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U N I V E R S I T Y
State University of New York
Department of Music
Musica Nova
Music for Violin & Piano
Patricia Sunwoo, violin
Ewa MackiewiczWolfe, piano
Sunday, M arc h 6, 2005
3 :00 p.m.
Casadesus Recital Hall
�P rogram
L
Alfred Schnittke
(19341998)
Sonata No. 1 for violin and p1ano
Andante
Allegretto
Largo
AllegrettoscherzandoAllegro
II.
Isang Yun
(19171995)
Kontraste (1987) for violin solo
III.
Synchronisms No. 9 for violin and tape (1988) ........................ Mario Davidovsky
(b. 1934)
IV.
Who Let the Cat Out Last Night
from Three Country Fiddle Pieces
for violin, piano and optional percussion
... Paul Schoenfield
(b. 1947)
Inrermission
a
8
V.
AriaLament for solo violin (1991 ) .
..Aaron Jay Kemis
(b. 1960)
VI.
Sonata for violin and piano (1964)
Allegro
Andantino
Lento
Allegro
John Corigliano
(b. 1938)
�Composer’s Biographies an d P rogram Notes
LI
Alfred Schnittke (19341998) was born in the Soviet Union, to German
Russian parents. Schnittke began his musical studies in Vienna where his father,
a journalist, had been posted. In 1948 the family moved to Moscow, where
Schnittke studied piano and choral conducting, and later composition at the
Moscow Conservatory. From 1962 to 1972, Schnittke taught instrumentation at
the Conservatory. Thereafter, he supported himself mainly by composing film
scores. Like his predecessor (and inspiration) Dmitri Shostakovich, Schnittke
had many problems with the Soviet Ministry of Culture. The authorities often
felt his music too antiideological, and tried to prevent his music from being
heard. This included attempts to take away foreign commissions and forbid the
purchase of his scores. Despite these attempts, Schnittke found ways to keep up
with the compositional trends of the Western world, and develop his hallmark
“polystylistic” idiom. He was supported by musicians such as Gidon Kremer
and Mstislav Rostropovich, and was eventually commissioned by Camegie Hall,
Boston Symphony Orchestra an d New York Philharmonic, among others. In
1990 he moved to Hamburg, where he died after his third stroke. Today he is
regarded as Shostakovich’s “heir”. His works have become staples of musical
literature, and more than fifty recordings devoted exclusively to his music have
been released. Included in this oeuvre are three violin sonatas.
Sonata No. 1 fo r violin and piano (1963)
Violinist Midori writes:
Schnittke’s First Violin Sonata opens with a lonesome short soliloquy
on the violin, which is constructed on the 12tone row. Then, the piano
enters with staccato notes, aga in using the tone row, adding to the
“~
eeriness of the atmosphere. The climax of the movement is the row in
reverse. Sarcasm and irony prevail in the second movement, which
leads with pause into the next Largo. In this third movement,
Schnittke plays tribute to Bach. As the violin holds the note G, the
upper line of th e piano plays th e notes CBDC sharp. These notes
correspond to BACH by a whole step. The harmonics at the end of
this movement imitate the sound of a Baroque flute. The final
movement resembles a burlesque.
I also feel compelled to include a quote from David K. Nelson of
Fanfare: Schnittke ’s Sonata No. 1 calls for novel colors and methods
of attack, with ironclad execution. There is plenty of pure pounding for
the pianist, and chances for the fiddle to shriek like a banshee in this
tunefulyet 12tone sonata. The music must have sounded ve ry modern
in 1963, rocketing dizzyingly between a mockreligioso mood to a
Prokofievlike toccata to a jazz/pop segment.
IL
Isang Yun (191 71995) one of Germany’s foremost composers, did not hear a
major scale until he was eight years old, when the Western music world was
already throwing in the towel on tonality. Yun was raised in the small southern
Korean fishing town of Tong Yong. His only contact with Western tonal music
was through the neighborhood missionary Church, which offered simple hymns
not unlike Bradbury’s 1862 hit “Jesus Loves Me”. The first European
instrument Yun laid eyes on, was the church harmonium. Yun’s early musical
sphere consisted wholly of traditional Korean sounds. This included harvest
songs sung in ricefields, ritual songs of shamans, chants and drumming consoles
during Buddhist festivities, traveling Chinese and Korean opera troops
accompanied by traditional instruments. A Department o f Music was set up at
the Seoul National University in 1946, which became the breeding ground for
Europeanstyle compositional studies. Yun accepted a teaching position here
when the Korean War ended in 1953. He then tra veled to Paris and West Berlin
where he mastered European serialism, but quickly grew disinterested in it. It
was only during this time that he realized the value of traditional music, and
thereafter consistently sought to incorporate it into his works. In 1967, when
living in West Berlin, Yun was kidnapped by his own South Korean
government, tried for high treason and sentenced to death for falsely suspected
communist activ ities during an earlier trip he too k to North Korea. As he sat in
prison for the next few years, an outraged German government fought for his
freedom. It finally took a petition signed by an elite group of international
musicians to save his life, including Boulez, Stockhausen, von Karajan,
Klemperer, and Stravinsky.
An excerpt from their letter to then South Korean President Ch ung Hee Park
reads:
Mr. Yun is known, not only in Europe, but throughout the whole world,
as an outstanding composer. His goal is always to un ite the most
distinguished traditions of Korean music with Western musical
practices; _his work and his personality must be regarded as an
inestimable means to announce Korean culture and art outside of
Korea. Without him, we would know very little about your country....
The international music world needs Mr. Yun. His role as a mediator
between the Ea st and West i s o f utmost importanc e to us....Yun w as
indeed released and returned to West Germany, where he received
citizenship in 1971. In an interview with his biographer Luise Rinser,
he said “Everyday, I would like to stop and return to my Korean
homeland, and there sit at sea, fish, hear the sp irit o f music without
seeing it, and find myself in the large silence. This homesickness is
beautifully captured in Kontraste. Yun died in 1995 without ever
revisiting Korea.
�Kontraste (1987)
Yun asks the violinist to evoke traditional Korean instruments by way of
unconventional techniques: the komungo, a plucked zither used in aristocratic
courts, produces a soft sound that mixes percussion and melody; the haegum, a
bowed twostringed fiddle held like a tiny cello, has a peculiar nasal sound
quality; the taegum, a yellow bamboo flute with reed tissues over the finger
holes and a very large blowhole, can produce a rasping, buzzing sound and
accommodate a very wide vibrato and pitch fluctuations. Yun writes in
elaborate pentatonic ornaments and specific instructions for vibrato usage.
l
J
Practically every note has a dynamic scheme, and very often they cover the
extreme possibilities. The last page consists of gradations of quadruple fortes
and triple fortes. Almost every note is followed by a slide, sometimes covering
merely a quartertone. In ancient Korean music, the single tone is an entity all
by itself. It does not need another tone or a complete phrase to be fulfilled. The
natural vibration of each note is then used as a means of expression, manifesting
itself through embellishments, trills, glissandi and dynamic changes.
IV.
Paul Schoenfield (b. 1947) a native of Detroit, is an accomplished pianist, and
has toured Europe, South America and the United States with different groups,
including Musicians from Marlboro. Among his recordings are the complete
violin and piano works of Bartok with Sergiu Luca. He is also a scholar of
mathematics and Hebrew. As a composer, he has received commissions and
grants from the National Endowment of the Arts, the Ohio Arts Commission,
Chamber Music America, and many other organizations. His works have been
recorded on the EMI, Angel, Decca, BMG and New World labels.
II].
“ ~
Mario Davidovsky was born in 1934 in Buenos Aires, Argentina. He first
studied composition with Guillermo Graetzer at the University of Buenos Aires.
Particularly interested in electronic music, Davidovsky visited the Tanglewood
Music Festival in 1958, where he worked with Aaron Copland and Milton
Babbitt. In 1960, he took up permanent residence in New York City, first as a
Guggenheim Fellow at Columbia University where he sat in on the seminars of
Otto Luening, and then as the leader of ColumbiaPrinceton Electronic Music
Center, where he remained until 1994. In 1994, he joined the faculty of Harvard
University. He is most widely recognized for his contributions in the realm of
electroacoustic music, with his series of Synchronisms for live instruments and
prerecorded electronic sounds. These include works for flute, string quartet,
cello, chorus, percussion ensemble, piano (for which he won a Pulitzer Prize in
1971), orchestra, woodwind quintet and solo violin. (Davidovsky has also
Who Let the Cat Out Last Night from Three Country Fiddle Pieces (1984)
This is the first of three popular short pieces for amplified violin, piano and
optional percussion (played today without amplification or percussion). It draws
on the styles of jazz, blues, and country fiddling. Schoenfield carefully notates
the improvisational qualities o f these popular idioms. For example, he uses
quarter tones and “1/6” tones to indicate the flat bending of a pitch. He infused
the piano part with Ivesian harmonies, and short witty quotations from Romantic
works, such as” Cesar Franck ’s Sonata for Violin and Piano, and Wagner’s
Tannhauser.
composed many works for “acoustic” instruments.)
Synchronisms No. 9 for violin and tape (1988)
This work was commissioned by the Massachusetts Institute of Technology.
The electronic tape was produced at the MIT Media Laboratory and the
Electronic Music Center, Columbia University. Eric Salzman writes for
Composers Recordings Inc.:
Davidovsky was trained as a violinist and he was brought up on the
traditions of what he calls “turnofthecentury violinism.” He
literally takes the technique of one generation and applies it to the
musical sensibility of another; Sarasate or Wieniawski serialized!
He also plays with the relationship between the live instrument and
the electronic part, one in the traditional Western tuning, the other
with the whole gamut of tonal possibility on a continuum. “1 was,”
he says, “trying to embed two musical spaces into one and
hopefully come up with something that is more than the sum of its
parts. The violin initiates gestures that the tape finishes. The
violin modulates the tape and the tape modulates the violin.” Like
the other works in the Synchronisms series, this piece follows
traditional classical phrasing but neither traditional thematic
construction nor strict twelvetone methods apply. Davidovsky
describes this compositional method as a “statistical curve of
density”; it is related to European serialism but distinctive. Never
mind; like the earlier Synchronisms, this is not a theoretical
statement but a remarkably coherent piece with clarity and
rhythmic integrity in its musical gestures.
V.
\ )
'
3
A aron J ay Kernis was born in Philadelphia in 1960, and studied composition at
the San Francisco Conservatory, the Manhattan School o f Music and Yale
University, with John Adams, Charles Wuorinen and Jacob Druckman. In 1998
he won the Pulitzer Prize for his Second String Quartet, which was recorded by
the Lark String Quartet. He has also earned Grammy nominations for Air for
solo violin recorded by Joshua Bell, and a recording of his Symphony No. 2 by
the Birmingham Symphony Orchestra. Kemis was commissioned by Disney to
�write a choral symphony, Garden of Light, to celebrate the millennium. He
wrote the New Era Dance to commemorate the 1 50” anniversary of the New
York Philharmonic. He was also recently commissioned by the American
Museum of Natural History in New York City to create an ambientsound
installation for the museum‘s new Rose Center. Since 1998 he has been the
New Music Advisor to the Minnesota Orchestra. His music is published by
Boosey and Hawkes and Associated Music Publishers. Recordings of his works
can be found on the CRI, Nonesuch, EMI, New Albion and Argo labels.
faculty at City University of New York and the Juilliard School. In 1991 he
was elected to the A merican Academy and Institute of Arts and Letters, and in
1992, Musical America named him their first “Composer of the Year”. His
music is published exclusively by G. Schirmer.
v
a
AriaLament
Kemis writes:
AriaLament was written in 1991 for violinist Kate Light, It is the
second work that I composed as part of my cycle of works which
respond and meditate on war in our time. Some of the other works in
this cycle include my Second Symphony, Colored Field, Still
Movement with Hym n and Lament and Prayer for violin and orchestra
written for Pamela F rank. I wrote AriaLament as my own awareness
about the conflict in BosniaHerzogovinia led me to read extensively
on the Holocaust and look more deeply at my Jewish heritage. There
are elements in this work that come from personal impressions and
memories of cantorial singing.
variations of the first. The third movemen t caps a tense, emot ional
VI.
Jo hn Corigliano (b. 1938) received the Pulitzer Prize in Music for his
Symphony No. 2 in 2001, which was premiered by the Boston Symphony
Orchestra under Seiji Ozawa. In 2000, Corigliano won another coveted prize:
the Academy Award, for “The Red Violin,” his third film score. EsaPekka
~
Salonen leads soloist Joshua Bell and the London Philharmonia in Sony
Classical’s recording of the soundtrack. Commissioned by the Metropolitan
Opera, where it premiered in 1991, the immensely popular opera Ghosts of
* Versailles sold out two engagements at the Metropolitan as well as its 1995
production at the Chicago Lyric Opera. The nationwide telecast of the
Metropolitan ’s premiere was released on videocassette by Deutsche
Grammophon. Corigliano’s Symphony No. 1, commissioned by the Chicago
Symphony Orchestra, was an impassioned response to the AIDS crisis. It
captured the 1991 G rawemeyer Award for Best New Orchestral Composition;
Chicago’s recording of the symphony won two Grammy awards for both Best
New Composition and Best Orchestral Performance. In 1996, the Cleveland
Quartet ’s recording of his String Quartet also won a G rammy Award for Best
New Composition, making Corigliano the first composer to win twice in the
history of that award. Born in New York, Corigliano comes from a musical
family. His father was concertmaster of the New York Philharmonic from
19431966 and his mother was an accomplished pianist. Corigliano is on
Sonata for Violin a nd Piano (1964)
This popular early work won the 1964 Spoleto Festival Competition for
Chamber Music. It was premiered by Yoko Matsuda and Charles Wadsworth.
Corigliano writes:
This Sonata is an optimistic, ultrarhythmic, tonalandthensome duo
for two masterful players. I built the themes and harmonics of its four
movements all from a second and its inversion, a seventh. The
movements center, respectively, on C, D, G minor, and D—but I freely
included nontonal and polytonal sections when needed. I think its
eclecticism, its rhythmic energy, and its bright character give the
Sonata a very American quality, though that wasn’t the goal of writing
it. I didn’t so much develop the lively theme in the opening Allegro as
herald it with a brief opening fanfare and then embed it in a detailed
backdrop, like a stone in a mosaic. Then, from those backdrop details,
I built the first theme of the next movement, a gentle Andantino in a
modified sonata form. Three themes seem to intertwine in this
movement, which peaks and peaks again before quieting—but a closer
look should reveal that both the second and third themes are but
violin soliloquy with hushed echoes of th e sonata’s signal interval ( th e
second), and the fourth movement, a rondo with a difference, takes a
vivid polytriadic theme, and augmented variation on it, and
accompanimental figures from previous movements, and spins them all
into a breathless and exuberant polymetric finale.
*
o
�A bout th e Performers
v
s
Violinist PATRICIA SUNWOO made her New York orchestral debut
in 1995, performi ng Berg’s Violin Concerto at Lincoln Center with the Juilliard
Orchestra. As a member of the Whitman Stri ng Quartet, winner of the 1998
Naumburg Award, she performed to critical acclaim across the United States,
recorded works of Artur Schnabel and Michael Whalen, and was frequently
heard on NPR. In February, the Whitmans gave a reunion concert at Carnegie
Hall’s Weill Recital Hall, premiering a work for quartet and cantor by Kenji
Bunch. She has also been a member of New York City’s new music ensembles
Sequitur and Continuum, and has worked with composers such as Joan Tower
and John Corigliano. She looks forward to giving the first performance of
Marek Harris’s Duo in May with the Finger Lakes Chamber Ensemble, which
was commissioned by friends from the Binghamton University community last
spring. Ms. Sunwoo tours with the Bard Festival String Quartet, and recently
joined the Finger Lakes Chamber Ensemble and th e Rochester Philharmonic
Orchestra. She has been teaching at Binghamton University since 2001, and
now resides in Rochester with violinist and husband David Brickman, and
daughter Claire.
—~
O
.
EWA MACKIEWICZ WOLFE, the winner of the International
Competition o f Renaissance and Baroque Music, and the International
Competition for Young Pianists in Warsaw, Poland, is also the recipient of
awards in international music competitions in Budapest, Hungary and Dresden,
Germany. She appeared in several music festivals such as the Young Artist
Festival o f Karol Szymanowski, the Festival o f Vladyslav Kedra for Young
Pianists in Poland, Chamber Music Festivals in Germany and Hungary. Her
career as a piano soloist developed further as a result of concerts arranged by the
Association of Polish Artists/Musicians, Government Art Agency (PAGART),
the Karol Szymanowski Musical Society, and various music colleges. She
performed solo recitals and concerts with symphony orchestras throughout
Eastern Europe, Northeastern United States and Canada.
Ms. MackiewiczWolfe received her bachelor’s and master’s degrees in
piano performance with honors and high distinction from the Academy of Music
in Lodz, Poland where she continued as Assistant Professor and Master Lecturer
in music. Since 1984, she has been associated with the Binghamton University
Music Department.
�Coming Even ts
(Subject to Change )
Th ursday, March 31 – MidDay Concert with faculty and student
performers – 1 :20 p.m. – Casadesus Recital Hall – free
Sunday, April 3 Organist Jona than Biggers – Music for Organ and
Strings – 4:00 p.m. First Presbyterian Church, Binghamton $15 general
public; $13 faculty/staff/seniors; $ 7students
\
l
Th ursday, April 7 – MidDay Con cert with faculty and student performers –
1 :20 p.m. – Casadesus Recital Hall
Th ursday, April 7 – Master ’s Recital – Donald Truesdail, s tring bass – 8:00
p.m. – Casadesus Recital Hall – free
Saturday, Apri l 9 – Student R ecital – Jessica Cheng, piano – 3:00 p.m. –
Casadesus Recital Hall – free
Sunday, April 1 0 – Chamber Music Masterpieces – 3:00 p.m. – Anderson
Center Chamber Hall $15 general public; $13 faculty/staff/seniors; $7
students
Wednesday, Ap ril 1 3 – Master ’s Recital : Jenni fer Perkins, sop rano – 8:00
p.m. – Casadesus Recital Hall free
Th ursday, April 1 4 – MidDay Co ncert with faculty and student performers –
1 :20 p.m. – Casadesus Recital Hall – free
Th ursday, April 1 4 – Senior Hon or ’s Recital : Nancy Schned ier, piano –
8:00 p.m. – Casadesus Recital Hall – free
Saturday, April 1 6 – Senior Hono r ’s Recital : Talitha Phillips, string bass
3:00 p.m. – Casadesus Recital Hall – free
Saturday, Apri l 1 6 – University C horus and Orch estra – Coronat ion and
Confrontation – 8:00 p.m. – Anderson Center Osterhout Concert Theater
$10 general public; $7 facult/staff/seniors; free for students
Sunday, April 1 7 – Piano Studio Recital : Students of ChaiKyou Mallinson –
3:00 p.m. – Casadesus Recital Hall – free
Th ursday, April 2 1 – MidDay Concert with faculty an d student
performers – 1 :20 p.m. ~ Casadesus Recital Hall
L
l
�
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Binghamton University Music Department Tape Recordings
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Concerts ; Instrumental music ; Live sound recordings
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Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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Musica Nova: Music for violin & piano, March 6, 2005
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Works of Schnittke, Yun, Davidovsky, Schoenfield, Kernis, Corigliano. Held at 3:00 p.m., March 6, 2005, Casadesus Recital Hall.
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Sunwoo, Patricia
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2005-3-6
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PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
S T A T E U N I V E R S I T Y O F N E W Y O R K
wdee
[4
D E P A R T M E N T
AVORITE
M YF
FANTASIES
Jonathan Biggers
organ
Saturday, March 17, 2012
4:00 p.m.
United Presbyterian C hurch
Binghamton, N e w Y o rk
�ABOUT THE PERFORMER
PROGRAM
J o n a t h a n Biggers, hailed as “one of the most outstanding concert
organists in the United States,” maintains an active career as both a
..].S. Bach
Fantasia and Fugue in Gminor, BWV 542
(16851750)
Deuxiéme Fantasie .
Jehan Alain
(19111940)
Fantasia Ut,Re,Mi,Fa,Sal,La ..
..Jan Pieterzoon Sweelinck
(15621621)
Two ChoralePreludes
Prelude on Slane (“Be Thou My Vision”)
.. Craig Phillips
Prelude on Brother Iames’ Air.
..Searle Wright
(b.1961)
(19182004)
Hymn:
St. Patrick’s Breastplate (see insert)
Fantasy in Fminor, K.608 ..
.. Wolfgang Amadeus Mozart
+ GuilbaultThérien Organ, 1996 «
(17561791)
professor of organ and harpsichord, and as a concert organist of the first
order. He holds the prestigious Edwin Link Endowed Professorship in
Organ and Harpsichord at Binghamton University (State University of
New York), and has presented hundreds of concerts in church and
university settings throughout the United States, Canada, and Europe.
Most recently, he presented the opening concert for the National
Convention of the American Guild of Organists held in July 2010 in
Washington D.C., performing for over 1600 organists. He has appeared
as a featured soloist with orchestras in both the United States and
Canada, including the Atlanta Symphony Orchestra and the Calgary
Philharmonic Orchestra, and has been featured frequently on NPR
(“Pipedreams”), the Canadian Broadcast Corporation (CBC), and on
Radio and Television Suisse Romande broadcasts in Geneva,
Switzerland. Scott Cantrell, classical music critic of The Dallas News,
stated that Biggers‘ performances demonstrate “authority and
eloquence”, and further stated “were there more performers like this, the
organ would be far less a minority interest”.
Dr. Biggers studied with Russell Saunders (Eastman School of Music;
DMA); Lionel Rogg (Conservatory of Music, Geneva, Switzerland;
Fulbright study); J. Warren Hutton (The University of Alabama; MM
and BMus); and with Wallace Zimmerman (Atlanta; precollege); he
has also worked extensively with Harold Vogel (Bremen, Germany), and
with Arthur Poister (former Professor of Organ at Syracuse University).
A prizewinner of dozens of competitions, he was notably awarded a
unanimous first prize in the 1985 Geneva International Competition, one
of the most prestigious music competitions in the world; second prize in
the 1982 American Guild of Organists National Organ Playing
Competition; and a unanimous first prize in the 1990 Calgary
lntemational Organ Festival Concerto Competition, where he presented,
with the Calgary Philharmonic Orchestra, the world premier
performance of Snowwalker: A Concerto for Organ and Orchestra by
Pulitzer prizewinning composer Michael Colgrass. A champion of new
�music for the organ, he has premiered other works by notable 20th and
MUSIC NOTES
21st century composers such as Richard Proulx (Chicago: Concerto for
Organ and Orchestra), Craig Phillips (Los Angeles: Suite for Organ,
Brass and Percussion), Persis Vehar (Buffalo: Soundpiece for Organ),
and David Brackett (Montréal: Nightworks for Organ solo).
Two highly acclaimed compact disc recordings of Dr. Biggers’
performances have been released by Calcante Recordings (Sleepers
Wake! A Reger Perspective, featuring five major organ works by
Romantic composer Max Reger; and Bach on the Fritts! , featuring
major organ works by Johann Sebastian Bach). Plans are also underway
for the production of several other CD releases in the future, including a
recording of the complete organ works of J.S. Bach, and a recording of
organ music by Craig Phillips.
Saint Patrick’s Breastplate is a Christian hymn whose original Old Irish
lyrics were traditionally attributed to Saint Patrick during his Irish
ministry in the 5th century; however, it was probably actually written
later, in the 8th century. It is written in the style of a druidic
incantation for protection on a ioumey. It is part of the Liber
Hymnorum, a collection of hymns found in two manuscripts kept in
Dublin.
The words were translated into English verse by Cecil Frances Alexander
in 1889 and set to two traditional Irish tunes, St. Patrick and Deirdre.
The hymn, also known by its opening line “I bind unto myself today". is
currently included in the English Hymnal, the Irish Church Hymnal
and The Hymnal (1982) of the U.S . Episcopal Church. It is often sung
during the celebration of the Feast of Saint Patrick on or near March
17, as well as on Trinity Sunday. In many churches it is unique among
standard hymns because the variations in length and metre of verses
m ea n t hat at least three different tunes must b e used different i n the
melody sung by the congregation.
The prayer known as “Faeth Fiada", or the “Lorica of St. Patrick” (St.
Patrick’s BreastPlate) was first edite d by Petrie in his “History of Tara".
Scripture references may include Ephesians 6:1017:
is mighty power. (11) Put on
(10) Finally, be strong i n the Lord and i n h
od, so that you can take your stand against die devil’s
the full a rmor of G
schemes. (12) For our snug/e i s not against flesh and blood, but against
the rulers, against the authorities, against the powers of this dark world
and against the spiritual forces of e vil i n the heavenly realms. (13)
Therefore put on the full a rmor of God, so that when the day of e vil
comes, you may be able to stand your ground, and after you have done
everything, to stand. (14) Stand fi rm then, with the belt o f truth buckled
lace, (15)
around y our waist, with the breastplate o f r ighteousness i n p
and with your feet fi tted with the readiness that comes from the gospel
ddition to all t his, take up the shield o f faith, with
eace. (16) I n a
of p
which you can extinguish all t he flaming arrows of the evil one. (17)
Take the helmet of s alvation and the sword o f the Spirit, which is the
word of God.
�God’s way to lie before me,
Lyrics of Druidic Incantation
1 arise today
Through a mighty strength, the invocation of the Trin ity,
Through the belief in the threeness,
Through confession of the oneness
Of the Creator of Creation.
1 arise today
Through the strength of Christ’s birth with his baptism,
Through the strength of his crucifixion with his burial,
Through the strength of his resurrection with his ascension,
Through the strength of his descent for the judgment of Doom.
1 arise today
Through the strength of the love of Cherubim,
In obedience of angels,
In the service of archangels,
In hope of resurrection to meet with reward,
rayers of patriarchs,
In p
In predictions of prophets,
In preaching of apostles,
In faith of confessors,
In innocence of holy virgins,
In deeds of righteous men.
I arise today
Through the strength of heaven:
Light of sun.
Radiance of moon,
Splendor of fire.
Speed of lightning,
Swiftness of wind,
Depth of sea,
Stability of earth,
Firrnness of rock.
1 arise today
Through God’s strength to pilot me:
God’s might to uphold me,
God’s wisdom to guide me,
God’s eye to look before me,
God’s ear to hear me,
God’s word to speak for me.
God’s hand to guard me.
God’s shield to protect me,
God’s host to save me
From snares of devils.
From temptations of vices,
From everyone who shall wish me ill,
Afar and anear,
Alone and in multitude.
I summon today all these powers between me and those evils,
Against every cruel merciless power that may oppose my body and soul,
Against incantations of false prophets,
Against black laws of pagandom
Against false laws of heretics,
Against craft of idolatry,
Against spells of witches and smiths and wizards,
Against every knowledge that corrupts man’s body and soul.
Christ to shield me today
Against poison, against burning,
Against drowning, against wounding,
So that there may come to me abundance of reward.
Christ with me, Christ before me, Christ behind me,
Christ in me, Christ beneath me, Christ above me.
Christ on my right, Christ on my left,
Christ when I lie down, Christ when I sit down, Christ when I arise,
Christ in the heart of every man who thinks of me,
Christ in the mouth of everyone who speaks of me,
Christ in every eye that sees me.
Christ in every ear that hears me.
I arise today
Through a mighty strength, the invocation of the Trinity,
Through belief in the threeness,
Through confession of the oneness,
Of the Creator of Creation.
�Music Department’s
UPCOMING EVENTS
Sunday, March 18 – Musica Nova – 3 p.m. – Casadesus Recital Hall – Free
Thursday, March 22 MidDay Concert– 1:20 p.m. – Casadesus Recital Hall free
Friday, March 23 Master’s R ecital: Kathleen jasinkas, soprano 8:00 p.m. Casadesus
Recital Hall – free
Thursday, March 29 MidDay Concert– 1:20 pm. Casadesus Recital Hall – free
Thursday, March 29 Nukporfe African Drumming and Dance Ensemble 8 p.m.
Anderson Center Chamber Hall – $5 per person (tickets will be sold at the door)
Thursday, Apri l 12 MidDay Con cert 1:20 p.m. – Casadesus Recital Hall – free
3 Senior Recital: A lexander Baron, recorder– 8:00 p.m. – Casadesus
Friday, April 1
Recital Hall – free
4 Masterclass with organist Carla Edwards – 10 a.m. – 12 noon First
Saturday, April 1
Presbyterian Church, Binghamton – free
4 Robert Smith, euphonium, presents “El B ombardino” with
Saturday, April 1
Margaret Reitz, piano 3 p.m. Casadesus Recital Hall $6 general public; $3
faculty/staff/seniors; free for students
Sunday, April 1 5 Ahicanaise: A n evening ofAfrican Inspired Compositions 3 p.m.
– Anderson Center Chamber Hall – $10 general public; $6 faculty/staff/seniors; $3 students
Sunday, April 15 Guest Organist Carla Edwards – 4 p.m. – First Presbyterian Church,
Binghamton $10 general public; $6 faculty/staff/seniors; $3 students
If you enjoyed and were inspired by this performance, please 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 larger community. Please make your donation payable to
the Binghamton University Music Department, and send to P.O. Box 6000,
Binghamton, NY 13902.
For ticket information, please call the
Anderson Cen ter Box O ffice at 7 7 7’AR T S
�
Dublin Core
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Coverage
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
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Concerts ; Instrumental music ; Live sound recordings
Description
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Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
Template: PDF / Rosetta
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Original Format
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1 sound disc
Duration
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74 minutes: 45 seconds
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141816">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141816</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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My Favorite Fantasies, March 17, 2012
Description
An account of the resource
Works by Bach, Sweelinck, Philips, Wright, Mozart Held at 4:00 p.m., March 17, 2012, United Prebyterinan Church, Binghamton, New York.
Creator
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Biggers, Jonathan
Publisher
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Binghamton University Libraries
Date
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3/17/12
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In copyright
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sound
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Reinhardt Promptbooks
Description
An account of the resource
<strong><em>Who is Max Reinhardt?</em></strong> <br />The celebrated <span>Austrian t</span>heater director <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt</a>, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. <br /><br /><em><strong>What is a prompt book?</strong></em> <br />The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. <br /><br /><em><strong>Why are his important?</strong></em> <br />Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. <br /><br /><em><strong>Acknowledgements</strong></em> <br />Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale.
Relation
A related resource
<p><a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><em><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a><br /></em><br /><a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/"><span>Max Reinhardt Archives and Library</span></a><br /><br /><a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&tab=DigitalCollections&search_scope=DigitalCollections&vid=01SUNY_BIN:01SUNY_BIN&offset=0">Max Reinhardt Collection Photographs</a></p>
<p></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a></p>
Rights
Information about rights held in and over the resource
In copyright
Contributor
An entity responsible for making contributions to the resource
Jean Green, <br /><br />Binghamton University Students: <br />Madelynn Cullings<br />Kashawn Hernandez<br />Aanyah Jhonson-Whyte<br />Marisa Joseph<br />Bethany Maloney<br />Ashleigh Marie Sherman<br />Thomas Tegtmeier<br />Joseph Vitale
Promptbook
Description
Extensive notes throughout. Most written notes are in purple pen. Stage drawings are found throughout as well. Blue pencil notes on back cover, possible short notes/pages key.
Supplement consists of pages with general notes, scene/dialogue rewrites, and stage setting sketches/directions.
Collection
Max Reinhardt Promptbooks
Dimensions
Physical dimensions of item
29.5cm x 23cm
Earlier version
Earlier version (dcterms:isVersion Of)
(not found)
Notes
Located in Binghamton University Libraries Special Collections
PT2635.E548P75 v.70
Production(s)
October 28, 1922, Vienna
December 20, 1922, Vienna
Accessibility
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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
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Namenlosen (Die Entgleisten) [promptbook]
Subject
The topic of the resource
Lenormand, H.-R. (Henri-René), 1882-1951. Namenlosen (Die Entgleisten)
Promptbooks
Stage directions
Creator
An entity primarily responsible for making the resource
Lenormand, H.-R. (Henri-René), 1882-1951
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
1900s
Contributor
An entity responsible for making contributions to the resource
Reinhardt, Max, 1873-1944
Language
A language of the resource
German
Identifier
An unambiguous reference to the resource within a given context
R3165
Rights
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Copyright undetermined. This image is provided for educational and research purposes only as is stipulated by U.S. and international copyright law. For more information, please contact speccoll@binghamton.edu.
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Reinhardt Promptbooks
Description
An account of the resource
<strong><em>Who is Max Reinhardt?</em></strong> <br />The celebrated <span>Austrian t</span>heater director <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt</a>, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. <br /><br /><em><strong>What is a prompt book?</strong></em> <br />The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. <br /><br /><em><strong>Why are his important?</strong></em> <br />Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. <br /><br /><em><strong>Acknowledgements</strong></em> <br />Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale.
Relation
A related resource
<p><a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><em><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a><br /></em><br /><a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/"><span>Max Reinhardt Archives and Library</span></a><br /><br /><a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&tab=DigitalCollections&search_scope=DigitalCollections&vid=01SUNY_BIN:01SUNY_BIN&offset=0">Max Reinhardt Collection Photographs</a></p>
<p></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a></p>
Rights
Information about rights held in and over the resource
In copyright
Contributor
An entity responsible for making contributions to the resource
Jean Green, <br /><br />Binghamton University Students: <br />Madelynn Cullings<br />Kashawn Hernandez<br />Aanyah Jhonson-Whyte<br />Marisa Joseph<br />Bethany Maloney<br />Ashleigh Marie Sherman<br />Thomas Tegtmeier<br />Joseph Vitale
Promptbook
Description
Red-orange covered book, label on spine worn, “84” written in pen. All text in German. Markings in purple ink, blue pencil, red pencil, and black pencil. Cast list given on title page. Includes supplement folder containing ten loose sheets of paper, nine typewritten.
Collection
Max Reinhardt Promptbooks
Dimensions
Physical dimensions of item
22.25cm x 18.5cm
Notes
Located in Binghamton University Libraries Special Collections
PT2635.E548P75 v.34
Production(s)
September 15, 1917 (city unspecified)
October 31, Berlin (year unspecified)
Accessibility
Copy/Paste below:
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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
Napoleon, oder die hundert Tage [promptbook]
Subject
The topic of the resource
Grabbe, Christian Dietrich, 1801-1836
Promptbooks
Stage directions
Creator
An entity primarily responsible for making the resource
Grabbe, Christian Dietrich, 1801-1836
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
1900s
Contributor
An entity responsible for making contributions to the resource
Reinhardt, Max, 1873-1943
Language
A language of the resource
German
Identifier
An unambiguous reference to the resource within a given context
R 3139
Rights
Information about rights held in and over the resource
Copyright undetermined. This image is provided for educational and research purposes only as is stipulated by U.S. and international copyright law. For more information, please contact speccoll@binghamton.edu.
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21c2b96a79d0c6e1cf59a522fb5bd8c0
PDF Text
Text
STATE UNIVERSITY OF NEWYORK AT BINGHAMTON
DEPARTMENT OF MUSIC
presents
THE NEW AGE BRASS ENSEMBLE
Juilliard School N.Y.C., N.Y.
Steven Koeppel, Trumpet
Philip Smith, Trumpet
John Mosca, Trombone
Christopher Bohl, Trombone
Dale Whitman, Horn
Fri., Feb. 25, 1972 - 8:15
Recital Hall
�PROGRAM
Samuel Scheidt
(1587-1654)
Canzona Bergamasca
Musi c For Brass Instruments (1944)
Chorale - Fantasy
Intermezzo
Fugue
Ingolf Dahl
William Bergsma
Suite For Brass Quartet
Scherzo
Song
Showpiece
INTERMISSION
Three Short Pieces For Brass Trio
Suite For Brass Quintet
lntrada
Ceremonial
Passacaglia
Fugue
Parable For Brass Quintet(l968)
Quintet in þÿB&m
Major for Brass Instruments
Grave - Allegro
Adagio
Allegro Vivo
Merle Hogg
Herbert Haufrecht
Vincent Persichetti
Robert Sanders
�
Dublin Core
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Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
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In copyright.
Template: PDF / Rosetta
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Original Format
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2 sound tape reels
Duration
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39:44:00
OHMS Object
URL
https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63598
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63598"> New Age Brass Ensemble Recital</a>
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Title
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New Age Brass Ensemble Recital, February 25, 1972
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Scheidt, Dahl, Hogg, Persichetti, and Sanders. Held at 8:15 pm, Feb. 25, 1972, Recital Hall.
Creator
An entity primarily responsible for making the resource
New Age Brass Ensemble
Publisher
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Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
1972-2-25
Rights
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In copyright
Contributor
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Scheidt, Samuel, 1587-1634
Dahl, Ingolf, 1912-1970
Hogg, Merle, 1923-2017
Persichetti, Vincent, 1915-1987
Sanders, Robert L., 1906-1974
Type
The nature or genre of the resource
sound
Identifier
An unambiguous reference to the resource within a given context
39091020096438
39091020096487
39091020096222
-
https://omeka.binghamton.edu/omeka/files/original/8266d5061b7872b976ea66b65d629ce5.pdf
743be7c77d4dc5ab22f396dc49e1da62
PDF Text
Text
State University of New York at Binghamton
HARPUR COLLEGE
Department of Music
presents:
Saturday, June 11, 1966
8:15 p. m.
College Theater
�THE NEW PALTZ TRIO
PROGRAM
TRIO SONATA IND MINOR
Largo
Allegro con Fuoco
Adagio
Allegro
Robert King , violin
Martin Sperber , oboe
Robert Mumper, piano
J ean-Bapciste
SONATA INF MAJOR
Allegro Vivace
Adagio
Assai Vivace
Felix Mendelssohn
Loeillet
Robert King, violin
Robert Mumper, piano
-intermission-
SENIOR RECITALS:
June 12, 1966 Sunday 8:15 p.rn. College Theater
PAUL H. DIEKE, tenor
June 14, 1966 TUesday 8:15 p.m. College Theater
PAMELA STARR, mezzo-soprano SUSAN PETERS, piano
NOCTURNE INF MAJOR , Op. 15, No. 1
ETUDE IN E MINOR, Op. 75, No. 5
ETUDE IN E FLAT MINOR, Op. 10, No . 6
ETUDE IN B MINOR, Op. 75, No . 10
Robert Mumper, piano
Frederic
Frederic
Frederic
Frederic
SONATINA FOR OBOE AND PIANO, Op. 3
Allegro
Lento
Vivo
Josepb Horovitz
Martin Sperber, oboe
Robert Mum per, piano
Chopin
Chopin
Chopin
Chopin
�THIS EVENIN:;'S ARTISTS:
ROBERT KIN:i, Professor of Music at New Paltz, is the
conductor of the Symphony Orchestra and violinist in Chamber
Ensembles. Dr. King, a native of Ohio received a Bachelor
of Mus ic degree from Ohio State University. He holds a
master's degree from Ea.strnan School of usic where he studied
violin with Andre DeRibaupierre. He studied conducting under
Pirre Monteux. His first professional conducting e x p e r i e n c
was as the musical director of the Ithaca Civic Opera Company.
While working on his doctorate at the University of
llinois , he was assistant conductor and soloist with the
Unive rsity Symphony Orchestra. In 1S157, he sp
t several
nths in Europe and in England where he observed the major
Euro an orchestras, operas, and chamber music groups. He
taught violin at the University of New Mexico and conducted
the university orchestra and opera while there. He was the
concertmaster of Albuquerque Civic Symphony and conductor of
the Albuquerque Youth Orchestra. Mr. King has had orchestral
experience with Pierre .Monteux, Sir Thomas Beecham, Hans Lange
an Izler Solomon.
ROBERTMUMPER, pianist, is Assistant Professor of Music
at the State University at New Paltz . Mr. Mumper has apared as soloist with orchestras, in solo recitals, and
has performed frequently on radio and television. His
teachers have included: George Haddad, (Ohio State University
Irwin Freundlich, {Juilliard School of Music;) and Sidney
Foster, (Indiana University).
MARTIN SPERBER, oboeist, is Assistant Professor of Music
at the State University at New Paltz, ew York. A native of
ew York, Mr. Sperber received a B.S. in Music from Juilliard
School of Music and a M.A. from Columbia University. He is
a l so v-.0rking on a doctorate at Columbia University at present.
Prior to teaching Mr. Sperber played with the ational
Symphony in Washington, D.C., Buffalo Philharmonic, and the
Pitt sburgh Symphony. In addition to teaching at the College,
Mr. Sperber is presently first oboe in the Hudson Valley
Philharmonic, conducted by Claude .tvnnteux. He also is a
member of the Hudson Valley WoodwindQuintet, a group that
has given concerts at New Paltz, Vassar College, and the
S orm King Art Center.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
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In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
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3 sound tape reels
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
30:16
23:52
25:59
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54427">New Paltz Trio Recital</a>
Accessibility
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Dublin Core
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Title
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New Paltz Trio
Recital Tape 1966-6-11
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Loeillet, Mendelssohn, Chopin, and Horovitz
Creator
An entity primarily responsible for making the resource
New Paltz Trio
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Contributor
An entity responsible for making contributions to the resource
Lœillet, J. B. (Jean-Baptiste), 1653-1728
Mendelssohn-Bartholdy, Felix, 1809-1847
Chopin, Frédéric, 1810-1849
Horovitz, Joseph, 1926-
Date
A point or period of time associated with an event in the lifecycle of the resource
1966-06-11
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
New Paltz Trio Recital Tape 1966-6-11.pdf
-
https://omeka.binghamton.edu/omeka/files/original/39e1c193ee3dcac3d4fdeb14bdaca94d.pdf
a4c1d9b127a1c425595456c4a0165cce
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 O F NEW Y O R K
[4
v d e o
D E P A R T M E N T
NEW VOICES
NEW MUSIC
Jacq ueline Horne r Kwiate k, voice
fea turing
Michael Comp itello, percussi on
Daniel Thomas Davis, piano/conductor
Georgetta Maiolo, flu te
Timothy Perry, clarinet
Margaret Reitz, piano
Daniel Romberger, th eremin
Xander Edwards, cello
Joseph Vanderpool, v iolin
Sunday, May 1 1 , 20 1 4
3:00 p.m.
Casadesus Recital Hall
�oPROGRAMa
Two Rumi Songs (2014).
Based on texts by Jalal adDin Muhammad Rfimi(12071273)
1. There is a Community of the Spirit
11. I Am Part of the Load
Patience (2014) .
Based on texts by Mi na Ghalib (1 7971869)
Dancing Water, Swimming Shadows (2014)
Based on texts by Jalal adDin Muhammad Rami (12071273)
1. The Ocean Moving All Night
1Vl Daring Enough to Finish
V. The Shine in the Fields.
P R O G R A M T EXTS & NOTES6’s
.Richard Hugunine
Texts by Jalal adDin Muhammad Ri mi
(12071273), translated by Coleman Barks
David Schwartz
Christian Martin
INTERMISSION=&
Khan Variations (200 1 )
lf Fleas Had Feelings (2014).
Lost (2014)
Two Dickinson Songs (20 1 4) .
1. My River Runs to Thee
. Alejandro Vinao
. Daniel Romberger
Joseph S. Keller
Emmanuel Sikora
1 1. Summer for Thee Grant 1 May Be
the red wheelbarrow (2014).
Two Songs from Follow Her Voice (2013)
L. Slender Flowing Flame
11. Thin Fire Racing
The Trees They Grow So High (1943)
She Moved through the Fair
Scots Song (1991)
H UG U NIN E:
Two Rumi Songs
. Daniel Romberger
. Daniel Thomas Davis
arr. Benjamin Britten
. Traditional Irish
arr. James MacMillan
The performance of compositions based on classical Persian texts and music is made
possible through the generous support of the A k bar i Persian Music Program.
1. There is a Community of The Spirit
There is a community of the spirit
J( n n and feelithe delight,
The delight of walking in the noisy street
And being the noise,
Drink all your passion
And be a disgrace.
Close both eyes to see with the other eye.
l l . Tam Pa rt of the Load
1 am part of the load not rightly balanced.
l drop off in the grass like the old Cave
Sleepers
To browse wherever I fall.
For Hundreds of thousands of years
I have been dust grains floating and flying
In the will of the air,
Often forgetting ever being in that state.
But in sleep I migrate back.
1 spring back from the fourbranched time
and space cross,
This waiting room.
I walk into a huge pasture.
I nurse the milk of millenia.
Everyone does this in different ways,
Knowing that conscious decisions and
Personal memory are much too small
A place to live.
Every human being streams at night
lnto the loving nowhere
Or during the day in some absorbing work.
SCHWARTL:
Patience
Text by Mina Ghalib
English Translation:
A lifetime passes before a sigh shows its
effects
Who would wait so long to see you fixing
the tangles in your hair
A hundred dragon mouths create a net of
waves from a single ocean
Oh what a task it is for a drop to turn into a
pearl
Love needs patience but lust is restless
What color should my heart be, till it bleeds
to death
I know you will not ignore me, but
By the time you know of me, 1 would have
turned to ash
Each drop of dew is aware that it can be
destroyed with the rays of the sun
I will survive similarly, till you glance at me
Your glances can bring my life to end
As dancing sparks bring an end of a fun
filled gathering
Life is all suffering, Asad, it can be cured
with death
The candle burns in many colors till the
morning comes
MARTIN:
Dancing Water, Swimming Shadows
Texts by Jalal adDin Muhammad Rami
(120712 73), translated by Coleman Barks
1. The Ocean Moving All Night
Stay with us. Do not sink to the bottom
like a fish going to sleep.
Be with the ocean moving steadily all
night,
not scattered like a rainstorm.
The Spring we are looking for
is somewhere in this murkiness,
See the night lights up there traveling
together,
the candle awake in its gold dish.
Do not slide into the cracks of ground
like spilled mercury.
When the full moon comes out, look
around.
�iaABOUT THE PERFORMERS=6
Percussionist MICHAEL COMPITELLO is guided by his passion to
create new art through collaborations with composers, performers, actors,
and artists in all mediums. Currently Director of Percussion at Cornell
University, Michael has worked with composers David Lang, John Luther
JACQUELIN E HORN ERKWIATEK is a member of the world
renowned vocal quartet Anonymous 4. She has recorded ten award
winning CD’s with the group, including American Angels which twice
topped Billboard’s classical music charts, and The Cherry Tree, one of the
top selling classical CDs of 2010. A4 has collaborated with such
distinguished artists such as the Chilingirian string quartet, harpist
Andrew LawrenceKing, writer Toni Morrison, composers Steve Reich,
Richard Einhorn, Sir Peter MaxwellDavies, Sir John Tavener and David
Lang and tours extensively throughout the US, Europe and the Far East.
Anonymous 4’s collaboration with composer Christopher Tin, singing the
Irish lament “Caoineadh” on his album Calling All Dawns, with Jacqueline
as featured soloist, led to a Grammy Award. In addition to her work with
Anonymous 4 she has a reputation as a versatile and accomplished soloist,
specializing in early and new music. Praised for her “glowing” voice by the
New York Times, Jacqueline has appeared with many early music ensembles
both in Europe and the US, including The Washington Bach Consort
DC, The Bach Sinfonia, Carmel Bach Festival,St Thomas Church NYC,
Bach Vespers at Holy Trinity Lutheran NYC, The Baltimore Consort,
Armonia Nova,The Folger Consort, Parthenia, Sonnambula, Abendmusik
and The Sixteen. Her work in new music has led to collaborations with
composers Judith Weir, Karlheinz Stockhausen, Luciano Berio, Orlando
Gough, Richard Einhorn, Andrew Toovey, Louis Conti, and Andrew
Lovett, singing with such distinguished new music ensembles such as
Ensemble Modern Frankfurt, Ensemble Intercontemporian Paris,
Singcircle,Continuum, Ixion and the Locrian Chamber Ensemble. She
has premiered roles in several operas, including Bacchant in The Bacchae
(John Buller) for English National Opera, Mon k in Gawain (Sir Harrison
Birtwistle) for The Royal Opera Covent Garden, Jeannie in The Juniper
Tree (Andrew Toovey) for Broomhill International Opera, Jackie Kennedy
in Jackie K (Andrew Lovett) for English National Opera Contemporary
Opera Studio, and Eliza Doolittle/ Scheherazade in The Loathly Lady (Paul
Richards) at University of Pennsylvania.
Adams, Martin Bresnick, Helmut Lachenmann, Alejandro Vinao, and
Marc Applebaum on premieres and performances of new works, and has
performed as a chamber musician and soloist in diverse locations such as
the Darmstadt Summer Course, the LA Phil’s Green Umbrella Series, the
I nternational Festival of A rts a nd Ideas, the N orfolk Chamber Music
Festival, and the Ku rt Weill Festival. From 2009 to 2010, Michael
performed and studied contemporary chamber music with the Ensemble
Modern and the International Ensemble Modern Academy in Frankfurt,
Germany on a Fulbright Grant from the US Department of State.
Michael’s interest in interdisciplinary collaboration has led to
performances at the Yale Repertory Theater and the Yale Cabaret, where
he helped create “Basement Hades,” a multimedia musical drama
featuring his duo New Morse Code, composer Dan Schlosberg, students
from the Yale School of Drama, and director Ethan Heard. As a student
of Robert van Sice, Michael earned an MM and MMA from the Yale
School of Music, and a BM from the Peabody Conservatory. He was
Interim Lecturer in Percussion at UMass Amherst in the fall of 20 1 2.
Composer DANIEL THOMAS DAVIS’ wide range of musical activities
has taken him from the stages of Carnegie Hall and the Royal Opera
House to monasteries in the Horn of Africa to directing newmusic
festivals in the rural South. His music has been performed and/or
recorded by cellist Lynn Harrell, the Detroit Symphony, London
Sinfonietta, Lontano Ensemble, Charlotte Symphony, Lexington
Philharmonic, Ossian Ensemble, Latvia International Festival, BBC
Singers, Back Bay Chorale, and eighth blackbird. Other performers of his
music have included members of the Chamber Music Society of Lincoln
Center and Anonymous 4, as well as performers from the Chicago
Symphony, Berlin Philharmonic, Philadelphia, London Symphony,
London Philharmonic and Los Angeles Philharmonic Orchestras. Davis
has received fellowships from the British Government (Marshall Scholar),
the Bogliasco Foundation and the Yaddo Colony, and has been honored
by awards from BMI and ASCAP. Davis holds degrees from the University
of Michigan, Royal Academy of Music, School of Oriental and African
Studies, Peabody Institute, and Johns Hopkins University. Continually
fascinated by the intricacies and idiosyncrasies of the human voice, Davis
has also studied ethnomusicology and several East African vocal traditions.
As Assistant Professor of Music at Binghamton University, Davis directs
the department’s program in music composition.
�GEORGETTA MAIOLO is a member of the faculty of Binghamton
University and Broome Community College, teaching flute and directing
flute ensembles. From 1977 to 1996, she held the position of assistant
professor of flute at Ithaca College. She also taught flu te at Hartwick College
and West Virginia University. Maiolo is a graduate of Duquesne University
and attended graduate school at West Virginia University. She studied with
Bernard Goldberg, principal flutist of the Pittsburgh Symphony, Marcel
Moyse at Marlboro School of Music and Victor Saudek. At the age of 1 5, she
made her solo debut with the Pittsburgh Symphony. She is the recipient of
numerous honors, including the Very Reverend Thomas J. Quigley Award,‘
the NCMEA National Music Award, the Pittsburgh Tuesday Musical Club
Award, the Enola M. Lewis Scholarship and the Mu Phi Epsilon Sterling
Achievement Award.
Clarinetist and conductor TIMOTHY PERRY is currently the director of the
University Symphony and Chamber Orchestras. Professor Perry joined the
Binghamton University faculty in 1986, became Professor of Music in 2002
and received the SUNY Chancellor’s Award for Creative Activities in 2005.
Prior to coming to Binghamton Dr. Perry taught at Bemidji (MN) State
University from 19811986 and was a member of the Catskill Conservatory
(Oneonta, NY) from 19791981. Dr. Perry holds the DMA, MMA and MM
degrees from the Yale School of Music where he studied conducting with
OttoWerner Mueller, John Mauceri and Arthur Weisberg and Clarinet with
Keith Wilson. He holds the B. Mus. degree in Clarine t Performance from the
Manhattan School of Music where he was a pupil o f Leon Russionoff, and
attended the University of Wisconsin as a pupil of Glenn Bowen. As Music
Director, Dr. Perry has directed the University Orchestra since 1986, directed
the University Wind Ensemble from 19862005 and led the Binghamton
Community Orchestra from 19942004. As Clarinetist he served as United
States Musical Ambassador and has presented at three world conferences of
the International Clarinet Association.
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. She attended Boston University, New England
Conservatory and Binghamton University. She has s tudied piano with Jean
Casadesus, Victor Rosenbaum, Seymour Fink and Walter Ponce and
accompanying with Allen Rogers. She has accompanied throughout the
United States, in England, South America, Spain and at the American
Institute of Musical Studies in Graz, Austria. She was a winner of the Artistic
Ambassadors Program by the United States Information Agency in
partnership with the John F. Kennedy Center for the Performing Arts. She
has been on the faculty at Binghamton University since 1991, and Ithaca
College School of Music since 1999.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
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In copyright.
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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.)
01:15:37
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74937">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74937</a>
Accessibility
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Dublin Core
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Title
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New voices, new music: Jacqueline Horner Kwiatek, voice, featuring Michael Compitello, percussion
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Muhammad Rūmī, Hugunine, Schwartz, Martin, Viñao, Romberger, Keller, Sikora, Davis. Held at 3:00 p.m., May 11, 2014, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Davis, Daniel Thomas
Maiolo, Georgetta
Perry, Timothy
Reitz, Margaret
Romberger, Daniel
Edwards, Xander
Vanderpool, Joseph
Publisher
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Binghamton University Libraries
Contributor
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Muhammad Rūmī, Jalāl ad-Dīn, (1207-1273)
Hugunine, Richard
Schwartz, David
Martin, Christian
Viñao, Alejandro
Romberger, Daniel
Keller, Joseph S
Sikora, Emmanuel J
Davis, Daniel Thomas
Date
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5/11/14
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In copyright
Type
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sound
-
https://omeka.binghamton.edu/omeka/files/original/caafd0ce1eecac6871b68a3b02b51a56.pdf
1000dd0d75a5a6d7428a43ccf92efc87
PDF Text
Text
THE NEW YORK HARP ENSEMBLE
Rebecca Flannery
Ewa Jaslar
Barbara Pniewska
Martha Flannery
under the direction of:
Aristid von Wurtzler
Saturday, April 24, 1971
8: 15 PM
�P R OG RA M
Future Events
Danse des Femmes
Tuesday, April 27th, 8:15 PM
Music Recital Hall
An Evening of Mozart
Peter Marsh, violin and
Christine Lindsay, piano
Thursday and Friday
April 29th and 30th
Studio I, 8:15 PM
Admission.
Opera Workshop first
Spring production:
Menotti's The Old Maid
-----and the Thief.
Saturday, May 1st, 8:15 PM
Music Recital Hall
Paul Hersh, pianist
Solo recital.
Sunday, May 2nd, 3:00 PM
Music Recital Hall
Admission.
William Lewis, tenor
Scholarship benefit
recital.
Tuesday, May 4th, 8:15 PM
Lecture Hall I
David Harvey, composer.
Premiere of his MA thesis
composition for chorus
and orchestra.
Thursday and Friday
May 6th and 7th, 8:15 PM
Music Recital Hall
Admission.
Opera Workshop second
Spring production:
Puccini's Gianni Schicchi.
Saturday, May 8th, 8:15 PM
Music Recital Hall
Music for Flute and Piano
Maria Cisyk, piano and
Bruce Merley, flute.
Sunday, May 9th, 3:00 PM
Music Recital Hall
Diana Berdé, pianist
Senior Recital
Andre Gretry
Sixth French Suite
J. S. Bach
(Arranged by C. Salzedo)
Allemande
Gavotte
Menuet
Bouree
Prelude from Partita No. 3
J. S. Bach
(Arranged by M. Mchedelov)
Concerto in B-Flat Major
G. F. Handel
(With original cadenza by A. von Wurtzler)
Allegro moderato
Larghetto
Allegro non troppo
i
n t e r m i s s
i
o n
Preludes
M. Tournier
Martha Flannery and Rebecca Flannery
Rhapsody
M. Grandjany
Concert Improvisation
Solo by Ewa Jaslar
Sakura-Sakura
A. van Wurtzler
Japanese Folk Song
(Arranged by T. Mimura)
Three Hungarian Miniatures
Rakoczy March
L. Weiner
H. Berlioz
Polka in C
J. Press
The New York Harp Ensemble
�
Dublin Core
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Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
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In copyright.
Template: PDF / Rosetta
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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.)
31:30:00
OHMS Object
URL
https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63423
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63423">Recital New York Harp Ensemble</a>
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Dublin Core
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Title
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New York Harp Ensemble Recital, April 24, 1971
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Bach, Handel, Tournier, and Berlioz. Held at 8:15 pm, April 24, 1971.
Creator
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New York Harp Ensemble
Publisher
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Binghamton University Libraries
Date
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1971-4-24
Rights
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In copyright
Contributor
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Bach, Johann Sebastian, 1685-1750
Handel, Georg Friedrich, 1685-1759
Tournier, Marcel, 1879-1951
Berlioz, Hector, 1803-1869
Type
The nature or genre of the resource
sound
Identifier
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39091020070029
-
https://omeka.binghamton.edu/omeka/files/original/a6f70acdcedc7ec0705cc38e8f3f679e.pdf
74d28d93cd27ee61cc7d43b6066c9043
PDF Text
Text
STATE UNIVERSITY OF N E W YORK AT BINGHAMTON
HARPUR COLLEGE
T H E DEPARTMENT OF MUSIC
THE NEW YORK WOODWIND QUINT ET
in residence
Samuel Baron, flute
David Glazer, clarinet
Ronald Roseman, oboe
Arthur Weisberg, bassoon
Ralph Froelich, French horn
April 17, 1968
Harpur College Theater
8 :15 p.m.
PR OGRA M
Suite of Renaissance Instrumental Music
(t ranscribed for woodwind quintet by Ronald Roseman)
Donna di dentro
J ’ ay pris amou rs
Il est bel e bon
Ricerca r Belle canzon
Sopra “Il est bel e bon ”
Quartet No. 1 in F
for flute, clarinet, bassoon and horn
Allegro moderato
Andante
Rondo : Allegro
Metamorphoses
Adagietto
Allegro agitato
H. Isaac
H. Isaac
Passereau
G . Carazzoni
G ioacchino Rossini
Wayne Peterson
Intermission
MATRIX
for woodwind quintet (with saxophone),
piano and percussion
Karl Korte
WORLD PREMIERE
Elizabeth Korte, piano
Albert Hamme, saxophone
Christian G ranger, percussion
�PROGRAM NOTES
RENAISSANCE SUITE
This suite of instrumental pieces consists of four compositions f rom the reper
toire of the New York Pro Musica Renaissance Band and Wind Ensemble, of which
M r. Roseman is a member. It is typical of the music played by the “loud con
sort,” consisting of wind instruments cornetti (keyed trumpets), sacbuts (early
trombones) and shawms (ancestors of the oboe). These generally performed out
of doors or in large halls for ceremonial occasions, processions, tower music,
etc. The “soft consort,” on the other hand, consisted of inst ruments that could
play only quietly, such as recorders, viols or lutes.
A substantial part of the instrumental repertoire during this period consisted
of secular choral works performed on instruments. These were not considered
transcriptions in the modern sense, because instruments were usually used even
when these works were sung, either reinforcing the voice parts or playing one
or more of the vocal lines alone. The first three movements of this Renaissance
Suite are such works those of Isaac being love songs and Passereau’s being a
song in which a woman describes how “beautiful ” and good her husband is : he
doesn’t beat her, he washes the dishes, and he feeds the chickens (which can be
heard clucking) while she amuses herself. The fourth piece was written for key
board, being a canzone based on Passereau’s song. It was discovered by the
director of the New York Pro Musica, Dr. John White.
Ronald Roseman
Q U A R T E T N O . 1 I N F Gioacchino Rossini (17921868)
The best description of the style of Rossini’s six woodwind quartets might be
operatic chamber music. The key to this paradoxical style lies in the personali
zation of the inst ruments so that they seem to be cha racters in an Italian comic
ope ra. We recogni ze the ste rn fathe r, the impetuous soubrette, the romantic
tenor, and others. Rossinian wit abounds throughout this composition in the
lyrical as well as in the coloratura aspects.
Samuel Baron
METAMORPHOSES Wayne Peterson (1927
)
Metamorphoses was composed during the spring and summer of 1966. It is a
direct, light piece in two movements which exploits the coloristic and textural
possibilities of the wind quintet. The title was chosen because it seemed com
patible with and suggestive of the rather extreme, abrupt transformation of the
material. Many motifs and densities are common to both movements and have
their source in a twelve note combinatorial set.
In the first movement kaleidoscopic sonorities slowly emerge and alternate
with strands of melody which become more and more prominent, f ree and mer
curial, combining to produce a frenetic, textural climax. As the motion dissi
pates and merges into an ensemble cadenza, there is a gradual return in ret ro
grade motion to the static mood of the beginning. Like the first movement, the
Allegro Agitato is largely concernedwith the irregular, the static with the active,
etc. The basic ideas are contained in four opening phrases (cut short by pointil
listic fragmentation) plus a sustained passage led by the oboe. The subsequent
long development and rhythmic acceleration ultimately lead to a climactic,
fortissimo density. A coda employing an inversion of the opening phrase brings
the movement to a quiet conclusion.
Wayne Peterson
�)
MATRIX Karl Korte (1928
There is something reassuring about the Baroque “doctrine of the affections”
(one movement one mood). Unfortunately, “reassurance” as a valid goal in
contemporary art is being questioned not only by the avant garde but by the tre
mendous vitality of the “pop music scene.” Violence and tenderness, ugliness
and beauty, triumph and failure, tragedy and comedy all interact upon our lives
with such rapidity that it is being suggested that the “truth” of contemporary
existence can be found not along the axis of feeling, but rather at its intersection
with an opposite. At the risk of sounding overly portentous, that is what I believe
the cur rent music scene is all about and explains, at least to some extent, my
composition MATRIX.
At the same time MATRIX is not an avant garde composition. Its ties with
the past are too strong and besides. it leaves too little to chance. In this respect
the piece makes great technical demands upon the performers. There are no
“rallentandi” or “accelerandi” in the usual sense of the word as all changes of
tempo are carefully controlled through a series of metric modulations which
through notational changes alone produce tempi which are always exactly in the
ratio of 2 :3, 4 :3, 4 :2, etc. Not only does this eliminate a kind of expressive
gesture unsuited to this piece, but also, for the careful listener, produces a
sensation of movement within time quite unlike anything encountered in earlier
music.
Karl Korte
A RECEPTION honoring M r . Korte and the mem bers of the New
York Woodwind Quintet will be held in the Green Room im medi
ately following the concert. The audience is cordially invited.
Ushering courtesy of Alpha Phi Omega and Gamma Sigma Sigma.
�FUTURE MUSIC A L EVENTS
APRIL 21
Sunday, 8 :15 p. m.
The College Theater
No charge
APRIL 24
Wednesday, 12 :15 p.m.
Music Recital Hall
No charge
APRIL 24
Wednesday, 8 :15 p.m.
The College Theater
Admission : $2. 50 public,
.50 faculty, .25 students
APRIL 28
Sunday, 3 :00 p.m.
Music Recital Hall
No charge
THE COLLEGE ORCHESTRA
Program: Bach, Brandenburg Concerto No. 4; Haydn, Lon
don Symphony; Beethoven, Prometheus Overture; also, a
special massed choir will join the orchestra fora perform
ance of the Faure Requiem. Conducted by David Buttolph.
CHRISTIN E LIN DSAY, HARPSICHORD, AN D K A R E N
LOVEJOY, SOPRANO
“Songs f rom the Ba roque” including compositions by A . Sca r
latti and Monteverdi. Part of the Noon Recital Series.
THE GUARNERI STRING QUARTET
A rnold Steinhardt, violin ; John Dalley, violin ;MichaelTree,
viola ; David Soyer, cello. Sixth recital of the Spring 1968
Chamber Music Series.
JOHN M ET Z, PIANIST
Faculty member at Syracuse U niversity. P rogram : Sca r
latti, selected sonatas ; Mendelssohn, Variations Serieuses ;
Messiaen, Cloches d’angoisse...
. and C ante y o d j a y a:
Beethoven, Sonata in C Minor, Op. 111.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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.)
33:08
14:33
OHMS Object
URL
https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59419
Accessibility
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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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
New York Woodwind Quartet Recital, April 17, 1968
Subject
The topic of the resource
Concerts
Description
An account of the resource
Held 8:15 pm, April 17, 1968, Harpur College Theater. Works by Isaac, Carazzoni, Peterson, Korte.
Creator
An entity primarily responsible for making the resource
New York Woodwind Quartet
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
1968-04-17
Rights
Information about rights held in and over the resource
In copyright
Contributor
An entity responsible for making contributions to the resource
Korte, Karl
Isaac, Heinrich, approximately 1450-1517
Carazzoni, G.
Peterson, Wayne
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
New York Woodwind Quartet Recital_1968-4-17.pdf
-
https://omeka.binghamton.edu/omeka/files/original/e147bb8764ddc30eb3642f0e43e952d7.pdf
1f6612788ec50fec096edc3ff7951373
PDF Text
Text
STATE UNIVERSITY OF NEW YORK AT BINGHAMTON
HARPUR COLLEGE
THE DEPARTMENT OF MUSIC
THE NEW YORK WOODWIND QUINTET
in residence
Thomas Nyfenger, flute
David Glazer, clarinet
Ronald Roscman, oboe
Arthur Weisberg, bassoon
Ralph Froelich, French horn
with
THE LENOX STRING QUARTET
in residence
Peter Marsh, violin
Delmar Pettys, violin, viola
Paul Hersh, viola, piano
Donald McCall, cello
assisted by Alvin Brehm , d ouble ba s s
Sunda y, Nove m ber 22 , 1970
8 :15 p. m .
Don A . Wa tters Thea ter
P R OGRAM
Qua r tet i n E Flat Ma jor , Opus 8, No. 2
A llegro Mode ra to
Ka r l Sta m i t z
Andante
Rondo
Sum mer Music for Woodwind Quintet
Quintet No. 2
Andante con moto
A llegro com m odo
Adagio
Vivace
Samuel Bar ber
Alvin Etler
Inte rm iss ion
Nonette i n F , Opus 31
Allegro
Sche r zo : A llegro
Adagio
F inale : V ivace
Ludwig Spoh r
�FUTURE E V E N T S
MONDAY, NOVEMBER 23, 1970
8:15 p. m . Student Center Social Room
THE HARPUR CHORALE
David Buttolph, Condu c tor
SUNDAY, DECEMBER 6, 1970
8.15 p. m . Music Reci tal Hall
MARIA CISYK, FACULTY PIANlST
Solo Reci tal
THURSDAY, DECEMBER 10, 1970
FRIDAY, DECEMBER 11, 1970
8:15 p.m. Music Recital Hall
OPERA WORKSHOP PRODUCTION
William Lewis and Rober ta
Schlosser, directors
SUNDAY, DECEMBER 13, 1970
3:00 p.m. Student Center Social Room
JAZZ WORKSHOP CONCERT
Albert Hamme, director
WEDNESDAY, DECEMBER 16, 1970
8:15 p. m . Don A. Watters Theater
SPECIAL CHRISTMAS CONCERT
including singing with audience
participation.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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
3 sound tape reels
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
30:16:00
OHMS Object
URL
https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63345
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63345">New York Woodwind Quintet in Residence with The Lenox String Quartet/a> </a>
Accessibility
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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
New York Woodwind Quintet in Residence with The Lenox String Quartet, November 22, 1970
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Stamitz, Barber, Etler, Spohr. Held at 8:15 pm, November 22, 1970, Don A. Watters Theater
Creator
An entity primarily responsible for making the resource
New York Woodwind Quintet
Lenox String Quartet
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
1970-11-22
Rights
Information about rights held in and over the resource
In copyright
Contributor
An entity responsible for making contributions to the resource
Stamitz, Karl, 1745-1801
Barber, Samuel, 1910-1981
Spohr, Louis, 1784-1859, composer
Etler, Alvin, 1913-1973.
Type
The nature or genre of the resource
sound
Identifier
An unambiguous reference to the resource within a given context
39091020096404
39091020096453