154 10 1775 https://omeka.binghamton.edu/omeka/files/original/0f57e22199fb619c088b7635b59a0c3b.pdf 94dedc272ca5062cfa5ce8b4662d058b PDF Text Text �PROGRAM SUnday, Oct obe r 9, 1966 8:1 5 p.m. College Theate r Q UARTET No . 75 i n G MAJOR Op . 76, No . 1 All egro con spirito Adagio sostenuto M enuetto. Presto Allegro ma non t r oppo J.HAYDN SIXTH QUARTET I M es to, Pu i Masso, Vivace II Mesto, Marcia III Mesto, Bu rletta IV M esta B.BARTOK intermi s sion QUARTET i n G MAJOR Op . 18, No . 2 All egr o Adagio Cantabil e Sche rzo . Alleg r o Alleg r o molto quasi Presto L. v. BEETHOVEN A RECE PTION honoring the Quartet will be held by the residents of Johnson Hall in the Lounge of their dormitory immediately following the performance. The audience is cordially invited lo attend. Johnson Hall is situated directly across Center Drive from the Student Center Building. �Notes by William Klenz osef Haydn's seventy-fifth quartet is the first ol the set of six known as Op. 76 written in the --: mid 1790's and published in the last year of the century. They are thus the products of Haydn's period of transcendent mastery - the decade which also produced the London symphonies. The first movement opens with the briefestof fanfares (three chords) and proceeds at once to the principal, generating theme which is tossed back and forth amongthe single instruments before being heard in a massive presentation. From •tus moment on there is a constant development and intensification of both rhythm and tonal relationships. All elements of design are extracted from the principal theme whose apparent naiveté 1s really the cover for an ultimate in sophistication and "know how.• Even the fresh-seeming, innocent, wide-eyed tune which finishes off this exposition 1s really not new at all, but a reworking of its elements. The development begins as a study in simple counterpoint, gives way to schematic dynanusm . Emerging from this we encounter a passage of really complex counterpoint winch gradually simplifies itself t o prepare for the masterly r eturn of the 111it1al material and another, this time definitive, working-nut of its elements. The fortll of the Adagio is oft he simp l est strophic order. A sustained choral-like verse alternates with sections of beautifully contrived textural writing, writing which certainly did not go unnoticed by Beethoven. T he Me 1111, /lo (once the symbol of courtly etiquette and the long shadow of Louts X IV) 1s not sedate or courtly - 1t is marked Presto and 1s a caricature o f the ancie 11 régime The Revolution has taken place - and do we see Citizen Capet, wig askew, trundling along a rough road in undignified haste 111 his carriage? T he final movement begins in the minor key and its materials have, as often with Haydn, a Central European flavor. These are subjected to a complex development marked by subtle am\ remote modulations. These ultimately re t urn us to the starting point and then to the major key for a bnlliant ending. € The quartets of Béla Bartók have become recognized as masterpieces lll our time. It has been observed and with c onsiderable justice that as a body they are th, o nly worthy �successors to the quartets of Beethoven. They are based on the same principle and mode by the same method, that of integrative organic unity, closeness of derivation and the stnrtest economy which saturates every detail, every rhythm, every 111terval - 111 short the method createdbv !laydn and followed by Mozart and Beethoven. The materials a re the distinctiv ve and extremely personal assimilation made by Bartok of the basic materials of the racial and national music ol Eastern Europe which he collected so faithfully and studied with such love and care that it seems to have offered hLm as a reward a flawless omnipotent language for the expression of his intransigent originality. This process the forging of a "classical" language from basic materials 1s usually the product of centuries. To Bartok it was granted to accomplish it in one hfetime. To those who realize the achievements of Ins life work 1t seems that he deserved it. The sixth quartet is Bartok's last and was completed in Budapest late Ill 1939. Its movements are bound together by a recurring "motto" theme, slow, Mesto, which embodies the element of lassu, brooding melancholy and concealed fire, typical of Hungarian music. In contrasting rapid kinesthetic movements, friss, the materials become incandescent and propose exhilarating experiences of muscles, mind and spirit. € The quartet, Op. 18 No. 2 bears the nickname, "Compliment Quartet" because of the florid, elegant nature of its opemng phrases which set thetonefortheenure first movement. However the rnatenal is not empty flattery, but rich in patterns and motives which receive a searching analysis and resynthesis lll the course of the movement. Juxtaposition, mutual modification, interaction are 1hr devices which make the work a reflection of the natural world and the Force behind it. These are carried out at obvious, overt levels, and at recondite, arcane depths whence they operate directly upon the subconscious which senststhe "rightness" and precision of things for which the "small-change counting" consciousnesshas no recognition or epistemological terms. The quartet is all of a piece. The Adagio has many thematic and motivic references to the first movement it also contains a surprise, a miniature Sonata Allegro tucked between its two broad statements which are themselves a Lied formand its variation. The Scherzo continues th, atmosphere of elegance and wit while the very Haydnlike finale develops a motive first presented (f) at bar 20 of the firstmovement. �State University of New York at Binghamton HARPUR COLLEGE The Department of Music presents THE GUARNERI STRING QUARTET (in residence) Arnold Steinhard t violin Michael Tree viola John Da lley violin RE C ITALS O David Sayer cello SEASO N 1966-67 SUMMER SERIES WINTER SERIES SPRING SERIES Sunday, July 10 Sunday, July 24 Sunday , November 6 Tuesday , Decembe r 13 Wedne sday, J anuary 4 Wednesday , January 11 Sunday , Mar ch 12 Saturday, March 18 Sunday, August 7 Sunday , August 14 Sunday, September 11 Sunday, Octobe r 9 Sunday, February 12 Sunday , April 2 Sunday , April 30 Satu rday, May 6 All performances at 8:15 p.m. in the Harpur College Theater . Late comers will be scaled after the first quartet. Ushering cou rtesy of Alpha Phi Omega and Gamma Sigma Sigma. OPEN REHEARSALS The public is co rdially invited to attend the Quartet's rehearsals, held the day prior to each recital, at 3 p.m. in the music room (C .A.-183) near the theate r . Program design by William Mihalko � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 3 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 19:44 29:26 22:25 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54664">Summer Series Recitals Guarneri Quartet Recital</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 Summer Series Recitals Guarneri Quartet, October 9, 1966 Recital Tape 1966-10-9 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Haydn, Bartók, Beethoven. Creator An entity primarily responsible for making the resource Guarneri Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Haydn, Joseph, 1732-1809 Bartók, Béla, 1881-1945 Beethoven, Ludwig van, 1770-1827 State University of New York at Binghamton. Department of Music Date A point or period of time associated with an event in the lifecycle of the resource 1966-10-9 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context Summer Series Recitals Guarneri Quartet Recital Tape 1966-10-9.pdf https://omeka.binghamton.edu/omeka/files/original/4a26d75c7a2cb60cef9a2766c8743853.pdf 1e2d1fa542b1df7cc3665bb7d04d4e59 PDF Text Text Harpur • Season 66·67 Summer Series �PROGRAM Sunday, Jul y 10 , 1966 8:15 p.m. Coll ege Theate r QUARTET FOR TWO VIOLINS, VIOLA AND VIOLONCELLO in B Flat Major, K. 589 Alle gr o Larghetto Menuetto and Tri o Allegro Assai W. A. MOZART FIVE PIECES FOR STRING QUARTET Op . 5 (1909) A. WEBERN intermission STRING QUARTET in E Flat Major, Op . 12 7 Maestoso, Allegro Adagio, m a non troppo e molto cantabile Sche rzando vivace Finale L.V. BEETHOVEN A RECEPTION honoring the Quartet will be held in the Fa culty L ounge adjac ent to the theater following this evening's Yecital. T he audi ence is most cordially invited to attend . �Notes by William Klenz he B Flat Quartet of Mozart, K. 589, is from the year 1790 and is the second of the three quartets dedicated to Frederick William II of Prussia. An amateur of the 'cello, his taste was recognized by Mozart in the highly developed, not to say formidable, part given to that instrument. Of the most limpid clarity of construction - one is struck on examining the score by the surprising number of rests - every note is indispensable and calculated with the most exquisite precision for its balance, proportion and effect - a sublime economy with no trace of poverty. The delay (five bars) of the entry of the 'cello at the beginning serves to highlight the instrument when it does appear and gives the clue to the method of construction - "nothing that is not necessary, notlung simply for convention's sake." The first movement is of the most regular construction, which however gives the impression of being foreordained and inevitable and in no sense imposed. The LarghetIto again features the 'cello in a cantabile style and register so that at the opening the viola must be the bass. The movement consists of two equal, parallel sections, and a particularly masterly moment 1s that when midway, the 'cello, tiring of the "small talk" of his colleagues, directs the events to the return of his serious cantilena. The Menuettoand Trio comprise a large-scaled movement in which the dance form has been subjected to the working-out of a sonata . The Trio is a jewel box of instrumental effects, and, it may be observed, begins with only three players. The Finale is a sonata movement with a theme appropriate to a rondo. It gives the impression of a complex ritual-game - ring dance, follow-theleader - and is the distillation of the original magical purposes of all such ritual observances which properly inform this movement of a Classical work. • These pieces have been acknowledged as master- �pieces since their first performances. They are the realization of the direct desire to communicate, by-passing preconceived mechanisms and formalities, which while comfortable and reassuring, eventually become "dead" weight and empty formalism. There is no room for "dead" weight here - the pieces are of an almost incredible, even legendary, brevity - a necessary brevity, because of their extreme intensity. The preoccupation is with the unique event in time; no mechanical repetition is possible and the sole object is expression. The result in terms of sound is of an unearthly, fleeting physical beauty. While constructed with penetrating logic and unassailable musical "grammar," they are passports to a subjective-dream world, vivid chronicles of the inner life intimately illustrated by such painters as Klee and Kandinsky whose work they resemble not a little in both method, dimension and intent. • The first of the "last" great Quartets seems to have been begun by Beethovenin early 1822 . Later that year Prince Galitzin (to whom the Quartet is dedicated) approached Beethoven about "two or three new quartets." In the course of 1823 Beethoven resumed work on the E Flat Quartet, but set it aside to finish the Ninth Symphony. The first performance, March 6, 1825, by the Schuppanzigh Quartet "was unfortunate"; another on March 23 was "more successful." It was published in the following year as "GRAND QUATUOR/ en Partition/ pour deux violons Alto et Violonc ell e composé et dedié/ Son Altesse Monseigneur l e Prince/ Nicholas de Galitzin, / Lieutenant-Colonel de la Garde S,,#M,,#J,, de toutes l es Rus s i es/ par/ LOUIS V. BEETHOVEN/OEUV 127... 11 àS The atmosphere of the work is pastoral, not to say sylvan, where Beethoven seems to draw strength and peace from contact with nature. It seems pointless to reduce its structure to words when you are about to experience the work itself . Suffice it to say that the first movement is of normal components, although large in dimension and is created by the organic processes of development which unite Beethoven and his beloved natural world and sets an (Continued on back page ) �State University of New York at Binghamton HARPUR COLLEGE The Department of Music presents THE GUARNERI STRING QUARTET (in residence) Arnold Stein hardt vio lin John Dall ey violin RECIT A LS Mi chael Tree viola David Soyer cello O SE A SO N 1966-67 SUMME R SERIES W IN TER SERIES S PRI N G S ERI ES Sunday, Sunday, Sunday, Sunday, Sunday, Sunda y, Sunda y, November 6 Tuesday , Decembe r 13 Wedne s day, J a nuar y 4 Wednesday , Janua r y 11 Sunday, Febr ua r y 12 Sunda y, Ma r c h 12 Saturda y, Ma r c h 18 Sunday, Ap r il 2 Sunday, April 30 Satu r da y, May 6 July 10 J uly 24 Augu st 7 August 14 September 11 October 9 All performa nc es at 8:15 p.m . in the Ha rpur Colle ge T heate r. Late com ers will be s eated afte r th e fir t quartet. Ushe r i ng courtesy of Alpha Phi Ome ga a nd Gamma Sigma Sigma . OPEN REHEARSALS The publ ic i s co r di a lly invite d to atte nd the qua rte t' s r e hea r sals, hel d the da y prior t o eac h r ecita l , at 3 p.m . (during Augu s t 10 a .m .), in the mus ic room (CA- 183) nea r the theater. NOTES (C ontinu ed) unmistakable s i gn on the work . An e spec iall y tr easu r ed de t ail i s the clos ing section whi ch de velops a small exp r e ssi ve phr a s e into a vast summing -up . The s econd move ment is a theme and five va ri a ti ons - the or ganic princ ipl e again (plus ça clumge, plus c 'est la même chos e} in the hand s of the m a ste r of the va r iation. The Scherzo exploits a shifting rhythmi c module a nd its joke ena ble s one to he ar t he Cos m ic laught e r which the Indi a ns say is the act of Cre ati on itse lf. T he Final e is anothe r s onat a fo rm built of musi cal mate rial s t hat are in t hemse lve s unpr eposses si ng but whi c h fo r Bee thoven clea rl y he ld the ge r m cells of life and whi ch he leads to a powe rful de monstr ation of the vitalit y of simpl e , na tural for ces guided by inne r organic unities and t r uth. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 39:48 38:23 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54448">Summer Series, Recitals Guarneri Quartet Recital</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 Summer Series Recitals, Guarneri Quartet Recital Tape 1966-7-10 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Mozart, Webern, Beethoven. Creator An entity primarily responsible for making the resource Guarneri Quartet 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 Beethoven, Ludwig van, 1770-1827 State University of New York at Binghamton. Department of Music Date A point or period of time associated with an event in the lifecycle of the resource 1966-07-10 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context Summer Series, Recitals Guarneri Quartet Recital Tape 1966-7-10.pdf https://omeka.binghamton.edu/omeka/files/original/99eea5f25e4c63cb1c8a78693ab4fbae.pdf e21c8e0df4c68826296b77f007c547ae PDF Text Text GUARNERI SEVE VARIA TIO S BEETHOVE on "Bei Manne rn welche Liebe fuhlen" fr om Mozart's The Magic Flute SO ATA in E Mino r, Op. 38 BRAHMS Allegro non troppo Allegretto quasi menuetto Allegro I TERMISSIO DEBUSSY SO ATA in D Minor (1915) Prologue Serenade Finale SONATA in G Mino r, Op. 19 HARPUR RACHMA Lento - Alleg r o moderate Allegr o scherzando Andante Allegr o mosso David Soyer, cello Zaidee Parkinson, piano SU SEASON 1965-66 ER SERIE Fifth Rec i ta! Sunday, October 10, 1965 ov �NOTES by Patricia Isham ■ Be ethove n's l as ting interest i n the va r iation fo r m i s evince d by t he more than t hi r ty compositions of this type whi ch he wr ote during his lifetime (not incl uding move ments within l arger wo r ks), wnd his musi cal de ve l opm ent can almost be t r aced in his handling of this form . The t hree sets of variations for ce llo and piano (two based on themes fr om M ozart's Magic Flute and the other on one from H andel ' s Judas Maccabäus ) exe mplify his earl y use of this formal structur e al ong lines cl ose l y adhering to those of Haydn and M ozart. M ozart's Th e Magic Flute had been pr oduced earl y in 1801 in Vienna and had been greeted with great ac c l aim, and its subsequent popul arity pr obabl y pro vi ded B eethoven with the stimul us to wri te the Sev en Varia t i ons (180 1) dedicated t o Count von Browne. Mozart's simple fourteen - measure m el ody is divided into two paralle l antecedent phrases of four m easur es each and a contrasting consequent phrase of six me asur es, and B ee thoven adheres to this structural design throughout. The cello and piano alternate in presenting and imitat in g the material in the four measure phrases, but often j oin in dialogue in the co nsequent phr as e . T he orna m entation in the first thr ee variations be co mes success ivel y co mpl ex in the use of thi r t y -s econd notes, trill s, and other embellishments . T he minor mode is used in the fourth variati on while the fifth, sixth and seventh va riations are given differ ent tempo indica ti ons - "Allegretto," "Adagio," and "Allegro ma non tr oppo" r espe cti ve l y . T he seve nth va riation is extend ed by a coda which modul ates to C minor, but the composition closes with a return t o the opening gigue - like rhythm and gaiety of this fina l variation . ■ The Sonata for ce llo and piano, Op . 38, was the first of seve n sonatas Brahms wr ot e for piano and s ol o instrum ent, (two for cello, three for violin, and two fo r cl arinet). T he first two movements were writ ten in 1862, with an Adagio which B rahms l ater des tr oyed , while the final Allegro was not co mposed unti l 1865. Dedi cat ed t o Josef Gansbacher, a profess o r at th e Vi enna Akad emi e, the sonata abounds with many of Brahms' chara ct eristi c passages -- syncopations hei ghtene d by ti es over the ba rl ines, unmetri cal acc entuations, wide-spaced l eaps, and m el odi es present ed in parallel thirds or sixths or in thi ck chor ds . Gei ringer in his book on Brahms suggests the who l e sonata might be in homage to J. S . Bach . He points out a possible r el ati onship betwee n the first th em e of the first movement and B ach's Third Cont rapw1 ctus from the Art of the Fugue and again a m a rked sim il arity betwee n t he them e of Brahms ' fugu e subject in the last m ove m ent and that of Cont r apunctus 13 fr om th e sam e work of Ba ch. T he fir t m ovement i n sonata fo r m expl o res t he l yric potentia l ities of U1e cello's l o west r egi st er , but the deve l opm ent section r ea hes a cli max of g r eat intensity with arpeggios and widespaced l eaps in both instrum ents. T he second movement is built on a four-note figur e first pl ayed by the piano , which forms the k e rn el m oti ve of both the Quas i Menuetto and its contrasting tri o . T he final e is a thr ee - part fugu e, in which the subj t is stated in th e bass r egister of th e piano, i answered by the ce llo and is stated th e third tim e in the treb l e r egis t e r of th e piano . T his m ov m ent co m ines the el em ents of fugue and sonata form, f o r the fu ga l expos iti on is fo llowed by a deve l opm ent section of gr eat complexity in which the fugue subject r eappea rs in inver si on and various other guises . I n th e r ecapitu l a i on Brahms expands th e fugu e into a quasi-triple fugu e by pres enting both his f o rm e r counte rsubj ects simu l taneousl y with each entry of the fugu e subj ect. T he m ove m ent cl os es with a Piu Pre to of gr at brilliance and vi rtuosit y . ■ D ebussy's only ce llo sonata, compl eted in 19 15, was the first of a project ed gr oup of six sonatas . T he su ccee ding two works for flut e, viol a, and ha r p and for violin and piano wer e finish ed, but of th e fourth contemp l ated wor k onl y th e instrum entati on -- oboe, horn, and ha r psi chord -- is known. Wilfrid M ell ers in his dis cussi on of Debuss y suggests that the co mpos er was preoccupied with the contradictions r epresented b y Harlequin in ol d Italian co m edy -- the co ntrasts b etwee n the m y thol ogical , idea l ized wor l d and the wo r l d of sor did r ealit y . I n the ce llo sonata, for which D ebussy proposed the epigraph " Pie r r ot fâché avec la l une ," he juxtaposes these el ements and expresses his own disillus i onment. T he sonata op ns with a rhaps odic Prologue in which fragmentary melodic arabesques appear in eve r- changing va r iants, intensified by rhythmi c fr eedo m and changes of tempo . T he second m ove m ent éré n ad enlists va ri ous novel effects t o make the cello simulate a mandolin, a guitar , a flute, or a tamb ourine . M ell e r characteriz es this "fr ustrated" m ove m ent as "the m os t signiii ca ntly modern ." T he Final is gaye r and more fo lk-like in (Continued) �State University of New York at Binghamton, HARPUR COLLEGE The Department of Music presents THE GUARNERI STRING QUARTET (in residence) Arn old Steinh ardt violin lich ae l Tree viola John Dalley violi.n RECIT A LS Da id S oyer cello O SE A SO N 1 96 5 -66 S UMMER S ERIE S WIN TER SE RIES S PRI NG SE RIE S Sund ay, Augu s t 1 Sund ay, August 8 Sund ay , Augu s t 15 Sun d ay , August 22 Su n d ay , O c tob er 10 Sund ay , ov emb e r 14 S und ay, D ecem b er 5 Su nd a , Ja nuary 2 S unday , Ja nuary 9 Su nday , F ebru a ry 1 3 Mo nday, Ma rch 28 Su nday , Ap ril 3 Sund ay, April 10 A ll p er forman ces a t 8 :15 p.m. in th e Harpur Co ll ege Th ea te r. Late com er s will be s eated af ter th first quar t t. Ush e rin g courtesy OPEN REHEARS A LS of Alp h a Ph i Om ega Th e pub lic is co rd ia l! in it d to a tt nd th q ua rt t' r h a rsa ls, h Id th e day p rio r to eac h rec it a l, a t 3 p.m. (d u rin g ugus t 10 a. m.). in th mu s ic ro o m (C -183) n ea r th e th a te r. NOTES Continued c haracte r, but is inte r rupted by s eve r al s lower s ecti ons of a darke r mood (one is ma r ked • con of the m o rbidezza• ), which ar e reminiscent earli e r move ments. ■ The Cello Sonata in G Minor of Rac hmaninov, compos ed in 190 1, dates fr om the sam e pe riod as the Second Pi ano Conce rto a nd is similar in m ood . The compos e r s ee ms to have expe rienced a ce rtain cr eati ve r ebirth at this time, fo r these wo rks probabl y r epre s ent his highest point of artist r y . Thes e compositions might be charac te r ized as "elegiac a nd tragic," "restrained and Al though Ra chma ni nov wr ote an Ele original." giac T rio in m emory of Ts chaikows ky, a piano tri o, and a string quintet, t he latte r two works have neve r been publi s hed, and the s onata r emains the onl y chambe r workfo r whi ch thecom powe r is r e m e mbe r ed toda y . Alt hough s ome write r s have complained of the ove r -br ill ia nt piano pa r t de mandi ng the utmost virtuosity, Rac hmaninov has been highl y pr aised fo r his idiomati c hand.ling of the ce llo as a highl y elegi ac and l yr i cal inst r ument. F elix Salmond, the gifted ce lli s t , ha s called it "a beautiful and inspi r ed work." � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound tape reel Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 37:19:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54201">Summer Series, Fifth Recital Guarneri Quartet Recital</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Summer Series, Fifth Recital Guarneri Quartet Recital Tape 1965-10-10 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Beethoven, Brahmms, Debussy and Rachmaninov. Creator An entity primarily responsible for making the resource Guarneri Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Beethoven, Ludwig van, 1770-1827 Brahms, Johannes, 1833-1897 Debussy, Claude, 1862-1918 Rachmaninoff, Sergei, 1873-1943 State University of New York at Binghamton. Department of Music Date A point or period of time associated with an event in the lifecycle of the resource 1965-10-10 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context Summer Series, Fifth Recital Guarneri Quartet Recital Tape 1965-10-10.pdf https://omeka.binghamton.edu/omeka/files/original/fa5e3f5f8d8e7ad37be3249bdd4380f9.pdf c82a94506c9e557cfa14987669ef4531 PDF Text Text BINGHAMTON U N I T Y STATE  U N I V E R S I T Y   O F  N E W   Y O R K d e c ' D E P A R T M E N T M A S T E R S  R E C I T A L SUNG Jin PARK , SOPRANO Chai­Kyou Mallinson, Piano with Ju­Hyang Shon, Flute Saturday, May 2, 2009 3:00 p.m. Casadesus Recital Hall �PROGRAM ABOUT THE PERFORMERS Selected Songs..  .. Johann Sebastian Bach Quia respexit from Magnificat BWV 243a and 243  (1685­1750) Ich folge dir gleichfalls from Passio Secundum JoannemBWV245 student of Voice Performance at Binghamton University.  She received a B.M. degree in voice from Seoul National University and graduated from Seoul  Arts  High  School,  Korea.  Ms.  Park  will  graduate  from Binghamton University this May.  In the fall of 2009, she will attend the University  of  Illinois  at  Urbana­Champaign  to  pursue  the  Doctor  of Musical Arts.  Ms. Park performed in a concert for Ending of Semester of Seoul National University, Seoul, Korea in 2005.  In 2004, Ms. Park was a stage director for a Gala Concert of Die  Zauberflote, an  Opera Performing Group of Seoul National University, Seoul, Korea.  She also performed the Third Knabe in this concert.  Ms. Park performed with the Wind Orchestra of Korea University, Seoul, Korea in 2003.  In 2002, Ms. Park performed in the chorus of Cavalleria Rusticana of Seoul National University and she was the soprano soloist in the Concert of Spring with the  Anyang  City  Chorus  of Korea.  Ms.  Park  received  full  tuition scholarships from Seoul National University, Korea from 2002 to 2006 and won Third Place in  the Italian Songs Competition, Korea in  2002. Ms.  Park  studied  with  Professor  Mihae  Park and  Professor Choonhae Juliana Lee  before coming to the United States.  She currently studies voice with Professor LeFebvre at Binghamton University. Ju­Hyang Shon, Flute Sechs Lieder Op.13  Ich stand in dunklen Trdumen  Sie liebten sich beide Clara Schumann (1819­1896) Liebeszauber Der Mond kommt still gegangen Ich hab’ in deinem Auge Die stille Lotosblume WINTERMISSION3 Classical Spanish Songs................................ J. Obradors La mi sola, Laureola  Al Amor (Corazon, porqué pasais? El Majo celoso Con amores, la mi madre Del cabello mas sutil Chiquitita la novia (1897­1945) Selected Korean Art Songs Shin­Arirang (New Arirang)........................Dong­Jin Kim (b.1913) Sanyuhwa..  (The Flowers in the Mountain) Gune (The swing)  Sun­Nam Kim (1917­1986) [­Sang Yun (1917­1995) Gopunguisang (An ancient­styled costume).................I­Sang Yun Setahryung (Rhythm of Birds)................. Du­Nam Cho (1912­1984) Soprano S U N G  J I N  PA R K ,  originally from Korea, is a master’s CHAI­KYOU  MALLINSON,  currently  on  the  faculty  of  the Department of Music at Binghamton University, received a B.M. degree in Piano from Juilliard, Licence d’Enseignement from Ecole Normale de Musique  de  Paris,  France  and  a  M.A.  degree  from  Binghamton University, where she studied with Jean Casadesus.  A prize winner in the  Korean National  Music Competition, she was awarded the  French Government  Scholarship,  Tanglewood  Summer  Music  School  Full Scholarship  and  the  Fontainebleau  American  Conservatory  Full Scholarship. She gave a debut Recital in  Carnegie Recital Hall and has been active as a recitalist, vocal accompanist and coach, and  chamber music performer, as well as an active adjudicator of piano auditions and competitions. JU­HYANG  SHON,  originally  from  South  Korea,  is  a  sophomore student  of Binghamton  University.  Before  she  came  to  Binghamton University, she studied at the  Salem  Academy in North Carolina with Professor  Debra­Reuter Pivetta. While she was  in  North  Carolina, she won several competitions including the Raleigh Area Flute competition and Peter F. Chapman Concerto Competition. She studies with Professor Maiolo at Binghamton University and plays in the Wind Symphony and the University Orchestra. Ms. Shon is currently majoring in nursing. �TRANSLATIONS 5. Ich hab’ in deinem Auge (In your eyes I beheld) Text by Friedrich Ruckert I. Quia respexit from Magnificat For he has regarded the low estate of his handmaiden: behold, for from this time, may I be called blessed. Ich folge dir gleichfalls (I follow thee also) from Passio Secundum Joannem I follow you also with joyful steps and leave you not, my life, my light. Hasten the flow and stop not to draw me to yourself to lead, to intercede. II. From Sechs Lieder (Six Songs), Op.13 1.Ich stand in dunklen Tr iumen (In dark dreams I stood) Text by Heinrich Heine In dark dreams I stood and stared at her portrait, and the beloved face secretly came alive. About her lips there played a wondrous smile, and her eyes glistened as though with melancholy tears. the fawns stood as though in a dream and listened to the sound. And my tears also flowed down from my cheeks. Alas! I cannot believe that I have lost you! 2. Sie liebten sich beide (They once loved each other) Text by Heinrich Heine i i ( . They once loved each other, but neither was prepared to tell the other; they looked at each other so coldly, yet were pining away with love. The moon comes quietly with its golden light, and the weary earth sleeps in its sweet splendour. 3. Liebeszauber And in the air there float (Love’s magic) over the sleepers thousands of loving thoughts from many a faithful soul. Text by Emanuel Geibel And at its sound there wafted around scent from a thousand blooms, and every treetop fluttered lightly and lighter was the air. The brooks were silent which but recently had splashed down from the heights; But I went upon my way and also heard the sound. Alas! Since that hour my songs have been nothing but its echo. 4. Der Mond kommt still gegangen (The moon comes quietly) Text by Emanuel Geibel Finally they parted and only saw each other at times in a dream; they died a long time ago and were hardly aware of it. Love sat, a nightingale, in a rose bush and sang; the wonderful sweet sound flew through the verdant wood. And light and ever lighter the rays of the sun flooded in, and over flowers and wood and glen the red­gold glow poured out. t L I . And down in the valley there sparkle the windows of my darling’s house; but I am in the dark, quietly looking out into the world. In your eyes I beheld the light of true love. Once I saw on your cheeks the roses of heaven. Though  in  your  eyes  the  light  be dimmed and the roses be scattered, yet their reflection ever new has remained in my heart. I will never see your cheeks or look into your eyes, without the roses being there and the light shining for me. 6. Die stille Lotosblume (The still lotus flower) Text by Emanuel Geibel The still lotus flower rises out of the blue lake. The leaves shimmer and sparkle, the cup is white as snow. From heaven the moon pours out all its golden light, pours all its rays into its depths. A white swan draws its circles around the flower in the water, it sings so sweetly, so softly, and gazes at the flower. It sings so sweetly, so softly, dying as it sings. O flower, white flower, can you understand the song? �6. Del cabello mas sutil (From the finest hair) From the finest hair III. From Classical Spanish Songs 1.La mi sola, Laureola (My only Laureola) My only Laureola, my only, only, only one, I, the captive Leriano, am so proud to be wounded by the hand, the only hand in the world, My only, Laureola, my only, only, only one. 2. Al Amor (To love) Give me, Love, countless kisses, your hands seizing my hair, and a thousand and a hundred after those and then eleven hundred more and after many thousands, three more! And so that no one knows, let’s forget the count and count backwards! 3. 5Cora26n, porqué pasais? (Oh, heart, why do you lie awake?) Oh, heart, why do you lie awake during the nights made for love, When your mistress rests in the arms of another lover? Oh, heart, why do you lie awake during the nights made for love? 4. El majo celoso (The jealous lad) From the lad who is wooing me I have learned the sad song Which, night after night, a thousand And one times, he sighs at my window “My darling, I am dying of a wild and cruel love; I wish I could forget you, but though I try, I cannot!” They told him that in the Pradera I was seen with a fellow Dressed in a silk shirt and a velvet jacket. “My handsome boy, I love you! Never think I am dying, crazed with love, For that fellow!” 5. Con amores, la mi madre (Dreaming of love, dear mother) Dreaming of love, dear mother, dreaming of love, I fell asleep, and sleeping I dreamed of what my heart concealed. For love consoled me with more than I deserved. This favour which Love lovingly granted me lulled me to sleep. The loyalty with which I served him brought respite to my sorrow. Dreaming of love, dear mother, dreaming of love, I fell asleep. That you wear in braids I will make a chain to bring you to my side. A water­pot in your house, my love, I should like to be, and then, I could kiss your lips each time you take a drink. 7. Chiquitita la novia (A tiny bride) Ah! A tiny bride, a tiny groom, a tiny room, and a bedroom. That is why I want a tiny bed and a mosquito net. Ah! IV. Shin­ A rirang (New Arirang) The word ‘Arirang’ is impossible to translate. It is a Korean word and a concept which can mean many things (and even different things to different people) in this most traditional of Korean folk songs. Arirang, Arirang, Arariyo Go over the Arirang mountain pass. You wait, holding open the gate made of sticks. The wild duck frolics in the moonlight. The love I met when the peony blossomed does not return, Even now that the white chrysanthemums have withered. There is no hope of binding my beloved to my heart in which my love is still knotted. Arirang, Arirang, Arariyo, Over the Arirang mountain pass. Arirang, Arirang, Arariyo, Go over the Arirang mountain pass. Shall I build a humble cottage under that mountain and live like the flowing stream? Arirang, Arirang, Arariyo, Go over the Arirang mountain pass. Sanyuhwa (The Flowers in the Mountain) On the mountain there are flowers, blooming flowers. No care for the passing of spring or summer, flowers are blooming. On the mountain, this side and that side The blooming flower is shining alone. The bird crying through the mountain, enjoys dancing with the flower. A pleasure to live in the mountain. Flowers fading in the mountains, On the mountain there are flowers, fading flowers. No care for the passing of spring or summer, flowers are fading. �Gune (The Swing) When I see a far away, I can see like going out my sight, She looks like a butterfly. The cuckoo sings in the green forest. She takes o ff  the swing, Because she worries that lover waits her. After we make up And checking her hair and clothes, She breathes with gasping. When I see a far away, I can see like going out my sight, She looks like a butterfly. The cuckoo sings in the green forest. Gopunguisang (An ancient­styled costume) Sadly beautiful are the long eaves of the roof, heading towards the sky Half­Moon is hiding behind the curtain made with tiny marbles Night of the spring gets deeper and deeper like the cries of the bird Alas, beautiful. Truly Beautiful! Bright is the white strip attached to the top boarder of the “Hanbock” (*1) coat.  The long skirt of the Hanbock, 12­feet­long, flows like a wave. Aren’t you a swallowtail butterfly that signifies the tradition of a nation? Lower your eyes; And dance lightly like the butterfly.  I play “Geumungo” in the night, my eyes closed (*2).  My hands playing dance to the rhythm of the music like a willow in the wind. *1: Hanbock: Korean traditional attire. *2: Geomungo: a Korean musical instrument with six strings. Setahryung (Rhythm of birds) ­a traditional Korean melody­ Birds fly, birds are flying, Coming, coming are the birds. Birds from everywhere, birds of all kinds. Birds are coming with spring time. Birds sing, birds are singing. Singing singing are the birds. Spring time is everywhere, flowers of all kinds. Spring is coming with a bird’s song. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 51:41 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149357">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149357</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 Sung Jin Park, Master's recital, May 2, 2009 Recital Tape 2009-5-2 Description An account of the resource Works of Bach, Schumann, Obradors, Kim, Yun, Cho. Held at 3:00 p.m., May 2, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Mallinson, Chai-Kyou Shon, Ju-Hyang Park, Sung Jin 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 2009-05-02 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/3530b797edc756f5df63ee2c3b02dceb.pdf 0435f4c7d34a7f8b9f45755fbbf63e47 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 W [4 0 D E P A R T M E N T S TUDEN T RECI TAL SUNGKYUN RYU, PIANO Saturday, April 20, 2013 8:00 p.m. Casadesus Recital Hall �PROGRAM ..J.S. Bach (1685­1750) Prelude and Fugue in C. BUl/V848............  from Well Tempered Clavier Bo ok 1  Etude in C. Op. 10, no. I..  Nocturne in D­flat, Op. 27, no. 2  Ballade in  F,  Op. 38 Piano Sonata in  F minor, Op. 57..  “Appassionata”  .. Frédéric Chopin (1810­1849) .. Ludwig v an Beethoven Allegro as sai Andante con moto Allegro ma non troppo ­ Presto (1770­1827) ~–Please do not applause in between pieces­es From the studio of Michael Salmirs �Binghamton University Music Department? Coming Events firfi–firbfifirb­firanéraefiéfifiéefiéofirae Saturday, April 20 –Senior Redtal: Sungkyun Ryu, piano – 8:00 p.m. ­ Casadesus Recital H all –   free Sunday, April 21 – Mu Phi Epsilon Concert – 3:00 p.m. ­ Casadesus Recital Hall –   free Thursday, April 25 – Jazz Mid­Day Concert with jazz pianist Larry Ham ­ 1:20 p.m. – Osterhout Concert Theater –  free Thursday, April  25 – Harpur Jazz Ensemble Concert with jazz pianist Larry Ham – 8:00 p.m. – Osterhout Concert Theater – $6 general public: $3 faculty/staft/seniors; free for students Friday, April 26 – Flute Studio and Flute Chamber Concert – 10:15 a.m. – Casadesus Recital Hall  ­ free   medy” – Friday, April 26 – Wind Symphony Concert: “The Divine Co 8:00 p.m. – Anderson Center Chamber Hall – $6 general public; $3 faculty/staff/seniors; free for students Friday, April 26 – Tri­Cities Opera presents Mascagn i ’s “CA VALLERIA   I  " – 8:00 p.m. – The Forum RUST ICANA " and Leoncavallo’s “PA GL IA CC Theatre – call (607) 772­0400 for tickets Saturday. April 27 – Master’s Recital: Brister Hay IV, tenor – 3:00 p.m. – Casadesus Recital Hall – free Saturday, April 27 – Faculty Recital: Christopher Morgan Loy – 8:00 p.m. – Casadesus Recital Hall –   $6 general public; $3 faculty/staft/seniors; free for students 66­6r3­6f3’mc3’6r3­6Mr5­6r3’ For tickets or to be added to our email list, visit anderson.binghamton.edu or call (607) 777­ARTS.  For a complete list of our  concerts call (607) 777­2592, visit music. binghamton. edu or become a fan on Facebook. _  ] [ =   =  [wm]  If   you  were  inspired  by  this  performance.  consider supporting the Department of Music with a  financial gift. Your  support  helps  to  continue  the  work  of  students. faculty,  and guest  artists  and  their  contributions  to  our [=]¢  community.  Please  make  your  donation  payable  to  the Binghamton University Music Department,  and send your check  to  BU  Music  Department,  P.O.  Box  6000. Binghamton. NY 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.) 41:43 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE129102">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE129102</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 Sungkyun Ryu, student recital, April 20, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Bach, Chopin, Beethoven. Held at 8:00 p.m., April 20, 2013, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Ryu, Sungkyun Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2013-4-20 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/b6f4755b5662a1e8f29c965fa3aebcdb.pdf 3be723d240c7e2725a26e0bc9bf3cb55 PDF Text Text Stat e Universi ty of New York at Bing ham ton 1 HE MUSIC DEPARTMENT pres ents SUS AN PETERS, PIANO GRADUATE RECITAL Apr il 30, 1969 9:15 p.m. Music Rec ital Hal l PRO GRAM PARTITA NO. 1 IN þÿB&MAJO m R Prél ude Alle man de Cor rent e Sara band e Menuet 1 Men uct II Gigu e SCHERZO NO. l IN BMINOR, or. 20 SONATA II FOR EARLY PIANO IN E MAJ OR Fred eric Cho pin Alex ande r Rein agle Inte rmi ssio n RHAPSODY IN B MINOR, OP. 79, NO. l Joha nnes Brahms INTERMEZZO IN A MAJOR, OP. 118, NO. 2 RHAPSODY IN G MINOR, OP. 79, NO. 2 SONATINE Mod éré Mouvt de Menuet Animé SONATA NO. 3, IN A MINOR, OP. 28 Serg e Pro kof ieff Thie rec ital is give n in r a rt ia l fulf illm ent .: ti e requ irem ents for the degr ee of Mas ter of Arts in Mu sic. An info rm al RECEPTION wil l be held imm edia tely foll owing this evening's performance in the adja cent corridor to the Rec itall Hal l. All are cord ially inv it ed to atte nd. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 3 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 12:40 44:13 25:12 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59432 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59432"> Susan Peters Graduate Recital</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 Susan Peters Graduate Recital, April 30, 1969 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Bach, Chopin, Brahms, Ravel, Prokofieff. Held at 8:15 pm, April 30, 1969, Music Recital Hall. Creator An entity primarily responsible for making the resource Peters, Susan 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 1969-04-30 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Bach, Johann Sebastian, 1685-1750 Chopin, Frédéric, 1810-1849 Brahms, Johannes, 1833-1897 Ravel, Maurice, 1875-1937 Prokofiev, Sergey, 1891-1953 State University of New York at Binghamton. Department of Music Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020095729 39091020095414 39091020095463 https://omeka.binghamton.edu/omeka/files/original/bda3a9a1e2a15e1e0dc826c193a5b3dc.pdf 7f962e36ed5beff35eee0163ce0e02a8 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   O F  N E W  Y O R K d e c [4 D E P A R T M E N T oweet  dlbion The €nglish Clarinet  ~~ with elaringlisl Timothy Perry  & pisnist Margaret Reitz  .  * / }  .  . 1 i joined hg zoprano Judy H o r i A p r i l  10, 2010 8:00 p.m. “Anderson Center Chamber Hall �A The Binghamton University Department of Music presents a Faculty Recital “Sweet Albion” assisted by times. I wanted to offer an evening of music that would bring calm without an excess of conventionality, to be a balm without being boring. I was immediately drawn to the music of the British Isles, and of England in particular. My plan proved more of a challenge than I anticipated for, while there exists a good supply of repertoire, I spent much of the year trying to sort out what comprised the essential “Englishness” of these pieces. My greatest aid on this journey was Peter  Ackroyd’s  remarkable  book  Albion:  The  Origins  of  the  English Imagination. Ackroyd writes a wide­ranging cultural history of England seeking I.  The Consonant Tradition Suite from The Victorian Kitchen Garden Paul Reade Prelude  ­ Spring ­  Mists ­  Exotica  ­ Summer (1943­1997) Three Intermezzi, Op. 13 .. .Charles Villiers Stanford Andante espressivo – Allegretto leggiero Allegro agitato – Tranquillo Allegretto scherzando to  identify  the  common  threads  of  a  culture  through  its  literature,  art, (1852­1924) philosophy, science, and ­ albeit in a small chapter ­ its music. Culture, at least living culture, does not admit to tidy reducti on. All II. Longing and Loss Thea Musgrave Threnody (in Memoriam R F )   (b. 1928) III. Genius loci: Garden and Village ..Sir Arthur Bliss Two Nursery Rhymes . The Ragwort The Dandelion (1 891­1975) Judy Berry, Soprano Air and Variations on ‘The Harmonious Blacksmith'........G.F .Handel, arr. Perry (1685­1759) t t t i k i t t t t l n t e r m i s s i o n  ‘ fi ‘ t ‘ t ‘ t IV. The F oIk­song Eternal Three Vocalises (1958).  Pastorale (1923)  Le Tombeau de Ravel (Valse­Caprices) Judy Berry, Soprano T When, about  a  year ago, I  was contemplating a  program  for this evening’s concert, I  wished to offer something to  counter the anxious nature  of these Chamber Hall P rogram U technically equipped, is not able to give us? ­Ralph Vaughan Williams, ‘National Music ’ (1932) Timothy Perry, Clarinet  Margaret Reitz, Piano Saturday, April 10, 2010  O “Is it not reasonable to suppose that those who share our life, our history, our customs, even our food, should have some secret to give us which the foreign composer,  though  he  be  perhaps  more  imaginative,  more  powerful,  more Musical Meditations on ‘Englishness’ Judy Berry, Soprano B ..Ralph Vaughan Williams Ralph Vaughan Williams (1872—1958) trans. T. Perry V .  Postcards from Abroad ............Arthur Benjamin (1893­1960) 1 cultures are made up of much  the same elements. Where they vary is in the mixtures – the ‘recipes’, if you will – of their elements, and the mechanisms by which these elements either grow, flower, and pass, on the one hand, or renew themselves, on the other. Ackroyd views the English imagination as the latter, taking for his central  image  words of the metaphysical  poet Henry Vaughan (1622­1695):  “Like a great  Ring of  pure and endless light”.  Thus, says the author, “The English imagination takes the form of a ring or circle. It is endless because it  has  no  beginning  and  no  end;  it  moves  backwards  as  well  as forwards This means that English culture operates more like a kettle of boiling water, constantly circulating diff erent elements t o  the top only to replace them over time with others. 1 found, however, a few constants of English culture that may bring some increased enjoyment to your evening’s listening pleasure. They are, in no particular order: 1 .  Collective memory, real and imagined. The English taste for the past, expressed through a taste for the  antiquarian and a tradition of practical conservatism,  is  unrivaled.  With  these  come  a  deep  and  abiding melancholy for times past, a real and elemental sense of longing and loss that  colors much of English  art.  This  is  true of both  bases of English  culture, the  Celtic cultures and the Anglo­Saxon.  The  Celts were suppressed first by the Romans and then effectively exiled by the Anglo­Saxons. (Of the one  hundred most  commonly used  words in modern  English,  not  a  single  one  is  of  Celtic  origin;  the  entire vocabulary of Old English contains fewer than a dozen Celtic words.) Despite their linguistic and geographic exile, the Celts were  able to maintain and  eventually return elements of their culture to England. The  shadowy  Iron  Age  Celtic  culture  lives  on  in  its  magical  oral �traditions of myth and legend and the pantheism of the Druidic religion. The epic poetry, with its consonant alliteration, lingers forever in the long and  internally  balanced  lines of  English  melody.  The  love  of exquisite detail made its way from Celtic jewelry to the illuminations of medieval monks to the flowery divisions of Elizabethan virginalists and the arias and variations of Handel. The Anglo­Saxons, in  their turn, were assailed by the Norse and later conquered by their French cousins, the Normans. With the Norse the similarities of language and a largely stalemated political situation required an accommodation of language and custom  that  developed  the  longstanding  English  preference  for practical over theoretical solutions. The Norman Conquest, on the other hand,  installed  a  ruling  class  with  an  unintelligible  language  (Old French).  Until  Middle  English  was  reinstated  in  court  in  the  late thirteenth century, it was the turn of the Anglo­Saxons to pine for the ‘glory days’ of  Kings  Alfred  and  Aethelstan.  This  habit  of  wistful reminiscence has persisted through the centuries. The great revival of composition  in  the early twentieth century was born and  fuelled  in looking backwards to the music of the Elizabethan age.  That legacy endured,  reviving  not  only  old  church  music  (through  Vaughan Williams English Hymnal) but the entire range of folk­song as well, first  in  classical  pieces  and  later  in  the  revival  of performing  folk ensembles. In ‘recent ’ history the sense of loss is still dominated by the two ‘Great Wars'.  The English, who lost immeasurably much more in people than in things, have channeled personal and communal grief in a body of greatly moving  compositions that  honor  both  memory and hope. English Music, Janus­like, looks backwards as much as forwards. Class division. As  was the case  with  the  Romans a thousand  years before them, the installation in  1066 of a new ruling class had little effect on basic English mores. When the Norman court largely severed its cultural connection to France in the early thirteenth c entury, they likely protected and promoted the independence of a new tradition of English polyphony. These full triadic harmonies built upon the sweeter consonant  intervals of the  third  and  sixth  have  persisted  for seven centuries in the vocabulary of English musical practice.  The trials and triumphs of the ‘sturdy yeoman’ found expression in innumerable folk songs in  musical  forms of smaller  scale. The myriad collections of short  songs,  catches,  ballads  and  other  vocal  miniatures  dwarf  the production of ‘major’ works composed primarily for the Church. This tradition  carries  over  as well  to  instrumental  forms.  English  music abounds in smaller suites and collections composed almost entirely of small (though intensely organized) pieces. There is in  such  music – whose descendants we hear tonight ­ little of the overt virtuosity of the French  or  Italian,  but  a  great  concern  for  detail  and  honest craftsmanship. It  was not  until  England becomes an international sea power with its trading tentacles spread over the known world that the foreign  fashion  for larger oratorios, concerti  and  symphonies took a significant  hold over the affections of the  English concert audience. The spread of empire brought the physical exotica of colonial cultures back to England long before their inhabitants were adm itted to their current  uneasy residency.  Until  recently,  however, little  such  music survived the voyage. Today the English and their music flow outwards as well as in, and in the last half century its classical com posers have become thoroughly internationalized. Many are the critics who lament (see  #1,  above)  that  the  railroad,  the  radio  and  the  commercial recording mean that truly indigenous local music is now as extinct in England as it is in America.  More’s the pity. Genius loci ­ A Place of One’s Own. Since pre­Roman tim es England has had an intense sacred and secular relationship with its bounded land and  with  the  sea  that surrounds it.  The  English, like  most  agrarian societies, had for centuries a culture with a tiny geographical orbit. This is similar to the continent, where barely 150 years ago more than half of France’s  population  had never  been out of earshot of their  local parish’s church bell during their lifetimes. This localized cycle of life intensely connected the  loyalty of the common man to  his  place  of birth, his dialect, and today to his football team and local brand of ale. The English retain a deep devotion to the village, with its varied social and political structures.  They have a special reverence for their small, very organized and largely ubiquitous row/farm house; and, not least, a love for that smallholder’s realm of control over nature, the garden. The replacement of open­field agriculture with private holdings gave hope to the abiding dream of a ‘small and simple plot’ of one’s own. In every age from medieval to Victorian the English garden, with  its trenches, palisades, cordons, and other military terminologies, is a reflection of the  Englishman’s  desire  for  security and  sanctuary from  the  world beyond. We are all familiar with the grand formal public gardens of the ‘great  houses',  but  the  English garden  is at  its root a private affair. Ackroyd notes, “The earliest maps of London reveal a city of gardens, each  one  carefully  delineated...The  same  pattern  of  enclosure  is repeated on  the large, as  well as the small, scale.  That is why the walled  garden  became the  model  of  secrecy  and  enchantment;  the English  imagination  can  grow  only  in  an  enclosed  space...  The reclusive and unremarked spot of soil guards the genius loci. It is the charmed space of the English imagination. ” The garden is the link to childhood wonders and innocence, myth and legend. An Englishman’s home may be his castle, but an Englishwoman’s garden is her realm. The garden and its sensibility inspires much o f  English music, some titled, some not ; it permeates literature and art ; it is central to design. More  than any other it  is  the central  image  that  binds together the program you shall hear, and hopefully enjoy, tonight.  I close with Mr. Ackroyd’s final words: “..in England the reverence for the past and the affinity with the natural landscape join together in a mutual embrace. We owe so much to the ground on which we dwell. It is the landscape and the dreamscape. It encourages a sense of longing and belonging. It is Albion. ” Timothy Perry, April 2010 �ABOUT THE PERFORMER(S) TIMOTHY PERRY, conductor and clarinetist, is Professor of Music and currently Chair of the Department of Music for Binghamton University. A graduate of the Manhattan and Yale Schools of Music, Dr. Perry joined the Binghamton University faculty in 1986, becoming Professor of Music in 2002, and receiving the Chancellor’s Award for Creative Activities in 2005. As Music Director, Dr. Perry has directed the University Orchestra (since 1986), directed the University Wind Ensemble 1986­2005, and led the Binghamton Community Orchestra from 1994­2004. Widely known as  a  clarinetist in virtuoso solo and chamber music, he toured Latin America and the Caribbean as a United States Musical Ambassador and has presented recitals at three world conferences of the International Clarinet Association. During 2008­2009, he appeared as concerto soloist with the Catskill Symphony, as guest conductor with the Binghamton Community  Orchestra,  and  as  guest  artist  with  the  Finger  Lakes Chamber Ensemble.  In Summer/Fall 2009 Dr. Perry served as Music Director in Binghamton and Santiago, Chile for a new production of the Brecht/Weill  Three­Penny  Opera  and  led  the  Binghamton  University Orchestra in a gala October 2009 program with the Paul Taylor Dance Company. In addition to his duties as Chair, he currently serves as New York representative to the National Association of Music Executives of State Universities (NAMESU). PEJ REITZ, pianist, is a native of the Binghamton Area.  She received her Bachelor and Master of Music degrees in piano performance with accompanying emphasis.  She attended Boston University, New England Conservatory and Binghamton University.  She has studied piano with Jean Casadesus, Victor Rosenbaum, Seymour Fink and Walter Ponce and accompanying with Allen Rogers. She has accompanied throughout the  United  States,  in  England,  South  America,  Spain  and  at  the American Institute of Musical Studies in Graz, Austria.  She was a winner of the Artistic Ambassadors Program by the United States Information Agency  in  partnership  with  the  John  F.   Kennedy  Center  for  the performing arts. Ms. Reitz was an official accompanist for the MTNA State and Eastern Division  Competition  held  at Ithaca  College.  She  has  been  a  guest chamber  music  artist  in  Morges,  Switzerland.  Ms.  Reitz  also  was selected to attend the Accompanying Workshop for Singers and Pianists held at Northwestern University with Chicago Lyric Opera Faculty and Coaches.  She  was  recently  invited  to  the  International  Clarinet Conference to play a recital in Tokyo, Japan. She was a guest artist on the  Cornell  Summer  Series.  She  was  an  official  pianist  at  the International Double Reed Competition and Convention in 2007 at Ithaca College and was invited to play the 2009 Convention in Birmingham, England with the Glickman Ensemble. In the summer of 2008, Ms. Reitz was selected to accompany at the Interpretation of Spanish Music in conjunction with University of Madrid in Grenada, Spain, coached by Teresa Berganza, and at Mannes School of Music.  She was a Guest Artist  playing two concerts in Granada, Spain this past summer and accompanied the Barcelona Song Festival in July.  She is the pianist for Theater  Street  Productions  and  performed  concerts  in  Lenox, Massachusetts and Newport, Rhode Island this past fall. Ms. Reitz has been on the faculty at Binghamton University since 1991 and Ithaca College School of Music since 1999. She is on the Executive Board of the New York District MTNA organization.  She is President of the  local  District  VII  Music  Teachers  Association  and  is  an  active adjudicator for the National Piano Guild Organization. JUDY BERRY, Soprano, is a graduate of Tri­Cities Opera’s Resident Artist  Training  Program  and  holds  the  MM  in  Opera  degree  from Binghamton University.  Ms. Berry is  internationally renowned  for her signature  interpretations  of the  title  roles  in  Lucia  di  Lammermoor, Lakmé, The Ballad of Baby Doe, Madama Butterfly and Lulu, as well as those of “Violetta” in La Traviata and “Gilda” in Rigoletto. Ms. Berry was engaged in Germany with the Wuppertal Opera from 1993­2001.  With a repertoire of over 50 roles in opera, operetta and musical theatre, Ms. Berry  has  graced  the  stages  of  Leipzig,  Frankfurt,  Mannheim, Dusseldorf,  Amsterdam,  Paris,  Nurnberg,  Wiesbaden,  Dortmund, Bremen,  Osnabriick,  Mainz,  the  Eutiner  Festspiele,  the  Edinburgh Festival, Los Angeles Opera, Baltimore Opera, Knoxville Opera, Virginia Opera, Syracuse Opera, Pittsburgh Opera Theater, Brooklyn Academy of Music, the Kennedy Center for the Performing Arts, Edmonton Opera in Canada,  Teatro de la  Opera  in Puerto Rico, Festival of Perth in Australia, and in concert at Lincoln Center and Carnegie Hall. Ms. Berry garnered top honors in major vocal competitions including the Enrico Caruso  Voice  Competition  USA,  Baltimore  Opera  Competition, Liederkranz Foundation, New York Grand Opera, Queens Opera, New Jersey State Opera, Musicians Emergency Fund, and Loren L. Zachary Society for the Performing Arts. All the major oratorios belong to her performance repertoire, and she is equally at home on the concert stage and in the realm of modern music. She has appeared extensively in recital, both in America and Europe, and has recorded on the WSW and Orfeo labels. Ms. Berry currently holds the position of Adjunct Lecturer of German Lyric Diction at Binghamton University. �Binghamton  University Music D epartment’s M P o p / w q  u E V E N T S FREE, FA 21 Thursday, April 1 5 ”  Mid­Day Concert, 1:20 PM —  Fr i d ay,  A p r i l 1  6 ”  Master’s Recital: Stephen Brooks, double bass, 8:00 PM, Casadesus Recital Hall, FREE FREE Saturday, A p r i l  1 7 ?  Clarinet Studio Recital, 3:00 PM —  Casadesus Recital Hall Satu rd ay,  A p r i l 1  7m University Chorus: Honegger’s KING DA VID, 8:00 PM, Osterhout Concert Theater, $$ (FREE for students) S u n day,  A p r i l 1  8 ?  Junior Recital: Laura MacAvoy, soprano, 3:00 PM, Casadesus Recital Hall, FREE S u n day,  A p r i l 1  8 ”  Senior Honors Recital: Stephen Kong, piano, 7:30 PM, Casadesus Recital Hall, FREE Tuesday, A p r i l  2 0 ”  String Fever: String Studio & Chamber Recital, 8:30 PM, Casadesus Recital Hall, FREE Thursday, A p r i l  22™ Mid­Day Concert, 1:20 PM – FREE Casadesus Recrta/ Hall Friday, April 23™ Junior Recital: Mengru Zeng, piano, 8:00 PM, Casadesus Recital Hall, FREE Satu rd ay,  A p r i l  2 4 ”  Master’s Recital: Robert Muller, French horn, 3:00 PM, Casadesus Recital Hall, FREE Satu rd ay,  A p r i l  2 4 ”  Master’s Recital: Julie Williams, soprano, 8:00 PM, Casadesus Recital Hall, FREE For ticket information, please call the Anderson Center Box O ffice at 7 77­ARTS To see all events, please visit music.b inghamton.edu Become a fan on Facebook by visiting Binghamton University Music D epartment � 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.) 46:26 33:17 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145332">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145332</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 Sweet Albion, the English clarinet, April 10, 2010 Recital Tape 2010-4-10 Description An account of the resource Works by Reade, Stanford, Musgrave, Handel, Vaughan Williams, Benjamin. Held at 8:00 p.m., April 10, 2010, Chamber Hall. Creator An entity primarily responsible for making the resource Perry, Timothy Reitz, Margaret Berry, Judy Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2010-04-10 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/. Title A name given to the resource Binghamton Community Poets' Big Horror Reading Series Subject The topic of the resource American poetry -- 20th century; Oral interpretation of poetry Description An account of the resource <p>The Binghamton Community Poets were founded in 1983 by native Binghamton poet, educator, and Harpur College alum Richard Martin. That year he started the <em>The Big Horror Reading Series</em> at a local coffee house. People associated with the series changed throughout the years but always included local writers who were dedicated to the idea of creating a space where literary art could flourish. For fourteen years, readings took place at various venues around the Triple Cities featuring nationally and internationally known writers while continuing to provide “open mike” time for local community writers and sometimes musicians. The series received funding from the New York State Council on the Arts, the Broome County Arts Council, and Poets and Writers, Inc., as well as public donations.<br /><br />Many of the readings between 1987 and 1996 were videotaped. Some of the writers who are featured on the videotapes include (in alphabetical order) Tish Benson, Charles Bernstein, Barney Bush, Wally Butts, Adrian Clarke, Suzanne Cleary, Robert Creeley, Joel Dailey, Jim Daniels, Jack Dann, Diane di Prima, Safiya Henderson-Holmes, Lance Henson, Bob Holman, Pierre Joris, Dave Kelly, Sylvia Kelly, Bill Kemmett, Peter Kidd, Dorianne Laux, Ed Ochester, Kate Rushin, Pamela Sargent, Patricia Smith, Lloyd Van Brunt. Also featured are former and current members of the Binghamton University faculty (in alphabetical order): David Bartine, Martin Bidney, Milton Kessler, Bob Mooney, Liz Rosenberg, Jerome Rothenberg, John Vernon. People associated with the series at one time or another (in alphabetical order): Ken Bovee, Alexis Cacyuk, Jerry Caswell, Tom Costello, Gerry Crinnin, Terry Day, Paul Dean, Zack Grabosky, Tom Haines, Connie Head, Michael Kelly, Tom Kolpakas, Richard Martin, Kate McQueen, John Miller, Bern Mulligan, Doug Paugh, Susan Prezzano, Phil Sweeney, Mike Tarcha. Venues for recorded readings (in chronological order): Swat Sullivan’s Hotel*, Benlin’s, Mad Murphy’s, The Tazmanian Embassy, The Amsterdam, Java Joe’s, Amp’s.<br /><br />The collection also <a href="https://omeka.binghamton.edu/omeka/collections/show/31">includes twelve excerpted poems</a> that serve as an introduction. They are linked not only to the full individual readings in Rosetta but also to the catalog records for the books in which they are published. This creates a unique convergence experience, as the catalog record “comes alive” and users can see the writer and hear a poem from the book before they take it off the shelf to read.</p> <p><strong>Digitization and DVD Production</strong> <br />After the series ended in 1996, the videotapes sat in boxes for ten years. In 2006, since they were most likely degrading and losing both video and audio fidelity, a Memorandum of Understanding between the BCP and the Libraries was agreed on and the process of converting the videotapes to DVD-quality MPEG files for preservation and access purposes was begun. Many of them had glitches and dead spots and several others were not originals but copies, further adding to loss of video and audio fidelity. After the conversion, both the video and audio quality were enhanced to a degree from what was on the tapes.&nbsp; Phase Two involved producing individual DVDs from the MPEG files. The files were literally “raw”: they started when the camera was turned on and continued without interruption until it was turned off, which meant there was often video of silent microphones and audio of irrelevant crowd noises and conversations. Editing these out made the DVDs much better than the raw files. <br /><br /><strong>Preservation and Expanded Access</strong> <br />Due to copyright restrictions, the DVDs have been housed in Special Collections and had to be viewed there. This has definitely curtailed their usage. However, a recent development in Rosetta, our digital preservation system, has allowed us to offer a new form of access. Rosetta added a built-in video viewer, which allows the videos to be both preserved and streamed at the same time. In order to accomplish this, the DVDs had to be converted to MP4s to be compatible with the new viewer. The streaming versions are copies of the DVDs, which is why they contain menus and chapters which are not functional but are continuous play. The streaming versions will allow more users to be able to view and listen to this diverse, wide-ranging collection of readings. <strong>(N.B.: They are only accessible on campus or via campus VPN.)</strong><br /><br />*The image on the item records is the iconic Swat Sullivan's Hotel, which was located on Binghamton's South Side. Swat's was the venue for the earliest readings in the video collection. The building was torn down in 1990. This image was downloaded from <a href="https://www.pinterest.com/pin/548805904585058425/">Pinterest</a>. If you are the rights holder, please contact The Libraries.</p> Creator An entity primarily responsible for making the resource Binghamton Community Poets Publisher An entity responsible for making the resource available Digital publisher: Binghamton University Libraries Rights Information about rights held in and over the resource In copyright Language A language of the resource English Contributor An entity responsible for making contributions to the resource Bern Mulligan Erin Rushton Ben Coury David Schuster Rachel Turner David Floyd Sasha Frizzell Aynur de Rouen Nicholas Eggleston Alexxa O Bisnar (Student worker) Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 videodisc (111 min.) sound, color 4 3/4 in. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 111 min. Collection Big horror reading series (Binghamton Community Poets) Date of Digitization 10/24/22 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243902">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243902</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 Sylvia Kelly with "Open Mike" at Benlin's, February 19, 1992 Subject The topic of the resource American poetry -- 20th century Oral interpretation of poetry Description An account of the resource Features poetry readings from Sylvia Kelly at the Benlin in Binghamton, N.Y. Several local poets read their works during "open mike" sessions before and after the featured poet. The event was held on February 19, 1992 and the readings were sponsored by the Binghamton Community Poets as part of their Big Horror Reading Series. Video edited by Bern Mulligan. Creator An entity primarily responsible for making the resource Kelly, Sylvia Source A related resource from which the described resource is derived DVD created from VHS recording of the event Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Binghamton Community Poets Date A point or period of time associated with an event in the lifecycle of the resource 1992/02/19 Rights Information about rights held in and over the resource In copyright Language A language of the resource English Type The nature or genre of the resource Moving Image Identifier An unambiguous reference to the resource within a given context PS615 B56 1992 2-19 Format The file format, physical medium, or dimensions of the resource video/mp4 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.) 35:45:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE146586">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE146586</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 Tahnee Fallis Graduate Conducting Record January 30, 2011 Recital Tape 2011-1-30 Description An account of the resource Works by Handel, Beethoven, Rutter Creator An entity primarily responsible for making the resource Fallis, Tahnee 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 2011-01-30 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/93a7b52f2834deeb030eb12f99129eb1.pdf 5f9ecc86cae0f6e198076a898ada9e1f PDF Text Text STATE UNIVERSITY  OF NEW YORK AT BINGHAMTON HARPUR COLLEGE TH E DEPARTMENT OF  MUSIC SENIOR  RECITAL Terrance  Howell, Baritone (Student of Roberta Schlosser , William Lewis. Dennis Willi ams) D o nna  Hallen, Piano (Student of A nita Carlton, Jean Casadesus) May 2, 1969  8 :15 p.m.  Music Recital Hall PR OGRAM M ESSIAH  Recit :  Ai r :  George Frederic Handel (1685­1759) Behold, I tell you a mystery  T he t rumpet shall sound LES  PENITENTS  eN  MAILLOTS  ROSES  A une Sainte le jour de sa fete   Marine a Roscoff Henri Sauguet (1901­  ) La Ville Jules Massenet HERODIADE  (1842­1912) Intermission SONATA  IN  A  MAJOR, OP, 120  Allegro moderato  Andante Allegro E MILY DICKINSON SONGS, OP, 77  When the Hills Do  Out of the Morning I’m Nobody Franz Schubert (1797­1828) Vincent Persichetti ) (1915­  Johannes Brahms VIER ERNST E G ESA ENG E, OP, 121  (1833­1897) Denn es gehet dem Menschen  Ich wandte mich O Tod, wie bitter Wenn ich mit Menschen­und m it E ngel ­zungen redete This recital is given i n partial f ulfillment of the requirements for the degree of  Bachelor of Arts in Music. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 19:36 40:39 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59437 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59437"> Terrance Howell and Donna Hallen Senior Recital</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 Terrance Howell and Donna Hallen Senior Recital Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Handel, Massenet, Schubert, Brahms. Held at 8:15 pm, May 2, 1969, Music Recital Hall. Creator An entity primarily responsible for making the resource Howell, Terrance Hallen Donna 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 1969-05-02 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Handel, George Frideric, 1685-1759 Massenet, Jules, 1842-1912 Schubert, Franz, 1797-1828 Brahms, Johannes, 1833-1897 State University of New York at Binghamton. Department of Music Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020095513 39091020095562