138 10 1775 https://omeka.binghamton.edu/omeka/files/original/f6928e1fcddf8cd9705d065436684c2c.pdf 5e9881dc5baa2fc4e9165289fb429893 PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E   U N I V E R S I T Y   O F  N E W  Y O R K [4 D E P v w dee A R T M JAZZ ENSEMBLE CONCERT with jazz pianist Larry Ham Thursday, April 25, 201 3 8 p.m. Osterhout Concert Thea ter E N T �PROGRAM Second Half with guest a rtist L a r r y  H a m First Half Program selected from the following: Program selected from the following: I Gotta Right to Sing the Blues. Black Orpheus. . Harold Arlen arr. by Sammy Nestico Blues in the Closet . In the Mood ..  . Joe Garland arr. by Jeff Tyzik Carmelo’s by the Freeway. Luiz Bonfa arr. by Eric Richards Oscar Pertiford arr. by Mark Taylor . Bob Florence J e ff J  arvis Jordu..  Li ’l Darlin ’ .Neal Hefti Maiden Voyage. Herbie Hancock arr. by Erik Morales Stolen Moments. . Oliver Nelson arr. by Paul Jennings Sister Sadie This I Dig of You. Duke Jordan arr. by Mark Taylor . Horace Silver arr. by Michael Abenc .Hank Moblcy arr, Mike Tomaro �Abou t the Guest Artist Pianist, composer, and arranger La rry Ha m has long been a noted New York sideman, performing, touring, and  recording with many great jazz artists. More recently he has received international critical acclaim for his  trio CD “Carousel” featuring his own compositions and  arrangements,  and  a  second  solo  piano  release “Just  Me,  Just You  " on Arbors Jazz Records. Both are available on the “CDs” page. David Dupont of Cadence Jazz Magazine writes, “He glides over the keys  with  each  note  articulated  cleanly...his  playing  is  masterful.” And Mike Neely in All About Jazz calls him "...a pianist well on his way to becoming a master.” La rry  began  his  professional  career  in  the  Lionel  Hampton Orchestra in the late ‘80’s. He was pianist in the Illinois Jacquet Big Band 1990­95 and has worked extensively with countless other jazz legends, including the late Junior Cook and Dakota Staton. He has appeared  at  jazz  festivals,  concerts and  nightclubs  throughout  the United  States,  Europe,  West  Africa,  and  Japan.  His  recent  New York  appearances  include Jazz at  Lincoln  Center,  Carnegie  Hall, Iridium,  The  Village  Vanguard,  Small’s,  The  Kitano  Hotel,  and Harlem’s historic Lenox Lounge. His jazz festival performances include the Grande Parade du Jazz in Nice, France,  the North Sea Festival in The Hague, Holland, the Pori  Jazz  Festival  in  Finland, Jazz  Yatra  in  Bombay,  India,  The Charlie Parker Festival in New York, the Ottawa Jazz Festival, and at the Kennedy Center in Washington DC. He also performed at the White  Hou  for  President  Reagan  and  for  President  Clinton ’s 1992  Inaugural Ball. La rry appeared in the jazz film “Texas Tenor” and has been a guest on TV programs including “The Today Show” (NBC)  “Breakfast  Time”  (FX)  and  has  been  featured  on  NPR programs such as “Jazz Set with Dee Dee Bridgewater” and on Judy Carmichael’s “Jazz I nspired.” As  a  United  States  Department  of  State  Jazz  Ambassador,  Larry toured  eleven  West  African  nations  in  2001­02  in  a  cultural exchange  program,  performing  in  concert,  and  conducting workshops on the art of playing jazz. From  2002­05 he was pianist and  musical  director  for  the  New  York  Tap­dance  Festival,  also touring the United States and Russia, Greece and Italy. During the past few years he hat  toured extensively in  the US, and performed  in  Japan,  Canada,  Germany,  Poland,  England, Switzerland,  Austria  and  France.  In  2007,  he  appeared  at  the Kennedy Center and a t Zankel Hall (Carnegie Hall) with Catherine Russell,  and  in  Prague,  in  the  Czech  Republic.  Recent  festival appearances include The Montreal Jazz Festival, The Rochester Jazz Festival, The Cape Cod Jazz Festival, the New Jersey Jazz Fest, and a performance for The West Texas Jazz Society. Larry earned  a  BA  in  Musical Studies from  the  Crane  School  of Music at SUNY Potsdam, a nd an MA in Jazz Performance from the Aaron Copland School of Music at Queens College  in  New York City. He is currently an Adjunct Professor at Dutche.. Community College in Poughkeepsie, NY, teaching Jazz Piano, Jazz History, and I mprovisation. �Harpur Jazz Ensemble Sgring 2013 SAXOPHONE  Stephi Verhage  Darin Mihalik  Ray Hendricks  Chris Angyal  Danielle Stoner  Bob Pompi  1 “  a lto  2 ” alto    1 ”  tenor  2 ” tenor    Baritone  Baritone  TRUM PETS  M a r k  Adler  Brandon Young Ryan Ginsburg  Richard Ba rley  Timothy Clement T ROM BONES  Mo “ Reese ” Taylor  Ryan Meehan  Patrick McGrath  Andrew Rosenberger  1 GUITAR Rya n Kelly Trenton Stafford 1 ‘ PIANO William Sa nders [ / BASS J Lucas Hennessey 1 J e re my Raphael E DRUM SET n A nd res Castillo F LUT E Weijie Zhao ' 1 C LARINET E M arcella Green [ �Binghamt on University M usic Department ’s Co m i ng  E ven t s Friday, April 26 ­ Flute Studio and Flute Chamber Concert – 10:15 a.m. ­ Casadesus Recital Hall ­  free Friday, April 26 – Wind Symphony Concert: “The Divine Comedy ” – 8:00 p. m. – Anderson Center Chamber Hall – S 6 general public; $3 faculty/staft/seniors; free for students Friday, April 26 – Tri­Cities Opera presents Mascagni’s “CA VALLER/A   :00 p.m. – The Forum   / " ­ 8 RUS77CANA " and Leoncavallo'’s “PAGLIA CC Theatre – call (607) 772­0400 for tickets Saturday, April 27 – Master’s Rea’tal: 8r7’ster Hay IV, tenor ­ 3:00 p. m. ­ C asadesus Recital Hall – free Saturday, April 27 – Faculty Recital: Christopher Morgan Loy – 8:00 p.m. – C asadesus Recital Hall  – S 6 general public: $3 faculty/staft/seniors; free for students Sunday, April 28 – Senior Recital: David Gaita, piano – 7:30 p. m. – C asadesus Recital Hall – free Sunday, April 28 – Tri­Cities Opera presents Mascagni’s “ CA V ALLERIA    / " ­  3 :00 p.m. – The Forum RUST ICANA " and leonca val/o ‘s “PA Gl/A CC Theatre – call (607) 772­0400 for tickets Tuesday. April 30 – Percussion Ensemble Concert ­ 8:00 p.m. ­ Anderson Center Chamber Hall – $6 general public: $3 faculty/staff/seniors; free for students Wednesday. May I – Percussion Rea’tal: Devan Tracy and Andres Castillo – 8:00 p. m. – C asadesus Recital Hall  – free m m m m m m For  tickets or  to be  added  to  our email list, visit anderson.binghamton.edu or call (60 7) 7 7 7­ARTS.  For  a  complete  list  of  our  concerts  call  (60 7)  777­2592,  visit music.binghamton.edu or become a fan on Facebook. _  E  I f you were  inspired  by  this  performance, consider supporting  the Department  of  Music with a  financial gi ft. Your support  helps  to continue  the work  of students,  faculty,  and  guest  artists and  their contributions  to  our  community.  Please  make  your  donation payable  to  the  Binghamton  University  Music  Department,  and send  your  check  to  B U  Music  Department,  P.O.  Box  6 000, Binghamton, N Y  13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:02:01 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE129371">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE129371</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 Mid-day concert featuring jazz pianist Larry Ham, April 25, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Ham, Young, Greer, Romberg, Hammerstein. Held at 1:20 p.m., April 25, 2013, Osterhout Concert Theater. Creator An entity primarily responsible for making the resource Ham, Larry Hamme, Al Carbone, Mike Marino, Tony Roma, Joe Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2013-4-25 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/e50dedc0459dd6d601a6532c84984b32.pdf 84f5d9db8ece66469e66f2a328cb0c03 PDF Text Text BINGHAMTON U N I V E R S I T Y S TA T E   U N l V E R S I ’ Y   O F  N E W   Y O R K d e [4 e D E P A R T M E N T B i n g h a m t o n  U niver sit y W i n d  S ymphony presents TH E D EVEN E CQMEDY DANIEL FABRICIUS, CONDUCTOR Friday, April 26, 2013 8:00 p.m. Anderson Center Chamber Hall �UNIVERSITY WIND SYMPHONY PROGRAM Daniel Fabricius, Conductor PICCOLO  A LT O  SAXOPHONE  TROMBONE Andrea Dewhirst  Devan Kasinki  Veronica A. Mantilla  :  Christopher Murdock  TENOR SAXOPHONE  Kevin Clements  Eric Seaman  Neel Tarikeri © Daniel Romberger EUPHONIUM H a g ”  Dayan  OBOE  Brittany Wilson  J e r e  Gran  CLARINET  George Deutsch  Mary McGahay  Erin Annis  BARITONE SAXOPHONE  Philip H. Westcott  Toni Bruno  TRUMPET I  Jason Boniello  Brandon Young  Joshua Golub  Jared Biunno  TUBA Elliot Bowen Michael Burgner PERCUSSION Emily Goetz Benjamin Ramos Alexander Rava Wesley Roth Cara Natale  SATIRIC DANCES (1975). .. Norman Dell Joio (1913 – 2008) Vaclav Nelhybel (1919 – 1996) CORSICAN LITANY (1976) .. SALVATION IS CREATED (1912) Pavel Tschesnokoff (1882 – 1961 ) Arranged by Bruce H. Houseknecht GALOP, from the musical comedy, Moscow, Cheremushky (1958) Dmitri Shostakovich (1906 – 1975) Transcribed by Donald Hunsburger FLUTE  o b s   ‘Sickie R Nicole Safran  Stephanie Sheintul  David Mossissey  JooWon Kim  Dii ' n  ana S h  rfz C wa  BASS CLARINET  Molly Rice  Stephi Verhage  Robert Barley  FRENCH HORN  David Luther Lauren Corey Molly O’Brien Jeffrey Barker Christopher Beard Ryan Shumaker Justin Canaday Tyler P.  Steere Devan Tracy Alex Valera CONDUCTOR DANIEL FABRICIUS is the newly appointed conductor of the Binghamton University Wind Symphony.  Professor Fabricius has been a member of the music faculty since 1992,  serving as  percussion  instructor for twenty  years  before  accepting  this new ro’INTERMISSION­é SYMPHONY NO. 1, The Divine Comedy (1995) .. Robert W. Smith (b. 1958) 1.  The Inferno 2.  Purgatorio 3.  The Ascension 4.  Paradiso appointment.  H e  holds degrees from Mansfield University and Ithaca College and has studied conducting with Donald Stanley (Mansfield University), Rodney Winther (Ithaca College), Stephen Peterson (Ithaca College), Col. Arnald Gabriel (US Air Force), and Mallory Thompson (Northwestern University).  In addition to his duties at BU he also serves as Director of Bands at Owego Free Academy where he has developed an outstanding instrumental music program that features a concert band, two jazz bands, and  various chamber music  ensembles.  He is highly regarded in the region  as a conductor. as a percussion performer, and  as  a music educator.  He has  been  a member of the Binghamton Philharmonic percussion section  since  1982  but is also comfortable performing in popular, rock, jazz, and other styles.  He has played as a free­ lance percussionist, accompanying national touring artists such as Michael W. Smith, Tommy  Tune,  Jerry  Vail,  Lorrie  Morgan,  Ringling  Brothers  Circus,  the  Smothers Brothers, and Ella  Fitzgerald.  Professor Fabricius has served the New York  State School Music Association as an All­State Percussion adjudicator for many years.  He also serves NYSSMA as the Instrumental Jazz Reviews editor of The School Music News and is the Jazz Editor for the NYSSMA Manual.  In addition to his collegiate work at BU, he has also served Ithaca College as a consultant, as a member of the Summer Session faculty, and as a cooperating teacher for over 30 student teachers.  He also serves the Summer Music Academy at Ithaca College as a percussion instructor and jazz ensemble conductor.  He has presented many clinics at music conventions and conferences and often serves as a guest conductor for honor band festivals. �Vaclav  Nelhybel  (1919  ~ 1996)  was  born  the  youngest  of  five  children  in  Polanka. Czechoslovakia. He studied at Prague University, the University of Frlbourg in Switzerland and at the Prague Conservatory, beginning his career in 1939 as conductor at Radio Prague. In 1950, PROGRAM NOTES SATIRIC  DANCES  ­  The  Town  of  Concord,  Massachusetts  wished  to  make  a tangible recognition of the Bicentennial of April 19, 1775.  The commission of Satiric Dances was funded by the Town of Concord and assistance was given by the Eastern National Park and Monument Association in cooperation with the National Park Service.  Once the band had decided on a composer,theycouldonlyhopehewouldagreetowriteanewworkforthesmallfeetheyhad available to pay. Norman Dello Joio accepted the commission and took a special interest in the project and even attended band rehearsals to offer suggestions on the perfonnance. After the scheduled performance was rained out, Satiric Dances was premiered on July 17, 1975 at Minuteman National Park with Norman Dello Joio and his family in attendance. Satiric Dances was published shortly after the premier.  Featuring Mediterranean folk dance influences it has been one of the bestselling and most performed pieces of the wind band repertoire. Dello Joio agreed to do the commission but stipulated it would be a piece he had used as background music fora comedy by Aristophanes. The most famous comic dramatist of ancient Greece, Anstophanes was born an Athenian citizen about 445 BC. His plays commented on the political and social issues of fifth century Athens and frequently employed satire. The first dance movement is annotated as allegro pesante. The brass entry signifies the importance of the work, but the brisk tempo keeps the simplicity of “peasantry” from being ponderous. Taking a much slower adagio mesto tempo, the second dance begins with a melancholy tune from the flutes and low brass. The movement has light and delicate features that are quite exposed. Its central theme might evoke thoughts of a dance in a meadow that eventually reverts into a more solemn theme. Without a break in the music, the final movement is introduced by the percussion section. The tempo is indicated as allegro spumante and is the fastest of the composition. The quick tums and dynamics evoke images of the objects that were the titles of Aristophanes’ plays: Clouds, Wasps, and Birds. CORSICAN LITANY ­ Music has often been used to express emotion. A strong sense of sorrow and vengeance is evident in Nelhybel’s Corsican Litany, composed in 1976. The composer has provided some background upon which this work is based: “In many parts of the world it was once common practice during burial ceremonies to have professional mourners dramatize the grief of the bereaved by means of loud and emotional lamentations, repeated endlessly like a chant. In some places, notably the Meditenanean countries, these laments were actually sung, usually by women who were skilled in this macabre art and could command pay for their services.“ “Corsican laments, like Corsican deaths, were divided into two types: the ordinary lamento for death from natural causes, and the vocero if the moumed had been murdered. The latter then became a song of grief so intense, so filled with pain, that it could only be assuaged by an act of direst vengeance. The murderer was accused and identified by name, and the singer solemnly swore to see to it that he who had murdered would pay for it with his life.” “Corsican Litany is based on a vocero first known to have been sung in 1775 at the funeral of a country doctor named Matju who had been murdered by his own patient, one Natale. The melody is introduced mournfully, but grows steadily in passionate intensity  until an  astonishing  climax  is  reached  in the  final  menacing oath  of vengeance.” he became  the  first musical director of Radio Free Europe in Munich, Germany. Nelhybel l immigrated to the United States in 1957, and became a citizen five years later. He  taught at several schools, including the University of Massachusetts Lowell and the University of Scranton (PA). where he was composer in residence at the time of his death. The creation of music was a driving force in Nelhybel’s life. He wrote over 600 compositions, which included orchestral works, operas, and  works  for  solo, small, and  full  concert  wind  ensembles.  Nelhybel  described European bands as “just functional marching units.“ In 1962, he received his first exposure to a concertband.Hewrote:'Thefirstband I heardplayedapiecebyPersichetti.anditwassogood Iiustcaugttfire. I wasfascinatedwiththepoasibilitiesolmatyoucandowithhalfanacreot clarineb,halfanacreofflutes,andhalfanacreofpercussionfiolsaidmrhynottryit?ldid,and itseemedtoopennewueativechannelsin mymind.‘ Itwastheenthusiasrnotthestudentsthat truly inspired him to compose. His music is complex and exciting; it employs linear counterpoint. freely dissonant harmonic textures, and forceful rhythms. Notable works for concert band include Trittico, symphonic Movement. and Processron to the End of Time. SALVATION IS CREATED  ­ Salvation Is  Created was  one  of the  very last sacred works composed by Pavel Tschesnokoff before the oppressive Soviet regime forced him to tum to secular arts. In 1917, the peasants of Russia started a revolution and ovenhrew the reign of the tsars. The new form of government that took over established communism. Among the many changes that resulted was the shutting down of the Russian Orthodox Church. The government held a great deal of control over the type of music composers could write, and music for the church was discouraged. Composers wrote sacred music at the risk of being killed or having their families taken. Tschesnokoff opted to save his family and himself and never wrote another piece of sacred music. Years after his death communism fell, the Berlin Wall came down and the Russian Orthodox Church opened its doors again. Salvation Is Created became the unofficial anthem of the church. Tschesnokofl never heard the piece performed. but his children were finally able to hear it years later. This piece was originally written as vocal music. The English translation is: “Salvation is created, in the midst of the earth, 0 God, 0 our God. Alleluia.” GALOP ­  Admirers of Shostakovich’s dramatic symphonies and concertos are likely to be unaware that the composer also wrote a very substantial quantity of lighter music as well, never scorning the possibility of creating a hit song. In his early days he composed incidental music and songs for many plays and even created a full­fledged operetta in the 1930s.  He composed film music throughout his career as well, for both tragic and comic tales. In 1958 Shostakovich returned to the operetta for a full­scale three­act work. Moskva, Cheryomushki (the title refers to a region in the city of Moscow), which opened on January 24, 1959, to substantial success. Dmitri Shostakovich (1906 ­ 1975) studied at the  Leningrad Conservatory under Glazunov, among others. Intemational fame came to Shostakovich at the age of nineteen when his powerful and mature First Symphony was performed in Leningrad, and later in Moscow. Following this success, his next works were disappointing and attacked by the Soviet press as a product of “bourgeois decadence.” Like many Soviet composers, Shostakovioh found himself constantly under pressure from restrictions imposed by the Soviet musical world with its concem for the moral  and  social. rather  than  the  purely aesthetic aspects of music. The  musical  style of Shoslakovich remains unbalanced with works containing crude parodies, programmatic devices. and conventional simplicity countered by works of originality, distinction, and significance. �THE DIVINE COMEDY ­ Based on Dante Alighieri‘s literary classic of the same name, The Divine Comedy is the subtitle for Flobert W. Smith’s Symphony No. 1.  The story of Dante’s “The Ascension'­ The movement begins with Dante on the Mountain of Purgatory. Having been instructed and purified in Purgatory, he is prepared for his journey to Paradise.  Beatrice, his Paradise and attains a glimpse of the face of God. to discover wonderful music, the music of the spheres, surrounding them.  Swifter than thought, their flight of incredible speed begins. Dante and Beatrice, accompanied by sounds of wondrous beauty and intensity, ascend to the Sphere of Fire. trilogy is basic: One day Dante finds himself lost in a dark wood.  Virgil, a character based on a revered Roman poet, appears and rescues him.  Virgil guides Dante to a contemplation of Hell and Purgatory.  Dante, having confessed his faults, and with Beatrice as his guide, is lead into “The Infemo” ­  Dante’s  vision of Hell consists  of nine  concentric circles divided into four categories of sin.  The principal theme behind the literary work is the concept of symbolic retribution. In other words, man’s eternal damnation in Hell is directly correlated to the character and weight of his sins on earth. Like Dante’s Inferno, the movement is divided into four sections. The opening melodic statement in the oboe represents the sins of “incontinence.”  As Dante finishes his relatively short journey through the sections of “The Inferno,” he is confronted with the Wall of Dis (the gate of Hell). The next section is structured around the sins of “violence” with its incredibly intense storms and fiery sands.  The crimes of “ordinary fraud” follow the violent sinners.  The composer used the sin of hypocrisy as visual imagery in the formation of this section of the musical work. Dante describes the hypocrites as they file endlessly in a circle. clothed in coats of lead, which represent the weight of the hypocrisy on earth. The final section of “The Inferno” features the sins of “treacherous fraud.” As Dante enters this circle of Hell, he hears the dreadful blast of a bugle. “Not even Roland’s horn, which followed on the sad defeat of Charlemagne had lost his holy army, was as dread as this.”  Dante and Virgil are lowered into the last section of Hell by giants who are constantly pelted with bolts of thunder. As their journey nears the end, they are confronted with the sight of Dis (Lucifer), whose three mouths are eternally reading Judas, Brutus. and Cassius. Dante and lfirgil climb down the flanks of Lucifer, exiting to the other hemisphere and leaving the fiery world of “T he Inferno” behind. “Purgatorio"­ Dante, having completed his journey the “The Inferno,” is brought by Virgil to the shores of the island Mountain of Purgatory in the midst of the southern ocean.  The mountain is comprised of seven terraces, each representing one of the “seven deadly sins.” In each terrace, sinners are given an appropriate penance which is symbolically tied to their transgressions on earth.  The suffering endured is accepted voluntarily by the spirits in atonement for their sins. The composer has woven together musical elements which depict each of the sins of the seven terraces.  For example, the sin of the first terrace is “pride.”  The souls plod slowly around the mountain, bowed double by huge rocks on their backs. As the composition develops, the sounds of lamenting souls, dragging their heavy loads, can be heard against the haunting melody line. The souls of Purgatory are often musical beings: they express their sensations in songs, hymns, and psalms.  Purgatory is  the realm of hope, where  the  proud, envious, wrathful, slothful, prodigal (avaricious), gluttonous, and lustful make atone for their sins on earth.  As Dante and Virgil continue up the mountain, they feel a violent quaking at which all of the spirits proclaim “Gloria in Excelsis Deo!” (Glory to God in the Highest). Dante teams that the quaking signals the completion of one soul‘s penance, for which all other souls give thanks.  The completion of the penance allows the soul to ascend to “Paradiso” (heaven), taking his or her rightful position in relation to God. guide, lifts her eyes toward the sun. Following her example, Dante looks to the sun and is at that moment transformed (“trans­humanized") in preparation for his great adventure.  He is surprised “Paradiso” – Dante has ascended at an  incredible speed from the  top of the  Mountain of Purgatory to the first sphere of the heavens.  He is enamored with the sight of light, growing brighter and more intense with each sphere of his journey. The composer has called upon mallet percussion instruments to represent those beams of light. Beginning with a single tone (beam), the intensity grows with each entrance until we are surrounded by sights of multiple colors and complexities.  As the light engulfs the listener, we are presented with the sounds of joy, peace, love, and hope...growing ever brighter as the journey through the spheres progresses. As the listener arrives at the Empyrean (the region of pure light), the “Music of the Spheres,” first introduced in The Ascension (Movement Ill), is restated in brilliant fashion by the brass section. The light continues to intensify as the woodwind colors swirl around the brass figures. The sights and sounds grow even brighter as Dante sees a river of light which transforms into a great rose at whose center is the wonderful source of the lights. Upon the petals are seated the saints, clad in the whitest of robes. Angels fly, like swarms of bees, up from the heart of the rose petals, their faces of living flame, their wings of gold, and their bodies white as the purest snow. Dante looks to  the highest tier, where Mary sits enthroned, surrounded by a thousand angels.  Mary is surrounded by heroines of the Old Testament: Eve, Rachel, Sarah, Rebecca, Judith, and Ruth. On Mary’s opposite side are the male figures of the Christian era: John the Baptist, St. Francis, St. Benedict, and St. Augustine, as well as Adam, Peter, Moses and John the Apostle.  The lower tiers of the rose are filled with thousands of infants, purified in their glorious innocence. With a gracious smile from the Virgin Mary, Dante is permitted the Beatific Vision.  He lifts his eyes toward the heart of the rose. With one blinding light, he recognizes three separate lights in the form of interlocking circles (a symbol of the Trinity).  Within one circle he perceived the dim image of a human face, a reminder that God, through Christ, lived and still lives as man on earth. �Binghamton University Music Department’s Coming Events M M Saturday, April 27 – Master’s Recital: Brister Hay IV, tenor – 3:00 p.m. – Casadesus Recital Hall – f ree Saturday, Apri127 – Faculty Recital: Christopher Morgan Loy – 8:00 p.m. – Casadesus Recital Hall – $6 general public; $3 faculty/staff/seniors; free for students Sunday, Apri128 – Senior Recital: David Gaita, piano – 7:30 p.m. – Casadesus Recital Hall – free Sunday, April 28 – Tri­Cities Opera presents Mascagni’s ”CA VALLERIA RUSTICANA” and Leoncavallo’s “PAGLIACCI”– 3:00 p.m. – The Forum Theatre – call (607) 772­0400 for tickets Tuesday, April 30 – Percussion Ensemble Concert – 8:00 p.m. – Anderson Center Chamber Hall – $6 general public; $3 faculty/staff/seniors; free fo r  students Wednesday, May 1 – Percussion Recital: Devan Tracy and Andres Castillo – 8:00 p.m. – Casadesus Recital Hall – free Thursday, May 2 – Opera Scenes – 8:00 p.m. –Anderson Center Chamber Hall – 56 general public; $3 faculty/staff/seniors; free for students Friday, May 3 – Music fr o m  the Seminar (Christopher Loy’s Class) – 8:00 p.m. – Casadesus Recital Hall – f ree Saturday, May 4 – Master’s Recital: Molly Adams­Toomey, mezzo­soprano – 8:00 p.m. – Casadesus Recital Hall – free Sunday, May 5 –University Symphony Orchestra and Chorus: Schubert’s “Unfinished Symphony” & Duruflé’s ”Requiem” – 3:00 p.m. – Osterhout Concert Theater – 56 general public; $3 faculty/staff/seniors; f ree fo r  students Wednesday, May 8 – Nukporfe African Dance­Drumming Ensemble – 7:00 p.m. – Watter’s Theater – $3 general admission a t  the door m –  l  —  m For tickets or to be added to our email list, visit anderson.binghamton.edu or call (607) 777­ARTS.  For  a complete list of our concerts call (607) 777­2592, visit music.binghamton.edu or become a fan on Facebook. If you were inspired by this performance, consider supporting the Department of Music with a financial gift. Your support helps to continue the work of students, faculty, and guest artists and their contributions t o  our community. Please make your donation payable to the Binghamton University Music Department, and send your check to BU Music Department, P.O. Box 6000, Binghamton, NY 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 57:07 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE130157">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE130157</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 Binghamton University Wind Symphony presents The Divine Comedy, April 26, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Nelhybel, Chesnokov, Shostakovich, Smith. Held at 8:00 p.m., April 26, 2013, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource University Wind Symphony Fabricius, Daniel Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2013-4-26 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/f6c4dd06a41fdccfde53e25c4efaa38d.pdf 52723d91fae2d1c518ab4eb0422d8169 PDF Text Text BINGHAMTON U N I V E R S I T Y  ­ S T A T E   U N I V E R S I T Y   O F  N E W   Y O R K [4 wdee D E P A R T M E N T MASTER’S RECITAL Brister Hay IV, tenor John Isenberg, piano Saturday. April 27. 2013 3:00 p.m. Casadesus Recital Hall �PROGRAM Per la Gloria d’adorarvi. .Giovanni Bononcini (1670­1747) Alessandro Scarlatti Le Violette (1660­1725) Alma del core. . Antonio Caldara Caro mio Ben. . Giussepe Giordani (1751­1798) Gia iI sole dal Gange Alessandro Scarlatti (1660­1725) (1670­1736) Die Schone Mullerin excerpts .  Das Wandern  Wohin? Halt! Danksagung An den Bach Der Neugierige . Franz Schubert (1797­1828) mlNTERMlSSIONw . Lee Hoiby I have a dream.  (1926­2011) Drink to me only with thine eyes.  Where the music comes from. You‘ll never walk alone Because. .. Roger Quilter (1877­1953) Lee Hoiby (1926­2011) . Richard Rogers (1902­1979) and Oscar Hammerstein Jr. (1895­1960) Guy d’Hardelot (1858­1936) �TRANSLATIONS ABOUT THE PERFORMERS BRISTER HAY IV. tenor. was a recipient of the Clark fellowship while pursuing his MM degree at SUNY Binghamton University. JOHN ISENBERG. a native of Endicott, NY, holds a Bachelor’s Per Ia glorIa d’adorarvi voglio amarvi. o luci care. Amando penero, ma sempre v’amero. si. sl, nel mio penare, For the glory of adoring you I want to love you. oh dear eyes. In love I will suffer, yet always I will love you, Yes, in my suffering penero, I will suffer. I will love you, dear. dear eyes. Senza speme di diletto v’amero. radio broadcasts of numerous Opera/ogue preview performances Iuci care! Without a hope of pleasure It is vain affection to sigh. Yet your sweet glance Who can ever admire them, No, and not love you? I will suffer. I will love you, with various other groups in the Binghamton area, including the Le Vlolette Rugiadose Odorose Dewy Scented Degree in Music and a Master’s Degree in Italian Literature from Binghamton  University.  He performs  many  different  musical genres including Opera, Gilbert and Sullivan, classical Art Song. Broadway, Celtic. Rock. and many styles of sacred music. For 11 years, John worked for the Tri­Cities Opera in Binghamton. NY, first  as  Accompanist,  then  later  as  Education  Outreach Coordinator and Chorus Master.  As part of Opera­Go­Round touring  program,  he  organized  over  300  performances  and accompanied  over  500  performances  throughout  New  York State  and northern  Pennsylvania.  John has  played  for  WSKG including  Puccini’s  Madama  Butterfly.  Donizetti’s  Lucia  a’i Lammermoor and Mozart’s  The Ma gic Flute.  He has worked Madrigal  Choir  of  Binghamton.  the  Binghamton  Downtown Singers and SRO  Productions. John is also the Organist/Pianist and  Choir  Director  at  Sarah  Jane  Johnson  Memorial  United Methodist Church in Johnson City. v’amero, luci care. vano affetto é sospirare, ma i vostri dolci rai chi vagheggiar pud mai e non, e non v’amare? penero, Violette graziose, Voi vi state Vergognose, Mezzo ascose Fra Ie foglie, dear, dear eyes. Pretty violets, You are standing Shy. Half hidden Among the leaves, E sgridate And you scold My desires, That are too ambitious. Alma del core, Spirto dell’alma, Soul of my heart, Spirit of my soul, Always contantly will I adore you! I will be contented In my torment If only I could kiss that beautiful lip. Le mie voglie. Che son troppo ambiziose. Sempre costante t’adorero! Saro contento NeI mio tormento Se quel bel labbro baciar potro. �Caro mio ben. credimi almen. senza di te Ianguisce il cor. My dear beloved. believe me at least, without you my heart languishes. ll  tuo fedel sospira ognor. Cessa, crudel. tanto rigor Your faithful one always sighs: Gia il sole dal Gange Already. from over the Ganges, the sun Sparkles more brightly And dries every drop of the dawn, which weeps. Piu chiaro sfavilla, E terge ogni stilla Dell’alba che piange. Col raggio dorato Ingemma ogni stello. E gli astri del cielo Dipinge nel prato. Das Wandern ist des Muller; Lust. Das Wandern! Das mull ein schlechter Muller sein. Dem niemals fiel das Wandern cease, cruel one. so much punishment! With the gilded ray It adorns each blade of grass: And the stars of the sky It paints in the field. Das sehn wir auch den Rédern ab. Den Radern! Die gar nicht gerne stille stehn, Die sich mein Tag nicht mude drehn. Die Rader. Und wollen gar noche schneller sein, Die Steine. O Wandern. Wandern, meine Lust, O Wandern! Herr Meister und Frau Meisterin, LaBt mich in Frieden weiterziehn Und wandern. Wohln? Ich hort ’ ein Bachlein rauschen Wohl aus dem Felsenquell. Hinab zum Tale rauschen So frisch und wunderhell. The stones! Oh, wandering. wandering. my joy. Oh. wandering! Oh. Master and Mistress. Let me continue in peace, And wander! I hear a brooklet rushing Right out of the rock’s spring. Down there to the valley it rushes, So fresh and wondrously bright.. I know not, how I felt this, Nor did I know who gave me advice: I must go down With my wanderer’s staff. Hinunter und immer weiter Und immer dem Bache nach. Und immer frischer rauschte Und immer heller der Bach. Down and always farther, And always the brook follows after; And always rushing crisply, And always bright is the brook. It‘s always thinking of its Ist das denn meine Strafie? O Béchlein, sprich, wohin? Du hast mit deinem Rauschen Mir ganz berauscht den Sinn. Is this then my road? 7 O, brooklet, speak! where to?  You have with your rushing Entirely intoxicated my senses. We see this also with the wheels, With the wheels! Was sag ich denn von Rauschen? Das kann kein Rauschen sein: Es singen wohl die Nixen Dort unten ihren Reihn. But why do I speak of rushing? That can’t really be rushing: Perhaps the water­nymphs are singing rounds down there in the deep. He must be a miserable miller. Who never likes to wander. Wandering! Das Wandern. Das Wasser. Die Steine! Sie tanzen mit den muntern The stones themselves, heavy though they are. The stones! They join in the cheerful dance, And want to go yet faster. Nicht, wer den Rat mir gab, Ich muBte gleich hinunter Wandering is the miller’s joy, Wandering! ein. Vom Wasser haben wir’s gelernt, Vom Wasser! Das hat nicht Rast bei Tag und Nacht. lst stets auf Wanderschaft bedacht. Die Steine selbst, so schwer sie sind. We’ve learned this from the water. From the water! It does not rest by day or night. journey, The water. They don’t like to stand still. And turn all day without tiring. With the wheels. Ich weiB nicht, wie mir wurde. Mit meinem Wanderstab. �Let it sing, my friend. let it rush. And wander joyously after! Der Neugierlge Ich frage keine Blume, I ask no flower, 1 ask no star: In each clear brook. Sie kénnen mir nicht sagen, Was ich erffihr so gern. know. Eine Muhle seh ich blicken Aus den Erlen heraus, Durch Rauschen und Singe Bricht Radergebraus. I see a mill looking Out from  the alder s: Through the roaring and singing Bursts the cla tter of wheels. Ich bin ja auch kein Gartner. Ei willkommen. ei willkommen. Stiller Muhlengesang! Und das Haus. wie so traulich! Und die Fenster. wie blank! Hey, welcome. welcome! Sweet mill­song! Und die Sonne. wie helle Von Himmel sie scheint! Ei. Bachlein. Iiebes Bachlein, War es also gemeint? And the sun, how brightly it shines from Heaven! Hey, brooklet, dear brook, Was this, then. what you meant? Danksagung an den Bach War es also gemeint, Was this, then, what you meant. My rushing friend? Your singing and your ringing? LaB singen. Gesell, laB rauschen Und wandre frohlich nach! Es gehn ja Muhlenrader In jedem klaren Bach. Halt! Mein rauschender Freund? Dein Singen. dein Klingen. War es al so gemeint? Zur Mullerin hin! So Iautet der Sinn. Gelt. hab’ ich’s verstanden? Zur Mullerin hin! Hat sie dich geschickt? Oder hast mich bertickt? Das mocht ich noch wissen. Ob sie dich geschickt. Nun wie’s auch mag sein. Ich gebe mich drein Was ich such’, ist gefunden, Wie’s immer mag sein. Nach Arbeit ich frug. Nun hab ich genug Far die Hande, furs Herze Vollauf genug! Mill­wheels turn And the house, so comfortable! And the windows, how clean! Was this what you  meant? To the Millermaid! it seems t o say... Have I understood? To the Millermaid! Has she sent you? Or am I deluding myself? I would like to know, Whether she has sent you. Now. however it may be, I commit myself! What I sought. l have found. However it may be. After work I ask. Now have I enough for my hands and my heart? Completely enough! Ids frage keinen Stern. None of them can  tell me, What I so  eagerly w ant to I am surely not a gardener, Die Sterne stehn zu hoch: Mein Bachlein will  ich fragen. The stars stand too  high: My brooklet will I ask, Whether my heart has lied to me. O Bachlein meiner Liebe, Wie bist du heut so  stumm? Will ja nur eines wissen, Ein Wortchen um und um. O brooklet of my love, Why are you so quiet today? Ja heith das eine Wortchen, Das andre heiBet Nein, Die beiden Wortchen SchlieBen die ganze Welt m ir ein. The one little word is “Yes": The other is “No", Both these little words Make up the entire world to me. O Bachlein meiner Liebe. Was bist du wunderlich! Will‘s ja nicht weitersagen, Sag, Bachlein, liebt sie mich? O brooklet of my love, Why are you so strange? I’ll surely not repeat it: Tell me, o brooklet, does she love me Ob mich mein Herz belog. I want to  know just one thing ­ One little word again and again. �I Have A Dream I have a dream that one day this nation will rise up. and live out the true meaning of its creed. We hold these truths to be  self­evident, that all men are  created  equal.  I  have  a  dream, that  one day  on the red­hills  of Georgia, sons of former slaves and sons of former slave owners will be able to sit down together at the table of brotherhood. I have a dream. I have  a  dream.  that  one  day,  even  the  state  of Mississippi.  a  state sweltering with the heat of oppression will be transformed into an oasis of freedom and justice. I have a dream. That my four little children will one day live in a nation where they will not be judged by the color of their skin, but by the content of their character. I have a dream.  I have a dream. That one day right down in Alabama little black boys and black girls will be able to join hands with little white boys and white girls as sister’s and brother’s, I have a dream today. That every valley shall be exalted. and every mountain and hill shall be made low. the rough places will be made plain and the crooked places will be made straight and the will of the lord shall be revealed and all flesh shall see it together.  This is our hope. this  is  our faith.  and with  this  faith we  will transform  the jangling discord of our nation. into a beautiful symphony of brotherhood. with this faith we will be able to work together. pray together. struggle together. go to jail together. stand up for freedom together. knowing that we will be free one day the day that all God’s children, will  be able to sing. with new meaning. My country tis of thee sweet land of liberty of thee I sing, land where my fathers died. land of the pilgrim’s pride, from every mountain side, let freedom ring! Let freedom ring!  From the prodigious hilltops of New Hampshire let freedom ring. from the mighty mountains of New York. let freedom ring! From the high Alleghenies of Pennsylvania let freedom ring. from the snow capped rockies of Colorado. let freedom ring! From the curvaceous  slopes  of  California, let  freedom  ring.  Not  only  that! Let freedom ring  from  Iookout­ mountains of Tennessee, let freedom ring from every hill and mole hill of Mississippi. from every mountain side, let freedom ring!  When we let freedom ring. when we let it ring from every village. and every hamlet. from every state and every city, we will speed up  that  day.  when  black  men  and  white  men.  jews  and  gentiles, protestants and catholics, will be able to join hands and sing! Free at last! Free at last! Thank God almighty! We‘re Free At LAST!!! Drink to me only with thine eyes and I will pledge with mine. Or leave a kiss within the cup and I’ll not ask for wine. The thirst that from the soul doth rise, and ask the drink divine, but might  I of Jove‘s nectar sup, I would not change for thine. I sent thee late a rosy wreath, not so much honouring thee As giving it a hope that there it could not wither be. but thou there on dids‘st only breathe. and senst it back to me. Since when it  grows, and smells, I swear. Not of itself but thee. Where the Music comes from I want to be where the music comes from where the clock stops where its now. I want to be with the friends around me who have found me. who show me how. I want to sing to the early morning see the sunlight melt the snow, and Oh, I want to grow. I want to wake to the living spirit. here inside me. where it lies. i want to listen till I can hear it. let it guide me. and realize. that I can go with the flow unending that is bending that is real. and oh. I want to feel. I want to walk in the earthly garden far from cities far from fear. I want to talk to the growing garden. to the devas. to the deer. and to be one with the breezes blowing. rivers flowing. skies above. And oh. I want to love. You’ll never walk alone When you walk through a storm. keep your chin up high. and don‘t be afraid of the dark. at the end of the storm is a golden sky, and the sweet silver song of a lark. Walk on through the wind walk on through the rain, though your dreams be tossed and blown. walk on. walk on. with hope in your heart. and you’ll never walk alone. you’ll never walk alone. Because Because you come to me. with naught say love. and hold my hands and lift mine eyes above, a wider world of hope and joy I see, because you come to me. Because you speak to me in accent sweet. I find the roses quaking round my feet, and I am led through tears and joy to be. because you speak to me. Because God made thee mine. I’ll cherish thee through light and darkness through all time to be. and pray his love. may make our love divine. Because, God made Thee minell �Binghamton University Music Department’s Coming Events Saturday, April 27 – Faculty Recital: Christopher Morgan Loy – 8:00 p.m. – Casadesus Recital Hall ­ $6 general public; $3 faculty/staff/seniors; free for students Sunday, April 28 – Senior Recital: David Gaita, piano – 7:30 p.m. – Casadesus Recital Hall – free Sunday, April 28 – Tri­Cltles Opera presents Mascagni’s “CA VALLERlA RUSTICANA” and Lacncavallo’s ‘PAGLIACCI"­ 3:00 p.m. – The Forum Theatre – call (607) 772­0400 for tickets Tuesday, April 30 – Percussion Ensemble Concert – 8:00 p.m. – Anderson Center Chamber Hall – $6 general public; $3 iaculty/stali/seniors; free for students Wednesday, May 1 – Percussion Recital: Devan Tracy and Andres Castillo – 8:00 p.m. – Casadesus Recital Hall – free Thursday, May 2 – Mid­Day Concert–  1:20 p.m. – Anderson Center Chamber Hall ­ free Thursday, May 2 – Opera Scenes – 8:00 p.m. – Anderson Center Chamber Hall – $6 general public ; $3 laculty/stali/seniors : free for students Friday, May 3 – Music from the Seminar (Christopher Lay’s Class) –7 p.m. – Casadesus Recital Hall – free Saturday, May 4 – Master‘s Recital: Molly Adams­Toomey, mezzo­soprano – 8 p.m. – Casadesus Recital Hall – free Sunday, May 5 – University Symphony Orchestra and Chorus: Schubert’s “Unfinished Symphony” & Dumflé's “Raqulom"– 3:00 p.m. – Osterhout Concert Theater – $6 general public; $3 faculty/staff/seniors; free for students Wednesday, May 8 – Nukporfe A frican Drumming and Dance Ensemble – 7:00 p.m. – Walter’s Theater – $3 general admission at the door M M For tickets or to be added to our email list, visit anderson.binghamton.edu or call (607) 777­ARTSt For a complete list of our concerts call (607) 777­2592, visit music.binghamton.edu or become a fan on Facebook. E  O _  f If you were inspired by this performance, c onsider supporting [ = ]   the Depart ment of  Music with a financial gift. Your support helps   to continue the work of students, faculty, and guest artists and their  contributions  to  our  community,  Please  make  your donation  payable  to  the  Binghamton  University  Music Department, and send your check to BU Music Department, P.O. Box 6000. Binghamton, NY 73902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 52:55 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE130160">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE130160</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 Master's recital with Brister Hay IV and John Isenberg, April 27, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Bononcini, Scarlatti, Caldara, Giordani, Schubert, Hoiby, Quilter, Rodgers, Hammerstein, d'Hardelot. Held at 3:00 p.m., April 27, 2013, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Hay, Brister Isenberg, John Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2013-4-27 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/57ad13f8329371f802fd5e4298e22960.pdf 72506a8d56673d489954fa92b4f82329 PDF Text Text BINGHAMTON U  N  I  V E R  S I  T  Y S T A T E   U N I V E R S I T Y   O F  N E W  Y O R K D E P A R T M E N T C HRISTOPHER M   ORGAN L O Y COMPOSER/ PIANIST S a t ur d a y ,  A p ri l  2.7, 2.016 8 : 00  p­m. ( a sa des us R   ec i t a l  H a l l �FROGKAM Sonatina #3 in g minor D408 . .   Allegro guisto Andante Menuetto Allegro moderato Selected Songs F. Schubert Two Songs on Poems of Walt Whitman How sweet the silent backward tracings . . . . . C .M.  Loy Af ter the Dazzle of Day William Hurley, vi olin Christopher Morgan Loy, piano W.A. Mozart Three Songs..  . Das Veilchen Als Luise die Brief e Ridente la calma Selected Piano Works Voices of the Woods, Op. 13, no. 5 ln Memorium : Jamie Cannon, O p. 56, no. 6 Kerianna Krebushevski, soprano C.M. Loy, piano C.M. Loy Homage to Steven Stucky, Op. 56, no. 7 Inner Lights (Sona ta for Violin and Piano)", Op. 58 ......C M. Loy C.M. Loy, piano Lento reflective, Allegro assai, Allegro Flowingly Allegro G. Faure Selected Songs  Chanson d ’amore Apres un réve Kerianna Krebushevski, soprano C.M. Loy, piano ®INTERMISSIONe3 William Hurley, vi olin C.M. Loy, piano *Premiere performance �NOTES ON THE MUSIC Sonatina in  G Minor Franz  Schubert  composed  three  violin  works  commonly  called  the “sonatinas” during the spring of 1816 when he was 19 years of age. Schubert called these works sonatas, and they remained in manuscript form during his lifetime. When Anton Diabelli published them in 1836, he named them sonatinas in order t o  a cquire the amateur market. These  works  are  straightforward,  beautiful  and  elegant  and  have remained a favorite with violinists and pianists since Schubert and his friends first performed them. The Sonatina in G Minor is dramatic and lyrical and the dialogue between the violin and piano is fun. Voices of the Woods Felix Fernandez­Madrid, a friend and colleague who has a great love for usic, commissioned Seven Piano Pieces in  1984. He wanted a set of piano pieces for his musical interests and enjoyment.  “Voices of the Woods”,  the  fifth piece  of  the set,  conveys  the  restlessness  and sometimes forbidding nature of a mysterious forest. Homages  and  Fantasies  is  a set of eight piano pieces  premiered in Ithaca on November 19, 2011. The following two works are extracted from this set. In Memoriam: Jamie Cannon Jamie Cannon was a great friend. We were roommates when I lived in downtown Detroit. He was an  exceptional artist and craftsman, and with my compositional work and Jamie’s artwork, producti vity in the apartment was significant. When I received the news of his  passing, I sa t down i n  sorrow to remember him and to pay homage to him. This piece came forth.  Throughout the composition there are moments of reflection and remembrance interrupted by sudden bursts of anguish. In Memoriam.  ends with the main theme modulated up a step and continuing upward to an enigmatic resolution. Homage to Steven Stucky In this homage to one of the foremost American composers, I set out to honor his vibrant palette of harmonic coloration, while main taining my own musical energy. The piec e is  i n  a standard ternary form. The fi rs t part  exhibits  extended  triadic  harmony,  which  is  one  of  Stucky’s hallmarks, and the middle sec tion displays a musical portrai t of Steven Stucky’s name. I have had the  pleasure of working with Steven Stucky and  felt  this set  of  Homages  and  Fantasies  wouldn’t  be  complete without honoring him. Inner Lights l  composed Inner  Lights  (Sonata  for  Violin and Piano) in 2012.  It portrays the act of revealing the Light within us. The following quote served as inspiration: “The Light that is  begotten of the Life which has been begotten of Love, is a radiance: i t  is the radiance within with a soul. Light is the effect of magnetic action; i t  is a manifestation of magnetic power.” Life ’s Mysteries Unveiled by John Todd Ferrier Lento reflectivo, Allegro assai, Allegro The opening theme stated by the violin, represents the dual motion (ascending and descending) of Light from the Divine, as well as a call to the Light within each of us.  When the piano joins the call, harmony ensues.  The  fast,  jagged rhythms  signal a  transition  t o  day­to­day activities that interrupt harmony. The contra sting music that follows in 5/4 time is  lyrical and hopeful, encouraging continued effort on the path of spiritual initiation. After a return to the theme of ra pid music, the movement ends with a quote of the original opening theme. Flowing This movement begins with an intricate passage by  the piano, which provides the sound palette for the high floating melody of the violin. The melodic stream i s  contemplative and serene. An agitated middle section suspends the medita tive a ttributes of this movement, but the music soon returns to the flowing lines of the beginning. Allegro The final movement is  a celebration of joy and grati tude. The violin ’s firs t theme has the feeling of exuberance, and the high­spirited  energy is  maintained throughout the movement ’s several connected thema tic sections. ABOUT THE PERFORMERS KERIANNA  KREBUSHEVSKI  is  a  Junior  at  Binghamton  University pursuing a Bachelor of Music Degree in Voice. During her time here in Binghamton, Kerianna has performed the role of the firs t spirit in Tri­ Cities Opera Company’s production of Mozart ’s Die Zaubeflcite, and in the chorus for their productions of Puccini’s La Boheme and Verdi’s Il Trovatore. She is  currently in the chorus for Cavalleria Rusticana and Pagliacci  (Mascagni/Leoncavallo).  Last  semester,  Kerianna  also performed  the role of  Gretel in Humperdinck’s  Hansel and  Gretel, performed by  the University’s Opera Workshop class. Currently she is preparing for her Junior Recital, which will take place on May 10, 2013 a t Casadesus  Recital Hall in the Fine  Arts  building a t Binghamton University.  This summer  Kerianna  will  be traveling  to  ltaly  for  the month of June  to study voice and the Italia n language with the “Si parla, si Canta” program, organized by Benton Hess. She is very excited to see Italy for the firs t time and to further her studies. �ABOUT THE PERFORMERS (CONT.) Violinist WILLIAM HURLEY is an Ithaca­ba sed performer and teacher. In tha t capacity, he frequently finds himself a t the Community Sc hool of Music and Arts, Cornell University, The Binghamton Philharmonic, The Tri­Cities  Opera  Orchestra,  and  somewha t  less  frequently  with the Cayuga Chamber Orchestra, and The Orchestra o f the Southern Finger Lakes. He has found himself, in the pas t, wi th orches tras and chamber ensembles in GA, SC , WV, MD, PA, and AK. Serendipity has  landed him with a  fine group  of students  and  a lovely  and  talented  crowd  of colleagues with whom to collaborate.  In the chamber arena, he is  a member  of  DO  (violin  duo),  Three  (piano  trio),  The  Amity  String Quartet,  various New  Violin Family incarnations, Music ’s Recrea tion, partners guitarist Matthew Ocone, and fondly remembers  the DeVere String Quartet, The Archus S tring Trio, and various and sundry other collabora tions.  New  things are always i n  the works,  and ideas  are welcome. Otherwise, he is an apprentice with Luthier Robert Spear, serves on the board of Music ’s Recrea tion, plays Irish fiddle, gardens voracious ly, and a lternately  helps, confuses, a nd frightens the local string community in  his capacity as “the string guy” a t Hickey’s Music, where  he  has  worked  for  some  considerable  time.  He  lives  and meanders in the Danby area. CHRISTOPHER MORGAN LOY has presented annual recita ls in Ithaca featuring his new works since 1989. His  compositions include works for piano,  chamber  ensembles,  chamber  orchestra ,  full orchestra,  and chorus.  He has received more than 25 commissions from individuals and organizations since the 1980’s.  Loy’s music has been premiered in Cleveland, Detroit,  Houston, New York, San Francisco, San Antonio and Ithaca.  He earned the Doctorate of Musical Arts degree from Cornell University  in 1993. He has received grants from New York  State’s M eet the Composer  fund, the Gund Foundation, and the Cornell Council on the Creative Arts. In 1998, 2001 and 2008, he received the New York State Council on the Arts Decentraliza tion Program Grant  to compose his Serenade, a work for soprano, violin, bassoon and harpsichord, his String Qu artet #1 and Poet ic Rejuvenations,  a large­scale work  for five players and poet/narrator.  Loy serves as Professor of Theory and Compositi on  a t   Binghamton  University   and  teaches  piano  and compositi on a t the Community Sc hool of Music and Arts (CSMA). He is organist/ pianist a t the First  Baptist Church in  Ithaca. TRANSLATIONS Fauré Chanson d ’nmore I love your eyes, I love your face, 0 my rebellious, o my fierce one, I love your eyes, I love your lips Where my kisses will  exhaust themselves. I love your voice, I love the strange Gracefulness of everything that you say, 0 my rebellious one, o my dear angel, My inferno and my paradise! I love your eyes, I love your face, I love everything that  makes you beautiful, From your feet to your hair, 0 you, to whom ascend a ll  my desires! Aprés un réve In a slumber charmed by your image I dreamed of happiness, ardent mirage; Your eyes were more tender, your voice pure and clear. You were radiant like  a sky brightened by sunrise ; You were c alling me, and I left the earth To flee wit h you towards the light ; The skies opened their clouds for us, Splendors unknown, glimpses of divine ligh t. . . Alas! Alas sad awakening from dreams! I call to you, oh night, give me back your illusions; Return, return with your radiance, Return, oh  mysterious night! Loy Two Songs on poetry of Walt Whitman is  the first set of songs I composed. Iwas moved by the simplicity of the poems and set them accor dingly. How Sweet the Silent Backward Tracings How sweet the silent backward tracings! The wanderings as in dreams ­ the meditation  of old times resumed ~ Their loves, joys, persons, voyages. Af ter the Da zzle of Day After the dazzle of day is gone Only the dark, dark night shows to my eyes the stars After the clangor of organ majestic, or chorus, or perfect band Silent athwart my soul, moves the symphony true. Mozart Das Veilchen A violet grew in  the meadow, bent over and unrecognized, It was a lovable violet . A young shepherdess came by with a light step and cheerful mood, through the meadow, and she sang. The violet thought, “Ah, i f only I were the prettiest flower in all of Nature, just for a li ttle while, until that darling would pick me and press me fla t on her bosom, ah, just for a quarter hour. ” But a h, the girl  came and  did  not notice the violet. She trampled the poor violet! It sank down and died, and yet it was happy : “If I must die, at least I am killed by her feet . ” The poor violet! It was a lovable violet. �But alas, the man who wrote you, Als Luise die Briefe may perhaps burn for a long time yet Born of a fiery imagination, brought into the world in an hour in my heart. o f  r apture, go t o  destruction, you children of melancholy! You owe your existence to  flames ; Ridente Ia calma Calmness is smiling in my soul; no trace of anger or fear remains. now I give you back to flames along with all of the adoring songs, because, alas he did not sing only You will  arrive at any moment, my dear, to tie the bonds of marriage tha t are so welcome to  my heart. to me. You catch fire, and soon, you dear ones, there will be no trace of you. Binghamton University Music Department ’s Coming Events M M M M M M t b ­ M é é ­ Sunday, April 28 – Senior Recital : David Gaita, piano – 7:30 p.m. – Casadesus Recital Hall – free Sunday, April 28 – Tri­Cities Opera presents Mascagni ’s “CAVALLERIA RUSTICANA” and Leoncavallo’s “PAGLIACCI™­ 3:00 p.m. – The Forum Theatre – call (607) 772­0400 for tickets Tuesday, A pril 30 – Per cussion Ensemble Concert – 8:00 p.m. – Anderson Center Chamber Hall – $6 general public; $3 faculty/staff/seniors; free for students Wednesday, May 1 – Percussion Recital : Devan Tracy and Andres Castillo – 8:00 p.m. – Casadesus Recital Hall – free Thursday, May 2 – Mid­Day Concert – 1:20 p.m. – Anderson Center Chamber Hall – free Thursday, May 2 – Opera Scenes – 8:00 p.m. – Anderson Center Chamber Hall – $6 general public; $3 faculty/staff/seniors; free for students Friday, May 3 – Music from the Seminar (Christopher Loy ’s Class) – 7 p.m. – Casadesus Recital Hall – free Saturday, May 4 – Master’s Recital : Molly Adams­Toomey, mezzo­soprano – 8 p.m. – Casadesus Recital Hall – free M M M fi M M b M ­ fi n r b ‘ For tickets or to be added to our email list, visit anderson.binghamton.edu or call (607) 777­ARTS. For a complete list of our concerts call (607) 777­2592, visit music.binghamton.edu or become a fan on Facebook. if you were inspired by this performance, consider supporting _  . ' E   the Department of Music with a financial gilt. Your support helps E  to continue the work of students, faculty, and guest artists and their  contributions  to  our  community.  Please  make  your donation  payable  to  the  Binghamton  University  Music E :   Department,  and  send  your check to  BU Music Department, P.O. Box 6000, Binghamton, NY 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:06:05 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE130163">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE130163</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 Christopher Morgan Loy, recital, April 27, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Schubert, Loy, Faure, Mozart. Held at 8:00 p.m., April 27, 2013, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Loy, Christopher Morgan Hurley, William Krebushevski, Kerianna Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2013-4-27 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/e7c39f0fad67af194b26fce1715e026f.pdf 46e265a43e60ba73b1e18c711becf1c8 PDF Text Text BINGHAMTON 5  F e ) U  N  I  V  E  R  S  I  T  Y  S T A T E   U N I V E R S I T Y   O F  N E W  Y O R K D E P A R T M E N T D AVID GAITA: MUSIC B Y  THE PIANIST & COMPOSER Sunday, April, 28, 2013 7:30 p.m. Casadesus Recital Hall �PROGRAM Introduction by Shane Thorn J.S. Bach (1685­1750) Goldberg Variations. Aria .. .composed by Shane Thorn and David Gaita La Bicicletta ..  There is music by one composer and there is music by another. There is also music by both, neither, and most interestingly, from anywhere in between. Shane Thorn, vocals David Gaita, piano J.S. Bach (1685­1750) WTC Book I, Prelude in E major . . poetry by Mario Moroni composed by Dav id Gaita Recitare le Ceneri . Mario Moroni, reciter Briana Sakamoto, soprano David Gaita, piano R) INTERMISSIONC’J W TC Book 1. Prelude in Eb minor .  Veteran’s Day Parade (video recording).  .J.S. Bach (1685­1750) .David Gaita Daniel Salinas. vio lin I, Carmen Johnson­Péjaro, violin II, Benjamin Pochily, viola, Laura Andrade, cello Piano Sonata No. 5 Goldberg Variations. Aria da Capo .. .Alexander Scriabin (1872­1915) .J.S. Bach (1685­1750) �Binghamton University Music Department ’s Coming Events M b w m b m w b é b Sunday, April 28 —T  ri­Cities Opera presents Mascagnr’s “CA VALLERIA RUST/CANA " and   :00 p.m. – The Forum Theatre – call (607) 7720400 for   / " ­ 3 Leoncava/lo’s “PAGUACC tickets Tue’day, April 30 – Percussion Ensemble Concert – 8:00 p.m. – Anderson C en fer Chamber Hall – $6 gen eral public: $3 faculty/staff/seniors: free for students Wednesday. May I – Percussion Recital: Devan Tracy and Andres Castillo – 8:00 p. m. ­ Casadesus Recital Hall ~ free Thursday. May2 – Mid­Day Concert – 1:20 p.m. – Anderson Center Chamber Hall – free Thursday, May2 – Opera Scenes – 8:00 p.m. – Anderson Center Chamber Hall – $6 general public: $3 faculty/staf/seniors; free for students Friday. May 3 ­­ Music from the Seminar (Christopher Loy’s Class) – 7 p.m. ­ Casadesus Recital Hall – free Saturday, May 4 – Master’s Recital: Molly Adana­Toomey, mezzo­soprano – 8 p.m. – Casadesus Recital Hall – free S unday. May 5 – University Symphony Orchestra and Chorus: Schubert’s “Unfinished Symphony ” & Duruflé's “Requiem " – 3:00 p.m. – Osterhout Concert Theater – $6 general public: $3 faculty/staff/seniors; free for students Wednesday. May 8 – Nukporfe African Drumming and Dance Ensemble – 7:00 p.m. – Watter’s Theater – $3 general admission at the door Thursday. May 9 – Student Recognition Mid­Day Concert – 1:20 p.m. – Casadesus Recital Hall – free Thursday. May 9 – Recital/Masterclass:  Guest Artist Victor Chavez Jr.. clarinet­ 4:30 – 6 p.m. – Casadesus Recital Hall – free Thursday. May 9 – Harpur Chorale and Wbmen ‘s Chorus – 8:00 p.m. – Anderson C en fer Chamber Hall – $6 gen eral public; $3 faculty/staff/seniors; free for students Friday. May 10 – Junior Recital: Kerianna Krebushewki. soprano – 8:00 p.m. – Casadesus Recital Hall – free Saturday, May 11 – Sophomore Recital: Daniel Rosenau. organ – 4:00 p.m. – Trinity Memorial Church ­ free M é fi w m wia fl a fi w é fl a fi b For tickets or to be added to our email list. visit anderson.binghamton.edu or call (607) 777­ARTS. For a complete list of our concerts call (607) 777­2592, visit music . binghamfon.edu or become a_ fan on Facebook. – E  If   you  were  inspired  by  this  performance.  consider p   = [ = ]   supporting the  Department  of Music   with a  financial gift. Your support helps to continue the work of students, faculty, and guest artists and their contributions to our community. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:03:02 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE131574">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE131574</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 David Gaita: Music by the pianist and composer, April 28, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Bach, Gaita, Scriabin. Held at 7:30 p.m., April 28, 2013, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Gaita, David Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2013-4-28 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/0df8cc559a7cf5645eec4a8fee7d1d7c.pdf a20c701560be3ead27985f4bee32da4b PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E   U N I V E R S I T Y   O F  N E W   Y O R K [4 wdee D E P A R T M E N T UNIVERSITY  PERCUSSION ENSEMBLE CONCERT Julie Licata, Conductor Featuring Emily Goetz, Vibraphone Benjamin Ramos, Marimba Tuesday, April 30, 2013 8:00 PM Anderson Center Chamber Hall �PROGRAM PROGRAM NOTES Children’s Songs #9, #2, #14 (1973/1979) .. .Chick Corea (b. 1941) arr. David Steinquest Threads (2006) .  .  I.  Prelude (Aria I)  VI.  Chorus ll .  .  . Paul Lansky (b. 1944) Broken Silence (2002) . Mark Glentw orth (b. 1960) Emily Goetz, vibraphone Bloom ( 2011)  .. ....Ivan Trev ino (b. 19 8 3) October Night (1986). .. Michael Burritt Benjamin Ramos. marimba The Shape o f Things to C ome (2012) .. (b.1962) .. Nick Zammuto (b. 1975) Arr. SP201 3 Percussion  Ensemble Chick Corea’s  Children’s Songs No. 9, 2 and I 4  (1973 and 1979) were originally  written  for  piano,  violin  and  cello.  Tonight.  we  are performing only three of twenty short tunes in this collection.  Each song is  relatively  short,  containing  just  a  simple  theme  with  little  to  no development.  In the preface  of the annot ated version, Corea states that he aimed to “convey simplicity as beauty. as represented in the Spirit of a child.“ Threads  (2006).  written  for  So  Percussion  Ensemble  by  Princeton composition  professor  Paul  Lansky,  is  a  half­hour  long  cantata  for percussion quartet  in ten short  movements.  There  are  three  threads interwoven throughout the piece; arias and preludes that  focus on the metallic pitched  sounds  of the  vibraphones,  glockenspiel  and metallic pipes; choruses in which drumming predominates; and recitatives made largely  from  John  Cage­like  noise  instruments,  bottles,  flowerpots, crotales, etc.  The aims of the different threads are to highlight the wide range of qualities that percussion instruments are capable of, from lyrical and  tender  to  forceful  and  aggressive,  and  weave  them  into  one continuous texture,  Tonight we w ill perform tw o of the ten movements ­ the first metallic thread and a drumming chorus from the middle of the cantata. Broken Silence, by Mark Glentworth, is  one of three movements  from Vibraphone  Suite  No.  1  ­  the  others  being  limo and  Sunbell.  Each movement has been written in such a way that it can be performed as a solo, or as forming a part of the suite. Although Broken Silence was the first movement to be composed for the suite, the performer may change the order of the movements when performing the  whole suite.  Mark Glentworth is  a composer  living and working in London(UK), mostly known  for  his  solo  tuned  percussion  pieces  and  his  work  with Actor/Director Steven Berkoff. �The  Shape  of  Things  to  Come  is  the  penultimate  track  on  Nick lvan Trevino is a musician who wears many hats. He’s a rock drummer at heart, and brings  that  spirit  into  other  avenues  of his  life,  including classical  percussion, composing  and teaching.  Trevino  has  drummed. recorded and composed extensively  with  Break  of Reality.  a  national touring  cello  rock  band.  Bloom.  scored  for  four  marimbas,  weaves between minimalism and post­rock, reflecting the composer’s interest in bands like Radiohead and Explosions in the Sky.  Much like minimalism. post­rock  compositions  feature  motivic  ideas  that  develop  organically over time.  Rather than utilizing the verse­chorus form of standard rock music, post­rockers  tend to create an atmosphere of textures, utilizing thick  orchestrations and a wide range of dynamic.  With  Bloom. the Zammuto‘s self­titled album. Zammuto, released on April 3, 2012.  Prior to the release of this album, Nick Zammuto was a member of a band called The Books.  Zammuto is his first release after ending The Books project in early 2012.  The arrangement you will hear tonight was put together by all the current members of the percussion ensemble.  Each member contributed to the tasks of transcribing and notating the melody. rhythm  and  harmonies  of  the  recorded  song  on  an  open  internet program called Noteflight.  Once all the notes were transcribed. specific notes were assigned t o various percussion instruments. and parts were assigned. the ensemble played through the piece.  Upon hearing how the piece fit together at each rehearsal. all ensemble members contributed to composer created the same idea  of texture  and motivic development. decisions about how to add t o the piece. how to compensate for the while maintaining the energy and accessibility of the bands that inspired the  work.  Bloom  was  awarded  1“  Prize  in  the  2011  Percussive  Arts differences  between  the  original  instrumentations  and  the  chosen percussion instruments and how to make our interpretation of the piece unique. Society  Composition  Contest.  Trevino  is  currently  on  faculty  at  the Hochstein School of Music & Dance in Rochester. NY, where he teaches percussion, composition, and chamber music. He is also on faculty at the Eastman School of Music. where he teaches a course in music business. October Night was written in the fall of 1986 and was Michael Burritt‘s first  serious attempt  at composition.  The piece is dedicated to  famous marimbist Gordon Stout, a former teacher and good friend of Burritt. The work was inspired by the Dylan Thomas poem. Do Not Go Gentle Into That Good Night. The poem conveys two very powerful and very different  moods:  one of sorrow  and  deep  remorse  and the  other of aggression and anger.  Thus a piece in two movements evolved depicting these contrasting emotions.  The first movement is a chorale painting the sadness expressed in the poem of Thomas’ father’s impending death.  It is written in a romantic style and moves between the keys of C and B­flat major.  Movement Two is an energetic allegro depicting the intensity of the  poet’s  emotions  as  he  begs  his  father  to  fight  against  death.  It develops  motivically  through  the  use  of perfect  5ths  and  major  6ths separated by minor 2nds and augmented 4ths. it is in sonata form and concludes the work with the coda from the first movement. �UNIVERSITY PERCUSSION ENSEMBLE percussion from the University of North Texas (D.M.A.). University of Andres Castillo Emily Goetz Steve Olson Benjamin Ramos Alexander Rava Devan Tracy Andrew Williamson As an active performer and advocate of new music. Julie has developed relationships with many great composers. premiering and commissioning PERSONNEL About the Performers EMILY GOETZ is  a sophomore at  Binghamton University. majoring in computer science.  She has been playing percussion  for seven years. At BU, Emily has played in the University percussion ensemble and wind symphony  for two years.  Currently. she also plays in the Binghamton Community Orchestra and the Southern Tier concert band and formerly played  in  SUNY  Ulster’s  Community  Band  and  SUNY  New  Paltz’s College­Youth Symphony. BENJAMIN RAMOS  is  a  senior at  Binghamton University  majoring  in computer science and minoring in music.  Benjamin has participated in the percussion ensemble for 3.5 years and was previously featured as a soloist  for the spring 2011  concert.  After graduating, Benjamin would like to  pursue a software engineering job around the  Broome County area while also continuing his percussion studies. JULIE  LICATA  has  been  teaching  percussion  lessons  and  percussion ensemble at Binghamton University since Fall 2012.  Julie also serves as Assistant Professor of Music at State University of New York, College at Oneonta. At Binghamton University and SUNY College at Oneonta, Julie teaches  ensembles  and  private  lessons  that  span  a  wide  range  of percussion instruments and styles. and teaches a seminar course Music Cultures  of  the  World.  Julie  has  received  performance  degrees  in South Carolina (M.M.) and Capital University (B.M.). numerous works over the last ten years by composers such as  Thomas Licata.  Greg  Dixon,  Chapman Welch.  Scott  Comanzo.  Jude  Vaclavik. Steve Winstead and Brett Masteller. Significant recent  accomplishments include  performances  at  the  Society  for EIectro­Acoustic Music  in the United States (SEAMUS). the International Computer Music Conference (ICMC). New Music Focus Week at SUNY Oneonta, New Genre Festival in  Tulsa.  Oklahoma.  NOW  Music  Festival  at  Capital  University  and numerous  performances  at  the  Center  for  Experimental  Music  and lntermedia at the University of North Texas. In addition, Julie completed her D.M.A. from the University o f  North Texas in December 2009.  Her dissertation,  entitled  “Physical  Gesture.  Spatialization,  Form  and Transformation  in  Watershed I/IV.  for Solo Percussion and Real­Time Computer Span’a/Izaf/‘on by Roger Reynolds” includes several analytical approaches  demonstrated  through  embedded  video  excerpts  of  her performances of Watershed IV. In addition to contemporary  music performance and research.  Julie  is also active in the field of ethnomusicology.  Julie spent the summer of 2008 performing, recording and transcribing traditional drumming of the Ewe people in the Volta Region of Ghana.  She is currently planning a trip to Indonesia to study Balinese and Javanese gamelan. and a return to Ghana to continue her study of various regional music and dance styles. and specifically to study Ewe master drumming. �Binghamton University Music Department ’s Coming Events Wednesday, May I – Percussion Recital: Devan Tracy and Andres Castillo – 8:00 p.m. – Casadesus Recital Hall – free Thursday, May 2­ Mid­Day Concert – 1:20 p.m. – Anderson Center Chamber Hall – free Thursday, May 2 – Opera Scenes – 8:00 p. m. – Anderson Center Chamber Hall ­ $6 general public: $3 faculty/staft/seniors; free for students Friday, May 3 – Music from the Seminar (Christopher Lay’s Class) – 8:00 p.m. ­ Casadesus Recital Hall – free Saturday. May 4 – Master’s Recital: Molly Adams­Toomey, mezzo­soprano (tentative) – 8:00 p.m. – Casadesus Recital Hall – free Sunday, May 5  ­ University Symphony Orchestra and Chorus – 3:00 p.m. ­ Osterhout Concert Theater – $ 6 general public: $3 faculty/staft/seniors; free for students Wednesday. May 8 – Nukporfe African Drumming and Dance Ensemble – 7:00 p.m. – Watter'; Theater – $3 general admission at the door Thursday, May 9 – Student Recognition Mid­Day Concert ­ 1:20 p.m. – Casadesus Recital – free Thursday, May 9 – Recital/Masterclass: Guest Artist Victor Chavez Jr., clarinet – 4:30 – 6:00 p.m. – Casadesus Recital Hall ­ free Thursday, May 9 – Harpur Chorale and Women ' ;  Chorus­ 8: 0 0  p.m. ­ Anderson Center Chamber Hall ­ $6 general public: $3 faculty/staff/seniors; free for students Friday, May 10 – Junior Recital: Kerianna Krebushevski, soprano – 8: 0 0  p.m. Casadesus Recital Hall ­ free Saturday, May 11 – Sophomore Recital: Daniel Rosenau, organ – 4: 0 0  p.m. ­ Trinity Memorial Church– free M M M M M / B ’ M fi r b ’ For tickets or to be added to our email list, visit anderson.binghamtan.edu or call (607) 777­ ARTS. For a complete list of our concerts call (607) 777­2592, visit music.binghamton.edu or become a fan on Facebook. [ = ]  = [mu]  If  you  were  inspired  by  this  performance,  consider  supporting  the Department of Music with a financial gift. Your support helps to continue the work of students, f aculty, and guest artists and their contributions to E  E  our community. Please make your donation payable to the Binghamton University  Music  Department,  and  send  your  check  to  BU  Music Department, P.O. Box 6000, Binghamton, NY 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 46:54 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE128568">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE128568</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 University Percussion Ensemble concert, April 30, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Lansky, Glentworth, Trevino, Zammuto. Held at 8:00 p.m., April 30, 2013, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Smales, Joel Licata, Julie Goetz, Emily Ramos, Benjamin Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2013-4-30 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/1fedaf94eca25ee1bc10b6ea6c8430fa.pdf ba389f43eaa86f1ce75aa68a1b52e172 PDF Text Text BINGHAMTON U N I V E R S I T Y STATE  U N I V E R S I T Y   OF  N E W   Y O R K O w d e c D E P A R T M E N T 1”  11,f EE f_ J 1,112; A L Sun da y, A p ril  7,  2 013 3 p . m . Phelps Mansion Museum �PROGRAM Cinque, dieci, venti, trenta from Le Nozze di Figaro  Matthew Samluk (Figaro) Rachel Young (Susanna) In uonimi, in soldati  from Cosi fan Tu tte  Caidin Gofimer (Despina) Mab, la reine des mensonges.  from Romeo and  Juliette  Michael Celentano (Mercu tio) . W. A. Mozart (1756 ­ 1791) . W. A. Mozart (1756 ­ 1791) Je dis que rien ne m ’épouvante  from Carmen  Kerianna Krebushevski (Micaela) Georges Bizet (1838 ­ 1875) Card Aria (En vain pour éviter)  from Carmen  Emily Geller (Carmen) Georges Bizet (1838 ­ 1875) ra­INTERMISSIONfi . W. A. Mozart (1756 ­ 1791) Soave sia i l v  ento from Cosi fan Tu tte  . W. A. Mozart (1756­ 1791) Rachel Young (Fiordiligi) Daniela Rivera (Dorabe lla) Ma thew Samluk (Don Alfonso) Avente Torto.  from Gianni Schicchi  Giacomo Puccini (1858 ­ 1924) Hana Ryu (Rinuccio) Golden Days..  from The Student Prince  Michael Celentano (Engel) Cole Tornberg (The Pr ince) Mr. Snow  from Carousel  .. W. A. Mozart (1756 ­ 1791) Ambroise Thomas (1811 ­ 1896) Sull’ aria.  from Le Nozze di Figaro  Caitlin Gotimer (Coun tess) Elizabeth Keyes (Susanna) .Charles Gounod (1818 ­ 1893) .  Jacques Offenbach Barcarolle.  (1819 ­ 1880) from Les Contes D’Hoffman  Molly Adams~Toomey (Giulietta) Emily Geller (Nicklausse) La  c i darem la mano  from Don Giovanni  Charles Hyland (Don Giovanni) Christina Santa Maria (Zerlina) Me voici dans son boudir.  from Mignon  Daniela Rivera (Frédéric) Rodgers and Hammerstein 11 (1902 ­ 1970) (1895 ­ 1960) Elizabeth Keyes (Carrie) Umbrella Duet  from Trouble in Tahiti  Charles Hyland (Sam) Molly  Adams Toomey (Dinah) Si puo? .  from I Pagliacci  .. Sigmund Romberg (1887 ­ 1951) Robert Heepyoung Oh (Tonio) .. Leonard Bernstein (1918 ­ 1990) .Ruggero Leoncavallo (1857 ­ 1919) �ton University Music Departm ent’s   Bingham  Co ming Events m m m m m w Sunday, April  7 ­ Master ’s Recital: Mario  EuneHwan Bae, tenor ­ 7 :30 p.m. Casadesus Reci tal Hall – free   1 ­ Mid­Day Concert– 1:20 p.m. – Fine Arts Room 21– free Thursday, Ap ril 1 Thursday, April 11 ­ Harmony  Club Fundraiser Con cert­ 7:30 p.m. – Casadesus Recital Hall – free (a  $10 donation will be accepted at the door) Sunday, April 1  4 ­ Alaster ’s Recital: Charlie Hyland, baritone – 7 :30 p.m. – Casadesus Recital Hall – free Tuesda y, A pril 16 ­ String Fever (Suing Classes an d Stu dio String Recital) ­ 8:00 p.m. – Casadesus Recital Hall – free Thursda y, A pril 18 ­  Alid­Da y Conc er t –  1:20 p.m. – Casadesus Recital Hall ­  free Friday, April 1  9 – String Orchesua Concert– 4:00 p.m. – Grand Corridor – free Saturday, April 2  0  ­Senior R acial: Sungkyun Ryu, piano ­ 8:00 p.m. ­ Casadesus Reci tal Hall – free Sun da y, A pril Z I  ­ M u  Phi E psilon Conc er t ­ 3:00 p.m. – Casadesus Recital Hall free —    iano– 7 :30 p.m. ­ Sunday, Apr­i121 ­ Master ’s Recital: Seonghyang Ki m, p Casadesus Reci tal Hall – free Thursday, Ap ril  2 5  ­ jazz Mid­Day Concert with jazz pianist Larry Ha m  ­ 1:20 p.m. – Osterhout Concert Theat er –  free Thursday, Ap ril  2 5 ­  Harpur jazz Ensemble Concert with jazz pianist Larry H a m  – 8:00 p.m. – Osterhout Concert Theater – $6 general public; $ 3 faculty/staff/ seniors; free for students m w m m m m For tickets or  to be added  to our email lis t, visit anderson.binghamton.edu or  call (607) 7 7 7­ARTS.  For  a  complete  list  of  our  concerts  call  (607)  7 7 7­2592,  visit music.binghamton.edu or become a fan on Face book. –  [ = ]   [ = ] ;   .  —  If  you  were inspired  by  this  performance, consider supporting the Department of  Music with a  financial gi ft. Your support helps  to continue the work of students,  faculty, and  guest artists and  their contributions  to  our  community.  Please  make  your  donation payable  to  the  Binghamton  University  Music  Department,  and send  your  check  to  BU  Music  Department,  P.O.  Box  6000, Binghamton, NY 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:06:38 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE128577">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE128577</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 Phelps Mansion opera scenes, April 7, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Mozart, Gounod, Offenbach, Bizet, Thomas, Puccini, Romberg, Rodgers, Hammerstein, Bernstein, Leoncavallo. Held at 3:00 p.m., April 7, 2013, Phelps Mansion, Binghamton, New York. Creator An entity primarily responsible for making the resource Samluk, Matthew Young, Rachel Gotimer, Caitlin Celentano, Michael Adams-Toomey, Molly Geller, Emily Krebushevski, Kerianna Hyland, Charles Santa Maria, Christina Rivera, Daniela Keyes, Elizabeth Ryu, Hana Tornberg, Cole Oh Robert, Heepyoung Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2013-4-7 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/3b41b8a4c0904678c96f85495a161301.pdf 3e0f13286d564275297fbbc62354988f PDF Text Text BINGHAMTON U  N  I  V  E  R  S  l  T  Y S T A T E   U N I V E R S I T Y   O F  N E W   Y O R K 7 % D E P A R T M E N T MASTE R’S REClTAL MARIO EUN HWAN BAE, TENOR JOHN ISENBERG, PIANO Sunday, April, 7,  2073 7:30 p.m. Casadesus Recital Hall �ABOUT THE PERFORMERS PROGRAM MARIO EUN HWAN BAE, tenor, is from Busan, South Korea currently  studying  at  Binghamton  University  for  his  MM .. Francesco Paolo Tosti Non t‘amo piu.  (1848­1916) Ideale  Segreto Ich trage meine Minne..  '  Allerseelen  Heimliche Aufforderung Zueignung La donna & mobile.  from Rigoletto  .  ;  . Richard Strauss (1864­1949) . Giuseppe Verdi (1813­1901) Extase  Le Manoir de Rosemonde A cycle of Life  Prelude  Down in the forest (Spring) Love I have won you (Summer) The winds are calling (Autumn) Drift down, drift down (Winter) in Vocal Performance at  Yonsei University  in  Seoul, Korea and his BM at The Korea National University of Arts in Seoul. Korea.  He  has  performed  with  Tri­Cities  Opera  as  “First Priest/Armored Guard” in The Magic  Flute. “Arturo” in Lucia di  Lammermoor  and  “Rodolfo”  in  La  Boheme.  Other appearances  include:  KEPCO  Art  Center,  Seoul,  Korea; “Alfred” in Die Fledermau, Seoul Opera: “Matteus” in Hamel e  Sanhong.  Sejong  Center;  The  Night  of  Opera  and  Aria (Highlight);  “Alfredo”  in  La  Traviata.  Zenus  Opera: “Roderigo” in Otello, Sejong Center; Summer Classic Series, 3 Tenor Concert, Seoul Metropolitan C horus: and performed as a  soloist  with  Prime  Philharmonic  Orchestra  in  30th Anniversary of Concert. JOHN  ISENBERG.  a  native  of  Endicott.  NY,  holds  a Bachelor’s Degree in Music and a Master‘s Degree in Italian wlNTERM/SSIONCJ Lamento.  Opera degree in Vocal Performance. He has received an MM Literature from Binghamton Univer sity.  He performs many different musical genres including Opera. Gilbert and Sullivan. . Henri Duparc (1848­1933) . Sir Landon Ronald (1873­1938) classical Art Song, Broadway, Celtic, Rock, and many styles of sacred  music.  For  11  years,  John  worked  for  the  Tri­Cities Opera in Binghamton, NY, first as Accompanist. then later as Education Outreach Coordinator and Chorus Master. As part of Opera­Go­Round touring program, he organized over 300 performances  and  accompanied  over  500  performances throughout New Y ork State and northern Pennsylvania. John has  played  for  WSKG  radio  broadcasts  of  numerous Opera/ogue  preview  performances  including  Puccini‘s Madama  Butterfly.  Donizetti’s  Lucia  di  Lammermoor  and Mozart‘s  The Magic Flute.  He has worked with various other groups in the Binghamton area, including the Madrigal Choir of Binghamton, the Binghamton Downtown Singers and SRO Productions.  John  is  also  the  Organist/Pianist  and  Choir Director at  Sarah Jane Johnson Memorial United Methodist Church in Johnson City. �TRANSLATIONS Non tamo pia (1 don’t love you anymore) Do you still remember the day we met, Do you still remember the promises you made...? Love­insane l followed you... We loved each other And next to you I dreamt. love­ insane. I dreamt of a lustful chain of caresses And kisses fading into the sky; But your words weren’t truthful... Because your heart is as cold as ice. Do you still remember that? Do you still remember that? Now you aren’t my only faith any more. My immense desire nor my dream of love i don’t long for your kisses. and don’t think about you anymore: I dream other dreams: i don’t love you anymore. Through the days dearly passed together, I strewed flowers across your path: I would have offered my body and soul! Do you still remember it? Do you still remember that? Now you are no longer my faith... Ideale (Ideal) I followed you like a rainbow of peace Along the paths of heaven: I followed you like a friendly torch in the veil of darkness, And I sensed you in the light. in the air, In the perfume of flowers, And the solitary room was full of you and of your radiance. Absorbed by you, I dreamed a long time Of the sound of your voice, And earth’s every anxiety, every torment I forgot in that dream. Come back, dear ideal, for an instant To smile at me again, And in your face will shine for me a new dawn. You were the only hope of my heart: You the only thought of my desire. Segreto (Secret) You forced me to beg you, you turned me pale, You saw me dying  in your presence: Only in order to fulfill a desire of yours That little by little will make me There is a wound in my heart that is bleeding. die. Pierced by pain. my soul languishes: I am in love and I cannot tell my secret. I sometimes see my secret love  » beside me,  As beautiful as the light. She passes by me and I feel shattered. It is a force of joy and of pain.. *  I never had hope. Even from the first day, I closed my secret love within me. And she will never know that she was loved. She will see me lying dead and will not know why. And when I see her, I want to open my arms, to tell her that I love her and that I give her my heart. I want to look into her face with courage. But my heart trembles and I cannot lift up my eyes. There is a wound in my heart that is bleeding. That little by little will make me die. Ich  trage meine Minne (1  carry my love) I carry my love mute with delight, In my heart and in my mind with me wherever. Yes, that l have found you, you beloved child, That makes me joyful everyday, and that is granted to me. And no matter if the sky is gloomy, coal­black the night. Brightly shines my love’s gold­ shining splendor. And even as the world lies through its sinfulness, and I am heavy­ hearted. The evil must become blind from your snowy innocence. Allerseelen (All Souls’ Day) Place on the table the fragrant mignonettes, Bring inside the last red asters, And let us speak again of love. As once we did in May. Give me your hand, so that I can press it secretly: And  someone sees us. it ’s all the same to me. Just give me your sweet gaze, As once you did in May. Flowers adorn today each grave, sending off their fragrances: One day in the year are the dead free. Come close to my heart. so that I can have you again, As once I did in May. Heimliche Aufforderung (Secret  invitation) Up, raise the sparkling cup to your lips, And drink your heart’s fill at the joyous feast. And when you raise it, so wink secretly at me. Then I’ll smile and drink quietly, as you... And quietly as I. look around at the crowd Of drunken revelers ­­ don’t think too ill of them. No. lift the twinkling cup. filled with wine, And let them be happy at the noisy meal. �But when you’ve savored the meal. your thirst quenched, Then quit the loud gathering’s joyful fest. And wander out into the garden. to the rosebush, There shall I await you, as often of old. And ere you know it shall I sink upon your breast. And drink your kisses, as so often before. And twine the rose’s splendor into your hair. Oh, come. you wondrous, longed­ for night! Zueignung (Dedication) Yes, you know it, dearest soul. How l suffer far from you, Love makes the heart sick, Have thanks. Once I, drinker of freedom. Held high the amethyst beaker. And you blessed the drink. Have thanks. it’s untrue.  . Woman is flighty.  ' Like a feather in the wind, she changes in voice and in thought! Always miserable is he who trusts her. he who confides in her his unwary heart! Yet one never feels fully happy who from that bosom does not drink love! Woman is flighty. Like a feather in the wind, she changes her words. and her thoughts! Lamento (Lament) Do you know the white tomb Where floats with plaintive sound. The shadow of a yew tree? On the yew a pale dove, Sad and alone under the setting sun. Sings its song: And you exorcised the evils in it. Until I. as i had never been before, Blessed. blessed sank upon your heart. Have thanks. One would say that an awakened soul Is weeping under the earth in unison With this song. And from the misfortune of being La donna é mobile (Woman is flighty) Moans its sorrow in a cooing Always a lovely. pretty face. in tears or in laughter. Oh! Never again near the tomb Shall 1 go, when night lets fall lts black mantle. To hear the pale dove Sing on the limb of the yew Its plaintive song! Woman is flighty. Like a feather in the wind. she changes in voice and in thought. forgotten, very softly. Extase (Ecstasy/Nocturne) On your pale breast my heart is sleeping A sleep as sweet as death Exquisite death, death perfumed By the breath of the beloved On your pale breast my heart is sleeping A sleep as sweet as death Le manoir de Rosamonde (Rosamonde‘s  Manor­House) Love. like a dog, has bitten me with its sudden, voracious teeth Come, the trail of spilt blood will enable you to follow my tracks. Take a horse of good pedigree And set off on the arduous route i took. Through swamps and overgrown paths. I f that’s not too exhausting a ride for you! As you pass where l passed. You will see that l travelled Alone and wounded through this sad world. and thus went off to my death far, far away, without ever finding Rosemonde’s blue manor­house. �Binghamtan University Music Department’s Coming Events M 6 M & 6 M & M w é fl v § & Thursday, April 11 – Mid­Day Concert – 1:20 p.m. – Fine Arts Room 21­ free Thursday, April 11 – Harmony Club Fundraiser C onert –  7 :30 p.m. – C asadesus Recital Hall  – free (a  $10 donation will  b e  accepted at the door) Sunday, April 14 – Master’s Recital: Charlie Hyland, baritone – 7:30 p.m. – Casadesus Recital Hall –   free Tuesday, April 16 – String Fever (String Classes and Studio String Recital) – 8:00 p.m. – Casadesus Recital Hall – free Thursday, April 18 – Mid­Day Concert – 1:20 p.m. – Casadesus Recital Hall  – free Friday, April 1 9 – String Orchestra Concert – 4:00 p.m. – Grand Corridor — free Saturday, April 20 ­Senior Recital: Sungkyun Ryu. piano – 8:00 p.m. – Casadesus Recital Hall – free Sunday, Apri121 – Mu Phi Epsilon Concert – 3:00 p.m. – Casadesus Recital Hall – free Sunday, April 21 – Master’s Recital: Seanghyang Kim, piano – 7:30 p.m. – C asadesus Recital Hall  – free Thursday, April 25 – Jazz Mid­Day Concert with jazz pianist Larry Ham – 1:20 p.m. – Osterhout C oncert Theater –  free Thursday, April 25 – Harpur Jazz Ensemble Concert with jazz pianist Larry Ham – 8:00 p.m. – Osterhout Concert Theater – $6 general public: $3 faculty/staft/seniors; free for students Friday, April 26 – Flute Studio and Flute Chamber Concert – 10:15 a.m. – Casadesus Recital ­ free 6&6t3’66­6Mr3­ér3­«6Mé­«fita­ For tickets or to be added to our email list, visit anderson.binghamton.edu or call (607) 777­ARTS.  For  a  complete  list  of  our  concerts  call  (607)  777­2592,  visit musicbinghamtonedu or become a fan on Facebook. o p ‘  E  If you were  inspired  by this performance, consider  supporting the ­ Department  of  Music  with  a financial  gift.  Your  support  helps  to confinue the work  of  students, faculty, and  guest  artists and  their contributions to our community. Please make your donation payable to the Binghamton University Music Department, and send your check E  to BU Music Department, P.O. Box 6000, Binghamton, NY 13902. t  � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 49:06 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE129068">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE129068</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 Master's recital with Mario Eun Hwan Bae, April 7, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Tosti, Strauss, Verdi, Duparc, Ronald. Held at 7:30 p.m., April 7, 2013, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Bae, Eun Hwan Isenberg, John Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2013-4-7 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/f9d99dc2592f9696fb8c9752cf30b7da.pdf da8823866ecea270ce9680893b442660 PDF Text Text BINGHAMTON UNI VER SIT Y STATE UNIVERSIT Y OF NEW YORK usi D E P A R T M E N T PERCUSSION RECITAL: DEVAN TRACY AND ANDRES CASTILLO Wedne sday, May 1, 2013 8 p.m. Casadesus Recital Hall �PROGRAM Fantasy on a Shona Theme (2006) ................. .............. Glenn Kotche (b.1970) Devan Tracy, vibraphone Once Removed (2003) ................. ................. ......... John Fitz Rogers (b.1963) Adam Goldenberg and Devan Tracy, marimba Mashup of Us (2004) and You're Gonna Miss Me (2009) ................ . ................. ........ Regina Spektor (b.1980) & Lulu and the Lampshade s Emily Goetz, vibraphone Nicholas Thompson, violin Devan Tracy, marimba & vocals Shane Tracy, guitar Dhanya Sridhar, vocals Paul Watrobski, cello INTE RM IS SI O N Autumn Leaves ................. ................. ................. ...... .Johnny Mercer (1909 - 1976) Blues in F ................. ................. ................. ................. ... Eric Harland (b.1976) Song For My Father ..... ................. ................. .............. Horace Silver (b.1928) Word to Herb ................. ................. ................. ...... David Fiuczynski (b. 1964) Andres Castillo, drum set &vibraphon e Anthony Gabriele, piano Lucas Hennessey, Bass Devan Tracy, congas & drum set Improvised Drum Set Duet Andres Castillo and Devan Tracy, drum set �PERFORMERS DEVAN TRACY is a senior at Binghamton University, originally from Saratoga Springs, NY. She is currently majoring in Mechanical Engineering with a minor in Sustainable Engineering. She will be bicycling across the country and getting a job in the sustainable energy or infrastructure industry after graduation. De.van started her music career in kindergarten on the piano, but soon gave up when she realized that the musical alphabet stopped at Nonetheless, she is back in action and has "G#. participated in the BU Percussion Ensemble, Harpur Jazz Ensemble, and Nuporfke African Drumming Ensemble, and Walnut Grove Family bluegrass band throughout college. During the summer, she has been seen performing with the Ryan Jenson Band, and has been working on making a selftitled CD of originals. You might also find Devan running, hiking, motorcycling, slacklining, or doing yoga. 11 ANDRES CASTILLO is a senior at Binghamton University, originally from Mahopac, New York. He is currently majoring in Instrumental Music Performance. He has participated in the Harpur Jazz Ensemble, the BU Percussion Ensemble and has his own jazz trio, called the Andres Castillo Trio. He also performs at Greater Faith and Deliverance as the drummer playing gospel music. You can find him as a DJ/producer on his free time and interacts with other budding producers throughout the world. �Bing hamt on Univ ersity Music Depa rtme nt's Com ing Events Thursday, May 2- Mid-D ay Conce rt- 1:20 p.m. -Ande rson Center Chamber Hall - free Thursday, May 2- Opera Scenes- 8:00 p.m. -Ande rson Center Chamb er Hall- $6 genera l public ; $3 faculty/staff/seniors; free for students Friday, May 3 - Music from the Seminar (Christopher Loy's Class) 7 p.m. - Casadesus Recital Hall- free Saturday, May 4 - Master's Recital: Molly Adams-Toomey, mezzosoprano - 8 p.m. - Casadesus Recital Hall- free Sunday, May 5 - University Symphony Orchestra and Chorus: - 3:00 Symphony" & Durufle's Schubert's p.m. - Osterh out Concert Theater - $6 genera l public ; $3 faculty/staff/seniors; free for students "Unfinished "Requiem" Wednesday, May 8 - Nukporfe African Drumming and Dance Ensemble - 7:00 p.m. - Wafter 's Theater - $3 genera l admission at the door Thursday, May 9- Student Recognition Mid-D ay Concert - 1:20 p.m. - Casadesus Recital Hall-f ree Thursday, May 9- Recita[/Masterclass: Guest Artist Victor Chavez Jr., clarinet- 4:30- 6 p.m. - Casadesus Recital Hall- free Thursday, May 9- Harpur Chorale and Women's Choru s- 8:00 genera l public ; $3 p .m. - Anders on Center Chamber Hall - $6 faculty/staff/seniors; free for students Friday, May 10 - Junior Recital: Kerianna Krebushevski, soprano 8:00 p.m. - Casadesus Recital Hall - free or call (607) For tickets or to be added to our email list, visit anderson.bingham ton.edu visit 7-2592, 77 (607) call 777-ARTS. For a complete list of o ur concerts k. Faceboo on fan music.bin ghamton.edu o r become a If you were inspired by this performa nce, consider supportin g the Departm ent of Music with a financial gift. Your support helps to continue the work of students, faculty, and guest artists and their contribut ions to our commun ity. Please make your do nation payable to the Bingham ton Universit y Music Departm ent, and send your check to BU Music Departm ent, P.O . Box 6000, Bingham ton, NY 13902. � 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.) 52:14 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE128562">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE128562</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 Percussion recital with Devan Tracy and Andres Castillo, May 1, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Kotche, Rogers, Spektor, Mercer, Harland, Silver, Fiuczynski. Held at 8:00 p.m., May 1, 2013, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Devan, Tracy Castillo, Andres Goldenberg, Adam Goetz, Emily Thompson, Nicholas Tracy, Shane Sridhar, Dhanya Watrobski, Paul Gabriele, Anthony Hennessey, Lucas Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2013-5-1 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/797b382db2520c210610dbcbaf308f46.pdf 820c4ec06f9f83c2cef0f6652558d598 PDF Text Text BINGHAMTON   E R S I T Y P M I V S T A T E   U N I V E R S I T Y   O F  N E W   Y O R K W 0 [4 D E P A R T M E N T OPERA SCENES Thursday, May 2, 2013 8:00 p.m. Anderson Center Chamber Hall �Che gelida manina .  from La Bohéme  PROGRAM The pianist for this evening‘s program is John Isenberg Si pub?  from I Pagliacci  .Ruggiero Leoncavallo (1 857 ­ 1919) Robert HeePyoung Oh (T onio) Cinque, dieci. venti. trenta .  from Le Nozze di Figaro  Matthew Samluk (Figaro) Caitlin Gotimer (Countess) Elizabeth Keyes (Susanna) La ci darem la mano  from Don Giovanni  Charles Hyland (Don Giovanni) Christina Santa Maria (Zerlina) Hana R yu. director W. A. Mozart (1 756 ­ 1 791) Soave sia il vento  from Cosi fan Tutte  W. A. Mozart (1 756 ­ 1791) Gaetano Donizetti in guerra ed in amore.  (1797 ­ 1848) from L’Elisir d’amore  Michael Celentano. (Belcore) Kerianna Krebushevski (Adina) Hana Ryu (Nemorino) Charles Hyland, director a­IN TERM [55 ION FI Leonard Bernstein (1918 ­ 1990) Emily Geller. director Mr. Snow  from Carousel  Rodgers and Hammerstein Il (1902 ­ 1970) (1895 ­ 1960) Elizabeth Keyes (Carrie) Caitlin Gotimer (Julie) Thomas Goodheart. director Ricky Nan (T ony) Christina Santa Maria (Maria) W . A. Mozart (1756 ­ 1791) Michael Celentano. director Rachel Young (Fiordiligi) Daniela Rivera (Dorabella) Matthew Samluk (A lfonso) Robert HeePyoung Oh, director Charles Hyland (Sam) Molly Adams­Toomey (Dinah) Tonight .  from West Side Story  Michael Celentano, director Sull’ aria .  from Le Nozze di Figaro  Umbrella Duet.  from Trouble in Tahiti  W. A. Mozart (1 756 ­ 1791) Rachel Young (Susanna) EunHwan Bae (Rodolfo) Giacomo Puccini (1 858 ­ 1924) Leonard Bernstein (1918 ­ 1990) Thomas Goodheart, director Golden Days  from The Student Prince  Michael Celentano (Engel) Cole Tomberg (The Prince) Matthew Samluk, director Je dis que rien ne m'épouvante..  from Carmen  Kerianna Krebushevski (Micaela) Card Scene .  from Carmen  Christina Santa Maria (Frasquita) Daniela Rivera (Mercedes) Molly Adams­Toomey, director Finale .  from Die Fledermaus  Hana Ryu (Alfred) Caitlin Gotimer (Rosalinda) Michael Celentano (Frank) Emily Geller, director Sigmund Romberg (1 887 ­ 1951) . Georges Bizet (1838 ­ 1875) .Georges Bizet (1838 ­ 1875) Johann Strauss (1819 ­ 1880) Special thanks to Tri­Cities Opera for providing the set pieces and props for this evening’s performance. �STAGE TECHN IQUES DIRECTOR’S NOTES Welcome  to  our  second annual Spring  Opera  Scenes  concert. This  concert  is  in partial fulfillment of the course requirements for  the Stage Techniques for Singing Actor  class.  Students  are  afforded  the  opportunity  to hone  their  skills  through performances which include our  Fall production  of Hansel and Gretel. University Mid­Day  Concerts.  The  Phelps  Mansion  Recital  Series  and  Tri­Cities  Opera productions. This class integrates undergraduate and graduate students and provides a  unique  opportunity  for  younger  students  to  observe  and  leam  from  more experienced singers. To add more depth to their knowledge  of stage techniques. graduate student s have taken on the role of stage director for this performance. We would like to give special thanks to John lsenberg. for his tireless efforts as our class accompanist during the semester and for his supportive. orchestral playing. A thank you as well to Michael Celentano. who in addition to singing and directing, has added the role of lighting designer to his responsibilities. Thank you  for your support of our singers and we look forward to see ing you in our audience next year. ­Thomas Goodheart Binghamton University Music Department’s Coming Events Lao S Y S   P o E  p o r May 3 – Music from the Semlnar (Christopher Lay’s Class) – 7 p. m. – Casadesus Recital Hall  – free Saturday. May 4 – Master’s Recital:  Molly Adams­Toomey, mezzo­soprano – 8 p.m. ­ Casadesus Recital Hall –   free Sunday, May 5 – University Symphony Orchestra and Chorus: Schubert’s “Unfinished Symphony ” & Dunlflé's “Requiem” – 3:00 p.m. – Osterhout Concert Theater – $6 general public: $3 faculty/staff/seniors; free for students Wednaday. May 8 – Nukporfe African Drumming and Dance Ensemble ­ 7:00 p. m. ­  Watter‘s Theater – $3 general admission at the door Thursday. May 9 – Student Recognition Mid­Day Concert – 1:20 p. m. – C asadesus Recital Hall ~ free Thursday. May 9 – Recital/Masterclass:  GuestArtLrt Victor  Chavez ./r., clarinet­ 4:30 – 6 p. m. – Casadesus Recital Hall – free Thursday. May 9 – Harpur Chorale and Women ‘ s Chorus – 8:00 p.m. – Anderson Center Chamber Hall  – $6 general public; $3 faculty/staff/seniors; free for students Friday, May 10 – Junior Recital: Kerianna Krebushevski, soprano – 8:00 p.m. – Casadesus Redtal Hall  – free M m m ­ fi w b ­ fi fi ­ For tickets or  to be added to our email list. visit anderson.binghamton.edu or call (607) 777­   S.  For a complete list  of  our concerts call (607) 777­2592. visit music.binghamton.edu or A RT become a fan on Facebook. If   you  were  inspired by  this performance,  consider supporting the .   E 5 [ of  Music  with  a  financial gift.  Your  support helps  to Department  $ I continue  the  work  of  students,  faculty,  and guest  artists and their contributions to our community. Plea se make your donation payable to the Binghamton University Music Department. and send your check to BU Music Depa n ment. P.O. Box 6000. Binghamton. N Y  13902. E  2 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 49:58 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE85323">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE85323</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 Opera scenes, May 2, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Mozart, Donizetti, Puccini, Rodgers, Hammerstein, Romberg, Bizet, Strauss. Held at 8:00 p.m., May 2, 2013, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Isenberg, John Oh Robert, Heepyoung Samluk, Matthew Young, Rachel Celentano, Michael Gotimer Keyes, Elizabeth Hyland, Charles Santa Maria, Christina Ryu, Hana Rivera, Daniela Krebushevski Hwan Bae, Eun Adams-Toomey Geller, Emily Goodheart, Thomas Nan, Ricky Tornberg, Cole Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2013-5-2 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound