137 10 1775 https://omeka.binghamton.edu/omeka/files/original/853e79cfc3d5917164d57dd15d0fea14.pdf 257c54570d53b6383c7b682c9e4791bf PDF Text Text BINGHAMTON U N I V E R S I T Y State University of  New York wdc [4 B E R  A R T M E  N T The University Win d Ensembl e presents The L egacy of ~ A lfred R eed (1921­2005) Ro bert G . Smith Music  Direc tor a n d Con d uctor assisted by Danie l Bris k G radua te Con ducto r and Jessica Will iamson G rad uate C onduc tor Sunday , May 7 , 2006 3:00 p. m. Anderson Cen ter Cha mber H all �PROGRAM This  season  the  University  Wind  Ensemble  has  been  pleased  to  present  one composition by Alfred Reed in eac h concert. This final concert of the 2005­2006 season  features a complete  program of additional  works.  What  was originally envisioned  as  homage  to  the  Dean  of  American  Wind  Band  Composers  has become a celebration of his life an d his contributions to the wind band movement around the world. El Camino Real, A Latin  BaREASY  L i k .i  v e r s o n (1970) A Jubilant Ove rture  Conducted by Mrs. Williamson* nasensies   Russian Christmas  M u s e .   8 0 d rerensensssana arr  (1961) Greensleeves  Conducted by Mr. Brisk* Armenian Dances, P a r t   ..  (1972) Tzarani Tzar (The Apricot Tree) Gavaki Yerk (Partridge’s s Song)­Gomidas Vartabed (1869­1935) Hoy, Nazam Eem (Hoy, My Nazam) Alagya (An Armenian Mountain) Gna, Gna (Go, Go) ..(1985) .  Three Revelations from the Lotus Sutra...  I.  The Awakening (To Awaken in the Light o f the Universe) II.  Contemplation (To Contemplate the Depths of the Soul) III. Rejoicing (To Rejoice in the Beauty of P eace) *Mrs. Williamson ’s and Mr. Brisk’s performances are in partial satisfaction of the requirements for the  Master of Music in Conducting. They are graduate students of Dr. T imothy Perry. �PROG RAM  NOT E S Alfred Reed (192 1­2005) With  over  250  published  works  for  concert  band,  wind  ensemble,  orchestra, chorus and chamber groups, Alfred Reed is one of America’s most prolific and frequently performed composers. Born Alfred F reidman, his music career began in 1931 in the N e w York schools of music. H e studied  trumpet with Abraham Nussbaum ,  theory  and  composition  with  John  Sacco  and  began  playing professionally  at  the  age  of 14.  Later,  he  was offered a  scholarship  to study composition  with  Paul  Yartin,  a  student  of  Saint­Saens.  His  first  successful composition, Interludium  for orchestra, was  performed by the N BC Symphony and later published in an arrangement for organ. Reed wrote many compositions and arrangements for band during his service with the Army Air Corps in World War II. When composer Roy Harris and Reed’s commanding officer both ordered him to produce a work for radio broadcast honoring the friendship between the Russian and American people they gave him a two week deadline. In eleven days, Reed prod uced Russian Christmas Music, the work that la unched his career as a composer of music for winds. Following the war, he began studying with V ittorio Giannini  at Juilliard, but  left to work as a staff composer and  arranger at both NBC and ABC. Be rnard Kalban of Charles H. Hansen Music Corporation asked Reed to write music for young wind players, thus, beginning his long associat ion with the school band movement. In 19 53, Reed accepted a position as conductor of the Ba ylor University Orchestra and while there he completed his bachelor’s and  master’s  degrees.  Returning to  N e w York  in  1956,  he  went  to  work  for Hansen as  a senior editor. In  1966, he took a position at t he University of M iami in  order  to  have  time  to  devote  to  his  writing.  Over  the  next  27  years,  he composed  most  of his  well­known  works  for  band  including :  The  Hounds  of Spring, Othello,  Music for  ‘Hamlet’, and  Armenian  Dances (part  I and  II).  In 1981, he was invited to Japan by Sony ’s Toshio Akiyama to conduct and record with the Tokyo Kosei Wind Orchestra. This led to a long association with TKWO and other Japanese music or ganizatio nsHis work took him to 49 states and 18 countries. By R. Smith El Camin o Real (A Latin  Fantasy)  was comm issioned  by the 58 1“ Air Fo rce Band (AF RES) and its Commander, Lt. Col. Ray E. Toler. The music is based on a  series  of  chord  progressions  common  to  countless  generations  of  Spanish flamenco  guitarists,  whose  fiery  style  and  brilliant  playing  have  captivated millions o f music lovers throughout the world. The first section o f the music is based  upon  the  dance  form  known  as thc Jota,  while  the  second, contrasting section is derived from the Fandango, but here a ltered considerably in both t ime and tempo from its usual form. By A. Reed �A  Jubilant  Overture  opens  as  a  joyous  celebration  of  music  layering  many driving rhythms in d ifferent voices within the ensemble.  It is interesting to note that while Reed uses many of the same rhythmic motives throughout the piece, it never sounds repeti tive and continues  to capture the audie nces attention.  The middle section of this piece is lyrical and expressive while still keeping some of the underlying excitement from the opening.  Reed transitions from this lyrical section gracefully as we begin to hear the opening motives return slowly at first and then with great gusto leading up to the end of the piece. By J. Williamson Russian Christmas Music was originally written in November of 1944 and was first performed in December of that year at a special concert in Denver, Colorado, by a select group of musicians from five of the leading Service Bands stationed in that  area.  An  ancient  Russian  Christmas  Carol  (“Carol  of the  Little  Russian Children”),  together  with  a  good  deal  of original  material  and  some  motive elements derived from the liturgical music of the Eastern Orthodox Church, forms the basis of this musical impression of Old Russia during t he jubilant Christmas season. Although cast in the form of a single, continuous movement, four distinct sections  may  be  easily  recognized,  which  the  composer  originally  subtitled: Children’s  Carol,  Antiphonal  Chant,  Village  Song  and  the  closing  Cathedral Chorus. By A. Reed Greensleeves This familiar ancient tune is set in three verses, each with an introductory section. The first  verse  is  introduced  by flowing eighth  note  lines in  the  woodwinds. These flowing lines continue throughout the first verse, with the melody being stated just as gently by the tenor voices o f the brass section.  In the second verse, the woodwinds begin the melody following a key change.  The brass section, by and large has accompaniment figures.  The entire ensemble takes on an “organ ­ like” broadness to usher in the final verse.  The original key has returned by this point, but a sense of  fullness that was absent in the first verse is present now.  The flowing eighth note lines of the woodwinds return as the piece closes in the same fashion as it began. By D. Brisk I I �American  Dances, Part  I  was  completed  in  1972  and  was  performed  at  the CBDNA convention in Urbana, Illinois by the University of Illinois Symphonic Band, under Dr. Harry Begian, who had suggested the work. Comprising a four­ movement suite, Armenian Dances, Parts I and II is based on authentic Armenian folk songs from the works of the founder o f Armenian classical music,  Gomidas Vartabed (1869­1935). P a rt I I was composed in 1 975 and the entire work was performed in 1976. By R. Smith Three Revelations fr om the Lotus Sut ra is an attempt to rea lize in music three different  states  of  man ’s  soul  in  his  quest  for  ultimate  perfection.  The  first movement,  Awakening (To  Awaken  in  the Light of the Universe)  portrays the vastness and richness of the experience of the human mind on expanding its field of view  from  the  narrow confines of  daily  life  to  the  contemplation  of,  and merging  with, the  entire  universe.  The  second  movement, Contemplation  (To Contemplate the Depths of the Soul) represents a turning away of the mind from the  ‘outer ’  to  the  ‘inner ’  universe...  the  attempt  to  fathom  the  limitless possibilities of the h uman conciousness i n its quest for identity, to answer the eternal questions beginning with the word “Why?” The third and final movement, Rejoicing (Rejoicing in the Beauty of Peace) depicts the realization that, while on earth, peace is not merely the absence of war, destruction, pain and suffering, but a thing of beauty in and of itself...and an occasion for heartfelt rejoicing on the part of all men, everywhere, who share the same eternal quest as true brothers. By A. Reed �T H E  CONDUCTORS ROBERT  SMITH  is  Music  Director  and  Conductor  of  the  Binghamton University  Wind  Ensemble.  Professor  Smith  holds  a  Bachelor  of  Science  in Music Education from Hartwic k College, a Master of Music in Conducting from Binghamton  University  and  is  a  candidate  for  the  Doctor  of Musical  Arts  in Music Education from Boston University. Locally, he is conductor of the annual observance of TubaChristmas and is former conductor of the Maine Community Band, the oldest band of its kind in the United States. He has guest conducted all­ county and community bands throughout central N e w York as well as the Goshen College (IND) Wind Ensemble and Orchestra. His conducting teachers include Frederick  Fay  Swift,  Thurston  Dox,  Thomas  Ives,  Timothy  Perry,  Robin Linaberry, John Graulty and Mariusz Smolij. An active performer, he currently plays principal euphonium with the Southern Tier Concert Band and tuba with the Brass Nickel quintet and the  Crown City  Brass sextet. Professor Smith  is  the irrunediate past president of the Broome County Music Educators Association and recipient  of  the  2005  BCMEA  Distinguished  Service  Award.  Professional memberships include The Broome County Music Educators Association, the N e w York State School Music Association, the Music Educators Nat ional Conference, The  National  Band  Association,  The  Association  of  Concert  Bands,  The Conductors Guild, The World Association of Symphonic Bands and Ensembles, The College Band Directors National Association and the International Tuba and Euphonium Association. l 1 JESSICA WILLIAMSON holds a Bachelor of Music in Music Education from SUN Y College at Fredonia and is currently a candidate for the Master of Music in Conducting from the Binghamton University. Her conducting teachers include: Timothy Perry, Patrick Jones, David Rudge and Rudolph Emilson.  Jessica is the director of the Whitney Point  Middle School Concert Band,  Sixth Grade Band and Jazz Band. She has performed with the Long Island Winds, the Southern Tier Concert Band and with the EVE A Youth Commission of Germany. Memberships include N e w York State School Music Association, the National Association of Music Educators and the Broome County Music Educators Association. DANIEL  BRISK  graduated  from  Wilkes  University  in  Pennsylvania  with  a degree in Music Education.  Mr. Brisk is currently an instrumental music educator at Chenango Valley High School where he conducts the Symphonic Band, Jazz Band, Pep Band and has been  heavily involved in the Theatre Guild.  A tubist, Mr. Brisk currently performs as a member of the Southern Tier Concert Band, European  Brass  and  is  a  free­lance  musician.  He  is  currently  enrolled  at Binghamton University where he is pursuing a Masters Degre e with a focus on Instrumental Conducting under Dr. Timothy  Perry.  He  has previously studied conducting  under  Cyril  Stratanski,  Dr.  Alan  Baker,  Ferdinand  Liva,  Jerome Campbell and Dr. Richard Brown. 2 1 iS �T H E  PERFO RMERS r L Flute Erica Leo­Utica, NY S u b i n  Lim­Williston Park, N Y Elise Martingale­Massapequa, NY Katie Navarette­Brunswick, NY Valerie Spiller­Northport, N Y Piccolo Melissa Voldan­Hilton, NY Oboe Ephraim Atkinson­Amherst, NY A b iga i l Sneag­G reat Neck, N Y E b Clarinet Theresa Perrone­Greene, N Y Bb Clarinet Heather Boland­Merrick, N Y Joanne Brice­Spring Valley, NY D o r i a n  Dodd ­ La ke Katrine. N Y Michele Grexer­Queens, N Y Christa Heschke­Olean, NY A n d r e i  Lee­East Meadow, N Y Danielle Quick­Syracuse, NY Richard Salvagni­Queens, NY Da n Zaccarini­N ew Hyde Park. N Y Bass Clarin et C h l o e  H o pza pfe l ­ L a ke  Ronkonkoma, N Y Alto Saxoph one 0 I F  Horn Ro b e rt  Muller­Poughkeepsie, N Y Mate usz Rek­Middle Village, NYC, N Y William Stal lsworth­South Orange, N Y Trumpet Philip Deitz­H untington, NY John Marschhauser­Manorville, NY Thomas Osa­Seaford, N Y St e v e n  Pan­Xinjiang,China Andrew San fratello­Mohegan Lake, N Y D a v i d  Wright­Binghamton, N Y Trombone Christopher Chen­Roslyn, NY David Hennan­Wind Gap, PA Euphonium R ic k M okan­Lancaste r, N Y T uba Dan Gallagher­Maine, NY Paul Mcddaugh­Rock Hill, NY Percussion Christopher Jacobson­Baldwinsville, NY E u n  Y o u K  im­Binghamton, N Y J a na Kucera­Bi nghamton, N Y Scdrick Myrtil­Spring Valley, N Y M i k e  Venti­Binghamton, N Y String Bass E m i l y  A l k icwicz­East Fishkill, N Y Chris Zavala ­East Mcadow, N Y Tenor Sa xophone Adam Goodstone­Mcllick, NY G rad uate Assista nt Amy Naticlla­Buffalo, NY Baritone Sa xophone A d a m  G eringer­East Meadow, N Y Kathryn Boc zar­Whitney Point, N Y �Sunday,  May 7 – Master ’s Recita l – William G ilchrest, t rumpet – 7:30 p.m. – Casadesus Recital Hall – free Wednesd ay, May 10 – An  Evening of G erman Vocal Music – 8:00 p.m. – Casadesus Recital Hall – free J Wednesd ay, May 10 – Co nductor ’s Conce rt – 7:00 p.m. –  FA 111 – free Th ursday, M ay 1 1  – Mid­Day Stude nt Recognition Co ncert wit h faculty a nd stude nt perfor mers – 1 :20 p.m. – Casadesus Recital Hall – free Th ursday, May 1 1  – H a rp u r  Chorale  a n d Wome n ’s C ho rus – 8:00 p.m. – Anderson Cente r Chamber Hall – free Th ursday, M ay 1 1  – Anton io Vivald i : Concerti “ Four Seasons” for violin – 10:00 p.m. – Casadesus Recital Hall – free F riday, M ay 12 – F l ute Ense mble – 8 :00 p.m. – Casadesus Recita l Hall – free Saturday , May 1 3  – Indian  Classica l Music by vocal ist Ashwini Bhide­Deshpande, accompanied by Vishwa nath Shi rod kar on tabla  a nd  Seema  Shirod kar  on  harmoni um  –  7:00  p.m  – Watters  Theater  ­  $10  general  admission;  $5  for  students  (co­ sponsored by IPAS) Wednesd ay, May  1 7 – Master ’s Recita l : Jod y Sch um, pian o – 8 :00 p.m. – Casadesus Recita l Hall – free ) 1 / JI � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 59:38:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204277">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204277</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The University Wind Ensemble presents The Legacy of Alfred Reed (1921-2005), May 7, 2006 Recital Tape 2006-5-7 Description An account of the resource Held at 3:00 p.m., May 7, 2006, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Reed, Alfred Smith, Robert Brisk, Daniel Williamson, Jessica Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2006-5-7 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 b94924c0-aa23-4284-b0ec-6308785de63f https://omeka.binghamton.edu/omeka/files/original/abc970ab1be8676d20d0044f80d66f34.pdf d889621d7108f8c47e94804c3cb1427d PDF Text Text BINGHAMTON U  N  I  V  E  R  S  I  T  Y State University of  New York d e e 7 D E P A R T M E N T "  An Evening of German Vocal Music Presented by the German Diction Class Timothy LeFebvre, instructor Williams James Lawson, piano !5 Wednesday, May 10, 2006 8:00 p.m. Casadesus Recital Hall �PROGRAM H t ,! a l from Die Schone Miillerin  Alexander Blitstein, tenor l Schubert (1797­1828) Nur wer die Sehnsucht k en nt ... ... ... ... ... ... ... ... ... ... ... Fra... nz.   Schubert (1797­1  8  28) Elizabeth Duhr, mezzo­soprano Standchen  Franz Schubert (1797­1828) Vitaliy Maystruk, baritone Heimliches L i c h e n . . Kathryn Boczar, mezzo­sopran o . Schu bert (1797­1828) Nimm sie hin denn, diese Lied er..................Ludwig van Bee thoven from An die ferne Geliebte  (1770­1827) Mark Kratz, tenor Kennst du das L an d. ... ... ... ... ... ... ... ... ... ... ... ... . van Beethoven (1770­1827) Jessica S. Barkley, soprano l l Widmung  Cari Begeal, mezzo­soprano Robert Schumann (181 0­1856) Wie Melodien zieht es mir ......... .....cceeeeuen............ Johannes Bra hms (1833­1897) Jana Kucera, soprano Brauner Bursche fiihrt zum Tan ze......................... Johannes Bra hms (1833­1897) Amy DeLeo, soprano   �Johannes Brahms ( l 8  3 3­1 897) Mary Aimoniotis, mezzo­soprano Von ewiger L1ebe  Die Mainacht  Katrina L. Cox, soprano Der Tod, das ist die kfihle Nacht  Julia Ebner, soprano Erin Lahm, soprano .  Ein Traum  Stefanie Sudduth, soprano Breit fiber mein Haupt  Nili Riemer, soprano Verschwiegene Liebe  Andrew Sudduth, baritone Auch kleine Dinge  Miriam A. Wright, soprano Der Kontrabandiste  Soon Young Park, baritone ~Intermission~ Johannes Brahms (1833­1897) Johannes Brahms (1 83 3­  l 897) (1833­1897) : Edvard Grieg (1 843 ­1907) Richard Strauss (1864­1949) Hugo Wolf (1 860­ 1903) Hugo Wolf (1860­1903) Robert Schumann (1810­1856) ! / �Coronach  Franz Schubert (1797­1828) Katrina L. Cox, Amy DeLeo, Jana Kucera Robert Schumann ( l 8  1   0­1 8 56  ) Stefanie Sudduth and Andrew Sudduth An den Abendstem  So wahr die Sonne scheinet.................................. Robert Schumann (1810­1856) Vitaliy Maystruk and Kathy Boczar Klange  Nili Riemer and Julia Ebner Johannes Brahms (1833­1897) Es rauschet das Wasser..........................................Johannes Brahms (1833­1897) Elizabeth Duhr and Soon Young Park Horch, der Wind klagt...........................................Johannes Brahms (1833­1897) Erin Lahm, Jessica S. Barkley, Mark Kratz, Soon Young Park (1809­1847) Jana Kucera and Cari Begeal Suleika und Hatem!  An des lust’gen Brunnens Rand  Felix Mendelssohn Alexander Blitstein and Erin Lahm Herbstlied  (1 809­1 847) Felix Mendelssohn (1809­1847) Miriam A. Wright and Mary Aimoniotis After the performance, please join us for a reception in Green Room �TRANSLATIONS Halt! I see a mill showing through the alders; Through the gushing and singing of the water Breaks the noise of the wheel. Welcome, welcome, sweet song of the mill! And the house, how comfortable it looks! And the windows, how they glitter! And the sun, how brightly it shines from heaven! O brooklet, dear brooklet, was this what was intended? Nur w er die  Sehnsucht  kenn t Only one who knows longing Knows what I suffer! Alone and cut off From all joy, I look into the firmament In that direction. Ah! he who loves and knows me Is far away. I am reeling, My entrails are burning. Only one who knows longing Knows what I suffer! Standchen Softly through the night my songs implore you, Come down into the still grove with me, beloved ; Slender treetops rustle and whisper in the moonlight, Fear not, sweet one, the betrayer ’s malicious eavesdropping. hear the nightingales calling? Ah! They are imploring you. With the sweet music of  their notes they implore you for me. They understand the bosom’s yearning, they know the pangs of love. They can touch every tender heart with their silvery tones. Let them move your heart also ; beloved, hear me! Trembling, I wait for you; come, give me bliss! Heimliches Lieben Oh you, when your lips touch mine, Then my desire will carry away my soul, I feel deep inside a nameless trembling, And my bosom heaves. My eyes are aflame; a glow spreads over my cheeks, My heart beats with an unknown longing, My mind wanders, intoxicated lips stammer, And can hardly compose itself. In such an hour my life hangs On yo ur swe et, rose­soft mouth, And in your trusted arms embrace I would almost give myself up. Oh, could my soul but not leave me And burn in your soul alone! Would that my lips, that burn with longing, Must not pa rt from  your lips! Could but my soul into kisses dissolve While my lips and heard are so firmly pressed to yours, A heart that may never openly Beat for me. i il J �Nimm sie hin, de nn diese L ieder Take, then, these songs, That I to you, beloved, sang, Sing them again in the evenings To the sweet sounds of the lute! When the red twilight then moves toward the calm, blue lake, And the last ray dies behind that hilltop; And you sing, what I have sung, What I, from my full heart, Artlessly have sounded, Only aware of its longings. For before these songs yields, What separates us so far, And a loving heart reaches For what a loving heart has consecrated. Kennst du  das L and Knowest thou where the lemon blossom grows, In foliage dark the orange golden glows, A gentle breeze blows from the azure sky, Still stands the myrtle, and the laurel, high? Dost know it well? ‘Tis there! ‘Tis there Would I with thee, oh my beloved, fare. I Knowest the house, its roof on columns fine? Its hall glows brightly and its chambers shine, And marble figures stand and gaze at me : What have they done, oh wretched child, to thee? Dost know it well? ‘Tis there! ‘Tis there Would I with thee, oh my protector, fare.  : Knowest the mountain with the misty shrouds? The mule is seeking passage through the clouds; In caverns dwells the dragons’ ancient brood; The cliff rocks plunge under the rushing flood! Dost know it well? ‘Tis there! ‘Tis there Leads our path! Oh father, let us fare. Widmung You my soul, you my heart, You my bliss, 0 you my pain, You the world in which I live, You are heaven, in which I float, O you my grave, into which I eternally cast my grie f You are rest, you are peace, You are bestowed upon me from heaven. That you love me makes me Worthy of you; Your gaze transfigures me Before you ; You raise me lovingly above myself My good spirit, my better selfl Wie Melodien zieht es mir Like melodies it softly pervades my senses Like spring flowers it blossoms And like a fragrance drifts away. But if the word comes and grasps it Then leads it before the eyes Like misty gray it fades and vanishes like a breath. And yet in the rhyme A secret fragrance is hidden That gently from its tranquil source Brings tears to the eyes. �Brauner Bursche fii hrt zum Tanze The bronzed young fellow leads to the dance His lovely blue­eyed maiden, Boldly clanking his spurs together. A Czardas melody begins. He caresses and kisses his sweet dove, Whirls her, leads her, shouts and springs about; Throws three shiny silver guilders On the cymbal to make it ring! Von ewiger Liebe Dark, how dark it is in the forest and field! Night has fallen; the world now is silent. Nowhere a light and nowhere smoke. Yes, now even the lark is silent. From yonder village there comes the young lad, Taking his beloved home. He leads her past the willow bushes, Talking so much, and of so many things: Iron and steel can be recast by the smith But who would transform our love? Iron and steel can melt; Our love, our love will have to last forever!” Die Mainacht When the silvery moon gleams through the copse, And pours his slumbering light over the grass, And the nightingale warbles, I wander sadly from bush to bush. Hidden by the foliage, a pair of doves Coos its delight near by; but I turn away, Seek deeper shadows, and weep a lonely tear. When, o smiling image, which like the light of morning Shines through my soul, shall I find you upon the earth? And the lonely tear trembles hotter down my cheek! As  fast as we  once came together.” Der Tod, das ist die kiihle Nacht Death, it is the cool night, Life is the sultry day. It grows dark already; I grow sleepy, The day has made me tired. Over my bed rises a tree, Within it sings the young nightingale; It sings of pure love. I hear it even in my dreams. Then says the maiden, the maiden says: “Our love shall never end! Steel is firm and iron is firm, Yet our love is firmer still. Botschaft Blow, little breeze, gently and lovingly about the cheeks of my beloved; play tenderly in her locks, “If you suffer shame and if you grieve, If you suffer disgrace before others because of me, Then our love shall be ended ever so fast As fast as we once came together; It shall go with the rain and go with the wind, do not hasten to fle e far away! I �If perhaps she is then to ask, how it stands with poor wretched me, tell her: “Unending were his sorrows, most serious his plight; But now he can hope wonderfully to come alive again for you, lovely one, are thinking of him!” Ein Traum I once dreamed a beautiful dream: a blond maiden loved me, it was in the green woodland glade, it was in the warm springtime : the buds were blooming, the brook was swelling, from the village far away church bells were chiming ­ we were completely filled with joy, engulfed in happiness. And more beautiful yet than that dream, it happened in reality: it was in the green woodland glade, it was in the warm springtime : the brook was swelling, the buds were blooming, church bells were chiming from the village ­ I held you tight, I held you long and now will never let you go! Nevermore! Nevermore! 1 so that into my soul, so brightly and clearly, will stream your eye’s light. I do not want the splendor of the sun above, nor the glittering crown of stars; I want only the night of your locks and the radiance of your gaze. Verschwiegene Liebe Over the treetops and the fields of grain, In the moonlight – who could guess them, Who hold them in check? Thoughts are in motion, The night is silent, Thoughts are unconfined. May only one guess who is thinking of her, In the rustling of the grove when no one else is awake. As the clouds that soar, my love is silent, and lovely as the night. Auch kleine Dinge Even little things can delight us, Even little things can be precious. Think how we gladly adorn ourselves with pearls; They are heavily paid for, and yet are small. Think how small is the olive’s fruit, And is nevertheless sought for its There reality became a dream, virtue. Think only on the rose, how small she is, And yet, smells so sweet, as you know. Breit fiber mein haupt Spread over my head your black hair,  , and incline to me your face, Der Kontrabandiste I am the smuggler, and know well how to inspire respect; I know how to defy everyone, O vernal woodland glade, you will live in me for all time! there the dream became reality! �and I fear no one. So let us be merry! Who shall buy my silk and tobacco? Truly, my pony is tired, I hurry, yes, hurry, otherwise the patrol will catch me, and then things will go very badly! Run, my merry horse, ah, my dear, good steed, you know well how to carry me! Coronach He is gone on the mountain, He is  lost t o the  forest, Like a summer ­ dried fountain, When our need was the sorest. The font reappearing From the raindrops shall borrow, But to us comes no cheering, To Duncan no morrow! The hand of the reaper Takes the ears that are hoary, But the voice of the weeper Wails manhood in glory. The autumn winds rushing Waft  the leaves that are serest, But our flower was in flushing When blighting was nearest. So wahr die Sonne scheinet As sunlight wakens flowers, as cloudlets give forth showers, As flame sends up its light, as springtime ’s hues are bright; So truly do I treasure a love that knows no measure, The love I bring to thee, the love thou bearest me. The sunlight may be shrouded, the heavens never clouded, The flame may cease to burn, and sprightime ne’er return But naught shall be o ’er casting our love forever lasting, The love thou bearest me, the love I bring to thee. Klange Flowers spring from the earth, light spills from the sun; love flows from the heart, and so does pain, which breaks it. And the flowers must wilt, and night follows day; and yearning follows the love that makes the heart so gloomy. Fleet foot on the correi, Sage counsel in cumber, Es rauschet das Wasser The water rushes and will not stay still; The stars pass merrily in the sky, The clouds advance merrily in the sky, And so Love rushes and wanders there. An den A bendstern Hover up in the sky, beautiful evening star. Each person gladly sees you in the The waters are rushing, the clouds dissolving; Yet the stars remain: they wander and drift. And so it happens as well with Love, the true: It sways and stirs but changes not. Red hand in the foray, How sound is thy slumber! Like the dew on the mountain, Like the foam on the river Like the bubble on the fountain, Thou art gone, and forever. bright throng. Go up, go not to the sky’s edge­ such a vestment does not adorn your brother. �Horch, de r Wind klagt Listen, the wind wails in the boughs sadly; Sweet love, we must part: good night! Oh, how gladly I would rest in your arms! But, the hour o f separation draws near, may God protect you. Dark is the night, no little star sheds any light; Sweet love, trust in God and do not weep! If loving God brings me back to you someday, we will remain united in love’s happiness forever. Gruss Wherever my steps may wander, Thro ’ woods and meadows fair, I gaze with deep emotion O’er hill and vale and ocean, Greeting thee everywhere, I from the garden gather Sweet flowers bright and fine, And into garlands wind them, ‘With pleasant thoughts I bind them, And greetings intertwine. To thee I dare not give them, E’en that might give thee pain, They soon again must perish, The love I may not cherish, Must in the heart remain. Suleika und Hatem! An  des lust ’gen Brunnens Ra nd Herbstlie d Oh how soon the dance of spring dies away, and turns  itsel f into  wint ertime. Oh how soon the silence of mourning Changes itself into cheerfulness. Soon the last sounds fly away, Soon the singers leave Soon the final green is lost They all are drawn homeward. Oh how soon the dance dies away, and pleasure longs for agony. Were your thoughts of love a dream? Sweet like the springtime and quickly drift away? One, only one will never falter, It is the core that never goes  awa y, Oh how soon the silence of mourning Changes itself into cheerfulness. Oh, so soon, oh so soon. [These translations are provided by the students, as part  of their preparation for this program. �Thursday, May 1 1  –  Mid­Day  Student  Recognition  Concert with faculty and student performers – 1:20 p.m. – Casadesus Recital Hall – free Thursday, May 1 1  – Har pur Chorale and Women ’s Chorus – 8:00 p.m. – Anderson Center Chamber Hall – free Thursday, May 11  – Antonio Vivaldi: Concerti “ Four Seasons” for violin – 10:00 p.m. – Casadesus Recital Hall – free Friday, May 12  – Flute Ensemble – 8:00 p.m. – Casadesus Recital Hall – free Saturday, May 1 3  – Indian Classical Music by vocalist Ashwini Bhide­Deshpande, accompanied by Vishwanath Shirod kar on tabla  and  Seema  Shirod kar  on  harmonium  –  7:00  p.m  – Watters Theater ­  $10  general  admission; $5  for students (co­ sponsored by IPAS) Wednesday, May 17 – Master ’s Recital : Jody Schum, piano – 8:00 p.m. – Casadesus Recital Hall – free � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 53:51 22:29 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204280">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204280</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource An evening of German vocal music, May 10, 2006 Recital Tape 2006-5-10 Description An account of the resource Works of Schubert, Beethoven, Schumann, Brahms, Grieg, Strauss, Wolf, Mendelssohn. Held at 8:00 p.m., May 10, 2006, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource LeFebvre, Timothy Lawson, William James Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2006-5-10 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 22db6b87-78d3-4a22-bbd3-7f33ecbfdb88 https://omeka.binghamton.edu/omeka/files/original/a92da909f1526584c1d1cd3c718cd5ce.pdf cca08b2764a26d69b8f7856dea8c8147 PDF Text Text UNI V  Pe. ih  2 \   giJH’  :  p  C ‘ 1  “   0  :  a  ; Binghamton Univ ersity Department of Music TH UR SD AY  MID­DAY  RE CO GN ITI ON  CO NC ER May 11, 2005 –1:2 0 P.M. l ;  C C (J P  T Casadesus Recital Hall Spring Wind  Eric Thiman Jennifer C urian o, sop rano and Cari Begeal, mezzo­sopran o Chai­Kyou Mallinson, pian o Recognized by Judy Berry, Professor o f Voice Sonata for Flute Solo, Op. 24  Questioning Jaunty John La Montaine Kelsey Bauer, flute Recognized by Georgetta Maiolo, Professor o f F lute Presented by Timothy Perry, Professor of Clarinet and In strum ental Conducting The Cascades (1904)  . Scott Joplin “Arr. by Arthur Frackenpohl Bing hamt on University Saxop hone Qua rtet : Amy Natiella, sopran o; Em ily Alkiewicz, alto ; Michael Marchisotto, tenor; Stephanie Barne r, baritone Recognized by April Lucas, Professor o f Saxophone Summertime from “Porgy and Bess” ..  George Gershwin Michaela Lisi, soprano Chai­Kyou Mallinson, piano Recognized by Mary Burgess, Professor of Voice Presented by Timothy LeFebvre, Professor of Voice Botschaft  Johannes Brahms Erin Lahm, sop rano Jody Schu m, piano Recognized by Mary Burgess, Professor o f Voice Presented by Timothy LeFebvre, Professor of Voice (turn over) �Meine Lippen sie kfissen so heiss  Franz Lehar Julia Ebner, soprano Margaret Reitz, piano Recognized by Duane Skrabalak and Peter Sicilian, Professor of Opera Presented by Timothy LeFebvre, Professor of Voice Vocal modesty  Thomas Pasatieri Kathy Boczar, soprano Chai­Kyou Mallinson, piano Recognized by Mary Burgess, Professor of Voice Presented by Timothy LeFebvre, Professor of Voice Sonatine. II.  Andante Sostenuto Jacques Casterede David Henann, trombone Margaret Reitz, piano Recognized by Donald Robertson, Professor of Low Brass Duet for Clarinets.........  .. Christopher Longano Timothy Perry, clarinet, Theresa Perrone clarinet Christopher Longano, composer ­ recognized by Paul Goldstaub, Professor of Composition Theresa Perrone ­ recognized by Timothy Perry, Professor of Clarinet Kristen Gilbert, composition ­ recognized by Paul Goldstaub, Professor of Composition Prelude in E­Major, Op. 32, No. 3  .. Sergei Rachmaninoff Jody Schum, piano Recognized by Ewa Mackiewicz­ Wolfe, Professor of Piano Presented by Jonathan Biggers, chair, Department of Music and Professor of Organ **Please join us for a reception in the Green Room following the concert** � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 31:55:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204284">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204284</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thursday mid-day recognition concert, May 11, 2006 Recital Tape 2006-5-11 Description An account of the resource Works of Thiman, La Montaine, Joplin, Gershwin, Brahms, Lehár, Pasatieri, Casterede, Longano, Rachmaninoff. Held at 1:20 p.m., May 11, 2006, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Curiano, Jennifer Begeal, Cari L Mallinson, Chai-Kyou Bauer, Kelsey Natiella, Amy Marchisotto, Michael Barner, Stephanie Lisi, Michaela Lahm, Erin Schum, Jody Ebner, Julia Reitz, Margaret Boczar. Kathryn Henann, David Perry, Timothy Perrone, Theresa Longano, Christopher Gilbert, Kristen Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2006-5-11 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 2546c77b-5f7e-45a7-a4ad-631276eca9fd https://omeka.binghamton.edu/omeka/files/original/d52a03ceba1bb7f772f924f551be7e9c.pdf 36dc1bfd1d22d17eedb87eeae311d1e6 PDF Text Text BINGHAMTON U  N  I  V  E  R  S  l  T  Y State University of  New York .  “ 1 7 x ;   AY  \R  = N   i  x  a J = 4  \  D E P A R Ti [4 M E N T 5 ­ 1 2 w— —  ~ Flute Ensemble Georgetta Maiolo, director F riday, May 12, 2006 8 :00 p.m. Casadesus Recital Hall �Prog ram ...Arranged by Paul Morgan .  An Elizabethan Suite.  1,  Stephen Thomas, his A l e 2.  Bateman’s Ayre “3.  Waters, his Love % .  Durance Masque 5 ,  The Nobleman, his Almain 6.  Douland’s Almain Two ROME  BORER  ...... ...... ...... ...... ...... ...... ...... ...BélaBartok (1881­1945) Arr. by Anne McGinty La Caccia  Pastorale  Vivace  Georg Philipp Telemann (1681­1767) Arr. by Giovanni Gatti MorningHas Broken  arr  by Amy Rice­Young .  Epigrams  : Anne McGinty (b. 1945) .  ...... ...... ...... ...... ..GrahamP own ing Children’s Suite. .  (b. 1949) 1.  Pop goes the Ensemble  2.  Oranges and Vodka 3.  The Teddy Bears Freak­out Nuances.. ...... ...... ...... ...... ...... ...... ...... ...... .Ann eMcGinty (b. 1945) �The Comedians’ Gallop...  (from The Comedians, Op. 26)m  Dmitri Kabalevsky (1904­1987) Arr. by Ricky Lombardo CedarRidge...... ....... ....... ....... ....... ....... .RickyLombardo (b. 1946) Sabre  Dance. . . . . . . . o o c i i n i i i i i i i n i n i i n  Kabalevsky (1904­1987) Arr. by Mitchell Bender Sailor ’s H o r n p 1 p e . . T r a d i t i o n a l A m . b  y Adrian Brett Members of the Binghamto n University Flu te Ensemble Kelsey Bauer Stephanie Dodge Juliette Guarino Leah Hays Nicole Lean Katherine Navarette Valerie  Spiller Meghan Tate Melissa Voldan �Comnig “Crenst Sa t u r d ay,  M a y   1 3  –  In dian  Cl assical  M usic  by vo calist Ashwini Bhi de­D es hp an de , a cc om pani ed by Vishwan ath  Sh irodkar  on  ta bl a  an d  Se ema Shirodkar  on  harm oniu m  ­­  7:00   p.m  –  Watters Theater ­ $10  general admission ; $ 5  for students (co­ sponsored by IPAS) W ed nesd ay,  M ay   1 7  –  Master ’s  Recital :  Jody Sc hu m, p ian o – 8:00 p.m. – Casad esus Recital Hall – free � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 31:24:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204287">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204287</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Binghamton University Flute Ensemble, May 12, 2006 Recital Tape 2006-5-12 Description An account of the resource Works of Morgan, Bartók, Telemann, Rice-Young, McGinty, Powning, Kabalevsky, Lombardo, Brett. Held at 8:00 p.m., May 12, 2006, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Maiolo, Georgetta Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2006-5-12 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 79b1fcbe-75a6-4575-9c95-138096557192 https://omeka.binghamton.edu/omeka/files/original/1d2c0a16a995f38a3aa9f9982db68c2a.pdf 019f046b434504c87ce331c888af24bf PDF Text Text BINGHAMTON U N I V E R S I T Y State University of  New York ’ DNIv ARC  ea  > ­*\ ’ \ ­ \  s i D  E  P  A  H  T  M  E , N  T S l \=   AN  EVENING OF INDIAN CLASSICAL MUSIC Ashwini Bhide­Deshpande, vocal Vishwanath Shirod kar, tabla Seema Shirodkar, harmonium fi i i I l i Saturday, May 13, 2006 7:00 p.m. Watters Theater �PRO GRA M Khyal in Rag Puriya Dhanashri I.  Alap II.  Bada Khyal in tintal III. Chota Khyal in ektal Thumri in Rag Kafi I.  “Mitawal  mane  nahe ” (‘My love  you  are  not  listening to me’) in tintal Song for Holi Festival in Rag Maand I.  “Ita  lagara mose  khalo nahori”  (‘Please do  not  spray the colored Holi paint on me! ’) in dipchandi tal Jhoola song in Rag Pilu I.  “Re Jhule ki Radha pyari” (‘My lovely Radha’) in dadra tal Bhajan in Rag Bhairavi I.  “Mai kahee sama jhawa jabad juga andha ” (‘How  can  I explain it to a world of blind people?’) in keherwa tal Composed by Saint Kabir Hind ustan i Classical Music The origins of Indian classical music can be traced to the Vedas, a set o f four texts that com prise  the foundation  o f the Hind u reli gion, and  were passed  down orally  until  around  1500  B.C.  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 A.D., the sage Bharata compiled a treatise on music, dance, and theatre that provided the  theoretical foundations for future directions in Indian composition. Bharata outlined the organization of rhythm and meter into cycles made  up  of  groupings  of  beats  now  referred  to  as  tala.  Every composition is set to a particular tala cycle made up of stressed and unstressed  beats.  Knowledgeable  audience  members  may externalize  the  tala  by  a  system  of  claps  (tali)  representing  the strong beats, and waves (khali) representing  the weak beats.  The tala cycles for each o f 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 color the mind and stimulate listeners to emotional response. After the writings of Bharata, wandering monks began composing sacred hymns, known as Bhaj ans, in the raga and tala cycles formulized by Bharata, which provide the source for many contemporary Indian classical compositions. V From this  common historical  origin, classical  music in  India has gradually  become  divided  geographically  into  Northern (Hindustani)  and  Southern  (Karnatik)  traditions  since  the  13” century  A.D. The  source  of  this division was the  occupation  of Northern  India  by  successive  waves  of  Muslim  conquerors including  Persian,  Turkish,  Arab,  and  Central  Asian  peoples. During the successive reigns of these Muslim dynasties, Northern India  came  to  adopt  and  adapt  several  instruments,  styles,  and techniques  from  Persian  and  Arabic  music.  Hindustani  classical music, as we know it today, took shape in the 1 6” century A.D. in the courts of the  Mughal em perors as  Hindu musicians began to seek employment as court musicians. At the Mughal courts Hindu musicians mixed with Persian musicians, and they began to develop a hybrid of both musical traditions. They also began to intermarry, and  many  contemporary  Hindustani  musicians  have  Persian surnames. Through  time,  certain  families  of  court  composers  established gharana,  or  stylistic  schools  of  performance  and  interpretation. Eventually these schools took on talented students from outside the family,  spreading  the  influence  of these  previously  local  styles. ‘During the British colonization of India (1850­1947), many of the courts were dissolved and musicians shifted their performances to the concert stage, where they can now be enjoyed by all. EF) �ABOUT THE MUSIC Khyal in Rag Puriva Dhanashri 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 often 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 m eant 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 singing will be extremely fast and virtuosic. The whole performance of khyal may last from 20­4 0 minutes depending on the inspiration of the artist. Rag Puriya Dhanashri is an evening raga normally performed after sunset.  It  is  a  combination  of  two  earlier  ragas  Puriya  and Dhanashri that became very popular in the 20™  century. The scale normally avoids the tonic (C) in the ascent and may be notated as: Ascent  Z  E h or a    12  wv Descent  or o o   l h e y I  aa Y b \ l 10d 1 o z   E e  e a The bada khyal is 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: 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 1 5 1 6 x ­ ­ ­ x ­ ­ ­ o ­ ­ ­ x ­ ­ ­ The chota khyal is 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 ­ 3 7 o 4 ­ 5 x 6 ­ 7 8 o 9 ­ 1 0 x 1 ­ 1 x 1 2 ­ [ l �Thumr i in Ra g Kafi Thumri is a genre of “light” classical music that evolved from songs perform ed  to  accomp any  erotic  dances   by  courtesans  to  a  more A Y t l serious style  that  came  to  accompany the  kathak  classical  dance during the period of about 1 770­1870 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 2 0 century   , the courtesan tradition fell  into disrepute, under the pressures of the British colonial regime as well as in the eyes of the largely Westem­educated Indian middle­class. Thumri  singers  could  no  longer  support  themselves,  so  khyal performers took over the artistic singing of thumri. Now thumri has become part of the classical concert repertory, where it  is used to wind down both performers and audience after a lengthy rendition of khyal. Thurmri is considered “light ” music because its compositions and improvisations can bend and even break  the melodic rules of its raga. Thumri bandish are usually lively and quick paced, with texts that emphasize romantic love, including the pangs of longing, the desperation of separation, or unrequited love. Thumri compositions also feature improvisation by the vocalist, and may also allow the tabla drummer and harmonium player space to improvise. Rag Kafi uses a scale similar to the Western dorian mode, with one important difference: the third and the seventh may also be played natural. Effectively, this means the artists m ay sing  combinations in both ionian and dorian modes. 2  Ascent   3  l f ~¢   o= o®  a y   0  a e a   Descent 1 9 .  l  ’  w  a J  Il w ‘ o �  aand Song for Holi Festival in Rag M Songs  for  the  Holi  festival  represent  another  genre  of  “light” classical music that  has come out of folk  music into the  concert repertory. The Holi festival is the known as the Spring Festival of Colors, and normally occurs in March.  The night before the full moon, every village lights a bonfire to burn the residual dried leaves and twigs of winter. This bonfire is the commemoration of a Hindu legend where the demoness Holika was burnt to death ensuring the victory of good over evil. The following morning the community squirts colored water and smears colored powders over each other, giving us the title of this song, which asks that the singer be spared from this part of the festivities! The festival of Holi is also closely associated with Lord Krishna, who in his young age  played and frolicked with his band of cowherds and maidens (the Gopis). Lord Krishna played Holi with so much gusto that even today the songs sung during Holi are full of the pranks that he played on the Gopis, especially his childhood sweetheart Radha, who incidentally forms the subject o f the next piece. Rag Maand is an evening rag typically played from 6­9 p.m., and uses a scale similar to the Western major scale, however it avoids c descent pattern :   the 2 ” (D) in the ascent, and has a characteristi €  =  Descent Ascent  ‘ d ’   4  F l   > . & o = o a   2  _ »a    i e '  “ r o  Dipchandi tal is a 14­beat cycle divided into alternate sections of three and four beats (3/4/3/4). It is notated: 1 2 3 4 5 6 7 8 9 1 0 1 1 1 Y 2 1 3 1 4 F �Krishna and Radha sitting in the Jhoola =  2 3 – 7 7 i  i l    .­  wo , i ’  " 1  p­‘m‘   o a t R  E S . i”  5  5gm5  ,  ;  .   ’4V  So  @~]  r i  4  .  . ' ”5“  I    fo 2 8 g l ]   swing that has become an i mportant '    Jhoola song in Rag Pilu   Jhoola  songs  form  part  of  a  larger genre  of  “light”  classical  pieces known as dadra, because they all use the  dadra  tala  cycle.  Jhoola  is  a icon in northern India because of its association  with  the  romantic  love ,  ,    __   MM between  Lord  Krishna  and  his firm " A N   _  favorite  Gopi  Radha.  In  northern .  i  i  “4­ . India Jhoola songs are typically sung l  &  ~   nB UBER!  by  women  during  the  monsoon Whmnd  m  g © ”i­  f '  ‘  season (August), which  falls during ­  t h e holy month of Shraavan. D   uring this month constant offerings are made to the various Hindu deities, including Lord Krishna. A Jhoola usually has a happier mood and evokes the joyfulness of wet, green earth, when girls in rural areas sit swinging on wooden planks tied with ropes to trees. The musical phrasing in a Jhoola must also convey the swaying movement of a swing. 3 4   Rag Pilu is a highly imaginative and complex raga that uses both the natural  and flatted 3 ”  and 7", much like  Rag Kafi, above. It is commonly  used  in folk and light­classical  genres. It  is normally sung in the early evening from 3­6 p.m. 2  Ascent  or  ev  p– t 4   ©  ANS,  l ; —  T /  Descent  1  Q)  ‘   > 1 or  E =  a or l  1  r E   or =  o  1 0 J a v  e   T 1 ®  0x J ®  V o vv    ‘O­  m — _   l 4 V o >  > Dadra tal is a 6­beat cycle divided into two sets of three beats (3/3) and is notated: 1 2 3 4 5 6 x ­ ­ o ­ ­ �Bhajan in Rag Bhairavi The  final  piece  of the  evening is a  Bhajan, which is a genre of devotional hymns to the  Hindu deities. Bhajans express religious love for the divine, and are an important component of the Bhakti, or devotional movement Hinduism. The singing of Bhajans is meant to connect human beings with the divine, in the same manner that romantic  love  connects  husband  and  wife.  This  Bhajan  was composed  by  a  famous  Hindu  saint  named  Kabir  (1440­1518). Kabir was an Indian mystic who preached an ideal of seeing all of humanity as one. He was known to be a weaver and later became famed for scorning religious affiliation. His philosophies and ideas of loving devotion to God are expressed in metaphor and language, using vernacular Hindi. Rag Bhairavi is one of the most well­known and loved ragas, and is often used as it is here to conclude a performance.  Traditionally, Bhairavi is a morning raga, but it is now often used at any tim e of day or night. Bhairavi is suited for the expression of romantic or devotional  love  and  admiration,  and  is  used  to  compose  both Bhajans  and  Thumri.  There  is  considerable  flexibility  in  the performance rules of Bhairavi, and artists often introduce shades of other ragas according to their skill and imagination. Its basic scale, however, is as follows: 2  Ascent  or  or  ­ = Soe  eT  a ~~¢    Spe rI =  orm r o   a 7  Ta — l o­V Zee Descent [)  I e  o  » a l l a  Keherwa tal is an 8­beat cycle divided into two sets of 4 beats (4/4) notated as: 1 1 2 1 3 4 5 ]  6 ] 7 ] 8 x ­ ­ ­ o ­ ­ ­ –Notes by James Burns �ABOUT THE P ERFOR MERS Ashwini Bhide­D eshpand e (vocal) Amongst   the  vocalists  of  the  younger  generatio n  of the  Jaipur­ Atrauli tradition of Khyal singing, Ashwini Bhide­Deshpande is an artiste of great caliber.  She  has  been performing  in  a number of prestigious music conferences in India for over fifteen years and has had successful concert tours of Europe as well as of North American continent. Ashwini began her training at the age of five under the guidance of Pandit  Narayanrao  Datar.  After  graduating  with  a  “sangeet visharad”  from  Gandharva  Mahavidyalaya,  she  started  receiving guidance  and meticulous attention  from  her mother, Smt.  Manik Bhide, a great Khyal singer herself. Ashwini has inherited all that was best in her mother’s style and was able to add to her repertoire with  great  sensitivity  and  intellect.  Presently  she  is  receiving guidance from Pandit Ratnakar Pai, a veteran of the Jaipur gharana. Systematic  exposition  of  the  Rag  structure,  brilliant  phrasing, variety o f tan patterns, ease and grace in all of the three octaves mark her singing. She does not merely present the  grammar of a Rag, but can build it up into an aesthetically pleasing experience. A resident of Mumbai, Ashwini is a graduate in Microbiology and also holds a Ph.D. degree in Biochemistry. Vishwanath Shir od kar (tabla) The art  of accompaniment on tabla in Indian classical music is a very subtle and a difficult one. Many try  it, but only a very few become successful in it and are recognized for how they embellish the perfo rmance o f the main artiste . When it comes  to providing accompaniment  to  a  classical  vocalist,  the  job  of  a  tabla accompanist is even more difficult. Vishwanath Shirodkar is one of those few who exemplifies these qualities. His knowledge of vocal music  gives  him  an  added  advantage  and  has  therefore  been recognized  as  one  of  the  best  accompanists  of  the  younger generation. �He was initiated into tabla by Shree Suryakant Naik, and later on he received training from Pandit Vaibhav Nageshkar. At present, he is receiving advanced training from Pandit Suresh Talwalkar, who is one  of  the  most  revered  teachers  of  tabla.  Vishwanath  has accompanied many well  known vocalists as well as instrumental musicians. These include Padma Talwalkar, Rashid Khan, Ashwini Bhide­Deshpande,  C.  R.  Vyas,  Shobha  Gurtu,  Malini  Rajurkar, Shubha  Mudgal,  Veena  Sahasrabuddhe,  Rakesh  Chaurasia,  Brij Narayan, N. Rajam, Ulhas Bapat and Zarin Daruwala. ! l Vishwanath is a graduate in engineering but devotes all of his time to classical music. He has toured the United States, Canada, South America, the Middle East and has performed in all major cities of India. Seema Shirodkar (harmonium) Beginning at a very early age, Seema had an acute interest in music, and started her initial training under the guidance of Shree Umesh Ansulkar.  Over  the  next  several  years  she  received  extensive training  under  the  able  guidance  of  Pandit  Tulsidas  Borkar, recognized by many has a complete teacher. She also benefited from her association with the Late Shree Vishwanath Pendharkar, one of the most gifted and versatile teachers and performers. It was Pandit Borkar  who  groomed  her  as  an  accompanist  and  it  was  Shree Pendharkar  who taught  her  the  fine  points  of a  solo  performer. Seema has accompanied vocalists that include Kishori  Amonkar, Veena  Sahasrabuddhe,  Rashid  Khan,  Padma  Talwalkar,  Arati Ankalikar­Tikekar, Ashwini Bhide­Deshpande, C, R. Vyas, Shubha Mudgal, Rajan and Saj an Misra, Sanjeev Abhyankar and Prabhakar Karekar. Seema is a graduate of the S.N.D.T. University and is on the faculty of the Gandharva Mahavidyalaya, in Mumbai. Seema has gone on concert tours of the United States, Europe, the United Kingdom, Canada and the several countries of the Middle East. 1 i � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:19:56 42:22 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204290">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204290</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource An evening of Indian classical music, May 13, 2006 Recital Tape 2006-5-13 Description An account of the resource Held at 7:00 p.m., May 13, 2006, Watters Theater. Creator An entity primarily responsible for making the resource Bhide-Deshpande, Ashwini Shirodkar, Vishwanath Shirodkar, Seema Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2006-5-13 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 a989b096-9823-4a10-940b-486cb19ad171 https://omeka.binghamton.edu/omeka/files/original/a0d8781df4bd3958fb12e8154f3a76e3.pdf c41a01e2ac806f992a5a26e50615f534 PDF Text Text i BINGHAMTON U  N 1 V  E R  s  1 T  Y  , State University of  New York 1 . U 1 N ” V W   E 1  I N\4 {em 1  1 . . 4  n  “ L  '  prese nts a Conc .  ert , for the” N E W YO   R K  STATE  ASSOCIATION '  guD 1  _  ,  OF   sbaF g COLLEGE MUSIC PRO GRA MS Saturday, September 9, 2006 11:00 a. m.   eo 1 Anderson Center Chamber Hall  , �PROGR AM ‘Mi chiamano M ini’ Gahu Dance of the Ewe People of Ghana Binghamton University African Music Ensemble James Burns, Director Three Shakespeare Songs, Op. 6 Come Away, Death  O Mistress Mine  ,  ’  Blow, Blow, Thou Winter Wind  ' . Roger Quilter  ' (1877­1953) :  5 Timothy LeFebvre, baritone Duane Skrabalak, piano , Sonata for Violin & Piano Allegro vivo  ; Intermede: Fantasque et légér Finale: Trés animé .. Claude Debussy (1862­1918) _ Janey Choi, violin  , Michael Salmirs, piano Si mes vers availent des ailes.... My verses would speed, sweet and frail, Fly towards your garden so fair, If my verses had wings, Like a bird! They would fly, like sparks, To your smiling hearth, If my verses had wings Like the spirit... .Reynaldo Hahn (1 874­1 947) ' Poet, Victor Hugo : (1802­1885) Act I – P   aris, Latin Quarter, c. 1830; a garret apartment; Christmas Eve Giacomo Puccini ©  (1858­1924) Poet,  Victor Hugo (1802­1885) Mimi, a seamstress, knocks on the door of a neighboring apartment because her, candle has blown out.  Rodolfo, a young poet, answers the knock and his own candle flame goes out.  He pretends not to find the key that Mimi drops in the darkness, and’introduces himself in a poetic discourse.  Then he sits in the dark ­ and listens to Mimi’s simple words about herself. * Yes, they call me ‘Mimi,  ­  but my name is Lucy. My story is brief: On cloth or on silk , I embroider at home’or outside...  I am cahn and happy  and it is my hobby to make lilies and roses.  4 ~ Those things give me pleasure;  that  have so much sweet magic, that speak of love, of springtimes, that speak of dreams and illusions,  those things which‘have the name  poetry. ­  :  You understand me?  They call me Mirni. the why, I don’t know. Alone, I make my meals at home by myself. \ 8 I do not always go to mass but I pray often to the Lord. I live alone, all alone, there is a white little room; . I look over the rooftops and into the sky but when comes the thaw the first sun is mine... the first kiss­of April is mine! A rose blooms in a vase .­ petal by petal I observe it! ' So delicate, the perfume of a flower! but the flowers that I make alas! do not have a fragrance! f . I would not know how to tell you anything about me. I am your neighbor who comes at odd hours to bother you. Stefanie Sudduth, ‘soprano Margaret Reitz, piano Next to you, pure and faithful, They would run night and day, If my verses­had wings, Like love! I �Sh  ­Story Hour. ..  Philip Parker 1.  The Memory Poem by Sara Henderson Hay 2.  The Builders 3.  The Grandmother 4. One of the Seven Has Somewhat to Say 5.  Juvenile Court 6.  The Grievance 7.  Dr. S—Advises a Worried Mother 8.  Death of H.D., a Prominent Citizen 9.  The Formula ­ ‘y .  t Timothy Perry, clarinet Anne Brady, narrator Allerseelen...........................................i.'................... Richard Strauss (1864­1949) Largo al factotum della citta... .Giacomo Rossini '  ‘From Il Barbiere di Siviglia . (1792­1886) 2 ' ' Soon Young Park, baritone Margaret Reitz, piano / Danzas Argentinas... . ................Alberto E. Ginastera ' II.  “Danza de la moza  “dOnosa”  (1916­1983) III. “Danza del gaucho matrero” Eva Mackiewicz­Wolfe, piano A H b ABOUT T H E  PERFORMERS JAMES  BURNS  is  Assistant ‘Professor  of  Music  (Ethnomusicology)  at Binghamton University.  He  obtained a  BA from the, University o f Texas, Austin,  PhD  School  of  Oriental  and  African  Studies,  London.  Research Interests:  Music,  Languages,  Religions,  and  Literatures  of  Africa  and  the Diaspora.  Taught  African  music  and  culture  at  the  School  of Oriental  and African Studies, African drumming at Goldsmiths College and City College of London.  Conducted over 5. years of ongoing fieldwork in Ghana, Togo, and Benin  with  Ewe­Fon, Akan,  and  Dagbamba  (Dagomba)  ethnic  groups. Ethnomusicologist for Project 5: Transformations in African Music and Dance  . at the AHRC Centre for Cross­Cultural Music and Dance’Performance based in the  U.K.  Publications:  A  CD  of  Ewe  dance­drumming  entitled  EWE D R U M M I N G   FROM G H A NA : the soup  which  is sweet  draws  the chairs  in closer  (2005  Topic  Records),  an article  “My mother  has  a  television,  does yours? Transformation and secularization in an Ewe  funeral drum tradition,” ­ published in the journal Oral Tradition (October 2005); read papers at the ICTM 2003  World  Conference  and  the  SEM  annual  conference  (2004,  2005).  , Performing musician of African and Afro­ Caribbean traditional musics.  i Baritone TIMOTHY LEFEBVRE just returned from his debut with Central City  Opera  singing  in  productions  of  The  Ballad  of  Baby  Doe  and  The Coronation of Poppea. LeFebvre has appeared in concert with the Jacksonville Symphony, Pensacola Symphony; West Virginia Symphony Orchestra, Vermont Symphony, Minnesota Symphony, Syracuse Symphony, American Symphony Orchestra,  Pittsburgh  Symphony,  Spokane  Symphony,  Binghamton Philharmonic, Rochester Bach Festival, Berkshire Choral Festival, Williamsport Symphony, Syracuse Chamber Music Society, the Skaneateles Festival and with the prestigious M a r l Music  b o Festival.  r o —  He has also appeared in concert at New  York’s  Carnegie  Hall  and  Alice  Tully  Hall.  LeFebvre’s  operatic experience includes leading roles with­San Francisco Opera, Tri­Cities Opera, Sarasota  Opera,  Chattanooga  Symphony  and  Opera,  Syracuse  Opera, Indianapolis Opera, and Opera Theater of Pittsburgh.  Mr. LeFebvre is a winner of the New York Liederkranz Vocal Competition, and other awards include the Richard F. Gold Career Grant, an Opera Fellowship at BinghamtonaUniversity ­  and Regional Finalist in several Metropolitan Opera Competitions. ‘LeFebvre is a graduate of Carnegie Mellon University and Binghamton University and is currently Assistant Professor of Voice at Binghamton University.  2006­2007 engagements include appearances with the Chattanooga Symphony and Opera in Le nozze di Figaro and the Syracuse Symphony in Mozart’s Requiem.  He will also appear in concert at Carnegie Hall in March.  ; DUANE SKRABALAK is Artistic Director and resident Conductor of the Tri­  ­ Cities Opera Program.  Mr. Skrabalak was chosen years ago by Co­Founders Carmen Savoca and Peyton Hibbitt to be the person to bring the company into its second half century and the new millennium.‘  In addition to his dutieS’as �Artistic Director of Opera­Go­Round (the touring educational program of TCO), he also serves as vocal coach for the Resident Artist Training Program and is ~ Adjunct  Assistant  Professor  of  the  M.M./opera  program  at  Binghamton University.  Skrabalak joined TCO as a singer and pianist in 1970.  He soon became  the  TCO  choral  director,  and  eventually  crossed  into  conducting, coaching voice and language.  He made  his conducting debut  in  1974  with Gounod’s Faust.  Since then; he  has conducted more than 60 productions, as well as numerous chamber productions and excerpt shows.  Among his many credits, Skrabalak served as music director for the world premiere of Myron Fink’s Chinchilla, and serves as host of TCO’s Operalogues which are  also broadcast on public radio.  His conducting credits include appearances with the Atlanta  Civic  Opera, the Jerusalem  Symphony  for  the  Israel  Festival,  the Clemens Center and the Opera Theatre of Pittsburgh.  As a sought­after f e o . recital pianist, he has toured throughout the U.S. and abroad. Affiliate Artist at Cornell University. He  maintains a private piano studio  in Ithaca and enjoys teaching students of all ages­andllevels. This season, Salmirs will perform Poulenc’s Aubade with the Cayuga Chamber Orchestra. 1 Canadian born violinist JANEY CHOI  gave her Carnegie Hall recital debut in 1997, presented by Artists International. Recipient of numerous awards including the Ontario Arts Councils Chalmers Performing Arts Training Grant, and First Prize  in  the  National Finals of the’ Canadian  Music  Competition,  she  has participated in many festivals, such as Juilliard’s Focus Festival, Norfolk, Taos, the Spoleto Festivals in the U. S. and Italy, Festival Musical de Santo Domingo, the  Santa  Fe  Opera  and  the  Sarasota  Opera.  An  avid  collaborator,  she  has performed with such artists as Bono, Elton John, Jay­Z, Kanye West, Lisa Loeb: and Sarah McLaclan in such venues as Live 8, Saturday­Night Live, Radio C i t y Hall, MTV, and Lilith Fair, London. In addition, she has performed numerous times  with  the  Parsons  Dance  Co.,  most  notably  at  the  Kennedy  Center  in Washington, D.C., and  at the New Victory  Theater  in Times  Square,  and  is currently the Music Director of Thomas/Ortiz Dance, a collaboration recognized by the American Music Center with a  Live Music for Dance Grant.  Dr. Choi holds a DMA from Rutgers University and both a BM and MM from The Juilliard School with the Joseph Fuchs Prize in Violin. She is a Teaching Artist for the New  York  Philharmonic,  Lincoln  Center  Chamber  Music  Society  and  has recently joined the  faculty of S i g m a n U   niversity as Adjunct Instructor of Violin. ’ Pianist MICHAEL SALMIRS, a founding member and artistic director of the Finger Lakes Chamber Ensemble, is well known as a recitalist and  chamber musician  performing extensively throughout  the  region.  H e  has  appeared as  . _  soloist  with  the  Corning  Philharmonic,  Binghamton  University  Orchestra, ‘Cayuga Chamber Orchestra, and has been a featured pianist on their Sunday chamber series. As a performer of contemporary music, he has participated in such  series  as  Binghamton  University’s  Musica  Nova,  Cornell  University’s Ensemble X, and has toured and recorded for the Syracuse Society for New ­ Music. Salmirs studied at the New England Conservatory and Eastman School of  Music;  his  teachers  have  included  pianists  Leonard  Shure  and  Rebecca Penneys  and composer Karel  Husa.  Salmirs  has  taught  at  the  Syracuse University School of Music and Hobart and  William  Smith  Colleges. He  is * currently  an  Adjunct  Instructor  of Piano  at  Binghamton  University  and  an STEFANIE SUDDUTH will graduate  from SUNY Binghamton in December of 2006 with her Masters degree in Opera.  She is beginning her third season as a Resident Artist for Tri­Cities Opera.  Her recent rolls with TCO include cover .‘for  the  title  role i n  Madama  Butterfly,  1“  Lady  in  The  Magic  Flute,  Mrs. Gobineau in The Medium, Flora Bervoix in La Traviata, The Mether in Hansel and Gretel, and 2?” Woman in Dido and Aeneas.  She was also in the chorus of Lucia di’Lammefrnoor and La Filled u Regiment.  With the Atlanta Opera she performed in the chorus of Madama Butterfly.  Stefanie is originally from Texas. She  holds  a Bachelor of Arts degree  in Performance  from Texas Wesleyan University, and graduated Summa Cum Laude.  While at TWU, Stefanie was awarded first place in the American Music Competition sponsored by SAI, the Marjorie  Murphy ‘Scholarship,  and­ Division  III  a t N   ATS.  Some  of  her  . performances include Songs for a New World, Sophie in St. Nicholas, The Bald Soprano, and chorus in Hair and Evita. 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  has  attended  Boston  University, New England Conservatory and Binghamton University.  She  has studied piano with Jean Casadesus,  Victor  Rosenbaum, ySeymour  Fink  and  Walter  Ponce,  and accompanying with Allen Rogers. She has accompanied throughout the United States,  England,  South  America,  and  at  the  American  Institute  of Musical Studies  in  Graz,  Austria.  Reitz  and  Binghamton University  faculty member Timothy Perry were winners of the 1997 Artistic Ambassadors Program by the United  States Information  Agency  in partnership  with  the  John F. Kennedy Center for the Performing Arts.  During the summer of 2005, Reitz, clarinetist Timothy  Perry  and  cellist  Stephen  Stalker  were  invited  to  perform  at  the International Clarinet Conference in Tokyo, Japan.  Other notable performances include guest chamber music artist  in Morges, Switzerland and guest soloist with the Binghamton University Orchestra.  She was the official accompanist at the MTNA State and Eastern. Division Competition at Ithaca College in 2001 and  will  be  returning  in  2006.  In addition, she  was. selected to attend  the Accompanying  Workshop  for  Singers  and  Pianists  held  at  Northwestern University.  During the summer of 2006, she composed the musical score for an * independent film by MANDIS Production, to be released in February 2007. ! TIMOTHY PERRY, clarinetist, conductor and Professor of Music, joined the Binghamton University faculty in­ 1986  as director of the orchestral and wind ensemble programs and instructor o f  studio conducting and clarinet. Perry holds  \ D.M.A.,  M\M.A.  and M.M. degree from the Yale School of Music and a B.’ Mus. degree from the Manhattan School of Music. Dr. Perry’s more than two hundred programs include ten seasons  as Music Director of the Binghamton Community Orchestra and as guest conductor of  both the Catskill Symphony and Binghamton Philharmonic orchestras. PeW is widely known as a virtuoso ] �solo and chamber music clarinetist, touring Latin America and t he Caribbean as a United States ‘Musical Ambassador and appearing at international festivals in ~ Europe and Asia. He presented his third artist recital at an International Clarinet Conference this past summer in Tokyo. SOON  YOUNG PARK, baritone,  is  originally  from  Seoul,  Korea.  He  is currently enrolled in the Master of Music in opera at Binghamton University and is’a Resident  Artist at Tri­Cities Opera  Company. He also  holds a  teaching ~ a ssistantship’ Binghamton University.  He  earned  bachelors’ degrees from Yon­sei University (Voice) and Korea Christian University (Theology), and then came to the United States where he earned a Performance diploma from Indiana ~ University.  While at Indiana University, he received the Merit Scholarship, and he  also served as Music Director at Bethel Christian Church in Indianapolis ~ from 2000­2005. ‘ Park has performed in many operas, including Marcello in La Boheme,  Scarpia i n  Tosca, Ford in Falstaff and Notary in Don  Pasquale a t Indiana University Opera Theatre, Papageno in Tri­Cities Opera’s production of ~ The Magic Flute, and most recently as Bonzo and Commissioner in Madame Butterfly.  He also sang in the chorus for Peter Grimes at Indiana and Lucia d i Lammermoor at Tri­Cities Opera.  He will be performing again with  the Tri­ Cities Opera this coming October as Marcello in La Boheme. EWA MACKIEW ICZ­WOLFE, 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’s  and  master’s  degrees  in  piano performance with honors and high distinction from the Academy of Music in , Lidz, 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 Adunct Instructor of Piano. Mackiewicz­Wolfe appeared in several music festivals such as the Festival of Karol Szymanowski, The Piano Festival of Vladslav Kedra, Poland, Chamber Music  Festivals  in  Germany  and  Hungary.  Her  career  as  a  piano  soloist developed further as a result of concerts arranged by  the Association of Polish Artists/Musicians,  Government  Art  Agency  (PAGART),  the  Karol Szymanowski  Musical  Society, the  Lodz  Philharmonic  Society, and  various music colleges.  ;  ’  ; \ i � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:09 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204294">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204294</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Concert for the New York State Association of College Music Programs, September 9, 2006 Recital Tape 2006-9-9 Description An account of the resource Works of Quilter, Debussy, Hahn, Puccini, Parker, Strauss, Rossini, Ginastera. Held at 11:00 a.m., September 9, 2006, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Burns, James LeFebvre, Timothy Skrabalak, Duane Choi, Janey Salmirs, Michael Sudduth, Stefanie Reitz, Margaret Perry, Timothy Brady, Anne Park, Soon Young Mackiewicz-Wolfe, Ewa Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2006-9-9 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 d36bec21-1e0e-4923-8cd1-09ba9f718564 https://omeka.binghamton.edu/omeka/files/original/09121a409387ec1aac18bbd50af526a1.pdf 49efe2badf97ee46df7a3c9b7675c082 PDF Text Text BINGHAMTON U  N  I  V  E  R  S  I  T  Y State University of  New York ; U N il v  ARC  d Recto!  X = P   e c D E P A R T M E N T 2 0 0 , G1   "“N _. \  In conjunction with the Indtan Performing Arts of Binghamton presents: MUSIC FROM INDIA Ustad Shahid Parv ez, sitar Ramdas Palsule, tabla Thursday, September 14, 2006 7:00 p.m. Anderson Center Chamber Hall �PROGRAM Rag Yaman I.  Alap II.  Jor III.  Jhala IV.  Gat(s) ; t Thumrt or Dhun (To be announced) Hindustani Classical Music The origins of Indian classical music can be traced to the Vedas, a set of four texts that comprise the foundation of the Hindu religion, and were passed down orally until around 1500 B.C. when they began to be written down. The texts comprise hymns not only aided memorization, but also provided the foundation of Indian music. In the first few centuries A.D., the sage Bharata compiled a treatise on music, dance, and theatre that provided the theoretical foundations for  future  directions  in  Indian  composition.  Bharata  outlined the organization of rhythm and meter into cycles made up of groupings of beats now referred  to as  tala.  Every composition  is set  to  a particular  tala  cycle  made  up  of  stressed  and  unstressed  beats. Knowledgeable audience members may externalize the tala by a system  of  claps  (tali)  representing  the  strong  beats,  and  waves (khali) representing the weak beats. Bharata also formulated the concept of raga, which is the melodic system underlying Hindustani music. Ragas consist of a scale, as well as a set of musical rules governing choice and emphasis of pitches, melodic motion, and ornamentation.  Ragas normally are associated with certain  times of day and/or seasons of  the year. Bharata related each raga, to a specific rasa, or emotion. The eight rasa  are love, humor, anger, compassion, valor, wonder, disgust, and fear. The term raga means ‘color’, and ragas are supposed to color the mind and stimulate listeners to emotional response. After the writings of Bharata, wandering monks began composing sacred hymns, known as Bhaj ans, in the raga and tala cycles formulized by Bharata, which provide the source for many contemporary Indian classical compositions. ] l i �From  this common historical origin, classical music in  India has gradually  become  divided  geographically  into  Northern (Hindustani)  and  Southern  (Kamatik)  traditions  since  the  13% century A.D. The source of this diversion was the occupation of Northern  India  by  successive  waves  o f   Muslim  conquerors including Persian, Turkish, Arab, and Central Asian peoples. During the  successive  reigns of  these  Muslim  dynasties, Northern  India came to adopt and adapt several instruments, styles, and techniques from Persian and Arabic music. Hindustani classical music, as we know it today, took shape in the 16™  century A.D. in the courts of the  Mughal  emperors  as  Hindu  musicians  began  to  seek employment  as  court  musicians.  At  the  Mughal  courts,  Hindu musicians mixed with Persian musicians, and they began to develop a hybrid of both musical traditions. They also began to intermarry, and  many  contemporary  Hindustani  musicians  have  Persian surnames. Through  time,  certain  families  of  court  composers  established gharana,  or  stylistic  schools  of  performance  and  interpretation. Eventually, these schools took on talented students from outside the family,  spreading  the  influence  of  these  previously local  styles. During the British colonization of India (1850­1947), many of the courts were dissolved and musicians shifted their performances to the concert stage, where they can now be enjoyed by all. I �ABOUT T HE INSTRUMENTS Tampura Tampu ra is a long­necked lute, unfretted and round­bodied.  It has four or five wire strings that are plucked op en one  after the other to create a steady drone ambiance. The strings are normally tuned to the 1%"  and 5™  scale degrees of the raga. The tampura articulates a constant  drone,  to  melodically  frame  the  monophonic improvisations of the musicians. Sitar The sitar is perhaps the most widely known (and heard) Hindustani classical instrument. A typical sitar has 19 or 20 strings (depending on the style) with 6­7 playing strings on top and 13 sympathetic strings underneath the curved frets. The sympathetic strings vibrate when  the playing strings are sounded, giving it a lush sound. The curved frets  are moveable, allowing fine  variation in  tuning, and raised so that the sympathetic strings can run underneath the frets. The  instrument  is  plucked with  a  wire  pick  worn  on the  index finger, called (mizrab), and with the nail of the pinky finger. The wide neck allows notes to be bended up to a fifth interval on each fret,  and  the  gourd  resonators  provide  a  rich  sustain.  The  sitar originated from a Persian instrument that  was combined with an older Indian instrument, the Rudra Veena. The descendance of the Sitar from the lute  family of P ersian instruments makes it a distant relative to the European lute. Tabla The  tabla  set  is  the  principle  percussion  instrument  used  in Hindustani  classical,  religious,  and  film  musics.  The  instrument consists of a pair of hand drums of contrasting sizes and timbres. The smaller drum, played with the dominant hand, is made from a conical piece of wood and is often called a tabla. One of its primary tones is tune d to a specifi c note  of the raga, and thus contributes to and complements the  melody. The larger  drum, played with the other hand, is called bayan and is made of metal. It covers a lower range  than the other drum. The playing technique for both drums involves  extensive  use  of  the  fingers  and  palms  in  various configurations to create a wide vari ety of  different sounds. On the bayafl, the heel of the hand is also used to apply pressure in a sliding motion so that the pitch is changed during the sound’s decay. l I fl ! �ABOUT THE MUSIC Rag Yaman l l 5 Yaman is regarded  as one of the grandest and most  fundamental ragas in Hindustani music. Yaman is usually one of the first ragas taught to students, however its intricacies can only be realized by a master  musician,  and  consequently  students  continue  to  study Yaman throughout  their lives. Scholars of Hindustani music trace Yaman  to  the  16%  century  when  it  was  believed  to  have  been introduced by either Arab or Persian musicians. Yaman is an early evening raga (9 pm­midnight) and evokes a mood of serenity and peace. Artistic depictions of the raga  often show a noble lord  in white  garments  on  a  lion­throne  being  fanned  with  a  whisk. Musically, the scale of Yaman is a major scale with a raised fourth (the Lydian mode). The first and fifth pitches are usually omitted during ascending phrases, and the favored notes are the third and seventh pitches. Here is a notation of the scale in ascending and descending modes: 4  £ 3 1 ? ? ? “   ”  4  or  . ,   E ‘ M   ° = The instrumental performance tonight features an extensive opening l 1 solo  sitar  sequence  known  as  Alap­Jor­Jhala.  The  alap  is  an unmetered  improvisation  that  demonstrates  the  scale,  mood,  and musical  rules o f the  raga. Normally musicians  begin  at  the mid range of their instrument, and slowly descend to the lowest notes. Then the alap progresses all the way up to the highest octave on the instrument, and then back  down  to the  middle range. In the next section, the jor, the musician introduces a sense of pulsation through the  extensive  plucking  of  a  set  of  3  drone  strings  (cikarl),  in alternation with stokes on the melody strings. Despite the feeling of pulsation, this section is not bounded by a specific tala cycle. The final  part  of the  opening sequence,  jhala,  is a  climactic  section featuring  extensive  strumm ing  of  the  drone  strings  often  using sixteenth  notes  and  building  up  speed  to  a  thunderous  climax. Depending on the skill and mood of the performer, this completely extemporaneous  opening  sequence  can  last  from  10­40  minutes (sometimes longer). �Following the above opening sequence, the artist will play one or more instrumental compositions known as gat. Gat are precomposed melodies that are thoroughly developed using extensive improvised runs that return to the main theme. G at are in a tala  cycle, and at this point in the performance the tabla drummer will enter, often with a rhythmic cadence timed to end on  the first beat  of the tala cycle. Often  the  sitar  and  tabla  will  trade  rhythmic  combinations  in  a playful question and answer style. Normally an  artist will choose from slow, medium, and fast speed gats in the same raga, although they may employ different tala cycles. I l‘ [ . �ABOUT T HE P ERF ORM ERS USTAD SHAHID PARVEZ KHAN is one of the most important sitar players of his generation and a favorite concert artist both in India  and  abroad.  He  belongs  to  the seventh  generation  of  the famous Etawah gharana  (also  known as Imdadkhani Gharana) of sitar playing. Shahid Parvez is the son of Ustad Aziz Khan, the third generation  Imdadkhani  maestro, and a grandson of  Ustad Wahid Khan, the Surbahar and Sitar virtuoso. Both father and grandfather initiated Shahid Parvez into music: vocal and tabla at the age of 3. By the age of four he started to learn Sitar and was soon recognized as a child prodigy. A purist from the beginning, Shahid Parvez has developed  a  style  of  his  own,  combining  the  Gayaki  and  the Tantrakari schools of instrument  playing.  Gayaki ang  shows  the influence of Ustad Vilayat Khan, his father ’s cousin.  Ustad Shahid Parvez is a ‘top’ grade artist of All India Radio. He is one of the few maestros  to  enjoy  global  reputation,  and  he  has  numerous  LP records, audio and video­cassettes, and Compact Discs to his credit. He  has  been  honored  with  several  awards,  both  national  and international, and has participated in many major festivals in India and  abroad,  including  the  Festival  of  India,  held  in  the  United States, Canada, Russia. and Europe. RAMDAS  PALSULE  is a versatile Tabla player and one of the senior most disciples of the famous TalYogi  Pt Suresh Talwalkar. Being an accomplished soloist as well as a versatile accompanist, he has performed widely in all the eminent music festivals of India.  He has toured with several  artists throughout the world including the United  States,  Canada,  Germany, Australia, Africa and the  Gulf Countries.  He  has  provided  accompaniment  to  vocalists  and instrumental  music  including:  Santoor,  Sitar,  Moham  Veena  (an instrument invented by the Grammy Ward Winner Vishwa Mohan Bhat). His forte is Indian Classical music, which is unique in itself, and is renowned the world over. �Coming  “Crents Saturd ay,  Sep tem ber 16  – A Re union In R ecital: Jud y Berry, soprano and Timothy LeF ebv re, baritone  – 8 :00 p.m. – A nderson Center Chamber Hall  ­ $15 general public; $13 faculty/staff/seniors; $ 7 students Saturd ay,  Sep tem ber  23 – Master ’s Recit al – Ste fanie Sudduth, soprano – 8:00 p.m. – Tri­Cities Opera Center, 315 Clinton  St., Binghamton – free Sunday, September 24 – Master ’s Recital –  Andrew Sudduth, baritione – 8:00 p.m. – Tri­Cities Opera Center, 315 Clinton  St., Binghamton ­ free Thursday,   October  5  –  Mid  Day  Con cert   with  faculty  and   student perform ers – 1 :20 p.m. – Casadesus Recital Ha ll – free Saturd ay,  October  7–  Song  of  Silk : An  Evening of  Chinese  Music  and Dance – 8:00 p.m. – Osterhout Concert  The ater ­ $12  general public ; $10 faculty/staff/seniors; $7 students Sunday, Octob er 8 – F rench Twist : An Af ternoon  of Cha mb er Music – 3 :00 p.m.  –  Anderson  Center  Chamber  Hal l  ­  $15  general  public;  $13 faculty/staff/seniors; $7 students Thursd ay,  Oc tob er 1 2 –  Mid   Day  Con cert with  faculty  and  studen t perform ers – 1 :20 p.m. – Casadesus Recital Ha ll ­­ free  ' Friday, October 1 3 – Children ’s C onc ert : M aking Movie Music – University Symphony  Orchestra ­ 9:30 a.m.  – Osterhou t Concert  Theater ­ $4.  This performance is for school groups (Sponsored  by The Discovery Center, Time Warner Cable and the Binghamton University  Music Department). Saturd ay,   October  14  ­­  Children ’s  Con cert :  Making  Movie  Music  – University Symphony Orchestra – 1 :00 p.m . – Osterhout Concert Theater ­ $5.  This performance  is for school groups.  (Sponsored by  The Discovery Center,  Time  Warner  Cable  and  the  Bin ghamton  University  Music Department). Tuesday,  Oct obe r  17  –  Binghamton  Bar oqu e  Ensemble  –  8:00  p.m.  ­­ Casadesus Recital Hall ­ $9 general public;  $7 faculty/staff/seniors; free for students Thursd ay,   Oct obe r  19  –  Mid   Day   Con cert  wit h  faculty  and   stud ent perform ers  – 1 :20 p.m. – Casadesus Recital Ha ll – free Saturd ay,   October  21  –  Family  Weeke nd  Concert   –  University  Wind Ensemble, Harpur Chorale, Women’s Chorus  – 3 :00 p.m. – Osterhout Concert Theater ­ Free � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 37:59:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204297">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204297</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Music from India, September 14, 2006 Recital Tape 2006-9-14 Description An account of the resource Binghamton University Music Dept. in conjunction with the Indian Performing Arts of Binghamton. Held on Sept. 14, 2006, 7:00 p.m., Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Parvez, Ustad Shahid Palsule, Ramdas Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2006-9-14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 4bffae26-0836-40d1-bd3c-f027e645b700 https://omeka.binghamton.edu/omeka/files/original/ee783803f57cd521f3d67db844aca30e.pdf f0d9433c8d9ee1fdc225cbcc773993ce PDF Text Text BINGHAMTON U  N  I  V  E  R  S  I  T  Y State University of  New York U N T V  f B.  Y  C .   \ Y D E P A R T M E N T T > R <   200k G~\0 PeccoL A REUNION IN R ECITAL Judy Berry, soprano Timothy LeFe bvre, baritone Duane Skraba lak, piano Saturday, September 16, 2006 8:00 p.m. Anderson Center Ch amber Hall �PROGR AM WDINTERMISSION®3 “Sound the TriBpPEE “My Dearest, my Fairest” Henry Purcell (1659­1695) “It’s a Grand Night for Singing,” State Fair...........Richard Rodgers (1902­1979) “If I Loved You,” Carousel Oscar Hammerstein II (1895­1960) “Some Enchanted Evening,” South Pacific Ms. Berry & Mr. LeFebvre n “The Last Rose of  Summer” ...cccccceeeeeeeeeeeeenn.«eer...  Thomas Moore old Irish Folk Air (1779­1852) Sir John Stevenson (1761­1833) Ms. Berry Ms. Berry & Mr. LeFebvre / “Strahlender Mond,” from Das Vetter aus Dingsda From Liederkreis.........................................weeeee...  RObETt  Schumann In der Fremde (1810­1856) Intermezzo Waldesgesprach ....Eduard Kiinneke (1885­1953) Ms. Berry “Song to the Moon” from Rusalka Mr. LeFebvre Antonin Dvorak (1841­1904) Ms. Berry “Du sollst der Kaiser meiner Seele sein”  from Der Favorit  Robert Stolz (1880­19 75) “Di provenza,” from La Traviata....................... Ms. Berry Mr. LeFebvre “Herbstlied”  Ms. Berry & Mr. LeFebvre From I Pagliacci “Ballatella” “Silvio! A quest’ora” Ms. Berry Fehx Mendelssohn (1809­1847) Ruggiero Leoncavallo (1857­1919) Ms. Berry & Mr. LeFebvre l “Pura siccome un angelo,”.........cociveiaciicisonnas from La Traviata Ms. Berry & Mr. LeFebvre Giuseppe Verdi (1813­1901) Giuseppe Verdi (1813­1901) �Translations Sound the Trumpet Sound the trumpet till around You make the listening shores rebound. On the sprightly hautboy play. All the instruments of joy That skillful numbers can employ To celebrate the glory of this day. My Dearest, my Fairest My dearest, my fairest, I languish for you. Thy kindness has won me. Thy charm has undone me. I ne’er, no ne’er shall be free. I faint with the pleasure I fain would repeat. Ah, why are love’s raptures so short and so sweet? Thus pressing, and kissing, fresh joys we’ll pursue, And ever be happy, and ever be true. But alas! Should you change, ah tell me not so! No, never, my dearest. No, never, my fairest. No, my dearest, no! The Last Rose of Summer ‘Tis the last rose of summer, Left blooming all alone, All her lovely companions Are faded and gone. No flower of her kindred, No rose bud is nigh, To reflect back her blushes, Or give sigh for sigh is the last rose of summer, Left blooming alone; I’ll not leave thee, thou lone one, To pine on the stem; Since the lovely are sleeping, Go sleep thou with them; ‘Thus kindly I scatter Thy leaves o’er the bed Where thy mates of the garden Lie scentless and dead. So soon may I follow When friendships decay, And from love’s shining circle The gems drop away! When true hearts lie withered And fond ones are flown Oh! who would inhabit This bleak world alone? In der Fremde From my home beyond the lightning’s flash, The clouds drift over me. But father and mother are long since dead, And no one there remembers me anymore. How soon, how soon comes the quiet time When I too shall rest; and over me Will rustle the lovely, lonely forest.  : And no one will remember me anymore even here. Intermezzo Your blessed image I keep deep in my heart; So gay and happy, it looks At me all the time. My heart sings softly to itself An old, beautiful song That soars into the air And hastens to you. ”4 ] : { 1 J ! [ 4 l l Waldesgesprach It is already late, it is growing cold; Why do you ride alone through the wood? The forest is vast, you are alone; Beautiful bride!  I will see you home! Great are the deceit and the cunning of men; My heart is wracked with pain; The sound of the horn is all around us. Begone! You do not know who I am. So richly adorned are both horse and lady, So enchanting is your young body — Now I know you – God be with me! You are the sorceress Lorelei. You know me well – from a high cliff My castle looks silently deep into the Rhine. It is already late, it is growing cold. Nevermore shall you leave this wood! Du sollst der Kaiser meiner Seele sein I know a land without boundaries I know an empire, wherein entwine a thousand tender thoughts about my love, Rosenpfad. That is the land, in where I live, that is the empire I give to you on whose throne I lift you in the free land of my heart. Refrain: You, you, you should be the emperor of my heart. You, you, you should wear the purple, all alone. You, you, you should wield the scepter only you are allowed to rule there, you aspire to be a Conquerer there. If you love me, you have as payment in my heart your crown, and do as you will upon the golden throne which my love has built for you. You are the Emperor, whom I choose, and your Wishes are orders. You’ll be obeyed by my soul, which I entirely entrust to you. Herbstlied Oh, how soon the cycle ends, Spring turns into wintertime! Oh how soon all happiness Turns to sad silence! The last sounds soon fade! The last songbirds are soon flown! The last green is soon gone! They all want to return home! Oh, how soon the cycle ends, Merriness turns to longing sorrow. Were you a dream, you thoughts of love? Sweet as spring and fast disappearing? �Only one thing will never wane: The longing that never goes. Ah, how soon the cycle ends! Oh how soon all happiness Turns to sad silence! Ballatella Screeching up in the sky, And they go the ways of the sky. Let it wander in the atmosphere this thirsting for azure and for splendor; the way we follow a dream or a chimera, and they go after the golden clouds. Let the wind chase and the storm bark, with open wings it heals all challenges; the rain, the lightning, nothing ever stops it and they go over abysses and the sea. They go down there towards a strange land Which perhaps dreams and which goes But the bohemians of the sky follow the arcane power which it urges...and go..and they go! Silvio! A quest ’ora In the duet, Nedda and Silvio tell of their love for each other. At first, from feelings of duty, Nedda refuses to leave her husband’s troup and run away with Silvio. But when Silvio accuses her of no longer loving him she states her readiness to flee with him. It ’s a Grand Night for Singing It’s a grand night for singing, The moon is flying high, And somewhere a bird Who is bound he’ll be heard, Is throwing his heart at the sky! It’s a grand night for singing, The stars are bright above. The earth is a­glow And, to add to the show, I think I am falling in love! Falling, falling in love! Maybe it’s more than the moon, Maybe it is more than the sight of the night, Maybe it’s more than the earth, Shiny and silvery blue, Maybe the reason I’m feeling this way Has something to do with you! If I Loved You If I loved you, Time and again I would try  to say All I’d want you to know. If I loved you, Words wouldn’t come in an easy way Round in circles I’d go! Longin’ to tell you, But afraid and shy, I’d let my golden chances pass me by! Soon you’d leave me, Off you would go in the mist of day, Never, never to know how I loved you If I loved you. Some Enchanted Evening Some enchanted evening You may see a stranger, you may see a stranger Across a crowded room And somehow you know, You know even then That somewhere you’ll see her Again and again. Some enchanted evening Someone may be laughing, You may hear her laughing Across a crowded room And night after night, As strange as it seems The sound of her laughter Will sing in your dreams. Who can explain it? Who can tell you why? Fools give you reasons, Wiseman never try. Some enchanted evening When you find your true love, When you feel her call you Across a crowded room, Then fly to her side, And make her your own For all through your life you May dream all alone. Once you have found her, Never let her go. Once you have found her, Never let her go! Strahlender  Mond Shining moon, who crowns heaven’s canopy, My songs ascend to you nightly. Shining moon, who crowns heaven’s canopy, Repeat, oh repeat them to my beloved. Be my ambassador, my confidant! Carry my songs to my far away beloved. Shining moon, who crowns heaven’s canopy, Be my ambassador, my confidant! Be my ambassador for sweet thoughts which stir in my heart And which I cannot tell him Ah, all my wishes, my longing, my love, Yes, to you only’I entrust them! Shining moon, who crowns heaven’s canopy, My songs ascend to you nightly. Shining moon, who crowns heaven’s canopy, Repeat, oh repeat them to my beloved. Be my ambassador, my confidant! Carry my songs to my far away beloved. Shining moon, who crowns heaven’ Song to the Moon Silvery moon in the great dark sky, Your beams see farther than we do. Over the world goest wandering, In many a window art looking. Oh, moon! Do stay a while, stay with me, Tell me, oh where is my loved one? Tell him, oh silvery moon sailing by, that in my arms I enfold him. Tell him in dreams to think of me, even if only for awhile. May he, though far away, know my thoughts. Tell him, oh tell him, I am here waiting. If of me a human soul is dreaming, May my thoughts rouse him from sleep. Moon, moon, oh don’t go in! �ABOUT T HE PERFORMERS Di Provenza The sea and soil of Provence— who has erased them from your heart? From your native, brilliant sun— what destiny stole you away? Oh, remember in your sorrow that joy glowed on you, and that only there peace can yet shine upon you. God guided me! Ah, your old father— You don ’t know how much he has suffered! With you far away, with misery has his house become full. But if in  the end I find you again, hope did not fail within me, if the voice of honor didn’t become silenced in you, God listened to me. t Pura siccome un angelo Violetta is visited by Giorgio Germont, Alfredo’s father, who tries to persuade her to end her love affair with Alfredo. Alfredo’s life with a JUDY BERRY returns to Greater Binghamton afier establishing an internation al opera career. Graduate of both TCO’s RATP  and BU ’s MM  in Opera progr am, local audiences fondly remember her for her portrayals of “Gilda”, the “Queen  of the Night”, “Olympia”, “Juliette”, and “Adina”, as well as the title roles in Luc ia di Lammermoor and Lakmé. She garnered top honors in  numerous majo r vocal competitions including the Baltimore Opera Competition, the Enrico Caruso Vo ice Competition USA, the Liederkranz Foundation, the New York Grand Opera, the Queens Opera, the New Jersey State Opera, The Musicians Emergency Fund, a nd the Loren L. Zachary  Society  for the  Performing Arts.  With the Peter  Sellars production of Nixon in China, she sang the world premiere with Houston Gr and Opera, and toured to the Edinburgh Festival, Amsterdam, Los Angeles, BAM,  the Kennedy  Center,  Paris  and  Frankfurt.  From  1993­2001, she  was  engaged   in Germany with the Wuppertal Opera and appears regularly on numerous Europea n stages,  including  Leipzig,  Mannheim,  Diisseldorf,  Niirnberg,  Wiesbad en, Dortmund, Bremen, Osnabriick, Mainz and the Eutiner Festspiele.  She has also performed with the Baltimore Opera, Knoxville Opera, Virginia Opera, Pittsburgh Opera Theater, at Carnegie Hall and Lincoln Center, as well as with the Edmonto n Opera in Canada, Teatro de la Opera in Puerto Rico, and the Festival of Perth in Australia. Her  extensive repertoire of over fifty roles includes “Violetta” in  La Traviata, “Marguerite” in Faust, “Fiordiligi” in Cosi  fan tutte, “Sophie” in  Der Rosenkavalier, “Giulietta” in Capuleti e i Montecchi, and the title roles in T he Ballad of Baby Doe and Alban Berg’s Lulu. A much sought after interpreter  of modern music, oratorio, and  concert  repertoire, Ms. Berry  has recorded on  the Orfeo label. Grateful  and appreciative of her  invaluable training, Ms. Berry  is proud to be a part of the TCO and BU continuum by serving the next generation o f rising stars; in  the capacities o f Assistant Stage Director and  German coach  at TCO, and  in the years 2003 and  2006, as a member of  the voice  faculty  of Binghamton University. near­prostitute is creating scandal, and his sister risks to be left by her future husband (Pura siccome un angelo). Violetta is moved, and promises to Germont that his request will be satisfied (Dite alla giovine). T Baritone TIMOTHY LEFEBVRE just returned from his debut  with Central City  Opera  singing  in  productions  of  The  Ballad  of  Baby  Doe  and  The Coronation of Poppea . LeFebvre has appeared in concert with the Jacksonvi lle Symphony, Pensacola Symphony, West Virginia Symphony Orchestra, Vermo nt Symphony, Minnesota  Symphony, Syracuse  Symphony, American Symphon y Orchestra,  Pittsburgh  Symphony,  Spokane  Symphony,  Bingham ton Philharmonic, Rochester Bach Festival, Berkshire Choral Festival, Williamsport Symphony, Syracuse Chamber Music Society, the Skaneateles Festival and with the prestigious Marlboro Music Festival.  He has also appeared in concert at New York’s  Carnegie  Hall  and Alice Tully Hall.  LeFebvre’s operatic  experien ce includes  leading  roles  with  San  Francisco  Opera,  Tri­Cities  Opera,  Sarasota Opera, Chattanooga Symphony and Opera, Syracuse Opera, Indianapolis Oper a, and Opera Theater of Pittsburgh.  Mr. LeFebvre is a winner of the New York �Liederkranz Vocal Competition, and other awards include the Richard F. Gold Career  Grant, an  Opera  Fellowship  at  Binghamton  University  and  Regional Finalist in several Metropolitan Opera Competitions. LeFebvre is a graduate of Carnegie  Mellon  University  and  Binghamton  University  and  is  currently Assistant Professor of Voice at Binghamton University. 2006­2007 engagements include appearances with the Chattanooga Symphony and Opera in Le nozze di Figaro and the Syracuse Symphony in Mozart ’s Requiem. He will also appear in concert at Carnegie Hall in March. DUANE SKRABALAK is Artistic Director and resident Conductor of Tri­Cities Opera.  Mr. Skrabalak was chosen years ago by Co­Founders Carmen Savoca and Peyton Hibbitt to be the person to bring the company into its second half century and the new millennium.  In addition to his duties as Artistic Director of Opera­Go­Round (the touring educational program of TCO), he also serves as vocal coach for the Resident Artist Training Program and is Adjunct Assistant Professor  of the  M.M./opera  program  at  Binghamton University.  Skrabalak joined TCO as a singer and pianist in 1970.  He soon became the TCO choral director, and eventually crossed into conducting, coaching voice and language. He made his conducting debut in 1974 with Gounod’s Faust.  Since then, he has conducted more than 70 productions, as well as numerous chamber productions and excerpt shows.  Among his many credits, Skrabalak served as music director for the world premiere of Myron Fink’s Chinchilla, and serves as host of TCO ’s Operalogues which are also broadcast on public radio.  His conducting credits include appearances with the Atlanta Civic Opera, the Jerusalem Symphony for the Israel Festival, the Clemens Center and the Opera Theatre of Pittsburgh.  As a sought­after vocal recital pianist, he has toured throughout the U.S. and abroad. 1 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:19:58 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204300">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204300</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A reunion in recital, September 16, 2006 Recital Tape 2006-9-16 Description An account of the resource Works of Purcell, Moore, Schumann, Stolz, Mendelssohn, Leoncavallo, Rodgers, Künnecke, Dvořák, Verdi. Translation of works included in accompanying program. Held at 8:00 p.m., September 16, 2006, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Berry, Judy LeFebvre, Timorthy Skrabalak, Duane Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2006-9-16 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 58768d19-f699-4641-b8e5-4b8fb4c47f67 https://omeka.binghamton.edu/omeka/files/original/e8067e25af2f0f04a7fe40314b124c3d.pdf 495661b877cb6fa5e80124da267f4f07 PDF Text Text UN NI V Reci ' RC l tap BINGHAMTON 20 10-12 SPEC UNIVERSITY COL State University of New York Binghamton University Department of Music THURSDAY MID-DAY CONCERT October 12, 2006 - 1:20 p.m. - Casadesus Recital Hall Chanson d 'Amour ........................................................................................................ Gabriel Fauré En Prière (1845-1924) Nell Amy DeLeo, soprano Chai-Kyou Mallinson, piano Sonata in D major for 4 hands ..................................................................................... W.A. Mozart Allegro (1756-1791) Andante Allegro Mo/to Wendy Lee, piano Chai-Kyou Mallinson, piano from Die Schone Müllerin ........................................................................................ Franz Schubert Danksagung an den Bach (1798-1827) Am Feierabend Der N eugierige Alexander Blitstein, tenor Chai-Kyou Mallinson, piano Non posso vivere ................................................................................................. Giacomo Carissimi (1605-1674) Vaga luna ............................................................................................................... Vincenzo Bellini (1801-1835) Katrina L. Cox, soprano Chai-Kyou Mallinson, piano � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 36:40:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204303">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204303</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thursday mid-day concert, October 12, 2006 Recital Tape 2006-10-12 Description An account of the resource Works of Fauré, Mozart, Schubert, Carissimi, Bellini. Held at 1:20 p.m., Oct. 12, 2006, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource DeLeo, Amy Lee, Wendy Blitstein, Alexander Cox, Katrina Mallinson, Chai-Kyou Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2006-10-12 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 969a8b97-4f4f-4f43-9f8a-9d0e92e68ea5 https://omeka.binghamton.edu/omeka/files/original/4f2f4b402bb34e0beea672acd0ec4cbd.pdf 9c2619fa43d7ca1632bd5d9e7cdc2db2 PDF Text Text B INGHA MTON  CU N T   V E   11  .  1  DY State University of New York UNIV M e (4 “m  D E P A R T M E N T 1  0 ¢   3  F  MILY  W EEK END  C ONC ERT =  J LVDb Y O = 2 . \ 1  L  Q  with Wom en’s Chorus Kristi na Ruffo, conductor Nukporfe, dance/ drumming  ensemble James  Burns  and  Pierre tte Aboadji, directors Harp ur Chorale Peter Browne, conductor The University W ind Ensemble l Robert Smith, conductor 1 Saturday, October 21, 2006 3:00 p. m. Osterhout Concert Theater �PROGRAM III. Harpur Chorale I. Women’s Chorus Peter Browne, conductor Kristina Ruffo, conductor Jody Schum, piano Thomas Morley Fire, Fire! My Heart..........................cccceeeeveueeneene...  (1557­1613) J S  Bach (1685­1750) Duet from Cantata No. 15  Emily Creo, cello René Clausen Set me as a Seal  The Bluebird  Oh!  What a Beautiful City!.............................. Traditional Spiritual arr. Jeffrey Webb Hombe.......  Ghana Alleluia ~ Traditional Ghanaian Song .arr. Kathy Armstrong Assisted by Nukporfe Elijah Rock........ccccveeieieriiceeieceeeeeeeeeneenn..  Allundé Alluya A frican Prayer Lullaby......................arr. Salli Terri Assisted by Nukporfe, dance/drumming ensemble Lollytoodum American folk song  Hyenas catch a weeping child, but angels watch a sleeping child. From Hamba Lulu (Five African Songs) Jester Hairston arr. Leslie Bell IL Nukporfe Drum/Dance Ensemble James Burns and Pierrette Aboadji, directors .. Traditional Dance of the Ewe people of Ghana Gahu...  Arranged and Choreographed by P ierrette Aboadji and James Burns Charles Villiers Stanford (1852­1924) 1.  Mangwani M’pulele Aunt open the door for me rain is falling on me. With two or three head of cattle I can pay dowry for a wife. (sotho Children’s Song) 2.  O­re­mi Let‘s dance. Father and mother are dancing. (Nigerian “Highlife” Song) ' 3.  Asikha thali This load is heavy. It needs men. We don’t care if we get arrested. We intend being free (Zulu Freedom Song) ....Kenya (Luo) Folk Song arr. Laz Ekwueme �ABOUT THE PERFORMERS Women’s Chorus IV. Wind Ensemble Kristina  Ruffo  is  a  graduate  choral  conducting  student  at Binghamton University. This is her  first semester conducting the Women’s Chorus, and she is very excited to display the talent of these young women. She also teaches a sight singing class to help university students improve in their reading abilities and confidence in singing. She was awarded the Keeler Scholarship this year, which has helped her continue with her education. During the day, she teaches full­time at the Maine­Endwell High School and is director of the Mixed Chorus and Madrigal Choir. She also teaches a theory course and gives lessons to high school students. Kristina resides in Binghamton, NY with her husband. She is looking forward to a successful and positive year with the Women’s Chorus. Robert Smith, conductor “Everybody Loves A March!” ...John Philip Sousa (1854­1932) March: Untitled..  Washington Grays M Black Granite J a a r c m h   Claudio S. Grafulla (1810­1880) e s L. Hosay  Soprano I Blake, Daron Cohen, Rebecca Epstein, Jodi Gordon, Tracey Karp, Jillian Liebowitz, Liann Navarette, Katherine Rabideau, Erin  Sones, Melissa HENLEY  Fillmore Rolling THutider ..........ccc..cimmsnisisenissssnssrisansassscsass.  (1881­1956) The Stars and Stripes Forever...............................John Philip Sousa (1854­1932) ’ Soprano II Boccuzzi, Dina Bose, Anjuli Haigney, Stephanie Havener, Crista Kucera, Jana McCombs, Kimberly Pouchie, Priscilla Press, Amanda Streigold, Bonnie Wallach, Jaclyn Winnett, Desiree Alto Bass, Desiree Caruso, Alicia Colah, Perin Golden, Sarah Gordon, Sasha T. Haines, Alex Kim, Hyun Jin Maughan, Carly �Wind Ensemble Nukporfe Drum/Dance Ensemble JAMES BURNS has spent the past 11 years learning, performing, and teaching  African  and  Afro­Caribbean  dance­drumming.  In  addition  to formal study of African drumming at the School of Performing Arts in Ghana,  James  has  apprenticed  as  a  traditional  drummer  with  several musical  families  in  Ghana,  and  has  accompanied  them  to  play  at ceremonies, funerals, and  festivals throughout the country. James has a PhD in Ethnomusicology from the School of Oriental and African Studies in London, and has been  active as a researcher and performer. He has published articles on African music, a CD of Ghanaian drumming, and is currently finishing a book and DVD documentary about female musicians in Ghana. ­ q. ROBERT SMITH is Music Director and Copductor of the Binghamton University Wind Ensemble. Professor Smith holds degrees from Hartwick College, Binghamton University and is a candidate for the Doctor of Musical Arts from Boston University. Locally, he conducts the annual observance of TubaChristmas and is former conductor of the Maine Community Band. He has guest conducted all­county and community bands as well as the Goshen College(IND) Wind  Ensemble and Orchestra. His conducting teachers include Frederick Fay Swift, Thurston Dox, Thomas Ives, Timothy Perry, Robin Linaberry, John Graulty and Mariusz Smolij. An active performer, he currently plays principal euphonium with the Southern Tier Concert Band and tuba with the Brass Nickel quintet and the Crown City Brass sextet. Professor Smith is the immediate past president of the Broome County Music Educators Association and recipient of the 2005 BCMEA Distinguished Service Award.  Professional  memberships  include:  The  Broome  County  Music  Educators Association, the New York State School Music Association, the Music Educators National Conference, The National  Band  Association, The  Asso c i a t i o n  Concert  Bands, The Conductors  Guild,  The  World  Association  of  Symphonic  Bands and  Ensembles,  The College Band Directors National Association and the International Tuba and Euphonium Association. The  Unvierstiy (“JOWM PIERRETTE  ABOADJI has  dedicated  her  life  to  performing  and teaching African dance. As a professional dancer, she is currently on leave as a senior dancer in the Ghana Dance Ensemble, which as the premier national dance company, is made up of only the top dancers and musicians in Ghana. Throughout its 40 year history, the Ghana Dance Ensemble has been directed by eminent choreographers who have combined traditional pedagogy  in  African  dance  with  Western  choreography,  staging  and technical methodology. The Dance Ensemble is based in the School of Performing Arts at the University of Ghana, and Pierrette has also served as an instructor in regular courses on African dance and music. Pierrette is currently teaching African dance in the Department of Theatre and Dance at Binghamton. Dancers Yaa Anokye Amanda Hunte Eugenia Ntow Stephanie Okwudi Lola Oloko Ebony Richardson Asuno Udoh Julian Goetz Simon Hawk Michael Moon Jesse Reed Kevin Tapper Samuel Suarez­Young ALTO SAXOPHONE Emily Alciewicz Amy Natiela* Katherine Navarette PICCOLO Melissa Voldan PERCUSSION Chris Jacobson* BARITONE SAXOPHONE Jana Kucera Subin Lim Melissa Roe OBOE Ephraim Atkinson Drummers Yoolee Choi Kitanya Forrester ot \ sI KEYBOARDS Karmi Knight­Winnig FLUTE Sarah Harper Julie Liao Sara Shafer Jennifer Weintraub* Jessica Williamson CLARINET Lisa Carpinone Kyle Doyle Christa Heschke Melissa Klepper Andrei Lee Mark Norman Richard Silvagni Dong Soon Shin Jillian Stark Maggie Venti Dan Zaccarini* “*Principal Players TIMPANI Caleb DeGroote TENOR SAXOPHONE Steven Inganamort F Horn Megan Caruso Robert Muller William Stallsmith TRUMPET Lisa Eppich Thomas Osa Sinan Pan Andrew Sanfratello TROMBONE Harris Brenner* Chris Chen Kelly Tufo BASS CLARINET Heather O’Gara CONTRABASS CLARINET Kristen Weiss EUPHONIUM Matt Sanders TUBA Daniel Brisk Katherine Winchell* �Harpur Chorale PETER BROWNE, director of Harpur Chorale, received his BA from Bard  College  and  MM  in  Organ  Performance  from  Binghamton University, where he studied with Paul Jordan, Searle Wright, and David Buttolph.  He has done additional work at Westminster Choir College and several other schools, and was the recipient of a fellowship to study choral conducting  with  Sir  David  Willcocks,  former  director  of  the  King’s College Choir, Cambridge, and the Bach Choir of London. Since 1981, he has been the organist  and choir director at  Trinity Memorial  Church, Binghamton, having previously served in other churches in Pennsylvania, Connecticut  and New  York.  He  is currently the accompanist  for  the University Chorus at BU, and teaches musicianship as well.  Mr. Browne has  performed  as  a  director,  soloist,  and  accompanist  throughout  the eastern United States and Canada, and in England and Wales. Soprano Jenna Gatti  Ayla Gordon  Jaclyn Hochreiter  Allison Metcalfe  Elizabeth Sterling  Lynsey Zuar Alto  Emily Creo  Monica Lee  Rachel Maller  Sophie Nusinov  Corinne Paull  R {­ i l ) s Tenor Alexander Blitstein Thomas Blumenthal Seth Makarowitz Ross Matthei Douglas Schwartz Bass Eric Dinowitz Adam Hess  : Ezra Monasebian John Paap David Parisi Joseph Rousseau l 5 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 54:29 15:36 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204306">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204306</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Family weekend concert, October 21, 2006 Recital Tape 2006-10-21 Description An account of the resource Held at 3:00 p.m., Oct. 21, 2006, Osterhout Concert Theater. Creator An entity primarily responsible for making the resource Ruffo, Kristina Burns, James Aboadji, Pierrette Browne, Peter Smith, Robert Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2006-10-21 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 7d9da69e-ddf0-4782-8432-a14720551818