148 10 1775 https://omeka.binghamton.edu/omeka/files/original/b18e5ddb7950ef14fcb219d5a956ebe8.pdf 046a6ad545fd6863a88555beb7439404 PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E  U N I V E R S I T Y  O F  N E W  Y O R K wdec [4 D E P A R T M E N T RECITAL & MASTER CLASS Timothy Smith Tenor and Alto Trombone Pej Reitz Piano Sunday, March 11,  2012 7:30 p. m. Casadesus Recital Hall �PROGRAM ABOUT THE PERFORMERS Timothy Smith currently holds the chair of Second Trombone with the Buffalo Philharmonic Orchestra. a position he has had since 2009. Prior Concerto for Alto Trombone  Leopold Mozart (1719–1787) Heine Lieder from Schwanengesang . Franz Schubert (1797­1828) a )   BRIEFPAUSE  cz Basta for unaccompanied trombone .. Folke Rabe (1935­) Concerto for Trombone.  .  .  .  .  .  .  .  Launy Grandahl III Movement  (1886­1960) to joining the BPO, Tim served as Acting Principal Trombone of the San Diego Symphony and Opera during the 2008–2009 Season, and also served as Acting Second Trombone for the Jacksonville Symphony in 2007.  Mr.  Smith  frequently  substitutes  with  the  Chicago  Symphony Orchestra. and has also appeared  with the Lyric Opera  of Chicago, Grant Park Symphony, Baltimore Symphony, St. Paul Chamber Orches­ tra.  Cincinnati  Symphony  and  Opera,  Virginia  Symphony,  Chicago Philharmonic,  Ravinia  Festival  Orchestra.  Chicago’s  Music  of  the Baroque, Chicagoland Pops, and ma ny regional orchestras throughout greater Chicago. Internationally, Mr. Smith has performed in Germany, Ireland, Mexico, and the Dominican Republic with orchestras and chamber ensembles alike. In the chamber music realm, Tim was a founding member of the Second  City Brass  Quintet, as  well as  the CT3  Trombone Quartet, winners of the 2005 ITA  International Trombone Quartet Competition. Additionally, he has performed with the Bach Week of Evanston festival, International Contemporary Ensemble, and Buffalo Chamber Players. As a pedagogue. Mr. Smith has  served on the music faculty of San Diego State University, the British School of Chicago. and maintained a private  teaching studio while living in Chicago. He has  also been a featured clinician and recitalist, presenting programs at schools such as a )  INTERMISSION  cz MASTER CLASS BEGINS Baylor University, Ithaca College, San Diego State,  SUNY  Fredonia, University of San Diego, and the University of Central Arkansas. Tim can be heard on recordings  with the Buffalo Philharmonic, Music of the Baroque, Northwestern University’s Symphonic Wind Ensemble. and for Fisher­Price. Along with his duties as Second Trombone in Buffalo, Tim frequently plays alto and bass trombones in the orchestra. The trombone section is active as a chamber ensemble around Western New York, and will be premiering a triple trombone concerto, written for them by Eric Ewazen, with the Buffalo Philharmonic and Maestra JoAnn Falletta in the fall of 2012. Timothy  studied  with  Dr.  Harold  Reynolds  at  Ithaca  College,  and following graduation in 2003, went on to complete his Master’s studies with Michael Mulcahy and Charlie Vernon at Northwestern University. Some  of Mr.  Smith’s additional  teachers  include Nitzan Haroz,  Mark Fisher, Megumi Kanda, Royce Landon, James Miller, and Randy Hawes. Tim is an S. E. Shires Company Artist. �TEXT FOR SCHUBERT LIEDER Pej Reitz, pianist, is a native of the Binghamton Area . She received her Bachelor  and  Master  of Music  degrees  in  piano  performance  with accompanying emphasis. She attended Boston University, New England Conservatory and Binghamton University. She has studied piano with Jean Casadesus, Victor Rosenbaum. Seymour Fink and Walter Ponce and accompanying with Allen Rogers. She has accompanied throughout the  United  States,  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 States Information Agency in partnership with the John F. Kennedy Center for the perform­ ing arts. Pej was an official accompanist for the MTNA State and Eastern Division Competition held at Ithaca College. She has been  a guest chamber music artist in Morges, Switzerland. She also was selected to attend the Accompanying Workshop for Singers and Pianists held at Northwestern University with Chicago Lyric Opera Faculty and Coaches. She was in­ vited to the International Clarinet Conference to play a recital in Tokyo, Japan. She was a guest artist on the Cornell Summer Series. She was an official  pianist  at  the International  Double Reed Competition and Convention in 2007 at Ithaca College and was invited to play the 2009 Convention in Birmingham, England with the Glickman Ensemble. She recorded  a  CD  with  the  Glickman  Ensemble  again  this  summer  in Englewood, NJ. She was selected to accompanying a t 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 Festival. She soloed with the Catskill Symphony at the Otesaga in Cooperstown. NY under the direction of Charles Schneider. This summer she will accompany and play chamber music  at  Musica  De Compostela  in  Spain.  She  will also  be in  the “Masterclass” play in Newport, Rhode Island at the Casino Theater in the role of the pianist. She is currently on the faculty at Binghamton Univer­ sity since 1991 and Ithaca College School of Music since 1999. Poems by Heinrich Heine (1797–1856) Der Atlas — Atlas l, wretched Atlas, a world The whole world of pain I must carry, I bear the unbearable, and my heart ls breaking in my body. You proud heart, you wanted it so! You wanted to be happy, eternally happy. Or eternally miserable, proud heart, And now you are in misery. Ihr Bild — Her Portrait I stood in dark dreams And stared at her image. And the beloved visage Quietly came to life. Upon her lips appeared A smile so wonderful, And as if from tears of sadness Her eyes sparkled. And my tears flowed as well Down from my cheeks And oh, I just can’t believe, That I have lost you! Das Fischennadchen –­ The Fisher Girl Beautiful fisher maiden, Come, steer your boat to land. Come here and sit down beside me, We’ll dally, hand in hand. Come, nestle your head on my heart now, And don’t be afraid of me; Just think of how bravely, daily You trust in the savage sea. My heart is like the water With storms and waves and tides, And many a pearl of beauty Upon its bed resides. Die Stadt — The Town On the distant horizon Appears like a cloud­image The town with its spires Shrouded in the gloom of evening. A damp breeze mffles The green surface of the water; In a moumful rhythm rows The boatman in my craft. The sun rises once again Glowing above the earth And shows me that spot Where I lost my beloved. Am Meer— At the Seashore The sea sparkled far and wide In the last glow of evening; We sat at the lonely fisherman’s hut, We sat silent and alone. The fog rose, the water surged. The gull flew back and forth, From your lovely eyes The tears dropped. I saw them fall upon your hand And fell on my knees; And from your white hand I drank away the tears. Since that time my body pines My soul is dying with yearning; The wretched woman Poisoned me with her tears. �. m  . m z i x ’ i Il ’o t sx ! And wrings his hands with the force of his pain; Der Doppelgfinger — The Ghostly Double  The night is quiet, the streets I’m horrified when I see his face — are silent.  My beloved lived in this house;  She left the town a long time ago,  But the house still stands in the  same place.  A man stands there. too, and  stares upward  The moon shows me  m y  o wn I likeness. You ghostly double. you pallid fellow! Why do you ape my lovesickness, That tormented me here So many nights long ago? 5 re  w – Aka  . . '     pc i P E x n S  P E R i ­ l tl l r X ] :o e5   1gi D I i  l ‘I Doe  }  ©  H H [ P 1 {   O E E 1 Q   § i I l i P E   ll o:    ,ll i 1  x  ! E  i[} ! o  ;  > \   ‘ H   P B i  m  , ii Il  l Bni ghamton  I{ l /, Commumyt  . I  .  i !  B I N G H A M T O N   Just­Luis Nove  Orchestra  ! P H I L H A R M O N IC Music Director REAL. LIVE. MUSIC.  M M ” Sara Davis Buechner Sha i Wosner Amit Peled Mayuko Kano Pops Series MOTOWN’S Greatest Hits SuzanneVeq: _  v  ‘¥­  ”  a  Chamber Series Soovh 10m Aron Quartatt public service media for your community   o n ce r t s S p e c i a lC Vei nna Boys Chori W W W . B I N G H A M T O N P H I L H A R M O N IC. O R G   Cirque De La Symphonie \\ \ n \  ,\\ skg Uri:­  &  O n a s — I �Binghamton  Univer sit y Music  Department ’s U P C O M I N G  E V E N T S Mid­Day concerts are held on Thursdays, 1:20 PM in Casadesus Recital Hall unless otherwise noted and are FREE Thursday, March 15 — Mid­Day Concert — 1:20 p.m. — Casadesus Recital Hall — free Thursday, March 15 — Harpur Chorale & Women’s Chorus — 8 p.m. — Anderson Center Chamber Hall — $6 general public; $3 faculty/staff/seniors; free for students Saturday, March 17 — Organist Jonathan Biggers presents “My Favorite Fantasies” — 4 p.m. — First Presbyterian Church — $10 general public; $6 faculty/staff/seniors; $3 students Sunday, March 18 — Musica Nova — 3 p.m. — Casadesus Recital Hall — Free Friday, March 23 — Master’s Recital : Kathleen Jasinkas, soprano — 8:00 p.m. — Casadesus Recital Hall — free Thursday, March 29 — Mid­Day Concert — 1:20 p.m. — Casadesus Recital Hall — free Thursday, April 12 — Mid­Day Concert — 1:20 p.m. — Casadesus Recital Hall — free Friday, April 13 — Senior Recital : Alexander Baron, recorder — 8:00 p.m. — Casadesus Recital Hall — free I f  you enjoyed and were inspired by this performance, please consider supporting the Department of Music with a financial gift.  Your  support helps to continue the work of students, faculty, and guest arh’sts and their contributions to our larger community.  Please  make  your  donation  payable  to  the Binghamton University Music Department, and send to  P.O. Box 6000, Binghamton, NY 13902. For ticket intbnhation, please call the Anderson Center Box Office at 777­ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 41 minutes: 24 seconds 69 minutes :37 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141762">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141762</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 Recital & master class, March 11, 2012 Description An account of the resource Works by Mozart, Schubert, Rabe, Grandhal Held at 7:30 p.m., March 11, 2012, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Reitz, Margaret 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 3/11/12 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/740807e5138884e07a3f61ef74853778.pdf 2216ed4a5c201339a01a9b98df6038a0 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   NE W  Y O R K Ld 1245224 D E P A R T M E N MASTER OF MUSIC Recital   DEEB, ME RGE K H A L I A A SO PRANO WI TH MICHAEL LEWIS, PIANO BRANDON YOUNG,  TRUMPET SATURDAY, MARCH 14, 2015 4:00 P.M. CASADESUS RECITAL T �ion  PROGRAM «6 Care selve .  Program Notes George Frideric Handel from Atalanta  V’adoro, pupille from Giulio Cesare Let the Bright Seraphim from Samson Brandon Young. Trumpet Vier Lieder, Op. 2  (1685­1759) .Arnold Schoenberg Erwartung  Schenk mir deinen goldenen Kamm Erhebung Waldsonne Quando m’en vo  from La Bohéme  (1874­1951) Giacomo Puccini (1858­1924) @» Intermission @» Ouvre ton coeur.  Adieuxz de l’hotesse Ara be  Comment, disaient­ils  Ohl quand je dors  Cantata  Prelude  Rondo Recitative Georges Bizet (1838­1875) Franz Liszt (181 1­1886) John Daniels Carter (1931­1982) George Frideric Handel composed music in almost every classical genre, from  orchestral  music  to  operas.  He  traveled comfortably  throughout German,  Italian  and  English  speaking  countries,  making  him  a  truly intemational  composer.  The  musical  characteristics  of  these  various countries are evident in much of his music. The opera  Atalanta  was  composed  for  the  London celebrations of  the 1736 marriage of Frederick, Prince of Wales, to Princess Augusta of Saxe­ Gotha. The first performance took place on May 12, 1736 in the Covent Garden Theatre. The anonymous Italian libretto is loosely based upon the story  of  the  mythological  female  athlete  Atalanta, and  set  in  ancient Greece.  The  opera  was  performed  seven  additional  times  during  the season of its  premiere, and was  revived the  following November.  The printed score of the opera was the most successful in terms of copies sold in Handel’s lifetime. The arioso “Care selve” which is performed by the character Meleagro is now the most  frequently performed portion of the opera, often being featured on recitals and recordings. Cleopatra’s da capo aria  “V’adoro, pupille” comes from the opera Giulio Cesare which premiered at  the King’s  Theatre in Haymarket, London on February 20.  1724. In this aria Cleopatra attempts to use her charms to seduce Cesare to get him to support her as the queen of Egypt. The oratorio Samson  is based  on the figure Samson from Chapter  16 of the Book of Judges. This aria comes at the very end of Samson, just before the final chorus. Sung by an “Israelite Woman,” the aria commands the celestial  hosts of seraphim  and  cherubim  to  hail, with  trumpet  figures responding to the singer. 1. Care selve Dear woods, blessed shadows, I come in search of my beloved! V’adoro, pupille Ai r Toccata I adore you, eyes, arrows of love,  Your sparks are welcome in my  breast.  This program is offered in partial fulfillment of  the requirements for the degree of Master of Music in Opera. My sad heart, which always calls you its beloved, desires that you will show pity. Let the Bright Seraphim Let the bright Seraphim in burning row, their loud uplifted angel trumpets blow. Let the Chenibic host, in tuneful choirs, touch their immortal harps with golden wires. �Arnold  Schoenberg  was  a  prominent  composer  influenced  by  the expressionist  movement  in  Berlin  during  the  early  1900s.  He experimented with new forms of tonal organization, and is known for his twelve­tone­row  concept  for  composing  music.  The  opus  2  songs  are Schoenberg’s  earliest  published  pieces,  displaying  characteristics  of German Romantic  music,  though his sense  of hamionic  tension  and rhythmic freedom are also evident. I I. 1. Erwa rtung (Anticipation) Out of the sea green pond, near the red villa, under the dead oak, shines the moon. Where its dark image reaches through the water, a man stands and draws a ring from his hand. Three opals glimmer; red and green sparks swim through the pale stones and they sink. And he kisses them, and his eyes glow like the sea green depths: a window opens. Out of the red villa, near the dead oak, the pale hand of a woman beckons to him. 2. Schenk mir deinen goldenen Kamm Present me with your golden comb; every morning shall remind you that you kissed my hair. Present me with your silken sponge; every night I want to have an idea for whom you prepare yourself in the bath, O Mary! Present me with everything you have; my soul is without vanity, I receive your blessing with pride. Bestow on me your heaviest burden don’t you want to lay your heart on my head, Magdalena? 3. Erhebung (Exhaltation) Give me your hand, only your finger, then I will look upon this entire world as my own. Oh, how my country blooms! Behold it for yourself, it can rise with us above the clouds to the sun! 4. Waldsonne (Forest Sun) In the brown, rustling nights, intrudes a flickering light, a green­golden glow. There sparks the flowers and grass and the singing, leaping forest streams, and memories. Although long since faded: they awaken again in the golden glory, all your joyous songs. And I see your golden hair shine, and I see your golden eyes shine out of the green, Murm uring nights. And it is a.  if I were lying next to you on the grass and you were, again playing upon the shiny pan pipe into the blue airy sky. In  the brown, restless nights, flickers a light, a  golden glow. Giacomo Puccini is widely recognized for his contributions to the operatic repertoire.  His opera  La  Boliéme  premiered on  February  I, 1896  at  the Teatro Regio of Torino. Puccini is best known for the large sweeping vocal lines and the dramatic emotional intensity. The Act II aria Quando m’en vo is Musetta ’s attempt to get her former lover Marcello to pay attention to her, though she is  currently out on the town with another man. IIL  Quando m’en vo  When  walking  alone  on  the  streets.  People stop and stare  And examine my beauty From head to toe... And then I savor the craving  Which from their eyes transpires And  from  the  obvious  charms they perceive The hidden beauties. So  the  scent  of  desire  is  all around me, I t  makes me happy! And  you  who  know,  who remember and yearn, You shrink from me? I know why this is: You do not want  to  tell me of your anguish, But you feel like dying! Georges Bizet composed almost fifty songs which are influenced by the style of his teacher Charles Gounod. Elements of this style are well suited to  the voice,  and  the  accompaniment  is  filled  with  rhythmic  flair  and nuances. Ouere ton  coeur and Adieux de l’héterse Arabe are two examples of exoticism  and  orientalism  which were  prevalent  in France  during  the romantic period. The songs of Franz Liszt have mostly been overshadowed by his orchestral and piano compositions.  The vocal melodies of these songs are operatic and sometimes recitative­like in style. The song OlL’ Quand je dors has come to be the most popular and most frequently perfonned amongst his song repertoire. IV.  So  that  a  dream  may  enchant The shadow has closed  its eyes  Like a flower opens to the sun! Ouvre ton Coeur  The daisy has closed its petals,  for the day. Beauty, will you speak to me?  Open your heart to my love!  Oh young angel, to my flame,  your sleep. I want to reclaim my soul, Adieux de l’hétesse Ara be (The  farewells  of  the  Arab hostess) �Since nothing holds you to  this happy land, neither the shade of a palm tree nor the yellow corn, neither rest nor abundance nor seeing beat at the sound of your voice the youthful breasts of our sisters, whose dance, like that of a  hive  of  bees,  crowns  the evening hills. Farewell,  handsome  traveler. Alas! Oh, why aren’t you one of those who limit  their lazy feet to their own roofs of branches or canvas! Who, dreamers, listen  to stories without making any, and dream of flying away to the stars, sitting before  their  doors  in  the 7  Had  you  wished  it, evening.  perhaps one of us, young man, would  have  liked  to  serve  you, kneeling,  in  our  huts  that  are always  open.  She  would  have lulled  you  to  sleep  and  made a fan of green leaves to chase away the flies from your brow. If you don’t  come  back,  think sometimes  on  the  desert’s daughters,  sottwoiced  sisters dancing  barefoot  on  the  dune. Handsome  young  white  man, lovely bird of passage, remember, for  perhaps,  oh  rapid  stranger, your  memory  remains  in more than one of them! Comment, disaientls? “ How,”  the  boys  asked,  “with our tiny boats can we escape the law?” “Row!” the girls replied. “How,”  the boys asked. “can we forget  our quarrels, poverty and perils!” “Sleep,” the girls replied. “How,” asked the boys, “can we enchant beauties without subtle potions?” “Love,” the girls replied. Oh! quand je dors Oh! While 1 sleep, come  to  my bedside just as Laura appeared to V.  Prelude  Rondo  Peter go ring dem bells.  Wonder  where  my  mother has  gone!  Heard from Heaven today.  Recitative  Sometimes I feel like a  motherless child,  A long way from home. Sometimes I feel like I’m almost  gone,  A long way from home.  True believer, a long  way  from  home.  Petrarch.  And  in   passing,  let Air your breath touch me... Suddenly my lips will part! On  my troubled  brow, where  a dark dream  that lasted  too long is perhaps ending, let your gaze fall like a star... Suddenly my dream will become radiant! Then on my lips, where a flame flickers  a  flash  of  love  which God made pure, place a kiss. and from angel become woman... Suddenly my soul will awaken! Oh come! Just as Laura appeared to Petrarch! Le t  us break bread  together  on African­American  pianist  and  composer John  Daniels Carter  is widely recognized for his Cantata for voice and piano, which is his only published work. However, little information has been published abou t Carter ’s life, his compositional output, or career as a pianist.  This piece consists of a brief piano prelude followed by unique settings of the spirituals “Peter go Ring Them Bells”, “Sometimes I  Feel like a  Motherless Child", “ Let Us Break Bread Together", and “Ride on King Jesus". our knees. When I fall on my knees, Wid my face to da rising sun, Oh Lord have mercy on me. Let us  drink  wine  together  on our knees. When I fall on my knees, Wid my face to da rising sun, Oh Lord have mercy on me. Let  us  praise  God  together  on our knees. When I fall on my knees, Wid my face to da rising sun, Oh Lord have mercy on me. Amen. Toccata Ride on King Jesus, No man can a hinder me. He is King of Kings, He is Lord of Lords. Jesus Christ, first and last, No man works like him. King  Jesus  rides  a  milk  white horse, No man works like him, The river of Jordan he did cross, No man works like him. “ n u n n " . n u n " . n u n n " fi n " a n o n – " n u n ” ABOUT TH E  P E RFORME RS Soprano Meroé Khalia Adeeb is  a  native of Accokeek,  Maryland.  Ms . Adeeb began her operatic training at Louisiana State University 2010. She performed the role of Chembino Pig in  The Three Little Pigs with the Louisiana Opera Outreach Program,  and  the  1st Spirit  in  The  Magic  Flute with Opera  Louisiane.  In  the summer of 2012 Ms. Adeeb attended  Martina Arroyo’s Prelude to Performance where she performed in the chorus of Verdi’s Falstaff and audited the role of Nannerta. and then performed the role with Opera Louisiane in September 2012. She returned to Prelude to Performance in 2013 to perform the  role of Stella in Les comes d’'Hoffmann. Now as a Master of Music in Opera student at Binghamtou University and Resident Artist with Tri­Cities Opera, she has been performing roles and singing in the the m.  In 2013, M.  Adeeb performed the role of Gretel in  Hansel and  Gretel with  Binghamton  University, and  in  the  chorus of Carmen with Tri­Cities Opera. In  the spring of 2014 Ms. Adeeb performed  the  role of Donna  Elvira  in  Don  Giovanni  and Gilda  in Verdi’s  Rigoletto  in  October, 2014 with Tri­Cities Opera. Most recently Ms. Adeeb recently competed in the Middle �Atlantic Region of the  Metropolitan Opera  National  Council Auditions where she won third place.  She is a studen t of Prof. Mary Burgess. Michael Lewis, Adjunct Lectu rer at BU and Assistant Music Director at Tri­Cities Opera,  earned  his  undergraduate  degree  in  Vocal  Performance  from  Ithaca College  in  May  2013.  He  has  had coaching  experience with  the  International Vocal  Arts  Institute,  Mill  City  Summer  Opera,  CoOPERAtive  program  and Ithaca College School of Music. While at Ithaca  College, Michael was involved with the inaugural season of  the first stude nt­run opera company at  IC, Ithaca College Light Opera, in which he served as Assistant Music Director and Vocal Coach. He went on to lead the group in their second season as Music Director. The opera company continues to perform one one–act opera each semester. As a vocalist,  he has performed a variety of roles in  Ithaca  College’s mainstage productions. In  his final year a t Ithaca, he had  the opportunity to play the title role in Gianni  Schicchi.  This production was paired with Suor Angelica, for which Michael served  as opera  choru  master.  In  the  past decade,  Michael  has been actively developing his style as a composer. H is current works which focus on the voice  and  piano  have  been  performed  throughout  the  United  States  and Australia. Brandon You ng is a junior  from  Farmingville, N.Y. who is  pursuing a double major in Mathematics and Economics.  He started playing the trumpet in 2004, and  currently studies with  Benjamin Aldridge  here at Bingha mton  University. Brandon  is currently  a  member  of Ben’s  Trumpet  Ensemble,  the  Harpur Jazz Ensemble  directed  by  Michael  Carbone  and  the  University  Wind  Ensemble directed  by  Daniel  Fabricius.  In  his  free  time,  Brandon  likes  to  read,  mostly literature related to Math and Economics, and enjoys tutoring, which he currently does through the Student­Athlete Success Center. i t i t i t i i i i t t i i i i ’ t t i t t ‘ . ‘ i fi t t i t t ­ f t t t t t t i t t t i l fl k i fi i t i ff i k i This recital is dedicated to my late grandmother Levolia “MaLee” Jordan ( 1921­ 2014) who lived a life of worship and singing. I would like to thank the following people  for maximizing my artistic growth in this short time I have been in Binghamton: Mary Burgess, my voice teacher who expects  nothing  less  than  10096  whether  I  am  singing  for  only  her  or for a thousand people.  Diane Richardson  who  has  nurtured my  operatic  soul and pushed  me to become  not  just  a  singer  but  a  true artist. Sco tt  Bergeson who catered his coaching skills to  fit my individual needs and was extremely patient with  me.  Tri­Cities  Opera,  thank  you  for  giving  me  professional  performing opportunities in a safe learning environment. I would also like to thank my family for supporting and encouraging me through my journey. Enfin, je souhaite remercier de  tout coeur mon fiance Ghislain. Je n’aurai  jamais imaginer avoir  un  meilleur ami  et  partenaire com me  toi. Je  suis infiniment benie de t’avoir a coré pour la  \ie. � 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.) 58m 23s Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74997">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74997</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Master of Music recital with Meroë Khalia Adeeb, Michael Lewis, and Brandon Young Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Hansel, Schoenberg, Puccini, Bizet, Liszt, Carter. Held at 4:00 p.m., March 14, 2015, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Adeeb, Meroë Khalia Lewis, Michael Young, Brandon Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Handel, George Frideric, 1685-1759 Schoenberg, Arnold, 1874-1951 Puccini, Giacomo, 1858-1924 Bizet, Georges, 1838-1875 Liszt, Franz, 1811-1866 Carter, John Daniels Date A point or period of time associated with an event in the lifecycle of the resource 3/14/15 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/130e0b6a82e385dcffdf7c095921802d.pdf b85f9c752d6e73123b4c9638656691ac PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E  U N I V E R S I T Y   O F   N E W   Y O R K wdec [4 D E P A R T M E N T   ANADA O,C Choral Music by Canad ian Composers, F olksongs, an d  Songs of F irst Nations People Women ’s Chorus Molly Adams­Toomey, conductor H arp ur  Chorale Peter Browne, conductor Assisted by Jushin Choi, pianist Nicholas Polacco, trumpet Emily Goetz, percussion Thursday, March 15, 2012 8:00 p.m. Anderson Center Chamber Hall �PROGRAM Combined Choirs .....Lydia Adams Mi’kmag Honour Song .  The Mi’maq Honour Song is a chant dedicated to and in jonour of the Creator.  The employment of nature sounds and the call of the human voice honours this tradition of the Mi’kmaq peoples. The sounds are not in any particular language, but are perhaps a derivation of a text handed down through the ages. Harpur Chorale .Traditional Salish Song (from Six Canadian Folk Songs)  Arr. Derek Healey Women’s Chorus Missa Brevis .. . Nancy Telfer Kyrie Gloria Rise Up My Love  Harpur Chorale .  a Healey Willan Rise up, my love, my fair one, and come away; for lo, the winter is past, the rain is over and gone; the flowers ap pear upon the earth; the time of the singing ofbrrds is come. ­­Song of Solomon Women’s Chorus Cantate Domino  .  .  .  .  .  .  .  .  .  .  Ruth Watson Henderson Kaitlyn Mulligan and Christina Santa Maria, Megan Orcutt, Susan Rosenberg, soloists Nicholas Polacco, trumpet Cantate Domino canticum novum  Sing to the Lord a new song. Cantate Dominum omnis terra  Sing to the Lord all the earth. 0 sing to the Lord a new song, sing to the Lord all the earth. 0 sing to the Lord, and bless his name: proclaim his salvation from day to day. Declare his glory among the nations, his wonders among all people. For the Lord is great and gently to be praised; He is to be feared above all Gods. Clap your hands all peoples! Sing to God with loud songs  ofjoy! God has gone up with a shout, the Lord with the sound of the trumpet. Sing praises to the Lord, with the lyre, with the sound of melody, With trumpets, with the sound of the horn. Praise his name with dancing, with the timbrel and harp. ­­adapted from Psalms 47, 96, 98, I49 �Psalm 23 ..  Imant Raminsh The Lord is my shepherd; I shall not want. He Maketh me to lie down in green pastures he leadeth me beside the still waters. He  restoreth my soulr He leadeth me in the paths of righteousness for his name’s sake. Yea, though I walk through the valley of the shadow of death, 1 will fear no evil. For thou art with me, they rod and thy staff they comfort me. Thou preparest a table before me in the presence of mine enemies: Thou anointest my head with oil, my cup it runneth over. Surely goodness and mercy shall follow me all the days of my lif And I will dwell in the house of the Lord forever. Harpur Chorale Onokenoga.  Deep were the crashing waves that tore our whaler’s mast away, And dark are these sunless days waiting for the ice to break.(refrain) Strange is the whaler’s fate to be saved from the raging waves, only to waste away in this lonely grave. (refrain) ­­James Gordon l‘se the b‘y that builds the boat, and l’es the b’y that sails her! I’se the b’y that catches the fish and takes ‘em home to Lizer, ­­Psalm 23 .  .  .  .  .. Mark Sirett Onokenoga is a soundscape that portrays an ancient Mohawk legend.  The setting is Lake on the Mountain. known to the Mohawk First  Nation people as Onokenoga (Lake ofthe Gods). The legend tells the story of two lovers from rival villages, who late one night meet on the shores of the lake and vow their undying love for each other. The young warrior departs  for his village on the  far  shore, but a sudden Hip yer partner, Sally Tibbo’! Hip yer partner, Sally Brown! Fogo, Twillingate, Mor’tons Harbour, All around the circle! Sods and rinds to cover your flake, cake and tea for supper, Codfish in the spring o’ the year fried in maggoty butter. 1 don ’t want your maggoty fish, that ’s no good  for winter; 1 could buy as good as that down in Bonavisteri 1 took Lizer to a dance, and faith, but she could travel! Ev’ry step that she did take was up to her knees in gravel! Susan White, she’s out of sight, her petticoat wants a border, Old Sam Oliver, in the dark, He kisses her in the corner. ­­Newfoundland Folk Song violent storm causes his canoe to capsize and he drowns.  Legend has it that the spirit of the young girl continues to wander the shores seeking her lost love in vain. Grandmother Moon  she looks into and beyond my soul the lacy cedar boughs creating her shadows . Eleanor Daley cedar ones weave design of midnight canvas she looks into and beyond my soul she a powerful sacred hoop of full light Stephen Chatman Text by Robert E. Swanson (1905­94) Stephen Chatman The song of star to star, but there are sounds, More deep than human joy and human tears, That Nature uses in her common rounds: Traditional The fall of streams, the cry of winds that strain The oak, the roaring of the sea’ surge, might Of thunder breaking afar off, or rain That falls by minutes in the summer night. These are the voices of t h e s ecret soul, from which she came. To him who hears them grief beyond control, joy without a name, Wakes in his heart thoughts bedded there, impearled, Before the birth and making of the world. Arr. Donald Patriquin O dance my monk, dance. don’t you hear the dance'. , Ah! If my monk would like to dance :  1 would gi ve a cap.  I would give him a sash. l would give him a rosary, l would gi vc him a homespun coat. If  he had not made a vow ofpoverty, I would gi ve him other things as well. ­­Quebec folksong We have not heard the music ofthe spheres, 7  F robisher Bay Harpur Chorale We have not heard the music of the spheres, quiet powers speak out in her name we’lalin (welcome) ­­Mary Louise Martin (Mi’kmaq) Ah! Si mon moine voulait danser  Seattle Red  Voices of Earth . .  .  t  .  ,  .  .  .  .  .  .  .  simplicity against the ebony blues and blacks of night sky land and crystal star people she looks into and beyond my soul her round face of translucent beauty and light Women’s Chorus ..Traditional Arr. John E. Govedas 1’se theB’y. James Gordon Arr. Tamarack Cold is the Arctic Sea. Far are your arms from me, Long will this winter be, frozen in Frobisher Bay. “One more whale!” our captain cried. “One more whale then we‘ll beat the ice.” But the winter star was in the sky, the seas were rough, the winds were high.(refrain) The song of star to star, but there are sounds. ­­Archibald Larnpman (1861­1899) 0 ,  Canada  Combined Choirs Canadian National Anthem Original French Text by A.B. Routhier English version by RA  Stanley Weir . . C. LaVallée Arr. Bruce Borton �WOMEN’S CHORUS Molly Adams­Toomey, conductor Jushin Choi, accompanist Soprano Michaela Andriatch Alida Cooke Alto Amy Conway Ashley Grumman Caitlin Gotimer Jennifer Micceri Kaitlyn Mulligan Megan Orcutt Jessica Pyne Christina Santa Maria Ariel Schlesinger Fangling Zeng Maggie Pictor Susan Rosenberg Joanna Wallace C rystal Gonzalez Erika N oach Nm F A ” 3 q ­ w  New Beginnings Beginnings Back to our Roots ‘ . . \ I u ( h l l . 20 l 2 . ~ t 1 l ) p. m .   01 1. 4:00 p.m. Sunday, October i s . 2 SL  Parrick’s Catholic Church Sunday,  9 Leroy Street. Binghamton, N Y Tnmrv Memorial Church 44 Main Street. Binghamton, NY Lessons and Carols  for  Christ ma s Crossroads Sunda y, N o vember 2  . 20 1  1 .  4 :00 p.m. Tabernacle United Methodm Church sarurdav. November 26.201 1.­.­to p.m. & Sunda y, J unc 3, 2012, 4 :00 p. m 8351.1... Street, Binghamton, N Y Y 346  Prospect Street, Bmghamrm N C hn n h  of the Holy Tnmt'; For Tickers: wnnsmadsigalchoir.com u.41/60'­'.‘°4’6’ D ( HARPUR CHO RALE  2012  34th  Season The Madrigal L Cholr of B i n gh a m t o n Peter Browne. conductor Soprano Michelle Goldrich Kerianna Krebushevski Stephanie Nam Sabrina Scull Katherine Sucha Samantha van Adelsberg Hollie VanDerHeide Alto Denise Aquino llyssa Baine Carrie Buck Suzanne Greene Shoshana May Tenor Ari Hausman Ricky Nan Joshua Rovou David Schwartz Brandon Seabrook Bass David Clark Thomas J. F urey Pak Lok Pio Lau Christian Martin Daniel Romberger David Stern ~ ­ 2011­2012 Season Oris '  c fi r ) MADAME BUTTERFLY]  LUCIA DI LAMMERMOOR  October 21& 23, 2011  F ebruary 1 0& 12,2012  . .   . a .   I  T H E  MAGIC FLUTE April 2 7  “ 9  2012 1.  . .   ...­  “ l o m : .  M a e  ­ . .  I u ‘ T Q ’ v ­ rl n ­ w...­ e..­.  ,.  wind ehiI/lA’H­ll 31 the FORUM THEATRE ia Binghamioa Til & 1­10: BIN­77241110  « www.tricitiesopera.com Katherine Moscowitch m m — m w n n — w h n m n — — h M ‘ m d — – Q n — m m D  u n — u — n — ‘ u — n n — fi — n   n — u – t – u —  g m a n — “ m m – m m �Binghamton Univer sity Music D epartment’ s UPCOM ING E V E N7 15 Saturday, March 17 – Organist Jonathan Biggers presents “My Favorite Fantasies” – 4 p.m. – First Presbyterian Church ­­ $10 general public; $6 faculty/staff/seniors; $3 students Sunday, March 18 – Musica Nova – 3 p.m. – Casadesus Recital Hall – Free Thursday, March 22 – Mid­Day Concert – 1:20 p.m. – Casadesus Recital Hall free —  Friday, March 23 – Master’s Recital : Kathleen Jasinkas, soprano – ­ 8:00 p.m. – Casadesus Recital Hall – free Thursday, March  29 – Mid­Day Concert – 1:20 p.m. – Casadesus Recital Hall free —  Thursday, March 29 – Nukporfe African Drumming and Dance Ensemble – 8 p.m. – Anderson Center Chamber Hall – $5 per person (tickets will be sold at the door) Thursday, April 12 – Mid­Day Concert – 1:20 p.m. – Casadesus Recital Hall free —  Friday, April 13 – Senior Recital : Alexander Baron, recorder – 8:00 p.m. – Casadesus Recital Hall – free Saturday, April 14 – Masterclass  with organist Carla Edwards – 10 a.m. – 12 noon – First Presbyterian Church, Binghamton – free Saturday, April 14 – Robert Smith, euphonium, presents “El Bombardino” with Margaret Reitz, p iano – 3 p.m. – Casadesus Recital Hall – $6 general public; $3 faculty/ staff/seniors; free for students Sunday, April 15 – Africanaise : An evening of African Inspired Compositions – 3 p.m. – Anderson Center Chamber Hall – $10 general public; $6 faculty/staff/seniors; $3 students For ticket information, please call the Anderson Cen ter Box Office at 777­ARTS. .For more information, please call (607) 777­2592, visit music. blnghamton. edu or become a fan on Faceboolr. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 63 minutes :13 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141813">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141813</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 O, Canada: Choral music by Canadian composers, folksongs, and songs of First Nations people, March 15, 2012 Description An account of the resource Held at 8:00 p.m., March 15, 2012, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Adams-Toomet, Molly Browne, Peter Choi, Justin Polacco, Nicholas Goetz, Emily Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 3/15/12 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/0b1e5f2ec66904608b829018173da6de.pdf 7b889c784e90d2dac4a7c1b8d739f70e PDF Text Text BINGHAMTON N I ER ITY STATE UNIVERSITY OF NEW YORK D E P A R T M E N T Binghamton University Wind Symphony presents Musicby Daniel Fabricius, conductor Saturday, M arch 15, 2014 8:00 p.m . Anderson Center Chamber Hall �PROGRAM UNIVERSITY WIND SYMPHONY Daniel Fabricius, Conductor SEVENS (2004) ... .. .. ..... ... .... ....... ............. ......... ........ .... ... .... ... ... .Samuel R. Hazo (b. 1966) FOUR SCOTTISH DANCES (1978) .................... ....... .... .......... .. Malcolm Arnold (1921-2006) Arranged by John P. Paynter PICCOLO BASS CLARINET TROMBONE Cara Natale Jamison Wezelis FLUTE BASSOON Daniel Romberger Alejandro Espinosa Patrick Jones Eleni Flo rakis Shelby Smith Devin Kasinki Brandy Greene Bailey Thomas EUPHONIUM ALTO SAXOPHONE Adam Sauer Chris Murdock QUINTOLOGY, The Science of Five (2010) ..................... .... ......... Gary D. Ziek (b. 1960) TRITTICO (1963) .... ............ ........................................... .... .... .Vaclave Nelhybel (1919-1996) FIRST SUITE IN E-FLAT (1909) .......... ..... ..... ... .. ... ...... .......... .... . Gustav Holst (1874-1934) TUBA Matthew Vegiard OBOE Allie Moskowitz Joe Kim Michael Sugarman TENOR SAXOPHONE Ju lia Dunnigan ENGLISH HORN BARITONE SAXOPHONE Jenna Graff Daniel Gross CLARINET TRUMPET Allison Battaglia Hector Mendez Sophia Schneiderman Stephanie Sheintul Diana Schwartz Jessica Siegal Brittany Sheridan Steven O'Connor Jason Boniello Brandon Young Brandon Ashley Jared Biunno Joshua Golub Bai Xue FRENCH HORN Abbey McMahon Christopher Patrizio Jeff Barker PERCUSSION Daniel Fabricius Joseph Glowienka Robert Hopkins Daniel Kim Alex Rava Char les A. Schmitz Ill Alex Valera KEYBOARD Benjamin Ca lhoun Dan iel Rosenau �PROGRAM NOTES CONDUCTOR Daniel Fabricius has been a member of the music faculty since 1992, serving as percussion instructor for twenty years before his appointment last year as conductor of the Binghamton University Wind Symphony . He holds degrees from Mansfield University and Ithaca College and has studied conducting with Donald Stanley (Mansfield University), Rodney Winther (Ithaca College), Stephen Peterson (Ithaca College), Col. Arnald Gabriel (US Air Force), and Mallory Thompson (Northwestern University) . In addition to his duties at BU, he also serves as Director of Bands at Owego Free Academy where he has developed an outstanding instrumental music program . The bands at OFA have received plenty of praises. The OFA Jazz Band was recently honored to present a concert performance at the 2013 NYSSMA Winter Conference. He is highly regarded in the region as a conductor, as a percussion performer, and as a music educator. He has been a member of the Binghamton Philharmonic percussion section since 1982 but is also comfortable performing in popular, rock, jazz, and other styles. He has played as a free -lance percussionist, accompanying national touring artists such as Michael W. Smith, Tommy Tune, Jerry Vail, Lorrie Morgan, Ringling Brothers Circus, the Smothers Brothers, and Ella Fitzgerald. Professor Fabricius has served the New York State School Music Association as an All-State Percussion adjudicator for many years. He also serves NYSSMA as the Instrumental Jazz Reviews editor of The School Music News and is the Jazz Editor for the NYSSMA Manual. In addition to his collegiate work at BU, he has also served Ithaca College as a consultant, as a member of the Summer Session faculty, and as a cooperating teacher for over 35 student teachers. He also serves the Summer Music Academy at Ithaca College as a percussion instructor and jazz ensemble conductor. He has presented many clinics at music conventions and conferences and often serves as a guest conductor for honor band festivals . SEVENS - was commiss ioned on behalf of South Caroli na's CBDNA members who contribute to the state' s Collegiate Honor Band . The world premiere was conducted by Colonel Lowell E. Graham, 0.M .A. (U.S. Air Force, Ret.). One moment in musical history, that I feel had a critical impact on modern ensemble music, was George Gershwin' s incorporation of jazz elements into the repertoire of orchestral music. Purists were appalled while listeners couldn't help but smile at these new sounds coming from a symphony orchestra . Gershwin' s j azz inspired orchestral compos ition Rhapsody in Blue was actual ly the brain chi ld of Band leader Paul Whiteman, who broached the idea to Gershwin in 1922 ( ... Figures it would be a band guy !). Whiteman wanted nothing more than to shake up the " highbrow" element that surrounded symphonic concert halls of that era. Rhapsody in Blue was written and performed in 1923. Its impact has proven to be timeless. Fast forward 81 years to 2004, the year of composition for "SEVENS" . Musical circles have grown to the point where the overlapping of musica l genres are, at the very least, acceptable and, more accurately, encouraged. When I got the ca ll from Les Hicken to write this piece, he mentioned to me that he would love it if the piece cou ld be a " barnburner." I hadn't written a piece that could be classified as a "barnburner" since I wrote a composition titled Ride. However, they are so much fun to do (even though they take forever to score), that I was happy to oblige . Shortly after Les called me, I was listening to one of my favorite musical groups, Gordon Goodwin' s Big Phat Band . I thought to myself that, at present, there' s no composit ion that I know of, that is just a straight ahead, in-your-face, Big Phat Band style composition for W ind Symphony; in other words, a true " barnburner." Perhaps a composition in that style would be j ust the right fit for this commiss ion . On ly one obstacle ... I have never written a jazz compos ition in my life. In an effort to write a modern day barnburner, as well as a tribute of appreciation to George Gershwin and Gordon Goodwin, I picked the concept that the " seventh" was the musical interval that Rhapsody in Blue kept so prominent. So, I based the entire compos it ion in sevens. Every part of this piece has a connection to the number seven. That connection could be the number of notes in the phrase, the time signature, the seventh-step chord that a phrase is based upon, etc ... Strangely enough, after I finished the entire compos ition, I discovered that my tribute to George Gershwin and Gordon Goodwin, titled Sevens, had one more symbolic turn. Both composers share the same initia ls: G.G.; coincidentally the seventh letter of the alphabet. (Notes from Samuel Hazo - www.SamuelRHazo.com) FOUR SCOTTISH DANCES - These dances were composed early in 1957 and were dedicated to the BBC Light Music Festival. They are all based on origina l melod ies, w ith the exception of one composed by Robert Burns. The first dance is in the style of a slow strathspey - a Scottish dance resembl ing, but slower than, the ree l. The dance is in 4/4 meter with many dotted notes, frequent ly in the inverted design of the "Scotch snap." The name was derived from the Strath Valley of the Spey River. The second, a lively ree l, begins in the key of E-flat and rises a semitone each time until performed by the bassoon in the key of G. The fina l statement of the dance is at the original tempo in the home key of E-flat. The third dance, in the style of a Hebridean Song, gives an impression of the sea and mounta in scenery on a ca lm summer day in the Hebrides. The last dance is a lively fling, which makes frequent use of the opening string pitches of the violin (performed by the saxophones in the band edition ). �Born in Northampton (UK) in 1921, Malcolm Arnold is one of the tower ing figures of the 20th century, with a remarkable catalogue of major concert works to his cred it, including nine symphonies, seven ba llets, two operas, one musical, over twenty concertos, two string quartets, and music for brass-band and wind-band. He also wrote one hundred thirty-two film scores . (Notes from Malcolm Arnold- www.MalcolmArnold.co.uk) QUINTOLOGY, The Science of Five - is a short concert piece for w inds and percussion . This piece explores the many possibilities of 5/4 t ime . The form of the piece is introduction, A, B, A. The A sections are built around the subdivisions of 3+3+2+2 . The B section utilizes mu ltip le layers of fives , superimposing ten quarter notes over five ha lf notes over twenty eighth notes. The piece drives to a conclusion, wh ich includes a short allusion to one of the great odd meter jazz composers, Don Ellis. Dr. Gary D. Ziek has served as Director of Bands and Professor of Trumpet at Emporia State University since 1995. He is the recipient of the Roe R. Cross Distinguished Professor Award for 2008-09. Dr. Ziek served from1982 to 1985 in the US Army and was a member of the Continental Army Band at Fort Monroe, Virginia. He taught in the Greater Latrobe School District in Pennsylvania from 1987 to 1992, and was the Associate Director of the Indiana University of Pennsylvan ia Marching Band in 1994. Dr. Ziek enjoys performing and conducting a wide variety of mus ic, from classical to jazz. He has performed and conducted in twenty states, as well as France, Germany, Switzerland, Italy, Austria and Canada . His compos itions and arrangements have been played throughout the United States, Belgium, The Netherlands, (Notes from conductor score) Japan, Singapore and Taiwan . TRITTICO - was composed in 1963 for Dr. Wi lliam D. Reve lli, who gave the first performance of the work in the Spring of 1964, in Ann Arbor, w ith the Symphonic Band of the University of Michigan . The fi rst and th ird movements are, in severa l ways, re lated to one another: the ir ma in character is brilliantly forward-moving and energetic; the main theme of the first movement reappears in the culm ination point of the third movement; and the instrumentation of the movements is identical (standard), with the individual instruments being used quite similarly. The second movement is a strongly contrast ing dramatic scene with turbulent recitatives and expressive woodwind solos, punctuated by low brass and percussion . The emphasis is on the woodwinds and the low brass; cornets and trumpets enter only at the very end w ith an extreme ly intense phrase to conclude the movement. The dramatic character is underlined by the strong use of percussion wh ich is extended by a second t impani player, piano, and ce lesta . (Notes from conductor score) Internationa lly renowned composer Vaclav Nelhybel was born on September 24, 1919, in Polanka, Czechoslovakia . He studied compos ition and conducting at the Conservatory of Music in Prague (1938-42) and musicology at Prague University and the University of Fribourg, Switzerland . After World War II , he was affiliated as composer and conductor with Swiss National Rad io and became lecturer at the University of Fribourg. In 1950, he became the first musical director of Radio Free Europe in Mun ich, Germany, a post he he ld until he imm igrated to the United States in 1957. Thereafter, he made his home in America , becoming an American citizen in 1962. After having lived for many years in New York City, he moved to Ridgefie ld and Newtown, Connecticut, and then, in 1994, to the Scranton area in Pennsylvania. During his long career in the United States, he worked as composer, conductor, teacher, and lecturer throughout the wor ld. At the t ime of his death on March 22, 1996, he was composer in residence at the University of Scranton. A prolific composer, Nelhybel left a rich body of works, among t hem concertos, operas, chamber music, and numerous compositions for symphony orchestra, symphonic band , chorus, and smaller ensembles. Over 400 of his works were published during his lifetime, and many of his over 200 unpublished compos itions are in the process of being published . (Nelhybel's passion for compos ing was all encompassing and left him little t ime for "marketing" his works; for th is reason, many of his compos it ions, though comm issioned and performed, rema ined unpublished .) Although Ne lhybel wrote the majority of his works for professional performers, he relished composing original, challenging pieces for student musicians and de lighted in ma king music with young players. Nelhybel was a synthesist and a superb craftsman who amalgamated the musical impulses of his t ime in his own expression, choos ing discri m inately from among existing systems and integrating them into his own concepts and methods. The most striking general characteristic of his music is its li near-modal orientation . His concern w ith the autonomy of melodic li ne leads to the second, and equally important characteristic, that of movement and pulsation, or rhythm and meter. The interplay between these dual aspects of motion and time, and the ir coordinated organization, resu lts in the vigorous drive so typica l of Nelhybel 's music. These elements are comp lemented in many of his works by the tension generated by accumulations of dissonance, the increasing of textura l densities, exploding dynam ics, and the massing of multi-hued sonic colors. Though frequently dissonant in texture, Nelhybel's music always gravitates toward tona l centers, which makes it so appeal ing to performers and listeners alike. (Notes from Vaclav Nelhybel Biography - www.scronton.edu ) FIRST SUITE IN E-FLAT - 2009 marked the 100th ann iversary of the First Suite in £-fla t by Gust av Hol st , now considered one of t he masterworks and cornerstones of the band literature. Although comp leted in 1909, t he su ite didn't rece ive its officia l premiere until 11 years later on June 23rd, 1920, by an ensemble of 165 musicians at the Royal M il itary School of Music at Kne ller Ha ll. However, the work w as originally conceived to be performed by ensembles significantly sma ller than the one at Kneller Hall. During th is ti me period, there was no standard ized instrumentation among the hundreds of British mil itary bands of the day, and as a result no sign ificant literature had been previously written for the band medium; most British bands up to then performed arrangements of popular orchestral pieces. In order to ensure the su ite would be accessible to as many bands as possible, Holst ingeniously scored the work so that it cou ld be played by a min imum of 19 musicians, w ith 16 add it iona l parts that cou ld be added or removed without comprom ising the integrity of the work. There are three movements in the su ite : Chaconne, Intermezzo, and March. Holst writes, "As each movement is founded on the same phrase, it is requested that the su ite be played right through w ithout a brea k." Indeed, the fi rst three notes of the Chaconne are Eb, F and C, and the fi rst three notes of t he melody when it fi rst appea rs in the Intermezzo are Eb, F, and C. In the th ird movement, March, Holst inverts the motive : The fi rst note heard in the brilliant open ing bras s med ley is an Eb, but instead of rising, it descends to a D, and then a G; the exact opposite of the fi rst t wo movements . The Chaconne begins w ith a ground bass rem iniscent of those w ritten by Henry Purcell or William Byrd . It is performed by tuba, euphonium and string bass and is repeated throughout th e ensemble sixteen fu ll t imes as vary ing inst rumenta l textures and variations of the theme are laye red w ith in it . Following a delicate ly scored chamber sett ing of the theme, the music steadi ly bu ilds to a brilliant Eb Major chord that concludes the movement. �The Intermezzo is light and brisk and features soloistic passages for the cornet, oboe and clarinet. Holst prominently displays the agility and sensitivity of the wind band through transparent textures and passages where the melody and accompaniment are woven into a variety of instrumental settings. The March begins suddenly. It consists of two themes, the first of which, performed by brass choir and percussion, is a march light in character. The second theme is dominated by the woodwinds and is composed of a long, lyrical line remin iscent of the original Chaconne melody. The movement concludes with both themes intertwining as the band crescendos to a climax. Gustav Holst, of Scandinavian ancestry on his father's side, was born in the English spa town of Cheltenham in 1874 and studied music at the Roya l College in London. A formidable trombonist, he spent time performing with the Scottish Symphony and various seaside bands. He later became director of music at St. Pau l's Girls' School, retaining this connection until the end of his life. Holst wrote a number of works for the theater, their subjects reflecting his varied interests, from Hindu mythology to Shakespeare and the medieval world of the Wandering Scholar. He also composed a considerable amount of choral music, accompanied and unaccompanied, including arrangements of folk songs, and a smaller number of solo songs. His most famous instrumental work is The Planets, but he is also fond ly remembered for his St. Paul's Suite for string orchestra, the two suites for military band, and Hammersmith, based on the district of London bearing the works name. (Notes from Esmail Kha lili - www.windrep.org). Binghamton University Department of Music Coming Events Wednesdav, March 19 pera cen s p.m. - Anderson gen ral public; 7 fac ulty/staff/seniors; $5 5 fo r students Thursday, M arch 20 - Mid-Day 10 n ere - I: 20 p. m. - Cas s adesus Re ital Hall - fr Thursday, March 27 - Mid-Day Concert - 1:20p.m. Friday, March 28 - Harpur nter Chamber Hall - VocalJazz - :00 p.m. - rurdav, March 29 - Junior Recital: baritone- 3:00 p.m. - Art Museum - free . sade sus Re ital Hall - free . sade sus R citalHall - free aitlin G rimer, oprano with Jake aturday, March 29 - Master's Recital: Matthew Recital Hall - free tamatis, bass amluk, baritone- 8:00 p.m. - Casadesus Thursday, April 3 - Mid-Day once rt - I :20 p.m. - Fine Arts Room 21 - free Friday, April 4 - pera n s - p.m. - Art Museum - 10 ge neral public; 7 fac ulty/staff/seniors; 5 fo r students For tickets or ro be a ded to our email list, visitanderson.binghamton.edu or call (607) 777-ARTS. For a complete list of our concerts call (607) 777-2592, visit music.binghamton. edu or become a fan on Fa ebook. If you were inspired by this performance,, consider supporting the Department of Music with a financial gift. Yoursupport helps to continue the work of students, faculty, and guest artists and their contributions to our community. Please make your donanon payable to the Binghamton UniversityMusic Department, and send your check to BL' Music Department, P.O. Box 6 0 , 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 / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 57:20:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75049">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75049</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Binghamton University Wind Symphony presents Music by Numbers, March 15, 2014  Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Hazo, Arnold, Ziek, Nelhybel, Holst. Held at 8:00 p.m., March 15, 2014, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource University Wind Symphony Fabricius, Daniel   Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Hazo, Samuel R., (b. 1966) Arnold, Malcolm, (1921-2006) Ziek, Gary D., (b. 1960) Nelhybel, Vaclave, (1919-1996) Holst, Gustav, 1874-1934. Date A point or period of time associated with an event in the lifecycle of the resource 3/15/14 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/09d8b6bfb22453542d8f405c92b91716.pdf 5509806073297ff07f11fbe5b4cba10e PDF Text Text BINGHAMTON N  I V E R    S I T Y   STA TE  UN IV E R S I T Y   O F   N E W  YORK h e   ZldecC ' D E P A R T M E N T SHAK ESPE A RE: T H E I NTERNATIONAL BA RD _ M A L e a  C e l e n e ,  t e nor j o h n / [ M g p  a n o ­ R a c h e lC   ele nta no; b assoo n Satuwrdoy, Ma rch/15,  2014 3:00 p . m CMad ayu/yfl ecétwb flaw �PROGRAM TRANSLATIONS I. Trinklied, D.888 An Sylvia, D.891 Franz Schubert (1 797­1 828) Standchen, D.889 ll. Chanson de Shakespeare, Op.28 Chanson de clowns Chanson d’amour Chanson d’Ophélie .Ernest Chausson (1855­1899) Text from: Antony and Cleopatra III. Two incidental pieces from Twelfth Night..... Kom nu hit, dod Hallila, uti storm och I regn TRINKLIED (Drinking Song) Translation by: Prof. Rosmarie Morewedge Bacchus, robust lord of wine. Come with sparkling eyes May your barrel drown our cares. Fill us up until the world twirls around us Fill us up until the world twirls around us! .Jean Sibelius (1865­1957) Act II, vii Come, thou monarch of the vine Plumpy Bacchus with pink eye! In thy vats our cares be drown’d With thy grapes our hairs be crown’d; Cup us, till the world go round, Cup us, till the world go round! wlNTERMISSIONca IV. Fear no more .. Paul Schleuse (b. 1971) V. Four Shakespeare Sonnets, Op. 16.  . Richard Hugunine 1. A Woman’s Face, Sonnet #20  (b. 1953) 2. Mine Eye and Heart are at a Mortal War, Sonnet #46 3. No Longer Mourn for Me, Sonnet #71 4. My Love is as a Fever, #147 “This program is offered in partial fulfillment of the requirements f or the degree of  M asters of Music: Opera. Michael Celentano is a student of Prof. Thomas Goodheart. AN SYLVIA (To Sylvia) Translation by: Prof. Rosemarie Morewedge Pray tell, what is Sylvia like that the expansive fields sing her praise? In beauty I see her approach heavenly favor and her traces show that everything obeys her. Is she beautiful as well as good? Charm refreshes like a mild childhood. Cupid hastens to her eye to heal his blindness and linger there in sweet repose. Therefore, may song resound in Sylvia’s honor: She conquers every allure that earth can offer. Honor her with wreaths and the sound of strings! Text from: Two Gentlemen from Verona, Act IV, ii Who is Sylvia? What is she, That all our swains commend her? Holy, fair, and wise is she; The heavens such grace did lend her, That she might admired be. Is she kind as she is fair? For beauty lives with kindness. Love doth to her eyes repair, To help him of his blindness, And being helped, inhabits there Then to Sylvia let us sing, That Sylvia is excelling: She excels each mortal thing Upon this dull earth dwelling: To her let us garlands bring. STANDCHEN (Serenade) Translation by: Prof. Rosmarie Morewedge Hark, hark! The lark is in the blue air; And Helios, newly awakened, Waters his horses with the dew That covers the calyx of flowers; The bud of the marigold Opens its golden eyes: Surrounded by all that is charming Sweet girl, get up, arise Arise, arise! �Ill. TWO INCIDENTAL PIECES FROM TWELFTH NIGHT KOM NU HIT, D 6 d (Come away, death) Translation by : Max Rydqvist Come here now. come here now, death In crape preserve me well. Haste away, haste away, need Beautiful maiden has taken my soul With sweeping and boxwood on the coffins lock, keep yourself done; many faithful have died but none such as you. No rose, no rose sprinkled on my black house. No friend, no friend may disturb the rest in earth’s gravel To me lie for a thousand sighers sake. to one side where no loving one shall see my earth and weep. Come here now. come here now death. Text from: Twelfth Night Act II, iv Come away, come away, death, And in sad cypress let me be laid; Fly away, fly away, breath: I am slain by a fair cruel maid. My shroud of white, stuck all with yew, O prepare it! My part of death, no one so true Did share it. Not a flower, not a flower sweet, On my black coffin let there be strown; Not a friend, not a friend greet My poor corpse, where my bones shall be thrown: A thousand, thousand sighs to save, Lay me, o where Sad true lover never find my grave, To weep there! HALLILA, UTI STORM OCH I REGN (Hey ho, the Wind and the Rain) Translation by : Max Rydqvist And when such as I was a little small drang. Hey ho out into the storm and rain Then was to me not a bed, more than a bed, forty rains, it rains each eternal day. But when I as a man begin to live wholly large. Hey ho, out into the storm and rain Then each shut his gate for the thief, fony rains it rains each eternal day. Text from: Twelfth Night Act V, i When that I was and a little tiny boy, With a hey, ho, the wind and the rain, A foolish thing was but a toy, For the rain it raineth every day. But when I came to man’s estate, With a hey, ho, the wind and the rain, ‘Gainst knaves and thieves men shut their gate, For the rain that raineth every day. Iv. Fear No More Text from: Cymbeline Act IV, ii Fear no more the heat of the sun, Nor the furious winter’s rages, Thou thy worldly task hast done, Home art gone, and taken thy wages. Golden lads, and girls all must, As chimney­sweepers come to dust. Fear no more the frown of the great, Thou art past the tyrants stroke; Care no more to clothe and eat, To thee the reed is as the oak: The scepter, Learning, physic must, All follow this and come to dust. Fear no more the lightning flash. Nor the all­dreaded thunderstone. Fear not slander, censure rash. Thou hast finish’d joy and moan. All lovers young and lovers must, Consign to thee and come to dust. No exorcisor harme thee, Nor no witch­craft charm thee. Ghost unlain forbear thee. Nothing will come near thee. Quiet consummation have, And renowned be thy grave. V. FOUR SHAKESPEARE SONNETS 1. A WOMAN’S FACE (Sonnet #20) A woman’s face with Nature’s own hand­painted Hast thou, the master­mistress of my passion; A woman’s gentle heart, but not acquainted With shifting change, as is false woman’s fashion; An eye more bright than theirs, less false in rolling, Gilding the object whereupon it gazeth: A man in hue, all hues in his controlling, Much steals men’s eyes and women’s souls amazeth. And for a woman wert thou first created; Till Nature, as she wrought thee, fell a­doting, And by addition me of thee defeated, By adding one thing to my purpose nothing. But since she prick’d thee out for woman’s pleasure, Mine be thy love and thy love’s use their treasure. �2.  MINE EYE AND HEART AREAT A MORTAL WAR (Sonnet # 46) Mine eye and heart are at a mortal war How to divide the conquet of thy sight; Mine eye my heart thy picture’s sight would bar, My heart mine eye the freedom of that right. My heart doth plead that thou in him dost lie— A closet never pierced with crystal eyes— But the defendant doth that plea deny And says in him thy fair appearance lies. To ‘cide this title is  mpaneled A quest of thoughts, all tenants to the heart, And by their verdict is determined The clear eye’s moiety and the dear heart’s part: As thus; mine eye’s due is thy outward part, And my heart’s right thy inward love of heart. 3.  N O  LONGER MOURN FOR ME (Sonnet #71) No longer mourn for me when I am dead Then you shall hear the surly sullen bell Give warning to the world, with vilest worms to dwell: Nay, if you should read this line, remember not The hand that writ it; for I love you so That l in your sweet thoughts would be forgot If thinking on me then should make you woe. O, if, I say, you look upon this verse When I perhaps compounded am with clay. Do not so much as my poor name rehearse. But let your love even with my life decay, Lest the wise world should look into your moan And mock you with me after I am gone. 4.  MYLOVE IS AS A FEVER (Sonnet #147) My love is as a fever, longing still For that which longer nurseth the preserve the ill, Th’ uncertain sickly appetite to please. My reason, the physician to my love, Angry that his prescriptions are not kept, Hath left me, and desperate now approve Desire is death, which physic did except. Past cure I am, now reason is past care, And frantic­mad with evermore unrest; My thoughts and my discourse as madmen‘s are, At random from the truth vainly expressed: For I have sworn thee fair. and thought thee bright, Who art as black as hell. as dark as night. PROGRAM NOTES Translating a nd  Setting Shakespeare : To Capture the Essen ce of a Master by Michael Celentano The act of translation is true art unto itself. It is easily forgotten that the finest literature known to man has been translated so that non­native speakers may experience the same joys in reading a  text as do  the author’s intended audience. The true burden in finding the essence of the masters, such as Pushkin, Goethe, and Shakespeare, is a two­fold task : How does one effectively capture the thoughts of such writers in another language, with its own idiosyncrasies and does one attempt to recreate  the  metrical  techniques  that  are  often  a  byproduct  of  the language of origin? Composers face the same challenges as they write to express both their and the authors thoughts about the text. In his article, “Fit Only for Barbarians: The Sound of Translated Poetry”, Keith Bosley examines two distinct camps with which translators tend to associate: Those that adhere strictly to the original meter of the piece and those who use free­verse to best capture the essence of the text. While  the  Russian­American  poet,  Joseph  Brodsky,  states  that translating into free­verse is a sign of decadence and a spiritual betrayal of the original text, the famous French translator of Shakespeare, Yves Bonnefoy argues that any attempt to “naturalize” the original and fit it into an  existing  mold  in  the  language  of  the  translator  is  doomed;  that whoever attempts it is a mere versifier and no poet. Bosley ultimately concludes that a translation should “glorify [the] original, not [the author]”. He goes on to say that “To achieve such glorification, [one] need[s] to make [the] original poet sing as though he were writing in [that other] language, which of course is impossible...". Composers  face  the  same  challenges  as  they  set  translated  texts. Concerning  Shakespeare,  three specific circumstances are examined through the recital program: Speeches in verse, incidental songs to be sung during a performance, and sonnets. Each have their own unique metrical devices that composers either chose to incorporate or  ignore depending on  the translation provided and their own sentimentalities towards Shakespeare. The settings of Schubert adhere strictly to  the Bard’s original meter and present the circumstance whereby the music can be  performed  with either the translation or  the  source material. Chausson’s choices offer a much more conversational approach to the text, using pauses in the vocal line to express emotion. Particularly in the third setting, Chanson d’Ophélie, uses a quasi­recitative approach to the text  which  allows  for  the  shaping  of  the  text  in  small  bursts,  The selections  of  Sibelius on  the  program are  unique  in  that  they  were composed specifically for a staged production of Twelfth Night in 1909. Though  composed  for  guitar  and  voice,  these  selections  will  be performed  with  harpsichord  to  achieve  a  more  haunting  effect  to contrast the comedy of the play. �Fear No More By Dr. Paul Schleuse Fear  No  More takes  its  text  from  Act  IV,  Scene  2  of Shakespeare’s Cymbeline, a play set in the semi­legendary world of pre­ Christian Britain. It is a lamenting hymn sung by the brothers Polydore and Cadwall over the corpse of Fidele, a young man who has wandered, exhausted and ill, into the cave where they live. Nothing about this scene is as it seems,  however: Fidele is really King Cymbeline’s daughter Imogen in disguise, and she is not really dead—she has drunk a potion meant to mimic death under the mistaken belief that it was medicine for her illness. Meanwhile Polydore and Cadwell, unknown to themselves. are really Guiderius and Arviragus, Cymbeline’s long­lost sons. This web of mistaken  identities threatens  to  turn  this scene into one  of  ironic comedy, but the sincerity and passion of the lament instead makes it one of  the  play’s  emotional  high points  and confirms  the brothers’ royal character. The three main stanzas of  the poem are set here as free expansions on the piano’s short introduction, with the singer intoning the words in a mixture of recitative and song. The final six lines of the poem turn from lament to  benediction, and the music takes on a  ritualistic. quasi­religious character. The song’s premiere was given by soprano Melissa Givens at Rice University in 1993; this is the first performance of a revised version. Setting a Shakespeare Sonnet By Richard Hugunine Setting a Shakespeare sonnet to music is a daunting task : First, l wanted not  to  damage  the  poetry  by  trivialization  or  by  excessive  drama. Second, I have attempted to convey my intimate emotional response to these emotion­freighted poems. Number  20, A  Woman’s  Face.  records  the  innermost  and  intimate thoughts of a man in love. He is by turns yearning, gracious. bitter. happy and also in pain. Still, he takes what little he can get, and is grateful – even if what he gets is not what he truly wants. Number 46, Mine Eye and Heart, records Shakespeare’s internal battle as to whether he loves a lady more with his eyes or more with his heart. Both ultimately win, but in different ways. Number 71, No Longer Mourn for Me is a man’s plea to his love to forget him when he is dead, to move on with her life. But we clearly hear him mourning not only for her loss of him, but mouming also for his own passing.  The extraordinary intimacy of  tragedy  is nearly unbearable.  Number  147, My  Love  is  as  a  Fever depicts  the  wild emotions that love has conjured – emotions that ultimately lead this man to demonize the woman he thought he loved. I hope I have managed to capture and express for you. if even in a small and  clumsy  manner,  a  portion  of  the  deep  emotions  Shakespeare evokes from me in these masterworks. ABOUT THE PERFORMERS MICHAEL CELENTANO, tenor is currently a candidate for the Masters of Music in Opera degree program at SUNY Binghamton University and is a resident artist of Tri­Cities Opera in Binghamton, New York. Recent appearances  include  Nemorino  in  Elisir  d’amore  with  Berks  Opera Workshop  and  Alfred  in  Die  Fledermaus  with  Bel  Cantanti  Opera. Upcoming performances include The Teapot, The Mathematician, and The Frog in Ravel’s L’Enfant et les Sortilége with Bel Cantanti Opera, the cover of Beppe in Maryland Lyric Opera’s inaugural performances of I Pagliaoci, and Goro in Berks Opera Workshop’s production of Madama Butterfly. Michael Celentano is a student of Prof. Thomas Goodheart. JOHN ISENBERG, piano a native of Endicott, NY, holds a Bachelor‘s Degree  in  Music  and  a  Master’s  Degree  in  Italian  Literature  from Binghamton  University.  He  performs  many  different  musical  genres including Opera, Art Song, Musical Theater, Gilbert and Sullivan, cabaret shows, traditional Scottish, and various styles of sacred music ranging from  Gregorian  chant  to  contemporary Praise  music.  John  formerly worked for the Tri­Cities Opera in Binghamton, NY, first as Accompanist, then additionally as Education Outreach Coordinator and Chorus Master. As part of Opera­Go­Round touring program, he accompanied over 500 performances throughout New York State and northern Pennsylvania . John  has  played for  WSKG  radio broadcasts of several Operalogue preview performances including Puccini’s Madama Butterfly, Donizetti’s Lucia di Lammermoor and Mozart’s The Magic Flute. He appeared on public television as part of a show called Sound Fusion, and during the holiday seasons. He has worked with numerous theater and musical groups in the Binghamton area. including SRO Productions, the Madrigal Choir  of  Binghamton.  the  Binghamton  Downtown  Singers  and  the Summer Savoyards.  John is currently the Organist/Pianist and Choir Director at Sarah Jane Johnson Memorial United Methodist Church in Johnson City. A native of Long Island, RACHEL CELENTANO, bassoon is a young artist  currently  attending  the  Peabody  Conservatory  of  The  Johns Hopkins University in Baltimore, Maryland, Ms. Celentano is studying with Phillip Kolker and majoring in Bassoon Performance and Music Education.  She has  won  the Long Island  Youth Orchestra  Concerto Award and has appeared as principal bassoon with New York All­State Symphonic Band, Nassau Suffolk Wind Symphony, Long Island Youth Orchestra, Peabody Wind Ensemble, and in the opera, The Merry Wives of Windsor, with the Delaware Valley Opera Company. Additionally, she has  performed  with  One  World  Symphony,  Peabody  Latin  Jazz Ensemble, and Peabody Improvisation and Multimedia Ensemble. Ms. Celentano doubles on the clarinet and alto saxophone, and teaches privately. �Binghamton University M usic Department’s Coming Events GfiMb­éhfiflflfib‘éfifl'fiié'wéfiflafib Saturday, March  15 ­  Wind Sympony Concert: Music by Numbers ­ 8:00  p.m.  ­  Anderson  Center  Chamber  Hall  ­ $7  general  public;  $5 faculty/Staff/seniors; free for students Wednesday, March 19 ­  Opera Scenes ­  8:00 p.m. ­  Anderson Center Chamber  Hall  ­  $10  general  public;  5 7   iaculty/staff/seniors;  $5  for students Thursday, March 20 – Mid­Day Concert ­  1:20 p.m. ­  Casadesus Recital Hall ­  free Thursday, March 27 ­ Mid­Day Concert ­  1:20 p.m. ­ Casadesus Recital Hall ­  free Friday, March 28 ­  Harpur Vocal Jazz ­  8:00 p.m. ­  Casadesus Recital Hall ­  free Saturday, March 29 ­ Junior Recital: Caitlin Gotimer, soprano with Jake Stamatis, bass baritone – 3:00 p.m. ­ Art Museum ­  free Saturday,  March  29  ­  Master’s  Recital:  Matthew Samluk,  baritone  ­ 8:00 p.m. ­Casadesus Recital Hall ­ free Thursday, April 3 ­­ Mid­Day Concert ­  1:20 p.m. ­  Fine Arts Room 21 ­ free Friday, April 4 ­  Opera Scenes ­  8:00 p.m. ­  Art Museum ­ $10 general public; $7 faculty/Staff/seniors; $5 for students « a w w w m m w w w a o m m For tickets or  to he  added  to  our email list, visit anderson.binghamton.edu or call (607) 777­ART S.  For  a  complete  list  of  our  concerts  call  ( 607)  7 7 7 ­ 2 5 9 2 ,   visit mustahmghamtonedu or  become a fan on  Facebook. a f .  E l f  you  were  inspired  by  this  performance,  consider supporting  the Department  of  Music  with  a  financial  gift.  Your support  helps  to continue  the wor k  of  students ,  ja mlty  and  guest  artists  and  their contributi ons  to our  community. Please make your donation payable a f   to  the  Binghamton  University  Mustc  Department,  and  send  your   usic Depart ment , P.O. Boat  6000, Binghamton, N Y check to  B U M 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.) 42:20:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75052">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75052</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 Shakespeare: The International Bard Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Schubert, Chausson, Sibelius, Scheuse, Hugunine. Held at 3:00 p.m., March 15, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Celentano, Michael Isenberg, John Celentano, Rachel Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Schubert, Franz, 1797-1828 Chausson, Ernest, 1855-1899 Sibelius, Jean Schleuse, Paul Hugunine, Richard Date A point or period of time associated with an event in the lifecycle of the resource 3/15/14 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/12d75fe17bef973cd91c5f37b4801c27.pdf 67bf9d1f684cecab9b314e6b4858258e PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E   U N I V E R S I T Y   O F   N E W  Y O R K u d w [4 D E P A R T M E N T Binghamton University Opera Wo rkshop p resents OPERA SCENES WITH SCENES FROM THE MARRIAGE OF FIGARO, Cosr FAN TUTTE, CARMEN, OF  MICE AND MEN, THE CRUCIBLE, Lakmé AND  TURANDOT Willie A nthony  Waters , Music Direct or/Con ductor John Isenberg, Assistant Music Director/ P ianist David Carl Toul son, Stage Director Thomas Goodheart, Stage Director, Lakme Matthew Samluk, Stage Manager Sunday, March 15, 2015 3:00  p.m. Phelps Mansion �so PROGRAM  oz  (casts in order of vocal appearance)  Léo Delibes:  LAKME QUINTET Act I, Scene 3 (1883)  Ellen Frédén’c . Stacey Geyer, soprano ..Max Rydqvist, baritone  .Cole Tomberg, tenor .Christina Santa Maria, soprano Miss Bentson .Karima Jibril, soprano Gérald. Rose . , l l . Two  British  officers  are  having  a picnic  with  two  British  girls  and  their governess.  The girls see jewelry left by Lakmé, the daughter of a   Hindu priest. They comment on her beauty, the beautiful surroundings, and they discuss the various customs and habits of “exotic” women, as opposed to British women. Pang Don Alfonso. Ferrando Guglielmo . Despina . Fiordiligi . Dorabella. . Nikolas Arden, baritone .Abigail Smith, soprano .. Stacey Geyer, soprano hide thefact that Cherubino, her page, had been in the room with the Countess  and her maid, Susanna ­ the Count is a jealous man and might react negat ively. There is a sudden noise from an adjoining room.  The Count hears the noise; the Countess lies and says Susanna is in the room and the door is locked.  The Count does not believe her and they get into a spat, which Susanna observes. T  RAND  T ­ A   II  cesne  1 1 9 2 6 ..CodyRay Caho, baritone . Cole Tomberg, tenor Ricky Nan, tenor Wolfgang Amadeus Mozart: COSI FA  TUTTE ­ Act I finale (1790) Wolfgang Amadeus Mozart:  LE NOZZE Dl FlGARO Act II, Scene 3 {1786} Count  Almaviva  approaches  his  wife ‘s  bedroom,  and finds  it  locked.  He comments that this is not her usual custom.  The Countess nervously tries to . Jenny Gac, soprano Jordan Schreiner, tenor The opening of Act 2 of Puccini ‘s final opera finds Turandot ’s three ministers, Ping,  Pang  and  Pong,  discussing  the  terrible  state  of  things  in  Peking  ­ T ttrandol has vowed she will never marry unless her suitor can answer three riddles.  If he fails, he will be executed (as many have been in the past).  The ministers are nostalgic about  their  homes in  the country far away from  the blood and violence of Peking. Jordan Schreiner, tenor . Jenny Gac, soprano Seville to find him, to bring him money and a kiss from his mother. Countess. Susanna C E  a n d M   EN,  , Act III, scene 1 (1970) Based  on  John  Steinbeck ‘s  classic  novel,  Carlisle  F o nd ‘s  music  drama  is considered a masterpiece.  This scene takes place in a barn on a farm.  Lennie Small, a slightly retarded man who doesn’t recognize his own strength, laments the fact that he has just killed his puppy (accidentally).  The head ranch hand ‘s wife (only known as (‘urley ‘s Wife) enters the barn, dressed up and carrying a suitcase  –she  is  tired  of  life  on  the  farm,  and  has  decided  to  leave  for Hollywood.  They both sing of their dreams ­  he wants to own a farm with lots of pets, and she wants a glamorous career as a movie star. Ping Pong. Don José has joined the army and is stationed in Seville after killing a man in his home town during a game of p  elota.  His girlfriend, Micaéla, travels to Count. Curley‘s Wife. Lennie iacom  Georges Bizet: CARMEN ­ Act 1 scene and duet (1875) Don Jose'. Micaéla. Cnrlisle Floyd  O F   i Josiah Davis, bass­baritone . Kevin Truax, tenor ..CodyRay Caho, baritone Rachel Young, soprano Jenny Gac, soprano .Lindsay Brown, mezzo­soprano Two  young  soldiers,  Ferrando  and  Guglielmo,  enter  into  a  wager  with  a cynical older man, Don Alfonso: he declares thal women cannot be trusted to be faithful, including the guys ' girlfriends, the sisters Dorabella and F iordiligi. Alfonso devises a  plan  to prove  his  point,  and enlists  the assistance of the girlfriends’ maid, Despina.  The guys agree to follow his instructions to the letter in order to make the plan work:  they will pretend to go away to war, and will return disguised as Albanian soldiers.  Upon their return, the ‘soldiers ’ are introduced to the sisters, who immediately order them to leave.  Despina enters �disguised as  a doctor.  The guys pretend to take poison  in  their despair at having been dismissed.  The sisters relent somewhat.  Despina, with the help of a giant  magnet, pretends to revive them.  The guys protest their love to the other’s girlfriend.  Despite the guy ‘s continued and ardent protestations, the Binghamton,  NY.  first  as  Accompanist,  then  additionally  as  Education  Outreach Coordinator  and  Chorus  Master.  As  part  of  Opera­GoRound  touring  program,  he accompanied  over  500  performances  throughout  New  York  State  and  northern Pennsylvania. John has played for WSKG radio broadcasts of several Operalogue preview women continue to rebuff their entreaties, and Alfonso sees signs that his plan is beginning to work. performances including Puccini’s Madama Butterfly. Donizetti’s Luc ia d i  Lammermoor 80  ABOUT THE DIRECTORS 08 currendy  (he  Organist/Pianist  and Choir Director at  Sarah Jane  Johnson Memorial United Methodist Church in  J ohnson City. Maestro  Willie  Anthony  Water!  is  formerly  General  and  Artistic  Director  of Connecticut Opera, and formerly Artistic Director and Principal Conductor of Florida Grand Opera.  He has been a guest conductor  for the Australian Opera (now Opera Australia), Boston Lyric  Opera, Cologne  Opera. Florida Grand Opera, Fort  Worth Opera. Michigan Opera Theatre, New York  City Opera, L’Opéra de Montreal. Opera Memphis, San Diego Opera. Vancouver Opera, Opera de Québec and opera companies and symphony orchestras in Cape Town, Pretoria, and Durban, South Africa. He has conducted concerts with the Hartford Symphony,  the Florida Philharmonic, Detroit David Carl Toulson,  rage director, relishes the process of taking a show from the score to the stage, leaving his mark on the grande  of art forms and is consistently praised for Symphony. Indianapolis Symphony as well as several European orchestras, including the Bavarian Radio Orchestra in Munich. He conducted two gala concerts (for Connecticut Opera  and Opera  Colorado) with  renowned  mezzosoprano  Denyce Graves.  In  May, 2005, he was awarded an honorary doctorate from the University of Hartford/Hie Ham School for his contributions to the musical life of the city of Hartford. Maestro Waters is a frequent guest  panelist on the quiz of the  Metropolitan Opera  broadcasts.  lu July, 3008, he made his debut at  the Deutsche Oper, Berlin, conducting the Cape  Town Opera production of Porgy and Bess. (He conducted the first­ever production of Porgy  in Cape Town in 1995).  From 2009 to 201 2, Mo. Waters was Adjunct lnsrnictor of Opera. and Music Director  of (he  Opera  Theater at  the University of Connecticut (Storrs). Since  2004,  he  has  been  music director of Prelude  to  Performance, a  summer  training program for young singer. sponsored by the Martina Arroyo Foundation in  New York City. lu January, 2011 Maestro Waters conducted the 31* annual Martin Luther  King Celebration  Concert  with  the  Cleveland  Orchestra.  Bernstein’s  Candide  for  the University of Connecticut’s Opera Theater, “A Night at the Opera” with the Hartford Symphony, and an evening of opera choruses with Concora, a fully­professional chorus in Hartford.  Among his most recent engagements are Tosca for Opera Memphis, The Grand  Duchess  of  Gérolstein,  for  the  Franco­American  Vocal  Academy  (France)  and University o f Connecticut Opera Theater, The Tales of Hoffmann for the Franco­American Vocal  Academy.  and  Die  Fledermaus  at  Northwestem  L’niversity.  He  has  recently conducted L’Elisir d’amore and I l  Barbiere dl Simghd for Prelude.  He w ill  conduct Madama Butterfly for Prelude this summer. John lsenberg. a native of Endicotr. NY. holds a Bachelor’s Degree in Music and a Master’s Degree in Italian Literature from Binghamton University. In addition to opera, he performs many musical genres  including musical theater.  traditional Scottish and various  styles  of  sacred  music.  John  formerly  worked  for  (he  TriCities  Opera  in and Mozart’s  The  Magic  Flute. He has worked with numerous  theater and  musical groups in the Binghamtou area, including SRO Productions, the Madrigal Choir of Binghamton, the Binghamton  Downtown Singers and the Summer Savoyards. John is his ability to transform opera characters into living breathing people and for his clarity in  storytelling.  h  is  these  attributes  that  allow  him  to  create  fresh  and  exciting productions that capture audiences. The new year contains several exciting projects for Mr. Toulson including a scenes program for Webster University in  St. Louis. a one­act opera based on the life of Muhammad Ali  for North Carolina Opera. his directorial debut with Tri­Cities Opera. and a return to Temple University in Philadelphia to direct a production of Mozart’s La  finta giardiniera. Thomas Goodheart, baritone, Assistant  Professor of Voice at Binghamton L’niversity BM, MM Manhattan School of Music, Voice faculty at Purchase College Conservatory of Music 1999­2010. Baritone Thomas Goodheart has performed over 40 leading roles in  opera  and  oratorio with  companies  throughout  the  United States  including The Opera  Theatre  of  St.  Louis,  Chautauqua  Opera,  New  York  City  Opera  National Company. Connecticut Opera. Opera Theatre of Pittsburgh. Des Moines Metro Opera, Artpark Opera and Tri­Cities Opera. Recent performances include the American stage premiere of the role of Bruno in James MacMillan’s opera Parthenogenesis. Leading roles include Marcello in La  Bohéme, Escamillo in Carmen, Germont in L a  Traci­am. Sharpless in  Madama  Butterfly,  Michele  in  ll Tribune  and  Enrico in  Lucia  di  lammermoor.  Mr. Goodheart has  appeared as  a guest soloist with symphony orch o (as  in  the United States and  South  America.  He  has  received  awards  from  the  Metropolitan  Opera National  Council,  the  New  York  State  Council  on  the  Arts,  the  Joy  in  Singing Competition, Bel  Canto Opera Foundation,  the  Ezio Pinza Counc il  for  American Singers, the Lincoln Center Institiute and the Tri­Cities Opera. Mr. Goodheart is the Director o f Vocal/Opera studies for the “Songe d’été en musique” Festival in  Quebec. Canada. Mr. Goodheart maintains a private voice studio in NYC and is on the voice faculty of The Westchester Summer  Vocal  Institute, the  Metropolitan  International Music Festival, New York City.  His students have gone on to graduate study at  the Juilliard  School,  Eastman  School  of  Music,  Mannes  College  of  Music,  Indiana University. Manhattan School of Music. Guild Hall (London, England) and the Opera Institute  of  Boston  University  among  others.  They  have  won  prestigious  voice competitions and are singing professionally throughout the United States and Europe �Matthew Samluk is a recent graduate of the Masters of Music program at Binghamton University. He has appeared on stage with  Tri­Cities Opera as Colline in La Boheme .Ferrando  in Il  Trovatore,  and  Frank  in Die Fledemnaus. On  the  concert  stage.  Mr. Samluk  has  been a  guest  artist  with  the  Schuylkill Valley  Symphony  (Brahms’ Ein Deuuclws  Requiem and  Faure’s Requiem),  Pottstown  Symphony (Handel’s Messiah). and Reading Choral Society (Vaughan Williams’ Fantasia on Christmas Comb). 80  ABOUT THE PERFORMERS 03 Soprano Stacey Geyer is a first­year master’s student in  Binghamton Unive .'ty’  M.M. Opera  Program,  studying  privately  with  Professor  Thomas  Goodheart.  A  four­time winner  of  the NATS vocal competition, she  travelled  to Verona, Italy,  to attend  the Opera Viva! Program, interned and performed with Opera Theater Pittsburgh and New England Consenatory. and was a featured soloist in Songe d’été en  musique Music School and Festival in Québec. While in her undergraduate studies at Susquehanna University. Ms. Geyer had the privilege of performing a diversity of major roles. including the title role in Suor Angelica, Adele in Die Flzdennaus, soprano soloist in Francis Poulenc  Gloria, as well as Cinderella in  law the Woods. Ms. Geyer hails from the small town of Halifax. Pennsylvania. Max Rydqvist, baritone, is currently in the chorus at Tri­Cities Opera. This is his second year at Binghamton University. H e  is  from Stockholm, Sweden and has sung with a boys choir in Oslo that has toured Europe. He has also sung the father in Hansel and Gretel and the roles of John the Baptist/Judas in the musical “Godspell” in high school and has been in all­state and all­county choirs. Max has received the John M. and Marcella M. Keeler Scholarship in  Music this semester.  Max attended the Westchester Summer Vocal Institute in New York this past summer, as w ell as Songe d’ete en Musique Quebec.  He is working towards a Bachelor o f Music Degree in  Vocal Perfonnance.  Max is a student o f Professor Thoma, Goodheart and coaches with Maestro Willie Waters. Cole Tornberg, tenor, is a junior in Binghamton’s Music Performance undergraduate degree program. Cole comes from the Villag e of Sea Cliff. His recent roles include an excerpt from Manon by Massenet as Le  Chevalier des Grieux, Lord Tolloler in lolanrhe, The Witch in Hansel and Gretel, and Marco  in The Gondoliets. He has  also been actively  singing  in  the  chorus  for  Tri­Cities  Opera  including  their  most  teccnt productions  of  Rigoletto,  La  Bahéme,  Carmen  and  Don  Giovanni.  Cole  studies  with Professor Mary Burgess. Christina Santa Maria, soprano, is a senior Bachelor of Music  student studying with Mary  Burgess.  Her  roles  include  both Gretel and Hansel in  BU’s  201 2  and  2013 productions of Humperdinck’s Hansel and Gretel, the soprano soloist in Bach’s Christmas Oratorio with the BU Symphony Orchestra and Chen  (2013) and several opera scenes with the Stage Techniques for the Singing Actor class. She is currently a member o f University Chorus and has performed in Tri­Ciries Opera Chorus from 2011­2014. She has performed at venues in Italy, Austria as well as Avery Fisher Hall, Carnegie Hall, Jazz at Lincoln Center, Madison Square Garden with Elton John and The Barclay Center with Barbra Streisand. Karima J ibril is a sophomore from Staten Island, New York and she is currently working towards  her  Bachelor  of  Music  Degree  in  Vocal  Performance.  Her  perfonnance experience includes Valerie Zeta in LaGuardia High School’s production of The Merry Widow  and  an  extensive  choral  background  performing  works  such  as  leonard Bernstein’s  Chichester  Psalms.  Her awards  include  the Polydor Music  Scholarship  for vocal, second place in the Richmond Choral Society vocal competition, and the Emily A. Nielsen and Orville F. Nielsen, MD  Music Scholarship  in honor  of Professor  Mary Burgess. Karima is a student of Professor Mary Burgess. Jordan Schreiner, tenor is a first year Masters student pursuing an M.M. in Opera in conjunction with Tri­Cities Opera’s Resident Artist Training Program and studying with Professor Mary Burgess.  Jordan received his Bachelor’s Degrees in Vocal Perfonnance and Music Business: Management at Mansfield University where he studied with Dr. Alissa Rose.  His recent performances include his Tri­Cities Opera debut as  Botsa in Verdi’s Rigoletto as well as appearances with the Mansfield University Opera Theatet as Frederic in Gilbert and Sullivan’s Pirates of Penzance and Martin in Aaron Copland’s The Tender  Land. This past spring Jordan was awarded first place in the Senior Men division at the Eastern Regional NATS competition at Hofstra University. Jenny Gac, soprano, is from Newark Valley, NY  and is concluding her master’s studies in opera at Binghamton University and Tri­Cities Opera. Previous roles include Countess Ceprano in Rigoletto, Sally in Die Fledermaus, Rosalinda in Die Fledermaus (scenes), Mother in Hansel  and  Gretel. First  Lady  in The  Magic  Flute (scenes).  Zerlina  in Don Gtomnnl (Scenes). and Nora in The Sailor­Boy and  the Falcon. She ha. also appeared as the soprano soloist in  Dvorak’s Te Deum. She has been awarded 1 st place in  the NA TS vocal competition a n d   is  the  recipient o f  a  Binghatnton University Graduate Assistantsh ip, Jewel Griffith Vocal Music Scholarship, New York State Retired Teachers Association Scholarship,  and  the  SL’NY  Potsdam  Adirondack  Mountain  Scholarship.  She  is  a student o f Prof. Mary Burgess. Nikola! Arden, baritone, recently moved from Chicago, lllinois to begin his Masters of Music in  Opera at Binghamton University. H e  completed a Bachelor of Arts degree in Vocal Performance with a theater minor from  Butler University and has done graduate work in vocal performance at Northwestern University. Mr. Arden is a graduate of the young artist programs of Cedar Rapids Opera Theatre and Opera Santa Barbara. His opera  credits  include  Melchoir  in  Amalil  and  the  Night  Visitors,  Scarpia  (cover)  and Sciarrone in Tosca, Tonio in Pagliacci, Count Almaviva in Le Nozze di Figaro, and Ford in Falsmff.  ln  addition  to opera  Nikolas’ concert  repertoire  includes  the  baritone/bass soloist in Dubois Les sept paroles du  Christ, Faure’s Requiem, Brahms’ Ein deutsches Requiem, �Handel’s Messiah, Mozart’s Requiem, and CPE Bach’s Magnificat. Mr. Arden currently studies  with  Thomas  Goodheart  and  coaches  with Diane  Richardson and  Stephen Crawford. Abigail Smith, soprano, is a first year masters student in the MM Opera program at Binghamton  University.  where  she  studies  with Mary  Burgess.  Abigail was  recently featured as a Dater in  Speed Dating Tonight with Tri­Cities Opera and as Alice Ford in scenes from Falstaff with Binghamton University. Ms. Smith recently graduated with her BM  in  Vocal  Performance  from  Boston  University  Abigail  was  featured  in  several mainstage productions with the Boston University Opera Institute. including the Boston premiere  of  Daniel  Catan’s Spanish  opera  Florencia  en  el Amazonas.  Abigail  was  a member of Boston University’s Opera Workshop program for 2 years and was awarded the  Boston University Departmental Award  for Opera by the Opera Institute. Favorite roles include Beatrice Mitchell in Three Decembers. Vitellia in La  clemenza di Tito, and Second Woman in Dido and Aeneas. In  the summer of 2012, Abigail was a Young Artist with the  International  Performing Arts  Institute  in  Bavaria,  where  she  performed  in scenes, masterclasses, and lieder concerts. This April, Abigail will perform in Faust with Tri­Cities Opera where she w ill s ing in  the chorus and cover the role of Marguerite. CodyRay  Caho  is  currently  studying  his  master’s  degree  in opera  performance  at Binghamton University under the direction of Thomas Goodheart. Mr. Caho holds a bachelor’s of Vocal Performance from SL’NY Fredonia. He has performed with Tri­Cities Opera, Greensboro Light Opera and Song, Westem New York  Chamber Orchestra, Hillman, Opera, SUNY Fredonia, and Crittenden Opera workshop. His roles include Marullo in Verdi’s Rigoletto, Giuseppe in  Gilbert and Sullivan’s The Gondoliers, Frank in Strauss’ Die Fledermaus, Alidoro in  R ossini’s La  Cenerentola, The Secret Police Agent in  Menotti’s The Consul, Marco in Puccini’s Gianni Schicchi, Pish­Tush in  Gilbert and Sullivan’s The Mikado among others. Ricky  Feng  Nan  (Fenton and Dr. Caius),  tenor,  is  an  international  student  from Guangzhou.  China.  He  is currently  pursuing  a  Bachelor  of  Arts  degree  in Vocal Performance at Binghamton University, where he is  in his final year of study. Ricky has sung in the chorus at Tri­Cities Opera in  both production of Orv­men. and Die fledmnaus, He won the first runner­up in  his division of the NATS Regional Conference in 2014, and second place in the 2014 Chinese American Singing Contest. Ricky is a student of Professor Thomas Goodheart and coaches with Professor William Lawson. Josiah Davis is a  twenty’three year old  bassbaritone  from Ossining, NY .   He recently completed his Bachelor o f Music  in Vocal Per formance  from the University o f  Mary Hardin­Baylor in Belton, TX, where he studied with George Hogan.  He is pursuing his Master of Music in  Opera from Binghamton University currently. where he studies with Tom Goodheart.  Josiah has performed as Dr. Falke in Johann Strauss’ Die Fledermaus, Guglielmo in Mozart’sCosi Fan Tutte, Gasparo in Donizetti’s Rita, Dr. Dulcamara in John Davies’ Pinocchio, Wolfgang Bigbad in John Davies’ The Three Pigs, and The Big Bad Wolf in  John Davies’ Little Red’s Most Umuual Day Tenor  Kevin  Truax,  a native  of  Pennsylvania,  is  currently  completing  his  Master of Music in Opera degree at Binghamton University and received his Bachelors of Music in  Vocal Performance at Susquehanna University. He has appeared on  stage with Tri­ Cities Opera in the ml  of El Remendado in Carmen, Don Ottavio in Don Giovanni, and Alfred in Die Fledermmo.  He has also performed the role of the  Witch in Hansel and Gretel as part of Binghamton University Opera Studio and will be performing the role of Bardolfo  in their  upcoming  performance  of Falstaff in  December. Kevin has  served locally as a  soloist with the SUNY Broome Orchestra and in  Binghamton University Choms’s performance of Bach’s Christmas Oratorio last year. He is a student of Thomas Goodheart. Rachel  Young, soprano, is a third year undergraduate voice student of Professor Mary Burgess  in  pursuit  of her  Bachelor’s  degree  in  vocal  performance  at Binghamton University.  At  BU, Ms.  Young  has  performed  the  role  of  Gretel  in  Engelbert Humperdinck’s  “Hansel  and  Gretel”  as  well  as scenes  from  Verdi’s  “Falstaff”  as Nanetta, scenes  from Mozart’s  “Cosi  fan  tutte”, “Le nozze di Figaro". and Donizetti’s “L’elisit  d’amore”.  Ms.  Young  recently performed  the  role  of  Kaylee  in  Michael Ching’s opera “Speed  Dating,  Tonight!”  with  Tri­Cities  Opera  company. Additionally“ with TCO, she sang in  the chorus of “Carmen” and. in  April. w ill sing in the chorus of  “Faust".  On April  35th she will  give  a free junior  recital at 7:30  PM  in Casadesus recital hall. She thanks her friends and family for their unending support and love. Lindsay Brown, mezzo­soprano  is a  first year Masters of Music  in Opera student at Binghamton  University.  Lindsay  received  her  undergraduate  degrees  in  Vocal Performance and Music Education at Mansfield University in December 2013. Lindsay made  her  professional debut with Tri­Cities Opera this past October as Giovanna  in Verdi’s  Rigoleno.  Performances with Mansfield  University Opera  Theater  include  Ma Moss in Copeland’s The  Tender Land,  The Duchess in Samuel Adler’s  The Outcasts of Poker  Flat, Third Lady  in Mozart’s The  Magic  Flute,  and  Marcellina  in The  Marriage of Figaro. Lindsay has also made appearances as a concert soloist. performing sections from Bach’s Missa Brevis in F, Haydn’s Mass in Time of War, Mozart’s Requiem in D Minor and Handel’s Messiah. Upcoming engagements for Lindsay include Marthe in Faust with Tri­ Cities Opera. Calli  Seigart (1st  Friend),  soprano,  from  Syracuse,  New  York  is  a  sophomore  at Binghamton  University  working  toward  a  Bachelor  of  Music  degree  in  Vocal Performance.  Ms.  Seigart  was  recently  seen  in  the  chorus  of Die Fledermaus and Carmen with Tri­Cities Opera. Over the summer she participated in  Songe d'été  en  Musique, a  music  program  in  Quebec.  She  is a  student  o f Prof.  Thomas Goodheart. Soprano  Carina Kahane  is a  freshman voice  student  in Mary  Burgess  studio.  She graduated from LaGuardia High School  for Performing Arts this past June, and is very happy to be a part o f Binghamton’s wonder ful music program. Carina was cast in  two fully staged opera productions at LaGuardia; The Merry Widow, and la Belle  Helene. �, . ­ .  . . . ' S l i t  a l s o  p e r f o r m e d  i n  s e v e r a l  o p e r a  s c e n e s  d u r i n g  l i c r  t i m e  a t  l a k i u n r t l m .  S o m e  o f  h e r   scene  roles  include  Zerlina  in  a scene  (mm  Mozart’s  Don  Giovanni, and  Lakmé  in  .I  B i n g h a m t o n  C 0 ’ n m u n n j ) O   r c h e s t r a   l  7. scene I’rnm Delibe’s l Lakmé.  l  2 3  l r i C i r m  Opera tlclmt in 20 1 3 as Zuniga/Carmen and since then has per formed the roles  of Lrporrllu/lhm Giovanni, Frosch/Die Fledermaus, and Count k‘i­pmno/Rigoletru. Critics  called  his Leporello “one o f  t h e  highlights o f  the evening...” a n d ,  “as  the  jailer  Frosch,  and  Tree/Armchair in  L’unfant et  les Smuleges (Bel Cantanti Opera), Antonio (cover)/Le Nozze di  Figaro, and Guccio, Betto (cover), Spinellocc io (cover)/Gianni Krlnt’tlu (Hubbard  Hall  Opera  Theater).  Stamatis  continues his  2014­1 5  SEASON  with  Tri­Cities Opera in   i l a   :  February  as  laxltlvo  in Ross n i ’ s   L ’ l t a l i a na  in   Al ger i .   W i t h  t h e   B i n g h a m t o n   l  m w r d n   Orchestra he has performed as the Bass soloist in Bach’s Ch ristmas Oratorio (part one). .  _  A  ’  and also performed a pair of  arias tmin Mozart’s Le  Nozze tli Figaro as a winner oi the  <  l  P r e s e n t i n g  Q u a l i t y  y ’ a k ‘ r M / fi f t fl l w f ” “    4  B a s s b a r i t o n e  J a k e  S t a ma t i s  i s  o n  t h e  c u s p  o f  a n  e x c i t ing  c a r ee r  i n  ope r a .  H e  m a d e  h i s   [Stamatis] never mug a note yet stole  the third act with  lns  hilarious delivery  of lines.”  Other  roles  from  his  2013–14 season  included Captain von  Trapp/The Sound  of  Music,  .  l  2 2 0 , + 2 0 , 5  g  l  .  _ i  g) :  . . . E B  , .  “ T h e  Nligh‘." H andful”  &  Saturday, November 2 ’  2014  ' ' e E “HOW S u i t e  I t  1 5!”  ]l  hf  lllJ Saturday. February 28­ 2015;  3  & .  .  “Romantic Spring”  '  x  L 1 o y a Saturday, May 9   201 5  Y s   l  L – I  E u  © t  . –   ’  I  2 Yeo) Welcoming back to the podium as conductor  ;  > , _  D r.  T imothy Per r y  2013­14 BU  Concerto &  Aria  Competition. Stamatis received  his  Bachelor’s Degree in  Vocal Performance at Susquehanna University where he studied with Jeffrey Fahnestock. He is currently pursuing .n  Master’s Degree in  Opera here at Binghamton University  in   :  3 I “d u C o n c e r t s  s t a rt  a t  7  p m   i  East Middle  school  1 6 7  E ast Frederick Street  conjunction  with  Tri–Cities  Opera Compam ’s  Resident  Artist  lrnlnina l‘rugmm.  H e   studies with  Thomas Goodheart.  : )  1  ii ¥  Binglutminnl 1 a Community } 1 ,   Orchestra l Binghamton, NY 13904  . Visit \\\\ “zBinglmmiunCummunityOrchesmorg for more information! I lRl­Cl’lll­N  E )  PERA  o J;   ­‘ :  >  l .  i  a  ‘  = A  t  , s :  _ l‘  \  *9 fi  A pr ilid 7,  8 pm April 1 9, 3pm m&\SO i  G ou n o d ’s  g l o r i o us feiss  lv  2 h , & )   '  ‘  ’ \  .  4  4  hi  f o   '  musicmeets Goethe’s   most famous  fable.  A h   The Forurp Theatre  =  Bear/£22222? RY  1  VTIX : 607.772.0400   <.1 m k — “ n — fl fi u — M h PSlllglllg l h e  PSZIlIllS '  Sunday,  M a y  1 7,  2 0 1 5, 3:00 p.m. .  Trinity M emorial Church 44 Mai n Street, B i nghcmio n tricitiesopera.com u ­ M M ‘ D Q v h h m n n — v — m n — u u m m m m — u – u u – q m .   c  B l u es t o l m h ©  M m h fl h l fl ­ M fi u m m fl fi m t — fl l [  The Madrigal Choir of Binghamton m m ” 2  01 3­2014  7 37th Season w w w . ma d n g a l c h o i r c o m   l  6 0 7  2 1 7   ” 0 » �Binghamton University  Department of Music Coming Events asbfibfisaecfiéemafibefibafiaem­fibofiawfib Thursday, March 19 – Mid­Day Concert­ 1: 20 p.m. – Casadesus Recital Hall – free Thursday. March 19 – Lontano Ensemle: Music Now! – 7:30 p.m. – Casadesus Recital Hall – $7 general public; $5 faculty/staff/seniors/alumni; Free for students Thursday, March 19­ Master Class BU Alumnus Lee Musiker, piano ­  6 ­  7:30 p.m. ­  Fine Arts 24 – free Friday, March 20 –  Master Class B U  Alumnus Ira Gitler, composer –  3:00 p.m. –  Casadesus Recital Hall ­ free Thursday, March 26 – Mid­Day Concert – 1:20 p.m. – Casadesus Recital Hall – free Friday, March 27 – Junior Recital: Jessica Biogiotti, flute – 7:30 p.m. – Casadesus Recital Hall – free Sunday, March 29 – Songs My Students Taught Me with Janey Choi, violin and Pej Reitz, piano (tentative) – 3 p.m. – Casadesus Recital Hall – $7 general public; $5 faculty/staff/seniors/alumni; Free for students Wednesday, April 1 – Harmony Club Fundraiser Concert – 7:30 p.m. – Casadesus Recital Hall – S 10 suggested donation Thursday. April 2 – Mid­Day Concert– 1:30 p.m. – Casadesus Recital Hall – free Thursday, April 16 – Mid­Day Concert– 1:20 p.m. ­  Fine Arts Building, Room 21 – free Thursday, April 16 – Faculty Recital: Zachary Sweet, cello and Michael Salmirs, piano ­  7:30 p.m.  –  Casadesus  Recital  Hall  –  $7  general  public;  $5  faculty/staff/seniors/alumni;  Free  for students Friday, April 17 ­  Joint Sophomore Recital: Skylar Buono, clarinet and Michelle Li, flute –  5 p.m. – Casadesus Recital Hall – free Friday, April 17 – Tri­Cities Opera presents Gounod’s Faust – 8 p.m. – The Forum Theater – call (607) 772­0400 for tickets o fi r b o fi w b fi b a fi a e fi b fi é e fi fi a fi é fi c fi b a fi w b For tickets or  to  be  added  to our email list, visit  anderson.binghamton.edu or  call (607)  777­ARTS. For  a complete list of our concerts call (607) 7 7 7­2 592, visit musrc.hinghamton.edu or become a fan on Facebook. [ = ] L   1 —  [ = ] ¢   0 ]   If  you  were  inspired  by  this  performance,  consider  supporting  the Department of  Music with a financial gift. Your support helps to continue the work  of students, faculty, and guest artists and their contributions  to our  community.  Please  make  your  donation  payable  to  the  Binghamton University  Music  Department,  and  send  your  check  to  BU  Music Department, P.O. Box 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.) 40:44:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74808">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74808</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Binghamton University Opera Workshop presents Opera Scenes from The Marriage of Figaro, Cosi Fan Tutte, Carmen, Of Mice and Men, The Crucible, Lakme, and Turandot, March 15, 2015 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Bizet, Mozart, Floyd, Puccini. Held at 3:00 p.m., March 15, 2015, Phelps Mansion, Binghamton, New York. Creator An entity primarily responsible for making the resource Students of the Opera Workshop Waters, Willie Anthony Isenberg, John Toulson, David Carl Goodheart, Thomas Samluk, Matthew Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Bizet, Georges, 1838-1875 Mozart, Wolfgang Amadeus, 1756-1791 Floyd, Carlisle Puccini, Giacomo, 1858-1924 Date A point or period of time associated with an event in the lifecycle of the resource 3/15/15 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.) 43:52 27:13 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243580">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243580</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 Harpur Symphony Orchestra, a concert in antiphony, March 15, 1973 Recital Tape 1973-3-15 Description An account of the resource Works of Vivaldi, J.C. Bach, Ives, and Schoenberg. Held at 8:15 pm, March 15, 1973, Watters Theater. Creator An entity primarily responsible for making the resource Harpur College Orchestra 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 3/15/73 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/4f74b7ec6e7d4ee36a551b646177695a.pdf f347860c76691fec474497c45caeb753 PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E   U N I V E R S I T Y   O F  N E W   Y O R K wdee [4 D E P A R T M E N T   AVORITE M YF FANTASIES Jonathan Biggers organ Saturday, March 17, 2012 4:00 p.m. United Presbyterian C hurch Binghamton,  N e w  Y o rk �ABOUT THE PERFORMER PROGRAM J o n a t h a n  Biggers, hailed as “one of the most outstanding concert organists  in  the  United  States,” maintains an  active career as  both  a ..].S. Bach Fantasia and Fugue in G­minor, BWV 542  (1685­1750) Deuxiéme Fantasie . Jehan Alain (1911­1940) Fantasia Ut,Re,Mi,Fa,Sal,La ..  ..Jan Pieterzoon Sweelinck (1562­1621) Two Chorale­Preludes Prelude on Slane (“Be Thou My Vision”)  .. Craig Phillips Prelude on Brother Iames’ Air.  ..Searle Wright (b.1961) (1918­2004) Hymn: St. Patrick’s Breastplate (see insert) Fantasy in F­minor, K.608 .. .. Wolfgang Amadeus Mozart + Guilbault­Thérien Organ, 1996 « (1756­1791) professor of organ and harpsichord, and as a concert organist of the first order.  He  holds the prestigious Edwin Link Endowed Professorship in Organ and Harpsichord  at Binghamton University (State University of New  York),  and  has  presented  hundreds  of  concerts  in  church  and university settings throughout  the  United  States, Canada, and  Europe. Most  recently,  he  presented  the  opening  concert  for  the  National Convention of the American Guild of Organists held in  July 2010 in Washington D.C., performing for over 1600 organists.  He has appeared as  a  featured  soloist  with  orchestras  in  both  the  United  States  and Canada,  including  the  Atlanta  Symphony  Orchestra  and  the  Calgary Philharmonic  Orchestra,  and  has  been  featured  frequently  on  NPR (“Pipedreams”),  the  Canadian  Broadcast  Corporation  (CBC),  and  on Radio  and  Television  Suisse  Romande  broadcasts  in  Geneva, Switzerland.  Scott Cantrell, classical music critic of The Dallas News, stated  that  Biggers‘  performances  demonstrate  “authority  and eloquence”, and further stated “were there more performers like this, the organ would be far less a minority interest”. Dr. Biggers studied with Russell Saunders (Eastman School of Music; DMA);  Lionel  Rogg (Conservatory  of Music,  Geneva,  Switzerland; Fulbright study);  J. Warren Hutton (The University of Alabama;  MM and BMus);  and with Wallace Zimmerman (Atlanta; pre­college);  he has also worked extensively with Harold Vogel (Bremen, Germany), and with Arthur Poister (former Professor of Organ at Syracuse University). A prizewinner of dozens of competitions,  he  was notably awarded a unanimous first prize in the 1985 Geneva International Competition, one of the most prestigious music competitions in the world;  second prize in the  1982  American  Guild  of  Organists  National  Organ  Playing Competition;  and  a  unanimous  first  prize  in  the  1990  Calgary lntemational Organ Festival Concerto Competition, where he presented, with  the  Calgary  Philharmonic  Orchestra,  the  world  premier performance of Snowwalker:  A Concerto for Organ and Orchestra by Pulitzer prize­winning composer Michael Colgrass.  A champion of new �music for the organ, he has premiered other works by notable 20th and MUSIC NOTES 21st century composers such as Richard Proulx (Chicago: Concerto for Organ  and Orchestra), Craig Phillips (Los Angeles:  Suite for Organ, Brass and Percussion), Persis Vehar (Buffalo:  Soundpiece for Organ), and David Brackett (Montréal:  Nightworks for Organ solo). Two  highly  acclaimed  compact  disc  recordings  of  Dr.  Biggers’ performances  have  been  released  by  Calcante  Recordings  (Sleepers Wake!  A  Reger  Perspective,  featuring  five  major  organ  works  by Romantic  composer  Max  Reger;  and  Bach  on  the Fritts!  ,  featuring major organ works by Johann Sebastian Bach). Plans are also underway for the production of several other CD releases in the future, including a recording of the complete organ works of J.S. Bach, and a recording of organ music by Craig Phillips. Saint Patrick’s Breastplate is a Christian hymn whose original Old Irish lyrics were traditionally attributed to Saint Patrick during his Irish ministry in the 5th century;  however, it was probably actually written later, in the 8th century.  It is written in the style of a druidic incantation for protection on a ioumey. It is part of the Liber Hymnorum, a collection of hymns found in two manuscripts kept in Dublin. The words were translated into English verse by Cecil Frances Alexander in 1889 and set to two traditional Irish tunes, St. Patrick and Deirdre. The hymn, also known by its opening line “I bind unto myself today". is currently included in the English Hymnal, the Irish Church Hymnal and The Hymnal (1982) of the U.S . Episcopal Church. It is often sung during the celebration of the Feast of Saint Patrick on or near March 17, as well as on Trinity Sunday. In  many churches it is unique among standard hymns because the variations in length and metre of verses m ea n  t hat at  least three different tunes must b e  used ­ different i n  the melody sung by the congregation. The prayer known as “Faeth Fiada", or the “Lorica of St. Patrick” (St. Patrick’s Breast­Plate) was first edite d by Petrie in his “History of Tara". Scripture references may include Ephesians 6:10­17:   is  mighty power. (11) Put  on (10) Finally, be strong i n  the Lord  and i n h   od, so that you can take your stand against die devil’s the full a  rmor of G schemes. (12) For our snug/e i s  not against flesh and blood, but against the rulers, against the authorities, against the powers of this dark world and against the spiritual forces of e  vil i n  the heavenly realms. (13) Therefore put on the full a  rmor of God, so that when the day of e vil comes, you may be able to stand your ground, and after you have done everything, to stand. (14) Stand fi rm  then, with the belt o f  truth buckled   lace, (15) around y our waist, with  the breastplate o f  r ighteousness i n p and with your feet fi tted with the readiness that comes from the gospel   ddition to all t his, take up the shield o f  faith, with   eace. (16) I n a of p which you can extinguish all t he flaming arrows of the evil  one. (17) Take the helmet of s alvation and the sword o f the Spirit, which is  the word of God. �God’s way to lie before me, Lyrics of Druidic Incantation 1 arise today Through a mighty strength, the invocation of the Trin ity, Through the belief in the threeness, Through confession of the oneness Of the Creator of Creation. 1 arise today Through the strength of Christ’s birth with his baptism, Through the strength of his crucifixion with his burial, Through the strength of his resurrection with his ascension, Through the strength of his descent for the judgment of Doom. 1 arise today Through the strength of the love of Cherubim, In obedience of angels, In the service of archangels, In hope of resurrection to meet with reward,   rayers of patriarchs, In p In predictions of prophets, In preaching of apostles, In faith of confessors, In innocence of holy virgins, In deeds of righteous men. I arise today Through the strength of heaven: Light of sun. Radiance of moon, Splendor of fire. Speed of lightning, Swiftness of wind, Depth of sea, Stability of earth, Firrnness of rock. 1 arise today Through God’s strength to pilot me: God’s might to uphold me, God’s wisdom to guide me, God’s eye to look before me, God’s ear to hear me, God’s word to speak for me. God’s hand to guard me. God’s shield to protect me, God’s host to save me From snares of devils. From temptations of vices, From everyone who shall wish me ill, Afar and anear, Alone and in multitude. I summon today all these powers between me and those evils, Against every cruel merciless power that may oppose my body and soul, Against incantations of false prophets, Against black laws of pagandom Against false laws of heretics, Against craft of idolatry, Against spells of witches and smiths and wizards, Against every knowledge that corrupts man’s body and soul. Christ to shield me today Against poison, against burning, Against drowning, against wounding, So that there may come to me abundance of reward. Christ with me, Christ before me, Christ behind me, Christ in me, Christ beneath me, Christ above me. Christ on my right, Christ on my left, Christ when I lie down, Christ when I sit down, Christ when I arise, Christ in the heart of every man who thinks of me, Christ in the mouth of everyone who speaks of me, Christ in every eye that sees me. Christ in every ear that hears me. I arise today Through a mighty strength, the invocation of the Trinity, Through belief in the threeness, Through confession of the oneness, Of the Creator of Creation. �Music Department’s UPCOMING EVENTS Sunday, March 18 – Musica Nova – 3 p.m. – Casadesus Recital Hall – Free Thursday, March 22 ­ Mid­Day Concert– 1:20 p.m. – Casadesus  Recital Hall ­  free Friday, March 23 ­ Master’s R ecital: Kathleen jasinkas, soprano ­ 8:00 p.m. ­ Casadesus Recital Hall – free Thursday, March 29 ­ Mid­Day Concert– 1:20  pm. ­ Casadesus  Recital Hall – free Thursday, March 29 ­ Nukporfe African Drumming and Dance Ensemble ­ 8 p.m. ­ Anderson Center Chamber Hall – $5 per  person (tickets will be sold at the door) Thursday, Apri l 12 ­ Mid­Day Con cert­ 1:20 p.m. – Casadesus Recital Hall – free   3 ­  Senior Recital: A lexander Baron, recorder– 8:00 p.m. – Casadesus Friday, April 1 Recital Hall – free   4 ­ Masterclass  with organist Carla Edwards – 10  a.m. – 12  noon ­­ First Saturday, April 1 Presbyterian Church, Binghamton – free   4 ­ Robert Smith, euphonium, presents “El B ombardino” with Saturday, April 1 Margaret Reitz, piano ­ 3 p.m. ­­ Casadesus Recital Hall ­  $6 general public; $3 faculty/staff/seniors; free  for students Sunday, April 1 5 ­ Ah­icanaise: A n  evening ofAfrican Inspired Compositions ­ 3 p.m. – Anderson Center Chamber Hall  – $10 general public; $6  faculty/staff/seniors; $3 students Sunday, April 15 ­ Guest Organist Carla Edwards – 4 p.m. – First  Presbyterian Church, Binghamton ­  $10 general public; $6  faculty/staff/seniors; $3 students If  you  enjoyed  and  were  inspired  by  this  performance,  please  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 larger community. Please make your donation payable to the  Binghamton University Music Department, and  send  to  P.O. Box  6000, Binghamton, NY 13902. For  ticket information, please call the Anderson Cen ter Box  O ffice at 7 7 7’AR T S � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 74 minutes: 45 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141816">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141816</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 My Favorite Fantasies, March 17, 2012 Description An account of the resource Works by Bach, Sweelinck, Philips, Wright, Mozart Held at 4:00 p.m., March 17, 2012, United Prebyterinan Church, Binghamton, New York. Creator An entity primarily responsible for making the resource Biggers, Jonathan 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 3/17/12 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.) 40:29 40:53 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243584">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243584</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 Amici Quartet, recital, March 17, 1973 Recital Tape 1973-3-17 Description An account of the resource Works of Mozart, Marisi, Webern and Beethoven. Held at 8:15 pm, March 17, 1973, Recital Hall. Creator An entity primarily responsible for making the resource Amici 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 3/17/73 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/9fbd6167b8887b6349453541d722db84.pdf 559ad7b4e0dfd3e082e34d18bc3fb32d PDF Text Text BINGHAMTON UNIVERSITY S T A T E   UN I V E R S I T Y   O F  N E W  Y O R K e d e [4 D E P A R T M E N T M u sica  N o va Janey Choi, violin Adam Goldenberg, marim ba Georgetta Maiolo, flute Christian Ma rtin, piano and composer Margaret Reitz, piano Stephen Stal ker, cello Anna Tonna, mezzo­sopra no Stephen Zan k, piano and Paul Goldsta ub, composer Sunday, Ma rch 18, 2012 3 :00 p.m. Casadesus Recital Hall �PR O G R A M Leonard Bernstein Three Meditations from “MASS"......  (1918­1990) Stephen Stalker, piano Margaret Reitz, piano . Paul  Goldstaub Doubtful S o und  (pre miere) . (b. 1947 ) Georgetta Maiolo, flute ..............Mohammed Fairouz JederMensch... ...........  (b. 1985) The  E ternal Source  trange S   Today I Realized Something Very The  Celebration o f  the Spirit Anna  T onna, mezzo­so prano Margaret Reitz, piano Christian Martin Three Neo­Romantic Preludes  (b. 1984 ) Christian Martin, piano ..............Richard Cam’ck Lo flow (b. 1971) Janey Choi, violin Claws!  Bagatelle  for  violin  a nd  p iano   .Theodore W iprud (b. 1958) Janey Choi, violin Stephen Zank, piano Mallet Palette ( pre miere).  Paul Goldstaub A da m  Goldenberg, marimba Margaret Reitz, piano �PROGRAM N OTES Leonard Bemstein’s Mass was commissioned by Jacqueline Kennedy for the opening of the II. Today I Realized Something Very Strange “Today I realized something very strange. I am not happy–and not unhappy. It came to me suddenly that I am living what only appears to be a life. I hold so much inside of me, I am not The first Meditation yearns desperately for faith and an answer from God. The cello statement begins forts and with intensity and ends triple pianissimo. The piano now enters pianissima dolce free–l suffer–but I don’t know why or what for. My ship is in the harbor, but it has sprung a leak.” III. The Celebration of the Spirit “Gustav Mahler–from the struggles of abstraction, Oskar Kokoschka, the genius, Walter Gropius, the improviser of cultures and wills–And Joseph Fraenkel, the genial improviser From Walter I want children–from Oskar, works–from Fraenkel, the celebration of the spirit that he never offered me. I wish that Fraenkel had moved into my house to live the rest of his life with me.” – from the Correspondence and Diaries ofAlma Mahler Thesecond Meditationisa setofvariationsand acodabasedonatheme from the finaleol Beethoven’s Ninth Symphony. Bernstein avoids the formal character normally associated with the variation form by changing the length of each variation. This gives a rhapsodic nature to the movement. “Preludes. inspired by the songs of birds outside a brightly sunlit den in an apartment in Chandler, AZ. these first three preludes, first began in 2009 and have just recently been completed. The birdsong which created the melody for Prelude No. 1 is the trichord 0 2 7, first introduced in measure one as E­D­(E)­A and developed throughout the piece. The birdsong for Prelude No. 2 is the tri­chord 0 3 5, first introduced in measure one as C#­D#­A#­(C#). Prelude No. 3 was not based on birdsong, but is rather a pattern of unresolved seventh chords, with the exception of the ending cadence, which create mysterious, relaxing harmonies reminiscent to those of Debussy or Ravel. John F Kennedy Center for the Performing Arts in Washington, DC. It was first performed on September 8, 1971. Two of the instrumental sections, Meditations 1 and 2, were later arranged for cello and piano. The third Meditation was newly composed from different ideas taken from the Mass. and repeats the cello’s statement. The second idea is marked tranquillo. It opens with the cello, which falls chromatically until the idea is picked up by the piano. The next section rises chromatically, in answer to the first section. The motive moves between the two instruments as it rises fortissimo to the high point of the movement. Meditation 3 begins with an ostinato rhythm which mixes 3/4 and 3/8 time signatures. After a cello statement the two instruments pass the idea back and forth. The cello then enters with a new theme, this time a dance­like dotted rhythm. The playful character of the movement is internipted by a thoughtful slow section. The quicker tempo soon returns, however, and the movement ends with pizzicato outbursts on the cello. In the three Meditations Bernstein expresses the many aspects of the religious experience from the meditative to the joy of living. (Peter Cody and Wan Kim, first­year graduate students for Composition) Three years ago, my wife and I went to New Zealand and it was wonderful. There were exciting cities to explore, of course, but nature– the lakes, fiords and the ocean–fonned the most memorable part of the trip. No houses, no stereos, just exotic birds, playful seals and stunning waterfalls. Despite its name, “Doubtful Sound” is a fjord, surrounded by beautiful, majestic mountains. We arrived by boat and, as we approached one particularly pristine cove, passengers fell silent in the glorious sunshine and unusually dry weather, to listen to the distinctive, repetitive song of a lone bird. I think about Doubtful Sound just about every day. A quiet, peaceful place. ‘Jeder Mensch was commissioned for, inspired by, and dedicated to my friend, Kate Lindsay.” Jeder Mensch Texts I. The Eternal Source “Today I know the elemal source of all strength. It is in nature, in the earth, in people who don‘t hesitate to cast away their existence for the sake of an idea. They are the ones who can love. I go on living with my face lifted high, but with my feet on the ground–where they belong.” ‘in flow,” the opening work of my hour long Flow Cycle for Strings, explores gradual shifts in color and expressivity in a constantly moving and evolving musical thread. The music contains an equal emphasis on both long, evolving gestures and the local push­pull of motifs. This piece was written for Andrea Schultz, to whom it is dedicated, on April 7, 2006. The Flow Cycle is influenced by Islamic Mosaics, Gnawa music of Morocco, Albert Camus’ L’Etranger, and the Flow concept of Mihaly Csrkszentmihalyi. While the first work “in flow” for solo violin uses an expansive linear approach to compose “flow“ of unrelated materials, each subsequent work (Shadow Flow for viola, Moroccan Flow (unfolding from unit y) for ‘cello, Duo Flow for violin and ‘cello, and “a cause du soleiT Flow Trio for String Trio) uses a sectional approach to create a mosaic­like experience of flow that is reflected in each of the works, which can be performed separately. “Claws!” attempts to evoke a sensation of dangerous attraction – a combination of silky seduction with horror­movie dread. “Mallet Palette” is a new piece for the Musica Nova concert. The marimba and the piano begin as equal players, with long notes for the marimba and quick notes in the piano. Soon the tempo gets faster, in g minor most of the time, and there are rhythms of 5/8, 6/8, 9/8 and of course, 4/4. Finally, at the end, the first section comes back, with a finishing touch. Throughout the composition, both the marimba and the piano use staccato. legato, accents, and a wide range of dynamics. �BIOGRAPHIES Richard Carrick, born in Paris of French­Algerian and British decent, is a composer whose music has been performed intematicnally by the New York Philharmonic (Ensemble Series), Vienna’s Konzerthaus, ISCM World Music Days­Switzerland, Darmstadt Summer Festival, Tokyo lntemational House, Merkin Hall, Nieuw Ensemble, JACK Quartet, Nouvel Ensemble Moderne, soloists Magnus Andersson, Carin Levine, Rohan de Saram, David Shively and others. Recent awards include a Fromm Foundation Commission from Harvard University for his second string quartet, and recent works include the hour­long Flow Cycle for Strings (released on New World Records in 2011), Adagios for Strings, and Find the Devil’s Lead for large ensemble. He also writes large­scale multi­media works including the “operatioally ambitious” (The Village Voice) Cosmioomics, based on stories by Italo Calvino and combining video, electronics and live musicians. Carrick is currently Visiting Professor of Composition at Columbia University and Adjunct Professor at New York University. Carrick is founder/oo­artistic director of the New York based contemporary ensemble Either/Or. His music is published by Project Schott New York. Canadian violinist, Janey Choi gave her Camegie Hall recital debut in 1997 as a winner of the Artists International Auditions and continues an active career performing on recital and chamber series, on Broadway, and with such groups as the New York City Ballet, Ardelia Trio, and the Teaching Artists Ensemble of the New York Philharmonic. The recipient of numerous awards including the Chalmers Performing Arts Grant from the Ontario Arts Council (Canada) and National First Prize in the Canadian Music Competition, she has participated in such festivals as Mostly Mozart, Norfolk, Taos, the Spoleto Festivals in the US and Italy, Festival Musical de Santc Domingo, the Santa Fe Opera and the Sarasota Opera. An avid inter­arts and cross­genre collaborator, she is the Music Director of Thomas/Ortiz Dance, and has performed numerous times with the Parsons Dance Co., most notably at the Kennedy Center in Washington, DC, and at the New Victory Theater in Times Square. She also initiated an inter­departmental collaboration with the Paul Taylor Dance Company, and the Binghamton University Music and Dance Departments. Her other interests have taken her to the visual arts world. developing and presenting an annual “Music + Art” show commissioning artwork based on chamber works. She has recorded and appeared with such mainstream performers as Bono (U2) and Quincy Jones, Adele, Beyoncé, Aretha Franklin, Enya, Elton John, Jay­Z, Sarah McLachlan, Lenny Kravitz, and Kanye West, on the Grammys, MTV, Saturday Night Live, the Today Show, at Live 8, Radio City Music Hall and Royal Albert Hall in London, England. Dr. Choi holds the distinction of being the youngest. and only Pre­College student ever accepted by her late mentor, Joseph Fuchs at The Juilliard School, where she graduated from the accelerated BM/MM program with the Joseph Fuchs Graduation Prize. Her other major teachers include Joel Smimoff, Victor Danchenko, Harvey Shapiro. and Arnold Steinhardt. She attained her Doctor of Musical Arts degree at Rutgers University with full scholarship and was the recipient of the Graduate Fellowship Award. Strongly committed to education. she has been on the faculty of Binghamton University since 2006 and is a Teaching Artist for the New York Philharmonic and Chamber Music Society of Lincoln Center. She has presented educational workshops for the College Music Society National Conference, Tokyo College of Music and Lincoln Center Institute. In her free time, she enjoys marathon and triathlon training, playing soccer and ice hockey. Straddling Eastern and Western idioms, Mohammed Fairouz, one of the most frequently performed composers of his generation, has emerged as a force on the musical scene. Praised by the New York Times as “warmly sympathetic” and “brilliantly handled,” his music has been received at venues such as Camegie Hall, Boston’s Symphony Hall, the Kennedy Center and intemationally throughout the United States, Europe, the Middle East and Australia. He has received commissions from Musicians for Harmony, Northeastem University, the Imani Winds (Legacy Commission), the Cygnus Ensemble, Counter)induction, Alea lII (Boston University), Alwan for the Arts and the Second Instrumental Unit among others. His music has been championed by some of the foremost performers such as the Borromeo and Lydian String Quartets, the lmani Winds, The Knights Chamber Orchestra, members of the Boston Symphony Orchestra, the violinists Rachel Barton Pine and James Buswell, the clarinettist David Krakauer as well as the conductors Gunther Schuller, Fawzi Haimor and Yoon Jae Lee. Among the eminent singers that have promoted his wealth of vocal music are Kate Lindsey. Sasha Cooke, D’Anna Fortunato, David Kravitz and Randall Scarlata. Fairouz has been recognized as an “expert in vocal writing” by the New Yorker and as a “post millenial Schubert” by Gramophone Magazine. He has been invited to lecture and lead residencies across the country at institutions such as Columbia University, Brown University, Chestnut Hill College, Grinnell College, Northeastern University (Boston), Humbolt State University and the University of Western Michigan. Fairouz’s teachers in composition included Gyorgy Ligeti in Vienna as well as John Heiss, Gunther Schuller, Halim EI­Dabh and Richard Danielpourwith studies at the Curtis Institute and New England Conservatory. Recordings of his music are available on the Sono Luminus, Albany and GM labels. An upcoming recording featuring Rachel Barton Pine, the Borromeo String Quartet, Imani Winds and David Krakauer is slated for release on the Naxos Label in the 2012­13 season. The music of Mohammed Fairouz is published by Peermusic Classical. Adam Goldenberg is a senior biochemistry major and music minor. Mr. Goldenberg studies with Professor Daniel Fabricius, and regularly performs with the University Wind Ensemble and Percussion Ensemble. in 2011, Mr. Goldenberg was a featured soloist in Terry Gillingham’s “Concertino for Percussion and Wind Ensemble” and in Paul Creston’s Concertino for Marimba and Wind Ensemble. In spring of 2012, Mr. Goldenberg will be performing Keiko Abe’s “The Wave” Concertino for Marimba and Percussion Ensemble on May 10th at the spring percussion ensemble concert. Paul Goldstaub, Professor of Music Theory and Composition, Coordinator for Music Theory and director of Musica Nova concerts. BM, Ithaca College, MM and DMA, Eastman School of Music. Composition studies with Karel Husa, Samuel Adler and Warren Benson. Studies in Schenkenan Analysis with Dr. Charles Burkhart. Teaching positions at Ithaca College, College­Conservatory of Music of University of Cincinnati, Mankato (Minnesota) State University, and Eastern Michigan University. Guest lectures at Oberlin Conservatory, Syracuse University, Wells College, St. Olaf College, the Chautauqua Institution, and the institute for Contemporary Music Education at St. Thomas University. Papers and workshops presented at national meetings of College Music Society. the National Association of Schools of Music, New York State School Music Association, �New York State Music Teachers Association, and many colleges and universities. Articles published in the Music Educators Journal and the Encyclopedia of American Literature of the Christian Martin is a senior at Binghamton University in Binghamton, New York and he plans to pursue both Master’s and Doctorate degrees in music theory and composition upon graduation. Michigan University. Compositions performed at Lincoln Center, Camegie Hall, off­off Broadway, and in Canada, Great Britain, Germany, Japan, Russia and Italy. performed with the Temple University Singers, Arizona State Choml Union, and the Binghamton University Chorus. Other recent compositions include “Nine Lives,” for clarinet and piano (2010); “Walls of Glass,” for accompanied SSAATTBB (Second Prize in Edwin Fissinger Choral Sea and the Great Lakes. Guest performer at Syracuse University, regional meeting of the American Guild of Organists, and as pianist/composer for the dance program at Eastern Awarded grants from the National Endowment for the Arts, the National Endowment for the Humanities, Meet the Composer, and the Minnesota State Arts Board. Annual awards from the American Society of Composers, Authors and Publishers (ASCAP). National finalist in the St.Paul Chamber Orchestra’s American Composer Competition. Works performed by the St. Paul Chamber Orchestra, Guthrie Theater, Minnesota Opera, Society for New Music, Cincinnati Opera and in many on­campus concerts with other faculty. Music published by Lawson­Gould, Roger Dean Publishing Company, Ken Dom Publications and International Trombone Press/Southem Music. Member of the music faculty since 1998. Georgetta Maiolo is a member of the faculty of Binghamton University and Broome Community College, teaching Flute and directing Flute Ensembles. From 1977 to 1996, she held the position of Assistant Professor of Flute at Ithaca College, Ithaca, New York. She also taught Flute at Hartwick College, Oneonta, New York and West Virginia University, Morgantown, West Virginia. Mrs. Maiolo is a graduate of Duquesne University, Pittsburgh, Pennsyivania and attended graduate school at West Virginia University, Morgantown, West Virginia. She studied with Bernard Goldberg, principal llutist of the Pittsburgh Symphony, Marcel Moyse at Marlboro School of Music, and Victor Saudek. At the age of 15, she made her solo debut with the Pittsburgh Symphony. Mrs. Maiolo is the recipient of numerous honors, including the Very Reverend Thomas J. Quigley Award, the NCMEA National music award, the Pittsburgh Tuesday Musical Club, the Enola M. Lewis Scholarship and the Mu Phi Epsilon Sterling Achievement Award. Mrs. Maiolo is the principal flutist of the Binghamton Philharmonic Orchestra, Tri­Cities Opera Orchestra, and Downtown Singers Orchestra. In addition to her playing positions. she concertizes as a soloist, recitalist and chamber musician. Mrs. Maiolo has been recognized for the breadth of her contributions to performance and music education. She has premiered compositions for flute by Jack Martin, Dan Locklair, Edith Borroff, Malcolm Lewis, Richard Herman, Jeffrey Nitch, Timothy Rolls and Paul Goldstaub. In 1985, Mrs. Maiolo was honored to conduct the NYSSMA All­State Flute Choir. From 1981 to 2001, she served as the flute chairperson for the NYSSMA Manual. Mrs. Maiolo is chapter advisor for Mu Phi Epsilon, Zeta Eta Chapter at Binghamton University. She is a “clinician” for the Selmer Company. She is a member of the National Flute Association, and has recorded for Crest Records and NPR. Her performances have earned her lavish praise: “Georgetta Maiolo provided some exquisite musical moments in her flute solos,” wrote Alice Mitchell in a review in The Press & Sun­Bulletin in Binghamton, New York. “Georgetla Maiolo should be singled out for praise in her work with Soprano Louise Wohlafka in the ‘Mad Scene’ in Lucia. Her tone was like another lovely voice in the cadenza... Ms. Maiolo’s wonderful tone and musicianship were in evidence here and through the entire opera,” commented a critic for WSKG­FM radio. In the August 1999 Opera News review of Tri­Cities Opera production of Die Zauberflote, William W. West stated “...with some lovely flute playing from Georgetta Maiolo.” Prior to college, he attended Arizona School for the Arts, was a member of the Phoenix Boys Choir, and performed in the All­Regionals and All­State high school choirs. Christian has also Composition Competit‘on, 2011); Purple and Pearl, for accompanied SSAATTBB (2011), and placed in the San Jose Choral Productions Composition Competition; Echoes. for Horn. Bassoon and Piano, and Our Beautiful Nation, for String Quartet. Margaret Reltz, pianist, is a native of the Binghamton area. She received her Bachelor and Master of Music degrees in piano performance with accompanying emphasis. She attended Boston University, New England Conservatory and Binghamton University. She has studied piano with Jean Casadesus. Victor Rosenbaum, Seymour Fink and Walter Ponce and accompanying with Allen Rogers. She has accompanied throughout the United States, 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 States Information Agency in partnership with the John F. Kennedy Center for the Performing Arts. She was an official accompanist for the MTNA State and Eastern Division Competition held at Ithaca College. She has been a guest chamber music artist in Morges, Switzerland. She also was selected to attend the Accompanying Worlshop for Singers and Pianists held at Northwestern University with Chicago Lyric Opera Faculty and Coaches. She was invited to the international Clarinet Conference to play a recital in Tokyo, Japan. She was a guest artist on the Comell Summer Series. She was an official pianist at the Intemational Double Reed Competition and Convention in 2007 at Ithaca College and was invited to play the 2009 Convention in Birmingham, England with the Glickman Ensemble She recorded a CD with the Glickman Ensemble again this summer in Englewood, NJ. 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 Festval . She soloed with the Catskill Symphony at the Otesaga in Cooperstown, NY under the direction of Charles Schneider . This coming summer she will accompany and play chamber music at Musica De Compostela in Spain. She will also be in the “Masterclass” play in Newport, Rhode Island at the Casino Theater in the role of the pianist. She is also invited to play a recital with the Glickman Ensemble at the IDRS Convention in July. She is currently on the faculty at Binghamton University since 1991 and Ithaca College School of Music since 1999. She is Treasurer of the local District VII Music Teachers Association and is an active adjudicator for the National Piano Guild Organization. Stephen Stalker. cellist, teaches at Binghamton University. He formerly taught at Colgate University, Mansfield University, Ithaca College and the Binghamton City School District. He was the principal cellist of the Cayuga Chamber Orchestra in Ithaca, NY, and has performed extensively with the Catskill Chamber Players of Oneonta, NY, and in concerts at Binghamton University. Performing with the Catskill Chamber Players he has presented Meet the Composer concerts with prominent American composers including John Cage, 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 SUNY­Binghamton. He performed with Solisti New Yorkon their Alaskan cruise ofthe Inner Passage from Vancouverto Juneau. As a member of the Madison String Quartet, he was a finalist in the Naumberg Chamber Music Competition in New York City and the Evian International String Quartet Competition in Evian, France. He has performed in many recital appearances with pianist, Michael Salmirs. He performs regularly with the Trio Amici. Trilogy, Baroque ‘n Blue, Early On and in concerts at Binghamton University. He is a past president of the New York State Chapter of the American String Teachers Association and was Strings Chair for the New York State School Music Association. He is a founder of the Southem Tier Music Teachers Association and the Binghamton Cello Festival. He is a graduate of the Manhattan School of Music in New York City. Fulbright scholar to Spain, mezzo soprano Anna Tonna combines a distinguished career as an operatic mezzo with a dedication to the music of Spain and Latin American composers ­ a natural consequence of her roots and her affinity for Hispanic culture and language. She has appeared at the Leo Baeck Institute, Goethe Haus and Weill Recital under Elysium Between Two Continents. Joy in Singing, the Connecticut Schubert Club, the Pacific Music Festivalin Japanwhereshewasafellowmndhasbeenateaturedrecinlistwith Musicade Camara in NYC. She appeared in New York’s Town Hall in a concert with orchestra celebrating the composers from Dominican Republic, as well as being featured in the zarzuela’s as Cecilia Valdes and Luisa Fernanda. She was seen in the title role of Maria de Buenos Aires (Piazzolla) with the Connecticut Grand Opera, and has been a guest with Los Amigos de la Zarzuela, Association of Dominican Classical Artists, The Interpretation of Spanish Song Festival in Granada, the Festival Iberoamericano de Bellas Artes in San Juan, Puerto Rico, the Otor’io Cultural Iberoamericano in Huelva (Spain), as well as appearing as guest lecturer and recitalist on the subiect 20” century Spanish art song at the University of California in Riverside and La Universidad de La Rioja (Spain). Anna made an auspicious debut at The Festival Casals de Puerto Rico in March 012009 in a solo recital of art songs by the classical composers of Puerto Rico. 2010 found Anna singing the role of Olympia in Albeniz’s The Magic Opal in the Auditorio Nacional de Madrid, the title role in Bizet’s Carmen. Adalgisa in Bellini’s Norma both in Madrid (Spain) and Medellin (Colombia) as well as the zarzuela EI  Barbero de Seville at the Teatro Fernén Gémez in Madrid. In May of 2011 she bowed at New York’s Lincoln Center in the North American premiere of Giordano’s f/ Re in the role of La  Astrologa with Teatro Grattacielo. Among her appearances in 2012 will be as Rosina in The Barber of Seville in Barcelona (Spain), a recital of songs by Latin American composers with North South Consonance in Manhattan, and a lecture recital with the Asociacion Rioja Lirica in Logrofo (Spain) as well as guest recitalist at symposium of music by the classical composers of Puerto Rico at SUNY Albany. After winning the voice prize in the summer of 2011, she retums to the festival Musica en Compostela in Santiago de Compostela (Spain) for a concerts of chamber music by composers of Spain. Hispanic Society of America in New York City will feature her in concert for voice. guitar and dance about the life of the Duchess of Alba of Goya in the winter of 2012. In July of2011, her disc “The songs of Julio Gomez‘ debuted under the discographic label Verso with Spanish pianist Jorge Robaina. Born in 1958 in Washington, DC and currently residing in New York, Theodore Wiprud is a composer who also plays important roles as concert presenter, educator, and music executive. His compositions are known for the impact they make on performers and audiences, reflecting his constant interaction with both adult and young musicians and listeners from the New York Philharmonic. where he currently serves as Director of Education. to classrooms and community venues. Wiprud’s music frequently deals with spiritual experience: orchestral music (such as Hosannas of the Second Heaven) and chamber music (String Quartet No. 1, Refining Fire and String Quartet No. 2, Intimations and Incarnations) responding to Dante’s Divine Comedy and similar works; choral music on texts from diverse religious traditions (Three Mystical Choruses); and percussion scores like Anima and Dark Love. Other pieces involve American literature. including American Journal, based on Robert Hayden’s poem, and A Georgia Song, a setting of Maya Angelou. His Saxophone Quartet has been described as “a work of substance, rewarding to perform. and warmly received by audiences.” Wiprud earned his bachelor’s degree in biochemistry at Harvard and his master’s in theory and composition at Boston University, where he worked with David Del Tredici. He was a Visiting ScholaratCambridge UniversityasastudentofFlobh Holloway, and acornposition tellowatlhe Aspen Music School studying with Jacob Druckman and Bemard Rands. Stephen hnkbegan studying piano,theoryandcompositionattheageoffrve. Hehasheld previous full­time appointments at several major universities in the Midwest, Southwest and Northeast, including SUNY­Binghamton and the University of Rochester. �Bin gha m ton U niv ersit y M usic  D epart m en t ’s U P C O M I N G  E V E NT  5 Thursday, March 22 – Mid­Day Concert – 1 :20 p.m. – Casadesus Recital Hall – free Frida y,  M arch  23 – M aster ’s R ecital : Kathleen Jasinkas, soprano  – 8 :00 p.m. – Casadesus Recital Hall – free Thurs day, March  29 – M id ­Day Concert  – 1:20 p.m. – Casadesus Recital Hall –free Thurs day, March  2 9 – N u k porfe A frican  D rum m ing  a nd  D ance Ensem ble  – 8 p.m. – Anderson Center Chamber  Hall – $5 per person (tickets will be  sold at the door ) Thurs day, A pril  1 2  – M id ­Day Concert  – 1:20 p.m. – Casadesus Recital Hall – free Frida y,  A pril  1 3 – Senior  R ecital : Ale x ander  Baron,  r ecorder  – 8:00 p.m. – Casadesus Recital Hall – free Saturda y,  A pril  14 – M asterclass  wi th  o rganist  Carla  E dwards – 10 a. m. – 12  noon – First Presbyterian Church, Binghamton – free Saturda y,  A pril  14 – R obert  S mith, e uphonium,  presents  “ El Bom bardino ”  wi th  M argaret  R eitz, piano  – 3 p.m. – Casadesus Recital Hall – $6 general public ; $3 faculty/staff/seniors ; free for students Sunda y,  A pril  1 5  – A fricanaise :  A n e  vening  o f  A frican Inspired  Com positions  – 3 p.m. – Anderson  Center Chamber Hall – $ 10 general public ; $6 faculty/staff/seniors ; $3 students For ticket infor mation, please call the A nderson Cen ter B ox Office a t 777­ART5. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 60 minutes :15 secondss Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141868">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141868</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 Musica Nova, March 18, 2012 Description An account of the resource Works by Bernstein, Goldstaub, Fairouz, Martin, Carrick, Wiprud Held at 3:00 p.m., March 18, 2012, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Choi, Janey Goldenberg, Adam Maiolo, Georgetta Martin, Christian Reitz, Margaret A. Stalker, Stephen Tonna, Anna Zank, Stephen 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 3/18/12 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound