113 10 1775 https://omeka.binghamton.edu/omeka/files/original/383ab8cf16b75af90fd4931f3d79b4b2.pdf 43697232830515d17aa7c594cdefd9f4 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 Joint Senior Recital Samantha Banton, soprano Molly AdamsToomey, mezzo soprano ChaiKyou Mallinson, piano Sunday, May, 8, 20 11 7 p.m. Casadesus Recital Hal l �PROGRAM Sound the T r u m p A e Sweet Moment, So Tender..........c.ccccecuuvenenen. Henry Purcell (1659–1695) t ...JeanBaptiste Lully (1632–1687) Three BORAGE –....vinssissamsicssminrinssssmsunsexsmaseresmmmnms Fauré Mandoline (1845–1924) Chanson d’amour En priére Tre Ariette.. ll Fervido Desidero Dolente Immagine Di Fille Mia Vaga Luna Che Inargenti Aria, “Fair Robin I Love,” from Tartuﬀe av INTERMISSION Vincenzo Bellini (1801–1835) .......Kirke Mechem (1925–present) [<4 Sestero piesni milostnych ..............ccccceeeeieeeeeceseeeeeseennennnn. Eben Noci Mila (1929–2007) Summer Is Come Unter Der Linden Du bist min Non Mi Mandar Messaggi Ballade Des Dames Du Temps Jadis Four Songs............ Widmung, Op. 25 No. 1 Die Lotosblime, Op. 25 No. 7 Der Nussbaum, Op. 25 No. 3 Marienwirmchen, Op. 79 No. 13 Aria, “Voi che Sapete, from Le Nozze di Figaro Robert Schumann (1810–1856) Wolfgang Amadeus Mozart (1756–1791) Duet, “Via Resti Servita,”.............ccccveeennn...... Wolfgang Amadeus Mozart from Le Nozze di Figaro (1756–1791) B O U T Samantha Banton is from Westchester, New York and is completing her B.A. degree in Music this semester under the direction of Prof. Mary Burgess. Samantha has been a member of the Women’s Chorus and Harpur Chorale. She recently sang in Tales of Hoﬀman and Cosi fan Tutte as a member of the TriCities Opera Chorus. In the fall of 2009 Samantha spent a semester at the University of Hawaii at Manoa through the National Student Exchange Program. There she studied with Dr. Maya Hoover, herself a Binghamton graduate who studied with Prof. Burgess. In addition to the Thursday midday concerts, Samantha has performed at various fundraisers, banquets and competitions around campus and around Westchester. After graduation she plans to continue her classical voice training and apply to grad school in the fall. Molly AdamsToomey is from Elkton, MD, and is completing her B.A. in music under the direction of Prof. Mary Burgess. In addition to performing in several Midday concerts, Molly has been a member of the chorus in TriCities Opera’s productions of Cosi fan Tutte and The Tales of Hoﬀmann. In the past, she has also sung in the chorus for the Ardensingers’ Gilbert and Sullivan productions, as well as with OperaDelaware. In addition to her vocal studies, Molly also studies piano under Professor Michael Salmirs, and accompanies students who take private voice lessons. Molly has been a member of Women’s Chorus, and she has also conducted that ensemble. During her time living in England, she was a member of the King’s School Chamber choir, and was a soloist in their performance of the Vivaldi Gloria. On graduating, Molly will pursue her M.M. In Voice and Choral Conducting here at Binghamton University. �TRANSLATIONS Mandoline (Mandolin) poem b y P aul Verlaine The serenading swains And their lovely listeners Exchange insipid remarks Under the singing branches. Gabriel Fau ré There is Thyrsis, Amyntas And the eternal Clytander, And there’s Damis who, for many Cruel women, wrote many tender verses. Their short silk vests, Their long dresses with trains, Their elegance, their joy And their soft blue shadows, Whirl around in the ecstasy Of a moon rose and grey, And the mandolin chatters Among the trembling of the breeze. Chanson d’ amour (Song o f L ove) poem b y Armand Silvestre I love your eyes, I love your face, oh my rebellious and ﬁerce one. I love your mouth where my kisses will exhaust themselves. I love your voice and the strange gracefulness of everything you say, oh my rebellious one, my dear angel, my hell and my paradise! I love all that makes you beautiful, from your feet to your hair, O you, to whom ascend all my desires En Priére (A Prayer) poem b y Stéphan Bo rdése If the voice of a child can reach You, O my Father, Listen to the prayer of Jesus, on his knees before You! If You have chosen me to teach your laws on earth, I will know how to serve You, noble King of kings, O Light! On my lips, Lord, place the salutary truth, So that he who doubts should revere You! Do not abandon me, give me the necessary gentleness, To ease suﬀering, to relieve sorrow and misery! Reveal Yourself to me, Lord, in whom I believe and hope: For You I wish to suﬀer and to die on the cross at Calvary! Vincenzo B ellini II Fervido D esiderio (The Ferven t Wish) Anonymous When will that day come when I can see again that love the heart desires? When will that day come when I welcome you to my breast, beautiful ﬂame of love, my soul? Dolente Imm agine Di Fil le Mia (Sorrowful Image o f M y Phyllis) Anonymous Sorrowful image of my Phyllis, why do you so desolately sit beside m e? What more d o you wish for? Ceaseless tears have I poured on your ashes. Do you fear of me that, forgetting the sacred vow, I could burn with Iove’s ﬂame for another? Shadow of Phyllis, rest in peace, inextinguishable is the old love. �Vaga L una Che Inarg enti (Lovely Moon, W ho Makes Silve r) Anonym ous Lovely moon, who makes silver this shore and these ﬂowers, and breathes to the elements the language of love; you are the only witness of my fervent desire, you count my throbs and sighs to her o f whom I am enamored. Tell her too that distance cannot assuage my grief, that if I nurture a hope it is only, yes, it is only for the future. Tell her too that, day and night, I count the hours of sorrow, that a ﬂattering hope comforts me in love. Petr Eben Noci M ila (Dear N ight) Anonym ous, 1 4 ” Centur y Dear night, why are you long, for my dear I am ﬁlled with desire, because it is impossible for me to speak with he r, who can console me? Already my heart dwells in suﬀering, in sadness, in longing grief. All this is because I am parted from my dearest, the dearest of ladies. Dear God, let not the desire for my beloved be long! Dear God. Unter Der Lind en (Under The Lin denTre e) poem b y Walter vo n der Vogelwe ide Under the LindenTree, on the heather, where the two o f us made our bed, you may still ﬁnd, as we both have, the ﬂowers, pressed together on the grass. By the forest, in the vale, tandaradei! sweetly sang the nightingale. I went to the meadow, my truelove was already there, there was I received as a noble lady, so that I am constantly glad. Did he kiss me? A thousand times: tandaradei! see, how red m y mouth is still. He went to make us a bed of ﬂowers of many kinds; If anyone passed by, he might well smile at the sight! By the roses, h e may well, tandaradei! mark where I lay my head. That I lay there, if any saw, God forbid, I would be ashamed. How he was with me, n o one will ever know, except he and I, and a little bird, who will not say anything. Du Bist Min (You A re Mine) Anonym ous, 1 2 ” C entury You are mine, I am thine, of that thou should be sure. You are locked up in m y heart. Lost is the little key. You must always remain inside. You are mine, I am thine. Non Mi Manda r Messa ggi (Do No t Send Me Mes sages) Anonym ous Fo lk Poem , 13” Centur y Do not send me messages that are false, do not send me messages that I am guilty. Let the messages be from your eyes when you raise them. Let the messages be from your eyes to mine. Look at my red lips, cheated husband, cheated husband who does not know. Do not send me messages. Ballade Des Da mes Du Temps Jadis (Ballad Of The Lad ies Of T imes Pa st) poem b y Francois Villon Tell me where or in what country is Flora, the beautiful Roman, Archippa, or Thais, who was her German cousin, Echo who speaks when there is noise on the river, on the pond, whose beauty was more than human? But where are the snows of yesteryear? Where is the very wise Héloise, for whom they castrated and made a monk �Pierre Esbaillart at Saint Denis? For his love was this endured. Likewise, where is the queen wh o c that Buridan be thrown in a sack ommanded in But where are the snows o f yeste the Seine? The queen Blanche like a lily wh ryear! o s Bertha o f the large feet. Beatrice ang with the voice of a siren, , Alice, Haremburgis who held M and Joan the good maid o f Lorrain aine, where are they, where, Sovereig e whom the English burned at Rouen; n Virgin? But where are the snows o f yester Prince, d o not ask this week whereyear? nothing but this refrain remains to they are, nor in this year, “But where are the snows o f yes you: teryear?“ Ro be rt S ch um an n Wi dm un g (De dic ati on ) po em by Frie dri ch Rii cke rt Yo u my soul, you m y hear t. you my bliss, o you my pain, you the world in which I live; you my heaven, in which I ﬂoat, 0 you my grave, into which I eternally cast my grief. Yo u are rest, you are peace, you are bestowed upon me from h That you love me makes me wort eaven. hy of you; your gaze transﬁgures me; you raise me lovingly above myse lf, my good spirit, my better self! Die Lo tos bli im e (The L otu s Flowe r) po em b y H ein ric h He ine The lotus ﬂower is anxious in the And she waits, dreaming, for NighSun’s radiance, t. The moon, her lover, awakens he And for him she unveils her innocer with his light, nt ﬂowerface. She blooms and glows and gazes She sends forth fragrance, and w silently upwards; eeps and trembles, With love and Iove’s torment. Der Nussbaum (The N ut Tre e) po em by J uli us Mo se n A nut tree stands so green in fron fragrantly and airily, spreading o t of the house. ut its leafy branches. Gentle winds come to caress them They whisper, gracefully inclining their lovely blossoms. their tender heads to kiss. They whisper o f a maiden who thinks night and day — Ah, she herself knows not what! They whisper — but who can und They whisper of a bridegroom an erstand so soft an air? d o f the coming year. The maiden listens, the tree rustles yearning, hoping, she sinks smil ; ing into sleep and dreams. Ma rie nwiirm ch en (La dyb ug ) An on ym ou s Ladybug, sit on my hand I will do you no harm. I only wish to see your colorful w ings: your colorful wings are my joy. Ladybug, ﬂy away, your house is burning, your childr The evil spider is spinning her ween are crying so much, Ladybug, ﬂy home, your children b around them; are crying so. Ladybug, ﬂy to the neighbor’s child ren, They will do you no harm, they only wish to see your colorf ul wings, and greet them both for me. �Wolfgang Amadeus Mozart Voi Che Sa pete (You Who Know ) SUSANNA: The lady o f hon or... MARCELLINA: The Cou nts little sweetheart... CHERUBINO: You who know what love is, ladies, see if I have it in my heart. What I’m experiencing I’ll repeat to you, It’s new to me, I don’t understand it. I feel a longing full of desire, that now is delight, that now is death! I freeze, then I feel my soul burst into ﬂame, and in a moment I go back to freezing. I’m searching for something outside myself, I don’t know who holds it, I don’t know what it is. I sigh and moan without wishing to, I throb and tremble without knowing. Nor do I ﬁnd peace by night or day, but yet it pleases me to pine this way. You who know what love is, ladies, see if I have it in my heart. Wolfgang Amadeus Mozart Via Resti Servita (Afte r You ) MARCELLINA: After you, my brilliant lady. SUSANNA: I’d not be so bold, my spicy madam. MARCELLINA: No, ﬁrst it’s your turn. SUSANNA: No, no, it is yours. SUSANNA & MARCELLINA: I know my duties, I’d not be so uncivil. MARCELLINA: Th e new bride! SUSANNA: The love o f all Spain!... MARCELLINA: Your qualities... SUSANNA: Your dress... MARCELLINA: Your position... SUSANNA: Your age.. . MARCELLINA: [aside] By Bacchus, I’ll take her down, If I have to sta y here any longer. SUSANNA: [aside] Decrepit old witch! She makes me laugh! — translation by Briana Sakamoto �Binghamton University Music D epartment’s U P C O M I N G E V E N T S Sunday, May 8 – University Chorus with the University Symphony Orchestra: MASSterworks – 3:00 p.m. – Osterhout Concert Theater – $10 general public; $5 faculty/staﬀ/seniors; free for students Sunday, May 8 – Senior Honors Recital: Jieun Jang, piano – 7:30 p.m. – Casadesus Recital Hall – free Tuesday, May 10 – Percussion Ensemble – 8 p.m. – Anderson Center Chamber Hall – free Wednesday, May 11 – Composition Seminar Concert (Loy) – 7 p.m. – Casadesus Recital Hall – free Thursday, May 12 – Student Recognition MidDay Concert – 1:20 p.m. – Casadesus Recital Hall – free Friday, May 13 – Chinese Music Ensemble Class Concert – 5:00 p.m. – Casadesus Recital Hall – free Wednesday, May 18 – Voice Class Recital (MUS143 Chmela) – 11 a.m. – Casadesus Recital Hall – free For ticket information, please call the Anderson Center Box O ﬀice at 7 77ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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Creator An entity primarily responsible for making the resource Banton, Samantha Mallinson, Chai-Kyou Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2011-05-08 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/ab259ada974bfbc7d336ef061715a227.pdf 0a6fdb34f1a612e278767935930588d8 PDF Text Text BINGHAMTON U N I V E R S I T Y o y S T A T E U N I V E R S I T Y OF N E W Y O R K t t h e R T M E N T Graduation Recital Briana Sakamoto, soprano William James Lawson, plarust Pej Reitz, plarust Saturd ay, Ma y 7, 2011 at 8 pm Casadesus H a l l �p t o g a m I. Selections from Tonadillas al estilo antiguo, 191011, H. 136 . 1. El majo timido, no. 5 2. El mirar de la maia, no. 6 3. El tra la la y el punteado, no. 7 4. El majo discreto, no. 3 11. Selected songs. 1. V tak mnohém srdci mrtvo iest from Pisne milosme, 1888, op. 83, no. 2 2. Ten ptaéek, ten se nazpiva from Veéemi’ pisné, 1876, op. 31, no. 5 3. Kdy2 mne stara matka from Ciginské melodie, 1885, op. 55, no. 4 Enrique G ranados 18671916 Antonin Dvofak 18411904 .. George Frideric Handel 16851759 III. 11 primo ardor.. from the opera Ariodante, 1735, HWV 33 Intermission IV. Selected songs of Spanish composers late 19% to mid 20* C 1. La zagala alegre. ... from Seis canciones, no. 1” 1940 2. Después que te conoci from Seis canciones, no. 6 .. 3. Como quieres que adivine.. from Seis canciones castellanas, no. 5, 1939 4. Mananita de San Juan from Seis canciones castellanas, no. 6, 1939 4. Cantare: from Poema en forma de cancioncs, no. 3, 1917 V. Settings of English poetry 1. Loveliest of Trees 2. Now sleeps the crimson petal... 3. The Floral Dance. wwerneene Eduard T o l d 18951962 C E Guridi 18861961 .Joaquin Turina 18821949 lohn Duke 18991984 Roger Quilter 18771953 .Kate Emily Barley Moss 18811947 �loitns Thansa a d Texst n I . Selections from Tonad illac al entilo antiguo’ Little songs in an old style 1 dmido 1. El ma jo’ The timid ma jo Uegaamire ia y memira porlanoche unmaio que, en cuanto me ve y suspira, se va calle abajo. lAy qué n’o mas tardiol [Si asi se pasa la vida estoy divertidal every night – a majo who, after looking at me and sighing, continues down the stree t. Ay! What a slowpoke! If this is how life is going to go I will be amused! Texts: Ferna ndo Periquet, 18731940 He appears at my window and stares at me Si hoy tambien pasa y me mira y no se entusiasma pucs después de ese saludo [Adios Don Fantasmal jAy que tic mas tardio! Por estar enamorado l f today he comes again and stares and makes no eﬀort Las reias calladas. Goodbye Mr. Ghost! Ayl What a slowpoke! For being so in love He stays quiet! 2. El mirar de la maja The gaze oft he ma ja ¢Por qué es en mis ojos Why do my eyes have such a deep look? In order to hide tan hondo el rnirar? Que a ﬁn de cortar desdenes y enojos los suelo entornar. Qué fuego dentro llcvaran que si acaso con calor los clavo en mi amor sonroio me dan Por eso el chispem” a quien mi alma di al verse ante mi me tira el sombrero y diceme asi: “Mi maia, no me mires mas que tus oios rayos son y ardiendo en passion la muerte me dan.” and then after this greeti ng it’s disdain and anger l lower my lids So much ﬁre is inside them that if by chance, with their passion, they look piercingly at my lover, they make me blush. 3. El tra la Byel p u n teado Es en balde, majo mio, que sigas hablando porque hay cosas que contesto yo siempre cantando: Themlalaandtheguit arstnrm It is useless, majo of mine, to keep talking Por mas que preguntes tanto because there are things I will answer every time only singing: Tra la la... The more you ask ni yo he de salir de mi canto. or make me end my song. 4. El majo diocrem The discree t ma jo Dicen que mi maio es feo ; Es posible q ue si que lo sea, They say that my maio is ugly; It is possible that indeed he is, Because love is desire that blinds and takes over. Tra la la... i no causas quebranto En m que amor es deseo que ciega y marea. I la tiempo que sé que quien ama no ve. You won’t d istress me I’ve had time to learn: she who kives cannot see. Mas si no es mi maio un hombre que por lindo descuelle y asombre, en cambio es discreto y guarda un secreto que yo posé en él sabiendo quc es ﬁel. But if my maio is not a man who shines and impresses with good looks, he is, on the other hand, discreet and keeps a secret which I told him, knowing he is trustworth y. +Cuil es el secrcto que el majo gu ard ? Seria indiscreto contarlo yo. No poco trabajo costara saber secretos dc un majo con una muicr. What is the secret that the main kept? It would be indiscreet i f s aid it! Nacio en Lavapiés®. {Eh, lehl il is un majo, un majo esl He was born in Lavapiés. Ha! Ha! He’s a majo, a majo he is l Not a bit of eﬀort is need ed to ﬁgure out woman. the secrets o f maio with a Therefore, t his ﬁne gangster to whom I gave my soul when he faces me he pulls his hat down and says to me: “My maial Do not look at me anymo re because you r eyes are lig htning bolts and, burning with passion, they kill me.” s in the opus are 1 A “tonadilla ” is a dimin utive form o f “tona,” song, so it means “little song.” All the song that of 18th quite short, and tell of the romances be tween majos and majas in Madrid. The “old style” is y century /onadilla, a theatrical song based on the vernacular, and on folk music. r class 2 “Maio” has no English equivalent, t hough it is a bit like “dude.” Originally it described spunky lowe mean, roughly, folk, especially in Madrid, who dressed in an exaggera tedly traditional manner. It came to “good looking.” Recently it connotes friendlin form. In these tex ts, earlier meanings apply. “Maja” is t he female acho, “Chispero” is also diﬀicult to transla te. It is something like “gangster” or “rogue” and refers to a m gun. ug, lighter or ans spark pl ﬁery, handsome man. It literally me 3 of person * Lavapies is a barrio, a neighborhood, of Madrid . Keeping wit h the early d eﬁnition of majo, a type from Madrid, the speaker means that since her man was born t here, he is a legitimate majol �II . Selected songs of Dvoﬁk 1. V tak mnohém ardci mrtvo jest I n so man y hearts everyt hing in dead V tak mnohém srdci mrtvo jest, jak v temné pustiné, v ném na Zalost a na bolest, In so many hearts everything is dead, like in a dark wasteland, ln it, pain and suﬀering, are the only things that ﬁt. from Pisne milostne “Love songs™ Text: Gustav PﬂegerMoravsky, 18331875 ba, mista iediné. Tu klamy lasky horouci v to srdce vstup uje, Here deceptions of passionate love enter into the heart, A srdce Zalem prahnouci, to mni he miluje. And the heart, weeping with hunger, is aware that it loves. A v tomto sladk ém domnéni se jeste jednou v raj To srdce mrtvé proméni a zpiva starou bail And in that swee t illusion once more like a paradise The dead heart revives and sings an old tale! 2. Ten ptaéek, ten se nazpiva from Veéemi’ pisné – “Evening songs» Tha t little bird, who sings so much Ten ptaéek, ten se nazpiva, iak by byl piseﬁ ziva; Ba kdo v svém srdci lasku ma, nedivte se, i e zpival That little bird, who sings so much, as if he were song incarnate But whoever has a heart with love in it, do not be surprised that he sings! A ptacek, ten tak od srdce a k srdci mluvit umi, And the little bird, that in this way, knows how to speak from the heart to the heart, Text: Vitézslav H alek, 18351874 Ze div by ¢lovek neplakal, kdyZ srdcem porozumi. Ba Casto mné to ptipada. i e jsem mu druhem v lk ini, neb i ty moje pisné isou ien iemné naﬁkani. 3. KdyZ mne stard madta‘ from Ciganské melodie “Gypsy songs» Text: Adolf Heyduk, 18351923 When my old mother KdyZ mne stara matka zpivat ucivala, podivno, i e éasto slzivala. A ted’ také plaéem snédé lice muéim, KdyZ ciganské déti hrat a zpivat uéiml When my old mother taught me to sing, it’s strange that often she cried. And now 1 too, crying, torment my swarthy face, when I teach gypsy children to play and to sing! III. 11 primo ardor’ The ﬁrst ﬂame of love ll primo ardor é cosi caro a questo cor, che stinguerlo non vuol, quest’alma aman te. The ﬁrst ﬂame of love is so dear to this heart, this heart will not extinguish it, this loving soul. lo son fedel, ne mai crudel e sempre a lui sara il cor costante. I am faithful, never cruel, and for him always my heart will be constant. Text: Anonymous that a man can barely keep from crying, when with his own heart he understands. But often, to me it seems, that I am his friend in sorrows, for even these songs of mine are only gentle laments. 6 $ Dvofak’s ﬁrst attempt at song w riting was a cycle called “The Cyp resses,” which h e composed in 1 865, at the age of 24. He earned a small living playing viola in the orchestra of Bedﬁch Smetana, and teaching piano. Two of his students were Joseﬁna Cermikova and her younger sister, Anna. He was in love with J oseﬁna, but she did not return his aﬀections, and he later fell for Anna. Some say “The Cypresses” were written for one of the two sisters, but it is unclear as to w hich sister the composer had in mind. In 1873, Dvofak and Anna married. They had a long marriage, and nine children. the ﬁrst three of which died in infancy. “The Cypresses,” like Dvol’ak’s ﬁrst pursuit of love, was not much of a success, but the ideas and poetry remained dear to the composer. Twentythree years after that ﬁrs t try, a grown and betterpaid ma n, Dvol‘ak revised the group, and it became the “Love Songs.” The “G ypsy songs” were composed on a set of poems w ritten in German and Czech. The German version was set ﬁrst, for the work’s premier in Vienna. “KdyZ mne stara matka” is the most popular of the group, the most popular o f all Dvofak’ songs for that matter, and is often sung in German (“Als die alte Mutter”) and English (“Songs my mother taught me”). 7 This aria is sung by the character of Dalinda in Handel’s opera, Ariodante. Dalinda is an attendant to G inerva, who is betrothed to Prince Ariodante. Lurcanio, Ariodante‘s brother, is in love with Dalinda. Dalinda is in love with Polinesso, a duke, but Polinesso is in love with Ginerva. Scheming to win Ginerva from Ariodante, Polinesso exploits Dalinda’s aﬀections, using her as a pawn in a plot to make Ariodan te think that G inerva and Polinesso are having an aﬀair. The plot works. Ariodante goes to the woods to attempt suicide. Ginerva is disowned by her father. Polinesso tries to have Dalinda killed as a coverup, but while run ning away from the assassins, she meets Ariodante in the woods, his suicide attempt having failed. Ariodante saves Dalinda from the assassins. Dalinda assures Ariodante of Ginerva’s ﬁdelity. They return, Polinesso confesses and dies, and all is well. Ginerva marries Ariodante. Dalinda marries Lurcanio. Near the end of the ﬁrst act, when none of this has yet been revealed, and Dalinda is still in love with Polinesso, she sings “Il primo ardor” to Lurcanio, spu rning him, and aﬀirming her faith fulness to the ma n she believes is her one true love. �IV. Selected songs of Spanish composers – late 19% to early 20% C 1. La zagala alegre® The happy maiden A una donosa zagala su vieja madre reﬁa, cuando pasaba las horas alegres, entretenida; y ella, su amor disculpando, con elocuencia sencilla, cantando al son del pandero, asi mil veces decia: Ahora que soy nina, madre, ahora que soy nina, déieme gozar ahora, sin que asi me rina. A happy maiden is scolded by her old mother, as she spends happy hours, entertaining herself; and she, excusing her love, with simple eloquence, singing with her tambor”, says this a thousand times: Now that 1 am a girl, mother, now that 1 am a girl, Let me enioy myself now, without scolding me. {Que mal nos hace Salicio si cuando pasa me mira, y me tira de la saya o en el brazo me pellizca? . . .No piense, madre, que busca mi deshonra; no lo diga. Mi gusto solo, y su gusto, queriéndome asi codicia. Ahora que soy nina, madrc... Text: Pablo de Jérica, 17811841 3. Cé6mo quieres que adivine Text: Folk How can I guess Cémo quieres que adivine si estas despierta o dormienda, How can I guess if you are awake or asleep when no angel of heaven will come down to tell me! [como no baje del cielo un angel y me lo digal How can I guess? ¢Como quieres que adivine? hermosa paloma cuando seras mia, cuando seras mia, [cuando vas a ser, Joy and more ioy, pretty dove when you’ll be mine, when you are mine, when that comes to be, pretty dove, laurel branch! What harm is Salicio if he walks by and looks at me, and tugs my skirt hem, or pinches my arm? ...don’t think, mother, that he wants to dishonor me, don’t say it. It’s only fun to me, and him, and he desires my love. Now that I am a girl, mother... Cuando voy por lena al monte olé ya mi niﬁa y me meto en la espesura, y veo la nieve blanca, ole ya mi nina, me acuerdo de tu hermosura. When I go to get wood on the mountain, oh my girl, and I ﬁnd myself in the thicket, and I see the white snow, oh my girl, I remember your beauty. Cuando casada me vea, hecha muicr de farnilia, me sobraran mil cuidados, me faltara mi alegria. Por eso quisiera, madre, pasar alegres los dias que me restan de soltera en bailes, iuegos y risas. Ahora que soy niﬁa, madre... When you see me married, the mother of a family, I’ll have a thousand worries, I’ll miss my happiness. Therefore, mother, I want to be happy in these days when I’m still single, with dances, games and laughs. Now that I am a girl, mother... Quisiera ser por un rato anillo de tu pendiente, para decirte al oido lo que mi corazon siente. Quisiera ser por un rato... I would like to be, just once, an earring you wear, so I can tell your ear what my heart feels. I would like to be, just once... Las estrellas voy contando, ole ya mi niﬁa, por ver la que me persigue. Me persigue un lucerito, olé ya mi nina, I count the stars, oh my girl, to look at the one that follows me. A little star is following me, oh my girl, 2. Despuéa q ue te conoci After meeting you Alegari y mas alegna.. Joy and more joy... Después que te conoci, todas las cosas me sobra el sol para tener dia, abril para tener rosas. After meeting you I don’t need all these things: the sun in order to have day, 4. Maﬂanita de Sarrjtranm Text: Folk Moming on St. John’s day Mananita de San Juan, Por mi bien pueden tomar otro oﬁcio las auroras, que yo conozco una luz que sabe amanecer sombras As far as I’m concemcd. there might as well be another iob for the dawn, because I know a light that knows how to brighten shadows In the morning on St. John’s day, wake up early and in the window you will see Bien puede buscar la noche quien sus estrellas conozca, que para mi astrologia ya son escuras y pocas. It is better to search the night as someone who can see her stars, but in my astrology the stars are faint and few. Despues que te conoci... After meeting you... Ya no importunan mis ruegos a los cielos por la gloria, que mi bienaventuranza tiene jornada mas corta. And my prayers don’t plead the heavens for glory, Text: Francisco Gomez de Quevedo, 15801645 Bien puede la margarita guardar sus perlas en conchas, que buzano de una risa las pesco yo en una boca. pril in order to have roses. because my own heavenly blis is a much shorter trip away. The oyster can just as well keep her pearls in her shells, because, when 1 ﬁsh for a laugh I ﬁnd them in a mouth. " Toldra was especially inﬂuenced by traditional Catalan dances. Much of the musical and poetic form of “La zagala alegre” bears resemblance to that of the jota, a lively, wal tzlike dance known throughout Spain. 9 A “pandero” (“tabret,” u tambor” or “timbrel") is an ancestor of the modern tambourine. Alegria y mas alegria, hermosa paloma, ramito laurel! pequenito pero ﬁrme, levantate tempranito y en la ventana vera’s de hierbabuena un poquito. Aquclla paloma blanm que pica en el arcipiés, que por donde la cogenia, que por donde la cogeré; si la coio por el pico se me escapa por los pics. Coge nino la enramada, que la noche esta serena y la musica resuena en lo profundo del mar. it is small, but strong, a little bit of mint. That white dove who picks at its leaves how can I catch it how can 1 get i ; if I catch it by the beak it will escape with its feet. Go, boy, to the arbor, because the night is serene and the music resounds in the depths of the sea. 5. Cantares Songs Mas cerca de mi te siento Cuanto mas huyo de ti Closer to me I feel you The more I try to ﬂee you For your image is in me Shadow of my mind. Text: Ramon de Campoamor y Campoosorio, 18171901 Pues tu imagen es en mi Sombra de mi pensamiento. Vuélvemelo a decir l’ucs embelesada ayer Te escuchaba sin oir Y te miraba sin ver. Say it to me again Because spellbound yesterday I listened to you without hearing And I looked at you without seeing. '" In Spain it is traditional to celebrate the summer solstice on St. John’s night, June 23, using bonﬁres and ﬁreworks to ward o ﬀ evil spirits, and bathing in the sea for puriﬁcation. �V. Settings of English poetry 1. Loveliest of Trees Text: Alfred Ed ward Housman, 18561 936 Loveliest of trees, the cherry now Is hung with bloom along the bough, And stands about the woodland ride Wearing white for Eastertide. Now, o f my th reescore years and ten,“ Twenty will not come again, And take from seventy springs a score, It only leaves me ﬁfty more. And since to look at t hings in bloom Fifty sp rings are little room, About the woodlands I will go To see the cherry hung with snow. 2. Now sleeps t he crimson pe tal? Text: Lord Alfred Tennyson, 18091892 Now sleeps the crimson petal. now the white ; Nor waves the cypress in the palace walk; Nor winks the gold ﬁn in the porphy ry font: The ﬁreﬂy wakens: waken thou with me. Now folds the lily all her sweetness up, And slips into t he bosom of the lake: So fold thyself, my dearest, thou, and slip Into my bosom and be lost in me. ” This refers to Psalm 90:10, w hich states that “T he days o f our years are three score years and ten,” in other words, that we’ve seventy years to live. 12 From the blank verse narrative poem, “The Princess,” the story w hich inspired G il bert and Sullivan‘s “Princess Ida.” This excerpt, in form and imagery, is based on the ghazal, a type Persian love poem. 3. The Floral Dance ” Text: Kate Emily Barkley ("Ka tie") Moss (1881 1947) As I walked home on a Summe r night, When stars in Heav’n were shining bright, Far away from the footlight’s glare Into the sweet and scen ted air Of a quaint old Cornis h town, Borne from afar on the gentle breeze, Joining the mu rmur of the summer seas, Distant tones of an old world dance, Played by the village band perchance, On the calm air came ﬂoating down. I thought I could hear the curious tone Of the comet, clarinet and big trombone, Fiddle, ‘cello, big bass drum, Bassoon, ﬂute and euphonium. Far away, as in a trance, I heard the sou nd of the Floral Dance. And soon I heard such a bustling and prancing And then I saw the whole village was dancing In and out of the houses they came, Old fol k, young folk, all the same In that quaint old Cornish town. Every boy took a girl ‘round the waist And hu rried her o ﬀ in tremendous haste Whether they k new one another I care not, Whether they cared at all, I know not, But they kissed as they danced along. And the re was t he band with that curio us tone Of the cornet, clarinet and big trombone, Fiddle, ‘cello, big bass drum, Bassoon, ﬂute and eu phonium. Each one making the most of his chance, All toge ther in the Flo ral Dance. l felt so lonely standing there And 1 could only stand and stare, For I had no boy with me, Lonely I should have to be, In that quaint old Cornish town. When suddenly hast’ning down the la ne A ﬁgure I knew I saw q uite plain, With outstretched hands he came along And carried me into t hat merry throng And ﬁddle and all went dancing down. We dan ced to t he band with the curious tone Of the cornet, clarine t and big trombone, Fiddle, ‘cello, big bass drum, Bassoon, ﬂute and euphonium, Each one making the most of his chance, Altoget her in t he Floral Dance. Dancing here, prancing there, Jigging, jogging ev’ryw here, Up and down, and ro und the town Hurrah! For the Cornis h Floral Dance! “ Th e poem is a story that actually ha ppened to Moss, a t a Furry (or Flora) Dance in Cornwall. About the Performers Briana Sakamoto is pursuing a Bachelor of Music d egree in Vocal Performance at SUNY Binghamton under the direction o f Professor Mary Burgess. She also studie s with TCO founder Peyton Hibbitt. Over the past ﬁve years, Briana has been a frequent recitalist at Binghamto n and in Westchester, near her home. This January she organized and sang in a chamber concert in Briarcliﬀ, NY, w hich raised money for Partners in Health’s Haiti relief eﬀorts. She has been a membe r of the Tri Cities Opera chorus, BU’s Harpur Chorale, the Binghamton University Chorus and t he Taconic Ope ra Cho rus. Singing in fund raisers and forums at BU, she has lent her voice to such causes as “Voices Against [dome stic] Violence,” and the ﬁght against the genocide in Sudan. A member of AEA, SAG and AFTRA, she has a lo ng background in dramatic performance, and between semesters, studies acting at t he Larry Singer Studio s in Manhattan. She graduates this month, and will return home to continue working towards a full time career as an opera singer... www.you tube .com / user/ einekleinesopran William Jame s Lawson coaches and accompanies singers at Binghamton University. As a coach, he specializes in English diction for American and English art songs and the sacred and classical theater repertoires. He stud ied at Binghamton University (B.A. 1 980), where his teachers included Seymour Fink and Patricia Hanson in piano, M. Searle Wright in church mus ic, and Stevenson Barrett in vocal coaching. He holds an M.A. from N ew York U niversity (1984) and w as one of the ﬁrst grad uates o f New York University ’s innovative Departmen t of Performance Stud ies, an interdis ciplinary program in t he performing arts. In 2008, he cond ucted the Summer Savoyards p roductio n of Pri ncess Ida. Pe j R eitz pianist, is a native of t he Binghamton Area. She received her Bachelor and Master of Music degrees in piano performance with accompanying emphasis. She attended Boston University, New England Conservatory and Binghamton University. She has stu died piano with Jean Casadesus, Victor Rosenbaum, Seymour Fink and Walter Ponce and accompanying with A llen Rogers. She has accompanied throughout the U nited States, in England, South America, Spain and at the American Institute of M usical Studies in G raz, Austria. She was a win ner of the Artistic Am bassado rs P rogram by the U nited States I n formation Agency in partnership with the J ohn . Kennedy Cen ter for the per forming arts. She was an oﬀicial accompanist for t he MTNA State and Iias tem Division Competi tion held at It haca College and played for the event again J anuary 2010. She has been a guest chamber music artist in Morges , Switzerland. She also was selected to attend the Accompanying Workshop for Singers and P ianists held at Northwestern U niversity with Chicago Lyric Opera Faculty and Coaches. She was recently invited to the lntema tional Clarinet Con ference to play a recital in Tokyo, Japan. She was a guest artist o n the Cornell Summe r Series. She was an oﬀicial pianist at the International Double Reed Competition and Convention in 2 007 at Ithaca College and was invited to play the 2009 Convention in Birming ham, E ngland with the Glick man Ensemble She will work on a CD project with the Glickman Ensemble again this summer in Englew ood, NJ. She was selected to accompany at the Interpretation of Spanish Music in coniunction with U niversit y of Madrid in G renada, Spain coached by Teresa Berganza and at Mannes School of M usic su mmer 2 008. She was a Guest Artist playing two concerts in G ranada, Spain t his past summer and accompanied the Barcelo na Song Festival in July. This past summer she soloed with the Catskill Symphony at the Otesaga in Cooperstown, NY under the direction of Charles Schneider. This coming summer she will accompany and tea ch at The In ternational Spanish M usic Festival in Madrid, Spain. �Coming Events Sunday, May 8 – Senior Voice Recital: Samantha Banton and Molly AdamsToomey 1:00 p.m. – Casadesus Recital Hall – FREE Sunday, May 8 – University Chorus with the University Symphony Orchestra: Mass Masterworks 3:00 p.m. – Osterhout Concert Theater – $5, FREE for students Sunday, May 8 – Senior Honors Recital: Jieun Jang, piano 7:30 p.m. – Casadesus Recital Hall – FREE Tuesday, May 10 – Percussion Ensemble 8 p.m. – Anderson Center Chamber Hall – FREE Wednesday, May 11 – Composition Seminar Concert (Loy) 7 p.m. – Casadesus Recital Hall – FREE Thursday. May 12 – Student Recognition MidDay Concert 1:20 p.m. – Casadesus Recital Hall – FREE Friday, May 13 – Chinese Music Ensemble Class Concert 5:00 p.m. – Casadesus Recital Hall – FREE Wednesday, May 18 – Voice Class Recital (MUS143 Chmela) 11 a.m. – Casadesus Recital Hall – FREE For ticket information, please call the Anderson Center Box Ojﬁtr at 777ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&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. 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. 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.) 40:03:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145467">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145467</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Graduation recital, Briana Sakamoto, May 7, 2011 Recital Tape 2011-5-7 Description An account of the resource Held at 8:00 p.m., May 7, 2011, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Sakamoto, Briana Lawson, William James Reitz, Margaret 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 2011-05-07 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/f4f5991970ffba8771f953bac7b31b8b.pdf 05df6d6d7ae0f3db2de0f6a20fe07a00 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 P A R T M E N T SENIOR R EC ITA L LAU RA MACAVOY SOPRANO wilh Willcam, peano S u n d a y , Apr il/10 , 2 0 1 1 3.00 p. n a Casadesus Recital Hal �TR AN SL ATIO NS PROG RA M Let me wa nde r no t un see n Text: John Milton L’Allegro, il Penseroso ed il Moderato...... .... George Frideric Handel Let me wander not unseen (16851759) Or let the merry bells Venuto e A r , Ah, ma i non cessate Ognun ripicchia e nicchia Nac htgang, Op . 29 no 3 . . Du meines Herzens Kronelein, Op 21 no. 3 Lei ses Lie d, O p. 39, n o. 1 Schlagende Herzen, Op. 29, no. 2 Let me wander, not unseen, By hedgerow elms on hillocks green. There the ploughman, near at hand, Whistles over the furrow’d land. And the mildmaid singeth blithe, And the mower whets his scythe, And every shepherd tells his tale, Under the haw thorn in the dale. .Stefano Donaudy (18791925) Or l et th e m erry bel ls ..Richard Strauss (18641949) Or let the merry bells rin g round, and the jocund rebecks sound. To many a youth and many a maid, dancing in the chequer’d shade. Bio/N TE RMISS IONCU La Courte Paille........ Le sommeil Quelle adventure! La reine d e coeur Ba, Be, Bi, Bo, Bu Les an ges musiciens Le carafon Lune d’Avril Three Browning S o n g s Ah, Love, but a day! Op . 4 4 ”no. 2 I send my heart up to thee! Op . 44 , no The Year’s at the Spring. Op. 44 , no. 1. 3 IL Ven uto é I’ apr ile (Ap ril has arr ived ) Tex t: Alber to Donaudy ...Francis Poulenc (18991963) Amy Beach (18671944) J April has arrived, weaving garlands, and gathering nymphs and sylvans in the meadow. The alder trees are tuning their instruments, and at the ﬁrst harmonies o f the wind among the branches, the dance begins. First a faun advances... His nymph sees him ... Sighs... And they ﬂy o ﬀ together! The couples frolic among the fountains and the brooks, and then disappear furtively into the woods... But Clori, who meanwhile is jealous of Nice, waits unhappily and lonely, in tears, for the dance to end. But a shepherd approaches... And already Clori sees him ... Sighs... And they ﬂy o ﬀ together! Ah, ma i n on c ess ate ... (Ah , ne ver cea se.. .) Ah, never cease your speaking, oh desired lips to which I madly go; With the honey o f your words I want to ma ke a sweet pillow upon which 1 will sleep. Oh blessed dreams never dreamed by anyone which, sleeping upon that pillow; I will have, sleeping and dreaming, close to your heart, my sweet, desired dream o f love. Ah! Sleeping, dreaming dreaming of love! Ogn un r ipic chia e n icch ia (Eve ryon e re pea ts a nd hes itate s) Everyone repeats and always hesitates over an event strange to tell. But why, bu t how is it. that so much love should end this way? Now I would like to tell m y story s o comical as it is: I was walking on e day with Mona Lapa, who was so dear to my heart, through the ﬁelds to gather ﬂowers. But the stor y begins here. Oh! Wha t is that I see the re? A cricket or a nightingale? The most beautiful! My beauty sat on a little hill. She hoped to be able to enjoy the divine singer, but at the trill of the cricket and at his quick jump she gave a scream, and with her ﬂight, I fell o n the place where she had sat. And the story ends here. �III Nachtga ng (Night Walk) Text: Otto Julius Bierbaum We walked through the quiet, mild night, your arm in mine, your eyes in mine. The moon poured silver light over yourface. as if your head rested on a golden bed. And you appeared to me as a saint, gentle and immense and full of soul, holy and pure, l k e the beloved sun. And in my eyes rose up a warm longing like a tearful premonition. More tightly I clasped you and kissed you, kissed you so softly. My soul wept. Du meine s Herzens Kronelei n (You m y h eart’s litt le crown) Text: Felix Dahn You my heart’s little crown, you are o f p ure gold, when others are close by, then you are still mo re lovely. The others appear to be so clever, you are very calm an d quiet, that every heart takes pleasure in YOU, it is your fortune, no t your will. The others seek love and favor with thousands of false words, you without deceit in word and look are valued in all places. You are like the rose in the forest, she knows nothing o f her beauty, yet to each, who wanders by, she delights the heart. Leises Ll ed (Gentle S ong) Text: Richard Dehmel In a quiet garden near the bottom of the well, how gladly I would wait the long grey night! Many bright lilies bloom around the base of the well; therein swim the golden stars, therein th e moon baths. And just as into the well shimmer the loving stars, the light o f your loving eyes always shines into my heart. Yet the stars in the sky, they remain so far away; in your quiet garden I would like to stand. Schlagende Herzen (Beating Hearts) Text: Otto Julius Bierbaum Over meadows and ﬁelds a boy walked; kling, klang, beat his heart; On his ﬁnger shone a golden ring, kling, klang, beat his heart! Oh meadows, oh ﬁelds, how beautiful you are! Oh mountains, oh valleys, how beautiful! How good you are, how lovely you are, your golden sun so high in the sky! Kling, klang, beat his heart. Quickly hurried the boy with merry step, kling, klang, beat his heart. He took many a laughing ﬂower with him; kling, klang, beat his heart. Over meadows and ﬁelds blows the spring wind, Over mountains and forests blows the spring wind, In the heart within me blows the spring wind, that drives me to you softly, gently. Kling, klang, beats his heart. Between meadows and ﬁelds stood a maiden, kling, klang, beats h er heart, she shaded her eyes with her hand to see, kling, klang, beats h er heart. “Over meadows and ﬁelds, over mountains and forests, to me. to me he quickly comes, Oh, if only he were already her e with me!” Kling, klang, beats h er heart. I V L a Courte Paille (The Sho rt Straw) Text: Maurice Careme Le somm eil (Sleep) Sleep has gone on a joumey, My goodness! Where has it gon e? I have rocked my little one in vain, He cries in his crib, He has cried since noon. Where has sleep put Its sand and wise dreams? I have rocked my little one in vain, He turns as if swimming, He sobs in his bed. Ah! Come back, come back sleep, On your handsome race horse! In the black sly, the Great Bear Has buried the sun And rekindled his bees. If the child does not sleep well, He will not say hello, He will have nothing to say tomorrow To his ﬁngers, to his milk, to his bread That welcome his d ay. Quelle aven tune! (What adventure!) A ﬂea, in her cart, Pulled a little elephant along Gazing in the shop windows Where diamonds sparkled. My goodness, my goodness! What adventure! Who would believe me if I told them? The little elephant, with an absent air, sucked on a pot of jam. But the ﬂea did not notice and pulled on smiling. My goodness, my goodness! If this goes on I will really believe I am going crazy! Suddenly, along by a fence, the ﬂea disappeared in the wind and I saw the young elephant make oﬀ, breaking through the walls. M y goodness, my goodness! It’s all perfectly true, But how shall I tell Mommy? La reins de c oeur (The Queen o f H earts) Gently leaning on the windows of the moon, The Queen greats you With a ﬂower o f the almond tree. She is the Queen of Hearts She can, if she wishes, Lead you in secret to a strange dwelling place Where there are no more doors, nor rooms, nor towers And where the young dead people come to speak of love. The Queen greats you And hastens you to follow her Into her house of frost With the sweet windows of the moon. Ba, B e, Bi, B o, B u (Ba, B e, B i, B o, B u) Ba, be, bi, bo, bu, be! The cat has put on his boots, H e g oes from door to door Playing, dancing, dancing, singing. Louse, cabbage, knee, owl! “You must learn to read, to count, to write,” Everyone shouts at him. But Rikketikketau, The cat laughs loudly And retums to his castle. He is the Puss in Boots! Les anges musiciens (The ang el musici ans) On the threads of the rain, The Thursday ang els Play all day on the ham. And under their ﬁngertips, Mozart tinkles deliciously In drops o f blue joy. Because it is always Mozart That is endlessly repeated By the angelic musicians Who, throughout Thursday, Are singing on their harps, The softness o f the rain. �Le cara fon (The Baby Carafe) “Why,” complained the carafe, “should I not have a baby carafe? At the zoo, Madame the giraﬀe, has she not a baby giraﬀe?” A sorcerer who happened to be passing by astride a phonograph, Recorded the lovely soprano voice of the carafe and let Merlin hear it. “Very well,” he said, “very well!” He clapped his hands three times And the lady of the house Still asks herself why That very moming, she found A pretty little baby carafe Nestled close to the carafe Just like in the zoo, the baby giraﬀe Rests its long, fragile neck Against the pale ﬂank of the giraﬀe. Lune d’Avril (April Moon) Moon, Beautiful moon, moon of April Let me see in my sleep The peach tree with the saﬀron heart, The ﬁsh who laughs sleet, The bird who, distantly like a ho m, sweetly wakes the dead And above all, above all, the land where it is joyful, where it is clear, where there are sunrays of primroses, Where all the guns have been destroyed. Moon, Beautiful moon, moon of April. V Ah, Lov e, but a day! Text: Robert Browning Ah, Love, bu t a day, And the world ha s changed! The sun’s away, And the bird estranged; The wind has dropped, And the sky’s deranged; Summer has stopped. Ah, Love, but a day, And the world has changed! Look in my eyes! Wilt thou change too? Should I fear surprise? Shall I ﬁnd aught new In the old and dear, In the good and true, With the changing year? Ah, Love, Look in my eyes, Wilt thou change too? I send m y h eart u p to thee! I send my heart up to thee, all my heart In this m y singing. For the stars help me, and the sea, and the sea bears part; The very night is clinging Closer to Venice’ streets to leave one space Above me, whence thy face May light my joyous heart to thee, to thee its dwelling place. I send m y heart up to thee, all my heart In this m y singing. The Ye ar’s at the Spr ing. The year’s at the spring, And day’s at the mom; Moming’s at seven; The hillside’s dew pearled; The year’s at the spring; And day’s at the mom; The lark’s on the wing; The snail’s on th e thom; God’s in his heaven, AIl‘s righ t with the world! ABOU T TH E PERFORM ERS L a u r a M a c Av o y, soprano, is currently a senior Bachelor of Music candidate studying under th e direction of M ary Burgess at Binghamton University. This past summe r, Ms. MacAvoy traveled to Périgueux, France, where she sang the role of Cybelle in Orphée aux enfers, as well as several art so ng revi ews with the France American Vocal Academy. A s a member o f the Tri Cities Opera Chorus, she has appeared i n Le nozze di Figao, L’elisir d’amore, Cosi fan tutte, and in the upcoming production of Les contes d’Hoﬀmann. She has also sung with Lake George Opera in the Children’s Chorus of La Bohéme. Also through Lake George Opera, she has participated in two youth operas, singing the title role in Dido and Aeneas and The Rose, The Wate r, and chorus parts i n The Little Prince: A Magical Opera. Ms. MacAvoy has sung with numerous ch oirs in the Sa ratoga and B ingham ton area, a s well a s severa l solo performances in both areas. In the coming year, s he will begin work on a Master’s of Music in Voic e at the University of MissouriKansas City (UMKC ). William Jame s Law son coaches and ac companies singers at Binghamton University. As a coach, he specializes in English diction for American and English art songs and the sacred and classical theater repertoires. He studied at Binghamton University (B.A. 1980), where his teachers included Seymour Fink and Patricia Hanson in piano, M . Searle Wrig ht in c hurch music, and Stevenson Barrett in vocal coaching. He holds a n M.A. from New York University (198 4) and was o ne of t he ﬁrst gradu ates of New York University’s innovative Depar tment o f Performance Studies, an interdisciplinary program in the performing arts. In 2008, he conducted the Summ er Savoyards production of Princess Ida. � 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. 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. 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.) 36:42:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145473">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145473</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Senior recital, Laura MacAvoy, April 10, 2011 Recital Tape 2011-4-10 Description An account of the resource Held at 3:00 p.m., April 10, 2011, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource MacAvoy, Laura Lawson, William James Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2011-04-10 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/b5fef3d90b43c08964d92d5d64d66d6f.pdf 9bae68adeb7ba9e12e4512c7edb83a1f PDF Text Text BINGHA MT ON U N T V E R B I T Y U N I V E R S I T Y O F N E W Y O R K R E Ze EC P MASTERS RE CITAL IOLIN JAMES H S I A , V wiih M L’ O h a e é j a Z f WJ / é ' j o e m j m f z g ; ] Prano abriele Mare; violing Joes Ht &G viola A Z Z a / C m f d a / Q M OZ ’ A n dW Bew Pochily, Nander Edwards; cello ' S a n d a y Ma y 1 s t 2 011 Casadesus Recita l fall 7 : 3 0 p . [ 774 ' ; �PROGRAM J.S. Bach Sonata No. 2 in a minor for Solo Violin, BWV 1003 (1685–1750) Andante Allegro F \ Sonata in A Major for Piano and Violin Op. 30 No.1...........coeeeeeiivnneninniennnne.... Van Beethoven (1770–1827) Allegro Adagio molto expressivo Allegretto con variazioni A} w INTERMISSION cs String Quartet No. 8 in c minor, op. 110... Dmitri Shostakovich (1906–1975) Largo Allegro Molto Allegretto Largo Largo l Sonata in D Major for Violin and Piano Op. 98bls Moderato ‘Scherzo: Presto Andante Allegro Con Brio Sergey Prokoﬁev (1891–1953) l ) Mr. Hsia’s performance is in partial fulﬁllment of the requirements for the Master of Music degree in Violin Per formance. He is a student in the ‘ studio of Professor Janey Choir �ABOUT THE PERFORMERS Taiwan ese violinist J AMES HSIA has performed regularly throughout New York State presenting a wide range of repertoire including concertos by Paganini, Mendelssohn, and Bruch, leading numerous chamber groups, and in ensembles such as the Empire State Yo uth Orchestra, and the Southern Tier Symphony under the director John Whitney. While attaining his Bachelor o f Music Education degree at SUNY Fredonia, studying with Janet Sung, he was regularly featured on their performance series as recitalist and chamber musician, and was selected from the SUNY Fredonia Symphony Orchestra to perform in the Chamber Orchestra, and Chamber Opera Orchestra under the direction of David Rudge from 2006–2010. This past summe r, he participated in the Hot Springs Music Festival working with violinist Jessica Mathaes, and Todd Cranson, Director of the University of Illinois Chamber Orchestra. He has also appeared in concert halls including Carnegie Hall, the Tan glewoo d Music Hall, and Tr oy Savings Bank Music Hall. He is currently a student of Janey Choi, studying at Binghamton University pursuing a Master o f Music Degree in Violin Performance. MICHA EL SALMI RS, a founding member and artistic director of the Finger Lakes Chamber Ensemble, is well known as a recitalist and chamber musician, appearing as soloist with the Corning Philharmonic, Binghamton University, and Cayuga Chamber Orchestra. As a performer of contemporary music, he has premiered numerous solo and chamber works and has participated in such series as Binghamton University’s Musica Nova, Cornell University’s Ensemble X, and has toured and recorded for the Syracuse Society for New Music. As a composer he has just completed ,Silenced Voice for Viola and Piano, which was premiered October 17 at Binghamton University. 1 ,l Mr. Salmirs studied at the New England Conservatory and Eastman School of Music; his teachers have included pianists Leonard Shure and Rebecca Penneys and composer Ka rel Husa. Salmirs has taught at the Syracuse University School of Music and Hobart and William Smith Colleges. He is currently a faculty memb er at Binghamton University, teaching piano and coaching chamber music. He also maintains a private piano studio in Ithaca. JIEUN JANG is a senior Bachelor of Music student from South Korea. She has been studying piano with Michael Salmirs, and she is graduating this semester. She plans to pursue a Master’s degree in music history at Hunter College. She performed with many departmental ensembles such as University Symphony Orchestra, Wind Symphony, University String Orchestra and University Chamber Chorus. She plans to specialize in Sergei Prokoﬁev’s music. I I ALLA CORDA was formed in September, 2010. The members of the quartet include: Gabrielle Maire, a freshman in PreMedical program studying violin with Professor Janey Choi, Ben Pochily, a freshman Music Performance major studying viola with Professor Roberta Crawford, and Xander Edwards, a freshman Economics major studying with Professor Stephen Stalker. H istory o f the A lla Co rda T shirts — The quartet often gets together with or without instruments to improve the quality o f our music making. This includes but is not limited to: rehearsals, lunch/dinner together, and late night runs to Walmart. The Alla Corda T shirts are the products of a late night ru n to Walmart, and were designed by the quartet’s own Gabrielle Maire. } �PROGRAM NOTES Johan n Seb astian Bach (1685–1750) spent a great amount of his lif e composing a nd performing music for the or gan and for the Luthera n church. He was a virtuoso on organ, violin, and many consider hi m to b e the greatest composer o f his time. In 1717, Bach was hired b y Prin ce Leopold of Kéthen to serve as his director of music. During this service Bach’s compositions were mostly secular. Ba ch completed the Three Sonatas and Three Partitas for Unaccompanied Violin in 1720, but they were not published until 1802. These works o f Bach were still largely ignored even after the publication until the famous violinist Josef Joachim began performing these works a halfcentury later. German composer Ludw ig van Beeth oven (1770–1827) concentrated his musical output o n piano and chamber music. Beethoven’s works are often divided into three periods: the early phase, up to 1802; the middle phase, 1802–1815, and the late phase, 1815–1827. Sonata for Piano Violin No. 6 in A major, the ﬁrst o f his Opus 30 set, was compos & ed between 1801 and 1802, published in M ay 1803, and dedicated to Tsar Alexander I o f Russia. This was an example of Beethoven’s early wo rks, which marked the beginning of his transition into symphonic forms. Beethoven wrote almost all his orchestral music between 1800–181 4 including 8 symphonies, and the Violin Concerto in D major. The String Quartet No. 8 in C minor, b y Dmi tri Sh ostako vich (1906– 1975), was written in three days from July 12th to 14th, 1960. Shostakovich wrote the piece after his diagnosis with polio, and his reluctant joining of the Communist Party. This powerful piece explore s the darkest aspects of human experience: sorrow, terror, violence, death, shock, and grief. He dedicated this piece t o the victims of war and fascism but secretly it was a piece written for himself. He uses his personal signature motif: DSCH, a German transliteration of his nam e which translates to the notes D, EFlat, C, B, and appears throughou t this piece. Each movement contains an attacca leading to the next movement that makes this quartet ﬂow seamlessly from the beginning to the end. The ﬁrst movement, ﬁlled with tense foreboding, foreshadows the explosive and ﬁerce second movement, whose massive violence is impossible to ignore. Shostakovich intends to show the confusion an d horror inﬂicted upon the Russian people by the government through the violence in the second movement. Shostakovich ends this quartet with the same tempo and same dynamics as at the start of the piece. This brings out sadness — a reﬂection of the victims of war and fascism. Sergey Proko ﬁev (1891–1953) was a ‘Russian pianist born in Sontsovka. H is mother Mariya Zitkova, an educated woman who loved the arts, taught him piano at age four. His father took charge of Prokoﬁev’s education in the sciences and foreign languages. He wa s well taken care of at home by his parents because he was the only child in the family who survived infancy. Prokoﬁev began composition at a very young age and composed his ﬁrst opera, Ve/ikan, at age nine. Prokoﬁev was considered one o f the greatest composers in the Soviet Union during War World II, and was awarded the Honoured Artist title of the RSFS R (Russian Soviet Federative Socialist Republic) in 1943. During that time hi s compositions we re reactions to the war and we re , often used as propaganda. The Flute Sonata Op. 94 was written in 1943, an d was premiered on December 7 of the same year in Moscow. I t was later transcribed fo violin and piano at the request of the famous violin virtuoso Davidr Oistrakh. The transcription became Prokoﬁev’s Sonata for Violin and Piano No. 2 in Dmajor, Op 94b.Prokoﬁev’s arrangement f or violin and piano is just as challenging, if not more so, than the original. It feature s technical challenges for the left hand such as w ide skips across the range of the violin, artiﬁcial harmonies, octaves, an d running 32nd not es with diﬀerent accidentals. The four movements in the Sonata contain a wide range o f emotions. This was a mature composition that was mean to be played with great passion. The ﬁrst movement is lyrical andt Prokoﬁev experiments with diﬀerent tone colors by having the violinis play in many diﬀerent positions that show oﬀ a variety of virtuosict techniques. The second movement starts immediately with a playfu style, as if musically demonstrating a cat and mouse playing hide andl seek. Prokoﬁev ends the movement by going up to the highest regis ter on the violin with a C7 and ﬁnishing with a fortissimo pizzicato._ln th e third movement, Prokoﬁev returns to a slow tempo that is lyrical and uses a very legato bowing that evokes a melancholy feeling. In the las t movement Prokoﬁev moves away from all the previous movements with a very martial and metronomic style. The music moves forward with «a very dry articulation by putting stress on almost every beat of t he ba t; leading to a strong and triumphant ﬁnish. * \ 4 ¥: A �Binghamton University M usic D epartment’s U P C O M I N G E V E N T S 6 & 6 @ 6 & 6 @ 6 & 6 é ¢ 6 & 6 r 3 ¢ 6 6 ~ Thursday, May 5 — MidDay C o n c e r t 1:20 p.m. — Casadesus Recital Hall — free Thursday, May 5 — African M usic Ensemble — 7:00 p.m. — Anderson Chamber Hall — free Friday, May 6 — F lute Studio Recita l — 10:15 a.m. — Casadesus Recital Hall — free Friday, May 6 — C omposition I Clas s Recital (Goldsta ub) — 1:10 — 2:10 p.m. — Casadesus Recital Hall — free Friday, May 6 — Faculty R ecital: Jinah Lee, p i a n i s t 8:00 p.m. — Casadesus Recital Hall — $5 general public Saturday, May 7 — African Drum Ens emble — 3:00 p.m. — Library Tower (Spring Fling) — free Saturday, May 7 — Master’s Recital: Robert M uller, French horn — 3:00 p.m. — Casadesus Recital Hall — free Saturday, May 7 — Student Recital: B riana Sakamoto, s oprano — 8:00 p.m. — Casadesus Recital Hall — free Sunday, May 8 — Senior Voice Rec ital: Samantha Ba nton and Molly AdamsToomey — 1:00 p.m. — Casadesus Recital Hall — free Sunday, May 8 — Universi ty Chorus with the University Symph ony Orchestra: Mass M asterworks — 3:00 p.m. — Osterhout Concert Theater — $10 general public; $5 faculty/staﬀ/seniors; free for students Sunday, May 8 — Senior Honors Re cital: Jieun Jang, piano — 7:30 p.m. — Casadesus Recital Hall — free Tuesday, May 10 — Percussion Ens emble — 8 p.m. — Anderson Center Chamber Hall — free Wednesday, May 11 — Composition S eminar Concert (L oy) — 7 p.m. — Casadesus Recital Hall — free Thursday; May 12 — Student Rec ognition MidDay Concert — 1:20 p.m. — Casadesus Recital Hall — free Friday, May 13 — Chinese Mu sic Ensemble Cla ss C o n c e r t 5:00 p.m. — Casadesus Recital Hall — free Wednesday, M ay 18 — Voice Class Recital (MUS143 Chmela) — 1 1 a.m. — Casadesus Recital H a l l f ree ‘ For ticket information, please call the Anderson Cent er B ox O ﬀice at 7 77ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&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. 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. 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 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 30:55 45:18 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145476">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145476</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Master's recital, James Hsia, May 1, 2011 Recital Tape 2011-5-1 Description An account of the resource Held at 7:30 p.m., May 1, 2011, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Hsia, James Salmirs, Michael Jang, Jieun Alla Corda Quartet Hsia, James Gabrielle, Maire Pochily, Ben Edwards, Xander 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 2011-05-01 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/053dc798e9ec3f7f2f5b149850986958.pdf 8f7ecf4cd68af322e0644eebf30bf659 PDF Text Text BINGHAMTON V N I V E R S I T S T A T E U N I V E R S I T Y O F N E W Y O R K oHadee [4 D E P A R T M E N T F L U T E S T U D I O R E C I TA L 74 A "% : ?.C a 4i . ASZ= o7d f o OB ‘ I Q ” 2 %a ( 7 7’, A A 4 F ri d a y, M a y 6 , 2011 10:15 A.M. Casadesus Recital H a ll �PROGRAM Sonatina for Flute and Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Eldin Allegretto grazioso (1913–1979) Andante sognando Allegro giocoso Mark Zhuang, Flute ChaiKyou Mallinson, Piano . . . . . . . Eugene Bozza (1905–1991) Eili – Eili Raquel Goldsmith, Flute ChaiKyou Mallinson, Piano Syrinx pour Flute Seule.............. ...................Claude Debussy (1862–1918) Emily Morris, Flute The Carnival of Venice with Variations, Op. 78. . . G iulio Briccaldi (1818–1881) Edited by Frederick Wilkins Emily Morris, Flute © ChaiKyou, Mallinson, Piano Madrigal for Flute and Piano ...... ...................Philippe Gaubert (1879–1941) Lindsay Ralbovsky, Flute ChaiKyou Mallinson, Piano Variations on “Ah, Vous Dirae~j e, Maman” for Flute Alone... ...................... ........Charles Henry Nicholson Theme (1795–1837) Variation I Arr. by Ransom Wilson Variation II, Adagio Variation 1111 Lindsay Ralbovsky, F lute Quatre Pieces pour Flute et Piano. Reves D’Enfant Le Campanile Menuet des Pages Fantasy, Op. 79 for Flute and Piano. . . . ..Gabriel Faure (1845–1924) Natalie McCreary, Flute ChaiKyou Mallinson, Piano Sonatina for Flute and Piano........ ......................Amold Cooke Allegro Moderato (1906–2005) Andantino Allegro Vivace Hagar Dayan, Flute ChaiKyou Mallinson, Piano F lutists are from the Flute Studio of Georgetta Maiolo �Binghamton University Music Department’s U P C O M I N G E V E N T S «ede M MidDay concerts are held on Thursdays, 1:20 PM in Casadesus Recital Hall unless otherwise noted and are FREE Friday, May 6 – Faculty Recital: Jinah Lee, pianist – 8:00 p.m. – Casadesus Recital Hall – $5 general public l l Saturday, May 7 – African Drum Ensemble – 3:00 p.m. – Library Tower (Spring Fling) – free Saturday, May 7 – Master’s Recital: Robert Muller, French horn – 3:00 p.m. – Casadesus Recital Hall – free Saturday, May 7 – Student Recital: Briana Sakamoto, soprano – 8:00 p.m. – Casadesus Recital Hall – free Sunday, May 8 – Senior Voice Recital: Samantha Banton and Molly AdamsToomey – 1:00 p.m. – Casadesus Recital Hall – free Sunday, May 8 – University Chorus with the University Symphony Orchestra: Mass Masterworks – 3:00 p.m. – Osterhout Concert Theater – $10 general public; $5 facultyl/staﬀ/seniors; free for students Sunday, May 8 – Senior Honors Recital: Jieun Jang, piano – 7:30 p.m. – Casadesus Recital Hall – free Tuesday, May 10 – Percussion Ensemble – 8 p.m. – Anderson Center Chamber Hall – free Wednesday, May 11 – Composition Seminar Concert (Loy) – 7 p.m. – Casadesus Recital Hall – free Thursday, May 12 – Student Recognition MidDay Concert – 1:20 p.m. – Casadesus Recital Hall – free For ticket information, please call the Anderson Center B o x O ﬀice at 7 77ARTS. l � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&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. 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. 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.) 56:19:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145480">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145480</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flute studio recital, May 6, 2011 Recital Tape 2011-5-6 Description An account of the resource Held at 10:15 a.m., May 6, 2011, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Zhuang, Mark Mallinson, Chai-Kyou Morris, Emily Ralbovsky, Lindsay Goldsmith, Raquel McCreary, Natalie Dayan, Hagar 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 2011-05-06 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/169ebe3560192232ebc06af3d125fabb.pdf d963d650ba1033d9e55cb11e6e9e8199 PDF Text Text BINGHAMTON U N I V E R S I T Y STAT E U N I V E R S I T Y O F N E W Y O R K P E P F A R T M E N T MASTER’S RECITAL ROBERT MULLER FRENCH HORN w ii h P e sR eitz; Piano James Hsiaz Violin Maxim Pekarskiy, Viola Fe lic ia Scalgetty; Cello Sa tu rd ay , M ay 7 , 2 01 1 3 . 0 0 p . n u Casadesus Recalid Hal �PROGRAM Sonata for Horn and Piano, Op. 17....Ludwig van Beethoven (1770–1827) I. Allegro moderato ll. Poco Adagio, quasi Andante III. Rondo: Allegro moderato BOIN TE RMIS S IONovs Horn Concerto No. 1 in Eﬂat Major, Op. 11..Richard Strauss (1864–1949) I. Allegro Il. Andante Ill. Rondo: Allegro BOIN TE RMIS S IONos Quartet in F Major for Horn, ...................Johann Andreas Amon Viola, Violin, and Cello, Op. 20 No. 1 (1763–1825) l. Allegro moderato Il. Adagio III. Rondo: Allegretto �p. 11 is the ﬁrst horn Horn C onc erto No. 1 in Eﬂ at m ajor, O ritten in 1 883 for his concerto written by Richard Strauss. It was wavaria, Franz father, Franz Strauss. Born in Parkenstein, Bears old by pla ying Strauss began his musical career at seven y age of his uncles utel the violin a t a wedding dance. Under the t alter, he learned to el W icha nz M Fra Johann Georg Walter and ts. At the age of play clarinet, guitar, and all bra ss instrumen ilian of Bavaria as a xim ﬁfteen, he entered the service of Duke Mahorn which eventually guitarist, but continued his studies on the 889, he served as a to 1 became his main instrument. From 187 1 s well as serving on tra a hes t orc our hornplayer for the Ba varian c h until 1896. In 1863, the faculty a t the Academy of Music in Munic wife and daughter to after losing his son to tuberculosis and his r, with whom his ﬁrst cholera, he remarried to Josephine Pschor trauss was also son wa s composer Richard S trauss. Franz S Wagner’s operas such known for performing in the premieres of PROGRAM NOTES mposed by Sonata for Horn an d Piano, Op. 17 was co ayer named Giovanni Beethoven for a Bohemian virtuoso horn pl esta te of Count the Punto. Born Jan Vaclav Stich in 1746 on t singing, violin, and ugh s ta Joseph Johann von Thun, Punto wa him later study with the horn growing up. Count von Thun had rz in Munich, and Joseph Ma tiegka in Prague, Jan Schindela erved in the court of Anton Joseph Hampl in Dresden. He then sd a bad reputation. Count v on Thun for four years, but acquire Roman empire oly Due to his circumstances, he ﬂed to the H to. The Count even Pun where he changed his name to Giovanni out to render him eth s te k hi noc to k sent his men after Punto 8, he taught the horn una ble to play the horn. From 1777 to 177 rge Ill of England and, players of the private orchestra of K ing Geo Mozart who with around 1778, Punto became acquainted oncertante, K. 297 b. In composed for him the now lost Sinfoni a C tre des Variétés héa 1789, he became the conductor of the T en years. After fa iling to or t ed f serv he Amusa ntes in Paris where nservatory of Paris, Punto obta in a position at the newly created co 9 where he met moved to Munich and then to Vienna in 179 et are unknown, but Beethoven. The exact details of how they m red at the mie the result was the Sonata. After its ﬁrst preond time, in Pest, sec d a aye s pl wa Burgtheater in Vienna, it d “Who is this Hungary where a local music critic commente Of course, Punto is Beethoven? His name is not known to us. trated to Beethoven very wellknown.” This experience demonsthen proceeded to use the capabilities of the instrument which he like to dedicate this uld more often in his symphonies. Robert wo Robert Georges Dr. late , the performance to his grandfa ther l of the United Nations Muller, former AssistantSecretaryGenera and a lover of Beethoven’s music. I r I I as Tristan und Isolde (1865), Die Meist : I ersi nger (1868), D as ). The Horn Concerto Rheingold (1869), and Die Wa lkir e (1870 d in 1888, b ut not b y iere No. 1 was completed in 188 3, and prem performed, in the horn Franz S trauss on the horn. Instead, it was of S trauss, with ent and pia no version, by Bruno Hoyer, a stud o remains a mainstay cert con This Richard Strauss at the piano. essential by many a in the horn repertoire and is considered an horn player. p. 20, N o. 1 was Qua rtet for Horn, Violin, Viola , an d Cello, O erman virtuoso horn composed by Johann Andreas Amon, a G on was born in player, violist, conductor, and composer. Amt taught singing by Bamberg, Ba varia in 1763, where he was ﬁrs taught instrumental court singer Madame Franca ssini, then later aris to study work by Giovanni Punto, who took Amon to P on then tra veled . Am composition with Antonio Sacchini in 1781 musical director at the ame with Punto, until 1789, when he bec er to the Prince of Heilbronn. In 1817, he became kapellmeistuntil his dea th in 182 5. OettingenWallerstein, holding this position eer at Oettingen This piece was composed during Amon’s car Wallerstein. �ABOUT THE PERFORMERS Robert Muller is a graduate French Horn performance student. He was also an undergraduate student at Binghamton University holding a BA in Music and Spanish with a minor in International Studies. Born on May 19, 1987, he is a native of Poughkeepsie, NY. Robert began playing the horn in 5 ” g rade and fell in love with it immediately. During his Jr. High and High School careers, he participated in the school ba nds and in the NYSSMA festivals. In High School, he attended Tabernacle Christian Academy, and since the school did not have a band program, he studied the horn privately with Andrew Carr and Craig Fryer. All four years, 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. At Binghamton University, he studies with Brian Sternberg and has studied w ith Harry D itzel of the West Point Military Band during the winter and summer breaks. In the spring semester of 2010, Robert also studied under Donald Robertson, professor of low brass at Binghamton University. He is a member of the Zeta Eta Chapter of Mu Phi Epsilon, the CoEd Professional Music Fraternity, and a DJ for WHRW 90.5FM Binghamton. He has also played for the University Symphony Orchestra, Wind Ensemble, and Commencement Wind Ensemble over the course of his career at Binghamton University. 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 B inghamton area. She received her Bachelor and Master of Music degrees in piano performa nce with accompanying emphasis. She attended Boston University, New England Conserva tory and Binghamton University. She has studied pia no with Jean Casadesus, Victor Rosenbaum, Seymour Fink and Walter Ponce and accompanying with Allen Rogers. She has accompained 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 Informa tion Agency in partnership with the John F. Kennedy Center for the performing arts. She has been on the faculty a t Bingham ton University since 1991 and Ithaca College School of Music since 1999. Ms. Reitz is on the Executive Board of the New York District MTNA organiza tion and is President of the local District VII Music Teachers Association. She is also an active adjudicator for the National Piano Guild Organization. James H sia is a Taiwanese violinist who has performed regularly throughout New York State presenting a wide range of repertoire including concertos by Paganini, Mendelssohn, and Bruch, leading numerous chamber groups, and in ensembles such as the Empire State Youth Orchestra, and the Southern Tier Symphony under the director John Whitney. While attaining his Bachelor of Music Education degree at SUNY Fredonia, studying with Janet Sung, he was regularly featured on their performance series a s recitalist and chamber musician, and was selected from the SUNY Fredonia Symphony Orchestra to perform in the Chamber Orchestra, and Chamber Opera Orchestra under the direction of David Rudge from 20062010. This past summer, he participated in the Hot Springs Music Festiv al working with violinist Jessica Mathaes, and Todd Cranson, Director of the University of Illinois Chamber Orchestra . He has also appeared in concert halls including Carnegie Hall, the Tanglewood Music Hall, and Troy Savings Bank Music Hall. He is currently a student of Janey Choi, studying at Bingham ton University pursuing a Master of Music Degree in Violin Performance. Ma xim Peka rskiy is a junior violist a t Binghamton University double majoring in Music and Financial Economics. He is also a composer and his focus on ﬁlm music has led him to collabora te with upandcoming ﬁlmmakers in New York City, the lnterlochen Arts Festival, and the cinema department at Binghamton University. Maxim also frequently writes shorts for BTV and is the cofounder of the Binghamton University Explorchestra, an orchestra for composers on campus to have their works pla yed. Felicia S calzetti is a freshman cellist who has been playing for eight years and is double majoring in Music and Biology at Binghamton University. �Binghamton University M usic D epartment ’s U P C O M I N G E V E N T S ﬁ ﬁ M ﬁ t ﬁ O ﬁ M M r ﬁ ﬁ ﬁ ' ﬁ t b ’ w Sa turda y, Ma y 7 — African Drum Ensemble — 3 :00 PM — Library Tower (Spring Fling) Saturday, May 7 — Student Recital : Briana Sa kamoto, soprano — 8:00 PM — Casadesus Recital Hall Sunday, May 8 — Senior Voice Recital : Samantha Banton and Molly AdamsToomey — 1:00 PM — Casadesus Recital Hall — free Sunday, May 8 — Senior Honors Re cital : Jieun Jang, piano — 7:30 PM — Casadesus Recital Hall — free Sunday, May 8 — University Choru s w i th t he U niversity Symphony Orchestra : Mass Masterwork s — 3:00 PM — Osterhout Concert Theater — $10 general public; $5 faculty/ staﬀ/seniors; free for students Tuesday, May 10 — Percussion Ensemble — 3:00 PM — Anderson Center Chamber Hall — free Thursday, May 12 — Student Recognition MidDay Concert — 1:20 PM — Casadesus Recital Hall — free Friday, May 13 — Chinese Music Ensemble Class Con cert — 5:00 p.m. — Casadesus Recital Hall — free Wednesday, May 18 — Voice Class Recital (MU5143 Chmela) —11 a .m. — Casadesus Recital Hall — free For ticket information, please call th e Anderson Center Box Oﬀice at 777ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&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. 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. 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.) 42:44:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145470">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145470</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Master's recital, Robert Muller, May 7, 2011 Recital Tape 2011-5-7 Description An account of the resource Held at 3:00 p.m., May 7, 2011, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Muller, Robert Reitz, Margaret A. Hsia, James Scalzetti, Felicia Pekarskiy, Maxim 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 2011-05-07 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/a183e5806213a2c6f1360c4389c42f33.pdf 7f35a27f9e44a7b4e3e2b00363803a6b PDF Text Text BINGHAMTON N L STATE U N I V E R S I T Y O F N E W Y O R K ztdec [4 D E P A R T M E N T BINGHAMT ON UNIVERSITY FLUTE TRIO CONCERT Natalie McCrea ry, Flute Emily Morris, Flute Mark Zhuang, Flute ChaiKyou Mallinson, Piano Saturday, April 9, 2011 12:00 Noon FA #21 �A PROGRAM EIdin Burton (1913–1979) Sonatina for Flute and Piano Allegretto grazioso Andante sognando Allegro giocoso Mark Zhuang, Flute ChaiKyou Mallinson, Piano .Gabriel Faure Fantasy, Opus 79 for Flute and Piano (18451924) Natalie McCreary, Flute ChaiKyou Mallinson, Piano The Carnival of Venice, Opus 78 with Variations GIUIIO Briccaldi (1818–1881) Edited by Frederick Wilkins Emily Morris, Flute ChaiKyou Mallinson, Piano ac) x & INTERMISSION x3 <= cs THE BINGHAMTON UNIVERSITY FLUTE TRIO Sonata in D Major ........... for Three Flutes ...Johann Joachim Quantz (1697–1773) Vivace Menuet Vivace Suite for Three Flutes.. Andante Allegro Adagietto Scherzo ..William Presser (b. 1916) Rondeau from Suite Pastorale .........................JeanMichel Damase (b. 1928) Circus March.. The Drunken Sailor.......... ..........Ricky Lombardo (b. 1946) .. Traditional Arranged by C. Cowles B O U T Natalie McCreary graduated salutatorian of Ross Corners Christian Academy in 2009. She is a sophomore at Binghamton University, majoring in Human Development with future plans of a master degree in Elementary Education. During high school, she performed in the NYSSMA Solo Festivals and the music competitions of ACSI (Association of Christian Schools International) at Houghton College, Houghton, New York. Natalie is a member of the Binghamton University Symphony Orchestra and the Bingha mton University Flute Trio. She is a member of the Flute Studio of Georgetta Maiolo. Emily Morris is a senior at Binghamton University, with a major in Man agement Information Systems and Environmental Studies. She is a member of the Binghamton University Orchestra, Binghamton University Flute Trio, Pep Band, and a former member of the Binghamton University Wind Symphony and Flute Ensemble. She is a member of the Flute Studio of Georgetta Maiolo. Emily graduated from Syosset High School in 2008. While in High School, she performed with the Metropolitan Youth Orchestra and the Na ssauSuﬀolk Performing Arts Wind Symphony as well as the AllCounty Band and Orchestra. Last year, Emily studied abroad twice, traveling on a winter interim trip to India to study internationa l business, and then attending Southern Cross University in Lismore, Australia for the spring semes ter to study environmental science. She attended Usdan Center for the Performing Arts for four summers, participating in the senior band and senior chorus. She will return there this summer for her third season as a member of their administrative staﬀ. Mark Zhuang, from Staten Island, New York, is a freshman at Binghamton University. He is a member of the Bingha mton University Wind Symphony and the Binghamton University Flute Trio. He is a member of the Flute Studio of Georgetta Maiolo. Mark graduated from Staten Island Technical High School, where he participated in the High School Band, NYSSMA Solo Festivals, All State Symphonic Band (2009) and the All State Wind Ensemble (2010). From 2007 thru 2010 he studied ﬂute with Keriann DiBariOverle. Mark was a ﬁnalist in the U.S. Army Band “Pershing’'s Own” soloist competition. ChaiKyou Mallins on, currently on the faculty of the Department of Music at Binghamton University, received a B.M. degree in Piano from Julliard, Licence d’Enseignement from Ecole Normale de Musique de Paris, France and a M.A. degree from Binghamton University. Her teachers include Jean Casadesus, JeanMichel Damase, Jules Gentil and Alton Jones. She also performed in Master Classes by Robert Casadesus. A prize winner in the Korean National Music Competition, Ms. Mallinson was awarded the French Government Scholarship, Tanglewood Summer School Full Scholarship and the Fontainebleau American Conservatory Full Scholarship. Ms. Mallinson gave a debut Recital in Carnegie Recital Hall and has been active as a recitalist, vocal coach, accompanist, and chamber music performer, as well as an active adjudicator of piano auditions and competitions. She is a member of the Music Teachers National Association, the Southern Tier Music Teachers‘ Association, and of the board of judges for the National Guild of Piano Teachers. �Bingham ton Univer sity Mus ic Departm ent’s U P C O M I N G E V E N T S é w M M M M é ' ﬁ w é ﬁ é ' MidDay concerts are held on Thursdays, 1:20 PM in Casadesus Recital Hall unless otherwise noted and are FREE Sa turda y, A pril 9 — Pia nis t Micha el Sal mirs : For the Love o f M usic — 8:00 PM — Anderson Center Chamber Hall — $15 general public; $10 faculty/staﬀ/ seniors; $5 students Sunday, Ap ril 1 0 — Senior Recital : Laura MacAv oy, soprano — 3:00 PM — Casadesus Recital Hall — free Tuesday, A pril 1 2 — String Departmen t Recital : String Fever — 8:00 PM — Casadesus Recital Hall — free Thursday, April 14 — Harpur Jazz Ensemble Concert w i th g uest a rti s t — 8:00 PM — Osterhout Theater — free (Cosponsored by the Binghamton University Music Department and the Harpur Jazz Project) Friday, April 15 — Lecture on “Blind Tom ” Wiggins, 1 9 ” c entury A fricanA merican co mposer by Stephanie JensenMo ul ton — 3:00 PM — Casadesus Recital Hall — free Friday, Apr il 15 — Universi ty S tring Orchestra — 4:00 PM — Grand Corridor — free Thursday, April 28 — Trumpet Studio Con cert — 8:00 PM — Casadesus Recital Hall — free Saturday, A pril 3 0 — Harpu r Chorale a nd Women ’s Chorus — 8:00 PM — Anderson Center Chamber Hall — free Sunday, M a y 1 — W ind Symph ony Conce rt : Solo Compe tition Winners — 3:00 PM — Anderson Center Chamber Hall — free Sunda y, Ma y 1 — Ma s ter ’s Recital : Ja mes Hsia , v iol in — 7:30 PM — Casadesus Recital Hall — free For ticket information, please call the Ander son Cen ter Box Oﬀice at 7 77ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&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. 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. 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.) 44:34:00 Streaming Audio Streaming URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145496 Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Binghamton University Flute Trio concert, April 9, 2011 Recital Tape 2011-4-9 Description An account of the resource Held at 3:00 p.m., April 9, 2011, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource McCreary, Natalie Morris, Emily Zhuang, Mark Mallinson, Chai-Kyou Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2011-04-09 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/545e55fba906c3652f87d12491d7b0e6.pdf e81b291e2c34a2392a156d9d370de6b2 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 o d e O D E P A R T M E N T FACULTY RECITAL Jinah Lee, Piano Friday, M a y 6 , 2011 8 p.m. Casadesus Recital Hall �A PROGRAM B O JINAH LEE ..................Joseph Haydn Sonata in AFlat major, Hob.16/46 ..... (1732–1809) Allegro moderato Adagio Finale: Presto .....Sergei Rachmaninov Sonata No.2 in BFlat minor, op.36...... (1873–1943) (1931 Edition) Allegro agitato No n allegro – Lento – Pi u mosso resto Allegro molto – Poco me no mosso – P INTERMISSION Sonata in BFlat major, 0 9 6 0 Andante Sostenuto za Scher zo, Allegro vivace con delicatez Allegro ma no n troppo Fra nz Schubert (17 97 182 8) Jinah Lee is currently a faculty me U T mb er in the Music Department at Seoul, she graduated from Seoul Binghamton University. Born in d her master’s degree from the National University and receive she continued as an associate Manhattan School of Music, where ts from the University of Illinois at instruc tor, and a Doctor of Musical Ar ed in numerous concerts and UrbanaChampaign. She has per form de her performance at Sunset recitals around the world, which inclu inway New York , a recital at Ste Concer t at Shandlee Music Festival in an Ensemble Concer t at the Hall in Ne w Yor k and a Recital and Caplarora, Italy, where she wasf Concer to Italiano Music Festival in at Ar t Cult Center at Universit y o awarded a full scholarship, a recital rnational Music Festival. She made Vienna, in Austria and a Prague Intel debut as th e winner of the Ar tist her New York Carnegie Ha ll recita , she had a solo recital at Seoul Art International Competition. Same year de her na me known better in the Center in Ko rea . Recently, Sh e h as ma nes through a series of major U.S. and Korean classical music sce Recital at Phillip Hall in George recitals she has given, such as UI Symphony Orchestra as a Washington University, Concert with a, Illinois and Beethoven Sonata Soloist at Krannert Art Center in UrbanSeoul, and Alice Miller Hall at Ser ies recital at Wo oin Art Hall in the “Best Per formance of Polish Northwestern Universit y. She won on International Pia no Artists Composer” at the ﬁfth Washingt s the gran d p rize winner o f th e Competition in 2007 and also she wa ition in 2006. University of Illinois Concer to Compet �Bin gha mto n Uni ver sity Mu sic D epa rtm ent ’s U P C O M I N G E V E N T S ﬁﬁwﬁﬁﬁtﬁﬁwﬁ'ﬁtﬁﬁtﬁm Satu rday, May 7 – A frican Drum Ense mble – 3:00 p.m. – Library Tower (Spring Fling) – free Satu rday, May 7 – M aster ’s Re cital: Rob ert M uller, Fren ch ho rn – 3:00 p . m. – Casadesus Recital Hall – free Satu rday, May 7 – S tuden t Rec ital: B riana Saka moto , sop rano – 8:00 p.m . – Casadesus Recital Hall – free Sund ay, M ay 8 – Sen ior Vo ice Recita l: Samantha Ban ton and M olly A d a m s To o m e y 1:00 p. m. – Casadesus Recital Hall – free Sund ay, M ay 8 – Un ivers ity C horu s wit h the Univ ersit y Sym phon y Orch estra : Mas s Ma sterw orks – 3:00 p.m. – Osterhout Concert T h e a t e r $10 general public; $5 faculty/staﬀ/seniors; free for students Sund ay, M ay 8 – Sen ior H onor s Recital: Ji eun J ang, piano – 7:30 p.m. Casadesus Recital Hall – free Tues day, May 10 – Perc ussio n Ens embl e – 8 p. m. – Anderson Center Chamber Hall – free Wed nesd ay, M ay 1 1 – Co mpos ition Semi nar C once rt (Loy) – 7 p. m. – Casa desu s Recital Hall – free Thur sday, May 1 2 – S tuden t Rec ognit ion MidDa y Con cert – 1:20 p.m. – Casadesus Recital Hall – free Frida y, May 13 – Chinese Music En semb le Class Co ncert – 5:00 p.m. – Casadesus Recital Hall – free Wed nesd ay, M ay 18 – Voic e Cla ss Re cital (MUS143 C hmel a) – 1 1 a.m . – Casadesus Recital Hall – free For ticket information, please call the And erso n Cen ter B ox Oﬀic e at 77 7A R T5. To see all events, please visit mus ic. b ingh amto n. e du or become a fan on Facebook by visiting Bing ham ton Univ ersit y Mu sic Dep ar tmen t. � 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. 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. 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 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 34:44 35:04 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145483">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145483</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty recital, Jinah Lee, piano Recital Tape 2011-5-6b Description An account of the resource Held at 8:00 p.m., May 6, 2011, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Lee, Jinah 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 2011-05-06 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/026effa678e01a24735f5b654dcb68a0.pdf ec6367ba2606bd61fe9d4c9539447890 PDF Text Text BINGHAMTON U N I V E R S I T Y STATE U N I V E R S I T Y O F N E W Y O R K o d e [4 D E P A R T M E N T UNIVERSITY PERCUSSION ENSEMBLE CONCERT Daniel Fabricius, Conductor Paul Goldstaub, Guest Conductor Ben Ramos, Xylophone Soloist Assisted by the Binghamton University Low Brass Ensemble Donald Robertson, Conductor Tuesday evening, May 10, 2011 8:00 PM Anderson Center Chamber Hall �University Percussion Ensemble Personnel Program John Erdman . Adam Goldenberg Amanda Jacobs Mike McManamon Benjamin Ramos Rose Steenstra Tyler Steere Devan Tracy Andrew Williamson ++ ose yotr llyich Tchaikovsky Arranged by Matt Chedister March Slav Halgorhythms. .................. .................. .......PaulGoldstaub Binghamton University Low Brass Ensemble Paul Goldstaub, Guest Conductor Trombones: Jay Bartishevich, William Marsiglia, Rob Menard, Drew Perotti, M att Kratenstein Baritone Horn : Andrew Kaufman Donald Robertson, Advisor DANIEL FABRICIUS has been a member of the Binghamton University faculty as percussion instructor since 1992. He also serves as Director of Bands at Owego Free Academy where he has developed an outstanding instrumental music program that features a concert band, two jazz bands, and various chamber music ensembles. He is highly regarded in the region as a percussion soloist and ensemble player. He has been a member of the Binghamton Philharmonic percussion section since 1982 but is also comfortable performing in popular, rock, jazz, and other styles. He has played as a freelance percussionist, accompanying national touring artists such as Michael W. Smith, Tommy Tune, Jerry Vail, Lorrie Morgan, Ringling Brothers Circus, the Smothers Brothers, and Ella Fitzge rald. Professor Fa bricius has served the New York State School Music Association as an AllState Percussion adjudicator for many years. He also serves NYSSM A as the Instrumental Jazz Reviews editor of The School Music News and is the Jazz editor for the NYSSMA Manual. In addition to his col legiate work at BU , he has also served on the Summer Session faculty at Ithaca College. He has trained many student teachers from IC and recently served as a consultant and guest lecturer at the college for a summer workshop titled, Teaching Jazz f o r NonJazz Educators. This summer he will be on the faculty of the Ithaca College Summer Music Academy. He has presented « . v v v . . . . . C h ri s t o p h e r Bonham WINTERMISS IONC3 PulpFriction ................... ................... .....Chris S E ThreeBrother s.................. ................... ...Michael C O I N Xvlophonia............. .Joe Green Arranged by Bob Becker Ben Ramos, Xylophone SabreDance. ................... ............ ........Aram K hachaturian Arranged by James L. Moore man y clinics at m usic con ventions and conferences and often serves as a guest conductor for honor band festivals. 4 PAUL GOLDST AUB has been P rofessor of Music Theory and Composition. Coordinator for M usic Theory and director of Musica Nova concerts since 1998. He holds degrees from Ithaca College and the Eastman School of Music and has studied composition with Karel Husa, Samuel Adler and Warren Benson. Dr. Goldstaub‘s compositions have been performed at Lincoln Center, Carnegie Hall, oﬀBroadwa y, and in Canada, Great Britain, Germany, Japan, Russia and Italy. He has bee n awarded grants from the National Endowment for th e Arts. the National Endowment for the Humanities, Meet the Composer, and the Minnesota State A rts Board. �Program Notes DONALD ROBERTSON h as taught Low Brass at Binghamton University since 1974. He also taught middle school band in Sidney, N Y from 1969 until 2006. He was a founding mem ber of the Glimmerglass Opera Orchestra in 1975 and retired as Principal Trom bone in 2010. He is currently Principal Trombone with the Binghamton Philharmonic and also performs with the Catskill and Utica Symphonies. He is a m ember of the International Trombone Association and has performed at several I.T.A Festivals and Eastern Trombone Workshops. BEN RAMOS is a sophomore at Binghamton University c urrently majoring in Computer Science and planning on minoring in Music and G eneral Engineering. Has been playing percussion since 4th grade and began his fascination with mallet percussion instruments while in high school. Ben performed at NYSSMA solo competitions and was pa rt of the PatchogueMedford HS Wind Ensemble under the direction of Peter Randazzo. Earlier this semester Ben was one of the featured percussionists for a University Wind Symphony pe rformance of David Gillingham ’s Concertino for Four Percussion and Wind Ensemble. Ben was l1. M A R C H SLAV — In J une of 1876, in what would be a prelude to the Russo Turkish War, Serbia declared war on the Ottoman Empire. Russia openly supported Serbia, and many Russians volunteered to ﬁght with the Serbians. Shortly thereafter, the director of the Russian Musical Society commissioned an orchestral piece of music from Tchaikovsky for a concert to aid the Red Cross Society, which in turn cared for the wounded soldiers and veterans of the conﬂict. The Slavonic March (or Slave Marche) was ﬁrst performed in Novem ber 1976 in Moscow. This piece was both challenging and rewarding to arrange. The challenging part was embodied by the fact that I was working from a condense score, written in Italian, and had no experience in any clef other than treble or bass. Those circumstances resulted in me studying this piece in great depth, and in the process I learned more about advanced music theory, caught a glimpse of Tchaikovsky’s brilliance, and made myself a better musician. The real reward, however, is producing a piece that I hope will be truly enjoyable. (Notes by the arranger, Matt Chedister, BU Class of 1995) born in Queens, N Y and now currently lives in Medford, N Y. H ALGORHYTHMS — is a joyful, playful piece in one movement for four trombones and percussion. “Halgothythms” is a madeup word, using “HAL” for Hal Reynolds, Professor of Trombone, and “GOR” for Gordon Stout, Professor of Percussion, both from the School of Music at I thaca College. First, the trombones begin slowly, and then the four percussionists move to a faster tempo. Eventually, the rhythmic patterns build in complexity and the dynamic range becomes broader, ending with a bold, crisp unison. (Notes by the com poser, Professor Paul Goldstaub) [ l v BONH AM — Scored for a percussion ensemble of eight players, Bonham is an ode to rock drumming and drummers, most particularly Led Zeppelin ’s legend ary drummer, the late John (“ Bonzo”) Bonham. The core ostinato of the score, played by the drum set, is reminiscent of Led Zeppelin ’s When the Levee Breaks, although there are references to other Led Zeppelin songs as well, such as Custard Pie and Royal Orleans. In addition, two other sources are cited: The Butterﬁeld Blues Band (Get Yourself Together) and Bo Diddley, whose adoption of the traditional “hambone” rhythm added so much to the distinctive style o f his material. Completed in Fairport, New York on November 13, 1988, Bonham was com missioned by the New England Conservatory of Music through funds provided by the Massach usetts Arts Council. It was ﬁrst performed in April 1989 at the New England Conservatory in Boston by the Conservatory Percussion Ensemble conducted by its Music Director, Frank Epstein, to whom the work is dedicated. (Notes by the composer, Christopher Rouse) �P U L P FRICTION – Stomp, a combination of percussion, movement and visual comedy, was created in Brighton, UK, in the summer of 1 991. It was the result of a tenyear collaboration between its creators, Steve McNicholas and Luke Cresswell. Stomp uses a variety of everyday percussion instruments in their shows. The “theatrical percussion” aspect of Stomp has prompted many new compositions. Most of these pieces have a rather loose “story” that unfolds through the piece. Chris Crockarell and his partner in music publishing, Chris Brooks, have created a special line of percussion methods, music books, and percussion ensemble compositions for those educators looking to bring fun to the art of music. (Notes by Dan Fabricius) T H R E E BROTHERS — How did you start in music? — 1 was raised in a small town, Brookﬁeld, IL, which was absolutely devoid of music, dance or theater. Movies were m y culture. At age 1 0 I saw drummer Ray Bauduc in a lines as “ragged” these melodies were set against a steady, marchlike bass pattern played by the pianist ’s left hand. After 1915, the rag began to be transformed, and its infectious syncopation was applied to many types of popular and some classical music. Stra vinsky’s Rag time for Eleven Instruments and Debussy’s Golliwog’s Cakewalk are examples. The term “Ragtime“ came to refer to all music that used the characteristic “four against three” syncopation of the earlier piano rags. By 1920 a t ype of ragtime became popular along with a new dance called the foxtrot, known as “Novelty Ragtime,” this music was highly technical, programmatic and speedier than previous rag music, and it was a perfect vehicle for an instrument which had recently been engineered to a high standard of quality by manufacturers in the Chicago area — the xylophone. movie play “Big Noise from Winnetka” with bassist Bobby Haggart and l was mesmerized. I hounded my father for a drum, and when I got it I immediately played the rhythms I heard Bauduc play in that movie. I soon formed my own band, the Three Jacks and a Jill, and started my career as a selfemployed musician. I traveled into Chicago to hear the big bands and imitated every drummer I heard. Jazz was my only ambition up to age 19. During the 1920’s, the xylophone as a solo instrument reached a peak in popularity. Xylophone soloists appeared with piano accompanim ent, in dance orchestras and concert bands and were heard regularly on radio broadcasts and phonograph records. George Hamilton Green, Sammy Herman and Harry Breuer, the best known xylophonists of this era, won critical acclaim as well as What happened then? — 1 went to the University o f Illinois and studied percussion with Paul Price, who was just starting the percussion ensemble as an xylophonists. He was a great technical innovator, as well as a proliﬁc composer, and hence played a major role in the creation of an extensive solo literature for the xylophone. This body of music came to include transcriptions of standard overtures, Hungarian rhapsodies, violin concertos and concert piano selections as well as original compositions for the xylophone in the form of medleys, rags and novelty dance music. accredited course in universities. But I was a bad student academically because I was playing a jazz band six nights a week. How did you start composing? — Price invited me to a percussion ensemble concert in a last ditch attempt to get me to be a serious classical music student. After the concert he asked me what I thought of it. I arrogantly told him I admired the students’ playing but that I thought the music was “terrible.” These were works by Varese, Harrison, Cage, Cowell, and the other giants of early percussion composition. He took a long look at me and said quietly, “If you don ’t like what you heard, why don ’t you try your hand at it.” 1 was thunderstruck by his suggestion because I thought you had to be dead to write music. He showed me some scores and I immediately dived into my ﬁrst piece, “Three Brothers” for nine percussionists. We performed the work soon after it was completed (8 May 1950). Then it was published and recorded, and has become a percussion classic, of all things! I‘ve been writing ever since. (Notes are from am interview with Michael Colgrass found at wwunMichaeICoIgrass. com) XYLOPHONIA — During the last twenty years of the 19th century, a revolutionary method of playing popular music emerged in the United States, a style of creative, syncopated transformation and embellishment of a melody. Essentially an AfroAmerican phenomenon, the style was crystallized by black pianists into a genuinely classical compositional form called the “rag", a word probably derived from vernacular descriptions of the highly syncopated melodic tremendous public esteem. All were great artists, but perhaps the most important was George Green, who, until his retirement in 1940, reigned supreme among Ragtime music became a staple of percussion ensemble performances in the mid1970’s after the release of a recording dedicated to this style by the Torontobased ensemble, Nexus. (Notes by Bob Beck, arranger and member of Nexus) SABRE DANCE — is one of the catchiest, most familiar — perhaps most maddening tunes to come out of the 20th century. It was heard in cartoons and even heightened the drama of plate spinners doing their shtick on the Ed Sullivan Show. Sabre Dance is part of the Armenian composer’s Gayane Ballet, which he completed in 1942. Khachaturian came of age as a composer during the Stalin regime. Though he wasn ’t considered a party apparatchik, he was swept up in the fervor of the new socialist dream. Khachaturian churned out wellcrafted, partypleasing compositions such as the Song of Stalin, Ode in Memory of Lenin and a popular violin concerto. But in 1948, Khachaturian suddenly found himself on the wrong side of the Soviet art police — oﬀicially denounced, along with fellow composers Dmitri Shostakovich and Sergei Prokoﬁev. Khachaturian apologized and even agreed to be sent back to Armenia to be “reeducated.” In 1957, four years after Stalin died, Khachaturian was re– appointed to the Composer ’s Union. (Notes by Tom Huizenga, National Public Radio) �Binghamton University Music Department ’s U P C O M I N G E V E N T S p.m. – Wed nesday, M ay 11 – Com position S eminar Concert (Lo y) – 7 Casadesus Recital Hall – free Thursday, May 12 – Student Recognition MidDay Concert – 1:20 p.m. – Casadesus Recital Hall – free .m. Friday, May 13 – Ch inese Music Ensemble Cl ass Concert – 5 :00 p – Casadesus Recital Hall – free Wednesday, May 18 – Voic e Class Recital (MUS143 Chmela) – 11 a.m. – Casadesus Recital Hall – free For ticket information, please call the And erson Cen ter Box Oﬀic e at 777 ART S. � 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. 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. 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.) 37:22:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145499">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145499</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Percussion Ensemble, May 10, 2011 Recital Tape 2011-5-10 Description An account of the resource Held at 8:00 p.m., May 10, 2011, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Fabricius, Daniel Ramos, Benjamin Robertson, Donald C. 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 2011-05-10 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/dbb82ec123b0547b91d55d06e53bc524.pdf d0f099147de851c1c65caeded92e3943 PDF Text Text BINGHAMTON U N I V E R S l T Y S T A T E U N I V E R S I T Y O F N E W Y O R K E N T D E P A R T M STUDENT RECOGNITION M I D D AY CONCERT 0 / P= p {"§’#t<\ a t ) i NE 1 > , / Led v / V / & S 4 , / v a . 4 Thursday, May 12, 2011 1:20 p.m. Casadesus Recital Hall �Madama Butterﬂy — Flower Duet The Binghamton University Department of Music presents its 201 1–12 S tudent Recognition MidDay Outstanding achievement in Music Scholarship, Leadershi p and Performance Program Prof. Timothy Perry, Chair Welcome H ee e a s t e ...............BurrellPhillips Daniel Bessel, Bassoon nominated by Prof Martha Weber Kdyz mne stard (Songs My Mother Taught Me) Op. 55, No. 4 ...... Antonin Dvorak Briana Sakamoto, Soprano nominated by Prof. Mary Burgess Alexa Weinberg, A rts Ad ministration nominated by Prof. Paul Schleuse Jieun Jang, Piano nominated by Prof Michael Salmirs . Robert Schumann Marienwiirmchen (Ladybug), Op. 79, No. 13 . Samantha Banton, Soprano nominated by Prof. Mary Burgess H eath e r W ord en, I nstr u mental Cond ucting nominated by Prof Timothy Perry Laura MacAvoy, Soprano weveeeneen. Richard Strauss nominated by Prof. Mary Burgess String Quartet No. 8 in c minor, Op. 1 10 (Movement 2)........ Dmitri Shostakovich Alla Corda Quartet James Hsia & Gabrielle Maire, Violins Benjamin Pochily, Viola Xander Edwards, Cello nominated by Prof Roberta Crawford Flower Duet (from Madama Butterﬂy) .. Cabiria Jacobsen, MezzoSoprano Victoria Cannizzo, Soprano nominated by Prof. Peter Sicilian .Giacomo Puccini Many thanks to our accompanists .. ChaiKyou Mallinson, Margaret Reitz and U. Lee Reception to follow . Signora, quetatevi... quel pianto.. Bu tterﬂy: No: rido, rido! Quanto lo dovremo aspettar? Che pensi? Un ’ora? Suzuki: Di piu. Butterﬂy: Due ore forse. Tu tto... tu tto sia pien di ﬁor, Pictures at an Exhibition : X. The Great Gate of Kiev.............Modest Mussorgsky Schlagende Herzen (Throbbing Hearts), Op. 29, No. 2.. Butterﬂy: Scuoti quella fronda di ciliegio e m ’innonda di ﬁor. Io vo ’ tuﬀar nella piggioa odorosa l’arsa fronte. Suzu ki : ..in the Green Room, across the hall Come la notte e di faville. Va pei ﬁor! Suzu ki : Tutti i ﬁor? Butterﬂy: Tutti ﬁor... tutti, tutti, Pesco, viola, gelsomin, Quanto di cespo o d ’erba o d ’albero ﬁori. Suzuki: Uno squalor d ’inverno sara Tutto il giardin. Butterﬂy: Tutta la primavera voglio Che olezzi qui. Suzuki: A voi signora. Butterﬂy: Cogline ancora. Suzuki: Sovente a questa siepe veniste a Riguardar lungi, piangendo Nella deserta immensita. Butterﬂy: Giunse 1’atteso, nulla piu chiedo al mare. Diedi pianto alla zolla, essa i suoi ﬁor mi da! Butterﬂy: Shake that branch of cherry tree and bathe me in ﬂowers. I want to plunge my burning brow into the perfumed rain of cherry blossoms. Suzuki: Madame, calm yourself, those tears. Bu tterﬂy: No: I’m laughing, I’m laughing! How long will we have to wait for him? What do you think? An hour? Suzu ki : More. Butterﬂy: Two hours perhaps. Let everything be full of ﬂowers, Just as the night is full of sparkling stars. Go for the ﬂowers! Suzuki: All the ﬂowers? Butterﬂy: All the ﬂowers... all... Peach, violet, jasmin, Anything that has bloomed on bush, grass or tree. Suzuki: The garden will have a look of wintry squalor. Bu tterﬂy: All of the springtime I want that smells here. Suzuki: Here, madame. Butterﬂy: Pick some more. Suzu ki : Often to this hedge you came to look far away, weeping in the deserted immensity, Bu tterﬂy: The awaited man has arrived; I ask no more of the sea. I poured my tears onto the earth & it gives me back its ﬂowers! �Suzu ki : Spoglio e I’orto. Butterﬂy: Spoglio ‘e I’orto? Vien, m ’aiuta. Suzuki: Rose al varco della soglia. Butterﬂy & Suzu ki : Tutta la primavera voglio Che olezzi qui. Seminiamo intorno April. Suzuki: Gigli, viole? Butterﬂy: Intorno, intorno spandi. Il suo sedil s’inghirlandi di convolvi. Butterﬂy & Suzuki: Gettiamo a mani pi ene, Mammole tuberose, Corolle di verbene, Petali d ’ogni ﬁor! Suzuki: The garden is stripped. Butterﬂy: The garden is stripped? Come, help me. Suzuki: Roses at the opening of the threshold. Butterﬂy & Suzu ki : I want all o f springtime to pene trate this room with its scents. Let us sow the mo of April around us. Suzuki: Lilies, violets? Butterﬂy: Around, around spread them. His seat b garlanded with morning glories. Butterﬂy & Suzuki: Let’s throw with hands full, shrinking violets and tuberoses, corolla: verbenas, petals of every ﬂower! � 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. 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. 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.) 59:35:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145502">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145502</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Student recognition mid-day concert, May 12, 2011 Recital Tape 2011-5-12 Description An account of the resource Held at 1:20 p.m., May 12, 2011, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Bessel, Daniel Sakamoto, Briana Jang, Jieun Banton, Samantha Worden, Heather MacAvoy, Laura Hsia, James Maire, Gabrielle Pochily, Benjamin Edwards, Xander Jacobsen, Cabiria Canninzzo, Victoria Mallinson, Chai-Kyou Reitz, Margaret A Lee, Ü 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 2011-05-12 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound