139 10 1775 https://omeka.binghamton.edu/omeka/files/original/1bf711143cfaa0393371d8cf12f7d6a9.pdf af8359c8a1475017b4ca06b91c233940 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 NEW Y O R K vdeo [4 D E P A R T M E N T ( [ ) ) A , o n'. _ : t y I \ $ l N o “ 3 , l l ; ’ QP) u rE 1 . 1 1 ” A; % f ! w k” E?“ é ' ﬂ f ‘ t s S Y , " MIDDAY 2 4 3 ) '. A F T ﬂ " CONCERT Thursday, May 2, 2013 1:20 p.m. Anderson Center Chamber Hall �PROGRAM Left Hand Nocturne . Op. 9, No. 2 Melanie Laguerre. piano . Alexander Scriabin (1872 1915) Song Cycle 1 in D Major, Op. 1 3 . l. Spring Awakening Il. On My Mind Ill. Serenade Joseph S. Keller (b. 1993) Joseph S. Keller, baritone William James Lawson, piano The pianist for the following scenes will be John lsenberg Giacomo Puccini Che gelida manina (1858 1924) from La Boheme Mario Eun Hwan Bae (Rodolfo) Cinque, dieci, venti, trenta. from Le Nozze di Figaro Matthew Samluk (Figaro) Rachel Young (Susanna) Michael Celentano, director . W. A. Mozart (1756 1791) Sull’ aria.. from Le Nozze di Figaro Caitlin Gotimer (Countess) Elizabeth Keyes (Susanna) Michael Celentano. director . W. A. Mozart (1756 1791) Card Scene. from Carmen Christina Santa Maria (Frasquita) Daniela Rivera (Mercedes) Molly AdamsToomey. director Act 1 Finale from Die Fledermaus Hana Ryu (Alfred) Caitlin Gotimer (Rosalinda) Michael Celentano (Frank) Emily Geller, director Georges Bizet (1838 1875) Johann Strauss (1819 1 880) �Binghamton University Music Department’s Coming Events m m é M M M M é M 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 Loy’s Class) – 7 p.m. – Casadesus Recital Hall – free Saturday. May 4 – Master’s Redtal: Molly AdamsToomey, mezzo soprano – 8 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 – $6 general p ublic: $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 – RecitaVMasterdass: Guest Artist Victor Chavez Jr., 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 p ublic: $3 faculty/staﬀ/seniors; free for students Friday, May 10 – Junior Recital: Kerianna Krebushevski, soprano – 8:00 p.m. – Casadesus Recital Hall – free m w b m w w w b ﬁ ﬁ b For tickets or to be added to our email list, visit anderson.binghamton.edu or call (607) 777AR TS. For a complete list of our concerts call (607) 7772592, visit mu;ic.binghamton.edu or become a fan on Facebook. If you were inspired by this performance. consider supporting the Department of Music with a ﬁnancial = aL = [ = ] gift. Your support helps to continue the work of E 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 E 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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF 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 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE85320">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE85320</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, Thursday, May 2, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Scrabin, Keller, Puccini, Mozart, Bizet, Strauss. Held at 1:20 p.m., May 2, 2013, Anderson center Chamber Hall. Creator An entity primarily responsible for making the resource Laguerre, Melanie Keller, Joseph Lawson, William James Isenberg, John Eun Hwan Bae, Mario Samluk, Matthew Young, Rachel Celentano, Michael Gotimer, Caitlin Keyes, Elizabeth Santa Maria, Christina Rivera, Daniela Adams-Toomey, Molly Ryu, Hana Geller, Emily 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 https://omeka.binghamton.edu/omeka/files/original/19d783f20162bbee0bdd5a80241b7595.pdf 742f5c2fff12b37323436d5bd2222b2b PDF Text Text BINGHAMTON UNIV ERSIT Y STATE UNIVERSITY OF NEW YORK MUSIC FROM THE SEMINAR Friday, May 3, 2013 7:00 p.m. Casadesus Recital Hall �PROGRAM Sketch for Cello Quartet .......................... Emmanuel Sikora Xander Edwards, cello Paul Watrobski, cello Eric Wuu, cello Andrew Card, cello Etude for Solo Cello ............................. ..... Christian Martin Xander Edwards, cello Variations on "Lo, How a Rose 'ere Blooming"Mark Summer Paul Watrobski, cello "Prelude" first movement from Suite ................. Peter Cody for Unaccompanied Cello Stephen Stalker, cello Human Emotions for Cello and Piano ................ Wan Kim Stephen Stalker, cello Sungkyun Ryu, piano INTERMISSION �Piano Sonata No. 1............................. ....... Christian Martin 1. Largo Expressivo 2. Eerie, Otherworldly 3. Allegro Vivace Christian Martin, piano New River ............................. .................. ........ Peter Cody Alexander Baron, tenor recorder Veteran's Day Parade ............................. .......... David Gaita Daniel Salinas, violin l Carmen Johnson-Pajard, violin 11 Ben Pochily, viola Lanra Andrade, cello Spring Pools ............................. ...................... Peter Cody Two Miniatures for ....................... ......... Emmanuel Sikora Unaccompanied Chorus 1. Late Autumn 2. Jenny The Altoids �ABOUT THE PERFORMERS PETER CODY is a graduate student in compositio n at SUNY Binghamto n and studies with Professor Loy. He did his undergradu ate work in compositio n at Temple University and SUNY New Paltz. He worked with the Bucks County Center for the Performing Arts, where he wrote music for events, scenes for the actors, and ran a forum for local composers. He currently teaches piano and compositio n in the Communit y Services program at Dutchess Communit y College. DAVID GAITA, a senior at Binghamto n University, began studying piano at age 7, and composing at age 15. He has performed piano solos, chamber works, and his own pieces in Manhattan , Barcelona, and throughout NY State. His music has been performed by flutist Georgetta Maiolo, pianist Michael Salmirs, and various Binghamto n University ensembles. He studies piano with Michael Salmirs and compositio n with Christophe r M. Loy. He has recently organized a flashmob-s ymphony for 25 musicians, which took place on the Binghamto n University quad. He is currently composing a score for the pilot episode of a television series entitled "King's County," written by Andoni Elias-Nava. He will be graduating this May with a Bachelor's degree in biology and music. He plans to continue composing and playing piano, to begin working in biomedical research, and to enroll in medical school in the fall of 2014. WAN KIM is a graduate student of State University of New York at Binghamto n, majoring in compositio n, and he has studied with Professor Christophe r Loy and Professor Paul Goldstaub. He received a Bachelor of Music degree in Compositio n from KyungHee University, South Korea in 2006. He was awarded prizes at many compositio n competition s; Contempor ary Music Society Compositio n Competitio n 1st Prize winner, 36th Nanpa Music Competitio n, DCMA (Daejeon Contempor ary Music Association) Young Composer Prize winner, Daegu Internation al Contempo rary Music Festival Young Composer Prize, and Korea Society of Woman Composers . CHRISTOPHER MORGAN LOY, composer-p ianist, has a catalog of compositio ns which includes works for piano, voice, chamber ensembles, chamber orchestra, full orchestra, and chorus. He �earned the Doctor of Musical Arts in compositio n from Cornell University in Ithaca, New York where he studied compositio n with Pulitzer Prize-winni ng composers, Karel Husa (1969) and Steven Stucky (2005). Loy has been a guest composer/p ianist in many venues and recital series through-ou t the mid-west and New York State. In 1987, Loy was a founding director of "EPICYCLE: an ensemble for new music" based in Cleveland. This organizatio n helped to establish a significant voice for new music in Cleveland. His works have been heard and premiered in Cleveland, Detroit, Houston, New York, San Francisco, San Antonio, and Ithaca. He serves as Professor of Theory and Compositio n at Binghamto n University and teaches piano and compositio n at the Communit y School of Music and Art (CSMA) in Ithaca, NY. He is organist/ pianist at the First Baptist Church of Ithaca. Loy is a member of BMI and the American Composers Alliance (ACA). Helianthus Music Publishing Company publishes his music. CHRISTIAN MARTIN received his Bachelors of Music from Binghamto n University in 2012. He is now finishing his first year in the compositio n masters program here at SUNY Binghamto n. He has worked as a teaching assistant in music theory under Dr. Christophe r Loy and has accepted a teaching assistantship and tuition scholarship for next year. Upon the completion of his degree he plans to work towards a OMA in Compositio n. He has been commission ed as a transcriptio nist and arranger by Dr. Paul Goldstaub and Schubertiad e Music LLC., and as a composer for A.A. Michael Production s. He has won prizes in national choral compositio n competitio ns with his works Walls of Glass, for accompani ed SATB (2 nd place in Edwin Fissinger Choral Compositio n Competitio n, 2011); and Purple and Pearl, for accompani ed SATB (1 st place in the San José Choral Production s Compositio n Competitio n, 2011). You may visit his webpage for more information at www.wix.c om/theoryo fmusic/chr istianmarti n. EMMANUEL SIKORA is currently completing his Masters in Choral Conducting and Compositio n at Binghamto n University. He earned his Bachelor's with a Concentrat ion in Compositio n from Queens College, where his teachers included Edward Smaldone, Joel Mendelbau m and Bruce Saylor. He is currently studying compositio n with Prof. Loy. �THE ALTOIDS Jibron Harris 82 Daniel Fernandez 82 Joseph Keller Bl Michael Celentano Bl Matthew Pedersen T2 Thom Furey T2 Cole Tornberg Tl Greg Keeler Tl Denise Aquino A2 Katherine Sherwood A1 Danielle Stoner S2 Katherine Sucha Sl Christina Santa-Maria S1 PROGRAM NOTES SPRING POOLS for eight part mixed voices, is based on a melody by Alexander Scriabin and sets the text of Robert Frost: "These pools that, though in forests still reflect The tota I sky almost without defect And like the flowers beside them chill and shiver Will like the flowers beside them soon be gone, And yet not out by any brook or river, But up by roots to bring dark foliage on. The trees that have it in their pent-up buds to darken and be summer woods Let them think twice before they use their powers To blot out and drink up and sweep away These flowery waters and these watery flowers From snow that melted only yesterday." VETERAN'S DAY PARADE was performed by a student string quartet at the Eastman School of Music, this composition is the culmination of David Gaita's studies with Amazing Grace, having previously composed three smaller and shorter versions of what might be called variations on the hymn, for other ensembles. HUMAN EMOTIONS FOR CELLO AND PIANO is written in A - B - C Cadenza - A' form to express different human emotions that appear in life. Most people experience a variety of emotions in their daily lives, such as anger, sorrow, and joy. Each musical section corresponds to a different emotion. The first describes anger, while the second is sorrowful. The last section represents joy and pleasure. To express the emotions of each section, various musical elements are employed; a wide range of dynamics for anger, a lyrical melody to depict sorrow, and a faster tempo and more intricate rhythm to describe joy and pleasure. �PIANO SONA TA NO. 1 expresses some of my deepest emotions. Unlike my preludes, which express my appreciation and desire for the beauty and tranquility of nature, this piece explores the two very opposite human emotions of joy and anger. This sonata follows the traditional fast, slow, fast three movement form. In the first movement the main theme, representing anger, is introduced in silent contemplation. After it is stated it is quickly thrown through a series of developmental variations. The second theme, representing joy, is stated only once in the entire first movement. Throughout the second movement, both themes fight back and forth for the lead. In the third movement the second theme is the melody, but the first theme comes back for one last time and both motives, anger and joy. fight back and forth towards a climactic ending. 1WO MIN/A TURES FOR UNACCOMPANIED CHORUS were composed last semester. I wanted to try my hand at choral writing in my ownlanguage. which I had not done before. After completing the first piece, to my own somewhat haphazard poem, I had trouble finding the text for a second. David Gaita, it turns out. had just written a short poem called "Jenny" that he wanted someone to set to music. This I did, with great pleasure. Late Autumn "Far removed from summers' radiant warmth. I beheld late autumn. Murmuring from emotion. For to see the wi ldwood so endless. Drifting into silence. Into silence." Text by Emmanuel Sikora Jenny Jenny did nothing but opened the front door to her porch. She simply sat down in a chair and gazed out at the stars. She sat for a while and the stars did not change. She went inside and shut the door. Text by David Gaita SKETCH FOR CELLO QUARTET At about the same time as I was finishing my Two Miniatures, Professor Loy told me about a cello quartet on campus that wanted some new music to play. I worked on the Sketch off and on (mostly off) for several months, completing it in March. I had a very classical design in mind when I wrote it: that is, I consciously set out tto write a piece that developed a single motif. �Binghamton University Music Department's Coming Events Saturday, May 4 - Master's Recital: Molly Adams-Toomey, mezzo-soprano - 8:00 p.m. - Casadesus Recital Hall - free Sunday, May 5 - University Symphony Orchestra and Chorus: Schubert's ''Unfinished Symphony" & Durufle's "Requiem" - 3:00 p.m. - Osterhout Concert Theater- $6 general public; $3 faculty/sta ff/seniors; free for students Wednesday, May 8 - Nukporfe African Drumming and Dance Ensemble - 7:00 p.m. - Wafter's Theater- $3 general admission at the door Thursday, May 9 - Student Recognition Mid-Day Concert 1:20 p. m. - Casadesus Recital Hall - free Thursday, May 9 - Redta!/Masterclass: Guest Artist Vidor Chavez Jr., clarinet- 4:30- 6 p.m. - Casadesus Recital Hall free Thursday, May 9- Harpur Chorale and Women's Chorus 8:00 p.m. -Anderso n Center Chamber Hall - $6 general public; $3 faculty/sta ff/seniors; free for students Friday, May 10 - Junior Redtal: Kerianna Krebushevski, soprano- 8:00 p.m. - Casadesus Recital Hall- free For tickets or to be added to our email list, visit anderson.bin ghamton.edu or call (607) 777-ARTS. For a complete list of our concerts call (607) 777-2592, visit music.bingha mton.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 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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:01 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE128179">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE128179</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Music from the seminar, May 3, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Sikora, Martin, Summer, Cody, Kim, Gaita. Held at 7:00 p.m., May 3, 2013, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Edwards, Xander Watrobski, Paul Wuu, Eric Card, Andrew Stalker, Stephen Ryu, Sungkyun Martin, Christian Baron, Alexander Salinas I, Daniel Johnson-Pajàrd II, Carmen Pochily, Ben Andrade, Lanra The Altoids 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 2013-5-3 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/0e4e74c9d85af4b285cb846d67ae3f61.pdf c1746c4b8c16ef84db862535e1116cb4 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 V O F N E W Y O R K W 0 [4 D E P A R T M E N T MASTER’S REClTAL Molly AdamsToomey, mezzosoprano William James Lawson, piano Saturday. May 4. 2013 8:00 p.m. Casadesus Recital Hall �PROGRAM I. The Mermaid'’s Song She Never Told Her Love . . ...Franz Joseph Haydn (17321809) Fidelity lI. Sechs Lieder, Op. 48.. . I. Gruﬀ 2. Deminst. Gedanke mein . . . ..Edvard Grieg (18431907) 3. Lauf der Welt 4. Die velschwiegene Nachtigall 5. Zur Rosenzeit 6. Ein Traum wlNTERMlSSlONus Ill. Aria, “Vorrei vendicarmi,” “from Alcina. George Frideric Handel (16851759) IV. Three Songs from Sestero FiesniMi/ostnych . Noci Mild Unter Der Linden Ballade Des Dames Du Temps Jadis V. Three Songs. Vieille Chanson Adieux de I’Hétesse Arabe Chanson d ‘A vril .Petr Eben (19292007) . Georges Bizet (18351875) �ABOUT THE PERFORMERS MOLLY ADAMSTOOMEY. mezzosoprano, is currently completing her Master of Music in Vocal Performance/Choral Conducting at Binghamton University under the direction of Professors Mary Burgess and Bruce Borton. Molly most recently sang the role of Mamma Lucia in TriCities Opera ’s production of Cavalleria Rusticana/Pagliacci. Molly has also sung the role of The Witch in Hinsel and Gretel with Binghamton University, the Third Spirit in Die Zauberﬂote with TriCities Opera. and covered the role of The Mother in Binghamton University’s performance of Amah/ and The Night Visitors. In addition, Molly has appeared as a chorus member in several TriCities Opera productions. including l/ Trovatore. La Bohéme, Les Contes d’Hoﬀmann, and Cosi fan tufte. She also sang as a soloist in Vivaldi’s Gloria at Gloucester Cathedral. Due to her double concentration, Molly has performed often as the conductor of the Women’s Chorus. During her undergraduate study at Binghamton University, she was the recipient of the John M. and Marcella M. Keeler Scholarship in Music. and graduated Summa cum Laude. WILLIAM JAMES LAWSON is active as a church musician, voice coach. and accompanist and frequently performs chamber music. At Binghamton University he has taught music theory, lyric diction. and phonetics. He was one of the ﬁrst graduates of the New York University Tisch School of the Arts Department of Performance Studies, an innovative interdisciplinary program in dance. music, and theater. His extensive background in dance history led him to employment at the New York City Ballet and Dance Magazine as well as working as assistant to British dance writer Richard Buckle. He is presently Organist and Director of Music at the United Presbyterian Church of Binghamton, founder and director of the Canterbury Choir, and rehearsal accompanist for the Binghamton Downtown Singers. with whom he has performed as harpsichordist and organist. PROGRAM NOTES Franz Joseph Haydn (17321809) was an Austrianborn composer who spent a large amount of his composing life in the service o f the aristocratic Esterazy family. Under this patronage he produced a multitude of works. and came to be considered the “Father of the Symphony.” He is perhaps most well known for both his symphonies and his oratorios, notably the oratorio entitled “The Creation.” Later in his life. Haydn stayed for a short time in England. It was there he stayed with the surgeon John Hunter and his wife Anne Hunter. The latter w as an amateur poet, and the text s to both “777e Mermaid'’s Song” and “ﬁdelity ” were written by her. The text to “She Never Told Her Love” is adapted from the Shakespeare play “Twelfth Night.” It is taken from a speech in which the heroine Viola, disguised as a man. tells the Duke Orsino about her “sister’s” unrequited love. though she is really speaking of her own love for the Duke. Edvard Grieg (18431907) was a Norwegian composer, a promoter of Norwegian music. and considered one of the greatest Scandinavian composers. He is mainly known for his lyric pieces. songs and piano character pieces. He often drew on Norwegian folk idioms in his music. Grieg’s set of six songs presented here are a wonderful example of Grieg’s aﬀinity for lyrical beauty. “Gruf” is a setting of a charming short poem by the renowned German poet Heinrich Heine. “Dereinst, Gedanke Mein"is a poem by Emmanuel von Geibel. and was originally based on a Spanish text by Cristobal de Castillejo entitled “Alguna Vez. " “Lauf der Welt ” is a simple. folksy poem by Johann Ludwig Uhland from his Lieder. “Die verschwiegene Nachtiga/I” is adapted from a medieval text by the twelfth century poet Walther von der Vogelweide. The text of “Zur Rosenzeit ” was taken from one of Erwin‘s songs from the singspiel Erwin und Elm/re. composed by the Duchess Anna Amalia of BrunswickWolfenbuttel with a libretto by the famed German poet Johann Wolfgang von Goethe. The singspiel revolves around Erwin’s despair at thinking Elmire has spurned him because of social propriety, but the two are reconciled once Elmire confesses her actual love of Erwin to him whilst he is disguised as a hermit. “Ein Traum"is one of the most popular songs from the set. and is a setting of a poem by Friederich Martin von Bodenstedt. George Frideric Handel (16851759) was born in Germany. but spent a large portion of his life living and composing in England. and so was and is often considered an English composer. He composed works in almost every musical genre. from orchestral to vocal pieces, chamber music to oratorio. He is perhaps most known today for his oratorio Messiah. Handel composed several operas on Italian librettos early in his career. Alcina was one of these. Though Alcina is very rarely performed today. it contains many excerpts and arias that are noted for their beauty and ﬁne composition. The plot revolves around the heroine Eradamante. her husband the knight Ruggiero. and the sorceress Alcina. Bradamante �disguises herself as her own brother Ricciardo to go in search of and rescue Ruggiero from the enchantment of Alcina. who is in love with Ruggiero herself. Bradamante. however. becomes entangled in mishaps on Alcina‘s enchanted island when the lady Morgana falls in love with her. thinking she is a knight. and she incites the rage of Morgana’s lover Oront e. When she at last ﬁnds Ruggiero. he believes her to be his rival in love for Alcina. In response to this, Bradamante sings the angry aria “Vorrei vendicarmi,” lamenting his coldness to her. and vowing to break Alcina‘s enchantment so Ruggiero will see her for who she is. At last. the two manage to break Alcina’s enchantments. and are restored to their married happiness. Petr Eben (19292007) was a Czech composer from Zamberk in Eastern Bohemia. He is most well known for his organ music. an instrument he turned to as a result of his profound Catholic faith. This faith. and consequently his organ music. became a driving force in his life after his experiences as a child in the Buchenwald concentration camp under the Nazi regime, and his experiences later under the Communist regime in Czechoslovakia. Eben often incorporated elements of Gregorian chant in his music. not only as a compositional device, but as a way of communicating and reaching out to other Catholics during the Communist regime. Gregorian chant is very prominent in his song cycle Sestero Piesn/ Milosrnydi (Six Medieval Love Songs). whose medieval texts are reﬂected well in chant melodies. Only three of the six songs are presented here. “Noci Mile” sets an anonymous medieval Czech folk song. “Unter Der Linden"sets the same medieval German text by the poet Walther von der Vogelweide that was adapted for Grieg‘s setting of it in “Die Verschwiegene Nachtiga/l.” Eben’s setting is quite radically diﬀerent. “Ballade Des Dames Du Temps Jadis” is a setting of a poem by the ﬁfteenthcentury French poet Francois Villon. who was as famed for his debauchery, thievery, and the murders he committed as he was for his poetry. Georges Bizet (18351875) was a French composer who lived much of his life in Paris, and who wrote orchestral. vocal. and piano works. He was particularly proliﬁc in vocal music. and wrote several operas. He is most well known for his famous opera Carmen. His chansons and melodies are much less well known. but nevertheless exhibit his highly Romantic compositional ﬂair. “Vieille Chanson ” sets a charming. folkinﬂuenced poem by Charles Hubert Millevoye and is taken from his Poésies Légeres. “Adieux de I’Hbtesse Arabe"sets a text by the famous French poet Victor Hugo. and is taken from his set of poems entitled Les Orientales. It displays a nineteenthcentury western love of exoticism. and perhaps could be seen as a prelude to the kind of musical exoticism Bizet employed in Carmen. “Chanson d’Avrl/"sets a simple but atmospheric poem by Louis Bouilhet to lively and graceful musical phrases. TRANSLATIONS ll. GRIEG We have never planned this, 1. GruB8 (Greeting) Heinrich Heine Sweet chimes are softly I don’t know how it happened Filling m y soul. Ring, little springtimesong Ring out far and wide. Go forward till you reach the house Where the violets bloom; And if you see a rose, Give her my greetings. 2. Dereinst, Gedanke Mein (One Day 0My Thoughts) Emanuel von Geibel One day, O my thoughts, You will be at rest. Love‘s ardour Will not leave you alone. In the cool earth, There you will sleep well. There without love. and without pain, You will be at rest. What you have not found in life. When life has vanished. Will be given to you. Then without wounds, And without pain, You will be at rest. 3. Lauf Der Welt (The Way Of The World) Johann Ludwig Uhland Each evening I go out. Over the meadowpath, She looks out from her summerhouse Which stands by the pathway. It is just the way of the world. so. For a long time we have been kissing. I don’t ask. she doesn’t say yes, But. she also never says no. If lips like to rest on lips, We forbid them not. we think it good. The little breeze plays with the rose. It doesn’t ask: do you love me? The little rose cools itself in the dew, It doesn’t ask for more! I love her, she loves me But neither says: I love you! 4. Die Verschwiegene Nachtigall (The Secretive Nightingale) Walther von der Vogelweide Under the lindens, On the heath On the spot where I sat with my lover, You might discover How he and I Squashed the ﬂowers and the grass. From the woods came a sweet sound: “Tandaradei!” The nightingale singing in the valley. I came to the meadow, My sweetheart had arrived before me. He greeted me �As a noble lady So that I am still happy. 7 Did he also oﬀer me kisses? “Tandaradei!” See how red my lips are! If anyone found out (God forbid!) What happened as I lay there. I would be deeply ashamed. May nobody know How the young man embraced me. Except him and me. And a little bird. “Tandarade'.” Who will not say anything. 5. Zur Rosenzeit (To The Time Ofkamt} Johann Wolgang von Goethe You are wilting. sweet roses My love did not wear you. O do bloom for the hopeless one then. For him whose soul is breaking from sorrow! 6. Eln Traum (A Dream) Friedrich Martin von Bodenstedt I dreamt once a beautiful dream A fairhaired maiden loved me. We were in a green forest glade. It was warm spring weather. The buds were sprouting, the brook was running strong, The sounds of the distant village bells could be heard. We were full of joy, Immersed in bliss. And even more beautiful than the dream Was what happened in reality : It was in a green forest glade. It was warm spring weather: The buds were sprouting, the brook was running strong. The sounds of the distant village bells could be heard. I held you tight, I held you long. And nevermore will let you go! Nevermore! Nevermore! I think mournfully of those days When I did cling to you, angel. When. waiting for the ﬁrst little buds, I went to my garden early: Oh, springgreen glade. You live in me for all time! That is where reality became a dream, And the dream became reality! Every blossom. every fruit I carried to place at your feet; When in your presence Hope throbbed in my heart. lII. HANDEL BRADAMANTE: I would be avenged Upon that false heart Love. give me weapons. Endow me with fury. You are wilting. sweet roses My Iove did not wear you. O bloom for the hopeless one then. Whose soul is breaking from sorrow. You are cruel and unkind To one who pines for you; Then take. pitiless one. If you want it. my life as well. Nod Milé (Dear Night) He went to make us a bed of ﬂowers of many kinds: desire. By the roses, he may well, tandaradei! Already my heart dwells in suﬀering, in sadness, in longing God forbid, I would be ashamed. How he was with me. no one IV. EBEN Anonymous, 14m Century Dear night. why are you long. for my dear I am ﬁlled with because it is impossible for me to speak with her. who can console me? grief. All this is because I am parted from my dearest. the dearest of ladies. Dear God. let not the desire for my beloved be long! Dear God. Unter Der Linden (Under The LindenTree) Walter von der Vogelweide Under the LindenTree. on the heather. where the two of us made our bed. you may still ﬁnd, as we both have. the ﬂowers, pressed together on the grass. By the forest. in the vale. tandaradei! sweetly sang the nightingale. I went to the meadow, my truelove was already there. there was I received as a noble lady. so that I am constantly glad, Did he kiss me? A thousand times: tandaradei! see. how red my mouth is still. If anyone passed by, he might well smile at the sight! mark where I lay my head. That I lay there. if any saw, will ever know, except he and l. and a little bird, who will not say anything. Ballade Des Dames Du Temps Jadis (Ballad Of The Ladies Of 77mes Past) Francois Villon Tell me where or in what country is Flora, the beautiful Roman, Archippa, or Thais, who was her German cousin, Echo who speaks when there is noise on the river. on the pond, whose beauty was more than human? But where are the snows of yesteryear? Where is the very wise Hélois, for whom they castrated and made a monk Pierre Esbaillart at Saint Denis? For his love was this endured. Likewise. where is the queen who commanded that Buridan be thrown in a sack in the Seine? But where are the snows of yesteryear! �The queen Blanche like a lily who sang with the voice of a “Ah!” Said the despairing shepherd. Bertha of the large feet. Beatrice. Alice, Haremburgis who held Maine. and Joan the good maid of Lorraine whom the English burned at Rouen where are they, where. Sovereign Virgin? But where are the snows of yesteryear? Lucette! All of my hopes ﬂew away On the wings of the warbler!” siren. Prince. do not ask this week where they are. nor in this year. nothing but this refrain remains to you “But where are the snows of yesteryear?” V. BIZET Vieille Chanson (Old Song) Charles Hubert Millevoye The besotted Myrtil Has caught in the woods the dainty warbler; “You, my lovely bird.” he told it. “Are meant to be a present for my shepherdess. If i oﬀer you for a present. She will show her gratitude with kisses. if my Lucette usually gives me “Farewell to the kisses of Sadly, Myrtil returned to the close wood Weeping for his loss. But there. be it luck. be it destiny. In the woods he found Lucette. Well aware of his good intentions, She left her hideaway And said: “Console yourself, You have lost only the warbler!“ Adieux De L ‘Hdtesse Arabe (Farewells Of TheArabian Hostess) Victor Hugo Since nothing will keep you in this happy land. Neither the shade of the palm trees, nor the yellow corn. Nor the restfulness, nor the abundance. Nor to see palpitating at the sound of your voice The young breasts of our sisters. Who in a whirling bevy at evening She will give me ten for the warbler.” Encircle the hillside with their dancing. Farewell, handsome traveler! Alas, adieu! The warbler, however. Had left his mate in the valley. And as soon as possible. broke free from his prison And dashed away on ﬂapping wings. Oh! You are not of those whose lazy feet are bounded By their roof of branches or of tiles! Who. dreamers, listen in silence to stories. two for a bouquet And wish at evening, sitting outside their door, Chanson D’Avn’l (Song Of April) To be o ﬀ to the stars! Louis Bouilhet Had you wished it. perhaps one Yonder over the valleys rosy of us, O young man, would have liked to serve you Kneeling in our ever open huts. She would have made. While rocking you asleep with her songs. To drive the troublesome midges from your brow, A fan of green leaves. If you do not return. dream a little sometimes Of the daughters of the desert. Sisters of the sweet voice. Who dance barefoot on the dunes, O handsome, white young man. Beautiful bird of passage. Remember, for perhaps, O swiftly passing stranger. Your memory remains with more than one! Alas! Farewell! Handsome stranger! Remember! Arise! Arise! Spring is just born! gossamer ﬂoats! Everything thrills in the garden. Everything sings, and your window Like a joyous glance. is full of sun! Beside the lilac with its purple clusters. Flies and butterﬂies hum together. And the wild lilyofthevalley, Ringing its tiny bells. Has awakened love asleep in the woods! Since April has sown its white daisies, Put oﬀ your heavy cloak and your cozy muﬀ. Already the bird calls you and your sisters the periwinkles Will smile in the grass on seeing your blue eyes! Come. let us go! At morn the springs are more Iimpid! Let us not wait for the burning heat of the day, l would moisten my feet in the damp dew, And tell you of my love beneath the ﬂowering pear trees. �Binghamton University Music Department ’s C oming Events M M M M M M M M Sunday, May 5 – University Symphony Orchestra and Chorus: Schubert’s “Unﬁnished Symphony ” & Duruﬂé’s “Requiem ” – 3:00 p. m. – Osterhout Concert Theater – S 6 general public; $3 faculty/staft/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 – RecitaVMasterc/ass: Guest Artist Victor Chavez Jr., 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/staft/seniors; free for students Friday, May 10 – Junior Recital: Kerianna Krebushevski, soprano – 8:00 p.m. – Casadesus Recital Hall – free M m m m ﬁ w ﬁ For tickets or to be added to our email list. visit anderson.binghamton.edu or call (607) 777ARTS. 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Creator An entity primarily responsible for making the resource Adams-Toomey, Molly Lawson, William James Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2013-5-4 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/97ead1a41ccb20314f2f71837bd1ad6e.pdf c866c261ab8f5200b544c99896c00950 PDF Text Text BINGHAMTON UNIVERSITY STATE U N I V E R S I T Y OF N E W YORK wdee ’ D E P A R T M E N T UNIVERSITY CHORUS Bruce Borton, conductor UNIVERSITY SYMPHONY ORCHESTRA Heather Worden, conductor SCHUBERT SYMPHONY N o. 8 IN BMINOR (“UNFINISHED”) DURUFLE REQUIEM Emily Geller, mezzo soprano Michael Celentano, baritone Sunday, May 5, 2013 3:00 p.m. Osterhout Concert Theater �PROGRAM NOTES PROGRAM F R A N Z SCHUBERT – Symphony No. 8 i n B Minor, D. 759 (Unﬁnished) Born: January 31, 1797, Himmelpfortgrund (northwest ofVienna), Austria Died: Novement I9, l828 Symphony No. 8 in Bminor Franz Schubert (17971828) I Allegro moderato II Andante con moto Franz Schubert is considered to be one of the most talented composers of melody in the history of western music. His music leaves you with a singable melody line that often is missing, especially in instrumental music. The composer/conductor Leonard Bernstein was one musician to acknowledge the memorable nature of Schubert’s melodies. In one of his Young Children’s concerts, he introduced the melody line in the ﬁrst movement by singing, “This is the symphony that Schubert wrote and never ﬁnished.”, while the celli played along with the theme from movement one. Most of Schubert’s compositions were vocal, further emphasizing his strength in melody writing. He composed hundreds of arts songs, while he only wrote nine symphonies, with one being incomplete by the standards of the time. FoI’NTERMISSION6 Requiem % I Introit. 1 1: Kyrie. . . . . = III. Domine Jesu Christe.. L IV. Sanctus I V. Pie Jesu. si © VI. Agnus Dei " VII. Lux aeterna VIII. Libera me . 1 IX. In paradisum 1. Allegro Moderato in B minor ll. Andante con moto in E Major .Maurice Duruﬂé (19021986) Chorus . . . Chorus Chorus and Baritone solo s a l . Chorus Mezzo Soprano solo Chorus . . . Chorus Chorus and Baritone solo Chorus The fact that this piece is unﬁnished has caused lots of debate and argument among the musical community. Why would a composer as meticulous about form as Schubert leave a work unﬁnished? The date on the original manuscript, October 22, 1822, shows that this piece was written very close to the end of hrs life. This has caused many musicologists to believe that he stopped on purpose, that he could not write anything else as grandiose and was becoming too ill and tired. Others believe that the ﬁrst two movements were given in thanks for his entrance into the musical society in Gratz and for the Diploma of Honor he was awarded. A piano sketch that was found among Schuben‘s manuscripts shows a plan for a Scherzo and possibly a Trio, which would have made this a three or four movement symphony. This work was hidden or lost in Anselm Hittenbrenner‘s (a member of the honor society) home until 1865, when it found and performed for the ﬁrst time. This means that Schubert himself never heard it performed. Many modern composers, musicologists and pianists have tried to ﬁnish the symphony by adding their own pieces, new original compositions using the Scherzo sketch, or other works of Schubert‘s to the end. Most professional and collegiate orchestras today perform it in its original, unﬁnished state. �The Requiem actually began as an organ suite based on the the The ﬁrst movement is written in traditional sonata form (exposition, Gregorian chant melodies from the Requiem liturgy. However, Duruﬂé found development, recapitulation) and features the famous melody line in the cellos the texts of the chants to be too closely aligned with the music to separate, and that was mentioned earlier. While the cellos introduce the melody line, it is carried throughout the development and recapitulation in other voices as well. The development, now in G major, takes the two themes from the exposition and expands/extends them which lead right into the recapitulation. This subsequently the idea o f a choral Requiem was born. Interestingly, the ﬁnal impetus for the composition came through a commission from the Vichy government soon after the German occupation of France in 1940. The government, in an attempt to boost morale of the French people, oﬀered modest movement ends with both heavy, passionate sections and more soﬂ, lyrical commissions to composers to keep creating works in the severe economic conditions during the war. Duruﬂé was awarded a commission for a “symphonic poem”. Surprisingly, he ultimately received the commission even passages, which help carry the tension and turmoil that has been built into the next movement. though it was not completed until after the war in 1947, and the “symphonic poem” had morphed into an extended religious choral work. The ﬁrst performance was on French national radio in November of 1947, followed by a succession of live performances in various concert venues in France and elsewhere. Movement two is quite diﬀerent from the ﬁrst in both form and mood. Schubert uses a strict Rondo form (ABABA) that creates memorable, repeated sections for the listener. The A section features a beautifully written melody that alternates between the horns, the strings and the clarinet and oboe. In contrast, the B section is loud, accented and features the full orchestra. In those B sections, the strings provide a driving bass line that really gives the excitement to the movement. The end ﬁnishes with the same beautiful Andante theme that it began with, leaving us waiting for more. Who knows what would have happened had Schubert not died at such a young age. Heather Worden Some scholars, critics, and performers have compared Duruﬂe’s Requiem to that of his earlier compatriot, Gabriel Faure. Indeed, there are certain similarities in spirit and detail. Most obvious is the absence of the lengthy Dies irae sequence whose color and dramatic possibilities had so fascinated and inspired composers such as Mozart, Berlioz, and Verdi among others. By comparison, the settings of Faure and Duruﬂé are restrained and intimate. Faure and Duruﬂé both include the Pie Jesu (the ﬁnal verse of the Dies irae) as a separate solo movement, Faure for soprano and Duruﬂé for MAURICE DURUFLE Requiem (0p.9) mezzo. Yet another similarity is the dark, rich texture of the orchestra] writing created by the division of the string sections and the emphasis on the lower string sections, viola in particular. Maurice Duruﬂé is regarded as one of the leading organists of his time. His early appointment as Vieme’s assistant at Notre Dame in Paris was followed in 1929 by his appointment as organist at St. Etiennedu Mont, a title he held until his death in 1986. In fact, however, this was a position he shared with his gifted assistant and later wife, MarieMadeleine Chevalier, with whom he toured Finally, some have noted the inﬂuence of chant in both Faure and Duruﬂé. While it is true that Faure’s melodies display the graceful rise and fall internationally in the middle decades of the twentieth century. Duruﬂé’s reputation as a composer is based on a remarkably small number of works, of which the Requiem is the most wellknown. He was reputed to be a severe selfcritic and the act of composition was, for him, a long and tortuous process. Prior to the Requiem (1947) his published compositions were entirely instrumental, mostly organ works and a few orchestral pieces. Of his other works, his Quatre Motets sur des themes gregariens (1960) are the best known – in particular the ﬁrst of these, Ubi caritas is a special work of genius. [ } and some of the modality that is characteristic of Gregorian melodies, they are not Gregorian in origin. Duruﬂé’s Requiem setting, and much of his other music, is completely immersed in the actual Gregorian tunes associated with the various sections of the Requiem liturgy. The tunes provide the melodic material and the supple, unmeasured rhythms resonate in the ﬂexible changing meters of Duruﬂé’s choral writing. The Requiem exists in three versions. The original for chorus and large orchestra is the version we present today. A version accompanied by organ alone was prepared by Duruﬂé the year after the work’s premiere, and a frequentlyperformed version for organ and string orchestra was created by the composer in 1961. Bruce Borton �THE UNIVERSITY CHORUS THE PERFORMERS Mezzosoprano EMILY GELLER is currently a Resident Artist with TriCities Opera where she recently performed lnes in II Trovatore and Lola in Cavalleria Rusticana. Before coming to Binghamton, she performed with Opera on the James as a Tyler Young Artist. Ms. Geller covered Giannetta in L Elisir d’amore and performed Cherubino in The Three Little Pigs and The Wife in The Music Shop. Ms. Geller has performed lead roles with numerous regional theater companies, including CR Productions at Cohoes Music Hall, College Light Opera Company, One World Symphony, Amore Opera, Regina Opera, NY Lyric Opera Theater and Village Light Opera Group. Originally from Long Island, Ms. Geller earned her Bachelors of Music in Vocal Performance from New England Conservatory under the Ruth S. Morse Scholarship. Ms. Geller is currently getting her Masters of Music in Opera at Binghamton University with a Full Assistantship where she performed Hansel in Hansel and Gretel. Bruce Borton, conductor William Lawson, rehearsal accompanist Soprano 1 Susan Bachman Rose Ann C laugh Lorraine Emmons Mary Gilda MayBelle Golis Beverly Hitchcock Christina Jarosch Elizabeth Keyes Susan MacLennan Cathie Makowka Mary Barb Martin Allison Matey Rachel Robertson MICHAEL CELENTANO‘S. baritone past performances in the Manhattan area have included the cover of Galanthus in the North American premier of Vaughan William’s The Poisoned Kiss with The Bronx Opera Company and Papageno in Die Zauberﬂote with New York Opera Studio. Recent performances in the Binghamton area have included Alcindoro in Puccini‘s L a Bohéme, Peter in Humperdinck’s Hansel and Gretel, The Giant/Trouble Man in the TriCitie‘s OperaGoRound production of Davies‘ Jack and the Beanstalk. and Faure’s Requiem (baritone soloist) with the Binghamton University Chorus Chamber Singers. Mr. Celentano is currently completing a Masters ofMusic in Opera at SUNY Binghamton, IS a Young Artist at TriCities Opera, and a student of Thomas Goodheart. Nicolette Roselli Marilyn Ross Gloria Salamida Sadie Schwartz Barbara Alhart Simon Stephanie Stahovic Barbara Thamasett Soprano 2 Martha Bennett Joanne Corey Sarah Evans Kalie Fiorenza Sharon Fish Hailey Gonzalez Theanna Green Lois Hearn Barbara Herne Nicole Meeker Inez Nelson Yvonne Newell Sioux Petrow Kelly Pueschel Susan Sarzynski N. Eva Wu Rachel Young Alto 1 Marion K. Adams Carolyn E. Blake Nanette Berton Susan G. Campbell Maria Luisa Cook Carole Dickinson Sylvia Horowitz Cheryl Jacobson Joan Kellam Pat Labzentis Arlene Lyon Margit Mayberry Greta L. Myers Archana Susarla Susan Szczotka Pam Turrigiano Mikiko Umeda Mary Woestman Katarzyna Zanlro Alto 2 Kathryn Baine Anna B. Bitterbaum Kate Bouman Phyllis S. Burr Jeanne Fenzel Judy James Maggie Kirkaldy Leann Lesperance Ethel F. Molessa Shirley Rodgers Jane Shear Lee Shepherd Heather Sheridan Tenor Brad Bennett Martin Bidney Carol Chandler Ron Clupper H.B. King Dennis Leipold David W. Martin Kevin Mootoo Brian Presser Carlton Sackett Jr. Robert Scull Mark Tyson Judson Wallis Bass 1 Eric Bare Joshua Collins Michael Jabo, J.D. Tom Lamphere Thomas Parker Myron F. Shlatz Emmanuel J. Sikora Joshua Silver Bokan g Wu Michael Zick Bass 2 Blane Bossung Carl Bugaiski Jason Cruz Mark Epstein J. Scott Hustod Robert Ludden Robert Maer Arlo H. Meeker Sean E. Moran Joseph E. Nelson John Patterson Daniel Rosenau Bob Sullivan �UNIVERSITY SYMPHONY ORCHESTRA Violin I *Ella Serrano, Principal Heather Worden, conductor Rebecca Sgroi *Nicholas Thompson *Sara Sunshine lfe Samms Karen Fu Gabrielle Maire Olivia Rhines Christopher Rogers Emma Lecarie *Fanny Chu Violin l l Nathaniel Christman, Principal Natalie Bock Anna Li Eleanor Krasner Emily Sui Joseph Vanderpool Jiwon Nam Sara Kohtz Simon Benarie Viola Max Stein, Principal Lindsay Covington Mimi Nam Flute Jessica Biagiotti *Lindsay Ralbovsky Oboe/English Horn Rebecca Marwin Kathy Karlsen” John Lathwell# Clarinet Jaclyn Adler Skylar Buono Bassoon Laura Earls Natalie Spitzer Horn Zachary Birnbaum Matt McAuliﬀe Natalie Rivera Kathryn Saturnino Trumpet **Kevin Hannon Michael Stern Junbo Yan Harrison Dulin Jillian Chen Ethan Schaber Kaila Umbach Trombone *Billy Marsiglia, Principal Cello Tuba Elliot Bowen Xander Edwards, Principal Richard Reitz *Eric Wuu Deborah Mariottini Raeleen Bichler Ryan Hogan Paul Watrobski Emily Mockler Andrew Card Alan Wang Bass *Gabriel Felix Robert Durante Jacob Strohm Gary Bennett Percussion Steve Olson Benjamin Rothschild * Andrew Williamson Harp/Keyboard Peter Browne# Organ Jonathan Biggers# * Graduating senior /**Grad student # Binghamton University Faculty member A Community player � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF 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.) 1:03:08 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE128173">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE128173</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 Schubert's Symphony No. 8 in B-minor ("Unfinished") and Duruflé's Requiem, May 5, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Schubert, Durufle. Held at 3:00 p.m., Month Day, Year, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource University Chorus Borton, Bruce University Symphony Orchestra Worden, Heather Geller, Emily Celentano, Michael 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 2013-5-5 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/0be332dd83d1d2d300f923f4fa22fca8.pdf 89b9f89ba1e5e60bfa15e6bc6b5bc72b 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 ’ vowdee D E P A R T M E N T = o’re 5 “ITEA’A’AM !5f’ ' * v A 3 . STUDENT RECOGNITION MIDDAY CONCERT Thursday, May 9, 2013 1:20 p.m. Casadesus Recital Hall �PROGRAM Net, tol‘ko tot, kto znal.. . P. Tchaikovsky (None but the lonely heart) Fantasy, Op. 79 for Flute and Piano .. Jessica Biagiotti, Flute ChaiKyou Mallinson. Piano Nominated by Georgetta Maiolo ..Gabriel Fauré (1845–1924) (1840 – 1893) Robert Heepyoung Oh, baritone John lsenberg. piano Nominated by Thomas Goodheart Ave Maria, transcription for piano ... S. 558, No.12 Recondita Armonia . Giacomo Puccini from Tosca (1858 – 1924) Mario Eun Hwan Bae. tenor John lsenberg. piano Nominated by Thomas Goodheart Chanson d’avril.. ..Georges Bizet Molly AdamsToomey. mezzosoprano William James Lawson, piano Nominated by Mary Burgess Les collines d‘Anacapri .. (from Preludes Bk. 1) David Gaita, piano (18381875) .. Claude Debussy (1862–1918) Nominated by Michael Salmirs . Franz Liszt (1811 – 1886) Sukyung Kim, piano Nominated by Jinah Lee Sonatine pour Trombone et Piano Andante sostenuto ..Jaques Castérede (b. 1926) William Marsiglia, trombone Margaret Reitz, piano Nominated by Don Robertson To One in Paradise. Charles Hyland, baritone John lsenberg. piano Nominated by Thomas Goodheart . Kyle Gullings (b. 1983) �Binghamton University Music Department’s Coming E ven ts M M M M M M é ' W Thursday, May 9 – Recital/Masterclass: Guest Artist Victor Chavez Jr., clarinet 4:30 – 6 p.m. – C asadesus 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/staft/seniors; free for students Friday, May 10 – Junior Recital: Kerianna Krebushevski, soprano – 8:00 p.m. – C asadesus Recital Hall – free 6 1 ? “ w a 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 to [ = ] = [wm] 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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF 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.) 53:50:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE85317">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE85317</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 Student recognition mid-day concert, May 9, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Faure, Puccini, Bizet, Debussy, Tchaikovsky, Liszt, Gullings. Held at 1:20 p.m., May 9, 2013, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Biagiotti, Jessica Chai-Kyou, Mallinson Eun Hwan Bae, Mario Isenberg, John Adams-Toomey, Molly Lawson, William James Gaita, David Oh Robert, Heepyoung Sukyung, Kim Marsiglia, William Reitz, Margaret Hyland, Charles 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 2013-5-9 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/6665e4f3a40ca3fdb79ec9fb9f5808af.pdf 376e900378a2d796a318e92c3a090883 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 Ld w i d e D E P A R T M E N T S ING INTO SPRING Women’s Chorus Emmanuel Sikora & Thom Baker, conductors Margaret Reitz, accompanist Harpur Chorale Peter Browne, conductor Thursday, May 9, 2013 8:00 p.m. Anderson Center Chamber Hall �PROGRAM II. The Harpur Chorale I. The Women’s Chorus Music Spread thy Voice Around (Solomon) . G.F. Handel (16851759) .Claude Debussy Romance.....~.. (18621918) Emmanuel Sikora, conductor arr. Alan Raines 1 am in Need ofMusic... .. David Brunner .Ned Rorem From an Unknown Past” 1. The Lover in Winter Plaineth for the Spring 2. Hey Nonny No! 3. My Blood So Red. . . (b. 1923) 4. Suspiria *In Our House (Emily Dickenson)... .. Christian Martin (b.1984) Thom Baker, conductor Two Partsongs. Tamburinschldgerin (Op.69 Nr.I) . Robert Schumann Der Bleicherin Nachtlied (Op.91 Nr.5) Hymn to the Waters Hymn to Vena Thom Baker, conductor Margaret Reitz, piano 7. Crabbed Age and Youth .. Traditional Shenandoah... Arr. James Erb (18101856) Low/ands.. Emmanuel Sikora, conductor Choral Hymns from the Rig Veda... Hymn to the Dawn 5. The Miracle 6. Tears ..Gustav Holst (18741934) ... Traditional Chantey Arr. Tom Scott Whar Shall We Do With the Drunken Sailor... .. Traditional Arr. Greg Smith �WOMEN’S CHORUS Sopranos Altos Adina Blaszkowsky Ellen Chiu Alida Cooke Amanda Baker Alexa Bruck Alexa Dicken Taylor Rae Dunn Deanna Feuerbach Caitlin Gotimer Alexandra Leslie Christiana Metaxas Megan Orcutt Audrey Russo Christina Santa Maria Loren Shannon Danielle Stein Hannah Westerman Amy Conway Linda Melissa Cruz Kaitlyn Kang Laura Keim Sukyung Kim Daniela Rivera Kimberly Torres HARPUR CHORALE Sopranos Tenors Michelle Goldrich Samantha Reed Kate Sherwood Katie Sucha Tomas Kerr Ricky Nan Matthew Pedersen Cole Tornberg Altos Basses Denise Aquino Ashley Grumman Nazely Kirkjian Shoshana May Katie Moscowitch Dan Fernandez Thom Furey TenYoun Guh Jibron Harris Joseph Keller Christian Martin � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF 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.) 48:07 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE85314">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE85314</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 Sing Into Spring, May 9, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Handel, Debussy, Martin, Schumann, Holst, Brunner, Rorem. Held at 8:00 p.m., May 9, 2013, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Women's Chorus Sikora, Emmanuel Baker, Thom Reitz, Margaret Harpur Chorale Browne, Peter 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 2013-5-9 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. 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. Email: <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 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE128571">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE128571</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 Flute studio and flute chamber concert, December 5 2014 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Honegger, Telemann, Bloch, Müller, Gaubert, Mouquet, Muczynski, Vivaldi, Damase. Held at 10:45 a.m., December 5, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Kasinski, Devin Lawson, James, William Carolan, Lydia Florakis, Eleni Bedonian, Li Robins, Jacqueline Paye, Emily Biagiotti, Jessica Maiolo, Georgetta Chai-Kyou, Mallinson Greene, Brandy Florakis, Eleni Natale, Cara 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 2014-12-5 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. 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. Email: <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.) 1:10:45 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE129374">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE129374</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 Joint voice recital with Ricky Nan and Max Rydqvist, May 3, 2014 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Schumann, Tosti, Mozart, Schönberg, Rota, Williams, Yi, Liu, Xu. Held at 7:30 p.m., May 3, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Nan, Ricky Isenberg, John Rydqvist, Max 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 2014-5-3 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/d82085e642543d7b607856f43e46f572.mp3 9a9e1b8f7e53a7ae62d90a0d11fcca42 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 Ukrainian Oral History Publisher An entity responsible for making the resource available Binghamton University Rights Information about rights held in and over the resource In copyright  Contributor An entity responsible for making contributions to the resource Aynur de Rouen, Ph.D. Heather DeHaan, Ph.D., Associate Professor in History Description An account of the resource The Ukrainian Oral History project consists of a collection of undergraduate student interviews with immigrants from East Central Europe, particularly the lands of what is now Ukraine. Four interviews took place in New York City and record the memories of Jewish immigrants. A few interviews testify to specifically Russian identity and experiences, while the rest of the collection is comprised of interviews with members of Binghamton’s Ukrainian immigrant community. Relation A related resource <a href="https://www.binghamton.edu/libraries/about/collections/oral-histories/index.html#sustainablecommunities">Sustainable Communities Oral History Collection</a> Template: Simple Audio Player with Transcription This template displays an audio player by Amplitude.js with a scrollable transcription which is loaded from the "Transcription" metadata field. This template displays an audio player with the first attached image file as the 'cover image'. For its audio source, the template looks for the first attached audio file. If additional audio files exist, they should be combined using audio editing software, or a separate Omeka item should be made for each part. Biographical Text Anastasiya Lyubas is a PhD candidate in the Department of Comparative Literature at Binghamton University. She is originally from Lviv, Western Ukraine. After graduation, she wants to teach in Europe. Interviewer The person(s) performing the interview Maria Shulga and Sulim Kim Interviewee The person(s) being interviewed Anastasiya Lyubas Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 58:14 minutes Date of Interview 2015-03-30 Digital Publisher Binghamton University Digital Format audio/mp3 Language English Material Type Sound Collection Ukrainian Oral History Project Subject LCSH Lyubas, Anastasiya. --Interviews; Ukrainians--United States; Russians--United States; Diaspora, Ukrainian;  Ethnic identity; Borderlands -- Poland -- History Ukrainian; Identity; Culture; Education; Americanization. OHMS Object URL https://omeka.binghamton.edu/viewer/viewer.php?cachefile=AnastasiyaLyubas.xml Interview Format Video or Audio audio 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>. Keywords Interviews; Ukrainians; Ukrainian diaspora; Graduate students, Foreign; Translators; Ethnic identity Rights Statement Many items in our digital collections are copyrighted. If you want to reuse any material in our collection you must seek permission, or decide if your purpose can qualify as fair use under the U.S. Copyright Law Section 107. If you think copyright or privacy has been violated, the University Libraries will investigate the issue. Please see our take down policy. If using any materials in this online digital collection for educational or research purposes, please cite accordingly. Transcription Any written text transcribed from a sound, or alternative text from a visual medium Ukrainian Oral History Project Interview with: Anastasiya Lyubas Interviewed by: Maria Shulga and Sulim Kim Transcriber: Maria Shulga and Sulim Kim Date of interview: 30 March 2015 at 12:00 PM Interview Setting: Bartle Library, Room 4520A at Binghamton University -------------------------------------------------------------------------------------------------------------------- (Start of Interview) Maria Shulga: Hello Anastasiya. Again, my name is Maria and this is Sulim and we are going to ask you some questions today. Sulim, would you like to start with your question? Sulim Kim: Sure. Anastasiya, we just wanted you to introduce yourself to the audience. Anastasiya Lyubas: Great. First of all, thank you so much for interviewing me, it's a pleasure. My name is Anastasia and, as you know, I am a PhD student here at Binghamton. To tell you a little bit about myself, this is my third year in the US, I've come here as a Fulbright grantee to do my Master's at Binghamton University. Primarily, I came here to study at the Translation and Research program. They have a very good program here and I was considering applying for PhD. I ended up joining a PhD program in Comparative Literature, but did my Master's in Translation. My Master's entailed taking courses with translation workshops that would allow me to get both Master's in Comparative Literature and a certificate in Translation, which was Russian-English translation in that case. I am originally from Lviv, which is Western Ukraine. I know that in your course [HIST-381D: "Borderlands of Eastern Europe"] you study Galicia as a region, so that might be of some interest to you. When I talk about my identity, my city is very important to me. So, whenever somebody asks me where I'm from, I wouldn't say, "I'm from Ukraine," I would say, "I'm from Lviv, Ukraine," because that city identity shaped me, and who I am, and how I view the world in many different ways. I don't know what else you need to know about me. Should I talk about my family background? MS: Yes, we are interested in you childhood stories, how you grew up, what kind of family you had, what languages you spoke in your household-- AL: Yes, so I was born in 1989, which was when the USSR was still around. But I grew up in the 90s, which was the period right after Ukraine gained its independence. It was a very interesting time to grow up in, a very challenging time, because there were all kinds of transitions going on. I was born in the city and I lived in one of these residential districts that you probably see with the Soviet-block-type of buildings. So I grew up in a huge apartment building in a family that had all kinds of different linguistic and ethnical backgrounds. My father's family (his parents, my grandparents) was moved from Poland during the operation called "Wisła," in which ethnical Ukrainians were moved from Polish territories where they used to live. It happened in the 1947, so my grandma was Ukrainian and my grandpa was Polish, but they still got moved to Ukraine and they lived in a small town near Lviv, so that part of the family is Ukrainian- and Polish-speaking. My mother's side of the family is also very diverse, because my grandpa comes from a family, who was German but they lived in the Soviet Union and had to in a way hide their identity. For the most part, that side of the family spoke Russian and they lived in Volyn region, which is a region in the North of Ukraine. They took on Russian names, so, for instance, my great-grandma was called Berta, which is a German name, but then she called herself Vera, which is a very Russian name. The fact that they were German was never mentioned for obvious reasons, for the reason of living in the Soviet Union. So my grandpa came to Lviv to study in a university and he met my grandma, whose family used to live in the region of Galicia. This is how they met. My parents both lived in the city; my mother was originally born in the city and my father was born in a small town of the Lviv region, but then came to Lviv to study, which was a very typical move -- to go the city from smaller towns and villages. So they stayed and my sister and I were born in Lviv. A couple of interesting stories that I remember from my childhood-- So, Soviet industry was dissolving at the time with the emergence of new markets and capitalism. In the 90s there was this very strange barter economy, which I'll try to explain the best I can. It is actually a funny story. My grandpa studied chemistry and he worked at a glass factory in Lviv, which was one of the factories that were established during the Soviet times. They had a lot of problems with the workers not getting paid. Factories in different industries had ties that existed during the Soviet Union, so, for instance, his glass factory was in cooperation with a sugar-making factory. What happened was that his factory instead of paying salary to the workers would give them salary in glass. Then they had to trade these glass products or sell them and get something else in return. So my grandpa would give someone a set of glasses and they would then give a bag of sugar in return. [Laughing] This is what I remember from my childhood. It is important to also say that we lived in an apartment with an extended family, so it wasn't just my family, which was my mother, father, sister, and me, but also my grandparents, so this is why I remember all these stories. My grandparents were involved in bringing up their grandchildren, so we lived in more of a communal situation. All my life I've lived in apartments, and I think this is interesting in American context, where public housing is not as common. You would usually be brought up in a family house, in a family home, apartment is seen as a temporary space, temporary residence. But in my case we moved from one apartment to another and all my life I spent in apartments, I never had a house. I think my notion of a home for myself looks more like an apartment. MS: So you would prefer an apartment to a house even if you had a choice? AL: I think so. Also because when I lived in this apartment building there were obviously a lot of kids my age and we used to play outside all the time, which is something that doesn't really happen anymore as much. I mean, the apartment buildings are still there and most of the people who live in the city still live in these residential districts with huge apartment blocks, but of course kids play video games now or they are on their computer all the time, so nobody plays outside as much. For me, playing outside and staying up late, especially in the summer, with the neighbor kids was a very fun part of my childhood. MS: That is very interesting. Did you mostly speak Ukrainian at home? AL: Yes, my parents are Ukrainian-speaking, but I grew up with different languages. Obviously, I was also growing up with Russian because of the television and the books. In Western Ukraine, Russian was not taught at schools as widely after the dissolution of the Soviet Union, so schools started taking out Russian and Russian literature as courses from their curricula. I went to a Ukrainian school, so I was not officially schooled in Russian language or literature until my family actually moved to Kiev, where I went to elementary school. This is where I learned Russian in an actual school setting. In my school in Lviv, I learned Ukrainian and World Literature, of which Russian Literature was just a part. However, my World Literature teacher was a former teacher of Russian Literature, so that was an interesting change. But as I said, I grew up with Russian informally, I guess. And while we spoke Ukrainian at home, my great grandpa's side of the family spoke Russian to me. I also watched a lot of Polish cartoons, because of the proximity to Poland, so that was the kind of background I was growing up with. I think it was also important that my mother as a student worked as a tour guide with Yugoslav tourists who would come to the Soviet Union. She worked in a bureau, the name of which I cannot remember exactly, but it was something along the lines of "intourist," ("интурист") which meant "иностранный турист," translated as "foreign tourist" bureau. She was trained in Serbo-Croatian and she gave tours of my city mostly to the students who would come from Yugoslavia. I am not sure about Kiev, but I know for sure she gave tours of Moscow and St.-Petersburg or Leningrad at the time. This is why we had a bunch of Serbo-Croatian books, for children as well. I grew up with all these different languages because I was looking at Serbo-Croatian children's books, watching Polish cartoons-- SK: Could you read and understand them? AL: I wouldn't say that I know Serbo-Croatian, but when my mom read the books to me, I would understand. I guess I have a certain linguistic talent in Polish, since I figured out Polish on my own early on, and then I learned Polish grammar and actually went to Warsaw to study Polish later. By learning Polish I could understand Czech a little bit, since Czech and Polish are very similar to each other, sort of like Russian and Ukrainian. So if a Czech person was speaking Czech to me, I would probably answer in Polish, but I would understand what they had said in Czech, although I would not be able to speak Czech. I suppose that was my linguistic background. SK: That's amazing! MS: Yes, that is fascinating. You said that your mother used to be a tour guide, meaning that she was probably interested in history and arts, but your grandfather was a chemist. What inspired you to go into the field of translation and comparative literature? AL: Let me start by saying that even in high school I was really into languages. We learned English from the first grade and I also took German a little later when I was in seventh grade I think. We had courses of Latin, so I learned Latin as well and I also really enjoyed World Literature. It was all subconscious at that point, because I was still trying to figure out which university to enter and which program. I decided to major in English language and literature and I entered a university at my hometown and my program also provided translation studies training, both practice and theory. That became my main focus -- English-Ukrainian and English-Russian translation. After I got my degree, I worked for a while and got my Master's in simultaneous interpreting there, which was a one-year program. After that I worked a little bit as an interpreter and a translator at my hometown. By deciding to apply for Fulbright, I was looking at translation research programs in the US, which are not many. There were probably five programs that I was considering and Binghamton was one of them. It is actually one of the oldest programs they have here in translation research. This is how I ended up coming here. My interest in languages was really strong throughout my school years and later as a student when I took on all these other languages like Polish, and even studied Swedish for a little bit. Even here at Binghamton I took a course in Yiddish, partially as a hobby, but also as a professional linguistic type of thing. MS: With all of this background, what is it that you expect to possibly study in the future? What would be your "dream job"? AL: I am doing my PhD in Comparative Literature right now and what I'm interested in is the interwar period in the XX century, and all kinds of writings, which are usually seen as minor literature from Eastern and Central Europe that articulate ideas of alternative modernity as opposed to Western narratives of modernity. I am using my languages to look at these literatures and I see myself teaching in the future and doing research, so I would hope to work at a university. I really enjoy academia and I think this is pretty much the path I have chosen for myself even when I was still doing a more practical kind of training. For instance while doing the Master's in interpreting I was still hoping to not just enter the professional field as a translator and interpreter, but be in academia. Being an academic also allows you to do translation if you'd like, so you can still translate literary texts, but I see that more as my side interest at the moment. I want to do more with translation than just translate texts. SK: Before we go further, I wanted to ask you about your city. You said that national identity is a city identity for you. Why is Lviv so significant to you? Has it influenced you in choosing your career or other aspects of your life? AL: Thank you for the question. Lviv is an interesting city because it used to be very multicultural and it still is, but not in the same way that it used to be, especially before World War II. It is one of the cities where we had one of the biggest Jewish populations back in the times of the Austro-Hungarian Empire, which unfortunately disappeared for tragic historical events that we all know of, like Holocaust. Later, the remnants of the Jewish population that were still there during the Soviet times immigrated to Israel when it was established as a state. Many people immigrated to other countries as well. It is very tragic to know that history, but still at the time when I was growing up not having many Jewish communities (religious and schools). The city also has a strong sense of Polish past. Galicia was a very contested territory because there were Western Galicia and Eastern Galicia. Western Galicia is now a part of Poland, while Eastern Galicia is a part of Ukraine with Lviv being in Eastern Galicia. There were multiple claims to Lviv being a Polish city and not a Ukrainian city. There is a lot of heritage of tourism going on from Poland: many tourists coming and exploring their heritage, their roots. There were multiple wars and conflicts, so it is very hard to reconcile historical memory in that sense. Living in the city really exposes you to all of these different influence; linguistic, historical, ethnic. You grow up with a sense of history, because you can see the different architecture that dates from XIII century and different periods in architecture, so it's a good city to learn your architectural styles too. It has a very strong cultural element. For instance, we have this coffee culture. When you come to Lviv, you have a sense that you come to a city that is very much like Krakow or maybe a little bit like Prague, so it has a Western sensibility, but at the same time it finds itself in the reality of Ukraine and it's unlike many other places in Ukraine. If somebody wanted to see something that reminds them of Europe, but is not quite Europe, they would go to Lviv. That is why I think it determines me a lot as I think it would if somebody said that they are from, let's say, Donetsk or somewhere in Eastern Ukraine that place also shapes who you are and your outlook. I think this is very visible. These kinds of divisions are also visible in the recent conflict and everything that is going on in Ukraine right now. I would affirm that it is more complex than just seeing the East versus the West because there are very strong regional identities that are more pluralized than just this dichotomy of the East versus the West, which we see with places like Odessa. It is a port city near the Black Sea, it is in the South and it is close to Crimea, the territory that was contested. Odessa is predominantly a Russian-speaking region with a very strong Jewish sensibility as well. Their sympathies do not necessarily lie with the sympathies of people in Western Ukraine, but neither do they lie with Russia that easily. I guess what I'm trying to say is that all these regional identities influence the larger picture. MS: Yes, most of the time people just think that there is the East and the West and they are fighting against each other, but it is very important to remember that there are many more ideological groups involved. SK: Yes, absolutely. You also just mentioned something about Lvivian culture. Could you expand a little bit and tell us something interesting about it? AL: Yes, something interesting-- I haven't been to Lviv for three years now, but I am going to go this summer, which I think will be interesting for me to see all the new things that emerged when I was not there. Now there is this move in placing Lviv on the map of the world in terms of tourism and global capital flows, in a way, because it is not a city that is as well known as Prague, for instance. In Prague tourists are already capitalized upon in such a great way: you have all these souvenirs, places you have to visit, things you have to see and try, and they are "commodified". In Lviv now they are also trying to do the same; trying to develop tourism and infrastructure to a large extent. I mentioned the coffee culture, and indeed the city is trying to capitalize on its multicultural heritage. There would be this Jewish restaurant where you would have to bargain for the price of the food that you are getting. Or there would be this café that is seemingly a café of free masons where you would have codes of initiation. Or there would be a café dedicated to masochism where you could get whipped by the waiter if you liked, because, you know, the writer Masoch (Leopold Ritter von Sacher-Masoch, 1836 --1895) was born in Lviv. It changed from the places that were authentic to the tourist attractions, which of course every city in Europe capitalizes on. Like, where do you go in Paris to find "real" Paris and not "tourist" Paris? So I see this move to a large extent in Lviv. SK: Do you like it? AL: I think it's problematic in many ways. It does draw people in and there's more interest, but it is a part of the global market culture, which is problematic. You get places like American restaurants, which are everywhere else in the world. Therefore, a little bit of authenticity is lost there. MS: You said you haven't been to Lviv in three years now. How did your relocation affect your family? And what do you miss most about home when you are here? AL: I think largely what you miss once you move from a place is that of course the kinds of ties, meaning family ties and relationships that you've had there, in a way they go to the background, because it is very hard to keep these relationships when you are not physically there. It's hard but at the same time you move here and you have a circle of friends that you are creating for yourself. While there you have all these family ties that are in the way you haven't chosen, they were imposed on you. You have to communicate with your extended family but also in here you don't have to go to family events. Instead, you pursue these elective affinities and ties with your friends here who do come from both upstate New York and from other countries in the world, you have friends from Tunis or Hong Kong, and different places. You think on the personal and interpersonal level, that's the major change and there is also for preparing for going back after three years and seeing things differently where there is culture shock when you come here. There is also the reverse culture shock that happens after sometime abroad. SK: We are all international student so we know about that story. MS: Yeah. AL: So you guys also go back and forth. SK: Yeah, I have been here like two years and I will go back in Korea during the summer. Speaking of which, have you experience that you have to compromise in a way in terms of your culture since you are live in America currently? I personally, in Korea, when you have to say hello to older people, like your professor, you have to bow to them. Here, I have to stop myself because professors here are not use to it. [All laugh] AL: You also notice these things about yourself that you become Americanized in certain ways! Yes, It happened. So for instance, what I found about American culture is definitely more informal. In terms of relationships you have. The relationships at the workplace or at a university there are levels of formality, Ukraine and Russia, too, and it is different how the students treat the professors. To have the versions of the pronoun you is honorific and you in the plural that you address to the professor or anyone who is older than you or has a higher social standing. No distinction here but I couldn't call my professor by their first name for the first year at least [in America]. I am still more formal when I talk to professors than my American peers just because of the cultural difference. MS: So when you came here first did you encounter any stereotypes about your culture or have you had any stereotypes that disappeared or like otherwise strengthened as you came here? AL: Stereotypes about America you mean? MS: Yeah and otherwise or Americans about you? AL: Okay. When I was looking at Binghamton as a university, I only see the university itself, nothing others. However, if you guys might not notice about but Johnson City is a huge eastern European community which something surprised me that there are communities like Ukrainians, Russians, Polish, Slavs and etc. in Binghamton! Diasporas there has to be some sort of center around which you structure your community life. You can see even when you driving in Clinton St, for instance, you see all these so many of eastern churches specifically on every block. There is Ukrainian restaurant here, so there's a little bit of Ukrainian culture present in this town. I don't necessary interact with diaspora as much and I think its for all kinds of reasons. Once you live in the diaspora, I think my encounters especially from with me and some of the Ukrainian diasporans in New York City. In the diaspora, they always try to prove to you as someone who is actually coming from Ukraine that they are more Ukrainian than you are and that usually means like you are sticking to traditions in terms of the food that they eat wearing traditional clothes they even one person ask me if I still speak Ukrainian and they try to make me. So, I went into this shop in east village. There is Ukrainian community and I went into this store where they sold all kinds of meats and the owner of the store, I think maybe he is the fourth generation. He actually asked me if I read and write in Ukrainian and he made me read something in Ukrainian which was very strange. So, with the diaspora the way they project certain kind of identity it's you have to say well you know I don't necessary have the same preferences because diaspora identity already incorporates with some sort of stereotypes about the kind of religion or the kinds of food and things like that. Which are of course the kinds of food and the kinds of attractions within the community that also become Americanized so it is a little strange once you only come to states and you see Ukrainians diaspora here. You come from Ukraine there is obvious differences. And they think there is. In the diaspora, sort of distrust, I don't know how to explain it, the diaspora try to say that they are Ukrainian although they are not in many ways. Being part of the academic community you are not necessarily. I didn't encounter as much stereotypes people would not ask me, "You are from Ukraine"--. I don't know they wouldn't invoke a certain type of stereotype when trying to find of course they wouldn't ask me how is over there and I think they ask me more now other than what happens in Ukraine other than and limited knowledge I can also perceive through media coverage and also talking to friends there, but still there is a media account. As for the stereotypes that I have for Americans-- I don't have strong stereotypes about Americans. I can think of right now-- I am-- SK: How about just different characters, culture or different habits between America and Ukraine? Did you find out while you studied in here? For instance, Asian said American are too open compare to Asian culture-- AL: I didn't have a stereotypes that they were too opened, but I think there is definitely the way the people Americans relate to others is very different than I relate to people. So for instance, in general, I can't call my friend to anyone. But I feel like-- in America, where people are just acquaintances they "oh this is my friend" and for me as a Slavs, I have six friends that I know for ten years that be able to call them friends. So I guess, there are enjoyable differences between Ukraine and America. MS: So onto the next questions, the news in US, I don't know if I mention it yet, but I am from Moscow and for instance whenever I talk to my parents or my friends and I tell them about the news I hear they tell me that is drastically different from what they hear on the news from so for instance like, if I watch CNN or what main channels that we have here is different to what is heard back at home. Is that similar for you have you encountered stuff like that? AL: Yes. Are you referring to the coverage of the current crisis? MS: Yeah. AL: Current Crisis--definitely-- I am try to get my news from variety of sources. I would watch Ukraine channels. You can't get a lot channels in TV, but we have online stream. Or I watch and read some Russian news but also I get some news from western European sources from Austria and Germany. Because I found western European covered over the conflicts better than America Medias. In America, there is very reputable sources, mainstream, such as New York Times which you would guess that they are unlimited coverage. However, they are sometimes too dramatic. For instance, current the downing of the airplane, you know that happened in-- SK: In Germany? AL: Yes, exactly. Things like that. You would get these kinds of events but not others. That is very disconnected because of opinion pieces and there are political bias that are influenced by political divisions in this country. The more conservation pieces versus the more progressives. Something like that. I find that interesting and that's why I'm trying to follow informal channels of communication through talk to my friends in Ukraine and also in Russia or any other countries. Because you have to be very proactive and seeking out to get this information. SK: That is so true!  Since we're talking about media representations, did you remember any description of Ukraine in American media that interests you? Or vice versa-- AL: That interests me-- yes, I want to talk about--What I notice in American media, their interests in trying to explain where Ukraine is or why does it find itself in current conflict. Therefore, in media, there is articles written about the current crisis with a lot of references to history or a lot of tracings of how the Ukrainian map used to look in different times. I recently read this article in Washington Post where it was trying to explain different territories that Ukraine used to occupy in the nineteenth century from the empires that Russian Empire and then Austro-Hungarian Empire, and you know like the Poland occupied history. And later the USSR added Ukraine in 1954 and then now it partially part of Russia again. I find that many of the articles are much more sensitive to explaining that kind of historical and cultural knowledge just because you need to gather understand before you are able to? I think they judges what is happened. If especially someone who were not even expert of Ukraine history or east European history or Russian history, it would be really difficult to do so.  So definitely notice that. I follow publication, I really like N+1 magazines. They actually had a very nice articles talked by Keith Gessen. I believe that this journalist come from Moscow, his parents were come from Moscow, but they all immigrants to United States. He talks about Putin Russia and Ukraine current crisis and he's trying to explain it. Obviously, his perspective is related to immigrants' eyes and someone who has the Russian background as well. So, he's trying to make some balance what people think Russia and the current conflicts in Ukraine which was a good talk. So, yes, I read a lot of articles from N+1 and also magazines such as Jordan Russian Center. I visit this website frequently and I found that they have some pretty good articles and analytical information about Ukraine conflict. As I said, if you trying to find it, you can find decent article in here, too. However, you 'have' to seek it out. SK: If my understanding was right, it was happened to me, too. If I want to know something deep information about current issues in Korea, I am searching Korean journals along with American Medias. Because when it comes to Korea related issues, Korean journals have more amount of information-- more importantly, they have better explanation mostly, because they understand and know much well about situation. AL: Yes, exactly. Yes. MS: So I got one last question, with all of these influences you had in your life, and especially lived in Lviv and Polish and any other Eastern European experiences, and you move into America and living in here. How do you identify yourself? What are you more? Like Ukrainian, or Polish-- SK: Maybe Lvivian? MS: Doing in a percentage way, what would you be? AL: That's a very difficult question. Because I think that moving into different place, definitely, messing with you in certain ways. I wouldn't say that. I did not choose to move into America. I am not an immigrant. I can't say I am not Ukrainian-American. I am not a second generation of immigrant family. That's not my identity. I am just a Ph.D. student who studying in America. You know, I have this displace identity. For instance, I don't necessarily see myself who only have to working in Ukraine. I like to keep that open for me. Once, I get my Ph.D. I am considering maybe going and working in Central European University in Budapest, Hungary because they have a really good program. I love to work in such place like that. Or I wouldn't mind to working in Poland and teaching there. Of course, I would say that I am Ukrainian. But when I'm saying that I am Ukrainian, it doesn't explain something. For me, it doesn't really determine that kind of-- how should I put it. I am struggling how to say this right-- Let's say, it doesn't define my political sympathy. Let's say, when I say that I am Ukrainian, I am not saying that I am "Ukrainian" in a very nationalistic way. Because, personally, I don't identify myself who is a patriotic and nationalistic person in that way. Whenever somebody wants to speak in Russian to me, I would never say, I am not going to speak to you because I am Ukrainian. So, yes, I am a Ukrainian. But--. MK: Yes, but not the strong kind of.. AL: Yes. Actually I never was. This emerging of nationalistic, far-right wing policy-- this emphasizing national proud thing-- kind of scared and warn me. Because I would see that this kind of nationalistic souvenirs like t-shirts with Ukraine flags or anything could appealing Ukraine's. It is something I would expect to happen in this states, because you commonly fetishize your identity a lot in diaspora society. Anyways, I was never identify myself with them. My parents never emphasized those sayings that you have to proud of your country. Once I see that, I can explain, the rise of nationalism. You know, of course, those conflicts people made antagonized to certain extends, but it does seem a little foreign to me. MS: Do you think it wouldn't be different if you were still there? AL: Well, I mean obviously, if you are in the middle of conflicts, you will be more tangled. And those conception of news will be on much bigger and larger basis than what you are hear in here. You don't have to experience the war under level of--. People have to see that soldiers and soldiers are dead and buried-- and the large number of refugees. This is not something what I see on the daily basis. So it is hard for me to tell how I would react in that situation. But I have my own strong opinion about something that I dislike and like toward to Ukrainian at this moment. For instance, it pains me to see that in my city there were many people who wear opposing side to refugees who have been in Eastern Ukraine and starts the moving. They were moving to western Ukraine but also to Russia and any other countries. And many people who wear engaging with other and displace people, people saying that 'oh, you don't have a job.' Why do they have to move here, and take our job, we don't have enough housing, and they change a city a lot that kind of thing. That kind of fear-- it is really hard to move and trying to understand other person and where they come from and what they are bring. I have privilege to looking at that of perspectives as an outsider. I am not saying that it makes me more objectives perspectives. But I see discontents. I'm seeing things in this very reductive way. SK:  I see-- but you said you will go back to Ukraine in this summer and your family have been lived there. Therefore, about the current or any past conflicts, could it be a personal as well to you--perhaps? AL: First, how my family was affected by conflicts--yes, they were affected it to economic situation. You know, Ukraine economic is in really bad shape, right now. And the currency rate is horrible. For instance, when I left there, you can change the Hryvnia, Ukraine currency, to US Dollar in 80 Hryvnia to 1 Dollar. And there were a part time of conflict to recently where it reached to 30 hryvnia to 1 dollar which was really dramatic. You can see the price rise of daily basic goods as well. I think that's how my family is affected because they have no money for that much. They hasn't been that place long-- And also we have no experiences like some member of our family were killed. And also they lived in western Ukraine which is relatively a shelter from the conflicts of Ukraine. So, they mostly not see that in person. They could see in media, but they are not experienced that themselves. So, I would say that I would not need to expose to violence. SK: So, there are several scenery in current Ukraine besides the physical violence aspects. AL: Yes. SK: Thank you. I guess that was our last question. Because now we already reached the 1 hour-- MS: Yes, I believe so. Thank you so much sharing. It was really productive. SK:  It was! MS: Thank you for your time and efforts-- SK: --and good luck with the last of your semester. AL: Thank you. (End of Interview) 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 Interview with Anastasiya Lyubas Contributor An entity responsible for making contributions to the resource Lyubas, Anastasiya ; Shulga, Maria ; Kim, Sulim Format The file format, physical medium, or dimensions of the resource audio/mp3 Description An account of the resource Anastasiya Lyubas is a PhD candidate in the Department of Comparative Literature at Binghamton University. She is originally from Lviv, Ukraine. After graduation, she wants to teach in Europe. 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 2015-03-30 Rights Information about rights held in and over the resource In Copyright Language A language of the resource English Type The nature or genre of the resource Sound Identifier An unambiguous reference to the resource within a given context AnastasiyaLyubas.mp3 Date Modified Date on which the resource was changed. 2018-04-09 Is Part Of A related resource in which the described resource is physically or logically included. Ukrainian Oral History Project Extent The size or duration of the resource. 58:14 Subject The topic of the resource Lyubas, Anastasiya. --Interviews; Ukrainians--United States; Russians--United States; Diaspora, Ukrainian;  Ethnic identity; Borderlands -- Poland -- History Ukrainian; Identity; Culture; Education; Americanization. https://omeka.binghamton.edu/omeka/files/original/14cb47340c12a98285bcad5403f82ff9.pdf 4a84483e08d644c3a7ec9bcc78250f9a PDF Text Text ' BINGHAMTON U N I V E R S I T Y S T A T E U N I V ER S I T Y O F N E W Y O R K Ld wdee D E P A R T M E N T TRANSATLANTIC JOURNEYS: AN E VENING O F A FRICAN D ANCE FROM W E S T A F R I C A AND T H E C ARIBBEAN P resented by : T he N u k porfe A fr ican Da n ceDru m m i n g Ensemble, Binghamto n University Directed by J a mes B u rn s a n d E li kem Nya m ua me FRIDAY, MAY 8, 2015 7:30 PM. WATTERS THEATER DINGHAHTON UNIVERSITY �world, he is often depicted as a wild man from the bush, who is a ﬁerce warrior and defender of the weak. Kpanlago (Ghana). Kpan logo is also a new form of traditional music that was created by the Ga people, who reside in and around the capital of Ghana, Accra. It uses a distinct rhythmic background that is found throughout the Black Atlantic region in musics like Samba, Calypso and Rumba. X I. Dance of Oshun (Cuba). Osh un is the goddess of sensuality and beauty, which is tempered by an inner sadness due to the lack of love and caring in the world. She is revered as a divine mother, and also as the queen of the marketplace. ln Nigeria is associated with the river Oshun, and is an im portant water spirit. X1]. Baamaya (Ghana). Baamaya (the ground is soaked with water) is one of the most popular social dances of the Dagomba people of northern Ghana. The Dagomba originated within the old Mali empire, and brought Islam and griot court music culture to Ghana when they migrated there sometime during the 16th century. Baamaya originated as a rain dance, where the men dressed as women to entertain the spirits so that they would make it rain. Xlll. Fumefume (Ghana). Fumefume is another new form of traditional music among the Ga people. Mustapha Tettey Addey, a renowned Ga drummer, is credited for having created Fumefume out of earlier sacred dances that were performed during traditional ritual events and ceremonies. This dancedrumming is now performed during life cycle events such as birth, naming, initiation, marriage/wedding and funerals among others. X I V. Kinka (Ghana Kinka (Ghana). Kinka is a relatively modern style of Ewe funeral music that became popular in the 1950s. It features a distinctive body of songs and drum language phrases that juxtapose images and themes from traditional Ewe culture with modern li fe. PERFORMERS Songs Led by Heno itoro Udo Assisted by Stephanie Okpalor and Nana Nkansah Siriboe Dances Directed and Choreographed by Elikem Nyamuame, Departments of Theater and Africana Studies BEGINNING DANCECLASS Assisted by Nana Nkansah Siriboe and Rachel Nader Deniz Akin, Dennis Asante, Oluwaseun Banjo, Adriana Caminero, Same] Checo, Shi Quing Chen, Yue Chi, Danielle Schwarz, Alexa Dicken, Tyler Downey, Robert Drante, Adrian Estrada, Deanna Feuerbach, Jessica Forrnan, Yilan Fu, Shan Gao, Yuanhang Gao, Stephanie Gomerez, Darlenne Goris, Dong Guan, Yiyang Hao, Nicole Jacobsen, Talia Jacobsen, Kaddy Jaith, Shai Kanus, Avital Katz, Sandra Khalil, Jonathan King, Kristina Klimek, Prince Kwashie, Isabel Liman, Ashley Lopez, Nicolle Lu ftman, Jiayue Luo, Bernadette Machuca, Michelle Mandler, Jash Mathuria, Adriana Morquecho, Maureen Mullarkey, Amanda Niedfeld, Jasmine Oduro, Alicia Primus, Tiany Qian, Stephanie Ren, Chris Santos, Danielle Sirota, Qiushi Su, Robert Tendy, Ningning Wang, Xuefei Wang, Karly Weinreb, Jessica Wohlrob, Yihong Yu, Didi Zhang, XuanJin Zhang ADVANCED DANCECLASS Assisted by Stephanie Okpalor & Taire Herasme Samuel Addoh, Eunice Assibu, Alexandros Balili, Bimbola Bamgbose, Trey Bonaparte, Woqian Chen, Zijie Chen, Wanying Cheng, Courtney Edwards, Andrea Ekor, Aceneth Elliot, Sumin Eum, Qingyun Gao, Unpyol Han, Steven Holguin, Joohee Jeong, Briana Jones, Ga Hee Kim, Gabrielle Kim, Ki Young Kim, Kyeongtae Kim, Sumi Kim, Sunyul Kwak, Gina Lee, Joshua Lee, Danielle Marsh, Regina Mathai, Melinda Momplaisir, Melissa Morgan, Qianning Mu, Chioma Nwosu, Tosin Olajuyi, Yuliza Pichardo, Briana Renois, Angelica Rivera, Danielle Sequeria, Jialing Song, Kayla Starrner, Yaa Takyiwaa, Kathie Tejada, Bradlee VasquezValdez, Xin Wang, Xiaowu Xiang, Xieyi Xu, Heng Yang, Jae Young Yoon, Wei Zhang, KeHan Zhu, Claudia Wright, lbrahima Balde �NUKPORFE DANCERS Robert Adusei, Dennis Asante, Bimbola Bamgbose, Krysten Barnes, Andy Chan, Dominique Descorbeth, Courtney Edwards, Fatoumata Kane, Bukola Kayode, Lola Kolade, Valerie Louis, Nana NkansahSiriboe, Akua Nketia, Stephanie Okpalor. Georgia Sackey, Chelsea Satine, Courtney Small, Yaa Takyiwaa, Kinnasia Wynter, Drumming directed and arranged by James Burns, Departments of Music a nd Africana Studies NUKPORFE MUSICIANS Allen Frimpong, Raﬀe Chesler, Megan K izer, Jingchao Lian, Josh Schultz, Andrew Rappa, Jose Sinon, Keaton Rood, Nana Agycnim. Santiago BarreraBums, Maritza Rodriguez. If you like the music please follow our Facebook page (Nukporfe A frican DanceDrumming Ensemble) for upcoming performances. All of the music and dance that you see today is performed by students at Binghamton University, who are taking one o f the following courses in the Departments o f Music, Africana Studies, and Theatre Dance If you are interested in learning the dancing please register for the Beginning (THEA 289J/ AFST 289J) or Advanced (THEA389I/ AFST389J) sections of African Dance. If you are interested in the drumming and singing, register for the Beginning African Drumming class (M US l43B/AFST 188B). �Ethnic Groups of Ghana � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. 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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. 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. 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Creator An entity primarily responsible for making the resource Nukporfe African Dance-Drumming Ensemble Burns, James March, Marcel Ny[a]muame, Elikem 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 2015-05-08 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound