169 10 1775 https://omeka.binghamton.edu/omeka/files/original/33bec4c3d17ab3e6325b7d0c1899bd30.pdf 3128398177820d98c08f864493efa381 PDF Text Text n  S  V .  Ax , R . Si L t \\u “ Rec ta E A 2 0 r BINGHAM 8 U  N  I  V  E  R  S  TT.  ¥ D ­— State University of  New York De pa rtment of Music UNIVERSITY SYMPHON Y ORCHESTRA Con ce rto a n d  A ria P rogra m with Ti mothy Pe r ry, conductor feat u r i n g Jody Schum, piano M o rga n Lee K i m, violi n Jo rdan Paste rna k, clarinet Lara Longsworth, mezzo­sop rano F e b rua ry 28, 2004 8:00 p. m. A n d e rso n  Ce n te r Con ce rt T h ea t e r �About the Music The Binghamton University Department of Music presents the ­ University Symphony Orchestra Timothy Per ry, Conductor In its 2003­4 Concerto and Aria P rogram Concert Theater Anderson Center for the Arts Saturday at 8:00 P.M. February 28, 2004 Program Piano Concerto in A minor, Op.16.. .. .. .. .. .. .. .. .. ..  Edvard Grieg I.  Allegro moderato Jody Schum, P iano Scottish Fantasy, Op. 46  .. .. .. . . .  .. .  . .  . . . .. .. .. .. .. Max Bruch III. Andante sostenuto Morgan Lee Ki m, Violin 1 1 : 1 l l 11 l l Concerto for Clarinet  .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..  Artie  Shaw Jordan Pastern a k, Clarinet < 0 0  Intermission­ ten minutes  0 O 0 0 0 O O 0 < > < > <  > < O  >  > Letter Scene, Act III “Ces lettres” from Werrher  ...Jules Massenet L a ra Longsworth,  Mezzo­Soprano Capriccio Espaiiol, Op. 34 .. .. .. .. .. .. .. Nicolai Rimsky­Korsakov Alborada I (Morning song) l.  Variations ll.  Alborada II [II.  IV.  Scene and Gypsy song Fandango from Asturia V.  (the five sections are played without pa use ) 1 1 In 1868,the twenty­five year old Edvard Grieg sketched out his only piano concerto during a restful summer holiday spent with his wife in Solleréd, Denmark. Its freshness and allusion to Norwegian folk­ melodies made it an instant favorite wi th pianists and the public, although critics went overboard in their Romantic ascribing of  “Nordic", “Norwegian", and  “Nature” features, complete with dramatic scenarios and pantheistic religious programs. No less a figure than Franz Liszt had high praise for the work, although Liszt had his own ideas to “improve” Grieg’s refreshingly transparent orchestration. The opening movement is dominated by its well­shaped themes ­ the first, martial and dramatic, in the woodwinds and the second, more lyric, introduced by the cello. While the style nods towards Liszt in its virtuosity (particularly in the brilliant cadenza), the almost neo­classical form, orchestration and partnership between solo and orchestra derive more from Mendelssohn and Niels Gade. In any case, the work’s immense popularity inaugurated the half­ century Golden Age of Scandinavian composition under Grieg, Sibelius, Carl Nielsen and many more. Max Bruch’s reputation rest today primarily upon solidly crafted, wonderfully melodic and formally conservative solo works like the Ko/ Nidrei for Cello, three violin concertos and tonight’s Scottish Fantasy for Violin and orchestra, with the free use of Scottish melodies (its full title). Unlike Mendelssohn’s “Scotch” symphony, a more general invocation o f impressions gained from the composer’s visit, Bruch quotes his sources carefully and works to respect their natural propensities in his development.  This third of four movements quotes the song “I’m a­Doun for Lack O’ Johnnie” in a setting that is at once sweet and sorrowful. The solo violin leads with a verse before moving into increasingly intricate and impassioned obbligato counter­melodies, each section set apart by a plagal cadence in the minor mode. Bruch uses the various registers masterfully, gradually ascending from the low G and D strings to the highest and most intense timbre at the climax before settling back to round out the movement with a finish in the darkest and fullest bottom range of the violin. Now a spry 93, Artie Shaw is regarded by many as the finest and most innovative of all jazz clarinetists, a leader of several of the greatest musical aggregations ever assembled, and one of the most adventurous and accomplished figures in American music. Known for big­band hits like Begin the Beguine and for launching the career of singer Billie Holiday, Shaw wrote his Concerto for Clarinet in the early 1940s as a study In combining jazz with conventional large­orchestral forces. The seven­minute work is more of an extended improvisation on a theme i �than a concerto in the accepted sense, but its humor, energy and originality are pure Artie Shaw.  Beginning with a sumptuous string introduction wrapped around a New Orleans­style drag street­march, it moves into a theme­and­variations on boogie­woogie, thence through a brief cadenza and into a second extended section reminiscent of “jungle swing", accompanied most of the time only by the drummer. It is among the most unusual of clarinet solo works, and among the most fun. Massenet’s superb sensitivity to the emotional state of his operatic characters found a perfect platform in the French version of Goethe‘s romantic tragedy Wer ther (The Sorrows of Young Werther) which premiered in Vienna in 1894. While largely ignored on today’s operatic stages, Massenet’s work was hugely popular and highly regarded by Debussy and Saint­Saens for its clarity and emotional power achieved without the bombast o f Wagnerian drama.  The “letter scene” (Act 3, scene 1) finds the heroine Charlotte re­reading Werther’s love letters and realizing that, while she married another out of familial duty, she in fact loves Werther, and is bitterly unhappy without him. * * See Translation, last page Completed in 1874, Nicolai Rimsky­Korsakov’s Capriccio Espanol marked the composer’s return to the concertante (alternation of solo and group sonority) style popular in the Baroque. The composer began the work as a fantasy for solo violin and orchestra but eventually distributed the virtuoso passages to all the instruments ­ the work is replete with solos for almost every instrument of the orchestra, and is studded with no fewer than five cadenzas.  So much did he see the work as a true tutti orchestral showpiece that Rimsky­Korsakov listed every member of the Moscow Philharmonic who played its premiere as dedicatees on the title page.  The work is interesting in having five major sections, five variations in its second section and five instrumental cadenzas ­ the numerological significance is unknown. While n ot employing radical techniques, the solo passages are without exception highly challenging and coloristic.  The use of castanets and instructions for the strings to play chords “alla gitara” help to heighten the Spanish flavor, and the choice of dance melodies and rhythms provide a platform for Rimsky­Korsakov, one of history’s finest masters of orchestration, to employ his full talents. The result is one of the most exciting works of the orchestral repertory. ­­T. Perry, January 2004 About Tonight’s Concert The University Orchestra’s Biennial Concerto & Aria Competition was held on November 23, 2003. Tonight’s soloists were selected from among sixteen outstanding student competi tors in orchestral instruments, keyboards, and voice. The judges for the competition were : Prof. Bruce Borton, Department of Music Prof. Colleen Reardon, Department of Music Maestro John Covelli,  distinguished Concert pianist and Conductor Emeritus of the Binghamton Philharmonic About the Performers Conductor/Clarinetist  TIMOTHY  P E R R Y   is  Professor  of  Music  at Binghamton University, where he serves as Director of Orchestral Activities, Director  of  the  Wind  Ensemble  Program,  and  Professor  of  Instrumental Conducting and Studio Clarinet.  O ff  campus, he is concluding his tenth season as Music Director of the Binghamton Community Orchestra and recently guest­ conducted the Catskill Symphony and Binghamton Philharmonic orchestras.  In addition  to  directing  two  hundred  concert  programs  as  conductor,  Perry maintains a career as solo clarinetist and chamber musician.  He has presented two programs at world conferen ces of the International Clarinet Association, toured  Latin  America  as a  United  States  Musical  Ambassador, and  recently premiered  his  composed  reconstruction  of Carl  Baermann’s  concertino,  The Hour of Ghosts. JODY SCHUM is a senior at Binghamton University, pursuing his Bachelor of Music degree in piano performance. Schum began piano studies at age 7 s i t h Lael Bagg. He now studies with Michael Salmirs. Schum also studies organ with Jonathan  Biggers  and  Timothy  Olson,  and  collaborative  piano  with  Diane Richardson. Since May 2002, Schum has received the John M. and Marcella M. Keeler Music Scholarship in  recognition of his work. Since October 2001, he has  been  the  resident  organist/pianist  at  First  United  Methodist  Church  of Endicott. After graduation, Schum plans to pursue a graduate degree in piano performance. MORGAN  KIM,  a  Vestal  native,  is  majoring  in  music  at  BU.  He  has participated in University Symphony Orchestra and various chamber ensembles. He is also a member of the Sendel Quartet and the Peter Mozart Band: Kim, a student of Patricia Sunwoo, plans to pursue a master’s degree in music. �University Symphony Orchestra J O R D A N   P A S T E R N A K   grew  up  in  New  York  City  a nd  attended  the prestigious  La Guardia  High  School  of  Music and  A rt  and  Performing  A rts. Pasternak  studied  the  clarinet  with  Bonnie  Scholl  at  the  Mannes  College Preparatory  Division,  and  is  a  clarinet  performance  major  at  Binghamton University  under  the  direction  of  Professor  Timothy  Perry.  Last  summer, Pasternak taught music theory in a summer program for middle school orchestra students at The Manhattan School of Music, and in past summers was an intern at Lincoln Center for Jazz. This summer, Pasternak will tour Russia and China as principal clarinet in the Long Island Youth Orchestra. Timothy Perry, Director I  Flute Kelsey Bauer* 1  Caitlynn McMullen !  Kira Slocum Oboe Lana Banner Rebecca Rodbart* LARA LONGSWORTH (mezzo­soprano) is  from  Richmond, VA.  She  is  a member  of  the  Tri­Cities  Opera  Resident  A rtist  Training  Program  and  a candidate  for  a  Master  of  Music  in  Opera  at  Binghamton  University. Longsworth is a graduate of Virginia Commonwealth University where she sang the  title  role  in  Rossini’s  La  Cenerentola,  Prince  Orlofsky  in  Strauss’s  Die Fledermaus, and Fidalma in Cimarosa’s Il Matrimonio Segreto.  She made her Tri­Cities Opera debut as the Mother in Menotti’s Amahl and the Night Visitors. Other roles include :  Giovanna in Verdi’s Rigoletto, the Voice of the Mother in Offenbach’s Les Contes d ’Hoffmann, and Marcellina  in  Mozart’s Le Nozze  di Figaro.  Additional  appearances:  the  title  role  in  a  concert  performance  of Carmen with the Rich mond Symphony,  and a soloist in Dvorak’s Stabat Mater with the Williamsburg Philharmonic and Choral Guild.  Honors include :  First Place in VA State National Association of Teachers of Singing, and First Place SE Regional NATS. Upcoming performances include soloist in  “A Tribute to Ezra  Laderman,”  Puccini’s  Suor  Angellica  with  Tri­Cities  Opera,  and  her Graduate  Recital,  Saturday,  March  28  at  7:30  p.m.  in  Casadesus Recital Hall. Clarinet Heather Boland Caroline  Bravo Jordan Pasternak* Bass Clarinet Michael Cohn Bassoon Robin Kindig Kimberly Meeker* Erench Horn Emie Epelman Alfred Jacobsen* Patrick Lokken Tom Mellin Trumpet Erinn Hibbard* Glen Widjeskog I 1  ’  Trombone David Hennan* Jonathan Ludwin Chris Mann Ii  /P  : Matthew Chedister* Matthew Cosnett Stephen Boel Matt Green Peter Tringali Keyboard Judy Zhu Violin  1 Christina Wan* Yoh­Seung Chiu Alicia  Fusani Shauna Buckman . Tamara Potapova Marie Mizuno James  Leddy Micah Banner­Baine Jennifer Paull Lindsey Krecko Sheri Zola Jah­yu (Lulu) Chen Morgan Kim Meggie Knapp Violin  I Sarah Steiding* Julia Kim Yoolee Choi Mark Liu Karen Krause JungSun Oh Amanda Dumont Sarah Baird Karen  Tang Claudia Fathi Stephanie Mawhirt James Battaglia Viola Melissa Mattern* Melissa Lee l.eah Robinowitz Kenneth Perschke Kerry Conway Christopher Fiore Christopher Trow Janet levins Cassandra Aikman Violoncelo Ben James* Katy Walker Matthew Woolever Shelly Levin Angela Wynne Emily  Creo Tanya Brescia Nicholas Capone Michael  Day Yi­Eun  Park Contrabass Andrew Eiche* Elizabeth Bartlett * Principal  Player �Translation for Massenet’s We rther, Act Three Charlotte: Werther! Werther! Who could have told me the place he occupies in my heart today? Since he went away, despite myself everything wearies me and my thoughts are full of him! These letters! ...  : Ah! I read them over incessantly. . .. With what delight, but also with what sadness! I ought to destroy them. . .I cannot! “I am writing to you from my little room; A leaden grey December sky bears down on me like a shroud; and I am alone, alone, always alone! Ah, nobody with him! ... Not a single token of love... or even pity! God! How did I ever muster that sad courage to ordain this exile and this loneliness? “Children’s happy cries rise up beneath my window, children’s cries! And I think of that time, so sweet, when all your dear little ones used to play round about us. They will forget me, perhaps?” No, Werther, your image stays alive in their memory And when you come back. . .. But ought he to come back? Ah! this last letter chills and te rrifies me! “You said to me,” ‘At Christmas’, and I cried: “Never!” We shall soon know which of us was telling the truth! But if  I must not reappear before you on the appointed day, do not reproach me, weep for me! Yes, with those eyes so full of charms you’ll read these lines again, you’ll water them with your tears. .. O Charlotte, and you’ll shudder!” � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 30:58 36:04 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE251416&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE251416&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 University Symphony Orchestra concerto and aria program, February 28, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004-2-28 Description An account of the resource Works of Grieg, Bruch, Shaw, Massenet, Rimsky-Korsakov. Held at 8:00 p.m., February 28, 2004, Anderson Center Concert Theater. Creator An entity primarily responsible for making the resource Perry, Timothy Schum, Jody Kim, Morgan Lee Pasternak, Jordan Longsworth, Lara 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 2/28/2004 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/a23021ed7ccee9f028189ae45fa55c48.pdf 8df43fcc17c89d5c38d29f57f5df0ee6 PDF Text Text ARQC   1‘  V  N U Becika) tape  ‘ N T V E R S I T Y 2 00 4  D =   Wee  ¢ ol  V’s–r  dop t ww   OG BI N G HA MT O State University of  New York Depa rt ment  of M usic Facu lty R ecita l A P ano ply  of Pip ework s! Jon ath an Biggers, organist Assisted By Ste phe n Stalk er, cello 1 Sunda y, Fe b rua ry 8, 2004 4 :00 p.m . First P resbyterian C hurch �PROGRAM ABOUT T H E  P ERFORMERS Fantasia and Fugue in G­minor, BWV 542............................J.S.  Bach (1685­1750) J O N A T H A N   BIGGERS,  cited  as  “One  o f  the  most  outstanding  concert organists in the United States”, maintains an active career as both a professor o f organ and as a concert organist of the first order.  Presently Professor of Organ at  Binghamton  University  in New  York,  Biggers  has  presented  concerts  in church  and  university  settings  throughout  the  United  States,  Canada,  and Europe, has appeared with various orchestras in North America, and has been ! ! featured on NPR, Canadian Broadcast Corporation, and Radio Suisse Romande broadcasts.  The Kansas City Star, in  a review of a concert by Biggers, noted that his performance demonstrated “authority and eloquence” and stated “were there more players like this, the organ would be far less a minority interest.” Tribute: A Lullaby for Organ...  .. Craig Phillips (b. 1961) Song without Words (2001)  . Craig Phillips Biggers studied with Russell Saunders (Eastman School o f Music), Lionel Rogg (Conservatory  o f  Music,  Geneva,  Switzerland),  J.  Warren  H utton  (The University o f Alabama), Wallace Zimmerman (Atlanta), Harold Vogel ( Bremen, Stephen Stalker, cello Germany), and has won numerous prizes in many different competitions.  In particular,  he  was  awarded  a  unanimous  first  prize  in  the  1985  Geneva International  Competition,  second­prize  in  the  1982  American  Guild  of Organists National Organ Playing Competition, and unanimously won the  1990 Calgary  International  Organ  Festival  Concerto  Competition.  Two  highly acclaimed Compact Disc recordings of his work (“Sleepers, Wake!  A Reger Perspective”  and  “Bach  on  the  Fritts!”)  have  been  issued  by  Calcante Recordings, and Biggers will be recording several other releases in the futu re, to be issued by Loft Recordings. STEPHEN STALKER, cellist, has performed in  chamber groups throughout the  United  States  and  Europe.  As  a  member  of  the  Madison  Quartet,  he performed in the U.S., France, Germany and Switzerland, recorded for the Orion and  Musical  Heritage Society labels, was a finalist in the Evian  International String Quartet Competition  and the Naumberg Chamber  Music  Competition, and  was  an  Artist­in­Residence  at  Colgate  University.  Since  1980,  he  has played  in  the  Catskill  Chamber  Players,  performing  and  premiering  many compositions by prominent American composers, including the world premiere of the late string quartets of Henry Bryant, “Four Score,” at the Weill Recital Hall in New York City.  He has performed the complete Beethoven Trio cycle with  colleagues at  Binghamton  University.  He  performed  with  Solisti  New York on their Alaskan cruise of the Inner Passage from Vancouver to Juneau and toured Greece with the Schenectady Philharmonic.  He teaches cello and double bass at Binghamton University. Prélude et Fugue sur le nom d ’Alain, Op. 7.............Maurice Duruflé (1902­1986) ­­Intermission­­ I P racludium in D­minor, BuxWV 140  Dietrich Buxtchude (1637­1 707) Chorale­Prelude: ..  Dietrich Buxtehude Wie schon leuchtet der Morgenstern, Bux WV 223 Fantasic und Fugue iiber den Choral ..  Wie schon leucht ’ uns der Morgenstern, op. 40  ­Guilbault­Thérien Organ, 1996­ .Max Reger (1893­1 916) �PROGRAM NOTES The Fantasia and Fugue in G­minor (BWV 542) is associated with J.S. Bach’s audition for the prominent position of organist at the Jacobikirche in Hamburg. Even though the position was never offered to Bach, it resulted in this celebrated and famous work.  It is characterized by complete craftsmanship of form and counterpoint, as well as an astound ing sense of proportion.  The fantasia is free in form, composed of alternating sections of free improvisational development and short fugato sections.  It grows in harmonic intensity unt il a final series of flourishes in both the manuals and pedal signal its conclusion.  The fugue, based on an old Dutch folksong, moto perpetuo (“perpetual motion”) in style, is highly rhythmic, which adds to the excitement and interest of the work. f followed by a dramatic toccata, th e fugue is actually a double fugue :  the two Craig Phillips, one of the finest young composers writing for organ, is Music Associate at All­Saints Episcopal  Church, Beverly Hills, California, where he also serves as composer/artist­in­residence for the active music program of that parish.  Tribute:  A Lullaby for Organ was commissioned by concert organist David Craighead to honor Karen McFarlane, his manager, on the occasion of a celebration of her career in conce rt management.  It is a lovely, gentle work, melodic in every way, featuring the clarinet stop on the organ. subjects are combined during the course of a gradual crescendo which brings the work to a thrilling conclusion. Duruflé's  music  remains  a  testimony  to  artistic  inspiration,  and  is  included among the finest works o f the French repertoire.  It is unfortunate that Duruflé published so little of his music, for the great mastery of detail and control of the musical elements that he exercised in  his writings evince a profound spiritual and musical inspiration that is rare in contemporary musical composit ion. Song without Words, written in 2002 as an elegy by Phillips “to the memory of my beloved  brother  Brooks Phillips” who died suddenly in  December of the previous  year,  articulates  what  the  poet  William  Wordsworth  once  termed “thoughts  that  do  often  lie  too  deep  for  tears”.  In  this  work,  Phillips  has produced  a  work  of  great  intensity,  soulfulness  and  expression,  set  for  the unusual combination of organ and violoncello.  Although both compositions are brief examples among  Phillip’s  many compositions, the essence of humanity and of “remembering” shines forth in both. The works of Maurice Durufl¢, tho ugh few in number (his complete o pus listing contains only thirteen works), are distinguished by their compositional quality and musical intensity.  Duruflé's works for organ are amo ng the most important 20th­century contributions to the l iterature o f the instrument, as his Requiem is one of the most important choral works o f the century.  Duruflé's organ music is distinguished by both melodic  charm and dramatic  intent, and though  these works contain many technical difficulties for the performer, they also evidence a great resourcefulness of color and melodic manipulation that often results in an immediate  appeal  for  the  listener.  Various  prominent  figures  in  French composition influenced Duruflé, including Paul Dukas, Louis Viern e, Charles Toumemire, and especially Claude Debussy, as evidenced in his conception o f ‘musical color'. Duruflé, organist of the Church of St.­Etienne­du­Mont in Paris, wrote only six organ works, four of which are large in scope.  Prelude and Fugue on the name of  “Alain  op.7, is the last of the four major o rgan works written by Duruflé.  It was written in 1943 in memory of the French composer Jehan Alain, Duruflé’s friend and  fellow student who was killed  in  World War II.  The work  pays tribute to Alain by both theme and quotation;  although on the “A’s” in Alain’s name exist in standard notation, Du ruflé arrived at musical equivalents for the L, I and N by extending the alphabetical scale beyond H (the German B­natural). Thus,  “Alain”  becomes  the  musical  theme  ADAAF,  which  is  used  as  the principal motive of both the prelude and fugue.  The last section of the prelude quotes the theme of Alain’s most famous organ work, Litanies.  The fugue, one of the finest efforts in the 20th­cen tury organ literature, is a masterful display of Duruflé’s  contrapuntal  skill.  Set  in  two sections, a  more  somber  first  part Dietrich  Buxtehude  was the  foremost  composer of the  North  German  organ tradition which, in stylistic terms, directly preceded J.S. Bach ’s compositional style.  That Bach walked more than 200 miles and spent four months in 1705 to study  Buxtehude’s  music,  as  well  as  to  observe  the  music­making  in Buxtehude’s  church,  the  vast  Marienkirche  in  Liibeck,  is  testimony  to Buxtehude’s fame at that time..  Buxtehude’s compositions are known for their drama and virtuosity, displaying the colorful tonal contrasts found in the North German instruments of that time, as well as demonstrating the full pedal range of the northern­style organ of the Baroque period. The Praeludium in D­minor was w ritten in the late 1 7th century by Buxtehude in  typical  praeludium  style :  an  alternation  of  free  passages  emphasizing virtuosity that  interlock  with  short fugal sections  in  a  more strict  style;  the 1) inclusion  of  a  section  set  in  the  popular  Italian  durezze  et  ligature  style, featuring  strong  suspensions  and  dissonances;  and  a  general  emphasis  on virtuoso pedal  writing.  The total effect is that of a stunning balance between dramatic content, musical substance, and virtuosity.  In  this work, and in many other works by Buxtehude, North German organ music reached the apotheosis of organ style in the mid­Baroque period. �Buxtehude’s chorale­fantasia on  “How  Brightly Shines the  Morning Star” is based  upon  a  popular  chorale  of the day, sung during the  Epiphany season following Christmas.  In this particular work, Buxtehude uses different phrases of the chorale tune in successive sections, creating a succession of contrasting styles  and  textures  –  a  virtual  sampler  of  fantasia­style  composition.  The element of contrast is  further heightened by featuring different divisions and » I ¥I sounds within the instrument in opposition, thus heightening the effect created by the werkprinzip instruments built during the Baroque period, in which each division of the organ was contained in a separate section of the organ case.  The tune of Wie schon is well known, and remains a staple in hymnbooks of our day. The chorale text follows: styles into one.  As a result o f his admiration for the music of J.S. Bach, Reger sought to also  include complex counterpoint, as demonstrated in his skillfully written  fugues.  As  a  result  of these  factors,  his  music  tends  to  be  multi­ How bright  appears the Morning Star,  with  mercy beaming from afar; the host of heaven rejoices; O righteous Branch, O Jesse ’s Rod!  Thou Son of Man and Son of God! we, too, will lift our voices: Jesus, Jesus!  Holy, holy, yet most lowly, draw thou near us; Great Emmanuel, come and hear us. sectional, highly chromatic, and exceedingly dramatic. The  Chorale­Fantasy  and Fugue  on  Wie schon  leucht ’ uns  der  Morgenstern (“How  Brightly  Shines the  Morning  Star”)  belongs  to  a set  of two chorale­ fantasies (Opus 40) published in  1900.  This particular chorale­fantasy consists of a lengthy free introductory section ("fantasy") followed by a lengthy fugue using both a contrapuntal subject and the Wie schon chorale theme as the main sources of compositional material.  It is reported that Reger wrote many of his larger works as a result of a bet he made with the great German organ virtuoso, Karl Straube, to see if each successive work Reger wrote would be so difficult that Straube would be unable to play it.  As a result of their unending wager, Reger  produced  many  highly  virtuosic  works.  Needless  to  say,  Straube evidently  won  each  challenge,  for  most of Reger’s compositions still  remain Though  circled  by  the hosts  on  high,  he  deigned  to  cast  a pitying eye upon his helpless creature; the  whole  creation ’s  Head  and  Lord,  by  highest  seraphim adored, assumed our very nature; prominent in the late­Romantic organ repertoire. Jesus, grant us , through thy merit, to inherit, thy salvation ; ­­J. Biggers hear, O hear our supplication. Rejoice, ye heavens; thou earth, reply; with praise, ye sinners, fill the sky, for this his Incarnation. Incarnate God,  put forth  thy power, ride on,  ride on, great Conqueror, till all know thy salvation. Amen, amen!  Alleluia, Alleluia, Praise be given evermore, by earth and heaven. German  Romanticism  in  organ  music  achieved  a high  point  in  the numerous works of Max  Reger.  For Reger, unlike Liszt or Brahms, organ music was his chief  compositional  area.  His  entire  organ  output  includes  more  than  220 compositions:  approximately  70  small  chorale­preludes,  many  free  works including two sonatas, several preludes and fugues, suites, several variations and fugue sets, several introductions and passacaglias, and seven enormous chorale­ fantasies, including the great Wie schon setting.  In the chorale­fantasies, Reger merged the virtuoso symphonic style so popular at the end of the Romantic era with the great German chorale tradition, thus incorporating two highly distinct ~ \ ! �Coming Events Tuesday,  Fe b ruary  1 0  –  Messiaen  P review  –  A  film  and  faculty/student performances – 8:00 p.m. – Casadesus Recital Hall – free Thursday, Fe b rua ry 1 2 –  Musica  Nova  Lecture/Recital : Q ua rtet for the E nd of the Time – Lecture by Paul Goldstaub with faculty performers – 8:00 p.m. – Casadesus Recital  Hall  ­ $8 general  public; $6  faculty/staff/seniors; free for students Satu rday, Fe b rua ry 2 1 –  A  Russian  Fantasy for Two  Pianos –  featuring Michael Salmirs and Ewa Mackiewicz­Wolfe – 8:00 p.m. – Anderson Center Chamber Hall ­ $14 general public; $12 faculty/staff/seniors; $6 students Th u rsd ay,  Fe b r ua ry  26  –  Mid­Day  Con ce rt  with  faculty  and  student performers – 1 :20 p.m. – Casadesus Recital Hall – free Saturday, Feb ruary 28 ­­  University  Symphony Orchestra  Concerto and A ria Concert – Timothy Perry, conductor ­ 8:00 p.m. – Anderson Center Concert Theater ­ $8 general public; $6 faculty/staff/seniors; free for students Thursday, March 4 ­ Mid­Day Concert with faculty and student performers – 1 :20 p.m. – Casadesus Recital Hall ­ free Satu rday, Ma rch 5  –  A  T ribute to Ez ra  Lade rma n –  Pianist  Chai­Kyou Mallinson,  flutist  Georgetta  Maiolo,  dancer  Marlon  Torres  and  singers perform works by Laderman – 8:00 p.m. – Anderson Center Chamber Hall ­ $14 general public; $12 faculty/staff/seniors; $6 for students Saturday, March 6  –  Du ke  Ellington  Orchestra ­­ 8:00  p.m. –  Anderson Center Concert Theater ­ $25 general public; $20 faculty/staff/seniors; $10 students (co­sponsored by the Harpur Jazz Project) Sunday, March 7 – University Wind Ensemble ­­ “Cinematic Signatures II – Music by John Williams” – 3:00 .m. – Anderson Center Concert Theater – free Thursday, March 1 8  – Mid­Day Concert with Faculty and student performers – 1 :20 p.m. – Casadesus Recital Hall – free Saturday, March 20 – Ha rpu r Chorale and Women ’s Chorus – 8:00 p.m. – Anderson Center Chamber Hall ­ free � 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.) 1:10:11 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE251420&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE251420&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 A Panoply of Pipeworks!: faculty recital, February 8, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004-2-8 Description An account of the resource Works of Bach, Phillips, Duruflé, Buxtehude, Reger. Held at 4:00 p.m., February 8, 2003, First Presbyterian Church. Creator An entity primarily responsible for making the resource Biggers, Jonathan Stalker, Stephen 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 2/8/2004 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/b34cadb64f3d5a1c58d4f50dc4f99c6d.pdf a47abd759ab6a0cf2724cf6a9306030f PDF Text Text . é'  V» (1, f E U . ii; 3  E BINGHAMTON Rac  U N I V E R S I T Y ED  \ 1 7 4  \ PNY  ‘n’  \   GS State University of  New York Departme nt of Musi c   TT \ ©  T E E A Russ ian Fan tasy for Two Pianos with Ewa Ma ckiewicz­Wolfe Michael Salmirs 3 ] Sat u rd a y, Feb r u a ry 2 1, 2004 8 :00 p.m. A nderson Cente r C ha m be r Hall �Progra m Sergei Rachmaninoff (1873­1943) ’ i Suite No. 1 for Two Pianos, Op.5 (Fantasie Tablcaux) I.  11.  III.  IV.  Barcarolle: Allegretto A Night for Love : Adagio sostenuto Tears: Largo di molto Easter: Allegro maestoso Symphonic Dances, Op. 45 l I.  II.  III.  Non Allegro—Lento—Tempo 1 Andante con moto (Tempo di valse) Lento assai––Allegro vivace ­­I ntermission­­ l Suite No. 2 for Two Pianos, Op. 17 I G I.  II.  111.  IV.  Introduction: Alla marcia Valse: Presto Romance: Andantino Tarantelle: Presto Il ! l �P rogra m Notes Rachmanioff’s two­piano suites and symphonic dances arc among the composer ’s major works.  Rachmaninoff was only 20 when the Suite  No.  1  “Fantaisic  –  ta blea ux ”  Op.  5  was  published. Dedicated  to  Tchaikovsky,  it  shows  a  very  strong  link  to  that composer’s lyrical art.  The Suite consists of four brief movements which  arc  preceded  in  the  score  by  quotations  from Rachmaninoff’s  favorite  poets:  Lermontov,  Byron, Tyutchev and Khomyakov. The first movement, the G minor Barcarolle: Allegretto, captures not  only the serenity of Lermontov ’s lines but also something of their restrained pathos. Gondola Song O cool evening wave Lap gently under the oars of the gondola ...that song again! and again the sound of the guitar! ...in the distance, now melancholy, now happy, Was heard the sound of the old barcarolle: “The  gondola  glides  through  the  water,  and  time  flies through love; The waters become smooth again and passion will  rise no more.” Mikhail Lermontov (1814­1841) The  second  movement, La  mit...L’ amour:  Adagio sostenuto (A Night  For  Love),  inspired  by  Byron ’s  lines,  is  an  extended dialogue which begins with suggestions of bird song, then rises to a  central  climax  and  retu rns  to  the  tranquility  from  which  it emerged. Night.....Love It is the hour when from the boughs The nightingale’s high note is heard; i It  is the hour when lover’s vows Seem sweet in every whisper’d word; And gentle winds, and waters near, Make music to the lonely ear. Lord Byron (1 788­1824) The  next,  Les  larmes  (Tears),  is  the  most  characteristic  and forward­looking movement of agonized melancholy. Tea rs Human tears, O human tears! You flow both early and late – You flow unknown, you flow unseen Inexhaustible, innumerable, ­ You flow like torrents of rain In the depths o f an autumn night. Fyodr Tyutchev (1803­1873) The finale, Paques: Allegro maestoso (Russian Easter) is entirely outgoing and theatrical, with the Kremlin bells tolling exuberantly from the opening bar to the last. Easter The mighty peal rang out over the earth, And all the air, moaning, shuddered and groaned. Melodious, silver thunderings Told the news of the holy triumph Alexei Khomyakov (1804­1860) The Suite No. 2, Op. 1 7, composed years later, was performed by the  composer  and  his  friend  Alexander  Siloti  in  Moscow  in November  1901.  The Suite’s first movement, Introduction:  Alla Marcia, is full of energy and confidence, a tour de force in rhythm �Coming Events Th u rsday,  Feb r ua ry  26  –  Mid­Day  Concert  with  faculty  and  student performers – 1 :20 p.m. – Casadesus Recital Hal l – free Satu rday, Feb ruary 28 –  University Symphony O rchestra  Concerto and Aria  Concert – Timothy Perry, cond uctor ­ 8:00 p.m. – Anderson  Center Concert Theater ­ $8 general public; $6 faculty/staff/seniors; free for students Th u rsday, March 4 ­ Mid­Day Con cert with faculty and student per formers – 1 :20 p.m. – Casadesus Recital Hall ­ free F riday,  March  5  –  A  T ribute  to  Ezra  Laderman  –  Pianist  Chai­Kyou Mallinson,  flutist  Georgetta  Maiolo,  dancer  Marlon  Torres  and  singers perform works by Laderman – 8 :00 p.m. – Anderson Center Cha mber Hall ­ $14 general public; $12 faculty/staff/seniors; $6 for students Satu rday, Ma rch  6  –  Du ke  Ellington  O rchestra  –  8:00  p.m.  –  Anderson Center Concert Theater ­ $25 general  public; $20  faculty/staff/seniors; $1 0 students (co­sponsored by the Ha rpur Jazz Project) Sunday, Ma rch 7 – University Wind Ensem ble – “Cinematic Signatures ll – Music by John Williams” – 3:00 .m. – Anderson Center Concert Theater – free Th u rsday, Ma rc h 1 8  – Mid­Day Concert with Faculty and student performers – 1 :20 p.m. – Casadesus Recital Hall – free Satu rday, March 20 – Ha r pu r Chorale and Women ’s Chor us – 8:00 p.m. – Anderson Center Chamber Hall – free Sunday, Ma rch 2 1 – Moza rt Lectu re/Recital – Lecture by Alice Mitchell with faculty artists performing – 3:00 p.m. – Casadesus Recital  Hall ­ $8 general public; $6 faculty/staff/seniors; free for students Th u rsday, Ma rch 25 – Ha r pu r T rumpet Ensemble Concert – 8 :00 p.m. – Casadesus Recital Hall – free Satu rday,  Ma rch  27  –  Songs  My  Teachers  Ta ught  Me  –  Soprano  Mary Burgess  and  Friends  – 8:00  p.m.  –  Anderson  Center  Chamber  Hall  ­ $14 general public; $12 faculty/staff/seniors; $6 students � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:03:16 26:54 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE251423&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE251423&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 A Russian fantasy for two pianos, February 21, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004-2-21 Description An account of the resource Works of Rachmaninoff. Held at 8:00 p.m., February 21, 2004, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Rachamaninoff, Sergei Mackiewicz-Wolfe, Ewa Salmirs, 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 2/21/2004 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/7b88c853266d246dcdaa5469653b05cb.pdf 0c8c3f518e76d73d14b458595395acd3 PDF Text Text State University of New York Department of Music JOINT STUDENT RECITAL David Henann, trombone Caroline Bravo, clarinet Margaret Reitz, piano Saturday, March 20, 2004 3:00 p.m. Casadesus Recital Hall �About the Performers DAVID HEN ANN, a native of Monroe, LA, has been playing the trombone since age eleven. Henann attended Ouachita Parish High School where he participated in marching band and Symphonic Winds. During school, he studied privately with Sue Anderson. Henann also was a member of All-State Band, All-District Band, Ark-La-Tex Band, All-South Band, Twin City Concert Band, and the Monroe Youth Symphony. In his second year at Binghamton University, he is a member of the Wind Ensemble, Orchestra, BU Sinfonia, and Binghamton University Brass Quintet. Henann now lives in Wind Gap, PA, and is a mechanical engineering major. CAROLINE BRAVO is a native of Hopewell Junction, NY, where she started playing the clarinet in elementary school and studying privately with Louis Bonafati. She continued her private study through high school with James Trainor, becoming a NYSSMA veteran and participating in both Area All-State and All-County. At John Jay High School, she was a member of the pit orchestra for two years, symphonic band for three and marching band for six. She also was a member of the Hudson Valley Council Community Band for seven years. When not doing something musical, Bravo likes to read, watch foreign films, shop, and play in the snow. A junior and a history major, she plans to attend law school. Bravo would like to thank Mr. Kieley, Dr. Perry, and all her music teachers, past and present, for the knowledge and experiences they have given her, as well as the encouragement to keep playing. MARGARET REITZ, piano, received her Bachelor and Master of Music degrees in piano performance with accompanying emphasis. She attended Boston University, New England Conservatory and Binghamton University. She has studied piano with Jean Casadesus, Victor Rosenbaum, Seymour Fink and Walter Ponce and accompanying with Allen Rogers. She has accompanied throughout the United States, in England, South America, and at the American Institute of Musical Studies in Graz, Austria . Reitz has been on the faculty at Binghamton University since 1991 and The Ithaca College School of Music since 1999. �Program Introduction and Polonaise .................................. Heinrich Barmann Op. 25 for clarinet and piano ( 1784-1847) Allegro agitato Andante Polacca Concertino, Op. 4 ................................................... Ferdinand David Allegro maestoso (1810-1873) Andante marcia funebre Allegro Maestoso --Intermission-Five Bagatelles .............................................................. Gerald Finzi Prelude (1901-1956) Romance Forlana Fughetta Sonatina for Trombone and Piano ....................... Kazimierz Serocki Allegro (1922-1981) Andante Malta Sostenuto Allegro Vivace �Coming Events Thursday, March 25 - Harpur Trumpet Ensemble Concert - 8:00 p.m. Casadesus Recital Hall - free Saturday, March 27 - Cherished Friends, Cherished Songs - Soprano Mary Burgess and pianist George Darden - 8:00 p.m. - Anderson Center Chamber Hall - $14 general public; $12 faculty/staff/seniors; $6 students Thursday, April 1 - Mid-Day Concert with faculty and student performers 1:20 p.m. - Casadesus Recital Hall - free Thursday, April 15 - Mid-Day Concert with faculty and student performers I :20 p.m. - Casadesus Recital Hall - free Saturday, April 17 - University Chorus and Orchestra - Mozart's Requiem - Bruce Borton, conductor - 8:00 p.m. - Osterhaut Concert Theater - $8 general public; $6 faculty/staff/seniors; free for students Sunday, April 18 - The King of the Instruments: Guest Organist David Heller - 4:00 p.m. - First Presbyterian Church, Chenango Street, Binghamton - $14 general public; $12 faculty/staff/seniors; $6 students Thursday, April 22 - Jazz Mid-Day Concert with guest artist Houston Person, saxophone - 1:20 p.m. - Osterhaut Concert Theater - free Thursday, April 22 - Harpur Jazz Ensemble with guest artist Houston Person, saxophone - Michael Carbone, conductor - 8:00 p.m. - Osterhout Concert Theater - $8 general public; $6 faculty/staff/seniors; free for students Sunday, April 25 - University Wind Ensemble: New Dances -Timothy Perry and Stephen Boel, conductors - 3 :00 p.m. - Anderson Center Chamber Hall free Tuesday, April 27 - University Percussion Ensemble - 8:00 - Ancierson Center Chamber Hall - Free Friday, April 30 - Flute Studio Recital - 10: 15 a.m. - Casadesus Recital Hall -free Wednesday, May 5 - An Evening of German Songs featuring Graduate and Undergraduate Voice and Opera students - 8:00 p.m. - Casadesus Recital Hall - free Thursday, May 6 - Student Recognition Mid-Day Concert - 1:20 p.m. Casadesus Recital Hall - free � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 0:44:09 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE251996&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE251996&amp;change_lng=en&amp;select_viewer=metsViewer</a> PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joint student recital, March 20, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004-3-20 Description An account of the resource Works of Bärmann, David, Finzi, Serocki. Held at 3:00 p.m., March 20, 2004, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Bravo, Caroline Reitz, Margaret Henann, David 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 3/20/2004 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/44e7171d77e7bd26eb478ba5ac679e28.pdf 59e17525866d418901944150c06cf0e9 PDF Text Text BINGHAMTON U N G E N State University of  New York De pa rt ment of Music “VOICES F R O M  H O M E  A N D DISTANT LANDS” T imot h y Pe rry, clarinet Margaret Reitz, pia n o W it h Guest Ar tists H a k a n  Tayga­Hromek, violoncello A pril Lucas, saxophone '  F riday, September 10, 2004 8:00 p . m . Anderson Center C ha m be r Hall �The Binghamton University Depart ment of Music 2004­5 Chamber Series Timothy Perry, clarinet Margaret Reitz, piano with guest artists Hakan Tayga­Hromek, violoncello April Lucas, alto saxophone Program Eyatusiome Bucolique (1949)  Café 1930 .................................................AstorPiazzolla from Histor y o f the Tango  (1921­1992) J J o h n Mayer Raga Music for Clarinet Alone (1952)  1.  2.  3.  4.  (1930­2004) 5.  Shri (Afternoon)  Vilasakhani  Megha (Rainy season)  6.  Pilu (Evening) 7.  Puravi (End of Day) Vibhasa (Sunrise)  Gunakali (Morning)  8.  Kanada (In the Deep of Night) 9. Vasanta (Spring Raga) o Egyplian  Ma­Wal ( T M   o Fantasy Trio (1969, rev. 1989). . . . . .  for Clarinet, Violoncello and Piano  1.  Allegro energico  2.  Andante con espressione  (b. 1958) . . .Robert Muczynski (b. 1929) 3.  Allegro deciso 4.  Introduction and Finale Hakan Tayga­Hromek, violoncello �About the Music The increasing reach of globalization has also facilitated an Intermission almost instantaneous int erchange of ideas, accelerating the ¥ Fantasie for Clarinet and Piano  :  d a   h e h Unity (2003)  R e Three American  “Songs Without Words” i  ining  Night  Ngi  Sure O n This Shining  r  from  Candide  Gay, f  y,aom G i  Glitter and Be  borrowed material from the next town.  That two­way traffic is reflected in much of tonight ’s program. To balance t he interest in a new and unfamiliar sound, genre, form or instrument and yet remain grounded in one’s sense of place and time presents the composer with a subtle balancing act. Too little cross­cultural input may result in ethnic veracity that can prove unintelligible to the listener, while too much input may create music that lacks roots, afflicted with a kind of sonic homelessness. We hope that tonight’s musical selections reflect the more successful atte mpts to embrace and share – locally and globally ­ the world’s musical riches. April Lucas, saxophone r  from  Porgy Pogry  and Bess  y li So, f in’ Necessarily  S o,om It Ain’t  opportunity for composers both here and abroad to assimilate influences from across the globe as easily as they formerly . George Gershwin P v E .. Samuel Barber h s a .  Leonard Bernstein A r i e Eugene Bozza (1905­1991), longtime professor of composition at the Paris Conservatoire de Musique, was a musician of rare ability who won the Paris Conservatory’s coveted Premier Prix in Violin, Conducting and Composition. One of a string of virtuosic wind solos,  his Bucolique (1949) is d edicated to the Conservatory’s then­professor of Clarinet Ulysse Delécluse and was used as that yea r’s competition piece.  Its mixture of rural impressionism reminiscent of Honegger’s Pastorale d’Ete with Bozza’s personal interest in oriental and Indian scale­forms suffuse one of the most technically difficult short works ever written for the clarinet. As a composer who divided his time between Argentina and New York, Astor Piazzolla worked throughout a long career to blend the unique timbres and sensuous rhythms of the traditional tango with formal and harmonic aspects of modern  jazz.  As an accomplished bandoneon player, Piazzolla worked to bring his instrument into acceptance in classical orchestral and chamber music circles, and its special tone color and figurations are discernible just below the surface of most of his works.  Café 1930 forms the second movem ent of his suite Hie History of the Tango originally published for G uitar and Flute. The work is highly �evocative, reminiscent of the smoky rooms and smoldering passions in which the doomed romances of the fi lm noir era played out as much in life as in the cinema.  g The relatively recent entrance of classical Western music into the cultural life of the Arab world is matched by the paucity of works by Arab composers available in the West. At present, Cairo probably has the most active center of musical interchange between European and Arabic musical cultures.  Sudanese by birth, Ali Osman trained in Cairo as a student of Gamal Abdel– Rahim and Awatif Abdel­Karim. In the composer’s words, “The Mawal is a free song part normally sung before the main song by Arab singers and it has love lyrics, and sometimes folkloric wisdoms.” The form makes use of complex meters (10/8 and 7/8 time) and a sinuous melodic line which includes use of sikha, expressive quarter­tones outside Western scale­forms,  and finally, { . C music is earnest and unpretentious in character. His pieces tend to be short because his music is pure substance ­­ nothing but the aesthetic basics: distinctive motifs wo ven into clear, transparent textures, developed logically but imaginatively into concise, satisfying, compelling formal entities. The result is a friendly modernism­­tonal but not reactionary.”  For music with such taut construction, Muczynski manages to  evoke a surprising amount of expression, intensity ­ and (in the “bluesy” third movement) fun. cadenza­improvisation sections (faqgasim) of a quasi­ Hungarian composer Frigyes Hidas completed his musical education at the Franz Liszt Academy in Budapest. Hidas enjoyed a distinguished career as music director of the National Theatre (1951 ­ 1966) and between 1974 and 1979 at the municipal Operetta Theatre, at which time he retired to devote himself full­ time to composition. Hidas has a large body of works spanning almost every genre of music but is known primarily in the U.S. for his excellent wind chamber music. A self­professed “Post– Romantic,” Hidas’ music shows the strong residual influences of Kodaly and Bartok while incorporating elements of modernist and jazz rhythms. The small Fantasie fro m 1965 is built from its opening motive of a melodic fourth and a second, moving through improvisational nature. Born in Calcutta to an Anglo­Indian father and Indian mother, John Mayer became the first composer to merge Indian music with Western forms in this evening’s Raga Music of 1952. Mayer was trained in both Indian and Western violin by teachers including Melhi Mehta, the father of conductor Zubin Mehta prior to joining London’s Royal Philharmonic Orchestra in 1958. Eight years later, he formed one of the earliest “world­music” crossover ensembles, Indo­Jazz Fusions, and as Professor of Composition at the Birmingham Conservatory wrote music for musicians as varied as flutist James Galway, jazz saxophonist Carlos Lopez­Real and the rock group Emerson, Lake and Palmer. A pioneering piece of “world music,” Raga Music uses approximated Indian scale­forms a series o f variations and transformations into a central recitative and recapitulation. (ragas) in short pieces appropriate to  the varying seasons and times of day. Robert Muczynski steadily built a reputation as one of America’s leading composers as Professor of Composition at the University of Arizona in Tucson. A formidable pianist, Muczynski composed most of his early works for piano, but garnered critical acclaim with his 1961 Sonata for Flute and Piano. Tonight ’s Fantasy Trio was premiered in 1969 and revised in 1989. Its style is well summed up by his publisher, Theodore Presser: “Muczynski’s “Unity was written in response t o a commission from the 4 o) University of Houston’s Aura Contem porary Music Ensemble. The original instrumentation was for Alto Sax, Viola, and Piano. This version is reworked for Alto Sax, Clarinet, and Piano. The title is a reflection on an observation that the main themes from the middle section rely not on simply one instrument playing a theme and the others accompanying, but rather that all three instruments together make up the theme. Compare this to the first movement of �Mozart’s Piano Sonata in C­major (K. 333), which has a melody that is recognizable whether the accompaniment is played or not. In Unity, there is a sense of something missing when the other instruments are not playing. This is emphasized by the passages in which the viola is playing alone, or later where the sax plays a “cadenza” before the return of the first theme of the B section.” ­­ Timothy Michael Rolls We conclude the evening’s program with instrumental About the Performers I ° transformations from three favorite Ame rican songs. The first draws on Jascha Heifetz’s setting of It Ain ‘t Necessarily So from the 1935 score to Porgy and Bess. My memories of pops­concert performances backing the immortal Cab Calloway inform my arrangement, an homage to the more­than­slightly naughty tongue­ in­cheek interpretation of the role of Sportin’ Life. We follow with the young Samuel Barber’s simply celestial 1938 setting of James Agee’s Sure On This Shining Night. Barber’s light touch in mixing modern formal and harmonic elements with a gift for ravishing melody makes him one of the 20th­century’s most emotionally satisfying composers. To close, we offer my own transcription of Bernstein’s coloratura aria for Cunegonde from Candide. A smiling yet satiric take on Gounod’s Flower Song from Faust, Bernstein’s “good­ news, bad­news” life of a courtesan echoes the composer’s own career ­­ an ceaseless, indefatigable revel for love of music and life. ­­Timothy Perry August 2004 T l L Clarinetist, Conductor and Professor of Music, TIMOTHY PERRY joined the Binghamton University faculty in 1986 as Director of the Orchestral and Wind Ensemble programs and Instructor of  Studio Conducting and Clarinet. Perry holds D.M.A., M.M.A. and M.M. degrees in Clarinet from the Yale School  of Music (as a  pupil of Keith Wilson) and a  Bachelor of Music degree  from  the  Manhattan  School  of  Music  (as  a  student  of  Leon Russianoft). He  has served as Principal  Clarinet  in  numerous orchestras including  the  Wisconsin  Chamber  Orchestra,  New  England  Chamber Orchestra, the Catskill Symphony, Glimmerglass Opera and was Assistant Principal Clarinet of the New Haven Symp hony and Northeast Pennsylvania Philharmonic.  A  devoted  chamber  music  player,  Perry  has  performed frequently  as  a  member  of  the  Catskill  Woodwind  Quintet,  Catskill Chamber  Players  and  Finger  Lakes  Chamber  Ensemble  and  has  been selected for festivals in Vinalhaven, Maine and Thy, Denmark.  As a soloist, he  has  been  featured  with  the  Binghamton  Philharmonic,  Catskill Symphony and  Binghamton Community Orchestras, toured Latin America and  the  Caribbean  for  the  U.S.  Department  of  State  as  a  Musical Ambassador  in  1997,  and  twice  presented  recitals  for  the  International Clarinet  Congress  in  France  and  Belgium.  He  owns  and  performs  on historical instruments, and his  performance on 19™­century clarinets was seen in the 2000 PBS miniseries A House Divided. He is a noted specialist in the music of composer Paul Jeanjean, recording the latter’s virtuoso 18 etudes  de  perfectionnement, and  Karl  Baermann, whose  concertino  The Hour of Ghosts he premiered with the BCO in 2003. He is researching the technical  development  of  the  Alto  Clarinet  and  preparing  works  on  a recently­acquired set of Oehler­system clarinets. M ARGARET REITZ, piano, received her Bachelor and Master of Music degrees in piano performance with accom panying emphasis. She attended Boston University, New England Conservatory and Binghamton University. She has studied with Jean Casadesus, Victor Rosenbaum, Seymour Fink and Walter Ponce and accompanying with Allen Rogers. She has accompanied throughout  the  United  States,  in  England,  South  America  and  at  the American Institute of Musical Studies in G raz, Austria. Reitz has been on the  faculty at  Binghamton  University  since  1991  and  the  Ithaca College School of Music since 1999. �HAKAN  TAYGA­HRO MEK, cello,  has attended­It haca  College, SUNY  Purchase  and  SUNY  Binghamton.’ Teachers  have  included Fritz Wallenberg, Einar J. Holm, Marion Feldman, Peter Wiley, and Stephen Stalker. Hromek has attended Round Top International Music Festival  in Round Top  Texas, Music Mountain Chamber Program; Falls Village CT, Spoleto Music Festival in C harleston, NC, and the International  Congress  of  Strings;  Cincinnati,  OH.  Hromek  is principal cellist with the Binghamton Philharmonic and Orchestra of the Southern F inger Lakes. He also performs with Tri­Cities Opera and the Cayuga Chamber Orchestra, and a piano and cello duo with Margaret Reitz.  y APRIL LUCA S graduated with both a Bachelor of Arts and a Master of Music degrees from Binghamton University where she studied with Al  Hamme  and  did  extended  studies  with  Steve  Mauk  at  Ithaca College. She is currently on the Faculty at Binghamton University as Saxophone  Instructor.  Lucas  also  has  served  on  the  faculties  of Broome Community College a nd Hartwick College. As a founding member of the Empire Saxophone Quartet, she has presented concerts and  clinics  throughout  the  United  States  and  Canada.  Lucas  is  a member of the  Binghamton  Philharmonic  Orchestra,  the  Tri­Cities Opera Orchestra and the  Southern Tier  Concert  Band. Since  1989, Lucas has been a member of the New Sousa Band under the direction of  Keith  Brion  and  has  presented  concerts  and  clinics  with  the ensemble internationally. She has been a soloist with the band for the past  four  years.  Lucas  is  a  past  Regional  Director  for  the  North American  Saxophone  Alliance.  She  has  recorded  with  the  Empire Saxophone  Quartet,  the  New  Hudson  Saxophone  Quartet,  the Saxophone Sinfonia and the New Sousa Band. She maintains a small private studio in her home. TIMOTHY  ROLLS,  a  Lecturer  in  Music  (technology)  at Binghamton University since 1 999, holds an associate’s degree from Broome  Community  College,  a  Bachelor  of Arts degree  from  the State University of New York at New Paltz, a Master of Music d egree from the State University of N ew York at Binghamton and a  DMA degree from the University of H ouston.  He studied com position with Gundaris Poné, David Brackett, Reynaldo Ochoa and Michael Horvit and  theory  with  Timothy  Koozin  and  John  Snyder.  Rolls’ compositions  have  been  performed  throughout  North  and  South America, Japan and Korea. w L l �Coming Event s  _ Sunday, October  3  – A  Celebration of W omen ­­ Gigi Mi tchell­Velasco, mezzo­soprano a n d F ra n k Corliss, piano – 3 :00 p.m. – Casadesus Recital Hall – $15 general public; $13 faculty/staff/seniors; $7 students Th ursday, October 7 – Mid­Day Con cert with faculty a nd student perform ers – 1 :20 p.m. – Casadesus Recital Hall – free Saturday, Octob er 9  –  A n Evening of Ja zz : Houston  Person  Quart et – Houston Person, t enor saxophone; Stan Hope, piano; Per­ola Gadd, bass; and Chip White, d rums – 8:00 p.m. ­ Anderson Center Osterhout Conce rt Theater – $20 general public; $15 faculty/staff/alumni/seniors; $8 students Sunday, October  1 0 – G uest Organist An toni us Bitt mann – 4 :00 p.m. – First Presbyterian  Church,  Binghamton  ­  $15  general  public;  $13 faculty/staff/seniors; $7 students Th ursday,  October  14  –  Mid­Day  Concert  with  faculty  and  student performers ~ 1 :20 p.m. – Casadesus Recital Hall – free  : F riday, October  1 5  –  Child ren ’s Concert  –  Carnival of  t he  A nimals  – University Symp hony Orchest ra – an introduction to the orchestra, Saint­ Saens ’ Carnival of the Animals with piano soloists, art and poetry – 9:30 a.m. ­ Anderson Cente r Osterhout Conce rt Theater – all tickets $4  (Co­sponsored by Press and Sun­Bulletin).  This performanc e is for school gro ups. Saturday, Octob er  1 6  –  Child ren ’s  Concert : Carnival of  the  Animals  – University Symp hony Orchest ra  – an introduction to the orchestra, Saint­ Saens ’ Carnival of the Animals with piano soloists, art and poetry and a visit from the Ross Pa rk Zoo mobile ­  3 :00  p.m. – Anderson  Center Osterhout Concert Theater – all tickets $5 (Co­sponsored by the Press and Sun Bul letin) Th ursday, October 2 1 ­ Mid­Day Con cert with faculty a nd student perform ers – 1 :20 p.m. – Casadesus Recital Hall – free Th ursday, October  2 1 –  Czech  Mates ­­  Chamber  music  by Czech  composers Martinu, Dvorak, Hus and Janacek p erformed by music faculty, in association with the exhibit “The  Prague Project” – 8:00 p.m. – Roberson  Museum and Science Center ­ $15 general public; $13 faculty/staff/seniors; $ 7 students � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 35:52 54:14 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE251999&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE251999&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 Voices from home and distant lands, September 10, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004-9-10 Description An account of the resource Works of Bozza, Piazzolla, Mayer, Osman, Muczynski, Hidas, Rolls, Gershwin, Barber, Bernstein. Held at 8:00 p.m., September 10, 2004, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Perry, Timothy Reitz, Margaret Tayga-Hromek, Hakan Lucas, April 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 9/10/2004 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/c8f87d46d524e684a44e807c6d6c1098.pdf c787e28bab583601d747950acc8cef25 PDF Text Text BINGHAMTON o N 1   V  E  R  oS]  T  ¥ State University of  New York Depart ment of Mus ic La Femme! A Celebration of Women Gig i M itchell­Velas co, mezzo­soprano '  F rank Corliss,  piano Sunday, October 3, 2004 3:00 p.m. Casadesus Recital Hall �Program La Femme!  A Celebration of Women : ­­Intermission­­ Impetuous Youth .  Zwei Lieder aus Goethe’s Egmont, Op. 84..  Freudvoll und Leidvoll  Die Trommel geriihret  Ludwig van Beethoven (1770­1827) Pride, Defiance and Bravery La Mort de Cleopatre.................................................................Hector Berlioz (1803­1869) Courtship, Marriage and Fidelity Frauenliebe und­Leben, Op. 42 n Seit ich ihn gesehen  Er, der Herrlichste von Allen Ich kann’s nicht fassen Du Ring an meinem Finger Helft mir, ihr Schwestern Susser Freund, du blickest An meinem Herzen Nun hast du mir den ersten Schmerz getan o Schumann (1810­1856) Coquette and Longing Mein Liebster hat zum Tische mich geladen..................cc.c.c............... Wolf 1860­1903) Miihvoll komm’ ich und beladen  Verschwiegene Liebe In dem Schatten meiner Locken Ich hab’ in Penna einen Liebsten   Today ’s Woman Speaks o No Ordinary W Bones Be Good  Turning Homage to my Hips Homage to my Hair My Thirty­Eighth Year m a n   ’ Gwyneth Walker (b. 1947) �PROGRAM NOTES Dear Friends: Welcome to another afternoon of song.  For those of you who have never attended one of my programs, you are in for a l o t German Lieder ­   perhaps more than most people ever hear at one sitting.  My teacher and mentor was one of the greatest German Lieder singers and it seems only natural  that  since  I have  an  affinity with  her voice  and technique, so should I also have affinity with the Lieder.  Today’s program, however, offers a bit of a departure from my normal recital style, as I have added two relatively unfamiliar works in other languages.  The first half offers a steady diet of Lieder, and the second half has two different t hings on the menu:  the rarely performed Death of Cleopatra of Berlioz in French and the whimsical jazzy cycle No Ordinary Woman! of Gwyneth Walker in English. In planning this program, I was offered a date in October and decided that, since October is National Breast Cancer Awareness Month, I would love to do a tribute to women. Each set offers a different look into the varied personalities of women and how they deal with their lives.  Each shows us a different strength and vulnerability.  Presumably, no woman is alike, but I am conspiring to prove today that there are things we all share and have in common, whether it is a desire we have had in our deepest fantasies or something that we have stood for outwardly in  how we live our lives. There is a common thread of sisterhood, which crosses all boundaries of race, color, social status or religious belief.  No more is that apparent than in  the  poetry  of  Lucille  Clifton,  a  distinctively  “Black  voice”  which speaks clearly of Black issues, emotions and values, and yet s p e a k s  all of us with such ease and familiarity that we see a part of ourselves in her writing. Be active and become involved either by donation to the charity of your choice or by moral support of someone you know who needs you.  We all depend  on  women  for  their  nurturing,  their  encouragement  and  their female intuition that make our earth a gentler, more beautiful place to live in.  We are all a community of souls that can combine our small lights into one larger one that can light the world.  You can make a difference in someone’s life.  I’m sure you already have!  It  is my sincere hope that today I will make a difference in yours, so please pass it on! Love and Light to you all and do continue reading to enjoy some personal and occasionally irreverent program notes! The two Kliirchen Lieder that open the program are from incidental music that Beethoven wrote for the Goethe play Egmont (like a modern film score of sorts) in 1809.  The idea of a hero in Beethoven’s mind was in  fact inseparable from that of working for a liberated humanity.  The beliefs of Egmont, Goethe and Beethoven were similar in  many ways, and it has been said that Beethoven was so impressed with Goethe’s play that  he  refused  to  take  any  payment  from  the  theater  for  writing  the music.  Egmont is a stirring dramatization of a quintessentially romantic subject: a heroic individual’s fatal struggle against injustice.  His beloved and  devoted  Klarchen  was  a  Burgher’s  daughter  who  plots  to  free Egmont  from imprisonment and, having  failed in that attempt, poisons herself.  In these particular music selections, Klirchen shows her young and  rambunctious side as well as her sentimental side.  Freudvoll und Lcidvoll seems to be a lyric hymn to emotions themselves, emotions that seem to be marked typically by ardent youth.  In Die Trommel geriihret, one can hear the drums rolling in the lower piano and the fife tweeting up high getting ready for battle.  One can hear the middle chords played in off­beats, imitating the shooting guns of battle.  These songs are popular with  voice  and  piano  in  any  range,  but  were  originally  written  for soprano  with  orchestral  accompaniment.  One  is  reminded  of Beethoven’s opera Fidelio, which also portrays a heroine disguised as a man who infiltrates a camp to save her imprisoned husband. The beautiful song cycle of Schumann to the poetry of Chamisso has aroused disdain every time I discuss it with a German speaker.  Many native German speakers (mainly men), while acknowledging the beauty and  importance  of  this  cycle,  have  almost  unanimously  decided  that these texts are insipid and sexist.  1 find that terribly amusing, as i t is a product  of  the  time  in  which  they  were  written.  Indeed,  there  are moments that speak of obeisance and blind adoration.  What I think so interesting, period notwithstanding, is that almost every person who has been  in  love  in  the  delicate  flower  of their  youth  has  had  just  these feelings!  I have planned for many years to sing these songs and I have always felt that they say how I feel about my husband.  Finally I have programmed them, and you know what?  I still feel that way about him! There are eight bricf songs woven together with such stunning simplicity that  it  makes  one  marvel  at  the  honesty  of  emotion  they  portray. Following her li fe from the first time she lays eyes on “him,” Seit ich ihn gave/ion opens with a gentle theme as she recounts how she fell in love at first  sight.  In  E r,  der  Herrlichste  von  Allen,  she  “shouts  from  the �r rooftops,” so to speak, his  praises and  how grand  he  is  in  every way.  Ieh kann ”s  nicht fassen finds her bewilderment as she realizes that he too feels the same way and has professed to “always be hers.”  Du Ring am meinem Finger shows her gazing at her wedding ring, singing of the promises she will fulfill and the responsibility and honor of becoming the wife of the man she adores. In  Helft mir, ihn Schwestern, she asks her sisters to adorn  her and make her ready  for  her  wedding  day.  One  clearly  hears  the  theme  of  this  song transformed  into a wedding march  in  the piano ending.  Siisser Freund, du blickest finds tenderness and intimacy as they consummate their marriage and as she tells him that she hides a beautiful secret; one day his beloved  image will gaze back at him.  The following An meinem Herzen, the happiest of all of these in many ways, is a playful session with their beautiful child as she nurses him and tickles him, making him  laugh.  What a shame it is, she says, that a man can never experience this level of joy!  At the end of this song we  hear clearly the three notes that she has sung at the end of the previous one, ‘dein Bildniss’ (your image).  It is in this three note porten t that we next hear, in the final song, Nun  hast  du  mir den ersten Schmerz get an, the death knell  in a single minor chord.  Here she curses him for her deep sadness caused by his death, leaving her all alone.  She withdraws into herself, a nd there she will find her lost happiness and her w orld.  A fter these words, the theme w e heard at the beginning of the cycle returns.  It is up to you whether or not to believe it is an actual physical death for her, but most definitely i t i s the death o f the woman she was, and this opening the me poignantly cradles this de ep and sad passing. H ugo  Wolf’s first i m portant works, the  songs of  1877­8, arose  from  the effec ts o f  h is sexual initiation and first romantic attachment.  Some are bright, others  agonized,  reflecting  his  depression  and  illness  from  a  syphilitic infection.  Physical  exhaustion  and  depressive  phases stemmed  the  flow  of original  music.  He  wrote  his  last  songs  in  1897,  then  had  the  mental breakdown  that  led  to  his  terminal  illness.  Wol f’s  strength  was  the compression of large­scale forms and ideas ­ the essences of grand opera, tone poem and dramatic symphony ­ into song, combining the Lieder traditions of Schubert and  Schumann.  It  is  rare  to  hear the songs of  Wolf programmed within a song recital.  First of all because they require a monster pianist playing on a monster piano, and almost all o f his songs demand flawless technique and musical intellect from both s inger and pianist.  However, all o f that without a capricious virtuosity means nothing.  Simple, yet someti mes strange melodies set  against  complex  rhythms  and  harmonies  make  for  a  powerful  musical journey.  Three of these songs tonight are of the comic and light  nature, and two are heavy­laden with stunning cf fcct.  Mein Liebster hat zum Tische mich geladen, from an original Italian text, is a romp with pianist and singer recling o ff s eemingly predictable notes that, i f  heard attentively, arc really odd leaps. / ] skips and strange intervals echoing the text vividly.  Miihvoll komm’ ich und beladen  is  from the Spiritual Songs of the Spanish Songbook.  A woman sings in great pain and shame; she begs God to take her and wash her clean of her sins.  Here you hear the full splendor of Wolf‘s complex harmonies.  Verschwiegene Liebe was written by Eichendorff, a favorite poet of Wolf’s.  A serene and quiet mood is set from the very beginning. In the undulating piano chords, one can hear and experience being alone in  nature, watching clouds go  by across the dark sky, and  thoughts of love permeate the air and become almost tangible.  There is a rhythmic disconnectedness  between  piano  and  voice  that  demonstrates  this solitude.  The quietness and gentleness that each use to weave these lines together despite the disconnect is a marvel, creating a calm stillness.  It is as if each  is  resigned in  its separateness, yet woven  together.  In  dem Schatten  meiner  Locken  is  taken  from  an  original  Spanish  text.  A coquette lets us in on an intimate scene where her lover has fallen asleep. She knows she has him just where she wants him.  In the meantime she is terribly  preoccupied  with  her  hair  and  every other  little  thing.  Both pianist  and  singer  must  play  back  and  forth  with  pianist  playing  the spoken words and thought processes.  Ich hab ’ in Penna einen Liebsten is  the “Catalogue Aria” for a woman.  Like the aria in  Mozart ’s opera Don Giovanni that tells how many lovers he has had in which countries, this young lady proceeds to give us the lowdown on her paramours!  The bopping chords in the piano in the beginning give the feeli ng of her brain ticking  and  counting  each  boy  and  his  whereabouts,  ending  with  a fabulous flourish worthy of such propitious luck in love. L a Mort de Cléopétre, a marvelous “little opera” as I am wont to call it, is a marvel of writing and a real  hard sing!  Written by  Berlioz as an entry to a competition, the te xt was provided and strict rul es given.  With orchestral  accompaniment  he  gives  the  orchestra  flashes  of  color, painting  broad  strokes  to  highlight  a  very  dramatic  personality  and historic account of this glorious and proud woman as she recounts her risc and  fall and ultimately screws her courage up to take her own  life with a poisonous asp’s fatal fangs.  It is hard to believe that this entry did not win.  He was a second prize winner the year before and was favored to win.  It was the amazing chances he took in this composition and the individualistic complexities that obviously baffled the judging panel that caused his demise and stood in  the way of his claiming first  prize.  The following  year,  he  entered  again  and  conformed  strictly  to  the compositional rules and at long last, won fiv e years ’  financial support, with an obligatory period of residence in  Italy.  What remains from that �fourth entry  is an extraordinary piece of music that  is  rarely performed  but always well received.  ­ There are a select  few who  hold  this piece  in  their  repertoire, and  one might say it is written  for a certain type of singer, since it has a considerabl e range and resides a great deal  in  the soprano territory.  lt has been sung by sopranos  and  mezzo­sopranos  alike  and,  despite  its  considerable  vocal demands, concerns  itself more  with  an  attitude and d ramatic  portrayal  than vocal category.  This scéne  lyrique or operatic  scene as Berlioz calls it,  is divided  into  sections  and  opens  with  an  overture­like  introduction.  A » ­ recitative,  C ‘en  est  donc  fait!,  follows  as  Cleopatra  recounts  her  story  in narrative style, which eventually gives way to a simple song, Ah! Qu ’ils sont loin ces  jours, when she recalls her past glory.  Another narra tive follows – Au comble des revers – on  how quickly  fate can turn  giving way to misery and disaster.  Where w ill she flee with no place to go, no parents, no  country?  Here she decides that nothing is  left to her but death – “eternal night.”  The second hal f, Méditation,  is inscribed with Juliet ’s words from Shakespeare : “ I f  when in the tomb 1 am laid...”  A somewhat ritualistic dirge begins in the orchestra’s depths, a droning yet jerky  rhythm  from the strings accompanied by muddy dull  brass chords  seemingly  invoking the  underworld.  Cleopatra  intones a prayer, Grands Pharaons, to the gods and pharaohs of old to accept her into the poetry, the words of not only a Black woman but of “Every Woman,” “Today’s Woman,” as she speaks with  clarity  and honesty  about  her shortcomings,  her  disappointments,  expectations,  and  the  inevitable loneliness that comes with the wisdom o f “coming of age.”  The music, itself  sometimes  in  a  through­composed  jazz,  is,  just  as  the  poetry, alternating between  lyricism and  percussive humor.  Generic but also ethnic  in  nature,  it  encompasses  a  wide  range  of emotion  which  is intensified by the use of humor in describing potentially touchy subjects: round hips, nappy hair and of course the big “4­0.”  It recounts crossing A fterlife.  A defiant sect ion follows – Non, j’ai d ’un époux déshonoré la vie – where she proclaims that she w ill take control o f her destiny and decides to k ill herself by a poisonous asp.  She cries out to Osiris and then says, “To  Typhon, l deliver all m y days.”  It is here that she takes up the vile reptile, and one hears clearly in the accompaniment the very moment when she is bitten.  Here the frenzied  accompaniment  winds  down  to  two  low  notes  undulating  an unmistakable heartbeat, in itially quick­paced, then accelerating as  the poison takes affect.  A ll the while she tells that she w ill leave this li fe, even as the the threshold  from Maidenhood to Womanhood and from Womanhood to  the  Wise  Crone,  a  passage  all  we  women  make  sometimes humorously, sometimes painfully, but in this lady’s case always with her eyes wide open for the journey! Emperor Octavius awaits her on his chariot, and through her courage to take her own li fe, she is at la st worthy o f Cacsar.  As she says these her final words, we  hear her  heartbeat slowing down and missing  beats, stopping,  restarting, then fast again as if she is revived, and then it halts to only an occasional beat, Finally, we hear nothing, as the chords swell to bring down the curtain on one of history ’s most glorious and proud women. I  can thank my soprano friend, Maria Ferrantc, for introducing me to the wonderful  song  cycle  No  Ordinary  Woman!  which  was  commissioned  by soprano  Denise  Walker and pianist  Estrid  Eklo f  for  its  premiere  at  Brown University in  December 1997.  1 am compelled to write about the composer, Dr.  Gwyneth  Walker,  since  she  is  the  only  woman  composer,  the  only A merican, as w ell as the most contemporary one (b. 194 7) in today ’s program. She  is a  graduate  o f Brown Univ ersit y  and the  Hartt  School o f Music, and holds B.A., M.M. and D.M.A degrees in composition.  A former faculty member  of  the  Oberlin  College  Conservatory,  she  resigned  from academia in 1 982 to compose music fulltime.  She now lives on a dairy farm in  Braintree,  Vermont, and  is  a  recipient  of the  2000  Lifetime Achievement Award  from the Vermont Arts Council. The cycle’s rich text was written by the A fro­American poet laureate Lucille Clifton.  Clifton, Maryland’s poet laureate from 1979 to 1985, has led anything but an abstract life.  She grew up poor in Buffalo and was abused by her father, something she will not let get in the way of seeing  him  as  an  individual,  a  flawed  but whole  person.  “I  identify myself in many ways,” she told Jean Marbella of The Baltimore Sun in 1996.  “Victim is not one of them.  One goes on i f one can.”:  Her words are  strong  like  a tasty heavy meal  peppered with piquant  words that trickle over the tongue.  Clifton’s humor is wonderfully bold, even as her writing itself is subtle; this is one strong woman who has lived a full and thorough  life  and celebrates her  femaleness.  This is strong beautiful k ­ ~ 1 k r  t r r t r e r t k r �ABOUT THE PERFORMERS Mitchell­Velasco  has also performed in  recitals extensively in  Russia, Switzerland, Singapore, Manila, New York, Boston, Seattle, Honolulu, Fort Worth and Providence. Her repertoire includes Berlioz’ Les Nuits d ‘Eté and La Mort de Cléopdtre, Ravel ’s Chansons Madécasses, Falla’s Siete  canciones  populares  espariolas,  Fine’s  Childhood  Fables  for Grownups,  Walker’s  No  Ordinary  Woman!,  Beethoven ’s  Kldrchen Lieder  from  Egmont,  Schumann’s  Frauenliebe  und­Leben,  Wolf’s Mignon Lieder, and many other Lieder of Brahms, Mahler, Schubert and Strauss.  She has taught privately with her husband, tenor Noel Espiritu Velasco, privately and also in masterclasses in Manila at the University of the Philippines College of Music and in Little Rock, Arkansas at the Rob Taylor Choral Festival.  She was invited to adjudicate in the 2004 Canadian  Music  Competitions  in  Toronto.  She  recorded Korngold’s Einfachelieder and  Abschiedslieder with  Bruckner Orchester  for  ASV which received rave reviews. GIGI MITCHELL­VELASCO is among emerging artists of the world’s opera and concert stages. With a voice ideally suited to the German romantic repertoire,  she  has  been  praised  by  the  critics  and  public  alike  for  her interpretations of Mahler, Strauss and Wagner. She was personally invited by her mentor, Christa Ludwig, to sing in the Carnegie Hall Mahler & Brahms Song Workshop/Recital. Of her Mahler Kindertotenlieder, New York Times’ Anthony  Tommasini  wrote  that  she  sang  with  a  “dark­hued  sound  and elegance,” and the  Wall  Street Journal called  her  “the most finished artist, sensitive to every nuance of the text.” Of her Brangaene at Florentine Opera last February, Erik Eriksson wrote: “Gigi Mitchell­Velasco is world­class in every aspect. Slim, even willowy, she creates a devoted companion who seeks to do right, but sets loose forces beyond her comprehension. Mitchell­Velasco’s mezzo  is  beautiful,  compact  and  supple,  offering  an  unbroken  legato unmatched since her mentor, the great Christa Ludwig, commanded the role. To hear her pour forth measure after measure of inexhaustible tone carries one back to the era when Wagnerian titans regularly trod the world stages. Her extensive concert engagements include  Mahler’s Das Lied  von  der Erde with Ural State Philharmonic (Sarah Caldwell), Oak Ridge Symphony (John  Welsh),  and  Sacramento  Chamber  Symphony  (Nov.  2004),  Second Symphony in Calgary (Hans Graf) and Pioneer Valley (Paul Phillips), Third Symphony in Santa Barbara (Ben­Dor) and West Virginia (2005) and Eighth Symphony  in  New York,  Philadelphia  (Robert  Page) and  Boston  (Zander); Verdi’s  Requiem  in  Avery  Fisher  Hall,  New  Philharmonia,  Ural  State, Charleston (David Stahl) and Florida (Jahja Ling); Bach’s Weihnactsoratorium in Saint Paul and Matthduspassion in Milwaukee (Andreas Delfs); Dvorak ’s Requiem  (Prague  Autumn  Festival)  and  Stabat  Mater;  Beethoven’s  Ninth Symphony in Minnesota (Eiji Oue), Houston (Graf) and San Francisco (Tilson Thomas, 2005); Berlioz’ Romeo et Juliette in San Antonio, Berlioz’ L ’Enfance du Christ in Boston (Jeffrey Rink), Ravel ’s Shéhérazade and Falla’s El Amor Brujo. In opera, she portrayed Brangaene (Tristan und Isolde) also with Opera Orchestra of New York (Queler) and Charleston, Octavian (Der Rosenkavalier, Minnesota),  Carmen  (Prague  State  Opera),  Maddalena  (Rigoletto, Braunschweig  Stadtstheater),  Dorabella  (Cosi  fan  tutte,  Toledo),  Composer (Ariadne auf Naxos) and  Fricka (Rheingold) with New York Opera Project, Orlovsky (Fledermaus), Federica (Luisa Miller, Opera Boston, Spring 2004) and Elizabeth Proctor (Crucible, Opera Boston, 2005). An accomplished recitalist, Summer 2003 saw her debut at Newport Music Festival  in  Mahler’s  Lieder  eines  fahrenden  Gesellen,  Mozart ’s  Ch ’ia  mi scordi di te, and 13 other concerts of various works, mostly by Poulenc. Ms. T FRANK  CORLISS  is  the  rehearsal  pianist  for  the  Boston Symphony Orchestra and the Tanglewood Festival Chorus, and is the Director of Music at the Walnut Hill School.  A frequent performer on the  Boston  Symphony  Prelude  Concert  Series,  he  also  performs throughout the United States as a chamber musician and collaborative pianist. Corliss also works as a musical assistant for Yo­Yo Ma. He has assisted  Ma  in  the  musical  preparation  of  many  new  works  for performance and recording, including concertos by Elliot Carter, Richard Danielpour, Tan Dun, John Harbison, Leon Kirchner, Peter Lieberson, Christopher Rouse and John Williams. A graduate of the Oberlin Conservatory of Music, he received his Master of Music  from SUNY at  Stony Brook where  he studied with Gilbert Kalish.  While at Oberlin, he received the Rudolf Serkin Award for Outstanding Pianist and was a member of the Music from Oberlin Ensemble, which toured throughout the U.S.  He has also studied at the Mozarteum in Salzburg, Austria, and the Cracow Academy of Music in Cracow, Poland.  Corliss has participated in several summer festivals, including the Tanglewood Music Festival and the Taos Chamber Music Festival.  He was appointed as an Artistic Ambassador for the United States Information Agency and in that capacity went on a three­week concert  tour  of  Eastern  Europe.  He  can  be  heard  on  Yo­Yo  Ma’s Grammy­winning  SONY  disc  Soul  of  the  Tango  as  well  as  a  Koch International disc of music by Elliot Carter for chorus and piano with the John Oliver Chorale. �Coming Events Thursday, October 7 –  Mid­Day Concert with  Master of Music  in  Opera Program student performers – 1 :20 p.m. – Casadesus Recital Hall – free Saturday, October 9  –  An  Evening of  Jazz : Houston  Person Q uartet – Houston Person, tenor saxophone; Stan Hope, piano; Per­ola Gadd, bass; and Chip White, drums – 8:00 p.m. ­ Anderson Center Osterhout Concert Theater – $20 general public; $15 faculty/staff/alumni/seniors; $8 students Thursday, October 14 – Mid­Day Concert featuring faculty performers – 1:20 p.m. – Casadesus Recital Hall – free Friday, October 1 5  –  Children ’s  Concert  –  Carnival of  the  Animals – University Symphony Orchestra ­­ an introduction to the orchestra, Saint­ Saens’ Carnival of the Animals with piano soloists, art and poetry – 9:30 a.m. ­ Anderson Center Osterhout Concert Theater – all tickets $4  (Co­sponsored by Press and Sun­Bulletin).  This performance is for school groups. Saturday, October 1 6  –  Children ’s  Concert : Carnival of  the Animals  – University Symphony Orchestra  – an introduction to the orchestra, Saint­ Saens’ Carnival of the Animals with piano soloists, art and poetry and a visit from the Ross Park Zoo mobile ­ 3:00 p.m. – Anderson Center Osterhout Concert Theater – all tickets $5 (Co­sponsored by the Press and Sun Bulletin) Thursday, October 21 ­ Mid­Day Concert with faculty and student performers – 1 :20 p.m. – Casadesus Recital Hall – free Thursday, October 21 – Czech Mates ­­ Chamber music by Czech composers Martinu,  Dvorak,  Husa  and  Janacek  performed  by  music  faculty,  in association with the exhibit “The Prague Project” – 8:00 p.m. – Roberson Museum and Science Center ­ $15 general public; $13 faculty/staff/seniors; $7 students Saturday, October 23 – Family Weekend Concert : Harpur Chorale, Women’s Chorus, University Wind Ensemble – 4:00 p.m. ­  Anderson Center Osterhout Concert Theater – free Thursday,  October  28  –  Mid­Day  Concert  with  faculty  and  student performers – 1 :20 p.m. – Casadesus 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: 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.) 1:19:58 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252003&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252003&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 La Femme!: a celebration of women, October 3, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004-10-3 Description An account of the resource Works of Beethoven, Schumann, Wolf, Berlioz, Walker. Held at 3:00 p.m., October 3, 2004, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Mitchell-Velasco, Gigi Corliss, Frank 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 10/3/2004 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/62ae9f82ae0e3ea9629ba684b6f78588.pdf ea53985befd771b3dd15152d156b674d PDF Text 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)   � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 0:36:18 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252006&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252006&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 mid-day concert, October 7, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004 10-7 Description An account of the resource Works of Donizetti, Hahn, Schubert, Torelli, Schumann, Schubert, Puccini, Schumann, Mozart, Rachmaninoff, Donizetti. Held at 1:20 p.m., October 7, 2004, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Riemer, Nill Fallon, Timothy Januzczyk, Katarzyna Ebner, Julia Kratz, Mark Sudduth, Stefanie Hochman, Leslie Sudduth, Andrew 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 10/7/2004 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/767e18109e2a4ecfcef5ec31a7f6341b.pdf 66c4a0b67502b6e399a097f92c5f899a PDF Text Text A4 x /  { \ /   b . ly yoy SYY BINGHAMTON U N I V E R S I T Y State University of N ew York Department of Music Guest Artist Timothy Olsen organ Sunday, October 10, 2004 4 :00 p.m. First Presbyterian Chu rch �PROGR AM Tr uly, then, I have no complaint, For though she be fair and fairer, There is none so fair as she In my heart. Introduction and Passacaglia............................................ Max Reger (1873­1916) [11. Upon a High Place I stood upon a high place, And saw, below, many devils Running, leaping, And carousing in sin. One looked up, grinning, And said: “Comrade! Brother!” Onder een linde groen ...  ...................Jan Pieterszoon Sweelinck (“Under the Green Linden”) (1562­1621) Nun komm, der Heiden Heiland BWV 659 ...Johann Sebastian Bach (1685­1750) Prelude and Fugue in E­flat ..........................Johann Sebastian Bach BWV 552 C a r m e n G e o r g e s Bizet   (1838­1875) * * = I = * * * * * * * * * * * * * * * * * * * * * * * * * * ­­Intermission­­ ABOUT THE PERFO RMER Symphonie III, op. 28 . Louis Vierne (1870­1937) Prélude, Fugue et Variation . César Franck (1822­1890) Allegro Maestoso Three Pieces for Organ (2000).... (Based on poetry of Stephen Crane) I.  Black Riders Black riders came from the sea. There was clang and clang of spear and shield, And clash and clash of hoof and heel, Wild shouts and the wave of hair In the rush upon the wind: Thus the ride Sin. II.  Here and There I looked here; I looked there: Nowhere could I see my love. And—this time— She was in my heart. .. Aaron Travers (b. 1975) TIMOTHY OLSEN is professor of organ and harpsichord at Ithaca College, Ithaca,  NY,  where  he  also  teaches  in  the  theory  department.  Olsen  is concurrently serving as A cting University Organist  of Cornell  University for two years, 2003­2005, as sabbatical replacement for A nnette Richards. A native of Frost, Minnesota, Olsen began his study o f the organ at the age of 13 with Sandra Krumholz of Fairmont, MN, and went on to further study with Peter Nygaard at Concordia College in Moorhead MN, where he received a Bachelor of Music degree in 1997.  Before graduating, he was chosen to perform as solo organist with the Concordia College Orchestra.  Olsen is finishing his doctoral studies  as  a  student  of  David  Higgs  at  the  Eastman  School  of  Music  in Rochester, NY, where he  received the Master of Music in Organ Performance and Literature in 2000. From 1999­2002, Olsen was Professor Higgs’ teaching assistant. He will also receive the Master of Arts Degree in Theory Pedagogy in the  Fall  of 2004.  Olsen  served  on  the  faculty  of the  Eastman  Community Education  Division  and  was  a  teaching  assistant  in  the  Eastman  theory department. He also served as sabbatical replacement for Jonathan Biggers as Organ  Instructor  at  Binghamton  University  in  the  Fall  of  2003. Olsen is the first­prize winner of the 2002 National Young Artists Competition in Organ Performance sponsored by the American Guild of Organists. As part of the first­prize,  Olsen has concertized across the United States under the concert management of Karen McFarlane Artists, and has recorded a compact disc on the NAXOS label. In addition to his many concerts, Olsen recently has been featured on Minnesota Public Radio’s Pipedreams. �Coming Events Thursday, O ctober 1 4 – Mid­Day Concert featuring faculty performers – 1 :20 p.m. – Casadesus Recital Hall – free Friday, Octo ber 1 5 – Child ren ’s Concert – Carnival of the Animals – University  Symphony  Orchestra ­­  an  introduction  to  the  orchestra, Saint­Saens’ Carnival of the Animals with piano soloists, art and poetry – 9:30 a.m. ­ Anderson Center Osterhout Concert Theater – all tickets $4 (Co­sponsored  by  Press and  Sun­Bulletin).  This perform ance is  for school groups. Saturday, October 1 6 – Child ren ’s Concert : Carnival of the Animals – University Symphony O rchestra  – an  introduction  to the orchestra, Saint­Saens’ Carnival of the Animals with piano soloists, art and poetry and a visit from the Ross Park Zoo mobile ­ 3:00 p.m. – Anderson Center Osterhout Concert Theater – all tickets $5 (Co­sponsored by the Press and Sun Bulletin) Thursday,  October  2 1  ­  Mid­Day  Concert  with  faculty  and  student performers – 1 :20 p.m. – Casadesus Recital Hall – free Thursday,  October  2 1  –  Czech  Mates  –  Chamber  music  by  Czech composers  Martinu,  Dvorak,  Husa  and  Janacek  performed  by  music faculty, in association with the exhibit “The Prague P roject” – 8:00 p.m. – Roberson  Museum  and  Science  Center  ­  $15  general  public;  $13 faculty/staff/seniors; $7 students  : I Satu rday,  October  23  –  Family  Weekend  Concert :  Harpur  Chorale, Women ’s Chorus, University Wind Ensemble  – 4 :00 p.m. ­  Anderson Center Osterhout Concert Theater – free Thursday,  October  28 ­­  Mid­Day  Concert  with  faculty  and  student performers – 1:20 p.m. ­­ Casadesus Recital Hall Thursday, November  4  –  Mid­Day Co ncert  with  faculty  and  student performers – 1 :20 p.m. – Casadesus Recital Hall Saturday, November  6  –  Guest  Artist :  Marina  Lomazov, p ianist  – Silver  Medalist  of  the  Cleveland  Piano  Competition  –  8:00  p.m.  – Anderson  Center  Chamber  Hall  ­  $15  general  public;  $13 faculty/staff/seniors; $7 students � 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.) 1:16:06 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252009&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252009&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 Guest artist, Timothy Olsen, organ, October 10, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004-10-10 Description An account of the resource Works of Reger, Sweelinck, Bach, Vierne, Franck, Travers, Bizet. Held at 4:00 p.m., October 10, 2004, First Presbyterian Church. Creator An entity primarily responsible for making the resource Olsen, 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 10/10/2004 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/1ae40e9d734f3c1e15574d7b1dde23d9.pdf 822ba1d6c77b65a7b02c339abf699a57 PDF Text Text Binghamton University Department of  Music " 3 ' \ ‘ ‘­  C E RT “ T H U R S D A Y  M I D ­ DAY  CO N Recital Hall October 14, 2004 – 1:20 P.M. – Casadesus  Y e Etude, 0p.4, n r 3   0 Etude, C R s nr1 Ewa Mackiewicz­Wolfe, piano Tanzlied des Pierrot (from Die Tote Stadt) Zuezgnung Timothy LeFebvre, baritone Duane Skrabalak, piano Nocturne #6, e p 6 3 Chai­Kyou Mallinson, piano from Licheslisger (“Love Songs”), BLES 2.  Moderato 4.  Poco sostenuto 7.  Andante Karol Szymanowski (1882­193 7) ............Fryderyk C hopin (1810­184 9) Erich Korngold ( l  897­ 1 957) Richard Strauss (1864­1949) Gabriel Fauré (1845­1924) Antonin Dvorak (1841­1904) Mary Burgess, soprano Duane Skrabalak, piano Trio in E­flat major for Clarinet, Viola and P1ano KV 498  “Kegelstatt” Timothy P erry, clarinet Roberta Crawford, viola Michael Salmirs, piano W.A. Mozart (1756­179 1) �Translations from Liebeslieder (“Love Songs”), op.83  2.  (Moderato) In many hearts there is death inside like a dark wasteland; the heart is a place for sadness and pain only. A delusion of hot love enters into the heart and the heart pines with grief: This means it loves. The sweet feeling changes the dead heart into a paradise; and it sings the old legend (of love). 4.  (Poco sostenuto) I know that in a sweet hope I can love you; still more anviously we want the love to grow. And yet, when I look into the delightful night of your eyes, and learn how the heaven of love from your eyes bestows power on me: my eyes are filling with tears, For brooding o’er our love, I see a cruel fate looking at us in happiness. 7 . (Andante) In that sweet power of y our eyes How gladly I would die for thee; If laughter of your beautiful lips did not invite me to live. I would choose immediately that sweet death, with no fear; I know your smiling lips will awaken me to life again. Antonin Dvorak � 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.) 0:42:56 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252012&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252012&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 mid-day concert, October 14, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004-10-14 Description An account of the resource Works of Szymanowski, Chopin, Korngold, Strauss, Fauré, Dvořák, Mozart. Translation of text from one work on program. Held at 1:20 p.m., October 14, 2004, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Mackiewicz-Wolfe, Ewa LeFebvre, TImothy Skrabalak, Duane Mallinson, Chai-Kyou Burgess, Mary Perry, Timothy Crawford, Roberta Salmirs, 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 10/14/2004 Rights Information about rights held in and over the resource In copyright Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 0:24:44 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252015&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252015&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 mid-day concert, October 28, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004 10-28 Description An account of the resource Works of Brahms, Schumann, Shaw. Accompanying program includes translation of Brahms selection. Held at 1:20 p.m., October 28, 2004, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Alarcon, Amber Mallinson, Chai-Kyou Cheng, Jessica Cecere, Greg Epelman, Emie Jacobsen, Alfred Lokken, Patrick 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 10/28/2004 Rights Information about rights held in and over the resource In copyright