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BINGHAMTON
U N I V E R S I T Y
E R S i v Y O
F
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Y O R K
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D E P A R T M E N T
Binghamton University
Percussion Ensemble
Fall Concert
JULIE L ICATA , DIRECTOR
Tuesday, December 4, 2012
8:00 p.m.
Anderson Center Chamber Hall
�PROGRAM NOTES
PROGRAM
Binghamton University Percussion Ensemble
. Jeffrey Smith
(b. 1974)
Opening Remarks (2001)
The University of Northern Iowa Percussion Ensemble premiered
Opening Remarks (2001), for marimba quartet in November 2001.
Initially, the title had little significance other than the fact that the piece
could be used as an opening number. However, this piece also
represents one of the composer‘s first explorations in writing for
Susan Powell
Gilded Cage (1998)
(b. 1971)
Eric Sammut
Rotation #4 (1997).
(b. 1968)
Devan Tracy, marimba
percussion and therefore represents his “opening remarks”. One of the
biggest challenges in composing for marimba is the lack of inherent
sustain. In Opening Remarks, Jeffrey Smith overcomes this challenge by
overlapping simple, but very rhythmic, individual parts together to
create what sounds like a thick, sustained texture. Smith often creates
interest in the melody by dividing one melodic line between the four
players, and assigning melodic materials to different players throughout
the piece. The piece is written in a loose ABA form, with a short coda.
.John Cage
Living Room Music (1976)
(1912 – 1992)
To Begin
Story (lyrics from Gertrude Stein’s “The World is Round,” 1939)
Melody
End
Samuel Barber
Adagio for Strings (1938) .
( 1 9 1 0 1 981)
Arr. Julie Licata (b. 1980)
No Exit (1997).
.Lynn Glassock
(b. 1946)
Susan Powell is currently Associate Professor and Director of Percussion
Studies in the Ohio State University School of Music. Powell’s work,
Gilded Cage (1998), is written for four percussionists with similar
instrumentation – toms, cymbals and brake drums. The performer’s
setup, explicitly drawn out by the composer, creates a cage of
instruments around which the percussionists stand. The title is a
combination of two separate sources; the 19%" century popular song The
Girl in the Gilded Cage, and the 20” century percussion ensemble work
Third Construction by John Cage. There are numerous influences from
Cage’s notable piece, including an early quote of the opening theme,
here divided between the four performers and played on tomtoms.
The “cage” theme is further exhibited in the way the performers create
a constantly evolving visual cage with their sticks.
Performers: Emily Goetz, computer science (sophomore), Rohit Karki,
undeclared (sophomore), Steve Olson, mechanical engineering (sophomore),
Benjamin Ramos, computer science (senior), Alexander Rava, Spanish/political
science (sophomore), Tyler Steere, general management (senior), Devan Tracy,
mechanical engineering (senior), Alex Valera, computer science (sophomore),
Andrew Williamson, accounting/music (senior),
composer well known for his chance, or indeterminate music), on the
centennial of his birth we are performing Living Room Music (1976). In
so many of Cage’s works, elements of the performance are left to
Soloist: Devan Tracy, mechanical engineering (senior)
instrumentation up to the performers. Cage states in the score that
To commemorate the pivotal composer, John Cage (a 20” century
happen on the concert stage, or to be determined by the performer.
For Living Room Music, John Cage notated specific rhythms, but left the
“any household objects or architectural elements may be used as
instruments: magazines, newspaper, cardboard, table or other wooden
�BIOGRAPHIES
furniture, floor, wall, window pane. The melody [in the third
movement] may be played on any suitable instrument: wind, string or
keyboard (prepared or not). Do not use conventional beaters.” One of
his intentions with this piece is to demonstrate to the audience that
music can be found anywhere...if the listener is able to open their ears
and minds. Our interpretation of these directions has led us to perform
each movement within a different setting in which you might find
yourself throughout the day. The next time you find yourself in one of
these settings, take a moment to listen to your surroundings and see if
you can hear music in the seemingly random sounds.
Adagio for Strings, a work by Samuel Barber, was originally composed
as the second movement of his String Quartet, Op. 11. In 1938, Barber
solidified his international stature with his arrangement of the second
movement of this quartet for string orchestra. This work, among many
others composed by Barber, is still widely performed today and can be
found in arrangements for various types of ensembles. The slow
moving lyricism of this piece is easily transferred to the marimba
quartet with the right choice of mallets and very sensitive playing. In
order to portray the sustaining ability of the original instrumentation,
each marimba player must roll continuously throughout the piece,
connecting every note with smooth transitions.
Mr. Lynn Glassock received his Bachelor of Music and Master of Music
from the University of North Texas. Glassock has received several
awards for his compositions including winner of the Southwestern
States composition contest in l973; winner of the Festival of New
American Music sponsored by California State University, Sacramento in
I987; and the Percussive Arts Society first place awards in 1994 for Five
Songs for Voice and Marimba; 1998 for Between the Lines; 2000 for
Concerto for Percussion and Wind Ensemble; and in 2004 for Wired. No
Exit, the first prize winner of the Percussive Arts Society Composition
Contest in 1997, is an aggressive, rhythmic percussion ensemble
composition for eight players. The piece requires rhythmic precision
and musicality on an energetic level from each performer.
JULIE UCATA has been teaching percussion lessons and percussion ensemble at
Binghamton University since Fall 2012. Julie also serves as Assistant Professor of
Music at State University of New York, College at Oneonta. At Oneonta, Julie teaches
ensembles and private lessons that span a wide range of percussion instruments and
styles, and teaches a seminar course Music Cultures of the World. Julie has received
performance degrees in percussion from the University of North Texas (D.M.A.),
University of South Carolina (M.M.) and Capital University (B.M.).
As an active performer and advocate of new music, Julie has developed relationships
with many great composers, premiering and commissioning numerous works over the
last ten years by composers such as Thomas Licata, Greg Dixon, Chapman Welch, Scott
Comanzo, Jude Vaclavik, Steve Winstead and Brett Masteller. Significant recent
accomplishments include performances at the Society for ElectroAcoustic Music in
the United States (SEAMUS), the International Computer Music Conference (ICMC),
New Music Focus Week at SUNY Oneonta, New Genre Festival in Tulsa, Oklahoma,
NOW Music Festival at Capital University and numerous performances at the Center
for Experimental Music and Intermedia at the University of North Texas. In addition,
Julie completed her D.M.A. from the University of North Texas in December 2009. Her
dissertation, entitled “Physical Gesture, Spatialization, Form and Transformation in
Watershed I/Ill, for Solo Percussion and RealTime Computer Spatialization by Roger
Reynolds” includes several analytical approaches demonstrated through embedded
video excerpts of her performances of Watershed IV.
In addition to contemporary music performance and research, Julie is also active in the
field of ethnomusicology. Julie spent the summer of 2008 performing, recording and
transcribing traditional drumming of the Ewe people in the Volta Region of Ghana.
She is currently planning a trip to Indonesia to study Balinese and Javanese gamelan,
and a return to Ghana to continue her study of various regional music and dance
styles, and specifically to study Ewe master drumming.
DEVAN TRACY is a senior at Binghamton University, originally from Saratoga Springs,
NY. She is currently majoring in Mechanical Engineering with a minor in Sustainable
Engineering. She plans on bicycling across the country and getting a job in the
sustainable energy or infrastructure industry after graduation. Devan started her
music career in kindergarten on the piano, but soon gave up when she realized that
the musical alphabet stopped at “G.” Nonetheless, she is back in action and has
participated in the BU Percussion Ensemble, Harpur Jazz Ensemble, and Nuporfke
African Drumming Ensemble throughout college. During the summer, she has been
seen performing with the Ryan Jenson Band, and has been working on making a self
titled CD of originals. You might also find Devan running, hiking, motorcycling, slack
lining, or doing yoga.
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�Binghamton University Music Department’s
Coming Events
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Thursday, December 6 Holiday MidDay Concert 1:20 p.m. Fine Arts Room 21 free
Friday, December 7 Hansel and Gretel (school performance and civic groups) 10:00
a.m. Anderson Center Chamber Hall call (607) 7773004 for group reservations
Saturday, December 8 University City Orchestra 3:00 p.m. ~ Osterhout Concert Theater
$6 general public; $3 faculty/staff/seniors; free for students
Saturday, December 8 Master’s Recital: Meghan Cakalli, soprano 8:00 p.m. Casadesus
Recital Hall free
Sunday, December 9 Hansel and Gretel 1:00 p.m. Anderson Center Chamber Hall $9
general public; $6 faculty/staff/seniors; $3 students
Sunday, December 9 Hansel and Gretel 4:00 p.m. Anderson Center Chamber Hall $9
general public; $6 faculty/staff/seniors; $3 students
Sunday, December 9 Senior Recital: Sungkyun Ryu, piano 7:30 p.m. Casadesus
Recital Hall free
Thursday, December 13 Harpur Chorale and Women’s Chorus 8:00 p.m. Trinity
Memorial Church, Binghamton a good will donation wil be collected at the door
Friday, December 14 Nukporfe African Drumming and Dance Ensemble 7:00 p.m.
Watter’s Theater $3 general admission
Saturday, December 15 Master’s Recital: Brister Hay IV, tenor 3:00 p.m. Casadesus
Recital Hall free
Saturday, December 15 Senior Graduation Recital: Matthew Gukowsky, tuba 8:00 p.m.
Casadesus Recital Hall free
Sunday, December 16 Master’s Recital: Robert HeePyoung Oh, baritone 7:30 p.m.
Casadesus Recital Hall free
—
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For tickets or to be added to our email list, visit anderson.binghamton.edu or call
(607) 777ARTS. For a complete list of our concerts call (607) 7772592, visit
music.binghamton.edu or become a fan on Facebook.
If you were inspired by this performance, consider supporting the Department of
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l
Music with a financial gift. Your support helps to continue the work of students,
faculty, and guest artists and their contributions to our community. Please make
your donation payable to the Binghamton University Music Department, and send
your check to BU Music Department, P.0. Box 6000, Binghamton, NY 13902.
�
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Binghamton University Music Department Tape Recordings
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Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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Binghamton University Percussion Ensemble fall concert, December 4, 2012
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Works by Smith, Powell, Sammu, Cage, Barber. Glassock Held at 8:00 p.m., December 4, 2012, Anderson Center Chamber Hall.
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Licata, Julie
Tracy, Devan
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12/4/12
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sound
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1960's - present
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Binghamton University Music Department Tape Recordings
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Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Binghamton University String Program presents String fever May 6, 2008
Recital Tape 2008-5-6
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Works of Bach, Schetky, Borodin, Haydn, Kreisler, Popper, Hindemith, Stalker, Matz, Brahms, Mozart.Held at 8:30 p.m., May 6, 2008, Casdesus Recital Hall.
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Creo, Emily
Joyce, Ryan
Chang, Erin
Vayshenker, Beth l Kerker, Dana
Thorn, Shane
Kuras, Sarah
Reitz, Margaret
Lewis-Clark, Eric
Chen, Jennifer
Maezawa, Akira
Brooks, Stephen
Casey, Rachel
Dombert, Owen
Hong, Adam
Radzik, Stephanie
Agar, Holly
Lear, Alexis
Lee, Gwang
Soh, Dam
Sargent, Griffin
Mariani, John
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Text
BINGHAMTON
U N I L V E R S L T
144/00
D E P A R T M E N T
Binghamton
University
Symphony
Orchestr a
GEORGE MYERS, CONDUCTOR
Saturday, December 8, 2012
3:00 p.m.
Osterhout Concert Theater
�PROGRAM
Binghamton University Symphony Orchestra
MUSICIANS
VIOLIN I
Gustav Holst
(1874 – 1934)
Jupiter from The Planets
Three Dances from The Bartered Bride Bedfich Smetana
(1824 – 1884)
I. Polka
II. Furiant
III. Dance of the Comedians
.eINTERMISSIONe
Symphony No. 7 in A Major
II. Allegretto
Finlandia .
Ludwig van Beethoven
(1770 – 1827)
...Jean Sibelius
(1865 – 1957)
Ella Serrano
Rebeca Sgroi
Ife Samms
Emma Lecarie
Nicholas Thompson
Joseph Vanderpool
Sara Sunshine
Anna Li
Christopher Rogers
Karen Fu
Cameron D’Auria
Simon Benarie
VIOLIN II
Gabrielle Maire
Natalie Bock
Jaclyn Podd
Jiwon Nam
Emily Sui
Olivia Rhines
Sarah Kohtz
Nathaniel Christman
Eleanor Krasman
Michael Tiongson
Fanny Chu
VIOLA
Jillian Chen
Mimi Nam
Ethan Schaber
Lindsay Covington
Tiffany Williams
Harrison Dulin
VIOLONCELLO
Eric Wuu
CLARINET
Jaclyn Adler
Felicia Scalzetti
Paul Watrobski
Richard Reitz
Xander Edwards
Raeleen Bichler
Andrew Card
Deborah Mariottini
Emily Mockler
Skylar Orenstein
Buono
BASS
Kristine Beckmann
Gabriel Felix
Robert Durante
PICCOLO
Alexander Baron
FLUTE
Jessica Biagiotti
Lindsay Ralbovsky
OBOE
Allison Moskowitz
Rebecca Marwin
Hao Sun
BASSOON
Laura Earls
Natalie Spitzer
HORN
Zachary Birnbaum
Matt McAuliffe
Natalie Rivera
Kathryn Saturnino
TRUMPET
Kevin Hannon
Junbo Yan
TROMBONE
Billy Marsiglia
Drew Perotti
Jacob Strohm
BARITONE
Ryan Shumaker
TUBA
Matthew Gukowsky
TIMPANI
Benjamin Rothschild
PERCUSSION
Steve Olson
Andrew Williamson
�BIOGRAPHY
GEORGE MYERS was director of orchestras at Ithaca High
School for the past sixteen years, until his recent retirement. He
began his performing career at the age of 11, performing a
concerto movement live on WNYC radio for the broadcast “Young
America Plays.” He holds an MM in Viola Performance from
SUNY Binghamton, where he studied with Toby Appel. As a
member of the Catskill Chamber Players (which included BU
professor Timothy Peny, as well as BU cellist Steven Stalker and
1
]
violinist Janet Brady) and the Catskill String Quartet, he performed
a large body of 20th century works, giving premieres at Weill Hall
at Carnegie Hall. Under grants from Meet the Composer, he had
the opportunity to work with such notable composers as Virgil
Thompson, John Cage and Henry Cowell. The Catskill Quartet
also performed many children’s concerts throughout upstate New
York, and for their service to education, the Catskill Conservatory,
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umbrella for the Chamber Players, was a recipient of the New
York State Governor’s Arts Award. He was on the faculty of
3
Hamilton College for 15 years, teaching violin, viola and chamber
music. During his time at Hamilton, he also wrote a number of
arrangements for their jazz ensemble, as well as arranging and
performing with a ten piece jazz band in the area. He has also
served on the faculty of both Colgate University and Ithaca
&
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College, teaching viola. He conducted performances for the
Mohawk Valley Arts Association, and has been guest conductor
for NYSSMA festivals. Mr. Myers was a member of the
Glimmerglass Opera orchestra for 15 years, beginning at its
inception. For 10 years, he was principal violist with the Utica
Symphony, and served in that capacity with a number of upstate
regional orchestras. H e has twice toured as a soloist in Europe
with the Ostschweizer Kammerorchester, and performed a s a
member of the Spoleto Festival Orchestra in Italy. For 14 years,
as a member of the Aurora Quintet, he was in residence at Ithaca
College’s Summer Chamber Music Institute, where he conducted
the string chamber orchestra and coached quartets of talented
young musicians from across the country. He is currently a
member of the core orchestra of the Cayuga Chamber Orchestra.
He is married to Jennifer Reuning Myers, a prominent Suzuki
violin teacher and musician in the Ithaca area.
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Dublin Core
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1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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1 audio disc
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39 minutes :36 seconds
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141086">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141086</a>
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Binghamton University Symphony Orchestra, December 8, 2012
Description
An account of the resource
Works by Holst, Smetana, Beethoven, Sibelius Held at 3:00 p.m., December 8, 2012, Osterhout Concert Theater.
Creator
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Myers, George
Publisher
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Binghamton University Libraries
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12/8/12
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In copyright
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sound
-
https://omeka.binghamton.edu/omeka/files/original/7c6278e0d5a4b993b84f136ab547e0e8.pdf
87f7eee3a08ad4be11c519bee067928d
PDF Text
Text
BINGHAMTON
U N 1 V E R s 1 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
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D AN IEL F ABR ICI U S & J E R R Y NATOLI, CONDUCTO RS
Sunday, March 8, 20 15
3:00 p.m.
Anderson Center Osterhout Concert Theater
�PR OG RA M
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Jerry Natoli, Conductor
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�Binghamton University Wind Symphony
Daniel Fabricius, Conductor
AMERICAN SALUTE (1943)........................................................Morton Gould
(19131996)
Transcribed by Philip J. Lang
COUNTRY GARDENS (1924).....................................Percy Aldridge Grainger
(18821961)
Arranged by John Philip Sousa
POET AND PEASANT OVERTURE (1922)..............................Franz von Suppé
(18191895)
Arranged by Henry Fillmore
SYMPHONIC HIGHLIGHTS FROM ”FROZEN".....Arranged by Stephen Bulla
“Frozen Heart ” “Let It G o ”– “Do You Want To Build a Snowman?”
“For the First Time in Forever” – “Epilogue”
BUGLER’S HOLIDAY (1954).....comsissstenssissssnssusisusminesassmssrssiens Anderson
(19081975)
Trumpet Trio:
Brandon Young – Brandon Ashley Jason Boniello
...George W Warren
GOD OF OUR FATHERS (1974)......................... ..
Arranged by Claude T. Smith
(19321987)
God of our fathers, whose almighty hand
Leads forth in beauty all the starry band
Of shining worlds in splendor through the skies,
Our grateful songs before Thy throne arise.
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�UNIVERSITY WIND SYMPHONY
Daniel Fabricius, Conductor
PICCOLO
Jennifer Bochicchio
FLUTE
Eleni Florakis
Jacqueline Robins
Cara Natale
Shelby Smith
Lydia Carolan
Devin Kasinki
OBOE
Jenna Graff
Rebecca Marwin
CLARINET
Erin Annis
Allison Battaglia
Alaina Mancini
Jessica Siegal
John Petersen
Steven O’Connor
Brittany Sheridan
Katherine Fottrell
Si Yoon Kwon
BASS CLARINET
Carl Closs
BASSOON
Bailey Thomas
Diana Carter
ALTO SAXOPHONE
Julia Dunnigan
Riley MonckRowley
TENOR SAXOPHONE
Crystal Fisher
BARITONE SAXOPHONE
Daniel Gross
TRUMPET
Brandon Young
Brandon Ashley
Chang Letitia Kar Hoo
Jonathan Terner
Jason Boniello
David DeFazio
Paul Barber
Alice Xue
FRENCH HORN
Daniel Muller
Christopher Patrizzio
Denise Helms
Brian Sternberg
TROMBONE
Christopher Beard
Jacob Solon
Joshua Yamuder
EUPHONIUM
Ryan Shumaker
Michael Sugarman
Austin Hassel
TUBA
Matthew Vegiard
Patrick Jones
Michael Burgner
PERCUSSION
Emily Goetz
William Potts
Alex Rava
Robert Hopkins
Daniel Kim
Annabel Fair
Joey Glowienka
Kasha Pazdar
David Indictor
�CONDUCTORS
Jerry Natoli has been a music educator, clinician, adjudicator, and performer in
New York State since 1970. He has guest conducted bands in almost every New
York county, and also regional and all state groups in Ohio, Pennsylvania, Texas,
and Maryland. Mr. Natoli was the NYSSMA Chairman of Bands while he was
also the Director of Bands at UnionEndicott Schools. He has made his home for
the past 31 years in Endicott, NY, with his wife, Cindy. Currently, Jerry is the
music director and conductor of the Vestal Community Band in Vestal, NY.
When asked to share his greatest successes, Jerry is quick to tell us that for the
last 12 years, even though he has never won, he has been notified by mail that
he was a finalist in the Publisher’s Clearing House $1,000,000 Sweepstakes.
Daniel Fabricius has been a member of the music faculty since 1992, serving as
percussion instructor for twenty years before his appointment as conductor o f
the Wind Symphony. He holds degrees from Mansfield University and Ithaca
College and has studied conducting with Donald Stanley (Mansfield University),
Rodney Winther (Ithaca College), Stephen Peterson (Ithaca College), Col. Arnald
Gabriel (US Air Force), and Mallory Thompson (Northwestern University). In
addition to his duties at BU he also serves as Director of Bands at Owego Free
Academy where he has developed an outstanding instrumental music program.
The bands at OFA have received plenty of praises and the OFA Jazz Band has
been honored to present concert performances at the NYSSMA Winter
Conference in 2008 and 2013.
He is highly regarded in the region as a conductor, as a percussion performer,
and as a music educator. He has been a member of the Binghamton
Philharmonic percussion section since 1982 but is also comfortable performing
in popular, rock, jazz, and other styles. He has played as a freelance
percussionist, accompanying national touring artists such as Michael W. Smith,
Tommy Tune, Jerry Vail, Lorrie Morgan, Ringling Brothers Circus, the Smothers
Brothers, and Ella Fitzgerald. Professor Fabricius has served the New York State
School Music Association as an AllState Percussion adjudicator for many years.
He also serves NYSSMA as the Instrumental Jazz Reviews editor of The School
Music News and is the Jazz Editor for the NYSSMA Manual. In addition to his
collegiate work at BU, he has also served Ithaca College as a consultant, as a
member of the Summer Session faculty, and as a cooperating teacher for over
35 student teachers. He has presented many clinics at music conventions and
conferences and often serves as a guest conductor for honor band festivals.
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C o m in g Events
6 & 6 M é fl fl é b éwé fl u fi r ’ é fl fl é é fl 6 é fl
Sunday, March 8 Sophomore Recital: Ha nnah Watrobski, viola – 5 p.m. – Casadesus Recital
Hall free
Thursday, March 12 Opera Scenes MidDay Concert (Thomas Goodheart) 1:20 p.m.
Anderson Center Chamber Hall free
Thursday, March 12 Opera Scenes 7:30 p.m. Anderson Center Chamber Hall $10 general
public; $7 faculty/staff/seniors/alumni; $5 for students
Saturday, March 14 Master’s Recital: Meroé K halia Adeeb, soprano – 4 p.m. Casadesus Recita’
Hall free
Saturday, March 14 University Symphony Orchestra: Dark Passions 7:30 p.m. = Osterhoui
Concert Theater $7 general public; $5 faculty/staff/seniors/alumni; Free for students
Sunday, March 15 Opera Scenes and Arias 3 p.m. Phelps Mansion, 191 Court Street
Binghamton $10 general public; BU students free with ID For reservations call the Phelps
Mansion at (607) 7224 873. This concert is cosponsored by the Binghamton University Musit
Department and Phelps Mansion Museum.
Thursday, March 19 MidDay Concert 1: 20 p.m. Casadesus Recital Hall free
Thursday, March 19 Lontano Ensemle: Music Now! 7:30 p.m. Casadesus Recital Hall $1
general public; $5 faculty/staff/seniors/alumni; Free for students
Thursday. March 26 MidDay Concert 1:20 p.m. Casadesus Recital Hall free
Friday, March 27 Jun ior Recital: Jessica Biogiotti, flute 7:30 p.m. Casadesus Recital Hall
free
'
Wednesday, April 1 – H armony Club Fundrasier Concert 7:30 p.m. Casadesus Recital Hall
$10 suggested donation
Thursday. April 2 MidDay Concert 1:20 p .m. Casadesus Recital Hall free
c w w w w w w w w w w w o
For tickets or to be added to our email list, visit andersonbinghamtortedu or call (607)
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7 7 7ARTS. For a complete list of owr concerts call (607) 7 7 7 2592, visit
= [ = ] micibinghanuoncduorlxconuafan on Facebook.
If you were inspired by this performance, consider supporting the Department of Music
with a financial gift. Your support helps to continue the work of students, faculty, and
guest artists and their contributions to our community. Please make your donation
payable to the Binghamton University Music Department, and send your check to B U
Music Department, P.O. Box 6000, Binghamton, N Y 1 3902.
�
Dublin Core
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Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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2 audio disc
Duration
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41:48
56:16
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE128169">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE128169</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Title
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Binghamton University Wind Symphony and the Vestal Community Band presents "Just Like a Concert in the Park," March 8, 2015
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Sousa, Swearingen, Mancini, Bagley, Wilson, Gould, Grainger, Suppé, Anderson, Warren, Kahelin. Held at 3:00 p.m., March 8, 2015, Anderson Center Osterhout Concert Theater.
Creator
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University Wind Symphony
Fabricius, Daniel
Natoli, Jerry
Publisher
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Binghamton University Libraries
Date
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2015-3-8
Rights
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In copyright
Type
The nature or genre of the resource
sound
-
https://omeka.binghamton.edu/omeka/files/original/c279404119129e77cadd342972770f77.pdf
17167dd5f8536775dd20989316c2fae4
PDF Text
Text
INGHAMTON
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D ANIEL F ABRICIUS , CONDUCTOR
Sunday, December 2, 2012
3:00 p.m.
Anderson Center Chamber Hall
�UNIVERSITY WIND SYMPHONY
PROGRAM
Daniel Fabricius, Conductor
.Jack Stamp
(b. 1954)
Fanfare for a New Era (1997)
Blue Lake, Overture for Concert Band (1971).
John Barnes Chance
(1932 — 1972)
Suite of Old American Dances (1949)
.Robert Russell Bennett
(1849 — 1981)
I.
II.
III.
IV.
V.
Cakewalk
Schottische
Western One Step
Wallflower Waltz
Rag
Folk Dances (1979).
PICCOLO
ALTO SAXOPHONE
TROMBONE I
Cara Natale
Stephi Verhage
Christopher Beard
Veronica A. Mantilia
Daniel Gross
Christopher Murdock
TROMBONE II
Ryan Meehan
TENOR SAXOPHONE
Kevin Clements
TROMBONE III
Neel Tarikeri
FLUTE I
Jackie Robins
Nicole Safran
FLUTE II
Andrea Dewhirst
Devan Kasinki
Hagar Dayan
BARITONE
SAXOPHONE
Philip H. Westcott
OBOE
Jenna Graff (+English Horn) TRUMPEI’I
Jason Boniello
Kimberly Muller
Brandon Young
Brittany Wilson
.Dmitri Shostavovich
(1906 — 1975)
Transcribed by H. Roberts Reynolds
.
Elsa’s Procession to the Cathedral, from “Lohengrin” (184648)
Richard Wagner
(1813 — 1883)
Transcribed by Lucien Cailliet
CLARINET I
George Deutsch
Mary McGahay
TRUMPET II
Joshua Golub
Jared Biunno
CLARINET II
Sofia Schneiderman
Stephanie Sheintul
TRUMPET III
Andrew Vaccaro
Ray Futia
CLARINET III
David Mossissey
JooWon Kim
Erin Annis
FRENCH HORN
David Luther
Molly O’Brien
Haleigh Doetschman
Lauren Corey
BASS CLARINET
Molly Rice
Zach Stanco
EUPHONIUM
Ryan Shumaker
Justin Canaday
Andrew Kaufman
TUBA
Elliot Bowen
Matthew Gukowsky
Michael Burgner
PERCUSSION
Emily Goetz
Benjamin Ramos
Alexander Rava
Wesley Roth
Tyler P. Steere
Alex Valera
�CONDUCTOR
PROGRAM NOTES
Daniel Fabricius is the newly appointed conductor of the Binghamton University Wind
Symphony. Professor Fabricius has been a member of the music faculty since 1992,
serving as percussion instructor for twenty years before accepting this new
appointment. He holds degrees from Mansfield University and Ithaca College and has
studied conducting with Donald Stanley (Mansfield University), Rodney Winther
(Ithaca College), Stephen Peterson (Ithaca College), Col. Arnald Gabriel (US Air Force),
and Mallory Thompson (Northwestern University). In addition to his duties at BU he
SOMETHING NEW
Fanfare for a New Era was written as a celebration of Lt. Col. Lowell E Graham’s
appointment as Commander of the United States Air Force Band. The composer
states, “As I envisioned the piece, I knew that I heard something energetic and vibrant,
highlighting the talents of this fine ensemble..."
also serves as Director of Bands at Owego Free Academy where he has developed one
of the finest instrumental music programs in the region. He is highly regarded in the
region as a conductor, as a percussion performer, and as a music educator.
Professor Fabricius has been a member of the Binghamton Philharmonic percussion
section since 1982 but is also comfortable performing in popular, rock, jazz, and other
styles. He has played as a freelance percussionist, accompanying national touring
artists such as Michael W. Smith, Tommy Tune, Jerry Vail, Lorrie Morgan, Ringling
Brothers Circus, the Smothers Brothers, and Ella Fitzgerald. He has served the New
York State School Music Association as an AllState Percussion adjudicator for many
years. He also serves NYSSMA as the Instrumental Jazz Reviews editor of The School
Music News and is the Jazz Editor for the NYSSMA Manual. In addition to his
collegiate work at BU, he has also served Ithaca College as a consultant, as a member
of the Summer Session faculty, and as a cooperating teacher for over 35 student
teachers. He also serves the Summer Music Academy at Ithaca College as a percussion
instructor and jazz ensemble conductor. He has presented many clinics at music
conventions and conferences and often serves as a guest conductor for honor band
festivals.
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The work derives its framework from the opening trumpet motif. The motif is
expanded and developed through a variety of compositional techniques including
choraIe, fugue, augmentation, polychordal usage, and minimalism.
Dr. Jack Stamp is Conductor of Bands at Indiana University of Pennsylvania. Dr.
Stamp’s primary composition teachers have been Robert Washburn and Fisher TuII.
Recent studies include work with noted American composers David Diamond and Joan
Tower.
He is active as a guest conductor, clinician, adjudicator, and composer throughout
North America and Great Britain. His compositions have been commissioned and
performed by leading military and university bands across the United States. He has
won the praise of American composers David Diamond, Norman Dello Joio, Michael
Torke, Samuel Adler, Robert Ward, Robert Washburn, Fisher Tull, Nancy Galbraith and
Bruce Yurko for performances of their works. He is also a contributing author to the
“Teaching Music Through Performance in Band” series. In 2000, he was inducted into
the prestigious American Bandmasters Association.
SOMETHING BLUE
Chance wrote Blue Lake Overture in 1971 for the Blue Lake Fine Arts Camp in
Michigan. Beginning with a tempo marking of slancio ("with impetuosity”), the initial
motive is heard in the horns. The outer sections of the piece feature rhythmic intensity
brought about by Chance’s free use of both three and two eighth note groupings
within measures of 4/4. While this often produces a 3+3+2 pattern which matches the
length of the 4/4 bar, more often the note groupings defy that meter altogether,
spilling over barlines and creating moments that sound like 5/8, 9/8, and even
unknown hybrid meters. The middle section settles into a circuslike waltz with
wandering tonality. Every section of the band gets a soIi in this rhythmic thrill ride.
The energy of the opening returns to carry the work to its finale.
A Texas native, John Barnes Chance played percussion in high school before he began
composing. He studied under Clifton Williams at the University of Texas and earned
his bachelor’s and master’s degrees in music. After graduation he joined the Army
service bands as a percussionist and arranger. After his discharge he received a grant
from the Ford Foundation’s Young Composers Project and wrote seven pieces for
school ensembles. He served on the faculty of the University of Kentucky from 1966
until his untimely death in 1972. In August 1972, Chance was airing a tent in his
garden when a metal pole contacted an electrified fence used to confine his dogs.
Chance was accidentally electrocuted and died from cardiac arrest.
�SOMETHING OLD.....
Robert Russell Bennett (June 15, 1894 – August 18, 1981) was an American composer
and arranger, best known for his orchestration of many wellknown Broadway and
Hollywood musicals by other composers such as Irving Berlin, George Gershwin,
Jerome Kern, Cole Porter, and Richard Rodgers. As the composer explained, the
catalyst for the creation of his Suite of Old America Dances was a rare indoor concert
by the Goldman Band held at Carnegie Hall:
When Edwin Franko Goldman arrived at his seventieth birthday it was
celebrated by a concert sponsored by the League of Composers. For
the concert they engaged the Goldman Band of New York and asked
Dr. Goldman to conduct his own band in honor of his own anniversary.
[My wife} Louise and I went to that [3 January 1948] concert and I
suddenly thought of all the beautiful sounds the American concert
band could make that it hadn’t yet made. That doesn‘t mean that the
unmade sounds passed in review in my mind at all, but the sounds they
made were so new to me after all my years with orchestra, dance
bands and tiny “combos” that my pen was practically jumping out of
my pocket begging me to give this great big instrument some more
music to play. To satisfy this urging I found time to put a goodsized
piece on paper. There was really no such thing as spare time for me at
that time, but somehow I got a part done here and a part done there
and one day there was this piece to show Dr. Edwin Franko Goldman
to see if he was interested in adding one more idiom to his great
collection. Dr. Goldman and his son Richard, also a doctor, became
very warm friends indeed and gave the new piece a great sendoff. It
was published with the name Suite of Old American Dances. I had a
nice name for it, but you know how publishers are—they know their
customers, and we authors never seem to. My name for it was Electric
Park. Electric Park in Kansas City was a place of magic to us kids. The
tricks with big electric signs, the illuminated fountains, the big band
concerts, the scenic railway and the big dance hall—all magic. In the
dance hall all afternoon and evening you could hear the pieces the
crowds danced to, and the five movements of my piece were samples
of the dances of the day. "
The Goldman Band premiered SOAD—with the composer conducting–in Central Park,
New York, on June 19, 1949, and gave it several additional performances that summer.
Robert Russell Bennett spent much of his career collaborating with the composers and
lyricists for musical theater productions. During the mid20m century theater goers
and record and radio listeners would know many of the most famous musicals in the
era – such as Oklahoma, South Pacific, or The Sound of Music – by the “sound” of
Bennett’s brilliant orchestrations. Schooled by his mother to disdain popular music,
Robert Russell Bennett found the dichotomy between his serious compositions and his
arranging work to be a lifelong struggle. In spite of his prolific output, which included
the opera Maria Malibran, more than seven symphonies, a large variety of chamber
works, and at least five concertos, his reputation today as a classical composer rests
primarily on two oftrecorded pieces, the Suite of Old American Dances and Symphonic
Songs for Band. This may be attributed both to the modesty so characteristic of
Bennett and to the Eastman Wind Ensemble recordings which popularized them. In his
composing, Bennett brought to bear his considerable talent for orchestration as well
as a gift for conceiving melodies and harmonic structure in his head; longtime Bennett
copyist Adele Combattente (of Chappell Music) confirmed his ability to write parts in
score order, as opposed to filling in leftover parts and doublings as he completed
primary melodic lines. He nearly always scored directly in ink, rather than pencil.
The Tony A ward for orchestrations has only ex isted since 1997 ; Bennett w as given a
Special Tony Award in 1957 and again in 2008 “in recognition of his historic
contribution to American musical theatre in the field of orchestrations, as represented
on Broadway this season by Rodgers & Hammerstein’s South Pacific.” Other honors
have included his Oscar for the film Oklahoma!, a 1962 Emmy award, television’s
Christopher Award in 1960, the City of New York’s Handel Medallion in 1967, Los
Angeles’s honorary Scroll in 1979, and an honorary doctorate from Franklin and
Marshall College in 1965. The dances Bennett chose to set to music were as follows.
Cakewalk – The cakewalk dance originated on the southern plantations, where
slaves often imitated their plantation owners. The dance or “strut” was danced
to jiglike banjo/fiddle music, usually done by couples who, with a backward
sway, strutted in a medium high step or low kicking fashion. Plantation owners
would encourage their workers by presenting prizes for the best couples. The
prize was often a cake, usually shared with the other participants. The men
would often dress in long coats with high collars and the women in frilly gowns,
to mimic their white owners.
Schottische – Although the title of this dance suggests that its roots lie in
Scotland, the schottische is actually a German variant of several Bohemian dances
that later developed into the polka. The schottische features quick shifts from
foot to foot and a striking of the heel. These movements resemble the Scottish
reel and may have inspired the name. Because the polka was at one time called
the “Scottish Waltz,” it is also possible that this earlier dance inspired its
namesake. Either way, the dance came to the United States by way of England
when polka dancing became the rage among continental society in the 1840s.
The music for the early schottische was usually written in 2/4 time, and many
describe the dance as simply a slow polka.
Western One Step – The Western One Step included in the Suite of Old American
Dances is a somewhat misleading title. As Frederick Fennell points out, “The
composer informed me that this is also a dance known as the ‘Texas Tommy,’ an
obviously brighteyed tune with an equally brighteyed tempo.” Little is known
about the Texas Tommy, one of the obsolete forms of the onestep. This dance,
from the early 20 ” c entury, is believed to have originated in brothels and saloons,
where ladies of the evening were known as “tommies.” There is a record of the
Texas Tommy appearing in the New York Lafayette Theatre production of
Darktown Follies in 1913,
Wallflower Waltz – Although the beginning of the 20 ” century represented a
new cultural era, replete with new dance steps, the time honored waltz still
reigned as king of the ballroom dance scene.
�Rag – It seems fitting that Bennett chose to end his suite with a rag. Although
there is no one specific dance that can be associated with the rag style, Bennett’s
choice of music is representative of the era as a whole. The ragtime era
coincided with the beginning of the century, and with a new generation which
was harshly criticized by its elders for embracing novel ideas.
THE WEDDING
Elsa’s Procession to the Cathedral, with its medieval color and pageantry, prefaces her
betrothal to Lohengrin, mystic Knight of the Holy Grail, who comes to deliver the
people of Brabant (Antwerp) from the Hungarian invaders.
SOMETHlNG BORROWED.....
Composed in Shostakovich‘s lighthearted style, Folk Dances is a singlemovement
work is filled with the joy and exuberance of the Russian people. The many folk
In the operatic presentation, a large double chorus (representing the people of
Antwerp) adds its song of solemn praise to that of the orchestra. It is in this music,
melodies are combined in a string so that musical energy abounds and the spirit of folk
musical thoughts that w ere t o culminate in Tristan, The Ring, and Parsifal. Not quite
dances can easily be imagined. Folk Dances was originally the third movement of a
suite for orchestra entitled Native Leningrad, Op. 63, first published in 1942 and
reissued in 1970 as Suite, My Native Country. This suite was assimilated from the
incidental music to a theatrical production of the same opus entitled Motherland.
Shostakovich collected several native Russian dance tunes and carefully tied them
together into this single composition. In the theatrical production, this set was called
Youth Dance or Dance of the Sailors – a name, though not specifically noted, that held
over to the orchestral suite. Marck Vakhutinskii arranged this suite for Russian band
instrumentation (a greater percentage of brass parts than American instrumentation)
in 1952 and was edited for America bands by H. Robert Reynolds in 1979.
emancipated from the musical speech of his operatic contemporaries, one finds in the
Lohengrin score those unmistakable flights into musicodramatic magnificence
transcending all that preceded it in idiom and musical adventure.
Dmitri Dmitriyevich Shostakovich (September 25, 1906 – August 9, 1975) was a Soviet
Russian composer and pianist and a prominent figure of 20th century music.
Shostakovich achieved fame in the Soviet Union under the patronage of Leon Trotsky’s
chief of staff Mikhail Tukhachevsky, but later had a complex and difficult relationship
with the government. Nevertheless, he received accolades and state awards and
served in the Supreme Soviet of the RSFSR (1947–1962) and the USSR (from 1962 until
death). After a period influenced by Sergei Prokofiev and Igor Stravinsky, Shostakovich
developed a hybrid style, as exemplified by Lady Macbeth of the Mtsensk District
(1934). This single workjuxtaposed a wide variety of trends, including the neoclassical
style (showing the influence of Stravinsky) and postRomanticism (after Gustav
Mahler). Sharp contrasts and elements of the grotesque characterize much of his
music. Shostakovich‘s orchestral works include 15 symphonies and six concerti. His
chamber output includes 15 string quartets, a piano quintet, two piano trios, and two
pieces for string octet. His piano works include two solo sonatas, an early set of
preludes, and a later set of 24 preludes and fugues. Other works include three operas,
several song cycles, ballets, and a substantial quantity of film music.
H. Robert Reynolds is Principal Conductor of the Wind Ensemble at the Thornton
School of Music at the University of South California, where he holds the H. Robert
Reynolds Professorship in Wind Conducting. This appointment followed his retirement
after 26 years from the University of Michigan School of Music, where he served as
the Henry F. Thurnau Professor of Music, Director of University of Bands, and Director
of the Division of Instrumental Studies. In addition, he has also been conductor of the
Detroit Chamber Winds and Strings for over 25 years.
mystic yet powerful, that we find Wagner striking out with those new and intense
In this transcription of Elsa’s Procession for symphony band, Lucien Cailliet, with his
great talent for instrumentation, has succeeded in building into the instrumental
framework of the modern band a true and delicate representation of all that Wagner
so eloquently describes with orchestra and chorus. In the present score, the
instrumental solo voices of the original score are paralleled, the choral voices deftly
absorbed in the rich instrumental texture and all the luxuriant Wagnerian color re
created in terms of the instrumentation for the band.
Richard Wagner (born May 22, 1813, in Leipzig; died February 13, 1883, in Venice), a
German composer, was one of the most influential people who lived during the 19th
Century. His most influential works were in the medium of opera. These compositions
include Der Ring des Nibelungen, Tristan und Isolde, and Die Meistersinger von
Narnberg. Even though he died more than a century ago, Wagner remains a divisive
figure due to his personal views.
Wagner first attended school in Dresden and eventually attended Leipzig University in
1831. At this time he studied briefly with Christian Gottlieb Muller and was heavily
influenced by Beethoven. He gained his first position through help of his brother as
the choirmaster at the theater in Wirzburg. Wagner composed operas at this time
influenced by Weber and Bellini. His early career led him to travel throughout
Germany with one company, hold a position in Berlin, and move to Paris in 1839. His
first large success was with the premiere of Rienzi in Dresden in 1842. This was
followed shortly by the premiere of Der fliegende Hollidnder, and then Wagner’s
appointment as assistant choirmaster for the court in Dresden. While in this position
he presented the premiere of Tannhéuser.
In 1848, after the revolutions in Paris and Vienna, Wagner saw an opportunity to
develop a German national theater and joined revolutionary minded people. When an
attempt at revolution in Dresden failed, the composer was forced to flee because of
his associations with the revolutionaries. He first stayed at the home of Liszt but then
moved on to Zurich. Wagner spent much time writing in the 1850s and was able to
secure living expenses from two women. Ideologically, he began to associate with the
philosopher Arthur Schopenhauer. He conducted important works such as Tristan und
Isolde and Die Meistersinger von Nu’rnberg but Wagner had also accumulated a lot of
debt.
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In 1864, Ludwig II of Bavaria gave the composer money to pay his debt and also gave
him an annual salary as well. This helped Wagner to move back to Germany and to
develop his theater in Bayreuth. The composer also developed a relationship with
Cosima, the daughter of Liszt and wife of Hans von Bulow, who he eventually married.
In 1876 the complete Ring Cycle was performed for the first time. Wagner’s last major
work, Parisfal, was premiered in Munich in 1882. He passed away from a heart attack
shortly after moving with his family to Venice.
2 0 1 2 2013 SEASON
Lucien Cailliet (May 22, 1891 January 3, 1985) was an American composer,
conductor, arranger a nd clarinetist. Born at Dijon, in France, Cailliet studied at the
Conservatory in his native city before migrating to the United States in 1918. CaiIIiet
worked as staff arranger for the Philadelphia Orchestra. During this time, he founded
the Cherry Hill Wind Symphony, which would later become the Wind Symphony of
Southern NewJersey.
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Cailliet is well known among wind musicians for his faithful arrangements of orchestral
music for wind ensemble. In particular, his arrangements of Elsa’s Procession to the
Cathedral (from Wagner’s opera Lohengrin) and Finlandia (a symphonic poem by Jean
Sibelius) have become staples of the wind ensemble repertory.
Lucien Cailliet served as Associate Conductor of The Allentown Band (Pennsylvania)
from 1934 until 1969. During that period, he conducted many of his arrangements on
Allentown Band Concerts. The renowned composer and arranger studied at several
French music conservatories before graduating from the Dijon Conservatory at age
twentytwo. He also received a degree from the National Conservatory in Paris. He
was a bandmaster in the French Army and, in 1915, he toured the United States with
the French Army Band. In 1919, he joined the Philadelphia Orchestra as a clarinetist,
saxophonist, and arranger, where he worked closely with Leopold Stokowski. In 1923,
at age thirtytwo, Cailliet became an American citizen and continued to play with the
Philadelphia Orchestra while attending graduate school at the Philadelphia Musical
Academy. After receiving his Doctor of Music Degree in 1937, he moved to California
to teach at the University of Southern California. After teaching there for seven years,
he decided to devote his time to guest conducting and composing film scores.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Binghamton University Wind Symphony presents "Something Old, Something New, Something Borrowed, Something Blue," December 2, 2012
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Held at 1:20 p.m., December 12, 2012.
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Binghamton University Libraries
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12/6/12
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sound
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https://omeka.binghamton.edu/omeka/files/original/a5c814853f0eb5596f9b408bbedd8756.pdf
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BINGHAMTON
U N I V E R S I T Y
S T A T E U N I V E R S I T Y O F N E W Y O R K
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D ANIEL FABRICIUS , CONDUCTOR
Sunday, November 23, 2014
3:00 p.m.
Anderson Center Chamber Hall
�PROGRAM
HOMAGE (
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J
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(b. 195
ELEGY FOR A YOUNG AMERICAN (1964)............................Ronald Lo Presti
(b. 1961!
. SCENES FROM “THE LOUVRE” (1966)..............................Norman Dello Joio
(19132008)
i
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I. The Portals
II. Children’s Gallery
III. The Kings of France
IV. The Nativity Paintings
V. Finale
"’ * * "' * lNTERMlSS/ON * * "‘ "" *
. SLAVA! (1977)....ccosssmmmsssssmsssanssssssssssssassassmssssanssssansessensassess Bernstei .
(19181990)?
Transcribed by Clare Grundman
MUSIC FOR PRAGUE 1968 (1968)..................................................Karel Husa.
(b.1921¥
I. Introduction and Fanfare
II. Aria
III. Interlude
IV. Toccata and Chorale
�24
( RSITY WIND SYMPHONY
Daniel Fabricius, Conductor
ALTO SAXOPHONE
Andrew Pfeiffer
Nicholas Follett
Julia Dunnigan
' ‘rsuo n SAXOPHONE
Crystal Fisher
BARITONE SAXOPHONE
Daniel Gross
, TRUMPET
Brandon Young
371 Brandon Ashley
Letitia Kar Hoo
TROMBONE
Jacob Solon
Joshua Yamuder
Daniel Romberger
EUPHONIUM
Ryan Shumaker
TUBA
Matthew Vegiard
Patrick Jones
PERCUSSION
Emily Goetz
William Potts
Alex Rava
Robert Hopkins
1 : Masha Pazdar
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�CONDUCTOR
Daniel Fab ricius h a s b een a member of the music faculty since 1992,
percussion i n s t r u c t O r for twenty years before his appointment as con
the Bingh amton UHlVersity Wind Symphony. He holds degrees from ma
University and I t h a c a College and has studied conducting with Donal
(Mansfield Univers ity) Rodney Winther (Ithaca College), Stephen pe
(Ithaca Co llege). COI Arnald Gabriel (US Air Force), and Mallory Th
(Northwestern UniVErsi ty). In addition to his duties at BU he also s”
Director of B a n d s at Owego Free Academy where he has develop
outstanding lnStru mental music program. The bands at OFA have r
plenty of praises a n d the OFA Jazz Band has been honored to present
performances a t t h e NYSSMA Winter Conference in 2008 and 2013. "
He is highly r e g a r d e d in the region as a conductor, as a percussion pe "
and as a m u s i c educator. He has been a member of the Bingh
Philharmonic p e rc u s s i o n section since 1982 but is also comfortable perfor
in popular, r o c k , Jazz, and other styles. He has played as a freW
percussionist, acco mpanyin g national touring artists such as Michael W §
Tommy Tune, J e r r y Vail, Lorrie Morgan, Ringling Brothers Circus, the S
Brothers, and E l l a Fitzgerald. Professor Fabricius has served the New Yo "
Slil’lOOl Music ASSOC lation as an AllState Percussion adjudicator for many
He also serves N Y S S M A as the Instrumental Jazz Reviews editor of The Sc
Music News a n d i s t h e Jazz Editor for the NYSSMA Manual. In additio, t
collegiate work a t B U , he has also served Ithaca College as a consultan
member of the S u m m e r Session faculty, and as a cooperating teacherf
35 student t e a c h e r s , He also serves the Summer Music Academy atf"1
College as a p e r c u s s i o n instructor and jazz ensemble conductor. I
Presented many C l i n i c s at music conventions and conferences and often.
as a guest CO PdUCtO” for honor band festivals.
� ”*
, 7
PROGRAM NOTES
ost literal sense: a piece for an occasion. The actual occasion
ns ’ s’t’wentieth anniversary as a conductor of the top Dutch brass
Gloria” (Leeuwarden). To mark the occasion, the band
ii” “Belgian composer Jan Van der Roost to create a surprise
owledge of the person being celebrated, a suitable source of
,
f’ g; ught for. After some thought the choraletheme from Camille
' ‘ “ symphony was chosen, a piece with which Jan de Haan has a
}ft from this chorale, Homage is also based on the names of
m Jan de Haan’ and ‘Soli Deo Gloria’, resulting in the tone row:
sments are combined together and form a grand climax towards
e when the whole band unites in the Saint Saéns’ theme.
, ‘ was born in Duffel, Belgium, in 1956. He studied trombone,
‘t ’and musical education at the Lemmensinstituut in Leuven
m , tinued his studies at the Royal Conservatoires of Ghent and
ihe qualified as a conductor and a composer. At present, he
Wmensinstituut in Leuven (Belgium), is special guest professor
itute of Music” in Tokyo, guest professor at the “Nagoya
" and visiting professor at Senzoku Gakuen in Kawasaki (Japan).
lific composer, he is very much in demand as an adjudicator,
' ‘ n ga nd a guest conductor: his increasing musical activities
ore than 40 different countries in 4 continents, whereas his
being performed and recorded all over the world. Many of
, s have been broadcast on radio and TV in various countries
. have been recorded on CD by renowned performers all over
_
7 ‘ der Roost exclusively composes commissioned works, till
g Z « ' such countries like Belgium, Holland, Switzerland, Italy, the
France, Singapore, Austria, Canada, Norway, Germany,
M '
rg and Hungary.
r.
,
g
.
A r YOUNG AMERICAN – Elegy for a Young American was written in
' ~ .. ed to the memory of President John F. Kennedy. The many
' ing can be felt as the work unfolds. A quiet adagio sets a tone
dna fisoiemnity in the beginning. Feelings of shock and denial are
he dynamics and octave jumps in the melody. Anger and remorse
files, but they are replaced with a resolution of the loss and an
‘ ‘ ion of the contributions of this great American. The maestoso
s us again of our loss.
�Ronald LoPresti, clarinetist and composer, was born in 1933 in Williamstown,
Massachusetts. After graduating from the Eastman School of Music he received
many grants from the Ford Foundation and has also served as the Composerin
Residence for the Ford Foundation. LoPresti has taught at Texas Technical
University, Indiana State College, and Arizona State University. His most popular
work is Elegyfor a Young American, but he has also composed A Festive Music;
Introduction, Chorale, and Jubilee; Pageant Overture; Suite for Winds; Tribute;
and Tundra.
SCENES FROM “THE LOUVRE” Scenes from the Louvre comes from a 1964
television documentary produced by NBC News called A Golden Prison: The
Louvre, for which Dello Joio provided the soundtrack. The documentary tells the
history of the Louvre and its worldclass collection of art, which is in many ways
inseparable from the history of France.
Dello Joio chose to use the music of Renaissanceera composers in his
soundtrack in order to match the historical depth of the film. He collected the
highlights of this Emmywinning score into a fivemovement suite for band in
1965. The first movement, Portals, is the title music from the documentary, and
it consists entirely of Dello Job’s original material, complete with strident
rhythms and bold 20thcentury harmony. The second movement, Children’s
Gallery, never actually appears in the film. It is a lighthearted theme and
variations of Tielman Susato’s Ronde et Saltarelle. The stately third movement
is based on themes by Louis XIV’s court composer, Jean Baptiste Lully, and is
aptly titled The Kings of France. Movement four, The Nativity Paintings, uses the
medieval theme In Dulci Jubilo. The Finale uses the Cestiliche Sonata of Vincenzo
Albrici as its source material, to which Dello Job adds his own harmonic flavor,
particularly in the final passages of the piece. The band work, commissioned by
BaldwinWallace College for its symphonic band, was premiered in 1966 with
the composer conducting.
Norman Dello Joio was born in New York City to Italian immigrants and began
his musical career as organist and choir director at the Star of the Sea Church
on City Island in New York at age 14. His father was an organist, pianist, and
vocal coach and coached many opera stars from the Metropolitan Opera. He
taught Norman piano starting at the age of four. In his teens, Norman began
studying organ with his godfather, Pietro Yon, who was the organist at Saint
Patrick’s Cathedral. In 1939, he received a scholarship to the Juilliard School of
Music, where he studied composition with Bernard Wagenaar.
As a graduate student at Juilliard he arrived at the conclusion that he did not
want to spend his life in a church choir loft, and composition began to become
�his primary musical interest. In 1941, he began studies with Paul Hindemith, the
man who profoundly influenced his compositional style. It was Hindemith who
told Dello Joio, “Your music is lyrical by nature, don’t ever forget that.”
A prolific composer, the partial list of Dello Joio’s compositions include over
fortyfive choral works, close to thirty works for orchestra and ten for band,
approximately twentyfive pieces for solo voice, twenty chamber works,
concertos for piano, flute, harp, a Concertante for Clarinet, and a Concertino for
Harmonica. He has also written a number of pedagogical pieces for both two
and four hands. Dello Joio taught at Sarah Lawrence College, the Mannes
College of Music, and was Professor of Music and Dean of the Fine and Applied
Arts School of Boston University. From 1959 until 1973, he directed the Ford
Foundation’s Contemporary Music Project.
SLAVA! – When prominent Soviet cellist and conductor Mstislav ”Slava”
Rostropovich invited his friend Leonard Bernstein to help launch his inaugural
concert as Music Director of the National Symphony Orchestra, he also asked
him to write a rousing opening piece for the festivities. The world premiere took
place in 1977 at the Kennedy Center in Washington, DC.
Slava! is filled with joyous tunes and contrasts. Theme one is a vaudevillian razz
matazz with slideslipping modulations and glissing trombones. Theme two,
which features the electric guitar and soprano saxophone, is a canon in 7/8
time. Near the end, the ubiquitous trombones quote from the ‘Coronation
Scene’ of Mussorgsky’s opera Boris Godunov where the chorus sings ”slaval”
(”gloryl”), paying homage to Rostropovich, to whom the work is fondly
dedicated.
Leonard Bernstein was an American composer, pianist, and conductor. He was
born to Russian immigrants and attended Boston Latin School, Harvard
University, and the Curtis Institute of Music. His studied with composers Edward
Burlingame Hill and Walter Piston as well as conducting with Fritz Reiner. In the
summers of 1940 and 1941 he studied conducting at Tanglewood with Serge
Koussevitzky along with Frederick Fennell, Lukas Foss, and Walter Hendl. He
become assistant conductor of the New York Philharmonic in 1943 and it was in
this role he became famous by filling in last minute for Bruno Walter for a
national broadcast on 14 November 1943. His Symphony No. 1, “Jeremiah” was
premiered by the Pittsburgh Symphony in January 1944 followed by Fancy Free
and On the Town by the end of the year. These successes led to numerous
opportunities overseas, including being the first American to conduct at La
Scala. In 1951 he become the head of conducting at Tanglewood and seven
years later became Music Director of the New York Philharmonic (19581969).
�In this position he promoted new music, developed a series of Young People’s
Concerts, and recorded the symphonies of Mahler but was limited in his time to
compose. Bernstein was able to compose more in the 1970s. He wrote in many
styles encompassing symphonic and orchestral music, ballet, film and theatre
music, choral works, opera, chamber music and pieces for the piano. Many of
his works are regularly performed around the world, although none has
matched the tremendous popular and commercial success of his musical
theater masterpiece, West Side Story.
MUSIC FOR PRAGUE 1968 –
“It is not as beautiful a music as one always would like to hear. But we
cannot always paint flowers, we cannot always speak in poetry about
beautiful clouds, there are sometimes we would like to express the fight
for freedom.” Karel Husa
Music for Prague 1968 was commissioned by the Ithaca College Concert Band.
It was premiered by the commissioning ensemble in Washington, D.C., on 31
January 1969, Dr. Kenneth Snapp, conductor, at a concert for the Music
Educators National Conference.
Three main ideas bind the composition together. The first and most important
is an old Hussite war song from the 15th century, “Ye Warriors of God and His
Law,” a symbol of resistance and hope for hundreds of years, whenever fate lay
heavy on the Czech nation. It has been utilized by many Czech composers,
including Smetana in My Country. The beginning of this religious song is
announced very softly in the first movement by the timpani and concludes in a
strong unison (Chorale). The song is never used in its entirety.
The second idea is the sound of bells throughout; Prague, named also The City
of “Hundreds of Towers,” has used its magnificently sounding church bells as
calls of distress as well as of victory.
The last idea is a motif of three chords first appearing very softly under the
piccolo solo at the beginning of the piece, in flutes, clarinets, and horns. Later it
reappears at extremely strong dynamic levels, for example, in the middle of the
Aria.
Different techniques of composing as well as orchestrating have been used in
Musicfor Prague 1968 and some new sounds explored, such as the percussion
section in the Interlude, the ending of the work, etc. Much symbolism also
appears: in addition to the distress calls in the first movement (Fanfares), the
unbroken hope of the Hussite song, sound of bells, or the tragedy (Aria), there
�is also the bird call at the beginning (piccolo solo), symbol of liberty which the
City of Prague has seen only for a few moments during its thousand years of
existence. Program Notes by Karel Husa
At the time of the composition, Husa was an exile from his native
Czechoslovakia because of his avant garde music. He was contemplating the
inspiration for a new work commissioned by the Ithaca College Concert Band.
Through the first eight months of 1968, Czechoslovakia’s new Communist Party
chief, Alexander Dubcek set in motion a series of sweeping reforms aimed at
making Czech socialism more liberal and humane, now known as the ”Prague
Spring". The Soviet government apparently could not entertain the thought of
this reformist movement succeeding so they ordered the combined armies of
the Warsaw Pact nations to invade and seize control of the government on
August 20, 1968. The tragic events that followed provided Husa with
inspiration. Listening to news of the event happening in his homeland, Husa
was filled with the need to write a piece to honor the beauty of his native city
and express the utter devastation and injury that he felt because of its great
suffering. The piece is full of allusions to war, chaos, and destruction, but it also
includes the theme of a 15th century Hussite war song; birdcalls, which
symbolize fleeting freedom; the use of brass to convey power; and the use of
percussion to represent the bells of Prague. Within the next seven weeks,
scoring at a high level of inspiration and incentive, Husa composed Music for
Prague 1968 finishing the score in October.
Twentyfive years ago with the astonishing fall of the Berlin Wall and the
eventual “opening up” of Czechoslovakia, friends and admirers flooded Husa
with expressions of support, knowing how deeply he felt his cultural heritage.
In 1990 Husa was finally able to conduct the work in the city of Prague. It was
a poignant homecoming, marking not only the success and perseverance of an
individual artist, but heralding a changing world – changing this time in favor of
hope, new freedom, and new dignity.
�Binghamton Community Orchestra 5
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Presenting Quality Orchestral Lgperiences for the
20742015 Season
“The Mighty Handful”
Saturday, ‘oyember 22, 2014
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“How Suite It Is!” !
Saturday, February 28, 2015 '
“Romantic Spring”
Saturday, May 9, 2015
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Welcoming back to the podium as conductor
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Dr. Timothy Perry
(I a s )
Concerts start at 7 pm
East Middle School
167 East Frederick Street
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Act ‘1 ofVchIS comic
opera “Falstaff
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Shakespeare’s
“The Merry Wives of
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and a scene from
Douglas Moore’s
The Ballad of Baby
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Sunday, December 7 at 1 p.m. and 4 p.m. In the Anderson Chamber Hall
For tickets, call (6071 777ARTS or VISIl anderson binghamton edu
�B I N G H A m T O N r PHILHARMO NlC
JoséLuis Nova ( j Music Director
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purchase online at tricitiesopera.com.
�Bing ham ton U niver sity M usic Department’s
C o m i n g E vents
4&65–fififlflébflébfifiéfl6éflhfibfiéfl
Tuesday, Decem ber 2 Percussi on Ensem ble Conc ert – 7:30 p.m. – Osterhout Concert Theat
er $7
general public; $ 5 faculty/staff/seniors/alumni; free for students
771ursday, D e c e m b e r 4 M i d D a y C o n c e r t 1:20 p.m. Fine Arts Building, Room 21 free
Friday, D e ce m b e r 5 F l u t e S t u d i o a n d F l u t e C h a m b e r C o n c e r t 10:45 a.m. Casadesu
s Recital
Hall free
Friday, December 5 Holiday Organ Concert featuring jonathan Biggers – 7:30 p.m. United
Presbyterian Church, 42 Cheango Street, Binghamton $5 general public; free for students
Saturday, December 6 – University Symphony Orchestra: From the New World 3:00 p.m.
Osterhout Concert Theater $7 general public; $5 faculty/staff/seniors/alumni; free for students
Saturday, Decem ber 6 Italian D iction Cl ass Recital 7:30 p.m. Casadesus Recital Hall
free
Sunday, Decemb er 7 F i r st A c t o f Verdi’s “ Falstafi" ' lp.m & 4 p.m. Anderson Center C
hamber
Hall $10 general public; $7 faculty/staff/seniors/alumni; $5 for students
Tuesday, Decem ber 9 P i a n o Ensemb le C o n ce r t – 7:30 p.m. Casadesus Recital Hall – free
Wednesd ay, Dece mber 1 0 N u k p o r fe African Drummi ng,I a n d D ance En semble 7:30 p.m
.
Watters Theater $5 general admission at the door
77tursday, Decem ber 1 1 – Holida y MidDay Concert 1:20 p.m. Casadesus Recital Hall
free
Thursda y, Decem ber 1 1 H a r p u r Chorale a n d Women ’s C h o r u s H o l i d a y Concert 7:30 p.m
.
Trinity Memorial Church, Binghamton a free donation will be collected at the door
Friday, D ecembe r 12 Chinese Singing Class Re cital 7:30 p.m. Casadesus Recital Hall free
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For tickets or to be added to our email list, visit andersonbinghamtoncdu or call (607)
[ = ] 777ART S. For a complete list of our concerts call (607) 7772592. visit
—
music.binghamton.edu or become a fa n on Facebook.
I f you were inspired by this performance, consider supporting the Department of M usic
with a fin ancial gift. Your support helps to continue the work of students, fac ulty, and
[ = ] ;
guest artists and their contributi ons to our comm unity. Please make you r donatio n
payable to the Binghamton University Music Department, and send your check to B U
Music Department, P. O . Box 6000 , Binghamton, N Y 1 3902.
�
Dublin Core
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Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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Original Format
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1 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
01:05:13
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75070">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75070</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Binghamton University Wind Symphony presents In Memory and in Tribute - An Homage in Music
Subject
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Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Van der Roost, Lo Presti, Joio, Bernstein, Grundman, Husa. Held at 3:00 p.m., November 23, 2014, Anderson Center Chamber Hall.
Creator
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University Wind Symphony
Fabricius, Daniel
Publisher
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Binghamton University Libraries
Contributor
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Van der Roost, Jan
Lo Presti, Ronald
Dello Joio, Norman
Bernstein, Leonard, 1918-1990
Grundman, Clare
Husa, Karel
Date
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11/23/14
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In copyright
Type
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sound
-
https://omeka.binghamton.edu/omeka/files/original/0b1e5f2ec66904608b829018173da6de.pdf
7b889c784e90d2dac4a7c1b8d739f70e
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BINGHAMTON
N I
ER
ITY
STATE UNIVERSITY OF NEW YORK
D E P A R T M E N T
Binghamton
University
Wind Symphony
presents
Musicby
Daniel Fabricius, conductor
Saturday, M arch 15, 2014
8:00 p.m .
Anderson Center Chamber Hall
�PROGRAM
UNIVERSITY WIND SYMPHONY
Daniel Fabricius, Conductor
SEVENS (2004) ... .. .. ..... ... .... ....... ............. ......... ........ .... ... .... ... ... .Samuel R. Hazo
(b. 1966)
FOUR SCOTTISH DANCES (1978) .................... ....... .... .......... .. Malcolm Arnold
(1921-2006)
Arranged by John P. Paynter
PICCOLO
BASS CLARINET
TROMBONE
Cara Natale
Jamison Wezelis
FLUTE
BASSOON
Daniel Romberger
Alejandro Espinosa
Patrick Jones
Eleni Flo rakis
Shelby Smith
Devin Kasinki
Brandy Greene
Bailey Thomas
EUPHONIUM
ALTO SAXOPHONE
Adam Sauer
Chris Murdock
QUINTOLOGY, The Science of Five (2010) ..................... .... ......... Gary D. Ziek
(b. 1960)
TRITTICO (1963) .... ............ ........................................... .... .... .Vaclave Nelhybel
(1919-1996)
FIRST SUITE IN E-FLAT (1909) .......... ..... ..... ... .. ... ...... .......... .... . Gustav Holst
(1874-1934)
TUBA
Matthew Vegiard
OBOE
Allie Moskowitz
Joe Kim
Michael Sugarman
TENOR SAXOPHONE
Ju lia Dunnigan
ENGLISH HORN
BARITONE SAXOPHONE
Jenna Graff
Daniel Gross
CLARINET
TRUMPET
Allison Battaglia
Hector Mendez
Sophia Schneiderman
Stephanie Sheintul
Diana Schwartz
Jessica Siegal
Brittany Sheridan
Steven O'Connor
Jason Boniello
Brandon Young
Brandon Ashley
Jared Biunno
Joshua Golub
Bai Xue
FRENCH HORN
Abbey McMahon
Christopher Patrizio
Jeff Barker
PERCUSSION
Daniel Fabricius
Joseph Glowienka
Robert Hopkins
Daniel Kim
Alex Rava
Char les A. Schmitz Ill
Alex Valera
KEYBOARD
Benjamin Ca lhoun
Dan iel Rosenau
�PROGRAM NOTES
CONDUCTOR
Daniel Fabricius has been a member of the music faculty since 1992, serving as
percussion instructor for twenty years before his appointment last year as
conductor of the Binghamton University Wind Symphony . He holds degrees
from Mansfield University and Ithaca College and has studied conducting with
Donald Stanley (Mansfield University), Rodney Winther (Ithaca College),
Stephen Peterson (Ithaca College), Col. Arnald Gabriel (US Air Force), and
Mallory Thompson (Northwestern University) . In addition to his duties at BU,
he also serves as Director of Bands at Owego Free Academy where he has
developed an outstanding instrumental music program . The bands at OFA
have received plenty of praises. The OFA Jazz Band was recently honored to
present a concert performance at the 2013 NYSSMA Winter Conference.
He is highly regarded in the region as a conductor, as a percussion performer,
and as a music educator. He has been a member of the Binghamton
Philharmonic percussion section since 1982 but is also comfortable performing
in popular, rock, jazz, and other styles. He has played as a free -lance
percussionist, accompanying national touring artists such as Michael W. Smith,
Tommy Tune, Jerry Vail, Lorrie Morgan, Ringling Brothers Circus, the Smothers
Brothers, and Ella Fitzgerald. Professor Fabricius has served the New York
State School Music Association as an All-State Percussion adjudicator for many
years. He also serves NYSSMA as the Instrumental Jazz Reviews editor of The
School Music News and is the Jazz Editor for the NYSSMA Manual. In addition
to his collegiate work at BU, he has also served Ithaca College as a consultant,
as a member of the Summer Session faculty, and as a cooperating teacher for
over 35 student teachers. He also serves the Summer Music Academy at
Ithaca College as a percussion instructor and jazz ensemble conductor. He has
presented many clinics at music conventions and conferences and often serves
as a guest conductor for honor band festivals .
SEVENS - was commiss ioned on behalf of South Caroli na's CBDNA members who contribute to
the state' s Collegiate Honor Band . The world premiere was conducted by Colonel Lowell E.
Graham, 0.M .A. (U.S. Air Force, Ret.).
One moment in musical history, that I feel had a critical impact on modern ensemble music, was
George Gershwin' s incorporation of jazz elements into the repertoire of orchestral music.
Purists were appalled while listeners couldn't help but smile at these new sounds coming from a
symphony orchestra . Gershwin' s j azz inspired orchestral compos ition Rhapsody in Blue was
actual ly the brain chi ld of Band leader Paul Whiteman, who broached the idea to Gershwin in
1922 ( ... Figures it would be a band guy !). Whiteman wanted nothing more than to shake up the
" highbrow" element that surrounded symphonic concert halls of that era. Rhapsody in Blue was
written and performed in 1923. Its impact has proven to be timeless.
Fast forward 81 years to 2004, the year of composition for "SEVENS" . Musical circles have
grown to the point where the overlapping of musica l genres are, at the very least, acceptable
and, more accurately, encouraged. When I got the ca ll from Les Hicken to write this piece, he
mentioned to me that he would love it if the piece cou ld be a " barnburner." I hadn't written a
piece that could be classified as a "barnburner" since I wrote a composition titled Ride.
However, they are so much fun to do (even though they take forever to score), that I was happy
to oblige . Shortly after Les called me, I was listening to one of my favorite musical groups,
Gordon Goodwin' s Big Phat Band . I thought to myself that, at present, there' s no composit ion
that I know of, that is just a straight ahead, in-your-face, Big Phat Band style composition for
W ind Symphony; in other words, a true " barnburner." Perhaps a composition in that style would
be j ust the right fit for this commiss ion . On ly one obstacle ... I have never written a jazz
compos ition in my life.
In an effort to write a modern day barnburner, as well as a tribute of appreciation to George
Gershwin and Gordon Goodwin, I picked the concept that the " seventh" was the musical
interval that Rhapsody in Blue kept so prominent. So, I based the entire compos it ion in sevens.
Every part of this piece has a connection to the number seven. That connection could be the
number of notes in the phrase, the time signature, the seventh-step chord that a phrase is
based upon, etc ...
Strangely enough, after I finished the entire compos ition, I discovered that my tribute to George
Gershwin and Gordon Goodwin, titled Sevens, had one more symbolic turn. Both composers
share the same initia ls: G.G.; coincidentally the seventh letter of the alphabet.
(Notes from Samuel Hazo - www.SamuelRHazo.com)
FOUR SCOTTISH DANCES - These dances were composed early in 1957 and were dedicated to
the BBC Light Music Festival. They are all based on origina l melod ies, w ith the exception of one
composed by Robert Burns. The first dance is in the style of a slow strathspey - a Scottish dance
resembl ing, but slower than, the ree l. The dance is in 4/4 meter with many dotted notes,
frequent ly in the inverted design of the "Scotch snap." The name was derived from the Strath
Valley of the Spey River. The second, a lively ree l, begins in the key of E-flat and rises a semitone
each time until performed by the bassoon in the key of G. The fina l statement of the dance is at
the original tempo in the home key of E-flat. The third dance, in the style of a Hebridean Song,
gives an impression of the sea and mounta in scenery on a ca lm summer day in the Hebrides.
The last dance is a lively fling, which makes frequent use of the opening string pitches of the
violin (performed by the saxophones in the band edition ).
�Born in Northampton (UK) in 1921, Malcolm Arnold is one of the tower ing figures of the 20th
century, with a remarkable catalogue of major concert works to his cred it, including nine
symphonies, seven ba llets, two operas, one musical, over twenty concertos, two string quartets,
and music for brass-band and wind-band. He also wrote one hundred thirty-two film scores .
(Notes from Malcolm Arnold- www.MalcolmArnold.co.uk)
QUINTOLOGY, The Science of Five - is a short concert piece for w inds and percussion . This
piece explores the many possibilities of 5/4 t ime . The form of the piece is introduction, A, B, A.
The A sections are built around the subdivisions of 3+3+2+2 . The B section utilizes mu ltip le
layers of fives , superimposing ten quarter notes over five ha lf notes over twenty eighth notes.
The piece drives to a conclusion, wh ich includes a short allusion to one of the great odd meter
jazz composers, Don Ellis.
Dr. Gary D. Ziek has served as Director of Bands and Professor of Trumpet at Emporia State
University since 1995. He is the recipient of the Roe R. Cross Distinguished Professor Award for
2008-09. Dr. Ziek served from1982 to 1985 in the US Army and was a member of the
Continental Army Band at Fort Monroe, Virginia. He taught in the Greater Latrobe School
District in Pennsylvania from 1987 to 1992, and was the Associate Director of the Indiana
University of Pennsylvan ia Marching Band in 1994. Dr. Ziek enjoys performing and conducting a
wide variety of mus ic, from classical to jazz. He has performed and conducted in twenty states,
as well as France, Germany, Switzerland, Italy, Austria and Canada . His compos itions and
arrangements have been played throughout the United States, Belgium, The Netherlands,
(Notes from conductor score)
Japan, Singapore and Taiwan .
TRITTICO - was composed in 1963 for Dr. Wi lliam D. Reve lli, who gave the first performance of
the work in the Spring of 1964, in Ann Arbor, w ith the Symphonic Band of the University of
Michigan .
The fi rst and th ird movements are, in severa l ways, re lated to one another: the ir ma in character
is brilliantly forward-moving and energetic; the main theme of the first movement reappears in
the culm ination point of the third movement; and the instrumentation of the movements is
identical (standard), with the individual instruments being used quite similarly.
The second movement is a strongly contrast ing dramatic scene with turbulent recitatives and
expressive woodwind solos, punctuated by low brass and percussion . The emphasis is on the
woodwinds and the low brass; cornets and trumpets enter only at the very end w ith an
extreme ly intense phrase to conclude the movement. The dramatic character is underlined by
the strong use of percussion wh ich is extended by a second t impani player, piano, and ce lesta .
(Notes from conductor score)
Internationa lly renowned composer Vaclav Nelhybel was born on September 24, 1919, in
Polanka, Czechoslovakia . He studied compos ition and conducting at the Conservatory of Music
in Prague (1938-42) and musicology at Prague University and the University of Fribourg,
Switzerland . After World War II , he was affiliated as composer and conductor with Swiss
National Rad io and became lecturer at the University of Fribourg. In 1950, he became the first
musical director of Radio Free Europe in Mun ich, Germany, a post he he ld until he imm igrated
to the United States in 1957. Thereafter, he made his home in America , becoming an American
citizen in 1962. After having lived for many years in New York City, he moved to Ridgefie ld and
Newtown, Connecticut, and then, in 1994, to the Scranton area in Pennsylvania. During his long
career in the United States, he worked as composer, conductor, teacher, and lecturer
throughout the wor ld. At the t ime of his death on March 22, 1996, he was composer in
residence at the University of Scranton.
A prolific composer, Nelhybel left a rich body of works, among t hem concertos, operas, chamber
music, and numerous compositions for symphony orchestra, symphonic band , chorus, and
smaller ensembles. Over 400 of his works were published during his lifetime, and many of his
over 200 unpublished compos itions are in the process of being published . (Nelhybel's passion
for compos ing was all encompassing and left him little t ime for "marketing" his works; for th is
reason, many of his compos it ions, though comm issioned and performed, rema ined
unpublished .) Although Ne lhybel wrote the majority of his works for professional performers,
he relished composing original, challenging pieces for student musicians and de lighted in
ma king music with young players.
Nelhybel was a synthesist and a superb craftsman who amalgamated the musical impulses of his
t ime in his own expression, choos ing discri m inately from among existing systems and
integrating them into his own concepts and methods. The most striking general characteristic of
his music is its li near-modal orientation . His concern w ith the autonomy of melodic li ne leads to
the second, and equally important characteristic, that of movement and pulsation, or rhythm
and meter. The interplay between these dual aspects of motion and time, and the ir coordinated
organization, resu lts in the vigorous drive so typica l of Nelhybel 's music. These elements are
comp lemented in many of his works by the tension generated by accumulations of dissonance,
the increasing of textura l densities, exploding dynam ics, and the massing of multi-hued sonic
colors. Though frequently dissonant in texture, Nelhybel's music always gravitates toward tona l
centers, which makes it so appeal ing to performers and listeners alike.
(Notes from Vaclav Nelhybel Biography - www.scronton.edu )
FIRST SUITE IN E-FLAT - 2009 marked the 100th ann iversary of the First Suite in £-fla t by Gust av
Hol st , now considered one of t he masterworks and cornerstones of the band literature.
Although comp leted in 1909, t he su ite didn't rece ive its officia l premiere until 11 years later on
June 23rd, 1920, by an ensemble of 165 musicians at the Royal M il itary School of Music at
Kne ller Ha ll. However, the work w as originally conceived to be performed by ensembles
significantly sma ller than the one at Kneller Hall. During th is ti me period, there was no
standard ized instrumentation among the hundreds of British mil itary bands of the day, and as a
result no sign ificant literature had been previously written for the band medium; most British
bands up to then performed arrangements of popular orchestral pieces. In order to ensure the
su ite would be accessible to as many bands as possible, Holst ingeniously scored the work so
that it cou ld be played by a min imum of 19 musicians, w ith 16 add it iona l parts that cou ld be
added or removed without comprom ising the integrity of the work.
There are three movements in the su ite : Chaconne, Intermezzo, and March. Holst writes, "As
each movement is founded on the same phrase, it is requested that the su ite be played right
through w ithout a brea k." Indeed, the fi rst three notes of the Chaconne are Eb, F and C, and the
fi rst three notes of t he melody when it fi rst appea rs in the Intermezzo are Eb, F, and C. In the
th ird movement, March, Holst inverts the motive : The fi rst note heard in the brilliant open ing
bras s med ley is an Eb, but instead of rising, it descends to a D, and then a G; the exact opposite
of the fi rst t wo movements .
The Chaconne begins w ith a ground bass rem iniscent of those w ritten by Henry Purcell or
William Byrd . It is performed by tuba, euphonium and string bass and is repeated throughout
th e ensemble sixteen fu ll t imes as vary ing inst rumenta l textures and variations of the theme are
laye red w ith in it . Following a delicate ly scored chamber sett ing of the theme, the music steadi ly
bu ilds to a brilliant Eb Major chord that concludes the movement.
�The Intermezzo is light and brisk and features soloistic passages for the cornet, oboe and
clarinet. Holst prominently displays the agility and sensitivity of the wind band through
transparent textures and passages where the melody and accompaniment are woven into a
variety of instrumental settings.
The March begins suddenly. It consists of two themes, the first of which, performed by brass
choir and percussion, is a march light in character. The second theme is dominated by the
woodwinds and is composed of a long, lyrical line remin iscent of the original Chaconne melody.
The movement concludes with both themes intertwining as the band crescendos to a climax.
Gustav Holst, of Scandinavian ancestry on his father's side, was born in the English spa town of
Cheltenham in 1874 and studied music at the Roya l College in London. A formidable trombonist,
he spent time performing with the Scottish Symphony and various seaside bands. He later
became director of music at St. Pau l's Girls' School, retaining this connection until the end of his
life. Holst wrote a number of works for the theater, their subjects reflecting his varied interests,
from Hindu mythology to Shakespeare and the medieval world of the Wandering Scholar. He
also composed a considerable amount of choral music, accompanied and unaccompanied,
including arrangements of folk songs, and a smaller number of solo songs. His most famous
instrumental work is The Planets, but he is also fond ly remembered for his St. Paul's Suite for
string orchestra, the two suites for military band, and Hammersmith, based on the district of
London bearing the works name.
(Notes from Esmail Kha lili - www.windrep.org).
Binghamton University Department of Music
Coming Events
Wednesdav, March 19 pera cen s p.m. - Anderson
gen ral public; 7 fac ulty/staff/seniors; $5
5 fo r students
Thursday, M arch
20 -
Mid-Day
10
n ere - I: 20 p. m. - Cas
s adesus Re ital Hall - fr
Thursday, March 27 - Mid-Day Concert - 1:20p.m. Friday, March 28 - Harpur
nter Chamber Hall -
VocalJazz - :00 p.m. -
rurdav, March 29 - Junior Recital:
baritone- 3:00 p.m. - Art Museum - free
. sade sus Re ital Hall
- free
. sade sus R citalHall - free
aitlin G rimer, oprano with Jake
aturday, March 29 - Master's Recital: Matthew
Recital Hall - free
tamatis, bass
amluk, baritone- 8:00 p.m. - Casadesus
Thursday, April 3 - Mid-Day once rt - I :20 p.m. - Fine Arts Room 21 - free
Friday, April 4 -
pera
n s -
p.m. - Art Museum -
10
ge
neral public;
7
fac ulty/staff/seniors; 5 fo r students
For tickets or ro be a ded to our email list, visitanderson.binghamton.edu or call (607)
777-ARTS. For a complete list of our concerts call (607) 777-2592, visit
music.binghamton. edu or become a fan on Fa ebook.
If you were inspired by this performance,, consider
supporting the Department of Music
with a financial gift. Yoursupport helps to continue the work of students, faculty, and
guest artists and their contributions to our community.
Please make your donanon
payable to the Binghamton UniversityMusic Department, and send your check to BL'
Music Department, P.O. Box 6 0 , Binghamton,NY 13902.
�
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
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Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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1 audio disc
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57:20:00
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75049">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75049</a>
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Title
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Binghamton University Wind Symphony presents Music by Numbers, March 15, 2014
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Hazo, Arnold, Ziek, Nelhybel, Holst. Held at 8:00 p.m., March 15, 2014, Anderson Center Chamber Hall.
Creator
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University Wind Symphony
Fabricius, Daniel
Publisher
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Binghamton University Libraries
Contributor
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Hazo, Samuel R., (b. 1966)
Arnold, Malcolm, (1921-2006)
Ziek, Gary D., (b. 1960)
Nelhybel, Vaclave, (1919-1996)
Holst, Gustav, 1874-1934.
Date
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3/15/14
Rights
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In copyright
Type
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sound
-
https://omeka.binghamton.edu/omeka/files/original/21835835ea708d3c23dee520d9157e2a.pdf
f0d909c54be83e932450f229a32e3e81
PDF Text
Text
BINGHAMTO N
U N I V E R S I T Y
STATE U NI V E R S I T Y O
F N E W Y O R K
ted/w
Es
D E P A R T M E N T
O Binghamto n (ZZIII’VBI’J’I’Q
Wind Qfiymp/mny
presents
”@naa Q fi p m a C i m e ”
D ANIEL F ABRICIU S , C ONDU CTOR
Su nday, April 2 6, 2015
3 :00 p.m.
Anderson Center Chamber Hal l
�PROGRAM
UNIVERSITY WI ND SYMPHO NY
Daniel Fabricius, Conductor
FATE OF THE GODS (2001)
THOUGHTS OF LOVE (1893).
Steven Reineke
(b. 1970)
Arthur Pryor
(18701942)
Arranged by Charles J. Roberts
Christopher Beard, trombone
GHOST TRAIN (1994).
Eric Whitacre
(b. 1970)
I. Ghost Train
Il. At the Station
Ill. The Motive Revolution
MARCH OF THE CUTE LITTLE WOOD SPRITES
.P.D.Q. Bach
(18071742)?
Charmingly edited by Professor Peter Schickele
‘ ‘ ‘ ‘ * INTERMISSION ’ 0
0
’ 0
THE PHILOSOPHER’S STONE (2000).
MAZAMA, Legend of t h e P acific Northwest (1984).
.Thomas C. Duffy
(b. 1955)
J a y Chatta way
PICCOLO
Jennifer Bochicchio
ALTO SAXOPHONE
Julia Dunnigan
Riley MonckRowley
FLUTE
Eleni Florakis
Jacqueline Robins
Cara Natale
Shelby Smith
Lydia Carolan
Devin Kasinki
TENOR SAXOPHONE
Crystal Fisher
TUBA
Matthew Vegiard
Patrick Jones
Michael Burgner
Chang Letitia Kar Hoo
Jonathan Terner
Jason Boniello
POLKA AND FUGUE,
from the opera, “Schwanda the Bogpiper “ (1927). Jaromir Weinberger
(18961967)
Transcribed by Glenn C. Bainum
BASSOON
Bailey Thomas
Diana Carter
Carl Closs
EUPHONIUM
Ryan Shumaker
TRUMPET
Rebecca Marwin
B ASS C LARIN ET
Jacob Solon
Joshua Yamuder
Michael Sugarman
Brandon Young
Brandon Ashley
(b. 1946)
Christopher Beard
BARITONE SAXOPHONE
Daniel Gross
OBOE
Jenna Graff
CLARINET
Erin Annis
Allison Battaglia
Alaina Mancini
Jessica Siegal
John Petersen
Steven O’Connor
Brittany Sheridan
Katherine Fottrell
Si Yoon Kwon
TROMBONE
David DeFazio
Paul Barber
Josh Golub
FRENCH HORN
Daniel Muller
Christopher Patrizzio
Jeffrey Barker
Ma tt Mc Auliffe
Brian Sternberg
Austin Hassel
PERCUSSION
Emily Goetz
William Potts
Alex Rava
Robert Hopkins
Daniel Kim
Annabel Fair
Joey Glowienka
Kasha Pazdar
David lndictor
ORGAN
Daniel Rosenau
�CONDUCTOR
PROGRAM NOTES
Daniel Fabricius has been a member of the music faculty since 1992, serving as
percussion instructor for twenty years before his appointment as conductor of
the Wind Symphony. He holds degrees from Mansfield University and Ithaca
College and has studied conducting with Donald Stanley (Mansfield University),
Rodney Winther (Ithaca College), Stephen Peterson (Ithaca College), Col. Arnald
Gabriel (US Air Force), and Mallory Thompson (Northwestern University). In
addition to his duties a t BU he also serves as Director of Bands a t Owego Free
Academy where he has developed an outstanding instrumental music program.
The bands at OFA have received plenty of praises and the OFA Jazz Band has
been honored to present concert performances at the NYSSMA Winter
Conference in 2008 and 2013.
FATE OF THE GODS a programmatic work for symphonic band, was inspired by
tales of Nordic mythology. The programmatic piece tells the story of Ragnarok,
also known as the Twilight of the Gods. An incredible war between forces of
good and evil is fought, bringing about the end of the cosmos. After
the destruction, a new and idyllic world will arise and this new earth will be filled
only with joy and abundance. The first section of the piece represents the
creation of the primordial world in which forces of both good and evil are
established. The second section is the development of the dark, devious hemes
that symbolize the God Loki, the personification of all things evil. This theme
gives way t o the more soothing music tha t represents the God Balder, son of
Odin. Blader personifies all that is good, pure and innocent. When evil ensues
once again, Heimdall, the watchman of the Gods, sounds his horn, signaling the
beginning of the end. From all the corners of the world, gods, giants, dwarves,
demons and elves will ride towards the huge plain where the last battle will be
fought. This tremendous battle brings about the massive chaos and eventually
the destruction of the world. All is destroyed save one tree, the tree of life,
known as Yggdrasil. The tree gradually brings existence back to the world. This
time it is on y forces of goodness which are created. Evil has destroyed itself and
good has won over all.
He is highly regarded in the region as a conductor, as a percussion performer,
and as a music educator. He has been a member of the Binghamton
Philharmonic percussion section since 1982 but is also comforta ble performing
in popular, rock, jazz, and other styles. He has played as a freelance
percussionist, accompanying national touring artists such as Michael W. Smith,
Tommy Tune, J erry Vail, Lorrie Morgan, Ringling Brothers Circus, the Smothers
Brothers, and Ella Fitzgerald. Professor Fabricius has served the New York State
School Music Association as an AllState Percussion adjudicator for many years.
He also serves NYSSMA as the Instrumental Jazz Reviews editor of The School
Music News and is the Jazz Editor for the NYSSMA Manual. In addition t o his
collegiate work at BU, he has also served Ithaca College as a consultant, as a
member of the Summer Session faculty, and as a cooperating teacher for over
35 student teachers. He has presented many clinics a t music conventions and
conferences and often serves as a guest conductor for honor ba nd festivals.
TROMBONE SOLOIST
Christopher Beard is a junior from Kingston, N.Y., who is pursuing a dual degree
in Computer Science and Mathematics. He has been playing the trombone since
fourth grade, and currently studies with Donald Robertson here at Binghamton
University. Chris also plays with Don’s Low Brass Studio Ensemble, and has
previously performed with the University Symphony Orchestra, directed by Dr.
Timothy Perry. In his free time, Chris enjoys programming, solving puzzles, and
making multitrack trombone recordings of himself.
Born in 1970 and raised in Tipp City, Ohio, Steven Reineke focused his youthful
musical pursuits on learning to play the trumpet. At age fifteen, he taught
himself how to play the piano. He continued his trumpet studies at Miami
University in Oxford, Ohio, receivin two bachelor of music degrees
with honors in both trumpet performance and music composition. Steven
Reineke started his tenure as Music Director of The New York Pops in the 2009
2010 season. Mr. Reineke conducts the orchestra’s annual concert series at
Carnegie Hall as well as tours, recordings, and nationwide telecasts, including
the Macy’s 4 July Fireworks Spectacular on NBC Television. New York’s only
permanent and professional symphonic pops orchestra, The Ne w York Pops is
the largest independent pops orchestra in the United States.
Reineke was appointed Principal Pops Conductor of the National Symphony
Orchestra and began his first season in 2011/12. He also serves as Principal Pops
Conductor of the Lon Beach and Modesto Symphony Orchestras. Previously,
he was Associate Conductor of the Cincinnati Pops Orchestra, where for fifteen
years he served as a composer, arranger and conducting protégé of the late
celebrkatled pops conductor Erich Kunzel. [Notes from conductor score Steven
Reine e
�GHOST TRAIN was a total fluke. In the fall of 1993, while an undergrad at the
University of Nevada, Las Vegas, I happened to hear the wind symphony
rehearsing through closed doors. I snuck into the band room and sa t entranced
for 50 minutes, transported by what was, hands down, the single loudest music
I had ever heard. 6 percussionists! 8 trumpets! I was in love.
After the rehearsal I approached Thomas Leslie, the conductor, and asked if I
could write a piece for their group. He said (without hesitation), “sure, and if it
turns out well we’ll play it at the CBDNA convention in the Spring.” Now, up to
this point I had never written for instruments before, only singers, so I got all of
my friends who were instrumentalists and took them through their paces:
“What pieces do you love to play? Which register is most comfortable? Which
instrument sounds best when doubled with your instrument? etc.” I struggled
with the work all through Christmas break (I wrote it in Las Vegas, Lake Tahoe,
and Waco Texas) and presented Tom with the first movement when school
resumed. He played it beautifully at the convention, and BOOM the thing took
o ff like a shot. Band directors began calling me a t home, trying to buy it from
me, and my formal career as ‘composer’ had begun. I wrote the second and
third movement a year later, and Tom premiered the whole thing in the Spring
of 1995. I graduated two months later and headed for Juilliard. Ghost Train is
dedicated to the man who brought it to life, Mr. Thomas G. Leslie.
The legend of the Ghost Train, a supernatural machine tha t roars out of the
night through forgotten towns and empty canyons, is deeply rooted in American
folklore, and i t was this spirit I worked to capture. The compositional challenge
came in creating a larger three movement work from the first movement which
was originally conceived and performed a s a single event. I felt tha t the use of
trains as a source of sounds and inspirations was virtually inexhaustible, but I
wanted to save the integrity of the original while using it as an architectural
foundation. At the Station (movement 2) is just that: the train comes to a
roaring halt and the passengers depart. In this movement I see countless
images; friends and family reunited, the soaring architecture of the station
itself, and the genuine sincerity and innocence of the era. After a reflective
pastiche the locomotive builds up steam and slowly departs, grand and graceful.
The Motive Revolution (movement 3) is twofold in it’s implication. The name
refers to t he period between 1850 and 1870 when s team engines revolutionized
transportation, and also describes the cyclical treatment of musical motive
throughout the movement. The train blazes across the country side, moonlight
glistening o ff it’s dark steel, and ends with a fina l heroic tribute to these
machines and the people who worked them. The first movement was written
in the winter of 199394 and received its premier March 7, 1994. Movements
II and III were written in the winter of 199495, and the entire triptych received
its premiere on March 14, 1995. Ghost Train was written for and dedicated to
Thomas G. Leslie and the University of Nevada, Las Vegas Wind Symphony.
Born in 1970, Eric Whitacre is quickly becoming one of the bright stars of the
American music scene. He is a regularly commissioned and published
composer, and has received performances of his works throughout the world.
Eric has received awards from ASCAP, the American Choral Directors
Association, the Barlow International Foundation and the Dale Warland Singers
commissioning program. As a conductor, Mr. Whitacre has served as principal
conductor of the College Light Opera Company, chorus master of the Nevada
Symphony Orchestra, and has appeared as a guest conductor with the Gregg
Smith Singers and the San Francisco Symphony Chorus. Eric has studied
composition with John Corigliano and David Diamond and holds the Master of
Music degree from the Juilliard School of Music. [Notes from conductor score
– Eric Whitacre]
THOUGHTS OF LOVE – was composed by trombone virtuoso, Arthur Pryor. In
1892, J ohn Philip Sousa ’s newly formed concert band made its first appearance
in Plainfield, New Jersey. Tom Shannahan, who was one of many who left
Gilmore tojoin the new Sousa Band, informed Sousa of Pryor’s ability, and Sousa
invited Pryor to audition for the band. Settled with his work in the opera
company. Pryor was at first reluctant to leave. But he decided to accept Sousa’s
offer to see him in New York City, arriving there with his trombone and 35 cents.
After spending a lonely night on a park bench in Union Square, he attended his
first rehearsal. Even as he was warming up he made quite an impression, “We
had never heard such tones come out of a trombone before, but fast!”
trombonist Marc Lyons told Glenn Bridges years later. Lyons also recalled that
a t tha t first rehearsal, Frank Holton, then first trombonist, asked Pryor to play a
difficult passage Holton had been having trouble with. A fter Pryor played it
Sousa stopped the band and said, “Frank that is fine, and the first time you got
it right. Frank stood up and said, “Mr. Sousa i t wasn’t me playing but this young
fellow Pryor.” Holton was ready to s tep down immediately, but Sousa asked him
to stay on for a time, since “this young fellow may be just a flash.” Holton
reluctantly agreed to stay but left the band in the fall of 1893, and Pryor became
first chain (In later years, Pryor was to endorse the trombones made by the
Holton Company.)
Pryor was only 22 when he played his first solo with the Sousa Band durin the
World Columbian Exposition in Chicago in 1893. According to accounts o f the
day, he played his own “Thoughts of Love to a crowd who just stood in awe,
then cheered and threw their hats in the air. That was the first of some 10,000
solos tha t Pryor estimated he played during the 12 years he was with the Sousa
Band. [Notes by Daniel F. Frizane and Frederick P. Williams from
www.wgpark.com, a site dedicated to Willow Grove Park, referred to as
America’s Summer Music Capital.)
MARCH OF THE CUTE LITTLE WOOD SPRITES – P.D.Q. Bach spent the
considerable bulk of his creative life in the small southern German town of
WeinamRhein a town npt noted for its high incidence of cultural activity.
Nevertheless, its one theater, the compact and charmingly decrepit
H owdvolkstheater, was usually kept busy, either with appearances by touring
thespian or musical groups, or with compact and charmingly decrepit
productions put on by one of the local outfits. It was here, for instance, that
P.D.Q. first heard the popular string band for whom he Iater wrote the Bluegrass
Cantata, Tommy Mann and his Magic Mountain Boys. It would be natural to
assume tha t the title of the march under consideration was simply another
example of the naive programmaticism that was part and parcel of the German
raly Romantic movement, but it turns out that the piece was actually
commissioned b a band of cute little wood sprites, a travelling troupe of
extremely small olk who played the Howdvolkstheater in April 1783, the Cute
Little Wood Sprites, as they called themselves, asked P.D.Q. to write some
entrance music for the beginning of their show, and they were so pleased with
the result tha t a fter the first performance several members of the troupe, still
wearing wigs and halos, climbed up on the top of the composers and did a jig,
giving rise, incidentally, to the classic question, “How many angels can dance on
a pinhead?” The vocal passage in the eighth measure is based on the reaction
of the audience to seeing the sprites come on stage; P.D.Q. was so pleased by
the sound that he incorporated it into the score. A large wind and percussion
ensemble is called for, but how many players actually show up is another
matter. (Notes from conductor score Professor Peter Schickele]
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Tuesday, April 28 Percussion Ensemble 7:30 p.m. Anderson Center Chamber
Hall $7 general public; $5 aculty/staff/seniors/alu mni; free for students
Thursday, April 30 MidDay Concert 1:20 p.m. Casadesus Recital Hall free
Th ursday, April 30 Piano Ensemble 7:30 p.m. Casadesus Recital Hall free
Friday, May 1 Flute Studio and Flute Chamber Concert 10:15 a.m. Casadesus
Recital H a l l – free
F r i da y, M a y 1 Bra s s R e c i t a l – 4 p.m. – Ca sadesus Rec ita l H a l l free
Saturday, May 2 – Senior Recital: Daniel Malinovsky, piano – 12 noon Casadesus
Rec ita l H a l l free
Saturday, May 2 Master’s Recital: Jenny Gac, soprano 3 p.m. Casadesus Recital Hall
free
Sunday. May 3 University Chorus and Symphony Orchestra: Mendelssohn’s
“Lobgesang” 3:00 p.m. Osterhout Concert Theater $7 general public; $5
fa c ul ty / s t a ff / se nior s / a lum n ni ; free for student s
Sunday, May 3 Joint Recital : J unior Max Rydqvist, baritone and Senior Ricky Nan,
tenor – 7:30 p.m. Casadesus Recital Hall free
Th ursday, May 7 Student Recognition MidDay Concert 1:20 p.m. Casadesus
Recital hall free
Th ursday, May 7 Ha rp u r Chorale and Women’s Chorus Spring Concert 7:30 p.m.
A nderson Ce n t er C ha m b er H a l l $7 general public ; $5 fa culty/ staff/ seniors/ a lum ni ;
free for students
M M M M M ' fi M M M M M M b
For tickets or to be added to our email list, nsit anderson.binghamton.edu or call (607) 777’ARTS. For a
complete list of our concerts call (607) 7772592. l’lSit music.binghamton.edu or become a fan on Faceboolc.
If you were inspired lw this performance, consider supporting the Department
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students, faculty , and guest artists and their contributions to our community.
Please make your donation payable to the Binghamton University M us ic
Department, and send your check to B U Music Department, P.O. Box
6000sss, Binghamton, N Y 1 3 902 * * *
�
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
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Concerts ; Instrumental music ; Live sound recordings
Description
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Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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Binghamton University Wind Symphony presents Once Upon a Time
Subject
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Concerts
Instrumental music
Live sound recordings
Description
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Works by Reineke, Pryor, Whitacre, Bach, Duffy, Chattaway, Weinberger. Held at 3:00 p.m., April 26, 2015, Anderson Center Chamber Hall.
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University Wind Symphony
Fabricius, Daniel
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Binghamton University Libraries
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Reineke, Steven
Pryor, Arthur
Whitacre, Eric
Bach, P. D. Q., 1742-1807
Duffy, Thomas C.
Chattaway, Jay
Weinberger, Jaromir
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4/26/15
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sound
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https://omeka.binghamton.edu/omeka/files/original/e50dedc0459dd6d601a6532c84984b32.pdf
84f5d9db8ece66469e66f2a328cb0c03
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
S TA T E U N l V E R S I ’ Y O F N E W Y O R K
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D E P A R T M E N T
B i n g h a m t o n U niver sit y
W i n d S ymphony
presents
TH E
D EVEN E
CQMEDY
DANIEL FABRICIUS, CONDUCTOR
Friday, April 26, 2013
8:00 p.m.
Anderson Center Chamber Hall
�UNIVERSITY WIND SYMPHONY
PROGRAM
Daniel Fabricius, Conductor
PICCOLO
A LT O SAXOPHONE
TROMBONE
Andrea Dewhirst
Devan Kasinki
Veronica A. Mantilla
:
Christopher Murdock
TENOR SAXOPHONE
Kevin Clements
Eric Seaman
Neel Tarikeri
©
Daniel Romberger
EUPHONIUM
H a g ” Dayan
OBOE
Brittany Wilson
J e r e Gran
CLARINET
George Deutsch
Mary McGahay
Erin Annis
BARITONE SAXOPHONE
Philip H. Westcott
Toni Bruno
TRUMPET I
Jason Boniello
Brandon Young
Joshua Golub
Jared Biunno
TUBA
Elliot Bowen
Michael Burgner
PERCUSSION
Emily Goetz
Benjamin Ramos
Alexander Rava
Wesley Roth
Cara Natale
SATIRIC DANCES (1975).
.. Norman Dell Joio
(1913 – 2008)
Vaclav Nelhybel
(1919 – 1996)
CORSICAN LITANY (1976) ..
SALVATION IS CREATED (1912)
Pavel Tschesnokoff
(1882 – 1961 )
Arranged by Bruce H. Houseknecht
GALOP, from the musical comedy, Moscow, Cheremushky (1958)
Dmitri Shostakovich
(1906 – 1975)
Transcribed by Donald Hunsburger
FLUTE o b s
‘Sickie R
Nicole Safran
Stephanie Sheintul
David Mossissey
JooWon Kim
Dii ' n
ana S h
rfz
C wa
BASS CLARINET
Molly Rice
Stephi Verhage
Robert Barley
FRENCH HORN
David Luther
Lauren Corey
Molly O’Brien
Jeffrey Barker
Christopher Beard
Ryan Shumaker
Justin Canaday
Tyler P. Steere
Devan Tracy
Alex Valera
CONDUCTOR
DANIEL FABRICIUS is the newly appointed conductor of the Binghamton University
Wind Symphony. Professor Fabricius has been a member of the music faculty since
1992, serving as percussion instructor for twenty years before accepting this new
ro’INTERMISSIONé
SYMPHONY NO. 1, The Divine Comedy (1995) .. Robert W. Smith
(b. 1958)
1. The Inferno
2. Purgatorio
3. The Ascension
4. Paradiso
appointment. H e holds degrees from Mansfield University and Ithaca College and has
studied conducting with Donald Stanley (Mansfield University), Rodney Winther (Ithaca
College), Stephen Peterson (Ithaca College), Col. Arnald Gabriel (US Air Force), and
Mallory Thompson (Northwestern University). In addition to his duties at BU he also
serves as Director of Bands at Owego Free Academy where he has developed an
outstanding instrumental music program that features a concert band, two jazz bands,
and various chamber music ensembles. He is highly regarded in the region as a
conductor. as a percussion performer, and as a music educator. He has been a
member of the Binghamton Philharmonic percussion section since 1982 but is also
comfortable performing in popular, rock, jazz, and other styles. He has played as a free
lance percussionist, accompanying national touring artists such as Michael W. Smith,
Tommy Tune, Jerry Vail, Lorrie Morgan, Ringling Brothers Circus, the Smothers
Brothers, and Ella Fitzgerald. Professor Fabricius has served the New York State
School Music Association as an AllState Percussion adjudicator for many years. He
also serves NYSSMA as the Instrumental Jazz Reviews editor of The School Music
News and is the Jazz Editor for the NYSSMA Manual. In addition to his collegiate work
at BU, he has also served Ithaca College as a consultant, as a member of the Summer
Session faculty, and as a cooperating teacher for over 30 student teachers. He also
serves the Summer Music Academy at Ithaca College as a percussion instructor and
jazz ensemble conductor. He has presented many clinics at music conventions and
conferences and often serves as a guest conductor for honor band festivals.
�Vaclav Nelhybel (1919 ~ 1996) was born the youngest of five children in Polanka.
Czechoslovakia. He studied at Prague University, the University of Frlbourg in Switzerland and at
the Prague Conservatory, beginning his career in 1939 as conductor at Radio Prague. In 1950,
PROGRAM NOTES
SATIRIC DANCES The Town of Concord, Massachusetts wished to make a tangible
recognition of the Bicentennial of April 19, 1775. The commission of Satiric Dances was funded
by the Town of Concord and assistance was given by the Eastern National Park and Monument
Association in cooperation with the National Park Service. Once the band had decided on a
composer,theycouldonlyhopehewouldagreetowriteanewworkforthesmallfeetheyhad
available to pay. Norman Dello Joio accepted the commission and took a special interest in the
project and even attended band rehearsals to offer suggestions on the perfonnance. After the
scheduled performance was rained out, Satiric Dances was premiered on July 17, 1975 at
Minuteman National Park with Norman Dello Joio and his family in attendance. Satiric Dances
was published shortly after the premier. Featuring Mediterranean folk dance influences it has
been one of the bestselling and most performed pieces of the wind band repertoire.
Dello Joio agreed to do the commission but stipulated it would be a piece he had used as
background music fora comedy by Aristophanes. The most famous comic dramatist of ancient
Greece, Anstophanes was born an Athenian citizen about 445 BC. His plays commented on the
political and social issues of fifth century Athens and frequently employed satire. The first dance
movement is annotated as allegro pesante. The brass entry signifies the importance of the work,
but the brisk tempo keeps the simplicity of “peasantry” from being ponderous. Taking a much
slower adagio mesto tempo, the second dance begins with a melancholy tune from the flutes and
low brass. The movement has light and delicate features that are quite exposed. Its central
theme might evoke thoughts of a dance in a meadow that eventually reverts into a more solemn
theme. Without a break in the music, the final movement is introduced by the percussion section.
The tempo is indicated as allegro spumante and is the fastest of the composition. The quick tums
and dynamics evoke images of the objects that were the titles of Aristophanes’ plays: Clouds,
Wasps, and Birds.
CORSICAN LITANY Music has often been used to express emotion. A strong sense of sorrow
and vengeance is evident in Nelhybel’s Corsican Litany, composed in 1976. The composer has
provided some background upon which this work is based:
“In many parts of the world it was once common practice during burial ceremonies to
have professional mourners dramatize the grief of the bereaved by means of loud
and emotional lamentations, repeated endlessly like a chant. In some places, notably
the Meditenanean countries, these laments were actually sung, usually by women
who were skilled in this macabre art and could command pay for their services.“
“Corsican laments, like Corsican deaths, were divided into two types: the ordinary
lamento for death from natural causes, and the vocero if the moumed had been
murdered. The latter then became a song of grief so intense, so filled with pain, that it
could only be assuaged by an act of direst vengeance. The murderer was accused
and identified by name, and the singer solemnly swore to see to it that he who had
murdered would pay for it with his life.”
“Corsican Litany is based on a vocero first known to have been sung in 1775 at the
funeral of a country doctor named Matju who had been murdered by his own patient,
one Natale. The melody is introduced mournfully, but grows steadily in passionate
intensity until an astonishing climax is reached in the final menacing oath of
vengeance.”
he became the first musical director of Radio Free Europe in Munich, Germany. Nelhybel
l
immigrated to the United States in 1957, and became a citizen five years later. He taught at
several schools, including the University of Massachusetts Lowell and the University of Scranton
(PA). where he was composer in residence at the time of his death. The creation of music was a
driving force in Nelhybel’s life. He wrote over 600 compositions, which included orchestral works,
operas, and works for solo, small, and full concert wind ensembles. Nelhybel described
European bands as “just functional marching units.“ In 1962, he received his first exposure to a
concertband.Hewrote:'Thefirstband I heardplayedapiecebyPersichetti.anditwassogood
Iiustcaugttfire. I wasfascinatedwiththepoasibilitiesolmatyoucandowithhalfanacreot
clarineb,halfanacreofflutes,andhalfanacreofpercussionfiolsaidmrhynottryit?ldid,and
itseemedtoopennewueativechannelsin mymind.‘ Itwastheenthusiasrnotthestudentsthat
truly inspired him to compose. His music is complex and exciting; it employs linear counterpoint.
freely dissonant harmonic textures, and forceful rhythms. Notable works for concert band include
Trittico, symphonic Movement. and Processron to the End of Time.
SALVATION IS CREATED Salvation Is Created was one of the very last sacred works
composed by Pavel Tschesnokoff before the oppressive Soviet regime forced him to tum to
secular arts. In 1917, the peasants of Russia started a revolution and ovenhrew the reign of the
tsars. The new form of government that took over established communism. Among the many
changes that resulted was the shutting down of the Russian Orthodox Church. The government
held a great deal of control over the type of music composers could write, and music for the
church was discouraged. Composers wrote sacred music at the risk of being killed or having their
families taken. Tschesnokoff opted to save his family and himself and never wrote another piece
of sacred music. Years after his death communism fell, the Berlin Wall came down and the
Russian Orthodox Church opened its doors again. Salvation Is Created became the unofficial
anthem of the church. Tschesnokofl never heard the piece performed. but his children were
finally able to hear it years later. This piece was originally written as vocal music. The English
translation is: “Salvation is created, in the midst of the earth, 0 God, 0 our God. Alleluia.”
GALOP Admirers of Shostakovich’s dramatic symphonies and concertos are likely to be
unaware that the composer also wrote a very substantial quantity of lighter music as well, never
scorning the possibility of creating a hit song. In his early days he composed incidental music
and songs for many plays and even created a fullfledged operetta in the 1930s. He composed
film music throughout his career as well, for both tragic and comic tales. In 1958 Shostakovich
returned to the operetta for a fullscale threeact work. Moskva, Cheryomushki (the title refers to
a region in the city of Moscow), which opened on January 24, 1959, to substantial success.
Dmitri Shostakovich (1906 1975) studied at the Leningrad Conservatory under Glazunov,
among others. Intemational fame came to Shostakovich at the age of nineteen when his powerful
and mature First Symphony was performed in Leningrad, and later in Moscow. Following this
success, his next works were disappointing and attacked by the Soviet press as a product of
“bourgeois decadence.” Like many Soviet composers, Shostakovioh found himself constantly
under pressure from restrictions imposed by the Soviet musical world with its concem for the
moral and social. rather than the purely aesthetic aspects of music. The musical style of
Shoslakovich remains unbalanced with works containing crude parodies, programmatic devices.
and conventional simplicity countered by works of originality, distinction, and significance.
�THE DIVINE COMEDY Based on Dante Alighieri‘s literary classic of the same name, The
Divine Comedy is the subtitle for Flobert W. Smith’s Symphony No. 1. The story of Dante’s
“The Ascension' The movement begins with Dante on the Mountain of Purgatory. Having been
instructed and purified in Purgatory, he is prepared for his journey to Paradise. Beatrice, his
Paradise and attains a glimpse of the face of God.
to discover wonderful music, the music of the spheres, surrounding them. Swifter than thought,
their flight of incredible speed begins. Dante and Beatrice, accompanied by sounds of wondrous
beauty and intensity, ascend to the Sphere of Fire.
trilogy is basic: One day Dante finds himself lost in a dark wood. Virgil, a character based on a
revered Roman poet, appears and rescues him. Virgil guides Dante to a contemplation of Hell
and Purgatory. Dante, having confessed his faults, and with Beatrice as his guide, is lead into
“The Infemo” Dante’s vision of Hell consists of nine concentric circles divided into four
categories of sin. The principal theme behind the literary work is the concept of symbolic
retribution. In other words, man’s eternal damnation in Hell is directly correlated to the character
and weight of his sins on earth.
Like Dante’s Inferno, the movement is divided into four sections. The opening melodic statement
in the oboe represents the sins of “incontinence.” As Dante finishes his relatively short journey
through the sections of “The Inferno,” he is confronted with the Wall of Dis (the gate of Hell). The
next section is structured around the sins of “violence” with its incredibly intense storms and fiery
sands. The crimes of “ordinary fraud” follow the violent sinners. The composer used the sin of
hypocrisy as visual imagery in the formation of this section of the musical work. Dante describes
the hypocrites as they file endlessly in a circle. clothed in coats of lead, which represent the
weight of the hypocrisy on earth.
The final section of “The Inferno” features the sins of “treacherous fraud.” As Dante enters this
circle of Hell, he hears the dreadful blast of a bugle. “Not even Roland’s horn, which followed on
the sad defeat of Charlemagne had lost his holy army, was as dread as this.” Dante and Virgil
are lowered into the last section of Hell by giants who are constantly pelted with bolts of thunder.
As their journey nears the end, they are confronted with the sight of Dis (Lucifer), whose three
mouths are eternally reading Judas, Brutus. and Cassius. Dante and lfirgil climb down the flanks
of Lucifer, exiting to the other hemisphere and leaving the fiery world of “T he Inferno” behind.
“Purgatorio" Dante, having completed his journey the “The Inferno,” is brought by Virgil to the
shores of the island Mountain of Purgatory in the midst of the southern ocean. The mountain is
comprised of seven terraces, each representing one of the “seven deadly sins.” In each terrace,
sinners are given an appropriate penance which is symbolically tied to their transgressions on
earth. The suffering endured is accepted voluntarily by the spirits in atonement for their sins.
The composer has woven together musical elements which depict each of the sins of the seven
terraces. For example, the sin of the first terrace is “pride.” The souls plod slowly around the
mountain, bowed double by huge rocks on their backs. As the composition develops, the sounds
of lamenting souls, dragging their heavy loads, can be heard against the haunting melody line.
The souls of Purgatory are often musical beings: they express their sensations in songs, hymns,
and psalms. Purgatory is the realm of hope, where the proud, envious, wrathful, slothful,
prodigal (avaricious), gluttonous, and lustful make atone for their sins on earth. As Dante and
Virgil continue up the mountain, they feel a violent quaking at which all of the spirits proclaim
“Gloria in Excelsis Deo!” (Glory to God in the Highest). Dante teams that the quaking signals the
completion of one soul‘s penance, for which all other souls give thanks. The completion of the
penance allows the soul to ascend to “Paradiso” (heaven), taking his or her rightful position in
relation to God.
guide, lifts her eyes toward the sun. Following her example, Dante looks to the sun and is at that
moment transformed (“transhumanized") in preparation for his great adventure. He is surprised
“Paradiso” – Dante has ascended at an incredible speed from the top of the Mountain of
Purgatory to the first sphere of the heavens. He is enamored with the sight of light, growing
brighter and more intense with each sphere of his journey. The composer has called upon mallet
percussion instruments to represent those beams of light. Beginning with a single tone (beam),
the intensity grows with each entrance until we are surrounded by sights of multiple colors and
complexities. As the light engulfs the listener, we are presented with the sounds of joy, peace,
love, and hope...growing ever brighter as the journey through the spheres progresses.
As the listener arrives at the Empyrean (the region of pure light), the “Music of the Spheres,” first
introduced in The Ascension (Movement Ill), is restated in brilliant fashion by the brass section.
The light continues to intensify as the woodwind colors swirl around the brass figures. The sights
and sounds grow even brighter as Dante sees a river of light which transforms into a great rose
at whose center is the wonderful source of the lights. Upon the petals are seated the saints, clad
in the whitest of robes. Angels fly, like swarms of bees, up from the heart of the rose petals, their
faces of living flame, their wings of gold, and their bodies white as the purest snow. Dante looks
to the highest tier, where Mary sits enthroned, surrounded by a thousand angels. Mary is
surrounded by heroines of the Old Testament: Eve, Rachel, Sarah, Rebecca, Judith, and Ruth.
On Mary’s opposite side are the male figures of the Christian era: John the Baptist, St. Francis,
St. Benedict, and St. Augustine, as well as Adam, Peter, Moses and John the Apostle. The
lower tiers of the rose are filled with thousands of infants, purified in their glorious innocence.
With a gracious smile from the Virgin Mary, Dante is permitted the Beatific Vision. He lifts his
eyes toward the heart of the rose. With one blinding light, he recognizes three separate lights in
the form of interlocking circles (a symbol of the Trinity). Within one circle he perceived the dim
image of a human face, a reminder that God, through Christ, lived and still lives as man on earth.
�Binghamton University Music Department’s
Coming Events
M
M
Saturday, April 27 – Master’s Recital: Brister Hay IV, tenor – 3:00 p.m. – Casadesus
Recital Hall – f ree
Saturday, Apri127 – Faculty Recital: Christopher Morgan Loy – 8:00 p.m. – Casadesus
Recital Hall – $6 general public; $3 faculty/staff/seniors; free for students
Sunday, Apri128 – Senior Recital: David Gaita, piano – 7:30 p.m. – Casadesus Recital
Hall – free
Sunday, April 28 – TriCities Opera presents Mascagni’s ”CA VALLERIA RUSTICANA”
and Leoncavallo’s “PAGLIACCI”– 3:00 p.m. – The Forum Theatre – call (607) 7720400
for tickets
Tuesday, April 30 – Percussion Ensemble Concert – 8:00 p.m. – Anderson Center
Chamber Hall – $6 general public; $3 faculty/staff/seniors; free fo r students
Wednesday, May 1 – Percussion Recital: Devan Tracy and Andres Castillo – 8:00 p.m.
– Casadesus Recital Hall – free
Thursday, May 2 – Opera Scenes – 8:00 p.m. –Anderson Center Chamber Hall – 56
general public; $3 faculty/staff/seniors; free for students
Friday, May 3 – Music fr o m the Seminar (Christopher Loy’s Class) – 8:00 p.m. –
Casadesus Recital Hall – f ree
Saturday, May 4 – Master’s Recital: Molly AdamsToomey, mezzosoprano – 8:00
p.m. – Casadesus Recital Hall – free
Sunday, May 5 –University Symphony Orchestra and Chorus: Schubert’s “Unfinished
Symphony” & Duruflé’s ”Requiem” – 3:00 p.m. – Osterhout Concert Theater – 56
general public; $3 faculty/staff/seniors; f ree fo r students
Wednesday, May 8 – Nukporfe African DanceDrumming Ensemble – 7:00 p.m. –
Watter’s Theater – $3 general admission a t the door
m
–
l
—
m
For tickets or to be added to our email list, visit anderson.binghamton.edu or call
(607) 777ARTS. For a complete list of our concerts call (607) 7772592, visit
music.binghamton.edu or become a fan on Facebook.
If you were inspired by this performance, consider supporting the Department of
Music with a financial gift. Your support helps to continue the work of students,
faculty, and guest artists and their contributions t o our community. Please make
your donation payable to the Binghamton University Music Department, and send
your check to BU Music Department, P.O. Box 6000, Binghamton, NY 13902.
�
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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1 audio disc
Duration
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57:07
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE130157">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE130157</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Title
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Binghamton University Wind Symphony presents The Divine Comedy, April 26, 2013
Subject
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Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Nelhybel, Chesnokov, Shostakovich, Smith. Held at 8:00 p.m., April 26, 2013, Anderson Center Chamber Hall.
Creator
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University Wind Symphony
Fabricius, Daniel
Publisher
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Binghamton University Libraries
Date
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2013-4-26
Rights
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In copyright
Type
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sound
-
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Binghamton Community Poets' Big Horror Reading Series
Subject
The topic of the resource
American poetry -- 20th century; Oral interpretation of poetry
Description
An account of the resource
<p>The Binghamton Community Poets were founded in 1983 by native Binghamton poet, educator, and Harpur College alum Richard Martin. That year he started the <em>The Big Horror Reading Series</em> at a local coffee house. People associated with the series changed throughout the years but always included local writers who were dedicated to the idea of creating a space where literary art could flourish. For fourteen years, readings took place at various venues around the Triple Cities featuring nationally and internationally known writers while continuing to provide “open mike” time for local community writers and sometimes musicians. The series received funding from the New York State Council on the Arts, the Broome County Arts Council, and Poets and Writers, Inc., as well as public donations.<br /><br />Many of the readings between 1987 and 1996 were videotaped. Some of the writers who are featured on the videotapes include (in alphabetical order) Tish Benson, Charles Bernstein, Barney Bush, Wally Butts, Adrian Clarke, Suzanne Cleary, Robert Creeley, Joel Dailey, Jim Daniels, Jack Dann, Diane di Prima, Safiya Henderson-Holmes, Lance Henson, Bob Holman, Pierre Joris, Dave Kelly, Sylvia Kelly, Bill Kemmett, Peter Kidd, Dorianne Laux, Ed Ochester, Kate Rushin, Pamela Sargent, Patricia Smith, Lloyd Van Brunt. Also featured are former and current members of the Binghamton University faculty (in alphabetical order): David Bartine, Martin Bidney, Milton Kessler, Bob Mooney, Liz Rosenberg, Jerome Rothenberg, John Vernon. People associated with the series at one time or another (in alphabetical order): Ken Bovee, Alexis Cacyuk, Jerry Caswell, Tom Costello, Gerry Crinnin, Terry Day, Paul Dean, Zack Grabosky, Tom Haines, Connie Head, Michael Kelly, Tom Kolpakas, Richard Martin, Kate McQueen, John Miller, Bern Mulligan, Doug Paugh, Susan Prezzano, Phil Sweeney, Mike Tarcha. Venues for recorded readings (in chronological order): Swat Sullivan’s Hotel*, Benlin’s, Mad Murphy’s, The Tazmanian Embassy, The Amsterdam, Java Joe’s, Amp’s.<br /><br />The collection also <a href="https://omeka.binghamton.edu/omeka/collections/show/31">includes twelve excerpted poems</a> that serve as an introduction. They are linked not only to the full individual readings in Rosetta but also to the catalog records for the books in which they are published. This creates a unique convergence experience, as the catalog record “comes alive” and users can see the writer and hear a poem from the book before they take it off the shelf to read.</p>
<p><strong>Digitization and DVD Production</strong> <br />After the series ended in 1996, the videotapes sat in boxes for ten years. In 2006, since they were most likely degrading and losing both video and audio fidelity, a Memorandum of Understanding between the BCP and the Libraries was agreed on and the process of converting the videotapes to DVD-quality MPEG files for preservation and access purposes was begun. Many of them had glitches and dead spots and several others were not originals but copies, further adding to loss of video and audio fidelity. After the conversion, both the video and audio quality were enhanced to a degree from what was on the tapes. Phase Two involved producing individual DVDs from the MPEG files. The files were literally “raw”: they started when the camera was turned on and continued without interruption until it was turned off, which meant there was often video of silent microphones and audio of irrelevant crowd noises and conversations. Editing these out made the DVDs much better than the raw files. <br /><br /><strong>Preservation and Expanded Access</strong> <br />Due to copyright restrictions, the DVDs have been housed in Special Collections and had to be viewed there. This has definitely curtailed their usage. However, a recent development in Rosetta, our digital preservation system, has allowed us to offer a new form of access. Rosetta added a built-in video viewer, which allows the videos to be both preserved and streamed at the same time. In order to accomplish this, the DVDs had to be converted to MP4s to be compatible with the new viewer. The streaming versions are copies of the DVDs, which is why they contain menus and chapters which are not functional but are continuous play. The streaming versions will allow more users to be able to view and listen to this diverse, wide-ranging collection of readings. <strong>(N.B.: They are only accessible on campus or via campus VPN.)</strong><br /><br />*The image on the item records is the iconic Swat Sullivan's Hotel, which was located on Binghamton's South Side. Swat's was the venue for the earliest readings in the video collection. The building was torn down in 1990. This image was downloaded from <a href="https://www.pinterest.com/pin/548805904585058425/">Pinterest</a>. If you are the rights holder, please contact The Libraries.</p>
Creator
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Binghamton Community Poets
Publisher
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Digital publisher: Binghamton University Libraries
Rights
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In copyright
Language
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English
Contributor
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Bern Mulligan
Erin Rushton
Ben Coury
David Schuster
Rachel Turner
David Floyd
Sasha Frizzell
Aynur de Rouen
Nicholas Eggleston
Alexxa O Bisnar (Student worker)
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Original Format
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1 videodisc (52 min.) sound, color
4 3/4 in.
Duration
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52 min.
Collection
Big horror reading series (Binghamton Community Poets)
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243197">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243197</a>
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Title
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Binghamton University's Creative Writing Program with host Bob Mooney at the Amsterdam, March 21, 1995
Subject
The topic of the resource
American poetry -- 20th century
Oral interpretation of poetry
Description
An account of the resource
Features poetry readings from Binghamton University's Creative Writing Program students at the Amsterdam in Johnson City, N.Y. The readings were hosted by Bob Mooney. The event was held on March 21, 1995 and the readings were sponsored by the Binghamton Community Poets as part of their Big Horror Reading Series. Video edited by Bern Mulligan.
Creator
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Mooney, Bob
Source
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DVD created from VHS recording of the event
Publisher
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Binghamton University Libraries
Contributor
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Binghamton Community Poets
Date
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1995/03/21
Rights
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In copyright
Language
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English
Type
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Moving Image
Identifier
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PS615 B56 1995 3-21
Format
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video/mp4