128 10 1775 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 59:20:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE191457">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE191457</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Winter lights", December 6, 2008 Recital Tape 2008-12-6 Description An account of the resource Works of Strauss, Vivaldi, Tschaikovsky, Williams, Anderson.Held at 8:00 p.m., December 6, 2008, Osterhout Concert Theater, Anderson Center for the Arts. Creator An entity primarily responsible for making the resource Perry. Timothy Borton, Bruce Choi, Janey LeFebvre, Timothy Seletsky, Robin 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 2008-12-06 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID ef5ade62-8e1c-4f57-80de-22d71bb0569e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 51:24 21:24 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE191460">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE191460</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Binghamton Philharmonic south of the border IV, March 16, 2008 Recital Tape 2008-3-16 Description An account of the resource Title from Performances academic year 2007-2008 program.Held on March 16, 2008. Creator An entity primarily responsible for making the resource International Contemporary Ensemble Binghamton Philharmonic 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 2008-03-16 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID bd3faac5-24bd-4537-b646-50b537bc0cbe https://omeka.binghamton.edu/omeka/files/original/00da6848c85f5b6e39e72b3b5f90fc72.pdf 8072eececc0ef924abd55461c750bf61 PDF Text Text 8  B I N G H A M T O N  P H I L H A R M O N I C South o f the Border: Explorations Sunday, March 2, 2008  3:00 p.m. Anderson Center Chamber Hall Co­S ponsored by : BINGHAMTON    — L’  x  1  v  E  R  S  l  T  Y  — D E ­ P A Oreesce   R T M E N T Makoto Nakura, marimba Carlos Sanchez­Gutiérrez, composer­in­residence From “12 Etudes”  No. 1, E Minor No. 9, F­sharp Minor Heitor Villa­Lobos (1887­1959)* From “5 Preludes” No. 1, E Minor No. 2, E Major Sylvan Lay and Pastoral Air (2007)  Moto Osada (b. 1967) Memory of the Woods (2000)  Akemi Na ito (b. 1956) Wink/Te’ /man/wood] (2005)  Carlos Sanchez­Gutiérrez (b. 1964) Intermission Solo Violin Sonata No.1 in G Minor, BWV 1001  I  Adagio II  Fugue III  Siciliano IV  Presto J.S. Ba ch (1685­1750)* Fugue from “Solo Violin Sonata”  Béla Ba rtok (1881­1945)* Triple Jump (2001)  l  Hop ll  Skip III  Jump Kenji Bunch (b. 1973) * Transcribed b y Makoto Nakura This program is made possible by a grant from The New York State Music F und, established by the New York State Attorney General at Rockefeller Philanthropy Advisors. General Opera ting Support is provided to the Binghamton Philharmonic by a grant from the United Cultural Fund. a program of the B roome C ounty Arts Council and by public funds from the New York State C ouncil o n  the Arts, a state agency. �Makoto Nakura Marimbist Ma koto Nakura is a musician whose artistry and astonishing virtuosity has been mesmerizing audiences all over the world. In 1994, Makoto came from his native Jap an to become the first marimbist to win a place on the prestigious Young Concert Artists roster. He has performed for audiences in 40 of the 50 states, with orchestras such as the New Y ork Chamber Symphony, the Chicago Sinfonietta, the California Symphony and, as a recital soloist, his long list o f appearances includes Camegie’s Weill Recital Hall, New York’s 92nd Street Y, Washington’s Kennedy Center, Seoul’s Hoam Art Hall and Tokyo’s Suntory Hall. He has performed numerous times with the American Ballet Theater in New Y ork City, and he has also appeared as a guest artist with The Chamber Music Society of Lincoln Center. Mr. Nakura ha s established himself as a dedicated champion of the music of our time , and many lea ding young composers, including the composers on his three CDs have written pieces for him. It is his mission to explore and expand the possibilities of the marimba, and to demonstra te what an exciting and prov ocative vehicle it offers to composers and what a thrilling experience t presents for audiences. Born in Kobe. Japan, Mr. Nakura began to play the ma imba at the age of eight. He earned both Bachelor’s and Master’s degrees from Musashino College in Tokyo and continued his studies at the Royal Academy of Music in London A television p ortrait of Mr. Nakura was sho wn nationally on CBS News Sunda y Mormg. His recitals ha ve been widel y televised by KBS(Korea) a nd NHK(Japa n), as w d  as many radio stations. His recent honors include a National Arts Festival New Artist Award from the Japanese Agency of Cultural Affairs a nd the BMI/Ca rlos Surinach Fund Maimba Commission. He was named a n Associate of the Royal Academy of Music in London. His first CD from Kleos Classics Ritual Proto col and his second CD, Tsuneya Tanabe Works for Ma rimba on Japan’s ALM Records, are devoted to works written especially for him His latest C D from Kleos, “Triple Jump: Six orignal Pieces for Marimba” was released in November 2004. Carlos Sénchez­Gutiérrez Carlos Sanchez­Gutiérrez was born in Mexico City in 1964 and now lives in the New York Tundra, where he teaches composition a t the Eastman School of Music. He studied with Jacob Druckman, Martin Bresnick , Steven Mackey and Henri Dutilleu x at Yale, Princeton and Tanglewood, resp ectively. He h as received man y of the stand ard awards in the field (e.g. Guggenheim , Fulbright, Koussevitzky, Fromm, American Academy of Arts and Letters.) He likes machines with hiccups and spiders with missing legs, looks at Paul Klee’s Notebooks everyday, hasn’t grown much since he reached adulthood at age 14, and tries to use the same set of ears to Isten to Bach, Radiohead, Ligeti or Deep Purple. 1 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:07:17 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE191464">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE191464</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Binghamton Philharmonic: South of the Border: Explorations, March 2, 2008 Recital Tape 2008-3-2 Description An account of the resource Works of Villa-Lobos, Osada, Naito, Sánchez-Gutiérrez, Bach, Bartók, Bunch. Held at 3:00 p.m., March 2, 2008, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Makoto, Nakura Sanchez-Gutierrez, Carlos 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 2008-03-02 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID e20b5d32-145f-45c9-aeef-649064460b77 https://omeka.binghamton.edu/omeka/files/original/d7263de8c28a707b92cf4ab90b55576d.jpeg 93f7c9186fe28a7fa93632ac90f6ae9b https://omeka.binghamton.edu/omeka/files/original/e799d77fd2add9c0c0c9dcdd2639e285.MP3 80ae0cf75b2a1eacbbb83d32e998132d 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/. Format The file format, physical medium, or dimensions of the resource Audio interviews Title A name given to the resource McKiernan Interviews Description An account of the resource Stephen McKiernan's collection of interviews includes more than two hundred interviews with prominent figures of the 1960s, which were collected between the mid-1990s to 2023 The collection provides narratives of people who were actively involved in or witnessed events in the 1960s, an era which spurred profound cultural and political transformation in the twentieth century. Interviewees include politicians, artists, scholars, musicians, authors, and veterans who delve into the decade’s most prominent issues and events, including the civil rights movement, the free speech movement, the anti-war movement, women’s rights, gay rights, segregation, the Vietnam War, Woodstock, Hippies, Yippies, and individualism.<br /><br /> <h3>The McKiernan 22</h3> <div>Stephen McKiernan interviewed legends of the 1960s. When asked in 2021 where one should start when sifting through his vast collection, he provided the following list:</div> <ul> <li><a href="https://omeka.binghamton.edu/omeka/items/show/854">Julian Bond</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1866">Bobby Muller</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1175">Craig McNamara</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/910">Dr. Arthur Levine</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/837">Diane Carlson Evans</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/942">Dr. Ellen Schrecker</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/876">Dr. Lee Edwards</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/841">Peter Coyote</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1233">Dr. Roosevelt Johnson</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/899">Rennie Davis</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1222">Kim Phuc</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/917">George McGovern</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/833">Frank Schaeffer</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/840">Rev. Dr. Frank Forrester Church </a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1240">Dr. Marilyn Young</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/842">James Fallows</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/835">Joseph Lee Galloway</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/911">John Lewis</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/839">Paul Critchlow</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/888">Steve Gunderson</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1159">Charles Kaiser</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/2407">Joseph Lewis</a></li> </ul> Creator An entity primarily responsible for making the resource Stephen McKiernan Publisher An entity responsible for making the resource available Binghamton University Libraries Language A language of the resource English Rights Information about rights held in and over the resource In copyright. Template: Simple Audio Player with Transcription This template displays an audio player by Amplitude.js with a scrollable transcription which is loaded from the "Transcription" metadata field. This template displays an audio player with the first attached image file as the 'cover image'. For its audio source, the template looks for the first attached audio file. If additional audio files exist, they should be combined using audio editing software, or a separate Omeka item should be made for each part. Date of Interview 2021-08-06 Interviewer The person(s) performing the interview Stephen McKiernan Interviewee The person(s) being interviewed Linn Washington Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:44:33 Language English Digital Publisher Binghamton University Libraries Digital Format audio/mp4 Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Digital file Material Type Sound Interview Format Video or Audio Audio Keywords Activism; 1960s; News; Television; Media coverage; Watergate hearings; Journalism; Police brutality; Blacks; Racism; Civil Rights Protest; Vietnam War; Bigotry; Dr. Martin Luther King. Biographical Text Linn Washington is a professor of journalism at Temple University. He continues to work as a professional journalist where he specializes in investigative news coverage and analytical commentary. Washington also serves as an expert commentator, including appearances on CNN and the BBC World Service. He has a Bachelor's degree in <span>Communications from Temple University and a Master's degree in the Study of Law from Yale Law School.</span>&nbsp; Washington is also a graduate of the Yale Law Journalism Fellowship Program. Transcription Any written text transcribed from a sound, or alternative text from a visual medium McKiernan Interviews Interview with: Linn Washington Interviewed by: Stephen McKiernan Transcriber: Lynn Bijou Date of interview: 5 November 2021 ----------------------------------------------------------------------------------------------------------------------------------------- (Start of Interview) SM: 00:03 Alright Linn, you there? Linn? Oh, hello, Linn, are you there? Oh my god. Okay, there is something wrong, see with the phone here. Hold on. Okay. Thank you very much for agreeing to do the interview. LW: 00:24 Sure, I am glad to do it. SM: 00:26 And, and my first, first question Linn is could you tell us a little bit about yourself, your growing up years where you went to school, high school, college, your early influences in life. LW: 00:39 Okay. I-I was born in Pittsburgh, Pennsylvania, was born on November 17th, 1950. And I grew up in Pittsburgh, I grew up in the east end of Pittsburgh, the Homewood Brushton section. Lipton Upland Street, went to elementary school and high school in Pittsburgh and after I graduated from high school in 1968, I went to school in Ohio for a year then transferred back to, well transferred to Cheyney University, right outside of Philadelphia, they subsequently changed to, or transferred to Temple University, I graduated and started working in the news business. I- my college training was in television news directing, never got a job there, got a job in a newspaper business and have been doing newspaper reporting on and off for over 40 years. And for the last 24 years, I have been a professor of Journalism at Temple University. SM: 01:49 Yeah, when, obviously, you are a boomer. And [crosstalk] a lot of people that I have interviewed do not like the term being labeled into a generation. So, we have had, we have had a lot of that. But, when you think of the 1960s and early 1970s, that period, really between (19)60 and (19)75, what comes to mind, what are the good thoughts and then what are the bad thoughts? LW: 02:14 Well, it was one of from my, perspective, it was one of the more expansive periods of, of American history, I really felt that America was finally reaching its promise of equity for all, only to see a retrenchment in the (19)70s. But the (19)60s was, for me a great period to grow up in, very expansive. Very cool. [chuckles] I really enjoyed looking back on what I have read off history, and what I have lived. After that time, I-I do not think I would want to grow up in another period than the (19)60s was really the formative time. SM: 03:00 Now, of course, we know what was going on in the late (19)70s. About, you know, that-that period when they were trying to move back from what had been accomplished in the-the sick mid- mid (19)60s and very early in the (19)70s. But, when you were, what were the years that you were a Cheyney? LW: 03:19 I was a Cheyney from 1970 to (19)71 ish. And I, I did a year and a half of Cheyney. So that would have been (19)70 through the first semester - oh spring semester, because in fall, I guess (19)71 I went to, went into Temple [University]. SM: 03:38 Now, when you were Cheyney for that one year, you know, that is a crucial time, 1970. And was-was there a lot of activisms on the campus at that time? LW: 03:49 There was sufficient amount of activism, but the activism had somewhat chilled by the time I got there, cause in the, I am not sure if it would have probably been the semester prior to me getting there-there was a lot of activisms, and the university came down hard. And some of the activists ended up at the Delaware County Prison- which was up the hill from Cheyney. So, it did have a chilling effect from student activism. SM: 04:12 [laughs] LW: 04:18 Yeah-yeah. And I ended up at Cheney because of student activism at the university that I went to out in Ohio. And let us just say as the Marines you know, marines never retreat- SM: 04:18 Right. That-that happened at Westchester University too. [laughs] Right. LW: 04:34 But they just did attacks at a rear. SM: 04:38 Right. When you were there did you- LW: 04:41 [crosstalk] SM: 04:42 When you- LW: 04:43 I will admit I had to make a strategic retreat. [laughter] SM: 04:46 When you were at Cheyney, did you know that Coretta Scott King's sister was there teaching? LW: 04:51 No-no. SM: 04:53 Yeah, she was, she was, she was there- for many-many years teaching theatre. You know, the- LW: 04:55 I did not know that. Wow. SM: 04:59 -the boomers are kind of no longer young. Obviously, if the put in that period (19)46 to (19)64. They are now, the front edge are now in their early (19)70s. LW: 05:09 Oh absolutely. SM: 05:11 When you view the generation from this timeframe, what were their major accomplishments and you feel, you feel and what were their major failures? LW: 05:21 Oh, jeez, that is a very wide-ranging question, I think some of the major accomplishments were to continue to expand the, the middle class. I think there was a lot of learning that-that went on, both individually and collectively in terms of society in the (19)60s, early (19)70s. Where I think the generation failed, is that we, did not continue to push for the what was considered the values at that time, in the (19)60s. I mean, it was, you know, a lot of talk about, the rat race and, and resisting the, you know, just the work all the time, you know, sort of the materialism. A lot of that seemingly was going from what you needed to do to something that you probably should not do. And then there was that boomerang back, I guess it is pretty much started in the early, (19)80s, rather, with the Reagan administration- SM: 06:31 Right. LW: 06:31 And emphasis on me, individualism versus collectivism. So, I just see a failing of the baby boomer generation to really push and try to do all that they could to ensure that American democracy work the way that was said to work. And I am not only speaking in terms of the promises that have yet to be fulfilled when you are talking about persons of color. But I am just talking about society in general. We look at things like now, we are having a horrific problem, and almost an existential problem with, with climate change. I mean, the jet stream is breaking down. I just read this morning, again, that the Gulf Stream is breaking down, and having horrendous, floods and wildfires. I remember in the late (19)70s, when then, President Jimmy Carter had issued an edict that, to increase the gas mileage on cars. And he has faced a weathering pushback. Now, if that had had, that had happened, then we may have been in a position where vehicles would be less polluting. So, this focus on money and the politicization of things that should never be politicized, has now put us in a situation where I am quite concerned about what world my grandchildren will- SM: 07:01 Yes. LW: 07:30 Grow up in and what their children will face and endure. SM: 08:23 Yeah, I got some other questions later in the interview that are going to deal with some of these things. And, you know, that you probably had this sense when you were a student there, I was just a couple of years ahead of you, that, that we were living in a period of which was so unique and so different than, you know, things were finally revealed to us that we hadn't heard about a whole lot in the (19)50s when I was, growing up as kids, and about all the bad things that were happening. And then, we heard about the Montgomery Bus Boycott, what Dr. King's doing, we learn all about, more about the KKK, we learned the truth about Native Americans and Indians on TV. Were, we see all these things in the (19)60s, you know, that, you know, we are going to live up to what our constitution says, you know, we the people means, we the people grow, we are all one. I, I just wonder if that, this utopian mentality that many of the boomers had at that particular time that we, that is our generation is going to be the change agent for the betterment of society in just about every way. Was it, was basically a dream? Hot in the moment or, you know, you know, what has happened to this generation as they have gotten older? LW: 09:41 Well, I think the belief that change was coming, you know, change was right around the corner that, that things would change. substantively. That was, definitely in the year. It was a seer, and it was really heartfelt, but I did not think are afoot here. Number one, that sentiment was not held by the majority of those in that generation. It was always a small number of people, but because of media coverage, and that sort of thing, it gave an aura over the whole generation, which was not there. And I think, one thing that people who felt that and were actually working, as they perceived as change agents, did not recognize the resiliency in the intransigence of quote, the system. There is, you know a lot of inertia to keep things the way they are a lot of inertia, to maintain the status quo. And this effort and desire to change bumped up against that and lost, a lot of people may have wanted to do some change. But the, the demands and dictates of life 101- SM: 11:01 Yes. LW: 11:01 Have a job, keep a roof over your head, maintain a family, it is hard to maintain any sense of activism and change when you know, the notion is to conform, and to just, you know, survive. And I think that is what happened with a lot of people. Hey, you know, we, we love that [inaudible] woman in, in 1978. But now it is, I mean, 1968, but now it is (19)78, I have two kids, I have a car. SM: 11:32 Right. LW: 11:32 They need to be in, your car needs to be paid for at the end of the month, rent, mortgage, whatever. And more people just got sucked up into the system. And then it was just you know; they were parts of the status quo versus the change agent. And the change may have been still within their heart. But do I rock the boat? Do I risk losing what little I have- SM: 11:34 Yes-yes. LW: 11:47 -to effectuate change that may or may not be long lasting? So, very few people want to be at, at the front of the line of change- SM: 12:10 You-you raise- LW: 12:11 -they want to [inaudible] from it, but they do not want to be, possibly penalized by seeking those changes. SM: 12:17 You are making a truth to power statement when you are talking about the boomers. And then the percentage of those that were really activists, that even the literature states that maybe only maybe 5 to 7 percent, of the boomer generation was ever involved in activism all, in all the movements. And so, I-I want to raise something that I know Tom Hayden raised when he came to our campus many years back before he passed. And that is when he came to talk about student power, student power, student power to me in the (19)60s or young people power was about empowerment, the term empowerment, not about just I want power. And, and so he tried to explain it to the generation of the early 2000s, that, you know, controlling student government budgets and giving money out to you know, you make decisions on finances and everything to your fellow students. They felt they had all the power they wanted. Now that, that was not the power of the (19)60s, as you recall, the students were not found and wanting to be on making decisions with the Presidents, you know, every, everything, they want, wanted to get on certain committees, make issues, issues dealing with a curriculum, it, it was a sense of empowerment, that my voice mattered, as opposed to just searching for power. And, and when I look at all the movements, and I like your thoughts on this, whether it be the Black Power movement, the-the women, the gay and lesbian, Chicano environmental movement, it was all more about you know, my, I want my voice to be heard at the table. LW: 14:00 I get the sense that it was, empowerment versus power. Power has the, the individualistic connotations that you know, I have power and I can wield it, versus change for the larger society. And that is when I saw the sentiment from, from the (19)60s that, there was a sense that we could collectively we can make the world better, more livable world. If that means just being kinder to people or at that point, you know, Nathan environmentalism, just trying to, you know I am not saying this in a socialistic way, but just try to get out of the materialistic world that many people felt, was detrimental to the larger society. So, this notion of individual power. I mean, we certainly did not feel that in the student activism that I was involved in. Definitely did not feel that individual sense, was more aligned with the quote unquote black power movement than the civil rights movement. But it was always about the collective, the collective good versus the individual good because at certain points, people were willing to make some material sacrifices. Yeah, so. SM: 15:22 Yeah, one of the, what, the term watershed has come off many times there were things in one's life, especially when people were younger, that there was a watershed event or moment that changed their life. What was your watershed moment in your life? LW: 15:41 The watershed moment in my life? Oh, gosh, there was a couple of, I guess one that [chuckles] has turned out really, changed my life was the 1968 Olympics. SM: 15:57 Oh yeah. LW: 15:58 When, Tommie Smith and John Carlos made their protests and the, the other athletes made their protests. At that time, I was a student athlete, not of Olympic caliber, let me be clear. [laughs] SM: 16:12 Did not you get the gold medal, Linn? I thought you got the gold medal. [laughter] LW: 16:20 I may have had, gold medal, aspirations, but I had lead metal feet so, [laughter] I was not as swift as them. But it really had an, an impact on me, that they would not only, have the excellence in athleticism, but they had that feeling in their heart to use their platform to try to advance the change. Now, I am just not talking about that event itself that took place down in Mexico City, but, I closely followed the build up to that end, and all of the discussions and how that parallel into, you know, other things that were going on in the country, the fight around Muhammad Ali, and his stance on, I guess the Vietnam War, the efforts to try to, have some very serious examinations and re-examinations of racism, both institutional and individual. So, that protests really struck me close to, to the heart. And, as a consequence of that, I tried to organize the track team at the University that I was at, and talk about running, running up against the status quo. It was a 100-yard dash that ended into a brick wall, although I ran hurdles but- SM: 17:41 [laughs] Yeah. LW: 17:44 -so, so my activism fizzled real quick, I was actually thrown off the team, thus, you know, no track scholarship and, and then there were, you know just a couple of other events that happened at the university that really changed me around. I, remember, in my one semester, I had an anthropology class and the professor on the first day of class, was going through the evolution of mankind, and said that negroes, she did not say niggers, but she said, negroes were descended from monkeys, and that we actually had a pre tarsal bone. Where we once had tails and, those tails dropped off. And she, specifically [chuckles] said that if, it was not for her desire not to embarrass the white women in the class, she would have asked the few black men in the class to drop their pants to show these, bone, you know, where the bones used to be. And myself and the other black guys in the class, we looked at each other, and, [chuckles] you know, a couple of extra [inaudible], I mean, so it was like, "Okay, no, no, no. We are not going to get up here and smack this woman." We are going to fight her on her turf, which is the intellectual turf. So, we all did well in the class, including on the final, I had the highest score in the class. And then my colleagues were in the, you know, descending order. Purposely to make sure that we were not accused of, cheating, we sat in different sections of the room. Now perhaps, I am mistakenly sitting in the wrong seat because I sit right in front of her. And she was probably intimidated by that. But she, graded our papers and it was like, you know, 100 percent then crossed out, and then F. So, you know, at the end, when we got these back like, "What do you mean an F? You scored it at 100," and her response was, '"Black people are incapable of passing my test. I do not know what you did. I do not know how you cheated, but I know you must have cheated." SM: 19:31 Oh my god. [laughs] LW: 19:36 Then we went to the department head, who was a gentleman from Kenya, he said, "You know, I agree with you. But there is nothing I can do. Because if, although you seem to have a very valid case, if I do anything it will be just seen, then I am doing something for you because you are black." You know it is like, wait a minute, we are wronged here. We scored legitimately on this test and the teaching of, and we did not even call the teacher racist, although she was. So, you know, all that hard work we ended up with, with F's in the class. So, those two events during our first year of college, I think were perhaps pivotal. But there, of course, were others along the way. I mean, as you- SM: 20:45 Wow. LW: 20:46 -grow, you know, you start seeing different things, small things, and large things, it may have a, a real impact on you. SM: 20:53 I certainly hope that she did not get tenure. [laughs] LW: 20:56 Oh, she was tenured. SM: 20:58 Oh, she was? LW: 20:59 [crosstalk] Professor. Oh, yeah. SM: 21:01 Oh, my God. Jeez. LW: 21:03 Yeah. SM: 21:04 Well, that is, that certainly a watershed event. One of the things here, also is, you refer to it in the very beginning, but why did you choose to become a journalist? What and, and when, and when you did? What are you - I know, I have, I have read your writings many times. What was your first major news coverage that, in your career, the one that really stood out? LW: 21:27 Okay-okay. Well, the, [chuckles], some of the first coverage I did that has stood out and still stands out as my coverage of move. I was assigned to move shortly after became a full-time reporter in the fall of 1975. And now, oh gosh, 44 years later, I am still covering move. [laughs] Amazing. SM: 21:52 Reparations, yeah. LW: 21:53 But how I became a reporter, it was more like the reporter became me versus me become a reporter. I, one of the good things that happened to me in Ohio, I found an interest in photography. And I, started to shooting pictures. And by the time I was in my last, that last semester, Cheyney (University), I said, well, the new medium is television. So, let me go to Temple (University), which had a program for television. And so, I will be on the cutting edge of what is coming next. I had an interest in news, I wanted to be a television news director. But I wanted to be like a field director. So, you know, I wanted to cover wars and jump out of helicopters with cam, you know, camera equipment, and all that sort of thing. As it turned out, after four hundred resumes into television stations all over the country, including in, Minot, North Dakota. And after I sent a resume there and an application, I found out that was one of the coldest places in the United States. So, I am glad they never called me back. But I never got a call back from many stations and the few stations that I did get a call back for, it was just ugly experiences. And a job opened up at the Philadelphia Tribune, I was already freelancing for them. I had a weekly column called "Checking it Out," where I would cover community news events, their regular entertainment people covered the large venues, that at the time the Spectrum or, you know, somebody like Michael Jackson would come in or some of the, the well-known artists, they covered that. I found that opening by covering small events, you know, things in church, basement things and community centers. And so, I was doing that on a freelance basis when that position opened up. I never wanted to be a print reporter that print. Just the thought of being a print reporter really made me sick on my stomach. The only print reporter that I had any inkling of was a guy named Clark Kent. And Clark Kent was a newspaper reporter incidental to his real job, which was superman. So, I did not know- SM: 23:08 [laughs] LW: 24:14 -anything about news reporting. About, as a, you know, young father, the wife at the time said you know, "Love, I am supportive of you and you are achieving your dreams. But we need diapers and food for the kids.' And I was like, "Well, you are right." So, I took the job, at the Tribune. I could always write, that was I think, perhaps the only strength that I have is being a writer. As a child, or not a child, yeah, well, child and a teen, I mean, I was not that good in interpersonal interactions. I was very shy. I could not dance. So, you know, I was always the proverbial wallflower, but I could write, and I saw that as, is my strength. And so, having a writing job you know, fit the skills that I had, and after about six months, it was like, "Wow, I really liked this," because it is kind of fi, a lot of things that I wanted to do. I wanted to be in a position to, say effectuate some change. So, by putting out news that could help people, I had always entertained that I, you know, at some point would be a secret agent or, you know, detective or something like that, while being a reporter I was able to investigate things. It gave me an opportunity to travel, initially just around the city. Well, I know Philadelphia well, right? Because I am reporting all over. SM: 24:14 [laughs] Right. LW: 24:39 It was not overseas that, that came, you know, years later. So, I found out that I, I really liked it. But it was not something that I set out to do. I remember, when I graduated from high school I worked in this summer program, and because I could write, they assigned me to the Public Relations staff. And one of the persons who were, one of the other high school graduates that was working there. This guy knew that he wanted to be a reporter. And he knew all of his life that he wanted to be a reporter. And he was on his way to some school, somewhere out in the Midwest, to study journalism, and it was always "Wow, how did this guy know, I mean, what is it about this reporting thing?" [laughs] And then years later, he is, I, become, became a reporter myself. And like I say it after a couple of months, it was, I was bitten by the bug, and I am, I am still doing it. SM: 26:52 Well doing very well. And [crosstalk] and you are teaching future generations about the way to do it, the right way to do it. I- LW: 27:01 That is, that is what I am hoping. SM: 27:02 -yeah, as a journalist, going back to that period between (19)60 and (19)75. Could you just, could you, what were your thoughts on the news at that time, the print journalism, the television, news, newspapers, radio, magazine coverage? And the reason I am bringing this up, is because many plate, many people believe that the Watergate hearings, and the, and how the coverage changed the direction of writing. And that is because of what happened with, you know, the reporters, The Washington Post- LW: 27:38 Woodward and Bernstein. SM: 27:38 Yeah, Woodward and Bernstein, and Ben Bradley, and I mean, that whole group. Please describe that, in that particular Watergate, the Watergate hearings, and what it really did to journalism. LW: 27:54 Well, clearly, the Watergate affair had an impact on journalism, primarily from the works of, Woodward and Bernstein, which in effect, brought down the Nixon presidency. I mean, Nixon, in his crimes and malfeasance crumbled his own administration, but the reportage that had, clearly, in effect, reinvigorated interest in investigative journalism. But at the time, that they were doing what they were doing, and I was just pretty much starting my career. My, let me just roll it back a little bit. You were saying, what was my, opinions on journalism in the (19)60s and the (19)70s. SM: 28:47 Yes. LW: 28:48 I did not become a journalist until around (19)72, (19)73, when I started writing. And, and at that point, it really was not, well it was journalism, but it was not news journalism, I was doing entertainment and music reviews and movie reviews. My desire at the time, was to either be a jazz writer, a jazz critic, or a movie critic. So, I really did not have that much of, of interest in news. Now in the, late (19)50s, throughout the (19)60s, and then of course, through the rest of my life. My initial contacts with news was from a consumer point of view, an informational point of view. I grew up in a household where reading a newspaper every day and reading these magazines and other things was required, it was not, was not something that you couldn't do. My grandfather, was an avid reader, one of the smartest person I knew, ever, in life. Although he did not go to college, he had to drop out of college to take care of his sisters after his parents died. He was in enrolled in Tuskegee [University], and he had to come out. But he was an avid reader. And, he was in private service, he worked for a rich family. So, when they were finished with their, National Geographics, and other magazines, they would give him to, Luther [laughs] my grandfather's name. And he would read through them, and then he would dog ear certain articles, you know, and then he would bring them to us. And we had to, we had to read them. We always had a subscription to, the local newspapers. And I was in a couple of, college type programs, so we got free subscriptions to Time and Newsweek. So again, I was just an avid reader, consuming. So, it was not from an analytical point of view, it was just, an informational point of view. So as far as I was concerned, at that time, those publications were providing all the news that I needed to know. And at the same time, I was reading, the Pittsburgh's African American newspaper, "The Pittsburgh Courier." And from time to time, I was reading the publication from the "Nation of Islam: Muhammad speaks." So, I was consuming a lot of different kinds of materials. But again, just trying to learn more about the world. And what I felt was the news that was going on in the world, it was not that I was analyzing it, seeing the deficiencies in it, in areas where, who were, could be improved. Posture that I started taking on, after I became a reporter, and started seeing news from a different perspective, and news organizations from a different perspective. SM: 31:52 Did you, did your grandfather ever sit down at the kitchen table with you and discuss some of those articles? LW: 31:59 Oh, yeah-yeah we- SM: 32:01 That is fantastic. LW: 32:01 -we would discuss it and they were always discussions in, in the house. And the notion of reading and trying to absorb more information was not just from newspapers. I mean, we would, there was this publication that was put out for kids, it was called "The Weekly Reader." It was a little magazine, and my mom had a subscription to it. So, every, you know, at least once a week, perhaps twice a week, my mom would get my brother and sister and I, and sit us down, and we would go through the Weekly Reader, we would read it together, go through the exercises, and there was always one of these. They had a, ongoing series here called "Goofus and Gallant." And of course, Goofus, was the doofus and he was always doing something wrong. Gallant was always the nice guy, and they were little lessons of life. So, we learned that we did not, never wanted to be Goofus. [laughter] Although we might have aspired to be Gallant, you know, and maybe get there every now and then. But we definitely did not want to be Goofus. [laughter] So, I am just saying that there were, varying levels of literacy in, in my household. Both my parents are college graduates. My dad was in law, my mother was in education. So, reading, and being aware of what is going on around you and trying to develop your mental capacities, was something that came from the parents and from the grandparents. My, my mother's father. SM: 33:40 I want to talk a little bit more, this was a question for later on, but I think I will bring it in here. And that is, that era of Watergate was really when investigative reporting really took a big jump up, upwards. And a lot of people are going into journalism schools wanting to become the next Woodward and Bernstein and you know that for many years, we do not kind of, I have read articles recently that, that is kind of gone by the waste side now that investigative journalism is not what people are going for. I would like your thoughts. I am going to, just a couple of comments here. Investigation as opposed to cover up. This is a question about your world of journalism. When both in the (19)60s and now in (19)73, Watergate investigation and back in the (19)60s and (19)70s, this is my perception. Everything was studied and investigated. Investigative Journalism seemed to be an all-time high, did not take sides. Everyone was, everyone was looked at. It was not a right or left thing. It was not a red or blue thing. It was everyone. And now we are hitting in this period and 2021 where investigative journalists are becoming dinosaurs, in my view, and newspapers, radio, T.V. are now owned by corporate interests. That was not the case, in the (19)60s, when you had a Katharine Graham, a Ben Bradley, a Woodward and Bernstein, they were not beholden to anybody. Corporate influences seem to be major today, not only on T.V., but in, on radio, and newspapers. Just your overall thoughts on journalism, because this is your career, you are teaching the future of journalism for your students. Do you think of these things too? LW: 35:28 Well, yeah, I definitely think about where journalism is and where it should be. And how can journalism stay, faithful to its role in American society, the founders of this country, from my reading of history, the founders of this country, gave a little carve out to journalism for a very specific reason. Why we have a, freedom of the press clause of one of the five in the First Amendment was because the founders wanted journalists, well, what was what we now know, as journalists, to provide basically two functions. One was to provide information to the public. So, they can make better informed choices, not just about them, their lives, but specifically about how they should engage in democracy and how democracy should work. So, we need information about what is going on in government so people can make more informed choices. Thus, that concept of the quote, "informed electorate," who was supposed to inform the electorate, the press, and back then it was just the printing press. We did not have, you know, internet, cell phones, video cameras with digital data cards. And, then there was another function that the founders wanted for journalism, and that was to bide a check, a watchdog role on government. The American government is three branches, right, the executive, the legislative, and the judicial. Each of those branches has, quote, checks and balances powers on one or the other. Congress passes the law, the executive, implement the laws, the courts make sure that the implementation and the law itself, is constitutionally, it passes constitutional muster. Now, within that scheme of three branches of government, each with checks and balances powers on each other, the founder said, "Who is going to check the checkers? Whose going to be that entity that makes sure that all of these three branches of government operate in the best interest of the people?" And that is where the press comes in. And that is why we have these freedoms, First Amendment, but we also have that responsibility to provide information and to provide that watchdog role, that constitutional responsibility in terms of its implement implementation, and I would argue it ss embraced, ebbs and flows. I, you laid out how the Watergate investigation worked within Bernstein, reinvigorated investigative reporting, and that there was a lot more independence. back then. I would argue this, that there has always been an interest in investigative reporting. We have got to remember people like, Lincoln Stephens and Ida B. Wells. I mean, think of Ida B. Wells, a woman in a time of just serious machismo. [laughs] SM: 39:03 Right. LW: 39:03 And then she is studying and, and reporting on lynching, extra judicial murders committed by mobs. So that, element of investigative reporting has always been there. The fact that, most of your news entities today are owned by corporations, while that has a very dilatory [inaudible] the only thing has changed is that there have, been there are now less owners and operators than there were before. But the, shall we say, the lack of thorough coverage has not changed that much. Whether it was individually owned media, regionally, versus now nationally and internationally owned media. There are certain stories that just do not get out. And, and that was a reflection of the publishers and how those individual publishers, related to the business community in their areas. Let me just give you a couple examples. Philadelphia has a real police community problem and that police community problems stems from police brutality in the city. Police brutality in Philadelphia in 2021, did not start in the year 2000. It literally goes back to the beginnings of the 20th century, the 19, the 1900s. There was a study that was conducted in 1970, about the coverage of the media on police brutality in Philadelphia. And what they found was that the, the news media conscientiously refused to cover police brutality. When in if it was covered, it was covered from the police department's perspective. And whatever the police department said, that was enough. This, bloody bashed black person probably threw themselves down the steps and then ran out and got hit by a bus, and then blamed it on the police. Now, that was 1970. At the time, the SAMSA, we say "The Philadelphia Inquirer," just citing one example, was owned by Walter Annenberg. So, there was a corporate decision by Annenberg to not cover the brutality of the police department. SM: 39:23 Wow. LW: 40:33 The paper was subsequently sold to "Knight Ridder," a newspaper chain, Knight Ridder later brought in a new editor, Jean Roberts. Jean Roberts is looking around saying, "Okay, what can we cover? How can we make more of a contribution that would help circulation of newspapers," and they came upon police brutality. They started covering police brutality, won a couple of investigative awards for and their coverage allowed other media in the city, the three, six, ten T.V. stations, "The Bulletin," which was the other newspaper at the time, they finally started giving, more provocative coverage to the issue of police brutality. Now, this is what was happening in the white media. The Philadelphia Tribune, the oldest African American owned newspaper in the country to start a publishing in 1883 had always covered police brutality. But the other newspapers would not. So, to say, you know, from my perspective to say that the news industry was good at one point, now, it is a little better, but not, it just does not track the history of, from what I see what the media has not, has not done. SM: 43:07 Right. LW: 43:07 Let us remember, in 1968, the U.S. government issued a, the findings of a presidential commission that examined the urban disturbances of the 1960s. It was called the "Kerner Commission Report." And one of the lines in the kind of commission report that has resonance even today is that America's two countries, you know, separate and distinct, and they are moving further apart. And we have to do something about that. Well, the reality is, it was always two countries, that is, it has been embedded in the law, where black people were not supposed to be a part of this, and neither were Native Americans. But I bring up the Kerner Commission only to say that there is a chapter in the Kerner Commission that deals specifically with the medias, chapter 15. They looked at how the media covered the riots of, of the mid (19)60s. But they also examined the media itself. And one of the things they said, their greatest concern is that the media is failing on it is basic mission to inform. They do not inform their audience, which is why about life in, in black communities. At the time, in 1968 they said to the news media, "It is no longer acceptable to say that you cannot find qualified persons of color to work." There is a whole black media out there that you can gain reporters from. Now when, that was in (19)68, now in 2021, and we still have problems with employment in the media. They have, they have increased some, in (19)68 It was something like 4 percent. Now it is up to about 7 or 8 percent. So yes, in real terms it is double. But, when you have a city of Philadelphia, where over 50 percent of the population are persons of color, and it was an audit just done on "The Enquirer," where their coverage is 60 percent white, what I am saying, you know, who gets into paper in terms of the issues that they focus on the people they quote, his experts, that shows that there is some residual biases, or shall we say endemic biases that still persist in the media. SM: 44:41 Wow. This, this is wonderful to hear this. And, and I know that the people that will be listening to this interview, as they are all the interviews, will use his research and scholarship in whatever career they are going into. I mean, this is very, this is very important information. I have learned something today just from, just these last 10 minutes. And it is very important. Thank you very much for elaborating, as you have done, I have a list of some things here from the (19)60s and early (19)70s. That I, I know that the media covered them, sometimes they probably over cover them as time goes on. But just, just a few, just brief comments. I got about twenty-two of them here. I, there is many more, but these are events. LW: 46:02 Okay. [chuckles] SM: 46:03 The number one is the election of JFK in (19)60. Just your thoughts on that? LW: 46:11 Well, when JFK was elected in 1960, I was 10 years old. So to me, the world was, tomato soup and- grilled cheese sandwiches- SM: 46:25 [laughs] Yep. LW: 46:26 -for lunch. [laughs] SM: 46:28 Mac and cheese. [laughs] LW: 46:30 I walked home from school, ate lunch, and then walked back to school. SM: 46:33 Wow, okay. LW: 46:35 I have to admit and, and even to this day, I still kind of cringe on this. But the day that the, there was this funeral, the, the formal funeral, after Kennedy was assassinated. We had the day off from school. Some people, like our parents were glued to the television set watching this funeral of an American president. But for me and my friends, it was a day off from school. So, we were out in the street playing football, you know, tag football. So, a lot of these national events, these really pivotal events in American history as a child and a team. That was something that affected grown folks. Yes, the President was shot. I guess that is kind of bad. But gosh, we got a day off from this. SM: 47:32 Right. Yes. LW: 47:35 That is, that was my thinking on both the election and the funeral of Kennedy. SM: 47:40 So, these early, these events like certainly the Cuban Missile Crisis in (19)62. That was unbelievable on T.V. And then as you get into the mid (19)60s, the March on Washington in 1963, Brown versus Board of Education, and certainly the Voting Rights Act of (19)65, and (19)64. And these are, these are things that I remember, and maybe it is just me, but they were monumental in my life, because I was, I was a little older than you. And then of course, the Beatles come to America in (19)64, beginning of the British invasion. LW: 48:16 I remember that, yeah. It is all. [inaudible] SM: 48:18 Yep, the [inaudible]. LW: 48:20 I remember watching the Beatles walk off the, walk off the airplane and young ladies were just fainting at the airport. And I am just sitting there at the T.V. looking at this stuff, and wow, this is really crazy. SM: 48:31 [laughs] LW: 48:32 Beatles made some nice music. But this, is kind of like the, the glamour of, of the time- -of the time period. Remember the, the great civil rights work and a lot of the, as you say, the passage of the Voting Rights Act and the Civil Rights Act. I mean, I read about those and knew what was going on. I could relate to some of that because, say, I told you my father was a lawyer, but he was also a politician. And the neighborhood that I grew up in Homewood when we moved to Homewood. Lastly, my parents always lived in Homewood. But, as we move from an apartment to an apartment to the finally the home that they purchased, the neighborhood was primarily white. And at the time, Pittsburgh was doing urban renewal in the area right off downtown. And there was a phrase called, "Urban Renewal means Negro removal." So, they were going into these black neighborhoods, tearing everything down, to build new office buildings, or in, Pittsburgh's case what they call the Civic Arena, which was a venue for concerts and sporting events. But they go there right in the black neighborhood, but the black neighborhood was right next to downtown [inaudible] district. So, a lot of those people were moving out into Homewood and my father was part of an effort to secure the ward championship in Homewood to persons of color. And so, I am saying this to say that the group that he led, and he ultimately did become the board leader. But the group that he led, which was an interracial group, need to emphasize that they held meetings two or three times a week in my living room, Portland, the living room, or my parents’ house. SM: 48:39 Right. LW: 48:39 I was not paying any the bills, so. [laughter] [crosstalk] But they met every night. I mean, there is like 30-40 people crammed into the living room and the dining room. And I am sitting on the steps. And I am not really realizing all that is going on here. And I am listening to this and listen to that. And I am listening pretty much I am a little perturbed because I wanted to go into the kitchen and get a bowl of cereal and some snacks. Before I went to bed, and I could not come down the steps. It was always adults there. [laughter] When I am, I am looking at change, but not really realizing the enormity of what I am looking at. And the years later, I stumbled upon clippings that my mother kept. And I saw the, their struggles that they went through, people were fired from their jobs, it was physical intimidation, it took them like two or three years to actually effectuate change. So, and I was oblivious to the change that was going on, I mean, I saw it in you know, different ways and different places. But again, being a child and then a teen. My interests were not in the macro fans, who were in, in the microphones in front of me, where we want to go swimming tonight, and this was at a time. Now I told you I grew up in Pittsburgh. So, we are not talking about Pittsburgh. There is a Pittsburgh, Alabama, and Mississippi. And there is a Pittsburgh, California. So, I am not talking about down south. I am talking about- SM: 48:39 Right-right. LW: 50:41 -Pennsylvania, I had to walk almost three miles to go to a public pool because the public pool in our neighborhood, which was about eight blocks away. Negroes were not allowed in. In 1969, I ended up being a lifeguard there. And I was the first or second black lifeguard had ever been at that pool. SM: 52:32 My god. LW: 52:33 So, there was discrimination all around. When I would go to my father's, mother's house on the other side of the city, they lived up on Mount Washington in an area called Bell's Hoover, there was a high school literally in the, in the junior high school, literally a half a block away from the back door of my grandmother's house. But we could not go there to go swimming because of the racial situation. So, we had to walk again two miles to a public pool that allowed negros in, but we had to walk through various white neighborhoods. So, we were always there, you know, looking around to see if we were going to get beat up, walking through these neighborhoods. So again, I understood these things. But, again, I did not grasp the enormity of it, until I got older and was able to look back and see some of these things. And then, also started looking at the things around me at the time, with the perception of an older person that had a little more understanding about the dynamics that were going on in the country. SM: 53:37 Linn was that also, was when you became a lifeguard at that, basically segregated pool. Was that one of those watershed moments in your life? You really, you were, you were an older person now as a teenager, so. LW: 53:51 Right, yeah. I guess in some ways, it was a watershed moment, but not. It was just one of those things that happen. I was more interested in the fact that I landed a summer job that paid good money. [laughter] SM: 54:05 Right. LW: 54:07 Versus me to see myself as someone who helped desegregate the place. SM: 54:11 Right. LW: 54:12 Now, I had a nice job. I made good money. I was not, you know, lifting garbage cans or you know, painting walls like- SM: 54:19 Right. LW: 54:19 -some of the summer jobs where I could chill out in the swimming pool. And it was an easy way to collect money. [laughs] SM: 54:26 Let me just, [crosstalk] let me just read a few more of these, I will just read them and you can just comment in at the very end if you want to. These are ones that certainly the Gulf of Tonkin Resolution of (19)64, the formation of the American Indian Movement in (19)68. Certainly, the Black Panthers with Cleaver, Newton, and Brown. The Montgomery boycott was actually much earlier, the formation of snick. You know, and I was young enough to know the conversion from John Lewis to Stokely Carmichael. And, what happened at Selma. Certainly, the Chicago convention and 1968 after King's murder, Bobby Kennedy's murder, the Chicago 8 trial, the landing on the moon in (19)68, Stonewall in (19)69, the Kent State killings in (19)70, McGovern is defeated by Nixon in (19)72, in a landslide. And then, Goldwater was defeated in (19)64 by L.B.J. And Agnew, continues to attack students in all of his speeches, Nixon silent majority, the Vietnam War from (19)67 to (19)71. The coup in (19)62, when Kennedy was president, while standing at the schoolhouse door, which I remember, like anything, the women's movement, and the protests of Miss America contest, the Watergate hearings, these are just some of the things that were the (19)60s and early (19)70s. And, of course, we ended up getting disco in the middle of the, (19)70s. LW: 54:57 [laughs] SM: 55:35 And, and the great music of you know, Barry White and Isaac Hayes. And I mean- LW: 55:45 Oh yeah-yeah. SM: 55:45 -this whole is, you know, it is like you, like you mentioned, Linn, it was an unbelievable time to live in. LW: 56:01 Yeah. SM: 56:02 Sad, a lot of sadness. But, you know, I do not know if you want to comment on any of those that were had. LW: 56:10 Well, sure. The Vietnam War was definitely a big part of all of our lives. And we saw it, played out live on television, but saw it in some other ways too, the, you know, in the initial phases of the Vietnam War, not the initial phases, because the Vietnam War, actually, the Vietnam War actually started in the late (19)50s, when Americans were sent in after the French would run out, and Americans were sent in as advisors- -initially. And then they started bringing in, Special Forces, but at the time the Special Forces were more paratroopers than Green Berets. And then when we get to around the mid (19)60s, things are starting to ramp up. And with that ramping up of, drawing people into the war, there was this draft. And, I remember sitting in high school, we would go home on Fridays, we come back on a Monday, and there would be missing seats in the classroom. When I say missing seats, I mean a person is missing from those seats, because everybody was assigned a seat. While the draft people were coming to people's homes on the weekend, grabbing them and taking them and sticking them in the war. And many of the people who were grabbed on one weekend. You know, this was in the fall, the spring semester, when we come back, they would be back in school, sometimes missing fingers sometimes missing other body parts, they have gone to war get blown up- SM: 56:40 Right. LW: 57:36 and were sent right back home. So, the war was not something that was remote for me. Now, I guess you, the way you talk about watershed events and things changing. My evolution as a person was in the early (19)60s. I wanted to, my aspiration after high school was to go to West Point, become a paratrooper, and go over to Vietnam and kill Vietnamese. But the events, the civil rights protests, the business with, Muhammad Ali Lee, and just doing more and more reading, I became less and less enamored with that war. And my interest in, going to West Point and becoming a paratrooper just evaporated. When I graduated from high school, I had an opportunity to go to Annapolis, they wanted me to come down there and run track. But at that point, I was, you know, anti-war, anti-military. And I, wanted to direct my energies to changing [chuckles] or contributing to change versus being a part of supporting a status quo that I, I really did not like. So, yeah, the Vietnam War was definitely, definitely a big part of it. I remember the change when Stokely took over the Student Nonviolent Coordinating Committee. I remember the rise of each wraparound, those were my heroes, King was not. I saw King at the time as, too conciliatory, to turn the other cheek. Really saw him, and I hate to say that now, because I have studied King a lot more and realized, you know, all of the contributions that he made, and the courage that it took to do what he did back then, it was at, well, he is not Malcolm X, you know. He wants to be too conciliatory; he was not a Black Panther. He was criticizing of the Black Panthers when they were just trying to stand up. And, you know, black berets and leather coats looked a lot cooler than, [laughs] a straw-hat walking down a road in Alabama getting beat by the, Alabama State Police. SM: 57:36 Wow. Right. LW: 1:00:02 Now, you know, I know a lot more about him and call it if. So, those events that you raised, or things that I was aware of, and a lot of my friends were aware of. And we were talking about him, and it is not like, you know, they were things just happen out there. And we are worried about, you know, what is the latest record coming from Motown? And can we afford to buy it at our friend's father's record store? But so, we were definitely aware of them. There were discussions in classes. We, I was in the upper bound programs, we were on the campus of the University of Pennsylvania, take, I mean not the University of Pennsylvania, University of Pittsburgh, Pitt, taking classes they were, you know, discussed there. But a lot of that stuff was, well, that is way over there. In terms of the Vietnam War, although many of our colleagues and close friends were in the war. SM: 1:00:53 Yeah, everybody knows the history of Philadelphia with respect, I think it is Thomas Edison High School, the largest number of students that died in the Vietnam War- LW: 1:01:03 Right-right. SM: 1:01:03 -came from Thomas Edison High School. And I interviewed the former principal, and he told, his brother was one of those that was killed. What is really sad is the stories of a lot of those men that I think The Philadelphia Inquirer, I think, they did an unbelievable reportage, when the, the Vietnam memorial was built at Penn's Landing. You probably remember this, Linn, that newspaper, every single person who served, who died, they were all there, anybody was on that wall from Philly was on there, it was, I have five of them, I have given them to Binghamton University because it is such a historic thing. But the reasons why they went into that war, were as diverse as, you know, the people of America. Wanted to get, if somebody, one thought of these, you know, they could not get a job. They can do well, in the military, they can see the world, you know, the whole story there. And while it is Terry, while it is Terry, if he was alive, I certainly would have interviewed because one of his books, was a book on Bloods. LW: 1:02:07 Yeah, I read that book. SM: 1:02:09 It is in a Wallace and what he did, by risking his life, to be next to the soldiers who were African American, Vietnam is amazing story, as you well know. When you look at the, when you look at the battles fought in the (19)60s and the early (19)70s, over segregation, racism, sexism, equality, justice, peace, human rights, environmental concerns, homophobia, where did we fail? And where did we succeed, heavy? You know, I say this, because, you know, my advisor at Ohio State was Dr. Roosevelt Johnson, if you want to listen to him, I interviewed him. And he is one of my interviews, he was the man outside of my parents who had the greatest influence on my life. He was an African American PhD at the age of twenty-nine, at Ohio State University. LW: 1:03:03 Oh, my goodness. SM: 1:03:04 And, when I was scheduled to start in the fall of 19- (19)70, it was (19)71. And I ended up going there, I broke my arm. And I ended up getting, going a semester later, and I bite because of that, I had the chance to have Dr. Johnson as my advisor. I can tell you, we sat in the office talking about the issue of between African Americans and white Americans, for hours and hours and hours, our program was geared toward that. It was to, geared toward encounter trying to understand, trying to listen to what other people felt not knowing that we are not in their shoes. But, to at least listen. And I, asked this question kind of in honor of Dr. Johnson, because Dr. Johnson's, we always said, you know, you know, "Do, do your part, play your role in making this a better world for everyone. And speak up when you have to," even if there is a risk in speaking up, if you see injustice, and he passed away in 2015, and now I cannot talk to him about how he would feel about where we are in 2021. I think he would be disappointed. Your thoughts on-on all of these things here. Why are we taking one step forward and two step backwards in 2020 and 2021? That is what I am feeling it. And I do not know, if I am the only one. LW: 1:04:29 Well, the one step forward and two step backwards is not something unique to our time period. In the, now 21st century. It has always been, the modus operandi of America. And that is something that because we do not, because we do not do enough to really learn the true history, as, what was it, George Santiago's said, " Those who do not learn from history essentially are doomed to repeat it." The March on Washington that everybody lodged in applause. Now, Dr. King says during oratory, "I have a dream." While those who are yelling, we need to focus on the "I Have a Dream," you know, particularly now those who are against critical race theory, like that is taught in elementary schools or the sixteen nineteen project, They, they are either willfully ignorant, or willfully deceptive of the fact that before Dr. King articulated his dream, he delineated a nightmare in America. He talked about voter suppression. He talked about income inequality. He talked about housing deprivation, he talked about health care, and he talked about police brutality. In fact, he criticized police brutality, twice in that speech. And what is forgotten about that event in August of 1963, is that the person who put that protest march together that program, a Philip Randolph, a black labor leader, had actually set that protest to take place during 1943. Over the same issues, but the President of the United States at the time, intervened and asked him to hold off, because the country was at war against Japanese imperialism, and German fascism. And he did not want, to have a dismissiveness in America. But those issues, were still there. So, when we talk about the civil rights movement, the civil rights movement was the civil rights movement of the (19)60s. It was not the only one. So, the, the one step forward, two steps back that you referenced, and rightfully, we can see that happening. After the Civil War, what happened after the Civil War, there was supposedly this, period of reconstruction. And, let me just give you one example. I do not want to get too deep into history. But, after the Civil War, the Congress under the leadership of a, Pennsylvania Congressman, I think was Thaddeus Stevens, Congress passed a law that said that all former slaves were entitled to one hundred acres of land. And if they pay nominal rent on this land for five years, they would have ownership of that land. Okay. It, it was not, I am sorry, it was not one hundred acres, it was 40 acres. It was not forty acres and a mule. The 40 acres and a mule was a field order that a Union General gave for a small section of Georgia, this law would have given ex-slaves 40 acres, at nominal rent, it was not giving them anything, at nominal rent. The, then President, the person who succeeded Lincoln after he was assassinated, Andrew Johnson wrote a very venomous veto of this bill, saying, in essence, not in essence, but saying in fact that it would be unfair to white people to give this opportunity to former slaves to be able to rent land. Now, the duplicity there is that years, about three years before that, Congress passed what was called the Homestead Act, which gave persons one hundred acres of land for free, out west, but Blacks were barred from doing it. So, here we have the president of the United States saying that Black people cannot even have the opportunity to rent land for five years to get it. At the same time, that any white person in America or any white immigrant who came in America had an opportunity to get one hundred acres of free land. And so, we see these disparities from time and time and time again. In 1799, a group of black Philadelphians sent a petition to Congress, and at the time Congress was meeting in Philadelphia, right in Independence Hall, George Washington was living one block away in a rented mansion as president, at 16 Market Street. And that, petition said or requested two things. One, that there will be a gradual abolition of slavery, not an immediate end to it, a gradual abolition of slavery. And the person said that, you know, implement this gradual abolition of slavery and we, the Black community would take the lead in doing what was needed to do to help our brothers make the transition from slave to free. But they also asked for something else. They asked for protection under federal law to prevent the kidnapping of free Blacks and sending them back to slavery. You remember the, you remember the movie that won an Academy Award in 2013, "Twelve Years a Slave." "Twelve Years A Slave" was based on a book that was written for a guy named Solomon Northrup, who was a free black concert pianist who was kidnapped and held in slavery for 12 years. That happened in the, his book came out in the 1850s. So, if Congress had responded to this tax paying, free black citizens of the United States, in 1799, the likelihood of Solomon Northrup being, literally kidnapped would have been lessened severely. And thus, you know, we would have had a movie on, Solomon Northrop in the 2000s. Now, that petition was debated a little bit by Congress. And Congress ultimately said, "Well, look, we have no power to change slavery because it is the law." Okay, so this critical race theory alone is saying, well, there is nothing about racism and a law, racism is embedded at the very soul of the law in America. One congressman wins that debate. And if you go into the Congressional Record, I got a copy. You see where there was a congressman from South Carolina, I think his name was Whelan. He got up and said, you know, these people are asking us to do something that the law forbids us from doing, we cannot do anything about slavery because it is in the Constitution. And furthermore, furthermore, we should table this petition, because it was not written by black people because everybody knows that negros cannot write. Now, this petition was put together primarily by two people. One a guy named Richard Allen, the founder of the AME Church in Philadelphia that became a denomination around the world. And another minister named Absalom Jones, who founded perhaps the first black church, St. Thomas Episcopal Church. Now the irony here, Steve, is that Absalom Jones was the primary author of the 1799 petition. Absalom Jones had authored a petition that was sent to Congress in 1797, on behalf of some free blacks who were run out of North Carolina, and the petition is so, and it talks about the experience of these people who were chased out of the state, chased off the land they would own, by giant massive dogs that were unleashed by our fellow citizens on us. And Congress refused to deal with that event, in fact, James Madison, the father of the 1st and 15th of the Bill of Rights, got up and said that the petitioners have no right to come before Congress, they need to take it before the state government. And we are sure that the state government will look favorably upon their petition when they were run out of state and the state government did not do anything for them. And that would have been 1797, in four years, well, three years before that, Absalom Jones and Richard Allen wrote a pamphlet to rebut racist accounts of what black people did in the 1793, yellow fever epidemic, where they served as nurses to the persons who were sick and bury the dead. That critique that they wrote was the first criticism of racism in the media that took place in the United States. They wrote it. Yet in 1799, you had a congressman from South Carolina, who said that we should not consider the petition that was filed in 1799 because black people couldn't write. And you remember, during President Obama's first term, I think it was his first or second State of the Union address. One congressman got up and said, "You lie," and walked and stormed out of the, The Chamber. He was a congressman from South Carolina, Columbia, South Carolina. So here, 1799 ignorance from somebody from South Carolina, and then in 2000 something ignorance from somebody from South Carolina. So, there is a circularity to this ignorance that breeds racism but a racism that breeds ignorance. And that is what America is. So, when we talk about one step forward, and two steps back, that has been the American dance since it is very inception. SM: 1:10:39 Yes. LW: 1:10:40 Yeah, you know, Linn, again, a beautiful description of all these years here. It is, something is happening in America today. We knew that in the, in the (19)60s and (19)70s, you know, it was a rough time, in many areas and movements and everything. But there is something about right now. I mean, not, I do not even have to talk about the pandemic. I am talking about right now in America, in the last I can, I do not even know what it is, 10 years. And of course, many people can say, well, it. The reason is, though, you see a part of the American now that elected Donald Trump. You know, it is about well, we want to go back to the way it was. And when I hear that, I said, "What are you talking about the way it was?" And I do not know, I talked with my peers. There is a lot of confusion here. And it is, a very disturbing time we are living in. Yes, it is. SM: 1:15:51 And I do not know, I cannot believe that after all we have been through in our history. And from all ethnic backgrounds that we have not got, have not gotten farther than we are, even though we have gone quite a way. How anyone, how anyone can ever feel that they are better than someone else has disturbed me from the day I was 10 years old. And, and, and I sense that there is so many Americans who feel that they are better. Whether it be because of their skin color, their religion, their politics, you know, sexual orientation, gender, I mean, this, it is disturbing. LW: 1:17:21 It is, but it is one of these things that America, and Americans have not learned from American history. And that is in large part because history is not taught properly. There is an African proverb that says that "Until lions, have historians, the hunters will always be heroes." And this, there has been a fight, a resistance to learning the true history of America, the black history of America, the Native American history, one of the, more intriguing things that museums that I have ever been in, and I have been in museums all around the world, when I travel always wanted to go to museums and learn about, you know, their respective countries. So, the British Museum, the Louvre, you know, museums in Venice, the apartheid Museum in Johannesburg, South Africa. But I went to the, there was a Cherokee, up in the Cherokee reservation right outside of Asheville, North Carolina, and went through their museum and saw the, just devastation that was wrought against them and went through the Native American museum down in Washington, D.C. And so, you get the real sense of what is going on. But what I am trying to say, in terms of not knowing history, in the 1890s, there was a severe recession in the country. And something happened during that recession. And particularly in the south, it was poor whites and poor Black farmers, and just workers started looking at each other and say, "Wait a minute, you are Black, I am white, but we are, we have something in common. We are both dirt poor." And who is keeping us dirt poor? It is not rich blacks, because there is none of them, it is these industrialists and these cooperatives and these elite. So, they started coming together and forming political movements. And there was a crack back, that was unbelievable. And that is when you start having these, Jim Crow laws started, you know, ramping up, and I saw where somebody gave a famous writer, gave a description saying that Jim Crow instilled in the heart of a poor white man that he was better In the black man because he did not have to sit on the same toilet, despite the fact that the are both still poor. And he started getting this separate but equal legislation. SM: 1:20:11 Right. LW: 1:20:11 So where, where did separate but equal really become a shrine in the, in the U.S.? It started in Louisiana, a guy challenged, being discriminated against on streetcars. The governor of the state at the time, was elected in terms of because he promised to help desegregate facilities. He later became a member of the Louisiana Supreme Court. And he upheld the separate but equal law. And then, that went up to the United States. And that was the 1896 Plessy vs. Ferguson ruling. The ruling said, yes, the 14th amendment and the 15th Amendment said that they were supposed to be equality under the law. But, in the scheme of things that was never intended. It was never intended to give Black people social equality and just, just possibly political equality. And then they had the nerve to say that if, if anybody feels that this rule, essentially everybody feels this ruling is racist, then that is their misinterpretation of it. What the heck do you mean that you are now creating a caste system baked into the law? And then you are saying that it is not racist. But let us remember, roll it back to, when was it, 1857, when the Supreme Court did the Dred Scott ruling. And in that ruling, there was this declaration that the Black man has no rights that the white man is bound to respect. And in that ruling, the judge who did it, a guy named Tony, wrote that we, essentially, we Americans are not being racist, because what we are just now solidifying in law was something from Britain, that there was the Brits. You know, essentially, the Brits are the most racist people on Earth. We are just following what they are doing. So do not blame us. Blame the Brits. this is in the ruling. So, there has always been this notion in America that no, we are not racist. We will not accept any responsibility, or accountability for our racism. And we will blame it on everybody else. So now, you have this attack, these attacks on critical race theory. And they are saying that, you know, we want to make sure that nobody thinks that they are better than anybody else. And why do not you follow the dictates of Martin Luther King, to be judged by the content of our character and not the color of our skin, but again forgetting the nightmare that, that came delineated. Let us look at North Carolina, North Carolina in 2021, one of the most preeminent and award-winning journalists of this era, Hannah Nicole Jones, gets an appointment at the University of North Carolina's Chapel Hill, their journalism program, one of the preeminent programs in the country. She is a graduate of that program. However, because she authored the sixteen nineteen projects for the New York Times that won a Pulitzer Prize. She was denied tenure. Now, every person that had taken that position that she was assigned, had received tenure upon hire. But the trustees said that cause since she is going into an academic position, we are not sure of her academic credentials, and-and they held this thing on for almost a year. It took public pressure for them to finally grant her tenure. But at that point, she was so frustrated and exasperated, she decided to go to Howard University. And in the meantime, she was able to raise $25 million. So she went to Howard, with a $25 million contribution to create a whole new center there. Now why I bring up her example is just to show you a clear in black and white example of contemporary racism. But there is a historical, there is some historical roots for this. The only successful insurrection in the United States where a government was overthrown and no one came in to do anything about it took place in Wilmington, North Carolina in November of 1898. A former congressman who was a Confederate Army Colonel led a white mob, and they overthrew the city government of Wilmington. And that government, there was I think, ten members of city council, of whom two were black, and in The White Declaration of Independence that the insurrection is issued. Yes, it was literally called, " The White Declaration of Independence." It said that they were no, they would never ever be governed by Black people, that Black people could not work that Black people couldn't live in the city. They could not do this. They could not do that. I mean, it was clearly white supremacy in racism. But what I am bringing this up to show one of the many examples is that when they started their coup d'etat, and they were on their way to march to City Hall to run the people out of City Hall, the first target of the racist insurrectionists, was the Black newspaper in that town. They burned the building to the ground. And they ran the editor out of town, he ended up coming to Philadelphia. And as it turns out, he ended up founding one of the first, one of the larger civil rights groups in the city. But why did they attack this guy's newspaper and burn it down? And by the way, that was the only black owned daily newspaper in the entirety of the United States, at that time, 1898. Well, this, publisher, editor had editorialized against lynching. Newspapers and politicians, and everybody down in North Carolina, and all across the South were very much in favor of lynching. He said it was wrong. And because of that, he initiated the hire of these races, and they burned the place down. The governor of North Carolina at the time, and the U.S. president refused to send the National Guard and to, unequal the rebellion. And because they did not do that, those who are part of that racist mob, became the leaders of Wilmington. That is the only successful insurrection in U.S. history. So, we have the journalists in 2021, being singled out because of racism. And we have a journalist in 1898, being singled out because of racism, and is both in North Carolina. And that is just one example. And then I could give you an example, example, example, example. All across the country of this, you know, time and time again. Of the very inception of this country. SM: 1:27:26 I think, I think that- I think Dr. Harry Edwards was, had some issues when he was at Berkeley. LW: 1:27:34 Oh yeah, definitely. SM: 1:27:36 Because he had been, he had been writing some of the, [inaudible] Black students. He wrote some great, great books. He was, massive numbers of articles and magazines, and he was not getting tenure. I mean, come on. And so [crosstalk] go ahead. LW: 1:27:53 When I went up for Temple, when I went up for tenure, the president of the university tried to, to stop it. The president of Temple University tried to stop it. "You are just a journalist," this is what he sneered at me one day. "You are just a journalist." SM: 1:28:09 Which president was that? LW: 1:28:12 A guy named Adam Manny. SM: 1:28:13 Okay, yeah. Okay. Very good. LW: 1:28:15 Yeah-yeah. And what they were, what they say it is, you know, "Yes, you. Yes. In the six years that you have been here you published five thousand newspaper articles, 5000 newspaper articles, in addition to teaching, but you have not been published in a scholarly journal," while I was under the practice track, not the scholarly track. And they said, "Well, you were supposed to be under the scholarly track," I said, "No, I was not. This is what they told me to do. And I did that." And so, they said, "Well, there was a letter that was sent from your department chair, to the then dean, that said that you could either be a scholar or a practitioner." Two things: number one, I never saw that letter. Never ever saw it. It was not even sent to me or supposed to be sent to me. And number two, the letter that they are citing the saying that I am not entitled to tenure, because I did not do the scholarly track. Say that Professor Washington could do scholar or practice. So, when I found out about that, I dusted off my old year law school civil procedure books and had to give them a lesson on the meaning of either in or, and, and because of that, they backed up and backed off. SM: 1:29:49 Right. LW: 1:29:50 Yeah. I, my last year at the Philadelphia Daily News from (19)88 to (19)89. I left there in (19)89 and went to work for the Chief Justice of the Supreme Court of Pennsylvania. But I had a fellowship at the Yale Law School, they have a journalism fellowship program every year, they bring journalists in to give them a better understanding of the law. And I went to Yale Law School. So, I knew a little bit about the law. And also, when I came back to the Daily News, I was unqualified for promotion, despite having a master's degree from the Yale law school. And I left there, left the paper, and then went to work for the Chief Justice of the Supreme Court of Pennsylvania. For three years, I was a special assistant. And then by the time I get to Temple, you know, somehow, I am just a journalist. [laughs] SM: 1:30:36 Wow, you, I know you are, I know [crosstalk] LW: 1:30:41 Yeah, I am sorry, go ahead. SM: 1:30:42 I know, you are much more than-than that having seen you in two programs at my former place of employment- you are you are indeed a scholar. And, and, and a great person that influences young people in a very positive way. And let me, just two final questions here. I, we had already you had already talked about the watershed moment of being in the 1968 Olympics. It is interesting that one of my latter questions was going to be activism and sports. I bring this up, because we brought Tommy Smith to our campus. So, I got a chance to know Tommy when he was at our school before I left, but when you think of Tommy Smith, and John Carlos, and the other athletes from that time you think of black power, and you think of the, that term empowerment but, but we have also heard from today's certainly with Kaepernick, and Harry Edwards has been a big writer on this, as well as a supporter for Kaepernick that, you know, when Kaepernick sat down at that football game, he did not say anything, he just sat down, he was making a statement toward police brutality, killings of black men, around America. That was his comment. He was not making any other comments. And I am amazed at how the media stared interpreting it from every direction. And that was not why he did it. But then it got into this big controversy that you know; athletes should never speak up. Athletes should be quiet, you know, shut up, you know, just like entertainers, entertainers, and athletes. You are not, you know, just be quiet. So your thoughts on what is going on, you know, between (19)68, and today, not only with the Kaepernick issue, but also the fact when people are talking about the protests of today, Black Lives Matter, all these new groups that they say, "We are the reincarnation of the (19)60s." Do you like when you hear that? LW: 1:30:48 [laughs] Clear limits, let me just say this. Professor Harry Edwards was a part of the Olympic boycott movement. And it succeeded. He was one of the organizers in the intellectual, you know, spark plug for that in the months leading up to that, you know, he was holding meetings and conferences and negotiations, you know, trying to get all the athletes on board with it. So, he was a part of that. Let me jump forward to Colin Kaepernick, because [laughs] I wrote a chapter that is now in a book that came out last fall on critical race theory. Now, I am not a critical race theorist, and I am not a scholar, all right. Let me be clear on that. But one of the things that I brought out is how the media covered Kaepernick. Kaepernick was on the, the sideline, taking a knee, the first person that went to interview, Kaepernick was the first Black reporter that NFL, NFL Network had ever hired. He knew Kaepernick, you know, from covering, and he just went over, despite all the other reporters being there, and he went over, "Why you got on why are you on your knees?" Nobody even thought to go over talk to the guy. And he said, you know, Kaepernick said that he was making a, his own protest against police brutality and abusive policing. Now, what is more humbling than to take a knee? Did he stand up during the national anthem and put his hand in the air, not even with a Black power first, but with the middle finger? No, he took a knee. The coverage of that, as you rightfully said, just was way over the top, a mile wide but an inch thick because it provided no context. When they referenced Kaepernick talking about police brutality, they said he is complaining about the shooting in Ferguson or Michael Brown and the choking death of Eric Gardener in Staten Island, New York City. Of all of the thousands of articles in minutes, to hours of news coverage, no one, no one contextualized police brutality within San Francisco. August of 2016 is when Kaepernick did his thing in, April that year, the mayor of the city fired the police commissioner for the police commissioner's failure to address police brutality. That morning of the press conference where the mayor fired the police commissioner, the police shot and killed an unarmed woman in one of the Black communities. About a month and a half after that, the results from an investigation that was conducted by three judges in California, including a former member of California Supreme Court, they were looking at the issue of racist text messages and Facebook postings by members of the San Francisco Police. So, we have two major findings of substantive issues involving brutality in San Francisco, and no one connected any of that to Kaepernick. A month after, yeah, a month after Kaepernick took his knee, the U.S. Department of Justice issued their pattern and practice investigation into San Francisco police and condemned brutality in San Francisco, that was not connected. San Francisco is located across the bay from a town called Oakland, California. What happened in Oakland, California in 1966, an organization called the Black Panther Party for self-defense was formed to counter the police brutality in Oakland at that time. And the Black newspaper, or one of the black newspapers in San Francisco, who wrote an editorial in 1969, condemning police brutality. And they said that this had been a problem in San Francisco, going back 25 years. So that would have put it back in the late (19)40s. So, we have this decades long history of documented police brutality in San Francisco, and none, none of the news coverage of Kaepernick put that in there, not even a sentence, not even have an oblique reference to it. And, you know, just so we could, perhaps short circuit the, well, that is Colin Kaepernick and none of that would ever happen to him because he is a star, please. The report that the judges put out, had an examination of an incident that happened to San Francisco to a guy named Alexander Natto. He was Latino guy, law abiding, working, never doing anything wrong, walking to, walking through a park on his way to work. He worked as a security guard, he has a taser. He is eating a burrito, walking through a park on his way to work. Somebody in that gentrified neighborhood walking their dog sees a colored person, who he thinks has a gun and is menacing people, eating a burrito, because the police. The police arrived, and fifteen shots later, with the majority of the shots in the guy's back after he is on the ground. He is dead. But why do I bring this up in relation to Colin Kaepernick? Because Natto at the time, was wearing a brand-new NFL, store purchased, San Francisco forty-niners’ jacket and hat. So, he was shot in San Francisco, forty-niners gear. So, Kaepernick could have had the same fears that the officers, you know, an encounter with an officer he could have gotten killed. But again, contextually none of that was included in news coverage. And the Society of Professional Journalists ethics code urges journalists to always include context in their coverage. And this was something that would be, the Kerner Commission also emphasized in his 1968 report. Yet, in 2016, not a single reporter in the country sought to contextualize what is happening. What should I say, not a single reporter or coverage in mainstream media, because athletic media and alternative media did bring this up, but not the mainstream media. SM: 1:39:58 Yeah, it is, it is a great analysis between (19)68 and 2020. Nothing is really changed. Nothing is really changed. And I think I am going to conclude the interview with you just to bring back about what you are doing today in your work as a professor of journalism at Temple. I know I saw your bio, and you are involved in a lot of different things there. Could you kind of just briefly describe the kinds of courses you are teaching, the kind of impact you think you are having on the future journalists of tomorrow, and, and then any projects you might be doing in the community? LW: 1:40:41 Okay. Well, currently, I am teaching in the Journalism Department at Temple University, I always teach a writing course, I was a co-founder of their award-winning hyperlocal news site called "Philadelphianeighborhoods.com." It is a multimedia community-based reporting program. So, I do, teaching of basic reporting skills, and multimedia skills at the undergraduate level and the graduate level, I am primarily now teaching in the graduate program. I do a lot of what is called study aways. I have taken students to London three times, and the South Africa three times. The South Africa program has been the only study abroad program at Temple University that has ever won any awards. We have won awards every year that we have gone over there, including international awards. From the coverage of the students, we take them into the townships, we literally take them from the corporate suites at the top of buildings to, to caves and mines. So, they see a diversity there. That is what I do in terms of Temple University. Right now, I am involved in two book projects. One is looking at the 1985 moon bombing but looking at it primarily from the perspective of journalists of color who covered that event. And then, I am also involved in a book project related to Dr. Martin Luther King and his first protest that took place not in Montgomery, Alabama, but Maple Shade, New Jersey- SM: 1:42:13 Wow. LW: 1:42:13 -where he had a sit-in at a restaurant on June 12, 1950. This was Dr. King's first demonstration, his first sit-in against racism that led to his first lawsuit against racism. However, the Office of Historic Preservation in New Jersey, those who designate what should be historically recognized and what should not have determined that King's first protest, and his first lawsuit, and his first lawsuit was filed by the NAACP in New Jersey. And the person who was the president of the NAACP was the person who had lobbied for the passage of a civil rights law in New Jersey, a statewide, desegregation law, the first in the nation. Those are the people who helped Dr. King, yet the historic office in New Jersey says that it has a minimal historic importance. So, I am writing a book about this blue state bigotry, where these people can claim that Dr. Martin Luther King's first protest, and where he planned that protests in Camden, has no historic import SM: 1:42:14 Oh my god. LW: 1:42:18 These are the same, these are the same people who gave a historic designation to the house of the brother of the famous poet Walt Whitman, now Walt Whitman lived for a month in, in Camden. And he came there because that is where his brother was. But his brother did not achieve anything in life. I do not mean to say he did not achieve anything in life. But his claim to fame in life was just being the brother of Walt Whitman. He is not the transformative individual of Dr. Martin Luther King. So, we see, different shades of bigotry- SM: 1:44:09 My gosh. LW: 1:44:10 -denial of the recognition of Dr. Martin Luther King. So that is one of the projects that I am involved in. And other than that, I am just getting old. [laughter] SM: 1:44:18 We all are. Yeah, I-I want to thank you for, and I apologize for the delay. And let me turn this out. Thank you very much. And I am going to turn the tape off right now. Thank you. Thank you, Linn. (End of Interview) Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Rights Statement Many items in our digital collections are copyrighted. If you want to reuse any material in our collection you must seek permission, or decide if your purpose can qualify as fair use under the U.S. Copyright Law Section 107. If you think copyright or privacy has been violated, the University Libraries will investigate the issue. Please see our take down policy. 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Title A name given to the resource Interview with Linn Washington IIIF Item Metadata UUID aedbf716-3336-449b-91f8-c7d63e12a780 https://omeka.binghamton.edu/omeka/files/original/d43c3ec58e82ef1f931e59a2a77599fc.pdf 41e8aa2c6c8c5167b29b8cdb9eef6a83 PDF Text Text BINGHAMTON U N I V E R S I T Y State University of New York 0 ­  \ .  L Cee:  ­~ Z 5 i  rC’ P ~ J E P A  R I M   E N T ~ \ ­ \ —T e i Flute Studio Recital Students of Geo rgetta Maiolo Friday, November 30, 2007 10:15 a.m. Casadesus Recital Hall �Program Concertino, Opus.107 Sonatina for Flute and Piano 1. Allegretto graziolo 2. Andantino sognando 3. Allegro giocoso Erica Leo, F lute Mrs. Margaret Reitz, Piano .........Eldin Burton (b.1913) Andante Pastoral Melissa Voldan, Flute Mrs. Margaret Reitz, Piano Sonata for Flute and Piano 1.  Allegro malincolico 2.  Cantilena 3.  Presto giocoso Cecile Chaminade eeeeeeeeer.  Paul Taffanel (1844­1908) Ju Hyang Shon, Flute Mrs. Margaret Reitz, Piano ....Francis Poulenc (1899­1963) Sonata in F Major 1. Adagio 2.  Allegro 3.  Largo Valerie Spiller, Flute Mrs. Margaret Reitz, Piano 4.  Allegro ..........Benedetto Marcello (1686­1739) Brittany Smith, Flute Mrs. Margaret Reitz, Piano Sonate fur Flote und Klavier........... Heiter bewegt Paul Hindemith (1895­1963) Erica Leo, Flute Mrs. Margaret Reitz, Piano Offertoire, Opus 12 ..Johannes Donjon Anthony Chen, Flute Eun Young Baek, Piano (1857­1944) (1839­1912) �Coming  ‘Crents Satur day, December 1 – Flute Ensemble Recital – 12  noon – Casadesus Recital Hall – free Satur day, December 1 –  Reunion  Recital:  Aaron  Nicholson,  baritone and  Todd  Robin son,  bass­b ariton e  –  8:00  p.m.  –  Anderson  Center Chamber Hall ­ $15 general public; $13 faculty/staff/seniors; $7 students Sunday, December 2 – University Or chestr a: Sounds Behind the Celluloid – 3:00 p.m. ­ Anderson Center Concert Theater  ­ $9 general public; $7 faculty/staff/seniors; free for students Tuesd ay, December 4 – Percussion Ensemble – 8:00 p.m. ­ Anderson Center Chamber Hall – free Thurs day, December 6 – Mid­Day Concert – 1:20 p.m. – Casadesus Recital Hall – free Thurs day, December 6 – Harpu r Cho rale an d Women’s C horus  – 8:00 p.m. – Trinity Memorial Church, Binghamton – free Friday, December 7 – Singing Chinese – 7:00 p.m. – Casadesus Recital Hall – free Sunday, December 9 – Wind Symphony – 7:30 – Anderson Center Chamber Hall ­  free * * * * * * * * * * * * * * * * * * * * * Spring 2008 Sunday, Feb ruary  10 – Romance, Fan tasy, Tragedy – 3:00 p.m. – Anderson Center Chamber Hall ­ $15 general public; $13 faculty/staff/seniors; $7 students Sunday, Feb ruary  17 – A Tango for Two: Guest Organists Annette Richards and David Yearsley – 4:00 p.m. – First Presbyterian Church, Binghamton. ­ $15 general public; $13 faculty/staff/seniors; $7 students Friday, Feb ruary  22 – Master’s Recit al: La Toya Lewis, s opran o – 8:00 p.m. – Casadesus Recital Hall – free Sunday, Feb ruary  24 – Musica Nova – 3:00 p.m. – Anderson Center Chamber Hall ­ $9 general public; $7 faculty/staff/seniors; free for students E—— � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 54:04:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196817">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196817</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flute studio recital students of Georgetta Maiolo, November 20, 2007 Recital Tape 11-30-2007 Description An account of the resource Held at 10:15 a.m., November 30, 2007, Casadesus Recital Hall. Works of Burton, Poulenc, Hindemith, Donjon, Chaminade, Taffanel, Marcello. Creator An entity primarily responsible for making the resource Maiolo, Georgetta Voldan, Melissa Reitz, Margaret Spiller, Valerie Leo, Erica Chen, Anthony Baek, Eun Young Shon, Ju-Hyang Smith, Brittany 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 2007-11-30 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 28d23f76-aba9-49dd-bb65-00f3e1f6b0d3 https://omeka.binghamton.edu/omeka/files/original/1c29badc0acc254d16a29dd1fe23e155.pdf f27db51f5f28cd96015c871667f0c087 PDF Text Text BINGHAMTON ­ U N I V E R S I T Y   State University of New York Univ  Po idee 4 :  ~ D E P A R T M E N T 260)I A Y ‘   MUSICA NOVA F E A T U R I N G  P E R F O R M E R S  AND C O M P O S E R S  O F  N E W  M U S I C Wendy  Wa n­K i Lee piano a n d com pose r Georg etta M aiolo flu t e Pa u l Gold sta u b piano a n d com poser with guest artists E ric Ross t he re m i n, k e y boa rds, g u ita r a n d vocals M a r y Ross v ideo a rt ist S u nd a y, Fe b r u a ry  1 1 , 2007 3 :00 p m C asade sus R ec ital H al l �OUR GUEST A R T I S T S P ROGRAM Pastorale  a o e Eric  Ross  “has  excited  audiences with  his  fiery  virtuosity  and innovative  work”  (Washington  Post)  and has  performed concerts of original  works  at  Lincoln  Center,  Kennedy  Center,  Brussels Palais des Beaux  Arts,  at  Newport, Montreux, North  Sea, Berlin, Copenhagen, Prague Jazz  and New  Music  Festivals  and  Gilmore lntemational Keyboard Festival among others worldwide. For over twenty years he has led his ensemble that featured jazz giants, John Abercrombie,  Larry Coryell,  Andrew  Cyrille,  Oliver  Lake,  Leroy Jenkins and others. He performs on piano, guitar, synthesizers, and is  a  Master  of  the  Theremin,  one  of  the  earliest  electronic instruments. The New York Times calls his music “a unique blend of classical, jazz, serial and avant­garde.”   c i v e s i i n n s s i n a n i o n a r s n i n s n n n e s s  G o l d s t a n b Georgetta Maiolo, flute Brandon Unger, sound design Mario Davidovsky Synchronisms #6 for piano and electronic sounds (Winner of  t h e  Pulitzer Prize for Music, 1971) Wendy Wan­Ki Lee, piano Eric  Ross began  playing the theremin  in  1975, and  has performed on radio, film and TV. He ’s written an Overture for  14  Theremins playing  simultaneously,  and  gave  the  world  premiere  of  Percy Grainger ’s Free Music No.l in New York City in  1997. Since 1976, with wi fe, Mary Ross, he’s presented multimedia performances of video, music, dance, film and computer art.  He ’s also played with blues legends Champion Jack Dupree, Lonnie Brooks, Sonny Terry and Brownie McGhee.  In May, 2006, he  was  guest  artist  on the No.1 best selling CD album in Japan, Aqi Fzono’s “Cosmology”. Fantasy................................................................Wendy Wan­Ki Lee Improvisation for Two Pianos Wendy Wan­Ki Lee and Paul Goldstaub WINTERMISSION®3 Passage/or Theremin (Op. 5 3 L ) r i c Ross  Eric Ross, theremin Rimn Vornl (Op. 37)  Eric Ross and Mary Ross A multi­media piece, composed and improvised Mary Ross, video artist Eric Ross, theremin, keyboards, guitar and vocals Wendy Wan­Ki Lee, piano Paul Goldstaub, piano and assorted objects + He has lectured on the theremin, piano, guitar, and electronic music at colleges, universities and schools in the USA and Europe. He was Master Teacher at  the  First  International  Theremin  Festival  and  1s considered to be the foremost authority on  Frederick  W. Riesberg, Franz Liszt ’s last pupil.  Eric Ross was a personal friend of inventor Robert  Moog,  theremin  virtuoso  Clara  Rockmore,  and  met  and played for the inventor of the instrument, Professor Lev Termen, in 1991. He ’s drawn inspiration from them to continue developing the Theremin as a voice in his own compositions. �ABOUT T H E  PERFORM ERS Mary Ross is a fine art photographer and professional media artist. While  many  artists  were  exploring  video’s  time­based characteristics  in  the  early  1970 ’s,  she  began  using  video  and computers to produce still  images on film. As one of the first fine art photographers to  do  so, her photographs provide some of the carliest  examples  of  how  photography,  video  and  computer technology converged  in  the  1970 ’s, emerged  in  the  1980‘s, and eventually evolved into contemporary digital photography. She  has  exhibited  extensively  at  galleries  and  museums  in  the United States, Europe, Israel and Japan. Her photographs are in the permanent  collections  of  the  Kunsthaus,  Zurich;  International Polaroid  Collection;  Herbert  Johnson  Museum  of  A rt  at  Comell University;  King’s  Library,  Copenhagen,  Bibliotheque  Nationale; Paris and the Lincoln Center Library Da nce Collection in New York City. Georgetta  Maiolo  is  a  mem ber  the  faculty  at  Binghamton University  and  Broome  Community  College,  teaching  Flute  and directing Flute Ensembles.  She  also taught  flute at  West  Virginia University and Ithaca College. Mrs.  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  15,  she  made  her  solo  debut  with  the  Pittsburgh Symphony.  Mrs.  Maiolo  is  the  recipient  of  numerous  honors, including  the  NCM EA  National  music  award,  the  Pittsburgh Tuesday Musical Club, the Enola M. Le wis Scholarship and the Mu Phi Epsilon Sterling Achievement Award. Mrs. Maiolo is the principal flutist of th e Binghamton Philharmonic Orchestra, Tri­Cities Opera Orchestra, Southern Tier Concert Band and Downtown Singers Orchestra. She has premiered compositions by  Jack  Martin,  Dan  Locklair,  Edith  Borroff,  Malcolm  Lewis, Richard Herman, Jeffrey Nitch, Timothy Rolls and Paul Goldstaub. She  is  a clinician  for the  Selmer  Company and  has  recorded  for Crest Records and NPR. W e nd y Wa n­K i Lee is currently an Assistant Professor of Music at Binghamton  University.  She has held teaching appointments at the Oberlin College Conservatory of Music and University of Michigan. She  received  her  graduate  degrees  (Ph.D.,  M.M.)  in  Music Composition  and  Theory  at  the  University  of  Michigan,  and  a Bachelor  of Music  Composition  from  the  University of Toronto. She is the recipient of grants and awards from the Government of Canada,  University  of  Toronto,  Center  for  Chinese  Studies, International Institute, and School of Public Health at the University of Michigan. �Wendy’s  compositions  and  folk  music  arrangements  have  been per formed at music  festivals at  A spen, Banff, and Orford (Québ ec City), and in the United  States, Canada, China, Korea,  Malaysia, Singapore, and  Taiwan.  Her new piece  for euphonium and piano, commissioned  by  Benjamin  Pierce,  will  be  premiered  at  the University  of  Arkansas  in  October  2007.  Wendy  has  presented papers and lectures at national a nd intemational conferences, an d at the  University of Cambridge,  Eastern  Illinois  University,  Western Michigan  University,  University  of  Western  Ontario,  and  Agnes Scott  College.  Her  research  interests  include  music  by  Chinese composers such as Chen Qigang, Chen Y i, and Bright Sheng. As a pianist, Wendy received t he Fellowship and  Licentiate of the Trinity  College  of  Music  in  London,  and  a  Diploma  for  the Associateship  in  Piano  Performer  of the  Royal  Conservatory  of Music in Toronto. An advocate of new music, Wendy has prem iered many pieces by living composers and collaborated  with  numerous conductors, performers, and con temporary music ensembles. Associate  Professor  Pau l  Goldstaub ’s  compositions  have  been performed  by  the  Guthrie  Theater,  the  Minnesota  Opera  and  the Cincinnati  Opera;  at  Lincoln  Center  and  Camegie  Hall ;  and  in Canada, Great Britain, Japan, G ermany, Russia and Italy. His comic opera,  The Marriage Proposal, based on Chekhov, was  produced off­off­Broadwa y. A  national  finalist  in  the  St.  Paul  Chamber Orchestra’s American Composer Competition, he has been awarded grants by the Nat ional Endowment  for  the  Arts,  the  National  Endowment  for  the Humanities,  Meet  the  Composer  and  the  Minnesota  State  Arts Board. He is also an annual ASC AP awards recipient. A  specialist  in  creativity,  he has presented  papers and  conducted workshops  on  music  improvisation  at  the  Oberlin  Conservatory, Syracuse University, St. Olaf College, the Crane School of Music at SUNY Potsdam, and at  the SUNY conference on creat ivity at the Fashion Institute of Technology in New York. Goldstaub earned the Doctor of Musical Arts and Master of M usic degrees at the Eastman School of Music, and a Bachelor of M usic degree at Ithaca College. He h as held positions at Ithaca Coll ege, the College­Conservatory of M usic of the University of Cincinnati, Minnesota  State  University  at  Mankato  and  Eastern  Michigan University. Binghamton  University  faculty,  including  Bruce  Borton,  Janet Brady,  Peter  Browne,  Mary  Burgess,  Michael  Carbone,  Dan Fabricius,  Al  Hamme,  April  Lucas,  Ewa  Mackiewicz­Wolfe, Georgetta Maiolo, Chai­Kyou Mallinson, Timothy Perry, Marga ret Reitz, Stephen Stalker and Brian Stemberg, have given many of his works their local or world prem ieres.  His latest composition will be premiered  by the  University Orchestra, under the direction of Dr. Perry, on March 3, 2007. His publishers include Roger Dean Publishing Company, Lawson­ Gould  Music,  Ken  Dom  Publications,  and  the  International Trombone Association Press. Brandon  Unger  is  a  senior  Music  major  at  Binghamton University.  He is currently focused on com posing, studying with Dr.  Goldstaub,  and  has  a  very  deep  interest  in  recording  and engineering. He looks forward  to continuing his studies in  music after Binghamton University in graduate school. �Sat u rd a y, Fe b r u a ry I 7  – Mas ter ’s Rec ital : A m y DeL eo, so pra no – 3 :00 p.m . – Casadesus R ecital Hall ­  free Anderson Sat u rd a y, Fe b r uary  I 7  – La Sa xopho ne a nd F riends ­  8:00 p.m. –  rs;  $7 /senio Center  Chamber  Hall  ­  SIS  general  public ;  $13  facult y/staff students s Recital Th u rsda y, Fe b ruary 22 – Mid  Day C oncert – 1: 20 p.m. – Casadesu Hall ­  free Micha el Sat u rd a y,  Fe b r ua ry 24 ­­  Facul ty  Recit al : Ja n e y Cho i, violin  a nd  c; $7 Salmirs, pi ano – 8:00  p.m. ­  Casadesus R ecital Hall ­ $9 general publi facult y/staff/seniors; free for student s S und a y,  Fe b r u a ry 2 5 –  Unive rsity  W i nd  Ensem ble :  A  World   p.m.  ­ Anderson Center Chamber H all ­  free To u r – 3 :00 Hall Thursday, March 1 – M id­Day Concert –  1:20 p.m. ­  Casadesus R ecital  free Osterhout Sat u rd a y, M a rc h 3 –  Unive rsity S ym phon y Orc hest ra ­  8:00 p.m.  dents Concert Theater ­­S9 general publics ; $7 faculty/ staff/seniors ; free for stu ma r Ol ivei ra, S u nd a y,  M a r c h 4 –  A bsol ut(e )  R ussia n  with  specia l  g uests  E l Chamber violin and Sand ra Robbins, viola  3 :00 ­p.m. ­  Anderson Center  Hall ­ $25 general public ; S20  facult y/staff/seniors; $1 0 students ecital  Hall T h u rsd a y, M a r c h IS – M id­Da y Co n c e rt ­  1 :20 p.m.  Casad esus R free F rid a y,  M a r c h  16 –  Mate r ’s  Recita l :  A k i ra  Ma ezawa , viol in  –  8 :00  p.m. Casadesus R ecital Hall  free Sat u rd a y, M a rc h 1 7, Ma ster‘s  Recit al : M i riam  W righ t, sop ra no ­ 3 Casadesus R ecital Hall  free Sat u rd a y, M a rc h 1 7 –  H a r pu r C hora l e a n d Wo men ’s C hor us  Anderson Center Chamber Hall  Free S m a   .  :0 0 p.m. 8:0 0  p.m. : ecital Hall Th ursda y, Ma rc h 22 – Mid­ Day C onc ert  1 : 20 p.m.  Casadesus R free 8 :00  p.m. Frida y,  Marc h  2 3  –  Neil  Berg‘ s  1 00  Y ears  of  Broad way  $25 public ;  general  $30  ­  Theater  Concert  Osterhout  Theater and faculty  stall~ s eniors  alum ni. $ 1 0 students ( A Benefit tor the Music  Athlet ic Departments) � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:10:46 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196759">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196759</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Musica Nova: featuring performers and composers of new music, February 11, 2007 Recital Tape 2007-02-11 Description An account of the resource Held at 3:00 p.m., Feb. 11, 2007, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Lee, Wendy Maiolo, Georgetta Goldstaub, Paul Ross, Eric Ross, Mary 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 2007-02-11 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 8637c79c-9e9f-4d30-9ac2-776823539f54 https://omeka.binghamton.edu/omeka/files/original/adeeb40ba71379a511bd9611545e7680.pdf 785fd8678148ed6b28fa9e333eda0e7a PDF Text Text BINGHAMTON U N I V E R S I T Y itate University of  New York  v {  \¢ C J  W I  V a \  © 1% D E P A R T M E N T [awm ”   ~  _ \ N  wn { 1 . 2 . . . ) C ‘ , L A SAXOPHONE Family and F riends F eatu ri ng Bruce Borton a n d M a ry  Burgess Along with Georgetta Maiolo, A pril Lucas, Timothy P e rry, Ben Aldridge, Ha kan H rom e k and Daniel Fabricius The E mpire Saxophone Quartet A pri l Lucas, Teno r Steven M a u k , So p rano  Anthon y Alduino, Baritone Dan Miller, Alto  With Gordon Stout, Marim ba Also Perform ing Timothy Le Febvre Ma rga ret Reitz, an d Robert Smith Saturday, February I 7, 2007 8:00 p.m. The Anderson Center Chamber Hall e– n—  ­ ­ ­ ­ — – – a  –—­­­– �PROGRAM l F a cade: An Entertainment with Poems by Edith Sitwell (1887­1964 and Music by William Walton (1902­1983) Fanfare 1.  Hornpipe 5.  Through Gilded Trellises 6.  Tango­Pasodoble 7.  Lullaby for Jumbo 9.  Tarantella 12. Country Dance 13. Polka 15. Something Lies Beyond the Scene 16. Valse 17. Jodelling Song 18. Scotch Raphsody 19. Popular Song 20. Fox­Trot “old Sir Faulk” 21. Sir Beelzebub i: Bruce Borton, conductor Ma ry Burgess, reciter Georgetta Maiolo, flute/piccolo Timothy Perry, Clarinet/Bass Clarinet April Lucas, Alto Saxophone Ben Aldridge, trum pet Hakan Hromek, cello Daniel Fabricius, percussion Thanks to William James Lawson, English diction instructor, for his invaluable help in the research and preparation of this piece. WINTERMISSION®3 ­ �Concerto in C Min or for Oboe and Strings ...... .Alessand ro Marcel lo (1669­1747) Allegro Moderato  Transcription by Jamal Rossi Adagio  Allegro The Emp ire Saxop hone Qua rtet April Lucas, Soprano Saxo phone Saxsounds III (Diminishing Returns)........................ Steve n Galante (b. 1953) April Lu cas and Steven Ma u k, Alto Sa xophones David Kechley Valencia:  Iberian Muszngs  (b. 1947) ...on the edge  Prayer and Lament with Interjections Please refrain. . .. The Emp ire Saxop hone Qua rtet with Gordon Stout George Hamilton Green arr. B. Goodman (1893­19 70) The Emp ire Saxop hone Qua rtet with Gordon Stout The Ragtime Robin  Richard Rogers (1902­1972) It Might As Well Be Spring  arr.  Keith Young The Emp ire Saxop hone Qua rtet Daniel F a bricius, D rums   ive Up The Saxophone.......................George Hamilton Green I fG and William Raskin Will You Come Back to Me?  April Lu cas, Saxo phone Timothy Lefebvre, Bariton e Margare t Reitz, P iano Robert S mith, Tu ba Ce ­­­­—­­­­–­——­­­ –­—­­­­––— arr. George Wolfe �ABOUT T H E PE R FO R M ER S 1 ;  A rts and Master of Music at  of !1 lor he ac a B th   bo ed arn S e CA AP RI L LU ! aculties of Binghamton e f  th  on tly en urr s c d i  an ity ers niv  U on mt ha ng Bi ollege and a  forme r m em ber o f y C nit mu om  C me oo Br d  an ty  Un iversi s is a founding m em ber ca Lu s.  M y.  ult fac ic  us e m eg oll the Hartwi ck C has recorded  with  the Hudson d  an et  art Qu e  on ph xo Sa e  pir Em of the  nfonia, t he New Sousa Si e  on ph xo Sa e   th et, art Qu e  on Valley  Saxoph tor uartet.  A former regional direc  Q ne ho op ax  S ire mp  E he d t  an Band , Ms. Lucas has served as a ce an lli  A ne ho op ax  S an ric me h A of the Nort k State. She is a full or  Y ew t N ou gh ou thr   tor uc nd co clinician and guest  Susq uehanna  Valley  School e   th for r  he ac  te sic mu l  nta me time  instru hamton  Philharmonic ng Bi e   th of er  mb me a  is  s  ca District.  Ms.  Lu chestra,  and  the  Southern  Tier Or   era Op es  iti i­C Tr   the   ra, Orchest ew Sousa Band under the  N he f t r o be em  m n a ee s b  ha nd Concert Band a April Lucas has been soloist with 9.  98 e 1 inc n s rio h B eit f K n o tio direc mton Com munity Orchestra ha ing  B the d,  an rt B ce on  C ier  T the Southern and t he New Sousa Band.   of  choral  activities  at tor rec di   en be s  ha   ON RT BR UC E  BO He was di rector of the Binghamton 8.  98 e 1 nc  si ity ers niv  U on mt ha Bi ng conti nues  to  prepare  choral d  an 1,  ­9 88 19 m  fro   us or Ch   Symphony ic.  In  addition  to  his on arm ilh Ph   on mt ha ng Bi   the   performances  for undergraduate  and  graduate   es ch tea n  rto Bo s,  tie du g  conductin d  directs  the  Master  of an ,  ice vo s,  ue iq hn tec l  ora ch d  conducting  an . H e was Music Departm ent chair ram og  pr ng cti du on l C ora Ch in  Music  irector of G raduate Studies s D s a rve  se tly en res  p He 4.  00 from  1998­2 t at W est Georgia gh au n t rto Bo k,  or  Y ew  N  to ing in Music.  Before com Georgia,  he  spent  fou rteen in    ing liv e  hil W   ta. lan At ar  College  ne istant  with  the  At lanta ass g  tin uc nd co   nd  a of er  mb seasons  as  a  me e  Robert  Shaw.  Dr.  Borton lat e   th by d  cte du on  c rus ho  C Symphony ty,  Southern  Illinois rsi ive Un   an ley es W is  ino Ill m  holds  degrees  fro f incinnati, Col lege­Conservatory o f C  o ity ers niv  U the d   an ty, rsi Unive Music.   of  the  Cu rtis  Institute  of  ‘ ate du gra a  o,  ran op  s S, ES RG M AR Y  BU niversity voice faculty  U on mt ha ing  B he f t r o be em  m Music, has been a de her U. S. operatic de but with ma ss  rge Bu s.  M .  ars ye ty  en tw for over  �Facade : An Entertain ment With Poems by Edith Sitwell (1887­1964) and Music by William Walton (1902­1983) 1. Hornpipe Sailor come To the drum Out of Babylon; Hobby­horses Foam, the dumb Sky rhinoceros glum Watched the courses of the breakers ’ rocking­horses and with Glaucis, Lady Venus on the settee of the horsehair sea! Where Lord Tennyson in laurels wore a gloria free, ln a borealic iceberg came Victoria; she Knew Prince Albert’s tall memorial took the colours of the floreal And the borealic iceberg: floating on they see New­arisen Madam Venus for whose sake from far Came the fat and zebra’d em peror from Zanzibar Where like golden bouquets lay far Asia, Africa, Cathay, All laid before that shady lady by the fibroid Shah. Captain Fracasse stout as an y water­butt came, stood With Sir Bacchus both a­drinking the black tarr’d grapes’ blood Pl ucked among the tartan leafage By the furry wind whose grief age Could not wither — like a squirrel with a gold star­nut. Queen Victoria sitting shocked upon the rocking horse Of a wave said to the Laureate, “This minx of course ls as sharp as any lynx and blacker­deeper than the drinks and quite as Hot as  any hottentot, without remose! For the minx ’, Said she, ‘And the drinks, You can see Are hot as any hottentot and not the goods for me! ’ i �5. Through Gilded Trellises ‘Through gilded trellises Of the heat, Dolores, Inez, Manuccia, Isabel, Lucia, Mock Time that flies. “Lovely bird, will you stay and sing, Flirting your sheened wing, — Peck with your beak, and cling To our balconies?” They flirt their fans, flaunting — “O silence, enchanting As music!” then slanting Their eyes, Like gilded or emerald grapes, They take mantillas, capes, Hiding their simian shapes. Sighs Each lady, “Our spadille ls done. ”... ”Dance the quadri lle From Hell ’s towers to Seville; Surprise Their siesta,” Dolores Said. Through gilded trellises Of the heat, spangles Pelt down through the tangles Of bell­flowers; each dangles Her castanets. shutters Fall while the heat mutters. With sounds like a mandoline Or tinkled tambourine. Ladies, Time dies!’ e e �6. Tango­Pasodoble When – Don ­­ Pasquito arrived at the seaside Where the donkey ‘s hide tide brayed. he Saw the banditto Jo in a black cape Whose slack shape waved like the sea — Thetis wrote a treatise noting wheat is silver like the sea; The lovely chat is sweet as foam; Erotis notices that she Will – Steal – the ­­ Wheat­king’s luggage, like Babel Before the League of Nations grew — So Jo put the luggage and the label In the pocket of Flo the Kangaroo. Through trees like rich hotels that bode Of dreamless ease fled she, Carrying the load and goading the road Through the marine scene to the sea. ‘Don Pasquito, the road is eloping With your luggage, though heavy and large; You must follow and leave your moping Bride to my guidance and charge!’ When  ­­  Don ­­ Pasquito returned from the road’s end, Where vanilla­coloured ladies ride From Sevilla, his mantilla’d bride and young friend Were forgetting their mentor and guide. For the lady and her friend from Le  Touquet In the very shady trees upon the sand Were plucking a white satin bouquet Of foam, while the sand’s brassy band Blared in the wind. Don Pasquito Hid where the leaves drip with sweet... But a word stung him like a mosquito... For what they hear, they repeat! �7. Lullaby for Jumbo Jumbo asleep! Grey leaves thick­furred As his ears, keep Conversations blurred. Thicker than hide Is the trumpeting water; Don Pasquito’s bride And his youngest daughter Watch the leaves Elephantine grey: What is it grieves In the torrid day? And why should the spined flowers Red as a soldier Make Don Pasquito Seem still mouldier? �9. Tarantella Where the satyrs are chattering, nymphs with their flattering glimpse of the forest enhance All the beauty of marrow and cucum ber narrow and Ceres will join in the dance. Where the satyrs can flatter the flat­l eaved fruit and the gherkin green and the marrow, Said Queen Venus, ‘Silenus, we ’ll settle between us the gourd and the cucumber narrow. ’ See, like palaces hid in the lake, they shake — those greenhouses shot by her arrow narrow! The gardener seizes the pieces, like Croesus, for gilding the potting­shed barrow. There the radish roots and the straw berry fruits feel the nymphs’ high boots in the glade. Trampling and sampling mazurkas, cachucas and turkas, Cracoviaks hid in the shade. Where. in the haycocks. the country nymphs ’ gay flocks wear gowns that are looped over bri ght yellow petticoats, Gaiters of leather and pheasants ’ tail feathers in straw hats bewildering many a leathem bat. They they haymake. Cowers and whines in showers, the dew in the dogskin bright flowers; Pumpking and marrow and cucumber narrow have grown through the spangled June hours. Melons as dark as caves have for their fountain waves thickest gold honey, and wrinkled as dark as Pan, Or old Silenus, yet youthful as Venus, are gourds and the wrinkled figs whence all the jewels ran. Said Queen Venus, ‘Silenus we’ll settle between us the nymphs’ disobedience, forestall With my bow and my quiver each fresh evil liver: for I don’t understand it at all!‘ �12. Country Dance That hobnailed goblin, the bobtailed Hob, Said, “It is time I began to rob, For strawberries bob, hobnob with the pearls Of cream (like the curls of the dairy girls), And flushed w ith the heat and fruitish ripe Are the gowns of the maids who dance to the pipe. Chase a maid? She’s afraid!” “Go gather a bobcherry kiss from a tree, But don’t, I prithee, come bothering me!” She said, as she fled. The snouted satyrs drink clouted cream ‘Neath the chestnut trees as thick as a dream; So I went, and leant, Where none but the doltish coltish wind Nuzzled my hand for what it could find.A s it neighed. I said, “Don’t touch me sir, don’t touch me, I say. You’ll tumble my strawberries into the hay.” Those snowmounds of silver that bee, the spring, Has suck his sweetness from, I will bring With fair­haired plnts and w ith apples chi ll For the great god Pan ’s high altar l ’ll spill Not one!” So. in fun, We rolled on the grass and began to run Chasing that gaudy satyr the Sun ; Over the haycocks, away we ran Crying “Here be berries as sunburnt as Pan!” But Silenus Has seen us He runs like the rough satyr Sun. Come away! �13. Polka “Tra la la la la la la la la ­ See me dance the pol ka’, Said Mr. Wagg like a bear, ‘With my top hat And my whiskers that — (Tra la la la) trap the Fair. Where the waves seem chiming haycocks I dance the polka: there Stand Venus’ children in their gay frocks, – Maroon and marine, — and stare To see me fire my pistol Through the distance blue as my coat; Like Wellington, Byron, the Marquis of Bristol, Busbied great trees float. While the wheezing h urdy­gurdy Of the marine wind blows me To the tune of “Annie Rooney”, sturdy. Over the sheafs of the sea: And bright as a seedsman ’s packet With zinnias, candytu fts chil, Is Mrs. Marigold’s jacket As she gapes at the inn door still, Where at dawn in the box of the sailor, Blue as the decks of the sea, Nelson awoke, crowed like the cocks, Then back to the dust sank he. And Robinson Crusoe Rues so The bright and foxy beer, – But he finds fresh isles in a negress’ smiles, — The poxy doxy dear, As they watch me dance the polka ’, �Said Mr. Wagg like a bear, ‘In my top hat and my whiskers that, – Tra la la la, trap the Fair. Tra la  la la la la — Trala la I alala  — Tra la la la la la la la La ] I . La Lal ’ 15. Something Lies Beyond the Scene Something lies beyond the scene, the encre de chine, marine, obscene Horizon In Hell Black as a bison See the tall black Aga on the sofa in the alga mope, His Bellrope moustache (clear as a great bell!) Waves in eighteen­eighty Bustles Come Late with tambourines of Rustling Foam. They answer to the names of ancient dames and shames. And only call horizons their home. Coldly wheeze (Chinese as these blackarmoured fleas that dance) the breezes Seeking for horizons  Wide; from her orizons In her wide Vermilion Pavilion By the seaside The doors clang open and hide Where the wind died Nothing but the Princess Cockatrice Lean Dancing a caprice to the wind’s tambourine. l : �16. Valse ‘Daisy and lily, Lazy and silly, Walk by the shore of the wan grassy sea, — Talking once more ‘neath a swan­bosomed tree. Rose castles, Tourelles, Those bustles Where swells Each foam­bell of ermine, They roam and determine What fashions have been and what fashions will be, – What tartan leaves born, What crinolines wom. By Queen Thetis, Pelisses Of tarlatine blue. Like the thin plaided leaves that the castle crags grew, Or velours d’Afrande: On the water­ gods’ land Her hair seemed gold trees on the honey­cell sand When the thickets gold spangles, on deep water seen, Were like twanging guitar and like cold mandoline, And the nymphs of great caves, With hair like gold waves, Of Venus, wore tarlatine. Louise and Charlottine (Boreas ’ daughters) And the nymphs of deep waters, The nymph Taglioni, Grisi the ondine, Wear plaided Victoria and thin Clementine Like the crinolined waterfalls; Wood­nymphs wear bonnets, shawls, Elegant parasols Floating are seen. The Amazons wear balzarine of jonquille Beside the blond lace of a deep–falling ril; Through glades like a nun �They run from and shun The enormous and gold­rayed rustling sun; And the nymphs of the fountains Descend from the mountains Like elegant willows On their deep barouche pillows, ln cashmere Alvandar. barége Isabelle, Like bells of bright water from clearest wood­well. Our élégantes favouring bonnets of blond, The stars in their apiaries, Sylphs in their aviaries, Seeing them, spangle these, and the sylphs fond From their av iaries fanned With each long fluid hand The manteaux espagnols, Mimic the waterfalls Over the long and the light summer land. 2 0 So Daisy and Lily, Lazy and silly, Walk by the shore of the wan grassy sea, Talking once more ‘neath a swan­bosomed tree. Rose castles, Tourelles, Those bustles! Mourelles Of the shade in their train follow. Ladies, how vain, — hollow, – Gone is the sweet shallow, — Gone, Philomel!’ ­ . �2 0 17. Yodelling Song ‘We bear velvet cream, Green and babyish Small leaves seem ; each stream Horses ’ tails that swish, And the chimes remind Us of sweet birds singing, Like the jangling bells On rose trees ringing. Man must say farewells To parents now, And to William Tell And Mrs. Cow. Man must say farewells To storks and Bettes, And to roses ’ bells, And statuettes. Forests white and black In spring are blue With forget­me­notes, And to lovers true Still the sweet bird begs And tries to cozen Them : “Buy angels’ eggs Sold by the dozen.” ­ Gone are clouds like inns On the gardens’ brinks, And the mountain djinns, ­ ­ Ganymede sells drinks; While the days seem grey, And his heart of ice, Grey as chamois, or The edelweiss, . And the mountain streams Like cowbells sound –­ �Tirra lirra, drowned In the water’s dreams Who has gone beyond The forest waves, While his true and fond Ones seek their graves. ’ i 0 18. Scotch Rhapsody ‘Do not take a bath in Jordan, Gordon. On the holy Sabbath, on the peaceful day!‘ Said the huntsman, playing on his old bag pipe, Boring to death the pheasant and the snipe — Boring the ptarmigan and grouse for fun — Boring them worse than a nine­bore gun. Till the flaxen leaves where the prunes are ripe, Heard the tartan wind a­droning in the pipe, And they heard Macpherson say: ‘Where do the waves go? What hotels Hide their bustles and their gay ombrelles? And would there be room? — Would there be room? Would there be room for me? There is a hotel at Ostend Cold as the wind, without an end, Haunted by ghostly poor relations Of Bostonian conversations (Like bagpipes rotting through the walls.) And there the pearl­ropes fall like shawls With a noise like marine waterfalls. And ‘Another little drink wouldn’t do us any harm’ Pierces through the Sabbatical calm. And that is the place for me! So do not take a bath in Jordan, Gordon, On the holy Sabbath, on the peaceful day — Or you’ll never go to heaven, Gordon Macpherson, And speaking purely as a private person That is the place — that is the place –  that is the place for me! ­ . — — �19. Popular Song v Lily O’Grady. Silly and shady, Longing to be A lazy lady, Walked by the cupolas, gables in the Lake’s Georgian stables, In a fairy tale like the heat intense, And the mist in the woods when across the fence The children gathering strawberries Are changed by the heat into negresses, Though their fair hair Shines there Like gold­haired planets, Calliope, lo, Pomona, Antiope, Echo, and Clio. Then Lily O’Grady, Silly and shady, Sauntered along like a Lazy lady. Beside the waves ’ haycocks her gown with tucks Was of satin the colour of shining green duc ks, And her fol­de­rol Parasol Was a great gold sun o’er the haycocks shining, But she was a negress black as the shade That time on the brightest lady laid. Then a satyr, dog­haired as trunks of trees, O Began to flatter, began to tease, And she ran like the nymphs with golden foot That trampled the strawberry, buttercup root, In the thick gold dew as bright as the mesh Of dead Panope ’s golden flesh, Made from the music whence were born Memphis and Thebes in the first hot morn, — A nd ran, to wake In the lake, Where the water­ripples seem hay to rake. And Charlottine, Adeline, ­ Q I — — — — — — — — — �Round rose­bubbling Victorine, And the other fish Express a wish For mastic mantles and gowns with a swish; And bright and slight as the posies Of buttercups and of roses, And buds of the wild wood­lilies They chase her, as frisky as fillies. The red retriever­haired satyr Can whine and tease her and flatter, But Lily O’Grady, Silly and shady, In the deep shade is a lazy land; Now Pompeys  dead, Homer’s read, Heliogabalus lost his head, And shade is on the brightest wing, And dust forbids the birds to sing. v ‘ O — �v C 20. Fox­Trot “Old Sir Faulk” Old – Sir ­­ Faulk, Tall as a stork, Before the honeyed fruits of dawn were ripe, would walk, And stalk with a gun The reynard­coloured sun, Among the pheasant­feathered corn the unicorn has torn, forlorn the Smock­faced sheep Sit ­ And ­­ Sleep; Periwigged as William and Mary, weep ‘Sally, Mary, Mattie, what’s the matter, why cry?’ The huntsman and the reynard­coloured sun and I sigh; ‘Oh, the nursery­maid Meg With a leg like a peg Chased the feathered dreams like hens, and when they laid an egg In the sheepskin Meadows Where The serene King James would steer Horse and hounds, then he From the shade of a tree Picked it up as spoil to boil for nursery tea,’ said the mourners. In the Corn, towers strain, Feathered tall as a crane, And whistling down the feathered rain. old Noah goes again –­ An old dull mome With a head like a pome, Seeing the world as a bare egg, Laid by the feathered air; Meg Would beg three of these For the nursery teas Of Japhet, Shem, and Ham; she gave it v Underneath the trees, Where the boiling Water Hissed, Like the goose­king ’s feathered daughter — kissed. Pot and pan and copper kettle Put upon their proper mettle, Lest the Flood –­ the Flood ­–  the Flood begin again through these! �21. Sir Beelzebub When Sir Beelzebub called fo r his syllabub in the hotel in  Hell Where Proserpine first fell, Blue as the gendarmerie were the waves of the sea, (Rocking and shocking the bar­maid). Nobody com es to give him his rum but the Rim of the sky hippopotamus­glum Enhances the chances to bless with a benison Alfred Lord Tenny son crossing the bar laid With cold vegetation from pale deputations Of temperance workers (all signed In Memoriam ) Hop ing with glo ry to  trip  up the Lau reat e ’s fe et, (Moving in classical metres) Like Balaclava, the lava came down from the Roof, and the sea’s blue wooden gendarmerie Took them in charge while Beelzebub roared fo r his rum. None of them come! –  Dame Edith Sitwell (1 887–1964) �Jew York City Opera while still a student at the Curtis Institute, and ubsequently appeared with Santa Fe Opera, Washington Opera, New Jrleans  Opera,  Nevada  Opera,  and  many  other  regional  companies ncluding  Tri­Cities  Opera  in  Binghamton.  Her  European  operatic lebut  was  at  the  Holland  Festival  in  Amsterdam.  She  has  also ierformed at the Spoleto Festival in Italy, at the Theatre Royale de la onnaie  in  Brussels,  and  with  Dublin  Grand  Opera.  Burgess  has ppeared  as  soloist  with  more  than  two  dozen  U.  S.  orchestras, .ncluding  the  Boston  Symphony  (with  Seiji  Ozawa),  Cleveland Orchestra (with Lorin Maazel, Eduardo Mata), Chicago Symphony (Sir Simon  Rattle),  and  Cincinnati  Symphony  (Klaus  Tennstedt,  James Conlon).  She has been a frequent guest at such prestigious festivals as Marlboro, Monadnock, Ravinia, Aspen, Blossom, Casals, Chautauqua, and the Cincinnati May Festival.  Her repertory of forty roles in  five languages  ranges from  Monteverdi and Cavalli to Britten and Virgil Thomson.  Her  performances  of  Britten ’s  Les  Illuminations  and Mahler’s Symphony No. 2 with the Omaha Symphony were filmed for broadcast  by  Nebraska  ETV.  She  has  recorded  for  Columbia, Masterworks, CRI, Sony Classical and Telarc. TIMOTHY PERRY, clarinetist, conductor  and  Professor of Music, joined  the  Binghamton  University  faculty in  1986 as director of the orchestral  and  wind  ensemble  programs  and  instructor  of  studio conducting and clarinet. Perry holds D.M.A., M.M.A. and M.M. degree from  the  Yale  School  of  Music  and  a  B.  Mus.  degree  from  the Manhattan  School  of  Music.  Dr.  Perry’s  more  than  two  hundred programs  include  ten  seasons  as  Music  Director  of the  Binghamton Community Orchestra  and  as  guest  conductor  of  both  the  Catskill Symphony and Binghamton Philharmonic Orchestras. Perry is widely known as a virtuoso solo and chamber music clarinetist, touring Latin America and the Caribbean as a United States Musical Ambassador and appearing at  international  festivals  in  Europe  and  Asia.  In  2006  he presented his third artist recital at an International Clarinet Conference in Tokyo and performed Mozart ’s Clarinet Concerto on basset clarinet , as part of the composer’s 250th anniversary. 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, Ithaca, New York.  She �also  taught  flute  at  West  Virginia  University,  Morgantown,  West Virginia.  Mrs.  Maiolo  is  a  graduate  of  Duquesne  University  and attended graduate school  at  West Virginia  University.  Mrs.  Maiolo studied  with  Bernard  Goldberg,  principal  flutist  of  the  Pittsburgh Symphony, Marcel  Moyse at  Marlboro School of Music, and  Victor Saudek.  She is the principal flutist with the Binghamton Philharmonic Orchestra and the Tri­Cities Opera Orchestra, Southe rn Tier Concert Band and the Downtown Si ngers Orchestra.  In addition to her playing positions, she concertizes as a soloist, recitalist and chamber musician. Mrs.  Maiolo  was  honored  to conduct  the  NYSSMA  All­State  Flute Choir.  She served as the flute chairperson for the NYSSMA  Manual from 1981 to 2001.  She is a “clinician” for the Selmer Company and has recorded for Crest Records and NPR. [ L I 2 BEN ALDRIDGE holds  both  Bachelor’s and  Master’s degrees from Yale University, and began teaching trumpet at Binghamton University in  1976.  Aldridge  has  directed  both  trumpet  and  mixed  brass ensembles throughout his tenure at BU, has performed both solo and chamber  repertoire,  and  has  taught  theory  as  well.  Aldridge  is  a member of the  Binghamton Philharmonic  and the Utica and Catskill Symphonies, as well as the Glimmerglass Opera Orchestra.  He also performs with and arranges for the Catskill Brass Quintet. Aldridge is a charter  member  of  the  International  Trumpet  Guild,  and  has  been recorded on Columbia and Redwood records. Cellist  HAKAN  HROM EK  was  trained  in  music  performance  at Ithaca  College,  SUNY  Purchase,  and  Binghamton  University.  His teachers include Peter Wiley, Marion Feldman, Daniel Phillips, Stephen Stalker, Einar Jeff Holm, and Fritz Wallenberg. He has attended the International  Congress  of Strings,  Round  Top  International  Festival, Chamber  Music at  the  92nd  Street  Y­NYC, Spoleto  Music  Festival, Skaneateles  Festival,  and  the  Kenai  Penninsula  Music  Festival  In Alaska.  An  active  performer,  Mr  Hromek  is  principal  cellist  of the Binghamton  Philharmonic,  Tri­Cities  Opera  Orchestra,  and  The Orchestra of the Southern F inger Lakes. He has also pe rformed with the Cayuga Chamber Orchestra, Bach Works in  NYC, and the Syracuse Symphony. During the sum mer of 2006, Mr.  Hromek  completed  his fourth season as cellist in the DeVere Quartet, which serves as resident quartet  for the  Kenai  Peninsula  Festival  in  Alaska  and  at  present  is cellist  for the Novo Quartet. An avid chamber musician  Mr. Hromek I) �enjoys collaborating in a cello and piano duo on a regular basis with Margaret Reitz and various local artists in the Central New York area. DANIEL  FABRICIUS  took  the  post  of  Percussion  Instructor  at Binghamton University in September of 1992 and has been Director of Bands  at  Owego  Free  Academy since  1989.  Fabricius  is  an  active performing percussionist in the Southern Tier.  He is a member of the Binghamton Philharmonic as well as Timpanist/P rincipal Percussionist for the Orchestra of the Southern Finger Lakes.  In recent years he also has performed as a percussion soloist in chamber ensembles, in musical theater  productions  and  with  several  nationally  known  artists.  He performs often as a freelance musician and as a member of the local dance band “Classy Brass.”  Mr. Fabricius has conducted many honor band  festivals  and  is  a  past  president  of  the  NYS  Band  Directors Association. GORDON STOUT, Professor of Percussion at Ithaca College School of Music, is a composer as well as a percussionist who specializes on marimba.  Many of his compositions have become standard repertoire for marimbists world­wide.  He has recorded many of his own works as well as those of other American composers.  As a lecture­recitalist for the  Percussive  Arts Society, he has appeared at  twelve  international PAS Conventions.  Gordon has served on several juries of international competitions  and  has  appeared  as  a  featured  soloist  at  The  World Marimba Festival in Japan.  Gordon is a clinician /recitalist for Kp3 and performs  exclusively  on  their  M5.0  Imperial  Grand  five­octave marimba. STEVEN MAUK, Professor of Saxophone at Ithaca College School of Music, has presented numerous solo and chamber concerts throughout the world, including four tours to Russia.  As a foremost authority on the soprano saxophone, Mauk has had twenty­five works dedicated to him.  He has recorded 1 7 albums and authored four books. Mauk is an artist/clinician for both Selmer and Vandoren.  He is a past president and has been Director of Scholarly Publications for the North American Saxophone  Alliance.  Mauk,  the  recipient  of  a  Dana  Teaching Fellowship  and  a  Dana  Research  Fellowship  for  his  excellence  in teaching  and  research,  also  received  the  Ithaca  College  President’s Recognition  Award.  He  was  the  recipient  of  the  1995­98  National �Artist  Award  from  the  Phi  Kappa  Phi  Honor  Society  and  received Ithaca College’s Excellence in Teaching Award for 2001­2002. DAN M I L L E R  is a native of Endicott, New York.  He is chairman of the  Spencer­Van  Etten  School  music  program  where  he  directs  the middle school  and high school bands and jazz ensembles.  Dan earned his undergraduate degree from Syracuse University (with performance honors) and a Master’s in Music Education from Ithaca College. He is a past president of the Tioga County Music Educators Association and regularly works as an adjudicator and clinician throughout the Southern Tier of New York State.  In addition to being the alto saxophonist in the Empire Saxophone Quartet, Dan is also a member of Classy Brass and the  Mason Warrington Orchestra. He has performed with the Syracuse based Society for New Music and the Binghamton Philharmonic and has recorded with the Swing Street Jazztet and the Empire Saxophone Quartet. v ­ AMY  NATIELLA,  a  senior  Sociology  major  at  Binghamton University, has been studying saxophone under April Lucas for the past four  years.  She is  a member of the University Wind  Ensemble and Saxophone Quartet.  Amy appeared as a soloist  with  the  University Wind Ensemble this past semester and is a native of Buffalo, NY. TIMOTHY LEFEBVRE, baritone, has appeared in  concert with the Vermont  Symphony,  Minnesota  Symphony,  Syracuse  Symphony, American  Symphony  Orchestra,  Pittsburgh  Symphony,  Spokane Symphony,  Binghamton  Philharmonic,  Rochester  Bach  Festival, Berkshire Choral Festival, Williamsport Symphony, Syracuse Chamber Music  Society,  the  Skaneateles  Festival  and  with  the  prestigious Marlboro  Music  Festival.  He  has also  appeared  in  concert  at  New York’s Carnegie Hall and Alice Tully Hall.  Mr. LeFebvre is a winner of  the  New  York  Liederkranz  Vocal  Competition.  Other  awards include  the  Richard  F.  Gold  Career  Grant,  an  Opera  Fellowship  at Binghamton University and Regional  Finalist  in  several  Metropolitan Opera Competitions.  LeFebvre’s  operatic experience includes leading roles  with  San  Francisco  Opera,  Tri­Cities  Opera,  Sarasota  Opera, Chattanooga  Symphony  and  Opera,  Syracuse  Opera,  Indianapolis Opera, and Opera Theater of Pittsburgh.  LeFebvre is  a graduate of Carnegie  Mellon  University  and  Binghamton  University  and  is currently on the faculty at Binghamton University. ­ �’ " MARGARET  REITZ,  pianist,  is  on  the  faculties  of  Binghamton University and the Ithaca College School of Music. She received her Bachelor  and  Master  of  Music  degrees  in  piano  performance  with accompanying emphasis and attended Boston University, New England Conservatory, and  Binghamton  University.  She  studied  piano  with Jean Casadesus, Victor Rosen baum, Seymour Fink, Walter Ponce, and Allen  Rogers.  Reitz has accompanied throughout the world and has been a guest chamber music  artist in  Morges, Switzerland.  She and Binghamton University faculty member Tim Perry were winners of the 1997 Artistic Ambassadors Program by the United States Information Agency  in  partnership  with  the  John  F.  Kennedy  Center  for  the performing arts.  Reitz was a guest artist on the Cornell Summer Series in August of 2006 and will  be an official pianist at the International Double Reed Competition and Convention this coming June. ROBERT  SMITH  is  Music  Director  and  Conductor  of  the Binghamton University Wind Ensemble. Professor Smith holds degrees from Hartwick College, Binghamton University and is a candidate for the  Doctor  of  Musical  Arts  from  Boston  University.  Locally,  he conducts  the  annual  observance  of  TubaChristmas  and  is  former conductor of the Maine Comm unity Band. He has guest conducted all­ county  and  community  bands  as  well  as  the  Goshen  College(IND) Wind Ensemble and Orchestra. An active performer, he currently plays principal  euphonium  with the  Southern Tier  Concert  Band  and tuba with  the  Brass  Nickel  quintet  and  the  Crown  City  Brass  sextet. Professor Smith is the immediate past president of the Broome County Music  Educators  Association  and  recipient  of  the  2005  BCMEA Distinguished Service Award. �ABOUT THE MUSIC Facade, An Entertain ment, was collaborated by William Walton, Edith Sitwell, and her two brothers in Oxford in 1922 during his 15 year stay with the family.  Edith  Sitwell  quotes  “The  poems  in Facade  are  abstract  poems,  that  is,  they  are  patterns  in  sound. They are, too, in many cases, virtuoso exercises in techni que of an extreme difficulty.”  Twenty one of Sitwell ’s poems were set to music  by Walton, the  19  year  old  student  greatly  interested  in modern music and popular British dance music of the 1920’s.  His interests  are  obvious  in  the  chamber  music  for  the  poems,  the familiar rhythms of the foxtrot, music  hall dances, circus music, tarantella  and  tango  are  combined  with  angular  pieces,  musical dissonance and lyrical sections.  The poems and music are meant to  be  savored  as  sound,  unclear  and  abstract,  but  beautifully integrated. Concerto in D Minor for Oboe, strings, and  basso continuo is considered  Alessandro  Marcello ’s  best  known  work.  Johann Sebastian Bach noted its worth when he transcribed the work for harpsichord (BWV974).  Marcello’s other works include cantatas, arias, canzonets, and violin sonatas. Saxsounds III, Diminishing Retu rns (1978), was written while Galante  was  a  student  in  composition  and  saxophone  at  the University of Michigan.  Both his saxophone teacher and  his  is composition  teacher  encouraged  him  to  write  a  work  that incorporated the saxophone with the latest sound technology.  The resulting duet is played through a digital delay unit that produces an  ostinato  and  provides  pulse  and  mood  throughout  the  piece. The saxophonists  produce  traditional  sounds as  well  some  non­ traditional sounds (vocal sounds and multi­phonics) that make the saxophone  not  only a  wind  and  percussive  instrument,  but  part human at times. Valencia :  I berian  Musings  for  Mari m ba  and  Saxophone Quartet  is  dedicated  to  the  Empire  Saxophone  Quartet  and Gordon  Stout.  The  work  was  influenced  by a  trip to  Spain  in September  of  1997  by  composer  David  Kechley.  The  first �l l vl l movement,  ....on  the edge,  is  a  fast,  relentless  piece  with  the marimba  maintaining  a  perpetual  motion  punctuated  by  the saxophone ’s exclamatory remarks.  The second movement, Prayer and  La m ent  with  Inter jections  juxtaposes  several  moods requiring  the  marimba  and  saxophones  to  reverse  roles.  The marimba opens the “prayer” using its ability to create organ­like sustained  sounds.  The  saxophones  later  articulate  the  “lament” against this backdrop.  Please refrain......, the third movement, refers to the  playful  vam p that sets the  pace  for this  energetic, rondo­like  movement.  The opening rhythm was suggested by a Cedar  Walton  tune,  Bolivia.  Despite  the  vamp  element,  this movement creates variations on the material introd uced in the first movement. George Hamilton Green began playing at age 1 1 and at 19 entered Vaudeville,  earning  himself  the  reputation  of  being  a  show­ stopping, virtuoso xylophonist. The Ragtime Rob in was one of his  six  novelty  xylophone  solos  cut  for  the  Edison  recording company  that  would  eventually  include  more  than  150  sides. Green eventually left Edison and recorded for com panies such as Victor and Columbia.  He  was a noted teacher, performer and author of pedagogical  materials that remain important today.  In 1946  he  retired  to  become  a  successful  artist,  illustrator  and cartoonist. Academy Award winning song, It Might As Wel l Be Spring, is from the musical “State Fair” (1945), one of Richard Rogers’ early collaborations with lyricist Oscar Hammerstein II, and their only collaboration  written directly  for the screen.  Rogers wrote the music  for over 50 stage and  film  musicals and helped make the American  musical  a  legitimate  art  form.  Keith  Young’s arrangement o f  this song features a jazz improvisation solo. r J} �Coming  “Cuenst Th ursday, Febr uary 22 – Mid Day Conce rt – 1 :20 p.m. – Casadesus Recital ' Hall ­ free  Saturda y, F e b ruary 24 – F aculty Recita l : Janey Choi , violin and M ichael Salmirs, piano – 8:00 p.m. – Casadesus Recital Hall ­ $9 general public; $7 faculty/staff/seniors ; free for students Sunday, Feb ruary 2 5 – Universit y Wind Ensemble : A World To ur – 3:00 p.m. – Anderson Center Chamber Hall – free Th ursday, March 1  – Mid­Day C oncert – 1 :20 p.m. – Casadesus Recital Hall – free Saturday,  March  3  ~  University  Symphony  Orchestra  –  8:00  p.m.  – Osterhout Concert Theater –$9 general publics; $7 faculty/staff/seniors; free for students Sunday, Mar ch 4 – Absol ut(e) Russian with special guests Elma r Oliveira, violin and Sa nd ra Robbins, viola – 3:00 ­p.m. – Anderson Center Cham ber Hall ­ $25 general public; $20 faculty/stafflseniors; $10 students Th ursday, Mar ch 1 5  – Mid­Day Concert – 1 :20 p.m. – Casadesus Recital Hall – free Friday, Marc h 16 – Mater ’s Recital : Akira Maezawa, violin – 8:00 p.m. – Casadesus Recital Hall – free Saturday, M arch 1 7 ­ Master ’s Recital : Miriam W right, sopran o – 3:00 p.m. – Casadesus Recital Hall – free Saturday, M arch 1 7 – H a rpu r Chorale an d Women ’s Chorus – 8 :00 p.m. –­ Anderson Center Chamber Hall – Free Th ursday, March 22 – Mid­Day Concert – 1:20 p.m. – Casadesus Recital Hall ­  free F riday, Marc h 23 –  Neil  Berg ’s 100  Years of  Broadway – 8:00  p.m. ~ Osterhout  Concert  Theater  ­  $30  general  public;  $25 faculty/staff/seniors/alumni, $10 students (A Benefit  for the Music Theater and Athletic Departments) ­ � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 31:38 45:36 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196762">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196762</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCoverContinuous Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource La Saxophone Family and Friends, February 17, 2007 Recital Tape 2-17b-2007 Description An account of the resource Held at 8:00 p.m., Feb. 17, 2006, Casadesus Recital Hall. Works of Marcello, Galante, Kechley, Green, Rogers, Green and Raskin. Creator An entity primarily responsible for making the resource Borton, Bruce Burgess, Mary Maiolo, Georgetta Lucas, April Perry, Timothy Aldridge, Benjamin Tayga-Hromek, Hakan Fabricius, Daniel Mauk, Steven Miller, Dan Alduino, Anthony Stout, Gordon LeFebvre, Timothy Reitz, Margaret Smith, Robert 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 2007-02-17 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 441682e3-d159-424f-ae52-7132e1d81980 https://omeka.binghamton.edu/omeka/files/original/3bb0f8c4464ee9604424a4e1d258918a.pdf a7c17fc73ff5badf3fc2d6640584c3ad PDF Text Text BINGHAMTON U N I V E R S I T Y St ate University of  N e w York U N I V   (BR l,  B E F A  R z e d e c   E N T T M “  “A W O R L D  TOUR ” Thre t Universiy Win d COndemble Daniel Brisk Associate Conductor Robert  Smith Music Director and Conductor with William Gilchrest, tru m pet Sunday, February 25, 2007 3 :00 p.m. A nderson Center Cha mber Hall �PROGRAM 7¥  g i   Conducted by Daniel Brisk /  antasy On Osaka Folk Tunes.................................... Hiroshi Ohguri (1918­1982) / : o  [  ;  ..........  ¥  Concerto for Trumpet . . . . . . . . . . . . . . . . . . . c o e e e e eAlexander Arutuman I,‘  William Gilchrest, trumpet )  \  (b.1920) ­ Danse Final from Est ancia..................................... Ginastera L s  [ ecliacal  O )   l sttles  (1916­1983) Mannin Veen(“Dear Isle o fMan ”) ..............................Haydn Wood (1882­1959) IN T E R M I S S I O N Conducted by Robert Smith Australian Up Country Tune(1928) .............Percy Aldridge Grainger (1882­1961) Arr. Glenn Cliffe Bainum Symphony No. 3  “Slavyanskaya”(1958) ............. Boris Kozhevnikov (1906­1985) I. Allegro  ed. John R. Bourgeois II. Slow Waltz  III. Vivace IV. Moderato I I  Ik  i. �ABOUT THE M USIC . Hiroshi Oh gu ri (1918­1982) .  Fantasy on Osaka Fol k T u n es.  As a musician, Osakan born Ohguri thrived with curiosity and fervor.  After entering Ten noji Commercial H igh School, the 13 year old Ohguri learned to play French horn. With his musical thirst being unquenched by merely playing an instrument, he taught himself composition by the time he graduated, with some of his works being played by the school’s wind ensemble.  After moving to Tokyo in 1941to further his musical career, Ohguri began playing in the Tokyo Philharmonic Symphony Orchestra under the direction of Manfred Gurlitt. Fantasy on Osaka Folk Tunes, originally com posed in 1956, is characterized by a marriage of pentatonic Osakan m elodies with syncopati on to create rhythmic e xcitement.  At times, the wind band encompasses a percussive qual ity, further adding to the general energy of the piece.  Beginning with the mysterious introduction, the work takes on the shape of an elongated accelerando, gradually becoming quicker and quicker until the last two chord Notes by D. Brisk strikes from the ensem ble.  Mannin Veen (“Dear Isle of Man ”) . . . . . . . . . . . . . .Ha ydn Wood (1882­1959) Haydn Wood was a prolific English composer—having written musical comedies, overtures, suites, songs and other orchestra and vocal works—and violinist.  Wood studied at the Royal College of Music when he was 1 5, began touring at age 31, and began serving as director of the Perfo rming Right Society at age 57. Mannin Veen, one of two works Wood composed for wind instrumentation, was founded on four Manx folk tunes.  The first tune, “The Good Old Way” is an air dating back to the l l late 18” century.  “The Manx Fiddler” was a simple, folk dance tune called a “reel,” and introduces a lively section in the work.  The tune, “Sweet Water in the Common” spoke of the practice of gathering m en from each parish in a district to settle dispu tes of the common areas such as waterways and boundries.  “The Harvest of the Sea (Manx Fisherman ’s Evening Hym)” was sung by fishermen in thanks for a safe return from sea. Wood presents these melodies both one­by­on e and played simultaneously.  The piece concludes with a dramatic recapitulation of th e Manx Fisherman ’s Evening Hymn. Notes by D. Brisk Concerto for T ru m p e t . .  . . . . .  . . . . . . . . . . . . Alexan der Aru tun ian (1920­) Armenian composer A lexander Grigoriyevich Arutunian graduated from the Conservatory of Yerevan at the age of 2 1 and continued studies in the field at the Moscow Conservatory with Litinsky, Peyko and Zuckermann.  Arutunian ’s accolades for composition include the State Prize of the USSR for his Motherland Cantata (1949), and the Peoples’ Artist of Armenia (1960). Australian U p­Country Tune . . . . . . . .  Percy Aldridge Grain ger (1882­1961) Born in Brighton, Mel bourne, Australia, (George) Percy Aldridge Grainger became a naturalized American c itizen in 1914. He toured extensively as a con cert pianist  and was invited to Norway by Edvard Grieg to do special study of the Concerto in a minor. Along with Holst and Vaughn­Willams, Grainger extensively collected and notated English folk music and set many of these traditional in a variety of mediums. His Lincolnshire Posey is one of the cornerstones of the wind band literature. Arutunian ’s strong nationalistic feelings are manifest in his compositions through his use of Armenian melodic and rhythmic characteristics.  Arutunian projects his patriotic fervor particularly through his Trumpet Concerto by incorporating rhythmic and melodic characteristics of Armenian folk music. He has enriched this composition by creating dynamic contrasts of m ood ranging from the rough, yet festive passages to delicate lyrical sections with jazzy influence.  The work is traditional ly divided into three sections: Andante­Allergro energico, Meno mosso and a return to Tempo Primo.  The heroic main “This piece (written for chorus in 1928) is based on a tune I wrote in 1905 entitled “Up­ Country Song” In that tune I had wished to voice Australian up­coun try feeling as Stephen Foster had with Ameri can country­side feelings in his songs. I have used this same melody in my Australian ‘Colonial Song’ and in my Australian ‘The Gum­suckers March’. P. Grainger Notes by R. Smith theme is juxtaposed wi th contrasting flowing melodies to create a wo rk with tasteful variety.  . Boris Kohzevnikov ( 1906­1985) Symphony No. 3.  “Slavyanskaya”.  Boris Tikhonovich Kozhevnikov studied composing and conducting at the Kharkov Music– Notes by D. Brisk Danza Final from Estancia . . . . . . . . . . . .  . . . A l berto Ginastera (1916­1983) Though born in Buenos Aires and known as being one of its leading composers, Ginestera was no stranger to Am erican collaboration.  For two years in the mid 1940s, Ginestera studied with the great A merican composer Aaron Copland in Tanglewood.  Fans of the progressive rock group Emerson, Lake and Palmer are most likely familiar with the work, “Toccata” which was an adaptation of the fou rth movement from Ginestera’s Piano Concerto # 1.  Keith Emerson also rel eased an adaptation of Ginestera ’s Suite de Danzas Criollas (“Suite of Creole Dances”). Estancia, composed in  1948 during a period Ginestera himself identified as his “Objective Nationalism” period, is the second of two operas attributed to the composer.  Ginestera ’s “Objective Nationalistic“ period is typified by settings of Argentinean folk motives in straightforward fashion, opposed to the abstract forms he would use in his later compositional periods.  Danza Final is divided into two primary sections:  an Allegro dance section and a Te mpo di Malambo.  Malambo is an Argentinian competition style Each dancer would compete to see who   dance for men with ori gins in the 1 7 Century.  could perform the widest variety, the most complex  and the most difficult mudanzas, or Notes by D. Brisk series of foot movemen ts in a very small area.  Dramatic Institute. Following his graduation in 1933 he attended the Military School of ­ Music in Moscow. Kozhevnikov became a member of the faculty of the Moscow Conservatory in 1940 and also held conducting posts at various theaters. A prolific composer, Kozhevnikov’s  works are well known in Russia but are rarely performed in the USA. Among them are Dance Suite on Ukrainian Themes, Sinfonietta, Joyful Overture, Trumpet Concerto, Intermezzo (for four trombones), songs, and dance pieces. He wrote over 70 pieces for band including  marches, overtures, poems, rhapsodies, suites and 5 symphonies. Completed in 1958. the four movements of “Slavyanskaya” reflect th e folk music of Novgorod. Russia. the composer’s birthplace. The first movement is  based on two folksongs, one rhythmic and furious, the other lyrically melodic. The graceful slow waltz o f the second movement i s in contrast to the “Vi vace” third movement with its technical challenges. The themes of the final movement are reminiscent of the first but are actually quite different. Notes by R. Smith �Members of The Universitv Wind Ensemble ABOUT THE P ERFORM ERS ROBERT  G .  S M I T H   is  Music  Director  and  Conductor  o f the  Binghamton University  Wind  Ensemble.  Professor  Smith  holds  degrees  from  Hartwick College, Binghamton University and is a candidate for the Doctor of Musical Arts in  Music Education  from Boston University. His career includes 3 2 years as a public  school  music  educator.  He  conducts  the  annual  Triple  Cities TubaChristmas  and  is  former  conductor  of the  Maine  Community  Band,  the oldest band of its kind in the United States. He has guest conducted all­county and community  bands  throughout  central  New  York  as  well  as  the  Goshen College(IND)  Wind  Ensemble  and  Orchestra.  In  March,  2007  he  will  guest conduct  the  Ulster  County(NY)  All­County  High  School  Band.  An  active performer, he currently plays principal euphonium with the Southern Tier Concert Band and tuba with the Brass Nickel quintet and  the Crown City Brass sextet. Smith  is  the  immediate past president of the Broome Coun ty Music Educators Association  and  recipient  of the 2005  BCMEA  Distinguished  Service  Award. Professional  memberships  include  The  Broome  County  Music  Educators Association, the New York State School Music Association, the Music Educators National Conference, The National Band Association, The Association of Concert Bands, The Conductors Guild, The World Association of Symphonic Bands and Ensembles,  The  College  Band  Directors  National  Association  and  the International Tuba and E uphonium Association. DANIEL  BRISK  graduated  from  Wilkes  University  in  Pennsylvania  with  a degree in Music Education.  Mr. Brisk is currently I nstrumental Music Educator at Chenango Valley High School where he  has conducted the Symphonic Band, Jazz Band, Pep Band and been heavily involved in the Theatre Guild. Under Mr. Brisk ’s  direction,  the  Symphonic  Band  has  consistently  taken  top  honors  at NYSSMA Majors adjudication festivals. A Tubist, Mr. Brisk has performed as a member of the Southern Tier Concert Band, European Brass and is a free­lance musician.  He  is  currently  enrolled  at  Binghamton  University  where  he  is pursuing a Masters Degree with a  focus on Instrumental Conducting under Dr. Timothy Perry.  He has previously studi ed conducting under Cyril Stratanski, Dr. Alan Baker, Ferdinand Liva, Jerome Campbell and Dr. Richard Brown. Mr. Brisk is member of The Broome County Music Educators Association, The New York State School Music Association, The Music Educators National Conference and was listed twice in Who ’s Who Among America ’s Teachers.  Mr. Brisk lives in Clarks Summit, Pennsyl vania with his new bride, Kristen. GUEST  ARTIST,  WILLIAM  GILCHREST,  trumpet,  completed undergraduate work at Gordon College earning a degree in music education.  He is currently the Choral director and general music teacher at Schenevus Central School. * principal @ graduate conductor Piccolo Alto Saxophone I Flute I Jennifer Weintraub * Sarah Harper Jessica Williamson @ Alto Saxophone II Katherine Navarette Amy Sleeper Flute I1 Julie Liao Sarah Shafer Brenda Courtright Laura Dempsey Steven lnganamort Melissa Voldan Oboe I Ephraim Atkinson Oboe II Jin Jongho C l a ri n e t Eb  Kristen Weiss CB L A R IN E TI   B Daniel Zaccarini* Dong Yoon Shin Margaret Venti Bb Clarinet II Richard Silvagni Kyle Doyle Mitchell Ostrow Bb Clarinet ITI Melissa Klepper Mark Norman Lisa Carpinone Christa Heschke Kristen Sedacca Bb Bass Clarinet Heather O’Gara . l Amy Natiella* Tenor Saxophone Baritone Saxophone Marissa Roe T rumpet I,II,III Cornet I,II,III Andrew Sanfratello Steve Pan Lisa Eppich Harvey Westcott Anne Meyer F H orn I,II,III,I Megan Caruso Robert Muller Alexa Weinberg Trombone I Harris Brenner Trombone II  III Thomas Ignacio E uphoni um Matthew Sanders Tuba Katherine Winchell* Paul Meddaugh Steven Kong David Parnes Percussion Christopher Jacobson* Subin Lim Kelly Tufo Paul Payabyab Timpani Caleb DeGroote Piano Hwang Hyunjin �Th ursday, M a rc h 1 – Mid­Day Con cert ­­  1 :20 p.m. – Casadesus Recital Hall – free Saturday, March 3 – University Symphony O rchestra – 8:00 p.m. – Osterhout Concert Theater –$9 general publics; $7 faculty/staff/seniors; free for students Sunday, M a rch 4 – Absolut(e) Russian with special guests El mar Oliveira, violin and Sand ra Robbins, viola –  3:00  ­p.m. – Anderson Center Chamber Hall ­ $25 general public; $20 faculty/staff/seniors; $10 students Th ursday, M arch 1 5 – Mid­Day Concert – 1 :20 p.m. – Casadesus Recital Hall free —  F riday, M a rch 1 6 – Master ’s Recital – A kiro Maezawa, violin – 8 :00 p.m. – Casadcsus Recital Hall – free Saturda y, M arch 1 7 –  Master ’s Recital : M iriam W right, soprano – 3:00 p.m. – Casadcsus Recital Hall – free Saturda y, M arch 1 7 – Ha rpu r Chorale an d Women ’s Chorus – 8:00 p.m. – Anderson Center Chamber Hall – Free Th ursday, M a rc h 22 – Mid­Day Con cert – 1 :20 p.m. – Casadesus Recital Hall free —  F riday,  M arch  23  –  Neil  Berg’s  1 00  Years  of  Broadway  –  8:00  p.m.  – Osterhout  Concert  Theater  ­  $30  general  public;  $25 faculty/staff/seniors/alumni, $10 students (A Benefit  for  the  Music  Theater and Athletic Departments) 3 S u n d a y ,  M a rch 25 – Millennia Too! Guest O rgan and Oboe Concert : Alison Luedecke,  organist  and  Susan  Ba rrett,  oboist  –  4:00  –  p.m.  –  First Presbyterian, Binghamton ­ $15 general public; $13 faculty/staff/seniors; $7 students Tuesday,  M arch  27  –  Student  Recital :  Melissa  Lee, viola  –  7:30  p.m.  – Casadesus Recital Hall ­­ free Th ursday, M a rc h 29 – Mid­Day Con cert – 1 :20 p.m. – Casadesus Recital Hall free —  Th ursday, A pril 1 2 – Mid­Day Con cert – 1 :20 p.m. – Casadesus Recital Hall — free � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 56:23:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196766">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196766</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A World Tour, February 25, 2007 Recital Tape 2-25-2007 Description An account of the resource Held at 3:00 p.m., Feb. 25, 2007, Anderson Center Chamber Hall. Works of Ohguri, Arutunian, Ginastera, Wood, Grainger, Kozhevnikov. Creator An entity primarily responsible for making the resource Brisk, Daniel Smith, Robert Gilchrest, William 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 2007-02-25 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 8acc3e0c-700b-4058-894f-8d57548610d0 https://omeka.binghamton.edu/omeka/files/original/d968924e9bf404c5a42877761e9ac462.pdf 71186227d9e048effa14f5fb2988b3e2 PDF Text Text U N I V  i at  ; i , X E ff : 1 \    BU INNI GV HE V " 1 0257: 2 ­ R S I T Y State University of  New York .\  $ . .  . Binghamton University Department of Music TH U RS DAY  MID ­DAY CO NC E RT \ id March 1, 2007 – 1 :20 p.m. ­ Casadesus Recital Hall Ici­bas!a dc sare. B   .............Gabriel Faure (1845­1924) Les berceau x Jessica Bar kley, soprano Jod y Schum, piano Gabriel Faure was an influential french composer, organist, pianist and teacher. Often considered to be the master of the French a rt song,  Faure’s graceful melodic lines, simple strophic forms and masterful accompaniments influenced many composers. His style embodied the French style of music. His text painting ability and affinity for choosing meaningful poetry was second to none. These three early Faure pieces include poetry from Nobel Prize winner Sully Prudhomme, a French poet and essayist. lei­has! ­ H e re Below Here below all the lilacs die, All the songs of the birds are short, l dream of summers that remain Forever! Here below lips touch lightly Without leaving any o f their velvet behind, I dream of kisses that remain Forever! A u Bord de I’eau ­ At the water ’s edge To sit together beside the passing stream and watch it pass ; i f cloud glides by in the sky,   together to watch it glide; but, having no deep passion except adoration for one another, without concern for the world’s quarrels, to ignore them; and alone together, in the face of all wearying things, unwearyingly, to feel love (unlike all things that pass away) not passing away Les berceau x ­ The C radles Along the quay, the great ships, that ride the swell in silence, take no notice of the cradles. that the hands o f the women rock. But the day of farewells will come, if a thatched house sends up smoke on the horizon, to watch it smoke; i f flower spreads fragrance nearby,   when the women must weep, and curious men are tempted towards the horizons that lure them! under the willow where the water murmurs, And that day the great ships, sailing away from the diminishing  port, feel their bulk held back by the spirits of the distant cradles. to ta ke o n  its fragra nce ; to listen to it m u rm u ri ng ; for the time that this d ream endures, not to fee l its d urat ion ; �Chanson d’Avril Apres I’hiver Ouvre ton coeur ..Georges Bizet (1838­1875) Ma ry Aimoniotis, soprano Margaret Reitz, piano George Bizet, best known for his opera Carmen, also wrote many wonderful French art songs.  These three mélodies represent my admiration for springtime.  “Chanson d‘Avril” sets the mood of this set with its wonderful, clear and bright accompaniment, which represents the buzz of the earth before all the flowers and animals awaken.  The second piece,  “Apres I’hiver” describes how all the earth’s creatures awaken, and with them, love.  The set ends with “Ouvre ton coeur", a rhythmical explosive piece describing the chase of love. Chanson d’Avril (Song of April) Wake up! Wake up! Spring has just been bo rn! Over those valleys a rosy mist is floating! Everything in the garden trembles and sings ; your window is full of sunshine, like a joyful gaze. Around the bunches of purple­flowering lilac butterflies and bees flutter and hum togethe r, and the little shaking bells of lily­of­the­val ley have woken up Eros who was sleeping in the woods. Now that April has scattered its white daisies, go without your heavy cloak and cold­weather muff! The birds are already calling you, and the periwinkles (your sisters) will smile in the grass when they see your blue eyes. Let’s get going! The stream is clearer in early mo rning. Get up! Let’s not wait for the day’s burning heat. I want to wet m y feet in the moist de w and talk to you of love under the blossoming pear­trees. Apres L ’hiver (After winter) All awaken, my dear friends, The grey sky is loosing her paleness. When the earth gives o ff  her fragrance the hear of men is best. Come, come an invisible flute sighs its song in the groves. The most tranquil song is the song of the shepherds The air intoxicates me, it wraps its arms aro und my neck victorious! It blows through the blooming rose trees, that awaken the sighs in our hearts Come, come the wind rides the somber mirror of the water under the oak tree. The song the most joyous is the song of the birds. With clarity and perfume we happily bathe out hearts. In the supreme emanations. Elements in love. Come, come we love always  there is not torment. The song the most charming is the song of love. Come, come we love always! Ouvre ton coeur (Open yo u r hea rt ) The daisy has closed its petals, The shadow has closed its eyes for the day. Beauty, will you speak with me? Open your heart to my love. Open your heart, oh young angel, to my flame So that a dream may enchant your sleep. I wish to reclaim my soul, As a flower t urns to the sun! �Sonata in E flat, Op. 120, No. 2 » cere ssssnmsrsesinnicrsinonnssssessonisemmnssnnissd Brahms (1833­1897) Andante Con Moto  Melissa Lee, viola Michael Salmirs, piano The Sonata in E flat is one of the last pieces by Brahms.  It was a time of despair in which Brahms had decided to stop composing entirely, noting in his will that all his music be “left behind in manuscript [and] burnt”. Through the support  of clarinetist  Richard  Mfihlfeld,  Brahms  began composing again,  dedicating to  him  the  E  flat  Sonata. Although this piece was originally written for the clarinet, the viola sonata is not a transcription but an actual piece that Brahms himself adapted for the viola. The viola sonata may also have been inspired by another friend of his, violinist Joseph Joachim, who Brahms confessed to, saying that “. . .both pieces are perhaps still a litle awkward and unsatisfactory  as viola  sonatas”.  This third  movement, a  theme and  variation  form, is the  last  movement  of the sonata.  ° Selections from Wesendonk Lieder ........  Im Treibhaus  Traume Elizabeth Du hr, mezzo­soprano Margaret Reitz, piano Richard Wagner (1813­1883) These two songs from Wagner’s set of five “Wesendonk Lieder” were written between 1857 and 1858.  The poetry is that of Mathilde Wesendonk, said to be Wagner’s lover at the time.  Both “1m Treibhaus” and “Traume” were written as studies for Wagner’s later operatic composition, “Tristan und Isolde.”  Wagner initially wrote the songs for female voice and piano alone, but produced a fully orchestrated version of “Tridume", to be performed by chamber orchestra under Mathilde’s window on the occasion of her birthday on December 23, 1857. The cycle was first performed in public near Mainz on July 30, 1862 under the title “Five Songs for a Female Voice.” Im Treibha us (In the Hothouse)  High­vaulted crowns of leaves,  Canopies of emerald,  You children of distant zones,  Tell me, why do you lament?  Tra ume (Dreams) Tell me, what kind of wondrous dreams are embracing my senses, that have not, like sea­foam, vanished into desolate Nothingness? Silently you bend your branches,  Draw signs in the air,  And the mute witness to your anguish ­  A sweet fragrance ­ rises.  Dreams, that with each passing hour, each passing day, bloom fairer, and with their heavenly tidings roam blissfully through my heart! In desirous longing, wide  You open your arms,  And embrace through insane predilection  The desolate, empty, horrible void.  Dreams which, like holy rays of light sink into the soul, there to paint an eternal image: forgiving all, thinking of only One. A I know well, poor plants,  A fate that we share,  Though we bathe in light and radiance,  Our homeland is not here!  Dreams which, when the Spring sun kisses the blossoms from the snow, so that into unsuspected bliss they greet the new day, And how gladly the sun departs  From the empty gleam of the day,  He veils himself, he who suffers truly,  In the darkness of silence.  so that they grow, so that they bloom, and dreaming, bestow their fragrance, these dreams gently glow and fade on your breast, and then sink into the grave. It becomes quiet, a whispered stirring Fills uneasily the dark room: Heavy drops I see hovering On the green edge of the leaves. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 33:39:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196769">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196769</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thursday mid-day concert, March 1, 2007 Recital Tape 3-1-2007 Description An account of the resource Held at 1:20 p.m., March 1, 2007, Casadesus Recital Hall. Program includes translations for songs. Works of Fauré, Bizet, Brahms, Wagner. Creator An entity primarily responsible for making the resource Barkley, Jessica Schum, Jody Aimoniotis, Mary Reitz, Margaret Lee, Melissa Salmirs, Michael Duhr, Elizabeth Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2007-03-01 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 92d4c40c-bf94-42ed-9d35-13a92bc7e425 https://omeka.binghamton.edu/omeka/files/original/db6bed19e50d14caecd4779e3b71b4c3.pdf 10c10449c5ae884801cfe8bb068aaaad PDF Text Text BINGHAMTON U N I V E R S I T Y State University of  New York i l l   1  .’  R E o t I  vwdec ,  ,.  s 1  D  E  P  A  R  T  M  E  N  T 2­4 _ — N ( A B S O LU T ( E ) R U S S I A N Janey Chol, violin Roberta Craw ford, viola Stephen Stal ker, cello Michael Salmi rs, piano with guest artists El mar Oliveira, violin Patricia Sunwoo, violin Sand ra Robbins, viola H a k an Tayga­ H romek, cello Sunday, March 4, 2007 3:00 p.m. Anderson Center Ch amber Hall �PROGRAM Five ‘Melodies, O g  33besvvn..........  Andante  Lento, m a non troppo Animato, ma non allegro Allegretto leggiero e scherzando Andante non troppo Ms. Choi, Mr. Salmirs PROGRAM NOTES Sergei Prokofiev (1891 ­1953) As  its  nam e  suggests,  it  is  a  piece  o f utmost  lyricism  and Piano Quintet, Op.  ...........cccorii nsi ri ron i n ii nn i ns Shostikovich Prelude  Fugue Scherzo Intermezzo Finale Prokofiev Five Melodies for Violin and Piano, Opus 3 5 bis  (1925) Composed  in  California  in1925,  Prokofiev’s  Five  Melodies were somewhat  of an  anomaly  in  the composer ’s  more  radical early period, before his move back to his native Russia, where his music seemed to become more settled. (1906­1975) Ms. Sunwoo, Ms. Choi, Ms. Crawford Mr. Stalker, Mr. Salmirs WINTERMISSION Souvenir de Florence, Op. 70.................... Pyotr Ilyich Tchaikovsky (1840­1893) Allegro con spirito  Adagio cantabile e con moto Allegretto moderato Allegro vivace Mr. Oliveira, Ms. Choi, Ms. Robbins, Ms. Crawford Mr. Stalker, Mr. Tayga­Hromek accessibility.  Originally  published  as  a  wordless  vocalise  for soprano and piano, op.35, the work has gained more popularity in its  instrumental  form,  where  its  highly  figured  virtuosity  is perfectly idiomatic to the violin. Shostakovich Piano Quintet, op.57 (1940) Dmitri Shostakovich was born on September 25th, 1906 in St. Petersburg into an affluent family.  He took his first piano lessons from his mother, a concert pianist, and eventually studied at the Petrograd  Conservatory.  Despite  early successes, his  fortunes soon turned as the political heads began to notice and criticize his music.  His monumental Fifth Symphony, subtitled “the creative reply  of  a  Soviet  artist  to  justified  criticism”  reestablished  a favorable  reputation  with  his  officials,  but  one  can  detect  an ironical tone.  Along with Symphony No. 7, a wartime patriotic work called “Leningrad", he won the Stalin Prizes for his famous Piano  Quintet  in  g,  op.57  in  1940.  After  composing these pieces, Shostakovich grew tired of being held back by Stalin and his officials, so he turned to the quieter arena of chamber music to more honestly express himself. One of Shostakovich ’s best­known chamber works, the Piano Quintet was composed for the Beethoven String Quartet, as were most  of  his  string  quartets,  and  premiered  by  them  with Shostakovich himself at the piano on November 23 that same year at the Moscow Conservatory, to great success. The quintet is in  five movements, each with accessible forms and styles referencing past masters, and characterized by clearly etched  and  powerful  melodies.  The  Prelude  acts  almost  as  an operatic ove rtu re, foreshadowi ng melodic motives, counterpoint, basso  continuo  and  dance  forms  to  be  readdressed  in  later �movements.  The  opening statements  also  call  to  mind  Bach ’s Prelude  movements,  both  in  gesture  and  symmetrical  phrase divisions.  The five­voiced Fugue in G minor, the most substantial movement, follows, opening with  muted strings.  Largely tonal and conservative in form, Shostakovich later takes short motives from the subject to gradually distort the counterpoint, becoming increasingly dissonant.  Following a brief general pause, Prelude material is  restated in the piano and then the cello, in an almost heroic role, breaking free from the structured conformity of the fugal structure.  When the fugue subjects return, the atmosphere has  changed.  This  time,  there  are  pedal  tones,  harmonies  in remote  keys,  and  brief  reprises  of  just  the  fugue  fragments. Although the movement closes on a G major chord, the resolution is  dark,  sounding  in  the  lowest  register  of the  piano.  A  brief scherzo and interrnezzo (which takes the place of the conventional slow  movement)  follow  before  the  work  ends  with  a  brilliant finale. Virtuoso scoring and a particularly technical and soloistic piano part continue to make the piano quintet Shostakovich ’s most frequently played chamber work, perhaps overtaken in popularity only by his String Quartet No. 8. Tchaikovsky Souvenir de Florence, op.70 (1890) Tchaikovsky’s  final  chamber  work  was  composed  i n dedication  to  the  St.  Petersburg  Chamber  Music  Society  in response to his being awarded honorary membership.  Though his earliest  sketches  of  this  work  date  back  to  June  of  1887,  he seemed plagued with  inertia or dissatisfaction, and there were a series  of  starts  and  stops  before  the  first  draft  was  finally completed three years later.  Among his greatest challenges was to  write  for  this  unusual  grouping,  creating  what  he  called  an orchestral  work,  scored  for  only  six  (independent  yet hom ogen eous)  string  i nstrum ents.  E v e n  a fter  com pl eting  t he parts,  Tchaikovsky  was  anxious  about  the  piece  (performance tempi, bowing and articulation markings).  He took an active role with  the  performers,  going  through  several  revisions  over  the following  two  years  before  finally allowing  it  to  be  published. The full score appeared in print in June 1892 with a 4 hand piano arrangement in October of the same year. The first performance was  by  the  St  Petersburg  Chamber  Music  Society  on  25 November 1892, in the presence of the composer. The  title  of the  work  reflects  his  adored  visits  to  Florence, though  in  the time  surrounding the composition,  he  was going through a dark period in his life,  In letters to his composer friend Alexander  Glazunov,  he  complained  of  his  fatigue  and disillusionment from life.  Perhaps seeking refuge in his work, his compositional triumphs here certainly alleviated his despair. T he sextet  opens with  a  frenzy o f energetic  accompaniment over which the first violin attacks a descending three­note motive that will be the movement’s building block. Eventually the music eases to a gentle rocking motion over which the first violin spins a soothing  lyrical  melody.  The  descending  three­note  motive germinates  in  his  development  section  with  the  counterpoint, equally distributed  in  all  six  voices,  being carefully controlled, texturally.  The  Adagio  cantabile  second  movement  is Tchaikovsky at his best.  The first violin leads, singing the titular “Souvenir  de  Florence”  melody  over  a  guitar­like  pizzicato accompaniment.  Soon the first cello enters to create a  romantic pas  de  deux  reminiscent  of a beloved  sequence  between  these instruments in his earlier ballet masterpiece, Swan Lake.  All six instruments  eventually  join  in  the  amorous  celebration.  The movement’s  middle  section  is  a  flurry  of  eager  whispers  and palpitations  before the  cello  and  violin  resume their  love  duet. The  intermezzo­like  third  movement  is  full  of  nationalistic nostalgia,  with  the  first  violin  singing a  poignant  little  Russian folksong­inspired  melody.  Passed  among the  instruments, this melody gradually grows intense and passionate. The middle trio section  is  a scampering, feather­light scherzo.  The sonata­form finale also harkens back to the Russian countryside with a lively principal theme in Russian folk­dance spirit.  Tchaikovsky flexes his  contrapuntal  muscles  here,  and  soon  a  lively,  almost­fugal canon breaks out among the instruments.  The true fugue begins after  the development  and  recapitulation  of the  dancing theme. Then using that theme as a  fugue subject  presented  by the two violins,  he  adds  further  complexity  by  layering  on  his  earlier canon theme as a second subject.  The piece comes to a vibrant, full­bodied conclusion that seems to summon the orchestral forces of this chamber ensemble. ­­Janey C h o i �ABOUT T H E  P E R F O R M E R S Canadian­born violinist, JA NEY C H O I  gave her Carnegie Hall recital  debut  in  1 997  as  a  winner  o f the  Artists  International Auditions  and  continues  an  active  performing  career  as  a recitalist,  chamber,  and  orchestral  musician  throughout  the country and abroad. The recipient of numerous awards including the  Ontario  Arts  Council’s  Chalmers  Performing  Arts  Training Grant and First Prize in the National Finals of the Canadian Music Competition, she has partic ipated in such  festivals as Juilliard’s Focus Festival, Norfolk, Taos, the Spoleto Festivals in  the U.S. and Italy, Festival Musical de Santo Domingo, the Santa Fe Opera and the Sarasota Opera. presented  by the  ensemble since  its  formation  in  1990.  She  has performed with the Catskill  Chamber Players, appeared  frequently on the Cayuga Chamber Orc hestra ’s Sunday Chamber Music Series ’ : .) An avid inter­arts and cross­genre collaborator, she is t he Music Director of Thomas/Ortiz Dance, a partnership  recognized by the American Music Center wit h a Live Music for Dance G rant, and has performed numerous tim es with the Parsons Dance Co., most notably at the Kennedy Center in  Washington, D.C., and at t he New  Victory Theater  in  Times  Square.  She  has  recorded  and appeared with such mainstream performers as Bono an d Quincy Jones,  Enya,  Elton  John,  Sarah  McLachlan,  Lisa  Loeb,  Kanye West, Jay­Z and Beyoncé, o n MTV, Saturday Night Live, at Live 8 Philadelphia, Radio City  Music Hall  and Royal Albert Hall  in London, England. Dr. Choi attained her Docto r of Musical  Arts degree at Rutgers University, studying with A rnold Steinhardt as the recipient of the Graduate  Fellowship  Award.  She  holds  both  Bachelor  and Masters  degrees  from  The  Juilliard  School  where  her  major teachers were Joseph Fuchs and Joel Smirnoff. She is a Teaching Artist for the New York Ph ilharmonic, Lincoln Center  Institute, Chamber Music Society of Lincoln Center and  the Bloomingdale School  of Music  in  New  York  City.  She  joined  the  faculty  of Binghamton University in Fall ’06. R O B E R T A   C R A W F O R D ,   violist,  performs  extensively  as  a recitalist  and  chamber  musician.  As  Associate  Director  and  a founding member of the Fin ger Lake Chamber Ensembl e, Crawford has participated in one­hund red solo, chamber, and lectu re­recitals and  has been a  guest performer with the A riadne String Quartet. Crawford has played with t he Portland and Syracuse s ymphonies and  is  Associate  Principal  Violist  for  the  Cayuga  Chamber Orchestra.  An  advocate  of  new  music,  Crawford  has  premiered numerous  works  featuring  viola  and  has  had  several  works dedicated to her. She has pa rticipated in music festivals throughout the  United  States and  in  the Caribbean and  has appeared  in  live performance broadcasts for public radio and television. A dedicated teacher, Crawford  has served as clinician, coach, and adjudicator for numerous music organizations and is Director of ViolaFest at Binghamton.  She  has  been  a  guest  faculty  member  at  Phillips Academy, the Quartet  Program, Ithaca  College, and  the  Eastman School  of  Music  and  is  currently  Coordinator  of  Strings  at Binghamton University. ST E P H E N  ST ALKER, cellist, teaches at Binghamton University. He  formerly  taught  at  Colgate  University,  Mansfield  University, Ithaca College and the Binghamton City School  District. He  was the  principal  cellist  of the Cayuga Chamber Orchestra  in  Ithaca, NY,  and  has  performed  extensively  with  the  Catskill  Chamber Players of Oneonta, NY, and in concerts at Binghamton U niversity. Performing  with  the  Catskill  Chamber  Players  he  has  presented Meet the Composer concerts with prominent American  composers including John  Cage, Virgil  Thomson,  Lou  Harrison  and George Crumb.  The  Chamber  Players  appeared  at  Weill  Recital  Hall, premiering  a  set  o f  four  string  quartets  by  H en ry  Brant.  With l 2 violinist, Janet Brady, and pianist, Walter Ponce, he performed the complete  Beethoven  Trio  cycle  at  SUNY­Binghamton.  He performed  with  Solisti  New  York  on  their  Alaskan  cruise  of the Inner  Passage  from  Vancouver  to  Juneau.  As  a  member  of  the Madison  String  Quartet,  he  was  a  finalist  in  the  Naumberg Chamber  Music  Competition  in  New  York  City  and  the  Evian International String Quartet  Competition in  Evian, France. He has performed  in  many  recital  appearances  with  pianist,  Michael Salmirs.  He  performs  regularly  with  the  Trio  Amici,  Trilogy, Baroque‘n  Blue,  Early  On  and  in  concerts  at  Binghamton University.  He is a past president of the New York State Chapter , �of the American String Teachers Association and was Strings Chair for the New York State School Music Association.  He is a founder of  the  Southern  Tier  Music  Teachers  Association  and  the Binghamton  Cello  Festival.  He  is  a  graduate  of the  Manhattan School of Music in New York City. Pianist  M I C H A E L   SALMIRS,  a  founding  member  and  artistic director of the Finger Lakes Chamber Ensemble, is well known as a recitalist and chamber musician  performing extensively throughout the  region.  He  has  appeared  as  soloist  with  the  Corning Philharmonic, Binghamton  University Orchestra, Cayuga Chamber Orchestra, and has been a featured pianist on their Sunday chamber series. As a performer of contemporary music, he has participated in such  series  as  Binghamton  University’s  Musica  Nova,  Cornell University’s  Ensemble  X,  and  has  toured  and  recorded  for  the Syracuse  Society  for  New  Music.  Salmirs  studied  at  the  New England  Conservatory and  Eastman School  of Music;  his teachers have  included  pianists  Leonard  Shure  and  Rebecca  Penneys  and composer Karel Husa. Salmirs has taught at the Syracuse University School  of Music  and  Hobart  and  William  Smith  Colleges.  He  is currently  a  faculty  member  at  Binghamton  University  and  an Affiliate Artist at Cornell  University. He maintains a  private piano studio in  Ithaca and enjoys teaching students of all ages and levels. This  season,  Salmirs  will  perform  Poulenc ’s  Aubade  with  the Cayuga Chamber Orchestra. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * GUEST ARTISTS E L M A R  OLIVEIRA  has  taken  his  place  as  one  of the  most commanding  violinists  of  our  time.  with  his  unsurpassed combination of impeccable artistry and old­world  elegance.  Mr. Oliveira 1s  on e o f  t h e fe w major artists com m itt ed t o t he entire spectrum  of the  violin  world.  constantly  expanding  traditional repertoire boundaries as a champion of contemporary music and rarely­heard  works  of  the  past.  devoting  energy  to  the developm ent  o f  t he  young  artists  o f   tom orrow,  a n d enthusiastically  supporting  the  art  of  modern  violin  and  bow makers. Among  his  generation’s  most  honored  artists,  Elmar  Oliveira remains  the  first and  only American  violinist  to  win  the  Gold ? ) Medal at Moscow ’s Tchaikovsky International Competition. He is also the first violinist to receive the coveted Avery F isher Prize, in addition to capturing First Prizes at the Naumburg international Competition and the G.B. Dealey Competition. Mr. Oliveira has become a familiar and much­adm ired figure at the  world ’s  foremost  concert venues. His  rigorous international itinerary  includes  appearances  in  recital  and  with  many  of the world’s  greatest  orchestras,  including  the  Zurich  Tonhalle, Cleveland,  Philadelphia,  Leipzig,  Gewandhaus  Orchestras;  the New  York,  Helsinki,  Los  Angeles  and  London  Philharmonic Orchestras;  and  the  San  Francisco,  Saint  Louis,  Boston,  and Chicago  Symphony Orchestras.  He  has also  extensively toured the  Far  East, South  America, Australia  and  New Zealand.  Mr. Oliveira’s upcoming engagements include performances with the Philadelphia  Orchestra,  the  San  Francisco  Symphony,  the Montréal  Symphony,  the  Royal  Liverpool  Philharmonic,  the Hong  Kong  Philharmonic,  the  Moscow  State  Academic Symphony, and many more. Recent and upcoming recitals include National  Gallery  in  Washington  DC, Alice  Tully  Hall  in  New York, Sanibel (Florida), Kansas City, Johns Hopkins University and Caramoor. Mr.  Oliveira’s  repertoire  is  among the  most  diverse  of any  of today’s  preeminent  artists.  While  he  has  been  hailed  for  his performances of the standard violin literature, he is also a much sought­after  interpreter  o f  the  music  o f  our  time.  H e  has premiered  works  by  such  distinguished  composers  as  Morton Gould, Ezra Laderman, Charles Wuorinen, Joan Tower, Andrzej Panufnik, Benjamin Lees, Nicholas Flagello, Leona rd Rosenman, Hugh  Aitken, and Richard  Yardumian.  He has also  performed seldom­heard  concerti  by  Alberto  Ginastera,  Einoujuhani Rautavaara, Joseph Achron, Joseph Joachim, and many others. He recently  gave  the  Spanish  premiere  of  Krzysztof  Penderecki ’s Second Violin Concerto, conducted by the celebrated composer. A  prodigious  recording  artist,  Elmar  Oliveira  is  a  two­time Grammy  nominee  for  his  CD  of  the  Barber  Concerto  with Leonard Slatkin and the Saint Louis Symphony. His discography �on Artek, Angel, SONY Masterworks, Vox, Delos, IMP, Ondine, and Melodiya ranges widely from works by Bach and Vivaldi to the Present. His best­selling recording of the  Rautavaara  Violin Concerto with the Helsi nki Philharmonic (Ondi ne) recently won a Cannes  Classical  Award  and  has  appeared  on  Gramophone ’s “Editor ’s  Choice”  and  other  Best  Recordings  lists  around  the world.  Other recordings include the Brahms and Saint­Saens B minor Concerti with Ge rard Schwarz and the Seattle Symphony (Artek), the Respighi B minor and Pizzeti A Major Violin Sonatas (Artek),  “Favorite Encores” with pianist  Robert Koenig (Artek), the Three Brahms Sonatas with pianist Jorge Osorio (Artek), the Joachim Concerto  “in the Hungarian  Manner” with the  London Philharmonic (IMP) and  the Tower Concerto (written  for  him) with the  Louisville Orchestra (daNote), the Chausson  Concerto for  Violin,  Piano,  and  String  Quartet,  and  the  Lekeu  Sonata (Biddulph).  Of  great  historical  significance  are  two  unique projects: a CD released  by  Bein & Fushi  of Chicago, featuring Mr. Oliveira performing on some of the world ’s greatest violins (fifteen  Stradivaris  and  fifteen  Guarneri  del  Gesus),  and  a recording of short pieces  highlighting the  rare violins  from the collection of the Library of Congress. Artur  Balsam,  Sascha  Jacobsen,  Lillian  Fuchs,  and  Raphael Bronstein at the Kneisel Hall Chamber Music School in Blue Hill, Maine. v 1 Ms.  Robbins  has  been  a  member  of  the  Ysaye  Quartet,  the Paganini Trio, and the Bronx Arts Ensemble, and has performed in  chamber  music  concerts  with  such  prominent  artists  as Nathaniel  Rosen,  Julius  Baker,  Elmar  Oliveira,  Zara  Nelsova, Laszlo  Varga,  Carol  Wincenc  and  Paul  Doktor.  She  has participated  in  the  festivals  of Aspen, Caramoor, G rand  Teton, Vermont Mozart, Seattl e Chamber Music, Bard Festival, Festival Musicades  in  Lyon,  France,  Kneisel  Hall  and  Bowdoin  and Amelia  Island.  Ms. Robbins is currentl y principle violist of the Atlantic  Classical  Orchestra,  Florida  and  a  member  of  the American Composers O rchestra, The Westchester Philharmonic, and  freelances  in  New  York  City.  She  has  taught  viola  and chamber music on the  faculties of Cornell, SUNY Geneseo and Syracuse University. on the juries o f some o f the most prestigious v iolin competitions, Ms.  Robbins  has  recorded  for  Newport  Classics,  New  World Records, and  can  be heard on the  world  premiere  recording of Max Bruch ’s recently published viola quintet in  A minor (1919) on Premier Recordings with the Bronx Arts Ensemble, as well as on  the  Elan  label  in  a  performance  of  the  Martinu  Three Madrigals for Violin and Viola with violinist Elmar Oliveira. She also  plays  on  the  recently  released  recording  of  Chausson’s Concerto  for  Violin,  Piano,  and  String  Quartet  with  violinist Elmar  Oliveira  and  pianist  Robert  Koenig  on  Biddulph Recordings. SANDRA ROBBINS graduated  from the  Manhattan  School  of Music  after studying  viola  in  both  the  preparatory and  college divisions with Lillian Fuchs. At an early age, he r love and special interest  in  chamber  music  was  fostered  by  studies  with  the Budapest  String Quartet  and  with  such  renowned  musicians  as PATRICIA  S UNWOO  made  her  New  York  debut  in  1995, performing Alban Berg’s Violin Concerto at Alice Tully Hall with the  Juilliard  Orchestra.  As  a  member  of  the  Whitman  String Quartet,  winner  of the  1998  Naumburg  Award,  she  performed across the United States and Europe to critical acclaim, including appearances at Carnegie Hall, the Kennedy Cent er, Kravis Center, and  Spoleto  Festival  USA.  With  the  quartet  and  new  music ensembles Sequitur and Continuum, she worked  frequently with composers  in  presenting  world  premieres.  She’s  recorded  the works  of  Michael  Whalen  for  Arabesque,  and  the  premiere The son of Portuguese immigrants, Mr. Olivei ra was nine when he  began  studying  the  violin  with  his  brother  John.  He  later continued his studies with Ariana Bronne and  Raphael Bronstein at the Hartt College of Music and the Manhattan School of Music, where  Mr. Oliveira  also  received  an  honorary doctorate.  Other honors include the Portu guese Order of Santiago.  He has served including  the  ones  in  Montréal,  Indianapolis,  Naumburg,  and Vianna  da  Motta.  Elmar  Oliveira  performs  exclusively  on  an instrument  known  as  the  “Stretton ",  made  ca.  1 729­31  by Giuseppe Guarneri del  Gesu, and on an exact copy of that violin made by Curtin and A l f 1  993. �recording of Artur  Schnabel’s String Q uartet No.  1  for  Musical Observations. Ms.  Sunwoo  earned  her  doctorate  degree  from  the  Juilliard School, studying with  Sally  Thomas.  Ms.  Sunwoo  was  on  the faculty  of  Binghamton  University  until  2006,  has  also  been  a teaching artist for th e Midori Foundation in New York City, and the ASTA String Institute in  Ithaca. She currentl y tours with the Bard  Festival  String  Quartet,  Quartos  in  Rochester,  and  is  a member of the Roc hester Philharmonic Orchestra. This season’s highlights include performances with clarinetist David Krakauer and pianist Peter Serkin, and a reunion c oncert with the Whitman String Quartet. She  is also celebrating her third season with the Finger Lakes Cham ber Ensemble, with  whom she recently gave world  premiere performances of piano quintets by David Liptak and  Marek  Harris. Ms. Sunwoo is now a resident of Rochester, with husband David Brickman and daughter Claire. Cellist  HAKAN H R O M E K  was trained in music performance at Ithaca College, S UNY Purchase, and Binghamton University. His  teachers  include  Peter  Wiley,  Marion  Feldman,  Daniel Phillips, Stephen Sta lker, Einar J eff Holm, and Fritz Wa llenberg. He  has attended  the  International  Congress of Strings,  Round Top lntemational Festival, Chamber Music at the 92nd Street Y­ NYC,  Spoleto  Music  Festival,  Skaneateles  Festival,  and  the Kenai Peninsula Music Festival In Alaska. An active perform er, Mr. Hromek is principal cellist of the Bi nghamton Philharmonic, Tri­Cities Opera Orchestra, and The Orchestra of the Sout hern Finger Lakes. He has also performed with the Cayuga Cham ber Orchestra, Bach  Works in  NYC, and the Syracuse Symphony. During the summer of 2006, Mr. Hrom ek completed his fourth season as cellist in t he DeVere Quartet, which serves as resident quartet for the Kena i Peninsula Festival in Alaska and at present is cellist  for the Novo Quart et. An avid chambe r musician  Mr. Hromek  enjoys collaborating  in  a  cello  and  piano  duo  on  a regular basis with M argaret Reitz and va rious local artists in  the Central New York a rea. — � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 46:27 34:38 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196772">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196772</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Absolut(e) Russian March 4, 2007 Recital Tape 3-4-2007 Description An account of the resource Held at 3:00 p.m., March 4, 2007, Anderson Center Chamber Hall. Works of Prokofiev, Shostakovich, Tchaikovsky. Creator An entity primarily responsible for making the resource Choi, Janey Crawford, Roberta Stalker, Stephen Salmirs, Michael Oliveira, Elmar Sunwoo, Patricia Robbins, Sandra Tayga-Hromek, Hakan 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 2007-03-04 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 60caac3c-5db9-4821-9171-a5acb9eb51f0