150 10 1775 https://omeka.binghamton.edu/omeka/files/original/fc5db18b3491cc5707712c073f58bfc3.pdf 0fbe6defbfe9fd342f096e26ab323ebc PDF Text Text BINGHAM TO N U  N  I  V  E  R  S  I  T  Y S T A TE   U N I V ER S I T Y   O F   NEW  Y O R K e l d  EC kd D E P A R T M E N SONA TA MAS TE RP IEC ES S TE P H E N  S TA LK ER , CE LLO STEPHEN ZANK, PIANO S u nd ay, M a rch 1, 20 1 5 3 p.m. Anderso n Center  Cha mber Ha ll T �as  ABOUT THE PERFORMERS 08 80  P ROG RAM 05 Sonata in A major, Op. 69, for piano and cello. .Ludwig van Beethoven (17701827) l.  Allegro ma non tanto 11.  Schezo, Allegro molto Ills Adagio ca ntabile; Allegro vivace Sonata for cello and piano, 19 15.  . I.  Prologue: Lent, sostenuto e molto risoluto II.  Sérénade: Modérément animé lll. Finale: An imé, léger et nerveux .Claude Debussy (1862­1918) Madison S tring Quartet, he  was a finalist in  the Naumberg Chamber Music Competi tion in  N ew York  City and  the  Evian  lnremational String Quartet Co mpetition in Evian, France. He  has performed in many recital appearances with  pianist, Michael Salmirs. He perfonus  regularly with  the  Trio  Amici,  Trilogy,  Baroque  ‘n  Blue,  Early On  and  in concerts at Binghamton University.  He is  a past president  of the New  York  State Chapter of the American String Teachers Associat ion and was Strings Chair for the New York State  School  Music  Association.  He  is  a  founder  of  the  Southern  Tier  Music Teachers  Association  and  the  Binghamton  Cello  Festival.  He  is  a  graduate  of  the Manhattan School of Music in New York City. S TE P H E N  ZANK is a broa dly tra ined musician, with degrees in pe rformance, litera ture, and  historical  musicology  (Ph.D.,  Duke  University).  He  began  studying  piano, counterpoint, and composition in Binghamton a t the age of five, and his formal training was in the class of Theodore Le ttvin at the N ew England Conservatory in Boston, where w  INTERMISSION c s Sonata in A major for cello and piano, 1886 I.  Allegretto ben moderate II.  Allegro III.  Ben moderato: Recitativo­Fantasia IV. Allegretto poco mosso STEPHEN ST ALKER,  cellist, teaches at Binghamton University. He formerly taught at Colgate  University,  Mansfield  University,  lthaca  College  and  the  Binghamton  City School District. He was the principal cellist of the Cayuga Cham ber Orchestra in ltham. NY, and has performed extensively with the Catskill Chamber Players of Oneonta, NY, and in concerts at Binghamton University. Performing with the Catskill Chamber Players he  has presented “Meet the Composer” concerts with prominent American composers including John Cage, Virgil Thomson, Lou Harrison and George Crumb. The Chamber Players appeared at Weill Recital Hall, premiering a set of four string quartets by Henry Brant. With violinist, Janet Brady, and pianist, Walter Ponce, he performed the complete Beethoven Trio  cycle at Binghamton University. He perfonued with Solisri New York on their Alaskan cru ise of the Inner Passage from Va ncouver to Juneau. As a member of the . Césa r Franck (1822­1890) he  earned  a  BM  in  performance  with  honors  and  won  all  of  the  major  piano competitions. During this time he also studied privately with Leon Fleisher in Baltimore, Byron Janis in New York, and then subsequently for five years with Philippe Entremont and Gaby Casadesus in Paris.  Zank has both perfonued and published widely in Europe and the United States, appearing in numerous recital and cham ber music venues as well as  soloist  with the  Bordeaux,  Toulouse  and French radio  orchestras  in France,  the Florida Symphony, Boston Pops and other regional orchestras in  the United State‘s. His scholarly  work  includes  contributions  to  topics  as  varied  as  American  music, orchestration, organology,  performance  practice,  French  music  of  the  19th  and  20th centuries, and two monographs on the music of Maurice Ravel (most recently, Irony and Sound, in the distinguished Eastman Music Series, University of Rochester Press, 2009). H e  has taught fulltime for more than twenty years at several major universities in  the Midwest, South west and Northeast including SU NY­Binghamton and the University of Rochrsrer. �Bingha m ton U n iversi ty D e pa rt me n t of M usic Coming Events « a w a w w w w b fi w b fi w w fi b a a Th ursday. March 5 ­  Mid­Day Concert ­  1:20 prmr  ­  Casadesus Recital Hall ­  free Friday. March 6 ­ Master’s Recital: Nicholas Follett, saxophone ­  7:30 p.m. ­  Casadesus Recital Hall ­  free Saturday, March  7  – Harpur Chorale and Women’s Chorus  –  7 :30 p.m.  ­  Anderson Center Chamber Hall ­  57 general public ; 55 faculty/staff/seniors/alumni; Free for students Sunday, March 8  ­  University Wind  Symphony: Just Like a Concert  in the Park ­  3 p.m.  ­ Osterhout Concert Theater ­  57 general public ; 55 faculty/staff/seniors/alumni; Free for students Sunday, March 8 ­  Sophomore Reci tal: Hannah Watrobski, viola ­  5 p.m.  ­  Casadesus Recital Hall ­  free Thursday. March  1 2  ­  Opera Scenes Mid­Day  Concert (Thomas  Goodheart)  ­  1:20  p.in.  ­ Anderson Center Chamber Hall ­  free Th ursday, Ma rch 12 ­  Opera Scenes ­  7 :30 p.m. ­  Anderson Center Chamber Hall ­  $10 general public ; 57 faculty/staff/seniors/alumni; $5 for students Saturday, March  1 4  ­  Master’s Recital : Meroé Khalia  Adeeb, soprano  ­  4  p.m.  ­  Casadesus Recital Hall ­  free Saturday, March 14 ­  University Symphony O rchestra: Dark P assions ­  7:30 p.m. ­  Osterhout Concert Theater ­  57 general public ; $5 faculty/staff/seniors/alumni; Free for students Sunday,  March  15  ­  Opera Scenes and Airas ­  3:00 p.m. ­  Phelps Mansion,  191 Court Street. Binghamton ­  $10 general  public;  BU  students  free with 1D  ­  for  reservations call  the  Phelps Mansion at (607) 7224873.  This concert is cosponsored by  the Binghamton University Music Department and Phelps Museum. Thursday, March 19 ­ Mid­Day Concert  ­ 1 :20 p.m. ­  Casadesus Recital Hall ­ free é w w w w w w w w w w w a p For tickets or to  be added  to  our  email list, visit anderson.binghamton.edu or call (607) 7 77­ARTS. For a comple te list of our concerts call (60 7) 7 7 7­2592, visit music.binghamton.edu or become a fan on Facebook. i f  you  were  inspired  by  this  perfomtance.  consider  supporting  the Department of Music with a financial gift. Your support helps to continue the  work of students,  faculty, and guest  artists  and  their  contributions  to our  community.  Please  make  your  donation  payable  to the  Binghamton University  Music  Department,  and  send  your  check  to  BU  Music Department, P.O. Box 6000sss, Binghamton, NY 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:06:20 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75000">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75000</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sonata masterpieces, March 1, 2014  Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Beethoven, Debussy, Franck. Held at 3:00 p.m., March 1, 2015, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Stalker, Stephen Zank, Stephen Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Beethoven, Ludwig van, 1770-1827 Debussy, Claude, 1862-1918 Franck, César, 1822-1890 Date A point or period of time associated with an event in the lifecycle of the resource 3/1/15 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/d9f4d03a87298b5734d3a7452ef9ee0d.pdf 88d9b498cd119e5b1dc4c5bbccfbf5f4 PDF Text Text “1  y g o _ i  =  a  ;  [] ;  Riri” 9  t bo  : A  C H I N E S E  C O N  C E R  T A E . ' , .   Bay  A  g  G e   ­  Y h s   S a r s   < 4     A  F P   s i  t ­ ' Cr  ­.= \ P  ~ s 3  H   ai ; wget )  9 . 3  a e a  Me 3  ’   4)  d % 3y 4    B 4  t s .  A  “’  7  A R E A ”   1 4 “ :  4 ‘   v  o T  # ° % s   r ­  3 i  x  a”  ' '  ’  < 7oo F  , ­   . ‘t  > i   &  ]  3  _ , _ . . .   a  A  77 ” o N T  d   :  t p  N ed  a  r /  " ‘  '  '  R '  N A  7  gs,   , .  x­  ­   " ­' seT 7  5)  . ‘ i l ’g j ' .  .–  7,  n L x v ,   ­"  »  i 1  5   e y   A L Y  .  i y e   2  8 .,  :  g  '  %   Li Fp    *  T s   ]  y  . '  4 o ” 3 . 4 4 ­   ‘  gy  ­  f  . A R E l ac d  ­z'  y  7 ~~ k n~ '  7  ~ LAR  1 0 .   ­,.' c.)  w d ’ L r   « i y /i T N   s  0 % R L ) 7 ,  ,  '  p ,   ‘ J a i   9 J ;  \  x  ’  ,  i .   R  e a \  W N   y  ( V e   A  NN  W S   ¥  \  L  /'  1 ” ’ .  RE", F \ A s d74ks >  L A \   —  f i �i F i pr m ay U  oI Amt , x .  3 9 114 & Y — \ i t '5 ; .  .  . . : O /  ol T h e  Confucius Institute of Chinese Opera at Binghamton University ( C I C O )  is a nonprofit organization jointly formed b y  Binghamton University a n d  the N at i o n a l  A ca d e my  of C h i n es e  Theatre Arts i1 ( N A C T A ) ,  a n d  is sponsored b y  the C o n f u c i u s  Institute Headquarters in  Beijing, China. Like all Confuci us Institutes a ro u n d  the world, the CICO teaches C h i n e s e language a n d  culture. As a specialized C o n f u c i u s I nsti t ute, it  al so foc uses on p ro m o t i ng Ch i n ese ope ra, i “A m u s i c  a n d  p e r f o r m i n g  a r t s .  I n  a d d i t i o n  t o  o ff e r i n g c o u rs e s  o n  the B i n g h a m t o n  c a m p u s ,  C I C O o  r ga n i ze s lectures, w o r k s h o p s  a n d  va r i o u s  o t h e r  activities. It has also fo r m e d  S o n g  o f S i l k ,  a C h i n e s e  performance group. Ws . / » y  . Silk, native to China, signifies m usic in  Chinese culture d u e  t o  i t s  a s s o c i a t i o n s  w i t h  s t r i n g e d  i n s t r u m e n t s .  I n a d d i t i o n ,  “ S i l k  R o a d ”  refers t o  t h e  a n c i e n t  ro u t e  o n w h i c h  C h i n a  interacted w i t h  the M i d d l e  East and the We st .  I n  a b ro a d e r  sense, S o n g  o f  Silk h o p e s to b r i d g e  the Ea st  a n d  We s t  b y  p re s e nt i n g  C h i n e s e p e r f o r m i n g  arts. S o n g  o f S  i l k  features C h i n e s e  vocal m u s i c ,  i n st r u m e nta l  m u s i c ,  dance, and  B e i j i n g  opera. h!» [ts performers i n c l u d e  B i n g h a m t o n  U n i ve rs i t y  faculty, j l 4 NACTA faculty, and guest musicians and dancers, all h i g h l y  professional. As the o n l y  performance g r o u p  o f  its k i n d  i n  the U n i t e d  States, S o n g  o f Silk   eijing plays a n  i m p o r ta nt  role i n  the p r o m o t i o n  o f B opera, Chinese music and Chinese culture o n  college c a m p u s e s  a n d  i n  c o m m u n i t i e s  n a t i o n w i d e . ��SONG OF SILK:  A CHINESE CONCERT  ONFUCIUS INSTITUTE   FOCHINESE OPE Program Notes 1. The Purple Bamboo 2 1 4 i This lively tune is popular south of the Yangtze River. Traditionally, the main melody is played alternately by the flute instruments and the stringed instruments, which is typical of the Silk and Bamboo music. I l v iii  “l‘ .,  ”f 7. Birds amid Tree Shadows 75 Eli­Q The sound of flute is bright and crisp, which resembles a flock of birds flying and chirping in the woods. 8. Autumn River #451 2. Descending the Mountain TLL In the Song Dynasry (1 127­1279), scholar Pan Bizheng stays with his aunt at a Taoist temple. Pan falls in love with the Taoist nun Chen Miaochang. His aunt discovers the love affair, and forces him to leave the temple and to go to the capital to take the civil service examinations. When Chen Miaochang finds out that Pan was sent away, she runs to the riverbank, where she hires an old fisherman to take her across the river to follow him. In the end, they a re reunited and go to the capital to get married. This excerpt is the scene where Chen Miaochang rushes to the riverbank and hires the old fisherman. The humorous fisherman senses what she is going after and mocks her as he rows the boat to catch up with that o f P  ans. A young monk named Ben Wu escapes from the Buddhist temple. On  the way, he encounters a nun, Se Kong, who happens to escape from her temple as well. Both of them contemplate resuming secular life. Having a lot in common , Ben Wu and Se Kong develop feelings for each other and plan to get married. This excerpt is the scene where Ben Wu expresses how much he longs to be a husband and a father, and decides to escape from the temple when no one is around. 3. Spring Arrives at the Qing River $21] 5? S I Beautiful melodies describe a spring scene along the Qing River in Hubei, China. 9. Peach Blossoms # t X 4. Moon over the Placid Lake F #  F f B The music depicts the breathtaking tranquility and brightness of the autumn moon shining over the mirror­like lake. 5. Step by Step 2553??? This famous Cantonese piece is cheerful and enthusiastic, and is usually played for festivals. 6. New Song of the Herdsmen 4%  RR #7 & x This famous flute music depicts a herdsmen’s happy life. A traditional dance of the Han Dynasty’s (220­206 BC) style, which is based on the classic Chinese poem “The Luxuriant Peach Blossoms.” The dance is filled i I with youthful spirit. 1 0 . F  l y i n g  S o n g s  o v e r  t h e E   a r t h  x  i h   3x (brief translation of the lyrics) Walking on the mountains, I sing mountain songs; casting the fishing net, I sing fishing songs. When I sing pastoral songs, sheep and horses grow, more than the stars in the sky. Peonies bloom, I sing flower songs; lychees ripen, I sing sweet songs. After the spring songs, I sing autumn songs; after the tea songs, I sing wine songs. I sing of the beautiful scenery before my eyes; good days pass, one by one, in my songs. �ONG  OF SLIK : I S  CONFUCU CHINESE CONCE A  17. Match Made by a Top Scholar IX  JTi% 1 1 .  H e a v e n l y  R o a d  x  i  (brief translation of the lyrics) I stand on the high mountain at dawn, watching the railroad built in  my hometown. A huge dragon flies through the mountain peaks, bringing lu ck and prosperity to our snowy plateau. That is a wonderful road to the sky  — the mountains are no longer high and the roads are no longer far. The wi ne is sweet, the tea is fragran t; happy songs fly everywhere. 1 2 .  B e a u t i f u l  M o o d  E m B 9  0 1 H  (brief translation of the lyrics) W i n d  sends the doves to the starry sky; the moon shines upon our happy dancing . Let our d reams grow auspicious wings; let beautiful moods follow us everywhere. 13. Moonlight over the Lotus Pond fi  IESE  OPER INSTITUTE  O F  CHN & This is a love story between Princess Chai and General Yang Liulang of th e Song Dynasty. W h e n  the Emperor and Princess C h a i  are captured b y  enemies, Yang Li ulang rescues both of them. The princess gives Li ulang a poem and a pearl shirt as tokens of her affection. Mistaking Liulang with another nobleman. the E mperor orders the princess to marry him. Fortunately, with help from a top scholar, all turns out well : Li ulang and the princess eventually marry each other. This excerpt is the scene in which Princess Chai is reflecting on how she fell in love with Li ulang. She then prays for a better future for herself a n d  for the S o n g  Dynasty. 18. Love Song of Kangding & E 1 x5   While the music develops from a famous folk song with the same name, This delicate piece resem bles lotus flowers in  the wind. this dance portrays pret ty Ti betan girls in  their vivacious youth ful spirit, 14. Tune: Zhengfan bacha E l i / t e a r s CXPress t h e m . who tease each other about their love feelings and the lack of courage to Jinghu is a stringed instrument that accompanies singing i n  Beijing opera. T h i s  tune is played to reflect characters’ inner thought, memory, narrative, monologue, dialogue, etc. 8  g 15. Tune: Xipi xiao kaimen E l i / M m g h  i One of the most famous Beijing opera tunes. it  is usually played in scenes of welcoming relatives and friends, hosting banquets and parties, and wedd ings. A 16. Joy of Spring $96 B I This dance descri bes a Uyghur girl enjoying life during spring. She calls to her friends to join her in em bracing the beautiful season. w  \  i s  &:   G F N   ..  6 »  ‘ Q  TS a—  Le  N > \        /  O 1 /a ¥  8),  S  d ~ , ‘  ' d 4  ( oy Re  .  P c   ,  ­ B :  7 / / ¥ ' Y J  fl;  ”Q?  > u  ­ ‘ t 39  y  9  ¥ J 4 ¥ y y , i 4  0 <  0  y Pl  1 /  o =    ' \ _ _ .  ¢ .  JJ  J / /  y  A  LJ  _ — 4. �SONG OF SILK:  A CHINESE CONCERT About the Performers Ta n g n u e r  ABUDULA was born into a Uyghur/Uzbek family and grew up in Xin jiang, China. Having learned ethnic dances in her childhood, she was an active member of the dance group of the Southwest Ethnic University and has performed dance solo and choreographed for various events. J I  Hong is a famous yangqin (Chinese hammer dulcimer) player with Melody of Dragon. She graduated in 1978 from Shenyang Academy of Music (Yanan Lu Xun Academy) and became a principal yangqin player for the Liaoning Provincial Song and Dance Troupe. Since moving to the United States in 1999, she has performed at Lincoln Center and Carnegie Hall as well as on ABC News and Channel 51 in New York. She has been interviewed and received extensive coverage by US Digest Magazine, The Washington Post, World journal and Ming Pao. JIANG XII'I is a jinghu expert and a National First­Rank Artist in China. He has been teaching at NACTA since 1976 and is a professor of its Beijing Opera Department and a distinguished research fellow of the Chinese Opera Music Institute. Author of books on the art of jinghu, he is currently a visiting associate professor of music at Binghamton University. CONFUCIUS INSTITUTE OF CHINESE OPERA Mama Theater, the Metropolitan Museum of Art and other New York venues. In 2002, she collaborated on the movie music recording of “Hero” composed by Oscar winner Tan Dun with world famous violin master Itzhak Perlman. P e j  REITZ is currently on the faculty of Binghamton University and Ithaca College School of Music. She holds degrees in piano performance with accompanying emphasis from Boston University, the New England Conservatory and Binghamton University. She has accompanied throughout the United States and in England and Austria, and has performed in concerts with clarinetist Timothy Perry in South America, France, Belgium and Japan. CHEN  Tao, founder and director of Melody of Dragon, is a well­known Chinese woodwind musician. The New York Times called him a “poet in music” and his playing “a miracle of the oriental flute.” Conductor Herbert Von Karajan praises him as an artist who “performs with his soul.” A graduate and former associate professor at the prestigious Central Conservatory of Music in Beijing, he was the winner of the 1989 National Folk Instrument Competition in China and has performed on tours of the United States, Germany, Italy, France, England, Holland, Finland, Singapore, Hong Kong, Taiwan and Macao. and a master’s degree in theatrical performance in 2004, both from the National Academy of Chinese Theatre Arts. He has been teaching at NACT A since 2002. A winner of national performance competitions, Jiao specializes in playing chou (clown) characters. He is currently teaching two Beijing opera courses in the WANG  Tien ­ J o u is a Chinese two­string fiddle virtuoso and member of Melody of Dragon. He graduated from the Guangdong (Canton) Conservatory of Music, where later he became a faculty member. Since moving to the United States, he has performed and lectured throughout the country. He has performed at the Lincoln Center, New Jersey Performing Arts Center, Carnegie Hall, Merkin Concert Hall, Columbia University, Peabody University and with different ensembles in New York City. LIU Ku i ra n graduated from the National Academy of Chinese Theatre Arts in 1998 with a bachelor’s in Beijing opera performance and completed her graduate studies in theatrical theories in 2006. She specializes in playing qingyi characters (female with gentle and refined dispositions) in the style of Zhang Junqiu. A master teacher and actress, she is currently a visiting associate professor of theater at Binghamton University. H o n g  Z H A N G  holds a master o f m   usic degree i n  voice performance from Binghamton University, and a bachelor of music degree in voice performance from the University of Wisconsin­Madison. Currently a senior lecturer of Chinese, she is the founder and director of Song of Silk. Her recent and upcoming performances include solo concerts at Purdue University, Elmira College, SUNY College of Optometry, Western Michigan University and the University of Michigan. LIU LI is a guqin and ruan soloist for Melody of Dragon. Since moving to the United States in 1994, she has performed and lectured frequently throughout the country. Her collaboration with the New Music Consort of the Manhattan School of Music’s Chamber Orchestra received high critical praise. She has also performed at Lincoln Center, New Jersey Performing Arts Center, Japanese Society, La A m b e r  D a n c e  Tr o u p e  is a student dance group founded at Cornell University in 2003. Amber promotes the beauty of Chinese culture through traditional and contemporary Chinese dances that represent a variety of genres and ethnic groups in China. Over the past seven years, Am ber has become a rising star that claims the national spotlight. JIAO J i n gg e  received a bachelor’s degree in Beijing opera performance in 2002 capacity of visiting assistant professor of theater at Binghamton University. �BINGHAMTON U N I V E R S I T Y S T A T E   U N  V f ‘ l ’ s   '­V  O F  N E W  Y ( ® j @ AN E J NS   ww / ’ ORK � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:18:16 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154635">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154635</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 Song of Silk: a Chinese concert celebrating the first anniversary of the Confucius Institute of Chinese Opera at Binghamton University, November 6, 2010 Recital Tape 2010-11-6 Description An account of the resource Held November 6, 2010. Works by Weikang, Guangyi, Qing, Qingyun, Peidong, Creator An entity primarily responsible for making the resource Jingge, Jiao Kuiran, Liu Zhang, Hong Reitz, Margaret A Xin, Jiang Abudula, Tangnuer 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 2010-11-06 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/16652ff6f0e106a923f63c6353908aca.pdf 0d9e5c9c540754fea35d6e28ab627185 PDF Text Text BINGHAMTON V N I  V E R S I I Y T X   S TAT E   U N I V E R S I T Y   O F   N E W  Y O R K wide [4 D E P A R T M E N T SONGS FROM CZECHOSLOVAKIA Mar y Burgess, soprano Timothy LeFebvre, baritone Timothy Cheek, piano ll Sunday, November 21, 2010 3 p.m. Anderson Center Chamber Hall �ABOUT THE PERFORMERS PROGRAM From “Patero dvozjpévu (Five duets),” Op. 13.......Karel Bendl (1838–1897) S n e b e  s e  s n a s i  andélé  Na nebi mésic s hvézdami Pisné milostné (Love Songs), Op. 83 ..............Antonin Dvoiak 1.  O, nasi Iasce nekvete to vytouzené Stésti  2.  V tak mnohém srdci mrtvo jest 3.  Kol domu se ted’ potacim 4. Ja vim, i e v  sladké nadéji 5.  Nad krajem védovi Iehky spanek 6. Zde v Iese u potoka 7.  V té sladké moci oéi tvych 8.  O, duse draha jedinka (1841­1904) + { a  INTERMISSION  cz (Rusalka’s “Song to the Moon") l l F From “Certové Sténa (The Devil’s Wall)". .....Bedfich Smetana (1824­1884) Jen jedina mé Zeny krasna tvar tak dojala  From “Rusalka’: ...... Mésicku na nebi hlubokém — Timothy LeFebvre — l { ...Antonin Dvorak (1841­1904) Vecerni pisné (Evening Songs)........................Antonin Dvoiak 1.  Kydz jsem se dival do nebe 2.  Vy mali, drobni ptackové 3.  Jsem jako lipa kosata 4. Vy vsichni, kdo jste stisnéni 5.  Ten ptacek, ten se nazpiva From “Moravské dvojzpévy (Moravian duets)”, Op. 32 .Dvoiak A ja ti uplynu V dobrym sme se sesli Slavikovsky polecko maly Holub na javore The audience i s  invited t o  m eet and greet the performers after the concert in the President’s Room of the Anderson Center. Nationally  acclaimed  baritone  Timothy  LeFebvre  has  wide­ranging experience from the operatic stage to the concert hall.  2009–2010 ap­ pearances  include  Faure’s  Requiem  with  Syracuse  Symphony, Mendelssohn’s Elijah with Hamilton College, a solo recital at Hamilton College,  Beethoven’s  Ninth  Symphony  with  the  Orchestra  of the Southern Finger Lakes and Vaughan­Williams’ Dona nobis pacem with the  Binghamton Downtown  Singers. His  2008–2009  appearances  in­ cluded the title role in Rigoletto with Tri­Cities Opera, Messiah with Jacksonville Symphony, Ping in Turandot with Jacksonville Symphony, the  Brahms  Requiem  with  the  Binghamton  Philharmonic,  Vaughan­ Williams’  Five  Mystical  Songs  and  Liszt’s  Christus  with  the  New Dominion Chorale in Washington, DC, Purcell’s Dido and Aeneas and Mozart’s Solemn Vesper Mass with the Berkshire Choral Festival. In the 2007–2008 season, LeFebvre made his debut with Opera Delaware, and had  return  engagements  with  Berkshire  Choral  Festival,  Jacksonville Symphony, Chattanooga Symphony and Opera, and Cornell University. Mr. LeFebvre has appeared in concert with the Jacksonville Symphony, Pensacola  Symphony,  West  Virginia  Symphony  Orchestra,  Vermont Symphony, Minnesota Symphony, Syracuse Symphony, American Sym­ phony Orchestra, Pittsburgh Symphony, Spokane Symphony, Bingham­ ton Philharmonic, Rochester Bach Festival, Berkshire Choral Festival, New  Dominion  Chorale,  Williamsport  Symphony,  Syracuse  Chamber Music Society, the Skaneateles Festival and the Marlboro Music Festival. He has also appeared in concert at New York’s Carnegie Hall and Alice Tully Hall. His operatic experience includes leading roles with Central City Opera, Tri­Cities Opera, Sarasota Opera, Chattanooga Symphony and Opera, Syracuse Opera, Indianapolis Opera, Opera Delaware, and Opera Theater of Pittsburgh. Mr. LeFebvre is a winner of the New York Liederkranz Vocal Compe­ tition, and other awards include the Richard F.  Gold Career Grant, an Opera  Fellowship  at  Binghamton  University  and  Regional  Finalist  in several Metropolitan Opera Competitions. Mr. LeFebvre is a graduate of Carnegie  Mellon University and Binghamton University.  After twelve years  of  teaching  at  Binghamton  University,  Tim  is  now  Associate Professor  of  Singing  at  Oberlin  Conservatory  of  Music.  Future performances include Beethoven’s Ninth Symphony with Williamsport Symphony. �— Mary Burgess — — Timothy Cheek — Mary Burgess was accepted by the prestigious Curtis Institute of Music, where all students are on scholarship, at the age of seventeen. She studied there for five years with Mme. Eufemia Giannini Gregory, and made her debut with New York City Opera while still an undergraduate at Curtis. Early in her career she spent numerous summers in Vermont as a participant in the Marlboro Music Festival, and then joined the Marlboro College music faculty, working with Blanche Moyse, revered Bach con­ ductor and violinist. Since 1984 Prof. Burgess has been a member of the music faculty at The State University of New York at Binghamton, where she is Associate Professor of Voice and coordinator of vocal programs. She is often called upon to adjudicate vocal competitions and to serve as consultant and reviewer of books or manuscripts on voice pedagogy. She has recorded for Columbia Masterworks, CRI, Sony Classical and Telarc, and her performances of Britten’s Les Illuminations and Mahler Symphony No. 2 with the Omaha Symphony were filmed for broadcast by Nebraska ETV. Burgess is a native of South Carolina. Pianist and vocal coach Timothy Cheek is well known for his work in Czech vocal music. His books Singing in Czech: A Guide to Czech Lyric Diction and Vocal Repertoire, with a foreword by Sir Charles Mackerras; a series on Janacek’s opera Iibretti; and his newly published book on Smetana’s Prodana nevésta / The Bartered Bride are recognized inter­ nationally as authoritative resources for singing in Czech. He has been a 4 Burgess‘ European operatic debut was at the Holland Festival, in the title role of Cavalli’s Erismena. She repeated this role at the Spoleto Festival in Italy, at the Theatre Royale de la Monnaie in Brussels, at the Brooklyn Academy  of Music,  and  again  in  Amsterdam  at  Netherlands  Opera during their regular season. She was  then engaged  for several con­ secutive seasons in leading roles at Dublin Grand Opera in Ireland. In the U.S. she has performed at New York City Opera, Santa Fe Opera, New Orleans Opera, Washington Opera, Nevada Opera, and many other regional companies including Tri Cities Opera. Her repertory of thirty roles in five languages ranges from Monteverdi and Cavalli to Britten and Virgil Thomson, including seven which she has performed in Binghamton with Tri­Cities Opera: Madama Butterfly, LaTraviata, Tosca, Marguerite in Faust, The Merry Widow, Norma, and most recently, Suor Angelica. Burgess has appeared as soloist with over two dozen U.S. orchestras, including the Boston Symphony (with Seiji Ozawa), Cleveland Orchestra (Lorin Maazel , Eduardo Mata), Chicago Symphony (Sir Simon Rattle), and Cincinnati Symphony (Klaus Tennstedt, James Conlon). She has been a frequent guest at such well known festivals as Ravinia, Aspen, Blossom, Casals, Chautauqua, Marlboro, and the Cincinnati May Fes­ tival, performing over the years a concert repertory of over 45 works with orchestra. She has appeared often at the Monadnock Music Festival with James Bolle and the New Hampshire Symphony both in opera and in concert repertory, making an acclaimed debut in the role of Susan B. Anthony in Virgil Thomson‘s The Mother of Us All honoring the centenary of his birth. Returning to the Monadnock  Festival for  a gala  concert performance of La Traviata, her Violetta prompted the Boston Herald to comment: “...she negotiated “Sempre Libera” with warmth and specificity of expression. She also produced beautiful, floaty pianissimos in the aria. More  importantly,  she  had  a  minutely  detailed  conception  of  the character and the role that informed her singing. It was a revelation to watch her.” especially  instrumental  in  championing  the  works  of  Czech  female composer  Vitézslava  Kapralova  (1915–40).  In order  to  promote  this extraordinary composer, Dr. Cheek has presented lectures and recitals throughout  North  America  and  Europe;  performed  in  several  world premieres of her songs; recorded the complete songs of Kapralova with soprano Dana Buresova on a Supraphon CD, nominated for the best recording of 2003 by the Czech journal Harmonie; and edited a critical edition of the songs for the Czech publisher Amos Editio in 2006. He is on the International Advisory Board of the Kapralova Society, based in Toronto. In  2009  the  Czech  song cycle Apple  Train  by the  renowned  Czech composer  Sylvie  Bodorova  was  written  for  Timothy  Cheek,  soprano Laurie Lashbrook, and dancer Bohuslava Jelinkova. They premiered the new work in Sydney, Australia this past summer. 1 After completing an opera internship at the National Theatre in Prague under the great Janacek conductor Bohumil Gregor in 1995, Cheek went on to receive several prestigious grants from the International Research and Exchanges Board in Washington, DC for hands­on research in the Czech Republic. He has coached, performed, and taught masterclasses on  Czech  vocal  repertoire  at  summer  festivals,  music  schools,  and conferences in the United States, Australia, Canada, Czech Republic, Israel, Slovakia, Italy, and South Africa. Since 1994 he has been on the faculty of the University of Michigan, where he instituted a new course for singers and pianists, “Czech Vocal Literature.” His duties at the univer­ sity include teaching diction classes, serving as music director of Opera Workshop, and  coaching opera  productions. He is also an  Associate Faculty  member  of  the  university’s  Center  for  Russian  and  East European Studies. His education includes a doctorate in collaborative piano and chamber music from the University of Michigan, degrees in piano performance from the University of Texas at Austin and the Oberlin Conservatory, and a Fulbright award to study as an opera coach at the Teatro Comunale  in Florence,  Italy.  Dr.  Cheek’s  performances  as  a collaborative  pianist  have  brought  him  to  fifteen  countries  on  four continents, and have been broadcast worldwide. �Program Notes TRANSLATIONS KAREL BENDL (1838­1897) Bendl was a respected composer and teacher, and a major writer of Czech vocal works,  with more than 140  songs  and  over 300 choral pieces. A colleague of Dvorak, Bendl was chosen to replace Dvorak as teacher of composition while the master was away in America. He is overshadowed by Dvorak, who was almost his exact contemporary, and some of his works are unjustly neglected. I. Se nebe se s nasi andele (From the sky descend angels) Smetana  excelled in opera and instrumental compositions, and wrote only a handful of songs and choral works.  His comic opera “Prodana nevesta (The Bartered Bride)" was by far the most popular of his eight operas and from the 1890’s was thevonly Czech opera before Janacek’s to be regularly performed abroad. “Certova sténa (The Devil’s Wall)" is his last opera, completed in 1882. From the sky descend angels, and there is golden sleep, And each of them brings a dream of dear rejoicing. Wherever they stop, there they know nice things; They know how it is in heaven, And they will reveal it through a dream. Suddenly the eyelids drop, Oh sweet, sweet power of sleep! Your image I see before me, Beloved dear one, good night! ANTONIN DVORAK (1841­1904) Na nebi mésic s hvézdami (In the sky with moon and stars) BEDRICH SMETANA (1824­1884) Dvorak wrote more than one hundred songs for voice and piano — one in 1901, and the rest between 1865 and 1895. Although he was at his best in instrumental writing, it is interesting to note that his first published work was a song; his first work to be publicly performed was a song; the work that captured Brahms’ attention and led to international recognition was the Moravian Duets, Op. 32; and his youthful attempt at songwriting, Cypresses, served as a fountain of inspiration for other musical works throughout his life. Veéemi Pisné (Evening Songs), Op. 31, is a beautiful and varied set of five songs for middle voice, written probably in 1876, revised in 1882, and published in 1883. Pisné Milostné (Love Songs), Op. 83, is a beautiful set of eight songs for high voice, written in 1888 as revisions of the 1865 Cypresses collection. Compare piano figurations in song No. 7, “V té sladké moci oéi tvych”  (“In the sweet power of your eyes”), to similar measures in the slow movement of Dvorak’s Piano Quintet in A major, Op. 81. The quintet was written a year before the songs, but the songs have their inspiration and origin from 1865. — Notes by Timothy Cheek Excerpted from his book “Singing in Czech: A Guide to Czech Lyric Diction and Vocal Repertoire” (Scarecrow Press 2001) In the sky, the moon with stars, And in the forest full of small sounds, And on that vast world, as if God were spreading love, A different voice of these young little leaves changes into sweet discourse, As if the whole world were in delight, dissolving into kisses. And yet, I know that in solitude many hearts suffer, and that many youthful faces drown in bitter tears. In the sky, the moon with stars, And in the forest full of small sounds, And on that vast world, as if God were spreading love. II. Love Songs, Op.83 1.  Oh, that longed for happiness does not blossom in our love: And if it were to blossom, and if it were to blossom, it will not for long, for long. Why would a tear steal into passionate kisses? Why would she, in her full love, embrace me anxiously? Oh, bitter is that parting where hope does not beckon: for the heart feels in its trembling that soon, ah, soon it will miserably perish. 2. In so many a heart is death, like in dark desolation, in it certainly there is a place only for pain and for suffering. Here deceptions of passionate love enter in that heart, and the heart yearning with weeping, is aware that it loves. And in that sweet illusion once again in paradise that dead heart changes and sings, sings an old myth, sings an old myth! 3.  Now I am staggering outside the house where you used to live, and from the wounds of love I bleed, of sweet, false love! And with sad eyes I look on to see if you are taking a step toward me: and facing you, I open my arms, but I feel a tear in my eye. Oh, where are you, dear, where are you today, why won’t you come to me? Why don’t ! have in my heart bliss and rejoicing; won’t I see you ever again? �4. I know that in sweet hope I may yet love you; and that therefore you want even more ardently to cultivate my love. And yet, when I behold your eyes on this blissful night, and I learn how the bliss of love from them alights so much onto me: now my eyes are with tears, now they are suddenly dry, for in our happiness evil fate gazes behind us, for in our happiness evil fate gazes behind us. 5. Over the countryside reigns a light sleep, the clear May night has spread itself out; a timid breeze steals itself into the leaves, the strength of peace has bent down from heaven. The flowers slumbered, through the brook a choir of mysterious melodies is murmuring more softly. Nature in delight blissfully muses, everywhere the conflict of restless elements has become silent. The stars have gathered together as lights of hope, the earth is turning into a heavenly sphere. My heart, in which bliss once blossomed, my heart is dragged only by the rush of pain, my heart is dragged by the rush of pain! 6.  Here in the forest at the brook I am all alone; and deep in thought I stare at the waves in the brook. Now I see an old stone, over which the waves swell; the stone, the stone rises and falls without rest under the wave. And the current bears down on it until the rock topples over. When will the wave of life carry me away from the world, when, ah, will the wave of life carry me away? 7. In the sweet power of your eyes how gladly, how gladly I would perish. if only the laughter of your beautiful lips did not beckon me to life. However, I will choose this sweet death right away with this love, with this love in my breast: if only your smiling lips awaken me to life, if your smiling lips awaken me to life, awaken me. 8. Oh, dear soul, one­and­only, you who live ever in my heart: my thought circles round you, though evil fate divides us. Oh, if only I were a singing swan, I would fly to you; and in my last gasp, I would sing out my heart to you in fainting, ah, in my last gasp. Ill. From Certova Sténa The Devil’s Wall Act I: Volk Vitkovic, a head of the powerful Czech Rozmberk family in the mid­30” century, was rejected in his youth by his beloved, and he has remained single and without an heir. News comes that this love from his distant past has died. Only one woman’s beautiful face moved me so much That I dreamed a myth of love; Oh, I remember how the brilliance of those eyes lit up for me the living stars, And by the shining beauty of her dawn sky, The brilliance penetrated into my breast, making paradise bloom there! That was a time of hope, that beautiful May of youth! And I had hoped to be a lover; Oh, woman, bewitching star, why did you remain cold toward me? And another, your man’s heart, he embraced you in his arms, He stole you from me, And only the fire of dejected yearning remained for me. I fled from myself, and wherever I entered There blazed your image, and memory, and regret. And the sweet brilliance never more flashed before me, And no other heart appeared before me, However, up till now I remember only the brilliance of those eyes, And up till now only one woman’s beautiful face moves me so much That I believe in the myth of love, that I believe in the myth of love! IV. Rusalka’s “Song t o  the Moon” Oh, moon in the deep heavens, your light sees far away, around the wide world you wander, you look into the dwellings of people, around the wide world you wander, you look into the dwellings of people. Oh, moon, stand still for a while, tell me, where is my beloved, oh, moon, stand still for a while, tell me, tell, where is m y b  eloved? Tell him, oh silvery moon, that my arms embrace him, so that he, at  least for a little while, might remember me in his dreams, so that he, at least for a little while, might remember me in his dreams. Give him light far away, give him light, tell him, tell, who waits here for him; give him light far away, give him light, tell him, tell, who waits here for him! Oh, if his human soul dreams of me, let this remembrance awaken him! Oh, moon, do not disappear, do not disappear, Oh, moon, do not disappear! V.  Vecerni pisné, Op. 31 Evening Songs 1. Kdyz jsem se dival do nebe When I looked to the sky Through the gold little stars, It seemed to me that you are a saint and that I am a holy angel, And that I am a holy angel. I took the harp to my arms And sang songs to you, so that the songs of the saints fell silent And each one gazed on us, and each one gazed on us. But God the Father alone stopped for awhile in His creative plans, And it seems to me, and it seems to me, That a teary diamond flowed down His cheek. �2. Vy mali, drobni ptackové You small, tiny little birds, you song­dreamy sleepers, I wonder which of you will remember that I am dying in tears, I wonder which of you will remember that I am dying in tears? Dear little moon, stay in the sky so I may take delight in you; My love’s ardor has cooled down, we are suited to one another, My love’s ardor has cooled down, we are suited to one another. The last flame is falling asleep, for me there remain only words: And yet I would fan it all again, I would be unhappy once more, And yet I would fan it all again, I would be unhappy once more. 3.  Jsem jako lipa kosata I am like a full linden tree when dressing for a special occasion: You beautiful May rose, come here to my cool shade, You beautiful May rose, come here to my cool shade. Here each leaf breathes fragrance, here a swarm of little bees buzzes, In the evening little birds fly here — those thoughts are mine, In the evening little birds fly here — those thoughts are mine. They are flying far away, like children leaving home: However, if you sit next to me, No more will they fly away, no more will they fly away. 4.  Vy vssichni, kdo jste stisnéni All you who are downcast, come right now, come to me, Here take away from your shoulders the burden of hardship, and gently forget. I have founded here a realm of love, where friend is entwined with friend, And for all who have it in their hearts, it flows in fair songs. Here the envious one doesn’t know a rival, here speech is like a sweet song, Here, the lion is a tame lamb, and birds of prey young doves. Here there are remedies for all hardships, here the heart forever grows young, Here the rose blossom doesn’t lose freshness, Here the rose blossom doesn‘t lose freshness, and there is no hostility. 5.  Ten ptacek, ten se nazpiva That little bird, it sings so much, as if it were song incarnate; But whoever has love in his heart, don’t be astonished that he sings, Don’t be astonished that he sings! And the little bird, the one that knows how to speak like that from the heart and to the heart, (don‘t be astonished) that a man would barely keep from crying, that a man would barely keep from crying. When he will understand with his heart. But often it seems to me that I am his friend in sorrows, For even these songs of mine are only gentle laments. VI. Moravian Duets, Op. 32 A ja t i  u plynu And will I run away from you on the dear Danube! And I have at home a fishing pole that I’ll use to catch some little fish. And I’ll make myself into a wild pigeon, and I’ll fly under the high sky. And I have at home some crows that will grab for me, that will grab for me some pigeons! And I’ll make myself into a big crow, and I’ll fly to you on the Hungarian side. And I have at home a crossbow that will shoot at all the crows’ souls. And I will make myself into the little stars in the sky, and I’ll shine for the people on earth. And there are with us at home some astronomers that count the little stars in the sky. And anyway, you will be mine, or the Lord God will give you to me! V dobrym sme se sesli As friends we met, as friends we will part, and if, my sweetheart, mine, we will forget about each other? I will think about you, not only during the year, I will, my sweetheart, I will with each step, I will think about you with each, with each step. Slavikovsky poleéko maly She: The little Slavikovsky field — we won’t, sweetheart, get married, we won’t, we won’t, that’s not possible, not even that field, my sweetheart, your mother won’t give us. He: What is it to us what our mothers want, our mothers won’t rule over us. Only you, my girl, only you want me, just give me your little hand for good night. Holub na javore A little dove flew on the field to fill up its craw. When he had filled his little craw, he sat under the maple tree. Under the maple tree my dear is embroidering a green kerchief. She’s embroidering on it a little wreath, for her sweetheart left her. She’s embroidering on it the blossom from a rose, for all the whole world has left her. All translations by Timothy Cheek �Binghamton University Music D epartment’s U PC O M I N G  E V E N T S Tuesday, November 23 — Percussion Ensemble — 8 p.m. — Anderson Center Chamber Hall — free Wednesday, December 1 — Lecture/Recital with Jieun Jang, piano — 8 p.m. — Casadesus Recital Hall — free Thursday, December 2 — Holiday Mid­Day Concert — 1:20 p.m. — Casadesus Recital Hall — free Thursday, December 2 — Harpur Chora le & Women’s Chorus — 8 p.m. — Trinity Memorial Church, Binghamton — free Friday, December 3 — Flute Studio a nd Flute Chamber Concert — 10:30 a.m. — Casadesus Recital Hall — free Friday, December 3 — Composer’s Concert (students o f  Christopher Loy) — 8 p.m. — Casadesus Recital Hall — free Saturday, December 4 — University Sy mphony Orchestra: America’s Inner Life — 3 p.m. — Osterhout Concert Theater — $10 general public; $5 faculty/staff/seniors; free for students (Group rate $8 per person) Sunday, December 5 — Wind  Symphony: Gathering o f  Angels — 3 p.m. — Anderson Center Chamber Hall — free Sunday, December 5 — Violin Recital: Janey Choi, violin, Michael Salmirs, piano and guest artist Rebecca Ansel, violin — 7:30 p.m. — Casadesus Recital Hall — $10 general public; $5 faculty/staff/seniors; $2 students Thursday, December 9 — Jazz Mid­Day Concert with guest artist — 1:20 p.m. — Osterhout Concert Theater — free (Co­sponsored by the Binghamton University Music Department and the Harpur Jazz Project) Thursday, December 9 — Harpur Jazz Ensemble Concert with guest artist — 8 p.m. — Osterhout Concert Theater — $10 general public; $5 faculty/staff/seniors; free for students (Co­sponsored by the Binghamton University Music Department and the Harpur Jazz Project) For ticket information, p/ease call the Anderson Center Box O ffice a t 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 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 55:09:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE146102">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE146102</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 Songs from Czechoslovakia, November 21, 2010 Recital Tape 2010-11-21 Description An account of the resource Works by Bendl, Dvořák, Smetana. Creator An entity primarily responsible for making the resource LeFebvre, Timothy Cheek, Timothy 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 2010-11-21 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 1 audiotape reel Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 07:48 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243678">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243678</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 Speeches by President Bruce Dearing, Professor Fink, and Professor Brooks about Jean Casadesus, January 3, 1973 January 3, 1973 Recital Tape 1973-1-3 Creator An entity primarily responsible for making the resource Dearing, Bruce 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 1/3/73 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/57e0e46dddb87b2bcabfcda871bfa232.pdf 0f204f87fece42755c4859563e0544f5 PDF Text Text SPRING CHAMBER MUSIC SERIES LENOX STRING QUARTET Sunday, May 9, 1971 8:15 PM Don A. Watters Theater �PROGRAM Future Events Second Quartet for Strings (196·5) (In one movement) Tuesday, May 11, 8:15 PM UU Social Room Harpur College Orchestra. David Buttolph, conductor. Paul Knoeffler, pianist. Wednesday, May 12, 8: 15 PM Music Recital Hall. An Evening of Contemporary Music. Works of student and faculty composers. Thursday, May 13, 8:15 PM Music Recital Hall Voice Studio Recital. Students of Roberta Schlosser and William Lewis. Friday, May 14, 8:15 PM Music Recital Hall Diana Berdt, pianist. Senior Recital. Saturday, May 15, 2:00 PM Lecture Hall I Jazz Concert. Harpur Jazz Workshop, Albert Hamme, director. Sunday, May 16, 3:00 PM Music Recital Hall Kathleen Tyrrell, mezzo soprano. Junior Honors Recital. Sunday, May 16, 8:15 PM Music Recital Hall Elizabeth Korte, pianist. Sincronie (1964-7) i n t e r m Quartet No. 1 (1956) Karl Korte Luciano Berio i s s i o n Gunther Schuller Lento Allegro Adagio Liberata II (1968) Paul Zonn � 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 3 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 33:42:00 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63460 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63460">Spring Chamber Music Series Presents Lenox String Quartet</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 Spring Chamber Music Series Presents Lenox String Quartet, May 9, 1971 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Korte, Berio, Schuller, and Zonn. Held at 8:15 pm, May 9, 1971, Don A. Watters Theater. 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 1971-5-9 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Korte, Karl, 1928- Berio, Luciano, 1925-2003 Schuller, Gunther Zonn, Paul Martin, 1938-2000 Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020069470 39091020069690 39091020069641 https://omeka.binghamton.edu/omeka/files/original/3b8834c3f8ad9e27d8b45b6e40b683a6.pdf e4afb5e9aaa7dcbc2959bc54d397894d PDF Text Text BINGHAMTON U N I E V E R S I E E Y State University of  New York L     J p  I I T ( \ I  X \  5 ~ D E P A R T M E N T p o I i \ w Y fl ­  y  N r S PRING C HORAL CONCERT H arp u r Chorale Peter Browne, conductor Women ’s Chorus Kristina Ruffo, conductor Jod y Sch um, piano Thursday, May 10, 2007 8:00 p.m. Anderson Center Chamber Hall �PROGRAM I. Women ’s C ho r us .. Ruth Watson Henderson Psalm 100 Imant Raminsh My Heart’s Friend . Gioacchino Rossini Arr, James Q. Mulholland La Danza Giocchino Rossini Duetto buffo dh  due gatti ..........William Schuman Orpheus with his Lute A­Tisket, Atasket Tsvey taybelekh <eeeeeew  Ella Fitzgerald and A l Feldman arr. David J. Elliott ............Traditional Yiddish Folksong Arr. Lee R. Kesselman Traditional Mexican Arr. Stephen Hatfield II. H arp u r Chorale Sanctus in G­major HDASARDIVDISN  Bach Faire is the Heaven ............William H. Harris Sometimes I Feel Emily Creo, alto soloist Ain’t Got Time to Die Douglas Schwartz, tenor soloist '] Traditional Spiritual Arr. Shaw/Parker Traditional Spiritual Arr. Hall Johnson .. Eric Whitacre Water Night........... Traditional American Arr. James Erb Shenandoah Kalinka Alex Blitstein, tenor soloist Traditional Russian Arr. Alex Karpowitsch �TRANSLATIONS La Danza And when you have come to a far­off land, my love, Be sure to remember my words of love. And should you come across a deep fire. my love, Do not burn for sorrow, my little dove. Already the moon sets into the sea. My goodness, she’ll jump right in; The hour is pleasant for dancing, And no one in love will want to miss. Swiftly dancing round and round, My dear ladies, come to me, See a handsome smiling fellow Willing to dance with every one. ­ o Two doves flew over the wide water, Spreading their wings high above. A curse on that person – so evil, so cruel – Who so soon destroyed our own true love. Las Amarillas While the evening stars shine in the sky And the moon shines bright, The most handsome with the fairest Will dance the night away. The yellow calandras fly from the cactus. No longer will the cardinals sing happily To the song na na. to the song na no. Because the trees on the hillside have not come back to li fe, For that the calandras will either sing or crush their nests. You are small and beautiful and I love you just the way you are. You are like a little rose from the coast o f  Guerrero. Ju mp. ju mp, t u rn an d t u rn, Every couple circling round. Back and forth. over again And return where you began. Everybody has their own farewell, but there’s none like this one. Hold on tight to the blonde, Take the brunette here and there, Take the redhead for a turn, The wallflower you better don’t touch. Four times fi v e  is twenty, three times seven is twenty­one. Sanctus Hooray for dancing round and round, I’m a king, a pasha too, This is the greatest pleasure on earth, And the dearest passion! Holy, holy, holy, Lord God of Sabaoth; Heaven and earth are full of your glory. Mamma mia. my goodness! Refrain: Kalinka mine! In  the garden grows a berry like sweet wine. Tsvey Tay belekh Two doves flew over the wide water, Their loving beaks kissing high above. A curse on that person – so evil. so cruel – Who tore from me my own true love. And when you have come to a far­off land. my love. Be sure to remember my words of love. And when you have come to deep waters, my love. Do not frown for sorrow, my little dove. Kalin ka (Little Snowball Bush) I 1. Under the pine tree, under the green tree, there I’ll lay me down to sleep. (Refrain) 2. Little pine tree, thou evergreen tree, with your rustling do not wake me. (Refrain) 3. Oh, my darling, lovely maiden, won’t you promise to be mine. (Refrain) ~ �The Har pu r Choral e ABOUT  THE P ERFOR MERS Peter Browne, conductor So p rano Jenna Gatt i Ayla Gordon Jaclyn Hochreiter Allison Metcalfe Elizabeth Sterling Jessica Sum ber Lynsey Zuar Tenor Alex Blitstein Seth Makarowitz Ross Matthei Joseph Rousseau Douglas Sc hwartz Alto Emily Creo Monica Lee Rachel Maller Rachel New by Sophie Nusinov Corinne Paull Jennifer Paull Bass Eric Dinowitz Adam Hess Ezra Monasebian John Paap David Parisi Theodore Trembinski 0 b KRISTIN A  RUFFO  is  a  graduate  choral  conducting  student  at Binghamton University.  She  received  her  BA  from  Ithaca College  in Music Education.  This is her second semester conducting the  Women’s Chorus and is very proud of their success as an ensemble. She is a member of the Un iversity C horus, an d also teaches a sight singing class to  help students improve in  their reading abilities and confidence in singing. She is  also  involved  in  an  A frican Drumming  class  with  Professor  James Burns. She was awarded the Keeler Scholarship this year that has helped her continue with her education. During the day, she teaches full­time at the Maine­Endwell High School and  is director of the  Mixed Chorus, Madrigal Choir, and Quartet, as well as teaching a theory course. Kristina resides in Binghamton, NY w ith her husband and is looking forward to a successful semester with the Women’s Chorus. The Wom en ’s Chorus Kristina R uffo, conductor Jod y Sch um, accompanist So p rano 1 Hiu Nam Wien  Cheng Rebecca Cohen Jodi Epstein Alex Haines Jillian Karp Jana Kucera Liann Liebowitz Erin Rabideau Melissa Sones Desiree Winnett Soprano 2 Dina Boccuzzi Anjuli Bose Esther Choi Eliza Espinosa­Thomas Stephanie Haigney Katherine Hassfurter Crista Havener Shaina Carmel Indovi no Denise Manukian Maria Murphy Priscilla Pouchie Amanda P ress Jaclyn Wallach Kate Welb y Alto l Desiree Bass Perin A. Colah Laura Groteke Carly Maughan Katherine Navarette Elisa Weiss Alto 11 Danielle Barbanell Daron Blake Alicia Caruso Katherine Courage Sarah Golden Randall Wong PETER B ROWNE , director of Harpu r Chorale, received  his  BA from Bard  College  and  MM  in  Organ  Performan ce  from  Binghamton University, where he studied with Paul Jordan, Searle Wright, and David Buttolph.  He has done additional work at Westm inster Choir College and several other schools, and was the recipient of a fellowship to study choral conducting  with  Sir  David  Willcocks,  former  director  of the  King’s College Choir, Cam bridge, and the Bach Choir of London.  Since 1981, he has been the  organist  and choir director  at  Trinity  Memorial  Church. Binghamton. having previously served in other churches in Pennsylvania, Connecticut  and New   York.  He  is currently  the  accompanist  for  the University  Chorus and teaches musicianship as  well. Mr.  Browne has performed as a director, soloist, and accompanist throughout the eastern United States and Canada, and in England and Wales. . ­ JODY S C H U M  is a versatile pianist, organist and vocal coach originally from  Windsor,  NY.  Currently  on  faculty  at  SUNY  Cortland  and Binghamton University, he also is resident pianist with Tri­ Cities Opera in Binghamton, NY .  Mr. Schum has performed  with the  Binghamton University Symphon y Orchestra, Tri­Cities Opera and on numerous solo and colla borative  recitals  at  Binghamton  University.  His  most  recent engagement  was  performing  and  studying  on  fellowship  with  the International  Institute  of  Vocal  Arts  in  Chiari,  Italy  last  summer. Upcoming engagements include a sacred music concert with soprano Julia Ebner and a recital with baritone  Timothy LeFebvre at Elebash Recital Hall in New York City.  Mr. Schum is Music Director at the First United Methodist Church of Endicott, NY. �The Harpu r Chora le Peter Browne, conductor Ayla Gordon Tenor Alex Blitstein Seth Makarowitz Ross Matthei Joseph Rousseau Douglas Schwartz Alto Emily Creo Monica Lee Rachel Maller Rachel Newby Sophie Nusinov Corinne Paull Bass Eric Dinowitz Adam Hess Ezra Monasebian John Paap David Parisi Theodore Trembinski So p rano Jenna Ga tti Jaclyn Hochreiter Allison Metcalfe Elizabeth Sterling Jessica Sumber Lynsey Zuar Jennifer Paull The Wo men ’s Chorus Kristina Ruffo, conductor Jody Schum, accompanist So p rano l Hiu Nam Wien Cheng Rebecca Cohen Jodi Epstein Alex Haines Jillian Karp Jana Kucera Liann Liebowitz Erin Rabideau Melissa Sones Desiree W innett Soprano 2 Dina Boccuzzi Anjuli Bose Esther Choi Eliza Espinosa­Thomas Stephanie Haigney Katherine Hassfurter Crista Havener Shaina Carmel lndovino Denise Manukian Maria Murphy Priscilla Pouchie Amanda Press Jaclyn W allach Kate Welby A lto 1 Desiree Bass Perin A. Colah Laura Groteke Carly Ma ughan Katherine Navarett e Elisa Weiss Alto l l Danielle Barbanell Daron Blake Alicia Caruso Katherine Courage Sarah Golden Randall Wong I � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 45:16:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196838">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196838</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 Spring choral concert May 10, 2007 Recital Tape 5-10-2007 Description An account of the resource Held at 8:00 p.m., May 10, 2007, Anderson Center Chamber Hall. Program includes translations of songs. Works of Henderson, Raminsh, Rossini, Schuman, Fitzgerald and Feldman, traditional Yiddish folksong, traditional Mexican, Bach, Harris, traditional spirituals, Whitacre, traditional American, traditional Russian. Creator An entity primarily responsible for making the resource Browne, Peter Ruffo, Kristina Schum, Jody 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 2007-05-10 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 984f8991-ffff-45e0-bdc4-5fb3f100cea5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 55:55:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE191448">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE191448</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 Spring choral concert, May 1, 2008 Recital Tape 2008-5-1b Description An account of the resource Works of Caccini, Telfer, Canadian folksong, Bacon, Israeli pioneer song, Newfoundland folksong, Willan, Farrant, Byrd, traditional spiritual, Fissinger, Goldstaub, Foster.Held at 8:00 p.m., May 1, 2008, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Browne, Peter Chudacik, Jennifer Reitz, Margaret Vavalle, Matthew Leipold, Dennis Ogden, Lana Borton, Bruce Creo, 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 2008-05-01 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 3318ef17-ef45-4565-bcdd-52f98fbb8bfd https://omeka.binghamton.edu/omeka/files/original/f0d9f48c2d3c4563ce2177b58598dd0b.pdf e34d21e12495b86e92f5684f5ed799b6 PDF Text Text BINGHAMTON U  N 1 v  E R s  1 T  Y STATE  U N I V E R S I T Y   O F  N E W   YORK wdee D E P A R T M E N T SPRING CONCERT The Nukporfe African Dance­Drumming Ensemble of Binghamton University Thursday, March 29, 2012 8:00 p.m. Anderson Center Chamber Hal l �between the lead drummer and dancers is absolute –~ every note cues a movement or gesture. PROGRAM Tonight we will present a selection of traditional dance­drumming pieces from  southern  Ghana.  These  ensembles  are  the  collective  work  the Beginning and Advanced sections of African Dance (THEA 289J/389J; AFST 289J/389J) and the African Music Ensemble (MUS 143B/MUSP IV.  tomime  to  dramatize  battlefield  events such  as  firing  a gun, hiding in the brush, pursuing the enemy, and so on. Each story sequence is introduced by the lead drum, and is completed with a 257; AFST 188B). These courses are offered each semester through the Departments of Africana Studies, Music, and Theatre Dance. Students who complete one of these courses can audition into Nukporfe, which is a touring, professional dance company based at Binghamton University. Nukporfe provides drumming and singing for all of the dance classes at Binghamton University, and gives workshops in African music through­ out the Northeastern United States. turning movement by the dancers. Beginning African Dance Class/Nukporfe African Music Ensemble V.  Advanced African Dance Class/Nukporfe African Music Ensemble I.  Vulolo [Processional from the dance Agbekor]. These first four pieces  present  the  dance  Agbekor,  a  war  dance  of  the  Ewe people of Ghana. Tonight we are attempting to recreate the way this sequence  of dances  would  occur  in  an  Ewe  village,  be­ ginning with the vulalo, which serves to draw the community to the performance grounds. As the drummers and dancers proceed to the stage in traditional fashion, they sing a war song that calls the warriors to battle against the European colonial powers. The second  song  memorializes  the  great  warrior  Kundo  who  led warriors into battle and has been killed. The movements imitate experiences  of  the  warriors  in  battle,  and  follow  the  drum language of the lead drum, atsimevu. II.  III.  Banyinyi [Asking the ancestors to bless the occasion]. After the village has gathered to the performance space, it is customary for the  group  elders  to  pour  libation,  and  then  to  lead  a  short sequence of the Afa dance, an important ritual dance, in order to obtain a favorable outcome for the performance. Adzotsotso [Preludes]. These short dance interludes introduce the solo dance section that follows. Both of these pieces are among the  most  technically  demanding  works  in  traditional  African music.  The  accompanying  music  is  played  in  a sharp  presto tempo between 190­200 beats per minute, and  the musicians must  maintain  several  highly syncopated  musical  lines whose strokes  tend  to  fall  between  the  beats.  The  communication Vutsotsoe [Solo dance  flights].  The  following  ten  solo dance movements each  tell a story using symbolic gestures and pan­ Gahu. Gahu is a neo­traditional dance that has been adopted and adapted  by the  Ewe people of Ghana.  It  is an offshoot of the Gome dance, a Pan­Atlantic African dance form that emerged in the  19th  century  from  the  synthesis  of European  hymns  and marches  with  West  African  musical  sensibilities.  The  name Gahu suggests an airplane, and represents local experiences with new technology and culture. The songs are often humorous and fun, suggesting themes of courtship and celebration. Advanced African Dance Class/Nukporfe African Music Ensemble VI.  Sohaun.  Sohoun  is an  Ewe­Fon sacred  dance  used  to  open  a ceremony of the Yeve shrine. The original movements danced at the shrine inspired the choreography for this folkloric version, created by Dr. Opoku for the Ghana Dance Ensemble. Nukporfe African Music Ensemble VII.  Agbadza. Agbadza is a common funeral dance in  Eweland that encourages community participation by restricting the choreog­ raphy to a single movement sequence that can be quickly learned and  personalized  by anyone.  In  our  version  we  have tried  to evoke this sense of inclusiveness by featuring several first time dancers (who thought  they only signed up to drum!) intermixed with experienced dancers from the group. As is customary in the village,  it  is perfectly acceptable to cheer them  on  when  they come out to dance! �Beginning African Dance Class/Nukporfe African Music Ensemble VIII.  Kparsa. This dance comes from a neighboring group of the Ewe, known  as  the  Ga­Adangbe.  They  share  many  linguistic  and cultural affinities with the Ewe, and these two groups have his­ torically interacted with each other. The characteristic movement of Kpatsa  is  a  limping  gait  that  imitates  the  movements  of dwarfs, a magical race that is believed to inhabit rural areas in Ghana. This movement was combined with dance combinations Alexandra  Abel, Abena  Afful,  Solip  Ahn, Alexandra  Bloom, Tiffany Campbell,  Elissa  Connors,  Afua  Donkor,  Alexandra  Escalante,  Lydia Gyampoh, Alexandria  Hall,  Mirim  Han,  Kimberly  Hoffman, Ataveria participants. A DVA N C E D  DANCE­CLASS Togo Atsia. This dance piece is made up  of a series of choreo­ graphed dance sequences known as atsia. These sequences are cued  by  drum  language  phrases  [vugbe]  played  by  the  lead drummer on aisimevu — the tall drum leaning on the stand — which are answered by the response drum kidi — the medium– sized drum. In the 1960s, expert choreographers and drummers Joannie Almonte, Yae Sl Bae, Elizabeth Brown, Tanesha Brown, Megan Buah, Hanna Chang, Imji Choi, Jin Choi, Kimberly Cruz, Jessica Davis, Jennifer  Etienne, Jieun Gang, Zeinah  Issah,  Mujiberehman  Kamil, Na Hyun Kim, Soo Yun Kim, SunWoo Kim, Gabriella Layne, Fedia Louis, Shannon  McKenzie,  Monica  Morales,  Kaitlyn  Orr,  Sasha  Powell, Elizabeth  Song,  ltoro­Chloe  Udo,  Leslie  Vargas, Shaloma  Wagstaffe, Suycon Yu. NUKPORFE  DANCERS in  the  Ghana  Dance  Ensemble  arranged  this  series  of  atisa movements into a performance piece, which they dubbed Togo Atsia, in recognition of their origin within Ewe groups in Togo that had migrated to the Ghanaian capital of Accra. Cynthia  Amoah,  Vanessa Ayivi,  Sarah  Kuras,  Mildred  Ngminebayihi, Camille Adolphe, Brianna  Padilla, Amy Merke, Aisatou Toure, Jacky Tibbett, Christelle Dossous, Mildred Ngminebayihi, Michaela  Pinnock. Kinka. Kinka is a relatively modern style of Ewe funeral music that became popular in the 1950s. It  features a distinctive body of songs and drum language phrases that juxtapose images and themes from traditional Ewe culture with modern life. Like the Agbadza dance presented above, the original choreography uses Drumming directed and arranged by James Burns, Departments of Music and Africana Studies Again, we feature several first time dancers intermixed with ex­ perienced dancers from the group. As is customary in the village, it is perfectly acceptable to cheer them on when they come out to dance! Yan Ding, Carolyn  Fann, Ki Yoon Jeong, Wangjin Lee, Yuqiao Shi, Max Aaronson, Jobin Arikurmel, Dennis Asante, Bingye Chen, Chun Chen, Evan Flury, Donovan Hotz, Alexander  Irwin, Yea Jee  Lim, Nathan  Schmaling, Evan Schulz, Fangling Zeng Gota. Gota  is another Ewe dance that  was adapted  from  their linguistic cousins the Fon of Benin. For this piece we would like to invite members of the audience to come up and join in  the dancing! NUKPORFE  DRUMMERS only  one  basic  movement  so  that  everyone  can  participate. XI.  B E G I N N I N G  DANCE­CLASS Johnson, Ramzi Kakish, Jessica Katon, Yooji Kim, Amanda Kohn, Ann Kossachev,  Sungjae  Lim, Nina  Marinara,  Jasmin  Martinez,  Jenelle Murling,  Melanie  Rivkin,  Sarit  Sandowski,  Victoria  Scalzo,  Alyssa Starrantino, Priscilla Tong, Kancheng Wang, Jessica Wu. Nukporfe African Music Ensemble X.  Assisted by Ambre Avery, Seth Awotwi. Brianna Padilla, Karin Tifa drawn from the Dipo rites, an  Adangbe  female coming­of­age ceremony where young women are presented to the community as  being  mature  and  suitable  for  marriage.  The  Dipo  dances feature movements that emphasize the beauty and talents of the IX.  Dances Directed and Choreographed by Marcel March, Department of Theatre Dance Assisted by Maritza Rodriguez, Wayne Papke, Devon Tracy, David Sharwell BEGINNING DRUMMERS Jeffery  Appeagyei,  Chen  Chen,  Junxin  Chen,  Seon  Ho  Choe,  David Donaphin, Asuanana Etuk, Hyunkyung Kim, Helena Levi, Dan  Lee, Barry Jackson,  Juan  Restrepo,  Eliana  Rodriguez,  Devan  Tracy,  Christopher Tristano, SangEun Yoon. �I f  you like the music please follow our Facebook page (Nukporfe African Dance­Drumming Ensemble) for upcoming performances. e E VV ? } N   We are also an SA Chartered group, and welcome students and faculty to join our group at: http://paws.binghamton.edu/organization/Nukporfe Ne w Beginnings All of the music and dance that you see today is performed by students at Binghamton University, who are taking one of the following courses in the Departments of Music, Africana Studies, and Theatre Dance: B a c k  t o  o u r  R o o t s Sunday,  ucwbe11s.2011.~1m p.m. ST. Patrick’s Catholic Church Beginnings B’ 9 Leroy Street, Binghammn.NY   . Sunday,  \1m1.11.20u. 4 : 0 0 m Trinity Memorial Church 44 Main Street, Binghamtnn. NY Lessons and Carols for Christmas Crossroads C h u n k  ot‘thc Holy Trinity Tabernacle United Methodist Church 83 Main Street. Burglummn NY if  you  are  interested  in  learning  the  dancing  please  register  for  the Beginning  (THEA  289J/AFST  289])  or  Advanced  (THEA389J/ AFST389J) sections of African Dance. Saturday, November 26, 2011 ‘  . Sunday,  N o r e m b e t l ' .  2 011,  0 0 9 m . 146 Prospect Srieerlanghamzon. NY _ Q ~ _ c , \ s _ — 1  .  “ \ S i s A u  ‘  — _ — / ur “ ll / 6 0 – ­  1 0 4 . 6 – l  ~N\ Fm Tickers: wicwsmadvigalchoir.com if  you  are  interested  in  the  drumming  and  singing,  register  for  the African Music Ensemble (MUS 143B/AFST 188B). . Sunday, June 3, 2012, 4:00 p.m. [ e 5 5  5  2011–2012  H u m e The Madrigal L’hoir rifillngharnrnn U; MAMPARUS!  1  x im – m c  c a?” 13 9 < ,.4  19° { DAGOMEA  i(  f (  \. w ,~  ~ i551)  — A   \ i  G o m a   ’  IGUAN)  /  !  _4\  A & \   11 Ea  ­’737’03.W e”  . va i1  1 \  n\ ,­/EC.;~\ J e  i  \ Ethnic Groups  h  of Ghana  w  U !  m x en ) enoups/ o n   " " '   7.1.— — m  ,~‘/ l b . »   7.1:   N a A , a” oy “ewe N ;  “U: 3"be “1ff H __:C:  h ”   Coo­1  public service media for vour community am­ °  — ­ _ ~ . _ L J — ~ — P  v n o t u b m u w w \ \  u  ~.\  . \ \  9 1 , 1 5 3 . 1 5   &  © 1 1 5 5 ­ �Binghamton University Music Department’s U P C O M I N G  E V EN TS l a m b ­ M M Mid­Day concerts are held on Thursdays, 1:20 PM in Casadesus Recital Hall unless otherwise noted and are 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 Saturday, April 14 – Masterc lass 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, piano – 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 Sunday, April 15 – Guest Organist Carla Edwards – 4 p.m. – First Presbyterian Church, Binghamton ­­ $10 general public ; $6 faculty/staff/seniors; $3 students Thursday, April 19 – Mid­Day Concert – 1:20 p.m. – Casadesus Recital Hall free —  Friday, April 20 – University String Orchestra – 4:00 p.m. – Grand Corridor – . free  Saturday, April 21 – Junior Recital : Matthew Gukowsky, tuba – 8:00 p.m. – Casadesus Recital Hall – free Sunday, April 22 – University Chorus – 3 p.m. – Osterhout Concert Theater – $10 general public; $6 faculty/staff/seniors; $3 students For ticket information, 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 sound discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 75 minutes :1 second 8 minutes :38 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142084">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142084</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 Spring concert: The Nukporfe African Dance-Drumming Ensemble of Binghamton University, March 29, 2012 Description An account of the resource Held at 8:00 p.m., March 29, 2012, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Nukporfe African Dance-Drumming Ensemble 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 3/29/12 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/a54e1cb8c050a54212a7483be40337ca.jpg b7a3e2259b9d0216a5c1bf70ad5ad90b https://omeka.binghamton.edu/omeka/files/original/8cbf5a5f0c34f3066ed4b6204724b1c1.jpg 66570726785cebed421fd066dc4d3e85 https://omeka.binghamton.edu/omeka/files/original/5c1709b5ca027716cb9e435dfef8e563.jpg aee7c7fb10a1ee8aa2ce45fb37ccfcd0 https://omeka.binghamton.edu/omeka/files/original/51df7ecf22482b15fccee2d6d5dd875a.jpg b7f4d40dadebc0bff6cc2e5251aad97a https://omeka.binghamton.edu/omeka/files/original/03db73a704031b63ddc81b6ad7fed8c8.jpg b3f90280a517c505bee940f06cfc6c5f https://omeka.binghamton.edu/omeka/files/original/4693f4212e6cfb22c9e584ad243dd38e.pdf 15ee95043d4c70fdd7f954aedef5fa66 PDF Text Text Letter 6 Item Code: AWL06 Unedited Transcript 01 May, 1864 William S. Pike to Anna Wilcox Posted from Fort No.5, Baltimore, Maryland This letter was enclosed in a 4.25” x 2.5” white envelope, with cancelled three cent stamp in the upper left hand corner of the envelope; postmarked [May] 2 [‘64, BALTIMORE], MD. The postmark, rather than the stamp cancellation, overlays the stamp. The postmark is incomplete, little is discernable other than the ‘2’ of the date and the abbreviation ‘MD.’ The postmark is 1 3/16” in diameter. The stamp cancellation consists of four concentric circles, the largest is 3/4” in diameter and the smallest is 3/16” in diameter. Both the postmark and the cancellation are blue ink. Addressed in black ink to: Miss Anna Wilcox Smyrna Shenango Co NY The envelope was opened by cutting the left side. Slight foxing along the edges. There is blue ink staining on the back of the envelope, likely from the postmarks and cancellations of other letters. The center circle of the cancellations has been traced in pencil and the symbol has been drawn twice in pencil along with one like this . The back of the envelope is addressed in pencil to, in different handwriting than on the front: Anna E. Willcox Smyrna Chenango County NY Three and one-half pages. One 6.5” x 8” sheet folded to form four 4” x 6.5” pages. �Written in black ink on blue lined stationery paper, page four appears to have been unlined. Watermarked with eight vertical lines. The ink is slightly faded. Very slight foxing. There are three creases: one vertical and two horizontal. Folded size is 4” x 2.375”. �Letter 6 Page 1 Fort No.5 May 1st/64 Dear Cozen Anna I received your kind letter a few days Since and I was glad to hear that you were all well I am well and enjoying myself finely and I hope this will find you enjoying the Same blessing this is the first day of may and a lovely day it is nice and warm as �Letter 6 Page 2 Summer and we are close by a large and beautiful Park and a great many people are taking a may ride in it to day the people from the City come to the Park to have Picncks almost every day in the Summer and it makes it verry pleasent for us being So near it the People of Baltimore have been holding a Sanitary Fair here for the last two weeks for the �Letter 6 Page 3 benefit of Uncle Sams Souldiers and I went down with the Drum Corps last night and played for them there was a verry large crowd there the Paper to day Sets it at thirty thousand Old Abe was there and made a Speach there is Some talk of our Regiment going to the field in a Short time there is an order for the Malitia to relieve all the troops that �are doing garison duty but I must close by bidding you good bye give my regards to all enquireing friends from your Cozen Wm̤ S. Pike Letter 6 Page 4 � 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 Anna E. Wilcox Family letters Subject The topic of the resource United States--History--Civil War, 1861-1865--Personal narratives ; Soldiers--Correspondence. Description An account of the resource The collection consists of 45 letters on 44 sheets, 8 photographs, 4 unassociated envelopes, and ancillary materials. Most of the letters were written between October 16, 1862 and August 10, 1865. Ancillary materials include the "scope and content" note, the "finding aid", and the "transcription note". Also, the ancillary materials include photocopies from the National Archives and Records Administration of the Military Service Records and Military Pension Records for William Pike, B. Leroy Pike, and Emory Wilcox (Service Record only). Creator An entity primarily responsible for making the resource Wilcox, Anna E. Pike, William S. Wilcox, Emory Pike, Benjamin Leroy Pike, John Pike, Ruth Pike, Corintha Pike, Mary J. Stover, Benjamin Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1862-1868 Rights Information about rights held in and over the resource <span>In copyright.</span> Relation A related resource <a href="https://archivesspace.binghamton.edu/public/repositories/2/resources/106">Binghamton University Libraries Special Collections, Anna E. Wilcox Family letters</a> Language A language of the resource English Type The nature or genre of the resource Text ; image Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1860-1869 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. 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/. Identifier An unambiguous reference to the resource within a given context AWL06 Relation A related resource Anna E. Wilcox Civil War Collection Binghamton University Libraries’ Civil War Collections Title A name given to the resource Spring of 1864 Letter to Anna Wilcox from William S. Pike Description An account of the resource William S. Pike, a Civil War soldier writes to his Cousin Anna Wilcox from Fort No. 5, Defenses of Baltimore in May of 1864. He writes of the pleasant weather and picnics and fairs hosted for the soldiers by the people of Baltimore. He mentions playing with the Drum corps at a speech made by Abraham Lincoln at the April 18, 1864 Baltimore Sanitary Fair. Original format:1 sheet, 16 x 21 cm folded to 11 x 16 cm, and 1 envelope, 6 x 11 cm. Format The file format, physical medium, or dimensions of the resource 1 digital resource (4 pages) image/jpg Creator An entity primarily responsible for making the resource Pike, William S. Subject The topic of the resource United States -- History -- Civil War, 1861-1865 -- Personal narratives Soldiers -- Correspondence Soldiers -- New York (State) -- Smyrna -- Correspondence Soldiers -- New York (State) -- Chenango County -- Correspondence Lincoln, Abraham, 1809-1865 Lincoln, Abraham, 1809-1865--Public Appearances--1860-1870 Wilcox, Anna E. -- Correspondence Pike, William S. -- Correspondence United States. Army. New York Artillery Regiment, 8th (1862-1865). Company B Date A point or period of time associated with an event in the lifecycle of the resource 1864-05-01 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1860-1869 Type The nature or genre of the resource Text Language A language of the resource English Publisher An entity responsible for making the resource available Binghamton University Libraries Rights Information about rights held in and over the resource http://www.binghamton.edu/libraries/special-collections/servicesandpolicies/docs/duplicationpolicy.pdf https://omeka.binghamton.edu/omeka/files/original/18fd4608bb47c3c8904e0654fa6743a8.jpg abd5a4693645066ed796686ef265925e https://omeka.binghamton.edu/omeka/files/original/47f25bda0179c9f43385f34bd696088f.jpg 53dcb83044d1bd289a53efc30737c97a https://omeka.binghamton.edu/omeka/files/original/88619e5d13d6c58c1e40e224868f82d5.jpg 7613ba2691f2bcd822e0174d2d08e795 https://omeka.binghamton.edu/omeka/files/original/51fe2819106319a932a995d9a7ac2387.jpg b924a74fba58395214626ef1ccd11ab1 https://omeka.binghamton.edu/omeka/files/original/c1ea40ce58c1b23a58604c51a3374295.jpg c8483c51afffb3296bea1139ff45359e https://omeka.binghamton.edu/omeka/files/original/5a6de623e026a803aecabad1097e936a.jpg 37ade05a46713735f6417d4a2944cbe6 https://omeka.binghamton.edu/omeka/files/original/743a29f0b0b8aa6123d3941ee3f022de.jpg a808bb78f65d2e379139ff3a0bd1d3a3 https://omeka.binghamton.edu/omeka/files/original/4e7436d5b8649981d8125e3bfb5f6fbf.jpg 1ab6d6cb4f34a79c72cb55a76eaa4d78 https://omeka.binghamton.edu/omeka/files/original/2b0e3f7e9d81011e5612139bc1ac46a6.jpg f098b359f8352a070f9f7c749c65ad8c https://omeka.binghamton.edu/omeka/files/original/756c88978047040978a73f05b169a025.jpg 15f1e71fc7a04817387b98f813bac419 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 Reinhardt Promptbooks Description An account of the resource <strong><em>Who is Max Reinhardt?</em></strong> <br />The celebrated <span>Austrian t</span>heater director <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt</a>, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. <br /><br /><em><strong>What is a prompt book?</strong></em> <br />The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. <br /><br /><em><strong>Why are his important?</strong></em> <br />Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. <br /><br /><em><strong>Acknowledgements</strong></em> <br />Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale. Relation A related resource <p><a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><em><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a><br /></em><br /><a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/"><span>Max Reinhardt Archives and Library</span></a><br /><br /><a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&amp;tab=DigitalCollections&amp;search_scope=DigitalCollections&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;offset=0">Max Reinhardt Collection Photographs</a></p> <p></p> <p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a></p> <p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a></p> Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Jean Green,&nbsp;<br /><br />Binghamton University Students: <br />Madelynn Cullings<br />Kashawn Hernandez<br />Aanyah Jhonson-Whyte<br />Marisa Joseph<br />Bethany Maloney<br />Ashleigh Marie Sherman<br />Thomas Tegtmeier<br />Joseph Vitale Promptbook Description Paper-cover promptbook, good condition although worn. Promptbook is entirely in English handwritten notes mix of English and German. Key of notes and page numbers found in pink pencil included. Most markings in purple pen and pink pencil. Orange pencil also used for some references. Notes in purple pen and pink pencil in both English and German, both in Reinhardt’s handwriting. Collection Max Reinhardt Promptbooks Dimensions Physical dimensions of item 19cm x 13cm Earlier version Earlier version (dcterms:isVersion Of) Kvadratura kruga Notes Located in Binghamton University Libraries Special Collections PT2635.E548P75 v.64 Production(s) Not specified. 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 Squaring the circle : a play in three acts [promptbook] Subject The topic of the resource Kataev, Valentin, 1897-1986. Kvadratura kruga -- Translations into English Promptbooks Stage Directions Creator An entity primarily responsible for making the resource Kataev, Valentin, 1897-1986 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 1900s Contributor An entity responsible for making contributions to the resource Reinhardt, Max, 1873-1943 Language A language of the resource German Identifier An unambiguous reference to the resource within a given context R 3159 Rights Information about rights held in and over the resource Copyright undetermined. This image is provided for educational and research purposes only as is stipulated by U.S. and international copyright law. For more information, please contact speccoll@binghamton.edu.