171 10 1775 https://omeka.binghamton.edu/omeka/files/original/d924a47b6e8c94e2d1e1c987cc645136.pdf c93e5e73ee21e1ac37bb05b4af72b6d0 PDF Text Text Un LEN P A 0 0 0 \ A \ ~ 7AM Sx t ” l 21744 ‘BINGHAMTON U n g i j v E, R s 1 T Y State University of New York Department of Music UNIVERSITY PERCUSSION ENSEMBLE Daniel Fa bricius, co nductor Tuesday, Decem ber 7, 2004 ‘ 8:00 p.m. Anderson Cente r Chamber Hall �Prog ram BRAZILIAN STREET D A N C E . . . . . . . . . . . . . . . . . . Thom . . . . . .as A. . . A. Brown EINE KLEINE NACHTMUSIK. ......... Wolfgang Amadeus Mozart MOVEMENT 1 Arranged by James L. Moore SYMPHONY FOR PERCUSSION............................. José S erebrier AdagioConga Solo Moto Perpetuo e Cadenza IN TE RMIS SI 0 N TOOL TIME I SABRE DANCE Matthew Chedister David ini Aram Khachaturian Arranged by James L. Moore �About the Conductor DANIEL FABRICIUS took the post of Percussion Instructor at Binghamton University in September 1992. He also has been Director of Bands at Owego Free Academy since 1989. Fabricius is active as a perform ing percussionist in the Southern Tier. He is a member of the Binghamton Symphony Orchestra as well as Timpanist/Principal Percussionist for the Orchestra of the Southern Finger Lakes. In recent years, he also has performed as a percussion soloist in chamber ensembles, in musical theater productions and with a variety of nationally known artists. He performs often as a freelance musician and as a member of the local dance band, “Classy Brass.” As a music educator, Fabricius holds professional memberships in the New York State School Music Association, the International Association of Jazz Educators, the Percussive Arts Society, and the National Band Association. He also has served two terms as President of the New York State Band Directors Association. He has worked on the Summer Session faculty for the Ithaca College School of Music and also serves as a cooperating teacher for senior student teachers. He has conducted many honor band festivals, presented clinics on a variety of music education topics, and has adjudicated at music festivals throughout New York. �UN IV ER SIT Y P ER CU SS IO N E NS EM BL E Matthew Chedister, Washingtonville, NY Matthew Cosnett, Vestal, NY Matthew Green, Westchester County, NY Spencer Lo, Brooklyn, NY Richard Postel nik, Fresh Meadows, NY Pete Tringali, Brewster, NY Mark Turley, Cicero, NY * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Co ming Events Thu rsda y, Dec emb er 9 – Holiday Mid Day Con cert – 1:20 p.m. – Casadesus Recital Hall – free Th u rsda y, D ecem ber 9 – University Symp hon y O rche stra – P ragu e to Vien na : Fiel d, Fore st and Fiac re with ChaiKy ou Mallinson and Margaret Reitz, pianists, Timothy Perry, Conduct or – 8:00 p.m. – Anderson Center Osterhout Concert Theater $1 0 general public; $7 faculty/staﬀ/seniors; free for stude nts ] ¢¥ i !£ kK ii : � 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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&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. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 0:43:20 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253372&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253372&change_lng=en&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 percussion ensemble, December 7, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital tape 2004-12-7 Description An account of the resource Works of Brown, Mozart, Serebrier, Chedister, Mancini, Khachaturian. Held at 8:00 p.m., December 7, 2004, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Fabricius, Daniel Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 12/7/2004 Rights Information about rights held in and over the resource In copyright Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&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. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 0:49:58 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253375&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253375&change_lng=en&select_viewer=metsViewer</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thursday holiday mid-day concert, December 9, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004 12-9 Description An account of the resource Held at 1:20 p.m., December 9, 2004, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Schum, Jody Borton, Bruce Basttek, Jessica Boczar, Kathryn Maiolo, Georgetta Cecere, Greg Epelman, Emie Jacobsen, Alfred Lokken, Patrick Sternberg, Patrick Wittmer, Hannah Salmirs, Michael Han, Che Sut Lee, Eunjong Kempin, Kristel Ho, Ion Levine, Maia Na, Grace :eFebvre, TImothy Biggers, Jonatham Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 12/9/2004 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/8eab10198a97802bd0b1cda62b5f3cc1.pdf 257c4f0432c747fbce65f10ef8fb18cb PDF Text Text U n 3 Ex‘ V. Z R Q C, : Xo 5 Yopa. pieely! B INGHAMTON 2 N 1 V E Q ~ " x7;x : R SL] ¥ State University of New York Department of M usic “ Prague to Vienna : Field, Forest a n d Fiacre ” UNIVERSITY SYMPHONY ORCHESTRA: wi t h Timothy Perry, conductor ChaiK you Mallinson, p iano Margaret Reitz, p iano Thursday, December 9, 2004 8:00 p.m. ' Osterhout Concert Theate r �The Binghamton University Department of Music presents the Uni versity Symp hon y O rch estra Timothy Perry, Director with ChaiKyou Malli nson a nd Ma rgaret Reitz, Pianists Osterhout Concert Theater Anderson Cente r for the Arts Thursday at 8:00 p.m. December 9, 2004 Program: “ Prague to Vienna : Field, Forest and Fiacre” Ma Vlast (My Fatherland) ..... ....... .....Bedrich Smetana (18241884) No. 2. Vlta va (The Moldau) Twin sources of the Moldau – Forest huntPeasant wedding River Nymphs St. John Rapids – The Moldau in full breadth – Vysehrad castle – To the Sea Concerto No. 10 in Eﬂat, K. 365 ... ....... ..W.A. Mozart for T wo Pi anos a nd Or chestra I. ll. lII. Allegro Andante Allegro (17561791) ChaiKyou Mallinson and Margaret Reitz , Pianists Intermission Symphony No. 8 in G major, Op. 88 Allegro con brio Adagio Allegretto grazioso Allegro ma non troppo Anton in Dv orak (18411904) . – I I I – I I I I I I I I I I I I I I I l I I l l l l l l l l l l l l l l l l l l l l l l l l I I I – I I I . . The USO returns on Saturday, March 5” to perform Debussy’s Prelude to The Afternoon of a Faun, Robert Sch umann ’s Concertpiece for Four Horns and Orchestra and Beethoven’s Sym phony No. 2 in D major, Op. 36. Please join us! �University Sym phony O rchestra Flute Kelsey Bauer Melissa Mischke Megan Pulver Kira Slocum (+picc) Oboe Ephraim Atkinson Rebecca Rodbart Clarinet Bethany Bonhoﬀ Caroline Bravo Bassoon Robin Kindig Kimberly Meeker David Weinberg { Trumpet Erinn Hibbard Sinan Pan French H orn Diana Amari Emie Epelman Al Jacobsen Patrick Lokken 6 Trombon e Harris Brenner David Hennan Jonathan Ludwin Tuba Paul Med daugh Percussion Matthew Chedister Matt Cosnett Violin I Christina Wan Akira Maezawa James Leddy Tiﬀany Chang Marie Mizuno Dana Kerker Corinne Paull Richard Goldman Endre Fischer Karen A. Krause Karen Tang Mark Liu Violin I I Micah BannerBaine Tamara P otapova Jennifer Paull Emily Peterson Lauren Moscowitch Samuel (Sam) Wang Jungsun (Suna) Oh Stephanie Mawhirt Elizabeth (Liz) Mansdorf Rachel Jacobs Amanda Dumont Jennifer Hsu Jaehee Lee Sarah Baird Viola Melissa Mattern Leah Robinowitz Kerry Conway Christopher Fiore Beth Vayshenker Christopher Trow Janet Lev ins Violoncello Katy Wal ker C. MacKenzie Wen Heajung Kim Emily Creo Nicholas Capone Shelly Levine Alex Wiesendanger YiEun Park Kathleen Bradley Contrabass Chris Zavala Elizabeth H. Bartlett Andrew Eiche Donald Truesdail Piano Judy Zhu �About the Performers Clarinetist, Conductor and Professor of Music, TIMO THY PERRY joined the Binghamton University faculty in 1986 as Director of the Orchestral and Wind Ensemble programs and Instructor of Studio Conducting and Clarinet. Perry holds D.M.A., M.M.A. and M.M. degrees in Clarinet from the Yale School of Music (as a pupil of Keith Wilson) and a Bachelor of Music degree from the Manhattan School of Music (as a student of Leon Russianoﬀ). He has served as Principal Clarinet in numerous orchestras including the Wisconsin Chamber Orchestra, New England Chamber Orchestra, the Catskill Symphony, Glimmerglass Opera and was Assistant Principal Clarinet of the New Haven Symphony and Northeast Pennsylvania Philharmonic. A devoted chamber music player, Perry has performed frequently as a member of the Catskill Woodwind Quintet, Catskill Chamber Players and Finger Lakes Chamber Ensemble and has been selected for festivals in Vinalhaven, Maine and Thy, Denmark. As a soloist, he has been featured with the Binghamton Philharmonic, Catskill Symphony and Binghamton Community Orchestras, toured Latin America and the Caribbean for the U.S. Department of State as a Musical Ambassador in 1997, and twice presented recitals for the International Clarinet Congress in France and Belgium. He owns and performs on historical instruments, and his performance on 19™century clarinets was seen in the 2000 PBS miniseries A House Divided. He is a noted specialist in the music of composer Paul Jeanjean, recording the latter’s virtuoso 18 etudes de perfectionnement, and Karl Baermann, whose concertino The Hour of Ghosts he premiered with the BCO in 2003. He is researching the technical development of the Alto Clarinet and preparing works on a recentlyacquired set of Oehlersystem clarinets. CHAI KYOU MALLINSON on the faculty of the Department of Music at Binghamton University, received a B.M. degree in Piano from Juilliard, Licence d’Enseignement from Ecole Normale de Music de Paris, France and a M.A. degree from Binghamton University, where she studied with Jean Casadesus. A prize winner in the Korean National Music Competition, she was awarded the French Government Scholarship, Tanglewood Summer Music School Full Scholarship and the Fontainebleau American Conservatory Full Scholarship. She gave a debut Recital in Carnegie Recital Hall and has been active as a recitalist, vocal accompanist and coach, and chamber music performer, as well as an active adjudicator of piano auditions and competitions. She appeared in a performance with the Seoul Philharmonic Orchestra, which Eumag Choonchu, one of Korea ’s most respected music magazines, described as “ of rare quality, moving and lyrical. ” ] i p ] i ii �‘ M A R G A R E T A. REITZ, pianist, is a nativ e of the Binghamton Area. She received her Bachelor and Master of Music degrees in piano performance with accompanying emphasis. She attended Boston University, New England Conservatory and Binghamton University. She has studied piano with Jean Casadesus, Victor Rosenbaum, Seymour Fink and Walter Ponce and accompanying with Allen Rogers. She has accompanied throughout the United States, in England, South America, and at the American Institute of Musical Studies in Graz, Austria. She and Binghamton University faculty member Timothy Perry were winners of the 1997 Artistic Ambassadors Program by the United States Information Agency in pa rtnership with the John F. Kennedy Center for the performing’arts. They both were invited to present a recital at the International Clarinet Conference i n Paris i n s ummer of 1996 and were invited back to perform in Belgium in 1999. She recently was the guest soloist with the Binghamton Community Orchestra performing “Africa” by C. Saint Saens. . She was an oﬀicial accompanist for the MTNA State and Eastern Division Competition held at Ithaca College in 2001. In 2003, she was a guest chamber music artist in Morges, Switzerland. She has been on the faculty at Binghamton University since 1991 a nd Ithaca College School of Music since 1999. She maintains a private piano studio in Vestal, New York. She is on the Executive Board of the New York District MTNA organization. She is past President of the local Southern Tier Music Teachers Association and is an active adjudicator for the National Piano Guild Organization. I 1 �About the Music Bedrich Smetana is a heroic ﬁgure in Czech culture, and even today is seen as the founder of a Czech national school of music composition. Vitava (1874) is the second symphonic poem in M4 Vlast, and portrays the river, called the Moldau by Germanspeaking Czechs such as Smetana, which rises in the forest and ﬂows through the Bohemian countryside and the city of Prague before joining the River Elbe. For Smetana, the course of the river provided a ready made musical structure; Vltava is a sort of rondo, with the ﬂowing theme of the river recurring in diﬀerent forms between colorful episodes depicting Bohemian life and folklore along the riverside. Two brooks, portrayed on two ﬂutes, form the sources of the river; these ﬂow into the main stream of the river itself, the surging string melody which Smetana is said to have derived from a Swedish folksong but which now sounds quintessentially Czech. Hunting horns are heard in the forests, before the river ﬂows past a rustic wedding celebration where the guests are dancing a polka. Smetana led the way (here and in his String Quartet “From my Life") in introducing this lighthearted dance to symphonic music. The next episode portrays moonlight shimmering on the river in magical orchestral colors, and Smetana evokes the legend of the Rusalkas, the water nymphs who feature prominently in Slav folklore and would later form the subject of Dvordk’s bestknown opera. The music accelerates and grows agitated as the river crashes over the Rapids of St. John, above Prague, and ﬁnally sweeps through the Czech capital itself. The majestic choraletheme of Vysehrad, the great rockfortress that is the symbol of the Czech nation, towers over the closing bars, as the Vltava ﬂows unstoppably onwards to the Elbe. R.G. Bratby 2001 Mozart’s return from Paris in 1779 opened a diﬀicult period in the composer’s life. Following hard upon the death of Mozart’s mother and his broken romance with Aloisia Weber, Mozart’s last two years working for the Archbishop of Salzburg were, on the whole, unhappy ones. Nonetheless, his need to express his own inner exuberance found outlet in a number of surprisingly bright compositions including this evening’s concerto. The Eﬂat concerto K. 365 was written in early 1779 and inﬂuenced by the splendid sinfonia concertante K. 364 for violin and viola that had been written for his trip to Mannheim. The concerto, designed in part to showcase Mozart’s sister Nannerl (she performed the ﬁrst part), shows a strong holdover of Mannheim character in its sturdy orchestral tuttis. Entering afterlan introductory tutti, the solo parts are the main show here, quite conversational and competitive in a friendly spirit of virtuosic oneupsmanship. Mozart uses the pianos together only sparingly, perhaps realizing their percussive potential, but several passages suggest mechanical musical instruments and, in the minor keys, deeper interior passions. The middle movement in Bﬂat suggests a relaxed pastorale , while the ﬁnale runs ahead with all the enthusiasm of youth. Mozart interpolates a large section in cminor in the ﬁnale, which teeters on but not over i 1 �the edge of seriousness. Mozart later borrowed a bit of this section for the mock tragic trials of Papageno in The Magic Flute. With the rounding oﬀ of the rondo, the sun reappears and the concerto concludes in high spirits. T. Perry 2004 In the summer of 1889, at the age of 48, the struggles of D vorék’s early career were ﬁnally over. His music had been performed across Europe, he had an assured income, numerous oﬀers of honors and engagements, the friendship and esteem of his idol Brahms, and perhaps most importantly, he had proven himself artistically. And so he wrote his Eighth Symphony, more freely and imaginatively structured, more abundant in melody and color, more songand dance like in short, more truly his own. The symphony opens with a broad, hymnlike melody for ‘cellos and violas almost an opening “prayer” or invocation before the sun comes out, birdsong is heard from the ﬂute, and a dancing rhythm builds to a huge climax that really launches the symphony on its way. A string of melodies pours out, by turns tender, dancelike and grandiose; and again and again woodwind birdsong brightens the texture and lightens the heart. The development section is at times stormy, but the energy unleashed is lifeaﬀirming rather than menacing, and as the movement ends Dvordk’s exuberance seems to have burst its banks in a joyful torrent of Gmajor. The lovely Adagio comes as a calm contrast, beginning in a subdued cminor. But once again, birdsong and folkdance begin to creep in, lightening the mood and a sweetly lyrical violin solo ushers in the unmistakable strains of the “village music” Dvordk loved so much. Once again, there are rumbles of summer thunder and a torrential outburst at the centre of the movement, but all is radiant Cmajor calm as the Adagio ends. The Allegretto grazioso is too measured and graceful to be a scherzo it more closely resembles one of Brahms’ intermezzi complete with meter and tempo change in the coda. Its lilting, Slavonic strain of melody and wistful, limpid Trio section need no elaboration. The Finale begins with a stirring fanfare, and proceeds through a colorful, increasingly lively set of variations on a theme announced by the ‘cellos. As in the “Eroica” this gives way to a bustling minorkey development section, and then a recapitulation of the variations, with a brief, reﬂective interlude before the symphony speeds to a brilliant, exuberant ﬁnish in sunlit G : l ll 4[ major. The Eighth Symphony was premiered in February 1890 in Prague, and then given in London shortly before Dvorak traveled to Cambridge to receive an honorary doctorate. For this reason, it has sometimes been called the “English” symphony a strange twist of fate, for, although Dvordk had another great symphony in him yet, no other work of his would ever so embody the truth of what he once said about himself “In spite of the fact that I have moved about in the great world of music, I shall remain what I have always been a simple Czech musician.” R.G.Bratby, 1998 �Don ’t Miss T hese Ou tsta ndin g Co nce rts Coming Up in th e Sp ring Semeste r! February 11 : Guess Jazz Artists : Dena DeRose Quartet – 8 p.m. – Osterhout Concert Theater February 13 Guest Organist: Gerre Hancock – 4 p.m. – First Presbyterian Church, Binghamton February 26 – Timothy LeFebvre, baritone, and Duane Skrabalak, piano – 8 p.m. – Anderson Center Chamber Hall March 6 – Musica Nova with Patricia Sunwoo, violin, and Ewa MackiewiczWolfe, piano – 3 p.m. – Casadesus Recital Hall April 3 Organist Jonathan Biggers – Music for Organ and Strings – 4 p.m. – First Presbyterian Church, Binghamton April 10 – Chamber Music Masterpieces – 8 p.m. – Anderson Center Chamber Hall And man y more ensemble conce rts. Visit http ://m usic.bin ghamton.edu for details about all events in the 20042005 season, o r call 777ARTS. � 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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&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. 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. Email: <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.) 45:06 39:20 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253378&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253378&change_lng=en&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 Prague to Vienna: field, forest and fiacre, December 9, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004-12-9b Description An account of the resource Works of Smetana, Mozart, Dvořák. Held at 8:00 p.m., December 9, 2004, Osterhout Concert Theater. Creator An entity primarily responsible for making the resource Perry, Timothy Mallinson, Chai-Kyou Reitz, Margaret Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 12/9/2004 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/f99c43f9e07e3e9e08b55cfb22cfc4f8.pdf 455ed61fe4ca303b8e626b587419b017 PDF Text Text \ 1 < ;‘ C N U N I V hRC 1 R e c , \' 1, E‘ . "\ l B INGHAMTON LT N I V E R S I T ~ . 17.511, State University of New York Department of Music “Maestro Mayhem!” Conductors Johanna Blackstone Eva George Al J acobsen Vitaliy Maystru k Talitha Phillips John Resser Jody Schum I rene Strong Sarah Williams Emily Yanisko Undergraduate Conducting Students of Timothy P e rry and Bruce Borton Featuring the University Symphony O rchestra & University Chamber Chorus Jennifer Lucia, soprano Dennis Leipold, tenor Christopher Waterstraat, bass Thursday, May 8, 2003 8:00 p.m. Anderson Center Chamber Hall �Program L University Symphony O rchestra The Montagues and Capulets........................................................Serge Prokoﬁev (18911953) From Romeo and Juliet, op. 64 Arr. Edmund J. Siennicki Johanna Blackstone, conductor Edvard Grieg ( l 843 l 907) Lyric Suite, op. 54........ II. Ganger/Norwegian Rustic March IV. Troldtog/March of the Dwarfs Jody Schum, conductor Camille SaintSaéns (18351921) Bacchanale From Samson and Delilah, op. 47 Arr. Merle J. Isaac Al Jacobsen, conductor II. University Chamber Chorus Homeward B O U N Sarah Williams, conductor C E B O A T S (b. 1939) Ain’a That Good News ...........................................AfroAmerican Spiritual Irene Strong, conductor Arr. William L. Dawson �Plovi Barko ...Croatian Folk Song Arranged by Talitha Phillips Talitha Phillips, conductor 1 1 III. University Chamber Chorus Strings of the University Symphony O rchestra Jennifer Lucia, soprano Dennis Leipold, tenor Christopher Waterstraat, bass l Mass No.2 in G major, D.J61........ccoi0iikdummnsnmriaabnanz Peter Schubert (17971828) I. Kyrie II. Gloria Emily Yanisko, conductor III. Credo Eva George, conductor IV. Sanctus V. Benedictus Vitaliy Maystruk, conductor VI. Agnus Dei John Reeser, conductor �Program Notes The ballet Romeo and Juliet premiered at the Kirov Theatre in Leningrad on January 1 1, 1940. It was written for the Kirov Ballet troupe in 1935. Prokoﬁev, Lavrosky (choreographer), Ulanova (prima ballerina), and the orchestra had some diﬀiculty agreeing on how Prokoﬁev’s “strange” music should be envisioned and performed. However, it is clear that Prokoﬁev created a spectacular work full of lush harmony and unforgettable melodies. Tonight’s selection portrays the feud between the Montagues and Capulets. Johanna Blackstone Edvard Grieg, a Norwegian born composer, is best known for his incidental music to Peer Gynt. He was also an accomplished composer in lyric pieces for piano, his many songs, and the wellknown Piano Concerto in A minor. His Lyric Suite is an orchestrated version of his ﬁfth set of Lyrische S tucke (Lyric Pieces) for piano, of which he composed ten sets. Selfregarded as a Romantic nationalist composer, G rieg incorporated Norwegian folk tunes into many of his works, which is evident in the title of the second movement of the Lyric Suite: Norwegian Rustic March. Jody Schum SaintSaens’ grand opera, Samson and Delilah, premiered on December 2, 1877 at the Hofttheartre in Weimar, Germany. As operas based on biblical settings were not popular at this time, it would take a couple decades for its premiere in Paris, after which it would become SaintSaéns’ most performed operatic work. The selection heard tonight is from the third act after Samson has been deceived by Delilah and captured by the Philistines. In celebration of his capture, the Philistines hold a drunken celebration and dance the lively and exotic Bacchanale. In depicting the middleeastern setting of the opera, SaintSaéns employs minor and augmented seconds in the seductive second subject of the dance. Finally, the full force of the percussion and brass enter bringing the piece to an exhilarating conclusion. Al Iacobsen Carl Strommen was born in 1939 and was graduated from the City College of New York. He lives on Long Island and works as a professor of Theory and Composition at the C.W. Post campus of Long Island University. This strophic song, as indicated by the title Homeward Bound, conveys the feelings of a man as he is going home to be with his loved ones. Sarah Williams �A in 'a That Good News, published in 1937, is an AfroAmerican spiritual arranged by William L. Dawson. This version was dedicated “To my friend Dr. Robert Russa Moton, President Emeritus, Tuskegee Institute.” A second version was published in 1 940 with added music, speciﬁcally in the middle section. This is a strophic piece with three versus. Irene Strong Plovi Barko is a Croatian fol k song from the Adriatic Coast. Though the author of the text is unknown, Mary Cay Brass was the ﬁrst to arrange the song for a cappela chorus. The arrangement heard tonight is by its conductor, Talitha Phillips, which is based on the original Brass version. Talitha Phillips The Mass No.2, G major was composed in 1815 when F . Schubert taught in his father’s school. That year, Schubert composed more music than in any other year of his life. Among those works are two masses, two symphonies, a piano sonata, numerous dances for piano, a string quartet, much choral music and some 145 songs. The G major Mass is the shortest o f all Schubert’s masses. The fact that it took him six days to write is reﬂected in both brevity and its simplicity, but also in its scoring for an orchestra composed of only strings and organ. The Kyrie at once sets the tone with its easy ﬂu ency, the almost Mozartian naturalness with which the phrases and cadences go past. It is in the spirited D major Gloria that one ﬁrst becomes awar e that habits o f instrumental structure seem to drive the i nvention, the text being ﬁtted as best it can. In the Credo, the ‘Cruciﬁxus’ is marked by long notes in unison as the orchestra stamps on, now in B minor. There is a turn to bright D major for an ‘Et resurrexit’ that adapts the opening theme. The Sanctus is imposing but brief, ‘Osanna’ being a separate section, fugally initiated, that matches the ‘Sanctus’ itself exactly in length. For the Benedictus, Schubert interestingly revives the scheme that had served him well in the Mass in F. Conciseness and expressiveness are reconciled in another neat and compact plan for the Agnus Dei. Accordingly, he casts the movement in three segments, using the same music for each but in diﬀerent keys. By a series of carefully planned modulations within and between segments, a close’is reached in G major, the frame key of the work. Schubert used some counterpoint in his Mass. Much of the writing is homophonic, but he supplied the traditional fugal endings where expected. In Schubert’s masses, the apparent omission of portions of the standard liturgical text are not an indication of his personal beliefs; undoubtedly, he set the text with which he was familiar. Vitaliy Maystruk �Student Conductors Johanna Blackstone, from Binghamton, is a junior, double majoring in music/theatre with a concentration in voice performance. She participates in Harpur Chorale, TriCities Opera Chorus, and Repertory Company. She is studying voice with Mary Burgess. She cowrote and performed the music for the main stage production of Hamlet, and coorganized Italian Night. Eva George is a senior graduating in May with a BA in music. Her primary interests are conducting and vocal pedagogy. She performs at the TiAhwaga Performing Arts Center where she is the Assistant Musical Director for Grease. Eva started and directs the children’s choir at St. Patrick’s Church in Owego, NY. Her aspiration is to teach music in the near future and pursue her master’s degree. A1 Jacobsen, a resident of New City, NY, is a junior, where he is a double major seeking a BA in music and BS in business management. He is a section French horn member of the BU. Orchestra and studies horn with Brian Sternberg. He is also the founder and music director of the BU Sinfonia. Vitaliy Maystru k is a voice major studying with Eapen Leubner. He was born in Kiev, Ukraine and graduated from the Ukrainian Culture College with a degree in choral conducting and management of leisure activities. He came to the U.S. in 1997 as a student at the Bible College at Cincinnati, Ohio. He is a junior at BU and plans to pursue a master’s degree in conducting. Talitha Given Phillips is a sophomore BMus candidate from New York City. She studies double bass under the direction of Michael Carbone and Steve the of treasurer the as serves She Stalker. Harpur Jazz Project, plays in the Harpur Jazz Ensemble, and often plays electric bass at Intervarsity Christian Fellowship. John Reeser is a junior and is originally from New Berlin, NY. He is pursuing a BA in music with a concentration in conducting. His musical activities include(d): Harpur Jazz Ensemble, University Chorus, Harpur Chorale, and is a charter member of the BU Sinfonia. His career plans include composing music for the video game industry. Jody Schum is a junior and is pursuing a BMus in piano performance. He studies with Michael Salmirs. In May 2002, Schum was awarded the John M. and Marcella M. Keeler Scholarship in Music in recognition of his work. Schum also studies/enjoys vocal accompanying, chamber music, and voice. Since October 2001, Schum has served as resident organist and pianist at the First United Methodist Church of Endicott, NY. ) ) �Q Q I rene Strong, from Owego, NY, is a junior and music major with a concentration in voice and conducting. She is studying voice with Hilerie Klein (TriCities Opera Co.). She has participated in University Chorus and Women’s Chorus, the Binghamton Madrigal Choir, and is a member of the BU Sinfonia. She teaches beginning voice lessons and directs the youth choir at the Lounsberry Methodist Church. Sarah Williams is a senior and a native of Oxford, NY. She is pursuing her BA in music and minoring in History. She sings in the Harpur Chorale and is the music director for the Harpur Harpeggios. After graduating, she hopes to receive her Master’s in Music Education and a chorus teacher. Emily Yanisko, from Olney, MD, is a ﬁfthyear music and computer science double major with a minor in math. She studies choral singing with Peter Browne. She has participated in University Chorus, Women’s Chorus, and Harpur Choral. Next year, she will enter a Master’s of Education/Teacher Certiﬁcation program at the University of Maryland. Soloists Jennifer Lucia, soprano, is a junior at Binghamton University pursuing a BMus in voice. She studies voice with Mary Burgess and has also studied with Judy Berry and Rachel von Hindman. In February, she performed a trio recital with Johanna Blackston and Samantha LaDue and on May 1 1, will give her junior recital. She is also a member of the Harpur Chorale. Dennis Leipold, tenor, is a graduate of SUNY Fredonia, and has done graduate work at Ithaca College and the Peabody Conservatory. A member of the University Chorus for more than twenty years, he is active both as a vocalist and an instrumentalist. He has also performed as a recorder soloist with the Binghamton Community Orchestra. A former Lecturer in Music at the University, Leipold has for the past twentynine years been a member of the music faculty in the UnionEndicott Central School District. i Christopher N. Waterstraat, bass, is pursuing his MM degrees in both vocal performance and conducting at Binghamton University. Waterstraat studies voice I { with Professor Mary Burgess and Judy Berry. He obtained an undergraduate degree in Music Education from Syracuse University. While at SU, he was involved in the opera workshop and in the chorus for Syracuse Opera. Waterstraat is in the Resident Artist Training Program for TriCities Opera in Binghamton, and has participated in the TCO chorus since Fall 2001. �Translations Plovi Barko, Croa tian Folk Song Sail, ship! The sea is deep In the ship is Anka Your eyes are as deep as the sea (refrain) Anka, dear Anka, My heart and soul! Mass No. 2 in G M ajor, Schubert KYRIE (sung in Greek) Lord have mercy. Christ have mercy. Lord have mercy. G L O R I A (sung in Latin) Glory be to God on high, and on Earth peace to men of good will. We praise thee, we bless thee, we adore thee, we glorify thee, We give thee thanks for thy great glory, O Lord God, King of heaven, God the Father Almighty. O Lord, the only begotten Son, Jesus Christ. O Lord God, Lamb of God, Son of the Father. Thou who takest away the sins of the world, have mercy on us. Thou who takest away the sins of the world, receive our prayer. Thou who sittest at the right hand of the Father, have mercy on us. For thou art holy, Thou only art Lord. Thou only art most high, O Jesus Christ, With the Holy Ghost, in the glory of God the Father. Amen. CREDO (sung in Latin) I believe in one God, Father Almighty, maker of heaven and earth and of all things visible and invisible. And in one Lord Jesus Christ, the onlybegotten Son of God, born of the Father before all ages. God of God, light of light, true God of true God, being of one substance with the Father, by whom all things were made. Who for us men and for our salvation came down from heaven. And was made incarnate by the Holy Ghost of the Virgin Mary, and was made man. And was cruciﬁed for us under Pontius Pilate. He suﬀered and was buried. And the third day, He rose again according to the Scriptures. And ascended into heaven, and sitteth on the right hand o f the Father. And He shall come again with glory to judge the quick and the dead; of whose kingdom there shall be no end. And in the Holy Ghost, Lord and giver. of life, who proceedeth from the Father and the Son. Who, together with Father and the Son, is worshiped and gloriﬁed; who spoke through the prophets. I acknowledge on baptism for the remission of the sins of the dead, and the life of the world to come. Amen. v l . SANCTUS (sung in Latin) Holy, holy, holy, Lord God of Hosts. The heavens and earth are full of thy glory. Hosanna in the highest. BENEDICTUS (sung in Latin) Blessed is he who comes in the name of the Lord. Hosanna in the highest. AGNUS DEI (sung in Latin) Lamb of God, who takest away the sins of the world, have mercy on us. Lamb of God, who takest away the sins of the world, have mercy on us. Lamb of God, who takest away the sins of the world, give us peace l l l �Unive rsity Symphony O rchest ra Violin I Alicia F usani, ‘ coconcert mistress Sarah Steiding, coconcert mistress Christine Wan Jean Gaﬀney Sheri Zola Rosemary Gaeta Jennifer Paull Gloria Chen Julia Kim Lauren Moscowitch Lucy Sun Julie Cserhalmi Violin II Morgan Kim Tamara Potapova Meghan O’Loughlin ' Samara Cohen Claude Pal Heather Sheiman Shauna Buckman Miriam Reznik Sarah Park Viola Suzanna Chhim Brian Fang 1 . Kenneth Perschke Victoria Leung Melissa Mattern Leah Robinowitz Janet Ievins Alice Scimia Cello Alex W iesendanger Emily Creo Andrea Rico JeongSun Oh Alex Kim Angela Wynne John Yu Andrew Lavery Alexis Witek Tanya Brescia Katy Walker Matthew Woolever Bass Noah Lauzon Adam Schechter Flute a n d Piccolo Crystal Allard Kelsey Bauer Caitlynn McMullen Kira Slocum Oboe Anya Stockburger Danielle Furey Clarine t Jordan Pasternak Lauren Hughes Bass Cl arinet Michae l Cohn Bassoo n Kimberly Meeker Stephanie Eisenberg Horn Sarah Berloe Patrick Lokken Thomas Mellin Trump et Erinn Hibbard Michael McKeon Tromb one Sean Kassof Stephen Sorscher Bass Tu ba Brad Davis Timpa ni Matthew Chedister �i �University Chamb er Chorus Soprano Elizabeth Ellis Maybelle Golis Margaret Hays Barbara Heme Donna Lundy Susan MacLennan Paula Mitra Sue Petrow Kelly Pueschel Marilyn Ross Sue Sarzynski Jane Shear Faith Vis Alto Lois Bare Barbara Bamo Sarah Craig Jeanne Fenzel Janet Frederick Anna Nicholas Theresa Lee Whiting Nancy McGee Ethel Molessa Joyce Printz Colleen Reardon Shirley Zhou Tenor H.B. King Dennis Leipold Ed Schappert Matthew C. Varghese Floyd West Sherry Williamson Bass Frank Ammirata Ronald Beauchamp Bruce Borton Peter Browne Harry Frederick David Hanson J. Scott Husted David L. Schriber l k I �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&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. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 0:56:48 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253382&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253382&change_lng=en&select_viewer=metsViewer</a> PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Maestro May-hem!", May 8, 2003 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2003-5-8b Description An account of the resource Works of Prokofiev, Grieg, Saint-Saëns, Strommen, an Africo-American spiritual, a Croatian folk song, Schubert. Accompanying program includes translations of some works. Held at 8:00 p.m., May 8, 2003, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Blackstone, Johanna George, Eva Jacobsen, Alfred Maystruck, Vitaliy Philips, Talitha Schum, Jody Strong, Irene Williams, Sarah Yanisko, Emily Perry, Timothy Borton, Bruce Lucia, Jennifer Leipold, Dennis Waterstraat, Christopher Resser, John Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 5/8/2003 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/d3ba4417ef320b73060cbdfd128fd060.pdf 41410a996895d281d263f69ae30721e6 PDF Text Text U ' » . x l a i “5. 8 1 11.3.5 s § AY , , v , 1 1 5 ! ) I. i f ) , l ! n d on C A RA 1 N B INGH AMTO R S ] T Y N I V E State University of New York Departm ent of Music Master ’s Recital Elisa Co rdova, soprano with Margaret Reitz, pia no 1 I Saturday, M ay 10, 2003 8 :00 p.m. Casadesus Recital Hal l �Program .. Joaquin Rodrigo (19011999) CuatroMadrigalesAmatorios............................. . ene Con que la lavare? Vos me matasteis De donde venis, amore? De los Alamos vengo, madre Die Forelle l ll n n o c o o o . . . n – . n . – . . . . n n . o n . . . . . . o a o n o n – – o c o o o u c o o – o . – Gretchen am Spinnrade Franz Schubert (17971828) Giacomo Puccini (18581924) Sole e Amore Terra e Mare O, mio babbino caro from Gianni Schicchi Intermission Green Extase C’est I’extase Le Manoir de Rosemonde Oh, never sing to me again Lilacs In the silence of the secret night Bee! I’m expecting you! The Bird The Serpent .......Claude Debussy (18621918) Henri Duparc (18481933) ....Claude Debussy Henri Duparc ...........Sergei Rachmaninov (18731943) .............John Duke (18991984) .............Lee Hoiby (b. 1926) r l1 i �T ranslations Con que la lavare? (With what shall I bathe?) With what shall I bathe the bloom of my face, Now that I live in so much pain. The wives bathe their faces with lemon water. I’ll wash my marks of anguish. with pain and sorrow. Vos me matasteis (You have killed me) You have killed me, girl of the long tresses. Child, I am dead, you have made me dead. On the banks of the river I saw a virgin... Girl of the long tresses, you have killed me. De donde venis, amore? (Where have you come from, my love?) Where have you come from, my love? I know full well where you’ve been! Where have you come from, my friend? Ah, if I could only be a witness. De los Alamos vengo, Madre (From the Poplars I come, Mother) I have been to the poplars, Mother. I have seen how the branches sway in the breezes. I have been to the poplars of Seville to see my beautiful friend. Die Forelle (The Trout) In a clear brook, Merrily speeding, a playful trout shot past like an arrow. I stood on the bank, Watching with happy ease the lively little ﬁsh Swimming in the clear brook. A ﬁsherman with his rod was standing there on the bank, Coldbloodedly watching the ﬁsh dart to and fro... “As long as the water remains clear,” I thought, “He will not catch the trout with his rod.” But at last the thief could not wait any longer. With guile he made the water muddy, And, before I could guess it, His rod jerked, The ﬁsh was ﬂoundering on it, And my blood boiled as I saw the betrayed one. Der Tod und das Madchen (Death and the Maiden) (The Maiden) Pass me by, oh pass me by, Go, wild skeleton! I am still young: go, dear one, And touch me not! (Death) Give me your hand, oh fair and tender form! I am your friend; I do not come to punish. Be of good cheer! I am not wild, You shall sleep softly in my arms. �G retchen am Spinnrade (G retchen a t the SpinningWheel) My peace is gone, my heart is heavy, I can never ﬁnd peace, never again. In his absence, I feel as if dead, And the whole world is turned to gall. My poor head is distracted, My poor mind is shattered, My peace is gone, my heart is heavy, I can never ﬁnd peace, never again. For him alone I look out of the window For him alone I go out of the house. His lofty carriage, his noble form, The smile of his lips, the power in his glance. And the magic ﬂow of his speech, The clasp of his hand, and oh! His kiss! My peace is gone, my heart is heavy, I can never ﬁnd peace, never again. My bosom yearns towards him, Oh, might I grasp and hold him! And kiss him all I could, And on his kisses I would pass away! Sole e Amore (Sun and Love) The sun joyfully taps at your windows; Love very softly taps at your heart, and they are both calling you. The sun says: “Oh, sleeper, show yourself for you are beautiful!” Love says: “Sister, with your ﬁrst thought Think of the one who loves you! Think of the one who loves you! Think!” To Paganini, G. Puccini Te rra e Mare ( Earth and Sea) The long rows of poplars, bent by the wind, Are roaring again. In the darkness, half asleep, I hear them And I dream of the voice of the sea. And I dream of the deep voice With its peaceful, mighty rhythms ; Reﬂected in the wave, the stars shining in the sky Are looking at me. But the wind rages louder Through the long row of poplars, It wakes me from m y joyous sleep... Distant is the voice o f the sea! O mio babbino caro (Oh, my darling father) Oh, my darling father I like him so, h e’s so handsome! I want to go to the Porta Rossa to buy the wedding ring. Yes, yes! There I want to go. But if my love is in vain, I will throw myself into the Arno River. I am so tormented, Oh, God... I’d rather die. Daddy, have pity. Daddy, have pity. �G reen (G reen) Here are fruits, ﬂowers, leaves, and branches, And here too is my heart that beats only for you. U Do not destroy it with your two white : hands, and to your lovely eyes may the humble gift seem sweet! I come covered with dew that the morning breeze has chilled on my brow. Let m y weariness, resting at your feet, Dream of dear moments that will bring repose. On your young breast let me rest my head Still ringing with your last kisses. Let it be appeased after the good tempest, That I may sleep a little as you rest. Extase (Ecstasy) On a pale lily, my heart sleeps a sleep sweet as death... Exquisite death, death perfumed by the breath of the beloved... On your pale breast my heart sleeps a sleep sweet as death... l l C ’est l’extase (It is ecstasy) It is languorous ecstasy, it is loving fatigue, it is all the tremors of the woods in the embrace of the breezes, it is in the gray branches, the choir of tiny voices. Oh, the frail, fresh murmuring! That twittering and whispering is like the sweet cry breathed out by the ruﬀled grass... You would say, beneath the swirling waters, the muted rolling of the pebbles. This soul which mourns is subdued lamentation, it is ours, is it not? Mine, say, and yours, breathing in a humble anthem in the warm evening, very softly? Le Manoir de Rosamonde (The Manor of Rosamund) With its sudden and voracious fang, Like a dog, love has bitten me. By following the blood I have shed, Go! You will be able to follow my trail. Take a thoroughbred horse, set out, follow my arduous way, bog or hidden path, If the journey does not exhaust you! In passing where I have passed, you will see that alone and wounded, I have roamed this sad world, and that thus I went to die far away, far away, without ever discovering the blue manor of Rosamund. �Ne poi k rasavitsa pri mne (Oh, never sing to me again) Sing not, Oh lovely one, in my presence Your melodies of sorrowful Georgia, They recall in me Another life and a distant shore Alas, your cruel song recalls in me the steppe, the night, and in the moonlight, The features of a maiden, sad and faraway! I see you and forget that dear and fateful vision But you sing, and it comes to me anew. Sing not, oh lovely one, in my presence Your melodies of fateful Georgia. They recall in me Another life and a distant shore. O dolga budu ja (In the silence of the secret night) Oh, long will I, in the silence of the secret night Banish from my thought and call to memory again Your smile, beguiling words and gaze, > l l l your oﬀhand gaze, Your tresses gentle to my touch ... In whispers to amend the thoughts of which we spoke, timid thoughts, And then in rapture, against all reason, With your cherished name awaken the darkness of the night. Oh, long will I, in the silence of the secret night With your cherished name awaken the darkness of the night. Sirenj (Lilacs) In the morning, at dawn, Through grass wet with dew, I will go to breathe the fresh air. In the fragrant shade where lilacs crowd I will search for my happiness there... One happiness only in my life I will ﬁnd, And it dwells in a lilac bower, On green branches, In fragrant clusters, My meek happiness blooms. l l �About the Performers I ELISA CORDOVA, a native of Chile, is a Resident Artist with TriCities Opera where she made her debut in 2001 as Gretel in Hansel and Gretel. She appeared last season as Nella in Ithaca Opera’s production of Gianni Schicchi. Some of her favorite roles include Adele in Die Fledermaus with the Brevard Music Festival, Despina in Cosi fan tutte, and Bianca in La Rondine with the “Teatro Felice” in New York City. While residing in New York, she also toured with the Metropolitan Opera Guild’s Outreach division for their 20002001 season. In addition to Opera, Cordova is an active recitalist. She has premiered new works throughout the United States, Italy, and Chile in connection with various artists such as Steve Reich, Christopher Larkin, and her father, composer and guitarist, Miguel Cordova. Elisa Cordova is a graduate of the Eastman School of Music and the University of Rochester where she earned a BM in Vocal Performance and a BA in Psychology. Cordova is a recipient of a Clark Fellowship and is proud to be graduating with a Masters in Opera from Binghamton University this spring. This summer, she will perform as solo guest artist with the Orchesta Philomusica de Asuncion in Paraguay, South America. l MARGARET REITZ, pianist, received her Bachelor and Master of Music degrees in piano performance with accompanying emphasis. She attended Boston University, New England Conservatory and Binghamton University. She has studied piano with Jean Casadesus, Victor Rosenbaum, Seymour Fink and Walter Ponce and accompanying with Allen Rogers. She has accompanied throughout the United States, in England, South America, and at the American Institute of Musical Studies in Graz, Austria. She and Binghamton University faculty member Timothy Perry were winners of the 1997 Artistic Ambassadors Program of the United States Information Agency in partnership with the John F. Kennedy Center for the Performing Arts. They were invited to present a recital at the International Clarinet Conference in Paris in 1996 and in Belgium in 1999. She recently performed at a Chamber Music Workshop in Chapel Hill, North Carolina. She was an oﬀicial accompanist for the MTNA State and Eastern Division Competition held at Ithaca College in 2001. She will be a guest soloist with the Binghamton Community Orchestra in Spring 2 003. Reitz has been on the faculty at Binghamton University since 1991 and The Ithaca College School of Music since 1999. She maintains a private piano studio. in Vestal. � 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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&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. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 0:54:26 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253385&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253385&change_lng=en&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 Master's recital, Elisa Cordova, soprano, May 10, 2003 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2003-5-10 Description An account of the resource Works of Rodrigo, Schubert, Puccini, Debussy, Duparc, Rachmaninov, Duke, Hoiby. Translations of works available in accompanying program. Held at 8:00 p.m., May 10, 2003, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Cordova, Elisa Reitz, Margaret Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 5/10/2003 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/36b7e1217f33ff4437d2377b3fac1c76.pdf 7f642d4f4b8a07954cea313eb49e4a95 PDF Text Text UN I V R ecit A RC \ CD 200 BIN( HAMTON 3 '-\ 2 lJ N I \. I R S I T Y SPEC COL State University of New York Department of Music Presents Peace, Praise, and Perdition Works by Beethoven, Bruckner, and Vaughan Williams Mary Burgess, soprano Timothy LeFebvre, baritone The University Chorus Bruce Borton, director University Symphony Orchestra Timothy Perry, conductor Saturday, April 12, 2003 Anderson Center Concert Theater 8:00 p.m. �PROGRAM Scene and Aria, Ah, Perfido .................... Ludwig van Beethoven ( 1770-1827) Mary Burgess, soprano University Symphony Orchestra Psalm 150 ................... ......................................... Anton Bruckner (1824-1896) Mary Burgess, soprano University Chorus and Symphony Orchestra INTERMISSION Dona nobis pacem ............................... Ralph Vaughan Williams (1872-1958) Soprano and Chorus I. Agnus Dei Chorus II. Beat! Beat! Drums! III. Reconciliation Baritone, Soprano and Chorus Chorus IV. Dirge for Two Veterans V. The Angel of Death VI. 0 Man, Greatly Beloved Baritone and Chorus Baritone, Soprano and Chorus Mary Burgess, soprano Timothy LeFebvre, baritone University Chorus and Symphony Orchestra �The University Symphony Orchestra Timothy Perry, conductor Flute Tuba Viola Crystal Allard Kelsey Bauer Caitlynn McMullen Kira Slocum Brad Davis Leah Robinowitz Melissa Mattern Suzanna Chhim Kenneth Perschke Janetlevins Brian Fang Victoria Leung Alice Scimia Percussion Matthew Chedister Oboe Violin I Elizabeth H. Mellin Anya Stockburger Stephanie Eisenberg Kimberly Meeker Christine Wan Alicia Fusani Morgan Kim Shauna Buckman Julia Kim Heather Sheiman Tamara Potapova Meghan O'Loughlin Samara Cohen Lucy Sun Trumpet Violin II Erinn Hibbard Michael McKeon Rosemary Gaeta Sarah Steiding Lauren Moscowitch Sheri Zola Jean Gaffney Julie Cserhalmi Cynthia Kim Sarah Park Miriam Reznik Gloria Chen Claude Pal Jennifer Paull Andrew Kim Clarinet Lauren Hughes Jordan Pasternak Bassoon Hom Sarah Berloe Alfred Jacobsen Patrick Lokken Thomas Mellin Trombone Sean Kassof Stephen Sorscher Cello Alex Wiesendanger Katy Walker Andrea Rico Tanya Brescia Matthew Woolever Alex Kim Alexis Witek Angela Wynne Emily Creo John Yu JeongSun Oh Andrew Lavery Bass Adam Schechter Noah Lauzon �The University Chorus Bruce Borton, conductor Soprano 1 Susan Bachman Cari Begeal Nanette Borton Elizabeth Ellis Glenda Ely Lorrina Fuentes Eva George MayBelle Golis Emily-Kate Goodrich Margaret Hays Barbara Herne Nicole Lee Michaela Lisi Donna Lundy Susan MacLennan Sydney R. Marsh Mary Barb Martin Joyce Merwin Jennifer Perkins Mary Joan Ragard Marilyn Ross Barbara Thamasett Megan Elizabeth Williams Soprano 2 Patricia Caldwell Joanne Corey Vadhya Elivert Christine Howe Amy Linda JoAnne Maniago Donna Miller Michele Peltz Sioux Petrow Kelly Pueschel Susan Sarzynski Hilary Shaw Jane Shear Millicent Owusu Tiwaah Yu Wen Wang Alto 1 Agatha Blackman Monique M. Charles Maria Luisa Cook Randi N. Cook Janet Frederick Danielle Furey Cheryl Gilroy Elaine Hilton Grace Houghton Claire Labbe Theresa Lee-Whiting Marilyn M. Myers Anna Nicholas Dorothy Powell Joyce Printz Colleen Reardon Richel Ruivivar Patricia Souder Susan Szczotka Katie Wolff Linda M. Wolff Jacqueline Zaslavsky Shirley Zhou Alto2 Barbara Barno Georgia Berny Kate Bouman Sarah Craig Jeanne Fenzel Mary Beth Gamba Sandra Haining Ida Amelia Jones Flo Koniski Cheryl Labban Nancy McGee Adrienne Miller Ethel F. Molessa Taryn Misu Moorer Karen Raphaeli Shirley Rodgers Lee Shepherd Hae Lee H. Shin Merideth Van Scoy Nadia Zarembo Betty J. Zechman �TRANSLATIONS AND TEXT Ah, Perfido I I Ahl faithless, deceitful, brutal traitor, you are leaving me? And this is your final farewell? Whoever heard of harsher cruelty? Go, scoundrel! Go, flee from me then, but you will not flee the fury of the Gods! If there is justice in Heaven, if there is pity, they will all vie in scheming to punish you! Like a pursuing shadow, present wherever you go, I shall see vengeance done; I enjoy it already, just imagining it; I see the thunderbolts already flashing around you! Ah, no! Ah, no! Stop, ye avenging Gods! Spare that heart, strike mine! If he is no longer as he was, I am still as I was. For him I lived-- I am willing to die for him! For pity's sake, do not bid me farewell, what shall I do without you? You know this, my idol, that I shall die of grief. Ah, cruel one, cruel one! You want me to die! Have you no pity for me? Why do you repay so brutally the one who adores you? Say, ye Gods, if in such bitter grief I do not deserve pity? Psalm 150 Alleluia! Praise the Lord in His sanctuary; praise Him in the firmament of His power! Praise Him for His mighty acts; praise Him according to His excellent greatness! Praise Him with the sound of the trumpet; praise Him with the psaltery and harp! Praise Him with the timbrel and dance; praise Him with stringed instruments and organs! Praise Him upon the loud cymbals; praise Him upon the high sounding cymbals! Let every thing that hath breath praise the Lord! Alleluia! Dona nobis pacem I. Lamb of God, who takest away the sins Agnus Dei qui tollis peccata mundi Of the world; Grant us peace. Dona nobis pacem. From the Mass liturgy II. Beat! beat! drums! - blow! bugles! blow! Through the windows - through the doors - burst like a ruthless force, Into the solemn church, and scatter the congregation, Into the school where the scholar is studying; Leave not the bridegroom quiet- no happiness must he have now with his bride, Nor the peaceful farmer any peace, ploughing his field, or gathering in his grain, So fierce you whirr and pound you drums - so shrill you bugles blow. �Beat! Beat! Drums! - blow! bugles! blow! Over the traffic of cities - over the rumble of wheels in the streets; Are beds prepared for the sleepers at night in the houses? No sleepers must sleep in those beds, No bargainers' bargains by day- would they continue? Would the talkers be talking? Would the singer attempt to sing? Then rattle quicker, heavier drums -you bugles wilder blow. Beat! Beat! Drums! - blow! bugles! blow! Make nor parley - stop for no expostulation, Mind not the timid - mind not the weeper or prayer, Mind not the old man beseeching the young man, Let not the child's voice be heard, not the mother's entreaties, Make even the trestles to shake the dead where they lie awaiting the hearses, So strong you thump O terrible drums - so loud you bugles blow. Walt Whitman (1861) III Word over all, beautiful as the sky, Beautiful that war and all its deeds of carnage must in time be utterly lost, That the hands of the sisters Death and Night incessantly, softly, wash again and ever again, this soiled world; For my enemy is dead, a man divine as myself is dead, I look where he lies white-faced and still in the coffin - I draw near, Bend down and touch lightly with my lips the white face in the coffin. Walt Whitman (1865-66) IV The last sunbeam Lightly falls from the finished Sabbath, On the pavement here, and there beyond it is looking Down a new-made double grave. Lo, the moon ascending, Up from the east the silvery round moon, Beautiful over the house-tops, ghastly, phantom moon, Immense and silent moon. I see a sad procession, And I hear the sound of coming full-keyed bugles, All the channels of the city streets they're flooding As with voices and with tears. I hear the great drums pounding, And the small drums steady whirring, And every blow of the great convulsive drums Strikes me through and through. �For the son is brought with the father, In the foremost ranks of the fierce assault they fell , Two veterans, son and father, dropped together, And the double grave awaits them. Now nearer blow the bugles, And the drums strike more convulsive, And the daylight o'er the pavement quite has faded, And the strong dead-march enwraps me. In the eastern sky up-buoying, The sorrowful vast phantom moves illumined, 'Tis some mother's large transparent face, In heaven brighter growing. 0 strong dead-march you please me! 0 moon immense with your silvery face you soothe me! 0 my soldiers twain! 0 my veterans passing to burial! What I have I also give you. The moon gives you light, And the bugles and the drums give you music, And my heart, 0 my soldiers, my veterans, My heart gives you love. Walt Whitman V The Angel of Death has been abroad throughout the land; you may almost hear the beating of his wings. There is no one as of old ...... to sprinkle with blood the lintel and the two side-posts of our doors, that he may spare and pass on. John Bright Dona nobis pacem. Grant us peace. From the Mass Liturgy We looked for peace, but no good came; and for a time of health, and behold trouble! The snorting of his horses was heard from Dan; the whole land trembled at the sound of the neighing of his strong ones; for they are come, and have devoured the land ... and those that dwell therein ...The harvest is past, the summer is ended, and we are not saved ... Is there no balm in Gilead? Is there no physician there? Why then is not the health of the daughter of my people recovered? Jeremiah VIII: 15-22 �VI Oman greatly beloved, fear not, peace be unto thee, be strong, yea, he strong. Daniel X: 19 The glory of this latter house shall be greater than of the former ... and in this place will I give peace. Haggai II: 9 Nation shall not lift up a sword against nation, neither shall they learn war any more. And none shall make them afraid, neither shall the sword go through their land. Mercy and truth are met together; righteousness and peace have kissed each other. Truth shall spring out of the earth, and righteousness shall look down from heaven. Open to me the gates of righteousness, I will go into them. Let all the nations be gathered together, and let the people be assembled; and let them hear, and say, it is the truth. And it shall come, that I will gather all nations and tongues. And they shall come and see my glory. And I will set a sign among them and they shall declare my glory among the nations. For as the new heavens and the new earth, which I will make, shall remain before me, so shall your seed and your name remain for ever. Glory to God in the highest, and on earth peace, good-will toward men. Adapted from Micah, Leviticus, Psalms, Isaiah, and Luke Dona nobis pacem Grant us peace. �PROGRAM NOTES Despite being listed as Opus 65, Beethoven's concert aria Ah, Perfido is a product of a young artist still feeling his way in the world of composition . In 1796, the twenty-five-year old Beethoven, having left Bonn for Vienna ju t two years before, had established himself first as a brilliant solo pianist, and only secondarily as a composer. Beethoven had studied with both Haydn and Salieri, and was assiduously studying and copying the works of Mozart and other contemporaries in order to gain insight into fonn and the technique of writing for instruments and voices. It was during his first concert trip to Prague early in the year that he set the Metastasio text of Ah, Perfido for the soprano Josepha Dussek, using as his models Mozart's Bella mia fiamma (also composed for Dussek) and Haydn's Scena di Berenice (written the previous year). The work, originally entitled "An Italian Scene", is set as a recitative and aria. To reflect the high emotional tenor of the text, Beethoven employs no fewer than seven different tempi in the recitative. The tranquil aria in E-flat Major forms the middle section, after which the vocal fulminations extend through another seven increasingly demanding and virtuosic sections, culminating in a brilliant operatic conclusion. Anton Bruckner may be best remembered for his symphonic works, but his sacred choral works were a significant part of his overall output. His a cappella motets, in particular are treasured by choral music lovers for their rich text ures and renaissance spirit colored by the highly chromatic and complex harmonic developments of his Germanic contemporaries. His setting of Psalm 150, however, was never intended for religious use, and indeed its intimidating vocal demands and large orchestra carry it far beyond the nonnal worship setting. The work was commissioned originally as a celebratory occasional piece for the opening of a theatrical exhibition. The first performance in November of 1892 was apparently under-rehearsed, poorly executed, and badly received by the public and the critics who quickly labeled the work "impossible" and "unperformable" due to its extreme range and dynamic demands. The choral sopranos are required to sing no less than eleven high B-flats and at one point a sustained high C. Similar incredible demands are made on the tenor section. The chorus is freque ntly divided into eight or nine separate vocal parts. A highly chromatic fugal section near the end poses particular challenges and the string and wind parts are equally difficult. It remains one of the compos,er' s most brilliant and difficult choral/orchestral compositions. By the decade of the 1930' s, Ralph Vaughan Williams had achieved the stature of a leading elder statesman in English music. Even so, major changes in his compositional style were taking place which led to new and remarkable developments in his later compositions over the next decades until his death in 1958. The cantata Dona nobis pacem, completed in 1936, was created in an environment of the gathering political storm on the European continent. It is . less known than some of his other choral and vocal works, and certainly is less �familiar to modem audiences than its close cousin, the War Requiem of Vaughan Williams' younger compatriot, Benjamin Britten. Yet the work is a masterpiece in the relatively small repertoire of works written against war. Its liturgical title notwithstanding, Dona nobis pacem is not a religious work in the traditional sense. Vaughan Williams used the two lines of liturgical Latin text from the Mass as his beginning point (and eventually his point of return), but for the bulk of the work, the composer chose the words of one of his poetic idols, Walt Whitman, whose civil war era poetry collection "Drum Taps" contained insightful and lyrical observations of war and the horrors of war. The work opens with the liturgical cry for piece by the soprano soloist and chorus. Under the final measures of the opening movement, however, the distant rumbling of drums is heard, and an urgent bugle call introduces Whitman's "Beat! Beat! Drums" describing in graphic and apocalyptic terms a relentless and merciless march of death and destruction. No one is to be spared - not the worshiper or the scholar, not the young or the old. Brass and percussion increase in intensity to a terrible climax at the words "so strong you thump O terrible drums, so loud you bugles blow," and then fade into the distance as the strings carry the listener forward into the third movement. "Reconciliation" begins with a lyrical baritone solo "Word over all, beautiful as the sky, Beautiful that war and all its deeds of carnage must in time be utterly lost." The reconciliation is between two enemies, one now the "white face in the coffin", the other realizing this was "a man divine as myself." A brief recapitulation of the opening "Dona nobis pacem" carries the music into "The Dirge for Two Veterans." The blaring bugle calls and rattling drums of the second movement are transformed into a distant slow march. The "silvery round moon" looks down on the funeral procession for two veterans - son and father --who fell together in battle are to be buried in a double grave. Movement five begins with the baritone intoning a brief passage from a speech by John Bright, a nineteenth century English statesman and member of Parliament. Known as a brilliant and powerful orator, his reference to the Old Testament Passover story sets the stage for the biblical passages that follow. The Jeremiah passage that follows represents the pivotal moment in the cantata. "We looked for peace, but no good came .. .Is there no balm in Gilead? Is there no physician there?" The hopeless searching is answered finally by the baritone soloist at the beginning of the final movement proposing that peace; indeed, is the promise and hope, and the cantata ends with a choral fugue comprised of short passages from various Old Testament books, and ending with the only New Testament passage, the famous Luke 2 passage from the Christmas story, "Glory to God in the Highest, and on Earth, peace, good will toward men." Chorus and soprano soloist recap one final time the opening cry for peace, (Bruce Borton and Timothy Perry) "Dona nobis pacem." �University Chorus (continued) Tenor Bass 1 David Andrus Roy Bergstraser David Clark Dale Furman Araoye lbitoye H.B. King Dennis Leipold David W. Martin John Novak* Ed Schappert Mathew Varghese Judson Wallis Floyd R. West Paul White Sherry Williamson Frank Ammirata* * Ryan Bagg Eric Bare Anthony Biconish Daniel Gilbert James Hilton Michael Jabo, J.D. Daniel Keller Tom Lamphere Vitaliy Maystruk Edward J. Orosz Don Powell Alex Pullman Zach Rothman-Hicks Richard F. Schwartz *Chorus President **Chorus Treasurer Scott Singer Blake Sloane Timothy Wetherbee Bass2 Mark Epstein Harry Frederick Andy Grammer David Hanson J. Scott Husted Ario H. Meeker Craig Russell David L. Schriber Bob Sullivan Shaun Wilcox �Coming Events (Subject to Change) Thursday, April 24 - Mid-Day Concert with faculty and student performers l :20 P.M. - Casadesus Recital Hall - free Sunday, April 27 - Guest Organist: Todd Wilson - 4:00 p.m. - First Presbyterian Church, Chenango Street, Binghamton - $14 general public; $12 faculty/staff/seniors; $6 students Tuesday, April 29 - Piano Recital by students of Michael Salmirs - 8:00 p.m. - Casad.esus Recital Hall - free Thursday, May 1 - Jazz Mid-Day Concert with guitarist Dave Stryker - I :20 p.m. - Watters Theater - free Thursday, May 1 - Harpur Jazz Ensemble with guitarist Dave Stryker - 8:00 p.m. - Watters Theater - $8 general public; $6 faculty/staff/seniors; free for students Friday, May 2 - Flute Studio Recital - l 0:00 a.m. - Casadesus Recital Hall free Saturday, May 3 - Harpur Chorale and Women's Chorus - 3:00 p.m. Trinity Memorial Church, Binghamton - free Sunday, May 4 - University Wind Ensemble - 3:00 p.m. - Anderson Center Chamber Hall - free Tuesday, May 6 - University Percussion Ensemble - 8:00 p.m. - Watters Theater - free Thursday, May 8 - Student Recognition Mid-Day Concert - l :20 p.m. Casadesus Recital Hall - free Thursday, May 9 - Student Conductors' Concert featuring choral and instrumental groups - 8:00 p.m. - Anderson Center Chamber Hall - free Friday, May 9 - String Chamber Concert - 8:00 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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&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. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 0:57:59 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253388&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253388&change_lng=en&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 Peace, praise, and perdition: works by Beethoven, Bruckner, and Vaughan Williams, April 12, 2003 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2003 4-12 Description An account of the resource Works of Beethoven, Bruckner, and William. Translations of works available in accompanying program. Held at 8:00 p.m., April 12, 2003, Anderson Concert Theater. Creator An entity primarily responsible for making the resource Burgess, Mary LeFebvre. Timothy Borton, Bruce 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 4/12/2003 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/5788a779bf0835c06ad3f6e2fbc8f168.pdf 054ef63a0193b78e424f153df0cc4c43 PDF Text Text U MIL V A R C R E A t a ) "* “ P. m 5 i SPee C o BINGHAMTON U N I V E : R S I T Y State University of New York Depa rtmen t of M usic Join t Ch opin Pia no Recita l Lisa Wan g & Jessica C heng l l ' Satu rday, A pril 26, 2003 3 :00 p.m . Casadesus Recital H all �About th e Perform ers Hsiuwen (Lisa) Wan g started playing piano at the age of 51/2 in Taiwan and was accepted into a music program at KuangJen School three months later. In 1991, she came to the United States and studied with Morris Borenstein, who encouraged her to audition for the PreCollege Division of Juilliard. Wang was accepted there at the age of 11 and studied with Richard Fabre and Antonio Fermin. In the same year, she won the New York State Music Teachers Association Competition. in 1997, she performed with the Highlands Symphony Orchestra at the Lycien Center in Sugarloaf, N.Y. Wang organizes and performs yearly at Glenn Arden in Goshen, N.Y. and gives master classes in Taipei City, Taiwan whenever she visits her native country. This winter, she performed at KuangJen School and plans to perform at GaoShoang Cultural center next summer. She also plays violin and ﬂute. Wang studies piano with Prof. Ewa MackiewiczWolfe and is a thirdyear student at Binghamton University, majoring in accounting and music. Jessica (Yushan) Ch eng, a native of Taiwan, started her music education at age 6 and was accepted into a music program for gifted students at KuangJen School. At 9, she began studying cello as her secondary instrument. In 1996, she came to the U.S. and was accepted into the Manhattan School of Music Preparatory Division, where she studied piano with Fiorella Canin and cello with Joseph Meyers. She also played in an orchestra conducted by James Sadewhite. As a cellist, she has performed in numerous concerts of Youth Orchestra, CYCNY, around the greater New York City area. She was accepted into the North American Elite Youth Orchestra for a performance at Carnegie Hall in 2001. As a piano soloist, she made her debut at Taiwan Center in Flushing, N.Y. on May 12, 2000 and last summer, was invited to give her Far East debut in Taipei City. She was a 2001 a winner of the Binghamton University Concerto Competition. Cheng is a secondyear accounting/music major. She studies piano with Eva MackiewiczWolfe. �Program Frederic Chopin (18101849) Scherzo in BFlat Minor, Op. 31 ................................ Jessica Cheng Valse Brillante in AFlat Major, Op. 34 Lisa Wang Etude in AMinor, Op. 25, No. 11 .......Lisa Wang Grande Valse in AFlat Major, Op. 42 ....................... Jessica Cheng Preludes, Op 2 No. 4 No. 20 8 J e s s Etude in CMinor, Op. 25; No. 12 a Cheng A Tessity Cheng Nocturne in C#Minor, Op. Posthumous, No.20 Concerto in EMinor, Op. 11 I. Allegro maestoso w Lisa Wang Lisa Wang Jessica Cheng piano orchestra reduction �o Com ing Events (Subject to Change) Sunda y, April 27 – Guest Organ ist : Todd Wilson – 4:00 p.m. – First Presbyterian Church, Chenango Street, Binghamton $1 4 general public; $1 2 faculty/staﬀ/seniors ; $6 students Tuesd ay, A pril 2 9 – P iano Recital by stu dents of M ichael Salm irs – 8 :00 p.m. – Casadesus Recital Hall – free Thu rsday, May 1 – Ja zz Mi dDay Conc ert wi th guitarist D ave St ryker – 1 :20 p.m. ~ Watte rs Theater ~ free Thu rsday, May 1 – Ha rpu r Jazz Ensem ble with guitarist Dave Stryker ~ 8:00 p.m. – Watters Theater $8 general public; $6 faculty/staﬀ/seniors; free for students Friday, May 2 – F lute Studio Recita l – 10 :00 a.m. – Casadesus Recital Hall – free Satu rday, May 3 – Ha r pu r Cho rale a nd W omen ’s Ch orus – 3:00 p.m. – Trinity Memorial Church, Binghamton – free Sunda y, Ma y 4 – Unive rsity W ind E nsemb le – 3 :00 p.m. – Anderson Cente r Cham ber Hall – free Tuesd ay, M ay 6 – Unive rsity P ercussion Ensem ble – 8:00 p.m. Watte rs Theater – free Thursday, May 8 – Stud ent Recognition MidDay Con cert – 1:20 p.m. – Casadesus Recital Hall – free Thu rsday, May 8 – Stude nt Condu ctors’ Conce rt featuring choral and instrumental groups – 8:00 p.m. – Anderson Center Chamber Hall – free Friday, May 9 – String Cham ber C oncert – 8:00 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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&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. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 0:54:16 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253391&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253391&change_lng=en&select_viewer=metsViewer</a> PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joint Chopin piano recital, April 26, 2003 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2003-4-26 Description An account of the resource Works of Frédéric Chopin. Held at 3:00 p.m., April 26, 2003, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Wang, Lisa Cheng, Jessica Date A point or period of time associated with an event in the lifecycle of the resource 4/26/2003 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/3d57f7e748b23269db9a3893012e2842.pdf 98a37d8b5a29727ec3305e0a55f5e13a PDF Text Text U N I V A R C ReC Y & \ ta Pe A M ﬂ O BINGHAMTON ! Y E , U N I V E R S I T Y ~ = State University of New York Department of Music Piano Recital F rom the Studio of Mich ael Salmirs Tuesday, April 29, 2003 8 :00 p.m. Casadesus Recital Hall �PROGRAM X Abegg Variations, Op. 2 o o R ert Schumann (18101856) Judy Zhu Sonata No. 7 in C Major, K. 309 Allegro con spirito Yifan Gao Sonata No. 3 in C Major, Op. 2, No. 3 Scherzo: Allegro Lee Seversky Wolfgang A. Mozart (17561791) Ludwig van Beethoven (17701827) Grand etude de Paganini, No. 2 in EFlat Major Mike Day Franz Liszt (18111886) Concerto No. 22 in EFlat Major, K. 482 Wolfgang A. Mozart Allegro Candida Che Michael Salmirs, accompanist Intermission �Sonata No. 9 in A Minor, K. 310............ ...Wolfgang A. Mozart #~ Allegro maestoso Daniel Fried / : , osf Waltzes for Piano, Four Hands. . . . . . . . . . . . . . .........Johannes Brahms “ / , Selections L 4 g # o BaekHap Song Michael Salmirs d for the Left Hand, Op. 9, No. 1..... Li Nancy Schneider (18331897) Alexander Scriabin (18721915) “ P r e l u d e in EF lat Minor, Op. 11, No. 4. . . . .......Alexander Scriabin ~=Prelude in A Minor, Op. 51, No. 2 Poeme tragique, Op. 3 4 d n c h n shd i, . . . . . ...Alexander Scriabin Dmitriy Krasny 5 : Jody Schum Claude Debussy (18621918) �Coming Events Thu rsday, May 1 – J azz MidDa y Concert with guitarist Dave Stryker – 1 :20 p.m. Watters Theater – free Thu rsday, May 1 – Harpu r Jazz Ense mble with guitarist Dave Stryker – 8 :00 p.m. – Watters Theater $8 general public; $6 faculty/staﬀ/seniors; free for students Friday, 1 1a y 2 – Fiute Studio Reci tal – 10:00 a.m. – Casadesus Recital Hall – free Satu rday, May 3 – Harpu r Chorale a nd Women ’s Chorus – 3:00 p.m. – Trinity Memorial Church, Binghamton – free Sunday, Ma y 4 – Unive rsity Wind Ensemble – 3:00 p.m. – Anderson Center Chamber Hall – free Tuesday, M ay 6 – University Percussion Ensemble – 8:00 p.m. Watters Theater – free Thu rsday, May 8 – Studen t Recognitio n MidDay Concert – 1 :20 p.m. – Casadesus Recital Hall – free Thursday, May 8 – Student Conductors ’ Concert featuring choral and instrumental groups – 8:00 p.m. – Anderson Center Chamber Hall – free Friday, May 9 – String Chamber Concert 8:00 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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&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. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 0:57:54 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253394&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253394&change_lng=en&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 Piano recital from the studio of Michael Salmirs, April 29, 2003 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2003-4-29 Description An account of the resource Works of Robert Schumann, Wolfgang Mozart, Ludwig van Beethoven, Franz Liszt, Johannes Brahms, Alexander Scriabin, Claude Debussy. Held at 8:00 pm, April 29, 2003, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Zhu, Judy Gao, Yifan Seversky, Lee Day, Mike Che, Candida Salmirs, Michael Fried, Daniel Song. Baek-Hap Schneider, Nancy Krasny, Dmitriy Schum , Jody Date A point or period of time associated with an event in the lifecycle of the resource 4/29/2003 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/6dc55cd1b2fcd21c9f029d2cc6a86c8d.pdf d9add1ccb952fa796de83e9a2288fb9d PDF Text Text UNIV A L C Re c Qis e i a 0 2 _ " " “ t . ) 2 ! ) . JECCh BINGHAMSTON I T Y U N I V E R State University of New York “Go G h e F o r e l 1HhewUGEmdleuullhuuﬁk3 O f Percy A .Grainger, And h i s C o n b e mp o r a r i es. nsemble U n i v e r s i t y U i n d E Gerald Cavemau gh. Cond uctor I Sunday, May 4, 2003 3:00p.m. Anderson Center Chamber Hall �Mock Morris (RMTB 1) (1910) Program Percy A. Grainger (18821961) Handel in the Strand (Clog Dance) (RTMB 2) (191112) Margaret Reitz, Piano Percy A. Grainger a r r. R. F. Goldman The Merry King (BFMS 39) (190539) Percy A. Grainger ed. M. Rogers Greg Cecere, French Horn Margaret Reitz, Piano Bellpiece (Now, O Now I Needs Must Part) A Free Ramble on Lute Ayre b y John Dowland (FMFS 6) ar r. 1953 wind band) Edward Savo, tenor a r r. Percy A. Grainger ed. Duﬀy/ Ould Margaret Rietz, Piano Jody Schum, organ keyboard Bronzissimo Bell Choir, Donna Halbert, director Children’s March, Over the Hills and Far Away (RMTB 4) (191618) Margaret Reitz, Piano Percy A. Grainger rev. Frank Erickson INTERMISSION Retreat and Pumping Song (1995) Pumping Song Sarah Streb, oﬀstage trumpet David Stanhope (1961 ) Illyrian Dances (1996) II – Aubade Ill Gigue Guy Woolfenden (1937 ) David Gillingham Concertina for Four Percussion and Wind Ensemble (1947 ) (1996) Katie Haskins, xylophone Matthew Lichstein, marimba Matthew Green, timpani/ bass d r ums Richard Milburn III, bells, bass drums Margaret Reitz, Piano Rolling Thunder (1916) Henry Fillmore (1881 1956) Gerald Cavanaugh’s performance a t today’s concert is oﬀered in partial complet ion of the requirements for the Master of Mus ic degree in Instrumental ( Conducting. �Performance Notes I. Mock Morris As you may notice in your program the pieces listed under Grainger’s name have a parenthetical catalogue number included under its title (FMFS 6, for instance). These listings stand for the collections of Folk Song settings from which Grainger derived many of his transcriptions. There are dozens of volumes of these FolkSong collections within the Grainger catalogue. Our ﬁrst piece, Mock Morris, is one such selection from the “RoomMusicTitBits No.1.” collection of English folk dance music. During the years between 1907 and 1911, we see ﬁve works conceived in a particular order; Molly on the Shore, Country Gardens, Shepherd’s Hey. Mock Morris, and Handel i n t he Strand. The extreme latter two have been chosen to program as an example of the wealth of cultural information Grainger discovered during his years as a folksong collector in England, and Ireland. Part of this rich cultural information stemmed from various types of dance music that Grainger uncovered during his travels. Mock Morris, though diﬀerent from the above listed works, maintains a rhythmic cast like a Morris dance (hence the title “Mock"). but according to the composer’s performance notes in the score, he states that while this work has a semblance to many Morris dances he encountered in the northern regions of England, that no actual folk material was used in the overall construction. The inscription on the original manuscript reads as, “Birthday Gift, Mother 3.7.10,” and was, like much of Grainger‘s original arrangements, a piano work. Many other renditions exist on this piece, including one for recorder and piano. m l l . H r m ¢ l e I i n the Strand (Room MusicTitBits No.2) this work was originally for piano. and was ﬁnished in 1911. Grainger had a slightly diﬀerent idea when it came to assigning a title to this work. Originally, he wanted to call it simply “Clog Dance.” A Clog dance is fairly self explanatory, in that the style of the dance involves heavy stamping on the primary beats of the measure, due to the dancers wearing very heavy wooden shoes. A friend of Grainger‘s, the banker William Gain Rathbone, who had befriended Grainger while he lived in London, suggested re naming the work “Handel in the Strand.” He felt the music ‘seemed to reﬂect the styles of both Handel, and English Musical Comedy,‘ the home of the latter being “the Strand” in London’s west end, is the British equivalent to our Broadway. From what Grainger includes in his score, as well as Rathbone’s suggestion, we can ﬁnd fragments of musical matter from variations he wrote on Handel’s “Harmonious Blacksmith tune.” These partial and minute transcriptions are seen between measures 116 and 4760. I �4 lll. The Merry King (BFMS No.39) This work originated as part of the collection for British FolkMusic Settings, noted down in August 1905 by Grainger as he was traveling the English countryside’s. And in the program notes left by Grainger we have these statements, “Mr. Alfred Hunt, who sang me “The Merry King” 9at Wimbledon, London, England) was a working man who hailed from Kirdford, West Sussex. England. The words of Mr. Hunt ’s ﬁrst verse ran as follows: __It’s a merry king of Old England I’II swim the wide ocean That stole my love away; All on my bare breast And it’s I in Old England For to ﬁnd out my true love 1 } No longer can’t stay. Whom I do love best The text of Mr. Hunts 6 verses, and notes on the song, may be consulted in the Journal of the Folk Song Society, No.12 (London, 1908).” This beautiful rendition of an old Sussex tune is in its root form from which the concert, and easy, piano solo renditions (1936, 1939 respectively) were “dishedup.” Sketched for chorus in 1905 or 1906, and later, for piano and room music for small orchestra, was sketched July 1936; worked out late A 19389. “ 1– ‘lV. Bellpiece (Now, O Now I Needs Must Part) Q uite possibly one of the most intriguing, and hard to obtain, works by Percy Grainger, this “free ramble” based on an ayre (“Now, O Now I Needs Must Part") for lute and voice, by John Dowland, was believed to be the most treasured work Grainger ever composed. It is reported for the last 12 years of his life; Grainger listened to a recording of the original ayre every night before retiring to bed. Based partly on Grainger‘s piano solo transcription that appears as No. 6 in his series of Free settings of Favorite Melodies. In turn, Grainger’s transcription was based on another transcription by Sidney Beck, a well known historian in ancient musics, as it appeared in a copy of The First Book of Songs or A yres of foure parts with Tablature for the Lute, in the possession of the Henry E. Huntington Library and Art Gallery, San Marino, California. The word “ramble” describes much of what happens harmonically in this piece, in that, the two original verses are extracted exactly from manuscript, providing our melodic material, while later that same line “rambled” upon by the ensemble. This is a truly lovely and lavish setting. F Y r di 1 " . V. Children’s March (Over the Hills and Far Away) This fun and exciting march has become a true Grainger staple among wind band compositions. The title is misleading, however, for it is actually a dedication to Grainger’s “dear friend from behind the hills.” Its vibrant lilt and innocent melodies will keep you humming for hours. This work also stems from Grainger’s extensive experience playing and writing for military bands. hl �l l Piccolo Amy Forgacs University Win d Ensemble Pe rsonnel $= local visiting artists *= section leader A= English Horn Baritone Saxop hone Philip Belle Flute Jennifer Thomas* Amber Beckley Sarah King Stephanie Juliano Nicole Kalisz Chung~Eun Kim Oboe Nancy Bayewitch* Lesley McClelland” $ Bassoon Sara Kurtzberg Clarinet Heather Boland Caroline Bravo* Jessica Diminich Vanessa Finley Lloyd Gewuerz Michelle Grexer Andrew Hsu Hilary Salamack Perter Snyder Sherri Vishner Yael Weitz Dominique Zino Bass Clarinet Michael Cohn* Robin Desantis $ Alto Saxophon e Philip Wirsing* Jay Gwak Tenor Saxopho ne Yuehtang (Felix) Chang Trumpet Phil Deitz Derek Ersback Michael Osa* Sarah Streb French Horn Greg Cecere* Jeremy Garlick Maxwell Guido William Stallsmith Trombone Ari Atkinson David Henann* Tenseng Guh Robin Linaberry $ Euphonium Eric Forti Dennis Pettas* Robert Szkotak Tuba Brian Belluci* Dan Gallagher Percussion Matt Cosnett Matt Green Matt Lichstein $ Kati Haskins Richaard Milburn* Keyboard \ Prof. Margaret Reitz Jody Schum Bronzissimo Bell Choir $ Donna Halbert, director $ �Grainger Biography Born on July 8, 1862. Grainger began his musical study at the early age of six. After the estrangement of his father, John Grainger in 1890. Percy and his mother Rose, made a determination to survive on their own. By doing so, Rose took on a daunting task as a single mother to raise, teach, musically guide, and companion young Percy. Beginning piano lessons at age seven, Grainger’s talents were soon quite evident to his mother, and soon caught the attention of many other individuals around Melbourne. By age 10, Grainger took piano lessons from Louis Pabst, and began concertizing throughout eastern Australia. Upon moving to FrankfurtamMann in 1895, he studied piano and composition at the Hoch Conservatory. While in Frankfurt, we see a lifelong friendship built between Grainger and some of this fellow students: a lasting friendship that later became known as “the Frankfurt Group.” Grainger’s lasting friendships with Cyril Scott, Balfour Gardiner. Roger Quilter. and Herman Sandby, was a collaborate eﬀort of principle, musical creativity, and boundless adventures into revolutionary methods of composition and artistic expression. _ From Frankfurt, Grainger and his mother moved to London in 1901. to pursue a life of performance. The London audiences, a very hard people to please, celebrated Grainger’s pianistic endeavors with instant adoration. Among the many aspects of Grainger’s life that we could discuss at great lengths is the enormous component of his biography dealing with life as a concert pianist. While taking composition lessons from Busoni in London, Grainger also began teaching piano lessons by 1910. Grainger established himself as one of the ﬁnest piano virtuosos (persons with masterly skill or technique in the arts) of the 20* century. While in London, Grainger’s pianistic performance achieved him two great professional relationships, one with the great Norwegian nationalist composer, Edvard Grieg, and the other’with impressionist composer, Frederick Delius. It was the connection he made with Grieg. however, that proves to be one of the most successful. Grieg was quoted in a Norwegian newspaper once saying; “Il have not heard one of my own countrymen perform any of my music, or the music of my people, until this young redhaired, blueeyed Australian came along. He understands exactly how this music should sound. the Norwegian people should happily embrace Percy Grainger.” Grieg indeed served as a surrogate father ﬁgure for Grainger, and his famous A minor Piano Concerto was written speciﬁcally for Grainger to perform. Since this historic event, there has not been another example in the 20* century, of a major piano concerto, and its leading authority, keeping the living presence of the composer‘s intent, for as long as Grainger. Grainger’s legacy as a pianist is one that has lived on for generations. Another important milestone in the Grainger’s life also occurred while he lived in the UK. It was during this time that Grainger began to exercise his skills at collecting, transcribing, and recording folksong materials from dozens of locations throughout England, Scotland, Wales, and Ireland. Soon after this period (around 1912 to 1917) Grainger also extended his ethnomusicological boundaries to : l J T �[ }I I h include areas of his homeland Australia, China, the Paciﬁc Rim, and areas of Scandinavia. His endeavors as an ethnomusicologist predate those of Bela Bartok and Zoltan Kodaly in Hungary and Eastern Europe, by some ten years. We can say that Grainger joins the ranks of pioneer ethnomusicologists, such as Cecil Sharpe, in collecting folk music. and transcribing them for idioms that the public could appreciate and familiarize. Strapping an Edison phonograph to his back, Grainger would often trail the English and Irish countryside’s on foot, stopping from house to house, or sitting outside of pubs and other community gathering establishments and ask native inhabitants to sing their songs into his phonograph. This pioneering accomplishment also aided in the success of his compositions that were direct transcriptions of the folk songs he collected. One of the most famous of these collections of folk materials actually adorns a title which adequately describes the composition as a “bouquet of wildﬂowers in music:" Lincolnshire Posy. In 1917. Grainger moved, with his mother Rose, to America where they settled in New York State. Some ﬁve years later, Grainger and his mother bought a house at 17 Cromwell Place, in White Plains. To this day the house still stands and has been preserved as a museum of some of the Grainger’s personal artifacts, memoirs, documents, and manuscripts. Grainger became a United States citizen in 1918, after he enlisted in the Army’s 9* Regiment Artillery Corps Band. He served with that band from1917 to 1919. While serving as a saxophonist, Grainger learned a wealth of information about writing music for military and brass bands. It was during this experience Grainger also fell in love with the saxophone. He played tenor saxophone for most of his time in the 9* regiment, and learned a great deal about how to incorporate the sound of a saxophone choir into many of his wind band compositions. Being a pianist, Grainger also scored much of his wind band compositions with piano in mind, but inevitably rescored the parts to include doublings in the woodwinds and brass. Some of Grainger’s other timeless accomplishments have to do with his work as an educator and conductor. During the 1950’s while Grainger served as department chair for at NYU, he began a summer music camp. and later performing arts high school, at Interlochen, Michigan. This contributory institution to American music education, and the performance of band music. has continued to be a major arts center today. Also, Grainger often found himself guest conducting many orchestras and high school band festivals across the country while enjoying still, a semiactive concert recital schedule. Grainger continued playing piano recitals well into his seventies. After the tragic suicide of his mother, Rose, in 1922, Grainger focused enormous amounts o f his energies on composing and also ﬁnding true love: enter Ella Viola Strom. A Swedish pianist, Strom and Grainger met on a Nordic cruise in 1926 and the two were married, in the spring of 1928, at an extravagant concert at the Hollywood Bowl, California. From there, the two lived a full and happy life in White Plains, until Grainger underwent surgery for prostate cancer in 1953; from which he never fully recovered. Ultimately, Grainger passed away on February 20. 1961, from physical and mental complication of cancer. Upon his death, Ella wrote to their dear friend �a publicist, Hans Meyer Petersen, saying, “Today, our beloved Percy has died, and 1 am afraid we shall all be lost without him.” An amazing marvel, Grainger loved many things other than the music he wrote. He was a “tinker” and experimented with inventing musical machines capable of performing “Free Music” without the hindrance of human fallibility and imperfections. These machines went through many phases before Grainger and a physicistfriend Burnett Cross designed a ﬁnal patent. Grainger’s concept of “Free Music” involved passages in his music that went far beyond indeterminacy, but instead, was a construct for music that should resemble how elements of nature behave and move. “Music should be as free as a breeze in the wind, or the rustling of leaves, or a limb that clambers as it falls to the ground,” according to Grainger. To accomplish this technique, Grainger believed in using “gliding tones.” or long glissandi that moved not only by half steps, but incorporated aspects of microtones, or intervals smaller than a half step. Free rhythm was also a major factor in his “Free Music.” Works such as Hill Songs Nos.1 & 2, The Song of Salomon, and the famous, Lincolnshire Posy, all exhibit elements of “Free Music.” As far as building was concerned, in 1935, Grainger erected a museum designed to preserve his memorabilia, artifacts. music, and memoirs here, along with his body. after his death, as part of the University of Melbourne, Melbourne. Australia. The museum is a fully functioning research and preservation facility that is still manned and operated today. Grainger was an avid enthusiast of the Norwegian sagas, languages. and folklore. Over his lifetime he learned 11 diﬀerent languages, speaking many ﬂuently. These talents among many others help us paint a vivid and distinct portrait of a gifted and unique person that has made an indelible mark on the face of the wind band genre both in America, and across the globe. I wish to leave these remarks with two lasting quotes by Grainger that helps to summate some of the personality of this remarkable fellow: “ ...Every time I see a paper napkin l mourn for the woods that are being thoughtlessly wasted: every time I see a bit of wroughtore (metal) I tremble for the men in the mines who are losing their lives needlessly just because the world has gone mad about wroughtore. If all peoples felt as l do they would never use a piece of wroughtore without ﬁrst wondering whether its usefulness outweighs against the mightbeness (possibility) of a man‘s death. Fancy an age in which men take their children to watch men and women do liferisking acts on the trapeze or in the lion cages an age in which prize ﬁghting and wrestling are lawhallowed (sanctioned) while nakedness and Iewdness (such guiltless mirth) are not!” December, 23rd 1950 “ Destroy Nothing, Forget Nothing. Remember all, say all. Trust life. trust mankind. As long as the picture of truth is placed In the right form (art, science, history) It will oﬀend none!” November. 13th 1936 i 3 � 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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&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. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 0:58:32 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253397&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253397&change_lng=en&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 "To the Fore!": the wind band music of Percy A. Grainger and his contemporaries, May 4, 2003 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2003-5-4 Description An account of the resource Works of Percy A. Grainger, David Stanhope, Guy Woolfenden, David Gillingham, Henry Fillmore. Held at 3:00 p.m., May 4, 2003, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Cavanaugh, Gerald Date A point or period of time associated with an event in the lifecycle of the resource 5/4/2003 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 . Nsi 3 4 Fw f FD U S K J k a AA J [ 5 i o a 7 E 1 5 1 w § ~ g i ‘ id 1k nA 4 # P y i 5 5 $1?! F A 4 ‘ ~ i r s R E E V A 5 £. 5 i . m a e ? 2? u 1 ,.v' A4” . . i ” . “5 at TATE: TATE: f! TsL . ' ” 4 4 1 A i y a 1 S A F B B E 1 E 7. i d e a i n t ' % 5 5 1 i " “1&4, _ “ $ 3 1 4 4 « ’ i & _ n ! — i B 2 4 x # , _ _ . i 5 \ j . . v r He an Q ‘ 1 i a A . “ i g £14 : 4 . x SHRECEL ' I RBJ Fil L e r y Si geEishn l " ? ‘ " p08 E S h s 0 Sly W N Pp P L , a y T L 2riss ‘ ‘ A 71 A a 1 Z ELC , a . ' ’ 3 m . _ . ."“'EL..‘ e r ea t ﬁ l i s E f NEA 1 : if» ﬀ y ,. .. ; Se B 1 1 S s e e4:4_11 . Z tS T fey ¥ �esen ts the The Binghamton Uni versity D epartment o f Mus ic pr Orchestra Sy mphon y ond Uni versity err uctor y, D irec tor an d C Timoth y P W i th Patricia Sun woo, V iolin Soloist h Concert Theater Anderson Center for the Arts Sunday, 3:0 0 P. 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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&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. 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. Email: <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&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253403&change_lng=en&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