35 10 1775 https://omeka.binghamton.edu/omeka/files/original/327fb7a2933e57e86e532e9499c8b354.pdf e383dbf29ce0da28802e09b47e817655 PDF Text Text UNIV ARC Recital ta pe 2005 12-2 SPEC COL Flute Studio Recital Friday, December 2, 2005 10:30 a.m. Casadesus Recital Hall Menuet and Spirit Dance ............................................................. Chrisoph Willibald Gluck (1714-1787) flute Bauer, Kelsey Margaret Reitz, piano Fantaisie Pastorale Hongroise, Opus 26 ........................................................ Franz Doppler (1821-1883) Kelsey Bauer, flute Margaret Reitz, piano Variations on a theme by Rossini ............................................................... Frédéric Chopin (1810-1849) Valerie Spiller, flute Margaret Reitz, piano The Fog is Lifting ............................................................................................. Carl Nielsen (1865-1931) Lauren Silinonte, flute Margaret Reitz, piano Berceuse .......................................................................................................... Gabriel Fauré (1845-1924) Lauren Silinonte, flute Margaret Reitz, piano Offertoire .................................................................................................... Johannes Donjon (1839-1912) Melissa Voldan, flute Margaret Reitz, piano �6/8 Dances for Solo Piccolo ....................................................................... Michael Isaacson (b. 1946) 1. The Lydian Two-Step 2. A Sad Little Waltz 3. The Minute March Melissa Voldan, piccolo ............................................ Ernest Bloch Suite Modale ............................................................ (1880-1959) Moderato L'istesso Tempo Allegro Giocoso Charity Hung, flute Margaret Reitz, piano Suite for Flute and Piano ......................................................................... Norman Delio Joio (b. 1913) 1. Improviso 2. Canon 3. Aria 4. Scherzo Joanna Hunt, flute Margaret Reitz, piano Flutists are from the studio of Georgetta Maiolo � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 56:54:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243810&amp;change_lng=en" title="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243810&amp;change_lng=en">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243810&amp;change_lng=en</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flute studio recital, December 2, 2005 Description An account of the resource Works of Gluck, Doppler, Chopin, Nielsen, Fauré, Donjon, Isaacson, Bloch, Dello Joio. Held at 10:30 a.m., December 2, 2005, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Bauer, Kelsey Reitz, Margaret Spiller, Valerie Silnonte, Lauren Voldan, Melissa Hung, Charity Hunt, Joanna Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2005-12-2 Rights Information about rights held in and over the resource In copyright Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 42:39:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE191442">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE191442</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flute studio recital, May 2, 2008 Recital Tape 2008-5-2 Description An account of the resource Works of Torti, Debussy, Beethoven, Telemann.Held at 10:15 a.m., May 2, 2008, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Leo, Erica Spiller, Valerie Maiolo, Georgetta Voldan, Melissa Chen, Anthony Baek, Eun Young Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2008-05-02 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 43d74f75-0be4-41d4-ab27-6c2fb958b977 https://omeka.binghamton.edu/omeka/files/original/625a7622a68714b6c881f235453919fd.pdf 8a3e26f11f5e9a6b5a2093cc3c31da33 PDF Text Text UNXVV  ARC Recital topo 091 5­4 MT U N I V E R S I State University of  New York Binghamton University Department of Music geeg COL Flute Studio Recital Friday, May 4, 2007 10:15 A.M. ­ Casadesus Recital Hall Progranl Image pour Flute Seule................ ... i........Eugene Bozza (1905­1991) Erica Leo, Flute Slowly and Swingy for Flute and Piano 1.  Poco andante (con fantasia) 2. Allegro giocoso Pierre Max Dubois (1930­1995) Jennifer Weintraub, Flute Mrs. Margaret Reitz, Piano C an t a b i l e  Presto for Flute and Piano ...Georges Enesco (1881­1955) Valerie Spiller, Flute Mrs. Margaret Reitz, Piano Serenade for Solo Flute Prelude Caprice Intermezzo Arioso Finale ........Philip Glass (b.1937) Melissa Voldan, Flute ..........Scott Joplin (1867­1917) Arranged by Tony Santorella The Entertainer Melissa Voldan, Bass Flute Mrs. Margaret Reitz, Piano Flutists a re from the Flute Studio of George tta Maiolo � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 32:46:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196820">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196820</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flute studio recital, May 4, 2007 Recital Tape 5-4-2007 Description An account of the resource Held at 10:15 a.m., May 4, 2007, Casadesus Recital Hall. Works of Bozza, Dubois, Enesco, Glass, Joplin. Creator An entity primarily responsible for making the resource Leo, Erica Reitz, Margaret Weintraub, Jennifer Voldan, Melissa Spiller, Valerie Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2007-05-04 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID ea56a2bb-ac3b-457c-8422-b514fc03df7d https://omeka.binghamton.edu/omeka/files/original/053dc798e9ec3f7f2f5b149850986958.pdf 8f7ecf4cd68af322e0644eebf30bf659 PDF Text Text BINGHAMTON V N I V E R S I T S T A T E  U N I V E R S I T Y  O F  N E W   Y O R K oHadee [4 D E P A R T M E N T F L U T E  S T U D I O R E C I TA L 74 A  "% : ?.C a 4i . ASZ= o7d f o   OB ‘  I  Q ” 2 %a ( 7 7’, A A 4 F ri d a y, M a y  6 , 2011 10:15 A.M. Casadesus Recital H a ll �PROGRAM Sonatina for Flute and Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Eldin Allegretto grazioso  (1913–1979) Andante sognando Allegro giocoso Mark Zhuang, Flute Chai­Kyou Mallinson, Piano . . . . . . . Eugene Bozza (1905–1991) Eili – Eili Raquel Goldsmith, Flute Chai­Kyou Mallinson, Piano Syrinx pour Flute Seule.............. ...................Claude Debussy (1862–1918) Emily Morris, Flute The Carnival of Venice with Variations, Op. 78. . . G iulio Briccaldi (1818–1881) Edited by Frederick Wilkins Emily Morris, Flute ©  Chai­Kyou, Mallinson, Piano Madrigal for Flute and Piano ...... ...................Philippe Gaubert (1879–1941) Lindsay Ralbovsky, Flute Chai­Kyou Mallinson, Piano Variations on “Ah, Vous Dirae~j e, Maman” for Flute Alone... ...................... ........Charles Henry Nicholson Theme  (1795–1837) Variation I  Arr. by Ransom Wilson Variation II, Adagio Variation 1111 Lindsay Ralbovsky, F lute Quatre Pieces pour Flute et Piano.  Reves D’Enfant  Le Campanile Menuet des Pages Fantasy, Op. 79 for Flute and Piano. . . .  ..Gabriel Faure (1845–1924) Natalie McCreary, Flute Chai­Kyou Mallinson, Piano Sonatina for Flute and Piano........ ......................Amold Cooke Allegro Moderato  (1906–2005) Andantino Allegro Vivace Hagar Dayan, Flute Chai­Kyou Mallinson, Piano F lutists are from the Flute Studio of Georgetta Maiolo �Binghamton University Music Department’s U P C O M I N G  E V E N T S «ede  M Mid­Day concerts are held on Thursdays, 1:20 PM in Casadesus Recital Hall unless otherwise noted and are FREE Friday, May 6 – Faculty Recital: Jinah Lee, pianist – 8:00 p.m. – Casadesus Recital Hall – $5 general public l l Saturday, May 7 – African Drum Ensemble – 3:00 p.m. – Library Tower (Spring Fling) – free Saturday, May 7 – Master’s Recital: Robert Muller, French horn – 3:00 p.m. – Casadesus Recital Hall – free Saturday, May 7 – Student Recital: Briana Sakamoto, soprano – 8:00 p.m. – Casadesus Recital Hall – free Sunday, May 8 – Senior Voice Recital: Samantha Banton and Molly Adams­Toomey – 1:00 p.m. – Casadesus Recital Hall – free Sunday, May 8 – University Chorus with the University Symphony Orchestra: Mass Masterworks – 3:00 p.m. – Osterhout Concert Theater – $10 general public; $5 facultyl/staff/seniors; free for students Sunday, May 8 – Senior Honors Recital: Jieun Jang, piano – 7:30 p.m. – Casadesus Recital Hall – free Tuesday, May 10 – Percussion Ensemble – 8 p.m. – Anderson Center Chamber Hall – free Wednesday, May 11 – Composition Seminar Concert (Loy) – 7 p.m. – Casadesus Recital Hall – free Thursday, May 12 – Student Recognition Mid­Day Concert – 1:20 p.m. – Casadesus Recital Hall – free For ticket information, please call the Anderson Center B o x  O ffice at 7 77­ARTS. l � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 56:19:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145480">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145480</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flute studio recital, May 6, 2011 Recital Tape 2011-5-6 Description An account of the resource Held at 10:15 a.m., May 6, 2011, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Zhuang, Mark Mallinson, Chai-Kyou Morris, Emily Ralbovsky, Lindsay Goldsmith, Raquel McCreary, Natalie Dayan, Hagar Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2011-05-06 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/3869f4d23c19e1c750f8b6c192c7148d.pdf 085dd9d68ae5373895f99e815d56c2c9 PDF Text Text  L V N U l y R i   ]    A V  L  a  ~ U   l  r . l (© { 1  R C BINGHAMTON l  x  I \  l l { \ l  l l State University of New York pe . , i “ \ l < i l l Flutist G eorgetta Maiolo a nd F riends M usic fro m t he 1 8 ”  c e nt u ry to two world premieres J onat ha n Biggers, harpsichord Stephen Stalker, cello M a ry Burgess, soprano Marlon Torres, dancer Ma rga ret Reitz, piano Ti mothy Michael Rolls, composer l ’aul Goldstaub, composer Sat u rda y, September 1 7, 2005 8 :00 p.m. A nderson Center C ha m be r Hall l l l i I i l �P ROG R A M Sonate Opus 2, No. 4, g minor, “La Lumagne”..........Michel Blavet for flute, harpsichord and basso continuo ( 1 700­1 768) Adagio Allemande Sicilienne Presto Le Lutin Jonathan Biggers, harpsichord Stephen Stalker, cello Aria, “Rossignols Amoureux ”, ...Jean­Philippe Rameau from the opera Hippolyte et Aricie, ( 1638­1 764) for voice and flute and harpsichord ( 1 733) Sonate en Concert, Opus 1 7, pour Flute, Cello et Piano ( 1 946) Stephen Stalker, cello Margaret Reitz, piano Jean­Michel Damase (b. 1928) Wot on C1) ~INTERMISSION~ “A Child ’s Life” for Solo Flute (2005)........ Timothy Michael Rolls (b. 1967) (World Premiere)  1.  A Child ’s Life 2.  Dance 1: A Spring A fternoon 3.  A Child ’s Nightmare 4.  Dance I I: Holiday Break Mary Burgess, soprano Jonathan Biggers, harpsichord L a Capinera ( The Wren)... m(l88l) for soprano, flute and piano  0’ Syrinx for Flute and Dancer (1912)........................ Claude Debussy ( 1862­1 918) Choreographed by Marlon Torres Sir Julius Benedict ( 1804­ I 885) Mary Burgess, soprano Margaret Reitz, piano Marlon Torres, dancer . X X V  Opera Snatches..  for Unaccompanied F Jute ( 1978) Deux Stcles Orientées pour Chant et Flute ( 1 925) I.  Mon amante a les vertus de I ’ e a u . I I. On me dit... Mary Burgess, soprano Jacques Ibert (1890­ I 962) ...William Schumann (1910­1992) Pastorale I I  for Flute A lone (2005)............cccceueuue.... Paul Goldstaub (b. 1 947) ( World Premiere) Duet  for Flute and Dancer ( (1966)...........ccoueeeeee....... [Ezra Laderman (b. 1924) (”horeographcd by Marlon Torres Marlon Torres, dancer �TRANSLATIONS A ria, “ Rossignols Amou re u x ” (Amorous Nightingales) Rameau Amorous nightingales, respond to our wishes b y the sweetness o f your warbling!  Render the tendercst homage to the divinity who reigns in our woods! Deux Stéles Orientées (Two Monoliths Oriented ) Ibe rt I.  Mon a ma nt e a les v ertus de  I ’eau . . . (M y love has t he vi rt ues of water) My love has the virtues of water: a clear smile, flowing movements, a voice pure and harmonious, drop by drop. And when sometimes­­in spite of Now, W l N D  changes direction, it’s peremptory.  Thus, do not take this woman.”  And then, there’s the commentary, listen:  “He’s hurling himself against  rocks! He’s entering a bramble­patch!  He’s putting on a hair­shirt..." and other criticisms which it is better to leave unsaid. flames, simmering :  water thro wn “~ upon red coals. My “water” lives, here she is, spread out, all on the ground! She slips by, she escapes me...and l‘m thirsty, and I run after her. With my hands I make a cup. With my two hands I scoop it up with intoxication­­ I grab her, I bring her to my lips­­ And I swallow a handful of deception. I I .  On me dit... (They tell me...) They tell me, “You should not marry her.  All the omens agree, and are unluck y :  notice, in her name. W A TER, flung to its fate, is replaced by WlNl). 7 l ­­­­ Do not, then, choose this woman. A Child ’s Life for Solo Fl ute. Timothy Michael Rolls l . ‘‘A Child ’s Life” The theme starts out much like a child: a small fragment that ultimately develops into it’s own full idea. 2. Dance 1: A Spring Afternoon With  the  end  of  winter,  the  children  quickly  and  gleefully I answer :  Admittedly, there are dubious omens. emerge from their captivity to t he freedom of the outdoors. 3. A Child’s Nightmare To a  child,  monsters are very real  and  frightening creatures. While they don’t want to see them, for some reason they feel the need to get up and look for their monster. While this child is  looking  for  his  monster,  the  monster  is  following  close behind,  as  if  playing  tag.  Everytime  the  child  moves,  the monster  follows  (represented  by  the  flutter­tongue  playing). Finally, the child tums and sees the monster and runs back to bed to hide under the covers, mockingly followed by it’s ever faithful monster. B ut let us not gi ve t he m too m u c h importance. After all, she is a widow; and all o f that concerns her first husband! Prepare the chair for the wedding ceremony! La Capinera ( The \Vre n) Benedict myself­­the fire comes into my eyes, she kno ws how to fan the P ROGRAM NOTES With sweet April’s return, You return. my dear onc, And come to sing your song A mong the lovely flowers on my balcony. Your voice gives me such pleasure That it gives me the desire to sing! 4. Dance 11: Holiday Break This  dance  is reminiscent  of kids  getting  out  o f school  and running home as fast as they can so as to not waste a moment of their precious play time. Let ’s si n g toge t he r­­yo u lead! Let’s sing of love, of youth! Let’s sing together o f love and youth. The plants and flowers greet you In that secret langua ge o f  theirs. The murmur of the breeze Seems to seek a k iss from you. And while my heart, close to you, I s  full o f bliss div ine, I wish to sing!  You lcad me­­ Let ’s sing together o f lo v e and youth! l \ Pas torale II for Flute Alone .................ccuucuu.e...... Paul Goldstaub Dedicated  to  Georgetta  Maiolo,  begins  with  a  short, introspective phrase that  unifies the piece.  The pitches (C#­ G#)  and  the  rhythm  (dotted  eighth,  sixteenth,  eighth  in compound time ) recur in man y forms as the piece grows to its highpoint and then returns to its origins. �ABOUT T H E  PERFORM ERS GEORGE TTA  MAIOLO  is  on  the  faculty  of Binghamton University  and Broome  Community  College  teaching  Flute  and  directing  Flute  Ensembles. From  1977  to  1996, she held the position of Assistant  Professor of Flute at Ithaca  College,  Ithaca,  New  York.  She  also  taught  flute  at  West  Virginia University, Morgantown, West Virginia. Ms. Maiolo i s a graduate o f D uquesne University, Pittsburgh, Pennsylvania, and attended  graduate  school  at  West  Virginia  University,  Morgantown,  West Virginia.  She studied with Bernard Goldberg, principal flutist of the Pittsburgh Symphony, Marcel Moyse at Marlboro School of Music, and Victor Saudek.  At the age of  15, she made  her solo debut with  the  Pittsburgh Symphony.  Ms. Maiolo  is  the  recipient of numerous honors, including the  NCMEA  National Music  Award,  the  Pittsburgh  Tuesday  Musical  Club,  the  Enola  M.  Lewis Scholarship and the Mu Phi Epsilon Sterling Achievement A ward. Ms. Maiolo is the principal flutist of the Binghamton  Philharmonic Orchestra, Tri­Cities  Opera  Orchestra,  Southern  Tier  Concert  Band,  and  Downtown Singers Orchestra.  In addition to her playing positions, she concertizies as a soloist,  recitalist,  and  chamber  musician.  Ms.  Maiolo  conducted  the  1983 NYSSMA  All­State  Flute Choir.  She served as the  flute chairperson  for the NYSSMA  Manual  from  1981  to  2001.  She  is  a  “clinician”  for  the  Selmer Company.  She has recorded for Crest Records and NPR. JONATHAN  BIGGERS,  cited  as  “one  of  the  most  outstanding  concert organists i n  the United States,” maintains an active carcer as both a pro fessor o f & organ  and  as  a  concert  organist  of  the  first  order.  Presently  Chair  of  the Department of Music and Professor of Organ and Harpsichord at Binghamton University  in New  York, Dr.  Biggers has presented  concerts  in church  and university settings throughout the  United  States, Canada, and  Europe. He has also appeared with various orchestras in North America. and has been featured on  NPR,  Canadian  Broadcast  Corporation,  and  Radio  Suisse  Romande broadcasts.  The Kansas City Star, in a review of a concert by Biggers, noted that  his performance demonstrated “authority and eloquence™ a nd stated  “were there  more pla yers like  this, the organ would  be far  less a  minority  interest.” Dr. Biggers studied with Russell Saunders (Eastman School of Music), Lionel Rogg (Conservatory of Music. Geneva, Switzerland),  J.  Warren Hutton (The University of Alabama), Wallace Zimmerman (Atlanta), Harold Vogel (Bremen, Germany), and has  won numerous prizes  in many  different  competitions.  In particular,  he  was  awarded  a  unanimous  first  prize  in  the  1985  Geneva International  Competition,  second­prize  in  the  1982  A merican  Guild  o f Organists National Organ Playing Competition, and unanimously won the  1990 Calgary  International  Organ  Festival  Concerto  Competition.  Two  highly acclaimed Compact Disc  recordings o f his work (“Slecpers,  Wake!  A  Reger Perspective”  and  “Bach  on  the  Fritts!™)  have  been  issued  by  Calcante Recordings,  and Dr.  Biggers  will be  recording  several  other  releases  in  the future, to be issued by Loft Recordings. STEPHEN STALKER, cellist, teaches cello and double bass at Binghamton University.  H e  formerl y  taught  at  Colgate  University,  Mansfield  University, Ithaca  College,  and  in  the  Binghamton  City  Schools.  He  has  performed extensively  with  the  Catskill  Chamber  Players  of  Oneonta,  NY,  the  Finger Lakes Chamber Ensemble, and in concerts at Binghamton University.  He plays with the Northeastern Pennsylvania Philharmonic and was the principal cellist of the Ca yuga Chamber Orchestra in Ithaca, NY. M ARY BURGESS, soprano, a graduate of the Curtis Instit ute of Music, has been  a  member of the  Binghamton  University  voice  faculty  for  over  twenty years.  Ms. Burgess made her U. S. operatic debut with New York City Opera while still a student at the Curtis Institute, and subsequently appeared with Santa Fe Opera, Washington Opera, New Orleans Opera, Nevada Opera, and many other  regional  companies  including  Tri­Cities  Opera  in  Binghamton.  Her European operatic debut was at the Holland Festival in Amsterdam; she has also performed at the Spoleto Festival in Italy, at the Theatre Royale de la Monnaic in Brussels, and with Dublin Grand Opera.  Burgess has appeared as soloist with more than two dozen U. S. orchestras, including the Boston Symphony (with Seiji Ozawa), Cleveland Orchestra (with Lorin Maazel, Eduardo Mata), Chicago Symphony  (Sir  Simon  Rattle),  and  Cincinnati  Symphony  (Klaus  Tennstedt, James Conlon).  She has been a  frequent guest at  such prestigious festivals as Marlboro, Monadnock, Ravinia, Aspen, Blossom, Casals, Chautauqua, and the Cincinnati Ma y Festival.  Her repertory of forty roles in five languages  ranges from Monteverdi and Cavalli to Britten and V irgil Thomson.  Her performances o f  Britten’s Les Illuminations and Mahler’s Symphony No. 2  with the Omaha Symphony were filmed for broadcast by Nebraska ETV.  She has recorded for Columbia, Masterworks, CRI, Sony Classical and Telarc. M A R L O N  TORRES is a native o f Caracas, Venezuela, where he was active in dance and entertainment including several scasons on a popular TV show as a featured performer.  In the United States, he studied Musical Theatre at  Tampa University  before  graduating  with  a  degree  in  Theatre  from  Binghamton University,  where  he  received  the  prestigious  Friars  Foundation  Award  for Excellence  in  the  Arts.  Marlon  performed  with  several  theatre  and  dance companies in New York and Indiana before becoming a principal dancer with Galumpa ( formerly The Second Hand Dance Company).  Mr. Torres hopes in t he  fut u re  to c reat e  a n   Institute  for  t he  Pe rfo rm i ng  A rts  in  his  hom eto wn  o f Caracas. �M AR GA RE T R EIT Z is a native o f the Binghamton area.  She recei ved  he r Bac helor and M aster o f M usic degrees  in pia no performa nce with accompany ing emphasis.  She attended  Boston  Un iversit y,  Ne w  England  Conse rva tor y a nd Bingha mton U niversity.  She has acco mpanied throughout the U nited States , in England,  South Ame rica, a nd  at  the  A me rica n I nst itute o f M usical St udi es  in Graz, A ust ria.  She and Binghamton  U niversity fac ult y mem bers Timothy  Pe rry and Stephen Sta lker were invited to pr ese nt a recital at the International Cl arinet Conference  in  Tokyo  this  past  sum me r.  She  has  been  on  the  facult y  at Bingha mton U niversity  since  199 1 a nd  Ithaca College  School of M usic s ince 1999.  She ma inta ins a private piano  studio in Vesta l, N ew York.  She is  on  the Execut ive  Board of the New York  District  MTNA organization.  She is  past President of the local Sout hern Tier Mu sic Teachers Association and is an act ive adjudicator for the National Piano Guild  Organization. TI MO TH Y MI CH AE L R OL LS  joi ned the faculty of Binghamton U niv ersity since  1999 teaching music t heory, mu sicianship a nd technology.  He ea rne d an AA  from Broome Comm uni ty Colleg e, a BA in Music from State U nivers ity of New York at Ne w Paltz, a n M M in  Composition from Bi nghamton U niv ersity and a DM A i n Composition from th e U niversity of Houston.  His work s have been performed  in  the South America , Japan, a nd  South  Korea as well as t he United States.  In the spring of 2005 , his work Oligopoly was premiered by  th e Bingha mton  Universit y  Wind  Ens em ble.  Unity  for  Alto  Sax,  Vio la  (or Cla rinet),  and  Piano  was  commissi oned  by  the  Universit y  of  Houston  and premiered  in  2004.  A  work  comme morat ing the Dece mber  2004  South   East Asia  Tsunam i  has  bee n  commissi oned  by  the  Bingha mton  Comm uni ty Orchestra to be pre mie red du ring t hei r 2 005 ­06 season. PA UL  GO LD ST AU B is Associate  Pro fessor of Theory a nd Compositio n, a nd direct s the annual Musica No va concer t o f contemporary music . His work s h ave been  pla yed  by  ensem bles  here  at  Bingha mton  Universit y  and  ma ny  other col leges and universit ies, the St. Paul  Cham ber Orchestra, the M innesota O pera, and the East ma n W ind Ensem ble.  He  has present ed guest lect ures at the O berlin Conse rva tory,  the  Chautauqua  Institu tion,  SUNY  Potsda m,  the  Universit y  of Minnesota, Sanford Universit y (Birm ingham, A labama), and the College M usic Soc iety, the National­Assoc iation o f  Schools o f Music and sta te music educ ation organizat ions  in  Massachusetts,  Ne w  Jersey,  and  Vermont.  His  mu sic  is published  by  La wson­Gould  Publish ing,  Roger  Dean  Publishing,  and   the Int ernational  Trombone  Assoc iation   Press.  Dr.  Goldstaub,  who  earned   the DM A  degree  at  the  Eastman  Sch ool  of  Music,  has  taught  at  the  College Co nse rva tory  o f  Music  in  Cincin nat i,  the  Sta te  Un ive rsit y  of  Mi nnesota (Mank ato), Ithaca College School  of Music, and Eastem Michigan Un iversit y. He  joined the fac ult y at B inghamton  Universit y in  1998. Special Thanks to:  Steve Machlin,  Dan Sonnen. Jane Zuckerman and Marnie Wrigher � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 38:09:00 Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flutist Georgetta Maiolo and friends: music from the 18th century to two world premieres, September 17, 2005 Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Works of Blavet, Rameau, Debussy, Ibert, Damase, Rolls, Benedict, Schumann, Goldstaub, Laderman. Held at 8:00 p.m., September 17, 2005, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Biggers, Jonathan Stalker, Stephen Burgess, Mary Torres, Marlon Reitz, Margaret Rolls, Timothy Michael Goldstaub, Paul Source A related resource from which the described resource is derived Library Catalog Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2005-9-17 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context BIN01-001764199 https://omeka.binghamton.edu/omeka/files/original/cde746a66fe1c4e55bd6cd9fd705aeac.pdf 6d7b7f033d4ea7d50f903f2478a0982a PDF Text Text BINGHAMTON B N I  Y E R S I T Y S T A T E  U N I V E R S I T Y   O F  N E W   Y O R K  yC dee [4 D  E  P  A  R  T  M  E  N  T F o r  Slava: Remembering th e G reat Russian Cellist, Mstislav Rostropovich (1927­2007) Stephen Stal ker, cello Michael Salmirs, piano Ma ry Burgess, soprano Patricia Sunwoo, violin Sunday, April 19, 2009 7:30 PM Casadesus Recital Hall �ABOUT T H E  PERFORMERS STEPHEN STALKER, cellist, teaches at Binghamton  University. He formerly  taught  at  Colgate  University,  Mansfield  University,  Ithaca College and the Binghamton City School District. He was the principal cellist  of  the  Cayuga  Chamber  Orchestra  in  Ithaca,  NY,  and  has PROGRAM Suite for Cello, Op. 72 for solo cello Canto Primo:  Sostenuto e largamente Fuga:  Andante moderato Lamento:  Lento rubato Canto secondo:  Sostenuto Serenata:  Allegretto (pizzicato) Marcia:  Alla  marcia moderato Canto terzo:  Sostenuto Bordone :  Moderato quasi recitativo ..Benjamin Britten (1913­1976) 5 l Moto pepetuo e Canto q uarto :  Presto Seven Poems of Alexander Blok................ for soprano, violin, cello and piano Ophelia ’s Song Hamayun, the Prophetic Bird We Were Together l Dmitry  Shostakovich (1906­1975) l l The City is Asleep The Storm Secret Signs Music WINTERMISSION3 Sonata in C Major for cello and piano Andante Grave,  Moderato animato Moderato,  Andante dolce Allegretto ma non troppo,  Andantino v Sergey Prokofiev (1891­1953) performed extensively  with  the Catskill  Chamber  Players  of Oneonta, NY,  and  in  concerts at  Binghamton  University.  Performing  with  the Catskill Chamber Players he has presented Meet the Composer concerts with  prominent  American  composers  including  John  Cage,  Virgil Thomson,  Lou  Harrison  and  George  Crumb.  The  Chamber  Players appeared at  Weill Recital Hall,  premiering a set of four string quartets by Henry Brant. With violinist, Janet Brady, and pianist, Walter Ponce, he performed the complete Beethoven Trio cycle at SUNY­Binghamton. He performed with Solisti New York on their Alaskan cruise of the Inner Passage from Vancouver to Juneau. As a member of the Madison String Quartet, he was a finalist in th e Naumberg Chamber Music Competition in  New  York  City  and  the  Evian  International  String  Quartet Competition  in  Evian,  France.  He  has  performed  in  many  recital appearances with  pianist, Michael Salmirs. He  performs regularly with the Trio Amici, Trilogy, Baroque  ‘n Blue, Early On and in concerts at Binghamton University.  He is a past president of the New York State Chapter of the American String Teachers: Association and was Strings Chair for the New York State School Music Association.  He is a founder of the Southern Tier Music Teachers Association and the  Binghamton Cello  Festival. He is a graduate of the Manhattan School  of Music in New York City. Pianist MICHAEL SALMIR S, a founding member and artistic director of the Finger Lakes Chamber Ensemble, is well known as a recitalist and chamber  musician.  He  has  appeared  as  soloist  with  the  Corning Philharmonic,  Binghamton  University  Orchestra,  Cayuga  Chamber Orchestra, and is frequently a featured pianist on their Sunday Chamber Series. In  addition  to performing most of the standard  chamber music repertoire  for strings and  piano, he has  premiered  numerous solo and chamber works, and recently gave the world premieres of David Liptak ’s and  Marek  Harris’  Piano  Quintets.  He  has  also  participated  in  such contemporary music  series as Binghamton  University’s  Musica  Nova, Cornell  University’s Ensemble X, Ch iron, and has toured and recorded for the Syracuse Society for New Music. MARY BURGESS, soprano, a graduate of the Curtis Institute of Music, has been a member of the Binghamton University voice facu lty for over twenty years.  Ms. Burgess made her U. S. operatic debut with New �PROGRAM NOTES York  City  Opera  while  still  a  student  at  the  Curtis  Institute,  and subsequently appeared with  Santa Fe Opera, Washington Opera, New Orleans  Opera,  Nevada  Opera,  and  many  other  regional  companies including Tri­Cities Opera in Binghamton.  Her European operatic debut was at the Holland Festival in Amsterdam; she has also performed at the Spoleto  Festival  in  Italy,  at  the  Theatre  Royale  de  la  Monnaie  in Brussels, and with Dublin Grand Opera.  Burgess has appeared as soloist with  more  than  two  dozen  U.  S.  orchestras,  including  the  Boston Symphony (with Seiji Ozawa), Cleveland Orchestra (with Lorin Maazel, Eduardo Mata), Chicago Symphony (Sir Simon Rattle), and Cincinnati Symphony (Klaus Tennstedt, James Conlon).  She has been a frequent guest  at  such  prestigious  festivals as  Marlboro,  Monadnock,  Ravinia, Aspen, Blossom, Casals, Chautauqua, and the Cincinnati  May Festival. Her repertory of forty roles in  five languages ranges from  Monteverdi and  Cavalli  to  Britten  and  Virgil  Thomson.  Her  performances  of Britten’s  Les  Illuminations  and  Mahler ’s  Symphony  No.  2  with  the Omaha Symphony were filmed for broadcast by Nebraska ETV.  She has recorded for Columbia, Masterworks, CRI, Sony Classical, and Telarc. PATRICIA SUN WOO, violinist, winner of the 1998 Naumburg Award as a member of the Whitman String Quartet, has performed across the United States and Europe to critical acclaim.  For five years she was on faculty at Binghamton University.  Ms. Sunwoo currently tours with the Bard  Festival  String  Quartet,  and  is  a  member  of  the  Rochester Philharmonic Orchestra and the Finger Lakes Chamber Ensemble.  She also directs the Chamber Music Connection  program at the  Hochstein School of Music and Dance.  She spends the rest of her days with  her husband  David  Brickman, and enjoying her daughters Claire (12) and Lillian (2). oS  én Mstislav  Rostropovich  (1927­2007),  known  as  Slava  to  a  wide circle  of friends, is widely regarded as the greatest cellist of the twentieth century.  His fame rests not just on his musicianship and his  association  with  major  composers  (he  commissioned  and premiered over one hundred works) but for his championship of human freedom.  His support of Alexander Solzhenitsyn won him the 1974 award from the International League of Human Rights ­ a stance  which  propelled  him  into  exile.  He  later  wrote  “When Leonid Brezhnev stripped us of our citizenship in 1978, we were obliterated.  My  wife  [the  Bolshoi  Opera  soprano  Galina Vishnevskaa]  and  I  were  cut  out  of  photographs  and  history books.”  His citizenship was restored in  1990,  long after he had become an American citizen.  Born in Baku in the Soviet Republic of Azerbaijan in 1927, he came from a musical family.  His father and  grandfather  were  eminent  cellists.  A  gifted  youngster,  he entered  the  Moscow  Conservatory  at  the  age  of  16.  He  soon embarked on a long and highly successful career as a performer, teacher, and from 1 977 to 1994, the Music Director of the National Symphony in Washington, D.C.  In addition to being a great cellist and a conductor, Rostropovich was also a fine pianist who often accompanied his wife in recitals.  He had an astonishing memory. In  whatever  medium  he  performed­­­soloist,  conductor, accompanist­­­he never used a score. This evening’s recital presents important works from three famous com posers o f the twentieth century : two were Russian and one was British.  The circumstance that brought together composer and performer was different for each work as is noted in our brief description  of each  composition.  Each  situation  resulted  in  a major addition to the cello repertory and a new level of enjoyment for the modern audience.  The composer, knowing he is writing for one o f the century’s great virtuosos, creates a  work that displays the virtuoso’s abilities­­­flatters him, indeed!­­­and the new piece becomes  a  challenge  attainable  by  only  the  most  capable performers. In  the  early  1940s,  the  young  student  Rostropovich  had been lucky enough to gain a much­coveted place in Shostakovich’s orchestration class, thus beginning a lifetime association between the famous composer and his talented student.  The Seven Verses �of Aleksander Blok grew out of a request in  1968 from Mstislav and Galina  for a set of vocalizes for voice and cello.  The first verse, “Ophelia’s Song ” is indeed for voice  and cello.  “You see, Slava, I tried to satisfy your request, but whe n I started writing the second movement with a whacking pizzicato in the cello, I realized I  didn’t  have  enough  instruments.”  ­  with  that  comment  the composer explains his reason for adding violin  and piano to the ensemble.  The  verses  of  the  symbolist  poet  Alexander  Blok (1880­1921)  concern  troubled  nights,  sleep,  a  storm,  and  the importance of music.  The first three verses are for voice and one instrument, verses fou r and five use two in struments, and verses six and seven call for the full ensemble.  The first five songs are intimate  and  pensive;  the  last  two  are  powerful,  indeed  almost strident. In  December  1948,  Rostropovich  gave  the  first performance  of a  new sonata  for  cello  by  Myaskovsky.  The composer came backstage with his friend, Sergei Prokofiev (1891­ 1953), who  told Rostropovich  “I want to write a sonata for you.” As soon as he had finished the work, the Cello Sonata, op. 119,  he invited the young cellist to his dacha near Moscow.  Rostropovich later recounted this experience: I had prepared the sonata well and had also learned the piano part from memory.  By now Prokofiev no longer played the piano so well, and when we read through the sonata I was amazed that he had managed to forget his own music so quickly.  He played as if he was sight­ reading!  I went so far as to  correct  him  when  he  played  some  wrong  notes.  At  this  he turned to me: “Young man, who wrote this work, you or me?”  He suggested that I play t he sonata with [the gr eat pianist] Sviatoslav Richter,  thereby  giving  his  blessing  to  the  start  of  my  duo relationship with ‘Teofilovich"‘ The sonata, equally  demanding  for  cellist  and  pianist,  is cheerful and tuneful, with a decided change in the third movement which  has a more somber undertone.  One  reviewer succinctly described  the  work  as  sensuous  in  the  first  movement,  full  of mischief and mirth in  the second movement, and enigmatic in the closing  movement.  The  premier  performance  took  place  in Moscow in 1949,  played by Rostropovich and Richter. Benjamin  Britten  (1913­1976)  was  introduced  to Rostropovich  by Shostakovich at the Edinburgh Festival in 1960. Britten  said  he’d  never  heard  such  cello  playing.  A  warm friendship  developed.  Britten, a formidable  pianist, was also  a violist  who  knew  how  to write  for  strings.  His  first work  for Rostropovich, a sonata, greatly impressed t he cellist.  In  1964, a series  o f  am using  events  for  com pose r  a n d  pe rform e r,  too complicated  to  be  described  in  these  brief notes, culminated  in Britten’s  signing a  mock  contract on the  corner o f a  restaurant menu in which he prom ised to write six suites for cello.  Obviously. the  promised  composition  was also  to  be  an  homage  to  Bach’s great six suites for unaccompanied cello.  The composer lived only long enough to complete three of the suites.  Rostropovich argued that no other com pose r understood th e nature o f  string playing so well.  The three suites for cello display innovations in instrumental writing such as presenting two separate melodic  lines in  double­ stops.  Each suite includes a fugue. a tribute to the fu gue writing in  Bach’s  Well­Tempered  Clavier.  In  fact,  there  is  a  clear similarity  between  Britten’s  fugue  in  the  first  Suite  and  the  C major fugue in Volume One of the Bach work. The Bach cello suite consists of a Prelude followed by five baroque Dances.  Britten’s suite structure has six basic movem ents framed  by  a  Canto  which  appears  three  times  among  the movements  and  again  at  the  close.  Within  the  Canto there  is emphasis on an ascend ing scale pattern (E F sharp G A B) which is heard  in  many  guises  throughout  the  work.  Britten  notated dynamics and  phrasing  precisely  and  yet,  because  much  of the music  is  non­metrical (bar len gths vary), the performance yields the spontaneity of an  improvisation.  The  Suite  no. 1,  op. 72, written  in  1964, was  first  performed  by  Rostropovich  at the Aldeburgh Festival in June of 1965. Harry B. Lincoln �Coming ‘Crents Saturda y, A p r i l  2 5% Honor’s Recital: Elizabeth Sterling, violin and voice, Casadesus Recital Hall, 3:00 PM, FREE Saturda y, April 2 5 ” J unior Recital: Briana Sakamoto, soprano, Casadesus Recital Hall, 7:00 PM, FREE ) i t   niversity Wind Symphony, 3:00 PM, FREE Sunday,  April 2 6 ” U Anderson Center Chamber Hall ecital: Susan Amisano, soprano,   Sunday,  A p r i l  2 6 ” Master’s R Casadesus Recital Hall, 3:00 PM, FREE cital: Sarah Sterling, viola,   S u n d a y,  A p r i l 2  6 ” Honor’s Re Casadesus Recital Hall, 7:30 PM, FREE Tuesday, April 2 8 ” F n‘edheim Memorial Lecture/Recital: Audible Processes – Minimalism and Beyond, Casadesus Recital Hall, 8:00 PM, $ $ Thursda y, April 30°" Mid­Day Concert, 1:20 PM ­ FREE Casadesus Recital Hall Friday, May 1°" Flute Studio and Flute Chamber Concert; 10:15 AM, Casadesus Recital Hall, FREE Recital: Griffin Sargent. violin,   Friday, May 1 ° Student  Casadesus Recital Hall, 8:00 PM, FREE Saturda y, May 2  Master’s Recital: Sung Jin Park, soprano, Casadesus Recital Hall, 3:00 PM, FREE Saturda y, May 2  Student Recital: Laura MacAvoy and Chelsea Pace, sopranos, Casadesus Recital Hall, 8:00 PM, FREE   niversity Symphony Orchestra “Fantastique!” Saturda y, M a y  2 ™ U Osterhout Concert Theater, 8:00 PM, $$ For ticket information, please call the Anderson Center  B ox O ffice at 777­ART S. i l � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:14:32 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE151156">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE151156</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource For Slava: remembering the great Russian cellist, Mstislav Rostropovich, April 19, 2009 Recital Tape 2009-4-19b Description An account of the resource Held at 7:30 p.m., April 19, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Stalker, Stephen Salmirs, Michael Burgess, Mary Sunwoo, Patricia Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-04-19 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/cabeabb7e6f63606e4493992bafe9b4c.jpg 739dfd8ea1949b4e9fe9ca5b38a7a149 https://omeka.binghamton.edu/omeka/files/original/d13ab4d4199e46e213dc3b8de8b769e8.jpg f5394c75c625413e16a157e97d4c73b5 https://omeka.binghamton.edu/omeka/files/original/f275253d3cc9c457f0a3e5a178e59645.jpg 159c2c74949c5dd27bd679fc1f73e1c0 https://omeka.binghamton.edu/omeka/files/original/53edec383190259b14b9a62daa6d3368.jpg 3a28ff626f04fdb8442e061622be8a5d https://omeka.binghamton.edu/omeka/files/original/75681ae960c59b925c7690f9c4a3ecbb.jpg 2fc3dd18dbf2bcce7d2752200a7a917f https://omeka.binghamton.edu/omeka/files/original/efb70f937d624cd6bf3362d56f637760.jpg 747d59228972fdf601fd371cf9e888aa https://omeka.binghamton.edu/omeka/files/original/2b0752d0dd836a083b49e88cd988e76b.jpg b09611cf8ead14e4c442e578f36d6d04 https://omeka.binghamton.edu/omeka/files/original/050137794b2135b44184bee21fd4ca24.jpg 4e3af3039a9f54f5ba36c26159f61202 https://omeka.binghamton.edu/omeka/files/original/5323bf5becfb1b0d84d138a397c628b8.jpg 8a5b1c301aab622e1bbc576f0e9411c6 https://omeka.binghamton.edu/omeka/files/original/d8da7c3d197838165a8629cce8b9a8a6.jpg 7dd9f295d87c93afb5e96ec78d4af3c1 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 Reinhardt Promptbooks Description An account of the resource <strong><em>Who is Max Reinhardt?</em></strong> <br />The celebrated <span>Austrian t</span>heater director <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt</a>, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. <br /><br /><em><strong>What is a prompt book?</strong></em> <br />The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. <br /><br /><em><strong>Why are his important?</strong></em> <br />Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. <br /><br /><em><strong>Acknowledgements</strong></em> <br />Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale. Relation A related resource <p><a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><em><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a><br /></em><br /><a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/"><span>Max Reinhardt Archives and Library</span></a><br /><br /><a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&amp;tab=DigitalCollections&amp;search_scope=DigitalCollections&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;offset=0">Max Reinhardt Collection Photographs</a></p> <p></p> <p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a></p> <p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a></p> Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Jean Green,&nbsp;<br /><br />Binghamton University Students: <br />Madelynn Cullings<br />Kashawn Hernandez<br />Aanyah Jhonson-Whyte<br />Marisa Joseph<br />Bethany Maloney<br />Ashleigh Marie Sherman<br />Thomas Tegtmeier<br />Joseph Vitale Promptbook Description All text in English. Markings in purple pen and red pencil. Handwritten notes in both German and English. Notes are consistent throughout, though not extensive. Most notes are small notes throughout dialogue. No stage/setting drawings. Collection Max Reinhardt Promptbooks Dimensions Physical dimensions of item 28cm x 21.5cm Notes Located in Binghamton University Libraries Special Collections PT2635.E548P75 v.135 Production(s) April 1940, Hollywood. Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fortunato [promptbook] Subject The topic of the resource Tieck, Ludwig, 1773-1853. Fortunato Promptbooks Stage directions Creator An entity primarily responsible for making the resource Tieck, Ludwig, 1773-1853 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 1900s Contributor An entity responsible for making contributions to the resource Reinhardt, Max, 1873-1943 Language A language of the resource German Identifier An unambiguous reference to the resource within a given context R 3235 Rights Information about rights held in and over the resource Copyright undetermined. This image is provided for educational and research purposes only as is stipulated by U.S. and international copyright law. For more information, please contact speccoll@binghamton.edu. https://omeka.binghamton.edu/omeka/files/original/0449cfaca3a350fcdd584ed0c8bfe1ab.pdf 36aac0c9e835c42cb4e7984f36b227a6 PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E  U N I V E R S I T Y  O F   N E W   Y O R K [4 (227% 2% D E P A R T M E N T FORTY FINGERS A Program o f  Music Composed for 1­2 Pianos and 6­8 Hands Performers Amy Heyman Pej Reitz Tina Toglia Ida Tili­Trebicka Friday, October 28, 201 I 8:00 p.m. Casadesus Recitcal Hall �A PROGRAM Saint Saens Dance Macabre Op. 40  (1835­1921) Transcribed by E . Guirau d  R o ma p e es . Sergei Rachmaninoff Larghetto and Allegro in E flat for 2 pianos  Ida Trebicka and Amy Heyman  (1873­1943) W. A. Mozart (1756–1791) Reconstructed from  Mozart’s Fragment by Paul Badura­Skoda Sonata in one movement for 2 pianos................... B. Smetana (1824­1884) 2  INTERM ISSION  = C. Gounod Waltz (Faust) (1818­1893) Arranged for 8 hands by Renaud de Vilback Overture from the  Marriage of Figaro.................. W. A. Mozart (1756­1791) Arranged by Carl Czemy for 6 hands Polovtsian Dances (Prince Igor) f o r  hands  . . . . . A .  Borodin (1833–1887) Pe j Re itz  a n d  T ina  Toglia  Sabre Dance A. Katchaturian (1903­1978) Arranged for 8 hands by N. Jane Tan B O U T Amy Giller Heyman received her Master of Music Degree from the University of Wisconsin as a student of Howard Karp, and her Bachelor of Fine Arts Degree from the University of Okla homa as a student of Dr. Todd Welbourne. She has also studied with Hans Graf, Edith Oppens, and Gyorgy Sebok. Her performances include solo recitals, chamber music concerts, and concerto appearances, no tably as a featured artist with the Syracuse Symphony Orchestra. Additionally, she has appeared at the Sk aneateles Festival, Deer Valley Festival in Utah, Vermont Music and Arts, Early Baroque Music Festival in Lake Tahoe, and the Chenengo! Summer Music Fest. Locally she has appeared under the auspices of the Society for New Music, Civic Morning Musicals, Syracuse University, Le Moyne College, OASIS, OCC, Syracuse Vocal Ensemble, and Syracuse Camerata. She is the past recipient of the Civic Morning Musicals Award for Outstanding Young Musician. She frequently performs with husband Steven Heyman as a piano duo team; they have appeared as soloists with the Syracuse Symphony Orchestra, South Arkansas Symphony, Skanea teles Festival Orchestra, and the Syracuse University Orchestra. They have also performed for numerous benefits are the pa st recipients of the Tiffany Award from Civic Morning Musicals, honoring their musical contribution to the community. Ms. Heyman is on the keyboard faculty at the Setnor School of Music at Syracuse University serving as affilia te artist. Her duties include teaching piano, keyboard skills, and piano peda gogy. In addition, she recently joined the music fa culty at Le Moyne College. Ms. Heyman mainta ins an active priva te studio in the Syracuse area. She is also active in many music organizations including Co­Chair of Competitions for the Central New York Associa tion of Music Teachers and Chair of Advertising and Publicity for the New York State Music Teachers Association following her past service as Vice­President of Conferences. �Pej Reitz, pianist, is a native 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, Spain and at the American Institute of Musical Studies in Graz, Austria. She was a winner of the Artistic Ambassadors Program by the United States Information Agency in partnership with the John F. Kennedy Center for the performing arts. She was an official accompanist for the MTNA State and Eastern Division Competition held at Ithaca College. She ha s been a guest chamber music artist in Morges, Switzerland. She also was selected to attend the Accompanying Workshop for Singers and Pianists held at Northwestern University with Chicago Lyric Opera Faculty and Coaches. She was invited to the International Clarinet Conference to play a recital in Tokyo, Japan. She was a guest artist on the Cornell Summer Series. She was an official pianist at the International Double Reed Competition and Convention in 2007 at Ithaca College and wa s invited to play the 2009 Convention in Birmingham, England with the Glickman Ensemble She recorded a CD with the Glickman Ensemble a gain this summer in Englewood, NJ. She was selected to accompanying at the Interpretation of Spanish Music in conjunction with University of Madrid in Grenada, Spain coached by Teresa Berganza and at Mannes School of Music. She was a Guest Artist playing two concerts in Granada, Spain and accompanied the Barcelona Song Festival. She soloed with the Catskill Symphony a t the Otesaga in Cooperstown, NY under the direction of Charles Schneider last summer. This past summer she will accompany and at The lntemational Spanish Music Festival in Madrid, Spain. She is currently on the faculty at Binghamton University since 1991 and Ithaca College School of Music since 1999. She is President of the local District VII Music Teachers Association and is an a ctive adjudicator for the National Piano Guild Organization. Pianist Tina  Toglia is an active solo performer, collaborative pianist and teacher in Central New York. As an advocate for new music, Ms. Toglia has given numerous premiere performances at Stony Brook, Merkin Hall, the 92™ St. Y, Columbia University and Princeton University. She has been the recipient of fellowships from the Yale Summer School of Music and Art, the Bach Aria festival, the Tanglewood Music Festival and was a finalist in the J. S. Bach International Piano Competition. Ms. Toglia studied harpsichord with Arthur Haas and was a harpsichordist for the Stony Brook Early Music Ensemble and the Capital Chamber Players in Albany, NY. Just­Spring: Art Songs of John Duke, recorded with soprano Lauralyn Kolb was released by New World Records as part of their Recorded Anthology of American Music. Ms Toglia has taught piano, music history and music theory at Stony Brook University, State University College at Oneonta and at Utica College. She received a doctorate from Stony Brook University where she studied with Gilbert Kalish. She also studied with Alexander Fiorillo at Temple University and with Vladimir Sokoloff at the Curtis Institute of Music in Philadelphia. She currently lives in New Hartford with her husband and three children, and works a s a school library media specialist at Rome Free Academy high school in Rome, NY. Albanian born and raised, pianist Ida Tili Trebicka performed throughout the United Sta tes, Europe and China, a s orchestral soloist, recitalist, and chamber musician. She performs regularly under the auspices of Syracuse University, Civic Morning Musicals, Society for New Music etc. and has collaborated frequently with Syracuse Symphony Orchestra members in annual chamber music concerts. Ida has been featured on Albanian National Radio­Television, Italian Broadcasting Corporation RAI 2, Radio Ancona, Italy, and locally on WCNY in Syracuse, WBFO in Buffalo and WCCA TV 13 in Boston. Invited by the Italian Federation of Women of Professions, Arts and Affairs and the Universities of Torino and Ancona, she has performed solo recitals in Ancona, and Torino. In 2004, 2005, 2006 she performed in Florence, Italy, under the auspices of Syracuse University, and in May �of 2005, accompanied Syracuse University’s Hendricks Chapel Choir in a concert tour to China and Hong Kong. Ida has collaborated continuously with members of Orchestras such as, Athens, Bari, Paris, Sarajevo, Amsterdam, Munich etc. Ms. Tili Trebicka made her New York City debut in 2001 at the Merkin Hall, and continues to play at the city regularly. In January 2011, she performed with friends at the Tenri Cultural Center. She performs all over the United States, and has given concerts at Boston University, Huston TX, Davis CA, Florida, Hartford Community College, Cleveland Ohio, Hamilton College in Clinton NY, to name a few. Invited by the Albanian­ American Association of Huston, TX as well as the Massachusetts Albanian American Society, Besa, (MASSBESA,) she has performed concerts to benefit the Albanian American Heritage School. public service media for your community   s k g . o r g  2  ( w w w .w n p  r L Ida is a winner of several competitions and awards, such as the Albanian National Piano Competition, the Civic Morning Musicals Pianist Prize, the Syracuse University’s Concerto Competition, and was awarded the School of Music Hira Poncha and Evelyn Mulfinger Piano Awards. l4 o 4 >   4 ERS H   4 ERS H Is: Ida is a member of Central New Your Music Teachers Association (CNYAMY) and member of the board, and is also a director in the Board of Directors for the Civic Morning Musicals. She is also a member of the Music Teachers National Association (MTNA). She is also in demand as collaborative pianist and teacher and has served regularly as judge in various competitions. <) $0.80 Ii— I Q ) :  = :  = ,  4  1  ” Ida is currently on the piano faculty at Syracuse University’s Setnor School of Music and serves as music director at Saint Peters Episcopal Church in Cazenovia, NY. n o v i ~   ' :  — 41  Q a  M 0t 1  L 4  ­ © r = = aE 1  o ­ — O >— \   EG I  gm '  — 8 !   ‘,  Binghamton ,  Im  Commumey $ 2   0  ft hrs"?! �Binghamton  University Music Department ’s U P C O M I N G  E V E N T S Mid­Day concerts are held  on Thursdays, 1:20 PM in Casadesus Recital Hall unless otherwise noted and are FREE Sunday, October 30 – Win d Symphon y : Holst! – 3 p.m. – Anderson Center Chamber Hall – $6 general public; $3 fa culty/staff/seniors; free for students Thursday, Novemb er 3 – Mid­Day Con cert – 1:20 p.m. – Casadesus Recital Hall – free Tuesday, November 8 – Friedheim Memorial Lecture/Recital Series : Debuss y’s “Rha psodies for saxophone and  clarinet” (Stephen Zank, speaker, Ap ril Lucas, sa xophone  Timothy  Perry, clarinet, Margaret Reitz, piano) – 8 p.m. – Casadesus Recital Hall – $6 genera l public; $3 faculty/staff/seniors; free for students Thursday, November 10 – M id­Day Concert (A frican) – 1:20 p.m. – Anderson Center Chamber Hall – free Sunday, November 13 – Univ ersity Chorus a nd the Symphony Orchestra present Felix Mendelssohn’s “Elija h” – 3 p.m. – Osterhout Concert Theater – $10 general public ; $6 faculty/staff/ seniors; $3 students Thursday, November 17 – Jazz Mid­Day Concert with guest artist – 1:20 p.m. – Osterhout Concert Theater – free (Co­sponsored by the Binghamton University Music Department and the Harpur Jazz Project) Thursday, November 17 – Harpur Jazz Ensemble Concert with guest art ist – 8 p.m. – Osterhout Concert Theater – $10 general public; $6 faculty/staff/seniors; $3 students (Co­sponsored by the Binghamton University Music Department and the Harpur Jazz Project) Monday,  November 21 – Masterclas s with organist Wilma Jensen – 7 p.m. – First Presbyterian Church, Binghamton – free For ticket information, please call the   77­ARTS. Anderson Center Box Office a t 7 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:04:19 8:13 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145379">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145379</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Forty fingers, a program of music composed for 1-2 pianos and 6-8 hands, October 28, 2011 Recital Tape 2011-10-28 Description An account of the resource Works by Saint-Saëns, Rachmaninoff, Mozart, Smetana, Gounod, Borodin, Katchaturian. Held on October 28, 2011, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Heyman, Amy Reitz, Pej Toglia, Tina Tili-Trebicka, Ida Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2011-10-28 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/da04e0eb3a3bc862db9196e53cc1de5a.pdf 994c2e516d5ffc15362e5dc0dcb77a79 PDF Text Text NOTES Continued ■ Beethoven's Quartet Op. 135 was begun in July 1826 while the composer was working on Op. 131 and was completed around the first of October. Although this work has not the monumental proportions of the other late quartets, the very c one iseness of its motives and the extreme economy of their development, combined with the amazing variety of the contrapuntal texture, place it among the greatest. In the first movement, based on a series of short question and answer motives, the sonata-allegro form takes on new meaning through the ceaseless interweaving, variation, and contrapuntal manipulation of these motivic fragments. Reminisc enses of both the main fugal theme of Op. 133 and of its second main variation are found interwoven with a motive very suggestive of the Theme Russe in Op. 59 #2. The second movement, a scherzo and trio although undesignated as such, features a simple bass line in the cello against which the violins play a syncopated harmonization. The trio section opens with a scale-like subject, which, however, gradually ascends by stepwise modulations until it reaches a wild climax in a Bacchanalian dance in which the first violin cavorts with wide-spread leaps accompanied by a frenzied ostinato in the lower strings. In the expressive thi rd movement Beethoven approaches most nearly the meditative mood of the other late quartets. The fourth movement has achieved prominence as the source of a typical Beethovenian anecdote. Beethoven wrote in the manuscript over this movement, Der schwer gefasste Entschluss (the difficult resolution), and placed the motive and its inversion at the top with the words Muss es sein? (Mustitbe ? ) and Es muss sein! (Itmustbe). Various accounts as to the origin of this question and its answer have been given by Beethoven's biographers. One relates that Beethoven held this conversation weekly with his housekeeper when she requested money. Another says thi s refers to an episode in which Beethoven had to copy his own manuscript and was bemoaning the lack of copyists, while still another claims it deals with an incident of a publisher requesting money from Beethoven. What is definitely known is that Beethoven wrote a canon to Ignaz Dembscher on these words in April 1826, later incorporating the motive i n his quartet. The movement opens with a slow and somber minor introduction based on the questioning motive, followed by an eighth note passage which occurs later in a lighter guise in the allegro. The actual body of the movement in allegro presents the inverted motive as the reply and is worked out with the most masterful contrapuntal variety ending with a delightful pizzicato coda leading into a fortissimo affirmation of the motive. Patri cia Isham I All performances at 8:15 p. m . in the Harpur College Theater Ushering courtesy of Alpha Phi Omega OPEN REHEARSALS The public is cordially invited to attend the quartet's rehearsals, held the day prior to each recital, at 3 p. m., in the music room (CA-183) near the theater. HARPUR �NOTES ■ The quartets of Mozart are often divided into two groups: the sixteen early quartets, written between 1770 and 1773, which reflect his knowledge of the pre-classic Italian and Mannheim symphonists and are primarily homophonic in texture, and the ten "great" quartets, dating from the years 1782-1790, which show the influence of Haydn and can be numbered among the highest achievements of the mature Mozart. K . 171, the fourth in a set of six quartets written in Vienna in 1773, lies within the former category, but its texture reveals a more idiomatic treatment of the string quartet medium than the preceding works. The seventeenyear old Mozart had recently become acquainted with the Op. 17 and Op. 20 quartets of Haydn, in which the older man had introduced a more contrapuntal texture and a greater independence of the individual voices than are found in his earlier works. Thus, in K. 171 passages of imitative and polyphonic writing alternate with those in unison or in homophonic style, as in the first and second movements. At times, such as the Andante movements, Mozart reveals a lyricism and ornamentation akin to that of W. F. Bae h. Thus this set of quartets (K. 168-173} marks a transitory phase in Mozart's quartet writing and stands as an interesting example of the formative stage in the life of this great master. State University of New York HARPUR COLLEGE, BINGHAMTON, N. Y. The Department of Music presents THE GUARNERI QUARTET (in residence) Arnold Steinhardt, violin John Dalley, violin Michael Tree, viola David Soyer, cello PROGRAM Fourteenth Recital Sunday, May 23, 1965 QUARTET in þÿ E&m Major, K. 171 MOZART Adagio-Allegro assai-Adagio Menuetto ■ Bartok's Quartet No. 5, commissioned by the Elizabeth Sprague Coolidge Foundation, was composed between August 6 and September 6, 1934, after his return from Turkey, where he had been collecting folk songs for the Hungarian Academy of Science. In this work and the preceding quartet (1928), Bartok' s style changed decidedly from the more dissonant and expressionistic music of the early twenties. He described his music as increasing in polyphonic complexity as it became harmonically simpler, while folk elements were totally integrated. These two quartets (Nos. 4 and 5) are constructed in an architectonic arch form, in which the first and fifth movements and the second and fourth movements reflect each other in mood and thematic material while the third movement, in each case, is the keystone of the arch. Although Quartet No. 5 is not diatonic in any sense, each movement is centered around a tone, the first and fifth on þÿ B&m the, second, a third above on D, the fourth, a third below on G, and the third on C#. Unity is achieved not only through the arch structure and the related tone centers, but also through motivic relationships between all the movements. The first movement, in a type of sonata-allegro form, opens with a forceful rhythmic figure which combines with a theme based on a chromatic progression opening into an augmented fourth (tritone) to form the kernel motives of the first and fifth movements. The second and fourth movements, ternary in form, run closely parallel; for example, trills in the former become pizzicati and glissandi in the latter, and plain double stops become tremolo. The interval of the fourth is a highly important motive in both cases. The third movement stands as a sharp contrast to the slow movements encompassing it. It is written in 9/ 8 time, but according to its designation alla bulgarese, in Bulgarian rhythm - each measure is subdivided irregularly in groups of four, two, and three. The trio in 10/ 8, grouped in three, two, two, and three, has a highly chromatic ostinato figure, first running through the first violin part and later taken up by the other instruments. This movement demonstrates the complete integration of the folk idiom in the composer's own personal style. A simple folk melody is introduced in the fifth movement in an incongruous setting in a short, humorous, polytonal section showing still another aspect of Bartok' s use of folk material. (Continued on back) Andante Allegro assai STRING QUARTET No. 5 BARTOK Allegro Adagio molto Scherzo, alla bulgarese Andante Finale. Allegro vivace INTERMISSION STRING QUARTET in F Major Op. 135 BEETHOVEN Allegretto Vivace Lento assai, cantante e tranquillo Finale: Grave, ma non troppo tratto - Alle gro � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 51:59 26:44 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54402">Fourteenth Recital Guarneri Quartet Recital</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fourteenth Recital Guarneri Quartet Recital Tape 1965-5-23 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Mozart, Bartok and Beethoven. Creator An entity primarily responsible for making the resource Guarneri Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Mozart, Wolfgang Amadeus, 1756-1791 Bartók, Béla, 1881-1945 Beethoven, Ludwig van, 1770-1827 State University of New York at Binghamton. Department of Music Date A point or period of time associated with an event in the lifecycle of the resource 1965-05-23 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context Fourteenth Recital Guarneri Quartet Recital Tape 1965-5-23.pdf https://omeka.binghamton.edu/omeka/files/original/7f002a478dd3ecaeff2b546edd234a7e.pdf c1b20561273b6f895d3b4f1f51619e9c PDF Text Text �STATE UNIVERSITY OF NEI' YORK AT BINGHAMTON Committee and the Department of Music present: Convocation Frances Y ates, Pi ani st PROGRAM I JOHN C AGE: SUITE FOR TOY P I ANO, IN 4 MOVEMENTS, 1948 FRANZ JOSEPH HA YDN: PIANO SONATA, C MINOR , 1771 No. 33 in Vienna UrtextEdition, Hob XVI/20 moderato andante con moto allegro INGOLF D AH L: SONATA P ASTORALE , 1959 moderato, allegro comodo Elegia, adagio ma non troppo scherzino champetre, allegro con brio. Fete INTERMIS SION C H AR L ES !YES: SECOND PIANO SONATA: "Concord . .Mass., 1840- 1860" Emerson Hawthorne The Alcotts Thoreau 1 the republish comMrs. Yarevised byand 15, published 1919, 907-1915 poser 190 ThisSonata was composed performance is from the second and 1940from the first edition; the present A RE CEPTION honoring Mrs. Yate will be held in the Faculty Lounge, adjacent to the Theater, immediately following the performance. The audience is cordially invited to attend. �FRANCES MULLEN YATES and PETER YATES founded in 1939 at their home in Los Angeles theEvenings on the Roof chamber concerts, now in their 28th sea ason the Monday Evening Concerts at the Bing Auditorium of the Los Angeles County Art Museum. In the first years o f these concerts, Mrs. Yates performed works by Bartók, Busoni, Schoenberg, the Beethoven Diabelli Variations, and the "Concord" Sonata by Charles Ives, repertory at that time by no means in fashion or demand. She played the "Concord" Sonata at Harpur College in 1964, with a Suite for Piano dedicated to her by Lou Harrison. For the forthcoming Harpur recital she is repeating by request the Ives Sonata, accompanying it with the still unpublished Sonata Pastorale by Ingolf Dahl a nd the Suite for Toy Piano by John Cage, both composers longtime friends. Peter Yates was coordinator of "the Roof" for 15 years. Since 1940 he has written monthly articles about music and the arts for the magazine Arts and Architecture, and his writings have appeared in Saturday Review,High Fidelity, Vogue, Holiday and Horizon. lie is a Contributing Editor of Arts in Society (University of Wisconsin). He has lectured in recent yearsat more than thirty American universities and at the Salzberg Seminar in American Studies. He has published two books, An Amateur at the Keyboard (1963) and Twentieth Century Music (1967). He was a co founder of Poetry Los Angeles and broadcasts regularly over KPFK Los Angeles. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 3 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 33:42 19:58 39:05 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59465 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59465">Frances Yates Recital</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Frances Yates Recital, March 20, 1967 Subject The topic of the resource Concerts Description An account of the resource Works of Haydn and Dahl. Held 8:15 pm, March 20, 1967, Harpur College. Creator An entity primarily responsible for making the resource Yates, Frances 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 1967-03-20 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Haydn, Joseph, 1732-1809 Dahl, Ingolf, 1912-1970 State University of New York at Binghamton. Department of Music. Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context Frances Yates Recital.pdf