158 10 1775 https://omeka.binghamton.edu/omeka/files/original/a15e2b54b01d1cac47aed5cbb55193f4.pdf a1bdab698a30c94a2a50158507d92ce9 PDF Text Text BINGHAMTON U N I V E R S I T Y S I A I E  U N I V E R S I T Y   O F  N EW Y O R K [4 14440 D E P A R T M E N T S IN G IN TO  S P RIN G THE WOMEN’S CHORUS Bruce Borton, conductor THE HARPUR CHORALE Peter Browne, conductor Assisted by Georgetta Maiolo,flute William Lawson, piano Natasha Talukdar, piano Thursday, May 8, 2014 8:00 p.m. Anderson Center Chamber Hall �PROGRAM 11. T HE HARPUR CHORALE Peter Browne, conductor l. T HE WOMEN’S CHORUS Bruce Barton, conductor William James Lawson, piano Salut Printemps . Calli Seigart, soprano soloist Wisdom (Premiere Performance)  (Text by Sara Teasdale)  Georgetta Maiolo, fl ute Ye Sons of Israel . .Claude Debus sy (1862­1916) ..Richard Hugunine (b.1953) Die Braut Der Brdutigam Omnia sol (Let Your Heart Be Staid)..  Echoes . Arthur Sullivan (1842­1900) An Old Romance (Drei Folkslieder) .Felix Mendelssohn (1809­1847) Thomas Morle y (1557­1603) .Felix Mendelssohn (1809­1847) To Be Sung on the Water Samuel Barber (1910­1981) (1833­1897) It was a Lover and his Lass john Rutter (b.1945) Z. Randall Stroop e (b.1953) The Log Driver ’s Waltz. Thomas Morley (1557­1603) It was a Lover and his Lass. Three Songs from “12 Lieder and Romances"op.44  Johannes Brahms Fragen  Now is the Month ofMaying. Wade Hemsworth (1916­2002) The Lark in the Morn  The Bluebird. It  was a Lover and his Lass Randall Thompson (1899­1984) Charles Villiers Stanford (1852­1924) .P.D.Q. Bach (1807­1742)? Natasha Talukdar and William james Lawson, pianists �Der Brantlgam Down from all the mountaintops sound such happy greetings ~ It is the return of spring that calls to the green forest! TRANSLA TIONS Salut printemps Hail spring, young season! God restores the crown to the plains. The ardent, bubbling sap overflows and breaks its prison. Woods and fields are flowering; an invisible world murmurs; Water runs over the reverberating pebble and sings its clear song. The broom gilds the hill: on the green lawn the hawthorn Pours forth its snowy blooms. All is freshness, love and light, And songs and scents arise from the fertile bosom of the earth. A little song rang out up to the quiet castle ­ Your beloved has sung it, and he lifts you upon his steed. We ride so swiftly far away from all the people. ­ The air rustles so gently in the solitude of the forest. (Comte de Ségur) Fragen For what do I have such long hair If] cannot braid a ribbon into it? For what is my little foot so nimble and delicate lfI may not dance with my lover? For what is my hand so white I f may not hold    my lover in an embrace? For what is my eye so dark and keen If it may not look at my lover? For what are my thoughts my own If they think, my beloved, upon thee all the time? (Anton Alexander, Graf con Auersberg/Kelly Dean Hansen, tr) DleB   raut A blue apron you gave me, Mother, it’s a pity about the dyeing [of it], Mother, it’s a pity about the weaving [of it]. Early tomorrow morning, it will seem pale, Because so long all night 1 shall shed tears upon it. And if my tears cannot manage [to bleach] it. No matter how they may stream, no matter how they may burn. My beloved shall come and bring me water, He shall wring sea­water from his curls. For he lies down there at the bottom of the sea, And when the waves murmur this news to him, Thatl am to marry here and become untrue to him, From the depths he shall rise up to this e vil earth. To the church I am to go? Well, I am willing to come, I shall piously join the other pious people. Let me pass quietly before the altar; For there is my place, where the widows kneel. (Wilhelm Muller, Sharon Krebs, tr) To where? in the moonlight the forest is already pale. ­ The night murmurs softly ­ do not ask where love goes to its end! Uosef Karl Benediktvon Eichendorff/Kelly Dean Hansen, tr) Entflieh m lt mir Flee with me and be my wife and rest upon my heart; in distant lands let my heart be your fatherland and your parental home. If we do not flee, l’ll die here and you will be lonely and alone; and you will remain in your parental house, but it will be like a foreign land to you. (translation copyright by Emily Ezust from the Lied, Art Song and Choral Texts archive) Es flel There fell a frost on a night in Spring, it fell on the bright blue flowers: they faded and withered. A youth had loved a maiden; they fled from home in secret, unknown to either father or mother. They wandered here and there. with help from neitherluck nor star. they died, having met their ruin. Auf ihrem Grab Over their grave stands a linden tree, in which the birds are piping in the evening wind. and on the grass underneath sits the miller’s boy with his sweetheart. The wind blows so mildly and eerily. the birds sing so sweetly and mournfully: the chattering youngsters, they fall silent; they weep and they do not know why. (translation copyright by Emily Ezust from the Lied, Art Song and Choral Texts archive) �WOMEN’S CHORUS Bruce Barton, conductor 1 , Soprano I Stacey Davis Alexandra Leslie ‘ Jamila Gordon Karima J ibril Kate Sherwood Nicole Meeker J illian Robertson Calli Seigart Brianna VanOsdol Felicia Wang Altos Alexa Bruck Linda Melissa Cruz Kaitlyn Kang Laura Keim Izabelle Lawston Urenna Nwogwugwu Laura Sonnenberg Kimberly Torres Soprano ll Kaitlin Biagiotti Rachel Blaifeder Alida Cooke Alexa Dicken 0 P llfj—aulS‘pr­ing Concert Wsih  “mwtm “ls­b.“– ' t h y m e ” .  + Kasey  Stewart s o u p ­ u Adam  dA Nanni senor  + imothy Lekebvre Amanda". T e  Dewm  Leonard Bernstein’s Chichesser Palm:  q – g . . ru. . ­ e   Ralph \ A t h m  Williams’ Fin Seng Gus ta v Holst’s  ehT Hymn , ­  Jesus h  at Jane J ohnson M emorial United Methodist Church 3 0 8  M a i n  Screet ­  l n hn wn t  .r.  New  hark A n n u a l  H a n d e l ’s  .\lrxrialr Fr ida y  A  Sa tu r da y  . _ » 4 ­ . . .   .  i141 I  [] n: m u i l i — n — x – x – x – x – l — l — ‘ l  0 Buy One Ticket ­ G et One F RE E (Noo­rmerved n u . . . ­  4 a q Carrie Buck C oupon  redeemable o n  concert days only at our concert­site box office V a l d fi w a m  2 0 1 4  [Mu­711ml .. Si nge rs co n cer s  tickets I www.downtownsingers.org ­ D T S J . onu’rls(u Smyrna)!!! * 607.648.5032 [J] m — — — — — — — — — – – — – – — – – – – – ' – – — — — — — v " ' “ 4 Deanna Feuerbach Michelle Goldrich Kerianna Krebushevski Lauren Silberstein Rachel Young Altos Rachel Graham Shoshana May Inez Nelson Daniela Rivera Tenors Feng Nan Matthe w Pedersen Jay Rosser Joshua Rovou Jin­Ki Seong Basses Thom Furey Ten­Young Guh Jibron Harris Joseph Keller Tomas Sinclair Kerr Max Rydqvist I .­lAi­n~.‘.r:1a\.‘ Peter Browne, c onductor Sopranos ” Sa turday M n  1 1 . 30 1  . ­ 8pm i$ n HA RPUR  CHORALE p n “ ,  Dow n t ow n S Gumm e r Sav oyards PrESent , Iolanthe rel/amped C o m i ng J u l y 25, 26 & 27, 2014 Wa n t to get i n v ol ve d ? Loo k for a u d it i on in f or ma ti on th is s pring! A Greater Binghamton Tradition Si nce 1961 i n f o@summ e rsa v o ya r ds.o rg �Binghamton Unive rsity  Depar tment of Music Coming Even ts W W W Wednesday,  May  7  ­  Nukpor/ e  African  Drummi ng  and  Dance Ensemble – 7:00 plm. ­  Wattms Theater ­ $5 general admission at the door Thursday, Alay 8  ­  Student Recognit ion Alid­Day Con cert  ­  1:20  ­ Casadesus Recital –  free Thursday  ­  Alay 8  ­  Harpur  Chorale and Wo mens Ch orus Spring Co n c ert –  8 : 0 0 p.m. –  Anderson Center Chamber H all­ $ 7 general Friday, May 9 ­  String Orchestra C oncert – 4:00 p.m. ­  Grand Corridor – free Frida y, M a y  9 ­  Brass Ense m ble Co n cert  ­  5:00  p.m. ­  Casadesus  Recital Hall – free Su n da y, Alay 1 1  – G ram my  A war d Wi nni n g voca l guest artist Jacqueli ne Horn er­Ki n’at ek – 3 : 0 0 p.m. –  Casadesus Recital  Hall ­ $5 general  public;  free for students Wednesday, May 14 ­  German  Diction  Class Recital ­  8:00  p.m.  ­ Casadesus Recital  Hall  free W ‘ s ­ « a b e w w a a w w w m For tickets  or to  be added to  our email list, visit anderson.binghamton.edu or  call (607) 7 7 7­AR TS.  For  a  complete  list  of  our  concerts  call  (607)  777­2592,  visit musicbinghamtonetlu or become a fan on Facehook.   [ = ] —  [ = ]   lf you were inspired by  this performance, consider supporting the Depart ment of  M usic with a  financial gi ft. Your su pport helps = to continue  the work of  students, f aculty, and  guest artists and their  contributions  to  our  community .  Please  make  your donation  payable  to  the  Binghamton  University  Music [ x ]   E  Department, and  send  your  check  to  B U  Music  Department, P.O. Box 6 000, Binghamton. N Y  13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 40m 30s Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75003">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75003</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 Sing into Spring, May 8, 2014  Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Debussy, Hugunine, Mendelssohn-Bartholdy, Brahms, Stroope, Hemsworth, Morley, Sullivan, Barber, Rutter, Thompson,Stanford. Held at 8:00 p.m., May 8, 2014, Anderson Chamber Hall. Creator An entity primarily responsible for making the resource Women's Chorus Borton, Bruce The Harpur Chorale Browne, Peter Maiolo, Georgetta Lawson, William Talukdar, Natasha Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Debussy, Claude, 1862-1918 Hugunine, Richard Mendelssohn-Bartholdy, Felix Brahms, Johannes, 1833-1897 Stroope, Randall Hemsworth, Wade Morley, Thomas, 1557-1603 Sullivan, Arthur Barber, Samuel, 1910-1981 Rutter, John, 1945- Thompson, Randall Stanford, Charles Villiers Date A point or period of time associated with an event in the lifecycle of the resource 5/8/14 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/f99c43f9e07e3e9e08b55cfb22cfc4f8.pdf 455ed61fe4ca303b8e626b587419b017 PDF Text Text \  1 <  ;‘  C N U N I V   hRC 1  R e c , \'  1,  E‘ . "\ l B INGHAMTON LT   N I  V E R S I T ~ . 17.511, State University of New York Department of Music “Maestro May­hem!” Conductors Johanna Blackstone Eva George Al J acobsen Vitaliy Maystru k Talitha Phillips John Resser Jody Schum I rene Strong Sarah Williams Emily Yanisko Undergraduate Conducting Students of Timothy P e rry and Bruce Borton Featuring the University Symphony O rchestra & University Chamber Chorus Jennifer Lucia, soprano Dennis Leipold, tenor Christopher Waterstraat, bass Thursday, May 8, 2003 8:00 p.m. Anderson Center Chamber Hall �Program L University Symphony O rchestra The Montagues and Capulets........................................................Serge Prokofiev (1891­1953) ­ From Romeo and Juliet, op. 64  Arr. Edmund J. Siennicki Johanna Blackstone, conductor Edvard Grieg ( l 843­ l 907) Lyric Suite, op. 54........  II. Ganger/Norwegian Rustic March IV. Troldtog/March of the Dwarfs Jody Schum, conductor Camille Saint­Saéns (1835­1921) Bacchanale  From Samson and Delilah, op. 47  Arr. Merle J. Isaac Al Jacobsen, conductor II. University Chamber Chorus Homeward B O U N Sarah Williams, conductor C E B O A T  S (b. 1939) Ain’­a That Good News ...........................................Afro­American Spiritual Irene Strong, conductor Arr. William L. Dawson �Plovi Barko ...Croatian Folk Song Arranged by Talitha Phillips Talitha Phillips, conductor 1 1 III. University Chamber Chorus Strings of the University Symphony  O rchestra Jennifer Lucia, soprano Dennis Leipold, tenor Christopher Waterstraat, bass l Mass No.2 in G major, D.J61........ccoi0iikdummnsnmri­aabnanz Peter Schubert (1797­1828) I. Kyrie II. Gloria Emily Yanisko, conductor III. Credo Eva George, conductor IV. Sanctus V. Benedictus Vitaliy Maystruk, conductor VI. Agnus Dei John Reeser, conductor �Program Notes The ballet  Romeo and Juliet  premiered at the Kirov Theatre in  Leningrad on January 1 1, 1940. It was written for the Kirov Ballet troupe in 1935. Prokofiev, Lavrosky  (choreographer),  Ulanova  (prima  ballerina),  and  the  orchestra  had some  difficulty  agreeing  on  how  Prokofiev’s  “strange”  music  should  be envisioned  and  performed.  However,  it  is  clear  that  Prokofiev  created  a spectacular work full  of lush harmony and  unforgettable melodies.  Tonight’s selection  portrays  the  feud  between  the  Montagues  and  Capulets. Johanna Blackstone Edvard Grieg, a Norwegian  born composer, is best known  for  his incidental music to Peer Gynt.  He was also an accomplished composer in lyric pieces for piano, his many songs, and the well­known  Piano Concerto in A  minor. His Lyric Suite is an orchestrated version of his fifth set of Lyrische S tucke (Lyric Pieces) for piano, of which he composed ten sets. Self­regarded as a Romantic nationalist composer, G rieg incorporated Norwegian folk tunes into many of his works, which is evident in the title of the second movement of the Lyric Suite: Norwegian Rustic March. Jody Schum Saint­Saens’ grand opera, Samson and Delilah, premiered on December 2, 1877 at the Hofttheartre in  Weimar, Germany.  As operas based on biblical settings were not popular at this time, it would take a couple decades for its premiere in Paris, after which it would become Saint­Saéns’ most performed operatic work. The selection heard tonight is from the third act after Samson has been deceived by Delilah and captured by the Philistines.  In celebration of his capture, the Philistines  hold  a  drunken  celebration  and  dance  the  lively  and  exotic Bacchanale.  In depicting the middle­eastern setting of the opera, Saint­Saéns employs minor and augmented seconds in the seductive second subject of the dance.  Finally, the full force of the percussion and brass enter bringing the piece to an exhilarating conclusion. Al Iacobsen Carl Strommen was born in 1939 and was graduated from the City College of New York.  He lives on Long Island and works as a  professor of Theory and Composition at the C.W. Post campus of Long Island University.  This strophic song, as indicated by the title Homeward Bound, conveys the feelings of a man as he is going home to be with his loved ones. Sarah Williams �A in '­a That Good News, published in 1937, is an Afro­American spiritual arranged by  William  L.  Dawson. This version was  dedicated “To my friend Dr. Robert Russa  Moton, President  Emeritus, Tuskegee  Institute.”  A  second version  was published in 1 940 with added music, specifically in the middle section. This is a strophic piece with three versus. Irene Strong Plovi Barko is a Croatian fol k song from the Adriatic Coast.  Though the author of the text is unknown, Mary Cay Brass was the first to arrange the song for a cappela chorus.  The arrangement heard tonight is by its conductor, Talitha Phillips, which is based on the original Brass version. Talitha Phillips The Mass No.2, G major was composed in 1815 when F . Schubert taught in his father’s school. That year, Schubert composed more music than in any other year of his life. Among those works are two masses, two symphonies, a piano sonata, numerous dances for piano, a string quartet, much choral music and some 145 songs. The G major Mass is the shortest o f all Schubert’s masses. The fact that it took him six days to write is reflected in both brevity and its simplicity, but also in its scoring for an orchestra composed of only strings and organ. The Kyrie at once sets the tone with its easy flu ency, the almost Mozartian naturalness with which the phrases and cadences go past. It is in the spirited D major Gloria that one first becomes awar e that habits o f instrumental structure seem  to drive the i nvention, the text being fitted as best it can.  In the Credo, the  ‘Crucifixus’ is marked by long notes in unison as the orchestra stamps on, now in B minor. There is a turn to bright D major for an ‘Et resurrexit’ that adapts the opening theme. The Sanctus is imposing  but  brief,  ‘Osanna’  being  a  separate  section,  fugally  initiated,  that matches  the  ‘Sanctus’  itself  exactly  in  length.  For  the  Benedictus,  Schubert interestingly  revives  the  scheme  that  had  served  him  well  in  the  Mass  in  F. Conciseness and expressiveness are reconciled in another neat and compact plan for the Agnus Dei. Accordingly, he casts the movement in three segments, using the same music for each but in different  keys. By a series of carefully planned modulations within and  between segments, a close’is reached in G major, the frame key of the work. Schubert used some counterpoint in his Mass. Much of the writing  is  homophonic,  but  he  supplied  the  traditional  fugal  endings  where expected. In Schubert’s masses, the apparent omission of portions of the standard liturgical text are not an indication of his personal beliefs; undoubtedly, he set the text with which he was familiar. Vitaliy Maystruk �Student Conductors Johanna  Blackstone,  from  Binghamton,  is  a  junior,  double  majoring  in music/theatre with a  concentration in voice performance.  She participates in Harpur Chorale,  Tri­Cities Opera  Chorus, and  Repertory  Company.  She  is studying voice with Mary Burgess.  She co­wrote and performed the music for the main stage production of Hamlet, and co­organized Italian Night. Eva George is a senior graduating in May with a BA in music.  Her primary interests are conducting and vocal pedagogy.  She performs at the Ti­Ahwaga Performing Arts Center where she is  the Assistant Musical Director for Grease. Eva started and directs the children’s choir at St. Patrick’s Church in Owego, NY.  Her aspiration is to teach music in the near future and pursue her master’s degree. A1 Jacobsen, a resident of New City, NY, is a junior, where he is a double major seeking a BA in music and BS in business management.  He is a section French  horn  member  of  the  BU.  Orchestra  and  studies  horn  with  Brian Sternberg.  He is also the founder and  music director of the BU Sinfonia. Vitaliy Maystru k is a voice major studying with Eapen Leubner.  He was born in  Kiev, Ukraine and graduated  from the Ukrainian  Culture  College with a degree in choral conducting and management of leisure activities.  He came to the U.S. in 1997 as a student at the Bible College at Cincinnati, Ohio.  He is  a junior at BU and plans to pursue a master’s degree in conducting. Talitha Given Phillips is a sophomore BMus candidate from New York City. She  studies double  bass  under  the  direction  of Michael  Carbone and  Steve the of  treasurer  the  as  serves  She  Stalker.  Harpur  Jazz  Project,  plays  in  the  Harpur  Jazz  Ensemble,  and  often plays electric bass at Intervarsity Christian Fellowship. John Reeser is a junior and is originally from New Berlin, NY.  He is pursuing a  BA  in  music  with  a  concentration  in  conducting.  His  musical  activities include(d): Harpur Jazz Ensemble, University Chorus, Harpur Chorale, and is a charter member of the BU Sinfonia.  His career plans include composing music for the video game industry. Jody Schum is a junior and is pursuing a BMus in piano performance.  He studies with Michael Salmirs.  In May 2002, Schum was awarded the John M. and  Marcella  M.  Keeler  Scholarship  in  Music  in  recognition  of  his  work. Schum  also  studies/enjoys  vocal  accompanying,  chamber  music,  and  voice. Since October 2001, Schum has served as resident organist and pianist at the First United Methodist Church of Endicott, NY. ) ) �Q Q I rene Strong, from Owego, NY, is a junior and music major with a concentration in  voice  and conducting.  She is studying voice with  Hilerie Klein (Tri­Cities Opera Co.).  She has participated in University Chorus and Women’s Chorus, the Binghamton Madrigal Choir, and is a member of the BU Sinfonia.  She teaches beginning voice lessons and directs the youth choir at the Lounsberry Methodist Church. Sarah Williams is a senior and a native of Oxford, NY.  She is pursuing her BA in  music and minoring in History.  She sings in the Harpur Chorale and is the music director for the Harpur Harpeggios.  After graduating, she hopes to receive her Master’s in Music Education and a chorus teacher. Emily Yanisko, from Olney, MD, is a  fifth­year  music and  computer science double major with a minor in math.  She studies choral singing with Peter Browne. She has participated in University Chorus, Women’s Chorus, and Harpur Choral. Next year, she will enter a Master’s of Education/Teacher Certification program at the University of Maryland. Soloists Jennifer Lucia, soprano, is a junior at Binghamton University pursuing a BMus in voice.  She studies voice with Mary Burgess and has also studied with Judy Berry and Rachel von Hindman.  In February, she performed a trio recital with Johanna Blackston and Samantha LaDue and on May 1 1, will give her junior recital.  She is also a member of the Harpur Chorale. Dennis Leipold, tenor, is a graduate of SUNY Fredonia, and has done graduate work  at  Ithaca  College  and  the  Peabody  Conservatory.  A  member  of  the University Chorus for more than twenty years, he is active both as a vocalist and an  instrumentalist.  He  has  also  performed  as  a  recorder  soloist  with  the Binghamton Community Orchestra.  A former Lecturer in Music at the University, Leipold has for the past twenty­nine years been a member of the music faculty in the Union­Endicott Central School District. i Christopher N. Waterstraat, bass, is pursuing his MM degrees in both vocal performance and conducting at Binghamton University.  Waterstraat studies voice I { with  Professor  Mary Burgess and Judy Berry.  He obtained an undergraduate degree  in  Music  Education  from  Syracuse  University.  While  at  SU,  he  was involved in the opera workshop and in the chorus for Syracuse Opera.  Waterstraat is in the Resident Artist Training Program for Tri­Cities Opera in Binghamton, and has participated in the TCO chorus since Fall 2001. �Translations Plovi Barko, Croa tian Folk Song Sail, ship! The sea is deep In the ship is Anka Your eyes are as deep as the sea (refrain) Anka, dear Anka, My heart and soul! Mass No. 2 in G M ajor, Schubert KYRIE (sung in Greek) Lord have mercy. Christ have mercy. Lord have mercy. G L O R I A  (sung in Latin) Glory be to God on high, and on Earth peace to men of good will. We praise thee, we bless thee, we adore thee, we glorify thee, We give thee thanks for thy great glory, O Lord God, King of heaven, God the Father Almighty. O Lord, the only begotten Son, Jesus Christ. O Lord God, Lamb of God, Son of the Father. Thou who takest away the sins of the world, have mercy on us. Thou who takest away the sins of the world, receive our prayer. Thou who sittest at  the right hand of the Father, have mercy on us. For thou art holy, Thou only art Lord. Thou only art most high, O Jesus Christ, With the Holy Ghost, in the glory of God the Father. Amen. CREDO (sung in Latin) I believe in one God, Father Almighty, maker of heaven and earth and of all things visible and invisible. And in one Lord Jesus Christ, the only­begotten Son of God, born of the Father before all ages. God of God, light of light, true God of true God, being of one substance with the Father, by whom all things were made. Who for us men and for our salvation came down from heaven. And was made incarnate by the Holy Ghost of the Virgin Mary, and was made man. And was crucified for us under Pontius Pilate. He suffered and was buried. And the third day, He rose again according to the Scriptures. And ascended into heaven, and sitteth on the right hand o f the Father. And He shall come again with glory to judge the quick and the dead; of whose kingdom there shall be no end. And in the Holy Ghost, Lord and giver. of life, who proceedeth from the Father and the Son. Who, together with Father and the Son, is worshiped and glorified; who spoke through the prophets. I acknowledge on baptism for the remission of the sins of the dead, and the life of the world to come. Amen. v l . SANCTUS (sung in Latin) Holy, holy, holy, Lord God of Hosts. The heavens and earth are full of thy glory. Hosanna in the highest. BENEDICTUS (sung in Latin) Blessed is he who comes in the name of the Lord. Hosanna in the highest. AGNUS DEI (sung in Latin) Lamb of God, who takest away the sins of the world, have mercy on us. Lamb of God, who takest away the sins of the world, have mercy on us. Lamb of God, who takest away the sins of the world, give us peace l l l �Unive rsity Symphony O rchest ra Violin I Alicia F usani,  ‘ co­concert mistress Sarah Steiding, co­concert mistress Christine Wan Jean Gaffney Sheri Zola Rosemary Gaeta Jennifer Paull Gloria Chen Julia Kim Lauren Moscowitch Lucy Sun Julie Cserhalmi Violin II Morgan Kim Tamara Potapova Meghan O’Loughlin  ' Samara Cohen Claude Pal Heather Sheiman Shauna Buckman Miriam Reznik Sarah Park Viola Suzanna Chhim Brian Fang 1 . Kenneth Perschke Victoria Leung Melissa Mattern Leah Robinowitz Janet Ievins Alice Scimia Cello Alex W iesendanger Emily Creo Andrea Rico JeongSun Oh Alex Kim Angela Wynne John Yu Andrew Lavery Alexis Witek Tanya Brescia Katy Walker Matthew Woolever Bass Noah Lauzon Adam Schechter Flute a n d Piccolo Crystal Allard Kelsey Bauer Caitlynn McMullen Kira Slocum Oboe Anya Stockburger Danielle Furey Clarine t Jordan Pasternak Lauren Hughes Bass Cl arinet Michae l Cohn Bassoo n Kimberly Meeker Stephanie Eisenberg Horn Sarah Berloe Patrick Lokken Thomas Mellin Trump et Erinn Hibbard Michael McKeon Tromb one Sean Kassof Stephen Sorscher Bass Tu ba Brad Davis Timpa ni Matthew Chedister �i �University Chamb er Chorus Soprano Elizabeth Ellis Maybelle Golis Margaret Hays Barbara Heme Donna Lundy Susan MacLennan Paula Mitra Sue Petrow Kelly Pueschel Marilyn Ross Sue Sarzynski Jane Shear Faith Vis Alto Lois Bare Barbara Bamo Sarah Craig Jeanne Fenzel Janet Frederick Anna Nicholas Theresa Lee­ Whiting Nancy McGee Ethel Molessa Joyce Printz Colleen Reardon Shirley Zhou Tenor H.B. King Dennis Leipold Ed Schappert Matthew C. Varghese Floyd West Sherry Williamson Bass Frank Ammirata Ronald Beauchamp Bruce Borton Peter Browne Harry Frederick David Hanson J. Scott Husted David L. Schriber l k I �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 0:56:48 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253382&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253382&amp;change_lng=en&amp;select_viewer=metsViewer</a> PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Maestro May-hem!", May 8, 2003 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2003-5-8b Description An account of the resource Works of Prokofiev, Grieg, Saint-Saëns, Strommen, an Africo-American spiritual, a Croatian folk song, Schubert. Accompanying program includes translations of some works. Held at 8:00 p.m., May 8, 2003, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Blackstone, Johanna George, Eva Jacobsen, Alfred Maystruck, Vitaliy Philips, Talitha Schum, Jody Strong, Irene Williams, Sarah Yanisko, Emily Perry, Timothy Borton, Bruce Lucia, Jennifer Leipold, Dennis Waterstraat, Christopher Resser, John 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 5/8/2003 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/7c76c0e9bde2f6a913469f5b82a58886.pdf 41a84a5c8298c9e55770e8b23decfd19 PDF Text Text UNIV .- © Reeds E r ee + P L o BIN © J N - T : V E R S E L E Y State University of New York Depart ment of Music Sax Songs for Sunday Binghamton University Saxophone Quartet I Emily Alkiewicz, alto Michael Marchisoito, tenor Amy Natiella, soprano Sam Reed, baritone Sunday, May 8, 2005 3:00 p.m. Casadesus Recital Hall �Program Bransil Gentil....ccccoovcuveveeeeenn... .......Michael Praetorius (1571-1621) Pavane for the Earl of Salsbury ..William Byrd (1543-1623) Courante and Spring Dance Premier Quatour (1857) I. Andante and Allegro IV. Allegretto Michael Praetorius (1571-1621) .. .. .. .....Jean Baptiste Singelee (1812-1875) Menuet............. Luigi Boccherini (1743-180 5) arr. Lucien Cailliett Quatour Ouverture Doloreoso Spirituoso Andante, Presto Pierre Max Dubois (b. 1930) --Intermission-- Declamation and Dance (1963) Histoire du Tango Bordell 1900 <eeeeeee.. Bverette Gates vereeeeeeennns Astor Piazzolla (1921-1992) �; A Nightingale Sang in Berkeley Square Tiger Rag Manning Sherwin Arr. Puerling ceeeneeeee. ArT. Bill Holcomb Cascades Scott Joplin (1868-1917) Arr. Arthur Frackenpohl Brazil..... Ary Barosso When You Wish Upon a Star Cantina Band Lee Harlin John Williams (b. 1932) The George M. Cohan Medley ............................. George M. Cohan (1878-1942) Arr. Paul Nagle i t * * * * * * * * * * * * * * * * * * * * * * * * * About the Performers Emily Alkiewicz is a math major but is hoping to move towards a concentration in economics. She is a sophomore at BU and is a member of the University Wind Ensemble, The Bearcats Pep Band and the University Saxophone Quartet. In addition to her musical hobbies, Emily studies hard and enjoys being with friends and family. �Michael Marchisotto is from South Setauket, Long Island, where he graduated from Ward Melville High School in 2003. He is a sophomore at Binghamton University and is pursuing a Bachelor of Arts Degree with a major in music. Mike is a member of the University Jazz Ensemble and studies saxophone with April Lucas. Amy Natialla is a sophomore Sociology major at Binghamton University. She grew up in Buffalo, NY starting piano at age 5 and saxophone at age 9. A member of the Wind Ensemble while at Binghamton University, she also played in the pit orchestra for the musical “Cabaret” last fall. Amy studies saxophone with April Lucas at Binghamton Uiversity and with Dave Schiavone in the Buffalo area. Sam Reed is a 2003 graduate of Seton Catholic Central High School in Binghamton, New York and a major at Broome Community College where he studies saxophone with April Lucas and is a member of the BCC Jazz Band. Sam has been playing piano and saxophone for nearly 13 years and is planning to attend a four year college next fall with a major in audio production. He has been a member of the Binghamton University Saxophone Quartet for the past two semesters. April Lucas earned both a Bachelor of Arts and Master of Music at Binghamton University and is currently on the faculties of Ziaghamion University and Broome Community Coliege as saxophone instructor. She has also served on the faculty of Hartwick College. Ms. Lucas is a founding member of the Empire Saxophone Quartet and has recorded with the Hudson Valley Saxophone Quartet, the Saxophone Sinfonia, the New Sousa Band and the Empire Saxophone Quartet. A former regional director of the North American Saxophone Alliance, Ms. Lucas has served as a clinician and guest conductor throughout New York State. She is a full time elementary and middle school band director for the Susquehanna Valley School District and maintains a private studio in Endwell, New York. Ms. Lucas is a member of the Binghamton Philharmonic Orchestra, the Tri-Cities Opera Orchestra, the Southern Tier Concert Band and has been a member of the New Sousa Band since 1989. April Lucas has been soloist with the Binghamton Community Orchestra and the New Sousa Band. The New Sousa Band tours extensively throughout the United States and Japan. Students in the Binghamton University Saxophone Quartet are from the studio of April Lucas 1 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 0:59:32 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE250688&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE250688&amp;change_lng=en&amp;select_viewer=metsViewer</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 Sax songs for Sunday, May 8, 2005 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2005-5-8 Description An account of the resource Works of Praetorius, Byrd, Singelee, Boccherini, Dubois, Gates, Piazzolla, Sherwin, Holcomb, Joplin, Barosso, Harlin, Williams, Cohan. Held at 3:00 p.m., May 8, 2004, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Alkiewicz, Emily Marchisotto, Michael Natiella, Amy Reed, Sam 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 5/8/2005 Rights Information about rights held in and over the resource In copyright Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 35 minutes :11 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142240">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142240</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 Student conductors' concert, May 9, 2012 Description An account of the resource Works by Kowalaski, Bartok, Copland, Nelson, Massenet, Grieg, Purcell, Siennicki, Brahms Held at 7:30 p.m., May 9, 2012, Chamber Hall. Creator An entity primarily responsible for making the resource Rozner, Raquel Sockell, Alex Lau, Pak Lok Pio Aquino, Denise Micceri, Jennifer Martin, Christian Scalzetti, Felicia Westcott, Phillip Marsiglia, William Pochily, Benjamin Rossnagel, Mark Georges, Kenrick 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 5/9/12 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/715be7be4d64190a554d5be9780be165.pdf 808e33a82c7b32d905e56d65f0b02257 PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E   U N I V E R S I T Y  O F  N E W   Y O R K d e 4 e D E P A R T M E N T BRASS STUDIO RECITAL Don Robertson, Director Ben Aldridge, Director Brian Sternberg , Director Margaret Reitz, piano Friday, May9, 2014 5:00 PM Casadesus Recital  H all �ne­  PROGRAM  «6 .Eugene Bozza Rustiques (1905­1991) Anne Taylor, trumpet . Vincent Pesichetti The Hollow Men..  (1915­1987) Brandon Young, trumpet Concerto for Trumpet .  Movement 2 ­ Andante  Bai Xue, trumpet . Franz Josef Haydn (1732­1809) ..Sammy Nestico Portrait of a Trumpet.  (b. 1924) Thomas Parker, trumpet Sonata No. 3..  Largo  Daniel Remberger, trombone CINQ lmpromptus, Op. 55 ..  2.  Allegro Molto  .. Jan Koetsier (1911­2006) When the Saints Go Marching In...  ..Traditional arr. Jack Gale Trombones Christopher Beard, Alejandro Espinosa, Daniel Romberger, Jacob Strohm Bass Trombones Patrick Jones .. Antonio Vivaldi (1678­1741) Euphonium Michael Sugarman (1702­1775) Christopher Beard, trombone ...Allesandro Besozzi Sonate B Dur..  Allegretto  .. Anton Bruckner arr. David Sabourin Locus lste.  ...Allesandro Besozzi Sonate B Dur.  Andante  The Binghamton University Low Brass Ensemble Alejandro Espinosa, trombone (1702­1775) Philip Sparke Song for Ina  Michael Sugarman, euphonium Concert for Trombone and Piano...  II.  Quasi una Leggenda  Jacob Strohm, trombone (B. 1951) Launy Grondahl (1886­1960) The Binghamton University Horn Ensemble Selected Horn Tries (to be announced) David Luther, Abbey McMahon, Daniel Muller Selected Quarters (to be announced) Zach Bimbaum, David Luther, Matt McAuliffe, Kathryn Saturnino Festival Fanfare The Ensemble �Bingham ton University  Department of Music Coming Events Sunday, May 11  ­  Grammy Award Winning vocal guest artis t jacqueline H o mer ­ K ma te k  – 3 :00 p.m. – Casadesus  Recital  Hall ­ $5 general  public;  free for students Wednesda y, Ma y 14 ­­  Germa n Dict ion Class Reci tal – 8:00 p.m. – Casadesus Recital Hall ­ free o w es ­ a w w b ­ a M M o ­ a w w a ­ é b —  E  [ = ] E   n  — E For tickets or to be added to our email list, visit andersortbinghamtonedu or call  (607 )  7 7 7­A R TS.  For a complete  list  of  our concerts call (60 7) 7 7 7­2592, visit musicbinghamtonedu or become a fan on Faceboolc If  you  were  inspired  by  this  performance,  consider  supporting  the Department of Music with a financial gift. Your su pport 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, N Y 1   3902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / 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.) 109:55:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74940">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74940</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 Brass Studio recital, May 9, 2014 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Bozza, Pesichetti, Haydn, Nestico, Vivaldi, Besozzi, Grondahl, Bruckner, Koetsier. Held at 5:00 p.m., May 9, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Binghamton University Horn Ensemble Binghamton University Low Brass Ensemble Robertson, Don Aldridge, Ben Sternberg, Brian Reitz, Margaret Taylor, Anne Young, Brandon Xue, Bai Parker, Thomas Romberger, Daniel Beard, Christopher Espinosa, Alejandro Sugarman, Michael Strohm, Jacob Jones, Patrick  Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Bozza, Eugene Pesichetti, Vincent Haydn, Joseph, 1732-1809 Nestico, Sammy Vivaldi, Antonio, 1678-1741 Besozzi, Allesandro Grondahl, Launy Bruckner, Anton Koetsier, Jan Date A point or period of time associated with an event in the lifecycle of the resource 5/9/14 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/a5f03f7a68e6600cbde1087cf5e88f38.pdf 279bd71721f5fbbf42e9f3e5b84eb381 PDF Text Text BINGHA MTON U N I V E R S I T Y S T A T E   LVN  1 5 ; 5   T ! ’   O F   N 5 ? !   Y O R K SIRE  D E P A ( ) e t d e c R T M E N T ? fi '  555 CAITLING  ,  S O P R A N O SENO I R HONORS RECITAL JOHN  SIENBERG, PAINO ULEE, PA I NO  AND  CELLO SATURDAY,  MAY  93,2015, 7:30PM CASADESUS RECT I AL HALL �®  PROGRAM ( I L Laudamus Te .  from the Mass in C minor, K. 247  W. A. Mozart (1756­1791) IL Fnihlingsglaube.  Nacht und Traume  Liebe schwarmt auf allen Wegen ...arietta fro m Claudine von villa bella . Franz Schubert (1797­1828) III. Fra ncesco Paolo Tosti Aprile.  (1846­1916) ldeale  Preghiera IV. Il est dowc, il  est bon.  ...Salome’s a ria from Hérodiade  J ules Massenet (1842­191 2) ~Intermission­ V. Hermit Songs. Op. 29.  At Saint Patrick’s Purgatory  Church Bell at Night St. Ita’s Vision Samuel Barber (1910­1981) The Heavenly Banquet The Crucifix ion Sea Snatch Promiscuity The Monk and his Cat The Praises of God The Desire for Hermitage Dream with Me.  ...from Peter Pan  Leonard Bernstein (1918­1990) This program u offered in part ial fulfillment of the requirements for the degree of Bachelora DIM­arc in  Vocal Performance  She is a student of Professor Thomas Goodheart. �®  Rejoice!  ( U I. Th e details surrounding  the  unfinished  Mass  in  C  minor  are  unclear  and widely debated amongst music historians. The  mass was written as a present for his wife, Constanze; in  one of her letters she mentions that Mozart promised to write a mass  as a celebration of her recovery  from childbirth of their first son, Raimund Leopold. Yet there is dispute as to whether this was the sole purpose of the  work.  i t  may  have  also  served  as  a  peace  offering  to  his  father,  who disapproved of his marriage  to Constanze. Others say the  Mass  was  merely an experiment in the writing styles of Bach and Handel. For ins tance, one can hear the famous Alcina aria “Tomnami a vagheggiar” quoted in the “E t incamatus est.”  In addition, the reason Mozart n ever completed  the piece  is  also unclear. Perha ps the association between the mass and his son deterred Mozart from finishing the work after Raimund’s infant death. Others speculate that Mozart felt  ltrle need to complete  the  mass  after  his  father rejected his  peace  offering,  apparently  not impressed with Constanze’s performance. i t is also possible that he lost interest in emulating  Handel  and  Bach.  The  prem iere, which  took  place on October  26, 1 793 at the Salzburg Cathedral featured Constanze as a soloist. It  is uncertain whether the work was perform ed unfinished, or if other music was substituted, or even if some of the  texts were recited.  Though  the accepted style of liturgical settings at the time was characterized by simplicity and brevity, the “Laudamus be” setting heard this evening shows why the piece is referred to as the “Great Mass in C Minor.” There is nothing reserved about it; it is florid, exuberant and  full of vocal acrobatics, which exude joy. ll. Austrian composer Franz Schu bert (1797­1828) is most noted for his large output  of  Lieder,  which  range  from  simple  srrophic  melodies  to  dramatic storytellings. Frithlingsglaube, firs t published in  1820, is one his most beloved lieder. It  is a deceivingly simple melodyl  like so many of Schubert’s songs. Yet, it is full of compositional and emotional complexity. The  poetry, the only poem by Ludwig Uhland ( 1 787­1 862) set by Schubert, describes the beauty of spring’s arrival and the  excitement  of  the  change  which spring brings.  i t also, however, expresses nervousness and past agony. Schubert juxtaposes dotted, spring­like rhythms with harmonies such as the diminished seventh to express this mixture of emotions, as well as  the hope  inherent  in the poetry. Just as  hope  for  spring  is  central to Frithlingsglaube, hope for the night’s peace and the loveliness of dreams is central to  Nacht und Twiume.  The poetry is an edited version of Matthaus von Collin’s (1779­1824) poem  “Nacht/eyer” (“Night Celebratio n.”) Published  in  1825, a year after the poet’s death, it is poss ible that this song is a tribute to Collin. who was a good friend to Schubert. Schubert’s setting combines a gentle rocking figure in the piano, a single dynamic ma rking of pp, and a sehr langsam tempo to create an ethereal and som ber atmosphere. There is a mod ulation from B major to G major towards  the  end of the piece as  if to signify  the  transition  from night  to  day. Though  famous  for his songs, Schubert  also wrote  symphonies, sacred music, cham ber and piano music, and operas. Liebe schwdrmt auf allen Wegen  is from one of Schubert’s experiments in opera, Claudine von Villa Bella, In  1815, Schubert set the libretto written by Johann  Wolfgang von Goethe (1749­1832). It was around this time  that Schubert wrote several songs using Goethe’s texrs, including his famous Gretchen am Spinnrade and Erlkinig.  The opera never received a public performance during Schubert’s lifetime, and today only the first act remains in existence; the second and third acts were lost to a fire. 111. Paolo Tosti (1846­1916) was born in Na ples, but established himself as a musician in Rome, where he became singing teacher to the Queen of Italy. After settling in London in  1 880, Tosti became singing teacher to the royal family, and in  1894, he became a voice professor at the Royal Academy of Music. By 1908, Tosti was knighted and his salon ballads had gained popularity  in  England. Because of Tosti’s vocal background, his compositions are beloved by singers. This evening’s selections include two of Tosti ’s most famous songs, Aprile and Ideale, and one of his  lesser known  pieces  Preghiera.  These  three  pieces  each exemplify  different aspects of the word “rejoice”: Aprile exalts spring as a season o f love, Ideale revels in distant  adoration, and  Preghiera  expresses  the hope  that  God may  ease  all suffering.  All  three  are  set  strophically,  and  feature  beautiful  legato  vocal melodies, making it clear that Tosti himself was a singer. I V. The story of Salome has  long been the  source  of inspiration  for  artists, writers, and composers.  19th century France, in particular, was fascinated by this story. Published in 187 7. G ustave Flaubert ’s (182 1­1880) Three Tales included the story “Herodias.” This is the version that French composer Jules Massenet (1842­ 191 2) used for his 1881 opera, Hérodiade. in the opera, Salome was abandoned as a child. In  her quest to find her mother, she has met John the Baptis t and has fallen madly in love with him. Th e selection heard this evening, “Il err dows, il est ban,” is her passionate description of the prophet and his gentle, quiet nature. She admits her love to Joh n, but he urges her to find a m ore chaste and spiritual love. When John continually condemns the marriage of Herod Antipas and Herodias, Herodias wants him executed. Herod, who is already an unpopular ruler, cannot have him execured for fear of losing public favor. The Romans invade and capture john. Herod is on his way to save him when Salome. desperately trying to save John, admits that she loves hi m. Herod who has had lustful feelings for Salome, becomes  enraged.  Urged by  Herodias,  he  leaves  John  to  be executed  by  the Romans, and has Salome condemned as well. Salome continues to beg for mercy for  john. Feeling pity  for her daughter, Herodias  is about to give in when the executioner enters with the axe covered in  John’s blood. Salome, knowing that Herodias is the reason behind  his murder, draws a knife on her. Herodias pleads for her life, announcing that Salome is in  fact her own daughter. Salome, having lost all faith, decides that if this is true, she has no more reason to live and stabs herself. �®  Translations  3 V. 1. Th e Hermit Songs, written by Samuel Barber (1910­1981) from  1952­1953, are  settings  of  texts  written  by  Irish  monks  and  scholars  from  the  8th­13th centuries. The song cycle received its premiere at the Library of Congress in  1953 Laudamus Te, Mass in C Minor, K. 247 featuring Leontyne Price as the soprano and the composer himself at the piano. The songs in this thematic, (rather than narrative.) cycle range from charming to pious to profound. They are all vocally gratifying: lyrical, and  full of character. Barber places great importance on the text; in his preface to the cycle he wrote: “They are small poems, thoughts or observations. some very short, and speak in straightforward, wit ty, and often surprisingly modern terms of the simple life they led – close to nature, their animals and to God. Some are literal translations and others, were translated (where existing translations seemed inadequate)" In  order to set the speech patterns, he has omitted time signatures and has used mixed­meter throughout. He also has employed compositional techniques, which refer  to  the  medieval  time  period.  Th e  combination  of  quanal  and  quintal harmony with chantlike vocal lines a nd modal melodies recalls Gregorian chant. Harmonically, the songs contain a wide variety o f sonorities, but are primarily tonal. Barber uses different modes and modal centers purposefully to reflect the text. “The  Heavenly  Banquet,” one of the most light­hearted  texts of the 10 songs uses [onian and Lydian modes, which are referred to as the “lightest” modes. “The Desire for Hermitage,” on the other hand, is the most reverent and somber, and Barber  primarily  uses  Phrygian,  one  of  the  darkest  modes.  The  texts  which approach a variety of topics, continually juxtapose companionship with solitude, promiscuity with piety, and joy with reverence. VI. Leonard Bernstein’s  career  was  launched  when he  became  Assistant Conductor at the New York Philharmonic in  1943. Following his debut with the NYPO, he worked as a successful conductor in the United States and across the globe.  The connections he made along  the way  introduced him  to influential musicians in ballet, opera, and musical theatre. Best remembered for his theatrical successes, Bernstein is known for seamlessly incorporating many different genres and styles o f music into his works. Always striving to communicate, he is known for incredibly passionate conducting, and relatable and beautiful compositions, such as West Side Story and Candide. The final song of this evening’s performance is from  Peter  Pan, which opened on  Broadway in  1950. Th e original production did not include Dream with Me; in fact it only included five truncated versions of Bernstein’s songs. Conductor Alexander Frey (b. 1972) restored the original score. recording it in  its entirety in  200 1. This recording led to several productions and concert versions o f Peter Pan in  the U.S. and Europe. Laudamus Te, Benedicimus Te. Adoramus Te, Glorificamus Te We praise you, We bless you, We adore you, We glorify you 1L 4 Fn’ihlmgsglaube, text by: Johann Ludwig Uhland (1787 ­ 1862) Die linden Lufre sind erwache, sie sauseln und weben Tag und Nacht. sie schaffen an allen Enden. O frischer Duft, o neuer Klang! Nun, armes Herze, sei nicht bang! Nun mu f sich alles, alles wenden. The gentle breezes are awakened, they rustle and blow day and night, they work in all directions. Oh fresh scent. oh new sound! Now poor heart, be not afraid! Now must everything change. Die Welt wird schoner mit jedem Tag, man weiG nicht, was noch werden mag, das Bluhen will nicht endcn; es bluht das fernste. tiefste Tal: Nun, armes Hen, vergif§ der Qual! Nun mu f sich alles, alles wenden. The world grows more beautiful each day one knows not, what still may happen, the flowering will not end; the most distant, deepest valley blooms: Now, poor heart, forget the agony! Now much everything change Nacht und Traume, text by  Matthaus Kasimir von Collin (1779 ­ 1824) Heil’ge Nacht, du sinkest nieder; nieder wallen auch die Traume, wie dein Mundlicht durch die Raume. durch der Menschen stille Brust. Die belauschen sie mit Lus rufen. wenn der Tag erwach Kehre wieder, heil’ge Nachtl Holde Triume. kehret wieder! Holy night, you sink down; low, too, float dreams like your moonlight through space, through the quiet hearts of men. They listen with delight; calling out when day awakens: Return, holy night! Fair dreams, return! Liebe schwarmt auf allen Wegen, Claudine ‘s arietta from “Claudine of  Bella Villa” by Goethe Liebe schwarmt auf allen Wegen, Treue wohnt fifr sich allein ; Liebe kommt euch rasch entgegen, aufgesuchr w ill  Treue sein. Love swarms on all paths, Faith lives for itself alone; love approaches us so quickly, faith needs to be truly sought. �III. Aprile, text by:  Rocco E manuele Pagliara (1856 ­ 1914) Non senti tu ne l’aria 7 il profumo che spande Primavera?  Non senti tu ne l’anima i l  suon de nova voce lusinghiera? E l’April! E la  s tagion d’amore! Deh! vieni, o mia gentil su’ prati’n fiore! Do you not smell on the air 7 the perfume of Spring?  Do you not hear in your soul 11 pie tratrai fra mammole, avrai su’l petto rose e cilestrine, e le farfalle candide t’aleggeranno intorno al nero crine. E l’April! E la stagion d’amore! Deh! vieni, o mia gentil su’ prati’n fiore! Your foot w ill  tread along violets, you will dress with roses and bluehells. and pure white butterflies will flutter around your black hair. It is April! It’s the season of love! Come! o my love, into the blooming fields’ the tu n es of  a new, en ticing voice? It is April! It is the season of love: Come! Come, my love, into the blooming fields... ldeale, text by: Carmelo E rrico (1848 ­ 1892) lo ti seguii come iride di pace lungo le vie del cielo: Io ti seguii come un’amica face de la notte nel velo. E ti sentii ne la luce, ne l’aria, nel profumo dei fiori; e fu piena la  s tanza solitaria di te, dei tuoi splendori. 1 followed you like a rainbow of peace along the paths of heaven; 1 followed you like a friendly torch in the veil of darkness. A nd I sensed you in the light, in the air, in the perfume of flowers. and the solitary room was full of you and of your radiance. In te rapito, al suon de la tu a voce. lungamente sognai; e de la  terra ogni affanno, ogni croce, in quel sogno scordai. Torna, caro ideal, torna un isrante a sorriderm i a ncora,   e risplendera, nel tuo sembiante, eam una novella aurora. Absorbed by you, I dreamed of the sound of your voice for a long time and earth’s every anxiety, every torment, I forgot in that d ream. Return, dear ideal, for an instant to smile at me again, and in your face will shine for me a new dawn Preghiera, text by: G iuseppe Giusti (1809 ­ 1850) My confused mind of doubt and pain: help it, oh my Lord, with thy light of faith. A lla  mente confusa di dubbio e di dolore: soccorri, 0 mio Signore. col raggio della fé. che la  declina al fango: A te sospiro e piango, mi raccomando a te. Sollevala dal peso Lift from it the weight that makes it sink into the mud: I send my sighs and tears to Thee, I entreat Thee. Sai che la vita mia si struggle appoco appoco, come la cera al  foco, come la neve al sol. You know that my life is melting little by little, like the wax by the flame, like the snow by the sunshine. All’anima che anela di  ricovrarti in braccio Rompi, Signore, il laccio che le impedisce il vol. Signor, pieta! T o  my soul, which yearns to take refuge in Thy arms, Break, Lord, the lace that prevents it from flying to Thee. Lord, have mercy! IV. I l  est dolor, il est bon Salome ’s aria from Hérodmde Celui dont la parole efface toutes peines, Le  Prophéte est ici! c’est vers lui que je vais! 11 est doux. il est bon, sa parole est sereine:   arle  tout se tait Ilp Plus léger sur la plaine L’air attentif passe sans bruit I l  parle Ah! quand reviendra­t­il? 7 Quand pourraije l’entendre?  Je souffrais... j'étais seulc et mon coeur s’est calmé. En écoutant sa voix mélodieuse et tendre, Mon coeur s’est calme! Prophete bien aimé, puis~je vivre sans toi! C’est la! dans ce desert ou la foule étonnée Avair suivi ses pas. Qu’il m ’accueillit u n jour, enfant abandon née! Et qu’il m’ouvrit ses bras! The one whose word wipes out all pains The Prophet is here! It is to him that I go! He is gentle, he is good, his word is serene: He speaks...all are silent... Lightly over the plain the air passes without sound He speaks... 7 Ah! When w ill  he return?  When will I be able to hear him? I suffered... 1 was alone and my heart was calmed. On hearing his tender. melodious voice my heart was calmed. Beloved prophert, can I live without you! It  is there! In  this desert where the astonished crowd followed his steps. Le t  h im meet me one day, an abandoned child! And let him open his arms! �V. A t  Saint Patrick ’s Pu rga tory Pity me on my pilgrimage to Loch Derg! O, King of the churches and the bells bewailing your sores and your wounds, but not a tear can I squeeze from my eyes! Not moisten an eye after so much sin! Pity me, O King! What shall I do with a heart that seeks only its own ease? O, only begotten Son by whom all men were made, who shunned not the death by three wounds, pity me on my pilgrimage to Loch Derg and I with a heart not softer than a stone! Church Bell at Night Sweet little bell, struck on a windy n ight, I would liefer keep tryst with thee than be with a light and foolish wom an. St .  I ta’s V ision, attributed to St. Ira. 8* cen tu ry “I  w ill  take nothing from my Lord,’ said she, “unless He gives me His Son from Heaven in the form of  a Baby that I may nurse Him". So that Christ came down to her in  the form o fa  Baby and then she said: “Infant Jesus, at my breast, Nothing in this world is true save, 0  tiny nursling, You. InfanrJesus at my breast, by my heart every night, You I nurse are not a churl, but were begot on Mary the Jewess by Heaven’s light. Infant Jesus at my breast, What King is there but You who could give everlasting good? Wherefore I give my food. Sing to Him, maidens, sing your best! There is none that has such right to your song as Heaven’s King who every night is Infant Jesus at my breast". Th e  H eave n ly Ba n q u et, attributed to St. Brigid, 10” century I would like to have the men of  Heaven in my own house; with vars of good cheer laid out for them. I would like to have the three Mary’s, their fame is so great. I would like people from every corner of Heaven. I would like them to be cheerful in t heir drinking. I would like to have Jesus sitting here among them. I would like a great lake of beer for t he King of Kings. I would like to be watching Heaven’s family drinking it through all eternity. The Crucifixion At the cry of the first bird They began to crucify Thee, O Swan! Never shall lament cease because of that. It was like the parting of day from night. Ah, sore was the suffering borne by the body of Mary’s Son, bur sorer still to Him was the grief which for His sake came upon H is Mother. Seasnatch I t  has broken us, it has crushed us, it has drowned us, O King of the starbright Kingdom of Heaven! The wind has consumed us, swallowed us, as timber is devoured by crimson fire from Heaven. It  has broken us, it has crushed us, it has drowned us, O King of the starbright Kingdom of Heaven! Promiscuity I do nor know with whom Edan will sleep, but I do know that fair Edan will no t sleep alone. Th e Monk and his Cat Pangur, white Pangur, how ha ppy we are alone together, scholar and cat. Each has his own work to do daily ; for you it is hunting, for me study. Your shining eye watches the wall ; my feeble eye is fixed on a book. You rejoice when your claws entrap a mouse; I rejoice when my mind fathoms a problem. Pleased with his own art, neither hinders the other; thus we live ever without tedium and envy. Pangur, white Pangur, how happy w e are alone together, Scholar and cat. �8")  ABOUT T H E  P ERFORMERS 03 The Praises of God How foolish the man who does not raise his voice and praise with joyful words, as he alone can, Heaven’s High King. To whom the light birds with no soul but air, all  day, everywhere laudations sing. The  D esire for Hermitage Ah! To be all alone in a little cell with nobody near me; beloved that pilgrimage before the last pilgrimage to death. Singing the passing hours to cloudy Heaven; feeding upon d ry bread and water from the cold spring. That will be an end to evil when 1 am alone in a lovely little corner among tombs far from the houses of the great. Ah! To be all alone in a little cell, to be alone, all  alone: Alone 1 came into the world alone I shall go from it. VI. Dream with Me, text by Leonard Bernstein (1918­1990) Dream with me tonight. Tonight and ev’ry night, wherever you may chance to be, we’re together, if we dream the same sweet dream. And though we may be far a part, keep me in your heart and dream with me. The  kiss we never dared we’ll dare in dreaming. The  love we never shared can still have meaning. if you only dream a magic dream with me tonight. Tonight and ev’ry night, wherever you may chance to be. close your lovely eyes and dream with me. The kiss we never dared we’ll dare in dreaming. Th e love we never shared can still have meaning, if you only dream a magic dream with me tonight. Tonight and ev’ry night, wherever you may chance to be, close your lovely eyes and dream with me. Caitlin  Gotimer,  soprano,  is  from  Malverne,  New  York.  She  is currently pursuing a Bachelors of Music in  V ocal Performance at Binghamton University, where she is in her final year of study. She is a student of Professor Thomas Goodheart. Caitlin has performed roles with TriCities O pera and at Binghamton University. She has been the featured soprano soloist in  Mozart’s Requiem in  D Minor at the Songe d'été Music Festival in  Quebec, and in the Bach Missa Brevis in F at Binghamton University. She was recently  named the winner  of  the  NYS  Biennial  Student/Collegiate  Competition  run  by  the National  Federation  of  Music  Clubs.  Subsequently,  Caitlin’s  entry  was subm itted  to the  national  round , in which she placed first nation­wide. She has won first place in  her division o f the N A TS  Regional Conference for two consecutive  years  (2013.  2014.)  and  was  the  winner  of  Binghamton University’s Concerto Competition in  the 20 1 3­20 1 4 academic year. I n  the summer o f 20 1 4, Caitlin was selected to be  a University Summer Scholar and Artist,  which  allowed  her  to  com plete  a n  a pprenticeship  with  Professor Thomas Good heart  in  preparation for a summer  at  the  highly competitive Chautauqua  Institute.  At  Chautauqua, Caitlin  performed  on  masterclasses with musicians and directors from the Metropolitan Opera, Engli sh National Opera, and the Juilliard School. Caitlin was one of eight vocalists selected to sing on a concert produced by Mikael Eliasen, head of the department at the Curtis institute. That summer, she was the recipient of the Eleanor Pascoe Award in Voice.  At  Binghamton University, she has been the recipient of many  prestigious  honors  such  as  the  Provost  Award  for  Excellence  in Undergraduate Research, awarded to two seniors in the graduating class, the Stevenson Barrett Memorial Award  for  excellence  in undergraduate  Vocal Performance. and has received the John and Marcella M. Green Scholarship for the past three years. She recently was the National Anthem Soloist at a speech held by President Obama. Outside of singing, Caitlin is a Resident Assistant.  Through  this  position,  she  has  coordinated  several  initiatives towards social justice and selfacceptance. Her most recent  event has been nom inated for a SUNY­wide award. Next fall, Caitlin will begin her graduate studies at the University of Cincinnati College­Conservatory of Music, where she was selected as a finalist in the annual Opera Scholarship Competition. �John Isenberg, a native of Endicott, NY. holds Bachelor of Arts degrees in Music and Italian. as  well as a Master’s Degree in Italian  Literature  from Binghamton University.  He performs many different musical genres ranging from Opera and Musical Theater to traditional Scottish and various sty les of sacred  music.  From  2001­2012,  John  worked  for  the  Tri­Cities  Opera  in Binghamton,  NY,  first  as  Accompanist,  then  additionally  as  Education Outreach  Coordinator  and  Chorus  Master.  During  that  time.  he accompanied  over  500 outreach performances  in  schools  throughout N ew York State and northern Pennsylvania. H e  has performed for WSKG public radio broadcasts of opera preview performances including Puccini’s Madama Butterfly, Verdi’s L a  traviata and Mozart’s The Magic Flute. An  active church musician since childhood, John is currently the Organist/Pianist and Choir Director at Sarah Jane Johnson Me thodist Church in  Johnson C ity. H e  has served as Pianist/Choir Director for the high holy days of Rosh Hashanah at Temple Concord in  Binghamton.  For the past two summers, John has also participated in  the Songe d’été Music Festival in  Quebec (Canada). An  extraordinary singer, pianist, conductor, and cellist, Ms. U  Le e  has performed around the globe. Contributing her  talents to over  thirty opera productions, three hundred recitals, concerts, and other performances, Ms. Le e  has worked with Dolora Zajick, Margo Garrett, Thomas Muraco. Marilyn Horne, Guido Lebron, Ron Raines , Catherine Malfitano, Victor  DeRenzi, Andras Ligeti, and more. The organizations Ms.  Lee has collaborated with include  TriCities  Opera,  Sarasota  Opera,  Yard  Dance  CompanylMartha’s Vineyard),  C T   Grand  Opera,  Pocket  Opera  o f  N ew  York,  Mercury Opera(Edmonton, Canada), Taipei Symphony Orchestra, National Theatre of Taiwan,  La  Gitanita(a  Flamenco  Group  in  Taiwan),  Institute  for  Young Dramatic  Voices,  Opera  Siena,  Classical  Revolution(Richmond,  Virginia), Binghamton  University,  Manhattan  School  o f  Music,  etc.  Other  than Classical  genre  and  traditional  presentation,  Ms.  Lee  is  also  an  active composer and a creative  producer  for charity  and  fundraising  events. For more information, please visit yu m use.com � 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.) 40m 44s OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74815 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74815">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74815</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 Rejoice by Caitlin Gotimer, senior honors recital Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Mozart, Schubert, Tosti, Massenet, Barber, Bernstein. Held at 7:30 p.m., May 9, 2015, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Gotimer, Caitlin Isenberg, John Lee, Ü 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 Schubert, Franz, 1797-1828 Tosti, F. Paolo (Francesco Paolo), 1846-1916 Massenet, Jules, 1842-1912 Barber, Samuel, 1910-1981 Bernstein, Leonard, 1918-1990 Date A point or period of time associated with an event in the lifecycle of the resource 5/9/15 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audiotape reel Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:26:26 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243681">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243681</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 Concert, Charles Munch, June 11, 1973 Recital Tape 1973-6-11 Creator An entity primarily responsible for making the resource Munch, Charles 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 6/11/73 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audiotape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 46:43 39:42 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243652">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243652</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 Recital Recital Lenox String Quartet,June 16, 1973 Recital Tape 1973-6-16 Description An account of the resource Works of Dvorak, Schumann, Verdi. Held at 8:30 pm, June 16, 1973, Social Room, University Union. Creator An entity primarily responsible for making the resource Lenox String Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 6/16/73 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audiotape reel Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:37:14 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243684">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243684</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 Concert, Paul Robeson, June 19, 1973 Recital Tape 1973-6-19 Creator An entity primarily responsible for making the resource Robeson, Paul Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 6/19/73 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 3 audiotape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 22:42 32:06 39:06 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243642">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243642</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 Lenox String Quartet, recital, June 2, 1973 Recital Tape 1973-6-2 Description An account of the resource Held on June 2, 1973. Creator An entity primarily responsible for making the resource Lenox String Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 6/2/73 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound