117 10 1775 https://omeka.binghamton.edu/omeka/files/original/ff5b14b4505313340a68f0dde28dd6b9.pdf e6b1fa280a58a3ac881c70de7050e302 PDF Text Text UNIV ARC Recital tape BINGHAMTON UNIVERSITY State University 2005 12-14 of New York SPEC COL MASTER'S RECITAL Donald Truesdail , double bass Chai-Kyou Mallinson, piano Emily Creo, cello Melissa Mattern, viola Elizabeth Bartlett, double bass Wednesday, December 14, 2005 8:00 p.m. Casadesus Recital Hall �PROGRAM Cello Sonata No. 6 in B-flat Major ....... .................. Antonio Vivaldi Largo (Andante Sustenudo) (1678-1741) Allegro (Non Troppo) Largo (Doloroso) Allegro (Spirituoso) Divertimento for Viola, Cello & Double Bass .......... Michael Haydn II. Menuetto/Trio ( 173 7-1806) III. Presto A Night in Tunisia (ca. 1945) .. ...........John Birks "Dizzy" Gillespie (1917-1993) Interpreted by D. Truesdail ~INTERMISSION~ Sonate fur Fagott und Klavier (1938) ..................... Paul Hindemith Leicht bewegt (1895-1963) Langsam/Marsch/Trio/Beschluss, Pastorale-Ruhig Valse Miniature (Op. 1, No. 2) .. ........................ Serge Koussevitzky (1874-1951) �Translations "A Night in Tunisa" The moon is the same moon above you Aglow with its cool evening light But shining at night in Tunisia Never does it shine so bright The stars are aglow in the heavens But only the wise understand That shining at night in Tunisia They guide you through the desert sand Words fail, to tell a tale Too exotic to be told Each night's a deeper night In a world that's ages old The cares of the day seem to vanish The ending of day brings reiease Each wonderful night in Tunisia Where the nights are filled with peace Acknowledgements I would like to thank all of the faculty and staff here at Binghamton University, particularly Stephen Stalker and Chai Kyou Mallinson, for their patience and guidance with regard to my musicai development and this performance specifically. Also, I wish to thank Melissa Mattern, Emily Creo, and Elizabeth Bartlett for their friendship as well as their contributions to my recitals. Thanks also to Carrianne Foote, Melinda Roberts, Timothy Perry, Roberta Crawford, Patti Sunwoo, Alice Mitchell, Michael Carbone, Jane Zuckerman, Jonathan Biggers, Tim Rolls, Sam Chianis, Daniel Fabricius , Burt Mueller, Martha and Chris Weber, Sue Hoffmann, Ron Fisher, Jennifer Tanzini, Bill Tomic, Nilima Rabi, Harry Jacobson, the entire staff at the Music Department at SUNY Fredonia, Dick Thomas, Michael Kinney, Paul Sweeney, Joseph Perkins, Ed Pettengill, Laura Kennedy and Gerald Graham; all of whom have demonstrated profound generosity and understanding concerning my often turbulent professional and artistic life. Finally, I would like to express deep appreciation to my family for their endless support of all my endeavors . �ABOUT THE PERFORMERS DONALD TRUESDAIL is a native of the Binghamton Area, hailing originally from Owego. He received his Bachelor's Degree in Music Education from SUNY Fredonia, and is currently pursuing his Master's in Double Bass Performance from Binghamton University. He has performed diverse musics with several groups in the area, ranging from classical to pop to avant garde, jazz, ethnic and theatre. He teaches elementary Orchestra in the Union Endicott School District as well as several private students in the area. CHAI-KYOU MALLINSON, currently on the faculty of the Department of Music at Binghamton University, received a B.M. degree in Piano from Juilliard, License d'Enseignement from Ecole Normale de Musique de Paris, France and a M.A. degree from Binghamton University, where she studied with Jean Casadesus. A prize winner in the Korean National Music Competition, she was awarded the French Government Scholarship, Tanglewood Summer Music School Full Scholarship and the Fontainebleau American Conservatory Full Scholarship. She gave a debut Recital in Carnegie Recital Hall and has been active as a recitalist, vocal accompanist and coach, and chamber music performer, as well as an active adjudicator of piano auditions and competitions. She appeared in a performance with the Seoul Philharmonic Orchestra, which Eumag Choonchu, one of Korea's most respected music magazines, described as "of rare quality, moving and lyrical." EMILY CREO, a native of Vestal, is a senior majoring in music and minoring in medieval studies. She is a member of both the University Orchestra and the Harpur Chorale, of which she is the president. She serves as treasurer of Music Organizations. She studies cello with Stephen Stalker. MELISSA MATTERN, a native of Glen Head, New York, began studying viola with Dwight Dyer at age eight. She participated in various orchestral and chamber groups throughout high school, such as the C.W. Post Chamber Music Festival, the Long Island Youth Orchestra, touring the South Pacific, and the New York Youth Symphony, which held performances at Carnegie Hall. Last year she participated in the Dublin International Symphonic Festival, performing with the Royal Irish Academy at Christ Church Cathedral. A student of Roberta Crawford, Mattern is a senior pursuing her Bachelor of Arts degree in Music. She is currently principal violist of the Binghamton University Symphony Orchestra. Double bassist ELIZABETH BARTLETT is a native of the Greater Binghamton area, growing up in Johnson City, New York. She graduated from Johnson City Senior High School in 1997. While in high school, Beth studied double bass privately with Mr. Richard Thomas. She received her Bachelor's Degree in Music Education from the Crane School of Music, SUNY Potsdam, in May of 2001. At Crane, Beth studied double bass with Richard Stephan and John Geggie. Upon graduation, Beth has been employed by the Binghamton City School District. She presently teaches at MacArthur School as an elementary string orchestra and general music teacher. Beth enjoys teaching and performing a variety of music within the community. Currently, Beth is studying with Professor Stephen Stalker, as she works towards a Master's Degree in Performance at Binghamton University. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243816&change_lng=en" title="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243816&change_lng=en">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243816&change_lng=en</a> Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 36:53:00 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, Donald Truesdail, double bass, December 14, 2005 Description An account of the resource Works of Vivaldi, Haydn, Gillespie, Hindemith, Koussevitzky. Held at 8:00 p.m., December 14, 2005, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Mallinson, Chai-Kyou Creo, Emily Mattern, Melissa Bartlett, Elizabeth Truesdail, Donald 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 2005-12-14 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/d3ba4417ef320b73060cbdfd128fd060.pdf 41410a996895d281d263f69ae30721e6 PDF Text Text U ' » . x l a i “5. 8 1 11.3.5 s § AY , , v , 1 1 5 ! ) I. i f ) , l ! n d on C A RA 1 N B INGH AMTO R S ] T Y N I V E State University of New York Departm ent of Music Master ’s Recital Elisa Co rdova, soprano with Margaret Reitz, pia no 1 I Saturday, M ay 10, 2003 8 :00 p.m. Casadesus Recital Hal l �Program .. Joaquin Rodrigo (19011999) CuatroMadrigalesAmatorios............................. . ene Con que la lavare? Vos me matasteis De donde venis, amore? De los Alamos vengo, madre Die Forelle l ll n n o c o o o . . . n – . n . – . . . . n n . o n . . . . . . o a o n o n – – o c o o o u c o o – o . – Gretchen am Spinnrade Franz Schubert (17971828) Giacomo Puccini (18581924) Sole e Amore Terra e Mare O, mio babbino caro from Gianni Schicchi Intermission Green Extase C’est I’extase Le Manoir de Rosemonde Oh, never sing to me again Lilacs In the silence of the secret night Bee! I’m expecting you! The Bird The Serpent .......Claude Debussy (18621918) Henri Duparc (18481933) ....Claude Debussy Henri Duparc ...........Sergei Rachmaninov (18731943) .............John Duke (18991984) .............Lee Hoiby (b. 1926) r l1 i �T ranslations Con que la lavare? (With what shall I bathe?) With what shall I bathe the bloom of my face, Now that I live in so much pain. The wives bathe their faces with lemon water. I’ll wash my marks of anguish. with pain and sorrow. Vos me matasteis (You have killed me) You have killed me, girl of the long tresses. Child, I am dead, you have made me dead. On the banks of the river I saw a virgin... Girl of the long tresses, you have killed me. De donde venis, amore? (Where have you come from, my love?) Where have you come from, my love? I know full well where you’ve been! Where have you come from, my friend? Ah, if I could only be a witness. De los Alamos vengo, Madre (From the Poplars I come, Mother) I have been to the poplars, Mother. I have seen how the branches sway in the breezes. I have been to the poplars of Seville to see my beautiful friend. Die Forelle (The Trout) In a clear brook, Merrily speeding, a playful trout shot past like an arrow. I stood on the bank, Watching with happy ease the lively little ﬁsh Swimming in the clear brook. A ﬁsherman with his rod was standing there on the bank, Coldbloodedly watching the ﬁsh dart to and fro... “As long as the water remains clear,” I thought, “He will not catch the trout with his rod.” But at last the thief could not wait any longer. With guile he made the water muddy, And, before I could guess it, His rod jerked, The ﬁsh was ﬂoundering on it, And my blood boiled as I saw the betrayed one. Der Tod und das Madchen (Death and the Maiden) (The Maiden) Pass me by, oh pass me by, Go, wild skeleton! I am still young: go, dear one, And touch me not! (Death) Give me your hand, oh fair and tender form! I am your friend; I do not come to punish. Be of good cheer! I am not wild, You shall sleep softly in my arms. �G retchen am Spinnrade (G retchen a t the SpinningWheel) My peace is gone, my heart is heavy, I can never ﬁnd peace, never again. In his absence, I feel as if dead, And the whole world is turned to gall. My poor head is distracted, My poor mind is shattered, My peace is gone, my heart is heavy, I can never ﬁnd peace, never again. For him alone I look out of the window For him alone I go out of the house. His lofty carriage, his noble form, The smile of his lips, the power in his glance. And the magic ﬂow of his speech, The clasp of his hand, and oh! His kiss! My peace is gone, my heart is heavy, I can never ﬁnd peace, never again. My bosom yearns towards him, Oh, might I grasp and hold him! And kiss him all I could, And on his kisses I would pass away! Sole e Amore (Sun and Love) The sun joyfully taps at your windows; Love very softly taps at your heart, and they are both calling you. The sun says: “Oh, sleeper, show yourself for you are beautiful!” Love says: “Sister, with your ﬁrst thought Think of the one who loves you! Think of the one who loves you! Think!” To Paganini, G. Puccini Te rra e Mare ( Earth and Sea) The long rows of poplars, bent by the wind, Are roaring again. In the darkness, half asleep, I hear them And I dream of the voice of the sea. And I dream of the deep voice With its peaceful, mighty rhythms ; Reﬂected in the wave, the stars shining in the sky Are looking at me. But the wind rages louder Through the long row of poplars, It wakes me from m y joyous sleep... Distant is the voice o f the sea! O mio babbino caro (Oh, my darling father) Oh, my darling father I like him so, h e’s so handsome! I want to go to the Porta Rossa to buy the wedding ring. Yes, yes! There I want to go. But if my love is in vain, I will throw myself into the Arno River. I am so tormented, Oh, God... I’d rather die. Daddy, have pity. Daddy, have pity. �G reen (G reen) Here are fruits, ﬂowers, leaves, and branches, And here too is my heart that beats only for you. U Do not destroy it with your two white : hands, and to your lovely eyes may the humble gift seem sweet! I come covered with dew that the morning breeze has chilled on my brow. Let m y weariness, resting at your feet, Dream of dear moments that will bring repose. On your young breast let me rest my head Still ringing with your last kisses. Let it be appeased after the good tempest, That I may sleep a little as you rest. Extase (Ecstasy) On a pale lily, my heart sleeps a sleep sweet as death... Exquisite death, death perfumed by the breath of the beloved... On your pale breast my heart sleeps a sleep sweet as death... l l C ’est l’extase (It is ecstasy) It is languorous ecstasy, it is loving fatigue, it is all the tremors of the woods in the embrace of the breezes, it is in the gray branches, the choir of tiny voices. Oh, the frail, fresh murmuring! That twittering and whispering is like the sweet cry breathed out by the ruﬀled grass... You would say, beneath the swirling waters, the muted rolling of the pebbles. This soul which mourns is subdued lamentation, it is ours, is it not? Mine, say, and yours, breathing in a humble anthem in the warm evening, very softly? Le Manoir de Rosamonde (The Manor of Rosamund) With its sudden and voracious fang, Like a dog, love has bitten me. By following the blood I have shed, Go! You will be able to follow my trail. Take a thoroughbred horse, set out, follow my arduous way, bog or hidden path, If the journey does not exhaust you! In passing where I have passed, you will see that alone and wounded, I have roamed this sad world, and that thus I went to die far away, far away, without ever discovering the blue manor of Rosamund. �Ne poi k rasavitsa pri mne (Oh, never sing to me again) Sing not, Oh lovely one, in my presence Your melodies of sorrowful Georgia, They recall in me Another life and a distant shore Alas, your cruel song recalls in me the steppe, the night, and in the moonlight, The features of a maiden, sad and faraway! I see you and forget that dear and fateful vision But you sing, and it comes to me anew. Sing not, oh lovely one, in my presence Your melodies of fateful Georgia. They recall in me Another life and a distant shore. O dolga budu ja (In the silence of the secret night) Oh, long will I, in the silence of the secret night Banish from my thought and call to memory again Your smile, beguiling words and gaze, > l l l your oﬀhand gaze, Your tresses gentle to my touch ... In whispers to amend the thoughts of which we spoke, timid thoughts, And then in rapture, against all reason, With your cherished name awaken the darkness of the night. Oh, long will I, in the silence of the secret night With your cherished name awaken the darkness of the night. Sirenj (Lilacs) In the morning, at dawn, Through grass wet with dew, I will go to breathe the fresh air. In the fragrant shade where lilacs crowd I will search for my happiness there... One happiness only in my life I will ﬁnd, And it dwells in a lilac bower, On green branches, In fragrant clusters, My meek happiness blooms. l l �About the Performers I ELISA CORDOVA, a native of Chile, is a Resident Artist with TriCities Opera where she made her debut in 2001 as Gretel in Hansel and Gretel. She appeared last season as Nella in Ithaca Opera’s production of Gianni Schicchi. Some of her favorite roles include Adele in Die Fledermaus with the Brevard Music Festival, Despina in Cosi fan tutte, and Bianca in La Rondine with the “Teatro Felice” in New York City. While residing in New York, she also toured with the Metropolitan Opera Guild’s Outreach division for their 20002001 season. In addition to Opera, Cordova is an active recitalist. She has premiered new works throughout the United States, Italy, and Chile in connection with various artists such as Steve Reich, Christopher Larkin, and her father, composer and guitarist, Miguel Cordova. Elisa Cordova is a graduate of the Eastman School of Music and the University of Rochester where she earned a BM in Vocal Performance and a BA in Psychology. Cordova is a recipient of a Clark Fellowship and is proud to be graduating with a Masters in Opera from Binghamton University this spring. This summer, she will perform as solo guest artist with the Orchesta Philomusica de Asuncion in Paraguay, South America. l MARGARET REITZ, pianist, 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, and at the American Institute of Musical Studies in Graz, Austria. She and Binghamton University faculty member Timothy Perry were winners of the 1997 Artistic Ambassadors Program of the United States Information Agency in partnership with the John F. Kennedy Center for the Performing Arts. They were invited to present a recital at the International Clarinet Conference in Paris in 1996 and in Belgium in 1999. She recently performed at a Chamber Music Workshop in Chapel Hill, North Carolina. She was an oﬀicial accompanist for the MTNA State and Eastern Division Competition held at Ithaca College in 2001. She will be a guest soloist with the Binghamton Community Orchestra in Spring 2 003. Reitz has been on the faculty at Binghamton University since 1991 and The Ithaca College School of Music since 1999. She maintains a private piano studio. in Vestal. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 0:54:26 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253385&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253385&change_lng=en&select_viewer=metsViewer</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, Elisa Cordova, soprano, May 10, 2003 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2003-5-10 Description An account of the resource Works of Rodrigo, Schubert, Puccini, Debussy, Duparc, Rachmaninov, Duke, Hoiby. Translations of works available in accompanying program. Held at 8:00 p.m., May 10, 2003, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Cordova, Elisa 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 5/10/2003 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/bfa0a2d7deaeed46d4be52d1c31eb40c.pdf a2180c8c3f39b7160adc51b5da11ed14 PDF Text Text I ’ s3 3 ! L V R e \ l i " BINGHAMTON U N I V E R S I T Y State University of New York zldec ® D E P A R T M E N T MASTER’S RECITAL Elizabeth Bartlett, double bass Margaret Reitz, piano Satu rd a y, Octo ber 15, 2005 3:00 p.m. Casadesus Recital Hall �PROGRAM Sonata No. 5 in e minor for violoncello and basso continuo, RV 40 Largo Allegro ma non troppo Largo doloroso Allegro con spirito Elegy Antonio Vivaldi (16781741) Lucas Drew, ed. ........GiovanniBottesini (18211889) Oscar G. Zimmerman, ed. ~INTERMISSION~ Sonatina Allegro Andanie Arthur Olaf Alilsrsén (18801956) Rondo ) Russian Sailors’ Dance Reinhold Gliere (18751956) George Vance, arr. �PROGRAM NOTES by Elizabeth Bartlett Greatly renowned Italian composer Antonio Vivaldi was born in Venice on March 4, 1678. Vivaldi was trained for the priesthood and ordained in 1703, but after claiming poor health was appointed maestro di violino at the Ospedale della Pieta, one of the Venetian girls’ orphanages. Although Vivaldi’s music is popular today, when he died in Vienna, Austria on July 28, 1741, his music was quickly forgotten. A nineteenth century renewal of interest in Vivaldi’s music brought about the revival of some the composer’s works. The revival continued into the twentieth century and by the end of it, Vivaldi’s The Four Seasons became one of the most popular ‘classical’ pieces of all time, topping the charts year after year. Originally, Vivaldi composed a total ten sonatas for violoncello and basso continuo of which one is completely lost. Of the remaining, three exist in manuscript form. Two of them, the a minor, RV 44, and the Eﬂat, RV 39, are preserved in the Conservatory Library in Naples, and one in g minor, RV 42 in the Castle Library in Wiesentheid in Germany. The other six were printed in a contemporary French edition; the original manuscript is in the National Library of Paris. The manuscript consists of 42 pages on which the cello part and the bass (not ﬁgured) are written neatly and plainly on tw o staves. All six sonatas follow the same overall form, four movements (Largo, Allego, Largo, Allegro). A certain relationship exists between these cello sonatas with their four movements and the old sonata de chiesa (church sonatas) of the earlier Baroque style. These sonatas were possibly written many years before their actual date of publication in 1740 for and performed ~ by Vivaldi’s students at the Pieta orphanage in Venice. Giovanni Bottesini, born December 22, 1821, was not only among the most famous Italian double bass players of his time, but was also a conductor of some distinction and a composer. He conducted the ﬁrst performance of Verdi’s opera Aida in Cairo in 1871 and won success with some, at least, o f his own ten operas. Known to some as the Paganini of the double bass, he signiﬁcantly extended the technical possibilities of the instrument. Bottesini’s compositions include a number of double bass concertos, some for double bass and piano, as well as works for solo violin and double bass and for two double basses. His Metodo completo per contrabasso is an important addition to the pedagogical literature o f the instrument. Bottesini ’s original compositions and transcriptions of wellknown melodies broaden music for the double bass past before thought unimaginable capabilities of musical expression. His Elegy demonstrates his broad palette of fascinating tone colors, the cantabile line and the possibilities of musical expression to unheard of heights on the double bass. Y 1 l Arthur Olaf Andersen, born January 30, 1880, was a music educator and administrator, music theorist and composer. Andersen was Head of the Department of Music Theory at the American Conservatory of Music in Chicago from 1908 to 1929, and Dean and Head of the Theory Department at University of Arizona from 1929 to 1934. He published many books including: First Forty Lessons in Harmony (1923) and Practical Orchestration (1929), along with numerous music theory books and compositions. Sonatina (1942) is a work with the formal characteristics of a sonata but on a smaller scale. Andersen’s Sonatina, although written in the 20” century, possesses characteristics from the Classical period. The ﬁrst movement, Allegro, is in sonata form. The lively ﬁrst theme in the exposition is in the key of G major, proceeds to a very short development in g minor. The recapitulation, in the original key, moves to a coda with a strong ﬁnish on the tonic chord. The second movement, Andante, is very short and in ternary form. The ﬁnal movement is a lively Rondo. The principal section is in the key of G major alternates with two subsidiary sections; the ﬁrst one being in the key of C major, the second subsidiary section is in the key of b minor. As a young boy, Russian composer Reinhold Gliere, born January 1 1, 1875, studied violin, theory and composition. From 19201941 he was professor of composition at the Moscow Conservatory. Among his pupils” were Prokoﬁev, Miaskovsky, and Khachaturian. His compositions, generally nationalistic with romantic and impressionistic elements, show the inﬂuence of Russian folk melodies that he collected in Europe and Asia. His bestknown works are the ballet The Red Poppy (1927) and his Third Symphony (Ilya Mourometz, 19091911). Russian Sailor ’s Dance, which comes from the ballet The Red Poppy, is a fast moving and exciting piece that is a perfect intensity builder. As the instrumentalist plays through the piece the tempo builds making for an exciting conclusion. This arrangement by George Vance takes a familiar tune and makes it exciting to perform. �ABOUT THE PERFOR MERS Double bassist ELIZABETH BARTLETT is a native of the Greater Binghamton area, growing up in Johnson City, New York. She graduated from Johnson City Senior High School in 1997. While in high school, Beth studied double bass privately with Richard Thomas. She received her Bachelor’s Degree in Music Education from the Crane School of Music, SUNY Potsdam, in May of 2001. At Crane, Beth studied double bass with Richard Stephan and John Geggie. Upon graduation, Beth has been employed by the Binghamton City School District. She presently teaches at MacArthur School as elementary string orchestra and general music teacher. Beth enjoys teaching and performing a variety of music within the community. In addition to teaching private string lessons, she has been a member of the Binghamton Community Orchestra as wel l as lending her talents to local theater company SRO Productions III as a pit orchestra performe r in their many productions. Currently, Beth is studying with Professor Stephen Stalker, as she works towards a Master’s of Music in Double Bass at Binghamton University. MARGARET REITZ is a native of the Binghamton area. She received her Bachelor and Master of Music degrees in piano performance with accompan ying emphasis. She attended Boston University, New England Conservatory and Binghamton University. She has accompanies throughout the United States, in England, South America, and at the American Institute of Musical Studies in Graz, Austria. She and Binghamton University faculty members Timothy Perry and Stephen Stalker were invited to present a recital at the International Clarinet Conference in Tokyo this past summer. She has been on the faculty at Binghamton University since 1991 and Ithaca College School of Music since 1999. She maintains a private piano studio in Vestal, New Yor k. She is on the Executive Board of the New York District MTNA organization. She is past president of the local Southern Tier Music Teachers Association and is an active adjudicator for the National Piano Guild Organization. �COMING EVEN TS Saturday, October 15 – A Bach Celebration 8:00 p.m. – Anderson Center Chamber Hall $18 general public; $16 faculty/staﬀ/seniors; $10 students (A Beneﬁt for the Music Departm ent) Thursday, October 20 – MidDay Concert with faculty and student performers – 1 :20 p.m. – Casadesus Recital Hall free Saturday, October 22 – An Evening of Rodgers and Ham merstein – University Orchestra, Harpur Chorale and soloists – 8:00 p.m. – Osterhout Concert Theater $18 general public; $16 faculty/staﬀ/seniors; $10 students (A Beneﬁt for the Music Department) Thursday, October 27 – MidDay Concert with faculty and student performers – 1:20 p.m. – Casadesus Recital Hall free F riday, October 28 – Guest Organist : Ro bert Poovey – 8:00 p.m. – First Presbyterian Church, Chenango St., Binghamton $14 general public; $12 faculty/staﬀ/seniors; $6 students Sunday, October 30 – University Wind Ensemble – 3:00 p.m. – Anderson Center Chamber Hall free Th ursday, November 3 – MidDay Concert with faculty and student performers – 1 :20 p.m. – Casadesus Recital Hall free F riday, November 4 – Master ’s Recital : J ud y Zhu, piano – 8:00 p.m. Casadesus Recital Hall free Saturday, November 5 – Song of Silk : A Concert of Chinese Music with Hong Zhang, mezzosoprano, Margaret Reitz, piano and guests – 8:00 p.m. – Anderson Center Chamber Hall $14 general public; $12 faculty/staﬀlseniors; $8 students Thursday, November 10 – Mid Day Concert with faculty and student performers – 1:20 p.m. – Casadesus Recital Hall free Saturday, November 12 University Chorus with Binghamton P hil harmonic – 8:00 p.m. – Osterhout Concert Theater (For tickets, contact the Binghamt on Philharmonic). Th ursday, November 1 7 – Jazz MidDay Concert with guest artists – 1 :20 p.m. – Osterhout Concert Theater – free Th ursday, November 1 7 ~ H arp u r Jazz E nsemble with guest artists – 8:00 p.m. – Osterhout Concert Theater $9 general public; $7 faculty/staﬀ/seniors; free for students l � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 29:33:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243782&change_lng=en" title="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243782&change_lng=en">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243782&change_lng=en</a><a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243785&change_lng=en" title="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243785&change_lng=en"></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, Elizabeth Bartlett, double bass, October 10, 2005 Description An account of the resource Works of Vivaldi, Bottesini, Andersen, Glière. Held at 3:00 p.m., October 15, 2005, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Reitz, Margaret Bartlett, Elizabeth Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2005-10-15 Rights Information about rights held in and over the resource In copyright Format The file format, physical medium, or dimensions of the resource https://omeka.binghamton.edu/omeka/files/original/b5fef3d90b43c08964d92d5d64d66d6f.pdf 9bae68adeb7ba9e12e4512c7edb83a1f PDF Text Text BINGHA MT ON U N T V E R B I T Y U N I V E R S I T Y O F N E W Y O R K R E Ze EC P MASTERS RE CITAL IOLIN JAMES H S I A , V wiih M L’ O h a e é j a Z f WJ / é ' j o e m j m f z g ; ] Prano abriele Mare; violing Joes Ht &G viola A Z Z a / C m f d a / Q M OZ ’ A n dW Bew Pochily, Nander Edwards; cello ' S a n d a y Ma y 1 s t 2 011 Casadesus Recita l fall 7 : 3 0 p . [ 774 ' ; �PROGRAM J.S. Bach Sonata No. 2 in a minor for Solo Violin, BWV 1003 (1685–1750) Andante Allegro F \ Sonata in A Major for Piano and Violin Op. 30 No.1...........coeeeeeiivnneninniennnne.... Van Beethoven (1770–1827) Allegro Adagio molto expressivo Allegretto con variazioni A} w INTERMISSION cs String Quartet No. 8 in c minor, op. 110... Dmitri Shostakovich (1906–1975) Largo Allegro Molto Allegretto Largo Largo l Sonata in D Major for Violin and Piano Op. 98bls Moderato ‘Scherzo: Presto Andante Allegro Con Brio Sergey Prokoﬁev (1891–1953) l ) Mr. Hsia’s performance is in partial fulﬁllment of the requirements for the Master of Music degree in Violin Per formance. He is a student in the ‘ studio of Professor Janey Choir �ABOUT THE PERFORMERS Taiwan ese violinist J AMES HSIA has performed regularly throughout New York State presenting a wide range of repertoire including concertos by Paganini, Mendelssohn, and Bruch, leading numerous chamber groups, and in ensembles such as the Empire State Yo uth Orchestra, and the Southern Tier Symphony under the director John Whitney. While attaining his Bachelor o f Music Education degree at SUNY Fredonia, studying with Janet Sung, he was regularly featured on their performance series as recitalist and chamber musician, and was selected from the SUNY Fredonia Symphony Orchestra to perform in the Chamber Orchestra, and Chamber Opera Orchestra under the direction of David Rudge from 2006–2010. This past summe r, he participated in the Hot Springs Music Festival working with violinist Jessica Mathaes, and Todd Cranson, Director of the University of Illinois Chamber Orchestra. He has also appeared in concert halls including Carnegie Hall, the Tan glewoo d Music Hall, and Tr oy Savings Bank Music Hall. He is currently a student of Janey Choi, studying at Binghamton University pursuing a Master o f Music Degree in Violin Performance. MICHA EL SALMI RS, a founding member and artistic director of the Finger Lakes Chamber Ensemble, is well known as a recitalist and chamber musician, appearing as soloist with the Corning Philharmonic, Binghamton University, and Cayuga Chamber Orchestra. As a performer of contemporary music, he has premiered numerous solo and chamber works and has participated in such series as Binghamton University’s Musica Nova, Cornell University’s Ensemble X, and has toured and recorded for the Syracuse Society for New Music. As a composer he has just completed ,Silenced Voice for Viola and Piano, which was premiered October 17 at Binghamton University. 1 ,l Mr. Salmirs studied at the New England Conservatory and Eastman School of Music; his teachers have included pianists Leonard Shure and Rebecca Penneys and composer Ka rel Husa. Salmirs has taught at the Syracuse University School of Music and Hobart and William Smith Colleges. He is currently a faculty memb er at Binghamton University, teaching piano and coaching chamber music. He also maintains a private piano studio in Ithaca. JIEUN JANG is a senior Bachelor of Music student from South Korea. She has been studying piano with Michael Salmirs, and she is graduating this semester. She plans to pursue a Master’s degree in music history at Hunter College. She performed with many departmental ensembles such as University Symphony Orchestra, Wind Symphony, University String Orchestra and University Chamber Chorus. She plans to specialize in Sergei Prokoﬁev’s music. I I ALLA CORDA was formed in September, 2010. The members of the quartet include: Gabrielle Maire, a freshman in PreMedical program studying violin with Professor Janey Choi, Ben Pochily, a freshman Music Performance major studying viola with Professor Roberta Crawford, and Xander Edwards, a freshman Economics major studying with Professor Stephen Stalker. H istory o f the A lla Co rda T shirts — The quartet often gets together with or without instruments to improve the quality o f our music making. This includes but is not limited to: rehearsals, lunch/dinner together, and late night runs to Walmart. The Alla Corda T shirts are the products of a late night ru n to Walmart, and were designed by the quartet’s own Gabrielle Maire. } �PROGRAM NOTES Johan n Seb astian Bach (1685–1750) spent a great amount of his lif e composing a nd performing music for the or gan and for the Luthera n church. He was a virtuoso on organ, violin, and many consider hi m to b e the greatest composer o f his time. In 1717, Bach was hired b y Prin ce Leopold of Kéthen to serve as his director of music. During this service Bach’s compositions were mostly secular. Ba ch completed the Three Sonatas and Three Partitas for Unaccompanied Violin in 1720, but they were not published until 1802. These works o f Bach were still largely ignored even after the publication until the famous violinist Josef Joachim began performing these works a halfcentury later. German composer Ludw ig van Beeth oven (1770–1827) concentrated his musical output o n piano and chamber music. Beethoven’s works are often divided into three periods: the early phase, up to 1802; the middle phase, 1802–1815, and the late phase, 1815–1827. Sonata for Piano Violin No. 6 in A major, the ﬁrst o f his Opus 30 set, was compos & ed between 1801 and 1802, published in M ay 1803, and dedicated to Tsar Alexander I o f Russia. This was an example of Beethoven’s early wo rks, which marked the beginning of his transition into symphonic forms. Beethoven wrote almost all his orchestral music between 1800–181 4 including 8 symphonies, and the Violin Concerto in D major. The String Quartet No. 8 in C minor, b y Dmi tri Sh ostako vich (1906– 1975), was written in three days from July 12th to 14th, 1960. Shostakovich wrote the piece after his diagnosis with polio, and his reluctant joining of the Communist Party. This powerful piece explore s the darkest aspects of human experience: sorrow, terror, violence, death, shock, and grief. He dedicated this piece t o the victims of war and fascism but secretly it was a piece written for himself. He uses his personal signature motif: DSCH, a German transliteration of his nam e which translates to the notes D, EFlat, C, B, and appears throughou t this piece. Each movement contains an attacca leading to the next movement that makes this quartet ﬂow seamlessly from the beginning to the end. The ﬁrst movement, ﬁlled with tense foreboding, foreshadows the explosive and ﬁerce second movement, whose massive violence is impossible to ignore. Shostakovich intends to show the confusion an d horror inﬂicted upon the Russian people by the government through the violence in the second movement. Shostakovich ends this quartet with the same tempo and same dynamics as at the start of the piece. This brings out sadness — a reﬂection of the victims of war and fascism. Sergey Proko ﬁev (1891–1953) was a ‘Russian pianist born in Sontsovka. H is mother Mariya Zitkova, an educated woman who loved the arts, taught him piano at age four. His father took charge of Prokoﬁev’s education in the sciences and foreign languages. He wa s well taken care of at home by his parents because he was the only child in the family who survived infancy. Prokoﬁev began composition at a very young age and composed his ﬁrst opera, Ve/ikan, at age nine. Prokoﬁev was considered one o f the greatest composers in the Soviet Union during War World II, and was awarded the Honoured Artist title of the RSFS R (Russian Soviet Federative Socialist Republic) in 1943. During that time hi s compositions we re reactions to the war and we re , often used as propaganda. The Flute Sonata Op. 94 was written in 1943, an d was premiered on December 7 of the same year in Moscow. I t was later transcribed fo violin and piano at the request of the famous violin virtuoso Davidr Oistrakh. The transcription became Prokoﬁev’s Sonata for Violin and Piano No. 2 in Dmajor, Op 94b.Prokoﬁev’s arrangement f or violin and piano is just as challenging, if not more so, than the original. It feature s technical challenges for the left hand such as w ide skips across the range of the violin, artiﬁcial harmonies, octaves, an d running 32nd not es with diﬀerent accidentals. The four movements in the Sonata contain a wide range o f emotions. This was a mature composition that was mean to be played with great passion. The ﬁrst movement is lyrical andt Prokoﬁev experiments with diﬀerent tone colors by having the violinis play in many diﬀerent positions that show oﬀ a variety of virtuosict techniques. The second movement starts immediately with a playfu style, as if musically demonstrating a cat and mouse playing hide andl seek. Prokoﬁev ends the movement by going up to the highest regis ter on the violin with a C7 and ﬁnishing with a fortissimo pizzicato._ln th e third movement, Prokoﬁev returns to a slow tempo that is lyrical and uses a very legato bowing that evokes a melancholy feeling. In the las t movement Prokoﬁev moves away from all the previous movements with a very martial and metronomic style. The music moves forward with «a very dry articulation by putting stress on almost every beat of t he ba t; leading to a strong and triumphant ﬁnish. * \ 4 ¥: A �Binghamton University M usic D epartment’s U P C O M I N G E V E N T S 6 & 6 @ 6 & 6 @ 6 & 6 é ¢ 6 & 6 r 3 ¢ 6 6 ~ Thursday, May 5 — MidDay C o n c e r t 1:20 p.m. — Casadesus Recital Hall — free Thursday, May 5 — African M usic Ensemble — 7:00 p.m. — Anderson Chamber Hall — free Friday, May 6 — F lute Studio Recita l — 10:15 a.m. — Casadesus Recital Hall — free Friday, May 6 — C omposition I Clas s Recital (Goldsta ub) — 1:10 — 2:10 p.m. — Casadesus Recital Hall — free Friday, May 6 — Faculty R ecital: Jinah Lee, p i a n i s t 8:00 p.m. — Casadesus Recital Hall — $5 general public Saturday, May 7 — African Drum Ens emble — 3:00 p.m. — Library Tower (Spring Fling) — free Saturday, May 7 — Master’s Recital: Robert M uller, French horn — 3:00 p.m. — Casadesus Recital Hall — free Saturday, May 7 — Student Recital: B riana Sakamoto, s oprano — 8:00 p.m. — Casadesus Recital Hall — free Sunday, May 8 — Senior Voice Rec ital: Samantha Ba nton and Molly AdamsToomey — 1:00 p.m. — Casadesus Recital Hall — free Sunday, May 8 — Universi ty Chorus with the University Symph ony Orchestra: Mass M asterworks — 3:00 p.m. — Osterhout Concert Theater — $10 general public; $5 faculty/staﬀ/seniors; free for students Sunday, May 8 — Senior Honors Re cital: Jieun Jang, piano — 7:30 p.m. — Casadesus Recital Hall — free Tuesday, May 10 — Percussion Ens emble — 8 p.m. — Anderson Center Chamber Hall — free Wednesday, May 11 — Composition S eminar Concert (L oy) — 7 p.m. — Casadesus Recital Hall — free Thursday; May 12 — Student Rec ognition MidDay Concert — 1:20 p.m. — Casadesus Recital Hall — free Friday, May 13 — Chinese Mu sic Ensemble Cla ss C o n c e r t 5:00 p.m. — Casadesus Recital Hall — free Wednesday, M ay 18 — Voice Class Recital (MUS143 Chmela) — 1 1 a.m. — Casadesus Recital H a l l f ree ‘ For ticket information, please call the Anderson Cent er B ox O ﬀice at 7 77ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 30:55 45:18 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145476">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145476</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Master's recital, James Hsia, May 1, 2011 Recital Tape 2011-5-1 Description An account of the resource Held at 7:30 p.m., May 1, 2011, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Hsia, James Salmirs, Michael Jang, Jieun Alla Corda Quartet Hsia, James Gabrielle, Maire Pochily, Ben Edwards, Xander Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2011-05-01 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/2a8964aafe650eac35cc4072e8d644a9.pdf c2a070320c527637653ec2b555009778 PDF Text Text BINGHAMTON U N E V E R S I T Y S T A T E U N I V E R S I T Y O F N E W Y O R K owdee [4 RB.EFP A R I M E N T 1 l MASTERS RECITAL JANA KUCERA, SOPRANO with ChaiKyou Mallinson, piano and Geogetta Maiolo, ﬂute Tuesday, December 15, 2009 8:00 p.m. Casadesus Recital Hall �PROGRAM PROGRAM Son tutta duolo (1 60 5 1 674) Vittoria, mio corel (16591725) Victory, my heart! Do not weep any more! (Victory, my heart) Alessandro Scarlatti Intorno all’idol mio .........Marco Antonio Cesti Before, the evil one (1 6 5 71 71 6) Liebst du um Schonheit ... Das Veilchen O weh des Scheidens ....Clara WieckSchumann (1 819 1 896) Mein Stern Loreley That hurls a mortal wound Une Hute I n v i s i b l e . . . wereennnn.Camille SaintSaéns (1 8 3 5 1 92 1 ) Il pleure dans mon coeur . ..............Claude Debussy (1 862 1 9 1 8) Les Heures wereeenn. AmédéeErnest Chausson ( 1 85 5 1 899) Mandoline.........................................Gabriel Edouard Xavier Dupont (1 878 191 4) TAIYAHION FranrD Leoni It’s all I have to bring A Little China Figure. r i n v Would make you suﬀer, With many glances, With false charms set his traps. The deceit, The pain, No longer take place. The fervor of cruel ﬁre Has extinguished. From his smiling eyes No longer darts an arrow & INTERMISSIONCS p The abject slavery of love, Has ended. (162016697?) Giovanni Battista Bassani Dormi bella, dormi tu?... The Year’s at the S L .............Giacomo Carissimi Vittoria, mio corel .. g A (1 864 1949) ...Ernst Bacon (1 898 1990) ..Franco Leoni (1 864 1949) m y Beach (1 86 7 1944) Into my chest. In sadness, in torment, I no longer tear myself to pieces Every snare is broken: Fear has disappeared. Son tutta duolo (I am all sadness) I am all sadness: I have nothing but woes And cruel pain kills me. And for me alone, The stars, the Fate, The gods and Heaven, Are tyrants. Intorno all’idol mio (Around my idol) Drift around my idol, Gentle and pleasant breezes. On his cheeks, Kiss him for me, Kind breezes. Grant pleasant dreams To my beloved, Who sleeps on the wings of peace, And reveal to him, O h spirits, My passion and love. Danni bella, dormi fu? (Do you sleep, beautiful one?) Do you sleep, beautiful one? If you sleep, Dream of being less c ruel ; If you are awake, Oﬀer me some pity! Deep sighs come from my heart, And you do not respond, Ah, cruel love. Beautiful, rebellious eyes, Who opened you? And you say nothing, Ah, cruel love. IL Liebst du um Schonheit (If you love for beauty) If you love for beauty, Oh, do not love mel Love the sun, She has golden hair. If you love for youth, Oh, do not love mel Love the spring, It is young every year. If you love for treasure, Oh, do not love me! Love the mermaid, She has many clear pearls. If you love for love, Oh yes, love me! Love me forever, And I will love you evermore. �Das Veilchen (The Violet): A little violet Stood on the meadow Bent over itself, And u n kno wn Along came a shepherdess Mein Stern (My Star) Oh star of mine! When over the ocean The sun is sinking Winks with faithful comfort In my dark night! Oh star of mine! From a far distance, You are a herald of Loving greetings, Let your beams give me Thirsty kisses In my yearning night. Ah! The maiden came And paid no attention To the little violet. It sank and withered underfoot But rejoiced For even though he died, He died at her feet. Oh star of mine! Please stay And smiling, Travel u p to the star’s rays In dreams appear as my friend ’s bright angel In his dark night. O weh des Scheidens (O woe o f p arting) Loreley O woe of begging, As he begged, His lamenting led to tears. He said to me : “ Leave your tears,” But he himself cried, And left in pain. His teardrops left me wet And cold in my heart. Come! An unseen ﬂute Sighs in the orchards The most gentle song, Is the song of shepherds. Your golden eye With light step and happy demeanor, And sang (as she walked). “Ah!” (Thought the little violet) “If only I were the most beautiful bloom of nature Ah! If she were to press me to her bosom for just a quarter hour!” O woe of parting, That he caused That he has left me, Aching. III. Une ﬂute invisible (An unseen ﬂute) i l The wind ripples beneath the Live Oak And on the dark mirror of the waters The most joyous song, Is the song of birds. Let no care torment you Let us love forever! The most lovely song, Is the song of lovers. 1 pleure dans mon coeur (Tears fall in my heart) Tears fall in my heart As rain falls on the town. What is the listlessness that penetrates my heart? I don’t know what it means, Why I feel so sad; An old tale, Won’t leave my mind. Oh, the soft sound of the rain, On the ground, And on the roofs. The air is cool and dark And the Rhine ﬂows peacefully The top of the rocks Sparkle in the evening sunshine. The most beautiful maiden sits Atop it, sorrowfully; Tears fall without reason In this heart which sickens She combs her golden hair, She combs it with a golden comb, This grief is without reason It is truly the worst pain For a heart which grows listless Oh the sound of the rain! Her golden jewels twinkle ; And sings a song. It has a wondrous, powerful melody. A sailor in a little ship, ls seized with wild anguish; He doesn’t see the rocky reef, He looks up at her at the end I think the waves swallow And kill the sailor and his boat! And that, with her singing, The Loreley has done. What? No betrayl? l lI To not know why. Without love and without hatred, My heart feels so m uch pain. Les Heures (The Hours) The pale hours beneath the moon, Sing until death With a sad smile They move, one by one On a lake bathed in moonlight Where with a sad smile, The stretch out, one by one, Their hands, which lead to death. And some, pale in the moonlight, With unsmiling eyes, Knowing that the hour of death is near, Giver their hands, one by one. And all depart into the shadows, And in the moonlight, To languish and then to die With the hours, one by one, The hours with the pale smile. Mandoline The givers of serenades And the lovely listeners Exchange insipid comments Beneath the singing branches. There is Tircis And there is Aminte And there is the eternal Clitandre And there is Damis, Wh o writes many tender verses For cruel women. Their short jackets of silk, Their long gowns with trains, Their elegance, Their joy, And their soft, blue shadows Whirl in the ecstasy of a pink and gray moon. And the mandoline chatters Amid the shivers of the breeze. �PROGRAM NOTES ABOUT THE PERFORMERS The program begins with four 17th century Italian songs explore and arias that explore various expressions o f love. The ﬁrst, Vittoria, mio core, is one of about 150 cantatas by Carissimi, most of which are longer and more JANA KUCE RA, was raised in Binghamton, New York, and is a 2004 graduate of Chenango Valley. She graduated from Binghamton University in 2008 with a Bachelor of Music, Vocal Performan ce degree, and is currently complex. Son tutta duolo is an aria from Scarlatti’s opera La donna ancora é fedele, a three act dramatic opera with a libretto by Domenico Filippo Contini. Intorno aII’idoI mio is an aria sung by the title character in Cesti’s Orontea, ﬁrst performed at the court theater in Innsbruck on February 19, 1656. The ﬁnal piece in the set, Dormi bella, dormi tu? is a fragment from Basani’s cantata “La Serenata.” Clara WieckSchumann was often encouraged by her husband, Robert, to compose. Liebst du um Schonheit was a birthday gift inscribed “to my beloved husband on the 8th of June, 1841, composed by his Clara,” with text by Friedrich Riickert. O weh des Scheidens (text by Friedrich Riickert) and Loreley (text by Heinrich Heine) are part of a set from another birthday gift to Robert inscribed “to my beloved husband on the 8th of June 1843.” Mein Stern is one of two poems by Friederike Serre, inscribed “for the author with friendly greetings, composed by Clara Schumann.” Das Veilchen with text by Johann Wolfgang von Goethe, is perhaps more widely recognized as a composition by Mozart, but was composed by Clara July 7, 1853. The poem Viens! Une ﬂ u t e invisible soupire by Victor Hugo has inspired a number of composers. Camille SaintSaens’ duettino titled Viens! was written for two voices with piano accom paniment, published in 1856 (the same year the poem was printed as part of Les Contemplations). SaintSaéns returned to the poem in 1885, the year of Hugo’s death, and composed a second version for voice, ﬂute and piano, titling it Une ﬂute Invisible. 11 pleure dans mon coeur is the second piece in Debussy’s Ariettes oubliées, with text from poems by Paul Verlaine. The music is highly chromatic and tonally ambiguous, with the piano accompanying the long vocal lines with what would become Debussy’s typical “raindrop” music. Les Heures is the ﬁrst of three of Chausson’s Op. 27 lieder, composed in 1896 to text by Camille Mauclair. Dupont was a rising French musician who was reaching his potential when he suddenly died at the age of 36. He was an accomplished pianist whose skills translated well to vocal music; his talents at the piano can be seen in his composition of Mandoline. The phrase “Tallyho” is a largely Brit ish phrase, used in foxhunting, shouted when a rider sees the fox: Leoni ’s song was composed in 1919 with text by C.P. Raydon. Ernst Bacon set sixtyseven of Emily Dickinson’s poems, and to accommodate the ﬂexible poetic meter, Bacon mixed duple and triple time. Beach received worldwide fame with her 1899 composition to the Robert Browning poem The Year’s at the Spring; the demanding piano accompaniment no doubt reﬂects the composer’s own career as a professional pianist. pursuing a Masters of Music in Vocal Performance degree under the tutelage of Mary Burgess. She is a member of the TriCities Opera chorus and has performed in nearly 20 operas with them. She recently performed the role of Ulla in “The Producers” at the Endicott Performing Arts Center, and appeared as a soloist in the Summer Savoyards 50” Anniversary Gala. She made her debut with the Summer Savoyards in 2006 as Elsie Maynard in The Yeomen of the Guard, and has since performed the roles of YumYum in the Mikado, and Princess Ida (title role). CHAIKYOU MALLINSON, currently on the faculty o f the Department o f Music at Binghamton University, received a B.M. degree in Piano from Julliard, Licence d’Enseignement from Ecole Normale de Musique de Paris, France and a M.A. degree from Binghamton University. Her teachers include Jean Casadesus, JeanMichel Damase, Jules Gentil and Alton Jones. She also performed in Master Classes by Robert Casadesus. A prize winner in the Korean National Music Competition, Ms. Mallinson was awarded the French Government Scholarship, Tanglewood Summer School Full Scholarship, and the Fontainebleau American Conservatory Full Scholarship. Ms. Mallinson gave a debut Recital in Carnegie Recital Hall and has been active as a recitalist, vocal coach, accompanist, and chamber music performer, as well as an active adjudicator of piano auditions and competitions. She is a member of the Music Teachers National Association, the Southern Tier Music Teachers’ Association, and of the board of judges for the National Guild of Piano Teachers. Ms. Mallinson has premiered compositions o f contemporary composers including Ezra Laderman, Paul Goldstaub, Meyer Kupferrnan and William Klenz. Among many concerts in which she performed, three were sponsored by the New York State Council on the Arts. She appeared in a performance with the Seoul Philharmonic Orchestra. In 20082009, Ms. Mallinson was awarded an Individual Artist Award by the Broome County (NY) Arts Council. GEORGETT A MAIOLO is a member o f the faculty o f Binghamton University and Broome Community College, teach ing Flute and directing Flute Ensembles. From 1977 to 1996, she held the position of Assistant Professor of Flute at Ithaca College, Ithaca, New York. She also taught ﬂute at Hartwick College, Oneonta, New York and West Virginia University, Morgantown, West Virginia. Mrs. Maiolo is a graduate of Duquesne University, Pittsburgh, Pennsylvania and attended graduate school at West Virginia University, Morgantown, West Virginia. She studied with Bernard Goldberg, principal ﬂutist of the Pittsburgh Symphony, Marcel Moyse at Marlboro School of Music, and Victor Saudek. At the age of 15, she made her solo debut with the Pittsburgh Symphony. Mrs. Maiolo is the recipient of numerous honors, including the Very Reverend Thomas j. Quigley Award, the NCMEA National music award, the Pittsburgh Tuesday Musical Club, the Enola M. Le wis Scholarship and the Mu Phi Epsilon �Sterling Achievement Award. Mrs. Maiolo is the principal ﬂutist of the Binghamton Philharmonic Orchestra, TriCities Opéra : Orchesfra, and Downtown Singers Orchestra. In addition to her playing positions, she concertizes as a soloist, recitalist and chamber musician. Mrs. Maiolo has been recognized for the breadth of her contributions to performance and music education. She has premiered compositions for ﬂute by Jack Martin, Dan Locklair, Edith Borroﬀ, Malcolm Lewis, Richard Herman, Jeﬀrey Nitch, Timothy Rolls and Paul Goldstaub. In 1985, Mrs. Maiolo was honored to conduct the NYSSMA AllState Flute Choir. She served as the ﬂute chairperson for the NYSSMA Manual from 1981 to 2001. She is faculty advisor for Mu Phi Epsilon, Zeta Eta Chapter at Binghamton University.. She is a “clinician” for the Selmer Company. She is a member of the National Flute Association, and she has recorded for Crest Records and NPR. MERCI! EO05VE A Tedsht ; $535} A F . 57 2“ «55? 55,0307; \ S y T i , L Z a «“ o A N = § E PR“ We would like to take this S s S opportunity to thank you for your support of the Binghamton ‘ & University Music Department fC ? and we look forward to i 1: entertaining you in the Spring! [ 4 A 8 v V 39 7555/73 C s 3 7 2 5 \ , A N E T c o r n u 0 5 E R A C I A S ! T han k vou! QQL 2 § F R Y � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. 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Creator An entity primarily responsible for making the resource Mallinson, Chai-Kyou Maiolo, Georgetta Kucera, Jana 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 2009-12-15 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/6e651a6a62dd3a142c5a1d65800cb0ef.pdf 3613e4ec1a584ccb8ae5b1735e132c60 PDF Text Text BINGHAMTON V W NIVYERSIITY S TAT E UNIVERSITY OF N E W Y O R K vwdze T M E N T [4 D E P A R MASTER’S RECITAL JENEAN TRUAX, SORPANO with William James Lawson, Piano Adam Davis, Clarinet Sunday, December 13, 2009 3: 00 p.m. Casadesus Recital Hal �{ l i PROGRAM i PROGRAM { I. Ridente Ia cama... ..Wolfgang Amadeus Mozart Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte (1756 1791) Abendempﬁndung . Giacomo Meyerbeer (1 791 1 864) Hirtenlied........ Fn’ihlingsglaube, Op. 20, no. 2..............cocooicvinnniiios .Franz Peter Schubert Auf dem Wasser zu singen, Op. 72 (17971828) Fischerweise, Op. 96, no. 4 Gretchen am Spinnrade, Op. 2 ¢ m o o The Breath o f a R At the W e l Pastorale. . S é g r E u u because, alas, he did not sing to me alone. You’re catching ﬁre, and soon, you dear ones, there will be no trace left of you. But alas, the man who wrote you may perhaps burn for a long time yet in my heart. Abendem pﬁndung ( Evening Feeling) 0 G u i t a r e . Del cabello Mas s along with all of the adoring songs, (18991963) Le sommeil Quelle aventure! La reine de coeur Ba, Be, Bi, Bo, Bu Les anges musiciens Le carafon Lune d’Avril r t d / l l . G e o r g e s Bizet (18381875) l .Fernando Obradors (18971945) l e Manuel de Falla (18761946) Als Luise die Briefe i hres ungetre uen Lie bhabers ver bran nte (As Luise b urn ed th e letters of her faithless lover) now 1 give you back to ﬂames . Francis Poulenc La Courte Paille and with your soulful gaze look down gently upon me. You owe your existence to ﬂames; r I I A Bolcom (b. 1938) e .William Grant Still (18951978) l .Richard Hageman (18821966) ...Aaron Copland (19001990) s that are so wel come to m y heart. Born of a ﬁery imagination, brought into the world in an hour of rapture,go to destruction, you children of melancholy! ®INTERMISSIONCs A gazing in mourning at my ashes, I shall appear to you and strew Heaven over you. May you also grant me a little tear, m y dear, to tie the bonds of marriage o If you then weep beside m y grave, Ridente la cal ma (Calm ness is smiling) Calmness is smiling in my soul; no trace of disdain or fear remains. You will arrive at any moment, It is evening, the sun is gone, and the moon sheds silver light. So pass life’s loveliest hours; they ﬂit by like a dance. Soon the bright scenery of life is gone, and the curtain rolls down. Our play is over, and a friend ’s tears are already falling upon our grave. Soon perhaps—like a gentle west wind comes a quiet premonition—I shall close this life’s pilgrim journey and ﬂy away to a land of rest. and pick a violet for m y grave, Shed a tear for me, and ah! do not be ashamed to do so. O, it will be the most beautiful pearl in my crown. lI. Hirtenlied (Shepherd ’s Song) Aloft here, alone in the mountains, the blue heavens overhead, the light breezes swaying the grasses, I rest on a meadow ﬂower bespread; my lambs lying round on the greensward, the shepherd ’s pipe soothing and soft and glinting with gold in the sunlight, the birds ﬂying homeward aloﬁ, aloft! They vanish away in the distance, through half the world they must ﬂy! Gladly I linger a prisoner here beneath the blue roof of the sky! In the cities mankind is distracted, with grief or illhumour distressed, here, ﬁlled with the peace of the mountains, the heart is forever at rest, at rest! So sweetly pass the blessed hours of summer, so still are the days and nights, far on the shore are the breakers, silence is here on the heights! Good sheep here contentedly grazing the meadows . green with ﬂowery charm, no echoes of earthly discord can riﬀle a heaven so calm, so calm! �lII. F rii hlingsglau be (Spring faith) The gentle breezes are awakened, they whisper and stir day and night, and penetrate everywhere. Oh fresh scent, oh new sound! Now, poor heart, be not afraid. Now must it all, all change. The world grows fairer with each day, one does not know what is still to come, the ﬂowering will not cease; the farthest, deepest valley blooms; now, poor heart, forget your torment! Now must it all, all change. IV. La Courte Paille Fischerweise (Fisherman ’s melody) I. Le sommeil (Sleep) The ﬁsherman is not tormented Sleep has gone o ﬀ on a journey, G racious me! Where can it have got to? l have rocked my little one in vain, by worries, grief, and sorrow, he sets sail early in the morning in a lighthearted mood. he is crying i n his cot, He has been crying ever since noon. Peace still rests all around on wood and meadow and stream, and with his songs he awakens the golden sun. He sings at his work with full and lusty vigor; Work gives him strength, the strength of joy in life! Soon will a colorful swarm I l’ : Ah! Come back, come back, sleep, on your ﬁne racehorse! answer from the depths, and be seen splashing in the sky Auf dem Wasser zu singen (To be s ung u pon th e water) Amid the shimmering of the mirroring waves glides, like swans, the swaying rowboat; ah, on the joy’s gentle shimmering waves glides the soul along like the rowboat; for from heaven down onto the waves dances the sunset around about the rowboat. Over the treetops o f the western grove waves to us kindly the rosy light; under the branches of the eastern grove murmur the reeds in the rosy light; the soul breathes the joy of heaven and the peace of the grove in the reddening light. Ah, time slips by on dewy wings, As I am gently rocked upon the waves; Let tomorrow ﬂy shimmering away and vanish like yesterday and today, until I myself, on loftier gleaming wings, slip away from the changes of Time. In the dark sky, the Great Bear that is reﬂected in the water. has buried the sun But he who would cast a net needs eyes clear and sound, and rekindled his bees. must be cheerful like the waves If baby does not sleep well he will not say good day, he will have nothing to say to his ﬁngers, to the milk, to the bread and as free as the tide; On the bridge ﬁshes the shepherdess, the sly rascal! Just give up your scheming, you won’t deceive this ﬁsh. that greet him in the morning. II. Quelle aventure! (What GoingsOn) G retchen am Spin n rade (G retchen at the s pinning wheel) My heart is heavy, my peace is gone; Never, never again shall I ﬁnd it. Where he is not with me, to me is a grave; The whole world seems bitter as gall. My poor head is in a frenzy, my poor mind is shattered. I seek only him as I peer from the window; To seek only him do I leave the house. His proud bearing, his noble stature, his smiling lips, compelling eyes, The magic ﬂow of his speech, The touch of his hand, and ah, his kiss! My heart yearns for him. Oh, if I could but embrace and hold him, and kiss him as I would— from his kisses I would perish! My heart is heavy, my peace is gone— Never, never again shall I ﬁnd it. Where has sleep put its sand and its gentle dreams? I have rocked my little one in vain, he tosses and tums perspiring, he sobs in his bed. A ﬂea, in its carriage, was pulling a little elephant along gazing at the shop windows where diamonds were sparkling. – G ood gracious! Good gracious! l « l : what goingson! who will believe me if I tell them? The little elephant was absent mindedly sucking a pot of jam. But the ﬂea took no notice, and went on pulling with a smile. —Good gracious! Good gracious! If this goes on I shall really think I am mad! Suddenly, along by a fence, the ﬂea disappeared in the wind and I saw the young elephant make oﬀ, breaking through the walls. —Good gracious! Good gracious! it is perfectly true, but how shall I tell Mummy? III. La reine de cceur (The Queen of Hearts) Gently leaning on her elbow at her moon windows, the queen waves to you with a ﬂower of the almond tree. She is the queen o f hearts, she can, i f she wishes, lead you in secret to strange dwellings. Where there are no more doors, n o r ooms nor towers and where the young who are dead come to speak of love. The queen waves to you, hasten to follow her into her castle of hoarfrost with the lovely moon windows. IV. Ba, Be, Bi, Bo, Bu (Ba, Be, Bi, Bo, Bu) Ba, be, bi, bo, bu, be! The cat has put on his boots, he goes from door to door playing, dancing, singing. Pou, chou, genou, hibou. “You must learn to read, to count, to write,” they cry to him on all sides. But Rikketikketau, the cat burst out laughing, as he goes back to the castle: he is Puss in Boots! V . Les anges musiciens (The Angel Musicians) On the threads of the rain the Thursday angels play all day upon the harp. And beneath their ﬁngers, Mozart tinkles deliciously in drops of blue joy. For it is always Mozart that is repeated endlessly by the angel musicians, Who, all day Thursday, sing on their harps the sweetness of the rain. �VI. Le ca rafon (The Baby Carafe) V. Guitare (Guitar) Tell us, said the men, How, with our small skiﬀs, ‘Why,’ complained the carafe, ‘should I not have a baby carafe? At the zoo, Madame the giraﬀe, has she not a baby giraﬀe?’ Can we ﬂee from the alguazils? —Row, said the fair ones. by astride a phonograph, How, said the men, the carafe and let Merlin hear it. ‘Very good,’ said he, ‘very good.’ He clapped his hands three times and the lady of the house still asks herself why she found that very morning a pretty little baby carafe nestling close to the carafe just as in the zoo, the baby giraﬀe rests its long fragile neck against the pale ﬂank of the giraﬀe. Poverty and danger? —Sleep, said the fair ones. A sorcerer who happened to be passing recorded the lovely soprano voice of VII. Lune d ’Av ril (April Moon) Moon beautiful moon, April moon, let me see in my sleep the peach tree with the saﬀron heart, the ﬁsh who laughs at the sleet, the bird who, distant as a hunting horn, gently awakens the dead and above all, above all, the land where there is joy, where there is light, where sunny with primroses, all the guns have been destroyed. Beautiful moon, April moon, Moon. Can we forget quarrels, How, said the men, Can we enchant beauties Without rare potions? —Love, said the fair ones. Del cabello m as sutil (F rom the ﬁnest hair) From the ﬁnest hair in your tresses I wish to make a chain to draw you to my side. In your house, young girl, I’d fain be a pitcher, to kiss your lips whenever you went to drink. Ah! Séguidille (Seguidilla) Her skirt clinging to her hips, i n her chignon an enormous comb, rippling legs and dainty feet, pale, with ﬁery eyes and white teeth; Alza! Ola! Behold, a true streetgirl from Madrid. Bold of gesture, free of speech, as spicy as salt and pepper, oblivious of the morrow, fantastic love and wild grace; Alza! Ola! Behold, a true streetgirl from Madrid. T o s ing, to dance w i t h castanets, and in the bullring to judge the bullﬁghters’ thrusts, all the while smoking cigarettes; Alza! Ola! Behold, a true streetgirl from Madrid. ABOUT THE PERFORMER(S) J e n e a n Tr u a x , as a member of Baptist Bible College’s music faculty since 2006, teaches music theory and aural skills courses, as well as private piano and voice lessons. Jenean and her husband Paul live in Jermyn, PA, with their son, Eli. Her love for music began while focusing on instrumental music, playing in marching band, concert band, jazz band, handbell choir, and taking private lessons. During this time she studied piano with Marylee Morton and voice, at the Riverside Academy of Music, with Norma Codispoti. Once at Baptist Bible College, she majored in Music Education with an emphasis in voice. She studied piano with Margaret Bos and Dr. Larry Kauﬀman and voice with Dr. David Harris. In addition to the degrees she earned from Baptist Bible College, she has also taken courses from Stephen F. Austin State University, Southwest Texas State University, and is currently working toward a Master of Music in vocal performance from Binghamton University, studying voice with Mary Burgess. William James L aw s o n coaches and accompanies singers at Binghamton University. As a coach, he specializes in English diction for American and English art songs and the sacred and classical theater repertoires. He studied at Binghamton University (B.A. 1980), where his teachers included Seymour Fink and Patricia Hanson in piano, M. Searle Wright in church music, and Stevenson Barrett in vocal coaching. He holds an M.A. from New York University (1984) and was one of the ﬁrst graduates of New York University’s innovative Department of Performance Studies, an interdisciplinary program in the performing arts. A d a m D a v i s is a clarinetist in the Binghamton University Symphony Orchestra and is a sophomore math and physics major at Binghamton University. He was aﬁnalist in the 2009 Concerto Competition Woodwind/Brass/Percussion Division and spent last summer as an intern in the astrophysics division at the NASA Goddard Space Flight Center. During high school, he was selected for New York AllState on clarinet, won honorable mention in the Southern Tier Music Teachers Association Competition on piano, performed with the Binghamton Youth Symphony Orchestra for three years on violin and clarinet, and during his junior year as an exchange student, performed with the University Choir in Wroclaw, Poland. �Binghamton University Music D epartment’s U PC O M I N G E V E N T S 6 & M 6 M t b ’ aD DoasS de Tuesday, December 1 5% Master’s Recital: Jana Kucera, soprano, 7:30 PM, Casadesus Recital Hall, FREE S u n d ay, J a n u a r y 2 4 ” University Chamber Chorus, 3:00 PM – FREE Trinity Memorial Church, Binghamton rganist Jonathan Biggers A Bach S u n d ay, F e b ru a r y 7 ” O Celebration!! Series, 4:00 PM, Fine Arts Room 21, $$ Satu rd ay, Februar y 2 0 ” Master’s Recital: Amanda Chmela, soprano, 8:00 PM, Casadesus Recital Hall, FREE S u n day, Februar y 21% Mus/ca Nova: New Compositions for Voice. 3:00 PM, Anderson Center Chamber Hall, $$ For ticket information, please call the Anderson Center B ox O ﬀice a t 7 77ARTS. MERCI! £>05by7 A Tedah!, .TRE \\"\ JX ys f “ L 4 3 9 K oYr (369 G 2 3es Q“ A »1; Q p Q5 l Bp N i ‘~ $ 3 P77 W e would like to take th is k = 4Lxx opportunity to thank you for E , n & your support of the Binghamton . & University Music Department fC” 4 and we look forward to ¥ = entertaining you in the Spring! Z l \ p a V (z 7 5 4 4 / 3 5 T A N ” ﬁlt5ua73ur. 1.’Q5L” = L Q 4)2i! Q Q Q R A C I A S ! T h a n k L N y \ o g % 1 , 2 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 30:50 24:57 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE153838">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE153838</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, Jenean Truax, December 13, 2009 Recital Tape 2009-12-13 Description An account of the resource Held at 3:00 p.m., December 13, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Lawson, William James Davis, Adam Truax, Jenean 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 2009-12-13 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/66c98b154dbf47741a2860f009172745.pdf 163e017bf28c47017e3a114f56bbbc63 PDF Text Text BINGHAMTON U N I V E R S I T Y State University of New York ONIV ﬁve ; etdec P Tape) A l D E P A R T M E N T G ” ~ \ \ x z= 20) L J SPCEN Master ’s Recital John Novak organ Tuesday, March 21, 2006 8:00 p.m. First Presbyterian Church �PROGRAM Prelude and Fugue in E’major, BWV JS Bach (16851750) Variations ON......ceeuevemneinnnneenneeeennennnnse. Jan Pieterszoon Sweelinck Mein junges Leben hat ein En d’ (15621621) L’Ascensmn III. Transports de joie Olivier Messiaen (19081992) Choral No. 1 in Emajor César Franek (18221890) Three Hymn Preludes Craig Phillips Nettleton It is Well with my Soul Hyfrydol (b. 1961) Toccata (Dminor) and F ugue (Dmajor), Op. 59 ...........Max Reger (18731916) �ABOUT TH E PER FORM ER Organist JOH N P. NOVAK, a student of Dr. Jonathan Biggers, is completing a Master of Music degree in Organ Performa nce to be completed this Spring. Novak earned his Bachelor of Music Degree in 200 1 from Houghton College, studying organ with Dr. Judy Congdon. He cu rrently resides in Williamsville, NY and is organist and Minister of Music at University Presbyteria n Church in Buﬀalo, NY. �Thursday, March 23 MidDay Concert (Russian Voices: Panel Discussion & Performances) – 1:20 p.m. – Casadesus Recital Hall – free Friday, Ma rch 24 – Russian Voices: Protest and Homage – 8:00 p.m. – Casadesus Recital Hall $9 general public; $7 faculty/staﬀ/seniors; free for students Saturday, Ma rch 25 – Senior Recital : Kelsey Ba uer, ﬂute – 1:00 p.m. – Casadesus Recital Hall – free Saturday, Ma rch 25 – Senior Recital: Michaela Lisi, soprano – 8 p.m. – Casadesus Recital Hall – free Thursday, March 30 – MidDay Concert with faculty and student performers – 1:20 p.m. – Casadesus Recital Hall – free Thursday, Ma rch 30 – The New York/Binghamton Connection – Big Band Jazz – 8 p.m. – Osterhout Concert Theater $14 general public; $12 facuity/staﬀ/seniors; $6 students Friday, Ma rch 31 – Student Recital : Akira Maezawa, violin ~ 8:00 p.m. – Casadesus Recital Hall free Saturday, April 1 – Music and Dance with baritone Timothy LeFebvre, pianist ChaiKyou Mallinson and Galumpha – 8 p.m. – Anderson Center Chamber Hall – $14 general public; $12 faculty/staﬀ/seniors; $6 students Sunday, April 2 – Music and Dance with baritone Timothy LeFebvre, pianist ChaiKyou Mallinson and Galumpha ~ 3 p.m. ~ Anderson Center Chamber Hall – $14 general public; $12 faculty/staﬀ/seniors; $6 students Thursday, April 6 MidDay Concert with faculty and student performers – 1 :20 p.m. – Casadesus Recital Hall – free Saturday, April 8 – Master ’s Recital : Theresa Perrone, clarinet – 3 p.m. – Casadesus Recital Hall free Saturday, April 8 – Master ’s Recital : Julia Ebner, soprano – 8 p.m. – Casadesus Recital Hall – free Sunday, April 9 – Cla rinet Studio Recital ~ 7:30 p.m. – Casadesus Recital Hall — free � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:02:49 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE203963">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE203963</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.) FacingCoverContinuous 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, John Novak, organ, March 21, 2006 Recital Tape 2006-3-21b Description An account of the resource Works of Bach, Sweelinck, Messiaen, Franck, Phillips, Reger. Held at 8:00 p.m., March 21, 2006, First Presbyterian Church. Creator An entity primarily responsible for making the resource Novak, 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 2006-3-21 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 e878776b-ba98-47ba-9c3b-c5b3562f35e6 https://omeka.binghamton.edu/omeka/files/original/40bd2d0ff1d9d02f2eecf9af28825280.pdf 968b2cca83abfec60974d572f7ca34bc PDF Text Text BINGHAMT l ON UNIVERSITY State University of New York Master' s Recital Judy (Yan) Zhu, piano Akira Maezawa, violin Theresa Perrone, clarinet Robin Kindig, bassoon Friday, November 4, 2005 8:00 p.m. Casadesus Recital Hall �PROGRAM Violin Sonata in D Major ............................ Ludwig van Beethoven Allegro con brio ( 1770-1827) Terna con variazioni Rondo Akira Maezawa, violin Judy Zhu, piano Trio Pathetique .......................................................... Michail Glinka Allegro moderato (1804-1857) Scherzo Largo Allegro con spirito Theresa Perrone, clarinet Robin Kindig, bassoon Judy Zhu, piano ~INTERMISSION~ Piano Concerto No. 2 in F Minor, Op. 21 ............... Frederic Chopin Maestoso (1810-1849) Larghetto Allegro vivace Judy Zhu, piano Ewa Mackiewicz-Wolfe, orchestral piano reduction �ABOUT THE PERFORMERS JUDY (YAN) ZHU, pianist, is currently a double master's student in Music and Accounting at Binghamton University. She is a native from Beijing, China. She is an active performer both as a soloist and a member of chamber groups. She was the winner of Creative Work of Art (Music) Award from Binghamton University in 2003, winner of the Samuel Reiser Scholarship from the Department of Music at BU in 2002, and a finalist of the New York State Collegiate Piano Competition in 2000. She also holds a Master of Arts degree in Anthropology from Binghamton University, and a Bachelor of Science degree in Information Science from Peking University, Beijing, China. She holds the position of organist and choir director of John Hus Presbyterian Church and South Hills Presbyterian Church in Binghamton. Judy is currently studying with Ewa Mackiewicz-Wolfe and studied with Michael Salmirs. ROBIN KINDIG, bassoon, is a local from Endwell, NY. She attended the Maine-Endwell Central Schools, where she was very involved in the music department. Her love of music led her to Houghton College, where she studied bassoon with Ed Wadin. She received her Bachelor of Music in Music Education from Houghton in May 2003, and then came to Binghamton University for graduate school. While at BU, she studied with Lynn Hileman and Ed Gobrecht, and received a Master of Music degree in May 2005. Robin is currently a fifth and sixth grade instrumental music teacher at the Chenango Valley School District in Binghamton, NY. AKIRA MAEZA WA, violinist, is currently a sophomore in Electrical Engineering at Binghamton University, and has been studying violin with Patricia Sunwoo. He has been involved in multiple performances as an ensemble member, both on and off the campus. Outside Binghamton, he had master classes with Aaron Rosand, Glenn Dicterow, Ani Kavafian, and Mikhail Kopelman; appeared as a soloist for Yonkers Symphony Orchestra, and received the Hudson Valley Music Club Young Performers Award, Newcomb Young Composer's Competition Award, and others. THERESA PERRONE earned her undergraduate degree in Music Education at Ithaca College, studying the clarinet with Dr. Richard Faria. She currently teaches kindergarten, first, and second grade vocal music and directs two fourth and fifth grade choruses in the Greene Central School District in Greene, NY. In addition, Theresa has a private studio of woodwind students. She is also pursuing her Masters in Clarinet Performance at Binghamton University, studying with Dr. Timothy Perry. �COMING EVENTS Saturday, November 5 - Song of Silk: A Concert of Chinese Music with Hong Zhang, mezzo-soprano, Margaret Reitz, piano and guests 8:00 p.m. - Anderson Center Chamber Hall - $14 general public; $12 faculty/staff/seniors; $8 students Thursday, November 10 - Mid Day Concert with faculty and student performers - l :20 p.m. - Casadesus Recital Hall - free Saturday, November 12 - University Chorus with Binghamton Philharmonic - 8:00 p.m. - Osterhout Concert Theater (For tickets, contact the Binghamton Philharmonic). Thursday, November 17 - Jazz Mid-Day Concert with guest artist, Eddie Allen - l :20 p.m. - Osterhout Concert Theater - free Thursday, November 17 - Harpur Jazz Ensemble with guest artist, Eddie Allen - 8:00 p.m. - Osterhout Concert Theater - $9 general public; $7 faculty/staff/seniors; free for students Saturday, November 19- German Romantic Masterpieces: An Evening of Chamber Music - 8:00 p.m. - Anderson Center Chamber Hall - $14 general public; $12 faculty/staff/seniors; $6 students Sunday, November 20 - Concerto & Aria Competition Auditions - 7:00 p.m. - Casadesus Recital Hall - free Tuesday, November 29 - University Percussion Ensemble - 8:00 p.m. Anderson Center Chamber Hall - free Thursday, December 1 - Mid-Day Concert with faculty and student performers - l :20 p.m. - Casadesus Recital Hall - free Friday, December 2 - Flute Studio Recital - 10:30 a.m. - Casadesus Recital Hall - free Saturday, December 3 - University Symphony Orchestra - 8:00 p.m. Osterhout Concert Theater - $9 general public; $7 faculty/staff/seniors; free for students Sunday, December 4 - University Wind Ensemble Holiday Concert l :00 p.m. - Oakdale Mall - free Sunday December 4 - University Flute Ensemble - 7:30 p.m. Casadesus Recital Hall - free � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 36:09 ; 35:27 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243799&change_lng=en" title="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243799&change_lng=en">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243799&change_lng=en</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, Judy (Yan) Zhu, piano, November 4, 2005 Description An account of the resource Works of Beethoven, Glinka, Chopin. Held at 8:00 p.m., November 4, 2005, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Maezawa, Akira Perrone, Theresa Kindig, Robin Zhu, Judy (Yan) 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 2005-11-4 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/f4b03fd0cb14dc1067fb5058a8e82a9d.pdf 3ead3e8e44aa112f2eed672bc98ca92d PDF Text Text BINGHAMTON UNIVERSI TY MASTER'S RECITAL JULIAN WHITLEY , BA RITONE with Fr(a{;:yl, M ay 7, 2 o1 o 8:00 p.m. Casadesu s Recital Hall �PROGRAM Alexander's Feast. .............................. Georg Friedrich Händel Revenge, Timotheus cries!... behold a ghastly band ........ (1685-1759) from Liederkreis, Op. 39 .................. ...... Robert Schumann In der Fremde (1810-1856) Intermezzo Waldesgesprach Don Quichotte à Dulcinee .................................. Maurice Ravel . ·chanson romanesque (1875-1937) Chanson épique Chanson à boire - INTERMISSION - Three Songs ..... ..................................... Francesco Paolo Tosti Aprile (1858-1922) ldeale La Serenata A Shropshire Lad .................. ............ George Butterworth Loveliest of trees (1885-1916) When I was one and twenty Look not in my eyes Think no more, lad The lads in their hundreds Is my team ploughing? �PROGRAM Handel's choral piece was adapted by John Dryden's poem Alexander's Feast, or The Power of Music, written in 1697, which was in honor of St. Celilia, the patron saint of music, and allegedly the inventor of the pipe organ. Alexander's Feast received its premiere at the Covent Garden Theatre, London in February of 1736, just a month after it was composed . The work depicts a banquet given by Alexander the Great as a celebration for the capturing of the Persian city of Persepolis. The musician Timotheus, singing and playing his lyre for the banquet, is incited to burn the city to the ground in revenge for the slaying of his Greek soldiers. "Revenge, Timotheus cries!... Behold a ghastly band" Revenge, Timotheus Cries! See the furies arise! See the snakes that they rear, How they hiss in their hair! And the sparkles that flash in their eyes, Behold a ghastly band, Each a torch in his hand! These are Grecian ghosts, that in battle were slain, And unburied remain, inglorious on the plain! Schumann wrote his second Liederkreis cycle, Op. 39, a collection of 12 songs, based on a collection of poems by Romantic German poet and novelist, Joseph Freiherr von Eichendorff called "Intermezzo." Written in 1840, which is well documented as the "year of song" because of the outpouring of literature Schumann wrote in that year, Liederkreis does not follow a continuous story line in the vain of Schubert's "Die Schone M0llerin" or Schumann's own "Dichterliebe." Instead, they were tied together through their atmospheric descriptions of nature - a theme extremely close to German Romantic composers. "In der Fremde" (In the foreign land) From my homeland, behind the red lightning, the clouds come drifting in But father and mother are long since dead, Now one remembers me there. How soon, ah, how soon until the quiet time when I will also rest? And above me will rustle the lovely, lonely wood, And no one will remember me here. "Intermezzo" Your wonderfully blessed image, I have it in the depths of my heart, Gazing so joyously at me always. My heart silently sings within itself A beautiful, old song that soars into the air And quickly flies to you. �"Wa/desgespriich (Conversation in the woods) "It is already late, it is already cold, Why do you ride alone in the woods? The woods are large and you are alone, You beautiful bride! I will lead you here! 'The deceit and cunning of men is great, My heart is broken from pain There strays the forest horn here and there, Oh flee! Oh flee! You don't know who I am.' So richly adorned is horse and lady, So wondrously beautiful is the young body; Now I know you, God stand with me! You are witch, Loreley! You have recognized me from the high cliffs, My castle gazes silently deep into the Rhine. It is already late, it has become cold, You will never again come out of this forest! Don Quichotte à Dulcinee, written in 1932-33, was Maurice Ravel's last work before his death. It was originally written _with orchestra for a film based on the life of Miguel de Cervantes, the author of "Don Quixote", but was scrapped at the last minute for a setting of songs by Jacques lbert. The songs depict the Don's continued obsession and longing for his true love, Dulcinea, the woman he claims to be the purest and most beautiful in the world - and who also happens to be a figment of his imagination. In each song, the listener can see a vastly different image of the Don …but which is consistently tied to his obsession to his "lover." "Chanson romanesque" (Romanesque Song) If you were to tell me that the earth by its turning offended you, Speedily I would dispatch Panza: and you would see it motionless and silent. If you were to tell me that you are weary of the stars adorned in the sky, destroying the divine order, With one blow I would sweep them from the night. If you were to tell me that space, thus made empty, does not please you, God-like knight, lance in hand, I would stud the passing wind with stars. But, if you told me that my blood belongs more to me than to you, my Lady, I would pale beneath the reproach arid I would die, blessing you, 0 Dulcinea. "Chanson épique" (Epic Song) Good Saint Michael.who gives me liberty to see my lady and hear her, Good Saint Michael, who deigns to elect me to please her and protect her, Good Saint Michael, I pray you descend with Saint George upon the alter Of the Madonna of the blue mantel. With a beam from Heaven,· bless my sword and its equal in purity, and his equal in purity and his equal in piety as in modesty and chastity: my Lady. 0 great Saint George and Saint Michael, the angel that guides my watch.MY Sweet Lady, so much resembling you, Madonna of the blue mantel, Amen . �"Chanson à boire {Drinking song) A fig for the bastard, illustrious Lady! Who, to shame me in your sweet eyes Tells me that love and old wine Will bring misery to my heart, my soul! I drink to joy! Pleasure is the only aim, To which I go straight... When I am drunk! A fig for the jealous fool, dark-haired mistress Who moans, who cries and vows Ever to be this pallid lover, Who waters the wine of his intoxication! I drink to joy! F. Paolo Tosti, who studied music at the Conservatory of Naples in 1858, soon became one of the most prolific voice teachers in Italy and throughout Europe, teaching at the Conservatory until 1869. After moving to Rome, he was appointed the personal singing instructor for Queen Margherita of Italy and finally settled in London where he became the personal singing instructor for the royal family. He was knighted for these services in 1908. He composed many songs to English , Italian and French texts, and they became known as "parlor songs" for their charming nature and sweet texts. His songs became immensely popular with the greatest singers of his day and later generations. "ldeale" {Ideal) I followed you like a rainbow of peace Along the paths of the sky; I followed you like a friendly torch In the veil of the night. And I sensed you in the light, in the air In the perfume of the flowers And my lonely room was full of you and your beauty. Entranced by you and by the sound of your voice, I dreamed for a long time, And all earthly worry and torment I forgot in that dream, I forgot that day. Return, my ideal, come back for a moment And smile upon me again, And in your face, will shine for me, a new dawn. �"Aprile" (April) Do you not smell in the air the perfume of spring? Do you not hear in your soul the sound of a new flattering voice? It is April! It is the season of love! Ah, come, my dearest to the flowering meadow! Your feet will tread among violets, On your breast will rest roses and bluebells, And the snow-white butterflies with flutter about your black hair. It is April! It is the season of love! Ah, come, my dearest to the flowering meadow. It is April! "La Serenata" (Serenade) Fly, oh serenade! My beloved is alone, And with her lovely head lying back, is resting between her sheets, Oh, serenade, fly to her! The moon shines clearly, silence spreads its wings, And behind the veils of the dark alcove, the lamp is lit. Fly, oh serenade! Fly! Ah! Fly, oh serenade, my beloved is alone, But smiling and still half-asleep She returns between her sheets: Oh, serenade, fly to her! The wave dreams on the shore , and the wind in the branches, And my fair blonde lady still denies my kisses. The wave dreams on the shore, Fly, oh serenade, fly to her! Ah! George Butterworth's settings of these six songs, composed in 1911, were inspired by a cycle of 53 poems, also titled "A Shropshire Lad," by English poet A.E. Housman, whose poetry gained popularity a mong English · composers during the Second Boer War (1899-1902), between the British Empire and the two independent Boer republics (Dutch for farmer) of the South African Republic and the Orange Free State. The themes of transient youth, beauty, mortality and the parallels to nature made them strong candidates for song settings. Butterworth was a close friend of Ralph Vaughan Williams, who once claimed him to be the greatest English composer. He was killed at a young age during World War I and his "Shropshire Lad" has since been viewed as a strong reaction to young English men losing their lives to the horrors of warfare . "Loveliest of trees" Loveliest of trees, the cherry now, Is hung with bloom along the bow, And stands about the woodland ride, Wearing white for Eastertide. Now of my threescore years and ten, Twenty will not come again, And take from seventy springs a score, It only leaves me fifty more. And since to look at things in bloom, Fifty springs are little room , About the woodlands I will go To see the cherry hung with snow. �"When I was one-and-twenty" When I was one-and-twenty, I heard a wise man say, "Give crowns and pounds and guineas But not your heart away; Give pearls away and rubies, But keep your fancy free" But I was one-and-twenty, No use to talk to me. When I was one-and-twenty, I heard him say again, "The heart out of the bosom Was never given in vain; 'Tis paid with sighs a plenty And sold for endless rue ." And I am two-and-twenty, And oh, 'tis true, 'tis true. "Look not in my eyes" Look not in my eyes for fear, They mirror true the sight I see, And there you find your face too clear, And love it and be lost like me. One the long nights through must lie, Spent in star-defeated sighs, But why should you as well as I Perish? Gaze not in my eyes. A Grecian lad, as I hear tell, One that many loved in vain, Looked into a forest well, And never looked away again: There, when the turf in spring-time flowers, With downward eye and gazes sad , Stands amid the glancing showers, A jonquil, not a Grecian lad. "Think no more, lad" Think no more, lad; laugh, be jolly: Why should men make haste to die? Empty heads and tongues a-talking Make the rough road easy walking, And the feather pate of folly Bears the falling sky. Oh, 'tis jesting, dancing, drinking Spins the heavy world around. If young hearts were not so clever, Oh, they would be young for ever: Think no more; 'tis only thinking Lays lads underground. �"The lads in their hundreds" The lads in their hundreds to Ludlow come in for the fair, There's men from the barn and the forge and the mill and the fold, The lads for the girls and the lads for the liquor are there, And there with the rest are the lads that will never be old. There's chaps from town and the field and the till and the cart, And many to count are the stalwart, and many the brave, And many the handsome of face and the handsome of heart, , And few thatwill carry their looks or their truth to the grave. I wish one could know them I wish there were tokens to tell The fortunate fellows that now you can never discern; And then one could talk with them friendly and wish them farewell And watch them depart on the way that they will not return. But now you may stare as you like and there's nothing to scan And brushing your elbow unguessed-at and not to be told They carry back bright to the coiner the mintage of man, The lads that will die in their glory and never be old. �"Is my team ploughing?" "Is my team ploughing, That I was used to drive And hear the harness jingle, When I was man alive?" Ay, the horses trample, The harness jingles now; No change though you lie under The land you used to plough . "Is football playing Along the river shore, With lads to chase the leather, Now I stand up no more?" Ay, the ball is flying, The lads play heart and soul ; The goal stands up; the keeper Stands up to keep the goal. "Is my girl happy That I thought hard to leave, And has she tired of weeping As she lies down at eve?" Ay, she lies down lightly, She lies down not to weep: Your girl is well contented , Be still , my lad, and sleep. "Is my friend hearty, Now I am thin and pine And has he found to sleep in A better bed than mine?" Yes, lad, I lie easy, I lie as lads would choose; I cheer a dead man's sweetheart, Never ask me whose. �ABOUT THE PERFORMERS Julian Whitley, baritone, a native of Briarcliff Manor, NY, is pursuing his Master's degree in Opera from Binghamton University. He was most recently seen as Belcore in Tri-Cities Opera's production of L'Elisir d'amore and Marco in Gianni Schicchi. Mr. Whitley received his bachelors degree cum laude from the Purchase Conservatory of Music where he sang Stephano (Lee Hoiby's The Tempest), Seneca (L'incoranzione di Poppea), Bartolo (Le nozze di Figaro) and Balthazaar (Amahl and the Night Visitors) . Other recent credits from Tri-Cities Opera this past season include Sciarrone (Tosca), the Father (Hansel and Gretel) and Antonio (Le nozze di Figaro). Last season, Mr. Whitley sang Bob in The Old Maid and the Thief, Wagner (Faust), Melchior (Amahl and the Night Visitors) and Marullo (Rigoletto), all with TCO. Previous summer credits also include Morales (Carmen) and Marchese d'Obigny (La Traviata) with Opera of the Hamptons as well as his debut at the renowned Berkshire Theatre Festival, where he sang over fifty performances of the title role in Bernstein's Candide last summer. He has also appeared with the Eastman Opera Theatre as Elder Ott (Floyd's Susannah). Mr.Whitley sang on the premiere recording of Lee Hoiby's The Tempest, released last winter on Albany Records, and was praised for his "colorful characterization and clarion singing" (Opera News). He will be making his debuts with the Hubbard Hall Opera Theatre and the Dell'arte Opera Ensemble this summer, singing the Father in Hansel and Gretel and covering the Count in Le Nozze di Figaro, respectively. Mr. Whitley is a student of Timothy LeFebvre. William James Lawson coaches and accompanies singers at Binghamton University. As a coach, he specializes in English diction for the American and English art song, sacred music, and classical theater' repertoires. He studied at Binghamton University (B.A. 1980), where his teachers included Seymour Fink and Patricia Hanson in piano, M. Searle Wright in church music, and Stevenson Barrett in vocal coaching. He holds an M.A. from New York University (1984) and was one of the first graduates of New York University's innovative Department of Performance Studies, an interdisciplinary program in the performing arts. �UNIVERSITY KG Public Broadcasting �Binghamton University Music Department's UPCOMI NG EVENTS The Binghamton University Department of Music is proud to ·present its 2010-2011 season concerts. The Department of Music presents over 100 concerts (most of which are free) from solo recitals to orchestra concerts to jazz presentations which include a variety of performances by guest, faculty and student artists. For a complete list of our concerts and more, visit us at music.binghamton.edu. AUGUST2010 Summer Youth Musical Theater Workshop presents Titanic SEPTEMBER 2010 Jonathan Biggers, organ OCTOBER 2010 Reunion Recital with Marietta Simpson, mezzo-soprano University Symphony Orchestra's Children's Concert: All Creatures Viola Plus with Roberta Crawford Guest Organists: Michael Bauer & Marie Rubis f NOVEMBER 2010 University Chorus Jonathan Biggers, organ Czech Vocal Music: Mary Burgess, soprano, Timothy LeFebvre, baritone, and guest artist Timothy Cheek, piano DECEMBER 2010 University Symphony Orchestra: All-American Program Harpur Jazz Ensemble with guest artist FEBRUARY 2011 Faculty Recital: Timothy LeFebvre, baritone and Michael Salmirs, piano University Symphony Orchestra Jonathan Biggers, organ APRIL 2011 Harpur Jazz Ensemble with guest artist Jonathan Biggers, organ Pianist Michael Salmirs presents a Chopin & ,Schumann 200th Birthday Celebration MAY2011 University Chorus with the University Symphony Orchestra present Choral Masterworks: Roman Maciejewski: Requiem, Book 1; Poulenc: Gloria � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 47:48:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145181">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145181</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, Julian Whitley, baritone, May 7, 2010 Recital Tape 2010-5-7 Description An account of the resource Works by Händel, Schumann, Ravel, Tosti, Paolo, Butterworth. Held at 8:00 p.m., May 7, 2010, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Whitley, Julian 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 2010-05-07 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/fa4796ab7dea5563b7a2d9a36c2a60ea.pdf f0002683d5c19f5ea06a5c6e04895e23 PDF Text Text BINGHAMTON U . N I V E R S I T Y S TAT E U N I V E R S I T Y O F N E W Y O R K D E P A R T M E N T MASTER’S RECITAL J U L I E M A RI E WILLIAMS, SOPRANO with William, James Lawsory Prano and ely Maynard, AshMeggo sopranc S at urd ay, November 2 1, 2009 ' 8 . 0 0p .mu Casadesus Recital Hall �TRANSLATIONS Ch’io mi scordi di te (l should forget you?) I should forget you? You can advise me to surrender to him? And you can wish that I continue to live? Ah no! My life would be worse than death. Let death come! I await it unafraid. But that I might give my aﬀection to another, How could I attempt that? I would die of grief. Do not fear, beloved, my heart will be always yours. I can no longer endure such pain, My soul is fainting away. You are sighing? O solemn grief! Consider at least what a moment this is! O God, I cannot explain. Barbarous, pitiless fate, why such cruelty? Kindly souls, who see my pain in such a moment, Say, can a faithful heart endure such torments? Abschiedslied der Zugvogel (Farewell Song o f the Birds o f 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 the last sounds silenced, Soon the last singers are ﬂown; Soon is the last green gone! AII 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. Maigléckchen und die Bliimelein (The Maybell and the Flowers) Maybells 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. Forgetmenots and violets are among them. Maybells 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 to the valley. The Maybells danced no more; Away went the ﬂowers. But the frost hardly left the valley, When Maybells called them Quickly again to the spring festival and rang twice as brightly. Now I, too, will stay no longer inside; Maybells are also calling me. The little ﬂowers are going out to the dance, And I will go, too! Chanson Triste (Sorrowful Song) In your heart moonlight sleeps, Gentle summer moonlight, And to escape from the stress of life I will drown myself in your radiance. I will forget past sorrows, My love, when you cradle My sad heart and my thoughts In the loving peacefulness of your arms. You will take my aching head Oh! Sometimes upon your knee, And will relate a ballad That seems to speak of ourselves. And in your eyes full of sorrows, In your eyes then I will drink So deeply of kisses and of tenderness That, perhaps, I shall be healed... Extase (Ecstasy) On a pale lily my heart sleeps A sleep sweet as death... Exquisite death, death perfumed By the breath of the beloved... On your pale breast my heart sleeps A sleep sweet as death... Chanson d’Avril (Song o f A pril) Arise! Arise! Spring is just born! Yonder over the valleys rosy 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 limpid! Let us not wait for the burning heat of the day, I would moisten my feet in the damp dew, And tell you of my love beneath the ﬂowering pear trees. �Den forsta kyssen (The First Kiss) Flickan ko m ifran sin alsklings the Evening Star. The girl came from meeting her lover, Came with her hands all red. Said her mother: On the edge of a silver cloud sat From the twilight of the grove the maiden asked her: “Tell me, Evening Star, what do they think in heaven When the ﬁrst kiss is given to a lover?” And heaven’s shy daughter was heard to reply: “The whole angelic host looks down to earth And sees its own bliss reﬂected. Only Death turns away his eyes and weeps.” Till kvéllen (In the Evening) Hail to you, Evening, With your retinue of stars! The dark locks surrounding the night of your dear, Lofty brows are so dear to me. O sublime Evening, if only you could form the bridge That could bear my heart’s yearning Towards the land of dreams, Could miraculously free me From the shackles that oppress and wear me here! How deep is my happiness when you console me, When prostrated before you I ﬁnd repose, When day closes and all turmoil is silenced! When the mist veils Earth’s hills and valleys And the night ascends with somber wings, Then will my spirit hasten to meet you. Creation mote (The Tryst) “What has made your hands so red, girl?” Said the girl: “I was picking roses And pricked my hands on the thorns.’ 0 ! i I give birth to myself My own mother and father For years I ran like a clockwork mouse Mama says, Papa says, Mama says, Papa says, When does Goldilocks say I am I am Driven I didn‘t stop Expected more from the umbilicus Never once got oﬀ the hook line or sinker Again she came from meeting her lover, Came with her lips all red. Said her mother: “What has made your lips so red, girl?” Said the girl: “I was eating raspberries And stained my lips with the juice.” Now before the world I reach out. Again she came from meeting her lover, Came with her cheeks all pale. Said her mother: “What has made your cheeks so pale, girl?” Said the girl: “Oh mother, dig a grave for me, Hide me there and set a cross above, And on the cross write as I tell you: Once she came home with her hands all red, They had turned red between her lover’s hands. Once she came home with her lips all red, They had turned red beneath her lover’s lips. The last time she came home with her cheeks all pale, They had turned pale at her lover’s unfaithfulness.” And slide me into the gutter Without the niceties of smalltalk roses or champagne. I mean business, I want whiskey I want to be swallowed whole, I want tiles to spring oﬀ of walls When we enter hotel rooms or afternoon apartments I won’t pussyfoot around responsibility “shoulds” and “oughts” are out for good. And I don’t want to be a fat domestic cat I want to be frantic, Yowls and growls to sound like the lion house at feeding time I don’t give a damn who hears, I don’t give a damn! No discreet eavesdroppers coughs can stop us in our frenzy. Let the voyeurs voient And let the great cats come. Animal Passion Fierce as a bobcat’s spring With startup speeds of sixty miles per hour I want a lover to sweep me oﬀ my feet i v N Alas! Alack! Alas! Alack! I have a knack for falling for the wrong man Cavaradossi or Don Ottavio were just too tame I never seem to want to stick to my own script It’s the chainsmoking bad guy in leather The one who’ll ruﬀle my feathers the most who gets me I fear it’s a lack—Alas! As Tosca I lost it over Scarpia Not such a bad fella He had the power and the steady job The better tune So when they asked me to pick up the knife and dispatch him I demurred Perhaps it was his theme song I preferred I know there’s a lack—Alas! If I were Oberon, I’d choose Puck, For Pamina, it’s Papagena If I’m Brannhilde it’s bound to be Wotan on whom I’m stuck If Isolde were smitten by King Marke or Melot Would it make her a zealot? Damn! I know there’s a lack—Alas! �ABOUT THE PERFORMERS Indian S u m m e r B lue When I was sixteen I had a red hot Chevy Bucket seats, white top, The steering not too heavy I loved that car Like a child loves a pony Shoe blacked its tires My freedom to ride Now I am Bluebeard’s wife I’d rather be Sleeping Beauty “Honey, don’t open that door,” he says Though he gave me a master key And I’ve peeked through the keyhole Always a guard on duty A red light and odor of rusty gardenia slips out from under the door No bushes grow in the garden A saint‘s blood smells of roses Blue Blue was married before a t least three times No fam’ly portraits, and I don’t ask It’s so hot I get tired here in the east I could doze away the days Blue thinks I’m too fat, Too this too that Mama says Curiosity killed... The Cat may well undo me. JULIE MARIE WIL LIAMS a native of South Jersey, began piano lessons at the age of ﬁve, and voice lessons when she was ten. She Joy Alone (Connectio n) The stunning silence of myself From the hearts of forests Middle of mountains A late low sun rests her friendly hand On the crowns of uncompromised trees A fox streaks across the sand and scented sagebrush A chatter of chipmunks scatters Squirrels who stuﬀ their briefcases for the winter Bluecollar workers Long term plans The resiny crunch of orange pine needles warm under foot A windfall of sweet cones Joy alone A startle of saplings The power of trees Unrav’ling of rivers Joy alone Joy graduated with honors from The University of the Arts in Philadelphia, PA, with a Bachelor of Music in Voice Performance in 2006. Last January, Julie served as soprano soloist for Haydn’s Theresienmess and was a member of the TriCities Opera Chorus in the 20082009 season, appearing in Rigoletto, Amahl and the Night Visitors, The 60” Anniversary Gala, and Faust. In the fall of 2006 and spring of 2007, she gave recitals for Arts at Grace Church in Haddonﬁeld, NJ, participated in the Opera Studio of the American Institute of Musical Studies in Graz, Austria in the summer of 2005, and has taught private voice and piano lessons since 2002. Julie is currently pursuing a Master of Music in Vocal Performance at Binghamton University and is a student of Professor Mary Burgess. W I L L I A M J A M E S L A W S O N coaches and accompanies singers at Binghamton University. As a coach, he specializes in English diction for American and English art songs and the sacred and classical theater repertoires. He studied at Binghamton University (B.A. 1980), where his teachers included Seymour Fink and Patricia Hanson in piano, M. Searle Wright in church music, and Stevenson Barrett in vocal coaching. He holds an M.A. from New York University (1984) and was one of the ﬁrst graduates of New York University’s innovative Department of Performance Studies, an interdisciplinary program in the performing arts. ASHLEY MAYNAR D, a native of Connecticut, is pursuing a Master of Music in Opera degree at Binghamton University and is a Resident Artist with TriCities Opera. She is a student of Professor Mary Burgess, and also works with Duane Skrabalak, Peter Sicilian, and Diane Richardson. Ms. Maynard holds 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 TriCities 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 University Chamber Chorus and Orchestra. After graduation, Ms. Maynard plans to continue to sing with TriCities Opera, and in December will be performing the roles of the Mother and Hansel in Hansel and Gretel. �Binghamton University Music D epartment’s U P C O M I N G E V E N T S a o a e de a o a Thursday, December 3 – Jazz MidDay Concert with Tony Kadleck, trumpet – 1:20 p.m. – Osterhout Concert Theater – free (Cosponsored by the Binghamton University Music Department and the Harpur Jazz Project) Thursday, December 3 – Harpur Jazz Ensemble Concert w i t h Tony Kadleck, trumpet – 8 p.m. – Osterhout Concert Theater – $$ (Cosponsored by the Binghamton University Music Department and the Harpur Jazz Project) Friday, December 4 – Flute Studio and Flute Chamber Concert – 10:15 a.m. – Casadesus Recital Hall – free Friday, December 4 & Saturday, December 5– Elizabethan Madrigal Feaste (Harpur Chorale and Women’s Chorus) – 6:30 p.m. – Old Union Hall – $$ Friday, December 4 – Master’s Recital: Susan Amisano, soprano – 8 p.m. – Casadesus Recital Hall – free Sunday, December 6 – Wind Symphony – 3 p.m. – Anderson Center Chamber Hall – free Tuesday, December 8 – Percussion Ensemble – 8 p.m. – Anderson Center Chamber Hall – free Thursday, December 1 0 – Holiday MidDay Concert – 1:20 p.m. – Casadesus Recital Hall – free Friday, December 1 1 – Holiday MidDay Concert – 4 p.m. – Downtown Center – free Saturday, December 1 2 – Faculty Fireworks: Winter Winds ( w i t h t he U niversity Symphony Orchestra) A gala beneﬁt concert f o r t h e M usic Department – 8 p.m. – Osterhout Concert Theater – $15 general public; $10 faculty/staﬀ/seniors; $5 students For ticket information, please call the Anderson Center Box O ﬀice at 777ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 58:30 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE153419">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE153419</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, Julie Marie Williams, soprano, November 21, 2009 Recital Tape 2009-11-21 Description An account of the resource Held at 8:00 p.m., November 21, 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 2009-11-21 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound