147 10 1775 https://omeka.binghamton.edu/omeka/files/original/8df1fd7f6705eeb0f4f56c7674fc3f25.mp3 7a7b7c569f34f6539e56e7b7a2fd23d0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Format The file format, physical medium, or dimensions of the resource Oral Histories Title A name given to the resource Oral Histories from 1960s Binghamton Alumni Description An account of the resource In 2019, Binghamton University Libraries completed a mission to collect oral interviews from 1960s alumni as a means to preserve memories of campus life. The resulting 47 tales are a retrospective of social, professional and personal experiences with the commonality of Harpur College. Some stories tell of humble beginnings, others discuss the formation of friendships; each provides insight into a moment in our community's rich history. Creator An entity primarily responsible for making the resource Irene Gashurov 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 2017-2018 Relation A related resource <a href="https://omeka.binghamton.edu/omeka/items/browse?collection=18">McKiernan Interviews : 60's collection of Oral Histories</a> Rights Information about rights held in and over the resource In copyright. Template: Simple Audio Player (Amplitude.js) This template displays an audio player with the first attached image file as the 'cover image'. For its audio source, the template looks for the first attached audio file. If additional audio files exist, they should be combined using audio editing software, or a separate Omeka item should be made for each part. Date of Interview 2019-11-14 Interviewer The person(s) performing the interview Irene Gashurov Interviewee The person(s) being interviewed Rodney Alexander Year of Graduation 1968 Biographical Text Harpur College BA Social Sciences, '68. Rodney Alexander was executive director of the Manhattan Educational Opportunity Center at the Borough of Manhattan Community College (BMCC), CUNY. After graduating from Harpur College, he completed degrees in public administration and in business administration from NYU. His wife, Daryl Royster Alexander, was the founding editor of Essence magazine. 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>. 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. 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 Rodney Alexander Contributor An entity responsible for making contributions to the resource Alexander, Rodney ; Gashurov, Irene Format The file format, physical medium, or dimensions of the resource audio/mp3 Description An account of the resource Harpur College BA Social Sciences, '68. Rodney Alexander was executive director of the Manhattan Educational Opportunity Center at the Borough of Manhattan Community College (BMCC), CUNY. After graduating from Harpur College, he completed degrees in public administration and in business administration from NYU. His wife, Daryl Royster Alexander, was the founding editor of <em>Essence</em> magazine. 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 2019-11-14 Rights Information about rights held in and over the resource In Copyright Language A language of the resource eng Type The nature or genre of the resource Sound Identifier An unambiguous reference to the resource within a given context Rodney Alexander.mp3 Date Modified Date on which the resource was changed. 2019-11-14 Is Part Of A related resource in which the described resource is physically or logically included. Oral Histories from 60's Binghamton Alumni Extent The size or duration of the resource. 63:15 minutes IIIF Item Metadata UUID db54668a-0dd7-404a-982b-740dfd1194a3 https://omeka.binghamton.edu/omeka/files/original/94e68dc3fd5fd239ec2a75e66a966dec.pdf 199c8d5a1beb67c3a97a262870bd030f PDF Text Text Wa l t e r  Po nce i y i y Q ‘9 r Chamber  Music  Series January  19,  1974 Don  A.  Watters  Theater 8:15  p.m. �WALTER  PONCE,  pianist *************>€*>('3G************************>(­>h(~>l~>§**>(~* PICTURES  AT  AN  EXHIBITION  MODEST  MUSSORGSKY Promenade­Gnomus Promenade–Il  Vecchio  Caste Z  10  (an  old  castle and  singing  troubadour) Promenade–"Tuileries" ”,  dispute  o f   children a f t e r   play Bydlo  (The  Ox  Cart) Promenade­Ballet  o f   the  Chicks  i n  th e i r Shells–Two  Polish Jews  (one  r i c h ,   th e other  poor)  T E *  E T Promenade­Limoges  (the  Market  Place)­ Catacombae  (Sepulcrum  Romanum)–Con Mortuis  in  Lingue  Mortua­Baba­Yaga (the  Hut  on  Fowl’s  Legs)­the  Great Gate  of  Kiev INTERMISSION SONATA  QUASI  UNA  FANTASIA,  LUDWIG  VON  BEETHOVEN opus  27  no.1  in  E­flat major Andante­Allegro–Andante Allegro  molto  e vivace Adagio  con  espressione Allegro  vivace SONETTO  104  DEL  PETRARCA  FRANZ  LISZT MEPHISTO  WALTZ  FRANZ  LISZT �COMING  EVENTS: January  26th–  The  Lenox  Quartet February  9th–  Toby  Appel,  viola February  27th–  The  Collegium  Musicum March  8th–  The  Harpur  Symphony  Orchestra March  9th–  The  Lenox  Quartet � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audiotape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 33:44 38:07 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE85583">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE85583</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 Walter Ponce, recital, pianist, January 19, 1974 January 19, 1974 Recital Tape 1974-1-19 Description An account of the resource Works of Mussorgsky, Beethoven and Liszt. Held at 8:15 pm, January 19, 1974, Watters Theater. Creator An entity primarily responsible for making the resource Ponce, Walter 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 2020-09-03 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/c70ff4818ae7367667ca6e44e7f57602.pdf 69db994c2a3878637cf988c61f749b40 PDF Text Text TOBY APPEL “Q ‘ 9 ’ ! S Y2   % A N N @@@ ‘© Chamber  Music  Series February  9,  1974 Don  A.  Watters  Theater 8:16  p.m. �TOBY  APPEL,  viola SAMUEL  SANDERS,  piano J E A N “ ? J G * * > l ~ > ( ­ J ( ~ J ( ­ J ( ' > ( ­ i ’ i ’ i ­ * * * * * * * * * * * * * * * * * * * * * * J U Q ’ l ’J l ­ x ’ i ­ X­ x ­ x ­ A ­ SUITE  HEBRAIQUE  ERNEST  BLOCH I.  Rapsodie II.  Processional III.  Affirmation SONATE  IN  F MINOR  OPUS  120,  1  Allegro  appassionata Andante  un  poco  Adagio Allegretto  grazioso Vivace JOHANNES  BRAHMS INTERMISSION SONATE  IN  G MINOR  Largo Corrente Adagio Allegro  vivace “ELEGY”  in  memory  of  my  mother  Andante HENRY  ECCLES EZRA  LADERMAN World  Premiere:  the  composer  requests there  be  no  applause SONATE  IN  F MAJOR  OPUS  11,  4  I.  Fantasie I I .  Thema  m i t  va r i a t i o n e n I T I .   Finale  (mit  va r i at i o n e n ) PAUL  HINDEMITH � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audiotape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 48:36 37:21 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE85575">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE85575</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.) Continuous 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 Toby Appel, recital, February 9, 1974 Samuel Sanders, piano February 9, 1974 Recital Tape 1974-2-9 Description An account of the resource Works of Bloch, Brahms, Eccles, Laderman, Hindemith. Held at 8:15 pm, February 9, 1974, Watters Theater. Creator An entity primarily responsible for making the resource Appel, Toby 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 2020-09-08 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/297a5aaeae83901cc482c5630d591aaf.pdf 94caf2684a6bc626abbe89c924427e01 PDF Text Text I I I   r  . S d ~ TE  UNIVERSITY  THE  OF  NEW  YORK  AT  B) DEPARTME  »! OF  M U VFBRUARY  1 4 ,  1974  at   8:15  p.w+ CASADESUS  RECITAL  HALL HIROKO  YAJIMA,  v i o l i n i s t ­  WALTER  PONCE,  pianist ­ Be  I'_  _ '. ­ h.h  of    Sonata i n E m?sor ‘ J .   8 .  Bach Allegro A d a g i o  ma  non  tanto anda Alem iue g G S o n a t a  A major, opus 1 3  mno.l  . G .   Faure Allegro molto Andante Allegro vivo Allegro quasi presto INTERMISSION € P i e c e  two  parts for violin alone Fantaisie, opus 159 § .  Wolpe F .  Schubert Andante molto­ Allegretto Andantino  (theme  and  vari ­tions) Allegro~Presto ­ { aN — � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audiotape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 38:26 25:19 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE85571">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE85571</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.) Continuous 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 Walter Ponce, recital, February 14, 1974 February 14, 1974 Recital Tape 1974-2-14 Description An account of the resource Works of Bach, Faure, Wolpe, and Schubert. Held at 8:15 pm, February 14, 1974, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Ponce, Walter 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 2020-09-08 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/e6a80d39c4c8a5a74012e9e6a8224bfb.pdf 709cb127f38c2b839736eb9b1eab88ac PDF Text Text Th e L e n ox Quar tet \  \) #1 NED 00 Chamber  Music  Series January  26,  1974 Don  A.  Watters  Theater 8:15  p.m. �Peter  Marsh,  violin  Dedman  Pettys,  violin  Toby  Appel,  viola Donald  McCall,  c e l l o *****=k3k****************%**%*****’k**************** QUARTET  I N  G MAJOR,  op.  54,1  Allegro  con  brio Allegret to Menuetto  (AlLegretto) Presto J .  Haydn QUARTET  IN C MINOR,  op.  51,1  Allegro J .  Brahms Romanze  (Poco  Adagio) Allegret to molto  moderato  e  comodo Allegro INTERMISSION QUARTET  IN E MINOR,  “From My  Lige”  Allegro  vivo  appassionato AlLegno  moderato  a  La  Polka Largo  sostenut o Vivace B.  Smetana � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audiotape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 56:57 31:42 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE85579">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE85579</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.) FacingContinuous 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 Lenox String Quartet, recital, January 26, 1974 January 26, 1974 Recital Tape 1974-1-26 Description An account of the resource Works of Haydn, Brahms, and Smetana. Held at 8:15 pm, January 26, 1974, Watters Theater. Creator An entity primarily responsible for making the resource Lenox String Quartet 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 2020-09-11 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/9ed8e2e865385b5861b0556473679748.mp3 3812013610763e0c890413ce460f1cf9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Format The file format, physical medium, or dimensions of the resource Oral Histories Title A name given to the resource Oral Histories from 1960s Binghamton Alumni Description An account of the resource In 2019, Binghamton University Libraries completed a mission to collect oral interviews from 1960s alumni as a means to preserve memories of campus life. The resulting 47 tales are a retrospective of social, professional and personal experiences with the commonality of Harpur College. Some stories tell of humble beginnings, others discuss the formation of friendships; each provides insight into a moment in our community's rich history. Creator An entity primarily responsible for making the resource Irene Gashurov 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 2017-2018 Relation A related resource <a href="https://omeka.binghamton.edu/omeka/items/browse?collection=18">McKiernan Interviews : 60's collection of Oral Histories</a> Rights Information about rights held in and over the resource In copyright. Template: Simple Audio Player (Amplitude.js) 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. OHMS Object URL Nineteen sixties; Harpur College; Alumni and alumnae Date of Interview 2021-08-11 Interviewer The person(s) performing the interview Dr. Aynur de Rouen Interviewee The person(s) being interviewed Joseph Patrick Hoolihan Year of Graduation 1972 Biographical Text Joseph Patrick Hoolihan was born in 1950, in New York City, and moved with his family in 1960 to Chestertown, NY then to Granville, NY in 1964. His father was a TV repairman and his mother was a housewife. He attended Harpur College in 1968 and graduated in 1972 with a Bachelor's Degree in Applied Mathematics. After graduation, he joined the United States Navy and became an officer, serving for 10 years on active duty. He earned his Master's Degree in Computer Science from John Hopkins University while on active duty. He recently retired from a Computer Sevices Gov't contractor firm after 35 years. At the time of this interview he lived with his wife, a former Harpur Student, in Maryland. Interview Format Video or Audio Audio Keywords Harpur College – Seventies alumni; Harpur College – Alumni from New York State; Alumni in Applied Mathematics – Alumni living in Maryland 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>. Subject LCSH Harpur College – Seventies alumni; Harpur College – Alumni from New York State; Alumni in Applied Mathematics – Alumni living in Maryland Rights Statement Many items in our digital collections are copyrighted. 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Title A name given to the resource Interview with Joseph Patrick Hoolihan Contributor An entity responsible for making contributions to the resource Hoolihan, Joseph Patrick ; De Rouen, Aynur Format The file format, physical medium, or dimensions of the resource audio/mp3 Description An account of the resource Joseph Patrick Hoolihan was born in 1950, in New York City, and moved with his family in 1960 to Chestertown, NY then to Granville, NY in 1964. His father was a TV repairman and his mother was a housewife. He attended Harpur College in 1968 and graduated in 1972 with a Bachelor's Degree in Applied Mathematics. After graduation, he joined the United States Navy and became an officer, serving for 10 years on active duty. He earned his Master's Degree in Computer Science from John Hopkins University while on active duty. He recently retired from a Computer Sevices Gov't contractor firm after 35 years. At the time of this interview he lived with his wife, a former Harpur Student, in Maryland. 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 2021-08-11 Rights Information about rights held in and over the resource In Copyright Language A language of the resource eng Type The nature or genre of the resource Sound Identifier An unambiguous reference to the resource within a given context Joseph-Hoolihan.mp3 Is Part Of A related resource in which the described resource is physically or logically included. Oral Histories from 60's Binghamton Alumni Extent The size or duration of the resource. 63:12 minutes Subject The topic of the resource Harpur College – Seventies alumni; Harpur College – Alumni from New York State; Alumni in Applied Mathematics – Alumni living in Maryland https://omeka.binghamton.edu/omeka/files/original/f4f245a718999486c20771e401c08472.pdf e5e987fac7859013afdd4bc7cc33f11b PDF Text Text BINGHAMTON U  N  I  V  E  R  S  l  T  Y S TATE  UN I V E R S I T Y   O F  N E W   Y O R K D E P A R T M E N T STUDENT RECITAL EMILY GELLER, Mezzo ­SOPRANO widv Pg’fieétg; piano­ an d harpsichord and Hakan Tayga­Hromek; cello­ Saturday, Marci/1”, 2014 8 p .m   Casadesus H a l l �GeolgeFrider­ic Handel (1685­1759) fromAIcina  Verdi prati  Sta nelrircana II. Zigeunerilieder, 0p.103.  1. He, Zigeuner, greife in die Satan ein  2. Hochgetfirrnte Rimatht 3.Wisst ihr, wann mein Kindchen 4. Lieber Gott, du weisst 5. Brauner Bursche fiihrt zum Tanze Johannes Brahms (1833­1897) from Toic’ e st moi.  C‘est ga la vie, c’est ga I’amour  Half­Minute Songs.  1. Making the Best of It  2. First Ask Yourself 3. To Understand 4. Doan’ Yo’ Lis’n 5. How to Find Success 6. The Pleasure of Giving 7. Answer the First Rap 8. A Good Exercise 9. A Present from Yourself 10. Now and Then 11 When They Say the Unkind Things 12. Keep Awake V. from Kiss Me, Kate  So In Love  Thank You So Much Missus Lowsborough­Goodby from Nymph Errant The Physician from Panama Hattie Make It Another Old Fashioned, Please opportunities for elaborate staging and special eflects that were immensely popula has not yet been transformed and is besottad with the sultry Alcina. Living in sin with her, he has forgotten his betrothal to Bradamante, who has pursued him to the island disguised ®INTERMISSIONcs Youkali (Tango Habanera).  supernatural elernens than his earlier operas. This type d mafical opera providesr with them before she transforms them into boulders, trees, straarns, or wild animals. Her latest captive Is the knight Ruggiero (originally a castrato role, today sung by mezzo­soprano). He 7. Kommt dir manchmal in den Sinn 8. Rote Abendwolken ziehn III. constructed Covent Garden Theatre on A prils.1735.1 he anonymous libretto was based on two cantos lrorn Italian poet Ludovico Ariosto’s Orlando Iurioso (1 516) about the adventures of paladins In Charlemagne’s court. Alcina was so popular that there was a revival of the work just a year after its premiere. At this point In his career. Handel had the lreedorn to choose from a wider range of librettos; this explains why Alcina contains more Handel’s audiences. The opera focuses the sorceress Alcina. who lures brave men to her island, seducing 6. Rbslein dreie in der Reihe from Chants populaires.  Chanson espagnole  andel composed works in almost every musical genre, 1mm George Frlderlc H orchestral b vocal pieces, chlnber music to oraorio. Alcina was presented at the newly­ .  Joseph­Maurice Ravel (1875­1937) .Kurt Weill (1900­1950) .  Moses Simons (1889­1945) . Carrie Jacobs­Bond (1889­1945) .  .Coie Porter (1891­1964) as a young man. Eventually Ruggiero succeeds in destroying Alcina’s magic powers. All the enchanted heroes are restored to their human form and Ruggiero ls reunited with Bradamante. Both “Verdi prati” and “Sta neil rcana’ are sung by Ruggiero, but they could not be larther apart in character; the first ls ethereal and introspective, the other bold and aggressive. ‘Verdl prati is known  one of Handel’s most beautiful arias, although Carestini, the castrato who first sang Ruggiero, initially rejected it because of its simplicity. From Act II it loreshadows Alcina’s coming defeat and eventual vengeance with the world. As Ruggiero emerges from his entrapment, he comes to accept the island’s real, horrid aspect and bids twewell to Alcina’s magic island. Caught in an emotional tug­of­war between Alcina and his abandoned fiancée Bradamante, Ruggiero presents a largely passive figure until emerging In his rollicking final Act III aria “Sta nell’lrcana.” This aria resumes his heroic stance just after he escapes cina’s Alcina’s spell, solidifying him as a heroic warrior. After breaking away from Al enchantment, Ruggiero abandons her to return to his fiancée. Alcina pleads with Ruggiero to come back, but he instead breaks the urn that contains her power. The energy and excitement of “Sta nell’Ircana” is  manifested in the fiery accom paniment, which when performed with full orchestra, features horns and quick repeated notes In the strings. I. Verdi Pratt (Green Meadows)  Green meadows, charming woods, you will  lose your beauty.  Lovely flowers, flowing streams, your  charm, your beauty,  will soon be changed.  Sta ne  Teena (In her rocky Hyrcanlan lair) In her rocky Hyrcanian lair. lurks an angry tigress, unsure whether to run or await the hunter. She wants to save herself from his arrow, And as every lovely object changes,  everything within this place will return to the  but that would mean leaving  her young in danger. horror of its former appearance.  She shivers, torn between bloodlust and maternal devotion, the victor is  love. Johannes Brahms’s place as one of the great song composers of the nineteenth century and one of the maior German song composers Is untispuled. His works are chaaclarizad  by both strictness and freedom in form, line, texture, and rhythm. Considering himself a self­taught composer, he wrote approximately 380 songs for one, two, three and tour voices, including nearly 100 arrangements of lolk songs and children’s songs. Brahms‘s lundamental interest in folk music permeated his musical aesthetic. His great respect and admiration for classical forms manifested itself in musical symmetry, which is always found in his songs. This, coupled with his strong lyric gift, gives his Lieder a high degree of emotional intensity  and expressive impact. �Throughout his tile. Brahms was fascinated with the music of the Hungarian Gypsies. These songs are rearrangements from the eleven vocal quartets composed In 1887 as Zigeuneriieder for four voices. In the solo version, published in 1889, there we eight songs encompassing an array of emotions from exuberant joy to melancholy. Dance rhythms are found in the piano and also in the rhythms of the vocal lines of some of the songs. Brahms begins and ends this set with strongly accented. broad­lined songs. The Indigenous quality of Hungarian vocal music lacks upbeats. Although all eight songs are in simple dupie meter, variety is created by use of syncopations, triplets, and dotted patterns. ­attributed to Carol Kimball II. 1.He, Zlgeuner, greife In die Salton Hey, Gypsy, play your violin! Play the song of the unfaithful gri! Let the strings weep, lament. sadly and anxiously, until hot tears moisten my cheek! 2. Hochgetirnm Rimaflut River Rima with your towering banks, how troubled you are; by its edge I loudly moan for you. my love! Waves dash by, waves rush along and rumble up to the riverbank where i stand; by the banks of the Rima let me weep eternally for her! 3. Wlsst Ihr, warm meln K indchen Do you know when my darling is most beautiful? When her sweet little mouth iokes and laughs and kisses. Dear little girl, you are mine. I kiss you fervently; loving heaven created you for me alone! Do you know when I like my sweetheart best? When he holds me close in his arms. Dear lover, you are mine, I kiss you fervently; loving heaven created you for me alone! 4. Lieber Gott, du welsst Dear God, you know often I have regretted the kiss I once gave my sweetheart. My heart commanded me to kiss him; I will think about that first kiss as long as I live. Dear God, you know how often in the silence of the night I have thought about my loved one in pleasure and pain. Love is sweet. even if r epentance is bitter,  atr rtwill remain eternally, my poor he eternally true to him. 5. Brauner Bursche fiihrt tum  Tanze A suntanned lad leads his beautiful blue­ eyed sweemeart to the dance; he boldly strikes his spurs together; a czardas melody begins; he kisses and caresses his sweet loved one; turns her around. leads her, rejoices and leaps: he throws three bright silver coins onto the cimbalom to make It twang. 6. Roslein dreie In der Raine Threelitflerosesina row blossom so  red; there‘s no law  against a young man’s visiting a young girl! Dear God, if  that were forbidden, the beautiful, wide world would have been gone long ago: to remain unmarried Is a sin! The prettiest little town In Alféld Is Kecskemét; there, there are really a lot of good­looking and nice girls! Friends, find yourselves a bride there, ask for her hand and establish your household; drain the cup of joy! 7. Kommt dlr manchmal In  den Slnn Do you sometimes recall to mind. my darling, what you once promised me with sacred oath? Don’t deceive me, don’t abandon me; you don’t know how much I love you; love meas  much as I love you, and then God’s g’ace will pour down on you! 8. Rote Abendwolken xlehn Red evening clouds pass by in the firmament; my heart burns longingly for you, my darling. The sky beams in glowing splendor, and I dream, by day and night, only of my sweet lover. All three of these French songs have a “Spanish flair” through dance rhythms. French composer Maurice Ravel once commented that he did not want his music to be interpreted, but performed. The Chants populaires Is one of four prize­winning folk song amrangements designed to promotethe awareness and performance of international folk song. A relentless militant rhythm (similar to Bolero) underlies a bitter comment in the text   pon a man’s soul. about the hardening effect d w a u Kun Weil ’s persistent experimentation with hybrid toms of musical theater produced some of the most stimulating, expressive. and enduring works for musical theater in the last century. German­born, Weill wrote ‘Youkdi:Tango Habanera‘ while in Paris. The French text was later added by Roger Fernay. “Youkali” is languid and nostalgic, written in strophic form. It contains Weill’s trademark of  major­minor alternation. Its narrative stanzas are set In a tango rhythm but the habanera is heard in the refrain. Weil’s major­minor ventilation is used ironically here; the final phrase migrates to the major key as hope for finding the dream of Youkali s crushed Moisés Simons was a leading Cuban composer, pianist. and conductor. After having built his career in Cuba, he composed one of the most lamous pieces of Cuban music. “El Manisero (The Peanut Vendor).” Its success led to a “rumba craze” In the US and Europe which lasted until the 1940s. In Paris, he wrote the operetta Toi, c’est Moiwith popular French novelist, Henri Duvernois. It consists of a series of extremely varied numbers punctuated by humorous comedy scenes. The CubaHaern musicologist Alejo Carpentier praised Simons’ excellent musical and technical accomplishment saying that Toi C’esl Moi Simons’ creative career. “C’est la vie” is an arresting take on the   was b l e the peak of  Carmen story in which Carmen kills a cheating Escamillo. III. Chanson espagnole (Spanish Song) F zeweil. go, my husband, farewell; Since they have taken you for the war There is no longer on earth Alas! for me, neither laughter. nor fun! Vouknli (Tango Habanera) It was almost to the end of the world That my wandering boat Straying at the will of the waves Led me one day The Isle is very small But the kind fairy that lives there Invites us to take a look around. Youkali is the land of our desires Youkali is happiness, pleasure Youkali Is the land where we forget all our worries It Is in our night, like a bright rift the star we follow, it is Youkail Youkali Is the respect of all vows emhanged Youkali is the land of love returned II is the hope that Is in every human heart The deliverance we await for tomorrow Youkali Is the land of our desires Youkali is happiness, pleasure Bu t i t isa tt  dream,  a folly There is no Youkali. Castille takes our boys To make her cause triumphant, They go off as soft as rose petals, They return hard as  thistles. And life carries us along Tediously, day by day But the poor human soul Seeking forgetfulness everywhere Has, in order to escape the world Managed to find the mystery In which our dreams burrow themselves In some Youkali. Youkali is the land of our desires Youkeli is happiness, pleasure Youkdi is the land where we forget all our worries It is in our night, like a bright rift the star we follow, it is Youkali Youkali is the respect of all vows emhanged Youkali is the land of love returned It “s the hope that is in every human heart The deliverance we await lor tomorrow Youkali is the land of our desires Youkali is happiness, pleasure But it is a dream, a folly There is no Youkali. �C’sst ca la  vie (That’s Life) Carmen the gypsy loved the handsome Escamillo; She swore to love the Toreador forever. But all men are the same, He tired of her kisses. He deceived her, she reproached him. He left her! That’s Me. that’s love! Here a little embarrassment one gets into, One falls in love one night, the next day it’ goodbye. That’s life. that’s love. Carmen the gypsy returned to the Toreador; She forgave him, wanting him to adore her again, But all men are the same, Escamillo deceived her again. The gypsy seized his dagger, And killed him! That’s life. that’s love! Here a little embarrassment one gets Into. We love one night, one day we kill. That’s life, that’s love. Carrie Jacobs­Bond was a piano prodigy, but did not pursue music professionally until after the death of her second husband. Having lost nearly everything, she fought poverty for years and provided for herself and her son by writing, selling. and performing songs ‘unpretentious as a wild rose.” She suffered stage fright and was criticized for being “plain and angular.”  As an untrained singer. she courageously performed her songs on her own due to financial trouble. Ultimately she became quite successful, allowing for her music to have professional performances. Upon hearing her most famous song, ”At the End of a Perfect Day” in concert. a Viennese composer visiting the United States stood up, thinking it was the national anthem. It is easy to imagine Jacobs­Bond delivering the pearls of wisdom in “The Half­Minute Songs.” They are infused with her quirkiness and forthrightness. “I wonder what the world would be like if  there were nobody to do the simple things!” Bond wrote. “I wonder how folks would get along without snappers, and hooks and eyes, and pins. Nothing could be much commoner than they are, but they fill a very much­needed place. You see, lots of folks can get along without a point lace collar, but I should hate to see folks try to get along without the other commodities I’ve spoken of. And sometimes songs (simple songs) like pins keep folks together.” ­Adapted from Briana Sekamcto N. 1. M aking the Bes t  o f  It. What you can’t help, What you can’t help. What you can’t help. Forget! 2. First Ask  Yourself. Before you have said It about them, Ask yourself if you’d like them to know you said it. 3. To Understand. To understand a sorrow, You must have one all your own. Cole Porter is a world famous composer and lyricist, who had such an individuality of style that a genre known  “the Cole Porter song” emerged. The hallmarks of a typical Porter song are suave and witty lyrics and melodies with a sinuous, brooding quality. Richard Rodgers said, “Few people realize how architecturally excellent his music is. There’s a foundation, a structure and an embellishment. Then you add the emotion he’s put in and the result is Cole Porter.“ In 1937, Porter was thrown from a horse, breaking both his legs and danaging his nervous system. For the rest of his life, Porter in constant pain and became a virtual recluse. Kiss Me, Kate is one of Cote Porter’s most loved musicals. It opens with the cast of a musical version of William Shakespeare’s The Taming afthe Shrew rehearsing for opening night. Egotistical Fred Graham is the director/producer/starring as Petruchio, while his movie­star ex­wife, Lilli Vanessi, ls playing Katherine. Although they seem to be constantly arguing, Lilli receives a flower arrangement, identical to her wedding bouquet, with a card from Fred. She sings, “So In Love", remembering why she fell in love with him to begin with. Her rekindling love for Fred dies when she finds out the flowers were not intended for her. just delivered to the wrong dressing room. Some of Porter’s most unique and hilarious songs come from musicals rarely done today. Nymph Emant, once considered controversial, tells the story of a young English lady. Evangeline, intent on losing her virginity, Evangeline is sold and married into a harem, but she complains to the harem keeper about the lack of intimacy with her new husband, who she has yet to meet. He asks if  she has ever been in love. and she tells him of a crush she once had in, “The Physician.” Porter considered this score his best because of its worldliness and sexual sophistication. The World War II musical, Panama Hattie tells the story of Hattie Maloney, a gaudy, good­hearted nightclub singer who tends to love above her station. In “Make It Another Old F ashioned, Please” Hattie tries to swear off  liquor with little success. The Broadway premiere starred Ethel Merman as Hattie. One of Porter’s rare independent songs, “Thank you So Much Missus Lowsborough Goodby” was inspired by an invitation to a country house. A typescript of  the lyric was found among the unused lyrics of ‘Anything Goes’, indicating that Porter might have contemplated using it in that show. ­Am’buted to The Associated Press, New York Times V. 6. The Pleasure of  G iving I’d rather say “You’re welcome” once, then “Thank you” a thousand times. 7. Answer the First Rap. Opportunity may knock often, but it’s  better to answer the first rap! 8. A Good Exercise. With evil things you’ll always find It’s best to be deaf. dumb and blind. 9. A Present from Y ourself. A friend is a present you give yourself 4.Doan’ Yo’ Lls‘n. No mattah w’at dey said. Keep a­walkin’ straight ahaid, W’y dey’ll praise yo’ when yo’ daid, But doan’ yo’ lis’n. 10. Now and Then. The “lucky” fellow gets up at five (AM.), And gen’rally works till ten (P.M.); But the other fellow not quite so ”lucky.” Works hard­just now and then! 5. How to F ind Success. The man who finds success looks sometimes when he‘s tired, When he’s tired. when he’s tired. Looks sometimes when he’s tired. 11. When They Say  the Unklnd Things. Ain’t it gay that what “they say” Can’t hurt you unless it’s true? 12. Keep Awake. Success never comes to the sleeping. So In L ove Strange dear, but true dear, When I’m close to you, dear, The stars fill the sky, So in love with you am I. Even without you, My arms told about you, You know darling why, So In love with you am I. In love with the nightmysterious. The night when you first were there, In love with myjoy delirious, When I knew that you could care. So taunt me, and hurt me, Deceive me, desert me, I’m  yours, till I die So In love, So in love, So In love with you. my love, am I �Thank You So Much Missus Lowsborough­Goodby Mlssus Lowsborough­Goodby gives weekends. and her weekends are not a success, but she asks you so often you finally soften and end by answering “Yes.” When I left Missus Lowsborough­Goodby’s The letter I wrote was polite But ltwould have been bliss Had I dared write her this, The letter I wanted to write: Thank you so much Missus Lowsborough­ Goodby, Thank you so much. Thank you so much for that infinite weekend with you. Thank you a lot. Mlssus Lowsborough­ Goodby. Thank you a lot. And don’t be surprised if  you suddenly should be quietly shot. For the clinging perfume And that damp little room, For those cocktails so hot And the bath that was not, For those guests so amusing and mentally bracing Who talked about racing and racing and racing. For the ptomaine I got from your famous tin salmon, For the fortune I lost when you taught me backgammon. For those momings I spent with your dear but deal mother. For those evenings I passed with that bounder, your brother, And for making me swear to myself there and then Never to go for a weekend again. Thank you so much. Missus Lowsborough­ Goodby, Thank you. thank you so much. The Physician Once I loved such a shattering physician, Quite the best­looking doctor In the state. He looked alter my physical condition, And his bedside manner was great. When I’d gaze up and see him there above me, Looking less like a doctor than a Turk, I w  tempted to whisper, “Do you love me. Or do you merely love your work?” He said my bronchial tubes were entrancing, My epiglottis filled him with glee, He simply loved my larynx And went wild about my pharynx, But he never said he loved me. He said my epidermis was darling, And found my blood as blue as could be, He went through wild ecstatics, When l showed him my lymphatics, But he never said he loved me. And though. no doubt, It was not very smart of me, I kept on a­wracking my soul To figure out Why he loved ev’ry part of me, And yet not me as a whole. With my esophagus he was ravished. Enthusiastic to a degree, He said “twas iust enormous, My appendix vermiformis, But he never said he loved me. He said my vertebrae were “sehr schone,” And cdled my coccyx “plus oue gentil,” He murmured “molto bells.” When I sat on his patella, But he never said he loved me. He took a fleeting look at my thorax, And started singing slightly off key, He did a double hurdle when I shook my pelvic girdle, But he never said he loved me. As it was dark, I suggested we walk about Before he returned to his post. Once in the park. I induced him to talk about The thing I wanted the most. He lingered on with me until morning, Yet when I tried to pay him his fee, He said. “Why, don’t be funny, It is I who owe you money,” But he never said he loved me.” Make It Another Old F ashioned, Please Make it another old­fashioned, please. Make it another. double, old­fashioned, please. Make it let one who’s due tojdn the disillusion crew Make it for one of love’s new refugees. Once high in my castle, I reigned supreme, and oh what a castle, built on a heavenly dream. Then quick as a lightning flash, that castle began to crash So, make it another old­fashioned, please Leave out the cherry, Leave out the orange, Leave out the bitters Just make it straight rye. ABOUT THE PERFORMERS Hailing from Long Island, Mezzo­soprano Emily  G eller is urrrently a Resident Artist with Tri­Cities Opera. Most recently she performed Mercedes in Carmen, Lola in Cavelleria rusllcene and Ines In Il trovatore. Before TCO, she was a Tyler Young Artist with Opera on the James where she covered Giannetta In Lelisir d’emore and performed The Wife In The Music Shop. She has been noted as “outstanding”, “delightfully over the top,” and “most enjoyable to watch and listen to.” Ms. Geller has performed lead roles with numerous regional companies, Including C­R Productions at Cohoes Music Hall, One World Symphony, Amore Opera. Regina Opera. NY Lyric Opera Theater. Staten Island Philharmonic. Village Light Opera Group and The Harvard­Radcliffe Gilbert and Sullivan Players. During the summer, she has performed with such festivals as Music Theater Bavaria, Intermezzo Opera Theater. Rising Star Opera Theater. College Light Opera Company and Boston University Tanglewood Institute. Favorite roles performed include Third Lady in Die Zauberfiéute, La Voix in Les contes dHoffmann, Mrs. Anderson In A Little Night Music, Mere Marie in Dialogues des Carmelites, Miss Todd in The Old Maid and the Thief, La maestra delle novizie in Sour Angelica and Mrs. Herring in Albert Herring. Having an affinity for Gilbert and Sullivan operettas, Ms. Geller has extensively performed Katisha in The Mikado throughout the Northeast. Other G&S roles include Pitti­sing in The Mikado, Cousin Hebe in HMS Hrrafore. Kate In Pirates dPenzrrnce. Duchess of Plaza­torn in The Gondoliers and lolanthe and Queen of the F airies In lolanthe. Outside of opera, Ms. Geller’s solo experience include Mendelssohn’s Elijah. Vivaldi’s Gloria, Dumfle’s Requiem, Debussy’s Trois Chansons, Britten’s Rejoice in the Lamb, Bach’s Christmas Oratorio and Handel’s Messiah. Ms. Geller is currently a Master of Music student in Opera at Binghamlon University with a full assistantship under the tutelage of Prof. Mary Burgess. She received her Bachelors of Music in Vocal Performance from New England Conservatory earning the Ruth S. Morse Scholarship, the NYSTEA Award of Excellence for Exceptional Work in Theater and the Emmett Quinton Scholarship for Theater. While at Binghanton University, she performed Hansel in Hansel and Gretel in The Anderson Center Chamber Hall. Upcoming performances include “Country Nights to New York Lights“ a concert of American Opera and Musical Theater with Opera North in Wilder, VT March 8 ” and 9th. With Tri­Cities Opera. she will be performing in a brand new production of  Die Fledermaus as Prince Orlofsky, May 2™ and 4 “ a  t The Forum Theater. This summer. Ms. Geller will return to Opera North as  a Young Artist. performing Mrs. Emma Jones in Weill’s Street Scene and covering F lora Bervoix in Verdi’s La Traviata. �Pej Rcitz. pianist, is a native of the Binghamton Area. She received her Bachelor and Master of Music degrees in piano perlormance with accompanying emphasis. She attended Boston University, New England Conservatory and Binghamlori University She has studied piano with Jean Casadesus, Victor Rosenbaurn. Seymour Fink and Walter Ponce and accompanying with Allen Rogers She has accompanied throughout the United States, in England, South America. Spain and at the American Institute of Musical Studies in Graz. Austria. She was a winner of the Artistic Ambassadors Program by the United S tates Information Agency in partnership with the John F .  K ennedy Center for the performing arts. She was an official accom panist for the MTNA Sta te and Eastern Division Competition held at Ithaca College. She has been  a guest chamber music artist in  Morges, Simtzerland. She also was selected to attend the Accompanying  Workshop for Singers and Pianists held at Northwestern University with Chicago  Lyric Opera F aculty and Coaches. She was invited to the International Clarinet Conference to play a recital in Tokyo, Japan. She was an official pianist at the  International Double Reed Competition and Convention in at Ithaca College and  was invited to play at the Convention in Birmingham. England with the Glickman  Ensemble She recorded several CD’s with the Glickman Ensemble in   Englewood, NJ. She will  perform with the Glickman Ensemble on the Cornell  Summer Series in July. She was selected to accompanying at the Interpretation of  Spanish Music in conjunction with University of Madrid in Grenada, Spain  coached by Teresa Berganza and at Mannes School of Music . She was a Guest  Artist playing two concerts in Granada, Spain and accompanied the Barcelona  Song F estival . She soloed with  the Catskill Symphony at the Otesaga in  Cooperstown, NY under the direction of Charles Schneider. She has  accompanied at The International Spanish Music F estival in Madrid, Spain. She is  the pianist for Theater Street Productions and will perform on the Newport Music F estival and International G & S F estival in England this summer  i  She is currently on the faculty at Binghamton University since 1991 and Ithaca  College School of Music since 1999. She is the treasurer of the local District VII Music Teachers Associa tion and is an active adjudicator for the National Piano Guild Organization.  Hakan Tayga­Hromek, cellist. trained in Music Performance at Ithaca College, SUNY­  Purchase and Binghamton University  An active orchestral cellis t, Hakan currently serves   as Principal Cellist of the Binghamton Philharmonic and the Tri­Cities Opera Orchestra.  Other orchestral and chamber experience has included Kenai Peninsula Music F estival in  Alaska. S yracuse S ymphony (S ymphoria), Northern Tier S ymphony An avid chamber  musician collaborations have included working with BU F aculty. artists in the Central NY  Region. novodtet. DeVere Quartet. and Convivium Plano Trio. Of special interest, the  Novodtet has recorded W illiam H. Wegel Dance Suite (String Quartet #2) in2012. Teachers and Artists that have had great influence have included Peter Wiley. Daniel Phillips, Manon Feldman, Stephen Stalker, Einar Jeff  Holm, and Fritz Wallenoerg ­ “W“"em’e’  t l W =  +  4 t  h  J wk  y   h e !  N < NM FARA ' y '  £ = = T h i n k  “ D a n   fi C lho  w i t h t h e  S t a r  %o  n s  t eroi ds! Tri ­ C i t ios ­ D per a  S t a r s  w i l l b  e p  a i r e d  w i t h l o c a l  C el e bri t i es _ ­  cd "  a   u s i c a l  T h o a ‘ " ! i ” d  u e t s  f r o m  O p ‘ r a ’  B r o a d w a y  a n d M S a t u r  d a y ’ m  M a   r c h .  8    . 8 : 0 0 p m T r i ­ C i t i e s  O p e r a C  e n t e r 3 1 5  C l i n t o n  S tr ee t  » B i n g h a m t o n ,  N Y For details  a bout  V IP tic k e ting  options, .  which  include a cock tail hour before  the  show, r .  ­  r eser v ed  s e a t i n g  a n d  s pec i a l  on S tag e  sea t in g , f ,   p i .   ca ll  607»772­0400 o r  v isi t  us on l in e  a t  tric i t iesoper a x om . ’ p  _ y  ,  :',  CLAD   fo . , '   2 ) , 1ri « [ : l  Emily would like to thank everyonefor coming out tonight. Moist especially,  herdevatedparents, fr1endsandfamilyfrom/aruway, suppomvecolleogues  andprofessars andloving boyfriend, Travis, for agreeing to be part of  this  fey ­  940­3014  N 4_§~§­._§;r Laat  RELI  l ­  S u l a   ,  4 S  n  r” ‘ O A “ fi gs , '  ,  i  fi fi r h r . fi “ ' ‘  f . , .  v»,  . . u... v 1 55575 fi t   n fi ? : ­1 3 9   “1 1.5: .'  h m 1.11 .,    a m a  c fi ‘ fi p r ‘ o g r     ­ )  sh Urfatd  ru n s 121.132}:­  bl: ‘  :  a t   ­ r  fl fi l   {ll  M  ,  fl  i  r ­ ' F } .  il‘ii’Tr r m us,  .: c 3  4 $55,541 ,' llél‘j 1 )  I’t’{  Johann  I~»'ii':‘ii§’i7:‘: ' ' " rllil ’ v is i ‘ t illlu tli t ­ " i i ? “   ' “k �Bingbam ton University Music Department’s Coming Events M M M M M W M Thursday, March 6—Ml’aLDay Concert (Peny)—I:20 p.m.—Casadesus Recital Hall—free Saturday. March 8­Harpur Chorale and Women '.r Chorus—3:00 p.m.— Andewrson Center Chamber Hall–$7 general public; $5 faculty/staft/seniors; free for students Saturday. March 8—Td­Clrle’ Opera preremr  “Singing with the Stars” fundraiser– 8:00 p.m.—Opera Center, 315 Clinton Sn—ca/I (607) 772­0400 for ticket; Sunday, March Sit–Muster? Recital: Thom Baker, tenor (tentaflve)—3:00 p.m.— Casadesus Recital Hall—flee Thrusday, March I3–MJ‘d­Day Concert (Goodheart)–1:20 p.m.—Ander_ron Center Chamber Hall–free Saturday. March 15­Master’s  Recital: Michael Celentano. baritone (tentative)— 3:00 p. m . —Ca:ade.rur Recital Hall—flee Saturday. March I5—Mnd Symphony Concert: Music by Numbers—8:00 p.m.— Anderson Center Chamber Hall­­$ 7 general public; $5 faculty/rtafflreniom free for students Wednesday, March 19­Opera Scenes–8:00 p.m.—Anderron Center Chamber Hal « 5 IO general public: $7 faculty/staff/seniors; $5 for n‘udentr Thursday, March 20—Mld­Day Concert (Schlewe)—l:20 p. m. —Caraderu.r Recital Hall­free Thursday, March 20 – Harpur Chorale and Women s’  Chorus ­ 8:00 p. m. – Anderson Center Chamber Hall – $6 general public; $3 faculty/staff/seniors; free for students M E  =  M M M M M M For  tickets  or  to  be  added  to  our  email  list,  visit anderson.binghamton.edu or call (607) 777­ARTS. For a complete list of  our  concerts call (607) 777­2592.  visit  mu:ic.binghamton.edu or become a fan on Faaebook. If  you  were  inspired  by  this  performance,  consider  supporting  the Department  of Music  with  a  financial  gift.  Your  rapport  help:  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 rend your check to   3902. BU Muric Department. P.O. Box 6000, Binghamton, N Y 1 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF 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.) 50m 37s Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75055">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75055</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 recital, Emily Geller, March 1, 2014 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Handel,  Brahms,  Ravel, Weill, Simons. Porter. Held at 3:00 p.m., March 1, 2014, Casadesus Recital Hall.  Creator An entity primarily responsible for making the resource Geller, Emily Publisher An entity responsible for making the resource available Binghamton University Libraries In copyright Binghamton University Contributor An entity responsible for making contributions to the resource Handel, George Frideric, 1685-1759 Brahms, Johannes, 1833-1897  Ravel, Maurice  Weill, Kurt, 1900-1950 Simons, Moisés Date A point or period of time associated with an event in the lifecycle of the resource 3/1/14 Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/2c78834137ed6575df3790b520019fbf.pdf f2612d96efefc47d770cf716902a693c 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  V O R ­ D E P A R T M E N T U NIVERSITY SYMPHONY ORCHESTR A Timothy Perry, music director and conductor WITH WINNERS OF THE 2013 – 2014 u s o  Concerto AND ARIA COMPETITION Annie Tao, piano Caitlin Gotimer, soprano Emily Sui, violin Jake Stamatis, bass ­baritone Saturday, March 1, 2014 3:00 p.m. Osterhout Concert Theater �PROGRAM Concerto for Piano and Orchestra.  .  .  .  . Edvard Grieg in A minor, Op. 16  (1843­1907) I. Allegro molto moderato – Animato – Piu lento Annie Tao, piano Rondo di Fiordiligi: “Per pieta, ben mio".  .  from Casi fan Tutte  .  .. W.A. Mozart (1756­1791) .  Samuel Barber Caitlin Gotimer, soprano Concerto for Violin and Orchestra, Op.14  Ii  Allegro  (1910­1981) Emily Sui, violin Arias di Figaro, from Le Nozze di Figaro  Aria: “Non piu andrai, farfallone amoroso”  . W.A. Mozart (1756­1791) Recitative and Aria: “Tutto e disposto – Aprite un po’ quegl’occhi” Jake Stamatis, bass­baritone Ma Vlast: No. 2 – The  Moldau (Vlatava)...  Bedrich Smetana The Twin Sources of the Moldau – Forest Hunt  (1824­1884) Peasant Wedding – Nymphs’ Moonlight Dance – St. John’s Rapids ­ The Moldau at its Full Breadth The University Symphony Orchestra ’s fi nal concert for 2013 – 2014 will be a “Symphonic Smorgasboard” on Saturday, May 3 at3pm in Osterhout Concert Theater. The program will include four symphonic movements from twentieth­century masterworks by Sibelius, Vaughan William, Ives and Shostakovich, with commentary by Timothy Perry. �PROGRAM NOTES I. Edvard Grieg was only twenty­five in 1868 when he completed his only Piano  Concerto,  which  was  to  remain  the  only  work  he  completed  in a standard large­form during almost forty years of composition. After leaving the Leipzig conservatory, where his training had been heavily influenced by modeling Schumann and Mendelssohn, Grieg underwent his creative epiphany between 1865 and 1867,  when his discovery of Norwegian folk­music and dances led to his first great success, the 1867 Lyric Pieces, Op. 12 for piano solo. Encouraged by the success of his Violin Sonata in F, Grieg traveled to Rome where he brought the draft of the Concerto for Piano to present to the grand eminence, Franz Liszt. Liszt was impressed, making only a few (somewhat bizarre) suggestions for orchestration changes, and encouraged the young Norwegian to continue his writing “without fear”. The Concerto was premiered in 1869 in Copenhagen, where its success was immediate with both critics and the public. it remained among the most performed of all piano concertos for nearly a hundred years thereafter. Grieg is at his best as a miniaturist, and his concerto has long been criticized as more  of a pastiche  of  pretty melodies than a  work  whose  materials  are thoroughly  developed  and  interconnected  in  the  Germanic  manner.  No matter, Grieg’s gift for song­form has carried the day. The piano dominates the concerto, development is minimal, but the orchestra contributes some moving and occasionally original flashes of color to the enterprise. The fanfare which opens the first movement,  shocking  in its day (although Grieg  had Beethoven‘s Emperor concerto as a model) was copied by dozens of other composers,  and  the  first  movement  cadenza  is  among  the  best  of  the nineteenth century. His deft command of harmonic dissonance leaves just enough  acerbic  Scandinavian  ‘bite’  in  his  music  to  counterbalance  what Debussy called a sonority “like that of a rose­colored sweet coated in snow.” II. W.A. Mozart Fiordiligi’s Aria : Per pieta, ben mio, from Cosifan tutte In a cafe, Don Alfonso lays a wager with Ferrando and Guglielmo (two officers) on  whether  their  fiancées  (Dorabella  and  Fiordiligi,  respectively)  will  be eternally faithful. Don Alfonso claims he can prove in a day’s time that those two, like all women, are fickle. After all: Cosi fan tutte — “All women are like that.” The two officers pretend to have been called off to war, then return in disguise and each attempts to seduce the other’s lover. In Act Il, Guglielmo has managed to  woo  Dorabella,  who gives him a medallion.  Ferrando is less successful with Fiordiligi, who sings ‘Per pieta, ben mio, perdona’ ("please, my beloved, forgive"). Aria In the name of pity, my beloved, pardon the error ofa loving soul; Among these shadows and these groves, oh God, it will always be hidden! My courage and my constancy will destroy this wicked desire, and will erase the memory that makes me feel shame and horror. To whom did this vain, ungrateful heart fail in loyalty? You were owed a better recompense, my dearest, for your purity. Translation by Rebecca Burstein lll. Samuel Barber stands with Aaron Copland at the pinnacle of twentieth­ century American composers. David Ewen‘s summation is: “Of Barber’s many admirable qualities – his fine sense of musical design; the economy of his means; the inexorable logic of his thinking ­ the most significant perhaps is his highly  developed lyricism.”  Showing  remarkable  gifts  from  an  early  age, Barber was in one of the earliest classes educated at Philadelphia’s Curtis Institute. He won a Pulitzer Fellowship and the coveted Prix de Rome by age twenty­seven, and by 1940, when the Violin Concerto was composed, he had already completed several orchestral masterworks including the Overture to the School for Scandal, the Symphony No. 1, the Adagio for Strings, and the First Essay/or Orchestra.  Completed in the summer of 191.0 while at Pocono Lake Preserve,  the  Violin  Concerto  is  replete  with  the  compositional  virtues mentioned above. The first movement combines elements of both sonata and free rhapsody forms without descending into a muddle, suffused with a rich palette  of  harmonies organized around the solo line. The second subject, introduced by the clarinet, has been characterized as ‘jazzy’ although it is at least as ‘Celtic’ with its prominent Scotch snap rhythms. The solo part, while challenging, is warmly gracious and never virtuosic for its own sake ­ at least not until the brilliant perpetuum mobile of the third movement. There are a few moments  of  real  tension,  but  these  are  quickly  resolved  back  into  a comfortable level of consonance by turns soothing and insouciant. Even the cadenza is replaced by a short recitative, maintaining a relative modesty that is winning in its simplicity and honest sentiment. IV. W .A. Mozart: Two Figaro Arias Act I finale: #9 Aria; Non piu andrai At  the  end  of  the  first  act,  Count  Almaviva  finds  the  adolescent  (and oversexed) page  Cherubino  hiding  in  Susanna’s  quarters.  The  Count  was already suspicious that Cherubino had designs on his wife, Countess Rosina, and overall disapproves  of  the boy’s unbridled promiscuity. However,  the Count cannot punish Cherubino, as he himself was only just in  Susanna’s quarters to proposition her. Instead, the Count sends Cherubino away to serve in  his  regiment  in  Seville.  In  this  aria,  Figaro,  not  displeased  with  the development,  teases  Cherubino  about  a  Spartan  military  future  in  stark contrast with the carefree and flirtatious life he has enjoyed in the Count’s palace. �FIGARO (to Cherubino) No more you‘ll wander, my amorous little butterfly, flitting about by day and night Disturbing the rest of all those pretty women, little Narcissus, young Adonis of Love. No more you’ll have these pretty little feathers, this smart and jaunty cap, Those curls, that lively air, those rosy, girlish cheeks. You‘ll be among soldiers, by Bacchus! Great moustaches, a heavy well­provisioned knapsack A gun at your shoulder, a sabre at your side, head held high, bold of face A great helmet, or a big turban; plenty of honor, (but not much money), And instead of dancing the fandango, a forced march through the swamp! Over mountains, through the valleys, in the snow and burning sun To the music of trumpets, Of shells and cannon­balls whistling past, Making your ear sing! Cherubino, to victory and military glory! (They exit, marching the horrified Cherubino out in military style.) Act IV : Recitative and Aria  Tutto é disposto  Aprite un po’ quegli occhi Thinking that Susanna is meeting the Count behind his back, (a trap laid by the Countess and Susanna to catch the philandering royal) Figaro complains to his mother, and swears to be avenged on the Count, Susanna, and all unfaithful wives. FIGARO Recitative: Everything‘s ready: the hour must be near; I hear someone! It’s her! ...no, it’s no one. The night is dark...and now l begin to ply the wretched trade of a husband. Ungrateful woman! in the middle of my ceremonies He read  it  with  pleasure, and seeing  it,  i  laughed at  myself,  without knowing it. Oh Susanna, SusannaI What pains you cost me, with that ingenuous face ...with those innocent eyes...who’d have believed it? Ah, Ah, to trust in a woman is always folly! Aria: Open your eyes a little, you incautious and stupid men, look at these women, look at what they are! These, whom you name goddesses, deceived in your senses, to whom you burn incense, feeble in your wits: They‘re witches who enchant us, to cause us pain, Sirens that sing to us, to land us on the rocks, Owls who allure us, to pluck out our feathers, Comets that shine on u s, t o burn out our eyes; They’re thorny roses, they’re charming vixens, They’re smiling bears, cruel doves, masters of intrigue, Friends of trouble, who feign, lie, They feel no love, they feel no pity, no, no, no, no! I I won’t say the rest, everyone knows it alread   y! V. Bedrich Smetana is immortalized as ‘the Father of Czech music’ although he  is  more  correctly  the Father  of  Bohemian  classical  music,  since  the formation of a Czech nation was in his day still a half­century in the future. Smetana returned to Prague from Sweden after Bohemia’s Austrian overlords granted the region political autonomy in 186o. By 1862, Prague had a National Theater, and the next year Smetana composed hisfirst opera (in Bohemian) on a theme of Bohemian rebellion against Teutonic invasions.  That early score foreshadowed a combination of German Romanticism with native Bohemian folk music, history, and legend that soon became the core of the indigenous musical culture. By 1866, Smetana had finished his operatic masterpiece The Bartered  Bride  and  had  begun  composing  symphonic  poems  on Bohemian/Czech themes that culminated in Ma Viast (My Fatherland). These six compositions, written between 1871. and 1879 (even as Smetana suffered through increasing and eventually total deafness), drew on Bohemian history, legend, and geography to celebrate the native culture. By far the most popular of the set is the second, Vlatava, ironically better known through its German title, The Moldau.  The poem charts the progress of Bohemia’s principal river from a source in tiny twin forest springs (portrayed by a duo offlutes) through its growth in size, power and majesty – a stand­in for the nation itself. Along the way the river passes scenes of Bohemian life – a forest hunt (dominated by horn calls); a peasant wedding (with clarinets leading the dance­music); a magical moonlit night where water­nymphs (strings) hold court in shimmering waves as the ghosts of famous  warriors (brass) parade  past; through  the tempestuous St. John‘s rapids; and eventually passing through Prague itself under the shadow of the castle of Vysehrad, whose theme, recapitulated here in grand style, dominates the first tone  poem of the cycle. Once past its climactic appearance in the capital, the river makes its way towards the sea, its sounds fading away as it flows out of sight. T. Perry, February 2011, �‘THE PERFORMERS CAITLIN GOTIMER, soprano, is currently a junior at Binghamton University pursuing a Bachelor of Music in Vocal Performance. She has performed several times in the Tri­Cities Opera Chorus and sang the role of the Second Spirit in their 2012 production of The Magic Flute. She sang the role of the Mother in Binghamton University’s production of Hansel and Gretel for two consecutive years. Caitlin won first place in her division of the 2013 NATS Eastern Regional Conference and recently was the National Anthem soloist  when President Obama  came  to Binghamton  for his  College  Affordability  Tour.  She  is  a student of ProfessorThomas Goodheart. Acclaimed  as  a  “budding  professional”  the  young  operatic  bass,  JAKE STAMATIS, is on the cusp of an exciting and fruitful career! Hailing  from scenic  Tunkhannock,  Pennsylvania,  Stamatis  showed  great  talent  and expressive ability at an early age. He went on to hone his skills at Susquehanna University where he earned a Bachelor in Music degree in Vocal Performance. While there, Stamatis studied privately with Professor Jeffrey Fahnestock. His first year, he was cast as Death in Viktor Ullman’s The Emperor of  Atlantis, his first exposure to opera. Stamatis went on to perform as the Vicar in Britten ’s Albert Herring, Bartolo in Rossini‘s The Barber of Seville, and Frank in Strauss’ Die  Fledermaus.  Now  pursuing  an  MM  in  Opera  degree  at  Binghamton University in conjunction with Tri­Cities Opera Company‘s (TCO’s) Resident Artist  Training  Program,  he  continues  his  vocal  studies  under  Professor Thomas Goodheart. Stamatis made his TCO debut this fall as Zuniga in Bizet’s Carmen under the baton of Maestro Scott Bergeson. Most recently he played Leporello  in  TCO’s production of Don  Giovanni. The  Broome  County  Arts Council  reviewed  the  performance  saying,  “The  performance,  by  Jake Stamatis, was one ofthe highlights of the evening...” EMILY SUI is a native of Rochester, New York, where she began receiving violin lessons at the age of four. During her high school  years, she was a member of the Rochester Philharmonic  Youth Orchestra and also the NY Conference All­State Orchestra. She is currently a sophomore at Binghamton University as a Graphic Design major and pursuing a minor in Korean Studies. Emily has been a member of the Binghamton University Symphony Orchestra since her freshman year. She has also since been a student in the violin studio of  Dr.  Janey  Choi.  Emily  would  like  to  thank  the  Binghamton  Music Department for this opportunity, her past and present violin teachers for their guidance, and her family and friends for their overwhelming support. ANNIE TAO is a junior at Binghamton University. She is a psychology major and a music performance minor. She began her training with Ms. Gao Fei in her local town, where she received two golden ribbon awards for outstanding performance in piano by the Rockland County Teacher’s Guild. She completed the NYSSMA piano auditions through level 6 with a perfect score. She was selected to perform in the piano showcase at the Rochester winter conference in 2010. She also completed the associated board of the Royal School of Music with distinction and participated  in  the  “high  score ” recital. In  2010,  she entered Manhattan School of Music precollege division, where she studied with  Ms.  Elena Belli.  She  also  participated  in  the  NYYS  Chamber  music program. She played in a piano trio and was selected to perform in Symphony Space. She participated annually in the Music Marathon for the United Hospice of Rockland County, a fundraising  event for their music  therapy program. Music  has always been a huge part of her life.  She currently  studies with Michael  Salmirs at  Binghamton  University, and hopes  to  eventually  teach piano students. �singin V122 s t a r s ! U N IV E R S I T Y  S Y M P H O N Y  ORCHES TR A Timothy Perry, conductor Flute  Jessica Biagiotti  Kohar Bedonian  Michelle Li  Christina Dinella  Piccolo  Christina Dinella  Oboe  Rebecca Marwin  Taylor Morgen  Clarinet  George Deutsch  Justin K im  Mary Mc Gahay  Skylar O. Buono  Trombone  Christopher Beard  Jacob Strohrn  Joshua Yamuder  Tuba  Carter McGriff Timpani/ Percussion  Benjamin Rothschild  Steve Olson  K ey board  Dan Malinovsky  French Horn  Abbie McMahon  Matt McAuliffe  Daniel Muller  David Luther  V iolinl  Kieran Murphy  Joseph Vanderpool  Cameron D ’Auria  Jody Bach Rebecca Sgroi  Anna Li  Nate Christman  Emma Lecarie  Yuansi Du  Paul McHugh  Alan Thi  Brian Phung  Karen Fu  Trumpet  Anne Taylor  Violin I I   Eleanor Krasner  Bassoon  Bailey Thomas  John Voigt  Natalie Spitzer  Junbo Yan  Thomas Parker  Ife Samms  Gabrielle Maire Natalie Bock V iolin II izanrmuedi Ben Posthill Abirarne Gunuparan Simon Benarie Sara Kohtz Maya Orlofsky Viola Hannah Watrobski Max Stein Jillian Chen Justin Lafond Harrison Dulin Lindsay Covington Daniel Rodabaugh Sharon Graziano Alex Szigethy Mimi Nam Jaya Rao +»  — +  8  ¢ b fl fl ~   f  &  Contrabass Ro bert Durante Nicholas Hoyos The University Symphony Orchestra employs rotating seating, Woodwmds, Brass, and Percussion rotate by composition and are listed alphabetically. Strings rotate by concert and are listed by searing >  I <  P g e A   N a \ \   a ”a  2  r.  — s =   e S YA E    D — Hr’if  ““ Think “Dancing with the Stars” on steroids!  Tri­Cities Opera Stars will be paired with local Celebrities in duets from Opera. Broadway and Musical Theater!      »* 8 : 0 0 p m S a t u r d a y ,  M a r c h 8 Tri ­ C ities O p era  C e nt e r 3 15 C linton Street » Bing hamton, N Y Violoncello Mary Spencer Deborah Mariottini Emily Mockler Xander Edwards Alan Wang Kelly Mercer Ryan Hogan Charlie Miller \  +  f “   2  2  Q\  “i,  For details a bo ut  V I P t ic k e t ing op tions, whic h include a cock tail hour  be fore  t he  show, reserved seating and special onstage seating, call 607 ­ 77 2 ­0400 or  visit us online at tricitiesopera.com ,  ' s­“s  ‘  “ k g  y mTRI­CITIES  5 5   TNT, O I . i v   o 1920­2014  =  k . a & ‘   7   F? m m m — m p n n m m u m u m A n i ­ m n w n m m m n n v — m n w m q — q w e w o m o m u ­ w e — u u — m m ­ m m – u u o u q n m (infirm,  assassin“ D i e F  l e d e r m a u s +  K iE  \ The Forum Theatre . �Binghamton Uni versity Music Department’s Coming Events M M Saturday, March 1—Master‘s Recital: Emily Geller, mezzo­soprano–8:0 0 p.m.—Casadesus Recital Hall—free Thursday, March 6—Mid­Day Concert — 1 :20 p.m.—Casadesus Recital Hall— free Saturday, March 8—Harpur Chorale  and Women ’s Chorus —3:00  p.m.— Andewrson C enter Chamber Hall – $7 general public; $5 faculty/staff/seniors ; free for students Saturday, March 8—Tri­ Cities  Opera pres ents “Singing  with the St ars ” fundraiser—8:00 p.m.—Opera Center, 315 Clinton St.—call (607) 772­0400 for tickets Sunday,  March  g—Master’s  Recital:  Thom  Baker,  tenor —3:oo  p.m.— Casadesus R ecital Hall—free Thrusday,  March  13—Mid­Day  Concert—1:20  p.m.—Anderson  Center Chamber Hall—free Saturday, March 15—Ma ster’s Recita l : Michael Ce lentano, baritone —3:oo p.m.—Casadesus Recital Hall—free Saturday, March 15—W ind Symphony Concert:  Music by Numbers—8:00 p.m.—Anderson  Center  Chamber  Hall­­s7  general  public;  $5 faculty/staff/ seniors; free  for students Wednesday,  March  19—Opera  Scenes–8 :00  p.m.—Anderson  Center Chamber Hall­­s10 general public; $7 faculty/staff/ seniors; $5 for students Thursday, March zo—Mid­Day Concert —1:20 p.m.—Casadesus Recital Hall— free Thursday, March 20 – Harpur Chorale and Women ’s Chorus –  8:00 p.m. ­­ Anderson Center Chamber Hall – $6 general public; $3 faculty/staff/seniors; free for students M 0  .  — E W W M For tickets or to be added to our email list, visit anderson.bing hamton.edu or call (607) 777 ­ARTS. For a complete list of our concerts call (607) 777­2592, v isit 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 a nd their contributions to our community.  Please  make  your  donation  payable  to  the  Binghamton University  Music  Department,  and  send  your  check  to  BU  Music Department, P.O. Box 6000, Binghamton, NY 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 54m 1s Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75058">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75058</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource University String Orchestra, March 1, 2014 Subject The topic of the resource Concerts Instrumental music Live sound recordings   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 3/1/14 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/fc5db18b3491cc5707712c073f58bfc3.pdf 0fbe6defbfe9fd342f096e26ab323ebc PDF Text Text BINGHAM TO N U  N  I  V  E  R  S  I  T  Y S T A TE   U N I V ER S I T Y   O F   NEW  Y O R K e l d  EC kd D E P A R T M E N SONA TA MAS TE RP IEC ES S TE P H E N  S TA LK ER , CE LLO STEPHEN ZANK, PIANO S u nd ay, M a rch 1, 20 1 5 3 p.m. Anderso n Center  Cha mber Ha ll T �as  ABOUT THE PERFORMERS 08 80  P ROG RAM 05 Sonata in A major, Op. 69, for piano and cello. .Ludwig van Beethoven (17701827) l.  Allegro ma non tanto 11.  Schezo, Allegro molto Ills Adagio ca ntabile; Allegro vivace Sonata for cello and piano, 19 15.  . I.  Prologue: Lent, sostenuto e molto risoluto II.  Sérénade: Modérément animé lll. Finale: An imé, léger et nerveux .Claude Debussy (1862­1918) Madison S tring Quartet, he  was a finalist in  the Naumberg Chamber Music Competi tion in  N ew York  City and  the  Evian  lnremational String Quartet Co mpetition in Evian, France. He  has performed in many recital appearances with  pianist, Michael Salmirs. He perfonus  regularly with  the  Trio  Amici,  Trilogy,  Baroque  ‘n  Blue,  Early On  and  in concerts at Binghamton University.  He is  a past president  of the New  York  State Chapter of the American String Teachers Associat ion and was Strings Chair for the New York State  School  Music  Association.  He  is  a  founder  of  the  Southern  Tier  Music Teachers  Association  and  the  Binghamton  Cello  Festival.  He  is  a  graduate  of  the Manhattan School of Music in New York City. S TE P H E N  ZANK is a broa dly tra ined musician, with degrees in pe rformance, litera ture, and  historical  musicology  (Ph.D.,  Duke  University).  He  began  studying  piano, counterpoint, and composition in Binghamton a t the age of five, and his formal training was in the class of Theodore Le ttvin at the N ew England Conservatory in Boston, where w  INTERMISSION c s Sonata in A major for cello and piano, 1886 I.  Allegretto ben moderate II.  Allegro III.  Ben moderato: Recitativo­Fantasia IV. Allegretto poco mosso STEPHEN ST ALKER,  cellist, teaches at Binghamton University. He formerly taught at Colgate  University,  Mansfield  University,  lthaca  College  and  the  Binghamton  City School District. He was the principal cellist of the Cayuga Cham ber Orchestra in ltham. NY, and has performed extensively with the Catskill Chamber Players of Oneonta, NY, and in concerts at Binghamton University. Performing with the Catskill Chamber Players he  has presented “Meet the Composer” concerts with prominent American composers including John Cage, Virgil Thomson, Lou Harrison and George Crumb. The Chamber Players appeared at Weill Recital Hall, premiering a set of four string quartets by Henry Brant. With violinist, Janet Brady, and pianist, Walter Ponce, he performed the complete Beethoven Trio  cycle at Binghamton University. He perfonued with Solisri New York on their Alaskan cru ise of the Inner Passage from Va ncouver to Juneau. As a member of the . Césa r Franck (1822­1890) he  earned  a  BM  in  performance  with  honors  and  won  all  of  the  major  piano competitions. During this time he also studied privately with Leon Fleisher in Baltimore, Byron Janis in New York, and then subsequently for five years with Philippe Entremont and Gaby Casadesus in Paris.  Zank has both perfonued and published widely in Europe and the United States, appearing in numerous recital and cham ber music venues as well as  soloist  with the  Bordeaux,  Toulouse  and French radio  orchestras  in France,  the Florida Symphony, Boston Pops and other regional orchestras in  the United State‘s. His scholarly  work  includes  contributions  to  topics  as  varied  as  American  music, orchestration, organology,  performance  practice,  French  music  of  the  19th  and  20th centuries, and two monographs on the music of Maurice Ravel (most recently, Irony and Sound, in the distinguished Eastman Music Series, University of Rochester Press, 2009). H e  has taught fulltime for more than twenty years at several major universities in  the Midwest, South west and Northeast including SU NY­Binghamton and the University of Rochrsrer. �Bingha m ton U n iversi ty D e pa rt me n t of M usic Coming Events « a w a w w w w b fi w b fi w w fi b a a Th ursday. March 5 ­  Mid­Day Concert ­  1:20 prmr  ­  Casadesus Recital Hall ­  free Friday. March 6 ­ Master’s Recital: Nicholas Follett, saxophone ­  7:30 p.m. ­  Casadesus Recital Hall ­  free Saturday, March  7  – Harpur Chorale and Women’s Chorus  –  7 :30 p.m.  ­  Anderson Center Chamber Hall ­  57 general public ; 55 faculty/staff/seniors/alumni; Free for students Sunday, March 8  ­  University Wind  Symphony: Just Like a Concert  in the Park ­  3 p.m.  ­ Osterhout Concert Theater ­  57 general public ; 55 faculty/staff/seniors/alumni; Free for students Sunday, March 8 ­  Sophomore Reci tal: Hannah Watrobski, viola ­  5 p.m.  ­  Casadesus Recital Hall ­  free Thursday. March  1 2  ­  Opera Scenes Mid­Day  Concert (Thomas  Goodheart)  ­  1:20  p.in.  ­ Anderson Center Chamber Hall ­  free Th ursday, Ma rch 12 ­  Opera Scenes ­  7 :30 p.m. ­  Anderson Center Chamber Hall ­  $10 general public ; 57 faculty/staff/seniors/alumni; $5 for students Saturday, March  1 4  ­  Master’s Recital : Meroé Khalia  Adeeb, soprano  ­  4  p.m.  ­  Casadesus Recital Hall ­  free Saturday, March 14 ­  University Symphony O rchestra: Dark P assions ­  7:30 p.m. ­  Osterhout Concert Theater ­  57 general public ; $5 faculty/staff/seniors/alumni; Free for students Sunday,  March  15  ­  Opera Scenes and Airas ­  3:00 p.m. ­  Phelps Mansion,  191 Court Street. Binghamton ­  $10 general  public;  BU  students  free with 1D  ­  for  reservations call  the  Phelps Mansion at (607) 7224873.  This concert is cosponsored by  the Binghamton University Music Department and Phelps Museum. Thursday, March 19 ­ Mid­Day Concert  ­ 1 :20 p.m. ­  Casadesus Recital Hall ­ free é w w w w w w w w w w w a p For tickets or to  be added  to  our  email list, visit anderson.binghamton.edu or call (607) 7 77­ARTS. For a comple te list of our concerts call (60 7) 7 7 7­2592, visit music.binghamton.edu or become a fan on Facebook. i f  you  were  inspired  by  this  perfomtance.  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 6000sss, Binghamton, NY 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:06:20 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75000">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75000</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 Sonata masterpieces, March 1, 2014  Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Beethoven, Debussy, Franck. Held at 3:00 p.m., March 1, 2015, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Stalker, Stephen Zank, Stephen Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Beethoven, Ludwig van, 1770-1827 Debussy, Claude, 1862-1918 Franck, César, 1822-1890 Date A point or period of time associated with an event in the lifecycle of the resource 3/1/15 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audiotape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 30:25 30:31 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243576">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243576</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 David Clatworthy, recital, March 10, 1973 Recital Tape 1973-3-10 Description An account of the resource Works of Telemann, Handel, Brahms, Mozart, Respigi and Copland. Held at 8:15 pm, March 10, 1973, Watters Theater. Creator An entity primarily responsible for making the resource Clatsworthy, David Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 3/10/73 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound