121 10 1775 https://omeka.binghamton.edu/omeka/files/original/c44efcf3d8116fec38fe73ef197aa264.pdf 881b5a92509872628b2f5a6215843e55 PDF Text Text BINGHAMTON UNIVERSI TY STATE UNIVERSITY OF NEW YORK featuring Sherrie Maricle, Drum Set Jennifer Leitham, Bass with Mike Carbone, §axophone and Flute Bill Carter, Piano CamilleThurman, Tenor Saxophone Al Hamme,Alto Saxophone Thursday,April23, 2009 I :20 p.m. Osterhout Concert Theater Co-sponsored by the Department of Music and the Harpur .Jazz Ensemble �PROGRAM The program today will be selected from the following and announc ed from the stage: All Bets Are Off.... ... ........... ... ... .. ... .... .... .. ...... .. ..... ..... . Bill Carter Beat the Meatles .... ..... ..... ........ ... ... ................. Jennifer Leitham Room 777 ........ .......... .. .. .................... ........ .... ..... Sherrie Maricle Take Ten ....................... .......... ........ ...... .............. Paul Desmond arr. by Bill Carter Take Your Pick .. .. .. ..... .. ................ ...... ....... ...... . by Hank Mobley arr. by Don Sickler The Preacher .. .. .......... .. ................. .. .. ............. .. .... Horace Silver arr. by Al Hamme Sherr ie Maricle: drum set Jenni fer Leitha m: bass Bill Carter: piano Al Hamme : alto saxophone Mike Carbone: saxophones & flute Camille Thurman: tenor saxophone �•·ABOUT THE PERFORM ERS SHERRIE MARICLE is not only a jazz artist and composer, but a teacher and music director as well. From the drum set, Maricle leads her big band The DIVA Jazz Orchestra and her quintet AVE PLAY. From carnegie Hall, she performs with The New York Pops and is also the orchestra's Director of Education. As a music director, Maricle works with acclaimed Broadway star Maurice Hines. As a teacher she runs a private drum set and percussion studio and is also a conductor for The New York Summer Festival. She is also a busy freelance performer and a published composer/arranger in both the classical and jazz mediums. With The DIVA Jazz Orchestra and FIVE PLAY she has performed at many of the world's most acclaimed music venues including: carnegie Hall, Lincoln Center, Tanglewood, the Kennedy Center, the Hollywood Bowl, and major jazz festivals throughout the United States and abroad. DIVA has been featured on CBS Sunday Morning with Charles Osgood, as well as numerous times on CNN Arts Break, and it was highlighted on The 25th Anniversary of the Kennedy Center Television Special and the NHK (Japan) Network's New York Jazz. Most recently DIVA is prominently featured in a documentary film entitled The Girls in the Band, scheduled for a 2009 premier. JENNIFER JANE LEITHAM has been referred to by noted jazz critic Leonard Feather as the "left-handed virtuoso of the upright bass." In addition to her successful performance career, Leitham has appeared on over 100 recordings with some of the giants of jazz music. In addition, she has recorded 7 highly acclaimed CDs of her own. Leitham is best known for her decade long stints with both Mel Torme and Doc Severinsen. She has appeared with many distinguished artists including Woody Herman, George Shearing, Gerry Mulligan, Peggy Lee, Joe Pass, Cleo Laine, Louie Bellson, Pete Rugolo, Bill Watrous, and numerous others. She has also been a member of the Tonight Show All-Stars, The Woody Herman Thundering Herd, Benny carter Quintet, Bob Cooper Quartet, DIVA, and more. A highly regarded educator, she is enthusiastically received as a presenter of workshops and clinics at schools and colleges around the country, and has joined the faculty at California State University Long Beach as a Studio Artist. MICHAEL J. CARBONE, director, is a native of Utica, New York. He moved to the Binghamton area in 1981 and is an instrumental music teacher in the Johnson City School district where he is Director of Concert Band and Jazz Ensemble at the middle school. He joined the Binghamton University music faculty in 1997 and serves as the Director of the Jazz Studies Program and a Director of the Harpur Jazz Ensemble. He holds a B.M.E. from the Crane School of Music and a M.M. from Binghamton University. Carbone has performed with many well-known artists including Al Marino, Natalie Cole, Tommy Tune, Mel Torme, The Jimmy Dorsey Orchestra, Danny D1mperio's Big Band Bloviation, the Central New York Jazz Orchestra, and The Temptations. �THE HARPUR JAZZ ENSEMBLE The Harpur Jazz Ensemble studies and performs big-band repertoire and appears frequently on and off campus. Guests who have appeared in concert with this popular ensemble indude, among others, Clark Terry, "Slam" Stewart, Manny Albam, Urbie Green, Frank Wess, Phil Woods, Jimmy Owens, Marian McPartland, Steve Brown, Mel Lewis, Slide Hampton, Peter Appleyard, John Faddis, Rufus Reid, Houston Person and Walter White. Binghamton University Music Department's UPCOMING EVENTS Saturday, April 25th Honors Recital: Elizabeth Sterling, violin and voice, casadesus Recital Hall, 3:00 PM, FREE Saturday, April 25th Junior Recital: Briana Sakamoto, soprano, casadesus Recital Hall, 7:00 PM, FREE Sunday, April 26thUniversity Wind Symphony, 3:00 PM, FREE Anderson Center Chamber Hall Sunday, April 26thHonors Recital: Sarah Sterling, viola, casadesus Recital Hall, 7:30 PM, FREE Tuesday, April 28th Friedheim Memorial Lecture/Recital: Audible Processes - Minimalism and Beyond, Casadesus Recital Hall, 8:00 PM, $$ Thursday, April 30thMid-Day Concert, 1 :2Q PM - FREE casadesus Recital Hall Friday, May 1stFlute Studio and Flute Chamber Concert, 10:15 AM, casadesus Recital Hall, FREE Saturday, May 2ndMasters Recital: Susan Amisano, soprano, casadesus Recital Hall, 8:00 PM, FREE For ticket information, please call the Anderson Center Box Office at 777-ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 45:29 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152254">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152254</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harpur Jazz Ensemble featuring Sherrie Maricle and Jennifer Leitham, April 23, 2009 Recital Tape 2009-4-23 Description An account of the resource Works of Carter, Leitham, Maricle, Desmond, Mobley, Silver, Pediford. Held at 1:20 p.m., April 23, 2009, Osterhout Concert Theater. Creator An entity primarily responsible for making the resource Carbone, Mike Carter, Bill Thurman, Camille Hamme, Al Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-04-23 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/9d6d02a52616a0b155cf56545cd9c0fc.pdf a9a00871db5eeecbf67149087bbde54f PDF Text Text BINGHAMTON U NI VE R SITY STATE UNIVERSITY OF NEW YORK usi DEPARTMENT HARPUR JAZZ ENSEM BLE MICHAELCARBONE, DIRECTOR featuring Sherrie Maricle, Drum Set Jennifer Leitharn. Bass Thursday, April23, 2009 8:00 p.m. Osterhout Concert Theater Co-sponsored by the Department of Music and the Harpur Jazz Ensemble �PROGRAM Put It Right Here ..................................................... Louis Be/Ison arr. by Sammy Nestico The Jody Grind ....................................................... Horace Silver arr. by John Clayton Don't Know Why ..................................................... Jessie Harris arr. by Paul Murtha Mosaic............................................ ........................... Bob Mintzer I Said No ........................................... Frank Laesser & Julie Styne Transcribed by Jon Harpin Goodbye Pork Pie Hat........................................... Charles Mingus arr. by Sy Johnson John Brown's Other Body. ............................................John Oddo INTERMISSION The second half of the program will be selected from the following compositions. All selections feature guest artist Sherrie Maricle on percussion and Jennifer Leitham on bass. Caravan ....................................................................... Juan Tizol arr. by Michael Abene Ding Dong .............................................. arr. by Tommy Newsom Lefty Leaps In .................................................... Jennifer Leitham arr. by Scott Whitfield Put A Little Love In Your Heart. ...................... arr. by John Martino Slambo ............................................................... Peter Appleyard arr. by Sherrie Maricle Stick It In Your Ear ............................................ Jennifer Leitham arr. by Scott Whitfield �ABOUTTHEPERFORMERS SHERRIE MARICLE is not only a jazz artist and composer, but a teacher and music director as well. From the drum set, Maricle leads her big band The DIVA Jazz Orchestra and her quintet FIVE PLAY. From Carnegie Hall, she performs with The New York Pops and is also the orchestra's Director of Education . As a music director, Maricle works with acclaimed Broadway star Maurice Hines. As a teacher she runs a private drum set and percussion studio and is also a conductor for The New York Summer Festival. She is also a busy freelance performer and a published composer/arranger in both the classical and jazz mediums. With The DIVA Jazz Orchestra and FIVE PLAY she has performed at many of the world's most acclaimed music venues including: Carnegie Hall, Lincoln Center, Tanglewood, the Kennedy Center, the Hollywood Bowl, and major jazz festivals throughout the United States and abroad. DIVA has been featured on CBS Sunday Morning with Charles Osgood, as well as numerous times on CNN Arts Break, and it was highlighted on The 25th Anniversary of the Kennedy Center Television Special and the NHK (Japan) Network's New York Jazz. Most recently DIVA is prominently featured in a documentary film entitled The Girls in the Band, scheduled for a 2009 premier. JENNIFER JANE LEITHAM has been referred to by noted jazz critic Leonard Feather as the "left-handed virtuoso of the upright bass." In addition to her successful performance career, Leitham has appeared on over 100 recordings with some of the giants of jazz music. In addition, she has recorded 7 highly acclaimed CDs of her own. Leitham is best known for her decade long stints with both Mel Torme and Doc Severinsen. She has appeared with many distinguished artists including Woody Herman, George Shearing, Gerry Mulligan, Peggy Lee, Joe Pass, Cleo Laine, Louie Bellson, Pete Rugolo, Bill Watrous, and numerous others. She has also been a member of the Tonight Show All-Stars, The Woody Herman Thundering Herd, Benny Carter Quintet, Bob Cooper Quartet, DIVA, and more. A highly regarded educator, she is enthusiastically received as a presenter of workshops and clinics at schools and colleges around the country, and has joined the faculty at California State University Long Beach as a Studio Artist. He moved to the Binghamton area in 1981 and is an instrumental music teacher in the Johnson City School district where he is Director of Concert Band and Jazz Ensemble at the middle school. He joined the Binghamton University music faculty in 1997 and serves as the Director of the Jazz Studies Program and a Director of the Harpur Jazz Ensemble. He holds a B.M.E. from the Crane School of Music and a M.M. from Binghamton University. Carbone has performed with many well-known artists including Al Marino, Natalie Cole, Tommy Tune, Mel Torme, The Jimmy Dorsey Orchestra, Danny D'Imperio's Big Band Bloviation, the Central New York Jazz Orchestra, and The Temptations. MICHAEL J. CARBONE, director, is a native of Utica, New York. �THE HARPUR JAZZ ENSEMBLE The Harpur Jazz Ensemble studies and performs big-band repertoire and appears frequently on and off campus. Guests who have appeared in concert with this popular ensemble include, among others, Clark Terry, "Slam" Stewart, Manny Albam, Urbie Green, Frank Wess, Phil Woods, Jimmy Owens, Marian McPartland, Steve Brown, Mel Lewis, Slide Hampton, Peter Appleyard, John Faddis, Rufus Reid, Houston Person and Walter White. The 2009 Spring semester includes the following ensemble personnel: BASS SAXOPHONES st Sam Smith Tyler Vallet Dan Fagen (1 alto) Nathan Rose (2 nd alto) Camille Thurman (1 st tenor) Jeremy Gold (2 nd tenor) Margaret Hager (Baritone Sax) Joseph Frasca Kevin Greer TRUMPETS DRUM SET Tomasz Falkowski Laura Kinne Drew Hanessian Kim Metaxas Alex Weiser Alex Gregorio GUITAR VIBRAPHONE & PERCUSSION Marc Silvagni PERCUSSION TROMBONES Nicholas Carter Reese Taylor Adrienne Victor Kevin Pinkel Stephanie Lehman FLUTE Stefanie DeVito CLARINET PIANO David Sa rd one Matt Austen Gabriel Luce VOCALISTS Liz Sterling Allie Metcalfe � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 57:19 54:55 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152709">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152709</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harpur Jazz Ensemble, April 23, 2009 Recital Tape 2009-4-23b Description An account of the resource Works of Bellson, Silver, Harris, Mintzer, Loesser & Styne, Mingus, Oddo, Tizol, Newsom, Leitham, Martino, Appleyard, Leitham. Held at 8:00 p.m., April 23, 2009, Osterhout Concert Theater. Creator An entity primarily responsible for making the resource Carbone, Michael Maricle, Sherrie Leitham, Jennifer Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-04-23 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:05:25 38:30 Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dedication concert, Wolff & Associe_s organ, opus VI (1972/2008) the complete organ works of Johann Sebastian Bach (1685-1750), program III, February 24, 2009 Recital Tape 2009-2-22 Description An account of the resource Works of Bach. Held at 4:00 p.m., February 22, 2009, Fine Arts Building, Room 21. Concert repeated at 8:00 p.m., February 24, 2009 and February 27, 2009, Fine Arts Building, Room 21. Creator An entity primarily responsible for making the resource Biggers, Jonathan Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-02-22 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/c96969260c10fcaeab1cd8e1f4697cd6.pdf d3969a4076a34ef00799cf1b028a84cd PDF Text Text BINGHAMTON U N I V E R S I T Y ST A TE UN I VERSITY O F NEW YORK UNI V A \'.(, Recita CD \ D E P A A T M E N T 2009 4-26 ''THREE REVELATIONS T SPC COL F ROM HE LOTUS SUTRA'' Kimberly Metaxas Associate Conductor Robert G. Smith Music Director and Conductor Sunday, April 26, 2009 3:00 p.m. Anderson Center Chamber Hall �PROGR AM Conducted by Ms. Metaxas A Musical Toast (1980) ................................................... Leonard Bernstein (1910-1990) arr. Clare Grundman Fantasia in G Major (circa 1703) ........................... Johann Sebastian Bach (1685-1750) arr. Richard Franko Goldman English Folk Song Suite (1924) ............................. Ralph Vaughn Williams (1872-1958) I. March-"Seventeen Come Sunday" II. Intermezzo-"My Bonny Boy" III. March-"Folk Songs from Somerset" Variations On A Korean Folksong (1966) ................... John Barnes Chance (1932-1972) I. Con Moto II. Vivace III. Larghetto IV. Allegro Con Brio V. Sostenuto VI. Con Islancio National Emblem (1906) .......................................................... E. E. Bagley (1857-1922) ed. Frederick Fennell INTERMISSION Conducted by Professor Smith Three Revelations from the Lotus Sutra ................................... Alfred Reed (1921-2005) I. Awakening (To Awaken in The Light of the Universe) IL Contemplation (To Contemplate the Depths of the Soul) III. Rejoicing (To Rejoice in the Beauty ofPeace) �ABOUT THE MUSIC Leonard Bernstein (1910-1990) was born in Lawrence, Massachusetts and was the first American-born conductor to direct the New York Philharmonic Orchestra. Bernstein studied composition at Harvard, conducting at the Curtis Institute, and conducting at the Tanglewood Music Festival with Serge Koussevitzky, former conductor of the Boston Symphony Orchestra. Well known for his symphonies, vocal music, and the Broadway musical "West Side Story," Bernstein was also passionate about music education. During his post as director of the New York Philharmonic brchestra (1958-1969), Bernstein conducted free outdoor concerts in the parks of New York City, and televised his "Young People's Concerts," an educational series that educated the public about different composers, genres, and characteristics of music. Bernstein also broke gender and racial barriers when he appointed to the orchestra the first two female instrumentalists and the first African-American instrumentalist. A Musical Toast (1980) was devoted to the memory of Andre Kostelanetz (1901-1980), a Russian born American conductor for the CBS radio network, known for popularizing classical music and influencing the film music of his time. In his last Will and Testament, Kostelanetz left this message: "If there is contemplated a gathering of my family, friends and associates in New York City, or elsewhere, I direct that such a gathering shall be a cheerful get-together." Upon this request, Bernstein wrote this musical tribute as a bright and energetic composition. Predominately in the meter of seven-eight, the musical phrase created just so happened to fit nicely with the rhythmic flow of the remembered friend's name. Johann Sebastian Bach (1685-1750), born in Eisenach in Germany, was a virtuosic organist and composer influenced by Pachelbel, Frescobaldi, and Buxtehude. Bach acquired compositional skills through copying and arranging the music of other composers including Vivaldi and Telemann. He was one of the most prolific composers of fugues, chorales, cantatas, toccatas, fantasias, and other styles of the Baroque era. Bach's music career included appointed positions as church organist, court musician and Kapellmeister (music director). From 1723-1739, Bach held one of the most prestigious positions in Germany as the Cantor of St. Thomas School in combination with civic director of music where he composed and directed music for the church, the school, and town ceremonies. Fantasia in G Major was composed early in Bach's career during residence in Arnstadt between 1703 and 1707. Fantasia in G Major, composed in a freely improvisatory style of the Baroque era, was categorized as one of the grandest of all Bach's compositions written for the organ. This selection also fits the description associated with many of his early works and considered to be too full of "wonderful variations and foreign tones." The rich harmonies of this five-part polyphonic composition contain frequent suspensions, dissonances, and modulations of the key. Ralph Vaughan Williams (1872-1958), born in England, studied piano, organ, violin, viola, and theory and harmony at an early age, and earned degrees in music and history from Trinity College in Cambridge. After studying composition abroad in Germany and Paris, Vaughan Williams refocused his interest toward folksongs from his native country of England. He was well known for his collections of folk songs and his involvement -with the English Folk Dance and Song Society, as well as incorporating folk songs into �compositions. Throughout his life, he also served as the director of music for the First Army of the British Expeditionary Force, and flourished as a lecturer, writer, and conductor. English Folk Song Suite was written for British Military Band in 1924, and was comprised with arrangements of several different English folk songs. Movement I. March-"Seventeen Come Sunday" begins with the song "Seventeen Come Sunday," then "Pretty Caroline" was used in a lyrical style featuring a clarinet and trumpet duet, followed by a heavy section based on the song "Dives and Lazarus." Movement II. Intermezzo-"My Bonny Boy" opens with the oboist playing the melody of the folk song "My Bonny Boy." The lyrics to this folk song portray a devoted girlfriend whose boyfriend leaves her for another. "Green Bushes," which interrupts "My Bonny Boy," depicts a boy suffering heartbreak when he finds that his girl has left him for another boy. Movement III. March-"Folk Songs from Somerset" presents "Blow Away the Morning Dew" with solo trumpet, followed by "High Germany," "The Tree so High" in six-eight time featuring the upper woodwind section, and the "John Barleycorn" featuring the rugged melody in the low woodwind and brass sections. John Barnes Chance (1932-1972) was born in Beaumont, Texas and earned degrees in music from the University of Texas at Austin where he studied composition with Clifton Williams. Chance's early musical accomplishments included playing timpani for the Austin Symphony orchestra, as well as conducting and arranging for the Fourth and Eighth United States Army Bands. He served as the composer in residence at the Ford Foundation Young Composers Project held in North Carolina from 1960-1962, and as a professor of music at the University of Kentucky until his tragic accidental death caused by electrocution at the age of forty. Variations on a Korean Folk Song, which Chance won the American Bandmasters Association Ostwald Award for in 1966, was inspired and based on the Korean folk song "Arirang," which Chance heard while serving in Seoul, Korea with the Eighth United States Army Band during the 1950s. Although, the word arirang does not possess a modem translation, in the ancient Korean language, arirang may have been translated as beautiful or lovely dear. Versions of the lyrics tell the story of a person expressing sadness at the departure of a loved one. The piece begins with the statement of the pentatonic melody in its regular form followed by sections consisting of variations of that melody. The first variation includes a fast pace motion of sixteenth notes interrupted by the second part of the melody. The Larghetto section is played in a slower tempo with the melody inverted from its original form first played by the oboe, then the flutes, alto saxophones and horns, and finally the trumpet. Next, the melody returns in the style of a march, followed by an augmentation ohime in which the melodic material has been stretched out. Finally, the piece ends in a fast tempo beginning with percussion, followed by the vibraphonist and woodwinds presenting the second half of the melody as a round while the brass abruptly enters with the first half of the melody played as a hemiola, written in triple meter, however, felt in duple meter. Edwin Eugene Bagley (1857-1922), born in Craftsbury, Vermont, began his performing career at age nine as a vocalist and comedian touring the United States with the Leavitt's Then, he played cornet with the Swiss Bellringers and the Blaisdell's Bellringers. �Orchestra of Concord, New Hampshire. In 1880, Bagley moved to Boston and continued to perform on cornet, as well as the trombone, with several ensembles including the Boston Symphony Orchestra. National Emblem (1906) has been described as "one of the most 'perfect' marches." After an explosive introduction, Bagley opens the march with the first twelve notes of The Star Spangled Banner arranged in duple rather than triple time. The trio section contains one of the most memorable melodies introduced by the robust sound of the low brass section and followed by the high winds. Frederick Fennell, former conductor of the Eastman School of Music Wind Ensemble, described what this march has meant to him: "This marvelous march .never fails to lift my spirit to the loftiest heights of inner joy, outer physical exhilaration, and ultimate personal fulfillment. On some occasions I have felt that knowing it, loving it-being able to listen to it any time being played by the band in my head-was my whole reason to be alive. It is a march for marching; sit-down performances of it should continue to march, for that is its heritage-music for the feet, not for the head-and it is unmistakably music for the spirit!" Notes by K. Metaxas Alfred Reed (1921-2005) is one of America's most frequently performed composers with over 250 published works for concert band, wind ensemble, orchestra, chorus, chamber groups. His music career began in the New York School of Music and he was later offered a scholarship to study composition with Paul Y artin. Reed wrote many compositions and arrangements for band during his service with the Army Air Corps in World War IL When composer Roy Harris and Reed's commanding officer both ordered him to produce a work for radio broadcast honoring the friendship between the Russian and American people they gave him a two week deadline. In eleven days, Reed produced Russian Christmas Music the work that launched his career as a composer of music for winds. Following the war, he studied with Vittorio Giannini at Julliard but left to work as a staff composer and arranger at both NBC and ABC. Bernard Kalban of Charles H. Hansen Music Corporation asked Reed to write music for young wind players thus beginning his long association with the school band movement. In 1953, Reed accepted a position as conductor of the Baylor University Orchestra and while there he completed his bachelor' s and a master' s degree. In 1956, he returned to work at Hansen. In 1966, he took a position at the University of Miami in order to have time to devote to his writing. Over the next 27 years he composed most of his well-known works for band including: The Hounds ofSpring, Othello, Music for 'Hamlet, and Armenian Dances (part I and 11). In 1981, he was invited to Japan by Sony's Toshio Akiyama to conduct and record with the Tokyo Kosei Wind Orchestra. This led to a long association with TKWO and other Japanese music organizations. His work took him to 49 states and 18 countries. t1 \ Three Revelations from the Lotus Sutra (1982-84) is an attempt to realize in music three different states of man's soul in his quest for ultimate perfection. The first movement, Awakening (To Awaken in the Light of the Universe) portrays the vastness and richness of the experience of the human mind on expanding its field of view from the narrow confines of daily life to the contemplation of, and merging with, the entire universe. The second movement, Contemplation,(To Contemplate the Depths of the Soul), represents a turning away of the mind from the 'outer' to the 'inner' universe .. . the attempt to fathom the limitless possibilities of the human consciousness in its quest for identity, to answer the eternal questions beginning with the word "Why?" The third and final movement, Rejoicing, (Rejoicing in the Beauty of Peace), depicts the realization that, while on earth, peace is not merely the absence of war, destruction , pain and suffering, buit a thing of beauty in and of itself . . . and an occasion for heartfelt rejoicing on the part of all men, everywhere , who share the same eternal quest as true brothers. �The suite was commissioned by, and is reverently dedicated to, Rissho Kosei-kai on the occasion of the 77th birthday of its founder and president, the Reverend Nikkyo Niwano. Rissho Kosei-kai, sponsor of the world-famous Tokyo Kasei Wind Orchestra, is an organization of Buddhist laymen devoted to the effort of perfecting man's personality on the basis of the true meaning of Buddhism. Central to the purpose of this movement is the body of doctrine assembled from the teachings of Buddha, called the Lotus Sutra, the Absolute Truth, termed the "Wonderful Law." The third movement was premiered by the TKWO in 1982 at Reverend Niwano's birthday celebration with the composer conducting. The complete work was first performed in 1984 by TKWO under Frederick Fennell. Score notes by the composer ABOUT THE PERFORMERS KIMBERL Y METAXAS, a native of Vestal, NY, is a graduate student of conducting at Binghamton University studying with Professor Robert Smith. Ms. Metaxas holds Bachelor' s degrees from Michigan State University in Music Therapy, and from SUNY Fredonia in Music Education. She taught music for special education students during BOCES 2008 summer school program. She is currently an instructor for the marching bands at Susquehanna Valley and Union-Endicott high schools. Ms. Metaxas has been a member of Binghamton University's Wind Symphony and Jazz Ensemble, BCC Jazz Band, Vestal Community Band, and the Empire Statesmen Drum and Bugle Corps. Ms. Metaxas' performance today is in partial satisfaction of the thesis requirements for the Master of Music degree in Wind Conducting. ROBERT G. SMITH is Music Director and Conductor of the Binghamton University Wind Symphony. Professor Smith holds degrees from Hartwick College, Binghamton University and is a candidate for the Doctor of Musical Arts in Music Education from Boston University. Prof. Smith also teaches advanced instrumental conducting and graduate wind conducting at BU. His career includes 32 years as a public school music educator. He conducts the annual Triple Cities TubaChristmas and is former conductor of the Maine Community Band, the oldest band of its kind in the United States. He has guest conducted all-county bands throughout New York State including the 2007 Ulster County Senior High School All-County Band. In March of 2009 Prof. Smith will guest conduct in Sullivan County, NY. Among other ensembles Smith has conducted are the Goshen College (IND) Wind Ensemble and Orchestra, The United States Army Ground Forces Band (GA), the Southern Tier Concert Band (NY) and the Vestal Community Band (NY). An active performer, he currently plays principal euphonium with the Southern Tier Concert Band and tuba with the Brass Nickel quintet and the Crown City Brass sextet. Smith is the immediate past president of the Broome County Music Educators Association and recipient of the 2005 BCMEA Distinguished Service Award. Professional memberships include The Broome County Music Educators Association, the New York State School Music Association, the Music Educators National Conference, The National Band Association, The Association of Concert Bands, The Conductors Guild, The World Association of Symphonic Bands and Ensembles, The College Band Directors National Association and the International Tuba and Euphonium Association. �Wind Symphony Musicians Stephanie Lehman-Percussion Graduate Assistant Piccolo Melanie Adler Beth Wieman Flute I Melanie Adler Rachelle Haddad Emily Morris (principal) Kathleen Spelman Beth Wieman Flute II Rebecca Falik Kimberly Hom Judy Kahn George Lourentzatos Oboe Kyle LaGrutta Bassoon I Kristen Grennan Bassoon II Katherine Navarette Eb Clarinet Jon Envid s· Bb Clarinet I Kyle Doyle Sarah Fenster (principal) Anthony Kwon Bb Clarinet II Abby Cohen Mark Dellostritto Woo Jin Kim Mellissa Klepper Victoria Serigano Bb Clarinet 111 Stephen Collins Gregory Norman Mark Norman Javier Rodriguez Trombone I Daniel Weinstein Bass Clarinet Brianna Palisi Daniel Zaccarini Trombone Ill Magana Jayakumar Bb Contrabass Clarinet Kristen Weiss Alto Saxophone Dean Papadopoulus John Tanzi (principal) Tenor Saxophone Bradley Alder Baritone Saxophone Benjamin Kane Cornet I Nick Polacco (principal) Kevin Hannon Cornet II.Ill Nick Quackenbush Dan Schain Trumpet I.Cornet Ill Max Beasley F Horn I Leanna Varderese F Horn II Glenn Parker Trombone II Christina Donaldson Euphonium Damon Dye Anthony Legnetto Tomek Regulski (principal) Tuba Daniel Nevins David Parnes (principal) Daniel Ryan Percussion Caleb DeGroote Thomas Elefante Soya Gao Adam Goldenberg Stephanie Lehman (principal) Wayne Papke Kelly Tufo �Sunday, April 26th Honors Recital: Sarah Sterling, viola, Casadesus Recital Hall, 7:30 PM, FREE Tuesday, April 28th Friedheim Memorial Lecture/Recital: Audible Processes - Minimalism and Beyond, Casadesus Recital Hall, 8:00 PM, $$ Thursday, April 30thMid-Day Concert, 1:20 PM - FREE Casadesus Recital Hall Friday, May 1st Flute Studio and Flute Chamber Concert, 10:15 AM, Casadesus Recital Hall, FREE Friday, May 1stStudent Recital: Griffin Sargent, violin, Casadesus Recital Hall, 8:00 PM, FREE Saturday, May .z1d Masters Recital: Sung Jin Park, soprano, Casadesus Recital Hall, 3:00 PM, FREE Saturday, May .z1d University Symphony Orchestra ''Fantastique!" Osterhout Concert Theater, 8:00 PM, $$ Sunday, May 3rdMasters Recital: Jenean Truax, soprano, Casadesus Recital Hall, 3:00 PM, FREE Tuesday, May 5th Percussion Ensemble, 8:00 PM, FREE Anderson Center Chamber Hall Thursday, May 7th Student Recognition Mid-Day Concert, Casadesus Recital Hall, 1:20 PM, FREE Thursday, May 7th Harpur Chorale and Women's Chorus, Anderson Center Chamber Hall, 8:00 PM, FREE Friday, May 8th Binghamton University African Music Ensemble, casadesus Recital Hall, 8:00 PM, FREE For ticket information, please call the Anderson Center Box Office at 777-ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 3:14 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152703">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152703</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Three revelations from the Lotus Sutra, April 26, 2009 Recital Tape 2009-4-26 Description An account of the resource Works of Bernstein, Bach, Williams, Chance, Bagley, Reed. Held at 3:00 p.m., April 26, 2009, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource University Wind Symphony Metaxas, Kimberly Smith, Robert G. Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-04-26 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/bc4bf41667cb837200006673487671e9.pdf 2eccd50445f4333cabe632a3216a3057 PDF Text Text BINGHAMTON YP N I V E R S I T Y S I T Y O F N E W Y O R K Hiee D E P A R T M E N T F R I E D H E I M MEMORIAL LECTURE/RECITAL Johann Sebastian Bach Sonata in b minor BWV 1 030 Harry Lincoln, Lecturer Georgetta Maiolo, Flute Jonathan Biggers, Harpsichord Thursday, September 24, 2009 8:00 p.m. Casadesus Recital Hall �PROGRAM ABOUT THE PERFORMERS Johann Sebastian B ach HARRY LINCOLN is a Distinguished Service Professor, Emeritus. He holds a PhD in musicology from Northwestern University with a specialty in Renaissance Italian music and joined Harpur College in 1951. A founder and ﬁrst president of the Binghamton Symphony Sonata in b minor BWV 1030 Sonata in b minor. Johann Sebastian Bach Andante Largo e dolce Presto, Allegro 1685 1 750 Remarks on the Composition Professor Emeritus Harry Lincoln Performance Georgette Maiolo, Flute Jonathan Biggers, Harpsichord ABOUT THE SERIES The Friedheim Memorial Series honors the memory of Professor Philip Friedheim (19301986) whose remarkable tenure at Binghamton University featured many memorable lecturerecitals with faculty and guest artistperformers on major works of the classical music tradition. We seek to recreate Phil’s special combination of scholarship and performance that served to deepen our understanding for – and love of – great works of musical art. All proceeds of the series will go towards the undergraduate scholarship funds of the Department of Music. Today’s performance opens the 20092010 series with Professor Emeritus Harry Lincoln’s remarks on J. S. Bach’s Sonata in B minor featuring Georgette Maiolo on ﬂute and Jonathan Biggers on harpsichord. The next performance in the series will be held on Thursday, March 4, 2010, and will highlight composer and music critic Robert Schumann, who played a major role in the 19” century’s emerging Romantic Movement. Please join us as Mobius Ensemble’s Janey Choi (violin), Roberta Crawford (viola), Stephen Stalker (cello), and Michael Salmirs (piano) discuss and perform three representative works by this inﬂuential and enigmatic musician: Papillons, Op. 2, Mérchenbilder, Op. 113, and Piano Quartet, Op. 47. Orchestra (now the Binghamton Philharmonic), he was principal ﬂutist in that ensemble for ten years. His publications include editions of Italian madrigals and early Baroque keyboard music. A pioneer in the use of the computer for music research, he published two large thematic indexes of Renaissance polyphony as well as reporting on this research to meetings in Nottingham, Edinburgh, Copenhagen, Paris, Ljubliana, Barcelona and Tokyo. He contributed articles to The New Grove Dictionary of Music. He was active in the College Music Society, developing the Directory of Music Faculties in USA and Canada, and serving as national president in 19691970. He enjoys the challenge of analyzing music for general audiences and, in retirement, has presented lectures in the annual Lyceum program series. GEORGETTA MAIOLO is on the faculty of Binghamton University and Broome Community College teaching Flute and directing Flute Ensembles. Mrs. Maiolo is the principal ﬂutist of the Binghamton Philharmonic Orchestra and the TriCities Opera Orchestra. In addition to her playing positions, she concertizes as a soloist, recitalist and chamber musician. Mrs. Maiolo is faculty advisor for Mu Phi Epsilon, Zeta Eta Chapter at Binghamton University. In the past, Mrs. Maiolo performed several Lecture/Recitals at Binghamton University with Professor Philip Friedheim. It is an honor to perform, for the Friedheim Memorial Series, the Sonata in b minor by Johann Sabastian Bach with Professor Harry Lincoln and Professor Jonathan Biggers. JONATHAN BIGGERS maintains an active career as both a Professor of Organ and as a concert organist. He is Professor of Organ and Harpsichord at Binghamton University, and Adjunct Professor of Organ and Harpsichord at Ithaca College. Dr. Biggers has presented several hundred concerts in church and university settings throughout the United States, Canada, and Europe, and has appeared with various orchestras in North America. He has been featured on NPR, Canadian Broadcast Corporation, and Radio Suisse Romande broadcasts. Dr. Biggers has studied extensively with Russell Saunders (Eastman School of Music; DMA), Lionel Rogg (Conservatory of Music, Geneva, Switzerland; Fulbright study), J. Warren Hutton (The University of Alabama; MM and BMus), and Wallace Zimmerman (Atlanta; pre college), and has worked with Harold Vogel (Bremen, Germany) during a recent sabbatical study period. He was awarded a unanimous ﬁrst prize in the 1985 Geneva International Competition, secondprize in the 1982 American Guild of Organists National Organ Playing Competition, and �unanimously w o n the 1990 Calgary International’ Organ Festival Concerto Competition, where he presented the world premier performance of Snowwalker: A Concerto for Organ and Orchestra, by Pulitzerprize winning composer Michael Colgrass. He has premiered other works by notable composers such as Richard Proulx (Concerto for Organ and Orchestra), Craig Phillips (Triptych for Organ, Brass and Percussion), Persis Vehar (Soundpiece for Organ), and David Brackett (Nightworks for Organ). Two highly acclaimed Compact Disc recordings of his performances (“Sleepers, Wake! A Reger Perspective” and “Bach on the Fritts!) have been issued by Calcante Recordings. Binghamton University M usic D epartment’s U P C O M I N G E V E N T S Friday, S eptember 2 5 ” Fast Indian Sarod with guest artist Rajeev Taranath, 8:00 PM, Anderson Center Chamber Hall, $$ Thursday, October 1 % MidDay Concert, 1:20 PM, Casadesus Recital Hall FREE idDay Concert, 1:20 PM, Casadesus Recital Hall Thursday, October 8 ” M FREE October various d ates a n d ti m es 3Penny Opera with the Theatre Department and University Symphony Orchestra, 8:00 PM, Watters Theater, $$, call 607. 77ZART5 for dates and times Thursday, October 1 5 ” MidDay Concert, 1:20 PM, Casadesus Rectal Hall FREE Sa tu rd ay, October 1 7 ” P aul Taylor Dance Company with the Binghamton University Symphony Ordrestra, 8:00 PM, Osterhout Concert Theater, $$ Thursday, October 22™ MidDay Concert; 1:20 PM, Casadesus Recital Hall FREE Sa tu rd ay, October 2 4 ” Family Weekend Concert (Harpur Chorale, Women’s Chorus and Wind Symphony), 3:00 PM, Osterhout Concert Theater, FREE Thursday, October 2 9 ” MidDay Concert, 1:20 PM, Casadesus Recital Hall FREE For ticket information, please call the Anderson Center Box O ﬀice a t 777ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:08:49 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152706">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152706</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Friedheim memorial lecture/recital, September 24, 2009 Recital Tape 2009-9-24 Description An account of the resource Works of Bach. Held at 8:00 p.m., September 24 , 2009, Casadesus Recital Hall. Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-09-24 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/06b3451d41ec1d81b0fa607868e89c55.pdf 3105dbb9cc9133ac8ec698f0ba328e58 PDF Text Text BINGHAMTON U N I V E R S T A T E U N I V E R S I T Y O F N E W Y O R K [4 P E Zed e C T TT M A E N RT A BACH CELEBRATION T H E COMPL ETE OR GAN W ORKS OF JOHAN N SEBASTIAN E (16851750) A C H PROGRAM V JONAT HAN BI GGERS ORGAN 6 September, 2009 4:00pm First Presbyte rian Church �ABOUT THE PERFORMER P rogra m Prelude and Fugue in Cmajor, BWV 547 From the Miscellaneous ChoralePreludes Ach Gott und H err (per canonem), BWV 714 Allein Gott in der Hoh sei Ehr (ma nualiter, 3vv.), BWV 717 Allein Gott in der H o h sei Ehr (bicinium), BWV 711 Vater unser im Himmelreich, BWV 737 Wo soll ich ﬂiehen hin, BWV 694 Prelude and Fugue in Dminor, BWV 549a & INTERMISSION 8 Sonata VI in Gmajor, BWV 530 L. II. III. Vivace Lente Allegro T o c c a t a a n d F u g u e i n F m a j o r , BWV 540 GuilbaultThérien Organ, 1996 JONATHAN BIGGERS, hailed as “one of the most outstanding concert organists in the United States,” maintains an active career as both a professor of organ and harpsichord, and as a concert organist of the ﬁrst order. He holds the prestigious Edwin Link Endowed Professorship in Organ and Harpsichord at Binghamton University (State University of New York), and has presented hundreds of concerts in church and university settings throughout the United States, Canada, and Europe. He has appeared as a featured soloist with orchestras in both the United States and Canada, including the Atlanta Symphony Orchestra and the Calgary Philharmonic Orchestra, and has been featured frequently on NPR (“Pipedreams”), the Canad ian Broadcast Corporation (CBC), and on Radio and Television Suisse Romande broadcasts in Geneva, Switzerland. Scott Cantrell, formerly classical critic of The Kansas City Star, stated that Biggers’ performances demonstrate “authority and eloquence”, and further stated “were there more performers like this, the organ would be far less a minority interest". Dr. Biggers studied with Russell Saunders (Eastman School of Music, DMA); Lionel Rogg (Conservatory of Music, Geneva, Switzerland; Fulbright study); J. Warren Hutton (The University of Alabama, MM and BMus); and with Wallace Zimmerman (Atlanta, precollege); he has also worked extensively with Harold Vogel (Bremen, Germany), and with Arthur Poister (former Professor of Organ at Syracuse University). A prizewinner of dozens of competitions, he was notably awarded a unanimous ﬁrst prize in the 1985 Geneva International Competition, one of the most prestigious music competitions for organ in the world; second prize in the 1982 American Guild of Organists National Organ Playing Competition; and a unanimous ﬁrst prize in the 1990 Calgary International Organ Festival Co ncerto Competition, where he p resented, with the Calgary Philharmonic Orchestra, the world premier performance of Snowwalker: A Concerto for Organ and Orchestra by Pulitzer prizewinning composer Michael Colgrass. A champion of new music for the organ, he has premiered other works by notable 20th and 21st century composers such as Richard Proulx (Chicago: Concerto for Organ and Orchestra), Craig Phillips (Los Angeles: Suite for Organ, Brass and Percussion), Persis Vehar (Buﬀalo: Soundpiece for Organ), and David �Brackett, fo rm e r composition professor at Binghamton University (Montréal: Nightworks for Organ solo). Two highly acclaimed compact disc recordings of Dr. Biggers’ performances have been released by Calcante Recordings (Sleepers Wake! A Reger Perspective, featuring ﬁve major organ works by Romantic composer Max Reger; and Bach on the Fritts! , featuring major organ works by Johann Sebastian Bach). Plans are also underway for the production of several other CD releases in the future, including a recording of the complete organ works of J.S. Bach. At present, Dr. Biggers is beginning the second year of a fouryear presentation of the complete organ works of Johann Sebastian Bach, presented in a series of 16 concerts, four events per season. The four scheduled concerts of the series “A Bach Celebration: The Complete Organ Works of Johann Sebastian Bach” will be presented in two diﬀerent locales: September 6, 2009, and March 21, 2010 at First Presbyterian Church in downtown Binghamton; and December 6, 2009, and February 7, 2010 in the Binghamton University Fine Arts Building, Room 21. This latter location features the new Hellmuth Wolﬀ mechanical action organ installed in Binghamton University d uring the 20082009 academic season. Tickets for these future concerts are available from the Anderson Center for the Arts Box Oﬀice at Binghamton University, telephone 777ARTS; tickets for the concerts presented at First Presbyterian Church are also available at the entrance to the church on the day of the performance. We regret that we cannot guarantee ticket availability past 80 for the performances held in Fine Arts Room 21, due to space restrictions in the facility; thus, the concerts scheduled in this room will be presen ted twice to accommodate all who wish to enjoy the event. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:09:43 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152696">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152696</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Bach Celebration! The complete organ works of Johann Sebastian Bach, September 6 , 2009 Recital Tape 2009-9-6 Description An account of the resource Held at 4:00 p.m., September 6, 2009, First Presbyterian Church. Creator An entity primarily responsible for making the resource Biggers, Jonathan Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-09-06 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/a87260e9504b29d0bf72be702705dac5.pdf 81093ffd7fa5bb5798a7e46f2208a412 PDF Text Text BINGHAMTON U N I A V E R S L T S TAT E U N I V E R S I T Y O F N E W Y O R K [4 D E P A R T M E N T Rajeer . \v’ ) — d e \ y « . 8 ' a ” , ' — – q – f , K Friday, September 25, 2009 8:00 p .m. Anderson Center Chamber H all ' ﬂ . “ ioo i n 5 v �PROGRAM HINDUSTANI CLASSICAL MUSIC Note: Indian musicians choose pieces on the spur of the moment based upon the time of day and the particular mood they wish to emphasize. Here is a general outline for tonight’s performance: e The instrumental performance tonight features an extensive opening solo sarod sequence known as « I+ pJorJh+I+. The ° l° p is an unmetered improvisation that demonstrates the scale, mood, and musical rules of the raga. Normally musicians begin at the mid range of their instrument, and slowly descend to the lowest notes. Then the « I p progresses all the way up to the highest octave on the instrument, and then back down to the middle range. e In the next section, the jor, the musician introduces a sense of pulsation through the extensive plucking of a set of 3 drone strings (cik« re), in alternation with strokes on the melody strings. e The ﬁnal part o f the opening sequence, jh I , is a climactic section featuring extensive strumming of the drone strings often using sixteenth notes and building up speed to a thunderous climax. Depending on the skill and mood of the performer, this completely extemporaneous opening sequence can last from 10 40 minutes (sometimes longer). e Following the above opening sequence, the artist will play one or more instrumental compositions known as gat. Gat are precomposed melodies that are thoroughly developed using extensive improvised runs that return to the main theme. Gat are in a tala cycle, and at this point in the performance the tabla drummer will enter, often with a rhythmic cadence timed to end on the ﬁrst beat of the tala cycle. Often the sitar and tabla will trade rhythmic combinations in a playful question and answer style. Normally an artist will choose from slow, medium, and fast speed gats in the same raga, although they may employ diﬀerent tala cycles. oe Subsequent to the full performance o f the chosen raga, the artist will choose one or more shorter pieces drawn from folk music, devotional hymns, or from various ‘Iight’ classical genres to conclude the program. W W W The origins of Indian classical music can be traced to the Vedas, a set of four texts that comprise the foundation o f the Hindu religion, and were passed down orally until around 1500 BC when they began to be written down. The texts comprise hymns, which not only aided memorization, but also provide the foundation of Indian music. In the ﬁrst few centuries AD, the sage Bharata compiled a treatise on music, dance, and theatre that provided the theoretical foundations for future directions in Indian composition. Bharata outlined the organization o f rhythm and meter into cycles made up o f groupings of beats now referred to as tala. Every composition is set to a particular tala cycle made up of stressed and unstressed beats. Knowledgeable audience members may extemalize the tala by a system of claps (tali) representing the strong beats, and waves (khali) representing the weak beats. Bharata also formulated the concept of raga, which is the melodic system underlying Hindustani music. A raga consists of a scale, as well as a set of musical rules governing choice and emphasis of pitches, melodic motion, and ornamentation. A raga can also be associated with certain times of day and/or seasons of the year. Bharata related each raga to a speciﬁc rasa, or emotion, such as love, humor, anger, compassion, valor, wonder, or fear. The term raga means color – a raga should color the mind and stimulate listeners to emotional awareness of its feeling. After the writings of Bharata, wandering monks began composing sacred hymns, known as bhajans, using the raga and tala cycles formulized by Bharata. These sacred hymns provide the source for many contemporary Indian classical compositions. From this common historical origin, classical music in India has gradually become divided geographically into Northern (Hindustani) and Southern (Kamatik) traditions since the 13” century AD. The source of this diversion was the occupation of Northern India by successive waves of Muslim conquerors including Persian, Turkish, Arab, and Central Asian peoples. During the successive reigns of these Muslim dynasties, Northern India came to adopt and adapt several instruments, styles, and techniques from Persian and Arabic music. Hindustani classical music, as we know it today, took shape in the 16” century AD in the courts of the Mughal emperors as Hindu musicians began to seek employment as court musicians. At the Mughal courts, Hindu musicians mixed with Persian musicians, and they began to develop a hybrid of both musical traditions. They also began to intermarry, and many contemporary Hindustani musicians have Persian surnames. Through time, certain families of court composers established gharana, or stylistic schools of performance and interpretation. Eventually these schools took on talented students from outside the family, spreading the inﬂuence of these previously local styles. During the British colonization of India (1850 1947), many of the courts were dissolved and musicians shifted their performances to the concert stage, where it can now be enjoyed by all. �ABOUT THE INSTRUMENTS ABOUT THE PERFORMERS Tanpura/Sruti b ox Tanpura is a longnecked lute, unfretted and roundbodied. It has four or ﬁve wire strings that are open plucked one after the other to create a steady drone ambiance. The strings are normally tuned to the 1 * and 5 ” scale degrees of the raga. The tanpura articulates a constant drone, to melodically frame the monophonic improvisations of the musicians. Nowadays, this instrument is commonly replaced by an electronic device. called sruti box, which is portable and easier to travel with. Internationally acclaimed performer, Rajeev Taranath is one of the world’s leading exponents of the Sarod. A distinguished disciple of Maestro Ali Akbar Khan, his performances masterfully combine the depth and rigor of the tradition of Hindustani classical music with an inspired imagination and emotional intensity. Sarod The Sarod, along with the sitar, is the most popular and prominent instrument in Hindustani Classical music. The sarod originated in Afghanistan, from a similar instrument called the rebab. Immigrant musicians brought it to the courts of Northern India in the late 1700s. It is made of carved teak wood, with the resonator covered with goatskin and the ﬁngerboard covered with polished nickel. It has up to 25 strings, 10 of which are plucked by a coconut shell pick; the other 15 strings run below the playing strings and are sounded by the vibrations from the plucked strings above them. This gives the sarod a shimmering sound, as each plucked note vibrates the 15 strings below. The lack of frets and the tension of the strings makes it very technically demanding to play, as the strings must be pressed hard against the ﬁngerboard. Normally the musician uses the tips of the ﬁngernails to press the strings, allowing them to ring out, and also permitting the liberal use of slides up and down the neck. The descent of the sarod from the lute family of Persian–Afghani instruments makes it a distant relative to the European lute. Tabla The tabla set is the principle percussion instrument used in Hindustani classical, religious, and ﬁlm musics. The instrument consists of a pair of hand drums of contrasting sizes and timbres. The smaller drum, played with the dominant hand, is made from a conical piece of wood and is often called tabla. One of its primary tones is tuned to a speciﬁc note of the raga, and thus contributes to and complements the melody. The larger drum, played with the other hand, is called b y n and is made of metal. It covers a lower range than the other drum. The playing technique for both drums involves extensive use of the ﬁngers and palms in various conﬁgurations to create a wide variety of diﬀerent sounds. On the bey+n, the heel of the hand is also used to apply pressure, in a sliding motion, so that the pitch is changed during the sound’s decay. l l Hailed a prodigy in Hindustani vocal music, he had been earlier trained by his father Pandit Taranath and other eminent musicians and was a concert and radio artist before he was twenty. Rajeev has toured extensively as a performer in India, Australia, Europe, Yemen and throughout the U.S. He has also composed music for several nationally and internationally honored Indian ﬁlms. He is the recipient of the Indian Government’s highest award in the arts, the Sangeet Natak Academi Award for 19992000, given in recognition of outstanding achievement in the ﬁeld of Hindustani Instrumental music. In 1998 he received the prestigious national Award, ‘Chowdiah Award for Music’ from the Government of Karnataka in India for excellence in the ﬁeld of instrumental music. He has also received awards from the Indian State Government of Karnataka for his contribution to music the Sangeet Nritya Akademi Award in 1993 and the Karnataka Rajya Prashasti in 1996. In 1980, he was the subject of a documentary made for the television in Eden, Yemen, entitled Finnan MinAlHind (Artist from India). Rajeev Taranath’s distinctive musicianship demonstrates striking imaginative power, technical excellence and emotional range. He is respected for the clarity of musical understanding which he brings to the unfolding of a raga and the beauty of the tone he evokes from the sarod. The New York Times (April 14, 1982) described his music by commenting with great enthusiasm about the exuberance and versatility of his playing, which ranged from the spiritual to the spirited. I Rajeev was a Ford Foundation scholar (1989 to 1992) and researched during this period on the Teaching Techniques of the MaiharAllauddin Gharana. Rajeev has also received guidance from Pandit Ravi Shankar and Shrimati Annapurna Devi. From 19952005 he was a member of the music department faculty at the prestigious Califomia Institute of the Arts in Los Angeles, California. Rajeev Taranath frequently performs and tours throughout India and internationally with concert engagements for major Indian music conferences, Universities, western chamber music series, world music festivals and Indian cultural organizations dedicated to the presentation of high caliber Indian classical music. �Nitin Mitta is one of the most s ought after young tabla players of our generation with rare technical virtuosity and sensitivity. He has WSKG performed worldwide with some of India’s most celebrated and honored musicians such as Pt. Jasraj, D r. Prabha Atre, Pt. Rajan Sajan Mishra, Pt.Vishwa Mohan Bhatt, Smt. Veena Sahasrabudhe and Pt. Budhaditya Mukherjee just to name a few. Nitin received his early training in Hyderabad from Pandit G. Satyanarayana. In his years as a tabla student, he won many accolades, including the ﬁrst prize in the All India Competition held in Calcutta. He was also awarded a National Scholarship by the Ministry of H uman Resource Development, Central Govt. His passion for rhythm and his desire to enhance his repertoire of tablacompositions, lead him to seek the guidance of Pandit Arvind Mulgaonkar. Both of Nitin’s Gurus are disciples of the late Ustad Amir Hussain Khan Saheb, legendary doyen of the Farukhabad Gharana. Nitin has thus received two perspectives upon a single tradition and he has enriched his inheritance through his own capacity for assimilation and interpretation. Public B roadcasting m a l i a n m a d o G i l l i . A i n aniariam e n a T E S S T T R O A w s m Fe 1 1— —] r = E — — — _ On moving to the United States in 2002, Nitin received a grant from the Rhode Island State Council on Arts. He has been on the Faculty at the Learn Quest Academy of Music in Waltham, MA. Now a resident of New York City, he is actively involved in teaching, performing, recording, and conducting tabla workshops. He has recently performed at venues like The Metropolitan Museum of Art, Rubin Museum of Art, The Asia Society, and The Indian Embassy in New York and The Smithsonian Museum in Washington DC. He has also conducted lecture demonstrations and performed at Brown University, MIT, Harvard, UC Berkeley, U Penn, The University of Chicago and Drury University. Nitin has performed in some of the major festivals and venues in India, the U.S. and in Canada, Germany, France, England, Ireland, Finland, Sri Lanka and the Baltic countries Lithuania, Belarus, and Vilnius. He has performed at the Purcell Room, London and the India culture centre, Berlin. In India, he has performed at some of the most prestigious music festivals and venues, including The Pt. Motiram and Pt. Maniram Sangeeth Samaroh, Hyderabad, The Pt. Radhika Mohan Moitra Music conference, Kolkatta, Music Academy, Chennai, SPICMACAY, The St. Xavier’s’ IMG Music Festival, Mumbai, Surya Festival, Trivandrum, India Habitat Centre, New Delhi and the Nehru Centre, Mumbai. His performance in the musical album entitled “Soul Strings” released by Music Today has been widely appreciated. To learn more about Nitin, visit his website at www.NitinMitta.org. E g E y — — m u l l l l ” \5:1V5’ \ rere [ 3 B S E rd a . . . . . . ¢ . P i t valle, w e w e i s s 5 l u u l h r 6 { L feb wary § & l ’ l ) I [ I w a n . r i t i l ig i sge r o. c a m E moy 2, apiil IM K 010 �Bingha m ton Univer sity Music Depar tment’s U PCO M I N G E V E N T S idDay Concert, 1:20 PM FREE Thursday , October 1 ° M Casadesus Recital Hall Thursda y, October 8 ” MidDay Concert, 1:20 PM FREE Casadesus Recital Hall Friday, O ctober 9 ” African DanceDrumming Workshop with Kwadzo Tagboxlo and Pierrette Aboadjx, 1:00 – 3:00 PM, FA 104, FREE Friday, October 9 ” 3Penny Opera with the Theatre Department and University Symphony Orchestra, 8:00 PM, Watters Theater, $$ Saturda y, October 1 0 ” African DanceDrumming Workshop with Kwadzo Tagborlo and Pierrette Aboadji, 1:00 – 3:00 PM, Africa House, 50 Washington Avenue, Endicott, NY, FREE pera with the Theatre Saturda y, October 1 0 ” 3Penny O Department and University Symphony Orchestra, 8:00 PM, Watters Theater, $$ Thursday, Octob er 15% MidDay Concert, 1:20 PM FREE Casadesus Rectal Hall pera with the Theatre Department Friday, October 1 6 3Penny O and University Symphony Orchestra, 8:00 PM, Walters Theater, $$ Saturda y, October 17°" 3Penny Opera with the Theatre Department and University Symphony Orchestra, 8:00 PM, Watters Theater, $$ Saturda y, October 17°" Paul Taylor Dance Company with the Binghamton University Symphony Orchestra, 8:00 PM, Osterhout Concert Theater, $$ pera with the Theatre Department Sunday, October 1 8 ” 3Penny O and University Symphony Orchestra, 2:00 PM, Watters Theater, $$ For ticket information, please call the Anderson Center Box Oﬀice at 777ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:06:01 24:48 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152845">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152845</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource North Indian sarod, September 25, 2009 Recital Tape 2009-09-25 Description An account of the resource Held at 8:00 p.m., September 25, 2009, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Mitta, Nitin Tarananth, Rajeev Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-09-25 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/9aa2779ef2f8a823755fe32e0eea3880.pdf f2ba93441cce3fdb50e390e6d878525d PDF Text Text BINGHAMTON UNI V ER SI T Y STATE U N I V E R S I T Y O F N E W Y O R K , o w dee D E P A R T M E N T THURSDAY MIDDAY CONCERT 2 I { o ZEmmﬁy;Ohwer51&%%? . ZZUpun. . Casadesus Kecrial Hal �TRANSLATIONS PROGRAM Concertino for Clarinet, Op. 26 Carl Maria von Weber Adam Davis, clarinet Margaret Reitz, piano (17861826) Three Songs from Shakespeare ....... Ralph Vaughan Williams (18721958) 1. Take, O Take (from “Measure for Measure") 2. When Icicles Hang by the Wall (from “Love’s Labour’s Lost") 3. Orpheus with his Lute (from “Henry VIII") Mark Rossnagel, tenor ChaiKyou Mallinson, piano from Concerto in E ﬂat Major (1934) ....... Alexander Glazunov (18651936) Nathan Rose, alto saxophone Margaret Reitz, piano from L ’elisir d ’amore .................................Gaetano Donizetti (17971848) Come paride vezzoso Julian Whitley, baritone William James Lawson, piano Vaghissima sembianza................................. Stefano Donaudy (18791925) from Don Giovanni ...................... Wolfgang Amadeus Mozart (17561791) II mio tesoro Michael Fries, tenor Margaret Reitz, piano Come paride vezzoso As gracious Paris oﬀered the apple to the most beautiful woman, my delightful peasant girl, I oﬀer you these ﬂowers. But I am more proud, more happy than he, since in reward for my gift I carry away your beautiful heart. I see clearly in that little face that I’m winding my way into your breast. That’s nothing surprising; I’m gallant, and I’m a sergeant. There is not a beautiful woman who resists the sight of a military crest; even the Mother of Love yields to Mars, the god of war. Vaghissima sembianza Most charming semblance of my formerly loved woman, who, then, has portrayed you with such a likeness that l gaze, and speak, and believe to have you before me as in the beautiful days of love? The cherished memory which in my heart has been awakened so ardently has already revived hope there, so that a kiss, a vow, a cry of love I no longer ask except of her who is forever silent. II m io tesoro Go, meanwhile, to console my beloved; and try to dry the tears from her beautiful eyes. Tell her that I am going oﬀ to avenge her wrongs. . . that I will come back messenger only of ravages and deaths – yes! �Bingh amton Univer sity M usic Depart ment’ s UPC OMI NG EVE NTS Fr iday, October 16% 3Penny Opera with the Theatre Department and University Symphony Orchestra, 8:00 PM, Watters Theater, $$ Saturday, October 1 7 ° 3Penny Opera with the Theatre Department and University Symphony Orchestra, 8:00 PM, Watters Theater, $$ Saturday, October 1 7” Paul Taylor Dance Company with the Binghamton University Symphony Orchestra, 8:00 PM, Osterhout Concert Theater, $$ Sunday, October 18% 3Penny Opera with the Theatre Department and University Symphony Orchestra, 2:00 PM, Watters Theater, $$ Thursday, October 22™ MidDay Concert, 1:20 PM —FREE Casadesus Recital Hall Saturday, October 2 4 ” Family Weekend Concert (Harpur Chorale, Women? Chorus and Wind Symphony), 3:00 PM, FREE, Osterhout Concert Theater FREE Thursday, October 29 ” MidDay Concert; 1:20 PM — Casadesus Recital Hall FREE Thursday, November 5 ” MidDay Concert, 1:20 PM — Casadesus Recital Hall Saturday, N ovember 7”' Master Class: Bruce Neswick, guest organist, 10:00 AM – 12:00 NOON, First Presbyterian Church, Binghamton, FREE Saturday, November 7 Air Force Brass Quintet, 8:00 PM, FREE, Casadesus Recital Hall Sunday, November 8 ” Bruce Neswick, guest organist, 4. 00 PM, First Piesbyterian Church, H A R P , $8 For ticket information, please call the Anderson Center Box Oﬀice at 777ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 35:29 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152849">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152849</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thursday mid-day concert, October 15, 2009 Recital Tape 2009-10-15 Description An account of the resource Held at 1:20 p.m., October 15, 2009, Casadesus Recital Hall. Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-10-15 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/0fc6b5b7cb12a30dbfed614a6f186020.pdf 67d43dc551744a11f746653f4ebbd5e4 PDF Text Text BINGHAMTON EL N I V E R S I T Y STAT E U N I V E R S I T Y O F N E W YO R K D E P A R T M E N T THURSDAY MIDDAY CONCERT Thursday, October 22, 2 0 0 9 1. 2 0 p .m. Casadasus Recital a z �l PROGRAM l Four Songs... Allerseelen, Op 10, no. 8 Seitdem dein Aug‘ , Op. 17, no. 1 Heimkehr, Op. 15, no. 5 Zueignung, Op. 10, no. 1 Richard Strauss (18641949) Mary Burgess, soprano Stephen Zank, piano L’'Heure E x q u i s e Nell, Op. 18, no. 1.. Adieux de I’ hotesse Arabe. i i i! l { !1 Ashley Maynard, mezzosoprano William James Lawson, piano i 1 Aria, “Dove sei, amato bene,” from Rodelinda ..George Frederick Handel Aria, “Bel piacere,” from Agrippina (16851759) Susan Amisano, soprano William James Lawson, piano ...Jean Sibelius (18651975) Julie Marie Williams, soprano William James Lawson, piano Aria, “Tornami a vagheggiar,” from Alcina............George Frederick Handel (16851759) Amanda Chmela, soprano ChaiKyou Mallinson, piano l l .. Reynaldo Hahn (18741947) Gabriel Faure (18451924) ....Georges Bizet (1 8 3 8 1875) Three S o n g s Den forsta Kyssen Op. 37 no. “1” Till Kvallen, Op. 17, no. 6 Flickan kom irfan sin alsklings mote, Op. 37, no. 5 TRANSLATIONS : Allerseelen But now the sun departs, (All Souls’ Day) Place on the table the fragrant And calm descends upon the grove, As long ago in May. Give me your hand, that I may secretly clasp it, And if it is observed by others, I will not mind; Give me one of your sweet glances, As long ago in May. Today each grave is ﬂowering and fragrant, Once a year it is All Souls’ Day— Come to my heart that I again may Zueignung (Devotion) Ah, you know it, dear soul, That, far from you, I languish; Love causes hearts to ache— To you my thanks! Once, drinking to freedom, I raised the amethyst cup, And you blessed the drink— To you my thanks! You exorcised the evil spirits in it, So that I, as never before, Cleansed and freed, sank upon your breast, To you my thanks! mignonettes, Bring here the last of red asters, And let us speak again of love, have you, As once again in May! Seitdem dein Aug’ (Ever since your eyes) Ever since your eyes looked into mine, And love, as if from heaven above, Showered down upon me, What more had the earth to oﬀer? It gave its best to me, And with peaceful happiness of the heart My whole life was ﬁlled, because of that one moment. Heimkehr (Homeward) The tree boughs are waving softly, Swiftly towards the shore moves the boat, Back to its nest ﬂies the dove, My heart returns home to you. Too long on a bright day, Surrounded by life’s turmoil, On its ﬂuttering wings, It has been straying. And it feels that near you is peace, Near you alone is rest. L ‘Heure Exquise (The Exquisite Hour) The white moon shines in the forest, from every branch comes forth a voice, under the foliage, Oh beloved! The pond, a deep mirror, reﬂects in which the wind is crying. Let us dream, ‘tis the hour! A vast and tender calm seems to descend from the ﬁrmament, which the orb clads in rainbow colors; ‘Tis the exquisite hour! Nell Your purple rose in your bright sun, O June, is sparkling as if intoxicated; bend your golden cup also toward me: My heart is just like your rose. Under the soft shelter of a shady bough a sigh of pleasure rises up: �More than one ringpigeon sings in the remote wood, O my heart, its amorous lament. How sweet your pearl in the ﬂaming sky, star of the pensive night! But how much sweeter is the bright light that shines in my charmed heart! The singing sea, all along the shore, will silence its eternal murmuring. Before in my heart, dear love, O Nell, your image will stop blossoming! Adieux de I’hotesse Arabe Adieux o f the Arab Hostess Since nothing holds you to this happy land, neither the shade of a palm tree, nor yellow corn, neither rest, nor abundance, nor seeing beat at the sound of your voice the youthful breasts of our sisters, whose dance, like that of a hive of bees, crowns the evening hills. Adieu, handsome traveler. Alas! Oh, why aren’t you one of those who limit their lazy feet to their own roofs of branches or canvas! Who, dreamers, listen to stories without making any, and sit by their door in the evening, dreaming of ﬂying away to the stars! Had you wished it, perhaps one of us, young man, would have liked to serve you, kneeling, in our huts that are always open. She would have lulled you to sleep, and made a fan of green leaves to chase away the ﬂies from your brow. If you don’t come back, think sometimes on the desert’s daughters, softvoiced sisters; dancing barefoot on the dune. Handsome young white man, lovely bird of passage, remember. For perhaps, oh rapid stranger, your memory remains in more than one of them! Dove sei, amato bene? (Where are you, beloved?) Where are you, beloved? Come to console my heart! Come, come, beloved! I am beset by sorrow, And my harsh pains I can only bear with you. Bel piacere (Great pleasure) ‘Tis great pleasure to enjoy, To enjoy a faithful love! This brings contentment to the heart. Splendour is not measured by beauty, if it does not come from a faithful heart. i . Den forsta kyssen (The First Kiss) On silver clouds there sat an evening star, when through the dusk a maid called from afar: “Oh, tell me, star, will heaven think amiss, when ﬁrst I bless my Iov’d one with a kiss?” And heaven’s bashful daughter thus did sigh: “A choir of angels lifts their heads up high, and sees their grace reﬂected in night’s keep; so Death doth turn his eyes away and weep.” . Flickan kom ifran sin alsklings mote (The Tryst) The girl came from meeting her lover, came with her hands all red. Said her mother: “What has made your hands so red, girl?” Said the girl: “I was picking roses and pricked my hands on the thorns.” & Again she came from meeting her lover, came with her lips all red. Said her mother: “What has made your lips so red, girl?” Said the girl: “I was eating raspberries and stained my lips with the juice.” Again she came from meeting her lover, came with her cheeks all pale. Said her mother: “What has made your cheeks so pale, girl?” Said the girl: “Oh mother, dig a grave for me, hide me there and set a cross above, and on the cross write as I tell you: Once she came home with her hands all red...they had turned red between her lover’s hands. Once she came home with her lips all red...they had turned red beneath her lover’s lips. The last time she came home with her cheeks all pale...they had turned pale at her lover’s unfaithfulness.” Till kvéllen (To Evening) Welcome, dark, mild and starry evening! Your gentle fervour I adore and caress the dark tresses That ﬂutter round your brow. If only you were the magic bridge that would carry my soul away, No longer burdened by the cares of life! And if it were the happy day when, overcome with weariness, I might join you when work is over and duty done, When night unfolds its black wings, and a grey curtain falls over hill and dale, O evening, how I would hurry to you! Tornami a vagheggiar (Return to Me) Return to me so that I may look upon you with love. My faithful soul loves only you, Dear, my beloved. Already to you I gave my heart, faithful will be my love. Never to you will I be cruel, Dear, my hope. �* 9 * e 0 0 0 0 0 0 0 . 0 0 0 R ie ie E E +4 0 0 O A S D A Ddro 0 n Q n * * e 3 a 4 birds Get your tickets now f o r th e Elizabethan ie ie * 4 po po Madrigal Feasts 34 * + ie ie * * * ® Featuring: Harpur Chorale Women’s Chorus University Wind Ensemble Saturday, October 2 4 3:00 p.m, ‘ 0 0 # J ( Osterhout Concert Theater Ld * ie * Ld 4 d A J # s po v 5 The Lords Featuring: and Ladies of the . t e ke Harpur Chorale, the Singing ho \ Wenches o f the Women’s Chorus, her Majesty’s own Royal Brass, ' o the S killed Musicians o f the Early } 3 Musick Consorte, actors and > The Froaste: 4 * 4 pe 4 ed Salade o f Romaine Lettuce, Celery. Mandarin Orange and Craisins y d 4 ‘ peo* 4 o t h e r d isreputables... Thickke Vega table (bene) soupe F e) Ld i ( IA . TH i ie [4 . 1 4 ° " ) ! . ie Ld 4 O po v = o Ld $e o ve pe Be 4 \ Startling spectacles and a fabulous ' 4 A 4 ‘n‘ﬁ‘ ‘ e a s t w ith music 4 mayhem 3 33 “o 4 ho oE Tendre Roasted Boeﬀ Fowl with Herb Marinade Greene Benes with M ushrooms Carrotes, Rice Pilaf Chocolate Cake Wire and Wassar? 4 3 o d ‘ o d 4 O bo Ee Fr i . , D e c e m b e r # * & Sat. , P e c e n b e r 5% a t 6 : 3 0 p . m . i n Y e O l d e U n i o n H a l ( B U ) For tickets call, (607) 777ARTS by Mon., Nov. 23". 1 ‘ O 4 P o R*N $08333832523300830032003300332e3880388288322830830013328435d ' �Bin gha mto n Un ive rsi ty Music D epa rtm ent ’s U P C O M I N G E V E N T S Sat urd ay, O ctob er 2 4 ” Family Weekend Concert y), 3:00 PM, FREE, (Harpur Chorale, Women’s Chorus and Wind Symphon Osterhout Concert Theater Thu rsda y, Oct obe r 2 9 ” MidDay Concert; 1:20 PM —FREE Casadesus Recital Hall Thu rsda y, Nov emb er 5% MidDay Concert, 1:20 PM —FREE Casadesus Recital Hall aster Class: Bruce Neswiok, Sat urd ay, N ove m b e r7*" M 12:00 NOON, First Presbyterian Church, guest organist, 10:00 AM — Binghamton, FREE Sat urd ay, N o v e m b e r Air Force Brass Quintet, 8:00 PM, FREE, Casadesus Recital Hall Sun day, N ove m b e r 8 ” B ruce Neswick, guest organist, 4:00 PM, First Presbyterian Church, Binghamton, $$ Thu rsda y, Nov emb er 1 2 ” MidDa y Concert, 1:20 PM FREE Casadesus Recital Hall Sat urd ay, N ove mbe r 1 4 ” Student Garinet Recital: Sarah Fenster & Dan Fagen, 7:00 PM, Casadesus Recital Hall, FREE hamton Philharmonic and the Sun day, N ove mbe r 1 5 Bing Binghamton University Grorus: Songs o f Destiny by Brahms andO at Beethoven, 3:00 PM, Osterhout Concert Theater, (for tickets, cal BP 607. 723.3931 ) PM, S u n d ay, N ove m b e r 1 5% Concerto and Aria Competition, 6:30 Casadesus Recital Hall, FREE Thu rsda y, Nov emb er 1 9 ” MidDay Concert; 1:20 P M FREE Casadesus Recital Hall For ticket information, please call the And erso n Cen ter Box O ﬀice a t 777ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 37:46 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152852">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152852</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thursday mid-day concert, October 22, 2009 Recital Tape 2009-10-22 Description An account of the resource Held at 1:20 p.m., October 22, 2009, Casadesus Recital Hall. Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-10-22 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/0a993d2f0fc04c14111da29af0f953bb.pdf 134f92c5c877a948159283704f616e49 PDF Text Text BINGHAMTON U N I V E R S I T Y S TAT E U N I V E R S I T Y O F N E W Y O R K wdc D E P A R T M E N T THURSDAY MIDDAY CONCERT Thursday, Ocgober 29, 2 0 0 9 L 2 0 p m . . Casadesus Recital Hal �PROGRAM Zyczenie Smutna Rzeka Pose! Leci liscie z drzewa TRANSLATIONS Frederic Chopin (18101849) Ashley Maynard, mezzosoprano William James Lawson, piano Liebst du um Schonheit Das Veilchen O weh des Scheidens Mein Stern Loreley Clara Schumann (18191896) Franz Schubert (17971828) Mary Burgess, soprano Timothy Perry, clarinet Stephan Zank, piano TRANSLATIONS Zyczenie (A Maiden’s Wish) River, ﬂowing from the mountains, Tell me why your waters are swollen? Is it the snow thawing and ﬂooding your banks? The snow lies unmelted in the hills, and ﬂowers hold my banks ﬁrm. At my source sits a mother sorrowful and weeping. Seven daughters she bore and loved, seven now lie buried. In death they know not night nor day, they lie, facing east. Waiting in pain by their grave, she tells her sorrow to their spirits. And her unceasing tears ﬂow, swelling my waters to a ﬂood. Pose! (The Messenger) Jana Kucera, soprano ChaiKyou Mallinson, piano Der Hirt auf dem Felsen, Op. 129 Smutna Rzeka (Sad River) If I were the sun in the sky, I would shine only on you. I would pass blindly over the meadows and grass, but would shine in your window forever if I were the sun. If I were a little bird from that forest, I wouldn’t sing in any foreign country. I would pass over the meadows and grass, but would sing at your window forever if I could change into that little bird. Dew lies on the meadows, the winter days are changing. You, faithful bird, are again before us, singing. With you, the sun shines longer, with you there is the pleasant spring; Welcome from the journey, joyful singer! Don’t go, wait! Maybe you are begging for seed? Maybe you bring a new song from distant lands? You run, you look around with your dark eyes... Don’t look so happy, she is not here! She went after a soldier, she threw him a hat by the roadside shrine and said goodbye to her mother. Maybe she was running away? Tell me, bird, are they hungry, is it good for them in the world? Leci Iiscie z drzewa (Leaves Are Falling) Leaves are falling, where once the tree grew free. Now there sits a wild bird calling by a grave. O forever and ever, Poland is good. Everything fades like a dream, and your children are in the grave. Cottages are burned, villages destroyed, women lament, homeless in the ﬁelds. Men have ﬂed from family and friends, crops shrivel and die, and are left untended. Young men gather to defend Warsaw’s walls; Poland begins to rise from the darkness. Fighting through winter and summer heat. Then came autumn to thin our ranks. Now the war is over, our toil expended in vain. The ﬁelds we once tilled remain empty. Some lie buried, some languish in prison, some wander in exile homeless and hungry. Heaven has not helped us, and neither did the hand of men. The unsown ﬁelds turn to waste, and nature’s gifts are nothing. Leaves are falling, and more leaves thick and black. Oh Poland, cherished land, see how your sons are slaughtered for you, They worked at guarding the land, and now suﬀer and die for Poland. Fight with all your strength, ﬁght for your freedom! There are traitors in this country, but there are also those who are faithful. Fight with all your strength, ﬁght in the name of liberty! Poland belongs to those who are devoted to this land. Liebst du u m Schoénheit (Do You Love Beauty) Do you love beauty? Oh do not love me! Love thou the sun who wears her golden hair! Do you love youth? Oh do not love me! Love thou the Spring, it is young every year! �Do you love riches? Oh do not love me! Love thou the mermaid, she has many pearls! Do you love love? Oh yes, then love me! Love me always, I will always love you! Das Veilc hen (The Violet) A violet in the meadow stood bowed to itself and unknown; It was a tender violet. Then came a young shepherdess with light steps and cheerful spirit from there, across the meadow singing. Ah, thought the violet, if only I were the most beautiful ﬂower of nature, Ah, just a little while, ‘til I were by my beloved plucked, and on her bosom fainting, pressed! Ah only, ah only a short quarter hour long! But alas! The girl came by, and o f the violet took no heed but crushed underfoot the poor violet. lt drooped and perished, and yet rejoiced, for if I die, yet still I die through her, through her and at her feet. O we h des Scheidens (The Sorrow o f Parting) Oh the sorrowful parting that he took when he left me in longing! Oh the sorrowful pleading as he asked, his tears and weeping! He said to me: “Give up your grief!” Yet he himself withdrew in sorrow. l was dampened by his tears, so that it chilled me to the heart. Mein Stern (My Star) O thou my star! I behold you joyfully! When the sun sinks quietly in the ocean your golden eye so consolingly beckons in my night. O thou my star! From far beyond, if you are a messenger with love’s greetings, let your rays hungrily kiss me in the uneasy night! O thou my star! Linger willingly, and smilingly carry on the plumage of light the dreams of angels to my beloved below, in his night. Lorel ey (Loreley) I know not what it means that I feel so sad; a tale from old times will not leave my mind. The air is cool; it is getting dark and peacefully ﬂows the Rhine. The summit of the mountain sparkles in the evening sunshine. The most beautiful maiden sits up there, wonderfully. Her golden jewels ﬂash, she combs her golden hair. She combs it with a golden comb and sings a song all the while; it has a wondrous powerful melody. It possesses with violent woe the sailor in a little ship. He is seized with wild pain, he sees not the rocky reef, he only looks up in the end. I believe the waves swallow and end sailor and ship and that, with her singing, The Loreley has done. Der Hirt a uf dem Felsen (The Shepherd on the Rock ) When upon the highest rock I stand, and gaze into the deep valley below, and sing, and sing, farm from out the deep, dark valley resounds the echo from the caverns. The farther my voice resounds, the brighter it echoes from below. My darling lives s o far from me, I long for her so intensely, so far oﬀ. In deepest grief I am consumed, Joy has ﬂown, no hope for me, I am so alone here. So longingly my song rang through the woods, throughout the night, it draws the heart heavenward with wondrous power. The springtime will come, the spring my joy, now I make ready for wandering once more! � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 39:09 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152855">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152855</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thursday mid-day concert, October 29, 2009 Recital Tape 2009-10-29 Description An account of the resource Held at 1:20 p.m., October 29, 2009, Casadesus Recital Hall. Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-10-29 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound