131
10
1775
-
https://omeka.binghamton.edu/omeka/files/original/afba0e8e8af3d3fca37c50d11c6beab2.pdf
174e9873dea8848ace94d20d8904b8d2
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
State University of New York
UNIV , :
de c
'
D E P A R T M E N T
‘
\
4
I
t
“‘ m a s t e r ’ s R E C I T A L
W I L L I A M G I L C H R E S T
TRUMPET
with
Ma rga ret Reitz, piano
assisted by
Lee Fer ra ra, hor n
A my Hoxie, t r u m pet
Paul Blake, t rom bone
Ch ris Ru benac ker, t u ba
Saturday, May 12, 2007
8:00 p.m.
C asadesus Recital Hall
�ABOUT THE PERFORMERS
PROGRAM
Sonata in D
Andante
Allegro
Grave
Allegro
u
s s.i. .
. Giuseppe Torelli
(16581709)
Concerto for Trumpet in Eb
Allegro
Andante
Allegro
Joseph Haydn
(1 7321809)
INTERMISSION
Seven Miniatures for Unaccompanied Trumpet
Fanfare
Dodecophony
Calculation
Theme
Variation
Intonation
Fanfare
Suite from the Monteregian Hills
for Brass Quintet
La Marche
Chanson Melancolique
Valse Ridicule
Danse V illageoise
...George Andrix
(b. 1932)
WILLIAM GILCHREST is a second year graduate student at B.U. He
teaches K12 chorus and general music at Schenevus Central School.
MARGARET REITZ, pianist, is a native of the Binghamton Area. She
received her Bachelor and Master of Music degrees in piano performance
with accompanying emphasis, and attended Boston University, New
England Conservatory and Binghamton University. She has studied piano
with Jean Casadesus, Victor Rosenbaum, Seymour Fink and Walter Ponce
and accompanying with Allen Rogers. She has accompanied throughout
the United States, England, South America, and at the American Institute
o f Musical Studies in Graz, Austria. Reitz and Binghamton University
faculty member Timothy Perry were winners of the 1997 Artistic
Ambassadors Program by the United States Information Agency in
partnership with the John F. Kennedy Center for the Performing Arts.
During the summer of 2005, Reitz, clarinetist Timothy Perry and cellist
Stephen Stalker were invited to perform at the International Clarinet
Conference in Tokyo, Japan. Other notable performances include guest
chamber music artist in Morges, Switzerland and guest soloist with the
Binghamton University Orchestra. She was the offic ial accompanist at the
MTNA State and Eastern Division Competition at Ithaca College in 2001
and will be returning in 2006. In addition, she was selected to attend the
Accompanying Workshop for Singers and Pianists held at Northwestern
University. During the summer of 2006, she will compose the musical
score for an independent film by MANDIS Production, to be released in
February 2007.
L E E F ERRARA teaches science at Oneonta High School where he also
coaches the volley ball team.
.. Morley Calvert
(1 9281 991 )
A M Y H O X I E is a Band director at Sidney Elementary School.
P A U L B L A K E is a Band director at Ritchfield Springs High School.
CHRIS RUBENACKER is a recent graduate of Hartwick College. He
majored in Music Education.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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46:47:00
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196841">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196841</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Master's recital, William Gilchrest, trumpet, May 12, 2007
Recital Tape 5-12-2007
Description
An account of the resource
Held at 8:00 p.m., May, 12, 2007, Casadesus Recital Hall. Works of Torelli, Haydn, Andrix, Calvert.
Creator
An entity primarily responsible for making the resource
Reitz, Margaret
Ferrara, Lee
Hoxie, Amy
Blake, Paul
Rubenacker, Chris
Gilchrest, William
Publisher
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Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
2007-05-12
Rights
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In copyright
Type
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sound
IIIF Item Metadata
UUID
d3d2eed2-f7d5-4d20-bced-1d6855dfaba9
-
https://omeka.binghamton.edu/omeka/files/original/7bc0969f49697c0a75013f7bb1ee787e.pdf
81ba4d6af3fa46f711d7f55305846b8c
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BINGHAMTON
U N I V E R S I T Y
State University of New York
wide
[4
i
D E P A R T M E N T
ROMANTICISM UNLEASHED
S T E P H E N S T A L K E R , C E L L O
music by Grieg, Sibelius, Janacek and Debussy
Assisted by
Michael Salm irs, piano
Ewa Mac kiewiczW olfe, pian o
September 30, 2007
3:00 p. m.
Casadesus Recital Hall
�{
P rog ram
Sonata in A minor, Op. 36 (1883)................................Edvard Grieg
Allegro agitato
(18431907)
Andante molto tranquillo
Allegro
Malinconia, Op. 20 (1901)................
.... Jan Sibelius
(18651957)
Stephen Stalker, cello
Ewa MackiewiczWolfe, piano
Interm ission
Tale v
Con Fantasia
Con moto
Allegro
i
i
Sonata (1915)...
i Leos Janacek
( 1 8581 928)
Claude Debussy
Prologue
Serenade et Finale
( 1 8621 91 8)
Stephen Stalker, cello
Michael Salmirs, piano
�P rog ram Notes
The Romantic Movement in music was itself an unleashing of the
Classical styles that were exemplified by Haydn. Mozart and
Beethoven. In fact, it was Beethoven who set the unleashing in
motion by challenging his aristocratic sponsors to accept a highly
individualized style which was breaking the rules o f classical tradition
they cherished so dearly. As the musical culture was expanding from
the aristocratic. agrarian society to the newly developing middle class,
urban. industrial society. the concert venue changed from the royal
chamber hall to the public concert hall. Composers were now inspired
to speak their musical minds in a much freer and more personal way,
letting this new class of concert goer decide the success or failure of
their new music.
A
l
Leos Janacek derived much of h is musical style from many years of
study of Czech folk songs and the rhythms and inflections of the
Moravian language, plus a life long interest in Russian language,
music and literature. The literary inspiration for his cello and piano
piece “Fairy Tale” is based on the Russian stories of Czar Berendej as
told by Russian author Vasily Zukovskij but, the musical language is
from his beloved Czech folk music.
Debussy says. “Music is a free art gushing forth, an openair art
boundless as the elements. the wind, the sky. the sea. It must never be
shut in and become an academic art.” This sentiment would qualify
Debussy as a Romantic, but his music. while inspired by this
sentiment, was more o ften rev olut ionary in its achievement. A nd
arguably. he had a comparable influence on many 20” century
composers as Beethoven had on h is 19” century musical descendants.
As the Romantic Movement in music spread through Europe. it
became fused with the new spirit o f Nationalism that was developing
at the same time. This growing pride in the native folklore and
authentic peasant music of each county had a profound effect on the
composers of all the nation states o f Europe. The Romantic
Movement itself was now being unleashed into the unique musical
cultures that existed throughout Europe.
He characterized the C ello Sonata as “Pierrot angry with the moon.”
The compositional style is episodic and more like outbursts than the
usual themes and melodies.
This was a new unleashing of
Romant ic ism, this t ime into the 2 0” century.
This brings us to today ’s program. Each o f these four composers was
a unique and influential voice in their respective countries. From
Norway, Grieg tells us. “The fundamental trait of Norwegian folk
song is a deep melancholy that may suddenly change to a wild
unrestrained gaiety.” This is an apt thumb nail sketch o f Grieg ’s own
musical style. The Cello Sonata, dedicated to hi s cellist brother. John,
abounds with simple and compelling melodies which often develop
into impassioned outpourings.
Sibelius tells us of his deeply felt relationship with the natural
beauty o f his native Finland. “I love the mysterious sounds o f the
fields and forests. weather and mountains. It pleases me greatly to be
called a poet of nature. for nature has truly been the book o f books for
me.” When listening to his music you can easily imagine the stark.
natural terrain of the Finnish landscape. “Malinconia” is generally a
dark. elegiac piece, interlaced with sections of courage and hope.
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�A bout the Performers
STEPHEN STALKER, 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 University. Performing with the Catskill Chamber
Players he has presented Meet the Composer concerts with prominent
American composers including John Cage. V irgil Thomson, Lou Harrison
and George Crumb. The Chamber Players appeared at Weill Recital Hall.
premiering a set of four string quartets by Henry Brant. With 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 o f 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 Man hattan School of
Music in New York City.
Pianist M I C H A E L SALMIRS, a found ing member and artistic director
of the Finger Lakes Chamber Ensemble, is well known as a recitalist and
chamber musician. He has appeared as soloist with the Coming
Philharmonic, Binghamton University Orchestra, Cayuga Chamber
Orchestra, and is frequently a featured pianist on their Sunday Chamber
Series. In addition to performing most o f the standard chamber music
repertoire for strings and piano, he has premiered numerous solo and
chamber works, and recently gave the world premieres of David Liptak’s
and Marek Harris’ Piano Quintets. He has also participated in such
contemporary music series as Binghamton University ’s Musica Nova,
Cornell University ’s Ensemble X, Chiron, and has toured and recorded for
the Syracuse Society for New Music.
Mr. 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, Hobart and William Smith Colleges
and Cornell University. He is currently a faculty member at Binghamton
University where he teaches piano and coaches chamber music. He also
maintains a private piano studio in Ithaca and enjoys teaching students of
all ages and levels. This season. Salmirs will perform a solo recital
featuring Ravel’s Gaspard de la nuit and a world premiere of a work by
Paul Goldstaub. A complete schedule of performances can be found on
x ww.m ichaelsalm irs.com.
EWA MACKIEWICZ WOLFE, the winner of the International
Competition of Renaissance and Baroque Music, and the
International Competition for Young Pianists in Warsaw, Poland, is also
the recipient of awards in international music competitions in Budapest,
Hungary and Dresden, Germany. MackiewiczWolfe received her
Bachelor and Master degrees in Piano Performance with honors and high
distinction from the Academy of Music in Lodz, Poland where she
continued as Assistant Professor and Master Lecturer in music. Since
1984, she has been associated with the Binghamton University Music
Department where she is currently engaged as Adjunct Professor of Piano.
Abroad, MackiewiczWolfe appeared in Germany, Hungary, Canada and
Poland as a recitalist, chamber musician and as soloist with symphony
orchestras. She participated in several music festivals such as the Festival
of Karol Szymanowski, the Piano Festival of Vladislav Kedra, Poland,
Chamber Music Festivals in Germany and Hungary. Her piano career
continued further as a result of concerts arranged by the Association of
Polish Artists/Musicians, Government Art Agency (PAGAR T), the Karol
Szymanowski Musical Society, Lodz Philharmonic Society, and various
music colleges. In United States MackiewiczWolfe performed throughout
the Northeast including Boston, New York City and Philadelphia.
�Com ing Music E vents
Thurs day , Octo ber 4 – MidDay C onc ert – 1 :20 p.m. – Casadesus Recital
Hall tree
Thursday . October 1 1 – MidDay C oncert – 1:20 p.m. – Casadesus
Recital Hall – free
S u n d ay, Oc to ber 1 4 – U n iversity O r c hest ra : Su ite Diversions – 3 :00 p.m.
Anderson Center Concert Theater S9 general public; $7
t11cultV stall 5L niors: free f o r students
T hu rsd a y, Octo ber 1 8 – MidDay Co n ce rt – 1 :20 p.m. – Casadesus
Recital Hall – free
Fr id ay. Oc to ber 1 9 – S u n d a y. Octo ber 2 1 – New Y or k State M usic
Teachers Association (NY SM T A) – Anderson Center Chamber Hall and
Casadesus free
S unday , Octo ber 20 – Family W eekend C onc ert – 3 :00 p.m. – Osterhout
Concert Theater – free
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Coverage
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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01:11:04
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Romanticism Unleashed, September 30, 2007
Recital Tape 9-30-2007
Description
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Held at 3:00 p.m., September 30, 2007, Casadesus Recital Hall. Works of Grieg, Sibelius, Janacek and Debussy.
Creator
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Stalker, Stephen
Salmirs, Michael
Mackiewicz, Ewa
Publisher
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Binghamton University Libraries
Date
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2007-09-30
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sound
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UUID
9c52f12d-7f4f-4738-9a29-a0c5598f36d0
-
Dublin Core
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Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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44:34:00
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Title
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Thursday mid-day concert faculty showcase, October 4, 2007
Recital Tape 10-4-2007
Description
An account of the resource
Held at 1:20 p.m., October 4, 2007, Casadesus Recital Hall.Works of Sinisalo, Chausson, Schumann, Saint-Saëns, Rachmaninoff.
Creator
An entity primarily responsible for making the resource
Maiolo, Georgetta
Mallinson, Chai-Kyou
Perry, Timothy
Reitz, Margaret
LeFebvre, Timothy
Salmirs, Michael
Burgess, Mary
Publisher
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Binghamton University Libraries
Date
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2007-10-04
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In copyright
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sound
IIIF Item Metadata
UUID
5e68482d-8768-444c-ae30-37d2fdbc74c1
-
https://omeka.binghamton.edu/omeka/files/original/4c76328fd785728bd1217f4b76902ef2.pdf
0cad71f5e0d2154f826778a53d19cbaf
PDF Text
Text
BINGHAMTON
UNLVEKSILTY
State University of New York
d e e
[4
P
E
P
I F M EA N R
T
T H U R S DAY MIDDAY C O N C E R T
FEATURING
O P E R A G R A D U A T E S TUDENTS
WITH
M ARGARET REITZ, PIANO
Thursday, October 11, 2007
1 :2 0 p.m.
Casadesus Recital Hall
�T ranslations
PROGRAM
I.
Farfaletta
11 fervido desiderio
. . . . . Bellini
(18011835)
l.
Farfaletta
L itt le butterfly, wait wait!;
don’t fly around in such a hurry.
I don’t want to do you any harm;
stop – satisfy my wishes.
Sibongile Boyd, sop rano
I want to kiss you and to give you food,
to protect you from dangers.
You will have a room o f c rystal,
and you will always be comfortable
II.
Aria: Verdrai, carino
from Don Giovanni
. W.A. Mozart
( 1 7561 791)
Danielle McCorm ick Knox, soprano
III.
Recitative and aria: .......
. . .
In quali eccessi, o numi...Mi tradi
from Don Giovanni
. W.A. Mozart
( 1 7561 791)
I want to capture you, offer you to him;
more than roses, lilies, and myrtle
may my young man be dear to you,
and you will be a plaything for him.
In his appearance and smooth breast
LaToya Lewis, sop rano
my dear one is like roses and lilies.
Come, escape from dangers:
search no more for roses and lilies.
IV.
Spirate pur, spirate
Quando ti rivedro
I know that April has ornamented
your golden, ~peckled wings,
that you are pretty, lively and agile,
the most beautiful among your kind.
But my darling has hair of gold
the boy that I love and adore.
And equally lively and agile as you,
among his kind he is the most handsome
.Stefano Donaudy
(18791925)
A riana Zbrzezny, mezzosop rano
IL fervido desiderio
When will that day come
when I shall be able to see again
the one whom my loving heart so much
desires?
V.
When will that day come when I will
gather you to my bosom.
Aria: Endless Pleasure
from Semele
Sibongile Boyd, so p rano
Aria: Cruda Sorte.... . .
from L ’italiana in Algeri
VI.
A riana Zbrzezny, mezzosop rano
wssassass GF. Handel
(16851 759)
..G. Rossini
(1 7921868)
beautiful flame of love, my soul!
IL
A ria : Verd rai, carino
Zerlina happens upon her husbandtobe,
Masetto, who has been cruelly beaten by
Don Giovanni in a dark alley in Seville.
Once he promises to give up his jealous
tendencies and to trust her, she promises to
take him home, to heal him with the kind of
medicine “no pharmacist can provide” –
her own loving ministrations
IIL
Recitative and aria :
In quali eccessi, o numi
Donna Elvira is torn by two contrasting
emotions – her desire to wreak vengeance
upon Don Giovanni for his betrayal and
abandonment of her, and her obvious
lingering passion for the cad. She decides
to give him one more chance to repent and
return to her.
IV.
Spirate pur, spirate
Waft, waft around my beloved one,
little breezes, and ascertain if she holds m e
in her heart.
Waft, waft little breezes!
I f in her heart she holds me, ascertain it,
blessed breezes. breezes gentle and
blessed!
Quando ti rived ro...
When will I see you again,
unfaithful lover who was to me so dear?
So many tears have I wept now that
someone else separates us, that I fear every
joy be gone forever from my life.
And yet the more I despair, the more I go
back to hoping.
The more I despise you in my thoughts,
still more my soul turns to loving you
again.
When will I see you again, unfaithful lover
who was dear to me like that?
V.
Endless Pleasu re from Semele
Having successfully pleaded to Jupiter to
delay her upcoming arranged marriage,
Semele is brought to heaven by Jupiter and
sings this joyous gavotte in celebration o f
her triumph.
VIL
Cruda sorte!
In search of her lost love, Isabella, an
Italian lady is shipwrecked on the Algerian
shore. Faced with the pirates on shore,
Isabella is confident of her ability to handle
any man, resolves to be fearless. (Schirme r)
�Com ing Events
Sunday, October 1 4 U niversity Orchest ra : Suite Diversions – 7:30 p.m. –
Anderson Center Concert Theater $9 general public; $7 faculty/staff/seniors;
free for students
Thursday, October 18 – MidDay Concert – 1:2 0 p.m. Casadesus Recital Hall
free
—
Friday, October 1 9 – Sunday, October 2 1 – New Yor k State M usic Teachers
Association (NYSMTA) – Anderson Center Cham ber Hall and Casadesus – free
Satu rday, October 20 – Family Weekend Concert – 3:00 p.m. – Osterhout
Concert Theater – free
Th u rsday, October 25 – MidDay Concert – 1 :20 p.m. Casadesus Recital Hall
free
Th u rsday, October 2 5 – Big Band Jazz! A scholarship benefit in memory of
Robert Terrell 8:00 p.m . – Osterhout Concert Theater $18 general public; $16
faculty/staff/seniors; $10 for students
Friday, October 26 – M ad rigal Choir of Bingha mton 8:00 p.m. – Anderson
Center Chamber Hall $15 general public; $10 faculty/staff/seniors; $5 for
students
Wed nesday, October 31 – Indian Concert with vocalist Pandit Kaivalya
K u mar, Pt. Ra vind ra Yavgal on tabla a n d Pt. Ravind ra Katoti on
harmon i u m – 7:00 p.m. – Anderso n Center Chamber Hall $12 general public;
$1 0 faculty/staff/seniors; $5 students
Th u rsday, Novem ber 1 – MidDay Concert – 1 :20 p.m. – Casadesus Recital Hall
free
—
Friday, N ove m ber 2 – M aster ’s Recital – Daniel Sofer, piano – 8 :00 p.m. –
Casadesus Recital Hall – free
Satu rday, Novem ber 3 – Clarinet Trio Recital – 8:00 p.m. – Casadesus Recital
Hall – free
Th u rsday, Novem ber 8 MidDay Concert – 1 :20 p.m. – Casadesus Recital Hall
free
—
Th u rsda y, Nove m ber 8 – Bingha m ton Baroq ue E nsem ble – 8:00 p.m. –
Casadesus Recital Hall – $9 general public; $7 faculty/staff/seniors; $1 for
students
Satu rday, Novem ber 1 0 – U niversity C horus : Words and Music – 8:00 p.m. –
Anderson Center Concert Theater – free
�
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1960's - present
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Binghamton University Music Department Tape Recordings
Subject
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Concerts ; Instrumental music ; Live sound recordings
Description
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Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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1 audio disc
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26:49:00
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196850">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196850</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Thursday mid-day concert featuring opera graduate students, October 11, 2007
Recital Tape 10-11-2007
Description
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Held at 1:20 p.m., October 11, 2007, Casadesus Recital Hall. Works of Bellini, Mozart, Donaudy, Handel, Rossini.
Creator
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Reitz, Margaret
Boyd, Sibongile
McCormick-Knox, Danielle
Lewis, LaToya
Zbrzezny, Ariana
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Binghamton University Libraries
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2007-10-11
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sound
IIIF Item Metadata
UUID
db2d38a8-b8ed-478b-8ee2-fab1118a91d5
-
https://omeka.binghamton.edu/omeka/files/original/dd8fa26968ef9225b46d7749dc85931a.pdf
96c7c7ac6abafcf6576c725c2f5693e0
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
S t a t e linit’ersit y of N e w Y o r k
—
tedee
D E P A R T M E N T
University Symphony O rchestra
‘Suite Diversions’
Timothy Per ry, Conducto r
Georgetta Maiolo, Flute Soloist
l
I
October 14, 2007
7:30 p.m.
Anderson Center Osterhout Theater
�University Symphony Orchestra
Program
Timothy Perry. Director
Suite in A minor for Flute and Strings......... Georg Philip Telemann
Flute/Piccolo(*)
Erica Leo
Valerie Spiller
Missy Voldan*
Oboe/English Horn
Marissa Ludwig
Maxwell Rosenberg
Clarinet
Matthew Hassell
Bethany Bonhotf
Gregg Ackerman
Alexander Vincenzi
Bassoon
Eleanor Sonley
Martha Weber
French Horn
Diana Amari
Kristie Cummings
Alexa Weinberg
Robert Muller
Matt Rek
Trumpet
Daniel Fein
Anne Meyer
Trombone
Rick Mokan
Thomas Ignacio
Tuba
Katherine Winchell
Percussion
Amanda Jacobs
Caleb R. DeGroote
Kelly Tufo
Lee Vininsky
Stephanie Lehman
H arp
Mary Schappert
Ke y board
Karmi KnightWinning
Harpsichord
Prof. ChaiKy ou Mallinson
V iolin I
Akira Maezawa
Solomon Da w son
Elizabeth Sterling
Hyobin Lee
Eric Lewis Clark
Griffin Sargent
Erin Chang
Janet Kim
Yang Hu
Erika Chin
Eileen Tam
YeWon Kwak
Violin 11
Boaz Tingson
Aileen Giselle Ra
Andreana Ferro
Amy Honigsberg
Dana Kerker
Beth Vayshenker
Molly Ariotti
Richard Goldman
K ev in Acunto
Christ ina Laube
Rachel Jacobs
V iola
Sarah Sterling
Sarah Kuras
Joseph Giliberti
Shane Thorn
Jeffrey Kuhn
Axexandra Burkardt
Kelly Singer
Janet lev ins
V ioloncello
Emily Creo
Jennifer Chen
Air a I ’ltalien
Polonaise
Réjouissance
Georgetta Maiolo, Flute Solo
i
n
Petite SHITE o
En Bateau
. . ...Claude LEDISSY
(18621918)
Menuet
Ballet
Suite from “The ThreeCornered H a t ....................Manuel De Falla
(1 8761 946 )
Fan fare
A ft e rnoon
The Neighbor’s Dance ( Seguidilla )
l‘he M iller ’s Dance ( Farruca )
Intermiss ion
Daniel Copel
Jennifer Chen
Serena Murray
David Katz
Owen Dombert
c
Cortegc
Holly A gar
Ry an Joy ce
C ontraba s s
Stephen Brook s
Rachel Casey
(16811767)
Overture: (LentoBewegt)
Minuet I & 11
S la vonic Dances, Op. 46..... . . . . .. . .. ..Antonin Dvorak
(18411904)
No. 5 in A Major
No. 6 in D Major
No. 7 in C Minor
No. 8 in G Minor
* * * * * * * * * * * * * * * * * * * # * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Thank You for joining us today we appreciate your support of l i v e music by our
y o
.
.
.
nd
s t u d e n t m u s i c i a n s J o i n u s f o r o u r n e x t c o n c e r t o n S u n d a y , D e c e m b e r 2”
i
a t 3 : 0 0 / ’. . \ l ,
for a program of brilliant music f r o m the movies.
A backstage reception i n honor of P r o f. M a i o l o ’ s 40 years of tea c h i n g f o l l o w s the
c onc er t f o l l o w signs.
�About the Music
This evening celebrates the diversity o f one o f orchestral music ’s most common
genres, the suite. ( from the French word for “following” or “succeeding’). We offer for
y our enjoy ment a potpourri o f national sty les and historical periods whose organi zing
principle ranges from more formal (Telemann) to decidedly more casual (Dvorak)
interpretat ion o f the term “suite”. Suites are b y their v ery nature collect ions o f largely
disparate elements. What holds them t ogether may be nothing more than a common
origin, often as a group o f dances, ( or in the case o f the Debussy. a set o f p iano pieces )
and the ident ifiable sty list ic signature o f their composer. They generally lack
motivic/thematic unity and, since the end o f the baroque era, no longer share a single
f talent. even genius, their lack
or tightly related ke y : but in the hands o f composer o
o f c on form i t y a n d predic t abi l it y i s t urned int o a strength the y are, more than other
multimovement forms. free to engage. surprise and delight us.
Georg Philipp Telemann ma y be the Baroque composer whose present fame least
accords with art ist ic achievements. Tonight ’s Suite in Aminor is merely one o f more
than 200 orchestral suite ‘ouvertures composed during a long and incredibly
productive career. Telemann was probably better know n and more highly esteemed
than even Bach and Handel. In a period in which musical forms were st ill “taking
form’. i t i s n o surprise that th is suit e borrow s from sev era l arc het y pes. in part ic ular
merging elements o f the dancesuite with those o f the developing concerto form.
Apart from the various Concerti o f J.S. Bach it is probably toda y the mostperformed
concertosuite o f the age. T e lemann ’ s suites s h o w a n a st on ish ing range o f crea t i v it y,
and man y are organized around a principle. in this case an “international’ theme.
Opening with a twopart French Overt ure, which un folds in an arched [ abcba ] form.
tonight ’s suite inc ludes a double German Minuet, an Air in the Italian style ( calling to
mind Mendelssohn ’s Italian sy mphon y). a Polish Polonaise with Trio and a brilliant
concluding Rejouissance. Throughout the work the composer shows a command not
only o f the myriad dance sty les o f the period. but a highly inventive and play ful sense
for rhythm (particularly in his penchant for reversing the pattern o f stressed and
unstressed beat s ) and a great per former ’ s sens it i v it y t o the poss ib i l it ies and l im it at ions
o f t h e s o l o in s tru m e n t .
There are man y examples in music o f orchestral suites that have been transcribed
success fully to the piano : Debussy ’s Petite Suite is a rare case o f a piano work
transcribed success fully in the other direction. The suite dates from the later 1 880s,
in a period in which the y oung Prix de Rome winner w as work ing to find his ow n
compositional voice. The original work for two pianos quick ly disappeared from
concert programs, and only in 1907 when conductor and composer Henri Busser
orchestrated the four movements (and apparently received Debussy ’s blessing) did it
find a secure place in the repertoire. Busser employ s what is essentially a chamber
orchestra, with a Mozartean w ind section augmented for color only by the ubiquitous
harp and the use o f piccolo and English horn. There is. as with many early Debussy
works. the Bel/e Epogue’s fasc ination with history : the evocative titles o f the four
movements are likely a nod to the pictorial harpsichord suit es (ordres) o f Couperin.
Debussy ’s musical vocabulary o f this early period is ec lectic and shares much with
contemporaries like Faure and Massane t. His forms are conventional ternary [ aha ]
forms featuring a middle section o f contrasting rhythms and (under Busser’s hand)
varied timbres. These middle sections are so cleverly constructed that each is able to
reappear as subt le counterpoint s in the return o f the first theme. Busser ’s
orchestration is restrained but always colorful. retaining in the grace and almost
childlike energy o f the music his respect for the piano originals.
The production o f the ballet version o f EI Sombrero de Tres Picos (The Three
cornered Hat ) grew from stage music that De Falla supplied to a 1916 production o f
the pantomime pla y E/ corregidor y la molinera – The magistrate and the Miller’s
wife (In which a local magistrate tries unsuccessfully –to his pain to seduce the
pretty w i fe o f the local miller ). Sergei Diaghilev, the director o f the famous Bullcl
Russes that had scandalized Paris with Stravinsky ’s Rite o f S pring just a few years
before. convinced De Falla to expand the score, engaged Pablo Picasso to de sign the
scenery, and hired Leonide Massine to do the choreography. The work prem iered to
great success in London in 19 19 and has been a fa vorite o f ballet companies ever
since that time. Tonight ’s excerpts begin with a bullfightinspired fanfare representing
the lusty Corregidor. The second section The Ajiernoon surges with the languid power
o f the summer Spanish sun. The Neighb or’s Dance is set as a seguidilla in which the
music alternates and combines motives in 3 /8 and 3/4 time. creating a complex web o f
sound at once beguiling and m y sterious. The fina l Miller’s Dance is a masculine tour
de fo rc e. Massine recalls the dance as “a series of high jumps. ending with a turn in
midair and a savage stamp o f the foot as I tanded. the mental image o f an enraged
bull going into the attack.” One o f only twenty works that De Falla ever completed.
The Threecornered hat became one o f the quintessential examples o f Spanish
sy mphonic sty le for the twentieth century.
l avo n i c Da n c es w ere writ ten i n response t o a request from the
D v orak ’ s fir s t set o f S
Berlin publisher Simrock for a set o f dances in the st y le o f Brahms” Hungarian
Dances. Dvorak composed the first set o f eight dances (Op.46) for piano duet in
spring 1878. and completed their orchestrations b y the beginning o f August. A rave
review o f the dances and the Moravian Duets in the Berlin Nationalzeitung made
Dvorak a household name throughout Europe. and the music made Simrock a fortune.
The dances ( o f which we present nos. 58) are an amalgam o f original material and
remembered or partially remembered folk tunes from Dvorak ’s youth (playing in
v illage bands ) and his many later travels. As such the y are generally mixtures o f
–
dancetypes. A s Antonin Sy chra notes “he ( Dvorak ) is not a fraid o f sty lizat ion; he
sat isfies himsel f with the credible and convincing nature o f the basic mood.” No. 5 in
A Major mixes elements o f faster skocnd and vrtak and includes some fivebar
phrases in its middle section. No 6 in D Major is minuetlike. elegant with a rh ythmic
ac c ompan iment dra w n from t he sousedsk a . No. 7 i s a tetka in moderate tempo that
l dance o f the set suite is a
proceeds to doubletime in the manner o f galop. The fina
marvelous fur ian t in w hich the music constant ly alternates rh y thm ( l – 2 3 123
1 23 ) and shifts between major and minor modes. Like the Debussy, Dvorak uses an
[ aba ] form but seamlessly merges elements from disparate themes in the
recapitulation. In all the dances there is an easy, ebullient. y outhful energy that cannot
help but coax a smile from the casual listener and admiration from the most learned
musiclover.
T. Perry, September 2007
�A bout The Per formers
T I M O T H Y P E R R Y . conduc tor and c larinet ist, is Pro fessor o f M us ic and c urrent ly
Cha ir o f the Depart ment o f Music for Bingham ton Un i v ers it y. A graduate o f the
Manhattan and Y a le Schools o f M us ic, Dr. Perry joined the Bingham ton Un i vers it y
faculty in 1 986. becoming Pro fessor o f Music in 2002 and receiv ing the Chancellor ’s
Aw ar d for Creat i v e A c t i v it ies in 2 005. A s Conduc tor Dr. Perry has direc ted the
Un i v ers it y Orchestra s ince 1 986. direc ted the Un i v ers it y W ind Ensemb le from 1986–
2005 and led the Bingham ton Commun it y Orchestra from 1 994 2004. I n M a yJune
200 he conduc ted the joint M us ic/Theat er produc t ion o f West Side Story in Sant iago,
Chile. W idely know n as a c larinet ist in virtuoso solo and chamber music. he toured
L at in A merica and the Caribbean as a Un it ed States Musical A mbassador and has
presented rec itals at three world con ferences of the Internat ional Clarinet A ssoc iat ion.
H is recent c larinet appearances inc lude per formances at B U , Corne ll and I thaca
Co l lege. From Oct 20 2 he present s 3 0 hours o f C larinet and Conduc t ing Master
C lasses at the Un i vers idad N ac iona l de Columbia ( Bogota ).
Her per formances ha ve earned her la v ish pra ise: “Georgetta Maiolo prov ided some
exquisite musical moments in her flut e solos,” wrote A lice M itchell in a rev iew in The
Press & Sun–Bulletin in Binghamton, New York. “Georgetta Maiolo should be singled
out for praise in her work w ith Soprano Louise Wohla fka in the “Mad Scene” in Luc ia.
Her tone was like another lovely voice in the cadenza...Ms. Maiolo’s wonder ful tone
and mus ic ianship w ere in ev idence here and through the ent ire opera,” commented a
cr it ic for W S K G – F M rad io. I n the A ugust 1 999 O p e r a News rev ie w o f T r iCit ies
Opera produc t ion o f D i e Za u b e r fl o te, W i l l i a m W . W est stated * . . . w i t h some lo v e ly
IIIIICPIII}I11L’I‘I'()111(iC()l‘g’L‘l l;1\!L!I()!i)”
7
i a a x x x x x t a “ r a t t l x x t x x x v * * * * * * * x * x * * * * *
Jiio Sdetiar
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G E O R G E T T A M A I O L O is a member of t he fac ult y o f Bingham ton Un i v ers it y and
Broome Community College, teaching Flute and direct ing Flute Ensembles. From
19
7
7
to 1 996. she he ld the pos it ion o f A ss istant Pro fessor o f Flut e at I thaca Co l lege.
I t h a c a . N e w Y or k . S h e a l s o t a u gh t fl u t e a t W e s t V i r g i n i a U n i v e r s i t y , M o r ga n t o w n ,
W est V irgin ia .
Mrs. M a io lo is a graduate o f Duque sne Un i v er s i t y, P itt sburgh, Penns y lv an ia and
at tended graduate school at W est V irgin ia Un i v er s i t y, Morgant ow n, W est V irgin ia .
She studied w ith Bernard Goldberg, princ ipa l flut ist o f the Pittsburgh Sy mphon y.
Marcel Moy se at Marlboro School o f Music, and V ictor Saudek . At the age o f 15, she
ma de her so lo debut w i t h the P it t sburgh S y mp h on y . Mrs. M a io lo is t he rec ipient o f
numerous honors, inc luding the NCMEA N at iona l mus ic a ward, the Pittsburgh Tuesday
Musical C lub, the Enola M. Le w is Scholarship and the Mu Phi Epsilon Sterling
A chievement Aw ard.
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Ci t ie s Opera Orc hestra, and Dow n t ow n S ingers Orchestra . In a dd it ion to her p la y ing
posit ions, she concert izes as a soloist, rec ita list and chamber music ian. Mrs. Ma iolo
has been recognized for the breadth o f her contribut ions to per formance and music
education. She has premiered composit ions for flut e by Jack Mart in, Dan Lock lair,
Edith B orrotf, Malcolm L e w is, R ichard Herman, J effre y Nit ch, Timothy R olls and Paul
Goldstaub. In 1 985, Mrs. M a i o l o m m h o n o r e d I n c o n d u c i I ! 1 e \ Y \ S M . \ A ll State Flute
Choir. She serv ed a s the flu t e cha irperson for the N Y SS M A Man ua l from 1 981 to
200 1 . She is a “ c l in ic ian ” for the Selmer C ompan y . She has recorded for Crest
Records and NPR.
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Mrs. Maiolo is the princ ipal flut ist o f the Bingham ton Philharmonic Orchestra, Tri
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�Comi ng Music Events
T hursday, October 18 – MidDay Concert – 1:20 p.m.
Recital Hall free
Casadesus
Friday, October 19 – Sunday, Octobe r 21 – New York State Music
Teacher s A ssoc iat ion (N Y SM T A ) – Anderson Center Chamber Hall and
Casades us tree
Sunday, Octobe r 20 – Family Weeken d Conce rt – 3:00 p.m. Osterhout
Concert Theater free
T hur sda y . Oc tober 25 – M idDa y Conc ert 1 :20 p.m. Casadesu s Rec ital
Hall free
T hur sd a y . Oc t ober 25 – B ig B and J a zz! A scholarsh ip benefi t in memory
ot‘ R obert Terrell 8 :00 p.m. Osterhout Concert Theater S1 8 genera l
public : S I 6 faculty s t a ff s eniors : S1 0 for students
7
Fr i da y . Oc tober 26 – M ad riga l C ho ir o f Bingham ton 8 :00 p.m.
Anderson Center Chamber Hall $15 general public; $1 0
faculty sta ft ’seniors : $ 3 for students
W edne sda y . Oc tober 3 1 – I nd ian C onc ert w i t h voca list Pand it K a i v a ly a
K u m ar, Pt. Ra v ind ra Y a v ga l on t ab la a nd Pt. Ra v ind ra K at ot i on
harmon ium 7 :00 p.m. Anderson Center Chamber Hall $1 2 genera l
public : $ 1 0 taculty s t afi’ s eniors : $5 students
Thur sda y . Novemb er 1 – M idDa y Conc ert – 1 :20 p.m.
Rec ital Hall free
Casadesus
Fr i da y . Novem ber 2 – M a ster ’ s Rec it a l – Dan iel S o fer, p iano 8 :00 p.m.
Casades us Rec ital Ha ll free
Sa t ur da y . Novem ber 3 – C lar inet T rio Rec ita l 8:00 p.m. Casadesus
Rec ital Hall free
T hur sd a y . No vember 8 M idDa y C on c ert – 1 :20 p.m. Casadesu s
Rec ital Hall free
S a t ur da y . No vember 1 0 – Un i v er s i t y C horu s : W or d s a n d M us ic 8 :00
p.m. Anderson Center Concert Theater free
Thursday, Novem ber 15 – Jazz MidDay C oncert with guest artist 8:00
Osterhout Concert Theater $9 general public : $7
p.m.
7
fac ult y sta ft ’seniors : free for student s
l
l
�
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Coverage
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
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In copyright.
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1 audio disc
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01:08:38
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196853">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196853</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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University Symphony Orchestra, 'Suite Diversions,' October 14, 2007
Recital Tape 10-14-2007
Description
An account of the resource
Held at 7:30 p.m., October 14, 2007, Anderson Center Osterhout Theater. Works of Telemann, Debussy, Falla, Dvorak.
Creator
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Perry, Timothy
Maiolo, Georgetta
Publisher
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Binghamton University Libraries
Date
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2007-10-14
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In copyright
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sound
IIIF Item Metadata
UUID
02849806-eea1-48bd-ba35-5f971b258432
-
https://omeka.binghamton.edu/omeka/files/original/7fd3eee4e13be0d04be3a8e05be45c8d.pdf
07a03d7add71f892737c0501e64b41f5
PDF Text
Text
BINGHAMTON
' N l \ l1 R N l T \
State University of New York
de c
[4
D E P A R T M E N T
20072008 C H A M B E R S E R I E S
“ T H E ORIENT EXPRESS”
T I M O T H Y PERRY, C L A R I N E T
M ARGARET REITZ, P IANO
Assisted by
Janey Cho i, Violin
Stephen Stalker, Violoncello
Ivy Gaibel, MezzoSo prano
Saturday Evening at 8:00
September 8, 2007
A nderson Cent er Chamber Hall
�l
PROGRAM
Solo de Concours (1899) . . . . . .
. .+ . . André Messager
(18531929)
Aria: ‘Parto, ma tu ben m io’ (Clemenza di Tito). . . . W.A. Mozart
(1 7561 7 91 )
Ivy Gaibel, MezzoSoprano
Adagio from Violin Concerto. . . . . . .J. Brahms, arr. Langenus
(18331897)
Contrasts for Violin, Clarinet and P ia no . . . . . . . Bela Bartok
I. Verbunkos
II. Piheno
111. Sebes
(1881 1945)
Janey C hoi, Violin
WINTERMISSIO N®3
Marko Tajcevic
Seven Balkan Da nces . . .
I Con moto
II. Rustico
IV Sostenuto e cantabile
V. Allegro ritmico
VI. Allegretto
III. Vivo
VII. Allegro, quasi pesante
( 1 9001 984)
This evening’s program is a travelogue in sound, tracing the route of that
most famous of luxury trains, the Orient Express, which ran – at least in
its earlier years – from Paris through Vienna and Budapest into the
Balkans and ended in Constantinople (presentday Istanbul). This theme
appealed to me bec ause i t i s also a route that runs to the outer reaches o f
the world of the clarinet, before it gives way to doublereed instruments
such as the Turkish zurna and the Indian shehnai. You will, I think, be
able to follow the changes in this son ic scenery as well – how melody,
harmony, rhythm and form transmute as West becomes East.
We open with a c lassic solo de concours (contest solo) by the Parisian
composer Andre Messager (18531929). Messager studied for a time with
SaintSaens and held the important post as organist of St. Sulpice, but
excelled in ballets and operatic works. A highly respected conductor, he
directed the orchestra o f the Conservatoire d u Musique, and appeared on
the podium o f the Opera Comique in Paris as wel l as Covent Garden in
London. Messager’s Solo de Concours, while adhering to the formula
stipulated for these examination pieces, is one o f the best o f its kind. I t
begins with a principal theme quickly dissolving into virtuoso
passagework ; a singing slow section in the clarinet ’s difficult ‘throat
tones’ leads to a dramatic and florid cadenza; and a return o f the main
theme concludes in an effervescent coda which might have served as a
finale to one of the composer’s ballets.
Like Paris, Vienna was an imperial capital ci ty whose vast resources
brought the best composers to test their skill in the most demanding of
musical communities. Unlike the French, the German clarinetist and
composer has always been concerned first with beauty of timbre and
subtlety of phrasing, with virtuoso technical possibilities a distinct second.
First, we present M ozart ’s aria ‘Parto, m a t u ben m i o ’ for basset clarinet
Stephen Stalker, Violoncello
and soprano from his final stage work, L a Clemenza di Tito. In his final
months of life, com pleting the Clarinet Concerto aside th e opera, Mozart
Per egiV er b u n k......................L eoWeiner
(1885196 0)
Hristiankova Kop anitsa . . . . . . . .
About the Music
Ivo Papasov, arr. Perry
(b. 1952)
seems to fully disc over the clarinet a s the truest dramat ic substitute for
and partner to the female voice. The aria’s several moods, from revenge
to compassion to selfsacrifice, are brilliantly distributed from voice to
instrument, making full use of the basset clarinet’s extended low range to
provide lines of enormous sweep and power.
�For our second Viennese work we jump forward almost a century for the
rarely heard transcription of the Adagio from Brahms’ Violin Concerto by
the Belgian/American clarinetist G ustave Langenus. Langenus was to
clarinet transcription what Fritz Kreisler was to works for violin – a
master player and teacher whose complete knowledge of his instrument
brings out new and wonderful levels of beauty from the originals. The
movement is one of Brahms® most pure and profound. Of course the
composer, ever selfdeprecating, described it as ‘feeble’, and Sarasate
refused to play it because he didn’t want to “stand around while the oboe
played the only melody in the piece.” No problem here – Langenus lets the
clarinet do both.
Bartok, here we hear the individual melodies retained as miniatures, a set
o f several verses with short interludes that get their interest from the
constant variation o f orchestration. Each movement thus retains its
1
1
Just as the Rhine separates French from German sound, the Danube
moving east towards Budapest marks a new soundscape, one firmly in the
Slavic orbit. Formal traditions give way to folk influence ever more
strongly now, with the clarinet (and violin) as folk melodists par
excellence. Harmonies simplify, but rhythms become ever more complex.
We close the first half with Bela Bartok ’s great Contrasts for Violin,
Clarinet and Piano. This incredible potpourri of Hungarian folk tunes
(with some Rumanian and Bulgarian influences) opens with a Verbunkos
dance whose marchlike theme betrays its use for recruiting soldiers who
have had a bit too much to drink. One might imagine the unhappy new
recruit awaking during the clarinet’s closing cadenza. The second
movement, entitled Pihené (relaxation) seems nearly motionless by
In the music of Leo Weiner we find again the attempt to blend the folk
(here, Magyar ‘Gypsy’) tradition with a bit more formal rigor, no doubt
influenced by Weiner’s position as a Professor of Theory in Budapest.
This Peregi Verbunk is true to Magyar form and style with its linked slow
and fast sections, and the writing for both clarinet and piano is superbly
crafted. Difficult, yes, but Weiner’s music is always interesting and
represents a fine marriage of classical and folkbased traditions.
Music reflects our world, and sometimes as the world changes new and
exciting musics are developed. On the outer frontier of the European
clarinet comes the source for our last piece, a bit of Bulgarian Svatbarska
muzika, or “wedding music,” This existed in a tamer traditional form until
the 1970’s when increasingly antiauthoritarian sentiments brought
western jazz and rock elements into the mix. Mixed with native Gypsy,
Magyar, Bulgarian and Turkish melodic elements, Balkan musicians
produced an electric new genre that exploded worldwide with Ivo Papasov
and Yuri Yunakov ’s 1991 CD Balkanology. We finish our musical
journey, in an insanely fast meter of 11/8 (2+2+3+2+2) with a short
example of this manic musical cry for joy and freedom, Hristiankova
Kopanitsa. N.B. As none of us are as yet experts, we perform a transcribed
version of the improvised solos. Actually, you may get some
improvisation anyway. Welcome to the East, and have a pleasant trip
home!
com parison, but with all the m ystery and tension we come to expect from
Bartok’s other pieces of “night music ’. The set finishes with a Sebes (fast
dance) whose folk credentials are assured by the use of a violin “mistuned’
(scordatura) in folk style for the opening bars. This is highenergy dance
music, and a break is provided in the middle with a slower section in
(8+5)/8, or thirteeneight time (!) Once rested, however, the manic pace
resumes and runs to the end.
One difficulty of performing music from beyond Vienna and Prague is the
relative paucity of published materials as we move increasingly to
unwritten folk performance. A ll of Eastern Europe has undiscovered
treasures which are only slowly coming to light for western players.
Marko Tajcevic ’s Seven Balkan Dances, originally composed for solo
piano in 1927 and later arranged for Clarinet, Cello and Piano. are an
excellent case in point. Tajcevic draws upon the songs and dances of his
native Serbia, but rather than building a complex formal structure as does
character, and we can better appreciate their shifting meters and
increasingly oriental timbres.
Timothy Perry Aug 2007
or
�ABOUT T H E PERFORMERS
TIMOTHY PERRY, conductor and clarinetist, is Professor of Music and
currently Chair of the Department of Music for Binghamton University. A
graduate of the Manhattan and Yale Schools of Music, Dr. Perry joined the
Binghamton University faculty in 1986, becoming Professor of Music in 2002
and receiving the Chancellor’s Award for Creative Activities in 2005. As
Conductor Dr. Perry has directed the University Orchestra since 1986, directed
the University Wind Ensemble from 19862005 and led the Binghamton
Community Orchestra from 19942004. In MayJune 2007 he conducted the joint
Music/Theater production of West Side Story in Santiago, Chile. Widely known
as a clarinetist in virtuoso solo and chamber music, he toured Latin America and
the Caribbean as a United States Musical Ambassador and has presented recitals
at three world conferences of the International Clarinet Association. His recent
clarinet appearances include a July program at Cornell University, an upcoming
appearance at Ithaca College, and a week of both Clarinet and Conducting Master
Classes at the Universidad Nacional de Columbia (Bogota) in October 2007.
MARGARET REITZ, pianist, is a native of the Binghamton area. She received
her Bachelor and Master of Music degrees in piano performance with Seymour
Fink and Walter Ponce and accompanying emphasis, studying piano with Jean
Casadesus, Victor Rosenbaum, Seymour Fink and Walter Ponce and
accompanying with Allen Rogers. She has accompanied throughout the United
States, Europe and South America: she was an official accompanist for the
MTNA State and Eastern Division Competition held at Ithaca College in 2001
and 2006, has been a guest chamber music artist in Morges, Switzerland,
attended the Northwestern Workshop with Chicago Lyric Opera Faculty and
Coaches, was an official pianist at the International Double Reed Competition and
Convention in June 2007 at Ithaca College and was selected to accompany at the
Interpretation of Spanish Music Festival in Grenada, Spain in July 2007, where
she performed at several concerts and masterclasses coached by Teresa Berganza.
A guest artist on the Cornell Summer Series this past summer, she will perform
Beethoven’s Triple Concerto with Binghamton Community Orchestra and is
nominated for the Heart of the Arts Award sponsored by the BC Arts Council.
Ms. Reitz is currently on the faculty at Binghamton University and Ithaca College
School of Music. She is on the Executive Board of the New York District MTNA
organization, is past President of the local Southern Tier Music Teachers
Association and is an active adjudicator for the National Piano Guild
Organization.
Canadianborn violinist J A N E Y CHOI joined the faculty of Binghamton
University in 2006. Dr. Choi attained her Doctor of Musical Arts degree at Rutgers
University, studying with Arnold Steinhardt, and holds her Bachelor and Masters
degrees from The Juilliard School where her major teachers were Joseph Fuchs and
Joel Smirnoff. She gave her Carnegie Hall recital debut in 1997 as a winner of the
Artists International Auditions and continues a n active perform ing career as a
recitalist, chamber, and orchestral musician throughout the country and abroad. She
has participated in such festivals as Mostly Mozart, Juilliard’s Focus Festival,
Norfolk, Taos, the Spoleto Festivals, Festival Musical de Santo Domingo, the Santa
7
Fe Opera and the Sarasota Opera. An avid interarts and crossgenre collaborator,
she is the Music Director of Thomas/Ortiz Dance, and has performed numerous
times with the Parsons Dance Co. at the Kennedy Center in Washington, D.C. She
has recorded and appeared with such mainstream performers as Bono and Quincy
Jones, Enya, Elton John, Sarah McLachlan, Lisa Loeb, Kanye West, JayZ and
Beyoncé. Ms. Choi is a Teaching Artist for the New York Philharmonic, Lincoln
Center Institute, Chamber Music Society of Lincoln Center and the Bloomingdale
School of Music in New York City.
l
5
STEPHEN STALKER, cellist, joined the faculty of Binghamton University in
1982. He is a graduate of the Manhattan School of Music in New York City. He
formerly taught at Colgate University, Mansfield University, Ithaca College and
for 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, where he has presented Meet the
Composer concerts with prominent American composers including John Cage,
Virgil Thomson, Lou Harrison and George Crumb and premiered a set of four
string quartets by Henry Brant at Weil Recital Hall. He performs regularly with
the Trio Amici, Trilogy, Baroque ‘n Blue, Early On and performed the complete
Beethoven Trio cycle with violinist Janet Brady and pianist Walter Ponce. He
performed with Solisti New York, and as a member of the Madison String Quartet
was a finalist in the Naumberg Chamber Music Competition in New York City
and the Evian International String Quartet Competition in Evian, France. A past
president of the New York State Chapter of the American String Teachers
Association, Mr. Stalker is a founder of the Southern Tier Music Teachers
Association and the Binghamton Cello Festival and was past Strings Chair for the
New York State School Music Association.
IVY GAIBEL, mezzosoprano most recently performed at the Spoleto, USA
festival in Chartleston, SC in Kurt Weill’s The Rise and Fall of the City of
Mahagonny. Ms. Gaibel is a graduate of the TriCities Opera Resident Artist
Training Program, where she performed numerous roles including her
“precocious” Cherubino in Le Nozze di Figaro and Nicklausse in Les Contes
D’Hoffmann. Her TCO performance of Dido in Dido and Aeneas was noted as
“beautifully performed with exquisite phrasing.” Ms. Gaibel made her debut at
Syracuse Opera in 2004 and was awarded Artist of the Year in a supporting role.
Since then she has been an active performer on the main stage as well as the
ensemble, including her role as Mercedes in Syracuse Opera’s 2007 production of
Carmen. Performance Awards include First Place,National Association of the
Teachers of Singing, 2001 and the George L. Hinman Award from TriCities
Opera 2004. In the Summer of 2006 Ms. Gaibel was a member of Des Moines
Metro Opera’s Apprentice Artist Program. She has appeared with many regional
orchestras including the Binghamton Philharmonic and the Orchestra of the
Southern Finger lakes. This year Ms. Gaibel will be Assistant Professor of Voice
at Ithaca College. She has upcoming engagements with the Binghamton Baroque
Ensemble and numerous recital appearances in the area.
�P art o, m a t u be n m io : Translation:
I leave but you, my beloved , will ret urn to me in peace ;
I will be what most pleases you; what you want, I’ll do.
Look at me and I’ll forget everything, and I’ll rush to avenge you ;
Give only a glance and the deed by me will be done.
Ah, what power, oh Gods
did you bestow on Beauty!
* # * * * * t
t i t fi ttttttt l ttt i tt fi tt i tttttt $ tttt fi tttttt fi # # * * * # * * * * * * * * * # *
Comin g Musi c Events
Sunday, Septem ber 9 – A Sonic Blast : Thrilling Works for Organ, Brass
and Percussion – 4:00 p.m. – Frist Presbyterian Church, Binghamton
$15 general public ; $13 fac ulty/staff/seniors; $7 students
Sunday, Septem ber 30 – Romanti cism Unleashed : A facu lty recital by
cellist St ephen Stalker – 3 :00 p.m. – Casadesus Recital Hall $9 general
public; $ 7 faculty/staff/sen iors; $1 students
Th ursday, October 4 – MidDay Conc ert 1 :20 p.m. – Casadesus Recital
Hall – free
Th ursday, October 1 1 – MidDay Concert – 1 :20 p.m. – Casadesus
Recital Hall – free
Sunday, October 1 4 – University Or chestra : Suite D iversions – 3 :00 p.m.
– Anderson Center Concert Theater $9 general public; $7
faculty/staff/senio rs; free fo r student s
Th ursday, October 1 8 – MidDay Concert – 1 :20 p.m. – Casadesus
Recital Hall – free
F riday, October 1 9 – Sunday, Octobe r 21 – New York State Music
Teachers Association (NY SMTA) – Anderson Center Chamber Hall and
Casadesus – free
Sunday, Octobe r 20 – Family W eekend C oncert – 3:00 p.m. – Osterhout
Concert Theater – free
Th ursday, Octo ber 2 5 – MidDay Concert – 1 :20 p.m. – Casadesus
Recital Hall – free
Th ursday, October 2 5 – Jazz Scholarship Con cert (In memor of Ro bert
Terrell) – 8:00 p.m. – Osterhout Concert Theater $1 8 general public ; $16
faculty/staff/seniors; $ 10 students
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
01:00:02
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196856">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196856</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>.
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Dublin Core
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Title
A name given to the resource
"The Orient Express," September 8, 2007
Recital Tape 9-8-2007
Description
An account of the resource
Held at 8:00 p.m., September 8, 2007, Anderson Center Chamber Hall. Works of Messager, Mozart, Brahms, Bartok, Tajcevic, Weiner, Papaosv.
Creator
An entity primarily responsible for making the resource
Perry, Timothy
Reitz, Margaret
Choi, Janey
Stalker, Stephen
Gaibel, Ivy
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
2007-08-09
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
c59dce28-dbe5-41cc-9c93-9af2d32865ef
-
https://omeka.binghamton.edu/omeka/files/original/cc32c3c9e24680fab8d83afa14422aee.pdf
dce7c3244db18f0f3da32f036265e8a6
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
State University of New York
Uk ®
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B
E F A
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E N T
T M
T HURSDAY MIDDAY C ONCERT
October 25, 2007
1 :2 0 p. m.
Casadesus Recital Hall
�T ranslatio ns
1
Stefano Donoudy
F reschi luogh i, prati aule nti
Cool places, fragrant meadows,
Remain always in flowe r;
Let not summ er sow seed in you,
PROGRAM
Freshi luoghi prati aulenti ..
...........Stefano Donoudy
Vaghissima sembianza
(18791925)
Quando ti rivedro
Venuto e l’aprile
Alexander Blitstein, t enor
ChaiKyou Mallinson
Let not autu mn carry yo u away,
Let not the dead season take away
So much magical splendor.
I want one day to ramble with her
Amidst softness so green,
When at last my pangs
She will show h e r s e l f
understand.
Cool places, fragrant meadows,
Remain always in flowe r.
Let not any season take a way
Aria from C osi fan tutte
In uomini, in soldati
Una donna a quindici anni
Wolfgang Mozart
(1 7561 791)
Sigbonile Boyd, soprano
Margaret Reitz, piano
Sonata, Op. 31, no. 1
I. Allegro vivace
III. Rondo, All egretto
Danielle So fer, piano
Ludwig van Beethoven
(17701827)
So much magical splendor.
And you then, clear streamlets,
Which already are runni ng to the
sea,
Don’t be miserly with your waters
In the late season of the year,
Don’t you join also the deception
Of a prosperity so brief.
I want one day to be reflected with
her
In your clarity,
When at last my pangs
She will show h e r s e l f
understand.
Vaghissima sem bianza
Very charmi ng image o fa woman
formerly loved,
who, then, has portrayed you with
so much sim ilarity
that l look, and I speak, and I
believe to have you
before me as in the beautiful days
of love?
The dear remembrance which has
been awakened
in my heart so ardently has revived
my hopes,
so that a kiss, a vow, a c ry of love?
more I do not ask of her who is
silent foreve r.
Quando ti r ivedro
When shall I see you again,
Unfaithful lover, who were so dear
to me?
So many tea rs I have wept
Now that an other separates us,
That I fear that may be fled
Every joy forever from my life.
And yet the more I despa ir,
The more I return to hoping.
The more I hate you in my mind,
The more m y soul turns again to
loving you.
When shall 1 see you again,
Unfaithful lover, who we re so dear
to me?
Ven uto é I’aprile
April has come, weaving garlands,
And bringing together nymphs and
sylvans on t he meadow.
The alders are tuning their
instruments
And at the first melodies of the
wind
Among the branches the dance
begins.
First a faun advances...
His nymph looks at him... Sighs...
And they rush away together!
�The couples frolic among the
fountains and the streams,
And then vanish furtively in the
woods...
But Cloris, who meanwhile is
jealous of Nice,
Waits unhappy and alone, in tears,
For the dance to cease.
But a shepherd advances...
And now Cloris looks at him...
Sighs...
And they rush away togethe r!
Aria from Cosi Fan Tutte
Wolfgang Mozart
In uomini, in soldati
In men? In soliders, you hope for
fidelity?
For goodness sake, don’t let anyone
hear you!
They are all made of the same
dough,
Windblown branches, changeable
breezes
Have more stability than men!
False tears, suspieious glances
Deceiving voices, lying vices
Are the foremost of their qualities!
They only love us when it suits
their delight.
Then disparage us and deny us
affection.
It is useless to ask their pity!
Let ’s pay them back in their own
coin.
This accursed, indiscreet race.
Let ’s love for our convenience and
vanity!
5
w
Una donna a quindici anni
A woman of fifteen years
Must know all the good met hods,
Where the devil keeps his tail,
What’s good and what’s bad. She
must know the little malices : That
enamour lovers:
To feign laughter, to feign tears,
And invent good reasons.
She must pay attention to a h undred
at a time.
Speak through her eyes with a
thousand.
Give hope to all, be they handsome
:
or ugly,
Knowiliow to obfuscate without”
gettinggconfused.
And know how to lie without
blushing. "
And this queen from her high
throne, *
can make them obey with, “I can,”
and “I want.”
(It seems they like this doctrine)
Long live Despina, who knows
llow to serve!)
�
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Binghamton University Music Department Tape Recordings
Subject
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Concerts ; Instrumental music ; Live sound recordings
Description
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Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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Thursday mid-day concert, October 25, 2007
Recital Tape 10-25-2007
Description
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Held at 1:20 p.m., October 25, 2007, Casadesus Recital Hall. Works of Donoudy, Mozart, Beethoven.
Creator
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Blitstein, Alexander
Mallinson, Chai-Kyou
Boyd, Sibongile
Reitz, Margaret
Sofer, Danielle
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Binghamton University Libraries
Date
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2007-10-25
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sound
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UUID
428d7e4f-457b-4ce8-93b0-815ea762cea9
-
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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49:20:00
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196862">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196862</a>
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Thursday mid-day concert, November 1, 2007
Recital Tape 11-1-2007
Description
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Held at 1:20 p.m., November 1, 2007, Casadesus Recital Hall.At head of title: Binghamton University Music Department.Works of Chaminade, Browne, Rosauro, Chopin.
Creator
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Leo, Erica
Reitz, Margaret
Browne, Peter
Lehman, Stephanie
Hsu, Nicole
Mackiewicz-Wolfe, Ewa
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Binghamton University Libraries
Date
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2007-11-01
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In copyright
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sound
IIIF Item Metadata
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c0864c75-36e9-4329-9244-a5665004446a
-
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Title
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Binghamton University Music Department Tape Recordings
Subject
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Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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39:16:00
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Thursday mid-day concert, Thursday, November 29, 2007
Recital Tape 11-29-2007
Description
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Held at 1:20 p.m., November 29, 2007, Casadesus Recital Hall.
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Parnes, David
Reitz, Margaret
Maezawa, Akira
Sargent, Griffin
Sterling, Sarah
Chen, Jeniifer
Agar, Holly
DeGroote, Caleb
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2007-11-29
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sound
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ccda6f89-fece-42a4-a208-8fefc5341055
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https://omeka.binghamton.edu/omeka/files/original/c5abb48f406737a8cc817c5b34e32824.pdf
b87e0f46fa2ae420a83dff8628dd8b63
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
State University of New York
N x “l f ’
’
wdec
\
0
2
X
A
Y
D E P A R T M E N T
,
f ; , L B INGHAMTON UNIVERSITY
MUSIC DEPARTMENT
AND
INDIAN P ERFORMIN G ARTS
S OCIETY O F B I N G H A M T O N
PRESENT
AN E VENING O F H INDUSTA NI
CLASSICAL MUSIC
FEATURIN G:
KAIVALYA K UMAR , VOCAL
with
Sham Kan e, tabla
Ravindra Katoti, Harmoni um
Wednesday October 31, 2007
7:00 p.m.
Anderson Center Chamber Hall
�PROGRAM
singing will be extremely fast and virtuosic. The whole performance
Note: In Indian Classical Music, the performer will announce the
of khyal may last from 2040 minutes depending on the inspiration
of the artist.
chance to choose pieces which reflect the mood of the event and the
feelings of the artists. Nevertheless, the performance will follow this
basic format:
Most bada khyal bandish are set in tintal, a 16beat cycle divided
into 4 sets of 4 beats (4/4/4/4). Its notation in stressed (X=clap) and
unstressed (O=wave) beats is:
specific program at the time o f performance t o allow them the
Khyal (Raga to be announced)
I. Alap
II. Bada Khyal usually in tintal
III. Chota Khyal usually in ektal
One or more ‘light’ classical pieces to conclude see below.
Hindustani Classical Music
The origins of Indian classical music can be traced to the Vedas, a
set of four texts that comprise the foundation of the Hi ndu religion,
and were passed down orally until around 1500 BC when they
began to be written down. The texts comprise hymns, which not
only aided memorization, but also provided the foundation of Indian
music. In the first few centuries AD, the sage Bharata compiled a
treatise on music, dance, and theatre that provided the theoretical
foundations for future directions in Indian composition. Bharata
outlined the organization of rhythm and meter into cycles made up
of groupings of beats now referred to as tala. Every composition is
set to a particular tala cycle made up of stressed and unstressed
beats. Knowledgeable audience members may externalize the tala
by a system of claps (tali) representing the Strong beats, and waves
(khali) representing the weak beats. The tala cycles for each of the
pieces tonight have been notated below.
Bharata also formulated the concept of raga, which is the melodic
system underlying Hindustani music. Ragas consist of a scale, as
well as a set of musical rules governing choice and emphasis of
pitches, melodic motion, and ornamentation. Ragas normally are
associated with certain times of day and/or seasons of the year.
Bharata related each raga, to a specific rasa, or emotion. The eight
rasa are love, humor, anger, compassion, valor, wonder, disgust,
and fear. The term raga means ‘color’, and ragas are supposed to
I $ 2 9 8
y
&
g
B
l
TEE R E E e Nn
L
I x o ] x
Most chota khyal bandish are in ektal, a 12 beat cycle divided into 6
sets of 2 beats (2/2/2/2/2/2). Its notation is:
1
X
2
l
3
4 1 5 1
a
HERE
1
A
J X
J O 1 X
[ X
EEE
&
‘Light’ Classical Pieces
After an intense performance of khyal, both performers and
audience normally wind down the intense emotional level by
enjoying one or more light classical pieces. These allow the
performer to draw on popular melodies from folk and religious
sources, which do not have the same type of demanding structures
as khyal. Some possible genres the artist might choose from include:
Thumri, a genre of “light” classical music that evolved from songs
performed to accompany erotic dances by courtesans to a more
serious style that came to accompany the kathak classical dance
during the period of about 17701870 A.D. Eventually in the court
of Nawab Wajid Ali Shah of Lucknow (r. 18471856) thumri was
elevated to a court genre that featured female singers who
entertained male audiences in a manner similar to the Japanese
Geisha. In the early 20” century the courtesan tradition fell into
disrepute, under the pressures of the British colonial regime as well
as in the eyes of the largely Westerneducated Indian middleclass.
Thumri singers could no longer support themselves, so khyal
performers took over the artistic singing of thumri. Th umri bandish
�ABOUT THE MUSIC
Khyal
Khyal (‘imagination’) is the most frequently performed genre of
Hindustani vocal music. It was developed in the early decades of the
18™ century by the musician Nyamat Khan in the court of the
Mughal Emperor Muhammad Shah (r. 17191748). Compared to
Dhrupad, the other more ancient genre of vocal music, khyal
features greater use of improvisation, including rapid melodic runs,
known as tan, and this facet was perhaps responsible for its name,
loosely translated as ‘imagination’. This increased use of
improvisation is believed to have been drawn from Muslim
devotional hymns known as gawwali. In contemporary
performance, the Khyal is considered the main event, and is ofien
followed by some “light” classical genres such as Thumri and
Bhajan to wind the performance down.
Khyal compositions, known as bandish, are made up of a few lines
of text set to the melodic rules of the raga, and the metric rules of
the tala. There are only two sections, the ascending (sthayi), where
the melody ascends the scale, and the descending (antara), where
the melodic motion descends the scale. From this minimal kernel of
precomposed material, the artist must develop the piece with
extensive improvisation using both the syllables of the text, solfa
type syllables (known as sargam), as well as pure vowel sounds. In
this way, khyal may be cautiously compared to a Jazz composition,
where a singer will sing the regular piece straight through and then
use scatsinging to improvise before returning to the original
composition.
In performance, the singer usually begins with an alap, an
unmetered, introductory improvisation that is meant to introduce the
notes and melodic rules of the raga. During this portion, which may
last from 30 seconds up to 5 minutes, the tabla drummer does not
play as it is in free rhythm. This is then followed with a bandish in
slowmedium tempo known as bada khyal (‘big khyal’). The bada
khyal will be in a tala cycle, highlighted by the entrance of the
drummer. Following this composition, without a pause, will be a
different bandish in a fast tempo and in a different tala, known as
chota khyal (‘small khyal ’). By the end of the chota khyal the
tones is tuned to a specific note o f the raga, and thus contributes to
and complements the melody. The larger drum, played with the
other hand, is called bayan and is made of metal. It has covers a
lower range than the other drum. The playing technique for both
drums involves extensive use of the fingers and palms in various
configurations to create a wide variety of different sounds. On the
bayan the heel of the hand is also used to apply pressure, in a sliding
motion, so that the pitch is changed during the sound’s decay.
Sham Kane has accompanied many legendary Indian musicians
including Ali Akbar Khan, and has also worked in fusion groups
such as blues saxophonist John Handy’s group which included Ali
Akbar Khan and L. Subramaniam.
Ravindra KatotiHarmoni um
The harmonium is not a native Indian instrument, but was imported
from Europe during the 1 9” century. It is a reed organ with hand
pumped bellows. Although it is a relatively recent introduction, it
has spread throughout the subcontinent. Today, it is used in virtually
every musical genre except the south Indian classical music, which
uses extensive microtonal notes that cannot be played on a fixed
pitch instrument. While the keyboard is European, the Indian
harmonium has added a number of extra drone reeds.
Born in a family of music lovers in the year 1969, Ravindra started
learning Hindustani classical Harmonium at the age of eight. Since
then he has been the disciple of Pandit Rambhau Bijapure, a
Harmonium exponent of our times. The blessings and guidance of
his Guru, and his own sincere efforts have molded him into a
versatile and brilliant Harmonium player. Ravindra has also
established himself as an able accompanist and received acclaim
from many of the top performing vocalists, organizers and
connoisseurs as well. He has several cassettes and CDs to his credit.
He has performed throughout the country and abroad, both as a
soloist and an accompanist. He has accompanied many of the top
ranking vocalists of the country including Dr. Gangubai Hangal, Pt.
Bhimsen Joshi, Pt. Jasaraj, and Pt. Yashavantbua Joshi, Pt. Ajoy
Chakraborty, Pt. Ganapati Bhat, Ustad Rashid Khan, Smt. Ashwini
Bhide, Smt. Shubha Mudgal and Smt. Jayashree Patnekar.
�Comin g Even ts
Thursday, Novem ber 1 – MidDay Concert – 1 :20 p.m. – Casadesus
Recital Hall – free
Friday, Novem ber 2 M aster ’s Recital – Daniel Sofer, piano – 8:00 p.m.
– Casadesus Recital Hall – free
Saturday, Novem ber 3 – C larinet Trio Recital – 8:00 p.m. – Casadesus
Recital Hall – free
Thursday, Novem ber 8 MidDay Concert – 1 :20 p.m. – Casadesus
Recital Hall free
Thursday, Novem ber 8 – Binghamton Baroque Ensem ble – 8:00 p.m.
Casadesus Recital Hall – $9 general public; $7 faculty/staff/seniors; $1 for
students
Saturday, Novem ber 10 – U niversity Chorus : Words and Music – 8:00
p.m. Anderson Center Concert Theater – free
Thursday, Novem ber 1 5 – Jazz MidDay Concert with bassist Tony
Marino – 1:20 p.m. – Osterhout Concert Theater – free
Th ursday, N ovem ber 1 5 – Har p ur Jazz M idDay Co ncert with bassist
Tony Marino – 8:00 p.m. – Osterhout Concert Theater $9 general public;
$ 7 faculty/staff/seniors; free for students
Friday, N ovem ber 1 6 – Viola Plus! Ro berta Cra wford Viola Recital –
8:00 p.m. – Casadesus Recital Hall $9 general public; $7
faculty/staff/seniors; $1 for students
Sunday, Novem ber 1 8 – Conce rto Competition Auditions – 7:00 p.m. –
Casadesus Recital Hall – free
Thursday, Novem ber 29 – MidDay Concert – 1 :20 p.m. – Casadesus
Recital Hall – free
Friday, Novem ber 30 – Flute Stud io Recital – 10:30 a.m. – Casadesus
Recital Hall – free
Saturday, Decem ber 1 – F lute Ensem ble Recital – 12 noon – Casadesus
Recital Hall free
Saturday, Decem ber 1 – Reunion Recital : Aaron Nicholson, baritone
and Todd Robinson, bassbarit one – 8:00 p.m. – Anderson Center
Chamber Hall $15 general public; $13 faculty/staff/seniors; $7 students
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
2 audio cassettes 3 audio discs
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
55:35
1:06:15
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196875">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196875</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>.
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Single
Dublin Core
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Title
A name given to the resource
An evening of Hindustani classical music featuring Kaivalya Kumar, vocal, October 31, 2007
Recital Tape 10-31-2007
Description
An account of the resource
Held at 7:00 p.m., October 31, 2007, Anderson Center Chamber Hall.
Creator
An entity primarily responsible for making the resource
Kane, Sham
Katoti, Ravindra
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
2007-10-31
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
5e4ab33e-3bd1-4fcd-bf51-525b9ea27e34