavoy, junior recital, February 20, 2010
Recital Tape 2010-4-18
Description
An account of the resource
Works by Bellini, Schubert, Ravel, Adamo, Copland. Held at 8:00 p.m., February 20, 2010, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
MacAvoy, Laura
Lawson, William James
Publisher
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Binghamton University Libraries
Date
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2010-04-18
Rights
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In copyright
Type
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sound
-
https://omeka.binghamton.edu/omeka/files/original/8f81ea44306e698f12576d6371530f35.pdf
84ce2e1f05c4a9113a78e7a4eed39cf1
PDF Text
Text
BINGHAMTON
U N 1 V E R,S 1_,—T
., Y_
S TAT 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
C L ARINET S TU D I O
S PRING R EC I TA L
S 77
y s
P , N
E
i
from the studio of Sarah Chandler
with
Margaret Reitz, Piano
Saturday, April 17, 2010
3:00 p.m.
Casadesus Recital Hall
�PROGRAM
Five Bagatelles, Opus 23..................cccecuuennnn............Gerald Finzi
(19011956)
I. Prelude
Il. Romance
Sonata (1939) for Clarinet and Piano......................Paul Hindemith
(18951963)
II Lebhaft
Ill Sehr Iangsam
Adam Davis, clarinet
Margaret Reitz, piano
James Wu, clarinet
Margaret Reitz, piano
..Gerald Finzi
(19011956)
Five Bagatelles, Opus 23
III. Carol
Reinhold Gliére
Chanson
(18751956)
Abby Cohen, clarinet
Margaret Reitz, piano
(Paul M. Stouffer, arr.)
Andante
Allegro vivace
Mark DelloStritto, clarinet
Stephen Collins, clarinet
Pastorale and Boumée...........i coocvivicicii
Edward German
(18621936)
Himie Voxman, trans.
Zach Stanco, bass clarinet
Margaret Reitz, piano
Five Russian Duets
In Waltz Style
Round Dance
Elegiac Mood
Hunter’s Call
In OldFashioned Style
(b. 1918)
Anthony Kwon, clarinet
Margaret Reitz, piano
Sonata I in Eb Major, BWV 525................. Johann Sebastian Bach
(16851750)
I. Allegro
II. Adagio
Richard Wagner
Adagio for Clarinet
(18131883)
A.H.C., piano reduction
Kerry Goodacre, clarinet
Margaret Reitz, piano
....Nikolai Miaskovsy, Vasyl Barvinksy
(18811950, 18881963)
Anthony Kwon, clarinet
Zach Stanco, bass clarinet
..............Paul Koepke
Scherzo in C Minor .....
Felix Mendelssohn
(18091847)
Fun for Two with Mendelssohn..
Allegro
Ill. Allegro
Howard Klug, arr. and ed.
Sarah Fenster, clarinet
Kyle Doyle, clarinet
Brianna Palisi, bass clarinet
�PEJ REITZ, pianist, is a native of the Binghamton Area. She received
her Bachelor and M a s t e r Musicdegreesin piand performarice w ith
accompanying emphasis. She attended Boston University, New England
Conservatory and Binghamton University. She has studied piano with
Jean Casadesus, Victor Rosenbaum, Seymour Fink and Walter Ponce and
accompanying with Allen Rogers. She has accompanied throughout the
United States, in England, South America, Spain and at the American
Institute of Musical Studies in Graz, Austria. She was a winner of the
Artistic Ambassadors Program by the United States Information Agency
in partnership with the John F. Kennedy Center for the performing arts.
She has been on the faculty at Binghamton University since 1991 and
Ithaca College School of Music since 1999. She is on the Executive Board
of the New York Disu’ict MTNA organization. She is President of the local
District VII Music Teachers Association and is an active adjudicator for
the National Piano Guild Organization.
Bingham ton Univers ity Music D epartme nt’s
UPCOMING E VEN T S
e w w w w w m w b é e o
S a t u r d ay, A p r i l 1 7*" University Chorus: Honegger’s KING DAVID,
8:00 PM, Osterhout Concert Theater, $$ (FREE for students)
S u n d ay, A p r i l 1 8 ” J unior Recital: Laura MacAvoy, soprano,
3:00 PM, Casadesus Recital Hall, FREE
S u n d ay, A p r i l 1 8 ” Senior Honors Recital: Stephen Kong, piano,
7:30 PM, Casadesus Recital Hall, FREE
Tu e s d ay, A p r i l 2 0 ” String Fever: String Studio & Chamber Recital,
8:30 PM, Casadesus Recital Hall, FREE
cert, 1:20 PM FREE
Thursday, A p ri l 2 2 MidDay Con
Casadesus Recital Hall
Fr i d ay, A p r i l 23™ Junior Recital: Mengru Zeng, piano,
8:00 PM, Casadesus Recital Hall, FREE
For ticket information, please call the
Anderson Center Box O ffice at 7 77ARTS
To see all events, please visit music.b inghamton .edu
Become a fan on Facebook by visiting
Binghamto n University Music D epartment
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&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: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
01:10:57
Streaming Audio
Streaming URL
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Clarinet studio spring recital, April 17, 2010
Recital Tape 2010-4-17
Description
An account of the resource
Works by Finzi, Gliére, German, Koepke, Wagner, Hindemith, Mendelssohn, Mussorgsky, Myaskovsky, Bach. Held at 3:00 p.m., April 17, 2010, Casdesus Recital Hall.
Creator
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Chandler, Sarah
Reitz, Margaret
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Binghamton University Libraries
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2010-04-17
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sound
-
https://omeka.binghamton.edu/omeka/files/original/58602f8dd05fbf8c98eae6c0095e3f5c.pdf
cac5eead7acf600d700ab2aad199c76b
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BINGHAMTON
U N I V E R S I T Y
STATE U N I V E R S I T Y O F N E W YO R K
D
E
P A
R
(27% 24
T
M
MASTER’S RECITAL
Robert Muller
FRENCH HORN
with
Pej Reitz; Prano
S a t u r d a y , A p r i l 24, 2 0 1 0
3.00 p. n u
CWRecitubfialI/
E
N
T
�PROGRAM NOTES
PROGRAM
Réverie, Op. 24 is a piece written for horn and piano by
Alexander Glazunov. Glazunov composed this piece in
Réverie, Op. 24..................................................Alexander Glazunov
(18651936)
1890 around the time that he had a creative crisis despite his
international fame. He grew out of this period with a new
maturity. It is a possibility that this “reverie” of his was his
dream to come out of that hard time with a newfound spirit.
Hom Concerto No. 4 in Eflat major, K. 495...................W.A. Mozart
I. Allegro moderato
(17561791)
II. Romance (Andante)
III. Rondo (Allegro Vivace)
®INTERMISSIONcs
“Little” Fugue in G minor, BWV 578
Alexa Weinberg, Hom
Zachary Bimbaum, Hom
Kirstie Cummings, Horn
J.S. Bach
(16851750)
“Zion hort die Wéchter singen” from “Wachet auf, Ruft uns die
Stimme", DWV TE
J.S. Bach
Alex Muller, Cello
Horn Concerto No. 1 in Eflat major, Op. 1 1
I. Allegro
(16851750)
Richard Strauss
(18641949)
Horn Concerto No. 4 i n Eflat major, K . 495 is the last in
the collection of horn concerti written by Wolfgang Amadeus
Mozart and was completed in 1786. All of the horn concerti
were written for Joseph Leutgeb, a Salzburgborn musician,
who was the premier horn player of the classical period.
After one month of working as a court musician for the
Esterhazy family, for unknown reasons, Leutgeb moved to
Salzburg in 1763 and became part of the musical
establishment of the ruling PrinceArchbishop. It was there
and then that he became a colleague Leopold Mozart, the
father of Wolfgang, and then met Wolfgang himself. The two
became good friends and, as can be seen in the original
manuscript of this concerto, the notes are written in
multicolored inks in a jocular attempt to rattle the performer.
Recently, it has been suggested that it was a color code of
some sort. In the final movement of the piece, the jumpy
texture and playfulness of the tune shows that Mozart indeed
wished to have fun with his good friend.
Fugue i n G minor, BWV 578 is a piece written originally for
organ by Johann Sebastian Bach and is believed to have
been composed ca. 1707 possibly during his years at
Arnstadt. The significance of Arnstadt is that it was where
Bach began his musical career. The fugue’s subject is one
of Bach’s most recognizable tunes and has been transcribed
for many other instrumentations, the most famous being
Leopold Stokowski’s transcription for orchestra. Today,
Robert Muller has prepared his transcription of this piece for
horn quartet.
�Zion hort die Wachter singen (Zion heard the Watchmen
singing) is a chorale from J.S. Bach’s Wachet auf, ruft uns
die Stimme, BWV 140 (also known as Sleepers, Wake). The
cantata was premiered on November 25, 1731. The fourth
movement, Zion hort die Wéchter singen, was originally
written for strings, tenor chorus, and continuo. Since the
piece’s text is associated with the themes of Advent, it is
commonly performed during that season. Robert Muller
transcribed this movement for horn, cello, and piano, and,
along with Alex Muller, cello, and Nickie Collins, piano,
performed it on January 1, 2010 at St. Martin de Porres :
church in Poughkeepsie, NY.
Horn Concerto No. 1 i n Eflat major, Op. 11 is the first
horn concerto written by Richard Strauss. It was written in
1883 for his father, Franz Strauss, who, at the time, was the
principal horn for the Munich court orchestra. It was first
performed in 1888 for horn and piano by a student of Franz
Strauss, Bruno Hoyer, with Richard as the pianist. This
piece, along with Mozart’s concerti, has secured a place in
horn repertoire and still remains a favorite of many players
today.
ABOUT THE PERFORMERS
Robert Muller is a firstyear graduate French Horn
performance student at Binghamton University. He was also
an undergraduate student at Binghamton University holding
a BA in Music and Spanish with a minor in International
Studies. Robert would like to pursue a career in Music
Education when he has completed his studies. Born on May
19, 1987, he is a native of Poughkeepsie, NY. Robert began
playing the horn in 5 ” grade and fell in love with it
immediately. During his Jr. High and High School careers,
he participated in the school bands and in the NYSSMA
festivals. In High School, he attended Tabernacle Christian
Academy. Unfortunately, the school did not have a band
program there, so he studied the horn privately with Andrew
Carr and Craig Fryer. In school, Robert participated in the
Vocal Ensemble and, in his junior year, sang tenor for the
Zone 10 Area AllState Chorus. In his senior year, he played
horn for the Marist College Symphonic Band, Football
Marching Band, and Basketball Pep Band under the
direction of Art Himmelberger. That year, he also played
horn for the Zone 10 Area AllState Band. At Binghamton
University, he studies with Brian Sternberg and has studied
with Harry Ditzel of the West Point Military Band during the
winter and summer breaks. Donald Robertson, professor of
low brass at Binghamton University, also gave Robert some
additional guidance during this semester. Robert is also a
member of the Zeta Eta Chapter of Mu Phi Epsilon, CoEd
Professional Music Fraternity, and an apprentice DJ at
WHRW 90.5FM Binghamton where he goes by the call sign
“Beastman.” He has also played for the University
Symphony Orchestra, Wind Ensemble, and Commencement
Wind Ensemble over the course of his career here at
Binghamton University. Robert is an avid transcriber and
composer and some of his work will be presented on today’s
recital. Robert is glad to be achieving his dreams of being a
musician and hopes that the music he performs will touch
the hearts of those who listen.
Pej Reitz is a native of the Binghamton area. She received
her Bachelor and Master of Music degrees in piano
performance with accompanying emphasis. She attended
Boston University, New England Conservatory and
Binghamton University. She has studied piano with Jean
Casadesus, Victor Rosenbaum, Seymour Fink and Walter
Ponce and accompanying with Allen Rogers. She has
accompanied throughout the United States, in England,
South America, Spain, and the American Institute of Musical
Studies in Graz, Austria. She was a winner of the Artistic
Ambassadors Program by the United States Information
Agency in partnership with the John F. Kennedy Center for
the performing arts. She has been on the faculty at
Binghamton University since 1991 and Ithaca College
School of Music since 1999. Ms. Reitz is on the Executive
Board of the New York District MTNA organization and is
�President of the local District VII Music Teachers
Association. She is also an active adjudicator for the
National Piano Guild Organization.
Zachary Birnbaum is a Sophomore Electrical Engineering
major at Binghamton. He has been playing French Horn for
nine years. Zach has played with various orchestras and
bands including Binghamton University, Maryland All State,
Maryland Classic Youth Orchestra,.and the Performing Arts
Institute. In his spare time he enjoys finding Waldo,
pretending he is a penguin, alligator wrestling, stamp
collecting, and writing small paragraphs about himself.
Alexa Weinberg is a senior Music and Management double
major from Levittown, New York. She has been playing the
horn for 13 years. She has performed with the Nassau
Suffolk Wind Symphony, NYSSMA AllState band and wind
ensemble, and American Music Abroad Empire tour of
Europe. Whilst studying abroad in England, Alexa was a
member of the Morendo Woodwind Quintet and nicked a
Union Jack from Lancaster University’s annual Proms
concert. Currently, she plays in the Binghamton University
Symphony Orchestra and is on the executive board of the
professional music fraternity Mu Phi Epsilon. Alexa loves
traveling, playing with the Teletubbies, and making Muddy
Buddies.
Kirstie Cummings is a junior PreVeterinary student double
majoring in Cell and Molecular Biology and Music. She has
been playing horn for eleven years and has studied under
Dr. Arthur Goldstein and Brian Sternberg. Ms. Cummings
performed in a wide variety of groups including the
University Orchestra and Wind Symphony, as well as
various pit orchestras and the Hicksville High School
Marching Band where she won the USSBA New York State
and East Coast Championships in 2006. She is also the
current vice president of the Zeta Eta chapter of Mu Phi
Epsilon, CoEd Professional Music Fraternity. With the
musical part of her life aside, Kirstie is the secretary of the
Binghamton PreVeterinary Society, participating in events
such as the Binghamton H umane Society Casino Night and
“Boo at the Zoo”. If she is not in the lab, Ms. Cummings
could be found frolicking through random fields or cuddling
with cute animals. Though she hopes to be a veterinarian
one day, music will always be a large part of her life.
Alex Muller is a sophomore at Roy C. Ketcham High School
in Wappingers Falls, NY and is the younger brother of
Robert Muller. In school, he participates in the orchestra and
also works with a string quartet. Alex began playing the cello
at the age of ten after listening to the “Prelude” from Cello
Suite No. 1 by J.S. Bach. He studied with Emily Robison for
three years, and is now a student of Nanette Koch. He has
been a member of the Stringendo program and, within the
program, plays with the Chaconne orchestra which is one of
the higher level orchestras in the program. Also, part of the
program, he also participates in the cello ensemble. Alex
also attends the “Summer Strings” camp for three weeks
every year. He also plays cello for both the adult and teen
choirs at St. Martin de Porres church in Poughkeepsie, NY
where he lives with his parents, Maria and Philippe Muller,
and his two sisters, Victoria and Christina Muller. He hopes
to study music when he enters college and thanks his
brother for giving him the honor of playing at his recital.
Mark Rossnagel is a sophomore double majoring in Arabic
and Organ performance and is a native of Staten Island, NY.
He has been playing both organ and piano for many years
and is a student of Dr. Jonathan Biggers here at Binghamton
University. Today, he will be assisting Pej Reitz in turning
pages and will be recording the concert.
�Binghamton U niversity Musi c Department’s
U P C O M I N G E V E N T S
<
> v.' “v
v. ' v
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9 D
o
Satu rday, A pril 2 4 ” Master’s Recital: Julie Williams, soprano,
8:00 PM, Casadesus Recital Hall, FREE
S u n d ay, A p r i l 25% Wind Symphony, 3:00 PM FREE
Anderson Center Chamber Hall
S u n d a y, A p r i l 2 5 ” Piano Extravaganza from the studio of
Michael Salmirs, 7:30 PM, Casadesus Recital Hall, FREE
Tu e s d ay, A p ri l 27*" Percussion Ensemble, 8:00 PM – FREE
Anderson Center Chamber Hall
Th u r s d ay, A p r i l 2 9 ” MidDay Concert, 1:20 PM – FREE
Casadesus Recital Hall
Th u r s d ay, A p r i l 2 9 ” Brass Studio Recital, 8:00 PM – FREE
Casadesus Recital Hall
Fr i d ay, A p r i l 3 0 ” Flute Studio and Flute Chamber Concert, 10:15 AM,
Casadesus Recital Hall, FREE
Fr i d a y, A p r i l 3 0 ” Saxophone Studio Recital, 4:00 PM – FREE
Casadesus Recital Hall
Sa t u r d ay, M a y 1 ° Composition Seminar S
tudio Recital, 3:00 PM,
Casadesus Recital Hall, FREE
S u n d ay, M a y g t University Symphony O
rchestra:SIavic Spring,
7:30 PM, Osterhout Concert Theater, $$ (FREE for students)
For ticket information, please call the
Anderson Center B ox Office at 777ARTS
To see all events, please visit music.bin ghamton.edu
Become a fan on Facebook by visiting
Binghamton University Music Department
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&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: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
Template: PDF / Rosetta
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Original Format
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1 audio disc
Duration
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55:22:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145325">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145325</a>
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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>.
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Title
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Master's recital, Robert Muller, French horn, April 24, 2010
Recital Tape 2010-4-24
Description
An account of the resource
Works by Glazunov, Mozart, Bach, Strauss. Held at 3:00 p.m., April 24, 2010, Casadesus Recital Hall.
Creator
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Reitz, Pej
Muller, Robert
Publisher
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Binghamton University Libraries
Date
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2010-04-24
Rights
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In copyright
Type
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sound
-
https://omeka.binghamton.edu/omeka/files/original/86c481de6fa4d43645e7e9b453d35574.pdf
94f15c6fb954378eec1e65cd6f898fae
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
B
E
ze dec
A
PROKO FIEV & THE LOVE
FOR T HREE G ERMAN B’S
PIANO
JIE UN J A NG,
JUNIOR RECITAL
Saturday, April I 0, 2010
3:00 p. m .
Casadesus Recital Hall
R
�A
PROGRAM
Toccata in E minor, BWV 914.....
.Johann Sebastian Bach
(16851750)
Sonata No. 21 in C, Op. 53 “Waldstein”.. ..Ludwig van Beethoven
Allegro con brio
(17701827)
Introduzione, Adagio molto – Rondo, Allegretto moderato
=INTERMISSIONcs
Four Ballades, Op. 10..........................................Johannes Brahms
Andante (“Edward’)
(18331897)
Andante
Intermezzo, Allegro
Andante con moto
Sonata No. 3 in A minor, Op28
Allegro tempestoso
Sergei Prokofiev
(18911953)
B
O
U
T
JIEUN JANG was born in 1988, and raised in a small rural town of South
Korea. Her mother dreamt of a soaring golden dragon before her birth,
which is very uncommon as a dream for the conception of a baby girl.
Jieun started playing piano at the age of six because her mother wanted
to help strengthen her innately weak fingers. She continued taking piano
lessons for the next six years. As a child, she accompanied her
elementary school choir for two years, and at the age of ten, she led
them to first prize in a city competition and second prize in a province
(state) competition. She started serious piano studies again in her
freshmen year, and she is pursuing her undergraduate degree at
Binghamton University. As a junior piano major, she is currently studying
under professor Michael Salmirs. Jieun also holds a good academic
standing and has been on the Harpur Dean’s List for 4 consecutive
semesters. She has appeared several times in the music department‘s
Midday concerts, and she has also performed with the University
Symphony Orchestra and Wind Symphony. Recently she performed with
the University Symphony Orchestra as a soloist. Her favorite composer
is Sergei Prokofiev, and she also loves the music of Beethoven, Haydn,
Stravinsky and Mussorgsky.
�Binghamton University Music Department’s
U P C O M I N G E V E N T S
x fi w m n e i m fi m fi w t b ’
Satu rday, A p r i l 1 0 ” S
weet Albion: The English Clarinet with
clarinetist Timothy Perry and pianist Margaret Reitz, 8:00 PM,
Anderson Center Chamber Hall, $$
Thursday, A p r i l 1 5% MidDay Concert, 1:20 PM FREE, FA 21
Fr i d ay, A p r i l 1 6 ” Master’s Recital: Stephen Brooks, double bass,
8:00 PM, Casadesus Recital Hall, FREE
S a t u r d ay, A p r i l 1 7 ” Clarinet Studio Recital, 3:00 PM FREE
Casadesus Recital Hall
S a t u r d a y, A p r i l 1 7 ” U
niversity Chorus: Honegger’s KING DAVID,
8:00 PM, Osterhout Concert Theater, $$ (FREE for students)
Sunday, A p r i l 1 8 ” Junior Recital: Laura MacAvoy, soprano,
3:00 PM, Casadesus Recital Hall, FREE
S u n d ay, A p r i l 1 8 ” S
enior Honors Recital: Stephen Kong, piano,
7:30 PM, Casadesus Recital Hall, FREE
Tuesday, A p r i l 2 0 ” String Fever: String Studio & Chamber Recital,
8:30 PM, Casadesus Recital Hall, FREE
Th u rs day, A p r i l 2 2 ” M
idDa y Concert, 1:20 PM FREE
Casadesus Recital Hall
Friday, A p ri l 2 3 ” Junior Recital: Mengru Zeng, piano,
8:00 PM, Casadesus Recital Hall, FREE
For ticket information, please call the
Anderson Center Box O ffice at 7 77ARTS
To see all events, please visit music. b inghamton. e d u
Become a fan on Facebook by visiting
Binghamton University Music D epartment
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&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: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
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In copyright.
Template: PDF / Rosetta
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Original Format
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2 audio discs
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
33:00
30:11
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145328">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145328</a>
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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>.
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Title
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Prokofiev and the love for three German B's, junior recital, April 10, 2010
Recital Tape 2010-4-10
Description
An account of the resource
Works by Bach, Beethoven, Brahms, Prokofiev. Held at 3:00 p.m., April 10, 2010, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Jang, Jieun
Publisher
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Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
2010-04-10
Rights
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In copyright
Type
The nature or genre of the resource
sound
-
https://omeka.binghamton.edu/omeka/files/original/bda3a9a1e2a15e1e0dc826c193a5b3dc.pdf
7f962e36ed5beff35eee0163ce0e02a8
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
S TAT E U N I V E R S I T Y O F N E W Y O R K
d e c
[4
D E P A R T M E N T
oweet dlbion
The €nglish Clarinet ~~
with elaringlisl Timothy Perry
& pisnist Margaret Reitz .
* / }
. . 1 i
joined hg zoprano Judy H o r i
A p r i l 10, 2010
8:00 p.m.
“Anderson Center Chamber Hall
�A
The Binghamton University Department of Music presents a Faculty Recital
“Sweet Albion”
assisted by
times. I wanted to offer an evening of music that would bring calm without an
excess of conventionality, to be a balm without being boring. I was immediately
drawn to the music of the British Isles, and of England in particular. My plan
proved more of a challenge than I anticipated for, while there exists a good
supply of repertoire, I spent much of the year trying to sort out what comprised
the essential “Englishness” of these pieces. My greatest aid on this journey was
Peter Ackroyd’s remarkable book Albion: The Origins of the English
Imagination. Ackroyd writes a wideranging cultural history of England seeking
I. The Consonant Tradition
Suite from The Victorian Kitchen Garden
Paul Reade
Prelude Spring Mists Exotica Summer
(19431997)
Three Intermezzi, Op. 13 ..
.Charles Villiers Stanford
Andante espressivo – Allegretto leggiero
Allegro agitato – Tranquillo
Allegretto scherzando
to identify the common threads of a culture through its literature, art,
(18521924)
philosophy, science, and albeit in a small chapter its music.
Culture, at least living culture, does not admit to tidy reducti on. All
II. Longing and Loss
Thea Musgrave
Threnody (in Memoriam R F )
(b. 1928)
III. Genius loci: Garden and Village
..Sir Arthur Bliss
Two Nursery Rhymes .
The Ragwort
The Dandelion
(1 8911975)
Judy Berry, Soprano
Air and Variations on ‘The Harmonious Blacksmith'........G.F .Handel, arr. Perry
(16851759)
t t t i k i t t t t l n t e r m i s s i o n ‘ fi ‘ t ‘ t ‘ t
IV. The F oIksong Eternal
Three Vocalises (1958).
Pastorale (1923)
Le Tombeau de Ravel
(ValseCaprices)
Judy Berry, Soprano
T
When, about a year ago, I was contemplating a program for this evening’s
concert, I wished to offer something to counter the anxious nature of these
Chamber Hall
P rogram
U
technically equipped, is not able to give us?
Ralph Vaughan Williams, ‘National Music ’ (1932)
Timothy Perry, Clarinet Margaret Reitz, Piano
Saturday, April 10, 2010
O
“Is it not reasonable to suppose that those who share our life, our history, our
customs, even our food, should have some secret to give us which the foreign
composer, though he be perhaps more imaginative, more powerful, more
Musical Meditations on ‘Englishness’
Judy Berry, Soprano
B
..Ralph Vaughan Williams
Ralph Vaughan Williams (1872—1958)
trans. T. Perry
V . Postcards from Abroad
............Arthur Benjamin
(18931960)
1
cultures are made up of much the same elements. Where they vary is in the
mixtures – the ‘recipes’, if you will – of their elements, and the mechanisms by
which these elements either grow, flower, and pass, on the one hand, or renew
themselves, on the other. Ackroyd views the English imagination as the latter,
taking for his central image words of the metaphysical poet Henry Vaughan
(16221695): “Like a great Ring of pure and endless light”. Thus, says the
author, “The English imagination takes the form of a ring or circle. It is endless
because it has no beginning and no end; it moves backwards as well as
forwards
This means that English culture operates more like a kettle of boiling
water, constantly circulating diff erent elements t o the top only to replace them
over time with others. 1 found, however, a few constants of English culture that
may bring some increased enjoyment to your evening’s listening pleasure. They
are, in no particular order:
1 . Collective memory, real and imagined. The English taste for the past,
expressed through a taste for the antiquarian and a tradition of practical
conservatism, is unrivaled. With these come a deep and abiding
melancholy for times past, a real and elemental sense of longing and
loss that colors much of English art. This is true of both bases of
English culture, the Celtic cultures and the AngloSaxon. The Celts
were suppressed first by the Romans and then effectively exiled by the
AngloSaxons. (Of the one hundred most commonly used words in
modern English, not a single one is of Celtic origin; the entire
vocabulary of Old English contains fewer than a dozen Celtic words.)
Despite their linguistic and geographic exile, the Celts were able to
maintain and eventually return elements of their culture to England.
The shadowy Iron Age Celtic culture lives on in its magical oral
�traditions of myth and legend and the pantheism of the Druidic religion.
The epic poetry, with its consonant alliteration, lingers forever in the
long and internally balanced lines of English melody. The love of
exquisite detail made its way from Celtic jewelry to the illuminations of
medieval monks to the flowery divisions of Elizabethan virginalists and
the arias and variations of Handel. The AngloSaxons, in their turn,
were assailed by the Norse and later conquered by their French cousins,
the Normans. With the Norse the similarities of language and a largely
stalemated political situation required an accommodation of language
and custom that developed the longstanding English preference for
practical over theoretical solutions. The Norman Conquest, on the other
hand, installed a ruling class with an unintelligible language (Old
French). Until Middle English was reinstated in court in the late
thirteenth century, it was the turn of the AngloSaxons to pine for the
‘glory days’ of Kings Alfred and Aethelstan. This habit of wistful
reminiscence has persisted through the centuries. The great revival of
composition in the early twentieth century was born and fuelled in
looking backwards to the music of the Elizabethan age. That legacy
endured, reviving not only old church music (through Vaughan
Williams English Hymnal) but the entire range of folksong as well,
first in classical pieces and later in the revival of performing folk
ensembles. In ‘recent ’ history the sense of loss is still dominated by the
two ‘Great Wars'. The English, who lost immeasurably much more in
people than in things, have channeled personal and communal grief in a
body of greatly moving compositions that honor both memory and
hope. English Music, Januslike, looks backwards as much as forwards.
Class division. As was the case with the Romans a thousand years
before them, the installation in 1066 of a new ruling class had little
effect on basic English mores. When the Norman court largely severed
its cultural connection to France in the early thirteenth c entury, they
likely protected and promoted the independence of a new tradition of
English polyphony. These full triadic harmonies built upon the sweeter
consonant intervals of the third and sixth have persisted for seven
centuries in the vocabulary of English musical practice. The trials and
triumphs of the ‘sturdy yeoman’ found expression in innumerable folk
songs in musical forms of smaller scale. The myriad collections of
short songs, catches, ballads and other vocal miniatures dwarf the
production of ‘major’ works composed primarily for the Church. This
tradition carries over as well to instrumental forms. English music
abounds in smaller suites and collections composed almost entirely of
small (though intensely organized) pieces. There is in such music –
whose descendants we hear tonight little of the overt virtuosity of the
French or Italian, but a great concern for detail and honest
craftsmanship. It was not until England becomes an international sea
power with its trading tentacles spread over the known world that the
foreign fashion for larger oratorios, concerti and symphonies took a
significant hold over the affections of the English concert audience.
The spread of empire brought the physical exotica of colonial cultures
back to England long before their inhabitants were adm itted to their
current uneasy residency. Until recently, however, little such music
survived the voyage. Today the English and their music flow outwards
as well as in, and in the last half century its classical com posers have
become thoroughly internationalized. Many are the critics who lament
(see #1, above) that the railroad, the radio and the commercial
recording mean that truly indigenous local music is now as extinct in
England as it is in America. More’s the pity.
Genius loci A Place of One’s Own. Since preRoman tim es England
has had an intense sacred and secular relationship with its bounded land
and with the sea that surrounds it. The English, like most agrarian
societies, had for centuries a culture with a tiny geographical orbit. This
is similar to the continent, where barely 150 years ago more than half
of France’s population had never been out of earshot of their local
parish’s church bell during their lifetimes. This localized cycle of life
intensely connected the loyalty of the common man to his place of
birth, his dialect, and today to his football team and local brand of ale.
The English retain a deep devotion to the village, with its varied social
and political structures. They have a special reverence for their small,
very organized and largely ubiquitous row/farm house; and, not least, a
love for that smallholder’s realm of control over nature, the garden. The
replacement of openfield agriculture with private holdings gave hope
to the abiding dream of a ‘small and simple plot’ of one’s own. In every
age from medieval to Victorian the English garden, with its trenches,
palisades, cordons, and other military terminologies, is a reflection of
the Englishman’s desire for security and sanctuary from the world
beyond. We are all familiar with the grand formal public gardens of the
‘great houses', but the English garden is at its root a private affair.
Ackroyd notes, “The earliest maps of London reveal a city of gardens,
each one carefully delineated...The same pattern of enclosure is
repeated on the large, as well as the small, scale. That is why the
walled garden became the model of secrecy and enchantment; the
English imagination can grow only in an enclosed space... The
reclusive and unremarked spot of soil guards the genius loci. It is the
charmed space of the English imagination. ” The garden is the link to
childhood wonders and innocence, myth and legend. An Englishman’s
home may be his castle, but an Englishwoman’s garden is her realm.
The garden and its sensibility inspires much o f English music, some
titled, some not ; it permeates literature and art ; it is central to design.
More than any other it is the central image that binds together the
program you shall hear, and hopefully enjoy, tonight. I close with Mr.
Ackroyd’s final words:
“..in England the reverence for the past and the affinity with
the natural landscape join together in a mutual embrace. We
owe so much to the ground on which we dwell. It is the
landscape and the dreamscape. It encourages a sense of
longing and belonging. It is Albion. ”
Timothy Perry, April 2010
�ABOUT THE PERFORMER(S)
TIMOTHY PERRY, conductor and clarinetist, is Professor of Music and
currently Chair of the Department of Music for Binghamton University. A
graduate of the Manhattan and Yale Schools of Music, Dr. Perry joined
the Binghamton University faculty in 1986, becoming Professor of Music
in 2002, and receiving the Chancellor’s Award for Creative Activities in
2005. As Music Director, Dr. Perry has directed the University Orchestra
(since 1986), directed the University Wind Ensemble 19862005, and led
the Binghamton Community Orchestra from 19942004. Widely known
as a clarinetist in virtuoso solo and chamber music, he toured Latin
America and the Caribbean as a United States Musical Ambassador and
has presented recitals at three world conferences of the International
Clarinet Association. During 20082009, he appeared as concerto soloist
with the Catskill Symphony, as guest conductor with the Binghamton
Community Orchestra, and as guest artist with the Finger Lakes
Chamber Ensemble. In Summer/Fall 2009 Dr. Perry served as Music
Director in Binghamton and Santiago, Chile for a new production of the
Brecht/Weill ThreePenny Opera and led the Binghamton University
Orchestra in a gala October 2009 program with the Paul Taylor Dance
Company. In addition to his duties as Chair, he currently serves as New
York representative to the National Association of Music Executives of
State Universities (NAMESU).
PEJ REITZ, pianist, is a native of the Binghamton Area. She received
her Bachelor and Master of Music degrees in piano performance with
accompanying emphasis. She attended Boston University, New England
Conservatory and Binghamton University. She has studied piano with
Jean Casadesus, Victor Rosenbaum, Seymour Fink and Walter Ponce
and accompanying with Allen Rogers. She has accompanied throughout
the United States, in England, South America, Spain and at the
American Institute of Musical Studies in Graz, Austria. She was a winner
of the Artistic Ambassadors Program by the United States Information
Agency in partnership with the John F. Kennedy Center for the
performing arts.
Ms. Reitz was an official accompanist for the MTNA State and Eastern
Division Competition held at Ithaca College. She has been a guest
chamber music artist in Morges, Switzerland. Ms. Reitz also was
selected to attend the Accompanying Workshop for Singers and Pianists
held at Northwestern University with Chicago Lyric Opera Faculty and
Coaches. She was recently invited to the International Clarinet
Conference to play a recital in Tokyo, Japan. She was a guest artist on
the Cornell Summer Series. She was an official pianist at the
International Double Reed Competition and Convention in 2007 at Ithaca
College and was invited to play the 2009 Convention in Birmingham,
England with the Glickman Ensemble. In the summer of 2008, Ms. Reitz
was selected to accompany at the Interpretation of Spanish Music in
conjunction with University of Madrid in Grenada, Spain, coached by
Teresa Berganza, and at Mannes School of Music. She was a Guest
Artist playing two concerts in Granada, Spain this past summer and
accompanied the Barcelona Song Festival in July. She is the pianist for
Theater Street Productions and performed concerts in Lenox,
Massachusetts and Newport, Rhode Island this past fall.
Ms. Reitz has been on the faculty at Binghamton University since 1991
and Ithaca College School of Music since 1999. She is on the Executive
Board of the New York District MTNA organization. She is President of
the local District VII Music Teachers Association and is an active
adjudicator for the National Piano Guild Organization.
JUDY BERRY, Soprano, is a graduate of TriCities Opera’s Resident
Artist Training Program and holds the MM in Opera degree from
Binghamton University. Ms. Berry is internationally renowned for her
signature interpretations of the title roles in Lucia di Lammermoor,
Lakmé, The Ballad of Baby Doe, Madama Butterfly and Lulu, as well as
those of “Violetta” in La Traviata and “Gilda” in Rigoletto. Ms. Berry was
engaged in Germany with the Wuppertal Opera from 19932001. With a
repertoire of over 50 roles in opera, operetta and musical theatre, Ms.
Berry has graced the stages of Leipzig, Frankfurt, Mannheim,
Dusseldorf, Amsterdam, Paris, Nurnberg, Wiesbaden, Dortmund,
Bremen, Osnabriick, Mainz, the Eutiner Festspiele, the Edinburgh
Festival, Los Angeles Opera, Baltimore Opera, Knoxville Opera, Virginia
Opera, Syracuse Opera, Pittsburgh Opera Theater, Brooklyn Academy
of Music, the Kennedy Center for the Performing Arts, Edmonton Opera
in Canada, Teatro de la Opera in Puerto Rico, Festival of Perth in
Australia, and in concert at Lincoln Center and Carnegie Hall. Ms. Berry
garnered top honors in major vocal competitions including the Enrico
Caruso Voice Competition USA, Baltimore Opera Competition,
Liederkranz Foundation, New York Grand Opera, Queens Opera, New
Jersey State Opera, Musicians Emergency Fund, and Loren L. Zachary
Society for the Performing Arts. All the major oratorios belong to her
performance repertoire, and she is equally at home on the concert stage
and in the realm of modern music. She has appeared extensively in
recital, both in America and Europe, and has recorded on the WSW and
Orfeo labels. Ms. Berry currently holds the position of Adjunct Lecturer of
German Lyric Diction at Binghamton University.
�Binghamton University Music D epartment’s
M P o p / w q u E V E N T S
FREE, FA 21
Thursday, April 1 5 ” MidDay Concert, 1:20 PM —
Fr i d ay, A p r i l 1 6 ” Master’s Recital: Stephen Brooks, double bass,
8:00 PM, Casadesus Recital Hall, FREE
FREE
Saturday, A p r i l 1 7 ? Clarinet Studio Recital, 3:00 PM —
Casadesus Recital Hall
Satu rd ay, A p r i l 1 7m University Chorus: Honegger’s KING DA VID,
8:00 PM, Osterhout Concert Theater, $$ (FREE for students)
S u n day, A p r i l 1 8 ? Junior Recital: Laura MacAvoy, soprano,
3:00 PM, Casadesus Recital Hall, FREE
S u n day, A p r i l 1 8 ” Senior Honors Recital: Stephen Kong, piano,
7:30 PM, Casadesus Recital Hall, FREE
Tuesday, A p r i l 2 0 ” String Fever: String Studio & Chamber Recital,
8:30 PM, Casadesus Recital Hall, FREE
Thursday, A p r i l 22™ MidDay Concert, 1:20 PM – FREE
Casadesus Recrta/ Hall
Friday, April 23™ Junior Recital: Mengru Zeng, piano,
8:00 PM, Casadesus Recital Hall, FREE
Satu rd ay, A p r i l 2 4 ” Master’s Recital: Robert Muller, French horn,
3:00 PM, Casadesus Recital Hall, FREE
Satu rd ay, A p r i l 2 4 ” Master’s Recital: Julie Williams, soprano,
8:00 PM, Casadesus Recital Hall, FREE
For ticket information, please call the
Anderson Center Box O ffice at 7 77ARTS
To see all events, please visit music.b inghamton.edu
Become a fan on Facebook by visiting
Binghamton University Music D epartment
�
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Sweet Albion, the English clarinet, April 10, 2010
Recital Tape 2010-4-10
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Works by Reade, Stanford, Musgrave, Handel, Vaughan Williams, Benjamin. Held at 8:00 p.m., April 10, 2010, Chamber Hall.
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Perry, Timothy
Reitz, Margaret
Berry, Judy
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2010-04-10
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BINGHAMT ON
U N I V E R S I T Y
F N E W Y O R K
D E P A R T M E N T
UNIVERSITY SYMPHONY
O RCHESTRA
PRESENTS
SLAVIC SPRING
Timothy Perry, Conduc tor
Heather Wor den, Assistant Conductor
Sunday, May 2, 2010
7:30 p.m.
Osterhout Concert Theater
�About t he Music
N o t e s f r o m t h e C o n d u c t o r s
The Binghamton University Department o f Music presents the
Univers ity Sym phony O rchest ra
History records no more seminal figure in the musical development
o f Bohemia (now part of the Czech Republic) than Bedrich Smetana:
Organizer of his country’s first music school ( 1 848); Conductor of a
prominent national chorus; Founder/director of the National School of
Drama; Respected music critic; and, not least, Composer of a nationalistic
music tradition that survives to this day through hi s opera The Bartered Bride
and the set of tone poems Ma Viast (My Country).
This effervescent and wildly popular overture to his second opera,
Heather Worden, A ssistant Conductor
Dr. Timothy Perry, Director
Slavic Spring
Osterhout Concert Theater
Anderson Center for the Arts
Sunday, May 2'", 20 10
7:30 p.m.
The Bartered Bride, was the composer’s answer to criticism to his first, The
Brandenbergers in Bohemia. The composer, stung by criticism that Czechs
P rogra m
“were simply reproductive artists", resolved to sho w his compositional talents
in an entirely different stylistic ve in.
Overture to The Bartered Bride (1863) .......c.ccccccecvevvevvvvennn.......Bedrich Smetana
(18241884)
“I did not compose it from any ambitious desire, but rather as a scornful defiance.
for they accused me after my first opera of being a Wagnerite, someone who could do
nothing in a light and popular style. "
.Franz Liszt
Symphonic Poem No. 3 “Les Preludes ” (1850).
(18111886)
The Bartered Bride went through several versions on its voyage from
Heather Worden, Conductor
a play with music to a fully developed opera. In contrast to normal procedure
the overture was composed in 1 863, before the rest of the opera. The work is
justly famous for its tremendous energy, recallin g in its headlong motor
rhythms Mendelssohn’s overture to A Midsummer Night ’s Dream. 1t is among
the most challenging opera overtures for the orchestra, requiring a high level
of rhythmic accuracy and sensitivity to rapidly shi fting textures. There are
two fugal passages which presage the comic machinations of the opera’s
characters while the lyric themes frequently employ shifts of rhythmic accent
in the style of the various Bohemian folk dances that make up a large and
colorful part of the opera’s final score. (T.P.)
intermission – ten minutes
Symphony No. 6 in D Major, Op. 60 ( 1 8 8 0 ).................... ............ Dvorak
(18411904)
1. Allegro non tant o
11. Adagio
I11. Scherzo (Furiant): Presto
Trio – poco meno mosso
IV. Finale : Allegro con spirito
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Thank You fo r attending today ’s concert i n su pport of our stude ntmusici ans !
Please join us nexty earfor another season of outstanding m usic
Note that we will be performing Saturday afternoons
Saturday October 16, 2:00 P.M. Children’s Concert “All Creatures ”
Saturday. December 4. 3:00 P.M. AllAmerican Program
Saturday. February 26, 3:00 P.M. Heather Worden Thesis Concert
Saturday, May I . 3:00 P. .\I (with University Chorus & Soloists)
Choral Masterworks: Roman Maciejewski: Requiem: Poulenc Gloria
O
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The Hungarian c omposer, Franz L iszt ( 1 8 1 1 1 886) is remembered by
many as a virtuosic pianist who forever changed the practice of piano
playing. For orchestral players, he is celebrated as the composer that created
the symphonic (tone) poem; a single movement w ork that is based on another
artistic work, like a novel, painting or poem. While it was created by
expanding upon the opera overture, the genre varies in that it has no specific
form ; there are no rul es on how to write a tone poem. L iszt loved the freedom
that this brought him while composing. He no longer had to worry about
where the development occurred or i f he modulated (changed harmony) at
the wrong time. This form quickly grew in popularity and many are regularly
featured in orchestral concerts. Liszt alone wrote thirteen. with the most
famous being his third, Les Preludes, which you w ill hear tonight.
�It is easy to misinterpret the meaning behind Franz Liszt ’s
symphonic poem Les Preludes (1854) just by looking at the title. Many
would assume it to be an introduction to another larger work or perhaps the
this case, it is neither. Le s Preludes is a poem
beginning o f collection. In
from the collection. Nouv elles méditations poétiques, written by the French
poet Alphonse de Lamartine. This lengthy and dense poem is a description of
li fe which proceeds inevitable death. Li szt put this preface, taken from the
poem in the o riginal score of the piece.
“ What else is our life but a series of preludes to that unknown Hymn, the first and
solemn note of which is intoned by Death? Love is the glowing dawn of all existence;
but what is the fate where the first delights of happiness are not interrupted by some
storm..."
Although the piece as we know it now is based upon the Lamart ine
poem. it started as a piece of choral inc idental music which was based upon
four elements: the stars, earth, wind and water (or floods). This original
composition was abandoned afler the draft was written but then returned to
when Liszt decided the themes would fit nicely with the poem from
Lamartine. The most recognizable o f the themes are the storm/wind (the
storminess of li fe) and the earth (Spring & love) sections of the work.
Beginning in the middle is the storm, which begins with a low, brooding
passage in the cello section. By using ascending and descending chromatic
ocean, tossing us back and
lines, Liszt creates the feeling o f storm on the
forth. The earth, a pastorale, is the calm after the storm. Sparsely scored, this
section features solo French Horn. Oboe and Clarinet players over static
string parts. While listening you can almost see the green countryside. The
piece ends with victory, whether that be victory over li fe or victory over
death we do not know, but it ends with a triumphant full orchestra. (H.W.)
Anyone experiencing con fusion about Antonin Dvorak’s magnificent
Symphony in D Major can readily be excused, for since its premiere this
work has been known variously as Dvorak’s First, Fi fth and Sixth Symphony.
The composer wrote the work in 1 880 just before his fortieth birthday. a
period in which he was fast becoming a star in the firmament of Central
European composers. In 1879 Johannes Brahms, who had become an
enthusiastic advocate for D vorak, accompanied the Bohemian master to the
triumphant premiere of his Third Slavonic Rhapsody with the Vienna
Philharmonic . The orchestra’s influential conductor, Hans Richter,
immediately asked Dvorak for a symphony to play in the succeeding season.
By the end o f the summer o f 1 880 the work was ready to play for Brahms
and Richter, and both men were enthusiastic about the work’s qualit y and
prospects. Then came nothing. Back in Prague. Dvorak waited in vain for the
Vienna orchestra to present the premiere. Richter wrote apologies and
excuses. but could not bring h i m s e l f admit that the Viennese had revolted,
refusing to play works by an ‘unknown foreign composer‘ in two succeeding
seasons. The premiere thus took place in Prague in March 1881, and Richter
led a highly successful per formance in London in 1882. The haughty Vienna
Philharmonic, astonishingly, did not per form the work until 1942.
The symphon y, though not widely perfo rmed. is justl y styled one of
Dvorak’s four ‘masterwork’ symphonies. In it the composer successfully
synthesizes the influences of Beethoven and Brahms with native Bohemian
folk styles, and just a hint o f Wagnerism. Wagner had conducted in Prague in
1 863 (with Dv orak playing in the viola section) and D vorak, impressed, had
applied for a grant to study with Liszt in Weimar. Interestingly – and
fortunately his failure to get that grant probably helped Dvorak maintain his
independent style apart from the wave o f undistingui shed Wagner/Liszt
ded in 1874 by
clones. Instead, his ‘break’ came in the form o f stipend awar
that point to
ahms. From
a jury that included the aforementioned Johannes Br
the end of hi s li fe the German titan proved a friend and mentor as well as a
selfless editor and influence on Dvorak’s works (there are many startling
aural parallels to Brahms’ Second Symphony from 1 877). The award likewise
brought Dvorak to the attention of Smetana, who began to program and
conduct the younger master’s works throughout Prague, quickly enhancing
his international reputation.
The D major Symphony i s rich in every respect melody, harmony,
invention. orchestration, and Bohemian color. Its themes derive from the
opening interval of the rising fourth heard in the celli /bass and answered in
the woodwinds. Each of Dvorak’s mature symphonies treat the wind choir as
an equal partner to the strings. and no other composer of the era writes more
beautifully and graciously for woodwinds and horns. Formally the work,
being intended for the conservative Viennese, is unremarkable; like Brahms
and Bruckner, Dvorak employs three themes in his sonata expositions, while
his developmental techniques are very much in the tradition of Beethoven.
The second movement songrondo, dominated by woodwinds, contains some
of the most tender and wi stful moments in any symphony. Here the interval
ed slightly to produce a theme (introduced by the violins)
o f fourth is alter
built upon so ftly cascading thirds. By contrast, the intervening sections are
more powerful, serious and tonally unstable. In the end, however, calm and
pastoral beauty prevails. In the third movement, one of Dvorak‘s signature
furiants, the boisterous full orchestra palette returns. The furiant is a
Bohemian dance staple that alternates three groups of two beats with two
groups of three beats. Dvorak handles these shifting rhythms with utter
confidence and ease. mak ing a comple x system sound completely organic.
The thematic intervals have further contracted to a second. giving an urgent
drive to the music. The middle of the scherzo comprises a lovely trio,
featuring the only bars for the birdlike piccolo. This bucolic respite evolves
into a sweeping concertwaltz before transitioning once more into the raucous
furiant. The fourthmovement finale is again a large sonata form, opening
�quietly (again outlining the fou rth interval) before stating the t heme in full
tutti. The second subject in woodwind triplets brings back to mind folk
ensembles. and, led by the brass, the exposition closes in a hymnlike fanfare
that recapitulates the first subject. After an interesting and art ful (but
otherwise conventional ) development and recapi tulation, a ski ttering presto
fugato in the c oda (reminiscent o f t he Smetana overture‘s perpetuum mobile)
comments again upon the first theme. The orchestra rises through a second
development section culminating in a second grand fanfare and a glorious
final plagal ("amen") cadence. (T. P.)
ABOUT THE PERFORMERS
T I M O T H Y P E R R Y , conductor and clarinetist, is Professor o f Music and
currently Chair of the Department of Music for Binghamton University. A graduate
of the Manhattan and Yale Schools of Music, Dr. Perry joined the Binghamton
University faculty in 1986, becoming Professor of Music in 2002, and receiving the
Chancellor’s A ward for Creative Activities in 2005. A s Music Director, Dr. Perry
has directed the University Orchestra (since 1986), directed the University Wind
Ensemble 19862005, and led the Binghamton Community Orchestra from 1994
2004. Widely known as a clarineti st in virtuoso solo and chamber music, he toured
Latin America and the Caribbean as a United States Musical Ambas sador and has
presented recitals at three world conferences of the lntemational Clarinet
Association. In Summer/Fall 2009 Dr. Perry served as Music Director in Binghamton
and Santiago, Chile for a production of the Brecht/Weill ThreePenny Opera and led
the Binghamton University Orchestra in a gala October 2009 program with the Paul
Taylor Dance Company. In addition to his duties as Chair. he currently serves as
New York representative to the National Association o f Music Executives o f State
Universities (NAMESU). and was past President of the Northeast Division of the
College Orchestra Directors ’ Association (CODA).
Assistant Conductor, H E A T H E R WO RDEN, a native o f Trumansburg. NY,
graduated from Houghton College in May 2008 with a Bachelor of Music degree in
Music Education. Throughout her time at Houghton she served as Chaplain and
President of the Houghton chapter o f CMENC (Collegiate Music Educators National
Conference) and a Province Representative on the statewide board of CMENC. She
is still an active member of the organization. Heather has studied conducting w ith
Dr. B. Jean Reigles, Dr. Brandon Johnson, Mr. Kenneth Brown, Dr. Gregory Magie,
and Dr. Brian Casey. She has had the privilege of conducting premiere works for the
composer Robert Summers Potterton lll, as well as the Frontier High School Wind
Ensemble. the Houghton College Symphonic Winds and the Houghton College
Philharmonia. Since coming to Binghamton. she has been studying with Dr.
Timothy Perry and is the conductor of the University String Orchestra. a new
ensemble formed this year. She also has joined the Binghamton chapter of Mu Phi
Epsilon, the professional music fraternity. After Binghamton. Heather hopes to
pursue a Doctorate degree and teach at the collegiate level.
University Sym phony O rchest ra
Flute/Piccolo*
Melanie Adler*
Natalie McCreary
Timothy Perry, Director
Viola
Percussion/
Maxim Pekarskiy
Timpani
Amanda Jacobs
Kevin Christie
Oboe
Lee Vilinsky
Mike Longo
Patrick Hewitt
Shane Thorn
Valerie Hammel
Keyboard
John Lathwell '
Clarinet
Adam Davis
Jacqueline Odgis
James Wu
Matthew Hassel
Bassoon
Alexandra Spadaro
Julia Cenzoprano
Janet Ievins
Violin I
Vi oloncello
Ella Serrano
Erin Chang
Jaime MinJeong Jeon
Chris Rogers
Richard Law
Daniel Bessel
Xiang He
Paige Elliott
Sara Sunshine
Imji Choi
Emily Wong
French Horn
Alexa Weinberg
Diana Amari
Kirstie Cummings
Robert Muller
Zack Arenstein
Trumpet
Daniel Fein
Ryan Levitan
Trombone
Jay Bartishevich
Rob Menard
William Marsiglia
Tuba
Matthew Gukowsky
William Grandin
Sangyun Bang
Stephanie Radzik
Jennifer Chen
Zeno Pittarelli
Eric Wuu
Jin Woo Lee
Raeleen Bichler
Alan Wang
Gregory Gerald Greene
Nicole Boucicaut
Jane Evans
Victoria Cheung
Wesley Ha
Contrabass
Violin Il
Assistant
Conductor
Solomon Dawson
Amy Su
Ga Eun Kim
Nathan Schmaling
Jenny Raphael
Hemangi Shah
Gabriella Scull
Andrew Tsai
Jonathan Back
Gozde Yildiz
Rudolf Koegl
Stephen Brooks
Gabriel Felix
Christopher Zavala
Heather Worden
The USO employs
rotating seating:
Woodwinds. Brass and
Percussion rotate by
composition and are
listed alphabetically.
Strings rotate by concert
and are listed in seating
order.
Congratulations and best wishes to our graduating members!
�Binghamton University Music Department ’s
UPCOM ING E V E N TS
m
m
m
m
w
a
ss Concert, 2:00 PM FREE
Wednesday, May 5 ” composition I Cla
Casadesus Recital Hall
Wednesday, May 5 Conductor’s Concert, 8:00 PM – FREE
Watters Theater
tudent Recognition MidDay Concert, 1:20 PM,
Thursday, May 6 ° S
Casadesus Recital Hall, FREE
Thursday, May 6°" Harpur Chorale and Women’s Chorus, 8:00 PM,
Anderson Center Chamber Hall, FREE
Friday, May 7*" Master’s Recital: Julian Whitley, baritone,
8:00 PM, Casadesus Recital Hall, FREE
anzhou Li, piano,
Saturday, May 8 ” Student Recital: D
Hall, FREE
tal
3:00 PM, Casadesus Reci
s Recital: Jennifer Groves, soprano,
Saturday, May 8 ” Master’
8:00 PM, Casadesus Recital Hall, FREE
s Recital: Jana Kucera, soprano,
Sunday, May 9 ” Master’
3:00 PM, Casadesus Recital Hall, FREE
erman Lyric Diction Concert, 8:00 PM FREE
Thursday, May 1 3 ” G
Casadesus Recital Hall
For ticket information, please call the
Anderson Center Box Office at 777ARTS
To see all events, please visit music. binghamton. edu
Become a fan on Facebook by visiting
Binghamton University Music Department
�
Dublin Core
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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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&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: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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Original Format
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2 audio discs
Duration
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27:29
55:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145339">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145339</a>
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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>.
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Title
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Slavic spring, May 2, 2010
Recital Tape 2010-5-2
Description
An account of the resource
Works by Smetana, Liszt, Dvorak. Held at 7:30 p.m., May 2, 2010, Osterhout Concert Theater.
Creator
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Perry, Timothy
Worden, Heather
Publisher
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Binghamton University Libraries
Date
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2010-05-02
Rights
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In copyright
Type
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sound
-
https://omeka.binghamton.edu/omeka/files/original/6a75d94cede5c01827dfd203e5df6c2c.pdf
2a456ae18619754c4231782c64880770
PDF Text
Text
DUO MONTAGNARD
at
Joseph Murphy, S axophone
M a tthew Slotkin, G uitar
Program to be selected from the following
“Nicht Akzeptiert, S onatine”
George Dara velis
(b. 1964)
“Les Trois Soeurs”
Charles Stolte
Water
Air
Rock
“Before Clocks Cease Their Chiming
(b. 1969)
Andrew Walters
(b. 1967)
“Untitled ”
Shane Endsley
(b. 1975)
John Orfe
“Fast, C heap, and Out o f Control”
(b. 1976)
Marilyn Shrude
“Face o f the Moon ”
“Messengers”
(b. 1946)
John Anthony Lennon
(b. 1950)
THURSDAY, M A R C H 11, 2 0 0 9
4: 25 P. M.
CASADESUS RECITAL HALL
FREE A N D O PEN T O T H E P U B L I C
Duo Montagnard’s visit is funded in part by the Harpur College Visiting Speaker Fund
pril Lucas
Master class students are from the studio o f A
�D U O M O N T A G N A R D was formed in 2002 and has performed over 130
concerts in 25 states, Canada, Slovenia, United Kingdom, Greece, Thailand, New
Zealand, and Australia. Festival performances include the Chautauqua
Institution, the Hartwick College Summer Music Festival, and the Alexandria
Guitar Festival. Recent commissions include pieces by John Anthony Lennon,
George Daravelis, John Orfe and Charles Stolte.
J O S E P H M U R P H Y has been the saxophone professor at Mansfield
University of Pennsylvania since 1987. He has also been director of bands,
department chair, and taught a variety of courses. He received the bachelor of
music education from Bowling Green State University (OH), and the masters and
doctorate degrees from Northwestern University. Dr. Murphy was the music
director of Tiffin (OH) Calvert High School from 198385. In 198586 he received
a Fulbright Award for a year of study in Bordeaux, France where he received a
Premier Prix. In June 1996, Dr. Murphy performed a solo recital at Lincoln
Center. He has performed in 13 countries including Australia, New Zealand,
Thailand, Taiwan, Japan, Greece, and several countries in western Europe. He is
a clinician for the Selmer Corporation and Rico Corporation and has been
recorded on Erol (France), Mark, and Opus One labels. Dr. Murphy’s
memberships include Music Educators National Conference, Music Teachers
National Association, North American Saxophone Alliance, National Association of
College Wind & Percussion Instructors, College Band Directors National
Association, Phi Mu Alpha, and Kappa Kappa Psi. His award winning website is
w w w.saxophoneeducation.com.
M A T T H E W S L O T K I N is an acclaimed performer, teacher, and scholar,
and has appeared in leading venues throughout North America, Europe, Asia,
and Australia. He has achieved success in solo performance, chamber music,
and as a soloist with orchestra. A commitment to the promulgation of new
compositions has resulted in numerous premieres of works by composers
including John Anthony Lennon, Scott Lindroth, John Orfe, and many others.
Recent performances include tours of New Zealand, Australia, the United
Kingdom, and Greece with Duo Montagnard (Joe Murphy, saxophone), as well as
concerts at the Monadnock Music Festival, the Hartwick College Summer Music
Festival, the Guitar Foundation of America convention, the Chautauqua
Institution, and the World Saxophone Congresses in both Thailand and Slovenia.
American Record Guide praised Slotkin on his Centaur Records release,
“Twentieth Century Music for Guitar,” for his “musical sensitivity and technical
control,” and for giving “strong readings of this appealing music.” A concert
review from the Classical Voice of North Carolina stated that “Slotkin performed
brilliantly.” Centaur Records released his new recording with double bassist
Craig Butterfield, “Dances, Songs, Refrains,” in 2010. Slotkin directs the guitar
programs at Mansfield University in Mansfield, PA and Bloomsburg University in
Bloomsburg, PA. He has given masterclasses at numerous institutions and
festivals including the Oberlin Conservatory of Music, the University of
Melbourne, and the Alexandria Guitar Festival. He received the Doctor of Musical
Arts, Master of Music, and Bachelor of Music degrees from the Eastman School of
Music, where he studied guitar with Nicholas Goluses and historical performance
practice with Paul O’Dette.
�
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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&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: <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
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Original Format
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1 audio disc
Duration
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01:00:57
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145343">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145343</a>
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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>.
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Title
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Duo Montagnard, March 11, 2010
Recital Tape 2010-3-11
Description
An account of the resource
Held at 4:25 p.m., March 11, 2010, Casadesus Recital Hall.
Creator
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Duo Montagnard
Publisher
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Binghamton University Libraries
Date
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2010-03-11
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In copyright
Type
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sound
-
https://omeka.binghamton.edu/omeka/files/original/19d9d5a537d432ba45fcebd382a49a42.pdf
ad9bcbee794693a11d99b48b66afbf05
PDF Text
Text
BINGHAMTON
U N I V E R S I E Y
STATE U N I V E R S I T Y O F N E W Y O R K
D E P A R T M E N T
THURSDAY
MIDDAY CONCERT
o fig =
Lv
—
—
pF
d
yy
N
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py ~
‘
THURSDAY, OCTOBER 6, 2011
1:20 P.M.
CASADESUS RECITAL HALL
�PROGRAM
Piano Concerto in F minor ............................... Fryderyk Chopin
1 ! movement
Andante (from Sonata para clarinet)............. Carlos Guastivino
(19122000)
(18101849)
Sungkyun Ryu, piano
Ewa Mackiewicz, second piano
Night Club 1960 (from History of the Tango) ...... Astor Piazolla
(19211992)
Vals Venezolano....................ccececeeueu........... D’Rivera
(b.1948)
Heavenly Road
.............Traditional Tibetan
I stand on the high mountain at dawn,
watching the railroad built in my hometown.
A hugedragon flies through the mountain peaks,
bringing luck and prosperity to our snowy plateau.
Thatis a wonderful road to the sky—
the mountains are no longer high and the roads are no longer far.
The w ine is sweet, the tea is fragrant;
happy songs fly everywhere.
Beautiful M
o
o
Timothy Perry, clarinet
Margaret Reitz, piano
Lento R
o
b
e
(from F ive Pieces in a Popular Mood)
r
t Schumann
(18101856)
d .............Meng Qingyun
Blue water, green mountains,
sun rays saturate our sweet laughing.
Wind sends the doves to the starry sky;
the moon shines upon our happy dancing.
Let our dreams grow auspicious wings;
Let beautiful moods follow us everywhere
Song without Words, op. 109 ..
......Felix Mendelssohn
(18091847)
Stephen Stalker, cello
Margaret Reitz, piano
Hong Zhang, mezzo soprano
Margaret Reitz, piano
Carnival of Venice .........cc..ccococeeeeeeeeeeennn........ Herbert L. Clarke
(18671945)
Concerto for Trombone..........................
II. Quasi una Leggenda
lII. Finale
William Marsiglia, trombone
Margaret Reitz, piano
Launy Grondahl
Robert Smith, euphonium
Margaret Reitz, piano
�Bin gha mton U niver sit y M usic D epa rtm ent ’s
U P C O M I N G E V E N T S
fi m a w q u fi w b fi w f b m
MidDa y Concerts are held on Thursdays, 1:20 PM in Casadesus
Recital Hall unless otherw ise n oted and are FREE
Thursday, October 13 — MidDay Concert – 1:20 PM –
Casadesus Recital Hall — Free
Sunday, O ctober 16 — Mob ius Ensemble a nd Friends :
Chamber Music Masterpieces — 3 PM — Watters Theater — $10
general public; $6 faculty/staff/seniors; $3 students
Thursday, October 20 — MidDay Concert — 1:20 PM —
Casadesus Recital Hall — Free
Frida y, October 2 1 — TriC ities Opera presents “Madame
Butte rfly” — 8 PM — The Forum Theatre! — Call (607) 7720400
for tickets
Saturday, October 22 — Family Wee kend Concert (Harpu r
Chorale, W omen ’s Chorus and the Univ ersity Symphony
Orchestra ) — 3 PM — Osterhout Concert Theater — Free
Sunday, O ctober 2 3 — T riC ities Opera pre sents “Madame
Butte rfly” — 3 PM — The Forum Theatre — call (607) 7720400
for tickets
Sunday, O ctober 23 — Alum ni Orga n Re cital : John Novak
(MM ’06 ) — 4 PM – First Presbyterian Church, Binghamton — $10
general public; $6 faculty/staff/seniors; $3 students
Sunday, O ctober 23 — Binghamton Un ivers ity Symphony
Orchestra : Con certo and Aria Com petit ion C oncert — 7:30
PM — Osterhout Concert Theater — $10 general public; $6
faculty/staff/seniors; $3 students
Thursday, October 27 — MidDay Concert — 1:20 PM —
Casadesus Recital Hall — free
Frida y, October 2 8 — Pian ist Marga ret Reitz presents “Forty
Fingers” w ith pian ists I d a TiliT rebicka, Amy Heyma n and
Tina Toglia — 8 PM — Casadesus Recital Hall — $6 general public ;
$3 faculty/staff/seniors ; free for students
Thursday, Nov ember 3 — Mid Day C once rt — 1:20 PM —
Casadesus Recital Hall — free
For ticket information, please call the
Anderson Cen ter Box O ffice at 777ARTS.
For our full concert listing, visit music. binghamton. edu
or become a fan on Facebook.
�
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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&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: <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
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Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
01:05:13
Streaming Audio
Streaming URL
https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145346
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>.
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Single
Dublin Core
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Title
A name given to the resource
Mid-day concert, October 6, 2011
Recital Tape 2011-10-6
Description
An account of the resource
Works by Chopin, Meng Qingyun, Gröndhal, Guastavino, Piazzolla, D’Rivera, Schumann, Mendelssohn, Clarke. Held at 1:20 p.m., October 6, 2011, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Ryu, Sungkyun
Mackiewicz-Wolfe, Ewa
Zhang, Hong
Reitz, Margaret A.
Marsiglia, William
Perry, Timothy B.
Stalker, Stephen
Smith, Robert
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
2011-10-06
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound