158 10 1775 https://omeka.binghamton.edu/omeka/files/original/6743b798e0ccc7e920f55c45c58faf01.pdf 0b5df37f7414fa726048320390be0ea6 PDF Text Text SPECIAL LECTURE "THE THEORETICAL BACKGROUND FOR MOZART'S TEMPOS" by Neal Zaslaw of Cornell University THURSDAY, APRIL 29, 1971 1:00 PM RECITAL HALL Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 3 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 23:10 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63432 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63432">Theoretical Background for Mozart's Tempos by Neal Zaslaw of Cornell University</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 Theoretical Background for Mozart's Tempos by Neal Zaslaw of Cornell University Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Presented at 1:00 pm, April 29, 1971, Recital Hall. Creator An entity primarily responsible for making the resource Zaslaw, Neal, 1939-  Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1971-4-29 Rights Information about rights held in and over the resource This digital recording may only be used for educational purposes. Please cite as: Binghamton University Music Department tape recordings, Special Collections, Binghamton University Libraries, Binghamton Contributor An entity responsible for making contributions to the resource Mozart, Wolfgang Amadeus, $d1756-1791 Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020069807 https://omeka.binghamton.edu/omeka/files/original/6c00f3e7454e396553a260859d77f5ed.pdf 90301d76725067fa684aa0c608765e2c PDF Text Text State University of New York HARPUR COLLEGE, BINGHAMTON, N. Y. The Department of Music GUARNERI presents THE GUARNERI QUARTET (in residence) Arnold Steinhardt, violin John Dalley, violin Michael Tree, viola David Sayer, cello RECITALS O SEASON 1964-65 I Tuesday, August 4 Sunday, September 20 Monday, September 28 Saturday, October 3 Sunday, November 29 Sunday, December 6 Sunday, January 10 Sunday, January 31 Sunday, February 7 Sunday, Mar c h 14 Sunday , March 28 Sunday, April 4 Friday, April 30 Sunday, May 23 Sunday, May 30 All performances at 8:15 p. m . in the Harpur College Theater Ushering courtesy of Alpha Phi Omega OPEN REHEARSALS The public is cordially invited to attend the quartet's rehearsals, held the day prior to each recital, at 3 p. m., in the music room (CA-183) near the theater. HARPUR �NOTES ■ The Serenade Op. 25 is usually ascribed to the same period (c. 1795-1797) as the Op.8 serenade, although not published until 1802. These stylistically similar works, together with the Septet Op. 20, are akin to the divertimento and represent a lighter facet of Beethoven's chamber music. A divertimento generally consisted of many short, gay movements, usually in major keys and based on simple binary or ternary dance forms, designed to "divert" the listener. Op. 25 has seven movements, the first being a type of fanfare to capture the attention of the audience. This is followed by a minuet with two trios, the first devoted to the strings, the second featuring the flute. The third movement presents the only extended contrasting minor section of the work. Then follows a simple theme with three variations, each exploiting a different instrument, and a closing coda. The fifth and sixth movements are very short - the former consisting of a lively scherzo and the latter serving as a slow introduction to the rollicking rondo which closes the work. ■ Quartet No. 2 of Bartok, written between 1915 and 1917 while Bartok was a piano teacher at the Budapest Academy of Music, foreshadows the style of his following four works in this genre. Though deeply disturbed by the war, Bartok continued his study of the folk music of his own country and neighboring areas, imbibing and assimilating their musical cultures. The characteristic elements of his style, a folklike idiom, thematic unity, and an architectonic musical structure, begin to manifest themselves in this work. In the first movement, Bartok uses the fourth (a favorite interval in folk melodies and in Bartok's later works) as a generating motive from which the other themes of the composition are derived. Syncopations and constantly changing meters join with the continuous contrapuntal interplay of the four instruments to create a texture characterized by dissonance and restless activity. In the second movement, a rondo of barbaric and demonic force, Bartok continues to develop the style he had introduced in his AllegroBarbaro of 1911. Driving rhythm, the masterful use of alternating major and minor thirds and the tritone, and the employment of all the percussive devices of which the string instruments are capable combine to give this movement amazing power and virility. In contrast, the third movement with its folk-like parlando style gathers the germinal motives from the other movements into a reflective summation of the whole and closes the work with a sense of unity and consummation. ■ The Quartet in G Major, Op. 161, the last quartet which Schubert wrote, was composed between June 20 and 30, 1826. Originally intended as the third in a group of quartets, Op. 29, this work was not published until 1851 and then as Op. 161, while the intended Op. 29 #2 ("Death and the Maiden") was published posthumously in 1831 without any opus number. Thus only Op. 29 #1 in A Minor was published during Schubert's lifetime. However, the first movement ofOp.161 was performed during his life at the only concert the composer gave of his own works, in 1828 on the anniversary of Beethoven's death. This quartet is perhaps more orchestrally conceived than either of the preceding two and includes tremolo sections and unison passages, which produce a thicker texture than is usual for Schubert. The whole work fluctuates between major and minor tonalities, evoking a rapid interplay of light and shade. A dotted rhythmic figure appearing in various guises in each movement promotes a sense of unity. The cello is singled out in the second movement for a particularly lovely lyrical solo which Schubert later set to words and used for a song in his cycle Die Winterreise. The trio of the third movement is a typically Schubertian ländler with an ostinato accompaniment simulating bagpipes. Patricia Isham PROGRAM Thirteenth Recital Friday, April 30, 1965 SERENADE in D Major, Op. 25 BEETHOVEN for Flute, Violin, and Viola Entrata. Allegro Tempo ordinario d'un Menuetto Allegro molto Andante con Variazioni Allegro scherzando e vivace Adagio Allegro vivace disinvolto (N. Dalley-flute; J . Dalley-violin; M. Tree-viola) QUARTET No. 2, Op. 17 BARTOK Moderato Allegro molto capriccioso Lento INTERMISSION STRING QUARTET in G Major, Op. 161 Allegro molto moderato Andante un poco moto Scherzo - Allegro vivace Allegro assai SCHUBERT � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 55:22 45:23 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54394">Thirteenth Recital Guarneri Quartet</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. 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 Thirteenth Recital Guarneri Quartet Recital Tape 1965-4-30 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Beethoven, Bartok, Schubert. Creator An entity primarily responsible for making the resource Guarneri Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Beethoven, Ludwig van, 1770-1827 Schubert, Franz, 1797-1828 Bartók, Béla, 1881-1945 State University of New York at Binghamton. Department of Music Date A point or period of time associated with an event in the lifecycle of the resource 1965-04-30 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context Thirteenth Recital Guarneri Quartet Recital Tape 1965-4-30.pdf https://omeka.binghamton.edu/omeka/files/original/c96969260c10fcaeab1cd8e1f4697cd6.pdf d3969a4076a34ef00799cf1b028a84cd PDF Text Text BINGHAMTON U N I V E R S I T Y ST A TE UN I VERSITY O F NEW YORK UNI V A \'.(, Recita CD \ D E P A A T M E N T 2009 4-26 ''THREE REVELATIONS T SPC COL F ROM HE LOTUS SUTRA'' Kimberly Metaxas Associate Conductor Robert G. Smith Music Director and Conductor Sunday, April 26, 2009 3:00 p.m. Anderson Center Chamber Hall �PROGR AM Conducted by Ms. Metaxas A Musical Toast (1980) ................................................... Leonard Bernstein (1910-1990) arr. Clare Grundman Fantasia in G Major (circa 1703) ........................... Johann Sebastian Bach (1685-1750) arr. Richard Franko Goldman English Folk Song Suite (1924) ............................. Ralph Vaughn Williams (1872-1958) I. March-"Seventeen Come Sunday" II. Intermezzo-"My Bonny Boy" III. March-"Folk Songs from Somerset" Variations On A Korean Folksong (1966) ................... John Barnes Chance (1932-1972) I. Con Moto II. Vivace III. Larghetto IV. Allegro Con Brio V. Sostenuto VI. Con Islancio National Emblem (1906) .......................................................... E. E. Bagley (1857-1922) ed. Frederick Fennell INTERMISSION Conducted by Professor Smith Three Revelations from the Lotus Sutra ................................... Alfred Reed (1921-2005) I. Awakening (To Awaken in The Light of the Universe) IL Contemplation (To Contemplate the Depths of the Soul) III. Rejoicing (To Rejoice in the Beauty ofPeace) �ABOUT THE MUSIC Leonard Bernstein (1910-1990) was born in Lawrence, Massachusetts and was the first American-born conductor to direct the New York Philharmonic Orchestra. Bernstein studied composition at Harvard, conducting at the Curtis Institute, and conducting at the Tanglewood Music Festival with Serge Koussevitzky, former conductor of the Boston Symphony Orchestra. Well known for his symphonies, vocal music, and the Broadway musical "West Side Story," Bernstein was also passionate about music education. During his post as director of the New York Philharmonic brchestra (1958-1969), Bernstein conducted free outdoor concerts in the parks of New York City, and televised his "Young People's Concerts," an educational series that educated the public about different composers, genres, and characteristics of music. Bernstein also broke gender and racial barriers when he appointed to the orchestra the first two female instrumentalists and the first African-American instrumentalist. A Musical Toast (1980) was devoted to the memory of Andre Kostelanetz (1901-1980), a Russian born American conductor for the CBS radio network, known for popularizing classical music and influencing the film music of his time. In his last Will and Testament, Kostelanetz left this message: "If there is contemplated a gathering of my family, friends and associates in New York City, or elsewhere, I direct that such a gathering shall be a cheerful get-together." Upon this request, Bernstein wrote this musical tribute as a bright and energetic composition. Predominately in the meter of seven-eight, the musical phrase created just so happened to fit nicely with the rhythmic flow of the remembered friend's name. Johann Sebastian Bach (1685-1750), born in Eisenach in Germany, was a virtuosic organist and composer influenced by Pachelbel, Frescobaldi, and Buxtehude. Bach acquired compositional skills through copying and arranging the music of other composers including Vivaldi and Telemann. He was one of the most prolific composers of fugues, chorales, cantatas, toccatas, fantasias, and other styles of the Baroque era. Bach's music career included appointed positions as church organist, court musician and Kapellmeister (music director). From 1723-1739, Bach held one of the most prestigious positions in Germany as the Cantor of St. Thomas School in combination with civic director of music where he composed and directed music for the church, the school, and town ceremonies. Fantasia in G Major was composed early in Bach's career during residence in Arnstadt between 1703 and 1707. Fantasia in G Major, composed in a freely improvisatory style of the Baroque era, was categorized as one of the grandest of all Bach's compositions written for the organ. This selection also fits the description associated with many of his early works and considered to be too full of "wonderful variations and foreign tones." The rich harmonies of this five-part polyphonic composition contain frequent suspensions, dissonances, and modulations of the key. Ralph Vaughan Williams (1872-1958), born in England, studied piano, organ, violin, viola, and theory and harmony at an early age, and earned degrees in music and history from Trinity College in Cambridge. After studying composition abroad in Germany and Paris, Vaughan Williams refocused his interest toward folksongs from his native country of England. He was well known for his collections of folk songs and his involvement -with the English Folk Dance and Song Society, as well as incorporating folk songs into �compositions. Throughout his life, he also served as the director of music for the First Army of the British Expeditionary Force, and flourished as a lecturer, writer, and conductor. English Folk Song Suite was written for British Military Band in 1924, and was comprised with arrangements of several different English folk songs. Movement I. March-"Seventeen Come Sunday" begins with the song "Seventeen Come Sunday," then "Pretty Caroline" was used in a lyrical style featuring a clarinet and trumpet duet, followed by a heavy section based on the song "Dives and Lazarus." Movement II. Intermezzo-"My Bonny Boy" opens with the oboist playing the melody of the folk song "My Bonny Boy." The lyrics to this folk song portray a devoted girlfriend whose boyfriend leaves her for another. "Green Bushes," which interrupts "My Bonny Boy," depicts a boy suffering heartbreak when he finds that his girl has left him for another boy. Movement III. March-"Folk Songs from Somerset" presents "Blow Away the Morning Dew" with solo trumpet, followed by "High Germany," "The Tree so High" in six-eight time featuring the upper woodwind section, and the "John Barleycorn" featuring the rugged melody in the low woodwind and brass sections. John Barnes Chance (1932-1972) was born in Beaumont, Texas and earned degrees in music from the University of Texas at Austin where he studied composition with Clifton Williams. Chance's early musical accomplishments included playing timpani for the Austin Symphony orchestra, as well as conducting and arranging for the Fourth and Eighth United States Army Bands. He served as the composer in residence at the Ford Foundation Young Composers Project held in North Carolina from 1960-1962, and as a professor of music at the University of Kentucky until his tragic accidental death caused by electrocution at the age of forty. Variations on a Korean Folk Song, which Chance won the American Bandmasters Association Ostwald Award for in 1966, was inspired and based on the Korean folk song "Arirang," which Chance heard while serving in Seoul, Korea with the Eighth United States Army Band during the 1950s. Although, the word arirang does not possess a modem translation, in the ancient Korean language, arirang may have been translated as beautiful or lovely dear. Versions of the lyrics tell the story of a person expressing sadness at the departure of a loved one. The piece begins with the statement of the pentatonic melody in its regular form followed by sections consisting of variations of that melody. The first variation includes a fast pace motion of sixteenth notes interrupted by the second part of the melody. The Larghetto section is played in a slower tempo with the melody inverted from its original form first played by the oboe, then the flutes, alto saxophones and horns, and finally the trumpet. Next, the melody returns in the style of a march, followed by an augmentation ohime in which the melodic material has been stretched out. Finally, the piece ends in a fast tempo beginning with percussion, followed by the vibraphonist and woodwinds presenting the second half of the melody as a round while the brass abruptly enters with the first half of the melody played as a hemiola, written in triple meter, however, felt in duple meter. Edwin Eugene Bagley (1857-1922), born in Craftsbury, Vermont, began his performing career at age nine as a vocalist and comedian touring the United States with the Leavitt's Then, he played cornet with the Swiss Bellringers and the Blaisdell's Bellringers. �Orchestra of Concord, New Hampshire. In 1880, Bagley moved to Boston and continued to perform on cornet, as well as the trombone, with several ensembles including the Boston Symphony Orchestra. National Emblem (1906) has been described as "one of the most 'perfect' marches." After an explosive introduction, Bagley opens the march with the first twelve notes of The Star Spangled Banner arranged in duple rather than triple time. The trio section contains one of the most memorable melodies introduced by the robust sound of the low brass section and followed by the high winds. Frederick Fennell, former conductor of the Eastman School of Music Wind Ensemble, described what this march has meant to him: "This marvelous march .never fails to lift my spirit to the loftiest heights of inner joy, outer physical exhilaration, and ultimate personal fulfillment. On some occasions I have felt that knowing it, loving it-being able to listen to it any time being played by the band in my head-was my whole reason to be alive. It is a march for marching; sit-down performances of it should continue to march, for that is its heritage-music for the feet, not for the head-and it is unmistakably music for the spirit!" Notes by K. Metaxas Alfred Reed (1921-2005) is one of America's most frequently performed composers with over 250 published works for concert band, wind ensemble, orchestra, chorus, chamber groups. His music career began in the New York School of Music and he was later offered a scholarship to study composition with Paul Y artin. Reed wrote many compositions and arrangements for band during his service with the Army Air Corps in World War IL When composer Roy Harris and Reed's commanding officer both ordered him to produce a work for radio broadcast honoring the friendship between the Russian and American people they gave him a two week deadline. In eleven days, Reed produced Russian Christmas Music the work that launched his career as a composer of music for winds. Following the war, he studied with Vittorio Giannini at Julliard but left to work as a staff composer and arranger at both NBC and ABC. Bernard Kalban of Charles H. Hansen Music Corporation asked Reed to write music for young wind players thus beginning his long association with the school band movement. In 1953, Reed accepted a position as conductor of the Baylor University Orchestra and while there he completed his bachelor' s and a master' s degree. In 1956, he returned to work at Hansen. In 1966, he took a position at the University of Miami in order to have time to devote to his writing. Over the next 27 years he composed most of his well-known works for band including: The Hounds ofSpring, Othello, Music for 'Hamlet, and Armenian Dances (part I and 11). In 1981, he was invited to Japan by Sony's Toshio Akiyama to conduct and record with the Tokyo Kosei Wind Orchestra. This led to a long association with TKWO and other Japanese music organizations. His work took him to 49 states and 18 countries. t1 \ Three Revelations from the Lotus Sutra (1982-84) is an attempt to realize in music three different states of man's soul in his quest for ultimate perfection. The first movement, Awakening (To Awaken in the Light of the Universe) portrays the vastness and richness of the experience of the human mind on expanding its field of view from the narrow confines of daily life to the contemplation of, and merging with, the entire universe. The second movement, Contemplation,(To Contemplate the Depths of the Soul), represents a turning away of the mind from the 'outer' to the 'inner' universe .. . the attempt to fathom the limitless possibilities of the human consciousness in its quest for identity, to answer the eternal questions beginning with the word "Why?" The third and final movement, Rejoicing, (Rejoicing in the Beauty of Peace), depicts the realization that, while on earth, peace is not merely the absence of war, destruction , pain and suffering, buit a thing of beauty in and of itself . . . and an occasion for heartfelt rejoicing on the part of all men, everywhere , who share the same eternal quest as true brothers. �The suite was commissioned by, and is reverently dedicated to, Rissho Kosei-kai on the occasion of the 77th birthday of its founder and president, the Reverend Nikkyo Niwano. Rissho Kosei-kai, sponsor of the world-famous Tokyo Kasei Wind Orchestra, is an organization of Buddhist laymen devoted to the effort of perfecting man's personality on the basis of the true meaning of Buddhism. Central to the purpose of this movement is the body of doctrine assembled from the teachings of Buddha, called the Lotus Sutra, the Absolute Truth, termed the "Wonderful Law." The third movement was premiered by the TKWO in 1982 at Reverend Niwano's birthday celebration with the composer conducting. The complete work was first performed in 1984 by TKWO under Frederick Fennell. Score notes by the composer ABOUT THE PERFORMERS KIMBERL Y METAXAS, a native of Vestal, NY, is a graduate student of conducting at Binghamton University studying with Professor Robert Smith. Ms. Metaxas holds Bachelor' s degrees from Michigan State University in Music Therapy, and from SUNY Fredonia in Music Education. She taught music for special education students during BOCES 2008 summer school program. She is currently an instructor for the marching bands at Susquehanna Valley and Union-Endicott high schools. Ms. Metaxas has been a member of Binghamton University's Wind Symphony and Jazz Ensemble, BCC Jazz Band, Vestal Community Band, and the Empire Statesmen Drum and Bugle Corps. Ms. Metaxas' performance today is in partial satisfaction of the thesis requirements for the Master of Music degree in Wind Conducting. ROBERT G. SMITH is Music Director and Conductor of the Binghamton University Wind Symphony. Professor Smith holds degrees from Hartwick College, Binghamton University and is a candidate for the Doctor of Musical Arts in Music Education from Boston University. Prof. Smith also teaches advanced instrumental conducting and graduate wind conducting at BU. His career includes 32 years as a public school music educator. He conducts the annual Triple Cities TubaChristmas and is former conductor of the Maine Community Band, the oldest band of its kind in the United States. He has guest conducted all-county bands throughout New York State including the 2007 Ulster County Senior High School All-County Band. In March of 2009 Prof. Smith will guest conduct in Sullivan County, NY. Among other ensembles Smith has conducted are the Goshen College (IND) Wind Ensemble and Orchestra, The United States Army Ground Forces Band (GA), the Southern Tier Concert Band (NY) and the Vestal Community Band (NY). An active performer, he currently plays principal euphonium with the Southern Tier Concert Band and tuba with the Brass Nickel quintet and the Crown City Brass sextet. Smith is the immediate past president of the Broome County Music Educators Association and recipient of the 2005 BCMEA Distinguished Service Award. Professional memberships include The Broome County Music Educators Association, the New York State School Music Association, the Music Educators National Conference, The National Band Association, The Association of Concert Bands, The Conductors Guild, The World Association of Symphonic Bands and Ensembles, The College Band Directors National Association and the International Tuba and Euphonium Association. �Wind Symphony Musicians Stephanie Lehman-Percussion Graduate Assistant Piccolo Melanie Adler Beth Wieman Flute I Melanie Adler Rachelle Haddad Emily Morris (principal) Kathleen Spelman Beth Wieman Flute II Rebecca Falik Kimberly Hom Judy Kahn George Lourentzatos Oboe Kyle LaGrutta Bassoon I Kristen Grennan Bassoon II Katherine Navarette Eb Clarinet Jon Envid s· Bb Clarinet I Kyle Doyle Sarah Fenster (principal) Anthony Kwon Bb Clarinet II Abby Cohen Mark Dellostritto Woo Jin Kim Mellissa Klepper Victoria Serigano Bb Clarinet 111 Stephen Collins Gregory Norman Mark Norman Javier Rodriguez Trombone I Daniel Weinstein Bass Clarinet Brianna Palisi Daniel Zaccarini Trombone Ill Magana Jayakumar Bb Contrabass Clarinet Kristen Weiss Alto Saxophone Dean Papadopoulus John Tanzi (principal) Tenor Saxophone Bradley Alder Baritone Saxophone Benjamin Kane Cornet I Nick Polacco (principal) Kevin Hannon Cornet II.Ill Nick Quackenbush Dan Schain Trumpet I.Cornet Ill Max Beasley F Horn I Leanna Varderese F Horn II Glenn Parker Trombone II Christina Donaldson Euphonium Damon Dye Anthony Legnetto Tomek Regulski (principal) Tuba Daniel Nevins David Parnes (principal) Daniel Ryan Percussion Caleb DeGroote Thomas Elefante Soya Gao Adam Goldenberg Stephanie Lehman (principal) Wayne Papke Kelly Tufo �Sunday, April 26th Honors Recital: Sarah Sterling, viola, Casadesus Recital Hall, 7:30 PM, FREE Tuesday, April 28th Friedheim Memorial Lecture/Recital: Audible Processes - Minimalism and Beyond, Casadesus Recital Hall, 8:00 PM, $$ Thursday, April 30thMid-Day Concert, 1:20 PM - FREE Casadesus Recital Hall Friday, May 1st Flute Studio and Flute Chamber Concert, 10:15 AM, Casadesus Recital Hall, FREE Friday, May 1stStudent Recital: Griffin Sargent, violin, Casadesus Recital Hall, 8:00 PM, FREE Saturday, May .z1d Masters Recital: Sung Jin Park, soprano, Casadesus Recital Hall, 3:00 PM, FREE Saturday, May .z1d University Symphony Orchestra ''Fantastique!" Osterhout Concert Theater, 8:00 PM, $$ Sunday, May 3rdMasters Recital: Jenean Truax, soprano, Casadesus Recital Hall, 3:00 PM, FREE Tuesday, May 5th Percussion Ensemble, 8:00 PM, FREE Anderson Center Chamber Hall Thursday, May 7th Student Recognition Mid-Day Concert, Casadesus Recital Hall, 1:20 PM, FREE Thursday, May 7th Harpur Chorale and Women's Chorus, Anderson Center Chamber Hall, 8:00 PM, FREE Friday, May 8th Binghamton University African Music Ensemble, casadesus Recital Hall, 8:00 PM, FREE For ticket information, please call the Anderson Center Box Office at 777-ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 3:14 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152703">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152703</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 Three revelations from the Lotus Sutra, April 26, 2009 Recital Tape 2009-4-26 Description An account of the resource Works of Bernstein, Bach, Williams, Chance, Bagley, Reed. Held at 3:00 p.m., April 26, 2009, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource University Wind Symphony Metaxas, Kimberly Smith, Robert G. Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-04-26 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 0:49:58 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253375&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253375&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 Thursday holiday mid-day concert, December 9, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004 12-9 Description An account of the resource Held at 1:20 p.m., December 9, 2004, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Schum, Jody Borton, Bruce Basttek, Jessica Boczar, Kathryn Maiolo, Georgetta Cecere, Greg Epelman, Emie Jacobsen, Alfred Lokken, Patrick Sternberg, Patrick Wittmer, Hannah Salmirs, Michael Han, Che Sut Lee, Eunjong Kempin, Kristel Ho, Ion Levine, Maia Na, Grace :eFebvre, TImothy Biggers, Jonatham 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 12/9/2004 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/ac5143b39019a7d733b519cdb8c41662.pdf bafea58030e19f281008e529e5299408 PDF Text Text BINGHAMTON U N AV 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 wdec [4 D E P A R T M E N T THURSDAY JA Z Z M I D ­ D AY  CONCERT L L A N E  S A X O N S ” KRIS JENSEN I a “ Thursday, December  9 ,  2 0 / 0 1.20 p.m. Osterbout Concert Theater 4  �ABOUT THE PERFORMER PROGRAM Program selected from the following: Heyman, Sour, Eyton, & Green Body and Soul  Cottontail........................................................Duke IEINE REIN! D i g i c . . c o o i i c   a McLean Just Friends...............cceeevvvneneenn.....Sam Lewis & John Klenner   Red C l a y . . . . . . . s e c a a s h a n m Hubbard Recordame................................................... Joe Henderson Take Your P i c k H a n k Mobly  Arr. By D. S ic k ler  Edited by A. Hamme There Will Never Be Another You.....Harry Warren & Mack Gordon Mid­day Musicians Kzgs Jensen – Saxophones and Flute Gene Cotbran, Fiano Ford Watrobsks, Bass Devan  Tracy,  Drums MIKE  Carbone, Saxophones Having established himself as one of the premier voices on his instrument today, saxophonist/composer Kris Jensen has forged a career that spans over 20 years in nearly as many professional settings. A native of Binghamton, NY, Jensen received excellent training as a young student in both the Binghamton Public Schools and at The State University of New York at Binghamton. Upon graduating Binghamton High School, Jensen enrolled at the Hartt School of Music in Hartford, CT where he began what would turn out to be a 15­year apprenticeship with the late great jazz saxophonist and composer Jackie McLean. While working as an associate professor alongside McLean, Jensen helped to develop some of the finest young saxophone talents on the scene today including Connecticut saxophonists Jimmy Greene, Kris Allen, Wayne Escoffery, Lummie Spann, Ray McMorrin, Andy Breskin and Nicholas Biello. Jensen also worked as a teacher at The Artists’ Collective, Inc. teaching woodwinds and jazz studies in Hartford’s inner city. As a performer, Jensen’s first major professional experience was as lead alto saxophonist for Royal Caribbean Cruise Lines’ Division of Entertainment. Jensen had the opportunity to play the lead alto saxophone chair for Ben Vereen, Red Buttons, Patti Page, Bob Florence, Frank Gorshin, Al Martino and many other famous entertainers. Since then, Jensen has recorded or performed with a plethora of well established and emerging artists, including: percussionists Jesse Hameen, Pete Escovedo and Giovanni Hidalgo, trumpeters Eddie Henderson, Valery Ponamarev, Richard Boulger, saxophonists Jackie McLean, Phil Woods and George Coleman, trombonists Eddie Bert and Steve Davis pianists John Hicks, Hotep Idris Galeta, David Hazeltine and Brad Mehldau guitarists Melvin Sparks, Randy Johnston, Rodney Jones, Rohn Lawrence and Tom Dempsey, bassists Paul Brown, Nat Reeves, Dennis Irwin and Dwayne Burno and pianists/vocalists Michael Feinstein, Dena DeRose and Kevin Mahogany. In 1996, Jensen received a great honor, being selected as a semi­finalist in the Thelonious Monk International Saxophone Competition in Washington, DC. Kris played alongside 12 of the world’s best young saxophonists before a panel of some of jazz’s greatest saxophone legends. From 1999–2004, Jensen toured North America with both Dickey Betts and Great Southern and Maynard Ferguson and Big Bop Nouveau. Betts, the classic­rock guitar legend and composer of such hits as Ramblin‘ Man and In Memory of Elizabeth Reed, recorded the albums Let’s Get Together and The Collector’s Vol. I, which �prominently features Kris’s sax. While with Betts, Jensen also had the opportunity to perform with the Charlie Daniels Band and in August 2003 with the Dave Matthews Band. With the blazing trumpet virtouso Maynard Ferguson, Kris was a prominently featured soloist. In January 2004, Kris joined the trumpet legend on a tour which included a week in Bangkok, Thailand performing the compositions for the king of Thailand, His Majesty Bhumipol Adulyadej. Jensen’s tenor sax was also heard “round the world” with the Kendrick Oliver New Life Jazz Orchestra on N.P.R.s annual jazz radiocast “Toast of the Nation” for New Year’s 2007 edition. Currently, Jensen keeps a busy schedule as an active freelance musician and music instructor throughout New England and the New York Tri­State area. He is currently helping to develop two school bands in the Brownsville area of Brooklyn, NY and can be heard with many different groups including Jaimoe’s Jasssz Band and the Kendrick Oliver New Life Jazz Orchestra. Binghamton University M usic D epartment’s W U PC O M I N G  E V E N T S W W Friday, December 10 — Singing Chinese Cla ss Recital joined by the Beginning Chinese Flute Class — 7 p.m. — Casadesus Recital Hall — free Saturday, December 11 — Amahl and the Nigh t Visitors — 3  p.m. & 5 p.m. — Anderson Center Chamber Hall — $8 adults; $5 students ($25 maximum for families with 2 adults and 4 children) Sunday, December 12 — Amahl and the Night Visitors — 3 p  .m. & 5 p.m. — Anderson Center Chamber Hall — $8 adults; $5 students ($25 maximum for families with 2 adults and 4 children) Monday, December 13 — “Italian Night ” Class Recital (Maria Cook, Instructor) — 8:00 p.m. — Casadesus Recital Hall — free For ticket information, please call the Anderson Center Box Office at 7 77­ARTS To see all events, please visit music. b inghamton. e du Become a fan on Facebook by visiting Binghamton University Music Department � 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.) 56:40:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE147772">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE147772</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 Thursday Jazz Mid-day Concert Featuring Saxophonist Kris Jensen, December 9, 2010 Recital Tape 2010-12-9b Description An account of the resource Works by Heyman, Sour, Eyton, McLean, Lewis, Hubbard, Henderson, Warren Creator An entity primarily responsible for making the resource Jensen, Kris Cothran, Gene Watrobski, Paul Tracy, Devan Carbone, Michael Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2010-12-09 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/e359e800dd3c86832a6e9545be93858d.pdf 3d3a3220a263c936eb2ee34915067516 PDF Text Text INGHAMTON B U  N 1 v  E R s  1 T  Y STATE  UNIVERSITY  OF  NEW  YORK vwdec D E P A R T M E N T 720050sz Y JAZZ M I D ­ D AY  CONCERT  1 Thursday, Apral 8,  2009 £20 p.m. Osterbout Concert Theater Co­sponsored by the Department of Music and the Harpur Jazz Project �ABOUT THE PERFORMER PROGRAM Program selected from the following: Brass Walk  Michael Davis Please Don’t Forget About La Paz! Michael Davis Seabone Shuffle  Michael Davis Three Putt.  Michael Davis Zona .  Michael Davis MIDDAY MUSICIANS Gene Comma, Piano Jeff Guevin,  Bass Joe Roma,  Drums MIKE  Carbone, Alto and IENOR  Saxophone Mo  “geese ” Taylor, Trombone Special thanks to Jupiter music for their financial support Trombonist­composer Michael Davis does it all. Hailed as one of today’s premier  instrumentalists,  he  has  established  himself  as  a  first­call sideman,  both  in  the  studio  and  on  the  concert  stage,  for  the entertainment world’s biggest stars, including the Rolling Stones, Frank Sinatra, Tony Bennett, Nelly, Bob Dylan and Michael Jackson. In the field of music education, he has served as a clinician around the world, while also authoring a number of highly esteemed instructional books and band arrangements for musicians of all ages and abilities. For the past ten years Davis has been forging ahead as an entrepreneur, with Hip­Bone Music, a growing business that presently handles his publishing  activities  and  work  as  a  recording  artist.  Dedicated  to increasing  the  popularity  and  stature  of  brass  instruments  and emphasizing “how hip, cool and fun it is to play music,” Hip­Bone Music is set on expanding its educational focus and becoming a viable avenue for other brass artists. A native of San Jose, California, Davis received his musical training at the prestigious Eastman School of Music in Rochester, New York. Upon graduation he hooked up with the Buddy Rich Band for a two­year stint that brought an immeasurable amount of bandstand experience and a wealth of professional friendships that continue to this day. He settled in Manhattan in the mid­1980s and before long was being regarded as one of the top trombonists around. As testimony to his versatility and wide regard, the list of jazz and pop luminaries he has worked with over the years reads like a who’s who: Sarah Vaughan, Sting, Harry Connick, Jr., David Sanborn, Beck, Branford Marsalis, Aerosmith, Bon Jovi, Sheryl Crow, Lyle Lovett, Terence Blanchard, Bob Mintzer and scores of others. A multiple recipient of awards from the National Endowment for the Arts, Davis maintains his own jazz groups and projects as well. Through Hip­ Bone Music, Davis  has  documented  his  efforts  on five  solo  CDs— Trumpets Eleven, a showcase for 11 virtuosic trumpet masters; New Brass, a melding of jazz and classical brass styles; Brass Nation, a gathering  together  of fifty­five of the  world’s  greatest  brass  players; Bonetown,  a  pairing  of Davis  with  LA  bass  trombone  maestro  Bill Reichenbach; and Absolute Trombone, yet another musical conclave, this time with eighteen New York City­based trombonists. Acknowledged by popular musicians, fellow educators and audiences around  the  world  as  an  immensely  talented  musical  artist  who’s committed to setting the highest standards possible for both jazz and his instrument,  it is no wonder  that  legendary Rolling  Stones  drummer Charlie Watts was moved  to comment, “In this ‘bone­dry’  era,  it is essential to have Michael Davis around.” �Binghamton University Music Departrnentfs, U PC O M I N G  E V E N 7  ’ s Saturday, A p r i l 1  0°" Lecture/Demonstration on Jacques Ibert’s Concertino da Camera: Origins, Ean’y Reception History, and Current Performance Considerations for Alto Saxophone and Orchestra by Professor Daniel Gordon, 11:00 AM, FA 111, FREE (co­sponsored by the B’nghammn University Music Department and the Harpur College Dean’s Visiting Speaker Series) Saturday, A p r i l 1  0°" Junior Recital: Jieun Jang, piano, 3:00 PM, Casadesus Recital Hall, FREE Satu rd ay,  A p r i l 1  0m Sweet Albion: 7he English Cian’net with clarinetist Timothy Perry and pianist Margaret Reitz, 8:00 PM, Anderson Center Chamber Hall, $$ Thursday, April 1 5 ” '  Mid­Day Concert, 1:20 PM —  FREE, FA 21 Fri d ay,  A p r i l 1  6 ”  Master’s Recital: Stephen Brooks, double bass, 8:00 PM, Casadesus Redta/ Hall, FREE Saturday, A p ri l 1  7 ”  Giarinet Studio Redtal, 3:00 PM —  FREE Casadesus Redta/ Hall Satu rday,  A p r i l 1  7 ' ”  University Chorus: Honegger’s KING DAVID, 8:00 PM, Osterhout Concert Theater, $$ (FREE for students) Sunda y , A   p r i l 1  8m Junior Recital: Laura MacAvoy, soprano, 3:00 PM, Casadesus Recital Hall, FREE S u n d ay,  A p r i l 1  8 m  Senior Honors Redtal: Stephen Kong, piano, 7:30 PM, Casadesus Recital Hall, FREE For ticket information, please call the Anderson Center Box O ffice a t  7 77­AR T 5 To see all events, please visit musi c.binghamton.edu Become a fan on Facebook by visiting Binghamton U niversity Music D epartment � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 37:22:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145283">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145283</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 Thursday jazz mid-day concert, April 8, 2010 Recital Tape 2010-4-8 Description An account of the resource Works by Davis. Held at 1:20 p.m., April 8, 2010, Osterhout Concert Theater. Creator An entity primarily responsible for making the resource Maricle, Sherrie Leitham, Jennifer Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2010-04-08 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/a1eb3f5c0a784a1f3953ac57ccf8fcfa.pdf ad72fb828f21eef10dbf542524a7a8ce PDF Text Text N O T M A H G N I B U  N  I  V E  R  S I  T  Y  S TAT E  U N I V E R S I T Y   O F  NEW   Y O : :  RK E B C P E P  A A T R T HURSDAY M I D ­ D AY  CONCERT ff S S  v c ,  »  ,'  N 4 = S  E T 2 8  4  4 >, T h u rs d a y M ar ch  1 0 ,  2 011 1 :2 0 P .M.  ­   IT   A L  H A L L   S  R E C C A S A D E SU �PROG RAM P e r l a  Gloria Giovanni Bononcini (1677–1726) Antonio Caldara  ‘ (1670­1736) Alma del Core Halt Danksagung an den Bach Yii Lee, piano ( Johann Sebastian Bach (1685–1750) 4” movement, Allegro James Hsia, violin The Vagabond.  Ralph Vaughan Williams (1872–1958) Benedetto Mar cello (1686­1739) Il mio DEL Loco Brian Evans,baritone Yfi Lee, piano  . S u e  J o  tuba................... 1’l move ment, allegro m aestoso 2”m   ovement, andante espressivo 3 ”  movement, allegro con brio (1797­1828) Richard G. Leonberger, tenor Brister Hay, tenor Chai­Kyou Mallinson, piano Sonata #2 i n minor   3” movement, Andante S a s s i  Franz  Schubert W O R I N G from Carnival, Opus 9 ............... Preambule (prelude) Valse noble (noble waltz) Eusebius (Schumann) Florest an (Schumann) Coquette (coquettish woman) Papillo n (butterfly) Chiarina (Clara Schumann) Chopin Estrella  ,  Fes RObErt Schumann (1810­1856) Chai­Kyou Mallinson, piano Concertina... II. Calm Paul Creston (1906­1985) ...............Don Haddad Matthew Gukowsky, tuba Pej Reitz, piano Adam Goldenberg, marirnba Pej Reitz, piano (b. 1935) Vignettes: Ellis Island I.  Prologue  : ...............Alan Louis Smith Ii. Emma III. Anna IV. Catherine i V.  Anna Cabiria J acobsen, mezzo­soprano Pej Reitz, piano (b. 1955) �Bingha mton Univer sity M usic D epartm ent’s U P C O M I N G  E V E N T S fl é w é ' fi M é ­ é é ' é r b fl fi r an é w é fl Thursday, March 1 7  — Friedheim  Memorial  Lecture/R ecital Series: Ro bert Schu mann’s Ca rnavaI(Al ice Mitche ll, speaker and Chai­ Kyou Mall inson, pia no) — 8:00 PM — Casadesus Recital Hall — $5 general public; free for students (100 student tickets available) Saturday,  April 2 — Junior Recital: M ark Rossn agel, orga n — 3:00 PM — First Presbyterian Church, Binghamton — free S u n d ay,  April 3 — Organist Jonathan  B i g ge rs  — A B a c h Celebratio nl! Series  — 4:00 PM — First Presbyterian Church, Binghamton — $10 general public; $5 faculty/staff/seniors; $2 students  : Friday, Ap ril 8 — Un iversity St ring Orch estra — 4:00 PM — Grand Corridor — free Saturday,  April 9 — Binghamt on Univer sity Flute  Trio (Natalie M cCreary, E mily Morr is, Mark Z huang) — 12 noon — Fine Arts Room 21 — free ~ Saturda y, April 9 — Master ’s Recital:  Victoria C annizzo, soprano — 2:00 PM — Casadesus Recital Hall — free Saturday,  April 9 — Pianist Michael S almirs: Fo r the Love  of Music — 8:00 PM — Anderson Center Chamber Hall — $15 general public; $10 faculty/staff/seniors; $5 students Sunday, April 10 — Senior Recital: L aura Mac Avoy, sop rano — 3:00 PM — Casadesus Recital Hall — free For ticket information, please call the Anderson  Center B o x O   ffice at 777­ART S To see all events, please visit music.bi nghamto n.edu Become a fan on Facebook by  visiting Bingham ton Universi ty M usic D epartme nt � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:11:09 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145423">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145423</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 Thursday mid-day concert Recital Tape 2011-3-10 Description An account of the resource Held at 1:20 p.m., March 10, 2011, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Hay, Brister Mallinson, Chai-Kyou Hsia, James Evans, Brian Lee, Ü Gukowksy, Matthew Reitz, Margaret A. Leonberger, Richard G. Goldenberg, Adam Jacobsen, Cabiria Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2011-03-10 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/895bd90d4db884b2b57b942b29600085.pdf ceef9c844b00c9ce514f127246b20ea6 PDF Text Text BINGHAMTON U N. I V E R S I T Y STATE UNIVERSITY OF N'EW YORK usi DEPARTMENT THURSDAY MID-DAYCONCERT COUNTERPOINT CELEBRATING WOMEN IN THEARTS Thursday, March 26, 2009 1:20 p.m. University ArtMuseum �PROGRAM Divertimento for Solo Flute.: ......................... ................ . Edith Borroff (written for Georgetta Maiolo) (b. 1925) Andante Allegretto (Siciliano) Largo Allegro Presto e guisto Georgetta Maiolo, flute Selected Songs from Sechs Lieder, Op. 13 ........... Clara Schumann Liebeszauber, No. 3 (1819-1896) Der Mond kommt still gegangen, No. 4 Sung-Jin Park, soprano Chai-Kyou Mallinson, piano Concerto for Vibraphone and Orchestra ...................... Ney Rosauro Acalanto (Lullaby) (b. 1952) Stephanie Lehman, vibraphone Margaret Reitz, piano Passacaglia on an Old English Tune (1943) ........... Rebecca Clarke (1886-1979) Sarah Sterling, viola Margaret Reitz, piano Bucking Bronco, from Cowboy Songs ................ . Heather Montana, soprano Chai-Kyou Mallinson, piano ••••••••• Libby Larsen (b. 1950) �Siciliene ..........•............•... . •••••••••••••••••••••• Marie Therese von Paradis (1759-1824) Stephen Stalker, cello Margaret Reitz, piano Selected Songs .................................... Fanny Mendelssohn Hensel Sehnsucht, Op. 9, No. 7 Verlust, Op. 9, No. 10 ltalien, Op. 8, No. 3 The Half-Minute Songs (1805-1847) Carrie Jacobs Bond (1862-1946) . Briana Sakamoto, soprano William James Lawson, piano Sonata for Clarinet Solo, 1957......................... Germaine Tailleferre Allegro tranquillo Andanti no espressivo Allegro brioso (1892-1983) Timothy Perry, clarinet Nocturne Lili Boulanger (1893-1918) Timothy Perry, clarinet Margaret Reitz, piano �PROGRAM TEXTS Liebeszauber (Love's magic) Now Love once like a nightingale in rosebush perched and sang; with sweetest wonder flew the sound along the woodland green. And as it rang, there rose a scent from ring of thousand buds, and all the treetops rustled soft, and softer blew the air; The brooklets silenced, scarcely come by splashing from the heights, the fawns stood still as if in dream and listened to the tone . And bright and ever brighter flowed the sunbeams down inside, 'round blossoms, wood and gorge it gushed with golden red sunshine. I walked along the path that day and also heard that sound. Alas! What ever since I've sung was just its echo faint. how I am so1sad and sick, . they would happily let ring out refreshing song. And if they knew my pain , the golden little stars, they would come down from their height, and speak consolation to me. They all cannot know it, only one knows my pain; He, indeed, he himself has ripped, ripped apart my heart. Sehnsucht (Longing) Text: Johann Gustav Droysen (1809-1884) Distant and more distant sounds the round dance. Well to me! Around me here is silence on the land. To my full heart only will rest not come. Hark! The night soars through the space. Its robe rushes through the trees, murmuring softly. Ah, thus roam, love-hot, my wishes and dreams. ltalien (Italy) Der Mond kommt still gegangen (The moon is stilly creeping) The moon is stilly creeping, Her silv'ry lustre grows, weary the earth is sleeping in beauteous calm repose . In dreams the trees are sighing, the brooklet trips afar; Angels are singing and flying round ev'ry tender star; And through the distance hover a thousand fancies dear, from soul of friend and lover unto the sleepers here. Below in the valley are sparkling the lights of my dear one's home; Yet wander I in the darkling, far in the world to roam . Verlust (Loss) Text: Heinrich Heine (1797-1856) And if they knew, the flowers, the little ones, how deeply wounded my heart is, they would weep with me, To heal my pain. . , ·_ • •. . . , I; : And if the nightingalesknew; Text: Franz Grillparzer (1791-1872) Fairer and fairer the plain decks itself, As coaxing breezes blow me along, Away from the burden and trouble of prose, drawing me toward the land of poetry. More golden the sun, bluer the air, greener the green , more fragrant the scent! There by the cornstalk, swelling with sap, struggles the aloe 's obstinate strength. Olive tree, cypress, one blond, and one brown, are you nodding like dainty, greeting ladies? What gleams in the foliage, sparkling like gold? Ah! Oranges, are you lovelies hiding there? Defiant Poseidon, were you the same one, who below now jokes and murmurs so sweetly? And this, half meadow, half ether, it seems, was the sea's fearsome horror? Here I would live! Godlike one: Can you, Parthenope, bring the waves to rest? Now then , try it, Eden of Joy, ease also, the waves in this breast. �WOMEN IN THE ARTS EDITH BORROFF (b. 1925) Edith Borroff was Professor of Music at Binghamton University (SUNY Binghamton) from 1973 to1992. Divertimento for Solo Flute (1980) was written for Georgetta Maiolo. Ms. Maiolo premiered this work in a performance for the "Flute Workshop for High School Students" in July 1981 at Binghamton University. An observation from the SUNY-Binghamton Inside newspaper (July 2, 1981 Volume 2, Number 21), written by staff writer, Judy Toll, noted, "Edith Borroff admitted that writing a piece for flute alone is 'a terribly difficult task. There's no piano, no harmony, no underpinning ... The flute is on cloud nine all by itself. The composition is in five movements and each movement has its own characteristics'." Edith Borroff was pleased to write music for the flute, an instrument she said she has always loved. "The flute has the glorious capacity to sing . It also has different personalities and different textures. The mouth is a natural reed and the mouth of the flute player is a part of the instrument naturally," she said. "I wanted to reveal certain capacities of this instrument, including its tremendous lyricism and I went about it from that point of view." Borroffs goal is to establish a relationship "between the technical potential of the instrument and the effect of the instrument." CLARA SCHUMANN (1819-1896) One of the outstanding pianists of the nineteenth century, Clara Schumann's significant contributions have only in recent years begun to be fully appreciated. As Clara Wieck, a famous young virtuosa touring Europe with her teacher/father Carl Wieck, she stunned audiences with her effortless technique, tonal power and depth of musicianship. The romantic and tragic circumstances of her courtship and marriage to Robert Schumann are well known . She was not only his soul-mate, but also a professional partner and colleague who vigorously championed her husband's works. The proceeds from her concert tours were a major financial support to her growing family, especially once Robert fell victim to mental illness and was hospitalized. Her concert career spanned over sixty years and she was a highly respected teacher, the only women of her time to hold a position at the Hoch Conservatory in Frankfort. Despite the incredible burden of caring for her family, she found time to maintain an extensive correspondence with some of the great musicians of her day. She acted as advisor and colleague throughout her life to her close friend, Johannes Brahms and collaborated with many of the celebrated musicians of her time. She was deeply involved in preparing a complete edition of Robert Schumann's works for publication after his death, and she herself composed a significant body of piano works, songs and chamber music which are now being performed and receiving well-deserved attention. EVELYN GLENNIE (b. 1965) The famous Scottish percussionist, Evelyn Glennie, has thoroughly impressed the world with her magnificent talent, overcoming deafness since the childhood. Glennie, however, likes to maintain that her major focus is music that she makes, not the hearing she has lost. Upon listening to a recording or a performance of her virtuostic playing, one would never imagine that she is unable to hear. The only thing that might make people think otherwise would be seeing one of her many "barefoot" performances. Glennie likes to be connected to her instruments. By playing barefoot and feeling the vibrations, Glennie creates a new way of hearing . It was Glennie's famous performances that really helped Ney Rosaura make his first marimba concerto as famous as it is. Because of this, Rosaura decided to dedicate this vibraphone concerto to this inspirational woman . In addition to his dedication to Glennie, Ney Rosauro makes a point of putting his Brazilian culture into his work . For example, in the second movement, "Lullaby", Rosaura points out the use of the mallet handle on the instrument's keys, sounding like music box, singing the children to sleep with traditional folk-like melodies. When I play any piece of music, I try to make a connection with it, be it the same as the composer or one of my own. I fell in love with the jazzy feel contrasted with the beautiful heartfelt motion in the second movement. It's clear that I had immediately found my own strong connection with this piece within its mix of deep emotion and rejoicing, and I am truly excited to share it with you today. - Stephanie Lehman REBECCA CLARKE (1886-1979) Rebecca Clarke, born near London, was an outstanding violist and one of the first women admitted to London orchestras in the early twentieth century. She was a member of the renowned English Ensemble, an all-woman piano quartet which toured throughout the world . Admired as a chamber musician, Clarke often read and performed chamber music with many great artists of the time including Myra Hess, Pablo Casals, and Arthur Rubinstein . Clarke wrote and premiered the Passacaglia on an Old English Tune in 1941. The work is based on a theme by Thomas Tallis and, as is typical of passacaglias, is quite somber in mood. It was dedicated to "BB," which could either refer to Clarke's niece Magdalen, or to Benjamin Britten. The latter would make sense as Britten had organized a funeral for Frank Bridge, an influential composer and friend of Clarke's, that same year. The Passacaglia creates feelings of grief and nostalgia that could easily have accompanied such a loss. �LIBBY LARSEN (b. 1950) Libby Larsen is an American composer who studied with Dominic Argento, among others, at the University of Minnesota. She was one of the first female composers to be commissioned by a major American orchestra, and possesses a feminism and an intuitive understanding of the voice that influence her compositions. Her song cycles for female voice also include Try Me, Good King (settings of the final words of five wives of Henry VIII of England), and By a Departing Light (settings of the poetry of Emily Dickinson). MARIE THERESE VON PARADIS (1759-1824) Maria Theresa von Paradis was a Viennese pianist/composer/singer, blinded at an early age by an unfortunate accident. Her father was a Councilor to Empress Maria Theresa, and her family did much to encourage the prodigious musical talent of the young girl by making certain she had the best instructors available. At the age of fifteen, von Paradis was already performing to great acclaim, and in an epoch replete with great geniuses, she was famous for her artistry and phenomenal memory. Following successful concert tours that included France and England as well as Germany, von Paradis became increasingly drawn to composition. She also took a great interest in education, taught throughout her later years and established a music school for talented young girls as well as a school for the blind. FANNY MENDELSSOHN HENSEL (1805-1847) Though from youth Fanny Mendelssohn-Hensel displayed at least as much talent as her brother, Felix, her family strongly discouraged her pursuit of a musical career, expecting her to be content as a housewife. Nonetheless, she composed prolifically and developed a distinct musical voice. Tragically, the majority of her works remain stored in family archives, unavailable to performers and listeners, for Hensel began to publish only about a year before she died. These three songs are representative of her ability to create rich musical and emotional textures through forthright, clean melodies with some novel twists . . CARRIE JACOBS-BOND (1862-1946) Carrie Jacobs-Bond wrote for her life. She fought poverty for years and provided for herself and her son primarily through composing, selling and performing her own songs, songs "unpretentious as a wild rose." It is easy to imagine the composer speaking and singing the texts of these Half-Minute Songs her pearls of wisdom and advice. For her there was no question that talent was to be used, and she fought to share her gifts with the world. "I wonder what the world would be like if there were nobody to do the simple things!" Jacobs wrote, "And sometimes songs (simple songs) like pins, keep folks together." GERMAINE TAILLEFERRE (1892-1983) Born Marcelle Taillefesse, Germaine Tailleferre changed her last name as a young woman to "Tailleferre" to spite her father who had refused to support her musical studies. She studied piano with her mother at home, composing short works of her own and then began studying at the Paris Conservatory where she met Louis Durey, Francis Poulenc, Darius Milhaud, Georges Auric and Arthur Honegger. With her new friends, she soon was associating with the artistic crowd where the initial idea for Groupe des Six (Les Six) began. The publication of Jean Cocteau's manifest Le Coq et l'Arlequin led to instant fame for the group. She was the only female member of the Groupe des Six. The group published an album of piano pieces together (the famous Album des Six) . Tailleferre wrote many of her most important works during the 1920s, as well as several pioneering film scores. The 1930s was even more fruitful, and her work in film music included Le Petit Chose by Maurice Cloche and a series of documentaries. At the outbreak of World War II, Tailleferre escaped across Spain to Portugal, and found passage on a boat that brought her to America where she lived the war years in Philadelphia, Pennsylvania. After the war, in 1946, she returned to her home in France where she composed orchestral and chamber music, plus numerous other works including ballets, operas, and an impressive number of film and television scores. The majority of this music was not published until after her death. LILI BOULANGER (1893-1918) Lili Boulanger was a French composer, the younger sister of the noted composer and composition teacher Nadia Boulanger. Boulanger's parents were musicians themselves and encouraged their daughter's musical education. Her mother, Raissa Myshetskaya, was a Russian princess, who married her Paris Conservatoire teacher, Ernest Boulanger. Her grandfather had been a noted cellist, and her grandmother had been a singer. Boulanger, a child prodigy, accompanied her ten-year-old sister to classes at the Paris Conservatoire before she was five , shortly thereafter sitting in on classes on music theory and studying organ with Louis Vierne; she also sang and played piano, violin, cello, and harp. In 1913, at the age of 19, she won the Prix de Rome for her Faust et Hélène, becoming the first woman composer to win the prize. Her work was noted for its colorful harmony and instrumentation and skillful text setting; aspects of Fauré and Claude Debussy can be seen in her compositions, and Arthur Honegger was one composer influenced by her innovative work. Jazz pianist Herbie Hancock has said she is one of his favorite composers. Her life and work were troubled by chronic illness which cut short her life at age 24. � 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.) 50:22 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149345">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149345</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.) FacingContinuous Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thursday mid-day concert : Counterpoint : Celebrating woment in the arts, March 26, 2009 Recital Tape 2009-3-26 Description An account of the resource Works of Borroff, Schumann, Rosauro, Clarke, Larsen, von Paradis, Hensel, Bond, Tailleferre, Boulanger. Held at 1:20 p.m., March 26, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Maiolo, Georgetta Park, Sung-Jin Mallinson, Chai-Kyou Lehman, Stephanie Sterling, Sarah Reitz, Margaret Montana, Heather Stalker, Stephen Sakamoto, Briana Lawson, William James Perry, Timothy Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-03-26 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 28:00:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE189711">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE189711</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thursday mid-day concert :MM opera program, October 16, 2008 Recital Tape 2008-10-16 Description An account of the resource Works of Puccini, Mozart, Menotti, Gounod, Weill, Bolcom, Floyd, Thomas.Held at 1:20 p.m., October 16, 2008, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Groves, Jennifer Maynard, Ashley Whitley, Julian Zrbzezny, Ariana Rivera, Christina Ibeling, Daniel Callas, Michael Chmela, Amanda Moots, Jonathan Reitz, Margaret A Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2008-10-16 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 2ccc1f70-1623-4d4b-a4d8-5a36b6b82011 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:07:15 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE192312">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE192312</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thursday mid-day concert :South Indian Carnatic classical musical, October 23, 2008 Recital Tape 2008-10-23 Description An account of the resource South Indian Carnatic classical musical pieces.Held at 1:20 p.m., October 23, 2008, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Bennet, Frank Gillete, Glenn Bennett, Geetha Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2008-10-23 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID c1f3d5a2-fcb0-4c6a-80f5-0c138eff30e7