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https://omeka.binghamton.edu/omeka/files/original/a8256c538388d780f01d25866ae8d6f0.pdf
c016baf6a28da02c76af27ee6cc95ed4
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Text
INGHAMTON
B
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
rede
D E P A R T M E N T
T H E N U K P O R F E
A F R I C A N D A N C E
D R U M MIN G E N S E M B L E
WARAARAARIAA
RNAAAAAAAAAA
F riday, D ecember 14, 2012
7:00 p. m.
W a tter ’s T hea ter
�PROGRAM
Tonight’s program presents a meeting between several folkloric dances from West Africa
Entrance of Shango (Cuba). Shango was a former Yoruba king, who became a
deified ancestor associated with lightening and divine punishment. He is also a
powerful warrior, and wields a thunder axe.
and the Caribbean, focusing on the similarities in their musical languages and oral
traditions, while also celebrating their unique local expressions. This evening we will be
focusing on traditional dancedrumming styles from Ghana and Cuba. Ghana is a country
of immense cultural diversity, with over 10 major ethnic groups, each with their own
unique music and dance forms. During the TransAtlantic slave trade, many of these
forms were brought to Cuba, where they developed into their own distinct traditions. In
particular, AfroCuban culture was heavily influenced by the cultural heritage of the Ewe
VI. Solo dance flights from the dance Agbekor (Ghana). The following ten solo dance
important cultural retentions in Cuba is the Yoruba pantheon of deities, known as Orisha.
and the set of three bata drums used to call them to dance. which we will be featuring
VII. Entrance ot Oya (Cuba). Oya is the goddess who guards the underworld, and is
Fon people of Ghana and the Yoruba people of Benin and Nigeria. One of the most
tonight.
A performance of African traditional music is a multimedia event that includes singing,
dancing, drumming, fashion design, and other forms of cultural expression. To simulate
that experience in an academic setting has required the generous support of the
Departments of Africana Studies. Music, and Theatre Dance. and represents collective
work between the four classes: the Beginning and Advanced sections of African Dance
(THEA 289J/389J;AFST 289J/389J) and the African Music Ensemble (MUS 143B/MUSP
257;AFST 188B). These courses are offered each semester through the Departments of
Africana Studies, Music, and Theatre Dance.
I.
Entrance of Eleggua (Cuba). In Yoruba mythology, Eleggua is the deity of the
crossroads, who opens the channels of communication between human beings
and the other gods. He is normally saluted at the beginning of every performance
to ask for his blessings. Eleggua is often depicted as an old man who likes to play
tricks on people– he can appear feeble and then surprise everyone by suddenly
exhibiting the strength of a young man.
Il. Sohoun (Ghana). Following the theme of invocation, we present the dance
Sohoun, an EweEon dance originally used to open ceremonies of the Yeve
shrine. which also contains a pantheon of deities that are related to those of the
neighboring Yoruba, whose own pantheon inspired the AfroCuban version
presented above!
III. Entrance of Ogun (Cuba). Ogun is the deity of war, who is known for his rough
countenance. and lack of social graces. In the new world, he is often depicted as
a wild man from the bush, who is a fierce warrior and defender of the weak.
IV. Processional from the dance Agbekor (Ghana). Agbekor is a war dance of the
Ewe people of Ghana. The opening song calls the warriors to battle against the
European colonial powers. The second song memorializes the great warrior
Kundo who led warriors into battle and has been killed. The movements of the
dancers imitate moments of the battle, and follow the drum language of the lead
drum, atsimevu.
movements come from the climax of the Ewe Agbekor war dance introduced
above. Each sequence is introduced by the lead drum, and is completed with a
turning movement.
also known as a warrior– she once grew a beard so that she could light with the
men. She is also associated with tomadoes, earthquakes and other dangerous
natural phenomena. In Nigeria she is the goddess of the river Niger, one of the
most important rivers in West Africa.
VIII. Togo Atsid (Togo, Ghana). This dance piece is made up of a series of
choreographed dance sequences known as atsia. These sequences are cued by
drum language phrases [vugbe] played by the lead drummer on atsimevu the
tall drum leaning on the stand which are answered by the response drum kidi
the mediumsized drum. In the 19605, expert choreographers and drummers in
the Ghana Dance Ensemble arranged this series of atisa movements into a
performance piece, which they dubbed Togo Atsié. in recognition of their origin
within Ewe groups in Togo.
w INTERMISSION c3
IX. Entrance of Oshun (Cuba). Oshun is the goddess of sensuality and beauty, which
is tempered by an inner sadness due to the lack of love and caring in the world.
She is revered as a divine mother. and also as the queen of the marketplace. In
Nigeria, she is associated with the river Oshun, and is an important water spirit,
Kpatsa (Ghana). This dance comes from a neighboring group of the Ewe, known
as the GaAdangbe. They share many linguistic and cultural affinities with the
Ewe. and these two groups have historically interacted with each other. The
characteristic movement of Kpatsa is a limping gait that imitates the movements
of dwarfs. a magical race of beings which inhabit rural areas in Ghana. These
movements were embellished with dance combinations and eventually became a
social and recreational dance known as Kpatsa, whose name is an onomatopoeic
reference to the movement of dwarfs.
Xl. Entrance of Yemaya (Cuba). Yemaya is the divine mother, who gave birth to
many of the Orisha and also humanity; she is also the goddess of the ocean.
Yemaya is the protector of all human beings, who are all her children.
�XII. Gahu (Ghana). Gahu is a neotraditional dance that has been adopted and
adapted by the Ewe people of Ghana. It is an offshoot of the Gome dance, a Pan
Atlantic African dance form that emerged in the 19th century from the synthesis of
European hymns and marches with West African musical sensibilities. The name
Gahu suggests an airplane, and represents local experiences with new
technology and culture. The songs are often humorous and fun, suggesting
themes of courtship and celebration.
XIII. Kinka (Ghana). Kinka is a relatively modem style of Ewe funeral music that
became popular in the 1950s. It features a distinctive body of songs and drum
language phrases that juxtapose images and themes from traditional Ewe culture
with modern life. The choreography uses only one basic movement so tonight we
would like to invite members of the audience to come up and join in the dancing!
If y ou like the music please follow our Facebook page (Nukporfe African Dance
Drumming Ensemble) for upcoming performances.
We are also an SA Chartered group, and welcome students and faculty to join our group
at: http://paws.binghamton.edu/organization/Nukporfe. All of the music and dance that
you see today is performed by students at Binghamton University who are taking a
course in the Departments of Music, Africana Studies, and/or Theatre Dance. If you are
interested in Ieaming the dancing please register for the Beginning (THEA 289J / AFST
289J) or Advanced (THEA389J / AFST389J) sections of African Dance. If you are
interested in drumming and singing, register for the African Music Ensemble (MUS 143B
/ AFST 188B).
Bing hamton U niversit y M usic Depart ment ’s
Coming Events
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m
m
m
m
e
s
b
Saturday, Decem ber 15 – “The His tory and Tech nique of Music i n
Video Games ” w ith se n io r Matthew Guk owsky– 8:00 p.m. –
Casadesus Recital Hall – free
Sunday, Decem ber 16 – Master ’s Recital : Robert HeeP young Oh,
baritone – 7:30 p.m. – Casadesus Recital Hall – free
m a s h m a m m a r y
E
O
For tickets or to be added to our email list, visit
anderson.binghamton.edu or call (607) 777ARTS. For a com plete list of
= [ m E ]
f
our concerts call (60 7 ) 7772 592, v isit music.binghamto n.edu or become
a f an on Facebook.
If you were inspired by this performance, consider supporting the
Department of Music with a financial gif t. Your support helps to continue
the work of students, facult y, and guest artists and their contribution s to
our communit y. Please make your donat ion payable t o the Binghamton
University Music Department, and send your check to BU Music
Department, P.O. Box 6000, Binghamton, NY 13902.
�
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Binghamton University Music Department Tape Recordings
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The Nukporfe African Dance-Drumming Ensemble, December 14. 2012
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Held at 7:00 p.m., December 14, 2012, Watter's Theater.
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Nukporfe African Dance-Drumming Ensemble
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Binghamton University Libraries
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12/14/12
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sound
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Binghamton University Music Department Tape Recordings
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Concerts ; Instrumental music ; Live sound recordings
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63245">The Russian East European Program Presents the Vocal Music of Tchaikovsky</a>
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The Russian East European Program Presents the Vocal Music of Tchaikovsky
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Vocal music of Tchaikovsky. Held at 8:15 pm, May 6, 1970, University Art Gallery.
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Russian East European Program
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Tchaikovsky, Peter Ilich, 1840-1893
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39091019606874
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Binghamton University Music Department Tape Recordings
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Concerts ; Instrumental music ; Live sound recordings
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The symphonic wind music of David R. Holsinger, December 7, 2008
Recital Tape 2008-12-7
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Held at 3:00 p.m., December 7, 2008, Osterhout Concert Theater.
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Robert G. Smith
Kimberly Metaxa
Ephraim Atkinson
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Text
THE UNIVER SITY CHORU S
State Un ive rsi ty o f N e w Y o r k at B ingh am t on
l
* *¥ %
D avid Buttol ph, conductor
fi n Deutsches Requiem
by
Johannes Brahms
Th u rsd ay, M a rc h 23, 1972
8 :15 p . m .
�A GERMAN REQUIEM
I
Chorus
Blessed are they that mourn, for they shall have comfort. (Matt. v. 4)
They that sow in tears shall reap in joy.
He that now goeth on his way weeping, and beareth forth good
seed–shall come with rejoicing, and bring his sheaves with him.
I
(Psalm 126).
II
Chorus
Behold, all flesh is as grass, and all the goodliness of man is as the
flower of grass. For lo, the grass with’reth and the flower thereof
decayeth. (I Peter i. 24)
Now therefore be patient, O my brethren, unto the coming of the
Lord. See how the husbandman waiteth for the precious fruit of
the earth, and hath long patience for it, until he receive the early
rain and later rain. So be ye patient. (James v. 7).
But the word of the Lord endureth for evermore. (I Peteri. 25)
The redeemed of the Lord shall return again, and come rejoicing
unto Zion; gladness and everlasting joy shall be upon their heads.
Joy and gladness shall be their portion and tears and sighing shall
flee away. (Isiah xxxv. 10).
11
Baritone Solo and Chorus
Lord, make me to know the measure of my days on earth, that my
life has an ending and I must perish.
Surely, all my days are as an handbreadth to Thee, and my lifetime is
as naught to Thee.
Truly mankind liveth unavailing, yet doth he claim his life secure.
Man passeth away like a shadow, he is disquieted in vain, he
heapeth up riches and cannot tell who shall gather them.
Now Lord, wherein is my comfort? My hope is in Thee.
The souls of the righteous are in the hand of God, nor pain nor grief
shall nigh them come. (Psalm 39).
�EIN DEUTSCHES REQUIEM
IV
Chorus
How lovely is They dwelling place, O Lord of Hosts.
My soul longeth, yea, fainteth for the courts of the Lord ; my soul
and body crieth out, yea, for the living God.
Blessed are they that dwell within Thy house ; they praise Thy name
evermore. (Psalm 84).
V
I
Chorus
Selig sind, die da Leid tragen, denn sie sollen getrostet werden.
Die mit Traner saen, werden mit Freuden em ten.
Sie gehen hin und weinen und tragen edlen Samen, und kommen mit
Freuden und bringen ihre Garben.
~
-
Soprano Solo and Chorus
II
Ye now are sorrowful, howbeit, ye shall again behold me and your
heart shall be joyful and your rejoicing shall no man taketh from
you. (John xvi. 22).
Yea, I will com fort you, as one whom his own mother com forteth.
(Isaiah Ixvi. 13)
Look upon me ; ye know that for a little time labour and sorrow were
mine, but at the last I have found com fort. (John xvi).
Chorus
Denn alles Fleisch es ist wie Gras und alle Herrlichkeit des menschen
des Grases Blumen. Das Gras ist verdorret und die Blume
abgefallen.
So seid nun geduldig, lieben Bruder, bis auf die Zukunft des Herrn.
Siehe ein Ackermann wartet auf die kostliche Frucht der Erde
und ist geduldig daruber, bis er em pfahe den Morgen regen und
Abend regen. So seid geduldig.
Aber des Herrn Wort bleibet in Ewigkeit.
Die Erloseten des Herrn werden wieder kommen und gen Zion
kommen mit Jauchzen ; ewige Freude wird uber ihrem Haupte
sein ; Freude und Wonne werden sie ergreifen, und Schmerz und
Seufzen wird weg mussen.
VI
Baritone Solo and Chorus
Here on earth have we no continuing place, howbeit, we seek one to
come. (Heb. xiii. 14).
Lo, I unfold unto you a mystery. We shall not all sleep when He
cometh, but we shall all be changed, in a moment, in the
. twinkling of an eye, at the sound o f the t rum pet.
For the trumpet shall sound and the dead shall be raised
incorruptible, and we shall all be changed.
Then, what of old was written, the same shall be brought to pass. For
death shall be swallowed in victory! Grave, where is thy triumph?
Death, O where is thy sting? (I Cor. xv. 5 l , 52).
Worthy art Thou to be praised, Lord of honour and might, for Thou
hast earth and heaven created, and for Thy good pleasure all
things have their being and are and were created. (Rev. iv. 11).
VII
Chorus
in the Lord from henceforth.
die
which
Blessed are the dead
Saith the Spirit, that they rest from their labours, and that their
works do follow after them. (Rev. xiv. 13).
III
Baritone Solo and Chorus
0
*
Herr, lehre doch mich, dass ein Ende mit mir haben muss, und mein
Leben ein Ziel hat, und ich davon muss.
Siehe, meine Tage sind einer Handbreit vor dir, und mein Leben ist
wie nichts vor dir.
Ach, wie gar nichts sind alle Menschen, die doch so sicher Leben. Sie
gehen daher wie ein Schemen, und machen ihnen viel vergebliche
Un ruhe ; sie sammeln und wissen nicht wer es Kriegen wird.
Nun Herr, wes, soll ich mich trosten? Ich hofe auf dich.
Der Gerechten Seelen sind in Gottes Hand und keine Qual nihret sie
an.
�UNIVER SITY CHORU S
IV
Chorus
Wie lieblich sind deine Wohnungen, Herr Zebaoth.
Meine Seele verlange t und sehnet sich nach den Vorhofe n des He rrn ;
mein Leib und Seele freuen sich in dem lebendigen Gott.
Wohl denen, die in deinem Hause wohnen ; die loben dich immerda r!
V
Soprano Solo and Chorus
Ihr habt nun Traurigk eit ; aber ich will euch wieder sehen und euer
Herz soll sich freuen, und eure Freude soll niemand von euch
nehmen.
Ich will euch trosten, wie einen seine Mutter trostet.
Sehet mich an : ich habe eine kleine Zeit Muhe und Arbeit gehabt
und habe grossen Trost fundem,
1
J
VI
Baritone Solo and Chorus
Denn wir haben hie keine bleibende Statt, sondern die Zukunftige
suchen wir.
Siehe, ich sage euch ein Geheim nis. Wir werden nicht alle
entschla fen, wir werden aber alle verwand elt werden und
dasselbige plotzlich in einem Augenblick zu der Zeit der letzten
Posaune.
Denn es wird die Posaune schallen und die Toten werden auf
erstehen unver weslich, und wir werden verwande lt werden.
Dann, wird erfiiltet werden das Wort, das geschrieben steht : Der Tod
ist verschlungen in den Sieg. Tod! wo ist dein Stachel! Holle, wo
ist dein Sieg!
Herr, du bist wurdig zu nehmen Preis und Ehre und Kraft, denn du
hast alle Dinge erschaffe n, und durch deinen Willen haben sie das
Wesen und sind geschaffen.
VII
Chorus
Selig sind die Toten, die in dem Herren sterben, von nun an.
Ja, der Geist spricht, dass sie ruhen von ihrer Arbeit, denn ihre Werke
folgen ihnen nach.
1
]
Soprano
Lynn Addison
Joan Aronow
Shirley Brown
Elvira Chiccare lli
Kathy Crowe
Kathy Denmark
Debra Farmer
Lois Fischthal
Janet Hill
Grace Houghton
Ann Kasten
Karen Madsen
Anita Petrella
Regina Sablausk as
Christa Schaeffe r
Esther Sterling
Sherri Strichman
Maria Theodore
Mary Thom pson
Denise Trautman
Linda Uhly
Louise Ulrich
Alice Weintrau b
Marcia Wellworth
Alto
Joan Appleton
Sally Baron
Adele Bass
Cynthia Bennett
Jill Borenstein
Cara Brownell
Cheryl Brozost
Clara Budin
Janet Cahn
Eugenia Falinski
Anna Fontana
Karen Fung
Gloria Gaumer
Sharon Gelfand
Louise George
Miriam Gilbert
Carol Gill
Jessie God frey
Allison Jameson
Kathy Kadish
Debbie LaSalle
Claudia Lee
Doris Lockwood
Linda Lockwood
Ann Marsland
Sandra Menter
Rita Orzelek
Helen Ottaway
Diane Paffrath
Nicki Pokowitz
Barbara Savage
Jane Shear
Grace Wu
Tenor
Peter Bellmio
Kevin Bertolino
Richard Boswell
Anthony Colle
John Evans
Gregory Gibbs
John Howard
Michael K ass
Lawrence Pepper
Edward Pettengill
Fritz Rath
Richard Toulson
John Ying
Bass
Michael Barnard
David Crowe
Richard Fried
Rick Koven
Thomas Lamphe re
Michael Little
Kenneth Martin
Mitchell Mendelson
Kenneth Morgan
John Niessen
Roger Norton
Malcolm Ottaway
Craig Russel
Glen Segal
Russel Senti
Roger Stein
David Swanda
Vincent Vito
James Vivyan
William Weber
John Ying
Larry Zukof
G ai l J e n n ings, Rehearsal Accompanist
�ORCHESTRA PERSONNEL
VIOLIN
BASS
E ric Lewis, Concertmaster
Michael Sanders, Principal
John McLeod, Principal, Second Violin
Robert Keith Kolber
And rea Andros
Robert Taffet
Mary Barton
Robert Ciringione
Alice Click
Richard Thomas
Browning Cramer
PICCOLO
Terie Crum bliss
Valerie Vastola
Diane Feigin
Paul Friedman
FLUTE
Paul Goodman
Phylis Wiesenthal
Joanne Jenner
David Feinman
Arthur Mannis
Oscar Maxwell
OBOE
Daniel Mowrey
Nancy Ranger
Robert Rozek
Stanley Moshman
Martha Strassberger
Michael Sturm
CLARINET
Joan Tanenhaus
Wendy Osteyee
Debra Tanklow
Sheldon Berkowitz
Lydia Werbizky
J eff Wheeler
BASSOON
Carol Shapiro
VIOLA
Douglas Epstein
And rew Berdahl, Principal
Peggy Acker
HORN
Zelman Bokser
Janice DeWolfe
Pat Foley
Cynthia
Weldon
Carclyn Lohman
Bret
Brockman
Joyce Stelzl
Patricia Dowden
CELLO
TRUMPET
Judith Glyde, Principal
Robert Lindstrom
Carolyn McIntosh
Wendy Natter
Madlyn Nathanson
Tomothy Perry
TROMBONE
Fred Raime
David Boud reau
Paul Hangen
Michael Rosen
TUBA
Grant Sullivan
Keith Balsar
HARP
TIMPANI
Barbara Irish
Joseph Roma
Flinda Sue Raskin
NOTES
The great choral work which brings all the resources of Brahms’
art to maturity is a requiem only in the most general colloquial sense
and has no connection with any liturgical office. Brahms com posed
A German Requiem with scriptual text between 1857 and 1866, and
the work was first performed in 1868 in its en tirety except for No. V
which was added later.
Despite a certain vogue which militates in favor of the
performance of large choral works in translation, it must be said that
the best available English will not always bring the rhetorical point
where the music puts it. Brahms’ mind was always alert to the
context of every sentence he chose, and he exercised the greatest
poetic insight into the words he selected and the depth of musical
symbolism of his setting.
’
�COMING CHORAL EVENT
The Bm o Academic Choir from Czechoslovakia is one of sixteen
university choruses which will participate in the Third International
University Choral Festival sponsored by Lincoln Center.
The choruses will sing individually at 125 universities, colleges,
and schools in twenty-two states before joining together for concerts
at the John F. Kennedy Center and Philharmonic Hall.
State University of New York at Binghamton is the first stop in
the United States for the Brno Academic Choir. They will sing on
Friday, April 7 at 8:15 p.m. in the SUNY Men’s Gymnasium. All
proceeds from sale of tickets will go toward music scholarships.
�rH)
3-72
�
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1960's - present
Title
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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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&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: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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3 sound tape reels
Duration
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18:10
OHMS Object
URL
https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63627
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63627">The University Chorus Presents Deutsches Requiem by Johannes Brahms</a>
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Title
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The University Chorus Presents Ein Deutsches Requiem by Johannes Brahms
Subject
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Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Brahms. Held at 8:15 pm, March 23, 1972.
Creator
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University Chorus
Publisher
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Binghamton University Libraries
Date
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1972-3-23
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Brahms, Johannes, 1833-1897
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sound
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39091020108092
39091020108258
39091020108142
-
https://omeka.binghamton.edu/omeka/files/original/9e2004e9312ab52814acfc68a6c46348.pdf
4de540abfa062a235dc684c9e69aa7c7
PDF Text
Text
The U niversity Chorus
State U niversity of N e w Y ork a t B ingham ton
* *%
* %
D a v i d B u t t o l p h , c onduc tor
Iessial
by
Beory Friedrich Fyimdel
Sunday, De ce m be r 19, 19 71
4:00 p.m .
�Isaiah XL:1
Isaiah XL:2
Isaiah XL:3
Isaiah XL:4
ARIOSO FOR TENO™
Comfort ye, comfort ye my people, saith your
God.
Speak ye comfortably to Jerusalem, and cry u i
her, that her warfare is accomplished, that her
iniquity is pardoned:. . .
The voice of him that crieth in the wilderness,
Prepare ye the way of the Lord, make straight in
the desert a highway for our God.
AIR FOR TENOR
Every valley shall be exalted, and every mountain
and hill. . .made lowz. . .the crooked. . straight,
and the rough places plain:
Isaiah XL:5
Haggail
CHORUS
And the glory of the Lord shallbe revealed, and
all flesh shall see it together: for the mouth of the
Lord hath spoken it.
ACCOMPANIED RECITATIVE FOR BASS
...thus saith the Lord of hosts; Yetet ononce,. . .a
little while, and I will shake the heavens, and the
earth,. . .the sea,and the dry land ;
Haggai 11:7
Malachi III: 1
Malachi I11:2
Andlwillsh akeallnations, andthedesi reofall
nations shall come:. . .
. . .t he Lord, whom ye seek, shall suddenly
come to his temple, even the messenger of the
covenant, whom ye delight in: behold, he shall
come, saith the Lord of hosts.
AIR FOR CONTRALTO
But who may abide the day of his coming? And
who shall stand when he appeareth? Forhe is like a
refiner’s fire,. . .
CHORUS
Malachi I I I :
. . .and he shall purify thesonsof Levi . .that
they may offer unto the Lord an offering in
righteousness.
1
Isaiah V I I :4
RECITATIVE FOR CONTRALTO
. . Behold, a virgin shall conceive, and bear a son,
and shall call his name Immanuel, “God-with-us.”
�o
La a
I
Isaiah XL ."9
Isaiah L X : 1
Isaiah L X :2
Isaiah L X :3
Isaiah 1X:2
Isaiah IX :6
A I R F O R CONTRALTO A N D CHORUS
O thou that tellest good tidings to Zion, get thee
up into the high mountain ; O thou that tellest
good tidings to Jerusalem, lift up thy voice with
st rength ; li ft it up, be not afraid ; say un to the cities
l
Luke Il: 13
of Judah, Behold your God!
A rise, shine ; for thy light is come, and the glory
of the Lord is risen upon thee.
ARIOSO FOR BASS
For, behold,. . .darkness shall cover the earth,
and gross darkness the people : but the Lord shall
arise upon thee, and His glory shall be seen upon
thee.
And the Gentiles shall come to thy light, and
kings to the brightness of thy rising.
Luke Il:11
Luke II:14
;
Zechariah IX .‘9
Zechariah I1X:10
AIR FOR BASS
The people that walked in the darkness have seen
a great light : and they that dwell in the land of the
shadow of death, upon them hath the light shined.
Isaiah XXX V :5
Isaiah XXX V.'6
CHORUS
For unto us a child is born, unto us a son is
given : and the government shall be upon his
shoulder : and his name shall be called Wonderful,
Counsellor, The Mighty God, The Everlasting
Father, The Prince of Peace.
Isaiah XL .' I 1
PIFA (Pastoral Sy mphony)
Luke I I :
Luke I1:9
RECITATIVE FOR SOPRANO
. . .there were. . .shepherds abiding in the field,
keeping watch over their flock by night.
Matthew XI:28
Matthew XI:29
ARIOSO FOR SOPRANO
And, lo, the angel of the Lord came upon them,
and the glory o f the Lord shone round about
them : and they were sore afraid.
Luke II: 10
a
Matthew XI:30
For unto you is born this day in the city of
David a Saviour, which is Christ the Lord.
ARIOSO FOR SOPRANO
And suddenly there was with the angel a
multitude of the heavenly host praising God, and
saying,
CHORUS
Glory to God in the highest, and peace on earth,
good will towards men.
AIR FOR SOPRANO
Rejoice greatly, O daughter of Zion ; shout, O
daughter of Jerusalem ; behold, thy King cometh
unto thee : he is the righteous Saviour,. . .
. . .and he shall speak peace unto the heathen :. . .
RECITATIVE FOR CONTRALTO
Then shall the eyes of the blind be opened, and
the ears of the deaf. . .unstopped.
Then shall the lame man leap as a hart, and the
tongue of the dumb shall sing:. . .
AIR FOR CONTRALTO
He shall feed his flock like a shepherd : and he
shall gather the lambs with his arm, and carry them
in his bosom, and . . .gen tly lead those that are
with young.
AIR FOR SOPRANO
Come unto Him, all ye that labour and are heavy
laden, and He will give you rest.
Take His yoke upon you, and learn of Him, for
He is meek and lowly of heart : and ye shall find
rest unto your souls.
CHORUS
. . .His yoke is easy, and His burthen is light.
Part 2
RECITATIVE FOR SOPRANO
And the angel said unto them, Fear not : for
behold, 1 bring you good tidings of great joy,
which shall be to all people.
John I :29
l
CHORUS
. . .Behold, the Lamb of God, that taketh away
the sin of the world!. . .
�D
Isaiah LIII :3
Isaiah L II .'4
Isaiah L III :5
Isaiah Llll:6
Psalm XXII'. 7
Psalm X X I]'. 8
Psalm L X IX .'20
Lamen rations 1 : 1 2
A I R FOR CONTRA LTO
He was despised and rejected of men ; a man of
sorrows, and acquainte d with grief:. . .
CHORUS
Surely he hath borne our griefs, and carried our
SOITOWS:. . .
. . .he was wounded for our transgressions he was
bruised for our iniquities : the chastisem ent of our
peace was upon him ;
And with his stripes we are healed.
All we like sheep have gone astray ; we have
turned every one to his own way ; and the Lord
hath laid on him the iniquity of us all.
Psalm XXIV:8
Psalm XXIV :19
Psalm XXIV :10
!d
Psalm X VI :10
Psalm XXI V: 7
Romans X:15
ARIOSO FOR TENOR
All they that see him laugh him to scorn : they
shoot out their lips, and shake their heads, saying,
Romans X:18
CHORUS
He trusted in God that he would deliver him : let,
him deliver him, if he delight in him .
Psalm II : I
ACCOMP ANIED RECITAT IVE FOR TENOR
Thy rebuke hath broken his heart ; he is full of
heaviness : he looked for some to have pity on him ,
but there was no man, neither found he any to
comfort him.
ARIOSO FOR TENOR
. . .Behold, and see if there be any sorrow like
Psalm II: 2
CHORUS
The Lord gave the word : great was the company
of the preachers.
AIR FOR SOPRAN O
. . .How beautiful are the feet of them that
preach the gospel of peace, and bring glad tidings
of good things.
CHORUS
. .their sound is gone out unto all lands, and
their words unto the ends of the world.
ACCOMP ANIED RECITAT IVE FOR BASS
Why do the nations so furiously rage
together, . . . why do the people imagine a vain
thing?
The kings of the earth rise up, and the rulers take
counsel together, against the Lord, and against his
anointed, . . .
Psalm II: 3
CHORUS
Let us break their bonds asunder, and cast away
their yokes from us.
Psalm II : 4
AIR FOR SOPRAN O
But thou didst not leave his soul in hell ; nor didst
thou suffe r thy Holy One to see corruption.
RECITATIVE FOR TENOR
He that dwelleth in heaven shall laugh them to
scorn : the Lord shall have them in derision.
Psalm II: 9
CHORUS
Lift up your heads, O ye gates ; and be ye lift up,
ye everlasting doors ; and the King of glory shall
AIR FOR TENOR
Thou shalt break them with a rod of iron ; thou
shalt dash them in pieces like a potter’s vessel.
Revelation XIX: 6
CHORUS
Hallelujah :
reigneth.
i
unto his sorrow,. . .
Isaiah L II .'8
Psalm L X VIII :11
Who is this King of glory? The Lord strong
an ;mighty, the Lord mighty in battle.
Lift up your heads, O ye gates; and be ye lift up,
ye everlasting doors; and the King of glory shall
come in.
Who is this King of glory? The Lord of hosts, he
is the King of glory.
ACCOMP ANIED RECITAT IVE FOR SOPRAN O
. . .he was cut off out of the land of the living:
for the transgression of thy people was he stricken.
come in.
E
]
)
l
for the
Lord God omnipotent
�CHORUS
. . . Worthy is the Lamb that was slain and hath
redeemed us to God by His blood to receive power,
and riches, and wisdom, and strength, and honour,
and glory, and blessing.
. . . Blessing, and honour, . . . glory, and power,
be unto Him that sitteth upon the throne, and
unto the Lamb for ever and ever.
Revelation V : 12
Revelation XI : 15
Revelation XIX: 16
. . . The kingdom of this world is become the
kingdom of our Lord, and of his son Christ ; and he
shall reign for ever and ever.
. . . King of Kings, and Lord of Lords.
Revelation V : 13
Part 3
AMEN.
E
Job XIX: 25
Job XIX: 26
I Corinthians X V : 20
I Corinthians XV: 21
I Corinthians X V : 22
I Corinthians X V : 51
I Corinthians XV: 52
AIR FOR SOPRANO
. . . I know that my redeemer liveth, and that he
shall stand at the latter day upon the earth :
And though . . . worms destroy this body, yet in
my flesh shall I see God.
For now is Christ risen from the dead, . . .
the first fruits of them that sleep.
:
l
TIMPANI
Joseph A. Roma, Jr.
last trumpet.
I Corinthians X V : 54
RECITATIVE FOR CONTRALTO
. . . then shall be brought to pass the saying that
is w ritten, Death is swallowed up in victory.
I Corinthians X V : 55
I Corinthians XV: 56
I Corinthians X V : 5 7
DUET FOR CONTRALTO AND TENOR
O death, where is thy sting? O grave, where is thy
victory?
The sting of death is sin ; and the strength of sin
is the law.
CHORUS
But thanks be to God, who giveth us the victory
through our Lord Jesus Christ.
OBOE
Dan Cross
Stan Moshman
Dorian J. Schwartz
Patricia Thayer
BASSON
Carol Shapiro
Douglas Epstein
Thomas Closser
TRUMPET
Robert E. Lindstrom
Dave Hibbard
ACCOMPANIED RECITATIVE FOR BASS
Behold, I tell you a m ystery ; We shall not all
sleep, but we shall all be changed,
In a moment, in the twinkling of an eye at the
I Corin thians X V : 52
— — — — — — — " TT.
ORCHESTRA
CHORUS
. . . since by man came death, by man also the
resurrection of the dead.
For as in Adam all die, even so in Christ shall all
be made alive.
AIR FOR BASS
. . the trumpet shall sound and the dead shall be
raised incorruptible, and we shall be changed.
E
BASS
Robert Keith Kolber
Michael Sanders
Robert Scott Taffet
Richard Thomas
!1
i
C
HARPSICHORD
Charles Brewer
CELLO
Judith Glyde, Principal
Rachel Abbey
Miriam Diamond
Norman Fischer
Sarah Hartshorne
Carolyn McIntosh
Timothy Perry
Jennifer Rae
Fred Raime
—
E
Y
,
PERSONNEL
VIOLIN
E ric Lewis, Concertmastcr
John McLeod, Principal, second
Andrea Andros
Mary Barton
William Bergman
Alice Click
Browing Cramer
Diane Fcigin
Paul Fried man
Paul Goodman
Joanne Jenner
Andrew Jennings
Ar thur Mannis
Oscar Maxwell
Daniel Mowery
Robert Rozek
Mark Sokol
Martha Strassberger
Michael Sturm
Joan Tanenhaus
Debra Tanklow
Lydia Werbizk y
VIOLA
Andrew Berdahl, Principal
Peggy Acker
Zelman Bokser
Pat Foley
John Kochanowsk y
Carolyn Lohman
Joyce Stetzl
Willy Sucre
ORGAN
Barbara Garges
O
D
E
T
r
S
a
�UNIVERSITY CHORUS
Sopranos
Susan Ball
Elvira Chiccarelli
Kathleen Crowe
Katherine Denmark
Susan Dershin
Lois Fischthal
Janet Hill
Grace Houghton
Joan Januszkiewicz
Janet Johnson
Ursula Raeth
Regina Sablauskas
Christa Schaeffer
Esther Sterling
Sherri Strichman
Maria Theodore
Mary F. Thompson
Linda Uhly
Louise Ulrich
Alice Weintraub
Marcia Wellwarth
Nadene Willcox
Contraltos
Joan Appleton
Sally Baron
Adele Bass
Kathryn Bassin
Jill Borenstein
Cara Brownell
Cheryl Brozost
Clara Budin
Janet Cahn
Nancy Carlson
Lee Discesare
Jeanne Falinski
Anna Fontana
Karen Fung
Sharon Gelfand
Carol Gill
Allison Jameson
Kathy Kadish
Debbie Kanter
————
Debbie LaSalle
Claudia Lee
Doris Lockwood
Linda Lockwood
Ann Marsland
Dorothy McKensie
Sandra Menter
Rita Orzelek
Diana Paffrath
Nicki Pokowitz
Barbara Savage
Jane Shear
Anna Sperr
Connie Sterling
Shirley Tan
Stacie Williams
Susan Winnett
Grace Wu
Jacquelyn Zinman
A
t t s i .
Basses
Tenors
Peter Bellmio
Kevin Bertolino
Zack Bowen
Anthony Colle
Jeffrey Dershin
John Evans
Philip Gottlieb
Michael Kass
Nino Lama
Mitchel Mendelson
John Mulhern
Larry Pepper
Fritz Rath
Dick Toulson
Richard Axt
John Belniak
David Crowe
Richard Fried
Robert Kendall
Mitchell Medina
Kenneth Morgan
John Niessen
Roger Norton
Malcolm Ottaway
Craig Russell
Evan Segal
Bernard Sheredy
Fred Silverman
Roger Stein
James Vivyan
Keith Willcox
Phillip Wu
Larry Zukof
J u d y Grosh , Rehearsal A Accompanist
Ee
EEEE———————————————
�v
4
n
�
Dublin Core
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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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&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: <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
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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.)
46:08:00
OHMS Object
URL
https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63578
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63578">The University Chorus Presents Messiah by Georg Friedrich Handel</a><a> </a>
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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>.
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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
The University Chorus Presents Messiah by Georg Friedrich Handel
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Worlds of Handel. Held at 4:00 pm, December 19, 1971.
Creator
An entity primarily responsible for making the resource
University Chorus
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
1971-12-19
Rights
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In copyright
Contributor
An entity responsible for making contributions to the resource
Handel, Georg Friedrich, 1685-1759
Type
The nature or genre of the resource
sound
Identifier
An unambiguous reference to the resource within a given context
39091020073452
39091020073403
39091020073353
39091020073304
-
https://omeka.binghamton.edu/omeka/files/original/853e79cfc3d5917164d57dd15d0fea14.pdf
257c54570d53b6383c7b682c9e4791bf
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
State University of New York
wdc
[4
B
E R A R T M E N
T
The University Win d Ensembl e
presents
The L egacy of
~ A lfred R eed
(19212005)
Ro bert G . Smith
Music Direc tor a n d Con d uctor
assisted by
Danie l Bris k
G radua te Con ducto r
and
Jessica Will iamson
G rad uate C onduc tor
Sunday , May 7 , 2006
3:00 p. m.
Anderson Cen ter Cha mber H all
�PROGRAM
This season the University Wind Ensemble has been pleased to present one
composition by Alfred Reed in eac h concert. This final concert of the 20052006
season features a complete program of additional works. What was originally
envisioned as homage to the Dean of American Wind Band Composers has
become a celebration of his life an d his contributions to the wind band movement
around the world.
El Camino Real, A Latin BaREASY L i k .i
v
e
r
s
o
n
(1970)
A Jubilant Ove rture
Conducted by Mrs. Williamson*
nasensies
Russian Christmas M u s e . 8 0 d rerensensssana
arr (1961)
Greensleeves
Conducted by Mr. Brisk*
Armenian Dances, P a r t
..
(1972)
Tzarani Tzar (The Apricot Tree)
Gavaki Yerk (Partridge’s s Song)Gomidas Vartabed (18691935)
Hoy, Nazam Eem (Hoy, My Nazam)
Alagya (An Armenian Mountain)
Gna, Gna (Go, Go)
..(1985)
.
Three Revelations from the Lotus Sutra...
I. The Awakening (To Awaken in the Light o f the Universe)
II. Contemplation (To Contemplate the Depths of the Soul)
III. Rejoicing (To Rejoice in the Beauty of P eace)
*Mrs. Williamson ’s and Mr. Brisk’s performances are in partial satisfaction
of the requirements for the Master of Music in Conducting.
They are graduate students of Dr. T imothy Perry.
�PROG RAM NOT E S
Alfred Reed (192 12005)
With over 250 published works for concert band, wind ensemble, orchestra,
chorus and chamber groups, Alfred Reed is one of America’s most prolific and
frequently performed composers. Born Alfred F reidman, his music career began
in 1931 in the N e w York schools of music. H e studied trumpet with Abraham
Nussbaum , theory and composition with John Sacco and began playing
professionally at the age of 14. Later, he was offered a scholarship to study
composition with Paul Yartin, a student of SaintSaens. His first successful
composition, Interludium for orchestra, was performed by the N BC Symphony
and later published in an arrangement for organ. Reed wrote many compositions
and arrangements for band during his service with the Army Air Corps in World
War II. When composer Roy Harris and Reed’s commanding officer both ordered
him to produce a work for radio broadcast honoring the friendship between the
Russian and American people they gave him a two week deadline. In eleven days,
Reed prod uced Russian Christmas Music, the work that la unched his career as a
composer of music for winds. Following the war, he began studying with V ittorio
Giannini at Juilliard, but left to work as a staff composer and arranger at both
NBC and ABC. Be rnard Kalban of Charles H. Hansen Music Corporation asked
Reed to write music for young wind players, thus, beginning his long associat ion
with the school band movement. In 19 53, Reed accepted a position as conductor
of the Ba ylor University Orchestra and while there he completed his bachelor’s
and master’s degrees. Returning to N e w York in 1956, he went to work for
Hansen as a senior editor. In 1966, he took a position at t he University of M iami
in order to have time to devote to his writing. Over the next 27 years, he
composed most of his wellknown works for band including : The Hounds of
Spring, Othello, Music for ‘Hamlet’, and Armenian Dances (part I and II). In
1981, he was invited to Japan by Sony ’s Toshio Akiyama to conduct and record
with the Tokyo Kosei Wind Orchestra. This led to a long association with TKWO
and other Japanese music or ganizatio nsHis work took him to 49 states and 18
countries.
By R. Smith
El Camin o Real (A Latin Fantasy) was comm issioned by the 58 1“ Air Fo rce
Band (AF RES) and its Commander, Lt. Col. Ray E. Toler. The music is based on
a series of chord progressions common to countless generations of Spanish
flamenco guitarists, whose fiery style and brilliant playing have captivated
millions o f music lovers throughout the world. The first section o f the music is
based upon the dance form known as thc Jota, while the second, contrasting
section is derived from the Fandango, but here a ltered considerably in both t ime
and tempo from its usual form.
By A. Reed
�A Jubilant Overture opens as a joyous celebration of music layering many
driving rhythms in d ifferent voices within the ensemble. It is interesting to note
that while Reed uses many of the same rhythmic motives throughout the piece, it
never sounds repeti tive and continues to capture the audie nces attention. The
middle section of this piece is lyrical and expressive while still keeping some of
the underlying excitement from the opening. Reed transitions from this lyrical
section gracefully as we begin to hear the opening motives return slowly at first
and then with great gusto leading up to the end of the piece.
By J. Williamson
Russian Christmas Music was originally written in November of 1944 and was
first performed in December of that year at a special concert in Denver, Colorado,
by a select group of musicians from five of the leading Service Bands stationed in
that area. An ancient Russian Christmas Carol (“Carol of the Little Russian
Children”), together with a good deal of original material and some motive
elements derived from the liturgical music of the Eastern Orthodox Church, forms
the basis of this musical impression of Old Russia during t he jubilant Christmas
season. Although cast in the form of a single, continuous movement, four distinct
sections may be easily recognized, which the composer originally subtitled:
Children’s Carol, Antiphonal Chant, Village Song and the closing Cathedral
Chorus.
By A. Reed
Greensleeves
This familiar ancient tune is set in three verses, each with an introductory section.
The first verse is introduced by flowing eighth note lines in the woodwinds.
These flowing lines continue throughout the first verse, with the melody being
stated just as gently by the tenor voices o f the brass section. In the second verse,
the woodwinds begin the melody following a key change. The brass section, by
and large has accompaniment figures. The entire ensemble takes on an “organ
like” broadness to usher in the final verse. The original key has returned by this
point, but a sense of fullness that was absent in the first verse is present now. The
flowing eighth note lines of the woodwinds return as the piece closes in the same
fashion as it began.
By D. Brisk
I
I
�American Dances, Part I was completed in 1972 and was performed at the
CBDNA convention in Urbana, Illinois by the University of Illinois Symphonic
Band, under Dr. Harry Begian, who had suggested the work. Comprising a four
movement suite, Armenian Dances, Parts I and II is based on authentic Armenian
folk songs from the works of the founder o f Armenian classical music, Gomidas
Vartabed (18691935). P a rt I I was composed in 1 975 and the entire work was
performed in 1976.
By R. Smith
Three Revelations fr om the Lotus Sut ra is an attempt to rea lize in music three
different states of man ’s soul in his quest for ultimate perfection. The first
movement, Awakening (To Awaken in the Light of the Universe) portrays the
vastness and richness of the experience of the human mind on expanding its field
of view from the narrow confines of daily life to the contemplation of, and
merging with, the entire universe. The second movement, Contemplation (To
Contemplate the Depths of the Soul) represents a turning away of the mind from
the ‘outer ’ to the ‘inner ’ universe... the attempt to fathom the limitless
possibilities of the h uman conciousness i n its quest for identity, to answer the
eternal questions beginning with the word “Why?” The third and final movement,
Rejoicing (Rejoicing in the Beauty of Peace) depicts the realization that, while on
earth, peace is not merely the absence of war, destruction, pain and suffering, but
a thing of beauty in and of itself...and an occasion for heartfelt rejoicing on the
part of all men, everywhere, who share the same eternal quest as true brothers.
By A. Reed
�T H E CONDUCTORS
ROBERT SMITH is Music Director and Conductor of the Binghamton
University Wind Ensemble. Professor Smith holds a Bachelor of Science in
Music Education from Hartwic k College, a Master of Music in Conducting from
Binghamton University and is a candidate for the Doctor of Musical Arts in
Music Education from Boston University. Locally, he is conductor of the annual
observance of TubaChristmas and is former conductor of the Maine Community
Band, the oldest band of its kind in the United States. He has guest conducted all
county and community bands throughout central N e w York as well as the Goshen
College (IND) Wind Ensemble and Orchestra. His conducting teachers include
Frederick Fay Swift, Thurston Dox, Thomas Ives, Timothy Perry, Robin
Linaberry, John Graulty and Mariusz Smolij. An active performer, he currently
plays principal euphonium with the Southern Tier Concert Band and tuba with the
Brass Nickel quintet and the Crown City Brass sextet. Professor Smith is the
irrunediate past president of the Broome County Music Educators Association and
recipient of the 2005 BCMEA Distinguished Service Award. Professional
memberships include The Broome County Music Educators Association, the N e w
York State School Music Association, the Music Educators Nat ional Conference,
The National Band Association, The Association of Concert Bands, The
Conductors Guild, The World Association of Symphonic Bands and Ensembles,
The College Band Directors National Association and the International Tuba and
Euphonium Association.
l
1
JESSICA WILLIAMSON holds a Bachelor of Music in Music Education from
SUN Y College at Fredonia and is currently a candidate for the Master of Music in
Conducting from the Binghamton University. Her conducting teachers include:
Timothy Perry, Patrick Jones, David Rudge and Rudolph Emilson. Jessica is the
director of the Whitney Point Middle School Concert Band, Sixth Grade Band
and Jazz Band. She has performed with the Long Island Winds, the Southern Tier
Concert Band and with the EVE A Youth Commission of Germany. Memberships
include N e w York State School Music Association, the National Association of
Music Educators and the Broome County Music Educators Association.
DANIEL BRISK graduated from Wilkes University in Pennsylvania with a
degree in Music Education. Mr. Brisk is currently an instrumental music educator
at Chenango Valley High School where he conducts the Symphonic Band, Jazz
Band, Pep Band and has been heavily involved in the Theatre Guild. A tubist,
Mr. Brisk currently performs as a member of the Southern Tier Concert Band,
European Brass and is a freelance musician. He is currently enrolled at
Binghamton University where he is pursuing a Masters Degre e with a focus on
Instrumental Conducting under Dr. Timothy Perry. He has previously studied
conducting under Cyril Stratanski, Dr. Alan Baker, Ferdinand Liva, Jerome
Campbell and Dr. Richard Brown.
2
1
iS
�T H E PERFO RMERS
r
L
Flute
Erica LeoUtica, NY
S u b i n LimWilliston Park, N Y
Elise MartingaleMassapequa, NY
Katie NavaretteBrunswick, NY
Valerie SpillerNorthport, N Y
Piccolo
Melissa VoldanHilton, NY
Oboe
Ephraim AtkinsonAmherst, NY
A b iga i l SneagG reat Neck, N Y
E b Clarinet
Theresa PerroneGreene, N Y
Bb Clarinet
Heather BolandMerrick, N Y
Joanne BriceSpring Valley, NY
D o r i a n Dodd La ke Katrine. N Y
Michele GrexerQueens, N Y
Christa HeschkeOlean, NY
A n d r e i LeeEast Meadow, N Y
Danielle QuickSyracuse, NY
Richard SalvagniQueens, NY
Da n ZaccariniN ew Hyde Park. N Y
Bass Clarin et
C h l o e H o pza pfe l L a ke Ronkonkoma, N Y
Alto Saxoph one
0
I
F
Horn
Ro b e rt
MullerPoughkeepsie, N Y
Mate usz RekMiddle Village, NYC, N Y
William Stal lsworthSouth Orange, N Y
Trumpet
Philip DeitzH
untington, NY
John MarschhauserManorville, NY
Thomas OsaSeaford, N Y
St e v e n PanXinjiang,China
Andrew San fratelloMohegan Lake, N Y
D a v i d WrightBinghamton, N Y
Trombone
Christopher ChenRoslyn, NY
David HennanWind Gap, PA
Euphonium
R ic k M okanLancaste r, N Y
T uba
Dan GallagherMaine, NY
Paul McddaughRock Hill, NY
Percussion
Christopher JacobsonBaldwinsville, NY
E u n Y o u K imBinghamton, N Y
J a na KuceraBi nghamton, N Y
Scdrick MyrtilSpring Valley, N Y
M i k e VentiBinghamton, N Y
String Bass
E m i l y A l k icwiczEast Fishkill, N Y
Chris Zavala East Mcadow, N Y
Tenor Sa xophone
Adam GoodstoneMcllick, NY
G rad uate Assista nt
Amy NaticllaBuffalo, NY
Baritone Sa xophone
A d a m G eringerEast Meadow, N Y
Kathryn Boc zarWhitney Point, N Y
�Sunday, May 7 – Master ’s Recita l – William G ilchrest, t rumpet
– 7:30 p.m. – Casadesus Recital Hall – free
Wednesd ay, May 10 – An Evening of G erman Vocal Music –
8:00 p.m. – Casadesus Recital Hall – free
J
Wednesd ay, May 10 – Co nductor ’s Conce rt – 7:00 p.m. – FA
111 – free
Th ursday, M ay 1 1 – MidDay Stude nt Recognition Co ncert wit h
faculty a nd stude nt perfor mers – 1 :20 p.m. – Casadesus Recital
Hall – free
Th ursday, May 1 1 – H a rp u r Chorale a n d Wome n ’s C ho rus –
8:00 p.m. – Anderson Cente r Chamber Hall – free
Th ursday, M ay 1 1 – Anton io Vivald i : Concerti “ Four Seasons”
for violin – 10:00 p.m. – Casadesus Recital Hall – free
F riday, M ay 12 – F l ute Ense mble – 8 :00 p.m. – Casadesus Recita l
Hall – free
Saturday , May 1 3 – Indian Classica l Music by vocal ist Ashwini
BhideDeshpande, accompanied by Vishwa nath Shi rod kar on
tabla a nd Seema Shirod kar on harmoni um – 7:00 p.m –
Watters Theater $10 general admission; $5 for students (co
sponsored by IPAS)
Wednesd ay, May 1 7 – Master ’s Recita l : Jod y Sch um, pian o –
8 :00 p.m. – Casadesus Recita l Hall – free
)
1
/
JI
�
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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&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: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
59:38:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204277">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204277</a>
Accessibility
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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>.
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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
The University Wind Ensemble presents The Legacy of Alfred Reed (1921-2005), May 7, 2006
Recital Tape 2006-5-7
Description
An account of the resource
Held at 3:00 p.m., May 7, 2006, Anderson Center Chamber Hall.
Creator
An entity primarily responsible for making the resource
Reed, Alfred
Smith, Robert
Brisk, Daniel
Williamson, Jessica
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
2006-5-7
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound
IIIF Item Metadata
UUID
b94924c0-aa23-4284-b0ec-6308785de63f
-
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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&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: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
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In copyright.
Template: Universal Viewer / Rosetta
Rosetta audio media
Original Format
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1 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
58:41:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154629">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154629</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
The University Wind Symphony solo competition winners concert, May 1, 2011,
Recital Tape 2011-5-1
Description
An account of the resource
Held at 3:00 p.m., May 1, 2011, 2011, Anderson Center Chamber Hall.
Creator
An entity primarily responsible for making the resource
Bessel, Daniel
Bartishevich, Jay
Goldenberg, Adam
Muller, Robert
Smith, Robert
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
2011-05-01
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. 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 (112 min.) sound, color
4 3/4 in.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
112 min.
Collection
Big horror reading series (Binghamton Community Poets)
Date of Digitization
11/1/22
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243908">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243908</a>
Accessibility
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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
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Title
A name given to the resource
The Wail Poets with "Open Mike" at Benlin's, June 18, 1991
Subject
The topic of the resource
American poetry -- 20th century
Oral interpretation of poetry
Description
An account of the resource
Features poetry readings from the Wail Poets at Benlin's in Binghamton, N.Y. Several local poets read their works during "open mike" sessions after the featured poets. The event was held on June 18, 1991 and the readings were sponsored by the Binghamton Community Poets as part of their Big Horror Reading Series. Video edited by Bern Mulligan.
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
1991/06/18
Rights
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In copyright
Language
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English
Type
The nature or genre of the resource
Moving Image
Identifier
An unambiguous reference to the resource within a given context
PS615 B56 1991 6-18
Format
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video/mp4
-
https://omeka.binghamton.edu/omeka/files/original/f58f83b9dff38c3d6541f4a6e200377f.pdf
e09db26e5c0a0f7fee053eef2c9511c2
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
S ’ A I E U N I V E R S I T Y O F N E W Y O R K
D E P A R T M E N T
RICHES FROM THE EAST
Choral M usic of Asia a n d t h e
Sou th Pacific
T HE WOMEN’S CHORUS
Bruce Borton, conductor
Assisted by
W illiam Lawson, piano
THE HARPUR CHORALE
Peter Browne, conductor
Assisted by
Michelle Li,flute
Saturday, March 8, 201 4
3:00 p.m.
Anderson Center Chamber Hall
�I I . T H E H ARPUR C HORALE
PROGRAM
I. T HE WOMEN’S CHORUS
odi 011i
. Tamil Song
Arr. Stephen Hatfield
The Tamil people are widespread throughout southern Asia and their
language is one of fourteen official languages of India. The chantlike
melody is sung above a three tone drone typical of this music. The text:
“Untold millions o f p eople run and run, constantly seeking, grow desperate
and die looking for the light that is within them.”
Kashiri.
. Tae Kyun Ham
(btl936)
Tae Kyun Ham is Professor of Music at Kunsan National University, Korea.
Kashiri was commissioned for the 16!” Seoul Music Festival in 1984. The
text is a traditional Korean lyric poem: ”Are you going away, indeed? Are
you going away leaving me behind? Without caring whether i can live on,
are you going away? Though i wish to hold you here, I fear you will leave
never to return. Now I let you go, though griefstricken; Come back to me
as quickly as you are leaving.”
Kaming Mag ma mani (Selling Peanuts)
peanuts, poor and wretched with nothing to boast about. We have only
fragrant, ripe peanuts, and peanuts strung together to make necklaces,
rings and earrings.”
Traditional Chinese
grea t sea, i still wa nt to fly to your place.”
.Victor Paranjoti
(India)
This wordless piece embodies traces of ragas from the Carnatic music of
South India, but also bears a resemblance to Hindustani classical music
which uses Persian and Arabic phonemes as nonsense syllables.
“Dravidian” refers to the languages o f South India while “Dithyramb” is a
Greek term for a wild, passionate hymn.
[anger
Traditional Balinese Folksong
Arr. Budi Susanto Yohanes
Janger is traditionally sung while dancing. often to the accompaniment of
instruments from the gamelan. In this arrangement, the voices sometimes
imitate the sounds ofthe instruments.
Chinese Folksong
Arr. Philip Lawson
Mo Li Hua
Mo Li Hua (Jasmine Flower) is a traditional song about the fragrance and
beauty of the iasmine flower. The arrangement i s by Philip Lawson of The
King’s Singers.
Arirang.
Korean Folksong
Arr. Sonia Poorman and Jonathan W. Lim
Michelle Li, flute
Arirang is a widely known Korean folksong telling the story of a love
doomed to a tragic end.
. Inner Mongolian Folksong
Arr. Yongrub
Dorven Dalai.
Dorven Dalai is a joyful song which urges everyone to rejoice and sing “Let‘s
raise our wine cups, rejoice and sing, and enjoy this happy moment together.”
Japanese Folksongs
Arr. Misuzu McManus
Itsukino Komoriuta.
“There is a distant, distant place. A small stream hahhles and the wind ripples;
A kite with a broken string soars freely; It gently flies into the distance, A
tropical place. Even after passing over high mountains, Even after crossing the
Dravidian Dithyramb.
Patang Padi is an arrangement of an old Malay folksong about the rice
ha rvest, a time for singing and dancing.
Traditional Philippines
in this traditional song, the plight of the poor farmer is accompanied by
voices mitating instruments : “We are a group o f farmers who grow
Yo gay au yuen (A Tropical Place)
Felicia Wang, soloist
Malay Folksong
Arr. Juliette Lai
Potong Padi .
Takeda no Komoriuta
Michelle Li, flute
ltsukino Komoriuta and Takeda no Komoriuta are lapanese lullabies, the
second o f which is sung by a babysitter anxious to finish with her duties
and return home,
Siksik Si Batu Manikkam.
Tapanuli Traditional Song (Sumatra)
Arr. Pontas Purba
Rachel Young, Daniela Rivera, Matthew Pedersen, solo trio
Siksik Si Baru Mamkkam is a setting o fa pantun, a traditional Malay poetic
form often used in courting songs sung by groups of young men searching
for lovers or e ven wives.
�WOMEN’S CHORUS
Bruce Barton, conductor
Sop ra no 1
Stacey Davis
Alexandra Leslie
Nicole Meeker
lillian Robertson
Calli Seigart
Brianna VanOsdol
Felicia Wang
Jamila Gordon
Karima Jibril
Kate Sherwood
Altos
Alexa Bruck
Linda Melissa Cruz
Kaitlyn Kang
Laura Keim
Soprano ll
Kaitlin Biagiotti
Rachel Blaifeder
lzabelle Lawston
Urenna Nwogwugwu
Laura Sonnenberg
Kimberly Torres
Alida Cooke
Alexa Dicken
H ARPUR C HORALE
Peter Browne, conductor
Sop ra nos
Carrie Buck
Deanna Feuerbach
Michelle Goldrich
Kerianna Krebushevski
Lauren Silberstein
Rachel Young
Tenors
TenYoung Guh
Feng Nan
Matthew Pedersen
lay Rosser
Joshua Rovou
JinKi Seong
Altos
Rachel Graham
Shoshana May
lnez Nelson
Daniela Rivera
Basses
Thom Furey
Jibron Harris
Joseph Keller
Thomas Sinclair Kerr
Max Rydqvist
S P E C I A L T H A N K S
To ChaiKyou Mallinson for help with Korean pronunciation.
�
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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&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: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF
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Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
42:40:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74973">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74973</a>
Accessibility
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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>.
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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
The Women's Chorus presents Riches from the East: Choral music of Asia and the South Pacific
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Ham, Paranjoti. Held at 3:00 p.m., March 8, 2014, Anderson Center Chamber Hall.
Creator
An entity primarily responsible for making the resource
Women's Chorus
Borton, Bruce
Lawson, William
The Harpur Chorale
Browne, Peter
Li, Michelle
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Contributor
An entity responsible for making contributions to the resource
Ham, Tae Kyun, (b. 1936)
Paranjoti, Victor
Date
A point or period of time associated with an event in the lifecycle of the resource
3/8/14
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound
-
https://omeka.binghamton.edu/omeka/files/original/ff4d1e859381f1beb93ad3e98c9375e7.pdf
57416cb210c80c7472bb17bfc080c758
PDF Text
Text
STATE UNIVERSITY OF NEW YORK AT BINGHAMTON
HARPUR COLLEGE
THE DEPARTMENT OF MUSIC
THE WORKS O FJ. S. BACH
Thursday,
8:15
April
10, 1975
pm
Casadesus Re cita l Ha ll
�WORKS OF JOHANN SEBASTIAN BACH (1685-1750)
Program
Trio-Sonata in B-flat Major
Adagio
(transcription)
Allegro ma non tanto
-
Adagio e piano
-
Allegro moderate
Paul Jordan, Alto Recorder
Delmar Pettys, Violin
Steven Stalker, Violoncello
Joseph Kotylo, Harpsichord
Aria, "Gelobet sei der Herr," from Cantata No. 129
Alice Weintraub, Soprano
Paul Jordan, Tenor Recorder
Delmar Pettys, Violin
Steven Stalker, Violoncello
Joseph Kotylo, Harpsichord
Sonata No. 2 in A Major for Violin and Obligato Keyboard
Andante
-
Allegro assai
-
Andante un poco
-
Presto
Delmar Pettys, Violin
Paul Jordan, Organ
Intermission
Sinfonia ("Sonata") from Cantata No. 182
("Himmelskönig, sei willkommen")
Paul Jordan, Alto Recorder
Delmar Pettys, Violin
the Ysaye Quartet
Elmar Oliveira, Violin
Paul Childs, Violin
Sandra Robbins, Viola
Steven Stalker, Violoncello
Joseph Kotylo, Harpsichord
Aria, "Sanfte soll mein Todeskummer,"
from the Easter Oratorio
Kevin McDermott, Tenor
Larry Zukof and Paul Jordan, Alto Recorders
Elmar Oliveira and
Paul Childs, Violins
Joseph Kotylo, Harpsichord
�Sinfonia from Cantata No. 142
("Uns ist ein Kind geboren")
Kevin McDermott and Paul Jordan, Alto Recorders
Geoffrey Barron and Janet Ziebur, Oboes
the Ysaye Quartet
Joseph Kotylo, Harpsichord
"Brandenburg" Concerto No. 4 in G Major
Presto
Andante
Allegro
Delmar Pettys, Violin
William Sherfey and Paul Jordan, Alto Recorders
the Ysaye Quartet
Joseph Kotylo, Harpsichord
�
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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&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: <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.)
27:32
17:51
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243450">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243450</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.
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'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
The Works of Johann Sebastian Bach, April 10, 1975
Recital tape 1975-4-10
Description
An account of the resource
Works by Johann Sebastian Bach. Held at 8:15 pm, April 10, 1975, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Harpur Chorale
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
1975-4-10
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound