125 10 1775 https://omeka.binghamton.edu/omeka/files/original/8eb404f5a0b8e03960bc8af69ae3da28.pdf 7a6849fc65618df325b0a36cf7020f16 PDF Text Text STATE  UNIVERSITY OF  NEW  YORK AT BINGHAMTON HARPUR  COLLEGE THE  DEPARTMENT OF  MUSIC Mozart’s THE  MARRIAGE  OF  FIGARO by Students of the Opera Workshop Thursday, May 14, 1970 Friday, May 15, 1970 8 :15 p. m. Recital Hall �PROGRAM CAST Act. 1  Scene 1. (An upstairs bedroom) Duettino  Duettino  Cavatina  Figaro and Susanna Figaro and Susanna Figaro Aria  Duettino  Aria  Terzetto  Bartolo Marcellina and Susanna Cherubino Count, Basilio and Susanna Aria  Figaro Act 1.  Scene 2. (Boudoir of the Countess) 9. 10. 11. 12. Cavatina  Arietta  Terzetto  Duettino  Countess Cherubino Count, Countess and Susanna Susanna and Cherubino Tinie — Now Place  –  A manor hous e in Spain COUNT ALMAVIVA  Baritone  COUNT ESS ALMAVIVA  Soprano  Beverly Pe nn Toby  Jean Manker SUSANNA,  her chambermaid  Soprano  Alida Stahl Grace  Martin FIGARO, valet to the Count Bass–baritone  CHERUBINO, the Count’s page Mezzo–soprano  Ter rence Howell James Osborne Nancy Carlson BASILIO, music master  Tenor Charles Seltzer DON CURZIO,  a  judge  Tenor Charles Seltzer BARTOLO, a doctor from Seville  Bass Thomas Strain BARBARINA, his daughter  Soprano  Stage Director  Donna Ribble (Conductor, Thursday performance) William Lewis Musical Preparation  Roberta Schlosser (Conductor, Friday performance) Intermission Coach and Accompanist  Barbara Garges Act II.  Scene 1. (Count ’s chambers) 13. Recitative and Aria  14. Sestetto  1 5. Recitative and Aria  16. Duettino  Count Mnrcellina, Figaro, Bartolo, Don  Curzio, Count and Susanna Countess Susanna and Countess PROGRAM  NOTES Mozart’s  “Marriage  of  Figaro”  should  be  executed  with  elaborate costumes,  scenery  and  orchestra  to completely do  i t  justice.  We have neither  the  time  nor  the  resources  at  the  moment for such a venture ; so we decided to experiment. Act II.  Scene 2. (The garden) 1 7. Cavatina  1 8. Recitative and Aria  1 9. Recitative  and  Aria  20. Finale  of  Act IV  Bar barina Figaro Susanna Cherubino, Countess, Count Susanna, Figaro, Barbarina, Marcellina, Bartolo, Don Curzio Our young artists f unctionbestinafa rnilia r environment ; so we decided to  perform  the  work  in the present, in contemporary dress allowing the player  to develop  his  or  her character naturally and easily relate to an acting  situation without slighting the vocally ma jestic Mozartan line. We  have  inserted  a  minimum of spoken dialogue to establish the con­ tinuity of an ext remely complicated plot and enable us to reach the ma jor arias,  duets  and  ensembles  with  alacrity.  Certain  details  of the story are  omitted  purposely so  that  we  all  will  have again the opportunity to hear and enjoy the musical heart of the “Marriage of  Figaro” in one­third its usual performance time. William L . Lewis, Director Opera Workshop �P rogram of  Le Marriage de Figaro — Beaumarchais Figaro,  steward  at  the  castle  of  Aguas  Frescas,  has borrowed ten thousand f rancs f rom Marceline, housekeeper of the same castle, and has given  her  a  note  promising  to  repay  the  money at a certain time or to marry  her  if  he  should  default.  Meanwhile,  very  much in love with Suzanna, Countess Almaviva’s young chambermaid, he prepares to marry her ; for  the Count, himself enamored of young Suzanna, has favored this marriage in the hope that a dowry he has promised to give her would en­ able him to obtain from her in secret her yielding to the droit du seigneur, a  right that he had renounced for the benefit of  his servants when he was married.  This little domestic intrigue is conducted on behalf of the Count by the  rather  unscrupulous Basile, music­master of the castle.  But the young  and  virtuous Suzanne believes herself obliged to apprise her mis­ tress and her betrothed of the Count’s gallant intentions, and the Countess, Suzanne,  and  Figaro  band  together  to foil  the  plans of the lord of the manor.  A small page, beloved by everyone at the castle but mischievous and  overheated,  like  all  precocious  lads  of  thirteen  or fourteen, slips saucily away from his master and by his liveliness and perpetual thought­ lessness  more  than once involuntarily places obstacles in the way of the Count’s  progress, at the same time getting himself into hot water, which leads to some very effective incidents inthe p iece  .  .  .  The Count, finally perceiving that he is being made the  victim, but unable to imagine how it is  being  done,  resolves  upon vengeance by favoring Marceline’s claims. Thus,  desperate  because he cannot make the young woman his mistress, he tries to marry the old one to Figaro, who is disgusted by all this.  But at  the  moment  when  Almaviva  believes  himself avenged, when, as first magistrate of  Andalusia, he condemns Figaro to marry Marceline that day or pay the ten thousand francs —which Figaro cannot possibly do ­–, it is revealed that Marceline is Figaro’s unknown mother.  This ruins all of the Count’s  plans  and he cannot flatter himself that he is either fortunate or avenged.  During this time, the Countess, who has not given up the hope of winning back her unfaithful spouse by catching him at fault, has arranged with Suzanne that the latter pretend to grant the Count a rendezvous at last in the garden, and that the wif e appear there in place of  the mistress.  But an  unforeseen  incident apprises Figaro of the rendezvous granted by his fiancée.  Furious because be believes himself deceived, he hides at the ap­ pointed  spot,  in  order  to  surprise  the  Count with Suzanne.  While he is still raging, he is himself pleasantly surprised to discover that the whole affair  is only a game between the Countess and her chambermaid for the purpose of fooling the Count ; he finally joins in the game good­humoredly ; Almaviva,  convicted  of  unfaithfulness by his wife, throws himself at her feet,  begs  her  forgiveness, which she laughingly grants him, and Figaro marries Suzanne.’ 7Eugene Lintihac,  Histoire générale du theatre en F rance , Pavis,  n.d., IV, 414–16 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 51:59:00 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63263 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63263">Mozart's Marriage of Figaro by Students of the Opera Workshop</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 Mozart's Marriage of Figaro by Students of the Opera Workshop, May 15, 1970 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Held at 8:15 pm, May 15, 1970, Recital Hall. Creator An entity primarily responsible for making the resource Students of the Opera Workshop 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 1970-5-15 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Mozart, Wolfgang Amadeus, 1756-1791 Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091019606965 39091019607070 39091019607013 https://omeka.binghamton.edu/omeka/files/original/a931da8662bc8216b5b371a17888af5c.pdf 12fe92efc018ea856f68992c8d606728 PDF Text Text BINGHAMTON U N I V E R S I T Y STATE  U N I V E R S I T Y  OF  N E W   Y O R K d e [4 c D E P A R T M E N T M U  P H I  E P S I L O N FALL SEMESTER RECITAL ~ . l   1 M L ‘. 3 1 ]   .:_I  i ‘ (m  J Sunday, N ovember 9, 2014 2:00 p.m. Casadesus Recital Hall �80  PROGRA M  c s Variations on a Theme by Rossini .  F  FTG IAEEL from the opera, La Cene’rentola for flute and piano  A Theme I.  Con anima II.  Piu lento III.  Vivo IV.  Con brio Jessica Biagiotti, flute Natasha Talukdar, piano An die Musik  Franz S N A  (179 A  ’ ' Deanna Feuerbach, soprano  i Danielle Stoner, piano Sonata for Bassoon and Piano, Op, 168................Camille Saint­S . Laura Earls, bassoon Karen Fu, piano (1835­192 Revolutiona ry Etude, Op. 10, No. 12 .. ..............Frédéric0 (1810­18 k Natasha Talukdar, piano Quatour pour saxophones........................Faustin & Maurice Jean I.  Gaiete Villageoise  (1897­1 9 II.  Doux Paysage III.  Papillons Nicholas Follett, soprano saxophone Stephi Verha ge, alto saxophone Danielle Stoner, tenor saxophone Andrew Pfieffer, baritone saxophone �i  fraternity s6rtcd on in 2Collcge of Music”  . Sterling  and  Elizabeth  eh V’fi’lmnity is  to  recognize ff? develop a bond among is nce  musi c in  the community, t h e  promotion of musicianship, tion, with an emphasis on service rt ;   ­ , ' ‘ ­ you all for coming  to  our  event  today. all free event, we would ask tha t if you like our  ­. . ease donate to our fra ternity. Your donations ‘more prolific throughou t the community. etion go to facebook.com/muphibing �Binghamton Universi ty M usi c De part m en t’s Comin g Ev  en ts n a W ­ é M M é ­ M w b Sunday, November 9  ­  Composers Concert : Hugunine and Silrora ­  4:00 p.m.  ­  Phelps Mansion  Museum ­ $10  general  public;  free  for BU  students with  lD.  For reservations call  the Phelps Mansion at (60 7) 7 2 2 4 8 7 3 . l  4  Thursday, November 1 3 ­Mid­Da y Co n ce r t  1 : 20 p.m. – Casadems Recital Hall ­ free Saturday, November 1 5 – U niversity Chorus: Haydn’s Mass i n  Time  o f  War ­  7:30 p.m. ~ Osterhout Concert Theater ­ $7 general public; $5 faculty/staff/senims/alumni; free for students Sunday, November 16  ­  Senior Reci t a l: Alexio Chang, vio lin ­  3 :00 p.m.  ­  Casadesus Recital Hall – free Monday, November 1 7  – Momenta Quarte t Master Class ­ 8:15 ­  10:00 p.m. ­ Casadem Recital Hall Tuesday, November 18 ­ Momenta Qua­ten­ Music Now! ­­ 7:30 p.m. ­ Camdesus Recital Hall ­ $10 general pubic; $5 faculty/staff/seniors/alumni; free for students Thursday, November 20 ­ Jazz Mid Day Concert with jefiStockbam, mumpet and Mike Dubaniewicz, saxophone ~ 1:20 p.m. ­ Osterhout Concert Theater ­ free Thursday, November 2 0  – Harpur Jazz Ensemble Concert wi tb gueet artist ­  7:30 p.m. – Osterhout Concert Theater ­ $ 7 general public; $5 faculty/staff/seniors; free for students Sunday, November 2 3  ­  Universi ty Wind Symphony: I n M   emory and I n  Tribute ­ An Homage  in  Music  –  3:00  p.m.  –  Anderson  Center  Chamber  Hall  ­  $ 7  general  public;  $5 faculry/staff/seniors/alumni; free for students Tuesday, December 2  ­  Per cussion Ensemble Concert ­  7:30  p.m.  ­  Osterhout Concert Theater ­ $ 7 general public;  $5 faculty/staff/seniors/alumni; free for students fl é w w b fl é M d b ­ a é l b ­ G M M M M M Q ­ —  O f y p,   For  tickets or  to be  added  to our  email  list, uuit anderwnibinghamtonedu or call  (607) 7 7 7­ARTS  For a complete  list  of our  concern  call  (607) 7 7 7­ 2 592, visit music.binghamton.edu or  become a fan on  Facebook. If  you were  inspired  by  this performance, consider supporting the Department of Music with a financxal  gift . Your  support  helps  to  continue  the work of students, faculty, and guest artists and their contributions to our community. Please  make  your  donation  payable  to  the  Bmghamton  University  Music Department,  and  send  your  check  to  BU  Music  Department,  P.O.  Box 6000, Bmghamton, NY 13 902 . � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 21:51 Streaming Audio Streaming URL 3<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75083">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75083</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 Mu Phi Epsilon fall semester recital, November 8, 2014 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Chopin, Schubert, Saint-Saëns Chopin, Jean. Held at 2:00 p.m., November 9, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Mu Phi Epsilon Biagiotti, Jessica Talukdar, Natasha Feuerbach, Deanna Stoner, Danielle Earls, Laura Fu, Karen Follett, Nicholas Verhage, Stephi Pfieffer, Andrew Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Chopin, Frédéric, 1810-1849 Schubert, Franz, 1797-1828 Saint-Saëns, Camille, 1835-1921 Jean, Maurice Date A point or period of time associated with an event in the lifecycle of the resource 11/9/14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/cbca8caf06730dc0a5451c5980bd2b51.pdf 5c2eec6a63e94d3a7ce8f99e87d6403e PDF Text Text BINGHAM TON U N I V E R S I T Y State University of  N ew York 1 M11»  \1’ A c [4 Zldee N O W   vf 2 L <l  Jf u   ee.}  3 )   (e’ { R —  \\ a y t i . V i e   ( D E P A R T M E N T MUSIC  AND D ANCE Timothy LeFebvre, baritone Chai­Kyou Mallinson, piano and Galutaph a Andy Ho rowitz Marlon T orres with ! guests: Gabriela Ranallo Emily Hoo per Erin Stanley Saturday, April 1 ­ 8:00 p.m. Sunday, April 2 ­ 3:00 p.m. Anderson Center Chamber Hall �PROGRAM Dichterliebe, Op. 48..........oo i i Im wunderschonen Monat Mai Aus meinen Tranen sprieflen Die Rose, die Lilie, dei Taube Wenn ich in deine Augen seh Ich will meine Seele tauchen Im Rhein, im heiligen Strome Ich grolle nicht Und wiiBten’s die Blumen, die kleinen Das ist ein F loten und Geigen Hor ich das Liedchen klingen Ein Jiingling liebt ein Madchen Am leuchtenden Sommermorgen Ich hab im Traum geweinet Allndchtlich im Traume Aus alten Marchen Die alten, bosen Lieder i SChumann (1810­1856) Poems by Heinrich Heine ~Intermission~ From Old Am erican Songs  The Boatmen ’s Dance Long Time Ago Simple Gifts I Bought Me A Cat The Little Horses Zion’s Walls At The River Ching­A­Ring Chaw Aaron Copland (1900­1990) �Program  Notes Dichterliebe 4 After  the  eighteen­year­old  Robert  Schumann  had  visited  Heinrich  Heine  in  Munich  he remarked : “On his lips there played a bitterly ironic smile, but it was a lo fty smile aimed at the trivialities of life and a scorn for petty men.”  The Heine that Schumann m et was the poet who had called himself the last  Romantic and the first modern, and  the composer was sensitive to Heine’s poetic method: the skillful use of the old Romantic iconography, subtly interlaced with and ultimately undercut by a self­ironic awareness.  Schumann, who owned the 1 827 first edition of Heine’s Lyrisches Intermezzo and had set the twenty poems within a nine­day span in June, 1840, was keenly aware of the book’s ironic premise contained in the prologue.  In these opening verses Heine recounts the story of a knight­poet who is abruptly confronted by a vision of his destiny.  In Heine’s sharp­tongued, often griml y bitter se ries of sixty­six poe ms the protagonist is the object of his own scathing wit as he realizes the bitter fate that refuses him the fulfillment of his love and passion. In selecting and ordering the twenty songs Schumann  intended  to designate as Opus 29, the composer created a cycle which, inspired by his youthful impressions of the poet’s own visage, cloaked  complex  feelings  with seeming naiveté  of expression.  As  it  stands  in  its  original manuscript version, the 20 Lieder are less a cycle about a poet’s unrequited love than they are a scathing exploration of the poet’s fateful inability to love. Old American Songs The first set of Old American Songs was completed in 1950, and William Wa rfield gave the first performance  in  New  York  on  January 28,  195 l.  The  second  set, comprised  of  five  more adaptations of Old American Songs, was finished in 1952, and was present ed for the  first time at the Castle Hill Concerts.  Both sets were arranged for medium voice and small orchestra b y the composer in 1954­55. The Boatmen ’s Dance – published in Boston in 1843 as an “original banjo melody” by Old Dan. D. Emmett, who later composed Dixie; from the Harris Collection of American Poetry and Pla ys in Brown University. Long Time Ago – issued in 1837 by George Pope Morris, who adapted the words, and Charles Edward Horn, who arranged the music from an anonymous, original “black­face” tune ; also from the Harris Collection. Simple Gifts – a favorite song of the Shaker sect, from the period 1837­184 7.  The melody and words were quoted by Edward D. Andrews in his book of Shaker rituals, songs and dances, entitled The Gift To Be Simple. I Bought Me A Cat – a children’s nonsense song.  This version was sung to the composer by the American playwright Lynn Riggs, who learned it during his boyhood in Oklahoma. The Little Horses ~ a children’s lullaby song originating in the Southern States – date unknown. This adaptation founded in part on John A. and Alan Lomax’s version in Folk Song U.S.A. Zion ’s Walls – a revivalist song.  Original  melody and words credited to John  G. McCurry, compiler of the Social Harp; published by George P. Jackson in Down East Spirituals. At the River – h ymn tune.  Words and melody are by Rev. Robert Lowry, 1 865.   The words have been adapted from the original, in the Ching­a­ring Chaw ~ minstrel song. h   e A    D a i n l  h  D w a r TT  T n a v a r c i t y r S M �TRANSLATIONS Dichterliebe I. Im wunderschonen Monat Mai, Als alle Knospen sprangen, Da ist in meinem Herzen Die Liebe aufgegangen. Poet’s Love In the lovely month of May, When all the buds were blooming, Then in my heart Did love well up. Da hab ich ihr gestanden Mein Sehnen und Verlangen. In the lovely month of May, When all the birds were singing, Then did I to her confess My longing and desire. II. Aus meincn Tranen sprieflen Viel blfihcndc Blumen hervor, Und meine Seufzer werden Ein Nachtigallenchor. From my tears spring forth Many a flower in bloom, And my sighs become A choir of nightingales. Und wenn du mich lieb hast, Kindchen, Schenk ich dir die Blumen all’, Und vor deinem Fenster soll klingen Das Lied der Nachtigall. And if you love me, little one, I will give you all the flowers, And at your window shall sound The song of the nightingale III. Die Rose, die Lilie, die Taube, die Sonne, Die liebt ich einst alle in Liebeswonne. Ich lieb sie nicht mehr. Ich liebe alleine Die Kleine, die F cine, die Reine, die Eine; Sie selber, aller Liebe [Bronne,] Ist Rose und Lilie und Taube und Sonnc. [Ich liebe alleine Die Kleine, die Feine, die Reine, die Eine.] The rose, the lily, the dove, and the sun; I once loved them all with wondrous bliss. I love them no longer. I love only My tiny, fine, pure, rare darling; She herself is [the fountain] of all love, She is rose and lily and dove and sun. [I love only My tiny, fine, pure, rare darling] IV. Wenn ich in deine Augen seh ’, So schwindet all mein Leid und Weh; Doch wenn ich kfisse deinen Mund, So werd ich ganz und gar gesund. When I look into your eyes, All my pain and sorrow vanish; But when I kiss your lips, Then I become whole and healthy. Wenn ich mich lehn an deine Brust, Kommt’s tiber mich wie Himmclslust; Doch wenn du sprichst, “Ich liebe dich!” So muss ich weinen bitterlich. When I lay myself on your breast, Heavenly bliss envelops me; But when you say “I love you!” Then I can only weep bitterly. Im wunderschénen Monat Mai, Als alle Vogel sangen, �V. Ich will meine Seele tauchen In den Kelch der Lilie hinein; Die Lilie soll klingend hauchen Ein Lied von der Liebsten mein. I want to plunge my soul Into the cup of the lily; The lily would breathe melodiously A song of my beloved. Das Lied soll schauern und beben Wie der KuB von ihrem Mund Den sie mir einst gegeben In wunderbar stiller Stund.’ The song would shiver and tremble Like the kiss from her lips Which she once gave me In a wonderfully sweet hour. VI. Im Rhein, im heiligen Strome, Da spiegelt sich in den Well’n, Mit seinem groflen Dome Das groBe, heilige Koln. In the Rhine, in that holy river Is mirrored in the waves, With its towering cathedral The holy city of Cologne. Im Dom da steht ein Bildnis, Auf goldenem Leder gemalt; In meines Lebens Wildnis Hat’s freundlich hineingestrahlt. In the cathedral there is a picture, Painted on golden leather; Into the wilderness of my life Ii shone with friendly radiance. Es schweben Blumen und Eng’lein Um unsre liebe F rau; Die Augen, die Lippen, die Wianglein, Die gleichen der Liebsten genau. Flowers and little angels float Around our blessed Lady; Her eyes, her lips, her cheeks, Are just like those of my beloved. VII. Ich grolle nicht, und wenn das Herz auch bricht, Ewig verlomes Lieb! Ich grolle nicht. Wie du auch strahlst in Diamantenpracht, Es fallt kein Strahl in deines Herzens Nacht. I will not complain, even if my heart does break, Forever lost, o love! I will not complain. However you may shine in bediamonded splendour, No ray illuminates the night in your heart. DaB weiB ich langst. Ich sah dich ja im Traume, Und sah die Nacht in deines Herzens Raume, Und sah die Schlang, die dir am Herzen frifit, Ich sah, mein Lieb, wie sehr du elend bist. [Ich grolle nicht, ich grolle nicht.] Long have I known this. Yes, I saw you in a dream, And saw the night in the abyss of your heart, And saw the serpent that gnaws at yo ur breast, I saw, my love, how miserable you are. [I will not complain, I will not complain!] �VIII. Und wiissten’s die Blumen, die Kleinen, Wie tief verwundet mein Herz, Sie wfirden mit mir weinen, Zu heilen meinen Schmerz. If only the little flowers knew, How deeply wounded my heart is, They would cry with me, T o heal my sorrow. Und wiissten’s die Nachtigallen, Wie ich so traurig und krank, Sie liessen frohlich erschallen Erquickendcn Gesang. And if the nightingales knew, How sad and sick I am, They would gladly release a torrent Of restorative sound. Und wiissten sie mein Wehe, Die goldenen Sternelein, Sie kamen aus ihrer Hohe, Und sprachen Trost mir ein. And if they knew my pain, The little golden stars, Would come down from heaven, Sie alle konnen’s nicht wissen, Nur eine kennt meinen Schmerz: Sie hat ja selbst zerrissen, Zerrissen mir das Herz. But all of them cannot know, One alone understands my suffering, It is she who has rent, Rent my heart. IX. Das ist ein F loten und Geigen, Trompeten schmettern darein; Da tanzt den Hochzeitreigen Die Herzallerliebste mein. There is the sound of flutes and fiddles, Trumpets blaring shrilly, There dancing the wedding dance, Is my own dearly beloved. Das ist ein Klingen und Drohnen, Ein Pauken und ein Schalmein; Dazwischen schluchzen und stohnen Die lieblichen Engelein. There is a ringing and roaring, The sound of a drum and the sound of shame; Between the sobs and moans Of the lovely little angels. X. Hor ich das Liedchen klingen, Das einst die Liebste sang, So will mir die Brust zerspringen Von wildem Schmerzendrang. When I hear the little song, That once my dearest sang, Then my breast wants to burst From a wild surge of pain. Es treibt mich ein dunkles Sehnen Hinauf zur Waldcshoh, Dort lost sich auf in Tranen Mein iibergrosses Weh’. T o  give m e  c omfort. A dark longing drives me Out onto the forest pea ks, There I find relief in tears for My overwhelming grief �XI. Ein Jiingling liebt ein Madchen, Die hat einen andern ewahlt; Der andere liebt eine andre; Und hat sich mit dieser vermahlt. A youth loves a maiden. And she has chosen another; He, in turn, loves another And marries her. Das Madchen nimmt aus Arger Den ersten, besten Mann, Der ihr in den Weg gelau fen; Der Jiingling ist fibel dran. The maiden in her anger Marries the next best man Who comes her way; The youth takes it badly. Es ist eine alte Geschichte, Doch bleibt sie immer neu; Und wem sie just passieret, Dem bricht das Herz entzwei. It is an old story, Yet it remains ever new; And to whomever it happens, His heart is rent in two. XII. Am leuchtendcn Sommermorgen Geh’ ich im Garten herum. Es fliistern und sprechen die Blumen Ich aber wandle stumm. On a bright summer morning I walk about in the garden. T he flowers whisper and speak, But I wander silently. Es fliistern und sprechen die Blumen, Und schaun mitleidig mich an; “Sei unsrer Schwester nicht bose, Du trauriger, blasser Mann!” T he flowers whisper and speak, And look at me with pity; “Do not be angry with our sister, You sad, pale man.” XIII. Ich hab’ im Traum geweinet, Mir traumte du lagest im Grab. Ich wachte auf, und die Trane FloB noch von der Wange herab. I wept in my dream, I dreamed you lay in your grave. I woke, and the tears Still flowed from my cheeks. Ich hab’ im Traum geweinet, Mir traumt’, du verlicBest mich. Ich wachte auf, und ich weinte Noch lange bitterlich. I wept in my dream, I dreamed you left me. I woke and I continued to cry Bitterly for a long time. Ich hab’ im Traum geweinet, I wept in my dream, I dreamed you were still mine. I woke and my tears still Flowed unceasingly. Mir traumte, du warst mi r noch gut. Ich wachte auf, und noch immer Stromt meine Tranenflut. ! �XIV. Allnachtlich im Traume she ’ ich dich Und sehe dich freundlich grfissen, Und laut aufweinend stiirz’ ich mich Zu deinen siissen Fussen. Every night in my dreams I see you, And see you giving me a friendly greeting And sobbing aloud, I throw myself At your feet. Du siehest mich an wehmfitiglich, Und schiittelst das blonde Kopfchen; Aus deinen Augen schleichen sich Die Perlentranentropfchen. You look at me with pity, And shake your little blonde head; From your eye silently Steal pearly little teardrops. Du sagst mir heimlich ein leises Wort, Und gibst mir den Strauss von Cypressen. Ich wache auf, und der Strauss ist fort. Und’s Wort hab’ ich vergessen. XV. Aus alten Marchen winkt es Hervor mit weiBer Hand, Da singt es, und da klingt es Von einem Zauberland. You secretly whisper a gentle word, And give me a cypress bouquet. I wake and the cypress is gone. And I have forgotten what you said. From the old fairytales Beckons a white hand, There is singing and the sounds Of a magic land. Wo bunte Blumen bluhen, In goldnen Abendlicht, Und lieblich duftend glithen Mit brautlichem Gesicht; Where colorful flowers grow, In golden evening light, And in the lovely fragrance glow With the radiant face of a bride; [Und grilne Baume singen Uralte Melodein, Die Lufte heimlich klingen, Und Voglein schm ettern drein; [And green trees sing Their ageold melodies, The breezes whisper secretively, And the birds warble there; Und Nebelbilder steigen Wohl aus der Erd’ hervor, Und tanzen luft’gen Reigen Im wunderlichen Chor; And misty shapes rise up Right out of the earth, And dance airy dances In a marvelous strange chorus; Und blaue Funken brennen An jedem Blatt und Reis, Und rote Lichter rennen Im irren, wirren Kreis; And blue sparks burn On every leaf and twig, And red lights swirl In a crazy, confused circle; Und laute Quellen brechen Aus wildem Marmorstein, Und seltsam in den Bachen Strahlt fort der Widerschein.] And noisy springs gush From the wild marble rocks, And in the brook ’s strange Reflections flicker back and forth. ] �Ach, konnt ich dorthin kommen, Und do rt mein Herz erfreu’n, Und al ler Qual entnommen, Und frei und selig sein! Ah, if I could go there, And let my heart rejoice, And there be relieved of all pain, And be free and happy! Ach! jenes Land der Wonne Das seh’ ich o ft im Traum ; Doch kommt die Morgensonne, ZerflieBt’s wie eitel Schaum. Ah, that land of bliss, I have often seen in dreams; But with the m orning ’s sunrise, It vanishes like mist. XVI. Die alten, bosen Lieder, Die Traume bos und arg, Die laBt uns jetzt begraben; Holt einen groflen Sa rg. The wicked old songs, The nasty grim dreams, Let us now bury them; Come, fetch a large coffin. Hinein leg ich gar manches, Doch sag ich noch nicht was; Der Sarg muB} sein noch grofler, Wie’s Heidelberger FaB. Therein shall I lay many a thing, But I will not yet say what; The coffin must be even larger, Than Heidelberg ’s huge vat. Und holt eine Totenbahre Und Bretter fest und dick; Auch muf sie sein noch langer, Als wie zu Mainz die Brfick’. Bring me a bier And firm, thick planks; It must be even longer, Than the bridge over the Mainz. Und holt mir auch zwolf Riesen, Die miissen noch starker sein Als wie der starke Christoph Im Dom zu Koln am Rhein. Then fetch me twelve giants, They must be stronger Than the strong St. Christopher In the cathedral of Cologne on the Rhine. Die sollen den Sarg forttragen Und senken ins Meer hinab, Denn solchem groBen Sarge Gebiihrt ein grofles Grab. They must carry away the coffin And sink it deep in the sea; Because such a large casket Needs a deep grave. WiBt ihr, warum der Sarg wohl So groB und schwer mag sein? Ich senkt auch meine Liebe Und meinen Schmerz hinein. Do you know why the coffin Must be so big and heavy? Because I am also burying in it My love and pain. Translated by Thomas Hampson & Carla Maria Verdino­Siillwold 199 4 �ABOUT THE  PERF ORM ERS mer. Baritone TIMO THY L EFEBV RE is in demand as both a concert singer and operatic perfor arpless His recent performances include Beethoven ’s 9” Symphony with Syracuse Symphony, Sh ah d Messi rsity an in Madama Butterfly with Syracuse Opera, a solo recital at Binghamton Unive hony, with Pensacola Symphony.  LeFebvre has  appeared in concert with the  Vermont Symp gh Pittsbur ra,  Orchest ny  Minnesota  Symphony,  Syracuse  Symphony,  American  Sympho hire Symphony, Spokane Symphony, Binghamton P hilharmonic, Rochester Bach Festival, Berks les kaneate , the S Society Choral  Festival, Williamsport Symphony, Syracuse Chamber  Music  ert at Festival and with the prestigious Marlboro Music Festival.  He has also appeared in conc cludes New York’s Carnegie Hall and Alice  Tully Hall.  LeFebvre’s  operatic experience in ooga leading  roles  with  San  Francisco  Opera,  Tri­Cities  Opera,  Sarasota  Opera,  Chattan urgh. Symphony and Opera, Syracuse Opera, Indianapolis Opera, and Opera Theater o f Pittsb ards Mr. LeF ebvre is a winner of the New York Liederkranz Vocal Competition, and other aw y and include the Richard F. Gold Career Grant, an Opera Fellowship at Binghamton Universit e  of graduat Regional  Finalist  in  several  Metropolitan  Opera  Competitions.  LeFebvre  is  a  at Carnegie  Mellon  University and  Binghamton  University  and  is  currently  on  the  faculty  New the  with  Binghamton  University.  His  2005­2006  engagements  include  appearances  Requiem, Dominion  Chorale  in  Brahms ’  Requiem,  West  Virginia  Symphony  in  Mozart ’s  llad ra in Ba ity Ope Jacksonville Symphony in Bernstein’s Arias and Barcarolles and Central C of Baby Doe. Music  at CHAI­ KYOU   MALL INSON ,  currentl y  on  the  faculty  of  the  Departm ent  of  nement ’Enseig nce d rd, Lice Binghamton University, received a B.M. degree in P iano from Jullia ton from  Ecole  Normale  de  Musique  de  Paris,  France  and  a  M.A.  degree  from  Bingham lton il and A es Gent ase, Jul University. Her teachers include Jean Casadesus, Jean­Michel Dam an Jones. She also perform ed in Master Classes by Robert Casadesus. A prize winner in the Kore wood National Music Competition, she was awarded the French Government Scholarship, Tangle Full Summer  School  Full  Scholarship  and  the  Fontainebleau  American  Conservatory  list, Scholarship. She gave a debut Recital in Carnegie Recital Hall and has been active as a recita tor of vocal coach, accompanist, and chamber music performer, as well as an  active adjudica achers iano Te ild of P nal Gu e Natio piano auditions and competitions.  She is a member of th Association and  the Music Teachers National Association. aul She has premiered compositions of contemporary composers including Ezra Laderman, P hree Goldstaub, Meyer Kupferman and William Klenz. Among many concerts she performed, t with were sponsored by the New York State Council on the Arts. She appeared in a performance  d respecte ost  rea’s m  of Ko the Seoul  Philharmonic  Orchestra, which  Eumag  Choonchu, one music magazines, described as “of rare quality, moving and lyrical.” n ANDY H O R O W I T Z  attended Oberlin College, Shifan University in Taiwan, earned a BA i ed in Theatre from Binghamton University, and an MBA from Syracuse University. Andy act Wild Kung Fu movies, traveled extensively through remote reaches of China, and worked as a   for West stunt rider. Andy speaks Chinese and is sometimes asked to act as a court interpreter eir two Chinese speaking defendants in Binghamton, where he lives with his wife Carol and th s children,  Elias and  Talia. Andy makes  the  company’s  costumes and  props.  Andy is alway ure, building something, whether it be electric guitars, congas,  leather  bound  journals, furnit  is on the additions on his house or strange and fun props to play with onstage.  Andy Horowitz faculty as Artist in Residence at Binghamton University Department o f Theater. �MARLON T ORRES is imported  from  Caracas, Venezuela.  Marlon  became a child star  in Venezuela, dancing for several seasons on the popular  TV show, Sabado Sensacional. In the United States he studied Musical Theatre at Tampa University and graduated with a degree in Theatre  from  Binghamton University.  Before  joining Galum pha  Marlon performed with  The Second Hand, and with the Lincoln Amphitheatre of Indiana.  He thanks his wonderful family, friends, teachers and mentors for their support and encouragement. In the future, he would like to return to Venezuela and foun d an Institute for the Performing Arts in Ca racas. ERIN STAN LEY is in her junior year of a Binghamton University Economics major.  She has performed with Ballet Arts Theatre, the Endicott Performing Arts Center, and Tri­Cities Opera. Erin studies the martial art Tang Soo Do, and has won many competitive awards including First Place in Women’s Sparring at the International World Championships in Cardiff, Wales.  Erin is a teaching assistant for Professor Fred Weiss’ Jazz Dance Class at Binghamton University . GABRIELA RANALLO is a senior math major at Binghamton University.  A lifelong dancer, she is Vice P resident of the Kickline Dance Team and Teaching Assistant for Pro fessor Fred Weiss’ Jazz Dance class.  Gabby has extensive performance experience including a collaboration with Galumpha in 2004 and a dance role  in Tri­Cities Opera’s recent  production of Lucia di Lammermoor. EMILY HOO PER is a philosophy major at Ithaca College and will graduate in the spring of 2006.  She  was  trained  in  classical  ballet  by  Tina  Christina­Price,  attended  the  Central Pennsylvania Youth Ballet’s summer program, and danced with Ballet San Jose Silicon Valley in California. This is Emily’s third artistic collaboration with Galumpha. E32 ­ � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 53:22 51:24 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE203972">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE203972</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCoverContinuous Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Music and dance, April 2, 2006 Recital Tape 2006-4-1/2006-4-2 Description An account of the resource Works of Schumann, Copland. Held at 8:00 p.m., April 1, 2006 and 1:00 p.m., April 2, 2006, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource LeFebvre, Timothy Mallinson, Chai-Kyou Horowitz, Andy Torres, Marlon Ranallo, Gabriella Hooper, Emily Stanley, Erin Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2006-04 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 83923007-1d7c-439c-aac0-93ab2f3731c6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 37:17 31:41 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59325 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59325"> Music by Francois Couperin</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 Music by Francois Couperin Description An account of the resource Held at 8:15 pm, November 10, 1968, Music Recital Hall. Creator An entity primarily responsible for making the resource Hsu, John Lindsay, Christine 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 1968-11-10 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource State University of New York at Binghamton. Department of Music. Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020094615 39091020094664 https://omeka.binghamton.edu/omeka/files/original/07acaa3f5025a34f9082e7fa7aa236bb.pdf 042ee50bcd71f67725a7b41db9202703 PDF Text Text BING HAM TON l :-.; I V E R S I 1 Y State University of New York D E P A R T M E N T MU SIC FO R CE LL O, PL US : Ste phe n Sta lke r and Fri end s Step hen Stalk er, cello Michael Salm irs, pian o Patri cia Sunwoo, violin Mar gare t Reitz, pian o Edw ard Cast ilano , doub le bass The Cellistos Sunday, February 26, 2006 3:00 p.m. Casadesus Reci tal Hall �PROGRAM Duetto (1824) for cello and double bass ............ Gioacchino Rossini ( 1792-1868) Allegro Andante mo/to Allegro Sonata in C (1960) for cello and piano, Op. 65 ..... Benjamin Britten (1913-1976) Dialogo Scherzo Elegia Marcia Moto Perpetuo ~INTERMISSION~ Baschianas Brasileiras No. 1......................... ...... Heitor Villa-Lobas (1887-1959) for orchestra ofvioloncelli Preludio (Modinha) Trio in g minor for piano, ... ................... ............... .. Ernest Chausson (1855-1899) violin and cello, Op. 3 Pas trop lent, Animé Vite Assez lent Animé �PROGRAM NOTES By the early 1820's, Rossini had established himself as the premier Italian opera composer of his time, particularly with his comic operas: L 'Italiand in Algeri, II Barbiere di Siviglia, La Cenerentola and La gazza ladra. In 1824, he traveled with his wife, prima donna Isabella Colbran, to London and dined with Sir David Salomons, a leading public figure and an amateur cellist. It was here that he received a commission from Salomons to compose a duet, to be performed by Salomons and the great double bassist, Domenico Dragonetti. This hidden treasure remained unpublished and in the possession of the Salomons family until 1968. Benjamin Britten's Sonata in C for cello and piano was the beginning of a fruitful collaboration between Britten and the Russian cellist Mstislav Rostropovich., which resulted in the sonata, three suites for solo cello and the cello symphony. They also concertized and recorded together on several occasions, with Britten at the piano. This piece is a hidden treasure because of the significant technical difficulties it presents to the performers. Wish us luck! Here is Rostropovich's own description of the Sonata: "The first part is a dialogue. It is a sweet, yet stirring, literally human conversation between two instruments -- the 'cello and piano. Whenever I play it I actually feel this conversation, a conversation not in words, but one that is finer and more intricate, a conversation of capricious changes of mood, a conversation embracing not words but a whole world of intermingled feelings attached to every note. The older I get the more I like pauses, especially those in Britten's music, which are as significant and expressive as the notes. How few notes there are in Britten's compositions, yet how much thought and feeling! The second movement -- the Scherzo-Pizzicato -- is another innovation. It took lots of time and energy for me to learn to play the pizzicato with my right hand with guitar finger technique. When playing this, the bow, naturally, has to be set aside. If I were asked what is most profound, most stirring and full of symbolic drama, I would say the Eulogy. Then that rousing, temperamental Marchi Is this not a brilliant contrast to the Eulogy, a contrast so necessary for the general sonata cycle, yet so unusual? And what about that fading end to the March? The sonata cycle is brilliantly crowned by the fifth movement -- the Moto Perpetuum, irrepressible and tempestuous. This is a sonata full of surprises, innovations for any 'cellist, gifts for the musician flowing freely from the horn of plenty. We meet not �merely a novelty in finger-work but, what is most important, a new kind of expressive and profound dramatic composition. In this work there are two extremes that complement and strengthen each other -humour and philosophy. " The series of nine Bachianas Brasileiras compositions by Villa-Lobos were his homage to Bach. A loose translation of the name could be Bachian Brasil Spirit. The movement titles reflect this mixture of styles. For example, in the Bachanias Brasileiras No. 1: 1. Introduction (Embolada), 2. Preludio (Modinha). 3. Fugue (Conversa). The parenthetical titles are the Brasilian musical forms that inspired that particular movement, while the non-parenthetical names are the forms that Bach typically used. Villa Lobos was a cellist, who early on and throughout his life, wrote music featuring the cello. The Bachianas Brasileiras No. 5 for soprano and eight cellos is, by far, the best known of this series. No.1, for an Orchestra of violoncelli, is the hidden treasure. It is often said that Ernest Chausson's music was influenced by Massenet, Wagner and Franck. At first blush, this seems an unusual assortment of composers. But in the context of the late ninetheen century musical life in Paris, not too surprising. Chausson began his composition studies at the age of 24 at the Paris Conservatoire. Soon after, he traveled to Germany on several occasions to hear the operas of Wagner. In the meantime, he was also attending Franck's classes as an unenrolled listener. The Opus 3 Trio is a remarkable early effort to combine these diverse th nd influences. We hear Massenet in the lyrical melodies of the 2 and 4 st movements, while the more complex and darker harmonies of the 1 and ied exemplif style, 3rd movements seem to reflect Wagner. The cyclical in Franck's music, is present via Chausson's use of the main themes of the 1st movement, in constructing the 3rd movement and in their reprise in the final section of the last movement. Why is this Trio such a hidden treasure? Your guess is as good as mine. Enjoy the program!!! Notes by Stephen Stalker �ABOUT THE PERFORMERS STEPHEN STALKER, cellist, teaches cello and double bass at Binghamton University. He formerly taught at Colgate University, Mansfield University, Ithaca College, and in the Binghamton City Schools. He has performed extensively with the Catskill Chamber Players of Oneonta, NY, the Finger Lakes Chamber Ensemble, and in concerts at Binghamton University. He plays with the Northeastern Pennsylvania Philharmonic and was the principal cellist of the Cayuga Chamber Orchestra in Ithaca, NY. Pianist MICHAEL SALMIRS, a founding member and artistic director of the Finger Lakes Chamber Ensemble, is well known as a recitalist and chamber musician performing extensively throughout the region. He has appeared as soloist with the Coming Philharmonic, Binghamton University Orchestra, Cayuga Chamber Orchestra, and has been a featured pianist on their Sunday chamber series. As a performer of contemporary music, he has participated in such series as Binghamton University's Musica Nova, Cornell University's Ensemble X, and has toured and recorded for the Syracuse Society for New Music. Salmirs studied at the New England Conservatory and Eastman School of Music; his teachers have included pianists Leonard Shure and Rebecca Penneys and composer Karel Husa. Salrnirs has taught at the Syracuse University School of Music and Hobart and William Smith Colleges. He is currently a faculty member at Binghamton University and an Affiliate Artist at Cornell University. He maintains a private piano studio in Ithaca and enjoys teaching students of all ages and levels. Canadian-born violinist PATRICIA SUNWOO made her New York orchestral debut in 1995, performing Alban Berg's Violin Concerto at Alice Tully Hall, and has since been active as a recitalist and chamber musician throughout the United States. She has won prizes from the Canadian Music Competitions, Montreal Symphony Orchestra Competition, and CIBC Festival of Music. As a member of the Whitman String Quartet, winner of the 1998 Walter W. Naumburg Award, she performed to critical acclaim across the United States, France and South America, recorded works of Artur Schnabel and Michael Whalen for labels CP2 and . Arabesque Recordings, and was aired by NPR and Japan' s NHK. Recent engagements include appearances at the Carnegie Hall's Weill Recital Hall, Corcoran Gallery in Washington, D.C., Bard College, Meadowmount School and L'Espace Pierre Cardin in Paris. �She has worked with composers John Corigliano, Joan Tower and, George Crumb, and given premieres with the Whitman Quartet, Metamorphosen Chamber Orchestra and new music ensembles. Sunwoo is also an active advocate of music education, and has been a teaching artist for the Midori Foundation, Da Camera Society of Los Angeles and Carnegie Hall. In 2001, she joined the faculty at Binghamton University. Her major teachers include John Loban in Vancouver, the Juilliard String Quartet, and Sally Thomas at the Juilliard School, where she received her doctorate. MARGARET REITZ, pianist, is a native of the Binghamton area. She received her Bachelor and Master of Music degrees in piano performance with accompanying emphasis, and attended Boston University, New England Conservatory and Binghamton University. She has studied piano with Jean Casadesus, Victor Rosenbaum, Seymour Fink and Walter Ponce and accompanying with Allen Rogers. She has accompanied throughout the United States, England, and South America, and at the American Institute of Musical Studies in Graz, Austria. Reitz and Binghamton University faculty member Timothy Perry were winners of the 1997 Artistic Ambassadors Program by the United States Information Agency in partnership with the John F. Kennedy Center for the Performing Arts. During the summer of 2005, Reitz, clarinetist Timothy Perry and cellist Stephen Stalker were invited to perform at the International Clarinet Conference in Tokyo, Japan. Other notable performances include guest chamber music artist in Morges, Switzerland and guest soloist with the Binghamton University Orchestra. She was the official accompanist at the MTNA State and Eastern Division Competition at Ithaca College in 2001 and will be returning in 2006. In addition, she was selected to attend the Accompanying Workshop for Singers and Pianists held at Northwestern University. During the summer of 2006, she will compose the musical score for an independent film by MANDiS Production, to be released in February 2007. Since 1991, she has been on the faculty at Binghamton University and at Ithaca College School of Music since 1999. Currently, she maintains a private piano studio in Vestal, New York, is on the Executive Board of the New York District MTNA organization, is past President of the local Southern Tier Music Teachers Association, and is an active adjudicator for the National Piano Guild Organization. �EDWARD CASTILANO holds the position of Principal Bass in the Syracuse Symphony Orchestra and has made numerous concerto appearances with the SSO. Graduating in 1976 from the Eastman School of Music, he participated for six seasons in Gian Carlo Menotti's Spoleto Festival in Italy and Charleston, SC, where he made several appearances with the Lincoln Center Chamber Players. He has also participated annually in the Skaneateles Chamber Music Festival since its inception in 1980. Mr. Castilano received a Masters degree from Syracuse University in 2003 where he is a faculty member. He has also performed with the orchestras of Philadelphia, Rochester, Spokane and Savannah. The Ce/listos Stephen Stalker David Mordoff HakanHromek Miriam Wu Emily Creo Julian Shepherd Lucy Loewenstein Kenneth Jenkins I Il �studen t Thurs day, March 2 - Mid Day Conce rt with faculty and free perfor mers - 1:20 p.m. - Casadesus Recital Hall o - 3:00 Saturd ay, March 4 - Maste r's Recital: Jessica Barkley, sopran free p.m. - Casadesus Recital Hall - 8:00 p.m. Saturd ay, March 4 - Maste r's Recital: Nili Riemer, sopran o - Casadesus Recital Hall - free - Anderson Sunda y, March 5 - University Wind Ensemble - 3:00 p.m. Center Chamber Hall - free studen t Thurs day, March 9 - Mid-Day Conce rt with faculty and free Hall Recital sus Casade p.m. :20 perfor mers - 1 s - 8:00 Thurs day, March 9 - Harpu r Chora le and Wome n's Choru p.m. - Anderson Center Chamber Hall - free studen t Tuesd ay, March 21 - Mid-Day Conce rt with faculty and free Hall Recital sus Casade perfor mers - 1:20 p.m. - 8:00 p.m. Tuesday, March 21 - Maste r's Recital: John Novak, organ - First Presby terian Churc h - free : Panel Thurs day, March 23 - Mid-Day Conce rt (Russian Voices Hall Recital sus Casade p.m. :20 1 s) Discussion and Perfor mance free 8:00 p.m. Friday , March 24 - Russian Voices: Protes t and Homa ge eniors; free /staff/s Casadesus Recital Hall - $9 general public; $7 faculty for students - I p.m. Saturd ay, March 25 - Senior Recital: Kelsey Bauer , flute Casadesus Recital Hall - free Casadesus Saturd ay, March 25 - Trump et Ensemble - 4:00 p.m. Recital Hall - free o - 8 p.m. Saturd ay, March 25 - Senior Recital: Michaela Lisi, sopran Casadesus Recital Hall - free - 7:30 p.m. Sunda y, March 26 - Maste r's Recital: Julia Ebner , sopran o - Casadesus Recital Hall - free � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 35:34 47:28 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE203950">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE203950</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Music for cello, plus: Stephen Stalker and friends, February 26, 2006 Recital Tape 2006-2-26b Description An account of the resource Works of Rossini, Britten, Villa-Lobas, Chausson. Held at 3:00 p.m., February 26, 2006, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Stalker, Stephen Salmirs, Michael Sunwoo, Patricia Reitz, Margaret Castilano, Edward Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2006-2-26 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID efaee3f8-380c-47fe-b511-021f693bbcd6 https://omeka.binghamton.edu/omeka/files/original/c4d7e88e8887d9348cc5e837c5e4f0df.pdf f10e4beb235004fb4556b627de8631a5 PDF Text Text MUSIC  FOR  VIOLIN  AND  HARPSICHORD Peter Marsh,  vi o l i n Christine  Lindsay,  harpsichord For  the  Benefit of  the  Binghamton  Youth  Symphony Tuesday  June  10,  1975 Casadesus  Recital  Hall 8 : 3 0   pm �Sonata  No.  5  i n  F minor, E E  1018  ............................  J.S.  R T , Adagio Allegro Adagio Vivace Sonata  0p.  9,  No.  IV  in  A major..........dJ.M.  Leclair Andante  spirituoso Sarabande Largo Allegro assai–  Presto INTERMISSION Sonata  0p.  5 ,   No.  VI  i n  C minor ........  J.M.  L eclair (Le Tombeau) Grave Allegro  ma  non  troppo Gavotta  grazioso:  andante Allegro Sonata  No.  6  i n  G major,  , B Y  1019  . . . . . . . . . . . . . . . . . . . . . . . . . . . . J . S .  Bach Allegro Largo Allegro Adagio Allegro �NOTES Johann  Sebastian  Bach  Sona tas  V  f  minor  and  V I  G  —_—  (BWV  1018–9) In  h is biography  of  Bach,  J.N.  Forkel  says  of  the  s ix sona tas  f or  v io l in and ob l iga to  harpsichord:  “They  were completed  i n  Cothen  and  can  thus  be counted  among the  earl ies t  of  Bach’ s mas terpieces . . .The v io l in par t  demands  a  mas ter ;  Bach  knew  , the  ins tr umen t’ s  po t en t ia l i t ies and  spared  i t   jus t  as  l i t t l e  a s he spared  h i s harpsichord .”  From  this we can date  the  sonatas  between  1718  and  1722,  In  la ter  . years,  however ,  Bach mod ified  their  or ig ina l  f orm,  making  al tera t ions  i n  the  fi f t h and,  more  par t icu larly,  the six th of  them, which passed  through  several  versions  ” wi t h al terna te movements un t i l  i n  Le ipz ig  i n  1731 when  the  fi n a l  version ,  to  be  " played  this  evening ,  emerged . As  to  mu s ic a l  s ta tur e,  these  Bach  sona tas  s tand  w i t h  any  set  wr i t t en by  any composer .  The  fi f t h  and  six th  i n  par t icu lar  are unusua lly  r ich  i n  contrapuntal beauty  and  abound  in  ex traord inary chroma tic  movement.  They  are m a r v e l s  3–par t wr i t ing  of  the  highes t  order .  The  f  minor  sona ta  i s  a  prof ound ly  ser ious  work  i n con tras t ing  movements ,  The  fi r s t  movement  i s  a  thr ee–par t  inven t ion o f  s o l e m n i t y and  depth .  The  2nd  (Allegro}has a  vigorous  polyphonic  thrust.  The  3rd  movement (Adagio)  has  a  marvelous  tex tural  combina t ion of  arpegg ia ted  32nd  notes  i n  the harpsichord ,  an  ob l iga to  to  the  s teady,  8th  note,  vo ice–lead ing  chords  i n  the v io l in .  The  Vivace  fi na l e  f ea tures  a  chroma t ic  theme  dr iv ing  through drama tic Dog heavy  counterpoint .  The  six th  (G  ma jor)  Sona ta  contrasts  the  brood ing  fi f t h  wi t h br i l l ianc e of the  fi r s t  movement .  The  2nd  i s  a  shor t ,  dec lama tory  Largo .  The centra l move– ment,  (3rd  A l l eg r o)  i s  a  Cemba lo  so l o  usher ed  i n  by  t he d om inan t  o f   t he pr ec ed ing movement .  The  4 th movement  (Adag io)  f ea tures  orna te,  sinuous  l ines back  and  f or th between  ins tr umen ts  w i t h  r ic h chroma t ic  movemen t .  A  b  m inor  movement,  i t  ends wi th an  unusual  twis t  i n  D  ma jor ,  served  as dominant  f or  the  fi na l e  Allegro ,  a tr ip le meter  dance–like movement  wi t h unusual rhythmic  S A T   a o Jean–Mar ie  Lec la ir  (1697–1764)  Sonatas  Opis  5 ,  no .  6  in  C since  “Le Tombeau1fand ~ Opus  9  no .  6  in  A  major  The  Sona ta  known  as Le Tombeau  i s  representa t ive  i n  more  than  one  respec t  of Lec la ir ’ s v io l in composi t ions , which undoubted ly mark  him ou t  as  one  of  the  fore– mos t  mu s ic ians  of  h i s   t ime .  The  f a c t  tha t  t h i s  sona ta  was  one  of  h i s  f ew   to  sur – v iv e  i s  c er ta inl y due  to  the mere chance  o f  i t s   t i t l e .   However  t he  t i t l e  was  no t g iven  to  i t  by  Lec la ir  h imse l f , and  does  no t  appear  on  the,or ig ina1 ed i t ion .  The term Tombeau  was  used  a t  tha t  time  f or  p iec es  wr i t t en  i n  homage  t o  a  mu s ic ian o r to  h is music  af ter  h is dea th––  of ten ,  dur ing  the  16th  and  17th  centur ies,  pavans i (hence,  much  la t er ,  Ravel ’ s  “Pavane  pour  une  inf ante d é f u n t e ) ,  and  a lso  espec ially  in  France,  allemandes,  graves,  or  other  slow pieces .  Lec la ir ’ s  con– temporar ies  seem  to  have  g iven  t h i s   Sona ta  i t s  t i t l e ,  on account  o f  i t s  open ing Grave which  quickly  became  popular ,  withou t  at  fi r s t  a t tr ibu t ing  any  d efin i t e purpose  to  the work.  This  i n  turn may  have  been  why  the  Sona ta  was  perf ormed af ter  Lec la ir ’ s death  (he  had  been  murdered  a t  night  c lose  to  h is house  in  Paris)) a t  the memor ia l  concer t  which h is colleagues­and  f r iends  presented  on  the  2nd December ,  1764 . ‘  I t was  g iven on  tha t  occasion  i n  a  version  f or  several  instru– ments  arranged  by  h is pup i l Dupor t ,  and  thus  the  Sona ta  became  a  Tombeau  i n  the  o 2 f u l les t sense  of  the word .  OVER �Regarded  as  a  whole,  this  four  movement  work  i s  a  sonata  da  chiesa ,  which f orm  could  inc lude dance mov ements.  When  considered  more c losely ,  however,  this work  proves  to  be so  grea tly  super ior  to a l l  i ts  forerunners  that  i ts  f ormal or ig ins are  of  l i t t le account .  The  fi r s t  movement,  the celebrated  Grave,  ' r eca lls Lu l ly wi th  i ts dotted  rhythms  and  demi–semiquaver  runs,  but  instead  of  the sta tely and  ma jest ic  splendor  of  Lu l ly ,  thanks  to  the  subt le use  which Lec la ir made  of  complex  chordal  rela t ionships,  combined  wi th retardations  and  ant ic ipa t ions both  harmonic  and  melod ic ,  i t   i s  an  inward ,  cantab ile and  deeply–f elt movement.  ' I t  was  this aspect  of  Lec la ir ’ s music  which h is contemporar ies  sing led  out  f or praise,  f or  example when  the  “Manure de  France”  referred  to  h is  in  1738 as  being d ist ingu ished  f or  “le sentiment ,  l e  doux,  l e  t endr e'.  The  most  interest ing  and s ig nifican t movement  as  regards  f orma l construc tion  i s  the  last  which a lmost corresponds  to  c lassica l sonata  f orm .  Reference has  of ten  been made  to Lec la ir ’ s splendid  bass  parts,  which  f u l fi l l  the basso  continuo  role  in  a  new  and  ind iv idua l way .  In  this case  even  more occurs.  No t  only does  this  f ourth movement  beg in wi th 17  bars  of  continuo  alone,  presenting  impor tant  thema tic  ma ter ia l;  the move– ment  i s  also marked  by  the appearance  of  two  themes  on  i t s fi r s t  sec t ion and  a third  theme a t  the  beg inning  of  i t s second  sec tion––a  prac tice which  was  to  fi n d favour  wi t h c lassica l composers.’  F ina l ly ,  there  i s  a  f u l l y fled g ed recapitula t ion, a t  fi r s t  wi th accompanying  arpeggios  of  the v io l in , wi th which  i t  backs  up  the mus ica l argument  presented  i n  the bass,  then an  exac t  r e p e t i t i o n  the  bass passage.  This  construc tion  i s  most  unexpected  in  so  ear ly a  work––the  Sonata  was wr it ten  in  1734–~ and  the  result  i s  a lmost  a  c lassica l duo.  The  evolu t ion of  t h e c lassica l  sonata  f or  v io l in and  piano  has  to  be  seen  in  a  new  l ig h t .  In  Vienna  ' the  v io l in was  added  to  a  more  or  less complete  keyboard  work merely  to  provide contrasts  of  tone colour ,  and  the v io l in only  gradually  a t tained  a  greater  measure “of  impor tance .  In  the  case  of  Lec la ir ,  on  the  o ther  hand ,  the  star t ing  po int  was the  vir tuoso v io l in ,  wi th  the  harpsichord  f unc t ioning  as  i ts  independent  par tner . S ig n ifican t l y enough,  th is movement  ca l ls f or  less v ir tuosity on  the par t  of  the v io l inis t  than  any  of  the other  movements.  Lec la ir  was  descr ibed  by  his con– tenporar ies as  being  a  ser ious,  though tf ul man  to whom  a l l  f a lse applause  was abhorrent .  Never theless  he  gave  ample scope  f or  v ir tuosity  i n  the  second  movement, Allegro .  Although  this  i s  in  common  time, wi th i ts  tr iplets and  i ts exact  d iv ision into  two  parts  i t  i s  c lear ly an  offshoo t  of  the  Ita l ian  g igue ;  here,  too,  the  bass par t  s t i l l  has more  of  the  old  continuo about  i t .   The  piece abounds  in  cascades of  f ar–rang ing  arpegg ios,  which g l it t er  wi t h a  constant  wea l th  of  new  id eas . The  mag ica l ,  gracef ul  and  del ica te Alterna t ivo  Gavotte,  wi t h a  midd le sec tion in   the ma jor ,  demonstrates  the dancer,  and  ba l le t master  Lec la ir ’ s  great  love of the dance.  Despite  i t s s tyl iza t ion and  decora t ion,  wi t h sex tolets,  groups  of  nine no tes,  suspensions and  o ther  ornaments,  t h is p iec e  i s  s t i l l  a  pure  gavo t te ;  purest in  the Alterna t ivo  sec t ion,  despite  the double  stoppings and  embellishments which ' make  considerable  technica l demands  on  the v io l in is t .  Lec la ir  was a lso a  man  of  let ters who  knew h is Ovid ,  V irg il , Mol iere and Milton ,  as  is shown  by  the  library  which  he  lef t a t  h is death.  Dur ing  his  l if e–   id e n t   from  t he time he  en joyed  an  in t er na t iona l  r epu ta t ion ,  a  f ac t  wh ic h   i s ev wr it ings of  Marpurg,  Walther ,  Hawkins,  and  others.  I t  i s  t ime  to  revive h is' ‘r epu ta t ion. The  Sonata  in  A ma jor  Opus  9 ,  no .  6  comes  from a  la ter  opus,  one  of  Lec la ir ’ s most  “v ir tuoso ”  sets .  I ts  br i l l ianc e contrasts  the  stern  qua l i t i es of  The “Tombeau . ” � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 35:23 35:11 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243276">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243276</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Continuous Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Music for violin and harpsichord, June 10, 1975 Recital tape 1975 6-10 Description An account of the resource Works of Bach and Leclair. Held at 8:30 pm, June 10, 1975, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Marsh, Peter 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 1975-06-10 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/26d8ba57a96a9001a325714b034ac5bb.pdf 90eb6221779d6af7adcd9f2504a5148a PDF Text Text BINGHAMTON U N I V E R S I P Y STATE  U N I V E R S I T Y   O F   N E W  Y O R K w i de [4 D E P A R T M E N T MUS IC FOR WIND S AND PERC USSI ON 942 Q2.  . W nd i Sm yphony Robert G. Smith, Cond uctor Sunday, April 25, 2010 3 :00 p.m. Anderson Center Cham ber Hall �THE PERFORMERS PROGRAM Bissau: Rachel Serwetz Windsprints (2004)  ..Richard Saucedo (b. 1957) J. S. Jig .  . Johann Sebastian Bach (1685­1750) Arr. Brant Karrick The Hounds of Spring (1980)  .. Alfred Reed (1921­2005) Spring Divertimento (1992)... l. Fanfare Il. Hymn .Timothy Mahr (b. 1956) F l u te Rachelle Haddad (Principal) Judy Kahn Kathleen Spelman Lindsay Ralbovsky FLUTE Kimberly Hom Rebecca Falik Raquel Goldsmith Laura Demsey Christina Peregrine ECla b  rinet Kristen Weiss lII. Scherzo IV. Serenade V. Dance VI. Flourish BClarinet b  Sarah Fenster (Principal) Kyle Doyle Kerry Goodacre Mark DelloStritto MNTERMISSIONc a Vientos y Tangos ( 2004) ...  ..Michael Gandolfi (b. 1956) American Faces (1995).  Eric Whitacre (b. 1970) .. David R. Holsinger (b. 1945) Brianna Palisi Zach Stanco Soparno Saxophone Alaninxsmhnnsx Alex Horspoal Al Saxophone to  Seonghek Kang laneLSaxmhnnc Dean Papadopoulus Baotrine Saxophone Stephen Collins M o r m o n ! Nick Polaoca (principal) Kevin Hannon cnmfiul Ebflaflnetn Anthony Kwon Cornet Kristin Hohn BClarinet b  David Morrissey Melissa Klepper Mark Norman Vanessa Kay E  Ho r n Natalie Rivera melfl Kirstie Cummings April Lucas (faculty) Nick Quackenbush Jonathan Calhoun Abby Cohen Equus ( 2000)  Bas  Caln riet Brian Lee Trumpe t I I I Kim Metaxas (Grad. st.) Samuel Weintmub th e m ! Zack Birnbaum £11911]! Alexa Weinberg Trombone Jay Bartishevich Immhnnan Mogana Jayakumar Baalmmmg Anthony Frachioni Eup honium Damon Dye (Grad. s t , Principal) Andrew Kaufman Tuba Ma tt Gukowsky Daniel Nevins Piano Jieun Jang Percussion Tom Elefante Boya Gao Adam Goldenberg Ben Ramos Andrew Williamson Michael McManamon �d Symphony. ROBERT G. SMITH is  Music  Director and  Conductor of the University Win sity  and  has Professor  Smith  holds  degrees  from  Hartwick  College,  Binghamton  Univer es advanced o teach ith als completed course work toward the Doctor of M usical Arts. Prof. Sm 2 years as a eer includes 3 instrum ental conduct ing an d grad uate w ind con ducting at BU .  His car Christmas and is form er public school music  educat or. He  conducts the  annual Tripl e Cities Tuba United States. He has conductor of the Maine Com munity Band, the oldest band of its kind in the  ensembles Smith guest conducted all­county bands throughout New York State.  Among other   United States a, The rchestr has conducted are the Goshen College(IND) Wind Ensemble and O the  Vestal and  Y)  Army  Ground  Forces  Band(GA),  the  Southe rn  Tier  Conce rt  Band(N al euphonium with th e Comm unity Band(NY).  An act ive performer, he currently plays princip ss rown City Bra Southern Tier Concert Band and tuba with the Brass Nickel quintet and the C   Music  Educators sextet.  Smith  is  the  immediate  past  president  of  the  Broom e  County .  Professional Award   Service uished  Association  and  recipient  of the  2005  BCMEA  Disting w York State the Ne ation,  Associ membe rships  include The Broome  Coun ty Music Educators  al  Band Nation The  ence,  School  Music  Association,  the  Music  Educators  National  Confer ion ssociat orld A Association, The Association of Concert Bands, The Conductors Guild, The W iation and the of Sym phonic Bands and Ensembles, The College Band Directors National Assoc International Tuba and Euphonium Association Bin gha mton U niversity  Mu sic Dep artm ent ’ s U P C O M I N G  E V E N T S F I M M M M M M M M É ' Sund a y, Apri l 2 5 ”  Piano Extravaganza from the studio of Michael Salmirs, 7:30 PM, Casadesus Recital Hall, FREE  ' T uesd a y, Apri l 2 7 ”  Percussion Ensem ble, 8 :00 PM – FREE Anderson Center Chamber Hall   id­Day Concert, 1:20 PM – FREE Th ursd a y, A pri l  2 9 ” M Casadesus Recital Hall Th ursd a y, Apri l 2 9 ”  Brass Studio Recital, 8 :00 PM – FREE Casadesus Recital Hall Fri da y, Apri l 3 0 ”  Flute Studio and Flute Chamber Concert, 10:15 AM, Casadesus Recital Hall, FREE Fri da y, Apri l 30™ Saxophone Studio Recital, 4 :00 PM – FREE Casadesus Recital Hall For ticket information, please call the Anderson Cen ter Box O ffice  at 777­ARTS To see all events, please visit m usic. bingham ton.edu Become a fan on Facebook by visiting Bing ham ton U niversity  Music Dep artm ent � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:01:02 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145319">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145319</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 Music for Winds and Percussion, April 25, 2010 Recital Tape 2010-4-25 Description An account of the resource Works by Saucedo, Bach, Reed, Mahr, Gandolfi, Whitacre, Holsinger. Held at 3:00 p.m., April 25, 2010, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource University Wind Symphony 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 2010-04-25 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/630506ff37bfc059caa765acffd467f4.pdf d7669006e68591f3cda67925561d8ceb PDF Text Text Tape Cue Sh ee t Program the Campus Music from 11, 1966 December Date 9:00-9:30 PM Airtime Starts 7 1/2 speed 7 size number 1 of 1 equalize _ _ C O MPLETE ON T AP E Cold on tape on tape o n t ape Attention Eng ineer: _ _ _ _ _ _ _ __ _ to be done live, AV's _ __ _ between music c e r : tape n l eader Attention A n n o u MMuHA. n umber reel (at BEGINS ENDS: UA;{ 1 of 1 (at marker) 1 .......the Ave Maria......... Music marker) leadertape segue h v e ax number reel E NOS: 1 of 1 Cut 2 (at marker) BEGINS: (at marker) leader tape (at marker) B E GINS: E NOS: timing Selections from "Aspects o live ax _ _ _ segue nus Dei of A us Dei Agn Benedictions (at marker) marker ___ .. ,ue paper live ax Producer E. Zore engineer Total timing rec. date � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound tape reel Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 26:41:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54681">Music From Campus</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 Music From Campus, December 11, 1966 Recital Tape 1966-12-11 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Ave Maria, Benedictus, Agnus Dei. Held Dec. 11, 1966? 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 1966-12-11 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context Music From Campus Recital Tape 1966-12-11.pdf https://omeka.binghamton.edu/omeka/files/original/09121a409387ec1aac18bbd50af526a1.pdf 49efe2badf97ee46df7a3c9b7675c082 PDF Text Text BINGHAMTON U  N  I  V  E  R  S  I  T  Y State University of  New York ; U N il v  ARC  d Recto!  X = P   e c D E P A R T M E N T 2 0 0 , G1   "“N _. \  In conjunction with the Indtan Performing Arts of Binghamton presents: MUSIC FROM INDIA Ustad Shahid Parv ez, sitar Ramdas Palsule, tabla Thursday, September 14, 2006 7:00 p.m. Anderson Center Chamber Hall �PROGRAM Rag Yaman I.  Alap II.  Jor III.  Jhala IV.  Gat(s) ; t Thumrt or Dhun (To be announced) Hindustani Classical Music The origins of Indian classical music can be traced to the Vedas, a set of four texts that comprise the foundation of the Hindu religion, and were passed down orally until around 1500 B.C. when they began to be written down. The texts comprise hymns not only aided memorization, but also provided the foundation of Indian music. In the first few centuries A.D., 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 of rhythm and meter into cycles made up of 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 externalize 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. Ragas consist of a scale, as well as a set of musical rules governing choice and emphasis of pitches, melodic motion, and ornamentation.  Ragas normally are associated with certain  times of day and/or seasons of  the year. Bharata related each raga, to a specific rasa, or emotion. The eight rasa  are love, humor, anger, compassion, valor, wonder, disgust, and fear. The term raga means ‘color’, and ragas are supposed to color the mind and stimulate listeners to emotional response. After the writings of Bharata, wandering monks began composing sacred hymns, known as Bhaj ans, in the raga and tala cycles formulized by Bharata, which provide the source for many contemporary Indian classical compositions. ] l i �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 A.D. The source of this diversion was the occupation of Northern  India  by  successive  waves  o f   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 A.D. 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 (1850­1947), many of the courts were dissolved and musicians shifted their performances to the concert stage, where they can now be enjoyed by all. I �ABOUT T HE INSTRUMENTS Tampura Tampu ra is a long­necked lute, unfretted and round­bodied.  It has four or five wire strings that are plucked op en 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 tampura articulates a constant  drone,  to  melodically  frame  the  monophonic improvisations of the musicians. Sitar The sitar is perhaps the most widely known (and heard) Hindustani classical instrument. A typical sitar has 19 or 20 strings (depending on the style) with 6­7 playing strings on top and 13 sympathetic strings underneath the curved frets. The sympathetic strings vibrate when  the playing strings are sounded, giving it a lush sound. The curved frets  are moveable, allowing fine  variation in  tuning, and raised so that the sympathetic strings can run underneath the frets. The  instrument  is  plucked with  a  wire  pick  worn  on the  index finger, called (mizrab), and with the nail of the pinky finger. The wide neck allows notes to be bended up to a fifth interval on each fret,  and  the  gourd  resonators  provide  a  rich  sustain.  The  sitar originated from a Persian instrument that  was combined with an older Indian instrument, the Rudra Veena. The descendance of the Sitar from the lute  family of P ersian 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 a tabla. One of its primary tones is tune d to a specifi c note  of the raga, and thus contributes to and complements the  melody. The larger  drum, played with the other hand, is called bayan 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 vari ety of  different sounds. On the bayafl, 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 I fl ! �ABOUT THE MUSIC Rag Yaman l l 5 Yaman is regarded  as one of the grandest and most  fundamental ragas in Hindustani music. Yaman is usually one of the first ragas taught to students, however its intricacies can only be realized by a master  musician,  and  consequently  students  continue  to  study Yaman throughout  their lives. Scholars of Hindustani music trace Yaman  to  the  16%  century  when  it  was  believed  to  have  been introduced by either Arab or Persian musicians. Yaman is an early evening raga (9 pm­midnight) and evokes a mood of serenity and peace. Artistic depictions of the raga  often show a noble lord  in white  garments  on  a  lion­throne  being  fanned  with  a  whisk. Musically, the scale of Yaman is a major scale with a raised fourth (the Lydian mode). The first and fifth pitches are usually omitted during ascending phrases, and the favored notes are the third and seventh pitches. Here is a notation of the scale in ascending and descending modes: 4  £ 3 1 ? ? ? “   ”  4  or  . ,   E ‘ M   ° = The instrumental performance tonight features an extensive opening l 1 solo  sitar  sequence  known  as  Alap­Jor­Jhala.  The  alap  is  an unmetered  improvisation  that  demonstrates  the  scale,  mood,  and musical  rules o f the  raga. Normally musicians  begin  at  the mid range of their instrument, and slowly descend to the lowest notes. Then the alap progresses all the way up to the highest octave on the instrument, and then back  down  to the  middle range. In the next section, the jor, the musician introduces a sense of pulsation through the  extensive  plucking  of  a  set  of  3  drone  strings  (cikarl),  in alternation with stokes on the melody strings. Despite the feeling of pulsation, this section is not bounded by a specific tala cycle. The final  part  of the  opening sequence,  jhala,  is a  climactic  section featuring  extensive  strumm ing  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  10­40  minutes (sometimes longer). �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. G at 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. I l‘ [ . �ABOUT T HE P ERF ORM ERS USTAD SHAHID PARVEZ KHAN is one of the most important sitar players of his generation and a favorite concert artist both in India  and  abroad.  He  belongs  to  the seventh  generation  of  the famous Etawah gharana  (also  known as Imdadkhani Gharana) of sitar playing. Shahid Parvez is the son of Ustad Aziz Khan, the third generation  Imdadkhani  maestro, and a grandson of  Ustad Wahid Khan, the Surbahar and Sitar virtuoso. Both father and grandfather initiated Shahid Parvez into music: vocal and tabla at the age of 3. By the age of four he started to learn Sitar and was soon recognized as a child prodigy. A purist from the beginning, Shahid Parvez has developed  a  style  of  his  own,  combining  the  Gayaki  and  the Tantrakari schools of instrument  playing.  Gayaki ang  shows  the influence of Ustad Vilayat Khan, his father ’s cousin.  Ustad Shahid Parvez is a ‘top’ grade artist of All India Radio. He is one of the few maestros  to  enjoy  global  reputation,  and  he  has  numerous  LP records, audio and video­cassettes, and Compact Discs to his credit. He  has  been  honored  with  several  awards,  both  national  and international, and has participated in many major festivals in India and  abroad,  including  the  Festival  of  India,  held  in  the  United States, Canada, Russia. and Europe. RAMDAS  PALSULE  is a versatile Tabla player and one of the senior most disciples of the famous TalYogi  Pt Suresh Talwalkar. Being an accomplished soloist as well as a versatile accompanist, he has performed widely in all the eminent music festivals of India.  He has toured with several  artists throughout the world including the United  States,  Canada,  Germany, Australia, Africa and the  Gulf Countries.  He  has  provided  accompaniment  to  vocalists  and instrumental  music  including:  Santoor,  Sitar,  Moham  Veena  (an instrument invented by the Grammy Ward Winner Vishwa Mohan Bhat). His forte is Indian Classical music, which is unique in itself, and is renowned the world over. �Coming  “Crents Saturd ay,  Sep tem ber 16  – A Re union In R ecital: Jud y Berry, soprano and Timothy LeF ebv re, baritone  – 8 :00 p.m. – A nderson Center Chamber Hall  ­ $15 general public; $13 faculty/staff/seniors; $ 7 students Saturd ay,  Sep tem ber  23 – Master ’s Recit al – Ste fanie Sudduth, soprano – 8:00 p.m. – Tri­Cities Opera Center, 315 Clinton  St., Binghamton – free Sunday, September 24 – Master ’s Recital –  Andrew Sudduth, baritione – 8:00 p.m. – Tri­Cities Opera Center, 315 Clinton  St., Binghamton ­ free Thursday,   October  5  –  Mid  Day  Con cert   with  faculty  and   student perform ers – 1 :20 p.m. – Casadesus Recital Ha ll – free Saturd ay,  October  7–  Song  of  Silk : An  Evening of  Chinese  Music  and Dance – 8:00 p.m. – Osterhout Concert  The ater ­ $12  general public ; $10 faculty/staff/seniors; $7 students Sunday, Octob er 8 – F rench Twist : An Af ternoon  of Cha mb er Music – 3 :00 p.m.  –  Anderson  Center  Chamber  Hal l  ­  $15  general  public;  $13 faculty/staff/seniors; $7 students Thursd ay,  Oc tob er 1 2 –  Mid   Day  Con cert with  faculty  and  studen t perform ers – 1 :20 p.m. – Casadesus Recital Ha ll ­­ free  ' Friday, October 1 3 – Children ’s C onc ert : M aking Movie Music – University Symphony  Orchestra ­ 9:30 a.m.  – Osterhou t Concert  Theater ­ $4.  This performance is for school groups (Sponsored  by The Discovery Center, Time Warner Cable and the Binghamton University  Music Department). Saturd ay,   October  14  ­­  Children ’s  Con cert :  Making  Movie  Music  – University Symphony Orchestra – 1 :00 p.m . – Osterhout Concert Theater ­ $5.  This performance  is for school groups.  (Sponsored by  The Discovery Center,  Time  Warner  Cable  and  the  Bin ghamton  University  Music Department). Tuesday,  Oct obe r  17  –  Binghamton  Bar oqu e  Ensemble  –  8:00  p.m.  ­­ Casadesus Recital Hall ­ $9 general public;  $7 faculty/staff/seniors; free for students Thursd ay,   Oct obe r  19  –  Mid   Day   Con cert  wit h  faculty  and   stud ent perform ers  – 1 :20 p.m. – Casadesus Recital Ha ll – free Saturd ay,   October  21  –  Family  Weeke nd  Concert   –  University  Wind Ensemble, Harpur Chorale, Women’s Chorus  – 3 :00 p.m. – Osterhout Concert Theater ­ Free � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 37:59:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204297">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204297</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Music from India, September 14, 2006 Recital Tape 2006-9-14 Description An account of the resource Binghamton University Music Dept. in conjunction with the Indian Performing Arts of Binghamton. Held on Sept. 14, 2006, 7:00 p.m., Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Parvez, Ustad Shahid Palsule, Ramdas Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2006-9-14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 4bffae26-0836-40d1-bd3c-f027e645b700 https://omeka.binghamton.edu/omeka/files/original/19d783f20162bbee0bdd5a80241b7595.pdf 742f5c2fff12b37323436d5bd2222b2b PDF Text Text BINGHAMTON UNIV ERSIT Y STATE UNIVERSITY OF NEW YORK MUSIC FROM THE SEMINAR Friday, May 3, 2013 7:00 p.m. Casadesus Recital Hall �PROGRAM Sketch for Cello Quartet .......................... Emmanuel Sikora Xander Edwards, cello Paul Watrobski, cello Eric Wuu, cello Andrew Card, cello Etude for Solo Cello ............................. ..... Christian Martin Xander Edwards, cello Variations on "Lo, How a Rose 'ere Blooming"Mark Summer Paul Watrobski, cello "Prelude" first movement from Suite ................. Peter Cody for Unaccompanied Cello Stephen Stalker, cello Human Emotions for Cello and Piano ................ Wan Kim Stephen Stalker, cello Sungkyun Ryu, piano INTERMISSION �Piano Sonata No. 1............................. ....... Christian Martin 1. Largo Expressivo 2. Eerie, Otherworldly 3. Allegro Vivace Christian Martin, piano New River ............................. .................. ........ Peter Cody Alexander Baron, tenor recorder Veteran's Day Parade ............................. .......... David Gaita Daniel Salinas, violin l Carmen Johnson-Pajard, violin 11 Ben Pochily, viola Lanra Andrade, cello Spring Pools ............................. ...................... Peter Cody Two Miniatures for ....................... ......... Emmanuel Sikora Unaccompanied Chorus 1. Late Autumn 2. Jenny The Altoids �ABOUT THE PERFORMERS PETER CODY is a graduate student in compositio n at SUNY Binghamto n and studies with Professor Loy. He did his undergradu ate work in compositio n at Temple University and SUNY New Paltz. He worked with the Bucks County Center for the Performing Arts, where he wrote music for events, scenes for the actors, and ran a forum for local composers. He currently teaches piano and compositio n in the Communit y Services program at Dutchess Communit y College. DAVID GAITA, a senior at Binghamto n University, began studying piano at age 7, and composing at age 15. He has performed piano solos, chamber works, and his own pieces in Manhattan , Barcelona, and throughout NY State. His music has been performed by flutist Georgetta Maiolo, pianist Michael Salmirs, and various Binghamto n University ensembles. He studies piano with Michael Salmirs and compositio n with Christophe r M. Loy. He has recently organized a flashmob-s ymphony for 25 musicians, which took place on the Binghamto n University quad. He is currently composing a score for the pilot episode of a television series entitled "King's County," written by Andoni Elias-Nava. He will be graduating this May with a Bachelor's degree in biology and music. He plans to continue composing and playing piano, to begin working in biomedical research, and to enroll in medical school in the fall of 2014. WAN KIM is a graduate student of State University of New York at Binghamto n, majoring in compositio n, and he has studied with Professor Christophe r Loy and Professor Paul Goldstaub. He received a Bachelor of Music degree in Compositio n from KyungHee University, South Korea in 2006. He was awarded prizes at many compositio n competition s; Contempor ary Music Society Compositio n Competitio n 1st Prize winner, 36th Nanpa Music Competitio n, DCMA (Daejeon Contempor ary Music Association) Young Composer Prize winner, Daegu Internation al Contempo rary Music Festival Young Composer Prize, and Korea Society of Woman Composers . CHRISTOPHER MORGAN LOY, composer-p ianist, has a catalog of compositio ns which includes works for piano, voice, chamber ensembles, chamber orchestra, full orchestra, and chorus. He �earned the Doctor of Musical Arts in compositio n from Cornell University in Ithaca, New York where he studied compositio n with Pulitzer Prize-winni ng composers, Karel Husa (1969) and Steven Stucky (2005). Loy has been a guest composer/p ianist in many venues and recital series through-ou t the mid-west and New York State. In 1987, Loy was a founding director of "EPICYCLE: an ensemble for new music" based in Cleveland. This organizatio n helped to establish a significant voice for new music in Cleveland. His works have been heard and premiered in Cleveland, Detroit, Houston, New York, San Francisco, San Antonio, and Ithaca. He serves as Professor of Theory and Compositio n at Binghamto n University and teaches piano and compositio n at the Communit y School of Music and Art (CSMA) in Ithaca, NY. He is organist/ pianist at the First Baptist Church of Ithaca. Loy is a member of BMI and the American Composers Alliance (ACA). Helianthus Music Publishing Company publishes his music. CHRISTIAN MARTIN received his Bachelors of Music from Binghamto n University in 2012. He is now finishing his first year in the compositio n masters program here at SUNY Binghamto n. He has worked as a teaching assistant in music theory under Dr. Christophe r Loy and has accepted a teaching assistantship and tuition scholarship for next year. Upon the completion of his degree he plans to work towards a OMA in Compositio n. He has been commission ed as a transcriptio nist and arranger by Dr. Paul Goldstaub and Schubertiad e Music LLC., and as a composer for A.A. Michael Production s. He has won prizes in national choral compositio n competitio ns with his works Walls of Glass, for accompani ed SATB (2 nd place in Edwin Fissinger Choral Compositio n Competitio n, 2011); and Purple and Pearl, for accompani ed SATB (1 st place in the San José Choral Production s Compositio n Competitio n, 2011). You may visit his webpage for more information at www.wix.c om/theoryo fmusic/chr istianmarti n. EMMANUEL SIKORA is currently completing his Masters in Choral Conducting and Compositio n at Binghamto n University. He earned his Bachelor's with a Concentrat ion in Compositio n from Queens College, where his teachers included Edward Smaldone, Joel Mendelbau m and Bruce Saylor. He is currently studying compositio n with Prof. Loy. �THE ALTOIDS Jibron Harris 82 Daniel Fernandez 82 Joseph Keller Bl Michael Celentano Bl Matthew Pedersen T2 Thom Furey T2 Cole Tornberg Tl Greg Keeler Tl Denise Aquino A2 Katherine Sherwood A1 Danielle Stoner S2 Katherine Sucha Sl Christina Santa-Maria S1 PROGRAM NOTES SPRING POOLS for eight part mixed voices, is based on a melody by Alexander Scriabin and sets the text of Robert Frost: "These pools that, though in forests still reflect The tota I sky almost without defect And like the flowers beside them chill and shiver Will like the flowers beside them soon be gone, And yet not out by any brook or river, But up by roots to bring dark foliage on. The trees that have it in their pent-up buds to darken and be summer woods Let them think twice before they use their powers To blot out and drink up and sweep away These flowery waters and these watery flowers From snow that melted only yesterday." VETERAN'S DAY PARADE was performed by a student string quartet at the Eastman School of Music, this composition is the culmination of David Gaita's studies with Amazing Grace, having previously composed three smaller and shorter versions of what might be called variations on the hymn, for other ensembles. HUMAN EMOTIONS FOR CELLO AND PIANO is written in A - B - C Cadenza - A' form to express different human emotions that appear in life. Most people experience a variety of emotions in their daily lives, such as anger, sorrow, and joy. Each musical section corresponds to a different emotion. The first describes anger, while the second is sorrowful. The last section represents joy and pleasure. To express the emotions of each section, various musical elements are employed; a wide range of dynamics for anger, a lyrical melody to depict sorrow, and a faster tempo and more intricate rhythm to describe joy and pleasure. �PIANO SONA TA NO. 1 expresses some of my deepest emotions. Unlike my preludes, which express my appreciation and desire for the beauty and tranquility of nature, this piece explores the two very opposite human emotions of joy and anger. This sonata follows the traditional fast, slow, fast three movement form. In the first movement the main theme, representing anger, is introduced in silent contemplation. After it is stated it is quickly thrown through a series of developmental variations. The second theme, representing joy, is stated only once in the entire first movement. Throughout the second movement, both themes fight back and forth for the lead. In the third movement the second theme is the melody, but the first theme comes back for one last time and both motives, anger and joy. fight back and forth towards a climactic ending. 1WO MIN/A TURES FOR UNACCOMPANIED CHORUS were composed last semester. I wanted to try my hand at choral writing in my ownlanguage. which I had not done before. After completing the first piece, to my own somewhat haphazard poem, I had trouble finding the text for a second. David Gaita, it turns out. had just written a short poem called "Jenny" that he wanted someone to set to music. This I did, with great pleasure. Late Autumn "Far removed from summers' radiant warmth. I beheld late autumn. Murmuring from emotion. For to see the wi ldwood so endless. Drifting into silence. Into silence." Text by Emmanuel Sikora Jenny Jenny did nothing but opened the front door to her porch. She simply sat down in a chair and gazed out at the stars. She sat for a while and the stars did not change. She went inside and shut the door. Text by David Gaita SKETCH FOR CELLO QUARTET At about the same time as I was finishing my Two Miniatures, Professor Loy told me about a cello quartet on campus that wanted some new music to play. I worked on the Sketch off and on (mostly off) for several months, completing it in March. I had a very classical design in mind when I wrote it: that is, I consciously set out tto write a piece that developed a single motif. �Binghamton University Music Department's Coming Events Saturday, May 4 - Master's Recital: Molly Adams-Toomey, mezzo-soprano - 8:00 p.m. - Casadesus Recital Hall - free Sunday, May 5 - University Symphony Orchestra and Chorus: Schubert's ''Unfinished Symphony" & Durufle's "Requiem" - 3:00 p.m. - Osterhout Concert Theater- $6 general public; $3 faculty/sta ff/seniors; free for students Wednesday, May 8 - Nukporfe African Drumming and Dance Ensemble - 7:00 p.m. - Wafter's Theater- $3 general admission at the door Thursday, May 9 - Student Recognition Mid-Day Concert 1:20 p. m. - Casadesus Recital Hall - free Thursday, May 9 - Redta!/Masterclass: Guest Artist Vidor Chavez Jr., clarinet- 4:30- 6 p.m. - Casadesus Recital Hall free Thursday, May 9- Harpur Chorale and Women's Chorus 8:00 p.m. -Anderso n Center Chamber Hall - $6 general public; $3 faculty/sta ff/seniors; free for students Friday, May 10 - Junior Redtal: Kerianna Krebushevski, soprano- 8:00 p.m. - Casadesus Recital Hall- free For tickets or to be added to our email list, visit anderson.bin ghamton.edu or call (607) 777-ARTS. For a complete list of our concerts call (607) 777-2592, visit music.bingha mton.edu or become a fan on Facebook. If you were inspired by this performance. consider supporting the Department of Music with a financial gift. Your support helps to continue the work of students, faculty, and guest artists and their contributions to our community. Please make your donation payable to the Binghamton University Music Department, and send your check to BU Music Department, P.O. Box 6000, Binghamton, NY 73902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:01 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE128179">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE128179</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Music from the seminar, May 3, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Sikora, Martin, Summer, Cody, Kim, Gaita. Held at 7:00 p.m., May 3, 2013, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Edwards, Xander Watrobski, Paul Wuu, Eric Card, Andrew Stalker, Stephen Ryu, Sungkyun Martin, Christian Baron, Alexander Salinas I, Daniel Johnson-Pajàrd II, Carmen Pochily, Ben Andrade, Lanra The Altoids Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2013-5-3 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound