153 10 1775 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 minutes :59 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142153">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142153</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 Binghamton University Chorus Haydn: Missa in Angustiis Mozart: selections from Vespearae solennes de confessor, K.339, April 22, 2012 Description An account of the resource Works by Haydn, Mozart Held at 3:00 p.m., April 22, 2012, Osterhout Concert Theater. Creator An entity primarily responsible for making the resource MacLennan, Susan Starks, Kathy Gleason, James Messing, Randy Borton, 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 4/22/12 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/bbd865544a59163f5f3276b4aae32c6a.pdf 4b329e2c3fbef393591f3f233815b0e4 PDF Text Text BINGHAMTON U N I V E R S I T Y S TAT E   U N I V E R S I T Y   OF  N E W  Y O R K wdee [4 D E P A R T M E N T BRAHMs’s “REGENLIEDER” EVOLUTlON FROM SONG TO  SONATA Janey Choi, violinist & lecturer Michael Salmirs, piano Mary Burgess, soprano Tuesday, April 24, 2012 8 p.m. Casadesus Recital Hall �PROGRAM ABOUT THE PERFORMERS Lecture: Regenlieder— The Evolution from Songs to Sonata «8 A­INTERMISSION # ­  «5 Regenlied, op.59 no. 3.  .Johannes Brahms Nachklang, op.59 no. 4  (1833­1897) Violin Sonata No. 1 in G, op. 7 8 . Vivace ma non troppo Adagio – Piu Andante – Adagio Allegro molto moderato Johannes Brahms Canadian violinist, Janey Choi gave her Carnegie Hall recital debut in 1997 as a winner of the Artists International Auditions and continues an active career performing on recital and chamber series, on Broadway, and with such groups as the Ardelia Trio, Ensemble X, New York City Ballet, and the Teaching Artists Ensemble of the New York Philharmonic. The recipient of numerous awards including the Chalmers Performing Arts Grant from the Ontario Arts Council (Canada) and National First Prize in the Canadian Music Competition, she has participated in such festivals as Mostly Mozart, Norfolk, Taos, the Spoleto Festivals in the U.S. and Italy, Festival Musical de Santo Domingo, the Santa Fe Opera and the Sarasota Opera. An avid inter­arts and cross­genre collaborator, she is the Music Director of Thomas/Ortiz Dance, and has performed numerous times with the Parsons Dance Co., most notably at the Kennedy Center in Washington, DC, and at the New Victory Theater in Times Square. She also initiated a collaboration with the Paul Taylor Dance Company and the Binghamton University Music Department.  Her other interests have taken her to the visual arts world, developing and presenting an annual “Music + Art” show commissioning artwork based on chamber works.  She has recorded and appeared with such mainstream performers as Bono (U2) and Quincy Jones, Adele, Beyoncé, Aretha Franklin, Enya, Elton John, Jay­Z, Sarah McLachlan, Lenny Kravitz, and Kanye West, on the Grammys, MTV, Saturday Night Live, the Today Show, at Live 8, Radio City Music Hall and Royal Albert Hall in London, England. Dr. Choi holds the distinction of being the youngest, and only Pre­ College student ever accepted by her late mentor, Joseph Fuchs at The Juilliard School, where she graduated from the accelerated BM/MM program with the Joseph Fuchs Graduation Prize. Her other major teachers include Joel Smirnoff, Victor Danchenko, Harvey Shapiro, and Arnold Steinhardt.  She attained her Doctor �of Musical Arts degree at Rutgers University with full scholarship and was the recipient of the Graduate Fellowship Award. Strongly committed to education, she has been on the faculty of Binghamton University since 2006 and is a Teaching Artist for the New York Philharmonic and Chamber Music Society of Lincoln Center. She has presented educational workshops for the College Music Society National Conference, Tokyo College of Music and Lincoln Center Institute. In her free time, she enjoys marathon and triathlon training, playing soccer and ice hockey. Mary Burgess, soprano, a graduate of the Curtis Institute of Music, has been a member of the Binghamton University voice faculty for over twenty years.  Ms. Burgess made her US operatic debut with New York City Opera while still a student at the Curtis Institute, and subsequently appeared with Santa Fe Opera, Washington Opera, New Orleans Opera, Nevada Opera, and many other regional companies including Tri­Cities Opera in Binghamton. Her European operatic debut was at the Holland Festival in Amsterdam; she has also performed at the Spoleto Festival in Italy, at the Theatre Royale de la Monnaie in Brussels, and with Dublin Grand Opera.  Ms. Burgess has appeared as soloist with more than two dozen US orchestras, including the Boston Symphony (with Seiji Ozawa), Cleveland Orchestra (with Lorin Maazel, Eduardo Mata), Chicago Symphony (Sir Simon Rattle), and Cincinnati Symphony (Klaus Tennstedt, James Conlon).  She has been a frequent guest at such prestigious festivals as Marlboro, Monadnock, Ravinia, Aspen, Blossom, Casals, Chautauqua, and the Cincinnati May Festival. Her repertory of forty roles in five languages ranges from Monteverdi and Cavalli to Britten and Virgil Thomson.  Her performances of Britten’s Les Illuminations and Mahler’s Symphony No. 2 with the Omaha Symphony were filmed for broadcast by Nebraska ETV. She has recorded for Columbia, Masterworks, CRI, Sony Classical, and Telarc. Pianist Michael Salmirs, a founding member and artistic director of the Finger Lakes Chamber Ensemble, is well known as a recitalist and chamber musician performing extensively throughout the region. He has appeared as soloist with the Coming Philharmonic, Binghamton University Orchestra, Cayuga Chamber Orchestra, and has been a featured pianist on their Sunday chamber series. As a performer of contemporary music, he has participated in such series as Binghamton University’s Musica Nova, Cornell University’s Ensemble X, Chiron, and has toured and recorded for the Syracuse Society for New Music. Salmirs studied at the New England Conservatory and Eastman School of Music; his teachers have included pianists Leonard Shure and Rebecca Penneys and composer Karel Husa. Salmirs has taught at the Syracuse University School of Music and Hobart and William Smith Colleges. He is currently a faculty member at Binghamton University and an Affiliate Artist at Cornell University. He maintains a private piano studio in Ithaca and enjoys teaching students of all ages and levels. �TRANSLATIONS ABOUT THE SERIES The Friedheim Memorial Series honors the memory o f Professor REGENLIED (Rain Song; text by Groth) Pour, pour down, rain; reawaken in me the dreams that I dreamt in childhood when the moisture foamed in the sand! When the weary summer sultriness fought indolently against the fresh coolness, and the gleaming leaves dripped dew, and the fields of grain took on a deeper blue, the fields of grain took on a deeper blue. What bliss to stand in the downpour at such times with bare feet, to brush against the grass and reach out and touch the foam, or else to catch cool drops on one’s flushed face and to open one’s childlike heart to the newly awakened scents, to open one’s childlike heart! Like the calyxes that were dripping there, one’s soul was wide open and breathing, like the flowers intoxicated with fragrances, sunk in the heavenly dew. Each drop gave a thrill of pleasure and cooled you down to your beating heart, and the holy weaving of Creation penetrated the hidden sources of life, penetrated the hidden sources of life. Pour, pour down, rain; awaken my old songs, which we sang in the doorway when the drops fell noisily outside! I would like to listen to them again, to their sweet moist murmuring; I would like to bedew my soul gently with that holy childlike awe, that holy childlike awe. Nachklang (Lingering Sound; text by Groth) Raindrops are falling from the trees into the green grass; tears from my dulled eyes are moistening my cheeks. When the sun shines again, the lawn becomes twice as green: my hot tears will burn twice as fiercely on my cheeks, my hot tears will burn. Philip  Friedheim  (1930–1986)  whose  remarkable  tenure  at Binghamton University featured many memorable lecture­recitals with faculty and  guest artist­performers on major works of the classical  music  tradition.  We  seek  to recreate  Phil’s  special combination  of  scholarship  and  performance  that  served  to deepen our understanding for — and love of — great works of musical  art.  All  proceeds  of  the  series  will  go towards  the undergraduate scholarship funds of the Department of Music. The 2009–2010 series opened in September 2009 with Professor Emeritus Harry Lincoln’s remarks on J. S. Bach’s Sonata in b minor featuring Georgetta Maiolo on flute and Jonathan Biggers on harpsichord. Today’s  performance  in  the  series  will  highlight  Brahms’s Regenlieder. Please join us as we explore Brahms’ “Regenlied & Nachklang for voice & piano, Op.59 No.3” and “Violin Sonata No. 1 in G Major, Op.78". The favorite of his three violin sonatas, Johannes  Brahms’  “Regenlieder”  (Rain  Song)  Sonata  used thematic material from a set of songs, the Regenlieder, composed six  years  earlier. Both  were  presented  to Clara  Schumann  in difficult times and  seemed to communicate beyond words, his desire to comfort her with their melancholy beauty and enduring spirit. Lecturer and violinist Janey Choi will bring these works to life with pianist Michael Salmirs and soprano Mary Burgess. �Bingh amton  Unive rsity Music Department’s M POO/Vt w q E V E NT  s Mid­Day concerts are held on Thursdays, 1:20 PM in Casadesus Recital Hall unless otherwise noted and are FREE Thursday, April 26 – Mid­Day Conc ert – 1:20 p.m. – Casadesus Recital Hall —  free Thursday, April 26 –Brass  Studio Recital – 8 p.m. – Casadesus Recital Hall —  free Friday, A pril 27 – Tri­Citie s Opera presents  “The Magic Flute ” – 8 p.m. – The Forum Theatre – call (607) 772­0400 for tickets Saturday, April 28 – University Sy mphony  Orchest ra: The Three B’s (Bach, B rahms a nd Beethoven) with  faculty v iolinist Janey Ch oi and oboist J ohn Lathwel l – 3 p.m. – Osterhout Concert Theater – $10 general public; $6 faculty/staff/seniors; $3 students Sunday,  April 29 – Harpu r Chorale and Wo men’s C horus: S ing into S pring – 3 p.m. – Anderson Center Chamber Hall – $6 general public; $3 faculty/staff/seniors; free fo r students Sunday,  April 29 – Tri­Cit ies Opera presen ts “The M agic Flut e” – 3 p.m. – The Forum Theatre – call (607) 772­0400 for tickets Tuesday, May 1 – Strin g Departm ent Reci tal: Strin g Fever – 8:30 p.m. – Casadesus Recital Hall – free Thursday, May 3 – Jazz Mid­Day Concert w ith guest ar tist Mark Buselli, trumpet – 1:20 p.m. – Osterhout Concert Theater – free Thursday, May 3 – Harpu r Jazz Ensemb le Conce rt with guest ar tist Mark Buselli, trumpet – 8 p.m. – Osterhout Concert Theater – $10 general public; $6 faculty/staff/seniors; $3 students Friday, M ay 4 – Fl ute Stud io and Flute Chamber Concert – 10:15 a.m. – FA21 – free Saturday, May 5 – Wind S ymphony Concert celebrates Cin co de Mayo – 3 p.m. – Anderson Center Chamber Hall – $6 general public; $3 faculty/staff/seniors; free for students For ticket information, please call the Anders on C enter B ox  O ffice a t 7 77­ART 5. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 38 minutes :15 seconds 27 minutes :7 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142200">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142200</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 Brahms's "Regenlieder," Evolution from song to sonata, April 24, 2012 Description An account of the resource Works by Brahms Held at 8:00 p.m., April 24, 2012, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Choi, Janey Burgess, Mary 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 4/24/12 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/acc966c9ed33a9020c83dbf6e5fe0890.pdf d2cc0de6b9fc568b82ab540d4683f3a1 PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E   U N I V E R S I T Y   O F   NEW  Y O R K widee D E P A R T M E N T MASTER OF MUSIC RECITAL JAKE STAMATIS, BASS­BARITO NE WlTH JOHN ISENBERG, PIANO SPENCER PHILLIPS, DOUBLE BASS FRIDAY, APRIL 24, 2015 7:30 P.M. CASADESUS RECITAL �&  PROGRAM  ~€s “Per questa bella mano”, KV 612 W.A. Mozart (1756­1791) Spencer Phillips, double bass ...Anton Webern (1883­1945) .. Alban Berg Der Tod ..  Tief von fern  Abschied .  (1885­1935) Traurigkeir  .Amold Schonberg (1874­1951 ) Wamung . .. Jules Massenet Riez, allez..  (1842­1912) from Don Quichotte  @» Interm ission @» L’Horizon chimérique, Op. 1 18..  La mer est infinite  ] e  me suis embarqué Diane, Séléné . Gabriel Fauré (1845­1924) Vaisseaux, nous vous aurons aimes Eight Songs of Americana, Op.22  Vision  Arizona Three Black Crows Beaver Ca p, Sir Pretty Molly Mother­In­Law Old White Mule The Maple on the Hill Song of Black Max. Richard Hugunine (b. 1955) . William Bolcom (b. 1938) This program u offered in partial fulfillment of the requirements for the degree of Masters of Music in Opera. Jake Stamatis is a student of Thomas Goodheart. �Program Notes Wolfgang Amadeus Moza rt was one of the most influential composers of the classical era, and perhaps of all time. His music is characterized by a consonant playfulness. as well as melodic intricacy that reflect the sort of spirit that Mozart had in his own life. Per questa bella mano is no exception to these traits. This concert aria, composed in 1791 (the year of Mozart’s death) for the first singer to play Sarastro in Die Zauberfléte, is truly unique in  the  repertoire  in  that  it  features  a  particularly  difficult  double  bass obbligato line.  The scale work and virtuosic double stop  sections have made this aria both thrilling and notorious among bass players throughout history. 1 am truly lucky to have Spencer Phillips with me tonight who is more than willing and able to take on the pieces unique challenges! 1. Per questa bella mano For this beautiful hand, For these lovely eyes,  1 swear, my dear, that 1 shall love  none but you.  The breeze, the plants, the  stones, that know my sighs well,  will tell you of my undying  faithfulness.  Turn to me with happy or proud glances, tell me even that you hate me or love me, I am always enflamed by your sweet arrows, your voice always calls to me. Neither earth nor heaven can change that desire that lives in me. The  Second  Viennese  School  was  a  group  of  composers  under  the leadership and tutelage of Arnold Schénberg in  the early part of the 20* Century.  A  prominent  composer  influenced  by  the  expressionist movement, Schonberg accepted an elite group of pupils into the school who devoted their lives to  the innovation and advancement of German music.  Among  his  most  well known  pupils  were  Anton  Webern  and Alban Berg. Their advances led  to the atonal movement in Germany in the  first half of the  1900s, a compositional style that is, today. credited almost entirely to Schonberg, Webern, and Berg. Tonight’s program features five songs from each of these composers’ early periods.  These  lieder  were  composed  between  1901  and  1907  and represent the Second Viennese School’s final moments of romanticism in their compositional styles before giving way to complete atonality in 1908. While each of these pieces still maintains a tonal center and a harmonic organization,  the  use  of  incidental  chromaticism  and  expressionistic coloring hints towards  the  tonal revolution that the composers were on the brink of. In choosing the program for this evening, 1 found that at the core of each of these five poems are starkly different characters and emotional actions. Webern’s Der Tod is powered by an exhausted fear after the singer finds himself  in  Death’s  chamber,  while  Tief  van  fern  depicts  the  abstract character of the ocean as  it reaches  for  the setting sun and  then waits longingly for it to return. Berg’s more extroverted Ahschied and Traurigkeit contrast Webern’s more introverted preferences. A sly traveling musician bids  farewell to a woman in Abschied.  The low tessitura paired with the juxtaposition  of very  articulated  and  then very  legato  phrases  creates  a smarmy sort of charm that depicts this “Don Juan” as he moves on, not only  to  the  next  town,  but  also  from  this  love  inertest  to  the  next. Traurigkeit  brings  out  a  more  sincere  character,  as  the  singer  tries  to console  a  weak  and  tearful  young  girl.  Schonberg  brings  us  the  most bizarre  and  dangerous  character  of  the  five  in his  setting  of  Richard Dchmel’s Warnung. The tempo marking “Rasch, mit uerhaltener  Heftigkeit” (“Rapidly,  with  restrained  violence")  perfectly  describes  the  unstable character  that  speaks  to  us  in this piece.  Obsession  and  jealousy  have created  this  terrifyingly  unpredictable  man  that  opens  the  song  saying, “My dog, at you, had merely snarled and I have poisoned him.” The piece begins very agitated with wildly syncopated rhythms in the piano while the erratic vocal line leaps and plummets above it. At the peak of the tension, the music calms and  becomes more legato as the singer is calmed by the thoughts of the romantic gestures he has sent his loved one. As he talks about  coming  to  visit,  he  grows  progressively  more  aggressive  in  his demands for her to be alone when he arrives. He then reveals that he saw her in the sunset with another man, and his jealousy builds as the piano travels upward  in  chromatic  scales.  His  final warning,  “denk  an  meinen Hand” causes an eruption of emotion. “ Think on my dog.” He killed him out of his love for her. Imagine what he will do if she betrays it. 11 .  Der Tod (Death)  Ah, it is so dark in Death’s  chamber, he sounds so sad, when he moves about and now lifts his heavy hammer and strikes the hour. Deep from far from mornings gray waves, the great bank longs for the star. Tief von fern (Deep from far) From evening’s white waves plunges a star; deep from far comes the young moon, drawn. touch. Abschied (Farewell) A musician who must travel, this is an old custom. His drumbeats are always done with a farewell Whether I once again will return? My love that I do not �know. The heavy hand of Death breaks many rosebuds. Traurigkeit (Sad ness) Weep, gentle maiden So long she weeps, carrying the world in her sad heart. Weep gentle maiden! Hold your hands before your trembling face. When you lower them, smiling, it is over. Wamung. (Warning) My dog, at you, had merely snarled and I have poisoned him; and I hate all mankind who provoke quarrels. I sent you two blood­red carnations, my blood for you. On the one a bud; those three should please you until I arrive. I will come tonight, be alone, you! Yesterday, when I arr ived, I saw you with someone in the sunset. You: think on my dog! Jules Massenet was a French composer best known for his operas, which include  the  popular  Manon,  Werther,  and  Cendn’llion.  Another  of  his famous  compositions  is  the  operatic  setting  of  Don  Quichotte  (Don Quixote),  the  story  of  the senile  old man who puts on armor,  climbs aboard  his weak old  horse and sets out  in search of valor, chivalry, and honor. With his trusty partner, Sancho Panza, at his side, and his beloved Dulcinée never far from his thoughts, he goes on a disillusioned journey that eventually leads to his end. At  the climax of  the third act of the opera, Don Quichotte encounters Dulcinee and confesses his love for her. She denies him respectfully, bur this creates a chain reaction as onlookers burst into laughter and mock his tattered clothes, rusty armor and  geriatric horse.  The everloyal Sancho steps between the chastisers and Don Quichotte and scolds them in the aria Riel, allez. He turns from them and li fts up his friend saying, “Come, my master, come! Let us again take up our noble quest!” III. Riel, allez (Go on, laugh) You, all of you are com mitting an appalling deed, lovely ladies, gentlemen, by insulting the admirable and bold hero who stands here before you! Laugh, go on, laugh at this poor idealist who walks in his dream and speaks to you of pastoral simplicity, of love and goodness as did another: Jesus! Mock without pity his tattered stockings, his threadbare doublet, his muddy breeches, you lowly rascals, sluts, beggars who should fall at the feet of the saintly being whom you mock. Come, my great one, come! Let us again take up our noble quest! Let us charge against all cowardice, and let us give to the unhappy the bread of goodness! French composer Gabriel Fauré was  one  of  the  most  influential composers of his generation. His compositional  style  provides  a link  between  Romanticism  and 20™  Century  Modernism  as  he was  born  into  a  time  when Chopin was still composing and died as  the atonal music of the Second  Viennese  School  was attracting  attention.  Fauré's music  is  characterized  by advanced  harmonic and melodic style,  contrasted  by  subtle  and repetitive rhythmic motives, The romantic  charm  of  his  earlier works  gave  way  to  tonal experimentation  at  the  end  of his life as he aimed to create the impression  of  several  tonal centers  at  once,  with  complex and  unpredictable  harmonic motion. Fauré’s  final  vocal  composition L’Horizon chimerique (1921) is no exception  to  this.  Each  of  the cycle’s four poems by Jean de la Ville  d e  Mirmont  (1886­1914) usc images of the sea to depict a longing  for  adventure,  destiny, and serenity as  well as a  fear of the unknown. In  the first piece, La  mer  est  infinie,  the  singer expresses  his  excitement  for adventure  by  imagining  the  sea carrying his dreams away  in the wake  of  ships  (his  desires)  that his heart has been chasing all  his life.  The  energetic  and  agile rhythm in the piano depicts the restless excitement that he has in the face of infinite possibility. Je me  suis embarqué  is characterized by the uneven rhythmic pattern that  is  repeated  in  the  piano, representing both the rocking of a ship on water, and the feeling of  u neasiness  that  looms  over the  singer.  He  feels  most  at home at sea, and denies his ties to  land  saying,  “My  brothers,  I have  suffered  on  all  of  your continents.  1  want  nothing  but the sea, 1 want nothing but  the wind  to  cradle  me,  like  an infant,  in  the  trough  of  the waves.”  As  he  sings  this,  the dotted­rhythmic in the le ft hand o f the  piano dissipates  and  the music  evens  out.  Immediately after,  the  pattern  returns,  and with  it  comes  the  singer’s uneasiness.  He remarks  that his home  is  nothing  more  than  a faded image and that the tears of leaving  it behind  “do not burn [his]  eyes  anymore.”  He remembers  nothing  of  his  final farewells  and  that  shocks  him. Now  he  is  left  wondering  if  his numbness  to  leaving  his  home behind means that he has lost a piece of his humanity. Diane, Séléné  is a love song to the moon. The rhythm is simple and the  harmonic  density  of  the earlier  two  songs  is  now  wiped away  to  reveal  a  subtle  clarity that the singer sees in the moon. His  expressions  of  love  are colored  by  envy,  as  there  is  a sense that he desires such clarity in his own life. The final piece, Vaisseaux,  nous vous aurons aimés, �returns  to  the   ke y   a n d   tempo marking (Andante quasi allegretto) of the first piece of the cycle, but expresses a  different  feeling  not only in  the text  but also  in  the length  of  the  musical  gestures. Mirmont’s  poem  speaks  of staying  behind  on  land  and allowing  others  to  seek  their destinies at sea. La mer est infinie, the sort of “sister” to  this song, used  driving  sixteenth  note rhythms in the piano as well as quick  and  flowering  melodic lines  to  depict exhilaration and reckless abandon  in the  face  of possibility.  This  final  piece  is more  restrained;  the  agile sixteenth  notes  have  become lyrical  eighth  notes.  The expressive  motion  of  the  vocal line  is  more  gradual  than explosive as it makes one single, elongated crescendo to the climax at  the  end  of  the  song.  The singer encourages his loved ones to seek their destinies at sea even though it will leave him deserted on  land.  He  says,  “the  breeze that intoxicates you fills my heart with  fear".  At  the  peak  of  the four­page­long  crescendo  he admits that he wants them to go because  he  understands  the feeling  of  despair  that  comes from  never  seeking  out  one’s destiny; a feeling he knows well since  his  fear  of  the  unknown has  kept  him  from  his  own departure. IV. L’Horizon chimérique (The Shim mering Horizon) IL.  La  mer est infinie The sea is infinite and my dreams are mad. The sea sings to the sun, striking the cliffs, and my joyful dreams taste more of the pleasure of dancing on the sea like drunken birds. The vast movement of the waves carries my dreams. The breeze shakes and tumbles them in folds; Playing in the wake, they form an escort to the ships my heart has followed in their flight. Wild with air and salt, and scalded by the foam of a sea that consoles, that washes away tears, They will know the ocean and its good bitterness; Stray gulls w ill take them for their own. 11. Je  m e suis emba rqué I am embarked on a ship that dances and rolls from side to side and pitches and sways. My feet have forgotten the land and its ways; the supple waves have taught me other cadences, lovelier than the weary rhythm of human songs. To live among you, alas! Have I a 7 My brothers I have suffered soul?  on all of your continents. I want nothing but the sea, 1 want nothing but the wind to cradle me, like a baby, in the trough of the waves. Out of the port, which is no more than a faded image, the tears of leaving no longer burn my eyes. [ do not remember anything of my last goodbyes. Oh my pain, where have 1 le ft 7  you!  Ill . Diane, Séléné Diane, Selene, moon of lovely metal, who reflects to us, upon your desert face, in the immortal ennui of quiet stars, the regret o f a sun whose loss we weep for. Oh moon, I GOV“ your clarity,  Insult to the vain turmoil Of  poor souls, and my heart, ever  weary and ever restless, aspires toward the peace of your nocturnal flame. IV. Vaisseaux, nous vous aurons aimés Ships, we would have loved you even if all were lost. The last of you all have gone to the sea. The setting sun took so many open sails that this port and my heart will be deserted forever. The sea has taken you to your destiny, beyond the shore on which we stand. We could not keep your souls in chains; you need the distances that I do not know. I am among those whose desires are on land. The breeze that intoxicates you fills my heart with fear, but your call, in the depths of evening, fills me with despair, because 1 have great unfulfilled departures as well. The most daunting challenge of composing for unaccompanied voice is to successfully  suggest  harmony  while  simultaneously  conveying  the sentiments  contained  in  the  texts.  Sometimes  the  sentiment  takes precedence, sometimes the harmony. In the context of this set of songs, 1 believe I have been successful in suggesting the (occasionally very difficult) harmonies. I know I have relied  on Jake Stamatis’s talents and vivaciou. personality to provide the texts’ sentiments in places where my craft may have proved less than sufficient. My goal in composing these songs was to impart a sense of the expressive nature of American folk music when it was part and parcel of life in the recently­opened West; when one sang a funny song about one’s mother­in­ law to lighten a mood, or sang about an old white mule just to be silly, just to make people laugh. Texts were  taken from  the Charles L. Todd and Robert Sorkin Migrant Worker  Collection.  The  collection,  contained  within  the  Library  of Congress.  is available as  a transcript of a series of recordings made  in California during  1940  and  1941.  The  single  exception  is  the  text  of Vision, which text is a poem by Robert Penn Warren, and is in the public domain. During the research phase of this project, it was  interesting to discover  that nearly all of the texts  in  the  Todd/ Sorkin Collection are �abbreviated versions of 1 7 “  and 18” century English folk songs. All of the melodies are original, with the exception of Three  Black Crows, which is an adulteration  of  a  very  old  English  folk  tune  that  probably  predates Elizabeth I. ­Richard Hugunine V. Eight Songs of Americana 1. Vision I shall build me a house where the larkspur blooms in a narrow glen in an alder wood. Where the sunset shadows make violet glooms, and a whippoorwill calls in eerie mood. I shall lie on a bed of river sedge, and listen to the glassy dark. With a guttered light on my window ledge, while an owl stares in at me, white and stark. I shall burn my house with the rising dawn and leave but the ashes and smoke behind. And again give the glade to the owl and the fawn, when the gray wood smoke drifts away with the wind. 2. Arizona We were out in Arizona on the painted desert ground. We had no place to call our own home, and work could not be found. We started to California, but our money, it didn’t last long. [want to be in Oklahoma. Be back in my old home. Away out in the desert where water is hard to find, it’s a hundred miles to Tempe and the wind blows all the time. 3. Three Black Crows There were three crows sat on a tree and they were black as black could be. Said one black crow unto his mate, “what shall we do for meat to eat?” “ There is a horse on yonder plain, was by some cruel butcher slain. We’ll sit upon him in the sun and pick his eyes out one. by. one.” 4. Beaver Cap, Sir I went to town the other day to buy me a hat, Sir, and everything that they put down it was a beaver cap, Sir. I went home that very night, [ laid it on my bed, Sir, so every time that I woke up I tried it on my head, Sir. I went to work the other day a­ feelin’ mighty flat, Sir. When I came home my mother’d set a hen in my old cap. Sir. I picked them eggs up one­by­ one; you bet I had some fun, Sir! Threw them at my mother’s head, they fanned her as she ran, Sir! My wife got mad the other day; she took me by the nape, Sir. Threw my right out in the yard and stomped my beaver cap, Sir! 5. Pretty Molly “Pretty Molly, pretty Molly, come go along with me. Before we get married some friends for to see.” Oh, his back’s caved in and he’s He led her over hollers and valleys so deep, at last pretty Molly began for to weep. “Sweet William, sweet William, you’re leading me astray, an innocent love you shall betray.” “Pretty Molly, pretty Molly, you’re guessin’ jest right, for I dug at your grave one half all  last night! Stand back! No time to stand!” and innocent he stood with a big knife in his hand. He stabbed her to the heart and her blood it .did flow, and into her grave, her kind of thin, but his legs are strong and fine; I ’ll  sing a ‘lil’ song as I ride along on this old white mule of mine. Oh, they’re plannin’ a dance in the valley, I’ll quit my work at body did go. 6. Mother­In­Law Now, friends, if you listen I’ll sing you a ditty of the ugliest woman that ever you saw. She is so ugly she frightens the children whenever they go for a walk on the street. With a hole in her head like a crack in a pun’kin and a lump on her back and such very large feet, O, my life is all trouble, no pleasure I see, wherever I go that old bag watches me. I’d rather be drug off to jail or to congress than spend my whole life with my mother­in­law. I told that old lady when I married her daughter; I did not intend the whole fam’ly to wed. 7. Old White Mule Oh, I live high up in the mountains in the kingdom of the pine. I live alone with my old pal, this old white mule of mine. the still; I’ll climb aboard the old white mule, and ride him down the hill. Oh, the other day we had quarreled, I had called him a nasty name; He kicked me down the mountain, but I love him all the same. Oh, he shares with me my sorrow, he shares my bread and wine; He also wants to share my girls, but there I draw the line. 8. Th e Ma ple on the H ill In a quiet country village grew a maple on the hill where I sat with my sweet darling long ago. As the stars were shining brightly we could hear the whippoorwill as we sat beneath the maple on the hill. Don’t forget me, little darling, when they lay me down to die. Just a little wish, my darling that I crave; as you linger there in sadness, you are thinking of the past, and your tears shall kiss the flowers on my grave. We that sang love­songs together when the birds had gone to rest, we would listen to the murmur of the till. Will you love me, little darling, as you did that starry night when we sat beneath 7  Don’t the maple on the hill?  �Masters Degree in  Opera here at Binghamton U niversity where  he studies with Thomas  Goodheart  and  coaches  regularly  with  Diane  Richardson,  Steven Crawford. and Willie Waters. John Isenberg, a native of End icott, NY. holds Bachelor of Arts degrees in Music and lmlian, as well as a Master’s Degree in Italian Literature from Binghamron University.  He performs many different musical genres ranging from Opera and Musical Theater to traditional Scottish and various styles of sacred music. From 2001­2012, John worked for the Tri­Cities Opera in Binghamton, NY, first as Accompanist, then additionally as Education Outreach Coordinator and Chorus Master. During that time, he accompanied over 500 outreach performances in schools throughout New York State and northern Pennsylvania. He has performed for WSKG public radio broadcasts of opera preview performances including Puccini’s Madama Butterfly, Verdi’s La traviata and Mozart’s The Magic Flute. An active church musician since childhood, John is currently the Organist/ Pianist a nd Choir Director a t Sa rah Jane Johnson Methodist  Ch urch in Johnson City. He has served as Pianist/Choir Director for the high holy days of Rosh Hashanah at Temple Concord in Binghamton.  For the past two summers, John has also participated in the Songe d’été Music Festival in Lambton. Quebec (Canada). Spencer Phillips is highly sought a fter as both an orchestral bassist a nd chamber musician  throughout  the  United  States  a nd  abroad. Recent  performance engagements  include  a US tour  with  the  Munich  Symphonilter,  performances with the Michigan Opera Theater. Solo Bassist with the international Chamber Orchestra led by  violinist Dimitri Berlinsky, as  well as  recording the complete Beethoven Symphonies with Orchestre de la  Francophonie Canadian, under Jean­ Philippe Tremblay. Mr. Phillips is a graduate of the lnterlochen Arts Academy. Michigan, where he studied with Derek Weller. He  went on to study with Jack Budrow (Michigan State University) and Orin O’Brien (New York Philharmonic) at the Manhattan School of Music, NYC. 1n the fall of 201 3 Mr. Phillips accepted a teaching assistantship as a doctoral candidate under James VanDemark, Eastman School of Music. Mr. Phillips was a prize winner at the International Society of Bassist competition in 2005 When he is not playing the bass Spencer is an avid hockey fan, deadly snooker player and was a volunteer firem an for the Brooktondale Fire Department, Ny. n . " n " n " s " n " . " n . " n " . " n u n – " n u n . " – Special thanks to: My parents. Thomas Goodhean. John Isenberg, Diane Richardson, Christopher Bartlette, Steven Crawford, Suzanne Tuch, Meme Kahlia Adeeb. Jenny Gag, Li ndsay Brown, Mrs. Lindsay’s Mom, and all who have supported me through this seemingly impossible, yet ever­ rewarding journey of music. �Bi nghamton Univer s i ty M us ic Depart ment ’s Co m i ng E vents 6 M 6 M M M M M M i V Saturday, April 2 5 – Kevin Truax, baritione ­  7:30 p.m. ­  Casadesus Recital Hall ­  free Saturday, April 2 5 ­ Joint Recital: Rachel Young, soprano and Eleanor Kras ner, violin – 7 :30 p.m. ­  Casadesus Recital Hall ­  free Sunday, April 26 – U n iversity Wind Symphony: Once U pon a Time ­  3 p.m. ­ Anderson Center Chamber Hall ­ $7 general public; $5 faculty/staff/seniors/alumni; free for students Tuesday, April 28 – Percussion Ensemble ­  7:30 p.m. ­ Anderson Center Chamber Hall ­ $7 general public; $5 aculty/staff/scniors/alumni; free for students Th ursday, April 30 ­  Mid­Day Concert ­  1:20 p.m. ­  Casadesus Recital Hall ­  free Th ursday, April 30 – Piano Ensemble ­  7:30 p.m. ­ Casadesus Recital Hall ­  free Friday, May 1 ­  Flute Studio a nd Flute Chamber Concert ­  10:15 a.m. ­ Casadesus Recital Hall ­  free Friday, May 1 ­  Brass Recital – 4 p.m. ­  Casadesus Recital Hall ­  free M M M M W é M M M M M M b For tickets or to he added to our email list, visit anderson.hinghamton.edu or call (607) 777­ARTS. For a complete list  of our concerts call (607) 7 7 7­2 592, visit  musrc.binghamton.edu or become a fan on Faceboo8. —­  [ = ]   If you were inspired by  this performance, consider supporting the Department of Music with a financial gift. Your support helps to M  ex [ = ]   continue the work ofstudcnts, faculty, and guest artists and their contri butions 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, Bmghamton, N Y  13902*** � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 42:13:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74831">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74831</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Master of music recital with Jake Stamatis, John Isenberg, piano and Spencer Phillips Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Mozart, Webern, Berg, Schoenberg, Massenet, Faure, Hugunine, Bolcom. Held at 7:30 p.m., April 24, 2015, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Stamatis, Jake Isenberg, John Phillips, Spencer Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Mozart, Wolfgang Amadeus, 1756-1791 Webern, Anton, 1883-1945 Berg, Alban Schoenberg, Arnold, 1874-1951 Massenet, Jules, 1842-1912 Faure, Gabriel, 1845-1924 Hugunine, Richard Bolcom, William Date A point or period of time associated with an event in the lifecycle of the resource 4/24/15 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 36 minutes: 46 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142204">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142204</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 Thursday mid-day concert, April 26, 2012 Description An account of the resource Works by Weissenborn, Pachelbel, Bach, Shaw, Gershwin, Gates, Popper Held at 1:20 p.m., April 26, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Elliot, Paige Reits, Margaret Ng, Samantha Mallinson, Chai-Kyou Saturnino, Kathryn Arenstein, Zachary Birnbaum, Zachary McAuliffe, Matthew Stoner, Danielle Westcott, Phillip Matthews, Paul Booher, Michael Edwards, Xander Wuu, Eric Watrobski, Paul 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 4/26/12 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/adc4ca65fd3d8c5e4bc41043e7f1ba73.pdf 3792d1668f3758d62ee071b8b1509c62 PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E  U N I V E R S I T Y   O F   N E W   Y O R K D E P A R T M E SENIOR RECIT AL: KERIANNA KREBUSHEVSKI, SOPRA NO William James Lawson, piano Saturday, Ap ril 26, 3014 8:00 p.m. Casadesus Recital Hall N T �©  PROG RAM  (93 Amiamo.  Sull’onda cheta e bruna  La Gondola 80  ABOUT THE PERFORMERS 03 Gaetano Donizetti (1797­1848) 11. Frauenliebe und­leben, Op. 4 2 .   1.  Seit ich ihn gesehen  2. Er, der Herrlichste von Allen 3. Ich kanu’s nicht fasseu, nicht glauben 4. Du Ring an meinem Finger 5. Helft mir, ihr Schwestern 6. Siisser Freund, du blickest mich verwundert an 7. An meiuem Herzen. an meiner Brust 8. Nun hast du mit den ersten Schmerz gethan Robert Schumann (1810–1856) Le) INTE RMISSIO N 0 3 Randolph. IIL C’est I’extase.  .  Nuit d'étoiles  La  mer est plus belle Claude Debussy (1862­1918) IV. Adieu, notre petite table.  Jules Massenet from “Manon”  (1842­191 2) V. Three Browning Songs. Op. 44  Ah Love. but a day!  1 send my heart up to thee! The Year’s at the Spring KE RIANNA   KREBUSHEVSKI  is  a  senior  at  Bingham ton University pursuing a Bachelor of Music Degree in Voice under the direction of Professor Mary Burgess, with additional study this year with  Maestro  Scott  Bergeson.  During  her  time  here  in Binghamton, Kerianna has  performed  the  role  of the  First Spirit in Tri­Cit ies  Opera  Company ’s  production  of Mozart’s  Die Zauberflote,  and  as  Gretel  in  the  school’s  production  of Humperdinck’s  Hansel and  Gretel. A lso with T CO  she has been in the chorus  for Puccini’s La  Boheme, Verdi’s I l  Trovatore, Mascagni’s Cavalleria  Rusticana,  and  Leoncavallo’s  Pagliacci.  She  was  most recently  in the chorus  for Bizet’s Carmen.  Kerianna spent  a month this  last  summer  in Italy performing  in Urbania,  Piobbico,  and Fossombrone  with  Maestro  Benton  Hess’s  “Si  parla,  si  canta” program. For the  past two years, Kerianna has been a recipient of the John M. and Marcella M. Keeler Scholarship in Music. Kerianna is thrilled  to announce that she will be pursuing a Master of Music next  year  at  San  Francisco  Conservatory  in  the  studio  of  Jane .Amy Beach (1867­1944) WILLIAM JAMES LAWSON is active as a church musician, voice coach, and accompanist and frequently performs chamber music. At  Binghamton  University  he  has  taught  music  theory,  lyric diction,  and phonetics. He  was one of the  first graduates of the New  York  University  Tisch  School  of  the  Arts  Department  of Performance Studies, an  innovative  interdisciplinarv program  in dance,  music,  and  theater.  His  extensive  background  in  dance history led him to employment at  the New  York City Ballet and Dance Magazine as  well as  working  as  assistant  to  British dance writer Richard Buckle. He  is presently Organist and Director of Music at the United Presbyterian Church of Binghamton, founder and director of the Canterbury Choir. and rehearsal accompanist for  the  Binghamton  Downtown  Singers,  with  whom  he  has performed as harpsichordist and organist. �80 TRANSLATIONS (98 2 .  Er ,  d er H   en­Ii’r­hste von Allen He, the most splendid of all, As gentle as he is kind! With tender lips, bright eyes, A clear mind and firm courage. 1. Amiamo (Let us Love) Because our youth invites us to do so, let us look for happiness. A n i nstan t o f  pleasu re passes and d oes not ret u rn. Life becomes solemn if one does not gather its flowers. Only love can adom life with fresh roses. The more beautiful you are the more you owe vows and faith to love. There is no other suitable offering to bring to love. Let us love! Because the days are brief‘ A day without love is a day of sadness A wasted day. Sull’onda cheta e bruna (Over the silent and dark water) Over the silent and dark water, before the moon may rise, quickly. o goudolier, please. embark on your path, but be careful that your boat caresses the sea gently. Only Lenora, who sings anxiously all the while, May hear the beating heart of her faithful lover in the rowing. La  Gondola (The Gondola) Like a bright and glorious star in the lofty blue He  is in my  Heaven exalted and remote. Climb into the quick llnle boat with me, lovely Cloris. Come, let us seek the breezes’ comfort from the heat of the day. Come, already the shimmering waves reflect the moonlight,  And  just as the breezes kiss the peaceful lagoon they will kiss you Go, go on you r way, . also. Don’t listen to my silent prayer Offered only for your happines: You, high star of splendor, Can never know a lowly maid like me. Step in, lovely Cloris, And you will see me happy, In sweet ecstasy; Seated by you, I will feast on love. And let your white hand softly press on my bosom To feel the rapid beating of my heart. Only the worthiest of all, Could make your choice a happy one, And I will honor her with a thousand blessings. Then I will rejoice and weep. Blissful then I will be; Even though my heart should break, Break oli heart, what does it matter! l l. Frauenliebe und­leben (A Woman’s love and lm e) 1.  Seit i ch ihn gesehen Since I saw him, 1 believe myself to be blind. Wherever I  cast my gaze I see only him. As  i f in waking dreams His image floats before me Rising from the deepest darkness Becoming brighter and brighter.  Everything else is dark and colorless around me.  For the games of my sisters I no longer yearn. i would rather weep. silently in my little chamber. Since I saw him, I believe myself to be blind. Just let me look upon your radiance , Only in humility let me look, Full of both joy and misery! He, the best of all, etc. I L 4. D u Ri   ng a  n meinem Finger You, ring on my finger, my golden little ring. 1 press you devourly to my lips and to my heart, 1 had dreamed of him, the peaceful lovely dream of childhood, I found myself alone, lost, in the unending space of tears. You, ring on my finger, You first taught me this: You opened my eyes to life’s unending worth. I want to serve him To live for him, to belong completely to him, To give myself to him and find myself transfigured In his gaze. 5.  Helft mir, i h r  S chw estern Help me, sisters, Lovingly to adorn myself, Help me, the lucky one, today! Busily twine the wreath of myrtle about my brow. Whenever my beloved held me in his arms, My heart was full of joy. He always looked with longing in his heart impatiently for today. 3 .  I c h  Irann '.r nicht fassen, nicht glauben I cannot believe it! 1 have been beguiled by  a dream. Have I really, from among so many, been thus exalted and blessed? Help me, sisters, Help me banish my foolish anxiety So that I ma) receive him. The source of all my joy. I t  seems to me he said “ I  am yours forever.” I t  seems I must still be dreaming. I t  can surely never be so‘ When my beloved comes for me, Will you, oh sun, shine upon me.’ Let me in devotion and humility Bow to my lord. Oh, let me die in this dream cradled upon his breast. Let me embrace a blessed death, Strew him with flowers, dear sisters, Bring him blossoming roses. Whilst I bid you a sad farewell As I leave you in my m with tears of  infinite joy. �6.  S is ser  Freund, d u b   lickest mich verwundert a n Sweet friend, you look at me in wonder. You cannot understand how I can weep. But let the damp penrl’s rare adornment Tremble with bright joy in my eyes! How anxious is my heart, how full of delight ! If only I could find the words to tell you. Come, hide your face upon my breast Then I ran whisper in your ear all my joy­ Now you understand the tears [ weep. Should you not see them, beloved husband? Stay near my heart and feel its hear so I may hold you ever closer. 8.  N u n h   as t  d u m   ir d en  ersten Schmerz g ethan Now for the first time you have given me pain, And it has struck deep. You sleep. you cruel and merciless man, the sleep of death. Abandoned, 1 look around me~ The world is empty, empty. I have loved and lived, I live no more. I withdraw into myself silently, The veil falls. There I hold you and my lost happiness, You. my world! 1 . C h t ['extase langoureuse   (It is the languorous ecstasy) lt is the languorous ecstasy, I t  i s  t h e  l a t l m i ‘  i t ftt ­ r  l o v e , Here beside my bed there is room for the cradle Quietly sheltering my lovely dream. When the morning comes, the dream will awaken, And your image will smile up at me! 7. A n  m einem Herzen, an meiner Bfllfif At my heart, at my breast, You my delight. you my happiness! The joy is the love, the love is the joy, I have said it and will not take it back. I thought myself rapturous, Bnt now I am happier than that. Only she that suckles, only she that loves the child To whom she gives nourishment, Only a mother alone knows what it u to love and he happy. Oh. how  I pity the man, who cannot feel a mother’s my” Thou dear, dear angel, You look at me and smile! At my heart, at my breast. Y o u  m y d  e l i z h l ,  y o u  m y l l fi p p l l l f s > l it is all  the rustling of the wood, in the embrace of breezes; it is near the gray branches: A chorus of  tiny voices. Oh, what a frail and i reth murmur! I t  babbles and whispers, it resembles the soft noise that waving grass exlmles You might say it were. under the bending stream, the muffled mund oi rolling pebbles. This soul, which laments and tlns dormant moan, It is ours, is it not? Is it  not mine, tell me. and you whose humble anthem we breathe on this mild  evening, so very quietly? Nuit d ’étoiles (Night of stars) Night of stars, beneath your veil, beneath your breeze and your perfumes, sorrowful lyre softly sighing, I dream of a love long past. Melancholy, so sadly tranquil, fi lls  my poor weary heart, and I hear your dear soul quivering in the dreary wood. 1 watch here at tlus your small fountain, your blue eyes like the sky. This rose. it is my dearest hope and the fair stars are your eyts. La  M er  est p it a b   elle ( The sea is more beautiful) The sea is more beautiful than cathedrals, a faithful wet nurse, soothing the rartle of  death. Th e  sea ove r which p rays t he Vi rgin Mary it has all qualities, terrible and sweet I hear it forgiving and growling its anger. Thi :  immensity knows no resistance. Oh! So patient even when malicious! A friendly breeze haunts the wave, And sings to us, “You without hope, die without suffering.” And there, beneath the skies Which smile upon it more sweetly, lt loolu blue, pink. gray, and green... Fewer than all, Better than we! IV. Adieu, notre petite table (Goodbye, our lil‘fle table) Come on, it is necessary, for his own sake! My poor Chevalier! Oh, yes, it is he that I love! And yet, today I hesitate, No!  No! I am no longer worthy of him! 1 hear that voice which transports me against my will: “Manon, you will be queen, Queen by your beauty!” I am nothing bur weakness and fragility! Ab! in spite of myself, I feel my tears flowing ln the face of those destroyed dreams! Will the future have the charms of those beautiful days already passed’ Goodbye, our little table which brought us together so often! Goodbye, our little table so grand, however, for us! One takes up, it’s unimaginable, so small a space when sitting close together! Goodbye, our little table! The same glass was ours, each one of us, when we drank from it, searched for the  ps of the other. Ah!  Poor friend... how he levied me! Goodbye... our little table. �Binghamton University Music Department’s Upcoming Events « é é e fl s é o é b – fi é o n fi é n é ia n é é n fi é n é é o Sunday, April 2 7 – University Chorus and Wind  Symphony Concert: An  American  Music  Celebration  ­  3:00  p.m.  ­  Osterhout  Concert Theater ­  $10 general public; $7 faculty/staff/seniors; $5 for students Sunday, April 2 7 ­  Master’s Recital: Seonghyang Kim, piano ­  7:30 p.m. ­  Casadesus Recital Hall ­  free Tuesday, April 29 – Piano Ensemble Concert ­  8:00 p.m.  ­  Casadesus Recital Hall ­  free Thursday, May 1  – Mid­Day Concert  ­  1 :20  p.m.  ­'Casadesus Recital Hall ­  free Thursday,  May  1  ­  Grammy­Award  Winning  vocal  guest  artist Jacqueline  Horner­Kwiatek  ­  8:00  p.m.  – Casadesus  Recital  Hall  ­  $5 general public; free for students Friday, May 2 – Flute Studio and Fl ute Chamber Concert ­  1 1:30 a.m. ­ Casadesus Recital Hall ­ free Friday,  May  2  ­  Tri­Cities  Opera  presents Strauss’ Die  Fledermaus  ­ 8:00 p.m. ­  The Forum Theatre – call (607) 772­0400 for tickets Saturday,  May  3  –  University  Symphony  Orchestra:  Symphonic Smorgasbord  ­  3:00  p.m.  ­  Osterhout  Concert  Theater  ­  $7  general public; $ 5 faculry/sta ft/sen iors; free for students Saturday, May 3 – Senior Recital: Xander Edwards, cello ­  8:00 p.m. ­ Casadesus Recital Hall ­  free For  tickets  or  to be added  to  our  email  list,  visit anderson.binghamton.edu or  call (607)  7 7 7­ARTS.  For  a  complete  list  of  our  concerts  call  (607)  7 7 7­2592, wisit music. binghamton.edu or become a fan on Facebook. If you were inspired by  this performance, consider supporting the Department ofMusic _  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 B inghamton 0 ]   University  Music  Department, and send  your check  to  BU Music E  Department, P.O. Box 6000. Binghamton, N Y 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 48:42:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74955">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74955</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 Kerianna Krebushevski, senior recital Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Donizetti, Schumann, Debussy, Massenet, Beach. Held at 8:00 p.m., April 26, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Krebushevski, Kerianna Lawson, William James Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Donizetti, Gaetano, 1797-1848 Schumann, Robert, 1810-1856 Debussy, Claude, 1862-1918 Massenet, Jules, 1842-1912 Beach, Amy Date A point or period of time associated with an event in the lifecycle of the resource 4/26/14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/21835835ea708d3c23dee520d9157e2a.pdf f0d909c54be83e932450f229a32e3e81 PDF Text Text BINGHAMTO N U N I V E R S I T Y STATE U NI V E R S I T Y  O F  N E W   Y O R K ted/w Es D E P A R T M E N T O Binghamto n  (ZZIII’VBI’J’I’Q Wind Qfiymp/mny presents ”@naa Q fi p m a    C i m e ” D ANIEL F ABRICIU S , C ONDU CTOR Su nday, April 2 6, 2015 3 :00 p.m. Anderson Center Chamber Hal l �PROGRAM UNIVERSITY WI ND SYMPHO NY Daniel Fabricius, Conductor FATE OF THE GODS (2001)  THOUGHTS OF LOVE (1893).  Steven Reineke (b. 1970) Arthur Pryor (1870­1942) Arranged by Charles J. Roberts Christopher Beard, trombone GHOST TRAIN (1994). Eric Whitacre (b. 1970) I. Ghost Train Il. At the Station Ill. The Motive Revolution MARCH OF THE CUTE LITTLE WOOD SPRITES  .P.D.Q. Bach (1807­1742)? Charmingly edited by Professor Peter Schickele ‘  ‘  ‘  ‘  * INTERMISSION ’  0 0 ’   0 THE PHILOSOPHER’S STONE (2000).  MAZAMA, Legend of t h e P  acific Northwest (1984).  .Thomas C. Duffy (b. 1955) J a y  Chatta way PICCOLO Jennifer Bochicchio ALTO SAXOPHONE Julia Dunnigan Riley Monck­Rowley FLUTE Eleni Florakis Jacqueline Robins Cara Natale Shelby Smith Lydia Carolan Devin Kasinki TENOR SAXOPHONE Crystal Fisher TUBA Matthew Vegiard Patrick Jones Michael Burgner Chang Letitia Kar Hoo Jonathan Terner Jason Boniello POLKA AND FUGUE, from the opera, “Schwanda the Bogpiper “ (1927). Jaromir Weinberger (1896­1967) Transcribed by Glenn C. Bainum BASSOON Bailey Thomas Diana Carter Carl Closs EUPHONIUM Ryan Shumaker TRUMPET Rebecca Marwin B ASS C LARIN ET Jacob Solon Joshua Yamuder Michael Sugarman Brandon Young Brandon Ashley (b. 1946) Christopher Beard BARITONE SAXOPHONE Daniel Gross OBOE Jenna Graff CLARINET Erin Annis Allison Battaglia Alaina Mancini Jessica Siegal John Petersen Steven O’Connor Brittany Sheridan Katherine Fottrell Si Yoon Kwon TROMBONE David DeFazio Paul Barber Josh Golub FRENCH HORN Daniel Muller Christopher Patrizzio Jeffrey Barker Ma tt Mc Auliffe Brian Sternberg Austin Hassel PERCUSSION Emily Goetz William Potts Alex Rava Robert Hopkins Daniel Kim Annabel Fair Joey Glowienka Kasha Pazdar David lndictor ORGAN Daniel Rosenau �CONDUCTOR PROGRAM NOTES Daniel Fabricius has been a member of the music faculty since 1992, serving as percussion instructor for twenty years before his appointment as conductor of the Wind Symphony.  He holds degrees from Mansfield University and Ithaca College and has studied conducting with Donald Stanley (Mansfield University), Rodney Winther (Ithaca College), Stephen Peterson (Ithaca College), Col. Arnald Gabriel (US Air Force), and Mallory Thompson (Northwestern University).  In addition to his duties a t BU he also serves as Director of Bands a t Owego Free Academy where he has developed an outstanding instrumental music program. The bands at OFA have received plenty of praises and the OFA Jazz Band has been  honored  to present  concert  performances  at  the  NYSSMA  Winter Conference in 2008 and 2013. FATE OF THE GODS ­ a programmatic work for symphonic band, was inspired by tales of Nordic mythology. The programmatic piece tells the story of Ragnarok, also known as the Twilight of the Gods. An incredible war between forces of good and evil is fought, bringing about the end of the cosmos. After the destruction, a new and idyllic world will arise and this new earth will be filled only with joy and abundance.  The first section of the piece represents the creation of the primordial world in which forces of both good and evil are established. The second section is the development of the dark, devious hemes that symbolize the God Loki, the personification of all things evil. This theme gives way t o  the more soothing music tha t represents the God Balder, son of Odin. Blader personifies all that is good, pure and innocent. When evil ensues once again, Heimdall, the watchman of the Gods, sounds his horn, signaling the beginning of the end.  From all the corners of the world, gods, giants, dwarves, demons and elves will ride towards the huge plain where the last battle will be fought. This tremendous battle brings about the massive chaos and eventually the destruction of the world. All is destroyed save one tree, the tree of life, known as Yggdrasil. The tree gradually brings existence back to the world. This ­time it is on y forces of goodness which are created. Evil has destroyed itself and good has won over all. He is highly regarded in the region as a conductor, as a percussion performer, and  as  a  music  educator.  He  has  been  a  member  of  the  Binghamton Philharmonic percussion section since 1982 but is also comforta ble performing in  popular, rock,  jazz, and  other styles.  He  has  played  as  a  free­lance percussionist, accompanying national touring artists such as Michael W. Smith, Tommy Tune, J erry Vail, Lorrie Morgan, Ringling Brothers Circus, the Smothers Brothers, and Ella Fitzgerald. Professor Fabricius has served the New York State School Music Association as an All­State Percussion adjudicator for many years. He also serves NYSSMA as the Instrumental Jazz Reviews editor of The School Music News and is the Jazz Editor for the NYSSMA Manual.  In addition t o  his collegiate work at BU, he has also served Ithaca College as a consultant, as a member of the Summer Session faculty, and as a cooperating teacher for over 35 student teachers.  He has presented many clinics a t music conventions and conferences and often serves as a guest conductor for honor ba nd festivals. TROMBONE SOLOIST Christopher Beard is a junior from Kingston, N.Y., who is pursuing a dual degree in Computer Science and Mathematics. He has been playing the trombone since fourth grade, and currently studies with Donald Robertson here at Binghamton University. Chris also plays with Don’s Low Brass Studio Ensemble, and has previously performed with the University Symphony Orchestra, directed by Dr. Timothy Perry. In his free time, Chris enjoys programming, solving puzzles, and making multi­track trombone recordings of himself. Born in 1970 and raised in Tipp City, Ohio, Steven Reineke focused his youthful musical pursuits on learning to play the trumpet. At  age fifteen, he taught himself how to play the piano. He continued his trumpet studies at Miami University in Oxford, Ohio, receivin  two bachelor of music degrees with honors in both trumpet performance and music composition. Steven Reineke started his tenure as Music Director of The New York Pops in the 2009­ 2010 season. Mr. Reineke conducts the orchestra’s annual concert series at Carnegie Hall as well as tours, recordings, and nationwide telecasts, including the Macy’s 4 July Fireworks Spectacular on NBC Television. New York’s only permanent and professional symphonic pops orchestra, The Ne w York Pops is the largest independent pops orchestra in the United States. Reineke was appointed Principal Pops Conductor of the National Symphony Orchestra and began his first season in 2011/12. He also serves as Principal Pops Conductor of the Lon  Beach and Modesto Symphony Orchestras. Previously, he was Associate Conductor of the Cincinnati Pops Orchestra, where for fifteen years he served as a composer, arranger and conducting protégé of the late celebrkatled pops conductor Erich Kunzel. [Notes from conductor score ­ Steven Reine e �GHOST TRAIN ­ was a total fluke. In the fall of 1993, while an undergrad at the University of  Nevada, Las  Vegas, I  happened  to hear  the wind symphony rehearsing through closed doors. I snuck into the band room and sa t entranced for 50 minutes, transported by what was, hands down, the single loudest music I had ever heard. 6 percussionists! 8 trumpets! I was in love. After the rehearsal I approached Thomas Leslie, the conductor, and asked if I could write a piece for their group. He said (without hesitation), “sure, and if it turns out well we’ll play it at the CBDNA convention in the Spring.” Now, up to this point I had never written for instruments before, only singers, so I got all of my friends who were instrumentalists and took them  through their paces: “What pieces do you love to play? Which register is most comfortable? Which instrument sounds best when doubled with your instrument? etc.” I struggled with the work all through Christmas break (I wrote it in Las Vegas, Lake Tahoe, and Waco Texas) and presented Tom with the first movement when school resumed. He played it beautifully at the convention, and BOOM  the thing took o ff  like a shot. Band directors began calling me a t home, trying to buy it from me, and my formal career as ‘composer’ had begun.  I wrote the second and third movement a year later, and Tom premiered the whole thing in the Spring of 1995. I graduated two months later and headed for Juilliard. Ghost Train is dedicated to the man who brought it to life, Mr. Thomas G. Leslie. The legend of the Ghost Train, a supernatural machine tha t roars out of the night through forgotten towns and empty canyons, is deeply rooted in American folklore, and i t  was this spirit I worked to capture. The compositional challenge came in creating a larger three movement work from the first movement which was originally conceived and performed a s a single event. I felt tha t the use of trains as a source of sounds and inspirations was virtually inexhaustible, but I wanted to save the integrity of the original while using it as an architectural foundation.  At the Station (movement 2) is just that: the train comes to a roaring halt and the passengers depart.  In this movement I see countless images; friends and family reunited, the soaring architecture of the station itself, and the genuine sincerity and innocence of the era.  After a reflective pastiche the locomotive builds up steam and slowly departs, grand and graceful. The Motive Revolution (movement 3) is twofold in it’s implication.  The name refers to t he period between 1850 and 1870 when s team engines revolutionized transportation, and also describes the cyclical treatment of musical motive throughout the movement. The train blazes across the country side, moonlight glistening o ff  it’s dark  steel, and ends with a  fina l heroic tribute to these machines and the people who worked them. The first movement was written in the winter of 1993­94 and received its premier March 7, 1994.  Movements II and III were written in the winter of 1994­95, and the entire triptych received its premiere on March 14, 1995. Ghost Train was written for and dedicated to Thomas G. Leslie and the University of Nevada, Las Vegas Wind Symphony. Born in 1970, Eric Whitacre is quickly becoming one of the bright stars of the American  music  scene.  He  is  a  regularly  commissioned  and  published composer, and has received performances of his works throughout the world. Eric  has  received  awards  from  ASCAP,  the  American  Choral  Directors Association, the Barlow International Foundation and the Dale Warland Singers commissioning program.  As a conductor, Mr. Whitacre has served as principal conductor of the College Light Opera Company, chorus master of the Nevada Symphony Orchestra, and has appeared as a guest conductor with the Gregg Smith Singers and  the San  Francisco Symphony  Chorus.  Eric  has  studied composition with John Corigliano and David Diamond and holds the Master of Music degree from the Juilliard School of Music.  [Notes from conductor score – Eric Whitacre] THOUGHTS OF LOVE – was composed by trombone virtuoso, Arthur Pryor. In 1892, J ohn Philip Sousa ’s newly formed concert band made its first appearance in Plainfield, New Jersey. Tom Shannahan, who was one of many who left Gilmore tojoin the new Sousa Band, informed Sousa of Pryor’s ability, and Sousa invited Pryor to audition for the band. Settled with his work in the opera company. Pryor was at first reluctant to leave. But he decided to accept Sousa’s offer to see him in New York City, arriving there with his trombone and 35 cents. After spending a lonely night on a park bench in Union Square, he attended his first rehearsal. Even as he was warming up he made quite an impression, “We had  never  heard  such  tones come  out of a  trombone  before,  but fast!” trombonist Marc Lyons told Glenn Bridges years later. Lyons also recalled that a t tha t first rehearsal, Frank Holton, then first trombonist, asked Pryor  to play a difficult passage Holton had been having trouble with. A fter Pryor played it Sousa stopped the band and said, “Frank that is fine, and the first time you got it right. Frank stood up and said, “Mr. Sousa i t  wasn’t me playing but this young fellow Pryor.” Holton was ready to s tep down immediately, but Sousa asked him to stay on for a time, since “this young fellow may be just a flash.” Holton reluctantly agreed to stay but left the band in the fall of 1893, and Pryor became first chain (In later years, Pryor was to endorse the trombones made by the Holton Company.) Pryor was only 22 when he played his first solo with the Sousa Band durin  the World Columbian Exposition in Chicago in 1893. According to accounts o f the day, he played his own “Thoughts of Love to a crowd who just stood in awe, then cheered and threw their hats in the air. That was the first of some 10,000 solos tha t Pryor estimated he played during the 12 years he was with the Sousa Band.  [Notes  by  Daniel  F.  Frizane  and  Frederick  P.  Williams  ­  from www.wgpark.com,  a  site  dedicated  to Willow  Grove  Park, referred  to as America’s Summer Music Capital.) MARCH  OF  THE  CUTE  LITTLE  WOOD  SPRITES  –  P.D.Q.  Bach  spent  the considerable bulk of his creative life in the small southern German town of Wein­am­Rhein  a town npt noted for its high incidence of cultural activity. Nevertheless,  its  one  theater,  the  compact  and  charmingly  decrepit H owdvolkstheater, was usually kept busy, either with appearances by touring thespian  or  musical  groups,  or  with  compact  and  charmingly  decrepit productions put on by one of the local outfits.  It was here, for instance, that P.D.Q. first heard the popular string band for whom he Iater wrote the Bluegrass Cantata, Tommy Mann and his Magic Mountain Boys.  It would be natural to assume tha t the title of the march under consideration was simply another example of the naive programmaticism that was part and parcel of the German raly  Romantic  movement,  but  it  turns  out  that  the  piece  was  actually commissioned b  a band of cute little wood sprites, a travelling troupe  of extremely small  olk who played the Howdvolkstheater in April 1783, the Cute Little Wood Sprites, as they called themselves, asked P.D.Q. to write some entrance music for the beginning of their show, and they were so pleased with the result tha t a fter the first performance several members of the troupe, still wearing wigs and halos, climbed up on the top of the composers and did a jig, giving rise, incidentally, to the classic question, “How many angels can dance on a pinhead?”  The vocal passage in the eighth measure is based on the reaction of the audience to seeing the sprites come on stage; P.D.Q. was so pleased by the sound that he incorporated it into the score.  A large wind and percussion ensemble is called for, but how many players actually  show up is another matter. (Notes from conductor score ­ Professor Peter Schickele] �Binghamton Community Orchestra Ie  U Precentig Quality  Orchestral  Eporivnscs  for  the 2071­2075 S e a s “The Mighty Handful”  NRE  v  §  ._y  ..i  = 35  E r–  ,  i ‘ J   5 Saturday. February 28. 2015 I–  u  2  Welcoming back to the podium as conductor J}  #  ‘  BINGHAmTON  PHILHARMONIC Josi­Luisllow  ( D M  usnc Director 3 4  S '; = S S _ 0 DrJImottyPerry E  [43 C  oncerts sun at  7 pm East Middle School  wv e R ) A    Yeu, Crchesfha “ Romantic Spring” Saturday. May 9. 2015 167 585!  Frederick Street  .  BmglnmmNY13904  20142015 SEASON T~­;E “How Suite It Is!” Saturday. November 22. 2014  m  3 ae   \ E N S Binghamton  I ­ Commaity      &  1 i  607­723­3931 I  o e ay  T A ‘  l W  CY  rk  ‘ L   =  .  “1  & J  @  [ L i f   EE  FE  ‘  J ) “15   J ” , ­  A ’ S   ­ c —  _  p e   By  o 34  if...  '    E  4  G i f F 607­217­4110  6 ; g    5    #  , N   mton  \1'  .  — & ­ s 0   S I E   Lessons and Carolsf’or Chrimnns  Sunday, Ma y 1 7, 201 5, 3:00 p. m .  Trinity M emorial Church, 44 Main Street, Binghamton  .  3  ­  a  3..  r?v   1 1 1 ;  y  : 5 Down town S  tyr  , ­ Dvorak Requiem  wryy ­ O r. rchesrta 11,175.17.me  . 8 0  3, 3  J,“  A  ,  Y  .  o‘  FEC  ­. 3°“ M“ “m“ I“""’°" W Y .  AnnualHandel’SMmiah  Will; Orchestra and Soloists  December, 2015  .  ~ 3 '  ' m x x l x x — x x m x x m  r r o  e  1 B u y O   n eT   i c k e t  ­  G e t  O n e F   R E E   } a  a  n o ..1  .  . . 13 ? H M 1,1   5  M fl fi ‘ ” “ "  " " ’   " ” “ “""““"'““'  V  , .  ,  , y . ­  ,  Coupon redeemableon concere days only at nurmnccrrrsireboxotfice  ,  w . v ­  H a sc   m   D The M   a d r iga l  C hoir  of B i ngha mt on   201 3­ 2014  3 37th Sea son  7 2 : 1   “  D ,eva w i l l ­ 1 9 5 m m  (Admiral/r. o f .  Tm i oht .  _ ‘  E  ­ . . ” J oh n s oSarurd  n  Memorial M ENM   flhodi“ M a y  30, 2015 Sat u rday, Nove m ber 29, 2014, 7:30 p. m .  Sunday, November 30, 2014, 3:00 p.m.  Church of t he Holy Trinity, 346 Pr os pec t Street, Binghamton  =  M  r i n   Concer t 7 s e   A n n u a l spring fi,‘  Sunday, Octo ber 19, 2014. 3:00 p.m. ”  Uni e   b yterian Churc  ton  “I  d Pres i  h , 4 2 ChI e na n g o  Street , Blngham  Bi Psinging the Psalms  e H   A .  How can [ keep from singing  ( bd w w w . mad r l g a l c h o i n c o m ‘ .   3  e www.binghamtonphilharmonic.org J " ;   J Visit wwvt'BinghamtcanummityOrdxestraorg for more information! I An,  _  310Lvi\C7TT1151(J V a h d fi r a n y  2 0 1 5  D o w n t o w n  S i n g e r s1 . . .“ r u n / 1 m   i  X   www downtownsingers.org cancercsa smyrrcom­m7m50325‘  x h – – . – . . – . . – . – . – . n . " 1 “ . . . – 1 ‘ �B i n g h a m t o n Un iver s i t y M u s i c  D e pa r t me n t’s Co m i n g  E ve n ts M M f V M b M G G V E – M M Tuesday, April 28 ­  Percussion Ensemble ­  7:30 p.m. ­  Anderson Center Chamber Hall ­  $7 general public; $5 aculty/staff/seniors/alu mni; free for students Thursday, April 30 ­  Mid­Day Concert ­  1:20 p.m. ­  Casadesus Recital Hall ­  free Th ursday, April 30 ­  Piano Ensemble ­  7:30 p.m. ­  Casadesus Recital Hall ­  free Friday, May 1 ­  Flute Studio and  Flute Chamber Concert ­  10:15 a.m. ­  Casadesus Recital H a l l  – free F r i da y, M a y  1 ­  Bra s s R e c i t a l  – 4 p.m. – Ca sadesus Rec ita l H a l l  ­  free Saturday, May 2  – Senior  Recital: Daniel Malinovsky, piano –  12  noon  ­  Casadesus Rec ita l H a l l  ­  free Saturday, May 2 ­  Master’s Recital: Jenny Gac, soprano ­  3 p.m. ­  Casadesus Recital Hall ­  free Sunday.  May  3  ­  University  Chorus  and  Symphony  Orchestra:  Mendelssohn’s­ “Lobgesang”  ­  3:00  p.m.  Osterhout  Concert  Theater  ­  $7  general  public;  $5 fa c ul ty / s t a ff / se nior s / a lum n ni ;  free for  student s Sunday, May 3 ­  Joint Recital : J unior Max Rydqvist, baritone and Senior Ricky Nan, tenor – 7:30 p.m. ­  Casadesus Recital Hall ­  free Th ursday, May 7  ­  Student Recognition  Mid­Day Concert  ­  1:20  p.m.  ­  Casadesus Recital hall ­  free Th ursday, May 7 ­  Ha rp u r Chorale and Women’s Chorus Spring Concert ­  7:30 p.m. ­  A nderson Ce n t er  C ha m b er  H a l l  ­ $7 general public ; $5  fa culty/ staff/ seniors/ a lum ni ; free for students M M M M M ' fi M M M M M M b For  tickets or to  be  added  to our  email  list, nsit anderson.binghamton.edu or  call  (607) 777’ARTS. For a complete list of  our concerts call  (607) 777­2592. l’lSit music.binghamton.edu or  become a fan on Faceboolc. If you were inspired lw  this performance, consider supporting the Department —  »  [ = ]   — [ = ] of Music wi th 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 M us ic   Department, and  send  your check to B U Music Department, P.O. Box 6000sss, Binghamton, N Y 1 3 902 * * * � 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.) 01:18:08 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74828">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74828</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Binghamton University Wind Symphony presents Once Upon a Time  Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Reineke, Pryor, Whitacre, Bach, Duffy, Chattaway, Weinberger. Held at 3:00 p.m., April 26, 2015, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource University Wind Symphony Fabricius, Daniel  Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Reineke, Steven Pryor, Arthur Whitacre, Eric Bach, P. D. Q., 1742-1807 Duffy, Thomas C. Chattaway, Jay Weinberger, Jaromir Date A point or period of time associated with an event in the lifecycle of the resource 4/26/15 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/5788a779bf0835c06ad3f6e2fbc8f168.pdf 054ef63a0193b78e424f153df0cc4c43 PDF Text Text U MIL V  A R C R E A  t a ) "*  “ P. m  5 i SPee C o   BINGHAMTON U  N  I  V  E :  R  S  I  T  Y State University of  New York Depa rtmen t of M usic Join t Ch opin  Pia no Recita l Lisa Wan g & Jessica C heng l l ' Satu rday, A pril 26, 2003 3 :00 p.m . Casadesus Recital H all �About th e Perform ers Hsiu­wen (Lisa) Wan g started playing piano at the age of 5­1/2 in Taiwan and was accepted into a music program at Kuang­Jen School three months later. In 1991, she came to the United States and studied with Morris Borenstein, who encouraged her to audition for the Pre­College Division of Juilliard. Wang was accepted there at  the age of  11  and studied with Richard  Fabre and  Antonio Fermin.  In  the  same  year,  she  won  the  New  York  State  Music  Teachers Association Competition. in 1997, she performed with the Highlands Symphony Orchestra  at  the  Lycien  Center  in  Sugarloaf,  N.Y.  Wang  organizes  and performs yearly at Glenn  Arden in Goshen, N.Y. and gives master classes in Taipei  City, Taiwan  whenever she visits her native country. This winter, she performed at Kuang­Jen School  and plans to perform at Gao­Shoang Cultural center next summer. She also plays violin and flute. Wang studies piano with Prof.  Ewa  Mackiewicz­Wolfe  and  is  a  third­year  student  at  Binghamton University, majoring in accounting and music. Jessica (Yu­shan) Ch eng, a native of Taiwan, started her music education at age 6 and was accepted into a music program for gifted students at Kuang­Jen School. At  9, she began studying cello as her secondary instrument. In 1996, she came to the U.S.  and was accepted into the Manhattan School of Music Preparatory  Division, where she studied  piano with  Fiorella  Canin and  cello with  Joseph  Meyers.  She  also  played  in  an  orchestra  conducted  by  James Sadewhite.  As  a  cellist,  she  has  performed  in  numerous  concerts  of Youth Orchestra, CYCNY, around the greater New York City area. She was accepted into the North American Elite Youth Orchestra for a performance at Carnegie Hall  in  2001.  As a  piano  soloist,  she  made  her  debut  at  Taiwan  Center  in Flushing, N.Y. on May 12, 2000 and last summer, was invited to give her Far East  debut  in  Taipei  City.  She  was  a  2001  a  winner  of  the  Binghamton University  Concerto  Competition.  Cheng  is  a  second­year  accounting/music major. She studies piano with Eva Mackiewicz­Wolfe. �Program Frederic Chopin (1810­1849) Scherzo in B­Flat Minor, Op. 31 ................................ Jessica Cheng Valse Brillante in A­Flat Major, Op. 34  Lisa Wang Etude in A­Minor, Op. 25, No. 11  .......Lisa Wang Grande Valse in A­Flat Major, Op. 42 ....................... Jessica Cheng Preludes, Op 2 No. 4 No. 20 8 J e s s Etude in C­Minor, Op. 25; No. 12  a Cheng   A Tessity Cheng Nocturne in C#­Minor, Op. Posthumous, No.20  Concerto in E­Minor, Op. 11  I. Allegro maestoso  w Lisa Wang Lisa Wang Jessica Cheng piano orchestra reduction �o Com ing Events (Subject to Change) Sunda y,  April  27  –  Guest  Organ ist :  Todd  Wilson  –  4:00  p.m.  –  First Presbyterian Church, Chenango Street, Binghamton ­ $1 4 general public; $1 2 faculty/staff/seniors ; $6 students Tuesd ay, A pril 2 9 – P iano Recital  by stu dents  of M ichael Salm irs – 8 :00 p.m. –  Casadesus Recital Hall – free Thu rsday, May  1 – Ja zz Mi d­Day  Conc ert wi th guitarist D ave St ryker – 1 :20 p.m. ~ Watte rs Theater ~ free Thu rsday, May 1 – Ha rpu r Jazz  Ensem ble with guitarist Dave Stryker ~ 8:00 p.m. – Watters Theater ­ $8 general public; $6 faculty/staff/seniors; free for students Friday, May  2 – F lute Studio Recita l – 10 :00 a.m. – Casadesus Recital Hall – free Satu rday, May 3 – Ha r pu r Cho rale a nd W omen ’s Ch orus – 3:00  p.m. – Trinity Memorial Church, Binghamton – free Sunda y, Ma y 4 – Unive rsity W ind E nsemb le – 3 :00 p.m. – Anderson Cente r Cham ber Hall – free Tuesd ay, M ay 6  –  Unive rsity P ercussion  Ensem ble –  8:00 p.m. ­  Watte rs Theater – free Thursday, May 8  – Stud ent Recognition Mid­Day Con cert – 1:20  p.m. – Casadesus Recital Hall – free Thu rsday,  May  8  –  Stude nt  Condu ctors’  Conce rt  featuring  choral  and instrumental groups – 8:00 p.m. – Anderson Center Chamber Hall – free Friday, May 9 – String Cham ber C oncert – 8:00 p.m. – Casadesus Recital Hall­ free � 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.) 0:54:16 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253391&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253391&amp;change_lng=en&amp;select_viewer=metsViewer</a> PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joint Chopin piano recital, April 26, 2003 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2003-4-26 Description An account of the resource Works of Frédéric Chopin. Held at 3:00 p.m., April 26, 2003, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Wang, Lisa Cheng, Jessica Date A point or period of time associated with an event in the lifecycle of the resource 4/26/2003 Rights Information about rights held in and over the resource In copyright 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.) 01:02:30 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75018">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75018</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 Master's recital with Seonghyang Kim, April 27, 2014 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Held at 7:30 p.m., April 27, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Kim, Seonghyang 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 4/27/14 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 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:05:20 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75015">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75015</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 Paul Watrobski recital, April 27, 2014 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Held April 27, 2014. Creator An entity primarily responsible for making the resource Watrtobski, Paul 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 4/27/14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/66bbb33bdd4c3ea9d1e7a3a455759024.pdf e9ccd8f027a9f92cdf2b9f8b60881895 PDF Text Text BING HAMTON U N I V E R S I T Y S T A T E  U NIVERSITY O F  N E W   YORK m m Ld D E P A R T M E N T UNIVERSITY PERCUSSION E NSEMBLE CONCERT Joel S m al es, D irector Tuesday, Ap ril 2 8, 2 01 5 7:30 PM And erson Cente r Cham ber Hall �o»  PROGRAM «6 Fanfare for Tambourines  80  ABOUT THE DIRECTOR  (93 .. John Alfieri (b. 1953) Mercury Rising.  Nathan Daughtrey (b. 1975) Connecticut Groove  . Joel Smales (b. 1967) Farmer’s Trust ..  . Pat Metheny, arr. Steve Houghton Minuet . Boccherini (1743­1805) Stubernic...  .. Mark Ford Emily Goetz, marimba soloist Sarah ..  (b. 1958) .. Len “Boogsie” Sharpe (h.1953) Don’t Worry, Be Happy  .. Bobby McFerrin Quartet for Paper Bags .  Larry Spivack (b. 1950) (b.1954) Cross Currents...  m a n e ­ s m o ­ .Lynn Olassock (b.1946) The Binghamton University Percussion Ense mble Emily Goetz*  Emily Brill  David lndictor  Alex Rava*  Alex Strong  Carly VanOpdorp  Nick C ioffi  Annabel Fair  Joe Glowinka Adam Luftig e y senior Joel Smales is Adjunct Professor of Percussion at Binghamton University and Director of Bands at Binghamton High School’s Rod Serling School of Fine  Arts,  in Binghamton, NY. He holds  music  degrees  from  the Crane School ofMusic (BM) and Binghamton University (MM ). His  school  ensembles  have  performed  for  Bands  of  America  in Indianapolis,  New  York  State  School  Music  Association  Winter Conference,  New  York  State  Band  Directors  Association  Winter Conference, Music Educators National Conference National Conference in Minneapolis,  Percussive  Arts  Society  lntemational  Convention  in Nashville,  First  Night  Virginia,  First  Night  International,  the  World Physics Conference an, numerous Steel Dmm Festivals and a concert tour throughout Oklahoma. As a performer. Mr. Smales performs as Principal Percussionist with the Tri­Cities  Opera  Orchestra,  with  the  Binghamton  Philharmonic Orchestra, eNeRJee Jazz Trio and Caribbean steel band PANIGMA.  He has performed on over thirty professional C D  recordings and runs an annual  Summer  Percussion  Camp  in  Binghamton  for  area  school students.  His published  works  include  solos,  ensembles,  books  and method books published by Kendor, HoneyRock, Drop6, House Panther Press and Phantom Music Publishing. Mr. Smales has presented clinics  for MENC, NYSSMA, NYSBDA and the NJMEA and his articles on music and percussion have appeared in Percussive Notes, School Band and Orchestra, School Music News, The lnstrumentalist, Vermont Music Educator and Band World magazines. Smales served as  the Percussion Chair for the New  York  State School Music Association from 2004­201 1 and V.P. for the NYS  Percussive Arts Society from 2005­2010.  Joel and his wife Athena live in Kirkwood, NY with their four children. �Binghamton University  Department of Music Com ing Even ts é w w w a m m m m m m ­ é e o é e o Thursday, April 30 ­  Mid­Day Concert ­  1:20 p.m. ­  Casadesus Recital Hall ­  free Th u rsday, Ap ril 30 – P ia no Ensemble ­  7:30 p.m. ­  Casadesus Recital Hall ­  free F riday, May 1 –  Flute Studio and Flute Chamber Concert ­  10: 1 5 a.m. –  Casadesus Recital Hall ­  free Friday, May 1 ­  Brass Recital ­  4 p.m. ­  Casadesus Recital Hall ­  free Saturday, May 2  ­  Senior Recital : Daniel Malinovsky, piano ­  12  noon ­  Casadesus Recital Hall ­  free Saturday, May 2 ­  Master’s Recital : Jenny Gac, soprano ­  3 p.m. ­  Casadesus Recital Hall – free Sunday,  May  3  ­  University  Chorus  and  Symphony  Orchestra:  Mendelssohn’s “Lobgesang”  ­  3:00  p.m.  Osterhout  Concert  Theater  ­  $7  general  public;  $5 faculty/staff/seniors/alumnni ; free for students Sunday, May 3 ­  Joint Recital : J unior Max Rydqvist, baritone and Senior Ricky Nan, tenor ­  7:30 p.m. ­  Casadesus Recital Hall ­ free Thursday, May  7  ­  Student  Recognition Mid­Day Concert ­  1:20  p.m. ­  Casadesus Recital hall ­  free Th u rsday, May 7  ­  Har pu r Chorale and  Women’s Chorus  Sp ring Concert  ­  7:30 p.m.  ­  Anderson  Center  Chamber  Hall  ­  $7  general  public;  $5 faculty/ stat‘f/seniors/ alumni ; free for students éwwwbwwflfiiam­fiéflébafiwb —  [ u ]   .  =  [ w m ]   For tickets or to  be added to our email list, visit undersonlringhamtonedu or  call  (607)  777­ARTS.  For  a complete list  of our  concerts call  (607) 777­2592, visit miuicbinglmmtonedu or become a fan on Facelrook. If  you  were  inspired  by  this  performance.  consider  supporting  the Department of Music with a financial gift. Your support helps to continue the umk of students, faculty. and guest artists and  their contributions  to our community  Please  make your  donation  payable to  the  Binghamton University  Music  Department,  and  send  your  check  to  BU  Music Department, P.O. Box 6000, Binghamton, N Y  1 3902. � 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.) 58:07:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74825">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74825</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource University Percussion Ensemble concert, April 28, 2015 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Alfieri, Daughtrey, Smales, Metheny, Boccherini, Ford, Sharpe, McFerrin, Spivack, Glassock. Held at 3:00 p.m., April 28, 2015, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource University Percussion Ensemble Smales, Joel Goetz, Emily Brill, Emily Indictor, David Rava, Alex Strong, Alex VanOpdorp, Carly Cioffi, Nick Fair, Annable Glowinka, Joe Luftig, Adam. Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Alfieri, John Daughtrey, Nathan Smales, Joel Metheny, Pat Boccherini Ford, Mark Sharpe, Len "Boogsie" McFerrin, Bobby Spivack, Larry Glassock, Lynn Date A point or period of time associated with an event in the lifecycle of the resource 4/28/15 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound