115 10 1775 https://omeka.binghamton.edu/omeka/files/original/bb96d2be0453f425e1e40827dcabdff1.pdf 10bfb2fea9c56f78cefcc97f9d430149 PDF Text Text BINGHAMTON U N 1 v E R s 1 T Y STAT E U N I V E R S I T Y O F N E W Y O R K (247724 D E P A R T M E N T RECITAL WITH CELLIST MARK R U DOFF PIANIST SANDRA JOY Thursday, Octo ber 14, 2010 8 p m Casadesus Rec ital Hall �He has also been artistinresidence and chamber music instructor at t h e ” PROGRAM Variations on “Bei Mannem, welche Liebeﬁhlen"Ludwig van Beethoven (1770 1827) from Die Zauberﬂote by W.A. Mozart, WoO 46 Sonata in Bﬂat Major, Op. 71 I. Andante molto sostenuto I. Andante molto sostenuto I. Andante molto sostenuto Dmitri Kabalevsky (1904 – 1987) INTERMISSION Sonata in Bﬂat Minor, Op. 8 I. Allegro ma non troppo Il. Scherzo: Vivace assai Ill. Adagio non troppo IV. Tema con Variazioni: Allegro moderato Erné Dohnanyi (1877 — 1960) Variations on a Theme of Rossini, H. 290............. Bohuslav Martino (1890 – 1959) ARTIST BIOGRAPHIES Ohio State University cello professor Mark Rudoﬀ has demonstrated extraordinary versatility as a performer and pedagogue. Applauded by critics as “an exceptionally gifted cellist” and “a charismatic performer,” Mark has performed in solo recitals and with orchestras in Canada and the United States, and his solo and chamber performances have been recorded for broadcast on CBC. A respected chamber musician, he performs with the Galileo Trio, Chiarina Piano Quartet, and Emerado, and has performed as a guest with groups including the Music Project, Allegri Quartet, and Marble Cliﬀ Chamber Players. Equally accomplished in the orchestra sphere, Mark has served as principal cello of the Calgary Philharmonic and Saskatoon Symphony Orchestras, and in the sections of orchestras including the New York Philharmonic, Brooklyn Philharmonic and New York City Ballet. Mark has appeared as guest artist with the Canadian Chamber Choir and at the Winnipeg Symphony’s Centara New Music Festival, New Music North, and the Grand Teton Music Festival. In addition to his teaching activities at OSU, Mark teaches and serves as Dean at The Quartet Program in residence at SUNY Fredonia. Prior to joining the Ohio State faculty, Mark Rudoﬀ was professor of cello, chamber music’and orchestra at Brandon University in Manitoba, Canada. Mountain View Festival of Song in Sundre, Alberta; and from 200205 directed the Winnipeg Youth Symphony. He has presented at the ASTA National Convention. and students throughout Canada and the northern U.S. have enjoyed Mark’s work as an adjudicator and workshop clinician. Mark earned Bachelor’s and Master’s of Music degrees from The Juilliard School, graduating with the Edward Steuermann Prize. He studied there with Harvey Shapiro, Lynn Harrell, Lorne Munroe and Joel Krosnick, and was appointed teaching assistant to the Juilliard Quartet. Mark also holds a Bachelor of Laws degree from the University of Saskatchewan, where he was appointed to the editorial board of the Saskatchewan Law Review and graduated with distinction in 1990. He enjoys the odd distinction o f having published an article about music in the Alberta Law Review, and one with a legal slant in American String Teacher. Sandra Joy performs internationally with a diverse range of repertoire and style, from classical to contemporary to modern improvisation. She has performed with several West Coast orchestras, recently premiering a concerto by Larry Nickel with the Canada West Chamber Orchestra, and earning acclaim for her performance of Gershwin‘s Rhapsody in Blue with the San Capistrano Valley Symphony. A passionate advocate for Canadian music, Sandra represented the University o f Alberta and Canadian composers at the 2009 Brazil Association for Canadian Studies X Congress (Goiania, Brazil) and before that, in October 2008, at the Mexican Association for Canadian Studies XIII Congress (Guadalajara, Mexico) supported by the Canadian Embassy in Mexico. Other recent international work has been a music and art improvisation performance project with painter Werner Friesen and concert pianist Douglas Finch, at Trinity/Laban College in London; and performances at the Castelfranc Piano Summer Music School in Tarn, France. Sandra has recorded a solo piano volume Garden of Music by Canadian Alain Mayrand, and a commissioned work To the Garden the World by Stephen Chatman (CMC Centrediscs) nominated for a 2010 Juno Award. As a collaborative pianist, Sandra performed with the Erato Ensemble for the “2008 Cultural Olympiad” (Vancouver & Whistler, British Columbia) supported by organizations of Canadian Heritage Society, SOCAN, Canadian Music Centre and the 2010 Winter Olympics; and with saxophonist Julia Nolan through Canada, United States and Slovenia. Previous chamber recital tours have also included North Dakota, northern Mexico, western Canada, and Vancouver Island. On personal invitation from Dr. Deen Larsen, this past July she performed at the esteemed FranzSchubert Institute in Austria). After years as faculty member of Kwantlen Polytechnic University, Sandra returned to school for doctoral studies in piano performance at the University of Alberta researching experimental Canadian works of the midtwentieth century. She gratefully acknowledges support for her educational research from the Canadian Federation of University Women (National) – receiving their highest award, the Margaret McWilliams Fellowship. From the U of A, she is a recipient of an Honorary Izaak Killam Memorial Scholarship, a SSHRC Doctoral Award, a Queen Elizabeth II Scholarship, the Beryl Barns Award and the Leah Memorial Scholarship. �Binghamton University Music D epartment’s U P C O M I N G E V E N T S Midday concerts are held on 7hursdays, 1:20pm in Casadesus Recital Hall unless otherwise noted and are FREE University Symphony Orchestra’s “All Creatures” Children’s Concert: Saturday, October 16, 2010, 2pm, Osterhout Concert Theater, $$$ Viola Plus: Roberta Crawford’s “Chamber Works o f the 20” and 21° Centuries”, Sunday, October 17, 2010, 7:30pm, Casadesus Recital Hall, $$$ Family Weekend Concert (Harpur Chorale, Women’s Chorus and Wind Symphony): Saturday, October 23, 2010, 3pm, Osterhout Concert Theater, FREE Guest organist: Michael Bauer, Sunday, October 24, 2010, 4pm, First Presbyterian Church, Binghamton, $$$ ilk: Saturday, November 6, 2010, 8pm, Osterhout Song o f S Concert Theater, $$$ Student Recital: Dan Bessel, bassoon, Sunday, November 7, 2010, 3pm, Casadesus Recital Hall, FREE University Chorus: First Steps and Final Thoughts, Sunday, November 14, 2010, 3pm, Osterhout Concert Theater, $$$ For ticket information, please call the Anderson Center Box O ﬀice a t 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.) 44:41 41:35 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145711">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145711</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. 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Title A name given to the resource Mark Rudoff October 14, 2010 Recital Tape 2010-10-14 Description An account of the resource Works by Beethoven, Kabalevsky, Dohnányl, Matinü Creator An entity primarily responsible for making the resource Joy, Sandra Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2010-10-14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&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 audiotape reel Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 43:41 41:21 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE333599">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE333599</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Markov, Recital, February 14, 1977 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital tape 1977 2-14 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 1977-02-14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/2777aeaa46e02db6f1a504158dd93817.pdf a9572b7ad8ee80972db8ff24eb8313e4 PDF Text Text The Mozart's Marriage of Figaro �STATE UNIVERSITY OF NE W YORK AT BINGHAMTON THE MUSIC AND THEATER DEPARTMENTS WITH THE SUPPORT OF THE STUDENT ASSOCIATION AND OPERA WORKSHOP Present T h e M a r r i a g e o f F i g a r o Music by WOLFGANG AMADEUS MOZART Libretto by LORENZO DA PONTE (after Beaumarchais’ “La Folle Journée ou Le Mariage de Figaro”) English version by RUTH and THOMAS MARTIN Conducted by PEYTON HIBBITT Directed by CARMEN SAVOCA Scenery designed by LLOYD BURLINGAME (for Manhattan School of Music, 1973) Costumes by BROOKSVAN H ORN, New York City Lighting by RACHEL BUDIN Choreography by JOAN KUNSCH Stage Manager, NANCY ROPER Technical Director, JEFF WACHTEL APRIL 27, 29 and MAY 1, 1976 — 8:00 p.m. in the Don A . Watters Theater �CAST (in order of appearance) April 27 April 29 May 1 Figaro Gary S. Levine John R. Hughes Gary S. Levine Susanna Mary Ann Ferraiolo Victoria Devany Mary Ann Ferraiolo Dr. Bartolo Eugene Sawczyn Eugene Sawczyn Eugene Sawczyn M arcellina Alma Mora Alma Mora C herubino Karen L. Haight Jacquelyne Garms Karen L. Haight Count Almaoioa Michael D. Quinn Robert Cuarino Don Basilio Kevin McDermott Preston Stockman Kevin McDermott Valet of the Count Chambermaid of the Countess A Doctor from Seville The Count’s page Music Master Alma Mora Michael D. Quinn Countess Almaoiva Rachel Gardner Susan Ball Antonio Richard Bartmon Richard Bartmon Thomas Fordham Don Curzio Kevin McDermott Kevin McDermott Preston Stockman Barbarina Ellen Beattie Almaviva The Count’s gardener A judge Antonio’s daughter Jill Small Rachel Gardner Jill Small Servants of the castle, dancers and villagers Chris Arneson will understudy all performances of Anton io Jacquelyne Carms will understudy all performances of Marcellina Gary S. Levine will understudy all performances of Dr. Bartolo * » Q * The action covers one day and takes place in the Castle and grounds of Aguas Frescas, the domain of Count Almaviva near Seville, in the eighteenth century. ACT I–A Room in the Castle Intermission ACT II– The Countess’ Boudoir Intermission ACT III–The Hall of the Castle ACT IV–The Garden of the Castle Count Almaviva, bent on winning the favor of Susanna before her wedding to his valet, Figaro, tries to jeopardize the latter’s marriage with the help of several underlings, Basilio, Marcellina and Bartolo, who are promoting a wedding of Figaro to Marcellina. The Countess, neglected by her husband, joins forces with Susanna and the crafty Figaro, and by means of a clever scheme, the Count is ﬁnally obliged to return to his wife and to unite Figaro and Susanna. ( By arrangement with G. Schirmer, Inc., publisher and copyright owner) �NOTES The year 1775 saw the premiere performance of Caron de Beaumarchais’ comedy The Barber cf Seville. The play was so successful that the author was moved a few years later to present to the public, in the words of one critic, “that rare occurrence in literature, a true sequel, “The Marriage of Figaro.” In the original play, Figaro, the barber, had placed his ingenuity at the service of the Count Almaviva to help win the Count’s beloved Rosina from her guardian, Dr. Bartolo. In characteristic 18thcentury manner, the plot abounded in complex stage situations involving disguises, mistaken identities, and confusions piled on confusions. At the end, love triumphed, the Count won Rosina, and Figaro was handsomely paid. Any aspects of The Barber of Seville that might have been considered suspect at the time were only lightly suggested, and would certainly escape notice today. They were, however, implicit in the idea that a member of the servant class could be shown to be cleverer than his master, a member of u l I] t l ‘I the aristocratic class. But, of course, clever servants spouti ng sly witticisms A were familiar from the comic style of this time, and were not looked upon with disapproval, even in a France on the verge of a revolution. With his Marriage of Figaro, on the other hand, as Beaumarchais explored the fur ther fortunes of the Count, Rosina ( now his Countess ) and Figaro ( now the Count’s valet ) the tone changed. To be sure, the 18thcentury apparatus is still there: the mistaken identities, disguises, the continual hiding behind chairs and in closets, and even the unexpected identiﬁcation of the long lost child at a most astonishin g moment. But with one fundamental change in the situation, Beaumarchais magniﬁed the prerevolutionary tendencies of his original story. For now master and servant no longer band together to outwit some foolish old man; indeed, master and servant are at odds with each other. And the goal toward which they both strive is patently less an object for humor. In The Barber of Seville the goal was to win the pretty young lady away from her elderly guardian, who wanted to marry her him self. But in The Marriage of Figaro, where it is the barber’s turn to ﬁnd love and marriage, the count, already tiring of his wife, longs to revive the ancient feudal rights that allowed the lord of the manor to seduce any young servant girl on her wedding night before she was united with her husband. The object of this mutual concern is Suzanna, the Countess’ maid, once again a clever and attractive 18thcentury comic servant girl. Of course, we never really worry for a moment that the count will succeed in persuading her to comply with his wishes. She and Figaro always control the situation, even at its most complex and bewildering. And it certainly does get bewildering! For the stage swarms with characters, some from the earlier play and others newly invented for this one. There is Don Basilio, Rosina’s old music teacher, now functioning as a gobetween to carry the Count’s secret messages to Su zanna (what the count does n ot realize is that whatever Basilio knows the rest of the castle will also know in short time ) ; there is Dr. Bartolo, still smarting over the loss of his Rosina, and thirsting for an opportunity to take revenge on Figaro; there is Marcellina, Bartolo’s old house servant, who had, some years past, loaned Figaro money on the condition that if he could not repay it he would marry her ( clearly, we must not look for too much realism in these situations, but simply take them as L i �they are given ) ; there is Antonio, the gardener, who cannot understand why the people in the castle have to jump out of the windows onto his ﬂower pots; there is Barbarina, the gardener’s da ughter, available to any number of people in the castle to carry messages and perform other services. And ﬁnally we have Cherubino and the Countess, probably the two most re markable ﬁgures in this work . More about them in a mom ent. When Lorenzo da Ponte, a fascinating ﬁgure in many ways and a genuine literary talent, set about to convert Beaum archais’ comed y into a libretto f or an opera, he had to do more than merely versify the prose passages so they could be accommodated to a musical setting. He had to remove the political statements f rom the play so that nothing was lef t’but the basic plot intrigue. All of Figaro’s soliloquies like the following were of necessity eliminated: “No, my Lord Count, you shall not have her! Because you are a great noble man, you think you are a genius. Nobility, fortune, rank, position, how proud they make a man feel! But what have you done to deserve these ad vantages? You went to the trouble of being born, that’s all. Aside from that, you’re a very ordinary man. Whereas I, lost in the dark crowd, have more knowledge, more skill, . . .” and so on. It was passages like this that led Napoleon to comment that this play was indeed “the revolution in action.” So the book Mozart received to set to music no longer contained any politi cal implications; what was left was a colorf ul panorama ﬁlled with a variety of ﬁgures all of whom act, react, and interact motivated ( and this is truly the key to the opera!) by their sexual feelings. For Figaro and Suzanna, their physical feelings for each other are a direct expression of their love; for the Count, egotism and vanity force him to envisage himself as a virile con queror; to Bartolo, frustrated sexual feelings have turned to a desire for revenge which is relished wi th all the plea sure a libertine brings to a seduc tion; to Basilio, other people’s feelings and escapades stimulate him and turn him into a comic lipsmacking gossip. To the elderly Marcellina, no longer attractive and never chaste, it seems perfectly acceptable to use money and coercion to achieve sexual ends; to Barbarina, the gardener’s daughter, sex is something one plays with as openly and innocently as a child plays with a toy. Which brings me round once again to the two last characters: the Countess and Cherubino. It is strange to realize that the digniﬁed Countess of The Marriage of Figaro was, only a few years earlier, the charming, impish Rosina of The Barber of Seville. Da Ponte (unlike Beaumarchais) reserves her entrance for the second act of the opera, where, at her initial appearance, she casts a serious but irresistably appealing color over the entire proceedings. Now no longer sought after by a handsome young count for marriage, she has become, in much too short a time, a lonely woman who can no longer a ttract her husband’s aﬀections, who must stand by and pretend not to notice as he tries to seduce her maid, and who, much against her inna te sense of dignity, must plot with Susanna to ou twit and ultim ately recaptur e a n exposed and embarrassed husband. She f aces one of life’s most bewildering truths : that sexual feelings cannot be compartmentalized, limited, or directed in an exclusively rational way, not even through love. Sex is life itself, and life blindly wills i ts own being. She will win her Count back at the end, per haps forever, perhaps for only a short tim e. But her serious, almost m elan choly persona lity is essentia l f or the total pi cture of this ta pestry, ﬁlling out �the darker side of human feelings and giving this comedy some of its more sobering and touching moments. Finally we come to Cherubino, the young page, the beautiful teenage boy ( in the opera, as in the original play, always performed by a female) infatuated with love. He loves them all : Marcellina, Barberina, the Count ess, Suzanna; in short, he is in love with love. Weaving in and out of the action at all its crucial points, involved with everyone and with no one, he becomes the abstract personiﬁcation of the life force that moves the other characters. He lives only for the breathless, undirected enthusiasm of love as it appears in some ideal sphere, embracing all women but never nar rowing down to anyone in particular. He is consumed with desire, but his desire has yet to ﬁnd a speciﬁc object. It is in essence its own experience. Cherubino is a unique stage ﬁgure, at one and the same time a character in the story, as well as the embodiment of an archetype. And this dual role, by turn realistic and symbolic, is made manifest by the character’s being played by a woman. This creates an and rogynous ﬁgure that contains within itself male and female in union, needs nothing outside itself, and eﬀort lessly convinces us that desire, in this case, is simply its own object. And it is this movement from individual character to abstract per soniﬁcation that ultimately needs music for its completion. This is the rea son why, as successful as was Beauma rchais’ comedy, it was only in con junction with Mozart’s music that it attained its truly immortal shape. For only when music and theater combine in one, can stage characters function simultaneously as individuals and personiﬁcations. And now, concluding my essay, I ﬁnd that I have said nothing about Mozart’s music. And I will saying nothing beyond one comment that may throw some light, not only on this work, but on Mozart’s style in general. Through a saturation with 19thcentury musical styles, we tend to associate “love music,” certainly at its most passionate and sexually explicit, with a sound very diﬀerent from that oﬀered by Mozart. Wagner, Tchaikovsky, and Chopin all oﬀer us fa miliar examples of love music replete with expressive melodies and har monies, and rich orchestral textures rising to passionate climaxes. Mozart, however, approaches not the surface expression of love but the power behind it, the energy of life itself that ﬁnds its most forceful expression in the sexual drive. In Mozart’s music, and certainly in this opera, the drives that animate these characters in so many varied ways are captured in a music that moves with a seemingly inexhaustable invention that is astonishingly fertile, continually tossing out new melodic ideas, rarely lingering to elab orate or develop their symphonic potentials, but spinning them out lyrically and then dropping them to go on to some new melodic idea. Each char acter is given music that uniquely reﬂects his or her own personality as it supplies a variation on, and a reﬂection of, the force that moves us all. Philip Friedheim �ORCHESTRA BASSOONS Lois Chantry Principal Valarie Durham VIOLIN I Evelina Chao Concertmaster David Harrington Bob Provell Paul Turco Olev Viro CELLO David Heiss Principal Michael Finchel Holly Wilson VIOLIN II Andrea Andros Principal Karen Fliegler Marcia Miller Evan Paris Lydia Werbizky F LUT ES Nancy Becker Sharon Kosakoﬀ Susan Passanante Karen Tax BASS Richard Thomas TRUMPETS Dave Bespalko Principal Scott Kelley HARPSICHORD Diane Pendleton OBOES Geoﬀrey Barron Principal Eliot Friedman VIOLA Larry Bradford Principal Barbara Corin HORNS Ken Steiger Principal Ed Deskur CLARINETS Wendy Osteyée Principal Paul Ketchoyian TYMPAN I Geoﬀrey Brooks ORCHESTRA M ANAGER AND LIBRARIAN: Larry Bradford REHEARSAL ACCOMPANISTS Barbara Garges ChaiKyou Mallinson Diane Pendleton Q 1k * 0! DANCERS Cara Bujarsky Colleen Friends Carol Hageman ( assistant to Ms. Kunsch) Kate Ragan Demaris Hollenbeak Mary Meyer W O R K S H O P C H O R U S MEN Chris Arneson Richard Bartmon Thomas Fordham Kevin McDermo tt Stuart Silverman Preston Stockman WOMEN Ellen Beattie Susan Glass Joan Jurich Judi Kahan Danette Lipten Kim Lovett Jill Small �P R O D U C T I O N S T A F F Roberta Schlosser, David Clatworthy Musical Preparation Stephanie Herman Properties Mistress Terry Di Massino Makeup . Roy Abbott, Rick Augustine, Howie Cantor, Davis Weiss, Joe Houghtaling, Bob Volk Stage Crew Electricans Karen Molinelli, Ron Katz Wardrobe Mistress Gerri Miller, Marie Ianotti .. Karen Tax House Manager . Tony Bednarcyzk Box Oﬀice Manager Technical Consultants John Bielenberg, Linda Giese, Rob Robinson, Judith Somogi, John Eloy Vestal, Lisbeth Roma OPERA PRODUCTION COMMITTEE FOR THE UNIVERSITY Harry B. Lincoln Roberta Schlosser Alfred G. Brooks David Clatworthy SUNY–BINGHAMTON OPERA WORKSHOP Roberta Schlosser, director Jill Small, secretary Richard Bartmon, president Rachel Gardner, treasurer # * i * A c k n o w l e d ge m e n t s We would like to thank the following for their help and contribution to the production of The Marriage of Figaro: TriCities Opera Co., Roberson’s Ballet Binghamton, WSKG, WBNGTV, Michael Ennist, Joan Whiting, Chris Focht, Etta Knapp, Duane Skrabalak, Joseph Kotylo, MacLennan Flowers Inc. � 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 4 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 46:00 46:54 39:35 33:50 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE244790">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE244790</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.) Continuous 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 Marriage of Figaro, April 27, 1976 Recital tape 1976 4-27 Description An account of the resource Held on April 27, 1976. 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 1976-04-27 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/53f38503ae994be53fd6bb8eddef77ce.pdf a9572b7ad8ee80972db8ff24eb8313e4 PDF Text Text The Mozart's Marriage of Figaro �STATE UNIVERSITY OF NE W YORK AT BINGHAMTON THE MUSIC AND THEATER DEPARTMENTS WITH THE SUPPORT OF THE STUDENT ASSOCIATION AND OPERA WORKSHOP Present T h e M a r r i a g e o f F i g a r o Music by WOLFGANG AMADEUS MOZART Libretto by LORENZO DA PONTE (after Beaumarchais’ “La Folle Journée ou Le Mariage de Figaro”) English version by RUTH and THOMAS MARTIN Conducted by PEYTON HIBBITT Directed by CARMEN SAVOCA Scenery designed by LLOYD BURLINGAME (for Manhattan School of Music, 1973) Costumes by BROOKSVAN H ORN, New York City Lighting by RACHEL BUDIN Choreography by JOAN KUNSCH Stage Manager, NANCY ROPER Technical Director, JEFF WACHTEL APRIL 27, 29 and MAY 1, 1976 — 8:00 p.m. in the Don A . Watters Theater �CAST (in order of appearance) April 27 April 29 May 1 Figaro Gary S. Levine John R. Hughes Gary S. Levine Susanna Mary Ann Ferraiolo Victoria Devany Mary Ann Ferraiolo Dr. Bartolo Eugene Sawczyn Eugene Sawczyn Eugene Sawczyn M arcellina Alma Mora Alma Mora C herubino Karen L. Haight Jacquelyne Garms Karen L. Haight Count Almaoioa Michael D. Quinn Robert Cuarino Don Basilio Kevin McDermott Preston Stockman Kevin McDermott Valet of the Count Chambermaid of the Countess A Doctor from Seville The Count’s page Music Master Alma Mora Michael D. Quinn Countess Almaoiva Rachel Gardner Susan Ball Antonio Richard Bartmon Richard Bartmon Thomas Fordham Don Curzio Kevin McDermott Kevin McDermott Preston Stockman Barbarina Ellen Beattie Almaviva The Count’s gardener A judge Antonio’s daughter Jill Small Rachel Gardner Jill Small Servants of the castle, dancers and villagers Chris Arneson will understudy all performances of Anton io Jacquelyne Carms will understudy all performances of Marcellina Gary S. Levine will understudy all performances of Dr. Bartolo * » Q * The action covers one day and takes place in the Castle and grounds of Aguas Frescas, the domain of Count Almaviva near Seville, in the eighteenth century. ACT I–A Room in the Castle Intermission ACT II– The Countess’ Boudoir Intermission ACT III–The Hall of the Castle ACT IV–The Garden of the Castle Count Almaviva, bent on winning the favor of Susanna before her wedding to his valet, Figaro, tries to jeopardize the latter’s marriage with the help of several underlings, Basilio, Marcellina and Bartolo, who are promoting a wedding of Figaro to Marcellina. The Countess, neglected by her husband, joins forces with Susanna and the crafty Figaro, and by means of a clever scheme, the Count is ﬁnally obliged to return to his wife and to unite Figaro and Susanna. ( By arrangement with G. Schirmer, Inc., publisher and copyright owner) �NOTES The year 1775 saw the premiere performance of Caron de Beaumarchais’ comedy The Barber cf Seville. The play was so successful that the author was moved a few years later to present to the public, in the words of one critic, “that rare occurrence in literature, a true sequel, “The Marriage of Figaro.” In the original play, Figaro, the barber, had placed his ingenuity at the service of the Count Almaviva to help win the Count’s beloved Rosina from her guardian, Dr. Bartolo. In characteristic 18thcentury manner, the plot abounded in complex stage situations involving disguises, mistaken identities, and confusions piled on confusions. At the end, love triumphed, the Count won Rosina, and Figaro was handsomely paid. Any aspects of The Barber of Seville that might have been considered suspect at the time were only lightly suggested, and would certainly escape notice today. They were, however, implicit in the idea that a member of the servant class could be shown to be cleverer than his master, a member of u l I] t l ‘I the aristocratic class. But, of course, clever servants spouti ng sly witticisms A were familiar from the comic style of this time, and were not looked upon with disapproval, even in a France on the verge of a revolution. With his Marriage of Figaro, on the other hand, as Beaumarchais explored the fur ther fortunes of the Count, Rosina ( now his Countess ) and Figaro ( now the Count’s valet ) the tone changed. To be sure, the 18thcentury apparatus is still there: the mistaken identities, disguises, the continual hiding behind chairs and in closets, and even the unexpected identiﬁcation of the long lost child at a most astonishin g moment. But with one fundamental change in the situation, Beaumarchais magniﬁed the prerevolutionary tendencies of his original story. For now master and servant no longer band together to outwit some foolish old man; indeed, master and servant are at odds with each other. And the goal toward which they both strive is patently less an object for humor. In The Barber of Seville the goal was to win the pretty young lady away from her elderly guardian, who wanted to marry her him self. But in The Marriage of Figaro, where it is the barber’s turn to ﬁnd love and marriage, the count, already tiring of his wife, longs to revive the ancient feudal rights that allowed the lord of the manor to seduce any young servant girl on her wedding night before she was united with her husband. The object of this mutual concern is Suzanna, the Countess’ maid, once again a clever and attractive 18thcentury comic servant girl. Of course, we never really worry for a moment that the count will succeed in persuading her to comply with his wishes. She and Figaro always control the situation, even at its most complex and bewildering. And it certainly does get bewildering! For the stage swarms with characters, some from the earlier play and others newly invented for this one. There is Don Basilio, Rosina’s old music teacher, now functioning as a gobetween to carry the Count’s secret messages to Su zanna (what the count does n ot realize is that whatever Basilio knows the rest of the castle will also know in short time ) ; there is Dr. Bartolo, still smarting over the loss of his Rosina, and thirsting for an opportunity to take revenge on Figaro; there is Marcellina, Bartolo’s old house servant, who had, some years past, loaned Figaro money on the condition that if he could not repay it he would marry her ( clearly, we must not look for too much realism in these situations, but simply take them as L i �they are given ) ; there is Antonio, the gardener, who cannot understand why the people in the castle have to jump out of the windows onto his ﬂower pots; there is Barbarina, the gardener’s da ughter, available to any number of people in the castle to carry messages and perform other services. And ﬁnally we have Cherubino and the Countess, probably the two most re markable ﬁgures in this work . More about them in a mom ent. When Lorenzo da Ponte, a fascinating ﬁgure in many ways and a genuine literary talent, set about to convert Beaum archais’ comed y into a libretto f or an opera, he had to do more than merely versify the prose passages so they could be accommodated to a musical setting. He had to remove the political statements f rom the play so that nothing was lef t’but the basic plot intrigue. All of Figaro’s soliloquies like the following were of necessity eliminated: “No, my Lord Count, you shall not have her! Because you are a great noble man, you think you are a genius. Nobility, fortune, rank, position, how proud they make a man feel! But what have you done to deserve these ad vantages? You went to the trouble of being born, that’s all. Aside from that, you’re a very ordinary man. Whereas I, lost in the dark crowd, have more knowledge, more skill, . . .” and so on. It was passages like this that led Napoleon to comment that this play was indeed “the revolution in action.” So the book Mozart received to set to music no longer contained any politi cal implications; what was left was a colorf ul panorama ﬁlled with a variety of ﬁgures all of whom act, react, and interact motivated ( and this is truly the key to the opera!) by their sexual feelings. For Figaro and Suzanna, their physical feelings for each other are a direct expression of their love; for the Count, egotism and vanity force him to envisage himself as a virile con queror; to Bartolo, frustrated sexual feelings have turned to a desire for revenge which is relished wi th all the plea sure a libertine brings to a seduc tion; to Basilio, other people’s feelings and escapades stimulate him and turn him into a comic lipsmacking gossip. To the elderly Marcellina, no longer attractive and never chaste, it seems perfectly acceptable to use money and coercion to achieve sexual ends; to Barbarina, the gardener’s daughter, sex is something one plays with as openly and innocently as a child plays with a toy. Which brings me round once again to the two last characters: the Countess and Cherubino. It is strange to realize that the digniﬁed Countess of The Marriage of Figaro was, only a few years earlier, the charming, impish Rosina of The Barber of Seville. Da Ponte (unlike Beaumarchais) reserves her entrance for the second act of the opera, where, at her initial appearance, she casts a serious but irresistably appealing color over the entire proceedings. Now no longer sought after by a handsome young count for marriage, she has become, in much too short a time, a lonely woman who can no longer a ttract her husband’s aﬀections, who must stand by and pretend not to notice as he tries to seduce her maid, and who, much against her inna te sense of dignity, must plot with Susanna to ou twit and ultim ately recaptur e a n exposed and embarrassed husband. She f aces one of life’s most bewildering truths : that sexual feelings cannot be compartmentalized, limited, or directed in an exclusively rational way, not even through love. Sex is life itself, and life blindly wills i ts own being. She will win her Count back at the end, per haps forever, perhaps for only a short tim e. But her serious, almost m elan choly persona lity is essentia l f or the total pi cture of this ta pestry, ﬁlling out �the darker side of human feelings and giving this comedy some of its more sobering and touching moments. Finally we come to Cherubino, the young page, the beautiful teenage boy ( in the opera, as in the original play, always performed by a female) infatuated with love. He loves them all : Marcellina, Barberina, the Count ess, Suzanna; in short, he is in love with love. Weaving in and out of the action at all its crucial points, involved with everyone and with no one, he becomes the abstract personiﬁcation of the life force that moves the other characters. He lives only for the breathless, undirected enthusiasm of love as it appears in some ideal sphere, embracing all women but never nar rowing down to anyone in particular. He is consumed with desire, but his desire has yet to ﬁnd a speciﬁc object. It is in essence its own experience. Cherubino is a unique stage ﬁgure, at one and the same time a character in the story, as well as the embodiment of an archetype. And this dual role, by turn realistic and symbolic, is made manifest by the character’s being played by a woman. This creates an and rogynous ﬁgure that contains within itself male and female in union, needs nothing outside itself, and eﬀort lessly convinces us that desire, in this case, is simply its own object. And it is this movement from individual character to abstract per soniﬁcation that ultimately needs music for its completion. This is the rea son why, as successful as was Beauma rchais’ comedy, it was only in con junction with Mozart’s music that it attained its truly immortal shape. For only when music and theater combine in one, can stage characters function simultaneously as individuals and personiﬁcations. And now, concluding my essay, I ﬁnd that I have said nothing about Mozart’s music. And I will saying nothing beyond one comment that may throw some light, not only on this work, but on Mozart’s style in general. Through a saturation with 19thcentury musical styles, we tend to associate “love music,” certainly at its most passionate and sexually explicit, with a sound very diﬀerent from that oﬀered by Mozart. Wagner, Tchaikovsky, and Chopin all oﬀer us fa miliar examples of love music replete with expressive melodies and har monies, and rich orchestral textures rising to passionate climaxes. Mozart, however, approaches not the surface expression of love but the power behind it, the energy of life itself that ﬁnds its most forceful expression in the sexual drive. In Mozart’s music, and certainly in this opera, the drives that animate these characters in so many varied ways are captured in a music that moves with a seemingly inexhaustable invention that is astonishingly fertile, continually tossing out new melodic ideas, rarely lingering to elab orate or develop their symphonic potentials, but spinning them out lyrically and then dropping them to go on to some new melodic idea. Each char acter is given music that uniquely reﬂects his or her own personality as it supplies a variation on, and a reﬂection of, the force that moves us all. Philip Friedheim �ORCHESTRA BASSOONS Lois Chantry Principal Valarie Durham VIOLIN I Evelina Chao Concertmaster David Harrington Bob Provell Paul Turco Olev Viro CELLO David Heiss Principal Michael Finchel Holly Wilson VIOLIN II Andrea Andros Principal Karen Fliegler Marcia Miller Evan Paris Lydia Werbizky F LUT ES Nancy Becker Sharon Kosakoﬀ Susan Passanante Karen Tax BASS Richard Thomas TRUMPETS Dave Bespalko Principal Scott Kelley HARPSICHORD Diane Pendleton OBOES Geoﬀrey Barron Principal Eliot Friedman VIOLA Larry Bradford Principal Barbara Corin HORNS Ken Steiger Principal Ed Deskur CLARINETS Wendy Osteyée Principal Paul Ketchoyian TYMPAN I Geoﬀrey Brooks ORCHESTRA M ANAGER AND LIBRARIAN: Larry Bradford REHEARSAL ACCOMPANISTS Barbara Garges ChaiKyou Mallinson Diane Pendleton Q 1k * 0! DANCERS Cara Bujarsky Colleen Friends Carol Hageman ( assistant to Ms. Kunsch) Kate Ragan Demaris Hollenbeak Mary Meyer W O R K S H O P C H O R U S MEN Chris Arneson Richard Bartmon Thomas Fordham Kevin McDermo tt Stuart Silverman Preston Stockman WOMEN Ellen Beattie Susan Glass Joan Jurich Judi Kahan Danette Lipten Kim Lovett Jill Small �P R O D U C T I O N S T A F F Roberta Schlosser, David Clatworthy Musical Preparation Stephanie Herman Properties Mistress Terry Di Massino Makeup . Roy Abbott, Rick Augustine, Howie Cantor, Davis Weiss, Joe Houghtaling, Bob Volk Stage Crew Electricans Karen Molinelli, Ron Katz Wardrobe Mistress Gerri Miller, Marie Ianotti .. Karen Tax House Manager . Tony Bednarcyzk Box Oﬀice Manager Technical Consultants John Bielenberg, Linda Giese, Rob Robinson, Judith Somogi, John Eloy Vestal, Lisbeth Roma OPERA PRODUCTION COMMITTEE FOR THE UNIVERSITY Harry B. Lincoln Roberta Schlosser Alfred G. Brooks David Clatworthy SUNY–BINGHAMTON OPERA WORKSHOP Roberta Schlosser, director Jill Small, secretary Richard Bartmon, president Rachel Gardner, treasurer # * i * A c k n o w l e d ge m e n t s We would like to thank the following for their help and contribution to the production of The Marriage of Figaro: TriCities Opera Co., Roberson’s Ballet Binghamton, WSKG, WBNGTV, Michael Ennist, Joan Whiting, Chris Focht, Etta Knapp, Duane Skrabalak, Joseph Kotylo, MacLennan Flowers Inc. � 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/. 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Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 6 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 22:03 24:19 21:13 25:42 39:54 34:02 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243483">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243483</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. 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Title A name given to the resource Marriage of Figaro, April 29, 1976 Recital tape 1976 4-29 Description An account of the resource Held on April 29, 1976 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 1976-4-29 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/4abaf71bf3946a604d7d00c9bf753477.pdf a9572b7ad8ee80972db8ff24eb8313e4 PDF Text Text The Mozart's Marriage of Figaro �STATE UNIVERSITY OF NE W YORK AT BINGHAMTON THE MUSIC AND THEATER DEPARTMENTS WITH THE SUPPORT OF THE STUDENT ASSOCIATION AND OPERA WORKSHOP Present T h e M a r r i a g e o f F i g a r o Music by WOLFGANG AMADEUS MOZART Libretto by LORENZO DA PONTE (after Beaumarchais’ “La Folle Journée ou Le Mariage de Figaro”) English version by RUTH and THOMAS MARTIN Conducted by PEYTON HIBBITT Directed by CARMEN SAVOCA Scenery designed by LLOYD BURLINGAME (for Manhattan School of Music, 1973) Costumes by BROOKSVAN H ORN, New York City Lighting by RACHEL BUDIN Choreography by JOAN KUNSCH Stage Manager, NANCY ROPER Technical Director, JEFF WACHTEL APRIL 27, 29 and MAY 1, 1976 — 8:00 p.m. in the Don A . Watters Theater �CAST (in order of appearance) April 27 April 29 May 1 Figaro Gary S. Levine John R. Hughes Gary S. Levine Susanna Mary Ann Ferraiolo Victoria Devany Mary Ann Ferraiolo Dr. Bartolo Eugene Sawczyn Eugene Sawczyn Eugene Sawczyn M arcellina Alma Mora Alma Mora C herubino Karen L. Haight Jacquelyne Garms Karen L. Haight Count Almaoioa Michael D. Quinn Robert Cuarino Don Basilio Kevin McDermott Preston Stockman Kevin McDermott Valet of the Count Chambermaid of the Countess A Doctor from Seville The Count’s page Music Master Alma Mora Michael D. Quinn Countess Almaoiva Rachel Gardner Susan Ball Antonio Richard Bartmon Richard Bartmon Thomas Fordham Don Curzio Kevin McDermott Kevin McDermott Preston Stockman Barbarina Ellen Beattie Almaviva The Count’s gardener A judge Antonio’s daughter Jill Small Rachel Gardner Jill Small Servants of the castle, dancers and villagers Chris Arneson will understudy all performances of Anton io Jacquelyne Carms will understudy all performances of Marcellina Gary S. Levine will understudy all performances of Dr. Bartolo * » Q * The action covers one day and takes place in the Castle and grounds of Aguas Frescas, the domain of Count Almaviva near Seville, in the eighteenth century. ACT I–A Room in the Castle Intermission ACT II– The Countess’ Boudoir Intermission ACT III–The Hall of the Castle ACT IV–The Garden of the Castle Count Almaviva, bent on winning the favor of Susanna before her wedding to his valet, Figaro, tries to jeopardize the latter’s marriage with the help of several underlings, Basilio, Marcellina and Bartolo, who are promoting a wedding of Figaro to Marcellina. The Countess, neglected by her husband, joins forces with Susanna and the crafty Figaro, and by means of a clever scheme, the Count is ﬁnally obliged to return to his wife and to unite Figaro and Susanna. ( By arrangement with G. Schirmer, Inc., publisher and copyright owner) �NOTES The year 1775 saw the premiere performance of Caron de Beaumarchais’ comedy The Barber cf Seville. The play was so successful that the author was moved a few years later to present to the public, in the words of one critic, “that rare occurrence in literature, a true sequel, “The Marriage of Figaro.” In the original play, Figaro, the barber, had placed his ingenuity at the service of the Count Almaviva to help win the Count’s beloved Rosina from her guardian, Dr. Bartolo. In characteristic 18thcentury manner, the plot abounded in complex stage situations involving disguises, mistaken identities, and confusions piled on confusions. At the end, love triumphed, the Count won Rosina, and Figaro was handsomely paid. Any aspects of The Barber of Seville that might have been considered suspect at the time were only lightly suggested, and would certainly escape notice today. They were, however, implicit in the idea that a member of the servant class could be shown to be cleverer than his master, a member of u l I] t l ‘I the aristocratic class. But, of course, clever servants spouti ng sly witticisms A were familiar from the comic style of this time, and were not looked upon with disapproval, even in a France on the verge of a revolution. With his Marriage of Figaro, on the other hand, as Beaumarchais explored the fur ther fortunes of the Count, Rosina ( now his Countess ) and Figaro ( now the Count’s valet ) the tone changed. To be sure, the 18thcentury apparatus is still there: the mistaken identities, disguises, the continual hiding behind chairs and in closets, and even the unexpected identiﬁcation of the long lost child at a most astonishin g moment. But with one fundamental change in the situation, Beaumarchais magniﬁed the prerevolutionary tendencies of his original story. For now master and servant no longer band together to outwit some foolish old man; indeed, master and servant are at odds with each other. And the goal toward which they both strive is patently less an object for humor. In The Barber of Seville the goal was to win the pretty young lady away from her elderly guardian, who wanted to marry her him self. But in The Marriage of Figaro, where it is the barber’s turn to ﬁnd love and marriage, the count, already tiring of his wife, longs to revive the ancient feudal rights that allowed the lord of the manor to seduce any young servant girl on her wedding night before she was united with her husband. The object of this mutual concern is Suzanna, the Countess’ maid, once again a clever and attractive 18thcentury comic servant girl. Of course, we never really worry for a moment that the count will succeed in persuading her to comply with his wishes. She and Figaro always control the situation, even at its most complex and bewildering. And it certainly does get bewildering! For the stage swarms with characters, some from the earlier play and others newly invented for this one. There is Don Basilio, Rosina’s old music teacher, now functioning as a gobetween to carry the Count’s secret messages to Su zanna (what the count does n ot realize is that whatever Basilio knows the rest of the castle will also know in short time ) ; there is Dr. Bartolo, still smarting over the loss of his Rosina, and thirsting for an opportunity to take revenge on Figaro; there is Marcellina, Bartolo’s old house servant, who had, some years past, loaned Figaro money on the condition that if he could not repay it he would marry her ( clearly, we must not look for too much realism in these situations, but simply take them as L i �they are given ) ; there is Antonio, the gardener, who cannot understand why the people in the castle have to jump out of the windows onto his ﬂower pots; there is Barbarina, the gardener’s da ughter, available to any number of people in the castle to carry messages and perform other services. And ﬁnally we have Cherubino and the Countess, probably the two most re markable ﬁgures in this work . More about them in a mom ent. When Lorenzo da Ponte, a fascinating ﬁgure in many ways and a genuine literary talent, set about to convert Beaum archais’ comed y into a libretto f or an opera, he had to do more than merely versify the prose passages so they could be accommodated to a musical setting. He had to remove the political statements f rom the play so that nothing was lef t’but the basic plot intrigue. All of Figaro’s soliloquies like the following were of necessity eliminated: “No, my Lord Count, you shall not have her! Because you are a great noble man, you think you are a genius. Nobility, fortune, rank, position, how proud they make a man feel! But what have you done to deserve these ad vantages? You went to the trouble of being born, that’s all. Aside from that, you’re a very ordinary man. Whereas I, lost in the dark crowd, have more knowledge, more skill, . . .” and so on. It was passages like this that led Napoleon to comment that this play was indeed “the revolution in action.” So the book Mozart received to set to music no longer contained any politi cal implications; what was left was a colorf ul panorama ﬁlled with a variety of ﬁgures all of whom act, react, and interact motivated ( and this is truly the key to the opera!) by their sexual feelings. For Figaro and Suzanna, their physical feelings for each other are a direct expression of their love; for the Count, egotism and vanity force him to envisage himself as a virile con queror; to Bartolo, frustrated sexual feelings have turned to a desire for revenge which is relished wi th all the plea sure a libertine brings to a seduc tion; to Basilio, other people’s feelings and escapades stimulate him and turn him into a comic lipsmacking gossip. To the elderly Marcellina, no longer attractive and never chaste, it seems perfectly acceptable to use money and coercion to achieve sexual ends; to Barbarina, the gardener’s daughter, sex is something one plays with as openly and innocently as a child plays with a toy. Which brings me round once again to the two last characters: the Countess and Cherubino. It is strange to realize that the digniﬁed Countess of The Marriage of Figaro was, only a few years earlier, the charming, impish Rosina of The Barber of Seville. Da Ponte (unlike Beaumarchais) reserves her entrance for the second act of the opera, where, at her initial appearance, she casts a serious but irresistably appealing color over the entire proceedings. Now no longer sought after by a handsome young count for marriage, she has become, in much too short a time, a lonely woman who can no longer a ttract her husband’s aﬀections, who must stand by and pretend not to notice as he tries to seduce her maid, and who, much against her inna te sense of dignity, must plot with Susanna to ou twit and ultim ately recaptur e a n exposed and embarrassed husband. She f aces one of life’s most bewildering truths : that sexual feelings cannot be compartmentalized, limited, or directed in an exclusively rational way, not even through love. Sex is life itself, and life blindly wills i ts own being. She will win her Count back at the end, per haps forever, perhaps for only a short tim e. But her serious, almost m elan choly persona lity is essentia l f or the total pi cture of this ta pestry, ﬁlling out �the darker side of human feelings and giving this comedy some of its more sobering and touching moments. Finally we come to Cherubino, the young page, the beautiful teenage boy ( in the opera, as in the original play, always performed by a female) infatuated with love. He loves them all : Marcellina, Barberina, the Count ess, Suzanna; in short, he is in love with love. Weaving in and out of the action at all its crucial points, involved with everyone and with no one, he becomes the abstract personiﬁcation of the life force that moves the other characters. He lives only for the breathless, undirected enthusiasm of love as it appears in some ideal sphere, embracing all women but never nar rowing down to anyone in particular. He is consumed with desire, but his desire has yet to ﬁnd a speciﬁc object. It is in essence its own experience. Cherubino is a unique stage ﬁgure, at one and the same time a character in the story, as well as the embodiment of an archetype. And this dual role, by turn realistic and symbolic, is made manifest by the character’s being played by a woman. This creates an and rogynous ﬁgure that contains within itself male and female in union, needs nothing outside itself, and eﬀort lessly convinces us that desire, in this case, is simply its own object. And it is this movement from individual character to abstract per soniﬁcation that ultimately needs music for its completion. This is the rea son why, as successful as was Beauma rchais’ comedy, it was only in con junction with Mozart’s music that it attained its truly immortal shape. For only when music and theater combine in one, can stage characters function simultaneously as individuals and personiﬁcations. And now, concluding my essay, I ﬁnd that I have said nothing about Mozart’s music. And I will saying nothing beyond one comment that may throw some light, not only on this work, but on Mozart’s style in general. Through a saturation with 19thcentury musical styles, we tend to associate “love music,” certainly at its most passionate and sexually explicit, with a sound very diﬀerent from that oﬀered by Mozart. Wagner, Tchaikovsky, and Chopin all oﬀer us fa miliar examples of love music replete with expressive melodies and har monies, and rich orchestral textures rising to passionate climaxes. Mozart, however, approaches not the surface expression of love but the power behind it, the energy of life itself that ﬁnds its most forceful expression in the sexual drive. In Mozart’s music, and certainly in this opera, the drives that animate these characters in so many varied ways are captured in a music that moves with a seemingly inexhaustable invention that is astonishingly fertile, continually tossing out new melodic ideas, rarely lingering to elab orate or develop their symphonic potentials, but spinning them out lyrically and then dropping them to go on to some new melodic idea. Each char acter is given music that uniquely reﬂects his or her own personality as it supplies a variation on, and a reﬂection of, the force that moves us all. Philip Friedheim �ORCHESTRA BASSOONS Lois Chantry Principal Valarie Durham VIOLIN I Evelina Chao Concertmaster David Harrington Bob Provell Paul Turco Olev Viro CELLO David Heiss Principal Michael Finchel Holly Wilson VIOLIN II Andrea Andros Principal Karen Fliegler Marcia Miller Evan Paris Lydia Werbizky F LUT ES Nancy Becker Sharon Kosakoﬀ Susan Passanante Karen Tax BASS Richard Thomas TRUMPETS Dave Bespalko Principal Scott Kelley HARPSICHORD Diane Pendleton OBOES Geoﬀrey Barron Principal Eliot Friedman VIOLA Larry Bradford Principal Barbara Corin HORNS Ken Steiger Principal Ed Deskur CLARINETS Wendy Osteyée Principal Paul Ketchoyian TYMPAN I Geoﬀrey Brooks ORCHESTRA M ANAGER AND LIBRARIAN: Larry Bradford REHEARSAL ACCOMPANISTS Barbara Garges ChaiKyou Mallinson Diane Pendleton Q 1k * 0! DANCERS Cara Bujarsky Colleen Friends Carol Hageman ( assistant to Ms. Kunsch) Kate Ragan Demaris Hollenbeak Mary Meyer W O R K S H O P C H O R U S MEN Chris Arneson Richard Bartmon Thomas Fordham Kevin McDermo tt Stuart Silverman Preston Stockman WOMEN Ellen Beattie Susan Glass Joan Jurich Judi Kahan Danette Lipten Kim Lovett Jill Small �P R O D U C T I O N S T A F F Roberta Schlosser, David Clatworthy Musical Preparation Stephanie Herman Properties Mistress Terry Di Massino Makeup . Roy Abbott, Rick Augustine, Howie Cantor, Davis Weiss, Joe Houghtaling, Bob Volk Stage Crew Electricans Karen Molinelli, Ron Katz Wardrobe Mistress Gerri Miller, Marie Ianotti .. Karen Tax House Manager . Tony Bednarcyzk Box Oﬀice Manager Technical Consultants John Bielenberg, Linda Giese, Rob Robinson, Judith Somogi, John Eloy Vestal, Lisbeth Roma OPERA PRODUCTION COMMITTEE FOR THE UNIVERSITY Harry B. Lincoln Roberta Schlosser Alfred G. Brooks David Clatworthy SUNY–BINGHAMTON OPERA WORKSHOP Roberta Schlosser, director Jill Small, secretary Richard Bartmon, president Rachel Gardner, treasurer # * i * A c k n o w l e d ge m e n t s We would like to thank the following for their help and contribution to the production of The Marriage of Figaro: TriCities Opera Co., Roberson’s Ballet Binghamton, WSKG, WBNGTV, Michael Ennist, Joan Whiting, Chris Focht, Etta Knapp, Duane Skrabalak, Joseph Kotylo, MacLennan Flowers Inc. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. 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Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 4 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 47:02 48:18 39:43 34:08 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243491">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243491</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marriage of Figaro, May 1, 1976 Recital tape 1976 5-1 Description An account of the resource Held on May 1, 1976. 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 1976-5-01 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/acc966c9ed33a9020c83dbf6e5fe0890.pdf d2cc0de6b9fc568b82ab540d4683f3a1 PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E U N I V E R S I T Y O F NEW Y O R K widee D E P A R T M E N T MASTER OF MUSIC RECITAL JAKE STAMATIS, BASSBARITO NE WlTH JOHN ISENBERG, PIANO SPENCER PHILLIPS, DOUBLE BASS FRIDAY, APRIL 24, 2015 7:30 P.M. CASADESUS RECITAL �& PROGRAM ~€s “Per questa bella mano”, KV 612 W.A. Mozart (17561791) Spencer Phillips, double bass ...Anton Webern (18831945) .. Alban Berg Der Tod .. Tief von fern Abschied . (18851935) Traurigkeir .Amold Schonberg (18741951 ) Wamung . .. Jules Massenet Riez, allez.. (18421912) from Don Quichotte @» Interm ission @» L’Horizon chimérique, Op. 1 18.. La mer est inﬁnite ] e me suis embarqué Diane, Séléné . Gabriel Fauré (18451924) Vaisseaux, nous vous aurons aimes Eight Songs of Americana, Op.22 Vision Arizona Three Black Crows Beaver Ca p, Sir Pretty Molly MotherInLaw Old White Mule The Maple on the Hill Song of Black Max. Richard Hugunine (b. 1955) . William Bolcom (b. 1938) This program u oﬀered in partial fulﬁllment of the requirements for the degree of Masters of Music in Opera. Jake Stamatis is a student of Thomas Goodheart. �Program Notes Wolfgang Amadeus Moza rt was one of the most inﬂuential composers of the classical era, and perhaps of all time. His music is characterized by a consonant playfulness. as well as melodic intricacy that reﬂect the sort of spirit that Mozart had in his own life. Per questa bella mano is no exception to these traits. This concert aria, composed in 1791 (the year of Mozart’s death) for the ﬁrst singer to play Sarastro in Die Zauberﬂéte, is truly unique in the repertoire in that it features a particularly diﬀicult double bass obbligato line. The scale work and virtuosic double stop sections have made this aria both thrilling and notorious among bass players throughout history. 1 am truly lucky to have Spencer Phillips with me tonight who is more than willing and able to take on the pieces unique challenges! 1. Per questa bella mano For this beautiful hand, For these lovely eyes, 1 swear, my dear, that 1 shall love none but you. The breeze, the plants, the stones, that know my sighs well, will tell you of my undying faithfulness. Turn to me with happy or proud glances, tell me even that you hate me or love me, I am always enﬂamed by your sweet arrows, your voice always calls to me. Neither earth nor heaven can change that desire that lives in me. The Second Viennese School was a group of composers under the leadership and tutelage of Arnold Schénberg in the early part of the 20* Century. A prominent composer inﬂuenced by the expressionist movement, Schonberg accepted an elite group of pupils into the school who devoted their lives to the innovation and advancement of German music. Among his most well known pupils were Anton Webern and Alban Berg. Their advances led to the atonal movement in Germany in the ﬁrst half of the 1900s, a compositional style that is, today. credited almost entirely to Schonberg, Webern, and Berg. Tonight’s program features ﬁve songs from each of these composers’ early periods. These lieder were composed between 1901 and 1907 and represent the Second Viennese School’s ﬁnal moments of romanticism in their compositional styles before giving way to complete atonality in 1908. While each of these pieces still maintains a tonal center and a harmonic organization, the use of incidental chromaticism and expressionistic coloring hints towards the tonal revolution that the composers were on the brink of. In choosing the program for this evening, 1 found that at the core of each of these ﬁve poems are starkly diﬀerent characters and emotional actions. Webern’s Der Tod is powered by an exhausted fear after the singer ﬁnds himself in Death’s chamber, while Tief van fern depicts the abstract character of the ocean as it reaches for the setting sun and then waits longingly for it to return. Berg’s more extroverted Ahschied and Traurigkeit contrast Webern’s more introverted preferences. A sly traveling musician bids farewell to a woman in Abschied. The low tessitura paired with the juxtaposition of very articulated and then very legato phrases creates a smarmy sort of charm that depicts this “Don Juan” as he moves on, not only to the next town, but also from this love inertest to the next. Traurigkeit brings out a more sincere character, as the singer tries to console a weak and tearful young girl. Schonberg brings us the most bizarre and dangerous character of the ﬁve in his setting of Richard Dchmel’s Warnung. The tempo marking “Rasch, mit uerhaltener Heftigkeit” (“Rapidly, with restrained violence") perfectly describes the unstable character that speaks to us in this piece. Obsession and jealousy have created this terrifyingly unpredictable man that opens the song saying, “My dog, at you, had merely snarled and I have poisoned him.” The piece begins very agitated with wildly syncopated rhythms in the piano while the erratic vocal line leaps and plummets above it. At the peak of the tension, the music calms and becomes more legato as the singer is calmed by the thoughts of the romantic gestures he has sent his loved one. As he talks about coming to visit, he grows progressively more aggressive in his demands for her to be alone when he arrives. He then reveals that he saw her in the sunset with another man, and his jealousy builds as the piano travels upward in chromatic scales. His ﬁnal warning, “denk an meinen Hand” causes an eruption of emotion. “ Think on my dog.” He killed him out of his love for her. Imagine what he will do if she betrays it. 11 . Der Tod (Death) Ah, it is so dark in Death’s chamber, he sounds so sad, when he moves about and now lifts his heavy hammer and strikes the hour. Deep from far from mornings gray waves, the great bank longs for the star. Tief von fern (Deep from far) From evening’s white waves plunges a star; deep from far comes the young moon, drawn. touch. Abschied (Farewell) A musician who must travel, this is an old custom. His drumbeats are always done with a farewell Whether I once again will return? My love that I do not �know. The heavy hand of Death breaks many rosebuds. Traurigkeit (Sad ness) Weep, gentle maiden So long she weeps, carrying the world in her sad heart. Weep gentle maiden! Hold your hands before your trembling face. When you lower them, smiling, it is over. Wamung. (Warning) My dog, at you, had merely snarled and I have poisoned him; and I hate all mankind who provoke quarrels. I sent you two bloodred carnations, my blood for you. On the one a bud; those three should please you until I arrive. I will come tonight, be alone, you! Yesterday, when I arr ived, I saw you with someone in the sunset. You: think on my dog! Jules Massenet was a French composer best known for his operas, which include the popular Manon, Werther, and Cendn’llion. Another of his famous compositions is the operatic setting of Don Quichotte (Don Quixote), the story of the senile old man who puts on armor, climbs aboard his weak old horse and sets out in search of valor, chivalry, and honor. With his trusty partner, Sancho Panza, at his side, and his beloved Dulcinée never far from his thoughts, he goes on a disillusioned journey that eventually leads to his end. At the climax of the third act of the opera, Don Quichotte encounters Dulcinee and confesses his love for her. She denies him respectfully, bur this creates a chain reaction as onlookers burst into laughter and mock his tattered clothes, rusty armor and geriatric horse. The everloyal Sancho steps between the chastisers and Don Quichotte and scolds them in the aria Riel, allez. He turns from them and li fts up his friend saying, “Come, my master, come! Let us again take up our noble quest!” III. Riel, allez (Go on, laugh) You, all of you are com mitting an appalling deed, lovely ladies, gentlemen, by insulting the admirable and bold hero who stands here before you! Laugh, go on, laugh at this poor idealist who walks in his dream and speaks to you of pastoral simplicity, of love and goodness as did another: Jesus! Mock without pity his tattered stockings, his threadbare doublet, his muddy breeches, you lowly rascals, sluts, beggars who should fall at the feet of the saintly being whom you mock. Come, my great one, come! Let us again take up our noble quest! Let us charge against all cowardice, and let us give to the unhappy the bread of goodness! French composer Gabriel Fauré was one of the most inﬂuential composers of his generation. His compositional style provides a link between Romanticism and 20™ Century Modernism as he was born into a time when Chopin was still composing and died as the atonal music of the Second Viennese School was attracting attention. Fauré's music is characterized by advanced harmonic and melodic style, contrasted by subtle and repetitive rhythmic motives, The romantic charm of his earlier works gave way to tonal experimentation at the end of his life as he aimed to create the impression of several tonal centers at once, with complex and unpredictable harmonic motion. Fauré’s ﬁnal vocal composition L’Horizon chimerique (1921) is no exception to this. Each of the cycle’s four poems by Jean de la Ville d e Mirmont (18861914) usc images of the sea to depict a longing for adventure, destiny, and serenity as well as a fear of the unknown. In the ﬁrst piece, La mer est inﬁnie, the singer expresses his excitement for adventure by imagining the sea carrying his dreams away in the wake of ships (his desires) that his heart has been chasing all his life. The energetic and agile rhythm in the piano depicts the restless excitement that he has in the face of inﬁnite possibility. Je me suis embarqué is characterized by the uneven rhythmic pattern that is repeated in the piano, representing both the rocking of a ship on water, and the feeling of u neasiness that looms over the singer. He feels most at home at sea, and denies his ties to land saying, “My brothers, I have suﬀered on all of your continents. 1 want nothing but the sea, 1 want nothing but the wind to cradle me, like an infant, in the trough of the waves.” As he sings this, the dottedrhythmic in the le ft hand o f the piano dissipates and the music evens out. Immediately after, the pattern returns, and with it comes the singer’s uneasiness. He remarks that his home is nothing more than a faded image and that the tears of leaving it behind “do not burn [his] eyes anymore.” He remembers nothing of his ﬁnal farewells and that shocks him. Now he is left wondering if his numbness to leaving his home behind means that he has lost a piece of his humanity. Diane, Séléné is a love song to the moon. The rhythm is simple and the harmonic density of the earlier two songs is now wiped away to reveal a subtle clarity that the singer sees in the moon. His expressions of love are colored by envy, as there is a sense that he desires such clarity in his own life. The ﬁnal piece, Vaisseaux, nous vous aurons aimés, �returns to the ke y a n d tempo marking (Andante quasi allegretto) of the ﬁrst piece of the cycle, but expresses a diﬀerent feeling not only in the text but also in the length of the musical gestures. Mirmont’s poem speaks of staying behind on land and allowing others to seek their destinies at sea. La mer est inﬁnie, the sort of “sister” to this song, used driving sixteenth note rhythms in the piano as well as quick and ﬂowering melodic lines to depict exhilaration and reckless abandon in the face of possibility. This ﬁnal piece is more restrained; the agile sixteenth notes have become lyrical eighth notes. The expressive motion of the vocal line is more gradual than explosive as it makes one single, elongated crescendo to the climax at the end of the song. The singer encourages his loved ones to seek their destinies at sea even though it will leave him deserted on land. He says, “the breeze that intoxicates you ﬁlls my heart with fear". At the peak of the fourpagelong crescendo he admits that he wants them to go because he understands the feeling of despair that comes from never seeking out one’s destiny; a feeling he knows well since his fear of the unknown has kept him from his own departure. IV. L’Horizon chimérique (The Shim mering Horizon) IL. La mer est inﬁnie The sea is inﬁnite and my dreams are mad. The sea sings to the sun, striking the cliﬀs, and my joyful dreams taste more of the pleasure of dancing on the sea like drunken birds. The vast movement of the waves carries my dreams. The breeze shakes and tumbles them in folds; Playing in the wake, they form an escort to the ships my heart has followed in their ﬂight. Wild with air and salt, and scalded by the foam of a sea that consoles, that washes away tears, They will know the ocean and its good bitterness; Stray gulls w ill take them for their own. 11. Je m e suis emba rqué I am embarked on a ship that dances and rolls from side to side and pitches and sways. My feet have forgotten the land and its ways; the supple waves have taught me other cadences, lovelier than the weary rhythm of human songs. To live among you, alas! Have I a 7 My brothers I have suﬀered soul? on all of your continents. I want nothing but the sea, 1 want nothing but the wind to cradle me, like a baby, in the trough of the waves. Out of the port, which is no more than a faded image, the tears of leaving no longer burn my eyes. [ do not remember anything of my last goodbyes. Oh my pain, where have 1 le ft 7 you! Ill . Diane, Séléné Diane, Selene, moon of lovely metal, who reﬂects to us, upon your desert face, in the immortal ennui of quiet stars, the regret o f a sun whose loss we weep for. Oh moon, I GOV“ your clarity, Insult to the vain turmoil Of poor souls, and my heart, ever weary and ever restless, aspires toward the peace of your nocturnal ﬂame. IV. Vaisseaux, nous vous aurons aimés Ships, we would have loved you even if all were lost. The last of you all have gone to the sea. The setting sun took so many open sails that this port and my heart will be deserted forever. The sea has taken you to your destiny, beyond the shore on which we stand. We could not keep your souls in chains; you need the distances that I do not know. I am among those whose desires are on land. The breeze that intoxicates you ﬁlls my heart with fear, but your call, in the depths of evening, ﬁlls me with despair, because 1 have great unfulﬁlled departures as well. The most daunting challenge of composing for unaccompanied voice is to successfully suggest harmony while simultaneously conveying the sentiments contained in the texts. Sometimes the sentiment takes precedence, sometimes the harmony. In the context of this set of songs, 1 believe I have been successful in suggesting the (occasionally very diﬀicult) harmonies. I know I have relied on Jake Stamatis’s talents and vivaciou. personality to provide the texts’ sentiments in places where my craft may have proved less than suﬀicient. My goal in composing these songs was to impart a sense of the expressive nature of American folk music when it was part and parcel of life in the recentlyopened West; when one sang a funny song about one’s motherin law to lighten a mood, or sang about an old white mule just to be silly, just to make people laugh. Texts were taken from the Charles L. Todd and Robert Sorkin Migrant Worker Collection. The collection, contained within the Library of Congress. is available as a transcript of a series of recordings made in California during 1940 and 1941. The single exception is the text of Vision, which text is a poem by Robert Penn Warren, and is in the public domain. During the research phase of this project, it was interesting to discover that nearly all of the texts in the Todd/ Sorkin Collection are �abbreviated versions of 1 7 “ and 18” century English folk songs. All of the melodies are original, with the exception of Three Black Crows, which is an adulteration of a very old English folk tune that probably predates Elizabeth I. Richard Hugunine V. Eight Songs of Americana 1. Vision I shall build me a house where the larkspur blooms in a narrow glen in an alder wood. Where the sunset shadows make violet glooms, and a whippoorwill calls in eerie mood. I shall lie on a bed of river sedge, and listen to the glassy dark. With a guttered light on my window ledge, while an owl stares in at me, white and stark. I shall burn my house with the rising dawn and leave but the ashes and smoke behind. And again give the glade to the owl and the fawn, when the gray wood smoke drifts away with the wind. 2. Arizona We were out in Arizona on the painted desert ground. We had no place to call our own home, and work could not be found. We started to California, but our money, it didn’t last long. [want to be in Oklahoma. Be back in my old home. Away out in the desert where water is hard to ﬁnd, it’s a hundred miles to Tempe and the wind blows all the time. 3. Three Black Crows There were three crows sat on a tree and they were black as black could be. Said one black crow unto his mate, “what shall we do for meat to eat?” “ There is a horse on yonder plain, was by some cruel butcher slain. We’ll sit upon him in the sun and pick his eyes out one. by. one.” 4. Beaver Cap, Sir I went to town the other day to buy me a hat, Sir, and everything that they put down it was a beaver cap, Sir. I went home that very night, [ laid it on my bed, Sir, so every time that I woke up I tried it on my head, Sir. I went to work the other day a feelin’ mighty ﬂat, Sir. When I came home my mother’d set a hen in my old cap. Sir. I picked them eggs up oneby one; you bet I had some fun, Sir! Threw them at my mother’s head, they fanned her as she ran, Sir! My wife got mad the other day; she took me by the nape, Sir. Threw my right out in the yard and stomped my beaver cap, Sir! 5. Pretty Molly “Pretty Molly, pretty Molly, come go along with me. Before we get married some friends for to see.” Oh, his back’s caved in and he’s He led her over hollers and valleys so deep, at last pretty Molly began for to weep. “Sweet William, sweet William, you’re leading me astray, an innocent love you shall betray.” “Pretty Molly, pretty Molly, you’re guessin’ jest right, for I dug at your grave one half all last night! Stand back! No time to stand!” and innocent he stood with a big knife in his hand. He stabbed her to the heart and her blood it .did ﬂow, and into her grave, her kind of thin, but his legs are strong and ﬁne; I ’ll sing a ‘lil’ song as I ride along on this old white mule of mine. Oh, they’re plannin’ a dance in the valley, I’ll quit my work at body did go. 6. MotherInLaw Now, friends, if you listen I’ll sing you a ditty of the ugliest woman that ever you saw. She is so ugly she frightens the children whenever they go for a walk on the street. With a hole in her head like a crack in a pun’kin and a lump on her back and such very large feet, O, my life is all trouble, no pleasure I see, wherever I go that old bag watches me. I’d rather be drug oﬀ to jail or to congress than spend my whole life with my motherinlaw. I told that old lady when I married her daughter; I did not intend the whole fam’ly to wed. 7. Old White Mule Oh, I live high up in the mountains in the kingdom of the pine. I live alone with my old pal, this old white mule of mine. the still; I’ll climb aboard the old white mule, and ride him down the hill. Oh, the other day we had quarreled, I had called him a nasty name; He kicked me down the mountain, but I love him all the same. Oh, he shares with me my sorrow, he shares my bread and wine; He also wants to share my girls, but there I draw the line. 8. Th e Ma ple on the H ill In a quiet country village grew a maple on the hill where I sat with my sweet darling long ago. As the stars were shining brightly we could hear the whippoorwill as we sat beneath the maple on the hill. Don’t forget me, little darling, when they lay me down to die. Just a little wish, my darling that I crave; as you linger there in sadness, you are thinking of the past, and your tears shall kiss the ﬂowers on my grave. We that sang lovesongs together when the birds had gone to rest, we would listen to the murmur of the till. Will you love me, little darling, as you did that starry night when we sat beneath 7 Don’t the maple on the hill? �Masters Degree in Opera here at Binghamton U niversity where he studies with Thomas Goodheart and coaches regularly with Diane Richardson, Steven Crawford. and Willie Waters. John Isenberg, a native of End icott, NY. holds Bachelor of Arts degrees in Music and lmlian, as well as a Master’s Degree in Italian Literature from Binghamron University. He performs many diﬀerent musical genres ranging from Opera and Musical Theater to traditional Scottish and various styles of sacred music. From 20012012, John worked for the TriCities Opera in Binghamton, NY, ﬁrst as Accompanist, then additionally as Education Outreach Coordinator and Chorus Master. During that time, he accompanied over 500 outreach performances in schools throughout New York State and northern Pennsylvania. He has performed for WSKG public radio broadcasts of opera preview performances including Puccini’s Madama Butterﬂy, Verdi’s La traviata and Mozart’s The Magic Flute. An active church musician since childhood, John is currently the Organist/ Pianist a nd Choir Director a t Sa rah Jane Johnson Methodist Ch urch in Johnson City. He has served as Pianist/Choir Director for the high holy days of Rosh Hashanah at Temple Concord in Binghamton. For the past two summers, John has also participated in the Songe d’été Music Festival in Lambton. Quebec (Canada). Spencer Phillips is highly sought a fter as both an orchestral bassist a nd chamber musician throughout the United States a nd abroad. Recent performance engagements include a US tour with the Munich Symphonilter, performances with the Michigan Opera Theater. Solo Bassist with the international Chamber Orchestra led by violinist Dimitri Berlinsky, as well as recording the complete Beethoven Symphonies with Orchestre de la Francophonie Canadian, under Jean Philippe Tremblay. Mr. Phillips is a graduate of the lnterlochen Arts Academy. Michigan, where he studied with Derek Weller. He went on to study with Jack Budrow (Michigan State University) and Orin O’Brien (New York Philharmonic) at the Manhattan School of Music, NYC. 1n the fall of 201 3 Mr. Phillips accepted a teaching assistantship as a doctoral candidate under James VanDemark, Eastman School of Music. Mr. Phillips was a prize winner at the International Society of Bassist competition in 2005 When he is not playing the bass Spencer is an avid hockey fan, deadly snooker player and was a volunteer ﬁrem an for the Brooktondale Fire Department, Ny. n . " n " n " s " n " . " n . " n " . " n u n – " n u n . " – Special thanks to: My parents. Thomas Goodhean. John Isenberg, Diane Richardson, Christopher Bartlette, Steven Crawford, Suzanne Tuch, Meme Kahlia Adeeb. Jenny Gag, Li ndsay Brown, Mrs. Lindsay’s Mom, and all who have supported me through this seemingly impossible, yet ever rewarding journey of music. �Bi nghamton Univer s i ty M us ic Depart ment ’s Co m i ng E vents 6 M 6 M M M M M M i V Saturday, April 2 5 – Kevin Truax, baritione 7:30 p.m. Casadesus Recital Hall free Saturday, April 2 5 Joint Recital: Rachel Young, soprano and Eleanor Kras ner, violin – 7 :30 p.m. Casadesus Recital Hall free Sunday, April 26 – U n iversity Wind Symphony: Once U pon a Time 3 p.m. Anderson Center Chamber Hall $7 general public; $5 faculty/staﬀ/seniors/alumni; free for students Tuesday, April 28 – Percussion Ensemble 7:30 p.m. Anderson Center Chamber Hall $7 general public; $5 aculty/staﬀ/scniors/alumni; free for students Th ursday, April 30 MidDay Concert 1:20 p.m. Casadesus Recital Hall free Th ursday, April 30 – Piano Ensemble 7:30 p.m. Casadesus Recital Hall free Friday, May 1 Flute Studio a nd Flute Chamber Concert 10:15 a.m. Casadesus Recital Hall free Friday, May 1 Brass Recital – 4 p.m. Casadesus Recital Hall free M M M M W é M M M M M M b For tickets or to he added to our email list, visit anderson.hinghamton.edu or call (607) 777ARTS. For a complete list of our concerts call (607) 7 7 72 592, visit musrc.binghamton.edu or become a fan on Faceboo8. — [ = ] If you were inspired by this performance, consider supporting the Department of Music with a ﬁnancial gift. Your support helps to M ex [ = ] continue the work ofstudcnts, faculty, and guest artists and their contri butions to our community. Please make your donation payable to the Binghamton University Music Department, and send your check to BU Music Department, P.O. Box 6000sss, Bmghamton, N Y 13902*** � 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 Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. 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.) 42:13:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74831">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74831</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 of music recital with Jake Stamatis, John Isenberg, piano and Spencer Phillips Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Mozart, Webern, Berg, Schoenberg, Massenet, Faure, Hugunine, Bolcom. Held at 7:30 p.m., April 24, 2015, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Stamatis, Jake Isenberg, John Phillips, Spencer Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Mozart, Wolfgang Amadeus, 1756-1791 Webern, Anton, 1883-1945 Berg, Alban Schoenberg, Arnold, 1874-1951 Massenet, Jules, 1842-1912 Faure, Gabriel, 1845-1924 Hugunine, Richard Bolcom, William Date A point or period of time associated with an event in the lifecycle of the resource 4/24/15 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/740807e5138884e07a3f61ef74853778.pdf 2216ed4a5c201339a01a9b98df6038a0 PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E U N I V E R S I T Y O F NE W Y O R K Ld 1245224 D E P A R T M E N MASTER OF MUSIC Recital DEEB, ME RGE K H A L I A A SO PRANO WI TH MICHAEL LEWIS, PIANO BRANDON YOUNG, TRUMPET SATURDAY, MARCH 14, 2015 4:00 P.M. CASADESUS RECITAL T �ion PROGRAM «6 Care selve . Program Notes George Frideric Handel from Atalanta V’adoro, pupille from Giulio Cesare Let the Bright Seraphim from Samson Brandon Young. Trumpet Vier Lieder, Op. 2 (16851759) .Arnold Schoenberg Erwartung Schenk mir deinen goldenen Kamm Erhebung Waldsonne Quando m’en vo from La Bohéme (18741951) Giacomo Puccini (18581924) @» Intermission @» Ouvre ton coeur. Adieuxz de l’hotesse Ara be Comment, disaientils Ohl quand je dors Cantata Prelude Rondo Recitative Georges Bizet (18381875) Franz Liszt (181 11886) John Daniels Carter (19311982) George Frideric Handel composed music in almost every classical genre, from orchestral music to operas. He traveled comfortably throughout German, Italian and English speaking countries, making him a truly intemational composer. The musical characteristics of these various countries are evident in much of his music. The opera Atalanta was composed for the London celebrations of the 1736 marriage of Frederick, Prince of Wales, to Princess Augusta of Saxe Gotha. The ﬁrst performance took place on May 12, 1736 in the Covent Garden Theatre. The anonymous Italian libretto is loosely based upon the story of the mythological female athlete Atalanta, and set in ancient Greece. The opera was performed seven additional times during the season of its premiere, and was revived the following November. The printed score of the opera was the most successful in terms of copies sold in Handel’s lifetime. The arioso “Care selve” which is performed by the character Meleagro is now the most frequently performed portion of the opera, often being featured on recitals and recordings. Cleopatra’s da capo aria “V’adoro, pupille” comes from the opera Giulio Cesare which premiered at the King’s Theatre in Haymarket, London on February 20. 1724. In this aria Cleopatra attempts to use her charms to seduce Cesare to get him to support her as the queen of Egypt. The oratorio Samson is based on the ﬁgure Samson from Chapter 16 of the Book of Judges. This aria comes at the very end of Samson, just before the ﬁnal chorus. Sung by an “Israelite Woman,” the aria commands the celestial hosts of seraphim and cherubim to hail, with trumpet ﬁgures responding to the singer. 1. Care selve Dear woods, blessed shadows, I come in search of my beloved! V’adoro, pupille Ai r Toccata I adore you, eyes, arrows of love, Your sparks are welcome in my breast. This program is oﬀered in partial fulﬁllment of the requirements for the degree of Master of Music in Opera. My sad heart, which always calls you its beloved, desires that you will show pity. Let the Bright Seraphim Let the bright Seraphim in burning row, their loud uplifted angel trumpets blow. Let the Chenibic host, in tuneful choirs, touch their immortal harps with golden wires. �Arnold Schoenberg was a prominent composer inﬂuenced by the expressionist movement in Berlin during the early 1900s. He experimented with new forms of tonal organization, and is known for his twelvetonerow concept for composing music. The opus 2 songs are Schoenberg’s earliest published pieces, displaying characteristics of German Romantic music, though his sense of hamionic tension and rhythmic freedom are also evident. I I. 1. Erwa rtung (Anticipation) Out of the sea green pond, near the red villa, under the dead oak, shines the moon. Where its dark image reaches through the water, a man stands and draws a ring from his hand. Three opals glimmer; red and green sparks swim through the pale stones and they sink. And he kisses them, and his eyes glow like the sea green depths: a window opens. Out of the red villa, near the dead oak, the pale hand of a woman beckons to him. 2. Schenk mir deinen goldenen Kamm Present me with your golden comb; every morning shall remind you that you kissed my hair. Present me with your silken sponge; every night I want to have an idea for whom you prepare yourself in the bath, O Mary! Present me with everything you have; my soul is without vanity, I receive your blessing with pride. Bestow on me your heaviest burden don’t you want to lay your heart on my head, Magdalena? 3. Erhebung (Exhaltation) Give me your hand, only your ﬁnger, then I will look upon this entire world as my own. Oh, how my country blooms! Behold it for yourself, it can rise with us above the clouds to the sun! 4. Waldsonne (Forest Sun) In the brown, rustling nights, intrudes a ﬂickering light, a greengolden glow. There sparks the ﬂowers and grass and the singing, leaping forest streams, and memories. Although long since faded: they awaken again in the golden glory, all your joyous songs. And I see your golden hair shine, and I see your golden eyes shine out of the green, Murm uring nights. And it is a. if I were lying next to you on the grass and you were, again playing upon the shiny pan pipe into the blue airy sky. In the brown, restless nights, ﬂickers a light, a golden glow. Giacomo Puccini is widely recognized for his contributions to the operatic repertoire. His opera La Boliéme premiered on February I, 1896 at the Teatro Regio of Torino. Puccini is best known for the large sweeping vocal lines and the dramatic emotional intensity. The Act II aria Quando m’en vo is Musetta ’s attempt to get her former lover Marcello to pay attention to her, though she is currently out on the town with another man. IIL Quando m’en vo When walking alone on the streets. People stop and stare And examine my beauty From head to toe... And then I savor the craving Which from their eyes transpires And from the obvious charms they perceive The hidden beauties. So the scent of desire is all around me, I t makes me happy! And you who know, who remember and yearn, You shrink from me? I know why this is: You do not want to tell me of your anguish, But you feel like dying! Georges Bizet composed almost ﬁfty songs which are inﬂuenced by the style of his teacher Charles Gounod. Elements of this style are well suited to the voice, and the accompaniment is ﬁlled with rhythmic ﬂair and nuances. Ouere ton coeur and Adieux de l’héterse Arabe are two examples of exoticism and orientalism which were prevalent in France during the romantic period. The songs of Franz Liszt have mostly been overshadowed by his orchestral and piano compositions. The vocal melodies of these songs are operatic and sometimes recitativelike in style. The song OlL’ Quand je dors has come to be the most popular and most frequently perfonned amongst his song repertoire. IV. So that a dream may enchant The shadow has closed its eyes Like a ﬂower opens to the sun! Ouvre ton Coeur The daisy has closed its petals, for the day. Beauty, will you speak to me? Open your heart to my love! Oh young angel, to my ﬂame, your sleep. I want to reclaim my soul, Adieux de l’hétesse Ara be (The farewells of the Arab hostess) �Since nothing holds you to this happy land, neither the shade of a palm tree nor the yellow corn, neither rest nor abundance nor seeing beat at the sound of your voice the youthful breasts of our sisters, whose dance, like that of a hive of bees, crowns the evening hills. Farewell, handsome traveler. Alas! Oh, why aren’t you one of those who limit their lazy feet to their own roofs of branches or canvas! Who, dreamers, listen to stories without making any, and dream of ﬂying away to the stars, sitting before their doors in the 7 Had you wished it, evening. perhaps one of us, young man, would have liked to serve you, kneeling, in our huts that are always open. She would have lulled you to sleep and made a fan of green leaves to chase away the ﬂies from your brow. If you don’t come back, think sometimes on the desert’s daughters, sottwoiced sisters dancing barefoot on the dune. Handsome young white man, lovely bird of passage, remember, for perhaps, oh rapid stranger, your memory remains in more than one of them! Comment, disaientls? “ How,” the boys asked, “with our tiny boats can we escape the law?” “Row!” the girls replied. “How,” the boys asked. “can we forget our quarrels, poverty and perils!” “Sleep,” the girls replied. “How,” asked the boys, “can we enchant beauties without subtle potions?” “Love,” the girls replied. Oh! quand je dors Oh! While 1 sleep, come to my bedside just as Laura appeared to V. Prelude Rondo Peter go ring dem bells. Wonder where my mother has gone! Heard from Heaven today. Recitative Sometimes I feel like a motherless child, A long way from home. Sometimes I feel like I’m almost gone, A long way from home. True believer, a long way from home. Petrarch. And in passing, let Air your breath touch me... Suddenly my lips will part! On my troubled brow, where a dark dream that lasted too long is perhaps ending, let your gaze fall like a star... Suddenly my dream will become radiant! Then on my lips, where a ﬂame ﬂickers a ﬂash of love which God made pure, place a kiss. and from angel become woman... Suddenly my soul will awaken! Oh come! Just as Laura appeared to Petrarch! Le t us break bread together on AfricanAmerican pianist and composer John Daniels Carter is widely recognized for his Cantata for voice and piano, which is his only published work. However, little information has been published abou t Carter ’s life, his compositional output, or career as a pianist. This piece consists of a brief piano prelude followed by unique settings of the spirituals “Peter go Ring Them Bells”, “Sometimes I Feel like a Motherless Child", “ Let Us Break Bread Together", and “Ride on King Jesus". our knees. When I fall on my knees, Wid my face to da rising sun, Oh Lord have mercy on me. Let us drink wine together on our knees. When I fall on my knees, Wid my face to da rising sun, Oh Lord have mercy on me. Let us praise God together on our knees. When I fall on my knees, Wid my face to da rising sun, Oh Lord have mercy on me. Amen. Toccata Ride on King Jesus, No man can a hinder me. He is King of Kings, He is Lord of Lords. Jesus Christ, ﬁrst and last, No man works like him. King Jesus rides a milk white horse, No man works like him, The river of Jordan he did cross, No man works like him. “ n u n n " . n u n " . n u n n " ﬁ n " a n o n – " n u n ” ABOUT TH E P E RFORME RS Soprano Meroé Khalia Adeeb is a native of Accokeek, Maryland. Ms . Adeeb began her operatic training at Louisiana State University 2010. She performed the role of Chembino Pig in The Three Little Pigs with the Louisiana Opera Outreach Program, and the 1st Spirit in The Magic Flute with Opera Louisiane. In the summer of 2012 Ms. Adeeb attended Martina Arroyo’s Prelude to Performance where she performed in the chorus of Verdi’s Falstaﬀ and audited the role of Nannerta. and then performed the role with Opera Louisiane in September 2012. She returned to Prelude to Performance in 2013 to perform the role of Stella in Les comes d’'Hoﬀmann. Now as a Master of Music in Opera student at Binghamtou University and Resident Artist with TriCities Opera, she has been performing roles and singing in the the m. In 2013, M. Adeeb performed the role of Gretel in Hansel and Gretel with Binghamton University, and in the chorus of Carmen with TriCities Opera. In the spring of 2014 Ms. Adeeb performed the role of Donna Elvira in Don Giovanni and Gilda in Verdi’s Rigoletto in October, 2014 with TriCities Opera. Most recently Ms. Adeeb recently competed in the Middle �Atlantic Region of the Metropolitan Opera National Council Auditions where she won third place. She is a studen t of Prof. Mary Burgess. Michael Lewis, Adjunct Lectu rer at BU and Assistant Music Director at TriCities Opera, earned his undergraduate degree in Vocal Performance from Ithaca College in May 2013. He has had coaching experience with the International Vocal Arts Institute, Mill City Summer Opera, CoOPERAtive program and Ithaca College School of Music. While at Ithaca College, Michael was involved with the inaugural season of the ﬁrst stude ntrun opera company at IC, Ithaca College Light Opera, in which he served as Assistant Music Director and Vocal Coach. He went on to lead the group in their second season as Music Director. The opera company continues to perform one one–act opera each semester. As a vocalist, he has performed a variety of roles in Ithaca College’s mainstage productions. In his ﬁnal year a t Ithaca, he had the opportunity to play the title role in Gianni Schicchi. This production was paired with Suor Angelica, for which Michael served as opera choru master. In the past decade, Michael has been actively developing his style as a composer. H is current works which focus on the voice and piano have been performed throughout the United States and Australia. Brandon You ng is a junior from Farmingville, N.Y. who is pursuing a double major in Mathematics and Economics. He started playing the trumpet in 2004, and currently studies with Benjamin Aldridge here at Bingha mton University. Brandon is currently a member of Ben’s Trumpet Ensemble, the Harpur Jazz Ensemble directed by Michael Carbone and the University Wind Ensemble directed by Daniel Fabricius. In his free time, Brandon likes to read, mostly literature related to Math and Economics, and enjoys tutoring, which he currently does through the StudentAthlete Success Center. i t i t i t i i i i t t i i i i ’ t t i t t ‘ . ‘ i ﬁ t t i t t f t t t t t t i t t t i l ﬂ k i ﬁ i t i ﬀ i k i This recital is dedicated to my late grandmother Levolia “MaLee” Jordan ( 1921 2014) who lived a life of worship and singing. I would like to thank the following people for maximizing my artistic growth in this short time I have been in Binghamton: Mary Burgess, my voice teacher who expects nothing less than 10096 whether I am singing for only her or for a thousand people. Diane Richardson who has nurtured my operatic soul and pushed me to become not just a singer but a true artist. Sco tt Bergeson who catered his coaching skills to ﬁt my individual needs and was extremely patient with me. TriCities Opera, thank you for giving me professional performing opportunities in a safe learning environment. I would also like to thank my family for supporting and encouraging me through my journey. Enﬁn, je souhaite remercier de tout coeur mon ﬁance Ghislain. Je n’aurai jamais imaginer avoir un meilleur ami et partenaire com me toi. Je suis inﬁniment benie de t’avoir a coré pour la \ie. � 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 Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. 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.) 58m 23s Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74997">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74997</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 of Music recital with Meroë Khalia Adeeb, Michael Lewis, and Brandon Young Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Hansel, Schoenberg, Puccini, Bizet, Liszt, Carter. Held at 4:00 p.m., March 14, 2015, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Adeeb, Meroë Khalia Lewis, Michael Young, Brandon Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Handel, George Frideric, 1685-1759 Schoenberg, Arnold, 1874-1951 Puccini, Giacomo, 1858-1924 Bizet, Georges, 1838-1875 Liszt, Franz, 1811-1866 Carter, John Daniels Date A point or period of time associated with an event in the lifecycle of the resource 3/14/15 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&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: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 54 minutes : 42 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141083">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141083</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Master's recital Meghan Cakalli, December 8, 2012 Description An account of the resource December 8. 2012 Creator An entity primarily responsible for making the resource Cakalli, Meghan 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 12/8/12 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/f6c4dd06a41fdccfde53e25c4efaa38d.pdf 52723d91fae2d1c518ab4eb0422d8169 PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E U N I V E R S I T Y O F N E W Y O R K [4 wdee D E P A R T M E N T MASTER’S RECITAL Brister Hay IV, tenor John Isenberg, piano Saturday. April 27. 2013 3:00 p.m. Casadesus Recital Hall �PROGRAM Per la Gloria d’adorarvi. .Giovanni Bononcini (16701747) Alessandro Scarlatti Le Violette (16601725) Alma del core. . Antonio Caldara Caro mio Ben. . Giussepe Giordani (17511798) Gia iI sole dal Gange Alessandro Scarlatti (16601725) (16701736) Die Schone Mullerin excerpts . Das Wandern Wohin? Halt! Danksagung An den Bach Der Neugierige . Franz Schubert (17971828) mlNTERMlSSIONw . Lee Hoiby I have a dream. (19262011) Drink to me only with thine eyes. Where the music comes from. You‘ll never walk alone Because. .. Roger Quilter (18771953) Lee Hoiby (19262011) . Richard Rogers (19021979) and Oscar Hammerstein Jr. (18951960) Guy d’Hardelot (18581936) �TRANSLATIONS ABOUT THE PERFORMERS BRISTER HAY IV. tenor. was a recipient of the Clark fellowship while pursuing his MM degree at SUNY Binghamton University. JOHN ISENBERG. a native of Endicott, NY, holds a Bachelor’s Per Ia glorIa d’adorarvi voglio amarvi. o luci care. Amando penero, ma sempre v’amero. si. sl, nel mio penare, For the glory of adoring you I want to love you. oh dear eyes. In love I will suﬀer, yet always I will love you, Yes, in my suﬀering penero, I will suﬀer. I will love you, dear. dear eyes. Senza speme di diletto v’amero. radio broadcasts of numerous Opera/ogue preview performances Iuci care! Without a hope of pleasure It is vain aﬀection to sigh. Yet your sweet glance Who can ever admire them, No, and not love you? I will suﬀer. I will love you, with various other groups in the Binghamton area, including the Le Vlolette Rugiadose Odorose Dewy Scented Degree in Music and a Master’s Degree in Italian Literature from Binghamton University. He performs many diﬀerent musical genres including Opera, Gilbert and Sullivan, classical Art Song. Broadway, Celtic. Rock. and many styles of sacred music. For 11 years, John worked for the TriCities Opera in Binghamton. NY, ﬁrst as Accompanist, then later as Education Outreach Coordinator and Chorus Master. As part of OperaGoRound touring program, he organized over 300 performances and accompanied over 500 performances throughout New York State and northern Pennsylvania. John has played for WSKG including Puccini’s Madama Butterﬂy. Donizetti’s Lucia a’i Lammermoor and Mozart’s The Ma gic Flute. He has worked Madrigal Choir of Binghamton. the Binghamton Downtown Singers and SRO Productions. John is also the Organist/Pianist and Choir Director at Sarah Jane Johnson Memorial United Methodist Church in Johnson City. v’amero, luci care. vano aﬀetto é sospirare, ma i vostri dolci rai chi vagheggiar pud mai e non, e non v’amare? penero, Violette graziose, Voi vi state Vergognose, Mezzo ascose Fra Ie foglie, dear, dear eyes. Pretty violets, You are standing Shy. Half hidden Among the leaves, E sgridate And you scold My desires, That are too ambitious. Alma del core, Spirto dell’alma, Soul of my heart, Spirit of my soul, Always contantly will I adore you! I will be contented In my torment If only I could kiss that beautiful lip. Le mie voglie. Che son troppo ambiziose. Sempre costante t’adorero! Saro contento NeI mio tormento Se quel bel labbro baciar potro. �Caro mio ben. credimi almen. senza di te Ianguisce il cor. My dear beloved. believe me at least, without you my heart languishes. ll tuo fedel sospira ognor. Cessa, crudel. tanto rigor Your faithful one always sighs: Gia il sole dal Gange Already. from over the Ganges, the sun Sparkles more brightly And dries every drop of the dawn, which weeps. Piu chiaro sfavilla, E terge ogni stilla Dell’alba che piange. Col raggio dorato Ingemma ogni stello. E gli astri del cielo Dipinge nel prato. Das Wandern ist des Muller; Lust. Das Wandern! Das mull ein schlechter Muller sein. Dem niemals ﬁel das Wandern cease, cruel one. so much punishment! With the gilded ray It adorns each blade of grass: And the stars of the sky It paints in the ﬁeld. Das sehn wir auch den Rédern ab. Den Radern! Die gar nicht gerne stille stehn, Die sich mein Tag nicht mude drehn. Die Rader. Und wollen gar noche schneller sein, Die Steine. O Wandern. Wandern, meine Lust, O Wandern! Herr Meister und Frau Meisterin, LaBt mich in Frieden weiterziehn Und wandern. Wohln? Ich hort ’ ein Bachlein rauschen Wohl aus dem Felsenquell. Hinab zum Tale rauschen So frisch und wunderhell. The stones! Oh, wandering. wandering. my joy. Oh. wandering! Oh. Master and Mistress. Let me continue in peace, And wander! I hear a brooklet rushing Right out of the rock’s spring. Down there to the valley it rushes, So fresh and wondrously bright.. I know not, how I felt this, Nor did I know who gave me advice: I must go down With my wanderer’s staﬀ. Hinunter und immer weiter Und immer dem Bache nach. Und immer frischer rauschte Und immer heller der Bach. Down and always farther, And always the brook follows after; And always rushing crisply, And always bright is the brook. It‘s always thinking of its Ist das denn meine Straﬁe? O Béchlein, sprich, wohin? Du hast mit deinem Rauschen Mir ganz berauscht den Sinn. Is this then my road? 7 O, brooklet, speak! where to? You have with your rushing Entirely intoxicated my senses. We see this also with the wheels, With the wheels! Was sag ich denn von Rauschen? Das kann kein Rauschen sein: Es singen wohl die Nixen Dort unten ihren Reihn. But why do I speak of rushing? That can’t really be rushing: Perhaps the waternymphs are singing rounds down there in the deep. He must be a miserable miller. Who never likes to wander. Wandering! Das Wandern. Das Wasser. Die Steine! Sie tanzen mit den muntern The stones themselves, heavy though they are. The stones! They join in the cheerful dance, And want to go yet faster. Nicht, wer den Rat mir gab, Ich muBte gleich hinunter Wandering is the miller’s joy, Wandering! ein. Vom Wasser haben wir’s gelernt, Vom Wasser! Das hat nicht Rast bei Tag und Nacht. lst stets auf Wanderschaft bedacht. Die Steine selbst, so schwer sie sind. We’ve learned this from the water. From the water! It does not rest by day or night. journey, The water. They don’t like to stand still. And turn all day without tiring. With the wheels. Ich weiB nicht, wie mir wurde. Mit meinem Wanderstab. �Let it sing, my friend. let it rush. And wander joyously after! Der Neugierlge Ich frage keine Blume, I ask no ﬂower, 1 ask no star: In each clear brook. Sie kénnen mir nicht sagen, Was ich erﬀihr so gern. know. Eine Muhle seh ich blicken Aus den Erlen heraus, Durch Rauschen und Singe Bricht Radergebraus. I see a mill looking Out from the alder s: Through the roaring and singing Bursts the cla tter of wheels. Ich bin ja auch kein Gartner. Ei willkommen. ei willkommen. Stiller Muhlengesang! Und das Haus. wie so traulich! Und die Fenster. wie blank! Hey, welcome. welcome! Sweet millsong! Und die Sonne. wie helle Von Himmel sie scheint! Ei. Bachlein. Iiebes Bachlein, War es also gemeint? And the sun, how brightly it shines from Heaven! Hey, brooklet, dear brook, Was this, then. what you meant? Danksagung an den Bach War es also gemeint, Was this, then, what you meant. My rushing friend? Your singing and your ringing? LaB singen. Gesell, laB rauschen Und wandre frohlich nach! Es gehn ja Muhlenrader In jedem klaren Bach. Halt! Mein rauschender Freund? Dein Singen. dein Klingen. War es al so gemeint? Zur Mullerin hin! So Iautet der Sinn. Gelt. hab’ ich’s verstanden? Zur Mullerin hin! Hat sie dich geschickt? Oder hast mich bertickt? Das mocht ich noch wissen. Ob sie dich geschickt. Nun wie’s auch mag sein. Ich gebe mich drein Was ich such’, ist gefunden, Wie’s immer mag sein. Nach Arbeit ich frug. Nun hab ich genug Far die Hande, furs Herze Vollauf genug! Millwheels turn And the house, so comfortable! And the windows, how clean! Was this what you meant? To the Millermaid! it seems t o say... Have I understood? To the Millermaid! Has she sent you? Or am I deluding myself? I would like to know, Whether she has sent you. Now. however it may be, I commit myself! What I sought. l have found. However it may be. After work I ask. Now have I enough for my hands and my heart? Completely enough! Ids frage keinen Stern. None of them can tell me, What I so eagerly w ant to I am surely not a gardener, Die Sterne stehn zu hoch: Mein Bachlein will ich fragen. The stars stand too high: My brooklet will I ask, Whether my heart has lied to me. O Bachlein meiner Liebe, Wie bist du heut so stumm? Will ja nur eines wissen, Ein Wortchen um und um. O brooklet of my love, Why are you so quiet today? Ja heith das eine Wortchen, Das andre heiBet Nein, Die beiden Wortchen SchlieBen die ganze Welt m ir ein. The one little word is “Yes": The other is “No", Both these little words Make up the entire world to me. O Bachlein meiner Liebe. Was bist du wunderlich! Will‘s ja nicht weitersagen, Sag, Bachlein, liebt sie mich? O brooklet of my love, Why are you so strange? I’ll surely not repeat it: Tell me, o brooklet, does she love me Ob mich mein Herz belog. I want to know just one thing One little word again and again. �I Have A Dream I have a dream that one day this nation will rise up. and live out the true meaning of its creed. We hold these truths to be selfevident, that all men are created equal. I have a dream, that one day on the redhills of Georgia, sons of former slaves and sons of former slave owners will be able to sit down together at the table of brotherhood. I have a dream. I have a dream. that one day, even the state of Mississippi. a state sweltering with the heat of oppression will be transformed into an oasis of freedom and justice. I have a dream. That my four little children will one day live in a nation where they will not be judged by the color of their skin, but by the content of their character. I have a dream. I have a dream. That one day right down in Alabama little black boys and black girls will be able to join hands with little white boys and white girls as sister’s and brother’s, I have a dream today. That every valley shall be exalted. and every mountain and hill shall be made low. the rough places will be made plain and the crooked places will be made straight and the will of the lord shall be revealed and all ﬂesh shall see it together. This is our hope. this is our faith. and with this faith we will transform the jangling discord of our nation. into a beautiful symphony of brotherhood. with this faith we will be able to work together. pray together. struggle together. go to jail together. stand up for freedom together. knowing that we will be free one day the day that all God’s children, will be able to sing. with new meaning. My country tis of thee sweet land of liberty of thee I sing, land where my fathers died. land of the pilgrim’s pride, from every mountain side, let freedom ring! Let freedom ring! From the prodigious hilltops of New Hampshire let freedom ring. from the mighty mountains of New York. let freedom ring! From the high Alleghenies of Pennsylvania let freedom ring. from the snow capped rockies of Colorado. let freedom ring! From the curvaceous slopes of California, let freedom ring. Not only that! Let freedom ring from Iookout mountains of Tennessee, let freedom ring from every hill and mole hill of Mississippi. from every mountain side, let freedom ring! When we let freedom ring. when we let it ring from every village. and every hamlet. from every state and every city, we will speed up that day. when black men and white men. jews and gentiles, protestants and catholics, will be able to join hands and sing! Free at last! Free at last! Thank God almighty! We‘re Free At LAST!!! Drink to me only with thine eyes and I will pledge with mine. Or leave a kiss within the cup and I’ll not ask for wine. The thirst that from the soul doth rise, and ask the drink divine, but might I of Jove‘s nectar sup, I would not change for thine. I sent thee late a rosy wreath, not so much honouring thee As giving it a hope that there it could not wither be. but thou there on dids‘st only breathe. and senst it back to me. Since when it grows, and smells, I swear. Not of itself but thee. Where the Music comes from I want to be where the music comes from where the clock stops where its now. I want to be with the friends around me who have found me. who show me how. I want to sing to the early morning see the sunlight melt the snow, and Oh, I want to grow. I want to wake to the living spirit. here inside me. where it lies. i want to listen till I can hear it. let it guide me. and realize. that I can go with the ﬂow unending that is bending that is real. and oh. I want to feel. I want to walk in the earthly garden far from cities far from fear. I want to talk to the growing garden. to the devas. to the deer. and to be one with the breezes blowing. rivers ﬂowing. skies above. And oh. I want to love. You’ll never walk alone When you walk through a storm. keep your chin up high. and don‘t be afraid of the dark. at the end of the storm is a golden sky, and the sweet silver song of a lark. Walk on through the wind walk on through the rain, though your dreams be tossed and blown. walk on. walk on. with hope in your heart. and you’ll never walk alone. you’ll never walk alone. Because Because you come to me. with naught say love. and hold my hands and lift mine eyes above, a wider world of hope and joy I see, because you come to me. Because you speak to me in accent sweet. I ﬁnd the roses quaking round my feet, and I am led through tears and joy to be. because you speak to me. Because God made thee mine. I’ll cherish thee through light and darkness through all time to be. and pray his love. may make our love divine. Because, God made Thee minell �Binghamton University Music Department’s Coming Events Saturday, April 27 – Faculty Recital: Christopher Morgan Loy – 8:00 p.m. – Casadesus Recital Hall $6 general public; $3 faculty/staﬀ/seniors; free for students Sunday, April 28 – Senior Recital: David Gaita, piano – 7:30 p.m. – Casadesus Recital Hall – free Sunday, April 28 – TriCltles Opera presents Mascagni’s “CA VALLERlA RUSTICANA” and Lacncavallo’s ‘PAGLIACCI" 3:00 p.m. – The Forum Theatre – call (607) 7720400 for tickets Tuesday, April 30 – Percussion Ensemble Concert – 8:00 p.m. – Anderson Center Chamber Hall – $6 general public; $3 iaculty/stali/seniors; free for students Wednesday, May 1 – Percussion Recital: Devan Tracy and Andres Castillo – 8:00 p.m. – Casadesus Recital Hall – free Thursday, May 2 – MidDay Concert– 1:20 p.m. – Anderson Center Chamber Hall free Thursday, May 2 – Opera Scenes – 8:00 p.m. – Anderson Center Chamber Hall – $6 general public ; $3 laculty/stali/seniors : free for students Friday, May 3 – Music from the Seminar (Christopher Lay’s Class) –7 p.m. – Casadesus Recital Hall – free Saturday, May 4 – Master‘s Recital: Molly AdamsToomey, mezzosoprano – 8 p.m. – Casadesus Recital Hall – free Sunday, May 5 – University Symphony Orchestra and Chorus: Schubert’s “Unﬁnished Symphony” & Dumﬂé's “Raqulom"– 3:00 p.m. – Osterhout Concert Theater – $6 general public; $3 faculty/staﬀ/seniors; free for students Wednesday, May 8 – Nukporfe A frican Drumming and Dance Ensemble – 7:00 p.m. – Walter’s Theater – $3 general admission at the door M M For tickets or to be added to our email list, visit anderson.binghamton.edu or call (607) 777ARTSt For a complete list of our concerts call (607) 7772592, visit music.binghamton.edu or become a fan on Facebook. E O _ f If you were inspired by this performance, c onsider supporting [ = ] the Depart ment of Music with a ﬁnancial gift. Your support helps to continue the work of students, faculty, and guest artists and their contributions to our community, Please make your donation payable to the Binghamton University Music Department, and send your check to BU Music Department, P.O. Box 6000. Binghamton, NY 73902. � 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 Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. 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.) 52:55 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE130160">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE130160</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 with Brister Hay IV and John Isenberg, April 27, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Bononcini, Scarlatti, Caldara, Giordani, Schubert, Hoiby, Quilter, Rodgers, Hammerstein, d'Hardelot. Held at 3:00 p.m., April 27, 2013, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Hay, Brister Isenberg, John 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 2013-4-27 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/23107c56c645d5e16e9610757d133f1d.pdf e452b0bc62cd98da4dec88c2134d810d PDF Text Text BINGHAMTON UN I V ER S IT Y STATE UNIVERSITY OF NEW YORK ,, usic D E P A R T M E N T MASTER'S RECITAL Charles Hyland, baritone John Isenberg, piano Sunday. April, 14, 2013 7:30 p.m. Casadesus Recital Hall �PROGRAM My Home Town ............................................................. Tom Lehrer The Masochism Tango (b. 1928) I Hold your Hand in Mine lch habe genug, BWV 82 .................................................... .J.S. Bach (1685-1750) Che imbarazzo è mai questo ... Crudel, perchè finora .....W.A. Mozart from Le nozze di Figaro, Act Ill (1756-1791) Kathleen Jasinskas, soprano Hai già vinta la causa ... Vedrò mentr'io sospiro INTERMISSION Im Walde (Waldesnacht), D. 708 ............................... Franz Schubert (1797-1828) Danse macabre ....................................................Camille Saint-Saens (1835-1921) Three Macabre Songs .................................................... Kyle Gullings I. To One in Paradise (b. 1983) II. Sonnet - Silence Ill. The Conqueror Worm �ABOUT THE PERFORMERS CHARLES HYLAND, Baritone, is currently pursuing a Master of Music in Opera at Binghamton University, and also sings regularly with the TriCities Opera. Over the past two years, Charles has sung the roles of Schaunard in La bohème (TCO), Papageno in Die Zauberflote (TCO), Yamadori in Madama Butterfly (TCO), the Father in Hänsel and Crete! (BU), and Melchior in Amahl and the Night Visitors (BU), as well as performing as a Studio Artist with Central City Opera in Colorado. Other previous roles include Masetto in Don Giovanni (Prelude to Performance, Martina Arroyo Foundation), Figaro in Le nozze di Figaro and Dr. Falke in Die Fledermaus (Catholic University of America). as well as Haly in L 'italiana in Algeri and Lorenzo in / Capuleti e i Montecchi (Bel Cantanti Opera). He has also appeared as the baritone soloist in several oratorios and choral works, including Mozart's Requiem, Dubois' The Seven Last Words of Christ, and Vaughan Williams' Five Mystical Songs. This past March, Charles competed in the Eastern Region NATS (National Association of Teachers of Singing) competition and placed first in the Advanced Lower category. After graduation, Charles plans to spend most of his time rocking back and forth in a fetal position and wondering why he ever left the protective cocoon of academia. JOHN ISENBERG, a native of Endicott, NY, holds a Bachelor's Degree in Music and a Master's Degree in Italian Literature from Binghamton University. He performs many different musical genres including Opera, Gilbert and Sullivan, classical Art Song, Broadway, Celtic, Rock, and many styles of sacred music. For 11 years, John worked for the Tri-Cities Opera .in Binghamton, NY, first as Accompanist. then later as Education Outreach Coordinator and Chorus Master. As part of Opera-Go-Round touring program, he organized over 300 performances and accompanied over 500 performances throughout New York State and northern Pennsylvania. John has played for WSKG radio broadcasts of numerous Opera/ague preview performances including Puccini's Madama Butterfly, Donizetti's Lucia di Lammermoor and Mozart's The Magic Flute. He has worked with various other groups in the Binghamton area, including the Madrigal Choir of Binghamton, the Binghamton Downtown Singers and SRO Productions. John is also the Organist/Pianist and Choir Director at Sarah Jane Johnson Memorial United Methodist Church in Johnson City. �TRANSi.ATIONS lch habe genug l have enough! I have taken the Savior, the hope of the faithful, into my yearning arms! I have seen him! My faith has pressed Jesus to my heart! Now, even on this day, I wish to depart from here with joy! Le nozze di Figaro, Act Ill Count: What an embarrassment! An anonymous letter, the maid locked in the closet, the Countess confused, a man who jumps from the balcony into the garden, and another man who claims to be that one - l don't know what to think! And Susanna ... who knows if she has already betrayed my secret? If she has told anyone, I'll make Figaro marry the old woman! Susanna: (Marcellina!) My lord! Count: What do you want? Susanna: You appear to be angry... Count: Do you want something? Susanna: My lord, your wife has the vapors again, and she's asking for her jar of smelling salts. Count: Take it. Susanna: I'll bring it right back! Count: No - you can keep it for yourself. Susanna: For myself? The vapors aren't an affliction of low-born women. Count: A woman in love, who loses her dear husband at the very moment of gaining him ... ? Susanna: But if I were to pay off Marcellina with the dowry you promised me? Count: l promised you? When? Susanna: l thought we had come to an understanding ... Count: Yes, but only if you wanted to "understand" me yourself. Susanna: It'smy duty - and it pleases me to do whatever your lordship wishes. Count: Cruel girl! Why have you made me languish like this until now? Susanna: My lord, a woman always needs some time before she says "yes." Count: So you'll come to the garden? �Susanna: If it pleases you, I'll come. Count: And you won't leave me waiting? Susanna: I won't leave you waiting. Count: I feel so happy; my heart is filled with joy! Susanna: [aside] Forgive me for lying, all you who understand love! Count: But the Countess will be needing her smelling salts ... Susanna: That was only a pretext; l couldn't have spoken to you without one. Count: Dearest! Susanna: Someone's coming! Count: [aside] She belongs to me and no other! Susanna: [aside]Wipe away that smile, shrewd master. Figaro: Hey, Susanna -where are you going? Susanna: Quiet! You've just won your case without needing a lawyer! Figaro: What's happened? Count: "You've just won your case!" What do I hear? Into what trap have l fallen? Liars! I want to punish you in such ways - your sentence will be at my pleasure! But if they've paid off the old woman ... Paid her? In what way? And then there's Antonio, who will refuse to let his niece marry a man of questionable birth like Figaro! Nurturing the pride of that imbecile ... everything lends itself to my trick! The blow has been struck! Count: Shall l see my servant happy while l sigh? And should he possess a love which I desire in vain? Shall I see the woman who has aroused an unrequited passion in me become united by the hand of love to a base-born thing? Ah, no - I refuse to leave this happy man in peace! Audacious one, you were not born to torment me and possibly even to laugh at my unhappiness! The mere hope of revenge already consoles my heart and makes me rejoice! Im Walde (Waldesnacht) The whispering of the wind, the wings of God, Deep in the cool night of the forest! As the hero leaps into the S?}ddle of his steed, So does the power of thought soar. As the old evergreens rustle, So do we hear the surging spirit roar. �Wonderful is the gleaming of fire In the red light of morning's radiance. Or the lightning which illuminates the fields. Often the harbinger of death. The flame quickly flickers and blazes, As if called upward to God. The eternal murmuring of gentle springs Conjures flowers forth from woe, But amid the waving linden trees, Enticing pain strikes us in the heart: The spirit is pulled far away, Through the waves which beckon to us. Life longs to cast off its shroud. The wild struggle of powerful desires Becomes the most beautiful fullness of love, Eased by the breath of the spirit. We feel the wafting of creative airs Spread throughout our souls. The whispering of the wind, the wings of God, Deep in the dark night of the forest! With all its reins released. The power of thought soars. We listen without fear As the song of the spirits rings in the air. Danse macabre Zig, zig. zag! Death. in rhythm, Is striking a tomb with his heel. Death plays a dance tune a midnight, Zig. zig, zag, on his violin. The winter wind blows and the night is dark, Groans drift out of the linden trees; White skeletons move through the darkness, Running and leaping beneath their great shrouds. �Zig, zig, zag! Each one dances about, You can hear the bones of the dancers rattling, A lustful couple sits down on the moss, As if to savor long-lost pleasures. Zig, zig, zag! Death continues To endlessly scrape on his shrill instrument. A veil has fallen! The dancer is nude! Her partner grasps her amorously. The lady is, they say, a marquise or baroness, And her green admirer a poor wheelwright Horror! And see how she gives herself to him, As if the boor were a baron! Zig, zig, zag! What a sarabande! What circles of the dead offering their hands! Zig, zig. zag! One can see among the group A king frolicking with a serf! But hush! All of a sudden, they abandon the ronde, They move aside, they flee; the cock has crowed. Oh! What a beautiful night for the poor world! And long live death and equality! �Binghamton University Music Department's Coming Events Tuesday, April 16 - String Fever (String Classes and Studio String Recital) 8:00 p.m. - Casadesus Recital Hall - free Thursday, April 18 - Mid-Day Concert - 1:20 p.m. - Casadesus Recital Hall-free Friday, April 19-String Orchestra Concert- 4:00 p .m. - Grand Corridor -free Saturday, April 20 -Senior Redtal: Sungkyun Ryu, piano - 8:00 p.m. Casadesus Recital Ha/I-free Sunday, April 21- Mu Phi Epsilon Concert - 3:00 p.m. - Casadesus Recital Hall- free Thursday, April 25 -Jazz Mid-Day Concert with jazz pianist Larry Ham 1:20 p.m. - Osterhout Concert Theater- free Thursday, April 25 - Harpur Jazz Ensemble Concert with jazz pianist Larry Ham - 8:00 p.m. - Osterhout Concert Theater - $6 general public; $3 faculty/staff/seniors; free for students Friday, April 26 - Flute Studio and Flute Chamber Concert- 10:15 a.m. Casadesus Recital- free Friday, April 26 -Wind Symphony Concert: "The Divine Comedy" 8:00 p.m. - Anderson Center Chamber Hall - $6 general public; $3 faculty/staff/seniors; free for students Friday, April 26 -Tri-Cities Opera presents Mascagni's "CAVALLERIA RUSTICANA" and Leoncavallo's "PAGLIACCI" - 8:00 p.m. - The Forum Theatre - call (607) 772-0400 for tickets For tickets or to be added to our email list, visit anderson.binghamton.edu or call (607) 777-ARTS. For a complete list of our concerts call (607) 777-2592, visit music.binghamton.edu or become a fan on Facebook. If you were inspired by this performance, consider supporting the Department of Music with a financial gift. Your support helps to continue the work of students, faculty, and guest artists and their contributions to our community. Please make your donation payable to the Binghamton University Music Department, and send your check to BU Music Department, P. 0. Box 6000, Binghamton, NY 13902. � 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.) 57:33 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE129071">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE129071</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. 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'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Master's recital with Charles Hyland, April 14, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Lehrer, Bach, Mozart, Schubert, Saint-Saëns, Gullings. Held at 7:30 p.m., April 14, 2013, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Hyland, Charles Isenberg, John 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 2013-4-14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound