171 10 1775 https://omeka.binghamton.edu/omeka/files/original/2c78834137ed6575df3790b520019fbf.pdf f2612d96efefc47d770cf716902a693c PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E   U N I V E R S I T Y   O F   N E W  V O R ­ D E P A R T M E N T U NIVERSITY SYMPHONY ORCHESTR A Timothy Perry, music director and conductor WITH WINNERS OF THE 2013 – 2014 u s o  Concerto AND ARIA COMPETITION Annie Tao, piano Caitlin Gotimer, soprano Emily Sui, violin Jake Stamatis, bass ­baritone Saturday, March 1, 2014 3:00 p.m. Osterhout Concert Theater �PROGRAM Concerto for Piano and Orchestra.  .  .  .  . Edvard Grieg in A minor, Op. 16  (1843­1907) I. Allegro molto moderato – Animato – Piu lento Annie Tao, piano Rondo di Fiordiligi: “Per pieta, ben mio".  .  from Casi fan Tutte  .  .. W.A. Mozart (1756­1791) .  Samuel Barber Caitlin Gotimer, soprano Concerto for Violin and Orchestra, Op.14  Ii  Allegro  (1910­1981) Emily Sui, violin Arias di Figaro, from Le Nozze di Figaro  Aria: “Non piu andrai, farfallone amoroso”  . W.A. Mozart (1756­1791) Recitative and Aria: “Tutto e disposto – Aprite un po’ quegl’occhi” Jake Stamatis, bass­baritone Ma Vlast: No. 2 – The  Moldau (Vlatava)...  Bedrich Smetana The Twin Sources of the Moldau – Forest Hunt  (1824­1884) Peasant Wedding – Nymphs’ Moonlight Dance – St. John’s Rapids ­ The Moldau at its Full Breadth The University Symphony Orchestra ’s fi nal concert for 2013 – 2014 will be a “Symphonic Smorgasboard” on Saturday, May 3 at3pm in Osterhout Concert Theater. The program will include four symphonic movements from twentieth­century masterworks by Sibelius, Vaughan William, Ives and Shostakovich, with commentary by Timothy Perry. �PROGRAM NOTES I. Edvard Grieg was only twenty­five in 1868 when he completed his only Piano  Concerto,  which  was  to  remain  the  only  work  he  completed  in a standard large­form during almost forty years of composition. After leaving the Leipzig conservatory, where his training had been heavily influenced by modeling Schumann and Mendelssohn, Grieg underwent his creative epiphany between 1865 and 1867,  when his discovery of Norwegian folk­music and dances led to his first great success, the 1867 Lyric Pieces, Op. 12 for piano solo. Encouraged by the success of his Violin Sonata in F, Grieg traveled to Rome where he brought the draft of the Concerto for Piano to present to the grand eminence, Franz Liszt. Liszt was impressed, making only a few (somewhat bizarre) suggestions for orchestration changes, and encouraged the young Norwegian to continue his writing “without fear”. The Concerto was premiered in 1869 in Copenhagen, where its success was immediate with both critics and the public. it remained among the most performed of all piano concertos for nearly a hundred years thereafter. Grieg is at his best as a miniaturist, and his concerto has long been criticized as more  of a pastiche  of  pretty melodies than a  work  whose  materials  are thoroughly  developed  and  interconnected  in  the  Germanic  manner.  No matter, Grieg’s gift for song­form has carried the day. The piano dominates the concerto, development is minimal, but the orchestra contributes some moving and occasionally original flashes of color to the enterprise. The fanfare which opens the first movement,  shocking  in its day (although Grieg  had Beethoven‘s Emperor concerto as a model) was copied by dozens of other composers,  and  the  first  movement  cadenza  is  among  the  best  of  the nineteenth century. His deft command of harmonic dissonance leaves just enough  acerbic  Scandinavian  ‘bite’  in  his  music  to  counterbalance  what Debussy called a sonority “like that of a rose­colored sweet coated in snow.” II. W.A. Mozart Fiordiligi’s Aria : Per pieta, ben mio, from Cosifan tutte In a cafe, Don Alfonso lays a wager with Ferrando and Guglielmo (two officers) on  whether  their  fiancées  (Dorabella  and  Fiordiligi,  respectively)  will  be eternally faithful. Don Alfonso claims he can prove in a day’s time that those two, like all women, are fickle. After all: Cosi fan tutte — “All women are like that.” The two officers pretend to have been called off to war, then return in disguise and each attempts to seduce the other’s lover. In Act Il, Guglielmo has managed to  woo  Dorabella,  who gives him a medallion.  Ferrando is less successful with Fiordiligi, who sings ‘Per pieta, ben mio, perdona’ ("please, my beloved, forgive"). Aria In the name of pity, my beloved, pardon the error ofa loving soul; Among these shadows and these groves, oh God, it will always be hidden! My courage and my constancy will destroy this wicked desire, and will erase the memory that makes me feel shame and horror. To whom did this vain, ungrateful heart fail in loyalty? You were owed a better recompense, my dearest, for your purity. Translation by Rebecca Burstein lll. Samuel Barber stands with Aaron Copland at the pinnacle of twentieth­ century American composers. David Ewen‘s summation is: “Of Barber’s many admirable qualities – his fine sense of musical design; the economy of his means; the inexorable logic of his thinking ­ the most significant perhaps is his highly  developed lyricism.”  Showing  remarkable  gifts  from  an  early  age, Barber was in one of the earliest classes educated at Philadelphia’s Curtis Institute. He won a Pulitzer Fellowship and the coveted Prix de Rome by age twenty­seven, and by 1940, when the Violin Concerto was composed, he had already completed several orchestral masterworks including the Overture to the School for Scandal, the Symphony No. 1, the Adagio for Strings, and the First Essay/or Orchestra.  Completed in the summer of 191.0 while at Pocono Lake Preserve,  the  Violin  Concerto  is  replete  with  the  compositional  virtues mentioned above. The first movement combines elements of both sonata and free rhapsody forms without descending into a muddle, suffused with a rich palette  of  harmonies organized around the solo line. The second subject, introduced by the clarinet, has been characterized as ‘jazzy’ although it is at least as ‘Celtic’ with its prominent Scotch snap rhythms. The solo part, while challenging, is warmly gracious and never virtuosic for its own sake ­ at least not until the brilliant perpetuum mobile of the third movement. There are a few moments  of  real  tension,  but  these  are  quickly  resolved  back  into  a comfortable level of consonance by turns soothing and insouciant. Even the cadenza is replaced by a short recitative, maintaining a relative modesty that is winning in its simplicity and honest sentiment. IV. W .A. Mozart: Two Figaro Arias Act I finale: #9 Aria; Non piu andrai At  the  end  of  the  first  act,  Count  Almaviva  finds  the  adolescent  (and oversexed) page  Cherubino  hiding  in  Susanna’s  quarters.  The  Count  was already suspicious that Cherubino had designs on his wife, Countess Rosina, and overall disapproves  of  the boy’s unbridled promiscuity. However,  the Count cannot punish Cherubino, as he himself was only just in  Susanna’s quarters to proposition her. Instead, the Count sends Cherubino away to serve in  his  regiment  in  Seville.  In  this  aria,  Figaro,  not  displeased  with  the development,  teases  Cherubino  about  a  Spartan  military  future  in  stark contrast with the carefree and flirtatious life he has enjoyed in the Count’s palace. �FIGARO (to Cherubino) No more you‘ll wander, my amorous little butterfly, flitting about by day and night Disturbing the rest of all those pretty women, little Narcissus, young Adonis of Love. No more you’ll have these pretty little feathers, this smart and jaunty cap, Those curls, that lively air, those rosy, girlish cheeks. You‘ll be among soldiers, by Bacchus! Great moustaches, a heavy well­provisioned knapsack A gun at your shoulder, a sabre at your side, head held high, bold of face A great helmet, or a big turban; plenty of honor, (but not much money), And instead of dancing the fandango, a forced march through the swamp! Over mountains, through the valleys, in the snow and burning sun To the music of trumpets, Of shells and cannon­balls whistling past, Making your ear sing! Cherubino, to victory and military glory! (They exit, marching the horrified Cherubino out in military style.) Act IV : Recitative and Aria  Tutto é disposto  Aprite un po’ quegli occhi Thinking that Susanna is meeting the Count behind his back, (a trap laid by the Countess and Susanna to catch the philandering royal) Figaro complains to his mother, and swears to be avenged on the Count, Susanna, and all unfaithful wives. FIGARO Recitative: Everything‘s ready: the hour must be near; I hear someone! It’s her! ...no, it’s no one. The night is dark...and now l begin to ply the wretched trade of a husband. Ungrateful woman! in the middle of my ceremonies He read  it  with  pleasure, and seeing  it,  i  laughed at  myself,  without knowing it. Oh Susanna, SusannaI What pains you cost me, with that ingenuous face ...with those innocent eyes...who’d have believed it? Ah, Ah, to trust in a woman is always folly! Aria: Open your eyes a little, you incautious and stupid men, look at these women, look at what they are! These, whom you name goddesses, deceived in your senses, to whom you burn incense, feeble in your wits: They‘re witches who enchant us, to cause us pain, Sirens that sing to us, to land us on the rocks, Owls who allure us, to pluck out our feathers, Comets that shine on u s, t o burn out our eyes; They’re thorny roses, they’re charming vixens, They’re smiling bears, cruel doves, masters of intrigue, Friends of trouble, who feign, lie, They feel no love, they feel no pity, no, no, no, no! I I won’t say the rest, everyone knows it alread   y! V. Bedrich Smetana is immortalized as ‘the Father of Czech music’ although he  is  more  correctly  the Father  of  Bohemian  classical  music,  since  the formation of a Czech nation was in his day still a half­century in the future. Smetana returned to Prague from Sweden after Bohemia’s Austrian overlords granted the region political autonomy in 186o. By 1862, Prague had a National Theater, and the next year Smetana composed hisfirst opera (in Bohemian) on a theme of Bohemian rebellion against Teutonic invasions.  That early score foreshadowed a combination of German Romanticism with native Bohemian folk music, history, and legend that soon became the core of the indigenous musical culture. By 1866, Smetana had finished his operatic masterpiece The Bartered  Bride  and  had  begun  composing  symphonic  poems  on Bohemian/Czech themes that culminated in Ma Viast (My Fatherland). These six compositions, written between 1871. and 1879 (even as Smetana suffered through increasing and eventually total deafness), drew on Bohemian history, legend, and geography to celebrate the native culture. By far the most popular of the set is the second, Vlatava, ironically better known through its German title, The Moldau.  The poem charts the progress of Bohemia’s principal river from a source in tiny twin forest springs (portrayed by a duo offlutes) through its growth in size, power and majesty – a stand­in for the nation itself. Along the way the river passes scenes of Bohemian life – a forest hunt (dominated by horn calls); a peasant wedding (with clarinets leading the dance­music); a magical moonlit night where water­nymphs (strings) hold court in shimmering waves as the ghosts of famous  warriors (brass) parade  past; through  the tempestuous St. John‘s rapids; and eventually passing through Prague itself under the shadow of the castle of Vysehrad, whose theme, recapitulated here in grand style, dominates the first tone  poem of the cycle. Once past its climactic appearance in the capital, the river makes its way towards the sea, its sounds fading away as it flows out of sight. T. Perry, February 2011, �‘THE PERFORMERS CAITLIN GOTIMER, soprano, is currently a junior at Binghamton University pursuing a Bachelor of Music in Vocal Performance. She has performed several times in the Tri­Cities Opera Chorus and sang the role of the Second Spirit in their 2012 production of The Magic Flute. She sang the role of the Mother in Binghamton University’s production of Hansel and Gretel for two consecutive years. Caitlin won first place in her division of the 2013 NATS Eastern Regional Conference and recently was the National Anthem soloist  when President Obama  came  to Binghamton  for his  College  Affordability  Tour.  She  is  a student of ProfessorThomas Goodheart. Acclaimed  as  a  “budding  professional”  the  young  operatic  bass,  JAKE STAMATIS, is on the cusp of an exciting and fruitful career! Hailing  from scenic  Tunkhannock,  Pennsylvania,  Stamatis  showed  great  talent  and expressive ability at an early age. He went on to hone his skills at Susquehanna University where he earned a Bachelor in Music degree in Vocal Performance. While there, Stamatis studied privately with Professor Jeffrey Fahnestock. His first year, he was cast as Death in Viktor Ullman’s The Emperor of  Atlantis, his first exposure to opera. Stamatis went on to perform as the Vicar in Britten ’s Albert Herring, Bartolo in Rossini‘s The Barber of Seville, and Frank in Strauss’ Die  Fledermaus.  Now  pursuing  an  MM  in  Opera  degree  at  Binghamton University in conjunction with Tri­Cities Opera Company‘s (TCO’s) Resident Artist  Training  Program,  he  continues  his  vocal  studies  under  Professor Thomas Goodheart. Stamatis made his TCO debut this fall as Zuniga in Bizet’s Carmen under the baton of Maestro Scott Bergeson. Most recently he played Leporello  in  TCO’s production of Don  Giovanni. The  Broome  County  Arts Council  reviewed  the  performance  saying,  “The  performance,  by  Jake Stamatis, was one ofthe highlights of the evening...” EMILY SUI is a native of Rochester, New York, where she began receiving violin lessons at the age of four. During her high school  years, she was a member of the Rochester Philharmonic  Youth Orchestra and also the NY Conference All­State Orchestra. She is currently a sophomore at Binghamton University as a Graphic Design major and pursuing a minor in Korean Studies. Emily has been a member of the Binghamton University Symphony Orchestra since her freshman year. She has also since been a student in the violin studio of  Dr.  Janey  Choi.  Emily  would  like  to  thank  the  Binghamton  Music Department for this opportunity, her past and present violin teachers for their guidance, and her family and friends for their overwhelming support. ANNIE TAO is a junior at Binghamton University. She is a psychology major and a music performance minor. She began her training with Ms. Gao Fei in her local town, where she received two golden ribbon awards for outstanding performance in piano by the Rockland County Teacher’s Guild. She completed the NYSSMA piano auditions through level 6 with a perfect score. She was selected to perform in the piano showcase at the Rochester winter conference in 2010. She also completed the associated board of the Royal School of Music with distinction and participated  in  the  “high  score ” recital. In  2010,  she entered Manhattan School of Music precollege division, where she studied with  Ms.  Elena Belli.  She  also  participated  in  the  NYYS  Chamber  music program. She played in a piano trio and was selected to perform in Symphony Space. She participated annually in the Music Marathon for the United Hospice of Rockland County, a fundraising  event for their music  therapy program. Music  has always been a huge part of her life.  She currently  studies with Michael  Salmirs at  Binghamton  University, and hopes  to  eventually  teach piano students. �singin V122 s t a r s ! U N IV E R S I T Y  S Y M P H O N Y  ORCHES TR A Timothy Perry, conductor Flute  Jessica Biagiotti  Kohar Bedonian  Michelle Li  Christina Dinella  Piccolo  Christina Dinella  Oboe  Rebecca Marwin  Taylor Morgen  Clarinet  George Deutsch  Justin K im  Mary Mc Gahay  Skylar O. Buono  Trombone  Christopher Beard  Jacob Strohrn  Joshua Yamuder  Tuba  Carter McGriff Timpani/ Percussion  Benjamin Rothschild  Steve Olson  K ey board  Dan Malinovsky  French Horn  Abbie McMahon  Matt McAuliffe  Daniel Muller  David Luther  V iolinl  Kieran Murphy  Joseph Vanderpool  Cameron D ’Auria  Jody Bach Rebecca Sgroi  Anna Li  Nate Christman  Emma Lecarie  Yuansi Du  Paul McHugh  Alan Thi  Brian Phung  Karen Fu  Trumpet  Anne Taylor  Violin I I   Eleanor Krasner  Bassoon  Bailey Thomas  John Voigt  Natalie Spitzer  Junbo Yan  Thomas Parker  Ife Samms  Gabrielle Maire Natalie Bock V iolin II izanrmuedi Ben Posthill Abirarne Gunuparan Simon Benarie Sara Kohtz Maya Orlofsky Viola Hannah Watrobski Max Stein Jillian Chen Justin Lafond Harrison Dulin Lindsay Covington Daniel Rodabaugh Sharon Graziano Alex Szigethy Mimi Nam Jaya Rao +»  — +  8  ¢ b fl fl ~   f  &  Contrabass Ro bert Durante Nicholas Hoyos The University Symphony Orchestra employs rotating seating, Woodwmds, Brass, and Percussion rotate by composition and are listed alphabetically. Strings rotate by concert and are listed by searing >  I <  P g e A   N a \ \   a ”a  2  r.  — s =   e S YA E    D — Hr’if  ““ Think “Dancing with the Stars” on steroids!  Tri­Cities Opera Stars will be paired with local Celebrities in duets from Opera. Broadway and Musical Theater!      »* 8 : 0 0 p m S a t u r d a y ,  M a r c h 8 Tri ­ C ities O p era  C e nt e r 3 15 C linton Street » Bing hamton, N Y Violoncello Mary Spencer Deborah Mariottini Emily Mockler Xander Edwards Alan Wang Kelly Mercer Ryan Hogan Charlie Miller \  +  f “   2  2  Q\  “i,  For details a bo ut  V I P t ic k e t ing op tions, whic h include a cock tail hour  be fore  t he  show, reserved seating and special onstage seating, call 607 ­ 77 2 ­0400 or  visit us online at tricitiesopera.com ,  ' s­“s  ‘  “ k g  y mTRI­CITIES  5 5   TNT, O I . i v   o 1920­2014  =  k . a & ‘   7   F? m m m — m p n n m m u m u m A n i ­ m n w n m m m n n v — m n w m q — q w e w o m o m u ­ w e — u u — m m ­ m m – u u o u q n m (infirm,  assassin“ D i e F  l e d e r m a u s +  K iE  \ The Forum Theatre . �Binghamton Uni versity Music Department’s Coming Events M M Saturday, March 1—Master‘s Recital: Emily Geller, mezzo­soprano–8:0 0 p.m.—Casadesus Recital Hall—free Thursday, March 6—Mid­Day Concert — 1 :20 p.m.—Casadesus Recital Hall— free Saturday, March 8—Harpur Chorale  and Women ’s Chorus —3:00  p.m.— Andewrson C enter Chamber Hall – $7 general public; $5 faculty/staff/seniors ; free for students Saturday, March 8—Tri­ Cities  Opera pres ents “Singing  with the St ars ” fundraiser—8:00 p.m.—Opera Center, 315 Clinton St.—call (607) 772­0400 for tickets Sunday,  March  g—Master’s  Recital:  Thom  Baker,  tenor —3:oo  p.m.— Casadesus R ecital Hall—free Thrusday,  March  13—Mid­Day  Concert—1:20  p.m.—Anderson  Center Chamber Hall—free Saturday, March 15—Ma ster’s Recita l : Michael Ce lentano, baritone —3:oo p.m.—Casadesus Recital Hall—free Saturday, March 15—W ind Symphony Concert:  Music by Numbers—8:00 p.m.—Anderson  Center  Chamber  Hall­­s7  general  public;  $5 faculty/staff/ seniors; free  for students Wednesday,  March  19—Opera  Scenes–8 :00  p.m.—Anderson  Center Chamber Hall­­s10 general public; $7 faculty/staff/ seniors; $5 for students Thursday, March zo—Mid­Day Concert —1:20 p.m.—Casadesus Recital Hall— free Thursday, March 20 – Harpur Chorale and Women ’s Chorus –  8:00 p.m. ­­ Anderson Center Chamber Hall – $6 general public; $3 faculty/staff/seniors; free for students M 0  .  — E W W M For tickets or to be added to our email list, visit anderson.bing hamton.edu or call (607) 777 ­ARTS. For a complete list of our concerts call (607) 777­2592, v isit music.binghamton.edu or become a fan on Facebook. If  you  were  inspired  by  this  performance,  consider  supporting  the Department of Music with a financial gift. Your support helps to continue the work of students, faculty, and  guest artists a nd their contributions to our community.  Please  make  your  donation  payable  to  the  Binghamton University  Music  Department,  and  send  your  check  to  BU  Music Department, P.O. Box 6000, Binghamton, NY 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 54m 1s Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75058">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75058</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. 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Title A name given to the resource University String Orchestra, March 1, 2014 Subject The topic of the resource Concerts Instrumental music Live sound recordings   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 3/1/14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:00:18 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196907">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196907</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource University Symphony Orchestra "Sounds behind the celluloid", December 2, 2007, Recital Tape 12-2-2007 Description An account of the resource Held at 3:00 p.m., December 2, 2007, Osterhout Concert Theater.Works of Elfman, Zimmer, Shore, Badelt, Williams. Creator An entity primarily responsible for making the resource Perry, Timothy Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2007-12-02 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID e091ee4d-93cf-45c7-87f6-9aa51d2557ec 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.) 1:07:55 57:21 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE153187">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE153187</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource University Symphony Orchestra concerto and aria competition, November 15, 2009 Recital Tape 2009-11-15 Description An account of the resource Held at 6:30 p.m., November 15, 2009, Casadesus Recital Hall. Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-11-15 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/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/bf10fb5c0bdd7bfeb2ed36f916423969.pdf a342bd8bbc791ca86f4bf0acb9cae3a7 PDF Text Text BINGHAMTON U N I V E R S I T Y S T A TE   UN I V E R S I T Y   OF  NEW  V O R K [4 z e t d ec D E P A R T M E N T UNIVERSITY SYMPHONY ORCHESTRA Hea ther Worden, Conductor PRESENTS “From the N ew World” FEATURING THE PREMIE RE OF “MUSIC FOR SONORA” BY C HRISTIAN M ARTIN Saturday, December 6, 2014 3:00 p.m. Osterhout Concert Theater �BINGHAMTON UNIVERSITY SYM PHONY ORCHESTRA Ploy licolP o :   ea­  PROGRAM   6  Emily  Paye  Fl ute  agiotti  Jessica Bi 1  ,  Kohar Bedonian  Our Town .  Music from the Motion Picture  Music for Sonora .  ‘World Premiere*  Aaron Copland  (1900­1990)  Chris tian Mar tin   (b.1984)   _, Michelle Li Oboe  Joe Kim  Ti g h ts   53 :1 5:11”  Clarinet  Mary McGaiay  Skylar 0. Buono  Bass Clarinet  ®  IN TERMISSIO N  « 8   Lame” Bass  Bassoon  Bailey Thomas  Symphony No. 9 in E minor, op.95.  “From the New World”  1. Adagio ­ All egro molto  g s   sATBO  111. Scherzo: Molto vivace  I V .  Allegro con fuoco  Antonin Dvoi‘ak (1841­1904) Percussion Alex Szigethy . Emi Bm    Daniel Cooke Keyboards  Alison Tuck Emily Goetz  Micah Neiss  Steve 0,50”  Ben Calhoun Dan Meln i ovsky  Lindsay Covn i gton Sharon Grazi rano E Margaret Girardi Jaya Rao Violoncello Daniel Moriaeis Violin I  Kierain Mu  Gabriele lflirye  Alexio Chang  Abriame Guruparan  Jiwon Nam  Kristen Moriarty  Many Spencer Deborah  ‘  ' ' Evan FemMznothnl Charlie Miler Allison Butler Kelly Mercer Chloe Tso Nathaniel Christman  Sara Inca R yan Ferernoe Jessica Funnel  pa“, Mug,   e  Golden 19  GW’VM Raeleen Biohler Contrabass John Voi  Laira n d   Tamra "  Sim,” Benarie  Kyle Cullen Robert Durante French Horn  Emmanuel Davis  Violin II A  E M $0.59    j  Dave Ripic Tuba Eleanor Krasner  i  mbs Cricket T o  Sara  Kohtz  Anthony DeNirlis  Emma Lecarie  Maya Orlofsky  ­  Jodie Bach  M“ KY‘W (Jay) Kim  Viola  Harman Watrobski  Patrick Jones  ei McMah  Am  on  Gabriel Bedald  Matt McAu. liffe  Kathryn Saturnino  ©  Trumpet  Anne Taylor  Elliott Vogel  Thomas Parker  Trombone  Jacob Strotnrn  Bethany Evans  Christopher Beard Rebewe  Sgroi Harrison Duriln ya, Stein Kaitlyn Magma“ Nicholas Hoyos heg s  8050 emplo ysfimds‘ . rotaTtin oatbng; Woot Brass and Parmesan rotate assignments by  compositon and are listed alphabetically; St rings mn i si  seatn i g b y conrgnend are listed n i mmmmwgezwmm and supportn i g our fine student­musicai ns! �Biughamtou a ­  PROGRAM NOTES «­ Our Town ­ Music from the Film Score­Aaron Copland I f y ou are trying to answer the ques tion, “what is American music?', you would most likely have a discussion about Aaron Copland’s compositions. Born in 1900 in Brooklyn, New York, this American music composer sought to encompass an “American sound” in  his compositions by invoking jazz and folk style into classical composition techniques. His journey to produce this sound truly began in Paris (1917­1921) at the Fountainebleau School of Music where he studied with acclaimed teacher, Nadia Boulanger. His study abroad gave him the tools to begin full­time composition work upon returning to the United States in 1925. His goal when he came back to America was to create music that was accessible to audiences, meaning that it could be easily learned and would have a wider appeal. He found these qualities to be most pertinent with incidental music and so his compositional focus surrounded  film  scores and  ballets.  Some  of  his more  acclaimed  works include Rodeo (1942 ballet), The City (1939 film score), Appalachian Spring (1944 ballet), and the composition tha t we will explore more in depth, music from the film score Our Town. Written in 1940 and based on Thornton Wilder’s play by the same name, the film score from Our Town found great acclaim, even earning Copland an Oscar nomination. Copland said of film score music in general, “The composer is in a special posi tion  to apprecia te wha t music does to a fi l m  because he sees i t  firs t without any music. Movie audiences may not consciously realize they are listening to  music when  they view a  film, but it works in their  emotions nonetheless.” Copland succeeded in accessing daese emotions through capturing the quiet and ordinary day­to­day living of Grover’s Corners (the town in  which the play is based) through  his  humble  musical  composition.  His  subtle  utilization  of  the  New England town’s hymn runes, along with the delicate namre in which he constructed the tempi and melodic themes brought together a score that was both beautiful and hones t t o  the  r eali ty  o f  the town. M usic for Sonora ­Christian Martin ­ written by Daniela Rivera’ Music for Sonora, is an orchestral piece built on a short Navajo hymn that comes from the Native American  Church in Arizona. Written in a free variation form and conceived in  a sneamof­conscioumess manner, the music reflects the composer’s  memory of  his  childhood  home  in  the  Arizona  desert.  The vast, openness of the desert is depicted by spatial, linear harmonies which open the piece and continue for some time. After first being introduced by the chorus, individual melodic fragments of the original song are staggered, transposed, interwoven and augmented in r hythm by the orchestra and soloists. What follow are a number of varia tions on the main theme both transposed up, transposed down, augmented in rhythm, and restated in retrograde (reverse).  The piece closes with repetitions of the opening melody. which gradually fade away. Martin earned his BA and MM in Composition at Binghamton U niversity   omposition. He currently works as an (SUNY) and plans to pursue a DMA i n C in  Tempe,  AZ  and  as  a  freelance Rio Salado College  for  instructor  adjunct  editor/ transcriber of music. He is also  the accompanist of the Nimmonsburg United Methodist Chancel Choir and heads the music for a new contemporary praise and worship service there. Christian has performed with the Phoenix Boys Choir, the Arizona State University Choral Union, the Canterbury Choir, the Binghamton University Chorus, the Harpur Chorale, and the Vivaldi Singers. He has worked as a freelance musician, performing extensively on various instruments in a range of styles. Serving as a concert organizer and performer, he has performed for Senior Citizen Centers, Banquets. and Fundraiser Concerts. He has served as a studio producer of several genres of music including production for 2008 American Idol Top Twelve Finalist David Hernandez.  Many of his compositions have won national awards, including 1st place in the San Jose Choral Productions Choral Composition Competition, 2nd place in the Edwin Fissinger Choral Composition Competition, and 3rd place in the Corpus Christi Chorale Choral Composition Competition. Christian was also awarded the Samuel Reiser Scholarship (2012) and the Philip Friedheim Memorial Award (2014). In 2012, his Six Preludes for solo  piano were  performed by composer and  pianist Christopher  Morgan Loy (PhD). His most recent work Da ncing Water, Swimming Shadows, a song cycle written  for  Grammy­winning  mezzosoprano  Jacqueline  Homer­Kwia tek,  was premiered  by  Horner­Kwiatek  along  with  Michael  Compitello  (percussion), Timothy Perry (Clarinet), Margaret Reitz (Piano), and Joseph Vanderpool (Violin) in the Spring of 2014.  A registered member of ASCAP, he currently works as the composer  for AA. Michael Productions,  writing  music  for  television.  He  has provided editing and notation services for Schubertiade Music LLC, composer Daniel Thomas Davis, and for the late professor and composer Paul Goldsnub (PhD). ­ written by Christian Martin Symphony No. 9 in E minor, op. 95, “From the New World” ­ Antonin Dvorak Dvotak was born into the unsophisticated cultural and social background of a butcher and innkeeper’s family. However, this did not prevent him from being exposed to music at a young age. He attended school, took music lessons, played in church, and  in the village band. In  1857 he entered  the Prague Organ School, where he received a comprehensive academic foundation in  music  theory and performance, and soon a fter secured a spot as violist in  a dance orchestra, which would become the Prague Provisional Theatre Orchestra. He played principal viola under the baton of such conductors as Bedrich Smetana and Richard Wagner. It was shortly a fter this tha t he le ft the orchestra to pursue composing full  time. �In June 1981, Jeannette Thurber, president of the Na tional Conservatory of Music i n A   merica, asked Dvorak i f he would    accept the post of Artistic Director and Professor of Composition. Securing a composer of Dvofalt’s eminence to lead the conservatory would be an exceptional feat. Besides Dvorak’s fame in  America, a  noteworthy  reason  for  the   offer  was his  reputa tion as  a  composer  wi th  a na tionalistic style. Thurber had long dreamt of the creation of a na tional American style of music and raising the standards equal to those in  Europe. While teaching, Dvorak built the curriculum and found many of his students receptive to his ideas while  also providing  him  with inspiration.  It  was  through  them  that  he  first encountered African­American and American Indian music. Once hearing them, he arpressed belie f that they would be the basis for this new American style. In 1893, with the support of Jeanette Thurber and the commission from the New York Philharmonic, Dvoi’alt released his Symphony No. 9 (“From the New World”) in  E minor. I t w   as very much a reflection on the experiences and emotions of the composer during his time in America while combining the broader European wmphonic style. The opening movement immediately announces the main the me. a distinc tive melody tha t will  appear in  every movement. The second movement is characterized by a lovely. romantic English Horn melody  that was inspired by Longfellow’s poem Song of  Hiawatha “Funeral in the Forest”. This melody would la ter be arranged by one of his students into the now famous spiritual. Goin ’ Home. The third movement Scheno. also inspired by Longfellow’s Song of  H iawatha (the Indian dance and feast) is characterized by an offbeat melody created around a hemiola (a rhythm with a 2 against 3 feel). In  the fourth movement, Dvoialt uses the development to work in  the themes of a ll  of the previous movements and presents the motto with the majestic and stormy brass sec tion. His response to American popular styles is seen where he alludes to folksongs that incorporate the pentatonic  (5  note)  scale  in  melodic lines, rhythmic  ostinatos,  and  strongly syncopated rhythms. He does a ll  of this while also incorpora ting follt music from his own home country. Together these features present a dramatic, lyrical, and na tionalistic symphony that presents a rich panorama of ravishing and sensa tional orchestral colors. ­ written by Jessica Biagiotti* BiNGHAmTON l j x ’ iunu il n m oul c José­Luis Now  J J M   usm Director °  11 m  Yon heheh "  ,  Your él’l’lu lusci! '  607­723­3931 www.binghamtonphilharmonic.org “ ta d ; d e   J  MI] Binghamton Community Orchestra Presenting Quality Orchestral Laperiences for  fh 2074­2075 Season  i5 H E HR] “The Migh ty Handful”  Saturday. November 22.  2014  “How Suite l l  ls'“ Saturday. February 28. 2015 “Romantic Spring” Saturday  May 9. 2015 Welcommg back to the podium as conductm Dr. Timothy Perry Concerts start at 7 pm East Middle School ' ~ Program notes written by Daniela & Jessica were done as part of a project for the Basic Conduc ting course this semester tha t is taught by Dr. Timothy Perry & Heather Worden. o 167 East Frederick Street  Binghainlon  '  .  NY '  139  13904  Visit mm:BinghanitonConmuminOrchestmorg for more information! 75 =< 3] Q o — 0> 5   2 a  35 Binghamton H  Community 0mm“ �B i  gbam ton  University Departmen t o f M   usic Coming Events 0 6 m Saturday, Dece m ber 6  ­ Italian Diction Class Reciml– 7:30 p.m. ­ Casadesus Recital Hall ~ free Sunday, December 7  ­ First Act o f  Verdi ’s  ‘Talstaff” – 1p.m 8  4 p.m.  – Anderson Center Chamber Hall – $ 1 0 general public; $7 faculty/staff/seniors/alumni; $5 for students Tuesday, December 9 – Piano Ensemble Coneen –  7:30 p.m. ­ Casadesus Recital Hall ­  free Wednaday, December 10  ~ Nukporfe African Drumming and Dance Ensemble ­  7:30 p.m. ­ Watters Theater ­ $5 general admission at the door Thursday, December 1 1 ~  ­  Ho lidly Mid­Day Concert– 1:20 p.m. ­ Casadesus Recital Hall ­ free Thursday. December 11 ~ Harpur Chorale and Women’s  Chorus H oliday Concert ­ 7:30 p.m. – Trinity Memorial Church, Binghamton – a free donation will be collected at the door Friday, December 1 2  ­ Chinese Singing Class Recital ­  7:30 p.m. ­ Casadesus Recital Hall ­ free Saturday, J an u u y J I  – Musica Nova: A tribute  concert in  memory o f  Paul R . Goldstaub ~ 7:30 p.m. ­  Anderson Center Chamber Hall ­  TBA Friday, February 6 ~ Tri­Cities Opera presents Rossr’ni’s The Italian Gid  in  Algiers ­ 8:00 p.m. ­ The Forum Theater ­ call (607)772­0400 for tickets Saturday, February 7 ­ GuestArtist: Pianist Gleb lvanov­ 7 :30 pan. ­ Anderson Center Chamber Hall ­ TBA Sunday, February 8 ­ Tri­Cities Opera presents Rusini ’s  The l tali m  Girl  in  Algiers ­ 3:00 p.m. – The Forum Theater – call (607 )7 720400for tickets Sunday, February 15 ­ Jonathan Biggers Lecture/Recital Baroque Organ Performance Practice Concert ­ 4 :00 p.m. ­  Fine Arts Room 2 1 ­ $7 general public; $5 famlry/staff/senims/alumni; free for students Q –  [ = ]   G W M M M M M M M M M Q ­ For tickets or to be added to our email list, visit andersonbinghamtonedu or call (607 ) 777­ARTS. For a complete lat of  our concerts call (607 ) 7 7 7­2592, visit music.binghamton.edu or become a fan on Facebook. If  you were inspired by this performance, consider supporting the Department of Music with a financial gift. Your support  helps to  continue the work of students, faculty, and guest artists and their contributions to our community. Please  make your  donation  payable  to  the  Binghamton  University  Music Department, and send your check to B U Music Department, P.O. Boa 6000,   Binghamton, NY 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:13:43 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74879">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74879</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource University Symphony Orchestra presents From the New World: Featuring the premiere of "Music For Sonora" by Christian Martin  Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Copland, Martin, Dvořák. Held at 3:00 p.m., December 6, 2014, Osterhout Concert Theater. Creator An entity primarily responsible for making the resource University Symphony Orchestra Worden, Heather Martin, Christian Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Copland, Aaron, 1900-1990 Martin, Christian Dvořák, Antonín, 1841-1904 Date A point or period of time associated with an event in the lifecycle of the resource 12/6/14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/ea9f0bb7c67168a2d378949bcfa6d9a4.pdf ed248035f0875da31ea3dd19dc6194ec PDF Text Text BINGHAMTON U N I V E R S I T Y STATECLUNIVERSIT Y  OF  N E W   YORK W [4 0 D E P A R T M E N T UNIVERSITY SYMPHONY ORCHESTRA Ti mo thy Pe rry, Conductor P RESEN TS IN A CONCERT FOR CHILDREN OF ALL AGES WE LIKE TO MOVE IT! Friday, October 17, 2014 3:00 p.m. Osterhout Concert Theater �4»  P ROGRAM   4 . Pa rt I : The Instru ments of th e Symphony  Orchestra The Percussion Family: Timpani, Drums, Mallet instruments, Calm Percussion One­horse Open Sleigh (lingle Bells)  .Traditional, arr. T. Perry The Brass Family: French Horns, Trombones Tuba Row, Row, Row Your Boat  Traditional, arr. T. Perry The Woodwind Family : Flutes G’  Piccolo, Oboa, Clarinet, Bassoons Sailing, Sailing, Over the Bounding Main.  . Traditional, arr. T. Perry The Full Orchestra, Re­assembled Flutes 3  Piccolo, Oboes, Clarinet, Bassoons March of the Toreadors, from Carmen  Georges Bizet George Gershwin arr. T. Perry Franz Von Suppé Large Machines in Motion Train: Pacific 23 1 (Symphonic Poem No. 1). Arthur Honegger Pacific Z3 1 :Afilm by Jean M itry  (1 949) Fast Machines in Motion .John Adams Music, Motion and imagination Bicycles and Spaceships: Chase & Final Scene from ‘E.T. The Extraterrestrial’  Taylor Morgen Skylar 0. Buono Bassoon Bailey Tinnras John Voigt Laura Earls The Sounds ofMou’on: Notes and Note­Values Sleigh Ride: Troika, from Lt. Kije Suite Sergei Prokofiev Automobiles : Short Ride in a Fast Machine  Oboo Joe Kim Rebeca Marwin Tenor Saxophone Crystal Fisher Pa rt II : Music and Motion The Beat Goes  On – Musical Rhythm Riding a Horse: excerpt fro m Light Cavalry Overview  Flute Jessica Biagiotti Kchar Bedonian Mdlelie Ll Mary  McGahay . Traditional, arr. T. Perry Musical Tempo Walking: Promenade (Walking lire Dog)‘  Piccolo Emily Paye Clarinet The Stringed Family Violins, Violas, Violoncelli, Double Basses The Wheels on the Bus  BINGHAMTON UNIVERSITY SYMPHONY ORCHESTRA John Williams French Horn Abbie McMahon Emmanual Davis Gabriel Ballard Kathryn Satumino Matt Mum Trumpd Anne Taylor Elliott Voge! Thomas Parker Trombone Bethany Evans Christopher Beard Jacob Strohm Tuba Patrick Jones Percussion Ben Rothschid l Emily Brill Steve Olson Keyboards Ben  Calhoun Dan Malinovsky Violin I Eleanor Krasner Emily Sui Kieran Murphy Kristen Moriarty Rebecca Sgroi K, Cricket Tombs Jessiw Funnell Anthony DeNinis Brian Phung Mi” Kwng (Jay) Kim Maya Oro l fsky Emma Lecarie Violin ll Alexia Chang Abirans Guruparan Gabriele Maire Nathaniel Christman Jiwon Nam Jody Bach Sara Kohtz Paul McHugh Mary Golden Sm i on Benarie Tamara Nist Viola Harman wardiski Daniel Cooke Max Stein Alex Szigerhy Kaitlyn MacDonald Harrison Dulin Margaret Girardi Sharon Graziano Jaya Rao Lindsay Covington Alison Tuck Violoncello Mary Spencer Evan Fetten Charlie Miler Chloe Tso Daniel Michaels Alison Butler Deborah Mariottini Sara Inoa Katy Mercer Gregory Scala Ryan Ference Contrabass Nicholas Hayes Kyle Cullen Robert Durante TheEJSOanplws m m m m . BrmaMPermssimroBle mummnp cfim a m m b b d w : String s ccncalmdaroishd‘n ThurirYoubrM ’m and supporting student­musicains! Pioasejdnusonsmvday. Decarberfimbrwrnext corm’FromThoNu Wortfjamr’ngmoralr’s W W W W N O . 9 mmmpmm m r m r b yau �Bmgliamton Univer sity Department of M   usic Comm g Even ts W W W Thur sday, October 23 ~ Mid­Day Concert– 1:20 p.m. ­ Casadesus Recital Hall ­ free Fr iday, October 24 – Tr i­Cities Opera presents Verdi ’s  Rigoletto ­  8  p.m. ­ The Forum Theatre —  call (607) 772­0400for tickets Saturday, October 25 ­ Early On.­ Music [mm No w and  Then –  7:30 p.m.  – Fine Arts Building, Room 2 1 ­­ $5 general public, free for studenu Sunday, October 26 ­ Tri­Cities Opera presents Verdi ’s  Rigoletto – 3 p.m. ­­ The Forum Theatre – call (60 7 ) 7 720400 for tickets Thursday, O c to ber ”  – Alid­Day Cormart~ 1:20 p.m. ­ Casadesus Recital Hall ­  free Saturday, November 1 ­ Senior Recital: Joseph Keller, baritone ­ Casadaus Racial Hall – free Sunday, November 2 ­ English and American Art  Songs ­  3  p.m. ­  Phelps Mansion, 191 Court Street, Binghamton – $10 general public; BU students free with 1D – For reservations call the Phelps Mansion at (607) 72248 7 3, This concert is cosponsored by the Binghamton University Music Department and Phelps Mansion Museum. Thursday, November 6 ­ Mid­Day Concert ­  1:20 p.m. – Anderson Center Chamber Hall ­ free Saturday, November8 ­ Junior R ecital:  Dan Rosenau, organ ­ 4:00 p.m. ­ FA  21 ­ free Sunday, November 9 ­ M a P hi E   psilon Fall  B edml 2:00 p.m. ­ Casadesus Racial H all  ­ free Thursday, November 1 3 ­Mid­Day Concert– 1:20 p.m. ­ Casadesus Recital Hall ­  free Saturday, November 1 5  ­Ui’iiver~sitsv Chorus: Haydn’t Mass in T   ime o f  W ar­ 7:30 p.m. ­ Osterhout Concert Theater ­ $ 7 general public; $5 faatlty/staff/seniors/alumni; free for students Tuesday, November 18  ­ Momenta Q uarter: Music Now! 7 :30 pm. ­ Casadesus Recital Hall ­ $10 faculty/staff/seniors/alumni; free for students Wednesday, November 1 9  ~ Momenta Quartet: M aster Class ~ 8 : 00 a.m. ­ 1:00 p.m. ­ Casadesus Recital Hall ­  free 6 = [ su ]   O f M a W   M M M M 6 M M M For tickets or to  be added to our email list, visit anderson.binghamton.edu or call (607) 7 7 7­ARTS. For a complete list o f our concerts call (607) 777­2592, = [ = ]   visit music.binghamton.edu or become a fan on Facebook.   lf you were inspired by this performance, consider mpporting the Department of Music with a  financial gift. Your support helps to continue the work  of students, faculty, and guest artists and their contributions to our community. Please  make  your  donation  payable  to  the  Binghamton  University  Music Department, and send your check no  B U Music Department, P.O. Box 6000,   Binghamton, NY 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:10:11 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74912">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74912</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource University Symphony Orchestra presents, in a concert for children of all ages, We Like To Move It!  Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Bizet, Gewshin, Suppé, Prokofiev, Honegger, Adams, Williams. Held at 3:00 p.m., October 17 & 18, 2014, Osterhout Concert Theater. Creator An entity primarily responsible for making the resource University Symphony Orchestra Perry, Timothy  Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Bizet, Georges, 1838-1875 Gershwin, George, 1898-1937 Suppé, Franz von, 1819-1895 Prokofiev, Sergey, 1891-1953 Honegger, Arthur, 1892-1955 Adams, John Williams, John Date A point or period of time associated with an event in the lifecycle of the resource 10/17/14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/dd8fa26968ef9225b46d7749dc85931a.pdf 96c7c7ac6abafcf6576c725c2f5693e0 PDF Text Text BINGHAMTON U N I V E R S I T Y S t a t e  linit’ersit y­ of  N e w  Y o r k —  tedee D E P A R T M E N T University Symphony O rchestra ‘Suite Diversions’ Timothy Per ry, Conducto r Georgetta Maiolo, Flute Soloist l I October 14, 2007 7:30 p.m. Anderson Center Osterhout Theater �University Symphony Orchestra Program Timothy Perry. Director Suite in A minor for Flute and Strings......... Georg Philip Telemann Flute/Piccolo(*) Erica Leo Valerie Spiller Missy Voldan* Oboe/English Horn Marissa Ludwig Maxwell Rosenberg Clarinet Matthew Hassell Bethany  Bonhotf Gregg Ackerman Alexander Vincenzi Bassoon Eleanor Sonley Martha Weber French Horn Diana Amari Kristie Cummings Alexa Weinberg Robert Muller Matt Rek Trumpet Daniel Fein Anne Meyer Trombone Rick Mokan Thomas Ignacio Tuba Katherine Winchell Percussion Amanda Jacobs Caleb R. DeGroote Kelly Tufo Lee Vininsky Stephanie Lehman H arp Mary  Schappert Ke y board Karmi Knight­Winning Harpsichord Prof. Chai­Ky ou Mallinson V iolin I Akira Maezawa Solomon Da w son Elizabeth Sterling Hyobin Lee Eric Lewis Clark Griffin Sargent Erin Chang Janet Kim Yang Hu Erika Chin Eileen Tam Ye­Won Kwak Violin 11 Boaz Tingson Aileen Giselle Ra Andreana Ferro Amy Honigsberg Dana Kerker Beth Vayshenker Molly  Ariotti Richard Goldman K ev in Acunto Christ ina Laube Rachel Jacobs V iola Sarah Sterling Sarah Kuras Joseph Giliberti Shane Thorn Jeffrey  Kuhn Axexandra Burkardt Kelly Singer Janet lev ins V ioloncello Emily Creo Jennifer Chen Air a I ’ltalien Polonaise Réjouissance Georgetta Maiolo, Flute Solo i n Petite SHITE  o En  Bateau    .  .  ...Claude LEDISSY (1862­1918) Menuet Ballet Suite from “The Three­Cornered H a t  ....................Manuel De Falla (1 876­1 946 ) Fan fare  A ft e rnoon The Neighbor’s Dance ( Seguidilla ) l‘he M iller ’s Dance ( Farruca ) Intermiss ion Daniel Copel Jennifer Chen Serena Murray David Katz Owen Dombert c Cortegc Holly  A gar Ry an Joy ce C ontraba s s Stephen Brook s Rachel Casey (1681­1767) Overture: (Lento­Bewegt)  Minuet I &  11 S la vonic Dances, Op. 46.....  .  .  .  .  ..  .  ..  ..Antonin Dvorak (1841­1904) No. 5 in  A Major  No. 6 in D Major No. 7 in C Minor No. 8 in G Minor * * * * * * * * * * * * * * * * * * * # * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Thank  You for joining us  today  we appreciate your support of l i v e  music by our y o   .  .  .  nd  s t u d e n t ­ m u s i c i a n s   J o i n  u s  f o r  o u r  n e x t  c o n c e r t  o n S  u n d a y ,  D e c e m b e r  2”  i a t  3 : 0 0  / ’. . \ l ,   for a program of brilliant music f r o m the movies. A backstage reception i n  honor of P r o f.  M a i o l o ’ s  40 years of tea c h i n g  f o l l o w s  the c onc er t  f o l l o w  signs. �About the Music This  evening  celebrates  the  diversity  o f one  o f orchestral  music ’s  most  common genres, the suite. ( from the French word for “following” or “succeeding’). We offer for y our enjoy ment a potpourri o f national sty les and historical periods whose organi zing principle ranges  from more  formal (Telemann) to  decidedly  more  casual (Dvorak) interpretat ion o f  the term “suite”.  Suites are b y  their v ery nature collect ions o f  largely disparate elements. What holds them t ogether may  be nothing more than a common origin, often as a group o f  dances, ( or in the case o f  the Debussy. a set o f  p iano pieces ) and  the  ident ifiable  sty list ic  signature  o f  their  composer.  They  generally  lack motivic/thematic unity and, since the end o f the baroque era, no longer share a single f talent. even genius, their lack   or tightly related ke y : but in the hands o f composer o o f  c on form i t y a n d predic t abi l it y  i s t urned int o a  strength ­  the y  are, more than other multi­movement forms. free to engage. surprise and delight us. Georg Philipp  Telemann  ma y  be  the  Baroque  composer  whose  present  fame  least accords with art ist ic achievements. Tonight ’s Suite in A­minor is merely  one o f more than  200  orchestral  suite ‘ouvertures  composed  during  a  long  and  incredibly productive career.  Telemann  was probably  better know n and more highly  esteemed than even Bach and Handel.  In a period in which musical  forms  were  st ill  “taking form’. i t i s n o surprise that  th is suit e borrow s  from sev era l arc het y pes. in part ic ular merging elements  o f the  dance­suite  with  those  o f the  developing  concerto  form. Apart from the various Concerti o f J.S. Bach it is probably  toda y the most­performed concerto­suite o f  the age. T e lemann ’ s suites s h o w a n  a st on ish ing range o f  crea t i v it y, and  man y  are  organized  around  a  principle.  in  this  case  an  “international’  theme. Opening with a two­part French Overt ure, which un folds in an arched [ abcba ] form. tonight ’s suite inc ludes a double German Minuet, an Air in the Italian style ( calling to mind Mendelssohn ’s Italian sy mphon y). a Polish Polonaise with Trio and a brilliant concluding Rejouissance.  Throughout the work the composer shows a command not only o f the myriad dance sty les o f the period. but a highly  inventive and play ful sense for rhythm  (particularly  in his  penchant  for reversing  the  pattern  o f stressed  and unstressed beat s ) and a great per former ’ s sens it i v it y  t o the poss ib i l it ies and l im it at ions o f t h e s o l o in s tru m e n t . There  are  man y  examples  in music  o f orchestral  suites  that  have  been  transcribed success fully  to  the  piano :  Debussy ’s  Petite Suite  is  a  rare  case  o f a  piano  work transcribed success fully  in the other direction.  The suite dates from the later 1 880s, in a period in  which the y oung Prix  de Rome  winner w as  work ing to  find his ow n compositional  voice.  The  original  work  for  two  pianos  quick ly  disappeared  from concert  programs,  and  only  in  1907  when  conductor  and  composer  Henri  Busser orchestrated the four movements  (and apparently received Debussy ’s blessing) did it find a secure place in the repertoire. Busser employ s what  is essentially  a chamber orchestra, with a Mozartean w ind section augmented for color only  by  the ubiquitous harp and the use o f piccolo and English horn. There is. as  with many  early  Debussy works. the  Bel/e Epogue’s  fasc ination  with history : the  evocative  titles o f the  four movements are likely  a nod to the pictorial harpsichord suit es (ordres) o f  Couperin. Debussy ’s musical vocabulary o f this early period is ec lectic and shares much with contemporaries like Faure and Massane t.  His forms are conventional ternary  [ aha ] forms  featuring a middle  section o f contrasting rhythms and (under Busser’s hand) varied timbres.  These middle sections are so cleverly constructed that each is able to re­appear  as  subt le  counterpoint s  in  the  return  o f   the  first  theme.  Busser ’s orchestration  is  restrained  but  always  colorful.  retaining  in  the  grace  and  almost childlike energy o f  the music his respect for the piano originals. The  production  o f the  ballet  version  o f EI Sombrero  de  Tres  Picos  (The  Three­ cornered Hat ) grew  from stage music that De Falla supplied to a 1916 production o f the pantomime pla y E/  corregidor y la molinera  –  The magistrate and the  Miller’s wife (In  which a local magistrate  tries unsuccessfully  –to his pain ­ to  seduce  the pretty  w i fe o f the local miller ). Sergei Diaghilev, the director o f the  famous Bullcl Russes  that had  scandalized Paris  with Stravinsky ’s Rite o f  S pring just a  few years before. convinced De Falla to expand the score, engaged Pablo Picasso to de sign the scenery, and hired Leonide Massine to do the choreography. The work prem iered to great  success  in London  in  19 19 and has  been a  fa vorite o f ballet companies ever since that time. Tonight ’s excerpts begin with a bullfight­inspired fanfare representing the lusty Corregidor. The second section The Ajiernoon surges with the languid power o f the summer Spanish sun. The Neighb or’s Dance is set as a seguidilla in which the music alternates and combines motives in 3 /8 and 3/4 time. creating a complex web o f sound at once beguiling and m y sterious. The fina l Miller’s Dance is a masculine tour de fo rc e.  Massine recalls the dance as “a series of high jumps. ending with a turn in mid­air and a savage stamp o f the foot as I tanded. ­ the mental image o f an enraged bull going into the attack.” One o f only  twenty  works that De Falla ever completed. The  Three­cornered  hat  became  one  o f the  quintessential  examples  o f  Spanish sy mphonic sty le for the twentieth century.   l avo n i c  Da n c es  w ere writ ten i n  response t o a request  from the D v orak ’ s fir s t set o f S Berlin  publisher  Simrock  for  a  set  o f dances  in  the  st y le  o f Brahms”  Hungarian Dances.  Dvorak  composed  the  first  set  o f eight  dances  (Op.46)  for piano  duet  in spring  1878. and completed their orchestrations b y the beginning o f August. A rave review  o f the  dances  and  the  Moravian  Duets  in the Berlin  Nationalzeitung made Dvorak a household name throughout Europe. and the music made Simrock a fortune. The dances ( o f which  we present nos. 5­8) are an amalgam o f original material and remembered  ­ or partially remembered  folk tunes from Dvorak ’s youth  (playing in v illage  bands ) and  his many  later  travels.  As  such  the y  are  generally  mixtures  o f –  dance­types.  A s  Antonin Sy chra notes  “he ( Dvorak ) is not a fraid o f sty lizat ion; he sat isfies himsel f with the credible and convincing nature o f the basic mood.” No. 5 in A  Major  mixes  elements  o f faster  skocnd  and  vrtak  and  includes  some  five­bar phrases in its middle section. No 6 in D Major is minuet­like. elegant with a rh ythmic ac c ompan iment dra w n  from t he sousedsk a .  No. 7  i s a tetka in moderate tempo that l dance o f the set suite is a   proceeds to double­time in the manner o f galop. The fina marvelous fur ian t in w hich the music constant ly alternates rh y thm ( l  – 2  ­  3 ­  123  ­ 1 23 ) and shifts between major and minor modes. Like the Debussy, Dvorak uses an [ aba ]  form  but  seamlessly  merges  elements  from  disparate  themes  in  the recapitulation.  In all the dances there is an easy, ebullient. y outhful energy that cannot help but coax a smile from the casual  listener and admiration from the most  learned music­lover. T. Perry, September 2007 �A bout The Per formers T I M O T H Y  P E R R Y .  conduc tor  and  c larinet ist,  is  Pro fessor  o f  M us ic  and  c urrent ly Cha ir  o f  the  Depart ment  o f  Music  for  Bingham ton  Un i v ers it y.  A  graduate  o f  the Manhattan  and  Y a le  Schools  o f  M us ic,  Dr.  Perry  joined  the  Bingham ton  Un i vers it y faculty  in  1 986. becoming Pro fessor o f Music  in 2002 and receiv ing the Chancellor ’s Aw ar d  for  Creat i v e  A c t i v it ies  in  2 005.  A s  Conduc tor  Dr.  Perry  has  direc ted  the Un i v ers it y  Orchestra  s ince  1 986. direc ted  the  Un i v ers it y  W ind Ensemb le  from  1986– 2005  and  led  the  Bingham ton  Commun it y  Orchestra  from  1 994­ 2004.  I n  M a y­June 200  he conduc ted the joint M us ic/Theat er produc t ion o f   West Side Story  in Sant iago, Chile.  W idely  know n as a  c larinet ist  in virtuoso  solo and chamber music. he toured L at in  A merica  and  the  Caribbean  as  a  Un it ed  States  Musical  A mbassador  and  has presented rec itals at  three  world con ferences of  the Internat ional Clarinet  A ssoc iat ion. H is  recent  c larinet  appearances  inc lude  per formances  at  B U ,   Corne ll  and  I thaca Co l lege.  From  Oct  20­ 2  he  present s  3 0  hours  o f  C larinet  and  Conduc t ing  Master C lasses at the Un i vers idad N ac iona l de Columbia ( Bogota ). Her  per formances  ha ve  earned her  la v ish  pra ise:  “Georgetta  Maiolo  prov ided  some exquisite musical moments in her flut e solos,” wrote A lice M itchell in a rev iew  in The Press &  Sun–Bulletin in Binghamton, New  York.  “Georgetta Maiolo should be singled out  for praise in her work  w ith Soprano Louise Wohla fka in the “Mad  Scene”  in Luc ia. Her tone  was like another lovely  voice in the cadenza...Ms. Maiolo’s wonder ful tone and  mus ic ianship  w ere  in ev idence here and through  the ent ire opera,” commented a cr it ic  for  W S K G – F M   rad io.  I n  the  A ugust  1 999  O p e r a   News  rev ie w  o f  T r i­Cit ies Opera  produc t ion  o f  D i e   Za u b e r fl o te,   W i l l i a m  W .   W est  stated  * . . . w i t h  some  lo v e ly IIIIICPIII}I11L’I‘I'()111(iC()l‘g’L‘l l;1\!L!I()!i)” 7  i a a x x x x x t a “ r a t t l x x t x x x v * * * * * * * x * x * * * * * Jiio Sdetiar u f LAiagilia na 7  G E O R G E T T A  M A I O L O is a  member of  t he  fac ult y  o f  Bingham ton Un i v ers it y  and Broome  Community  College,  teaching  Flute  and  direct ing  Flute  Ensembles.  From 19  7 7 to  1 996. she he ld the pos it ion o f  A ss istant  Pro fessor o f  Flut e at  I thaca Co l lege.   I t h a c a .  N e w   Y or k .   S h e   a l s o   t a u gh t  fl u t e  a t  W e s t   V i r g i n i a   U n i v e r s i t y ,   M o r ga n t o w n , W est V irgin ia . Mrs.  M a io lo  is  a  graduate  o f  Duque sne  Un i v er s i t y,  P itt sburgh,  Penns y lv an ia  and at tended  graduate  school  at  W est  V irgin ia  Un i v er s i t y,  Morgant ow n,  W est  V irgin ia . She  studied  w ith  Bernard  Goldberg,  princ ipa l  flut ist  o f  the  Pittsburgh  Sy mphon y. Marcel Moy se at Marlboro School o f  Music, and V ictor Saudek .  At  the age o f  15, she ma de her  so lo  debut  w i t h  the  P it t sburgh  S y mp h on y .  Mrs.  M a io lo  is  t he  rec ipient  o f numerous honors, inc luding the NCMEA N at iona l mus ic a ward, the Pittsburgh  Tuesday Musical  C lub,  the  Enola  M.  Le w is  Scholarship  and  the  Mu  Phi  Epsilon  Sterling A chievement Aw ard.  ei >  o a &  »  ‘  SF   i ££w ont i e .  S A  Ci t ie s Opera Orc hestra, and  Dow n t ow n S ingers Orchestra .  In a dd it ion to  her p la y ing posit ions,  she  concert izes  as  a  soloist, rec ita list  and  chamber music ian.  Mrs.  Ma iolo has  been  recognized  for  the  breadth  o f  her  contribut ions  to  per formance  and  music education.  She  has  premiered  composit ions  for  flut e by  Jack  Mart in,  Dan  Lock lair, Edith B orrotf, Malcolm L e w is, R ichard Herman, J effre y Nit ch,  Timothy  R olls and Paul Goldstaub. In 1 985, Mrs. M a i o l o m m h o n o r e d I n c o n d u c i I ! 1 e \ Y \ S M . \  A ll­ State Flute Choir.  She  serv ed  a s  the  flu t e  cha irperson  for  the  N Y SS M A  Man ua l  from  1 981  to 200 1 .  She  is  a  “ c l in ic ian ”  for  the  Selmer  C ompan y .  She  has  recorded  for  Crest Records and NPR. 5%   S N o v e m b e r F  e b r u a r y   m z . a . & 4 m Eanglorhy  i0n (Tolan psthe I  LeERALITLES  ©  dor  Fro ck  with English  C E E R I   TIES  2 0 0 7 ­ 2 0 0 8  S e a s o n   AD  THE  FORE ‘ Mrs.  Maiolo  is  the  princ ipal  flut ist  o f the  Bingham ton  Philharmonic  Orchestra,  Tri­ o I  TUE  a t e s  I N  BINGHAM TON  N Y  l­­ “ a h a  wt’l­f­vluyh a‘O’rrf  up. ­ Furr  tac hee  .' ant favs vircafioom call 7 ­ 7 7 2  M ) W W W I  r C C   S R O D  o v �Comi ng Music Events T hursday,  October   18  –  Mid­Day   Concert   –  1:20  p.m.  Recital  Hall  free ­  Casadesus Friday,  October   19  –  Sunday,  Octobe r  21  –  New  York  State  Music Teacher s A ssoc iat ion (N Y SM T A ) – Anderson Center Chamber Hall and Casades us  tree Sunday,  Octobe r 20 –  Family  Weeken d Conce rt – 3:00 p.m.  Osterhout Concert  Theater  free T hur sda y . Oc tober 25 – M id­Da y Conc ert  1 :20 p.m. ­  Casadesu s Rec ital ­  Hall ­ free T hur sd a y . Oc t ober 25 –  B ig B and J a zz! A  scholarsh ip benefi t in memory ot‘ R obert  Terrell  ­ 8 :00 p.m.  Osterhout Concert  Theater  ­ S1 8 genera l public : S I 6  faculty  s t a ff  s eniors : S1 0 for students 7  Fr i da y .  Oc tober  26  –  M ad riga l  C ho ir  o f  Bingham ton  8 :00  p.m. Anderson  Center  Chamber  Hall  ­  $15  general  public;  $1 0 faculty  sta ft ’seniors : $ 3  for students W edne sda y . Oc tober 3 1  – I nd ian C onc ert w i t h voca list Pand it K a i v a ly a K u m ar, Pt.  Ra v ind ra  Y a v ga l  on  t ab la  a nd  Pt.  Ra v ind ra  K at ot i on harmon ium  7 :00 p.m.  Anderson Center Chamber Hall ­  $1 2 genera l public : $ 1 0  taculty  s t afi’ s eniors : $5 students Thur sda y .  Novemb er  1  –  M id­Da y  Conc ert  –  1 :20  p.m.  Rec ital Hall  free ­  Casadesus Fr i da y . Novem ber 2 – M a ster ’ s Rec it a l – Dan iel S o fer, p iano  8 :00 p.m. Casades us Rec ital Ha ll  free Sa t ur da y . Novem ber 3  –  C lar inet T rio Rec ita l ­  8:00 p.m.  Casadesus Rec ital Hall  free T hur sd a y .  No vember  8  ­  M id­Da y  C on c ert  –  1 :20  p.m.  ­  Casadesu s Rec ital Hall  free S a t ur da y . No vember  1 0 –  Un i v er s i t y C horu s : W or d s a n d M us ic  8 :00 p.m.  Anderson Center Concert Theater  free Thursday, Novem ber 15 – Jazz Mid­Day C oncert with guest artist  8:00 Osterhout  Concert  Theater  ­  $9  general  public :  $7 p.m.  7  fac ult y  sta ft ’seniors : free for  student s l l � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:08:38 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196853">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196853</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource University Symphony Orchestra, 'Suite Diversions,' October 14, 2007 Recital Tape 10-14-2007 Description An account of the resource Held at 7:30 p.m., October 14, 2007, Anderson Center Osterhout Theater. Works of Telemann, Debussy, Falla, Dvorak. Creator An entity primarily responsible for making the resource Perry, Timothy Maiolo, Georgetta 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 2007-10-14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 02849806-eea1-48bd-ba35-5f971b258432 https://omeka.binghamton.edu/omeka/files/original/6a99f3be89cc75ea9033b17169f90576.pdf 1f085a960ef9f65d4bbe68b60fc4f4f7 PDF Text Text BINGHAMTON l N I \' I R S I T \ State University of New York UNIVERSITY SYMPHONY ORCHESTRA Timothy Perry Music Director and Conductor and Guest Soloist Stephen Stalker, Violoncello Saturday, December 3, 2005 8:00 p.m. Osterhout Concert Theater �PROGRAM Overture to the Opera 'Oberon' .................... Carl Maria von Weber ( 1786-1826) Concerto in D Major, Hob Vllb:2 ........................ Franz Josef Haydn Allegro moderato (1732-1809) Adagio Rondo: Allegro Stephen Stalker, Violoncello Solo ~INTERMISSION~ Symphony No. 2 in C minor, Op. 17 ...... Piotr Ilyich Tchaikovsky "Ukrainian" ( 1840-18 93) Andante sostenuto - Allegro vivo Andantino marziale, quasi moderato Scherzo: Allegro molto vivace Finale: Moderato assai - Allegro vivo ****************************************************** Thank you for attending this evening's concert. Please enjoy the music with those around you by turning off all cell phones and other electronic devices. We invite you to join the University Symphony on Saturday, February 25 th for a concert by the winners of the 2005-6 Concerto and Aria Competition. �ABOUT THE MUSIC In 1824, the director of the opera house at Covent Garden approached Carl Maria von Weber to commission a work in English for the London stage. The choices were Goethe's Faust and Wieland's poem Oberon based upon the chanson de geste 'Huon de Bordeaux.' Weber chose the latter, perhaps remembering a disagreeable meeting with the haughty Goethe some years before. As for Oberon, one need only know that, excepting the occasional presence of Oberon, Puck and Titania, it has nothing in common with the Shakespeare comedy. The hopelessly convoluted plot involved two sets of lovers, a magic horn, a Caliph of Baghdad, Mediterranean pirates, a North African Emir and his lascivious wife, and rather too much more. Weber was by then suffering from advanced tuberculosis and accepted the commission with a view to providing for his family after his death. A prodigious worker, he proceeded to learn English from scratch and composed the opera during most of 1825. The overture, the last piece, was finished on April 9, 1826 - just three days before the premiere and five weeks before Weber's untimely death. While the splendid score for the opera was a hit with the Londoners (the overture had to be repeated) the dramatic weaknesses have been insuperable and the work, despite many attempts at revision, has never held the stage in repertory as have Der Freischiitz and Euryanthe. The overture begins with the magic horn followed by alternating phrases from the lovers' travails and the world of the Fairies. An abrupt chord cuts off this reverie and the ensuing Allegro in sonata from is devoted to, in tum, a swashbuckling, energetic theme in the violins, a lyric second theme in Weber's favored wind, the Clarinet (drawn from a tenor aria 'from boyhood trained'), and finally the 'husband, my love, we are saved' passage of the soprano's brilliant scena 'Ocean, thou mighty monster.' As in his Freischiitz overture, Weber thus gives a highly condensed précis of the opera's emotional text in the overture, an important innovation which would then be carried far further by Weber's admirer and operatic heir, Richard Wagner. �For almost two centuries after its premiere in 1784 until the rediscovery in 1961 of the C Major concerto, Haydn's Concerto in D was the only one of the six (or possibly seven) Haydn concerti for the Violoncello in the repertoire. The work was composed for the Bohemian (in origin, not temperament) cellist Anton Kraft, a member of the orchestra at Esterhazy. A highly skilled virtuoso, Kraft would leave Esterhazy upon Haydn's retirement and move to Vienna, where years later he became one of the soloists for whom Beethoven would write in his Triple Concerto. The concerto opens with a generously scaled allegro whose elegant, stately theme is balanced in its melodic profile and rhythms in the manner of Stamitz and the Mannheim symphonists. Once the cello enters, however, the show begins in earnest, as the solo part is employed in a variety of passages demonstrating the instrument's potential. Haydn places much of the solo part in its high tenor range, where it is used for both lyric melodies and complicated passagework. Additional techniques include extended scales from the bottom of the instrument's range far into the upper positions as well as widely spaced arpeggios (some with leaps of a tenth or more) and double-stops (playing on two strings simultaneously). The middle-movement adagio places the violoncello almost solely in the top range, where it plays an Italian-style aria above the violins - surely a novel piece of orchestration in its day, and an arresting timbral combination even now. The finale brings to mind the 'hunt' finales of Mozart, its rollicking 6/8 colored by the orchestra's oboes and horns. Haydn saves some of the most difficult solo passages for this movement during the tempestuous middle section in minor, including a famous section using fast string-crossings followed by even more fearsome double-stops first in thirds and finally in octaves. The return to major restores tranquility and all is brought to a smiling conclusion with a return of the initial theme. Listeners will perceive the nod to the older concerto grosso in Haydn's frequent employment of a smaller group of strings as a concertato group to contrast with the full orchestra tutti sections. �First, a word of explanation. Tchaikovsky's second symphony has always been known as the 'Little Russian' from the reference to two Ukranian folk songs which form the basis of the themes for its first and fourth movements. Because the older subtitle carried some negative ethnic stigma, many editions now defer to the more politically acceptable 'Ukrainian' subtitle. Tchaikovsky composed the symp ony m 1872 while doing a considerable bit of travel. Its strongly Russian character may have been a nod to the criticisms of the Nationalist group known as the 'Mighty Five,' but Tchaikovsky's subsequent work shows that he was far too independent a creative artist to bend to anyone's notions. Long famous for its finale in which the folk-song 'The crane' is used as an ostinato figure throughout, the other movements are no less worthy of praise. The symphony's slow movement opens the work as an extended introduction, developing materials from the opening horn solo. A rugged allegro in sonata form follows, with some exquisite wind writing led by the oboe in the second subject. The two themes are worked out and each is given its own gigantic climax - the first in a meno mosso, the second in a mighty chorale that quickly fades back to the spare texture of the opening and ends in a mournful solo in the bassoon. The second movement is a march in a curiously moderate tempo whose theme Tchaikovsky lifted from his unfinished opera Undine. Here again the composer offers a contrasting theme in minor that eventually builds to a full-orchestra statement of the march theme complete with trumpets and timpani. The scherzo is the symphony's hidden jewel. Like the First Symphony, Tchaikovsky demonstrates a magical ability to organize the fast rhythm into a seemingly inexhaustible number of subtle combinations of duple and triple bars, complex hemiolas and kaleidoscopic exchanges of thematic material from instrument to instrument. The finale's unrelenting use of its melodic germ has, surprisingly, led several famous conductors to cut considerable sections of the movement. The art of the composer is seen, however, NOT in following the tune, but in careful observation of what lies beneath and behind it. While not as organic as in his later symphonies, Tchaikovsky nevertheless manages to construct his development section into a single, carefully paced harmonic and formal crescendo which breaks off not into a recapitulation of the main theme (that would be totally superfluous), but into the second subject and an almost impossibly fast presto coda in which the mediant relations expressed earlier come to fruition in brilliant brass fanfares that echo the movement's majestic introduction. -T. Perry �ABOUT THE PERFORMERS TIMOTHY PERRY, clarinetist, conductor and Professor of Music, 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. degree from the Yale School of Music and a B. Mus. degree from the Manhattan School of Music. Dr. Perry's more than two hundred programs include ten seasons as Music Director of the Binghamton Community Orchestra and as guest conductor of both the Catskill Symphony and Binghamton Philharmonic orchestras. Perry is widely known as a virtuoso solo and chamber music clarinetist, touring Latin America and the Caribbean as a United States Musical Ambassador and appearing at international festivals in Europe and Asia. He presented his third artist recital at an International Clarinet Conference this past summer in Tokyo. STEPHEN STALKER, cello, has made concerto appearances with numerous orchestras in upstate New York, including Schenectady Symphony Orchestra, Cayuga Chamber Orchestra, Catskill Symphony Orchestra and the Binghamton Community Orchestra, performing concertos by Boccherini, Haydn, Beethoven, Lalo, St. Saens, Brahms, Dvorak, Hindemith and Shostakovich. He has performed in chamber groups throughout the United States and Europe. As a member of the Madison Quartet, he performed in the United States, 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 Artist-in-Residence at Colgate University . He has played extensively with 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 graduated from the Manhattan School of Music and teaches cello and double bass at Binghamton University. �UNIVERSITY SYMPHONY ORCHESTRA Flute/Piccolo Kelsey Bauer (+picc) Charity Hung Joanna Hunt Kristen Gilbert Oboe Maxwell Rosenberg Marissa Ludwig Clarinet Gregg Ackerman Alexander Vincenzi Bethany Bonhoff Bassoon Dana Gleason Luisa Duerr Horn Ernie Epelman Robert Muller Diana Amari Cara Weiss Trumpet William Gilchrest Garret Clark Trombone David Henann Richard Mokan Tuba . Daniel J. Brisk Timpani/Percussion Kristine Jackson MarkTurley Violin I Akira Maezawa Micah Banner-Baine Molly Ariotti Alexander Wong Alisa Selman Tiffany Chang Claire Bryne Anna Cardillo James Leddy Dana Kerker Griffin Sargent Richard Goldman Rachel Jacobs Eileen Tam Violin II Jennifer Paull Elizabeth Sterling Marie Mizuno Alexandra K. Brutus Lauren Moscowitch Samuel Wang Da Hyun Chung Jennifer Liebman Mayra Rodriguez Tina Chiu Christina Laube Stephanie Mawhirt Emily Krecko Samuel Eum Viola Melissa Mattern Beth Vayshenker Sarah Sterling Leah Robinowitz Melissa Lee Kerry Conway Jeffrey Kohn Christopher Trow Christopher Fiore Macia Gravelding Janet levins Ted Gramiak Violoncello Emily Creo Justin Wong Heajung Kim Nicholas Capone John Choi C. MacKenzie Wen Daniel Copel Contrabass Elizabeth H. Bartlett Serena Murray Andrew Eiche David Katz �COMING EVENTS Sunday, December 4 - University Wind Ensemble Holiday Concert I :00 p.m. - Oakdale Mall - free Sunday, December 4 - University Flute Ensemble - 7:30 p.m. Casadesus Recital Hall - free Thursday, December 8 - Holiday Mid-Day Concert with faculty and student performers - I :20 p.m. - Casadesus Recital Hall - free Thursday, December 8 - Harpur Chorale and Women's Chorus - 8:00 p.m. - Anderson Center Chamber Hall - free Sunday, December 11 - Master's Recital: Kathryn Boczar, soprano 7:30 p.m. - Casadesus Recital Hall - free Wednesday, December 14 - Master's Recital: Donald Truesdail, string bass - 8:00 p.m. - Casadesus Recital Hall - free Spring 2006 Sunday, February 12 - Organist Jonathan Biggers: Bach Again! - 4:00 p.m. - First Presbyterian Church, Chenango St., Binghamton - $14 general public; $12 faculty/staff/seniors; $6 students Sunday, February 19 - Pianist Michael Salmirs - 3:00 p.m. - Anderson Center Chamber Hall - $14 general public; $12 faculty/staff/seniors; $6 students Saturday, February 25 - University Symphony Orchestra: Concerto and Aria Competition Winners - 8:00 p.m. - Osterhout Concert Theater - $9 general public; $7 faculty/staff/seniors; free for students Sunday, February 26 - Music for Cello, Plus: Stephen Stalker and Friends - 3:00 p.m. - Casadesus Recital Hall - $9 general public; $7 faculty/staff/seniors; free for students Thursday, March 2 - Mid Day Concert with faculty and student performers - I :20 p.m. - Casadesus Recital Hall - free Sunday, March 5 - University Wind Ensemble - 3:00 p.m. - Anderson Center Chamber Hall - free l � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 45:57;41:40 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243867&amp;change_lng=en" title="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243867&amp;change_lng=en">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243867&amp;change_lng=en</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource University Symphony Orchestra, December 3, 2005 Description An account of the resource Works of von Weber, Haydn, Tchaikovsky. Held at 8:00 p.m., December 3, 2005, Osterhout Concert Theater. Creator An entity primarily responsible for making the resource Perry, Timothy 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 2005-12-3 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/f460576fb75ab804e466532ec29d07be.pdf a2b867aa65da2d9c7a3440446c5e6b38 PDF Text Text UNIV  ARC INGHAMTON B   n se E V E N a  2 0 € Q .  \  #  L   n  5 State University of  New York ....  Depart ment of Music UNIVE RSITY  SYMP HONY ­ ORC HESTR A: Schumann, Sibelius and Sunwoo with T imothy  Perry, conduc tor Patricia  Sun woo, violin i Sunday, Oc tober 26, 2003 7 3:00 p.m.  Anderson C enter Conc ert Theater �“ AN 0 = wed He  o i V i t   Ribs  na ¥  b o b  G0 LE  Y.’ 1 i i :  a  Zia  344? ~1  75 #  1  oF  2 3  5   ’ m . 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M.  October 26, 20 03  Program IEDIDERITUS Finlandia, Op. 26, n o. 7 . . . . . . . . . . . . . . . .  JEB(1 865­19 57) Concerto in d Mi no r  Sibelius for Violin and Orchestra . . . . . . . . . J e an (1 865­19 57) i. A lleg ro m oderato  ll. Adag io d i m olto lll. Allegro, m a n on tan to Patricia Sun woo, V ioli n +++ +++ ++j nte rmi ssio n++ +++ +++ hu mann Symphony in D Mi no r, Op . 12 0. . . . . Robert Sc10­ (18 1856) (O rig inal Version, 1 840)  Andante con moto ­ Alleg ro di molto Romanz a (A ndante) Scherzo­Trio (Prest o) Lar go ­ Finale (Alleg ro vivac e) E ET   W e i nvi te y ou to a tten d these up coming  US O e ven rE e ts : ompetit ion Sunday, No vember 23'", Concerto an d Aria Solo C ee) 6:30 P. M. Casadesus Recital Hall  (Fr   ic G ala “ Win ter W ond erland” Satu rday, December 6 ” Mus 3 :00 P. M. A nderson Cen ter C onc ert The ater I �About the Music Finlandia is so well known and beloved that we run the considerable risk of losing in familiarity the hard edge of revolutionary fervor that informs the work. Created  as  one  of  a  set  of  pieces  Sibelius  composed  for  the  Press  Pension Celebrations in 1899, the work came at a time when increasing demands for Finnish independence  were  met  by  the  hardening  attitudes  of the  Czarist  regime  that controlled  Finland.  In  Finlandia,  Sibelius  created  a  musical  metaphor  for  the struggle of the Finnish people. Both the thematic elements of the melody and the orchestration are carefully controlled to bring maximum effect.  The melody moves from halting fragments phrases to full­length hymn, its harmonies dominated first by diminished chords, then by minor key center, and eventually by major tonality. The similarity of the opening chorale to Russian Orthodox hymnody only serves to highlight the brutality with which it appears.  The minor section, punctuated with its trumpet calls  (to resistance? to battle?), and its uprising (literally) of the French + horns (Beethoven’s instrument of revolution) and the strings brings a catharsis to the major key and the transformation ­ minor to major, Russian to Finnish.  The action is completed with a five­beat pealing of church bells in the lowest sections of the orchestra, and a plagal ('Amen') cadence just before the final chords. The meaning was clear enough to both Finns and Russians to have the piece banned by the Czarists for a period of time. May its message and its power be ever undiminished! Sibelius was himself a virtuoso violinist, and some see in his only concerto the projection of that dream, but transferring the stage of his triumph from performer to composer. Completed  (1903­1905) after his second symphony, the work is one of the last to lie immersed in the tonal language of late­romanticism.  That said, there is no Sibelius that does not abound in original touches of form and orchestration. The opening movement, though symphonic in scope, emerges from an icy D­minor silence energized by violins alone. Sibelius, confining his themes inside the interval of a  fifth,  creates  a  soundscape  which  has  been  compared  both  to  the  spare landscape of his native Finland and to the epics of Homer, Virgil and the Nordic bards  whose  sagas  he  could  quote  by  heart. An  intimate  theme  in  triple  time contends with a hard­edged march in duple meter, a struggle that seems to end without a resolution. The second movement, dropping as if in repose into B­flat Major, resolves this conflict.  The solo violin (ensconced in the warm embrace of a sextet of bassoons and horns) survives an assault in the middle of the movement to find, by movement’s end, one of the most utterly beautiful moments of tranquillity and release ever put to paper. The finale’s rhythmic opening, now in D­Major, is as worldly as the first movement was ethereal. Manic, almost hypnotic in its forward drive,  the  movement  flips  between  major  and  minor  modes  with  the  soloist condemned to execute a seemingly unending stream of virtuosic passages.  Sibelius revisits the duple versus triple issue, but now with the figures blended seamlessly into a dance rhythm. There is an unsettled quality to all of this energy. Does the fiddler call the tune, or is (s)he called by it? Either way, the power and verve of the finale brings this weighty essay on the human condition to a worthy conclusion. 1 �Robert Schumann’s D minor symphony has lived a double life.  It was completed in 1841 and received but a single  performance, a premiere in which it was overshadowed by the presence of both Clara Schumann and Franz Liszt on the program. Ten years passed before Schumann returned to the work, substantially thickening the orchestral sonority, composing new transitional  passages  and  adding  weight  to  many  of  the  original developmental designs.  The Revised Version we know today as Symphony No.4, but in its original inception it is actually the second of Schumann’s symphonies. The re­discovery of the original  version some ten years ago brought to  light a  composition  far  lighter, unified in  its conception  and reflecting the spontaneity with which Schumann executed the original.  The work  carries  forward  the  concept  of  creating  a  complete  symphony,  a complete world­view, from a few basic motives.  Specifically, the opening hammer­stroke A and the six notes which immediately follow provided all the  material  Schumann  needed.  While  the  outlines  of a  standard  four­ movement symphony are retained (the movements, though, are continuous), the recurring reference to, and transformation o f previously stated mate rials gives the symphony a fantasia­like feel. The result is a work more unified, more consistent, and with less power, but more subtlety, than its revised offspring. One might compare the two by saying that the 1841 symphony leans backward towards the chamber music of Schubert,  and  the  latter  version  forward  towards  the  symphonies  of Brahms. It was Brahms who preserved the score of the original for posterity, noting  that  “the  score  has  not  gained  much  by being  revised,  and  has undoubtedly  lost  much  of  its  charm,  lightness  of  touch  and  clarity  of expression.” Not that we ask you to chose between two beautiful children, but merely to give the younger one its due. T. Perry, September 2003 2 �About th e Performers TIMOTHY PERRY is a Professor of Music at Binghamton University, where since 1986 he has served as Director of the University Orchestra, Conductor of the  University  Wind  Ensemble,  and  Professor  of  Studio  Clarinet  and Conducting.  He is also in his tenth season as Music Director of the Binghamton Community  Orchestra.  Perry  holds  degrees  from  the ' Manhattan  and  Yale Schools of Music, where he earned numerous honors as a double­major student of Otto­Werner Mueller, John Mauceri, Arthur Weisbergand, Szymon Goldberg (in conducting) and Leon Russianoff and Keith Wilson (in clarinet).  Perry is widely known as a  virtuoso solo and chamber music clarinetist with  pianist Margaret Reitz., twice appearing as a featured artist at the Inte rnational Clarinet Conferences  in  Belgium  and  France,  and  touring  Latin  America  and  the Caribbean for the Department of State as a United States Musical Ambassador. He  appeared  as  solo  clarinetist  at  festivals  in  Thy,  Denmark  (1998)  and Vinalhaven, Maine (1999) and with the Binghamton Philharmonic in 2001. He has recorded the complete 18 Etudes de Perfectionnement of Paul J eanjean and is reconstructing the orchestral parts for The Hour of Hosts by the Romantic Munich virtuoso Karl Baermann. Canadian­born violinist PATR ICIA SUN WOO made her New York orchestral debut in 1995, performing Alban Berg’s Violin Concerto at Alice Tully Hall, and has since been active as a recitalist and chamber musician throughout the United States.  She has won prizes from the Canadian Music Competitions, Montreal Symphony Orchestra Competition, and CIBC Festival of Music.  As a member of  the  Whitman  String  Quartet,  winner  of  the  1998  Walter  W.  Naumburg Award, she performed to critical acclaim across the United States, France and South America, recorded works of Artu r  Schnabel  and  Michael  Whalen  for labels CP 2 and Arabesque Recordings, and was aired by NPR and Japan’s NHK. Recent engagements include appearances at the Carnegie Hall’s Weill Recital Hall,  Corcoran  Gallery  in  Washington,  D.C.,  Bard  College,  Meadowmount School and L’Espace Pierre Cardin in Paris.  She has worked with composers John Corigliano, Joan Tower and George Crumb, and given premieres with the Whitman  Quartet,  Metamorphosen  Chamber  Orchestra  and  new  music ensembles.  Sunwoo is also an active advocate of music education, and has been a teaching artist for the Midori Foundation, Da Camera Society of Los Angeles and Carnegie Hall.  In 2001, she joined the faculty at Binghamton University. Her  major  teachers  include  John  Loban  in  Vancouver,  the  Juilliard  String Quartet, and  Sally  Thomas  at  the  Juilliard  School,  where  she  received  her doctorate. © l l » �me  Binghamton University Orchestra Prof. Timothy Perry, Conductor Flute Percussion Qboe j ..  l’  I Clarinet Caroline Bravo Jordan Pasternak Bassoon Robin Kindig Kimberly Meeker Erench Horn Emie Epelman Alfred Jacobsen Patrick Lokken Suzanne Tocco Trumpet Erinn Hibbard Glen Widjeskog Trombone li : Kelsey Bauer: Caitlynn McMullen Kira Slocum Lana Banner Rebecca Rodbart ? I  Jamie Cepler David Hennan Stephen Sorscher Tuba Brad Davis Matthew Chedister Peter Tringali Alicia Fusani Morgan Kim Julia Kim Viola Melissa Mattern Kerry Conway Melissa Lee Christopher Fiore Kenneth Perschke Janet levins Christopher Trow Violoncelo James Leddy Sarah Steiding Marie Mizuno Shauna Buckman Micah Banner­Baine JungSun Oh Jennifer Paull Meghan O’Loughlin Sheri Zola Claudia Fathi Sarah Park Ben James Matthew Woolever Alex Wiesendanger Angela Wynne Katy Walker Emily Creo JeongSun Oh Michael Day Shelley Levin Nicholas Hunt­Walker I f’  I’  I Contrabass Christine Wan Yoh­Seung Chiu Lauren Moscowitch Jah­yu (Lulu) Chen Tamara Potapova Youlee Choi Stephanie Mawhirt Karen Krouse Meggie Knapp Sarah Baird Karen Tang Amanda Dumont Beth Bartlett Andrew Eiche Noah Mason �Coming Events Thursda y,  October   30  –  Mid­Day  Concert   with  faculty  and  student performers­1 :20 p.m. – Casadesus Recital Hall – free Friday, October 31 – A n English Legacy : Works  for Viola with Roberta Crawford – 8:00 p.m. –  Casadesus Recital  Hall  – $8 general  public; $6 faculty/staff/seniors; free  for students (In conjunction with the 2003 Viola Fest) Saturda y, November 2 – Viola Fest 2003 – 2:30 p.m. – Artist Concert; 4:45 Grand Concert – Anderson Center Chamber Hall – free Thursda y,  November  6  –  Mid­Day  Concert   with  faculty  and  student performers – 1 :20 p.m. – Casadesus Recital Hall – free Saturda y,  November  8  –  Contrasts :  An  Evening  of  Chambe r  Music T reasures  with guest artists from Belgium – 8:00 p.m. – Anderson Center Chamber Hall – $ 14 general public ; $12 faculty/staff/seniors; $6 students Thursda y,  November  13  –  Mid­Day  Concert   with  faculty  and  student performers – 1 :20 p.m. – Casadesus Recital Hall – free Thursda y, November 13 – Pharao h ’s Daughter – A six­piece electric groove ensemble that  blends Jewish music with world beat – 8  p.m. – Anderson Center  Chamber  Hall  –  $14  general  public;  $12  faculty/staff/seniors;  $6 students (Co­sponsored by Hillel at Binghamton) Saturda y,  November  1 5   –  University  Chorus  with  the  Binghamton Philharmonic – Rachmaninoff’s The Bells – 8:00 p.m. – Anderson Center Concert Theater – Contact the Binghamton P hilharmonic for tickets Thursday, November 20 – Jazz Mid­Day Concert with guest artists – 1:20 p.m. – Anderson Center Chamber Hall – free Thursda y, Nove mber 20  – Harp u r Jazz E nsemble  with guest artist – Michael Carbone, conductor – 8 p.m. – Anderson Center Chamber Hall ­ $8 general public; $6 faculty/staff/seniors; free for stud ents Sunday, November 23 – University Orch estra Co ncerto a nd Aria  Compet ition Auditions (open to the public) 6:30 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.) 1:10:46 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253403&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253403&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 University Symphony Orchestra: Schumann, Sibelius and Sunwoo, October 26, 2003 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2003-10-26 Description An account of the resource Works of Jean Sibelius and Robert Schumann. Held at 3:00 p.m., October 26, 2003, Anderson Center Concert Theater. Creator An entity primarily responsible for making the resource Perry, Timothy Sunwoo, Patricia Date A point or period of time associated with an event in the lifecycle of the resource 10/26/2003 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/17025ee77a1c2eea81e97410525438de.pdf f5db21c9f617814677beeb5587b673b1 PDF Text Text BINGHAMTON U N I V E  R S T E S T A T E   U N I V E R S I T Y   O F   N E W  Y O R K d e e T M E N T [4 D E P A R M ARCH  MUSIC She Wvioni W nd i Sm yphony Rober t G. S mith, Condu ctor Daniel Fabr icius, Guest  Cond uctor Featu ring The Univers ity Flu te Trio The Univers ity Pe rcussi on Qu artet Sunday, M arch  6, 2011 3:00  P M Anderson Center Chamber Ha ll �PROGRAM Flute C ocktai l  A Harry Simeone ..  (1911­2005) Minuet,  Scherzo and B lues“  The University Flute Trio Mark Zh uang, Emily Morris, Natalie McCreary Georgetta Maiolo, Director Three Revolutionary Marches ........  I. Alleg ro con b rio  II. March of the Students’ Legion Ill. Allegro maestoso ..  Bedric h Smetana (March 2, 1824­May 12, 1884) Three Journeys to a Holy Mountain ...............Alan Hovhaness Sympho ny No. 2 0 for Ba nd, Op.  223 (March 8, 1911–June 21, 2000) I. Andante Espressivo ..........Percy Aldridge Grainger Molly On The S h o r e   (1882­1961) Irish Re el set fo r Militar y Band  St. Patrick’s Day, March 17 Toccata and Fugue in d minor............Johann Sebastian Bach (March 21, 1685–July 28, 1750) Trans. Erik Leidzen .. James Hosay Black Granite March 29, 1973 U.S. forces leave Viet Nam (b. 1959) &  INTERMISSION  c= Concertino for Four Percussion and Wind Ensemble  David Gillingham The University Percussion Quartet Devin Tr acy, Amanda Jacobs Benjamin Ramos, Adam Goldenberg Daniel Fabricius, Director Daniel Fabricius, Guest Conductor (b. 1947) B O U T ROBERT G. SMITH is Music Director and Conductor of the University Wind Symphony. Professor Smith holds degrees from Hartwick College, Binghamton University and has completed course work toward the Doctor of Musical Arts. Professor Smith also teaches advanced instrumental conducting and graduate wind conducting at BU. His career includes 32 years as a public school music educator. He conducts the annual Triple Cities TubaChristmas and is former conductor of the Maine Community Band, the oldest band of its kind in the United States. He has guest conducted all­county bands throughout New York State. Among other ensembles Smith has conducted are the Goshen College (IN) Wind Ensemble an d Orchestra, The United States Army Ground Forces Band (GA), the Southern Tier Concert Band (NY) and the Vestal Community Band (NY).  An active performer, he currently plays principal euphonium with the Southern Tier Concert Band and tuba with the Brass Nickel Quintet and the Crown City Brass Sextet. Smith is past president of the Broome County Music Educators Association and recipient of the 2005 BCMEA Distinguished Service Award. Professor Smith also has been active as an adjudicator for concert bands, marching bands, field bands, DCI drum and bugle corps and indoor winter color guard. Professional memberships include The Broome County Music Educators Association, the New York State School Music Association, the Music Educators National Conference, The National Band Association, The Association of Concert Bands, The Conductors Guild, The World Association of Symphonic Bands and Ensembles, The College Band Directors National Association and the International Tuba and Euphonium Association. DANIEL FABRIClUS has been a member of the Binghamton University faculty as percussion instructor since 1992. He also serves as Director of Bands at Owego Free Academy where he has developed an outstanding instrumental music program that features a concert band, two jazz bands, and various chamber music ensembles. He is highly regarded in the region as a percussion soloist and ensemble player. He has been a member of the Binghamton Philharmonic percussion section since 1982 but is also comfortable performing in popular, rock, jazz, and other styles. He has played as a free­ lance percussionist, accompanying national touring artists such as Michael W. Smith, Tommy Tune, Jerry Vail, Lorrie Morgan, Ringling Brothers Circus, the Smothers Brothers, and Ella Fitzgerald. Professor Fabricius has served the New York State School Music Association as an All­State Percussion adjudicator for many years. He also serves NYSSMA as the Instrumental Jazz Reviews editor o f The School Music News titled, Teaching Jazz the Jazz editor for the NYSSMA Manual. In addition to his collegiate work at BU, he has also served on the Summer Session faculty at Ithaca College. He has trained many student teachers from IC, and recently ser ved as a consultant and guest lecturer at the college for a summer workshop for Non­Jazz Educators. He has presented many clinics at music conventions and conferences and often serves as a guest conductor for honor band festivals. �ABO UT THE MUSIC  with music by  composers born iday’s program celebrates the month of March t. Patrick’s Day. I n addition to March, for an historical event and o f course, S er famous people were day’s composers many notable musicians and oth  include Franz Joseph Haydn, >rn in March. Other composers born in March wantner, Ctrad Kohoutec and '. Francis McBeth, Samuel Barber, Joseph Sch lude Desi Arnaz, Vincent rr Andrew Lloyd­Weber. Other famous people inc, Leonard Nimoy and James an Gogh and stars of Star Trek William Shatner oohan. nductor and composer who is arry  Sim eon e was a distinguished arranger, co e Little Drummer Boy. He est known for arranging the Christmas classic Thb as arranger for Fred Waring. tudied at The Julliard School but left to take a jo variety of  movie music fter moving to Hollywood he was successful in a   to produce a Christmas sked roduction jobs and later in television. When a l and recorded The Little hora ne C imeo ry S  Har  the bled Ibum he assem o Yo u Hear What / Hear. Jrummer Boy and later another then new song D layed by  just the flute  trio. The ‘lute  Coc ktai l opens w ith a graceful minuet p z flavored Blues. We  are very tand joins in for the rollicking Scherzo and the jazing with us tod ay. ileased to have the University Flute Trio  per form o pioneered the development o f 3edrich Smetana was a Czech composer wh  with his country’s aspirations to 1 musical style which became closely identified d in his homeland as the ndependent statehood. He is thus widely regarde  known for his opera The ather of Czech music. Internationally he is best ast (“My Fatherland”) which Bartered Bride, for the symphonic cycle Ma Vl f the composer’s native land, and portrays the history, legends and landscape o for his First String Quartet From My Life. ritten in 1848, an inflammatory These “ Thre e Revolu tion ary Marches” were w a, then a young man o f 24, etan time in European history. It  is known that Sm  raged in his city o f Prague. hting et fig stre hile  es w arch composed these m  third march also had a vocal text. Although written as pieces for piano solo, the wo easily recognizable and The “March of the Student Legion”  is based on tmus Igitur” and a European traditional sources — the student song “Gaudea “A­H unti ng W e Will Go". s  folk song resembling th e familiar tune known a r of Armenian and Scottish Alan  Hov han ess  was an American compose many cultures but is most  of  ancestry whose music assimilates the music  a kind o f exoticism. The  into rials mate  its’  urns y it t American in the wa  nostalgic. Among the most atmosphere is hushed, reverent, mystical and ’s catalog includes 67 ness prolific o f 20th Century composers, Hovha ripts indicate ove r 70 symphonies nusc symphonies and 434 opus numbers. Ma  comprised of  two or more and over 500 works as many opus numbers are individual works. pho ny N o. 20) was composed for Thre e Jo urneys T o  A H oly M oun tain  (Sym rst movement is in the spirit of the Ithaca High School Concer t Band. The fi  arcs, the last having the mood Armenian religious music in three great melodic of a spiritual.  breadth and vision, with Per cy G rain ger had a musical mind of  unusual ic to the latest twentieth interests spanning the ages from Mediaeval mus s and Arnold Dolmetsch he century developments. With Dom Anselm Hughe  later life he devoted his energies made modern transcriptions of early music. In achines on which a composer to the design and construction of Free Music m heets to be performed by the could write his music as graphs on  transparent s itch. machine free of restrictions o n rhythm and p ay gift for Grainger’s mother in Mol ly O n Th e Sh ore was written as a birthd eels, Temple Hill and Molly On 1907. It is an arrangement o f two contrasting r  of textures and The Shore, that present the melodies in a variety d long stretches o f thematic and orchestrations, giving each section o f the ban for string quartet or string counter thematic material. Originally composed  nd orchestra by the composer nd a orchestra the piece was arranged for wind ba in 1902. s in his synthesis and Joh ann  Sebastian Ba ch’s  main achievement lieal idiom of the late Baroque, advanced development of the primary contrapuntrial. He was able to and in the basic tunefulness o f his thematic mate monic and formal frameworks o f successfully integrate and expand upon the har nch, Italian, and English, while the national schools of the time: German, Fre e output. larg retaining a personal identity and spirit in his  ess is his treatment o f the organ Not the least among Bach’s claims to greatn  art. The Preludes and Fugues and his appreciation of it as a vehicle for creative ment such as the Toc cata  and include many of his loftiest works for the instru  as describing the fact that eted Fug ue i n d min or. The title m ay be interpr �Mem ber s o f  T he Win d Sy mph ony the fugue theme and subsidiary material constitute a  toccata, not that the fugue is preceded by a toccata, which, in the modern sense, w brilliant composition for technical display. The breadth e understand as a music makes it ideal for transcription for wind band.  and magnificence of this  A special thank you to Dr. Jonathan Biggers, Link Professor of Organ for his as sistant in the preparation of this work. During his 20 year military career J ame s Ho say rece Service medals, two Army Commendation Medals an ived two Meritorious commendation from the Chairman o f the Joint Chie d a personal letter o f Powell — after writing a special march for the Gen fs of  Staff — General Colin eral’ Now retired from the United States Army, Hosay re s retirement ceremony. sides in his hometown o f Norfolk, Virginia and writes exclusively for Curnow Mu sic Press. The title B lack  Gra nite is of  course a reference to  Washington, DC. The Viet Nam War is an event in the Viet Nam Memorial in  U.S controversial to this day. But let there be n o controv . History that is ersy regarding the high level of valor, courage, and honor displayed by the me Armed Forces during that conflict. Without regard to n and women of the U.S.  the politics behind the involvement, they served diligently and to the highe st sta ndards o f military tradition. This march is dedicated to the men and w omen who died in that war, to those whose heroic deeds went unsung, and to th find shattered remnants of what was once their “Am ose who  returned home to erican Dream”. Dav id G illing ham  has an internation reputation for  his works for wind band and percussion, many of which are now standards in the lit erature. His compositions have been recorded by, and are regularly  nationally recognized ensembles. Dr. Gillingham is cu performed by, rrently Professor o f Music at Central Michigan University. The Con cert ino f or  F our Perc ussi on a nd Win d en sem ble seeks to exploit keyboard, membrane, and auxiliary percussion instr ume nts with the marimbas, xylophone, timpani, vibraphone, and bass drums a s the featured instruments. These are assisted by the other percussion instrume wind ensemble and the solo instruments. We are ve nts to enhance both the Percussion Quartet performing with us today. A spe ry pleased to have The cial thank you  and welcome to ou r guest conduc tor, Professor Daniel Fabriciu s. Picc olo Kathleen Spelman Flute  I Mark Zhuang Lindsay Ralbovsky Raquel Goldsmith Judy Kahn Flute  Il Kimberly Hom Hagar Dayan Nicole Safran Christina Peragine Recorder Alexander Baron Oboe  I Kimberly Muller Oboe  II Hao Sun Bass oon Kristen Grennan Anna McAllister Sean Manning BP C larin et I Kerry Goodacre Jaclyn Adler Clarinet Mark Dello Stritto Abby Cohen David Morrissey Clari net Ill Sophia Schneiderman James Mayr Rachael Mott Joo Won Kim Trum pet I I Peter Schwarz Brian Lee Samuel Weintraub Carolina Montenegro Trum pet l ll John Marschhauser Jonathan Calhoun Anthony Smaldone Bas  Calrniet Alto Saxophone I Sopr ano Saxophone Lauren Ross­Hixson Trom bone  I Drew Perotti Alto Saxophone Il Anthony DeGelorm Trom bone  lI Matthew Kratenstein Teno r  Saxophone Stephen Kassinger Euph oniu m Andrew Kaufman Kenrick Georges Baritone Saxophone Toni Bruno F Ho rn I Carrie Buck Tuba Matthew Gukowsky Daniel Nevins Hayden Kramer EHornll Keyboard David Schwartz F Ho rn III Haleigh Doetchman Perc ussio n Adam Goldenberg Benjamin Ramos Mike McManamon John Erdman Rose Steenstra David Schwartz Trac i Rubin Natalie Rivera TRUMPET Olivia Santoro Nicholas Quackenbush � 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.) 49:13:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145429">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145429</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 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Creator An entity primarily responsible for making the resource Smith, Robert Fabricius, Daniel Zhuang, Mark Morris, Emily McCreary, Natalie Maiolo, Georgetta Tracy, Devan Jacobs, Amanda Ramos, Benjamin Goldenberg, Adam Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2011-03-06 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound