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                    <text>BINGHAMTON
EL  N  I  V  E  R  S  I  T  Y
STAT E  U N I V E R S I T Y   O F  N E W  YO R K

D E P A R T M E N T

THURSDAY
MID­DAY CONCERT

Thursday, October 22, 2 0 0 9
1.­ 2 0 p  .m.

Casadasus Recital a z

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PROGRAM

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Four Songs...
Allerseelen, Op 10, no. 8
Seitdem dein Aug‘ , Op. 17, no. 1
Heimkehr, Op. 15, no. 5
Zueignung, Op. 10, no. 1

Richard Strauss
(1864­1949)

Mary Burgess, soprano
Stephen Zank, piano
L’'Heure E x q u i s e
Nell, Op. 18, no. 1..
Adieux de I’ hotesse Arabe.

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Ashley Maynard, mezzo­soprano
William James Lawson, piano

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1

Aria, “Dove sei, amato bene,” from Rodelinda ..George Frederick Handel
Aria, “Bel piacere,” from Agrippina
(1685­1759)

Susan Amisano, soprano
William James Lawson, piano
...Jean Sibelius
(1865­1975)

Julie Marie Williams, soprano
William James Lawson, piano
Aria, “Tornami a vagheggiar,” from Alcina............George Frederick Handel
(1685­1759)

Amanda Chmela, soprano
Chai­Kyou Mallinson, piano

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..  Reynaldo Hahn (1874­1947)
Gabriel Faure (1845­1924)
 
....Georges Bizet (1 8 3 8 1875)

Three S o n g s
Den forsta Kyssen  Op. 37  no. “1”
Till Kvallen, Op. 17, no. 6
Flickan kom irfan sin alsklings mote, Op. 37, no. 5

TRANSLATIONS

:

Allerseelen

But now the sun departs,

(All Souls’ Day)
Place on the table the fragrant

And calm descends upon the
grove,

As long ago in May.
Give me your hand, that I may
secretly clasp it,
And if it is observed by others,
I will not mind;
Give me one of your sweet
glances,
As long ago in May.
Today each grave is ﬂowering and
fragrant,
Once a year it is All Souls’ Day—
Come to my heart that I again may

Zueignung
(Devotion)
Ah, you know it, dear soul,
That, far from you, I languish;
Love causes hearts to ache—
To  you my thanks!
Once, drinking to freedom,
I raised the amethyst cup,
And you blessed the drink—
To  you my thanks!
You exorcised the evil spirits in it,
So that I, as never before,
Cleansed and freed, sank upon
your breast,
To  you my thanks!

mignonettes,
Bring here the last of red asters,
And let us speak again of love,

have you,
As once again in May!

Seitdem dein Aug’
(Ever since your eyes)
Ever since your eyes looked into
mine,
And love, as if from heaven above,
Showered down upon me,
What more had the earth to oﬀer?
It gave its best to me,
And with peaceful happiness of
the heart
My whole life was ﬁlled, because
of that one moment.
Heimkehr
(Homeward)
The tree boughs are waving softly,
Swiftly towards the shore moves
the boat,
Back to its nest ﬂies the dove,
My heart returns home to you. ­
Too long on a bright day,
Surrounded by life’s turmoil,
On its ﬂuttering wings,
It has been straying.

And it feels that near you is peace,
Near you alone is rest.

L ‘Heure Exquise
(The Exquisite Hour)
The white moon shines in the
forest, from every branch comes
forth a voice, under the foliage,
Oh beloved!
The pond, a deep mirror, reﬂects
in which the wind is crying.  Let us
dream, ‘tis the hour! A vast and
tender calm seems to descend
from the ﬁrmament, which the orb
clads in rainbow colors;
‘Tis the exquisite hour!
Nell
Your purple rose in your bright
sun, O June, is sparkling as if
intoxicated; bend your golden cup
also toward me: My heart is just
like your rose.
Under the soft shelter of a shady
bough a sigh of pleasure rises up:

�More than one ring­pigeon sings in
the remote wood, O my heart, its
amorous lament.
How sweet your pearl in the
ﬂaming sky, star of the pensive
night!  But how much sweeter is
the bright light that shines in my
charmed heart!
The singing sea, all along the
shore, will silence its eternal
murmuring. Before in my heart,
dear love, O Nell, your image will
stop blossoming!
Adieux de I’hotesse Arabe
Adieux o f  the Arab Hostess
Since nothing holds you to this
happy land, neither the shade of a
palm tree, nor yellow corn, neither
rest, nor abundance, nor seeing
beat at the sound of your voice the
youthful breasts of our sisters,
whose dance, like that of a hive of
bees, crowns the evening hills.
Adieu, handsome traveler. Alas!
Oh, why aren’t you one of those
who limit their lazy feet to their
own roofs of branches or canvas!
Who, dreamers, listen to stories
without making any, and sit by
their door in the evening, dreaming
of ﬂying away to the stars! Had
you wished it, perhaps one of us,
young man, would have liked to
serve you, kneeling, in our huts
that are always open.
She would have lulled you to
sleep, and made a fan of green
leaves to chase away the ﬂies
from your brow. If you don’t come
back, think sometimes on the
desert’s daughters, soft­voiced
sisters; dancing barefoot on the
dune.
Handsome young white man,
lovely bird of passage, remember.

For perhaps, oh rapid stranger,
your memory remains in more
than one of them!
Dove sei, amato bene?
(Where are you, beloved?)
Where are you, beloved?
Come to console my heart!
Come, come, beloved!
I am beset by sorrow,
And my harsh pains
I can only bear with you.

Bel piacere
(Great pleasure)
‘Tis great pleasure to enjoy,
To  enjoy a faithful love!
This brings contentment to the
heart.  Splendour is not measured
by beauty, if it does not come from
a faithful heart.

i
.

Den forsta kyssen
(The First Kiss)
On silver clouds there sat an
evening star, when through the
dusk a maid called from afar: “Oh,
tell me, star, will heaven think
amiss, when ﬁrst I bless my Iov’d
one with a kiss?”
And heaven’s bashful daughter
thus did sigh: “A choir of angels
lifts their heads up high, and sees
their grace reﬂected in night’s
keep; so Death doth turn his eyes
away and weep.”
.

Flickan kom ifran sin alsklings
mote
(The Tryst)
The girl came from meeting her

lover, came with her hands all red.
Said her mother: “What has made
your hands so red, girl?” Said the
girl: “I was picking roses and
pricked my hands on the thorns.”

&amp;

Again she came from meeting her
lover, came with her lips all red.
Said her mother:  “What has made
your lips so red, girl?” Said the
girl: “I was eating raspberries and
stained my lips with the juice.”
Again she came from meeting her
lover, came with her cheeks all
pale.  Said her mother: “What has
made your cheeks so pale, girl?”
Said the girl: “Oh mother, dig a
grave for me, hide me there and
set a cross above, and on the
cross write as I tell you:
Once she came home with her
hands all red...they had turned red
between her lover’s hands.
Once she came home with her lips
all red...they had turned red
beneath her lover’s lips.
The last time she came home with
her cheeks all pale...they had
turned pale at her lover’s
unfaithfulness.”
Till kvéllen
(To Evening)
Welcome, dark, mild and starry
evening!  Your gentle fervour I
adore and caress the dark tresses
That ﬂutter round your brow.
If only you were the magic bridge
that would carry my soul away,
No longer burdened by the cares
of life!
And if it were the happy day when,
overcome with weariness, I might
join you when work is over and
duty done,
When night unfolds its black
wings, and a grey curtain falls over
hill and dale, O evening, how I
would hurry to you!

Tornami a vagheggiar
(Return to Me)
Return to me so that I may look
upon you with love. My faithful

soul loves only you, Dear, my
beloved.
Already to you I gave my heart,
faithful will be my love. Never to
you will I be cruel, Dear, my hope.

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�</text>
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                    <text>BINGHAMTON
U N I V E R S I T Y

State University of  New York
Uk  ®

wdec
@

B

E F  A

R

  E N T
T M

T HURSDAY MID­DAY C ONCERT

October 25, 2007
1 :2 0 p. m.
Casadesus Recital Hall

�T ranslatio ns
1

Stefano Donoudy
F reschi luogh i, prati aule nti
Cool places, fragrant meadows,
Remain always in ﬂowe r;
Let not summ er sow seed in you,

PROGRAM
Freshi luoghi prati aulenti ..
...........Stefano Donoudy
Vaghissima sembianza
(1879­1925)
Quando ti rivedro
Venuto e l’aprile
Alexander Blitstein, t enor
Chai­Kyou Mallinson

Let not autu mn carry yo u away,

Let not the dead season take away
So much magical splendor.
I want one day to ramble with her
Amidst softness so green,
When at last my pangs
She will show h e r s e l f
understand.
Cool places, fragrant meadows,
Remain always in ﬂowe r.
Let not any season take a way

Aria from C osi fan tutte

In uomini, in soldati
Una donna a quindici anni

Wolfgang Mozart
(1 756­1 791)

Sigbonile Boyd, soprano
Margaret Reitz, piano

Sonata, Op. 31, no. 1
I.  Allegro vivace
III.  Rondo, All egretto
Danielle So fer, piano

Ludwig van Beethoven
(1770­1827)

So much magical splendor.
And you then, clear streamlets,
Which already are runni ng to the
sea,
Don’t be miserly with your waters
In the late season of the year,
Don’t you join also the deception
Of a prosperity so brief.
I want one day to be reﬂected with
her
In your clarity,
When at last my pangs
She will show h e r s e l f
understand.
Vaghissima sem bianza
Very charmi ng image o fa  woman
formerly loved,
who, then, has portrayed you with
so much sim ilarity
that l look, and I speak, and I
believe to have you
before me as in the beautiful days
of love?

The dear remembrance which has
been awakened
in my heart so ardently has revived
my hopes,
so that a kiss, a vow, a c ry of love?
more I do not ask of her who is
silent foreve r.
Quando ti r ivedro
When shall I see you again,
Unfaithful lover, who were so dear
to me?
So many tea rs I have wept

Now that an other separates us,

That I fear that may be ﬂed
Every joy forever from my life.
And yet the more I despa ir,
The more I return to hoping.
The more I hate you in my mind,
The more m y soul turns again to
loving you.
When shall 1 see you again,
Unfaithful lover, who we re so dear
to me?
Ven uto é I’aprile
April has come, weaving garlands,
And bringing together nymphs and
sylvans on t he meadow.
The alders are tuning their
instruments
And at the ﬁrst melodies of the
wind
Among the branches the dance
begins.
First a faun advances...
His nymph looks at him... Sighs...
And they rush away together!

�The couples frolic among the
fountains and the streams,

And then vanish furtively in the
woods...
But Cloris, who meanwhile is
jealous of Nice,
Waits unhappy and alone, in tears,
For the dance to cease.
But a shepherd advances...
And now Cloris looks at him...
Sighs...
And they rush away togethe r!
Aria from Cosi Fan Tutte

Wolfgang Mozart

In uomini, in soldati
In men? In soliders, you hope for
ﬁdelity?
For goodness sake, don’t let anyone
hear you!
They are all made of the same
dough,
Windblown branches, changeable
breezes
Have more stability than men!
False tears, suspieious glances
Deceiving voices, lying vices
Are the foremost of their qualities!
They only love us when it suits
their delight.
Then disparage us and deny us
aﬀection.
It is useless to ask their pity!
Let ’s pay them back in their own
coin.
This accursed, indiscreet race.
Let ’s love for our convenience and
vanity!

5

w

Una donna a quindici anni
A woman of ﬁfteen years
Must know all the good met hods,
Where the devil keeps his tail,

What’s good and what’s bad.  She
must know the little malices : That

enamour lovers:
To feign laughter, to feign tears,
And invent good reasons.
She must pay attention to a h undred
at a time.
Speak through her eyes with a
thousand.
Give hope to all, be they handsome
:
or ugly, 
Knowiliow to obfuscate without”
gettinggconfused.
And know how to lie without
blushing. "
And this queen from her high
throne,  *
can make them obey with, “I can,”
and “I want.”
(It seems they like this doctrine)
Long live Despina, who knows
llow to serve!)

�</text>
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                    <text>BINGHAMTON

U  N  I  V  E  R  S  l  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

R

E

P A  R T I M N M E N I

THURSDAY
MID­DAY CONCERT
o  (L T  S)S ~ 

f; &lt;'

eS

—
/

OCTOBER 29, 2010
1:20 P.M.

CASADESUS R ECITAL H ALL

�PROGRAM
Three Songs
Dans la Nuit
Tyndaris
L’Enamourée

..Reynaldo Hahn
( I 874­ I 947)
Briana Sakamoto, Soprano
Margaret Reitz, Piano

The History of the Tango (1982)..
11. Café 1930

...Astor Piazzolla
(192 I ­ I 992)

Prof. Timothy Perry, Clarinet
Margaret Reitz, Piano

Sonata for Bassoon and Piano (1921)
I. Moderately fast
Daniel Bessel, Bassoon
Margaret Reitz, Piano

..Camille Saint­Séiens
(1835­1921)

Pocket Sonata No. 1 ( 1949)
1. Improvisation
2. Blues
3 ln Rhythm
Prof. Timothy Perry, Clarinet
Margaret Reitz, Piano

Alec Templeton
( 1909­1963)

Three original compositions................................
Christopher Morgan Loy
Homage to Robert Schumann, Op. 56, no.2
C W M  Rhondda Fantasy, Op. 56, No. 3
Adventures with Max the Dog, Op. 51 No. 2

Prof. Christopher Morgan Lo y, Piano

�Binghamton University Music Department’s

U P C O M I N G  E V E N T S
M

M

M

M

M

M

M

t

b

’

Midday concerts are held on Thursdays, 1:20pm in Casadesus
Recital Hall unless otherwise noted and are FREE
Song of Silk: Saturday, November 6, 2010, 8pm Osterhout
Concert Theater, $$$

Student Recital: Dan Bessel, bassoon, Sunday, November 7,
2010, 3pm, Casadesus Recital Hall, FREE
University Chorus:  First Steps and Final Thoughts, Sunday,
November 14, 2010, 3pm, Osterhout Concert Theater, $$$

Student Recital: Briana Sakamoto, soprano, Saturday,
November 13, 2010, 8pm, Casadesus Recital Hall, FREE
Friedheim Memorial Lecture/Recital series: Claudio
Monteverdi, I l l ament d Arianna, Thursday, November 18,
2010, 8pm, Casadesus Recital Hall, $$$

Organist Jonathan Biggers:  A Bach Celebration, Friday,

November 19, 2010, 8pm, FAZ1, $$$

Czech Vocal Music: Mary Burgess, soprano, guest artists.
Timothy Lefebvre, baritone; Timothy Cheek, piano, Sunday,
November 21, 2010, 3pm, Anderson Center Chamber Hall,

$58

Organist Jonathan Biggers:  A Bach Celebration , Tuesday,
November 23, 2010 (11/19 repeat performance), 8pm, FAZ21,

$53

Percussion Ensemble, Tuesday, November 23, 2010, 8pm,
Anderson Center Chamber Hall, FREE

For ticket information, please call the
Anderson Center B ox  O ﬀice at 777­ARTS.

�</text>
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                    <text>BINGHAMTON

U  N  I  V  E R  S  I  T  Y
S TAT E  U N I V E R S I T Y   O F  N E W   Y O R K

wdc

D E P A R T M E N T

THURSDAY
MID­DAY CONCERT

Thursday, Ocgober 29, 2 0 0 9
L 2 0  p m .   .

Casadesus Recital Hal

�PROGRAM
Zyczenie
Smutna Rzeka
Pose!
Leci liscie z drzewa

TRANSLATIONS
Frederic Chopin
(1810­1849)

Ashley Maynard, mezzo­soprano
William James Lawson, piano

Liebst du um Schonheit
Das Veilchen
O weh des Scheidens
Mein Stern
Loreley

Clara Schumann
(1819­1896)

Franz Schubert
(1797­1828)

Mary Burgess, soprano
Timothy Perry, clarinet
Stephan Zank, piano

TRANSLATIONS
Zyczenie
(A Maiden’s Wish)

River, ﬂowing from the mountains,
Tell me why your waters are swollen?
Is it the snow thawing
and ﬂooding your banks?
The snow lies unmelted in the hills, and
ﬂowers hold my banks ﬁrm.  At my
source sits a mother
sorrowful and weeping.
Seven daughters she bore and loved,
seven now lie buried.
In death they know not night nor day,

they lie, facing east.
Waiting in pain by their grave,
she tells her sorrow to their spirits.
And her unceasing tears ﬂow,
swelling my waters to a ﬂood.

Pose!
(The Messenger)

Jana Kucera, soprano
Chai­Kyou Mallinson, piano

Der Hirt auf dem Felsen, Op. 129 

Smutna Rzeka
(Sad River)

If I were the sun in the sky,
I would shine only on you.
I would pass blindly over the meadows and grass,
but would shine in your window forever if I were the sun.
If I were a little bird from that forest, I wouldn’t sing in any foreign country.
I would pass over the meadows and grass, but would sing at your window forever
if I could change into that little bird.

Dew lies on the meadows,
the winter days are changing.
You, faithful bird, are again before us,
singing.
With you, the sun shines longer,
with you there is the pleasant spring;
Welcome from the journey, joyful singer!
Don’t go, wait!
Maybe you are begging for seed?
Maybe you bring a new song
from distant lands?
You run, you look around with your dark
eyes...
Don’t look so happy, she is not here!
She went after a soldier,
she threw him a hat by the roadside
shrine and said goodbye to her mother.
Maybe she was running away?
Tell me, bird, are they hungry,
is it good for them in the world?

Leci Iiscie z drzewa
(Leaves Are Falling)

Leaves are falling, where once the tree
grew free. Now there sits a wild bird
calling by a grave.
O forever and ever,
Poland is good.

Everything fades like a dream,

and your children are in the grave.

Cottages are burned, villages destroyed,

women lament,
homeless in the ﬁelds.

Men have ﬂed from family and friends,
crops shrivel and die,

and are left untended.
Young men gather to defend Warsaw’s
walls; Poland begins to rise from the
darkness.

Fighting through winter and summer
heat. Then came autumn
to thin our ranks.
Now the war is over, our toil expended in
vain. The ﬁelds we once tilled remain

empty.
Some lie buried, some languish in
prison, some wander in exile
homeless and hungry.

Heaven has not helped us, and
neither did the hand of men.
The unsown ﬁelds turn to waste,
and nature’s gifts are nothing.
Leaves are falling, and more leaves thick
and black.  Oh Poland, cherished land,
see how your sons are slaughtered for
you, They worked at guarding the land,
and now suﬀer and die for Poland.

Fight with all your strength, ﬁght for your
freedom! There are traitors in this
country, but there are also those who are
faithful.
Fight with all your strength, ﬁght in the
name of liberty! Poland belongs to those
who are devoted to this land.

Liebst du u m  Schoénheit
(Do You Love Beauty)

Do you love beauty?
Oh do not love me!

Love thou the sun who wears her golden
hair!
Do you love youth?
Oh do not love me!
Love thou the Spring, it is young every
year!

�Do you love riches?
Oh do not love me!

Love thou the mermaid, she has many
pearls!
Do you love love?  Oh yes, then love
me! Love me always, I will always love
you!

Das Veilc hen
(The Violet)

A violet in the meadow stood bowed to
itself and unknown; It was a tender
violet.  Then came a young shepherdess
with light steps and cheerful spirit from
there, across the meadow singing.
Ah, thought the violet, if only I were the
most beautiful ﬂower of nature, Ah, just a
little while, ‘til I were by my beloved
plucked, and on her bosom fainting,
pressed!
Ah only, ah only a short quarter hour
long!
But alas! The girl came by, and o f the
violet took no heed but crushed
underfoot the poor violet.  lt drooped and
perished, and yet rejoiced, for if  I die, yet
still I die through her, through her and at
her feet.

O we h des  Scheidens
(The Sorrow o f  Parting)

Oh the sorrowful parting that he took
when he left me in longing! Oh the
sorrowful pleading as he asked, his tears
and weeping!
He said to me: “Give up your grief!”  Yet
he himself withdrew in sorrow. l was
dampened by his tears, so that it chilled
me to the heart.

Mein Stern
(My Star)

O thou my star! I behold you joyfully!
When the sun sinks quietly in the ocean
your golden eye so consolingly beckons
in my night.
O thou my star! From far beyond, if you
are a messenger with love’s greetings,
let your rays hungrily kiss me in the

uneasy night!

O thou my star!  Linger willingly, and
smilingly carry on the plumage of  light

the dreams of angels to my beloved
below, in his night.

Lorel ey
(Loreley)

I know not what it means that I feel so
sad; a tale from old times will not leave
my mind.
The air is cool; it is getting dark and
peacefully ﬂows the Rhine. The summit
of the mountain sparkles in the evening
sunshine.
The most beautiful maiden sits up there,
wonderfully.  Her golden jewels ﬂash,
she combs her golden hair.
She combs it with a golden comb and
sings a song all the while; it has a
wondrous powerful melody. It
possesses with violent woe the sailor in
a little ship.  He is seized with wild pain,
he sees not the rocky reef, he only looks
up in the end.
I believe the waves swallow and end
sailor and ship and that, with her singing,
The Loreley has done.

Der Hirt a uf dem Felsen
(The Shepherd on the Rock )

When upon the highest rock I stand, and
gaze into the deep valley below, and
sing, and sing, farm from out the deep,
dark valley resounds the echo from the
caverns. The farther my voice resounds,
the brighter it echoes from below. My
darling lives s o far from me, I long for her
so intensely, so  far oﬀ.
In deepest grief I am consumed, Joy has
ﬂown, no hope for me, I am so alone
here.  So longingly my song rang
through the woods, throughout the night,
it draws the heart heavenward with
wondrous power.
The springtime will come, the spring my
joy, now I make ready for wandering
once more!

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                    <text>Li  i  e c
\ 

Binghamton University Department of Music

Xe!  

THURSDAY MID­DAY CONCEallRT
October 7, 2004 – 1:20 P.M. – Casadesus Recital H

lok
$50)
oN

Margaret Reitz, piano

§

G Donizetti
(1797 ­ 1848 )

t

z

a
Aria: Chac un le s
from La Fille du Régiment 

Nili Riemer, soprano

.. .. R. Hahn
(1875 ­ 1947)

A Chloris ...... 

Timothy Fallon, tenor

F  Schubert
(1797 ­ 182 8)

Gretchen am Spinnrade 

Katarzyna Januzczyk, mezzo soprano

G Torelli
(1650 ­ 1703)

z

a

Tu lo s

Julia Ebner, soprano
[ch grolle nicht... 
from Dichterliebe 

D

e

r

N

R  Schumann
(1810 ­ 1856)

Mark Kratz, tenor
/

u

’

o

a

b

u

Stefanie Sudduth, soprano
O mio babbino caro... 
from Gianni Schicchi 
Wlendnacht = F ﬁ 

s

i

Andrew Sudduth, baritone
Aira: Ach, ich  ﬁihl’s... 
from Die Z auberﬂite 

Julia Ebner, soprano

Cdes Horosho...

Nili Riemer, soprano
 
e
e
Aria: e
from La Fille du Régiment 

Timothy Fallon, tenor

F Re  r   e
(1797 ­ 1828)
..G. Puccini
(1858 ­ 1924)

Leslie Hochman, soprano
s

m

l

e Schumann  
(1810 ­ 1856)

W.A. Mozart
(1756 ­ 1791)

S. Rachmaninoﬀ
(1873 ­ 1943)
G  Donizetti
(1797 ­ 1848)

 

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                    <text>Binghamton University Department of Music

Fo 

Yoge, 
C k
BF)

THURSDAY MID–DAY CONCERT
October 20, 2005 – 1 :20 P.M. – Casadesus Recital Hall

 

S PE C

A  F A C U L T Y  S P L A S H
RODE  Schumann
Adagio and Allegro, Op.  TORELL .......ocsoiithemsssinciossssssossssssstnsnssrssssnsiasessssipessansessess 
(1810­1856)
Roberta Crawford, viola
Michael Salmirs, piano
Ne poi, K I T E . . . l.. ..coniihbermiurainssnatumarssssssassissssssassasssnslbmeleeriimonses Sergei Rachmaninoﬀ
( 1873­1943)

Organ Fugue in G M
(The Little) 

o

o

Song to the M
From RUSALKA 

‘ 

Mary Burgess, soprano
Duane Skrabala k, piano
i

n

n ATTORIN  Dvorak
(1841­1904)

S Bach
( 1685­1 750)
Adapted for piano and edited by Olga Samaroﬀ
o

r

J

Chai­Kyou Mallinson, piano
Notturno for  Violin, Cello, and Piano  D897................ 
adagio 

Patricia Sunwoo, violin
Stephen Stalker, cello
Michael Salmirs, piano

Franz Schubert
( 1 797­1 828)

dy 
From OldAmerican SOMES  ..onisssccssscsssssssasissrssssncassssnsansassasssansassasassasensassascass8ils  by Aaron Copland
(1900­1990)
Boatmen’s Dance 
At the River
Ching­A­Ring Chaw
Timothy LeFebvre, baritone
Chai­Kyou Mallinson, piano
Grooves....... 
1.  Bop 
2.  Hocket and Rock­!t
3.  Sultry Waltz
4.  Bulgarian Blues

ceeeenenene. Philip Parker
(b. 1953)

Timothy Perry, clarinet
Margaret Reitz, piano

 

 

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                    <text>Tae

Binghamton University Department of Music

T H U R S D A Y  MID­DAY R E C O G N I T I O N  CONCERT
Ma y 10, 2007 — 
1 :20 P.M.
Casadesus Recital Hall

&gt;
l

The Cascades (1904)

Scott Joplin
(1868­1917)

Bingha mton University Saxophone Q ua rtet :
Amy Natiella, soprano; Emily Alkiewicz, alto;
Michael Marchisotto, tenor;  Marissa Roe, baritone
Recognized by April Lucas, Professor of Saxophone

Aria of Liu, “Signore, ascolta!,”
from “Turandot”

...Giacomo Puccini
(1858­1924)

Katrina Cox, soprano
Chai­Kyou Mallinson, piano
Recognized by Mary Burgess, Professor of Voice

Charles Chapple, composer
recognized by Paul Goldstaub, Professor of Composition

Warum willst du and’re fragen

......Clara Schumann
(1819­1896)

Maria Aimoniotis, soprano
Margaret Reitz, piano
Recognized by Mary Burgess, Professor of Voice

Passacaglia

Rebecca Clarke
(1886­1979)
Melissa Lee, viola
Recognized by Roberta Crawford, Professor of Viola

Si mes vers Avalent des ailes
Miriam Wright, soprano
Chai­Kyou Mallinson, piano
Recognized by Mary Burgess, Professor of Voice

: 

Reynaldo Hahn
(1874­1947)

(Please turn over)

�Fantasia (1948) 
Animé 

H. Villa­Lobos
(1887­1959)
Amy Natiella, saxophone
Margaret Reitz, piano
Recognized by April Lucas, Professor of Saxophone

Damaged 

Richard Pearson Thomas
(b. 1957)
Elizabeth Duh r, mezzo­soprano
Ma rga ret Reitz, piano
Recognized by Duane Skrabalak and Peter Sicilian , Professors of Opera

Chanson a b

o

n

e

M

a

u

r

i

c

e Ravel  
(1875­1937)

Soon Young Pa rk, ba ritone
Chai­Kyou Mallinson, piano
Recognized by Timothy L eFebvre, Professor of Voice

* *Please join us for a reception in the Green Room following the concert**

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                    <text>UNI V 
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Binghamton Univ
ersity Department of Music

TH UR SD AY  MID­DAY  RE CO GN ITI ON  CO NC ER
May 11, 2005 –1:2 0 P.M.

l ;  C C (J P 

T

Casadesus Recital Hall

Spring Wind 

Eric Thiman
Jennifer C urian o, sop rano and Cari Begeal, mezzo­sopran
o
Chai­Kyou Mallinson, pian o
Recognized by Judy Berry, Professor o f Voice

Sonata for Flute Solo, Op. 24 
Questioning
Jaunty

John La Montaine

Kelsey Bauer, ﬂute
Recognized by Georgetta Maiolo, Professor o f F lute
Presented by Timothy Perry, Professor of Clarinet and In
strum ental Conducting
The Cascades (1904) 

. Scott Joplin

“Arr. by Arthur Frackenpohl
Bing hamt on University Saxop hone Qua rtet :
Amy Natiella, sopran o; Em ily Alkiewicz, alto ;
Michael Marchisotto, tenor; Stephanie Barne r, baritone
Recognized by April Lucas, Professor o f Saxophone

Summertime from “Porgy and Bess” .. 

George Gershwin

Michaela Lisi, soprano
Chai­Kyou Mallinson, piano
Recognized by Mary Burgess, Professor of Voice
Presented by Timothy LeFebvre, Professor of Voice
Botschaft 

Johannes Brahms
Erin Lahm, sop rano
Jody Schu m, piano
Recognized by Mary Burgess, Professor o f Voice
Presented by Timothy LeFebvre, Professor of Voice

(turn over)

�Meine Lippen sie kﬁssen so heiss 

Franz Lehar

Julia Ebner, soprano
Margaret Reitz, piano
Recognized by Duane Skrabalak and Peter Sicilian, Professor of Opera
Presented by Timothy LeFebvre, Professor of Voice

Vocal modesty 

Thomas Pasatieri
Kathy Boczar, soprano
Chai­Kyou Mallinson, piano
Recognized by Mary Burgess, Professor of Voice
Presented by Timothy LeFebvre, Professor of Voice

Sonatine.
II. 
Andante Sostenuto

Jacques Casterede

David Henann, trombone
Margaret Reitz, piano

Recognized by Donald Robertson, Professor of Low Brass

Duet for Clarinets......... 

.. Christopher Longano

Timothy Perry, clarinet, Theresa Perrone clarinet
Christopher Longano, composer ­ recognized by Paul Goldstaub, Professor of Composition
Theresa Perrone ­ recognized by Timothy Perry, Professor of Clarinet
Kristen Gilbert, composition ­ recognized by Paul Goldstaub, Professor of Composition

Prelude in E­Major, Op. 32, No. 3 

.. Sergei Rachmaninoﬀ

Jody Schum, piano

Recognized by Ewa Mackiewicz­ Wolfe, Professor of Piano
Presented by Jonathan Biggers, chair, Department of Music and Professor of Organ

**Please join us for a reception in the Green Room following the concert**

�</text>
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