116 10 1775 https://omeka.binghamton.edu/omeka/files/original/91bb1af6cf1d0c81a96ce11cac7fdd6f.pdf 85cbad25e2553b391a802d1d90371dee PDF Text Text BING HAMTO N U N I V E R S I T Y STATE  U N I V E R S I T Y  O F  NEW  Y O R K [4 w d e e D E P A R T M E N T MASTERS RECI TAL JENNY GAC, SOPRANO with M icha el Lewis, Pia n o Saturday, May 2, 2015 3:00 p. m. Casadesus  Re c ital H a l l �.  M..v...........  ,£2  W R   ’. rXV S A e I. art) ' .. W. A. Moz (17561791 sesssssssssssr isae n nes e 3 3 43 ”   " ’ revere. Giuseppe Verdi ..  3  \  7  (1813­1901) Q  . Brahms (1833­1897) .M: Antonin Dvoi’ak (1841­1904) 35511314411...  " _ 73...  '  Wm..........Alexandre Georges (1850­1938) 1‘  E31,  sb .ffi  a t    '. fininmenm n in Paris  ­  '  ‘  m Peter Pan  ’  3 9 1 . .  '  “file Enchanted Pig  v e e e e 1  CERRY . . George Gershwin (18961937) .. Leonard Bernstein (1918­1990) Jonathan Dove (b. 1959) �PRO GRAM NOTES ‘ 7 1.  We begin  this gradua te rec ital with th e tath e  ’  l‘ 583: I go, but where? This concert aria is a f : aPPT   Qw, ! as a  prelude to Casi  fan tutte, to be s un  byee‘s  ' l "  first Dorabella). M ozart wrote many concge  .  l”  ' specific  singers  with  whom  he  worked11th 1 personally and vocally. As was popular  parc divided  into  fast/slow sections. The  P throu gh  repea ted,  agitated  patte rnafl'"~ were so characteristically Mozart,  M”  " music, and the agitated acco J ­ , triple  progressions in  the  pian R above.  Both “voices” are? firB repeated  phrases  a ué2 Vado, m a  dove? (I go, but wh ere?) I go, b ut whe re? Oh Gods!  l f Heaven feels no pity  for my torme nts an d my sighs!  , g o  ­ . Though  Verd i  is  best  known  for  his  a  f». several songs that em bodied the Italia n nat i  ,," ' prese nt du ring  much of h is life. Stornelli ar e“  5.  ’ from  the  Italia n  coun trysid e  that  often inco subjects  and  language.  The  keen  listener  will  also Verdi opera melodies with in his songs, and  that many?  ‘ . ­..  have a decidedly operatic feel.  The text of Perduta hold n  a, familiar Gretchen  am  Spinnrade  of Goethe’s  Faust.  The  m u‘ spinn ing wheel  is  absen t  in  the  piano a nd we ate  presented w repea ted, d etached, u nvary ing c hords, exposing Marguerite ’s m   ‘l 5,1:­ state and a llowi ng the progression of this state to develop ea c h ime it  is  repea ted.  The  vocal  line  broad ens a nd  increases  in r h y t hm i c and dynamic intensity throughout the piece. In  the elastic and lively La zingara,  poet S.M.  Maggioni  highl ights the gypsy life a nd la ck of �t politics and national distress in ~  me rt and piano accompaniment ‘.  r!!!  dances over arpeggiated  chords 4  ‘  r“  dance influences. ‘  .  is heavy  . m  longer do I find to find ‘ fliSforceful ch,  the  press ,  i f s ; do  I hope to find embace r him, m  ih 3­1»;  f­  t o  m e. e g g  '  ksi  “ham ;  . ‘ . ’  l  ’  + ” N o w  it  " fig; “ gypsy ' " Q . f  r was fa t h e r  to me, ‘Whatever country was my liotneland~ in vain people go calling for me there. From the beginning I always knew that my homeland was the earth, which gave me flowers and fruit. 1  '  thim ; fine. ' A . and “ ru E d eo“ 1 feel I am Wherever destiny leads me, I find a smile, I find love. Why think about the past when the 7 present is so happ y.  It ’s true: tomorrow  a dark veil could disturb all this serenity; but if today my sky shines so brilliantly blue, why make myself sad over a doubt ful future? �death  for  him;  Rusalka obliges.  In  the act  1  aria,  Mésiéku na nebi hlubokém,  Rusalka sings to the moon, asking it  to tell the prince of her love. Mésiéku n a  n e b i h lubokém  Tell him, silvery moon, (Moon i n  t he  d eep s ky)  Moon, high in the deep sky,  your light can see far.  Over the whole earth you roam And see into the homes of people.  that my arms embrace him, so that he, for at least a moment, remembers me in his dreams. Shine your light where he is, tell him, oh tell him I am waiting Moon, stand still for a moment,  tell me, where is my love? here! l f his human heart can hear me, let this memory awaken him. Moon, stay with me! V. Alexandre Georges is a lesser­known French organist and composer who  studied  under  Cesar  Franck.  Georges  wrote  mainly  for  the voice,  including  several  sacred  vocal  and  choral  works,  dramatic oratorios and works for  the Opéra­Comique.  Miarka is based on a novel written by M. Jean Richepin.  It premiered as a full opera on November  7, 1905, but was later  revised  and  presented  as a  lyric drama  in  1925 and  included 15 songs. During the ti me this piece was  written  symbolism,  naturalism,  regionalism,  and  orientalism were  commonly  exhibited  in  the  Ope’raComique.  The  story  of Miarka embodies these ideologies.  Vougne, mother of Miarka  is a gypsy. Vougne is the daughter of the king of the Romanichels tribe, prone to hallucinations and gifted at the reading of tarot cards. In the beginning of the opera, the tribe has vacated, leaving her behind though she is with child.  She remains at the borders of a river by a rural village until  her daughter, Miarka, is born. Vo ugne immerses Miarka in the river and consecrates her to the sun (Hymne au soleil). Vougne  hears  a  mysterious  voice  foretelling  that  Miarka  will  be queen  one  day.  As  Miarka  grows,  Vougne  passes  on  to  her  the traditions  of her  tribe,  including  rare  books  that  contain  sacred songs of the Romanischels and reverence for nature (La pluie, L ’eau qui court).  Vongue tells her daughter of her d reams and visions and performs enchantments in order  to realize  her dream of Miarka as �queen. After awhile, Vougne and Miarka are forced  to leave their dwelling,  and  they  travel,  searching  for  their  Romanichels  tribe. Vougne falls ill along this journey, just as they are approaching the tribe.  Before she dies, Vougne’s dreams are realized: the king of the tribe  weds  Miarka  and  she  becomes  queen  (Cantique  d’amour). Vongue expires, happy. Hym ne a u  So leil (Hymn to the sun) Sun that flames, Sun of red­gold, Sun that burns, Sun with diamonds, Sun that creates, Sun that bleeds! Sun, 1 offer you this livinggold, Sun, I give you diamonds of flesh, Sun, I dedicate to you the blood of my blood. Sun, put your gold on her skin, Sun, put your diamonds in her eyes, Sun, put your blood in her heart. Sun that flames, Sun of red­gold, Sun that burns, Sun with diamonds, Sun that creates, Sun that bleeds! La p  luie (The rain) Rain, rain with fresh lips, kisses the ground with dry lips And makes cracks on the surface. L ’eau qui court (Running water) If the running water could talk she would tell great stories. She would recount the earth and the sky. The water has as many shadows as the earth has blades of grass. The water has as many reflections as the sky has stars. Each blade of grass speaks to its shadow, and each star to its reflection. This has been since the world began~ ~if the running water could talk! But the eyes of the good Romanians are as clear as the running water. And, like the water, they pass through things without rest. Each blade of grass recounts its mysterious birth to them; and each Rain, rain with green fingers, plays on the skin of dead leaves–his cheerful “air­tambourine.” star, gazing at itself, tells of all their adventures. Rain. rain with blue feet, Dances the dance, twirling round since its beginning. lt is the water that runs and can speak. and round, and makes circles in the dust. Thus, the clear eyes of the good Romanians have known the earth �Cant ique d ’amour  (Canticle o f love)    It’s you! I recognized you by the  serpents of your hair, by the green sapphires of your eyes.  It’s you! I have always seen your  image shine in the stars of my nights.  It’s you! I have waited for you, your love has arrived, living what I have dreamed. It’s you! I have chosen. Your whole body shudders, and m y blood will burn you. It’s you! Welcome! I want to die, exhausted, in a shroud of kisses. VI. American composer and pianist Geroge Gershwin’s music spanned both  popular  and  classical  musical  genres.  His  songs  were  often featured  in  multiple  musical  productions  and  his  most  popular melodies  are  still  well­known  today.  By  Strauss  has  some lighthearted  fun with  the  most  quintessential elements of Johann Strauss’ music. Initially intended to be a fully produced musical, Bernstein wrote a complete score fo r Peter Pan, and it began as a musical adaptation of the play. Howeve r, only 5 of the songs were initially performed.  In 2000, conductor  Alexander  Frey discovered  the score and  restored the complete work, which was prem iered as a fully­staged musical in London  in  2006.  In  My  House  Wendy  sings  of  her  hopes  and dreams for a futu re with her love. Based  on  a  Romanian  folktake,  The  Enchanted  Pig  is  a story of a princess (Flora) who finds out she  is to be betrothed to a pig.  The king (her father) believed this pig is enchanted, and Flora travels to the ends of the earth, and even to heaven to free her husband from the evil spell that binds him.  Flora  has two sisters who were each lucky enough to have been betrothed to a man. In Adelaide’s Lament, Flora’s oldest sister is having some troubles on her wedding day. �ABOUT THE PERFORMERS Soprano Jenny Gac hails from  nearby Newark  Valley,  NY. Ms.  Gac began her training at the Crane School of Music, SUNY Potsdam. She has appeared on stage with Tri­Cities Opera as Countess Ceprano  in Rigoletto  and  Sally  in  Die  Fledermaus.  As  pa rt  of  the  Binghamton University Opera  Studio she  has  performed  the  roles  of  Micaela  in Carmen, Curley’s Wife in Of Mice and Men, Fiordiligi in Cosi fan tutte, Abigail Williams  in  The  Crucible, Alice  Ford  in  Falstaff, Rosalinda  in Die Fledermaus, and The Mother in  Hansel and  Gretel. With the Crane School of Music Opera Ensemble she has performed the roles of: Nora in The  Sailor­Boy  and  the  Falcon,  First  Lady  in The  Magic  Flute,  and Zerlina in Don Giovanni. She has also appeared as the soprano soloist in Dvorak’s Te Deum.  She is a 3 year recipient of Ist place in  the NATS vocal  competition  and  is  the  recipient  of  a  Binghamton  University Graduate Assistantship, Jewel  Griffith  Vocal  Music  Scholarship,  the New  York  State  Retired  Teachers  Association  Scholarship,  and  the SUNY Potsdam Adirondack Mountain Scholarship. She is a student of Prof. Mary Burgess. Michael Lewis, Adjunct Lecturer 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 student­run opera company at IC, Ithaca College  Light Opera, in  which  he served as Assistant Music Director and Vocal Coach. H e  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  at  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 chorus 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. �Binghamton University Music Department’s Coming Events $ $ $ $ $ $ $ $ $ $ $ $ Sunday, May 3 – University Chorus and Symphony Orchestra : Mendelssohn’s “Lobgesang” ­ 3 p.m. – Osterhout Concert Theater ­ $7 general public; $5 faculty/staff/seniors/alumni; free for students Sunday, May 3 – Joint Recital: Junior Max Rydqvist, baritone and Senior Ricky Nan, tenor – 7:30 p.m. ­ Casadesus Recital Hall – free Thursday, May 7 – Student Recognition Mid­Day Concert – 1:20 p.m. – Casadesus Recital Hall ­ free Thursday, May 7 – Harpur Chorale and Women’s Chorus Spring Concert ­ 7:30 p.m. ­­ Anderson Center Chamber Hall ­ $7 general public; $5 faculty/staff/seniors/alumni; free for students Friday, May 8 ­ Nukporfe African Drumming and Dance Ensemble – 7:30 p.m. ­ Watters Theater ­ $5 general admission at the door Saturday, May 9 – Senior Recital: Cole Tornberg, tenor – 3:00 p.m. – Casadesus Recital Hall ­ free Saturday, May 9 – Senior Recital: Caitlin Gotimer, soprano – 7 :30 p.m. – Casadesus Recital H all ­ free firfifitfifi'fififltfifififit For tickets or to be added to our email list, visit anderson.binghamton.edu or call (607)  777­ARTS.  For  a  complete  list  of our  concerts  call (607) 777­2592,  visit music.binghamton.edu or become a fan on Facebook. E – [ x ]   E  =   [ = ]   If you were inspired by t his performance, consider s upporting the Department of Music w ith a financ ial gift. Your support helps to continue the work of students, faculty, and guest artists  and  their  cont ributions  to  our  community.  Please make your donat ion payable to t he B inghamton University Music  Department,  and  send  your  check  to  BU  Music Department, P.O. Bo x 6000, B inghamton, 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF 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.) 49:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE82908">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE82908</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 with Jenny Gac, May 2, 2015 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Mozart, Verdi, Dvořák, Georges, Gershwin, Bernstein, Dove. Held at 3:00 p.m., May 2, 2015, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Gac, Jenny Lewis, Michael 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 2015-5-2 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/f75d9db0ffcf58ceb616a74aa26389f5.pdf b8e6cfd363389b5484de63368d566c96 PDF Text Text BING HAMTON U N E N E R S I T Y S T A T E  UN IVERSlTY O F  N EW Y O R K D E P A R z ede c T M E N T MASTER’S RECITAL Kevi n Truax , tenor Joh n Isenber g, piano Saturday. April 2 5, 20 1 5 3:00 p.m. Casadesus Recital Hall �A Young Man’s Exhortation 89 PROG RAM C98 L I attem pt from love’s sickness.  lf music be the food of love  Not all my torments Die Schfine Mullerin Op. 2 5  Henry Purcell (1659­1695) Plens  11. .  Das Wandern  Franz Schubert (1797­1828) Wohin.’ Halt! Danksagung an den Bach Am Feierahend In 182 1 Wilhelm Muller published a volume of seventy­seven poems that included a cycle entitled, Die  Schbne  Millierin. Within two years  Franz Schubert ( 1 797­ 1828) would go on to discover this poetry and publish his own musical setting of the text in 1824. Sch u bert did not however set all twenty­five pieces; he left out the lengthy prologue and epilogue and a few poems throughout to make a final set of twenty songs. I have included parts of Muller’s prologue and epilogue in these program notes because I  find that they not only serve the drama of Die Schbne Mallerin, but they also provide an appropriate setting and conclusion to the entirety of this “Musical Exhortation.” IIL .W. A. Mozart (1756­1791) Per pieta, non ricercate. ~In remission— Poéme d’un jour Op. 2 1........  Rencontrc  The new­born spring cascades over rugged rocks and  flows  down the valley, now a silvery brook. The millwheel roars, the machinery whirs, ane can hardly hear the birds in the nearby grove.  So,  should a  song  sound rough and  plain, consider it  due  tn  the  natural setting. However, my leading man will let you know what is most attractive about these wheels. l f  1 gave that away , it would spoil his play. 1 wish you farewell, enjoy yourselves, do! From Die Schbne Mallenn. “The Poet as the Prologue,” W ilhelm Miiller IV. .  .  .  Gabriel Fauré (1845­1924) Toujours Adieu 1. The first exhortation will be through three pieces by Hen ry Purcell. (1659­ 1695) Purcell’s career is marked by a great range of successes in  such areas as anthems, songs, and music  for early English opera and  for  the  theatre. As  a composer during  the English Restoration, he took part in the return of royal patronage from the English Court towards musicians, and th e return of theatre to London stages. During the latter pa rt of his life, Purcell wrote the incidental music for over fifty plays and composed five operas, or Semioperas. “l attempt from love’s sickness” comes from one these operas, Purcell’s last semi–opera, The Indian Queen, li bretto by Joh n D ryden. It is a la ment of Queen Zem poalla for having t o  give u p her love for the General Montezuma. It is set scrophically into a french rondeau, V. O del mio amato hen  Amorosi miei gitrrni  VL A Young Man’s Exhortation..  .  .  Ditty  .  Stefano Donaudy (1879­192 5) (or AABACAA)) and incorporates a simple melody with rhyming schemes and matching cadences. In contrast. both “l f music be the food of love” and “Not all my torments”  are  independent declamatory songs  that are  through­composed, without repeating stanzas or verses. Both pieces have flowing melismatic vocal lines and have  more serious subject  matters that  would otherwise not be  found  in individual strophic songs by Purcell. II. A  ......Gerald Finzi (1901­1956) Her Temple A Young Man’s Exhortation Thu program u offered in partial fulfillment of the requirements for the degree of Masters of Music in Opera. In t he first five pieces of Die Schone Miillerin one is introd uced t o  a you ng miller who longs to wander the countryside. He will go on to discover a brook, follow it downstream  to a  mill. and seek along with work, the affection of the beautiful mill maid that lives there. The cycle begins with th e strophic song, “Das Wandern,” and quickly moves to more through­com posed settings that move the drama  forward.  1 would  encourage  you  to listen  to  the  “voice”  of  the  piano throughout these five pieces. The piano not only gives settings and backgrounds for the overlying text, but provides its own characters that seem to converse with the speaker, pushing him ever onward into his un requited love. �111. “Per pieta, non ricercate” is an aria written by Wolfgang Ama deus Mo za rt (1 756­1 791) for a Vienna performance of t he Italian opera. ll Cunnso Indisereto, (by  tenor, Pasquale Anfossi) in 1 783. It  was to serve as a substitute aria for the German  German cepting a c into ac ese publi he Vienn ase t e o  johann Valentin Ada m betger, t his singer performing  in an lralian Opera. (Mo zart also  composed two arias for   not to ister­in­law for the same production)  Unfortunately, Adamberger chose we perform the replacement a ria, and in the reason provided by Mozart himself,  In a  Salieri.  get a glim pse into the infa mous rivalry between Mo zart and Antonio  was letter to  his fathe r, Mora rt expressed, “At a  private rehearsal, before  the rondo atre rg [the the written out, Salieri wok Adamberger asde and said to him, t hat Count Rosenbe not to ised him  manager] was averse to his  introducing an aria , so as his good friend he adv ; he do  so.”  The performance seems to have not gone  well for Mr. Adamherger . He rt refused ut Moza e aria, b returned to Mozart to beg him to  give him back th continues in his l etter. “What was the result! ~ that he had no success; which, indeed, was give sure to be the case.  Now he repents, but it is too late; for if he were to ask me now to  operas.” my own    ne of for it in o d a place  asily fin him the rondo I would not do to. I can very e can The aria, however, was not used in any of Mozart’s subsequent operas. and we   concert. r in later amberge ed by Ad perform ve been  it may ha only suspect that  IV. W e  arrive now at an exhortat ion by Gabriel Fa uré (184 5­1924) through rles his three­piece cycle, Poeme d’un jour (1878). The poetry is by the poet Cha ent a movem  France;  ement in ian mov  Pamass rt of the o was pa Grandmougin wh social which  emphasi zed  form  over  emotion,  and  transcendent  imagery  over  d up commentary. Faure’s mus ic shares  this sentiment; though emotions may en rm and  to the fo being the byproduct of such music and text, Faure shows devotion ree language, keeping the m usic void of overt passion and text  painting. The th creates a ure  hem, Fa linking t   poems were  not originally w ritten as  a  cycle; by urse narrative of a young man’s hopeless and unsuccessful love affair through the co  own t Faure’s agine tha e can im  day. On of, what we can only conclude, is one single tion short engagement in 1877  to Marianne Via rdot played some role in t he forma of this cycle. V. Th e re are several  similarit ies betw een t h e  tw o  following pieces  in  this i” ‘Italian Exhorcitinn'. Firstly, “O del mio amato ben” and “Amorosi miei giorn naudy. fano Do both come from the 36 Arie di Stile Antico by the Italian com poser Ste that (1879­19 2 5)  Donaudy  published  the  group  in  1918.  containing  songs   songs  of these the style encompa.  his most well­known musical outp ut.  Though  are hen­romantic in nature, they incorporate popular forms found in older styles dating back to the Renaissance. They also share a librettist in Stefano’s brother, Alberto, who is credited for all 36 texts in the collec tion. Lastly, they share the same llad musical form and subject matter; a strophic setting of two verses each, and a ba re the ach whe nts in e y mome are man . There  e found) of love (One lost and on performe rs are perm itted to stretch t he timing, bringi ng our key words and  phrases.  the Through flord vocal lines, thick textures, and these moments of suspension, ression. its of exp sh the lim performers are encouraged to pu VL W e  end the recital similarly to as we began it: in London, with yet another d A short~lived  but  prolific  compose r, Gerald  Finzi. (1 90 1­1956)  Finzi  compose Young M an ’s Exharta rion betw een 1 9 2 6 a nd 1 92 9, creati ng a n  intende d cycle o ft e n songs (though without narrative) using the texts from English poet, Thomas Hardy. posed, Hardy’s poetry was a favorite of Finzi; of  the over sixty art  songs F inzi com “Her “Ditty",  over half used his poetry. You will  hear three selections from this set:  is set about (h Temple", and finally “A Young Man’s Exhortation” What is unique  is the lyric  vocal  lines  juxtaposed  by  declamatory and  sometimes recitative­like sections. Finzi also utilizes subtle rhythmic diversions and word stress against the meter to emphasize certain text and passages. The poetry is also uniquely thick and h full of imagery tha t seems to be filled wi th new meaning after each reading. Thoug love  love or  cused on  been fo day have most of the Exhortations you have heard to and lost, we finally co me to a young m an who has endured these hours w ith love  has come to some conclusions about life. l n this moment h e reflects on whe re he has been, where h e is going, and how he, and even we, should progress. We are going to blow out our sun and stars – Now may you find your way home ming safely, and should you wish to dream a dainty dream, then think of  millavheels and foa water when you close your eyes and the long night begins, until your head begins to spin with thinking of it; And he who holds a maiden by  the hand, let him ask as he leaves [in a love­ stancy. tolten, and if she gives today what she has often refined, so think of the miller’s con m an esture fro buming g every  with  With  every  touch  of your  hands,  with  every  kiss,  in  bliss with nglasting somow lo  his brief  return for in  overflowing heart: may love give him  your hearu.’ From Die Schoner Mullerin, “The Poet’s Epilogue”, W ilhelm Muller �Translations I. If music he the food of love Text by : Hen ry Heavlngh nm If music be the food of love, Sing on till I am fill’d withjoy; For then my list ’ning soul you moveTo pleasures that can never cloy. Your eyes, your mien, your tongue declare, That you are music ev ’rywhere. Pleasures invade both eye and ear, So fierce the transports are, they wound,  ' And all my senses feasted are; Tho‘ yet the treat is only sound. Sure I must perish by your charms, Unless you save me in your arms. I attempt from Love ’s sickness Text by : John Dryden I attempt from Love’s sickness to fly in vain, Since I am myselfmy own fever and pain. No more now fond heart, with pride no more swell, Thou canst not raise forces enough to rebel. For Love has more power and less mercy than fate. To make us seek ruin and love those that hate. 11. Die Schone Mllllerin, op. 2 5 (The Beautiful Miller Mold) Das Wandern (Wandering) Wandering is the miller‘sjoy. wandering! He must be a bad miller, that never thinks to wander, wandering. From water we have learned, from water! It  does not have rest by day and Down and always farther And always the brook follows, And always freshly rushing, And always brighter the brook. Is this then my path? Oh brook, speak. where to? You have with your rushing Entirely intoxicated my mind. 7 What can I say ofthe rushing'.  That cannot be rushing: It is singing perhaps of the mermaids deep below your water. night, Oet them sing, my friend, let it journey, the water. We see also from the wheels, the wheels! They do not like standing still. All day they do not tire from turning, the wheels! And wander joyously onward! They are going, yes, the mill wheels it is al ways concerned about the The stones themselves, so heavy they are, the stones! They move with the merry dance And want to go even faster, the stones! Oh wandering, my joy, oh wandering! Dear Master and Mistress, let me go my way in peace and wander. Wohln? (Where to?) rush, In every clear brook. Halt! (Stop!) A mill I see looking From the tree outward, Through roaring and singing To the miller maid! Has she sent you? Or have I gone mad? I should like to know, If she sent you. Now however it might be, I give my commitment: what I seek, l have found, however it may be. For work I ask, Now I have enough, For my hands, for my heart, Fully enough! Am Feierabend (On a Restful Evening) If I had a thousand arms to move! I could loudly guide the wheels! I could glide through the trees! I could move all the stones! The the beautiful miller maid Would realize my true feelings! Ah, how weak my arm is! What I ficw, what I ca rry, What I cut, what I hit, Breaks the sound of wheels. E very other boy does as  w ell  as me. Hey welcome, Hey welcome. Sweet mill­song! And the house, how cozy! And the windows, how clear! And there I sit in the large group, In the still, cool, restful hour, And the sun, how bright From the heavens it shines! Hey little brook, dear brook, Was this what you meant? And the Master speaks to all: Your work has pleased me; And the lovely miller maid says To all a good night. III. Per pieta, non ricercate (for pity, do not seek) For pity’s sake, do not seek Text by: anon. Not all my torments can your pity I hear a brook rushing, Probably from the rock spring, Down to the valley it rushes So fresh and wonderfully bright. Yet to the grave I w ill my sorrows 1 do not know, how I feel this, Nor, who gave me advice, Your singing, your ringing, Was this what you meant? With my walking stick. To the miller maid! So it seems to be. Yes, I feel such cruelty in me, That not even I know how to explain it! Thinking of you; but then how? For to go; but what do I gain By doing this or that test, I f do not find i   n that hope? F r i a n d   h a v a u  n d a r c t a n d ? A h  h u e  l m  m m » ! ­  a n d  h u t  h a  d i c d a i Not all m y torments move, Your scorn increases with my love. bear: I love tho’ I despair I m ust go down Danksagu ng an dem Bach (Giving Thanks to the brook) Was this what you meant, my rushing friend? The source o f m   y  torment, �Of my deadly fate, I call only, oh God, death, That comes to console me! IV. Poeme d ’un jour Op. 2 1 (Poem of a day) text by Charles G rand mougin Rencontre (Meeting) 1 was sad and thoughtful when I met you, I feel less, today my persistent torment; Oh tell me, could you be the woman I hoped for, And the ideal dream I pursued in vain? Oh passing with sweet eyes, could you be the friend that brings happiness to the lonely P031. And will you shine on my strengthened soul, like the native sky on an exiled heart? Your wild sadness, is like my own, It loves to see the sun set on the sea! Before its immensrty your ecstasy is awakened, And the charm of the evening to your lovely soul is dear;. A mysterious and sweet sympathy Already attaches me to you like a living bond; And my soul trembles, by an invading  love, And my heart cherishes you, without knowing you well. Toujours (Always) You ask of me to be silent, To fl y  far from you forever. And for me to go off alone Without remembering whom I loved! Sooner ask the stars To fall into infin ity, To the night to lose its veils, To the day to lose its light! Ask the immense sea To dry i ts vast waves, And when the winds are wild, Ask it to calm its dark sobbing! V. O del miu a mato ben (oh, of m y dea r beloved) Oh, of my dear beloved, lost enchantment! You are far from my eyes Who was to me glory and pride! Now in the silent rooms 1 al ways seek and call her But do not hope that my soul will tear itself from sorrow, And shed its flame As the spring to its flowers. With a full heart ofhope... But I seek in vain, I call in vain! And the weeping is dear to me, the the weeping alone nourishes my heart. Adieu (Goodbye) How everything dies quickly, the surrounding roses, It seems to me that without her sadness is everywhere. Night seems to be the day; To me the fire is cold. meadow. One sees, in this weak world, to give myselfanother cure, only one thought torments me: But without her, what can I do? To me life seems a vain thing without my love. flowers, Our hearts! Lovcly were my days, Who could ever forget, Or that of  all the things adorned, That gave peace to my heart And the fresh coats speckled in the The long sighs, the loved ones, Go up in smoke! Change More quickly than the crashing waves, Our dreams, More quickly than the frost on To you, one believed in faithfulness, Cruel one, But alas! the longest loves are short! And I say on quitting your charms, without tears, Almost at the moment ofmy confession, Goodbye! If still sometimes I hope And perfume to my thoughts? To be able, as life advances, No longer fear the anxieties O fa  life of deception, Only with this hope: That one of her looks is all my spender. And one of her smiles may be all my treasure. VL A Young Man ’s Exhortation. Op. 1 4, Text by : Thomas H a rdy Ditty Beneath a knap where flown Nestlings play, Within walls of weathered stone Far away From the files o f  formal houses, By the bough the firstling browses, Lives a Sweet: no merchants meet, No man barters, no man sells Where she dwells. Upon that fabric fair ‘Here is shel’ Seems written everywhere Unto me. But to friends and nodding neighbours, Fellow wights in lot and labours, Who descry the times as I, No such lucid legend tells Where she dwells. Should I lapse to what I was Ere we met; (Such will not be, but because Some forget Let me feign it) ­ none would notice That where she I know by rote i s Spread a strange and withering change, Like a drying of the wells Where she dwells. Her Temple Dear, think not that they will forget you ­ If craftsmanly art should be mine i will build up a temple, and set you Therein as its shrine. They may say : ‘Why a woman such honour?” ­ Be told, “O, so sweet was her fame, That a man heaped this splendour upon her; None now knows his name. A Young Man ’s Exhortation Call off your eyes from care By some determined deftness; put forth joys Dear as excess without the core that cloys, �And charm Life’s lourings fair. Exalt and crown the hour That girdles us, and fill it with glee, Blind glee, excelling aught could ever be, Were heedfulness in power. Send up such touching strains That limitless recruits from Fancy’s pack Shall rush upon your tongue, and tender back All that your soul contains. For what do we know best? That a fresh love­leaf crumpled soon will dry, And that men moment after moment die, Of all scope dispossest. If I have seen one thing It is the passing preciousness of dreams; That aspects are within us; and who seems Most kingly is the King. ABOUT T H E  PERFORMERS Tenor Kevin Truax. a narive of Pennsylvania, is currently completing his Master of Music in Opera degree at  Binghamton University and received his Bachelors of Music in Vocal Performanc  at Susquehanna University. He has appeared on stage with Tri­Cities Opera in the roles of El Remendado in Carmen, Don Ottnvio in Don Giovanni, and Alfred  in  Die  Flederma us. As pa rt of the Bingha mton University Opera Studio,  he  has performed  the  roles of the Witch  in  Hansel  and  Gretel, Bardolfo in Falstaff, Ferrando in Cosi fan tune, and Giles Corey/Judge Danforth in . The Crucible. Kevin has served locally as a soloist with the SUNY Broome Chorus and Orchestra in their performance of Handel’s Ode for St. Cecilia’s Day. He has also  been  featured  as  a  soloist  with  the  Binghamton  University  Chorus and Orchestra in their performances of Bach’s Christmas Oratorio, Haydn’s Mass in Time .  of  War, and in their upcoming performance of Mendelssohn’s Lobgesang. He is a student of Professor Thomas Goodheart. John Isenberg, a native of Endicott, NY. holds Bachelor of Arts degrees in Music and Italian, as well as  a Master’s Degree in Italian Literature from Binghamton 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 L a  tmvmra and Mozart’s The Magic Flute. A n active church musician since childhood, John is currently the Organist/Pianist and Choir Director at Sarah Jane Johnson Methodist Church 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 Lamhron, Quebec (Canada). �B i ng ham to n  Un ivers i t y M us ic D e part men t ’s   vents Com i ng E 6 & M 6 M b fi fi é fl fi i w é fl 6 é fl ­ fi é fl Saturday, Apri l 2 5 ­  J unior Recital: Rachel Young – 7:30 p.m. –  " asadesus Recital Hall ­ free Sunday, April 2 6 ­  University Win d Symphony: Once U pon a Time ­  3 p.m. ­ Anderson Center Chamber Hall ­  $7 general public; $5  flaculty/stati/scniors/alumni; free for students .  Tuesday, April 28 – Percussion Ensemble ­  7:30 p.m. ­  Anderson Center Chamber Hall ­ $7 general public; $5 aculty/staff/seniors/alumni; free for students Thursday, Apr il 30 ­  Mid­Day Concert ­  1 :20 p.m. ­  Casadesus Rec ital Hall ­  free Thursday, Apr il 30 ­  Piano Ensemble ­  7 :30 p.m. ­  Casadesus Rec ital Hall ­  free Friday, May 1 ­  Fl ute Studio and  Fl ute Cha m ber Concert ­  10:1 5 a.m. ­ Ca desus Recital Hall ­  free Friday. May 1  ­ Brass Recital  ­  4 p.m. ­  Casadesus Rec ital Hall ­  free Saturday, May 2 ­ Senior R ecital : D aniel Malinovsky. piano ­  12 noon ­  Casadesus Recital Hall ­  frcc Saturday, May 2 ­  Master’s Recital : Jenny Gac, soprano ­  3 p.m. ­  Casadesus Rec ital Hall ­  frec Sunday, May 3 ­  U n iversity C horus a nd Sy m phony Orchest ra: Mendelssoh n’s “Lobgesang” ­  3 p.m. ­  Ostcrhout Concert Theater ­  $7 general public; $5 faculty /staff/seniors/alumni; free for students Sunday, May 3 ­  Joint Recital: J unior Max Rydqvist,  baritone and Senior Ricky N a n. tenor– 7 : 30 p.m. ­  Casadesus Rec ital Hall – free M M M é fi M é b é fi é M b é M b é $ For tickets or to be added to our email list, visit anderson.bmglmmtort edu or call (607) 777­AR TS. For a complete lis t of our concerts call (607 ) 777­2592, visit music.binghamton.edu or become a fan on Facebook. lfyou were inspired by  this performance, consider support ing the Department of Music with a financial gift. Your support helps to u  —  continue the work of students, faculty. and guest artists and their — E  [m u]  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 53. Binghamton, El: 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF 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.) 49 53: Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE127036">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE127036</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 Kevin Truax, tenor, and John Isenberg, piano, April 25, 2015 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Purcell, Schubert, Mozart, Faure, Donaudy, Finzi. Held at 3:00 p.m., April 25, 2015, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Truax, Kevin 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 2015-4-25 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/3b41b8a4c0904678c96f85495a161301.pdf 3e0f13286d564275297fbbc62354988f PDF Text Text BINGHAMTON U  N  I  V  E  R  S  l  T  Y S T A T E   U N I V E R S I T Y   O F  N E W   Y O R K 7 % D E P A R T M E N T MASTE R’S REClTAL MARIO EUN HWAN BAE, TENOR JOHN ISENBERG, PIANO Sunday, April, 7,  2073 7:30 p.m. Casadesus Recital Hall �ABOUT THE PERFORMERS PROGRAM MARIO EUN HWAN BAE, tenor, is from Busan, South Korea currently  studying  at  Binghamton  University  for  his  MM .. Francesco Paolo Tosti Non t‘amo piu.  (1848­1916) Ideale  Segreto Ich trage meine Minne..  '  Allerseelen  Heimliche Aufforderung Zueignung La donna & mobile.  from Rigoletto  .  ;  . Richard Strauss (1864­1949) . Giuseppe Verdi (1813­1901) Extase  Le Manoir de Rosemonde A cycle of Life  Prelude  Down in the forest (Spring) Love I have won you (Summer) The winds are calling (Autumn) Drift down, drift down (Winter) in Vocal Performance at  Yonsei University  in  Seoul, Korea and his BM at The Korea National University of Arts in Seoul. Korea.  He  has  performed  with  Tri­Cities  Opera  as  “First Priest/Armored Guard” in The Magic  Flute. “Arturo” in Lucia di  Lammermoor  and  “Rodolfo”  in  La  Boheme.  Other appearances  include:  KEPCO  Art  Center,  Seoul,  Korea; “Alfred” in Die Fledermau, Seoul Opera: “Matteus” in Hamel e  Sanhong.  Sejong  Center;  The  Night  of  Opera  and  Aria (Highlight);  “Alfredo”  in  La  Traviata.  Zenus  Opera: “Roderigo” in Otello, Sejong Center; Summer Classic Series, 3 Tenor Concert, Seoul Metropolitan C horus: and performed as a  soloist  with  Prime  Philharmonic  Orchestra  in  30th Anniversary of Concert. JOHN  ISENBERG.  a  native  of  Endicott.  NY,  holds  a Bachelor’s Degree in Music and a Master‘s Degree in Italian wlNTERM/SSIONCJ Lamento.  Opera degree in Vocal Performance. He has received an MM Literature from Binghamton Univer sity.  He performs many different musical genres including Opera. Gilbert and Sullivan. . Henri Duparc (1848­1933) . Sir Landon Ronald (1873­1938) 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 Y ork State and northern Pennsylvania. John has  played  for  WSKG  radio  broadcasts  of  numerous Opera/ogue  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. �TRANSLATIONS Non tamo pia (1 don’t love you anymore) Do you still remember the day we met, Do you still remember the promises you made...? Love­insane l followed you... We loved each other And next to you I dreamt. love­ insane. I dreamt of a lustful chain of caresses And kisses fading into the sky; But your words weren’t truthful... Because your heart is as cold as ice. Do you still remember that? Do you still remember that? Now you aren’t my only faith any more. My immense desire nor my dream of love i don’t long for your kisses. and don’t think about you anymore: I dream other dreams: i don’t love you anymore. Through the days dearly passed together, I strewed flowers across your path: I would have offered my body and soul! Do you still remember it? Do you still remember that? Now you are no longer my faith... Ideale (Ideal) I followed you like a rainbow of peace Along the paths of heaven: I followed you like a friendly torch in the veil of darkness, And I sensed you in the light. in the air, In the perfume of flowers, And the solitary room was full of you and of your radiance. Absorbed by you, I dreamed a long time Of the sound of your voice, And earth’s every anxiety, every torment I forgot in that dream. Come back, dear ideal, for an instant To smile at me again, And in your face will shine for me a new dawn. You were the only hope of my heart: You the only thought of my desire. Segreto (Secret) You forced me to beg you, you turned me pale, You saw me dying  in your presence: Only in order to fulfill a desire of yours That little by little will make me There is a wound in my heart that is bleeding. die. Pierced by pain. my soul languishes: I am in love and I cannot tell my secret. I sometimes see my secret love  » beside me,  As beautiful as the light. She passes by me and I feel shattered. It is a force of joy and of pain.. *  I never had hope. Even from the first day, I closed my secret love within me. And she will never know that she was loved. She will see me lying dead and will not know why. And when I see her, I want to open my arms, to tell her that I love her and that I give her my heart. I want to look into her face with courage. But my heart trembles and I cannot lift up my eyes. There is a wound in my heart that is bleeding. That little by little will make me die. Ich  trage meine Minne (1  carry my love) I carry my love mute with delight, In my heart and in my mind with me wherever. Yes, that l have found you, you beloved child, That makes me joyful everyday, and that is granted to me. And no matter if the sky is gloomy, coal­black the night. Brightly shines my love’s gold­ shining splendor. And even as the world lies through its sinfulness, and I am heavy­ hearted. The evil must become blind from your snowy innocence. Allerseelen (All Souls’ Day) Place on the table the fragrant mignonettes, Bring inside the last red asters, And let us speak again of love. As once we did in May. Give me your hand, so that I can press it secretly: And  someone sees us. it ’s all the same to me. Just give me your sweet gaze, As once you did in May. Flowers adorn today each grave, sending off their fragrances: One day in the year are the dead free. Come close to my heart. so that I can have you again, As once I did in May. Heimliche Aufforderung (Secret  invitation) Up, raise the sparkling cup to your lips, And drink your heart’s fill at the joyous feast. And when you raise it, so wink secretly at me. Then I’ll smile and drink quietly, as you... And quietly as I. look around at the crowd Of drunken revelers ­­ don’t think too ill of them. No. lift the twinkling cup. filled with wine, And let them be happy at the noisy meal. �But when you’ve savored the meal. your thirst quenched, Then quit the loud gathering’s joyful fest. And wander out into the garden. to the rosebush, There shall I await you, as often of old. And ere you know it shall I sink upon your breast. And drink your kisses, as so often before. And twine the rose’s splendor into your hair. Oh, come. you wondrous, longed­ for night! Zueignung (Dedication) Yes, you know it, dearest soul. How l suffer far from you, Love makes the heart sick, Have thanks. Once I, drinker of freedom. Held high the amethyst beaker. And you blessed the drink. Have thanks. it’s untrue.  . Woman is flighty.  ' Like a feather in the wind, she changes in voice and in thought! Always miserable is he who trusts her. he who confides in her his unwary heart! Yet one never feels fully happy who from that bosom does not drink love! Woman is flighty. Like a feather in the wind, she changes her words. and her thoughts! Lamento (Lament) Do you know the white tomb Where floats with plaintive sound. The shadow of a yew tree? On the yew a pale dove, Sad and alone under the setting sun. Sings its song: And you exorcised the evils in it. Until I. as i had never been before, Blessed. blessed sank upon your heart. Have thanks. One would say that an awakened soul Is weeping under the earth in unison With this song. And from the misfortune of being La donna é mobile (Woman is flighty) Moans its sorrow in a cooing Always a lovely. pretty face. in tears or in laughter. Oh! Never again near the tomb Shall 1 go, when night lets fall lts black mantle. To hear the pale dove Sing on the limb of the yew Its plaintive song! Woman is flighty. Like a feather in the wind. she changes in voice and in thought. forgotten, very softly. Extase (Ecstasy/Nocturne) On your pale breast my heart is sleeping A sleep as sweet as death Exquisite death, death perfumed By the breath of the beloved On your pale breast my heart is sleeping A sleep as sweet as death Le manoir de Rosamonde (Rosamonde‘s  Manor­House) Love. like a dog, has bitten me with its sudden, voracious teeth Come, the trail of spilt blood will enable you to follow my tracks. Take a horse of good pedigree And set off on the arduous route i took. Through swamps and overgrown paths. I f that’s not too exhausting a ride for you! As you pass where l passed. You will see that l travelled Alone and wounded through this sad world. and thus went off to my death far, far away, without ever finding Rosemonde’s blue manor­house. �Binghamtan University Music Department’s Coming Events M 6 M & 6 M & M w é fl v § & Thursday, April 11 – Mid­Day Concert – 1:20 p.m. – Fine Arts Room 21­ free Thursday, April 11 – Harmony Club Fundraiser C onert –  7 :30 p.m. – C asadesus Recital Hall  – free (a  $10 donation will  b e  accepted at the door) Sunday, April 14 – Master’s Recital: Charlie Hyland, baritone – 7:30 p.m. – Casadesus Recital Hall –   free Tuesday, April 16 – String Fever (String Classes and Studio String Recital) – 8:00 p.m. – Casadesus Recital Hall – free Thursday, April 18 – Mid­Day Concert – 1:20 p.m. – Casadesus Recital Hall  – free Friday, April 1 9 – String Orchestra Concert – 4:00 p.m. – Grand Corridor — free Saturday, April 20 ­Senior Recital: Sungkyun Ryu. piano – 8:00 p.m. – Casadesus Recital Hall – free Sunday, Apri121 – Mu Phi Epsilon Concert – 3:00 p.m. – Casadesus Recital Hall – free Sunday, April 21 – Master’s Recital: Seanghyang Kim, piano – 7:30 p.m. – C asadesus Recital Hall  – free Thursday, April 25 – Jazz Mid­Day Concert with jazz pianist Larry Ham – 1:20 p.m. – Osterhout C oncert 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/staft/seniors; free for students Friday, April 26 – Flute Studio and Flute Chamber Concert – 10:15 a.m. – Casadesus Recital ­ free 6&6t3’66­6Mr3­ér3­«6Mé­«fita­ For tickets or to be added to our email list, visit anderson.binghamton.edu or call (607) 777­ARTS.  For  a  complete  list  of  our  concerts  call  (607)  777­2592,  visit musicbinghamtonedu or become a fan on Facebook. o p ‘  E  If you were  inspired  by this performance, consider  supporting the ­ Department  of  Music  with  a financial  gift.  Your  support  helps  to confinue 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 E  to BU Music Department, P.O. Box 6000, Binghamton, NY 13902. t  � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF 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.) 49:06 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE129068">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE129068</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 Mario Eun Hwan Bae, April 7, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Tosti, Strauss, Verdi, Duparc, Ronald. Held at 7:30 p.m., April 7, 2013, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Bae, Eun Hwan 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 2013-4-7 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/0e4e74c9d85af4b285cb846d67ae3f61.pdf c1746c4b8c16ef84db862535e1116cb4 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 V   O F  N E W   Y O R K W 0 [4 D E P A R T M E N T MASTER’S REClTAL Molly Adams­Toomey, mezzo­soprano William James Lawson, piano Saturday. May 4. 2013 8:00 p.m. Casadesus Recital Hall �PROGRAM I.  The Mermaid'’s Song  She Never Told Her Love  .  .  ...Franz Joseph Haydn (1732­1809) Fidelity lI. Sechs Lieder, Op. 48..  .  I. Gruff  2. Deminst. Gedanke mein .  .  .  ..Edvard Grieg (1843­1907) 3. Lauf der Welt 4. Die velschwiegene Nachtigall 5. Zur Rosenzeit 6. Ein Traum wlNTERMlSSlONus Ill. Aria,  “Vorrei vendicarmi,” “from Alcina. George Frideric Handel (1685­1759) IV. Three Songs from Sestero FiesniMi/ostnych .  Noci Mild  Unter Der Linden Ballade Des Dames Du Temps Jadis V.  Three Songs.  Vieille Chanson  Adieux de I’Hétesse Arabe Chanson d ‘A vril .Petr Eben (1929­2007) . Georges Bizet (1835­1875) �ABOUT THE PERFORMERS MOLLY  ADAMS­TOOMEY.  mezzo­soprano,  is  currently completing her Master of Music in Vocal Performance/Choral Conducting at  Binghamton University under the  direction of Professors Mary Burgess and Bruce Borton. Molly most recently sang the role of  Mamma Lucia in Tri­Cities Opera ’s production of Cavalleria Rusticana/Pagliacci. Molly has also sung the role of  The  Witch  in  Hinsel  and  Gretel  with  Binghamton University, the  Third Spirit  in  Die Zauberflote with  Tri­Cities Opera. and covered the  role of The Mother  in Binghamton University’s performance of Amah/ and The Night Visitors.  In addition, Molly has appeared as a chorus member in several Tri­Cities  Opera  productions.  including  l/  Trovatore.  La Bohéme, Les Contes d’Hoffmann, and Cosi fan tufte. She also sang as a soloist in Vivaldi’s Gloria at Gloucester Cathedral. Due to her double concentration, Molly has performed often as the conductor of the Women’s Chorus. During her undergraduate study at Binghamton University, she was the recipient of the John M.  and Marcella M.  Keeler  Scholarship  in Music.  and graduated Summa cum Laude. WILLIAM JAMES LAWSON  is active as a church musician, voice coach.  and  accompanist  and  frequently  performs  chamber music.  At Binghamton University he has taught music theory, lyric diction. and phonetics. He was one of the first graduates of the New York University Tisch School of the Arts Department of Performance Studies, an innovative inter­disciplinary program in dance. music, and theater. His extensive background in dance history led him to employment at the New York City Ballet and Dance Magazine as well as working as assistant to British dance writer Richard Buckle. He is presently Organist and Director of Music  at  the  United  Presbyterian  Church  of  Binghamton, founder  and director  of the  Canterbury  Choir, and rehearsal accompanist  for  the  Binghamton  Downtown  Singers.  with whom he has performed as harpsichordist and organist. PROGRAM NOTES Franz  Joseph Haydn (1732­1809)  was  an  Austrian­born composer  who spent a large amount of his composing life in the service o f  the aristocratic Esterazy family. Under this patronage he produced a multitude of works. and came to be considered the “Father of the Symphony.” He is perhaps most well known for both his symphonies and his oratorios, notably the oratorio entitled “The Creation.”  Later in his life. Haydn stayed for a short time in England. It was there he stayed with the surgeon John Hunter and his wife Anne Hunter. The latter w as  an  amateur poet, and  the text s to both  “777e Mermaid'’s Song” and  “fidelity ” were written by her. The text to  “She Never  Told Her Love” is  adapted  from  the  Shakespeare play “Twelfth Night.” It  is  taken  from a speech in which the heroine Viola, disguised as a man. tells the Duke Orsino about her “sister’s” unrequited love. though she is really speaking of her own love for the Duke. Edvard Grieg  (1843­1907)  was  a Norwegian composer,  a promoter  of Norwegian  music.  and  considered  one  of  the  greatest  Scandinavian composers.  He  is  mainly  known  for  his  lyric  pieces.  songs  and piano character pieces. He often drew on Norwegian folk idioms in his music. Grieg’s set of six songs presented here are a wonderful example of Grieg’s affinity for lyrical beauty.  “Gruf” is a setting of a charming short poem by the renowned German poet Heinrich Heine.  “Dereinst, Gedanke Mein"is a poem by Emmanuel von Geibel. and was originally based on a Spanish text by Cristobal de Castillejo entitled  “Alguna Vez. " “Lauf der Welt ” is a simple.  folksy  poem  by  Johann  Ludwig  Uhland  from  his  Lieder.  “Die verschwiegene Nachtiga/I” is adapted from a medieval text by the twelfth­ century poet Walther von der Vogelweide. The text of  “Zur Rosenzeit ” was taken from one of Erwin‘s songs from the singspiel Erwin und Elm/re. composed by the Duchess Anna Amalia of Brunswick­Wolfenbuttel with a libretto by the famed German poet  Johann Wolfgang von Goethe.  The singspiel revolves around Erwin’s despair at thinking Elmire has  spurned him because of social propriety, but the two are reconciled once Elmire confesses her actual love of Erwin to him whilst he is disguised as a hermit. “Ein Traum"is one of the most popular songs from the set. and is a setting of a poem by Friederich Martin von Bodenstedt. George Frideric Handel (1685­1759) was born in Germany. but  spent a large portion of his life living and composing in England. and so was and is often  considered an  English  composer.  He  composed  works  in  almost every musical genre. from  orchestral to  vocal pieces, chamber music to oratorio.  He  is  perhaps  most  known  today  for  his  oratorio  Messiah. Handel composed several operas on Italian librettos early  in his career. Alcina was one of these. Though Alcina is very rarely performed today. it contains many excerpts and arias that are noted for their beauty and fine composition.  The  plot  revolves  around  the  heroine  Eradamante.  her husband  the  knight  Ruggiero.  and  the  sorceress  Alcina.  Bradamante �disguises herself as her own brother Ricciardo to go in search of and rescue Ruggiero from the enchantment of Alcina. who is in love with Ruggiero herself. Bradamante. however. becomes entangled in mishaps on Alcina‘s enchanted island when the lady  Morgana falls in love with her. thinking she is a knight. and she incites the rage of Morgana’s lover Oront e. When she at last finds Ruggiero. he believes her to be his rival in love for Alcina. In response to this, Bradamante sings the angry aria  “Vorrei vendicarmi,” lamenting his coldness to her. and vowing to break Alcina‘s enchantment so Ruggiero will see her for who she is. At last. the two manage to break Alcina’s enchantments. and are restored to their married happiness. Petr Eben (1929­2007) was a Czech composer from Zamberk in Eastern Bohemia. He is most well known for his organ music. an instrument he turned  to  as  a  result  of  his  profound  Catholic  faith.  This  faith.  and consequently his organ music. became a driving force in his life after his experiences as a child in the Buchenwald concentration camp under the Nazi regime, and his experiences later under the Communist regime  in Czechoslovakia. Eben often incorporated elements of Gregorian chant in his  music.  not  only  as  a  compositional  device,  but  as  a  way  of communicating and reaching out to other Catholics during the Communist regime. Gregorian chant is very prominent in his song cycle Sestero Piesn/ Milosrnydi (Six Medieval Love Songs). whose medieval texts are reflected well in chant melodies. Only three of the  six  songs are presented here. “Noci Mile” sets an anonymous medieval Czech folk song.  “Unter Der Linden"sets the same medieval German text by the poet Walther von der Vogelweide  that  was  adapted  for  Grieg‘s  setting  of  it  in  “Die Verschwiegene  Nachtiga/l.”  Eben’s  setting  is  quite  radically  different. “Ballade Des Dames  Du  Temps Jadis” is  a  setting  of a  poem by  the fifteenth­century French poet Francois Villon. who was as famed for his debauchery, thievery, and the murders he committed as he  was  for his poetry. Georges Bizet (1835­1875) was a French composer who lived much of his life in Paris, and who wrote orchestral. vocal. and piano works. He was particularly prolific in vocal music. and wrote several operas. He is most well known for his famous opera Carmen. His chansons and melodies are much  less  well  known.  but  nevertheless  exhibit  his  highly  Romantic compositional  flair.  “Vieille Chanson ” sets  a  charming.  folk­influenced poem by Charles Hubert Millevoye and is taken from his Poésies Légeres. “Adieux de I’Hbtesse Arabe"sets  a text by the famous French poet Victor Hugo. and is taken from his set of poems entitled Les Orientales. It displays a nineteenth­century western love of exoticism. and perhaps could be seen as a prelude to the kind of musical exoticism Bizet employed in  Carmen. “Chanson d’Avrl/"sets a simple but atmospheric poem by Louis Bouilhet to lively and graceful musical phrases. TRANSLATIONS ll. GRIEG We have never planned this, 1.  GruB8 (Greeting) Heinrich Heine Sweet chimes are softly I don’t know how it happened Filling m y  soul. Ring, little springtime­song Ring out far and wide. Go forward till you reach the house Where the violets bloom; And if you see a rose, Give her my greetings. 2. Dereinst, Gedanke Mein (One Day­ 0My Thoughts) Emanuel von Geibel One day, O my thoughts, You will be at rest. Love‘s ardour Will not leave you alone. In the cool earth, There you will sleep well. There without love. and without pain, You will be at rest. What you have not found in life. When life has vanished. Will be given to you. Then without wounds, And without pain, You will be at rest. 3.  Lauf Der Welt (The Way Of The World) Johann Ludwig Uhland Each evening I go out. Over the meadow­path, She looks out from her summerhouse Which stands by the pathway. It is just the way of the world. so. For a long time we have been kissing. I don’t ask. she doesn’t say yes, But. she also never says no. If lips like to rest on lips, We forbid them not. we think it good. The little breeze plays with the rose. It doesn’t ask: do you love me? The little rose cools itself in the dew, It doesn’t ask for more! I love her, she loves me But neither says: I love you! 4. Die Verschwiegene Nachtigall (The Secretive Nightingale) Walther von der Vogelweide Under the lindens, On the heath On the spot where I sat with my lover, You might discover How he and I Squashed the flowers and the grass. From the woods came a sweet sound: “Tandaradei!” The nightingale singing in the valley. I came to the meadow, My sweetheart had arrived before me. He greeted me �As a noble lady So that I am still happy. 7 Did he also offer me kisses?  “Tandaradei!” See how red my lips are! If anyone found out (God forbid!) What happened as I lay there. I would be deeply ashamed. May nobody know How the young man embraced me. Except him and me. And a little bird. “Tandarade'.” Who will not say anything. 5. Zur Rosenzeit (To The Time Ofkamt} Johann Wolgang von Goethe You are wilting. sweet roses­ My love did not wear you. O do bloom for the hopeless one then. For him whose soul is breaking from sorrow! 6. Eln Traum (A Dream) Friedrich Martin von Bodenstedt I dreamt once a beautiful dream­ A fair­haired maiden loved me. We were in a green forest glade. It was warm spring weather. The buds were sprouting, the brook was running strong, The sounds of the distant village bells could be heard. We were full of joy, Immersed in bliss. And even more beautiful than the dream Was what happened in reality : It was in a green forest glade. It was warm spring weather: The buds were sprouting, the brook was running strong. The sounds of the distant village bells could be heard. I held you tight, I held you long. And nevermore will let you go! Nevermore! Nevermore! I think mournfully of those days When I did cling to you, angel. When. waiting for the first little buds, I went to my garden early: Oh, spring­green glade. You live in me for all time! That is where reality became a dream, And the dream became reality! Every blossom. every fruit I carried to place at your feet; When in your presence Hope throbbed in my heart. lII. HANDEL BRADAMANTE: I would be avenged Upon that false heart Love. give me weapons. Endow me with fury. You are wilting. sweet roses­ My Iove did not wear you. O bloom for the hopeless one then. Whose soul is breaking from sorrow. You are cruel and unkind To one who pines for you; Then take. pitiless one. If you want it. my life as well. Nod Milé (Dear Night) He went to make us a bed of flowers of many kinds: desire. By the roses, he may well, tandaradei! Already my heart dwells in suffering, in sadness, in longing God forbid, I would be ashamed. How he was with me. no one IV. EBEN Anonymous, 14m Century Dear night. why are you long. for my dear I am filled with because it is impossible for me to speak with her. who can console me? grief. All this is because I am parted from my dearest. the dearest of ladies. Dear God. let not the desire for my beloved be long! Dear God. Unter Der Linden (Under The Linden­Tree) Walter von der Vogelweide Under the Linden­Tree. on the heather. where the two of us made our bed. you may still find, as we both have. the flowers, pressed together on the grass. By the forest. in the vale. tandaradei! sweetly sang the nightingale. I went to the meadow, my true­love was already there. there was I received as a noble lady. so that I am constantly glad, Did he kiss me? A thousand times: tandaradei! see. how red my mouth is still. If anyone passed by, he might well smile at the sight! mark where I lay my head. That I lay there. if any saw, will ever know, except he and l. and a little bird, who will not say anything. Ballade Des Dames Du Temps Jadis (Ballad Of The Ladies Of 77mes Past) Francois Villon Tell me where or in what country is Flora, the beautiful Roman, Archippa, or Thais, who was her German cousin, Echo who speaks when there is noise on the river. on the pond, whose beauty was more than human? But where are the snows of yesteryear? Where is the very wise Hélois, for whom they castrated and made a monk Pierre Esbaillart at Saint Denis? For his love was this endured. Likewise. where is the queen who commanded that Buridan be thrown in a sack in the Seine? But where are the snows of yesteryear! �The queen Blanche like a lily who sang with the voice of a “Ah!” Said the despairing shepherd. Bertha of the large feet. Beatrice. Alice, Haremburgis who held Maine. and Joan the good maid of Lorraine whom the English burned at Rouen where are they, where. Sovereign Virgin? But where are the snows of yesteryear? Lucette! All of my hopes flew away On the wings of the warbler!” siren. Prince. do not ask this week where they are. nor in this year. nothing but this refrain remains to you “But where are the snows of yesteryear?” V.  BIZET Vieille Chanson (Old Song) Charles Hubert Millevoye The besotted Myrtil Has caught in the woods the dainty warbler; “You, my lovely bird.” he told it. “Are meant to be  a present for my shepherdess. If i offer you for a present. She will show her gratitude with kisses. if my Lucette usually gives me “Farewell to the kisses of Sadly, Myrtil returned to the close wood Weeping for his loss. But there. be it luck. be it destiny. In the woods he found Lucette. Well aware of his good intentions, She left her hideaway And said: “Console yourself, You have lost only the warbler!“ Adieux De L ‘Hdtesse Arabe (Farewells Of TheArabian Hostess) Victor Hugo Since nothing will keep you in this happy land. Neither the shade of the palm trees, nor the yellow corn. Nor the restfulness, nor the abundance. Nor to see palpitating at the sound of your voice The young breasts of our sisters. Who in a whirling bevy at evening She will give me ten for the warbler.” Encircle the hillside with their dancing. Farewell, handsome traveler! Alas, adieu! The warbler, however. Had left his mate in the valley. And as soon as possible. broke free from his prison And dashed away on flapping wings. Oh! You are not of those whose lazy feet are bounded By their roof of branches or of tiles! Who. dreamers, listen in silence to stories. two for a bouquet And wish at evening, sitting outside their door, Chanson D’Avn’l (Song Of April) To be  o ff  to the stars! Louis Bouilhet Had you wished it. perhaps one Yonder over the valleys rosy of us, O young man, would have liked to serve you Kneeling in our ever open huts. She would have made. While rocking you asleep with her songs. To drive the troublesome midges from your brow, A fan of green leaves. If you do not return. dream a little sometimes Of the daughters of the desert. Sisters of the sweet voice. Who dance barefoot on the dunes, O handsome, white young man. Beautiful bird of passage. Remember, for perhaps, O swiftly passing stranger. Your memory remains with more than one! Alas! Farewell! Handsome stranger! Remember! Arise! Arise! Spring is just born! gossamer floats! Everything thrills in the garden. Everything sings, and your window Like a joyous glance. is full of sun! Beside the lilac with its purple clusters. Flies and butterflies hum together. And the wild lily­of­the­valley, Ringing its tiny bells. Has awakened love asleep in the woods! Since April has sown its white daisies, Put off your heavy cloak and your cozy muff. Already the bird calls you and your sisters the periwinkles Will smile in the grass on seeing your blue eyes! Come. let us go! At morn the springs are more Iimpid! Let us not wait for the burning heat of the day, l would moisten my feet in the damp dew, And tell you of my love beneath the flowering pear trees. �Binghamton University Music Department ’s C oming Events M M M M M M M M Sunday, May 5 – University Symphony Orchestra and Chorus: Schubert’s “Unfinished Symphony ” & Duruflé’s “Requiem ” – 3:00 p. m. – Osterhout Concert Theater – S 6 general public; $3 faculty/staft/seniors; free for students Wednesday, May 8 – Nukporfe African Drumming and Dance Ensemble – 7:00 p.m. – Watter’s Theater – $3 general admission at the door Thursday, May 9 – Student Recognition Mid­Day Concert – 1:20 p. m. – Casadesus Recital Hall –   free Thursday, May 9 – RecitaVMasterc/ass:  Guest Artist Victor Chavez Jr., clarinet­ 4:30 – 6 p. m. – Casadesus Recital Hall – free Thursday, May 9 – Harpur Chorale and Women’s Chorus – 8:00 p.m. – Anderson Center Chamber Hall – $6 general public; $3 faculty/staft/seniors; free for students Friday, May 10 – Junior Recital: Kerianna Krebushevski, soprano – 8:00 p.m. – Casadesus Recital Hall – free M m m m fi w fi For tickets or to be added to our email list. visit anderson.binghamton.edu or call (607) 777­ARTS.  For a complete list of our concerts call (607) 777­2592.  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 E  O helps to continue the work of students. faculty, and guest artists f   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. Binghamfon. 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF 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.) 51: 48 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE128176">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE128176</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 Molly Adams-Toomey, May 4, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Haydn, Grieg, Handel, Eden, Bizet. Held at 8:00 p.m., May 4, 2013, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Adams-Toomey, Molly Lawson, William James Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2013-5-4 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/8fb30cd40a75dae7600ca94725dd978c.pdf fe28e74c82311bec7d665814e59f4607 PDF Text Text BINGHAMTON U N I V E R S I T Y STATE  U N I V E R S I T Y  OF  NEW  Y O R K [4 w dee D E P A R T M E N T MASTERS RECITAL Nicholas Follett, alto saxop hone and Alexand ria Hanessian, clarinet Margaret Reitz, piano Frida y, March 6, 2015 7:30 p . m. Casadesus Rec i tal H a l l �8:3  PROG RAM  08 k )  ABOUT THE PE RFORMERS ( z io of NICHOLAS FOLLETT is  a gradua te saxophone perfo rmance major from the stud April Lucas.  He holds a Bachelor of Music Education from Mansfield University in ff Pennsylvania.  He is currently a member of the Norwich High School Field Band sta everal s   acher in stitute te As a sub s.  where he is the instructor of music for winds and bras area school districts, Nick  enjoys working with children of all ages and hopes to have a le and career as a music educator.  As a member of the Mansfield University Jazz Ensemb k, and New Yor sylvania,  ed Penn  has tour mble, he ind Ense the Mansfield University W  is also London  where he  performed at  the  2012  World  Olympic  Games.  Nicholas Y. N ,  Norwich  is from  Nicholas literacy.     degree in s master’ nd  working on a seco of conce rt ALEXANDRIA HAN’ESSIAN is currently in her  ninth year as the director  Lakes  Finger  soud’tem l in the  e Schoo and jazz bands at Spencer  ­  Van Etten Middl ys and chool pla middle s l  ed severa lso direct she has a region of Spencer, NY. In  addition,  musicals and is Musical Director for high school productions (including Crazy  for You, hool and Beauty and the Beast, The  Music Man, and Seussiazl). As an active leader in her sc  music r county nt of he s Preside  tenure a  finished  recently community, Ms. Hanessian ege at aca Coll from Ith teachers  udent  junior st ted   has hos tion and educators associa , ducation Spencer ­ Van Etten. She is a member of the National Association for Music E Music School  State  New  York  State  Band  Directors  Association,  and  New  York  icts, she Association (NYSSMA). Passionate about building success in  small school distr ls” all Schoo en in Sm gs Happ “Big Thin and her colleagues presented a workshop entitled   at nference AiME Co legiate N t the col at the NY SSMA Conference in  2010, and again a tra d Orches Band an Midwest  the  ented at   she pres Nazareth College  in 2012. In 2013 istrict. a rural d ng in  in teachi resented  lenges p rent chal the diffe Clinic in Chicago on  hirty­ Since beginning at Spencer ­  Van Etten, the instrumen tal progra m has grown by t ol level. ddle scho five percent and there are now active drama and jazz programs at the mi Music Ms. Hanessian holds a BM in  Clarinet Performance and Education and an MM in  in cher  rivate tea r and a p Education from I thaca College and is a sought­after  performe the Ithaca/Binghamton area. MARG ARE T REI TZ, pianist, is a n ative of the Binghamton area. She receive d her bachelor  and  master  of  music degrees  in  piano  performa nce with  accompanying emphasis.  She  attended  Boston  University,  New  England  Conservatory  and us,  Victor Bingham ton  U niversity.  She  has  studied  piano  wi th  Jean  Casades Rosenbaum, Seymour Fink and Walter Ponce and accompanying with Allen Rogers. She has  accompanied throughout the United States, in England, South America, s a Spain and at  the American Institute of Musical Studies in Graz, Austria. She wa tion Informa States  United  the   by  winner  of  the Artistic  Ambassadors  Program Agency  in  partners hip with the John  F. Kennedy Cen ter for  the  Performing Arts. She  has  been  on  the  faculty a t  Bingham ton  U niversity  since  1991,  College School of Music since 1999. and  Ithaca jules Massenet Meditation from Thais transcribed by Nicholas Follett (1842­1912) Nicholas Follett, alto saxophone Margaret Reilz, piano Concerto , Op. 109 . Allegro modera to ­ Andante ­ Allegro Alexander Glazounov (1865­1936) Nicholas Follett, alto saxophone Margaret Reitz, piano &  INTE RMISS ION c s .Claude Debussy    18) (1862» 19 Nicholas Follett, alto saxophone Selections from Eight Pieces . for Clarinet, Viola and Piano, Op. 83, No. 6 Edited for Alto Saxophone by  Harry R. Gee V1.  Andante con moto II.  Allegro con moto V114  Allegro vivace, ma non troppo Alexand ria Hanessian, clarinet Nicholas Follett, alto saxophone Margaret Reitz, piano .Max Bruch (1838­1920) �Bingha mton U niversity  Depart ment of Music Coming Events e w w w w w w w w w m o ­ Saturday, March 7  ­  Harpur Chorale  and Women’s Chorus ­  7:30  p.m. ­  Anderson  Center Chamber Hall ­ $7 general public; $5 faculty/staff/seniors/ alumni; Free for students Sunday, March 8 ­  University Wind Symphony: Just Like a Concert in the Park ­  3  p.m. ­ Osterhout Concert Theater ­ $7 general public; $5 faculty/staff/seniors/alumni; Free for students Sunday, March 8 ­  Sophomore Recital: Hannah Watrobski, viola ­  5 p.m. – Casadesus Recital Hall ­ free Thursday, March  12  ­  Opera Scenes  Mid­Day  Concert  (Thomas Goodheart)  ­  1:20  p.m.  ­ Anderson Center Chamber Hall ­ free Thursday, March 12 ­  Opera Scenes ­  7:30 p.m. ­ Anderson Center Chamber Hall ­ $10 general public; $ 7 faculty/staff/seniors/alumni; $5 for students Saturday, March 14 – Master’s Recital: Meroé Khalia Adeeb, soprano  – 4  p.m. ­  Casadesus Recital Hall ­ free Sa turday, March 1 4 – U niversity Symphony Orchestra: Dark Passions – 7 :30 p.m. – Osterhout Concert Theater ­ $7 general public; $5 faculty/staff/seniors/alumni; Free for students Sunday, March 15  ­  Opera Scenes and  Arias ­  3  p.m.  ­  Phelps Mansion,  191  Court Street, Binghamton  – $10 general  public;  BU students free with ID ­  For reservations call the  Phelps Mansion at (607) 7224873.  This concert is cosponsored by  the  Binghamton University Music Department and Phelps Mansion Museum. Thursday, March 19 ­  Mid­Day Concert ­  l : 20 p.m. ­  Casadesus Recital Hall ­  free Thursday. March 19 ­  Lontano Ensemle: Music Now! ­  7:30 p.m. ­ Casadesus Recital Hall ­ $7 general public; $5 faculty/staff/ seniors/ alumni; Free for students Thursday, March 19 ­  Master Class BU Alumnus Lee Musiker, piano ­ 6 ­  7:30 p.m. ­  Fine Arts 24 ­ free a fi w w b é M M M M M Q ­ é m é ­ For tickets or to  be  added  to our email list, vmt anderson.binghamton.edu or call (607) 777­ARTS. For a complete list ofour concerts call (607) 777­2592, visit music.binghamton.edu or become a fan on Facebook. —  i a ]   é  — E 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.O.  Box 6000sss, 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF 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.) 23:59 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74859">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74859</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 Nicholas Follett, Alexandria Hanessian, and Margaret Reitz, March 6, 2015 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Massenet, Glazounov, Debussy, Brunch. Held at 7:30 p.m., March 6, 2015, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Follett, Nicholas Hanessian, Alexandria Reitz, Margaret. Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Massenet, Jules, 1842-1912 Glazounov, Alexander Debussy, Claude, 1862-1918 Bruch, Max, 1838-1920 Date A point or period of time associated with an event in the lifecycle of the resource 3/6/15 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:02:30 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75018">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75018</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 with Seonghyang Kim, April 27, 2014 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Held at 7:30 p.m., April 27, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Kim, Seonghyang 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 4/27/14 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/c052243191ddd628c461602620dc0b37.pdf b63b8456fe1f13a4e2996f4fd17360c6 PDF Text Text BINGH AM TON U N I V E R S I T Y S T A ’ E   U N W E R ’ S I N   OF  N t v .   Y O R K d  ze dec D E P A R T M E N T MASTER’S RECITAL Thom Baker, tenor Margaret Reitz, piano Sunday, March 9, 20 14 3:00 p.m. Casadesus Recital H all �&  PROGRAM  «5 ib­  ABOU T THE PERFORMER « 6 L’honesta negli’ amori: Gia 11 sole dal Gange . .Alessandro Scatlatti ( 1 6601 725) Caro mio ben. .Tonunzuo Giordani (C.1730–1806) Paride ed  Elena: O del mio dolce ardor . . Christoph Willibald Gluck An die ferne Geliebte, Op. 98  1. Auf dem Hiigel sitz’ ich  2. Wo die Berge so blau 3. Leichte Segler in den Hohen 4. Diese Wolken in den Hohen 5. Es keh ret der Maien 6. Nimm sie hin, denn .  Ludwig van Beethoven (1770­18 27) (1714­1787) io­ INTE RMISSI ON «& Trois chansons de troubadours, Op. 152b.  I.  Rassa, ma dame  II.  Belle dame de mon émoi IIL.  Je suis tombé .Darius Milhaud (1882­1974) Three Poems of Paul Goodman.  g  1. For Susan  2. Clouds 3. What Sparks and Wiry Cries ,  Do Not Sing, My Beauty, Op 4 no. 4  .  They Replied, Op 2 1 no. 4  Spring Torrents, Op 14 no. 1 1 .  Sergei Rachmaninoff (1873­1943) Ned Roreni (b.l923) “Bpecially pleasing,” were die fitkt words used by  The New York Times to describe the singing of tenor  Thom Baker.  Considered  by some as  an  expert in choral arts and period performance practice, the lion’s share of Baker’s career has been performing and recording as soloist and choral artist with earlymusic ensembles including Musica Sacra, New York’s Ensemble (or Early Music, Voices of Ascension, the  G regg Smith Singers and AmorArtis, to mention a few. The tenor ’s first longtime  musical  guide  was  the  late  tenor  Charles  Btessler,  an  original  member  of  Noah Greenberg’s New York Pro Musica, a grand­parent of period performance practice in the United States. Mr.  Baker continues his seventeen­year relationship with the Grammy­nominated vocal ensemble Pomerium, with which he has traveled E urope and the Far East and recorded (as late as February 20 14) several programs of virtuoso Renaissance polyphony, the enseinble’s specialty. He has also recorded Stravinsky  with the  composer’s arrienuenris. Robert Craft, and appears on Bobby  McFerrin’s  VOCAbuLAn‘eS,  also  Grammy­nominated.  In  2010,  Mr.  Baker  began  to perform on  the other side of the pod ium as a choral conductor. In that year, he assem bled and prepared  a  choir  for  performances of  Monteverdi  and  Carissimi  with  NYS Baroque.  Darid Alminu, the Syracuse­based music cr itic, wrote that Vocannir , Baker’s choir, “...delivered...alertly and with great enthusiasm, achieving a good blend of vocal timbre and delivering  their words with mpetb  diction,” singing  the final movement  of Carissimi‘s  Historia  de  Jepthe, “with great poigimiq­ a nd minim o i ecprressiun.” bcl rogv . c  a f e m o n u i s  The 1Hi8eA  Gay Men’s Chorus hired  Mr.  Baker  as  Music  Director  in  that  year  and  he  immediately  diversified  the  group’s repertoire and expanded public appearances from two annual concerts to over twenty events per year.  in February of 2011, Baker became the Choir Director and Music Coordinator for the First Unitarian Society of Ithaca.  In  August  of  2013, SU NY Broonie  Community College engaged Thom Baker as Director of Choral Activities. As such, he conducted the SU NY Broome College Chair’s Masterworks Concert in November, performing Vivaldi’s Gloria and  Handel’s Ode on St. Cecilia ’s  Day.  Thom  Baker  is  pursuing  a  Master’s  of  Music  at  Binghaniton  University, anticipating his degree in May of 201 4. Under the tutelage of Professors Mary Burgess and Bruce Borton, he pursues a degree in two specialties, Vocal Performance and Choral Conducting MARGARET (Pei! REITZ,  pianist,  is  a native  of  the  Binghamton  Area.  She  received  her Bachelor and Master of  Music degrees in  piano performance with accompanying emphasis.  She attended  Boston University, New  England Conservatory a nd Binghamton  University.  She  has studied piano with Jean Casadesus, Victor  Rosenbaunr. Seymour  Fink and Walter Ponce  and accompanying  with  Allen  Rogers.  She  has  accompanied  throughout  the  United  States,  in England,  South  America,  Spain  and  at  the  American  Institute  of  Musical Studies  in  Graz, Austria.  She was a winner of the Artistic Ambassadors  Program by the United States infomianon Agency in  partnership with  the John  F. Kennedy Center  for  the  performing arts. She was  an official  accompanist  for  the  MTNA State  and  Eastern  Division  Competition  held  at  Ithaca College  She has been  a guest chamber music artist in Morges, Switzerland.  She also was selected to attend the Accompanying Workshop for Singers and Pianists held at Northwestern University with Chicago Lyric Opera Faculty a nd Coaches. She was  united to  the International  Clarinet Conference  to  play a  recital  in Tokyo, Ja pan  She was a guest artist on the Cornell  Summer Series.  She  was  an  official  pianist  at  the  Internationa l  Double  Reed  Competition  and Convention at Ithaca  College and was irm’red to play the Convention in Birmingham, England with the Glickman Ense mble.  She was selected tn accompanying at the Interpretation of Spanish Music in conjunction with Universi ty of Madrid in Grenada, Spain coached by  Teresa Berganza and at  Mannes School of Music. She will  he a guest a rtist perform ing at  The  Breakers on  the Newport Music Festival J uly 2014.  She is curren tly on the fa culty at Binghamton University since 1991 and Ithaca College  School of M usic since  1999.  She is  treasurer of the local District VII Music  Teachers  Association  and  is  an  active  adjudicator  for  the  National  Piano  Guild Organization. �@ &   TRANSLATIONS «5 Gia il sole dal Gange Already the sun over the Ganges shines more brightly, and dries every teardrop from the weeping dawn. With golden rays it bejewels every stem. and draws on the meadow the stars in heaven. Caro mio ben My dear darling, believe at last that without you my heart languishes. Your faithful one continually sighs. End, cruel one, such stubbornness. O del mio dolce a rdor O, my sweet passion’s coveted theme. the air which your breathe I finally take in. Anywhere I turn my glance, your elusive likeness is outlined. my thoughts so dissemble the most blissful hopes; and within the craving that fills my heart, I search and call, hope and stgh. An die ferne Geliebte To the Distant Beloved (Original German text by Alois Isidor Jeitteles) l .  I sit on the hill peering out into the blue mist­laden land, searching for the far­off meadows where I found you, beloved. I am widely separated from you; mountains and valleys lie as a barrier between us and our peace. out happiness and our sorrow. Alas, you cannot see my glances hastening to you so ardently, and my sighs die away in the space that separates us. Will nothing more, then, reach you.’ W ill  nothing he love’s messenger! I w ill  sing, sing songs that will complain to you of my grief! Before the music of song all space and all time flee and a loving heart attains 3. You, that sail easily in  the heights above, and you small, narrow brook, i f you can catch sight of my darling, greet her a thousand times from me. If you clouds then see her walking, lost in thought, in the quiet valley, let me image arise before her in the airy hall of the skies. where the clouds cover the sky – that is where I would like to be! There in the calm valley, Now the wedded ones live together faithfully; those that winter separated. me, complain to her, birds, of my sorrow! it knows how to join those who love. Soft west winds, in your blowing May is returning, the meadow deliver to my heart’s choice my sighs, which perish like the last ray of sun. V’hisper my supplicarion of love to her, small and narrow brook. let her see faithfully reflected in your When the spring joins all  who love, only for our love does no spring appear, and tears are all that is attains. waters my tears without number. 4. These clouds in the heights above, the merry pageant of songbirds w ill  see you, graceful one, Take me along in your easy flight! These west winds w ill  play and sport around your cheeks and breast, w ill  ruffle your silken tresses, Could I but share this with all ofyou! quietly meditates among the rocks, where the wind blows so softly ­ that  where I would lilte to be! This little brook busily hastens I am urged by love, by inner grief. Ah, I could not be drawn away, beloved, if I could be with you forever, the spring has now united; blossoms, The breezes are blowing so gentle and warm; only I cannot leave this place. pains and sorrow are silent. There where the primrose O ff t o the contemplative forest The swallow retums to the hospitable roof, it builds its bridal chamber so diligently; love will dwell therein. lt busily brings from here and there many a soft bit for the nuptial bed, many a warm morsel for the little ones. I f  she then stands by the bushes. now discolored and bare. complain to her of what has become of what a loving heart has consecrated! 2. Where the mountains so blue peer out from the misty gray. where the sun ceases glowing, The breezes ate blowing so gentle and warm; the brooks now mu. chattering. toward her from those hills. If her image is reflected in there. then flow back without delay! 5. May is  returning, the meadow blossoms. 6. Ta ke them then, these songs, beloved, which I have sung to you; then sing them again the evening to the sweet sound of the lure! When the red of sunset then moves toward the quiet blue lake and its last ray goes out behind that mountain peak, and you sing what I sang, what rang out from the fullness of my heart without ostentation of art, with consciousness only of longing: Then, in the face of these songs. all that has separated us so widely will yield. and a loving heart will attain what a loving heart has consecrated! �Trois Chansons de Troubadour (Original poems by J ean Valmy­Baisse) IL  Rassa, my lady is unsullied and refined, And young and charming and affectionate. She is blonde and of high mien And her skin, refined by her race. Has obscured with white ermine The pallor of the hawthorn flower. For her refined and unspotted color, For her celebrity and her honor. These qualities, prized most by connoisseurs. These range among the finest. You see where I have put my heart. H .  Lovely lady of my craving, Who can listen to your voice Or see your eyes wrthout being 7 Crazy in love of your whole being.  Alas, your heart is so cold. It gives to no man its feeling. But I will sustain my own malady Until each man whom you love Will suffer as do L No lady should have my heart So fragile in its vigor. I see her joyful and flirtatious, Availing herself to all tributes Instead of guarding her favors For the sole ma n that she has named Within her heart. I will love better the un ruly savoir I I I. Ihaye fallen into a grievous sickness by following my heart which leads me and never will unravel the snares of the net where my lady took me the this time and chained me. She pleases with these spear­like glances shot in bias, this lively and charming Helen. I ended my confinement and made Lana my only queen. Nothing in her beauty deceives, no subtlety touches her jor. Her young body, so graceful. inspiring love and blossoming youth­scented and breaking misfortune. Cheerful is the man to whom it is unveiled at the hour when the day dies in his in his abode, because his eyes w ill  see a better li fe. Th ree Poems of Pau l Goodman 1 .  For Susan How like a wild­flower untended among garden flower. no fairer are Susan and these kempt children beauties all! Surely a wild strain of blood and wit, as well as we know, is in her : fitful, fearful, willful, gay. and tearful All  these: yet persevering like the corn flower, the daisy, and never w ill  agree to take a fatal loss. Praise God. somehow in our disastrous homes the sun and rain and fresh winds blow. and these nourish our darling. 2.  Clouds So effortlessly we are not given to move on earth as these in heaven clouds, nor without desire to tend whither the airs conspire. The clouds exaggerate and pile into heights of mile on mile. In  the breathing o’ the universe they drift asunder and disperse. 3 .  Wha t Sparks and Wi ry Cries What sparks and wiry cries shall I 7 strike first upon the iron strings’  for I have got a pick of flint and I have learnt a skirl of glee, I’ll say the love I had a little and the longing like a block of ice, for never never never again shall we two meet. My blood stood still, my sparkling hair rose up in fright as wide between us grew the space now fixed. Oh! brilliant more than fire is the song of the heart undivided by hope or fear: the string that sounds again is tangled with a furious joy. So, next rhis drizzling war I ’ll keen, that no one wills and all  desire. Do not sing, mv benutv (Original Russian text by Alexander Sergeyn’ich Pushkin) Don   ot sing, m y  beauty. to me your sad songs of Georgia; they remind me of that other li fe and distant shore. Alas, they remind me. your cruel melodies. of the steppe, the night and moonlit features of a poor, distant maiden! Thar sweer and fateful apparition I forger when you appear; but you sing, and before me 1 picture that image anew. Do not sing, my beauty, to me your sad songs of Georgia; they remind me of that other life and distant shore. They Replied (Original French text by Victor Hugo Translated into Russian by Lev Alexandrovich Mey) “How,” asked the men, “can we flee the Spanish police in our small boats.” “Row,” replied the women. “How,” asked the men, “can we forget strife, misery and da nger” “Sleep,” replied the women. “How,” asked the men, “can we enchant beautiful women without love potions.” “Love,” replied the women. Spring Torrents (Original Russian text by Fyodor Ivanovich Tyutchev) The fields are still covered with white snow. But the streams are already rising in a spring mood, Running and awakening the sleepy shore, Running and sparkling and exclaiming loudly. They are announcing loudly to every corner: “Spring is coming, Spring is coming! We are the messengers of young Spring. She has sent us forth, Spring is coming, Spring is comingl And the quiet, warm May days Follow, squeezed happily Into the rosy, bright dancing crowd.” �Binghamton University  Department of Music Coming Events W W W Thursday, March 13  ­  Mid­Day Con cert ­  1:30  p.m. ­  Casadesus Recital  Hall ­ free Saturday, March 1 5  – Master’s Reci tal: Michael Celentano, baritone ­  3:00 p.m. – Casadesus Recital Hall – free Saturday, Alarcb 15  ­  Wind Swnpony Concert: Music by Nu mbers ­  8:00 p.m. – Anderson Center Chamber Hall  ­ $ 7 general  public;  $ 5 faculty/sta /seniors;  free for students Wednesday, March 1 9  ­  Opera Scenes ­  8:00 p.m. ­  Anderson Center Chamber Hall ­ $ 1 0 general  public, $ 7 faculty/sta /seniors; $ 5 for students Thursday, March 20 – Alid­Da  Con cert ­  1:20 p.m. – Casadesus Recital Hall – free Thursday, March 2 7 – Mid­Day Concert  ­  1:20 p.m. ­  Casadesus Recital Hall – free Friday, March 28  – H ar pur  P o m / j a z z  – 8 :00 p.m. – Casadesus Recital Hall – free Saturday, March 29  ­  Ju nior Reci tal: Caitlin  Go t imer, soprano with  Jake Starnatis, bass baritone – 3 :00 p.m. ~ Art Museum – free Saturday, March 29 – Mas ter’s Reci tal: Ata tdew Samluk, bari tone – 8:00 p.m. ­Casadesus Recital  Hall  ­  free Thursday, Apri l 3 ­ M d D ay Con c er t ­  1:20 p.m. ­  Fine Arts Room 21  ­ free a l; w e m m w m w w e b For tickets  or  to  be added  to  our  email  list,  visit  andersonbmghamtonedu or  call (607) 7 7 7­ARTS.  For a  complete  list  of  our  concerts  call (607) 777­2592.  visit musi c. 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  hel ps  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  B L '  Music Department, P. O . Box 0000. Binghamton. N Y 1  3902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF 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.) 47:23:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74970">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74970</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 Thom Baker, March 9, 2014 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Scarlatti, Giordani, Gluck, Beethoven, Milhaud, Rorem, Rachmaninoff. Held at 3:00 p.m., March 9, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Baker, Thom Reitz, Margaret Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Scarlatti, Alessandro, 1660-1725 Giordani, Tommaso, 1733-1806 Gluck, Christoph Willibald Beethoven, Ludwig van, 1770-1827 Milhaud, Darius, 1892-1974 Rorem, Ned, 1923- Rachmaninoff, Sergei , 1873-1943 Date A point or period of time associated with an event in the lifecycle of the resource 3/9/14 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/20765625b8424ed532fb0c759d83ff08.pdf 715d1177d2755f4287b92d9e284a103c PDF Text Text BINGHAMTON UNIVERSITY D E P A R T M E N T MASTER'S RECITAL ASHLEY MAYNARD, MEZZO -SOPRANO Julie Williams, Soprano · S uN n od v ea m 22, y b 2009 e, r 2 3:00 p.m Casadesus Recital Hall �PROGRAM Selections from "Alcina" ..... ................ George Frederic Handel Mi lusinga ii dolce affetto (1685-1759) Verdi prati Ègelosia g L'Heure exquise ............................................... Reynaldo Hahn (187 4-1947) Nell Op. 18, no.1 ..................................................... Gabriel Faure ((1845-1924) Adieux de l'Hotesse Ara be ............................. ... Georges Bizet (1838-1875) Selections from 17 Polish Songs, op. 74 .......... Frederic Chopin 2yczenie (A Maiden'sWish) (1810-1849) Smutna Rzeka (Sad River) Pose› (The Messenger) Leci þÿli[cie z drzewa (Leaves Are Falling) INTERMISSION Four duets from Op. 63 .... ............................. . Felix Mendelssohn Abschiedslied der Zugvogel (1809-1847) Gruß Herbstleid Maiglockchen und die Blümelein Selections from Cabaret Songs .......... ....... ..... William Bo Icom Over the Piano (b. 1938) Places to Live Toothbrush Time �TRANSLATIONS Mi lusinga ii dolce affetto (The Sweet Affection Enchants Me) The sweet affection for my beloved enchants me. But who knows? I must fear of making a mistake by falling in love again. But if she were to be the one I adored and then abandoned, then I am unfaithful, ungrateful, and a traitor. Verdi prati (Green Meadows) Green meadows, charming woods, you will lose your beauty. Lovely flowers, flowing streams, your charm, your beauty, soon will change. Green meadows, charming woods, you will lose your beauty. And, the loveliness (having been) transformed, Everything in you will return to the horror of its former appearance. Ègelosia g (It's Jealousy) It's jealousy, the power of love that causes you anguish and makes your heart ache. But I suffer from it too. For a lovely face, you sadly sigh ; we are full of resentment and we all love without pity. L'heure exquise (The Exquisite Hour) The white moon shines in the forest, from every branch comes forth a voice under the foliage, "Oh beloved!" The pond, a deep mirror, reflects the silhouette of the dark willow, in which the wind is crying: Let us dream, 'tis the hour! A vast and tender calm seems to descend from the firmament, which the orb clads in rainbow colors; 'Tis the exquisite hour! Nell Your purple rose in your bright sun, 0 June, is sparkling as if intoxicated; Bend your golden cup also toward me: My heart is just like your rose. Under the soft shelter of a shady bough a sigh of pleasure rises up: More than one ring-pigeon sings in the remote wood, 0 my heart, its amorous lament. How sweet your pearl in the flaming sky, star of the pensive night! But how much sweeter is the bright light that shines in my charmed heart! The singing sea, all along the shore, will silence its eternal murmuring, before in my heart, dear love, 0 Nell, your image will stop blossoming! �Adieux de l'hotesse arabe (Farewells of the Arabian Hostess) Since nothing holds you to this happy land, neither the shade of a palm tree,. nor 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 sit by their door in the evening, dreaming of flying away to the stars! Had you wished it, 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, softvoiced 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! Zyczenie (A Maiden's Wish) If I were the sun in the sky, I would shine only on you. I would pass blindly over the meadows and grass, but would shine in your window forever if I were the sun. If I were a little bird from that forest, I wouldn't sing in any foreign country. I would pass over the meadows and grass, but would sing at your window forever if I could change into that little bird. Smutna Rzeka (Sad River) River, flowing from the mountains, Tell me why your waters are swollen? Is it the snow thawing and flooding your banks? The snow lies unmelted in the hills, and flowers hold my banks firm. At my source sits a mother sorrowful and weeping . Seven daughters she bore and loved, seven now lie buried. In death they know night nor day, they lie, facing east. Waiting in pain by their grave, she tells her sorrow to their spirits. And her unceasing tears flow, swelling my waters to a flood. �Poset (The Messenger) Dew lies on the meadows, the winter days are changing . You, faithful bird, are again before us, singing. With you, the sun shines longer, with you there is the pleasant spring; Welcome from the journey, joyful singer! Don't go, wait! Maybe you are begging for seed? Maybe you bring a new song from distant lands? You run, you look around with your dark eyes .. . Don't look so happy, she is not here! She went after a soldier, she threw him a hat by the roadside shrine and said goodbye to her mother. Maybe she was running away? Tell me, bird, are they hungry, is it good for them in the world? z drzewa Leci þÿli[cie (Leaves Are Falling) Leaves are falling, where once the tree grew free . Now there sits a wild bird calling by a grave. 0 forever and ever, Poland is good. Everything fades like a dream, and your children are in the grave. Cottages are burned, villages destroyed, women lament, homeless in the fields . Men have fled from family and friends, crops shrivel and die, and are left untended. Young men gather to defend Warsaw's walls, Poland begins to rise from the darkness. Fighting through winter, and summer heat. Then came autumn to thin our ranks. Now the war is over, our toil expended in vain . The fields we once tilled remain empty. Some lie buried, some languish in prison, some wander in exile homeless and hungry. Heaven has not helped us, and neither did the hand of men. The unsown fields turn to waste, and nature's gifts are nothing. Leaves are falling, and more leaves thick and black. Oh Poland, cherished land, see how your sons are slaughtered for you, They worked at guarding the land, and now suffer and die for Poland. Fight with all your strength, fight for your freedom! There are traitors in this country, but there are also those who are faithful. Fight with all your strength, fight in the name of liberty! Poland belongs to those who are devoted to this land. �Abschiedslied der Zugvogel (Farewell Song of the Birds of Passage) How beautiful were the woods and fields, how sad the world is now. Gone is the beautiful summertime, and after joy comes sorrow. We didn't know anything about trouble. We sat under the canopy of leaves, happy and gay in the sunshine, and sang out into the world. We poor little birds are so sad . We have no homeland anymore. We must now fly away from here and fly to far off lands. Gruß (Greeting) Wherever I go I look in the field , and wood and valley. From the hilltop on the meadow, from the mountain outwards, far into the blue, I send you a thousand greetings. In my garden I find my flowers, beautiful and delicate. I make many wreaths out of them, and bind them with a thousand thoughts and greetings therein. But I dare not present them to you. You are too good, too fair, and they will fade too soon. Love without equal stays forever in the heart. Herbstlied (Autumn Song) Oh how soon the dancing ends, changing spring into wintertime! Ah, how soon into sad silence changes all happiness! Soon are the last sounds silenced , Soon the last singers are flown; Soon is the last green gone! All want to hurry homeward. Ah, how soon the dancing ends and joy changes into longing sorrow. Were you a dream, you thoughts of love? Sweet as spring and just as soon past? One thing only will never waver, and that is Longing , which never dies. �Maiglockchen und die Blümelein (The May-bell and the Flowers) May-bells are ringing in the valley, they ring so bright and clear: "So come one and all to the dance, you lovely little flowers!" The flowers, blue and yellow, and white, all come over. Forget-me-nots and violets are among them. May-bells start up the dance again and they all dance then. The moon looks kindly upon them, and enjoys the scene. Jack Frost disapproved very much; he came down into the valley. The May-bells danced no more; away went the flowers. But the frost had hardly left the valley, when May-bells called them quickly again to the spring festival and rang twice as brightly. Now I too will stay no longer inside; May-bells are also calling me. The little flowers are going out to the dance, and I will go too! �PROGRAM NOTES Handel's Alcina, an opera in three acts , is based on Orlando furioso, an epic poem written by Ludivoco Ariosto. Ruggiero, a knight, is betrothed to the beautiful Bradamante. He is in love with her, but an unfortunate series of events puts a strain on this otherwise deeply rooted love. Bradamante's flying horse (a hippogriff) captures Ruggiero and lands him on an island in the middle of the ocean. Here, Ruggiero learns that the island is inhabited by the powerful sorceress named Alcina. She is a seductress, and entices every man who lands on the island. However, once she tires of these men, she turns them into stones, plants and animals. Sure enough, Alcina lures Ruggiero into her spell, and he becomes entranced by her ("Mi lusinga ii dolce affetto"). Meanwhile, Bradamante and Melissa, Ruggiero's former tutor, have been searching frantically for the beloved. When they arrive on the island, Bradamante realizes that Ruggiero has fallen for Alcina, and she becomes jealous ("E gelosia"). Melissa urges Ruggiero to come back to his senses, and through a magic ring, reveals to him the island as it really is. Ruggiero recognizes that he has been tricked into love ("Verdi prati"). He looks around at the "seemingly lush" surroundings, and knows that they, just like his love for Alcina, are an illusion. He realizes that, when stripped of all illusions, love changes, and vows to leave the island at once. Bradamante and Ruggiero smash Alcina's urn, the source where Alcina's magic was stored . Alcina vanishes, her former lovers return to their former selves, and all are saved. �Chopin's 17 Polish Songs Frédéric Chopin wrote the 17 Polish Songs between the years 1829-1847. All the texts were from Polish poets, and most of them were written by Stefan Witwicki, a friend of Chopin. The pieces within this opus (Opus 74) are divided into two distinct categories-the romantic and the historical. Three of the songs on this program are in the personal, romantic category, and the final piece falls into the historical time period during the Polish uprising against Russia. Mendelssohn Duets, Opus 63 Felix Mendelssohn composed these duets for his close friends to sing while he lived in Leipzig between the years 1836-1844. The texts were written by Hoffmann van Fallersleben, (Abschiedslied der Zugvogel and Maiglockchen und die Blümelein), Joseph van Eichendorff (Gru/3), and Carl Klingemann (Herbstlied) who was also a friend of Mendelssohn. Bolcom Cabaret Songs William Balcom wrote his two volumes of Cabaret Songs for his wife and singer, Joan Morris. The librettist was Arnold Weinstein, who was also Bolcom's teacher. Together, these people created a work that is witty, charismatic, and allaround brilliant. �ABOUTTHEPERFORMERS ASHLEY MAYNARD, a native of Connecticut, is pursuing a Master of Music in Opera degree at Binghamton University and is a Resident Artist with Tri-Cities Opera. She is a student of Professor Mary Burgess, and also works with Duane Skrabalak, Peter Sicilian, and Diane Richardson . Ms. Maynard graduated summa cum /aude with a Bachelor of Music degree in Music Education and Vocal Performance from Nyack College. She has performed with Nyack College Opera, singing the roles of Giovanna (Rigoletto), Mercedes (Carmen), Carmen (Carmen), and Mary Magdalene in the sacred opera I Am the Way by Jerome Hines. She has also sung the Cousin (Madama Butterfly) and First Alms Nun (Suor Angelica) with Opera Theater of Connecticut. With Tri-Cities Opera, Ms. Maynard has performed the roles of Giovanna (Rigoletto), Marcellina (The Marriage of Figaro), the Mother (Amahl and the Night Visitors), Miss Todd (Old Maid and the Thief), and Siebel (Faust). In the spring of 2009, she was alto soloist in Haydn's Theresienmesse with the Binghamton After graduation, Ms. University Chamber Chorus and Orchestra. Maynard plans to continue to sing with Tri-Cities Opera, and in December will be performing the roles of the Mother and Hansel in Hansel and Gretel. JULIE WILLIAMS, is a native of South Jersey. Julie began piano lessons at the age of five, and voice lessons when she was ten . She graduated with honors from The University of the Arts in Philadelphia, PA with a Bachelor of Music in Voice Performance in 2006. Julie is currently pursuing a Master of Music in Vocal Performance from Binghamton University where she studies with Mary Burgess. Last January, Julie served as soprano soloist for Haydn's Theresienmesse. Julie was a member of the Tri-Cities Opera Chorus in the 2008-2009 season, appearing in Rigoletto, Amahl and the Night Visitors, 60th Anniversary Gala, and Faust. In the fall of 2006 and summer of 2007, Julie gave recitals for Arts at Grace Church in Haddonfield, NJ. She taught voice and piano lessons privately from 2002-2009. WILLIAM JAMES LAWSON coaches and accompanies singers at Binghamton University. As a coach, he specializes in English diction for American and English art songs and the sacred and classical theater repertoires. He studied at Binghamton University (8.A. 1980), where his teachers included Seymour Fink and Patricia Hanson in piano, M. Searle Wright in church music, and Stevenson Barrett in vocal coaching. He holds an M.A. from New York University (1984) and was one of the first graduates of New York University's innovative Department of Performance Studies, an interdisciplinary program in the performing arts. �♦ ♦♦♦ ♦ . Hurry! Only one day left to get your tickets for the... ♦ ♦ ♦ i. ♦ Elizabethan Madrigal Feaste ♦ It is an evening of socially savvy vignettes, startling spectacles and song, : :roving rapscallions, fabulous feasting and sundry surprises presented by the musicians and ne'er-do-wells of the Music Department. Featuring: The Lords & Ladies of the Harpur Chorale, The Singing Wenches of the Women's Chorus, Her Majesty's Own Royal Brass, The Skilled Musicians of the Early Musick Consorte, Actors and other disreputables... ♦ Fri.., December4th & ♦ ♦ ♦ Ye Olde Union Sat.,December 5th at 6:30 Hall, Binghamton p. m. University ♦ ♦ ♦ ♦ ♦♦♦♦♦♦♦♦♦♦♦♦♦♦ ♦♦♦♦♦♦ ♦♦♦♦♦♦♦♦♦♦♦♦♦♦ ♦♦♦ �Binghamton University Music Department's UPCOMING EVENTS Thursday, December 3rdJazz Mid-Day Concert with Tony Kadleck, trumpet co-sponsored by the Harpur Jazz Ensemble and the Binghamton University Department of Music}, 1 :20 PM, Casadesus Recital Hall, FREE Thursday, December 3rdHarpur Jazz Ensemble Concert with Tony Kadleck, trumpet {co-sponsored by the Harpur Jazz Ensemble and the Binghamton University Department of Music}, 8:00 PM, Osterhout Concert Theater, $$ (FREE for students} Friday, December 4th Flute Studio and Flute Chamber Concert, 10:15 AM, Casadesus Recital Hall, FREE Friday, December 4th Elizabethan Madrigal Feaste (Harpur Chorale and Women's Chorus}, 6:30 PM, Old Union Hall, $$ Friday, December 4th Master's Recital: Susan Amisano, soprano, 8:00 PM, Casadesus Recital Hall, FREE Saturday, December 5thElizabethan Madrigal Feaste (Harpur Chorale and Women's Chorus}, 6:30 PM, Old Union Hall, $$ Sunday, December 6th Wind Symphony, 3:00 PM - FREE Anderson Center Chamber Hall Tuesday, December 8thPercussion Ensemble, 8:00 PM - FREE Anderson Center Chamber Hall Thursday, December 10thHoliday Mid-Day Concert, 1:20 PM, Casadesus Recital Hall, FREE Friday, December 11th Holiday Mid-Day Concert, 4:00 PM, University Downtown Center, FREE Saturday, December 12th Faculty Fireworks: Winter Winds (with the University Symphony Orchestra} - a gala benefit concert for the Music Department, 8:00 PM, Osterhout Concert Theater, $$ For ticket information, please call the Anderson Center Box Office at 777-ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 39:43 23:49 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE153422">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE153422</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Master's recital, Ashley Maynard, November 22, 2009 Recital Tape 2009-11-22 Description An account of the resource Held at 3:00 p.m., November 22, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Williams, Julie Marie Lawson, William James Maynard, Ashley Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-11-22 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/1e05132faf330ee912aff4e7e98a751d.pdf 06af09d39235712b479acfde9f735a88 PDF Text Text BINGH AMTO N U N I V E R S E ] S T A T E   U N I V E R S I T Y   O F  N E W   Y O R K d e e Ld D E P A R T M E N T MASTERS R ECI TAL Cabir ia Jacobsen, mezzo­soprano Pej Reitz, pia no Saturda y, Februar y 19%, 201 1 3 P.M. Casadesus Hall �PROGRAM Johannes Brahms Selections from Op. 57  (1833­1897) Vom waldbekrantzter Hohe  Es traumte mir Ach, wende diesen Blick In meiner Nachte Sehnen Unbewegte laue Luft u Chansons de BilItiS w s s Debussy   (1862­1918) La flute de Pan  La chevelure Le tombeau des Naiades & INTERMISSION  CZ Arias from Ariadante  E vivo ancora ...Scherza infid  G.F. Handel (1685­1759) Dopo notte Vignettes: Ellis Island  Prologue  Emma Anna Martha Clara Catherine Anna Epilogue: Anna ..Alan Louis Smith (b. 1955) �ABOUT THE PERFORMERS Mezzo­soprano C a b i r i a J  a c o b s e n  was born and raised in Brooklyn, NY.  She attended Northwestern University, where she received her Bachelor of Music in Voice Performance, and her Bachelor of A rts in Drama. While there, she performed the roles of Maurya/Riders to the Sea and Larina/Eugene Onegin with the Mary Ragland Opera Theater. She also appeared in concert with the many chamber music and choral organizations on campus. In 2007, Cabiria founded OperaHub in Boston, MA with three other musicians. Recently covered in Opera America, the company will celebrate its fourth birthday in june.  Cabiria has most recently been seen as Dorabella/Cosi fa n  tutte with Tri­Cities Opera, and will sing the role of Nicklausse/Les contes d’Hoffman on April 29th and May 1st.  Other roles with the company include Cherubino/Le nozze di Figaro, Mother and Grandma/Little Red Riding Hood, Hansel/Hansel and Gretel, and La Ciesca /G  ianni Schicchi. On campus, Cabiria has performed with the University Chorus in works by Corigliano, Vivaldi, and Schubert P e j  R ei t z,  pianist, is a native of the Binghamton Area. She received her Bachelor and Master of Music degrees in piano performance with accompanying emphasis. She attended Boston University, New England Conservatory and Binghamton University  She has studied piano with jean Casadesus, Victor Rosenbaum, Seymour Fink and Walter Ponce and accompanying with Allen Rogers. She has accompanied throughout the United States, in England, South America, Spain and at the American Institute of  Musical Studies in Graz, Austria. She was a winner of  the Artistic Ambassadors Program by the United States Information Agency in partnership with the john F. Kennedy Center for the performing arts. Pej was an official accompanist for the M TNA State and Eastern Division Competition held at Ithaca College and will play for the event again january 2010. She has been a guest chamber music artist in Morges, Switzerland. She also was selected to attend the Accompanying Workshop for Singers and Pianists held at Northwestern University with Chicago Lyric Opera Faculty and Coaches. She was recently in vited to the International Clarinet Conference to play a recital in Tokyo, japan. She was a g uest artist on the Cornell Summer Series. She was an official pianist at the International Double Reed Competition and Convention in 2007 at Ithaca College and was invited to play the 2009 Convention in Birmingham, England with the Glickman Ensemble She w ill perform with the Glickman Ensemble again this fall in Engleweod, N]. She was selected to accompanying at the Interpretation of S  panish Music in   adrid in Grenada, Spain coached by conjunction with University of M   usic summer 2008. She Teresa Berganza and at Mannes School of M was a Guest Artist playing tw o concerts in Granada, Spain this past summer and accompanied the Barcelona Song Festival in july. This past summer she soloed with the Catskill Symphony at the Otesaga in Cooperstown, New York under the direction of Charles Schneider. This coming summer she will accompany and teach at The International Spanish Music Festival in Madrid, Spain. She is currently on the fa c ulty  at Binghamton University since 1991 and Ithaca College School of  Music since 1 999. She is president of the local District VII  Music Teachers Association and is an active adjudicator for the National Piano Guild Organization. �PROGRAM Vom waldbekrdnt zter Hohe (From forest­crowned heights) From forest­crowned heights I cast the burning gaze Of my love­moistened eyes, Back to the meadow, green around you. I lower my gaze to the brook, How I want  to flo w with  it As a wave, Back, oh friend, to you! I fix my gaze to the pull Of clouds above me, Ah, to fly their flights. Back, oh friend, to you! How i would like to ensnare you My salvation and my pain, With my lips and my glances With your bosom, heart and Soul. Es traumte mir (I dreamt) I dreamt I was dear to you ; But I hardly needed to awaken; For even in the dream, I already knew That it was a dream. I already knew That is was a dream. Ach, wende diesen Blick (Ah, turn away that gaze) Ah! Turn away that gaze, turn away that face! Do not fill my innermost self with ever new fire, with ever new grief! If once, the tormented soul rests, And the feverish, w ild blood does not Roll, scalding, through my veins — One beam, one fleeting ray of your light awakens the full rage of my pain, which, snake­line, bites into my heart. I n  m einer  Nachte Sehnen (In my nigh t’s longing) In my night’s longing, So deeply alone With a thousand, thousand tears, i think of you. Oh, whoever beholds your face, Whoever is  intimate with the beautiful fire of your mind that glows through you, Whoever your kisses have burned, Who, over and above desire, Has submerged all  his senses in your breast, How should his soul and body rest in  peace If he were parted from you, You divine woman! Unbewegte laue Luft (Unm oving warm air) Unmoving warm air, Deep peace of nature Through the still garden night Only the fountain splashes. But in  my feelings sw ell hotter desires, But in my veins life quivers And longs for life. Should not your breast, too, Longingly rise with desire? Should not my soul call Through to the depths of your own? Softly with ethereal feet Do not linger, floating there! Come, oh come, So that we can give each other Heavenly satisfaction. �Chansons de Bilitis (Songs of Bilitis) ll. La fl i t e d  e Pan (The flute of Pan) For the day of the hyacinths, He gave me a flute Made of well­tied reeds. Bound with white wax That is sweet on my lips Like honey. He teaches me to play, Sitting on his knee. But I tremble a little. He plays after me so softly That I can hardly hear it. We have nothing to say, So close are we one to the other. But our songs want to converse, And turn b y turn, our mouths unite on the flute. It is late. Here is the song of the green frogs That begins with the night. My mother will never believe That I stayed so long looking for my Lost belt. La chevelure (The Tresses of hair) He said to me: “This night, I have dreamed. I had your hair around my throat. I had your tresses like a black collar Around my neck, and on my chest. I caressed them, and they were mine And we were tied together forever like that, By the same hair, mouth upon mouth. just as two laurel trees often have but one root. And, little by little, it seemed to me, So much were our limbs intertwined That I became you yourself, And that you entered into me Like my dream.” When he had finished He put his hands gently on my shoulders And he looked at me with such a tender gaze That I lowered my eyes With a shiver. Le tombeau des Naiades (The tomb of the Naiads) Along the forest covered with frost, I walked My hair in front of my mouth Flowered with little icicles And my sandals were heavy with snow, Muddy and hard­packed. He said to me: “What do you seek?” “I follow the trail of the satyr. His little cloven tracks Alternate like burrows In a white cloak.” He said to me: “The satyrs are dead. The satyrs and the nymphs too. In thirty years there has not been Such a horrible winter. The tracks that you see are those o fa  deer. But let us stay here, near their tomb.” And with the iron of his spade He broke the ice of the spring Where once the Naiads had laughed. He took up great pieces of ice, and, Holding them up to the pale sky, He looked through them. �Arias from Ha ndel’s Ariodante II. E vivo ancora . . . cherza infida (And I still live . . . Laugh, faithless one) And I still live, and without my sword! Oh gods, what should I do? What do you say, my sorrows? Laugh, faithless one, in the bosom of your beloved. By your fault I was betrayed Into the arms of death I go! But to break your shameful bond, I shall return as a ghostly sorrow, A naked spirit,  to torment you. The stories I heard about America! They have roast ducks and roast chickens that fly through the air. All you have to do is pick them out of the sky. And the streets are full of milk and honey. That’s how beautiful it is. Clara S turz Schmidt, born 1905, emigrated from Germany in 1923 at age 18. My mother was sick when I le ft. And when I left, she went partways with me. We had no clinic in our hometown, and she had to go to the clinic. She went with me when I left for America and went to the clinic on the same day that I left. And she said, “Oh, kiss me, because I’m not going to see you anymore.” [ should never have left her. Catherine Gae tano Gallippi, born 1914, emigrated from Italy in 192 2 at age 8. Dapa notte (After the night) After the night, bitter and deathly The sun spledors More beautifully in the sky. And the earth is bathed in joy. When we came to America, my mother complained, “My God, I thought America was supposed to be something great. They have gaslights here. We had electric lights in Italy.” Anna Zagar Klarich While in the horrible tempest My boat was almost destroyed; It arrived in the port, grasped by the shore. Vignettes: Ellis Island Martha Kallens Reininger, born 1911, emigrated from Germany in 1924 at age 13. IV. Emma Schmid  Schwarz, born 1907, emigrated from Germany in 1926 at age 18. The morning that I left, my mother was already sitting on my bed at five o’clock, telling me to be always nice and decent, clean, and do the right thing. Work hard, as good as you can, the best is not too much. And she says, “Always see to it that people look up to you, not down to you. And be a good worker.” And my mother always kept saying, “I know I’ll always have you. You are my youngest. I’ll always have you with me.” And it didn’t happen. I was the one that left, that went away the furthest. Anna Zagar Klarich, born 1902, emigrated from Yugoslavia in 1920 at age 18. I really didn’t have too much to pack. 1 had a pair of new shoes, and I was walking barefoot because I wanted to save my new shoes for America. And I had a new dress but I just wore my skirt and blouse because I was saving my new dress for America. I came into my mother’s apartment and she had lace curtains. We didn’t have that in Europe. And I was just admiring those lace curtains. They were so beautiful. And my mother said, “There are cookies in the kitchen. When you want, you just go and help yourself.” And she gave me her nightgown, a big nightgown and I put it on. I got up a six o’clock in the morning and then went into the kitchen and I got myself  four big cookies and I put them on my lap. And I’m eating my cookies and admiring those curtains and my mother peeked in my bedroom. And I was so embarrassed that I had these cookies in my lap and I was so hungry for cookies. She said, “Don’t be embarrassed. Just eat them. Eat all that you want.” I was in heaven. Epilogue: Anna Zagar Klarich This is my life and that’s how I lived it and that’s how I came here and that’s it. �NOTE S O N  T H E  PROG EAM Johann es Brah ms’ Op. 57 — Songs on tex ts by Da umer Claude Debussy’s Chansons de Bilitis Published in the late summer o f 1871, the eight songs of Op. 57 received their first performance as a set on December 18'", 1872. United by a theme of erotic and unrequited love, the eight poems are all by Georg Friedrich Daumer. Only three other cy cles by Brahms consist of works entirely by one poet: the Ophelia­Lieder, Op. 33, and the Vier ernste Gesdnge. The cycle i s characterized in musical terms by a tonal trajectory from G Major in the first song, through several seemingly unrelated keys, to a center of E, ending in E Major. Debussy’s Chansons de Bilitis were completed in March of 1898, and they contain some of  Debussy’s most descriptive and evocative music.  He described the poems (There are over 130 in the original set) by his good friend Pierre Lo iiys as containing: “all that is passionate, tender, and cruel about being in love, so that the most refined voluptuaries are obliged to recognize the childishness of their activities compared to the fearsome and seductive Bilitis.” The poems are part of a The five songs i chose comprise the first, third, fourth, fifth, and eighth song.  i chose them because they represent the over­arching trajectory of the cycle: beginning in fiery, tear­soaked longing, the narrator brings the audience through dream­like consciousness, into bitter fury, and finally to ecstatic (almost) satisfaction. Textually, these songs are deeply rooted in the natural, physical world.  The narrator’s experience of lo v e  and desire is intrinsically linked to the woods, the fields, and the waters of the countryside around him. Imagery involving blood, fire, and snake­bites evoke . . . well, you know. The first song begins with the narrator looking down onto green fields from “forest­crowned heights” The atmosphere is immediately one of unrequited longing and desire, and is reflected in the wide range of dynamics and registers throughout both the individual song, and the set as a whole. From this emotional beginning. Brahms pulls back and offers a more reflective, but still unrequited, lover, one who has seen his happiness in a dream, but knows it to be false.  The harmonic texture in this song mirrors the suspended sense of dreaming described in the poem itself. Pulled violently from this state of calm acceptance, the third song shows the narrator as openly angry and in deep pain from the start. She gathers herself together, however, and begins a slow burn of jealousy and remorse, of opening an old wound anew. This sense of a gitation  flows into the fourth song, in which the narrator describes many nights spent weeping over his lost love. He asks how anyone can find peace in the aftermath of losing such a passionate love, and the  many transitions to new  tonal centers emphasize  this sense of loss and confusion. in the final song, which is the last song of the full set of eight as well,  the narrator seems to have found peace. He describes a calm, unmoving quality of air in a still garden. This peace is  purely external, however, and again we find the narrator’s experience of love at odds with the serene nature around him. in  his veins, “life longs for li fe,” and his soul reaches out to a love that remains "floating” out of his reach, too “heavenly” and “ethereal” to give him the “heavenly satisfaction” that he once had, and is unable to find again.  Do you think his final plea was successful? is  the last music you hear the sound of resignation, or is his wish being granted at last? long literary  tradition in France; they were sold at first as a translation o f ancient texts discovered at a gravesite. Only after their initial publication did it become clear that they were the contemporary response to Moroccan and Algerian tribal women. Zohra ben Brahmin and Meryem ben Ali were tw o women with whom Loiiys had well­documented and apparently very exciting sexual relationships. Meryem ben Ali was the first Bilitis in many ways; Louys became aquainted with her in 1894, just months before he began work on the Chansons. He had previously described the character who would become Bilitis as 16 years of age, precocious, and inventive. When he met Meryem ben Ali in Algeria with his friend André Gide, she possessed all of these qualities and more. Zohra ben Brahmin was a later acquaintance, and became a true companion. Louys caused the scandal of the season in Paris when he brought her back with him and installed her in her own apartment.  She held a beloved place in Louys’ circle of friends, and was close in particular with Debussy, who was a good friend of Louys'. Bilitis’ companion throughout the first section of the cycle of poems, from which these three are drawn, is the shepard boy Lykas, who introduces Bilitis to her seductive powers. The first song, “La flit e,” is marked “Lent et sans rigeur de rythme. ” Although the key signature indicates B maj/g# min, pentatonic tonalities of the east take precedence over western ideas of key.  ”La chevelure” is  both the second song in Debussy’s setting of Trois chansons de Bilitis as well as the following poem to ”La flate” in Louys’ Chansons. Musically, this song has a much wider dynamic range than the first, and although it is marked “Assez lent” at the outset, the song has a lo ng rhythmic arc that pulses from  the firs t moment of the piece. Again, although a key signature is  indicated, musical devices outside of traditional conceptions of key are employed, such as eastern/ancient Greek — influenced chromaticism and pentatonicism. For the final song, Debussy chose to jump to the end of t h e fi  rst set o f Louys’ poems, to close the cycle with “Le tombeau des Naiades.” Debussy provides us with a “Tres lent” marking but once again creates an  evocative musical  texture that is alive with  motion.  The songs as a whole document the passage from innocence into experience; in the poem that directly precedes “Le tombeau des Naiades” Bilitis sings a lullaby to her newborn daughter. �G. F. Handel’s Ariodante Alan Louis Smith’s Vignettes: Ellis Island The whole thing! just kidding. In “E vivo ancora . . . Scherza infida” Ariodante has just been prevented from committing suicide by his brother, Lurcanio. The plot of Ariodante is, like many of Handel’s Greek mythology­inspired operas, obtuse and wacky yet also fabulous. The libretto was adapted from Canti 5 and 6 of Ludovico Ariosto’s Orlando Furioso. Ariodante is a young knight in love with the princess Ginerva. She has many suitors, and an unfaithful friend, two things which prove to be problematic plot points. Dalina, her lady­in­waiting with a heart of coal, dresses in Ginerva’s clothes and accepts advances from Polinesso, one of the many hopefuls at Ginerva’s door. Ariodante sees this, and it is his horror at her betrayal that motivates him to seek his own death. When he is prevented from this, he turns his grief into vengeful anger, and sings the first aria I present here. The plot thickens when he is announced as dead in court, and Ginerva goes insane with grief! More plot thickening ensues, but in the end, Ariodante pulls ye olde disguise trick himself, and emerges triumphant with the girl on his arm. “Dopo notte” is Ariodante’s expression of relief and joy at finding himself betrothed to the right girl, alive, and rescued from his own bitter sorrow. “The earth is bathed in joy " for Ariodante and Ginerva. The music for Smith’s Vignettes: Ellis Island includes a preface written by the author. He writes: “This song cycle was actually the brainchild of Paul Sigrist, Jr., Director of the Ellis Island Oral History Project. I n 1997, he sent me a large number of excerpts from interviews he had conducted with persons who had passed through Ellis Island on their immigrations to America. He specifically chose excerpts in which ‘the use of language, narrative description or emotional content’ struck him ‘as being inherently musical in some way.” He selected specific quotes with music in mind.” The entire cycle consists of 31 songs, and was originally composed for mezzo­soprano Stephanie Blythe. They tell the story of young people, mostly between the ages o f and 21,    leaving their homelands in Europe for America, and their passage through Ellis Island in the Port ofNew York. Musically, the songs in Vignettes: Ellis Island draw on folk idioms, classic American song forms, and European­derived concert music forms. I do not know if Smith was influenced by Charles Ives in his creation of these songs, but to my ear there is a strong relationship to many of that composer’s works in this vivid cycle. The arias both follow a classic Baroque form: an unornamented A section in which a single emotion is illustrated is followed by a contrasting (both musically and textually) B section, in which an opposing emotion is presented. The singer then Acknowledgeme nts returns to the A section to sing the same material again, but this time, with ornaments or embellishments ofher own creation. In the first aria, there is also a recitative before the aria itself. Recitatives in Handel operas were often where the raw emotion of the drama was found. This raw emotion would then be harnessed and channeled into the more formal confines of the following aria. The creativity made possible by this combination of freedom and control is one of the most thrilling and emotionally pleasurable aspects both of singing Baroque opera, and experiencing it as an audience member. I would like to thank Diane Richardson for introducing me to the wonderful Vignettes: Ellis Island songs, and for her help with this program as a whole. My thanks also to Pej Reitz for being such an ex cellent collaborator, and for all of her help navigating the logistical details of a recital. Many, many thanks to Peter Sicilian for being an inspirational, motivational, and all­around wonderful voice teacher, and to judy Berry for her excellent and reassuring help with the beautiful German language! �Bingh amto n University  Musi c Department’s U P C O M I N G  E V E N T S Mid­Day concerts are held on Thursdays, 1.20 PM in Casadesus Recital Hall unless otherwise noted and are FREE Thursday, February 2 4  –  Mid­Day Conc ert — 1:20 PM –  Casadesus Recital Hall — free Saturday, February 2 6 — University Symphony Orches tra : Vive la France –  3 PM ­ ­ O sterhout Concert Theater — $10 general public; $5 faculty/staff/seniors; free for students Sunday, February 2 7  — Wind Symphony Con certo and Aria Compe tition –  6:30 PM –  Casadesus Recital Hall — free Thursday, March 3 — Mid­Day Concert — 1:20 PM — Casadesus Recital Hall — free Saturday, March 5 — Junior Recital : Mark R ossnag el, organ — 3 PM — First Presbyterian Church, Binghamton — free Sunday, March 6 — Wind Symphony : Passa caglia (Homage on B­A­C­ H) — 3 PM — Anderson Center Chamber Hall — free Thursday, March 1 0  — Mid­Day Conc ert — 1:20 PM — Casadesus Recital Hall — free Thursday, March 1 7  — Mid­Day Conc ert — 1:20 PM — Casadesus Recital Hall — free Thursday, March 1 7  — Friedheim Memorial Lecture / Recital Series : Robert Schumann’s Carnaval (Alice Mitchell, speaker and Chai­Kyou Mallinson,  piano)  — 8 PM — Casadesus Recital Hall — $5 general public; free for students (100 student tickets available) For ticket information, please call the Anderson Center  B ox  O ffice at 7 77­AR TS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 59:59:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145413">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145413</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, Cabiria Jacobsen, mezzo-soprano, February 19, 2011 Recital Tape 2011-2-19 Description An account of the resource Held at 3:00 p.m., February 19, 2011, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Jacobsen, Cabiria Reitz, Margaret Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2011-02-19 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 44:16:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE189968">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE189968</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, Danielle McCormick-Knox, soprano April 13, 2008 Recital Tape 2008-4-13 Description An account of the resource Works of Rodrigo, Strauss, Rossini, Mozart, Faure√å¬Å, Rogers, Sondheim, Simon, Weill.Held at 7:30 p.m., April 13, 2008, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Reitz, Margaret A 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 2008-04-13 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 5560132b-2a87-4fcc-9363-a5d3a03d1709